The video games sector now accounts for more than half of the entertainment market in UK, according to new figures. From a report: The Entertainment Retailers Association (ERA) said the gaming market's value rose to $4.85bn, more than double what it was worth in 2007. It now makes gaming a larger market than video and music combined for the first time. The figures show three games -- Fifa 19, Red Dead Redemption 2 and Call of Duty: Black Ops 4 -- each sold more than one million physical units in the UK across games consoles during 2018. ERA chief executive Kim Bayley said: "The games industry has been incredibly effective in taking advantage of the potential of digital technology to offer new and compelling forms of entertainment. Despite being the youngest of our three sectors, it is now by far the biggest."

Several remarkable movies and shows hit the theaters and TV this year. We had "First Man", "Black Panther", new "Incredibles", "Avengers: Infinity War", more "Star Wars" and "Mission: Impossible" hit the cinemas. On TV, we saw the conclusion of "The Americans", continuation of "Westworld" on HBO, and "Homecoming" arrive on Amazon Prime Video. "Money Heist" on Netflix, "Barry" on HBO, and "Detectorists" on AcornTV garnered good reviews from critics, too. What did you like this year?

Also in this year-ender series: Slashdot Asks: What Are Some Good Books You Read This Year?

Stephen Follows, a writer and producer who also researches data and statistics on the film industry, writes: Today we're going to use data to answer the question "Is Die Hard a Christmas movie?" Along the way, we're going to test Die Hard's Christmas bona fides against all movies in US cinemas for the past thirty years, using a variety of methods. I have put details of my sources and methodology at the end of the article. The short story is that unless I say otherwise, the data for 'all movies' relates to all movies shown in US cinemas between 1988 (ie the year of our Lord John McClane) and 2017.

Part 1 - Creative: Let's start by assessing the artistic work of Die Hard (as opposed to the commercial product or cultural icon). We'll do this by measuring the Christmas references in the script, on-screen and in the soundtrack. By going back to the film's script we are able to see what the screenwriters saw as part of their vision. The word "Christmas" appears 18 times in the script, which is more than the words "explode" (4), "die" (5), "hard" (11), "shoot" (12), "kill" (13) and "blood" (13), although far fewer times than "gun" (73), "terrorist" (51) and "suddenly" (45). [...] There are a total of 21 distinct Christmassy elements in the movie, ranging from Santa hats and Christmas Trees to festive treats and a pivotal piece of "Christmas Greetings" tape.

[...] Audible references: Let's turn to a cultural measure of Christmasification for which we can get large-scale data: songs. I gathered song listings for three-quarters of all movies released over the past thirty years and identified the songs culturally associated with Christmas. Of these films, 95.5% did not feature any Christmas songs at all. Shame. The prevalence of Christmas songs in modern movies varies considerably but in most years it ends up that between 3% and 7% of movies have at least one such ditty. This means that having even one Christmas song makes a film unusually Christmassy compared to most other releases. Die Hard features Christmas in Hollis, Winter Wonderland, a whistled section of Jingle Bells and a rousing rendition of Let It Snow over the end credits. This means that audibly, Die Hard is more Christmasy than 99.2% of all movies released over the past thirty years. Follows makes several more points in his argument. You can read them here.

An anonymous reader quotes a report from TorrentFreak: This week the Federal Court has issued the largest pirate site blocking injunction thus far in Australia, judging by the number of targeted sites. The case in question was filed by Village Roadshow, Disney, Twentieth Century Fox, Paramount, Columbia, Universal, Warner, and others, targeting 78 pirate "locations." The list of targets includes IPTorrents, BT-Scene, Fmovies, Putlocker, RuTracker, KissAnime, NYAA, Torrentday, YIFY-movies and various others. In total, the injunction lists 181 domain names. Interestingly, the court order also targets several subtitle sites. The injunction lists OpenSubtitles, YifySubtitles, and SubScene, for example. While these sites don't host or link to infringing videos, the movie companies argued that the sites are "communicating to the public a literary work," referencing the screenplay.

