Global studio Breakthrough Entertainment has transitioned to a completely cloud-based delivery system through WCPMedia Services for the delivery of its premium content to clients; major networks and digital channels around the world.
As a distributor and production house Breakthrough has a catalogue of over 40 feature films and 4,000 television episodes including such popular titles as the L.M. Montgomery’s Anne of Green Gables trilogy, David Rocco’s Dolce Vita and The Adventures of Napkin Man. The Toronto based studio began using WCPMedia’s cloud-based platform earlier this year to deliver content to broadcasters around the world. The company is now using WCPMedia to deliver shows each month to broadcasters on six continents.
“WCPMedia gives us a powerful edge by securely delivering our programming to our broadcasting partners via their high-speed, high-volume file transfers and media asset management system,” said Nat Abraham, partner, president, distribution at Breakthrough Entertainment. “As soon as our files are uploaded onto the WCPMedia cloud, our customers have immediate access. It’s fast, easy and secure.”
Abraham noted, “We can’t use a file transfer service if it doesn’t have a better than 99-percent success rate.”
Although Breakthrough primarily employs WCPMedia for file delivery, the platform also includes powerful features for media management, transcoding, media review, and marketing. As a result, it can benefit a wide variety of media companies with different requirements and applications.
“We’re excited to be working with Nat and his team at Breakthrough”, said Giovanni Contri, COO of WCPMedia Services, “The WCP cloud based platform is an ideal solution for managing the worldwide delivery of Breakthrough’s vast catalogue of film and TV programming. Breakthrough are content production and distribution leaders, and therefore we are proud to be supporting their leadership as well in secure cloud based delivery and asset management in the evolving broadcast landscape.”
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More