To North Korea’s dismay, The Interview opened in select theaters on Christmas Day. In addition, Sony also made the controversial comedy available for purchase across several digital platforms.
Viewers can now watch The Interview from the comfort of their own homes on Google Play, YouTube Movies, Microsoft’s Xbox Video and over at www.seetheinterview.com at a price of $5.99. Purchase in HD for $14.99.
Instructions for watching The Interview on each platform, courtesy of THR:
*Google Play: the movie is available to buy or rent at play.google.com, and can be watched in the Play Movies & TV app on Android and iOS phones or tablets, or streamed in the living room via Chromecast, Roku or the Nexus Player.
*YouTube: the movie is available at youtube.com/movies and can be watched on the web, in the YouTube app, or on select living room devices like Chromecast, Apple TV, PlayStation and Xbox.
*Microsoft’s Xbox Video: the movie is available to buy or rent on the Xbox Video app on Xbox One, Xbox 360, Windows 8, Windows Phone 8 and XboxVideo.com.
*SeetheInterview.com: In addition, The Interview is available at the dedicated website www.seetheinterview.com, which is sponsored by Sony Pictures and powered by Kernel, with payments through Stripe, a secure payment platform.
Will you be watching? Let us know your thoughts in the comments.
—
Showing posts with label Xbox One. Show all posts
Showing posts with label Xbox One. Show all posts
Friday, December 26, 2014
Watch The Interview Online
To North Korea’s dismay, The Interview opened in select theaters on Christmas Day. In addition, Sony also made the controversial comedy available for purchase across several digital platforms.
Viewers can now watch The Interview from the comfort of their own homes on Google Play, YouTube Movies, Microsoft’s Xbox Video and over at www.seetheinterview.com at a price of $5.99. Purchase in HD for $14.99.
Instructions for watching The Interview on each platform, courtesy of THR:
*Google Play: the movie is available to buy or rent at play.google.com, and can be watched in the Play Movies & TV app on Android and iOS phones or tablets, or streamed in the living room via Chromecast, Roku or the Nexus Player.
*YouTube: the movie is available at youtube.com/movies and can be watched on the web, in the YouTube app, or on select living room devices like Chromecast, Apple TV, PlayStation and Xbox.
*Microsoft’s Xbox Video: the movie is available to buy or rent on the Xbox Video app on Xbox One, Xbox 360, Windows 8, Windows Phone 8 and XboxVideo.com.
*SeetheInterview.com: In addition, The Interview is available at the dedicated website www.seetheinterview.com, which is sponsored by Sony Pictures and powered by Kernel, with payments through Stripe, a secure payment platform.
Will you be watching? Let us know your thoughts in the comments.
—
Saturday, November 1, 2014
YouTube Now Supports 60fps Videos
You've never watched YouTube quite like this: today the company began rolling out support for higher video frame rates like 60fps. We've seen movie trailers and other special clips appear with higher fps counts before, but now it works for regular user uploads, too. To see the smoother motion, you'll need to be watching in either 720p or 1080p HD. Both Chrome and Safari 8 worked fine in our tests, but we're seeing mixed results with mobile browsers. Once you hit play, the difference is immediate and hugely noticeable — especially when you're watching video game footage.
There are plenty of situations where faster frame rates can make a huge difference, but it's easy to spot the upgrade with gaming content. For years, YouTube uploads have been capped at around 30fps, which looks perfectly fine when watching most types of video, but falls short with games. When you're playing a PlayStation 4, Xbox One, or Wii U through your television, the frame rate is always much higher than what YouTube's been able to display — until now.
Finally YouTube can show those clips at their native frame rate. Kotaku points to the above Mario Kart 8 as demo footage, and rightly so: it looks amazing. Watch for long enough and you might start wondering why there's not a controller in your hand.
Mario Circuit - 1:44.414 - Kαzυσ (Mario Kart 8 World Record) 60FPS WITH CHROME
Back in June, YouTube promised that it would add 48fps and 60fps playback support for "motion-intense" videos uploaded to the service, but it's kept relatively quiet on the matter since. But now it would appear that smoother frame rates are here. Other videos published today (such as the below Donkey Kong: Tropical Freeze clip) also exhibit 60fps playback.
