Podcasts about line producers

In this episode, we welcome Blair Skinner. Blair is the founder of Film Parliament, and an expert in the art of scheduling & budgeting feature films. In our chat, she shares about her early days, path into filmmaking, working for top Line Producers, and the creation of her company. Blair also talks about the nuts and bolts of overseeing a film budget and sheds light on what her educational courses offer. “The Making Of” is presented by AJA:IP, HDR, and cloud advancements have unlocked new workflow possibilities. Stay ahead of the curve with AJA solutions like the KONA IP25, a SMPTE ST 2110 I/O card for Mac, Windows, and Linux, and OG-ColorBox for color management and conversion, and more. Get the full rundown on AJA's latest gear here.Featured Resource:Film ParliamentGot a script you want to produce?Film Parliament offers a self-paced, step-by-step online course that guides you through the process of scheduling and budgeting your feature film.Level up your 2025 filmmaking skills with 25% off when you use code “NewYear25”.Learn more hereFrom our Friends at Anton/Bauer:Today's episode is also powered by Anton/Bauer — batteries built with no compromise for filmmakers and creators. From blockbuster sets to solo projects, Anton/Bauer batteries deliver high-performance power with unmatched reliability so your story never misses a beat. Trusted by industry pros worldwide, Anton/Bauer keeps your gear ready when it matters most. Visit hereNew Solutions from Videoguys:The EOS C80 camera is designed for limitless creative vision. The compact, full-featured camera body includes Canon's 6K full frame Back-Illuminated Stacked CMOS sensor, Cinema RAW Light and 4K/120p internal recording, Canon's next-generation Dual Pixel CMOS AF II and a 12G-SDI interface. The EOS C80 seamlessly integrates into almost any production providing the ultimate flexibility and outstanding image quality. Explore hereOWC Atlas Cards:Kick off your creative 2025 with OWC Atlas Cards — from stunning 8K video to fast transfers, these memory cards and readers deliver unmatched performance. Perfect for photographers, filmmakers, and tech enthusiasts. Explore hereTheC47 on AJA's T-Tap Pro:Netflix Hit Series “The Helicopter Heist” Employs Igelkott StudiosOne of Netflix's standout series in 2024 is undoubtedly "The Helicopter Heist," which centers on a daring bank robbery in Stockholm. In episode six, titled "Showtime," the filmmakers made a strategic choice to partner with Igelkott Studios, leveraging their advanced technology and top-tier craftsmanship for the helicopter sequences. Founded and led by Eric Hasso, Igelkott Studios is the definitive leader in In-Camera Visual FX. To explore this cutting-edge studio and its capabilities, visit here.Introducing Eddie AI:Craft rough cuts in seconds with text prompts. Eddie is the AI video editing assistant for video professionals. Iterate with Eddie: reverse the topic order, ask for a stronger hook, make this punchier. With Eddie, you can easily export to MP4 or polish in Adobe Premiere Pro, Blackmagic DaVinci Resolve, Final Cut Pro, and Avid Media Composer. Explore hereZEISS Introduces Supreme Zoom Radiance:The new ZEISS Supreme Zoom Radiance set includes three purpose-built T2.9 high-end cine zooms: 15-30mm, 28-80mm and 70-200mm. Featuring the same T* blue lens coating as the popular Supreme Prime Radiances, they offer a similar look with consistent flares and warmer color rendition. Learn more herePodcast Rewind:Jan 2025 - Ep. 64…“The Making Of” is published by Michael Valinsky.Advertise your products or services to 112,000 film, TV, documentary, broadcast and live event production pros reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Line producers Debbie Kennard and Ron Eli Cohen discuss their work on the short film Ray Tracing FTW and offer an insider's perspective on the art of film production. Debbie shares her story, from her beginnings as John Carpenter's PA on The Thing to becoming a trusted line producer in Hollywood, while Ron talks about transitioning from acting to producing, with credits like The Dark Knight Rises. Together, they break down the vital role of a line producer and provide insight into the world of budgeting, crew management, and creative problem-solving in the film industry. The episode also dives into the technology behind Ray Tracing FTW, exploring how the team utilized virtual production techniques, including LED walls and complex set construction, to craft a visually striking film on a tight budget. Debbie and Ron emphasize the significance of meticulous prep work, strong crew collaboration, and maintaining a balance between creativity and practicality. Through their experiences, listeners gain a better understanding of how a line producer navigates the challenges of modern filmmaking while keeping the vision of the story front and center.

