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The lens will also be quite lightweight and durable, weighing in at less  ...
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<rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:media="http://search.yahoo.com/mrss/"><channel><title>No Film School</title><link>https://nofilmschool.com/</link><description>No Film School</description><atom:link href="https://nofilmschool.com/feeds/feed.rss" rel="self"></atom:link><language>en-us</language><lastBuildDate>Fri, 17 Oct 2025 21:30:04 -0000</lastBuildDate><image><url>https://nofilmschool.com/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8zNDM0MjQxMy9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTgyMDgzOTgwNH0.u-sBkyo6tpbvwDanVFUL9xe3a7mAJHIJhzpHhRIvZVY/image.png?width=210</url><link>https://nofilmschool.com/</link><title>No Film School</title></image><item><title>Andrew Gordon Macpherson on Creating a New “Ambient Metal” Music Subgenre for Hulu’s 'Into the Void'</title><link>https://nofilmschool.com/andrew-gordon-macpherson-composer</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/andrew-gordon-macpherson-ambient-metal-music.jpg?id=61689473&width=1245&height=700&coordinates=0%2C332%2C0%2C115"/> Scoring Hulu’s Into the Void presented a unique challenge for composer <a href="https://angomusic.com/home" rel="noopener noreferrer" target="_blank">Andrew Gordon Macpherson</a>: how to capture the raw intensity and cultural significance of metal legends like Randy Rhoads, Dimebag Darrell, Judas Priest, and Black Sabbath while supporting the emotional storytelling of the series.Drawing from his own experience as a metal fan and musician, Macpherson crafted a score that blends live guitars, bass, drums, upright piano, and unconventional percussion with orchestral and electronic elements. His approach—what he calls “Ambient Metal”—translates the genre’s sonic DNA into cinematic textures, using manipulated feedback, sequenced synths, and pitch-shifted glides to create moments that thrash, roar, and at times, convey tenderness, mystery, or humor.Through meticulous attention to each artist’s personality and legacy, Macpherson’s music pays tribute without imitation, building a sonic world that moves with the narrative. In the conversation below, Macpherson discusses his creative process for Into the Void.All eight episodes of Into the Void are now available on Hulu. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/jsDrVXaNvW0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=jsDrVXaNvW0&embeds_referring_euri=https%3A%2F%2Fmail.google.com%2F&embeds_referring_origin=https%3A%2F%2Fmail.google.com&source_ve_path=MjM4NTE" target="_blank">www.youtube.com</a><hr/>No Film School: Into the Void explores the legends of heavy metal. What was your initial vision for how the score should capture both the raw power and the cultural significance of the genre?Andrew Gordon Macpherson: I can admit I was nervous to create music worthy of helping tell the stories of musical gods like Randy Rhoads/Ozzy, Dimebag Darrell, Judas Priest, and more. I ultimately just had to find a way to hold the power of Heavy Metal with the emotional complexity of the stories and interviewees; So the score needed to thrash and roar when the moment demanded, but also open up and make space for tenderness, danger, mystery, or even humor. That solution didn’t come from trying to “out-metal” metal or “shred like Dime.” It came from writing in a way that felt authentic to metal fans (fans like me, Evan, and Jason). The last thing we wanted was a watered-down imitation of the songs that already define the genre. The score had to feel like it belonged, as if it was forged in the same fire of influence, and honestly, it was! I was a huge Sabbath, Pantera, and Deftones fan from when I first picked up the guitar, so maybe the metal was in me all along.NFS: Jason Eisener is one of the producers of Into the Void. You have collaborated with him on numerous projects, including Dark Side of the Ring and Kids vs. Aliens. Did you get connected to the project through him? Did he have any musical advice for the show?AGM: Jason Eisener and Evan Husney (creators of Dark Side of the Ring) graciously brought me along again for Into the Void. We’ve been dreaming and brainstorming for years about adapting the style of DSOTR to the stories that fascinated and haunted us from the world of music, especially heavy metal. The style of the score was a collaboration between all three of us and required some back and forth to find the right balance of cinematic/metal/emotion/dreaminess and space for dialogue and the needle drops. I feel lucky to be a part of their team in making some of the greatest documentaries ever about Pro Wrestling and now Heavy Metal and I’m using all of my newfound subliminal messaging and back-masking powers to manipulate the world into letting us do these forever :).NFS: Did you draw directly from the sonic palette of classic heavy metal bands, or did you aim for a more cinematic reimagining of their energy?AGM: Metal has an unmistakable sonic DNA — downtuned guitar chugs, the screams, the blast beats, the eerie horror interludes. It would’ve been easy to just mimic those sounds, but I think if I did that, it would feel like a strange cover band, not a score. In my head, I was eventually trying to create a new subgenre: “Ambient Metal.”So the goal became translation, not imitation. For instance, I’d take swelling guitar feedback and manipulate it into arrangements where you’d normally hear orchestral strings, or I’d adapt metal rhythms into sequenced synth noise and percussive sound design. Suddenly, the grind and chug of metal was there — but it had space, atmosphere, and room for the story. My ambition was to open some new ways of hearing the genre inside a cinematic frame, and I think, at times, we got there.NFS: How did you balance paying tribute to the roots of metal while creating something uniquely your own?AGM: I did get very nerdy about recreating guitar sounds by Randy Rhoads, Dimebag Darrell, Judas Priest, and Black Sabbath. I don’t need an excuse to buy more guitar pedals, so I bought a lot for this. I even bought a replica of the Van Halen bumblebee guitar that was put in Dimebag’s casket and used in the re-enactment footage. Once I got as close as possible to those sounds, I tried to use the colours without just making cheap imitations of those artists, so they’re subliminally present in the orchestra, but hopefully serving something unique.NFS: Did you incorporate live guitars, bass, and drums, or did you blend those with orchestral and electronic elements?AGM: All of the above, as well as upright piano and lots of percussion stuff like brass, chunks of metal, sound design samples. Whatever was needed to elevate the story. I mainly sketched out the music on my Geddy Lee Bass and these “guitar feedback string sections” I talked about, and supplemented with anything and everything else.NFS: Were there particular metal subgenres—doom, thrash, black metal—that influenced different moments of the score?AGM: It’s a melting pot. I’ve definitely been in my “doom days” since I did Tales From The Territories because I bought a ton of vintage fuzz pedals for that project, and owning a SuperFuzz made me fall in love with guitar all over again. Even on the last couple of seasons of Dark Side of the Ring, I was finding places where a little vintage drum groove and some downtuned fuzz could be really “tough” with the right sequences. Also, horror film music comes into the influence, partially because I love it, but also, every metal fan I know is a huge horror fan. So there’s a bit of Giallo film music vibes in the Ann Boleyn episode and slasher-ish stuff throughout.NFS: How did you use music to reflect the personalities and legacies of the metal icons featured in the series?AGM: Randy Rhoads loved classical music and guitar, so I brought some of that to his episode. Pantera are the Cowboys from Hell/From Texas/Love Lynyrd Skynyrd, so there’s a bit of that influence in their episode; IE slide guitar-esque whammy pedal parts and organs. There’s punk rock and Musique concrète influence in the Wendy O. Williams episode. The Confess and the Judas Priest episodes both have political elements to the stories, so there’s a nod to cable news bumper music/investigative journalism docs. Obviously, I just try to absorb whatever the story needs and help bring it all into a coherent musical design that transports people somewhere that feels like “Into the Void.” <img alt="" class="rm-shortcode" data-rm-shortcode-id="220d6f6f9ebf6e70fbb6bcdef0848b57" data-rm-shortcode-name="rebelmouse-image" id="03b67" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61689476&width=980"/>NFS: Was there a particular episode or legend that challenged you the most musically?AGM: As a teenager, one wall in my room was covered with Dimebag Darrell (Pantera Guitarist) posters, so I wanted to do something special to pay homage to him. I had an idea to write a string arrangement but have it played on guitars with Whammy Pedals (a pitch-shifting digital guitar pedal that he may be one of the most visible users of). I used MIDI to precisely create long glides between notes so the harmonies would be a bit otherworldly and also evoke slide guitar. Figuring that all out and getting it recorded was the biggest challenge, but I think it’s cool and unique.NFS: Heavy metal has always been about rebellion, passion, and community—how did you try to bring those themes into your music?AGM: I definitely brought the passion for the subject matter and the filmmakers’ work while trying to be mindful of the community and what their expectations could be.NFS: How has this project influenced the way you think about genre scoring and the relationship between popular music traditions and film/TV composition?AGM: Working on this project really made me reckon with creating something unique inside of a world with an established musical identity. Even more so, though, it’s made me double down on the concept of “creating motion” musically as a composer on the films I score. Instead of just asking, ‘What genre does this need to sound like?’ I’m also asking, ‘What is the story doing right now — is it marching forward or strutting, are we stretching or diving, chasing or fleeing?’The last time I spoke to No Film School, I said that I don’t think writer’s block exists, and in hindsight, I should maybe say that writer’s block is curable with a more robust creative process. I have a 16 Verb framework for story scoring that I use. It’s a tool I use where I draw from 16 transitive verbs — eight active and eight reactive — as “musical prompts.” These verbs give me a way to instantly tap into what I need to focus on to translate story beats directly into musical decisions.For me, that bridges music theory and production techniques with cinematic and storytelling demands — because whether you’re scoring with a metal riff, a jazz progression, or an electronic texture, the underlying verb keeps the score aligned with the narrative’s motion. It’s a framework I’m developing continuously, but these 16 verbs are all I need to “prompt” myself to write almost anything for drama, horror, comedy, cartoon stories and more and I’ve found my filmmakers respond to it because it helps them with clarity and pace and excitement while also making music editing decisions quick; When we need to repurpose a piece of music from the series, I just recognize what type of motion we need and pull from when I’ve used that “motion” in what I’ve established previously. That’s been the epiphany to my own musical productivity and key to my “success” or at least ability to deliver impactful music that sticks to picture!]]></description><pubDate>Fri, 17 Oct 2025 21:30:04 +0000</pubDate><guid>https://nofilmschool.com/andrew-gordon-macpherson-composer</guid><category>Andrew gordon macpherson</category><category>Into the void</category><category>Composer</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/andrew-gordon-macpherson-ambient-metal-music.jpg?id=61689473&width=980"></media:content></item><item><title>The 'Last Action Hero' Made Arnold Schwarzenegger Cry</title><link>https://nofilmschool.com/last-action-hero-arnold-cry</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/what-did-arnold-schwarzenegger-learn-from-last-action-hero.jpg?id=61774413&width=1245&height=700&coordinates=116%2C0%2C116%2C0"/> One of the coolest docs on Netflix that I feel like no one talked about is Arnold, which follows the life and career of Arnold Schwarzenegger. I found tracking how a bodybuilder from Austria became the biggest movie star in the world to be fascinating. But after he became the Terminator, there was no looking back. Throughout the late '80s and early '90s, he was an unstoppable force, with hit after hit cementing his status as the world's biggest action star. Still, when your star rises that high, it also has a lot of room to fall. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/x2AEI26LBpA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube <a href="https://www.youtube.com/watch?v=x2AEI26LBpA" target="_blank">www.youtube.com</a> When people talk about the 1993 movie<a data-linked-post="2671999509" href="https://nofilmschool.com/shane-black-last-action-hero" target="_blank"> Last Action Hero</a> today, it is often referred to as a cult classic. However, in 1993, Arnold thought it would be the end of his career. You have to understand, this was a film that, on paper, should have been a surefire hit. It was a meta-commentary on the action genre that Schwarzenegger himself had helped to define, and it was packed with the kind of explosive set pieces and one-liners that had made him a superstar. These were funny gags that lampooned the Hollywood he had built, and he was perfect for the role. Even with mixed reviews, people thought this would be another massive win at the box office. But the film had one major thing going against it...it opened the same weekend as Jurassic Park. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Kx0ApCyC_cg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube <a href="https://www.youtube.com/watch?v=Kx0ApCyC_cg" target="_blank">www.youtube.com</a> The movie bombed, and that bomb sent Arnold into a depression. He was at the very top of Hollywood and had fallen all the way back down. In the Netflix documentary, Arnold admitted, "I cannot tell you how upset I was [...] It hurts you. It hurts your feelings. It's embarrassing. ... I didn't want to see anyone for a week. But you keep plodding along. And my mother-in-law also said this all the time: 'Let's just move forward.' It's a great message."That is a great message, but I can understand where he was coming from at the time. You are so low that even when people are telling you it can get better...it may not feel like it. In the same doc, there's a bit where James Cameron calls to check in on him. Cameron says, "He sounded like he was in bed crying [...] He took it as a deep blow to his brand. I think it really shook him. ... I said, 'What are you gonna do?' He said, 'I'm just gonna hang out by myself.' [...} That's the only time I've ever heard him down."As someone who has been down before, I can empathize with Arnold. But the good news is, things shot up afterward. That's because he DID keep moving forward. Just a year later, Arnold starred in James Cameron's True Lies, which was a massive hit and re-cemented Schwarzenegger as the undisputed king of the box office. Over the years, Last Action Hero would develop its own lore in Hollywood, but it's a testament to Schwarzenegger's resilience that he was able to pick himself up, dust himself off, and come back stronger than ever.<h2>Summing It All Up </h2>For filmmakers, we should know that you're only as good as what you've done lately. And even for huge stars, the same is true. That's why you have to keep moving forward and try your best to line up work to keep you rolling. When you fall down, get back up and make something new. Let me know what you think in the comments.]]></description><pubDate>Fri, 17 Oct 2025 21:20:04 +0000</pubDate><guid>https://nofilmschool.com/last-action-hero-arnold-cry</guid><category>James cameron</category><category>Last action hero</category><category>Arnold schwarzenegger</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-did-arnold-schwarzenegger-learn-from-last-action-hero.jpg?id=61774413&width=980"></media:content></item><item><title>Ranking Arnold Schwarzenegger's Best Films Across His Career</title><link>https://nofilmschool.com/arnold-schwarzenegger-s-best-films</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/arnold-schwarzenegger-s-best-films-ever.jpg?id=61774722&width=1245&height=700&coordinates=0%2C43%2C0%2C43"/> There are very few actors who have had an impact on Hollywood like Arnold Schwarzenegger. The Austrian bodybuilder used his hard work and charisma to forge his own path in the biz, and quickly became the biggest star we'd ever seen before. Today, I want to go over some of the movies I love the most that he starred in. We'll dissect his performances and look at how they cemented him as a certified star. Let's dive in. <hr/><h3>1. The Terminator (1984)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/k64P4l2Wmeg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: James Cameron </li><li>Writer: James Cameron, Gale Anne Hurd, William Wisher Jr. (uncredited) </li><li>Cast: Arnold Schwarzenegger (The Terminator), Linda Hamilton (Sarah Connor), Michael Biehn (Kyle Reese)</li></ul>It's hard to argue against the film that launched a franchise and cemented Arnold as a bona fide action icon.Even though there's not a lot of range here, he's doing something no one had done at this scale, playing a robot that grounded this entire film. The film is a masterclass in tension and suspense. You need his lumbering attacks to fuel the fear in the other actors and to sell this intimidating force. The film blends the trifecta of sci-fi, horror, and action. Cameron's artistic vision, coupled with Arnold's performance, created a cinematic phenomenon that entered the cultural lexicon and never left. <h3>2. Terminator 2: Judgment Day (1991)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/CRRlbK5w8AE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: James Cameron </li><li>Writer: James Cameron, William Wisher Jr. </li><li>Cast: Arnold Schwarzenegger (The Terminator), Linda Hamilton (Sarah Connor), Edward Furlong (John Connor), Robert Patrick (T-1000)</li></ul>What's so funny is that this movie also doesn't have a ton of range, but Arnold wound up being able to change his performance as the Terminator changed, and that alone is some great acting. The movie was lauded for its groundbreaking special effects that still hold up today. In fact, it looks better than a lot of modern movies.Arnold's reprogrammed T-800 was now protecting a teenage John Connor, and the depth portrayed with both moments of humor and that final thumbs up were really interesting. The liquid metal T-1000 remains one of the most memorable villains in cinematic history. It was pure terror when he transformed. Somehow, this movie managed to be better than the original. <h3>3. Predator (1987)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/_1wDBNHYDv8?rel=0&start=15" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: John McTiernan </li><li>Writer: Jim Thomas, John Thomas </li><li>Cast: Arnold Schwarzenegger (Dutch), Carl Weathers (Dillon), Jesse Ventura (Blain), Bill Duke (Mac), Elpidia Carrillo (Anna), Richard Chaves (Poncho), Shane Black (Hawkins)</li></ul><a href="https://nofilmschool.com/iconic-movie-lines-everyday-expressions" target="_blank">Arnold was famous for these one-liners</a> that really made the audience excited. One I especially love is him yelling, "Get to the chopper!"This movie really showed what Arnold could do. It's a sci-fi action-horror genre bender that pits Arnold's elite commando unit against an invisible alien hunter in the dense jungles of Central America. Predator delivered exhilarating action sequences in the jungle and cemented Arnold as one of the biggest action stars of all time. He was the focal point of an ensemble cast of equally muscular tough guys. But the banter in this movie is what made people flock to it. It's a prime example of 80s action cinema at its peak, and Arnold's final showdown with the titular creature is legendary.<h3>4. Total Recall (1990)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/684nkWhd658?