Speaking at the Shanghai International Film Festival, MPAA president Christopher Dodd urged China’s film community to broaden its engagement with Hollywood.
Dodd called China’s movie market a “success story in the making,” with a growing capacity to create films, as well as a considerable appetite for consuming them, with more than 6,200 screens.
U.S. studios have historically been frustrated by distribution restrictions in China, which only allows about 20 foreign films into the country each year, and returns less than 20 percent of revenue to the studios.
Dodd and other officials from the MPAA have been assisting U.S. trade officials in efforts to persuade China to ease these restrictions.
ETCentric has featured a number of compelling reports regarding how mobile- and location-based technologies are making their way into the music world. Some very creative uses for location data are currently being implemented by musicians. For example…
Arcade Fire’s “The Wilderness Downtown” website asks viewers for an address and then incorporates Google Maps footage of that location into their music video. The band worked with video director Chris Milk, Google and@radical.media to create a fascinating HTML5 multi-browser experience.
OK Go (a big fan of technology with a reputation for media experimentation) asked fans to create GPS journeys that the band then edited into one of their music videos.
Panic at the Disco asked fans to send their videos of a recent 23-city tour that they will cut into their video. The band teamed up with the Viddy app launched in May (the “Instagram for video” allows users to create stylized videos and share them on social networks).
Bluebrain’s “National Mall” album adapts to your GPS location when using their app while walking around the Mall in downtown Washington, DC. Selections from three hours of recordings are designed to correspond to your physical location in the Mall. The band is working on a similar album/app that will be tied to Central Park in New York City.
Is this part of an emerging trend? Check out the music videos posted on the Mashable write-up and draw your own conclusions.
Three months after Google launched its cloud-based Music Beta, the company has introduced a new music discovery site called Magnifier.
According to the Official Google Blog: “Magnifier will feature great music and the people who make it, including videos of live performances, interviews with artists, explorations of different musical genres and free songs that you can add to your Music Beta collection.”
To kick-off Magnifier this week, Google is featuring indie rockers My Morning Jacket. “We’re giving away two of their tracks to Music Beta users, one of which is an exclusive to Magnifier: a live performance of ‘The Day is Coming.’ To get these free tracks and hundreds of other songs in our Free Song Archive, you need a Music Beta by Google account (if you don’t have an account, request an invitation).”
There is no mention that Google analyzes your Music Beta library to suggest new songs, but they certainly could do so.
The Federal Trade Commission ruled Monday that W3 Innovations, the company behind popular mobile applications for kids, including “Emily’s Girl World” and “Emily’s Dress Up,” should pay a $50,000 penalty for collecting personal information from kids without parental permission.
The commission found the company in violation of the Children’s Online Privacy Protection Act, marking the first time that law has been applied to a mobile application.
“The F.T.C.’s COPPA Rule requires parental notice and consent before collecting children’s personal information online, whether through a Web site or a mobile app,” explained Jon Leibowitz, chairman of the commission. “Companies must give parents the opportunity to make smart choices when it comes to their children’s sharing of information on smart phones.”
The decision coincides with a period of increased concern about privacy and mobile technology, as the industry considers new privacy protections to fend off potential federal regulation.
Are you a casual gamer who wants to create your own games but lacks the resources of a big game company? Namaste may be for you.
The startup is developing a platform called StoryBricks, designed to help casual gamers and those interested in being part of a development team to create their own content and share them on social networks.
“The twist is that it’s not for professional game designers,” reports TechCrunch, “but users who want to create their own games. The company is understood to be be in discussions with several top VCs.”
Namaste has started fundraising via AngelList and recently tapped Anil Hansjee, former head of corporate development for Google Europe, to join the company as advisor.
Andrew Losowsky, books editor for The Huffington Post, has released “Reading in Four Dimensions” (available as a 99-cent Kindle Single) — a fascinating essay on the future of publishing and how the Internet has impacted the reading experience.
Many of us are publishing in new ways via Facebook, Twitter, blogs and more. Readers are interacting with these “works” in a kind of social reading environment, which changes the way stories are written and read.
