They cried the tears, they shed the fears,
Up and down the land,
They stole guitars or used guitars
– so the tape would understand,
Without even the slightest hope of a 1000 sales
Just as if, as if there was, a hitsville in u.k.,
I know the boy was all alone, til the hitsville hit u.k.
They say true talent will allways emerge in time,
When lightening hits small wonder –
Its fast rough factory trade,
No expense accounts, or lunch discounts
Or hypeing up the charts,
The band went in, n knocked em dead, in 2 min. 59
– no slimy deals, with smarmy eels – in hitsville u.k.
Lets shaken say, well operate – in hitsville u.k.
The mutants, creeps and musclemen,
Are shaking like a leaf,
It blows a hole in the radio,
When it hasnt sounded good all week,
A mic andÂ boom, in your living room – in hitsville u.k.
No consumer trials, or a.o.r., in hitsville u.k.,
Now the boys and girls are not alone,
Now the hitsvilles hit u.k.
But in the era of mashups, where does the value of entertainment-based intellectual property really lie?
For the longest time, the true economic value has not really been fully vested or returned to the creator. Let’s look at Hollywood briefly. How many movies show a loss for accounting purposes, yet the industry continues to thrive?
Quite simply, money changes hands, and not-quite-so-simply, there are sources and sinks for that money. They are not necessarily the same places, and they are not necessarily all that related to the creator (or ostensible “owner”) of the content.
In fact, the finance, distribution, and exhibition arms add value and maybe even create value for content. More on this topic as we go along.
In the mean time, I would love to hear about your technology companies that are facing issues of managing and maximizing the value of content. What assumptions do you have – that the content is completed by the creator never to be used or changed, or perhaps that it is incomplete and possibly even designed to be incopoprated into something bigger for everyone’s economic gain?
A digital entertatinment based operating sytem, designed to control an entire theater complex, was annouced yesterday by Kodak Digital Cinema and National CineMedia LLC, a partnership of the three top U.S. movie theater chains.
Designed to control the cinema visitor’s experience while in the theater, the question occurs to me: will there be open APIs that filmmakers can take advantage of as part of the creative aspect of filmmaking?
With film viewership in cinemas on the decline, there is not any doubt that any future of cinema relies on the experience of the vistors becoming something more then they can get with home theater sytems or other exhibition options for films.
So why not open up all of the features of the theater for the filmmakers to take advantage of? Special lighting effects, temeprature effects, and many other peripheral add-ons yet to be created or invented could enhance the cinema experience in some films.
Used judiciously, these effects need not be hokey like the “sensurround” effects of the early disaster film genres. I remember seeing “Lawrence of Arabia” on the glorious wide screen of the Senator Theateer in Baltimore many years ago. The vast and long desert scenes left me feeling the heat visually, but the 65 degree room temperature left me with a weird mixed up feeling phsyically.
How much more effective if the room temperature reflected the temperature of the scene? Well, it doesn’t need to be 120, but if the room varied with the night and day scenes betwen even 65 and 80, it would add to the experience of the film.
Now it could all be possible with a simple call to the theater’s operating system.
Depends on if the entire film production, distribution, and exhibition channel is willing to accept the new reality that they are in partnership with their customers instead of fighting them and expecting them to accept whatever is delivered.
More on this as the blog develops, full press release on the new system follows….
Exhibition is one of the keystones of any Entertainment Ecosystem.
By “Exhibition” I mean the place of actual consumption of the entertainment itself. Usually we think of places like cinemas as exhibition halls, but in the context of DigimediaFinance, we have a more general view: Exhibition takes place at the mp3 player, at the set top box, at the TV, at the game console, at the browser, at the phone, sometimes at an ad-hoc combination of some of the above.
Today we have the report of a cinema saved from closing. Such closings are a familiar story in t the US, but today’s example comes from Malaysia’s capital city of Kuala Lumpur. Surely with so many other entertainment options, this cinema is struggling to attract customers and revenues.
DigimediaFinance.com is interested in hearing from companies that see an opportunity to remake the distribution channel for certain types of entertainment, to use the world’s cinemas in a new way to re-invigorate them. Contact us via savethecinemas (at) digimediafinance.com with info on your digital entertainment company for possible profile on this blog.
For the past 100 years or so there has been a rough equilibrium in business models as the content creation style attributed to Hollywood and the distribution styles related to broadcasting (film, tv, radio, music) have been fairly stable. New technologies have arrived during that time period, to be sure, but essentially have been extensions or refinements of either the content creation model or distribution models of yore.