60fps Test | Donkey Kong Country: Tropical Freeze 3-4 Time Attack (Shiny Gold | 00:52:76)
Thursday, June 19, 2014
YouTube Policy Changes 2014 | The Good, The Bad, and The Ugly
We posted news yesterday having received an email from our YouTube network partner, stating changes are coming to Youtube starting in early 2014. A number of network partners have sent notifications to their members highlighting the changes and how to work alongside them.
At a glance it appears that the prevalent issue of copyright infringement has come to a head, and a tougher stance is being taken on those earning money from others works. Youtube started as a service for people to upload clips of themselves and share them but has since grown into a massive uncontrollable media outlet shrouded in many shades of grey in terms of what constitutes original content under fair usage, and what isn’t.
The Copyright Owners:
Looking at the situation from the perspective of the copyright owners, and it’s clear to see that under most terms and conditions it’s prohibited for third parties to receive financial gain from their works and even stretches to elements such as pay to play. Somehow, Youtube, has become a free license for people to make money in ignorance of its own policy which clearly states in its terms and conditions for monetization that all elements of the video are owned by the uploader, or suitable permissions have been granted by the copyright owner. This only applies to those who opt to monetize their videos, but in many cases, suitable permissions are likely to have not been granted and a wavering of misunderstood fair usages rights are often cited but remain inappropriate.
Although there’s very little publication of what is and isn’t permitted without diving through reams of text in terms and conditions, what the general consensus seems to be is that it’s welcomed for creators (in relation to video games) to post videos of their gameplay exploits, but not to make money from them especially as the copyright owner has no control over those earnings, and no stake in them either. Copyright owners do not have the resources to monitor and police Youtube , and so it’s the responsibility of Youtube to adhere to their terms, but as of now, there has been too much responsibility placed on the end user and its third party networks.
The Youtubers:
In many cases, simply uploading a trailer, or official gameplay footage, requires little to no effort, even recording gameplay as one plays with an unscripted voice-over takes some time, but isn’t particularly difficult – hence why there are so many of them. Whereas producing a quality show such as Angry Joe’s videos as one example, takes time, money and enthusiasm to maintain entertaining original content. However, no matter how big or small the production is, there’s still the issue of permission being granted to use gameplay footage in the video.
It’s no secret that a number of people have become Youtube superstars, earning lots of coin for their efforts and garnering millions of fans between them. But unlike massive Youtube hits such as the recent Gangnam Style video or comedians such as Tom Ska where all of the content is owned by the uploader, in many gaming related videos this is not the case.
There’s a strong argument that lets plays, walkthroughs and various other videos which feature gameplay are an invaluable resource for millions of viewers, and that it’s often seen as good independent promotion for products. However, it’s perhaps ignorant to believe that all videos paint a positive spin on the product they are using, which in turn emphasizes the huge grey area surrounding the issue.
In many cases, there’s time and effort placed in producing videos, and as an incentive, being paid is part of the appeal. For a number of content creators , being paid helps fund future projects, or enables creators to get better at what they are doing and so the option itself has fueled Youtube’s own growth and popularity as an open platform for individuals to create content.
The Good:
What is perhaps a positive from Youtube’s new policy is that creators will have to up their game a bit more in terms of the type of quality original content they produce which ultimately benefits the viewer. Whilst fair usage rights are very much misunderstood in terms of using copyrighted materials to make money, it’s likely that a more definitive set of guidelines will be made available from either the copyright owners, community or Youtube itself to address this.
The Bad:
For the smaller gaming channels and those starting afresh, Youtube will still be a viable platform for exposure, but there will be no or little financial reward unless you’ve been granted permission from the copyright owner, which is highly unlikely if creators are posting lets plays or gameplay clips. For some, having no monetary perk will choke content and undoubtedly will mean less videos being uploaded, which could result in more focused exposure for products and increased ad revenue for those who are more able to create unique content.
The Ugly:
Ultimately for some content creators, the lure of being able to bypass the current system’s checking procedure when joining a network will be diminished. For those already partnered, they will be locked in contracts which really offer no other benefits but will be paying them up to 50 per cent of their earnings regardless until they are either able to break contract or it expires.
