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Tuesday, January 29, 2008

China Closes In on U.S.


Dr Media says, pay attention to these numbers!




China Closes In on U.S.

As Largest Web Market



By a WALL STREET JOURNAL Staff Reporter

January 18, 2008; Page B3




China's total number of Internet users rose 53% to 210
million at the end of 2007 from 137 million at the end of 2006, the
state-owned China Internet Network Information Center said. The center
said the number of Internet users rose from 162 million at the end of
June. China is now just five million users short of surpassing the U.S.
as the world's largest Internet market, according to the center. It
said about 16% of the Chinese population now has access to the
Internet, compared with a global average of 19%.







URL for this article:

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Monday, January 21, 2008

Independent films going online

Dr. Media says:

This article by Ann Thompson, from the 4/07 Variety is still timely. Ann is an industry maven who has seen it all come and go so read and pay attention! Here she gives an example of a producer, an experienced producer, who chose to make and sell her film on line.There will be more where this came from.

Independent films going online - Entertainment News, Film News, Media - Variety
Independent films going online
Anne Thompson on Hollywood
By ANNE THOMPSON
Somewhere over the rainbow is a place where indie filmmakers use the Internet to sell their movies all over the world. They don't have to spend a fortune on prints and theatrical distribution; they sell their movies online directly to their target audience, and pocket a hefty cut of the revenues.

That magic moment may not be far off, says producer Linda Nelson, whose microbudget crime drama "Shifted" is available as a video download, a DVD or rental at www.Unbox.com.

While the pic's sales to date are nowhere near that of a major studio release, Nelson is on a mission to get filmmakers away from established distribution -- to remove what she sees as greedy intermediaries from the system. Nelson Madison Films has launched Indie Co-op, a subsidiary, to help filmmakers self-distribute their films on the Internet.

"This could break up the logjam and allow more content to flow out," she says. "A lot is falling into place right now."

Nelson co-wrote "Shifted," a bare-bones thriller about a homeless man, with her business and life partner Michael Madison, who directed.

Filmed under a SAG indie contract with deferred actors' salaries, "Shifted" cost about $100,000 to make. "It stinks," admits Nelson. "(But) for what we had, it's amazing."

While the movie has tallied less than $1,000 in sales on Amazon Unbox, Nelson says she's applying what she's learned to help other indie filmmakers release their films without giving away the store to distributors.

Since arriving in Los Angeles in 1980, the former overseas investment banker and computer systems analyst has had an adversarial relationship with the movie business. She ran up against at least one shady business partner, and her ambitious plans to renovate eight movie palaces for large-screen formats ran afoul of both Imax and the '90s exhibition bust. She and Madison gave up on large formats after they failed to close the DVD rights to their 2002 Iwerks concert doc, "INSYNC: Bigger Than Live," which grossed $1.8 million in North America.

Unable to raise funding after two years for a slate of indie features, she and Madison finally "got brave," she says. They picked themselves up and shot "Shifted," a picture they couldself-finance and control.

The film's producer and director of photography, Nelson bought a light Canon XL S1 camera and shot with Madison, who doubled as her director and leading man. They filmed inside a self-storage facility they were managing.

After many rejections from film festivals, "Shifted" was accepted by L.A.'s Dances With Films in July 2006, where it scored positive reviews from FilmThreat.com, SilverBulletComicbooks.com's Don't Call Me Fanboy blog and CBS Radio.

"We knew we didn't have the quality to stand up to a theatrical release," Nelson says. "But we got five offers from DVD distributors." Nelson, however, was shocked by the deal terms, which were typical: No advance without a star or a decent budget. No piece of the backend. The distributor hangs on to its rights for seven to 10 years. And when they sell the DVD on the Internet via Amazon or Netflix, the distrib takes 25% of the gross and subtracts all expenses, including replicating and supplying DVDs and marketing. (Netflix won't take any films without a distributor.)

Nelson was amazed, too, by the distributors' lack of accountability. "They send quarterly reports by country," she says, "But they don't tell you how many units they sold. They don't keep track by film. They don't have systems or bookkeeping capabilities. There's no such thing as making money. What you get upfront is what you are going to see."

But this situation won't last much longer, Nelson predicts. "Everything is changing," she says. Any neophyte filmmaker faces a huge puzzle when it comes to selling theatrical, TV and video rights around the world. But it's nothing the right software can't solve.

Nelson found a do-it-yourself-DVD distribution company called CustomFlix, which was bought by Amazon in July 2005, and started supporting Amazon's video download service in December 2006. "Shifted" was the first CustomFlix movie to be sold on Amazon Unbox.

Nelson sent CustomFlix her movie, uploaded her artwork, figured out how much she wanted to charge, and posted her trailer, pictures and posters. All she had to do was click a box, and "Shifted" was for sale on Amazon Unbox.

Unlike other DVD distribs, Amazon Unbox and CustomFlix offers a 50/50 deal: Half of the revenue goes to the filmmaker. Even if the money has yet to add up to $1,000, "I get a check every month," says Nelson.