Physical books will get better, but there will be fewer of them. Books do not change like Web entries that become features and can travel with you like a time machine that catalogues the thinking of that time.
The TechCrunch post includes a video interview with Losowsky that addresses key points from his essay, including “how print brings permanence to digital publishing, how the concept of ‘publishing’ has translated online and the value of paper books in our increasingly digital world.”
Starbucks shut down Jonathan Stark’s pay-it-forward social experiment by deactivating Stark’s community-giving Starbucks Card.
Reps from Starbucks were reportedly rooting for the experiment to be successful (despite the violation of the card’s terms of use), but the company felt it had no choice when it learned that funds were being misappropriated by a hacker, defeating the social adaptation of “take a penny, leave a penny” that Stark originally envisioned.
Hundreds of people had donated several thousand dollars prior to the project being shut down, suggesting the experiment was not a failure.
The Jonathan’s Card website remains optimistic: “We believe this is the start to a bigger more glowing picture. In the last 5 days or so, we’ve received hundreds of stories of people doing small things to brighten a stranger’s day: Paying for the next car at the drive through. Sharing a pick me up with someone who has had a rough time. Charging up a phone card and sharing it with strangers at the airport… So, tonight we lose our barcode. But of course, we never needed it in the first place.”
Adobe has released a preview of Adobe Edge, which uses HTML5 technologies to bring “Flash-like animation and interactive development tools to the Web.”
The company also unveiled a beta version this week of its new Web publishing tool (code-named “Muse”) that is intended to enable users to design and publish Web sites without the need to write HTML code.
According to Digital Trends, the Muse tools will be familiar to those familiar with Adobe InDesign and will be implemented via the Adobe Air desktop application framework.
For those interested in additional information, the article outlines Muse by its four steps of production: Plan, Design, Preview, and Publish.
Adobe Muse is currently available in beta for Windows XP or newer and Mac OS X 10.6 or newer (Adobe Air 2.7 framework must be installed). Pricing has yet to be announced for the 1.0 release expected in early 2012.
Fox’s “Rise of the Planet of the Apes” has implemented a two-prong viral campaign designed by creative firm Mekanism to raise the film’s profile.
To accomplish this, Mekanism released a series of real ape videos online (with the intent of going viral) and targeted a group of 50 social media ‘influencers’ to help build buzz.
The efforts have so far been successful, but impressing the influencers is more challenging than a traditional media buy. “You have to really convince these guys to want to carry out your message,” explains Jason Harris, president and executive producer at Mekanism.
Tommy Means, Mekanism’s founder and director, adds that current audiences don’t recommend films to their friends because they like a certain brand. “It’s because they like their friends,” explains Means. Online communities tend to look to influencers because they consider them their ‘friends.’ “Our job then becomes to impress and wow the influencers,” he says.
Is this part of a larger trend? Will studios need to turn to YouTube stars and movie bloggers to promote new projects?
Premium cable network Epix has had its library of Paramount, MGM and Lionsgate movies available for streaming for nearly two years.
Since its launch in 2009, Epix has added original programming to its library of 3,000 film titles and has expanded its number of distribution partners.
“The channel is now available through Dish Network, Verizon FiOS, Cox, Charter, Mediacom, Suddenlink and the National Cable and Telecommunications Cooperative,” reports GigaOM. “Together, those distributors have more than 30 million subscribers, of which Epix has managed to sign up 9 million to its network.”
But now that TV Everywhere has become the trend with other networks, Epix is looking to differentiate itself in additional ways.
Epix is building apps for new devices (the network is already available on more than 100 devices), producing more of its own exclusive content, adding video that complements its library of movies, and leveraging partnerships that provide original video content.
Clearly, premium cable (and perhaps all television) needs to look beyond traditional practices to survive. Is Epix becoming the model of what a premium cable channel needs to be in the era of TV Everywhere?
What’s next for mobile devices now that capacitive touchscreens have become the standard?
According to Synaptics technology strategist Andrew Hsu (and inventor of modern touchscreen technology for mobile handsets), the answer could be haptic technologies that allow us to feel individual touchscreen elements.
