#TV Commercial Production House

[bengarvesfilmandphoto]

Ben Garves Film and Photo’s Commercial Video Production Mastery

If you’re looking for commercial video production, Ben Garves Film and Photo is the partner you need. We excel in creativity, innovation, and professionalism. Our focus is crafting captivating visual stories for brands. With a blend of artistry and technical expertise, we set new standards. Partner with us to elevate your brand’s narrative. When you work with us, you get more than production. We…

[ltmcreation]

Choose The Best Video Production House in Bhubaneswar

Video Production House in Bhubaneswar- LTM Creation is a leading video production company based in Bhubaneswar. We specialize in a variety of video projects, adding our own unique touch to everything from commercials to corporate videos. Check out our innovative portfolio at ltmcreation.com and for more details contact us at: +91 9348880317.

[earthfilms]

How Virtual Reality is Transforming Advertising in Mumbai

Virtual Reality (VR) is no longer just a buzzword in the tech world; it's revolutionizing industries, particularly advertising. In Mumbai, known for its vibrant culture and technological advancements, production companies are embracing VR to create groundbreaking campaigns.

The role of VR in advertising is to create an immersive experience that goes beyond traditional media. Imagine walking through a virtual store, trying out products, or being part of a story that unfolds around you. This is the kind of engagement VR offers, and it's why production companies in Mumbai are investing heavily in this technology.

One of the best production houses in Mumbai recently used VR for a fashion brand. Customers could virtually try on clothes, experiencing the look and feel without stepping into a store. This campaign not only enhanced the shopping experience but also brought the brand closer to tech-savvy consumers.

The unique aspect of VR advertising is its ability to create a personal connection. A production company in Mumbai, specializing in VR, can craft experiences tailored to individual preferences, making each campaign highly effective. This personal touch is what sets VR apart from other forms of advertising.

However, integrating VR into advertising is not without challenges. The cost of production and the need for specialized equipment are significant considerations. But as technology becomes more affordable, these barriers are gradually lowering, making VR a viable option for more brands.

The future of VR in advertising is promising, especially in a dynamic city like Mumbai. Production companies are experimenting with new ways to use VR, pushing the boundaries of what's possible. From virtual test drives to 3D product demonstrations, the possibilities are endless.

As one of the best production houses in Mumbai, we are excited about the potential of VR. It's not just a tool for creating ads; it's a way to create experiences that resonate with audiences on a deeper level. In a world where consumers are bombarded with information, VR offers a way to stand out and make a lasting impression.

In conclusion, VR is transforming the advertising landscape in Mumbai. It's an exciting time for production companies and brands alike, as we explore the endless possibilities of this immersive technology. The future of advertising is here, and it's virtual.

[mayhighfilms]

What is Mayhigh Films' role in corporate film production?

Introduction to Mayhigh Films

Lights, camera, action! In the hustle and bustle of the corporate world, video has become an essential tool for businesses to captivate audiences and convey their message in a powerful way. And when it comes to creating captivating corporate films, there is one name that stands out among the rest - Mayhigh Films. With their expertise in film production and an unwavering commitment to excellence, Mayhigh Films has been revolutionizing the way companies connect with their audience through the magic of storytelling. So grab some popcorn and get ready to dive into the world of Corporate Film Maker In Delhi NCR with Mayhigh Films!

The Importance of Corporate Films

Corporate films play a crucial role in today's business landscape. They are an effective tool for companies to communicate their brand message, showcase their products or services, and engage with their target audience. One of the key reasons why corporate films are important is that they provide a visual and dynamic way to convey information. Unlike written content or static images, videos can captivate viewers' attention and deliver messages in a more engaging manner. This makes it easier for companies to explain complex concepts or demonstrate the value of their offerings. Moreover, corporate films help build trust and credibility with potential customers. When people see real employees talking about the company's values or satisfied clients sharing their positive experiences, it creates a sense of authenticity. This can greatly influence purchasing decisions and foster long-term relationships with customers. In addition, corporate films have the power to create emotional connections with viewers. By telling compelling stories or capturing powerful moments, companies can evoke specific emotions that resonate with their target audience. These emotional connections go beyond mere transactions; they encourage loyalty and advocacy among customers. Furthermore, corporate films serve as valuable marketing assets that can be shared across various platforms such as websites, social media channels, trade shows, and presentations. They have the potential to reach a wider audience compared to traditional marketing methods. Overall, the importance of corporate films cannot be overstated in today's competitive business landscape. They offer a unique opportunity for companies to effectively communicate, engage, and connect with their target audience. By incorporating visuals, emotions, and storytelling into these videos, companies can leave a lasting impression on viewers and ultimately drive business growth. In conclusion

How Mayhigh Films Approaches Corporate Film Production

Mayhigh Films takes a unique and innovative approach to corporate film production, ensuring that each project is tailored to meet the specific needs and goals of their clients. They understand that every company has its own story to tell and they strive to capture the essence of each brand through their films. One of the key elements of Mayhigh Films' approach is collaboration. They believe in working closely with their clients from concept development all the way through to post-production, ensuring that every step aligns with the client's vision. This collaborative process allows for open communication and ensures that everyone involved is on the same page throughout the production. Another aspect that sets Mayhigh Films apart is their attention to detail. They meticulously plan each shoot, taking into consideration factors such as location scouting, lighting, sound design, and cinematography techniques. By paying close attention to these details, they are able to create visually stunning films that captivate audiences. In addition, Mayhigh Films understands the importance of storytelling in corporate films. They know how crucial it is for companies to connect with their target audience on an emotional level. Therefore, they focus on crafting narratives that resonate with viewers and leave a lasting impression. Furthermore, Mayhigh Films stays up-to-date with industry trends and technology advancements in order to deliver high-quality productions. Whether it's incorporating drone footage or utilizing virtual reality techniques, they are always exploring new ways to enhance their films. Mayhigh Films' approach combines creativity, collaboration, attention to detail,and storytelling expertise. They take pride in delivering exceptional corporate films that effectively communicate a company's message while engaging audiences at a deeper level.

