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Truly Free Film

Beer Buzz #2: Philip Seymour Hoffman

By Steven C. Beer

Philip Seymour Hoffman 1967-2014

I received the tragic news about Philip Seymour Hoffman like a punch in the belly.

Unlike most celebrity deaths, the pain has lingered for days and has not diminished in intensity. I cannot remember the last time that friends and colleagues reached out to one another like this to connect and share their profound loss. Hoffman was our hero, a soldier at the vanguard of cinema — and like losing a family member, we are each seeking to find our own way to make sense of it.

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Truly Free Film

Diary of a Film Start-Up: Post # 43: Hard Work, Innovation & Blind Alleys

By Roger Jackson
KinoSmall

Previously: The Importance of Subtitles & Closed Captions


Post-Script

In my last post I wrote about Closed Captions and recommended you get them made by ZenCaptions. Now Amazon Prime has announced that captions are mandatory from March 1st. It’s already mandatory for iTunes. And has long been a requirement for Cable TV video-on-demand. It makes sense, it’s a good thing for people with hearing difficulties, and it makes your film more viable to watch in a noisy cafe or bar. At $1/minute it should be a no-brainer…get it done.

Hard Work, Innovation & Blind Alleys

Kinonation has come a long way in the past year. We dived into the very complex video-on-demand ecosystem. More complex than we expected, to be honest. We’ve invested heavily in technology and signing new outlets and content acquisition.

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Truly Free Film

Screen Forever 2013: Google’s Approach to Watching Content Owners’ Backs

by Andrew Einspruch

Filmmaker Andrew Einspruch attended Screen Forever 2013, the conference of Screen Producers Australia, this past year and wrote a series of articles for the event, which he’s kindly allowing us to reprint here. These articles originally appeared in Screen Hub, the daily online newspaper for Australian film and television professionals.

The world of content and culture is moving online. And search giant Google is in the driver’s seat to know what the trends are. But the digital world unfolds in a fraught way for many creators. In the opening session of this year’s Screen Forever conference, Derek Slater, Global Public Policy Manager, Google USA, gave a glimpse into this changing world, as viewed by the advertising behemoth. Andrew Einspruch reports.

100 hours.

That’s how much content currently gets uploaded to YouTube every minute. That`s a week`s worth of viewing in less than two minutes, and a year`s worth in less than two hours. That`s the supply side.

On the demand side, six billion hours get watched every month, or just under an hour per person on the planet, whether they have an Internet connection or not. It is a staggering change to the world, especially when you consider that YouTube did not exist nine years ago.

Google USA`s Derek Slater, a self-confessed fan of the Australian show “Frontline,” discussed this boom in creativity, and put it in the context of creators and money. Put simply, you have more content creators than ever before, and more ways for them to make money from all the connected consumers out there. He cited statistics that said digital music revenue was more than $5.6 billion in 2012, and that digital movies were nearly 30% of revenue in the US in 2012, up from 19% in 2011. Ebooks show a similar jump, with 457 million sold in 2012, up 43% from 2011.

It is still a developing market, but it represents a massive shift from the previous decade.

Slater also described Australia as a huge net exporter of video, with eight times as much Aussie video consumed off-shore than on-shore. Looked at differently, twice as much Australian content is consumed in the US than in Australia. From Slater`s perspective, it shows that local content is thriving, and contributing to a trade surplus in that category.

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Issues and Actions

Your Suggestions For Today’s Film Institutions Are Needed

I was asked by the New York Times to contribute to a think piece on how to improve the  Film Society of Lincoln Center.

Ted Hope, chief executive of Fandor, a film-streaming service and former San Francisco Film Society executive director, recalled his first encounter with the organization: a showing of the Coen brothers’ “Blood Simple” at the New York Film Festival. “I was so excited to be in such a beautiful room with so many people who seemed to love cinema as much as me,” he said. “I want every program to recreate that excitement, and it comes from providing context, community and a sense of event — something both fleeting and permanent.”