Thursday, February 21, 2008

Digital Fallout of a Format War

People are stupid.  Of course, they are generally stupid at all times, but become especially so when shielded by the anonymity  provided by the Internet.  That's why I rarely read the comments posted by users on product pages, news stories, or videos.  Because, when I do, I just end up frustrated, as I really can't abide ignorant, stupid people.  Yesterday, however, I broke this rule and read the comments at the end of a news story on the sales related to the end of the HD video format war.  I was so frustrated that it prompted this blog.

For anyone who has been completely oblivious to the happenings on the HD video front for the past few years, I'll offer a brief rundown.  The standard DVDs which we have been using for the past decade can hold, at most, about 8 GB of information.  This is not enough to store a movie at High Definition quality.  As a result, two new formats were developed: Toshiba's HD-DVD and Sony's Blu-Ray.  Both of these formats were capable of producing virtually identical full HD pictures and uncompressed sound.  HD-DVD has a capacity of about 30 GB and Blu-Ray has a maximum capacity of 50 GB.  Most other differences were superficial, at least as far as consumers were concerned.  Some effort was made to combine the two formats, but both sides were unwilling to make concessions to allow that to happen.  As a result, both formats went on the market in the spring of 2006, creating the format war.  Both formats required special players in order to be used, and each format could only be used on the correct type of player.  This forced consumers to choose a side, to buy either HD-DVD or Blu-Ray.  To make matters more confusing, the film studios also chose sides, with Sony, Disney, and Fox going Blu-Ray and Universal going HD-DVD.  Warner Bros. and Paramount/Dreamworks supported both formats.  That was the situation until Fall 2007.  At that point Paramount/Dreamworks announced that it would become HD-DVD exclusive.  Shortly thereafter, Blockbuster US announced that it would only carry Blu-Ray.  Then in January 2008, Warner Bros.  announced that it would switch exclusively to Blu-Ray, catching the HD-DVD group so off guard that they cancelled their presentation at the Consumer Electronics Show, which was to occur the same week as the announcement.  Early in February, Best Buy announced that they would be "heavily favouring" the Blu-Ray format in their stores.  The final nail in the HD-DVD coffin came courtesy of, who else, Wal-Mart when they announced that they would stop carrying the HD-DVD format.  On February 15th, word leaked out that Toshiba was about to close its HD-DVD plants in Japan, and the official announcement came on February 19th - HD-DVD was dead.

Throughout the duration of the format war there was abundant flaming on the Internet, courtesy of both sides.  Now that it's over, that flaming shows no signs of abating, particularly from the (rightfully) pissed off owners of now worthless HD-DVD hardware and software.  I don't have a problem with them being upset, but I do have a problem with both sides insistence on using lies to try to strengthen their argument.

So, first, was either format superior?  No, not really.  Both were capable of roughly the same things, with Blu-Ray having a slight advantage by way of higher max capacity the the ability to perform branching playback (if you don't know what that means, that just shows you how unimportant it will be to your life).  As a large number of Blu-Ray fans are ardent Sony supporters, they like to claim that the large number of Blu-Ray players built into every PS3 won them the war.  Again, this is not exactly true.  While it did massively increase the number of players in consumers hands, there's no good evidence to prove that most of them are being used as Blu-Ray players at all.  By looking at the sales figures for stand alone players and software, Blu-Ray consistently outsold HD-DVD, often by a margin of two to one.

The HD-DVD supporters like to blame Warner Bros. for switching sides and killing their format, especially since they accepted a large sum of money from the Blu-Ray Group to do so.  Again, not at all true.  First of all, the writing was on the wall.  The momentum was clearly in Blu-Ray's favour, and the market could no longer bear two competing formats.  By winter 2007 it was clear this thing was going to go Blu-Ray's way, it was just a matter of time.  It would have happened with or without Warner Bros.  Second, yes, Warner did take money from the Blu-Ray group to switch.  However, the HD-DVD group was offering a comparable amount of money to switch exclusively to their side.  Furthermore, the exact same thing had happened in the fall with Paramount/Dreamworks, Paramount just took the money from the other side.  Finally, as was expressed by the heads of both Warner Bros. and Paramount after their respective deals, the amount of money involved in the payoff was insignificant compared with the potential gains (or loses) associated long term with the HD video business.

