Sandrine Arcizet

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#eurimages #coproduction Council of Europe (Eurimages) has announced the next batch of projects supported by its Pilot Programme for Series Co-Productions end of last week. Congratulations to all the winners! 🎉 The 9 projects from across Europe will share the pot of EUR 3,5 ml between them. That’s up from 7 projects and the pot of EUR 3 ml in the first call. ⭐️The program, which runs for 3 years, is supporting co-production series coming from the donor countries, most of which are lower capacity European countries for which the program (and the grant amount!) make a tangible difference. ⭐️ Interestingly, the TV series supported by the programme are more commercial and wider appeal in comparison to the long-running Eurimages feature film programme, that leans heavy into auteur cinema. This reflects the hugely important role Pilot Program for Series Co-Productions has in industry building in the lower capacity countries, but also the reality of niche auteur series struggling to attach commissioners in enough countries to satisfy the submission requirements. ⭐️ New donor countries have joined since the first call (Ireland and Lithuania). I’d be curious to see how CoE and the jury committee will manage the growing roster of donor countries. There are more countries contributing to the program than projects awarded and there are examples of countries having no projects supported in either call (notably, Greece). The next calls will get increasingly competitive. ⭐️ Interesting to see Ireland and Benelux being so well (possibly over-) represented in the selection. Well, soft money applications is a muscle that you develop with regular exercises. ⭐️ Returning series and animation series are also supported (I wonder if the same jury are evaluating both 🤔) ⭐️ In terms of genre (I am familiar with most series through my co-production work) it’s a nice selection ranging from period to futuristic crime drama and from intimate / psychological to political conspiracy and eco-thriller. Curious to hear your thoughts on: ❓Should each donor country get a project supported? ❓Should returning series be supported? ❓How would you manage “the balance of power” between higher budget projects from Western Europe and lower budget CEE ones? (in addition to budget differential the license fees that, say, Baltic series can raise to satisfy the minimum broadcaster deals requirement would not be enough to meet the confirmed financing threshold). https://lnkd.in/embYuuZX

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French Do it Better "The growth of France’s VFX sector cannot be overstated, as the implementation of a comprehensive 10% bonus for international productions that spend more than $2.1 million with local companies (and the fact that the full 40% tax rebate can be earned off digital expenditures alone) has supercharged the post-production ecosystem, funneling first financial and then human capital. On paper, the equation is self-evident: Where investment goes, talent soon follows. In practice, this cause-and-effect has fueled a wide repatriation, as skilled graduates of the country’s top training programs return from outposts abroad for the opportunity to work on projects at home. Studios like Paris- and Montpellier-based the Yard have reaped the benefits of this inverse brain-drain, building on commissions from recent projects like “Halo,” “The Lord of the Rings: The Rings of Power” and “The Walking Dead: Daryl Dixon” to bulk up a workforce well-versed in international pipelines and methods — a staffing asset that further facilitates partnerships with bigger commissioners."

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Cannes Published their Immersive competition, hand-picked by Elie and the Cannes team (as it was told in a previous press release, Thierry Frémaux took part in it as well). In addition, six non-competitive projects from Atlas V / ASTREA catalog will be presented. That's the right move to give the Cannes audience the possibility not only to see new unseen works but also to acquaint them with well-established VR works, especially where each of them represents a slightly different approach to VR. Great to see that some of the projects like Human Violins by Ioana Mischie were developed through industrial events and pitching and reached the selection they deserved. It means that the immersive XR industry is developing and even if it is small and still more in the "art-house" niche (if compared to the traditional film industry), it has its paths to self-finance and promote. The question is if that is also something you could distribute and have the retuned investments or if are we still in the "funding is our profit" model.

