Venezuela has the largest proven oil reserves in the world. It was once so rich that Concorde used to fly from Caracas to Paris. But in the last three years its economy has collapsed. Hunger has gripped the nation for years. Now, it’s killing people and animals that are dying of starvation. The Venezuelan government knows, but won’t admit it!!! Four in five Venezuelans live in poverty. People queue for hours to buy food. Much of the time they go without. People are also dying from a lack of medicines. Inflation is at 82,766% and there are warnings it could exceed one million per cent by the end of this year. Venezuelans are trying to get out. The UN says 2.3 million people have fled the country - 7% of the population.
Showing posts with label Online. Show all posts
Showing posts with label Online. Show all posts

Wednesday, November 6, 2013

Study Suggests Studios Aren’t Offering Enough Online Legal Options to Counter Mo


Study Suggests Studios Aren’t Offering Enough Online Legal Options to Counter Mo

Adding to a growing body of competing data on who bears the blame for rampant online infringement, two George Mason U scholars unveiled a website that claims that few of the most pirated movies are even available online legally.

Shorter windows would help counter piracy, the authors say, though theater owners are unlikely to agree with changing windows substantially in the near future.

The site — piracydata.org — shows that of the top 10 most pirated movies in the past week, none are available for streaming, three were available for digital rental and six were available for digital purchase. The authors of the study, Jerry Brito and Eli Dourado from GMU's Mercatus Center and developer Matt Sherman, relied on data from TorrentFreak and Can I Stream It. The top pirated movie, "Pacific Rim," was available only for digital purchase, their study showed.

The study showed that over the past three weeks, 53% of the most pirated movies have been available legally in some digital form. In the same period, only 25% have been available for rental or streaming, and 0% have been available on a legal streaming service.

Brito said that he decided to do the study after the MPAA unveiled a study several weeks ago showing that search engines like Google lead users to infringing movies and TV shows. At a congressional hearing, Cary Sherman, chairman and CEO of the Recording Industry Assn. of America, urged more voluntary agreements between search engines and the content industry to try to curb piracy.

Brito wrote in a blog post that "while there is no way to draw causality between the fact that these movies are not available legally and that they are the most pirated, it does highlight that while the MPAA is asking Google to take voluntary action to change search results, it may well be within the movie studio's power to change those results by taking voluntary action themselves. That is, they could make more movies available online and sooner, perhaps by collapsing the theatrical release window."

Yet the MPAA challenged some of the figures as well as the premise, pointing out the availability of movies like "This Is the End" on Vudu, Google Play, Sony Entertainment Network, iTunes and Amazon. The Piracydata.org figure was corrected, but it also lists "Pacific Rim" for digital purchase but not rental or streaming. Yet it is available on YouTube movies which, depending on how you look at it, is a streaming service as well as a digital rental and purchase service.

"More than half of the films they cite are in fact available to stream or download, including films they claim are not," said an MPAA spokeswoman. "And if a film is not available for stream or purchase at a given moment, it still does not justify stealing it from the creators and makers who worked hard to make it."

The MPAA offers its own tool to find legal movie options online, wheretowatch.org, but it is not a search tool for titles, but simply a listing of online providers like iTunes, Vudu and Amazon.

The movie "Elysium" is not going to be made available on iTunes until late November, according to the site, and on Blu-ray and Ultraviolet in December. But it was available for illegal streaming shortly after its August release, yet studios risk the ire of theater owners if they offer legal downloads of movies during their runs at the multiplex.

Britto acknowledged first-day glitches on his site in a lengthy blog post, and noted that data is being updated as movies become available.

"One thing is for certain: the dataset that we are proposing to build is important," he wrote. "We have provoked quite a reaction from people on both sides of this issue. We acknowledge that it has been a bumpy launch for our site, but we are committed to getting it right."

The site, glitches or not, is another instance of the back-and-forth between the content and tech policy communities in Washington over who is responsible for online infringement. A few weeks ago, the MPAA unveiled a study showing that search engines like Google play a major role in introducing audiences to pirated content via their search results. Yet Google and the trade group the Internet Assn. have for some time said that the greater availability of legal online alternatives will alleviate problems with piracy. That seems to be the premise behind the Piracydata.org site. Google provides support to the Mercatus Center.

The MPAA has promoted the availability of more movie and TV content online, but it also suggests that that alone won't solve the problems with piracy. The org noted that "The Walking Dead" was pirated 500,000 times within 16 hours despite the fact that it was available to stream for free over the next 27 days on AMC's website and distributed in 125 countries around the world after it aired.

"Our industry is working hard to bring content to audiences when they want it, where they want it, but content theft is a complex problem that requires comprehensive voluntary solutions from all stakeholders involved," the MPAA spokeswoman said.

