Inside Film

Inside Film http://if.com.au/ Inside Film - Australia en-us http://blogs.law.harvard.edu/tech/rss info@if.com.au (The Editor) Convergence Review strongly supports Australian content http://if.com.au/2012/04/30/article/Convergence-Review-strongly-supports-Australian-content/FOVAJZIKQC.html http://if.com.au/2012/04/30/article/Convergence-Review-strongly-supports-Australian-content/FOVAJZIKQC.html Sandy George The final report of the Convergence Review, released this afternoon, strongly supports the social and cultural value of Australian content and makes it very clear that, without intervention, it will drop to unacceptable levels. As flagged in the interim report, it is proposed that the current rules applying to free-to-air and subscription television be repealed but that a new technology-neutral regime be uniformly applied to all players, including the networks’ digital multichannels, internet-delivered channels with television-like content and on-demand services. To be one of the “content service enterprises” subject to the new regime, a service must be screening or offering professional television-like drama, documentary and/or children’s programs, and meet not-yet-determined minimum revenue and audience thresholds. This means that platforms that predominantly run user-generated material and social media sites escape the recommendations. If a service falls into this category it will be required to invest a percentage of its revenue into Australian drama, documentary and children’s programs, or into a “converged content production fund” with a very broad remit. As well as getting contributions from these enterprises, the fund will receive spectrum licence fees from broadcasting services and direct funding from the taxpayer. Finance from the fund will go to traditional and innovative programming, regionally-focussed Australian content, games and other applications, as well as content that supports Australian contemporary music. The 177-page report contains many recommendations on media ownership and control, content standards, and spectrum allocation and management. It provides a picture of current legislative frameworks, the effect of leaving the media and telecommunications landscape as it is, and a proposed new world order – and a three-stage approach to its implementation. Having a transitional period is recommended on the Australian content front, during which subquotas on the main commercial free-to-air are increased by 50 per cent -- to make up for how little local content is on the multichannels – and the 10 percent minimum expenditure requirement on eligible drama subscription channels is extended to children’s and documentary programming. The review committee states that there is a continuing case for government support for Australian production – again, it is drama, documentary and children’s programming that needs intervention – and it has stuck by its guns in recommending that the value of the producer offset should go up from 20 to 40 per cent for “premium” television content, putting it on the same footing as features. It also recommends that an offset be introduced for interactive entertainment. On the business and legal conditions under which independent producers operate, the review committee of Glen Boreham (chair), Malcolm Long and Louise McElvogue, have passed the ball back to the government. The report emphasises that it is pushing for principles-based legislation so that the future can be accommodated. It also opts for the creation of a new independent statutory regulator to replace the Australian Communications and Media Authority. This new body would include a classification board. If the recommendations are adopted there will be a significant shake-out and both winners and losers. The Minister for Broadband, Communications and the Digital Economy, Senator Stephen Conroy, released the report and said the government would respond “in due course”. Mon, 30 Apr 2012 15:41:29 +1000 Quickflix to stream content to Xbox 360 consoles http://if.com.au/2012/04/30/article/Quickflix-to-stream-content-to-Xbox-360-consoles/YPYZLHMXQN.html http://if.com.au/2012/04/30/article/Quickflix-to-stream-content-to-Xbox-360-consoles/YPYZLHMXQN.html Staff reporter Online movie company Quickflix has announced a new partnership with Microsoft, which will see content streamed directly to Xbox 360 consoles. Quickflix's catalogue of films and TV series will be available on a subscription service basis, with Xbox Live Gold subscribers able to stream unlimited content for a low monthly fee. The last twelve months has seen the company expand its reach across a range of platforms and devices, including tablets, smart TVs and mobile phones. The service will be available in Australia and New Zealand later this year. Mon, 30 Apr 2012 11:15:32 +1000 Fandependent ready to sign with first four partners http://if.com.au/2012/04/19/article/Fandependent-ready-to-sign-with-first-four-partners/EWYYXGTQIX.html http://if.com.au/2012/04/19/article/Fandependent-ready-to-sign-with-first-four-partners/EWYYXGTQIX.html Sandy George Video blogger Christiaan Van Vuuren and