iHollywood

Mobile ESPN's Fallout

2006-09-28T10:45:00.002-07:00

ESPN's announcement that it's shuttering its mobile offering was expected. But what does it mean for other emerging MVNOs like Helio and Amp'd? Perhaps the biggest lesson: consumers aren't going to shell out money to buy phones for niche content. Appealing to a demographic -- as Disney Mobile does, complete with Disney-styled phones is one thing; telling somebody to build their entire persona around sports is another. Virgin Mobile is profitable and has more than 3 million customers because it appeals to young people, not because it's touting specific content. Also, size does matter: when you invest a combined total of $150 million in Mobile ESPN and Disney Mobile, and ESPN pulls in only 30,000 subscribers, you're not long for this world.

Wi-Fi for Everyone and Everything

2006-09-27T22:16:00.000-07:00

WSJ's Thursday Personal Technology column, today penned by Katherine Boehret, gives the first good review I've seen of a Wi-Fi camera. Nikon's Coolpix S7c, priced at a cool $350, seamlessly logged in to public hot spots and emailed shots to the writer's friends. That's significant because it overcomes a key drawback of digital cameras -- their images languish on SD cards and computer hard drives. The camera senses Wi-Fi networks and conveniently comes with a free year to use T-Mobile hot spots and Starbucks, Barnes & Noble, and other public places.

T-Mobile, not coincidentally, launched the first service in the U.S. to allow cellphone users to switch seamlessly between cellphone networks and the Wi-Fi networks in their homes and other places.

It's not a big stretch to see inexpensive cameras that send their photos directly to Wi-Fi-equipped TVs or cellphone users listening to their favorite music stream over 3G networks in a commuter train and then in their living rooms. Or streaming video. Or whatever. Stay tuned.

See:
http://online.wsj.com/article/personal_technology.html?mod=djemptech (subscription required); and
http://news.com.com/Switching+from+cell+to+Wi-Fi,+seamlessly/2100-1039_3-6113223.html

AOL's Flannigan and Network Live's Wall at DMS

2006-06-06T16:51:00.000-07:00

Flannigan pointed out at Digital Media Summit that the most important video content on AOL is now free; paying for AOL is being positioned as a premium service. Membership on AOL is down, but revenue is up because of advertising support, he told me during a fireside chat. The key here is that the sum of the "fragments" is worth more than one individual piece.

Wall called Jib Jab the exception rather than the rule. Hollywood will still produce the most desired, premium content. For every Jib Jab or My Space or Blair Witch, you'll see the most desired content still originating, for the most part, from the studios. Again, I'll try to get you guys some of the audio tonight or tomorrow. (www.ihollywoodforum.com)

Content Wants to Be Free: Thoughts from Digital Media Summit.

2006-06-06T12:48:00.000-07:00

The overwhelming opinion here is that pay models for media must be radically rethought. Fascinating that this comes from the major networks and rights holders. Free is the name of the game: if it's free, piracy gets bypassed.

We had the Slingbox Marketing VP Rich Buchanan crossing swords with the Major League Baseball Exec VP George Kliavkoff over rights; ;but notably no one was talking about suing anybody. Everybody seems determined not to repeat the mistakes of the music industry.

All this was followed up by an amazing presentation by Jib Jab about how two guys with an idea for online comedy created a phenom that attracts hundreds of millions of hits. Major media companies should be so lucky. They're getting major advertisers now like Anheuser Busch. The irony: isn't that how the big broadcast networks got their start? Remember free, ad-supported content?

I'll have an audio podcast of some highlights available tonight. I'll post details here and at www.ihollywoodforum.com

TV's Bold Digital Play

2006-05-27T15:17:00.001-07:00

The broadcast networks, alarmed by the music industry’s hemorrhaging from Internet piracy, aren’t about to make the same mistake.

Fox is selling downloads from its recent American Idol finale at $1.99 a pop and garnered more SMS votes for its final two than the last American election. ABC launched news podcasts last week. CBS is selling episodes of shows like Survivor for 0.99 and launched its innertube broadband network last month.

