Lux Machina Consulting’s Post

In my professional view, AI serves as a supplementary feature rather than a replacement.

I’m not scared of how AI will impact the film industry. Here’s why: Every new technology has a short-term disruptive effect. But in the long run, each wave of tech creates more opportunities instead of reducing them. This phenomenon has played out over every major technological shift in the film industry. Hear me out: 🎥 𝗦𝗼𝘂𝗻𝗱 (𝟭𝟵𝟮𝟬𝘀) Audio completely changed acting (see Norma Desmond in Sunset Boulevard) and ended some careers by default. But it created an entirely new industries for artists and technicians working in sound.  🎥 𝗖𝗚𝗜 (𝟭𝟵𝟳𝟬𝘀) CGI took away some roles from actors and set artists. But it created a new world of jobs for animators and layout artists. 🎥 𝗡𝗼𝗻-𝗹𝗶𝗻𝗲𝗮𝗿 𝗲𝗱𝗶𝘁𝗶𝗻𝗴 (𝟭𝟵𝟵𝟬𝘀) Many filmmakers thought non-linear editing would contribute to the MTV effect in cinema - shorter, choppier edits that spoonfed the audience. Instead, it made post-production far more economical and became the staple method for film editing across the board. 🎥 𝗗𝗶𝗴𝗶𝘁𝗮𝗹 𝗰𝗮𝗺𝗲𝗿𝗮𝘀 (𝟭𝟵𝟵𝟬𝘀) Many filmmakers feared that digital cameras would cheapen not just the costs of production, but the quality of the end result. In reality, they slashed production costs, making filmmaking more accessible to smaller teams while becoming more powerful. 🎥 𝗦𝘁𝗿𝗲𝗮𝗺𝗶𝗻𝗴 (𝟮𝟬𝟭𝟬𝘀) Box office ticket sales have steadily declined as streaming becomes popular. But streaming has also allowed independent filmmakers to compete more easily with big production companies. AI is here to stay. We can’t put that genie back in the bottle. And yes, it’s going to disrupt the film industry. That’s the nature of technology. But I’ve seen enough to believe that disruption will be for the better. __________ Follow Shawn Hamilton for positive tech updates in the Film and TV industry.

1/2: Title: Cinematic Catalysts: Aligning Distorted Particles in Film Sequence Creation 5. Merits • Enhanced Narrative Coherence: Effective use of cinematic catalysts ensures that all film elements are harmoniously aligned, leading to a coherent and engaging narrative. • Increased Emotional Impact: Strategic alignment of film elements maximizes emotional impact, deeply engaging the audience. • Improved Aesthetic Quality: Cohesive film sequences contribute to a polished, professional aesthetic quality. 6. Demerits • Complexity in Execution: The alignment process can be highly complex, requiring significant skill and effort. • Potential for Over-Manipulation: Overuse of catalytic techniques can lead to an unnatural feel, where the film feels overly engineered. • Resource Intensity: Achieving optimal alignment often demands considerable time and resources. 7. Measures for Improvement • Continuous Professional Development: Training for film directors and editors in the art and science of narrative and visual coherence. • Collaborative Workflows: Encouraging a collaborative environment where ideas and feedback flow freely between all departments involved in the filmmaking process. • Technological Advancements: Leveraging new technologies that facilitate better previewing, editing, and sound design processes. 8. Conclusion The concept of catalytic action provides a useful framework for understanding the complex process of film making. By considering directors, editors, and other film professionals as catalysts who align various cinematic particles, we gain insights into how films can be crafted to achieve narrative coherence, emotional depth, and aesthetic excellence. This metaphorical approach not only enriches our understanding of film production but also underscores the importance of each element in contributing to the film’s final impact on its audience. This examination reveals that the art of filmmaking involves more than just assembling scenes—it requires a catalytic touch to transform and align all components into an impactful, cohesive cinematic experience.

1/1: Title: Cinematic Catalysts: Aligning Distorted Particles in Film Sequence Creation Abstract: This paper explores the metaphorical application of catalyst mechanisms—traditionally a concept from particle physics and chemistry—to the filmmaking process, focusing particularly on how these mechanisms can be used to align seemingly distorted or unsorted elements within film sequences. By drawing parallels between the catalytic actions in particle management and narrative, emotional, and visual alignment in filmmaking, we identify strategies that directors, editors, and other key film personnel can use to enhance narrative coherence and audience engagement. 1. Introduction In film, the ‘particles’ can be understood as the various elements that make up a movie—scenes, shots, dialogue, sound effects, and music. These elements often appear as distorted or unassorted in early stages of film development or during editing. Drawing on the concept of catalysts in particle physics—which influence the rate of reaction and alignment without being consumed—this paper discusses how film professionals act as catalysts, facilitating the transformation and alignment of these elements into a coherent final product. 2. The Role of Directorial Vision as a Catalyst Just as catalysts direct the paths of chemical reactions, a director’s vision guides the various fragmented elements of a film towards a coherent narrative. The director sets the emotional tone and pace, ensuring that all components of the film work synergistically. 3. Editing: Catalytic Processes in Post-Production The editing phase in filmmaking is akin to a catalytic process where various sequences and shots—each a particle on its own—are cut, rearranged, and aligned to form a seamless whole. This process is crucial in shaping the film’s narrative structure, timing, and emotional impact, directly influencing how the story is perceived by its audience. 4. Sound Design and Score: Enhancing Narrative Through Catalytic Harmony Sound design and scoring in films function as catalysts by enhancing or altering the emotional and psychological reactions of the audience. These elements can dramatically shift how scenes are interpreted, acting as a bridge between the visual elements and the viewer’s emotional response.

