Got this notice today from Revver...

We're featuring your video "88 Hits" on Wednesday, 8/13 on RevverLive, our new live web show produced in collaboration with LiveVideo.com. The hour-long show airs live daily at 1pm PST and features the best and most conversation-sparking Revver videos, with rotating hosts using LiveVideo's robust social video platform to interact with viewers in real-time via video and text chat.

The immediacy with which fans can participate in conversations about your videos makes this a unique opportunity for audiences to engage with your work and with each other, and is a great way to help you promote your work. Feel free to join in on the coversation or watch from the sidelines to see what viewers think by checking out the show here (if it's not live, check out the archived episodes):

http://www.livevideo.com/liveshow/Revverlive

Tell all your friends to log in and watch live and comment! ALSO, since the show is produced daily in Hollywood, we'd love to have any of you LA-based creators come in to the studio on the day of the show to introduce your video and talk about it a bit with the show's host and viewers.

If you're able to tune in, we recommend creating a LiveVideo account with the same username as your Revver account and then joining the chat so that host and viewer alike can interact with you.

Let us know if you have any questions about this, or want to get involved in the show!

So that's pretty cool. I hadn't heard of this kind of thing before, online anyway. I'll be tuning in, and if you can check it out or visit their show archive to listen later.

-Blake

Hulu is owned by FOX and NBC. So we're very happy to have "Pink" on the site. Later in September it will all be in HD too (and will eventually include our new Season 2 episodes).

Check it out:
http://www.hulu.com/pink-the-series

Thanks!
Blake

So this is not filmmaking per se, but it does deal with visual effects...

Some of the fireworks during the Olypics opening ceremony were evidently fake! Hmmm. I realize it's entertainment, but it's also a "news" event. So that is really close to crossing the line IMHO.

Read entire story here.

-Blake

UPDATE 8/12/08: So, another fake out by the Chinese! Now they're saying the little girl who sang during the opening ceremoney didn't really sing! They pulled a Milli-Vanilli on the entire world... read it here.

If you haven't checked out Vimeo yet, you should. It's another one of many web video sharing sites - but this one is different. Mainly because it is one of the first to allow users to upload HD video. And it also plays it back for viewers in a streaming flash player that looks really good.

I have a new page on the site:
www.vimeo.com/blakecalhoun

I currently have the first "DIY's Guys" episode up and the "88 Hits" teaser (this was shot in SD though).

Anyway, definitely check out the site when you have a moment. Oh, and also be sure to click the "full screen" option on the lower right hand side of the HD player, that way you'll get the full HD experience. :)

-Blake

First few days of casting have gone well for "Exposed". We're continuing to cast this next week too. So if you are an interested actor, or know of an actor who fits one of the roles. Please contact me at loudpics[@]yahoo.com.

See previous post down this page for character descriptions.

The main roles we need more folks to audition for are ALICIA, HENRY and CARLOS.

Thanks,
Blake

I found this story to be interesting and pretty funny too...

August 6, 2008 - MEXICO CITY -- This weekend, thousands of Mexicans will line up at theaters to see "The Knight of the Night," "Super Agent 86" and "The End of Time." Never heard of them?

Those are the literal translations of the Spanish titles given to "The Dark Knight," "Get Smart" and "The Happening," examples of the marketing tactics that can leave cinephiles baffled as Hollywood reaches out to increasingly important foreign audiences.

Depending on the nation, moviegoers are watching Steve Carell of "Get Smart" in "Max the Menace" (France), "Agent Smart: Casino Totale" (Italy), "Is the Spy Capable or Not?" (Taiwan), or "Confused Spy" (China).

Titles often are tweaked to suit local tastes. Last year's comedy hit "Knocked Up" was given the gentler title "Slightly Pregnant" in Roman Catholic Peru and the gloriously blunt "One Night, Big Belly" in China.

Hollywood has taken a more active role in translating its titles in recent years, says David Weitzner, a former chief of worldwide promotion for 20th Century Fox and Universal. Some films make half of their money overseas, and studios are increasingly doing "global launches" to generate buzz.

"We have to pay much more attention to the foreign market than we used to," Weitzner says.

The translations used to be left to foreign film distributors, with dubious results. Some titles gave away key plot points, such as when "Rain Man" became "When Brothers Meet" in Latin America.

U.S. film titles for foreign movies often are odd, too. "Open Your Eyes," a Spanish film about a man in suspended animation, became "Vanilla Sky" when it was remade with Tom Cruise.

