Eric Trueheart

Tip of the Week: Control the things you can, find someone else for the things you can't. It is not uncommon in the film industry to find producers who want to control everything, every tiny little detail... In common jobs this is called micro managing. The film industry is a collaborative industry, it has to be with the amount of jobs on a film set. the problem is too many people think that is where it stays, you should be collaborating at every stage not just filming. Find people who can do the things you cannot and let them do their thing.

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The worlds Animation workers and business is in a transition.

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DeamPlus Games Earned $12M+ IAP Revenue Amids “Hoa Hoa Hoa” Season 🍂 Game of Vampires: Twilight Sun, an empire-building RPG, is the ultimate vampire fantasy brought to life. 🌘 Gothic castles, luxurious dark interiors, a spooky atmosphere — and a ton of pop-culture references! From Twilight and The Vampire Diaries to Blade and The Addams Family — this game is packed with nostalgic nods that resonate with players through its ASO, ad creatives, and character design. 🧛‍♂️🏰 The right timing and a touch of luck drive this success even further: with the game’s global launch, the unexpected revival of the Twilight franchise came into play! Millennials are fueling it with nostalgia, while Gen Z is having fun with those cringy moments the old movies have. ✨🧛‍♀️ For a deep dive into this phenomenon and the insights game developers can draw from it, check out Diana Levintova's fantastic article for AppMagic. Halloween couldn’t be a better time to dive into the industry insights, spooky vibes, and, of course, “hoa hoa hoa” 🎃👻 Link in the comments! 👇

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Tax credit programs significantly impact the film industry by incentivizing productions to shoot in specific locations, thereby boosting local economies. For instance, California's program aims to attract productions with tax incentives, potentially revitalizing the industry and competing with other hubs like Georgia and Kentucky! Yup…. I SAID KENTUCKY! Do you know that Kentucky’s incentive give your 30% to 35% CASH BACK. Not a tax credit! DM me if you want to know more!!!

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5 Joke Mechanisms are between setups and punchlines. https://lnkd.in/gRKz-8Dn

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One of the most shocking findings from our Producer Landscape Study was the misalignment between Producers' experience and tenure. 62% of Producers have been practicing in the discipline for 8-19 years. If you figure in Producers who have 20+ years of experience, the percentage of practitioners with 8 years of experience or more jumps to 80%. Yet, 63% of those surveyed have been at their current or most recent employer for 3 years or less. The conclusion? Companies are not retaining or prioritizing Producers, leading to turnover and churn from a highly experienced workforce. Read all our findings here:  https://lnkd.in/gZk6TweT

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In my previous post, I delved into various resources for producers, uncovering some that were previously unfamiliar to me. Among them, a response from one of my favorite producers (still your biggest fan over here Jason Hutchins) stood out, highlighting the significance of understanding production in relation to other disciplines. He emphasized the value of learning  the tools as a key approach to gaining insight. This perspective offers a practical way to grasp game development pipelines and their connection to production. This week, I'm eager to hear everyone's experiences in understanding their relationships with their teams and the pipelines they utilize. What was the pivotal "I get it!" moment for you? Did you get into the tools? Or do something else? This is a judgment-free zone; I'm simply keen on fostering discussion and helping newer producers solve these problems faster. Personally, I've dedicated time to asking questions, particularly regarding the nuances of different engines, while actively listening to team conversations to glean insights into typical pipelines and common challenges. As a producer, it's crucial for me to effectively communicate on behalf of my team to stakeholders who may not grasp the intricacies of our processes. Thus, overcoming the hurdle of understanding what my teams do and how they do it has been paramount. Initially, I believed I hadn't spent much time using the tools themselves. However, upon reflection, I realized this wasn't entirely accurate. In fact, during the early stages of my career (hey! this is where I met Jason Hutchins!), a substantial portion of my time was devoted to testing development tools. While this experience didn't provide a comprehensive understanding of every aspect, I'm confident it contributed to my comprehension of the intricacies involved in game development. (side note: the most influential people in my career were the people I met while working on this project! I still think of this team often.)

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FIELD RECORDING - ambience tips Cleaning up ambience recordings I captured yesterday in Chinatown, as we need a bunch of Mandarin walla for a Sundance narrative projec. I tend to remove anything too close to the mic or high pitch pokey that will give the editors more work. We add in the pokey stuff later as sweeteners so we have more control. Then I add lots of metadata to assist the editors down the line. It’s always best to do this right after recording so the memories of the locations are fresh. And far better for the project to get your own sounds! Always verbally slate your files so you remember the location. Record for at least 3mins for ambiences If there is music in a location these days you can remove most of it with spectral layers and izotope. But it will always be better if a location can switch it off for a song. Music will cause licensing issues. What are some tips you can provide? Recycle plastic, not audio.

