Archive for the ‘Film Revenue on line’ Category

Babelgum & Channel 4 Team for Episodic Doc Prequel

July 13, 2010

from worldscreen.com

Babelgum has entered into a co-production deal with Native Voice Films that sees the web platform working alongside traditional media partners to support the release of the documentary featureThe Bengali Detective.

The new project is a co-production between Babelgum, the Channel 4 British Documentary Foundation, DR2 Denmark, Commonwealth Broadcasting Trust and Salty Sea Music. Further production and broadcast deals are being confirmed.

Babelgum is to broadcast, starting today, specially commissioned prequel episodes for the film. The exclusive customized episodes will roll out on a weekly basis. These mini-documentary episodes will then be used to virally promote the feature film festival appearances and theatrical release of The Bengali Detective in 2011.

The feature-length documentary centers on the day-to-day investigations of Rajesh Ji. He is a dance-obsessed gumshoe with a motley band of helpers who look to expose the secrets, fears and covert lives of today’s middle-class Indian society. The accompanying doc series takes a look at modern India and highlights the real-world characters investigating cases in Calcutta.

“This deal is a crystallization of what we have been working towards at Babelgum’s film division,” said Karol Martesko-Fenster, the senior VP and general manager of the film division at Babelgum. “A true 360-degree production approach that doesn’t just pay lip service to the online dimension—but rather where online and mobile are the driving factors, working with, not against, traditional media, to virally create interest in the project before it is released on traditional platforms. Bearing in mind the ever-fragmenting nature of the media landscape and the need to target audiences across all platforms, it is the kind of approach that filmmakers will increasingly be adopting. We are excited to be working with Native Voice Films on this fantastic project.”

Phil Cox, director for Native Voice Films, added, “At Native Voice Films, we’ve always strived to make films built on strong storytelling that challenge our audience’s view of the world, while at the same time revealing the essential humanity of our subjects. We’re especially excited to be working with our co-producing partners at Babelgum on the premiere of The Bengali Detective. Together we’ve crafted a fresh, compelling approach to distributing the film, first as an episodic prequel and then as a full-fledged theatrical feature, harnessing their platforms to reach the widest global audience possible. It truly will be a landmark event and hopefully a guidepost for other independent filmmakers.”

see original article at http://worldscreen.com/articles/display/26226

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YouTube Expands Movie and TV Rentals

April 23, 2010

from mashable.com

The YouTube Store has a much more impressive library than it did during its January trial period, including a few classics likeReservoir Dogs and recent critical hit PreciousThe Cove — one of the original five — is currently the most popular film in the library.

If you’re interested in trying out the service, rentals range from $0.99 to $3.99, and the rental periods vary. Some pages say 24 hours, while others say 72. When the service initially launched, it only had five Sundance films, which only drew in $10,709during the 10-day run. The New York Times deduced that figure by counting the number of views on each of the five films, but you can’t do that now — view counts are hidden.

Niche content like Bollywood movies and Japanese animation TV shows still place prominently in the lists of popular content — evidence that while the site does have some mainstream options now, they still don’t match what AmazoniTunesand Netflix offer. We find it curious that while iTunes and Amazon sell TV episodes for $0.99, the episodes on YouTube are just for rent.

NewTeeVee contacted the site and asked about the new content, which went up with little fanfare. A spokesperson told them: “When we announced YouTube Rentals in January we said we would be creating a destination after more partners joined the program. To date, we have nearly 500 partners that have joined our Rental program.”

see original article http://mashable.com/2010/04/22/youtube-store-rentals/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Mashable+%28Mashable%29

YouTube envisions future of television viewing

April 23, 2010

from informitv.com

It is just five years since the first video was uploaded on YouTube by one of its founders. Now over 24 hours of video a minute are uploaded to the site and it receives over a billion views a day. YouTube has its sights set on turning a few minutes a day watching videos on the web to something more like the hours a day we generally spend watching television. That vision could become a reality once televisions are routinely connected to the internet.

“People think about the world of TV and the world of online video as being different ways to distribute video,” said Chad Hurley, the co-founder of YouTube, in an interview with the Telegraph newspaper. “But what happens when every TV is connected to wi-fi with a browser?”

“That is what we envision. Instead of this world of online video and this world of TV there is just one world,” he said. “There won’t be a difference in the future.”

