Europe’s TV/Film Groups Rebuff Netflix, Digital Single Market

The European film and TV industries are expressing concern over two forces they believe threaten their well-being: Netflix and the Digital Single Market, a proposal by the European Commission to create a single European market, ending movie and TV territorial copyright barriers. International TV and film business groups coalesced against the latter proposal, arguing that the Digital Single Market would only benefit a handful of big global Internet platforms. Chief among those platforms, they believe, is Netflix. Continue reading Europe’s TV/Film Groups Rebuff Netflix, Digital Single Market

Sparked by Growth in China, Worldwide Ticket Sales Increase

According to the Motion Picture Association of America, global box office numbers were up 1 percent in 2014 over 2013, but ticket sales in North America dropped about 5 percent. The MPAA notes that China saw significant growth, a 34 percent increase year-over-year. Global ticket sales climbed to $36.4 billion last year — with $10.4 billion recorded for the U.S. and Canada and $4.8 billion in China. While domestic per capita ticket sales increased among moviegoers 50 to 59 and slightly among those 40 to 49, sales among viewers younger than 40 dropped. Continue reading Sparked by Growth in China, Worldwide Ticket Sales Increase

Drones Offer Film Productions Thrilling Aerial Possibilities

Several notable films, including “Skyfall,” “Oblivion,” “Man of Steel” and “Iron Man 3” have used drone technology to capture spectacular aerial shots. Although there exist certain liability laws that govern how unmanned drones can operate in U.S. airspace, there are advantages for filmmakers. While productions have cranes to capture certain shots, drones have more reach and range. They are also more agile than a helicopter and can capture risky shots that would otherwise be generated by a computer. Continue reading Drones Offer Film Productions Thrilling Aerial Possibilities

Cinematographer Praises the Soon-to-be-Released Canon EOS C300

  • Jonathan Yi is a freelance director and cinematographer who works largely in film and advertising. He teaches camera and cinematography at New York University’s Tisch School of the Arts film program.
  • Yi recently posted an impressive six-minute test video of the new Canon EOS C300 that makes comparisons with current DSLRs and reveals a new standard for digital cinematography.
  • “I believe that Canon made a beautiful camera that is sensible, reliable and portable in a way that I’ve always dreamed a camera could be. It prioritizes great skin tone and has higher ISO sensitivity than any other camera out there,” he writes. “I know there’s nothing I can say to change the minds of the RED fan club. For the rest of the skeptics, I think once you get your hands on it you’ll understand how great this camera really is. Please buy this camera in January and go film some good skin tones in the dark. You’ll love it.”
  • The EOS C300 and EOS C300 PL are expected to be available in early 2012, at an estimated cost of less than $20,000.
  • Yi’s (very) detailed review is available on the Canon site, in which he writes: “As Canon’s flagship 1080p HD cameras, the EOS C300 and EOS C300 PL are designed to fit a wide variety of production needs. They are at home as A Cameras for Independent Films, Commercials, Television and Dramas as well as B Cameras on Major Motion Pictures, offering in addition to the more common 23.98P frame rate, several selectable frame rates including a straight 24.00P setting for intercutting directly with film originated material. Full HD 1920×1080 (1080p) is currently the most used and needed deliverable frame size for these applications. The EOS C300 and EOS C300 PL provide easy adoption and simplified workflow that 4K cameras currently cannot deliver.”