meyersound.pngWarner Bros. De Lane Lea, one of the world's premier sound post-production facilities, has added 24 additional Meyer Sound cinema loudspeakers to its primary mixing stage as part of a recent upgrade to Dolby Atmos. The newly outfitted Stage 1 is central London's largest stage and also its first to offer this format. It has been booked for the mixing of major feature films since re-opening.

Stage 1's proven track record using the Meyer Sound 7.1 cinema system since its installation in 2010 meant that the natural choice for expansion was the selection of additional Meyer Sound components to meet the rigorous requirements of the Dolby Atmos format.

"Dolby Atmos places intensive demands on the monitoring system," notes Chris Burdon, staff re-recording mixer at Warner Bros. De Lane Lea. "Replaying full-range audio across the entire surround array at high levels, while maintaining accuracy, is a new challenge. Fortunately, we've found that the Meyer Sound system provides the necessary audio fidelity and output power to mix confidently in Atmos. The traditional Meyer strong points of smooth frequency response and spatial accuracy really come into their own in helping to create a continuous sound space."

The complete Stage 1 monitoring system is anchored by three Acheron® 80 and three Acheron LF screen channel loudspeakers, one of each paired to receive a separate channel. Atmos surround sound is provided by 12 HMS-10, 10 HMS-12, and 10 HMS-5 surround loudspeakers, while five X-800C high-power cinema subwoofers in front and two X-400C cinema subwoofers in the rear provide low end. A Galileo® loudspeaker management system with one Galileo 408 processor supplies system drive and optimization.

"In our most recent feature film mix, the main setting for the characters needs a wide, surround-heavy soundscape to really immerse the audience," explains Burdon. "The 360-degree sound image was well controlled, allowing the story to be told without distracting the viewer from the narrative."

Burdon notes that Dolby Atmos soundtracks "often involve high sound pressure levels, but the Meyer monitoring helps keep ear fatigue to a minimum."

Stage 1 at Warner Bros. De Lane Lea offers a seven-meter screen, an 80-fader AMS Neve DFC Gemini digital mixing console, seven Pro Tools HDX systems for playback and recording, and film and 2K 3D digital projection.

In addition to Stage 1, Meyer Sound cinema systems are installed in two other Dolby-certified mix stages at Warner Bros. De Lane Lea. The facility offers a fourth mix stage that features Dolby Atmos Home Theatre monitoring, two ADR stages, a 37-seat screening theatre with 4k 3D digital projection, and 51 cutting rooms.

ABOUT MEYER SOUND
Family owned and operated since 1979, Meyer Sound Laboratories, Inc. designs and manufactures high-quality, self-powered sound reinforcement loudspeakers, digital audio systems, passive and active acoustic systems, cinema sound systems, and sound measurement tools for the professional audio industry. Founded by John and Helen Meyer, the company has grown to become a leading worldwide supplier of systems for theatres, arenas, stadiums, theme parks, convention centers, houses of worship, and touring concert sound rental operations. Meyer Sound's main office and manufacturing facility are located in Berkeley, California, with field offices and authorized distributors located throughout the USA and around the world. Meyer Sound is a registered trademark of Meyer Sound Laboratories, Inc. All rights reserved.

More information is available at Tel: +1 (510) 486-1166, Fax: +1 (510) 486-8356, email: winnie@meyersound.com or by visiting www.meyersound.com .

Become a fan of Meyer Sound on Facebook: http://www.facebook.com/meyersoundlabs

Follow Meyer Sound on Twitter: http://twitter.com/meyersound

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mpaa.pngWASHINGTON - The following is a statement from Senator Chris Dodd, Chairman and CEO of the Motion Picture Association of America, Inc. (MPAA) regarding the agreement reached between the United States and China on product-scope in connection with the negotiations to expand the product coverage of the Information Technology Agreement (ITA).

"MPAA commends the United States and China for reaching a crucial agreement on expanded product coverage in the negotiations to update the Information Technology Agreement (ITA). Once concluded, this agreement will encourage the growth of the U.S. and global motion picture industries by eliminating costly tariffs -- some as high as 30% -- on a wide range of digital and optical media and storage devices used in worldwide motion picture production, editing, distribution, and exhibition.

MPAA is grateful for the hard work and leadership of President Obama, U.S. Trade Representative Michael Froman and the USTR team, who have worked tirelessly to narrow the differences with China to reach an understanding which will lead to a commercially significant agreement. MPAA also applauds China for contributing to the resumption of negotiations. We encourage all ITA participants to seize the momentum created by this agreement to resume and rapidly conclude the negotiations."