-Blake

Good article called "They're Spinning Their Own Web" in the LA Times about web series productions. I know several of the filmmakers, distributors, agents, etc. mentioned... good group of folks.

THE SCREEN ACTORS GUILD and television and film producers see eye to eye about hardly anything these days, yet on one thing they can agree: The Web is the battleground.

Talks between SAG and the Alliance of Motion Picture and Television Producers have ground to a halt, and a possible work stoppage looms. But as the parties caucus with their lawyers and negotiators over next steps, production on the very thing that divides them -- entertainment created for new media platforms -- continues at a fever clip across town.

Click here to read entire article

-Blake

We had a Street Team (aka Hot Chicks) at Comic-Con handing out and applying temporary PINK tattoos. They supposedly handed out around 4000 and applied 1000. I didn't get to go to the event, but it looks like it was a good time...

We're now casting for "Exposed" - the new web series for TheWB.com.

Primarily looking for these roles:

1. Henry - Caucasion/20-25/Athletic
2. Alicia - Hispanic/18-22
3. Chase - Caucasion/20-25
4. Gail - Caucasion/18-22
5. Carlos - Hispanic/40-50
6. Dimitri - Caucasion (Russian)/17-21
7. Ulanyov - Caucasion (Russian)/45-55
8. Priest - Caucasion/40-60

We also have a lot of day player roles we'll be announcing soon too.

If you are interested please send an email to loudpics[@]yahoo.com with your headshot and a link to your demo reel, if available.

Thanks!
Blake

Pretty cool...I'll have to give this a try!



Video Cam Super Trick! - video powered by Metacafe

-Blake

Okay, so Netflix is, well, Netflix. They are not and were not a huge player in Independent film financing and distribution, but they tried to be. And now they're closing Red Envelope's doors.

I'm sure they'll still look at indie films for Netflix distribution, but it sounds like not near as much as they once did. The article below says they are shutting down the operation because they "didn't want to compete" with Hollywood studios (their customers). While I'm sure there is a slighty bit of truth to that statement, that is not the real reason. Let's be honest here. They weren't making their money back. That's it. And that's the problem with almost all independent film today. It's a great artistic outlet - I love watching indie film (and making them). But if you want to eat you can't survive making independent films. And not that Netflix wasn't surviving - they just weren't making money. That's my take anyway, and as usual I could be wrong. Decide for yourself...

------------------------

July 24, 2008 - By ANICK JESDANUN -- NEW YORK -- The movie-rental service Netflix Inc. is closing a small unit that finances independent movies, partly to avoid competing with Hollywood studios with which it partners for DVD and Internet distribution. The financial impact on the company will be small, and only four out of about 400 employees are losing their jobs.

But the move could make it more difficult for smaller producers to find homes for their movies. Netflix' Red Envelope Entertainment had focused on bringing less-commercial projects to a broader audience. The unit acquired or helped finance independent films, distributing them in movie theaters as well as in the regular Netflix channels -- DVD by mail and online streaming.

Netflix spokesman Steve Swasey said the company began the unit as an experiment about two years ago, but ultimately decided that financing movies was not its forte. He said filmmakers still have plenty of outlets for financing and distributing movies, "and we don't need to do that to get great titles on Netflix."

Swasey said the company weighed the fact that it was often in the same room with studio partners at film festivals, and "we didn't want to compete" with them.

Movies distributed through Red Envelope -- named for the red envelopes used to ship Netflix DVDs -- include "Sherrybaby," "No End in Sight," and "4 Months, 3 Weeks and 2Days." Red Envelope typically partnered with a larger company for theatrical release.

-------------------------

-Blake

I always like to see film production and film financing out of Texas and I hope this one succeeds. But I've known several groups trying this over the years and none have worked out (yet). This one might have the right ingredients though based on the below article. You have true money managers running the investment fund (with an existing client base), and then "movie" people running the production side. It could work...

So you wanna be in (independent) pictures? Now you can, for $50,000














Fort Worth money manager launches fund with hopes of hitting upon the next 'Juno’

By JIM FUQUAYjfuquay@star-telegram.com

By some estimates, 7,000 to 8,000 independently produced films are completed each year. Most never see the light of a projector bulb.

But some do, and a few, most recently Juno, go on to pull in millions of dollars at the box office, video store and syndication. Now a Fort Worth money manager wants to give well-heeled investors a shot at participating in a winner without taking too much of a bath on the inevitable losers.

