Microsoft’s HoloLens…not just for games

This article is, sadly, just about app and gaming applications for Microsoft’s Hololens.

But hopefully (and I’m sure it’s happening) people are looking at how these things can be used for media outside of games.

I’m always questionable about the mainstream future of things like this for dramatic content, but, one day I will be proven wrong.

Disrupting Hollywood

This article on LinkedIn delves into whether Hollywood will be disrupted, like almost every other industry, by technology and changes in public tastes.

Author┬áNorman Hartmann starts with the utterly preposterous idea that scripts could be generated and moves on to auto-generating ‘blockbusters’ (i.e. crappy movies) in real time using some sort of game engine.

It is an interesting concept (that will, in my opinion, never happen) but, the real value here is opening up the box and seeing what you can do with all the stuff inside it.

Time’s change – even in the digital world. On becoming a YouTube star

Re/Code gives us a treatise on the state of YouTube stardom. YouTube stardom, is, in fact, Real Stardom.

With changes to the platform, and of course the millions of people you are competing with, becoming a YouTube star is still do-able, but is no longer a simple feat.

Good article.

Quagmire: Europe’s Digital Single Market plan

Variety has a further article about the proposed changes to Europe’s content and copyright laws (called DSM – Digital Single Market).

Everyone is up in arms about it. Well, almost everyone.

Producers don’t like it because it cuts out pre-sales to many small territories. Pre-sales, historically (I hate to say ‘traditionally’) were a way of funding films in advance of completion. The issue seems to be that because Producers want the same (if not more) money from each territory only a big company will be able to afford buying the rights for all of Europe.

Crazy Idea #1: If your film was truly worth it then a small company could issue a promissory note that a bank would loan against. Loaning against receivables is common in other industries.

Small distributors don’t like it because, well, they are small and regional and can’t hope to serve all of Europe.

Crazy Idea #2: Producers could find many small distributors and let them work in the area they are good at. Contractually limiting distributors to regions is, again, commonplace in other industries.

The only people silent on this are the big boys like Amazon and NetFlix. Everyone else’s inability to innovate a new solution to distribution is playing right into their hands.

Great article. Stay informed.

Assault on a new front – Periscope. Platform for pirates?

I am just hearing about Periscope – the live video sharing app from the guys at Twitter. And moments after hearing about it, the next thing I hear is how if can be used for peer to peer video sharing… including of copyrighted material.

This article over at LinkedIn gets into some of the details and is a good starting point for the discussion.

The battle is on for the very small screen

Exciting (for me) article over at Fortune magazine. Delving into the success of sites such as BuzzFeed that are fast-establishing dominance in the internet video world – over broadcast TV competitors.

It comes down – in part – to gathering metrics and paying attention to those metrics!

Some of this has been explored in books such as Contagious, by Jonah Berger, but it’s handy for those of us in this space to have an article specifically about online video.

Great reading for any content maker / filmmaker in these times.

BTW if you skip it because you think you’re a ‘creator’ and not a businessman, please proceed to your nearest government agency for a handout. Filmmakers have to be businessmen. Sorry.

Numbers! Actual numbers! Four filmmakers reveal distribution details

It’s very hard to get actual numbers out of ANYbody in the film business. I have yet to figure out exactly why this is… perhaps it is because 90%+ of filmmakers are in the red? Not sure.

But anyway, over at they have the first of two articles were some indie filmmakers reveal how well – and HOW – their films did when it comes to distribution.

Of course this article can’t be seen as any kind of scientific report – the sample size is painfully small and we are still in a high trust mode when it comes to the actual figures. Also, if they were willing to share I am guessing that these films are on the ‘success’ side of the equation.

All those caveats aside, I applaud these filmmakers for being so open. Can’t wait for part 2!