CHALLENGE: In an age of Series Cinema and declining American attendance, the challenge for the studios is to produce more original content that will bring people back into the theaters. DTTL (also referred to as "Deloitte Global") does not provide services to clients. Cinema takes a hit Box office revenue is already being hit from a number of quarters. I believe that 4K was inevitable, but Netflix certainly accelerated the trend. Cinematography Renaissance 8. The shift from television, cable and DVDs to the internet is changing cinema both inside and outside the theaters. In the latter camp fall, The Cloverfield Paradox, Alex Garland’s Annihilation and Andy Serkis’ Mowgli: Legend of the Jungle (the latter two given a brief theatrical run) none of which were deemed likely to set the box office alight and may or may not have made a return for Netflix. Ars Electronica Futurelab: Has looked at how to provide a joint experience for people, Source: Ars Electronica/ Florian Voggeneder, Roland Haring, technical director of Immersify partner Ars Electronica Futurelab (Austria), indicates that the ability to translate new technologies to compelling collective experiences will also help determine which approaches achieve lasting traction. Manchester by the Sea: Scooped two Oscars. forbes.com: Netflix Has Record-Breaking Fourth Quarter In 2017, Exceeds $11B In Revenue, variety.com: Netflix Eyeing Total of About 700 Original Series in 2018, vanityfair.com: Amazon’s Reportedly Dropping $1 Billion for a TV Show to Rival Game of Thrones, theguardian.com: Aesthetic excellence: how cinematography transformed TV, thefilmbook: Practical Optics 1 - Testing Different Sensor Sizes, thefilmbook: Practical Optics 2 - Notes on Lenses & Elastic Formats, thefilmbook: Venice Camera - Speaking with Sony Experts. “Whilst a $40 million opening isn’t exactly considered a box office record, it did create headaches for the Jumanji marketing campaign,” suggests author David Stiff. If television screens are better than projectors, perhaps they should replace them! This post offers a snapshot of the state of cinema in 2018, and reflects on key trends and challenges that may shape its future. Next update February 2020. One of the deciding factors in this struggle is quality, but how do D2C services make sure that, whatever ... Loudness, and in particular differing sound levels on TV have long been a source of frustration for viewers. Find out more. As well as this segment of the market continuing to mature thanks to new product launches – NEC itself launched the NC1402L digital cinema projector at the end of March – there is also a more widespread “understanding of the benefits of [laser projection] in terms of cost of ownership and light output. Six leading international bodies own IBC, representing both exhibitors and visitors. Such a move is also designed to woo directors of the calibre of Greengrass and the Coens. Diversity. While Netflix’ data secrecy calls for caution there can be no doubt of the soaring demand to stream movies at home, nor of the importance to streamers of securing original must-see content. Theater Attendance 7.
TREND: The industry is changing and will enable more women and people of color in positions of power. Full Frame Look4. This year Cannes’ stance backfired when festivals like Toronto, New York and Venice embraced Netflix financed Awards-baiting films like Coen brothers’ The Ballad of Buster Scruggs, making the festival seem on the wrong side of history. In many countries, its market share will be well over 50%, leaving most rival apps fighting over relatively small numbers of subscribers. Netflix deftly inflamed the craze by calling for greater care while doing it - but not to desist entirely.
New experiences on the Horizon If coronavirus had not intervened, the 2020 Cannes Festival – which was due to take place from 12-23 May – would have been an ideal opportunity to gain a clearer understanding of cinema’s possible immersive future. “The single worst thing Disney could do is launch a DTC product that consumers find underwhelming,” analyst Todd Juenger of Bernstein Research wrote in Variety. TREND: A widening variety of tools and approaches is creating a Cinematography Renaissance. A major 2019 release co-financed by Amazon and Warner Bros to look out for is an adaptation of Donna Tartt’s Pulitzer Prize winning novel The Goldfinch starring Nicole Kidman and Ansel Elgort lenses by 2018 Oscar winner Roger Deakins. Studios play the franchise gameThe battle for content and the seismic shift to direct-to-consumer video pioneered by Netflix created the hottest M&A last year when Disney beat Comcast to 21st Century Fox. Do not delete!
