#film and television industry

[kalamity-jayne]

W T F ! ? Final Cut Pro X!? Seriously!?

[filmcourage]

How A Bad Day Making A Movie Got Worse - Ramfis Myrthil via FilmCourage.com.

[haveyouheardthisband]

[world-of-celebs]

Emily Deschanel poses during the 49th Monte Carlo Television Festival at the Grimaldi Forum on June 10, 2009 in Monte-Carlo, Monaco.

[an-onyx-void]

Just king shit y'all

[youngandwild99-blog1]

What I mean by strong female characters is

I want a female action hero who comes away from her fights with sweaty armpits and messy hair. Not messy-chic, but actually messy. I want to see rough fights that give her chipped teeth and puffy broken noses and ugly dark shiners. I want to see actual cuts and scrapes that don’t exist to accentuate her cheekbones. I want injuries that aren’t used as makeup. I want to see a female action hero on the receiving end of a slow-motion face-punch. And then I want to see her get back up and try again.

I want a female comic relief. I want to see a woman who makes jokes, not just to be snarky or to put others down, but because she loves it. I want to see a woman who slips on banana peels, who falls down staircases, who puts on a hilarious disguise without hesitating, even though there were like 5 other options that would have worked just as well. I want a female comic relief who is socially awkward, but not because she’s shy or just needs to believe in herself.

I want to see a female character who is dumb. Not dumb in a “bimbo” way, but dumb like “not book smart”, the way Philomena Cunk is "dumb". I want to see a woman who can judo flip a mook with perfect technique, but doesn’t give a flying fuck about proper grammar. I want to see a woman who can scam people out of their lives’ fortunes without breaking a sweat, but always yells “Speak English, doc!” at the sound of sci-fi jargon.

I want a female protagonist who makes mistakes. The kind of mistakes that matter. I want her to get it wrong. I want her to fuck up, not because she’s worse than a man, but because she’s a human and that’s what we do. And then I want to see her own her fuckups, and work to fix them, and do better next time. Because that’s what heroes are supposed to do.

I want to see a strong female character. And by that, I mean I want to see a female character whose strength comes from her humanity.

[bitbybitwrites]

SAG-AFTRA Applauds Announcement of the NO FAKES Act

October 12, 2023 

Proposed Bill Establishes Protections in Voice and Likeness Performance

Sen. Chris Coons, Sen. Marsha Blackburn, Sen. Amy Klobuchar and Sen. Thom Tillis today announced the NO FAKES Act, a proposed bill creating new and urgently needed protections for voice and likeness in the age of generative artificial intelligence.

The proposal offers historic federal intellectual property protection against the misappropriation of voice and likeness performance in sound recordings and audiovisual works. It prohibits the unauthorized use of digital replicas without the informed consent of the individuals being replicated.

The world has seen what generative artificial intelligence can do, and witnessed the ease with which an individual can be replicated without consent. The damage to lives, and careers, is real and immediate. This proposal provides an invaluable tool for performers, allowing them to maintain control over their most valuable assets.

“A performer’s voice and their appearance are all part of their unique essence, and it’s not ok when those are used without their permission. Consent is key, and I’m grateful that Sens. Coons, Blackburn, Klobuchar and Tillis are working to give performers recourse and providing tools to remove harmful material,” said SAG-AFTRA President Fran Drescher.

“The explosion in popularity and capability of generative artificial intelligence has flooded the internet with AI-created songs, videos, and voice recordings which exploit the voices and likenesses of our members without consent or compensation,” said SAG-AFTRA National Executive Director and Chief Negotiator Duncan Crabtree-Ireland. “For our members, their voice and likeness is their livelihood. They spend a lifetime improving their talent and building their value. It is outrageous to think someone can undermine that value with a few prompts and clicks on a keyboard. Thank you to Sens. Coons, Blackburn, Klobuchar and Tillis for spearheading this urgent and important effort.”

SAG-AFTRA looks forward to working with Congress to finalize and pass this historic legislation.

