Category Archives: Online Media

Director Colin Cairnes speaks out on piracy

By Colin Cairnes – Wednesday 14 August 2013

There’s a school of thought that widespread piracy can be to the filmmaker’s benefit
but that seems driven by a defeatist attitude that says the pirates/downloaders are
always going to be one step ahead with the technology and their ability to skirt the
law, so why bother fighting it?

I’ll admit [brother] Cameron and I were both shocked and flattered to learn that tens
of thousands of people illegally downloaded our film 100 Bloody Acres.

But if we’re serious about the sustainability of independent filmmaking in a very
tough environment, we need to deal with the issue that a large portion of a film’s
potential audience believe it’s fine not to pay for your film. The “try before you buy”
claim of some who download seems disingenuous… while no doubt some people
might go off and “do the right thing” when the opportunity arises (and questions of
timing and accessibility are key considerations in looking at solutions), why would
they when there is so much more product waiting to be consumed? Continue reading Director Colin Cairnes speaks out on piracy

Breaking Bad Sparks Global Piracy

CrazeData gathered by TorrentFreak throughout the day reveals that most early downloaders, a massive 16.1%, come from Australia. Down Under the show aired on the pay TV network Foxtel, but it appears that many Aussies prefer to download a copy instead.

Yesterday evening the second part of Breaking Bad’s fifth and final season premiered in the U.S. Within hours of airing the show became available in the UK, Australia and several other countries, but despite these legal options hundreds of thousands of people decide to pirate it via BitTorrent instead. Are these people simply too cheap to pay, or are there other factors that can explain this piracy craze?TV studios should get rid of release delays, and air their shows “instantly” in every country imaginable. Continue reading Breaking Bad Sparks Global Piracy

‘Coffee Town’ Film Keeps Hot on Digital Platforms

When the CollegeHumor website decided to make its first feature film, “Coffee Town,” it wasn’t entirely clear how to maximize a full-length digital and VOD release.

The CollegeHumor audience is accustomed to viewing short humor videos online forfree, while feature films released through companies like IFC and Magnolia Filmsoften include a theatrical release to generate reviews and press attention.

Distributed by Filmbuff, “Coffee Town” premiered July 9 on digital andcable/satellite VOD, with iTunes and Xbox turning out to be the most successful platforms for the pic. While it’s too early to say just how much the film will make, the minimal marketing spend and blanket digital strategy make it a potentialbreakthrough moment for multiplatform distribution. Continue reading ‘Coffee Town’ Film Keeps Hot on Digital Platforms

100 Bloody Acres: What went wrong?

Australian horror/comedy 100 Bloody Acres tanked at six Australian cinemas last weekend. Producer Julie Ryan has some compelling theories on why that happened.

Ryan sees an urgent need to re-think the traditional film distribution model and for a campaign to convince Australian cinemagoers of the entertainment value of Australian films.

The producer identifies a number of factors which she believes militated against her film, including the release date, competition from The World’s End, a UK film in the same genre, piracy and file sharing, and lack of marketing support.

Continue reading 100 Bloody Acres: What went wrong?

TV Networks Play to ‘Second Screen’

AMC Networks has been shooting material for its crime drama The Killing but it will not be seen on TV. The material is for second-screen viewers.

LAST weekend, members of the cast and crew of AMC Network’s crime drama The Killing were on location in Vancouver, British Columbia, shooting material for Sunday’s season premiere. What they produced won’t be shown on television, though. It is meant for smartphones, tablets and laptops.

The video vignettes are for an online application AMC channel is launching this weekend to promote The Killing, one of a number of increasingly ambitious such efforts being produced by TV networks.

Designed to be watched on mobile devices and computers, the services show videos, photos, games, trivia and other content when the affiliated TV show is on the air.

Continue reading TV Networks Play to ‘Second Screen’

How TV turned itself into a big event

Reports of the death of the ‘watercooler effect’ are greatly exaggerated.