This war had to end, and it had to end now.  The market just couldn't bear it any longer.  Not only were sales of the high def formats below what they should have been, as consumer support was divided, but standard DVD sales were down as well.  This is because consumers were aware that a new format was on the horizon and did not want to purchase a film on regular DVD that they would soon want to buy in HD.  But, since there were two formats for HD, they also didn't want to commit to either one just yet, for fear of winding up on the losing side, as memories of Matsushita's VHS versus Sony's Betamax format war were still fresh in their minds.  So, now that the war is over, the industry can finally move forward, with everyone using the same format.

But will Blu-Ray replace DVD?  Personally, I don't think so.  Most people don't see enough of a difference, and their still isn't a high enough installed base of HDTV's to make it worth most people's time.  It will likely remain a niche market.  The next big revolution in home entertainment will be digital delivery.  Companies like Microsoft, Toshiba, and others are already at work on new server solutions that will allow all home media - video, music, pictures, everything - to be stored in one place and then transmitted throughout the house.  Rather than owning anything physical, all content will be delivered directly to this server.  This isn't exactly a future I'm looking forward to, since the media companies have such a horrible track record with user friendly DRM, but I do think it's where we're headed.  But at least the war is over, for now.

 

Sleep well,

DTE

Wednesday, February 20, 2008

The Way It's Gonna Be

As you are no doubt aware, Hollywood's annual orgy of self congratulation is fast approaching.  The Academy Awards for 2007, the Oscars, will be handed out this Sunday, February 24th starting at 5 pacific.  As such, I decided I would announce the winners early.  That's right, what follows is the official list of who will win each award this year*.  I have marked the winner in each category in red and, as a bonus, I have marked the film which should have won will be in blue. If no film is marked in blue, then the correct film won.  In this way, there will forever be a record of all the mistakes the Academy will no doubt make.

I'm not going to keep you in suspense by saving the most anticipated categories for last.  I'm going to start right away with the biggie.  Come with me now on this magical voyage into the future...

BEST PICTURE
"Atonement" (Focus Features)
A Working Title Production
Tim Bevan, Eric Fellner and Paul Webster, Producers
"Juno" (Fox Searchlight)
A Dancing Elk Pictures, LLC Production
Lianne Halfon, Mason Novick and Russell Smith, Producers
"Michael Clayton" (Warner Bros.)
A Clayton Productions, LLC Production
Sydney Pollack, Jennifer Fox and Kerry Orent, Producers
"No Country for Old Men" (Miramax and Paramount Vantage)
A Scott Rudin/Mike Zoss Production
Scott Rudin, Ethan Coen and Joel Coen, Producers
"There Will Be Blood" (Paramount Vantage and Miramax)
A JoAnne Sellar/Ghoulardi Film Company Production
JoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

PERFORMANCE BY AN ACTOR IN A LEADING ROLE
George Clooney in "Michael Clayton" (Warner Bros.)
Daniel Day-Lewis in "There Will Be Blood" (Paramount Vantage and Miramax)
Johnny Depp in "Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros.,
Distributed by DreamWorks/Paramount)

Tommy Lee Jones in "In the Valley of Elah" (Warner Independent)
Viggo Mortensen in "Eastern Promises" (Focus Features)

PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
Casey Affleck in "The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.)
Javier Bardem in "No Country for Old Men" (Miramax and Paramount Vantage)
Hal Holbrook in "Into the Wild" (Paramount Vantage and River Road Entertainment)
Philip Seymour Hoffman in "Charlie Wilson’s War" (Universal)
Tom Wilkinson in "Michael Clayton" (Warner Bros.)

PERFORMANCE BY AN ACTRESS IN A LEADING ROLE
Cate Blanchett in "Elizabeth: The Golden Age" (Universal)
Julie Christie in "Away from Her" (Lionsgate)
Marion Cotillard in "La Vie en Rose" (Picturehouse)
Laura Linney in "The Savages" (Fox Searchlight)
Ellen Page in "Juno" (Fox Searchlight)

PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
Cate Blanchett in "I’m Not There" (The Weinstein Company)
Ruby Dee in "American Gangster" (Universal)
Saoirse Ronan in "Atonement" (Focus Features)
Amy Ryan in "Gone Baby Gone" (Miramax)
Tilda Swinton in "Michael Clayton" (Warner Bros.)