SAG AFTRA NEWS RELEASE HERE

*****

Senators Coons, Blackburn, Klobuchar, Tillis announce draft of bill to protect voice and likeness of actors, singers, performers, and individuals from AI-generated replicas

OCTOBER 12, 2023

U.S. Senator and Chair of the Senate Judiciary Subcommittee on Intellectual Property Chris Coons (D-Del.) and Senators Marsha Blackburn (R-Tenn.), Amy Klobuchar (D-Minn.), and Thom Tillis (R-N.C.) announced they have released a discussion draft of their Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) Act today to protect the voice and visual likenesses of individuals from unfair use through generative artificial intelligence (AI).

“Generative AI has opened doors to exciting new artistic possibilities, but it also presents unique challenges that make it easier than ever to use someone’s voice, image, or likeness without their consent,” said Senator Coons. “Creators around the nation are calling on Congress to lay out clear policies regulating the use and impact of generative AI, and Congress must strike the right balance to defend individual rights, abide by the First Amendment, and foster AI innovation and creativity. I am thankful for the bipartisan partnership of Senators Blackburn, Klobuchar, and Tillis as we work to protect all individuals from unauthorized replication and ensure that the United States sets clear rules governing the intersection of AI and intellectual property.”

“Songwriters, actors, and our incredibly talented creative community deserve the right to own their name, image, and likeness (NIL). This legislation is a good first step in protecting our creative community, preventing AI models from stealing someone’s NIL, and ensuring that those rights are given primary consideration under the law. I look forward to joining Senator Coons and my colleagues in the Senate and House to develop strong bipartisan legislation we can pass into law,” said Senator Blackburn.

“More and more, we’re seeing AI used to replicate someone’s likeness and voice in ads, images, and videos without consent or compensation. Our laws need to keep up with this quickly evolving technology,” said Senator Klobuchar. “We must put in place rules of the road to protect people from having their voice and likeness replicated through AI without their permission.”

“While AI presents extraordinary opportunities for technological advancement, it also poses some new problems, including the voice and likeness of artists being replicated to create unauthorized works,” said Senator Tillis. “We must protect against such misuse, and I’m proud to co-introduce this draft legislation to create safeguards from AI and protect the authentic work of these artists.”

The NO FAKES Act would prevent a person from producing or distributing an unauthorized AI-generated replica of an individual to perform in an audiovisual or sound recording without the consent of the individual being replicated. The person creating or sharing the unauthorized replication would be liable for the damages caused by the AI-generated fake. Exclusions are provided for the representation of an individual in works that are protected by the First Amendment, such as sports broadcasts, documentaries, biographical works, or for purposes of comment, criticism, or parody, among others.

With the rapid advance of generative AI, creators have already begun to see their voices and likenesses used without their consent in videos and songs. Notably, the song “Heart on my Sleeve,” which used AI-generated likenesses of the voices of pop stars Drake and The Weeknd, accumulated hundreds of thousands of listens on YouTube, Spotify, and other streaming sites within days and was poised to appear on streaming charts before it was removed by streaming services.

As Chair of the Senate Judiciary Committee’s Intellectual Property Subcommittee, Senator Coons has long advocated for protecting U.S. intellectual property rights and making U.S. intellectual property law more reliable, effective, and predictable. Senator Coons has held a series of hearings focused on exploring the impact of AI, proposing regulation frameworks, and ensuring U.S. leadership on AI policies.

Clickm on a link below to see the draft of the act

[kacievvbbbb]

This is the Cartoon Network Slate for the 2020s it is practically the 2010s.

And as much as I love these cartoons and they made my childhood but they already exist. And I'm not even talking from all remakes or pick ups are bad standpoint but it is objectively terrible that not a single completely new IP was announced. And it's not just cartoon network look at the recent D23 only one completely new story that isn't a live-action or sequel.

