Acad: Digital indies face early death...

Acad: Digital indies face early death
Indie and docu filmmakers unaware of risk, says report
By DAVID S. COHEN

The Motion Picture Academy's Science & Technology Council released the executive summary of part 2 of its "Digital Dilemma" report on the problems of long-term storage of digital movie footage. This new document focuses on the independent and documentary sectors of the movie business, and it paints a grim picture of filmmakers largely unaware how fragile today's born-digital movies are.
"In general," says the report "independent films that beat the odds and secure some form of distribution do so after a much longer time period than movies produced by the major studios. This time period quite likely exceeds the 'shelf life' of any digital work; that is, by the time distribution is secured, the digital data may become inaccessible.

"Most of the filmmakers surveyed and interviewed for this report were not aware of the perishable nature of digital content, or how short its unmanaged lifespan is compared to the 95-plus years that U.S. copyright laws allow filmmakers to benefit from their work."

The original Digital Dilemma report, released in 2007, focused on studio pics. It laid out the expense and difficulty of maintaining a digital archive of any kind, showing it is far greater than that of storing film in a temperature controlled vault. Originally the Acad's Sci-Tech Council recommended a "migration" strategy of moving data regularly from hard disk to hard disk periodically. However in subsequent presentations the Council has said it's been proven to a mathematical certainty that migration is ultimately bound to fail.

The bottom line: "Suitable long-term preservation and access mechanisms for digital motion picture materials have not yet been developed." In other words, there's no known way to preserve digital data over decades and ensure it will remain readable. That is not simply a problem for movie footage. The same issues pertain to digital medical records, financial data, and other information. The Acad is working with Library of Congress and other major industries, to search for a method to preserve digital assets.

However, because those efforts are being backed by big business, they may not prove suitable for indie films and filmmakers. Indie films that lack studio distribution -- and the financial resources that come with it -- are at particular risk of being lost entirely. "Unless an independent film is picked up by a major studio's distribution arm," says the summary, "its path to an audiovisual archive is uncertain. If a filmmaker's digital work doesn't make it to such a preservation environment, its lifespan will be limited - as will its revenue-generating potential and its ability to enjoy the full measure of U.S. copyright protection."

Awareness of the issue was no greater among documentarians than among narrative indie filmmakers. Says the report: "Surveyed and interviewed documentarians did not seem concerned about or aware of the possibility or likelihood of digitally acquired historical footage being lost. To the contrary, they believed that the Internet and today's digital technologies offered unprecedented access to historical footage."

The full report, not yet released, will include proposals for more education, sharing of information and collaboration among archives and other orgs.

The summary concludes by saying that unless preservation becomes a requirement for planning, budgeting and marketing strategies, it will remain a problem for indie filmmakers, documentarians and archives alike. "These communities, and the nation's artistic and cultural heritage, would greatly benefit from a comprehensive, coordinated digital preservation plan for the future."

Thank you Variety.

Have a great day ☼

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Digital Cinema Displaying Rapid Global Growth...

Texas Instruments reports that there have been more DLP Cinema projectors installed worldwide in the last 12 months than in the last 12 years.
Nearly one-half of the world's theater screens will be digital using DLP Cinema technology by the end of this year, predicted Texas Instruments, as CinemaCon kicked off in Las Vegas.
Also on Monday, TI -- whose DLP Cinema technology is behind digital cinema projectors made by Barco, Christie and NEC -- reported that there have been more DLP Cinema projectors installed worldwide in the last 12 months than in the last 12 years. In 1999, Star Wars Episode I: The Phantom Menace, An Ideal Husband and Tarzan were first few movies to be screened digitally for paying audiences, launching the transition.
"Although the digital conversion was steady for the first 10 years, 2010 will be noted as a milestone in digital cinema history, as the number of DLP Cinema projectors nearly doubled in one year," said Dave Duncan, manager of DLP Cinema for Texas Instruments. "Together with our partners, nearly one-half of the world's theater screens will be converted to DLP Cinema by the end of 2011."
TI reported that in the period between March 2, 2010, and March 2, 2011, the number of DLP Cinema screens showing 2D Hollywood content worldwide grew 101% from 16,446 to a total of 33,110, and 128% for 3D Hollywood content, rising from 9,758 to 22,287. These counts do not include IMAX's digital installations that also use DLP Cinema technology, which separately grew from 155 to 296 screens during the same period.
According to TI, Latin America saw the highest amounts of growth during that 12-month timeframe, with 1,743 total DLP Cinema screens, a 187% increase, playing 2D Hollywood content; and 1,702 screens, a 184% increase, showing 3D.
In Europe, the Middle East, and Africa, the number of DLP Cinema installations rose to 11,428 (136% change) and 8,686 (136% change) for displaying 2D and 3D Hollywood content respectively. The Asia Pacific region saw a 118% increase to 8,343 screens for 2D Hollywood content, and a 142% increase to 5,447 screens for 3D.

