Lisa Dattilo

Cinema Screen Demand and Supply: "There’s this perception that certain cinemas play certain movies and others don’t. That may have been true 30 or 40 years ago, but not anymore. Right now, there’s practically no difference between an independent, art house cinema and a multiplex #cinema operator. We are all playing the same movies. The multiplex operators are playing more independent films than Picturehouse. They’re also playing more independent films than Everyman cinemas. And part of the reason is that we have more screens..." Tim Richards CEO Vue #LeisurePropertyESS https://lnkd.in/ehkYEuMA

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🗺 DAY 2: WEST LA It’s Finding Labor Day! This part of town is kind of a hodgepodge for our search. Crossing Beverly Glen at Santa Monica Blvd, there’s LoLA VFX straight away on the right, then a couple of street lights further at the corner with the land shark Pokémon Go battle point, there’s CESD. This is where many of your promo and voice-over artists are represented. Another mile, past the School For Comedy, and you’ll reach Penske Media Corp, the Hollywood industry gossip capitol of the world - home to Deadline Hollywood, Daily Variety, The Hollywood Reporter, Rolling Stone, Billboard, TV Line, IndieWire, along with The Golden Globes, the AMAs, SXSW, ATX, the STREAMYs, So You Think You Can Dance, Dick Clark Productions and like 10 others. Yep, all of those folks are owned by the same company now. See? Hodgepodge. But of I were to properly pigeon-hole this area, I’d say it’s UCLA turtles all the way down, er Bruins. You’ve got the University, the Medical Center, the Hammer, UCLA Extension popups everywhere, and my favorite movie theater of all time The Crest, now reopened as the Cap UCLA Nimoy. And I was hoping Google would finally take over the abandoned Westside Pavilion but UCLA scooped that up too. It’s gonna be turned into some crazy advanced research lab in a couple years. If you’re looking for tenure as a film professor, guest lectures, film preservation, student game design, meteorite studies or continuing education this part of town is the place to be. Pigeons, Turtles, and Bears oh my. Moving on, there’s also a smattering of folks in the towers along Wilshire corridor. Laundry Service has an office around here. TMB is here - they cover brands like Reader’s Digest and FailArmy. Robert Half has an office here for recruiting and staffing. The operating committee for the Olympics has contact info here as well. Lots of jobs to help with the events listed on the LA28 landing page. Further south, Toei Animation does the media and consumer products licensing for Dragon Ball and One Piece. I can’t quite figure out AfterParty over there by the Apple Pan, but it looks like an AI version of Cameo but just for NFT influencers and virtual avatars. If you’re looking for a delightful kitchen space for events or production, Venue 66 is a hidden gem on the hill. And special shout-out while we’re here to BuiltInLA for one of the better local-focused tech industry sites. Found many a good company to feature on this tour from their directories. Personal favorites in this hood are mOcean and Imaginary Forces. Those spots look like particularly fun places to work. Here’s the interactive map update to explore all 60+ companies and their job boards: https://tinyurl.com/TNHCD 🌮 LUNCH BREAK: I miss Stan's Donuts. Instead, biscuits from John O’Groats, warm croissants from Haus Of Bread, shish kabob from Sunnin, cheap eats at Tacos 1986 and ignore what Demi Lovato says, the Bigg Chill still has good soft serve.

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Last week on The Weekly Briefing Alec McNayr, co-founder of McBeard, shared his firsthand experience of running and selling his business. For more insights and conversations with creative industry professionals, join RevCommunity. Also, join us live every Wednesday at 5 PM ET for The Weekly Briefing. 🔗Links in comments. #AlecMcNayr #McBeard #businessinsights #creativeindustry #RevCommunity #entrepreneurship #businesssuccess #industryprofessionals #livestream #management #creativestudio

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And so it begins. Cable 2.0 is here.

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I’m thrilled about the theatrical release of the new Burden of Dreams restoration, which utilized a unique approach to the sound restoration. Although it is common and even expected for modern film restorations to use the original camera negative rather than a print or intermediate pre-print material, the sound work within a restored film essentially never attempts to achieve a similar quality to the camera negative. In fact, the sound used is not just one generation away from the source like an interpositive, but typically three to five generations away from the original production recording. This is true of all high-budget studio film restorations as well as lower-budget independent films. Not only does sound typically get nowhere near the same budget or care as picture restoration, but the complexity inherent in the original audio editing and mixing process creates a significantly more difficult workflow than simply re-timing a camera negative. Also, original sound elements have often already been thrown away or allowed to deteriorate since they were rarely considered important for preservation.  Burden of Dreams is the first of a series of restorations from Endpoint Audio employing a unique sound restoration approach using original “camera negative” source recordings instead of multi-generational copies. This included the roughly 130 Nagra production tapes recorded in Peru, as well as the source music elements. Instead of using digital tools to remove common problems like noise, distortion, and wow, new software tools were developed to help re-conform and forensically remix audio sources to simply avoid the need for this type of restoration processing and to preserve the amazing original audio fidelity. The fidelity of the source recordings are often so good that they can sound contemporary even though they were recorded almost 45 years ago. Although somewhat radical for sound, this workflow is not unlike what is used today when going back to camera negatives and retiming them to match a reference print. This workflow is especially helpful for independent films like Burden of Dreams that were mixed on 16mm mag and/or endured a high number of sound generations. For example, compared to previous work, most music in the new restoration has five fewer analog generations and most dialogue has four fewer analog generations. The Los Angeles premier is this Saturday at the Academy theater. https://lnkd.in/gznZVbCv If you can’t make the Academy screening, additional screenings can be found here: https://lnkd.in/g4CRiQBG

