Vilya and other readers. DO NOT BUY the SPL meter I referenced above. It is only type A weighting. You need a meter with Type A & C weighting, one example here. Type A, C & Z weighting meters will cost a lot of money.
I got your message in time; I did not buy it. I wishlisted the $55.99 one. Pricier than a blu-ray, but still very affordable and something new for me to learn how to use.
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Originally Posted by gotmule
I can’t even remember the last time I used results from an auto calibration feature of a receiver/processor. I think it was the YPAO process from a Yamaha RXZ1, and it seemed to neuter every speaker. I trust my ears way more than a cheap microphone thrown in the box.
Having good ears makes it easier to listen to the voices in one's head. Mine tell me interesting things.
In this scenario, a few global digital platform companies have taken over the leading role in aggregation and distribution from national broadcasters. They control the TV and video market and have entered all steps along the value chain, including creation, aggregation, and distribution of content and the direct customer relationship. Like large supermarkets, each of the digital platform companies offers an extensive range of global and national content, only differentiated by some exclusive productions and sports rights.
Scenario 2 - Content endgame
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In the ‘Content endgame’ scenario, large global content owners are the winners of the market transition. They have integrated vertically along the entire value chain and started to withdraw and withhold content from digital platform companies and distribute via their own channels, bypassing the platforms and establishing direct customer relationships.
Scenario 3 - Revenge of the broadcasters
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In this scenario, national broadcasters have successfully accomplished their digital transformation and secured a strong position in the TV and video ecosystem. Broadcasters have evolved into digital platforms, established direct customer relationships, and delivered on-demand content. During the transformation process, broadcasters developed excellent digital capabilities. They have entered new services, such as targeted advertising and recommendation functions, which had previously been dominated by the digital platform companies. Furthermore, the high relevance of content for a national audience puts broadcasters in a superior market position, supported by regulatory measures such as content quotas.
Scenario 4 - Lost in diversity
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In our fourth and final scenario, the TV and video market has evolved into a diverse ecosystem with no dominant players. Instead, consumers are served by numerous distribution platforms, a great richness of content, and a steady turnover of players in the market. Demand - for national content remains strong, so partnerships between global and local players are widespread. The clear distinction between content production and distribution is another key characteristic of this scenario.
One of the topics that irks me about Netflix and its binge watching system. Its also one of the main arguments why streaming it not necessarily a solution for being entertained in the long run, because Netflix's rating system is not pro consumer, it yanks shows that people binge watch without even considering a shows popularity might increase over time. I would not say this is a isolated example, the shows that are yanked from broadcasting are equally questioned by fans.
Exactly how Netflix makes the call on what to renew or not is something of a mystery – it never releases ratings or viewer figures that would illuminate its decisions. Instead, everything is driven by top-secret data. Netflix notoriously number-crunches every bit of viewer interaction – what you watch, when you watch it, the device you watch it on (TV, PC, phone, tablet, smart microwave, whatever), how many episodes you watch in a row; even when you pause and for how long. It then uses this to inform production choices; for instance, at some point it determined that people were more likely to finish shorter runs, so the average episode count per season dropped from 13 episodes to 10.
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It has also been widely reported that Netflix chiefly looks at viewership at seven and 28 days after a series launches, breaking viewers into three categories: starters, who watch the first episode; completers, who finish a show in its launch window; and watchers, a measure of all subscribers who watch a show. The more who finish a season within the first 28 days, the higher Netflix regards the show, it seems.
The problem with this approach is not everyone wants, or is able, to binge a show the moment it drops. Whether by personal preference, an intention to savour episodes rather than gorge on them like a cheap buffet, or by necessity – even in lockdown, not everyone is able to vegetate in front of an endless stream of content – there are plenty of reasons why subscribers may not devour a show on day one.
This algorithmic determinism is beginning to backfire for Netflix. As news of The Dark Crystal’s cancellation spread on social media, a common refrain was: “Why should I bother watching?” And the cancellation of Glow was met with widespread dismay – including from the cast and crew. The provider’s reputation is shifting from being known as the home of bold television, where showrunners are set free from the restrictions of networks and traditional broadcasters to create the likes of Orange Is the New Black or Stranger Things, to being the place that kills your favourite shows with no warning.
There’s also the impact these cancellations have on Netflix’s back catalogue to consider. A show with a defined conclusion can draw audiences for years to come – just look at the frenzy when Netflix secured the rights to Friends – but who’s going to bother wasting their time on Glow now, knowing its multi-season plot threads will never be resolved?
Such cold and calculating decisions on renewals are also likely to become frustrating for showrunners themselves. If they don’t have a guaranteed multi-season order when they begin production – The Crown being one of the few afforded such a luxury – do they take narrative risks, knowing even their first season could be their last? Do you end a season on a cliffhanger, if there’s a chance you’ll never be able to resolve it? How can you create art and entertainment when even winning at television’s most prestigious awards ceremony isn’t enough to secure your future?
Such cold and calculating decisions on renewals are also likely to become frustrating for showrunners themselves. If they don’t have a guaranteed multi-season order when they begin production – The Crown being one of the few afforded such a luxury – do they take narrative risks, knowing even their first season could be their last? Do you end a season on a cliffhanger, if there’s a chance you’ll never be able to resolve it? How can you create art and entertainment when even winning at television’s most prestigious awards ceremony isn’t enough to secure your future?