Examples of Past Projects

Mayhigh Films has an impressive portfolio of past projects in the realm of corporate film production. Their expertise and creativity shine through in each and every endeavour they undertake. Let's take a closer look at some of their standout works. One notable project is the collaboration with VIVO Mobile, where Mayhigh Films crafted a visually stunning and emotionally compelling brand video. Through expert storytelling techniques, they captured the essence of CK Birla Hospital values and showcased their unique offerings to potential clients. The result was a captivating piece that left a lasting impact on viewers. Another memorable undertaking by Mayhigh Films was the production of an internal training video for Ericsson. They skilfully transformed complex procedures into easily understandable visuals, making it effortless for employees to grasp new concepts and enhance their skills efficiently. Mayhigh Films also had the opportunity to work with Adecco India on a promotional campaign for their HR. With meticulous attention to detail, they successfully conveyed the heartwarming stories behind this worthy cause, inspiring people to get involved and make a difference in their community. These examples are just a snapshot of Mayhigh Film's remarkable body of work in corporate film production. Each project showcases their ability to create engaging content that resonates with audiences while effectively communicating key messages. By choosing Mayhigh Films as your partner in corporate film production, you can expect nothing less than exceptional results that will help elevate your brand or organization above the competition!

Benefits of Working with Mayhigh FilmsWhen it comes to corporate film production, partnering with the right company can make all the difference in creating a successful and impactful video. That's where Mayhigh Films shines. With their expertise and dedication to excellence, working with them offers a multitude of benefits. Mayhigh Films has an experienced team of professionals who are well-versed in corporate storytelling. They understand how to craft compelling narratives that resonate with audiences and effectively convey your brand message. From concept development to post-production, their creative minds will bring your vision to life with precision and artistry. In addition, working with Mayhigh Films means gaining access to top-of-the-line equipment and technology. They stay up to date on industry trends and advancements, ensuring that your video is produced using the latest techniques for maximum impact. Whether it's high-quality cameras or advanced editing software, they have everything needed to produce stunning visuals. Another benefit of collaborating with Mayhigh Films is their commitment to collaboration and communication throughout the entire production process. They value your input as a client and strive to create a collaborative atmosphere where ideas can flourish. Their team will work closely with you from start to finish, ensuring that every detail aligns perfectly with your goals. Furthermore, choosing Mayhigh Films means entrusting your project into capable hands who prioritize professionalism at every step. They adhere strictly to deadlines without compromising on quality or attention to detail. You can rest assured knowing that your project will be completed efficiently and flawlessly under their expert guidance. Working with Mayhigh Films opens doors for future opportunities as well. Their reputation for delivering exceptional corporate films has garnered recognition within the industry. By associating yourself with such a reputable production company like theirs', you increase the likelihood of attracting new clients or collaborations based on the quality of work they produce. Partnering with Mayhigh Films brings numerous advantages when it comes.

Tips for Choosing a Corporate Film Production CompanyWhen it comes to choosing a corporate film production company, there are several factors you should consider ensuring that you find the right fit for your needs. Here are some tips to help guide you in the selection process. First and foremost, take a look at the company's portfolio. This will give you an idea of their style and capabilities. Look for projects similar to what you have in mind, as this can indicate their expertise in your industry. Next, consider their reputation and experience. Research online reviews and testimonials from previous clients to get insights into their professionalism and quality of work. It's also important to choose a company with experience in producing corporate films specifically, as this requires different skills than other types of video production. Another crucial aspect is communication. A good corporate film production company will listen attentively to your ideas and goals while offering creative input and suggestions based on their expertise. Effective communication throughout the production process is essential for achieving the desired outcome. Budget is always a consideration when hiring any service provider. While it's important not to compromise on quality, make sure that the company provides transparent pricing information upfront so there are no surprises later on. Don't forget about post-production services such as editing, sound design, and colour correction. These elements can greatly enhance the final product, so ensure that the company has skilled professionals who can handle these aspects effectively. By considering these tips when choosing a corporate film production company, you'll be better equipped to find one that meets your specific needs and delivers exceptional results for your business or organization.

Conclusion

Choosing the right corporate film production company is crucial for creating impactful and effective videos that meet your business objectives. Mayhigh Films stands out as a leading player in this field, offering exceptional services tailored to each client's unique needs. With their expertise, professionalism, and creative flair, Mayhigh Films has proven time and again why they are a trusted partner for businesses looking to produce high-quality Corporate Video Production Services In Delhi NCR. Their approach focuses on understanding the client's vision and crafting compelling narratives that resonate with their target audience. Through their past projects, such as Vivo Mobile promotional video or Ericsson Corporation’s training video series, Mayhigh Films has showcased their ability to deliver outstanding results. They have consistently exceeded expectations by producing visually stunning films that effectively convey key messages while maintaining a strong brand presence. By choosing to work with Mayhigh Films, businesses can benefit from a range of advantages. From access to state-of-the-art equipment and technologies to collaborating with an experienced team of professionals who understand the nuances of corporate storytelling – every aspect is handled meticulously. When selecting a corporate film production company for your next project, keep these tips in mind: 1. Evaluate their portfolio: Look at past projects similar to what you have in mind. 2. Consider experience: A seasoned production company will bring valuable insights. 3. Check references: Reach out to previous clients for feedback on working with them. 4. Assess communication skills: Clear communication ensures smooth collaboration throughout the process. 5. Review pricing structure: Ensure it aligns with your budget without compromising quality. Mayhigh Films' role in corporate film production is paramount when it comes to delivering exceptional videos that captivate audiences and achieve business goals simultaneously. With their expertise and dedication towards crafting unforgettable visual stories, they are undoubtedly one of the top choices for any organization seeking professional video content tailored specifically for the corporate world.

Social Link

Instagram - https://www.instagram.com/mayhighfilmsdelhi/

Facebook - https://www.facebook.com/Mayhighfilms

Youtube - https://www.youtube.com/c/mayhighfilms/videos

Linkedin - https://www.linkedin.com/company/mayhighfilms/

[dailyadventureprompts]

Expanded universes really are the final frontier of franchise based storytelling aren't they? The ultimate sign that the brand managers have finally squeezed out the artists and twisted things into a state of maximum profitability.

Crossovers and callbacks can be fun, continuous crossovers and callbacks make the story into a slurry. Canon and what if's and reboots all ground up and served in a trough for the undiscerning consumer to mire in. It's bland, it's exhausting, it's pointless.

Big companies and studios are risk averse, and the profit seeking wisdom steers them away from niche works of art and towards wide appeal content. Why risk money on a movie/game that only a fraction of people will love when you can spread that engagement out across a dozen different products that are just good enough to keep people invested in your extended universe, whether from genuine fandom or just cultural fomo?