Riley Hutto Wealth Management said it has created Independent Film Capital Llc., in partnership with Los Angeles-based IndieVest, a 2-year-old firm that will review scripts and oversee film production and distribution. Riley Hutto’s job is find people with at least $50,000 to invest in independent films.

Bill Riley and Greg Hutto started their firm in January after working together in the investments industry for a decade. They are the first in what IndieVest founder Wade Bradley hopes will be a stable of investment advisers who will offer his company’s films to accredited investors, generally described as individuals whose net worth exceeds $1 million.

Investing in movies

Riley said the path to Independent Film Capital started when he was looking for alternative investments — instruments other than stocks and bonds — to offer his clients.

Big foundations and endowments put sizable portions of their assets in real estate, commodities and private equities, he thought, so why not offer something similar to affluent investors?

Movies got into the picture when he met Bradley, a venture capitalist who was looking for financial support for his company. Bradley’s concept is to take some of the risk out of film investing by forming a kind of "one-stop shop" that connects investors with film projects that he has screened and — perhaps most importantly — can assure distribution in theaters.

Do indies make money?

How many independent films actually make money?

Hard numbers are difficult to come by, because although box-office receipts can be had, movie budgets and distribution expenses are rarely public. Likewise, ticket sales are only a part of a film’s earnings. Video rentals and sales, plus TV licensing, can far outearn the original box office.

In 2007, 751 newly released films played in theaters at some time during the year, according to The Numbers, an industry news service. Right in the middle of those films, as ranked by box-office receipts, was Broken English, a romance distributed by Magnolia Pictures, the company owned by Dallas entrepreneur Mark Cuban and partner Todd Wagner.

Broken English played in 41 theaters at its peak and grossed just under $1 million during the year, according to The Numbers.

Cuban, in an e-mailed response to the Star-Telegram, said that as challenging as it is merely for an independent film to get produced and distributed, "doing any box office at all . . . is even more difficult."

Distribution in the nation’s more than 5,000 theaters is a huge hurdle. About 600 films a year are rated by the Motion Picture Association of America for U.S. distribution. Big studios produce 200 to 250 of those. Independents vie for the rest of the spots.

IndieVest, as part of its pitch, guarantees distribution. Bradley said his strategy is to first place a film in 25-50 theaters the first week. That keeps down his distribution costs, the biggest being production of prints and advertising, collectively termed P&A.

"At the end of the day, we decide whether it’s gaining traction," he said of a film’s early screenings. If it is, he ups distribution to perhaps 200 theaters, then 500, up to as many as 1,500 theaters.

Starring Steve Buscemi

IndieVest principals include Mark Burton, who was executive producer for Water, nominated for an Oscar last year in the foreign-language-film category.

Its advisory board includes actors Don Cheadle (Hotel Rwanda, Crash, Boogie Nights) and Liev Schreiber (The Painted Veil, TV’s CSI: Crime Scene Investigation).

Bradley said the company is about to start filming its first project, titled Saint John of Las Vegas, featuring Steve Buscemi, the hapless and horny kidnapper-turned-murderer in Fargo.

The film has a $10 million budget. That’s considered relatively low in the business these days, but enough to provide a shot at bankable personnel and a competent script.

A "moderate" scenario detailed in investor materials envisions the film bringing in $21.6 million in net revenue and returning about $6.5 million to investors. Under a "low" scenario, it brings in just $3.4 million and returns nothing.

Cuban said in his email that he tries to improve an independent film’s economics by distributing it via his own Landmark Theaters, Magnolia Video and HDNet, the high-definition television channel he launched in 2001. He just started a new strategy of releasing films first on HDNet’s video-on-demand service, hoping to build some buzz before the film’s theatrical premiere.

"Leveraging the promotion of the VOD on cable and satellite allows us to be more precise in our P&A spending, which in turn leads to profitability on not all, but more of our releases," Cuban wrote.

Harold Vogel, principal of Vogel Capital Management in New York and author of Entertainment Industry Economics, said investing in movies is not for the faint-of-heart.

But he thinks IndieVest is going about it the right way.

"I admire the innova- tiveness of their structure," Vogel said, because it provides the equivalent of a reality check on a filmmaker’s hopes.

Riley Hutto added its own wrinkle to risk management by packaging investments in units that include five different films. Averaging out the returns of several movies, Riley said, should lessen the chance of suffering a total loss while boosting the chance of landing a hit.