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French voice actors are rallying against the threat posed by #AI to their profession. An important study highlights risks to 𝟏𝟐,𝟓𝟎𝟎 𝐣𝐨𝐛𝐬 in the dubbing industry due to AI technologies. The #TouchePasMaVF collective is calling for public support and urging the Ministry of Culture to protect their 𝐚𝐫𝐭𝐢𝐬𝐭𝐢𝐜 𝐰𝐨𝐫𝐤, which is crucial for cultural heritage. While AI has its benefits, it must be 𝐞𝐭𝐡𝐢𝐜𝐚𝐥𝐥𝐲 regulated to ensure it doesn’t replace the unique contributions of human artists. This is a global issue that demands our attention. As sociologist 𝑺𝒉𝒆𝒓𝒓𝒚 𝑻𝒖𝒓𝒌𝒍𝒆 aptly noted, “𝑇𝑒𝑐ℎ𝑛𝑜𝑙𝑜𝑔𝑦 𝑐ℎ𝑎𝑙𝑙𝑒𝑛𝑔𝑒𝑠 𝑢𝑠 𝑡𝑜 𝑎𝑠𝑠𝑒𝑟𝑡 𝑜𝑢𝑟 ℎ𝑢𝑚𝑎𝑛 𝑣𝑎𝑙𝑢𝑒𝑠, 𝑤ℎ𝑖𝑐ℎ 𝑚𝑒𝑎𝑛𝑠 𝑡ℎ𝑎𝑡 𝑓𝑖𝑟𝑠𝑡 𝑜𝑓 𝑎𝑙𝑙, 𝑤𝑒 ℎ𝑎𝑣𝑒 𝑡𝑜 𝑓𝑖𝑔𝑢𝑟𝑒 𝑜𝑢𝑡 𝑤ℎ𝑎𝑡 𝑡ℎ𝑒𝑦 𝑎𝑟𝑒.” In the realm of #sounddesign and #audioengineering, this means recognizing the irreplaceable value of human creativity and emotion in artistic work. As a sound designer and educator, I believe it's crucial to ensure AI serves as a tool to 𝐞𝐧𝐡𝐚𝐧𝐜𝐞 𝐡𝐮𝐦𝐚𝐧 𝐜𝐫𝐞𝐚𝐭𝐢𝐯𝐢𝐭𝐲 rather than replace it. This ethical consideration is vital to maintaining the integrity and soul of our cultural productions worldwide. To ensure AI complements rather than replaces human talent, it will be good to: •𝐏𝐫𝐨𝐦𝐨𝐭𝐞 𝐇𝐮𝐦𝐚𝐧-𝐀𝐈 𝐂𝐨𝐥𝐥𝐚𝐛𝐨𝐫𝐚𝐭𝐢𝐨𝐧: Use AI to assist with tasks that enhance human creativity rather than replace it. •𝐒𝐞𝐭 𝐄𝐭𝐡𝐢𝐜𝐚𝐥 𝐒𝐭𝐚𝐧𝐝𝐚𝐫𝐝𝐬: Establish clear guidelines for AI usage that prioritize human involvement and creative input. •𝐂𝐨𝐧𝐭𝐢𝐧𝐮𝐨𝐮𝐬 𝐋𝐞𝐚𝐫𝐧𝐢𝐧𝐠 𝐚𝐧𝐝 𝐀𝐝𝐚𝐩𝐭𝐚𝐭𝐢𝐨𝐧: Stay updated on AI developments and adapt our skills to work alongside AI effectively. •𝐀𝐝𝐯𝐨𝐜𝐚𝐭𝐞 𝐟𝐨𝐫 𝐑𝐞𝐠𝐮𝐥𝐚𝐭𝐢𝐨𝐧𝐬: Support policies that protect artistic professions from being fully automated. •𝐄𝐦𝐩𝐡𝐚𝐬𝐢𝐳𝐞 𝐔𝐧𝐢𝐪𝐮𝐞 𝐇𝐮𝐦𝐚𝐧 𝐐𝐮𝐚𝐥𝐢𝐭𝐢𝐞𝐬: Focus on the emotional and creative aspects that AI cannot replicate. By taking these steps, we can harness the power of AI while preserving the essential human elements of creativity and artistry.

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UHD INSIGHT: why a broadcaster deploys UHD? Today Yannick Olivier of France TV was presenting at the Paris Video Tech, the #paris2024 UHD deployment. The full presentation is available at : https://lnkd.in/gDWVucet Beyond all the technical details, what caught my eyes were the answers to the paused question: - UHD (2160 SDR/No NGA) is already available from TF1 and M6 on IPTV - lots of movies are now available in UHD - major sports events (Olympics, World Cup) are now in UHD - SVOD offer UHD content - DTT platform has not evolved over the last 10 years, if nothing was done, it would become soon obsolete and broadcasters would lose their spectrum. Not mentioned is UHD is now available at 70% of households in France. So if you are a broadcaster and still in HD (SD should be outlawed by now), you should ask yourself the question. Ultra HD Forum Benjamin Schwarz Ian Nock Sam Matheny Madeleine Noland Chris Arley Seeger Alex Zambelli Chris Johns

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Duty of Memory: The last stage of neo-colonialism, but which can be worse than colonialism since it seems to drag on and be perpetuated by the victims themselves; (this is the other trap of neo-colonialism on the economic level that we call (multilateral aid) through the so-called international organizations); « The International Monetary Fund, the International Bank for Reconstruction and Development (known as the World Bank) » The International Finance Corporation and the International Development Association are examples; (All, and all very importantly, are backed by capital from the United States).

