- November 28th, 2011
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Broadcast equipment manufacturer Grass Valley has introduced a new 3D toolset for its Edius multiformat nonlinear editing software.
“We see 3D production and post projects increasing around the world,” said Charlie Dunn, executive vp products at Grass Valley. “Now anyone working on an Edius system can instantly add 3D post capability to their arsenal of production tools and generate new revenue by expanding their client base.”
In September, James Cameron and Vince Pace’s Cameron | Pace Group and Grass Valley entered into a strategic alliance aimed at expanding the use of 3D in the broadcast industry through technology development.
As part of the alliance, CPG is currently reviewing the Edius 3D toolset with an eye toward incorporating it into a live 3D workflow, according to the manufacturer.
In December, a 30-day preview of the 3D version of Edius will be available online for testing purposes.
Fast gets even faster with native 64-bit operation, so even when you layer together the most complex effects, things will still feel snappy. Experience smoother playback, faster rendering performance, and better handling with large bins—and say goodbye to the old memory limitations of the 32-bit operating systems.
With AMA (Avid Media Access), you can instantly access and edit file-based media—including new RED/RED EPIC, new AVCHD, ProRes, QuickTime (including footage from HDSLR cameras), XDCAM, P2, Canon XF, and other formats—without transcoding, importing, or rewrapping files (watch the video). Get a jumpstart on reviewing footage without the wait, and avoid bringing in unwanted material. And as new cameras and formats emerge, manufacturers can create and release their own AMA plug-ins independently from a Media Composer release.
File-based media, analog and digital tape, stereoscopic 3D material, film — bring it on. Media Composer offers a wide range of features, workflows, and options that enable you to work with everything, from old-school media to the latest camera technologies. Experience the fastest tapeless workflows in the industry. Capture footage directly from digital cameras. Or add an Avid or third-party video interface to capture from other analog or digital sources. Plus, with support for 4:4:4 HD-RGB color and DNxHD 444, you can work efficiently while preserving the full-quality color detail from beginning to end.
For the fastest capture/edit/monitor/output workflows, pair Media Composer with a Nitris DX or Mojo DX video interface and experience hardware-accelerated power that’s second to none. You can now even customize Nitris DX with up to two Avid DNxHD or AVC-Intra chips to fully support stereoscopic 3D and HD RGB 4:4:4 workflows.
Modern, smart, and sexy. Media Composer has a whole new look, but its familiar editing workflow stays the same (watch the video). Work faster through the tabbed interface (no more window clutter!). Customize window configurations with Workspaces. Browse the Avid Marketplace for stock footage, video and audio plug-ins, software and hardware options, training materials, and more—right from within the app. You can even access user guides and other documentation without having to scour our website.
Edit stereoscopic 3D material as quickly and easily as you do with standard 2D footage, with a full set of new features and workflows. Capture, edit, and manage the complete 3D end-to-end workflow. Mix and match 2D and stereoscopic 3D clips on the same track. Plus, work with full frame and frame-compatible sources, full-fledged editing tools, video effects, and more.
Accelerate your color correcting and grading with Artist Color (watch the video). With its highly responsive feel, you can keep your eyes on the picture instead of the interface while you make adjustments. And since you can tweak multiple parameters at once, you dramatically gain more speed and efficiency to complete time-consuming tasks quickly.
You want your audio to sound as spectacular as your video looks. Now you can record, edit, and mix studio-quality audio in up to 7.1 surround—right in Media Composer. Not only that, you can share mixes with Pro Tools editors (using AAF), and even record and monitor audio using a host of Avid audio interfaces. (watch the video)
by Nellie Andreeva Deadline.com
The cable news network today laid off 50 people in the Atlanta, New York, Washington D.C., Los Angeles and Miami offices. The bulk of the cuts are among editors, photojournalists and librarians, and CNN SVP Jack Womack explained them with the ability for virtually anyone to edit and publish video on their computers or search for background information online and with the influx of viewer-generated video. “Technology investments in our newsrooms now allow more desk-top editing and publishing for broadcast and online,” he wrote in an internal email. “This evolution allows more people in more places to edit and publish than ever before. As a result of these technology and workflow changes, CNN is reducing the number of media editors in our work force in Atlanta… We looked at the impact of user-generated content and social media, CNN iReporters and of course our affiliate contributions in breaking news. Consumer and pro-sumer technologies are simpler and more accessible. Small cameras are now high broadcast quality. More of this technology is inthe hands of more people. After completing this analysis, CNN determined that some photojournalists will be departing the company.”