DIRECTOR
Paul Thomas Anderson - "There Will Be Blood"
Ethan Coen & Joel Coen - "No Country For Old Men"
Tony Gilroy - "Michael Clayton"
Jason Reitman - "Juno"
Julian Schnabel - "The Diving Bell And The Butterfly"

ORIGINAL SCREENPLAY
Brad Bird - "Ratatouille"
Diablo Cody - "Juno"
Tony Gilroy - "Michael Clayton"
Tamara Jenkins - "The Savages"
Nancy Oliver - "Lars and the Real Girl"

ADAPTED SCREENPLAY
Paul Thomas Anderson - "There Will Be Blood"
Ethan & Joel Coen - "No Country for Old Men"
Christopher Hampton - "Atonement"
Ronald Harwood - "The Diving Bell and the Butterfly"
Sarah Polley - "Away from Her"

ANIMATED FEATURE
"Persepolis" - (Sony Pictures Classics) Marjane Satrapi and Vincent Paronnaud
"Ratatouille" - (Pixar; Walt Disney Studios Motion Pictures Distribution) Brad Bird
"Surf’s Up" - (Sony Pictures Releasing) Ash Brannon and Chris Buck

FOREIGN LANGUAGE FILM
"Beaufort" - Israel
"The Counterfeiters" - Austria
"Katyn," - Poland
"Mongol" - Kazakhstan
"12" - Russia

ART DIRECTION
"American Gangster" (Universal) Art Direction: Arthur Max; Set Decoration: Beth A. Rubino
"Atonement" (Focus Features) Art Direction: Sarah Greenwood; Set Decoration: Katie Spencer
"The Golden Compass" (New Line in association with Ingenious Film Partners) Art Direction: Dennis Gassner; Set Decoration: Anna Pinnock
"Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
"There Will Be Blood" (Paramount Vantage and Miramax) Art Direction: Jack Fisk; Set Decoration: Jim Erickson

CINEMATOGRAPHY
"The Assassination of Jesse James by the Coward Robert Ford" (Warner Bros.) Roger Deakins
"Atonement" (Focus Features) Seamus McGarvey
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn) Janusz Kaminski
"No Country for Old Men" (Miramax and Paramount Vantage) Roger Deakins
"There Will Be Blood" (Paramount Vantage and Miramax) Robert Elswit

DOCUMENTARY FEATURE
"No End in Sight" (Magnolia Pictures) A Representational Pictures Production; Charles Ferguson and Audrey Marrs
"Operation Homecoming: Writing the Wartime Experience" (The Documentary Group) A Documentary Group Production; Richard E. Robbins
"Sicko" (Lionsgate and The Weinstein Company) A Dog Eat Dog Films Production; Michael Moore and Meghan O’Hara
"Taxi to the Dark Side" (THINKFilm) An X-Ray Production; Alex Gibney and Eva Orner
"War/Dance" (THINKFilm) A Shine Global and Fine Films Production

ANIMATED SHORT FILM
"I Met the Walrus" A Kids & Explosions Production; Josh Raskin
"Madame Tutli-Putli" (National Film Board of Canada) A National Film Board of Canada Production; Chris Lavis and Maciek Szczerbowski
"Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)" (Premium Films) A BUF Compagnie Production; Samuel Tourneux and Simon Vanesse
"My Love (Moya Lyubov)" (Channel One Russia) A Dago-Film Studio, Channel One Russia and Dentsu Tec Production; Alexander Petrov
"Peter & the Wolf" (BreakThru Films) A BreakThru Films/Se-ma-for Studios Production

LIVE-ACTION SHORT FILM
"At Night" A Zentropa Entertainments 10 Production; Christian E. Christiansen and Louise Vesth
"Il Supplente (The Substitute)" (Sky Cinema Italia) A Frame by Frame Italia Production; Andrea Jublin
"Le Mozart des Pickpockets (The Mozart of Pickpockets)" (Premium Films) A Karé Production; Philippe Pollet-Villard
"Tanghi Argentini" (Premium Films) An Another Dimension of an Idea Production; Guido Thys and Anja Daelemans
"The Tonto Woman" A Knucklehead, Little Mo and Rose Hackney Barber Production; Daniel Barber and Matthew Brown

VISUAL EFFECTS
"The Golden Compass" (New Line in association with Ingenious Film Partners) Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood
"Pirates of the Caribbean: At World’s End" (Walt Disney) John Knoll, Hal Hickel, Charles Gibson and John Frazier
"Transformers" (DreamWorks and Paramount in association with Hasbro) Scott Farrar, Scott Benza, Russell Earl and John Frazier