On the Amazon Unbox "Shifted" Web page, the film is available to rent for $2.99 for 30 days, for video download for $8.99, or for DVD sale for $14.95. The "studio" is listed as CustomFlix.

Another Nelson discovery is inDplay.com, a business-to-business application for buyers and sellers of film rights and a digital marketplace. "It's fabulous software, a DRM management system that is usable by anyone," Nelson says.

Via inDplay, filmmakers can create, edit and approve contract offers, and list their film libraries. Nelson hopes that inDplay will soon work with CustomFlix to stream movies for free for distributors, doing away with mailing clunky DVD screeners.

At long last, as Nelson chases her vision of a nimble do-it-yourself future for filmmakers, she seems to have found her niche.

To see Anne Thompson's blog, go to www.ThompsonOnHollywood.com


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Sunday, January 20, 2008

The Risk of Innovation: Will Anyone Embrace It?


Dr. Media says: this is a good article about the desire to innovate and the dangers of being off base in your vision of the mind of the consumer.The author seems to forget, there is something called market research, which can be used to test a product or even idea to see how it plays with it;s target market. Early adopters can be identified, canvassed, in any number of ways, sampling done and a report generated which will give a very accurate sense of the viability of an idea, product , or service. As I tell my clients, if you want to hunt for oil, good idea to hire a geologist, unless you like to dig a lot of expensive holes. There may be those innovators who just want to be funded to produce their new, new thing, but investors like to see data, after all this is not Web!.0, been there done that.It is true, of course ,that businesses crave,"the sweet spot", wshy wouldn't they. If you call us we can help you find it.








January 20, 2008

Ping


The Risk of Innovation: Will Anyone Embrace It?









THE Prius has become one of
the hottest cars in America — an amazing development, because this
hybrid-electric car requires some rather large changes in how people
behave.


I learned the need for Prius-style adaptation early this month, when
I rented a Prius from Budget Rent A Car in Seattle. Much to my
embarrassment, I couldn’t get it to go forward. Once I got going and
arrived at my destination, I couldn’t figure out how to put it in
reverse.


Fortunately, another Prius owner on the premises — they seem to be
everywhere these days — gave me a quick lesson. You start the Prius by
pressing a button on the dashboard, not once but twice. To put it in
drive or reverse, you manipulate a very small stick protruding from the
dashboard.


The next morning, I awoke before dawn and started the Prius, but no
matter how many times I pressed the button, I couldn’t get it to move.
I finally called Budget roadside assistance, and a polite man talked me
back from my private technology disaster. It turns out that I had
failed to tap the brake while moving the gear shifter in a certain
inexplicable way.


I don’t think I can adapt to the behaviors required by the Prius. But thousands of people are, and Toyota, its maker, is reaping the benefits.


Whether humans will embrace or resist an innovation is the
billion-dollar question facing designers of novel products and
services. Why do people adapt to some new technologies and not to
others? Fortunes are made and lost on the answer.


Great innovations have foundered over human stubbornness. Consider the Picturephone, trumpeted by AT&T
at the New York World’s Fair in 1964 as a major technological advance.
Engineers reasoned that if hearing someone’s voice over the phone was
terrific, wouldn’t seeing a face be even better?


Consumers didn’t think so. AT&T’s Picturephone, which would have
added around $90 to a person’s monthly phone bill in 1974, a huge
amount for the time, “was superfluous, adding little information to
voice alone, especially considering its high price,” said Kenneth
Lipartito, a professor of history at Florida International University.


Even today, when adding video to a phone is a trivial cost,
consumers may rebel. Video-conferencing often remains an activity
forced on people by their employers.


Resistance to technology is an omnipresent risk for every innovator.
Even a device as fabulously freeing as the personal computer struck
some people as an abomination. In 1990, the poet Wendell Berry famously
declared his perpetual allegiance to the typewriter in his essay, “Why
I Am Not Going to Buy a Computer.”


Few people joined him, however, a reminder that rejection isn’t the
real specter facing new gear. Adaptable humans usually trade one
technology for another, rather than reject any and all. To be accepted,
innovations must deliver benefits — enough benefits to make change
worthwhile.


“As consumers we’re constantly asking ourselves, where do we draw
the line? How far do we go?” says Mitchell Kapor, chairman of the Open
Source Applications Foundation in San Francisco.


Businesses crave a sweet spot: where the line is drawn in favor of the innovator. The late Akio Morita, founder of Sony,
talked about satisfying appetites that people didn’t even know they
had. He achieved such a feat with the Sony Walkman, the music player
introduced in 1979. While at the Lotus Development Corporation, Mr.
Kapor created another such “killer app,” or application: the
spreadsheet for the PC.


