Jan
08
For Cartoon Brew, I asked production designers and filmmakers behind a number of the animated shorts up for Oscar consideration about their process. Lots of great concepts and artwork to check out.
Jan
08
Brain Power Studio has signed a new agreement with Harlequin, a leading international publisher, which will allow Brain Power Studio to ramp up its output for the Harlequin Film Collection. To date, eight films have been produced under the existing partnership, but formalising the new venture will enable Harlequin to raise its equity stake in the films and give Brain Power Studio further access to the collection and increase the number of films it produces each year.
The collection includes original, heartwarming and inspiring romantic movies adapted from the voluminous catalogue of Harlequin, which currently releases over 100 books a month in 34 languages.
“We are excited to fortify this partnership that has been very prolific since 2017. Working ground floor with the creative team at Harlequin in choosing the books and shaping the adaptations has been a dream. We look forward to further exploring Harlequin’s wide and varied imprints and bringing the works of their very talented authors to life,” said Brain Power Studio executive producer and founder Beth Stevenson.
The eight films already produced under this partnership include A Very Country Christmas; Home Town Holiday; Christmas With A Prince; After the Storm, My Perfect Romance, Christmas with A View, Christmas Wedding Planner and A Very Country Wedding. Distribution arm, Brain Power Studio Rights, represents the film collection worldwide.
Harlequin EVP Brent Lewis commented, “Harlequin is thrilled to be elevating our relationship with Brain Power Studio, bringing our authors’ stories to film and delighting our readers. Brain Power has been incredible to work with, and I’m looking forward to expanding our relationship as we develop more films for fans to enjoy.”
Broadcasters that already air the Harlequin movies starring renowned actors including Vivica A. Fox, Joey Fatone, Jodie Sweetin, Patrick Duffy, Lauren Holly, Morgan Fairchild and Kelly Rutherford include UPTV, Netflix, NBCUniversal, Channel 5, Super Channel, M6 and RTBF.
The post Brain Power Studio and Harlequin strengthens partnership with new film venture appeared first on AnimationXpress.
Jan
08
India’s broadcast and AVGC sector discuss technology and challenges in the space at AMD meetup
Posted in: AnimationIn a first of sorts, AMD got together with AnimationXpress and Indiantelevision.com to bring to the Indian M&E industry ‘The Media & Entertainment IT Summit’. The summit sought to get insights into the state of information technology and tech in the Indian animation, VFX, gaming, broadcast and production spaces and the challenges that chief technology officers face with the rapid technological leapfrogs.
The Garden Banquet of Taj Krishna in Hyderabad was brimming with enthusiasm, anticipation and a packed batch of esteemed panelists and delegates on 21 December. Post the registration process, the attendees set in for a set of comprehensive sessions.
Addressing the gathering, AnimationXpress and Indiantelevision Dot Com Group CEO, Anil Wanvari shared his views on how technology has become an integral part of the M&E ecosystem, right from content creation pipelines to broadcast and more. Further delving into the topic, he explained how CTOs and IT professionals in the M&E industry have been somewhat been underrepresented and this summit was a precise attempt to bridge the gap.
The first panel of the day consisted of Doordarshan Kendra Hyderabad DDG(E) and head of office D. Ranganadham, TV9 Technical head Badari Prasad and Project Manager Technology Whacked Out Media Md. Danish with Anil Wanvari moderating the panel.
Starting off the panel Ranganadham explained about the workflow pipelines at Doordarshan which is the national public broadcaster with a terrestrial network, and how the Telangana DD Yadagiri turned to tapeless, the entire chain from ingesting to playout. And regularly send news feeds to other doordarshan kendras particularly to DD News. He admitted that over time terrestrial transmitters were being shut down and that the focus is being shifted to improving the infrastructure with state of the art technology in regional kendras and satellite transmission.
Ranganadham elaborated that upgradation has been slow in Hyderabad Kendra because of the stagnant revenues coupled with reduction in budgetary support from the government which led to technological gaps continuing to exist despite the entire station is mostly automated. He is hopeful that these will get filled in the coming year as the DD and Prasarbharati chiefs are energetic and have dynamic ideas.
DD Yadagiri developed software using Kasper CG and VB.Net in playout, news room automation instead of professional software. He also mentioned that in the coming year or so a lot of investment is likely to be put into technology with HD too being given a push.