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Paul Verhoeven </li><li>Writer: Ronald Shusett, Dan O'Bannon, Gary Goldman (screenplay); Philip K. Dick (story "We Can Remember It For You Wholesale") </li><li>Cast: Arnold Schwarzenegger (Douglas Quaid/Hauser), Sharon Stone (Lori), Rachel Ticotin (Melina), Michael Ironside (Richter), Ronny Cox (Cohaagen)</li></ul>I think it's rare today to think about our biggest stars doing a hardcore <a data-linked-post="2661193744" href="https://nofilmschool.com/science-fiction-genre" target="_blank">science fiction movie</a> like this one, even if it mixes with action. This came from the mind of visionary director Paul Verhoeven and pushed the envelope in many ways. The movie blurs the lines between reality and illusion as Arnold plays Douglas Quaid, a construction worker who seeks a virtual vacation to Mars, only to discover his memories have been implanted and he's actually a secret agent. t's a story that takes chances, juxtaposes violence and dark humor with grotesque practical effects, and a truly unique vision of a colonized Mars. Arnold's performance is perfectly suited to the role of a bewildered but ultimately formidable hero who is trying to uncover the truth about his world. <h3>5. True Lies (1994)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Uz45Y50ozxE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: James Cameron </li><li>Writer: James Cameron (screenplay); Claude Zidi, Simon Michaël, Didier Kaminka (original story for La Totale!) </li><li>Cast: Arnold Schwarzenegger (Harry Tasker), Jamie Lee Curtis (Helen Tasker), Tom Arnold (Albert Gibson), Bill Paxton (Simon), Tia Carrere (Juno Skinner)</li></ul><div>This is James Cameron riffing on a James Bond story. You can see the obvious chemistry between the director and his star, as Cameron knows exactly how to use Arnold to get the audience rooting for him. He's witty, charming, and also easy to believe has lost that spark at home. </div><div>Arnold plays Harry Tasker, a secret agent leading a double life. While his family believes he's a dull computer salesman, he's actually a super spy battling international terrorists. </div><div>The film brilliantly blends high-octane action with hilarious comedy. And Arnold and Jamie Lee Curtis play a totally fun couple that's searching to reconnect. The film showcases Arnold's range beyond just being a stoic action hero.</div><h3>6. Conan the Barbarian (1982)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Nok-jOYn6Dg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: John Milius </li><li>Writer: John Milius, Oliver Stone </li><li>Cast: Arnold Schwarzenegger (Conan), James Earl Jones (Thulsa Doom), Max von Sydow (King Osric), Sandahl Bergman (Valeria), Gerry Lopez (Subotai)</li></ul>Early in his career, you could see the sparks that Arnold would be a star. He carried this movie on his back, and his muscles were put front and center to get people to buy into the story. This epic<a data-linked-post="2661194170" href="https://nofilmschool.com/fantasy-genre" target="_blank"> fantasy film</a> showcased Schwarzenegger's imposing physique and established his leading man status. Even if he doesn't have to say much. All he had to do was swing his sword, and we were on his side. The movie was directed by John Milius and is a raw, brutal, and mostly atmospheric tale of revenge. Conan hunts the cult leader Thulsa Doom, who murdered his parents. Arnold's commanding presence created a <a data-linked-post="2667513089" href="https://nofilmschool.com/swords-and-sandals-genre" target="_blank">sword and sandal</a> movie that launched him into Hollywood and made everyone pay attention. <h3>7. Commando (1985)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/m264f4tfG2s?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Mark L. Lester </li><li>Writer: Steven E. de Souza (screenplay), Joseph Loeb III, Matthew Weisman (story) </li><li>Cast: Arnold Schwarzenegger (John Matrix), Rae Dawn Chong (Cindy), Vernon Wells (Bennett), Dan Hedaya (Arius), Alyssa Milano (Jenny Matrix)</li></ul>I actually think this is one of the more underrated movies Arnold did. It's sort of cheesy, but it has maybe the purest 80s action I've ever seen in a movie. Arnold plays John Matrix, a retired Delta Force colonel whose daughter is kidnapped by a ruthless dictator he once overthrew. His mission is to get her back and to kill anyone who gets in his way. What follows is a gloriously over-the-top rampage filled with ridiculous one-liners. It actually feels impossible that they have that many one-liners in this movie. But they also have a kill count, probably in the thousands. Commando isn't subtle, and it doesn't try to be. It's a joyful celebration of Arnold's strengths and a beloved cult classic for its sheer entertainment value.<h3>8. The Running Man (1987)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/n74ibtuN9I4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Paul Michael Glaser</li><li> Writer: Steven E. de Souza (screenplay); Stephen King (novel, writing as Richard Bachman) </li><li>Cast: Arnold Schwarzenegger (Ben Richards), Maria Conchita Alonso (Amber Mendez), Yaphet Kotto (William Laughlin), Richard Dawson (Damon Killian)</li></ul>Based on a novel by Stephen King (under his pseudonym Richard Bachman), The Running Man is a dark, satirical sci-fi action film that feels eerily relevant today. And while it's being remade, I will always have a soft spot for the original. In a dystopian future where convicts are forced to participate in a deadly reality TV show, Arnold plays Ben Richards, an innocent man framed for a massacre. He must survive against a series of flamboyant "Stalkers" in a televised hunt to the death. It's a play on reality TV that only got more relevant as the years went on. It's about media manipulation, fake news, and violence. <h3>9. Twins (1988)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qtlB7q96NMs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Ivan Reitman</li><li> Writer: William Davies, William Osborne, Timothy Harris, Herschel Weingrod </li><li>Cast: Arnold Schwarzenegger (Julius Benedict), Danny DeVito (Vincent Benedict), Kelly Preston (Marnie Mason), Chloe Webb (Linda Mason), Bonnie Bartlett (Mary Ann Benedict)</li></ul><div>It's amazing to think that Arnold has enough range to also do big comedies as well as<a data-linked-post="2667541339" href="https://nofilmschool.com/best-action-movies" target="_blank"> action movies</a>. And this one really made me laugh when it came out. </div>Twins was a massive hit that paired Arnold with the unlikely but brilliant Danny DeVito. Arnold plays Julius, a genetically perfect but naive man who discovers he has a long-lost fraternal twin, Vincent (DeVito), a conniving small-time crook. They play how different these guys look so perfectly, and then take the show on the road as the plot takes them across the country in search of their mother. It's a heartwarming and genuinely funny buddy comedy that showcases Arnold's excellent timing and proves he could carry a non-action film as well.<h3>10. Kindergarten Cop (1990)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/PeH_fzD5W8w?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Ivan Reitman </li><li>Writer: Murray Salem, Herschel Weingrod, Timothy Harris </li><li>Cast: Arnold Schwarzenegger (Detective John Kimble), Penelope Ann Miller (Joyce Palmieri / Rachel Crisp), Pamela Reed (Detective Phoebe O'Hara), Linda Hunt (Miss Schlowski), Richard Tyson (Cullen Crisp)</li></ul>I love this movie. People really only remember certain lines, but it is a total crowd-pleaser that has both big laughs and big action. Kindergarten Cop sees Arnold as tough detective John Kimble, who goes undercover as a kindergarten teacher to catch a drug dealer. The humor stems from the fish-out-of-water scenario, as the hardened cop struggles to manage a classroom full of rambunctious five-year-olds. It's so adorable and sweet, and makes Arnold into a big softie, something audiences embraced, and I think helped humanize him for later movies. <h3>Summing It All Up </h3> Over the course of his career, Arnold Schwarzenegger has done movies in almost every genre and at every size. His trajectory to the biggest star in the world was paved with some of my most favorite movies of all time. Even now, I am always excited to see his name in the credits and to see where all this can lead him. I'm looking forward to his next classic Let me know what you think in the comments. ]]></description><pubDate>Fri, 17 Oct 2025 21:00:05 +0000</pubDate><guid>https://nofilmschool.com/arnold-schwarzenegger-s-best-films</guid><category>Arnold schwarzenegger</category><category>Best movies</category><category>Action movies</category><category>Arnold schwarzenegger</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/arnold-schwarzenegger-s-best-films-ever.jpg?id=61774722&width=980"></media:content></item><item><title>Filmmaking Insights From Ari Aster: Tackling Westerns and Social Media in 'Eddington'</title><link>https://nofilmschool.com/ari-aster-eddington-process</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/ari-aster-s-process-on-eddington.webp?id=61772440&width=1245&height=700&coordinates=0%2C125%2C0%2C125"/> In order to get noticed in Hollywood, you have to be a little noisy. And with all the stacks of films people are thinking about financing, one way to stand out is to write something totally unique that no one has even seen before. That's where I think every filmmaker can learn from Ari Aster. One of my favorite movies this year was Eddington. I thought it was a poignant and hilarious portrayal of humanity's struggles during COVID. It was also such a fun challenge to preconceived notions on westerns and brought toxic social media to the forefront. And it was a movie no one could say they had ever seen before. So today, we're going to unpack Eddington and Aster's way into that wholly unique movie, and see what filmmakers can learn from this stuff. Sound good? Let's dive in! <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/oL6jZqExlIk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube <a href="https://www.youtube.com/watch?v=oL6jZqExlIk" target="_blank">www.youtube.com</a> <h2>How Originality Made Ari Aster's Career </h2><div></div><div>When you think about an Ari Aster movie, you probably think about the deconstruction of a genre or of expectations. I mean, he's now made a horror movie that takes place during the day, a horrifying dream movie where the characters are all awake, and a familial horror about what we pass down to our kids. Aster is always coming up with these stories from interesting angles. He recently sat down with <a href="https://deadline.com/2025/10/eddington-director-ari-aster-joaquin-phoenix-beau-is-afraid-1236587008/" target="_blank">Deadline</a>, where he talked about his process and about finding ways to juxtapose modernity with Western classics.