This is actually great insight into the entire pre-production process. As a screenwriter getting ready to step into the production space, this is extremely useful information. I tend to lean towards good planning and organization and making room for Plan B,C, D etc, particularly as I live in Nigeria where one is required to pivot and meander at a moment's notice. All my TV people in Nigeria especially(directors, producers, and more)...what are your thoughts on pre-production?

In the wake of the Producers Guild and Visual Effects Society Awards, I find myself reflecting on the incredible experiences I had at screenings of last year's top films. Hearing firsthand experiences from award-winning or nominated producers, directors, VFX supervisors, actors, and other talented individuals has provided valuable insights. It's been 12 productive months, including two studio films in theaters (VFX Prod Sup) and over 6 months of back-to-back commercials (Producer). Here's what I've gathered: - Uncertainty at Every Stage: There's a high level of uncertainty at every stage of the creative process. (Funding, story-rights, scheduling, covid, strike, personal conflicts) - Start-up Elements: Putting together a project has many elements of a start-up: funding, understanding and creating a product, developing a work culture, setting clear & measurable goals within a given timeline, and selling.... a lot of selling. - Great Stories Come from Books: In many cases, years of research have taken place by the time the scriptwriting process begins, offering many possible creative directions. (Oppenheimer, Killers of the Flower Moon, Society of the Snow, American Fiction, Poor Things) - Learning Curve: Each new project often reveals areas where filmmakers lack experience, this prompts continuous learning for the entire team. (New technology, filming location as in the case of Killers of the Flower Moon , first time directors as in the case of American Fiction & Past Lives ) Ultra Learner Mindset: Being an ultra-learner comes in handy in this ever-evolving industry. (https://lnkd.in/gFtMT6JY) - Multi-Hyphen Individuals: Multi-hyphen individuals (e.g., writer-producer, producer-director, writer-director, visual effects supervisor-director) can bring valuable versatility to projects or can help get the project off the ground. (Godzilla, Oppenheimer, Maestro, Barbie, Poor Things) - Depth in Storytelling: Every department or individual can add depth to the story, enriching the narrative experience by adding layers. (Rodrigo Prieto in Killers of the Flower Moon, Kazu Hiro in Maestro, Holly Waddington in Poor Things) - Language of Storytelling: Create in the language that best tells the story. (Society of the Snow, Godzilla, Anatomy of a Fall) ** As personal preference I have a hard time with director-actor films. Specially when I feel the actor side took some directorial decisions ** What insights would you add or modify? Reach out. The video is from this weekend's Breakfast with the PGA Awards Nominees for the Zanuck Award, presented by the Los Angeles Times. Producers Guild of America Visual Effects Society