There are, perhaps, signs Netflix sees an error in relying entirely on first-month binge viewers to determine success. Its recent rescue of Cobra Kai, a televisual sequel to The Karate Kid that began life as a YouTube Premium series, has brought the two existing seasons of the show to Netflix, with the streamer committed to production on a third, due to premiere in 2021, and a fourth series. Similarly, Lucifer, originally a network show on Fox in the US, was picked up after its broadcast cancellation, bringing three seasons to the streaming service, while delivering three new seasons – albeit at Netflix’s now-standard season length of 10 episodes (or two blocks of eight in the case of season five). Such moves offer some security to viewers, giving them an amount of existing content and a guarantee of more to come, while minimising Netflix’s own production costs. But it certainly isn’t a sign of the creative risks that the company is supposedly known for.
For years Netflix was accused of being too lenient to shows that were underwhelming viewers – how else to explain three seasons of Hemlock Grove – and its chief content officer, Ted Sarandos, even said in 2017: “If you’re not failing, maybe you’re not trying hard enough.” Now the pendulum has swung too far the other way, and shows are being culled with no chance to grow or develop an audience. If Netflix doesn’t start taking more risks again, gambling on that second or third season of an original series and allowing word of mouth to grow, it may find that viewers switch off all together – and take their subscriptions with them.
Then there is the problem that all streaming services have to contend with the virtuous cycle, more accurately a vicious circle, is your business sustainable or do you get bought, or go out of business. Who says streaming is without risk?
The pandemic was great for Netflix, the demand that was pulled forward is great for cash flow, but Netflix still needs to maintain its growth to compete with Disney's spending.
There are 3 key questions that investors should ask themselves: How much content spending is enough? How many subscribers can they get? And, how much can they charge each subscriber?
Other revenue opportunities, such as merchandising, theme parks, and the Chinese market, can make up for slower subscription growth, but ultimately, subscribers are the only thing that matters.
2020 is set to be another record year for Netflix (NASDAQ:NFLX). After adding an impressive 26 million subscribers in the first half, it is very close to reaching a total of 200 million subscribers, well ahead of any of its competitors.
The bull thesis for Netflix is pretty clear. Invest as much as possible in content, which will attract new subscribers, which will allow them to spend more on content and raise prices as their value proposition improves.
Netflix is now closer than ever to outspending its competitors, and, as the streaming war heats up, Netflix will need as much cash as it can get to continue its growth. (Netflix actually spent $14 billion on content in 2019, but since it amortizes content costs, the income statement expense is lower)
They will only get upset when their film is removed. This will happen on a big scale when all these streaming big guns cull their content. A few short years and there will be more and more of this stuff. I have always seen digital ownership as a dead end.
For those curious enough, like myself, Event Horizon is available in 4K with DV for $4.99 on iTunes. The new Scream Factory BD got delayed until late March of 2021, so this version will do nicely for those so inclined. I'll still be getting the fully loaded disc, but don't expect a 4K disc release of this film anytime soon.
For those curious enough, like myself, Event Horizon is available in 4K with DV for $4.99 on iTunes. The new Scream Factory BD got delayed until late March of 2021, so this version will do nicely for those so inclined. I'll still be getting the fully loaded disc, but don't expect a 4K disc release of this film anytime soon.
Good reminder why I tolerate streaming sometimes, lack of good Blu-ray releases for the week, or if it ever gets released for this region.
I thought it was pretty sad about a Euro release of 4K Showgirls, just because its in 4K can't make a bad movie more appealing.
On a different note, I noticed just now seeing what's new on Netflix that they have "The Devil's Punisher" (Chinese TV series) as weekly, instead of binge a season.
That shows how much Netflix is acting as a bridge to new Chinese content immediately instead of getting a full season after it wraps up.
Why it’s simply not worth going the digital (ownership) route. We all know it but it’s sparked debate again in other forums.
Disc for life.
I actually just bought my first digital title. Sorta. I had a $6.00 digital credit on Amazon and wanted to watch Scream 4. It was only $2 more to purchase rather than rent. I thought since I wasn't actually spending any money, why not. So technically it was free, and I have received 8-10 digital only titles for free anyway. I'll never turn down free, and I'll never spend cold hard cash on a digital title.
But I will end up purchasing the disc anyway because I enjoyed it.
Why it’s simply not worth going the digital (ownership) route. We all know it but it’s sparked debate again in other forums.
Disc for life.
I agree with Amazon. No content provider should ever be forced to provide ongoing support forever. Expecting otherwise is ridiculous.
That's why I exclusively buy, rent, and watch on disc: no content requires ongoing support. Nothing can ever be removed from anyone's collection or the marketplace and it doesn't cost the studios or providers a cent for people to watch their existing discs for many decades.
Last edited by PenguinInfinity; 10-29-2020 at 05:02 AM.
Currently the studios are making 40% more profit from an EST sale then they do from a disc sale. EST is outselling Physical Media.
Does anyone really believe the studios will kill the goose that lays the golden eggs?
I don't expect any studio to give up on EST entirely. But plenty of titles could be removed due to disputed rights, licensing issues, or potentially offensive content. That's already happened and it will just get worse over time.
Last edited by PenguinInfinity; 10-29-2020 at 08:15 AM.
I don't expect any studio to give up on EST entirely. But plenty of titles could be removed due to disputed rights, licensing issues, or potentially offensive content. That's already happened and it will just get worse over time.
Just to be clear - you are referencing EST titles? A movie someone bought in the past that now has been redacted in some manner? Or are you referencing movies on streaming services which has nothing to do with ESTs.
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