Max will begin a gradual password-sharing crackdown with "soft messaging" over the next few months, with a potential price increase to follow. The Verge reports: During Warner Bros. Discovery's Q3 earnings call on Thursday, chief financial officer Gunnar Wiedenfels said this initial rollout would be followed by more progress in 2025 and 2026. Wiedenfels called password sharing "a form of price rises," as the company is "asking members who have not signed up, or multi-household members to pay a little bit more." This isn't the first time we've heard about Max's interest in password sharing, but now we have more details about when -- and how -- it will all begin. [...]

Wiedenfels didn't rule out the possibility of a Max price increase, either. He said that the "premium nature" of the service leaves "a fair amount of room to continue to push a price we've been judicious about." Max last raised prices across its ad-free plans in June.

An anonymous reader shares a report: When Parasite became the first non-English language film in Oscars history to win best picture in 2019, it marked a breakthrough moment for Korean cinema. But the surge of interest that followed the director Bong Joon-ho's international success has not translated into a thriving local film industry, according to another of its leading lights.

The director Jang Joon-hwan said K-cinema was struggling after the arrival of Netflix and other streaming platforms, with movies often rushed on to streaming platforms, and box office ticket sales suffering as a consequence. Jang, whose 2004 cult sci-fi comedy Save the Green Planet is being remade by the Poor Things director, Yorgos Lanthimos, said Korean cinema was going through a "very precarious period" because Korean viewers would increasingly prefer to wait for films to come out on streaming platforms than pay more to go to the cinema.

"I hope that such a day comes that Korean films are being introduced to wider audiences and we can all enjoy them together, however as a Korean film director in Korea, [it's] a very difficult and challenging time with the advent of Netflix and the [streaming] platforms. In this post-pandemic period cinemagoers have dropped dramatically, so investment has dropped. There are less Korean films being made," he said. But he acknowledged that platforms such as Netflix had "introduced a lot of new international fans to Korean content," through hit shows such as Squid Game.

According to The Verge, Netflix plans to delist almost all of its interactive shows and films as of December 1st. Only four of the 24 interactive titles will remain: Black Mirror: Bandersnatch, Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend, Ranveer vs. Wild with Bear Grylls, and You vs. Wild. From the report: The removal of the titles marks a disappointing conclusion to Netflix's earliest efforts into interactive content. The company first launched the interactive titles in 2017 with Puss in Book: Trapped in an Epic Tale, and I remember being wowed (and horrified) by paths in Black Mirror: Bandersnatch. In addition to specials based on franchises like Carmen Sandiego and Boss Baby, Netflix also tried ideas like a daily trivia series and a trivia game you could play with a friend. But the relatively few titles available suggests the format wasn't much of a hit -- Puss in Book has apparently been gone for a while. "The technology served its purpose, but is now limiting as we focus on technological efforts in other areas," spokesperson Chrissy Kelleher says.

Amazon's Prime Video has introduced "X-Ray Recaps," a generative AI feature that will recap what you're watching. The new tool can create text summaries of "full seasons of TV shows, single episodes, and even pieces of episodes," the company says in a blog post. The Verge reports: X-Ray Recaps will be accessible from the detail page of a show or in X-Ray while you're watching something. The tool "analyzes various video segments, combined with subtitles or dialogue, to generate detailed descriptions of key events, places, times, and conversations," Amazon says. Amazon has also applied "guardrails" to help the feature avoid sharing spoilers and to keep summaries concise.

X-Ray Recaps, which is are beta, are coming to Fire TV devices starting today, with support for "additional devices" available by the end of this year, Amazon says. The feature, at launch, will work with all Amazon MGM Studios Original series.

An anonymous reader shares a report: Another illegal streaming app has made its way to the App Store -- but it only surfaces pirated films for people in certain regions outside the US, including France, Canada, and the Netherlands. As shown in a post on Threads, the App Store listing for "Univer Note" presents itself as a productivity platform that can "easily help you record every day's events and plan your time." However, if you're a user in certain countries, like France or Canada, opening the app shows a collection of pirated movies, such as Venom: The Last Dance, Joker: Folie a Deux, and Terrifier 3.