In this episode of the She+ Geeks Out podcast presented by Inclusion Geeks, we interview Sara Seligman, a writer, producer, and director whose work includes the film "Ramadan America" and the feature "Coyote Lake." Sara shares her journey from training as a ballet dancer in Mexico to becoming an actress in telenovelas to transitioning into directing and producing films. She discusses the challenges of breaking into the industry as a Latina and the complexities of different directing and producing roles in film and television. Sara also touches on the significance and controversies of the term 'Latinx,' and the importance of diverse representation in the media. We also discuss our journey from "She Geeks Out" to "Inclusion Geeks," explaining how our name change better reflects our dedication to Diversity, Equity, and Inclusion (DEI) training. Join us as we discuss our evolution from "Boston Girl Geek Dinners" to our current mission, highlighting our broader focus beyond gender to include race, ethnicity, social class, disability, and more.Links we discussed:Ramadan AmericaCoyote LakeSara Seligman InstagramInclusion GeeksInclusion Geeks InstagramChapters:(00:00) Introduction and Podcast Rebranding(00:53) The Evolution of Our Name(03:40) Why 'Inclusion Geeks'?(06:34) Celebrating Birthdays and Switching Topics(08:13) Interview with Sarah Seligman(09:37) Sarah's Villain Origin Story(18:05) Moving to LA and Producing Films(27:16) Role of a Line Producer(28:46) Balancing Director and Producer Responsibilities(32:55) Breaking into Directing(33:42) Challenges in Different Directing Fields(37:50) Commercials vs. Narrative Directing(45:38) Leadership and Management in Film(52:28) Representation and Identity in Film(01:01:40) Final Thoughts and Contact Information Visit us at InclusionGeeks.com to stay up to date on all the ways you can make the workplace work for everyone! Check out Inclusion Geeks Academy and InclusionGeeks.com/podcast for the code to get a free mini course.

Every once in a while a film comes along that simply transports you with its sheer brilliance — the brilliance of the sea shining on a bright, crisp Gloucester morning  CODA is one such film that approaches perfection. CODA (Children Of Deaf Adults) is many things at once, a coming of age story of a child finding her way into adulthood and independence; a rollicking chronicle of a loving hard working family; a damn funny movie that will in turn, touch, move, inspire and awe you. The success of a film like this hinges not so much on the story (it is a tale we have seen often), but on the casting of these wonderful roles who inhabit a world most of us have never experienced.  Ruby is the only hearing member of her family where her dad Frank, her mom  Jackie and her older brother Leo are all deaf. Those three roles are played by actors who are deaf in real life — which may seem like obvious casting choices, but in reality, actors who are deaf rarely get a chance to play roles this beautifully drawn. They rarely get to show off their astonishingly talent. But in this film, Troy Kotsur (who Lisa is starting a campaign right now for an Academy Award for this performance), Marlee Matlin and Daniel Durant all get a chance to shine brightly. The precocious Ruby is portrayed in a tour-de-force by Emilia Jones. As final treat, look out for the spellbinding performance of Eugenio Derbez as Bernardo Villalobos, Ruby's music teacher.  In lesser hands, this film could easily have wallowed in mediocre cliche, but under the assured direction of Sian Heder and with that stellar cast, what shouldn't work does. What should be hackneyed, soars and what could easily be mawkish, will move you to tears. Joining us to give a true perspective on the portrayal of deaf characters in this film, is the amazing actress/writer/producer Antoinette Abbamonte who is also part of the deaf acting community in Hollywood. And a special shout out goes to our ASL interpreter Nicole Pancino who joined us for Antoinette's interview.   We could go ON for hours about this exquisite film .. in fact we almost do !  So stop reading this and listen in to our podcast right now. If you are reading this and are deaf or hard of hearing please find a complete transcript of this interview on our website  here.  #CODA film #AntoinetteAbbamonte #EmiliaJones #TroyKotsur, #MarleeMatlin #DanielDurant #EugenioDerbez #SianHeder #OscarForTroy #CODA film #Antoinette Abbomonte #EmiliaJones #TroyKotsur, #MarleeMatlin #DanielDurant #Eugenio Derbez #SianHeder  ******************  Episode Transcript  ******************** [Scene from the film ‘CODA'] FADE IN: INT. Home of Ruby's teacher Bernardo Villanova (aka ‘MR. V) –- MORNING MR V sits at his piano in a large light filled room, accompanying Ruby Rossi as she sings‘Both Sides Now' by Joni Mitchell.   RUBY

