Keren Masser

As someone who has spent over 10 years pursuing stories and films that I hope can make a (small) difference, I am deeply troubled that Participant, the company that inspired me more than any other, has just folded. But I draw inspiration from Brad's message here - that the work mattered, beyond the bottom line. I'll carry on focusing on that, and worry about if I ever make something that pays my rent second. Because that IS the way to make things that matter (not to mention feel good to put your name to). Step by step. With the help of those who connect with each project. Theme by theme. Personal story by personal story.

35

1 Comment

Tonight at 7:30pm ET 4:30pm PT on The Voiceover Round Table we have Steve Pogatch from Pandora joining us! I discovered yesterday that Steve and I weren’t connected here - which is funny, as I connect with a LOTTA people on LinkedIn. Todays musing is about social media and networking. How do you use it? #socialmedia #vort #voiceover #voroundtable #linkedin #facebook #networking #podcast #dailywalk

22

4 Comments

Unsolicited Audio Advice to PICTURE Editors: Noise Reduction* I'm back with this little impromptu series (aka, I write things as I encounter them out in the world!) and wanted to share a quick and easy one. Editors, please don't use noise reduction - let that happen in the mix. Not even to "clear it up" for the "ref mix." Just avoid it - and if you encounter pushback, tell your producer/director/client that you're doing your job by not doing that. Us audio engineers will love you for dropping a note on our timeline saying "can you help this section out?" versus us getting baked + artifact heavy audio files. Then we have to likely email you or slack you asking for the raw file then waiting until we get a new AAF after you've had to bug your AE or worse, come back to your desk after you shipped prep to mix. Thank you for being open to hearing this end of it! Happy projects, gang.

123

31 Comments

Anyone who has ever set foot on the historic Paramount Pictures lot, must be disturbed by William Cohan 's reporting in Puck about Sony and Apollo Global Management, Inc. teaming up to buy the studio's parent company, Paramount Global (formerly Viacom). Gone will be hundreds of jobs in "marketing, distribution, business affairs, digital programming, etcetera. That might generate $3 billion in savings. " If that isn't bad enough.... the " extraordinary Paramount lot, near Hancock Park, would get sold for as much as another $1 billion." Is there a more iconic image of Hollywood and movie magic than the Paramount gate? (see below) Cohan also reports that "Paramount’s films would go to Sony Pictures, and any projects in production, on the shelf, or that need a turnaround, would also go to Sony." The consolidation of media continues to be troubling. Apollo's hand in the Gannett | USA TODAY NETWORK merger hasn't been a home run for journalists or consumers. As for Sony, government regulations prohibit foreign companies from owning TV networks & stations so what would that mean for CBS. So Apollo likely would fold CBS with its majority stake in the Cox stations. But that will likely exceed the limit the government permits any one company to own. So some stations may be sold. Does any of this sound good for journalism? Consumers? The entertainment business? Probably not, but read Bill Cohan 's work because it is good for shareholders of Paramount. There is an alternative that might not be great for shareholders but has proven pros like Jeff Zucker ready to right the Paramount ship. https://lnkd.in/eNTVaNYs

28

6 Comments

Post Two in my series explaining who's who on a film shoot, and ever wonder who oversees the entire production process? Meet the Executive Producer. The Executive Producer, or EP, is more senior than a Producer and is the person behind the scenes ensuring a film gets made on time, on budget, and at the highest quality. Here’s what they do: 1️⃣ Secure Funding The EP’s first mission is often to find the money. Whether it’s from studios, investors, or brands, they make sure the project has the financial backing it needs to get off the ground. 2️⃣ Assemble the Team The EP hires the director, key crew members, and often the main cast. They bring together the right mix of talent to make the film or video shine. 3️⃣ Manage the Budget Once the money is secured, the EP keeps a close eye on the budget. They ensure that every penny is spent wisely and that there are no nasty financial surprises during the production. 4️⃣ Creative Oversight While they might not be involved in the day-to-day creative decisions, EPs have the final say on major creative aspects. They're there to ensure the film stays true to its vision and appeals to its target audience. 5️⃣ Problem Solver in Chief Every production hits a snag or two. The EP is the go-to person for solving problems, smoothing over conflicts, and keeping everything on track. 6️⃣ Marketing and Distribution After the film is made, the EP often plays a role in its marketing and distribution. They work to get the film seen by as many people as possible. Of course, roles and responsibilities can vary due to the type of project. In short though, the Executive Producer is the glue that holds the entire production together. They make tough decisions, manage finances, and ensure the project stays on course. I’m clearly biased (because I am one!), but having a strong EP is key to any successful production. Looking to hire an elite production crew to shoot a video for your business? Drop me a message! #VideoProduction #FilmMaking #ExecutiveProducer #ProductionCrew #BehindTheScenes #208Films