Killer apps are sought-after innovations because people get addicted
to them and make behavioral changes that might otherwise be
unthinkable. “Those who benefit from a technology adapt to its
constraints and become dependent on it,” says John Staudenmaier, editor
of the journal Technology and Culture and a historian of technology at
the University of Detroit Mercy.


Dependency drives profits, the ultimate arbiter — for some — of an innovation’s success. Look how Apple has converted the mania for the iPod into record profits — and a record stock price.


IPod “addiction” seems benign. Yet some worry that other
innovations may harbor health threats. As a result, they may be
vulnerable to what Marc Ventresca, a lecturer at the Saïd Business
School at Oxford, calls the “frog boiling” problem. For the frog,
gradually rising heat causes no alarm — until the water is so hot that
death is imminent.


“Adaptation can sometimes be dangerous, but the hazard isn’t apparent until it is ‘too late,’” Mr. Ventresca says.


While people may be fearful of allowing a seductive technology to
imperil them — the “Frankenstein effect” — they may also fear the
consequences of not changing their ways. As the case of climate change
illustrates, many consumers are enthusiastic about changing their
behavior — in this case, the way they drive cars — if they believe that
by adapting to new technologies they will save themselves and the
planet. Think of the Prius again.


FOR technological innovators, the cash register can ring either way.
They may achieve a smash-hit breakthrough, or simply make a slight
improvement in a technology that humans already feel comfortable with.
Most innovators no longer even try to predict human reactions to their
creations.


Henry Kressel, a partner at Warburg Pincus and a co-author of
“Competing for the Future: How Digital Innovations Are Changing the
World,” says, “You throw technologies into the market and see what
sticks.”


The hope is that passionate “early adopters” will blaze a path
toward mass acceptance of a new technology. Yet the truth is that no
one can tell in advance which innovations people will adapt to and
which will become the next example of the Picturephone.


Where people draw the line can be known only after the fact. Which
is why innovation is always a risky — even humbling — business.




G. Pascal Zachary
teaches journalism at Stanford and writes about technology and economic
development. E-mail: gzach@nytimes.com.



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Piracy and Privacy

Dr. Media says, this issue of copyrights is huge, not only for the entertainment companies, but for all writers, artists, filmmakers musicians,journalists, etc. All creative people who hope to make a living plying their trade. It is the root of the writers strike, simply put, why should the studios pay for product when they can cherry pick it for free from the net, since creative type want to create? Then if a project gets distributed, who collects, youtube, megavid,etc., and what do the creators get, pennies.So what a dilemma. You want talented people to produce, but you don;t want to pay them. Well here is the rub the old bromide, "information wants to be free", is fine for those who have jobs . But what about those who want their job to be creating "information". If you don't pay them, they stop working, because will info wants to be free, they need to eat, so they get other jobs, UNLESS, they are hired by information creators to create, thus the writers strike. Will musicians strike, no , they will self distribute like Radiohead`, if they are well known enough.Why not, all music will be downloadable , then movies, TV, books(see Kindle). Who pays advances now??

What’s Online


Piracy and Privacy









IN an effort to stymie
Internet pirates, the International Federation of the Phonographic
Industry, a music industry group, is asking European lawmakers to
require Internet service providers to use filters to block the illicit
transfer of copyrighted material (dslreports.com).


The Electronic Frontier Foundation (eff.org), a privacy advocate, responded by sending a letter to the European Parliament
arguing that such filters would be an “ineffective measure that will do
little to practically address the concerns of major rights holders
while imposing serious costs on the individual rights of European
citizens.”


The filtering technology would not be effective, according to the
foundation, because pirates would simply encrypt files to bypass it in
the same way that banks encrypt credit card information. Meanwhile,
legitimate users of copyrighted material would be hampered in their
ability to post video and music clips. And the costs would most likely
be borne by service providers, and, by extension, their customers, the
foundation said.


Media companies and trade groups in the United States have sought similar measures. In a widely ridiculed letter to the Federal Communications Commission last summer, NBC Universal
said such filters would help American corn farmers because Internet
users, unable to watch pirated movies, would head to theaters and buy
popcorn (publicknowledge.org).


The recording industry group is asking that service providers use
filtering technology like that made by Audible Magic, which identifies
and blocks audio files bearing a digital “fingerprint.” It further asks
that service providers block users’ access to specific peer-to-peer
file-sharing services — those that “have refused to implement steps to
prevent infringement,” according to a copy of the group’s request
obtained by the Electronic Frontier Foundation.


“This is the latest in an ongoing effort for the entertainment
industry to pretend that the Internet needs to conform to the way it
wants the world to act, rather than conforming to the way the Internet
actually works,” wrote Mike Masnick (techdirt.com).


ADVERTISERS’ DILEMMA As ratings continue to sag for the major television networks, advertising rates are going ... up?


“Although it seems counterintuitive, it’s the law of supply and
demand,” Holly M. Sanders of The New York Post reported this week (nypost.com).
“As the TV audience shrinks, advertisers have to buy more ads to reach
their target number of viewers. But that increased demand for ad slots
creates scarcity, which in turn leads to rate hikes.”


