Robin Alan Linn

Canva, Affinity, Cavalry. Will you all help a dude out and officially port your software to Linux? Creative EL/Fedora user here who loves making creative work with Blender, Blackmagic Design's Resolve/Fusion, Krita, TVPaint Développement, and SideFX Software's Houdini. I feel like you joining the team would really help turn Linux into a viable full-time option for independent creative professionals looking for a scalable open-source OS environment. Boldly go where Adobe dare not tread! Any other nerds out there feel the same way 🤓 ???

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How is a live theater show different from a film or TV show? It's LIVE! Talented entertainers tune the show in real-time based on feedback from the audience How are theme park rides different from a manufacturing assembly lines? They're LIVE entertainment mediums, too! So how can we adapt the attraction's live storytelling to the guests' real-time response? https://lnkd.in/edjfq9Au Imagine taking a page from the manufacturing world and applying it to an attraction. Siemens’ recent piece on digital twins seems a little dry and engineer-y at first. But it explains how factories extend virtual models beyond product design to the entire production process, enabling real‑time monitoring and predictive maintenance. Those same principles can transform themed entertainment, but with a twist. Unlike an assembly line, a ride or show can be a living performance that tunes itself to build up guest engagement, the way a star performer on stage can address the audience to stir them up. Attractions use much of the same hardware as automated factory equipment, yet once the ride doors open, every audience is unique. Live theatre adapts based on the crowd; our rides could, too. A digital twin that updates in real time and keeps a history of every cycle, rather than just a one‑way “digital shadow”, lets us analyze trends, anticipate bottlenecks and adjust pacing or effects dynamically. Imagine a ride that uses operational data to spot where a motion base’s jerk profile exceeds comfort limits, or uses telemetry data to reduce motion sickness, then tweaks the show sequence to suit the day’s guests. And all this while scheduling preventive maintenance before parts fail. Crucially, a digital twin doesn’t replace people; it removes obstacles. Operators, performers and cast members remain the heart of the experience. By surfacing insights instead of raw alarms, the twin frees them to focus on storytelling and guest interaction rather than troubleshooting. The result? A smarter, safer attraction that feels as fresh as live theatre—backed by the same rigorous data foundations that power today’s smartest factories. #DigitalTwin #ThemeParkDesign #LiveEntertainment #PredictiveMaintenance #GuestExperience #DigitalTransformation

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Today’s AVE (Audio/Video Engineering) class is all about getting beginners comfortable inside Avid Pro Tools by actually making something real. We’re going step-by-step through the core workflow: Set up a new Pro Tools session the right way (so you don’t fight your settings later) Create music using simple, beginner-friendly tools and a clean session layout Record vocals (mic setup basics, levels, takes, and how to avoid clipping) Edit vocals to sound tight and professional (cutting, trimming, fades, timing, and clean comping) Organize your session like an engineer so your mixes don’t become a mess By the end, you’ll understand how producers and engineers go from blank session → recorded takes → clean edits with confidence. ✅ Perfect for: brand-new users, students, new artists, and anyone who wants a repeatable Pro Tools workflow. 📌 Drop your questions in the comments/live chat—especially if you’re stuck on recording, latency, or editing tools. #ProTools #AudioEngineering #VocalRecording #MusicProduction #AVEClas

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In today’s game industry, no great title is made in isolation. External development isn’t just about outsourcing; it's about unlocking global creativity, scaling smart, and tapping into global talent and forming true partnerships that make a difference. From art and animation to audio, engineering, and QA, external teams are often the behind-the-scenes heroes helping bring the magic to life. #externaldevelopment #partnerships #createtogether #collaborations