39

15 Comments

Here's a secret: you don't have to specialize. Early in my career I was asked, "what do you want to be?" The insinuation was that I'd need to pick a specialty within film production. "I want to be able to do it all," I responded. I was lucky enough to work at a place where that would (mostly) become possible as advances in technology began to streamline access to filmmaking tools. I could be the producer, the writer and the DP. I could more effectively leave my mark on all facets of the production process. I'm aware that this goes against popular convention. Many super-smart coaches with large followings sing the praises of specializing and, in the same vein, finding a niche. I do believe that is the smart path for many. But I don't believe it is for me. My path began at RGTV, an award-winning production company based in New York led by Roman Gackowski. I was fortunate to work with a super-talented group where everyone often pulled more than their share of the weight. I won individual Emmy awards for producing, writing and shooting. Yet, deep down I wanted more. I wanted to finish the projects I started. I wanted to be an editor. At the next stop in my career, I made that goal a reality. You could also say I flirted with specialization. In David Jasse of DMJ Studios, I met a kindred spirit. A former editor himself, he understood how the final step of the production process can make-or-break a video. It was great to be a Senior Editor for someone who so thoroughly understood the craft. Soon, another opportunity knocked. Pavan Bahl from Bellwether Culture wanted to bring me on as Head of Creative production. In this role I would need to dust off many of those hats I had left dormant in the closet: videographer, producer, writer AND editor. I couldn't resist the opportunity. The first high-profile project where I could fully live out my return to being an anti-specialist was the production of a mini-documentary for NRVLD.co, featuring co-founders Pavan Bahl and Uzo Udu and partner Dale Moss. I couldn't have created this video without the contributions of many others. John Lopez and Virtue the Artist (IG: @virtuetheartist) filmed many of the beautiful visuals. Others, including Vic Ramos helped produce and shoot interviews. It was a team effort for sure, but it was also my return to putting my imprint on all facets of the production process. I served as director/producer/editor and also added some of my own vision from behind the camera. What was created was a video that immortalized an amazing multi-day gathering. But, contrary to many "highlight videos," it also weaved in substance and storytelling. I have to believe it was integral to NRVLD partnering with elite brands the very next year, most notably Art Basel and Barry's Boot Camp. If you'd like to tell your brand's story in a more effective way, reach out to me 145 Park Productions. CLIENT: NRVLD.co *Created as an employee at Bellwether Culture

23

4 Comments

TDious Experiences volume II: The Remote Broadcast Production Technical Director [Part 1: Mobile Unit Setup] Ask any 5 Technical Directors (TDs) to describe their role leading up to a live broadcast production and you’ll get anywhere from 5 to 50 different answers. That’s because the role has a number of seemingly dissimilar responsibilities that, in any other occupation, might be split among several different people. For example, a concert pianist generally doesn’t have to tune their own piano, assign the notes to the keys, build the conductor’s podium, compose the transitions from movement to movement, then ultimately play a three hour concerto on that piano nonstop, simultaneously monitoring each note on the piano offline to ensure tonal quality while performing LIVE before an audience of millions! Actually, that’s probably not the best analogy; a piano only has 88 keys. The world’s most popular Video Production Switcher, the Grass Valley Kayenne panel & K-Frame, has 1,326 buttons (or “keys”), 6 knobs, 4 fader bars and a joystick. The pianist in this scenario has the luxury of concerning themselves only with their ultimate performance. Everything else is taken care of for them. Not so for a remote TD. If it’s going to be a visual element within the show, it ultimately passes through the TD in one way or another. Video that will be mixed into the production itself must pass through the TD’s video switcher, while other signals, such as video going to monitors in the control room, can pass directly via the router. The router of a television mobile unit is the signal distribution core for any production. Any video or audio source that is going to be part of the production must exist within the mobile unit’s router. The TD is responsible for ensuring the correct video lands in the appropriate place in production monitor wall, its layout determined by the producer & director, as well as video switcher and all router control points in the control room. This is the part of the engineering setup that takes the most time to accomplish. The Engineer in Charge (EIC) is the sole manager of the router grid. It is critical that all inputs to the router and outputs from the router be managed by one individual. From there, especially in the IP world of media transport, every department has the ability to manage their own routing needs. It’s at this point that the TD can finally begin to focus on building out their “piano.” This begins with switcher input & output (I/O) documentation. Traditionally this is generated by the EIC, but with the increased flexibility offered in the IP world, this becomes a joint effort between the EIC, the TD and a dynamic document, such as a shared Google Sheet. In Part II I’ll delve into the mindset of the TD as they begin laying out sources for the production on the video switcher’s panel, as well as some important things to keep in mind when doing so. If you have Qs, thoughts or ideas for future TDious posts, drop a DM!

