Steven Hindes

Carefully tight-roped, leaving for interpretation around the word “tension.” https://lnkd.in/eqKrjFsQ

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As Big Tech platforms de-prioritise News, and in Australia and Canada refuse to pay news providers and block News feeds, what does this mean for The Fourth Estate? Most certainly continued decline, particularly among GenZ and young adults, who search for news mostly on social media. At Snibble we have a solution for this. We feature only News - meaning the latest and greatest short form videos - from only professional news providers including Al Jazeera, Brut, Canadian Press, CBC, Cheddar, Euronews, Fox, New York Post, Times of India et al.. We also the latest Music News, Sports News, Gaming News, Entertainment News and Celebrity News. If this is not enough, we provide our users with unique social features that allow them to share their favourite News clips with just one tap. Snibble, where you can find all the world's latest News that's fit to share! #snibble #genz #nofakenews #digitalcanbebetter

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"IT'S TIME TO SCRAP THE CAP". Artists and rights holders aren’t getting paid fairly for songs played on radio. A new report has found that removing royalty caps for sound recordings could mean... i. An additional $4.8 million paid to Australian artists in royalties in 2024-25 ii. Artists played on radio could see up to $19,100 in additional income per year, or a 78% increase in income iii. Top commercial radio stations would maintain profit margins of 15% if they paid the same rate for sound recordings as they do for musical works iv. Increased reinvestment from record labels could see double the number of new local artists played on radio for the first time We support PPCA’s Radio Fair Play campaign to Scrap the Caps. If you want to get involved, sign the open letter, write to your local member, or share this video. #RadioFairPlay #scrapthecap #AusMusic #PPCA

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The Australian screen industry has been waiting for nearly ten years for the Australian Government to regulate digital streaming platforms for the benefit of Australian audiences. With legislation on the horizon, now is the critical time to get the details right. WHY IS REGULATION NEEDED? In short: Australian audiences deserve to see Australian stories on screen. Regulation is needed to ensure that, like other platforms, streaming services fulfil their mutual obligation to invest in minimum levels of Australian content now and in the future. This will bring streaming services into a regulatory system for Australian screen content that has served audiences and our industry so well for the past 70 years and deliver on a promise made to us in our National Cultural Policy, Revive. Audiences are currently able to see some great Australian stories on their screens and we want to know that this will continue into the future, irrespective of offshore business decisions. HOW CAN I GE INVOLVED? In the coming months when laws to debate this issue are in Parliament, we need your help. Everything you do to support our campaign helps us and our industry. We have tough, influential, and well-resourced opponents, and so we need you to use your own voice to support our efforts.

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CONTENT-TECHNOLOGY.COM A Fail for Govt Anti-Siphoning, Prominence Laws. Industry body Free TV Australia has expressed its disappointment that the Prominence and Anti-Siphoning legislation passed by the Countyr’s Federal Senate does not deliver for all Australians. According to Free […] The post A Fail for Govt Anti-Siphoning, Prominence Laws appeared first on Content + Technology. http://ow.ly/x6sg105zpBE

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I could write an essay or professional white paper on the many remarkable experiences I had this week at the 2024 NAB Show. I was introduced to the technological roadmaps of such iconic and trusted names as Grass Valley, Chyron, EVS and Ross. My immediate, initial takeaway is this: In a sports production world where betting (rather, “gaming”) is strongly emerging from the shadows to the forefront, we as an industry have a decision to make: are we going to serve the gaming industry or are we going to innovate for the rest of our audience? Real time technological Innovation means introducing inherent processing delay. Inherent delay, no matter how small, sits well with neither the gaming industry, nor their oversight commissions. Thus we, as an industry, are at a crossroads of which no one is really speaking. I will state the obvious for those who will not: The broadcast / media distribution industry can either innovate and move technology forward for the larger viewing audience *with* the introduction of understood, inherent delay … OR we can dial back and simplify our presentations (and still introduce inherent transmission / distribution delay) to accommodate the needs & desires of the gaming community to the best of our ability. We absolutely cannot do both, nor can we do either without the introduction of some form of delay. In my view the gaming industry must accommodate their own needs with no reliance upon the media distribution companies. Watching an event on television should have no bearing upon those who chose to place wagers. It should absolutely be incumbent upon the companies accepting those wagers to provide an “as-close-to-real-time-as-possible” version of the gameable events as they unfold in real time. This may seem trite, perhaps even a no-brainer for those who understand broadcast or app based distribution models of media, but I have yet to see one person come out and openly state that our industry cannot serve both. It’s truly one or the other and, quite frankly, I would prefer that my beloved industry continue to innovate and introduce further processing delay, while leaving the realtime gaming to the gamers.

