Technologies of storytelling: new models for movies
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| [FN52]. Id. at 31.
[FN53]. George Lucas' Blockbusting 811 (Alex Ben Block & Lucy Autrey Wilson eds., 2010). [FN54]. Id. at 816. [FN55]. Deke Simon, Film & Video Budgets (5th ed. 2010). [FN56]. AV Chicago offers a variety of professional-level HD video cameras at rental rates of just under $200 per day and $600-800 per week. Lighting equipment is another $200 per week. Video decks rent for about $550 per week. Simon's rate for rental of a camera package is $900-1550 per day. Id. at 302. Cinematographer rates in the Chicago market range from $500 to $1,000 per day. This would result in a cost of $6250 to $12,500 for a two-and-a-half week shooting schedule. Simon's figures are $800 per week for the Director of Photography, and $775 per week for the Unit Production Manager. Id. at 300-01. [FN57]. Id. at 304. [FN58]. Id. at 244. [FN59]. Id. at 339. [FN60]. Compare id. at 334-39 (no-budget) with id. at 298-304 (digital feature). [FN61]. Id. at 429 (total budget); id. at 431 (assumptions). [FN62]. Tiny Core Pictures!, http://www.tinycorepictures.com/portfolio_ films.html (last visited Dec. 16, 2010). [FN63]. Interview with Eric Richter (Sept. 23, 2010). [FN64]. The $110,000 figure results from starting with Simon's Excel spreadsheet for a digital feature and reducing the time for principal photography and post-production, resulting mainly in labor cost savings, but little savings in other cost elements. [FN65]. Simon, supra note 56, at 299 (assuming fifteen days for lead actors; 1-day to 10-days for supporting cast). [FN66]. Id. at 298. [FN67]. Six Bullets, Indie Film How-To--Budget for a Real Independent Film, http://www.sixbulletsmovie.com/filmmaking/indie_budget.htm (last visited Nov. 29, 2010). [FN68]. See SAGIndie, www.sagindie.org (last visited Nov. 29, 2010). The website offers casting, budgeting, and resource-locator tools. [FN69]. Id. [FN70]. Id. [FN71]. Id. [FN72]. SAGIndie, Using SAGIndie Contracts, http:// www.sagindie.org/resources/contracts (last visited Nov. 29, 2010) (describing basic terms of contract). [FN73]. SAG Short-Film Agreement PP 5 & 6, http://www.sagindie.org/docs/sag-short-film-agreement-sample2009.pdf (last visited Nov. 29, 2010). [FN74]. Id. at P 7(C). [FN75]. Id. at P 9. [FN76]. Id. at P 10. [FN77]. Id. at PP 12-13. [FN78]. Ultra-Low Budget Agreement, P 6, available at http:// www.sagindie.org/docs/sag-ultralowbudget-2005LetterAgreement_41B10_ 09sample.pdf (requiring that paychecks be submitted to SAG office no later than Thursday following each payroll week). [FN79]. Wider use of digital photography, however, is likely to reduce the number of hours of video shot because the director and others can review takes immediately, rather than having to wait for film to be developed. That will result in fewer “just-in-case” extra takes to cover all eventualities. [FN80]. Telecine is a process for scanning color film into a high-resolution digital file. Colorlab, HD Telecine Guide, http:// www.colorlab.com/telecine/colorlab_HD_guide.pdf (last visited Nov. 29, 2010) (last accessed Nov. 29, 2010) l ts, Freedom (1983). Although newer scanning technologies are being deployed by film-to-digital service enterprises, the term “telecine” commonly refers to any such process. See Lasergraphics Motion Picture Film Scanning Systems, ‘Telecine is Dead!