Vogel also liked that idea.

"That’s the correct approach," he said. "Never invest in just one film. The smart way is to get a portfolio of projects that spreads the risk.

Riley said his Independent Film Capital project has been well received by clients.

"They know it’s risk capital, and it’s fun," he said. "If you’re an investor, your name is on the credits as one of the producers."

Click here to see actual article at Fort Worth Star-Telegram site.

-Blake

Been meaning to post this for a while...

The new show I'm producing/directing is called "Exposed" and will premiere online at www.theWB.com. The site needs Beta Testers right now to help build the new community. It's a very cool website (yeah, I joined).

You can already watch hit shows like "Buffy The Vampire Slayer", "One Tree Hill", "Friends", "The O.C.", "Gilmore Girls", etc. and soon you'll be able to see their new "Original Content" for the web - and one of the shows is "Exposed". There are five others premiering too.

So definitely go and register and help spread the word.

-Blake

A few years back I directed a feature film called "HIT". It did pretty well at film festivals, with critics, etc., but I never landed a full-fledged distribution deal. Yeah, I had some offers here and there but they really were not very good. In fact, I've been planning to do a self-distribution release of the film for a while now.

Well, since I've had some recent success with "PINK" online I've decided to release a web series version of "HIT" called "88 HITS". We're also talking to some folks about pitching it as a traditional TV show down the line too. But for now, we will premiere the first webisode in September on YouTube, Revver, and several other places along with the main website www.mobumentary.com.

Right now you can check out the promo for the upcoming release here and here.

You can also watch it right here:



The web series is being created from the current footage and storyline of the feature film. It will be an abbreviated version - in a way a promo for the actual film, which by the way will be available on DVD this fall too (probably late fall). I hope the web series will get enough attention to get folks to check out the full feature - and even better to get the opportunity to make either new episodes for the web - or again create a new pilot for traditional television.

One last thing, we're also premiering a completely new spin-off show called "The DIY's Guys" starring the same characters from "HIT". It's a Do-It-Yourself Home Improvement series with a twist. A mob twist, and a punch, maybe a kick, etc. You get the idea. :) This show will start on 08.05.08. Click here to see the YouTube Channel page for it.

Definitely check this stuff out when you have a moment. Thanks!

-Blake

This is a link to a blog posting of Mike Curtis. Great rant on indie film...

From the piece:

“Of the 5,000 films submitted to Sundance each year—generally with budgets under $10 million—maybe 100 of them got a U.S. theatrical release three years ago. And it used to be that 20 of those would make money. Now maybe five do. That’s one-tenth of 1%. Put another way, if you decide to make a movie budgeted under $10 million on your own tomorrow, you have a 99.9% chance of failure.”

Check out entire article here. Definitely worth a read.

-Blake

New film from David Fincher (who I really like) shot digitally on The Viper camera. But beyond the great visuals I think the story is very interesting. Stars Brad Pitt.

Watch it here

-Blake

June 30, 2008 - Google, which has largely stayed away from producing its own content, is experimenting with a new method for distributing original material on the Web, and some Hollywood film financiers are betting millions that the company will succeed.

In September, Seth MacFarlane, creator of an American television series called "The Family Guy," will introduce a carefully guarded new project called "Seth MacFarlane's Cavalcade of Cartoon Comedy." Unlike "Family Guy," which airs on the Fox television network, this show will appear exclusively on the Internet.
The innovative part involves the distribution plan. MacFarlane cut a deal with Google under which the company will syndicate the program using its AdSense advertising system to thousands of Web sites that are gathering places for MacFarlane's target audience, typically young men. Instead of placing a static ad on a Web page, Google will place a "Cavalcade" video clip.

Advertising will be incorporated into the clips in varying ways. In some cases, there will be "preroll" ads, which ask viewers to sit through a TV-style commercial before getting to the video. Some advertisers may opt for a banner to be placed at the bottom of the video clip or a simple "brought to you by" note at the beginning.

MacFarlane, who will receive a percentage of the ad revenue, has created a stable of new characters to star in the animated series, which will be served up in 50 two-minute episodes.

For a more substantial fee, MacFarlane has been working with advertisers to animate original commercials that will run with "Cavalcade." Although they would not reveal any of the advertisers, both Google and MacFarlane said several deals were among the largest in the history of AdSense, which made its debut in 2003.

