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Explore how Intertrust MarketMaker is ushering in a new era of Web3 film distribution and monetization, featuring a case study on Kurosawa Kiyoshi’s ‘Chime’.  https://lnkd.in/gFp_9d5a #Web3 #FilmDistribution #IntertrustMarketMaker #ChimeMovie

Ever wondered how the future of film consumption looks like? 🎬 It's 2024, and the landscape of movie downloading has transformed dramatically. A myriad of options now cater to all our diverse preferences. No longer are we confined to the traditional ways of watching our favorite flicks. The evolution of technology has truly revolutionized the film industry. So, next time you're planning a movie night, remember, the future is here, and it's more convenient than ever. What's your take on this evolution of film consumption?

Explore how Intertrust MarketMaker is ushering in a new era of Web3 film distribution and monetization, featuring a case study on Kurosawa Kiyoshi’s ‘Chime’. https://bit.ly/3TUAInT #Web3 #FilmDistribution #IntertrustMarketMaker #ChimeMovie

In the world of entertainment, the concept of residuals is both fascinating and vital for those who create the content we love—be it films, television shows, or digital media productions. Residuals are essentially forms of additional compensation paid to actors, writers, directors, and other creatives after the initial release of a project. This payment is not just a bonus but a right, often secured by unions, to ensure that creatives receive their fair share of the revenues generated over time from their works. https://lnkd.in/eutQDFdt

Barely two days into the public domain, the earliest iteration of Mickey Mouse rampages freely, with Two horror films already focusing on the iconic character from “Steamboat Willie.” #mickey #mickeymouse #waltdisney #waltdisneyworld #horrormovies #horrorfilm #horrorfilms #horrormovie #newsupdate #newsupdates #entertainment #entertainmentindustry #entertainmentnews

Thanks to Brian Newman for sharing. I totally support and have the same opinion as Keri Putnam article. I just want to add that we need to increase the protection (invisible and inaudible watermarks at the level of individual offline/online screenings etc...) of content and make films available to the whole world in a simple way. Ideally so that premieres of Independent films can be made by #communities of followers and fun's around the world (cinemas and VOD) in simple release window. So it's important to be able to order a film for your cinema or living room in a simple way (like in a regular e-shop). Ideally to have this type of e-shop on the filmmakers' website. From a viewer's point of view, there is no need to pay a subscription to something that you won't be able to choose what you know you want to see anyway. The future is in transactional orders of what you want and what your bubble has recommended. Decisions on both of these basic parameters, I mean..... The need and desire to protect your IP i.e. your films and the system of selling rights/licensing/projection are entirely in the hands of independent filmmakers..... So let's change that... The technology already exists, it's called Artinii.Pro and is used in over 80 countries. Just upload your film to Encrypted storage and let your interested parties book screenings/T-Vod..

That's bittersweet. I have to imagine that the creative team is happy to be making another film together with Apple, but it was also my impression that a participation in the theatrical deal was a big upside carrot for them when setting this project up in the first place. That upside is fairly limited now. Here's a thought experiment... What if AppleTV+ struck a 50/50 all-cost co-fi deal with Universal Pictures - they are, after all, already partners in a streaming bundle - that looked something like the following: - Universal manages the global theatrical release for a reasonable distribution fee and all other proceeds go towards recoupment (including split marketing costs). - AppleTV+ pays a FMV (negotiated output deal) first-window license fee that also goes into the recoupment pot. - Peacock pays a FMV (negotiated output deal) second-window license fee, again, coming back to recoupment. - All ancillaries split per the financing waterfall 50/50 What would the benefits of this be: - AppleTV+ gets the film it wants for the window it needs and only spent a fraction of what it would alone. - AppleTV+ still retains the film in it's library - Universal is an invested partner and therefore helps to weigh-in on theatrical prospects i.e. if Uni doesn't want to pony up their 50% share of the costs then maybe Apple should revalue the project based on a streaming-only release. - In success, both partners participate in upside, keeping everyone motivated to do their best work. - Talent can count on real backend participations again from a theatrical market crying out for exciting quality experiences - the market is not dead, it's just starving for good movies! - Audiences get more opportunities to come back to theaters to see the work of their favorite creatives. Yes, there are downsides in that AppleTV+ will need to give up some decision-making authority to Uni, but that's fairly limited. Give them two weeks to review the project for green light and if Apple wants to make the movie anyway without Uni's participation they can just distribute for an arranged fee-for-services. Not sharing this with the presumption that nobody's explored this before - there's a lot of smart people at both of these companies. Sharing these insights for the benefit of the LinkedIn community that may not understand how these deals work so they may have a window into how all these players actually do need to find ways to work together to find success. NOTE: This particular film referenced below will be a Sony picture and they do great theatrical releasing work too, but they don't have a streaming platform to guarantee a second-window license fee from and are therefore not partners in the streaming bundle that Apple announced with Disney and Uni. #FilmBusiness #AppleTV+ #Peacock #Film #Entertainment

