Horror fans are resurrecting the VHS format to enjoy films of the 1980s, “the kind in which brains were made of Jell-O and the cast was paid in wine coolers,” suggests The New York Times.
“It’s hard to get into the aesthetic of shakycam, pretty people, safe scares — like something jumping out at you — and the digital photography and CG blood,” says Evan Husney, director of Drafthouse Films.
These fans prefer dusting off their VCRs to viewing via tablets or DVD. As a result, several distributors are re-releasing select 80s titles on VHS.
“You just don’t get the same feeling in a pristine print of a DVD,” explains blogger Dan Kinem. “With VHS it’s like I’m experiencing an old grind-house movie theater. I would never watch them on a computer.”
Additionally, VHS nights are emerging at theaters such as Cinefamily in Los Angeles; the Alamo Drafthouse in Austin, Texas; and at the Spectacle Theater and Nighthawk Cinema in Brooklyn, New York.
Director Peter Jackson’s team has created a fascinating 10-minute video covering all aspects of shooting a 3D feature (cameras, frame rates, concept art!, costumes, make-up), using “The Hobbit” as the case study.
ETCentric staffer Dennis Kuba adds that this is the fourth in Jackson’s “Hobbit” production videos, this time with a focus on their 3D production. Dennis points out some of the highlights:
They are using two RED Epics in a 3ality rig which uses a mirror to replicate a human’s interocular. Both the interocular and the convergence can be altered as they shoot. They also have a camera rig for a crane and a handheld rig. Jackson doesn’t feel that 3D is restricting or changing his shooting style. Interestingly, they are shooting at the same speed as 2D.
They are shooting at 5K resolution and 48 fps. Jackson says the effect is “like looking into the real world.”
The RED camera “tends to eat color” so they add even more color.” The final film will be graded down to get the right amount of color. For the characters, they found that they needed more red in their makeup otherwise they would appear yellow.
This is the first film where the pencil and charcoal concept art is being done in 3D.
Mexico City-based Cinepolis, the world’s fourth-largest theater chain, has plans to extend luxury cinemas to Southern California.
The luxury chain has seen success in Mexico, Brazil, and Colombia, and has already “expanded to about 150 screens across Latin America,” reports the Los Angeles Times.
The company has invested $8 million in its Del Mar facility, “where patrons can kick back in a leather recliner and press a button to order teriyaki beef skewers, sushi rolls or a glass of Thomas Hyland Chardonnay.”
The all-digital theater features a lounge area with sofas, a full bar serving specialty drinks, and a cafe with coffee and desserts. Touch screen monitors in the lobby show upcoming movie trailers.
Tickets cost as much as $19.50, a hefty premium for this economy, but the concept may become an attractive alternative for consumers looking for a new experience.
Three theaters are planned for Carlsbad (under construction), Laguna Niguel and Rancho Santa Margarita, while deals are underway for additional locations in Westlake and Westwood.
Viacom’s NextMovie.com has attracted more than one million viewers in its first 12 months, according to comScore. This week the site will add MovieTracker, developed with social intelligence platform Trendrr.
The new add-on is designed to track and quantify related social activity by ranking “the top 25 films according to social buzz for movies in production, coming soon or in theaters,” indicates The Hollywood Reporter.
“There isn’t really another product quite like this for movie fans,” explains VP and general manager of NextMovie Scott Robson. “The MovieTracker isn’t based on box office performance, which is how most movie rankings are compiled. Instead, it’s driven purely by the social conversation around movies. It’s the first time that what movie fans say — on Twitter, on Facebook and in the blogosphere — really matters in a quantified way.”
The feature is expected to be available early next year as an app for iOS and Android, allowing mobile access.
“The MovieTracker will launch initially on NextMovie.com, but it will appear soon after across multiple Viacom Media Networks properties, including MTV.com, VH1.com and the Logo sites,” says Robson. “It’s also possible that versions of the MovieTracker at some point will appear on air, on the MTV Radio Network and more.”
Hollywood studios are starting to use Facebook as a direct-to-consumer platform for streaming films, possibly cutting out services such as Hulu, Netflix and Amazon in the process.
Universal, Lionsgate and Warner Bros. have distributed some 45 films via the Social Cinema app from Milyoni (pronounced million-eye). “What Zynga is to social gaming, Milyoni is to social entertainment,” reads the company’s website.
Miramax and Paramount have used similar apps to offer movies for Facebook credits on fan pages.
Rentals based on credits are running the equivalent of $3-$5. Facebook draws a 30 percent cut of transaction revenues.
Ad Age Digital suggests the studios’ willingness to offer rentals via social network sites “may reflect their desire to foster competition among online distribution platforms,” adding, “Miramax CEO Mike Lang said that digital monopolies were a greater threat to the film industry than piracy and that his studio had been aware of the importance of a competitive marketplace when doing deals with Netflix and Hulu.”
