“There’s No Template” for MOFA’s New Model, Centred on Making Docos, Feature Films for Brands Co-MDs Llew Griffiths and Gal Greenspan, and co-founder Nick Kelly, told LBBonline - Little Black Book’s Tom Loudon the deal will develop the long-form ambitions of commercial producers and directors, and give brands access to audiences otherwise paying to watch YouTube or Netflix, for example, ad-free

When you look at some of the most-watched Netflix films of all time— KPop Demon Hunters, The Adam Project, Bird Box, Red Notice— There’s a pattern: ✅ Original IP ✅ Wildly different budgets ✅ Massive global reach So what does that tell us? That studios are willing to take risks on new ideas—but they’re looking for two things: proof of concept and built-in momentum. And here’s the real shift: With the state of today’s studio landscape and the breakdown of traditional distribution, more artists are starting to bet on themselves. Not because they don’t want the deal… But because they’re done waiting for one. ⸻ 🎯 Here’s a question worth asking: What if you stopped thinking like a filmmaker… and started thinking like a studio? What if you began putting out content with a mindset around: → Advertisers → Audiences → Ownership Instead of waiting for the machine to market your vision, you are the machine—building IP, growing community, driving value before the greenlight even hits. ⸻ Yes—of course we’d all love the traditional dream: ✅ Sell your film ✅ Direct your vision ✅ Watch it release with a global marketing engine behind it But the truth is—the times are changing. And the next generation of filmmakers will look a lot more like independent music artists and creators than legacy studio directors. ⸻ 🧠 Here’s my take: The future of filmmaking will be hybrid. Big budget. Small audience. Small budget. Big community. And those with the courage to build their audience, tell their stories publicly, and experiment early will have the leverage—not just the pitch. So ask yourself: What would it look like if you stopped waiting… and started building like the studio you’ve been hoping would discover you? Drop a 🎥 in the comments if you’re already making the shift. #BruceATL #FilmmakingFuture #OriginalIP #NetflixData #BuildYourAudience #ContentThatConnects #CreativeDiscipline #StorytellersInMotion #PitchToGreenlight

How New York City Plans To Lure Productions Back With The State’s Sweetened Film & TV Incentives - new article: https://lnkd.in/g5uvBPHU - As the industry has shifted & studio & indie productions have increasingly looked to benefit from more attractive tax credits in other states & nations, production in the Big Apple has been waning - At the beginning of the year, a report from the state’s development office indicated that applications to its state tax credit were down 53% compared to five years ago even after the state doubled its annual cap in 2023 from $420 million to $700 million - New York currently offers a base 30% incentive with regional step ups & the fresh pot of $100 million is geared specifically towards independent productions - Qualifying productions are eligible for a total incentive of up to 40%, making the state hugely competitive to not only other states but also major international destinations such as the UK, Hungary, & neighboring Canada - In order for a project to qualify as a New York production, 75% of the film or series has to shoot in New York. 

The world of entertainment production management is littered with random tools that aren’t integrated with each other: audition signups are offered with one tool, availability is gathered with another, casting is done almost completely offline, and cast communication is done on a random social network. We’re building CocoScout to bring all of that together into one command center: Open a call to auditions, create a signup form, gather availability for auditions and shows, schedule auditions, select and onboard cast members, manage roles and cast assignments, and centralize production-related cast communications, all in one centralized hub. We launched an MVP a couple weeks ago and have now used CocoScout to complete a full round of auditions, casting, and role assignments for our newest production (Comedy Pageant - "comedy_pageant" on IG). We’ve learned a TON in a very short time about things we built but want to change already as well as dozens of features we’re going to add. This week we’re starting with the next phase: the talent/auditionee’s experience. All of their audition requests, audition schedules, casting decisions, and intra-cast communications in one place, plus a simple universal profile that can be used when auditioning across all productions (imagine something similar to your LinkedIn profile and the Easy Apply feature). 

How do you build a theatrical feature film from dailies to delivery entirely inside Adobe? PRODUCTIONS, check this out. In this podcast episode segment, editor Patrick Perry walks us through Moonshine Post’s proven workflow in Adobe Productions on his latest collaboration with Director Glen Owen and the film Signing Tony Raymond, coming to theaters this winter. Watch the full episode for more info obviously 🙄 Working alongside assistant editor Michael Cheeves, Patrick shares how they prepped projects, managed a standard workflow, and kept metadata clean for a seamless offline edit. This process is battle-tested on large streaming series and features that Moonshine has been developing with Adobe since 2019. For filmmakers navigating the new film industry, post supervisors building hybrid workflows, or indie editors learning how to scale up for features, this episode might worth a gander. Thank you for the collaboration Adobe.

Production Skills for Producers | Sligo, Leitrim & Roscommon | October 2025 Overview https://lnkd.in/eMYM4mQS Building on the success of last year’s SLR Producers Course, this new programme is designed to deepen practical knowledge and expand professional capabilities in film and TV production across the Sligo, Leitrim, and Roscommon region. What will this course cover? - Budgeting, Scheduling, Cash-flow & Cost Reporting - Contracts & Legal Frameworks for Filmmaking - Co-Development & Co-Production Agreements - Preparing Section 481 Applications - Music Clearance & Supervision - Case Studies of Recent Productions This course has been designed for emerging producers in the region who want to explore new tools and funding mechanisms, and emerging entrepreneurs looking to re-skill and transition into the film and TV industry. Applicants must be based in Sligo, Leitrim, Roscommon or neighbouring counties. Venue/location In-person in Sligo, Leitrim and Roscommon Deadline for course registration and payment Thursday 25th September 2025 at 12noon #CreativeSkillnet https://lnkd.in/eMYM4mQS This programme is run in partnership with Creative Heartlands and The Glens Arts Centre, with the support of Skillnet Ireland's Skills Connect Scheme

❓ What if the biggest risk in entertainment isn’t uncertainty — but stagnation? Too often, the conversation blames “market uncertainty” for why indie film and TV struggle. But that’s not the real problem. The real threat is an industry clinging to outdated finance models and distribution systems that serve insiders while shutting out new voices. Great projects shouldn’t be treated like lottery tickets. Entertainment doesn’t need defending. It needs evolving. 👉 Read my latest piece #IndieFilm #FilmFinance #IndependentFilm #Storytelling #FilmIndustry

A poor mix can kill even the best international films. This sentence perfectly sums up what I see every day in my studio. I often receive films with amateur audio mixing, thinking that this will be enough to sell them to a broadcaster. But the reality is quite different. Here's what you need to understand: Sound accounts for 50% of a film's emotion. If your mix isn't professional, you instantly lose credibility. International distributors are adamant about this. A good professional mix means: - Specific treatment of ambience according to the target markets - Sound levels perfectly calibrated for each country - Careful management of frequencies for each voice - Compatibility with all broadcasting systems - Adaptation to international broadcast standards My team spends hours fine-tuning each scene to ensure the result is flawless, regardless of the country of broadcast. So don't hesitate to invest in a professional mix—it's the key to making your film resonate across borders.

Line producers break scripts into budgets and schedules, protect production, and solve creative problems — practical advice from experienced line producers. Read the full article below!