“Finally the technology is here,” said Tina Imm, VH1’s Vice President for Digital Media. “The Web penetration is here. The consumers are here. The advertisers are coming.’’

So far, these efforts aren’t more than a rounding error in the networks’ bottom lines. But that will change dramatically over the next two years as viewers warm to watching their favorite shows on video iPods and cellphones.

The networks’ launches are historic because they largely bypass piracy by using the unique features of the web and mobile to their financial advantage. Their approach exemplifies how I believe music, films and other rich media will be monetized in the Brave New Digital World.

How are the networks accomplishing this? Let’s look at some examples. Take ABC’s decision to allow fans to view hit shows like “Desperate Housewives” and Lost” for free online. Traditional thinking is that such largesse would hurt TV viewership and thus ad sales. But ABC convinced advertisers such as Toyota and Procter & Gamble to add short ads to the online episodes. Arguably, these companies get better brand recognition by hitting fans into two mediums, rather than one – especially since you can’t click on your TV to buy Folgers.

Of course, you can also pay to download Desperate Housewives from iTunes or buy or click on Susan’s James Perse T-Shirt to buy it from Nordstrom’s.
Toyota, by the way, is also creating 10-sec spots to air before “mobisodes” of its hit show “Prison Break.” How big could that be in a world of 1.5 billion handsets?

These tactics would have been ineffectual a few years ago, when the broadband Internet was still used by only a fraction of the population and Web ad rates were dismal. But the Internet is now capturing a significant percentage of the prime time viewing audience.

Note how these efforts are largely immune to piracy. Who wants to steal a show that’s available for free? Why rip off a baseball broadcast airing simultaneously on TV and the Internet? Would you rather wait a few days to catch “Desperate Housewives” from a pirate, or get it for $1.99 from iTunes?

I’m not suggesting that the path to TV on multiple platforms will be easy. ABC’s announcement of free Internet airings of its top shows angered some affiliates, who worried that they wouldn’t be compensated for local viewers who fled to the Web. Fox sidestepped that issue by promising to cut affiliates a piece of the profit from shows it airs on the Internet.

“The economics for the digital model are quite different,” said Network Live CEO Kevin Wall, whose Live8 concerts last summer set Internet viewership records. “There will be a struggle, just as the record companies are struggling to make the transition.’’

Sports, in particular, presents sticky issues. How do you negotiate rights clearances for a Red Sox baseball game when anyone can view it streaming for free on the Internet or on a cellphone?

One answer: lock up rights to all platforms. ESPN, for example, negotiated the rights to air baseball games on TV, online and on its ESPN cellphone. Fox negotiated similar rights for the NFL.

“Consumers like to see a game retain the same brand when it moves from the TV to the web or mobile,” said John Smelzer, Fox Interactive’s vice president and general manager for mobile initiatives. “It creates continuity.”

With some imagination, you can see how the TV industry’s digital innovations could have parallels in film and music. Movie piracy would have less relevance in a world where theater goers could pay to watch it on the Internet or their mobile phones before it was officially released. Delivering movies by satellite and broadband Internet at the same time to movie theaters around the world would also help fight piracy.

Even for the music business, hope abides. Online sales are picking up. You can imagine simultaneously selling consumers rights to a U2 CD, hearing the music in their own online locker, downloading it to their iPod, or downloading a music video to their cellphones – and throw in a 25 percent discount to the next U2 concert and a fan magazine to boot.

You can quibble with me about these examples or how long it will take before TV shows, music and films become platform-independent. But it’s hard to deny change is coming.

“In five years, content will be content will be content,’’ said Network Live’s Wall. ``Consumers won’t care whether it’s coming from cable or the Internet.’’

E3: The Multiplayer Explosion..And What It Means for Hollywood

2006-05-18T14:51:00.001-07:00

LOS ANGELES - Before I give you my take on E3, I'll first talk about my kids.

My 11-year-old girl and my 13-year-old are addicted to Runescape, a wildly popular game that allows young people around the world to become valiant characters in a world of chivalry, battles and, most important, community.