The strangest thing about The Voice and My Kitchen Rules was not Delta’s shoulder
pads, Joel Madden’s hair or watching wannabe chef Dan Mulheron say with a
straight face: “I get excited anytime there’s a mention of sausage.” It was not scat
music or the use of “confit” as a verb (as in “I had better start confitting that duck”).
Nor Ben Lee telling a singer to “get freaky in your own planet”. No, the strangest
thing is that we were watching at all, in such numbers.

Last Sunday night, an estimated 2.95 million people tuned in to see the MKR winner
crowned on Channel Seven, while 1.97 million watched musical battles on Nine’s The
Voice. It was the biggest night of television viewing this year.

Not so long ago, some pundits predicted the rise of digital TV and on-demand
devices would supplant such mass viewing events. The TV audience would fragment
via a multitude of channels and technologies. And yet, last Sunday night just under 5
million homes were tuned in to one of two commercial channels – which equates to
roughly half the households in Australia. Many viewers chatted about what they were
watching in real time via social media and the next day with friends and colleagues. Continue reading How TV turned itself into a big event

How Social Networking Kills the Creative Spirit

You want to hear some hard truth? Do you promise not to get mad at me? Promise?

Okay then. Here it is. Your social networking habit? It might be hurting you.

Yes, I know it’s fun. Meeting new people, reconnecting with old friends, discussing
the price of tea in china with strangers, staffing up your mafia, finding out your
Princess personality, etcetera, etcetera. But every minute you spend on Facebook and
Twitter (I’m not even going to try and list the gajillion other social networking sites
available) is another minute you aren’t writing, or reading. Nurturing your creative
spirit.

The Muse is a delicate flower, a fickle Goddess. She must be treated with respect and
dignity. She must be nurtured, given the proper nutrients: water, sunlight, fertilizer,
a touch of love. If properly taken care of, she will reward you with great things: a
bountiful garden of words, a cornucopia of ideas. But if you neglect her, she will
forsake you. Continue reading How Social Networking Kills the Creative Spirit

ABC rules with chattering class

THE ABC has stolen a march on the commercial networks when it comes to getting social media users talking about its programs, with several of its shows topping the first results of a new monthly survey that aims to measure programs’ “talkability”.

Monday night discussion show Q&A, a pioneer in Australia in encouraging viewers to
use Twitter to comment live on a TV program, was easily the most talked about on
social media in March, according to the survey, ahead of big sports events and
commercial “watercooler” shows such as The Block and My Kitchen Rules.

Richard Corones, managing director of strategic media firm Magna Global, said the
weakness of the TV ratings system was that it measured the size of audiences but not
how engaged they were and therefore how receptive they might be to advertising
messages. Social Audience Rating Points data is calculated using an algorithm taking
into account factors such as the volume of conversation about a show on Facebook,
Twitter and online forums, whether the sentiments expressed are positive or negative
and if the amount of chatter is increasing or declining.

The SARPS system also reflected how viewers felt about the actors and storylines of a
show, Mr Corones said. By overlaying SARPS data with other measures, media
planners would be able to recommend investment in programming that might not
rate highly in audience numbers but scored well in terms of interest in other aspects
of a program.

Sally Jackson – The Australian – April 22, 2013

Adios, my clingy virtual companions

Never can say goodbye? Azadeh Ensha looks at what you can do when friends are no longer electric – New York Times – April 22, 2013

Ah, those online relationships. First you’re smitten by a social network or web
service and can’t stop spending time on it. Then it starts asking how you’re feeling,
what you like, where you are, with whom, and why you don’t share as much any
more.

Pretty soon, you’re ready to call it quits.

But trying to end your relationship with some prominent online services can be like
breaking up with an overly attached romantic partner – they make it pretty hard to
say goodbye.

And with good reason – more users are beneficial to a company’s bottom line, which
often depends on generating revenue by selling you targeted advertisements.
Arguably no social network understands this better than Facebook, whose chief
executive, Mark Zuckerberg, proudly announced last October that his site had
surpassed a billion active users.

