The Daily Tubes

Nia Daniels launches The Production Report, a subscription service for professionals in the UK scripted screen sector. It collects verified production details on feature films and drama series preparing to shoot in the UK.

Peter Forgacs has made an AI generated short film based on the proposal scene from Pride and Prejudice. It is entered in the Higgsfield Global Film Festival, a competition for AI filmmakers with a prize pool of one million dollars.

Cineuropa followed the awards ceremony of the 83rd Venice Film Festival with a live report, and publishes coverage, interviews and reviews from the Toronto International Film Festival.

Cheron K. Griffin announces that she has been invited to co-produce a television series in South Africa. The production is part of the international expansion of the Preachers' Exes franchise and focuses on stories from different parts of Africa.

Armin Ghasemzadeh writes about how his next film has been shaped for three years by financing, budgets and expectations around cinema attendance, and about an independent approach that puts story, cast and a strong team first.

Jesus Willis writes about what a production teaches you when things do not go to plan.

Jesus Willis writes about the parts of filmmaking that happen when the camera is not rolling, and about preparation.

Grey Sky Films writes about the technology it uses to make video productions, including AI, and points to a piece on the thinking behind it.

Khoa Trinh writes about where the responsibility sits for what gets made in animation, and what is left to the audience.

Vini Rossi writes about Be Brave, an 85 minute portrait of Diesel founder Renzo Rosso that uses AI to reconstruct its subject from archive material, and about where the creative work sits in a film made this way.

Ben Ridolfi writes about deciding what a film needs to achieve, who it is for and what it should make people feel, before choosing cameras and shots.

Armen Dilanchian writes about what investors weigh when they finance a film: earlier productions, distribution results, script, budget, team, market and a realistic plan to earn the money back.

BMA Content Hub announces the return of the European Film Festival SA, with twelve films.

Alan Frei announces that he is executive producer of Long Shot: A Filipino Curling Tale, about a Swiss Filipino team trying to form the first national men's curling side for the Philippines. It has its world premiere at the Zurich Film Festival.

Ballast & Bind points to a television market forecast, with the growth factors behind it and a projected compound annual growth rate of 10.2 percent to 2033.

Brian Lerch writes about using AI in the filmmaking process without the technology drawing attention to itself.

Marc Van Steyvoort writes about television moving from a screen medium towards more intelligent systems.

Christopher Hutchins writes about the years when newspapers and television stations tried to combine newsrooms, content, technology and advertising, and about how that worked out.

Katya Alexander writes about film budgets and the assumptions investors look at behind the numbers.

Alex F. Newsome writes about an initiative that teaches filmmakers practical uses for AI, and about the line between useful application and spectacle.

Miss Olowo writes about Missolowo Slate, an AI driven operating system for film production that is being developed towards a second version.

David Harris writes about what an unfilled role in production finance means for a production.

Raphael Boakye starts a series on AI filmmaking from a filmmaker's point of view. The first episode is about prompting and the difference between generic AI images and deliberate cinematography.

Alex Moss writes about combining AI driven tools with traditional production work on independent productions.

Percy & Warren list the festivals and markets of the month, from Locarno and Sarajevo to the Edinburgh festivals.

Glassriver writes about three Nordic productions at the Edinburgh festivals.

Screen International writes about the awards season and about contenders that skip a festival premiere.