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NORTH AMERICA: 'Dawn of the Planet of the Apes' Surpasses $80M Mark on Monday on July 15, 2014

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By Daniel Garris

Fox's Dawn of the Planet of the Apes continued to lead the daily box office with ease on Monday with a daily take of $8.22 million. The critically acclaimed 3D sci-fi action sequel was down 58 percent from Sunday. Dawn of the Planet of the Apes surpassed the $80 million mark on Monday and has grossed a healthy $80.83 million in four days of release. The film is running a bit ahead of its lofty expectations and an impressive 31.5 percent ahead of the $61.46 million four-day start of 2011's Rise of the Planet of the Apes (which fell 58 percent on its first Monday to gross $6.65 million).

Transformers: Age of Extinction placed in second with $2.02 million. The fourth installment of Paramount's blockbuster sci-fi action franchise fell 57 percent from Sunday and a sharp 58 percent from last Monday. Transformers: Age of Extinction has grossed $210.85 million in 18 days, which places the film a significant 29 percent behind the $296.49 million 18-day take of 2011's Transformers: Dark of the Moon.

Warner's Tammy claimed third place with $1.597 million. The Melissa McCarthy comedy vehicle was down 53 percent from Sunday and down a respectable 42.5 percent from last Monday. Tammy has grossed a solid $58.596 million in 13 days (especially with its modest price tag in mind) and is likely to surpass the $60 million mark today.

High-profile holdovers How to Train Your Dragon 2 and 22 Jump Street claimed fourth and fifth place on Monday with respective takes of $1.013 million and $0.997 million. Both films were down 45 percent from Sunday. Respective 32-day totals stand at an impressive $172.76 million for Sony's 22 Jump Street and an underwhelming $153.29 million for Fox's How to Train Your Dragon 2.

'The Purge: Anarchy' way out front on Twitter on July 15, 2014

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By Alex Edghill

Tuesday Morning Update: The Purge: Anarchy began its week with 9,365 tweets, easily taking the top spot amongst this weekend's upcoming openers. The film is hoping to resonate with horror fans and hopes to relive the successes of the first film which opened to $34 million last June. The first film was a social media darling with its thought-provoking premise sparking a lot of debate amongst moviegoers and beyond. Indeed, The Purge had over 60,000 tweets its Monday before release, not really in the same ballpark. Still that alone doesn't tell the full story about the sequel's potential as it has fans of the original to look forward to along with a market ripe for the picking for the genre as there have been arguably no breakouts here for the entire year with no horror film surpassing the $20 million mark. Other notable tallies this year include: Paranormal Activity: The Marked Ones which had 5,214 tweets its Monday before release, Oculus with 7,791 and Deliver Us From Evil with 4,768. I think this easily should break $20 million but I have serious doubts of it getting close to matching the opening take of the original.

Sex Tape was a distant 2nd with 2,475 tweets on the day, a hefty 160% increase from just under 1,000 on Sunday. This film is a bit of a pain to track as its name is somewhat of a nightmare to narrow down tweets for outside of its hashtag. Generally for films with very generic names if you tack on "movie" to the string you have a string that is very limited but at least a decent representation, but of course "sex tape movie" is also very generic so we have to rely on other qualifiers here such as the film's stars to narrow down tweets which of course exclude a large number of tweets. Still, even with this limitation its 2,475 tweets was not that far off of the 3,262 that The Other Woman posted back in April and a solid sign for its potential. Diaz and Segal are both no strangers to the R-rated comedic genre and will be looking to their fan base to flame the fire here. It could potentially be a close race between this and The Purge: Anarchy as I also expect this to surpass the $20 million mark with decent room for upside.

Lastly, Planes: Fire And Rescue looks to entice family audiences on the weekend and pick up where How To Train Your Dragon 2 left off with the demographic. The first film had 2,060 tweets its Monday before release though, and that is a bit of a red flag here as animated sequels have a tendency to drop in opening from their predecessors regardless of how well they were received. I'm not ready to write it off yet but unless it can show some strong increases over the next couple days there is going to be no way to replicates the $22 million opening of the first film.

Top 15 Movies for Monday July 14th

Rk Film Sun Mon Sun-Mon %
1 (-) Dawn of The Planet of The Apes 41,953 36,350 -13.36%
2 (-) The Fault in Our Stars 33,234 28,056 -15.58%
3 (-) Transformers: Age of Extinction 15,222 17,232 13.20%
4 (+4) The Purge: Anarchy 5,088 9,365 84.06%
5 (-1) 22 Jump Street 9,087 9,085 -0.02%
6 (+1) The Hunger Games: Mockingjay Part 1 5,446 7,692 41.24%
7 (+2) Guardians of the Galaxy 4,683 6,614 41.23%
8 (-3) Maleficent 8,151 6,100 -25.16%
9 (+2) If I Stay 3,949 4,596 16.38%
10 (+4) Before I Go to Sleep 2,693 4,558 69.25%
11 (+5) Tammy 2,099 3,882 84.95%
12 (-6) Hercules (2014) 5,576 3,691 -33.81%
13 (+6) Step Up All In 1,803 3,412 89.24%
14 (+1) Lucy 2,509 3,006 19.81%
15 (-5) How to Train Your Dragon 2 4,598 2,901 -36.91%
18 (+8) Sex Tape 928 2,475 166.70%
26 (-2) Planes: Fire and Rescue 1,101 1,121 1.82%

Please check the methodology page for information about our Twitter project or here for historic data.

