Digital Entertainment Content Ecosystem: DRM done right? Or yet another failed attempt?

Here’s what we know so far. DECE will announce details at CES in January. The general principle is something along the lines of a digital rights locker in the cloud that keeps track of what content you have purchased and have rights to play.

Burned (read: Destroyed) DVD Image from Night Star RomanusThe major goals of the project are interoperability, allowing users to copy content onto household playback devices (as opposed to streaming only) and to enable writing to physical media.

Sounds like an ambitious project, and maybe a pipe dream given the walled garden approach that most content providers have been pushing thus far. But with a list of players that includes most major media corporations, some serious technical expertise, the device manufacturers of both HD disc technologies (and then some), and at least one major retailer, this might have a chance to get past the conception stage.

The list of companies signed on so far is Best Buy, Cisco, Comcast, Fox, HP, Intel, Lions Gate, Microsoft, NBC Universal, Paramount Pictures, Philips, Sony, Toshiba, VeriSign, and Warner Bros.

What does this mean for indie producers? That remains to be seen, but for most of us, there’s already an alternative. What else supports interoperability and portability of content to offline and physical media? What lets viewers watch what they want, where and how they want to? Anything without DRM. Just sayin’.

Spore is the worst game ever…

Field of Spores Image from elvissa…if you believe the Amazon reviews. Out of approximately 1400 reviews, over 1,300 rate the game with 1 star, most complaining of draconian DRM. Electronic Arts’ DRM for Spore prevents users from installing the game more than 3 times (even on the same computer, after upgrades or HD crashes, for instance) without a call to EA support, and possibly purchasing another license.

At this point in the digital age, how can EA not understand that DRM is a bad idea? If you don’t give fans content in the way that they want it, they will go elsewhere for it. EA is shooting itself in the foot and turning one the most anticipated games of the year into a potential PR debacle.

Following last month’s development about the computer gaming industry suing families who downloaded games without paying in the UK, it seems the computer game industry has learned nothing from the mistakes of the RIAA.

Game pirates in the UK face penalties of nearly 10 times the cost of the games (£300, about US$525) to settle out of court or risk a repeat of the £16,000 (about US$28,000) decision handed down to one unemployed mother of two.

While I don’t advocate piracy, there must be a better way for the industry to deal with this problem than extorting court settlements from their fans or imposing unreasonably limited DRM.

Slick or Real?

Gritty VW Bug
Image from iboy_daniel
Seth Godin, with yet another interesting post, talks about the idea of being stuck between gritty realism and hyper-produced slickness. Things that fall in the deadzone tend to fail the appeal test.

This idea is perfectly applicable to films as well. Think about some that you’ve seen recently. Chances are that the independent ones traded well on being real and honest while the large studio films leveraged their budgets to produce something more stylized.

One great film that comes to mind for me when I think about the “real” end of the scale is “Once.” At the other end of the spectrum, think about the last action movie you saw. Chances are, it was glossy, heavily edited, and expensive. What’s the learning for independent filmmakers? If you can’t get all the way to slick and glossy, don’t try for it. Embrace the realism and frankness that come with the territory.

Update: client k has a post on a similar topic today.

Favorite Gaming Moments YouTube Contest

Pirates fighting with swords
Image from thebusybrain
iBUYPOWER is sponsoring a contest where filmmakers can submit a video to YouTube of a real life re-enactment of any event that happened in a computer or console video game to be voted on for a chance to win a $2,000 gift card and a $1,800 iBUYPOWER PC. One submission, any length, must be over 18, and various ‘decency’ rules apply. See http://www.ibuypower.com/WinAPC/WinAPC.asp for the complete rules.

There are plenty of fun possibilities for this contest. Lazy folks could probably get away with something from a sports game. People with a lot of time/money could try for something like the Neill Blomkamp’s live action Halo shorts. Personally, I would vote for anyone who re-enacts the insult sword fighting from Monkey Island.