85

8 Comments

How do you reach the cast you want (and need) for your next movie? You're not an Oscar-winning filmmaker (yet)... Okay I'm joking, you might be (and if you are and reading this, I'd love your thoughts). But whether you're a first time producer/director, or this is your 2nd, 3rd or 10th film, casting is one of the biggest, if not the biggest, decision making components of your movie (aside from what movie to make in the first place). So should you manage your expectations or use that perceived limitation to your advantage? We're discussing Casting tonight on my live online workshop: Casting for Producers Tuesday, 6pm PT Register here: https://lnkd.in/gAv6tHRV If you attend live, you can participate in the Q&A with other students and share ideas. But don't worry, if you can't attend, you can watch the replays later for as long as you like. I also have replays for my sessions on: 1. Pitching 2. Developing a script 3. Line Producing And more to come. Registering for this workshop gives you access to all the past replays and invites to all future workshops (every 2 weeks right now).

1

What does a producer do? I get that question all the time when talking about my experience. The short answer is producers get sh*t done! A longer answer are the steps below: 💡Creative ideation & “The Big Picture.” Meeting with the director or client to make sure the overall creative is aligned. 💸Budgeting (and staying under budget). Making sure the budget and creative are aligned to guarantee a smooth production process. Don’t promise the world if you have a small budget. 📅Timeline & Deadlines. “We need this by EOD!” Forecasting and planning a realistic and accurate timeline with all parties. While making sure the deliverables are ready days before the final deadline. Providing accurate updates are also crucial. 🍿🎬Overseeing the entire project from a kernel of an idea to the final cut of the project. Many random fires will come up and you have to have a cool head. Being able to delegate with confidence is key! I’m learning this every day. Lastly this is the best part. Touching each part of the process is my favorite part. I’d love to make dope sh*t with you! If you or a colleague need any type of video, creative ideation/direction or even live event planning… I’m your guy! Hit me up! 💪🏼

31

1 Comment

People often ask to pick my brain about getting started in voiceover, and while I'm always happy to help, I find that my conversation partner never gets out of the conversation what they're really looking for... because what they're looking for isn't something that comes from me blabbing about my experiences and advice. What they're actually looking for is a chance to try out voice acting for themselves without breaking the bank. Thanks to Edge Studio Voice Over, I now have a great place to send these curious folks. The online Group Evaluation Class with a MONTH of free workshops and classes is the best deal in town ($95), and a perfect starter package for inquiring minds. Now instead of meeting folks and having me drone on about things they don't even understand yet...I just send them to this class, and invite them to circle back after they've dipped their toe in. It's a win-win! https://lnkd.in/e9wK5Pvt If you know of anyone who is curious about voiceover, or if you're a voice actor who doesn't know where to send people who ask to pick your brain, check out the Intro Package at Edge Studio. It's honestly the best resource I know of for people starting out in voiceover!