Danny Carroll was the Producers Assistant on NBC's "The Enemy Within". The ironic thing about this interview is that when Danny and I sat down to talk, I was asking him question that not only did I think guest would want to ask but also questions I really wanted know the answers of.. At the time I was wrapping out of my job as an Office PA and I was ready to transition to Producers Assistant but I didn't really know how. In this interview you will learn *What a Line Producers role is *What the responsibilities of a Producers Assistant is *The best way to become a Producers Assistant *What makes a good Producers Assistant As mentioned in the episode here is Danny's email address if you want to email him for advice or any other questions. Danny@stfortune.com Thank you for listening and Please Subscribe wherever you listen at, make sure to Rate, Write a Review and tell someone who you think might be interested in this podcast.

On the latest episode of Sidekickback Radio, I get to chat with HBO’s Senior Vice President of West Coast Production, Janet Graham Borba. As an executive, Janet plays quite a major role in the making of some of HBO’s wonderful projects, the...Read more

One of my favorite Line Producers and people is Rick Cowan. He's produced many spots that I've directed and he's always provided everything needed and more. He's one of the most knowledgable filmmakers out there, having made three feature films as well. Two of the them have made it to the Sundance Film Festival. Rick was there on set when I started using the term "Respect The Process" repeatedly, and we spend a great deal of this chat discussing how a director can work with her line producer to get the most bang for the buck. I consider Rick a dear friend and trusted ally in my filmmaking journey. This is a great episode to share with a friend. Only a few slots open for my Commercial Directing Bootcamp, as it is filling up fast. Hurry and sign up. It's Sunday, September 13th all day. You'll up your game. Thank you, Jordan

In Below the Line: Producers and Production Studies in the New Television Economy (Duke University Press, 2011), Vicki Mayer provides a major theoretical contribution to media production studies. The book self-consciously challenges the idea of the “TV producer” that industry figures and scholars alike often assume. Mayer traces how the “TV producer” category came to be associated with–indeed defined by–creativity and professionalism. Below the Line upends this definition, through four empirical case studies of largely invisible television production: (1) television set assemblers in Brazil, (2) soft-core video cameramen in New Orleans, (3) reality TV casters, and (4) local cable television citizen regulators. The book weaves a theoretical thread through these ethnographic portraits that are themselves framed by political economic analysis of the industry and the broader economy. What once seemed stable–the idea that TV producers are above-the-line creative professionals–lies in elegantly written tatters by the book’s conclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Below the Line: Producers and Production Studies in the New Television Economy (Duke University Press, 2011), Vicki Mayer provides a major theoretical contribution to media production studies. The book self-consciously challenges the idea of the “TV producer” that industry figures and scholars alike often assume. Mayer traces how the “TV producer” category came to be associated with–indeed defined by–creativity and professionalism. Below the Line upends this definition, through four empirical case studies of largely invisible television production: (1) television set assemblers in Brazil, (2) soft-core video cameramen in New Orleans, (3) reality TV casters, and (4) local cable television citizen regulators. The book weaves a theoretical thread through these ethnographic portraits that are themselves framed by political economic analysis of the industry and the broader economy. What once seemed stable–the idea that TV producers are above-the-line creative professionals–lies in elegantly written tatters by the book’s conclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Below the Line: Producers and Production Studies in the New Television Economy (Duke University Press, 2011), Vicki Mayer provides a major theoretical contribution to media production studies. The book self-consciously challenges the idea of the “TV producer” that industry figures and scholars alike often assume. Mayer traces how the “TV producer” category came to be associated with–indeed defined by–creativity and professionalism. Below the Line upends this definition, through four empirical case studies of largely invisible television production: (1) television set assemblers in Brazil, (2) soft-core video cameramen in New Orleans, (3) reality TV casters, and (4) local cable television citizen regulators. The book weaves a theoretical thread through these ethnographic portraits that are themselves framed by political economic analysis of the industry and the broader economy. What once seemed stable–the idea that TV producers are above-the-line creative professionals–lies in elegantly written tatters by the book’s conclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices