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In the world of grants the wins often feel more like a relief than a celebration, but this one definitely deserves some confetti. Really excited to…
In the world of grants the wins often feel more like a relief than a celebration, but this one definitely deserves some confetti. Really excited to…
Liked by Andy Williams
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We'd like to say a huge congratulations to the talented team at Outpost who worked on The Hunger Games: The Ballad of Songbirds & Snakes! 👏…
We'd like to say a huge congratulations to the talented team at Outpost who worked on The Hunger Games: The Ballad of Songbirds & Snakes! 👏…
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We are thrilled to welcome Jason Sperling to Digikore Studios. His wealth of experience and remarkable achievements in the VFX industry make him an…
We are thrilled to welcome Jason Sperling to Digikore Studios. His wealth of experience and remarkable achievements in the VFX industry make him an…
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BTS of Aang vs Bumi from Avatar: The Last Airbender 🤜🤛 Working closely with stunt and production teams, Outpost was able to create and blend VFX…
BTS of Aang vs Bumi from Avatar: The Last Airbender 🤜🤛 Working closely with stunt and production teams, Outpost was able to create and blend VFX…
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Rene Amador
The reason ARwall's ARFX won AI Product of the Year at NAB Show is because it's an XR/AI filmmaking software suite that promises: 1. A business strategy that doesn't involve stealing or coercing filmmakers out of their hard work, allowing us to promise that we'll never steal that data, 2. Allowing filmmakers to train their own model for their own film, in an intuitive process, 3. Making that data private, even to ARwall, 4. Making that data portable/downloadable, meaning we have to continue delivering value, or you can take your training data and go elsewhere, 5. And we're owned and operated by filmmakers, and have served filmmakers for 8+ years pioneering XRVP. Beta sign up is here, for those interested in learning more: https://lnkd.in/g9rWK8jd *** Here's the part that I'm advised not to put in an official press release, but for the tech nerds, provides more guidance on our rationale and strategy: What do I mean by #1? What "business strategy"? Major legacy software corps are attempting to use the "compute cost to SaaS subs" ratio model perfected on cloud here in genAI. But they will fail, because unlike cloud there's no persistent distributed network needed for genAI, symmetrical hardware constraints for model-building are loosening, and it's a near certainty that people will be able to homebrew their models more effectively than on-prem compute was at replacing cloud compute. With those considerations, here's the theory we're taking a gamble on: generative AI models are content, not products themselves, and the ability to generate them should be shared with creators of content. With current processing hardware innovations, we can return to a more equitable model like envisioned in the early 90s, ditching the mainframe and terminal paradigm, and bringing the data and compute onto your desk and keeping it there. That means this moment is NOT a crisis for labor and indie, as has been claimed, but the greatest opportunity to reclaim ownership. Seeing the opportunity this way requires some anachronistic assumptions about computing, but this is our conclusion: we want to propagate true creator ownership of these tools and processes. Not just because that's how we correct for some of the industry missteps that have been made, but because it's good for filmmakers and good for business. https://lnkd.in/gNfGNUC2
324 Comments -
Jenna Cavelle, MBA, MFA
DIVERSITY, DIVERSITY, HEAR ALL ABOUT IT! According to the annual Hollywood Diversity Report (2024) presented by the UCLA Entertainment & Media Research Initiative, only 2.3 out of 10 theatrical film directors are people of color, Only 1.5 out of 10 theatrical film directors are women. This can be a daunting statistic that leaves many of the filmmakers I work with hopeless. I'm committed to hope and measurable change for diverse storytellers. So, I wanted to share a bit of my perspective on how l've seen diversity change in the work I do with new voices over the past few years. The budgets of the movies we make live under $4 million which isn't accounted for in the report that focuses on theatrical films in the $100M range. I think we have to contextualize when evaluating change. People of color and