Brian Weiner

Cross-Media Synergy: Japan’s Secret Sauce for hashtag #IP Success Japan nails it when it comes to cross-media IP, and here’s why: Planned from Day One: Many Japanese IPs, like Uma Musume, are built to succeed across multiple platforms—anime, games, music, you name it. Teamwork Makes the Dream Work: hashtag #Anime production committees include investors from hashtag #games, TV, and more, creating a multimedia-first approach that drives massive success. The result? IPs that thrive across all formats.

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In a groundbreaking move, Voice-Swap, an innovative AI voice company co-founded by DJ Fresh, has launched a free-to-use VST plugin that's set to revolutionize music production. This cutting-edge technology allows producers to seamlessly integrate licensed voices into their digital audio workstation (DAW), with automatic royalty payments to the artists behind each voice. With Voice-Swap, producers can choose from a menu of iconic voices, including house music legend Robert Owens, Ayah Marar (Calvin Harris and Nervo collaborator), Angie Brown (The Rolling Stones, Happy Mondays, Grace Jones), and more. The plugin enables users to tailor lyrics to fit their creative vision, ensuring a personalized touch. What sets Voice-Swap apart is its commitment to ethical AI use. The company has earned a Fairly Trained Certification, ensuring all current models meet the highest standards. Additionally, custom voice uploads are cross-checked against BMAT's vast database of over 180 million audio fingerprints to prevent unauthorized use. Voice-Swap's CEO and co-founder, Dan Stein (aka DJ Fresh), envisions a future where producers can effortlessly collaborate with their favorite vocalists. "Being able to load up your favorite vocalist straight into your DAW has always been the vision for Voice-Swap," he explains. "Now you can also make your own high-quality models and load them straight into your session." The plugin's custom model training feature allows users to create and share their own voice models, which can be shared privately with other producers, musicians, or labels and agents. This innovative approach democratizes access to high-quality vocal talent, empowering creators to push the boundaries of music production. By prioritizing ethical AI use and fair royalty payments, Voice-Swap is poised to transform the music industry. As Stein notes, "Our BMAT integration ensures rightsholders can trust your models. Once that trust has been established, those models can be shared with other Voice-Swap users, or even made available to licensees and partners via our new API." How do you think AI can enhance music production while promoting inclusivity and fairness? #EthicalAI #MusicProduction #Innovation #MusicTechnology #VSTPlugin #GameChanger #MusicIndustry #FutureOfMusic #AI #Tech #VoiceSwap

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Hollywood Betting Big on Genre Films: AFM’s Vegas Move Signals Shift in the Independent Film Market For the first time in its 45-year history, the American Film Market (AFM) has traded the coastal ambiance of Santa Monica for the glitzy setting of Las Vegas, launching its 2024 event at the Palms Casino Resort. This relocation comes with high hopes for streamlined networking, concentrated events, and fresh energy—but also a dose of skepticism as the independent film market continues to erode. With a notable focus on genre films, the independent film industry is gathering to confront market challenges in a bold new setting. A New Venue and New Energy Relocating from Los Angeles, where AFM was a fixture for over four decades, the Las Vegas setting promises to bring renewed energy to the market. At the Palms Casino Resort, all activities—from screenings to panels to networking events—are conveniently held under one roof, a feature set to alleviate some of the logistical challenges of prior years. By consolidating everything into one venue, AFM aims to foster a community atmosphere, allowing filmmakers, distributors, and buyers to maximize their time without shuttling across various locations. The all-in-one setup at the Palms is already a draw for industry heavyweights. With 286 sales, production, and distribution companies registered, including significant players, AFM sees increased interest from international representatives spanning 80 countries. European delegates from Italy, France, and Germany are attending in solid numbers, underscoring the global appeal of AFM’s new setting. The Rise of Genre Films Amid Uncertain Markets In an industry facing unpredictable returns from theatrical releases, genre films have emerged as a key investment focus at this year’s AFM. Genre films, especially horror and action, command significant buyer interest due to their strong built-in audiences and relatively lower risk. The recent success of horror films like Longlegs and Terrifier 3 has reinforced this trend, with AFM showcasing an impressive slate of horror and action offerings. Projects generating buzz include George A. Romero’s final zombie movie, Twilight of the Dead, directed by Brad Anderson, and the psychological thriller Victoria Psycho, which reunites Sanctuary star Margaret Qualley with director Zachary Wigon. Action films are also gaining traction, with high-profile offerings such as Cleaner, featuring Daisy Ridley in a Die Hard-style thriller, and The Last Druid, a sword-and-sandals epic led by Russell Crowe.

