John Mateer

The Impact of Digital Technology on the Distribution Value Chain Model of Independent Feature Films in the UK

This article examines how emerging digital technologies have disrupted independent film distribution practice in the United Kingdom. The article uses the value chain concept as the framework to examine changes in audience consumption habits and to explore emerging business practice, as a result of new technology. The article argues that film distribution is shifting from a supply-led to a demand-led market. In this way, independent distributors can now break away from the rigid singular value chain that dominated the industry, and adopt bespoke release strategies that are tailored to the individual needs of each film. This arguably marks the beginning of a fundamental shift in the relationship between key segments in the film value chain by allowing independent distributors to create a more attractive product by conducting their business in response to consumer demands, as opposed to rigid market-driven conditions.

Directing for Cinematic Virtual Reality: how the traditional film director’s craft applies to immersive environments and notions of presence

ABSTRACT Virtual Reality (VR) has been an area of research for over 40 years yet only recently has it begun to achieve public acceptance. One key to this has been the development of ‘Cinematic Virtual Reality’ (CVR) where media fidelity approaches that found in feature film. Unlike traditional VR, CVR limits the level of control users have within the environment to choosing viewpoints rather than interacting with the world itself. This means that CVR production arguably represents a new type of filmmaking. Grammars for filmmakers have developed significantly resulting in a rich vocabulary available to use to create compelling stories. Relatedly, researchers into VR have also begun to understand mechanisms behind compelling engagement within VR. This paper looks to find a bridge between these two previously disparate media. It is argued that the concepts of ‘suspension of disbelief’ and ‘presence’ can be linked via ‘transportation theory’. The applicability of existing filmmaking directing techniques for the creation of CVR projects is then explored. Existing film production methods are considered in a manner adapted to establishing ‘presence’ in a CVR space. Finally, areas for future exploration are considered in light of the immaturity of CVR as a medium.

Developing effective test sets and metrics for evaluating automated media analysis systems

This paper first looks at current methods of evaluating automated content-based media analysis systems. Several key deficiencies are identified, particularly with regard to test set creation and metric design. A new framework is proposed that better reflects real-world conditions and end-user requirements. This is based on the authors experience as a professional filmmaker and researcher in this domain. Specific approaches for data set selection, including the importance of understanding the physical, production and aesthetic attributes of footage, are presented. A discussion of related evaluation methods and means of effective assessment follow. It is hoped the suggestions proposed will facilitate more effective analysis of these systems.

A vision-based postproduction tool for footage logging, analysis, and annotation

We report a new method for logging and annotating video footage directed towards the needs of professional postproduction and archivist end users. SALSA--Semi-Automated Logging with Semantic Annotation--is a hybrid system that uses automated footage analysis for cut detection and camera movement classification, and a stenographic-like keyboard input system for the logging of higher-level semantic information. Output is presented both in standard printed log form, with the addition of mosaic visual representations of shots, and in a fully searchable database. Experimental comparisons of SALSA with conventional hand analysis show a significant increase in the loggers speed with no reduction in accuracy or semantic detail

A fistful of dollars or the sting? Considering academic–industry collaborations in the production of feature films

ABSTRACT Increasingly universities and film schools are looking for ways to provide richer experiences for students to enhance their employability as well as find ways to make their programmes stand out in a competitive marketplace. Likewise, economic pressure on commercial feature film production companies, particularly independents, is forcing them to consider alternative means of production and new sources of cost-effective project support. This paper looks at the emergence of formal academic–industry collaboration in the creation, production and support of commercial feature films. Looking at a wide range of examples from collaborations worldwide, it considers three basic models: University as film production company with ‘soft’ investment; University as film production company with ‘hard’ investment; and University as film production service provider. It is argued that all three models can be viable but that alignment with corporate and institutional objectives, as well as realistic expectations, are essential to success.