Chris Gore

More and more Russian cinemagoers are becoming excited about Chinese films! The Chinese comedy-drama “Successor” (“Zhua Wa Wa”), directed by Yan Fei and Peng Damo and featuring renowned actors Shen Teng and Ma Li, was recently released in Russian cinemas. “Successor” has resonated strongly with Russian audiences, performing well at the box office and earning praise for its nostalgic charm, particularly its focus on claw machines—a central symbol in the story. With its universal themes and relatable characters, the film has quickly become a favorite among Russian moviegoers, further solidifying its international appeal. Our next markets: World Content Market – Almaty 2025: 4-5 March 2025 World Content Market – Moscow Spring 2025: 8-10 April 2025 World Content Market – Moscow Autumn 2025: 26-28 November 2025 #worldcontentmarket #televisionmarket #digitalcontent #content #b2b #televisiondistribution #TVindustry #TVbroadcasting #Television #Contentindustry #TVcontent #TVseries #Contentdistribution #Contentproduction 

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Please join us this Friday, April 26th, at 10 am PDT for a special episode of Virtual Producer! We'll be chatting with Bryan Pratte about Hallway, creator of Avatars supercharged with artificial intelligence. Please reserve your spot on the event page now and join us live! You can answer questions, network and comment, and we'll reply live during the show. If you're at all interested in the possibilities of AI, this is the episode for you. And here's the event link for more details: https://lnkd.in/gyHT8nEn #virtualproduction #linkedinlive #generativeai #artificialintelligence

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Attn #Independent #music companies! Increased consolidation isn’t exactly INDEPENDENT. Rather, it creates a scenario where the #multinational owns even more “independent” #distribution companies, a #royalty calculation company, independent #musicpublishing #administration, (and more!) and as a result of this consolidation, is able to capture and analyze the data of the #indie companies’ clients. Can you say Big Brother? I know of at least one substantial indie label whose biggest artist was poached by their mini-major distributor who had access to their #data. Ouch. Do you really want to pay your #distributor to dilute and potentially reduce/destroy your business? Per the post below, there is an agnostic alternative that doesn’t compromise the #freedom and true independence for independent rights holders and ensures the integrity of your company’s data is protected. And, it saves money as well! #freedomofchoice #moneymatters #business #musicindustry #technology

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Information is key

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As somebody who works in dubs as both an actor and an adapter...this may be one of the very few cases where I don't have a problem with AI. Flawless developed technology that re-animates the lip movements of the on-screen actors to match the lip movements of the dub actors--and yes, I said "dub actors." In other words, this English dub was still voiced by real human actors, not AI. All this tech from Flawless does is make it so that the lip movements match the dub dialogue. It still requires the skill set that traditional dubbing requires, in that actors still have to match the general timing of the original line. Heck, I've actually already been in a dub like this! Last year, I voiced several characters in the videogame, "Final Fantasy VII: Rebirth," which was released this year. If you play the game, you'll notice that whether you pick the original Japanese dialogue, the English dub, the French dub, or the German dub...the lip movements match the characters no matter what. That's because Sony used AI to make the lip movements match the revised dub dialogue. However, I still had to match the general timing of the original dialogue--I could only be about half a second shorter or longer than the original Japanese dialogue. When I first heard about this technology, my initial reaction was, "Okay, great...but what about script adapters?" As somebody pointed out, though, adapters will still be needed. A super-literal translation--especially from languages that are particularly different from English--will still sound awkward. Currently, adapters are needed to write dub dialogue that both matches the lip movements and preserves the original meaning. With this tech, the "lip movements" problem is gone, but the "preserve the original meaning" problem is still very much present. So, yeah. This is one of the few instances I can think of where AI would be both welcome in an artistic capacity and wouldn't cut humans out of the equation.