LOS ANGELES (TheWrap.com) – This was supposed to be a weekend when ground zero for Southern California movie lovers was Hollywood, site of the AFI Fest.
But Martin Scorsese exerts a gravitational pull all his own. So on Saturday afternoon, the action shifted to downtown Los Angeles for a couple of hours, where the Regal multiplex drew nearly 1,000 fans and industryites eager for a look at Scorsese’s 3D adventure “Hugo,” which had previously screened only in a work-in-progress version at the New York Film Festival.
Throw in a post-screening Q&A with Scorsese, editor Thelma Schoonmaker, production designer Dante Ferretti, cinematographer Robert Richardson, composer Howard Shore and visual effects supervisor Robert Legato, moderated by director Paul Thomas Anderson, and you had a three-hour slice of movie nirvana (plus 39 Oscar nominations and a dozen wins on one stage).
And in a way, movie nirvana is what “Hugo” aims to be. An adaptation of “The Invention of Hugo Cabret,” a children’s book by Brian Selznick, in Scorsese’s hands it is less a children’s story than a knowing and glorious tribute to early cinema from a master moviemaker who also happens to be a master movie-lover.
The film will be an odd duck to market: It’s partly an adventure tale about a kid who lives in a huge Paris train station, and partly a (fictionalized) story about the silent film pioneer Georges Melies (played by a marvelous Ben Kingsley).
Not a kids’ movie, not an art film, not a typical Scorsese effort and not necessarily an Academy movie (more on that in a minute), “Hugo” is instead a big shiny ball of imagination, invention and cinematic wonder.
And a few hours after the downtown screening, a big room full of folks who presumably love the movies gave “Hugo” their own stamp of approval. The film had its official Academy of Motion Picture Arts and Sciences screening on Saturday night — and according to a couple of members in attendance, the response was extremely positive, with sustained applause and a strong buzz in the room afterward.
(Attendance, though, was not as high as it had been for some other recent Academy screenings, including “The Help” and “Moneyball.”)
Back at the downtown screening earlier in the day, Scorsese was introduced by Anderson as “the heavyweight champ.” The director used some of the 40-minute Q&A to detail the intricacies of filming in 3D, which he said was “arduous but most of the time a good deal of fun.”
Shooting in 3D slowed down his usual workflow, Scorsese said, though he and Schoonmaker ended up editing the film switching between 3D and 2D monitors,. He dismissed worries about the move toward 3D, and said that the technology is “just another element to tell a story.” And, he added, it’ll likely be followed by more and newer elements.
“We’re all headed, if everything moves along and there’s no major catastrophes, we’re basically headed toward holograms,” Scorsese said. “Why can’t you have (a) 3D (movie where) Hamlet comes out into the middle of the audience and does ‘to be or not to be?’ They do in the theater. Why can’t you have it in a movie theater, or at home?”
In the meantime, he said, he’s simply using the tools that are now available to deliver what moviegoers always wanted to see. ”The first time images started to move, immediately people wanted color, sound, big screen and depth,” he said. “And that’s just what we’re doing now.”
His latest: A survey of 25 educational technology directors at a conference on integrating technology in the classroom. “While our sample is small,” he writes in a note to clients issued Monday, “so is the population of IT decision makers in the education field in the US.”
And what did he discover? Among his findings:
Given the huge problems facing America’s schools, it’s a slender thread on which to base a vision of broad educational reform. (Munster quotes outgoing Apple retail chief Ron Johnson, who has suggested that the current crop of students might be “the last generation with backpacks.”)
“We also see a trend in education (which is mirrored in the enterprise) that familiarity with Apple devices among students (or employees) is causing a demand pull within institutions to also provide Apple devices.”
Amid the drama and headlines surrounding OTT distributors (e.g. Netflix price increases and Qwikster decision, on-again/off-again Hulu sale, etc.), these companies’ content strategies actually seem to be crystallizing, with each trying to stake out a somewhat distinct value proposition for their users. True, there is still plenty of blurriness between them, and each appears reluctant to be pigeon-holed, but recent deals suggest how each OTT distributor is positioning itself.
