Margaret Dean

just pushed an update to the Compare Frames node for ComfyUI, Overlay Mode: A new layout with a dedicated alpha transparency slider. It blends the two videos, making it incredibly easy to spot ghosting or subtle texture shifts between generations. Single-Video Support: You don't have to compare two videos. Connect just one sequence, and it acts as a standard, full-width video player with playback and scrubbing. https://lnkd.in/gE73G4jn

14

Jim goes big in the UK with a 1 Billion dollar studio build. "The proposal includes 18 soundstages and a skills academy aiming to “harness AI and the digital revolution to revolutionize the art of storytelling.” Cameron has supported Marlow throughout and has floated it as a potential base and training center for Lightstorm3D, a company he set up to develop tools and tech for movies." https://lnkd.in/gBshkQCy

21

Using ASSIMILATE Live FX together with a lighting console opens up a powerful workflow for Image-Based Lighting. I recently updated both grandMA3 and Live FX systems to the latest and greatest, so I repatched the Robe house rig from scratch to have a clean slate: 16 × LEDWash 300, 6 × LEDWash 150, 6 × DL4S, 4 × DLS That gives a 10 × 10 m lighting grid with 32 pixels to work with, and Robe’s LED engines translate beautifully for IBL. Treat the rig as a pixel canvas, but keep the flexibility of a console: switch between IBL and traditional programming, or blend the two depending on the creative needs on stage. ASSIMILATE ROBE Lighting s.r.o. LumenRadio MA Lighting International GmbH Luminex Network Intelligence #imagebasedlighting #lightdesign #mediaserver #virtualproduction #assimilatelivefx #robelighting #luminexgigacore #lumenradiostardust #GDTF

46

California Assemblymember Nick Schultz has committed to carrying a bill aimed at creating a standalone postproduction tax incentive in a bid to return more editing, sound mixing, VFX and other post work to the state

35

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.

29

26 Comments

I built a tool I wish existed when I started working in virtual production. 🎬 One of the most frustrating gaps in any VP or Techviz pipeline — only you know exactly what your virtual camera sees, but there's no clean, accurate, renderable way to show it to the rest of the team. Debug overlays don't render. Manual setups take too long. And guessing is never good enough when production decisions depend on it. So I spent my nights and weekends solving it. 𝗖𝗶𝗻𝗲𝗙𝗿𝘂𝘀𝘁𝘂𝗺 is now live on Fab — a native UE5 plugin that gives your cine camera a physically accurate, fully renderable frustum in the scene. Driven by real sensor and lens data. One click. No guesswork. No manual setup. Just the exact field of view — visible, accurate, and ready to render. ✅ 𝗦𝗲𝗻𝘀𝗼𝗿-𝗮𝗰𝗰𝘂𝗿𝗮𝘁𝗲 ✅ 𝗥𝗲𝗻𝗱𝗲𝗿𝘀 𝗲𝘃𝗲𝗿𝘆𝘄𝗵𝗲𝗿𝗲 ✅ 𝗢𝗻𝗲 𝗰𝗹𝗶𝗰𝗸 This one is for the technical directors, previs artists, VP supervisors, and production designers who are tired of approximating what the camera sees. UE 5.6 and 5.7. Available now on Fab🔗 https://lnkd.in/dfd2XGFM #UnrealEngine #VirtualProduction #TechViz #Previs #CineFrustum #UE5 #FilmTech #RealTimeFilm #Fab #CinematicTools #VFX

115

5 Comments

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.

13

2 Comments

SAG-AFTRA and the major studios have agreed to continue negotiations on a new contract into next week, a sign that both sides see the value in further discussions. https://lnkd.in/eenXZXQz

