Color Production Techniques

As a creative who specializes in photography filmmaking, I usually receive emails and messages from creatives seeking advice. Over the years, I’ve written down and reminded myself of certain key points with each project. I thought it would be beneficial to share some of these ideas here on LinkedIn. 1. Debrief: After each project, taking the time to debrief is essential. Reflect on what you did to achieve the goals, identify the challenges faced, and consider how you and your team can learn from the experience. Evaluate whether your ideas were too ambitious or if the brand or client didn’t fully connect with your vision. Gathering all this information helps you refine your approach and apply these lessons to your next project, guaranteeing continuous growth and improvement. 2. Clear Communication: Establishing open and transparent communication from the start ensures that everyone is on the same page, from the production team to the client. This helps manage expectations and keeps the project moving smoothly. 3. Collaboration: Successful projects are built on collaboration. Engaging with your team, valuing their input, and working together towards a shared vision is key to creating something special. 4. Adaptability: Flexibility is crucial in creative work. Whether it’s adjusting to last-minute changes or finding creative solutions on the fly, being adaptable keeps the project on track. Remember to be Nimble! 5. Storytelling: At the core of every project is a story. Whether it’s a photo shoot or a film, the ability to tell a compelling story that resonates with the audience is what sets the work apart. Story is everything. 6. Attention to Detail: The little things matter. Paying close attention to every element—from lighting and composition to styling and post-production—elevates the final outcome. It's all in the details. 7. Client Relationships: Building and maintaining strong relationships with clients is just as important as the creative work itself. Understanding their needs, keeping them involved, and delivering on promises fosters trust and long-term partnerships. Remember no client is the same. 8. Passion and Purpose: Bringing your passion and sense of purpose to every project keeps the work authentic and impactful. It’s not just about the final product, but the process and the message behind it. This is your personal stamp and DNA don't forget it. 9. Professionalism: From meeting deadlines to maintaining a positive attitude, professionalism sets the tone for the entire project and ensures a smooth experience for everyone involved.

More grit, less glamour. I’ve always been a fan of ‘unpolished’ creative work. My love for this kind of work comes from my D.I.Y. punk roots. Photocopied zines, screen printing, and handmade, or more like, hand-destroyed clothes. In a world where push button creative abounds, driven more so now by that two-letter word starting with ‘A’, my gut tells me there will be a desire for more unpolished work. Work that feels more human, less obsessed with being pristine, more focused on being ‘real’. Of course, the work has to suit the brand and be relevant to the audience. But research is showing that Gen-Z are pushing back against slickly produced advertising and even social media. They have also been snapping up 20 year old digital cameras and also getting into film photography. And cassettes have made a comeback. When it comes to Gen-X, well, they lived the deconstructed and analogue days of punk, post-punk, and grunge, so they're already predisposed to it all. So there's two markets right there. Look to artists, designers, and photographers who are doing something different for inspiration and collaboration. This is where “What if?” becomes your best question. - What if you work with that graffiti artist? - What if you work with that street photographer? - What if you work with that up & coming fashion designer? - What if you work with that collage artist? - What if you use letterpress? - What if you use screen printing? - What if you shot the campaign on a $100 camera? - What if you shoot with that new Director who makes quirky short films? I actually did the last one early in my career with my first ever Coca-Cola TV commercial. The agency head of production was pushing all the mainstream Directors on me, but I chose my own Director, the odd one out who made short films and wanted to shoot on Super-16 and Super-8. And I had the music track written by a rockstar friend who had never written music for an ad before. It all worked out well. Risks are worth taking. With so many creatives and agencies jumping on that two letter, starts with’A’, bandwagon, there seems to be a lot of room for those who want to do some more hands-on, handmade work. If you want some inspiration, just look at the work done by Chris Ashworth or David Carson. Watch some skateboard videos. Spend some time watching short films on Nowness. Grab some copies of Monster Children magazine. Seek out some street photographers and street artists on Instagram. Handmade and analogue work brings randomness and spontaneity to ideas, something that can't be programmed or prompted. The inspiration is out there. My current mission - find clients who want work that's unpolished, feels real, and will stand out. In other words - brands that don't want to blend in. ... ®️©️ 🤘⚡ ... #creativedirector #creativity #advertising #ideas

