by Marc Steiner -

Character Animation? 3D Shader?

Before the actual research process I started with a small dump of questions that could further define my possible areas of interest. This first post is supposed to serve as an orientation session, finding ways to further develop my skills and reach for new content in different directions. While following my mental path of questions about character animation, I discovered another interesting topic: 3D shaders and different ways of stylisation. Here are the questions i came up with.

Animation:

State of the art analysis: Which animation studios are currently most present?
How do big animation studios animate? Do they have their own style?
What is the difference between 2D and 3D animation?
What are the main differences between character animation vs. facial animation practices?
What are the established workflows? Key poses, in-betweens, animation smears and stretches, dynamics
How can the animation principles be applied in character and facial animation?
What extra steps are needed to animate for video games? Animation loops / idle animation
How is work departmentalised / what is the pipeline in big studios?
Which tools does the industry use to animate?
How is such work possible as an individual? Which tools can be used, what helps facilitate the workflow?
How can motion capture be used to help get quicker results than with manual keyframe animation?

Shaders:

How do material shaders work in 3D?
In which style can a 3D piece be displayed?
How can shaders influence these styles? 3D vs 2D shaders
How can shaders be used to achieve certain styles? 90’s anime look / Arcane style / hand-painted look / watercolour / toon shader

Examples

Here I collected some example links, visualising what I thought of and found in this process.

https://80.lv/articles/an-unusual-method-of-creating-character-animations-for-games/
https://80.lv/articles/an-old-school-anime-style-animation-made-in-blender/
https://80.lv/articles/an-animator-shows-a-fun-way-to-work-with-dynamics-poses/
https://80.lv/articles/the-first-episode-of-the-behind-the-scenes-documentary-on-arcane/
https://80.lv/articles/work-in-progress-combat-animation-made-in-blender/
https://80.lv/articles/a-porco-rosso-inspired-animation-made-in-blender/

Possible Literature / References

This is a collection of works that can serve as a good foundation for research in the future.

Pallant, C. and Holliday, C. (2020) Snow White and the seven dwarfs. First edition..

Williams, R. (2009) The animator’s survival kit : [a manual of methods, principles and formulas, for classical, computer, games, stop motion and internet animators]. expanded ed.; 1. publ..

Primig, L. (2015) Rigging cartoony characters : am Beispiel des animierten Kurzfilms “The Rainbowmaker”

Schantl, D. (2013) Disney character animation : considering the example of Snow White and the seven dwarfs.

Wretschko, Bettina. 3D Character Animation : von der Idee bis zur Bewegung. 2015.

by Simon Edl -

Defining AI & MI

Artificial intelligence (AI)

There are a multitude of ways to look at artificial intelligence, some technical, some philosophical and some anthropologic. For example, as per Alan Touring, 

“If there is a machine behind a curtain and a human is interacting with it (by whatever means, e.g. audio or via typing etc.) and if the human feels like he/she is interacting with another human, then the machine is artificially intelligent.”

– Alan Touring (source unknown, ca 1950)

This definition is based more on the human nature of an artificial machine or algorithm and less on the processing power or problem-solving skills of said machine. It does underline the importance of human interaction with an artificial intelligence, though. Given that many consider Touring the man to invent the first computer and the fact that his quote is from the year 1950, it makes sense that processing power wasn’t his biggest concern.

However, since computer science and with it, artificial intelligence are developing at explosive speeds, modern definitions are much more concerned with the processing capabilities of such artificial algorithms:

“As per modern perspective, whenever we speak of AI, we mean machines that are capable of performing one or more of these tasks: understanding human language, performing mechanical tasks involving complex maneuvering, solving computer-based complex problems possibly involving large data in very short time and revert back with answers in human-like manner.”

– Joshi, Ameet V. Machine Learning and Artificial Intelligence. 2020. p.4

Joshi consolidates both the human and procedural aspect of AI in his definition. What I am most interested in is the aspect of an AI understanding human language, imagination and perception. AI such as DALL-E 2 have come a long way in understanding just that. How an AI becomes more intelligent with time is, apart from human input, thanks to machine learning.

Machine learning

“The term refers to a computer program that can learn to produce a behavior that is not explicitly programmed by the author of the program.”