This week's Ubuntu Summit 2024 was attended by Lproven (Slashdot reader #6,030). He's also a FOSS correspondent for the Register, where he's filed this report: One of the first full-length sessions was presented by David Morin, executive director of the Academy Software Foundation, introducing his organization in a talk about Open Source Software for Motion Pictures. Morin linked to the Visual Effects Society's VFX/Animation Studio Workstation Linux Report, highlighting the market share pie-chart, showing Rocky Linux 9 with at some 58 percent and the RHELatives in general at 90 percent of the market. Ubuntu 22 and 24 — the report's nomenclature, not this vulture's — got just 10.5 percent. We certainly didn't expect to see that at an Ubuntu event, with the latest two versions of Rocky Linux taking 80 percent of the studio workstation market...

What also struck us over the next three quarters of an hour is that Linux and open source in general seem to be huge components of the movie special effects industry — to an extent that we had not previously realized.
There's a "sizzle reel" showing examples of how major motion pictures used OpenColorIO, an open-source production tool for syncing color representations originally developed by Sony Pictures Imageworks. That tool is hosted by a collaboration between the Linux Foundation with the Science and Technology Council of the Academy of Motion Picture Arts and Sciences (the "Academy" of the Academy Awards). The collaboration — which goes by the name of the Academy Software Foundation — hosts 14 different projects The ASWF hasn't been around all that long — it was only founded in 2018. Despite the impact of the COVID pandemic, by 2022 it had achieved enough to fill a 45-page history called Open Source in Entertainment [PDF]. Morin told the crowd that it runs events, provides project marketing and infrastructure, as well as funding, training and education, and legal assistance. It tries to facilitate industry standards and does open source evangelism in the industry. An impressive list of members — with 17 Premier companies, 16 General ones, and another half a dozen Associate members — shows where some of the money comes from. It's a big list of big names. [Adobe, AMD, AWS, Autodesk...]
The presentation started with OpenVBD, a C++ library developed and donated by Dreamworks for working with three-dimensional voxel-based shapes. (In 2020 they created this sizzle reel, but this year they've unveiled a theme song.) Also featured was OpenEXR, originally developed at Industrial Light and Magic and sourced in 1999. (The article calls it "a specification and reference implementation of the EXR file format — a losslessly compressed image storage format for moving images at the highest possible dynamic range.")

"For an organization that is not one of the better-known ones in the FOSS space, we came away with the impression that the ASWF is busy," the article concludes. (Besides running Open Source Days and ASWF Dev Days, it also hosts several working groups like the Language Interop Project works on Rust bindings and the Continuous Integration Working Group on CI tools, There's generally very little of the old razzle-dazzle in the Linux world, but with the demise of SGI as the primary maker of graphics workstations — its brand now absorbed by Hewlett Packard Enterprise — the visual effects industry moved to Linux and it's doing amazing things with it. And Kubernetes wasn't even mentioned once.

Oscar winner Robert Downey Jr. has threatened legal action against future studio executives who attempt to recreate his likeness using AI. "I intend to sue all future executives just on spec," Downey said when asked about potential AI recreations of his performances. He dismissed concerns about Marvel Studios using his likeness without permission, citing trust in their leadership. During the interview, he criticized tech executives who position themselves as AI gatekeepers, calling it "a massive fucking error."

An anonymous reader quotes a report from the Hollywood Reporter: Grab your wagons and oxen, and get ready to ford a river: A movie adaptation of the popular grade school computer game Oregon Trail is in development at Apple. The studio landed the film pitch, still in early development, that has Will Speck and Josh Gordon attached to direct and produce. EGOT winners Benj Pasek and Justin Paul will provide original music and produce via their Ampersand production banner. Sources tell The Hollywood Reporter that the movie will feature a couple of original musical numbers in the vein of Barbie.