Danish explained how Whacked Out Media, part of the Mango Group, is Asia’s biggest MCN and has a handle on the following sectors – Digital Media, Music, Short Films, Animation & VFX, Live Events and Advertisements. It owns more than 1400 channels on YouTube, with a total of eight hundred thousand videos as of now and has the digital rights of 5000+ movies, which it has to syndicate to various outlets, apart from distributing to online platforms.
To handle that scale of content (2 PB,) it cannot rely on pure cloud-based solutions, which can cost more than Rs. 8 lakhs per month. Instead, the company has a combination of cloud NAS (network attached storage) and linear tape open storage (LTOs) options. “Our movies catalog is secured on the LTOs to ensure that it is secure,” he revealed.
Mergers and acquisition of new content is something for which the company strives, apart from primarily focusing on producing original content. Besides this, the Company also has a farm of more than 200 branded workstations from Dell and HP.
TV9 is purely a SD service for five of its language channels (Telugu, English, Kannada, Gujarati and Marathi) and a lot of internal innovation was resorted to by the broadcaster’s management. “The main challenge is that we get content coming to us from various devices – phones, video and DSLR cameras – and getting that in the broadcastable format is a task,” disclosed Badiri Prasad TV9 director. With stable running technology for its 14 year old news network, he is looking forward to the launch of a HD service which is going to draw up new technological mores.
The broadcast and digital players highlighted that the major challenges they face, which include:
* There is a constant demand for better computer processing speed from users within their ecosystem. How to future proof the company against technological enhancements is what keeps them busy.
- Getting up to scratch in terms of both hardware and software within reasonable investment is also what is a must.
- Rendering speed requirements are going up around every six months, the configuration and pipelines must improve as well.
- Graphic requirements are going up; hence the need for better processors in better machines is becoming a necessity.
The second panel focused on the technical aspects of the AVGC industry in a rather comprehensive session consisting of Centroid India director Parth Shah, Prasad Group head of corporate communications Mohan Krishnan, Green Gold Animation head of operations Suresh Laddunuri , Baytree Digital CEO Upen N Desai, Digital Domain VFX producer Praveen Kilaru, Rotomaker technical head Saji Nair and Digital Domain senior pipeline supervisor Ashish Dantu.
Said Shah, “Wherever we shoot, be it UK or India we record it on the capture machine and on the same day we share the data with Serbia team. Our hardware requires mostly cameras and workstation, though not very high end workstations but nowadays since we are providing real-time motion capture in Unreal Engine along with Virtual Camera, VR and all; so these require high-end workstations as that requires lot of computing power.”
Krishnan pointed out that Prasad offers services such as digitisation, post production, film restoration, and asset management and it has to be totally up to date in terms of tech and information tech in all its facilities as it deals with international clients. With service facilities in Burbank, UK, Germany, Japan and in three cities in India, it has been receiving more and more request for 4K and 8K conversions from clients. The company has its tech infrastructure planning in place and budgets have been going up.
Suresh explained that Green Gold has had to up its IT and tech infrastructure budget by about good per cent as it has started delivering content to quality conscious International clients, apart from the TV stations it caters too. “Our pipeline and workflow is expanding,” said he. “High quality, ultra high definition with quick deadlines are their demands. Hence, we have are matching up our tech too.”
Digital Domain which is just about a year and a half year old in India has invested in hardware with imports from the US. “We are going to be investing more with local branded workstations soon,” he said.
Rotomaker – which is focused on rotoscopy projects – explained that IT costs at the company’s facility have been going up as it expands its service offerings.
The panel also talked about how IT is not only necessary but an absolute necessity in the smooth functioning of AVGC pipelines with 4k and 8k resolutions bringing in new challenges.
The major part discussed was the optimum need for shorter render times and the benefits of real-time rendering.
“Baytree Digital CEO Upen N Desai followed this with a session in which he explained how he has started offering cloud-based rendering services to the Studios to handle their Spikes in Computing Requirement with indigenously built platform – SpeedGaze. The platform is fully online and supports Autodesk Maya, Arnold, VRay and Blender applications to name few. Having served the farm to render projects like Thugs of Hindustan, Robo 2.0 and some international productions, SpeedGaze delivers consistent output with cost effective solution for Studios Rendering needs.”
The curtain call for the evening was helmed by the proficient team from AMD who showcased chip leaders hardware capabilities in the content creation industry which is constantly demanding more crunching power thanks to heavier graphics pipelines.
