CANJA Audio Culture’s Post

#AssistantDirector #Review #Disenchanted When the production provides the videos, they indicate the version in the file names to show the completion progress. The roughest draft is just a sketched drawing with recorded voices over it. Eager to watch the work as soon as possible, I enjoyed even the drafts. However, when faced with the endless songs filled with incredible choruses and high notes, I was scared at the thought of the upcoming workload. I started counting the number of songs with my fingers. The task differs greatly between dubbing a released title and dubbing a title that is yet to air. As I participated on <Enchanted> and <Disenchanted> as an assistant director, it was a good opportunity to comapre the tasks between them. For <Enchanted>, all of the provided materials were already final, but for <Disenchanted> there were lots of versions; 1, 2, final, final2, final3 and so on. I collected the materials and constantly checked the differences in each version. Working on a title that the headquarters care deeply about means the whole team had to stay alert. Below are the various QC(quality check) we had. *Vocal QC reviewed by Disney headquarters and Disney Korea(DCVI). *Final QC by Adone. *Final QC by DCVI. The QC process sometimes happens sequentially, but often it happens simultaneously multiple times. Supporting such a work means more phone calls to my desk and personal phone than usual, and running back and forth between the studio and the office with pile of leadsheet, announcing that I'm the one supporing this major title. Although I listened to the songs during the review, I could only comfortably listen to them after seeing the dubbed version on the platform. Anyone who loves Disney princess classics must watch <Disenchanted>, as each song is infused with a sense of classic nostalgia. Those who miss that could find nostalgia in premium edition of Disney princesses, <Disenchanted>. https://lnkd.in/gzjmAA7Y #AdoneStudio #DubbingStudio #Disney #Disneyplus #DubbingProducer #Dubbing #DubbedMovies #DubbedSerial #Producer #DubbingArtist

  Grab this new Disney Movie Insiders code! New Disney Movie Insiders code worth 5 points: VALENTINO (expiration unknown) IF YOU GET DISNEY MOVIE INSIDERS EMAILS, LOOK FOR AN EMAIL FROM 11/15/23 TITLED, "Your Members-Only Update. Bonus Points Inside!" CLICK THE "GET MY POINTS" LINK IN THE EMAIL. I GOT 15 POINTS! Join Disney Movie Insiders to Earn Great Prizes! #NEWCodeWorth5DisneyMovieInsidersPoints+BonusPoints

  Grab this new Disney Movie Insiders code! New Disney Movie Insiders code worth 5 points: VALENTINO (expiration unknown) IF YOU GET DISNEY MOVIE INSIDERS EMAILS, LOOK FOR AN EMAIL FROM 11/15/23 TITLED, "Your Members-Only Update. Bonus Points Inside!" CLICK THE "GET MY POINTS" LINK IN THE EMAIL. I GOT 15 POINTS! Join Disney Movie Insiders to Earn Great Prizes! #NEWCodeWorth5DisneyMovieInsidersPoints+BonusPoints

🚨New Insight: EMEA Leading the Way for Second Windows after Disney+ This month sees the acquisition of two second window Disney+ Originals airing as non-exclusive #boxsets on #ITVX in the UK. The lack of enhanced catch-up offered has long been a frustration for linear buyers of second window after SVOD, and Disney’s willingness to grant more catch-up rights in the second window may give them an edge over other studios looking to sell their own #SVODoriginals. In this insight, Director Jack Thomas uses Show Tracker to reveal the latest examples of second window activity for #Disneyplus series, demonstrating its focus on EMEA Read more ➡️ https://hubs.la/Q02lklmb0 #TVInsights #StreamingMedia #ContentAcquisition #ContentRights

Are Commisioners, Studios, Distributors and Cinemas the same and could indie not do the same? For over 70 years, up until 2020 a studio could not own a cinema in the US. I guess this was due to monoplising and anti-competition laws. It did change in 2020 and i dont think they did go on a cinema spending spree. I know disney owns the chinese theatre in LA but is that it? Either way, if this law was still in excistance, hypertheotically, would Disney+, Paramount+ and any other streamer (unorginally named with their company with a plus on it,) be allowed to commision, make, distribute as they do now on said platforms But is this also how indies use the same methods and go back to basics Could a bunch of indies get together in a co-op, create a streamer, even buy out cinemas (i have 2 empty ones in my county at the moment) and commission, make and distribute online ane in cinema. Someone HAS to be doing this already. It needs clever thinking, but i cant see why a coop system would not work, or do you think i am wrong?

💰 After a few years of limiting content to their own platforms, studios are once again eyeing off lucrative licensing deals. According to Ampere Anand, The Walt Disney Company has the most shows that meet the following criteria of having 'licensing power': - The show has completed their first run - There are at least 3 seasons - It is a scripted format - The show is of US origin - It maintains consumer engagement measured with Ampere’s Popularity Score For example, shows like Sons of Anarchy and Buffy the Vampire Slayer fit this criteria. Paramount comes in second with 72 shows including Hawaii Five-0 and Star Trek: The Next Generation. Warner Bros. Discovery lands in third with 54 shows including The Sopranos and The Wire. NBCUniversal is in fourth with 47 shows including the huge The Office. Source: https://lnkd.in/d3yYNxAh

What about giving these pulled down titles a new lease of life on linear? While it's true streaming is here to stay, and few are watching content on TV, however not everyone in the entire world has access to OTT. TV still remains a very basic form of entertainment especially in many second world countries, if the pulled down titles are given a new lease of life, they may attract a different audience, and contribute some form of revenue to legacy companies out there.

On Wednesday, it was announced that Apollo had submitted an offer for Paramount's film & TV studio for $11B (PARAA intra-day market cap at $7.679B). While shares jumped almost 12% on Wednesday, parent company National Amusements, which owns 77% of voting shares, noted they preferred to pursue a two-part deal with Skydance, where the first part would be an all-cash deal to acquire a majority stake in National Amusements, followed by a second deal to merge with Paramount. Shari Redstone, who controls National Amusements, is hesistant to break up the company, despite the fact that the film studio has long been viewed as the company's most attractive asset. Interestingly enough, PE investments in movies and entertainment hit a 6-year low in 2023 of $2.77B, down 73.5% from $10.46B in 2022. However, Paramount has long been viewed as a potentially undervalued asset, and Apollo's bid does not appear as unexpected when you consider their $760M minority stake in Legendary Entertainment back in 2022. The main hang-up seems to be Redstone's desire to ensure that Paramount's assets are not broken up and are kept together.