cine grain

8/10/2019 Cine Grain

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TABLE OF CONTENTS

1. TEAM.....................................................3-5

2. SOFTWARE...........................................5-10

3. GROWTH PROJECTION......................11

4. APPLICATION OF FUNDS....................12

5. RESOURCES........................................13-37


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TEAM

Our team is growing quickly and already consists of solid A-players.

George Joblove- http://www.linkedin.com/in/georgejoblove[1]

Academy Awarding winning Co-Chairman of the Science and TechnologyCouncil of the Academy of Motion Pictures Arts and Sciences. FormerSenior Vice President and CTO of Sony Image Works. Former VicePresident of advanced technology at Sony. Co-founded the computergraphics department at Industrial Light and Magic (ILM). Led the team thatpioneered the use of computers to create visual effects for feature filmssuch as Abyss, Terminator 2, Jurassic Park. Holds patents in the fields of3D photography and cinematography. His Rolodex contains all of theprogrammers we need.

Scott Dyer -http://www.linkedin.com/in/scottbdyer [2]

Part of the first class to graduate fromRochester Institute of Technologywith a Degree in Digital Cinema/Motion Picture Science. Scott is one of twolead Imaging Engineers at the Academy of Motion Picture Arts and

Sciences who is developing the new industry standard for color spaceknown as ACES. It doesn!t get more qualified than this.

Bill Feightner-http://www.imdb.com/name/nm0270579/[3]

Founder of EFilm and color pioneer, this is one of the biggest names in theindustry and he!s looking for a job with CineGrain. Bill!s brain should be inthe Smithsonian.

Paul Cameron -http://www.imdb.com/name/nm0131700/[4]

An ASC Cinematographer that has shot Collateral (Tom Cruise), Man onFire (Denzel Washington), and Gone in 60 Seconds (Nicholas Cage)among other films. Not only is he a huge CineGrain fan/user, but he hasagreed to be the cinematographer on our next film shoot. We!ve recently
http://www.imdb.com/name/nm0131700/http://www.imdb.com/name/nm0131700/http://www.imdb.com/name/nm0270579/http://www.imdb.com/name/nm0270579/http://www.linkedin.com/in/scottbdyerhttp://www.linkedin.com/in/scottbdyerhttp://www.linkedin.com/in/georgejoblovehttp://www.linkedin.com/in/georgejoblovehttp://www.linkedin.com/in/georgejoblovehttp://www.imdb.com/name/nm0131700/http://www.imdb.com/name/nm0131700/http://www.imdb.com/name/nm0270579/http://www.imdb.com/name/nm0270579/http://www.linkedin.com/in/scottbdyerhttp://www.linkedin.com/in/scottbdyerhttp://www.linkedin.com/in/georgejoblovehttp://www.linkedin.com/in/georgejoblove


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bought up every film stock on the open market. Paul and his famous friendsplan to come in and shoot it all for the CineGrain cause.

Brad Ball-http://www.moroch.com/leadership/brad-ball/[5]

Former CMO of McDonald!s, President of Warner Bros Marketing, andSenior Entertainment Marketing Officer of NASCAR. Brad knows everyoneand is enthusiastic about helping us launch our Signature FilmMaker Seriescollections.

Dick Cook-http://en.wikipedia.org/wiki/Dick_Cook[6]

Former Head of Walt Disney Studios. As big as it gets in Hollywood.Created the Pirates of the Caribbeanfranchise over brunch with JohnnyDepp. This is a guy who has inroads to all of Hollywood. With his help wecan have the first-mover advantage in licensing film-looks intopost-production tools.

Rohit Gupta-http://tinyurl.com/beknk9c[7]

Rohit is the director of DaVinci Software Engineering at BlackmagicDesign. He has expressed interest in partnering with CineGrain. The headof engineering in a company worth hundreds of millions of dollars knockingon our door is an insight into our opportunity and the industry!sacknowledgement of our potential.

The Mill -http://en.wikipedia.org/wiki/The_Mill_(post-production) [8]

Acquired by the Carlyle Group for $190,000,000 in 2011, The Mill is a post-production house with facilities in London, New York, Singapore, and LosAngeles. They have expressed interest in investing in CineGrain and haveoffered up office space in their Los Angeles facility for CineGrain to use.
http://en.wikipedia.org/wiki/The_Mill_(post-productionhttp://tinyurl.com/beknk9chttp://en.wikipedia.org/wiki/Dick_Cookhttp://www.moroch.com/leadership/brad-ball/http://en.wikipedia.org/wiki/The_Mill_(post-productionhttp://en.wikipedia.org/wiki/The_Mill_(post-productionhttp://tinyurl.com/beknk9chttp://tinyurl.com/beknk9chttp://en.wikipedia.org/wiki/Dick_Cookhttp://en.wikipedia.org/wiki/Dick_Cookhttp://www.moroch.com/leadership/brad-ball/http://www.moroch.com/leadership/brad-ball/


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Company 3 -http://en.wikipedia.org/wiki/Company_3[9]

A multi-national subsidiary of the Ron Perelman owned MacAndrews andForbes Holdings. Company 3 is a post-production facility that has close ties

with CineGrain. Investments, partnerships, and consulting are allpossibilities with one of the biggest names in the industry. They use andlove CineGrain.

SOFTWARE

The new CineGrain Application consists of 5 core elements

1.Product- Makes digital look like film.

2.Virus- Engineered to spread.[10]

3.Store- Built-in distribution.

4.Rover- On board data gathering instruments allow us to knowledgeably

create new features that customers actually want. In the future, data is

king.[11]

5.Ecosystem- Software becomes navigator through worlds of databases,

user communities, and 3rd party partnerships. A living breathing afterlife

for film.
http://en.wikipedia.org/wiki/Company_3http://en.wikipedia.org/wiki/Company_3


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GROWTH PROJECTION

Year 1: $200,000 projected revenue. Development of software application.