– Joshi, Ameet V. Machine Learning and Artificial Intelligence. 2020. p.5

Joshi defines, that machine learning, or MI, “refers to a computer program that can learn to produce a behavior that is not explicitly programmed by the author of the program”. There are a multitude of machine learning algorithms, as there are countless fields in which they are being used. Generally though, machine learning is based on a set of data that a program then has to understand and evaluate based on certain metrics a human may provide as well as experience from prior iterations. The program then has to produce results in the desired way, iterating on each attempt to become better at doing just that.

The level of human interaction can be used as a way to categorise the many different kinds of MI learning and training methods. According to Villar, unsupervised learning may be the best description for the kind of MI useful for image processing and media design in general. With unsupervised learning,

“no label for any input vector is provided. The objective in this case is to find the structure behind the patterns, with no supervisory or reward signal. These models analyze and deduce peculiarities or common traits in the instances so as to discover similarities and associations among the samples. Example problems are clustering and latent variable models.”

– Osaba, Eneko. Artificial Intelligence : : Latest Advances, New Paradigms and Novel Applications. 2021.

This could mean understanding the associations humans form with art styles, aesthetics and visual representations of prompts in general. I do want to stress that this is speculation on my point as I didn’t yet look into machine learning for image processing specifically. This blog entry serves more as a definitive basis.

Onboarding & possible educational potential

During a chat with Alex Popkin, director of motion graphics and animation at Ingenuity Studios, an established VFX, compositing and motion graphic studio, he mentioned that he started using AI to generate explanations for media production terms he would like his team to be familiar with. As per the screenshot below, one can see that this works exceptionally well. This has the potential of speeding up on-boarding processes of employees greatly. 

Stable diffusion for Adobe Photoshop

During our conversation, Mr. Popkin also mentioned that the stable diffusion AI I mentioned in my previous entry is also available for Adobe Photoshop directly. The algorithm essentially works the same as in 3D software, but the use cases inside of Adobe Photoshop may be more general and be used for illustration prompts, concept art prompts etc. You can find out more about it here.

by Kris Van Hout -

Impact of Persuasive Techniques on consumers

For my research topic I want to dive in the world of persuasive techniques used by video productions and commercial use. Because we are pushed in directions of buying products and form an opinion about brands thinking we made up our own discussions but with persuasive techniques the industry tricked us in believing their product is the best and we need to buy that.

So let Coca cola think their product is the best drink in the world even though the drink is really bad for you because of all the sugars but still a lot of people (even me) buys it.

But persuasive techniques are not something new. The evolution of brainwashing is found in the beginnings in torture and religious conversion. And with science nowadays neuroscience is adapted in media. The book ‘Dark Persuasion” explains the gripping traces of these evaluations.

Companies use several elements within their advertising to improve the reception by the audience. At one time there was subliminal advertising in movies that showed the product in only one frame, invisible to the naked eye but noticed by the brain. This was outlawed. Here are some of the strategies used by advertisers today.

  • Repetition. Advertisers seek a certain level of frequency in ad placements to drive home their message, some to the point of irritation.
  • Sounds. Music, songs, and sounds to build pleasant positive associations with the product.
  • Colors. Used in an effort to both identify the company (with the same color used in all communications) and possibly specific to the product, and again, to create pleasant associations with the product.
  • Emotions within the ad. Emotions are also very important in decision-making. They are used to create very positive, sympathetic, or angry (political ads) emotions. This is designed to help the audience associate with, remember, and take action to purchase the product.
  • Inserts. Product placement in shows and movies. A subliminal signal promoting the product that might not be noticed by the audience. This was very popular in the 1980s and 90s.

Sources:

  • What are some “brainwash” tactics that companies use and we don’t notice that makes us more vulnerable into buying their products? (z.d.). Quora. https://www.quora.com/What-are-some-brainwash-tactics-that-companies-use-and-we-dont-notice-that-makes-us-more-vulnerable-into-buying-their-products
  • Dimsdale, J. E. (2021). Dark Persuasion: A History of Brainwashing from Pavlov to Social Media. Amsterdam University Press.
  • Magloff, L. (2019, 1 februari). Repetition as an Advertisement Technique. Small Business – Chron.com. https://smallbusiness.chron.com/repetition-advertisement-technique-24437.html
  • Mindvalley. (2020, 11 maart). How Coca Cola Lies to the World [Video]. YouTube. https://www.youtube.com/watch?v=6onQFdenV28
  • Blake, I. A. (2017, 21 november). Brainwashing-Style Techniques in Advertising. Your Business. https://yourbusiness.azcentral.com/brainwashing-techniques-advertising-8941.html
  • Ferdman, R. A. (2019, May 13). How Coca-Cola has tricked you into drinking so much of it. Chicago Tribune. https://www.chicagotribune.com/news/ct-coca-cola-soda-politics-20151005-story.html
by Christina Mutz -

