Billy Frank

Industry news roundup! Lots happening in the #Media & #Entertainment space the past two weeks. Some highlights: 1. #WBD posted a loss of $252M in Q4 last year, the same time period in which the extended bidding war between Paramount + Netflix began: https://lnkd.in/e_rcARwY 2. AMC Theatres is revamping their A List Stubs program to allow for priority access seating: https://lnkd.in/e9G5-8Pp 3. The Writers Guild of America West has threatened to cancel the Writers Guild Awards this year unless its own staff stops striking: https://lnkd.in/eBT7RWEe 4. Paramount increased revenue by 2% last quarter, the first quarter since merger with Skydance: https://lnkd.in/ebPRpHDP 5. The Walt Disney Company's Zootopia 2 unseated Minecraft for the top domestic box office performer of 2025: https://lnkd.in/eBuJxX9V #streaming #entertainment #movies #film #television #industry #media #boxoffice #awards #guilds #paramount #warnerbrosdiscovery #wbd #netflix #disney #skydance #AMCTheatres

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Excited to share that SDFX Studios is collaborating with Guillermo del Toro on the stereoscopic 3D re-release of Pan's Labyrinth, as it returns to theaters for its 20th anniversary this October. Working on this film is something our team takes great pride in. We’re immensely proud of the care and craftsmanship they bring to the work.

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After 18 years of mixing sound for television and film… I didn’t think a noise reduction plugin could surprise me anymore. Then I stopped by the CEDAR Audio Ltd booth at NAMM this year… and yeah — I was wrong. Two knobs. Noise. Voice. That’s it. And somehow… it just works. This week on the Mastering Post-Production Sound YouTube channel, I partnered with CEDAR to put VoicEX 2 to the test on some pretty terrible audio. Not the polished stuff. The real-world, “how do we even save this?” kind of audio. Whether you're a seasoned post-sound pro or a content creator trying to clean things up… This one’s for you. BUT HERE’S THE FUN PART 👇🏾 CEDAR (the inventors of digital noise reduction) hooked us up with: 🎁 A full perpetual license of VoicEX 2 (No subscription. You own it. Forever.) How to enter: ✅ Subscribe to the YouTube channel ✅ Enter through the link (I’ll drop it below) Drop a comment that says “CEDAR” and I’ll reply with the link 👇🏾 (Or grab it in the first comment) Winner announced May 1st. #cedaraudio #audiopost #postproductionsound #noisereduction #dialogueediting #rerecordingmixer #filmsound #tvpost #contentcreators

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LANDMARK FILM DISTRIBUTION DEAL! Award-winning filmmaker and storyteller Jorge Xolalpa has signed a groundbreaking distribution agreement with Lumexx Media, paving the way for his complete eight-film canon to premiere on Apple TV+ in 2026. The multi-picture deal marks a career-defining milestone for one of independent cinema’s most daring and emotionally resonant voices, offering Xolalpa’s decade of work its first unified global streaming home. Full Article: https://lnkd.in/ghp8Zmaf #jorgeXolalpa Lumexx Media #Indiefilmmakers @appletv #indefillmmaker #distributiondeal

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Desert View Records Expands One-Stop Instrumental Production Music Catalog Desert View Records LLC continues to expand its structured catalog of original instrumental production music engineered specifically for professional sync applications. Our Instrumental Cues (Original Works) catalog is designed for: • Film & Television • Streaming Platforms • Advertising & Brand Campaigns • Trailer & Promo Houses • Documentary Production • Digital Content & Media Studios Every title within this catalog is: • An original standalone instrumental composition • Purpose-built for sync (not vocal-stripped derivatives) • Registered with YouTube Content ID • Administered directly by Desert View Records LLC • 100% One-Stop Licensed This eliminates split clearance delays, publisher conflicts, and fragmented ownership approvals. Licensing is streamlined, direct, and professionally managed. As part of our long-term infrastructure strategy, new artists and new instrumental works are added regularly. The focus remains on scalable rights management, clean metadata architecture, and enforceable digital asset administration. Full catalog preview: https://lnkd.in/gbbNbttn Licensing inquiries: mjrizzio@desertviewrecords.com Desert View Records LLC Service-Disabled Veteran-Owned Small Business