“Their business model is about getting users to create content,” said Jeremiah
Owyang, an industry analyst with the Altimeter Group. “It’s users who are creating
content, liking things, and, ultimately, a brand sees this and comes to deploy
advertising dollars. The product is us.”

Still, not every site takes the “Never Gonna Give You Up” approach. Alexis Ohanian,
the co-founder of the social news site Reddit, said that if users wanted to delete an
account, “they should be able to do that as easily as they signed up.”

“It puts the onus on us to keep delivering a great product and not retaining users
simply because they can’t find the exit,” he said.

And remember, even if you say goodbye, like Rick and Ilsa in Casablanca, you’ll
always have Paris.

Facebook

Given Facebook’s history of privacy controversies – and its general tendency to
occupy vast amounts of your time – you might eventually feel the need to leave or at
least take a break from the service.

To quit entirely, log on to your account and go to
https://www.facebook.com/help/delete(USCORE) account. After hitting the Delete
My Account box, you’ll be asked to enter your password.

If you want to download a copy of your photos, posts and messages before leaving the
service, you can do that from the settings page, which can be quickly reached by
clicking on that little round gear icon at the top right of the Facebook home page.

Unlike many sites, Facebook gives you 14 days to change your mind before your
account is permanently deleted. The company knows it has hooked hundreds of

millions of users, many of whom won’t be able to stay away and will come crawling
back.

The site will also let you take a temporary break from the relationship by letting you
deactivate your account. Unlike deleting, deactivating will merely disable your
profile, although some features, including sent messages, might remain visible to
others. You can return at any time, with your information intact.

But Facebook makes it harder to put the relationship on hiatus than to leave
permanently. Before you can deactivate your account, Facebook asks you to provide a
reason for quitting. Choices range from “I spend too much time using Facebook” to “I
don’t understand how to use Facebook.” For nearly all selections, the company
pleads with you to stay. Don’t find Facebook useful? It responds by advising you to
connect with more friends.

According to a Facebook spokeswoman, this is less about being clingy and more
about being consumer-driven by giving users “the power to decide what action is
right for them.”

After selecting your reason for leaving, hit Confirm. You’ll have to re-enter your
password, then hit the Deactivate Now box.

Not surprisingly, Facebook ends things by saying, “We hope you come back soon.”
Which, let’s face it, you probably will.

Google Plus

Another co-dependent network is Google, which tries to entangle you in multiple,
distinct services such as Google Plus, Gmail and YouTube – all connected so it can
track your activity across all of them and show you ads.

Luckily, the company doesn’t hassle you before letting you leave. To delete your
Google Plus social network profile, log in and hit the gear icon, which is to the right
of the View Profile As tab. From there, choose Settings and scroll all the way down
the page, where you should see a Disable Google(PLUS) tab that gives you the option
to delete just Google Plus content or your entire Google profile.

It’s important to note what is and is not deleted if you drop Google Plus alone.
Circles, Plus 1’s, posts, comments and third-party app activity will all be gone. Photos
won’t be deleted; you have to remove them through Picasa Web Albums if you want
them gone. Your chat buddies and communities are also kept intact.

Alternatively, you can hide elements of your profile. Go to the About tab on your
profile and hit the blue Edit link to change what others can see.

Amazon

Amazon has created one of the most difficult opt-out procedures of the major sites.
Under the Your Account section are countless blue links, continuing as you scroll
down. There is no sign of a “close account” option anywhere.

Turns out, there isn’t one.

To close shop, you have to go to www.amazon.com/gp/help/contact-us/account-
assistance.html. Then you have to select Something Else in Section 1, and Account
Settings, then Close My Account from the drop-down choices in Section 2. In Section
3, you’ll see email, phone and chat contact options. Before going through all that
rigmarole, it’s best to first remove your credit card information to guard your privacy.
Go to the Your Account Page, click Manage Payment Options located under Payment
Methods and delete the information on file.