Below is a summary of the content strategies of most of the major OTT distributors (Netflix, Hulu, Amazon, YouTube, Walmart/VUDU, iTunes and Blockbuster) with a catchphrase that best describes their approach:
Netflix - “Rerun-TV, but please don’t call us that” – Earlier this year, when Comcast CEO Brian Roberts was asked if he felt pressured by Netflix’s growing array of content deals, he half-jokingly replied, “What used to be called ‘reruns’ on television is now called Netflix.” At the time the comment seemed like it diminished Netflix, but eight months later it is quite accurate (in fact on last week’s earnings call Netflix CEO Reed Hastings said it wasn’t an unfair characterization, though he wouldn’t want to labeled this way). Netflix is increasingly about catalog serialized programs, picking up where traditional syndication left off; recently it obtained the rights to CW programs and today renewed Disney-ABC programs. When the Starz deal expires in a few months the movies available on Netflix streaming will look even older and more obscure, the Dreamworks’ movies don’t appear until 2013 and originals like “House of Cards” are still a question mark. All that means Netflix’s deep catalog is increasingly going to define the streaming service.
Hulu - “Catch up on broadcast TV programs, no DVR required” – Just when you thought you mastered your DVR’s controls, Hulu is essentially saying “don’t bother.” After obtaining the rights to CW’s current season episodes last Friday, Hulu now has all the broadcast networks except CBS available. And if you want quicker/deeper access, Hulu Plus offers that too. Beyond broadcast, Hulu has also snagged some cable programs (most notably “The Daily Show” and “The Colbert Report”), independent content (with surprising success in anime), and is also showcasing some of its own originals (e.g. Morgan Spurlock’s “A Day in the Life”). Hulu’s owners have decided to hang onto their stakes, rather than bank a short-term gain. Now the question is will Hulu get further resources to break out of its broadcast catch-up positioning?
Amazon - “Fired up to beat Netflix in streaming” – Amazon seems more serious than ever about being a streaming contender, and is employing a Netflix-like strategy for content acquisitions, recently signing up Fox, and today Disney-ABC, in a remarkably similar deal to one Netflix itself announced (so much for exclusivity!). I was critical of Amazon’s decision to include video in its Amazon Prime shipping service which reduced its visibility, but more recently the company’s decision to introduce the Kindle Fire “iPad killer” means that having great content is now a lot more important. Amazon has very deep pockets and could broaden its content acquisitions driving up prices for other OTT players.
YouTube - “Indies-R-Us” – Last Friday, YouTube finally announced the first batch of independently-created original programs, as part of its $100 million investment in higher-quality content. Under Google’s ownership, YouTube had already moved a long way from its UGC roots, but despite incessant rumors that it would become a bidder for Hollywood shows and movies, YouTube is instead trying to nurture its own content that it hopes will be appealing to major advertisers, as well as audiences. That’s not to say Google won’t be opportunistic; it reportedly dangled a $4 billion offer in front of Hulu’s owners in the recent auction, but was rebuffed due to aggressive demands. With more resources than anyone, Google can pursue any strategy it chooses to.
iTunes - “King of the non-subscription world” – Outside of subscriptions, the electronic sell-through (EST) and rental market has remained relatively small (my estimates here), but iTunes is clearly the king. iTunes benefits from its integration and branding with hundreds of millions of Apple devices, and so for the foreseeable future its dominance should remain unchallenged, with Microsoft Zune Video Marketplace and VUDU well behind it. With rumors of an Apple television circulating, it remains an open question whether Apple will at last pursue a subscription model to support this new device.
Walmart/VUDU - “Best access to HD movies and TV shows” – Under Walmart’s ownership, VUDU has stayed consistent, emphasizing 1080p HD movies concurrent with their DVD release and more recently TV shows, through a growing array of connected devices. Just like iTunes, VUDU is exclusively rent or own, with no subscriptions available. VUDU has begun to get leverage from Walmart through promotions like $.99 specials, which broadens its user base. With the subscription field so crowded, it’s hard to see VUDU going beyond its roots; rather it will benefit as DVDs diminish.
Blockbuster - “DVDs and streaming for DISH subscribers” – DISH cautiously introduced its new Blockbuster Movie Pass service, emphasizing DVD availability and some streaming, but making it available solely for DISH subscribers. No doubt it will be untethered soon enough, colliding with Netflix and Amazon, but only if DISH is willing to spend aggressively to gain more content.
