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TV/Film

Avid readers of this blog (all three of you) might recall that back in February I mentioned I was looking forward to watching Robot & Frank.

I finally managed to watch it today at the BFI London Film Festival, and cannot recommend it enough. It’s intelligent, funny, poignant and futuristic all at the same time. I wondered whether it would start dragging at any point but the narrative and editing held beautifully, the cast was amazing and the acting compelling. It’s also the first time I’ve seen a robot in an indie movie, and it was a great first for me in that respect.

I watched Marvel Avengers Assemble last night – it was absolutely fantastic. Very entertaining and special effects that, as a friend of mine said, make you wonder what else is left for people to create (no doubt James Cameron is working on this for the next Avatar movie).

Unlike most films, the Avengers ran the titles at the end. I recalled this video about the art of film & TV title design, which says that it’s a great way of getting people in the mood for the film itself. What does a reverse version of this accomplish? A longer-lasting mark in the audience’ mind, I assume.

Kottke

As much as I enjoyed Cath’s post about this being a great time to work in the internet, I couldn’t help but laugh when Aleks Krotoski pointed me to this IT Crowd sketch about the internet. It’s always good to take a step back and remind myself that there are still people to whom the internet is the 2012 equivalent of a box. And that’s why as much as the latest technology will continue to fascinate me and fold people (me!) into its grip, the best messages are usually those that are simple. It’s not the strategy that every brand can afford to adopt (if you have 1% of the market share then you have to work that much harder just to be heard, forget having to communicate your USP), but even Apple learnt this when they translated iCloud’s benefits into language that this author’s mother can understand without effort.

ᔥ Aleks Krotoski on Twitter

[Cross-posted at A Cup of Tea with PHD]

Image credit: Karl Baron via Flickr courtesy a CC license

Changes are afoot in the world of on-demand TV and video that could not only impact the viewing patterns of early adopters and the masses, but bring about a seismic shift in advertising revenues which are today mostly TV-driven. In fact, I am fairly certain that the masses will get there sooner than expected, if these changes continue apace.

The biggest of these changes is part of Google’s new strategy, who with YouTube have put their stake firmly in the video-on-demand ground by commissioning original content from a range of programmers, all set to debut with independent channels later this year. Some of them are already seeing airtime on the web, such as Vice’s music channel Noisey, which was made available to the public recently. A look at the list of original content creators YouTube have lined up reveals some other interesting names such as the Bowery Presents channel, which aims to livestream concert shows and more intimate artist performances, and content from more well-known media companies and brands such as the Wall Street Journal, the Onion, Red Bull, Jay-Z and Slate. However, the channels that are likely to have more loyal audiences are the niche ones such as one specially targeted at a younger, Hispanic, bi-lingual audience called 123UnoDosTres and one targeted at mothers, called Café Mom. Robert Kyncl, a senior executive in YouTube, said in a recent article in the New Yorker that niche channels are likely to be a success because they give the audience a more immersive experience, a point of view that is tough to argue with. He cites the fact that web channels have very low costs, unlike TV channels that need a 24.7 programming loop and a transponder to get their signals up on satellites.

The New Yorker piece, well worth a read, also quotes Forrester Research which says that by 2016, half of all households will have wi-fi devices, and as people will then start choosing web channels over TV channels, the only way for networks and cable companies to grow will be for them to buy these web channels. Clearly YouTube is taking their strategy very seriously: they already have the YouTube Next Lab, a company created when YouTube bought four-year-old web television company Next New Networks last year, just to coach content creators on best practices.

Web channels like the ones YouTube is planning to host will also pique the interest of advertisers, as longer format TV shows like those currently on Hulu get considerably higher CPMs than most of YouTube’s current videos, which are not more than a few minutes in length on average.

Internet video is also predicted to eat at TV’s traditional hold over advertising revenues. In fact, Accenture’s 2011 Media & Entertainment High Performance Study interviewed a range of broadcasters and revealed that their biggest challenge in the next 12 to 24 months will be identifying new monetization models, as well as the fact that in order to face the future with best foot forward, they will need to focus on the multiplatform consumer – all proof that YouTube is being quite smart with their new strategy.

The US seems to be leading the charge in online TV and video – recently, Netflix debuted its first original online TV series there (in the UK, the BBC has picked up TV rights for it, though it is strictly online-only in the US). The Huffington Post also announced just two weeks ago that this summer will see the Huffington Post Streaming Network come to life, a site that will initially have 12 hours of new programming every day, rising up to 16 hours a day in 2013.

It’s certainly going to be an interesting space to watch. Sit back and reach for the popcorn, all from the comfort of your sofa.

A few weeks ago, Kodak was in the news everywhere I looked. Just as I read an article in the Economist that compared the fall of Kodak with the corresponding rise in fortunes of Fujifilm and examined Kodak’s lack of risk in innovation, the news of Kodak filing for bankruptcy protection broke.

Below is a 2010 documentary about the demise of Kodachrome, by writer/director Xander Robin, a beautiful tribute to the company that once ruled in photography.