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Tax credit programs significantly impact the film industry by incentivizing productions to shoot in specific locations, thereby boosting local economies. For instance, California's program aims to attract productions with tax incentives, potentially revitalizing the industry and competing with other hubs like Georgia and Kentucky! Yup…. I SAID KENTUCKY! Do you know that Kentucky’s incentive give your 30% to 35% CASH BACK. Not a tax credit! DM me if you want to know more!!!

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Attempts to evade identity by latching onto another artist’s identity are seen as in-authentic by #GenZ. Create and define a #BrandIdentity of your own. That is what this market is waiting for. #SoundInMarketing #SonicBranding #SensoryMarketing

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Attempts to evade identity by latching onto another artist’s identity are seen as in-authentic by #GenZ. Create and define a #BrandIdentity of your own. That is what this market is waiting for. #SoundInMarketing #SonicBranding #SensoryMarketing

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Check out my latest article in TheWrap highlighting the most anticipated TV shows of November! #StreamingAnalytics #EntertainmentTech #WhipMedia

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The world now has an abundance of tools to help us cut corners. What previously required mindful discussion, skill, time, and attention can now be created instantly with the click of a button for a fraction of the cost. When corners are cut and these "easy-button" works are published for public consumption with little human oversight, we put society, public knowledge, and potentially our history at risk. We stand at a dangerous precipice. We need regulations on a system-wide basis and a clear understanding of disclosure requirements. There need to be rules and penalties when AI use is not disclosed properly. In the same way the food industry is regulated to tell you exactly what is in what you are buying, there should be consistent labels and language across all products. Our knowledge should be treated with the same amount of care as our health. Short of all these tools going away, this is the only way to protect the public. #ai #artificialintelligence #genai #regulation #disclosures #netflix #responsibleai

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Check out my latest article in TheWrap, highlighting the most anticipated TV shows of October! Leading the new releases is CBS’s reboot of Matlock, while the hit procedural Tracker tops the list of returning series. Dive into the full details here below...#StreamingAnalytics #EntertainmentIndustry #WhipMedia

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I’m thrilled to share exciting new research No Guarantees has commissioned in partnership with leading trends and generation research firm Culture Co-Op. The report explores what Gen Z and Millennials think about Broadway, examines the reasons they aren’t showing up, and suggests strategic steps the industry can take to cultivate new, engaged audiences. The research shows that Gen Z and Millennials’ lack of Broadway attendance is not due to details like a particular show’s cast, subject matter, or number of awards it has received. Instead, it’s a handful of deep misconceptions about Broadway itself, like confusion about ticket prices, the number of shows playing at any given time, access to tickets, and who Broadway is even meant for. The great news for Broadway is that while Gen Z & Millennials may not know much about individual shows or what’s happening in the theater industry, the Broadway brand remains extraordinarily strong. They are curious about us, and 91% even reported being more interested in Broadway simply by taking the survey! They’re ready to be brought into the fold. This gives all of us the ability to appeal to the existing interest of new, young audiences and develop a modern, actionable strategy to make it happen - to meet people where they really are. There’s so much to dive into so please check out the full report, which you can download at noguarantees.com. Please feel free to reach out with any questions, comments, or ideas!

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This is an interesting and insightful film industry article. I am currently producing a few feature films with international co-production partners for theatrical release. Whilst it's always very difficult due to increased costs including needing a much larger budget to include the necessary marketing funding to ensure, and improve the films chances of a successful outcome on release! It's worth mentioning that not all feature film's are suitable for a theatrical release for a variey of reasons including that the story may not be high concept enough to secure a paying audience. There is plenty of room for all feature and factual film content in the market place. The decision to whether an individual film is destined for theatrical release starts firstly by how strong the story' premise, and that the film has the ability and potential to drive a paying audience to the cinema. It's possible to negotiate with a studio to secure soft money! In my case, streamers is only a second window option once my feature films completes it's release run.

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