Google until now has only dabbled with distributing original content. In May, it announced a deal with The Washington Post to distribute real estate listings from the newspaper's Web site in a similar manner.

But the partnership with MacFarlane marks a bigger step into the distribution business, one that, if successful, could send shock waves through the entertainment business. "Cavalcade" is not only from a high-profile Hollywood talent, but also carries a multimillion-dollar production price tag, which is by far the largest amount spent on original Internet content to date.

"We feel that we have re-created the mass media," said Kim Malone Scott, director of sales and operations for AdSense.

Until now, budgets for original Web video programs have generally peaked in the low six figures, because creators have not been able to figure out a business model that allows for higher spending. Either advertisers have not wanted to pay, or it has been too difficult to attract a large enough audience to support the cost of television- or movie-quality work.

But Media Rights Capital, a boutique production company that invests about $400 million a year in movies, television and Internet episodes, thinks it has figured out a sustainable business model with the Google Content Network. Every time someone clicks on one of the syndicated videos, the associated advertiser pays a fee, with shares going to MacFarlane, Media Rights, Google and the Web site that generated the click.

"We believe the revenue could be formidable," said Karl Austen, a lawyer who worked on the deal. "What is exciting is that this is a way to monetize the Internet immediately. Instead of creating a Web site and hoping Seth's fans find it, we are going to push the content to where people are already at."

Media Rights sells the advertising inventory. Asif Satchu, the company's co-chief executive, would not reveal how much advertisers were being asked to pay, except to say that it is "significantly higher" than if they were placing the same ad with AdSense.

Endeavor, a Hollywood talent agency, helped shepherd MacFarlane through the negotiations, which got started during a recent gap in the animator's contract with 20th Century Fox. MacFarlane said he wanted to take a stab at an original Internet program because he was feeling constrained by the "taste police" - the Federal Communication Commission.

Sitting in his office wearing jeans and a white T-shirt, MacFarlane described feeling stifled as a comedian by a crackdown in recent years on what the FCC saw as unsuitable language and stories on American television. MacFarlane said he believed that the public's appetite for raunchy humor and coarse language was only expanding and that television networks like Fox were having a harder time, in part because they had to tread carefully.

Each "Cavalcade" installment is different, a typical one titled "Mad Cow Disease." The clip, which is 38 seconds long, opens with a news anchor reporting on an outbreak of the disease in a dry fashion, detailing the debilitating effects of eating tainted beef. The clip cuts to a bull and a cow seated in a tidy kitchen with giant steaks on their plates.

MacFarlane, 34, has more at stake than just adding some more money to his already sizable fortune. (His new contract with Fox, signed this spring, is valued at nine figures.) Part of the goal is to use the venture as a testing ground for new material and a way to ignite attention. At the very least, "Cavalcade" will become a DVD, but the hope is that part of the series will register with audiences and perhaps lead to television or even animated movie projects.

Indeed, in a watch-what-you-want, when-you-want world, the standard processes of rolling out new television programs is breaking down. Even a decade ago, putting a new show on a network schedule would ensure wide exposure; people would either respond or they wouldn't. Today, with dwindling television ratings, creators like MacFarlane have to find new ways of introducing new material.

Nobody knows how content can catch fire in unexpected ways more than MacFarlane. In 2002, "Family Guy" was canceled for poor ratings after running for three seasons. But the irreverent series continued to make new fans through DVD sales.

In 2005, the network reversed itself, citing strong DVD sales, and "Family Guy" has gone on to be one of the biggest comedy hits on American television.

Originally published by The New York Times Media Group.

(c) 2008 International Herald Tribune. All rights Reserved.
--------------------------------------

Stuff is starting to get a lot more interesting with this Internet thing. It might actually catch on one day...

-Blake

My last feature film KILLING DOWN is slowly starting to pop up in places around the globe. As you know distribution is very difficult to get and then once you do get it (if you get it) it's usually a slow go for the film to be released.

Sold the foreign rights back in fall of 2006 (at the American Film Market) and just two months ago it was released in Greece on DVD (several other territories have been sold, but movie has just not been released yet). That's it so far, until now.

My friend Julio Cedillo, and on of the leads of KILLING DOWN was in Mexico last week on a film shoot. He went back to his hotel to get some rest, turned on the TV and low and behold KILLING DOWN was on Movie City - I assume this is like a premium cable channel in Latin America. This is the first I'd heard of the film showing up on television. And it's pretty cool I must say. Never happened to me before in the 12 years I've been trying to get stuff produced and sold. So we're all pretty pumped about it. As a matter of fact, Julio was so pumped he actually took a picture of the TV screen. Thanks Julio!