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I debated whether or not to share this clip. Not because I fear expressing what I know... But because I’ve never shared myself on camera like this before. I’m not someone who naturally seeks the spotlight. This was recorded at last week's San Diego Comic Con. I participated on a panel with fellow filmmaking artists. In this short segment, I speak about something that’s been foundational... A raison d’être for Renegade Lens Pictures: The Conscious Filmmaker Ethos. Applied practically through our CFP Index. What is it? A soul-based metric system for storytelling. A set of invisible criteria shared by the most resonant, enduring, beloved films of all time. It’s the opposite of algorithms that chase trends and forget the profound humanity of the audience. This isn’t fluff. It’s the future of narrative... Especially in a world now saturated with AI content, fractured attention, and creative commodification. At Renegade Lens, we ask different questions: Does this story elevate humanity? Is it willing to honestly address the human condition in ALL its complexities? Does it challenge an audience? Can it even break your heart and rebuild it better... while affirming life and creating real connection? To the degree a film scores highly on our CFP Index determines if it will still matter in ten years. This goes beyond filmmaking. It’s rebellion with empathy. Here’s the clip upscaled to 4K... Raw. One take. No polish. If this hits something in you, then maybe you were meant to hear it. I’m not really here to network. I’m not here to collect connections. I’m here to create work that matters... with people who feel the same. People who are genuine. Authentic. Real. Special thanks to Kumari Bakhru of Paramount Pictures for inviting me to be part of this special conversation. #ConsciousFilmmaker #RenegadeLens #RenegadeNexus #VirtualProduction #ComicCon2025 #DEI #StorytellingWithImpact #FilmmakingEthos

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No cap. Bravo to candidates getting in front of this issue, but the courage to outline a solution is what changes the landscape. No cap.

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News from our California Film Commission, as reported by Variety this morning! The approval of funding for five studio films and 43 independent features showcases a substantial $94 million in tax credits. This milestone not only signifies progress but also demonstrates crucial support and accountability for our thriving film industry. It's a significant stride forward in the right direction on a complex issue and our industry has shifted away from decades of SOP #FilmIndustry #TaxCredits #CaliforniaFilms. https://lnkd.in/gxJ3AaUZ

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Personally, I think this is a smart move strategically. The live entertainment industry is evolving toward experience engineering, not just concerts. When one giant company can do everything, two things tend to happen: 1. Creative diversity shrinks Smaller design houses and niche technical companies can get squeezed out. 2. Power concentrates Promoters may prefer a single vendor that “handles it all,” which reduces competition across the ecosystem. I believe the industry is entering a phase where three or four giant experience companies could dominate global touring. TAIT is clearly positioning itself to become one of them. But historically, the magic of live entertainment has come from a wild mix of independent designers, fabricators, engineers, and technicians building things together. Some of the most groundbreaking shows came from that creative chaos. If the industry becomes too consolidated, we risk losing some of that experimentation and diversity of ideas. Curious to hear from others who have been inside the touring machine. What’s your instinct? Is this the natural evolution of the business… or the beginning of a more centralized industry?

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I think Jon Finger is on to something here 🤔.... I posted about this possible future about a year ago.....🔮.. AI Underground Distribution Networks (Neo & White Rabbits) https://lnkd.in/e47HMqk8 Follow 🐇🐇🐇...? ..... 🔴 or 🔵....?

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It’s time for Freeway’s next video 📺, about paying US Guild Residuals to members of SAG-AFTRA, DGA and WGA, using a Collection Account.👇   🤔 What are Guild Residuals and how does a Collection Account with Freeway make sure that Independent Film Producers pay Residuals correctly?   ➡️ Residuals are additional compensation payments which may become due and payable by the Production Company to Actors, Directors and Screenwriters, under the Basic Agreements.   ➡️ Residuals may become due when a Film is exhibited, distributed, or otherwise exploited, domestically and/or internationally, beyond its initial theatrical exhibition.   ➡️ This can include pay and free TV, home video and DVD, streaming and new media.   🧐 How are Guild Residuals calculated and paid?   ➡️ Guild Residuals are payable on worldwide revenues.   ➡️ The Production Company will set up a Collection Account with Freeway as neutral third party Collection Account Manager (CAM) to manage the receipt, administration and allocation of revenues.   ➡️ The Production Company and the Sales Agent will instruct the local buyers or Distributors, to pay revenues due under the Film’s Distribution Agreements, into the Collection Account.   ➡️ Freeway sets aside, off the top and from every dollar received in the Collection Account, a fixed percentage which goes to a Residuals-Set-Aside.   ➡️ A Payroll House, appointed by the Production Company, will calculate the exact amounts of Residuals payable, based on information like worldwide revenue reports and the Film’s media allocation.   ➡️ Freeway is periodically notified by the Payroll House of the exact amounts of Residuals payable. Each time the CAM receives an invoice from the Payroll House, Freeway pays the total amount of Residuals payable from the Residuals-Set-Aside to the Payroll House. ▶️ The Payroll House will then cut the checks and pay each Guild Member individually. 👉 Do you have US Guild Members in your Film, and do you want to know more about paying Residuals through a Collection Account with Freeway? ✅ Contact Freeway Entertainment Group or visit the website: https://lnkd.in/gu_dXThz.