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A couple of weeks ago, I worked as the Assistant Projection Designer for Sigmon Theatrical's production of ENCHANTED ILLUMINATIONS, a two-show spectacular consisting of jaw-dropping projections and one performance featuring illuminated dancers filling the street. My role as Assistant Projection Designer was a culmination of numerous responsibilities that tested my abilities. I animated assets for interstitial projection designs, surface-mapped the exterior façade of Davidson's storefront, operated and called cues for each show, and coordinated with city officials to ensure all technical elements were aligned with visionary needs. This production taught me how to lead not only as a designer but also as a co-instructor for the live performers. Christmas in Davidson was my first time producing projections for an outdoor event, where environmental elements, large crowds of moving people, and fluctuating exterior lighting needed to be considered in the overall design. When talking with the Creative Director, Caleb Sigmon, after the first night, we considered these two questions: 1. What are we missing that felt like an open space for potential? 2. How can we elevate the guest experience easily and effectively? This sparked a reminder for me of the concept called interstitial design. It is when you create for the in-between transition moments. Let me explain further. This production was set on a large footprint of space in the center of the town. On the façade, our logo and showtimes were listed in between performances, but our space remained a vacant location that funneled all guests to other areas of the event. Considering how many people would pass through, I had the idea of designing short, 5–7 second projection assets that would get the attention of guests while setting another reminder of our shows. In one night, I designed four separate sequences that we placed randomly in between shows. As a result, we noticed guests jump with joy and be surprised by something that happened quicker than they could record on their phones. This was a pivotal designer moment for me, as it reminded me how important simplicity is and the impact it can have. Media is fast-paced, but when creating immersive, themed entertainment, it's essential to motivate guests to slow down and take pride in surprises happening around them. Watch the entire CHRISTMAS WISHES show here: https://lnkd.in/eAzsU9Dj

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Modern Mythology Episode 25 explores the Cypher System through a fantasy lens with guest SJ McKean, covering universal RPG design, narrative mechanics, and flexible storytelling.

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Most indie filmmakers are waiting for permission. Jason Horton didn’t. I just sat down with veteran indie filmmaker Jason Horton - a guy who has written, directed, produced, and distributed dozens of films without waiting for Hollywood to call. No fantasy. No “one big break.” Just volume, strategy, and understanding distribution before cameras roll. If you’re serious about building a sustainable career in independent film, not just making one movie and hoping, this episode will challenge you. Because the truth is: Indie film isn’t just creative. It’s operational. And Jason has the receipts. https://lnkd.in/eBB4unAp https://lnkd.in/erByn-uT

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Early in my career, I didn’t know the word transmedia. I was working as a game animator when something clicked. A game engine didn’t just make games, it could also build animated series, live experiences, interactive worlds…entire story universes. Later, I learned that Henry Jenkins defined transmedia as: “A process where elements of a fiction are dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.” I came at it from a more pragmatic angle. What if every asset, across every platform, was the same asset? One designer. One artist. One asset. Everywhere. Not duplicated. Not rebuilt. Not reinterpreted. A single source of truth. That became the core idea: use a game engine to develop an entire story world once, then distribute it seamlessly across a transmedia landscape. And it turns out - you can. Over the past 4.5 years, my team has used Unreal Engine to produce the A for Adley Family Cartoon. Those same assets have powered Fortnite experiences, been ported into Roblox, deployed in custom apps, and even used to generate children’s books through a custom Unreal-based book renderer. I didnt know transmedia was a thing. I just saw an opportunity and solved for efficiency, consistency, and scale and made transmedia storytelling viable for small creators.

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One of the most rewarding parts of running Samurais of Sound is seeing neurodivergent participants translate creative interests into tangible vocational skills—from recording technique to portfolio-ready demo work. Structured creative pathways matter. When paired with mentorship and industry standards, they can support confidence, communication, and real-world growth. Grateful to collaborate with families, Independent Facilitators, and service coordinators who believe in creative vocational development.