Genres of vertical Video

For several years, the share of portrait videos has been increasing not only in advertising, but also in music videos. Back in 2015, a music video in vertical format was published on Youtube by video producer Joe Avella. He justified his decision of the aspect ratio as follows: “I’m declaring that vertical video is now the future, and you better get used to it”. (Avella, 2015) For him, it was the increasing smartphone usage and in the wake of that, by promoting videos in social media apps. However, vertical format received a lot of bad feedback in the comments (Pibert, 2021).

Three years later, however, the advertising agency of Jörn Mecher and Philipp Wolff already placed the emphasis on the portrait format. They describe their decision as follows:

Mecher: […] Die junge Zielgruppe dreht ihr Handy kaum noch in den Landescape-Modus, die Screenlock-Rate nimmt immer mehr zu. Hochformat greift genau hier ein […]. Manche Formate sehen im 16:9 schöner aus, aber das ist ein subjektives Empfinden. Denn wenn ich den Fokus bereits in der Kreation auf das vertikale Video setze, clevere Winkel verwende, kann ich vieles ausgleichen […] (Wille, 2018).

Every year, the rate of mobile advertising through videos is increasing, and for example, the spending of moving ads in China has doubled, according to “China Mobile Video Advertising Research Report 2019”. Video advertising is mainly driven up by mobile advertising and vertical short video, according to the report. Vertical short video advertising is constantly in the focus of advertisers and is becoming a new form of video advertising (Yuan, 2020, 75-78).

A study by an American research institute found that 53% of the users surveyed do not use the horizontal screen to watch videos, which is roughly consistent with the author’s daily observation results. In real life, few people use the horizontal screen to watch videos, even if the vertical screen has black borders, they can’t enjoy the full-screen effect. This is because it is very troublesome to switch the vertical screen to the horizontal screen (ebd.).

From the above analysis, vertical screen display has been accepted under the influence of various habits and has become a well-known video viewing mode. At present, the short video social platforms around the world are based on this feature and introduce the full-screen vertical display technology to improve people’s viewing experience (ebd.).

According to the “Creative Guidance Manual for Vertical Screen Advertising,” the change of video from “horizontal version” to “vertical version” also reflects the change of user habits. This change is a shift in people’s acceptance of video advertising, from still scenes to horizontal video to vertical video. Physiologically, human hands can firmly grasp the vertical display design, while the horizontal display requires the help of both hands to maintain balance. The vertical screen allows users to hold the cell phone naturally, and they can record and view in a comfortable posture (ebd.).

In short video advertising with vertical screen, the user can also see the whole smartphone screen without intentionally rotating the cell phone, which will affect the user’s experience. According to the principle of preference or ratio in communication, the audience chooses the most suitable and labour-saving medium when selecting information (ebd.).

But vertical videos are not only present in advertising, but they are also already used more and more often in music videos. In general, it can be said that a new format is more likely to prevail if it can satisfy the central needs of the recipients better than an already existing one. However, in addition to being expressive, it should also address the emotional aspect so that an added value is recognizable. The platform has also evolved from classic music television channels such as MTV and Viva to the YouTube platform, where music videos are a very important genre. From the classic television, the consumption mainly changed so that the platform is mainly accessed via the smartphone, which is why it is considered the most dominant technology of the contemporary music video experience (Pibert, 2021, p.217-219).

Besides the already mentioned two genres there are others like mini biographies, news and TV shows, animated movies and others but there is not (enough) literature, or it is very hard to find.

Bibliography:

„Vertical video is the future“. Joe Avella/Business Insider, Youtube (14.08.2015), https://www.youtube.com/watch?v=zz3Snlq1ADw (01.03.2021)

Wille, Antonia (06.08.2018): “Die Zukunft hat Hochformat“. LEAD digital. https://www.lead-digital.de/die-zukunft-hat-hochformat/ (10.10.2019).

