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Justin Lacob shared thisEarlier this week, Champions of the Golden Valley brought home my first Emmy, after 9 nominations throughout my career. Eight times the answer was "not yet." The other eight taught me something this one confirmed: the work is the reward, and recognition is the beautiful bonus. Endless gratitude to Alishah Farhang for letting us into his world, to the Olympics for the partnership, and deeply grateful to the team who poured everything into this film. Congrats to Ben Sturgulewski Katie Stjernholm Baktash Ahadi Chris Temple Zach Ingrasci JT Taylor Mariano Amiune Jenna Kelly Bryn Mooser Douglas Blush Elizabeth Stiff Arian Moayed Malala Yousafzai and many more.
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Justin Lacob reposted thisJustin Lacob reposted thisThe first film based on a true artificial story. The Most Perfect Perfect Person is now online. A collaboration with the artist Poppy and her perfect amalgamation. Incredibly proud of what we did back starting in 2024. Thrilled to finally share this https://lnkd.in/ga37Qtjc Written and Directed by Paul Trillo Starring Poppy as Poppy Produced by Paul Trillo Edward Saatchi Geno Imbriale Executive Producers Ed Saatchi Geno Imbriale Bryn Mooser Justin Lacob Director of Photography Rob Witt Production Designer Ali Isakin Line Producer Geno Imbriale Production Manager Sparkle Jones Music Poppy Roberto Schilling Jacques Auberger Special thanks to Vince Lynch and IV AI
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Justin Lacob shared thisForgot to post this sooner but over at XTR, we so happy to be working with HBO on this brilliant documentary series directed by Matthew Galkin with Jenna Kelly show running. When Jenna sent me this news story at the beginning of 2025, right after the story broke, I knew I had to develop it. And now here we are, also working with Alexandra Dale at Rolling Stone Films. https://lnkd.in/gaQYk5Q7
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Justin Lacob reposted thisJustin Lacob reposted thisThank you to our partners at Amazon Web Services (AWS) for shining the spotlight on Asteria this week at NAB Show. Benjamin Michel Justin Lacob Bryn Mooser and I had the chance to show what the studio of the future looks like and why we are building our own tools and workflows with Continuum. We’re excited to unveil what’s next. Appreciate all the support from the AWS team Scott Cler Christopher Sinnott and Croi McNamara
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Justin Lacob reposted thisJustin Lacob reposted thisAsteria is Building the Future of Filmmaking with Hybrid AI Workflows and Topaz VideoAsteria is Building the Future of Filmmaking with Hybrid AI Workflows and Topaz Video
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Justin Lacob shared thisNew project drop - THE SPIRITUAL ADVISOR, directed by Joel Fendelman and produced by James Chase Sanchez, in a partnership between DOCUMENTARY+ and Rolling Stone Films! And as always I love collaborating with Alexandra Dale on our combined shorts slate. We premiered the film last year at DOC NYC and it's finally available for everyone to watch for free!Justin Lacob shared thisWhat does it mean to kill somebody? And what if you had to watch it over and over and over again? Our new short film, THE SPIRITUAL ADVISOR, is now live on Rolling Stone's website & YouTube page and on the DOCUMENTARY+ streaming service. This story is so important to director Joel Fendelman and me. I would say I hope you enjoy it, but enjoy is not the right word. Rather, I hope it gives you insight and shows there are still people doing good work in this world. We need that. Link in the comments.