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Hollywood Betting Big on Genre Films: AFM’s Vegas Move Signals Shift in the Independent Film Market For the first time in its 45-year history, the American Film Market (AFM) has traded the coastal ambiance of Santa Monica for the glitzy setting of Las Vegas, launching its 2024 event at the Palms Casino Resort. This relocation comes with high hopes for streamlined networking, concentrated events, and fresh energy—but also a dose of skepticism as the independent film market continues to erode. With a notable focus on genre films, the independent film industry is gathering to confront market challenges in a bold new setting. A New Venue and New Energy Relocating from Los Angeles, where AFM was a fixture for over four decades, the Las Vegas setting promises to bring renewed energy to the market. At the Palms Casino Resort, all activities—from screenings to panels to networking events—are conveniently held under one roof, a feature set to alleviate some of the logistical challenges of prior years. By consolidating everything into one venue, AFM aims to foster a community atmosphere, allowing filmmakers, distributors, and buyers to maximize their time without shuttling across various locations. The all-in-one setup at the Palms is already a draw for industry heavyweights. With 286 sales, production, and distribution companies registered, including significant players, AFM sees increased interest from international representatives spanning 80 countries. European delegates from Italy, France, and Germany are attending in solid numbers, underscoring the global appeal of AFM’s new setting. The Rise of Genre Films Amid Uncertain Markets In an industry facing unpredictable returns from theatrical releases, genre films have emerged as a key investment focus at this year’s AFM. Genre films, especially horror and action, command significant buyer interest due to their strong built-in audiences and relatively lower risk. The recent success of horror films like Longlegs and Terrifier 3 has reinforced this trend, with AFM showcasing an impressive slate of horror and action offerings. Projects generating buzz include George A. Romero’s final zombie movie, Twilight of the Dead, directed by Brad Anderson, and the psychological thriller Victoria Psycho, which reunites Sanctuary star Margaret Qualley with director Zachary Wigon. Action films are also gaining traction, with high-profile offerings such as Cleaner, featuring Daisy Ridley in a Die Hard-style thriller, and The Last Druid, a sword-and-sandals epic led by Russell Crowe.

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Re-invigorating a regular writing practice with no set outcome over on Substack. #poetry is giving me life right now. If following along helps you keep a #writing practice as well, here is the link: https://lnkd.in/gwpFNdMF

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What’s the next big thing in music? Troy Carter predicts it will be synthetic artists. To me, this prediction is inevitable because like I previously mentioned, I believe more labels will move to focus on the “label is the artist” model where there’s more collaboration versus scaling in the form of development of a range of artists at a time. Artists today have more leverage than ever so this gives labels an opportunity to scale at a faster rate than long term exclusive deals with a large number of artists. And this could also bring down production costs for live shows using this. And regardless of purists who rather this not happen, it’s only a matter of time until it becomes acceptable to audiences. Video via Trapital

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Independents should take this as a note. UMG isn’t the true ‘SHAKING’ force, YOU ARE. This shows major labels realize that independents now have nearly a 50/50 share of the market and that ownership will continue to grow over the coming years. In order to keep their business alive, in control, and scaling, they have to buy in now by acquiring and controlling the platforms you use to collect royalties and distribute your product to the masses. When you check the stats by ownership, not by distribution, independents owned 43% of the market in 2021. Imagine what it is today for them to spend nearly $1 BILLION to acquire JUST A SEGMENT of the independent music business. TAKEAWAY: If you want to TRULY be independent, stop putting your HIGHLY VALUED fans, product, and presence on platforms that you don’t own or control. Right now, the middlemen dictate the your value, control the pipelines of discovery, restrict access to your customer data, sell you marketing services so you can access those same customers, and then also take from every dollar you earn. WHAT TO DO: Technology has never been more capable for you to own your distribution, your product, and the relationship with your customers/fans. Build custom websites, develop sales funnels, engage your audience with authentic media, and sell your products and experiences directly to your fans at a cost that truly aligns to its value. We’ve seen this DTC revolution across various business sectors. It’s time we see it in music. Don’t wait for the industry to create the perfect solution. Create what you can with existing solutions like Squarespace, Shopify, Patreon, YouTube, etc., reducing the middle man percentage, and increasing your control and revenue. There are always better solutions on the way in markets that show potential and validation.

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How well do you know the agreements producers juggle every day? Contracts might not be the most glamorous part of game production, but they’re critical. Understanding agreements can help a producer differentiate between smooth and chaotic projects. In my latest article, "Production 101: Legal Documents Every Producer Should Be Aware Of," I explain the types of contracts producers work with and why they matter. Here’s why this is important: ➡️ Minimise Risks: Mismanaging contracts can lead to costly penalties, delays, or project cancellations. Track Deliverables: Knowing what’s expected ensures your team hits milestones and stays on track. ➡️ Manage Expectations: Clear understanding means fewer disputes and better stakeholder relationships. ➡️ From fixed-price agreements to outsourcing and publishing contracts, producers don’t need to be lawyers, but we need to understand what’s in play. The article walks you through the essentials, including tips for managing common challenges like unclear terms and unrealistic commitments. This is a must-read to elevate your skills and better protect your projects. Read the full article here: https://buff.ly/4ja9q8U Your thoughts and experiences matter—share them in the comments. Let’s discuss what works (and doesn’t) when handling contracts in game production.

