“Joshua” a Short Film Through Viddsee and Its Shareability In
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Seeing a Future for Short Films
108 LEADERS OF TRANSFORMATION LEADERS OF TRANSFORMATION 109 VIDDSEE creating websites for them or uploading them on third-party hosts. But as someone who was neither a celebrity nor even a YouTube star, he found it hard to get his con- Seeing a future tent out to an audience. Viewership would spike upon the initial release, but swiftly tail off. He rued the brief lifespan of his short films: for short films “There’s so much work you put into one thing and it doesn’t have a life after that.” Viddsee aims to tell a brand’s story with Viddsee thus arose from the wish to bring audiences artistry and sincerity, backed with hard data to filmmakers. The site focuses on “short premium content”, including indie films, documentaries, and about what works and what doesn’t. branded content, with their bite-size nature making them suitable for social sharing. Today, some of its videos receive over 100 million views in three months. Yet when it comes to viewership, it is not mere quan- tity that Viddsee is after. Part of Viddsee’s value propo- ISIT online video platform Viddsee, and one sition to clients is being able to target the right viewers. thing that might strike you – in contrast to Building an internet television platform is one V other video hosting sites – is the utter lack of thing; developing an audience is another, says Mr Ho. ads. As a venture capital-backed firm that was pre- “I think it’s something that takes longer but will revenue till 2017, Viddsee has had the leeway to re- pay off (in terms of) loyalty and being a differentiat- ject certain commercial approaches. -
“Joshua” a Short Film Through Viddsee and Its
Received December 1, 2016; Accepted March 11, 2017 Sudarsono, Kus Universitas Multimedia Nusantara Performance of “Joshua” A Short Film KAMPUS UMN, Scientia Garden Jl. Boulevard Gading Serpong, Tangerang, Indonesia. Through Viddsee and Its Shareability in [email protected] Indonesia Abstract Distribution and exhibition options of short films are limited, short film mostly circulated amongst certain community and film festivals. If the film makers wish a broader audience, they have to go online through online video platforms. One of the online video platforms is VIDDSEE, it was founded in 2012 in Singapore. Viddsee focused on sharing short films from film makers across South East Asia Nations. Viddsee provides curated videos online, which means each video went through a selection process before it is uploaded to the online platform. “Joshua” is a short film created by film students of Universitas Multimedia Nusantara. This research follows the performance of “Joshua”, reviewing the comments and shares on Viddsee and Viddsee Facebook page. “Joshua” performs well in The Philippines, but did poor in Indonesia, although Indonesia is the film’s home country. Indonesians have mixed feeling regarding the film, which hindered the chance to excel in Indonesia. As a multicultural nation, Indonesian audiences have a tendency to thoroughly think about race, religion and ethnicity before sharing a film. Keywords: Short Film, Viddsee, Joshua 1 Introduction people are developing the practice of consuming short video clips on a range of media devices.[2] Advances of technology in mobile devices and also years of exponential increase of mobile internet speed have lead us to Viddsee is an online video platform that offers smarter phones and 4G platforms. -