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Justin Lacob shared thisUPDATED: What a fun way to start the week. I'm thrilled to share that our companies have received 5 Webby Award Nominations and 1 Webby Honors recognition at the 30th Annual Webby Awards - the internet's highest honor. Iconic Origins: Teenage Mutant Ninja Turtles (XTR + High Five Content + Paramount + Nickelodeon) → Nominated: Podcasts – Best Creator or Influencer Series The Reality of Hope (Asteria Film Co. + Documentary+) → Nominated: Video & Film – Weird → Nominated: Video & Film – Best Use of Immersive Imillaskate: The Cholita Skaters of Bolivia (Documentary+) → Nominated: Video & Film – Documentary: Midform Chuskit & Saldon: Frozen Dreams of Ladakh | Winter Playing Fields (XTR) → Nominated: Video & Film – Sports Champions of the Golden Valley (XTR) → Webby Honors: Video & Film – Best Documentary Storytelling From Bolivian skate culture to frozen rivers in the Himalayas to communities holding onto hope, these are exactly the kinds of stories we built these companies to tell. And I'm grateful to the filmmakers, teams, and subjects behind each of these, and to the Webby Academy for recognizing stories that might otherwise go unseen. Voting for the People's Voice Award is open through April 16 — links below if you want to show these films some love. 📲 Iconic Origins: Teenage Mutant Ninja Turtles: https://lnkd.in/gRsS7SYt 📲 The Reality of Hope (Weird): https://wbby.co/57565N 📲 The Reality of Hope (Immersive): https://wbby.co/58926N 📲 Imillaskate: https://wbby.co/58923N 📲 Chuskit & Saldon: https://wbby.co/57560N 📲 Champions of the Golden Valley (Honors): https://wbby.co/58925H #WebbyAwards #Documentary #Film #Storytelling Jenna Kelly Chris Temple Zach Ingrasci Natalie Conneely Joe Hunting David Darg Matthew Cherchio Dani Eddy CJ Schmidt Bryn Mooser Baktash Ahadi Ben Sturgulewski Katie Stjernholm Howard Hsieh Andrew Jacobs DOCUMENTARY+ XTR Asteria Olympic Channel Services The New Yorker High Five Content Paramount Pictures Nickelodeon
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Justin Lacob posted thisPretty crazy morning... Honored to share that we’ve received three Sports Emmy nominations: 1) Champions of the Golden Valley: Outstanding Sports Documentary: Long (Katie Stjernholm, Ben Sturgulewski, Baktash Ahadi, Jenna Kelly, Chris Temple, Zach Ingrasci, Bryn Mooser, Douglas Blush, @Arian Moayed, @Malala Yousafzai, JT Taylor Sturgefilm @Optimistco XTR @Tideshift @Taleem Project/ Olympic Channel Services) 2) Imillaskate: The Cholita Skaters of Bolivia: Outstanding Sports Feature: Long Form (Chris Temple, Jenna Kelly, Zach Ingrasci, Bryn Mooser, Rebecca Basaure, Mariano Carranza, Natalie Conneely, Jackie Sanborn, Justin Villano, Cierra Xavier Pachamama Sabia @optimistco Vans / NOWNESS / DOCUMENTARY+) 3) Chuskit & Saldon: Frozen Dreams of Ladakh: Outstanding Sports Feature: Long Form (Matthew Cherchio, CJ Schmidt, Dani Eddy, David Darg, Bryn Mooser, JT Taylor XTR / Olympic Channel Services) These films are exactly why we do this: stories that sit at the intersection of sport, culture, identity, and resilience, told alongside incredible filmmakers and collaborators around the world. Massive congratulations to the directors, producers, partners, and the communities at the heart of each of these stories. It’s a privilege to help bring them to life and see them recognized on this stage. Grateful, and excited for what’s ahead.
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Justin Lacob shared thisSo excited to announced this!!! And grateful to be part this team of artists, engineers, and filmmakers who care deeply about storytelling and honored to see ASTERIA and MOONVALLEY included in Fast Company’s Most Innovative Companies in 2026 alongside Apple, Google, Anthropic and IMAX. What we’re working toward is simple: making the tools of filmmaking more accessible to filmmakers all over the world. For a long time, animation and VFX have required access to systems that weren’t available to most. We believe that should change. If we can help open that door — even a little — to more creators, in more places, that’s what matters. Thankful to be on the journey. #FastCompany #MostInnovativeCompanies
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Justin Lacob liked thisJustin Lacob liked thisI don't often get to talk about it: in addition to working in communications, I'm also a creative nonfiction writer. I completed an MFA about a decade ago, and now have two books in progress. This weekend at the Washington Writers Conference, it was a joy to immerse myself in the world of books & publishing. And I successfully pitched three literary agents--overcoming a big, nerve-wracking hurdle. I know some of you are working on books, too. Tell me about them in the comments! Also feel free to reach out if you have a book idea but aren't sure what to do with it.