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The Federal Government is conducting an inquiry into the parlous state of the Australian music industry. The Yuin Folk Club, the producer of the Cobargo Folk Festival, has made a submission which can be found below (Sub Number 17). Parliamentary inquiries can be a bit hit or miss but we figure that it's worth presenting a regional community perspective. We hope that this inquiry might come out with some positive recommendations for supporting not-for-profit, community based festivals, rather than throwing more money at big international companies, driven mainly by the profit motive. We're also hoping for more direct, practical support and funding for independent Australian musicians. https://lnkd.in/djnVaCbH

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I wrote a little piece for TheMusic.com.au recently that was just published about WHY and HOW Australians (and any other global music industry) can break into the thriving markets across Asia. Hope you enjoy it! #musicisglobal #knowlegeispower #musicindustry #musicbusiness

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STREAMING VIDEO: 'Get it all on Disney Plus' - a New Zealand TVC for Disney Plus, featuring a broad range of titles including recent releases such as The Acolyte and Shardlake, TVNZ, June 2024. If you have questions about the products, marketing and strategy of Pay TV and Streaming businesses worldwide, or you'd like to see other examples such as those featured here, please reach out. #disney #disneyplus #newzealand #svod #streamingvideo

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ENCOURAGING NEWS FROM DOWN UNDER...as the Australian screen industry is celebrating after the country’s Location Offset scheme was raised to 30% (PROVIDING CERTAINTY FOR INTERNATIONAL PRODUCTIONS!!) The legislation, which was announced in May, was made law today and officially came into effect on July 1. It raises the rebate for TV and film productions shooting in the country from the previous 16.5% to 30% and will likely trigger more overseas investment. https://lnkd.in/gf-iCjXK WITH LESS ENCOURAGING NEWS FROM EUROPE...as the rise of Far-Right Populism in France threatens culture across Europe, with hopes (with elections happening today) and the U.K. POTENTIALLY SETTING AN OPPOSITE COURSE (bringing a political calm after years of turbulent Conservative rule that has leant further to the right). While in France, the far-right could come into power for the first time since the pro-Nazi Vichy Regime during World War II. https://lnkd.in/gZKd-T3p

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Immersive experiences are reinventing our industry. But it’s not because of all the fan-fare and impressive technicality. This style of events has increased: spectator expectations and the value they see in attending. My partner and I recently looked at going to see a well-known comedian in Sydney. But once we factored in all expenses (travel, accommodation, dinners etc) it was going to be at least a $1200 affair. $1200 for a 1-hour performance and a performance that - I hate to say - we can easily watch (and enjoy) on Netflix. For that kind of money, I want a much more spectacular experience. People are craving to be fully immersed in experiences. They want to be part of them. They want to forget about their lives for a few hours - now more than ever. On the flipside, for event professionals, the people that will get the most out of the events industry, career-wise, in the next 3-5 years will be the ones that understand and adapt to this change (and the technology coming along with it). They will figure out how to use it in a proactive and positive way to expand the reach of events whilst making them affordable. What are you currently paying attention to in the world of immersive experiences? Photo cred: cosmopolitanme

