The Master of Arts Screen: Business is a transformative program designed to prepare the next generation of screen industry leaders. The program focuses on business growth and the adoption of cutting-edge technologies and equips students with the skills to navigate a rapidly evolving screen sector.
Each year, the program offers students an opportunity to engage with Asia-Pacific industry leaders through an international business case study. This year, students travelled to Singapore to gain insights into the intersection of business, culture, and innovation in the screen industry.
Current student Sarah Goodes shared her perspective on the trip, highlighting the blend of learning, collaboration, and exploration that defined the journey.
The group was greeted in Singapore by AFTRS Program Convenor MASB Peter Herbert and AFTRS Discipline Lead Creative Projects, Dr Pieter Aquilia, whose deep knowledge of the international market spearheaded the week of connections with a visit to Studio ULU, a leader in high-end visual effects (VFX) and 3D asset development.
Founder and Creative Director Michal Kriukow shared his thoughts on how AI is changing the industry and how his company is adopting cloud-based workflows. Michal has worked at Animal Logic in Australia, and ILM in Singapore, and he talked about the challenges of keeping high standards while dealing with the rapid changes in technology.
“Michal aims to move all his work to the cloud eventually. His company produces work of the highest standard to deadline remotely and can offer clients the highest level of security for their IP. Fascinating discussion about how to navigate a company like this through a period of profound transition.” – said Sarah.
Tuesday came in full swing with deep dive into industry insights. Vani Tripathi, director of the International Indian Film Festival. This year Australia is on focus at the festival, honouring AFTRS alum and acclaimed director Phillip Noyce, who was awarded the Satyajit Ray Lifetime Achievement award, with a retrospective of his work, including Clear and Present Danger, Catch a Fire, The Quiet American, and Australian films Newsfront and Backroads.
“Vani Tripathi was a total inspiration with her background: an exciting intersection between theatre, education, acting and the international film market. A storyteller of the highest order who knows a good story when she hears one and knows how to tell a good one, too!” – said Sarah.
Sarah expressed excitement about the newly signed co-production treaty between Australia and India, which will open doors for collaboration in film, television, gaming, and animation.
“Vani explained that the treaty is not “sticky on details.” The projects just have to connect culturally to both countries. It doesn’t have to be set in India, but it needs to bring cultural narratives together,” said Sarah.
Managing Partner of Goldfinch, Justin Deimen, a global-minded creative producer and a holistic systems-led entrepreneur, provided insights on the future of media funding and how to build scalable and impactful partnerships across the screen and media ecosystem.
“Knowing which way the wind is blowing, tracking the value chain of IP, knowing what is on trend and who to match with who in a market, has led Justin from one exciting project to the next.” – said Sarah.
Justin’s expertise in show business and his facilitation of a pipeline of content and productions informs his thoughts on the attention economy and how content might move away from a subscription model to a token-based consumption model, emphasising the rise of brand-driven content.
“The future of content, Justin believes, is brand-funded content. If you don’t have a brand associated with a project, think there is something wrong with it.” – said Sarah.
Michael Lim, director of Animation Nation, shared his views on how storytelling helps shape social and cultural identity and emphasised the need for better support for new talent in Singapore’s media industry.
As the trip progressed to Wednesday, experiences kept adding up with sessions with industry leaders at Warner Bros. Discovery and the Intercultural Theatre Institute, offering a holistic view of the region’s creative industries.
Director, Asia Pacific, Government Affairs & Public Policy at Warner Bros. Discovery Esther Peh talked about the importance of talented crew and show runners to enable production of high-quality works within each country production incentives, giving an example of White Lotus 3 being shot in Thailand. Warner Brothers Discovery in Southeast Asia includes 70 countries and Network Distribution, Theatrical Distribution, Content Licensing, Consumer Products, Themes experiences, Games and Productions.
The Business Challenge concluded with students presenting their insights and strategies for Studio ULU, showcasing how innovation is essential to navigate disruption in the VFX industry.
Reflecting on the trip, Sarah emphasised the invaluable nature of learning on the ground, connecting with industry professionals, and collaborating with peers.
“Learning about a city’s cultural, economic, and political fabric on the ground is invaluable,” she noted. “Collaborating on the business challenge taught us how to work through differences and forge a collective vision—key skills for any screen industry leader.”
The Master of Arts Screen: Business blends rigorous research, practical workshops, and real-world learning opportunities. The program equips its graduates to lead with confidence and creativity through strategic and critical thinking in a screen sector undergoing profound transformation.
If you’re ready to redefine the future of screen leadership, learn more about the Master of Arts Screen: Business.