The team also shed light on their 16 GB graphic card with a two TB memory and Vega-based GPU, which has prospects of further strengthening the workstations for creating content.
Keeping up with the increasing demand and yet keeping it simple and affordable seems to be the most critical task for hardware developers and the brand showcased how it is beating the competition with multiple products at a time.
With a strong line-up of sessions coming to an end, the attendees took to networking, which in turn proved valuable giving prospects to another edition of the Summit!
The post India’s broadcast and AVGC sector discuss technology and challenges in the space at AMD meetup appeared first on AnimationXpress.
Jan
08
Dragon Ball Super: Broly is just weeks away from the release. The late-night program surprised fans with a clip from the film recently, and it showed a surprising reference to Goku’s newest power-up.
The special clip shown during Toonami has hit social media. The video featured Son Goku power-up from Super Saiyan God into Super Saiyan Blue, and the incredible moment made the jaws drop. Goku going Ultra Instinct for a few seconds before he goes back to Super Saiyan God was interesting to watch.
As the things charge up, Goku’s hair become silver-white as he powers up. The form is not followed by any sort of aura shift, and Ultra Instinct powers off almost as soon as it comes. Goku makes it to Super Saiyan Blue just in the nick of time to take on Broly again.
Perhaps this one-off moment was just a reference and nothing more. Even so, Goku tapping into the power when he fought Jiren, the Saiyan has yet to learn the ultimate power by any means. We hope to find out what happens with this superpower in the future episodes.
The post Ultra Instinct Glimpses spotted in ‘Dragon Ball Super: Broly’ Promo appeared first on AnimationXpress.
Jan
08
You’ve seen countless photos and videos of Iceland, but nothing like this.
See how this filmmaker and VFX team took surreal footage of Iceland, then used Houdini and Nuke to create something you’ve never seen.
It was really refreshing to see a unique piece like this, so I reached out to the creative team behind it. Here’s our conversation.
Interview:
Michael Maher: We have the whole ANOMALY creative team joining us today. Can we go around and hear a bit about each of you?
Jacco Kliesch: Hi, my name is Jacco and I’m a filmmaker. I grew up in Erlangen, Germany. I studied Media Technology with key focus area Media Design at the Deggendorf Institute of Technology. Now I live in Nuremberg.
I love to make creative films and to edit dynamic videos. I work in advertising and I do corporate videos and commercial films. But I also do personal projects from time to time – like this short film ANOMALY, which I did with Wildboar 3D Design Studio.
Wildboar: We are Benjamin Brand, Johannes Engelhardt, Markus Eschrich.
We studied Design at Nuremberg Institute of Technology Georg Simon Ohm the with emphasis on Film & Animation.
We formed our team early in our studies and focused on Animation Film. Together we made animated shorts that led to work in the advertisment industry. Because of this, we founded the studio Wildboar.
Jacco Kliesch: For me it wasn’t that straightforward. I started music producing when I was 14 years old. Then during my studies, I learned about videography but also about audio engineering, 3D visualization, programming websites, photography, and graphic design.
After I completed my studies, I worked as a freelance web designer for 1 or 2 years. But building websites to me became boring pretty fast and I knew I didn’t want to do it forever. So I started as an Art Director at a creative agency. In the beginning I made animations in After Effects and did some video editing. But over the years I started shooting video more and more.
Then, about 3 years ago, I made my first personal projects. I received many inquiries, so in 2017 I started a filmmaking business. I’m really passionate about what I do now and it feels like this is something I might want to do for the rest of my life.
MM: How did you go about concepting ANOMALY?
Jacco Kliesch: I decided to go to Iceland in 2017. I already knew I wanted to make a travel video. So I did some research about locations. I noticed that there were already tons of cool videos about Iceland. But I wanted to create something unique. This was how I came up with the concept of ANOMALY.
I asked myself, what happened if gravity ceased to exist? What happened if Mother Earth just told us enough is enough? The elemental forces, the rough Icelandic landscapes the geological forces where a huge inspiration. I made the concept presentation in PowerPoint and Photoshop, including some rough drafts of the visuals I had in mind.
MM: Tell me about the shoot itself. What gear did you travel with?
Jacco Kliesch: I used an a7SII, an a6500, and a Phantom 4 Pro for most of the shots. For the mirrorless cameras I used a single-handed gimbal from Pilotfly.