women often have to start at the bottom with smaller budgets. But this is where so much of the change around inclusion and equity is happening. This growth is rarely reported on, but is remarkable nonetheless. Our genre features slate with @hulu is proof of this incredible moment. I'd like to propose that we stop thinking of diversity as a bad word that's overused and performative. Diversity is real, it's needed, and it is changing the landscape of whose stories are told. There's never been a better time to be a diverse storyteller, use it to your advantage wherever, however, and with whomever you can. Ally with teams and producers who are part of this change at the grassroots level, develop your stories with them, and together let's continue to diversify Hollywood from the bottom, up! Excerpts from "The Era of Upheaval" panel at the 2023 Asian Leadership Conference in Seoul, moderated by Ron Geller, VP Worldwide Content Relations at Dolby
233 Comments -
Jeff Boulton
The Skydance offer is the best option on the table for Paramount Global. This offer guarantees the best chance of this iconic studio surviving. I hope Shari Redstone sees the value the Skydance merger will bring to the Hollywood brand that has been her family's business for more than thirty years. Some reports on the M&A offer say that Ms. Redstone is "hesitant" to approve the revised deal which gives her less for her share of National Amusements Inc. than the previous offer. I think the trades who are reporting on this whole M&A process are looking to hype the drama instead of allowing for the time it takes to ponder each step in the process. More decisions in this business should be made after careful consideration and not rushed. #ParamountGlobal #Skydance #MandA #ParamountPictures #CBS #ParamountPlus https://lnkd.in/gT4tBiGS
21 Comment -
Beth Fryman
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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Thomas Aschenbach
🎬 How We Sync Audio with SndResolver 🎧 Syncing audio to picture can be a complex task, especially when dealing with non-standard recordings. I've developed a tool called SndResolver to streamline this process. 👉 What’s SndResolver? It's a tool we use to dynamically resample audio files that include a pilot tone, ensuring they align perfectly with picture content. This is especially useful for audio from sources that operated without standard sync or have pilot tone recorded as audio. You can choose the channel that has the tone and set the frequency target. 📲 Here’s a quick look at SndResolver in action
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Joel D. Catalan, CAS, MPSE
Happy Fri-Yay LinkedIn Familia!🙌🏽 This week, I took some time to dive deep into a question that many of us in the post-production sound world often ask: "How do I know what to put in each channel when mixing in 5.1 surround sound?" In my latest video, I break down the essentials of 5.1 panning in Pro Tools—covering everything from where to place dialogue and music to how to handle sound effects and Foley. This is a must-watch if you’re new to 5.1 mixing, and looking to improve your mixing skills and create an immersive sound experience. Whether you're just getting started with surround sound or you're looking to refine your technique, this video has something for everyone. 👉 You can check out the full video below. As always, thanks for the continued support. Have an idea for a future video? Hit me up in the comments!! 5.1 Panning Explained: https://lnkd.in/gAkCziQd #PostProductionSound #SoundMixing #ProTools #SoundDesign #AudioEngineering #5.1Mixing #SurroundSoundMixing #ProTools #PanningAutomation #MasteringPostProductionSound
483 Comments -
Joel D. Catalan, CAS, MPSE
If there’s one thing I’ve learned in over 16 years mixing sound for film and TV, it’s that the right EQ can make all the difference. It’s not just about the gear—it's about knowing how to use it to bring out the best in your mix. I’m super excited to dive into this with you all in my newest YouTube video, 'Master Film & TV Mixing: My Top 4 EQ Presets Revealed.' I’ve kept things simple and straight to the point: ➡️ How I moved from the basics to killer EQ tools like the Fab Filter Pro Q3. ➡️ My four favorite EQ presets that I swear by—simple, effective, and a total game-changer. ➡️ Some hands-on tips to really get your audio to pop. Whether you're just starting out or you've been at it for a while, there's something in this video to help simplify and improve your workflow. 👇🏾 Catch the full video below!👇🏾 Trust me, stop overthinking it! It's simpler than you think, and you’ll want to see how these presets can change the game for your projects. Got any EQ tips or tricks of your own? What EQ can’t you live without? Drop a comment below or hit share—would love to see what you guys are working with! #soundmixing #postproduction #soundediting #audioengineering #proaudio #sounddesign #eqpresets #masteringpostproductionsound https://lnkd.in/gDKKKBwG
