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It is with great sadness that we regret to inform you that Milan passed away on Friday, October 16, surrounded by his loved ones. Many of you knew Milan through ARRI over two decades, in the role of Director of Group Business Development. Many may also have received encouragement and advice from him over the years. His love for the industry and technology knew no bounds, and he will be greatly missed by everyone who had the pleasure of meeting him. Milan’s kindness and contributions will be remembered by all who knew him. Our deepest condolences go to Milan’s wife, Dragana, and son, Luka, during this very difficult time. Please keep Dragana, Luka, and Milan’s loved ones in your thoughts. Further information about the funeral arrangements will follow.

Paramount completes $111bn WBD merger | News | Screen After nearly a year in pursuit, regulatory hurdles and an antitrust tussle with 12 US states and Writers Guild of America, David Ellison has closed the $111bn merger of Paramount and Warner Bros Discovery (WBD). Some 14 months after Ellison’s Skydance acquired Paramount, the 43-year-old mogul’s new entity – called Skydance – presents a rival in size to Netflix and Disney with its two storied film studios, cable, streaming, and news operations. However it comes at a cost. Ellison and his team will need to service a debt load of approximately $80bn. He will also need to make $6bn in synergies, which will include lay-offs, despite a push-back last week by Gerry Cardinale, the founder and managing partner of RedBird Capital and a Skydance board director, who said a large chunk of savings will come from changes to technology architecture and marketing spend. Ellison’s co-CEO Ynon Kreiz oversees day-today operations and integration of the combined businesses and will be the integral figure carrying out cost savings. Skydance will begin trading on the New York Stock Exchange today, WBD shareholders have received cash equal to $31 per share and will receive a ticking fee of $7m per day that kicked in on October 1, while former WBD CEO David Zaslav is exiting with a giant payout of at least $550m. In line with a consent decree filed by the states and Paramount last week and approved by a judge, the new combined entity has committed to release 30 films a year in the first two years, rising to 32 in the following three years with a minimum 45-day exclusive theatrical window, and more than 180 television shows. The company emphasised its entertainment portfolio spans films and television ranging from Top Gun and Harry Potter to White Lotus and SpongeBob SquarePants. The combined company has said it will ensure separate carriage negotiations by Paramount and WBD’s cable channels, and will establish an editorial independence board overseeing the two news divisions CNN and CBS News. Speaking to Anderson Cooper at a town hall on the Warner Bros lot on Tuesday, Ellison reportedly said he supported CNN’s independence and head Mark Thompson, and supported the news organisation’s efforts to restore presidential access after a ban by Donald Trump. Ellison’s father, Oracle co-founder Larry Ellison, is a friend of the US president. Skydance’s film division will be led by Paramount executives Dana Goldberg and Josh Greenstein, who each become co-chair of Skydance Motion Picture Group. The consent decree includes a mandate to release four loosely-defined independent films each year and establish an independent acquisitions fund allocating $5m per year for five years. Independent sources have called the concessions “insulting” and await further clarification. Skydance sources have not responded to requests to elaborate. Skydance chairman and CEO Ellison said, “Today is a historic day, not just for Skydance but for our entire industry. From the start, our ambition was to bring these two storied studios together and create a stronger competitor, with the talent, resources, and reach to tell great stories in every genre, on every platform, for audiences everywhere. Now that ambition is a reality. “We’re grateful to everyone who made this possible – the employees, creative talent, and production teams of both companies, who worked tirelessly to get us here and inspire audiences around the world every day, as well as the advisors and partners who guided this transaction to completion. Our focus now turns to the future: building a company that empowers creatives, entertains audiences and rewards shareholders. We couldn’t be more excited to get to work.”

