A talking camera in space !!!

by | Apr 5, 2017 | production, Sin categoría |

The technological advances are incredible and go at a very fast pace. The last one was from NASA, which has created a talking camera that was sent to space.   She is the protagonist of a tour of the outer space of the International Space Station, and its mission is to retransmit as it finds the astronauts, how they feel, presents us, communicate what they do; In addition to tell the viewer some curiosities or asking it to look at certain details.   We left a recording that was made in a spacewalk of the astronauts Thomas Pesquet and Shane Kimbrough that took place the past 13 of January and lasted six hours. The video, now published by the US space agency, sums it up in three minutes.and have made it the protagonist of a space mission. https://www.youtube.com/watch?v=1mRJJYc3_-c...

7 Out Of 10 Digital Media Minutes Are Spent In Mobile

by | Apr 1, 2017 | Digital Media |

Mobile’s dominance in the digital economy is often taken for granted, but it is the prime driver for the amount of time people spend in digital media. A recent report on the state of digital audiences by cross-platform measurement company comScore said that the average American spends almost three hours every day on mobile. According to comScore’s 2017 U.S. Cross-Platform Future in Focus report, total digital media usage has increased by 40% in the last three years, with total monthly mobile usage time hitting the one trillion minute mark back in March 2016. Mobile now accounts for seven out of 10 minutes spent in digital media, the report said. Mobile apps alone drive 60% of all digital time spent, with smartphone apps the main driver of digital media consumption. Around 51% of all digital media time is spent on a smartphone app, a increase of 16% since 2013. Mobile has been gobbling up market share since 2013. In essence, this is related to a decline in the amount of time spent on desktop. Three years ago, desktop commanded a 47% share of digital media time—that has now dropped to 31%. One in eight U.S. Internet users are now not just mobile first but mobile only, a demographic that is reportedly influenced by women aged between 18- and 24-years-old. “The mobile-only Internet user is an emerging group within the digital media ecosystem,” said comScore. “Millennials are more likely to rely exclusively on their mobile devices, with the heaviest skews occurring among college-aged adults and females.” Digital media audiences have increased significantly in the last three years, with the top 1,000 properties averaging 16.8 million viewers...

British drama, global budgets: how co-productions are changing the way TV gets made

by | Mar 24, 2017 | Sin categoría |

Television’s “golden age” has not come cheap. As writers, directors and actors aim to create ever more ambitious drama series, small screen budgets have skyrocketed. According to Time magazine, four of the top seven most expensive shows ever made – Game of Thrones, Sense8, The Get Down and The Crown – are on air right now. The Crown on Netflix last year cost a reported $130 million to film. The last season of Game of Thrones on HBO was priced at $10 million an episode.   The rise of co-productions TV bosses call them “co-productions”. A British broadcaster like the BBC will team up with another (usually American) broadcaster and an independent production company. All parties will invest money in the series and have a say in how it’s made. The broadcasters will then have first rights to the show in their country, while the production company will make its money back from DVD sales and other licensing deals. “There’s been a real trend, as I think viewers will have noticed, for British dramas to become much more global,” says Gareth Neame, the producer behind ITV’s global blockbuster Downton Abbey. “The production values in TV drama really are outstanding now, whether it’s The Night Manager or SS-GB or Taboo. “In many ways we were at the beginning of that journey with Downton Abbey, making something that has gone to every territory in the world.” (Downton was a co-production between ITV and US broadcaster PBS). “These shows are more and more expensive to make. A significant part of the funding will come from the BBC, but certainly not the majority,...

Why Indians love sports films

by | Mar 19, 2017 | sport film |

In the closing minutes of “Dangal” (“Wrestling Bout”), the protagonist, a doughty 22 year-old female wrestler from rural India, triumphs in the 2010 Commonwealth Games. As she accepts the gold medal on the podium and the national anthem is played, film audiences across India have stood up from their seats in standing ovations. Estimates place the domestic box-office takings at around $60m; the biopic has smashed all box office records to become the highest-grossing movie in the history of Bollywood. Most of the country’s prominent athletes have been immortalised in film. M.S. Dhoni’s “Untold Story” was told last year. Mary Kom, the country’s first female boxer to win a medal, was played by Priyanka Chopra in 2014. In 2012, “Paan Singh Tomar” traced the story of a steeple-chase champion turned bandit. A recurring theme in these films is the state governments’ lack of money for sport due to squeezed budgets or graft; when athletes prevail, they do so thanks to their own unyielding resolve. In “Dangal”, the protagonist and her sister are trained on mattresses and in mud-pits rather than synthetic mats and wrestling arenas. It reflects the lack of national sporting infrastructure. In the 1948 Olympics, India’s football team played barefoot. Deepa Karmakar, a gymnast, honed her craft on rudimentary equipment that included locally-made parallel bars that were uneven and the wrong size. It makes it all the more impressive that she finished fourth at last year’s Olympic games in Rio de Janeiro. These films often distract audiences from recent underwhelming performances by hearkening back to a more successful period. Field hockey, once considered India’s national sport, is...

Why Netflix Is Investing Nearly $2 Billion Into More Than 90 European Productions

by | Mar 13, 2017 | tv broadcast |

The US internet TV group has invested $1.8bn into licensed, original and co-productions in Europe since 2012, and will continue to spend more on new shows this year. These will include two productions with the BBC; Troy: Fall of a City and Black Earth Rising, and a third new series, The Spy, which will be co-produced and released on French cable network Canal Plus.  The company is also pushing ahead with plans to bring Netflix to TV set top boxes with operators in Europe.  “We have integrated Netflix with operators like Orange, Vodafone, Liberty Global and BT, signed a deal with Telenor to bring Netflix to their box. Today, we are bringing Netflix in Germany to Unitymedia subscribers,” said chief executive Reed Hastings in Berlin.  Netflix’s announcement comes on the back of EU pressure on on-demand services to invest more in local content and productions. Last year the EU revealed plans that could force internet TV providers, including Netflix and Amazon, to devote “at least” 20 per cent of their catalogues to European films and TV shows, as part of an overhaul of broadcasting rules.  The negotiations are continuing, with MEPs trying to push the minimum to 30 per cent, according to people close to the discussions. The law would also require promotion of European content on web services’ homepages. Salminen explained that though its U.S. catalog may be shrinking, that’s not the company’s strategy elsewhere. In April 2016, his site reported some interesting numbers. For instance, Netflix’s Canadian library had grown from 3,021 television and film titles to 3,365 since January 2014. The numbers in Great Britain were somewhat similar with an...

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