Vault, an Israeli startup founded in 2015, is developing a neural-network algorithm based on 30 years of box office data, nearly 400,000 story features found in scripts, and data like film budgets and audience demographics to estimate a movie's opening weekend. The company is only a couple years in, but founder David Stiff recently said that roughly 75 percent of Vault's predictions "come 'pretty close'" to films' actual opening grosses.
Scriptbook takes a similar approach, using its own AI platform to predict a movie's success based on the screenplay only. The Antwerp startup's AI analyzed 62 movies from 2015 and 2016, and claims it was able to successfully predict the box office failure or success of 52 of them, judging 30 movies correctly as profitable and 22 movies correctly as not profitable.
"Cord cutters are not invited to the [speed increase] party," the Houston Chronicle wrote. "Only those who bundle Internet with cable television and other services... will see their speeds go up at no extra charge." Presumably, Internet-only customers can get the new speeds by paying more or by bundling their Internet subscriptions with video.
Be that as it may, LPs, regardless of vintage, can sound great. While pre-1980s records may be richer in tone and warmth, there are lots of more recent albums that sound just as good or better. In other words vinyl's sound quality or lack thereof has mostly to do with the quality of the original recording, and the choices made by the recording, mixing, and mastering engineers.
Despite the overwhelming number of digital recordings, there is still a tiny percentage of all-analog recordings being made. To cite one mostly analog studio, the legendary Electrical Audio, which owner Steve Albini told me records and mixes around 70 percent of all of its sessions on tape.
"Science fiction is kind of a commercial genre, it's not really an elevated dramatic genre. I would argue that until I'm blue in the face that science fiction is the quintessence of being human in a sense. We are technological beings. We are the only truly conscious species that we know of. We are struggling with ourselves over the issue of our own question for understanding, our own ability to manipulate the fabric of our reality. Our own technology is blowing back on us and changing how we behave amongst ourselves and as a civilization," he added. "I would argue that there's nothing more quintessentially human than dealing with these themes. But Hollywood tends to pull short from that."
But as Hollywood changes its perception of science fiction, Cameron stressed that the genre itself needs to continue to evolve from its origins of being too "stale, male and pale." "It was white guys talking about rockets," Cameron said of early sci-fi. "The female authors didn't come into it until the '50s and '60s and a lot of them had to operate under pseudonyms." But even now, "women are still unrepresented in science fiction as they are in Hollywood in general," he said. "When 14 percent of all film directors in the industry are female, and they represent 50 percent of the population, that's a big delta there that needs to get rectified."
This coming January, Charlie Chaplin's film The Pilgrim and Cecil B. DeMille's The 10 Commandments will slip the shackles of ownership, allowing any individual or company to release them freely, mash them up with other work, or sell them with no restriction. This will be true also for some compositions by Bela Bartok, Aldous Huxley's Antic Hay, Winston Churchill's The World Crisis, Carl Sandburg's Rootabaga Pigeons, E.E. Cummings's Tulips and Chimneys, Noel Coward's London Calling! musical, Edith Wharton's A Son at the Front, many stories by P.G. Wodehouse, and hosts upon hosts of forgotten works, according to research by the Duke University School of Law's Center for the Study of the Public Domain.
Throughout the 20th century, changes in copyright law led to longer periods of protection for works that had been created decades earlier, which altered a pattern of relatively brief copyright protection that dates back to the founding of the nation. This came from two separate impetuses. First, the United States had long stood alone in defining copyright as a fixed period of time instead of using an author's life plus a certain number of years following it, which most of the world had agreed to in 1886. Second, the ever-increasing value of intellectual property could be exploited with a longer term. But extending American copyright law and bringing it into international harmony meant applying "patches" retroactively to work already created and published. And that led, in turn, to lengthy delays in copyright expiring on works that now date back almost a century.
Cable TV firms aren't the only losers. AT&T this week said it lost 187,000 pay-TV customers, including satellite TV subscribers and its U-verse landline business. AT&T's DirecTV Now internet streaming service added 312,000 customers. But AT&T garners much lower profit margins from video streaming.
Cable companies are now raising prices on broadband services to compensate, according to the article.
MarketWatch notes that Charter also lost 100,000 customers in the same three-month period in 2017, calling the ongoing trend "a fundamental shift in consumer behavior."
[...] The highlights reel playing on a demo unit of Sharp's 8K set required 300 megabits per second of bandwidth to stream, said Adrian Wysocki, group product manager at UMC, the Sharp-owned firm that builds TVs in Poland for the company. He suggested in a conversation Friday that more efficient formats could cut that to 100 Mbps. Only 23.2% of U.S. fixed-broadband connections hit that speed at the end of 2016, according to to the Federal Communications Commission's latest report on internet access services.
"Defendants market and sell subscriptions to 'Setvnow,' a software application that Defendants urge their customers to use as a tool for the mass infringement of Plaintiffs' copyrighted motion pictures and television shows," the complaint says. Besides Netflix and Amazon, the plaintiffs are Columbia Pictures, Disney, Paramount Pictures, Twentieth Century Fox, Universal, and Warner Bros. The complaint was filed Friday in U.S. District Court for the Central District of California. The companies are asking for permanent injunctions to prevent further distribution of Set TV software and devices, the impoundment of Set TV devices, and for damages including the defendants' profits.
The four others though offer the opportunity for players to trade items outside of the game and therefore meet the the Netherlands definition of gambling. To come into compliance, those games need to make their loot boxes less interesting to open. The Gaming Authority wants the companies to "remove the addiction-sensitive elements ('almost winning' effects, visual effects, ability to keep opening loot boxes quickly one after the other and suchlike)...and to implement measures to exclude vulnerable groups or to demonstrate that the loot boxes on offer are harmless."