Sinners didn’t just open big. It proved that craft, intention, and world-building are the most underrated weapons in modern marketing. Let’s be honest: most campaigns start loud, peak early, and fizzle. Sinners did the opposite. A quiet trailer. A slow burn. Then a $48M opening weekend — nearly $20M above projections with an original horror film that had no built-in fanbase. This wasn’t luck. It was mastery. Of storytelling, timing, and talent. Here's what marketers should really take from this: 1. Craft first, campaign second Coogler understood his strengths: emotional storytelling, cultural layering, and cinematic ambition. So the team built around them. 70MM Imax. Longform breakdowns of aspect ratio. Music cues that echoed his previous work. They didn’t just market the movie they honoured the craft that made it worth watching. In a world obsessed with speed, craft is still a growth strategy. Make something so good it can market itself. 2. Market to curiosity, not just clicks The first trailer didn’t over explain. It set a tone. The second revealed the vampires months later during the NFL playoffs with a single line: Sinners are coming to the game. That restraint created tension. That tension created attention. Mystery became media. When you trust your audience, you don't need to over communicate. You need to intrigue. 3. Build worlds around strengths yours and your talent’s Michael B. Jordan plays twin gangster brothers, navigating myth and morality. That premise? Built for him. The campaign? Expanded into fashion, Fortnite, Snapchat, Imax premieres, cocktail rituals, and fan lore. Not as a stunt but as a reflection of the story’s DNA. Great world-building doesn’t just look good. It aligns every detail with the story you and your collaborators were born to tell. The best marketing doesn’t look like marketing. It feels like culture. And that only happens when you start with intention, respect the craft, and build around your people’s power. This isn’t a campaign. It’s a playbook for what’s next. 👇 How are you building around your own strengths? #Worldbuilding #BrandLeadership #MarketingWithIntention #CreativeStrategy #CraftMatters #Sinners #CulturalMarketing #RyanCoogler #MichaelBJordan #NarrativeDesign #LinkedInLeadership #StoryFirst

One of the world’s leading data-driven marketing companies invited us to talk about resilience in Film and Television. What we shared might be surprising. Everyone in our industry talks about mental health. And that’s important. But when Acxiom asked us to present on well-being in Media, I knew I had to start with something different, practical solutions that actually work - from experience. Because awareness with action changes everything. Film and TV projects are either marathons (long, grueling shoots) or sprints (intense, condensed schedules). Both are challenging. Both can lead to burnout. And both require intentional leadership to create environments where people and great work can thrive. Here’s what I’ve learned leading teams through both: It starts with you. You can’t pour from an empty cup. Self-care isn’t selfish; it’s essential leadership. ☕️ When you prioritise your own well-being, you show up as your best self. Not only does that set the standard for everyone else, it gives you capacity. I shared what I learned on Directing all 4 Ep’s of BBC Comedy-Drama Series ‘PRU’ ➕ Pre-Production • Set the culture upfront: choose authenticity, honesty and vulnerability over performative gestures • Clarity, communication and alignment in meetings; prep and conversations that set HOD’s and their teams up for success • Well-being and mindset treated as non-negotiables, not nice-to-haves ➕ Production • Top-down leadership that walks the talk • Make space to continue doing the things that keep you well when you’re not in production ie: • Eating well • Protecting sleep (as best you can) • Exercise • Breathing! • Quiet moments even for 1-2 mins • Supplements (if taken usually) • Gratitude (daily!) • ‘Setiquette’: our ethos - clear expectations and boundaries from the start • Stay open to ideas and create an environment where people feel safe to share them • Well-being coordinator embedded in the team for both cast/contributors and crew • Open dialogue and a genuinely supportive environment • Proper team care: regular meetings, quality catering and managed wrap times ➕ Impact • Sets that people actively want to return to - even when it’s hard work • Crew from high-end TV productions remarking on positive standards set; less burnout, better work, thriving culture • 60+ paid placements created for the next generation • A comedy-drama tackling important themes that sparked 100M+ conversations on TikTok • Nominated at the Broadcast Awards • Acquired by Netflix ➕ The Truth Do we always get it right? No. But that’s where we learn the most. None of this happens by accident. It happens when leaders prioritise well-being as strategy, not afterthought. Shout out to Exec Producer Nicky Bedu and Gabriella Lafor for embodying this work 🙏 Thank you to David Keens for the opportunity to share what’s working and to Will MacLachlan for making it happen. What practical solutions have made the biggest difference in your work?