741 Comment -
Cary Solomon
SDG Releasing Launches, Revolutionizing Theatrical Film Distribution with Transparency and Integrity Fort Worth, TX – July 29, 2024 SDG Releasing (sdgreleasing.com) proudly announces its launch as the newest player in the theatrical film distribution industry. Founded by veteran filmmakers Cary Solomon and Chuck Konzelman, the creative minds behind acclaimed films like Nefarious, God's Not Dead, and Unplanned, SDG Releasing is designed by filmmakers for filmmakers. Their revolutionary model combats industry corruption with honesty, transparency, and low costs, ensuring fair and accessible distribution for all. To kick off their journey, SDG Releasing is proud to announce its inaugural partnership with The Daily Wire. This partnership includes handling their first-ever theatrical release, Am I Racist?, the follow-up to Matt Walsh's acclaimed What Is A Woman?, and exclusive home video distribution rights. The first two films under this home video agreement will be What Is A Woman? and Ladyballers. At SDG Releasing, Cary Solomon and Chuck Konzelman bring their three decades of filmmaking experience to the forefront. "We’ve experienced the tremendous highs of bringing our vision to life and the joy of watching audiences moved to tears or shouts of excitement," says Solomon. "What’s not amazing is dealing with Hollywood’s 'creative accounting,' which always ends with, 'You get nothing.' We’ve faced this numerous times and didn't like it. We’re guessing you don't either. As fellow filmmakers, we feel your pain. That’s why we set out to do something about it: a straight forward approach that guarantees you get every penny owed to you." Key Highlights of SDG Releasing: Radical Transparency: Filmmakers have full visibility of every financial transaction through a dedicated bank account lockbox service, with each client having their own account. Industry-Low Fees: SDG Releasing offers the lowest distribution costs and fees in the industry by cutting out unnecessary intermediaries. Diverse Film Slate: The company showcases a variety of genres, from impactful documentaries to blockbuster features, ensuring a wide audience reach. SDG Releasing has already made a significant impact by distributing acclaimed films they have produced, and now, through their exclusive contract with The Daily Wire, they are poised to revolutionize film distribution. For more information, visit SDG Releasing.
60180 Comments -
Elia Bouthors
What "Game of Thrones' did for TV, I wanted 'Blue Eye Samurai' to do for TV series animation" Watch how the incredible producer Jane Wu took the audience to a - I quote - "fusion restaurant" with this series, using live-action approach for the fight scene, visual techniques inspired by traditional Ukiyo-e art for the production design, applying VFX methods to the pipeline... PS: if you haven't watched the series, block out your weekend and get on it. https://lnkd.in/d_GAMkbz
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Aaron Porzel
Color grading in Resolve, on my iPad. Unreal. Obviously not a replacement for desktop (or a real colorist), but I’ve been looking for an angle to learn more about color theory and execution. Maybe this is it! #resolve #davinci #davinciresolve #resolveipad #resolveforipad #resolveonipad #ipad #m4 #postproduction #post #color #colorist #colorcorrection #amateur #post #editor #videoeditor PXP Blackmagic Design Apple
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Martin Grove
MARTIN GROVE'S HOLLYWOOD REPORT FOR 5/12/24: APES climbed atop the boxoffice chart with $56.5M, giving exhibitors new hope after a grim winter and spring. While KINGDOM OF THE PLANET OF THE APES' opening doesn't come close to 2014's DAWN OF THE PLANET OF THE APES, which kicked off to $72.6M and did $710.6M worldwide, times have changed and those good old days may be gone forever. Nonetheless, KINGDOM's launch is in the ballpark compared to 2011's RISE OF THE PLANET OF THE APES ($54.8M) and 2017's WAR FOR THE PLANET OF THE APES ($56.3M). Driven by KINGDOM, the overall marketplace, per Comscore Senior Media Analyst Paul Dergarabedian, totaled $94.4M, up 26.4% from the prior weekend, but down 9% vs. this time last year. Comscore's year to date tally has 2024 at $2.29B, down 22% from $2.93B in 2023. Last weekend 2024 