James Zahn

Here are 5 common oversights I see young producers make when building a budget! 🎬 Avoid costly mistakes by including these...👇🚨 1. AC Kit Fees Experienced 1st ACs often own a camera cart, focus monitor, and more. Kit fees can hit $50-250+/day. Don't miss this! 2. Portal to Portal Drivers Drivers bill from vehicle pick-up to return. This can add 1-2 extra hours per department. Budget for that! 3. Insurance Most clients won't cover workman's comp. Ensure your production has its own policy to stay protected. 4. Truck & Generator Gas Gas for rentals and generators is often forgotten. Factor this into your expenses to avoid surprises. 5. PA's OT PAs start early, stay late, and often handle extra errands. They can easily clock 1-2 hours of overtime, even if the shoot wraps on time. Found this helpful? I'm Colin Randall. With over $10M in creative projects produced I help filmmakers and creative entrepreneurs level up their business.

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The Los Angeles unscripted production sector is in trouble. A recent report from FilmLA found that on-location reality TV production in LA fell by 57% in the second quarter versus the same period last year. Across the board, producers C21 has spoken with estimate the number of unscripted shows being commissioned in the US is down around 50% over the past couple of years. Netflix and Amazon are still buying plenty, but, to one degree or another, the rest have slowed down or pulled the handbrake altogether. Outside of the broader commissioning slowdown, a complex web of factors are driving the production contraction in LA. Among them, wave after wave of mega-merger (Discovery/Scripps, Fox/Disney, Discovery/WarnerMedia) has shrunk the pool of buyers, meaning it’s increasingly rare to have multiple bidders from separate studio groups vying for a project. Second, and most pertinently for LA, other cities and states in the US have stolen production away from California by offering attractive incentives that make it much cheaper to shoot elsewhere. As well as places like Georgia, Connecticut and Kentucky, American networks are producing unscripted shows across Europe and Canada as they look for ways to cut costs. All of these jurisdictions have either rebate programmes and tax credits or much cheaper labour costs, or both. As a result, unscripted workers are leaving the industry, or moving out of LA, in their droves due to lack of work opportunities. C21 chatted with producers about what can or should be done to reverse this trend and protect LA’s unscripted production sector.

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A HEM Community member asks a tough question: "Is it worth staying in expensive Los Angeles while waiting for the film & television editing job market to pick up, or should they move to a cheaper city temporarily?" In this video, I explore the pros and cons of both options and share some surprising insights. Plus, I'll reveal practical tips on managing your finances and navigating these uncertain times, whether you're solo or with a partner. Tune in to find out why staying in LA might be the best move for your career and how you can make it work financially. Don't miss this essential advice for film & television editors and creatives!

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Do what you do and do it well.

