IBCAP Announces Key 2022 Achievements
The International Broadcaster Coalition Against Piracy has announced key 2022 achievements in protecting its members’ content and removing pirate services from the U.S. market and worldwide.
OTT
Showcase Cinemas to Screen Yellowstone, Tulsa King Premieres
In an event that reverses entertainment industry norms, Showcase Cinemas today announced that it will offer a special, one-night-only screening of the season five premiere episode of fan-favorite TV show Yellowstone in partnership with MTV Entertainment Studios and 101 Studios. The special event will take place on October 29 at select cinemas two weeks before the top-rated television show returns to Paramount Network on November 13. The preview will be followed by a sneak peek of Taylor Sheridan's newest project Tulsa King starring Sylvester Stallone, coming November 13 to Paramount+.
Los Espookys: Just in Time for Halloween
Created by Saturday Night Live alums Fred Armisen and Julio Torres along with fellow comedian Ana Fabrega, the Spanish-language comedy series Los Espookys follows a crew of millennials from Mexico who participate in the ever-growing gig economy through their shared passion for all things horror.
United Cloud Selects Nagra’s NexGuard Watermarking for Content Security
Nagra has announced that United Cloud, part of United Group, a leading media provider in Southeast Europe, has selected Nagra’s NexGuard Watermarking to expand its security solution, ensuring over-the-top content protection for all United Group’s assets.
VFX Legion Created the Effects for HBO Max’s DMZ
The visual effects company VFX Legion created a mix of digital effects for HBO Max’s dystopian miniseries, DMZ. Produced by Emmy winner and Oscar nominee Ava DuVernay, and Emmy nominee Roberto Patino, DMZ is based on the DC comic book series of the same name. Set in the not-to-distant future during the Second Civil War, the drama unfolds in New York City, a demilitarized zone abandoned by the country and ravaged by violence.
Acontra+ Combines Movie Streaming and Cinema Ticket Sales
A new Spanish streaming concept called acontra+, which combines movie streaming and cinema ticket sales in a single subscription, has launched on the Magine Pro platform. The service is run by the independent Spanish distributor A Contracorriente Films with a wide catalogue of national and international feature films of all genres, classics and contemporary films and is made available through Magine Pro's multi-platform service.
Netflix Experiments with Pricing to Combat Account Sharing
Streaming service giant Netflix is experimenting with its pricing policies in a handful of countries in response to high rates of account sharing. Eleanor Patterson, assistant professor of media studies in the College of Liberal Arts at Auburn University, explains what this experiment means for U.S. account sharing and the future of streaming platforms.
European Content 33 Percent of all EU VOD Catalogues
European film and television represent 32 percent of all content found on TVOD and 35 percent of SVOD in the EU. For all VOD catalogues (TVOD and SVOD), European content took a share of 33 percent, according to a report from the European Audiovisual Observatory, part of the Council of Europe in Strasbourg.
China’s iQIYI Upgrades its Distribution Models
The Chinese online entertainment service iQIYI has announced that it is upgrading its collaboration model for online film distribution. The new model includes two distribution models, Cloud Cinema Premiere and Subscription Premiere.
Piracy Has No Boundaries
A new report from content protection specialist Nagra, entitled Piracy Has No Boundaries, claims that thieves steal tens of billions of dollars of content value annually and that more than 80 percent of content theft is attributable to streaming. In addition, the report says, eight percent of U.S. households subscribe to illicit internet protocol services for an estimated $1 billion in illegal subscription revenue every year. The report uses Disney and Marvel Studio’s Black Widow as an example of how things can go wrong when feature films are streamed and estimates that the film lost between $50-$70 million because the movie lacked an exclusive theatrical window over its first ten days of release.
Pages