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Wednesday, April 25, 2012

Start-Up NimbleTV to Move Users' Pay TV Channels Online...

The company is testing a streaming service that wants to make more TV content available online, but the company says it wants to ensure that pay TV and content providers continue to get paid.

Pay TV operators have acknowledged that they have been slow to make available TV content online to their subscribers in the so-called TV Everywhere initiative.
Now, start-up NimbleTV plans to speed up the process by starting to make some consumers' pay TV packages available on the Web.
Unveiling its service on Monday, it called it "a game changing new subscription-based TV platform that for the first time enables customers to access all of their television from anywhere in the world, on any device."
The company, whose investors include venture capital firms Greycroft Partners and Tribeca Venture Partners, as well as media firm Tribune Co., will begin testing its service, which streams a complete pay TV subscription package of networks, with a limited number of users this week. The service also uses a virtual DVR that can record thousands of hours of content.
Unlike Netflix, the company isn't positioning itself as a potential alternative to cable or satellite TV providers, but simply offers to move their programming to digital devices.
"NimbleTV is based on the simplest idea: customers should be able to access the TV they pay for wherever they happen to be," said NimbleTV CEO Anand Subramanian. "Today, the groundbreaking technology behind our service makes `TV everywhere' a reality - with more options, high-quality viewing on any device, watchable from anywhere."
In a nod to entertainment and pay TV companies, he also emphasized: "Our model is predicated on the belief that providers and content producers should be paid. NimbleTV is a solution that's both consumer friendly and industry friendly."
Asked about Aereo, the start-up backed by Barry Diller's IAC that repackages broadcast channels into a subscription streaming service, Subramanian told the New York Times that while his company doesn't need pay TV operators to approve its service, NimbleTV "went to extreme lengths" to comply with laws.
The NimbleTV test run will come in New York City and will be limited to a suite of 26 networks that the company will pay for, the Times said. NimbleTV's monthly fee will likely be around $20, according to the paper.
The company said in a statement that its price will include the provider subscription at cost, plus a fee for services, such as subscription set up and management, as well as the functionalities of portability and DVR services. "Customers make payments directly to their providers with NimbleTV acting as a payment service," it explained.
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Friday, September 9, 2011

Indie Filmmakers Are Now Soliciting Fans For Funding Online...

When backing dollars fail, small-budget moviemakers are starting to turn to crowd-funding for help, but can the strategy go mainstream?
Award-winning documentary director Jennifer Fox had just wrapped production on her new film, My Reincarnation, when she got one of those 'bad news' calls.

'One of our backers suddenly couldn't come through with their commitment,' she recalls. 'Our film was finished, about to go out to festivals, and suddenly we had a $100,000 hole.' With creditors at the door, Fox did what indie filmmakers are increasingly doing to get their movies made: crowd-funding. She went online and asked her fans for money. On Kickstarter.com, the largest crowd-funding site, she asked for $50,000 in donations. She got $150,000.

Fox isn't alone. Film editor Christopher Salmon raised $161,000 online to fully finance his directorial debut, an animated short based on Neil Gaiman's story The Price. Famed mumblecore director Andrew Bujalski raised $50,000 toward his new feature, a 1980s drama set in the world of computer chess.

STORY: Toronto 2011 Critics Preview: Why the Festival Matters

Several entries at this year's Toronto International Film Festival got backing from Kickstarter, including the urban drama Pariah, from first-timer Dee Rees, and Gary Hustwit's city-planning documentary Urbanized. For the political doc Sarah Palin: You Betcha!, director Nick Broomfield asked fans for $30,000 to pay for distribution.

COVER STORY: David Cronenberg on How the $20 Million 'Dangerous Method' Got Made
In Europe, where state subsidies are an option, crowd-funding isn't as popular. But there are exceptions. Finnish director Timo Vuorensola raised $1.2 million of the $10 million budget for his Nazis-on-the-moon movie Iron Sky through his website Ironsky.net. Hotel Desire, an X-rated German sex drama, secured its $200,000 budget through a combination of online fundraising and corporate sponsorship.

Kickstarter, launched in 2009, has helped members raise a total of $32 million for film projects. The largest single amount was $345,000 for Blue Like Jazz, a religion drama based on Donald Miller's memoir. Kickstarter co-founder Yancey Strickler says he has had conversations with the major talent agencies and studios about using his site for larger projects. But he admits using just the crowd to raise even a $5 million budget would be a challenge. 'We aren't doing that kind of business,' says Strickler. 'At least not yet.'

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Monday, July 4, 2011

HAPPY 4th Of July! Online movie downloads up nearly 40% in 2010...