‘ http:// www.lasergraphics.com/us/pages/telecinevscanning.htm? gclid=CJOYt7XU36MCFSVL5wod729aaw (last visited Nov. 29, 2010). [FN81]. The semiconductors may be Charge-Coupled Devices (“CCD”) or Complementary Metal Oxide Semiconductors (“CMOS”). The difference relates to how much processing occurs on board the chip. CCDs do less processing than CMOSs. [FN82]. Red Digital Cinema, http://www.red.com/cameras/ (last visited Nov. 29, 2010). [FN83]. Theo Valich, 4K RED One Camera - Umwrapping the Lamborghini of Video Cameras, available at http://www.tomshardware.com/news/tg-daily-hands-4k-red-camera-unwrapping-lamborghini-video-cameras,5156.html (Apr. 7, 2008). [FN84]. Red Digital Camera, supra note 83. [FN85]. Panavision Camera System, http://www.panavision.com/product_ category.php?cat=1 (last visited Nov. 29, 2010). [FN86]. Panavision Film Magazine Technical Details, http:// www.cinematography.com/index.php%3Fshowtopic%3D21648+pa (last visited Nov. 29, 2010). [FN87]. Id. [FN88]. Id. [FN89]. Id. [FN90]. Panavision Camera System listing, http://www.panavision.com/product_ category.php?cat=1 (last visited Dec. 2, 2010). “As of the fall of 2007, Genesis features include: Superman Returns, Flyboys, La Maison du Bonheur, Click, Scary Movie 4, Déjà Vu, Apocalypto, Reign O'er Me, The Tiger's Tail, Grind House, Lookout, Next, The Ferryman, Balls of Fury, Condemned, Slipstream, Asterix 3, Before the Devil Knows You're Dead, His Majesty Minor, I Now Pronounce You Chuck and Larry, How About You, Superbad, I Know Who Killed Me, The Comebacks, 21, Le DeuxièmeSouffle, Tourist, Snow Buddies, Walk Hard, Addicted, EnfinVeuve, La JeuneFille et les Loups, Get Smart, Taken, Disco, Christmas in Wonderland, The King of Kung Fu, The Heavy, Finder T.A.T.U, The Rocker and The Other Boleyn Girl.” Id. [FN91]. According to Brad Templeton, a top quality 35mm photograph has over 20 million pixels, a good photograph has 12 million pixels, a consumer camera photograph has around 4 million pixels and a low quality photograph can have as few as 1-2 million pixels. According to the Panavision Genesis data sheet, the camera takes photographs at a consistent 12.5 million pixels. Therefore, generally, an expertly shot 35mm photograph will have almost twice the resolution of the digital shot. Brad Templeton, How many pixels are there in a frame of 35mm film?, http://pic.templetons.com/brad/photo/pixels.html (last visited Nov. 29, 2010). [FN92]. Id. [FN93]. Panavision SSR-1 Solid State Recorder Technical Details, http:// www.panavision.com/product_detail.php?maincat=1&cat=36&id=384&node=c0,c136, c137 (last visited Nov. 29, 2010). [FN94]. Id. [FN95]. SRW1 HD Portable Digital Recorder, http:// pro.sony.com/bbsc/ssr/product-SRW1/ (last visited Nov. 29, 2010). [FN96]. See Macaulay, supra note 9. [FN97]. Greg Kimble, Color Tutorial, http:// www.cirquedigital.com/howto/color_tutorial.html (last visited Dec. 2, 2010). [FN98]. This is not absolutely true. Film scanners, used to digitize film images, may have different color range responses compared with digital camera sensors. On the other hand, if the digital editing medium has lower resolution than the original film images, it is impossible for film prints to have higher resolution than the digital images from which they are printed. [FN99]. A common rule of thumb says that one page of script produces one minute of action to be captures, and one minute of movie, after one hour of editing. Interview with Eric Richter (Sept. 23, 2010). [FN100]. Echo Graphic Photo Processors. Precision Images, LLC.http:// www.pcbimages.com/Merchant2/merchant.mvc?Screen=CTGY&Category_Code=EEG, (2009). [FN101]. Mac Pro 8-Core, Store, http://www,apple.com (last visited Dec. 12, 2010). [FN102]. Spielberg used this last when editing his movie, Munich. [FN103]. Science and the Silver Screen, Time-Life Magazine 82 (1986). [FN104]. Marshall Brain, How Blue Screens Work (2000). http:// entertainment.howstuffworks.com/blue-screen.htm (2009). [FN105]. Entertainment Software Association, Industry Facts, http:// www.theesa.com/facts/index.asp (last visited Dec. 2, 2010); Michelle Meyers, Filmmakers at Sundance look to indie video game industry, CNET News, Jan. 20, 2007, available at http://news.cnet.com/Filmmakers-at-Sundance-look-to-indie-video-game-industry/2100-1026_3-6151844.html. [FN106]. Wikipedia, Video Game Industry, http://en.wikipedia.org/wiki/Video_ game_industry (last visited Dec. 2, 2010). [FN107]. Gamestudio, http://www.3dgamestudio.com (last visited Dec. 2, 2010). [FN108]. XNA Game Studio, www.creators.xna.com (last visited Dec. 12, 2010). [FN109]. Autodesk, http://www.autodesk.com (last visited Dec. 2, 2010). [FN110]. See Press Release, Autodesk, Autodesk Introduces MotionBuilder 2010 Real-Time 3D Character Animation (Aug. 3, 2009), available at http:// pressreleases.autodesk.com/index.php?s=118&item=616 (press release from Autodesk regarding Autodesk Motion Builder). [FN111]. Seth Schiesel, Way Down Deep in the Wild, Wild West, N.Y. Times, May 17, 2010, available at http:// www.nytimes.com/2010/05/17/arts/television/17dead.html?. [FN112]. Motion Picture Association of America, Theatrical market statistics 11 (2009), available at http://www.mpaa.org/Resources/091af5d6-faf7-4f58-9a8e-405466c1c5e5.pdf [hereinafter “MPAA, Theatrical Market Statistics 2009” ]. [FN113]. Id. (calculation by author: 920/931 q 99%). [FN114]. Id. (calculation by author: 507/920q 55%). [FN115]. Id. (calculation by author: 677/793 q 85%). [FN116]. Id. (calculation by author: 558/677q 82%). [FN117]. Id. (calculation by author: 191/479 q 40%). [FN118]. Id. (calculation by author: 288/479 q 60%). [FN119]. Id. (calculation by author: 158/558 q 28%). [FN120]. Id. (calculation by author: 400/558 q 72%). [FN121]. George Lucas's Blockbusting 831 (Alex Ben Block & Lucy Autrey Wilson eds., 2010). [FN122]. Id. at 292-93. [FN123]. See Suzanne Vranica, Brands Friending Social Gaming Amid New Web Craze, Wall St. J., Aug. 9, 2010, at B4. [FN124]. Brooks Barnes, In This War, Movie Studios Are Siding With Your Couch, N.Y. Times, Sept. 26, 2010 at “Sunday Business” 1 (reporting threats by theater chains to boycott movies from studios that reduce the window for VOD release). [FN125]. See Brian Stelter, Netflix to Pay Nearly $1 Billion to Add Films to On-Demand Service, N.Y. Times, Aug. 11, 2010, at B3 (explaining that a shift to streaming motivated Netflix investment, and characterizing streaming as “a new window for movie viewing, one that does not depend on cable or satellite carriers”). [FN126]. Digital Cinima Initiatives, http://www.dcimovies.com/ (last visited Dec. 12, 2010). [FN127]. See DLP Cinema, http://www.dlp.com/cinema/default.aspx (last visited Dec. 12, 2010) (Texas Instruments promotional site for digital projection); Sony, http://pro.sony.com/bbsc/ssr/mkt-digitalcinema/ (last visited Dec. 12, 2010) (Sony promotional site for digital projection). [FN128]. Reflections on the Kind of Exhibition Industry that Best Serves Movie Patrons, Makers, and Exhibitors in the Digital Era, National Association of Theatre Owners and Cinema Buying Group, (Jan. 2009), http:// www.natoonline.org/pdfs/PDF%20Digital%20Cinema/CBG-NATO%20Digital%C20for%C20Independents%Ëssay-Jan-Apr%202009.pdf. [FN129]. See e.g., CCG Digital Image Technology, http:// www.definity35mm.com/ (last visited Dec. 12, 2010) (LCD technology); LASERGRAPHICS, http://www.lasergraphics.com/us/pages/theproducers2.htm (last visited Dec. 12, 2010) (laser-based recorders); FilmLight, http:// www.filmlight.ltd.uk/products/aatonk (last visited Dec. 12, 2010) (laser-based recorders). [FN130]. Press Release, AMC Theaters, Digital Cinema Implementation Partners Announces Completion of $660 Million Financing for Digital Cinema Upgrade (Mar. 10, 2010), available at