Daniel De La Rosa

Some interesting facts about the integration of AI into the film industry: James Cameron is on the board of Stability. Darren Aronofsky partnered with DeepMind. Ron Howard called AI "revolutionary" for filmmaking. Robert Zemeckis has used AI extensively. Zack Snyder endorses AI. Scorcese used AI to de-age Deniro in the Irishman. Taika Waititi used an AI baby in Love and Thunder. Denis Villeneuve used AI to automatically tint the eyes blue in Dune Part Two. George Miller used AI in Mad Mad: Fury Road. AI is already integrated into many modern film pipelines in some capacity - while others may focus on "in the lens" production. Both seem like valid pathways for their given audiences. But for the larger scale commercial side of production, some level of AI integration seems inevitable. The question now is "how do we best integrate AI into the creative process?" What kind of things do we as creatives find helpful, and what are the things that are detracting from our human expression or our ability to connect emotionally to the material? We don't yet know the answers to these questions, but IMHO, mindful stewardship of the medium involves mindfully asking, experimenting and attempting to answer these questions earnestly.

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900lbs is proud to partner with HII to bring their new ROMULUS platform to life through 3D animated cinematic storytelling. Check out portions of our cinematic video here: https://lnkd.in/dFDjk6Dp and the full cinematic can be viewed here: https://lnkd.in/dY7Vi4yC. ROMULUS is a high-endurance, 25+ knot family of unmanned surface vessels (USVs) built for sustained open-ocean operations, rapid reconfiguration, and scalable efficiency. Our 3D animation showcases its mission-ready capabilities and the innovation shaping the future of maritime operations. #defenseinnovation #digitalstorytelling #3Danimation #defensetechnology #USV

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⚡ Fast, Secure Offload for URSA Cine Immersive ⚡ Recently had the privilege to deep dive into the Blackmagic Design's URSA Cine Immersive workflow with Leon Barnard and was blown away. My first question... "How much data is that spitting out? Answer: It can generate 11.6 TB per hour. This means offload speed becomes mission-critical. Every minute does matter! Pairing the Blackmagic Media Dock with iodyne Pro Data (96 TB or 192 TB) delivers a clean, modern workflow: fast multi-10G ingest, encrypted RAID-6 protection, and sustained multi-GB/s write speeds. That means a full 8 TB media module offloaded in roughly 1 hour, all to a single secure container instead of juggling loose drives. For productions dealing with massive data volumes, this setup shows how performance, capacity, and protection can coexist on set without slowing things down. Curious how others are handling high-data-rate offloads today. What’s working well in your workflow? See the details here: https://lnkd.in/gwdf_N7x #Filmtools #DataManagement #OnSetWorkflow #BlackmagicDesign #iodyne #URSA #MediaOffload #ProductionTech #DITLife

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“What’s the best camera out there right now?” 🤔 I’ve been hearing that question for the last two decades… and the answer has changed far less than the world around it. Since video shifted from analog, then 480p to 8K, that question has been following me from underground fallout shelters and silver mines to open water, to derelict villages and those places you don’t normally get access to. Somewhere along the way, the mindset shifted not just for me, but for the entire industry. Because moments… don’t wait. And after being close to missing enough of them, you start realizing something. There is no such thing as “the best camera.” There is only the right camera for the job and most of the time that means a full setup. Yes - lenses, rigs, converters, filters, lighting, everything planned out… plus a little bit of magic and luck. And yes, backups. Sometimes even a backup for that backup. (Personal note: your lower back hates you for that after years of carrying gear… but it was totally worth it in the end.) Still, times have changed and sometimes… it���s something much simpler. Because the only camera that matters in that moment… is the one you actually have with you! More often than people expect, that’s your ... phone, action camera or even a compact! With the right prep and setup, that small piece of tech can and does deliver. With how far smartphone cameras and software have come, you’re often working with tools that outperform what “pro gear” could do not that long ago. Still - the biggest upgrade over the years wasn’t just the gear you have on you… its the overall awareness and perception of images you share with your clients and your teammates. Since 2020, expanding on employer branding and Lean 2.0 related projects, this approach became an essential part of how we operate. From concept to post, most of the times the simplest solution works best. A small shift in mindset, encouraging your younger team members and co-creators to use tools they already know and have on them at all times, combined with a bit of guidance, framing and intention, can bring in results that genuinely elevate the final project to the next level. So does that mean pro gear is no longer necessary? There are entire productions built on smartphones, entire careers and channels. At the same time, the camera is only the starting point and story, framing, pace and intent are what bring it all together. Whatever tool you use, that part doesn’t change. And if there’s one simple habit that will instantly improve what you capture… ... make sure the lens is clean before you hit record 🙂🫡 “20 Years Behind the Lens,” is about experiences like that. I might start sharing some practical smartphone photo/video tips in the coming weeks...? Let me know if you’d be interested in those via PM or in the comments below. Have a great weekend and plenty of moments worth capturing 🫡 #BehindTheLens #Photography #Video

