International Film and Television Project Preparation: The Path to Resource Integration
I. Project Confirmation and Initial Preparations
After winning numerous international film awards and making a name for themselves in the international film and television industry with their previous work, Ah Yu, Zhong Hua, and Su Yao's team faced a multitude of offers for international film and television projects. Following careful selection and in-depth negotiations, they finally finalized a new international collaboration project—a historical epic aimed at integrating diverse cultures and creating a globally influential film. This film is planned to be shot in multiple countries, showcasing the exchanges and clashes between different nations during a specific historical period, and conveying the beauty of cultural fusion.
The moment the project was confirmed, the entire team sprang into action, quickly entering a tense preparation phase. Their primary task was to comprehensively integrate resources from all parties to lay a solid foundation for the smooth commencement of filming. This project involved multiple countries, and the work of renting film equipment, booking filming locations, and recruiting actors was complex and multifaceted, like a vast and intricate jigsaw puzzle, requiring each piece to be precisely placed.
II. Ah Yu's Strategy: Ensuring Solid Publicity Resources
Ah Yu, as a core member of the team responsible for advertising and marketing, deeply understands the importance of publicity resources for a project. In the early stages of project preparation, she leveraged her extensive network of contacts accumulated over the years, acting like a shrewd general, quickly deploying her resources in the publicity field.
She first focused on advertising partners. In previous projects, Ah Yu had established strong partnerships with numerous internationally renowned advertising agencies. This time, she contacted each of these partners individually, detailing the highlights and potential of the new project. For advertising agencies she hadn't yet worked with but which possessed strong promotional capabilities in specific regions or sectors, Ah Yu proactively reached out, using phone calls and video conferences to present the project's planning and market prospects.
In discussions with a major European advertising agency, the company initially expressed doubts about whether the project's historical subject matter could appeal to a young audience. Ah Yu remained calm and provided an in-depth analysis, highlighting the film's unique narrative perspective, its integration of modern elements, and its grasp of global cultural exchange trends. She also shared successful case studies from the promotion of her previous work, showcasing the team's professional capabilities in advertising and marketing. Ultimately, the advertising agency was impressed by Ah Yu's professionalism and enthusiasm, deciding to fully support the new project's promotional efforts. They pledged to place high-quality advertisements on major European media platforms and leverage their expertise in social media to plan a series of online interactive activities.
In addition to traditional advertising agencies, Ah Yu actively explored emerging promotional channels. She connected with globally renowned influencer agencies, selecting influencers whose style aligned with the project and who possessed large followings in various countries and regions. These influencers would promote the project comprehensively during the film's promotional period through creative videos, live streams, and other methods. After weeks of effort, Ah Yu successfully coordinated advertising partners from around the world, ensuring ample and diverse promotional resources for the project, paving the way for the film's widespread global dissemination.
III. Zhong Hua's Efforts: The Journey of Gathering Artistic Talents
At the same time, Zhong Hua shouldered the important responsibility of recruiting outstanding talents for special effects, set design, and other artistic creations. He knew that the quality of artistic creation would directly determine the visual impact and emotional resonance of a successful historical film.
Zhong Hua's first stop was art schools around the world. He extended invitations to film and television-related departments at these institutions, detailing the project's artistic style and creative concept, attracting the attention of many talented students and teachers. During discussions with a top American art school, the professors expressed strong interest in the project but expressed concern about balancing students' studies and work schedules. Zhong Hua proposed offering flexible work arrangements, allowing students to participate in parts of the project, such as early concept design and creative brainstorming, while still maintaining their academic studies. This proposal was well-received by the school, and a group of outstanding students and teachers joined the project's artistic creation team.
Besides art schools, Zhong Hua also set his sights on design studios around the world. Through attending international art exhibitions and industry seminars, he met many independent designers and studio teams with exceptional talent in special effects and set design. At an international film and television special effects design exhibition, Zhong Hua stumbled upon a small design studio from Japan. They possessed unique insights and exquisite skills in special effects design that combined traditional Japanese aesthetics with modern technology. Zhong Hua had in-depth discussions with the studio's负责人 (person in charge) and invited them to participate in the special effects and set design work for scenes involving Japanese history in the film. Attracted by the project's concept of multicultural integration, they readily agreed.
Through Zhong Hua's tireless efforts, artistic talents from different countries, with diverse cultural backgrounds and professional expertise, have gathered in the project team. From scene designers specializing in European medieval architectural styles to artists proficient in creating special effects based on Eastern mythological elements, this diverse artistic creation team has laid a solid foundation for the film's unique visual style.
IV. Su Yao's Strategic Planning: A Solid Backing for Project Funding
While Ayu and Zhonghua were busy integrating publicity resources and artistic talents, Su Yao was also working hard to ensure the timely arrival of project funds. She knew that funds were the lifeblood of the project, and any problem in any link could cause the project to stagnate.
Su Yao first meticulously reviewed the project budget, clarifying the amount and purpose of funds required at each stage. Then, armed with a detailed project plan and financial budget, she began communicating with various financial institutions.
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