3Rd Minikino Film Week Roadshow Di Jakarta Hingga Tangerang Festival Film Pendek Bertaraf Internasional, Rd3 Minikino Film Week (3Rd MFW) Telah Sukses Digelar
MY TOP 10 THE MASK FOX FAMILY MOVIES MY TOP Seorang pegawai bank, Stanley Ipkiss, yang sedang putus asa bertemu dengan sebuah topeng keramat peninggalan Dewa Loki yang diusir oleh Dewa Odin. Ketika memakai topeng tersebut, sosok Stanley berubah menjadi seorang yang aneh, jahil, memiliki wajah berwarna hijau serta memiliki 10FAVORITE PROGRAMS kekuatan aneh yang tidak biasa. JURASSIC PARK 3 WARCRAFT AXN HBO Berkisah tentang Dr. Bercerita tentang Alan Grant, seorang ahli pertemuan antara dinosaurus yang selama ini manusia dengan Orc telah meneliti dan banyak yang saling bertarung mengumpulkan data-data untuk mendapatkan tentang makhluk purba wilayah baru setelah tersebut. Namun, karena kehancuran di peristiwa yang mengerikan masing-masing hingga merenggut banyak wilayah mereka. korban, Alan Grant Mereka. Seperti memutuskan untuk berhenti. Bagaimana kisahnya? apakah kisahnya? PIRATE TREASURE OF THE LOONEY TUNES: BACK IN KNIGHT TEMPLAR ACTION HISTORY HBO FAMILY Arkeolog dan D.J Drake petugas petualang bawah keamanan studio laut terkenal, Barry film Warner Bross Clifford, bersama diinstruksikan oleh dengan Tim A Bugs Bunny untuk mencoba untuk mengusir Daffy memecahkan misteri Duck dari studio. yang terjadi ratusan Daffy yang tak tahun lalu di dasar terima pun beraksi laut Samudera Hindia hingga terjadi hingga dilepas pantai Madagaskar. Mereka kejar-kejaran yang menyebabkan kekacauan menemukan teka-teki menarik tentang hubungan di studio Warner Bross. Hal tersebut membuat antara kesatria templar dengan para bajak laut. D.J Drake dipecat. Bagaimanakah selanjutnya? 4 MY TOP 10 DOCTOR-X S5 CHEF ON THE ROAD : IN WAKU-WAKU JAPAN INDIA “Doctor X” musim NATIONAL GEOGRAPHIC PEOPLE ke-5 ini bercerita tentang era baru Chef Ryan rumah sakit Clift mencoba Universitas Totei yang pengalaman kini dipimpin oleh baru dengan Shimura Madoka, mengunjungi seorang direktur Rajasthan untuk utama yang ingin menemukan melakukan reformasi rasa baru di besar-besaran di rumah sakit tersebut. -
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ADVERTISEMENT EXTRA EDITION MIPCOM 2020 1012 EE Mediapro - MIPCOM_CVR1.indd 1 10/8/20 10:47 AM indeed! 1007 WV Guillermo del Toro - Ted Sarandos.FINAL.indd 1 9/30/20 2:29 PM MIPCOM 2020 BATTLE OF THE BRITS THE U.K. HAS BEEN A HOTBED OF PRODUCTION FOR GLOBAL-FACING SHOWS DURING THE PANDEMIC, BUT CAN IT SURVIVE A SECOND WAVE? By MANORI RAVINDRAN A SHORT-LIVED SENSE of secu- rity from plummeting corona- virus cases prompted several global-facing projects in the U.K. to restart over the summer, but as the threat of new COVID- 19 restrictions looms large, the industry is rushing to crank out film and TV productions this fall, in what could be the last gasp for production in 2020. A rising caseload prompted six-month-long restrictions on group gatherings and early clo- sures for the hospitality sector on Sept. 24, but the U.K. remains one of the most active produc- tion hubs in Europe. Getting cameras rolling, as evidenced by “The Batman” brouhaha, is a major gamble, but those who can afford to take the plunge say there’s much to be gained — if they can pull it off. Roughcut TV is shooting in south London, where cameras rolled Sept. 2 on six-part comedy “Bloods” for Comcast-backed PRODUCTION PERSISTENCE broadcaster Sky. Managing “Temple” crew members work with new safety measures, director Ash Atalla began plan- including masks. ning the shoot from the depths SKY VISION of lockdown in spring. VARIETY 3 MIPCOM 2020 “It felt insane that we’d get to film a meleonic backdrop for even the most TV show, but at some point, you have to complex productions. -