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🌟 Celebrating Hollywood's Commitment to Safety and Justice As the CEO of DripsyDrown Entertainment, based in Los Angeles, California, William Drown is not only a prominent figure in the film and entertainment industries but also a passionate advocate for social causes. Today, we shine a spotlight on his unwavering support for Meagan's Law and Hollywood's commitment to ensuring safety and protection for all. 🔍 About William Drown: - William Drown spent his formative years in Memphis, Tennessee, and Jonesboro, Arkansas. - He served multiple combat tours in Iraq and Afghanistan,demonstrating courage and resilience. - Now, he channels his energy into the world of film and entertainment, providing access for clients and teams within his company and facilitating placements in other outside projects 🌐 DripsyDrown Films and Meagan's Law: - Meagan's Law is named after Meagan Kanka, a young girl who tragically lost her life due to a sexual predator. The law aims to protect communities by requiring sex offenders to register their information publicly. - DripsyDrown Films, under William Drown's leadership, actively supports the enforcement of Meagan's Law within the Hollywood community. - By raising awareness, advocating for stronger legislation, and fostering a culture of safety, DripsyDrown Films contributes to a safer environment for everyone. 🎬 Taking Action: - DripsyDrown Films collaborates with industry professionals, law enforcement agencies, and community organizations to promote awareness and education. - Through powerful storytelling and impactful films, they shed light on the importance of safety measures and the need to prevent sexual offenses. 🙌 Join the Movement: - Let's stand together in support of Hollywood's commitment to safety and justice. - Share this post to spread awareness and encourage positive change. - Remember, safety is everyone's responsibility, both on and off the screen. 📸 Photo:*William Drown, CEO of DripsyDrown Entertainment #SafetyFirst #MeagansLaw #HollywoodSupportsSafety --- Connect with William Drown on [LinkedIn](https://lnkd.in/dxveYb-r Learn more about DripsyDrown Entertainment on [IMDb](https://lnkd.in/dKb2cnH9 --- *Disclaimer: This post is for informational purposes only and does not constitute legal advice. Please consult legal professionals for specific guidance on Meagan's Law and related matters.  ¹: [William Drown - IMDb](https://lnkd.in/deH9rTi4) Source: Conversation with Bing, 5/7/2024 (1) William Drown - IMDb. https://lnkd.in/deH9rTi4. (2) William Drown - Biography - IMDb. https://lnkd.in/dg6X-bWx. (3) @williamdrown | Linktree. https://lnkd.in/dc87py-Z. (4) DripsyDrown entertainment | Los Angeles CA - Facebook. https://lnkd.in/deARevWv.

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What does SAG-AFTRA low budget mean? https://lnkd.in/gXVc3TDE The Low Budget Agreement applies to those films shooting entirely within the United States with a total budget of less than $2,000,000. Include Step No Step No 1 Sort Order 2 Low Budget Theatrical (LBA)

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Real life interactive experiences are continuing to trend upwards. Hasbro, already planning on tv/film experiences, also has ambitious plans to expand its many iconic properties into new interactive venues. In New Jersey, Hasbro is launching its first ever branded arcade and family fun experience venue. Monopoly, Battleship and other board games have made their way into arcades and casinos as playable properties. But this is the first time all of Hasbro's properties will be contained and controlled as one cross-brand experience in an owned physical space. We expect to see this trend take off and see many more multi-brand experiences in one space. https://lnkd.in/eduaPxf8 #licensing #license #brands #deals

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/15/24: The JUICE was still on the loose and moviegoers saw NO EVIL this weekend.   Between them, WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE and Universal/Blumhouse Productions' R rated horror thriller SPEAK NO EVIL pumped over $63M in ticket sales into theatres plus millions more for pricey popcorn, candy, etc.   This weekend's domestic marketplace totaled $94.8M, per Comscore Senior Media Analyst Paul Dergarabedian, down 37.1% from the prior weekend, but up 50% vs. this time last year. Comscore's year to date tally has 2024 at $6.08B, down 12% from $6.94B in 2023. The previous weekend, 2024 was down 13% vs. 2023.   Meanwhile, back at the multiplexes: BB, directed by Tim Burton, held on to #1 in weekend two with $51.6M (-54%) at 4,575 theatres ($11,279), per Comscore. It reportedly cost $100M to produce and has grossed $188M domestic and $264.3M worldwide to date.    SPEAK NO EVIL opened #2 to $11.5M at 3,375 theatres ($3,407), per Comscore. That's better than the $10M Hollywood buzz-ards were originally looking for. Having reportedly cost just $15M to produce, Universal & Blumhouse should be okay. It opened internationally to $9.3M, bringing its worldwide cume to $20.8M.   EVIL, starring James McAvoy, is tracking best for first choice with women over 25 (one point over norm). Rotten Tomatoes critics & audiences are both very happy at 85%, which should mean good word of mouth.   The weekend's only other wide launch, Lionsgate's R rated action comedy thriller THE KILLER'S GAME, starring Dave Bautista, was dead on arrival in sixth place with $2.6M at 2,623 theatres ($991). It's tracking for first choice below norm with all demos. Rotten Tomatoes critics hate it at 36% and audiences aren't excited at 77%.   Although GAME reportedly cost $25-30M, the buzz is that Lionsgate's customary upfront financial strategizing reduced its risk significantly.   Next weekend (9/20) ticket sales should heat up with Paramount/Hasbro Entertainment's PG rated animated action adventure TRANSFORMERS ONE. It's the franchise's first animated episode in nearly 40 years. Hollywood insiders expect $45-55M at about 3,700  theatres.     TO is tracking best for first choice with under-25 men (five points over norm) and next best with men over 25 (three points over norm). Rotten Tomatoes critics are applauding at 90%.   Sat., 9/21 will see SUPER/MAN: THE CHRISTOPHER REEVE STORY open in limited release via Fathom Events/DC Studios. It's the story of Reeve's rise to stardom and the near-fatal 1995 horse-riding accident that left him paralyzed from the neck down. Rotten Tomatoes critics are cheering at 100%.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #beetlejuice #speaknoevil      