The situation highlights “the strategic blindness of advertisers,”
according to Jeff Jarvis of BuzzMachine. To reach the people they want,
advertisers have to “work a little harder and move past the one-stop
shopping of TV,” Mr. Jarvis wrote (buzzmachine.com). “Actual work? Heaven forbid.”


DOWN ON MAIN STREET MainStreet.com, the forthcoming site from the people who run the business news site TheStreet.com, will combine news with advice on personal finance.


According to a recent help wanted ad seeking journalists (journalismjobs.com),
MainStreet.com “will cover breaking news, including celebrity and
entertainment news, as a means to get into personal finance.”


So, an article might be something like this, according to the ad: “Jamie Lynn Spears
is having a baby.” The article would then say: “Suddenly finding
yourself with an unplanned bun in the oven? Here’s how to start
preparing yourself financially to have and raise a child.”


One of the requirements listed in the ad is “great news judgment.” DAN MITCHELL




E-mail: whatsonline@nytimes.com.




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The Risk of Innovation: Will Anyone Embrace It? - New York Times
January 20, 2008
Ping
The Risk of Innovation: Will Anyone Embrace It?
By G. PASCAL ZACHARY

THE Prius has become one of the hottest cars in America — an amazing development, because this hybrid-electric car requires some rather large changes in how people behave.

I learned the need for Prius-style adaptation early this month, when I rented a Prius from Budget Rent A Car in Seattle. Much to my embarrassment, I couldn’t get it to go forward. Once I got going and arrived at my destination, I couldn’t figure out how to put it in reverse.

Fortunately, another Prius owner on the premises — they seem to be everywhere these days — gave me a quick lesson. You start the Prius by pressing a button on the dashboard, not once but twice. To put it in drive or reverse, you manipulate a very small stick protruding from the dashboard.

The next morning, I awoke before dawn and started the Prius, but no matter how many times I pressed the button, I couldn’t get it to move. I finally called Budget roadside assistance, and a polite man talked me back from my private technology disaster. It turns out that I had failed to tap the brake while moving the gear shifter in a certain inexplicable way.

I don’t think I can adapt to the behaviors required by the Prius. But thousands of people are, and Toyota, its maker, is reaping the benefits.

Whether humans will embrace or resist an innovation is the billion-dollar question facing designers of novel products and services. Why do people adapt to some new technologies and not to others? Fortunes are made and lost on the answer.

Great innovations have foundered over human stubbornness. Consider the Picturephone, trumpeted by AT&T at the New York World’s Fair in 1964 as a major technological advance. Engineers reasoned that if hearing someone’s voice over the phone was terrific, wouldn’t seeing a face be even better?

Consumers didn’t think so. AT&T’s Picturephone, which would have added around $90 to a person’s monthly phone bill in 1974, a huge amount for the time, “was superfluous, adding little information to voice alone, especially considering its high price,” said Kenneth Lipartito, a professor of history at Florida International University.

Even today, when adding video to a phone is a trivial cost, consumers may rebel. Video-conferencing often remains an activity forced on people by their employers.

Resistance to technology is an omnipresent risk for every innovator. Even a device as fabulously freeing as the personal computer struck some people as an abomination. In 1990, the poet Wendell Berry famously declared his perpetual allegiance to the typewriter in his essay, “Why I Am Not Going to Buy a Computer.”

Few people joined him, however, a reminder that rejection isn’t the real specter facing new gear. Adaptable humans usually trade one technology for another, rather than reject any and all. To be accepted, innovations must deliver benefits — enough benefits to make change worthwhile.

“As consumers we’re constantly asking ourselves, where do we draw the line? How far do we go?” says Mitchell Kapor, chairman of the Open Source Applications Foundation in San Francisco.

Businesses crave a sweet spot: where the line is drawn in favor of the innovator. The late Akio Morita, founder of Sony, talked about satisfying appetites that people didn’t even know they had. He achieved such a feat with the Sony Walkman, the music player introduced in 1979. While at the Lotus Development Corporation, Mr. Kapor created another such “killer app,” or application: the spreadsheet for the PC.

Killer apps are sought-after innovations because people get addicted to them and make behavioral changes that might otherwise be unthinkable. “Those who benefit from a technology adapt to its constraints and become dependent on it,” says John Staudenmaier, editor of the journal Technology and Culture and a historian of technology at the University of Detroit Mercy.

Dependency drives profits, the ultimate arbiter — for some — of an innovation’s success. Look how Apple has converted the mania for the iPod into record profits — and a record stock price.

IPod “addiction” seems benign. Yet some worry that other innovations may harbor health threats. As a result, they may be vulnerable to what Marc Ventresca, a lecturer at the Saïd Business School at Oxford, calls the “frog boiling” problem. For the frog, gradually rising heat causes no alarm — until the water is so hot that death is imminent.