“Where I see the next frontier of user interface control is that we now want to try and recreate the tactility we lost from traditional hardware interfaces,” says Hsu. “Now that we’ve gotten dynamic touch and visual interfaces, it’s time to look towards dynamic touch feedback.”
Hsu hasn’t make any final judgements on 3D technology yet, although VentureBeat sees it as less significant than haptics at this point: “There’s plenty of potential in mobile gaming (imagine actually feeling buttons and joysticks again), and it would also make modern touchscreen phones more accessible for the disabled and elderly. I’d much rather the mobile industry move towards screens that can dynamically generate braille text for the blind to touch, rather than focusing on making us cross-eyed with tiny 3D screens.”
As smartphones gain greater market penetration, and data-intensive applications become more popular, cellular carriers are creating limits on how much data customers can consume, and raising the price of that data.
T-Mobile, AT&T and Verizon have all phased out their unlimited plans, and introduced tiered plans that charge customers based on how much data they consume. Only Sprint still offers an unlimited data plan.
Some developers worry that the caps will stifle innovation of data-intensive applications, and that customers may blame the applications if they go over their limits. This problem is compounded by the fact that consumers have no intuitive sense of how much data a given application may be using.
Industry analysts predict that the availability of data will become an increasingly important profit stream for cellular carriers, and a key point of competition between them.
If you haven’t already seen the flood of reports online (including a number of related stories on ETCentric), Google announced it will acquire Motorola for $40 per share in cash, or a total of about $12.5 billion. The deal has led to a great deal of speculation this week regarding the future of the Android ecosystem and other enterprises such as Google TV.
“This acquisition will not change our commitment to run Android as an open platform. Motorola will remain a licensee of Android and Android will remain open. We will run Motorola as a separate business,” stated Larry Page in the official Google blog. “Many hardware partners have contributed to Android’s success and we look forward to continuing to work with all of them to deliver outstanding user experiences.”
Page believes the acquisition will also serve as a buffer to anti-competitive patent attacks on Android: “Our acquisition of Motorola will increase competition by strengthening Google’s patent portfolio, which will enable us to better protect Android from anti-competitive threats from Microsoft, Apple and other companies.”
This deal raises a number of compelling questions (see thoughts by Robert Scoble, Peter Kafka and others in the related posts listed below), but first I have to ask: Can Google have its “open platform” and compete with its licensees too?
Variety reports that ESPN remains enthusiastic about 3D technology, despite its slow adoption (and AT&T’s recent decision to drop ESPN 3D from its U-Verse TV service).
ESPN is pushing its 3D effort by focusing on combining 2D and 3D production (nicknamed “5D”), which the network says brings costs down substantially. 2D/3D production includes slower cutting and more use of robotic cameras. As the production crews gain more experience in shooting sports beyond HD, the equipment, camera placement and general approach continues to improve.
“Some innovations created for 3D have even made it over to the 2D side,” reports Variety. “For example, 3D cameras need to be closer to the action than 2D cameras, so the high 50-yard-line shots that are a staple of football coverage are problematic. To get closer, ESPN put a 3D camera on a 22-foot mast on a small vehicle that goes up and down the sideline.”
ESPN stands by the technology, explaining that Twitter feedback has been overwhelmingly positive. And some play-by-play announcers have even indicated they don’t want to go back to watching 2D.
The introduction of games to Google+ potentially threatens both Facebook (which also has games) and Apple (which takes a 30 percent cut versus Google’s 5 percent).
Google+ sees games as being core to their mission: “We don’t consider ourselves experts at making compelling games, but we can bring a lot to the party,” explains Bradley Horowitz, VP of Product for Google+. “There were some internal debates about whether Google was well-suited to have games in our repertoire and what is the value of games to the users. There’s tremendous value for users. They provide a way for people to connect, discover and interact with each other… We don’t see games contrary to our mission, or a diversion. We see them as being core.”
If HTML5 unifies the Web and mobile, it could become possible “for software to be written once and run across multiple devices.” And if Google+ games were to run via a browser on the iPhone or iPad, this could be an additional concern for Apple.
What do you think? Should Facebook and Apple be nervous?
