#Best digital film services

[sankalp812]

Digital Film & Ads Services | Production House in South Delhi, Kalkaji

We provide the best digital film services in South Delhi. The Digital Ads Solutions in NCR provided by our production house in Kalkaji focus on client's requirements.

[genresadpvtltd]

Genres: Providing IEC Campaign Services in Bhubaneswar

In the vibrant city of Bhubaneswar, Odisha, there's a name that resonates with innovation, creativity, and unparalleled expertise in the advertising world – Genres. Known for its remarkable IEC (Information, Education, and Communication) Campaign Services, Genres has solidified its position as the leading advertising agency in Bhubaneswar and has extended its reputation across Odisha.

Why Genres Stands Out

Genres isn't just another advertising agency; it's a pioneer, setting benchmarks for others to follow. With a deep understanding of the market dynamics and a knack for storytelling, Genres has been labelled as the best advertising agency in Bhubaneswar and Odisha. This acclaim isn't just for its high-quality TVC (Television Commercial) film production but for its comprehensive approach to creating campaigns that educate, inform, and inspire.

A Closer Look at IEC Campaign Services

At the heart of Genres' success are its IEC Campaign Services. These campaigns are meticulously designed to deliver messages that matter. Whether it's raising awareness about health, education, or social issues, Genres crafts campaigns that resonate with the audience on a personal level. This approach has not only made it the top advertising company in Bhubaneswar but also a trusted partner for organizations looking to make a real impact.

The Magic of TVC Film Production

Genres also shines brightly in the realm of TVC Film Production. With an eye for detail and a passion for creativity, the company produces commercials that capture the imagination and hearts of viewers. This ability to blend creativity with strategic messaging is what makes Genres the leading TVC Film Production Company in Bhubaneswar.

Building Brands, Shaping Perceptions

What sets Genres apart as the best advertising agency in Odisha is its commitment to not just sell a product or service, but to build brands and shape perceptions. Through its expertly crafted campaigns and films, Genres helps businesses connect with their audience on a deeper level, creating lasting relationships and driving success.

Looking Ahead

As Genres continues to innovate and lead, its future in the advertising industry looks brighter than ever. With a relentless pursuit of excellence and a dedication to creating campaigns that make a difference, Genres is not just leading the way; it's redefining it.

Genres stands as a testament to what creativity, dedication, and expertise can achieve in the advertising world. Its role in shaping effective IEC campaigns and captivating TVC productions has rightfully earned it the title of the leading advertising agency in Bhubaneswar and Odisha. With Genres, the message is not just heard; it's experienced, understood, and acted upon.

[auromirafilms-blog]

The Emerging Dimension of Video Animation & Editing

Videos are incredibly powerful, drawing viewers in and delivering powerful messages for amusement, education, and other purposes. The possibilities for video are endless as technology advances at an unparalleled rate. Leading the way in this development is the explosive growth in demand for video editing and animation, which opens up a world of limitless opportunities and inventiveness.

Exploring the Vision

The evolution from traditional methods to digital methods has changed. Starting at the beginning of the growth, we take a look at the hard techniques and raw instruments used by the first explorer of video editing and animation to create life-like images. There have been many viewpoints and creative ideas about advancing advancements in video editing and animation, from the pioneers who established the foundation for digital editing to the modern trailblazers who are pushing the limits of animation technology. This technology explores the various ways that manipulating visual and aural aspects may bring storytelling to life, from seasoned editors to upcoming animators. It explores the delicacy of tone, style, and pacing that set one editor's work apart from another, as well as the infinite imagination and technical mastery needed to bring animated worlds and people to life.

Taking the Lead in Industry

A place where technological advancements allow the most incredible visions to come true, storytelling surpasses the limits of human imagination, and every frame serves as a blank canvas for unending creation. In the exciting phase of video editing and animation, where creativity is unrestricted and the future is being revealed right before our eyes.

Technology advancements in video editing and animation are pushing us to new heights, and it's obvious that these sectors are not only at the forefront but also set to lead the entertainment industry going forward, because of the speed at which technology is developing, animation has an unmatched ability to enthrall, inspire, and submerge viewers.

The excitement that exists now with animation and editing technologies is unbounded, and a new generation of experts and enthusiasts is reshaping these sectors. With limitless opportunities and the excitement of pushing limits, young people are establishing their professional pathways in this exciting domain.

Empowering & Crafting Creativity:

Storytellers may now create endless possibilities for video editing and animation in today's digital age, where the combination of creativity and technology creates captivating stories that captivate viewers all over the world.

Innovative ideas are sparked when different viewpoints come together in collaborative settings. The collaborative efforts of writers, artists, animators, and technologists accelerate projects to unparalleled heights and foster innovation in the fast-paced field of video editing and animation.

In addition, animation and video editing provide a stage on which different voices can be heard. By giving voiceless tales a platform, they promote compassion, comprehension, and deep conversation. With these potential tools, creators may demolish preconceptions, illuminate stories from the underprivileged, and start dialogues that lead to change in society. 

Auromira: Continuing the Legacy of Editing & Animation

Auromira Entertainment continues to set the standard for originality in the field of animation and video editing, setting high standards for rivals to meet. The peak of perfection in all facets of its trade, Auromira is well-known throughout India. Auromira surpasses expectations by remaining steadfastly committed to delivering exceptional results.