Marvel feels ubiquitous as Kleenex doesn't it? It's always there in the movie theatre/store, slightly cheaper offbrands right beside it. While individual works within the marvel universe might be genuinely good in their own right their quality is secondary to their purpose in perpetuating the brand and keeping it relevant.

People like familiarity, and if it's a safe bet for you as a consumer to have a pretty okay time in exchange for your hardearned dollars then it's a safe bet for the investors to receive their quarterly returns. It's no mistake that Disney, the company that owns Marvel does most of its business in theme parks: entertainment on an industrial scale. Just like their movies the rides are made to give you and everyone else who bought a ticket a scientifically optimized amount of fun and then move you along so that that the next batch of riders can have an identical experience.

It's value production as efficient as an assembly line or slaughter house, completely atomized and divested of any trace of the individual for the sake of maximum profitability. The figured out a way to sell you your own fandoms like they sell you happymeals, endless iterations of a product just this side of bad but convenient enough that you never need to go without.

I don't blame anyone for liking things, just like I don't blame people for wanting a quick burger in the middle of a long day. Our minds need entertainment just like our body needs calories, and profit seeking conglomerates exploit that need as they always have. What irks me is the fact that even outside of the commercials I feel like I am being sold something, like the movies and games I actually enjoy are being supplanted by feature length billboards that only serve to advertise the next instalment. The desire to find out what happens next is a powerful thing in media, and that desire is being exploited by expanded universes the same way it's exploited by DLC that contains the "true ending".

You can tell it isn't sustainable.. McDonald's is so inflated in price it's competing with actual restaurants, the gaming Industry guts itself with layoffs every quarter, and Disney's competitors are producing entire movies and tv shows only to destroy them for tax befits. The cracks have been showing for a while but I have no idea what shape the landscape is going to take after the dam gives.

[ladyluscinia]

I recognize that child - Spy Kids!!!

And he's getting bullied by fucking. Wizards of Waverly Place 🤣🤣🤣 (who is also the son from How I Met Your Mother)

Also love watching early 2000s TV because of all the random guys doing background parts. Modern TV is so lacking in the rotating cast of background actors 😔

8 episodes into House MD and I've seen Mick Rory from Legends of Tomorrow and the beautifully recognizable bald head of Kurt Fuller (Zachariah, Woody from Psych, etc.)

[freezerbunny-sims2]

Asylum Challenge sims and their criminal past

Kaoru Martínez, aka "Scissors". His crime was reselling "Running with Scissors" playsets illegally. The product was banned after many lethal accidents and its commercialization strictly regulated. Has strange nightmares about losing rock paper scissors to a ghostly figure, but otherwise doesn't remember anything.

Julio Amieba, aka "Ameba". Sixam name unknown. Involved with illegal alien weapons trade. No one knows his motive, he barely speaks Simlish and has lost connection to his telephatic abilities.

María Palacios, aka "Art Attack". Involved in illegal art trade. After breaking into the Deh'Javu Art Museum Archives and stealing the original "Sunny the Tragic Clown" painting, Sunny showed up at her house and she decided she would rather turn herself in than having to deal with him. Her memories of the event are gone, but the depression still follows her.

Noemí Mendía, aka "The tinderbox". Arsonist, her targets are tacky mansions and other buildings she deems "ugly". Dealed illegal fireworks as a side hustle. Again, no memory of her past, but when the moldy carpets and faded wallpaper of the Asylum get too overwhelming, she goes outside and lights a cigarette.

Nora Solano, aka "Mediocre Widow" or, for the true crime fans, "Fake Olive". She hated being called a copycat so much that she attempted to murder the Grim Reaper to prove she was unique. Of course, that didn't work, and her past crimes were eventually proven. Her massive inferiority complex never went away, even after the memory wipe.

Alicia Rodríguez, aka "The Witch". Former politician, involved with various mobs and money laundering schemes, repeated road traffic infractions. Feared for that and for her alleged supernatural abilities. But here, no one, not even her, knows who she is.

Sergio Alonso, aka "Bulldozer". Passionate and violent defender of his favorite football team. Was involved with Alicia's schemes, but she betrayed him and blamed him for many of her own crimes. He was a fugitive until he was found by the misterious organization that runs the asylum. Now, when he sees his favorite team on tv, he feels nothing.

Antonio Feliciano, the caretaker. His only crime is being desperate enough to participate in this shady experiment, hoping there will be a reward in the end.

[gentlebeardsbarngrill]

03/18/2024 Daily OFMD Recap

TLDR; Cast&Crew; Samba; Leslie Jones; Taika; Rachel House; Rhys; Kristian; New Weekly Event Calendar; YouWear50Well; Ranker; AdoptOurCrew Rhys Radness; Fan Spotlight; Fundraiser Status; Kudoboard; Watch Parties; Love Notes; Daily Darby/Tonight's Taika

Hey friends! Thank you for the kind words about my head injury! So far so good, not dead yet-- although I am a bit out of it so I apologize if i'm not totally articulate! I appreciate you all reaching out and sending love <3 You are the best crew ever!

= Cast & Crew Sightings =

== Samba More BTS ==

Samba gave us a whole bunch more BTS today! This time regarding the Spanish Jackiez Set! (I ran out of room for images on this so please visit the stills links for the pile of pics Samba dropped.)

Stills #1: Spanish Jackiez Stills

Stills #2: More Spanish Jackiez Stills

Video #1: Matthew confirming stuff

Video #2: "Hey Hey, Just mee and my big swords here" - Erroll

Video #3: "Are you a husband Kristian?"

Video #4: Flaming Bananas Practice

Video #5: Flaming Bananas Take

== Leslie Fucking Jones ==

Just, what can I say, this woman is on fire every time I see her. <3

SRC: Leslie Jones IG

== Taika ==

Taika was all over the place today, which is AWESOME! It's so good to see him feeling more comfortable posting on SM again, he also apparently is in some sort of influencer era because he keeps posting product reviews, which is hilarious and awesome.

=Rachel House =

Rachel House directed The Mountain, and Taika helped Produce it, she's out exhibiting the soundtrack that's available now!

Are you currently in Aotearoa (New Zealand)? They've got some screenings of the Mountain and Q & A sessions with Rachel! Visit the @temauunga linktree for more information and availabilities!

= Rhys =

For those of you not already aware-- Rhys is having a cameo on Night Court! As the Duke of Greybog. Available on Peacock!

= Kristian Nairn =

Just Kristian being sweet and continuing to keep us updated

= Gizmo = Poor Gizmo is missing Theo.