Year 2: $500,000 projected revenue. 200,000 person user base.

Year 3: $5,600,000 projected revenue. 750,000 person user base.

Year 4: $11,450,000 projected revenue. 900,000 person user base.

The Lightworks case study. - Capturing a large user base quickly.

In a 2009 online poll [1]which polled 6225 people about the best video editing software,Lightworks was not mentioned. Though it!s been around since the 1990!s (acquired by

Teletronix in 1994 for $74 million). Lightworks was a small company with a small userbase, (essentially no market share). In 2009, Lightworks software was acquired byEditshare for an undisclosed amount. It was reintroduced in 2010 as Lightworks OpenSource. The free beta test quickly received 250,000 users [2]. Their forum has over374,000 members. This was accomplished by a product lacking innovation, in asaturated market, without viral growth.[1] (http://lifehacker.com/5165944/six-best-video-editing-applications)[2] (http://www.broadcastnow.co.uk/techfacils/may-launch-for-editshares-lightworks/5041914.article)

Week 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Viral Coefficient 115%Viral Cycle Time 6.0Seed amount 5,000Available Market 5,000,000Retention Rate 60%

Week: 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16Viral growth 5,000 958 1,142 1,360 1,621 1,931 2,300 1,782 1,939 2,091 2,230 2,345 2,424 2,446 2,572 2,692 2,805

TAM Viral Growth 5,000 957 1,140 1,359 1,618 1,927 2,295 1,777 1,933 2,084 2,221 2,335 2,412 2,434 2,558 2,676 2,787

Attrition 0 (49) (58) (68) (81) (96) (114) (135) (151) (169) (187) (207) (228) (249) (271) (293) (316Cumulat ive: 5,000 5,908 6,991 8,281 9,819 11,650 13,831 15,473 17,254 19,169 21,203 23,331 25,515 27,700 29,987 32,369 34,840

Year 1nue 512,455id User 0.05Sale $ 50base 204,982

Year 2nue 5,642,304id User 0.075Sale $ 100base 752,307

Year 3

nue 11,471,533id User 0.1Sale $ 125base 917,723

3 Year Total17,626,292 !

#!!$!!!

%!!$!!!

&!!$!!!

'!!$!!!

(!!$!!!

)!!$!!!

*!!$!!!

+!!$!!!

,!!$!!!

#$!!!$!!!

User base

Weeks
http://www.broadcastnow.co.uk/techfacils/may-launch-for-editshares-lightworks/5041914.articlehttp://www.broadcastnow.co.uk/techfacils/may-launch-for-editshares-lightworks/5041914.articlehttp://www.broadcastnow.co.uk/techfacils/may-launch-for-editshares-lightworks/5041914.articlehttp://lifehacker.com/5165944/six-best-video-editing-applicationshttp://lifehacker.com/5165944/six-best-video-editing-applications


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APPLICATION OF FUNDS

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G#$%%% H)1I @+*6 :/.',

;@67666 8$'& > %&'#3 :/.',

97?667666 :/.', 12#34


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RESOURCES

Innovative, versatile and reasonably priced dynamic graphics/effects software willcontinue to lead the marketplace. The more open the architecture, the better. Producers

will continue to demand versatility, interoperability and real-time rendering. Platformsthat accommodate the latest in mobile technologies will be highly in demand, along with

gaming and 3D technologies and premium video software that can integrate well in acentralized operation with a multitude of formats. Cloud-based applications will be a tour

de force as more editors choose this option for their remote editing. Ingenuity willguarantee the survival of the software manufacturer. The largest appeal will be given to

software that can integrate with the largest number of editing systems.

SCRI 2012-2013 Broadcast/Pro Video Graphics & Effects Software Report

(http://scri.com/sc_reprt/sc_bpvm_2007grsware.shtm)

[1] George Joblove.......................................................pg 14-15

[2] Scott Dyer................................................................pg 16-17

[3] Bill Feightner............................................................pg 18

[4] Paul Cameron..........................................................pg 19-20

[5] Brad Ball..................................................................pg 21

[6] Dick Cook................................................................pg 22

[7] Rohit Gupta.............................................................pg 23-24

[8] TheMill....................................................................pg 25

[9] Company 3..............................................................pg 26-27

[10]Lessons learned viral marketing............................pg 28-32(http://www.forentrepreneurs.com/lessons-learnt-viral-marketing/)

[11] Harvard Business Review......................................pg 33-37Big Data - The Management Revolution(http://hbr.org/2012/10/big-data-the-management-revolution/ar/1)
http://hbr.org/2012/10/big-data-the-management-revolution/ar/1http://www.forentrepreneurs.com/lessons-learnt-viral-marketing/http://scri.com/sc_reprt/sc_bpvm_2007grsware.shtmhttp://scri.com/sc_reprt/sc_bpvm_2007grsware.shtmlhttp://hbr.org/2012/10/big-data-the-management-revolution/ar/1http://hbr.org/2012/10/big-data-the-management-revolution/ar/1http://www.forentrepreneurs.com/lessons-learnt-viral-marketing/http://www.forentrepreneurs.com/lessons-learnt-viral-marketing/http://scri.com/sc_reprt/sc_bpvm_2007grsware.shtmhttp://scri.com/sc_reprt/sc_bpvm_2007grsware.shtmhttp://scri.com/sc_reprt/sc_bpvm_2007grsware.shtmlhttp://scri.com/sc_reprt/sc_bpvm_2007grsware.shtml


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Summary: Three decades experience in the strategizing, management, and development of

technology in the service of the art, craft, and business of motion pictures andtelevision. Emphasis on digital imaging and software for cinematography, production,postproduction, distribution, and presentation; and on technology as an enabler fornew visual-entertainment business models.