The list of ISPs that are required to implement the blockades includes Telstra, Optus, Vocus, TPG, Vodafone, and several subsidiaries. The blocking measures have to be implemented within 15 days, through DNS blocking, IP-address blocking, or any other means agreed with the rightsholder. This order will remain valid for a period of three years. If required, the rightsholders can then apply for an extension. The movie companies must also pay ISPs to implement the blocking measures but, at the rate of $50 per domain name, that's not going to be a problem.

dryriver asks: Is there an open source video analysis tool available that can take a folder full of video captures (e.g. news, sports, movies, music videos, TV shows), analyze the video frames in those captures, and put a hard number on how optically sharp, on average, the digital video provided by any given digital TV or streaming service is?

If such a tool exists, it could be of great use in shaming paid video content delivery services that promise proper "1080 HD" or "4K UHD" quality content, but deliver video that is actually Youtube quality or worse. With such a tool, people could channel-hop across their digital TV service's various offerings for an hour or so, capture the video stream to harddisk, and then have an "average optical sharpness score" for that service calculated that can be shared with others and published online, possibly shaming the content provider -- satellite TV providers in particular -- into upping their bitrate if the score turns out to be atrociously low for that service....

People in many countries -- particularly developing countries -- cough up hard cash to sign up for various satellite TV, digital TV, streaming video and similar services, only to then find that the bitrate, compression quality and optical sharpness of the video content delivered isn't too great at all. At a time when 4K UHD content is available in some countries, many satellite TV and streaming video services in many different countries do not even deliver properly sharp and well-defined 1080 HD video to their customers, even though the content quality advertised before signing up is very much "crystal clear 1080 HD High-Definition".
What's the solution? Leave your thoughts and suggestions in the comments.

And is there an open source tool measuring the sharpness of streaming video?

Netflix CEO Reed Hastings loves to identify sleep as the biggest competition of its service. "Sometimes employees at Netflix think, 'Oh my god, we're competing with FX, HBO, or Amazon, but think about it. If you didn't watch Netflix last night: What did you do? There's such a broad range of things that you did to relax and unwind, hang out, and connect -- and we compete with all of that," he once said. "You get a show or a movie you're really dying to watch, and you end up staying up late at night, so we actually compete with sleep," he added. Turns out, Hastings does not need to look that far for competition.

From a report: Despite Netflix and Amazon investing billions of dollars in producing original content, they are struggling to make inroads in emerging markets. YouTube, on the other hand, is growing rapidly, becoming a daily habit for even new internet users. In India, for instance, YouTube reaches 245 million unique users each month, or 85 percent of all internet users in the country, the company told VentureBeat. About 60 percent of all YouTube traffic in India comes from outside of its six major cities. [Globally, YouTube has 1.9 billion monthly active users.]

As consumption on YouTube grows, creators are also finding loyal audiences. In India alone, YouTube now has more than 600 channels with more than 1 million subscribers, up from 20 channels in 2016. Record label T-Series, which is fighting with PewDiePie for the title of most-subscribed YouTube channel, took 10 years to get to its first 10 million subscribers. In the last two years, it has grown to 60 million subscribers. Globally, YouTube says the number of channels with more than 1 million subscribers has grown by 75 percent this year.

Globally, YouTube told VentureBeat that 75 percent of the platform's watch time occurs on a mobile device. The average watch time for a mobile user is 60 minutes per day. Or in other words, this is the time a user could have spent watching Netflix. According to eMarketer's estimates, an average user would spend about 86 minutes per day watching digital videos on streaming services this year.

Marvel's last Avengers movie ended with a cliff-hanger -- leading hundreds of millions of fans to watch the trailer for the franchise's next film, Variety reports: The "Avengers: Endgame" trailer was viewed 289 million times in its first 24 hours, after it was released around 5 a.m. PT Friday, according to Marvel Studios. That blasted past the previous record of 230 million views, set a little over a year ago by the studio's "Avengers: Infinity War." Behind that was Disney's "The Lion King" teaser, which racked up 224.6 million views.... The trailer also set a record for Twitter conversation for a movie trailer in the first 24 hours -- with 549,000 mentions -- soaring past previous record holder "Avengers: Infinity War" (389,000) and "Black Panther" (349,000).
Mashable also reports on some clever tie-in marketing for another Marvel-related film: Typing "AvengersEndgame.com" into your address bar will take you to the official Fox Movies web portal for Once Upon a Deadpool, the family-friendly Deadpool 2 re-cut that uses the same "reading stories to a sick kid in bed" framing device as The Princess Bride (right down to Fred Savage!).

