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.
Social cinema platform Kinema today announces its launch of a new fully integrated and secure live video broadcasting tool into its virtual Kinema cinematic experience. This combines high-quality, live streaming technology with an advanced film play experience and easy-to-navigate controls. This proprietary feature, an entertainment industry first, gives screening hosts, exhibition partners, filmmakers and talent access to a single source of seamless and easy-to-use tools, enabling them to engage with their audience during live Q&As and film screenings hosted on the Kinema platform.
What happens if you compare the streaming giants’ top movies with their ratings on major movie rating sites? The Bad Movie Index, created by Draken Film, the Swedish streaming service for quality cinema, was created to inspire people to broaden their film taste with what the service believes is the first-ever moving subscription price.
The groundbreaking documentary My Name is Pauli Murray is in theatres now and will be available on Amazon Prime October 1. The film was made by the same team that made the award-winning documentary RBG about the late US Supreme Court Justice Ruth Bader Ginsburg.
Media company Gathr will showcase the re-mastered and digitally enhanced 50th anniversary edition of the Oscar-nominated 1971 documentary On Any Sunday via its fan-driven cinema distribution model Theatrical on Demand. The documentary, financed by and starring movie icon and motocross weekend warrior Steve McQueen, is regarded as the best film ever made on the sport of motorcycle racing.
MetaMedia, Laugh Lounge, a producer of exclusive live-streamed stand-up comedy shows, and distributor The Bigger Picture are partnering to deliver live stand-up comedy shows from top U.S. comedy clubs to cinemas and other out-of-home venues across the country for the first time.
Goldcrest Post provided post-production services and support for three films debuting at this month’s 78th Venice International Film Festival. Among them is The Lost Daughter, a dramatic feature marking the directorial debut of Oscar-winner Maggie Gyllenhaal that is screening in the festival’s international competition.
The total revenues generated by the global cinema industry this year are set to only reach half of 2019’s pre-COVID revenues according to Omdia’s latest Cross Sector Windows report. Global box office revenues are still being impacted by studios experimenting with differing release windows, alternative platform distribution models such as video on demand, as well as government restrictions and more recently, a change in consumer confidence due to the Delta variant.
Kinema, which calls itself a cinematic experience platform, has expanded its film library to a total of more than 60 new titles. New partners include Magnolia Pictures, Greenwich Entertainment, Abramorama, Cargo Releasing, Frameline, Film Movement and Well Go USA. The rollout of the new titles, all of which have experienced global film festival recognition and critically acclaimed industry reviews, will continue this summer into the late fall.
Cinedigm is partnering with online entertainment marketplace Exeest to power a fully integrated film submission platform for Fandor and its portfolio of channels. The advanced platform will use Exeest's exclusive technology to streamline the film submission process for independent filmmakers, provide the Fandor programming team a state-of-the-art way to solicit, ingest, screen and evaluate film content suitable for its audience.