I’m in Hollywood

Compared with the huge monotonous studio and the busy administrative area, the digital office in Firefly Studios, mainly constructed of glass and steel structure, is undoubtedly the most comfortable place. Several buildings side by side like works of art are hidden in the greenery. Between the trees and vines, it is like a small world in a studio.

Of course, as one of the core departments of Firefly Group, not just anyone can enter the digital field office area.

Under the leadership of Caroline, Tom Freston was able to come to the second floor of an office.

Along the way, Tom Freston looked around secretly.

However, it is not the exquisite decoration and special effects movie models everywhere in the office that really attracts Tom Freston, but the company itself in the digital realm.

As one of two co-presidents of Viacom Group, who also oversees the company's film and entertainment business, Tom Freston knows all about the digital world.

The Light and Shadow Era special effects company established by Warner, Paramount and Universal has planned to imitate the digital field from the very beginning, but after more than half a year, the executives of the three companies basically have to admit that it is difficult to catch up with the digital field. more difficult.

The company of the Firefly system has been laying out special effects since eight years ago. For eight years, it can be said to be deeply ingrained in Hollywood.

If you want to catch up in the light and shadow era, traditionally, the most convenient means is undoubtedly to poach people from the digital field.

But this model is not feasible now, because even if the light and shadow era digs the technical talents of the other party from the digital field, they cannot get the company's professional special effects software. The core special effects software in the digital field has even stopped selling now, and instead uses a rental license model to cooperate with other small and medium-sized special effects companies.

The era of light and shadow is naturally impossible to be within the scope of the authorized list in the digital field.

Unable to obtain software authorization in the digital field, Light and Shadow Era began to develop exclusive special effects software in cooperation with Autodesk, an old-fashioned graphics software manufacturer.

Because Autodesk was not optimistic about the prospects of special effects, it refused to cooperate with the digital field in software development. Now, in order to make up for the original decision-making mistakes, it has spared no effort to invest in related software development. But the gap in technology accumulation over eight years is definitely not something that can be caught up overnight.

Moreover, even if Autodesk strives for a few years to catch up with the digital field in software technology, it will certainly not be able to easily break the strong chain of interests that the Firefly system has established in the Hollywood special effects industry.

You must know that the same movie, even if it does not use some top-level special effects technologies unique to the digital field, is just a popular ordinary lens. Compared with other peers, special effects companies that use software and technical support in the digital field often have a cost-effectiveness. All-round advantage.

Therefore, it is difficult for other Hollywood studios to decisively wean themselves off the digital realm and its affiliated special effects companies, even if they understand that there is a risk of being caught by the Firefly system at any time.

Mr. Freston, Eric still needs about ten minutes, please wait a moment.

Caroline took Tom Freston to the lounge on the second floor, explained a few words politely, and instructed the staff to prepare coffee for the other party before turning around and leaving.

After three days of waiting, Tom Freston didn't mind the last ten minutes. He thanked the digital staff who brought him coffee, and sat at the table to quickly sort out how to deal with Eric next. Williams, breathed a sigh of relief after a moment.

Looking around again, he got up and grabbed a copy of yesterday's Hollywood Reporter from the bookshelf next to him, intending to kill the last few minutes.

The headline of the newspaper in his hand happens to be the eye-catching Iron Man box office number.

Compared with the huge monotonous studio and the busy administrative area, the digital office in Firefly Studios, mainly constructed of glass and steel structure, is undoubtedly the most comfortable place. Several buildings side by side like works of art are hidden in the greenery. among the vines,

It's like a small world in a studio.

Of course, as one of the core departments of Firefly Group, not just anyone can enter the digital field office area.

Under the leadership of Caroline, Tom Freston was able to come to the second floor of an office.

Along the way, Tom Freston looked around secretly.

However, it is not the exquisite decoration and special effects movie models everywhere in the office that really attracts Tom Freston, but the company itself in the digital realm.