There's still some question as to whether or not this is an intentional marketing ploy, however. It's definitely something you could see coming out of the Deadpool playbook.

An anonymous reader shares a report: At 9:46 last night, Tom tweeted an 87-second video in which he and his go-to director Christopher McQuarrie explained the concept of video interpolation and why it is the death of all good things. Video interpolation, they explained, is a digital video effect used to improve the quality of high-definition sport. "The unfortunate effect is that it makes most movies look like they were shot on high-speed video rather than film," said Cruise. "This is sometimes referred to as the 'soap-opera effect'." They explained that most HD televisions come with video interpolation switched on by default, they explained how to switch it off, and then they both nodded with total sincerity.

Now, it's worth noting that Tom Cruise is by no means the first film-maker to rail against motion smoothing. Back when he was still the Guardians of the Galaxy director, James Gunn tweeted that he, Edgar Wright, Rian Johnson and Matt Reeves were also peeved about the default nature of video interpolation, to which Reed Morano replied that she started a petition to fix the issue a number of years ago, to little avail.

Why did it fail? Possibly because none of these people are Tom Cruise. Because Tom Cruise has made a career of total commitment. Take him to a premiere and he'll spend hours on the red carpet, shaking every single hand until everyone's happy. Put him in a movie with helicopters in it and he'll teach himself to fly a helicopter to the level of a veteran stunt coordinator. Break his ankle on the side of a building, and he'll stagger out of frame on his ruined legs rather than blow a shot.

Brian Merchant, writing for Medium : In 2017, PricewaterhouseCoopers, the professional services firm that advises 440 of the Fortune 500 companies, published a blueprint for using science fiction to explore business innovation. The same year, the Harvard Business Review argued that "business leaders need to read more science fiction" in order to stay ahead of the curve. "We're already seeing science fiction become reality today," said Google's then-CEO Eric Schmidt in 2012. "Think back to Star Trek, or my favorite, the Hitchhiker's Guide to the Galaxy -- much of what those writers imagined is now possible," he said, ticking off auto-translation, voice recognition, and electronic books. Jeff Bezos' product design team built the Kindle to spec from Neal Stephenson's book The Diamond Age. (Stephenson himself is the chief future at the multibillion-dollar-valued Magic Leap.) Josh Wolfe, a managing partner at Lux Capital, is pouring millions of dollars into companies building what he explicitly describes as "the sci-fi future." "I'm looking for things that feel like they were once written about in science fiction," he told Fortune. "The gap between 'sci-fi,' -- that which was once imagined -- and 'sci-fact,' that which becomes manifest and real, is shrinking."

A number of companies, along with a loose constellation of designers, marketers, and consultants, have formed to expedite the messy creative visualization process that used to take decades. For a fee, they'll prototype a possible future for a client, replete with characters who live in it, at as deep a level as a company can afford. They aim to do what science fiction has always done -- build rich speculative worlds, describe that world's bounty and perils, and, finally, envision how that future might fall to pieces. Alternatively referred to as sci-fi prototyping, futurecasting, or worldbuilding, the goal of these companies is generally the same: help clients create forward-looking fiction to generate ideas and IP for progress or profit. Each of the biggest practitioners believe they have their own formulas for helping clients negotiate the future. And corporations like Ford, Nike, Intel, and Hershey's, it turns out, are willing to pay hefty sums for their own in-house Minority Reports.