Our goal at Auromira is to not only comprehend but also anticipate our clients' demands. We have perfected the craft of bringing brands to life through arresting imagery and gripping narrative, and we have a history of innovation and unmatched service. We guarantee that Auromira's heritage will endure for many years to come, inspiring the following generation of creatives and establishing new benchmarks thanks to our unwavering commitment to quality.

Conclusion

Technology has revolutionized the dynamic fields of animation and video editing. With each advancement in computer-generated graphics and digital editing software, artists are more equipped to push the limits of their creativity. The days of constraints are long gone, and the universe of possibilities is limitless now. 

[genresads]

Genres Ad Shaping the Business Landscape: Key Players in Marketing and Events Industry

Several companies have carved their niche in the realms of advertising, digital marketing, event management, and film production.

With a flair for creativity and meticulous attention to detail, the best event management company in Bhubaneswar orchestrates memorable experiences that leave a lasting impact. From corporate gatherings to extravagant weddings, they specialize in turning visions into reality, seamlessly blending logistics with imagination to deliver flawless events that exceed expectations.

At the forefront of Best Advertising Agency in Bhubaneswar stands out for its groundbreaking campaigns and strategic approach to brand promotion. Armed with a team of creative minds and marketing wizards, they craft compelling narratives that resonate with audiences, driving brand recognition and loyalty across various platforms.

Beyond the confines of Leading Advertising Agency in Odisha casts its influence across Odisha with its innovative strategies and impactful messaging. With a finger on the pulse of the local market, they tailor campaigns that strike a chord with the diverse populace, fostering connections between brands and communities.

In the digital age, visibility is paramount, and the best digital marketing company in Bhubaneswar excels at enhancing online presence and engagement. Leveraging the latest tools and techniques, they craft data-driven strategies that propel businesses to the forefront of the digital landscape, driving traffic, leads, and conversions.

Expanding their reach beyond Bhubaneswar, leading digital marketing agency in Odisha champions a holistic approach to online marketing. From search engine optimization (SEO) to social media management, they offer comprehensive solutions tailored to the unique needs of businesses across the state, maximizing their digital footprint and impact.

TVC Film Production Company Bhubaneswar brings stories to life on the silver screen with unparalleled creativity and craftsmanship. From concept development to post-production, they handle every aspect of filmmaking with finesse, producing cinematic masterpieces that captivate audiences and elevate brands.

Information, Education, and Communication (IEC) are the cornerstones of social change, and IEC Campaign Services specializes in crafting campaigns that inspire action and awareness. Whether tackling public health issues or advocating for environmental sustainability, they leverage strategic messaging and multimedia channels to drive meaningful impact and foster positive change.

[creativefactoryfilms]

Innovative Video & Film Production Services - Creative Factory

Innovative Video & Film Production Services - Creative FactoryCreative Factory Films – one of the best video & film production companies offering services 2D 3D animation, digital films, CGI, VFX and more.

Often, clients have trouble visualizing the filmmaker’s vision. To ease this process, we offer full-service Pre-Production Services from Conceptualization, Scripting & Storyboarding to Mood board and Animatics.

Already got the Pre-Prod sorted? Super, we’ll handle the Production of all 2D & 3D Motion Graphics, Animations, Digital films, Effects Shooting and CGI for your project.

Finally our Post-Production Services include VFX production, Sound Design, Voice Over recording, and Film Editing services.

[novemberdrift]

Hello! I was wondering if you wrote for Johnnie Guilbert? If so, I was gonna request Dating Headcannons for him :D !! ( Only if you’re comfortable, ofc! )

𝙙𝙖𝙩𝙞𝙣𝙜 𝙝𝙚𝙖𝙙𝙘𝙖𝙣𝙤𝙣𝙨 | johnnie guilbert

a/n: yes i love him <3 take some little dating headcanons, (sorry its short)

•you either meet johnnie from my digital escape, which was a collabrative youtube channel with alternative people

•or he first sees you on omegle while streaming for the first time, shocked to see a punk person

•he gives you his instagram that day after talking with you for sometime and you start dming

•he was quite awkward and shy when you first started talking and calling on the phone, not used to this

•it took a long time of being friends with johnnie for him to ask you out, but you were okay with that because it was worth it

•after my digital escape you didn’t continue with having a social media presence other than instagram

•he never made it a thing to announce it to his viewers, he just kind of included you in videos, and people understood you were together

•at the start of your relationship, he never wanted to be touchy in public or do pda but the more he fell in love with you he didnt care about other peoples opinions

•he would definitely hold your hand, and kiss your cheek, but the rest was private

•would never admit it, but he was a hopeless romantic which means he would always be trying his best for you, and wanting to be near you

•when filming for his youtube or his friends, he would always invite you along, and it was beneficial for both of you, it helped his anxiety and it made you feel included

•he would deal with constant looks and sometimes laughter when he would go outside or go on omegle, but he would never let it get to him, just turning it into a joke

•but when people would comment on your looks, he’d be more harsher and protective

•after a long day of filming, he would collapse into your arms, and cuddle with you, saying he wishes he could just stay there forever

•you would totally go on late night walks or adventures with him to seven eleven

•date wise, he would always get creative and find stuff to do with you

•you both liked going to a different cafe every week or so, ordering something new and just enjoying your time together since you were both busy working most days

•but he still loved just watching netflix on the couch with you, having a night in