</div>When asked how you even build a movie like that, Aster said:<blockquote> "It’s hard to say where it began and how it evolved, but I would say I was kind of trying to look unblinkingly at the culture, which is hard because I really don’t like this culture. I have a hard time living in it. But I was trying to look at it, and then also trying to think like an architect — like, OK, how do I build a house out of these things? And I was also feeling the rhetoric getting so much more dangerous, and so much more aggressive, and seeing the antipathy grow between people, and feeling that we were moving towards something combustible." </blockquote>So where can filmmakers take these ideas? Well, once Aster has them flowing, he comes at it the same way the rest of us do, with his directorial brain. And that means organizing all these disparate thoughts and interests into one cohesive story. Aster explained: <blockquote>I’m a filmmaker, and I’m a storyteller, so I was like, OK, how do I organize this and build a narrative out of it without having it move into fantasy or coming to any easy answers. That wouldn’t have been honest, because I don’t have any answers. I’m looking for them. And so, in that sense, I wanted to make a film that was more diagnostic than prescriptive, because I see us talking about the problem, but getting lost in the weeds over and over again. And if anything, I think the film’s thesis lies in its final image…"' </blockquote>I love hearing about these kinds of processes because they're so intricate. When you talk about this movie out loud, it feels like it shouldn't work. But reading how Aster did it, I can see the method in the madness. As filmmakers, we can learn a lot from these words. <img alt="Ari Aster Dissects the Meaning of 'Eddington'" class="rm-shortcode" data-rm-shortcode-id="9189721381ae63bd4e691db48603f1f5" data-rm-shortcode-name="rebelmouse-image" id="e76e9" loading="lazy" src="https://nofilmschool.com/media-library/ari-aster-dissects-the-meaning-of-eddington.jpg?id=61362612&width=980"/> 'Eddington' Credit: A24 Sometimes we have a bunch of ideas and don't know how they'll all whittle down into one movie. Well, you need to take your time and follow them all. As Aster said, sometimes it's just sitting down and seeing where these ideas connect, whether that's in the <a data-linked-post="2661191191" href="https://nofilmschool.com/plot-examples" target="_blank">plot</a> or <a data-linked-post="2661197308" href="https://nofilmschool.com/themes-in-a-film" target="_blank">themes</a>, and then begin to draw the <a data-linked-post="2661198467" href="https://nofilmschool.com/script-outline" target="_blank">outline</a> of what will be the movie. I find way too many people dive right into writing the screenplay too quickly without spending time even <a data-linked-post="2661198893" href="https://nofilmschool.com/film-treatment" target="_blank">writing a treatment </a>or sorting out the <a data-linked-post="2661195160" href="https://nofilmschool.com/story-beat" target="_blank">story beats</a>. The key takeaway here is to take your time and work out the kinks before you jump into the script. <h2>What About Researching Ideas? </h2>In order to write Eddington, Aster spent time researching how social media feeds affect people. To do this, he basically followed what method actors do. He told Deadline: <blockquote>"Well, yeah, I did go down a lot of rabbit holes, and I created a bunch of burner Twitter accounts and got myself into different algorithms. For me, it was important to know when to stop, as far as making something clear, and just being clever about what you’re intimating. The jet there is designed to function as a bit of a Rorschach test, so what one person sees may be contradicted by another person. And that comes down to tone as well. One person might see that scene as satire and somebody else might see it as a dramatization of something that was happening. That is happening." </blockquote>As a writer, I feel like many of us get so caught up in making things up that we miss out on how the stories we tell actually reflect real life. By making those social accounts, Aster was able to see firsthand the mentality of the people in his movie and then write to that. It's why the satire he presented felt so real and so lived-in. The thing I admire most about Aster is his willingness to try all these things. It's a really brave idea to tackle these tasks, like making social accounts and then figuring out where they go. <h2>Writing the Unexpected </h2>When Aster burst onto the scene, all of Hollywood assumed he was purely a horror movie director, thanks to his work on Hereditary and Midsommar. But Aster liked to remain genre-agnostic. We often talk about getting pigeonholed after breaking in. People can only see what you've done lately. So if you want to remain nimble, you have to be okay with bucking their expectations and delivering something else. That's also a big risk. Because people usually like knowing what yo expect from an artist. Here's how Aster dealt with those expectations, especially when surfacing with a Western like Eddington. <blockquote> "Well, in some ways, I feel that all my films are linked in tone and a sort of attitude, and in a way, I want to upend that now too. I don’t want to get stuck in anything. That’s not useful for any artists. But yeah, I would say with the first two films, when people would refer to me as a horror filmmaker, that felt reductive, but only because I had other movies in mind that might not satisfy that expectation. It wasn’t that I have any problem with horror — I love horror films — but I saw that as, OK, I’m starting here and then I’m going to go over there, and then I might come back, and I might go over there." </blockquote><h2>Summing It All Up </h2>It's easy to attribute his success to luck, but what I think this interview unpacked was all the hard work he's done to not only set himself up as an original voice, but to continue to work out ideas until they're ready, and then to film them. Aster's constant challenging of himself and genres is something I think we can all learn from and aspire to achieve in our own right. Let me know what you think in the comments. ]]></description><pubDate>Fri, 17 Oct 2025 20:46:53 +0000</pubDate><guid>https://nofilmschool.com/ari-aster-eddington-process</guid><category>Eddington</category><category>Genre</category><category>Genre bending</category><category>Ari aster</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/ari-aster-s-process-on-eddington.webp?id=61772440&width=980"></media:content></item><item><title>Is This New Apple M5 Series MacBook Pro Instantly the Best Video Editing Laptop?</title><link>https://nofilmschool.com/apple-macbook-pro-m5</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/apple-macbook-pro-m5.jpg?id=61771818&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> In what could be an article headline pretty much every year for the past decade, the latest Apple MacBook Pro is now in the conversation for the top laptop for video editors. It might seem a bit played out, but here we are. Apple is still producing new products with exceptional specs and features tailored for the pro video editor.And pro video editors, for the most part, are still favoring Apple products.The cycle continues with the new 14” MacBook Pro, which is powered by the new M5 chip. To go along with a new <a href="https://nofilmschool.com/apple-ipad-pro-m5-chip" target="_self">iPad Pro model</a>, the M5 chip promises a lot in terms of speed and CPU and GPU performance. Let’s take a look at what this new MacBook Pro can actually offer for video editors, though.<hr/><h3>The New 14” MacBook Pro</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="4be112b9eb49c70bde4d9f8ea42b9410" data-rm-shortcode-name="rebelmouse-image" id="e6bbb" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61771821&width=980"/>Any conversation about the latest MacBook Pro is really going to be a conversation about its new M5 chip, which was built using third-gen 3nm technology and set to introduce a next-gen 10-core GPU architecture with a Neural Accelerator in each core.
This means that this new M5 chip will be capable of enabling GPU-based AI workflows to run much, much faster than previous models, with over four times the peak GPU compute performance compared to the previous M4 chip set.
This increased GPU capabilities will obviously offer enhanced graphics capabilities and third-gen ray tracing to help deliver up to 45% higher performance than the aforementioned M4 chip as well.
Plus, once you add in rearchitected second-gen dynamic caching, this new MacBook Pro will be capable of all types of improved performance specs for games, 3D applications, and—of course—video editing.<h3>Video Editing With the M5 Chip</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="5169064a7220663fc7264d3eb2ff4937" data-rm-shortcode-name="rebelmouse-image" id="59602" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61771822&width=980"/>And while we could talk a bit more about the 14.2” Liquid Retina XDR Display and its ability to deliver up to 1000 cd/m² of sustained, full-screen brightness, a high 1600 cd/m² of peak brightness, a 1,000,000:1 contrast ratio, and a billion colors—all helpful for handling the extreme dynamic range of HDR content.
Most video editors are going to be more intrigued by the ProMotion technology, allowing for a 120 Hz refresh rate, which will let editors have the option to lock in a refresh rate that is most optimal for their footage.
Another neat feature is a narrow-band, LED-powered backlight that is set to allow the MacBook Pro to represent the P3 wide color gamut for brilliant, true-to-life color in photos and videos. Overall, the new M5 MacBook Pro will be easily capable of working with 4K and 8K footage and tackling motion graphics and compositing with some superfast render times.
And, as you’d expect, Apple has shared that the new MacBook Pro will be fully optimized for macOS for the following popular video editing apps, including DaVinci Resolve Studio, Adobe Premiere Pro, Final Cut Pro, Motion, Adobe After Effects, Nuke, Autodesk Flame, and more.<h3>Price and Availability</h3> The new 14” MacBook Pro with the M5 chip is available to preorder now. Here are the full specs and purchase options.
