The Entertainment Technology Center@USC has released the fourth and final installment of its case study, “Fathead: Virtual Production & Beyond.” Chapter 4 of the four-part white paper is titled “Key Contributors: Process Pipelines,” which summarizes key findings of the production and recommended best practices moving forward. “Fathead” — directed by c. Craig Patterson and produced by Erik Weaver, ETC’s director of adaptive production — was shot at Amazon Stage 15 in Culver City as an experiment in virtual production, in-camera VFX and collaborative, cloud-based workflows. Continue reading ETC Releases Final Section of Virtual Production White Paper

The Entertainment Technology Center@USC has released the third installment of its case study, “Fathead: Virtual Production & Beyond.” Section 3 of the four-part white paper is “State of the Industry: Beyond Trends,” which discusses “where we’re at, and where we’re going” and features compelling interviews with thought leaders from companies including The Third Floor, Stargate Studios, Orbital Virtual Studios, Vū Technologies, Lux Machina, nDisplay, Epic Games and Unity Technologies. Click here to access Section 3 and we’ll post announcements when the final section — “Fathead: A Proof-of-Concept Short Film” — becomes available. Continue reading ETC Releases Section 3 of Its Virtual Production White Paper

The film “Fathead,” produced by the Entertainment Technology Center@USC, continues to garner recognition. Nominated earlier this year for a NAACP Image Award in the Outstanding Short Film (Live Action) category, the film was most recently included in The American Pavilion’s Emerging Filmmaker Showcase at the 76th annual Cannes Film Festival. “Fathead” — directed by c. Craig Patterson and produced by Erik Weaver, ETC’s director of adaptive production — was featured among 38 short films in the Showcase at Cannes and was announced winner in the Student Short Film category. Continue reading ETC’s ‘Fathead’ Receives Honors at the Cannes Film Festival

Netflix is actively exploring partnership options for an ad-supported variation of its video platform. Company CEO Ted Sarandos confirmed last week that the company is speaking to multiple partners. Alphabet’s Google and Comcast’s NBCUniversal have emerged as leading contenders. “We’re talking to all of them right now,” Sarandos said during the Cannes Lions Festival of Creativity advertising conference. “We want a pretty easy entry to the market — which, again, we will build on and iterate in. What we do at first will not be representative of what the product will be ultimately. I want our product to be better than TV.” Continue reading Sarandos Talks Netflix Ad-Supported Tier at Advertising Fest

Online film sales tool Cinemarket, a platform for international buyers and sellers, is launching Cineverse, which intends to make it possible to market and distribute films and associated items using NFT and blockchain technology. The company reportedly has about 300 films in the pipeline for its soft launch at the this month’s Berlin International Film Festival and is prepping for a major debut May 21 at the Cannes Film Festival. Cineverse is designed to be an open platform that uses social media tools to allow filmmakers and marketers to connect directly with audiences. Continue reading Indie Cinema Leverages NFT, Blockchain, Social Media Tech

At the Cannes Film Festival’s XR program, VeeR co-founder Jingshu Chen delivered a keynote on monetization of virtual reality, in which she referred to Gartner’s well-known Hype Cycle for Emerging Technologies. She pointed out that Facebook’s 2014 acquisition of Oculus sparked the “peak of inflated expectations,” followed by a downhill path to the “trough of disillusionment” beginning in 2017, when headset sales slumped and some VR companies pulled back. Now, she said, we could be on the upward “slope of enlightenment.” Continue reading Cinematic and Narrative Virtual Reality Tech Moving Forward

In the last 10 years, streaming media companies have changed the film and television landscape, and government authorities have struggled to figure out if the companies should be regulated as broadcasters, video rental owners or in some completely new way. Netflix will, once again, not make an appearance at the Cannes Film Festival but across Europe, Amazon, Disney and Netflix are becoming an integral part of the film and TV industry. Streaming is big business in the EU, and the European Commission is developing new rules to regulate it. Continue reading Governments Are Crafting Ways to Regulate Streaming Media

