Circumstances, scheduling shifts yield lensing increase in Q2
FilmL.A.–the official film office of the City of Los Angeles, the County of Los Angeles and other area jurisdictions–updated its regional on-location filming report. The report showed an unseasonably strong television production yield for the second quarter of 2014, which FilmL.A. attributes to production schedule shifts.
“FilmL.A. is committed to broadening understanding of California film industry trends and practices,” observed FilmL.A. president Paul Audley. “Today’s report illustrates the challenges we sometimes face in interpreting film industry data. It’s crucial that observers understand the losses the region has already suffered, so as to view reported short-term gains with the proper perspective.”
Regional on-location TV production increased 33.7 percent over the prior year, totaling 5,761 permitted production days (PPD). Coincidentally, the category also exceeded its five-year quarterly average by 33.7 percent. FilmL.A. researchers attribute most of the apparent growth to seasonal production shifts, although the California Film & Television Tax Credit also provided a welcome boost to TV dramas. Last quarter, TV was down 9.2 percent.
In sharp contrast to the previous quarter, nearly all TV subcategories posted Q2 increases, among them TV drama (up 58.6 percent to 1,191 PPD), TV reality (up 64.1 percent to 2,550 PPD), TV sitcom (up 5.5 percent to 402 PPD) and Web-based TV (up 3.4 percent to 379 PPD). TV pilot production declined 26.6 percent to 282 PPD.
Television’s weakness in Q1 was driven in part by production delays. Meanwhile, it seems more local crews are working to support the early summer premiere of new and returning shows. This pair of developments helped concentrate production into Q2, with unknown implications for the rest of 2014. FilmL.A. Research is readying a supplemental analysis of local TV drama production for release in early August.
As in quarters past, California’s film incentive contributed significantly to local production yields. Last quarter, fully 43.2 percent of area TV drama production (515 PPD) was generated by state-qualified projects. State-qualified Television projects in L.A. included Legends, Major Crimes, Murder in the First and Teen Wolf.
Feature production declined 5.3 percent last quarter to 1,665 PPD, with exactly 10.8 percent of the category (180 PPD) attributed to projects awarded the California film incentive. State-qualified feature projects included American Sniper, Entourage, Scouts vs. Zombies, and The Purge 2. L.A. feature production levels finished last quarter within 0.1 percent of their five-year rolling average.
“History teaches us how quickly apparent gains in local production can be swept away,” Audley concluded. “Strengthening the programs that make California competitive and attractive for filming is essential to our state’s long-term prosperity.”
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowers’ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, “His artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.”
Johanna Cranitch, creative director, Barking Owl, added, “Kris first caught my attention when he released his record ‘Heroes + Misfits’ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More