Biography: George Joblove has played key and pioneering roles in the development andapplication of digital technology to the entertainment industry throughout his career.

He continues to advise technology-oriented businesses and law firms as anindependent consultant on a variety of matters related to his fields of expertise.

Joblove served for three years as Executive Vice President of Advanced Technology

for Sony Pictures Entertainment, in Culver City, California. In this role, he drove thedevelopment and use of new digital technologies in all aspects of motion-picture and

television production, postproduction, and distribution, bringing to bear his extensiveknowledge and experience in software development, engineering, visual effects,photography, design, color science, and display technology.

Initiatives included the implementation of a digital production workflow backbone

system for Sony Pictures; workflows for 4K mastering of feature films; andstereoscopic (3D) production and postproduction. He worked with studioproduction executives and key creative personnel, and with engineers and productdevelopers at Sony Corporations headquarters in Japan, to help ensure best solutionsin cameras, postproduction equipment and software, monitors, and projectors.

Previously he served for ten years as Senior Vice President and Chief Technology

Officer of Sony Pictures Imageworks, one of the foremost producers of visual effectsand digital character animation for feature motion pictures. Managing a group of up toa hundred engineers, technicians, and support personnel, and working with visual-effects supervisors, producers, artists, and outside vendors, he guided thedevelopment and use of digital imaging technology, and oversaw all aspects of thetechnical infrastructure for the unit.

Prior affiliations include Warner Bros., and the Industrial Light & Magic division ofLucasfilm. At ILM, Joblove co-founded its computer graphics department and led theteam that pioneered the use of computers to create visual effects for feature films,including such milestones as The Abyss, Terminator 2, andJurassic Park.

He has represented studios on various outside technical committees and industrystandards-setting groups, and in other professional activities. He played a key role inthe creation of the DCI technical specification that has become the standard for digitalcinema distribution to theaters around the world.

He received a Scientific and Engineering Academy Award in 1994. He has two patents

pending in the field of 3D photography and cinematography.

Joblove is an active member of the Academy of Motion Picture Arts and Sciences, andis Co-Chairman of its Science and Technology Council. He is an associate member ofthe American Society of Cinematographers, and serves on its Technology Committee;and is a member of SMPTE, ACM, and the Visual Effects Society.

He holds a B.S. in computer science, and an M.S. in computer graphics, both fromCornell University.

Born and raised in New York, he has lived in California since 1981; he and his wife andson currently reside in Los Angeles.


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George Joblove Page 2

Positions Held Digital Media Technology Advisor,

(partial list): Hollywood

Executive Vice President, Advanced Technology,

Sony Pictures Entertainment, Culver CitySenior Vice President, Chief Technology Officer,

Sony Pictures Imageworks, Culver City

Director of Technology,

Warner Digital Studios, Burbank

Co-Supervisor, Computer Graphics Department,Industrial Light and Magic, Lucasfilm Ltd., Marin County, California

Co-Founder and Co-Director,

Joblove/Kay, Incorporated, Hollywood

Education: Master of Science, Computer Graphics, 1979, Cornell University, Ithaca, New York

Bachelor of Science, Computer Science, With Distinction, 1976,Cornell University, College of Engineering, Ithaca,

With one year of supporting work at the Ecole Nationale SuprieuredInformatique et de Mathmatiques Appliques de Grenoble (France)

Professional Academy of Motion Picture Arts and Sciences

Affiliations: Co-Chairman, Academy Science and Technology CouncilAmerican Society of CinematographersAssociation for Computing MachinerySociety of Motion Picture and Television EngineersVisual Effects Society

Award: Academy Award, Scientific and Engineering, 1994, for contribution to theconcept and development of the Digital Motion-Picture Retouching System

Patents: 3-D Auto-Convergence Camera (filed Jun. 21, 2010, pending)

Multiple Camera System and Method for Selectable Interaxial Separation(filed Nov. 9, 2011, pending)

Publications, Infrastructure for Advanced Cinema Workflows,

Presentations Proceedings, CineGrid Sixth Annual International Workshop,

(partial list): La Jolla (December 2011)Bridging the Digital Islands of Motion-Picture Production (keynote address),Proceedings, 9th International Conference on Entertainment Computing[ICEC 2010], Seoul (September 2010)

Development of Tools and Workflow for Run-And-Gun Video Productionin Stereoscopic 3D, Proceedings, SMPTE First International Conference onStereoscopic 3D for Media and Entertainment, New York (July 2010)

Digital Tone Reproduction, Scanning and Recording of Motion Picture Film,Siggraph 97 Course 27 (August 1997)

Problems and Potential: General-Purpose Computers in Post-Production,SMPTE Journal, Vol. 104, No. 8 (August 1995)Color Spaces for Computer Graphics, Computer Graphics, 12:3 (August 1978)

Foreign Language: French (conversational)


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2

1

1

Experience

Imaging Engineer

Academy of Motion Picture Arts and SciencesNonprofit; 51-200 employees; Motion Pictures and Film industry

April 2010 Present (2 years 8 months)

-Research and development in motion picture technologies-Problem-solving and streamlining of motion picture post-production workflows-Design and construction of color transforms and renderings for image capture devices and displaysThis position is associated with:

2 Projects

Projects

Academy Color Encoding System

2004 to Present | Academy of Motion Picture Arts and Sciences

Team Members: Scott Dyer

An architecture and supporting tools for motion picture production, mastering and archiving.