If anyone else is traveling abroad and sees the movie on TV or in a DVD store, etc. PLEASE LET ME KNOW. I'm very interested to hear how it plays to audiences. I pretty routinely check IMDb.com for comments, reviews, ratings, etc. and they too are starting to trickle in.

BTW, the U.S. DVD will tentatively be released December 3rd this year.

So hopefully over time people will get a chance to check out the movie and enjoy it. As a filmmaker that's really all you can hope for.

-Blake

Good article in the WSJ about Bollywood bringing capital into Hollywood (mainly India's Reliance Big Entertainment to invest in DreamWorks).

One of my entertainment attorney's Mark Litwak is quoted in the story...

Foreign financiers are one set of investors who have knocked on Hollywood's door for years, trying to make money by financing films -- a nearly impossible task. "Frankly, most movie deals don't make a lot of financial sense because while some films make money, most films either break even or lose money," said Mark Litwak, an attorney who works on film financing.

Click here to read entire piece.

-Blake

This is very interesting and relevant for "Pink" and mobile distribution...

June 20, 2008 - LONDON--(BUSINESS WIRE)--QuickPlay Media, a leading provider of mobile TV and video solutions, has revealed the results of an independent Market Tools survey focused on mobile TV and video consumption in the UK.

The research found that there are several barriers preventing people from consuming TV and video content on their mobile phones, including a lack of awareness of the mobile TV and video services offered (44%) and cost (33%) ��" the latter, a barrier that is set to erode as 'all-you-can-eat’ data plans become more prevalent in the market place.

The demand for consumers to watch mobile TV is there, with 65 percent of respondents stating that they are willing to spend time watching an advertisement if it meant that the mobile TV or video content they consume is free or discounted. On the other side of the coin, if mobile TV and video were to be charged for, 22 percent said that they would prefer a pay-per-use business model and 13 percent outlined a preference for an additional monthly subscription that would deliver the content without advertisements.

"Operators across the world have invested heavily in improving their network structures to handle high-speed data transfer, but as an industry it seems that we are challenged by the last hurdle in marketing and selling these innovative data-based services to the public. There is a clear lack of awareness by end-users about what services they can enjoy, and what it will cost them to start watching," commented Wayne Purboo, CEO of QuickPlay Media.

Purboo added "The survey shows that perceived cost is a key barrier to mobile TV and video consumption in the UK so one option for operators and content owners is an advertising-based mobile TV and video offering ��" a solution that we have successfully rolled out with some of our customers in other parts of the world. Furthermore, the shift by European operators to offer unlimited data packages will start to remove the barriers for consumers to test and adopt data-based services such as mobile TV and video."

Two in five people have watched TV and video content on their mobile phone, with many now regularly using such services. 18 percent of those that have tried a mobile TV and video service watch on a weekly basis, with more than a third watching almost on a daily basis.

For consumers that are currently using mobile TV and video, the research highlights that as many as 46 percent have used it at home, an interesting statistic considering that consumers have other platforms available to them, such as TV and computers, to consume TV and video content. In relation to this, 30 percent stated that they would watch mobile TV and video in between activities and 28 percent said it was a service that they used while in transit.

Other interesting findings of the survey include:

Nearly half of respondents (44%) do not know if their mobile operator even offers a mobile TV and video service and a third (33%) of those questioned cited cost as the main barrier for not accessing mobile TV.

Two-thirds (65%) of consumers said they are willing to watch an advertisement on their mobile phone in order to access free or discounted TV and video content.

41% of consumers have already watched TV or videos on a mobile phone, with 18% of those consumers watching more than once a week

As many as 33 percent have watched TV or video on their mobile for up to 60 minutes or longer.

41 percent of those surveyed would consider the ability to pause and resume content a deciding factor in whether or not they would watch longer forms of content, such as a full-length movie, on a mobile device.

72 percent do not recall having viewed advertisements on their mobile handset. For those that had 53 percent said these were received as SMS/text ads, and 34 percent said that they were video ads.

When compared against the results of a US study of mobile consumers with comparable demographic profiles the results were very similar suggesting that habits and preferences of consumers, as well as the maturity of both markets, reflect each other.

All very interesting, especially the part about people not minding ads to get "free" content. This is good. Now maybe I can actually get paid for all this work. :)

-Blake