“Adaptation can sometimes be dangerous, but the hazard isn’t apparent until it is ‘too late,’” Mr. Ventresca says.

While people may be fearful of allowing a seductive technology to imperil them — the “Frankenstein effect” — they may also fear the consequences of not changing their ways. As the case of climate change illustrates, many consumers are enthusiastic about changing their behavior — in this case, the way they drive cars — if they believe that by adapting to new technologies they will save themselves and the planet. Think of the Prius again.

FOR technological innovators, the cash register can ring either way. They may achieve a smash-hit breakthrough, or simply make a slight improvement in a technology that humans already feel comfortable with. Most innovators no longer even try to predict human reactions to their creations.

Henry Kressel, a partner at Warburg Pincus and a co-author of “Competing for the Future: How Digital Innovations Are Changing the World,” says, “You throw technologies into the market and see what sticks.”

The hope is that passionate “early adopters” will blaze a path toward mass acceptance of a new technology. Yet the truth is that no one can tell in advance which innovations people will adapt to and which will become the next example of the Picturephone.

Where people draw the line can be known only after the fact. Which is why innovation is always a risky — even humbling — business.

G. Pascal Zachary teaches journalism at Stanford and writes about technology and economic development. E-mail: gzach@nytimes.com.

Monday, January 07, 2008

Piracy and Privacy

Dr. Media says, this issue of copyrights is huge, not only for the entertainment companies, but for all writers, artists, filmmakers musicians,journalists, etc. All creative people who hope to make a living plying their trade. It is the root of the writers strike, simply put, why should the studios pay for product when they can cherry pick it for free from the net, since creative type want to create? Then if a project gets distributed, who collects, youtube, megavid,etc., and what do the creators get, pennies.So what a dilemma. You want talented people to produce, but you don;t want to pay them. Well here is the rub the old bromide, "information wants to be free", is fine for those who have jobs . But what about those who want their job to be creating "information". If you don't pay them, they stop working, because will info wants to be free, they need to eat, so they get other jobs, UNLESS, they are hired by information creators to create, thus the writers strike. Will musicians strike, no , they will self distribute like Radiohead`, if they are well known enough.Why not, all music will be downloadable , then movies, TV, books(see Kindle). Who pays advances now??

What’s Online


Piracy and Privacy









IN an effort to stymie
Internet pirates, the International Federation of the Phonographic
Industry, a music industry group, is asking European lawmakers to
require Internet service providers to use filters to block the illicit
transfer of copyrighted material (dslreports.com).


The Electronic Frontier Foundation (eff.org), a privacy advocate, responded by sending a letter to the European Parliament
arguing that such filters would be an “ineffective measure that will do
little to practically address the concerns of major rights holders
while imposing serious costs on the individual rights of European
citizens.”


The filtering technology would not be effective, according to the
foundation, because pirates would simply encrypt files to bypass it in
the same way that banks encrypt credit card information. Meanwhile,
legitimate users of copyrighted material would be hampered in their
ability to post video and music clips. And the costs would most likely
be borne by service providers, and, by extension, their customers, the
foundation said.


Media companies and trade groups in the United States have sought similar measures. In a widely ridiculed letter to the Federal Communications Commission last summer, NBC Universal
said such filters would help American corn farmers because Internet
users, unable to watch pirated movies, would head to theaters and buy
popcorn (publicknowledge.org).


The recording industry group is asking that service providers use
filtering technology like that made by Audible Magic, which identifies
and blocks audio files bearing a digital “fingerprint.” It further asks
that service providers block users’ access to specific peer-to-peer
file-sharing services — those that “have refused to implement steps to
prevent infringement,” according to a copy of the group’s request
obtained by the Electronic Frontier Foundation.


“This is the latest in an ongoing effort for the entertainment
industry to pretend that the Internet needs to conform to the way it
wants the world to act, rather than conforming to the way the Internet
actually works,” wrote Mike Masnick (techdirt.com).


ADVERTISERS’ DILEMMA As ratings continue to sag for the major television networks, advertising rates are going ... up?


“Although it seems counterintuitive, it’s the law of supply and
demand,” Holly M. Sanders of The New York Post reported this week (nypost.com).
“As the TV audience shrinks, advertisers have to buy more ads to reach
their target number of viewers. But that increased demand for ad slots
creates scarcity, which in turn leads to rate hikes.”


The situation highlights “the strategic blindness of advertisers,”
according to Jeff Jarvis of BuzzMachine. To reach the people they want,
advertisers have to “work a little harder and move past the one-stop
shopping of TV,” Mr. Jarvis wrote (buzzmachine.com). “Actual work? Heaven forbid.”


DOWN ON MAIN STREET MainStreet.com, the forthcoming site from the people who run the business news site TheStreet.com, will combine news with advice on personal finance.


According to a recent help wanted ad seeking journalists (journalismjobs.com),
MainStreet.com “will cover breaking news, including celebrity and
entertainment news, as a means to get into personal finance.”