== Mar 18 - 24 Event Calendar ==

March 19th: London Billboard Round 2!

== YouWear50Well ==

Early reminder! The 21st is Rhys' Birthday! Since it'll be the 21st for some crew members earlier than others, @yronnia was kind enough to give us information early regarding the 50th birthday news! Please be sure to Post your birthday wishes to Rhys and show him your appreciation! Send your fanart and other creations using #YouWear50Well. Please Note: Please do not tag Rhys repeatedly! He's going to be getting a lot of notifications. Even just having notifications under #YouWear50Well will help keep everything visible :)

== Ranker ==

Wanna help boost Our Flag Means Death? There's another Ranker poll! Remember to rank OFMD up, and other shows down if you want to help keep OFMD up. Obviously vote how you like though :)

== Adopt Our Crew: Rhys Radness ==

So something I didn't cover yesterday was all the Rhys Radness going on over on Twitter! The first round of votes results were:

There are 4 categories: Movies, Commercials, Short Poppies, and Television

Todays options were:

Now one thing you'll notice, is the tv-show category between Stede Bonnet & Charles, and Steve and Murray got a bit out of hand. Most of the rest of the polls ranged in the 200-400 votes-- while those two ranged in the 7-9000K votes. Obviously somebody was having some bot fun. What's interesting is that during the day, once the bots started, they were heavily favoring Charles, and Murray, then the other half of they day they were heavily favoring Stede and Steve! We'll see who wins later tonight!

== Fan Spotlight! ==

Two more cast cards! This time Connor Barrett and Michael Crane! Our two captive Englishmen from Season 1! Thank you @melvisik for keeping these going :D

= MaxFanFaves =

Our dear crewmate @iamadequate1 has been hosting their own #MaxFanFaves on Twitter-- and its down to the final 4!

Coyote Vs Acme / Harley Quinn, and Our Flag Means Death / Gentleman Jack!

== Kudoboards closing soon =

Last chance! Thank you to @sharpenyersword on Twitter for setting up ALL THE KUDOBOARDS! Rhys' birthday kudoboard will close on the 20th, the rest will close on the 22nd.

Go send the cast and crew some love folks!

Rhys Darby's Birthday

David Jenkins

Nathan Foad

Con O'Neill

Ruibo Qian

Leslie F*cking Jones!

Matthew Maher

Vico Ortiz

Samson Kayo

Alex "Ass Tonight" Sherman!

David Fane

Kristian "Wee John Wednesdays" Nairn!

Samba "BTS and Baking King" Schutte!

Fellow OFMD Fan Crew!

== Taika Kudo Board ==

LAST DAY FOR TAIKA!

= Watch Parties =

== Wrecked ==

There are sources being passed around. If access is an issue, DM @iamadequate1 on Twitter or Tumblr

Season 3 watch from March 18th to March 22nd. 

Times will be 10pm GMT / 5pm EST / 4pm CST / 2pm PST. Watch two episodes per day. Episodes are 21-22 minutes each. Use the following Saturday for the tags/watch if interested but not able to make this time.

Hashtags: 

#WreckedPirates

#SaveOFMD

#RhysDarbyFaction

New watch parties!

Movie: Boy Date: Sunday March 31st at Time: 10am EST / 2pm GMT. We're watching Boy (2010) Hosted By: @tillychmo & @regg_official Location / Hastags: TBA

== Fundraiser Statuses ==

eSIMS and Sanitary Products for Gaza

03/10/24 - $5689 / 191 Supporters / 71 %

03/11/24 - $5814 / 194 Supporters / 72%

03/18/24 - $6558 / 248 Supporters / 81%

Getting close all!

= In Soup Now =

03/10/2024 - £925 / 39 supporters / 18%

03/11/2024 - £1183 / 47 supporters / 23%

03/18/24 - £1833 / 69 supporters (nice) / 36%!

Still going-- 12 days left!

== Love Notes ==

Hey Lovelies. It's that time again. Time for me to gush over you for a bit.

Look at you! Go look at yourself in the mirror. Whether you see dark circles under your eyes, someone you can't recognize, or someone feeling put together --- You're gorgeous inside and out.

You are a tenacious, strong, amazing person, and whether you are where you want to be or not, you are making progress.

You're doing so well, even when it feels like you're not. Progress is so hard to gauge when you're living it-- but I know, because I talk to you all every damn day, that you are getting there. You bring out the best in every one around you, and you do so without even knowing it.

Even when things feel down, just know we can see you growing and you bring so much joy to our lives. I continue every day to be thankful for finding this little corner of the internet, for letting me meet each and every one of you.

Nothing can stop you lovelies-- nothing at all.

You're gonna get there, it just may take some time--

Remember to take breaks and get some rest if you can, it always makes things feel more manageable. But whatever you do, don't give up <3

We're here and we believe in you.

Love you crew, <3

== Daily Darby / Tonight's Taika ==

Tonight's theme-- Driving! ... or parking, in Murray's case. And NO this does not indicate who I voted for. Putting Murray vs Steve was cruel to be honest, how am I supposed to choose between those two!? Darby Gif Courtesy of: @ofmooshd This terrible Taika gif is courtesy of me, cause I was gonna put it in his sighting section then realized I could just put it here.

[justforbooks]

In the childhood memories of more than one generation, Glynis Johns, who has died aged 100, will be best remembered as the Edwardian materfamilias of the hugely popular Walt Disney musical Mary Poppins (1964). Winifred Banks, married to David Tomlinson’s George W Banks, is the mother of Jane and Michael, the children in the care of the magical nanny played by Julie Andrews. A protester for the right to vote, Winifred delivers a spirited rendition of the song Sister Suffragette – “Our daughters’ daughters will adore us. And they’ll sing in grateful chorus: ‘Well done, Sister Suffragette!’” – as the children’s previous nanny tries to quit.

But the husky-voiced actor had other claims to fame from her more than 60 films and 30 stage productions. In 1973, Stephen Sondheim composed the song Send in the Clowns for Johns when she was cast in the leading role of the premiere production of his musical A Little Night Music, on Broadway. And she had won initial stardom in the British cinema as a mermaid.

In the title role of the film comedy Miranda (1948), she travels from Cornwall to London and causes romantic complications among the Chelsea set. Although the film’s whimsy may now seem strained, it was a great commercial success in its day, making Johns a top-liner in British movies. Miranda returned in a rather belated sequel, Mad About Men (1954).