Opportunity Knocks Chorus CEO JB Rousselot on the Challenges and Possibilities Facing the Business
Championing better broadband for New Zealand 2020 / ISSUE 12 Opportunity Knocks Chorus CEO JB Rousselot on the challenges and possibilities facing the business. HYPERFIBRE SAMKNOWS REMOTE WORKING BROUGHT TO YOU BY Next generation Measuring The network broadband performance is ready Contents 2020 / ISSUE 12 12 SamKnows Measuring broadband performance 14 HYPERFIBRE Auckland film production house Augusto pioneers the fastest broadband 16 Working from home The network is ready 18 Fibre comes to Kerikeri The second stage of UFB puts smaller towns on the digital map 19 Legal streaming services If you know where to look, a treasure trove of online entertainment awaits 24 2degrees COVER STORY Pushes into business New Chorus CEO JB Rousselot says one of his first priorities will be to win over customers who have yet to choose fibre 28 Behind the ONT 8 All about Optical Network Terminals REGULARS 1 Editorial Crossing the fibre chasm 31 ? 2 PARENTING In Brief As a new parent Nick New Zealanders lead Devoy found relief at the world on digital the end of a 1000Mbps entertainment, schools connection get Wi-Fi upgrade thedownload.co.nz The Download | Editorial 1 Editor Bill Bennett Chorus Editorial Consultants Ian Bonnar, Steve Pettigrew, Holly Cushen Contributors Bill Bennett, Johanna Egar, Heather Wright, Mauricio Freitas and Crossing the Nick Devoy. Senior Account Director LauraGrace McFarland Designers Nick Walker, Alexis Jordan, Julian Pettitt fibre chasm Account Executive Paige Fleming On the cover Photograph by Robin Hodgkinson At the end of 2019, 56 percent of people who clear pay-offs from a technology investment. could connect to fibre broadband had chosen They are the customers that lock a technology to do so. -
Series Mania 2021 P.4 Editorial P.5 Series Mania in Figures P.6 the Festival Venues P.6 France Inter at Series Mania P.7 Our Sustainability Commitments
1 P.3 SERIES MANIA 2021 P.4 EDITORIAL P.5 SERIES MANIA IN FIGURES P.6 THE FESTIVAL VENUES P.6 FRANCE INTER AT SERIES MANIA P.7 OUR SUSTAINABILITY COMMITMENTS P.9 THE FESTIVAL SUMMARY P.10 TRENDS AT SERIES MANIA 2021 P.12 GUESTS OF HONOR P.14 THE SELECTION P.14 OPENING SERIES P.15 INTERNATIONAL COMPETITION P.16 FRENCH COMPETITION P.17 INTERNATIONAL PANORAMA P.19 SPECIAL SCREENINGS P.20 NEW SEASONS PREMIERES P.21 MIDNIGHT COMEDIES P.22 REGIONAL SCREENINGS P.23 STAND-UP IN SERIES P.24 EVENTS P.25 THE FESTIVAL VILLAGE by CRÉDIT MUTUEL P.27 NEW IN 2021 : SERIES MANIA DIGITAL P.28 EXCLUSIVELY ON SERIES MANIA DIGITAL P.29 THE FORUM P.30 CREATIVE BAZAAR P.35 SERIES MANIA DIGITAL P.36 CO-PRO PITCHING SESSIONS P.40 PANELS AND CONFERENCES P.42 LILLE DIALOGUES P.44 THEMES 2021 P.45 GUESTS OF HONOR P.47 PARTNERS P.48 PRESS RELEASES P.53 FESTIVAL PARTNERS P.54 PROFESSIONAL PARTNERS P.55 CONTACT US 2 SERIES MANIA 2021 3 EDITORIAL Coming together around TV series and creativity For its fourth edition, Series Mania aims to be as unifying as ever, now firmly established in Lille and the Hauts-de-France region. This desire is fueled by the growing loyalty of both the general public and industry professionals to the event, despite 2020 being a very strange year to say the least. The festival is constantly being adapted and reinvented to offer new ways of experiencing TV series, both in theaters and outdoor locations in Lille, and online. -