•eventually you found a show you both loved, and now you wait to watch it together every friday evening

•he wasn’t one for outside activities, but you encouraged him to go hiking and rock climbing with you and he began to like it.. other than being sweaty and the mosquitoes

•you guys would totally share music, make playlists for eachother and johnnie would eventually encourage you to start singing because your voice was one of his favourite sounds

•he would take you to his favourite bands concerts and gigs, and you would do the same, him loving all of the music you listen to

•as a tattoo artist, you would totally design tattoos for him, and find ideas for his merch line

•he was never one to take things super seriously, but when it came to your relationship, and thinking about the future, it was always thought through

•when you got a cat, he was googling everything to do with the breed, the best food it should eat, healthcare information, which may seem normal, but tell that to the 11 pages of cat research on your living room coffee table

•when you got your first apartment together, no longer having to be in the same space as his roommates, it was such a relief

•he would wait by the door, with your cat, longing for you to come home from the tattoo parlour, and when you did he would be all over you

•i dont care what anyone says, he would be so clingy, just loving your presence

•his love languages are definitely quality time and physical touch. acts of service is up there though

•he loved feeling appreciated

•he would be the sweetest and just the perfect person to be in a relationship with.

[jmdbjk]

We are sure.

WARNING, SPOILERS.

I have no doubt that every now and then, especially in the beginning, at the end of a long day or when they are tasked with doing something they've never encountered... they look at each other and say ...

And it allows them to laugh it off. They said they were making memories they could look back on while doing their service. What a fantastic period of time they had to create these memories.

This ending scene of the last episode of Are You Sure? has changed the way I think about that moment of them from the Bangtan Bomb of their enlistment day.

On their enlistment day we were so sad and were convinced they were too. And they were. But at that time we had no idea the fun they had during these three fantastic trips, they ate some wonderful food, drank a lot of beer, saw sights they don't have time to see when they are traveling for promotions and performing, spent a lot of "just being" time together which is obviously something they enjoy doing.

And knowing that at the end of Jungkook's I Am Still documentary, there was a scene of him showing Jimin his shaved head... it's as close to seeing it all play out as we're ever going to get. Piece it all together and you have a clear picture of this strong connection they have with each other.

Like Hobi said in his recent Weverse letter, I hope Jimin and Jungkook have come to realize by now it will all be ok. 27 days left until Hobi is back. 8 months, 23 days until Jimin and Jungkook are back. 38 more Mondays.

And they gave us a tiny bit of hope that this isn't the end of Are You Sure.

Delulu time: They have a lot of time to scheme and plan a reboot. Planning the next trip can also help them have something to look forward to. Like Jin did, they can do a quick live at the Hybe building before jetting off to Bora Bora or Alaska to start filming the reboot of AYS. They can make it happen if they want to. It will be another ten days after their discharge before Yoongi is free too and the group can be one again. They can go away for a few days, get comfortable with cameras and civilian clothes again. Get busy, Universe! Please?

All along, Jungkook was expressing his love for these trips, his excitement for the experiences, his enthusiasm for the good food and his easy-going vibe because he's with someone who fits him so well. Jimin enjoys the vibe of being with Jungkook and enjoys watching Jungkook be immersed in everything that brings him joy. He said if we watched these episodes, this is what its like at home.

They made it clear there are no other people on earth either of them would rather be with than each other for these trips. Jungkook said it himself: these were the best trips of his life. Jimin teared up a little when it was time to head to the airport. This was a chapter closing in their lives. If it impacted them this much, they will for sure somehow try to do it again after military service.

Besides the fact the two loved creating this, the series has been ranking high in viewers which would help sway any decisions as to whether a reboot is worth the expense. Of course it is!

Questions: I guess the behind episodes will also be on Disney? Why would they be submitted for ratings if they were only going to be on BangtanTV? Or maybe they'll be on Weverse too?

With the purchase of the photo book, there is a digital code for 52 more minutes of footage. We'll begin seeing clips of that on Sept. 29 when people begin receiving their copies. Got mine! Can't wait for it to get here!

[fauxfickle]

I've been thinking a bit about animatronicswarehouse, Aaron Fetcher, and the ethics of putting rare or lost media behind a paywall. Last month, animatronicwarehouse launched a subscription service in which for $30 a month you can receive rare prints of CEI characters and shows. This is quite similar to Aaron Fetcher's premium video service where for $65 you have access to private videos of Aaron's current projects, old CEI show footage, stories, or just general updates. Aaron's service is pretty notorious for being needlessly complex for subscribers and easy for "thieves" to just screen record.

What really gets me though is the wealth of lost/rare footage sitting there collecting dust. Many of the digitized films from CEI's earliest shows sit behind a paywall. I wouldn't be as frustrated if premium subscribers received videos a month or two earlier than people watching the main channel to make both parties happy, however it seems that many won't be released for quite some time, will only have very short samples posted to lure more people to the premium service, or worst case, not seen at all.

Back to animatronicwarehouse. I'm concerned that this new service will become very similar to Aaron's service, albeit much less bloated. AW already knows Aaron, I mean, they did a good amount of work together to create one of, if not THE best RAE shows. They seem close and I'm worried that he'll start taking cues from Aaron. Yesterday he announced that he's selling posters of rare, high quality images of CEI shows that are presented as a must-have collector's item. Now, I don't really have a problem with this. My and other people's complaints start with the price. Most posters cost $120 with the most expensive costing $195 for a poster of the RAE that looks extremely similar to one that can easily be found on showbizpizza.com. You can also buy a $150 picture of the Hard Luck Bears that can be found online as well.