Francisco Velasquez, Business reporter, Reporting from New York and Regan Morris, Reporting from California It has been months in the making but Paramount Skydance has finally completed its $110bn (£82.8bn) merger with Warner Bros Discovery. The deal welds two legacy Hollywood powerhouses, uniting franchises like Harry Potter and Game of Thrones, into an entertainment behemoth named Skydance. Yet behind this milestone lies strict rules about what the combined business can and cannot do - from how many films it must produce a year to the editorial independence of its newsroom. Here are four ways this could affect you and the movies, TV and news you watch. 1. Streaming prices may rise HBO Max is the company behind Euphoria, a series starring Zendaya Warner Bros owns HBO Max, home to The Sopranos, House of the Dragon and Euphoria among others. Meanwhile, Paramount Skydance has Paramount+, which streams the likes of Yellowstone, Parks and Recreation and NCIS. Combining HBO Max and Paramount+ into a single platform or bundle will likely squeeze subscribers' wallets over time. While existing subscribers to both might enjoy short-term savings, analysts expect overall prices to rise as the combined giant seeks profitability. The merged company, Skydance, carries a massive $80bn in debt from the deal, even as executives target $6bn in annual cost savings. Analysts warn that consumers will ultimately bear the financial burden of the $110bn deal. Mike Proulx, research director at Forrester, noted that with streaming services constantly raising fees to increase profitability and Skydance saddled with massive debt, price increases are likely to come. While viewers will gain access to a broader catalog, as Skydance shifts toward a Paramount+ and HBO Max bundle rather than a single app, Proulx warns that "it's far-fetched to think it'll prevent downstream price hikes". 2. More film releases As part of a settlement deal with US states who had objected to the merger, Paramount Skydance has agreed to release a set number of films every year for the next five years. For the first two years, that's 30 movies annually, and for the remaining period it has to release 32 films each year. That's 156 movies in total - and the majority have to be "wide releases," meaning they must be shown in cinemas. The merged studio must also release at least four independent films each year. If Skydance misses its movie quota, it could be forced to sell its 49% stake in Miramax – the studio co-founded by disgraced Hollywood mogul Harvey Weinstein. Breanne Gilliam, a corporate lawyer at Maddin Hauser, said the film commitment is meaningful, even if it comes with an expiration date. "Once those obligations expire, the company will have far more flexibility," she said. "Temporary rules cannot permanently fix a structural market shift". Once the five-year deal ends, Skydance could follow rivals like Disney and Netflix by prioritizing streaming over cinema. As Disney's $71bn buyout of 21st Century Fox in 2019 proved, mega-deals can lead to fewer films in cinemas. Before the acquisition, 20th Century Fox routinely released 12 to 17 movies annually in theatres, but under Disney that slate scaled down to just three to six a year. Paramount and Warner Bros are coming together to form Skydance 3. Hollywood jobs could be hit Members of the film and TV industry protested outside Paramount Studios in LA For those working behind the scenes, the merger of two historic studios has been described as a "disaster" by those on the ground. Actors and writers recently gathered at Paramount Studios in Los Angeles to oppose the deal, accusing regulators of failing to protect industry livelihoods. Criminal Minds star Kirsten Vangsness told the BBC she was "heartbroken". "It's people that make this city," she said. "It's people that make entertainment, it's the everyday creatives that this industry is built on - this is who it hurts." A report by consultancy CVL Economics for LA County estimated the merger could eliminate roughly 4,500 direct film and TV jobs, while causing $1.26bn in lost wages over three years. The blow could hit a region that has already lost roughly a third of its film and TV workforce, about 50,000 jobs, since 2022. Syleecia Thompson, a business professor at National University, said that "it hits small businesses, vendors, caterers and local communities". She warned that Hollywood may become less of a "single location" and more of a "dispersed network." Although the settlement establishes a workforce fund to retrain displaced workers, lawyers note it does not block job cuts. "Nothing in the settlement limits layoffs," attorney Gilliam added. 4. CNN and CBS could change CNN White House correspondent Betsy Klein reports from outside the building To address concerns over journalistic independence at CNN and CBS, the settlement creates a news editorial independence board that will be appointed directly by Paramount. The $110bn deal brings two major US television news operations under a single corporate roof. Before the deal, Paramount owned CBS News, and Warner Bros. owned CNN. Both networks have faced intense political pressure - CNN was one of a handful of news organisations banned from the White House by President Donald Trump - as well as leadership shifts amid broader industry consolidation. Paramount chief executive David Ellison has asked CNN boss Mark Thompson - the former director general of the BBC - to remain at the helm after the takeover closes. CBS News's editor-in-chief Bari Weiss will remain in her role. Yet as Paramount targets billions in cost cuts across the merged company, staff fear the consolidation will trigger significant job losses at CNN and CBS. Beyond potential workforce reductions, media advocates and legal experts remain deeply skeptical about whether it can ensure newsroom freedom. Seth Stern, chief of advocacy at Freedom of the Press Foundation, described the Paramount-appointed board as "worthless". "The board creates the same First Amendment problems it claims to solve, the government meddling in news," Stern said. Gilliam agrees paper promises mean little without real authority. "An oversight board only has as much power as the agreement gives it. Oversight without authority is just observation," she said.