Forgetting the Silver Screen: RealD Managing Director Bob Mayson on Precision White Screen Technology on July 15, 2014

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RealD is having a big summer in Europe. The company served as the single 3D provider for all the studio presentations and screenings at CineEurope in Barcelona, where they presented in their new format, Precision White Screen, a revolutionary new screen that seeks to make the silver versus white screen debate a thing of the past. RealD's premium offering, LUXE, was introduced at the same event last year, and orders for the format are already popping up around the world-including in Russia, one of the world's most dynamic exhibition markets.

RealD Managing Director Bob Mayson spoke with BoxOffice ahead of CineEurope about the company's latest technology and the crucial role that lighting and brightness play in 3D projection.

What have been the developments to your premium offering, LUXE, after launching at last year's event?

As we speak there are two [LUXE screens] operational. The next three go online the first week of July, and we have another four at the end of July. They're relying on constructions because they are going in new cinemas. We do have some conversions of existing sites, but those take just as long; we have to close the cinema down, rip it out, and then re-equip it with new sound systems, screens, projects, new seats-a new look, feel, and brand. It can take as long as opening a new one. The gestation period between launch and opening the doors is a considerable length of time. In terms of the ones that are already open, we are delighted with the way they are performing in Russia at the moment. They're performing above our and the exhibitors' expectations.

Describe the relationship between RealD and the studios that opened the doors to establishing the agreement to be the 3D provider at CineEurope.

We offer them as much support as we can, technically, to make sure that their presentations look as good as they possibly can. Obviously, it shows us in the best light, and that's our mantra: to make them look as good as possible because it comes back to reflect on us.

A big part of that will be presenting material in your new PWS format. What can we expect from PWS?

PWS is a screen technology that stands for Precision White Screen. There are few types of screens in the market today; there are regular white screens, and then there are silver screens. Today's modern RealD technology requires a silver screen because the technology is based on circular polarization of light. You need metallic flake in the screen to maintain the polarization of the light so the polarization is maintained as it reflects off the screen and comes back to the glasses into the eyes. If you just use a regular white screen, the polarization is not maintained, and you lose the 3D effect.

People like white screens because the light is bright and even, and white is neutral. In the past a lot of producers and directors have said that they don't want their product in 2D shown on anything other than a white screen. PWS combines the best of both worlds. It looks white visually and has the reflection characteristics of a white screen, but it also does the amazing job of maintaining the polarization of the white light so we can show 3D on it as well. That means the organizers don't have to keep on changing the screen and the creators are happy to show 3D or 2D movies on the same screen.

You mentioned brightness. Why should exhibitors have that in mind when projecting films? How does brightness make a difference for an audience?

There have always been brightness standards set by the industry in terms of the brightness level that you should allow your audience to see a movie. The brightness is measured in footlamberts, where you can measure the amount of light coming off the screen. 2D images typically require between 12 and 16 footlamberts, and that's where the standard lies. Typically exhibitors will show their movies at 14 footlamberts. The standard for 3D is about four and a half footlamberts. In other words, as long as you have four and a half footlamberts in your cinema, you are seeing the movie in 3D the way the filmmaker wants you to see it.

3D is two images: the left-eye image and the right-eye image. When you are wearing glasses, they take even more of the brightness away. Getting the right amount of brightness on the screen is hugely important so the audience sees the film the way the filmmaker intended. The reason our system is being chosen is that we have the brightest 3D system; the RealD XL system delivers twice the amount of light of any other system in the marketplace. It makes it easier for the audience to have a good experience and see a movie in 3D the way the filmmaker intended.

What sort of economic advantages can PWS offer exhibitors?

I think the economic advantages come because the light is evenly spread. Light is expensive, and if you can spread the same amount of light evenly throughout the auditorium, you're not spending too much money on light. More importantly, you're giving everyone at the auditorium an experience where everyone sees the same amount of light, and that is hugely important.

When you go to the cinema, you see that people usually race to that sweet spot in the middle, halfway back-everybody loves to be there. And there's a reason for that; that's the place where most light is delivered. PWS evens out the quality of the experience to more people in the auditorium. That in turn gives a better experience to the audience and will ultimately impact the financials of the cinema.

What is the current state of 3D in the exhibition industry, and how do you think the format will grow in the future?

3D is already so vastly different today than even just 10 years ago when we started this journey with RealD. We've seen 3D used in a basic conversion form to try to spice up a movie, make it look different and better. Today we're seeing filmmakers planning for the use of [the technology]. 3D is no longer a gimmick; it's a creative tool filmmakers are using to absorb their audiences more and more into their art and work. Over the next three to four years we'll see more of that: better understanding of the filmmakers and the technology, how to plan the shots, how to more fully immerse their audience. Better technology in postproduction will help carry that vision from the set to the screen. From our point of view, we continue to find ways to deliver more and more brightness, contrast, and clarity to the screen. It's a never-ending journey and quest for us.

 


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