BLUEPRINTS FOR NEW FILMMAKERS: PART 3 POST-PRODUCTION Your journey from the final shot to the premiere is a complex, exhilarating process. New filmmakers, like you, need to understand that the POST-PRODUCTION process is crucial. Today, we'll go over some things that occur once the DIRECTOR calls "cut" on the final scene and the real magic begins. The FIRST STEP is ensuring all your shot logs and continuity reports are reviewed and every scene is accounted for and ready for... EDITING, where your raw footage is securely transferred and stored. This marks the transition to Post-Production. Your EDITOR assembles all the scenes in the script's order in the... "THE ASSEMBLY CUT," a rough draft that sets the foundation for... "THE ROUGH DRAFT," where the narrative starts to take shape. Editors remove unnecessary crap and tighten the story for the... "THE FINE CUT," where pacing and transitions are refined. This cut undergoes countless adjustments before it gets... PICTURE LOCKED as "THE FINAL EDIT," and NO further changes to the visual elements are made. You clean & sync up all dialogue tracks to ensure clarity for THE SOUND DEPARTMENT, who enhance the audio experience with well-placed SOUND EFFECTS (SFX). FOLEY ARTIST(S) record live sound effects that match on-screen actions. Then you re-record dialogue in a studio to improve audio quality or make changes. You MIX and BALANCE dialogue, music, and sound effects to create a harmonious audio mix. COMPOSERS compose and craft music that enhances the film’s emotional impact. You synchronize the score with the film. FINAL SCORES are recorded, often with orchestras or individual musicians. The VISUAL EFFECTS (VFX) folks plan, design, & identify scenes requiring visual effects and execute. DIGITAL ARTISTS create and integrate these effects into the footage. Directors and VFX supervisors REVIEW, REFINE, AND APPROVE the effects until they’re perfect. COLOR GRADING & CORRECTION adjust colors for consistency and to correct any issues. They enhance the film’s visual tone and mood, and hopefully create a cohesive aesthetic. AUDIO MASTERS finalize the sound mix for various formats like theaters, TV, and streaming. PICTURE MASTERS create the final master copy that includes the final picture, sound mix, and visual effects. SUBTITLES & DUBBING are added for international audiences. Various formats are preparedlike DCP (Digital Cinema Package) for theaters and digital files for streaming. PROMOTIONAL materials like TV Spots, trailers, & marketing elements are edited. QUALITY CONTROL conducts thorough checks for technical errors to meet industry standards. LASTLY... The Director, Producer(s), and sometimes the Studio signs off for the FINAL APPROVAL. Through DISTRIBUTION... The PREMIERE ultimately RELEASES to... THEATERS RELEASE, HOME ENTERTAINMENT, & STREAMING. MARKETING and PR are vital here to ensure that the public maintains interest. PRAY for good WORD OF MOUTH. Thanks! Please Like, Share, and/or comment.

WHAT IS THE DIFFERENCE BETWEEN A FILM PRODUCTION COMPANY AND A FILM SOUND STAGE COMPANY? A "film production company" is responsible for the entire process of creating a film, including developing the story, hiring actors, managing the crew, and overseeing all aspects of filming, while a "film sound stage company" simply provides the physical space (sound stage) where parts of the film can be shot, essentially leasing out a controlled environment for filming, but not managing the overall production process. Key points: Production company: Manages the entire film production, from pre-production planning to post-production editing. Sound stage company: Owns or operates a sound stage facility that can be rented by production companies to film specific scenes.  Certain production support services, such as catering, car rentals, security, building maintenance, hotels, workshops, crew recruiting, administrative and HR support may be provided by the sound stage company. The sound stage company identifies needed production support services and negotiates with vendors and suppliers to assure a production company has what it needs for a smooth and effective production. Sound Stage Campus A film sound stage campus is a physical place normally several acres which offers full package goods (art & wardrobe departments, sound stage, backlots, water tank, lighting, and post production services), and may include offices, conference rooms, theaters and even a theme park. Example: Production company: "XYZ Films" might develop a script, hire actors, and coordinate all aspects of shooting a movie. Sound stage company: "StudioVillage Sound Stages" could lease (actually license) out one or more of their sound stages to "XYZ Films" for specific interior scenes of the movie and provide the needed production support services. What is the difference between a studio and a sound stage? A soundstage is different than a studio. It's soundproofed and has a lighting grid. A studio however is all that + unblemished floor + gallery + the cabling and equipment racks to run system cameras, sound, VTR, lighting, TC etc., everything you need to run a broadcast to record or for onward transmission. Why do they call it a sound stage? Compared to a silent stage, a sound stage is sound-proofed so that sound can be recorded along with the images. The recordings are known as production sound. Are sound stages good economic development engines? It is the results of a functional film sound stage campus that strongly appeals to community leaders interested in the best option for local, sustainable economic development that benefits the entire community and establishes long term, continuous economic growth.