Solid State Lighting

2009 to Present | Academy of Motion Picture Arts and Sciences

Team Members: Scott Dyer

An investigation into the abundant new lighting technologies, particularly LEDs, to better understand their ability to supplement and integrate withexisting lighting technologies such as tungsten, fluorescent, HMI, and Xenon that are currently used in the production of motion pictures. Also underinvestigation are methods to quantify and communicate differences between light sources in a way that...more

Are You An Architect? - Discover New Possibilities With Autodesk's Building Design Suite. From: Autodesk

www.linkedin.com/in/scottbdyer

Skills & Expertise Endorsements

Digital Cinema

Image Processing

Post Production

Color Management

Programming

Digital Workflow

Image Capture

Film

Send InMail 58connections

Scott DyerImaging Engineer at Academy of MotionPicture Arts and Sciences Science &Technology CouncilGreater Los Angeles Area Motion Pictures and Film

Current Imaging Engineer at Academy of MotionPicture Arts and Sciences

Education Bachelor of Science, Digital Cinema / MotionPicture Science at Rochester Institute ofTechnology

ups Jobs I nbox C ompanies N ew s More


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! career opportunities ! consulting offers

! new ventures ! job inquiries

! expertise requests ! business deals

! reference requests ! getting back in touch

Education

Rochester Institute of Technology

Bachelor of Science, Digital Cinema / Motion Picture Science

2006 2010This education is associated with:

8 Courses

Courses

Bachelor of Science, Digital Cinema / Motion Picture ScienceRochester Institute of Technology

Programming for Imaging ScienceLinear Math for ImagingVision and PsychophysicsImage Capture and Production TechnologyFilm Projection and Digital CinemaGeometric OpticsColor ScienceDigital Image Processing

Volunteer Experience & Causes

Instructor

Boy Scouts of America

2006 present (6 years)

--director at council summer camp--National Camping School faculty member (program director and first year camper)--conference faculty, Philmont Training Center--trainer at district level for adult leaders

Additional Information

movies, programming, photography, cardstacking, running, knots & ropework, hiking, camping

Eagle's Nest--Eagle Scout Award Recipients

Join

RIT Alumni Group - Rochester Institute of TechnologyJoin

Rochester Institute of Technology - College of Imaging Arts and Sciences AlumniJoin

Society of Motion Picture and Television Engineers (SMPTE)Join

Contact Scott for:

Send a message to Scott Dyer

Send InMail

LinkedIn Corporation 2012

Matlab

Interests:

Groups andAssociations:


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Titanic (1997) The Butterfly Effect(2004)

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(9 titles)

The Butterfly Effect(vice president of technology)

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Contact(technical supervisor: CIS Hollywood)

ABC Weekend Specials(TV series) (consultant: Ultimatte - 1 episode)

The Adventures of Teddy Ruxpin(1985) (consultant: Ultimatte)

The Girl, the Gold Watch & Everything(TV movie) (visual consultant: red world)

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Contribute to IMDb. Add a bio, trivia, and more.Update information for Bill Feightner

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Dead Man Down(director of photography) (post-production)

Total Recall(director of photography)

Man on a Ledge

Henry's Crime(director of photography)

In the Land of Women(director of photography)

Deja Vu(director of photography)

American Combatant

Collateral(director of photography)

Man on Fire(director of photography)

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Paul Cameron (II)Cinematographer|Camera and Electrical Department|Director

Official Photos

Trivia: 2006 - Invited as a member of the ASC/AmericanSociety of Cinematographers as well as the Academy ofMotion Picture Arts and Sciences. See more trivia

Born: May 30, 1958in Montral, Qubec, Canada

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ABOUT CLIENTS WORK BLOG CONTACT

BELIEFS LEADERSHIP OFFICES DISCIPLINES COMPANIES CAREERS

Brad BallPrincipal/ Chief Entertainment Officer

Office:

Los Angeles

@Moroch since:

Thats complicated. I started with Moroch 30 years ago.

Ive been Morochs competitor, client (twice) and now

Im a partner.

Quick highlights of your career:

Began my career at Davis, Johnson, Mogul and

Colombatto, then became CMO at McDonalds, then

President of Warner Bros Marketing, then a Partner at

Moroch. After that, I was Senior Entertainment

Marketing Officer at NASCAR, and now Im back at

Moroch as Principal and Chief Entertainment Officer.

What is the scariest thing youve ever done?

Performed surgery on myself. Spoiler alert: it wasnt fun.

What movie always makes you cry?

Any movie that I didnt successfully open at Warner Bros. (I once served as President of Warner Bros.

Domestic Theatrical Marketing, where I directed campaigns for 90 films, including The Matrix, The Perfect

Storm and Harry Potter and the Sorcerers Stone.)

What is your Karaoke song of choice?

Any instrumental requested.

What do you do outside of work that makes you better at work?

Im a lifetime, voting member of the Academy of Motion Picture Arts and Sciences and a 20-year member of

the Young Presidents Organization. I also eat a lot of pistachios.

LEADERSHIP


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Dick CookFrom Wikipedia, the free encyclopedia

Richard W. "Dick" Cookis the former Chairman of the Walt Disney Studios. At the time of hisseparation from the company, he was the only remaining top Disney executive who had worked forthe company since before Michael Eisner took charge in 1984. Cook holds a degree in political

science from the University of Southern California (USC).

Contents

1 Career2 Awards and affiliations3 References4 Sources

Career

Cook began his career with Disney in 1970 as a monorail and steam locomotive amusement park rideoperator at Disneyland in Anaheim and moved to the Walt Disney Studios in Burbank in 1977 tomanage pay television and non-theatrical releases. In 1980, he moved to the company's filmdistribution department, eventually heading both its distribution and marketing efforts. He earned areputation there by his marketing of Disney's home video collection and hosting media-worthy moviepremieres, for example securing a United States Navy aircraft carrier based in Pearl Harbor to hostthe debut of the film Pearl Harbor.