By that time, Johns had moved almost completely from stage to films, where she was associated chiefly with lightweight roles, alternately fluffy and feisty. One of her most appealing opportunities came in the thriller State Secret (1950, released as The Great Manhunt in the US), playing a cabaret artiste in a fictitious Balkan country, and gamely singing Paper Doll in a wholly invented language.

It says something for her properties of youthfulness that at the age of 30 she could play a teenage schoolgirl in the melodrama Personal Affair (1953). The same year she played in two fanciful Walt Disney British productions, as Mary Tudor in The Sword and the Rose, and as the heroine wife of Rob Roy, and she went on to make her first Hollywood picture, the Danny Kaye comedy The Court Jester, in 1955. The following year she played a cameo role in the star-studded Around the World in 80 Days.

At the time Johns alternated between American and British films, generally in subordinate roles, but a rewarding one came in The Sundowners (1960), set in Australia, as a jolly barmaid who takes a shine to a visiting Englishman played by Peter Ustinov. It brought her an Oscar nomination as best supporting actress. Top billing came in a stylish horror movie, The Cabinet of Caligari (1962). She was well enough known to American audiences by this time to star in 1963 in Glynis, a TV sitcom series that ran for just one season.

In 1966 Johns returned to the London stage in The King’s Mare, as Anne of Cleves to Keith Michell’s Henry VIII. Her Welsh heritage came into play when she took the role of Myfanwy Price in a screen version of Dylan Thomas’s Under Milk Wood (1971) starring Richard Burton, Elizabeth Taylor and Peter O’Toole, and two years later came her great Broadway success as Desiree Armfeldt in A Little Night Music, which brought her a Tony award.

Glynis came from a show business background: her mother, Alice Steele (nee Wareham), was a concert pianist who performed under the name Alys Steele-Payne, and her father was the prolific character actor Mervyn Johns. He was a stalwart in particular of Ealing Studios films: father and daughter appeared together in an Ealing drama, The Halfway House (1944).

Though her vocal intonations pointed to her Welshness, Glynis was born in Pretoria, South Africa, where her parents were on tour. She was reportedly carried on to the stage at the age of three weeks, and it was not too much longer before she was appearing there in a professional capacity, making her performing debut at the Garrick theatre, London, as a dancer in a revue called Buckie’s Bears (1935).

Educated at Clifton high school, Bristol, and South Hampstead high school and the Cone School of Dancing in London, she rapidly graduated to juvenile acting roles in both theatre and cinema. Her first screen appearance came at the age of 14, as politician Ralph Richardson’s troublesome daughter in South Riding (1938), and on stage she was the young sister, another Miranda, in Esther McCracken’s comedies Quiet Wedding (1938) and Quiet Weekend (1941).

That year brought the opportunity to appear in the film 49th Parallel, starring Leslie Howard and Laurence Olivier in a spy thriller intended to bolster second world war support in the US. When the prospect of playing a mermaid came after the war, she was able to draw on her theatrical versatility: “I was quite an athlete, my muscles were strong from dancing, so the tail was just fine. I swam like a porpoise.”

Johns returned to the London stage in 1977, as Terence Rattigan’s choice to play the murderer Alma Rattenbury in his well-received dramatisation of the Rattenbury case, Cause Célèbre. Her acting appearances became sporadic, though in 1989 she starred with Rex Harrison and Stewart Granger on Broadway in Somerset Maugham’s The Circle.

She was occasionally a guest star in US television series such as Murder She Wrote and The Love Boat, and played Diane’s rich mother, Helen Chambers, in the first series of Cheers (1983) and Trudie Pepper in the sitcom Coming of Age (1988-89). By the time of her final films, While You Were Sleeping (1995) and Superstar (1999), she was a characterful grandmother.

Johns was married and divorced four times. Her first husband, from 1942 to 1948, was the actor Anthony Forwood. Their son, Gareth, also an actor, died in 2007. Marriages to two businessmen followed: David Foster, from 1952 to 1956, and Cecil Henderson, from 1960 to 1962. She was married to Elliott Arnold, a novelist, from 1964 to 1973, and is survived by a grandson and three great-grandchildren.

🔔 Glynis Margaret Payne Johns, actor, born 5 October 1923; died 4 January 2024

Daily inspiration. Discover more photos at Just for Books…?

[j4m3s-b4k3r]

BACK TO THE FUTURE: the animated series

I was working at Disney France when John Hays contacted me, looking for an overseas supervisor for a Saturday Morning cartoon that he'd be directing for Colossal Pictures. I’d done such things before. What interested me about this particular gig was that John wanted the supervisor to firstly work as part of the pre-production team at Colossal. I absolutely loved that idea. So headed to San Francisco to work on the BACK TO THE FUTURE cartoon.

I’d been introduced to John by mutual pal Tony Stacchi while backpacking in the USA a few years earlier. When Colossal diversified from special effects & TV commercials into longer form animation, John remembered me. Thinking my experience in Saturday Morning animation would fit with this new project, that both he & Phil Robinson would direct.. 

The crew had not fully assembled when I arrived in San Francisco. In fact, it was so early in production that even the look of the show had not yet been locked down. Many freelance artists, including Steve Purcell & Dave Fiess, plus Colossal staffers had a crack at design proposals, and I had a go too. 

Colossal had acquired a new building for long form production, but it was still being refit. So, a few of us worked in a cold drafty room at Colossal’s 3rd street building. As the crew expanded, we were housed in a cramped annex in their Custer Street sound stage. Until we finally moved into the facility on 15th street. (That building would eventually host the entire Colossal animation department).

When some designs of mine were selected for the main characters, the plan for me to supervise production in Taiwan was modified. Instead, I became one of two art director/character designers on the series. The mighty John Stevenson being the other. 

There was such a back & forth between Colossal & Universal over the main characters (even the actors got involved) that it was hard to do anything truly unique (although I was happy with how Doc Brown turned out). But we definitely had fun on the secondary character designs. 

Private Stevenson & Private Baker..

John & I both worked on designs for the first episode together, then took it in turns thereafter. I designed characters on even-numbered episodes, and John designed for odd-numbered episodes. We both sat side by side, cracking each other up with sillier & sillier designs. Joyfully competing as the series progressed. (In my opinion, John utterly killed it with his designs for his ROMAN episode..)