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Justin Lacob liked thisJustin Lacob liked thisI've started a Substack. Over the past several years, I’ve been building at the intersection of entertainment, technology, social-first IP, creators, and AI-native production. Along the way, I’ve become increasingly convinced that the next generation of entertainment companies won't look like the studios we know today. They’ll be more community-driven, fan-centric, interactive, personalized, AI-enabled, and built around new models for creation, distribution, & monetization. My first piece is called “What Is An AI Studio?” It’s my attempt to define what that phrase should actually mean. I’ll be writing about the future of media, AI-native storytelling, creator-led IP, social-first incubation, platforms, fandom, and how entertainment companies need to evolve for what comes next. Would love for you to follow along. https://lnkd.in/gJ9Et-w2
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Justin Lacob liked thisJustin Lacob liked thisThree days at AI on the Lot. I am left encouraged, and possibly not for the reasons you might expect. The room was not euphoric. Paul Schrader opened it by telling 2,400 people that artists are barely keeping a step ahead of the monster. The worry was real, and it is not noise to be managed. It is signal. What I took from it is that the signal did not freeze anyone. They kept building. Last year this conference was people imagining what could be possible. This year they showed up with what they made. Finished films. Real productions. Real greenlights. I felt the shift on my own panel and again on the Cinema Synthetica jury, sitting with shorts that did not exist 48 hours before I scored them. I wrote up what I saw, the good and the complicated. Let me know your thoughts!Three days at AI on the Lot, from the stage and the juryThree days at AI on the Lot, from the stage and the juryJon Flynn
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Justin Lacob liked thisEarlier this week, Champions of the Golden Valley brought home my first Emmy, after 9 nominations throughout my career. Eight times the answer was "not yet." The other eight taught me something this one confirmed: the work is the reward, and recognition is the beautiful bonus. Endless gratitude to Alishah Farhang for letting us into his world, to the Olympics for the partnership, and deeply grateful to the team who poured everything into this film. Congrats to Ben Sturgulewski Katie Stjernholm Baktash Ahadi Chris Temple Zach Ingrasci JT Taylor Mariano Amiune Jenna Kelly Bryn Mooser Douglas Blush Elizabeth Stiff Arian Moayed Malala Yousafzai and many more.
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Justin Lacob liked thisJustin Lacob liked thisEvoke Entertainment Closes $35 Million Production Financing Facility Backed By Major Private Credit Fund EXCLUSIVE: Evoke Entertainment has closed a senior secured production financing facility of up to $35 million backed by a multi-billion-dollar private credit fund. While we verified the deal with the lender, they spoke with Deadline on the condition of anonymity, per company policy. The revolving production facility is designed to support Evoke’s expanding slate of independent features, television movies, streaming films, and series — significantly increasing the company’s already high-volume production output across major studios, networks, and streaming platforms. Structured around contracted revenue streams, distribution agreements, tax incentives, and the value of Evoke’s existing library and historical production performance, the facility provides the company with flexible, scalable production financing across multiple genres and platforms. Evoke’s lender comes to the partnership with extensive experience in structured finance, asset-backed lending, and entertainment-related investments. The deal was spearheaded by Evoke Entertainment CEO Stan Spry, who told us, “This financing marks a transformative moment for Evoke. The backing of a major institutional private credit partner gives us the ability to substantially scale our production operations while continuing to focus on commercially driven, cost-efficient content for the global marketplace.” The first projects to be financed under Evoke’s facility include a large slate of TV and streaming movies including a Christmas film for Hallmark, a survival thriller for Lifetime, alongside the independent feature films Suburban Kings, Homesick, and Bali Hai. Founded in 2011, and formerly known as Cartel Entertainment, Evoke Entertainment is a full-service management, production, and finance company that produces more than 20 films and series annually across major platforms including Netflix, Hallmark, Lifetime, Tubi, NBC/Peacock, AMC, and Great American Media. Notable past projects include Creepshow (AMC), Day of the Dead (Syfy), Twelve Forever (Netflix), and the upcoming Breaking Bear for Tubi, to name a few. #evokeentertainment #production #finance #movies #television Evoke Entertainment https://lnkd.in/epz5d3tgEvoke Entertainment Closes $35 Million Production Financing Facility Backed By Major Private Credit FundEvoke Entertainment Closes $35 Million Production Financing Facility Backed By Major Private Credit Fund