<ul><li>Apple M5 10-Core Chip</li><li>16GB Unified RAM | 512GB SSD</li><li>14" 3024 x 1964 Liquid Retina XDR Screen</li><li>10-Core GPU | Neural Accelerators</li><li>16-Core Neural Engine</li><li>Wi-Fi 6E (802.11ax) | Bluetooth 5.3</li><li>Thunderbolt 4 | HDMI | MagSafe 3</li><li>SDXC Slot | 12MP Center Stage Camera</li><li>Magic Keyboard | Force Touch Trackpad</li><li>macOS</li></ul><h3>Apple 14" MacBook Pro</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="1e24d8c7d7a6076b5f2adf931f9895a4" data-rm-shortcode-name="rebelmouse-image" id="444d1" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61771827&width=980"/>Now with the powerful M5 chip, the Apple 14" MacBook Pro delivers a huge leap in AI performance.]]></description><pubDate>Fri, 17 Oct 2025 18:00:04 +0000</pubDate><guid>https://nofilmschool.com/apple-macbook-pro-m5</guid><category>Apple</category><category>Macbook pro</category><category>M5 chip</category><category>Macbook pro m5</category><category>Video editing laptop</category><category>Apple macbook pro</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/apple-macbook-pro-m5.jpg?id=61771818&width=980"></media:content></item><item><title>Rig Up Your Favorite Cameras With These On-Sale Modular Tilta Camera Cages</title><link>https://nofilmschool.com/tilta-camera-cages-deals</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/rig-up-your-favorite-cameras-with-these-on-sale-modular-tilta-camera-cages.png?id=61772387&width=1245&height=700&coordinates=0%2C6%2C0%2C6"/> When launching a career in filmmaking and videography, one often thinks only in terms of the camera and the project. And while it's true that a good filmmaker can work with whatever gear is given to them, there can often be blind spots about all of the external gear and add-ons that are usually (almost) required for your shoots.Once you get a camera that you love, the real challenges of finding the right rig begin. To help you rig up your favorite mirrorless camera systems to their full powers, for our latest "<a href="https://nofilmschool.com/tag/filmmaking-deals-of-the-week" target="_self">Deals of the Week</a>" roundup, we're looking at some on-sale camera cages from Tilta.Check out some top options below.<ul><li>Tilta Full Camera Cage for Nikon Z9: <a href="https://www.bhphotovideo.com/c/product/1728680-REG/tilta_ta_t31_fcc_b_full_camera_cage_for.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1198253/SID/pb" target="_blank">$49</a></li><li>Tilta Full Camera Cage for Canon R5 & R6 V2: <a href="https://www.bhphotovideo.com/c/product/1904106-REG/tilta_ta_t22_fcc_b_v2_full_camera_cage_for.html" rel="noopener noreferrer" target="_blank">$49</a></li><li>Tilta Full Camera Cage V2 for Sony FX3 & FX30: <a href="https://www.bhphotovideo.com/c/product/1784282-REG/tilta_ta_t16_fcc_b_full_camera_cage_for.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1281496/SID/pb" rel="noopener noreferrer" target="_blank">$83</a></li></ul>You can find more <a href="https://nofilmschool.com/tag/filmmaking-deals-of-the-week" target="_blank">filmmaking deals</a> here.<div><del></del></div>]]></description><pubDate>Fri, 17 Oct 2025 17:50:04 +0000</pubDate><guid>https://nofilmschool.com/tilta-camera-cages-deals</guid><category>Filmmaker deals</category><category>Filmmaking deals of the week</category><category>Deals</category><category>Tilta</category><category>Tilta camera cage</category><category>Filmmaking deals of the week</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/rig-up-your-favorite-cameras-with-these-on-sale-modular-tilta-camera-cages.png?id=61772387&width=980"></media:content></item><item><title>The Perfect Standard Prime For Your Sony Full-Frame Cameras is Finally Here</title><link>https://nofilmschool.com/viltrox-af-50mm-f-1-4</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/viltrox-af-50mm-f-1-4.jpg?id=61771901&width=1245&height=700&coordinates=0%2C349%2C0%2C596"/> <a href="https://nofilmschool.com/viltrox-50mm-f-1-4-pro-rumor" target="_blank">Teased earlier this week</a>, the new Viltrox AF 50mm f/1.4 FE is finally here. Instantly becoming a top option for Sony E-mount shooters, this new standard prime should be quite popular for both photographers and videographers looking for an everyday lens that offers plenty of performance and versatility.Let’s look at what the Viltrox AF 50mm f/1.4 FE has to offer and explore why it could be (but doesn’t have to be) the perfect lens for you.<hr/><h3>The Viltrox AF 50mm f/1.4 FE</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3wGmG1cNA20?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Designed to simply be a trusted and reliable standard prime lens for Sony's full-frame mirrorless cameras, the Viltrox AF 50mm f/1.4 FE offers a versatile focal length that should be quite capable for a wide range of photography and videography uses.
The lens features a precision-crafted build and includes both automatic and manual focusing options for maximum creative control. Plus, with its 11-blade diaphragm, it should also be able to deliver some exceptionally smooth, rounded bokeh, which will help you easily isolate your subject from a soft, blurred background.
With its bright f/1.4 maximum aperture, it should also be quite capable in low-light environments and offer a good deal of control over focus with shallow depth of field shooting techniques.<h3>Price and Availability</h3> As is the case with most Viltrox lens offerings, the appeal to many shooters is going to be its price point. A bit more expensive than the <a href="https://nofilmschool.com/viltrox-af-50mm-f-2-air-fe#" target="_self">Viltrox AF 50mm f/2 FE released earlier this year</a>, this Viltrox AF 50mm f/1.4 FE has quite a bit more to offer to earn its higher price point.
Here are the full specs and purchase options:
<ul><li>Full-Frame | f/1.4 to f/16</li><li>Normal Length Prime Lens</li><li>Nano-Coating and Resistance Coating</li><li>3 ED, 1 ASP & 8 HR Lens Elements</li><li>Minimum Focus Distance: 1.48'</li><li>11-Blade Diaphragm</li><li>15 Elements in 11 Groups</li><li>Autofocus with Manual Override</li><li>Noiseless VCM Motor</li><li>Filter Size: 77mm</li></ul><h3>Viltrox AF 50mm f/1.4 FE Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="cf320662671ca8b647e3de6447d1b29f" data-rm-shortcode-name="rebelmouse-image" id="92726" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61771897&width=980"/>A standard prime lens for Sony's full-frame mirrorless cameras, the Viltrox AF 50mm f/1.4 FE offers a versatile focal length for a wide range of photography, from portraits to everyday shots. ]]></description><pubDate>Fri, 17 Oct 2025 17:40:04 +0000</pubDate><guid>https://nofilmschool.com/viltrox-af-50mm-f-1-4</guid><category>Viltrox</category><category>50mm</category><category>Sony e-mount lens</category><category>viltrox af 50mm f1.4</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/viltrox-af-50mm-f-1-4.jpg?id=61771901&width=980"></media:content></item><item><title>Are You Up to the ‘Task’ of Directing Great TV? Jeremiah Zagar on How to Helm an HBO Hit</title><link>https://nofilmschool.com/breaking-taboos-with-slamdance-winning-chaperone-2674209317</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/mark-ruffalo-in-task.jpg?id=61772257&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> In this episode of the <a href="https://nofilmschool.com/podcast" target="_blank">No Film School Podcast</a>, No Film School founder Ryan Koo sits down with acclaimed director Jeremiah Zagar to explore his journey from Sundance Labs and indie documentaries to directing high-stakes prestige television. Zagar, best known for We the Animals and Hustle, shares an in-depth look at his process directing HBO’s Task—an emotionally rich, verité-style crime drama from showrunner Brad Ingelsby, starring Mark Ruffalo and Tom Pelphrey. The conversation dives deep into how Zagar’s collaborative ethos and commitment to joy and safety on set shape his work, and how building a long-standing creative family has been key to his success.<h3></h3> <iframe frameborder="0" height="200" scrolling="no" src="https://playlist.megaphone.fm?e=NFS7024827338" width="100%"></iframe>In this episode, we discuss:<ul> <li>How Jeremiah transitioned from making a personal documentary to directing HBO Sunday night TV</li><li>The evolution of his production company, Public Record, and his partnership with longtime collaborator Jeremy Yaches</li><li>Why he treats every project as a holistic collaboration, bringing in his trusted team across all productions</li><li>The importance of storyboarding, mood boarding, and detailed prep to allow for freedom on set</li><li>Behind-the-scenes stories from directing pivotal scenes in Task, including a climactic car scene with Ruffalo and Pelphrey</li><li>The philosophy of “best idea wins” and how showrunner Brad Ingelsby fostered deep creative collaboration</li><li>How emotional truth and safety for actors are prioritized on Zagar’s sets</li><li>The unusual ways his acting coach (or “wizard”) helps foster intimacy and authenticity among cast members</li><li>Why joy, kindness, and team spirit are central to Zagar’s directing ethos</li></ul>Guests<ul> <li><a href="https://www.imdb.com/name/nm1509478/" target="_blank">Jeremiah Zagar – Director of Task, We the Animals, and Hustle</a></li></ul><h3></h3> As we mentioned at the end of the pod, check out our other episode with Jeremiah, in which he talks about his work on Netflix's Hustle, starring Adam Sandler.<iframe frameborder="0" height="200" scrolling="no" src="https://playlist.megaphone.fm?e=BLU2387623533" width="100%"></iframe><h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="89db83efa6f1732c8beef187f8d50646" data-rm-shortcode-name="rebelmouse-image" id="ae476" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772232&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="ec5790fcf5b068cd157c696f7916de06" data-rm-shortcode-name="rebelmouse-image" id="87087" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772239&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="fef410fd669542b9a6788c35fdf471fc" data-rm-shortcode-name="rebelmouse-image" id="34dff" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772231&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="b3c521a13c7202caae6f425097252eea" data-rm-shortcode-name="rebelmouse-image" id="97cb2" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772240&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="499c85af8464fe886e4dcd503703fd69" data-rm-shortcode-name="rebelmouse-image" id="14de5" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772235&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="4d1ea14975e4865769e43ac8e86fd08f" data-rm-shortcode-name="rebelmouse-image" id="fe9af" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772233&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="eb02adf3063fd6666eb10ba862f1cd93" data-rm-shortcode-name="rebelmouse-image" id="4761e" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772248&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="a3add7f92be4295308389a5f70fdf4f5" data-rm-shortcode-name="rebelmouse-image" id="03f4a" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772236&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="fce8ff99b820a51b919c6aae371ce33c" data-rm-shortcode-name="rebelmouse-image" id="8537c" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772234&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