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DWA vs. PIXR

Kommentaari jätmiseks loo konto või logi sisse

  • Kuna Dreamworks ja Pixari teema on paljude meeli köitnud ja pälvinud juhtkirja kohta harvaesinevalt palju kommentaare, siis alustan ka vastavat foorumit ... artikkel lükatakse uute lugude poolt avalehelt peagi minema ja arutelu saab jätkata siin

    Artikkel ja esimesed kommentaarid

  • See on tõsi, et reeglina animatsioone minnakse vaatama animatsiooni, mitte tootja pärast. Samas Pixar on ja on jäänud antud valdkonna eestvedajaks. Bränd PIXAR põletati mu mällu suurte tähtedega '96, mil kinos Sõprus näidati Lelulugu. Umbes kümnendal minutil ma loobusin jälgimast teostust ja tehnilisi detaile ja pühendusin sisule - segas naermist.

    Nii DWA kui ka PIXR puhul on ja jääb nende suurimaks riskiks ebaõnnestunud animatsioon. PIXR seni plekitu resümee annab nagu rohkem lootust, kuid piisab korra komistada.

    Steve Jobs ostis osaluse Pixaris ja rahastas seda alguses. Tema tegelik eestvedaja, Ed Catmull, oli minuteada kas tuttav või heades suhetes Jobsiga, mistõttu suutis veenda panustama ettevõtmisesse. See, et Pixar on see mis Pixar praegu on tuleneb Catmulli teentest ja pühendumisest.

    iPilot kommentaarid tasakaalustasid artikkli sisu, sest see mängis kuidagi liigagi ühte väravasse.

    Muideks, ise olen suur Pixari loomingu pooldaja. Teised tegijad on mind külmaks jätnud kui v.a. Final Fantasy the Spirits Within omad. Siiani riivab hinge, et sisu eriti ei mänginud välja.
  • Muide. Kui Pixar Disney (täpsemalt Eisneri) pikale lainele saatis, lubas Eisner leida uues noore stuudio, kes neile sama häid asju teeb kui Pixar ja kasutas Pixari animeeritud inimeste kohta sõna "pathetic". Uus ja parem stuudio on siis briti Vanguard Films http://www.vanguardanimation.com/

    Kahjuks (õnneks) pole ka see stuudio kusagil listitud.
  • Räägi veel, et tootja järgi filmidele tähelepanu ei pöörata. Vanguard Animation esimene suurem katse on praegu kinodes linastuv (mitte meil) Valiant. Näinud veel ei ole. Räägitakse kui läbikukkumisest. Järjekordselt võrreldakse Pixariga ja nende lugude vestimise oskusega. Inglased ise panevad stuudiole suuri lootusi murda 3D turule.

    Disney ja Vanguard Animationi leping näeb ette mitu täispikka animatsiooni ning Vanguard on lubanud iga animatsiooni valmis teha vähem kui 2 aastaga ehk kiiremini kui Pixar.

    Halb uudis ka Pixarile - Pixaris töödanud Joe Ranft, kelle kaasabil sai loodud enamus Pixari edukatest täispikkadest animatsioonidest, sai teisipäeval autoõnnetusest surma, kus auto kaotas juhitavuse ja sõitis kaljult alla otse merre. Tema peamiseks ülesandeks oligi story eest hoolitsemine. Aga mitte ainult. Näiteks Bug's Life-s andis ta oma hääle kapsaussile, samuti ka muudes animatsioonides.
  • ka Madagascarist võib veel midagi välja pigistada: http://news.yahoo.com/s/nm/20050819/tc_nm/madagascar_dc
  • Briefing.com:
    Walt Disney is in serious talks to acquire Pixar - WSJ : The Wall Street Journal reports Disney (DIS) is in serious discussions to buy Pixar Animation Studios (PIXR, 57.26) after months in which the two cos have been exploring ways to continue their lucrative partnership, according to people familiar with the matter. In the deal under discussion, Disney would pay a nominal premium to Pixar's current market value of $6.7 bln in a stock transaction that would make Pixar Chairman and Chief Executive Officer Steve Jobs the largest individual shareholder in Disney, according to people familiar with the situation. People familiar with the situation caution that the talks are at a sensitive stage and that the outcome isn't certain, noting that other options are possible.
  • Pixari ja Disney tehingu tagant paistab Apple ja Ipodi huvi.Disney vaevleb heade ideede puuduses ja Steve Jobsi kaasamine on nende jaoks eluliselt tähtis.
    Meetod selleks on ainult kummaline,müüakse ennast Jobsile maha.
    Huvitav on just Apple ja ipodi sarnaste vidinate potentsiaal selliste tehingute valguses.