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Cross-Media Synergy: Japan’s Secret Sauce for hashtag #IP Success Japan nails it when it comes to cross-media IP, and here’s why: Planned from Day One: Many Japanese IPs, like Uma Musume, are built to succeed across multiple platforms—anime, games, music, you name it. Teamwork Makes the Dream Work: hashtag #Anime production committees include investors from hashtag #games, TV, and more, creating a multimedia-first approach that drives massive success. The result? IPs that thrive across all formats.

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During a conference this week, Sony Pictures Entertainment CEO Tony Vinciquerra stated that the business is trying to create more profitable, genre-specific streaming projects that are equivalent to Crunchyroll. Tony stated, "We would love to launch more genre-based targeted, passionate fan centered streaming services. We're really positive on that front. And that's what we're now working on. However, it will take some time for the market to stabilize." He added that Sony is not beset by legacy TV networks, in contrast to Disney and other broadcasters. When he began working for Sony, the business had 110 cable networks worldwide. However, all of those networks have since been sold, with the exception of three markets—Spain, Latin America, and India—where cable networks are continuously expanding. For licensing of content, Sony has "proposed structures where we'd get the show back after 4 years or 5 years as opposed to the much longer terms that are currently in place, but thus far, there hasn't been much development in that area." Tony said that when it comes to consolidation in the market, Sony plans to "sit back and watch what comes available to us because we're in a very stable, very comfortable position. And we think that there will be lots of businesses that pop out of these companies...we would be interested in taking on mainly in the IP area, and that's really where we'll be focused." #streamingmedia #sony #SVOD #AVOD #paytv #cordcutting

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The UPROXX newco is a smart media M&A rollup. Music and culture focus + a strong leadership team. I'm bullish on them doing well by *brands and fans*, and getting immediate revenue traction based on their WMG YouTube media sales partnership. In my newsletter tomorrow, I explain my insights on the deal, key questions I'm asking, why I think UPROXX STUDIOS is setup for success. For now, let's review the key deal details... UPROXX STUDIOS OVERVIEW • A new “brand solutions studio” that “connects brands with talent, cultural arenas, and audiences”  • Founded by media veterans Jarret Myer (CEO), Rich Antoniello (Exec Chairman), and will.i.am (Chief Visionary Officer) • Result of acquisitions of Uproxx, HipHopDX, Dime Magazine, and other Warner Music Group media assets • Reaches 170M+ monthly US visitors and generates 12B+ monthly US video views POST DEAL OPS • “Expect significant investments in our brands, team, and the experiences we offer” • Includes the excl license to represent WMG’s YouTube inventory for all US media sales  • Will integrate will.i.am’s FYI AI tech and FYI radio into ops UPROXX DIVISIONS • Uproxx – Millennial-focused culture media brand and production co (acquired by WMG in 2018) • HipHopDX – Digital mag of hip hop music criticism and news (acquired by WMG in 2020) • Dime Magazine – Digital mag of American basketball lifestyle (acquired by Uproxx in 2015) • FYI – productivity tool designed to serve Creatives. Combines messaging and collab tools with file mgmt and content pub features NEWCO VALUE PROP  • Access to A-list stars via WMG YouTube inventory + UPROXX superfan communities gives brands and advertisers new ways to participate in music culture • FYI AI tech will enable creation of AI StoryLabs, a new branded content and social media mgmt unit within UPROXX Studios  • "Merging the agility and freedom of an independent entity with the reach and resources of a major music label.” UPROXX HISTORY • f/k/a as Uproxx • Founded 2008 by Jarrett Meyer and Brian Bater (also co-founded Rawkus Records in 1996) • Acquired by male-focused media ad network Woven Digital in 2015 • Rebranded to Uproxx Media, Jarrett became GM • Bought by WMG in 2018 • Price undisclosed, but previous Uproxx Media investment was ~$43M • Value prop of acquisition was to “create engaging new experiences for young consumers, global promotional possibilities for brands, and innovative marketing opportunities for artists” • WMG exec Max Lousada and Uproxx co-founder Jarrett Myer used to work together at Rawkus Records WMG RELATED HISTORY • Announced 600 layoffs in Feb 2024, incl potential sale of Uproxx and HipHopDX • Also wound down its podcasting brand Interval Presents and social media publisher IMGN • Overall faced challenges in its O&O and digital brand sales biz -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