Help us send you the right things We want to make sure the information we send is relevant and useful to you. To do that, we just need to know: Which part of the industry you work in? And your job role That’s it. It means we can share resources, events and support that match where you are in the industry - whether you're freelance, in-house, on set, or in an office. By updating your details, we can: Provide you with content tailored to your role and your interests in the industry Share upcoming events, workshops, and resources that matter most to you It takes less than a minute to update your details, but it makes a big difference to the information you’ll receive moving forward. Thanks for being part of our community. The Film and TV Charity Team P.S. If you have any questions or would prefer not to update your information, please don't hesitate to get in touch.

End long hours culture in film & TV “I cried at work from pure exhaustion, it was humiliating. I never see my family, I neglect most of my personal life to be able to keep up with the hours.”Anonymous Behind the glitzy image of film and TV is a workforce pushed to the limit. Workers are routinely asked to "break turnaround". A worker is considered to have ‘broken turnaround’ when they are required by their employer to return to work within less than 11 consecutive hours in each 24-hour period. This is in breach of workplace rights. Freelancers across the industry are routinely working 14-16 hour days, often with little rest, few breaks, and no meaningful increase in pay. Long hours culture is the norm. Bectu's Broken Turnaround survey revealed widespread breaches of basic turnaround times, alongside testimonies that expose a culture putting workers at risk. Despite years of promises, the industry has failed to act.Talk of work life balance means nothing without real change. Enough is enough. We are calling on the Producers Alliance for Cinema and Television (Pact) and the wider industry to: Enforce safe working hours and proper rest periods Guarantee regular, protected breaks Make overtime voluntary, not expected Apply premium penalty rates to minimise its use Commit to collective agreements that protect crew Sign this petition to demand safer, fairer working lives for everyone behind the camera. Why is this important? Long hours are dangerous. Fatigue leads to accidents, harms mental and physical health, and puts lives at risk on set. Enough is enough. SIGN THIS PETITION to demand safer, fairer working lives for everyone behind the camera. Why is this important? Long hours are dangerous. Fatigue leads to accidents, harms mental and physical health, and puts lives at risk on set. Enough is enough.

ROCHESTER, N.Y. April 10, 2026 Eastman Kodak Company today announced the availability of VERITA 200D 5206/7206, a new color negative motion picture film stock, which will be offered in 65mm, 35mm, and 16mm formats. Developed in close collaboration with writer, director and producer Sam Levinson and cinematographer Marcell Rév, HCA, ASC, VERITA 200D was commercialized in motion picture format to achieve a distinct visual aesthetic for the third season of HBO's original drama series Euphoria . The stock has also been selectively trade‑tested by cinematographers worldwide over several years. VERITA 200D delivers detailed highlights, high color saturation, deep blacks, and warm, natural skin tones. Compared with Kodak's VISION3 color negative films, it features a shorter yet exceptionally rich dynamic range for a more classical cinematic look. Levinson and Rév exposed more than one million feet of VERITA 200D in 35mm and 65mm formats during production of Euphoria Season 3, which premieres April 12, 2026 on HBO and HBO Max, and was shot entirely on KODAK film. The series is also the first television production to shoot significant volumes of large‑format 65mm film. "VERITA has the richness and density curve that reminds me of the golden age of color film, with the flexibility and latitude of modern negative stocks," said Rév. Additionally numerous commercials and music films utilized VERITA 200D in advance of its formal release as well as A24's upcoming The Death of Robin Hood , written and directed by Michael Sarnoski, starring Hugh Jackman, and lensed by Pat Scola, ASC. "In addition to recent advancements to VISION3 with a new anti‑halation undercoat film structure, the commercialization of VERITA 200D underscores Kodak's continued commitment to providing filmmakers with a variety of the highest‑quality creative tools possible," said Vanessa Bendetti, Vice President and Head of Motion Picture at Kodak. As a specialty motion picture stock, VERITA 200D 5206/7206 is available by request through a Kodak sales representative. For more information, visit kodak.com/go/verita . Download high resolution images .   About Kodak Kodak (NYSE: KODK) is a global manufacturer specializing in commercial print and advanced materials & chemicals. With 79,000 worldwide patents earned over 130 years of R&D, we believe in the power of technology and science to enhance what the world sees and creates. Our innovative, award-winning products, combined with our customer-first approach, make us the partner of choice for commercial printers worldwide. Kodak is committed to environmental stewardship, including industry leadership in developing sustainable solutions for print. For additional information on Kodak, visit us at  kodak.com , or follow us on  LinkedIn .

