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Issue link: https://digital.macdirectory.com/i/1464866
should be seen in the theater for about seven days to satisfy the movie house folks and long enough to qualify for Oscar consideration. Hey, we don’t make the outmoded rules. Finally, there are the video stories that could go either way. People who want an evening out can enjoy it – and dinner out – in the theater. Folks who can tolerate their own popcorn will feel just as good grabbing it at home. With the A-listers finally happy with their front-end payments and with the people who do the pre-production, production and post-production improving their life/work conditions, there are plenty of creative projects that need to be started/completed around the globe for all the outlets. Everyone is happy except the pirate site viewers because they must tolerate gritty screen-grabbed copies in between the ads or wait until it’s streamed so they can “enjoy” a quality piece of entertainment and superb malware. Or, they could decide cleaning the system after every viewing isn’t worth it and sign up with their fave streaming services. “When a film is released simultaneously in a theater and streamed, a pristine copy is available almost immediately on the pirate sites around the globe,” said Allan McLennan, CEP/Media, Head of M&E North America, Atos. “When the investment is significant ($40M, if not more), and the project doesn’t have a realistic theatrical window, it is extremely challenging to produce a profit.” McLennan pointed out that the streaming firms like Netflix, Amazon and Apple operate under a different set of guidelines and goals. Studio streamers have adopted a similar approach for the work destined to go directly to the home subscriber. “Top-tier OTT providers have been focused on economically maintaining an almost assembly line of ‘engaged’ or must-see video stories that maintain and expand subscriptions,” he noted. “While Disney and Warner experimented during their early stages, they have made amends with almost everyone in the production pipeline, and most are happy, or at least agreeable, with the new ground rules.” McLennan emphasized that the changes in the project production cycle still doesn’t answer the pirate issue, which affects every segment of the industry and continues to grow. Some marketing “educators” (https://tinyurl.com/7rvn6adc ) like to claim that pirate views are good for the video project and outlet because they provide valuable WOM (word of mouth) advertising that attracts more viewers/subscribers. Streaming executives have echoed the enhanced WOM comment to illustrate how the services’ new projects and library are increasingly important to home viewers, thus making the projects and service more valuable. FYI, pirating shows/movies is illegal … but a helluva profitable business if you’re willing to work in the shadows. According to the Digital Citizens Alliance, there are at least