So, an article might be something like this, according to the ad: “Jamie Lynn Spears
is having a baby.” The article would then say: “Suddenly finding
yourself with an unplanned bun in the oven? Here’s how to start
preparing yourself financially to have and raise a child.”


One of the requirements listed in the ad is “great news judgment.” DAN MITCHELL




E-mail: whatsonline@nytimes.com.




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Microsoft Lands Deals With Movie, TV Titans - WSJ.com
Microsoft Lands Deals
With Movie, TV Titans
By ROBERT A. GUTH
January 7, 2008; Page A3

LAS VEGAS -- Microsoft Corp. will get to use movies and television programming from several large entertainment companies under new deals that may help it better compete with Apple Inc.'s iTunes online service and rivals such as software maker Adobe Systems Inc.

Microsoft said it reached agreements with NBC Universal Inc., Walt Disney Co., Metro-Goldwyn-Mayer Studios Inc. and CBS Corp.'s Showtime Networks Inc. to contribute entertainment content to the software maker's Xbox Live and MSN online services. The agreements were disclosed last night by Microsoft Chairman Bill Gates during the opening of the Consumer Electronics Show, the consumer-electronics industry's annual conference here.
CES NOTEBOOK

[CES Blog]1
See live updates and videos from the Consumer Electronics Show in Las Vegas on our blog, at WSJ.com/CES2.

Mr. Gates also said that Microsoft, of Redmond, Wash., has sold 100 million licenses for Windows Vista, the company's year-old operating system for personal computers. Sales of Windows Vista are being closely watched by Wall Street analysts and Microsoft customers because the software, critical to Microsoft's growth, has had middling reviews.

Under the agreements, Disney, MGM and Showtime will contribute programming to Xbox Live, an online service with about 10 million subscribers that is primarily used for playing videogames. The Xbox Live service has a feature for downloading movies and other entertainment content, but that feature has been slow to take off, partly because it has been hard for some consumers to use, and Microsoft has done little to promote it. Microsoft already has similar deals with studios including Time Warner Inc.'s Warner Bros.

The deals could lift the service by adding to it movies such as the Rocky series and shows such as "Grey's Anatomy" and "Ugly Betty." Still, Apple's iTunes, with music downloads its main feature, is far more widely used.

Microsoft said it signed a separate deal with NBC to manage a Web site for the 2008 Beijing Olympic Games. NBC, a unit of General Electric Co., has exclusive broadcast and video rights in the U.S. to the games. Microsoft's MSN service will run an Olympics site that will have access to 3,000 hours of video coverage and allow Internet users to customize live and on-demand video from Beijing. "It's going to let us illustrate why TV is going to be very different" over the Web, Mr. Gates said.

Those features will be run by a Microsoft technology called Silverlight -- software that can let Web sites handle video, animations and other features more dynamically than most Web sites traditionally can. Microsoft is betting the Olympics will help push Silverlight, which to work requires software that is downloaded over the Internet, onto millions of consumers' PCs.

Wednesday, January 02, 2008

The Afterlife Is Expensive for Digital Movies - New York Times

Dr. Media, says now we're talking, as soon as Disney and others figured out a way to make money with VR, it became an interesting play.Why, because the Inet is now TV, and VR is interactive cartoons. We'll know when its really there once the studios are willing to spend some real development money for programming.Kids are the place to start, movie, website, music . books. characters, all licensable.

The Afterlife Is Expensive for Digital Movies - New York Times
Web Playgrounds of the Very Young - New York Times
The New York Times
December 31, 2007
Web Playgrounds of the Very Young
By BROOKS BARNES

LOS ANGELES — Forget Second Life. The real virtual world gold rush centers on the grammar-school set.

Trying to duplicate the success of blockbuster Web sites like Club Penguin and Webkinz, children’s entertainment companies are greatly accelerating efforts to build virtual worlds for children. Media conglomerates in particular think these sites — part online role-playing game and part social scene — can deliver quick growth, help keep movie franchises alive and instill brand loyalty in a generation of new customers.

Second Life and other virtual worlds for grown-ups have enjoyed intense media attention in the last year but fallen far short of breathless expectations. The children’s versions are proving much more popular, to the dismay of some parents and child advocacy groups. Now the likes of the Walt Disney Company, which owns Club Penguin, are working at warp speed to pump out sister sites.

“Get ready for total inundation,” said Debra Aho Williamson, an analyst at the research firm eMarketer, who estimates that 20 million children will be members of a virtual world by 2011, up from 8.2 million today.

Worlds like Webkinz, where children care for stuffed animals that come to life, have become some of the Web’s fastest-growing businesses. More than six million unique visitors logged on to Webkinz in November, up 342 percent from November 2006, according to ComScore Media Metrix, a research firm.

Club Penguin, where members pay $5.95 a month to dress and groom penguin characters and play games with them, attracts seven times more traffic than Second Life. In one sign of the times, Electric Sheep, a software developer that helps companies market their brands in virtual worlds like Second Life and There.com, last week laid off 22 people, about a third of its staff.