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Something as simple as the right haircut can shift more than just your appearance. A strong bob doesn’t hide. It frames. It sharpens. It removes distraction. It elevates everything around it. Your wardrobe, your presence, your energy. In many ways, it does what a strong resume does: It tells people who you are before you have to explain it. This is executive presence, translated through hair. As we move into spring and summer, we’re seeing a return to cleaner, more decisive shapes. Not louder. Stronger. Because power today doesn’t come from excess, it comes from clarity. If your image is part of your personal brand, what is yours communicating before you say a word?

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A studio owner refused to sponsor our IGDA events because he didn't like me personally. That's when I knew I'd become a stone that doesn't move. I held the IGDA Tampere coordinator position for nine years. Eventually, everyone looked to me for any action instead of the organization itself. When someone told me their company wouldn't sponsor IGDA activities because they didn't like me, I tried explaining that I'm not the same thing as the regional organization. I was just the coordinator. The problem was I'd been there so long that people couldn't separate me from the role. Because of this, I wanted to step down. But no one to pick it up, and time just passed, almost another year went by. Finally, I set a hard deadline - IGDA Tampere's 10th birthday would be my last day as coordinator. Inside game studios, we all know a producer who's been on the same project for five years. A tech lead who's the only one who understands the codebase. One of the biggest reasons roles don't turn over is cost. - The handover cost.  - The knowledge transfer cost.  - The "only they know how this works" cost. If you realize you've become that person - the one everyone looks to instead of the process, the one whose name is synonymous with the role - and you want to move on, start talking about it. Start finding ways to hand it over. Start documenting. If you can reduce the cost, the change becomes easier.

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Proud to see how raw facial performance capture transforms into expressive digital characters APPLE ARTS STUDIOS Motion Capture Services. With 15+ years of experience, we continue delivering high-quality motion capture solutions for films, games, and virtual production. #MotionCapture #FacialCapture #VFX #Animation #VirtualProduction

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Really cool look at how virtual production can be used to quickly make some really fun results at the Oscars.

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Please, consider not using AI voices, or internal resources for your concepts, pitches, animatics, etc... Let's find a way to use the same human talent (hopefully) you'll consider for the final!! Even the "union rate" for demo reads is pretty low, AND it gives you the chance to start the connection between talent, copy and client. If your client deserves YOUR creative talents... imagine the value added by a trained human artists! Cast them early! Have them standing by. Another tool in your toolbox, ready to make the project shine. In 2025 I worked on several projects that I was able to negotiate attractive demo-fees, so the producer could afford multiple adjustments or even full re-writes as we worked toward the final spot. When that final session date came, it was like old friends walking the path THEY CREATED! Smooth, tested and pre-approved! Adding VO doesn't have to be last minute every time. It can be early, and part of the creative process. 😉

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It has been 4 years now since we opened HAA, the first specialty school for animation in the US. 100% animation in person for 8 hours a day with training from experienced Hollywood animators and directors. Students learn with classical animation training and industry geared projects for film, games, and television. It has been a great joy to develop the kind of curriculum I wished I would have gotten from Cal Arts after working in the industry for 30 years. Most colleges leave their students without guidance on what they specifically need for a competitive portfolio today. Students do character designs and student films that are misguided and unpolished. We build projects that are industry relavent and train students 6 semesters deep in order for them to reach pro levels. We even help our students build their portfolio websites and teach them how to be a professional within a studio system. This is a school striving to lead education with cutting edge technology and experience. Learn feature storyboarding from experienced feature story artists. Learn TV production boards from primetime directors or TV board artists. Learn Previs from a top previs lead from Marvel and Universal. Learn game animation and cinematics from an experienced lead and game cinematic director. Learn Unreal Engine for filmmaking from feature and game directors. The animation industry is more challenging than ever and for serious students we offer one of the best solutions. Daily in person professional guidance with a structure that is second to none in practical real world training. In 2026 we launch our next intermediate level program for online students called Creative Edge and grow our 3rd year Mastercraft program with fantastic pro level projects. It's going to be an exciting year and we invite new students to check out our website and contact us if you are interested in learning more. https://lnkd.in/g8E8uFuU #animation

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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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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

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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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