http://www.investor.amctheaters.com/releasedetail.cfm? ReleaseID=451023. [FN130]. See Brian Stelter, After Drought, Hope for Shows Made for Web, N. Y. Times, Aug. 9, 2010, at B-1 [hereinafter Stelter]. [FN131]. See Brian Stelter, After Drought, Hope for Shows Made for Web, N. Y. Times, Aug. 9, 2010, at B-1 [hereinafter Stelter]. [FN132]. My Damn Channel, http://www.mydamnchannel.com/ (last visited Nov. 20, 2010). [FN133]. Blip tv, http://www.blip.tv/ (last visited Nov. 20, 2010). [FN134]. Machinima, http://www.machinima.com/ (last visited Nov. 20, 2010). [FN135]. Next New Networks, http://www.nextnewnetworks.com/ (last visited Nov. 20, 2010). [FN136]. Stelter, supra note 133 at B4. [FN137]. Hulu, www.hulu.com (last visited Nov. 20, 2010). [FN138]. Hulu: The African Queen, http://www.hulu.com/search? query=the+african+queen&st=0 (last visited Nov. 20, 2010); Hulu: Gone With the Wind, http://www.hulu.com/search?query=gone+with+the+wind&st=0 (last visited Nov. 20, 2010). [FN139]. See, e.g., Hulu, http://www.hulu.com/watch/155302/going-down (last visited Nov. 20, 2010); Hulu, http://www.hulu.com/browse/alphabetical/feature_ film (last visited Nov. 20, 2010) (alphabetical list of full-length movies). [FN140]. Hulu, As the World Turns, http://www.hulu.com/search? query=as+the+world+turns (last visited Nov. 20, 2010). [FN141]. Wikipedia: Hulu, http://en.wikipedia.org/wiki/Hulu (last visited Nov. 20, 2010). [FN142]. Brian Stelter & Brad Stone, Successes (and Some Growing Pains) at Hulu, N.Y. Times, Mar. 31, 2010, available at http:// www.nytimes.com/2010/04/01/technology/01hulu.html?ref=hulu_llc. [FN143]. Id. [FN144]. Andrew Ross Sorkin & Michael J. de la Merced, Hulu Is Said to Be Ready for an I.P.O., N.Y. Times, Aug. 16, 2010, at B1. [FN145]. Alex Weprin, Hulu Making Documentary Push, Broadcasting & Cable, Mar. 19, 2009, available at http://www.broadcastingcable.com/article/190288-Hulu_Making_Documentary_Push.php. [FN146]. See Lisa Respers France, Indie movie ‘Strictly Sexual’ heats up Hulu.com, CNN (Feb. 23, 2010), available at http://articles.cnn.com/2010-02-23/entertainment/strictly.sexual.movie.hulu_1_hulu-com-movie-s-distributor-film/2?_s=PM:SHOWBIZ (reporting that the film cost $100,000 to make and has earned ten-times that in its share of ad revenue). [FN147]. Netflix, http://ir.netflix.com/annuals.cfm (last visited Nov. 20, 2010). [FN148]. Id. at 3 (letter to shareholders). [FN149]. See Mike Masnick, Indie Filmmaker Hits It Big With Free Film Online (Feb. 11, 2010, 1:50 AM) available at http:// www.techdirt.com/articles/20100210/0108248107.shtml (reporting on success of low-budget film on Hulu); TFC Tidbit of the Day 50 Digital Distribution Through an Aggregator, (Aug. 27, 2010) available at http:// www.thefilmcollaborative.org/blog/?p=255. [FN150]. Distribute Your Media Everywhere, www.distribber.com (last visited Dec. 12, 2010). [FN151]. Id. [FN152]. Distribute Your Media Everywhere: How It Works, http:// www.distribber.com/howitworks (last visited Dec. 12, 2010). [FN153]. Filmakers: How It Works, http://www.indieflix.com/pages/filmmaker (last visited Dec. 17, 2010). [FN154]. How to upload: Getting Started--YouTube Help, http:// www.google.com/support/youtube/bin/answer.py?hl=en&answer=57924 (last visited Dec. 17, 2010). [FN155]. Id. [FN156]. See Optimizing your video uploads: Upload page--YouTube Help, http://www.google.com/support/youtube/bin/answer.py?hl=en&answer=132460 (last visited Dec. 17, 2010) (instructing on how to upload HD videos). [FN157]. See Ensconce Lurk (A Short Suspense Film) by GoreRoyaleFilm, http://www.youtube.com/watch?v=77qUCJlCAAQ; Break a Leg, by BreakaLeg TV, http://www.youtube.com/watch?v=-9dlMkOFCzE&feature=PlayList&p=242983B4A6B90DC2&index=0&playnext=1 (last visited Dec. 12, 2010) (multiple