🎬 INDEPENDENT FILM MARKET UPDATE: What's Working in 2025 The indie film landscape is evolving rapidly. Here's what our latest analysis reveals about films with $1-30M budgets: 📊 THE NUMBERS THAT MATTER Horror is CRUSHING it: - Companion: $10M → $36.7M worldwide (267% ROI) - Presence: $2M → $10.5M worldwide (425% ROI) - The Monkey: $39.7M domestic box office The Sweet Spot: $3M-$12M budgets showing optimal risk/reward ratios Reality Check: 90%+ of independent films don't reach mainstream theaters, making streaming distribution critical 🎯 KEY TRENDS SHAPING 2025 Genre Performance: ✅ Horror/Thriller leading profitability metrics ✅ Elevated dramas finding success through awards positioning ⚠️ Traditional comedies struggling theatrically Distribution Evolution: - A24 moving toward higher budgets ($70M for "Marty Supreme") - NEON dominating horror with smart marketing campaigns - Streaming platforms spending billions on content acquisition Budget Realities: - Reserve 25-30% of budget for marketing/distribution - International sales now 40-50% of total revenue - Ultra-low budget ($1-5M) showing highest ROI potential 💡 STRATEGIC TAKEAWAYS - Genre Matters: Horror and elevated genre content consistently outperform Platform Strategy: Multi-platform windowing essential (theatrical → streaming) - Budget Discipline: Success stories focus on creative efficiency over scale - Global Reach: International co-productions expanding financing opportunities 🔗 USEFUL RESOURCES (FREE ACCESS) Box Office Tracking: - The Numbers (the-numbers.com) - Basic budget/gross data for released films - Box Office Mojo LLC (boxofficemojo.com) - Weekend box office tracking Industry News: - Variety (variety.com) - When deals/budgets are reported in articles - IndieWire (indiewire.com) - Indie film news and analysis - Deadline Hollywood (deadline.com) - Industry trades with occasional financial data Film-Specific Research: - Wikipedia - Often has sourced budget/performance data - Individual film distributor press releases ⚠️ DATA LIMITATIONS TO KNOW: - Most detailed financial breakdowns require paid subscriptions - Streaming revenue rarely disclosed publicly - Marketing budgets almost never reported - Many indie budgets are estimates, not confirmed figures The takeaway? Smart filmmakers are focusing on genre excellence, budget efficiency, and multi-platform strategies. The indie film market rewards creativity and strategic thinking over pure scale. What trends are you seeing in your corner of the industry? #IndependentFilm #FilmFinancing #MovieBusiness #A24 #Neon #StreamingMedia #FilmDistribution #HorrorFilms #FilmProduction #DesertPirateProductions

What film professionals can learn from A24's business model https://lnkd.in/eq-Tika3 Here are ten things A24 does very well: 1. Work with filmmakers who have something to say and say it their own way. Find creative people whose work feels fresh, personal and bold. Support them, especially if others think their ideas are too unusual or risky. 2. Keep the budget tight so you can keep control. Spending less gives you more freedom. With smaller budgets, you don’t have to answer to as many people and you can make bolder choices without a huge pressure to earn everything back straight away. 3. Make your marketing weird enough to remember. Try unusual or playful ideas that get people talking. A clever, low-cost campaign that fits the tone of your film can do more than a big advertising budget. 4. Start small and let the buzz build naturally. Opening in just a few cinemas at first can help a film find its audience. If people like it, they’ll tell others and the excitement will grow. 5. Tell real stories for people who don’t often see themselves on screen. Make films that speak honestly to groups that are usually overlooked. If you tell those stories with care and authenticity, people will notice and remember. 6. Line up streaming partners early so the money side is more secure. Working with streamers from the start can help cover costs before your film even reaches cinemas. That gives you more space to take creative risks. 7. Watch how films do at festivals before you jump in. Instead of guessing what might work, pay attention to the films that get strong reactions at festivals. If people connect with them there, they’re more likely to connect with them elsewhere too. 8. Sell international rights early to lower the pressure later. If you can get overseas buyers on board before filming, you can cover a good part of the budget upfront. That means less financial stress during production. 9. Listen to your audience and be ready to change plans. Things shift quickly. If cinemas close or viewer habits change, adjust your approach. Being flexible helps you stay in touch with your audience. 10. Build something that people want to be part of. Don’t just make films. Create a world around them that fans can enjoy, whether through podcasts, merchandise or a sense of community. More detail on each of these at https://lnkd.in/eq-Tika3

