Buzzfeed Is Officially A Case Study In Media Industry Disruption
> “Buzzfeed’s founder and CEO, Jonah Peretti, says he’s doing to the media industry just what Toyota and Honda did to Ford and GM in the 1970s and 1980s.
“When people first started noticing us,” Peretti tells Felix Oberholser-Gee, the HBS professor who wrote the case study,
their response was similar to the way Japanese cars were perceived when they were first introduced to the U.S. People made fun of them, and they laughed, “Look at these crappy cars.” But a lot of young people said, “Awesome, I can own a car for the first time, and it gets me around.” And then the cars got to be better and better, and now people generally consider Japanese cars to be higher quality than American cars.”
Consortium formed for Internet of Things
> “Industry leaders including Dell, Intel and Samsung have formed a consortium to help develop open standards to the enable the Internet of Things.
The Open Interconnect Consortium (OIC), will be run as a non-profit corporation to develop specifications, open source implementations and certification programs for the wireless connection of any type of devices which will form a part of the ‘Internet of Things.’
Atmel Corporation, Broadcom Corporation, Dell, Intel Corporation, Samsung Electronics Co., Ltd., and Wind River are the founding partners who will contribute software and engineering resources to the project. Other companies, including vertically focused organisations, are expected to join later.”
"Atlantic Productions and British wildlife program presenter Sir David Attenborough are venturing further into the virtual reality realm, with the launch of Alchemy VR.
The new division, which will see the U.K. indie working with its visual effects studio ZOO, will create VR content for next-gen headsets such as the Oculus Rift and the Sony Morpheus.”
Food for thought “Yet all of this growth and increasing connectedness, which can seem both effortless and unstoppable, is now creating enormous friction, as yet largely invisible to the average surfer. It might not remain that way for much longer. Fierce and rising geopolitical conflict over control of the global network threatens to create a balkanized system—what some technorati, including Google’s executive chairman, Eric Schmidt, have called “the splinternet.” “I’m the most optimistic person I know on almost every topic,” the Internet entrepreneur Marc Andreessen recently said in a public interview, and “I’m incredibly concerned.” Andreessen said it is an “open question” whether the Internet five years from now “will still work the way that it does today.”
"While real-time marketing has often meant a social-media push around a relatively limited event like the Super Bowl, July 4 marks the 23rd consecutive day of Adidas’ effort to produce and push out exclusive content across social and global retail channels in sync with events during the 64 World Cup matches. For the last year, London-based social media agency We Are Social has been flying across the globe to gather content on over 100 Adidas players that can be assembled on the fly regardless of who wins. Luckily for Adidas, one of those athletes is James Rodriguez, a 22-year-old who has scored six goals so far as the emerging star for Colombia, an Adidas-sponsored team that hasn’t gotten this far before in a World Cup."
"Most of the YouTube creators now boasting millions of followers started out with modest production values, technology and creative capabilities. Now, as those swooning Vidcon attendees can attest, the creators have fans, who have Expectations, which they share publicly and loudly. It’s a bit like the indie rock band that finally signs to a major label. Fans who thought they “discovered” and “owned” the band start screaming “sell-out.” It’s even worse now. Unlike in the days of Frank Sinatra, or Elvis Presley, or Shaun Cassidy, or the Backstreet Boys, fans can talk back to their favorite creators, and to each other, on YouTube, Twitter, Facebook, Instagram, Vine, Tumblr, Reddit and other social-media sites and online communities. Too much deviation from fan expectations can be a killer."
"Alfonso Cuaron’s Oscar-winning “Gravity” cost more to produce than India’s real life space mission, India’s Prime Minister has claimed.
Narendra Modi, India’s recently elected Prime Minister, made the suggestion Monday at the launch of the Polar Satellite Launch Vehicle from Sriharikota, a spaceport in southern India. The rocket was carrying four satellites from Germany, France, Canada and Singapore.
“I have heard about the film ‘Gravity.’ I am told the cost of sending an Indian rocket to space is less than the money invested in making the Hollywood movie,” Modi said.
The budget of the U.K.-U.S-produced 3D sci-fi thriller, starring Sandra Bullock and George Clooney, is understood to be in the region of $100 million.
By contrast India’s program to launch a Mars probe has a price tag of INR 4.5 billion ($73 million).”
"Fueled by an enviable online presence — 13.7 million Facebook fans, 2.22 million on Twitter and 668,000 Instagram followers — it’s no wonder PLL, whose median viewer age is 21, has become the "how-to" in keeping an elusive demographic, younger viewers, deeply engaged. While live viewership among the younger set has been declining in favor of gaming consoles and mobile devices, according to a 2013 Nielsen cross-platform report, PLL has bucked the trend, pulling in night-of viewing with steadily increasing ratings. (Season four averaged 2.7 million viewers in time-shifted viewing among the target 12-to-34 demo, up from 2.5 million in season two.)"