AW's Poster vs Photo posted by Hourly Rock a-fire Explosion (@HourlyRock) on twitter

As an advocate for archiving all forms of media for future generations, I cringe a little every time I see a rare photo with a huge watermark and blur on it or footage cut off and interrupted with a plug for a subscription service. It feels exploitive to make profit off the rarity of something, especially in a fandom where most people weren't alive when these early animatronics were up and running and can only recapture that magic through photos and video. Part of the reason animatronics are still popular is because new generations can look back at them or find current operating ones. I've seen people in YouTube comment sections from countries that never had Showbiz Pizzas or Chuck E. Cheese and yet they can enjoy it because videos and photos allow them to interact and enjoy these things. If we put the past behind a paywall, what will we have to discuss in the future?

[canmom]

more on art production ~under capitalism~

reading Who Owns This Sentence?, a very engaging and fiercely critical history of the concept of copyright, and it's pretty fire. there's all sorts of fascinating intricacies in the way the notion of IP formed around the world (albeit so far the narrative has mainly focused on Europe, and to a limited extent China), and the different ideologies that justified the types of monopolies that it granted. the last chapter i read skewers the idea that the ability to exploit copyright and patents is what motivates the writing of books and research/invention, and I'll try and pull out the shape of the argument tomorrow. so far I'm only up to the 18th century; I'm looking forward to the rest of their story of how copyright grew from the limited forms of that period into the monster it is today.

it's on libgen if you wanna read it! i feel like the authors would be hypocrites to object :p

it is making me think about the differences between the making of books and other media, from (since this has been rattling around my head lately) an economic angle...

writing books, at least in the case of fiction is usually done on a prospective, spec-work kind of basis (you write your novel with no guarantee it will get published unless you're already an established author under contract). admittedly, a lot of us probably read books by authors who managed to 'make it' as professional authors and write full time - but this is not a lucrative thing to do and to make it work you need truly exceptional luck to get a major hit, or to be extremely prolific in things people want to read.

the films and games of the types most of us play are, by contrast, generally made by teams of salaried people - and thus do rarely get made without the belief it will be profitable. if you went on about your 'monetisation model' when writing a book, people would look at you funny and rightly so, but it's one of the first questions that gets asked when pitching a game.

open source software is a notable comparison here. a lot of it is done for its own sake without any expectation of profit, taking untold hours, but large free software projects tend to sprout foundations, which take donations (typically from companies that use the software) to pay for full time developers. mozilla, notably, gets a huge part of its funding from google paying for their search engine to be the default in Firefox; this in turn drives development of not just Firefox itself but also the Rust programming language (as discussed in this very enlightening talk by Evan Czaplicki). Blender is rightly celebrated as one of the best open source projects for its incredibly fast development, but they do have an office in amsterdam and a number of full time devs.

what money buys in regards to creative works is not motivation, but time - time to work on a project, iterate and polish and all that. in societies where you have to buy food etc. to survive, your options for existence are basically:

work at a job

own capital

rely on someone else (e.g. a parent or partner)

rely on state benefits if you can get them

beg

steal

if you're working at a job, this takes up a lot of your time and energy. you can definitely make art anyway, loads of people do, but you're much more limited in how you can work at it compared to someone who doesn't have to work another job.

so again, what money buys in art is the means of subsistence for someone, freeing them to work fully on realising a project.

where does the money come from that lets people work full time on art? a few places.

one is selling copies of the work itself. what's remarkable is that, when nearly everything can be pirated without a great deal of effort, it is still possible to do this to some degree - though in many ways the ease of digital copying (or at least the fear if it) has forced new models for purely digital creations, which either trade on convenience (streaming services) or in the case of games, find some way to enforce scarcity like requiring connection to a central server and including 'in-app purchases', where you pay to have the software display that you are the nebulous owner of an imaginary thing, and display this to other players. anyway, whichever exact model, the idea is that you turn the IP into capital which you then use to manufacture a product like 'legal copies', 'subscriptions' or 'accounts with a rare skin unlocked'.

the second is using the work to promote some other, more profitable thing - merchandising, an original work, etc. this is the main way that something like anime makes money (for the production committee, if not the studio) - the anime is, economics-wise, effectively an ad for its own source manga, figurines, shirts etc. the reason why there is so much pro media chasing the tastes of otaku is partly because otaku spend a lot on merch. (though it's also because the doujin scene kind of feeds into 'pro' production)

the third is some kind of patronage relationship, notably government grants, but also academic funding bodies, or selling commissions, or subscriptions on a streaming platform/patreon etc.

grants are how most European animated films are funded, and they often open with the logos of a huge list of arts organisations in different countries. the more places you can get involved, the more funds you can pull on. now, instead of working out how to sell your creation to customers who might buy a copy, under this model you need to convince funding bodies that it fits their remit. requesting grants involves its own specialised language.

in general the issue with the audience patronage model is that it only really pays enough to live on if you're working on a pretty huge scale. a minority make a fortune; the vast majority get a pittance at most, and if they do 'make it', it takes years of persistence.