What has also been established is that networks will be able to select channels to be affiliate or managed, with those who are trusted to produce original content that does not infringe copyrights being managed and avoiding the checks, and those who do not, or who fall into a grey area becoming affiliated. Managed channels will be the responsibility of the network. This naturally means the bigger channels are likely to continue to thrive as businesses and the smaller channels become more hobbyist.
It also suggests that both Microsoft and Sony will undoubtedly exercise some control over videos being uploaded to Youtube through their next gen devices such as Xbox One and PS4, where videos have monetization automatically disabled, or all ad revenue goes back to them. A stance which suggests there is no financial recognition for recording gameplay videos.
A Way Forward?
Youtube’s changes simply reinforce the idea that copyright owners are not prepared for others to make money from their works which is a fair stance to take, however what this does highlight is an inherent flaw in how Youtube’s content creators have been operating within the jurisdiction of copyright laws.
The best outcome that adheres to all parties concerned would be a system where copyright owners automatically receive proceeds or royalties as a percentage from the advertising revenue users gain. Nintendo already has exercised taking over ad revenue from Youtube videos featuring their content which can be seen as quite harsh, but shows the components are there to make it feasible. Musicians receive royalties for public performances of their works handled via the Performance Right Society (PRS) in the UK. So a more open platform can work where both parties are catered to. The all or nothing approach is perhaps self destructive, and will inhibit some forms of content and creativity, but won’t hinder those who simply want to post videos and become popular from doing so. Youtube could amalgamate its gaming channels under one roof to facilitate the idea and would mean independent networks would have to offer more benefits and incentives to creators for joining them.
Alternatively, copyright owners could be more transparent with what is deemed original content, and offer open avenues for content creators to seek permissions pertaining to specific projects. This way, they could exercise some form of control over the type of content being published – in light of spoiler or leaked videos for example.
The Reality:
Whilst it’s not clear how far reaching Youtube’s new policy will be when it rolls, the reality for many will be they will not be able to continue to post gameplay videos, trailers and monetize them without proof of permission from the copyright owner. The system is said to be random, but possibly based on a trust rating. Whilst not gospel, it is suggested that creators will still be able to upload and monetize their videos, but if a video is flagged and proof of permission is provided, then it will become easier for that user to keep posting videos without them being flagged. Creators who simply post videos without monetizing them will not be affected per the terms of the individual copyright owners.
The good news is some developers are being quite clear and instrumental when it comes to uploading videos to Youtube and monetizing them, with some even providing a consent document for creators to present to Youtube if asked for permission. If more indie studios and any of the bigger players adopt this stance it could lead to greater exposure for independent projects and those publishers looking to encourage the gaming community.
by: Robert Cram/Cram Gaming
The Copyright Owners:
Looking at the situation from the perspective of the copyright owners, and it’s clear to see that under most terms and conditions it’s prohibited for third parties to receive financial gain from their works and even stretches to elements such as pay to play. Somehow, Youtube, has become a free license for people to make money in ignorance of its own policy which clearly states in its terms and conditions for monetization that all elements of the video are owned by the uploader, or suitable permissions have been granted by the copyright owner. This only applies to those who opt to monetize their videos, but in many cases, suitable permissions are likely to have not been granted and a wavering of misunderstood fair usages rights are often cited but remain inappropriate.
Although there’s very little publication of what is and isn’t permitted without diving through reams of text in terms and conditions, what the general consensus seems to be is that it’s welcomed for creators (in relation to video games) to post videos of their gameplay exploits, but not to make money from them especially as the copyright owner has no control over those earnings, and no stake in them either. Copyright owners do not have the resources to monitor and police Youtube , and so it’s the responsibility of Youtube to adhere to their terms, but as of now, there has been too much responsibility placed on the end user and its third party networks.
The Youtubers:
In many cases, simply uploading a trailer, or official gameplay footage, requires little to no effort, even recording gameplay as one plays with an unscripted voice-over takes some time, but isn’t particularly difficult – hence why there are so many of them. Whereas producing a quality show such as Angry Joe’s videos as one example, takes time, money and enthusiasm to maintain entertaining original content. However, no matter how big or small the production is, there’s still the issue of permission being granted to use gameplay footage in the video.