“The iPad — is that a phone or a computer?” he questioned. “If I put it on my wall is it a TV? People continue to try to throw things in the buckets when really these are all going to be different-sized devices with a connection to the internet.”

As on the Apple iPhone and iPod Touch, YouTube has a dedicated application on the iPad. With its nearly ten-inch screen, viewing YouTube on the iPad feels like much more of a natural multimedia experience than on a laptop or desktop computer.

YouTube is already available through widgets or applications on various internet-connected televisions and an increasing number of televisions will be network connected in the next few years.

According to the co-founder of YouTube, the aim is now to deliver a more seamless experience across different devices. “We have some solutions for mobile, we have some solutions for TV, but they are not very consistent and they are somewhat separate. So, I start watching something on my mobile phone and then I can finish watching it on my PC, I sort my favourites on my PC and I want to watch it on my TV.”

Within the next five years, YouTube expects to see much more video viewed over the internet. “Although YouTube is the most successful video platform, the number of minutes watched, 10-15 minutes a day, is small when compared to the five hours watched on the TV set,” said Salar Kamangar, vice president of product management for YouTube. “It’s hard for me to imagine that in five to 10 years from now most of the content we consume won’t be delivered over the internet.”

see original article http://informitv.com/news/2010/04/18/youtubeenvisionsfuture/

The UK film council has released a report on digital and creative.

April 23, 2010

The UK film council has released a report on digital and creative.

Download a copy of the report here

Parks Releases New Study on Online Viewership

April 23, 2010

By Mansha Daswani

DALLAS: More than 25 million U.S. broadband homes are watching full-length TV shows online, Parks Associates reports, double the number recorded last year.

In addition, the Parks Associates study, Online Video and Broadband Provider Strategies, reveals that more than 20 million homes watch movies online. “Connected CE devices are affecting the competitive ecosystem of the television industry, and while the current number of cord cutters isn’t substantial, service providers are concerned about these developments,” said Jayant Dasari, research analyst at Parks Associates. “Pay-TV providers are working to head off a possible shift that might devalue their services by offering TV Everywhere. These services supplement their traditional offerings, which might not dissuade anyone determined to cut the cord, but providers could use them as models for future business strategies.”
The report goes on to note that consumers have yet to establish strong preferences on whether they get video and other value-added services from broadband service providers or over-the-top providers such as Hulu.

see original article http://worldscreen.com/articles/display/25263

Using Social Media Tools To Build A Truly Free Film Community

April 13, 2010

from trulyfreefilm.hopeforfilm.com

If only 30% of people’s online time is spent viewing content, then there is real hope for indie film.  The other 70% of users’ time is spent in search and social.  We know that people not only want todiscover stuff (like great stories and films) but even more so, they want to talk about it.

One way to define Film is as the transformation of leisure time into intellectual capital and then into social capital.

The question all filmmakers need to ask themselves is what can we do to get the others to talk about film more.  How can we improve the conversation people have about film?  We have the tools.

I loved B-side’s Festival Genius and hope it doesn’t go away now that the company has. One of major festivals, or indie film support orgs should acquire it (for their own benefit as well as ours).

(UPDATE 4/10 : Okay, I admit I have a crystal ball: the day after I wrote this, IFP announced it was acquiring Festival Genius.)

I was recently hipped to Dan Zeitman’s FilmFest from a comment on this blog by Weak Species‘ Dan Faltz.  FilmFest looks like it is much of the same thing as FestivalGenius.  All festivals should utilize these tools (please!). As they are available, it is safe to say that a festival that does not provide these tools are doing both their audience and their filmmakers a disservice.

Filmmakers should INSIST all festivals to utilize these tools, or refuse participation in them.  Or maybe it’s the other approach:  Let’s build a list of all the festivals that use these tools and encourage participation in them.

I spoke before about the idea of film festivals using Foursquare to engage audiences, but there are no doubt many more of this sort of ideas.   It might be time to develop a new list!  If only I had wasn’t trying to get my movies made, I would have some time to do something really important.  Lend a hand though: we can make it better together.

see original article http://trulyfreefilm.hopeforfilm.com/2010/04/using-social-media-tools-to-build-a-truly-free-film-community.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+TrulyFreeFilm+%28Truly+Free+Film%29

Hulu launches exclusive feature

April 1, 2010

from variety.com

‘In the Darkness’ is released by Mattoid Ent.