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In 2013, Tyrone Jue, Communications Director for the San Francisco Public Utilities Commission, was tasked with something most people would quietly dread. The city needed public support for a $2.7 billion sewer overhaul. Hundreds of miles of aging pipes were deteriorating beneath San Francisco. Facilities weren’t seismically stable. It was critical infrastructure, but completely invisible to the people paying for it. And that was the problem. How do you get people to care about something they never see? The expected approach would have been straightforward. Formal messaging. Educational campaigns. Maybe a town hall or two. The kind of communication people tend to tune out before it even begins. Instead, they did something different. They put humor on the backs of city buses. “Your #2 Is My #1.” “No One Deals With More Crap Than I Do.” “You Can’t Live a Day Without Me.” It worked. People noticed. They took photos. They shared it. Conversations started happening in a way they hadn’t before. Even tours of a wastewater facility filled up, with hundreds of people signing up out of genuine curiosity. That doesn’t happen because people suddenly care deeply about sewer systems. It happens because something finally made them pay attention. Jue later said they knew a traditional PSA wouldn’t resonate. So they stopped trying to sound official and started trying to sound human. That’s the shift. Humor didn’t take away from the seriousness of the issue. It made people open the door to it. And that’s what I see again and again in organizations. When we loosen the grip on sounding polished and perfect, we make space for something better. Real connection. Real attention. Real engagement. Sometimes the fastest way to be taken seriously is to stop taking yourself so seriously. #HumorConnects

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CA's Largest Movie Theater Chain To Close Locations The largest movie theater chain in California plans to close even more locations after shuttering 213 theaters over the past five years. https://lnkd.in/gbVrJuj9 #movie #theaters 📽️ 😥

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Los Angeles is starting to see the impact of California’s expansion to its film and TV subsidy program, with production in the region trending upwards, though production levels sit well below the five-year average. https://lnkd.in/eMEm7KRY

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One Hopeful Sign for California’s Film Industry: Features May Return For years, feature films have increasingly elected to shoot in other regions, but a production report suggests that they may soon return to the Golden State in greater numbers. https://lnkd.in/grRMPtwb

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The Vertical Filming Stack Is Breaking The mobile capture stack for broadcast-quality vertical drama: 2018: $40,000 2022: $8,000 2024: $3,500 2026: $2,000 2027: under $700 The collapse is not the story. The story is what the industry, Western and Chinese, is missing about the format the stack is meant to serve. Cinema cameras are rationally priced for forty-foot screens. Vertical drama lives on a six-inch screen held twelve inches from a face, in a feed where the next episode arrives in ninety seconds. At that viewing distance, most viewers cannot perceive enough difference between a $40,000 cinema camera and a $1,200 phone to justify the cost premium. The big-screen creative grammar (wide compositions, deep focus, long takes) does not transfer to vertical anyway. The price collapse of the vertical filming stack is real and accelerating. But don’t get me wrong. I am not challenging the big-screen filming stack. ALEXAs and VENICEs are rationally priced for cinema. Theatrical horror, prestige drama, anything destined for a calibrated screen: that work still requires the big-screen stack and will continue to. The argument here is narrower. Vertical is a different delivery surface. It deserves hardware engineered for what it actually is, not a downsized version of the cinema stack. Apple, Samsung, Vivo, Xiaomi, Oppo, Honor. Every player in the race is treating vertical as a smaller version of the big screen. That is the mistake. The first OEM that designs for vertical specifically (sensor aspect ratio, ergonomics, software pipeline tuned to the actual delivery surface) leapfrogs the entire field. Nobody has named this publicly yet. So we are going to demonstrate it. This October at MIPCOM Innovation Lab, the Triforce team will show what vertical-native production economics look like in practice. A horror vertical filmed on consumer mobile hardware we already own. Distributed via YouTube Shorts, Instagram Reels, and Meta. Full kit under $2,000. Crew is the Hackney team I have worked with for years. I will be speaking the underlying thesis at Raindance Film Festival ahead of MIPCOM, and at MIPCancun in November for the Latin American audience. The hardware to test this thesis already exists. Mostly in Shenzhen. The companies building it are six months ahead of where most Western producers think they are, and the structural observation about vertical-specific design is one their product strategy teams have not named publicly. The conversation worth having is the one that happens before MIPCOM. Full forecast in this week’s Vertical Intelligence Brief on Substack. Link in the first comment. #VerticalContent #FearArchitect #MIPCOM2026 #Raindance2026

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Very excited about this news because it's a step in the right direction towards rebuilding California as a hub for animation production. But, I'm very disappointed at the choice of shows being supported. It's not that Adult Swim’s President Curtis(Adult Swim), a Rick and Morty spinoff, and 20th Television Animation’s Stewie, a Family Guy spinoff aren't great shows. It's that they're already funded and supported by a distributor. These aren't the projects that actually need help! This is just an acceleration of the K-shaped animation economy where fewer and fewer are getting all the work, while the middle and independent efforts careen to the bottom and to bankruptcy. I hope subsidies continues because Cali really needs it. But, I hope they choose a more diverse set of recipients going forward. #animation #cartoons #survivinganimation

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L.A. Production Activity Falls Below 2023 Strikes - new article: https://lnkd.in/gKhgW9da - plus Los Angeles On-Location Production Declines Yet Again In Q3 - article: https://lnkd.in/g87Ac8JC - Production in Los Angeles continued to be anemic over the last three months, falling below the level of activity recorded during the 2023 writers & actors strikes - The decline in location shoots was led by a sharp drop in reality TV production, which recorded its second-worst quarter in the last 15 years

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