In 2002 Eisner named him as Peter Schneider's replacement as chairman of studios, popularly calledthe studio chief. Cook was in charge of developing, distributing and marketing all films, live-action oranimated, released by Walt Disney Pictures, Touchstone Pictures and Hollywood Pictures. Cook wasalso the executive in charge of the Disney Music Group, which encompasses Hollywood Records andthe better known Walt Disney Records. He also oversaw the home entertainment and homeentertainment international divisions of the Walt Disney Motion Pictures Group. He was responsiblefor legal and business matters relating to the studio.

Cook, described by BusinessWeekin 2003 as "the nicest guy in Disney's jungle," is known for hisdown-to-earth personality and his good relations with Disney's partners, including Jerry

Bruckheimer.[1]

On September 18, 2009, Cook stepped down as chairman of Walt Disney Studios, allegedly having

been asked to do so by Bob Iger, president/CEO of the Walt Disney Company. [2]He was thenreplaced by Disney Channel president Rich Ross.

Awards and affiliations


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Experience

Director DaVinci Software Engineering

Blackmagic DesignPrivately Held; 11-50 employees; Computer Hardware industry

September 2009 Present (3 years 3 months)

Engineering lead for the Da Vinci line of products.

Engineering ManagerDa Vinci SystemsPrivately Held; 51-200 employees; Computer Software industry

November 2000 September 2009 (8 years 11 months)

Software development manager and Project Manager for high-end professional products used in the Film and TV post-production industry.

Intern

Federal ExpressPublic Company; 10,001+ employees; FDX; Package/Freight Delivery industry

January 1999 June 1999 (6 months)

Develop Java based inventory management system

Education

Nanyang Technological University

B.A.Sc. (Hons), Computer Engineering

1997 2001

First Class HonorsNational Science and Technology Board Gold MedalSony 1st Prize

Additional Information

CUDA Users Group

Join

GPGPU Professionals

Join

GPGPU UsersJoin

Image Processing Interest GroupJoin

International Colorist AcademyJoin

Multicore & Parallel ComputingJoin

Post Production Professionals

Join

S.M.P.T.E. - Society of Motion Pictures and Television Engineers

Join

Advertise with GGP Malls - Whether its locally or nationally, promote your business with GGP malls. From: General Growth Properties

sg.linkedin.com/pub/rohit-gupta/5/4b8/945

Groups andAssociations:

Send InMail 400connections

Rohit GuptaDirector DaVinci Software Engineering at Blackmagic DesignSingapore Computer Software

Previous Da Vinci Systems, Federal Express

Education B.A.Sc. (Hons), Computer Engineering at Nanyang Technological University

ups Jobs Inbox Companies N ew s More


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From: Rohit Gupta

Subject: Re: Hello Litt TeenDate: August 28, 2012 2:04:21 AM PDT

To: Nick Grosvenor

Hi Nick,

Thanks for reaching out. I head the engineering for the DaVinci line of products, and I think wehave a lot of common customers already.

Could you please let us know what sort of ideas you had, and we'll certainly be very interestedin working with you.

If it makes sense, we can do a phone call sometime. Will you be coming to IBC by any chance?

Regards,Rohit

Begin forwarded message:

From: Nick Grosvenor Subject: Hello Litt TeenDate: June 8, 2012 4:19:12 AM GMT+08:00

To: [email protected]

Hello there,

We were looking to develop a codec for our quicktime files and interface with Resolve's

system. Do you know of anyone that could help us create a codec and work on plugin

compatibility with Resolve? I notice most of the programmers work in Singapore. Are there

any programmers you know that understand this type of thing that could work freelance

on this project with more work down the road?

Any thoughts?

Nick GrosvenorPartnerCineGrain Film [email protected]


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The Mill (post-production)From Wikipedia, the free encyclopedia

The Millis a post-production and visual effects company launched in 1990 with offices in London,New York, Singapore and Los Angeles.

The Mill's Film special effects subsidiary, Mill Film, won an Oscar for its work on the film Gladiator.The Mill was the first UK-based post-production company to set up offices in New York. The Mill isrespected for high-end visual effects and is usually well represented at the numerous Advertising andVisual Effects awards ceremonies world-wide each year. The film unit closed in 2003, but as of 2009has since been reopened due to the success of its work on television commercials and music

videos.[1]Some of the major advertising campaigns include Sony, Nike, Levis, Honda and Adidas.

The Mill also produces visual effects for several television dramas, including the revived BBC sciencefiction series Doctor Whoand its spin-offs, Torchwoodand the first two series of The Sarah JaneAdventures, as well as Merlinand Primeval.

The Mill also owns online advertising approval, archiving and distribution site, BEAM.TV

According to its annual report, in 2005 The Mill had revenue of 32.5 million and operating profit of5.2 million. In 2010, The Mill generated revenues of 74.2 million. In April 2011, The Mill was

acquired from private equity firm The Carlyle Group, by Barclays Private Equity for 119 million.[2]

References

1. ^Ian Burrell (2009-01-12). "Magic tricks beyond the imagination of a sorceror"(http://www.independent.co.uk/news/media/tv-radio/magic-tricks-beyond-the-imagination-of-a-sorcerer-1300807.html) . The Independent(London). http://www.independent.co.uk/news/media/tv-radio/magic-tricks-beyond-the-imagination-of-a-sorcerer-1300807.html.

2. ^"Barclays Private Equity acquires The Mill, the market leading visual effects company, from The CarlyleGroup for 119m" (http://www.carlyle.com/news-room/news-release-archive/barclays-private-equity-acquires-mill-market-leading-visual-effects-compan) . http://www.carlyle.com/news-room/news-release-archive/barclays-private-equity-acquires-mill-market-leading-visual-effects-compan.