the fourth is, for physical media, to sell an original. this only works if you can accumulate enough prestige, and the idea is to operate on extreme scarcity. the brief fad of NFTs attempted to abstract the idea of 'owning' an original from the legal right to control the physical object to something completely nebulous. in practice this largely ended up just being a speculative bubble - but then again, a lot of the reason fine art is bought and sold for such eye watering sums is pretty much the same, it's an arbitrary holder of an investment.

the fifth is artworks which are kind of intrinsically scarce, like live performances. you can only fit so many people in the house. and in many cases people will pay to see something that can be copied in unique circumstances, like seeing a film at a cinema or festival - though this is a special case of selling copies.

the sixth is to sell advertising: turn your audience into the product, and your artwork into the bait on the hook.

the alternative to all of these options is unpaid volunteer work, like a collab project. the participants are limited to the time and energy they have left after taking care of survival. this can still lead to great things, but it tends to be more unstable by its nature. so many of these projects will lose steam or participants will flake and they'll not get finished - and that's fine! still, huge huge amounts of things already get created on this kind of hobby/indie/doujin basis, generally (tho not always) with no expectation of making enough money to sustain someone.

in every single one of these cases, the economic forces shape the types of artwork that will get made. different media are more or less demanding of labour, and that in turn shapes what types of projects are viable.

books can be written solo, and usually are - collaborations are not the norm there. the same goes for illustrations. on the other hand, if you want to make a hefty CRPG or an action game or a feature length movie, and you're trying to fit that project around your day job... i won't say it's impossible, I can think of some exceptional examples, but it won't be easy, and for many people it just won't be possible.

so, that's a survey of possibilities under the current regime. how vital is copyright really to this whole affair?

one thing that is strange to me is that there aren't a lot of open source games. there are some - i have memories of seeing Tux Racer, but a more recent example would be Barotrauma (which is open source but not free, and does not take contributions from outside the company). could it work? could you pay the salaries of, say, 10 devs on a 'pay what you can' model?

it feels like the only solution to all of this in the long run is some kind of UBI type of thing - that or a very generous art grants regime. if people were free to work on what they wanted and didn't need to be paid, you wouldn't have any reason for copyright. the creations could be publicly archived. but then the question i have is, what types of artwork would thrive in that kind of ecosystem?

I've barely talked about the book that inspired this, but i think it was worth the trouble to get the contours of this kind of analysis down outside my head...

[prettyoddfever]

Do you have any idea why they decided to put live in Chicago on Spotify and not live in denver? I was listening to them both today and thought that both brendon and Ryan's vocals were alot better in denver than Chicago?

I know nothing about Spotify or how the music industry works or anything. I am still grumbly about the entire concept of streaming services and the fact that my new car doesn't play cds.

But yeah Live in Denver was a reflection of the Fever era, which was extremely engineered & polished. Matt Squire mixed Live in Denver, so I think that maybe helped it fit the sound of AFYCSO. The band's second album went in a totally different direction in many ways, but one of the core concepts they kept returning to was how they wanted things to sound real and organic, like there was an actual band playing with flaws & everything (see the "recording live as a band" section). The vocals in Live in Chicago reflect their approach during that second era. They wanted to keep their flaws this time instead of fixing them.

Spencer did an interview with ARTISTdirect about Live in Chicago and said:

Audio-wise, we went back and forth with the mixes. Our touring sound guy, Jason, mixed it. He had his little Pro-Tools rig hooked up. We'd come in backstage before we played and adjust the mixes with him. I'm glad it came out as well as it did. If it sounds to you like it's real, then that's the best thing for it.

When they started doing live show recordings, there was a big question: "Is it cool to go back and add things after the show?" The general consensus was, "Yeah, everybody does it," but they don't really say anything about it. Then you do hear some live records where it's amazing how "produced" they sound. It sounds like the band could've just been in some big, empty room in a studio recording it. For us, we never have a show where nobody messes up or nobody's off-key. We figured leaving some of that stuff in and not trying to make it perfect helps separate the songs from the way the recorded versions sound. It's another vibe and style.

...We wanted Live In Chicago to have that feeling of a friend in the room with a camera, so it didn't feel like there was this weirdness ever, and we could be natural. At the same time, we wanted to get that 35mm film look and make the DVD not look like a super-streamlined digital thing.

[despazito]

Idk in my idyllic world the use of ai could improve animation workflow and catapult junior level artists into creative leads roles faster if there's less menial work to be done.

We could have artists still in charge of creative decisions and drawing vis dev while the computer assists with the most labour intensive steps of making shows or movies.

For simpler shows for instance it would be neat I think if you could run your storyboard through a script and have the machine import all relevant assets staged to the best of its abilities instead of manually having to drag props and rigs into your shot and scaling everything before you can even begin to animate (does that tech exist already? Probably).

Like nowadays we already have animation programs where you can set deformer limitations.

i could imagine a possible future where software includes or does subscription services to ai trained on work by artists who got paid to draw or animate template motions or anatomy references. something like generating smart bones could become an automated feature. i can maybe even foresee tech that can look at a character model or design sheet you've drawn and generate a rig for it. in all these scenarios you would have to correct stuff and tune things to your liking, but it gives a considerable head start to the work.