I also used a GoPro and an RX100IV in an underwater housing for some of the water and slow-motion shots. I had the Mavic 1 Pro with me as a backup drone but I didn’t need it. Although, I almost crashed my Phantom 4 Pro when I was flying inside a canyon. You can watch the footage of the almost-crash in my Instagram Story Highlight.
I traveled to Iceland with my girl. For two and a half weeks we were driving around in a rental car. We usually got up pretty early, did a lot of hiking and visited two or three locations every day.
MM: What was the editing process like? Did you cut together an outline with the footage and then send it off for VFX, or did the VFX shots help frame the story?
Jacco Kliesch: I selected all of the footage and edited a raw version. Then the guys worked on the VFX shots and included some handle length.
After I got the finished VFX shots, I did a re-edit and applied some time-ramping to the shots. I did the color grade and the sound design, everything in Adobe Premiere. One day after I finished editing I designed the thumbnail and uploaded it to Vimeo right away. I just couldn’t wait to release it.
Wildboar also brought some fresh ideas to the table. For example, in the shot with the airplane: I had only told them that there should be some screws, stones and a few metal parts from the airplane drifting around in the air.
But they even added a part of the turbine and the wing of the plane.
Or, in the shot with the icebergs. I had only told them that there should be some big ice chunks in the air and some reflections on the water.
But they added the iceberg coming out of the water with the water dripping down, which is now one of the coolest shots I think.
MM: How did the team go about creating the VFX? How were these shots modeled, textured, composited, and rendered?
Wildboar: For Compositing and Tracking we used Nuke. Then we exported the tracked camera to Houdini, which we used for all 3D aspects. All natural elements like rocks, ice, grass, etc. were modeled and textured procedurally. It was all rendered in Houdini’s own Mantra renderer.
MM: So I’m guessing Houdini and Nuke are your go-to tools for most projects.
Wildboar: We mainly rely on Houdini and Nuke for our projects, but are also using the Adobe [Creative Cloud].
Jacco Kliesch: For me this is Adobe Premiere and a camera. I also like to fly drones.
MM: Any final words for our readers?
Jacco Kliesch: Yes. Do what you love. For me it was one of the best decisions ever to start making passion projects. If you want to improve yourself in something just go out and do it.
MM: Just get things done. You’re absolutely right. Where can our readers see more of your work?
Jacco Kliesch: Mainly on my website, Vimeo channel, and my Instagram
Wildboar: Our website is wildboar.de and our Instagram @wildboar_studio
The post Interview: Making Iceland’s Landscape More Surreal appeared first on Greyscalegorilla.
Jan
07
Industrial Light and Transformer Magic
Posted in: Animation
I am still obsessed with Transformer transformations. So I talked to ILM about Bumblebee for Cartoon Brew.
Jan
07
It rained OTTs in India in 2018
Posted in: AnimationWherever you go – in metros or in towns – in arguably the world’s fastest growing economy, young and old Indians alike are logging on to their mobile handsets and their PCs, to watch the latest from a clutch of OTT platforms as well as messaging services. Like the rest of the world, India too is in the thick of a digital video consumption boom. And it’s all thanks to the mobile data price wars initiated by India’s fastest growing telco Reliance Jio. The skirmishes have resulted in mobile data being priced at probably the lowest in the world.
Statistics underline that OTT is beginning to capture a large chunk of Indian viewers’ daily video watchtime. Estimates are that video consumption has been growing at 500 per cent per annum and most of it is coming from mobile handsets aka smart phones.
Over 65 per cent of 450+million internet users in India are currently mobile-only and the country is adding six million users every month, as per Telecom Regulatory Authority of India (TRAI) data. By the end of 2017, smartphones had outnumbered its users as 47.4 per cent users possessed a smartphone or more each. Predictions are that this explosion in the internet and mobile penetration is expected to continue with 640 million Indians expected to buy an internet pack, and 700 million expected to buy a snazzy smart device by 2020. Needless to say, online video – one of the most consumed pieces of content – is expected to grow as well as the number of platforms offering it.
2018 saw the Indian OTT landscape dotted with more than 30 OTT platforms – giant foreign owned and global, broadcaster-led and independent ones. Additionally, newer OTT players are pacing the sidelines with a shift in focus from the English and Hindi speaking urban youth to mass market, regional audiences.