By the end of the year, both the Wii and Nintendo 3DS will have access to TV shows and movies via the $7.99 per month Hulu Plus service (but only in 2D).
Hulu Plus joins Netflix in offering content on the Nintendo devices.
Also, the 3DS will get a software update at the end of November that allows 3D recording for up to ten minutes, and the ability to “stitch together stereoscopic images for stop motion animation that jumps out of the tiny screen at you,” suggests Engadget.
“With both Hulu and Netflix in tow, as well as the ability to create your own content, the 3DS is actually turning into quite a powerful little portable.”
Filmmakers and coders gathered in San Francisco for a recent “hackathon” to explore the future of Web video. Discussions focused on Popcorn.js — “Mozilla’s HTML5 media toolkit designed to amp up interactivity,” according to Wired.
Popcorn is a framework “that allows filmmakers to supplement their movies with news feeds, Twitter posts, informational windows or even other videos, which show up picture-in-picture style. For example, if a subject in a film mentions a place, a link can pop up within the video or alongside it, directing the viewer to a Google Map of the location.”
While initially hesitant that such enhancements would distract viewers from the movie experience, directors reportedly grew accepting of the concept of providing a more interactive experience.
“It’s easy to envision Popcorn helping filmmakers with their productions as well as creating communities for films after their release,” reports Wired. “At least one documentary project, ‘One Millionth Tower,’ has already made use of the tools, coupling Popcorn with 3D graphics generator WebGL to create a Web-ready documentary that shows what would happen if the residents of a Toronto highrise were allowed to participate in re-creating their home tower.”
A short story originally posted as a series of comments on social news site Reddit will become the basis for a Warner Bros. feature film.
“Rome, Sweet Rome” is an historical sci-fi tale written by James Erwin, a two-time “Jeopardy!” winner.
Erwin (as Prufrock451 on Reddit) was responding to another user who asked the community, “Could I destroy the entire Roman Empire during the reign of Augustus if I traveled back in time with a modern U.S. Marine infantry battalion or MEU?”
The posts Erwin subsequently composed as a short story became the top-rated comments on Reddit and “inspired fan-art, fiction spin-offs and even a mock-up movie trailer.”
Madhouse Entertainment caught wind of the RsR subreddit community and pitched the story to a Warner Bros. exec, who pushed to “move aggressively” to acquire the rights.
Creative COW asks if film is getting ready to fade to black: “While the debate has raged over whether or not film is dead, ARRI, Panavision and Aaton have quietly ceased production of film cameras within the last year to focus exclusively on design and manufacture of digital cameras. That’s right: someone, somewhere in the world is now holding the last film camera ever to roll off the line.”
“The demand for film cameras on a global basis has all but disappeared,” says Bill Russell, ARRI VP of cameras. “If you talk to the people in camera rentals, the amount of film camera utilization in the overall schedule is probably between 30 to 40 percent.”
While film may not be dead, it is most certainly on the decline. Digital production is on the rise, and for those still interested in shooting on film, used cameras are available.
“Almost nobody is buying new film cameras,” says Aaton founder Jean-Pierre Beauviala. “Why buy a new one when there are so many used cameras around the world?”
Stereoscopic 3D production may also be “accelerated the demise of film” says Beauviala, since it is “a nightmare to synchronize two film cameras.”
Russell predicts that film will eventually disappear, although the exact date is unknown. Phil Radin, executive VP of worldwide marketing at Panavision suggests the timing will be decided by the availability of resources. “Film will be around as long as Kodak and Fuji believe they can make money at it,” he says.
Early reviews to Martin Scorsese’s “Hugo” — the director’s first foray into 3D production — are so enthusiastic that Steve Pond at TheWrap suggests, “it left one question lingering in the air: Has Scorsese just saved 3D?”
Pond was reacting to an early screening of the unfinished film at this week’s New York Film Festival, after which attendees raved about the experience. Katey Rich at CinemaBlend described it as, “probably the most gorgeous live-action 3D film ever made.”
Prior to the screening, the noted director explained that his film was not quite completed and would still require additional work with color correction, visual effects, music and sound.
That didn’t seem to deter a flood of positive reactions tweeted immediately following the screening. For example: “Hugo is outstanding. 1st film where 3D is a vital organ of the overall narrative. Brilliant and at its heart, profound.” Another: “In Hugo, Scorsese experiments w/ 3D the way Melies pioneered SFX. The simple first 1/3rd is a showcase for the power of visual storytelling.”
A comprehensive comparison between Netflix and other streaming services shows that, even after the recent criticism regarding the split of its businesses, “Netflix is still the champ, but only if you count both its the streaming and DVD mailing services.”
In his evaluation of current offerings, David Strom of ReadWriteWeb examined services such as Amazon Prime, Hulu Plus, Vudu.com and Justin.tv.
“Overall, once you leave Netflix you will find fewer choices and searching won’t be as easy to find something to watch,” he writes. “Netflix has a great search engine that won’t just look for movie titles but also check for actors and other principals involved in the movie itself, something the other services don’t do as well at.”