On Thursday 8 January 2026, GBCT members who are in the WhatsApp group were sent a poll asking, which of the following selection they would choose if they had to prioritise. The selections were: Will/Lasting Power of Attorney (LPA) Pension/Tax/Inheritance Of the majority of members who responded, 26 selected Pension/Tax/Inheritance. While 15 selected Will/Lasting Power of Attorney (LPA). While there is no right or wrong answer, here's some information which may help members make an informed choice about joining the forthcoming Lasting Power of Attorney/Advance Care Plan webinar on 20 January and the Wills/Funeral Planning webinar on 17 February The following answer was given by Economist and Financial TV presenter Martin Lewis on The Martin Lewis Money Show Live , broadcast on Channel 4, 06/01/26.   His response was 'Power of Attorney' Reason: 'If I were to lose my faculties, then I’ve nominated other people who can look out for my best interests - my finances, health and wellbeing' (Martin Lewis) A LPA needs to be completed while the person it's for has mental capacity. If you don’t have a Lasting Power of Attorney  in place and you had an accident tomorrow, were incapacitated, your faculties gone, or you suffered a severe stroke even as a young person (people think it’s only for old people, but it’s not) , then it's frankly a nightmare for your loved ones/friends, to go through all the processes required to access your finances and abide by your wishes. The lack of a LPA will result in friends/family having to apply to the Court of Protection to be appointed as your 'deputy'. This can be a lengthy and costly process and the last thing you need at a time of emotional upheaval. In the meantime, your friends/family may not be able to pay your mortgage, rent or bills. They won't be able to access your bank account unless they're a third party signatory or a joint account holder. Utility, internet providers and TV service providers, will often not speak to a friend/family member, unless there is a LPA. Family/friends may not be able to pay for any medical treatments for you or have a say about your wishes, if incapacitated. No Will - When someone dies without a will, their estate is divided up according to standard rules, known as intestacy law. As set out in the Inheritance and Trustees' Power Act 2014, the rules determine who inherits what, based on family connections. The rules don't take into account the closeness of your relationships, or who is most in need. Different rules apply in Scotland, so take a look at th e intestacy in Scotland section to find out more. DoLS: Depravation of Liberty Safeguards - each hospital trust has a social services team, who can take over the care of you or your loved ones, by applying DoLS. This is becoming more common. Social s ervices can stop those who are incapacitated from being able to return home, if they don't have a LPA. With a LPA, Social Services has to speak to the Attorney/s named on the LPA. The right to discharge yourself or for your loved ones to do so on your behalf, is removed without a LPA. Social Services can also move you or your loved ones to a hospital miles away from home based on bed capacity or medical services. This happens a lot, especially when a patient is not fit to look after themselves at home or their relatives don't have the capacity to look after them. When you're going through such an emotional event, the last thing you want to do is go to court to appeal this. Access to Utility companies: Any credit with utility or TV companies and internet providers, over £100, will not be refunded to your loved ones unless a Will is submitted with a death certificate. The above is not to scare you, but to get you to understand the importance of having a Lasting Power of Attorney (LPA), Advance Care Plan, Will and Funeral Planning. Once these are done, they are a form of insurance! Signing up for both is not required. However, it may not be possible to run the same webinars at such a low cost in future. The GBCT is covering the majority of the cost of these two invaluable webinars (see dates below). Only 1 person has registered to-date. If members do not register for these webinars, then they will have to be cancelled, as these are interactive sessions. Tuesday 20 January, 7-8:30pm: Lasting Power of Attorney & Advance Care Plan (deadline to register: Wednesday 14 January) Tuesday 17 February, 7-8:30pm: Will and Funeral Planning (deadline to register: Tuesday 10 February) The cost for each webinar is £25 The cost of registering a LPA is also FREE for some, depending on circumstances. Don't leave it too late!