Directors John Hays & Phil Robinson really assembled a mighty crew for this series. Dave Gordon & Richard Moore did the BG styling, with Dave doing a lot of great VisDev too. Robin Steele, and future Pixar heavyweights Bud Luckey, & Joe Ranft did the storyboards. Two more future Pixar legends, Bob Pauley & Bill Cone, led much of the layout & location design. Future LucasFilm directors Bosco Ng, & Steward Lee were stalwarts of the art department. Colour styling was by future CNN design director Dewey Reid, and John Pomeroy animated the title sequence! 

After years of living & working in countries where I struggled to learn the language, it was great to finally be in a city where I could actually socialise. I was very lucky to be working with utterly inspiring artists. We often worked late, as we were all excited to be working together.

The pre-pro team was enthusiastic and worked hard, with high hopes for the show. However, by this point in my career I had a pretty good idea of how the Saturday Morning sausage was made. Having worked in the bowels of the sausage factory myself for 10 years by that point. I was hopeful, but also knew that it was anybody’s guess if the show would get the same care at the other end..

A show about a kooky scientist, his young buddy and a time machine had the potential to be absolutely great. The best of Doctor Who and a (family friendly) Rick & Morty. But stories that went to a new time zone each week needed a lot of design. I kept hoping that the scripts would contain less characters & locations. So that we could really refine the model packets. But every script contained tons of NEW characters & locations. Plus new outfits/gear for the main characters too. SIGH..

We'd been promised the 'top floor' animators at Taiwan's Cuckoo's Nest studio, but "Uh oh.." early footage made it clear that we'd gotten the basement crew instead.. "DOH!" Back when I'd supervised outsourcing myself, I learned that if the good artists are already assigned to another project there wasn’t much you could do. So, despite an absolutely stellar design & storyboard team, and early optimism, the show itself came out merely 'OK'. It ran for two seasons on CBS.

It has been one of the counter intuitive aspects of my career that sometimes the fave projects are NOT the best projects.. Despite being merely a footnote in animation history, this was absolutely a linchpin project in my own career, and I have fond memories of it to this day. Many great opportunities that came later were thanks to this show. I met many wonderful artists, who became lifelong friends, who I still work with and/or socialise with, decades later. On this project, I fell in love with San Francisco. And, after living out of a backpack for years, made this kooky town my home. I’d later go on staff at Colossal Pictures, which became my favourite studio I ever worked at. Where I finally escaped from Saturday Morning cartoons, into TV commercials and other more challenging projects.

[lboogie1906]

Rodney Allen Rippy (born July 29, 1968) is a former child actor, television personality, marketing director, producer, and politician. He appeared in TV commercials for the fast-food chain Jack in the Box in the early 1970s, as well as in numerous roles in television and movies.

He was seen trying to wrap his mouth around the super-sized Jumbo Jack hamburger. The tagline “It’s too big to eat!” became a catchphrase. Another spot showed him giggling while singing the song “Take Life a Little Easier,” which was released as a single in the wake of the commercial’s popularity.

The single (b/w “World of Love”) appeared on the Billboard magazine “Bubbling Under” chart, peaking at #112. At the age of five, he became the youngest person ever to make any Billboard music chart. An LP, titled Take Life a Little Easier, was released.

He had guest roles in many popular television shows, including The Six Million Dollar Man, Marcus Welby, M.D., Police Story, and The Odd Couple. He appeared on talk shows such as The Tonight Show Starring Johnny Carson and Dinah’s Place with Dinah Shore. He had a co-starring role in The Harlem Globetrotters Popcorn Machine.

He made his big screen debut in Blazing Saddles. He portrayed a young Sheriff Bart. In a Peanuts newspaper comic strip, Snoopy awakens from a dream in which he “had been invited out to dinner by Rodney Allen Rippy!”

He graduated from Cerritos College and California State University, Dominguez Hills where he majored in marketing. He opened his marketing firm which he named Ripped Marketing Group. He worked on campaigns such as promoting leisure wear and country music, among other projects. He has taken on a few acting roles since his childhood stardom, filming a few episodes of Parker Lewis Can’t Lose, appearing in Former Child Star and Dickie Roberts: Former Child Star.

He is a partner in the film production company Bow Tie Productions and a spokesman for Hurricane Housing Relief. He worked at KABC-TV in Los Angeles. He has served as master of ceremonies for the Carson Relay For Life. He was a national director of marketing with Metro Networks. He ran for Mayor of Compton (2015). #africanhistory365 #africanexcellence

[candiedspit]

How do you find inspiration to write?

Well today I cleaned the house then sat down and watched television for an hour …I really hardly ever watch TV so that was inspiring haha how some commercials will be louder on purpose…the drama in a stupid reality tv show like ice road truckers….but usually I will drink caffeine, scroll through Pinterest, sometimes reread Howl or a passage from one of my favorite books, and that helps generate some ideas but honestly being unemployed has been so great for my creativity & production I write every day for like four hours now….I sorta do my little routine and the words come whereas before I’d have to STRUGGLE to get any words out

[ltmcreation]

Bridging Creativity and Innovation: Video Production House in Bhubaneswar

Experience the pulse of visual storytelling at LTM Creation, a leading Video Production House in Bhubaneswar. With a team of seasoned professionals, we specialize in creating high-quality videos, from corporate presentations and promotional materials to cinematic storytelling. Just check out our website at: ltmcreation.com and start your journey of film discovery and creative genius and call us at: +91 9348880317.

[nysocboy]

Jamie McGuire: The Smiley Creature from "From," with some Halifax hunks

From, starring Harold Perrineau of Lost, is set in the ruins of a small town, with a diner, a police station, a hotel, a farm, and some houses, where stranded travelers from various parts of the U.S. get stuck.  Every night humanoid creatures appear, dressed in 1950s costumes -- mechanic, nurse, librarian, tv cowboy.  They try to lure you outside, or trick you into letting them in, whereupon they turn into monsters and kill you.  

The Creatures are the main threat, and one of the biggest mysteries, in From. They are impervious to most weapons, but they don't have paranormal powers.  Their physiology is human, but dessicated, as if they've been mummified.  They were once regular humans: a Creature named Jasmine says "I didn't ask to be this way."  My theory is that some sort of dark magic went wrong during the 1950s, zapping the town into a pocket universe and transforming some of the townsfolk into Creatures.

Jamie McGuire's Smiley Creature has become a fan favorite, due to his especially huge, creepy grin and his quirky personality: he  seems delighted to be part of the world again.  He feels furniture, picks up objects.  He climbs aboard a stalled bus and plays at driving it.   