LinkedIn

Although LinkedIn makes it easy to close your account, the company reserves the
right to use your data for marketing and other purposes — closed account or not.

To terminate, log in to the home page and select the Settings tab located in the drop-
down menu under your name in the upper right of the screen. Next hit Account,
followed by the Close Your Account link.

For privacy reasons, it’s a good idea to remove all third-party applications first. To do
that, click on Groups, Companies & Applications located above the Account box, hit
the View Your Applications link, check the apps you want removed and hit Remove.

Myspace

Like many people, you might have had a youthful dalliance with this once-popular
social network. But even if you moved on long ago, Myspace didn’t. It never forgot
you.

To cut ties once and for all, it’s easiest if you remember your password and have
access to the email address that you used when signing up. If so, head over to the My
Stuff tab, choose Account Settings from the drop-down menu and select Cancel
Account under

Account Settings & Privacy. You will receive an email from Myspace asking you to
confirm your request.

If you can’t log in to that old email account, don’t worry: Myspace will let you close
the account after you prove your identity by completing a declaration form. When
filling it out, move on if you can’t remember a detail because the company might be
able to process the form anyway. But be patient — the company says it is dealing with
a backlog of requests.

Twitter

Twitter likes to communicate. A lot. By default, it will email you constantly.

To cut those back, hit the gear button on the home page, scroll down to Settings, then
hit the Email Notifications tab and choose which of the 16 or more types of email
from Twitter that you no longer want to receive.

If you want to leave the social network altogether, go back to the Settings page, scroll
all the way to the bottom and click on the tiny Deactivate My Account link on the
bottom.

Twitter gets a tad emotional at this juncture: “Is this goodbye? Are you sure you don’t
want to reconsider? Was it something we said?”

Assuming that you really want to quit, hit the blue Deactivate box and enter your
password.

If you want to hang on to the memories – like those tweets from the top of the Eiffel
Tower – before deleting your account, you can Request Your Archive from the same
Settings page, just above the link to deactivate.

Other sites

If your dysfunctional relationship wasn’t included above, the websites Delete Your
Account and AccountKiller have compiled extensive deletion information for many
sites.

Mind the (converging) gap…

28 March, 2013 | By Wendy Mitchell.  Screen International UK

The creative and business elements between TV and film appear to be growing ever closer.

Who could have predicted 10 years ago, or even five, that an A-list film director such as David Fincher would be helming a drama series starring Kevin Spacey for an internet-only service? And the resulting project – House of Cards – attracting more attention than most films or traditional TV shows receive?

That’s just one sign of the changing times, in a media world where Mad MenGame of ThronesThe Sopranos and Girls are just as lauded as auteur work on the big screen. For further evidence that the snobbery about TV is being erased from the film world, the highly artistic International Film Festival Rotterdam this year included a programme of TV works; and Sundance and Berlin both screened Jane Campion’s New Zealand TV series Top of the Lake.

I was talking to Warp Films’ Mark Herbert this month about when that company moved into TV with Shane Meadows’ This is England TV show following his same-titled 2006 feature film. Herbert noted that TV in recent years has started to take up more attention in the Warp office among staffers, as well as in meetings with talent, who are happy to move between TV and film.

It’s also a financial consideration to work across both – TV projects can often be greenlit with financing from one or two companies, as opposed to the complicated patchwork of international film co-productions. And the regular income from TV can keep an indie production company buoyant when film financing can take years to piece together.

These are just a few reasons why Screen increasingly covers event-TV productions and other areas of overlap between the film and TV worlds – as content goes multi-platform, the old distinctions aren’t that important.

If you’re making quality stories that people want to see, does it matter if they were intended for the small screen or the big screen?

Those shifts in attitude are one challenge to exhibitors attending CinemaCon. They understandably want to protect the theatrical experience, and the economics of studio blockbusters necessitate they do, but nobody can afford to forget that consumers are also choosing to view on tablets, TV screens and even mobile phones.