“You fight like a dairy farmer!”
“How appropriate. You fight like a cow!”

Sean Tevis runs for Kansas State Rep, XKCD Style

Sean Tevis
Image from seantevis.com
Sean Tevis is running for Kansas State Representative. He needs to raise $26,000 by July 28th. He plans to do this by enticing 3000 individuals to donate $8.34 each on the internet (plus asking his 2 wealthy friends for $500 each).

As of this posting, 2,326 have already donated. If you read his XKCD style campaign story, you will probably understand why.

Running for Office: It’s Like A Flamewar with a Forum Troll, but with an Eventual Winner

Tevis’s plea references numerous internet memes, and communicates his serious geek cred, while simultaneously covering the major elements of his platform. It is entertaining and informational and for several hours today the site was totally slammed. This is a grassroots approach gone viral. I would not be surprised if the majority of donors hail from outside Tevis’s district.

The success of this political ad campaign is not achieved by a large amount of money spent, but in intelligently engaging and entertaining a target audience, and delivering a call to action: For $8.34 you can be part of this event. See Palindrome’s comments on the desire to be part of a communal experience.

Check out Tevis’s site, where if you donate $500, they’ll “send you a limited edition campaign t-shirt, a coffee mug with the Kansas flag on it, and a DVD video from Sean Tevis’ mom telling you how wonderful you are, because you are.”

Panasonic’s AG-HMC70 falls short

Panasonic AG-HMC70
Image from Panasonic Press Release
I’m excited about this announcement from Panasonic. Or more accurately, I’m excited that the camera has finally launched. This shoulder-mounted camera, clearly targeting event videographers, offers quite a sweet spot of price and features:

  • 3×1/4″ CCDs
  • 12x Leica Dicomar Lens
  • 1440x1080i AVCHD (a.k.a. H.264 or MPEG 4 Part 10)
  • Records to cheap SD/SDHC cards
  • XLR inputs
  • BNC and HDMI outputs
  • Headphone jack (OK, this should really be standard, but still worth noting)
  • Street Price of around $2100

What more do you need, right? Then I get to the sticking point: 13Mbps bitrate for the AVCHD. That’s significantly lower than the limit for the spec (24Mbps) and is disappointing in a camera that is otherwise very promising.

ZDNet has a good description of the problems with low bitrate “HD” as well as an at-a-glance comparison of 13Mbps AVCHD and 24Mbps HDV (MPEG-2).

As you can see, there’s “HD” and there’s HD. This camera still has some utility, but mostly to institutional videographers. Handy for a school or church, but filmmakers looking for quality HD can probably find a better match for their needs.

More Steadicam from Garrett Brown

Steadicam
Image by mikefats
B&H has Part 2 of their interview with Garrett Brown, inventor of the Steadicam. We featured Part 1 last month. In this addition, Brown talks about his early experiences using the Steadicam on film sets, the advent of post-production tools for correcting shaky footage, and combo-shots using the Steadicam along with dollys and cranes.

B&H also has a video with Garrett Brown demonstrating the Steadicam Pilot, one of the lightweight and lower-cost alternatives to the full-scale film camera version. If Garrett Brown’s Steadicams are a bit of your price range, take a look at Johnny Chung Lee’s $14 Steadycam.

The State of Independent Film

It seems fitting to write about the state of independent film on Independence Day (here in the US). Indeed, the topic is not only apropos, but fashionable. Much has been said about Mark Gill’s comments at the LA Film Festival last week. Some agree that the sky is falling, while others take comfort in his optimistic closing remarks. I won’t rehash all of that here, but I want to echo my support for John August’s take on the matter. In his postmortem of The Nines he suggests that success for an independent film is measured not in dollars but eyeballs.

You should make an indie film to make a film. Period. Artistic and commercial success don’t correlate well, and at the moment, only the former is remotely within your control.