Beyond these OTT distributors, it’s also worth noting what’s happening in the traditional pay-TV ecosystem. The premium networks, HBO, Showtime and Starz all seem committed to their pay-TV partners, not allowing their content to leak out onto OTT streaming services (though DVD is OK). HBO has taken the lead with its HBO GO app, which Showtime and Starz are expected to mimic shortly. EPIX, with limited pay-TV distribution has been the only premium network to make an OTT deal, with Netflix. Movie output deals are still important in the premium category, but original series increasingly define their brands.
Last but not least, pay-TV operators themselves continue to roll out VOD services and more recently TV Everywhere. Lacking a robust ad insertion capability, VOD viewing remains strongest for content from premium networks. TV Everywhere continues to be deployed, but faces 5 big challenges as I recently wrote. More broadly, the question remains whether pay-TV services might eventually spend more aggressively and/or demand under their retransmission consent agreements exclusive streaming rights to both broadcast and cable programming, putting the squeeze on all the OTT distributors.
Although the landscape remains very fluid, when you cut through the noise, each OTT distributor appears to be settling on its own content direction.
article by Will Richmond videonuze.com
Chris Portal attended the Boston Supermeet of the Final Cut Pro Users and reports:
Walter Murch, a long time Final Cut Pro user, and editor of Apocalypse Now, The Godfather Part III, The English Patient, Cold Mountain, Tetro, among many other films, headlined the Boston Supermeet on Thursday October 27, 2011. It marked his first public appearance since the launch of Final Cut Pro X.
Hemingway & Gellhorn is his latest project for HBO, and is edited on Final Cut Pro 7. The film is a celebration of the tactility of film, yet a film that wouldn’t have been possible without the digitization of film. It uses archive material existing on a wide variety of film mediums, all with different grain sizes, in which actors are dropped in digitally, while trying to preserve the grain of the original element. The film takes you on a roller coaster ride diving in and out of this world, going into the grain and sprockets, and out into the digital world.
His Final Cut Pro project consisted of 22 video tracks and 50 audio tracks, combining sound elements ranging from 8 tracks of dialogue, to 24 tracks of mono and stereo sound effects with and without low frequency enhancements (LFE)!!
Another piece of the workflow was the integration of Filemaker Pro, which he uses to gain a different insight into his film. Using a dependency diagram of sorts, he associates every shot to a specific scene, what music and effects should belong to it, etc. It’s not a time line in any way, but more a view of all the relationships between your media assets.
As far as other equipment Walter used on the project, he used 2 Arri Alexas, outputting to codex materials. The codex downloaded into a ProRes 1280 LT, DPX “negative” (to do the final color timing), and H.264 with internet via PIX (to share assemblies with HBO). There were 5 editing stations, using an XSAN with 28 TB on XRaid running XServe.
There were 1862 shots in the finished film:
While there used to be a rule of not blowing up an image beyond 120% to avoid introducing noise and grain, with the Alexa footage, he was able to take the film and blow it up 240% without being noticeable.
He used FCP7, which he acknowledged may be the last time he uses Final Cut Pro. He considers many professionals to be at a juncture where we need to come to terms with what the software can do in the time the film is being developed.
Walter was in Cupertino when Final Cut Pro X was first dangled in front of a few editors. It was a beta version, and Apple highlighted things like 64 bit support. After that initial exposure to FCPX, he dove into making a film, and it wasn’t until June when FCPX was published that he revisited it. He quickly looked at it, and said he couldn’t use it, wondering where the “Pro” had gone. It didn’t have XML support which he depended on, the ability to share projects on a raid with people, etc. He was confused and wondered what was happening.
He wrote Apple a letter asking what was behind everything that was happening, especially since they had end-of-lifed the current version, as well as a list of things he needed. Like a report card children often get, without XML, Walter explained to Apple that FCPX “did not play well with others”. The lack of tracks was another killer for him. While he doesn’t really need to work with 50 tracks, he does need to leverage the ability to selectively raise or lower the levels very specifically.
Walter sees there having been a shift at Apple over the last 10 years. They have benefited from the professional market, and we all have made a lot of noise about Apple, but starting with the iPod, iPhone, and iPad, Apple has broadened out into a mass-market creature, wanting to democratize capabilities even further.
While Walter is encouraged by the updated FCPX version last month, he hasn’t used it on any real work yet, so he is cautiously optimistic (and still traumatized he says). “Do they love us? No…I know they like us….but they keep saying they love us??”