This Friday, November 8, join us for an insightful discussion on the future of production processes at the next Cre-AI-tivity meeting! In the first part of the meeting, we have planned a panel discussion with the participation of exceptional guests: Matt Subieta, Michał Kisielewski, Marcin Filipek, and Michał Skrzypiec. We will talk, among other things, about how AI will change the models and processes of audiovisual production, what the new roles and competences of the main participants of the process will be (art directors, directors, producers, post-production supervisors) and what are the expected key consequences resulting from AI. The conversation will be led by Jakub Laskus, CEO of Bites. In the second part of the meeting, we invite you to networking in the breakfast formula! This is a great opportunity to make new contacts in a relaxed atmosphere, exchange experiences and start the day with inspiring conversations! Our speakers: Matt Subieta, PhD - producer and director with experience in film, animation, and AI. As nagana.io, he develops an innovative film production process based on new technologies. He worked in Poland, Australia, and the USA, where he represented Platige as a creative director. He directed films and series for Discovery, A+E Networks, CANAL+, and the Museum of the Second World War in Gdańsk. Doctor of Arts, currently co-founding a school combining film with technology - Ai Mad Academy. Michał Kisielewski – film director, creative director, and digital creator with over fifteen years of experience in executing commercial projects in both local and international markets. Previously professionally associated with global agencies such as Ogilvy, McCann, and Publicis Groupe, now as Executive Creative Director he leads That One Agency, AI production house SUPERMASSIVE, and as a film director he is represented by Point Of You. Marcin Filipek - director with 20 years of experience in the advertising industry, implementing campaigns for the largest brands in Poland. Co-Founder and CEO of the startup WiderFlow, a platform supporting the creative industry in project management and effective cooperation. Passionate about technology and new tools that make life easier. Michal Skrzypiec - CG Supervisor / Comp Light Lead with over 20 years of experience in post-production. He worked for Platige Image – a pioneering CG studio in Poland and then for Rise, Axis, and Cinesite – top post-production and animation companies. He used to run large teams of visual effects artists across a varied range of feature films, short productions, game cinematics, and hundreds (or thousands) of commercials broadcasted all over the world.  Moderator: Jakub Laskus, CEO of Bites Studio, founder of CHPTR and DIRECTOR'Y. 👉 Register today via the link below and join us for the upcoming event: https://lnkd.in/dEN7tbGK This event is organized in partnership with SPR Stowarzyszenie Producentów Reklamowych.

𝗪𝗵𝘆 𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗙𝗶𝗹𝗺𝗺𝗮𝗸𝗲𝗿𝘀 𝗔𝗿𝗲 𝗡𝗲𝗲𝗱𝗲𝗱 𝗡𝗼𝘄 𝗠𝗼𝗿𝗲 𝗧𝗵𝗮𝗻 𝗘𝘃𝗲𝗿 Worried about AI taking over the film industry? It's understandable. But here's the thing: This new wave of filmmakers embracing AI and advanced technology needs you now, more than ever—traditional editors, actors, casting, screenwriters, cinematographers, storyboard artists, and composers—step up. Here’s why: AI can mimic visuals, but it can’t replace heartfelt soulful storytelling. Filmmakers still need to know how to frame a shot, light a scene, and edit for emotional impact. They need to understand pacing, style, and how to use sound and music to elevate a moment. 𝗧𝗵𝗮𝘁’𝘀 𝘄𝗵𝗲𝗿𝗲 𝘆𝗼𝘂𝗿 𝗲𝘅𝗽𝗲𝗿𝘁𝗶𝘀𝗲 𝗰𝗼𝗺𝗲𝘀 𝗶𝗻. You bring decades of wisdom about what works and what doesn’t. You know how to tell stories that resonate. You understand how to craft performances, savor emotional beats, and create tension or laughter with precision. Your skills are irreplaceable. This is an opportunity for you to mentor, consult, and collaborate. By partnering with these tech-savvy filmmakers, you can guide them while learning from them, too. And there's an opportunity for you to get PAID. And certainly to supplement your income while you're waiting for other jobs. Together, you can create niche stories Hollywood has ignored. There are millions of untapped audiences—rural communities, BIPOC, people of faith, neurodiverse individuals, and so many others—waiting for their stories to be told. Technology is leveling the playing field, but without your expertise, the stories may fall flat. So don’t fear new technology. Embrace it. Use it to: Partner with emerging filmmakers and create your passion project. Elevate storytelling with your classic techniques. You can keep waiting for Hollywood to get back "to normal" or you can embrace our currently reality. AI isn’t here to replace you; it’s here to collaborate with you. The future of filmmaking isn’t about choosing between old-school techniques and new tech—it’s about combining them to create something extraordinary. Are you ready to teach, learn, and transform storytelling together? Greenlight Yourself. 𝗛𝗼𝘄 𝘁𝗼 𝗖𝗼𝗻𝗻𝗲𝗰𝘁 𝘄𝗶𝘁𝗵 𝗔𝗜 𝗙𝗶𝗹𝗺𝗺𝗮𝗸𝗲𝗿𝘀 𝗮𝗻𝗱 𝗖𝗼𝗹𝗹𝗮𝗯𝗼𝗿𝗮𝘁𝗲 🔵 1️⃣ Find Projects You Admire Scroll through LinkedIn and search for AI filmmakers creating work you love, leave a thoughtful comment and follow them. 🔵 2️⃣ Reach Out Personally Send a message to the filmmaker. Highlight what you loved. And offer to help. (DON'T insult them about how horribly crappy their work is and why they need you) 🔵 3️⃣ Start Small Propose working on one shot or one scene together. If it works, do more. 🔵 4️⃣ Set a Fair Rate Once trust is established, offer a reasonable hourly rate for your services. Don't be too cheap. 🔵 5️⃣ Wash, Rinse, Repeat Repeat these steps with other filmmakers. Continue reaching out, building relationships, and collaborating.