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We recently built and tested a volumetric capture array composed of 36 RED Digital Cinema KOMODO 6K cameras and ran it through Evercoast's 4D Gaussian Splatting pipeline. The results exceeded our already high expectations. With genlock, timecode sync, and multiview, along with network-based management of camera and lens settings via RED Control, the array performed flawlessly. You can read the full technical brief here: https://lnkd.in/eufVPNDG Reach out if you'd like to learn more!

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I can’t do this LinkedIn thing where we pretend that this person made the world a better place just because they made Adobe profitable. They profited at the detriment of the ENTIRE DIGITAL CREATIVE ecosystem eventually. Here’s my honest message to that CEO (who’s tenure seems to align perfectly with Adobe becoming an awful company): Good riddance. I remember when you could own an Adobe product and each new feature wasn’t #AIslop. Thanks for teaching us all what #enshittification is. The board of directors truly runs your company. I’m guessing they told you to resign because you weren’t doubling down on AI slop hard enough. You truly built a monopoly on creative software. If anyone wants to use ANY digital tool at a professional level, they have to pay a monthly subscription to Adobe or Autodesk. In the 90’s, Congress would have long ago broken up your anti-competitive company that buys every decent software company. In your tenure, the hours and pages and lines of work that were simply never made because you blatantly monopolized the entire market of digital creator software will bring about a dark age for digital arts. Thank you for acting in such an immoral way that I was thrown into the world of #opensourcesoftware where the people building creative tools are not money-grubbing monopolists.

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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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The speed of which AI tools are improving is phenomenal. I missed this but realtime HD text to video AI generation is now a thing…

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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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Fujifilm has officially released a public web simulator for the GFX ETERNA 55 🎥 👉 https://lnkd.in/dKGcMMXz Test the full UI and workflow directly in your browser.

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We’ve just shared a bit more about the foundation of PROXi Vision. For me, this comes from seeing how often strong creative intent runs into friction once it hits real production conditions. The opportunity isn’t more tools - it’s better alignment earlier, and carrying that clarity all the way through. That’s what we’re focused on here. Keen to start sharing more of this over the coming weeks. https://lnkd.in/gFJkXtRX

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Using AR to make Lakers fans cry on the jumbotron Forget about the Coldplay kiss cam debacle… This got a lot of attention last year when the Pacers trolled Lakers fans using this AR filter to make it look like they were crying on the jumbotron. Simple idea, spectacular execution Makes me laugh every time I see it. I’m a big fan of getting AR off phones and onto real world displays. This is a master class in how to do that. But hey, if you don’t have a jumbotron lying around, simple AR mirrors using vertical TV displays will work in a pinch too. #creativetechnology #creativetech #sports #marketing #experiential #experientialmarketing #sports #basketball #lakers

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Excited to finalize our partnership with Epic Games! Multi-cloud integration with #unrealengine, allowing studios to easily offload their Unreal workloads to cloud resources, paying as they go. Available via FAB and the GCP/AWS Marketplaces.

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AKAI Professional MPC Sample, bringing the iconic MPC workflow to a portable, battery-powered device designed for creators of any skill level. Inspired by classic MPC system like the MPC60, MPC Sample allows producers to sample, chop, and build beats anywhere. No computer required. Who's in? How will this impact the creator landscape? Modern Drummer Publications, Inc.

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I've been thinking a lot about this idea that we need to resist tech's "takeover" of our industry. For me, when we frame tech (Al) as an invader, it positions Hollywood purely as a victim/defender, rather than as an agent of its own transformation, which in turn limits our agency. Hollywood could co-create integration terms. But, the reality is that Hollywood isn't yet fluent enough in Al to meaningfully participate in setting terms (on the whole). To claim authorship over Al's role in entertainment, we must first become fluent in it. For me, this continues to remain a literacy issue. You can't make sense of a thing you simply don't understand.

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I would urge everyone on my network to reconsider using OpenAi and ChatGPT or any of their platforms. The weaponization of its data is a very dangerous place for us all to be.

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