28

10 Comments

This incredible article in Harper's Magazine details the long-game squeeze placed on writers, not by AI or some new technological threat, but the American film industry's evolution from creative machine to corporate asset. A few standout quotes: "It used to be there were these big, crusty, old legacy companies that had a longer-term view, that could absorb losses, and could take risks. But now everything is driven by quarterly results. The only thing that matters is the next board meeting. You don’t make any decisions that have long-term benefits." "Today the Big Three asset-management firms hold the largest stakes in most rival companies in media and entertainment. As of the end of last year, Vanguard, for example, owned the largest stake in Disney, Netflix, Comcast, Apple, and Warner Bros. Discovery. It holds a substantial share of Amazon and Paramount Global." "Will there be as big a working television-writer cohort that is making six figures a year consistently living in Los Angeles as there was from 1992 to 2021? No. That’s never going to come back."

3

1 Comment

Music Business Association Music Biz 2024 coming up in May. Find out more about Reactional Music and what we are delivering across interactive music, music personalisation, in-game economies, generative composable music and the possibilities for creators, composers, artists and developers

14

2 Comments

Paramount Global’s future is uncertain as Bob Bakish steps down amid the company’s M&A drama. Check out Szymon Karbowski's latest post. He shares his opinions on market trends and the current situation of the streaming media, answering these questions and many more. Follow his profile to stay up-to-date when it comes to industry news, technology updates, and market analysis. Szymon shares his expertise regarding Pay TV operators, broadcasters, content providers, telcos, and MSOs. #SzymonKarbowski #StreamVX #BobBakish #ParamountGlobal #ShariRedstone #Viacom #SkydanceMedia #RedBirdCapital #SonyPictures #ApolloGlobalManagement #TheWallStreetJournal #CNBC #NBCUniversal #Comcast

3

Speaking with a client yesterday and the topic of Producers not "showing their cards" when helping each other out came up. It seems really odd to me that we wouldn't want to make filmmaking and the film business a viable industry by sharing successes (and failures). My opinion: If your movie does well with a couple of ideas you get from me (even uncredited) on how to get an investor, and you share your results, then I can use those results to show my next funders that this is a good opportunity. Case studies breed trust and authority. Even when they aren't your own. It's why I appreciate those of you who share what you know... and why I'm endeavouring to do just the same.

1

Have you also been curious about the ongoing Paramount acquisition drama? The sudden termination of the Paramount-Skydance merger reflects complex financial pressures, strategic misalignments, and internal power dynamics at Paramount Global. Redstone's decision to demand a shareholder vote, a move to mitigate lawsuit risks, not only showcases a proactive approach to shareholder relations but also highlights the aggressive nature of the proposed deal. Paramount's ongoing financial struggles, particularly the heavy losses incurred by Paramount+, show the broader industry challenges of transitioning from traditional media to digital streaming. The company's considerable debt load and reduced profitability necessitate extreme measures, including cost-cutting, asset sales, and exploring joint ventures. Introducing a tri-part CEO structure is an unconventional approach aimed at leveraging the strengths of the company's top operational leaders. It could provide the collaborative leadership needed to guide Paramount through its current challenges. However, it also raises questions about potential internal conflicts; its success will depend on the trio's ability to work cohesively and align their strategic priorities. Historically, Paramount's decline in value reflects broader industry trends and strategic missteps, such as excessive focus on streaming at the expense of traditional revenue streams. What do you think lies ahead for Paramount Global?  For a more detailed read, check out Variety's in-depth article by  Cynthia Littleton and Todd Spangler, link below and in the comments section. Artwork Credit: Hokyoung Kim for Variety #paramount #skydance #mediacompany #streamingwars #paramountplus #corporatestrategy #contentdevelopment #leadershipchange #mergersandacquisitions #financialstrategy #mediaindustry #entertainmentbusiness #strategicplanning #mediaconsolidation #contentproduction #streamingservices

5

2 Comments

I didn't know I had so much in common, with David Lynch and Francis Ford Coppola! 😉 ...I too struggle to secure funding for my projects 😂 These two iconic filmmakers, are facing significant challenges in today's Hollywood. Lynch struggles to secure funding for his projects, while Coppola can't find a distributor for his new film. This highlights a broader industry trend where veteran directors are finding it increasingly difficult to thrive in an environment dominated by franchises and big-budget blockbusters. The evolving dynamics of the film industry are sidelining these creative legends, raising concerns about the future of auteur-driven cinema. This shift underscores the tension between artistic vision and commercial viability in modern Hollywood. Read more about this issue here: https://lnkd.in/gbs4CpSK

10