🌟 Esteemed Global Streaming Producers! 📺💻 🚀 Gather round for a deep dive into the dynamic realm of streaming entertainment, where innovation dances with challenges! 💡 Today, let's see the Netflix narrative — a tale woven with specific examples and intricate challenges encountered by this industry behemoth as it charts its course through the ever-evolving streaming landscape. 🎬🌍 Here's a closer look: 🎥 Original Content Production: Netflix stands as a reference for original content creation, redefining storytelling on a global scale. From captivating series to blockbuster films, each production is a testament to creative vision. However, within this creative tapestry lie the complex threads of intellectual property rights. Securing scripts, music, and visuals while navigating legal intricacies poses a formidable challenge. 🛡️ Trademark Protection: As a globally recognized brand, Netflix must safeguard its trademarks against the tides of imitation and counterfeiting. In a sea of streaming platforms, brand integrity is paramount. This entails vigilant surveillance of digital landscapes and swift action against trademark infringements to preserve brand equity. 💼 Content Licensing Negotiations: In addition to original content, Netflix engages in intricate negotiations with studios, networks, and content providers for licensing agreements. Balancing content access with intellectual property protection demands strategic finesse. From securing licenses to enforcing contractual obligations, each negotiation presents nuanced challenges in IP management. ☠️ Piracy Mitigation: The specter of piracy casts a shadow over the digital realm, posing a persistent threat to Netflix's content ecosystem. Combating illegal streaming sites and unauthorized distribution channels requires a multifaceted approach. Advanced anti-piracy technologies and collaborative initiatives are deployed to staunch the flow of piracy. Despite these challenges, Netflix continues to pioneer innovation and redefine the streaming landscape, captivating audiences worldwide with its diverse content offerings. 🌟💻 So, fellow streaming visionaries, let's draw inspiration from Netflix's journey and forge ahead with resolve and resilience. Together, let's navigate the intricate web of intellectual property challenges and shape the future of streaming entertainment! 🚀🎬 Eager to share your insights or experiences? Drop a comment below and let's spark a dialogue that propels our industry to new heights! 📣🌐 https://lnkd.in/d5GM_fFJ #IntellectualPropertyJourney #NetflixNarrative #EntertainmentIndustryLeadership

European Filmmakers Rally Against Geoblocking: Fear Homogenized Content Threatening Cinematic Diversity. https://lnkd.in/gXGNm6Xj #GeoblockingDebate #EuropeanFilmIndustry #CinematicDiversity #StreamingRegulations #FilmIndustryChallenges #CreativeFreedom #digitalmarketing #ContentAccessibility #ProtectingCulturalHeritage #FilmDistributionModels

Is Hollywood leaving LA behind? There has been little material rebound in production in LA since the end of the WGA & SAG-AFTRA strikes. FilmLA has recently reported that on-location shoots in January were down 26% year-on-year. Of Disney's 22 live productions underway now, only three are in California. Only one for Warner Bros (out of 7). Sony: 1 of 6. Universal? Zero! In our coverage of strategy behind last year's strikes, Thomas Kingston wrote: "Studio bosses are in desperate need to widen production capacity globally and turn the world into Hollywood. The most experienced writers and actors in the world could easily facilitate that. It would mean being willing to travel, perhaps relocate, to teach, and to learn. Instead, conflict may just give those Studio bosses the excuse they need to leave LA where it is." It pays to understand the strategy behind industry trends and statistics. Be in the Know. Read the the Media C-Suite. #media #entertainment #innovation #investment #networking #Hollywood