I am fascinated by most technology, particularly how it can be applied to the things I am interested in professionally: the production, distribution and marketing of video/filmic entertainment. Two recent articles have stuck in my mind. The Japanese research quoted in the excerpt and How cold, hard numbers can be used to foretell the battle where researchers are using Wikileaks information, among other sources, to predict where violence will break out.
Thousands of YouTube partners now make six figures a year http://t.co/mv4tZhPC
While no-one’s being paid the super high bucks of some of the top insiders in “Hollywood” a six figure income is well into the middle class. I’d like to see fewer make it really rich, and many more make decent, middle class incomes doing what they love to do.
Thousands of YouTube partners are making over $100,000 a year, according to Google SVP and Chief Business Officer Nikesh Arora. The number was shared during Google’s second quarter earnings call on Thursday, where Arora pointed to YouTube as an acquisition that has paid off for the company.
Google has been increasingly investing into programming on YouTube. The site unveiled a premium channel initiative late last year that included a reported $100 million in advances both for YouTube stars and traditional media brands who took their assets to YouTube as a result. And earlier Thursday, it announced that it is rewarding some 1,500 YouTube producers for successes with their channels on the site, with 80 of them receiving a golden play button, and everyone getting $500 gift certificates that can be put toward buying video equipment.
Just weeks after Motley Fool analyst Anders Bylund wrote:
The company just published preliminary results for the first quarter. $152 million in sales fell far below the $160 million expected by Wall Street analysts. Management sees a GAAP operating loss of $15 million, which would be the weakest result since the spring of 2009.
The culprit of Avid’s disappointing numbers is a 30% year-over-year drop in sales to the enthusiast market. That’s where Avid sells tools for making music and movies to amateurs like you and me, helping us make and manage media with somewhat simplified versions of the professional tools. That’s a price-sensitive market that doesn’t play well with attempts to ratchet up gross margins. I’m surprised that Avid didn’t see that backlash coming.
Episode 46 of The Terence and Philip Show: Resolution – how much is enough and will we adapt to higher frame rates. http://t.co/BBZ0N5GE
Terence Curren and Philip Hodgetts discuss the importance, and relevance of resolution and frame rates. How much is too real? How will higher frame rates be distributed in the home market?
And yes, another 3D rant!
Copyright’s stakeholders don’t fit in a room and must include the public, by definition http://t.co/W16xWNZK
People like the MPAA’s Chris Dodds (who only opens his mouth on the topic to lie) and now Hollywood Super agent Arri Emmanuel want to sit down in a room with “the government” and “Silicon valley” to craft a “deal” on copyright. What they consistently miss is that every one of us has a stake in this: we’re consumers and producers of material. The group formerly known as the “audience” are no longer passive consumers of whatever  the metaphoric “Hollywood” wants to hand out.
Episode 45: The Post NAB Show http://t.co/j0vkytfp A new episode of The Terence and Philip Show
We went way, way over time so it’s a long show. If there was more time it would be edited down for content, so hit that fast forward button. We cover everything we can remember from NAB 2012.
Amanda Palmer And Steve Albini On ‘Piracy’: It Only Helps Musicians http://t.co/WBptNZZF Those actually making music weigh in.
Content’s Never Been a Profit Center,Why Should It Be Any Different Online? http://t.co/oJUx3r7y
Yes, viewers are moving online, but despite billions of connected devices out there, it’s unreasonable to think that in the slugfest between TV and the Internet, TV will lose. But the fact remains that with falling rates, the pre-roll isn’t enough to fund online content.
For content to survive — let alone thrive — it needs to make economic sense.
That’s how the article starts and continues with a good analysis of why pre-roll and sponsorship may not be enough.
I’ve come to the dangerous conclusion that the only time a phone company/data company can create a satisfactory customer interaction is when Apple impose it on them. In the last couple of weeks I’ve activated four cellular data plans, three in the last week!
The Terence and Philip Show Episode 44: The HPA Retreat – technology’s leading edge. http://t.co/mikrdyRD
Terence attended this year’s Hollywood Post Alliance retreat with the theme “Snowflake Workflows” and talks about the technologies that were previewed.
The things that stood out for Terry in the demo room: Sony’s Blu-ray archive solution to compete with LTO and $25,000 4K home projector;
There’s a side discussion how disruptive technologies often come out of the consumer divisions of the large conglomerates rather than their professional product division.
Terry then a panel where Disney discussed automating the diversity of outputs from master file (up to thousands of variations).
How does the combination of RAW and Lytro camera affect production? How much moves from production to post?
Terry also talks about the trends in production and consumption revealed at the HPA Retreat.