ReCode’s Peter Kafka shared an email he received from the YouTube team explaining the situation.
“As you heard in our previous emails, we want to ensure that fans who choose to pay for an ads-free experience can watch all the same videos that are available on the ads-supported experience. That’s why we’re asking you to update your agreement to reflect the updated terms for the ads-free service. To accept, simply log into YouTube.com as [Your Username] from a desktop or laptop and follow the prompts by October 22nd. If you haven’t signed by that date, your videos will no longer be available for public display or monetization in the United States. And of course, at any time, you can accept the updated terms which will make your videos public and monetizable again.”
Want to know what it’s like to actually attend this once-every-five-years event? Follow Hugh Brownstone as he wends his way through what he calls the single most impressive display of imaging technology by a single vendor he’s every seen – and is startled by some of what he sees. I’ll let the video speak for itself – and encourage you to go through it in its entirety. This is not your father’s Canon Camera company. Impressive on many levels, Canon is a unique reflection of the world in which we
If you have been thinking about cutting the cable cord, you had to look down a long dark alley of missing content and a lonely flatscreen TV. But a number of new services are now showing up to fill that gap and provide a true TV experience that could herald the arrival [...]
The Hobbit gave us a chance to see a movie projected at 48 fps, and, unless he changes his mind, James Cameron plans to show us Avatar 2 at 60 fps. Others, including Douglas Trumbull, are talking -- and working in -- 120 fps.
Rob Legato, ASC on the set of Hugo It's to be expected that many people who've spent a lifetime watching and making 24 fps movies object to the look, many calling it similar to TV or video. HFR Cinema simply goes against the grain. "I prefer the romanticized version of 24 fps for films," says Rob Legato, ASC. "I come from a generation that saw the difference between film and video because of frame rate. Anything that was 30 fps looked like a PBS documentary and anything in 24 fps looked like a film, which was what I was interested in."
Legato notes that "there is no evidence at the moment that everyone is clamoring to see 48 fps," and opines that 48 fps would be ideal to use for "reality show" sequences in features. "I think there's a place for it," he says. And he also realizes that not everyone has his bias for the look of 24 fps movies.
"Another generation that didn't grow up with that and that sees video games at a high frame rate may become more used to it than I did or not have that negative connotation," he says. "So I don't rule it out. I'll reserve judgment but I'm not a fan of 48 fps for a narrative format."
Douglas Trumbull Plenty of film/TV professionals agree with Legato's assessment. But it's also a good idea to hear from people who believe that HFR adds something to the cinema experience. Take Douglas Trumbull, someone who knows a thing or two about High Frame Rate Cinema. When he developed the Showscan Film process in the late 1970s, he added a twist to the 70mm wide screen presentation format: 60 fps. In fact, Trumbull was an advocate of HFR 3D before there was a name for it.
Now, with the debut of The Hobbit from director Peter Jackson, Trumbull -- who is now working on Showscan Digital at 120 fps -- believes he sees the beginning of an exciting new era in filmmaking. "In broad strokes, my guess is that The Hobbit will be received very enthusiastically," he says. "I know beyond a shadow of a doubt that improving frame rate improves all the bad aspects of 3D."
Neflix CEO Reed Hastings believes Amazon could become a major player in the online video market in the future, but suggests the firm will have to invest a substantial amount before it can compete with Netflix. Speaking to Dow Jones, Hastings estimates that Amazon is losing between USD500m and USD1bn a year on its video operations, as it is forced to spend money on licensing rights and getting consumers to sign up to the service. His comments serve to highlight how difficult, and expensive, it is to get into the online video streaming space, with the likes of Hulu, Netflix and Amazon all struggling to turn a profit from their services.
Hastings says his figures on Amazon’s losses are based on the value of content deals that Amazon won whenever the two companies competed head to head. He believes that Amazon is splitting those licensing costs between its ‘Prime’ video service, which operates in the US and costs USD79 a month for access to its TV and film library, free two-day shipping and e-book lending, and its international operation, Lovefilm. The numbers seem relatively sensible, with Netflix itself estimating that it will have to spend USD2.1bn on content licensing over the next year.
YouTube has stepped up its assault on traditional TV by launching 60 new channels featuring broadcast-quality content made by top producers.
The Google-owned video website has linked up with media companies including Hat Trick, All3Media and ITN for the UK channels, which include the Jamie Oliver Food Channel, BBC Worldwide's On Earth and Mixmag TV.
YouTube's initiative is part of the Original Channels project launched last October in the US, which will roll out in France and Germany as well as the UK.
YouTube recently rolled out a new app for the iPhone, which is replacing Apple’s own YouTube app on iOS 6. It is expected to release a dedicated iPad app any day now. These apps mark the first time that YouTube is monetizing mobile content on iOS, which makes it possible to display music videos from Vevo and other content partners on the platform just as it has been doing on Android.
At Photokina, it's clear that the camera industry is trying to capitalize on the huge amount of interest in image capture by giving step-up photographers a whole lot of ways to jump head-first into their hobby. The industry is betting big on big cameras, hoping users will open their wallets when the novelty of Instagram begins to wear thin.
The most newsworthy announcements at the show have come from the biggest companies in the game: Canon and Nikon are both debuting new high-end, full-frame DSLRs -- the 6D: and D600, respectively -- though they're marketing them as "entry-level" full-frame cameras.
I love my Canon EOS 5D Mark III. However, I have the sinking feeling that Canon will never make a 5D Mark IV that threatens their other product lines. After all, they spent a ton of dough developing the c300, c500 and c100. What Canon doesn't appreciate is cinema verite filmmakers like me. I like shooting stealth mode, AND I love having a high pixel count still camera, AND I love keeping my Canon glass that focuses in an instant. AND I love shallow depth of field. AND I love shooting at ISO 2500
The possibilities with 0 latency wireless video transmission are many and exciting. Magnanimous Media has released a video showing the use of Teradek’s new Bolt wireless video system, and it looks fantastic.
SocialBakers has conducted a study pitting videos uploaded natively to Facebook versus simply providing the link from YouTube. They found in one study that Facebook videos have a 40% higher engagement than YouTube links, and in another study, found that Facebook videos have 10 times more viral reach than YouTube links. Now, there are a number of factors at work here that make this so, and SocialBakers speculates on why that is. A lot of it has to do with what happens when we click on a YouTube link as opposed to watching it entirely within Facebook.
One year ago today I took a photographthat would change my life. A single frame turned my whole world upside down, and brought on a storm of media attention, praise, criticism, confusion, wonder, and doubt. After one hell of a ride this past year, I think today is a good day to finally tell this photo’s story…
Nokia's Lumia 920 packs the industry's best image stabilization -- there's no questioning that -- thanks to a camera module that pairs both sensor and lens-based optical IS. The iPhone 5 also offers a notable improvement over its Apple-made predecessor on the video front, but considering that its stabilization is of the digital variety, we wouldn't expect it to top Nokia's new flagship. We had an opportunity to test both smartphones in a head-to-head demo at Nokia's research and development facility in Tampere, Finland:
Just imagine what could become possible if an entire city had seen just one of the documentaries below. Just imagine what would be possible if everyone in the country was aware of how unhealthy the mainstream media was for our future and started turning to independent sources in droves.
So take this library of films and use it. Host film screenings, share these films with friends, buy and give copies to your elected officials and school faculty. Get this information out in to your community and you will be laying the foundation for a local movement for mass societal, environmental and economic change.
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