Nothing happened during that strange stray shot of the scenery. And there was also one bizarre scene, when they showed Thrust, suddenly jump cut to a totally random and pointless shot of the same background (but no Thrust), then back to the same image as before, with Thrust magically reappearing and continuing his thing.
Transformers: Armada used this, but not intentionally - the animation was simply rushed, so often they used the same background, even if the "camera" switched focus to another character.The anime adaptation of JoJo's Bizarre Adventure: Golden Wind shows in-universe jump cuts when the Big Bad uses his Stand to skip forward and erase time.Trapeze, by the same director, uses jump cuts a lot as part of general extreme weirdness.At some point along the way, the doll turns to look after her during a cut. For instance, in the first arc, there's a scene where the "camera" stays on the floor with a doll in the foreground, as a character walking down a corridor slowly jumps into the distance. Mononoke uses these frequently, coupled with intentionally Deranged Animation and Mind Screw to cement its status as a surreal Psychological Horror series.Perfect Blue: Occurs at a faster pace as Mima loses her grip on reality."It's time for the Hollywood executives to catch up to where the audiences are," he concluded.Īlexandra is a Producer & Entertainment Correspondent at Yahoo Finance. "We are here to change the game because we can provide them the data, and the comfort that this is not a risky bet," Hosanagar said. "Audiences are more diverse than ever before, they're more global than ever before, and the way they are consuming content has changed," Hosanagar said, explaining that it's the "supply side that hasn't evolved" as Hollywood remains "risk averse" over fears of failing on risky bets. (Caveat: Netflix counts a ‘viewer’ as someone who watches at least 2 minutes of a piece of content.)
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"Bridgerton" - Netflix's ( NFLX) breakout success that features a mixed-race cast, including a Black lead -is the platform's most-watched series premiere, with 63 million households projected to have seen at least a portion of the show in its first four weeks, according to the company. "Minari's" Yuh-jung Youn snagged Best Supporting Actress, becoming the first Korean woman to win in the ultra-competitive category, whereas "Judas and the Black Messiah's" Daniel Kaluuya walked away with Best Supporting Actor. Still, only 2 of the nonwhite nominees took home statuettes. Overall, 9 actors of color were nominated - the most diverse acting slate in the Academy's history. "Nomadland's" Chloe Zhao made history as the first woman of color to win Best Director - and only the second woman ever to win the coveted award. This past Oscar season saw women and diversity at the forefront - with a particular focus on international stories amid increased audience demand. He added that the data is meant to "stimulate conversations" and help creators "be more effective."Īfter a storyteller is discovered though the algorithm, the project is then further tested on over 100,000 potential viewers to add data-backed proof that the idea can sell.įollowing the testing phase, the creator is invited to a six-week incubator program before partnering with potential producers and buyers.ĭirector/Producer Chloe Zhao, winner of the award for best picture for "Nomadland", poses at the press room of the Oscars, in the 93rd Academy Awards in Los Angeles, California, U.S., April 25, 2021. "It doesn't matter what their race is or what their gender is, but the point is that we're looking for stories that are resonating with audiences," the CEO said. Hosanagar explained how the company's curated algorithm scours internet sites like YouTube ( GOOGL) and Reddit to find storytellers with new perspectives and high engagement.
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Using data, his startup aims to "reimagine the way films and TV shows are developed, specifically with the goal of elevating fresh voices and stories," he added. "It's no secret that Hollywood is an old boys club for the most part," Hosanagar told Yahoo Finance in a recent interview.
Despite praising the work, he found they were unwilling to take a risk on a new writer. Jumpcut CEO and Founder Kartik Hosanagar, an AI for Business Professor at University of Pennsylvania's Wharton School, came up with the idea after pitching a screenplay to producers. Hollywood's diversity issues have plagued the industry for decades, reinforced by a lack of representation - both in front of and behind the camera.īut one startup, Jumpcut, is looking to create a more inclusive era of global film and TV, using data science to discover stories created by underrepresented groups.