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The global recorded music market offers growth opportunities that differ sharply from the U.S., where major labels dominate. According to MIDiA Research, independent labels and artists hold a 46.7% global market share, compared to 35.7% in the U.S., highlighting stronger competition and indie growth abroad. Emerging markets, like China, India, and Brazil, are expanding rapidly, with Mexico’s music industry growing 18% in 2023 alone. Major labels are actively investing in high-growth regions, with Universal, Warner, and Sony making strategic acquisitions in countries such as Nigeria, India, and Brazil. Streaming and social media have enabled more diverse, regionalized music markets worldwide. https://lnkd.in/gA9vJFUP #musicbusiness #independentmusic #musicindustry

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The theatrical business is still struggling to return to pre-pandemic levels, with consumer discretionary spending on the decline and rising ticket prices. The CEO of Sony might be onto something with his suggestion to decrease ticket prices. Lowering prices could make movie-going more accessible, increase foot traffic, and provide a competitive edge over streaming services. It's a strategy worth considering to revitalize the industry.

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ColorNation Colorists Talk Color We’re back with the latest Q&A with ColorNation’s roster of world-class colorists, this time with Cory Berendzen. An Austin native who honed his craft in L.A. before continuing his career in his hometown, Cory’s work spans a range of styles, genres, categories and techniques, from fashion and beauty to music videos to lifestyle ads to TV series and indie features. Along the way he’s worked at some of the top post houses on the West Coast, including Encore and The Mill, before landing at TBD Post. Now based in Central America, he’s graded for clients around the world, with work for brands, media companies and artists like Pepsi, Dr Dre, Dell, Lupe Fiasco, Pit Bull, Ulla Johnson, HBO, Netflix, Discovery, and more on his reel. To see his work, go to https://lnkd.in/gNdrTeaP. What does being repped by ColorNation mean for you? Well, Reid has significant experience and connections, and his expertise will help provide insights, opportunities and mentorship. Along with that, he's a very upbeat and positive person, which helps ease the process that is post production. He understands what it’s like to be a business owner, a client and a sales rep, and that helps inform his point of view. What’s been your most notable grading job of the past year or so? What made it stand out? One was for Seco Herrerano Rum. We worked closely with the director to use bright colors and nostalgic tones to evoke emotions, create an upbeat mood and enhance the vibrant energy of Panamá. These were my first Central American spots, and first experience with an agency outside the US. To nurture a new collaboration in a new country made grading these fun spots even more exciting. And a campaign for designer Ulla Johnson are the kinds of projects I most enjoy. There was mixed film and digital footage, which had to be matched and presented as a cohesive aesthetic. The grade needed to also present the brand in a natural, lush environmental setting. There was also an opportunity to offer my creative input, and I collaborated closely with the production and editorial team. What drew you to color? The ability to manipulate colors to evoke specific emotions, enhance the filmmaker's storytelling and create visually striking images is always rewarding. I love the challenges, translating the director or DoP's vision, and the opportunity to collaborate so closely with them. What have you seen recently,that blew you away from a color standpoint? I’d have to say “The Batman.” Ironically, I’m more of a reader, spending free time reading or listening to audio books, so I don't find myself watching shows or movies very often. But when I saw this in the theater I found myself admiring the immersive pastel color palette and iconic, comic book-framed cinematography. The shadows for such a dark film were set to allow for deep areas, but not limiting any details, as they were crucial to the story. #colorgrading