As one of two co-presidents of Viacom Group, who also oversees the company's film and entertainment business, Tom Freston knows all about the digital world.

The Light and Shadow Era special effects company established by Warner, Paramount and Universal has planned to imitate the digital field from the very beginning, but after more than half a year, the executives of the three companies basically have to admit that it is difficult to catch up with the digital field. more difficult.

The company of the Firefly system has been laying out special effects since eight years ago. For eight years, it can be said to be deeply ingrained in Hollywood.

If you want to catch up in the light and shadow era, traditionally, the most convenient means is undoubtedly to poach people from the digital field.

But this model is not feasible now, because even if the light and shadow era digs the technical talents of the other party from the digital field, they cannot get the company's professional special effects software. The core special effects software in the digital field has even stopped selling now, and instead uses a rental license model to cooperate with other small and medium-sized special effects companies.

The era of light and shadow is naturally impossible to be within the scope of the authorized list in the digital field.

Unable to obtain software authorization in the digital field, Light and Shadow Era began to develop exclusive special effects software in cooperation with Autodesk, an old-fashioned graphics software manufacturer.

Because Autodesk was not optimistic about the prospects of special effects, it refused to cooperate with the digital field in software development. Now, in order to make up for the original decision-making mistakes, it has spared no effort to invest in related software development. But the gap in technology accumulation over eight years is definitely not something that can be caught up overnight.

Moreover, even if Autodesk strives for a few years to catch up with the digital field in software technology, it will certainly not be able to easily break the strong chain of interests that the Firefly system has established in the Hollywood special effects industry.

You must know that the same movie, even if it does not use some top-level special effects technologies unique to the digital field, is just a popular ordinary lens. Compared with other peers, special effects companies that use software and technical support in the digital field often have a cost-effectiveness. All-round advantage.

Therefore, it is difficult for other Hollywood studios to decisively wean themselves off the digital realm and its affiliated special effects companies, even if they understand that there is a risk of being caught by the Firefly system at any time.

Mr. Freston, Eric still needs about ten minutes, please wait a moment.

Caroline took Tom Freston to the lounge on the second floor, explained a few words politely, and instructed the staff to prepare coffee for the other party before turning around and leaving.

After three days of waiting, Tom Freston didn't mind the last ten minutes. He thanked the digital staff who brought him coffee, and sat at the table to quickly sort out how to deal with Eric next. Williams, breathed a sigh of relief after a moment.

Looking around again, he got up and grabbed a copy of yesterday's Hollywood Reporter from the bookshelf next to him, intending to kill the last few minutes.

The headline of the newspaper in his hand happens to be the eye-catching Iron Man box office number.

Compared with the huge monotonous studio and the busy administrative area, the digital office in Firefly Studios, mainly constructed of glass and steel structure, is undoubtedly the most comfortable place. Several buildings side by side like works of art are hidden in the greenery. Between the trees and vines, it is like a small world in a studio.

Of course, as one of the core departments of Firefly Group, not just anyone can enter the digital field office area.

Under the leadership of Caroline, Tom Freston was able to come to the second floor of an office.

Along the way, Tom Freston looked around secretly.

However, it is not the exquisite decoration and special effects movie models everywhere in the office that really attracts Tom Freston, but the company itself in the digital realm.

As one of two co-presidents of Viacom Group, who also oversees the company's film and entertainment business, Tom Freston knows all about the digital world.

The Light and Shadow Era special effects company established by Warner, Paramount and Universal has planned to imitate the digital field from the very beginning, but after more than half a year, the executives of the three companies basically have to admit that it is difficult to catch up with the digital field. more difficult.

The company of the Firefly system has been laying out special effects since eight years ago. For eight years, it can be said to be deeply ingrained in Hollywood.

If you want to catch up in the light and shadow era, traditionally, the most convenient means is undoubtedly to poach people from the digital field.