Performing Region in Southeast Asian Film Industries Jasmine Nadua
Jasmine Nadua Trice Performing Region in Southeast Asian Film Industries What does it mean to invent a regional cinema? Film and media scholars have long troubled the conventional cartographies used to map cinemas by nation- states, turning to models based on global flows and deterritorializa- tion or local sites of production and reception.1 How does region become a spatial logic for film production, distribution, and reception? Inspired by work in critical border studies, I would like to propose a shift from the concept of region as a fixed, geographic area to the idea of region as a his- torically contingent practice, a reterritorializing performance that emerges amid a confluence of specific cultural and economic circumstances. Such conditions lead to organizing practices and institutional networks that work above and below the nation- state, that seek new scales for collaboration and exchange. I find performance theory especially valuable for consider- ing regional film organizing because it emphasizes the projected, fictional dimensions of cultural forms. As Diana Taylor argues, “Performance moves between the as if and the is, between pretend and new constructions of the ‘real’”; it “can be understood as process— as enactment, exertion, interven- 1 Mariam B. Lam, Isabelle Thuy Pelaud, Lan Duong, and Kathy L. Nguyen, introduction to Troubling Borders: An Anthology of Art and Literature by Southeast Asian Women in the Diaspora (Seattle: University of Washington Press, 2014), 3– 20. See also Arjun Appadurai’s work on “process” geographies as alternatives to “traits” geographies: Arjun Appadurai, “Grassroots Globalization and the Research Imagination,” in Glo- balization, ed. Arjun Appadurai (Durham, NC: Duke University Press, 2001), 1– 21. -
C NTENT 4-17 May 2020 L
C NTENT 4-17 May 2020 www.contentasia.tv l www.contentasiasummit.com JTBC drama busts Sky Castle record A World of Married Couple becomes Korea’s highest-rated cable drama JTBC drama A World of Married Couple broke cable ratings records this week- end, ending Sky Castle’s 15-month reign. With four episodes to go, the 16-episode prime-time Fri/Sat series hit nationwide ratings of 24.332% (AGB Nielsen) on Sat- urday (2 May). Sky Castle ended its run on 1 Feb 2019 with a high of 23.779%. A World of Married Couple is based on BBC drama Doctor Foster. The full story is on page 6 & 7 q Producers scramble after Hooq liquidation Production houses sit tight on Hooq Mauritius Producers across the region and rights holders around the world are holding a collective breath for the next move by Hooq Mauritius, which holds the bulk of the content/IP contracts signed for failed Asian streaming platform Hooq. Overwhelming sentiment is that the en- tity will follow the Singapore-registered Hooq Digital Pte Ltd into liquidation. But until it does, hope springs eternal. The full story is on page 5 q PLUS • Industry pays tribute to Tetsu Uemura • Free-flow TV for SG migrant workers • Top shows in Thailand and what’s most in demand in India... & a whole lot more. 4-17 May 2020 page 2. C NTENTASIA 4-17 MaY 2020 Page 3. Thai streaming mins up Free-flow TV for S’pore migrant workers 6% for April; Netflix tops Media co’s step in to entertain workers on lockdown mins, True ID tops MAUs Media companies across Singapore are sages from Hollywood and Bollywood Netflix was Thailand’s top VOD service in providing free entertainment to Singa- along with daily talk shows for workers April by streaming minutes, with second pore’s one-million strong community of on Radio Masti and projects with local place going to the Thai operation of migrant workers hit hard by Covid-19. -