Deloitte India strategy and operations senior manager Shilpa Taneja affirms: “The growing penetration of smartphones and roll-out of 4G in the last couple of years has widely promoted the overall digital access and consumption across the country. This has led to an increasing demand for premium digital content and across categories such as movies, music, live sports. This increased consumption has come on two fronts – more number of people viewing content over OTT apps and people spending, on average, greater amount of time on digital media.”
Frost & Sullivan’s recent analysis, ‘Over-the-top (OTT) Video Services Market, India, 2017–2022’, reveals that the OTT video market in India is beginning to see real traction with more competitors and new innovative platforms. With 180.3 million active online video viewers and almost four million registered subscribers, the OTT video services market earned over Rs 37 billion in 2017, and will likely grow at a compounded annual growth rate of of 17.3 per cent over the next five years.
While the big foreign daddies initially came to market with an offering consisting of international films, originals, and some Hindi and regional films, however they have over the past year been focusing on digital originals – both films and short series. The reason: the need to build local consumer connect as most viewers prefer entertainment content in their language and flavour. And India being a complex nation, where 30 languages are spoken by more than a million people each, localisation is extremely crucial for even getting a chance into the viewers mind’s space edgewise.
Hotstar – one of the early movers in the market part of the Star India group (now a part of Disney) – today boasts a handsome slate of exclusive Hollywood films and TV series from leading American studios, and of course its high priced sports properties like the Indian Premier League, the Pro Kabaddi League, the Indian Soccer League, India cricket, among many others. With more than 300 million downloads of its app, monthly active users and four million paying subs (at Rs 999 per annum), it is among the leaders offering subscriber video on demand (SVoD), a freemium model and pure advertiser video on demand (AvoD) services. At its peak, it live streamed one of the IPL matches to 10.3 million concurrent users- a record of sorts. It is muscling up and gear up to launch a new rafter of originals.
Global streaming powerhouse Netflix is has been gaining oodles of media space courtesy its localisation drive with its slate of originals ranging from series to films and so on apart from doubling its content library through acquisition of local content. Says a spokesperson: “Over the past two years, we’ve witnessed a huge appetite for entertainment and plenty of fan enthusiasm for our content and service, with word-of-mouth for our movies, TV shows, documentaries and stand-up comedy specials from around the world, helping to fuel growth in India. We’ve licensed titles that include much-loved blockbuster films in several Indian languages such as Hindi, Tamil, Telugu, Marathi and more, as well as Indie favourites.”
It followed up the acquisition binge by anteing up top dollar to commission original films such as Love per Square Foot, Brij Mohan Amar Rahe, Lust Stories, stand up comedy specials such as Aditi Mittal and Vir Das, and impactful series such as Sacred Games and Ghoul. The strategy seems to be working. Estimates are that the service has anywhere between 700,000 subscribers and 900,000 subscribers, each paying an average of around Rs 700 (around $9) a month.
Netflix CEO Reed Hastings sounded pleased while speaking during an investor briefing recently. Said he: “We’re starting to turn the corner in many of the nations where our viewing is climbing up as we’re continuing to improve the programming. I’ll include India in the description and say we’re really pleased with the progress and tracking we’re making since we launched 2.5 years ago, and we just have a lot of work and a lot of opportunity ahead. With this triplet of Lust Stories, Sacred Games and Ghoul, we’re really getting some nice momentum in our India growth. We’ve got a long way to go to expand languages and many other aspects to be able to be a broad Indian product.”
And there’s more lined up. A handsome slate of originals is in various stages of pre-prod, production and post-production. Some of these titles include: Baahubali: Before the Beginning, Mighty Bheem, Little Things, Selection Day, Bard of Blood, Leila, Midnight’s Children and Crocodile.
Of course, it’s biggest rival has been Amazon’s Prime Video which has managed to get an estimated 3-4 million users at about Rs 599 a year. Along with Netflix it has sent prices for films (Hindi and regional) northwards, sparking off an acquisition frenzy amongst local players backed by large broadcasters. Originals too have flowed from its studios: drama series such as Inside Edge and Breathe, comedy and music talent hunts such as Comicstaan Remix.
Mentioned Amazon CEO Jeff Bezos in a letter to shareholders recently: “Prime added more members in India in its first year than any previous geography in Amazon’s history. Amazon has a larger play in the country with its e-commerce business. The former’s play is about monetising the content in any part of the world.”