"Tulsa King" & "Boardwalk Empire" Star Vincent Piazza on Season 3, His Acting Journey, & More In this episode, we welcome Vincent Piazza . Vincent stars in “Tulsa King,” and is also known for his lead role as Lucky Luciano in “Boardwalk Empire.” In our chat, we hear about his NYC roots, education, career path, and approach to his character in “Tulsa King.” In addition, Vincent offers insights and recommendations for actors and emerging filmmakers today. Kira Kelly ASC on Crafting the Jordan Peele Thriller "Him," Cinematography Insights, & More In this episode, we welcome cinematographer Kira Kelly, ASC . Kira has shot projects including Him , 13th , “The Red Line,” “Queen Sugar,” and Rez Ball . In our chat, she shares about her formative years, filmmaking education, and work on the new Jordan Peele-produced movie, Him . Kira also offers extensive cinematography insights and practical advice for emerging filmmakers and industry pros everywhere. "Last Days" Director Justin Lin on the Making of the Film, Returning to his Indie Roots, & More In this episode, we welcome Justin Lin . Justin is a producer and director with a resume that includes Better Luck Tomorrow , Fast & Furious , Star Trek Beyond, “True Detective,” “Magnum P.I.,” Annapolis , The Fast & the Furious: Tokyo Drift , Fast Five, Fast & Furious 6, F9: The Fast Saga , Fast X , and Last Days  — his return to indie filmmaking. In our chat, he shares about his formative years, his pathway into directing, and the making of Last Days . He also offers practical recommendations for today’s up-and-coming independent filmmakers. Source: "The Making Of" explores the creative pros behind the most innovative films & TV shows in recent history

About ProdPro ProdPro is the leading production intelligence platform for the TV and film industry. Our proprietary data helps crew, vendors, and studios stay ahead of what’s filming, where, and who’s hiring. We’re trusted by major industry players like Sony, ARRI, and MBS Equipment Co., and our insights have been featured in The Wall Street Journal, the BBC, Bloomberg, The Hollywood Reporter, and more. About ProdPro Network ProdPro Network is a new platform designed to help crew discover and connect with upcoming film and TV productions. Members can track projects in active development or prep, follow key producers and department heads, and send resumes directly to productions they’re interested in. With mobile and web access, it’s a powerful tool for staying visible and getting hired – trusted by working crew and offered at a discounted rate to participating professional associations. Date: Tuesday 2 December Time: 7-8pm Online: via zoom (link will be sent to members closer to the date, once they register) Register to receive the Zoom link c/o the Events tab on the website, prior to the event. *This event is only for GBCT members

When : Thursday, November 13 18:00 – 21:30 Where : Cooke Optics, 39 Newman Street, London, W1T 1QB Cooke Optics announces C O L O U R , a curated exhibition exploring the intricate role that colour can play in life and on screen. Here, you will find films and explainers presented chronologically,  where colour becomes a character in its own right, expanding beyond the technical to reveal how it’s a powerful storytelling tool, an emotional guide, and a vehicle for meaning. Every hue, every shade, and every contrast within a film can be carefully chosen to craft a particular mood, evoke specific emotions, or symbolise deeper themes. The exhibition also aims to inspire people to consider colour in their own work, highlighting the attainability of its power regardless of equipment or budget. From the late 19th century to present digital palettes, COLOUR traces the transformative power of colour as a storytelling language. Highlights include the dreamlike beginnings of A Trip to the Moon  (1902) and The Cabinet of Dr. Caligari ( 1920); the Technicolor splendour of The Wizard of Oz  (1939) and Powell & Pressburger’s Black Narcissus (1947); the modernist palettes of T he Umbrellas of Cherbourg  (1964) and Don’t Look Now (1973); the iconic visual worlds shaped by Vittorio Storaro in Apocalypse Now  (1979) and The Last Emperor ( 1987); and the contemporary emotional storytelling of In the Mood for Love  (2000) by Christopher Doyle and Ping Bin Lee, O Brother, Where Art Thou?  (2000) by Sir Roger Deakins, and Portrait of a Lady on Fire  (2019) by Claire Mathon. Towards the end of the exhibition, a series of featurettes offers a deeper dive into the history and craft of colour in film, from the bias toward lighter skin tones in early colour processes to the groundbreaking Digital Intermediate (DI) techniques used by the Coen Brothers on O Brother, Where Art Thou? .  Commenting on the exhibition,  Danny Haikin, Chief Commercial Officer at Cooke Optics , said: “We hope our new exhibition inspires cinematographers, directors, and artists of all kinds to reflect on the role of colour in their own work. In a world of ever-evolving technology, it’s easy for the simplest techniques to be overshadowed. Our exhibition serves as a reminder of colour's potency and emotional depth, celebrating the innovators whose breakthroughs brought colour technologies to where they are today." For decades Cooke lenses have supported cinematographers in collaborative visual storytelling. The use of colour in film encompasses many practitioners.  C O L O U R continues this tradition by opening the Cooke Gallery as a space that welcomes multidisciplinary creatives and communities — from cinematographers and directors to production and costume designers, colourists, and visual artists.   The exhibition celebrates how their shared vision shapes the emotional language of colour and the stories we bring to life on screen.