COSTUME DESIGN
"Across the Universe" (Sony Pictures Releasing) Albert Wolsky
"Atonement" (Focus Features) Jacqueline Durran
"Elizabeth: The Golden Age" (Universal) Alexandra Byrne
"La Vie en Rose" (Picturehouse) Marit Allen
"Sweeney Todd The Demon Barber of Fleet Street" (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)

DOCUMENTARY SHORT
"Freeheld" A Lieutenant Films Production; Cynthia Wade and Vanessa Roth
"La Corona (The Crown)" A Runaway Films and Vega Films Production; Amanda Micheli and Isabel Vega
"Salim Baba" A Ropa Vieja Films and Paradox Smoke Production; Tim Sternberg and Francisco Bello
"Sari’s Mother" (Cinema Guild) A Daylight Factory Production; James Longley

FILM EDITING
"The Bourne Ultimatum" (Universal) Christopher Rouse
"The Diving Bell and the Butterfly" (Miramax/Pathé Renn) Juliette Welfling
"Into the Wild" (Paramount Vantage and River Road Entertainment) Jay Cassidy
"No Country for Old Men" (Miramax and Paramount Vantage) Roderick Jaynes
"There Will Be Blood" (Paramount Vantage and Miramax) Dylan Tichenor

SOUND MIXING
"The Bourne Ultimatum" (Universal) Scott Millan, David Parker and Kirk Francis
"No Country for Old Men" (Miramax and Paramount Vantage) Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland
"Ratatouille" (Walt Disney) Randy Thom, Michael Semanick and Doc Kane
"3:10 to Yuma" (Lionsgate) Paul Massey, David Giammarco and Jim Stuebe
"Transformers" (DreamWorks and Paramount in association with Hasbro) Kevin O’Connell, Greg P. Russell and Peter J. Devlin

SOUND EDITING
"The Bourne Ultimatum" (Universal) Karen Baker Landers and Per Hallberg
"No Country for Old Men" (Miramax and Paramount Vantage) Skip Lievsay
"Ratatouille" (Walt Disney) Randy Thom and Michael Silvers
"There Will Be Blood" (Paramount Vantage and Miramax) Matthew Wood
"Transformers" (DreamWorks and Paramount in association with Hasbro) Ethan Van der Ryn and Mike Hopkins

ORIGINAL SCORE
"Atonement" (Focus Features) Dario Marianelli
"The Kite Runner" (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics) Alberto Iglesias
"Michael Clayton" (Warner Bros.) James Newton Howard
"Ratatouille" (Walt Disney) Michael Giacchino
"3:10 to Yuma" (Lionsgate) Marco Beltrami

ORIGINAL SONG
"Falling Slowly" from "Once" (Fox Searchlight) Music and Lyric by Glen Hansard and Marketa Irglova
"Happy Working Song" from "Enchanted" (Walt Disney) Music by Alan Menken; Lyric by Stephen Schwartz
"Raise It Up" from "August Rush" (Warner Bros.) Nominees to be determined
"So Close" from "Enchanted" (Walt Disney) Music by Alan Menken; Lyric by Stephen Schwartz
"That’s How You Know" from "Enchanted" (Walt Disney) Music by Alan Menken; Lyric by Stephen Schwartz

MAKEUP
"La Vie en Rose" (Picturehouse) Didier Lavergne and Jan Archibald
"Norbit" (DreamWorks, Distributed by Paramount) Rick Baker and Kazuhiro Tsuji
"Pirates of the Caribbean: At World’s End" (Walt Disney) Ve Neill and Martin Samuel

So, there you have it.  That's how it's gonna be.  Make sure you watch Sunday so you can be amazed at my accuracy.

 

Sleep well,

DTE

______________

* This isn't really the official list, merely a series of guesses, some educated, some not so much.  Apologies to anyone foolish enough to believe it was official.  You really ought to have your gullible removed, or at least a common sense transplant.

Sunday, February 10, 2008

Voyeurism and Inventing Meaning

So, my first post was all about my self-centred reasons for creating a blog.  But now lets talk about you.  Why are you here?  And, again, this is pretending that anyone will ever actually read this.  But, let's pretend.  Odds are you know me, since it's very unlikely that you stumbled upon this page by accident.  So, since you know me, what are you hoping to get out of this?  Deep insights into the meaning of life?  Satisfy your curiosity?  Just another dose of me?  Maybe that's what you choose to believe but, just like I'm denying the real reason I'm writing, you're probably just denying the real reason you visited.  You're here to satiate your voyeuristic tendencies.  Yeah, that sounds dirty, because, as a society, we've been taught to equate voyeurism with peeping toms, up-skirt cameras, and illicit sex.  But that's not what it's about.  Voyeurism is just fulfilling a basic human desire to watch and understand another human in order to attempt to gain an understanding or insight for ourselves.  Watching TV (especially reality and talk shows), reading fiction or biographies, or just sitting at the mall and watching the people pass as you finish your coffee - it's all voyeurism.  And the sooner you come to terms with that fact, the more you'll get out of those activities (even your up-skirt cams, you pervert).