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Justin Lacob liked thisJustin Lacob liked thisI lost a $40k deal because I forgot to follow up for 11 days. The prospect was ready. The proposal was sent. I just got busy with delivery work and it slipped. That wasn't the first time. It was the pattern. I'm not a bad salesperson. I'm a human one. Too many conversations, too many notes scattered across email, Slack, my phone, a notebook somewhere. I tried every CRM. They all wanted me to be a different person. More disciplined. More organised. More like software. I'm not going to become software. Neither are you. So I built Roopi. You dump the mess in, it tells you what to do next. Built it for me first. Running my own deals through it now. The best reps will always be a bit messy. The tools should accept that and do the organising for us. Why are we still pretending otherwise?
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Justin Lacob liked thisJustin Lacob liked thisLet's talk professional headshots for a sec! I realized that mine is 5 years old, and it was time for a refresh. I'm all for hiring real photographers, but I wanted to play around and have something quickly. I did this myself with a tripod and new iPhone in my home office. Does it work? Please share your reactions below! Happy to share my tips, too.
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Justin Lacob liked thisJustin Lacob liked thisEvery buyer in town passed. Every single one. That’s where U.S. Against the World really began for us. By May 2022, Janina and I had real access, real trust, and a conviction that the U.S. Men’s National Team’s road to a home World Cup could become something much bigger than a sports documentary. The market didn’t see it yet. We heard versions of “soccer doesn’t work.” We heard the sports-doc market was cooling. We heard the obvious question: what if the team struggled in Qatar and no one cared? The safer choice would have been to wait until after Qatar and hope the market came around. Or shrink the idea. Or stop altogether. Instead, we kept filming. We knew we had to keep going, protect the access, and lean into our unshakable belief that the market would wake up. And after Qatar, it did. Following a competitive process, HBO came aboard and helped us build the project into the five-part HBO Original series now streaming. The scale changed, but our standard never did. We weren’t going to make the cheap version. Or the conventional version. Or the version that sold the players short. We were going to make the version that honored the magnitude of what they were living through. Now the series is out in the world, arriving just ahead of the biggest sporting event on earth, kicking off on home soil in three weeks. Grateful to Jordan Pinto and C21Media for telling part of the four-year gamble behind U.S. Against the World. Episodes 1 and 2 are streaming now on HBO Max. Chapter 3 premieres Tuesday on HBO and HBO Max. https://lnkd.in/gWf-H2t8
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EXECUTIVE PRODUCER CREDITS ARE NOT PARTICIPATION TROPHIES - THE EXECUTIVE PRODUCER PILE - ON IS A RED FLAG Investors. Producers. Screenwriters. Directors. When you see a lower-budget independent film with an excessive number of Executive Producers attached, you should be very, very leery. Yes, there are exceptions. Sometimes credits are structured for legitimate reasons. Sometimes financing demands it. Sometimes people genuinely earn the role through capital, leverage, access, or distribution. But more often than anyone wants to admit, it’s not strategy. It’s a yard sale. A trading post of titles. A pile of favors. A long list of people who contributed little to nothing meaningful to the actual film, but somehow ended up with one of the highest credits on the project. And when that happens, here’s the real danger: it’s rarely just a “credit” problem. It’s a signal that the leadership is weak, the structure is sloppy, and the project is being held together by permission slips instead of governance. For investors, it’s a flashing warning sign that accountability is diluted and decision-making will be compromised the second things get difficult. For producers, it’s the beginning of operational dysfunction disguised as “support.” For directors and writers, it’s a quiet nightmare. Because excessive Executive Producer credits usually means you’re walking into a project where too many people think they’re in charge, too many people believe they get a vote, and too many people feel entitled to creative influence without earning it. And that’s how films die in slow motion. Not from a lack of talent. From a lack of control. Executive Producer is supposed to mean something. When it becomes a participation trophy, the entire project becomes a liability. So if the Executive Producer list looks inflated on a small budget, don’t ignore it. That’s not momentum. That’s a red flag dressed up as prestige.