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10 predictions for filmmaking tech in 2025 (not just AI stuff) 1 . More Accessible Virtual Production Tools with Smaller Set Ups 2. 3D Space is Going to be the Next Big Gen AI Focus 3. Rise of LED Wall-less Virtual Production 4. More Visual and Intuitive Ways to Steer Gen AI 5. Shift Back to On-Prem Storage 6. Agentic AI Will Start Improving Workflows 7. More Collaborative Tools for Post Workflows 8. Stock Footage and Music Will Mostly be AI Generated 9. Immersive Content Will Increase (but not for Apple Vision Pro) 10. Real-Time AI and Hardware Interfaces What else?

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 11/17/24: RED ONE didn't deliver enough green ones to help cure the boxoffice pandemic that began with JOKER 2 in October.   This weekend's only wide studio launch, Amazon/MGM Studios' PG-13 action adventure comedy RED ONE, opened #1 to $34.1M, per Comscore, at 4,032 theatres ($8,451). Produced reportedly for $250M, it was directed by Jake Kasdan (JUMANJI: THE NEXT LEVEL) and stars Dwayne Johnson & Chris Evans. Its debut beats the $30M Hollywood handicappers were projecting Saturday, but it's still nothing for exhibs to feel good about.   Although ONE is a theatrical dud, it will likely work much better for Amazon as a streaming title with The Rock as a superstar magnet for subscriber eyes. ONE can live on for years as a Prime holiday classic -- whether it is or isn't -- for seasonal viewing as streamers doze on couches globally.   Internationally, ONE is being released by Warner Bros. and has done $50M since opening last week to avoid going head to head this weekend with Paramount's Ridley Scott heavyweight GLADIATOR II -- which ki ked off to $87M overseas.   ONE is tracking best for first choice with men over 25 (six points over norm) and next best with women over 25 (three points over norm). Rotten Tomatoes critics hate it at 33%, but audiences are happy at 89%.   While ONE's modest debut can’t be putting smiles on exhibitors' faces, at least they've got bodies in seats eating popcorn and other concession treats. Exhibs have to hold on until 11/22, when Universal/Marc Platt Productions' WICKED opens to what Hollywood buzzards say will be $80M or more. It's tracking best for first choice with under 25 women (13 points over norm). No scores yet on Rotten Tomatoes.   Exhibs' other big hope 11/22 is Paramount/Scott Free Productions' GLADIATOR II. Insiders expect $65M or more. It's tracking best for first choice with men over 25 (16 points over norm). Rotten Tomatoes critics are an okay 75%.   This weekend's domestic marketplace totaled $73.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 2% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $7.08B, down 11.1% from $7.97B in 2023. The previous weekend in 2024 was down 11.4% vs. 2023.   Meanwhile, back at the multiplexes: Sony/Marvel's VENOM: THE LAST DANCE was #2 in weekend four with $7.4M (-54%) at 3,421 theatres ($2,150). It reportedly cost $120M to produce and has done $127.6M domestic.   Lionsgate/Comworld Productions' faith-based THE BEST CHRISTMAS PAGEANT EVER was #3 with $5.4M (-50%) at 3,020 theatres ($1,150). It's done $20M domestic.   Next weekend (11/22): WICKED + GLADIATOR II (see above) should pump a lifesaving $145M or more into domestic theatres.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #redone                

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Let the power of music reshape your world with Persang speakers. 🎼🌟 #HarmonyOfChange #music #entertainment #classicalmusicemonth #persangkaraoke #persangspeakers #TransformativeMusic"

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You can also check the trailer here 🍿 #TransformersOne

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Here's the RWG RG OD1 Amp Gain/Distortion Fractal preset with 8 scenes. More info here: https://lnkd.in/gydwmDar #fractalaudio #Fractal #fm3 #FM9 #DigitalModeling #presets

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The 3 P's - pitch, passion and pocket, are the keys to an outstanding vocal performance, and only one can't be fixed by studio trickery. https://ow.ly/qwYj50SEShi

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jumpstart your creative process