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➡ Article : Pourquoi un budget photo pour votre mariage ? 👰 🤵 💒 📸 "Le budget mariage pour la photo, c’est le seul à prévoir qui va vous rapporter des souvenirs dans le temps." https://lnkd.in/emAzgCc2 📷 #mariage #photographemariage #photographemariagebretagne #photographemariagerennes

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An excellent reportage by Le Monde, regarding a TV show broadcasted by French Channel Europe 1 during the latest legislative elections which was headed by the #frontpopulaire. This reportage highlights excellent #dataanalytics techniqueswith over 15 hours replays reviewed and analyzed. It also shows how several TV outlets were used to channel the political views of their owners (a few millionaires/billionaires). If you are into #datascience #dataanalytics and #visualization, and know some French, this video is for you. https://lnkd.in/di9TeX_m

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Save the date !!

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This is so raw. So real

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📢 Today, the world's attention once again turns to Italian leadership, but not for the reasons we'd hope. Italian journalists from RAI, the state-run media, have taken a bold stand against what they describe as an increasingly repressive environment for media under the Fratelli d’Italia government. 🚫 This 24-hour strike highlights the growing concerns over threats to press freedom and expression in Italy. From criminal investigations targeting journalists to suspected instances of censorship, the alarm bells are ringing loud and clear. 🌍 These actions come in the wake of Italy's alarming drop in the Reporters Without Borders press freedom index. Plunging five places to No. 46 out of 180, Italy now shares the "problematic" category with EU counterparts Poland and Hungary. 😔 It's disheartening to witness a democratic nation forfeit its fundamental rights. Let's not forget: Criminalizing criticism against public officials violates the bedrock of freedom of expression, as safeguarded by Article 10 of the European Convention on Human Rights (ECHR). In a world where the media serves as a watchdog for democracy, preserving freedom of speech isn't just an option; it's imperative. #PressFreedom #FreedomOfSpeech #Italy 🇮🇹📰 https://lnkd.in/deKgKeuE

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BRUCE GORDON MEDIA'S CONSULTING DIVISION has posted this before for attendees of the Festival de Cannes, Marché du Film - Festival de Cannes & AFM (The American Film Market) but I’d like to help as many filmmakers & writers as possible be successful in selling projects at THIS YEAR'S CANNES MARKET. I'm busy with other projects again this year-- HOWEVER, I'M STILL COMPELLED TO SHARE THESE STRATEGIES for helping you find film company partners, whether you have a completed film & you’re looking for a distributor… or you’re earlier in your project’s process. Secret Tip: You can use these techniques to shop your projects from ANYWHERE in the world, using the ONLINE PLATFORMS-- even without physically attending ANY film market. (Sh-h-h-h-h-h!!): Film Sales Agents for film markets, like Cannes, AFM, Venice & EFM (Berlin), etc.) are finding that they can’t get good projects that are finished projects like they used to. So over the past few years, they’ve strategized that they have to get involved as early as the writing & casting areas of the development process. Some are open to partnering with content creators in putting together professional projects to take to studios & networks… for features AND TV shows, etc. Use YOUR CURRENT MARKET REGISTRATION MATERIALS and follow this example game plan to find the right ones for you: How to Work the AFM: https://lnkd.in/ef7t3f2 Here are links to companies that buy and sell films at the American Film Market (as well as the Cannes Marché du Film & other film markets): https://lnkd.in/evtgUfh Additional research information: https://bit.ly/3dkxGYI (5 pages of results). Check out posters & loglines of past, current & future releases to find which companies fit your project. Then, contact them to set up how to get your project to them. Some will have time to schedule meetings with you at AFM once their busy film market buying & selling days have passed. Follow this process at the link: “How to Work the AFM" above. I would do cold-calls, because I don't know if e-mails get treated as spam or not a lot of the time. ****** Remember to always "Lead with value" -- which means to start the conversation with enticing highlights of your achievements. Example: When cold-calling, always start by saying, "Hi, I'm [YOUR NAME], and I have a film that went to the [FESTIVAL, CONTEST, VOD PLATFORM.... (FULL information on FB at): https://bit.ly/3ULtp2y ****** Feel free to reach out for any further assistance per the info on my Web site below. Best of success! ~ Bruce B. Gordon CEO & Consultant at Bruce Gordon Media Web: https://lnkd.in/g2Zz-cFE . . #GratefulNoMatterWhat . Gratitude Practice Song: https://lnkd.in/d5dy5uNH “THANK YOU” (An EDM Song of Gratitude to the Universe) by Bruce B. Gordon & Horatio Gordon (Legacy) (On All Digital Platforms Worldwide) . Photo credit: Daniel Seyum & in coordination with Alexander G. Seyum . (Open links in browser to view landscaped on mobile)