More dynamic shots could be made on smaller budgets if we gave ai props or backgrounds and said "give me this but rotated a little" instead of drawing the same damn chair from 10 angles as a prop artist, I refuse to believe anyone's passion in life is to make prop turnarounds or clean up inbetweens.

what if you had an ai that was trained on drawings of heads at every angle, animals in every angle, a slew of expressions and mouth shapes, then gave it a character ref drawn from a few angles and bam it makes the vtuber rig for you.

this still leaves space for original art and would still require a skilled creative to make something look it's best, that could be a gig. more animators could potentially begin their own smaller studios if cartoons are way easier to make. if anyone could potentially make their own movie in the future, charge people to do it right! no computer can replace a human knowledgeable in film or drawing to guide it in the right direction. without creative people at a production's core, i think the future of ai film is just a very, very, sophisticated version of goanimate than can also do art theft.

this could become the weird futuristic version of "i wrote this children's book can you illustrate it for me?" but instead your mom's friend wants to commission a show pilot they wrote a screenplay for.

When animation was drawn on cels we had entire painting departments whose job it was to paint each individual frame by literal numbers, and it was tedious!! Now we have the paint bucket tool for digital coloring, and software like Toonboom lets you color in one frame then generate the coloring for the proceeding frames. We still have a colour and painting department, it's just different work now. but now we also have people making full color cartoons from their basements because Flash was released for personal computers with said digital tech along with computer generated motion tweening for animation!!

Junior animator and junior bg painter or prop artist roles will probably face an overhaul where more work can be done with less people. But the utopian outcome would be these junior artists can sooner take up lead or supervisor positions where they get to execute their own ideas instead of someone else's. more shows or movies could be produced with less crew for less money, slashing costs when deciding what to greenlight or to take a risk on new talent. The problem is capitalism would make it suck because it only cares about exploiting workers for those cheapest costs possible and forego the necessary human crew required to make the difference between machine-assisted productions and pure ai generated slop

[genresadpvtltd]

Empower your digital presence with Genres – The Top digital marketing company in Bhubaneswar

In today's rapidly evolving digital landscape, the need for effective and impactful digital marketing strategies is more critical than ever. This is exactly where Genres Pvt Ltd, the top digital marketing company in Bhubaneswar, comes into the picture. With a knack for navigating the digital world, Genres Pvt Ltd helps businesses flourish online through innovative and effective marketing solutions.

Recognized as the leading digital marketing agency in Bhubaneswar, Genres Pvt Ltd boasts a team of digital marketing wizards. These experts dive deep into the online marketing world, using their knowledge to craft personalized strategies that cater specifically to each client's needs. This personalized approach ensures that businesses don't just blend into the digital background but stand out, attracting their target audience efficiently.

What sets Genres Pvt Ltd apart as the best digital marketing company in Bhubaneswar is its all-encompassing range of services. From optimizing websites to rank higher in search engine results to creating eye-catching online ads, from managing social media profiles to developing engaging content, Genres Pvt Ltd does it all. This comprehensive service offering means businesses can have all their digital marketing needs met under one roof, simplifying their marketing efforts and ensuring consistency across all platforms.

But Genres Pvt Ltd's approach isn't about applying a one-size-fits-all strategy. Instead, we focus on creating customized marketing plans that resonate with the target audience. By leveraging data analytics and market research, we identify the most effective ways to reach potential customers. This data-driven approach ensures that every marketing campaign we launch is not only creative but also precisely targeted and highly effective in achieving the client's specific goals. Whether the aim is to increase brand awareness, drive traffic to a website, or generate leads, Genres Pvt Ltd's tailored strategies are designed to deliver tangible results.

Keeping up with the fast-paced digital marketing world is another area where Genres Pvt Ltd excels. The digital landscape is constantly changing, with new technologies and platforms emerging at a rapid pace. We stay ahead of the curve, incorporating the latest trends and tools into our strategies. This commitment to innovation ensures that our clients benefit from cutting-edge marketing solutions that keep them ahead of their competitors.

Expanding on our services, we also emphasize on the importance of social media in today's marketing mix. We understand that social media is not just a platform for sharing content but a powerful tool for engaging with customers and building brand loyalty. By crafting strategic social media campaigns, we help businesses connect with their audience in a meaningful way, fostering relationships that can lead to increased customer retention and advocacy.

Genres Pvt Ltd is thus, more than just a digital marketing company; it's a partner in success for businesses in Bhubaneswar and beyond. Our blend of comprehensive services, custom strategies, innovative solutions, and a commitment to staying updated with the latest digital trends makes us the ideal choice for any business looking to make a mark online. For those seeking to navigate the complexities of the digital landscape and achieve their marketing objectives, Genres Pvt Ltd offers the expertise, tools, and dedication needed to succeed. With Genres Pvt Ltd by your side, embarking on your digital marketing journey is not just easier but also more rewarding.

[auromirafilms-blog]

Behind The Lens- Film Production in Odisha

Nestled within the cultural nucleus of Bhubaneshwar and Cuttack, Ollywood stands tall as a beacon illuminating the splendour of Odisha's film narrative. From its inception in 1936 with the groundbreaking "Sita Bibaha" by Mohan Sundar Deb Goswami, Ollywood has not merely etched its name in history but has laid the very foundation upon which the vibrant Odia film industry thrives today.

Ollywood's journey echoes the societal evolution of its time—transitioning seamlessly from monochrome to a kaleidoscope of colours, from silent frames to resonating dialogues, and from traditional sagas to contemporary chronicles—all while staying firmly rooted in its cultural essence.