Perhaps Paramount did not want a repeat box office performance of Scorsese’s previous passion project The Silence, but nonetheless it says a lot when one of the world’s greatest directors together with actors Al Pacino, Harvey Keitel and Robert de Niro can only get their movie funded by a streaming service. If the appeal of 3D has ultimately been limited to a specific strain of ‘big spectacle’ movie, there are indications that these other new technologies will resonate more enduringly with a broader cross-section of creatives. Key statistics on the cinema industry in Australia. Gender, Race & Age of Directors across 1,100 Films from 2007-2017 (PDF), womenintvfilm.sdsu.edu: The Celluloid Ceiling Behind the Scenes Employment of Women on the Top 100, 250 and 500 Films of 2017 (PDF). With the vast increase in OTT and streaming services supplying a ‘captive’ audience during lockdown, and new streamers investing fortunes in the market this year, the battle for eyeballs is fierce.
Kevin is a vice chairman and leads the US Technology, Media & Telecommunications (TMT) practice of Deloitte; as well as serves as the global Telecommunications, Media and Entertainment (TME) practice ... More, How new technology will shape the future of telecommunications. Among the chief reasons given by Ampere is the high price of tickets. “We struggle to see how Disney can simultaneously make this [sustained] investment while also de-leveraging [paying down the debt on Fox]. This could be because Amazon is less interested in making money from box office returns and home entertainment sales than it is in attracting subscribers to spend more time on its subscription platform, Prime - and consequently more cash on online retail. As well as making people comfortable with the idea of returning to public spaces, cinema operators with deeper cash reserves will also be looking at how new technologies and facilities can strengthen their offers. Discover Deloitte and learn more about our people and culture. With the vast increase in OTT and streaming services supplying a ‘captive’ audience during lockdown, and new streamers investing fortunes in the market this year, the battle for eyeballs is fierce. It seems unlikely that any one operator will have the wherewithal to implement all of these technologies, so tailoring the use of technologies to the specific demographics of the cinema will surely become more critical in the future. CHALLENGE: The latest home televisions are technically superior to theater screens. It’s not just any old content that subscribers want either but premium shows and quality movies that they can’t get anywhere else. Over the past year Netflix has seemingly undergone a Damascene conversion by granting a limited cinema release to those of its films with most chance of winning an Oscar.
backlothelp.netflix.com: Can I shoot on the Arri Alexa / Amira? Reduced capacities are a near certainty when venues do reopen, due to the continuation of social distancing. This has reached its fruition with the Deep Space 8 environment, which in its installation at the Ars Electronica Center combines 6 x 9 metres of wall, 16 x 9 metres of floor projection, laser tracking, 3D animations and 8K resolution visuals. Key data, trends and analysis plus case studies of some new release strategies. Full Frame Look 4. “If one or two pull their content Netflix can plug the gap. By contrast, in the week of Bird Box’ release Mary Poppins Returns topped the UK box office for the second week in a row with £7.4m followed by Transformers prequel Bumblebee (released the same day as Bird Box) at just over £5m from an approximate audience of 700,000 and 500,000 respectively.
TVs and Theaters 6. There is perhaps no other business as negatively impacted by COVID-19 as the cinema industry - theaters were shut down, blockbusters movies were rescheduled and movie production ground to a halt. As the streaming wars intensify, can consumers expect to see more diverse on-demand options in the year ahead? It will be fascinating to see the impact of this optical perspective and depth of field on the stories they will tell.
Some technologists, like Michael Cioni and Dan Sasaki from Panavision, have pointed out the benefits of oversampling in terms of finesse — for example shooting 8K for a final image in 4K. Smaller-scale immersive deployments that can be achieved with a minimum of investment are sure to appeal to cinema operators as they work to make their venues more attractive in what is destined to be a more economically uncertain decade than anyone could ever have predicted.
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