About the MPAA

The Motion Picture Association of America, Inc. (MPAA) serves as the voice and advocate of the American motion picture, home video and television industries from its offices in Los Angeles and Washington, D.C. Its members include: Walt Disney Studios Motion Pictures; Paramount Pictures Corporation; Sony Pictures Entertainment Inc.; Twentieth Century Fox Film Corporation; Universal City Studios LLC; and Warner Bros. Entertainment Inc.

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By Daniel Garris

Disney's Big Hero 6 led the way at the box office this weekend with $56.22 million. That gave the 3D computer animated film from Walt Disney Animation Studios a relatively comfortable win in its battle with Interstellar this weekend to kick off the holiday movie season. Big Hero 6 opened in line with its lofty expectations and is set to represent another strong recent performer for Walt Disney Animation, joining the likes of last year's Frozen, 2010's Tangled and 2012's Wreck-It Ralph. Big Hero 6 opened an impressive 15 percent stronger than the $49.04 million debut of Wreck-It Ralph.

Big Hero 6 opened in a close second with $15.81 million on Friday (which included $1.4 million from late night shows on Thursday), moved into first place on Saturday by surging 52 percent to gross $24.05 million and fell 32 percent on Sunday to gross $16.36 million. That placed the film's opening weekend to Friday ratio at 3.56 to 1. Big Hero 6 received a strong A rating on CinemaScore, which is a very good sign for the film going forward.

The audience breakdown for Big Hero 6 was evenly split between genders and skewed towards moviegoers under the age of 25 (58 percent). Family audiences made up a sizable 72 percent of the film's overall audience. 3D grosses accounted for 29 percent of this weekend's overall grosses.

Paramount's Interstellar was considered the favorite by many heading into the weekend, but ultimately had to settle for second place with $47.51 million (the film came in roughly $2.5 million below Sunday's studio estimate). The highly anticipated Christopher Nolan directed sci-fi film has grossed $49.66 million to date, after an additional two days of limited release on Wednesday and Thursday. Interstellar opened 15 percent below the $55.79 million start of last year's Gravity (which did have the advantage of higher priced 3D admissions) and 24 percent below the $62.79 million debut of 2010's Inception. Given the comparisons, it appears that the high level of anticipation for Interstellar among Nolan's fanbase didn't really transfer over outside of the fanbase. The film's mixed critical reviews likely played a significant part in that.

Interstellar took first place on Friday with $16.87 million (which included $2.7 million from late night shows on Thursday), increased a modest 8 percent on Saturday to fall to second with $18.29 million and declined 32.5 percent on Sunday to gross $12.35 million. That places the film's opening weekend to Friday ratio at 2.82 to 1. While the film's nearly three-hour run-time will likely lead to some natural back-loading, it remains to be seen if Interstellar will hold up as well as Gravity and Inception did. The film's B+ rating on CinemaScore, while solid, also leaves a bit to be desired, though it should be noted that Inception also received a B+ rating on CinemaScore.

The audience breakdown for Interstellar was nearly evenly split between genders (52 percent male, 48 percent female) and skewed heavily towards moviegoers 25 years and older (75 percent). With that in mind, the relative lack of appeal with teens and young adults was a key component of the film's softer than expected start. Interstellar received a significant boost from its strong IMAX performance this weekend.

With the weekend's box office being dominated by the battle between Big Hero 6 and Interstellar, holdovers took a clear backseat. In addition, holdovers were especially bunched together, as just $833,859 separated third place and seventh place this weekend.

Fox's Gone Girl claimed third place with $6.21 million. The critically acclaimed David Fincher directed film continued to hold up well as it was down just 27 percent from last weekend. The hold was especially impressive given the new competition from Interstellar. Gone Girl has grossed an impressive $145.54 million in 38 days, which leaves it $4.46 million away from reaching the $150 million domestic mark.

Ouija followed closely behind in fourth with $5.87 million. The low-budget horror film from Universal and Platinum Dunes was down a very respectable 45 percent. After opening on the low end of expectations a few weeks ago, Ouija has held up surprisingly well for a horror film. The 17-day total for the film stands at $43.33 million.

Sony's Fury rounded out the weekend's top five with $5.63 million. The World War II film starring Brad Pitt was down a very solid 36 percent from last weekend. Fury is on the verge of clearing the $70 million mark with a 24-day take of $69.39 million.

The Weinstein Company's St. Vincent placed in sixth with $5.41 million. The well-received comedy starring Bill Murray and Melissa McCarthy had another strong hold this weekend, as it was down only 25 percent. Thanks in part to continued strong word of mouth, St. Vincent has grossed $27.05 million to date.

On the heels of last weekend's close second place start, Open Road's Nightcrawler fell to seventh place this weekend with $5.37 million. The critically acclaimed crime thriller starring Jake Gyllenhaal was down a significant 49 percent, which suggests that the film isn't going over as well with audiences as it has with critics. Nightcrawler has grossed $19.62 million in ten days, which is in line with expectations.