YouTube is removing the paywall for its original programming. Starting next year, the company will move to make all of its new original programming available for free for anyone to watch. "With the change, YouTube is moving toward more mainstream celebrity-driven and creator-based reality fare, while it will continue to greenlight scripted productions," reports Variety. From the report: Until now, YouTube Originals have mainly been available on its YouTube Premium subscription service, although YouTube also has expanded the shows and movies it makes available on an ad-supported basis. The company calls the new YouTube Originals strategy its "Single Slate," which will combine ad-supported and subscription VOD programming initiatives that by 2020 will provide free windows for all YouTube users. Some original productions will remain behind the paywall, including season 2 of "Cobra Kai," an offshoot of the "Karate Kid" movies. Moving forward, YouTube Premium will include early access to original, exclusive content as a reason to pay for the service. YouTube has faced stiff competition in trying to lure paying customers with original content against the likes of Netflix, Hulu and Amazon, which spend far more on content. "As we look to 2019, we will continue to invest in scripted programming and shift to make our YouTube Originals ad supported to meet the growing demand of a more global fanbase," a YouTube rep said in a statement. "This next phase of our originals strategy will expand the audience of our YouTube Original creators, and provide advertisers with incredible content that reaches the YouTube generation."

YouTube has concluded that its investments in original programming should have a home on the free, ad-supported side -- not just tucked behind a paywall. Variety: In a shift in strategy, the Google-owned video platform said that starting next year it will move to make all of its new original programming available for free for anyone to watch. With the change, YouTube is moving toward more mainstream celebrity-driven and creator-based reality fare, while it will continue to greenlight scripted productions. Until now, YouTube Originals have mainly been available on its YouTube Premium subscription service, although YouTube also has expanded the shows and movies it makes available on an ad-supported basis. "As we look to 2019, we will continue to invest in scripted programming and shift to make our YouTube Originals ad supported to meet the growing demand of a more global fanbase," a YouTube rep said in a statement. "This next phase of our originals strategy will expand the audience of our YouTube Original creators, and provide advertisers with incredible content that reaches the YouTube generation."

The US Intellectual Property Enforcement Coordinator is working hard to update his copyright enforcement plans. In a written submission, Hollywood's MPAA shared a few notable ideas. The group calls for more cooperation from Internet services, including hosting providers, who should filter infringing content and block referral traffic from pirate sites, among other things. From a report: Besides processing takedown notices and terminating repeat infringers, as they are required to do by law, the MPAA also wants hosting companies to use automated piracy filters on their servers. "Hosting providers should filter using automated content recognition technology; forward DMCA notices to users, terminate repeat infringers after receipt of a reasonable number of notices, and prevent re-registration by terminated users," the MPAA suggests.

In addition, hosting providers should not challenge suspension court orders, when copyright holders go up against pirate sites. Going a step further, hosts should keep an eye on high traffic volumes which may be infringing, and ban referral traffic from pirate sites outright. The MPAA wants these companies to "implement download bandwidth or frequency limitations to prevent high volume traffic for particular files" to "remove files expeditiously" and "block referral traffic from known piracy sites."

Josh Holtsclaw, a Graphic Artist at Pixar Animation Studios, writes: I remember seeing the first Incredibles film in college with a few friends. We went on opening night and the theater was packed. I remember thinking that the way the movie opened with the old film footage of a younger Mr Incredible, Elastigirl and Frozone being interviewed was such a different way to open an animated film, and it just got better from there. The whole thing was so stylized and just...cool. I loved the mid century aesthetic. When I got to Pixar and heard that they were working on a sequel, I knew I wanted to be a part of it.

I joined the Incredibles 2 art department in the Fall of 2016 and one of the first things we did as a group was take a research trip to Palm Springs. At the time, the story was still in its early stages and a few of the sets were under way. There was still a lot left to do and Palm Springs was the perfect one-stop-spot for us to find design inspiration. We were able to take an architectural tour of the city and had access to private homes that aren't usually open to the public. One of the most memorable houses was the Frey house which was designed by architect Albert Frey and was also his personal residence. It sits on a hill looking down on Palm Springs. Do check out the pictures on Holtsclaw's blog.

