Netflix Subs and Revenue Are Up, Operating Profit Is Down

Netflix has always wanted Wall Street to judge it based on revenue and global operating-profit margins rather than subscription growth. But the company’s Q2 report shows just how unpredictable those results can be. Netflix added 5.2 million subscribers, much more than the 3.2 million it predicted, for a total of 104 million global subscribers. But its global operating profit margin was down 4.6 percent from 9.7 percent in Q1, while revenue skyrocketed 32 percent to $2.79 billion. Continue reading Netflix Subs and Revenue Are Up, Operating Profit Is Down

Disney Selects 11 Companies for 2017 Accelerator Program

The Walt Disney Company announced 11 tech and media companies will receive funding and support as part of the Disney Accelerator program, now in its fourth year. The companies will be given access to work space at Disney’s L.A. creative campus and guidance from entertainment and media technology leaders. The 2017 class covers a range of compelling areas such as artificial intelligence, eSports, messaging, online learning, robotics, video games and virtual reality. Among the 11 startups are Epic Games, creator of Unreal Engine tech, and location-based VR firm The VOID. Continue reading Disney Selects 11 Companies for 2017 Accelerator Program

Unity’s Cinemachine Designed for Animation, Games, Movies

At the Unite Europe conference in Amsterdam, more than 1,400 game developers examined tools and innovations from game engine company Unity. Among those was the virtual camera system Cinemachine, which makes it easier for even neophyte content creators to get creative with animation, games, eSports, cinematics and movie pre-visualization. Unity’s Asset Store offers free 3D models and environments, including the Adam character from last year’s impressive tech demo. The engine also offers generic animations that can be applied to characters. Continue reading Unity’s Cinemachine Designed for Animation, Games, Movies

Netflix Launches Two New Interactive Digital Shows for Kids

Netflix is embarking on an experiment in interactive online storytelling with children’s programs “Puss in Book: Trapped in an Epic Tale” (available now) and “Buddy Thunderstruck: The Maybe Pile” (debuting July 14). With thousands of possible story paths, the shows allow viewers to choose his or own adventure. Whereas books and videogames have offered this kind of storytelling for years, it’s been difficult — and, from the point of view of the studio or TV network, not financially viable — to do so for video. Continue reading Netflix Launches Two New Interactive Digital Shows for Kids

Facebook Introduces Video Series, Targeting TV Ad Market

Facebook is in production on new video series, with an eye on the $70 billion TV advertising market. First up from the social media company are reality competition series “Last State Standing” and a second season of comedy “Loosely Exactly Nicole,” which first appeared on MTV. Facebook hopes that if it adds original programming to the site, it will encourage cable networks and ad-supported, youth-oriented online services to upload their own premium video content. Facebook executives have compared its efforts to priming the pump. Continue reading Facebook Introduces Video Series, Targeting TV Ad Market

YouTube Intros Heatmaps, Production Tips for VR, 360 Video

YouTube creators who want to see specifically where people are looking in their 360-degree and VR videos are in luck. The company is introducing a new analytics tool that does just that, via heatmaps, available for any such videos that exceed 1,000 views. YouTube is also sharing tips on 360-degree videos aimed to help video producers. Making these videos is particularly challenging since viewers can watch in a variety of ways, including via a VR headset, the YouTube smartphone app or desktop web browsers, where they can rotate the video. Continue reading YouTube Intros Heatmaps, Production Tips for VR, 360 Video

Sony Reveals Details of its Full Frame Digital Cinema Camera

At Sony’s Cine Gear Expo press conference, marketing and production manager Peter Crithary outlined available details of the company’s upcoming addition to its CineAlta line of digital cinema cameras. Key to this CineAlta is that the entire camera is being built new, from the ground up, and that it will feature a large full frame sensor, the first of its kind aimed at professional movie makers. The full sensor, at 36x24mm compares to the more commonly used Super 35mm sensor, at 24x18mm. The camera will be available in early 2018. Continue reading Sony Reveals Details of its Full Frame Digital Cinema Camera

Panasonic Intros Compact, Lightweight Super 35mm Camera

Panasonic debuted its 5.7K cinema camera, the AU-EVA1, at Cine Gear Expo in Hollywood last week. The camera, which is meant to fill a gap between the Panasonic Lumix GH5 4K mirrorless camera and the VariCam LT 4K cinema camera, is aimed at handheld shooting, making it ideal for commercials, documentaries and music videos. The compact camera, which can easily fit in a backpack, weighs 2.65 pounds (body only), sports a newly designed sensor and will be priced under $8,000 when it ships in the fall. Continue reading Panasonic Intros Compact, Lightweight Super 35mm Camera

