Having been a tabloid-sized publication since 1960, our first issue of 2013 introduces a more digital-friendly format conducive for reading online and on mobile platforms. In the early years SHOOT was literally a “news”paper printed on newsprint. As SHOOTonline came on the scene in the mid-’90s, followed by The SHOOT>e.dition email newsletter in ’05 and then RSS feeds, Facebook and Twitter, SHOOT went from printing weekly to reporting on news and new work all the time. With each print issue, we publish two PDF versions for readers to view/download–a “lite” version is an exact duplicate of the print issue, and the “full” version contains video of work covered in the issue.
Continuing to evolve along with the industry segments it covers, SHOOT has chronicled that evolution over the decades, providing historical context and a wide range of perspectives, showing where the industry has been in order to get a better handle on where it is and where it’s headed. We’ve covered commercialmaking from its infancy to maturation, from the standardized bid form to new forms of content, from the birth of industry organizations to their indelible and ongoing impact on the business and creative landscape, literally all the ups and downs spanning recessions, landmark court cases, strikes, labor/management relations, major industry issues, global production, lensing incentives, the impact of new technologies, integrated campaign strategies and branding, content across different size screens, the emergence of branded entertainment encompassing varied platforms. While perennially covering the advertising / entertainment crossover dynamic, we’ve evolved to cover entertainment production and post with annual Emmys and Oscar series, coverage of feature film, independent film, documentaries and shorts as well as the film festival circuit and all major award shows.
At the crossroads of advertising and entertainment production & post, SHOOT will continue to show how each sector influences the other, providing coverage of relevant artists, developments and issues that carry implications from talent, technology and business. As the year progresses watch for new features, interviews, profiles and columns as well as fantastic upgrades to SHOOTonline. To keep your subscription coming, be sure to visit www.shootonline.com/go/renew. Subscriptions need to be updated once a year to keep them coming.
We look forward to hearing from you about the great work you’re involved with and we hope you’ll let us know what you want to read about in the print pages of SHOOT and on our website and in our email newsletter. Our annual New Directors Search is on and we look forward to seeing many of you at this year’s SHOOT Directors/Producers Forum & New Directors Showcase at the DGA Theater in NYC on May 23rd. Our mission continues to be to connect readers to the latest news, best new work and each other and we look forward to continuing to do just that this year. We wish you a happy, healthy and successful 2013.
AI-Assisted Works Can Get Copyright With Enough Human Creativity, According To U.S. Copyright Office
Artists can copyright works they made with the help of artificial intelligence, according to a new report by the U.S. Copyright Office that could further clear the way for the use of AI tools in Hollywood, the music industry and other creative fields.
The nation's copyright office, which sits in the Library of Congress and is not part of the executive branch, receives about half a million copyright applications per year covering millions of individual works. It has increasingly been asked to register works that are AI-generated.
And while many of those decisions are made on a case-by-case basis, the report issued Wednesday clarifies the office's approach as one based on what the top U.S. copyright official describes as the "centrality of human creativity" in authoring a work that warrants copyright protections.
"Where that creativity is expressed through the use of AI systems, it continues to enjoy protection," said a statement from Register of Copyrights Shira Perlmutter, who directs the office.
An AI-assisted work could be copyrightable if an artist's handiwork is perceptible. A human adapting an AI-generated output with "creative arrangements or modifications" could also make it fall under copyright protections.
The report follows a review that began in 2023 and fielded opinions from thousands of people that ranged from AI developers, to actors and country singers.
It shows the copyright office will continue to reject copyright claims for fully machine-generated content. A person simply prompting a chatbot or AI image generator to produce a work doesn't give that person the ability to copyright that work, according to the report. "Extending protection to material whose expressive elements are determined by a machine ...... Read More