Digital Movie Revolution - Research Paper Example

Digital Movie Revolution Digital Movie Revolution Introduction Nearly all aspects of the society today have in one way or another been affected by the internet proofing to have changed the world. Indeed, the ability to communicate instantly and globally with words, pictures, music and more especially video has uncontrollably changed how business is done and how individuals interactions (Carucci, 2013). Digital Movie Revolution The internet has drastically changed the movie business not only affecting how movies are marketed but also by altering the pathways as well as entrances into the movie industry to be particular. Initially, if one wanted to pursue a career in film normally, it required one to go through a narrow path in an attempt to get there. In fact, a good number could not make independent films until they attended a certain school to acquire the equipment or they grew up with the set. In the past, most people faced challenges until they went to Hollywood to land a job on a movie set of the needed equipment. Conversely, today in as much as there is a lot of networking and dues paying to venture in the movie business, the internet radically has altered what looks like and more especially change has been in the accessibility (Silver, 2003). It has simplified almost for everyone to do video project and have seen as wished. This is possible since the advent of less expensive digital technology. Websites like Vimeo and YouTube have played a role in allowing anyone with camera to post a video. The computers made it possible to edit enabling anyone tweak their projects or other peoples projects to make them even look much better. As a result, many aspiring filmmakers, who would otherwise have lacked the resources to be seen, can now go public on their own. The movie industry probably will soon take the lead from the independent colleagues that have made significant steps towards digital filmmaking (Prince, 2012). This facilitates the digital revolution found in every setting of the movie industry. Indeed, this is a landmark development concerning the evolution in the field of entertainment. Allowing customers to be able to access and even own movies digitally by downloading via broadband internet connections has allowed them more power to be entertained to their satisfaction. Unfortunately, in the period when the movie industry was in aid of embracing digital distribution only a handful of the companies already had started the trend which did not include the video clip download sites (Silver, 2003). Already video streaming and the download sites have been able to provide content including the freedom of manipulating the content like in the Google, vids on eBaum’s world and the YouTube, which have moved towards the multi-format download service. With a number of studios joining the bandwagon the above mentioned services may spell trouble for the snail-mail DVD services for instance the middlemen, distributors, Blockbuster and the Netflix which have been known for adopting quicker than expected if it is meant that they are assumed and fail to be part of the profitable revenue sector (Kindem, 2012). This translates into movie theatres available in the next several years to result in ultimately downloading films from satellite or even the broadband or receiving HD disk tapes, which will also include replacing the costly and fragile 35mm cellulite film stock on bulky reels. The movie industry has been involved in the transferring into the digital technology faced with technical specifications that have promoted compatibility enhancing quality levels that give the best visual systems and financing transition. The digital for the movie theaters does not only give owners the solution for the deteriorating film but also promotes the patron’s experience. However, this move embraced towards digital distribution in both home delivery and theaters promotes the drive into digital filmmaking. In addition, Hollywood has been found slow to adopt the upcoming digital movements in the field of filmmaking although it has offered individuals who independently have embraced it as a cost effective factor in producing films. It has been argued that the accessibility offered by the digital video is a significant step toward the democratization of the movie industry (Cozic, 1997). In addition to that, digital attachment with the internet has indeed opened wide the filmmaking realm since it has allowed anyone interested get involved fully making it more efficient economically in production as well as disseminating. The tools that the movie industry has been using need to allow an opportunity of pulling the movie back in also fix rather than letting it die in the theatres for this reason the digitalized mechanism of downloading the movies have had an upper hand in promoting the industry, as well as production to the customers (Prince, 2012). A certain study outlines the definite link between the drastic fall in the sales in the movie industry and downloading claiming that it is an offset to improve the customers welfare in that the consumers end up in a net benefit since they can obtain more movies at a low cost or even at absolutely no cost (Carucci, 2013). On investigation, approximately 50percent profit is attained by the movie industry from DVD or home rental or legal purchasing. Film piracy brings with it short-term effect where there is a significant loss of profit to the movie studios that finance the pre-production, production and the postproduction, which entails distribution to the customers (Kindem, 2012). One among an excellent number of long-term effects because of piracy is that due to low production levels attained by low profits or no profit, at all fewer films are made and the few made available are restricted to low budget levels. In this case, customers without access to the internet do not get the best quality out of the filmmakers. In general, an effective solution to the problem of online movie