More than 80 per cent of the TV shows people watch on Netflix are discovered through the platform’s recommendation system. That means the majority of what you decide to watch on Netflix is the result of decisions made by a mysterious, black box of an algorithm. Intrigued? Here’s how it works.
Netflix uses machine learning and algorithms to help break viewers’ preconceived notions and find shows that they might not have initially chosen. To do this, it looks at nuanced threads within the content, rather than relying on broad genres to make its predictions. This explains how, for example, one in eight people who watch one of Netflix’s Marvel shows are completely new to comic book-based stuff on Netflix.
To help understand, consider a three-legged stool. “The three legs of this stool would be Netflix members; taggers who understand everything about the content; and our machine learning algorithms that take all of the data and put things together,” says Todd Yellin, Netflix’s vice president of product innovation…
You can read the full article at Wired UK (originally published 22 August 2017).
The most mind-blowing spectacle since the Death Star exploded (though admittedly almost as expensive)
T3 was invited to join the rest of the rebel scum at this year’s Secret Cinema: The Empire Strikes Back extravaganza. This is a spoiler-free look at the clandestine film club’s latest outing, so if you haven’t been yet, don’t worry, this won’t ruin any surprises.
Secret Cinema first kicked off back in 2007 with a screening of Gus Van Sant’s Paranoid Park. In its early years, the gimmick was that nobody knew what the film was going to be until they arrived at the screening location (though they could often be guessed from a series of pre-show clues).
More recent shows have changed format to include a pre-announced film, plus a much more ‘immersive theatre’ approach, replete with sets, actors dressed as Marty McFly or whoever, and so on.
Ticket prices have accordingly gone up to a whopping £75 (£50 for accompanied under 18s).
Obviously unperturbed by the price, in 2014, over 80,000 people attended Secret Cinema’s Back to the Future event in Olympic Park. This ran into initial controversy when the venue wasn’t ready for the opening night, leaving hundreds of ticket holders disappointed. Secret Cinema has clearly learnt from its mistakes, because there are no such problems this year.
This time round Secret Cinema has opted for The Empire Strikes Back, which ties in nicely with the latest instalment of the Star Wars saga (The Force Awakens) which is heading to cinemas later in the year. Read on for our search droid’s findings.
As everyone knows, the first rule of Secret Cinema is that you don’t talk about Secret Cinema.
To prevent spoilers from leaking and to stop dickheads ruining the experience for everyone else, mobile phones are placed in sealed silver pouches for the duration of the show. An idea that we would dearly love to see adopted in every cinema across the land.
You’re not allowed to bring food or drink in with you but there are plenty of “retail experiences” dotted throughout, selling booze, food and merch. Unsurprisingly, rations are not cheap, and you can’t pay cash for them. Take a cash card with you.
It’s worth noting that as it’s a major production with built-up sets and lights, the venue gets pretty warm so wearing military rebel chic is preferable to a full wookie costume. Open toed shoes are a no-no due to the “alien terrain” you’ll encounter…
You can read the rest of the article at T3.com (originally published 12 June 2015).
From Minority Report, with its multitouch surfaces, to 2001: A Space Odyssey with its homicidal computers, Hollywood has long served up future visions that tap into our tech dreams and nightmares.
Obviously there are lots of movie futures that we wish to avoid at all costs – the state-controlled euthanasia for people over 30 in 23rd Century Logan’s Run springs to mind. Likewise, we could probably do without the rations of manufactured ‘food’ in Soylent Green’s 2022. And let’s not even talk about post-Bond Sean Connery and his alarming Zardoz outfit.
While most of the futures predicted in movies are bleak as hell and some have been and gone, there are loads of superb Hollywood worlds of the future that we can’t wait to see become reality. Here are our favourites…
As with the majority of his films, obviously Tom Cruise does a lot of running, but what else does this post-apocalyptic flick offer apart from a tiny sprinting Scientologist? Well, it’s 2077 and Earth’s population is relocating. Jack Harper (Cruise) is one of the few humans left on Earth, living in a fancy sky apartment perched above the clouds that looks like it has been designed by Jonny Ive. We could definitely see ourselves chilling out in this beautiful example of futuristic interior design. While trying to ignore the murderous alien force that’s trying to hoover up the planet’s remaining resources and eliminate the humans, obviously.
Set in the not-too-distant future of 2025, Spike Jonze’s futuristic fable Her sees mild-mannered Theodore Twombly developing a romantic relationship with an intelligent operating system (voiced by Scartlett Johansson). Shot in LA and Shanghai, the subtle advances in technology along with minimalist design and a beautiful colour palette make this a future we’d dearly like to be part of. We’ll probably stick to being just good friends with our OS though.
Back to the Future Part II
We could hardly talk about movie futures without including Back to the Future’s version of 2015. Lots of the tech featured is already here, including video calling, voice recognition, gesture control and ironic 80s themed establishments. Even the self-tying trainers from Nike are on the way. There are no sky-high cities here, just an old-fashioned town square with a few technological advances. And that’s why we like it – there are no murderous robots about, just pizza rehydrators and a healthy dose of nostalgia. We’d move to Hill Valley faster than you can say “where’s my f***ing hoverboard?!”…
You can read the rest of the article at T3.com (originally published 21 April 2015).