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Weekly Executive Briefing: Exciting updates in the industry this week: - First Citizens is now offering business loans up to $250,000 without personal guarantees, providing a fantastic opportunity for clients in need of capital without risking personal assets. This could be a potential selling point for larger projects or expansions. - VFXnow Hardware Buyout Program is offering a no credit check option for equipment buyouts, allowing clients to smoothly transition from rental to ownership. A flexible choice for studios looking to build long-term infrastructure. - AWS is extending financial assistance for POCs, Migration, and Modernization of Workflows for new and existing clients. This presents a significant opportunity to offset initial deployment and migration costs, serving as an incentive for clients hesitant about cloud transition expenses. - AWS Deadline Cloud Update introduces a new fully managed render farm service, simplifying setup and management of cloud-based rendering. A scalable solution tailored for VFX, animation, and design clients. - Secure Studio is offering Core Studio Managed for $3,000 per month compared to an in-house Engineer priced at $120,000 - $200,000. Emphasize the vital importance of keeping security and backups up-to-date while considering the opportunity to provide a co-managed service for less than a Jr. admin. Stay informed and seize these opportunities in the evolving landscape! #ExecutiveBriefing #VFX #media #CloudSolutions #youtube #creative

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 6/9/24: BAD put exhibitors in a good mood with a turbo-charged $56M launch that left theatrical naysayers in the dust.   Hollywood handicappers originally buzzed that the R rated Sony/Jerry Bruckheimer Films' BAD BOYS: RIDE OR DIE would drive off with $40-50M and then upped it to $45-50M -- and mid-weekend went to $53M! Sony lowballed expectations with a $30M estimate.   Driven by BAD, the weekend marketplace totaled $103.5M, per Comscore, up 54% from the prior weekend and down 38% vs. this time last year. Comscore's year to date tally has 2024 at $2.83B, down 26% from $3.81B in 2023. Last weekend, 2024 was down 24% vs. 2023.   BAD hammers home that people haven't stopped moviegoing. When  there's something playing they want to see, they show up -- despite high ticket costs, oversized concession prices and inflated related costs like transport, babysitters and dinners out.   This bummer summer reflects the retreads, prequels and worn out IP Hollywood tried to get away with. The coming summer weeks should sizzle with Disney/Pixar's INSIDE OUT 2 (6/14), Universal/Illumination Entertainment's DESPICABLE ME 4 (7/3) and Disney/Marvel's DEADPOOL & WOLVERINE (7/26).   Meanwhile, back at the multiplexes: BAD, which reportedly cost $100M to produce, opened to a wildly overperforming $56M at 3,885 theatres ($14,414). Internationally, per Comscore Senior Media Analyst Paul Dergarabedian, it debuted to "$48.6M for a global opening of $104.6M."   BAD's tracking for first choice is best with men over 25 (16 points over norm) and next best with under-25 men (15 points over norm). Women over 25 are 11 points over norm and women under 25 are five points over norm. Critics on Rotten Tomatoes are a blah 64%, but audiences are cheering at 97%.   WB/NL's PG-13 horror thriller THE WATCHERS opened #4 to $7M at 3,351 theatres ($2,089). It's the feature directorial debut for Ishana Night Shyamalan, daughter of M. Night Shyamalan, whose thriller TRAP, starring his daughter Saleka Shyamalan, opens 8/9 via WB. WATCHERS' first choice tracking is below norm for all demos. RT critics hate it at 29% and audiences are a scary 52%. WATCHERS did $4.7M internationally for a global cume of $11.7M.   Sony/Alcon Entertainment's PG animated family appeal THE GARFIELD MOVIE was #2 in weekend three with $10M (-29%) at 3,959 theatres ($2,526). It reportedly cost just $60M and has done $68.6M domestic and $192.7M worldwide.   As for next weekend: Disney/Pixar's PG animated "INSIDE OUT 2" is opening at about 4,200 theatres. Some pundits see an $85-95M debut. It's tracking best for first choice with women under 25 (20 points above norm) and next best with over-25 women (eight points over norm).   Roadside Attractions' R rated historical drama "FIREBRAND" is opening in limited release. RT critics are executing it at 52%.   #movies #boxoffice #martingrove #badboys    

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More and more Russian cinemagoers are becoming excited about Chinese films! The Chinese comedy-drama “Successor” (“Zhua Wa Wa”), directed by Yan Fei and Peng Damo and featuring renowned actors Shen Teng and Ma Li, was recently released in Russian cinemas. “Successor” has resonated strongly with Russian audiences, performing well at the box office and earning praise for its nostalgic charm, particularly its focus on claw machines—a central symbol in the story. With its universal themes and relatable characters, the film has quickly become a favorite among Russian moviegoers, further solidifying its international appeal. Our next markets: World Content Market – Almaty 2025: 4-5 March 2025 World Content Market – Moscow Spring 2025: 8-10 April 2025 World Content Market – Moscow Autumn 2025: 26-28 November 2025 #worldcontentmarket #televisionmarket #digitalcontent #content #b2b #televisiondistribution #TVindustry #TVbroadcasting #Television #Contentindustry #TVcontent #TVseries #Contentdistribution #Contentproduction 

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