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https://www.forbes.com/sites/carolinereid/2024/10/24/why-streaming-could-be-hollywoods-final-act/
The future of Hollywood was reshaped in 1997 with the founding of Netflix, an innovative mail-order DVD rental business by Reed Hastings and Marc Randolph. Unlike traditional rentals, Netflix allowed subscribers to retain DVDs as long as they wanted but required returns before ordering more, allowing the company to collect uninterrupted subscription fees. By 2009, Netflix was shipping nearly a billion DVDs annually but had already set its sights on streaming. The transition to streaming, launched in 2007, faced initial challenges due to limited broadband availability but soon became popular, outpacing the DVD business and bringing Netflix millions of subscribers.
Netflix’s dominance drove traditional media giants to reevaluate their strategies. Disney, initially hesitant, eventually licensed its vast library to Netflix, contributing to the latter’s rise. However, by 2017, Disney pivoted to launch its own platform, Disney+, breaking its Netflix partnership and acquiring 21st Century Fox for content diversification. Disney’s decision sparked a broader industry shift as other studios also developed streaming services, aiming to retain full revenue from direct-to-consumer content instead of sharing it with theaters or traditional networks.
Disney+ quickly gained traction, especially during the pandemic, reaching millions of subscribers and temporarily boosting Disney’s stock. However, the reliance on streaming and subscriber growth strained Disney financially, with high operating costs and content expenses. Content exclusivity backfired, creating complexity for fans, particularly with interconnected Marvel shows, and contributing to user dissatisfaction. Additionally, Disney’s decision to release films like Black Widow simultaneously in theaters and on streaming led to backlash, lawsuits, and lost box office revenue, highlighting the downsides of simultaneous releases.
Facing ballooning expenses and subscriber attrition post-pandemic, Disney’s leadership returned to more traditional revenue models, emphasizing exclusive theater releases and licensing content to third parties. They also introduced cost-saving measures like job cuts and content reductions to stabilize financial losses. This shift echoes a partial return to pre-streaming industry norms as Disney and other studios explore “always-on” channels within their streaming platforms, aiming to balance direct consumer access with sustainable profit models.
https://abhisaha.com/blog/interactive-post-oklch-color-space/
Björn Ottosson proposed OKlch in 2020 to create a color space that can closely mimic how color is perceived by the human eye, predicting perceived lightness, chroma, and hue.
The OK in OKLCH stands for Optimal Color.
Also read:
Björn Ottosson – OKHSV and OKHSL – Two new color spaces for color picking
https://www.producthunt.com/products/motionity
Motionity is an free and open source animation editor in the web. It’s a mix of After Effects and Canva, with powerful features like keyframing, masking, filters, and more, and integrations to browse for assets to easily drag and drop into your video.
Open Shading Language (OSL) is a small but rich language for programmable shading in advanced renderers and other applications, ideal for describing materials, lights, displacement, and pattern generation.
https://open-shading-language.readthedocs.io/en/main/
https://github.com/AcademySoftwareFoundation/OpenShadingLanguage
https://github.com/sambler/osl-shaders
Learn OSL in a few minutes
https://learnxinyminutes.com/docs/osl/
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Implemented in Chaos Flesh and Chaos Cloth as a part of Unreal Engine.
https://arxiv.org/pdf/2306.09021
https://dev.epicgames.com/community/learning/tutorials/OPM3/unreal-engine-chaos-cloth-tool-overview
https://dev.epicgames.com/community/learning/tutorials/BEby/unreal-engine-chaos-flesh
https://80.lv/articles/epic-games-store-still-makes-no-money/
Recently, Epic Games has encountered financial challenges, leading to significant steps. Towards the end of September, the company laid off around 16% of its staff, which is approximately 830 employees. Subsequently, in early October, Epic Games announced a price hike for non-game developers utilizing Unreal Engine. During this announcement, CEO Tim Sweeney openly acknowledged the financial difficulties that the studio has faced since July.
https://www.epicgames.com/site/en-US/news/layoffs-at-epic
https://www.theverge.com/2023/9/28/23894266/epic-games-layoffs-fortnite-unreal-engine
Tim Sweeney sent the following email to Epic employees:
As we shared earlier, we are laying off around 16% of Epic employees. We’re divesting Bandcamp and spinning off most of SuperAwesome.
For a while now, we’ve been spending way more money than we earn, investing in the next evolution of Epic and growing Fortnite as a metaverse-inspired ecosystem for creators. I had long been optimistic that we could power through this transition without layoffs, but in retrospect I see that this was unrealistic.
“These companies chose to blame thousands of people for a problem that was specifically created by their execs. The same people writing crocodile-tear-stained layoff letters are the same ones responsible for unrealistic projections, unrealistic spending and unrealistic hiring.”
“With corporate leaders having incentives not to benefit stakeholders at shareholder expense, delegating the guardianship of stakeholder interests to corporate leaders would prove futile. The promise of pluralistic stakeholderism is illusory.”
The Big Tech and big fintech companies aren’t worried about letting people go because when the next up-cycle hits they’ll pay top dollars (of course), but just as importantly, these resources can (nearly) seamlessly “plug and pay” into the tech environments in any of these companies.
“They use the same communication tools, the same programming tools, the same everything. There’s no (or hardly any) onboarding and training time required to get someone up to speed.”
“Without the need to spend months (weeks at the least) and untold dollars on training new employees, technology firms are emboldened to just let people go when it’s expedient for them.”
Rob Legato, the award-winning FFX Supervisor whose work you may have seen in movies like Titanic, Avatar and The Jungle Book, is incredibly bullish on virtual production. At the Microsoft Production Summit, presented by NVIDIA NVDA +0.2%& Unreal Engine in Los Angeles, he reported that he recently did a movie with Ben Affleck and Matt Damon in twenty-four days, “Cutting down the days cut down the budget, and it’s amazing what a difference that can make. Productions can now do for $25 million what used to cost $100 million.”