Archive for the ‘YouTube’ Category

Interviews about the National Campaign for the Arts

29th September 2009

Here is a video of interviews conducted by Darragh Doyle last week, upon the launch for the National Campaign for the Arts. It includes discussions with Tania Banotti, Irish Theatre Forum; Bill Whelan, Composer; Colm Toibín, Author; Anne Enright, Author; Donal Gleeson, Actor; Fiach Mac Conghail, Director of the Abbey Theatre; Lenny Abrahamson, Filmmaker; Loughlin Deegan, the Dublin Theatre Festival; Don Wycherly, Actor; Sarah Bolger, Actress.

YouTube Addresses Copyright

26th August 2009

Wired has an interesting article on how the issue of copyright infringement on YouTube is being tackled.

Its ContentID program was initially designed to discover and delete copyrighted material from YouTube. Now, it can also compensate artists whose work is being infringed:

YouTube’s database of audio and video fingerprints is learning how to deal with the fact that the guy who added a saxophone part to a particular song deserves a certain minute percentage of revenue when the song appears in your YouTube video. When you upload a video with someone else’s song as the soundtrack, you infringe on two exclusive rights of the copyright holder: the right to to distribute the work and the right to synchronize it to video. Nobody cares.

YouTube’s database pays the saxophonist (and everyone else with a stake in the song) a percentage of ad revenue, depending on the way their contracts worked out. This explains why the JK Wedding Dance video was able to feature Chris Brown’s “Forever” without permission, without being taken down.

That said, you can’t please everyone. Warner Music Group thinks YouTube’s revenue-sharing deal is too paltry and refuses to participate. The label also has a problem with guitar-themed videogames and a longstanding quarrel with YouTube.

But Warner’s in the minority here. Other major (and independent) labels have embraced YouTube’s partner program, so that in many cases, you can put entire copyrighted songs in your videos and upload them to YouTube. Just one caveat: If it becomes a hit – as the folks behind the JK Wedding Video found out – the rights-holders of the music will get paid while you, most likely, will not.

Theatre Forum Videos

24th June 2009

Theatre Forum has its own YouTube Channel, which includes videos of interviews, discussions, and panels from its annual Conference last month, which had as its subject “The Way Through”.

Virtual Cinema 2009

24th June 2009

Bord Scannán na hÉireann/the Irish Film Board has announced the new deadline of the short film scheme Virtual Cinema. Applications will be accepted until Friday 14th August

Virtual Cinema aims to encourage the exploration of fresh filmmaking ground with no creative holds barred. We are looking for creative ideas which will exploit interesting, new and traditional filmmaking techniques but can hold the attention of the YouTube audience.

The scheme is dedicated to the making of high-quality short films that are suited to the new forms of digital video consumption. Films made under the scheme can be live-action or can use any kind of animation technique and can be fiction or non-fiction. We are looking for new, imaginative, quirky and original ideas.

Films may be made in Irish or English with Irish language applications actively encouraged.

The first round of Virtual Cinema shorts, which premiered last summer can be viewed on a number of websites including the IFB website and YouTube with a number of the shorts receiving a huge number of hits due to viral marketing.

This round the IFB are funding up to 10 films with a duration of approximately 2 minutes and a maximum budget of €2,000.

More information and the application form can be obtained from the web site.

Sony in Talks with YouTube

8th April 2009

According to a news article on CNN YouTube is in negotiations with Sony Pictures to acquire licensing rights to full-length content. Last week Disney agreed to licence short-form content to YouTube. To compete in the burgeoning online video market YouTube must obtain more long-form drama.

Sony Pictures’ Web video property, called Crackle, could result in a boost to YouTube’s ambitions to become a player in Hollywood.

Sony acquired Crackle in 2006, a year before Google bought YouTube. It’s a multi-platform next-generation video entertainment network that distributes digital content including original short form series and full-length traditional programming from Sony Pictures’ library of television series and feature films.

YouTube and Google can’t be too choosy. The truth is that two years ago they miscalculated how much they needed Hollywood. YouTube frustrated some studio and TV executives by saying “we’re not responsible for the actions of our users.”

Since then, YouTube managers have changed their attitude and have focused on making the site more appealing to big entertainment companies, such as offering better-quality streams, and filtering for pirated content. Still, what was true two years ago is true now: none of the big entertainment companies is going to allow Google to build YouTube’s business on their content without getting something in return.

There’s also the question of what the studios intend to do with the traditional distribution model. Hollywood has long had agreements in place to release films through a complex assortment of channels, including theatrical release, DVD sales, and cable, premium, and broadcast outlets. For example, film-industry sources say the money Hollywood earns from the Web is a trickle compared with the ocean of cash it receives each year from cable providers.

Nonetheless, more and more people are canceling their cable subscriptions and turning to the Web for entertainment. Even execs from the cable companies have acknowledged this. Last week, after Disney announced the agreement with YouTube, I asked Jordan Hoffner, YouTube’s chief of content partnerships, whether YouTube, Hulu, and the other Web video services can convince Hollywood to wean itself off these other distribution channels.

“I think that what we’re doing is we’re dealing with a fragmented world,” Hoffner said. “You can’t just say you’re going to count out any distribution channel and focus on one because audiences are moving to other places. We’re one of the places they’re moving to.”