By contrast, Disney last month introduced a “Pirates of the Caribbean” world aimed at children 10 and older, and it has worlds on the way for “Cars” and Tinker Bell, among others. Nickelodeon, already home to Neopets, is spending $100 million to develop a string of worlds. Coming soon from Warner Brothers Entertainment, part of Time Warner: a cluster of worlds based on its Looney Tunes, Hanna-Barbera and D. C. comics properties.

Add to the mix similar offerings from toy manufacturers like Lego and Mattel. Upstart technology companies, particularly from overseas, are also elbowing for market share. Mind Candy, a British company that last month introduced a world called Moshi Monsters, and Stardoll, a site from Sweden, sign up thousands of members in the United States each day.

“There is a massive opportunity here,” said Steve Wadsworth, president of the Walt Disney Internet Group, in an interview last week.

Behind the virtual world gravy train are fraying traditional business models. As growth engines like television syndication and movie DVD sales sputter or plateau — and the Internet disrupts entertainment distribution in general — Disney, Warner Brothers and Viacom see online games and social networking as a way to keep profits growing.

But more is at stake than cultivating new revenue streams. For nearly 50 years, since the start of Saturday morning cartoons, the television set has served as the front door to the children’s entertainment business. A child encounters Mickey Mouse on the Disney Channel or Buzz Lightyear on a DVD and before long seeks out related merchandise and yearns to visit Walt Disney World.

Now the proliferation of broadband Internet access is forcing players to rethink the ways they reach young people. “Kids are starting to go to the Internet first,” Mr. Wadsworth said.

Disney’s biggest online world is Club Penguin, which it bought in August from three Canadians in a deal worth $700 million. At the time, more than 700,000 members paid fees of $5.95 a month, delivering annual revenue of almost $50 million.

Still, one world, even a very successful one, does not alter the financial landscape at a $35.5 billion company like Disney. So Disney is pursuing a portfolio approach, investing $5 million to $10 million per world to develop a string of as many as 10 virtual properties, people familiar with Disney’s plans said.

Tinker Bell’s world, called Pixie Hollow, illustrates the company’s game plan. Disney is developing the site internally — creative executives who help design new theme park attractions are working on it — and will introduce it this summer to help build buzz for “Tinker Bell,” a big-budget feature film set for a fall 2008 release.

Visitors to a rudimentary version of Pixie Hollow, reachable through Disney.com, have already created four million fairy avatars, or online alter egos, according to Disney. The site will ultimately allow users to play games (“help create the seasons”) and interact with other “fairies.” When avatars move across the screen, they leave a sparkling trail of pixie dust, a carefully designed part of the experience.

“We wanted to come up with a way to make flying around the site feel really good,” said Paul Yanover, executive vice president and managing director of Disney Online.

Disney’s goal is to develop a network of worlds that appeal to various age groups, much like the company’s model. Preschool children might start with Pixie Hollow or Toon Town, another of Disney’s worlds, grow into Club Penguin and the one for “Cars” and graduate to “Pirates of the Caribbean” and beyond, perhaps to fantasy football at ESPN.com.

“All the stars are aligning for virtual worlds to become a mass-market form of entertainment, especially for kids and families,” Mr. Yanover said.

If virtual worlds for adults are about escaping from run-of-the-mill lives, sites for children tap into the desire to escape from the confines of reality as run by mom and dad. “I get to decide everything on Club Penguin,” said Nathaniel Wartzman, age 9, of Los Angeles, who also has a membership to a world called RuneScape.

But shopping is a powerful draw, too; most sites let children accumulate virtual points or spend their allowance money to buy digital loot. “It’s really fun to buy whatever you want inside the game,” Nathaniel said in a telephone interview. For his penguin, “like for Christmas I bought a fireplace, a flat-screen TV and a Christmas tree,” he said.

Online worlds, which typically have low overhead and fat profit margins once they are up and running, charge a monthly fee of $5 to $15 and require the adoption of an avatar. Some sites are free and rely on advertising to make money; others are advertising and subscription hybrids. Webkinz relies on the sale of stuffed animals, which come with tags that unlock digital content.

The power of the virtual worlds business was shown recently when Vivendi announced a plan to buy Activision, a publisher of video games for consoles like the Sony PlayStation 3. Vivendi owns World of Warcraft, a virtual world for adults with more than nine million members and revenue of more than $1 billion.

Still, the long-term appetite for the youth-oriented sites is unclear. Fads have always whipsawed the children’s toy market, and Web sites are no different, analysts warn. Parents could tire of paying the fees, while intense competition threatens to undercut the novelty. There are now at least 10 virtual worlds that involve caring for virtual pets.

Privacy and safety are a growing concern, particularly as companies aim at younger children. Some virtual worlds are now meant to appeal to preschoolers, using pictures to control actions so that reading is not required.