WHY MORE FILMS WOULD GET MADE IF FILMMAKERS SPENT MORE TIME LEARNING BUSINESS AND FINANCE In independent film, great scripts and talent are only half the equation. The other half is business. And the truth is simple: if filmmakers spent significantly more time understanding business, finance, structure, and professional etiquette, far more movies would actually get made. Filmmaking is art, but film production is commerce. Studios, financiers, private equity, family offices, senior lenders, and strategic partners make decisions based on risk, structure, collateral, returns, and credibility. If you don’t understand their language, you’re asking them to take on risk they can’t quantify. You can’t pitch a film without understanding how money flows. Most filmmakers don’t fully understand how equity, debt, tax credits, gap, presales, waterfalls, senior lenders, and delivery obligations work. If you can’t explain where the money comes from, how it’s protected, and how it gets paid back, you’re not pitching — you’re guessing. Professional etiquette matters. You can’t reach out to people asking for free advice, asking them to do work they normally get paid for, or asking for introductions without providing value. Deals get done when both sides benefit. Deals fall apart when one side only cares about what they need. The industry responds to people who understand the business. Financiers back filmmakers who show they understand structure, risk mitigation, budgets, incentives, and realistic timelines. They look for professionalism, clarity, and discipline — not desperation, ego, or entitlement. More knowledge equals more greenlights. When filmmakers understand business: budgets become realistic, schedules become achievable, pitches become credible, investors become comfortable, deal structures become clear, and risk becomes manageable. And when risk becomes manageable, deals close. Creativity still wins — but professionalism opens the door. No one expects filmmakers to become bankers. But understanding the basics of finance, incentives, capital structure, repayment, and investor expectations dramatically increases the likelihood that a project gets financed and delivered. The filmmakers who take the business seriously — who invest time learning the financial mechanics, the etiquette, the structure, and the language — are the ones who get the most movies made.

Breaking the Odds: How my small budget Niche film ‘Joy of Horses’ I Co/Wrote , Star and Produced is doing in the current market.. I’m excited and deeply grateful to share that ‘Joy of Horses’ performed incredibly well in this second quarter, surpassing expectations at a time when many indie films are struggling to even break even. Was this by accident. NO The truth is: most independent films don’t make their money back. It’s not because they aren’t well made , it’s often because distribution, marketing, and audience strategy are heavily overlooked. Having gone through the process and educating myself a lot, here are a few key lessons I’d love to pass along to fellow filmmakers: 1. Treat Your Film Like a Product, Not Just Art. You can create a beautiful story, but without a clear audience strategy and positioning, even great films get lost. That’s why before production, think: Who is this for? How will they find it? Why will they care? 2. Build Your Audience Before You Need Them. Start marketing early — way before the release. Share behind-the-scenes, concept art, cast introductions, teaser content. If you only start promoting when your film is out, it’s already too late. 3. Think Beyond Film Festivals. And While Festivals are great, they’re not the only path. Streaming platforms like Tubi, Amazon, YouTube, and niche services open opportunities to directly reach audiences especially if you have a solid marketing plan. 4. Budget for Marketing from Day 1. I dedicated time and budget to marketing before and after production. Paid ads, organic content, strategic partnerships, email marketing and platform-specific campaigns made a major difference. 5. Don’t Wait. Create It. No one is coming to magically “discover” you and your film. You have to create a momentum through trailers, collaborations, audience engagement, and consistency across platforms. 6. Educate Yourself on Distribution Deals. Read contracts carefully. Many filmmakers unknowingly sign away revenue streams without realizing it. Retain control where possible and be strategic about who you partner with. ⸻ If you’re an indie filmmaker reading this: Keep going. Focus not just on making your film, but also on selling your film , with the same creativity and drive you put into production. With over 7 billion people in the world, Your story deserves an audience. Your work can be financially successful without sacrificing authenticity. And while the movie business has changed so much, Joy of Horses is a living proof that it can be possible to make a film , make that money back and then some... Massive thank youuuu to everyone supporting this 🎥🎬 journey. This is just the beginning! #IndependentFilm #Filmmaking #FilmMarketing #Distribution #FilmSuccess #JoyOfHorses #IndieFilmmaking #MarketingStrategy #StreamingPlatforms