How big is the Runescape community (social networking for you techno-geeks)? Well, I tried to create my own account using usernames Michael, Mike, Miguel, Manuel, Michaelworld and finally Michaeldamn – all of which were taken. (If you don't believe me, try to start an account yourself on Runescape using those words).

I finally settled on Squid571.

My kids waste (pardon me, spend) countless hours talking to their buddies on Runescape and occasionally playing the game.

OK, now on to E3.

Even before you enter the massive L.A. Convention Centers, you're assaulted by the Championship Gaming Series booth, promoting a multi-city pro videogaming tour backed by IGN Entertainment, DirecTV and Mountain Dew. (“Millions in prize money,” says a booth staffer, although he admits he doesn't know just how much).

Inside the cacophony of E3, community is quietly part of nearly everything that's sold: from the massively multiplayer games for Xbox, PS2s and PCs to the WiFi equipped PSPs and Bluetooth-enabled Game Boy Advances for playing games with your friends at the bar or on the playground.

The Wizards of the Coast section on the floor is packed with people playing the cult game “Magic: The Gathering”, while 16 top “Magic” players are competing in the 10th Invitational Magic tournament.

Elsewhere on the show floor, four humans battled four locusts in Microsoft's Gears of War for Xbox; others were hacking each other down in Funcom's new Conan game; and multiplayer mayhem was breaking out at Sega's booth over its Full Auto 2: Battlelines, the sequel to its Xbox 360 hit. Meanwhile, Disney launched a series of multiplayer games for young aficionados of Game Boy Advance. “Gaming is becoming just another extension of what's already going on in popular culture,” says Pete Hines, Vice President of PR and Marketing for Bethesda Softworks, which demonstrated multiplayer Star Trek games at the show.

Now for the Hollywood angle.

The era of creating content and advertising aimed only at passive, solitary individuals is over. People want to share their games, content, skills, passions with other people.

That doesn't mean movies, TV and DVDs are passé. But it means they must be extended and promoted by creating communities of interest on the Internet, mobile phones, gaming consoles and live events.

That's why Fox bought MySpace, remember? And did you happen to notice that Helio launched MySpace Mobile a few days ago?

So if your idea of “multiplayer” and “community” is a bunch of studio suits at a hot party, it's time to retool your vocabulary.

iHollywood Newsflash: Real Launches Web-based Rhapsody

2005-12-05T01:25:00.000-08:00

New Subscription Challenge to Music Downloads
12.05.05

Real Networks will today announce a web version of its Rhapsody subscription music service, along with a campaign to allow any consumer to stream up to 25 songs for free per month over the Internet.
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The Seattle-based company will also unveil a "toolkit" to allow bloggers and website owners to integrate Rhapsody songs and RSS feeds into their sites. Rollingstone.com will be among the first to do so. Comcast, which already offers its high-speed Internet customers a version of Rhapsody, is another partner.

One-time Real nemesis Microsoft Corp. will integrate Rhapsody into Windows Media X in the weeks ahead and plans to integrate Rhapsody into MSN Search, MSN Messenger and MSN Music.

The moves are a bid to dramatically expand Rhapsody's services from a relatively small subscriber base of just over 1.3 million subscribers to a much broader audience. They also mark the growing ascendancy of the web for distributing all types of content -- from streaming video to Gmail.

For the music business, the enhanced service, Rhapsody.com, enhances the appeal of subscription services that allow consumers to rent music rather than buy it outright. The service will be available to most people with web browsers, including Apple and Linux users.

"We think there will always be a role of downloads," said Dan Sheeran, Real's senior vice president of music and video. "But as consumers get all the benefits without the hassles, the jukebox-in-the-sky will become the primary way consumers access music in the home."

Apple's iPods won't run Real's music format, so the new service is an end-run around Apple Chairman Steve Jobs attempt to lock out songs encoded in Real's format. And since Linux runs on many electronics products, the Rhapsody service could be integrated into settop boxes, network-connected digital video recorders and other digital devices.

The service complements the company's Rhapsody To Go service, which allows users to rent downloads that they play on portable devices. Users pay a monthly fee of $9.99 for unlimited downloads instead of paying per song. They must continue to pay their monthly fee and synch their portable device with their computer each month, however, or the songs become unplayable. Rhapsody-to-Go costs $14.99 a month.