External links

The Mill's Web site (http://www.themill.com)BEAM.TV's Web site (http://www.beam.tv)The Mill (http://www.imdb.com/company/co0105148/) at the Internet Movie Database

Retrieved from "http://en.wikipedia.org/w/index.php?title=The_Mill_(post-production)&oldid=509607655"Categories: Carlyle Group Film production companies of the United States

Film production companies of the United Kingdom Television and film post-production companies

Visual effects companies Private equity portfolio companies Carlyle Group companies

Companies established in 1990


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Company 3 Logo

Company 3

Industry Post Production

Headquarters Los Angeles, California

Number oflocations

New York, New YorkLondon, England

Atlanta, Georgia

Chicago, Illinois

Key people Stefan Sonnenfeld, President

and Managing Director

Mike Pethel, Co-Founder and

Colorist

Services Visual Effects

Parent Deluxe Entertainment ServicesGroup Inc.

Website www.company3.com

(http://www.company3.com)

Company 3From Wikipedia, the free encyclopedia

Company 3(CO3) is an award-winning post productioncompany founded in 1997 by colorists StefanSonnenfeld and Mike Pethel. A wholly owned subsidiary

of Deluxe Entertainment Services Group, Inc.,Company 3 provides high-end post production, awardwinning color grading and location services for featurefilms, commercials, music videos and television.

Contents

1 Executives2 History

3 Commercial Services4 Feature Film Services5 Virtual Outpost Locations6 Awards7 Recent Commercial Campaigns8 Recent Music Videos For9 Recent Feature Films10 References11 External links

Executives

Stefan Sonnenfeld President & ManagingDirectorJackie Lee VP Feature ServicesAlaina Zanotti - Director of Commercial Sales

History

Sonnenfeld and Pethel opened Company 3 in Santa Monica, CA in 1997 and launched a New York,

NY location in 2002. In 2010, Company 3 New York moved into a new 30,000 square foot DigitalIntermediate (DI) facility located in the heart of Chelsea, Manhattan which houses both Company 3and its sister visual effects facility, Method Studios. In 2011, Company 3 added locations in Londonand Atlanta along with Chicago in 2012. CO3 has opened virtual outposts around the world, whichallows clients to supervise grading sessions from remote locations in real time.

In 2000, Company 3, which was then a part of Four Media Company, was acquired by Liberty MediaCorporation. In 2010, Deluxe Entertainment Services Group, Inc. acquired Company 3 along with itssister companies Beast Editorial, Encore, Level 3 Post, Method Studios, RIOT and Rushes.


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Sonnenfeld now serves as President and Managing Director of Company 3 as well as President ofCreative Services for Deluxe.

Company 3 is a pioneer of the movie color timing process known as digital intermediate (DI) thatallows artists to enhance the director and cinematographer's vision of a movie. Digital enhancements

range from changes within the frame to overall color correction.

Commercial Services

Company 3 offers a comprehensive suite of creative commercial post production services, rangingfrom non-linear color grading and beauty enhancement to visual effects and finishing. Company 3!scustomizable file-based workflow, and artist roster have made them the destination of choice for adiverse array of clients.

Feature Film Services

CO3's feature film services include digital intermediate (DI) dailies, previews, digital cinema andvisual effects. Known for its DI services, CO3's flexible Feature DI pipeline allows features to beworked on from a variety of media sources such as scanned film, RED, Alexa, Phantom footage andother digital formats.

Virtual Outpost Locations

Austin, TexasBaltimore, Maryland

Boston, MassachusettsChicago, IllinoisDallas, TexasHelsinki, FinlandLondon, EnglandLos Angeles, CaliforniaMiami, FloridaMinneapolis, MinnesotaMumbai, IndiaNew York, New YorkPortland, OregonRichmond, VirginiaSeoul, South KoreaTokyo, Japan

Awards

2012

MVPA Award - Best Colorist - Rihanna "We Found Love" - Dave HusseyAICE Award Color Grading - Chrysler "Halftime in America" Siggy Ferstl


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Lessons Learned Viral MarketingDecember 6, 2009 David Skok

A short study of this web site reveals that a hugely

important factor for success in startup companies is

finding ways to acquire customers at a low cost. In the

Business Modelssection, we looked at the perfect business model: Viral customer acquisition with good monetization. However viral growth turns out to be an

elusive goal, and only a very small number of companies actually achieve true viral growth.

In 2005, I invested in a company called Tabblo(acquired by HP in 2007), and had the good fortune to work with an outstanding entrepreneur, Antonio Rodriguez.

Tabblo did manage to achieve good viral growth, but around the same time YouTube was launched and managed to achieve explosive viral growth. In the process

of looking at these two companies, we learnt several important things about virality. This post digs deeper into what it takes to achieve viral growth, and examines

the key variables that drive viral growth.

To give you a preview of this post, what you will learn is that there are two key parameters that drive how viral growth happens, the Viral Coefficient, and the Viral

Cycle Time. To fully illustrate the arguments, I have included two spreadsheet models (embedded) that you can play with interactively to see how viral growth works.

There is a risk with this level of depth, that some readers will find this too technical, and if you find yourself reacting that way, may I recommend that you jump

straight to the conclusion, which is under the heading Lessons Learnedtowards the bottom of the article.

What we want to understand in these two models, is how the population of Customers changes over time. The first model that we will build looks in a very simple

way at how viral growth works in the marketing world.

The Viral Coefficient (K)

Imagine you are starting a new company that plans to acquire customers through viral growth. You have several friends that you use to become your first customers,

and they in turn start inviting friends to join, and those friends start inviting friends, etc.

The model at this stage has the following inputs:

Variable Name Description ExampleValue

Custs(0) Initial set of Customers 10

i No of invites sent out be each new customer 10

conv% The percentage of invites that convert into customers 20%

The first thing that we need to calculate is the number of new customers that each existing customer is able to successfully convert. This turns out to be an

extremely important variable, and is known as the Viral Coefficient. The formula to calculate the viral coefficient is pretty simple: multiply the number of invitationsby the conversion rate.