PricewaterhouseCoopers (PwC) partner and leader, media and entertainment Frank D’Souza adds, “Amazon has the advantage because it is basically offering music, prime services so the whole game for Amazon is how to keep the customer on its platform as long as possible. Whether that helps on sales of products video consumption, audio consumption there strategy is different.”
YouTube – which is the largest and most consumed video service in India with 245 million users logging on to its 300 channels with more than a million subs each – has got into the fray with the first of its originals being the AR Rahman helmed music talent search show called ARRived. Launched as an AVOD service, it is expected to launch its SVOD version in the not-too-distant future.
Similarly, the industry has witnessed the growth of different national OTT platforms like the Viacom18 backed Voot, Bollywood major Eros International’s EROS NOW, the Sony Pictures Networks backed Sony LIV, Zee 5 from the Zee Entertainment Enterprises stable, Sun NXT from south Indian language broadcasting power player Sun Networks, , regional and global south east Asian player Viu and the independent players promoted by production companies such as Balaji Telefilms’ ALT Balaji, SVF floated Hoichoi (Bengali), youth targeted alternative OTTs such as TVF and Arre.
Sony Liv, with over 85 web-originals spread across various Indian regional languages, SonyLIV has tapped the heartland of the country as well. It pioneered at addressing the need for regional language content on web by launching India’s first ever Marathi web series to cater to the Marathi milieu, early in 2017. Shows like Married Women Diaries (S1 – S2), Black Coffee, Love Bytes (S1 – S2), Kacho Papad Pako Papad, YOLO- You Only Live Once, Full Tightt and Pyaar On The Rocks have been popular with the viewers.
Says SonyLiv CEO Uday Sodhi: “The introduction of original shows has definitely spoken in our favour in terms of viewership which reaffirms the credibility of the content offering. We envisioned the changing content consumption pattern and digital growth very early.”
Eros Now is another OTT entertainment platform that had 2.1 million subscribers in FY 2017. It saw a massive jump of 276 per cent Y-o-Y in FY 2018 with 7.9 million paying subscribers and 100 million registered users. As of Q1 FY19, Eros Now boasts of 10.1 million paying subscribers and 113 million registered users marking a significant growth of 27.8 per cent. It has 11,000 plus digital movie titles across 10 Indian regional languages that contribute to around 70 per cent of the total movie content available for streaming on digital platforms.
In April 2018, Eros Now released its first direct-to-digital film Meri Nimmo, which opened to positive critical reception. Till date, it has successfully premiered over 180 films and over 300 episodes of original short form programming. Recently, it also launched its first original digital series, Side Hero.
“Our real surge for original content kick-started with Side Hero. Though, we have done a few interesting IPs in the past like Meri Nimmo, Salute to Siachen amongst others, Side Hero is our real first foray in the world of originals. We believe that originals will play a significant role in contributing to the culture we want to create with the brand and no better way to kick start the journey with comedy, the most popular genre in the country. We will continue to invest in our content programming strategy, technology and data sciences to be able to build a brand, a product and a service for tomorrow,” states Eros Group chief content officer Ridhima Lulla.
She adds: “We believe that the consumption in regional content has grown significantly and it is that piece of the cake that you can’t neglect. However, it will not limit for any content to travel beyond boundaries as subtitles have made it easy for digital platforms. To attract consumers, it is important to have good content and it will sail across in whichever language it is made.”
All eyes are on homegrown entertainment majors such as Viacom18’s Voot (which is now under the Reliance umbrella) and Zee Entertainment Enterprises’ Zee5. While the latter has gone in for a reboot and a clutch of new originals in different languages, the former is expected to undergo one soon.
Hyper local players such as ALT Balaji and Hoichoi have been commissioning producers to churn out at relatively modest budgets compared to the big boys. While Alt Balaji has around 3.3 million subs and a roster of around 30 originals apart from hundreds of hours of acquired content, HoiChoi currently has 1400 hours of content which includes 500 plus Bengali movies, 1,000 plus songs, 22 original shows, six original films and 20 shorts.
Hoichoi co-founder and SVF (Shree Venkatesh Films) executive director Vishnu Mohta mentioned about this striking reach, “Our main concern is our audience and to give them enough good content to binge on. We are currently the biggest Bengali entertainment platform worldwide and we have bigger plans of expansion-to Middle East and Bangladesh by partnering with their local telecom partners like Etisalat, Du and Robi.”