="d536c4eeca27bcbadcbe8562f2cd453c" data-rm-shortcode-name="rebelmouse-image" id="7c346" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772237&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="a1646f0698fe9c4d4fc15321b29c8b22" data-rm-shortcode-name="rebelmouse-image" id="6d60f" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772238&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="f978888b2e18a4eefcf6d385e669ad99" data-rm-shortcode-name="rebelmouse-image" id="1eae4" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772243&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="2eb3cadd7072d4c3591c1a8edd83cf12" data-rm-shortcode-name="rebelmouse-image" id="2e68c" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772244&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="d10c8e8c897b1945d2decbbe0aedb5cb" data-rm-shortcode-name="rebelmouse-image" id="1ec71" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772247&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="b56d4d7e9a8723084fb80f0bcebde4e2" data-rm-shortcode-name="rebelmouse-image" id="5a8a2" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772241&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="0b21f714ad1a6107e1c7d4831a9c84cf" data-rm-shortcode-name="rebelmouse-image" id="6be46" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772246&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="4472acbff31a7b1c37fc0d4e06e75e23" data-rm-shortcode-name="rebelmouse-image" id="1de93" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772242&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="fea158f0e2c39e9b27168a6910527005" data-rm-shortcode-name="rebelmouse-image" id="29dfb" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61772245&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3>Storyboard Art for 'Task'</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="1065e2492b835f33944c14f4bd951a33" data-rm-shortcode-name="rebelmouse-image" id="08edb" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=61772249&width=980"/>As an added treat — want to get an inside look at how the show was visualized? Jeremiah's team shared the incredible storyboard art by <a href="https://urldefense.proofpoint.com/v2/url?u=https-3A__www.instagram.com_yolahugo_-3Fhl-3Den&d=DwMFaQ&c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&r=t9PDD-reKVVZf6FR6t-ax3Xy__7umq5Yv2ojd3OtURc&m=oW7I-mnGrRruzYrEHS1aMbJ8S7hD6NQoOmWTINxL_oviJw_QmGlqdXeVKbnXqU2f&s=hE6vNhz1A-9c_jFtZGqbNtAHoJ4-8LRzK09Y_t5PQ8E&e=" rel="noopener noreferrer" target="_blank">Hugo Costa</a> with us. Absolutely stunning!<h3></h3> <h3></h3> Subscribe to the No Film School Podcast on:<ul><li><a href="https://podcasts.apple.com/us/podcast/the-no-film-school-podcast/id1078804724" rel="noopener noreferrer" target="_blank">Apple Podcasts</a></li><li><a href="https://open.spotify.com/show/1vfyZ6hx3QJWS6etdDZZ5V" rel="noopener noreferrer" target="_blank">Spotify</a></li><li><a href="https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vTk5MTEMzMjI5NDg4NTcz" rel="noopener noreferrer" target="_blank">Google</a></li></ul>Get your question answered on the podcast by emailing <a href="https://nofilmschool.com/2025/06/editor@nofilmschool.com" target="_self">podcast@nofilmschool.com</a><h3></h3>
Listen to more episodes of the No Film School podcast right here:
<iframe frameborder="0" height="482" src="https://playlist.megaphone.fm?p=NNLLC3229488573" width="100%"></iframe>This episode of The No Film School Podcast was produced by <a href="https://nofilmschool.com/u/lostingraceland">Ryan Koo</a>.]]></description><pubDate>Fri, 17 Oct 2025 17:21:05 +0000</pubDate><guid>https://nofilmschool.com/breaking-taboos-with-slamdance-winning-chaperone-2674209317</guid><category>No film school podcast</category><category>Podcast</category><category>Interviews</category><category>Task</category><category>Hbo</category><category>Jeremiah zagar</category><dc:creator>Ryan Koo</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/mark-ruffalo-in-task.jpg?id=61772257&width=980"></media:content></item><item><title>Viltrox AF 50mm f/1.4 FE Lens</title><link>https://nofilmschool.com/viltrox-af-50mm-f-1-4-fe-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61771897&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> A standard prime lens for Sony's full-frame mirrorless cameras, the Viltrox AF 50mm f/1.4 FE offers a versatile focal length for a wide range of photography, from portraits to everyday shots. ]]></description><pubDate>Fri, 17 Oct 2025 15:01:17 +0000</pubDate><guid>https://nofilmschool.com/viltrox-af-50mm-f-1-4-fe-lens</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61771897&width=980"></media:content></item><item><title>Apple 14" MacBook Pro</title><link>https://nofilmschool.com/apple-14-macbook-pro</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61771827&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> Now with the powerful M5 chip, the Apple 14" MacBook Pro delivers a huge leap in AI performance.]]></description><pubDate>Fri, 17 Oct 2025 14:39:40 +0000</pubDate><guid>https://nofilmschool.com/apple-14-macbook-pro</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61771827&width=980"></media:content></item><item><title>Gross-Out Gags and Gritty Realism: How 'Code 3' Found Comedy in Realistic Gore</title><link>https://nofilmschool.com/prosthetics-makeup-designer-scotia-boyd</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/prosthetics-makeup-designer-scotia-boyd.jpg?id=61682839&width=1245&height=700&coordinates=0%2C250%2C0%2C250"/> How do you make a comedy about one of the most stressful and physically demanding jobs in the world? For the new paramedic film Code 3, starring Rainn Wilson and Lil Rel Howery, the answer was a commitment to brutal realism.At the center of that authenticity is Prosthetics Makeup Designer Scotia Boyd. Tasked with creating everything from a massive stick lodged in an eyeball to the subtle breakdown of an overworked first responder, Boyd’s philosophy was simple: no "pretty" movie dirt.Her approach was to ground every gag and injury in reality, making the characters and their high-stakes world feel visceral and immediate.We sat down with Boyd to discuss her research process, the collaborative effort behind the film's biggest gags, and how her work on a gritty indie comedy compares to doing fantastical makeup looks for Star Trek: Strange New Worlds.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-50VY-scZaw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=-50VY-scZaw" target="_blank">www.youtube.com</a><hr/>NFS: Hi Scotia! As a prosthetics makeup designer, how do you aim to elevate the comedic tone of a project like Code 3 through your designs?Scotia Boyd: As soon as I read the script, I knew that I wanted to go about the makeup designs in the most realistic way possible, for both the straight makeup and the prosthetic elements. I didn’t want to see any “pretty” movie dirt, no glam, and I wanted to get all of the texture that you see on the streets of Los Angeles in real life. Christopher Leone and I connected right away when I said that I didn’t want to see any ‘makeup’, or the look of makeup, and that was something that I stayed committed to throughout the process of filming. When it comes to the comedic aspect, I think that letting the ambulance calls be as realistic as possible helped in the sense that it gave a real need for that levity found between Rainn and Rel’s characters.NFS: Considering its focus on a trio of paramedics, Code 3 features several medical emergencies. What kind of research goes into achieving authenticity in these moments?SB: All of the calls that the paramedics responded to in Code 3 were real-life accounts from the film’s co-writer, Patrick Pianezza, so I was constantly cross-referencing my ideas and findings with him. I’d first get onto the internet to sift through the images I could find on heavily restricted websites, and then once I’d gathered ideas and references, I’d go to Patrick for more specific notes and adjustments. It was always about realism.NFS: Those emergencies must have also required collaboration with several different actors on the film. How did you and your team navigate working with a rotating cast of characters over the course of the film?SB: The actors were amazing and gracious with us as they sat through the sometimes long makeup process in order to get it right. Luca Jones went a couple of shoot days with one of his eyes completely covered to have prosthetics applied over it. And he wasn’t the only actor that had to go without their eyesight. We had another scene with an actor who had anaphylactic shock, whose eyes were swollen shut. Stunt actors were covered in blood and had their bodies painted in livor mortis. The makeups were meticulously applied by my key makeup artist, Meg Wilbur, with the help of Allie Shehorn.We also had a lot to ask of our cast, who didn’t have prosthetics applied to them, too, for the lack of corrective makeup and the level of breakdown applied to them as overworked paramedics. Rainn’s character started to look progressively more broken down towards the end of his 24-hour shift. Aimee Carrero and Yvette Nichole Brown both wore very minimal makeup for the film. Rob Riggle had a breakdown makeup applied during the COVID-era flashback scenes, with redness and irritation from wearing the COVID masks.NFS: Do you have a favorite sequence or scene from the film?SB: There are so many! But I’ll pick two. I think that the motorcycle crash scene that Luca did with the eye prosthetic had a great payoff, and it was a lot of fun to watch. In the scene, Luca’s character had drunkenly crashed into a tree and rolled down a hill on the side of the highway, not noticing the enormous stick lodged in his eye. Chris, our director, wanted the stick to be as big as possible, which added to the absurdity of the situation, and Luca played it so well. There were a lot of Monty Python “flesh wound” jokes on set, for sure.And since it’s a comedy, I also loved the fast food roleplay scene between Rainn and Rel in the ambulance. When we were on set, the entire crew was dying of laughter, and it was just as funny to watch in the movie. I think there was a moment that you could see Rainn about to lose it in the scene, too. <img alt="" class="rm-shortcode" data-rm-shortcode-id="43da79929eaecf08ba398bdcecc37a04" data-rm-shortcode-name="rebelmouse-image" id="09349" loading="lazy" src="https://nofilmschool.com/media-library/code-3-bts.png?id=61682849&width=980"/> 'Code 3' BTSCredit: the makeup by Scotia Boyd, Meg Wilbur, and Allie Shehorn.NFS: What was the collaboration like amongst you and your fellow department heads on Code 3?SB: There was a lot of collaboration between departments to make sure that everything made sense on screen. In the very beginning, it started with conversations with Charles Nance, the prop master, so that we could have a lightweight stick made for the eye gag. Jason Collins at Autonomous FX created the prosthetic piece and some of our other wounds for the car accidents.Of course, I worked closely with Hair Department Head Nina Paskowitz every day to come up with the looks and collaborate with the actors. Costume Designer Rachel Kunin and I collaborated to make sure that the story we were telling with the blood on the skin and on the clothes was a cohesive one.NFS: How do your designs for Code 3 