Pibert, Johann (2021): Vertikale Musikvideos. Filmpsychologische Analyse der Wirkung des Hochformats in Lena Meyer-Landruts DON’T LIE TO ME. In: ffk Journal (2021), Nr. 6, s. 216-228. DOI: https://doi.org/10.25969/mediarep/15859.

Yuan, Le (2020): Research on Advertising Communication of Vertical Screen Short Video under Mobile Media. Probe – Media and Communication Studies. 2. 75. DOI:10.18686/mcs.v2i4.1361

by Hannah Drobir -

Production Management – An Interview with Barbara Eppensteiner (berg hammer film)

As mentioned in my previous post, I have planned some interviews with inspiring people who work as production managers in the Austrian film industry to find out more about this part of a movie production.

Today, this inspiring woman is Barbara Eppensteiner. She is the production manager at berg hammer film, a film company specialized in documentary filmmaking.

Before we begin, I have two important pieces of information to share:

  1. I talked with Barbara on December 5 2022 (just for transparency purposes)
  2. The interview was conducted in German which is why the following part of the post will also be in German. That way I can ensure that her answers are reflected authentically.

Was macht überhaupt eine Produktionsleitung?

Auf die Frage, welche Aufgaben denn eine Produktionsleitung hat, gab mir Barbara die folgende Antwort:

Die Produktionsleitung betreut sozusagen ein Projekt von dem Moment an wo eine Produktion beschließt, dass man in die Herstellung geht bzw. [sie] versucht die Herstellung zu finanzieren bis zu dem Moment wo abgedreht ist, wo alles was man ausgeborgt hat, wieder zurückgegangen ist, alles, was in der Drehphase an Kosten angefallen ist, bezahlt wurde.

Barbara Eppensteiner

Weitere Aufgaben, die sie in ihrem Beruf als Produktionsleiterin hat, sind die Drehplanung, die Erstellung sogenannter Dispos (Planungen für jeden einzelnen Drehtag) und jegliche mit der Finanzierung des Films zusammenhängende Bereiche. Hier geht es zum Beispiel um den Finanzierungsplan, aber auch um Förderungen. Auch die Verträge mit den Crewmitgliedern und die Verhandlungen mit Equipmentverleihs usw. zählen zu diesem Bereich dazu. Und alle diese Aufgaben erfordern höchste Konzentration.

Die Schwierigkeit ist ja, dass oft einmal kleine Fehler einfach große Wirkungen haben können.

Barbara Eppensteiner

Barbaras Beruf bei berg hammer film besteht allerdings nicht nur aus Pre-Production. Während den Drehs muss sie immer wieder den Kostenstand des Projekts überprüfen und auf jegliche Wünsche der Crew bezüglich des Equipments oder anderen spontanen Ideen eingehen.

Die Produktionsleiterin muss dafür sorgen, dass es allen gut geht, ohne dass deswegen das Budget aus dem Ruder läuft. 

Barbara Eppensteiner

Darüber hinaus verwandelt sie sich aufgrund der kleinen Crew während den Dreharbeiten auch zu einer Aufnahmeleiterin. Dieser Posten geht oft Hand in Hand mit dem Bereich der Produktionsleitung und ist dafür verantwortlich, das Sprachrohr zwischen Crew, Regie und Protagonist*innen zu sein. Auch diverse Einverständniserklärungen und die Drehdokumentation fällt in diesen Aufgabenbereich.

Was muss man als gute Produktionsleitung können?

Für ihren Beruf bei berg hammer film hat Barbara folgende Skills hervorgehoben, die besonders wichtig sind:

  • Planungstalent
  • Das eigene Ego zurückstellen können
  • Stressresistenz

Planungstalent ist durch die vielen Planungsaufgaben vermutlich recht selbsterklärend. Was ich an ihrer Antwort spannend fand, ist der Umgang mit dem eigenen Ego. Laut Barbara treffen während einem Filmdreh so viele verschiedene Departments zusammen, dass man als Produktions- und Aufnahmeleitung schon genug damit zu tun hat, die Egos der anderen in Schach zu halten. Es gilt, die Balance zwischen dem zu finden, was alle wollen und was in einem realistischen und möglichen Rahmen ist. Dafür muss man selbstlos denken und auch so kommunizieren.

Für mich war das ein neuer Punkt, an den ich noch nie davor gedacht hatte. Und auch die Antwort auf die Frage, welche Fehler einer Produktionsleitung passieren können, hat mich überrascht.