The Lucas Bros. (Judas and the Black Messiah) and Max Reisman are set to pen the screenplay about the game that is meant to mimic 19th-century pioneer times, following a covered wagon train heading west. Created in 1971, the game reached cult status among American grade schoolers by the 1990s as one of the first educational computer games allowed in schools -- and for its hilariously dark storylines filled with broken arms, typhoid and dysentery. The film will likely debut on Apple TV+, but details are scarce at the moment.

An anonymous reader shares a report: Subscription fees for video streaming services have been on a steady incline. But despite subscribers paying more, surveys suggest they're becoming less satisfied with what's available to watch.

At the start of 2024, the industry began declaring the end of Peak TV, a term coined by FX Networks Chairman John Landgraf that refers to an era of rampant content spending that gave us shows like The Wire, Breaking Bad, and Game of Thrones. For streaming services, the Peak TV era meant trying to lure subscribers with original content that was often buoyed by critical acclaim and/or top-tier actors, writers, and/or directors. However, as streaming services struggle to reach or maintain profitability, 2024 saw a drop in the number of new scripted shows for the first time in at least 10 years, FX Research found.

Meanwhile, overall satisfaction with the quality of content available on streaming services seems to have declined for the past couple of years. Most surveys suggest a generally small decline in perceived quality, but that's still perturbing considering how frequently streaming services increase subscription fees. There was a time when a streaming subscription represented an exclusive ticket to viewing some of the best new TV shows and movies. But we've reached a point where the most streamed TV show last year was Suits -- an original from the USA Network cable channel that ended in 2019.

An anonymous reader quotes a report from the Hollywood Reporter: A production company for Blade Runner 2049 has sued (PDF) Tesla, which allegedly fed images from the movie into an artificial intelligence image generator to create unlicensed promotional materials. Alcon Entertainment, in a lawsuit filed Monday in California federal court, accuses Elon Musk and his autonomous vehicle company of misappropriating the movie's brand to promote its robotaxi at a glitzy unveiling earlier this month. The producer says it doesn't want Blade Runner 2049 to be affiliated with Musk because of his "extreme political and social views," pointing to ongoing efforts with potential partners for an upcoming TV series.

The complaint, which brings claims for copyright infringement and false endorsement, also names Warner Bros. Discovery for allegedly facilitating the partnership. "Any prudent brand considering any Tesla partnership has to take Musk's massively amplified, highly politicized, capricious and arbitrary behavior, which sometimes veers into hate speech, into account," states the complaint. "Alcon did not want BR2049 to be affiliated with Musk." [...] The lawsuit cites an agreement, the details of which are unknown to Alcon, for Warners to lease or license studio lot space, access and other materials to Tesla for the event. Alcon alleges that the deal included promotional elements allowing Tesla to affiliate its products with WBD movies. WBD was Alcon's domestic distributor for the 2017 release of Blade Runner 2049. It has limited clip licensing rights, though not for Tesla's livestream TV event, the lawsuit claims.

Alcon says it wasn't informed about the brand deal until the day of the unveiling. According to the complaint, Musk communicated to WBD that he wanted to associate the robotaxi with the film. He asked the company for permission to use a still directly from the movie, which prompted an employee to send an emergency request for clearance to Alcon since international rights would be involved, the lawsuit says. The producer refused, spurring the creation of the AI images. [...] Alcon seeks unspecified damages, as well as a court order barring Tesla from further distributing the disputed promotional materials. Musk referenced Denis Villeneuve's Blade Runner movie during the robotaxi event. "You know, I love Blade Runner, but I don't know if we want that future," he said. "I believe we want that duster he's wearing, but not the, uh, not the bleak apocalypse."

I, Robot director Alex Proyas also took to X last week, writing: "Hey Elon, Can I have my designs back please?"

An anonymous reader shared this report from ComicBook.com: On Saturday, 20th Century Studios announced that the latest entry in the Alien sci-fi horror franchise will get a limited-edition VHS release on December 3 — just in time for the holidays.