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/8/24: Exhibitors are smiling over BEETLEJUICE BEETLEJUICE's $110M opening -- except for those who realize the next mega-boxoffice-hit isn't arriving until 10/4 with JOKER: FOLIE À DEUX.   We're living in a tentpole world now and it's feast-or-famine in the Hollywood boxoffice jungle. The studios can thank themselves for today's moviegoer mindset about only paying to see event films. That's the legacy from letting the SAG-AFTRA & WGA strikes drag on-and-on until the product pipeline was nearly dry. That failed strategy forced movie fans to find other ways to stay entertained -- like streaming at home small dramas without big stars, rom-coms, comedies & action films without killer effects.     Exhibs can look forward to a smaller boost 9/20 from Paramount/Hasbro's PG rated animated action adventure TRANSFORMERS ONE, which Hollywood buzz-ards see opening to $45-55M. The kids descending on the multiplexes will be buying plenty of popcorn & candy.   This weekend, however, was definitely one to celebrate. WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE, directed by Tim Burton, debuted to an over-performing $110M at 4,575 theatres ($24,044), per Comscore. BB, which reportedly cost $100M to produce, opened internationally to $35.4M for a worldwide cume of $145.4M.     Hollywood insiders started out looking for an $85M domestic launch and  bumped it up to the high $90M's as the weekend approached. It's tracking best for first choice with over-25 women (28 points over norm). Rotten Tomatoes critics are okay at 76% and audiences are happier at 82%.   Driven by BB, this weekend's domestic marketplace totaled $149.1M, per Comscore Senior Media Analyst Paul Dergarabedian, up 72.8% from the prior weekend and up 66% vs. this time last year. Comscore's year to date tally has 2024 at $5.94B, down 13% from $6.84B in 2023. The previous weekend, 2024 was down 14% vs. 2023.   Meanwhile, back at the multiplexes: The weekend's only other wide release was A24's horror thriller THE FRONT ROOM, which opened #11 to a dismal $1.7M at 2,095 theatres ($794). It's tracking best for first choice with under-25 women (equal to norm). Rotten Tomatoes critics hate it at 51% and audiences are a grim 39%.   Next weekend should be chilly at the boxoffice: Universal/Blumhouse Productions' R rated horror thriller SPEAK NO EVIL opens at about 3,200 theatres. It's tracking for first choice below norm with all demos.   Lionsgate's R rated action comedy thriller THE KILLER'S GAME, starring Dave Bautista, opens at about 2,500 theatres. It's tracking for first choice below norm with all demos.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #beetlejuice    

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Defying Gravity “The U.S. economy exceeded expectations for the month, adding 254,000 jobs in September, but the entertainment industry continued its steady decline, shedding positions in film, broadcasting, and content production.” https://lnkd.in/ef5jvDUr Things continue to be bad in Media. For a while I’ve been warning you that things will only get worse before they get better. So, WHY is Media Industry employment moving in the opposite direction of the rest of the American economy? And what TF can we do about it? I offer deep cuts on both topics in this interview: https://bit.ly/ESHAPTHR And, for those most adversely affected by the current chaos, I provide a panoply of links and actions to help survive, and maybe even thrive, here: https://lnkd.in/eaQGW3dq The cure for our industry depends on us all to finally stop following the leaders who got us here and start listening to our audiences. The first step to finding your path out of this darkness is to realize that the only light you really need comes from within you - but only if you look for it. We ARE all in this together. But this shit ain’t gonna fix itself, and new opportunities are NOT going to come looking FOR YOU. So much of what we all did for a living was easier than it should’ve been, for too long. That time is over. It’s time to wake up stupid everyday, and teach ourselves how to remake the industry and the careers we all deserve.