"Top countries, by IPTV subscribers
1. China – 32.7 million
2. France – 14.8 million
3. USA – 12.3 million
4. South Korea – 9.1 million
5. Japan – 4.5 million
6. Russian Federation – 3.6 million
7. Germany – 2.7 million
8. UK – 1.9 million
9. Netherlands – 1.8 million
10. Vietnam 1.6 million”
"You watched the wrenching documentary. You posted your outrage on Twitter. But are you good for more than a few easy keystrokes of hashtag activism?
Participant Media and some powerful partners need to know.
For the last year Participant, an activist entertainment company that delivers movies with a message, has been quietly working with the Bill & Melinda Gates Foundation, the Knight Foundation and the University of Southern California’s Annenberg School for Communication and Journalism to answer a question vexing those who would use media to change the world.
That is, what actually gets people moving? Do grant-supported media projects incite change, or are they simply an expensive way of preaching to the choir?
Ultimately, the answers may help determine which projects get financed, which formats are favored and how stories are structured. That could be true for so-called double bottom line companies like Participant, which seek to profit (or at least break even) while creating social change, and also for nonprofits like the Gates Foundation, which increasingly rely on entertainment-style media (like the education documentary “Waiting for ‘Superman’ ”) to drive an agenda.”
Virtual Documentaries Try to Re-create Real-Life Drama
> “De la Peña has made several immersive virtual-reality documentary films including Project Syria, about refugee children in Syria, which was commissioned by the World Economic Forum, and Hunger in Los Angeles, a film about access to food banks in the U.S. that premiered at the Sundance Film Festival in January 2012.
“I start with eyewitness video, audio, and photographs and then carefully reconstruct an event with high-end animations, environment models, and spatial soundscapes to create a first-person experience of the events,” De la Peña explains.
Viewers wear virtual-reality goggles with a wide field of view and are able to freely walk around the environment, which is rendered in 3-D. They are free to choose where they look and move but are unable to affect the linear nature of the nonfiction narrative.”
"Technology clearly facilitates a changing relationship with the people formerly known as the audience, and it is this attribute that all were considering. Whether it was massive collaboration through “cloud filmmaking” or recognizing that people “want to have the story with you at all times”, participation and portability were key elements of what the new breed was hungry to utilize.
Barriers exist and if we don’t maintain an open internet, visions will vanish. People and artist both must take control not just of their work, but the data they generate. Our direct contact with audiences is one of the greatest gifts and we must not lose that at any cost. We can not let the culture of content ubiquity create a community of competition. Our path forward is through sharing.”
> “One problem is simple overuse: as Kevin Roose writes, “disruptive innovation” has been adopted and championed to egregious excess by the modern management class, particularly in Silicon Valley. But more broadly, more people are coming to feel that for them, for America as a whole, and indeed for most of the world, embracing disruptive innovation isn’t working out very well. The Christensen Institute promises that disruptive innovations, which are distinctive not by being better or more advanced than rivals but by being much cheaper, are a positive force, “innovations that make products and services more accessible and affordable, thereby making them available to a much larger population.” But the idea of disruptive innovation has always promised more than lower prices. Ms Lepore insightfully calls it a 21st-century update of an earlier era’s faith in progress.”
"“You have demand for the programming beginning on demand, not just here but around the world, which is bringing billions more viewers into the process,” said Jeff Bewkes, who has served as CEO of the media conglomerate for about six years. “It is absolutely the golden age of video programming.”
According to Bewkes, video-on-demand rights have been established at the majority of cable and satellite distributors. The key now, he said, is to make the programming easier for consumers to access.
“The beauty of on-demand is you have everything. The problem you have is, ‘It’s too much. How do I get to it?’ That becomes the next piece for such a valuable set of rights and good programming. The big part of it is it’s been paid for, it’s available. The small part is that it’s not been made easy to use.”
"The studio behind the new summer spectacular "Transformers: Age of Extinction," which opens Friday in China and the U.S., pulled out all the stops to appeal to audiences in China, the world’s second-largest movie market.
Four of the movie’s actors were cast through a Chinese reality show watched by millions. Crews spent weeks filming in Beijing and fan sightings of movie stars lighted up Weibo, China’s top social network. When it came time to throw a glitzy premiere, studio executives rolled out the red carpet in Hong Kong, Beijing and Shanghai.”