Nick Boshier, one of the creators of Beached Az, are in advanced discussions to partner with Fandependent, the company being set up by Thomas Mai and Josh Pomeranz to help finance and commercialise Australian content online. The filmmaking pair plan to use crowd funding to finance a feature film, to be directed by Van Vuuren, about “a dubious character” from the Sydney western suburb of Punchbowl. “He’s already got 146,00 fans on Facebook, YouTube and other online sites,” said Boshier. “I’ve been accused of being this character but fervently deny it. In fact I think it’s insulting because I’m much better looking!” The animated Beached Az started life online and 21 one-minute episodes were subsequently shown on ABC TV. Since then, Boshier and Van Vuuren have created and distributed 16 episodes of the live action Bondi Hipsters series online – and have another 10 in the can. Episodes are one to three and a half minutes in length and have garnered 1.5 million views and nearly 5,000 Facebook fans, and television networks in Australian and abroad have also requested treatments for a full-length version, Boshier said. The fledgling Fandependent has $200,000 from Screen Australia’s innovative distribution program to identify and work with 10 creative teams over the next two years. It is part of the agency’s remit to build sustainable businesses. “The beauty of working with someone like Thomas is that he’s all about empowering the filmmakers, helping them to control, own and engage the fanbase,” said Boshier. Mai is a former sales agent and online media expert and has sold films from Lars von Trier, Susanne Bier and others. He relocated to Australia last year, sponsored by Pomeranz, managing director of post facility Spectrum Films. They get emails daily from filmmakers wanting to acquire the skills to access funds and fans a mouse click away. There are no rules about what elements a project has to have to guarantee high online potential but perhaps a character is already well-known on YouTube or already has a fanbase, or perhaps the subject particularly suits a niche but big and enthusiastic audience. “Europe has a problem because there are so many languages but Australia has the huge strength of being English-speaking, although with a funny accent,” said Mai. “There is a global audience now available with no restrictions and no borders ˆ Some see yourselves as isolated but the internet means you are now connected ˆ Filmmakers have to learn a whole new set of skills and have to learn how to communicate with an audience.” Fandependent will get an executive producer credit and a percentage of the money it helps to raise. The company is expected to also educate the wider film community as part of the Screen Australia deal: a full-day workshop is being held from 9.30am this Saturday (April 21) at Open Channel in Melbourne and on May 5 in Sydney. Thu, 19 Apr 2012 16:48:59 +1000 Aussie actors cast in Netflix series Hemlock Grove http://if.com.au/2012/04/17/article/Aussie-actors-cast-in-Netflix-series-Hemlock-Grove/JPXGDIKNII.html http://if.com.au/2012/04/17/article/Aussie-actors-cast-in-Netflix-series-Hemlock-Grove/JPXGDIKNII.html Amanda Diaz Two Australian actresses have joined the cast of Netflix's supernatural series Hemlock Grove. Penelope Mitchell (Rush, Offspring) and Freya Tingley (X, Cloudstreet) will join Famke Janssen and Bill Skarsgard in the 13-part series, which is executive produced by Eli Roth. Hemlock Grove centres around the murder of a young girl whose body is found close to a former steel mill. Rather than following the traditional television delivery method of releasing an episode each week, Netflix will make the entire series downloadable on debut. Mitchell is represented by JM Agency and Tingley is represented by Smith & Jones Management. Tue, 17 Apr 2012 15:57:05 +1000 IF.com.au offers free job listings via jobla until end of June http://if.com.au/2012/04/05/article/IF-com-au-offers-free-job-listings-via-jobla-until-end-of-June/MIKJJVIRSI.html http://if.com.au/2012/04/05/article/IF-com-au-offers-free-job-listings-via-jobla-until-end-of-June/MIKJJVIRSI.html Staff reporter IF Magazine is offering the film, television and digital media industries the opportunity to create unlimited free job listings until the end of June on its fast-growing job search website, <a href="http://www.jobla.com.au/advancedSearch.aspx?widgetSearch=1&professionID=7817&Switch=InsideFilm" target="_blank">jobla</a>. Jobla was launched by IF Magazine’s parent company, The Intermedia Group, in September last year in response to growing demand from the company’s broad range of advertisers for a job search site. Through The Intermedia Group’s vast network of B2B websites, eNewsletters and social media profiles, highly-targeted employment opportunities are being showcased to some of Australia’s most experienced, desirable and hard-to-reach job seekers. Since jobla’s launch, it has already hosted more than 57,000 visitors and had in excess of 165,000 page views. The site boasts an average of 13,000 job advertisements across a range of sectors, with more than 27.5 per cent of its