Pay TV Subscribers
C NTENT 15-28 April 2019 www.contentasia.tv l www.contentasiasummit.com King of Masked Singer turbo-charges Korean race for U.S. stage Quest to replicate talent format, Korean IP success Korea’s efforts to replicate the internation- al success of MBC’s King of Masked Singer are in high-gear, with broadcasters comb- ing through existing catalogues, dusting off titles with potential, and re-working option agreements in a bid to ride what they see as new international appetites. New titles presented to the international market during Mip TV/Mip Formats in Cannes this month included SBS’ singing contest Fan Wars, co-developed with Banijay; and CJ ENM’s 300 War of United Voices, a singing competition where K- pop stars invite 300 fans into the studio to sing and compete. Following its U.S. success on Fox, King of Masked Singer has been optioned for the U.K. and versions are in the works in Eu- rope and Mexico. In Asia, the format has been sold to China, Indonesia, Thailand and Vietnam. Korea already has at least two shows similar to King of Masked Singer, which premiered in 2015. These were hits in Asia but none has taken off in the U.S. in the same way. JTBC’s HIdden Singer, for instance, was massive on Hunan TV in China a few years ago. Local versions have also been made in Thailand and Vietnam. A second format, CJ ENM’s I Can See Your Voice, has been adapted in Cam- bodia, China, Indonesia, Malaysia, Philip- pines, Thailand and Vietnam. -
Swiss Films Vod Support 2021
SWISS FILMS VOD Support 2021 Lang- und Kurzfilme Longs et courts métrages Praktische Hinweise Indications pratiques zur Unterstützung des pour le soutien à la Vertriebs von Schweizer diffusion de films suisses Filmen auf internatio- sur des plates-formes nalen VOD-Plattformen VOD internationales SWISS FILMS Kontakt / Contact: Neugasse 6, CH – 8005 Zürich [email protected] 1 + 41 43 211 40 50, www.swissfilms.ch + 41 43 211 40 63 1. Welche Filme werden 2. Welche Kosten sind unterstützt? anrechenbar? Um die Online-Auswertung von Schweizer Filmen Unterstützungsberechtigt sind Filme, die folgende Voraus- Für die VOD-Förderung eines Schweizer Films unterstützt im Ausland zu stärken, unterstützt SWISS FILMS den setzungen erfüllen: SWISS FILMS die Gesuchsstellenden mit Pauschalbeiträgen Vertrieb von Schweizer Filmen und anerkannten – Es besteht ein Vertrag mit einer VOD-Plattform gemäss pro VOD-Plattform. Diese Beiträge sollen einen Teil der Koproduktionen auf internationalen VOD-Plattformen. Referenzliste. Kosten für Untertitelung, Online-Marketing und Encoding – Es werden einzig non-exclusive Deals unterstützt. decken. Für die erste Plattform gibt es einen Pauschal- Unterstützt werden Schweizer Filme und anerkannte Ko - – Der Film muss in einer Sektion eines internationalen beitrag von CHF 1’000; ab der zweiten Plattform wird eine produktionen (majoritärer CH-Produktionsanteil), die Filmfestivals gemäss «Praktische Hinweise für die Pauschale von CHF 500 bezahlt. Der Höchstbetrag, auf internationalen VOD-Plattformen angeboten werden. Unterstützung von Schweizer Filmen an internationalen den ein Film erhalten kann, beträgt CHF 5’000 (Langfilme) Die relevanten VOD-Plattformen werden auf einer Refe- Festivals» gezeigt worden sein, einen Weltvertrieb bzw. CHF 4’000 (Kurzfilme). Zusätzlich können Filme, renzliste publiziert (siehe Liste im Anhang). -