But, let's shift the focus back to me.  More specifically, to my film studies course.  Now, I watch a lot of movies.  A lot of movies.  And I've never really had a problem deciphering what the director was trying to say, why he chose certain shots, angles, filters, etc.  So, when I finally got to pick a complementary course to finish my degree, I opted for film studies.  I've enjoyed the course, hearing different people's opinions and ideas on various films.  But there is one thing which I cannot stand.  Occasionally we'll look at a film that the director, at least as far as I'm concerned, wasn't trying to make any type of statement, yet we'll analyze it  and be expected to find "meaning".  A good example of this it George Melies Trip To The Moon from 1902.  You've seen at least part of this film, whether you know it or not.  Everyone has.  But if you don't know which film I'm talking about, I've included the YouTube recording below.  Take the time to watch it.  It's only ten minutes and worth the time, if only to say you've fully experienced this important piece of film history.

Now, I'll be the first to admit that, for its time, this was a revolutionary film, if not in terms of story then in terms of visual effects.  Melies used his background as a magician to create some very entertaining scenes.  But we spent 80 minutes in class dissecting what he was trying to ""say".  He wasn't trying to say anything!  It was 1902 and film was a novelty.  He merely created a showcase for his optical trickery!  He didn't show the rocket landing on the moon twice (once hitting the Man in the Moon's eye, then again landing on a rocky landscape) to demonstrate his control over space and time, he did it so he could include the gag of the rocket hitting the Man in the Moon's eye and still ensure the unsophisticated audiences of the early 1900's would understand the men had made it to the moon.  He did it because there was no such concept as "continuity editing" (showing things in the order they happen, as though the entire film was taking place without interruption).  The alien hanging onto the back of the rocket does not symbolize slavery!

I have no problem believing that many directors carefully choose angles, framing, actor placement, shot order, etc. to create a very specific message.  I know this to be true, both from talking with directors, watching or listening to interviews, and occasionally it's just so blatantly obvious.  But this is not always the case.  A lot of times they're just there to make a movie.  This was certainly the case at the turn of the 20th century.  It doesn't help anyone to sit around and try to invent meaning where there is none.  It's a fruitless exercise.

So I guess that's the first rant I've treated you to here.  It certainly won't be the last.  In the meantime, check out this Smashing Pumpkins video for Tonight, Tonight, which was heavily influenced by Trip to the Moon.

Sleep well,

DTE

Friday, February 8, 2008

Screaming into the Black

I felt this was an appropriate way to begin my first ever blog. I think that the above comic should be used as a sort of disclaimer for the vast majority of blogs. After all, isn't that what they are all about? Trying desperately to convince ourselves and others that who we are and what we think matters? Trying to validate out existence, proving that we are, in fact, significant?
As much as I'd like to believe that that's not what is driving me, I'm sure that if you plumbed the depths of my psyche you'd find I'm in it for the attention as much as anyone else. And by "you" I'm referring to the imaginary reader, since I fully expect this blog to live out its entire existence without actually being viewed by anyone. Ostensibly, though, my raison d'être here is much more benign. When I installed the Windows Live suite a couple of months ago, one of the apps included was Live Writer, a program designed to be used to author Weblogs. Since I'm mildly OCD (completely self-diagnosed, by the way) I couldn't just leave a program on my computer without at least trying it. Which led to this.
So what, exactly, is this? Well, I don't exactly know. I'm sure it'll eventually contain a fair number of rants, since that's what the Internet was created for, right? Probably commentary on any current events which pique my interest. It will definitely discuss entertainment, likely focusing heavily on film and television. It definitely won't be updated daily. Probably not even weekly. Maybe biweekly, if you're lucky (or unlucky, depending on your point of view). Mainly, it'll just be a forum for me to expel whatever I happen to be thinking about, when the mood strikes.
Echoes from the infinite abyss.
Sleep well,
DTE