5 ms·

Please do expand on these reasons. What costs a lot for fundamental reasons? And what can be attacked with software?

vladd 15y ago
You need filming equipment, a good script, stage infrastructure, well-performing or/and good-looking actors, repetition until they get it right, sound-tracks (with composers, interpreters, instruments & instrument people), editing, post-processing and maybe animation/special effects. And it's an industry where profits are made at the high end of the market (you'd rather pay Tom Cruise $100 millions for the statistical guarantee of $200+ millions in Mission Impossible box-office openings rather than medium-quality people for no guarantee at all). You can attack script-writing with software, or replace actors with computer animation done by software engineers, but you end up with poor low-end results or even more expensive budgets (that only make sense for computer-animated fans, see Toy Story). The attack vector implied by pg was not necessary to make film-making cheaper but rather to make entertainment better and probably different. E.g.: video games took off in the last two decades, and their business model worked because every time you play a game you get at least slightly a different entertaining experience without any additional costs from the producers.
- nextparadigms 15y ago
  Yes, but that's attacking the problem in the traditional sense. We need to disrupt Hollywood, not take them head-on. A better model would be to try a lot of movies made by young actors, and just let the best of the best come on top, in an evolutionary manner. This is the web. It doesn't have to be constrained by artificial scarcity and heavy filtering. I'm sure there are a lot of young actors who are dying to get a job in Hollywood. These new businesses should target them. Only a bottom-up, decentralized approach can win against Hollywood.
  - Keyframe 15y ago
    I'll give you an example. After a few projects I'm working on now are finished (this year), I'm preping my first feature film. I have great actors that will work for free, I also have all of the film equipment I need gratis too (all of equiment, cameras, grip, lights, everything)... and I still need $1.5 million to make that movie, which even if I raise (I think I will) I have no idea what to do with after it's made but run it through festivals and maybe some kind of online distribution or (more probable) a deal with TV network for them to buy out rights.
- pknerd 15y ago
  I think the power of croud sourcing could be used for things like writing scores and scripts.
  - drhowarddrfine 15y ago
    There's a reason why there are hundreds of out of work writers. Good scripts are hard to write, as is good music. If you think a million monkeys can do better, think again.
Keyframe 15y ago
There are three stages in production of movies and tv shows, roughly they are: Preproduction: - where screenplay is written or adapted, cost is usually low unless rights are to be managed for original content you're adapting from. - Production schedule and directors shooting script is done, sometimes a storyboard too (skilled storyboard artists COULD be somewhat replaced by software and there are attempts) - Sound designers start their work (sound design is a major component of content along with images) - Composer starts their work - Location scouting and permits are secured (permits for natural locations can cost a serious amount of money) - Art director and art departement starts working on costumes (costs a lot of money) and designs for sets (we'll get back to this) Production: - Camera and grip departement can get huge... I've done only a moderate size productions and my camera and grip dept. was 20-30 people (skilled labour that costs money)... also cameras cost (with RED little changed because camera itself is usually from rental so prices are more or less the same)... lenses cost (Ultra primes are around 250.000 euros per set - if someone can make a startup for prime lenses for PL mount there's your business)... grip costs (cranes, dollies, russian arms, whatever your production actually needs) - art department can also get huge, wardrobe, set, makeup... - talent - you need them before production for actors rehearsals and if their name is recognizable it bears marketing power, which they cash in from you Postproduction: - Color Correction can get attacked with software, Assimilate Scratch software tried to attack it with their software but it is still expensive, Nucoda Baselight and Quantel are still very expensive... not to mention hardware ccosts you need to run 4k dpx files at realtime - VFX usually require a large amount of highly skilled labour with a serious hardware power for rendering - Prop dept. is rare in talent and costs a lot of money, traditional FX even more so - Sound designers which are good are rare, they cost, their hardware and software costs. Foley is even more rare to find. And now most important part about pricing structure (falls in both preproduction and production) - Setpieces http://en.wikipedia.org/wiki/Setpiece http://en.wikipedia.org/wiki/Setpiece Setpieces are what drives most of the costs in high budget movies, they are akin to large theatre production where there are extravagant sets. Building setpieces needs engineers, builders, material and is already shaved of from profit as much as possible. Marketing and distribution is a sizeable chunk of money in a project too - and this is actually a part of disruption that could make a difference. If raising capital and subsequently marketing and distribution could be taken care of, it could work - but IMO only for low budget projects (up to $20 million). Just to summarize a bit: Even if by some kind of magic you could downsize in post production (lots of people, lots of hardware, lots of work) and do it for free and in preproduction if you could write a script for free, do locations scouting and production scheduling for free (movie magic scheduling software is $500 I think)... you still have 30-60 days of principal photography where you need set building, actors, 50+ crew, electricity, transportation, natural locations permits. Those are all highly skilled workers and if you only paid them you still break a $1 million budget, sans equipment and everything else. It's an expensive sport. Lucas calculated that a low budget movie is in a ballpark of $20 million - with marketing and distribution, half of that without it. He's right.

