Archive for the ‘On line’ Category

YouTube Sets Up Grants to Fund Video-Makers

July 13, 2010

from worldscreen.com

YouTube is investing $5 million in grants for select new and emerging partners, to further the creation of high-quality videos.

The YouTube Partners Grants program will serve to help fund the production budgets of a small group of YouTube partners who are leading innovation in their video-making. The site is selecting partners based on factors such as video views, subscribers, growth rate, audience engagement and production expertise. Selected partners will be contacted by YouTube and invited to submit a grant proposal. Proposals will then be evaluated based on signals such as projected performance, distribution plan, marketing plan, cost requirements and appeal to advertisers. Once approved, the video-making partner will receive funding to get started on their project.

“Youtube Partner Grants represents another step forward in the evolution of both video and YouTube,” said George Strompolos, partner development manager at YouTube. “Our hope is that through these investments we’ll help nurture talent and bring more great videos to YouTube for all of you to enjoy.”

see original article http://worldscreen.com/articles/display/26238

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Facebook: A quick guide to those announcements

April 23, 2010

from guardian.o.uk

Acres, if you can measure online coverage in those terms, has been written already about Facebook’s announcements at its F8 developer conference yesterday.

Facebook’s objective, dressed in rather woolly speak about social graphs, connections and experiences, is to make it easier for people to access the site, use it more and populate it with more of their online behaviour.

The most significant announcement was about a series of plugins that will allow any website to add small chunks of Facebook tools to their pages. Mark Zuckerberg explained how this would work by sharing preferences and favourites on a music site like Pandora, or sports site ESPN.

“Pandora will be able to start playing music from bands you have liked all across the web. It can show you which friends like music similar to what you are listening to, then you can click and listen to their collections.”

A handful of launch partners were announced and in the UK, those are film site LOVEFiLM, Sky, ESPNCricInfo and MyDeco. The benefit for them is a powerful personal recommendation tool, from  asite with a very broad audience base that will help drive traffic.

For LOVEFiLM, it means every film and actor’s page will have a Facebook ‘like’ option, which is likely to increase their traffic as people share their film tastes with their friends, and also gives them data to display the site’s most ‘liked’ content on their homepage.

• Mark Zuckerberg: What Facebook changes mean for users >>Mashable
• Pandora partners with Facebook for social music >> Mashable
• Facebook to kill Facebook Connect >> Mashable
• Facebook F8: One graph to rule them all >> CNET
• Facebook targets Google’s web with the open graph >> Venturebeat
• Facebook makes itself a central point for web failure >> GigaOm
• Facebook just seized control of the internet >> TechCrunch
• Facebook plays privacy twister again >> paidContent
• Facebook seeks to spread across internet >> AFP
• Facebook Presence – nearly a step into location services >> Guardian
• New ways to personalise your online experience >> Facebook
• Facebook shows off new tools to socialise the entire web >> Wired
• Interview with Facebook VP Chris Cox >> TechCrunch
• Facebook to expand with ‘social plugins’ >> FT
• What you missed at Facebook’s F8 conference >> Venturebeat

see orginal article http://www.guardian.co.uk/media/pda/2010/apr/22/facebook-f8

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/

Facebook’s bid to rule the web as it goes social

April 23, 2010

from news.bbc.co.uk

By Maggie Shiels
Technology reporter, BBC News, Silicon Valley

Facebook set out its stall to unseat Google and be at the heart of the web experience as it becomes more social.

The world’s largest social network unveiled a series of products at its developer conference F8 aimed at helping the company achieve that goal.

These tools will make it easier for users to take their friends with them as they browse the web.

“We are building toward a web where the default is social,” said Mark Zuckerberg, Facebook’s founder.

“If you look back a few years ago and even as recently as today, in most cases the web isn’t designed to use your friends. They don’t assume you have a real identity but we are seeing that seep in more and more.

“We want to be one of the things that empowers that and right now most users are using Facebook and we hope we can be a good force in driving that forward,” Mr Zuckerberg told the BBC during a news conference.

the world like and a thumbs up icon

Facebook says it will serve 1 billion “Likes” on the web in 24 hours

He added that the “web was at a turning point” and that the way forward was to have friends, or what Mr Zuckerberg called “your social graph”, to guide you online.

“One of the points Mr Zuckerberg was making was that the web has become a lot less anonymous and Facebook is definitely positioning itself as wanting to be the owner of that information,” said Maya Baratz of the Huffington Post.

Personalisation

At the F8 conference in San Francisco, Mr Zuckerberg unveiled a number of products aimed at putting users and their friends at the “centre of the web”.

The most significant was an open graph protocol to let publishers tag their content by type along with a “Like” button that partner sites put on their webpage. This allows users to indicate what they like on a website, be it from photographs to news items and from clothes to music.

That information will then be stored by Facebook the way it already stores connections between people. At the same time any website will be able to take those individual preferences and use them to tailor a more “personalised online experience” for the user and their friends.

Facebook said this means its members will see a web that caters to their individual tastes.

Crucially all this can only happen when users are logged into Facebook and “makes it easy to make any page (on the internet) a Facebook page,” said Bret Taylor, Facebook’s director of platform.

Business opportunity

Mr Zuckerberg described the features he presented at the conference as “the most transformative thing we’ve ever done for the web”.

Justin Smith, founder of InsideFacebook.com said there are a lot of business upsides to this product.

“When someone “likes” your page, that is a valuable action because it means you will be able to publish updates directly to them in the future which could be used for a variety of purposes like promoting traffic to your website or advertising anything you want.”

Some of the early adoptees of the “Like” button include CNN, the movie site IMDb.com, ESPN and Levi’s.