It’s no secret that a number of people have become Youtube superstars, earning lots of coin for their efforts and garnering millions of fans between them. But unlike massive Youtube hits such as the recent Gangnam Style video or comedians such as Tom Ska where all of the content is owned by the uploader, in many gaming related videos this is not the case.
There’s a strong argument that lets plays, walkthroughs and various other videos which feature gameplay are an invaluable resource for millions of viewers, and that it’s often seen as good independent promotion for products. However, it’s perhaps ignorant to believe that all videos paint a positive spin on the product they are using, which in turn emphasizes the huge grey area surrounding the issue.
In many cases, there’s time and effort placed in producing videos, and as an incentive, being paid is part of the appeal. For a number of content creators , being paid helps fund future projects, or enables creators to get better at what they are doing and so the option itself has fueled Youtube’s own growth and popularity as an open platform for individuals to create content.
The Good:
What is perhaps a positive from Youtube’s new policy is that creators will have to up their game a bit more in terms of the type of quality original content they produce which ultimately benefits the viewer. Whilst fair usage rights are very much misunderstood in terms of using copyrighted materials to make money, it’s likely that a more definitive set of guidelines will be made available from either the copyright owners, community or Youtube itself to address this.
The Bad:
For the smaller gaming channels and those starting afresh, Youtube will still be a viable platform for exposure, but there will be no or little financial reward unless you’ve been granted permission from the copyright owner, which is highly unlikely if creators are posting lets plays or gameplay clips. For some, having no monetary perk will choke content and undoubtedly will mean less videos being uploaded, which could result in more focused exposure for products and increased ad revenue for those who are more able to create unique content.
The Ugly:
Ultimately for some content creators, the lure of being able to bypass the current system’s checking procedure when joining a network will be diminished. For those already partnered, they will be locked in contracts which really offer no other benefits but will be paying them up to 50 per cent of their earnings regardless until they are either able to break contract or it expires.
What has also been established is that networks will be able to select channels to be affiliate or managed, with those who are trusted to produce original content that does not infringe copyrights being managed and avoiding the checks, and those who do not, or who fall into a grey area becoming affiliated. Managed channels will be the responsibility of the network. This naturally means the bigger channels are likely to continue to thrive as businesses and the smaller channels become more hobbyist.
It also suggests that both Microsoft and Sony will undoubtedly exercise some control over videos being uploaded to Youtube through their next gen devices such as Xbox One and PS4, where videos have monetization automatically disabled, or all ad revenue goes back to them. A stance which suggests there is no financial recognition for recording gameplay videos.
A Way Forward?
Youtube’s changes simply reinforce the idea that copyright owners are not prepared for others to make money from their works which is a fair stance to take, however what this does highlight is an inherent flaw in how Youtube’s content creators have been operating within the jurisdiction of copyright laws.
The best outcome that adheres to all parties concerned would be a system where copyright owners automatically receive proceeds or royalties as a percentage from the advertising revenue users gain. Nintendo already has exercised taking over ad revenue from Youtube videos featuring their content which can be seen as quite harsh, but shows the components are there to make it feasible. Musicians receive royalties for public performances of their works handled via the Performance Right Society (PRS) in the UK. So a more open platform can work where both parties are catered to. The all or nothing approach is perhaps self destructive, and will inhibit some forms of content and creativity, but won’t hinder those who simply want to post videos and become popular from doing so. Youtube could amalgamate its gaming channels under one roof to facilitate the idea and would mean independent networks would have to offer more benefits and incentives to creators for joining them.
Alternatively, copyright owners could be more transparent with what is deemed original content, and offer open avenues for content creators to seek permissions pertaining to specific projects. This way, they could exercise some form of control over the type of content being published – in light of spoiler or leaked videos for example.
The Reality:
Whilst it’s not clear how far reaching Youtube’s new policy will be when it rolls, the reality for many will be they will not be able to continue to post gameplay videos, trailers and monetize them without proof of permission from the copyright owner. The system is said to be random, but possibly based on a trust rating. Whilst not gospel, it is suggested that creators will still be able to upload and monetize their videos, but if a video is flagged and proof of permission is provided, then it will become easier for that user to keep posting videos without them being flagged. Creators who simply post videos without monetizing them will not be affected per the terms of the individual copyright owners.