Bengaluru-based Zapr Media Labs, which counts Rupert Murdoch-led media group Star and several major local companies including Flipkart (which is now owned by Walmart), music streaming service Saavn, handset maker Micromax as its investors, has developed a tech that listens to ambient sounds around users to build targeted advertising profiles of them, reports news outlet FactorDaily. Zapr does this by using the microphone on the smartphone. Several major services in the country including Chota Bheem games to Dainik Bhaskar (a news outlet) to, likely, even Hotstar (a hugely popular streaming service which launched its service in the US and Canada last year, and which as you may recall, set a global record for most simultaneous views earlier this year) have embedded Zapr's technology into their apps. FactorDaily reports that most of these services are not forthcoming to their customers about what kind of monitoring they are doing. An excerpt from the report: One of the apps that inspired Zapr's founding team was the popular music detection and identification app Shazam. But, its three co-founders saw opportunity in going further. "Instead of detecting music, can we detect all kinds of medium? Can we detect television? Can we detect movies in a theatre? Can we detect video on demand? Can we really build a profile for a user about their media consumption habits... and that really became the idea, the vision we wanted to solve for," Sandipan Mondal, CEO of Zapr Media Labs, said in an interview last week on Thursday.

Shorn of jargon, the underlying Zapr tech listens to ambient sounds around you, analyses it, and profiles users based on their media consumption habits. "That data would be very useful in order to recommend the right kind of content and also for brands and advertisers to hopefully reduce the wastage and inefficiencies and make smarter decisions," said Mondal, who co-founded the company in 2012 along with his batchmates from Indian Institute of Management, Ahmedabad (batch of 2010) Deepak Baid and Sajo Mathews.

Zapr claims to have the largest media consumption analytics database in India and helps television channels and brands to earn a better bang for their advertising buck. To be sure, advertising -- even with the internet's promise of better targeting -- still is an inaccurate business with proxies, at best, helping measure its return on investment. But, Zapr's tech comes with privacy and data concerns -- lots of it.

An anonymous reader quotes a report from Medical Xpress: EXPLORER, the world's first medical imaging scanner that can capture a 3-D picture of the whole human body at once, has produced its first scans. The brainchild of UC Davis scientists Simon Cherry and Ramsey Badawi, EXPLORER is a combined positron emission tomography (PET) and X-ray computed tomography (CT) scanner that can image the entire body at the same time. Because the machine captures radiation far more efficiently than other scanners, EXPLORER can produce an image in as little as one second and, over time, produce movies that can track specially tagged drugs as they move around the entire body.

EXPLORER will have a profound impact on clinical research and patient care because it produces higher-quality diagnostic PET scans than have ever been possible. EXPLORER also scans up to 40 times faster than current PET scans and can produce a diagnostic scan of the whole body in as little as 20-30 seconds. Alternatively, EXPLORER can scan with a radiation dose up to 40 times less than a current PET scan, opening new avenues of research and making it feasible to conduct many repeated studies in an individual, or dramatically reduce the dose in pediatric studies, where controlling cumulative radiation dose is particularly important.

On Monday, developer Crowbar Collective released the first trailer for Black Mesa: Xen, the final act of its long running remake of Valve's 1998 game Half-Life, which marked its 20-year anniversary on the same day. "The finale of Half-Life put hero Gordon Freeman in an alien world, and Black Mesa: Xen's upgraded graphics and redesign makes the original's muddy palette look vibrant and strange," reports Motherboard. "It looks just as exciting as it did at the time of the original game's release." From the report: When Valve unleashed Half-Life, it changed video games forever. The first person shooter from what was then a relatively unknown company starred a silent scientist beating down alien headcrabs and shooting human Marines in a novel sci-fi adventure. It was a triumph. Shortly after, in 2003, the Crowbar Collective began work on a remake that would come to be known as Black Mesa. Fan communities routinely reimagine their favorite video games, often as modifications, or mods, of the originals. Black Mesa began life as a free mod for Half-Life 2, but grew into a proper remake. Crowbar Collective added new voice work, changed animations, and tweaked the original game in hundreds of ways big and small. Black Mesa: Xen has a target release date of early 2019.

"And the winner of the 2021 Academy Award for best picture is .â.â. Apple?" jokes the Washington Post, noting that Apple has just signed a new multi-year movie deal with film production company A24, "and while that seems like a comparatively minor announcement, it could change the game in some significant ways." It's sneakily consequential. A24, if you're not familiar, is the boutique New York outfit that has been responsible for a slew of hipster-approved, Academy Award-recognized films including "Lady Bird," "Moonlight" and "Room." Since its founding six years ago by a trio that includes the former partner of late Beastie Boy Adam Yauch, it has located commercial success and downtown cool. Its movies are handmade hipster-fests that also often manage to please audiences: In addition to its big three, they include "Hereditary," "Eighth Grade," "A Ghost Story" and "Ex Machina". Welcome to the party, Tim Cook....