New stories, especially animated stories, aren't getting the chance to be told anymore and that's really fucking sad

I fucking love gumball but I am tired of being milked for my nostalgia

[aniketsanimationblog]

The Fallen TV Animation Empire

Chapter 1: The Rise of Television Animation with Saturday Morning Block

On August 18th, 2023 - I made a Post titled "The Summary of this whole current Debacles of Animation Industry" on this very Tumblr Page, @aniketsanimationblog, and you, animation fans, have expressed the concerns about What is Going on in The Global Animation Industry as a Whole, I am glad by that!! I am so thankful to those who expressed this concerns and realised that Animation is in Danger. Because, what happened in the Last Year, When Nickelodeon and Paramount+ Canceled and Removed Star Trek: Prodigy from their platforms at that time, until Netflix saved it to stream the entire Season 2 in one-go, just paint a big picture in the Animation Community. Last Year, Star Trek: Prodigy's Cancelation and Removal was not just the omission or abandonment of a Star Trek Show set in their universe or the best Star Trek Show in the Alex Kurtzman's Era of New Star Trek Shows, but also a big Massive Shocker of a Serialised Animated Kids' Show, that had a chance to become Nickelodeon's Next Avatar: The Last Airbender, betrayed by their own original Network, is like committing a Seppuku.

And it happened at the same time or before that incident, when most of the great Animated Series at the same time were Canceled/Canceled + Removed/Sabotaged by their respective Broadcasters, showing the Dismays of Fandoms of their respective shows. Now either only a handful of Good shows are left or there is nothing to watch at all, because of Kids TV Broadcasters' Greed and most notably Animation Community's Biasness towards Shows that, nowadays, have become a Money Generator, and no longer serving any good quality things to the fans, whatsoever, once they had in their prime, in the first place.

Now depending on who you may ask, "How did this Happen? What Happened to the Kids Television, once we used to love since our Childhoods, have gone in their Worst Phases now?"

Well, to understand why this happened, we need to go to the history of how this Kids TV Animation had started to build its Large Empire.

To understand the history of Kids TV Animation, we need to go back to where it all started. Since, it's a long history, and for context, The Kids TV Animation first started in the United States of America, as Hollywood were the only film industry to create Animation Renaissance from the big screens, they are also responsible for creating Majority of their Animations in the Small screens, we have to go back all the way to 1928. This is the year, when Walter Elias Disney, as we all know him as the legendary Pioneer and The Father of Animation, released his iconic Cartoon Character, Mickey Mouse's First Short film, "Steamboat Willie". At that time, "Steamboat Willie" was released over on Hollywood Theatres. But at the same time, there was an experiment happened at the small screens, aka The Television, with some limited animation cartoons appeared on TV with one of the images of "Felix The Cat". And remember, at that time, TV was available to some people who could afford TV, when majority of people weren't ready to switch from Traditional Radio. So, a handful of People watched that experiment going on.

Then some Animated TV movies happened like, "Willie The Worm" by Chad Grothkopf. It was an Eight-minute experimental TV Movie in Animated form.

But all changed in 1950s when, TV Animation started to broadcast like, "Crusader Rabbit" and "Colonel Bleep" etc.

But the First TV Animated Series came along, consisting of Animated Shorts, "Captain Kangaroo", by the Terrytoons, which is often referred to as, "One of the Finest Cartoons to ever produce on TV".

But the Cartoons, at that time, was seen primarily as "Children's Entertainment" by some Movie Exhibitors.

In 1954, Walt Disney capitalized on the Medium of Animation to Showcase on TV, with his weekly show, "Disneyland", which was broadcasted by US Terrestrial Channel, ABC, which expanded later to "Walt Disney's Wonderful World of Color".

But as soon as Television popularized in the US, the people were slowly moving away from their traditional Radios and Movie Theatres, to the Compact form of Entertainment, Television. And thus, a new format was started to develop for TV Animation for Children, "The Saturday Morning Blocks", as the name suggests, the TV Animation would only be broadcasted on Saturday Mornings, because on Weekdays, The Kids are at their Schools, and on Sunday, With the American Football games clogging up the Sunday Schedules. At that time, there were no Cable systems, people were relying on Terrestrial Channels like ABC, CBS and NBC. And thus, American Children of that era were having a Ritual of watching Cartoons on Saturday Mornings.