Things wrapped up with a Q&A, mostly comprised of questions attendees had submitted that evening prior to his talk. A few interesting ones were:
Q: When is it time to walk away from the work?
A: ”When you see dailies, that is the only time you are seeing the images for the first time. There will be no other time for a first. It is the closest you can get to experiencing what the audience will experience. It’s a precious moment. I will sit and watch the dailies in the dark, holding a computer where I’ll type anything the image makes me feel or think, in order to preserve that first moment. Doing so will help clear the fog down the road when you’re feeling you’re getting lost.”
Q: How do you know if a scene works or doesn’t?
A: ”A scene may work on its own, but not in the context of the movie. It can be very dangerous to preemptively strike a scene from a film before you’ve seen the entire film. You can say you don’t agree with where the scene is going, but you don’t know if in the larger picture it may still have a shot.”
Q: Is there one piece of advice you can impart to sound designers?
A: ”Always go farther than you think you can go. Try to bend the literalness. Literalness doesn’t light the fire in the audiences mind. Levitate the film. Ignite the imagination.”
Q: Thoughts on 3D?
A: ”In 2D, your eyes focus on the plane of the screen while they converge towards the plan of the screen, but when you have something coming out of the screen in 3D, you not only need to focus on the screen, but you also need to converge on the detail protruding out of the screen. The mind can do it, but we’re not programmed for it. It requires processing many frames before your mind figures it out, and by then you’ve missed information. It’s analogous to the moment when the fan on your computer starts up.”
Q: If you didn’t use FCP, where would you go?
A: “I’ve used Avid in the past, so I know it well. There are some very good things that Avid has, but I’m also curious about Premiere since I’m interested in technology.”
There’s a lot of last-minute scrambling among the channels poised to join Google’s potentially revolutionary initiative featuring professionally produced videos — which kicks off in earnest in just a few weeks. Several execs say they still don’t know exactly what they’ll show, when they’ll debut, and how much promotional help they’ll receive from YouTube. But one thing’s becoming clear: The initial wave of services out of the 96 picked to receive investments from YouTube will be loaded with material either from or about celebrities. That’s not part of a master plan; a lot of Web video producers already focus on pop culture and can gear up new channels in a hurry. The group includes Madonna’s DanceOn, which has been on YouTube since late 2010; it will reintroduce itself in January after it revamps its interface and programming. It plans 10 series including scripted shows, competitions, and tutorials but says it’s still figuring out when each will begin to appear. A different kind of celeb, skateboarder Tony Hawk, also is expected to have his action sports oriented Ride Channel ready next month.
When it comes to services about entertainment, some execs tell me that they’re curious to see what happens with Young Hollywood Network, which launches on January 16. It plans to have five weekly shows featuring interviews with stars and moguls including some conducted at the company’s studio in the Four Seasons Hotel. ENTV from Deadline parent PMC in a partnership with ION will focus on breaking entertainment news with frequent daily updates beginning January 16. The channel also plans a weekly show with TVLine Editor-In-Chief Michael Ausiello, a daily celebrity news chat with Hollywood Life Editor-In-Chief Bonnie Fuller, as well as a show that rounds up some of the day’s best clips from the YouTube channels. Joining the entertainment news sites sometime in late January will be Clevver News, which will have as many as nine original episodes a day including the daily Radar Latinocovering Spanish-language news and celebs. Most programs will only last a few minutes. “That’s been a real challenge: What’s a YouTube viewer willing to watch?” says Clevver Media Co-Founder Michael Palmer. “A lot of people watch YouTube at work or while they’re waiting in line. We’re playing around with time.”
Wonderful things happen when cool technology meets great entertainment. Cable television expanded our viewing possibilities from just a handful of channels to hundreds, and brought us some of the most defining media experiences of the last few decades– think MTV, ESPN and CNN. Today, the web is bringing us entertainment from an even wider range of talented producers, and many of the defining channels of the next generation are being born, and watched, on YouTube.
Today we’re announcing that even more talented creators and original entertainment will soon join YouTube’s existing channel lineup, including channels created by well-known personalities and content producers from the TV, film, music, news, and sports fields, as well as some of the most innovative up-and-coming media companies in the world and some of YouTube’s own existing partners. These channels will have something for everyone, whether you’re a mom, a comedy fan, a sports nut, a music lover or a pop-culture maven.