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📣📣📣 SOUTH AUSTRALIAN PRODUCERS apply to attend #ACCS24 👏 Australian Children's Content Summit in partnership with South Australian Film Corporation is looking to support 6 x South Australian screen producers working in children's production. Criteria: 👉 Finance ready projects with advanced projects in development which have not been pitched to the market before 👉 Funding recipients are expected to raise development or production finance for their project at #ACCS24 or establish professional connections as a result of this support What is on offer: 👉 Up to six grants are available for South Australian children's producers Who is eligible: 👉 Credited South Australian screen producers in development with eligible active children's projects with a high possibility of going into production 👉Meet eligibility criteria stated in the SAFC Terms of Trade How to apply: 👉 EOI by 30 June 2024 to accs@slrproductions.com 👉 A clear email heading – SA Producer Application 👉 A cover letter outlining reasons for attending #ACCS24 & intended outcomes from the trip (up to half page) 👉 Applicant CV 👉 A list of proposed meetings 👉📣📣📣 SOUTH AUSTRALIAN PRODUCERS apply to attend #ACCS24 👏 DEADLINE EXTENDED 12 JULY 2024 @accs_summit in partnership with @safilmcorp is looking to support 6 x South Australian screen producers working in children's production. Criteria: 👉 Finance ready projects with advanced projects in development which have not been pitched to the market before 👉 Funding recipients are expected to raise development or production finance for their project at #ACCS24 or establish professional connections as a result of this support What is on offer: 👉 Up to six grants are available for South Australian children's producers Who is eligible: 👉 Credited South Australian screen producers in development with eligible active children's projects with a high possibility of going into production 👉Meet eligibility criteria stated in the SAFC Terms of Trade How to apply: 👉 EOI by 12 July 2024 to accs@slrproductions.com 👉 A clear email heading – SA Producer Application 👉 A cover letter outlining reasons for attending #ACCS24 & intended outcomes from the trip (up to half page) 👉 Applicant CV 👉 A list of proposed meetings 👉 An overview of the finance-ready project(s) in development which have not been pitched to the market before including a synopsis, team, current project status, finance & marketing plans. ACCS BRONZE PARTNER: SOUTH AUSTRALIAN FILM COMMISSION An overview of the finance-ready project(s) in development which have not been pitched to the market before including a synopsis, team, current project status, finance & marketing plans ACCS BRONZE PARTNER: South Australian Film Corporation

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📣📣📣 SOUTH AUSTRALIAN PRODUCERS apply to attend #ACCS24 👏 Australian Children's Content Summit in partnership with South Australian Film Corporation is looking to support 6 x South Australian screen producers working in children's production. Criteria: 👉 Finance ready projects with advanced projects in development which have not been pitched to the market before 👉 Funding recipients are expected to raise development or production finance for their project at #ACCS24 or establish professional connections as a result of this support What is on offer: 👉 Up to six grants are available for South Australian children's producers Who is eligible: 👉 Credited South Australian screen producers in development with eligible active children's projects with a high possibility of going into production 👉Meet eligibility criteria stated in the SAFC Terms of Trade How to apply: 👉 EOI by 30 June 2024 to accs@slrproductions.com 👉 A clear email heading – SA Producer Application 👉 A cover letter outlining reasons for attending #ACCS24 & intended outcomes from the trip (up to half page) 👉 Applicant CV 👉 A list of proposed meetings 👉📣📣📣 SOUTH AUSTRALIAN PRODUCERS apply to attend #ACCS24 👏 DEADLINE EXTENDED 12 JULY 2024 @accs_summit in partnership with @safilmcorp is looking to support 6 x South Australian screen producers working in children's production. Criteria: 👉 Finance ready projects with advanced projects in development which have not been pitched to the market before 👉 Funding recipients are expected to raise development or production finance for their project at #ACCS24 or establish professional connections as a result of this support What is on offer: 👉 Up to six grants are available for South Australian children's producers Who is eligible: 👉 Credited South Australian screen producers in development with eligible active children's projects with a high possibility of going into production 👉Meet eligibility criteria stated in the SAFC Terms of Trade How to apply: 👉 EOI by 12 July 2024 to accs@slrproductions.com 👉 A clear email heading – SA Producer Application 👉 A cover letter outlining reasons for attending #ACCS24 & intended outcomes from the trip (up to half page) 👉 Applicant CV 👉 A list of proposed meetings 👉 An overview of the finance-ready project(s) in development which have not been pitched to the market before including a synopsis, team, current project status, finance & marketing plans. ACCS BRONZE PARTNER: SOUTH AUSTRALIAN FILM COMMISSION An overview of the finance-ready project(s) in development which have not been pitched to the market before including a synopsis, team, current project status, finance & marketing plans ACCS BRONZE PARTNER: South Australian Film Corporation