Geliebt werden wollen ist ein Fehler?

Ganz richtig gelesen! Während meinem Interview mit Barbara hat sie hervorgehoben, dass man als Produktionsleiterin eine stark vermittelnde Funktion zwischen Produktion und Crew hat. Wenn man diese Aufgabe richtig macht, dann schaut man, dass man während der Produktion möglichst viel für die Crew herausschlägt. Allerdings muss auch das Budget genau eingehalten werden, was unter Umständen dazu führen kann, dass man sich schnell unbeliebt macht. Aus diesem Grund ist es laut Barbara ein großer Fehler, von allen geliebt werden zu wollen.

Für mich passt dieser Ansatz sehr gut mit dem oben genannten Selbstlossein zusammen. Ich kann mir vorstellen, dass auch das Persönlichnehmen von Dingen am Set schnell zu Spannungen führen kann, weshalb es im Interesse aller ist, dass sich eine Produktionsleitung neutral, aber bestimmt verhält. Wie man das am besten machen kann, erfahre ich hoffentlich in meinem nächsten Interview Anfang Jänner.

*switches back to English because she’s done talking about the interview*

Spoiler Alert

During my talk with Barbara I found out about two topics that I would love to dive in deeper in the upcoming posts. I will not tell you what they are in detail but they will involve funding and a cool tool for your dispo planning.

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Sources

All information is from my interview with Barbara Eppensteiner via Zoom on December 5 2022. If you require more details and are interested in the exact timecodes, I am happy to share them with you. Please write me an email at hannah.drobir@edu.fh-joanneum.at and I can send you the transcript.

by Simon Edl -

Applications of AI & machine learning for media design

The Concept

With my masters thesis I want to explore existing use-cases for AI and machine learning in media production. During my internship at Ingenuity Studios in Hollywood, CA, I noticed that one of the highest prioritised disciplines of any media production process is efficiency. One of the greatest learning experience was to identify which steps in the creative process can be sped up without affecting the quality and or creative vision of the final product. Ideally, I would like to find a niche that may benefit from the use of AI and explore possible use-cases in a media production pipeline.

As far as I can tell, AI is already being used in concept phases with production stages still relying heavily on human input. There are already promising technologies on the rise, a few of which I show below. I believe that many of these technologies are still in early stages of development but due to the exponential nature of machine learning and AI proficiency, I believe that they will be implemented in professional fields very soon.

Stable Diffusion for 3D software

With stable diffusion for Blender, a user may create a text prompt. Stable diffusion will then use the user’s 3D scene to approximate a render result according to the text prompt. While this technology is still in development, its potential looks promising for look development, storyboarding and concept art stages of media production.

AI generated textures

A similar use case to the aforementioned viewport stable diffusion AI, this workflow may speed up the process for the actual production stages for various fields of media design such as motion graphics, VFX or game design. Making use of stable diffusion once again, this add-on for blender allows the user to generate a text prompt upon which the AI will generate seamless PBR textures. The neural network of the AI understands a multitude of surfaces and art styles. In a world where high quality textures are expensive to purchase and technically complicated to produce, this could offer a high-quality alternative for lower budget productions.

AI rendered textures 

Literary research

In a very brief literary research attempt, my main goal was to establish whether or not there were already promising literary sources I could refer to in my potential master’s thesis. Since AI and machine learning are very rapidly developing technologies, I was not too sure about this step of the research process.

As it turns out, there are more than enough scientific papers that talk about AI, both technically, creatively as well as ethically. I’m not sure how much research I want to dedicate to the ethics of AI yet but that is for another research session to decide. So far, I have prepared some sources that seem promising. For my next blog entry, I plan on doing a deep dive into the definitions behind the the terms ‘AI’ and ‘machine learning’.

by Christina Mutz -

Vertical vs. Horizontal Video

What are the characteristics of the current standard, in which direction is the trend developing and what needs to be considered when comparing landscape and portrait format?