 

This movie looks really interesting. It’s the feature directorial debut of Jake Schreier, an NYU Tisch grad whose previous work has included music videos and ads. It premiered at the Sundance Film Festival a couple of weeks ago, and is the story of an elderly man whose son gives him a caretaker robot, and his struggle to accept the machine in his life. Frank Langella, who featured in 2008′s Frost/Nixon, stars. Here’s an interview with Jake, and as I wait for the film to be released in public, here are a few clips. More here.

Via Jay Parkinson

I was featured in an article about smart TVs in the Forum section of this week’s Campaign. It’s behind a paywall, so here it is, for those of you who may be interested.

Are we ready for smart TVs?

The revolution may be here, but are agencies prepared, asks Alasdair Reid

At this time of year, it’s not unusual to bump into people freshly returned from the Consumer Electronics Show, held each January at the Las Vegas Convention Center. If they are all wide-eyed and raving, beware: an awkwardness is sure to follow. Because they’ll tell you that they’ve seen the future of television – and then they’ll look all hurt and disappointed if you sigh.

We’ve now been on the verge of the TV revolution – the convergence of the internet and the widescreen television, specifically in the living room – for more years than it’s healthy to recall. And you don’t exactly have to be a rocket scientist to work out why wave after wave of this particular revolution has washed up dead on arrival.

Vegas is Vegas, though. There’s a powerful evangelical element to this event. It’s tailor-made for bullshitters – and as bullshitters go, some of these people are at the very top of their game.

This year, however, we are assured that we are on the verge of something special. For instance, some of the ‘technology’ actually works under the battlefield conditions you can expect in your average sitting room. And, equally importantly, it’s becoming affordable for many of us.

This year, in short, we might really see the arrival of the smart TV. This dovetails with the assertion made in December last year by Google’s executive chairman, Eric Schmidt, that, by the middle of this year, Google TV capability, powered by an Android-Chrome hybrid, will be incorporated as standard in all new TVs.

Yet, that doesn’t mean penetration will be all that impressive by the end of 2012. But at least he’ll have something of a credible bridgehead. The question now is whether the commercial side of the media industry is ready.

James Harris, the head of digital, EMEA, at UM, says the answer is probably no at this stage. There will be a period, he predicts, when it will be unclear who should be driving this – TV teams or their digital counterparts. “These issues are already apparent and were openly being discussed by media owners at CES”, he reveals.

And he thinks there will be similar territorial confusion within creative agencies. He explains: “History tells us that traditional creative agencies will find it hard to adapt quickly and I think, as a result, progress could be painful. Certainly, I expect to see consumer take-up outpacing advertising developments this year – with the exception of IPG agencies, of course.”

And VivaKi agencies too, if you believe Marco Bertozzi, the managing director, EMEA, for VivaKi Nerve Center. He certainly agrees that the challenge will be to blur boundaries between an agency’s TV teams and its digital and innovations people.”

He adds: “The key is not to let those silos stop innovation. If you are the client, you don’t care about silos – you want solutions. That said, your client base will determine how much you can or will make of this new technology. Some clients, are, by their nature, either cautious or are doggedly tied to ROI. Often, these new areas of innovation don’t deliver that straight out of the blocks.”

Bertozzi also wonders whether consumer adoption will be as rapid as some predict. And that’s also a theme pursued by Anjali Ramachandran, the head of innovation at PHD. Either way, though, she argues that agencies can’t afford to be complacent. She states: “Samsung seems to be ahead of the rest, with a model that has face recognition technology that can customise the settings of the TV depending on who’s in front of the set. That can become a hub for advertiser. There is an explosion of apps for smart TVs as a result, including apps that work across multiple devices, notably tablets, and companion apps such as Zeebox in the UK. They all offer immense opportunities for advertising. It would be dangerous for media agencies to sit back and assume that they have time to explore the opportunities offered by smart TVs.”

Jason Dormieux, the chief operating officer at MEC Interaction, agrees. He concludes: “We’ve reorganised our activation teams – we now have an audiovisual team as opposed to a TV team. We did that last year, not just to reflect the growth in importance of video-on-demand but also to reflect the notion that smart TV was coming at some stage. We’ve seen that happening on the media owner side too, with their digital and offline teams now more fully integrated. So I think there’s evidence that people are already doing what they need to do in order to leverage the smart TV development. “

As a child, shadow puppets used to fascinate me, as they probably did a lot of kids. It’s a lovely way of letting the imagination loose – probably why being an amateur nephologist is everyone’s favourite pastime on a sunny, cloud-filled day. (For more serious fans of clouds, consider joining the Cloud Appreciation Society, which I only found about last week).

The Kinect is taking shadow puppetry to a completely new level. Puppet Parade is an installation that premiered at Cinekid Amsterdam  last year. It allows kids to control animated characters on screen – watch the enchanted faces of the kids in this demo:

Puppet Parade – Interactive Kinect Puppets from Design I/O on Vimeo.

There was an interesting Kinect demo during a keynote at CES last week too. Microsoft’s Jaymi Bauer, senior director of product marketing, gave a glimpse into what they’re going to be doing with Sesame Street and the Kinect later this year, along with a young girl.

It’s a whole new world out there for kids these days.

I just hope they don’t forget the charm of the original shadow puppets!

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