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One Day Europe Will be One, for Real (3) From the Project 'Friends in a Cold Climate' Jean-Francois has been deputy mayor and consular of Vienne, France, since 40 years. at the age of 16, Jean-Francois began his involvement with the Comité Jumelage, the twinning committee in Vienne which is focused on international exchanges. The roots of these exchanges trace back to 1956 when mayors Dieter Roser of Esslingen and Lucien Hussel of Vienne decided to collaborate, marking a pivotal moment after two devastating wars. They recognized the need to connect with young people as a means of securing a peaceful future, breaking the cycle of war that had occurred every 30 years. “Since 1956, the first connection with Esslingen, Vienne has been friends. It’s a long way. And each mayor has continued and perpetuated the jumelage and the contact with Europe. This is very important. The idea of people in France is it's always Germany who is leader in Europe. And some people say that it is not normal. I say and, a lot of people have the same opinion, that it is very important for us to have politics and a government, the two governments, work all together, hand in hand, because we have no other possibility." "It is not an economic war between the two states. It is a mutual comprehension. And if we have the possibility to explain that, it is very important. But with the new movement, extreme right, and this movement, which are to say, French from French people, we have no connection with the other. It is not at all a good solution. We must continue all together. We countries must continue all together. Can you imagine that the extreme right movement, when they are in a city to be mayor, they say, The city for the city. Don't see the other. When you are election for department, they say, "I speak only for my department, not the other. When they try to have the region, they say only my region, the other." "And when they postulate the idea to be president of French Republic, they say we don't look outside, we want only France, industry in France, no connection with the other. Can you imagine that? It is absolutely the great risk of democracy and the great risk of war. Mitterrand, François Mitterrand, said always, if extreme right are in the government, in the possibility to go as the leading force, it is a war in a few years after. " "And Mitterrand was a great historian. François Mitterrand has known the war. He knows everything, everything of the war. He knows the atrocities of the war. He knows this moment which shouldn’t return. And Mitterrand was really clever, very clever, when he said, "No extreme right. If you have extreme right, you have war. " For the complete interview from the project Friends in a Cold Climate see: https://lnkd.in/eb9WfwXf

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Well, that is a way to start H 2 2024. A megastar playing at a legendary place. Fatboy Slim, Centre Pompidou, Paris sommer night. I am very proud of what Nigel Harding and his amazing team pull off. But this is not the only point - what this shows is that Deezer might be small but we are also mighty. The Rooftop Sessions are just an example of how to achieve big dreams in a market where you have dominating competitors. In the vast expanse of today's competitive markets, it's easy to feel overshadowed by the giants. But being a small player doesn't mean you can't accomplish extraordinary things. But it requires a couple of ingredients. Here's what I've learned: #ClearVision: Know exactly where you want to go. A clear, focused vision serves as your North Star, guiding every decision and action. #Passion: Pursue your goals with unwavering enthusiasm. Passion fuels innovation and drives you to push boundaries. #Resilience: Setbacks are inevitable, but resilience turns obstacles into opportunities. Embrace challenges as learning experiences and keep moving forward. Remember, size doesn't determine your impact. With a strong vision, passionate drive, and resilient spirit, even the smallest players can make a significant difference. #SmallButMighty #Vision #Passion #Resilience #Entrepreneurship #Leadership #Success #GrowthMindset #LiveofaCOO

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