was down 21% vs. 2023. Meanwhile, back at the multiplexes: Disney/20th Century's PG-13 sci-fi action adventure KINGDOM earned its $56.5M at 4,075 theatres ($13,865). Internationally, it opened to $72.5M, per Comscore, bringing its worldwide total to $129M. KINGDOM reportedly cost $160M to produce -- but that money's all on the screen as there aren't any $20M stars in the movie! Hollywood handicappers were bullish on KINGDOM from the start with $50-60M estimates. Going into this weekend, KINGDOM was tracking best for first choice with men over 25 (10 points over norm) and next best with men under 25 (six points over norm). Women under 25 were okay with five points over norm. Women over 25 were the least likely to be going with three points over norm. Rotten Tomatoes critics are happy at 81% while audiences are just okay at 78%. Universal/87 North's PG-13 action dramedy THE FALL GUY, directed by David Leitch (JOHN WICK) and starring Ryan Gosling & Emily Blunt, fell to second place in weekend two with $13.7M (-51%) at 4,008 theatres ($3,418). It's done $49.7M domestic and $103.7M worldwide. FALL reportedly cost $130M after Australia tax credits. MGM/Amazon's CHALLENGERS held on to third place in weekend three with $4.7M (-38%) at 2,609 theatres ($1,795). It reportedly cost $55M to produce and has done $38.1M domestic and $68.7M worldwide. As for next weekend's wide releases: Paramount/Maximum Effort's PG rated family dramedy "IF," directed by John Krasinski and starring Ryan Reynolds, should keep the boxoffice sizzling. Media pundits expect $45-55M at about 3,900 theatres. It's tracking best and equally well for first choice with women under & over 25 (each nine points over norm) and next best with men under 25 (six points over norm). Men over 25 are the least excited (two points over norm). Lionsgate's R rated horror thriller "THE STRANGERS: CHAPTER 1," opening at about 2,800 theatres, is tracking best with men under & over 25, but just equal to norm. It's below norm with men & women under 25. Some more exuberant analysts see it opening to $15-20M. #movies #boxoffice #martingrove #kingdom
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Louise Levison
"There’s a push for higher-caliber or elevated type of content. It can still be a thriller, but they want known talent or up-and-coming talent, as opposed to the usual characters.” #cannes #filmmarkets #independentfilm #indiefilmmakers #filmproducers #filmdirectors #filmmarketing #filmdistribution #filmfinancing
131 Comment -
Dustin G.
I got together with our CEO Rob E. to weigh in on the largest change in our industry in decades. Here’s our take at Massive Mission on AI for post-production Consider Jurassic Park in 1993. Their plan was to film models as had been done for decades. When the first CGI dinosaur test was shown, its advantages were obvious. A threshold had been crossed. Many model and prop makers adopted the new tools and picked up their art in the new medium. This is where AI is at today for the media production industry. We all will need to adapt because this is a sea change of our industry, bigger than even film to digital. With just the AI tools brought to market in the last 18 months we’re now able to: Do 50-80% of the audio cleanup work in minutes vs. hours Replace, remove, or create visuals in our videos on the fly by describing the changes with text Correct eye line when people are reading offscreen text Speed up rough storyboards from days to hours And more, higher quality tools are being created weekly. It often feels like too much to keep up with. These tools are coming so fast, it’s like drinking from a fire hose. Which ones are worth testing, and which ones are just a re-skinned chat-GPT? Which ones move the needle meaningfully in the right direction and what ethical and environmental boundaries do we need to consider as we navigate this tech? Our approach is to test and learn. Explore these tools' strengths to avoid their weaknesses. With so many options in the market, it can also be hard to sift. Matt Wolfe, Mike Seymour, Michael Kammes, Katie Hinsen, & Two-Minute Papers, are great people to watch to filter through the news. A helpful lens we’re using to digest all this is ‘progress’. With each new tool presented, consider, “Is this better than what I’m doing now?” Is the end result progress over my previous process? For many (not all) of these tools, the answer is yes. Ultimately, we all want to know: will using AI help give us more free time to spend with loved ones or pursue passions? That’s the goal, right? Bottom line, consider if AI empowers your art and improves your life. From a business and ethical perspective, pay attention to standards. Initiatives like the Coalition for Content Provenance and Authenticity are helping establish much-needed guardrails. The AI Act in Europe seems like it could pave the way for legislation worldwide, much like it did with GDPR. The 2030 Vision Initiative from MovieLabs is gathering inertia from industry leaders. Keeping track of these high-level decisions helps set a good framework for other new developments. AI is a double-edged sword. As professionals, we need to be shepherding these tools to create great work, while being mindful that powerful tools have powerful consequences if used incorrectly. #ai #mediaproduction #videoproduction
