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This paper describes a project that aims to come up with a suggestion for guide-lines and new work- flow models concerning the demand of tailored content that influence every design process of moving images as well as the distribution of creative decisions within contemporary production organizations in the audio-visual industry. In this context we define creativity as the social and psychological process that enable people to generate new ideas and concepts or to come up with new associations between existing ideas and concepts. From a theoretical perspective, the purpose of this paper is to discuss new design processes and workflows in the production of moving images in order to establish a general comprehension describing contemporary digital production chains for moving images. A purpose of the project is to find and analyze the weak and problematic links of the production chain, in order to suggest a solution for the problems, namely a flexible workflow model for the production of moving images. By flexibility we mean an ability to adapt to new challenges and changes, both external and internal. We have recently initiated this unique collaborative research project that focuses on how small and mid-sized audio-visual production enterprises in Sweden have developed and are developing new design processes due to a number of recent socio-economic and technological challenges. For the first time a number of the front-line production companies in Sweden participates in a scientific research project on common issues. Research questions to be addressed: - Has digitalization of film/TV production increased the flexibility and responsiveness of the production system? - Does this lead to more diffuse or better-defined work-roles among individual film/TV-workers? - Do new workflows and the distribution of creativity lead to an actual decentralization of creative decisions and responsibility in the design process of moving images?

Production of moving images is turning completely digital. This leads to new possibilities and new constraints for creativity within film and TV production chains.

This paper describes professionals’ current comprehension of the consequences of the shift from celluloid to digital technologies, within the Swedish Moving Image Industry. New technologies bring new workflows, new design processes and new constraints.

We aim to illuminate factors that affect design creativity in digital moving image production, by addressing questions about production related responses to the digital turn as well as the affects of such responses on creativity.

Inspired by Ingar Brinck’s creativity theories (1999, 2007) we view aesthetic problem solving as a cognitive process and suggest creative spaces to be the critical phenomenon to manage. We also use organization theories, particularly the work of Katherine Miller (2011) to explain why creativity ought to be a primary management concern.

The empirical material used is semi-structured interviews with management personnel in Swedish moving image production companies. Outcomes include that the variety of digital formats available today is hard for crafts people to overview. This has brought costly workflow constraints that largely limit creativity.

We suggest a pre-production file format check-list as a tool to support design management.

The purpose of this paper is to clarify major issues in production planning and collaboration in the making of assemblies of moving images and soundtracks (postproduction of film, TV-programs et cetera). We argue that worker creativity in the making of such assemblies is constrained by the digitalization of production technology. We also argue that the members of each craft that collaborate in the process have their own set of aesthetic and technical problems that need to be solved and that the possible solutions are constrained by the creative space accorded to each craft. Participants do not necessarily subscribe to this idea and any theoretical understanding of the process must also account for the variety of notions put forward by the agents. We give examples from the Swedish TV show, Värsta Språket, from interviews and technical writing in order to clarify and support these arguments.