Seriesmania2021 Dossier De Presse DEF2
1 P.3 SERIES MANIA 2021 P.4 EDITO P.5 SERIES MANIA EN CHIFFRES P.6 LES LIEUX DE SERIES MANIA P.6 FRANCE INTER A SERIES MANIA P.7 NOS ENGAGEMENTS RSE P.9 LE FESTIVAL SOMMAIRE P.10 LES TENDANCES 2021 P.12 LES INVITÉS D’HONNEUR P.14 LA SÉLECTION P.14 OUVERTURE P.15 COMPÉTITION INTERNATIONALE P.16 COMPÉTITION FRANÇAISE P.17 PANORAMA INTERNATIONALE P.19 LES SÉANCES SPÉCIALES P.20 NOUVELLES SAISONS INÉDITES P.21 LA NUIT DES COMÉDIES P.22 LES SÉANCES EN RÉGION P.23 STAND-UP EN SÉRIE P.24 LES ÉVÉNEMENTS P.25 LE VILLAGE FESTIVAL by CRÉDIT MUTUEL P.27 NOUVEAUTÉ 2021 : SERIES MANIA DIGITAL P.28 EN EXCLU SUR SERIES MANIA DIGITAL P.29 LE FORUM P.30 LE CREATIVE BAZAAR P.35 SERIES MANIA DIGITAL P.36 CO-PRO PITCHING SESSIONS P.40 PANELS ET CONFÉRENCES P.42 LES DIALOGUES DE LILLE P.44 LES THEMATIQUES 2021 P.45 LES INVITES D’HONNEUR P.47 PARTENAIRES P.48 COMMUNIQUÉS P.53 PARTENAIRES DU FESTIVAL P.54 PARTENAIRES DU FORUM P.55 NOUS CONTACTER 2 SERIES MANIA 2021 3 EDITO Rassembler autour de la série et de la création audiovisuelle En sa quatrième édition, Séries Mania se veut aussi fédérateur que jamais, résolument implanté à Lille et sur le territoire des Hauts-de-France. Une envie nourrie par la fidélité grandissante du public, comme des professionnel.le.s, envers la manifestation, et ce malgré une année 2020 aux atours autrement particuliers. Au gré des questionnements, notre Festival s’adapte et se réinvente pour vous offrir de nouvelles façons de vivre les séries, sur place – en salles mais aussi en plein air – comme en ligne. -
Longs Et Courts Métrages Indications Pratiques Pour Le Soutien À La
SWISS FILMS VOD Support 2019 Lang- und Kurzfilme Longs et courts métrages Praktische Hinweise Indications pratiques zur Unterstützung des pour le soutien à la Vertriebs von Schweizer diffusion de films suisses Filmen auf internatio- sur des plates-formes nalen VOD-Plattformen VOD internationales SWISS FILMS Kontakt / Contact: Janine Frey Neugasse 6, CH – 8005 Zürich [email protected] 1 + 41 43 211 40 50, www.swissfilms.ch + 41 43 211 40 63 1. Welche Filme werden 2. Welche Kosten sind unterstützt? anrechenbar? Um die Online-Auswertung von Schweizer Filmen Unterstützungsberechtigt sind Filme, die folgende Voraus- SWISS FILMS unterstützt Gesuchsteller / innen mit einem im Ausland zu stärken, hat das Bundesamt für Kultur eine setzungen erfüllen: Beitrag an die Untertitelung und / oder das Online Marketing Pilotmassnahme für den Vertrieb von Schweizer Filmen – Der Film muss vor Eingabe auf www.swissfilms.ch/portal und / oder die Encodierung. auf internationalen VOD-Plattformen bewilligt. SWISS vollständig erfasst sein. FILMS ist mit der Umsetzung der Pilotmassnahme für die – Der Film muss in einer relevanten Sektion eines inter- – Beiträge an die Untertitelung eines Filmes in einer Jahre 2017 bis 2019 beauftragt. nationalen Filmfestivals gemäss «Praktische Hinweise anderen Sprache als einer Amtssprache werden, sofern für die Unterstützung von Schweizer Filmen an diese nicht schon von einer Bundes-, kantonalen oder Unterstützt werden Schweizer Filme und anerkannte internationalen Festivals» gezeigt werden oder hat kommunalen Institution oder durch den SWISS FILMS Koproduktionen, die von internationalen VOD-Plattformen in mindestens 2 Ländern ausserhalb der Schweiz einen Festival Support unterstützt wurden, bis max. 600 CHF angeboten werden. Die relevanten internationalen Verleih und / oder einen World Sales.