Producing

https://fortworthreport.org/2025/11/28/texas-centric-film-opportunity-reels-in-fort-worth-investor-producer/

https://variety.com/2025/film/global/marlow-film-studios-in-uk-government-approval-1236592582/

The hottest topic that won't go away... AI in PROFESSIONAL film production. I want to know how YOU use it. Yes, I do expect you use it already, in some manner, if you are a professional filmmaker. Here is my take right now, and I include an abstract from a paper published today by the IPG on the topic.

Generative AI - We do use this for advertising backgrounds and as a starting point (ONLY a starting point) for social media posts. However, with all due respect to those reading this who think AI is about generative images & video, or scripts - that is only the smallest part of AI in the industry, and it's not a good one. These tools are NOT going to make you into a filmmaker. One view of the AI generated images posted here and on other sites should suggest to you why you should NEVER use them in a pitch deck or for promotion. If they don't - check out the wikipedia on "AI slop" and do some research on market reaction to AI images and text. For myself - I get pitch decks all the time and lately with AI images which all are not only similar but in one case IDENTICAL. Imagine how professional producers assess you when they see that kind of thing in images and in your script.

Other tools We Use In House: 1. Deep Research (where we know the area well, since AI is really stupid and lies a lot). Sometimes saves weeks of painstaking effort. We do a lot of research on market, analysis of specific film revenues and marketing, the effects of Google search algorithms, etc and much more. 2. Editing Tools - vocal cloning is now built into your standard editing platforms - so we don't have to bring in an actor to loop a line. 3. Frame Interpolation - also now being implemented into standard editing platforms, AI will interpolate frames from one cut to another so that edits can be smoother. This tech is far from perfect yet, not much better than the AI slop you see, so it can only be used for the simplest cuts. But it is getting better, 4. Sound Cleanup & Color Matching - AI makes that much, much easier. 4. Transcription, automated meeting notes - we no longer need a logger or human transcriber in our post work flow. Saves lots of money and even more time. 5. Ideation - specifically for potential titles, etc.

How do you use AI today? How do you expect you will use it tomorrow? As promised, here is the summary of the article published today - it reveals how the professional industry is using AI right now:

AI applications utilize specialized, enterprise-grade models that are achieving efficiency gains of up to 80 to 90 percent in foundational Visual Effects (VFX) and 3D asset creation tasks. This transformation is driven by automation across every stage of the production pipeline:

- Pre-Production Efficiency: AI systems rapidly analyze entire scripts, automatically performing budget estimations, risk assessments, and schedule optimization, which saves considerable time and money before filming even begins.1

- Technical Post-Production: AI automates tedious labor, providing measurable savings. This includes ensuring consistent color matching across scenes 3 and eliminating unwanted visual elements via Content-Aware Fill. For complex tasks, automated rotoscoping can reduce labor time by up to 65% in intricate genres like Sci-Fi.4 Furthermore, AI is vital for restoration, using neural interpolation to seamlessly recreate missing frames in damaged archival footage 3 and performing surgical audio reconstruction to rebuild damaged dialogue and eliminate noise.6

- High-Precision VFX and 3D: AI accelerates critical geometric tasks such as automated match-moving and point cloud generation, which dramatically reduces the time needed to track cameras and create digital environments.7 It also optimizes the technical integrity of digital assets through automated topology cleanup, ensuring 3D meshes are ready for simulation and animation.

- Generative Continuity: Generative AI is used for digital de-aging and high-fidelity vocal cloning (voice replication).8 This ensures the continuity of valuable intellectual property, allowing flexible performance adjustments without requiring the actor to return to the studio.10 The use of digital likenesses is strictly governed by new industry standards that mandate explicit consent and fair compensation .

If interested, read and download the whole paper here: https://independentproducersguild.org/paper-ai-in-the-professional-film-...

I'm developing a project that sits in an interesting space and would appreciate insights from producers who've worked in either true crime or faith-based content.

"Deadly Merchants" is based on the true story of the first Chinese nationals ever designated as CPOTs for fentanyl trafficking — same level as El Chapo. The story includes a genuine redemption arc.

I have life rights locked and materials ready. My question for the room:

When you have a project that appeals to two different markets (true crime audience + faith-based audience), how do you approach packaging? Do you lean into one angle for pitching, or lead with the hybrid appeal?

I'm also looking to build out my producing team — seeking line producers, co-producers, and executive producers to help oversee the project from pre-production through post. If you have experience in either true crime or faith-based content and want to learn more, I'd love to connect.

Thanks in advance.

On a day built around gathering, collaboration, and a whole lot of organized chaos, I can’t help but think of how closely Thanksgiving mirrors the life of a producer.

If What’s Cooking? taught us anything, it’s that bringing people together across cultures, perspectives, and expectations is both an art and a logistical miracle. Four families, four kitchens, four sets of traditions and tensions… and somehow it all comes together into one unforgettable tapestry.

Sound familiar?

Producers do that every day.

You juggle personalities, visions, budgets, timelines, crises, and miracles. You hold space for creative voices while steering the ship with clarity and purpose. You build the table, gather the team, and make sure there’s room for every story that deserves to be told.