vladd 15y ago

You need filming equipment, a good script, stage infrastructure, well-performing or/and good-looking actors, repetition until they get it right, sound-tracks (with composers, interpreters, instruments & instrument people), editing, post-processing and maybe animation/special effects. And it's an industry where profits are made at the high end of the market (you'd rather pay Tom Cruise $100 millions for the statistical guarantee of $200+ millions in Mission Impossible box-office openings rather than medium-quality people for no guarantee at all). You can attack script-writing with software, or replace actors with computer animation done by software engineers, but you end up with poor low-end results or even more expensive budgets (that only make sense for computer-animated fans, see Toy Story). The attack vector implied by pg was not necessary to make film-making cheaper but rather to make entertainment better and probably different. E.g.: video games took off in the last two decades, and their business model worked because every time you play a game you get at least slightly a different entertaining experience without any additional costs from the producers.

nextparadigms 15y ago
Yes, but that's attacking the problem in the traditional sense. We need to disrupt Hollywood, not take them head-on. A better model would be to try a lot of movies made by young actors, and just let the best of the best come on top, in an evolutionary manner. This is the web. It doesn't have to be constrained by artificial scarcity and heavy filtering. I'm sure there are a lot of young actors who are dying to get a job in Hollywood. These new businesses should target them. Only a bottom-up, decentralized approach can win against Hollywood.
- Keyframe 15y ago
  I'll give you an example. After a few projects I'm working on now are finished (this year), I'm preping my first feature film. I have great actors that will work for free, I also have all of the film equipment I need gratis too (all of equiment, cameras, grip, lights, everything)... and I still need $1.5 million to make that movie, which even if I raise (I think I will) I have no idea what to do with after it's made but run it through festivals and maybe some kind of online distribution or (more probable) a deal with TV network for them to buy out rights.
pknerd 15y ago
I think the power of croud sourcing could be used for things like writing scores and scripts.
- drhowarddrfine 15y ago
  There's a reason why there are hundreds of out of work writers. Good scripts are hard to write, as is good music. If you think a million monkeys can do better, think again.

Keyframe 15y ago

There are three stages in production of movies and tv shows, roughly they are: Preproduction: - where screenplay is written or adapted, cost is usually low unless rights are to be managed for original content you're adapting from. - Production schedule and directors shooting script is done, sometimes a storyboard too (skilled storyboard artists COULD be somewhat replaced by software and there are attempts) - Sound designers start their work (sound design is a major component of content along with images) - Composer starts their work - Location scouting and permits are secured (permits for natural locations can cost a serious amount of money) - Art director and art departement starts working on costumes (costs a lot of money) and designs for sets (we'll get back to this) Production: - Camera and grip departement can get huge... I've done only a moderate size productions and my camera and grip dept. was 20-30 people (skilled labour that costs money)... also cameras cost (with RED little changed because camera itself is usually from rental so prices are more or less the same)... lenses cost (Ultra primes are around 250.000 euros per set - if someone can make a startup for prime lenses for PL mount there's your business)... grip costs (cranes, dollies, russian arms, whatever your production actually needs) - art department can also get huge, wardrobe, set, makeup... - talent - you need them before production for actors rehearsals and if their name is recognizable it bears marketing power, which they cash in from you Postproduction: - Color Correction can get attacked with software, Assimilate Scratch software tried to attack it with their software but it is still expensive, Nucoda Baselight and Quantel are still very expensive... not to mention hardware ccosts you need to run 4k dpx files at realtime - VFX usually require a large amount of highly skilled labour with a serious hardware power for rendering - Prop dept. is rare in talent and costs a lot of money, traditional FX even more so - Sound designers which are good are rare, they cost, their hardware and software costs. Foley is even more rare to find. And now most important part about pricing structure (falls in both preproduction and production) - Setpieces http://en.wikipedia.org/wiki/Setpiece http://en.wikipedia.org/wiki/Setpiece Setpieces are what drives most of the costs in high budget movies, they are akin to large theatre production where there are extravagant sets. Building setpieces needs engineers, builders, material and is already shaved of from profit as much as possible. Marketing and distribution is a sizeable chunk of money in a project too - and this is actually a part of disruption that could make a difference. If raising capital and subsequently marketing and distribution could be taken care of, it could work - but IMO only for low budget projects (up to $20 million). Just to summarize a bit: Even if by some kind of magic you could downsize in post production (lots of people, lots of hardware, lots of work) and do it for free and in preproduction if you could write a script for free, do locations scouting and production scheduling for free (movie magic scheduling software is $500 I think)... you still have 30-60 days of principal photography where you need set building, actors, 50+ crew, electricity, transportation, natural locations permits. Those are all highly skilled workers and if you only paid them you still break a $1 million budget, sans equipment and everything else. It's an expensive sport. Lucas calculated that a low budget movie is in a ballpark of $20 million - with marketing and distribution, half of that without it. He's right.