21 Comment -
Joel D. Catalan, CAS, MPSE
Ever been discouraged by a 'no'? In the post-production sound world, 'no' can feel like a setback... but what if it's actually a step forward? Today I want to share a mindset shift strategy that's crucial for anyone navigating the unpredictable times in our industry: Flipping the script on rejection. We've all been there. We knew that hearing 'no' was a possibility, so when it happens, let's not linger—move on to the next opportunity. Each 'no' gets us closer to that coveted 'yes'. It's the law of averages, and your next big 'yes' might just be around the corner. This is just one of the 7 strategies I share in my latest YouTube video, 'Master the Uncertainty: 7 Things You Can Control in Post-Production Sound,' designed to help you take control of your career during these uncertain times. If you're feeling the impact this last year has had on the industry and are ready to equip yourself with more tools like this, make sure to check out the full video below! Friends, let's not just survive the ups and downs of post-production sound—let's thrive. I'd love your thoughts on this approach and any other strategies you use to handle rejection. Drop a comment below or share your story! You got this! #postproductionsound #careerdevelopment #overcomingrejection #masteringpostproductionsound #yougotthis #soundcommunity
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Joel D. Catalan, CAS, MPSE
Happy Monday LinkedIn Familia! ☕️ Ever thought about how you can bring a scene more to life with sound? 🎧 Take a helicopter, for example. Imagine it starting from the left side of your screen, moving across the scene, and then disappearing behind you. But it’s not really gone—it's still with us, adding tension, adding depth. Now, let’s put ourselves in a crime scene. Sirens blaring from all directions, a helicopter circling above as the bad guys are on the run. You can almost feel the intensity, right? That’s the power of using our panning automation in our mixes. It’s all about using the space to immerse the audience in the story we are trying to tell with sound. If you're new to 5.1 mixing and curious about what elements go where in the sound field, I dive deeper into it in my latest video. 📱📺 Check out the full video here: https://lnkd.in/gAkCziQd Let’s keep pushing the boundaries of creativity and bringing stories to life through sound. You got this! 🙌 #SoundDesign #PostProductionSound #MondayMotivation #AudioEngineering #Panning #SoundTribe #FilmSound #CreativityInAction #ProTools #FilmSound #TVSound #TheArtOfMixing
131 Comment -
Brad Altfest
Check out this article in The Drum that quoted me re: the proposed merger of Skydance with Paramount. While I'm very happy to see long time M&E giant Paramount finding a way to address their cash shortfall, it's hard to think that more media consolidation is the long term solution. While the industry is grappling with the emergence of Generative AI and the potential threat it is being perceived to create for human content producers and creatives, the consolidating industry is failing to deliver what the next generation audience wants. At the same time, Social Media continues to make a major push into the video delivery space. And I think the lift is easier for Social Media to get in to video than for content owners and distributors to provide interactive social experiences. It's just a matter of time before one side get's it right. Hopefully the long term result will be more media choices, which to me is the main thing currently lacking in the existing traditional Media & Entertainment landscape. I mean this both in terms of differentiated content, as we see with auteurs in the film industry deriding the push to ever more Marvel sequels, and the more interactive eSports like type of delivery experiences the younger audience is seeking on platforms like Twitch and TikTok. https://lnkd.in/gbnBpc3P
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