Snap Inc. has inked a $100 million deal with Time Warner’s Turner cable channels and Warner Bros. studios for up to 10 original shows a year for the platform. The big studios and traditional TV companies see Snapchat as a way to reach its younger demographic, which is much less likely to subscribe to their premium channels. For example, HBO now has a path to creating content for Snapchat, and scripted drama and comedy are among the genres considered for distribution via the deal. Snap’s shows typically run three to five minutes. Continue reading Snap, Time Warner Ink $100 Million Deal For Original Shows

VidAngel, the Utah-based video streaming service that filters out language, nudity and violence from Hollywood movies, launched a new version of its service that it hopes will address concerns about release windows and licensing fees. Disney, Warner Bros. and Fox sued VidAngel for copyright infringement, and in December, U.S. District Judge Andre Birotte issued an injunction against the company, which appealed. While litigation plays out in the 9th Circuit Court, however, VidAngel is back in the game with a new service. Continue reading VidAngel Debuts New Service as 9th Circuit Court Mulls Suit

“Cars 3” became the first Pixar film to be distributed in the 4DX motion-based “immersive” film format from CJ 4DPlex, one of several formats that give the moviegoer a physical experience, as seats shake, tilt and pivot and the theater emits scents, sprays of water, fog and strobe-lighting, all relevant to what’s on the screen. These experiential formats have focused mainly on superhero and action movies, although 4DX films were released for “Despicable Me” in 2010, as well as “The Jungle Book” and “Kung Fu Panda 3.” Continue reading ‘Cars 3’ Released in Experiential 4DX Format, Boosting Trend

MoffettNathanson analyst Robert Fishman suggests that the film industry is on the verge of change, “in part because the movie studios want and need it to change,” notes Recode, “and in part because Netflix is going to push the industry forward whether it likes it or not.” Studios are looking to make movies available in the home without waiting for the traditional 90-day theatrical window, while Netflix is ramping up its original programming and straight-to-streaming library. According to Fishman, such change could cost theater owners up to 20 percent of their profits. While Hollywood was not successful with earlier attempts to shorten the release window, Fishman believes this year could be different, since Internet technologies continue to impact the home video business. Continue reading Technology May Lead to Change for Theatrical Film Releases

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 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

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

Napster co-founder Sean Parker has been working on Screening Room, a controversial project that would bring Hollywood blockbusters into homes on the day of their release, for $50 per movie. J.J. Abrams, Martin Scorsese and Steven Spielberg are shareholders, but industry skeptics are worried that Screening Room will provide pirates with easy pickings. But now Parker’s Screening Room Media has submitted eight patent applications addressing piracy, including a so-called P2P polluter. Continue reading Screening Room Files Eight Anti-Piracy Patent Applications

A hacker group that goes by the name “TheDarkOverlord” has reportedly stolen episodes from a number of television shows. Over the weekend, 10 episodes from the upcoming fifth season of “Orange Is the New Black” was shared after Netflix did not meet ransom requests. The hackers may have access to up to three dozen series from networks including ABC, CBS, Fox, FX, IFC, NatGeo and NBC. It provided a list of TV series and a few movies to cybersecurity blog DataBreaches.net, claiming that the content was stolen from audio post-production facility Larson Studios. Continue reading Hacker Releases Original Netflix Content, Threatens Networks

At a SMPTE symposium on the Future of Digital Cinema, speakers addressed the “unknown” cyber threats to movie security. SMPTE vice president of education Richard Welsh, cofounder/vice president of Sundog Media Toolkit, identified threats beyond “the kid with a camcorder.” The audience also heard from Emile Monette, a government cybersecurity senior advisor and Ted Harrington of ISE (Independent Security Evaluators). The general consensus is that many companies fail to understand the way hackers work, leaving their content vulnerable. Continue reading NAB 2017: SMPTE Future of Digital Cinema Looks at Security

Apple chief executive Tim Cook is bullish on augmented reality, believing that the nascent sector can be as game changing as smartphones were ten years ago. Sources say that Apple is following through by building a team of hardware and software experts, with the idea of dominating augmented reality as it comes to the fore. The same sources report that Apple’s AR team, run by former Dolby Laboratories executive Mike Rockwell, includes engineers that worked on Oculus and HoloLens headsets as well as top Hollywood VFX experts. Continue reading Apple Makes Major Play in Augmented Reality, First for iPhone

The Entertainment Technology Center @ The University of Southern California (ETC) is seeking a project director to oversee its existing Production in the Cloud initiative, as well as develop and lead new initiatives in the media & entertainment space. The project director will work with studio executives and key technology and services providers to advance production methodology for creative content and delivery. The position is a 50 percent project consultancy. The full job description is available on ETCentric. Interested candidates should contact Edie Meadows at ETC. Continue reading ETC Seeks Project Director for Production in the Cloud Initiative

The Entertainment Technology Center @ The University of Southern California (ETC) is seeking a project director to oversee its existing Production in the Cloud initiative, as well as develop and lead new initiatives in the media & entertainment space. The project director will work with studio executives and key technology and services providers to advance production methodology for creative content and delivery. The position is a 50 percent project consultancy. The full job description is available on ETCentric. Interested candidates should contact Edie Meadows at ETC. Continue reading ETC Seeks Project Director for Production in the Cloud Initiative

In the not-so-distant future of advertising, Hollywood, armed with big data, will be able to create precision-targeted ads that will compete with today’s dominant advertisers, social networks. Today, many advertisers are finding that relying on the most popular platforms might not actually give them the reach they want for their ads. Facebook has admitted more than once that it has mistakenly inflated all kinds of ad metrics, from how much time users spend watching video clips to time spent reading articles. Continue reading Hyper-Targeted Ads of the Future to Rely on TV, Social Media

The 45+ year-old IMAX is now setting its sights on virtual reality, with the company’s chief executive Richard Gelfond seeing VR as the future of movies. In fact, IMAX is hoping to lead the charge into this new medium for storytelling, investing $50 million into VR content. The plan is to finance more than 25 VR experiences in the next three years; the company is already in discussions with directors and studios. IMAX also inked a deal with Google to build a new and improved VR camera, which it plans to unveil in 2018. Continue reading IMAX Plans to Create Big Screen Immersive VR Experiences