But this model is not feasible now, because even if the light and shadow era digs the technical talents of the other party from the digital field, they cannot get the company's professional special effects software. The core special effects software in the digital field has even stopped selling now, and instead uses a rental license model to cooperate with other small and medium-sized special effects companies.

The era of light and shadow is naturally impossible to be within the scope of the authorized list in the digital field.

Unable to obtain software authorization in the digital field, Light and Shadow Era began to develop exclusive special effects software in cooperation with Autodesk, an old-fashioned graphics software manufacturer.

Because Autodesk was not optimistic about the prospects of special effects, it refused to cooperate with the digital field in software development. Now, in order to make up for the original decision-making mistakes, it has spared no effort to invest in related software development. But the gap in technology accumulation over eight years is definitely not something that can be caught up overnight.

Moreover, even if Autodesk strives for a few years to catch up with the digital field in software technology, it will certainly not be able to easily break the strong chain of interests that the Firefly system has established in the Hollywood special effects industry.

You must know that the same movie, even if it does not use some top-level special effects technologies unique to the digital field, is just a popular ordinary lens. Compared with other peers, special effects companies that use software and technical support in the digital field often have a cost-effectiveness. All-round advantage.

Therefore, it is difficult for other Hollywood studios to decisively wean themselves off the digital realm and its affiliated special effects companies, even if they understand that there is a risk of being caught by the Firefly system at any time.

Mr. Freston, Eric still needs about ten minutes, please wait a moment.

Caroline took Tom Freston to the lounge on the second floor, explained a few words politely, and instructed the staff to prepare coffee for the other party before turning around and leaving.

After three days of waiting, Tom Freston didn't mind the last ten minutes. He thanked the digital staff who brought him coffee, and sat at the table to quickly sort out how to deal with Eric next. Williams, breathed a sigh of relief after a moment.

Looking around again, he got up and grabbed a copy of yesterday's Hollywood Reporter from the bookshelf next to him, intending to kill the last few minutes.

The headline of the newspaper in his hand happens to be the eye-catching Iron Man box office number.

Compared with the huge monotonous studio and the busy administrative area, the digital office in Firefly Studios, mainly constructed of glass and steel structure, is undoubtedly the most comfortable place. Several buildings side by side like works of art are hidden in the greenery. Between the trees and vines, it is like a small world in a studio.

Of course, as one of the core departments of Firefly Group, not everyone can enter the digital field office area.

Under the leadership of Caroline, Tom Freston was able to come to the second floor of an office.

Along the way, Tom Freston looked around secretly.

However, it is not the exquisite decoration and special effects movie models everywhere in the office that really attracts Tom Freston, but the company itself in the digital realm.

As one of two co-presidents of Viacom Group, who also oversees the company's film and entertainment business, Tom Freston knows all about the digital world.

The Light and Shadow Era special effects company established by Warner, Paramount and Universal has planned to imitate the digital field from the very beginning, but after more than half a year, the executives of the three companies basically have to admit that it is difficult to catch up with the digital field. more difficult.

The company of the Firefly system has been laying out special effects since eight years ago. For eight years, it can be said to be deeply ingrained in Hollywood.

If you want to catch up in the light and shadow era, traditionally, the most convenient means is undoubtedly to poach people from the digital field.

But this model is not feasible now, because even if the light and shadow era digs the technical talents of the other party from the digital field, they cannot get the company's professional special effects software. The core special effects software in the digital field has even stopped selling now, and instead uses a rental license model to cooperate with other small and medium-sized special effects companies.

The era of light and shadow is naturally impossible to be within the scope of the authorized list in the digital field.

Because Autodesk was not optimistic about the prospects of special effects, it refused to cooperate with the digital field in software development. Now, in order to make up for the original decision-making mistakes, it has spared no effort to invest in related software development. But the gap in technology accumulation over eight years is definitely not something that can be caught up overnight.