7

After 18 years of mixing sound for television and film… I didn’t think a noise reduction plugin could surprise me anymore. Then I stopped by the CEDAR Audio Ltd booth at NAMM this year… and yeah — I was wrong. Two knobs. Noise. Voice. That’s it. And somehow… it just works. This week on the Mastering Post-Production Sound YouTube channel, I partnered with CEDAR to put VoicEX 2 to the test on some pretty terrible audio. Not the polished stuff. The real-world, “how do we even save this?” kind of audio. Whether you're a seasoned post-sound pro or a content creator trying to clean things up… This one’s for you. BUT HERE’S THE FUN PART 👇🏾 CEDAR (the inventors of digital noise reduction) hooked us up with: 🎁 A full perpetual license of VoicEX 2 (No subscription. You own it. Forever.) How to enter: ✅ Subscribe to the YouTube channel ✅ Enter through the link (I’ll drop it below) Drop a comment that says “CEDAR” and I’ll reply with the link 👇🏾 (Or grab it in the first comment) Winner announced May 1st. #cedaraudio #audiopost #postproductionsound #noisereduction #dialogueediting #rerecordingmixer #filmsound #tvpost #contentcreators

120

100 Comments

I’m very excited to share our recent case study, “Beyond the Green Screen”: Virtual Projection’s Revival in Modern VFX Workflows,” presented by myself Joseph Conover and alongside Chris Barnett at this year’s Production Summit. In this session, we’ll walk through the design and implementation of the largest VFX stage of its kind, developed in partnership with CBS VFX at Paramount Pictures Stage 3. The project features Christie Digital Systems Virtual Projection Solution deployed on a CarbonBlack Technology LLC 100×24 screen wall, showcasing how “virtual projection” is redefining modern production pipelines. Production Summit is a multi-day, AI-enhanced experience that brings together professionals from the technology, media, and entertainment industries, with a strong focus on practical AI applications. It’s an incredible opportunity to learn from experts, exchange ideas, and explore tools and strategies that can be seamlessly integrated into real-world workflows. https://lnkd.in/gKCP_sai

31

4 Comments

The NMDIG grant is open to all emerging and early-career documentary filmmakers. Filmmakers must live and maintain a primary residence in New Mexico. Eligible filmmakers must be a core creative member of the production (either writer, director, or producer credit). https://lnkd.in/gDiz-_D4

8

Fast-moving productions need logistics to match. From gear protection to global routing, we’ve packed our best practices into a quick, clear guide for production teams who can’t afford delays. If you’re shipping across borders, or across town, this is for you: ⏱️ Time‑critical strategies 🧳 Kit-friendly transport 📃 Carnets & customs sorted Logistics without limits. 🔗 Read the guide: https://lnkd.in/eH_rDhiW #FilmProduction #ProductionLogistics #GlobalLogistics

16

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              

2

Incidents like this are a strong reminder of how essential real, human QC is — even on rush jobs. A proper review on both sides would have caught this instantly. But in an age of automation and AI-driven workflows, mistakes like these can slip right through and derail all the hard work that should be the focus. Instead of celebrating the restoration or the quality of the show, everyone ends up talking about what should never have been visible in the first place. https://lnkd.in/gkX9SaPf

37

7 Comments

Los Angeles Is One Step Closer To Streamlining Local Film & TV Production Processes - new article: https://lnkd.in/gc4X7TK4 - plus City Council Unanimously Greenlights Measures to Boost Production in Los Angeles - new article: https://lnkd.in/gwc_Py7N - Carlo Perez, the business manager for Local 755 of the plasterers, sculptors, & shop hands union, recalled shooting a Fast and Furious movie in Georgia & swapping the cars’ Georgia plates for California plates - “We need to stop this, we need to cut it off while there’s still something to save”

17

11 Comments

If your game lives or dies on connection…why would you remove the human from it? I spent a lot of time at GDC hearing teams talk about using AI for voices. And I get it, budgets are tough. Especially in indie. But when it comes to performance, voice isn’t just a delivery system for lines. It’s emotion. It’s nuance. It’s culture. It’s lived experience. It’s the thing that makes a player feel something. And that will never come from a dataset. It comes from a human being who has spent years training, working, and honing their craft. There are so many incredibly talented voice actors out there, at every level, who bring depth, connection, and truth to the work. And there are ways to work within different budgets that still respect both the project and the performers. Going fully AI should not be the path forward. All that time, energy, and care you’ve put into your game? This ONE choice risks losing the player connection that makes it truly resonate. #GameDev #IndieGameDev #GameAudio #VoiceActing #Storytelling #NarrativeDesign

79

12 Comments

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.

18