By LIZ STINSON

 
 

In a sign of the digital times, Hulu.com yesterday launched the first feature-length narrative film to premiere exclusively on its site.

“In The Darkness” is released by Mattoid Ent., which focuses on creating first-run content for online platforms.

Pic follows the disappearance of two young men in a fire-ravaged mountain range.

Mattoid co-founder and “Darkness” scribe and helmer Andrew Robinson said cost considerations as well as the chance for greater exposure led to his decision to preem via Hulu after taking a more traditional distribution approach for his 2009 pic “April Showers.”

see original article http://www.variety.com/article/VR1118017098.html?categoryid=13&cs=1&nid=2570&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+variety%2Fnews%2Ftechnology+%28Variety+-+Technology+News%29&utm_content=Netvibes

UKFC’s new Film Fund launches today with £15m

April 1, 2010

from netribution.co.uk

Wharton, Francke, Collins confirmed as executives working under Seghatchian in newly streamlined fund.

  • Biggest shake-up since UKFC’s creation
  • £15m film fund open for applications today
  • £5m Innovation Fund confirmed for Autumn 2010
  • New online application system for funds 
  • An ambitious sounding ‘web-based.. national filmmaking community’ 
  • Producers to receive equity in UKFC recoupment
  • WT2’s Natascha Wharton joins BBC Film’s Chris Collins and Em Media / EIFF’s Lizzie Francke on team

The UK Film Council today published its three year plan and launched its new £15m Film Fund to be headed up by Tanya Seghatchian. In developing the final plan, the UK Film Council spent three months consulting on the proposals, engaging with hundreds of people from across the film sector, facilitating more than a dozen consultation sessions and attracting almost 1,000 responses. The plan specifically:

  • opens up for business a £15m-a-year Film Fund (topped up further by film recoupment) for emerging, experimental and world class filmmakers;
  • ring-fences money for development;
  • confirms production companies will for the first time automatically receive a significant share of the UK Film Council’s recoupment from all feature film investments they are involved in, following State Aid approval of the measure by the European Commission;
  • sets up a think tank chaired by Tim Bevan to identify new policy initiatives to grow independent UK film companies of scale;
  • proposes a national web-based talent showcase, to be launched in Autumn 2010, to unearth fresh talent and to broaden the diversity, reach and the opportunities available to all filmmakers who are keen to engage with one another in a national filmmaking community;
  • confirms £5m is allocated to the new Innovation Fund, which will launch in Autumn 2010 (more details to follow);
  • provides £500,000 for film exports for each year of the plan;
  • confirms that 100% of recoupment from the Prints & Advertising Fund – which widens and supports the distribution of selected specialised films and British films – will, like the Film Fund, top up that fund’s budget.

Alongside this plan, the DCMS have been leading merger discussions between the UK Film Council and the BFI. These discussions have been underway since August 2009 and continue.

The new appointments to Tanya ‘Harry Potter/Heyday Films’ Seghatchian’s team include: 

  • Lizzie Francke, former head of EIFF and BFI Governor, will focus on experimental feature length films, national engagement and showcasing new talent;
  • Chris Collins, executive for Pawel Pawlikowski’s Last Resort, amongst others will focus on ideas for future film practices for both emerging and established filmmakers, from micro/low budget features and shorts, through to 3D blockbusters.

Launching UK Film: Digital innovation and creative excellence, Tim Bevan CBE, Chairman of the UK Film Council, said, “We’ve set out a renewed mission, a new set of priorities, and a new way of working. With the right level of support, a successful British film industry can continue to help get the UK out of recession, drive innovation and create more highly-skilled jobs. Further tough choices probably lie ahead, but having reduced our overheads by 20% and positively responded to the needs of British filmmakers we’re now in the best place we can be to support and promote UK film in the years ahead.”

John Woodward, Chief Executive Officer of the UK Film Council, announced that the new £15m-a-year Film Fund had opened its doors for business. Managed by a new team of experienced senior production and development executives, the fund has introduced a brand new online application process in which applicants will set out their creative and strategic visions for their film.

Woodward commented: “The new Film Fund’s primary focus is creative excellence. Tanya and her team will support filmmakers who want to put British filmmaking at the centre of our national culture and on the international map. The aim is for the Film Fund to attract the best talent, encourage creative risk taking, and deliver great films to audiences.