If it weren't for the creepy grin, Jamie would be quite handsome, so I wanted to know more about him.  

He's been interviewed a dozen times, but mostly about the Smiley Creature -- and he doesn't know any more than we do.  He just puts on a creepy grin and follows the director's instructions.

Researching Jamie McGuire turns out to be extremely difficult.  A Google search yields 3,000 entries about a romance novelist named Jamie McGuire, mostly reviewing two of her books that have been made into movies, Beautiful Disaster and Beautiful Wedding.    Dylan Sprouse stars as an inked bad boy boxer. 

Instagram and Facebook are equally fruitless.  Lots of posts and photos of that romance novelist, an addiction recovery counselor, an English footballer, a fitness model, and a MMA fighter.

So we're stuck with the IMDB, which has no biographical information, and only four acting roles:

A Neanderthal in the documentary Neanderthal Apocalypse, 2015

An unspecified role in the comedy Hopeless Romantic, 2018, a local production filmed near the director's home in Newfoundland.

A background performer in Kids v. Aliens, 2022, a local production filmed near the director's home in Nova Scotia.

And From, which is filmed in Newfoundland.

Jamie's resume and a few headshots are available online.  He studied acting in Peterborough and Toronto.  No college listed.  He's multilingual in English, French, Spanish, and Italian

In addition to the IMDB listings, he has performed in commercials for Beecham Cough Syrup, Stillwater Beer Garden in Nova Scotia, and a credit union.

But until he starts an interview with "I was born in..." Jamie McGuire will continue to be as much of a mystery as the Smiley Creature.

The full post, with some Halifax hunks, is on RG Beefcake and Boyfriends

[mayhighfilms]

What does AD film director LD Sharma have to say to those who want to become AD film directors?

Introduction to LD Sharma and his career as an advertising film director

Lights, camera, action! If you've ever dreamed of directing your own blockbuster films or captivating commercials that leave audiences in awe, then the world of advertising film direction may be calling your name. One name that stands out in this competitive industry is LD Sharma, a renowned ad film director based in Mumbai and the Managing Director of Mayhigh Films. With his creative vision and passion for storytelling, LD Sharma has carved a niche for himself in the realm of advertising. His expertise lies not only in capturing visually stunning shots but also in crafting compelling narratives that resonate with viewers. In this blog post, we delve into LD Sharma's journey as an advertising film director and discover what it takes to succeed in this dynamic field. So grab some popcorn and settle into your seat as we explore the exciting world of Ad Films Production House In Mumbai direction through the lens of LD Sharma's experiences and insights. Whether you're an aspiring filmmaker or simply curious about the behind-the-scenes magic of creating captivating ads, there's plenty to learn from this talented industry veteran

The role of an advertising film director and its importance in the industry

The role of an advertising film director is pivotal in the world of marketing and entertainment. These creative professionals are responsible for bringing a vision to life on screen, captivating audiences and delivering powerful messages that resonate with viewers. The importance of their work cannot be overstated. Advertising film directors are not just storytellers; they are masters at capturing emotions, evoking reactions, and creating memorable visual experiences. They have a unique ability to translate ideas into compelling narratives that leave a lasting impact on consumers. Through their direction, they shape the branding and image of various companies or products. To excel in this field, advertising film directors must possess a diverse range of skills. They need to be highly imaginative individuals who can think outside the box and conceptualize innovative ideas that cut through the clutter of today's media landscape. Strong communication skills are also essential as they collaborate with clients, creative teams, actors, cinematographers, and other industry professionals to bring their vision to life. Additionally, technical expertise in camera techniques, lighting setups, editing software, and post-production processes is crucial for executing seamless productions. An eye for detail is vital when shooting commercials because every frame counts – from choosing the right angles to ensuring proper colour grading – all contribute to the overall impact of the final product. However important these roles may be in shaping campaigns for effective brand messaging or promoting new products or services- there will always exist challenges faced by ad filmmakers including budget constraints,time limitations,and client demands. The job requires patience, endurance, and adaptability. LD Sharma has had his fair share but he never shied away from them. Instead he embraced those challenges head-on, resulting in some remarkable ad campaigns that have gained widespread acclaim In conclusion, the role played by advertising film directors cannot be underestimated. They play an integral part within any marketing strategy by using their creativity, directorial prowess, and technical knowledge, to create impactful visuals.

Key skills and qualities needed to become a successful advertising film director

To become a successful advertising film director, one must possess a unique set of skills and qualities that can make their work stand out from the crowd. First and foremost, creativity is key. Being able to think outside the box and come up with fresh ideas is essential in this industry. Attention to detail is another important skill for an advertising film director. Every aspect of a commercial needs to be carefully planned and executed, from casting the right actors to choosing the perfect location. The smallest details can make or break a campaign. Strong communication skills are also crucial for success in this field. Advertising film directors need to effectively convey their vision to clients, crew members, and actors alike. Clear communication ensures that everyone involved is on the same page and working towards the same goal. Flexibility is another quality that sets successful advertising film directors apart. In this fast-paced industry, unexpected challenges often arise during production. Being able to adapt quickly and find creative solutions is essential. Perseverance is key in overcoming obstacles that may arise throughout a project. As an advertising film director, you may face tight deadlines or difficult clients but staying determined will help you navigate through these hurdles. In conclusion (even though I'm not supposed to say it), becoming a successful advertising film director requires a combination of creativity, attention to detail, strong communication skills, flexibility, and perseverance. These attributes will enable you not only survive but thrive in this dynamic industry where innovation reigns supreme

