BossaNova Media’s Post

This was a great story to write as it cuts across so many things the industry is grappling with: 1.) Renowned Films, an unscripted specialist indie which makes ob docs, premium factual and fact-ent shows (Elvis’ Women for Amazon, My Son Jeffrey: The Dahmer Family Tapes for Fox/Paramount+, Deadly Waters with Captain Lee for Oxygen, Ice Cold Catch for Discovery+ and The Drop for BBC3) has produced a scripted show 2.) The series has been made independently of a broadcaster by Renowned working directly with the creator, artist/clothing designer/model and skateboarder Blondey. 3.) The lack of broadcaster means there's no "ownership" per se. Distributors or partners have yet to be discussed. 3.) It's brand-funded, predominantly by Blondey's company Thames MMXX. 4.) It's dropping on YouTube weekly as a long-form 6 x 30-minute comedy 5.) The show is recouping its money through alternative means - special screenings, merchandising opps, but Renowned and Blondey say it's more about being in creative control of the show 6.) There are - as yet - no plans in place for pre-, mid- or after-rolls. 7.) Renowned's chief exec Max Welch told Broadcast he can see YT as a potential development space and a way for creators to amplify their concepts with the help of an established producer. Shane Gillis sold Tires to Netflix off YT, so why can't other creatives with their ideas? It's a fascinating story, the confluence of the traditional and new media space.

I commend 👏 Netflix for always sharing their VP BTS with the world. It is amazing to see these valuable inside looks into how the ICVFX pipeline is being used in large-scale industry production. This is the exact training we will offer in our new program: Humber Polytechnic’s Virtual Production Ontario Graduate Certificate program is launching in January 2025 at our beautiful Lakeshore campus! 🌊🎓 Several classes will be held at the Sunbelt Rentals, Inc. LED Volume at 800 Islington Ave. This program is designed to equip students with the essential technical skills needed to thrive in the rapidly evolving field of Virtual Production (VP). Here's what you can expect from our program: 📅 Duration: 2 intensive semesters (2x14 weeks = 28 weeks). Offered in a “condensed week” format, from Wed-Friday. Primarily in-person with some hybrid/online offerings for added flexibility. 🛠️ Training: Hands-on, in-person training with access to an LED Volume as part of an ICVFX pipeline at our partner Sunbelt Rentals’ TechLab (formerly known as William F. White International Inc.), Training in our Unreal Engine Lab at Humber Lakeshore campus, equipped with high-end processors, UE and Perforce for source control and ancillary software. 💼 Career Opportunities: Prepares you for roles such as Virtual Production Technical Director (TD), MOCAP TD, VP Producer, and VAD. 🎓 Graduate Certificate: Can be part of a pathway to further graduate studies, including pathways into a master’s program. 👩🏫 Experienced Faculty: Learn from skilled professors, including Authorized UE Instructors like Tamara Abas and Carlos Vilchis , PhD, who utilize advanced teaching methodologies for engaging learning experiences. 🎥 Real-World Experience: Work on productions to build your reel and portfolio, with introductions to VP pipeline professionals throughout. 🤝 Industry Integration: Engage with the industry through tours, collaborations, and guest speakers. Benefit from our established partnership with Dark Slope, including shooting in their larger LED Volume. Our Lakeshore campus provides a stunning setting with direct TTC streetcar access to downtown Toronto, and a short distance from our partner LED Volume at Sunbelt Rentals. 🚌🌇 For more information on courses, and to secure your spot, please visit our website: https://lnkd.in/ejd9ZGeb If you have any questions, feel free to reach out to me at eva.ziemsen@humber.ca or vpro@humber.ca. 📧 #VirtualProduction #HumberPolytechnic #LEDVolume #TechLab #UnrealEngine #CareerOpportunities #IndustryIntegration #GraduateCertificate

Great article on LBB Online about Mary-Sue Masson!