So, you make the film you want to make. And because film is your passion, you’re not in it for the money. You’re doing what you love, not shooting for an early retirement. You try to break even, maybe gain enough capital or recognition to make another. So, how many people saw your film? Who heard your story? It’s a different way of looking at success.

Cameraman Image by Elsie esq.
August also writes some about the impact of BitTorrent on the success (financial and otherwise) of The Nines. In the end, he says he would have made the same movie but distributed it differently. This is emblematic of the changing tide in the indie film world. Despite the ever increasing availability of filmmaking tools, the artist’s ability to create an emotional connection with the viewer is as crucial as ever. The arena where technology is truly changing the game is in the methods for putting that story in front of an audience.

Digital distribution opens up avenues of connecting with an audience that weren’t available to independent artists ten, or even five, years ago. So make your film and do it cheaply enough that you don’t have to worry about the money. Then, see how many people you can share your story with. And throughout the process, revel in your independence.

Royalties for Digital Goods

Amazon Kindle
Image by jblyberg

Seth Godin recently posted on his blog about the Kindle ($359 from Amazon). He mentions publisher resistance to lowering prices on digital books, similar to studio or label’s resistance to lower prices on film, tv, or music. They all claim that lower prices would mean less revenue for the artists, authors, actors, etc.

If you eliminate the cost of physical products, you should be able to lower the total cost, raise the percentage that is paid to the content creator, and still make a profit. Unless the reason to keep prices high is to maintain the bloated physical distribution arm of a studio/publisher/label.

Maybe the idea is just to keep milking the connections that keep traditional distributors on top of the promotional game before an agile content aggregator/digital distributor/promoter comes along who doesn’t have to keep supporting the whole physical production and distribution department and can afford to simultaneously pay the creators more and charge the consumers less. Imagine what that would be like.

Anybody who Legally Downloads Music is an Idiot…

Steadicam Operator
Photo by Carolyn Coles

That’s what record store owner John Kioussis told Steve Guttenberg of The Audiophiliac.

Do you agree with Kioussis? Is legal digital music so bad that it’s not worth obeying the law?

Certainly there have been arguments made that draconian DRM has limited the appeal of legal sources for downloaded music. If media owners and creators do not or cannot provide their media in a format which meets consumer needs, the consumers will find an alternative source for that media.

Consumers in the digital age expect to have flexibility in when, how, and where they consume their media. The popularity of DVRs is driven by the desire to watch programs when it is convenient for the consumer instead of when the broadcaster decides to air it. Podcasting allows consumers to choose when and where to watch or listen. DRM that locks media to a particular device or method of viewing limits the consumer’s choice and, ultimately, pushes some percentage of those users to seek out less regulated formats of the same content, or other content entirely.

There are also the issues of fidelity. A 128kbps MP3 is not the same quality as a 44,100 Hz audio CD. Most legal sources of downloadable music don’t offer lossless file formats (excepting a notable few). There are, however, lossless file formats, such as FLAC, that are extremely popular among concert bootleggers. Thus, fidelity is another justification used by downloaders who choose alternatives to the legal avenues of music distribution.

As for John Kioussis? The rest of that quote is “You can get it for free, why pay for it? Download it illegally, who’s going to catch you? Legal or illegal, they sound the same.”

Regardless of getting caught or not, the best reason to find a legal option is to support the hard work of the artist(s) who created the media that you are enjoying. After all, without continued support, artists wouldn’t be able to continue to produce their art (excluding the independently wealthy and famously successful minority).

Traditional record deals don’t benefit the artists nearly as much as they do the studios, but changes in technology are bringing about a new wave of digital distribution options that allow artists to cut out the middlemen and connect directly (or in a manner closely approximating directly) with their fans.

So, if you want your favorite artists to keep producing art, maybe downloading music legally doesn’t make you an idiot. In fact, by searching out sites that offer the best deals to artists and supporting them, you can help shape the landscape of direct media and further the trend of direct connections from Artist to Fan.