Currently, it’s investment time with all the OTT players building up on originals which is essential get traction with Indians who have been used to paying a paltry Rs 150-300 for a cable TV bundle that offers more than 300 channels with the latest programming from Hollywood’s majors as well as from Bollywood. Hundreds of millions of dollars are being poured in to lure price sensitive fickle consumers to sample the new offerings and acquire them. Phase I of the OTT journey has begun. Wider distribution through telcos, cable TV and DTH networks, alliances with each other and expansion internationally will decide how smooth the ride will be.
The post It rained OTTs in India in 2018 appeared first on AnimationXpress.
Jan
06
Composing an event analysis is not entering encounter, the case analysis enables the visitors to recognize that the problem/issue that’s talked about. Reader understands the advice the way to exactly to address the research analysis by reading it.
In this site post we’re discussing some comprehension with one to check next period for those who write instance analysis.
Web
Initial step prior to starting an event analysis would be to hunt for this issue that you’re supplied entirely in facts via sources that are different. Utilize library as well as also other sources on the internet to obtain the appropriate stuff in this issue that you are able to use farther. Give attention to the difficulties which must get solved.
Inspection instance difficulty
Acknowledge that distinct dilemma you want to test for locating the ideal answer. Ensure that it stays clean and easy and focused that’ll assist the viewers to receive it in very first effort of this reading. Maintain accumulated all critical info to help the viewer to get there in the solution of the issue.
Forming
Achievements of suitable instance analysis is located in coordinating it altogether. You’ll find numerous components of the case analysis that will be locations properly for successful results. It might depend upon up on the situation position focus, nevertheless you will find a number of typical parts, by way of instance, demonstration, dedicated to audience as well as judgment.
Current the difficulty in opening section and provide a succinct basis of the instance in demonstration. Composing a decision could be where the increased area of these people instills glitches they supply answer to your case that might be OK, but the much better way to accomplish matters is to render the situation completely translucent therefore that crowd consider them. Discuss your experiences at light to how it’s the basic principle cause of writing contextual analyses. It has to begin an appraisal one of your crowd.
Execution
Make certain to reply the issues such as and the research may be related in various conditions. Usually do not inflict your own personal comment about viewers; establish your position with all signs and facts. Usually do not neglect to incorporate references checklist inside the long run.
Jan
06
2018 had been quite big for Disney. And now, 2019 seems even bigger!
The house of mouse has set an all-time box office record ahead of its much anticipated lineup for 2019. 2018 saw some larger than life films like Black Panther, Avengers: Infinity War, and Incredibles 2, with which the studio set a new domestic box office record, making $3.092 billion. Globally, it earned $7.325 billion, the second-biggest global total ever and just behind 2016’s record-setting Disney haul of $7.605 billion.
Till date, Disney is still the only studio to cross $7 billion in a single year, and in 2018 it was fortified by Marvel blockbusters like Infinity War ($2.049 billion globally) and Black Panther ($1.347 billion). These totals put both the films in the top 10 highest-grossing films of all time.
The Pixar sequel Incredibles 2 ($1.24 billion worldwide) and Ant-Man and the Wasp ($623.1 million) added to Disney’s total, along with other big releases like Ralph Breaks the Internet and Mary Poppins Returns.
But there’s always a black spot even on the moon! Not every Disney film this year was a hit A Wrinkle in Time earned only $132.9 million globally, while Solo: A Star Wars Story earned a franchise-worst total of $393.6 million — but overall, the studio had a year of bang!
Looking ahead to 2019, Disney’s got another two Marvel films in the pipeline, the Brie Larson-starring Captain Marvel (8 March) and the most awaited Avengers: Endgame (26 April). There are also a number of are live-action adaptations of Dumbo (29 March), Aladdin (24 May), The Lion King (19 July), Artemis Fowl (9 August) and Star Wars: Episode IX (December). On the animated side, Toy Story 4 (21 June) and Frozen 2 (22 November) are currently under production.
Disney’s acquisition of rival studio Fox expected to close early in 2019, and with that the studio will possibly on track to control an even bigger slice of the box office going forward.
The post Disney achieves an all-time domestic box office record in 2018 appeared first on AnimationXpress.
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