“Joining Tanya in the search for creative excellence will be a team of three Senior Production and Development Executives with an impressive and broad range of film industry expertise. Natascha Wharton, Lizzie Francke, and Chris Collins each have big production successes under their belts – together, it’s a team that will provide a wide range of expertise and tastes as well as a supportive, energetic and ambitious home for British filmmaking talent.

“The team will all work across the full range of projects in production and development, but individually they will also have specific responsibilities.”

The Film Fund is open for applications from 1 April, but it will be presenting a more detailed strategy to the UK Film Council Board in the coming months. It has already been agreed that a portion of the £15m budget will be ring-fenced for development – although there will be no automatic assumption that projects developed will become films that the fund would then invest in at the production stage. The remaining budget will be safeguarded for the Film Fund’s own production investments. Further details will be announced in the coming months, in addition to details of the Film Fund’s non-London investment target and how the new online showcase will operate.

Natascha Wharton

Natascha has been at Working Title Films for most of her film career.  During her time there,  she set up WT2, Working Title’s low budget film division.  The first film through that division was Billy Elliot, on which she was an Executive Producer.  She was Executive Producer on a further ten films through WT2, including Shaun of the DeadAli G Indahouseand My Little Eye. Later, when WT2 was absorbed into WT’s main slate Development Department, she became Head of Development and was Executive Producer on Hot Fuzz.

 

Lizzie Francke

Lizzie started her career as a film critic in the early 1990s, contributing to titles such as The Guardian, The Observer, Sight and Sound and Screen International.  During this period she also wrote the book Script Girls: The History of Women Screenwriters in Hollywood. In 1997 she was appointed Artistic Director of the Edinburgh International Film Festival and in her five years there re-established the festival as a key showcase for British cinema. She moved into production in 2001, first for Little Bird, where she co-produced Marc Evans’s thriller Trauma, then as Executive Producer for EM Media, where her credits include ControlAnd When Did You Last See Your Father?, A Complete History of My Sexual Failures and Better Things. She also acted as the British co-producer on Vinyan, the second film from the cult Belgium director Fabrice du Welz, which had its world premiere at the Venice Film Festival. Lizzie has been a Development Producer for the UK Film Council’s Development Fund since January 2008. She managed the First Feature stream, which is dedicated to emerging writing and directing talent. Films that she worked on during that period include the The Arbor, directed by Clio Barnard and debuting at the 2010 Tribeca Film Festival, and artist Gillian Wearing’s directorial debut Self Made, which is currently in post-production. 

 

Chris Collins

Chris started his career working in television documentaries, after which he joined BFI Productions in 1997 as a development and production executive, where he oversaw films such as John Maybury’s Love is the Devil and Jasmin Dizdar’s Beautiful People. He then spent ten years in the independent sector as a producer working with filmmakers such as Pawel Pawlikowski, Francesca Joseph and Sarah Gavron on critical successes Last ResortMy Summer of LoveTomorrow La Scala! and Brick Lane. He also worked with BBC Films on a series of shorts with filmmakers like Vito Rocco and Andrea Arnold. Since 2007 Chris worked as a Development Producer in the UK Film Council’s Development Fund where he managed the funding strand for experienced writers, directors and producers. Projects developed range from new screenplays by Duane Hopkins, Noel Clarke, Matt Greenhalgh and Hanif Kureishi to the recently completed Tamara Drewe, written by Moira Buffini from Posy Simmond’s graphic novel and directed by Stephen Frears.

see original article http://www.netribution.co.uk/stories/finance/1870-ukfc-launch-new-p15m-fund-appoints-wharton-collins-a-franke-confirms-innovation-fund

Breakfast briefing: Google has its eyes on your TV set

March 30, 2010

from guardian.co.uk

• Everybody and their dog has been developing web-enabled TV sets recently, so perhaps no surprise to see that Google – the company that can’t keep its finger out of any pie it comes across – is working with Intel and Sony to create Android-compatible tellies. Somebody unlikely to be impressed by the 7,194th Google project, however, is outgoing US Federal Trade Commissioner Pamela Jones Harbour, who laid into the company for launching products “where the guiding privacy policy seems to be ‘throw it up against the wall and see if it sticks'”.