compare or contrast with your acclaimed work on the Paramount+ series Star Trek: Strange New Worlds?SB: The worlds are pretty much night and day. In Code 3, we were making our talent look worse, making them look worn down, and trying to keep things as close to reality as possible while enhancing it for the camera. In the Strange New Worlds makeup department led by Olga Kirnos, we got to live in a total fantasy. We still used reference images from real life for the injuries, but as far as the makeup went, no one was asking us, “Hey, when did the character find the time to get all made up like that?”NFS: How did your skills as a makeup artist evolve into the world of prosthetics? Do you have a preference between these two types of design?SB: Right from the beginning, I was very much interested in both straight makeup and special effects. People ask me all the time which I prefer, and honestly, I can’t pick which I like more! When I’m doing special effects, it’s so much fun to delve into references and then recreate the textures and patterns and colours that appear naturally on the body.On the other hand, I love making a person look and feel beautiful, and getting to sculpt a face with light and shadow. Whether it’s special effects or beauty, it feels like painting to me, and I go into a flow state. Whenever I get to take an hour or two to unplug and get into that process, it’s a gift.NFS: Is there anything else you would like to add about Code 3 or any other upcoming projects?SB: I’m so pleased with the way that Code 3 turned out and proud of the entire team behind it. It’s always been a special project to me, and now that I get to share it with my friends and the world, I encourage everyone to go see it. You’ll be shocked, your eyes will be opened about the life of paramedics, and you’re going to laugh a lot!In 2026, I hope you will get to see ‘Untitled Home Invasion Romance’ starring and directed by Jason Biggs, and ‘You’re Killing Me,’ starring Brooke Shields.]]></description><pubDate>Thu, 16 Oct 2025 23:26:05 +0000</pubDate><guid>https://nofilmschool.com/prosthetics-makeup-designer-scotia-boyd</guid><category>Makeup artist</category><category>Scotia boyd</category><category>Make up</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/prosthetics-makeup-designer-scotia-boyd.jpg?id=61682839&width=980"></media:content></item><item><title>Making the Cut: Our Definitive Ranking of the 15 Best Slasher Villains</title><link>https://nofilmschool.com/best-slasher-villains</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/we-unpack-the-best-slasher-villains-across-movie-history.jpg?id=61144677&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Slashers are such a fun subgenre of horror. They're basically <a href="https://nofilmschool.com/how-to-write-a-murder-mystery" target="_blank">whodunnits</a> with a high body count and some spooky costumes. They can be grounded or supernatural, but no matter what lane they take, they're always fun to watch. When it comes to creating <a href="https://nofilmschool.com/best-villains-of-all-time" target="_blank">iconic villains</a>, the slasher genre might stand above the rest, with so many killers that stand out. Today, I want to go over some of my favorite slasher villains of all time and talk about what makes them great. Let's dive in. <hr/><h3>1. Michael Myers ('Halloween')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3JsrH8eUVOo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Just his image of the white mask is sort of indicative of the genre. And the fact that they keep making movies about him is also kind of poetic. Michael Myers is the embodiment of pure, unadulterated evil. His silent, relentless pursuit of his victims, coupled with his hauntingly blank white mask, established the template for the modern slasher. He's a cold and ruthless killer who always seems able to come back for more. <h3>2. Freddy Krueger ('A Nightmare on Elm Street')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/dCVh4lBfW-c?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Freddy could've easily been number one, but in the end, I went with the slightly more grounded option. Freddy Krueger has got the iconic razor-sharp glove, scarred visage, and twisted sense of humor. And he attacks us where we feel safe, in our dreams. Freddy Krueger's ability to manipulate reality within the dream world makes him a uniquely terrifying and endlessly creative killer. And it keeps the movies he's in fresh, since there are so many different kinds of worlds to explore. <h3>3. Jason Voorhees ('Friday the 13th')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/aDrOvFtzyPQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Again, easily could have easily been number one, but I went with my gut, and I have no regrets. I dropped him since it really wasn't him in the landmark first movie, but he rocks in the sequels. Jason Voorhees has become the face of the Friday the 13th franchise now, and probably never won't be again. His iconic hockey mask, imposing stature, and inventive kills at Camp Crystal Lake have solidified his status as a horror legend.<h3>4. Ghostface ('Scream')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/i3J6ACKQ7K0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>I'm not sure there's a slasher series I love more than the Scream movies, and I think they hold up really well today. They're a meta-commentary on the slasher genre itself, but they remained scary and fed right into what we want as horror fans. Ghostface is unique in that the identity of the killer changes with each film, and each has a personal stake in the story as it evolves. His chillingly simple yet effective Edvard Munch-inspired mask and taunting phone calls create a villain who is both a terrifying threat and a clever deconstruction of audience expectations. <h3>5. Leatherface ('The Texas Chain Saw Massacre')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BKn9QIaMgtQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Just a terrifying and grotesque killer. He was inspired by the real-life murderer Ed Gein. Leatherface is a brutal and mentally disturbed killer who wears a mask made of human skin and tortures teens. Even worse, he comes from a whole family of misfits. The raw, gritty realism of his portrayal, along with the sheer terror of his chainsaw-wielding rampages, makes him one of the most viscerally frightening villains in cinema history.<h3>6. Chucky ('Child's Play')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qDbMsaJjp3c?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Now, this is why I love slashers. This movie takes the horror doll trope and builds on it into a visceral murder. The story of a serial killer whose soul is trapped in a "Good Guy" doll is so freaking funny and twisted. Chucky is a perfect blend of horror and dark comedy. And his escapades are endlessly watchable. His diminutive size and foul-mouthed personality make all his kills darkly amusing. <h3>7. Candyman ('Candyman')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/AFjb447gMIM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This is such a fun villain and actually a nice building out of diversity. It's cool seeing different cultures and people play with these villains - I want more of it! Candyman is a tragic and vengeful spirit with a hook for a hand. He was wrongfully accused and is out to get some vengeance. You can summon him by speaking his name five times into a mirror. He represents a more supernatural spin on the urban legend slasher, but I love his lore. <h3>8. Art the Clown ('Terrifier')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/fN5j1MtGO2Q?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>These movies are so gross, but they crush at the box office and have entered the cultural lexicon as landmark horror movies with a famous villain. Art the Clown has quickly made a name for himself with his silent, mime-like demeanor and incredibly graphic and sadistic kills. I mean, they stick with you and never leave your brain. His unsettlingly cheerful appearance of a clown contrasted with his extreme brutality.<h3>9. Pinhead ('Hellraiser')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8mOn4h0lgKQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>The face that haunted me every time I walked into Blockbuster as a kid. I can see it when I close my eyes still! The lead Cenobite from the "Order of the Gash," Pinhead, is an articulate and intelligent being who explores the furthest regions of experience, including pain and pleasure. It's such a weird slasher, but an effective-looking one. While not a traditional slasher, his methodical torture and his iconic, nail-studded appearance earn him a place on this list.<h3>10. Jigsaw ('Saw')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/S-1QgOMQ-ls?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Grounded in the idea of vengeance and justice, I find these movies to be really interesting and such a good play on a killer taking their time. John Kramer, also known as Jigsaw, is a different breed of slasher villain. He places victims in elaborate and deadly "games" designed to test their will to live. And his kills mount up pretty frequently. These Rube Goldberg-esque traps have made him a central figure in the "torture porn" subgenre, but I think there's a slasher crossover, too. <h3>11. Norman Bates ('Psycho')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/NG3-GlvKPcg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Look, he could be number one just because he's maybe the guy who inspired everyone on this list. Sure, Peeping Tom came first, but people never forget Psycho. Alfred Hitchcock's masterpiece introduced the world to the deeply disturbed, mother-obsessed motel owner with a penchant for stabbing. Norman Bates proved that monsters don't always wear masks; sometimes, they are the quiet boy next door.<h3>12. Hannibal Lecter ('The Silence of the Lambs')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/6iB21hsprAQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Okay, so I would argue he's not really a slasher in The Silence of the Lambs, but he basically is in Hannibal, which follows him killing lots of people while trying to get away from the FBI. Dr. Lecter is a different class of killer. He's brilliant, sophisticated, and also a cannibal. I'd call him a psychological horror villain, but the eating of people after killing them leans into slasher to me. <h3>13. The Fisherman / Ben Willis ('I Know What You Did Last Summer')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/rEnCEM48QaY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Both in the remake and the original two movies, the idea of a guy in a rain slicker hunting and killing you is scary. In the original movie, he had way more of a reason to do it after kids hit him with their car, but in the remake, the killer is just a way to bring justice to a town. The vengeful fisherman with a slicker and a terrifying hook for a hand became a cornerstone of the '90s slasher revival and stuck with us through the ages. <h3>14. Angela Baker ('Sleepaway Camp')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/vImv6yxkxJE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This is one of those movies that I think not enough horror fans have seen. The killer at the heart of one of the most shocking <a data-linked-post="2661204361" href="https://nofilmschool.com/2015/12/how-to-do-twist-we-dont-mean-dance" target="_blank">twist endings</a>.We learn that Angela's quiet and traumatized demeanor hides a brutal killer, and that she's actually her own brother - if that makes sense? People still talk about this end today, and it is a shocking moment that kind of proves slasher movies have more to them than just the kills.