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The Mechanical Licensing Collective (MLC) has launched an important new tool: the Distributor Unmatched Recordings Portal (DURP)! DURP is an initiative to partner with independent music distributors worldwide to locate and pay out millions of dollars in unclaimed U.S. digital audio mechanical royalties to independent songwriters. DURP has onboarded over 100 distributors across 20 countries, helping ensure royalties reach the creators who deserve them. This initiative is already making a meaningful impact on the livelihoods of DIY artists and self-published songwriters globally. Kudos to The MLC for their continued innovation and dedication to supporting and recognizing independent creators! GO GET YOUR MONEY! #royalties #mlc #musicpublishing #musicbusiness https://lnkd.in/gHPThgCM

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Music producers! Are you tapped in to sync licensing yet? Many producers are continually Googling ways to diversify their income, whether through selling beats, offering production services, streaming royalties- the list goes on. After being in London for about a year, I've been surprised to see just how many talented music creators don't know that they can earn a great income from songs they've *already made* simply by placing their music in TV and film. If you're curious to learn how you can get into the fastest growing corner of the music industry, I wrote an Introduction to Sync Licensing with London Sound Academy 💥 I hope you find it useful!

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BBC AMCerica I’ve gotten a LOT of questions on this website about this transaction. “AMC Networks has acquired full control of BBC America, its joint venture with BBC Studios.” https://lnkd.in/eh8nvSWy This is a pretty easy one to suss - and a crystal clear indication of two companies going in two VERY different directions… AMC is still controlled by OG Cable TV royalty, the Dolan family. Their CEO is Kristin Dolan. They are tripling down on what they know: Cable TV. Yes, it’s a dying business, but BBCA still spins off cash from affiliate fees and advertising, and, up until now AMCN only got 49.9% of the fruits of their labor. Additionally, this deal eliminates substantial long term contractual and financial obligations AMC has had to BBC Studios. Considering the immediate upside, and what they paid for the first half ($200 mil), $42 mil ain’t a bad price to pay. BBC Studios is the for-profit arm of BBC. They recently acquired BritBox International. As BBC Studios Media CEO Rebecca Glashow said, they are “expanding and diversifying our market presence in the U.S,” aka focusing on content arms-dealing and solidifying their streaming business. Thus, the influx of cash, as well as the divorce of exclusivity to BBCA, makes a ton of dollars and cents. Happy to answer more questions in the chat. But this one is not a complicated puzzle to piece together.

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WHAT THE HELL DOES A PRODUCER DO? Perhaps a better question is what *doesn’t* a Producer do? Truth be told, the best producers do a little bit of everything very well. And they let experts do *a lot* of their specific specialties. As a Producer on hundreds of different projects, I have done damn near everything. Last minute wardrobe malfunction, check. Sous chef? Got you. Operate the B cam? On it. Travel agent? Yep. Relaying bad news notes to talent? Not my favorite, but sure. Negotiating contracts? I’m not a lawyer but I play one on TV. Selling? Bartering? Pitching? Raising funds? Yes yes yes yes. As a Producer, you’ll wear many hats. My old pal Bryan Terry used to tell people he was a magician when inquired about what he did for work. I like to imagine the reactions from strangers or potential dates as he straight-faced told them he performs magic for a living. But he was right! We make things appear out of thin air. There are sooooo many types of Producers but ultimately, each of their roles is to push forward the project in a way that gives everyone a win. I take that W seriously and I can safely say that I am undefeated. I’ve never had a project that didn’t stand up on its legs and run through the ribbon at the finish line. Sure, some of those races were ugly f***ing wins, but we notched the victory nonetheless. Sprints, marathons, relays - all part of the job. So here’s to all my colleagues who proudly take the title of Producer. Keep up that entrepreneurial spirit and continue to engage with terrific projects and even better people. For you others in the biz, give a Producer you know a hug or a high five. They probably need the support and encouragement in this weird time, post-“golden age” of content. #producer #film #television #content #digital #magic #magician #filmmaker

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