Another upside to Netflix is the ability to use devices such as the iPad or TiVo box to stream movies. While of the services enable streaming to your Windows or Mac Web browser, they’re not all compatible with other devices.
“So while you might be upset about paying for two bills for your video rentals from Netflix, unless you are willing to spend more time searching for content, you are probably better off sticking with the service for the time being, at least until the others catch up with their content licenses,” Strom concludes. “Or if you already have a cable TV subscription, investigate whether it offers something similar to Comcast’s Xfinity and see what their coverage is there. Ironically, that might be your best alternative to Netflix after all.”
Amazon’s launch of the Kindle Fire tablet may have an impact on Netflix, since the new tablet will make it easier for users to watch streaming video content via Amazon.
“With its $199 price point the tablet could sell like crazy this Christmas,” reports Forbes. “Users will be encouraged to buy Amazon Prime in order to speed their Amazon purchases and Prime just happens to come complete with Amazon’s streaming video service.”
The decision for consumers between Amazon Prime and Netflix will likely be based on pricing and variety of content offerings.
Amazon Prime beats Netflix on price, set at $80 a year ($6.67 per month), while Netflix streaming costs $8 a month.
Netflix, however, has more variety of content with 51,000 titles currently available for streaming, compared to Amazon’s 11,000.
Amazon may soon be able to compete in this regard with added content from Fox and CBS deals. Netflix has similar deals with Fox and CBS and a new DreamWorks Animation deal, but it will lose movies from Sony and Disney with the loss of Starz.
Both companies may press Hollywood to license more content for streaming, but continuing to pay more for films could potentially break Netflix, while Amazon has other sources of revenue to cover costs.
Rob Wiesenthal, chief financial officer of Sony America and chief strategy officer of Sony Entertainment, says TVs will get access to video content through tablets which would enable, for example, Sony’s Video Unlimited subscribers to go to a friend’s house and “throw” a film to the TV set.
“If you think back five years, it was all about the boxes; Tivo, Slingbox, Roku,” he said. “I think consumers really had box exhaustion.” Apple’s AirPlay, for example, allows iPads and iPhones to wirelessly connect to TVs.
Sony is using the Digital Living Network Alliance standard to interoperate with different manufacturer’ devices without the need for a box.
“Other benefits include the lure of offering more targeted advertising through an IP-enabled tablet than has proved possible through set-top boxes, and the advantages of finding content on a tablet rather than by aiming a remote control at a TV 10 feet away,” reports Financial Times.
In order for this approach to work, however, home Wi-Fi networks will require the capacity to transfer large video files without interruptions and cable providers will need to be willing to make content available this way.
Hollywood is moving to convert its previously-released blockbuster hits into 3D. James Cameron is spending a year and $18 million to convert “Titanic” to 3D; “Star Wars” and “Top Gun” are two others in production.
“Like a bunch of aging starlets, some older blockbusters are undergoing major cosmetic enhancement to prepare for their comebacks,” reports Los Angeles Times.
Disney recently spent $10 million on the 17-year-old animated feature “The Lion King,” whose surprising box office success during the last few weeks may lead to additional conversions.
“For studios, it’s easy to see why spending $10 million or so to render a beloved film in three dimensions holds appeal: There’s a built-in fan base,” suggests the article. “But there are risks too: As the number of 3D films in theaters has ballooned, American audiences have become more selective about which ones they deem worth the premium ticket prices.”
Software improvements have made 3D conversions less expensive and, as a result, makes the prospect more difficult for Hollywood to resist.
Yet despite its big-name public champions such as Cameron, George Lucas and Tony Scott, there are still those who remain skeptical. The 3D conversion “undercuts the quality of the film and the verisimilitude of the film,” believes Wheeler Winston Dixon, professor of film studies at the University of Nebraska-Lincoln. “It’s to re-direct it and destroy it. This is a poor idea artistically and a poor idea financially.”
Either way, the movement is underway and we should expect to see more 3D “makeovers” of older films in the near future.
Dish Networks has announced its Blockbuster Movie Pass service that will offer streaming video; DVDs, Blu-ray discs and games by mail; and a satellite subscription service with on-demand movie channels.
Launching October 1, the service will initially be available to Dish subscribers and offered to others at a later date.
Movie Pass will include more than 100,000 movies and TV shows by mail, 5,000 streamed movies to TV and 10,000 to computer, and 3,000 games by mail. Users will have access to 20 premium Dish movie channels and the ability to exchange discs in-store at Blockbuster locations.
Current Dish Network subscribers will pay $10 per month for the service, while new Dish subscribers will have an opportunity for a free introductory year.
While the streaming capacity of the Blockbuster Movie Pass is not yet that of Netflix or Amazon, users will have access to movie offerings through Dish movie channels about a month earlier than other services. Also, Movie Pass touts “one company, one bill and one connection,” something that Netflix no longer has after splitting its streaming and mail-in services.