piracy needs an understanding of a numbers of viewpoints about artist’s rights, digital technology, movie industry profits and the customers’ interests (Farivar, 2011). The Motion Picture Association of United States warned against the speedily growing global epidemic of movie piracy particularly over the internet. This was based on a survey conducted where out of four internet users at least one performed the illegal act of downloading a movie from the internet. A similar study was conducted in the Australia, France, Germany and Korea, and the results showed a direct correlation in broadband engagement and the incidence of piracy especially in the illegal downloading of movies. In accordance to the survey, 25% of the respondents admitted that they had downloaded at least a movie online and 69 percent reported that they believed that online movie piracy was not a major concern. An explanation of the increased cases of movie piracy is attributed to broadband and compression technologies, wide movie availability on the internet and high movie ticket costs (Russell, 2004). Recently the MPAA has launched campaigns in an attempt to discourage online piracy but in fear that the trends like the peer to peer for sharing files likely would take a significant bite out its business. The group approximates a significant loss annually for revenue due to global piracy. In the plans laid forward in fighting piracy, the group announced anti-piracy ads in the magazines and newspapers (Farivar, 2011). Studies have also shown that pirate DVDs that are capable of holding more movies and the TV shows than traditional disks have turned into a great threat in the market China’s video products and so the Shanghai General Team of Culture Inspection has been enforced to kick off a citywide crackdown on illegal sales (Cozic, 1997). The state officials similarly have launched campaigns across the state. Recently, the Shanghai team started a series of impromptu raids on unauthorized DVD stores. For effectiveness, the team leaders failed to disclose the detailed intention for the effort they had. The highly compacted pirated discs would have a bigger negative impact on the audiovisual product industry than the original DVDs, therefore; their working agenda was to stop their rampant development (Cozic, 1997). South Africa’s Anti-Piracy Foundation brought up an inventive weapon in the fight to curb piracy. In accordance with Financial Mail, campaign involved joining pirate vendors at street corners that sell fake discs that have a twist. On buying the fake plays, the buyer would realize they have been fooled after playing the movies. After a number of the genuine movies, a message appears on the screen: “Thank you for buying this DVD. Your R40 has been donated to the Anti-Piracy Foundation. Piracy is a crime." The Advertising Agency, which developed the campaign, stated that in as much as the bold strategy was risky is would greatly help to curb the menace of copyright piracy (Russell, 2004). .Copyright sort of a protection underlined by the laws of United States particularly for the holders of original works either of authorship inclusive of the literature, musical, artistic or even other creative personalized piece of work. Copyright laws are essential in relation to movie production and distribution. With the copyright stiff penalties for infringement are. Most importantly for playwrights, copyrights provide a significant legal protection against such as misuse or even outright theft of movies. Knowledge of copyright laws for the artists and the producers can easily reduce violations that are likely to bring major legal complications, which could result, into tiresome hassles and heavy fines. The copyright legislation outlines a great need for amendment in correspondence to the digital age. For instance, Canada has managed four attempts. One was by the Liberals in the year 2005 while three were by the Conservatives in 2008, 2010 and 2011. The bill in question has closely been watched by a number of interested parties particularly of its implications concerning the production, distribution and consumption of the digital content and particularly video among others like music, software and electronic books (Kindem, 2012). Conclusion The proposed changes included that the copyright legislation prohibits the circumventing of the digital locks, which would extend for the legal purpose. Additionally, prohibiting the manufacture the importation as well as the sale of technologies, services and devices designed purposely for breaking digital locks. This would include technology designed to allow one play foreign bought DVDs. Again there need to have internet service provider who would notify their customers when they are violating the copyright laws in case a copyright holder informs the ISP of suspected piracy. This is important since there is a need to retain the information about the user like the identity that could be potentially released to the copyright holder for a court order. Finally, the changes possibly embraced require the copyright legislation to prohibit a person from providing any service over the internet or even other digital networks. This clause targets websites purposely created to distribute copyrighted content like peer-to-peer file sharing that swap movies and audio. References Carucci, J. (2013). Digital SLR video & filmmaking for dummies. Hoboken, N.J.: Wiley. Silver, J., & Alpert, F. (2003). Digital dawn: a revolution in movie distribution?. Business Horizons, 46(5), 57-66. Prince, S. (2012). Digital visual effects in cinema. New Brunswick, N.J.: Rutgers University Press. Cozic, C. (1997). The Future of the Internet. San Diego, Calif.: Greenhaven Press Farivar, C., & Cerf, V. (2011). The Internet of Elsewhere. New Brunswick, NJ: Rutgers University Press. Kindem, G. (2012). The American movie industry. Carbondale: Southern Illinois University Press. Russell, C., & Buttler, D. (2004). Complete copyright. Chicago: American Library Association. Read More