The VHS release of Alien: Romulus is the first such release from a major studio since 2006... a major win for fans of physical media. In recent months, there has been a great bit of conversation surrounding the so-called death of physical media with the rise of digital and streaming with some retailers even having previously announced that they have or will be stopping sales of physical media. But with streaming platforms removing content for various reasons, there's been a rise in appreciation for physical media which has, in turn, resulted in increased sales, particularly when it comes to limited edition items such as Steelbooks [collectible steel-case disc releases]... Given that the Alien: Romulus VHS release is part of an overall celebration of the franchise for its 45th anniversary year, leaning into that nostalgia for feels pretty spot on.
The release will present the movie "in a 4:3 aspect ratio," writes the Verge, "hopefully with well-done pan-and-scan..." (Their post includes a promotional picture showing the "slick, vintage-style" box-cover art.)

"The tape has only the film," notes Gizmodo, "and no special featurette attached at the end, like some used to back in the day."

Gizmodo also reminds readers of Hulu's 2025 series Alien: Earth and an upcoming videogame sequel to 2014's Alien: Isolation.

An anonymous reader quotes a report from 404 Media: The code that runs Redbox DVD rental machines has been dumped online, and, in the wake of the company's bankruptcy, a community of tinkerers and reverse engineers are probing the operating system to learn how it works. Naturally, one of the first things people did was make one of the machines run Doom. As has been detailed in several great articles elsewhere, the end of Redbox has been a clusterfuck, with pharmacies, grocery stores, and other retailers stuck with very large, heavy, abandoned DVD rental kiosks. To many people's surprise, many of the kiosks remain operational even with the bankruptcy of Redbox's parent company, which has led some people to "liberate" DVDs from the abandoned kiosks. Reddit is full of posts by people who say they have taken dozens of DVDs from kiosks all over the country. Free DVDs is one thing. But in recent days, people have realized that they can, in some cases, get free Redbox kiosks. In an August filing, Walgreens told the bankruptcy court that it has 5,400 abandoned kiosks at its stores, and that it is spending $184,000 a month keeping them powered. "Walgreens should not be required to continue to 'store' and power Redbox kiosks across the country without any form of payment," the company wrote. And so tinkerers and reverse engineers have begun asking stores whether they can take the devices off their hands. There are also posts on Reddit by contractors who are selling them, and I was able to find various Redbox DVD kiosks being advertised for sale on Facebook Marketplace. (There are far more listings on Facebook Marketplace from people who have obtained hundreds or thousands of Redbox DVDs and are now selling them.)

Recently the operating system for Redbox kiosks was dumped online, and this community is now probing it to see how it works. In a thread on Mastodon, reverse engineer Foone Turing has been posting some of her findings, which include the fact that Redbox machines contain a file that has "a complete list of titles ever rented, and the email addresses of the people who rented them, and where and when." She also found that the first six and last four digits of credit card information was logged. She said that the records on the particular unit that she was looking at contained 2,471 different transactions and had records on it dating back to 2015. Other reverse engineers have found that Redbox kiosks contained information about the physical locations of every other kiosk. The server that they communicated with is currently offline (because the company is bankrupt). But people have also been putting together information about what different error codes in the software mean (for example, the error code "0020BDT" would happen when an obstruction was detected in the machine). They have also found and dumped service manuals for different parts of the device and have found a few login passwords (one password is "US#1Choice4movierentals"). [...] There has also been discussion about how the machines could be modified to talk to a new server, or whether the operating system could be put on a DIY Redbox device. Another person installed Minecraft on their Redbox. It is still very early days, but, with the bankruptcy of Redbox's parent company, ironically these devices are being given new life.

The first scripted Immersive Video project for Apple's Vision Pro debuts on October 10. Called Submerged, the film "invites viewers onto a WWII-era submarine and follows its crew as they wrestle to combat a harrowing torpedo attack." 9to5Mac reports: The short film was written and directed by an Academy Award-winning filmmaker. That makes it stand out from other Immersive Video Apple has produced to this point. The filmmaker, Edward Berger, is best known for films like All Quiet on the Western Front and the upcoming Conclave. You can watch the trailer with commentary from the director here.