Our goal with this channels expansion, along with the grants and educational programs we’ve launched in the past year, is to bring an even broader range of entertainment to YouTube, giving you more reasons to keep coming back again and again. And for advertisers, these channels will represent a new way to engage and reach their global consumers.
The first of these new original channels will appear on YouTube starting next month and continuing over the next year. They’ll be available to you on any internet-connected device, anywhere in the world, with all the interactivity and social features of YouTube built right in.
Alchemy Networks, Alchemy Networks
Alli Sports, Alli Sports
Bedrocket Media Ventures, Official Comedy
Bedrocket Media Ventures and Full Picture Productions, Look TV
Bedrocket Media Ventures & Wasserman Media Group, Network A
BermanBraun & Rodale Inc., Vigor
BermanBraun & Rodale Inc., Taste
Big Frame, BAM
Black Box TV, Black Box TV (Anthony E. Zuiker, Tony E. Valenzuela, and Collective Digital Studio)
Bleacher Report, Bleacher Report
Brady Haran, DeepSkyVideos
Brady Haran, numberphile
CafeMom, CafeMom Studios
Chopra Media/Generate, The Chopra Well
Clevver Media, ClevverStyle
Clevver Media, ClevverNews
Clevver Media, ClevverTeVe
Comedy Shaq Network, The Comedy Shaq Network
Cooking Up a Story, Food Farmer Earth
Demand Media, eHow Home
Demand Media, LIVESTRONG
Demand Media, eHow Pets & Animals
Digital Broadcasting Group (DBG), Spaces
East of Center Productions LLC, YOMYOMF
Electus, Pop Culture Channel (name TBD)
Electus NuevOn, Latin Channel
Electus, Food Channel (name TBD)
Emil Rensing International, Auto Channel (name TBD)
EQAL, u look haute!
Everyday Health, Inc., Everyday Health TV
EYEBOOGIE, POP SPOT
FAWN by Michelle Phan
Fine Brothers Productions, MyMusic
Frederator Networks, Channel Frederator’s Cartoon Hangover
FremantleMedia Channel, Pets & Animal (name TBD)
Hearst Magazines, Fashion & Beauty Channel (name TBD)
Hearst Magazines, Car and Driver Television
Iconic, Life and Times
IGN Entertainment / Shine Group, START
Intelligent Television, Intelligent Channel
Jon M. Chu, Dance Channel (name TBD)
Katalyst, Thrash Lab
Knights of Good Productions, Geek & Sundry (with Felicia Day)
Lionsgate, Lionsgate Fitness Channel
Magical Elves and InStyle magazine, Little Black Dress
Maker Studios, The Maker Music Network
Maker Studios, The Moms’ View
Maker Studios, Tutele
Meredith Corporation and Meredith Video Studios, Digs
ModernMom, ModernMom Channel
Mondo Media, New Animators
My Damn Channel, My Damn Channel: Live
New Nation Networks, New Nation Networks
Pharrell Williams, i am OTHER
Philip Defranco, Sourcefed
Pitchfork, Pitchfork TV
PMC, PMC Entertainment News
Radical Media, Education Channel (name TBD)
Red Bull Media House North America, Red Bull
Roadside Entertainment/BAC, The NOC
SB Nation, SB Nation
Seedwell, American Hipster
Slate, Slate News Channel
Smart Girls at the Party, Smart Girls at the Party
Smosh/Alloy Digital, Smosh Animation
Soccer United Marketing & Bedrocket, KickTV
SoulPancake Productions, SoulPancake
Source Interlink Media, Motor Trend
Steve Spangler Science, The Spangler Effect
TakePart™, TakePart™ TV
TED Conferences, TEDEducation
The Bowery Presents, The Bowery Presents
The Nerdist Channel, The Nerdist Channel
The Onion, Onion Broadcasting Company
The Wall Street Journal, The Wall Street Journal
The Young Turks, Town Square
Thomson Reuters, Reuters.com
Tony Hawk’s production company, 900 Films, Inc., RIDE Channel
Uncommon Content Partners, The Conversation Channel
Uncommon Content Partners, Taste & Access
Varsity Pictures, Awesomeness
Vuguru & POW! Entertainment, Stan Lee’s World of Heroes
Walter Latham Digital, Walter Latham’s “Kings of Comedy”
WWE, WWE Fan Nation
Young Hollywood, Young Hollywood Network