Movie theaters have been shutting down as the coronavirus pandemic keeps patrons at home, and smaller, often family-run chains are taking it hard. At the Laemmle Theatres arthouse chain in Los Angeles, Greg Laemmle noted his concern about “generating revenue during this period.” Like other such small theater chains, Laemmle has taken a step he never dreamed of: introducing “virtual cinemas” to stream the movies that would have run in their theaters to audiences’ homes. Digital tickets cost around $12, and the link remains available for a few days. Continue reading Arthouse Theaters Opt to Stream Indies via Virtual Cinemas

Netflix’s plans for the upcoming release of its Martin Scorsese film, “The Irishman” have shifted due to pushback from major theater chains after they learned of the streaming giant’s plans for a limited run. Netflix now plans to debut the film at the Shubert Organization’s Belasco Theatre in New York City, with showings from November 1st to December 1st that will follow a standard Broadway theater schedule. The company will provide modern equipment for the screenings. The film will debut on Netflix on November 27th.

Continue reading Netflix Film Will Debut on Broadway at the Belasco Theatre

According to sources, Apple is in talks with cinema chains to open its feature-length films in a traditional theatrical release, with an exclusive stay in theaters before becoming available on Apple TV+. Apple might choose, however, to first debut its films in art house cinemas in New York and Los Angeles. The company reportedly is pursuing this strategy to draw in major directors and producers, as well as avoid the tension Netflix created when it released its movies without an exclusivity window. Continue reading Apple Aims for Traditional Theatrical Exhibition of Its Movies

Netflix recently looked at buying the Los Angeles-based Landmark Theatres, co-owned by Mark Cuban, say sources who added that Netflix dropped plans to seek a deal because its executives thought the price too expensive. But the search for a theater chain is likely not over since Netflix, despite its growing success, still struggles to find theatrical distribution. Recently the Cannes Film Festival banned movies from competition that didn’t play in French movie theaters, leading Netflix to pull out of the festival. Continue reading Netflix Considers Movie Chain Buy, Passes on Landmark Deal

Netflix’s latest quarter showed subscriber growth exceeding its own forecast and Wall Street expectations. Wall Street analysts predicted Netflix would add 6.5 million new subscribers in Q1; in fact, it added 7.41 million subscribers in that quarter, of which 5.46 were international. In response to the news, shares rose 4.9 percent to $322.85 in after-hours trading. This follows a 1.2 percent decline during regular hours on Monday, representing shareholder concern over the imminent announcement of stalled growth. Continue reading Netflix Marks Strong Q1 Subscriber Growth, Beating Forecasts

Netflix chief executive Reed Hastings thinks it’s a win-win for movies to play in theaters and stream to the home, comparing the former to going out to dinner, and the latter to cooking at home. Saying it is “inevitable that the current window system breaks down,” Hastings believes that audiences will still pay for the communal experience of a movie theater. He also stated that, although he had argued for net neutrality in the past, he currently believes it is not Netflix’s primary battle anymore. Continue reading Netflix’s Hastings Says Streaming Can Coexist With Theaters

The studios are getting serious about VR productions, infusing them with more talent, money and time, and focusing on higher production values, original stories and a bit of celebrity. At the Tribeca Film Festival, virtual reality productions from director Kathryn Bigelow, musicians John Legend and Pharrell Williams, and producer Megan Ellison among others will be showcased. IMAX is also investing in venues for experiencing VR, with a center opening in Los Angeles, and plans to open more in the U.S., U.K., and China. Continue reading Hollywood Creatives Starting to Explore New VR Experiences

Flix Premiere — “the world’s first online Cineplex” featuring international and indie films — has launched in the U.S., two months after its debut in the U.K. Available online and via iOS and Android apps, the streaming service offers exclusive “curated theatrical releases” for $4.99 per title (or five tickets for $19.99). The website describes the service as “the single point of discovery for the 95 percent of films that ‘never’ find their audience.” Flix Premiere plans to introduce 8-9 new films every 10-14 days that will be exclusive to the platform for 12 months. Continue reading Flix Premiere: New Online Movie Platform Streams Indie Films