When it comes to commercials, Life Inc. readers seem to prefer the sound of silence.
A post this week on a new law mandating that commercials have to be close to the same volume as the show that goes on around them brought sighs of relief from many readers.
“Thank You!!! I HATE loud commercials-I ALWAYS mute (but sometimes not fast enough),” one reader wrote.
Under the law, the commercial volume has to be within a range of 2 decibels (db) of the programming around them. That’s in contrast to the often jarring increases in sound that sometimes happens when the commercial break hits.
Even without the legislation, many viewers said they are already taking things into their own hands, or remotes.
About 36 percent of the nearly 23,000 people who took our poll said that they hit the mute button when the commercials come on, while another 34 percent said they change the channel.
About 29 percent said they use the DVR to fast-forward through the commercials, avoiding the whole problem altogether.
The car could sell for millions, said Craig Jackson, chief executive of the auction firm.
But Hollywood cars don’t always command such high prices. Often there are multiple versions created for different types of shots and for promotional use, making it hard to to say that one car is definitively “the car.”
Unlike most TV show cars, the Batmobile really is a singular creation. While there have been many imitations, this really is the only original.
The Batmobile started life as the Ford Motor Co (F, Fortune 500).’s 1955 Lincoln Futura concept car which, itself, was based on a Lincoln Mark II. Besides its pearl white paint job, the Futura actually looked very much like the Batmobile it would become over a decade later.
Famed car customizer George Barris — also known for creating the Munster Koach for the The Munsters and the Beverly Hillbillies‘ car — was tasked with creating the Batmobile in 1966. With a tight deadline, he decided that modifying the Futura, rather than starting from scratch, was the way to go.
On television, the Batmobile’s technology allowed it to shoot flames, squirt oil and shoot tire slashers, but the car is not actually designed to do any of that.
LOS ANGELES (AP) — Phil Orlins knows everything about producing TV in three dimensions. The ESPN producer has captured the undulating greens of Augusta National and the flying motor bikes of the X-Games for ESPN’s 3-D channel. But he can only guess how well his shows resonate with viewers. That’s because 3-D audiences are so small they can’t be measured by Nielsen’s rating system.
“The feedback on The Masters was fast and furious. You could go on Twitter at any moment, and there’d be comments coming in every minute about 3-D coverage,” said Orlins while giving a tour of a production truck at this summer’s X-Games. “But then you go to some other events where it’s pretty quiet.”
Orlins’ problem is that fewer than 115,000 American homes are tuned into 3-D channels at any one time. That’s less than a hundredth of the 20.2 million-strong audience that saw television’s highest-rated show, “NCIS,” this week. 3-D viewership is so tiny that The Nielsen Co.‘s methods are unable to capture any meaningful data about viewers’ programming preferences.
ESPN 3D is one of nine 3-D channels that launched in the years following the late 2009 release of James Cameron‘s “Avatar.” The 3-D blockbuster won three Oscars and ranks as the highest-grossing film of all time, garnering $2.8 billion at the global box office.
“Avatar” was supposed to change everything. Enthusiastic television executives expected the movie to spur 3-D’s transition to American living rooms, boosting sales of TVs and, they hoped, getting people to pay for 3-D channels.
That never happened.
Tech expert Jennifer Jolly details financial and innovative services.
Strange Random Personal Finance Quote:
There are plenty of ways to get ahead. The first is so basic I’m almost embarrassed to say it: spend less than you earn. – Paul Clitheroe
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