Thank you Hollywood Reporter

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Sony Home Entertainment Adds Enhancements to Movies for Digital Purchase...

Sony Home Entertainment is adding several new enhancements, such asadvanced search and clip-and-share, on movies it is offering for digital purchase.

The new features, announced Wednesday, include: enhanced search, which usestechnology like facial recognition and speech-to-text software to letviewers search for exact spots in movies as identified by keywords;clip-and-share, which allows viewers to choose from a collection of filmclips that can be shared on Facebook and Twitter; and an interactive musicplaylist, which links songs in a movie to the iTunes Music Store, where theycan be purchased.

All the new features are available on Burlesqu eand The Other Guys, whichcan be purchased at iTunes. The enhanced search and clip-and-share functionare available on Salt and Resident Evil: Afterlife. On March 22, The Tourist will offer both clip-and-share and enhanced search, and How Do You Know will offer clip-and-share.

"Developing innovative features like search and social sharing are integralto increasing the value and relevance of our digital offerings, and tomaking digital movie purchases more collectable for consumers," Rich Berger, SPHE senior vp, worldwide digital strategy and operations, said. "Asconsumers continue to embrace digital content, we plan to expand these andother new and innovative features to additional SPHE titles and acrossdigital service platforms."

Thank you Hollywood Reporter!

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Job: Digital Domain/ Global Production Technology Producer... Venice/ CA

An Academy Award©-winning digital production studio focused on visual effects for feature film and advertising. Founded in 1993, the company has built a legacy of achievement, listing Titanic, The Curious Case of Benjamin Button and Tron Legacy among its 80+ film credits. A creative giant in advertising, Digital Domain has created some of the world's most memorable spots. The studio works with top directors and is continually pushing into new territory. Company is recognized for pioneering work in photo-real digital humans, and productions that bring the worlds of movies, games, advertising and the web closer together.
Location: Venice, CA Studio

Position Summary:
This role oversees and is accountable for the development of long term facility planning and implementation of an efficient and effective pipeline that allows artists to focus on creating the highest quality images while working within an established production timeframe and budget. Partners with Global Production Technology Supervisor to help lead a working group of TDs, Software Engineers, show Supervisors, department Supervisors, and key Digital Artist leaders to continually monitor, maintain, and enhance facility wide performance for Production across multiple locations.

Principal Duties and Responsibilities:
• Provides project management for key pipeline development according to strategic technology development plans
• Participates in the bidding process and strategizes on technical approach for all Features; ensures that the Supervisor teams work effectively with the VFX Supervisor and VFX Producer to accurately estimate work-load and resources in creating production budgets, scheduling, and assigning tasks
• Works with DFX Supervisors, CG Supervisors, Department Supervisors and Software Development leadership to standardize production procedures, define pipeline requirements, develop project plans, and integrate solutions to address production specific needs
• Creates and maintains a project schedule, runs regularly scheduled project meetings, and attends Technology show status meetings
• Ensures consistent communication regarding development and provides regular reports to Production and Technology Management
• Responsible for defining tasks for assigned Technical Directors, Software Engineers, and key Digital Artist leaders to ensures timely delivery of each task required to meet project milestones
• Active participant in evaluating and troubleshooting pipeline and workflow processes
• Partners with Software Development team to enforce coding standards, project management procedures and ensure software documentation is created and maintained
• Partners with Technology Management and Supervisors to determine internal software development requirements and appropriate use of vendor applications
• Acts as an escalation point for Supervisors, Production Management, and Artist Management to resolve crewing conflicts within this area of responsibility; ensures limited resources are effectively utilized and artists efficiently tasked by matching artist skill set to assignment and identifying cross-utilization opportunities whenever possible
• Promotes a positive and productive work environment and leads collaborative efforts across the facility
• Ensures effective communication between DFX Supervisors, CG Supervisors, Department Supervisors, and show Leads to ensure critical information is shared across shows
• Oversees the completion of all end of show technical post-mortems and end of show reports, and ensures all appropriate documentation is made available to the facility
• Manages facility communication regarding facility pipeline, technique, and workflow; provides updates to Executive Staff
• Acts as the primary point of escalation point for all issues related to assigned areas of responsibility
• Oversees the creation and maintenance of department documentation and DD Intranet