https://lnkd.in/eBWCGkhN I've become fascinated recently with listening to people like Jason Ruddy here on LI debate when the major Hollywood studios started to shift from the mid-budget drama (which not only made up the majority of theatrical releases year-round, but helped elevate future lead actors) to the big-budget, fantasy franchise formula! 🎭🪐🔮💥 You could argue that there was really a pull factor than a push factor - just before the massive box-office successes of LOTR, Harry Potter and the MCU (helped with the advancements in CGI, as well as the maturing sci-fi/fantasy fanbase), The Sopranos debuted on HBO, which in 2013 the Writers Guild of America named the best-written TV series of all-time, and up to that point, HBO was known largely for their uncensored film broadcasts, comedy specials and boxing matches (no commercials, so full creative freedom)! 🎞🎤🥊 In a BBC documentary from 2013, you hear two screenwriters more-or-less say that once they saw the success of serialised dramas on cable channels led by HBO (which newcomers could catch up on DVD boxsets 💿), then why would you want to go back to writing deep stories with complex characters within JUST three hours (like The Godfather I & II)? 🙂🕰 After all, we spend MORE time with these characters on TV (and yet newspaper critics seem to be more interested in talking about Disney and Pixar than Looney Tunes or SpongeBob)! 🖥 It's the increase in investment of big-budget franchise films like the MCU, especially after the 2008 economic crash, that pushed even more of those screenwriters to write for TV than for film (Paramount made The Godfather, but would soon make Transformers, Mission: Impossible and Top Gun: Maverick) - corporate greed! 🎞💰📈 #screenwriting #characterwriting #storytelling

🇺🇸⚜️🎬 I have sent this podcast to enough friends now that I decided to just go ahead and share it with everyone. It is the best explanation I’ve heard yet that helps answer the all-important question of “What in tarnation is going on with the film industry?” As we celebrate Independence Day (both July 4th and the 1996 film of the same name that gave us a good reason to go to the movies once upon a time), I would like to propose we also observe a “Less Dependence” Day in the future because the future of art and good storytelling is looking increasingly independent and a lot less corporate. Louisiana needs to be less dependent on Hollywood for work. America needs to be less dependent on major studios and huge corporations that care more about shareholders than audiences. The world needs to be less dependent on bean counters and put a much greater emphasis on writers and original content. That is why Congress needs to bolster IRC Section 181 so that private equity will flow into individual projects and not just giant companies that are too scared to make anything but sequels and reboots.

Today’s Short Story Deadline: POLITICAL Festival https://lnkd.in/edGiPFQy Submit your POLITICAL short story to the festival, and we will automatically have it performed by a professional actor and turned into a promotional video for yourself. #politicalstories

A thoughtful perspective on content warnings from Howard Sherman. Whilst the generation gap & clickbait traps are certainly factors, theatre needs to become better at making the case for access. I want All In to assist in this task to make everyone feel welcome & to grow vital new audiences for the sector https://lnkd.in/e_Y6YeYF

The Shocking Truth Behind Black Warrant: A Gripping Web Series Review - CineRecap.com Article Link - https://lnkd.in/dPisXbRP Black Warrant: A Riveting Tale of Justice and Intrigue In the gripping series "Black Warrant," Vikramaditya Motwane sets the bar high with a compelling narrative that delves into the world of jailer Sunil Gupta and his experiences at the infamous Tihar jail. After years of anticipation, the series finally emerges, promising a tale worth the […] #MovieReviews #WebSeriesAnalysis #StreamingInsights #FilmCritique #EntertainmentNews #StorytellingReviews #OTTContent #BingeWatchGuides #CinemaTrends #FilmAnalysis #StreamingPlatforms #CinematicExperience #MovieRecommendations #SeriesRecap #FilmLovers #StreamingUpdates #MovieInsights #OTTNews #CineCritique #BingeWorthyContent #FilmReviews #OTTUpdates #MovieTrends #StreamingRecommendations #CinematicWorld #FilmDiscussion #SeriesReviews #CinephileCommunity #EntertainmentGuides #MovieExploration

"Carnage" and Chaos ? One thing is for sure, regardless of Trump 2.0: all traditional models of financing, production (including budgeting) and distribution of film & TV are being seriously challenged by smaller commercial players and innovative ecosystems. The traditional gatekeeper and studio model is too slow, too late. There won't be a return to normal. "Survive to 2025, or 2026 or 2027", that's pure non-sense. It's like waiting for a unicorn to appear. Accelerated disruption is upon us, with audiences' consumption habits increasingly diversified and technologies rapidly evolving. Opportunities are arising from the turmoil. New businesses are appearing and will thrive. But Hollywood and the industry as we know (knew) it, is a goner. And Europe is not immune. Public funding of the traditional industry will decrease on this side of the Atlantic. The good news is Europe offers a great potential for great stories. At a much lower production cost than in the US. But our output needs to be more commercially viable and attractive to the US market (for anyone interested in decent ROI). There's a big space for english-language (or majority english-language) non-US non-UK shows and movies, if properly developed, packaged and executed. Know your IP and your audience. A great example is 'Paris has Fallen', produced by STUDIOCANAL for CANAL+ Group. Or our upcoming Odeon Fiction (Leonine Studios) murder mystery series 'The Studio' :)) No time to loose!

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