A standard TV has an aspect ratio of 16:9. Old TVs even have 4:3 and the aspect ratios of IMAX, movies or photos are also different. For example, if these mismatched shapes were output from a different output format, black frames may appear above and below the image as filmstrips. With the increasing use of smartphones, the vertical use of videos is becoming more and more important, and as a result, videos in portrait format are also being promoted in social media applications. Younger audiences rarely switch to landscape when using their smartphones, mainly due to discomfort and the subjective feeling that the 16:9 format “looks nicer.” (Pogue, 2018)

The production of content in portrait format has increased not only in commercials, but also in the music industry, where music videos have been recorded over the years specifically for this format. Here it must be explained that the content cannot simply be “transferred” but the format is captured directly. (Pibert, 2021)

Smartphones offer new possibilities and significant changes in the production and use of moving images. Mobile devices make it easy and fast to capture, edit, and stream footage while maintaining quality. Partly due to “Vertical Films”, an Austrialian project with ten vertical films and also dedicated vertical format festivals, it is likely that there could be a significant rethinking of film and moving image. (Napoli, 2016)

Currently, there is a problem that may not be solved in the short term because televisions, movie theatres, and computer screens are not split vertically, but young people will not use their smartphones to watch videos horizontally. Where will the trend go and how will these aspect ratios “coexist”?

bibliography:

Pibert J. (2021). Vertikale Musikvideos. Filmpsychologische Analyse der Wirkung des Hochformats in Lena Meyer-Landruts DON’T LIE TO ME
https://mediarep.org/bitstream/handle/doc/16697/ffk_2021_6_216-228_Pibert_Vertikale_Musikvideos_.pdf?sequence=4&isAllowed=y

Pogue D. (2018). Video Looks Most Natural Horizontally, but We Hold Our Phones Vertically – We see horizontally but tend to hold our phones vertically. 18.11.2022
https://www.scientificamerican.com/article/video-looks-most-natural-horizontally-but-we-hold-our-phones-vertically/

Napoli M. D. (2016). The “Mobile Effect” on Screen Format: the Case of Vertical Videos
https://www.researchgate.net/publication/311945562_The_Mobile_Effect_on_Screen_Format_the_Case_of_Vertical_Videos

Gundelach J. (2020). “16:9? Das ist eher was für Ältere” (Umfrage)
https://www.wuv.de/Exklusiv/Specials/Vertikal-gemacht/%2216-9-Das-ist-eher-was-f%C3%BCr-%C3%84ltere%22

Mulier L., Slabbinck H.,Vermeir I. (2022). This Way Up: The Effectiveness of Mobile Vertical Video Marketing
https://journals.sagepub.com/doi/abs/10.1016/j.intmar.2020.12.002

Vertical Film Festival – World’s first competition for vertical film & video by Adam Sebire and Natasha Sebire
https://www.adamsebire.info/vertical-film-festival/about/

by Hannah Drobir -

Production Management and Documentary Filmmaking

For my research topic I have chosen the field of production management in movies and films. I am especially interested in the field of documentaries (short ones as well as feature-length docs).

Who of you knows any production manager of any movie that came out this year? Exactly, me neither! That is because the position of production manager is often overlooked by outsiders. However, they have an immense influence on whether a movie shoot will be successful or not (whatever that means will be explained in a following post).

A production manager […] is responsible for budgets, shooting schedules, and managing the day-to-day business side of a production.

Aaron Sorkin

This is how the website MasterClass describes the responsibilities of a production manager. Anyone who has ever worked on a movie before (or has seen some behind the scenes footage) will now understand why this position is one of the most important at a film set. They are involved in a lot of different but crutial processes.

Film sets however can differ depending on which kind of movie you are trying to make. Personally I am more interested in documentary filmmaking rather that feature films. The differences regarding the film set are huge between these two.

Therefore I hope to answer the following questions during my upcoming research:

  • What does the job of production manager look like for documentary filmmaking?   
  • How does the job description change when there are not always fixed shooting times? (Additionally: Are there fixed shooting times?)   
  • What has to be considered during the planning of the shoot so that there is enough room for spontaneous changes and flexibility? (Additionally: Can one “plan” flexibility? To what extent?)  
  • Can shoots for films with a claim to authenticity be planned at all? If yes, what areas does the production manager focus on?
  • How does production management work in small film crews?
  • Does the position of production manager even exist in documentary filmmaking? If not, who is responsible for planning the shoot and talking to sponsors and producers (aka the ones who have the money)?
  • Is the production manager also responsible for what happens after the movie is finished? (Key words: Festivals, Distribution, …)

For my following posts I hope to uncover a lot of exciting knowledge on the topic of production management. And who knows, maybe I will even manage (lol) to talk to one or two people who already have experience in this field.

However, I am stoked to know more!

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Sources