U.S. consumers spent $385 million buying and renting movies via the Internet in 2010 --up 38% from the year before -- surpassing for the first time the amount paid for online television shows.

According to research from IHS Screen Digest, the market for Internet television episode rentals and purchases last year was $366 million. In 2009, spending on online movies and TV was $280 million and $295 million, respectively.

The shift reflects the growing number of ways consumers can access movies through devices such as video game consoles, set-top boxes and the iPad at the same time that Hulu and other free streaming websites make it less appealing to pay to download TV shows.

The growth of the digital market came amid an overall downturn for the home entertainment market last year, with revenue down 3% to $18.8 billion and sales and rentals of traditional DVDs down 11% to $14 billion.

2010 also saw increasing competition in the digital movie market, as the grip of Apple Inc.'s iTunes slipped and other rivals, most notably Microsoft Corp., gained market share.

iTunes' market share dropped to 64.5% from 74.4%, according to IHS Screen Digest, while Microsoft, which sells and rents movies via its Xbox 360 video game console, grew to 17.9% from 11.6%.

Movie downloads on Sony Corp.'s Playstation 3 game console were No. 3 at 7.2%, up from 5.7% in 2009.

Vudu, which was acquired by Wal-Mart Stores Inc. last February, relaunched in November and entered at No. 4 in the market, according to IHS Screen Digest digital media research director Arash Amel.

The other major competitor in download-to-own and video-on-demand movies is Amazon.com. The online retail giant is currently preparing to launch a subscription streaming service that would put it into competition with Netflix Inc. That model has proved more popular with consumers than paying for individual movies, as evidenced by the breakout success of Netflix.

Although there are no industrywide charts for digital downloads, Apple reported in December that the most popular movies of the year on iTunes were, in order, "The Hurt Locker," "The Twilight Saga: New Moon," "Hot Tub Time Machine," "Iron Man 2" and "Zombieland," according to CNET News.

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Wednesday, April 13, 2011

Online Ad Revenues Hit Record High in 2010

Advertisers spent a record $26 billion in the U.S. marketing their wares online last year, putting the Internet ahead of newspapers for the first time.
The 15 percent year-over-year surge in online advertising put the Internet second to television as the leading medium for generating ad revenue.

Television, which includes local, cable and broadcast spending, brought in $68.7 billion. Newspapers took in $22.8 billion.

The data was released Wednesday in a 26-page report from the Interactive Advertising Bureau and PricewaterhouseCoopers.

The report also compares the Internet's 16-year-growth trajectory as an advertising medium to the early days of broadcast and cable TV. Even adjusting for inflation, the Internet has been more impressive.

After the first 16 years of broadcast TV (beginning in 1949), the medium was raking in $16.1 billion in the U.S. Cable TV after its first 16 years (beginning in 1980) was generating $7.3 billion in ad revenue.

Internet advertising, though, has taken a rocky path to get to this point, reaching $8 billion in 2000 but taking four years to surpass that amount as the bursting Internet bubble had advertisers fleeing.

Online advertising took another hit in 2009 because of the recession.

But the IAB report touted five straight quarters of growth. The 2010 rebound, said PwC's David Silverman, "points to a continued focus on digital media ad spend, with dollars catching up to the eyeballs."

Search, the area dominated by Google, accounted for 46 percent of the online ad revenue generated last year, while display stood at 38%. Revenue from digital video commercials surged 40 percent to $1.4 billion, about 5 percent of the $26 billion spent last year.

For the first time, the IAB and PwC measured mobile advertising, which came in at $550 million-$650 million last year.

The biggest advertisers online in 2010 were retailers, accounting for 21 percent of the money spent, followed by telecom (13 percent), financial services (12 percent), auto (11 percent) and computing products (8 percent).
Further down the list of big advertisers were media (4 percent) and entertainment (4 percent). Those two industries spent $1.1 billion to advertise over the Internet last year. If combined into a single category, it would be tied with computing products for fifth on the list of largest online advertising industries.

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Tuesday, April 5, 2011

ony Online Entertainment Slashes Hundreds of Jobs, Shutters Three Studio...