So today, I’m grateful for this Producing Lounge where:

• Collaboration is a craft

• Leadership is shared generously

• Challenges become opportunities

• And every project is a reminder that storytelling is a collective act

Like the families in the film, we each bring our own flavor to the table, but when we come together, something bigger, bolder, and more meaningful emerges.

Wishing each of you a Thanksgiving filled with connection, rest, inspiration, and the quiet satisfaction of knowing that what you do truly matters.

Happy Thanksgiving, Producing Lounge.

Cheers to the stories you champion and the worlds you make possible <3

"When there is disruption, there is opportunity. Don't ask permission, just make it happen... "

Inspiring words from showrunner/writer/director Adam Glass about his latest series creation - Recap - "which is the latest independent series to be fully financed without a network attached." ( https://deadline.com/2025/11/corey-stoll-julia-stiles-recap-series-k-per... )

Been an admirer of his work and drive to make things happen.

What project(s) are you working on making happen currently? Share so we can support! :)

Attention writers, We have some OWAs ready for your script! This diverse collection features urgent requests from top-tier producers, showrunners, and production companies for everything from pre-teen micro-dramas to heartwarming Christmas features.

This is your first major opportunity of 2026 to get your work directly to industry leaders. But act fast—this entire batch will be closing for submissions in just two weeks.

Here’s a look at the wide-ranging opportunities available now:

FOR YOUNG AUDIENCES & FAMILY CONTENT:

A Top-tier Producer And Showrunner seeks sharp, comedic micro-dramas for pre-teen girls, featuring the intelligent, relatable outsider.

The same producer is also seeking educational and uplifting kids and tween/teen content.

A Director of Development & Co-Producer is looking for Family Features and Pilots with a Magical Element.

FOR YOUR PRECISE GENRE PROJECTS:

A Producer And Showrunner is seeking Fantasy Scripts and Heartwarming Christmas Movies.

An Award-winning Canadian Producer seeks Elevated Horror and Thriller features under $3M, from Canadian writers or adaptable for Quebec.

A Production Company is in the market for Elevated Genre and Prestise, Character-driven Dramas/Thrillers.

FOR DIVERSE VOICES & ADAPTATIONS:

A London Based Production Company seeks culturally specific stories with universal resonance.

A Producer And Director is hunting for compelling Book IP to adapt for television and feature films.

A Producer is specifically seeking a non-WGA, novice, or early-career writer for a character-driven Political Medical Drama Adaptation with an authentic South Central tone.

FOR BROADCAST-READY COMEDY:

A Television Producer with credits at CBS, Dick Wolf, and eOne is seeking Half-hour Comedy Pilots with a budget of $1-10M (No Sci-fi or Dystopian).

End 2025 strong! https://www.stage32.com/writers-room

The clock is ticking! Submit your best work before these OWAs close in two weeks and make 2026 your breakthrough year!

I have a concept for a rolling series, a completed script for a short season 1 consisting of 4 episodes, and a plan for season 2.

I'd want to pitch the whole season (especially as episode 1 is a jump ahead in the timeline) but I get the impression (I'm new to the business) most pitches are just for the pilot.

I'm also getting the impression that as a screenwriter with no film/TV credits to their name that a pitch for a feature film might stand more chance of success. But I'm reluctant to do this and lose the recurring soap-opera nature of the episodes.

Asking this now, though I won't be ready to pitch till the New Year as the script, though complete, must be considered first draft and in need of coverage feedback.

Branding Goes Hollywood: Parmigiano Reggiano Signs with UTA

Read here: https://www.hollywoodreporter.com/business/business-news/uta-signs-parmi...

UTA just inked a deal to rep Parmigiano Reggiano—the “king of cheeses”—for film and TV placement. Yes, cheese. But the bigger story is branding.

For producers, this is a reminder:

Authenticity sells. A brand with heritage feels organic on screen.

Placement = partnership. Done right, it offsets costs, expands marketing reach, and becomes a funding stream that opens new producing doors.

Global resonance. Parmigiano isn’t just food; it’s cultural shorthand audiences instantly recognize.

UTA’s vision: to position Parmigiano Reggiano not just as a product, but as a cultural symbol woven into storytelling. It’s about aligning brand values with narrative values, quality, tradition, and authenticity, and creating partnerships that fuel both art and commerce.

Question for you: How do you see the importance of branding in your own movies? Does it feel like a creative tool, a financing strategy, or both?

Are there any producers here that have seen projects and passed on them because the writer also wanted to play the lead? If so, I'm curious: would there be a negotiation point at which you might not pass on that project? Would you recommend writers who act to cast themselves as side characters instead? I'd love to hear everyone's perspective! I recently got feedback from a producer on my pitch, and that seemed to be the only hold-up, so I was wondering if there's a recommended way to pitch myself and my projects together. Again, if you have insight, please let me know!

Side note: I really did enjoy reading the feedback from the producer I pitched to, and even though she passed, it made me feel good to know it wasn't because of my concept. If it's because of a preference for more acting chops, I can definitely be flexible with that. I hope she's having a nice day!