An anonymous reader quotes a report from Ars Technica: On Friday, Meta announced a preview of Movie Gen, a new suite of AI models designed to create and manipulate video, audio, and images, including creating a realistic video from a single photo of a person. The company claims the models outperform other video-synthesis models when evaluated by humans, pushing us closer to a future where anyone can synthesize a full video of any subject on demand. The company does not yet have plans of when or how it will release these capabilities to the public, but Meta says Movie Gen is a tool that may allow people to "enhance their inherent creativity" rather than replace human artists and animators. The company envisions future applications such as easily creating and editing "day in the life" videos for social media platforms or generating personalized animated birthday greetings.

Movie Gen builds on Meta's previous work in video synthesis, following 2022's Make-A-Scene video generator and the Emu image-synthesis model. Using text prompts for guidance, this latest system can generate custom videos with sounds for the first time, edit and insert changes into existing videos, and transform images of people into realistic personalized videos. [...] Movie Gen's video-generation model can create 1080p high-definition videos up to 16 seconds long at 16 frames per second from text descriptions or an image input. Meta claims the model can handle complex concepts like object motion, subject-object interactions, and camera movements. You can view example videos here. Meta also released a research paper with more technical information about the model.

As for the training data, the company says it trained these models on a combination of "licensed and publicly available datasets." Ars notes that this "very likely includes videos uploaded by Facebook and Instagram users over the years, although this is speculation based on Meta's current policies and previous behavior."

Amazon is set to roll out a greater number of ads [non-paywalled link] across its blockbuster television shows and movies on Prime Video next year as the US tech giant steps up its push into ad-funded streaming services. Financial Times: The company said it had not seen a sharp drop in subscribers since it introduced advertising to its Prime Video platform eight months ago, allaying fears among top executives of a customer backlash, as it attempts to win over more brands to its streaming service.

Kelly Day, vice-president of Prime Video International, who oversees the streaming video business in global markets, told the Financial Times there would be an increasing number of ad slots for brands to target in 2025. Talking ahead of its first London "up front" on Wednesday evening -- when television companies present their plans to advertisers to attract money over the next year -- Day said its advertising "load" would "ramp up a little bit more into 2025."

A U.S. Trademark Office tribunal canceled Marvel and DC's jointly owned "Super Hero" trademarks after the companies failed to respond to a request by London-based Superbabies Ltd, which argued the marks couldn't be owned collectively or monopolize the superhero genre. The ruling was "not just a win for our client but a victory for creativity and innovation," said Superbabies attorney Adam Adler of Reichman Jorgensen Lehman & Feldberg. "By establishing SUPER HEROES' place in the public domain, we safeguard it as a symbol of heroism available to all storytellers." Reuters reports: Rivals Marvel and DC jointly own four federal trademarks covering the terms "Super Hero" and "Super Heroes," the oldest of which dates back to 1967. Richold writes comics featuring a team of super-hero babies called the Super Babies. According to Richold, DC accused his company of infringing the "Super Hero" marks and threatened legal action after Superbabies Ltd applied for U.S. trademarks covering the "Super Babies" name. Marvel and DC have cited their marks in opposing dozens of superhero-related trademark applications at the USPTO, according to the office's records. Superbabies petitioned the office to cancel the marks in May. It argued that Marvel and DC cannot "claim ownership over an entire genre" with their trademarks, and that the two competitors cannot own trademarks together.

An anonymous reader shares a report: Apple is rethinking its movie strategy after the disappointing box office performance of several big-budget films, including Martin Scorsese's Killers of the Flower Moon, Napoleon, Argylle and Fly Me to the Moon. Apple canceled plans to release Wolfs -- an action comedy starring George Clooney and Brad Pitt -- in thousands of theaters globally. Instead, the picture made its debut in a limited number of venues before it became available on the Apple TV+ streaming service on Sept. 27. Apple plans to use a similar approach with the next few titles on its calendar, including the World War II drama Blitz. Apple, which previously had intended to spend about $1 billion annually on blockbusters for cinemas, won't return to the big screen with a wide, global theatrical release until June with F1 -- a film starring Pitt as a former Formula One driver who returns to racing to mentor a rising star.