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As a screenwriter interested in querying, should you target managers or producers? It depends on the producer. Smaller producers are probably going to be more open to material than larger producers. Producers you reach through your network will be more open to your material than producers you cold query. In a competitive market, some writers want to try both avenues (both reps and producers) to see which works out first. The odds for either turning into a professional partnership are very slim. But they are not zero. *** If you're going to query managers or producers, make sure you write a query email that they will actually read! Download my FREE PDF Guidebook for Screenwriters on how to get a manager. Link in the comments below.

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Something I really dislike about the casting process: Production expecting everyone that auditioned to be COMPLETELY available on EVERY DAY they listed as a POSSIBLE record date. (and a bunch they didn't) Most VO sessions (for commercials) are under 2hrs... We can find time in a day to work around other commitments. I do not expect any talent to have NOTHING else booked on a given day! Great talent are BUSY! I also do not think anyone should ask for "blanket holds" on people that audition. (seems rude to me) IF there is no room for flexibility... then there should be a NARROW WINDOW of time listed for a SINGLE day.... MAYBE 2 days. AND have an "automatic release date/time" EXAMPLE: "This WILL record on Monday, JULY 15th OR Tuesday, JULY 16th - between 12pm (ET) and 4pm (ET) / Please, only submit if you are currently available and can HOLD that time. IF YOU DO NOT RECEIVE A BOOKING BY FRIDAY, JULY 12th.... YOU ARE AUTOMATICALLY RELEASED" We should work toward something like this. I would like it... I think most talent would like it.... and I know agents would appreciate it! I do not make the rules of engagement... but maybe if we get people talking about "better" options, we can make them reality! Thoughts?

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‘Big Black Bugs Bite Big Black Bears’ by Nik Bear Brown is on #SoundCloud https://lnkd.in/eYduw4fc Lyrics, Arrangement, and Production: Nik Bear Brown Playing with electronic muzak Where Betty Botter bought some butter (but) Bitter bites, & big black bugs bite big black bears, Round and round the tongue rolls fast, But even through this tangled past, I'll keep my heart open to the light. Hope unfolds, even when the tongue twists tight— I go tick tock, click clack, snap snap. I go hop skip, dip dip, drip drop. I go twist twirl, spin spin, swirl swirl. I go dip dive, swerve curve, bounce bounce. I go sway sway, bump bump, jump jump. I go pop pop, bop bop, clap clap. I go tip tap, pat pat, rap rap. I go whip snap, shake shake, quake quake. I go zoom zoom, zip zap, swoosh swoosh. I go bump grind, shift drift, slide glide. I go snap crackle, pop drop, plop plop. I go skid skid, whiz whiz, flip trip. I go bop bounce, leap loop, hop hop. I go wham bam, boom boom, pow pow. I go criss cross, toss toss, floss floss. I go tap tap, stomp stomp, thump thump. I go whirl swirl, swing cling, ring ring. I go slip slide, ride tide, stride wide. I go quick quick, flick flick, trick tick. I go zip zip, zap zap, flap flap. & big black bugs bite big black bears, Round and round the tongue rolls fast, But even through this tangled past, Where Betty Botter bought some butter (but) Bitter bites, & big black bugs bite big black bears— And through these twists, I'll find my prayer, I'll keep my heart open to the light. Hope unfolds, even when the tongue twists tight— I scream, you scream (we all scream for ice cream) Thin sticks, thick bricks, Irish wristwatch, Swiss wristwatch, Four fine fish, freshly fried, And the great Greek grape growers grow Great Greek grapes, cooks cook cupcakes quickly— And even when the world feels tricksy, I'll keep my heart open to the light. Hope unfolds, even when the tongue twists tight— #rap, #trap, #house, #drip, #dance, #edm, #pop, #lyrics, #songwriter, #flow, #vibes, #beats, #melody, #rhythm, #hiphop, #club, #groove, #production, #banger, #bounce, #soundcloud, #musicproducer, #underground, #catchy, #vocalist, #sounddesign, #party, #goodvibes, #energetic, #streetmusic

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Featuring my latest cartoon for CALÓ News!

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How a Pro Colorist uses Group Clips https://lnkd.in/gkXcU5ZR

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When you think of copyright, you probably picture lawsuits over pop songs. But let me take you back to the 1700s, where book publishers were the real drama kings and queens of copyright battles. Picture a time when owning the rights to a book wasn’t just about money—it was about bragging rights, control, and, yes, a healthy dose of backstabbing. And the hottest commodities back then? Two literary heavyweights: the Bible and the complete works of Shakespeare. This was a world where “piracy” meant more than just copying DVDs; it was the literal Wild West of publishing. Some publishers would go to insane lengths just to secure the rights to print the Bible or Shakespeare’s works, while others made careers off pirated copies. So, let’s dive into the messy, sometimes downright ridiculous world of the OG copyright wars.

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This is the model used by sit-com writers to know where to write jokes. Not just these, but also their relationship to each other, like put a character is an impossible situation, then write the funny line or bits that come from it. This can also be used for stand-up comedy storytelling. https://lnkd.in/gFFm-SwV

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