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Evan Shapīro
71K followers
BBC + YouTube YouTube + The Oscars Netflix + Podcasts Instagram on TV Creators on FAST MrBeast on Amazon Markiplier Inc in Movie Theaters My BIG unifying theory for 2026: this year, Trad Media & The Creator Economy collide, combine, and merge. To help prove my point, recently I spoke with the one and only Alan Wolk, Roku’s Head of Ad Sales Marketing Sarah (Warner) Harms, and Horizon Media Futures Chief Michele Donati about HOW TV & CREATORS COLLIDE IN 2026. Enjoy the clip? Watch the series! https://lnkd.in/eP8HB8a2
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Martin Grove
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MARTIN GROVE'S HOLLYWOOD REPORT FOR 3/15/26: Families kept the multiplexes humming over Oscar weekend with $28.5M in ticket sales for HOPPERS. The Disney/Pixar Animation PG comedy adventure was playing at 4,000 theatres ($7,125), per Comscore. It's also benefiting from tracking best for first choice with under-25 women (eight points over norm). HOPPERS has done $86.8M domestic & $164.7M worldwide. BUDGET BUZZ: $150M to produce. Universal's PG-13 romantic drama REMINDERS OF HIM opened #2 to an over-performing $18.3M at 3,400 theatres ($5,362), per Comscore. Hollywood handicappers were initially expecting $10-12M. It's tracking best for first choice with over-25 women (two points over norm). Rotten Tomatoes critics are negative at 56%, but audiences are happy at 89%. BUDGET BUZZ: a modest $25M to produce. HIM is directed by Vanessa Caswill (LOVE AT FIRST SIGHT) and stars Maika Monroe, Tyriq Withers & Rudy Pankow. It's based on the bestselling novel by Colleen Hoover (IT ENDS WITH US). Domestic ticket sales were $83.7M, according to Comscore Head of Marketplace Trends Paul Dergarabedian. That's down 13.3% from the prior weekend, but up 54% vs. this time last year. Comscore's year to date tally has 2026 at $1.41B, up 15.15% from $1.23B in 2025. The prior weekend had 2026 up 13.21% vs. 2025. Meanwhile, back at the multiplexes: A24's R rated sci-fi thriller UNDERTONE opened #3 to $9.3M at 2,570 theatres ($3,634), per Comscore. Directed by Ian Tuason (EXTREME CLOSE UP), it's tracking for first choice below norm for all demos. Rotten Tomatoes critics are okay at 76%, but audiences are booing at 52%. BUDGET BUZZ: $3-4M to acquire rights. Paramount/Spyglass Media's SCREAM 7 was #4 in weekend three with $8.4M (-51%) at 3,243 theatres ($2,575). It's done $106.5M domestic and $177M worldwide. BUDGET BUZZ: $45M to produce from Paramount & Spyglass. Next weekend (3/20/26) 🐝🐝🐝🐝: Amazon MGM Studios' PG-13 sci-fi drama PROJECT HAIL MARY is opening at about 4,000 theatres. It's tracking best for first choice with over-25 men (nine points over norm). Rotten Tomatoes critics are already cheering at 94%. MARY, directed by Phil Lord & Christopher Miller (THE LEGO MOVIE co-directors), stars Ryan Gosling, Sandra Hüller & the voice of James Ortiz. . Searchlight/Mythology Entertainment's R rated comedy thriller READY OR NOT 2: HERE I COME is opening at about 3,000 theatres. It's directed by Matt Bettinelli-Olpin & Tyler Gillett, who also co-directed the 2019 original READY OR NOT. READY 2 stars Samara Weaving, Kathryn Newton & Sarah Michelle Gellar. It's tracking best and equally well for first choice with under-25 men and over-25 women (each one point over norm). Rotten Tomatoes critics are already positive at 86%. The first READY episode opened 8/21/19 to $28.7M domestic and did $57.6M worldwide on a budget of $6M. (See more at www.ZAMM.com) #movies #boxoffice #hoppers
