Romeo Candido

🎬 Line Producer vs Executive Producer: What Creatives Need to Understand In the chaos of film production, where budgets, scripts, egos, and timelines all collide, titles can get confusing. But if you’re a director, writer, actor, or even a producer stepping into your next project, understanding the difference between a Line Producer and an Executive Producer (EP) isn’t just semantics — it’s crucial to your project's success. Let’s break it down without the fluff. 🧠 The Executive Producer: The Visionary (with the Purse Strings) Think of the EP as the deal-maker or project shepherd. They're involved in the early stages — getting the script greenlit, attaching talent, raising funds, and bringing studios or platforms on board. 🔑 Key Responsibilities: Financing and investment Packaging the project (talent, director, distribution) Studio or OTT liaison Creative overview, especially in development stages Final say in major decisions 🎯 To Creatives: The EP might not be on set every day, but they’ll shape what the film becomes — and where it goes after it’s made. 🎯 The Line Producer: The Battlefield Commander If the EP is the general, the Line Producer is the commander on the ground. Once the project is greenlit, they take over — managing everything from budget breakdowns to shoot schedules, crew hiring, location scouting, vendor negotiations, and crisis management. 🔧 Key Responsibilities: Building the production budget Hiring crew and managing contracts Scheduling shoot days, logistics, travel, and equipment Handling production delays and damage control Ensuring the shoot is on time and on budget 🎥 To Creatives: Your line producer is your reality check. They’re the ones making sure your dream is executable — legally, financially, and practically. ⚖️ Why the Confusion? Because sometimes, especially in indie films or India’s current landscape: The same person wears multiple hats. Credit titles are misused for funding or politics. Creatives often bypass the Line Producer and go straight to the EP for changes. 🛑 Don’t do that. Respect the workflow. Respect the people holding the system together. 🎬 Final Thought If you're a creative, don’t just learn the craft — learn the structure. Know who makes the film happen, not just who makes it beautiful. Because no matter how visionary your idea is… If it doesn’t make sense to your Line Producer, it’s not getting made. #FilmProduction #LineProducer #ExecutiveProducer #FilmmakingTips   #BehindTheScenes #SetLife #ProducerLife #IndieFilm   #CreativeLeadership #FilmCrew #MovieMaking #FilmIndustry   #ProductionManagement #IndianCinema #WomenInFilm   #LinkedInForFilmmakers #CinemaBusiness #FlyingStoneFilmz

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Different producers. Different roles. Different jobs. Let’s dig deeper into what that really means—because it can definitely be confusing. Here are some producer titles to help give you clarity for your future project needs: - Executive Producer – The big-picture leader, overseeing financing, strategy, and vision. Might be juggling multiple projects at once. - Supervising Producer – Oversees the creative and budget, supervises other producers, ensuring consistency across episodes or projects. - Line Producer – Tracks budgets, schedules, and daily logistics on track. - Coordinating Producer – Manages, plans, and executes a production from concept to completion, ensuring projects align with creative vision and deadlines, and often serves as a liaison for different teams and departments involved in a project - Segment Producer – Owns specific pieces of content (perfect for talk shows, episodics, or news). - Associate Producer (AP) – Provides vital support with research, logistics, and coordination. - Field Producer – Runs the show on location, managing crews, interviews, and shoots. - Writer/Story Producer – Shapes the narrative, crafting arcs from raw footage, research, or interviews. Work to ensure handoff from field to post production team goes smoothly These roles can vary from project to project depending on the framework of the job. But if you’re hiring from outside the industry, it’s easy to see “Producer” as one job. The truth? Knowing which producer you actually need will save you time, money, and frustration—and help you build the right team to bring your project to life.

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🎬 The top 10 pain points working in film and production right now: I spent last week going through hundreds of submissions from the AvA community. Here are the most common ones: 1️⃣ Work has dried up. “Few to no productions green lit… it’s worse than the strikes.” 2️⃣ It’s all who you know. “No easy route… lucky enough to know someone.” 3️⃣ Pay is brutal. “3500/week line producer didn’t wanna pay me 2500… it’s 2025.” 4️⃣ Burnout is real. “Almost every PA I know has cried on set.” 5️⃣ Everyone’s doing 5 jobs. “Editors now expected to be VFX, colorist, and graphic designer too.” 6️⃣ Chaos is constant. “Schedules always changing… general menace to everyone.” 7️⃣ AI panic is spreading. “AI isn’t killing film? Tell that to the people who lost jobs.” 8️⃣ Layoffs everywhere. “My clients are bidding on fewer jobs than any time since the pandemic.” 9️⃣ No clear path in. “Trying to pivot into production, but no one wants to train me. Everyone just wants people who’ve ‘done it before.’” 🔟 Hundreds of apps, no replies. “Can’t find any entry-level roles that match my skills. Or if I’m lucky enough to get a response, I get ghosted the next day” Hollywood’s problem isn’t just fewer filming days. It’s a talent pipeline that’s burnt out, underpaid, and unsure where to turn next. We’re going to do everything we can to help fix a broken system 🚧 In November, we’re launching a platform full of resources and tools for the community, a virtual summit, with tech rolling out shortly after.