For Apple, cachet is everything. And it needs that now. A company that has prided itself on cool has reason to be worried about sustaining that on the entertainment side, with Netflix swiping its video lunch and Spotify some of its music swagger.
That with major competitors like Amazon already producing its own films, Apple, "had to do something..." They add the Apple's announcement "contained about as many details as the iPhone 7 has headphone jacks."

But "Even without those specifics, the significance was clear. Apple is installing itself as a producer of some of the most-acclaimed films around, all without needing to take a single meeting or read one script off the slush pile first...."

YouTube's "Movies & Shows" page added a "Free to Watch" section last month. They're trying to compete with free ad-supported online movie offerings from Roku, Walmart, and Tubi, while "Amazon is rumored to be working on something similar," reports TechCrunch: Before, YouTube had only offered consumers the ability to purchase movies and TV shows, similar to how you can rent or buy content from Apple's iTunes or Amazon Video.... Currently, YouTube is serving ads on these free movies, but the report said the company is open to working out other deals with advertisers -- like sponsorships or exclusive screenings.

YouTube's advantage in this space, compared with some others, is its sizable user base of 1.9 billion monthly active users and its ability to target ads using data from Google.
The 99 free movies include the first five Rocky movies, and four movies in the Pink Panther series (all from the post-Peter Sellers era, including the forgotten 1993 film in which the title theme is sung by Bobby McFerrin), as well as Pauly Shore's dreadful 1996 comedy Bio-Dome (which received a 4% rating on Rotten Tomatoes). Also available is James Cameron's original 1984 film The Terminator, the 2010 documentary With Great Power: The Stan Lee Story and the 1995 film "Hackers" starring Angelina Jolie.

"In this cyberpunk thriller, a renegade group of elite teenage computer hackers rollerblade through New York City by day and ride the information highway by night. After hacking into a high-stakes industrial conspiracy, they become prime suspects and must recruit the best of the cybernet underground to help clear their names."

Netflix is testing a cut-price mobile-only subscription, priced as low as $3 for some, as it explores new packages aimed at widening its appeal in Asia and other emerging markets. TechCrunch: CEO Reed Hastings told Bloomberg last week that the company would test lower-priced packages and it hasn't taken long for those experiments to come to light. The first reports are from Malaysia, where Netflix quietly rolled out a mobile-only tier priced at RM17, or around $4, each month. That's half the price of the company's next cheapest package -- 'Basic' -- which retails for RM33, or around $7.90, per month in Malaysia. A Netflix spokesperson confirmed the Malaysia trial. They added that similar trials are "running in a few countries" although they declined to provide details. It remains to be seen if this new subscription tier will roll out to other parts of the world.

schwit1 shares a report from The Hollywood Reporter: Douglas Rain, the veteran Canadian stage actor who provided the soft and gentle voice of the rogue HAL 9000 computer for Stanley Kubrick's classic 2001: A Space Odyssey and its sequel, has died. He was 90. The first drafts of the 2001 script had HAL being voiced by a woman and was called Athena; afterward, it was decided that the computer should sound more like a man. Nigel Davenport, Martin Balsam and others were tried out -- and ruled out -- before and during filming of the 1968 sci-fi thriller.

"Well, we had some difficulty deciding exactly what HAL should sound like, and Marty just sounded a little bit too colloquially American, whereas Rain had the kind of bland mid-Atlantic accent we felt was right for the part,' Kubrick told Newsday film critic Joseph Gelmis in an interview for the 1970 book The Film Director as Superstar. Kubrick told Rain that he had made the computer "too emotional and too human." So, in late 1967, the actor flew to New York City and spent a day and a half -- about 9 1/2 hours in all -- to voice HAL. As reported on the blog 2010: The Year We Make Contact, Rain "did the recordings with his bare feet resting on a pillow, in order to maintain the required relaxed tone."