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Adam Nelson
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Joseph D. Chianese CPA, MBA, MBT
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Elliot Grove
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In the rush to get cameras rolling, corners get cut, contracts go missing, and chaos creeps in – not because of a lack of passion, but because of avoidable mistakes. Producing a film isn’t just about spreadsheets and schedules; it’s about vision, leadership, and relentless foresight. Here's 10 big mistakes producers make and how to avoid them: https://lnkd.in/e8t4gSaB
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Iran Garcia
California State University… • 341 followers
The elephant in the room: transparency in music-industry royalties. “...failure to use readily available technology to obtain an accurate count of music use has unfairly diverted millions of dollars…” In a world where every performance or reproduction of a copyrighted work is supposed to generate a royalty, so creators can keep making a living, I struggle to understand why some PROs downplay the need to evolve. Too much music use still goes untracked, even as music is played across more platforms and mediums than ever. PROs should be aggressively investing in modern tracking, at scale, across every medium where music is used. Whether that’s automated audio-recognition systems, better reporting infrastructure, or even a simple “listening” device installed near a venue’s sound system (think Shazam-level fingerprinting) that securely logs plays and reports them back to a PRO database. And “easier said than done” can’t keep being the default excuse. That mindset just reinforces the industry’s “if it ain't broke, don’t fix it” approach. Except it is broken for the people missing payments. For an industry responsible for distributing billions of dollars annually to copyright owners, we have to do better. https://lnkd.in/gVVJeEgz
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Warner Bailey
Stealth Startup • 41K followers
There is too much negativity around the Entertainment Industry right now. Here are 6 positive stories/trends for your feed 📈 Studios are buying again Eight spec scripts sold in August 2025, the biggest month since 2017. For context only 11 specs sold in all of 2023. 📈 New Jersey production is booming Film & TV spend hit $402M in the first half of ’25, up 200% YoY. 📈 Disney is increasing content spend They’re adding $1B to their content budget next year for a total of $24B 📈 Tubi is doubling down on creators After launching Tubi for Creators in June, they’re already rolling out a slate of creator-led originals. 📈 Creator economy remains hot TikTok x iHeartMedia just signed a major multiplatform partnership, including creator-hosted podcasts. 📈 Florida expects a production surge Expanded 2026 tax incentives + a new below-the-line certification program are set to bring fresh business into the state. The collapse narrative is lazy. The industry is evolving, not dying. If you are open to pivoting and being malleable, you can thrive in this Industry.