K Viral Coefficient K = i * conv%

Now lets take a look at how K affects customer growth as we go through the first cycle of viral infection. Our initial 10 customers will each send out 10 invitations,

and successfully convert 20% of those (i.e. 2 new customers each). So the total customers after the first cycle will be equal to the starting 10, plus the new 20, which

equals 30.

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(In case the model above does not appear, click here to view the model full screen.)

To fully understand the model, it!s useful to look at the second, and subsequent, cycles of growth. In the model above, only the new customers that were added in

the prior cycle send out invitations. This is because it is highly unlikely that the entire population will continue to send out invitations every cycle. Every time I have

looked at other blog articles or formula for Viral Growth, they appear to have gotten this part of the calculation wrong.

Understanding the impact of the Viral Coefficient

Now that we have the model built, we can play with the variables to see what effect they have. In the spreadsheet above, go to cell B6, and change the Conversion

rate for invites (conv%) to 5%. This will make the Viral Coefficient less than 1. Now look at what that did to your population growth. Instead of continuing to grow, it

grows to 20 people, and then stops.

What this tell us is very interesting:

The Viral Coefficient must be greater than 1 to have viral growth.

Further playing with the spreadsheet will show that increasing the viral coefficient by increasing the number of invites sent out, or the conversion rate, has a nice

impact on how the population grows. Try this out by changing cells B5 and B6 in the model above. Later on we will talk about how to design your application to

maximize these values.

The Second Important Variable: Viral Cycle TimeAntonio Rodriguez built Tabblo around the same time that YouTube was built. Both sites were viral, but while Tabblo was reasonably successful, YouTube exploded

and amassed users at a rate that had not been seen before on the Internet. What was going on here?

To answer this question, we have to look at the Viral Cycle Time,(which we will refer to in formulas as ct).

The full viral cycle involves several steps that work in a loop:

Simple Viral Growth Save As Excel |

A1 = Simple Viral Growth Model for Marketers

A B C D E

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

Simple Viral Growt

Inputs

Custs(0) 10 Initial custom

i 10 Number of in

conv% 20% Conversion r

Computed Values

K 2 The Viral Coe

Cycle 1 Cycle 2 Cycle 3 C

Starting Customers 10 30 70

Invites Sent 100 200 400

Conversions to new custs 20 40 80

Simple Model for Viral Growth

The Viral Coefficient (invites * con

Conversion rate of invites into cust

Number of invites sent out be each

Initial customer set at time=0

Simple Viral Growth Model for Marketers


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The Viral Cycle Time is the time that it takes for this cycle to complete.

In YouTube!s case the Viral Cycle Time was extremely short: a user would come to the site, see a funny video, and immediately send the link on to their friends.

Tabblo, on the other hand, had a much longer cycle time. A customer would post some photos on the site and invite their friends. The friends might see the photos

on Tabblo, and like the experience and decide that they would use the site the next time they took photos they wanted to share. However, that is where the problem

came in: it could take months before they next took photos, and decided to share them.

Later on this post, we will talk about how to optimize Viral Cycle Time (see Lessons Learnt).

How Viral Cycle Time affects growth

To model Viral Cycle Time!s effect on growth, I searched the web, high and low, looking for a pre-defined formula. To my great surprise, there was no formula that I

could find that correctly calculated customer growth, and showed the impact of Viral Cycle Time. What was also surprising, was that I did find several blogs showing

formulae for viral growth, but in every case, they appeared to make the same mistake, which was assuming that the entire customer base would continue sending

out invitations for every cycle. So I collaborated with my partner, Stan Reiss, who turns out to be a whole lot smarter than I am, and he helped me develop the

fomulae that are used in the more sophisticated model for viral growth below:


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(In case the model above does not appear, click here to view the model full screen.)

A quick look at the table that shows the effect of varying the Viral Cycle Time shows that customer growth is dramaticallyaffected by a shorter cycle time. For

example, after 20 days with a cycle time of two days, you will have 20,470 users, but if you halved that cycle time to one day, you would have over 20 million users!

It is logical that it would be better to have more cycles occur, but it is less obvious just how much better. A quick look at the formula tells the whole story. The Viral

Coefficient K is raised to the power of t/ct, so reducing ct has a far more powerful effect than increasing K.

This explains why YouTube exploded at a faster rate than ever seen before.

Lessons Learned

There are a large number of interesting lessons to learn from the above models:

1. Unless you have a Viral Coefficient that is greater than 1, you will not have true viral growth.

2. The most important factor to increasing growth is not the Viral Coefficient, but the Viral Cycle Time (ct) which should be made as short as possible. This will

have a dramatic effect on growth.

3. The second most important area to focus is the Viral Coefficient (K). Anything that you can do to increase the number of invitations sent out, and the conversion

rate, will have a significant effect on growth.

In addition to the above lessons that come from the model, there are some other important observations:

1. Virality is not a marketing strategy that can be executed by the marketing department. It has to be built into your product right from the beginning. This is a

function that needs to be thought through by the product designers and developed by the engineers.

2. The most viral products are those that only work if they are shared. For example, Skype only worked in the early days if you got your friends on to Skype,

otherwise you had no way to call them. If you have an application today, think about how you can make it social, where it would work better by sharing data with

friends/co-workers. That provides a great incentive for customers to invite their friends/colleagues to use the application.

