While it’s no easy task producing movies anywhere in the world, making them in Nigeria remains an especially different prospect. The myriad structural and systemic problems producers and other players in the craft have to grapple with, somehow, continues to coexist with the reality that Nollywood remains one of the largest film industries in the world. It’s indeed a testament to the durability and tenacity of Nigerian producers who, despite the odds, continue to churn out quality. One of the many fighters against the tide is Isioma Osaje, a producer who has managed the rare feat of being involved in different capacities in nearly all the highest grossing Nollywood films in the past decade. Familiar titles include, The Set Up, Your Excellency, Up North, New Money, Castle & Castle and much more. Consistency has been said to be the ability to be dependable, durable and reliable with already acquired skills.…
Dolapo Amusat is a data scientist and a self-styled hip hop connoisseur at the intersection of technology and creativity. Currently leading the popular online music community “WeTalkSound” community, he is also the creative director at WTXtra. He sat down with Filmkaku and offered a treasure trove on data science and what creatives should know:
- Artists must understand how to analyse and use data.
- Social media is a great tool for storytellers
- Avoid missing lurking variables
- Film reviews data is important
Read the full interview:
Filmkaku (FK): How did you get into data science?
Dolapo Amusat (DA): First off, I dabbled into music and entertainment before getting into data science. I run a music community called We talk sound and a creative agency called We Talk Xtra. So I started using data for music, through digital marketing. This is basically about aggregating platforms that allow you advertise to people on the internet, targeting consumers using demographics and stuff basically. That’s how I got into that. Right now, we are looking at digitalization in music. As you know, music and general media consumption has almost completely shifted from analogue to digital so we study how these changes affect consumer behaviour and try to create and sustain engagement with consumers on our content.
So I’m always asking questions like what kind of music are people listening to, where, what platforms are they using and using all these data to make informed decisions, for ourselves and for clients.
FK: How artists should approach data?
DA: Artists should realize that their careers are on the line and should do the most to understand how data works. The mindset should be ownership. Even if you can’t understand the mathematical or statistical jargon, try to get the layman idea of how to use data sets
FK: How you used data on the LOFN project?
DA: So in the creation process, while we were selecting songs for the collection, we used both the quality of the music and also some data to make the selections. For example we looked at the social media engagement of the artists. It wasn’t the ultimate factor but it helped us to decide when we were stuck on two songs. This same concept can work in casting especially for popular market films.
Competence is supreme but metrics like high social media engagement and following can help to solidify choices going forward. The selection of the day the project dropped was data driven. We were aware that web searches for love songs and related content would tick at the period we dropped it. This calculated approach to release has also been utilized in film with releases tied to holidays or events.
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