On the platform front, Focus' The Theory of Everything was off to a noteworthy start with $208,763 from 5 locations in New York, Los Angeles and Toronto. That gave the James Marsh directed biopic of Stephen Hawking a per-location average of $41,753 for the frame.

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North Hollywood, Calif. -- NATO today released technological requirements for High Dynamic Range (HDR) projection systems for movie theaters. The requirements, developed by NATO's Technology Committee and NATO's technology consultant, Jerry Pierce, seek open standards for the technology, so as to avoid multiple, incompatible proprietary systems.

NATO's Technology Committees have a mission of encouraging new technologies that may benefit the entire industry. To that end, we believe new image presentation systems have the potential to bring new experiences to our patrons. At this time NATO is not endorsing High Dynamic Range (HDR) or Laser systems, but we believe it is important for NATO to identify requirements necessary to bring these new technologies into our theaters. We hope to work with studios, service providers, and equipment manufacturers in understanding and refining our requirements.

It is critical that there not be multiple proprietary solutions for theaters. It is essential that a theater that selects one class of HDR or Lasers be able to play all movies that are released in this class of new technologies. We also recognize the complexities of mastering to multiple target systems and the added complexity of distribution of multiple masters. We also believe it is time to define standards for new 2D and 3D projectors. With this in mind, and considering the difficulties of achieving high brightness particularly on low gain screens, there should be an acceptable tolerance either side in achieving these defined open standards. There also needs to be consideration of the illumination fall off with age of laser-based projectors.

Based on the work in Inter-Society and ISDCF (Inter-Society Digital Cinema Forum) with participation from all sectors, NATO believes that there should be no more than four open standards for HDR defined - two for HDR-2D and two for HDR-3D for new HDR/Laser experiences. We are not proposing the numerical standards for the standards. We believe the creative and technical groups should define the detailed values. We believe defining an open standard is the most effective way of helping guide the industry without constraining creativity.

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By Alex Edghill

Minions led the pack this past week in Facebook like increases, coming in with just under 940k new likes. The lovable Minions have been a pop culture hit since their first appearance in Despicable Me back in 2010. The reception of their first trailer has been nothing short of remarkable, especially since these 'creatures' are relatively young and have been around for less than five years. So far this gets an A+ for social media buzz (Twitter has been huge too for its first trailer), as there have been few animated films over the last five years to generate anywhere near the same level of hype.

The latent buzz from the Furious 7 trailer saw it only a few thousand likes behind Minions as it approached 1 million likes for the second weekend in a row. Not much more to be said here for the film which continues to set the gold standard for all Facebook buzz.

Fifty Shades OF Grey released a teaser trailer to its second trailer that generated a sizeable 200k new likes but the real test comes with its full trailer to see how much buzz it will generate when compared to the first trailer and if it can sustain the momentum the novels and early buzz created.

Into The Woods saw the biggest percentage increase on the week as its trailer was attached to the very well received Big Hero 6. Easier to get big increases for a film which has low overall numbers but given the Disney name and actors such as Meryl Streep this is an intriguing choice for the holiday season which might be able to have a wide appeal.

Facebook Top 15 Movies by Like Increase for the Week Ending Sunday November 9th

Rank Release Movie Likes Previous Change % Change
1 07/10/15 Minions 26,939,175 25,999,212 939,963 3.62%
2 04/03/15 Furious 7 53,700,512 52,762,954 937,558 1.78%
3 11/21/14 The Hunger Games: Mockingjay Part 1 21,064,202 20,855,380 208,822 1.00%
4 02/13/15 Fifty Shades of Grey 5,372,101 5,164,688 207,413 4.02%
5 11/14/14 Dumb and Dumber To 4,111,393 4,026,647 84,746 2.10%
6 11/26/14 Penguins of Madagascar 3,238,492 3,171,167 67,325 2.12%
7 05/01/15 Avengers: Age of Ultron 12,354,693 12,306,347 48,346 0.39%
8 09/19/14 The Maze Runner 1,718,167 1,672,104 46,063 2.75%
9 06/26/15 Ted 2 20,662,311 20,616,708 45,603 0.22%
10 12/25/14 Into the Woods 88,554 60,886 27,668 45.44%
11 02/06/15 The SpongeBob Movie: Sponge Out of Water 308,768 281,196 27,572 9.81%
12 12/17/14 The Hobbit: The Battle of the Five Armies 14,188,405 14,162,615 25,790 0.18%
13 03/25/16 Batman V Superman: Dawn of Justice 3,553,293 3,528,962 24,331 0.69%
14 01/16/15 Paddington 386,869 362,621 24,248 6.69%
15 08/08/14 Teenage Mutant Ninja Turtles (2014) 1,760,530 1,737,553 22,977 1.32%

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