Today, MulticoreWare is announcing the availability of accelerated VP9 decoding solutions for mobile and embedded devices. VP9 is Google’s Open-Source video codec, available for free as part of the WebM project. VP9 will be used for YouTube and Google Hangouts as well as other web-based video applications. VP9 is supported today in Google’s Chrome browser, with support in v28 of the Mozilla Firefox browser scheduled to be released on March 18th.
Amazon is setting itself up to be the Lee Harvey Oswald to YouTube’s John F. Kennedy. The multi-hyphenate online retailer is developing original series to play on its Prime platform and already Geico has bought in.
UPDATE 07/12/13 17:53 PST: Calacanis, a consummate professional, even when I'm haranguing him, responded with "I'm too busy working on www.inside.com to focus on building a better YouTube. Also, I think a public dialogue around what are the five to ten features that would make YouTube perfect is enough to get either a) YouTube to offer a better…
In 1977, a specific award category for visual effects was reintroduced with the current name, "Best Visual Effects." This retrospective was conceived and edited by Nelson Carvajal to music for Inception ("Time") by Hans Zimmer.
Links to an embed of the video .. very inspirational stuff here.
4K streaming, mobile broadcasting for the crowd, generalized delinearization, worldwide video events…
OTT delivery is just multiplying the challenges, as customers’ expectations are raising each day in terms of video fast-start, instant channel switching, lack of buffer and high frame size/rate – on all devices in all network conditions. To answer those challenges, OTT delivery answer today is basically more unicast sessions, more servers, more peering – and less and less guarantee of satisfying end-user experience as long as there is no specific end-to-end paid agreement to guarantee that the path will be provisioned from the origin server up to the video device. Even in this ideal scheme, the device might still suffer from poor wireless conditions which jeopardize the experience. So, how do we deal with all this stack of potential problems: do we stick to the aging receipts, rely blindly on Moore’s law and perpetuate a hopeless CDN weapons race? Or do we try to find smarter ways to make the OTT growth reach a sustainable delivery model ?
Opus is a state-of-the-art royalty-free lossy audio codec convering more applications than any other single audio codec— from low latency VoIP to high fidelity music storage. After five years of open development, including contributions from Xiph.Org, Skype/Microsoft, Mozilla, Broadcom, and many individual developers, Opus was standardized in 2012 by the IETF in RFC 6716 and has since been deployed to hundreds of millions of computers and devices.
Daala is a new open effort to build a state-of-the-art video codec targeting compression performance beyond HEVC and VP9. Leveraging the experience we had with Opus we are building a new technical framework for video coding the ground up to avoid patent thickets and be royalty free: By breaking from the common design pattern of block based transform codecs we avoid many licensing complications and create an opportunity to better resolve some of the weaknesses of existing formats.
PARK CITY, Utah — Filmmakers who turn to crowdfunding sites such as Kickstarter and Indiegogo typically use campaign money for shooting and production.
Video-sharing platform Vimeo, which gets 149 million unique visitors a month, is offering $500,000 to crowdfunded filmmakers in need of marketing help. Selected filmmakers will receive assistance with website creation, targeted online campaigns and social-media initiatives. In exchange, the content will be hosted on the company's Vimeo On Demand site.
We’re in the second week of a YouTube copyright enforcement crackdown whose most visible effects have been on the video gaming community.
Folks are posting reviews of video games using captured gameplay footage, and often featuring the games’ soundtracks and ambient noises. So it’s not that the video itself is, literally and in its entirety, claimed to be the work of someone else. It’s that some component within it — video or audio — is. It could also be a trailer used in a review or a popular song that happens to be in a game’s soundtrack. The radio stations that play in the Grand Theft Auto series are a perfect example.
To understand how people look for movies, the video service created 76,897 micro-genres. We took the genre descriptions, broke them down to their key words, … and built our own new-genre generator.
What emerged from the work is this conclusion: Netflix has meticulously analyzed and tagged every movie and TV show imaginable. They possess a stockpile of data about Hollywood entertainment that is absolutely unprecedented. The genres that I scraped and that we caricature above are just the surface manifestation of this deeper database.