3. To make the Viral Cycle Time as short as possible, we can apply the same thought process that we use in Building a Sales and Marketing Machine, where we

look at what are the customers motivations and negative reactions as they flow through the viral cycle. For example, when I reach the stage where I have to

enter my friends addresses, I will not bother to do very many if I have to look them up in another program, and copy and paste them one-by-one into the

browser. You can solve this problem by providing me with Facebook Connect integration to invite my Facebook friends, and an adapter to import my email

contacts. (Check out the Share This button at the bottom of this post as an example of how this can be done.) Getting at email contacts is easy with web mail

clients like GMail, etc. but harder with Outlook. However viral products like LinkedIn have created Outlook adapters that you can download. It is also feasible

to get at that information via Outlook Web Access (OWA) provided you can deal with the security concerns.You should also be looking for ways to encourage

customers to invite people at various junctures in their use of the application. And of course, you should be asking yourself the question: is the value proposition

of your product really that compelling that your customers will want to share it with others?Another great way to increase virality is to incent customers with areward for every customer they successfully convert. Since this can result in an individual feeling guilty that they are making money off their friends, the best way

to do this is to also provide the friend that is receiving the invitation with an equal incentive. Now your customer will feel like they are doing their friends a favor.

4. Consider leveraging viral platforms such as Facebook, which have built in social features to let friends know what apps you are using. The wall, and status

updates provide a great way for their friends see your app.

5. Use A/B testing to figure out which approaches and creative presentations are getting you the highest conversion rates.

6. If you are successful in creating a viral model with very short cycle times, watch out for what can happen. Several companies that have been lucky enough to

achieve this have been shocked by the enormous need to scale server capacity. Fortunately with cloud computing offerings such as Amazon EC2 and S3, it is

easier than in the past to scale on demand.

Hybrid Viral Models

Many entrepreneurs reading this post will realize that they may not have the means to achieve true viral growth (where they have a Viral Coefficient of greater than

Viral Growth Model 2 Save As Excel |

A1 = More Sophisticated Viral Growth Model for Marketers

A B C D

1

2

3

4

5

6

7

8

9

10

11

12

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More Sophisticated

Inputs

Custs(0) 10 Initial custom

i 10 Number of in

conv% 20% Conversion r

ct 5 The time it ta

Computed Values

K 2 The Viral Coe

Model for Customer Gro Custs(t) = Cu

Time - t 0 10 20

Simple Model for Viral Growth

Custs(t) = Custs(0) *Model for Customer Growth over Time (t)

The Viral Coeff ic ient (invites * con

The time it takes to complete a full

Conversion rate of invites into cust

Number of invites sent out be each

Initial customer set at time=0

More Sophisticated Viral Growth Model for Marketer


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85 comments

Leave a message...

Discussion Community #

Reply

Counting your entire user base in ongoing virality is certainly an issue, but especially in social games you do not see a viral coefficient

of 0 for ongoing engaged users. You typically have two primary cycles, the install (early user) and engagement (ongoing user) viral rates, and

modeling properly means keeping track of both. Having a product that can get that first invite quickly (YouTube) is critically important, but one

shouldn't overlook the power of continued reason to invite over time - another area where YouTube excelled actually.

But this is an incredibly important point to bring to light, as it's really not talked about enough. It's so bad that I commonly see entrepreneurs

not thinking about viral cycle time, and therefore automatically setting it to one month. Why? Simply because they are charting out the next year

of growth and their excel spreadsheet is simply taking the "new users" from the month previous and multiplying by the viral coefficient.

nabeel 3 years ago

3

Very good point. I realize you posted this a year ago but I'm working on a model for a new web application group.mx. This

article was very useful and I just read your feedback and it addresses a challenge for us in figuring out the ongoing virality with the active

users Today we have an active user base just over 150,000. Figuring out the viral impact with them will be tricky and I can't treat them

Sparsloe 11 months ago> nabeel

7 Stars

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1). Rather than giving up, it is worth considering a hybrid viral model. In the hybrid viral model, you make up for the shortfall in customers by acquiring those through

some other means such as paid search, or SEO.

Model Limitations

The model above is pretty simplistic and does not take into consideration several real world phenomena:

1. What happens when you grow so fast that you start to saturate the population. This has happened to several Facebook app developers. They experience very

rapid growth, and then suddenly the growth dies. Andrew Chen has written a great blog post about this: Facebook viral marketing: When and why do apps

jump the shark?. (Side note: I don!t believe that the equation that Andrew puts forward for simple viral growth is correct, as it assumes that the entire

population will continue sending out invitations at each viral cycle. However his work on saturation of the population is very relevant for highly successful viral

apps.) In case you are interested in where the term jump the shark came from check this out: Wikipedia: Jumping the shark.2. What happens if you have attrition in your customer base over time. An easy way to extend the model to take this into consideration would be to add a variable

to model Attrition Rate as a percentage of the entire installed base at each cycle, and simply subract this from the total population at each cycle. This topic is

nicely covered in this blog post by Andrew Chen: Is your website a leaky bucket? 4 scenarios for user retention .

3. The customers that you have may send out more than one set of invitations beyond the initial set.

4. etc.

Further Resources

Since publishing this post, I created a SlideShare presentation that has a several additional ideas on viral marketing: The Science behind Viral Marketing. Also check

out Andrew Chen!s blog, as he has written extensively on the subject of Viral Growth. For example, here is one great example: What!s your viral loop?

Understanding the engine of adoption.

Uzi Shmilovici has a nice list here of the Eight Ways To Go Viral.

Kevin Lawler very kindly created a post explaining how to derive the formula for viral growth used in this post: Virality Formula.

Acknowledgements and Thanks

My thanks to Antonio Rodriguez, the founder of Tabblo, who got me started on thinking about this topic several years ago. Also to Andrew Chen, whose writings on

this topic are excellent. And to my partner Stan Reiss, who took my simple logic and turned it into an elegant mathematical formula.

Be Sociable, Share!

In Building for Success, Business Model Tagged Viral coefficient, viral customer acquisition, Viral Cycle Time, Viral growth, viral marketing, virality

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