Challenges faced by advertising film directors and how LD Sharma overcame them

Challenges are an inevitable part of any profession, and being an advertising film director is no exception. LD Sharma, with his vast experience in the industry, has faced numerous challenges throughout his career. One significant challenge that advertising film directors often encounter is working within tight deadlines. In the fast-paced world of advertising, time is of the essence, and delivering high-quality work on schedule can be daunting. Another obstacle that arises for advertising film directors is managing a diverse team of professionals. From scriptwriters to actors to production crews, coordinating different individuals with varying skills and personalities can be a delicate balancing act. LD Sharma understands the importance of effective communication and collaboration to overcome this challenge successfully. Additionally, budget constraints can pose a hurdle for ad film directors. Creating visually appealing and engaging advertisements requires financial resources, but clients may have limited budgets. LD Sharma has learned how to maximize resources creatively without compromising on quality. Furthermore, staying relevant in an ever-evolving industry presents its own set of challenges for ad film directors like LD Sharma Mumbai-based director at Mayhigh Films Managing Director. Advertisements need to resonate with changing consumer preferences while maintaining brand identity. Being adaptable and embracing new technologies are crucial in overcoming this obstacle. Dealing with client expectations can be demanding for advertising film directors. Clients may have specific visions or demands that require careful navigation while still ensuring creative freedom as a director. LD Sharma handles such situations by effectively communicating his ideas and expertise to align expectations between himself as the director and the client. In conclusion,  Ld Sharma’s ability to navigate these challenges has contributed significantly to his success as an advertising film director at Mayhigh Films Mumbai. Through perseverance ,determination, and continuous learning from each experience, Ld sharma overcame these obstacles. His journey serves as inspiration for aspiring advertising film directors who aspire toward similar achievements. Advertising films play a vital role in shaping our perceptions, making it essential for talented individuals like Ld sharma to continue pushing boundaries and delivering exceptional work in the field.

Advice from LD Sharma for aspiring advertising film directors 1. Passion and Dedication: According to LD Sharma, passion is the driving force behind any successful career in advertising film direction. He emphasizes that aspiring directors should be dedicated to their craft, constantly honing their skills and staying up-to-date with industry trends. 2. Learn the Craft: LD Sharma advises budding directors to gain a thorough understanding of all aspects of filmmaking, including scriptwriting, cinematography, editing, and sound design. This knowledge will enable them to effectively communicate their vision to the team and bring it to life on screen. 3. Build Relationships: Networking plays a crucial role in the advertising industry, as collaborations often lead to new opportunities. LD Sharma suggests attending industry events, joining professional organizations, and connecting with like-minded individuals who can support your journey. 4. Embrace Challenges: Advertising film directing comes with its fair share of challenges. LD Sharma encourages aspiring directors not to shy away from obstacles but instead view them as opportunities for growth and creative problem-solving. 5. Stay Open-Minded: Being adaptable and open-minded is essential in an ever-evolving industry like advertising film direction. LD Sharma recommends being receptive to new ideas, technologies, and techniques that can enhance storytelling and create impactful campaigns. 6. Never Stop Learning: Learning is a lifelong process for any creative professional. According to LD Sharma's advice column for aspiring advertising film directors,maintain a curious mindset by seeking inspiration from various sources such as films,podcasts,blogs etc., attending workshops or courses,and actively experimenting with different styles or approaches within your work. By following these valuable insights from experienced ad film director L. Sharma, Mumbai-based director at Mayhigh Films, you can pave your path towards becoming an accomplished advertising film director yourself!

Conclusion: The impact of advertising film directors on the industry In today's fast-paced and visually driven world, advertising Ad Films Maker In Mumbai directors play a crucial role in shaping the success of brands. Their creative vision and storytelling skills have the power to captivate audiences, evoke emotions, and leave a lasting impact. LD Sharma, with his extensive experience as an advertising film director, understands this influence firsthand. Throughout his career at Mayhigh Films Mumbai, LD Sharma has directed numerous successful ad campaigns that have resonated with viewers across various platforms. From heartwarming narratives to entertaining commercials, his work showcases not only his talent but also highlights the significance of advertising film directors in the industry. Advertising film directors like LD Sharma bring ideas to life by collaborating with clients and teams of professionals including cinematographers, writers, editors, and designers. They oversee every aspect of production - from pre-production planning to post-production editing - ensuring that each frame aligns with the brand's message. Their ability to effectively communicate and translate concepts into visually stunning films is what sets them apart. The final product must not only capture attention but also connect emotionally with consumers on a deeper level. This requires exceptional storytelling skills that can engage audiences within a short span of time. To be successful in this field, aspiring advertising film directors need more than just technical expertise or artistic flair. They must possess strong leadership skills to guide their team through challenging productions while staying true to their creative vision. Additionally, they should be adaptable problem solvers who can think quickly on their feet when faced with unexpected obstacles during shoots. LD Sharma himself faced many challenges throughout his journey as an advertising film director. He encountered tight deadlines, budget constraints, and demanding clients who expected nothing less than perfection from him. With resilience and determination, L D Sharma overcame these hurdles by maintaining open lines of communication, welcoming feedback, and constantly learning from each project he undertook. His dedication towards delivering quality work paid off, and he became renowned for his unique storytelling approach and impeccable attention to detail. For aspiring advertising film directors,

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[damnfandomproblems]

For the person who commented on 4727 (and, as is somehow trending on this blog right now, totally missed the point), the submission didn't imply people were "trying to help the artist(s) improve". And it's not their job to do that. Are they being paid to complain? Can people not just see designs for characters in a trailer, still, clip, etc and go, "I don't like the look of this, but I don't know how to articulate it"? Like... I didn't know there were clarity minimums to meet for having and sharing opinions now.

Additionally: artists for shows and TV are not taking pointers from fandomgoers. I work in film, television, and commercial VFX, hell, I've worked on Warrior Nun and Doctor Who, so I'm pretty familiar with "feedback" especially in fandom spaces. By the time shows are released, none of the feedback matters aside from small technical issues people point out. Half the time, the "artists" aren't even responsible for the final designs; lookdev and, ultimately, producers are. Even in animation houses, unless everything is being run by a team of artists who are responsible for every aspect of production, you're not going to reach them no matter how refined your critiques are.

Anyways... Honestly, your comments sound like you're thinking about a different situation than OP even described. You're almost implicitly describing a situation where an artist asks for concrit of their work, and someone voluntarily offers, then just says "it sucks and idk why". If so, then yeah, your comment applies because obviously it's going to be unhelpful if because there was an expectation the artist could use the feedback specifically to improve.

But feedback, complaints, commentary thrown into the ether upon the release of trailers and haracter designs and whatnot... That stuff has more purpose than just providing feedback to og artists. It's community building, it's finding other people who have the same opinions, and catharsis through venting. We're humans and we like to be heard, and not all complaints are even made to be really replied to or shared, just casually observed. OP didn't specify whether the "complaints" were given directly to the artists or not, so I think it's fair to acknowledge all this stuff too.

Implying that all complaints need to be very clear for "improvement's" sake in all situations involving media, because they're somehow all meant to be seen by the artists (etc), is a bit farcical.

Posting as a response to a previous problem.