traffic being repeat visitors. For more information about how to register for this free offer click <a href="http://jobla.com.au/-510145/advertise-your-jobs-on-jobla-for-free" target="_blank">here</a>. Thu, 05 Apr 2012 16:37:19 +1000 Quickflix, FetchTV expand online movie businesses http://if.com.au/2012/04/02/article/Quickflix-FetchTV-expand-online-movie-businesses/DHITAXQRPF.html http://if.com.au/2012/04/02/article/Quickflix-FetchTV-expand-online-movie-businesses/DHITAXQRPF.html Brendan Swift Online movie company Quickflix has launched its on-demand streaming service in New Zealand. The Quickflix launch mirrors the Australian subscription offer which is available over internet-connected PCs and Apple Mac, Sony Bravia TVs, Blu-ray players and PlayStation 3 game consoles. The online streaming service will soon also be available through Samsung smart TVs, Galaxy Tablets and smartphones in both countries. The expansion continues a period of intense competition between several companies which are vying to gain a dominant position in the online movie market. The Australian market is still in its nascent stages although the rollout of the National Broadband Network is expected to prompt another growth surge. Rival Australian company FetchTV this week announced that it had expanded its movie lineup, which now stands at more than 1000 titles, including more than 250 new releases. FetchTV is delivered via broadband providers including iiNet, Optus, Internode, Adam Internet, Netspace and Westnet. FetchTV is backed by the Malaysian-based Astro All Asia Networks subscription TV group. Apple’s iTunes and Telstra’s T-Box remain dominant players in the Australian market. Mon, 02 Apr 2012 14:17:40 +1000 IF Magazine launches iPad version - second issue http://if.com.au/2012/03/27/article/IF-Magazine-launches-iPad-version---second-issue/FXOGISZIWV.html http://if.com.au/2012/03/27/article/IF-Magazine-launches-iPad-version---second-issue/FXOGISZIWV.html Staff reporter IF Magazine has launched an iPad version, which is available now through Apple’s iTunes store. The last two issues of IF Magazine (#144 Dec-Jan and #145 Feb-March) are now available. Each iPad edition of IF Magazine includes extra multimedia components including video, photo galleries and animation. It is the first iPad publication by parent company Intermedia Group, which fully-funded development. Intermedia publishes about 30 magazines including Time Out Sydney. Download the iPad version <a href="http://itunes.apple.com/au/app/if-magazine/id502987364?mt=8" target="_blank">here</a>. Tue, 27 Mar 2012 15:05:13 +1100 Beyond International to buy Q's digital business for $3.25m http://if.com.au/2012/03/27/article/Beyond-International-to-buy-Qs-digital-business-for-3-25m/ZCZVAHNZPU.html http://if.com.au/2012/03/27/article/Beyond-International-to-buy-Qs-digital-business-for-3-25m/ZCZVAHNZPU.html Brendan Swift Local production house Beyond International plans to buy Q Group’s digital marketing operations for $3.25 million. The assets will form a new digital division within Beyond, which will be headed by Q’s current chief executive Jon Ostler. Beyond produces a slate of successful television programs, including the popular MythBusters series, and posted a 14 per cent rise in net profit to $3.99 million over the December half-year. Beyond chief executive Mikael Borglund said the company has been expanding its digital capabilities. “This proposed acquisition will provide Beyond with access to a diverse range of digital expertise, IP and assets covering digital strategy, creative, development, marketing and media,” he said in a statement. The sale, which will require the approval of Q’s shareholders, will end a period of turmoil for the digital marketing and advertising company. In a letter to shareholders, Q’s executive chairman Paul Choiselat said it had been unable to generate positive cash flows over the past two years due to difficult trading conditions. “After an internal review of the business’s future prospects, the directors considered and accepted the offer for the assets of the group’s business from an independent third party,” he said. The $3.25 million sale price is the maximum payable and includes performance hurdles related to earnings targets. If the sale proceeds, Q plans to pursue new business opportunities. Tue, 27 Mar 2012 11:31:53 +1100 Stills photographer Jasin Boland on capturing iconic film images http://if.com.au/2012/03/07/article/Stills-photographer-Jasin-Boland-on-capturing-iconic-film-images/CXCQAYSWUF.html http://if.com.au/2012/03/07/article/Stills-photographer-Jasin-Boland-on-capturing-iconic-film-images/CXCQAYSWUF.html Aleksandra Popovic A film can say a million things in 90 minutes and a single still shot can arguably do the same in 1/50 of a second. The art of capturing that one, powerful, awe-inspiring shot is the secret of many still photographers who canvas the world each day in search of pictures which tell a thousand words. Jasin Boland, one of Hollywood’s finest motion picture stills photographers – best known for his work on The Matrix, The Bourne Supremacy, Mission Impossible and