Education, Experience and Skills Required:

• Bachelor's degree in film, art, communications or related field
• 7+ years experience in production management or managing a software or technology team required
• Experience with large-scale visual effects or animation pipeline required
• Strong understanding of the client/customer relationship and experience in working with development teams and building effective working relationships
• Demonstrated organizational, project management and leadership skills – you will be expected to lead and direct by example
• Ability to manage multiple tasks within budget and timeline constraints in a high pressure environment
• Proven ability to drive initiatives while maintaining perspective on company goals
• Excellent interpersonal and communication skills
• Demonstrated ability to resolve conflict
• Possess strong documentation skills including a comprehensive knowledge of Microsoft Office applications required; experience with production tracking software and database management a plus
• Excellent verbal and written communication skills

QIn order to avoid all the SCAMS, we decide not to publish all the info of the recruter in the job postings. You'll find this info in our Daily Newsletter.

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Industry News: SAG Goes Multimedia...

January 20, 2011

The guild is sending an email to industry representatives offering a PowerPoint and podcast explaining contract revisions.
The PowerPoint won't go viral and the podcast won't burn up the iTunes charts, but SAG is reaching out. In an email sent today to studios, networks, agents, mangers and others, the guild offers up a PowerPoint, 19-minute podcast and web page that the organization promotes as a "user-friendly update on the new provisions in our TV/Theatrical Agreements."

Related Topics
•LaborOf course, "user-friendly" is in the eye of the beholder. The SAG agreements, like those of most entertainment unions and guilds, run to hundreds of pages. That means that the new materials are likely to be user-friendly primarily to contract mavens. But for those users, the new resources will no doubt be useful.

The new three-year contract was ratified last Friday by a margin of 93.52 percent to 6.48 percent and takes effect July 1. As previously reported, it includes 2% annual wage increases and a one-time 1.5% increase in employer contributions to the pension and health plans, as well as a shift from first-class air travel to new rules favoring business class and coach.

The PowerPoint and podcast can be downloaded at SAG's "Contract Primer" web page, which also details key contract changes.

Thank you Hollywood Reporter


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Industry News: JFK Presidential Library goes Digital

January 13, 2011

JFK Presidential Library goes Digital

This is very cool: today the John F. Kennedy Presidential Library in Boston announced it has become the first of the presidential libraries to put a major portion of its holdings online. This includes documents, photos, audio recordings, and (yes!) even full-length public domain video with accompanying shot lists.

Personally I think they're missing a tremendous opportunity by not providing a download button for the video (as well as the documents and images and audio), but people will find ways to rip them anyway. The quality isn't really usable for any serious professional purposes, but this is a damn cool tool for documentary research and free low quality archival screener material. Hopefully they are telecine-ing the films at a decent enough quality that they have full-resolution digital masters lying around on hard drives for filmmakers who want them and are willing to pay a nominal fee.

They say they plan to digitize an additional 100,000 more items per year (though at this rate it will take more than 100 years to put everything online!). Hopefully other presidential libraries and major archives will follow their lead and put their materials available online as well (cough, cough, NARA, I'm looking at you...).

Check it out here:

http://www.jfklibrary.org/Research/Search-the-Digital-Archives.aspx

Read a related article about it:

http://apnews.myway.com/article/20110113/D9KNNO9O0.html

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