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Many of us have been beating this drum that "self-distribution” is often a component of a larger Distribution strategy because most films can start with some type of traditional theatrical release -- even a single awards qualifying playdate -- and eventually find their way to global streamers and other traditional ancillary channels. "Self-distribution" and "DIY" therefore penalize a film's gravitas, and the monikers fail to evoke the reverence of the risk-taking entrepreneur and the savvy of storytellers who choose to retain control of their IP. The terms must be retired, and in his compelling missive, Jon Reiss is saying as much. We are doing a disservice to our industry by using these terms. The symbolic prestige of an acquisition often obfuscates a powerful truth: Tech and Data are the best allies of IP owners. Establishing a direct relationship with one's audience and using technology to monetize that relationship (and/or to drive measurable impact) is a compelling alternative to standard film sales and acquisitions. I view this strategy as its own distinct window, which we (at Gathr) call the Direct To Audience ℠ (DTA) window. In this window, IP owners can field direct audience demand for theatrical and non-theatrical screenings, Virtual Event Cinema, TVOD, and Partner TVOD, where we have combined film booking/exhibition with ticketing and consumer check out. Leveraging technology platforms like Gathr, Kinema, Show And Tell Productions Ltd, Artinii.Pro, Seed&Spark, and others drive better economics, rapid cashflow, and critical data insights. Capitalizing on Traditional Theatrical validation (and in the best of circumstances, momentum), the subsequent direct, real-time audience engagement that the DTA window facilitates provides empirical consumer data for ongoing ancillary distribution marketing. Once DTA opportunities plateau, a film can and should pursue global streaming platforms for TVOD, SVOD, and other ancillary rights deals. However, the data will be sparse and delivered far too late to inform marketing efforts. By incorporating the DTA window IP owners will have cash on hand as well as a warchest of consumer data with which to run empirical look alike campaigns for digital ads. The DTA window not only generates valuable data and drives better economics but also empowers filmmakers by placing them in direct control of their IP and audience relationships. In this evolving landscape, the ability to leverage technology and data is often more impactful and more financially rewarding than traditional distribution channels. Let’s fully embrace distribution in all its evolving forms and normalize the Direct To Audience window as an essential part of every Storyteller's strategy because DTA offers them a clear pathway to success in a way that distribution without it simply cannot match today.

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👉🏻 The indy box office saw another record performance in 2023. In particular, this was driven by the continued power of independent horror to punch above its weight. 👉🏻 Blumhouse’s Insidious: The Red Door brought in $189 million worldwide ($16M budget, distributed by Sony Pictures) 👉🏻 Spyglass Media Group’s Scream VI also enjoyed takings of $168 million ($33M budget, distributed by Paramount Pictures) 👉🏻 Meg 2: The Trench brought in $395 million at the global box office ($129M budget, distributed by Warner Bros) 👉🏻 However, if the performance of the 10 most successful independent films is taken as an indicator of the popularity of indy films more broadly, it seems that the sector is still enjoying a healthier recovery than the studio system. 👉🏻 While studio film receipts seem to be on the verge of catching up, and overtaking, indy movie growth in the next year, the independent film market still finds itself in its healthiest position for years. 👉🏻 Can we really class a $129M budget as an independent film? How can we define a truely independent film and real growth in the sector? 👉🏻 Whilst the signs are positive, the industry is still on its knees, especially with more than half of the freelance workforce unemployed. I hope this changes soon.