Canon Announces New Cameras in EOS Digital Cinema Line

At Cine Gear Expo on the Paramount Pictures lot, Canon unveiled the much-anticipated Canon EOS C200 and Canon EOS C200B Digital Cinema Cameras, the latest in its EOS digital cinema line. Key new features are two 4K video formats, Canon’s  Cinema RAW Light and MP4, targeting HDR productions. The cameras also have a dual DIGIC DV6 image processing system, which was developed for these cameras as well as Canon’s Dual Pixel CMOS AF system. Both cameras are slated to deliver in August 2017. Continue reading Canon Announces New Cameras in EOS Digital Cinema Line

Amazon’s Twitch Weighs Original Programs With Interactivity

Twitch, the live streaming video and gaming site purchased by Amazon for $1 billion almost three years ago, is thinking about streaming original programming, says its chief operating officer Kevin Lin. But unlike all other new platforms streaming original content, Twitch is looking for its users to have input on the programs as they are written and produced. Twitch already lets its users comment on the videos in real time and Lin believes these comments can help guide a scripted show as it evolves from episode one onward. Continue reading Amazon’s Twitch Weighs Original Programs With Interactivity

NAB 2017: ETC Panel Tells the Producer’s Perspective on VR

The final panel at ETC’s conference on VR/AR convened producers who have worked on virtual reality projects. Producers Guild of America vice president, new media council John Canning moderated the discussion with producers from ETC@USC, StoryTech Immersive, Digital-Reign and The Virtual Reality Company. StoryTech Immersive president/chief storyteller Brian Seth Hurst spoke about his experiences creating “My Brother’s Keeper,” a 360 spin-off of PBS’s “Mercy Street.” “We were able to get close and intimate with our actors,” he said. Continue reading NAB 2017: ETC Panel Tells the Producer’s Perspective on VR

NAB 2017: Oculus Details Journey to VR Film ‘Dear Angelica’

Oculus Story Studio founder/technical director Max Planck was invited to the ETC conference on AR/VR at NAB to discuss his company’s creation of “Dear Angelica,” a 13-minute dreamlike VR tale of how we remember our loved ones. The film, which played to great acclaim at the last Sundance Film Festival, is notable for the fact that it was entirely hand-painted inside VR space, by illustrator/art director Wesley Allsbrook, and written and directed by Saschka Unseld. Planck described how the inspiration for the film came out of graphic novels. Continue reading NAB 2017: Oculus Details Journey to VR Film ‘Dear Angelica’

NAB 2017: A Look at VR Short ‘Pearl’ and Its Ambisonic Audio

Oscar-nominated “Pearl,” the short VR film directed by Passion Pictures’ Patrick Osborne, was the focus of a discussion about ambisonic audio during this week’s ETC conference on VR/AR in Las Vegas. Google Spotlight Stories creative director, audio and music Scot Stafford and Dramatic Audio Post sound designer/mixer Jamey Scott described their work on the film as well as their path to working on 360-degree and VR movies. Stafford pointed to his work at a story incubator at Motorola, run by Google, to make content for the mobile platform. Continue reading NAB 2017: A Look at VR Short ‘Pearl’ and Its Ambisonic Audio

NAB 2017: Thought Leaders Gather to Discuss Cloud Potential

As part of the Next Generation Media Technologies program at NAB, in partnership with ETC@USC, Walden Pond chief executive Wendy Aylsworth moderated a panel on “Thought Leadership for Key Players in the Industry.” Leaders from cloud initiatives at Microsoft, Google, Adobe and Avid Technology detailed their experiences in evolving cloud offerings, as well as the challenges in making these services a reality. Because the cloud is capable of multiple workflows, each leader had a different take on its benefits. Continue reading NAB 2017: Thought Leaders Gather to Discuss Cloud Potential

NAB 2017: M&E Companies Describe Their Move to the Cloud

Another NAB panel in partnership with ETC@USC looked at several large-scale, high-resolution implementations in the cloud. Moderator Brian Campanotti, global director of business development for Oracle Digital Media Solutions led panelists through a discussion on how a major media organization can successfully make the paradigm shift from IT center to cloud infrastructure, leaving behind traditional on-prem storage and processing. Company case studies included Sony, Technicolor and Fox Network Groups. Continue reading NAB 2017: M&E Companies Describe Their Move to the Cloud

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