episodes of serial). See generally Alex Munt, “Feature Film: A 'You Tube Narrative Model'?” FlowTV, http://flowtv.org/2007/06/feature-film-a-you-tube-narrative-model/ (last visited Dec. 12, 2010) (arguing that narratives are beginning to emerge on YouTube, suggesting opportunities for adapting Hollywood film models) [FN158]. See http://www.youtube.com/view_play_list?p=242983B4A6B90DC2 (last visited Dec. 17, 2010) (user-compiled clickable index of YouTube serials). [FN159]. Screenshot of page, “Break Leg--Pilot (Ep. 1, Part 1), http:// www.youtube.com/watch?v=-9dlMkOFCzE&feature=PlayList&p=242983B4A6B90DC2&index=0 (last visited Dec. 17, 2010). [FN160]. Screenshot of page, “B reak A Leg--Drug Trip (Ep. 11), http:// www.youtube.com/watch?v=IUa8lBo14Dc&feature=channel (last visited Dec. 17, 2010). [FN161]. Screenshot of page, “YouTube--BreakaLegTV's Channel, http:// www.youtube.com/user/BreakaLegTV (last visited Dec. 17, 2010). [FN162]. Viacom Int'l, Inc. v. YouTube, Inc., 718 F. Supp. 2d 514 (S.D.N.Y 2010). [FN163]. Id. at 522. [FN164]. Id. at 524. [FN165]. Hogging the remote: Old-media firms are firmly in control of internet video, The Economist, Sep. 2, 2010, available at http:// www.economist.com/node/16944911?story_ id=16944911&CFID=144127271&CFTOKEN=38314314 (reporting on pressure for YouTube to pay top dollar for studio-generated content, making it just another ‘humdrum‘ channel). [FN166]. Film: Babelgum, http://www.babelgum.com/film (last visited Dec. 17, 2010). [FN167]. About Joost, http://www.joost.com/about/joost/ (last visited Dec. 17, 2010). [FN168]. About MUBI, http://mubi.com/about (last visited Dec. 17, 2010). [FN169]. See Andrew O'Hehir, Movies online: The future is (almost) here, Salon.com, http://www.salon.com/entertainment/movies/beyond_the_ multiplex/feature/2009/06/17/digital_dist (June 17, 2009) (reviewing competing online movie streaming and downloading sites). [FN170]. Tom Bissell, Extra Lives: Why Video Games Matter (New York: Pantheon Books1st ed.2010) [hereinafter “Extra Lives” ]. [FN171]. Id. at 12. [FN172]. Id. at 11. [FN173]. Id. at 13. [FN174]. Id. at 12. [FN175]. Id. at 84-7, 92. [FN176]. Id. [FN177]. Id. at 86. [FN178]. Id. at 110-11 (explaining how user can select physical and psychological characteristics, and the emotional connection that results). [FN179]. Id. at 140 (describing character set and portrayal in Far Cry 2). [FN180]. Id. at 156 (describing Call of Duty 4). [FN181]. Id. at 157 (quoting Ubisoft designer Clint Hocking, developer of Far Cry 2). [FN182]. Id. at 118 (describing actual player choices available in the game Mass Effect, in the context of its basic narrative structure). [FN183]. Id. at 125 (reporting “noose of real dramatic concern tightening” as implications of choices became clear). [FN184]. Id. at 112 (explaining that the rule of thumb for movie screenplays is one minute of movie per page of screenplay). [FN185]. Id. at 116. [FN186]. Id. at 126. [FN187]. Id. at 180. [FN188]. Id. at 182. [FN189]. “Hedonic” in the parlance of the economics profession signifies non-monetary attractions of goods and services. [FN190]. Robert C. Picard, The Economics and Financing of Media Companies 117 (2002) (summarizing 2000 census data). [FN191]. Harold L. Vogel, Entertainment Industry Economics: A Guide for Financial Analysis 9 (6th ed. 2004). [FN192]. Id. at 65. [FN193]. Motion Picture Association of America, Theatrical Market Statistics 3 (2009), available at http://www.mpaa.org/Resources/091af5d6-faf7-4f58-9a8e-405466c1c5e5.pdf (last visited Dec. 3, 2010). [FN194]. Id. [FN195]. Id. at 4. [FN196]. Id. at 6. [FN197]. Id. at 7. [FN198]. Id. [FN199]. Id. Download 1.07 Mb. Share with your friends:
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