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William Nix
Creative Projects Group • 9K followers
A telemetry-based approach to maximizing efficiency in modern film production. In this episode from January 2026 during the final Sundance Film Festival in Park City, Utah, Producers Without Borders founder Kayvan Mashayekh sits down with John Corser, former Senior Vice President of Global Production and Production Technology at NBCUniversal to discuss John's new technology company, Film IQ, focused on bringing real-time intelligence to film and television production. John compares Film IQ’s approach to the telemetry used by Formula One teams. Just as F1 engineers analyze live data to optimize performance on the track, Film IQ aggregates and analyzes the constant stream of production data to provide immediate feedback on schedule, efficiency, and resource allocation. The conversation explores how small to large scale productions can use data-driven insights to stay on time, control costs, and ultimately put more value on screen without sacrificing creative intent. https://lnkd.in/gUjwCgF3
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David Zannoni
Freeway Entertainment Group • 6K followers
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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Jonathan Lipp
Big Apple Film Festival • 5K followers
Producer/Director James Pratt discusses strategies on attaching marketable and "name" talent to your film (Big Apple Film Festival Industry Networking Sessions). James Pratt is an award-winning director and producer residing in Los Angeles, California. His most recent work includes being executive producer on 4-time academy award nominee Edward Norton's Longevity Hackers (2024) and associate Producer on Harland Williams new comedy Film, Wingman (2025) which stars Kayla Wallace (Landman) and Jamie Kennedy (Romeo + Juliet). #BigAppleFilmFestival #FilmIndustryNetworking #JamesPratt #FilmDirector #FilmProducer #IndependentFilm #FilmmakingTips #AttachNameTalent #CastingStrategies #FilmProduction #HollywoodFilmmakers #LongevityHackers #WingmanMovie #IndieFilmmakers #FilmmakerNetworking #BehindTheScenes #MovieMaking #FilmFestivalSeason #CreativeProducers #DirectorLife
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Joseph Peters
Renaissance Productions, Ltd. • 8K followers
Why Independent Films Are Leaving California - new video: https://lnkd.in/gTAAwNGD - California just doubled its film tax credits to $750 million annually, but there's a problem - While the state courts big-budget productions, thousands of independent filmmakers making movies under $1 million are being left out entirely, impacting the entry point for new directors, writers, & crews - Independent filmmaker & professor Jeff Deverett breaks down why this matters for the next generation of Hollywood talent & what California risks losing if it doesn't act - plus Post-Production Film Workers Don’t Want to Be Left Out of the Tax Credit Conversation - article: https://lnkd.in/g-vyY4BB
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Kelly Schwarze
Indie Film Factory, LLC • 2K followers
As someone who’s proudly called Nevada home for over 44 years and spent decades working in the film industry, I want to clear up some misconceptions about AB 238, and share why I believe it’s one of the most exciting and forward-thinking economic opportunities our state has seen in years. Some have pointed to a report estimating a $0.52 return per $1 in tax credits. But that view only looks at direct tax revenue, and completely overlooks the bigger picture: job creation, small business growth, workforce development, and long-term economic transformation. AB 238 is a smart, performance-based deal for Nevada. Companies must invest their own money first, hiring Nevadans, building infrastructure, and funding over $8 million in local job training, before they qualify for any credits. It’s a plan rooted in accountability, not giveaways. I understand concerns about outside influence. But let’s be honest, the real issue isn’t who’s coming in, it’s who’s leaving. For too long, talented Nevadans have had to move elsewhere to build careers in film and media. This bill helps keep our talent here and grow opportunities from within. And for my fellow filmmakers, especially the independents, this is the chance we’ve been waiting for. With studio infrastructure, access to trained crews, and a competitive incentive program, Nevada has the potential to become a true filmmaking hub. No more watching productions head to Georgia or New Mexico, we can bring them here. This kind of growth doesn’t just benefit filmmakers. It generates new revenue, fuels local businesses, and supports broader public services, from education to social programs. This is how we build a stronger, more diverse economy. Write to EVERY NV state senator TODAY and urge them to support AB 238. I will past their ensuks In the comment section. This is a once-in-a-generation opportunity, and we cannot afford to sit this one out. The future is watching. This is our moment. Let’s rise to it.
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Debbie Durkin
Durkin Entertainment LLC • 11K followers
Los Angeles Film Production Declines 13.2% in Q3, but FilmLA Points to ‘Early Signs’ of Recovery: “It will take a little while for new incentive-backed projects to get underway and be reflected in our data,” FilmLA says in quarterly report. 🎬 https://lnkd.in/g6XGFq4h #losangeles #film #production
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