• Most of us probably wonder what information other people might know about us through our social networking profiles – but do we ever wonder what law enforcement can find out? Just weeks after the controversy over Microsoft’s “spy guide”, Electronic Frontier Foundation has released documents showing how US investigators obtain evidence from social networks. Worth reading… not that you’d ever do anything illegal of course.

• If you’re looking to have your mind boggled, then think about the chaos caused when more than 100 cars were shut down in Texas over the web. The suspect, apparently a disgruntled worker with access to a controversial online immobilising system used by car dealers, went on a remote shutdown spree that must surely call into question whether we could end up making our vehicles too connected.

You can follow our links and commentary each day through Twitter (@guardiantech, @gdngames or our personal accounts) or by watching our Delicious feed.

see orginal article http://www.guardian.co.uk/technology/blog/2010/mar/18/google-sony

IPTV World Forum embraces hybrid future

March 30, 2010

from informitv.com

The sixth annual IPTV World Forum in London showed signs that the market is maturing and the scope of internet protocol television services is expanding. IPTV is no longer synonymous with the ambitions of telecommunications providers to deliver telco television. There are now around 33 million subscribers to IPTV services, up from around 20 million a year ago, but that still represents only 10% of broadband homes, 5% of the multichannel market and less than 2% of television homes worldwide. As this convention demonstrated, more significant growth may come from hybrid broadcast and broadband network connected devices and displays. 

The conference talk has largely moved on from discussions about how to deliver video over data networks to how to differentiate the resulting services from traditional television operators. 

Operators like AT&T and Verizon are now showing sophisticated services that deliver on the promise of teleco television and giving the entrenched cable companies a run for their money. 

Cable companies are ultimately able to migrate all their services to internet protocols. There is plenty of bandwidth in their existing hybrid fibre coaxial infrastructure to deliver very high-speed internet protocol services. Some of the established cable companies appear characteristically conservative and reluctant to replace set-top boxes and face the future while they can continue to extract revenues from their existing plant. 

The most significant development may be the emergence of hybrid broadcast and broadband services that combine the benefits of efficient distribution of traditional channels over conventional satellite, terrestrial and cable networks with video on demand services delivered over internet protocols. 

It is also becoming clear that given the bandwidth, open networks are quite capable of delivering high quality video over the internet on a best efforts basis. That means there are opportunities for consumer electronics companies to create connected television propositions. 

On the exhibition floor most vendors were reporting high levels of interest but it still feels like a sideshow to the main broadcast conventions like NAB. Nevertheless, the concentration on internet protocol networks means that this event is now a firm fixture in the convention calendar. 

Cisco was among those pushing the line that telcos need to become media companies, moving from being network service providers to experience providers. Generally, however, technology providers seem to have very little appreciation of the world of entertainment. 

NDS was showing Oona, a conceptual user interface that incorporates social networking features. 

Ericcson had a concept remote control that includes a touch screen for exploring and previewing programming. That could be a strong selling proposition for operators, but what is really needed are standards to allow users to control their television experience from any device, from an iPad to their mobile phone. 

An awards dinner recognised the achievements of the last year, which extended beyond the usual suspects. 

Award winners 

PCCW received the award for most innovative new service with its eye2 device, a wireless touchscreen table providing television and multimedia services, as well as video and voice calling. 

China Telecom was recognised for best subscriber growth, reflecting a 275% increase in subscribers to reach 750,000 users at the end of 2009. 

The best interactive television service or application went to ADB for the ‘n’ service in Poland. 

Amino received the best consumer device award for its Freedom hybrid digital terrestrial television and internet media centre. 

The best quality improvement solution award went to Witbe for its quality of experience measurement system, deployed with a number of operators, including Deutsche
Telekom, KPN, Orange, Singtel, Telefonica and Vodafone. 

Echostar Europe received the award for best hybrid broadcast and internet protocol video solution with its Slingloaded hybrid digital video recorder. 

The best on-demand technology award went to Ericsson for its WatchPoint content management system. 

Netgem, with its NetgemTV hybrid IPTV middleware, combining broadcast and broadband delivered media, was recognised as the best IPTV service delivery platform. 

The best internet television technology award went to Cisco for its content delivery system, allowing service providers to support video on both set-top boxes and internet streaming. 

First Media picked up the award for best client software for its client resident m-QM video monitoring system. 

Raoul Roverato received the special merit for outstanding industry contribution for his work at Orange.

 see original article http://informitv.com/news/2010/03/25/iptvworldforum/