As part of the restructuring, the game publisher cancels the release of the long-in-development action espionage massively multiplayer online game "The Agency."
Sony Online Entertainment has closed three of its game studios and laid off 205 workers as part of a massive restructuring. The game publisher has also canceled the release of the long-in-development action espionage massively multiplayer online game, The Agency.
"As part of this restructuring, SOE is discontinuing production of The Agency so it can focus development resources on delivering two new MMOs based on its renowned PlanetSide and EverQuest properties, while also maintaining its current portfolio of online games," the company said. "All possible steps are being taken to ensure team members affected by the transition are treated with appropriate concern."
SOE has shuttered its studios in Denver, Tucson and Seattle, where The Agency was in development. Acquired in 2006, the Denver studio had been focusing on digital card games based on SOE properties like Free Realms, Star Wars Galaxies, Legends of Norrath and Star Wars: The Clone Wars Adventures. The Tucson studio was overseeing the online strategy game, PoxNora.
SOE still has its Austin studio, which is home to DC Universe Online and Star Wars Galaxies, and its headquarters in San Diego, where games like EverQuest, PlanetSide, Vanguard and Free Realms are run. Both studios were also impacted by the layoffs with as many as half of each studio's staff let go.
"SOE will transition development efforts for the Denver and Tucson studios' suite of products to its San Diego headquarters in order to better position SOE to remain a global leader in online gaming and deliver on its promise of creating entertaining games for players of all ages and servicing the 20 million players that visited SOE servers in just the past year," the company said.
After rising to prominence in 1999 with its subscription-based EverQuest MMO game, SOE in recent years has expanded beyond its core fantasy role-playing games. Over the past few years, the company has targeted families and younger gamers with free-to-play titles like Free Realms, which has more than 17 million registered users. Last fall, SOE released its second Star Wars game, Star Wars: The Clone Wars Adventures. Based on the popular Cartoon Network series from George Lucas,the free-to-play game world offered accessible mini-games and social networking experiences.
The company released the mainstream-focused, subscription-based DC Universe Online MMO game for PC and PlayStation 3 earlier this year. Jim Lee, co-publisher of DC Comics, served as executive creative director of the game, which features classic superheroes like Batman, Wonder Woman and Superman.

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Monday, March 28, 2011

Universal First Studio to Make All Movie Clips Available Online..

The deal with AnyClip can make memorable scenes from "E.T.," "Jaws" and more available by search and embeddable on Facebook.
Hoping to earn money from every snippet of a film, Universal has licensed rights to a vast portion of its library to AnyClip, a company that chops up films digitally and makes every moment searchable.
The deal is the largest in the short history of AnyClip, which, until the Universal deal to be announced Monday, mostly had rights only to independent films.
AnyClip's intentions are to sign up distribution partners like IMDb.com, Fandango, Hulu and other sites that will incorporate its abilities and movie clips into their offerings. Each clip is accompanied by an opportunity to buy or rent the entire film, and AnyClip has affiliate arrangements with iTunes, Amazon.con and Netflix.
AnyClip also intends on earning revenue through advertising, and visitors to anyclip.com can grab scenes of movies to embed on their blogs, Facebook pages or what have you.
Financial details of its relationship with Universal are being kept under wraps except that it involves a sharing of revenue between the companies. AnyClip says it is negotiating with other major studios.
AnyClip's model is based on the fact that roughly 2% of all Internet searches are related to movies and television and on the assumption that the bits of films chosen by the studio, or by pirates uploading low-grade clips, just won't suffice.
"Part of the value I see in AnyClip is this deep meta-tagging of the film," said Sam Nouri, Universal's senior manager of clip licensing. "We've not had a viewpoint into the films like this before."
AnyClip CEO Oren Nauman said each movie is painstakingly, during the course of up to 20 hours, tagged with 5,000 unique elements like character, setting, dialogue, behavior and the sorts of objects in the various scenes. The company uses its proprietary technology as well as human movie-watchers to figure it all out.
"The technology is still developing," he said. "A machine can tell you it's a car, but not a Mustang."
The search function is accurate, though not precise. Typing in "gonna need a bigger boat," for example, results in the relevant clips from Jaws but also scenes involving boats from the films Mamma Mia, Evan Almighty and 2 Fast 2 Furious.
"Part of the value of AnyClip is that it exposes you to other movies and content around the parameters that you're searching for," a spokeswoman said.
Likewise, typing "E.T. Phone Home" will get you 20 clips ranging in length of 30 seconds to two minutes each from E.T., so it's a chore -- albeit an entertaining one -- to find the exact clip one might be seeking. The search also returns a scene from Curious George where an animated character is speaking on the telephone, though there's no mention of an extra-terrestrial, or of a "home," for that matter.
"We're helping to reinvigorate interest in their films," Nauman said. "A library that has been forgotten can be brought back to life."
Nouri said it's a multiyear deal and the intent is to increase the number of films involved.
"It's less of a curator experience and more about letting users have the power to find their favorite moments from their favorite movies," he said. "That's breaking new ground."

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Saturday, March 12, 2011

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."

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Wednesday, February 9, 2011

VIDEO: Really useful (well, funny) FCP editing tips

http://vimeo.com/19602679

File under: humor

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