Photos: Former Warriors coach Mark Jackson selling Southern California mansion for $4.375 million

first_imgNBA analyst and former Golden State Warriors coach Mark Jackson is selling his Calabasas, Calif. mansion for $4.375 million, reports the L.A. Times.Click here if viewing a mobile device.The four-bedroom, eight-bath Mediterranean-style home spans 10,000 square feet. It features five en suite bedrooms, a custom theater, billiard room, pool and many more luxe amenities.Dee Crawford with Keller Williams Beverly Hills and Marc Shevin with Berkshire Hathaway HomeServices California Properties are …last_img

Cable Companies Still Whistling Past The Cord-Cutting Graveyard

first_imgA collection of statistics released this month is creating doubts about the trend of “cord cutting” – when home viewers replace cable TV service with streaming video-over-Internet and over-the-air content. Cable companies are declaring victory, but when you dig deeper, there are signs that cable is still in trouble — and that what we’re hearing are the sounds of denial.In its Fourth-Quarter 2012 Cross-Platform Report, ratings service Nielsen reported that in the U.S., there were more than five million households in 2012 that fit its definition of “Zero TV” homes. Zero TV is Nielsen’s neutral, but still kind of inaccurate, description of cable-cutting households that get video entertainment via computer, smartphones and tablets.Five million homes seems like a lot, especially when you consider that this is up from two million homes in 2007. Indeed, there were a lot of headlines proclaiming “Cable Cutting Up 150%! Comcast in Flames! Time Warner Out of Time!”Well, actually, nothing like that. Because in reality, that’s just 5% of the total TV market. Hardly enough for the cable companies to get worked up about. Comcast CEO Brian Roberts has repeatedly made public comments dismissing the impact of cable cutting, and for now it appears that he’s right. Cable’s dominance would seem to reflect that there is not much to worry about with these cable companies.Of course, that’s what the Empire said about the Rebel Alliance.Or, you know, what the telephone carriers once said about people who were giving up land-line phones in favor of wireless. The carriers used to insist the trend wasn’t real, until better cell coverage and services like E911 accelerated it to the point that no one could deny it any more. Telco companies now offer TV and Internet service. Cable and satellite TV company may face a similar shift.Pay TV Numbers Aren’t So Hot, EitherAnother set of statistics were released this month that point to a troubling sign for the cable and satellite companies: SNL Kagan reported that multichannel service providers (cable, satellite, and telco) managed to add just 46,000 customers in 2012, a lot of it in the fourth quarter, when 51,000 mew customers managed to reverse the shrinking number of subscribers in the second and third quarters of last year.Forty-six thousand new users, out of a total of around 100.4 million, isn’t even a statistical blip — 0.04% growth is by most definitions flatter than a pancake. The average year-over-year growth of Zero TV homes was pretty low, too – 0.59% since 2007 — but that’s still a a factor better than paid TV subscriptions last year. You have to wonder if the television providers’ claims that subscriptions were slow just because of the economic downturn were entirely accurate.The U.S. is still in a slow recovery, so we will have to see if the upward trend of pay TV subscriptions continues before making any determination about pay TV’s flatline growth being connected to the economy.For all of the hand-waving about cord-cutting “not existing” or being unimportant, a key fact is being blissfully ignored: those 600,000 new Zero TV users each year have to come from somewhere. They are either existing cable TV customers or incoming customers who have decided to go to the Internet/streaming model instead. Either way, that’s 5 million customers the pay TV providers don’t have.Last year, the NPD Group estimated that the average monthly cable bill would hit $100/month sometime this year or next. Using that estimate for some back-of-napkin math, that means $6 billion in annual revenue is not going to pay TV.Is it any wonder, then, that Comcast recently introduced a free sampling of its premium on-demand content in order to pull in more ongoing subscriptions to that content? Speculation about this promotion ranged from Comcast trying to better penetrate non-coastal markets that have a lower rate of on-demand video use to Comcast looking to juice up its margin.(See also: Comcast’s Awesome Watchathon Reminds You It’s Still the Boss)Given flat growth, why not both reasons?Watch Out For The Killer AppWhat the pay TV services need to watch out for is the killer app for cable cutters. In the transition from land lines to cell-only for my home phone, it was the E911 service that made the decision for us: making sure emergency services knew exactly where we were calling from was very important.I suspect that a similar killer app for cable-cutters will be a way to get access to live sports content. Yes, you can get content from MLB, NHL or the NBA – but special events or sports that are not covered by these media packages can be a hassle to watch.I myself am lamenting the ongoing coverage of the NCAA Women’s Basketball tournament on the ESPN channels this month, because I can’t watch Notre Dame progress through the tournament. Unless one of the over-the-air networks broadcasts a game, I’m out of luck. Unless, I get cable again.Sports are perhaps the biggest reason (on the content side) holding people back from switching away from pay TV. If a network like ESPN or the new Fox Sports Channel were to take its oh-so-important broadcast rights and offer its content to Internet subscribers directly, that would probably be a nightmare scenario for pay TV companies.It’s hard to imagine a situation where that would happen today, but if sports networks see a chance to make more revenue without giving TV providers a cut, would they take the shot?Image courtesy of Shutterstock Tags:#cable#Internet TV Related Posts brian proffitt 4 Keys to a Kid-Safe Appcenter_img 5 Outdoor Activities for Beating Office Burnout 9 Books That Make Perfect Gifts for Industry Ex… 12 Unique Gifts for the Hard-to-Shop-for People…last_img read more

10 Questions to Ask When Buying A Filmmaking Camera

first_imgA filmmaking camera is a big investment. Make sure you’ve asked all the right questions before pulling the trigger.Choosing a great filmmaking camera is no easy task. With new cameras released almost weekly, it can be overwhelming to find the best option for your needs. So the next time you’re in the market for a new filmmaking camera ask yourself these ten questions:1. What Are the Lens Options?Unless you are buying an all-in-one camcorder style camera, you are going to be investing a lot of money in lenses. In fact, most filmmakers have more money invested in their lens arsenal than their camera bodies. So when you’re looking to purchase a filmmaking camera, you want to take a look at the available lenses and their corresponding prices. For example, lenses used on a Sony E mount lenses tend to be much more expensive then those found on Canon Cameras.Back in the good ol’ days (2 years ago) there was a huge discrepancy between lens options for Canon cameras and lens options for MFT cameras, but that’s simply not the case today. Sure, Canon has more lenses… but you probably won’t be limited as a filmmaker if you stick to MFT.2. What Is the Dynamic Range?More often than not, any cinematic footage you see was shot on a camera with a high-dynamic range. If you’re not already familiar with the term dynamic range, it’s essentially the camera’s ability to capture both light and dark areas at the same time. The higher the number, the better the camera’s ability to capture contrasted images. Good cameras will typically have a dynamic range of 12 stops or higher. For example, the ARRI Alexa (which is used in 90% of Hollywood films) has a dynamic range of 13.5.If you want the look of your footage to go from video to film, I highly recommend investing in dynamic range. If you’re looking for an affordable camera with a decent dynamic range, check out the Blackmagic Pocket Cinema Camera which has a dynamic range of 13 for less than $1,000.3. How Is It in Low Light?Your camera’s ability to record well in low light is incredibly important, especially because cinematic footage tends to be darker than commercial footage. Just because the camera is capable of producing an image in low light doesn’t mean the footage will be usable. If you’re going to buy a camera because of its low light capabilities, download test footage before you commit… don’t simply watch YouTube videos. YouTube and Vimeo highly compress their videos, so there might be a lot of grain in the low-light image that you can’t see in online test footage.A decent low-light camera can also open up a lot of possibilities for you in the lens department, as you might be able to get by with a kit lens if your camera is capable of getting great low-light images at higher f-stops.4. What Is the Recording Format?Not all file formats are created equal. When it comes to recording footage, the file format will determine how much control you will have over your footage in post-production. Sure, great cinematographers can get fantastic footage on set, but the footage doesn’t become cinematic until it’s been graded in a post-production software. This is where codecs (or a lack of codecs) will come into play.File formats like H264 and AVC-HD are incredibly difficult to color correct and grade in post. However, formats like ProRes or even RAW (technically not a format) give editors much more control over color, which will lead to more cinematic images.5. What Is the Camera’s Longevity?Cameras are expensive. So when you’re looking for a new camera, you need to take longevity into consideration. For example, with 4K quickly becoming more and more popular, it would stand to reason that 4K footage will be the norm in just a few years. So instead of purchasing an HD camera that will quickly lose value, maybe it makes more sense to go for 4K.Cameras like the Blackmagic URSA have interchangeable sensors that can be easily replaced when a new sensor is released. This makes the URSA very future-proof and will subsequently save you a lot of money in the future now that you don’t have to buy a new camera body.6. What Type of Cards Does It Take?This may seem like a silly question to ask, but modern cards can get really expensive. Sure, SD cards and CF cards can be purchased for under $200, but cameras like the URSA mini take C-Fast cards (not to be confused with CF cards). C-Fast cards start at about $200 and can easily cost you more than $500 a card if you get at 256GB card. If you’re shooting on RAW, you could easily fill up three 256GB cards on a shoot — which is at least $1,500!7. Is It Practical for My Shooting Situations?There’s a lot to be said about ease of use when it comes to filmmaking cameras. If you’re shooting a narrative film, it’s usually not a big deal to set up a complex rig while on set. But if you plan to shoot something like a documentary, you may not have the time to put together a convoluted rig. Ask yourself:Do I need an external recorder?Does the camera have autofocus?How heavy is the camera?How long do the batteries last?Little annoyances will become incredible pain-points after a few shoots. Take time to really consider whether the camera is helpful for your individual needs.8. What Is the Audio Situation?Most filmmakers record audio separately from video when shooting a film. This is typically for quality and convenience sake. But any indie filmmaker who buys a camera that requires an off-camera mic to get great audio is instantly backing themselves into a corner.From now on, you will either need a second person with you at all times to record audio, or you must deal with two separate devices on a single rig. It’s going to be a pain if you shoot normal stuff like weddings and events in addition to films.9. Can It Output Footage?Having an external monitor on set is vital. If you don’t have an external monitor set up, you could very well miss something that you couldn’t see on your small camera screen. Plus, having an external monitor will help crew members visualize the finished shot when doing set design and lighting. There’s also the added flexibility of using external field recorders on set when you can output high-quality footage.10. What Is the Crop Factor?Crop factor is often overlooked by beginners when they’re looking for a filmmaking camera. Some people say that getting a full-frame camera is not that important, but I disagree. A camera with a bad crop factor like the Blackmagic Pocket Camera (2.88x) will make it nearly impossible to get wide-angle shots. You’re limited to either using super-wide angle lenses or Speed Boosters — and both options can cost a lot of money. If you decide to go the full-frame route, you won’t regret it.Have any other tips for choosing a great filmmaking camera? Share in the comments below.last_img read more