    Filmimaailma tegemised on ka kummalised.Ei tohi unustada Spielbergi kes otsib väljundit Dreamworksile.Spielberg on nagu hall kardinal ilma kelle teadmata ei müüda isegi ühtegi maja
    Beverly Hillsis.Aga mägede taga on kaks suurt stuudiot Universal ja Disney.Universalil on katus GE näol ja sama otsib Disney. Kas aga filmimaailmast lubatakse Disneyl arvutimaailma sukelduda on ise küsimus.Socali on alati juhtinud filmimehed ja San Francisco oma siliconi oruga pigem friikide ja homode käes.
  • Steve Jobs owns your living room
    Investors think there is a battle raging for control of the digital home. They're wrong -- Apple has already won.
    By Fred Vogelstein, FORTUNE senior writer
    January 27, 2006: 11:12 AM EST


    NEW YORK (FORTUNE) - On Wednesday night, Gene Munster was thinking about going to the movies; but he did something else instead. He spent $1.99 to watch a campy 1960s TV show on his laptop. The first season of the Munsters -- a comedy about a family of monsters and their struggles to lead an all-American life -- was available for download on iTunes. Munster, for obvious reasons, couldn't resist.

    The experience reaffirmed something for Piper Jaffray's Apple Computer analyst as he pondered the impact of Disney's plans to buy Pixar (Research) -- Apple CEO Steve Jobs' other company: Most investors think there is a battle raging for control of the digital home, pitting the cable companies, the phone companies, Google, Apple, Yahoo (Research), Microsoft (Research) and the entire consumer electronics industry against one another in a fight to the death. They're wrong. In Munster's view, Apple has already won.

    It already is the defacto front end for our digital music experience, making it easy to listen on our iPod, computer speakers and increasingly our home stereo. Now, he says, with the access Apple will no doubt get to Disney (Research)'s vast library of movies and TV shows, iTunes is about to get a huge boost toward becoming the front end for our digital TV and movie experience too.

    "What happens when you can beam shows from your computer or iPod wirelessly to your TV?" he asks. "You have a Tivo (and a music player) that you can take anywhere." IPods and TVs don't have that ability yet but they will soon, he believes. "iTunes will be the software that runs your living room."

    It's tempting to dismiss Munster as just another analyst touting the stock he covers. (Apple (Research) is up 87 cents to $73.20 today and has doubled in the last six months.) There are so many new relationships being formed right now between technology and entertainment companies that it seems too early to call a winner. CBS just announced a huge deal to distribute big chunks of its television library on Google (Research), for example. Microsoft just announced a music deal with MTV and is working with AT&T (Research) (formerly SBC) on an Internet TV offering. And cable companies increasingly are starting to offer video-on-demand services and Tivo-like record and playback functions in their set top boxes.

    Indeed, it's not even clear yet that there will be that much to watch, at least legally. Most of Hollywood is still decidedly hostile to the idea of distributing anything over the Internet. Jobs and Disney CEO Bob Iger may have grand plans. But the theatre chains and retailers like Wal-Mart (Research) that distribute studios' DVDs hate the idea; and they still account for virtually all of the studios' profits.

    True enough. But the new partnerships are all incomplete solutions. Right now you can't research, download, organize and listen/watch music and TV shows at home or on the road with anything else but iTunes. Meanwhile, its lead as the Windows of digital entertainment is only growing. Despite a raft of challenges last year, including a very credible push by Yahoo, the iPod and by extension, Apple and iTunes, had its biggest year ever. Thirty two million of the 42 million iPods ever sold were sold in 2005.

    Even competitors privately acknowledge that in online music, at least, iTunes has almost unstoppable Microsoft/Ebay-like network effects. With, by Munster's count, 50 million copies in circulation and songs now selling at a rate of 1 million a day, artists, labels and advertisers want to be on iTunes because everyone else is on iTunes.

    As for getting enough movies and TV shows on iTunes to rival the draw of the music, Munster says that when entire library of Disney movies and television shows is available there, "that will be a big enough slug of content to create a domino effect."

    Still skeptical? Talk to Jeff Zucker, the new CEO of NBC/Universal. In an interview with Newsweek he said that iTunes had generated $2.5 million in download revenues just in the last three months. He also said it was helping him decide what to air. Because of the unexpected popularity of one show, "The Office," on iTunes, TV viewership shot up and it won a coveted Thursday night prime time slot.

    The one catch for Apple, of course, is that being the control panel of our digital entertainment experience is not in itself a business right now. It might become one if Jobs can translate all the eyeballs he has into significant online advertising dollars. But at the moment, iTunes' main function is to drive hardware sales -- be they iPods, Macs or any other device Jobs has up his sleeve, like as many believe, aPVR.

    At the moment, Apple makes no more than a few pennies on the music and videos it sells through iTunes. This puts Jobs in territory that has not been charted for a while -- making 20 percent margins in what is in effect, consumer electronics -- a business that for a long time has come to expect single digit margins.

    But his critics have been leveling that broadside every year for the past four, and he has proven them wrong at every turn. It's becoming hard to bet against a track record like that.
  • That has always been Jobs' real genius -- his ability to orchestrate layers of products, services, venues, and technologies as a coherent, self-reinforcing brand network. That's what management guru Jim Collins is referring to when he calls Jobs the "Beethoven of business." And that's why Apple, much more than Pixar, is his ideal instrument

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