[...] Apple is pulling back from theaters at the same time Netflix Inc. and Amazon are reworking their movie strategies. Earlier this year, Netflix hired producer Dan Lin to oversee its film studio, which had spent billions of dollars a year to produce more films than any other company in Hollywood. Yet Netflix struggled to control the quality and cost of its slate, which in some years approached 50 movies. For every hit, such as Bird Box, there were several misses. Lin's predecessor Scott Stuber also clashed with management over its strategy for movie theaters. Stuber wanted to release movies such as Scorsese's The Irishman and the Knives Out sequel Glass Onion widely in cinemas, but he couldn't persuade Netflix co-Chief Executive Officer Ted Sarandos. Lin aims to make fewer movies and develop more projects in-house to keep costs down. He has considered scrapping several of the more expensive projects in development at Netflix.

California Governor Gavin Newsom has signed a law (AB 2426) to combat "disappearing" purchases of digital games, movies, music, and ebooks. The legislation will force digital storefronts to tell customers they're just getting a license to use the digital media, rather than suggesting they actually own it. From a report: When the law comes into effect next year, it will ban digital storefronts from using terms like "buy" or "purchase," unless they inform customers that they're not getting unrestricted access to whatever they're buying. Storefronts will have to tell customers they're getting a license that can be revoked as well as provide a list of all the restrictions that come along with it. Companies that break the rule could be fined for false advertising.

An anonymous reader quotes a report from the Hollywood Reporter: In a major coup for the artificial intelligence company, Stability AI says that Avatar, Terminator and Titanic director James Cameron will join its board of directors. Stability AI is the firm that developed the Stable Diffusion text-to-image generative AI model, an image- and video-focused model that is among those being closely watched by many in Hollywood, particularly in the visual effects industry. In fact, Stability AI's CEO, Prem Akkaraju, is no stranger to the business, having previously served as the CEO of visual effects firm WETA Digital. Sean Parker, the former president of Facebook and founder of Napster, also recently joined the AI firm as executive chairman.

As a director, Cameron has long been eager to push the boundaries of what is technologically possible in filmmaking (anyone who has seen the Terminator franchise knows that he is also familiar with the pitfalls of technology run amok). He was among the earliest directors to embrace the potential of computer-generated visual effects, and he continued to use his films (most recently Avatar: The Way of Water) to move the entire field forward. "I've spent my career seeking out emerging technologies that push the very boundaries of what's possible, all in the service of telling incredible stories," Cameron said in a statement. "I was at the forefront of CGI over three decades ago, and I've stayed on the cutting edge since. Now, the intersection of generative AI and CGI image creation is the next wave. The convergence of these two totally different engines of creation will unlock new ways for artists to tell stories in ways we could have never imagined. Stability AI is poised to lead this transformation. I'm delighted to collaborate with Sean, Prem, and the Stability AI team as they shape the future of all visual media."

Indian filmmaker Ram Gopal Varma is ditching human musicians for artificial intelligence, saying he'll use only AI-generated tunes in future projects, a move that underscores AI's growing reach in creative industries. From a report: The filmmaker and screenwriter, known for popular Bollywood movies including Company, Rangeela, Sarkar, and Satya has launched a venture, called RGV Den Music, that will only feature music generated from AI apps including Suno and Udio, he told TechCrunch. Varma said he will use the AI-generated music in all his projects, including movies. The entire background score on his new feature movie, called Saree, is also AI-generated, he said. In an interview, Varma urged artists to embrace AI rather than resist it. "Eventually, the music comes from your thoughts. You need to have clarity on what you want the app to produce. It's the taste that will matter," he said.