The hallmark of Ollywood lies in its portrayal of Odisha's rich heritage. Its movies serve as vibrant tapestries, weaving the essence of local life, capturing its ethos, amplifying its struggles, and creating an intimate connection with its audience. Moreover, these films act as custodians of Odia language and indigenous art forms, preserving them for generations to come.

In recent years, Ollywood has undergone a renaissance, witnessing a surge in technical prowess and storytelling innovation. A new wave of visionary directors and versatile actors fearlessly tread across genres, pushing the boundaries of Odia cinema. Despite the challenges posed by digital transformations and global adversities, Ollywood perseveres, steadfast in its mission to captivate and enthral its devoted audience.

As we peer into the intricacies of Ollywood's evolution, it becomes evident that its success isn't merely measured by its cinematic achievements but by the cultural resonance it creates. It's a vibrant testament to Odisha's artistic spirit—a blend of tradition and modernity converging seamlessly on the silver screen.

The magic of Ollywood lies not just in its films but in its ability to reflect the soul of Odisha. The themes, characters, and narratives aren't just artistic renditions but mirror the pulse of the region, resonating deeply with both local and global audiences. Whether it's the panoramic landscapes, the effervescent festivals, or the nuanced portrayal of societal nuances, Ollywood paints a vivid picture that transcends boundaries.

Moreover, the Odia film industry isn't shackled by its past; it's evolving. It's embracing technological advancements, experimenting with storytelling techniques, and nurturing fresh talent. This wave of innovation breathes new life into Ollywood, promising a future that's as intriguing and captivating as its past, if not more.

In essence, Ollywood remains an invaluable gem within India's cinematic legacy—a canvas that intertwines tradition and innovation to narrate Odisha's tales, bridging the past, present, and future with cinematic finesse.

Its journey is a testament to resilience, creativity, and the unwavering commitment to preserve and promote Odisha's cultural richness. As Ollywood continues to evolve, it stands as a testament to the power of storytelling—a dynamic, living testament to the vibrant spirit of Odisha. https://auromirafilms.com/

[seasurfacefullofclouds1]

Hi! I sent the anon about the BMG article - I can't link but it's online if you want to

Here’s the article, and I’ll excerpt:

SO WHAT’S BMG’S SECRET?

Number one, and it sounds obvious, make a great album. In the early days of the new BMG, we were very much artist services: you delivered a record, we released it for you.

Under Korda [Marshall, former BMG SVP] and now Jamie, the A&R element is very important. With all of the examples we could look at, the records are very good – but that doesn’t necessarily mean they’re going to be successful.

The second element, in almost every example, is they have great management. The partnership between the label and the artist manager is so integral.

And the third element is the excitement and determination coming from the artist themselves. If it’s, ‘We’re going on tour, we should put a record out to support the tour’, that’s OK, but it’s not being driven by the music. I’ve had artists in here who’ve said, ‘This feels like the first roll of the dice’, even though it’s many years later.

IS IT HARDER TO DO THOSE DEALS NOW YOU’RE UP AGAINST VENTURE CAPITALISTS?

The problem is, we’ve seen a lot of overheated deals that have inflated prices and it’s very hard then to say to somebody, ‘This is what your catalogue is worth’, because they’re like, ‘Well, so-and-so got that much’.

If you’re selling a portion of your catalogue, but you’re still going to be out there performing and releasing new music, it’s important you have a company that’s a proper publisher or label. We will always curate and look after your legacy better than a fund will do, because we know how to administer songs and release recordings.

WOULD YOU LIKE TO HAVE MORE ACTS SIGNED FOR BOTH RECORDS AND PUBLISHING?

The balance is good. What we’ve never done is pressurise or make anything contingent on one or the other.

I enjoy the fact that lots of our writers are signed to other labels. Since Thomas took over, you’re seeing more engagement with the industry. Our communication historically was a little bit, ‘We’re out on our own, BMG is the new music company’. I always felt we were somewhat detached from the industry.

Now we’re shifting our physical distribution to Universal from October, going direct to digital and building our relationships with DSPs, you’re starting to see people joining BMG from the majors, particularly in the US and UK; you didn’t see that before.

The industry needs to be more collaborative. The Ivors is the best awards show because it’s the publishing industry coming together, acknowledging and rewarding everybody else’s success.

There’s always a feeling in the room of collaboration. The BRITs is more competitive, you support your team. But music publishers are used to sharing songs; we share the song, so we share the success.

HOW HAVE THOMAS’ [CEO Coesfeld] CHANGES AFFECTED THE WAY YOU WORK?

The biggest change Thomas has made is the focus on just being a publisher and a record company. It was great to be able to make documentaries and co-produce films but, on reflection after 12 months of not doing that, this is a much better way to run a business – to be super-focused on the core business of music publishing and records.

The other big change, which perhaps hasn’t been explained as well as it should have been, is the change to how we’re working internationally.

We had created a large international hub in Berlin and local marketing was going via Berlin. That team was disbanded last autumn, and there was a discussion in the industry about ‘BMG bailing out of international’ – which was totally contrary to what we are doing!

Now, with UK projects being marketed in America, they’re not going through a central hub, there’s just direct communication from London to Los Angeles.

CONVERSELY, IT SEEMS TO BE A VERY TOUGH TIME FOR BRITISH ARTISTS INTERNATIONALLY…

If we were exclusively focused on breaking talent, it would be very difficult. But the world we’re in and the artists we’re working with… I look at Simple Minds; next year will be the biggest US tour they’ve ever done. I look at Louis Tomlinson; his touring is going from strength to strength.