The good news is some developers are being quite clear and instrumental when it comes to uploading videos to Youtube and monetizing them, with some even providing a consent document for creators to present to Youtube if asked for permission. If more indie studios and any of the bigger players adopt this stance it could lead to greater exposure for independent projects and those publishers looking to encourage the gaming community.
by: Robert Cram/Cram Gaming
Tuesday, May 13, 2014
Microsoft Frees Xbox One From Kinect | $399
Microsoft Frees Xbox One From Kinect With $399 Standalone System
For everyone who felt the Xbox One is too expensive, Microsoft has apparently heard your complaints.
Microsoft announced that a new $399 Xbox One (£350 in UK) is coming June 9 that does not include the Kinect peripheral. Additionally, the Xbox One and Xbox 360 will no longer require a Live Gold subscription to access streaming apps like Netflix, Hulu Plus, YouTube, and HBO Go. A Live Gold subscription will also not be needed for some premium services on the Xbox One, such as OneGuide, Internet Explorer, and Skype.
There will still be some services that are exclusive to Live Gold subscribers, including the "Games with Gold" program, cloud game saves, and Game DVR. To celebrate the one-year anniversary of Games with Gold, Live Gold subscribers will receive an additional free Xbox 360 game in June. Additionally, Microsoft announced that both "Games with Gold" and "Deals with Gold" will come to the Xbox One in June.
The cheaper Xbox One model will allow Microsoft to match the $399 PS4 on price, along with removing the nearly required $60 yearly fee that raised the Xbox One's total cost of ownership. The subscription fee was an anomaly among living room devices, with other devices, such as the Google Chromecast, Roku boxes, and, most importantly, the PS4, having no comparable charges to access streaming services.
For everyone who felt the Xbox One is too expensive, Microsoft has apparently heard your complaints.
Microsoft announced that a new $399 Xbox One (£350 in UK) is coming June 9 that does not include the Kinect peripheral. Additionally, the Xbox One and Xbox 360 will no longer require a Live Gold subscription to access streaming apps like Netflix, Hulu Plus, YouTube, and HBO Go. A Live Gold subscription will also not be needed for some premium services on the Xbox One, such as OneGuide, Internet Explorer, and Skype.
There will still be some services that are exclusive to Live Gold subscribers, including the "Games with Gold" program, cloud game saves, and Game DVR. To celebrate the one-year anniversary of Games with Gold, Live Gold subscribers will receive an additional free Xbox 360 game in June. Additionally, Microsoft announced that both "Games with Gold" and "Deals with Gold" will come to the Xbox One in June.
The cheaper Xbox One model will allow Microsoft to match the $399 PS4 on price, along with removing the nearly required $60 yearly fee that raised the Xbox One's total cost of ownership. The subscription fee was an anomaly among living room devices, with other devices, such as the Google Chromecast, Roku boxes, and, most importantly, the PS4, having no comparable charges to access streaming services.
Wednesday, April 2, 2014
Watch Dogs Welcome To Chicago Trailer
New cinematic and gameplay trailer for Watch Dogs !
Watch Dogs Welcome To Chicago Trailer.
Release date : May 27, 2014
For PS4, PS3, Xbox One, Xbox 360 and PC !
Wednesday, February 5, 2014
Warface: Beta Announce Trailer
Crytek's free-to-play military shooter enters closed beta.
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Thursday, November 21, 2013
Xbox One Full Review w/ DJ Skee
DJ Skee Reviews the brand new Xbox One and goes over all the newest features!
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Friday, June 14, 2013
BEHIND THE SCENES: Exclusive | New Forza Motorsports 5 | Xbox One w/ DJ Skee
DJ Skee takes you behind the scenes at one of the gaming world's most exclusive parties! The Forza Motorsports 5 unveiling party brought A-List celebrities like Chris Hemsworth and saw Formula 1 race cars hitting the streets of downtown LA. DJ Skee even gets his hands on the new Xbox One for a quick review!
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
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