Profit in film isn’t a myth, it’s strategy. The real question is: are you budgeting and marketing wisely enough to make it happen? Of course, none of it works without a great story at the core. I’ve always wanted to dig into film budgets and profitability. The math is simple: the more you spend, the more you need to recoup... This is a fact in any industry. Jonathan Sadler 's post inspired me to share this, and I think it’s a useful discussion. Take two recent films distributed both distributed from Warner Bros: One Battle After Another Domestic opening: $22.4M / Global: $48.5M Production: $130M+ Marketing: ~$70M Break-even: ~ $300M worldwide Some say it may lose money, but I am hoping strong reviews (96% RT, “A” CinemaScore) and Oscars buzz could help. Their streaming revenue, however, is harder to track. The Conjuring: Last Rites Production: $55M Worldwide earnings: $436M The difference is clear...One is struggling to climb to break-even due to very high budget, while the other is already deep in profit by using franchise familiarity and smart budgeting. There’s a clear pattern emerging in recent productions: many lean heavily on big-name stars with the expectation that their presence alone will guarantee profit. But here’s the irony ; if an A-lister’s fee inflates the budget, how can they realistically deliver the returns needed to make the film profitable? Even more ironic, the same logic is often used to attract financiers: “An A-lister is attached, so let’s invest.” What kind of cycle is this? In my opinion, a sustainable strategy that goes beyond star power, one that balances cost, story, and marketing to truly drive profitability. Research (Barnwell, 2019) suggests the sweet spot for independent films between $250K–$2.5M (with some exceptions like Blumhouse pushing up to $5M). And their success often comes from: Focused genre storytelling Low production & marketing costs (using smart marketing solutions) Profitable digital distribution Without profit, every indie could be your last. Investors only return if they see risk-adjusted gains. Big budgets and star power don’t guarantee success. Smart budgeting, smart marketing, a great story and diversified portfolios, studio or indie, makes it more likely. So, I’d love to hear from you: Have you made a successful indie in that budget bracket and made profit? What was your marketing strategy? #FilmBusiness #IndieFilm #FilmProfitability #FilmFinance #MovieBudgets #FilmMarketing #FilmmakingStrategy #IndieFilmmakers

Most filmmakers don’t fail because they lack talent—they fail because they treat filmmaking like a passion project instead of a business. Too many focus entirely on the creative side, assuming the business side will work itself out later. But the truth is, most films don’t sell themselves and distribution is not one size fits all. One of the biggest mistakes filmmakers make is waiting until after production to think about distribution. By then, it’s often too late. Distribution planning needs to start on day one—knowing your audience, identifying realistic buyers, and aligning your film with the market before cameras roll. Another common misstep is ignoring the financials. Investors need more than creative passion—they need to know how their money will be spent and, more importantly, how it will be recouped. Filmmakers who can clearly communicate their budget, timeline, and revenue strategy stand out in a crowded market. And while connections matter, they’re built—not handed out. Industry professionals respond to preparation, professionalism, and clear plans. Approach them as partners, not gatekeepers. Filmmaking is an art, but building a career requires repeatable success. Treat your film like a product and your pitch like a business proposal. Focus on strategy, distribution, and profitability—and stop waiting to get discovered. Careers aren’t found—they’re built. 💬 What’s been your biggest struggle in building a filmmaking career? Drop a comment below—I’d love to hear your thoughts! 🚀 👉 Follow for more insights on funding, distribution, and filmmaking strategies that help you turn passion into profit. And if this post hit home, share it with a filmmaker who needs to see it! #FilmmakingCareers #IndieFilmBusiness #FilmFunding #FilmDistribution #IFIO