Netflix has been offering online movie streaming in the US since 1999, but it’s taken until now for the service to make its way over the pond to the UK. For £5.99 a month, you’ll get unlimited access to the Netflix library of films and TV programmes, which means that the service will be going head-to-head with the Lovefilm Instant offering, currently priced at £4.99. The gloves are off in the Netflix vs Lovefilm rumble, but how does the new kid on the block fare?
There’s no denying that just six quid a month will get you a sizable chunk of films and TV to choose from, although it’s worth considering how much strain it could place on your Broadband data cap. If you go above the set limit on your ISP package, you could well end up getting charged for the extra data – an important point to keep in mind if you’re planning on getting the most out of your monthly £5.99
As well as streaming from your computer, Netflix works on pretty much all of the major platforms, including Sony PlayStation 3, Nintendo Wii, Xbox 360,Apple iPhone and Apple iPad. There are also client for various web TVs from the likes of Samsung, along with LG Blu-ray players and LG home theatre systems, along with media streamer boxes from brands like Roku.
The fact that Netflix works on Apple TV as well as across numerous Androiddevices is also a major boon, and something that Lovefilm doesn’t currently offer (there is an Android app where you can manage your list and settings, but no streaming).
However, Lovefilm is aiming to be make its service available on as many devices as possible so it’s a reasonable assumption that we won’t have to wait too long to see streaming capability on Android devices.
The ability to stream Netflix via the iPhone app using 3G is also great news, although it probably depends on what the 3G signal is like where you live, or more likely what it’s like at your gym or on your commuting route, as we’re guessing those are the the places where most people will want to watch Netflix on their phone’s relatively tiny screen.
Buffering on both the iPad and Android tablet apps is surprisingly swift meaning that you get get stuck into watching your chosen title pretty much straight away.
Syncing between devices is a nice touch, which means that you could start watching something on your laptop, and then pick up where you left off at a later time on another device. The UI is simple to use and more or less the same across different platforms, so the whole experience is pretty much uniform, no matter what you’re gadget you’re watching on.
You can read the rest of the article on T3.com (originally published 1 February 2012).
This legendary film studio was founded in 1937 and has played host to numerous blockbusters, including Ben Hur, Martin Scorsese’s Gangs of New York and Wes Anderson’s The Life Aquatic. The largest film studio in continental Europe, Cinecittà (Italian for Cinema City) has been the filming location for more than 3,000 films over the years including 48 Oscar winners and dozens of ‘spaghetti westerns’. Thanks to the creative talent on offer and relatively cheap production costs, numerous American productions were made at the studio in the 1950s, earning it the nickname “Hollywood on the Tiber”.
As well as being a beautiful example of modernist architecture, the studio has many claims to fame. Long before Lady Gaga was garbling about Paparazzi, the term was coined at Cinecittà, named after a photographer called Paparazzo from Frederico Fellini’s hugely successful La Dolce Vita. The famous studio is also where Hollywood stars Elizabeth Taylor and Richard Burton began their affair while fiming the extravagant epic Cleopatra.
The studio has survived bombing attacks during World War II as well as a fire in 2007 that resulted in a substantial amount of damage.
I was lucky enough to visit the studios on a recent press trip to the Italian capital, where we had the chance to go boozing at a lavish party on the set of BBC/HBO drama Rome, of which I’m a huge fan. Needless to say, much bubbly was quaffed, many poses were struck and copious amounts of embarrassing photos snapped.
If you’re ever in Rome and looking for something to do that’s a little different, then I highly recommend a visit.
Here’s an exclusive feature that I wrote for Pocket-lint.com when the Blu-ray Disc Association invited me to take part in some Mindlab testing.
People are 12 per cent more attentive when watching Blu-ray 3D compared to a conventional Blu-ray disc and 29 per cent more attentive when that same 3D experience is up against a plain old DVD. So says recent research commissioned by the Blu-ray Disc Association (BDA). The results of the study, which is good news for 3D evangelists, also showed that people are 7 per cent more engaged when watching Blu-rays in 3D as well.
But how were these results collected and just how believable are they? Pocket-lint was invited to take an exclusive peek at the testing procedure and also to take part. Read on to find out what happened.
The tests were carried out by the Mindlab International team, based at the Sussex Innovation Centre in Brighton which is essentially an incubation home for tech companies. Mindlab is a neuromarketing company founded by company chairman, director of research and “father of neuromarketing” Dr David Lewis-Hodgson in the early 90s, under the slightly alarming title of StressWatch. Thankfully in 2005, the name was changed to the infinitely more friendly sounding MindLab.
On arrival at Mindlab HQ, we had the whole test process explained to us by Mindlab’s MD and director of operations, Duncan Smith, and his friendly team of data analysts and researchers. The technology used by Mindlab may look like something out of a science-fiction film, but it’s actually called EEG testing (or electroencephalography to give it its full title) which provides quantifiable data on brain activity that’s combined with EDA (electro-derman activity) readings taken from small electrodes on the hand which measure stress indicators such as sweat. The point behind all this is to understand responses to subconscious influences, in this case a selection of film clips.