Instagram creators who have used the platform to launch full-time careers have, to date, relied on indirect sources of revenue like branded content and merchandise sales to support their livelihood. Now, the Facebook-owned social platform is rolling out new ways for creators to make money directly from their content on Instagram Live and IGTV.
Closely watched by the world publishing industry, the decision to move forward with the 72nd iteration of the world’s largest book trade show has become a symbol of the book business’ struggle during the coronavirus COVID-19 pandemic. A topic of speculation for many weeks, the news that a major undertaking will be mounted stands as both a symbol of Germany’s commitment to its place in the international industry and, for many, a signal of light at the end of a terrible tunnel.
Facebook’s internal R&D group, NPE Team, is rolling out yet another new app today called Collab after having just launched a new group audio calling app, CatchUp, on Tuesday. With Collab, the focus has now returned to video, and specifically, the concept of watching, mixing and matching original videos together, beginning with music.
With a bit of good fortune, Blavatnik could be about to do something most moguls can only dream of: entirely recovering the money it cost him to buy Warner, while maintaining majority ownership of a $16bn-valued music company. Here’s how.
Fortnite‘s position in this new marketplace hasn’t happened overnight. It has become a cultural phenomenon that itself perpetuates its own new cultural phenomena: France’s Antoine Griezmann adopted a Fortnite celebration at the 2018 World Cup. It’s now such an engagement behemoth that Netflix considers it its major rival. No wonder that third parties have recently been partnering on one-time events.
The company’s new streaming service, which will allow for three concurrent streams, is positing itself as a human-first platform — the opposite of Netflix’s strategy. As streaming becomes more of a centerpiece in people’s homes and more platforms find their way to people’s television sets, focusing on improving the actual curation system subscribers use is just as important as available content.
Charts aren’t democratic; these days they are influenced by heavy listeners to on-demand streaming services. Not surprisingly, heavy listeners who spend 10 or more hours streaming each week are more likely to cite Rap/HipHop as their favorite genre. Light streamers prefer ’80s-’90s Hits and Classic Rock.
How much knowledge is “enough” to require preemptive removal has been a key question at the heart of some of the most important and precedential litigation over the DMCA since its enactment, including UMG v. Veoh and Viacom v. YouTube. In those cases and others, courts have generally set the bar for red-flag knowledge quite high, much to the dismay of copyright owners. But in its report, the Copyright Office makes clear it thinks the courts have got it wrong and that Congress should “clarify” that it intended the bar to be lower.
Source: Seeing Red Over The DMCA
Subscribers to FilmChain, including HBO, Film Agency Wales and Screen Australia, can log into a dashboard that shows incoming revenues and how they are allocated based on a film’s contracts. The platform also allows revenues to be withdrawn in fiat currencies and performance reports are generated on-demand.
Russian film promotion body Roskino has unveiled the program for its digital Key Buyers Event, a virtual content market that will present over 300 projects from more than 120 leading Russian companies to international buyers. Buyers and producers from more than 40 countries are slated to take part, including RTL Group, AMC Networks, CGV Mars, Wild Bunch, Beta Film, and Chinese streaming service iQIYI.