Struggling digital entertainment firm Machinima continues to shrink, announcing it will lay off 42 employees, or about 23% of its remaining staff, in a restructuring of its sales group. The cuts are...
The indie film industry is cannibalizing itself. Manohla Dargis is right – there are too many films in the ecosystem. And this oversupply didn’t just happen. John Sloss warned back in 2007 that the industry’s problem was not a shortage of films, but a shortage of eyeballs (Mark Gill issued a related warning in 2008). But the industry’s response to this warning has been to make more films. This is creating an economically valueless cycle where unprecedented “cheap” money is flowing into the industry and films are being made at their highest rate ever. Meanwhile the percentage of indie films (let’s say films made for less than $5 million outside of the studio system) that are financially successful has not increased, and the amount of money people make from these films has actually decreased.
If there were a magic formula, then we’d see more films being more successful and more film industry employees making living wages. The big question facing the industry is how to generate and sustain economic value — without sacrificing artistic value — in an industry where steadily shrinking profits are privatized while growing costs/losses are increasingly socialized.
Susan Wojcicki took over YouTube, Wednesday, from my pal Salar Kamangar.
Salar did an amazing job growing YouTube and everyone is thankful for his efforts; he’s a class act who quietly built the product into the most important asset at Google.
Literally, the most important thing at Google--the land of important things.
Heck, that is coming from me, a person who walked away from YouTube funding and massive growth in viewership because it was clear that there is no room given the current split (55/45) for anyone but Google to make a living. More on that in a bit.
In this piece I want to talk about three things:
1. Why YouTube is the most important product at Google--by far
OVERVIEWProject Homeless 2014 is a Challenge run by Screen My Shorts Inc & UWA in partnership with and sponsored by the Parramatta City Council.We invite entrants of all ages, cultures and ability to submit original creative digital content (conventional film and/or machinima) and win a share of the AUD 10,000 (L$2.28 Million) cash and prizes (with at least AUD 700 reserved for Machinima), and have their works exposed on the international stage. Entry fees for machinima style film are being sponsored by the University of Western Australia.
Project Homeless is a worldwide initiative for filmmakers to help raise global awareness through stories on film. Those who register are asked to nominate 2 of the themes, and the organisers will allocate one of the 2 nominated themes to entrants on the 11th of April 2014. The entrant will be given full freedom to explore and interpret the theme allocated (you may be as creative as possible in your interpretation).
The closing date for all entries will be the 11th of May 2014, we urge registrations to be submitted before the 11th of April 2014 (as your final theme will be allocated on the 11th of April). Register via the Screen My Shorts Website, or details could be emailed to email@example.com.
The overall competition is open to both conventional film and machinima. Machinima entries are in the running for the overall prizes, however special prizes are also set aside for Machinima entries only.
I'll start off with a short list of movies made using various Machinima-ish techniques that demonstrate the range of the medium. All of these were made on lower budgets and timescales than my insanely ambitious Death Knight Love Story, and therefore are more representative of what it's possible to achieve without a fifteen-year immersion in the artform!
"Be aware that much game-based Machinima is stuck in the middle of a legal minefield. Whilst in theory the creation of game-based Machinima is protected in the US under the "transformative works" section of the Fair Use defence, the fact is that's never been tested in court, and it would be extremely risky and expensive to be the first person to try it. In practise, unless a game has an explicit license allowing Machinima creation - which more and more games do offer - your work exists at the pleasure of the game developer who created the original game."
Asil Note: The writer (Hugh Hancock) is one of the founders of Machinima.com. His newest machinima uses WoW and is called "Death Knight Love Story". Here's its Vimeo link: https://vimeo.com/84667337
Nerd Reactor YouTuber blasts Machinima Stuff.co.nz The video echoes many complaints aired by others, particularly the feeling that, since YouTube changed the rules for how multi-channel networks like Machinima handle or manage their channels,...
The link to the video is there. Pretty damning commentary by one of Machinima.Com's more successful contributors.
I am Marc Cuppens aka Marx Catteneo (SL name) I work as a photographer and short film maker in real life and in Second Life (SL). I have made proposals to Linden Lab (LL) for improvements of the SL viewer in the field of machinima (film shot in wreak time in game engines).