That Suede/Manics tour began in the US. I remember going to the Brooklyn show and thinking, ‘This is the smart way for UK acts to team up’. You’re getting bigger audiences at less cost and you’ll see more of those package tours, they’re excellent.

It is harder than it’s ever been, but the lane we are in gives me confidence that we can work within the parameters of the current climate.

DOES BMG STILL WANT TO TAKE ON THE MAJORS?

One has to be realistic. Frankly, you’re not going to take [them] on. We want to be competitive, but we’re seeing much more of a collaborative spirit.

It should be a healthy, competitive marketplace but there are so many examples now where artists are featuring on other people’s records… So many records are X featuring Y and it involves two labels, one of them is the releasing label and the other one shares in the revenues.

There’s a lot more partnership coming and an artist doesn’t want to hear that you don’t get on with this label, because that’s buggering up their plans.

When we started, we had to be disruptive and agitate. But, as an industry, we’ll be stronger if we’re more aligned than if we fight with each other.

WHAT ARE YOUR PRIORITIES OVER THE NEXT FEW YEARS?

To be more impactful internationally. To support the doubling down in the US, by signing the records and artists that can be meaningful in America, and moving into stadium artists.

In 2018, we were in theatres. Now we’re in arenas. Our job is to demonstrate to those artists that we are a serious contender at that [stadium] level.

We’re proud to publish Dave Rowntree from Blur – we could do a Blur album. I’m proud to do the neighbouring rights for Coldplay – we could do a Coldplay record. I’m proud to have worked with Bono on the Peter And The Wolf project – we could do a U2 record. I’m proud to publish Matt Bellamy – we could do a Muse record.

Every time you think maybe BMG has run out of runway, it hasn’t. And, because of the way the industry’s going, there are more opportunities coming. This is a good time to be at BMG.

So what I’m getting out of this:

1. BMG takes a lot of its cues from the artists and their managements. It isn’t comfortable taking big risks unless that’s what the artist wants to do.

2. BMG is more comfortable working with established acts who have a firm fanbase. It has neither the money nor manpower to break new acts or to significantly grow old ones. The BMG A&R department is more about connecting established artists to other creatives in industry, not breaking unknowns.

3. BMG takes a smaller slice of the pie from artists because established artists negotiate better terms for themselves. Just like we’ve seen with Louis, BMG relies on fans to pick up whatever their artist is doing.

4. BMG is not competitive in the USA. They’ve not been able to expand in the biggest English-speaking market in the world, and that really impacts them globally since USA charts affect so much global listening. Maybe Louis’ Eurocentric focus is a consequence of BMG’s Eurocentric business. It’s more complicated than just one factor, but it might partially explain the difference of Louis’ success in the USA with Niall, who is with one of the big three.

5. Venture capital is really turning the creative arts into big business, in a bad way. The same way venture cap has locked young people out of home ownership and savings, it’s killed the careers of young people breaking organically into music. Now every artist is seen as the worth of their tours and future catalogues. That means fewer artists make it through, less risk, more generic-sounding, corporate-approved, AI-generated bullshit.

6. Louis is doing fine. He’s staying with BMG, not going anywhere. He is a nice bright spot at BMG, but not on the order of Kylie Minogue. Louis is an arena-sized touring artist, at least in the USA and Europe, at least for the foreseeable future.

[creativefactoryfilms]

Creative Factory is a leading video & film production company in India. Discover premium production services for your next project. We are a seasoned team of specialists who bring decades of experience in production, visualization, and creative direction. Our forte lies in producing 2D & 3D animations, and CGI VFX for ad films, infographics, corporate videos, animated films, music videos, television shows, cinematic special effects, film titles, and motion graphics.

Together we create stunning, technologically refined, industry benchmark visuals for brands, production houses and storytellers from the media and film industry.

[justanothercinemaniac]

Some of the Original Movies Disney+ & Hulu Removed are Available to Purchase Digitally

If you didn't know, earlier this year Disney+ & Hulu followed a trend of removing a bunch of originals from their services in a cost cutting measure. Since those were pieces of original content, you couldn't watch them anywhere else. But now 12 of the 15 movies they removed can be bought on digital storefronts like Amazon and Apple. Those movies are:

Artemis Fowl

Better Nate Than Ever

Cheaper by the Dozen (2022)

Clouds

Crater

Darby and the Dead

Flora and Ulysses

Hollywood Stargirl

The One and Only Ivan

The Princess

Rosaline

Stargirl

Trevor the Musical, Magic Camp, & Black Beauty (2020) are still unavailable.

When you buy a movie digitally, you don't technically own it. You own the right to stream that film as long as it is available on the platform you bought from. So if these are delisted from digital storefronts, you won't have access to them. UNLESS you download them. If you download a movie you've purchased (not rented) it stays downloaded even if the title is delisted. I had that happen with a movie I bought on iTunes but since I had it downloaded to an external hard drive, I could still watch it.

Physical media is always the best way to preserve media, but considering you couldn't watch these AT ALL and now you can this is definitely a win. And the more money these movies make on digital storefronts, the more its creators will make with residuals.

TL;DR - 12 movies Disney removed from streaming services can now be bought digitally and that's good.