The Mummy films – says there are two things a feature film stills photographer sets out to do. “Our job is to tell a story in a single frame as an artist and to go on set looking for that one iconic image. When I go on set my style is raw and dirty and although I try not to think about too much while I’m shooting, subconsciously I am. I’m trying to interpret a whole film of an hour and a half into one single frame, which the whole world will judge the film on.” On the back of his success with recent films such as Safe House (Denzel Washington, Ryan Reynolds), Ghost Rider (Nicolas Cage) and Sanctum (Richard Roxburgh), Boland is currently in Australia promoting the new range of Nikon cameras as Nikon’s ambassador. Nikon's D800 is aimed at the popular DSLR market that Canon, which last week released the 5D Mark III, has cornered amongst filmmakers. The role of photographers on set is more often than not underestimated and despite the fact that their work features on movie posters, billboards, TV commercials, magazines and newspapers all around the world, they are rarely recognised. Yet photographers like Boland lurk around the set for 12-hour shifts trying to capture that one shot and with patience, practice and effort sometimes they nail the shot in the first frame. “I remember the first day of shooting on Safe House and there was a scene with Denzel Washington carrying a gun down the corridor and suddenly he had turned around and looked straight down the lens of my camera and I just rattled off a few frames. I got this imposing portrait off him and went jokingly to Daniel, the director, 'I think I just got your poster and it’s the first shot of the day'.” Boland recalls similar success on The Matrix where the first shot of the first day of characters Neo, Morpheus, Agent Smith and Trinity ended up being the iconic poster which would continue to resonate in our minds over ten years after the film's release. While he describes his job as interpreting a script and then surveying the set like a fly on the wall while remaining unseen, Boland acknowledges that there’s a lot that goes behind such emblematic shots. “A good photographer can do their job on almost any camera. But it’s not just about doing the job but about making it as easy as possible to be able to think about the shot and creativity. My life is governed by shutter speed and that’s why my choice of cameras is crucial. I mainly shoot very low light action films and so I need a fast shutter speed. At the moment I’m using the Nikon D3S and D700 while testing out the new D4 and D800.” He says the strength of every portrait comes down to presence in a character’s eyes. “Everything is in the eyes, they truly are the windows to the soul. I’ve realised that when actors are not talking I capture the most powerful shots because they are thinking about their role and what they are going to do and in many ways they are more in their character in that moment of thought. That’s the moment that you dream about as a photographer and when you get that powerful shot it just hits you in the face.” Boland's latest work will be seen in several Australian-shot films soon to be released including Mental, Bad Karma and Undertow. He is also set to shoot stills on the next Mad Max film, Fury Road. Wed, 07 Mar 2012 14:18:37 +1100 Australia is the largest overseas market for the BBC iPlayer http://if.com.au/2012/02/23/article/Australia-is-the-largest-overseas-market-for-the-BBC-iPlayer/UIEDSZURBB.html http://if.com.au/2012/02/23/article/Australia-is-the-largest-overseas-market-for-the-BBC-iPlayer/UIEDSZURBB.html Emily Freestone Australia is the largest overseas market for the global BBC iPlayer and accounts for one-fifth of the digital player's global revenue, according to the BBC Worldwide. The general manager for BBC Worldwide’s global BBC iPlayer, Matthew Littleford, told an audience at the Australian Broadcasting Summit that conversions to the paid iPlayer service are higher here than anywhere else in the world. "It clearly shows how a VOD service can quickly optimize itself to different territories by simply listening to its viewers," he said. "Editorial decisions are already being made on a whole range of completely measurable new insight gained directly from existing viewer interaction and localised for each territory." Littleford revealed that 13 per cent of consumers accessed the app on multiple devices and 7 per cent solely used iPhones and iPods to view content. On average, Australian subscribers to the iPlayer watched 4.2 shows a week. The BBC iPlayer was launched in Australia in September 2011 available on iPad, iPod and iPhone and now spans across 16 markets in Western Europe, Canada and Australia. The report also showed that Australians preferred to view content outside of the home, downloading content to store and view later, and that the peak times to watch programs were around 9pm and 7am (for children’s content). Daytime viewing was higher on weekends. Littleford also said that mainstream programs are attracting new viewers but the BBC's archived programs are keeping them there. Thu, 23 Feb 2012 14:17:18 +1100