And critics are sharpening their knives. “We cannot allow the media and marketing industries to construct a childhood that is all screens, all the time,” said Susan Linn, a Boston psychologist and the director of the Campaign for a Commercial-Free Childhood, a nonprofit group that has complained of ads for movies on Webkinz.com.

Operators shrug off worries about fads and competition. “Are features like creating an avatar a long-term advantage for anyone? Probably not,” Mr. Yanover said. “The viability and sustainability of this business comes from the shifting behavior of kids and how they spend their leisure time.”

As for privacy and safety, companies point to a grid of controls. For instance, Neopets restricts children under 13 from certain areas unless their parents give permission in a fax. Several Neopets employees patrol the site around the clock, and messaging features are limited to approved words and phrases.

“Parents know they can trust our brand to protect kids,” said Steve Youngwood, executive vice president for digital media at Nickelodeon. “We see that as a competitive advantage.”



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Piracy and Privacy

Dr. Media says, this issue of copyrights is huge, not only for the entertainment companies, but for all writers, artists, filmmakers musicians,journalists, etc. All creative people who hope to make a living plying their trade. It is the root of the writers strike, simply put, why should the studios pay for product when they can cherry pick it for free from the net, since creative type want to create? Then if a project gets distributed, who collects, youtube, megavid,etc., and what do the creators get, pennies.So what a dilemma. You want talented people to produce, but you don;t want to pay them. Well here is the rub the old bromide, "information wants to be free", is fine for those who have jobs . But what about those who want their job to be creating "information". If you don't pay them, they stop working, because will info wants to be free, they need to eat, so they get other jobs, UNLESS, they are hired by information creators to create, thus the writers strike. Will musicians strike, no , they will self distribute like Radiohead`, if they are well known enough.Why not, all music will be downloadable , then movies, TV, books(see Kindle). Who pays advances now??

What’s Online


Piracy and Privacy









IN an effort to stymie
Internet pirates, the International Federation of the Phonographic
Industry, a music industry group, is asking European lawmakers to
require Internet service providers to use filters to block the illicit
transfer of copyrighted material (dslreports.com).


The Electronic Frontier Foundation (eff.org), a privacy advocate, responded by sending a letter to the European Parliament
arguing that such filters would be an “ineffective measure that will do
little to practically address the concerns of major rights holders
while imposing serious costs on the individual rights of European
citizens.”


The filtering technology would not be effective, according to the
foundation, because pirates would simply encrypt files to bypass it in
the same way that banks encrypt credit card information. Meanwhile,
legitimate users of copyrighted material would be hampered in their
ability to post video and music clips. And the costs would most likely
be borne by service providers, and, by extension, their customers, the
foundation said.


Media companies and trade groups in the United States have sought similar measures. In a widely ridiculed letter to the Federal Communications Commission last summer, NBC Universal
said such filters would help American corn farmers because Internet
users, unable to watch pirated movies, would head to theaters and buy
popcorn (publicknowledge.org).


The recording industry group is asking that service providers use
filtering technology like that made by Audible Magic, which identifies
and blocks audio files bearing a digital “fingerprint.” It further asks
that service providers block users’ access to specific peer-to-peer
file-sharing services — those that “have refused to implement steps to
prevent infringement,” according to a copy of the group’s request
obtained by the Electronic Frontier Foundation.


“This is the latest in an ongoing effort for the entertainment
industry to pretend that the Internet needs to conform to the way it
wants the world to act, rather than conforming to the way the Internet
actually works,” wrote Mike Masnick (techdirt.com).


ADVERTISERS’ DILEMMA As ratings continue to sag for the major television networks, advertising rates are going ... up?


“Although it seems counterintuitive, it’s the law of supply and
demand,” Holly M. Sanders of The New York Post reported this week (nypost.com).
“As the TV audience shrinks, advertisers have to buy more ads to reach
their target number of viewers. But that increased demand for ad slots
creates scarcity, which in turn leads to rate hikes.”


The situation highlights “the strategic blindness of advertisers,”
according to Jeff Jarvis of BuzzMachine. To reach the people they want,
advertisers have to “work a little harder and move past the one-stop
shopping of TV,” Mr. Jarvis wrote (buzzmachine.com). “Actual work? Heaven forbid.”


DOWN ON MAIN STREET MainStreet.com, the forthcoming site from the people who run the business news site TheStreet.com, will combine news with advice on personal finance.


According to a recent help wanted ad seeking journalists (journalismjobs.com),
MainStreet.com “will cover breaking news, including celebrity and
entertainment news, as a means to get into personal finance.”


So, an article might be something like this, according to the ad: “Jamie Lynn Spears
is having a baby.” The article would then say: “Suddenly finding
yourself with an unplanned bun in the oven? Here’s how to start
preparing yourself financially to have and raise a child.”


One of the requirements listed in the ad is “great news judgment.” DAN MITCHELL




E-mail: whatsonline@nytimes.com.




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