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I have a question for Publishers and others in the Publishing World out there... I wrote two books with Callisto Media/Rockridge Press. Callisto Media has since been bought out: "NAPERVILLE, Ill., May 9, 2023 /PRNewswire/ -- The publishing assets of Callisto Media, a leading nonfiction publisher, have been sold in a Sourcebooks-led, Penguin Random House-funded acquisition." The books I published with them then began being distributed by Simon & Schuster, and I found both of my books, as well as an author page up in my name, at Simon & Schuster's website. Simon & Schuster has since been sold out: "In [October, I believe] 2023, leading global investment firm KKR acquired Simon & Schuster from Paramount Global. For the first time in nearly 50 years, Simon & Schuster was no longer part of a larger conglomerate, marking a return to its roots as a standalone, independent publishing company." I just recently discovered that my books and my author page have both disappeared from Simon & Schuster's website. I also looked up an aquaintance on this site, a fellow Callisto author, and her books and author page were gone as well. My questions: What happens to our books? How can we find out? Will Rockridge books be shuffled around to another company? Could these books go out of print? These were contracted works, a one-time payment, it's not like I'm going to miss out on royalties; but these are very popular books and the sales of these books helps to promote my other books. And then, there's all the hard work that went into writing these books; I'm proud of them and I want them to do well for whatever company they wind up with.

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 7/28/24: The analysts who said the movie business is dead, the pundits who claimed exhibition is doomed and the haters hurrying to bury Marvel and its superheroes can't be very happy today.   With DEADPOOL & WOLVERINE opening to $205M, per Comscore, there's no question that this summer's boxoffice recovery is real, that exhibitors are still in the game and that Marvel has a new lease on life. D&W director Shawn Levy (FREE GUY), Ryan Reynolds & Hugh Jackman made a movie people can't wait to see. Amazingly, that $205M gross is for an R rated film!   Hollywood buzz-ards were warning last week that D&W could arrive to $160-175M rather than the $200M that earlier projections indicated. But as we've seen all summer, it's no longer safe to predict big openings from advance ticket sales.   A great thing about moviegoing is that unlike stage plays and concert events, you can make a last minute decision to see a movie and walk up to the boxoffice and get tickets. Very wide releases and multiplexes with multiple auditoriums but not enough movies to play, make it likely that last-minute arrivals won't be turned away.    Driven by D&W, this weekend's domestic marketplace totaled $277.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 84.6% from the prior weekend and up 28% vs. this time last year. Comscore's year to date tally has 2024 at $4.69B, down 17% from $5.65B in 2023. The previous weekend, 2024 was also down 17% vs. 2023.   Meanwhile, back at the multiplexes: D&W's launch to $205M was at 4,210 theatres ($48,694). Internationally it's done $233.3M, per Comscore, for a worldwide cume of $438.3M. D&W reportedly cost $200M to produce and  should be very profitable.   D&W is tracking best for first choice with men over 25 (32 points over norm) and next best with men under 25 (27 points over norm). Rotten Tomatoes critics are okay at 79%, but audiences are wildly happy at 97%.   Universal/WB/Amblin Entertainment's PG-13 action adventure thriller "TWISTERS" was the weekend's #2 film with $35.3M (-57%) in weekend two via Universal at 4,170 theatres ($8,465). TWISTERS, which reportedly cost $155M to produce, has done $154.9M domestic and $63.3M internationally via WB for a worldwide cume of $221.3M.   As for next weekend: D&W will be #1 again. WB's PG-13 horror mystery TRAP, directed by M. Night Shayamalan, is opening at about 3,200 theatres. TRAP's tracking below norm for first choice with all demos. Hollywood handicappers expect a $20-25M opening.   Sony/Davis Entertainment's PG animated comedy adventure HAROLD AND THE PURPLE CRAYON is opening at about 3,000 theatres. HAROLD is tracking below norm for first choice with all demos. Analysts see a $10-15M opening.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #deadpool #wolverine #ryanreynolds #hughjackman

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