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📣📣📣 SOUTH AUSTRALIAN PRODUCERS apply to attend #ACCS24 👏 Australian Children's Content Summit in partnership with South Australian Film Corporation is looking to support 6 x South Australian screen producers working in children's production. Criteria: 👉 Finance ready projects with advanced projects in development which have not been pitched to the market before 👉 Funding recipients are expected to raise development or production finance for their project at #ACCS24 or establish professional connections as a result of this support What is on offer: 👉 Up to six grants are available for South Australian children's producers Who is eligible: 👉 Credited South Australian screen producers in development with eligible active children's projects with a high possibility of going into production 👉Meet eligibility criteria stated in the SAFC Terms of Trade How to apply: 👉 EOI by 30 June 2024 to accs@slrproductions.com 👉 A clear email heading – SA Producer Application 👉 A cover letter outlining reasons for attending #ACCS24 & intended outcomes from the trip (up to half page) 👉 Applicant CV 👉 A list of proposed meetings 👉📣📣📣 SOUTH AUSTRALIAN PRODUCERS apply to attend #ACCS24 👏 DEADLINE EXTENDED 12 JULY 2024 @accs_summit in partnership with @safilmcorp is looking to support 6 x South Australian screen producers working in children's production. Criteria: 👉 Finance ready projects with advanced projects in development which have not been pitched to the market before 👉 Funding recipients are expected to raise development or production finance for their project at #ACCS24 or establish professional connections as a result of this support What is on offer: 👉 Up to six grants are available for South Australian children's producers Who is eligible: 👉 Credited South Australian screen producers in development with eligible active children's projects with a high possibility of going into production 👉Meet eligibility criteria stated in the SAFC Terms of Trade How to apply: 👉 EOI by 12 July 2024 to accs@slrproductions.com 👉 A clear email heading – SA Producer Application 👉 A cover letter outlining reasons for attending #ACCS24 & intended outcomes from the trip (up to half page) 👉 Applicant CV 👉 A list of proposed meetings 👉 An overview of the finance-ready project(s) in development which have not been pitched to the market before including a synopsis, team, current project status, finance & marketing plans. ACCS BRONZE PARTNER: SOUTH AUSTRALIAN FILM COMMISSION An overview of the finance-ready project(s) in development which have not been pitched to the market before including a synopsis, team, current project status, finance & marketing plans ACCS BRONZE PARTNER: South Australian Film Corporation

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National Association of Broadcasters President Pushes Back on Recording Performance Royalties as shown here https://lnkd.in/e6HaXzbp But my point is how important is radio when Spotify, YouTube, streaming shows, should provide the needed value. Also the other question are the fees already being paid to ASCAP, BMI, GMR and SESAC. With the class action lawsuit against ASCAP and BMI due to failed leadership, those agreements need to be looked into. The ISWC (compositions) and ISRC recordings can be scaled but new leadership, new licensing, new agreements, transparency, and new financial strategies are needed. https://lnkd.in/ehzrWvf3

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