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A. If you’re an artist, songwriter, or producer in today’s music industry, one truth should never be ignored: you don’t make real money from the music you create — you make it from the rights you own. And at the center of that truth lies music publishing — the most misunderstood but most powerful part of the music business. B. At its core, music publishing is the business of managing, protecting, and monetizing compositions — the underlying songs themselves. A “composition” is not the recording you hear on Spotify or Apple Music. It’s the idea of the song — the melody, lyrics, and arrangement — that can exist in many versions, covers, and recordings. When you write a song, you own copyright in that composition. That copyright automatically gives you two things: (i)Control – the legal right to decide how, when, and where your song is used. (ii)Income – the right to receive royalties whenever your song is performed, streamed, sold, or synchronized. C. Every time your song is used, someone owes you a royalty. Here are the main ways that happens: (i)Performance Royalties – earned when your song is played publicly (radio, live shows, TV, streaming, etc.). (ii)Mechanical Royalties – earned when your song is reproduced or streamed on digital platforms. (iii)Sync Royalties – earned when your song is used in movies, commercials, or video games. (iv)Print Rights – earned when your lyrics or compositions are printed or published physically. The job of a publisher (or publishing administrator) is to make sure you get every one of those royalties — from every corner of the world. D. When you release a song, there are two copyrights: The Master Recording – owned by the artist or label. The Composition (Publishing) – owned by the songwriter(s) and publisher(s). Most artists chase the master — because it’s fast money. But the publishing side is where long-term wealth is built. Publishing royalties keep coming in years after a song stops charting. That’s why legendary writers still receive cheques decades later. E. Why This Matters for African Creatives Across Africa, publishing is still misunderstood and undervalued. Many artists: (i)Sign label deals without negotiating their publishing rights, (ii)Fail to register songs with CMOs like PRS, COSON, SAMRO, or BMI, (iii)Ignore metadata and split sheets until disputes arise. The result? Millions of dollars in royalties are left uncollected or misdirected globally — while African songs dominate streaming charts. F. What Every Artist Should Do Today (i)Know your splits: Always agree on who owns what percentage of the composition before release. (ii)Register your songs: Join a performing rights organization (PRO) and a publishing administrator. (iii)Keep your data clean: Metadata errors cause royalty losses. Get your song titles, ISWCs, and IPIs right. (iv)Work with professionals. A publisher or adminstrator like Uptique Music ensures your songs are tracked and paid for globally.

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🎵 The Weeknd Eyes $1B Financing Backed by His Music Rights 👉According to Bloomberg, The Weeknd (35) is exploring a groundbreaking deal: raising up to $1 billion by using his music publishing rights and master recordings as collateral. If finalized, it would be one of the largest music-rights financings ever. Why it matters: once considered passive income streams, music catalogs have become liquid strategic assets—fuelling new business models in music, media, and investment. ⏺ In the 1980s, Michael Jackson shocked the industry when he bought The Beatles’ catalog for $47.5M—an investment that turned into hundreds of millions over time. ⏺ In recent years, legacy artists like Bob Dylan, Bruce Springsteen, and Queen (whose catalog sold for $1.27B in 2024) have struck massive deals. ⏺ Younger stars too: Justin Bieber sold his rights in 2023 at just 31, while Taylor Swift took a different path—re-recording her albums and reclaiming ownership of her masters in 2025. For artists today, the lesson is clear: ⏺ Ownership = power. Controlling your masters and publishing means leverage, longevity, and optionality. ⏺ Financing vs. selling: artists can unlock liquidity without giving up ownership entirely, but the structures are complex. ⏺ Legacy meets liquidity: catalogs are no longer just history—they’re bankable, tradable, and increasingly central to artist wealth. The Weeknd’s potential $1B move is a signal that music rights are the new real estate. The real question now: is financing a smarter path forward than outright sale? 👉 https://lnkd.in/dUx3epCW

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