And thus, some Television Animation Production Studios came afloat at the time. Such as, Filmation, Depatie-Freleng Enterprises, UPA Studios, Warner Brothers with their Merry Melodies, Metro-Goldwyn-Mayer Studios (MGM) with their first classic iteration of Tom & Jerry until it's collapse in 1957, Disney Studios, and the leader of all Studios, Hanna-Barbera Studios, by the Creators of Tom & Jerry, William Hanna and Joseph Barbera.

For the Starters, 1960s era was the era, when TV Animation boomed with mostly H-B Studios, "The Ruff & Reddy Show", then "The Huckleberry Hound Show", "The Yogi Bear Show" and most notably, "The Flinstones", which was like an Half-an-hour Animated Sitcom series, aired on ABC, which was their biggest successful show on Studio History, running for 6 years, alongside The Jetsons and Top Cat.

Hanna-Barbera had the common Trope used in most of their series, featuring atleast an Anthropomorphic Animal and a Child Character, up until they created "Scooby-Doo! Where are you?" in 1969 for CBS. Many incarnations of Scooby-Doo spawned for 17 seasons on CBS and then ABC, uninterruptedly with their new formula of A Group of Teens solving Supernatural mysteries or Fighting Crime. And they are the ones, who started with their Limited Animation Technologies at that time for Artistic Reasons.

Disney Studios had their fair share of Animated Shows, showcased on TV, most notably The Mickey Mouse shorts including characters from the Mickey Mouse Universe, as we all know today, and also "Winnie The Pooh".

The Studio still had a decent amount of TV Animated Series, even after Walt Disney's Demise on 15th December 1966.

At the time of 1960s, there were several Animation Artists, mostly Animators, that are still called Legendary/Veteran Artists, like Walt Disney, William Hanna and Joseph Barbera, Tex Avery, Chuck Jones, Gene Deitch, David H. Depatie, Friz Freleng, Don Bluth, to name a few.

But as Time went on, the Kids TV Animation was changed for a new era, that is beyond just only for "Saturday Mornings".

To be continued...

Next Post, Chapter 2: The Fall of Saturday Morning Cartoons and Rise of American Cable Television for Kids TV Animation.

[trendfilmsetter]

New tv series poster for HBO’s INDUSTRY Season 3.

Premiering August 11th on Max.

[kalamity-jayne]

WHOA, it finally happened! VFX workers were finally able to unionize under IATSE!!! Doesn't really effect me, not directly anyway but this will hopefully have a ripple effect that'll see improved working conditions for AEs too. This also means AEs are a lot closer to being able to unionize down the line.

Unfortunately, the documentary filmmaking scene is so different from the narrative side of the industry that the most significant changes and protections will be substantially muted, if they manifest at all. BUT still this is a very big deal.

[filmcourage]

5 Entry Level Jobs For TV Writers - Zimran Jacob

Watch the video interview on Youtube here.

[transmarks]

just saw a tweet that each ep of severance s2 cos 20 million dollars and idk if its true but if it is that is fucking heinous like that is so much fucking money

[kurokoros]

genuinely I wish I had taken more than two media studies classes in undergrad, because I do think I want to try my hand at screenwriting, but I have such a clear vision of what I want every story I write to be that I don't know if I could hand it over to a random director, but I don't know shit about directing

[nachosncheeze]

Anyone who has ever in their whole life dug even one proper big hole in the ground knew that Blindspot wasn't serious the minute Kurt Weller was holding a shovel and up to his elbows in a nice squared off burial plot.

[waheelawhisperer]

Me (standing outside Nearl's window at 3:00 AM and singing at the top of my lungs): I'M FALLING EVEN MORE IN LOVE WITH YOU, LETTING GO OF ALL I'VE HELD ONTO, I'M STANDING HERE UNTIL YOU MAKE ME MOVE, I'M HANGING BY A MOMENT HERE WITH YOU

Nearl, who just wants to get some sleep (trying to cover her ears with a pillow): Please stop trying to woo me using romcom tropes, I get enough of that from Viviana.