Until now, Rhapsody subscribers have had to download software to their computers in order to use the service. The new service means they can access the songs from most computers with web access.

Yahoo! and Napster.com have competitive music subscription service that cost less than Rhapsody.com. Those services, however, require users to download software before consumers can use them.

Real launched an initiative to allow consumers to stream 25 songs a month for free last April that still required consumers to download the Rhapsody software. The company hopes the new web-based service will persuade website owners and bloggers to incorporate Rhapsody songs and technology into their own sites.

Since Real compensates labels for each song consumers stream, the new service is a calculated risk that enough consumers will sign up for Rhapsody.com to justify the potentially hefty fees.

"We've done a lot of modeling, and we're positive this will be an ROI positive investment," Sheeran said.

Real Networks Chairman and CEO Rob Glaser will demonstrate the new service at iHollywood's Digital Living Room conference today in Foster City. Real Networks is a sponsor of the conference.

Lessons of Sony BMG's CD Mess

2005-12-02T16:17:00.000-08:00

Labels Need DRM, but DRM Alone Won't Work
11.30.05

Sony BMG's CD copyright protection fiasco illustrates an obvious point and a paradox.

The obvious point: if you're going to use digital rights protection technology to safeguard digital entertainment for consumers, you'd better make sure you work the bugs out first.

The paradox: Sony BMG needs to have a DRM strategy in place, but it is bound to fail.

Before I explain the paradox, a quick review. Sony BMG inserted software onto CDs from artists like Neil Diamond and Celine Dion designed to keep consumers from making more than three copies of the discs or freely trading the music online or with friends. The company (or its subcontractors) also inserted a little piece of spyware that opened them up to virus attacks and legal action from Texas New York Attorney General Eliot Spitzer and practically everyone else. Massive recalls are underway.

Now, you can argue (correctly) that Sony has a right to protect its discs, should have a DRM scheme in place and merely goofed by either overreaching or doing bad quality control.

But the company was bound to fail. Because any copyright scheme for entertainment ever devised has been cracked and the underlying content made available to the masses. DVDs, videotapes, cable and satellite TV, cassettes - all are routinely copied and will continue to be, no matter how many legal eagles or what copyright protection scheme the studios employ. You could almost count in days the time it would take after the release of a copy-protected Sony BMG disc before gleeful hackers broke the code and posted how they did it on the web - along with pirated Sony BMG CDs.

So why do I say Sony BMG needs to have a DRM scheme in place if it is bound to fail? Because DRM schemes and legal strategies protect creators of intellectual property against theft by casual users only if the benefits of paying outweigh the liabilities of stealing.

Take cable. Anybody with a little chutzpah can steal a signal, even though it's encrypted. But most people don't because the perceived benefit of paying $50 a month for unlimited content to watch and record outweighs the hassle and legal liability of ripping it off.

Do some people rip off cable? Sure. But last I heard, the cable companies weren't going out of business and Hollywood was pretty gung-ho about its cable profits.

So if you define DRM as 100 percent security, the cable industry's encryption has failed. But they still make plenty of money. That's the paradox.

The problem for Sony BMG and other record labels is that the benefits of ripping off CDs still outweighs the liabilities of getting caught and the hassles of breaking the DRM or downloading songs from the web. So even if Sony BMG's DRM software is squeaky clean, it wouldn't completely stop the copying problem.

In fairness to Sony BMG, the company was well aware of that fact when it began copy-protecting its CDs. "Our intent was to create an educational speed bumps rather than to create a full stop," a Sony BMG executive said. "We wanted to give consumers the functionality they wanted while helping them understand they shouldn't make hundreds of copies."

For Sony BMG and other labels to stop ordinary people from hacking and copying, they need to lower prices and intensify their efforts to create new products like dual video-audio discs; they need to offer CD buyers exclusive benefits such as discounted concert tickets, free ringtones and downloads, and free access to exclusive websites. Ultimately, the labels will probably have to discard CDs entirely for another business model that persuades consumers to buy rather than steal.

Only then will a failed DRM strategy have a chance of success.