Levi’s will integrate the “Like” function on its e-commerce site as well as build a “friend” store where consumers logged into Facebook will be able to see a list of their friend’s favourite products and shop online with them.

“We’re creating a new shopping experience that will change the way people shop online,” said Jodi Bricker, vice president of digital at Levi’s.

‘Audacious and a bit scary’

So what does this mean for Google, the world’s most powerful internet company with billions of users who access the web using hyperlinks?

“People are discovering information not just through links to web pages but also from the people and the things they care about,” Mr Zuckerberg told a conference hall of around 1,500 developers.

Om Malik, founder and editor of the technology blog GigaOM.com told BBC news “even a blind man can see this is a Facebook versus Google battle and in many ways if the web is going to be more social then that plays to Facebook’s strengths.”

Damon Cortesi, founder of social media company UntitledStartup, agreed.

“Facebook has won the internet,” he told technology blog ZDnet.com

“Facebook has always been social, but in terms of dominating the web over Google they have made strides today.”

But Mr Malik sounded a note of caution.

“The whole idea to socialise the whole web is fairly impressive, audacious and a bit scary. I am very scared about the privacy issues around this initiative. They haven’t really been very clear as to how consumers will have more control over the things they do on the web.”

The issue of privacy has been something of a thorn in Facebook’s side. It has suffered backlashes in the past over moves to change users privacy settings.

“Nothing we have released changes any of the privacy protections we have,” said Elliot Schrage, the company’s vice president of public policy and communications.

“We’re providing new opportunities for people to have a social experience if they want it.”

see original article http://news.bbc.co.uk/1/hi/technology/8590306.stm

Fresh networks are posting a series of reviews on social media monitoring.

April 23, 2010

Fresh networks are posting a series of reviews on social media monitoring.

For more info start 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

YouTube Saves Money With Text-Only Video

April 1, 2010

from mediamemo.allthingsd.com

by Peter Kafka

I’m down on this stuff in general, but have to admit I liked this one quite a bit. It helps if you’re into writing about the business of Web video, I guess: A memo from Google (GOOG) CFO Patrick Pichette explaining that the company has figured out how to save bandwidth costs at YouTube.

The rest of it is self-explanatory. But if you don’t want to read, you can go check out this sample video I’ve queued up for you.

Note that this doesn’t work on all of YouTube’s videos. And I can’t figure out how to make it embeddable. Enjoy.

see oringinal article http://mediamemo.allthingsd.com/20100331/youtube-saves-money-with-text-only-video/?mod=ATD_rss

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

‘Paranormal 2’ to face off with ‘Saw VII 3D’

March 31, 2010

from variety.com

Paramount is committed to meeting the Oct. 22 release date for “Paranormal Activity 2,” which pits the sequel directly against “Saw VII 3D.”

Move sets the stage for one of the biggest Halloween B.O. battles in recent times.

“Saw VII” has already tried to bloody “Paranormal 2” once. Kevin Greutert was circling to direct “Paranormal 2” when Lionsgate and Twisted Pictures exercised an option requiring Greutert to direct the seventh installment in the “Saw” franchise.

“Paranormal 2” didn’t get a director until just last week, when Tod “Kip” Williams inked a deal to helm the pic. Williams is new to the horror genre, having directed indies “The Door in the Floor” and “The Adventures of Sebastian Cole.”

That left some wondering whether “Paranormal 2” would indeed be ready by Oct. 22.

Insiders involved with the film say that still leaves plenty of time to shoot and edit the sequel. Par and filmmakers are currently casting.

It’s unlikely the sequel could shoot in eight days, like the first “Paranormal Activity” — but the quickie shoot set a precedent for low-budget pics with high expectations.

“Paranormal Activity,” produced for roughly $15,000, became a runaway hit at the box office following an innovative viral-marketing campaign, grossing $107.9 million domestically and $84.8 million internationally for a worldwide total of $192.7 million.

Cume makes “Paranormal Activity” one of the most profitable pics in Hollywood history, much as the micro-budgeted horror pic “The Blair Witch Project” was in 1999.

“Blair Witch” grossed $140.5 million domestically and $108.1 million overseas for a total of $248.6 million.

For Paramount and the “Paranormal” producers, which include Jason Blum and Oren Peli (Peli directed the first “Paranormal”), the trick now is to avoid the fate suffered by “Book of Shadows: Blair Witch 2.”

The “Blair Witch” sequel fell flat with auds, grossing $26.4 million domestically and $21.3 million overseas.

Both “Blair Witch” and “Paranormal Activity” began as guerrilla indies picked up by Artisan and Paramount, respectively. But Artisan couldn’t replicate the grassroots appeal of “Blair Witch,” one of the first films to break out at the B.O. after a viral marketing campaign.

Paramount has far more production and marketing muscle than an indie like Artisan. But sequels can be tricky, particularly when the sequel in question is a follow-up to something of a cultural phenomenon.

After bowing “Paranormal Activity” in just a few theaters, Paramount expanded each week after asking fans to go online and vote to see it in their cities.

On Oct. 29, in its fifth week, “Paranormal Activity” grew its location count by 1,182 to 1,945 theaters as Lionsgate opened “Saw VI” in 3,036 theaters.

“Paranormal” grossed $21.1 million against $14.1 million for “Saw VI.”

The next “Saw” will be the first in the franchise to play in 3D, which could give it an edge, though the last few installments have seen progressively lower B.O.

At this point, Par has no plans to release “Paranormal 2” in 3D.

see orginal article

http://www.variety.com/article/VR1118017086.html?categoryid=13&cs=1&nid=2562&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+variety%2Fheadlines+%28Variety+-+Latest+News%29&utm_content=Netvibes