<h3>15. Victor Crowley ('Hatchet')</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/kUogGGJtWPs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>A modern love letter to the unstoppable slashers of the '80s, we meet Victor Crowley, a deformed and supernaturally powerful force of vengeance who haunts the Louisiana swamps. Guess what he uses to kill his victims? It's one of those over-the-top, killer movies that is a lot of fun to watch later at night. <h3>Summing It All Up </h3> <a href="https://nofilmschool.com/evolution-of-slasher-movies" target="_blank">Slasher films</a> and their villains are a lot of fun. They live on mostly because a lot come back for sequels, but also because they ground many fears and terrify audiences across decades. Did I leave any of your favorites off the list? Let me know what you think in the comments. ]]></description><pubDate>Thu, 16 Oct 2025 23:15:05 +0000</pubDate><guid>https://nofilmschool.com/best-slasher-villains</guid><category>Slasher movies</category><category>Best movies</category><category>Best characters</category><category>Antagonist</category><category>Slasher</category><category>Slasher</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/we-unpack-the-best-slasher-villains-across-movie-history.jpg?id=61144677&width=980"></media:content></item><item><title>Saudi Arabia Pays $1 Billion to Open a New Hollywood Studio (& What That Means for Filmmakers)</title><link>https://nofilmschool.com/saudi-arabia-movie-studio</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/hollywood-sign.jpg?id=61767599&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> The question that keeps every filmmaker up at night is "Where do I get the money to make my masterpiece?" As fun as just shooting something with your friends can be, it's also nice to work with a studio and to make a living.So, where do you get the money to make a movie? For decades, the answers have been familiar: studios, private equity, grants, crowdfunding. But the financial map of Hollywood is being redrawn by money from out of town: namely, Saudi Arabia. The latest venture is <a href="https://www.thewrap.com/producer-erik-feig-new-studio-backing-from-saudi-arabia-japan/" target="_blank">a major deal involving Erik Feig</a>, the producer behind hits like The Hunger Games and La La Land.Feig's production company, Picturestart, has partnered with Japanese gaming giant SNK to launch Arena SNK Studios, a new movie studio in Hollywood. But the real headline is the money behind the curtain. The venture is significantly financed by Saudi Arabia’s Public Investment Fund (PIF), the nation's sovereign wealth fund. This isn't just another studio deal; it's a sign of a much larger trend that every filmmaker needs to understand.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/NL3R-ovFYu8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=NL3R-ovFYu8" target="_blank">www.youtube.com</a><hr/><h2>Money is Power in Hollywood </h2>Fresh off the heels of the very controversial <a href="https://www.nytimes.com/2025/10/02/world/middleeast/saudi-comedy-festival-riyadh-free-speech.html" target="_blank">Riyadh Comedy Festival,</a> where comedians like Bill Burr, Louis CK, and Dave Chappelle (among many others) went to Saudi Arabia to tell jokes, we're seeing a more massive investment in working with the West.When it comes to Hollywood, <a href="https://www.hollywoodreporter.com/business/business-news/saudi-arabia-40-percent-film-cash-rebate-1235061660/" target="_blank">Saudi Arabia offers a highly competitive cash rebate of up to 40%</a> for qualifying productions that shoot within the country. This aggressive incentive is designed to compete with other established global filming destinations.These efforts are all part of <a href="https://www.bakerinstitute.org/research/saudi-arabias-vision-2030-and-nation-transition" target="_blank">Saudi Arabia's Vision 2030</a><a href="https://www.bakerinstitute.org/research/saudi-arabias-vision-2030-and-nation-transition">,</a> a plan spearheaded by Crown Prince Mohammed bin Salman to diversify the nation's economy and open up its society, and to improve the quality of life for its citizens.The establishment of the Red Sea International Film Festival and various grants and educational programs are aimed at nurturing Saudi and regional filmmakers.But there is no such thing as free money.<h2>Ethical Questions </h2>This influx of Saudi capital can be an exciting development for people trying to get their movies financed, but it also comes in the wake of alleged human rights violations from the nation, most notably the 2018 killing of journalist Jamal Khashoggi.The <a href="https://www.hrw.org/world-report/2025/country-chapters/saudi-arabia" target="_blank">website for the Human Rights Watch</a> lists numerous transgressions by both the kingdom and the crown prince.“The seventh anniversary of [slain Saudi journalist] Jamal Khashoggi’s brutal murder is no laughing matter, and comedians receiving hefty sums from Saudi authorities shouldn’t be silent on prohibited topics in Saudi-like human rights or free speech,” HRW Researcher Joey Shea said in a press release about the <a href="https://www.nytimes.com/2025/10/02/world/middleeast/saudi-comedy-festival-riyadh-free-speech.html" target="_blank">Riyadh Comedy Festival</a>. He continued, “Everyone performing in Riyadh should use this high-profile opportunity to call for the release of detained Saudi activists.”And look, we've seen this washing of money before. The PIF has poured money into sports, acquiring the LIV Golf league and English Premier League team Newcastle United.It has become a majority investor in gaming companies and other entertainment avenues. Now, by backing a Hollywood studio, the PIF is making its most direct move yet into the engine room of Western content creation. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/I-6rCxpnwxU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/shorts/I-6rCxpnwxU" target="_blank">www.youtube.com</a><h2>The Filmmaker's Dilemma: Cash vs. Conscience</h2>We saw the public outcry over the Riyadh Comedy Festival reach a fever pitch last week, with comedians like Bill Burr and Whitney Cummings clapping back about wanting to bring free speech and jokes to a community, as well as arguing that this money is no more or less dirty than what already is passed around Hollywood.<a href="https://www.hollywoodreporter.com/news/general-news/bill-burr-riyadh-comedy-festival-saudi-arabia-controversy-1236395494/" rel="noopener noreferrer" target="_blank">Comic Bill Burr </a>said on his own podcast, “Everybody’s phony about this stuff...You go to China, Dubai, Saudi Arabia — it’s all complicated. But meeting audiences who just want to laugh? That’s real.”And for filmmakers struggling to get projects off the ground in a risk-averse industry, this new firehose of capital is undeniably tempting.We're not here to argue one way or another; we just wanted to lay down the facts you should be aware of as this new player enters the fold.The Riyadh Comedy Festival came with a list of things the comedians could not talk or joke about. Will they do the same with the content of their films?This creates a profound dilemma that is no longer theoretical for creators:<ul><li>Would you take money from the PIF to fund your dream project?</li><li>Does accepting the funding imply an endorsement of its source?</li><li>Is it possible to separate the art from the investor?</li></ul>There are no easy answers here. And these are all questions people often wrestle with. Filmmaking is increasingly hard to make a living from, and checks that cash are scarce.For some, the opportunity to create and employ hundreds of people will outweigh the source of the funds. For others, the ethical line is clear and uncrossable.Perhaps the most obvious worry any filmmaker should have is the idea that this new wave of Saudi-backed financing comes with strings attached.Historically, foreign investment in Hollywood has sometimes led to subtle (and not-so-subtle) shifts in content to appeal to specific markets or avoid sensitive topics.Keep your eyes open for creative mandates and censorship.Add to this the even more complicated matter that we wonder if people will care where the money came from if you made a great movie -- and also, will they care about what happened with those comedians?People's minds and tastes are in constant flux.Not taking money now to avoid bad headlines might seem smart, and then if there's a cultural shift later, you may not have the opportunity again.It's a lot for people to weigh.<h2>Summing It All Up </h2>This deal and influx of money showcase the globalization of finance and the difficult questions that come with it. The only thing that remains true is that you should always follow the money to see where it comes from, and make the choice that's not just best for you, but for your movie as well.Let us know what you think in the comments.]]></description><pubDate>Thu, 16 Oct 2025 23:02:51 +0000</pubDate><guid>https://nofilmschool.com/saudi-arabia-movie-studio</guid><category>Pif</category><category>Investment</category><category>Investors</category><category>Film financing</category><category>Saudi arabia</category><category>Hollywood</category><category>Studios</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/hollywood-sign.jpg?id=61767599&width=980"></media:content></item><item><title>Netflix Plays Nice With AMC to Put 'KPop Demon Hunters' Back In Theaters Again</title><link>https://nofilmschool.com/kpop-halloween-release</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/kpop-demon-hunters-going-back-to-theaters.webp?id=61766843&width=1245&height=700&coordinates=0%2C189%2C0%2C91"/> It turns out that even Netflix cannot turn down the sweet, sweet cash that theaters can bring in, and that's why they have made a deal with AMC theaters to put KPop Demon Hunters back in the theaters for Halloween. It'll be on 400 screens across America and raking in more dollars for the streamer. It will return to cinemas from October 31st to November 2nd. The last time it did a weekend in August, <a href="https://nofilmschool.com/k-pop-demon-hunters-lessons" target="_blank">it pulled in $19 million and topped the box office</a>. It'll be interesting to see what it does now, and I think we'll learn a lot about Netflix and its appetite to put things into theaters, especially when they have a new Knives Out movie coming out and other marquee titles next year. Let's dive in. <hr/><h2>What's Netflix's Beef with Movie Theaters? </h2>Basically, Netflix makes money by releasing stuff at home and getting you to subscribe to watch it there, not in movie theaters. But many people have said that Netflix should be double-dipping. It's okay for theaters to do well and to have movies on your platform, especially if those movies make you money in those theaters. Well, it does feel like Netflix is softening to that idea. In a statement about the KPop theater return, an AMC Theatres spokesperson said: “Netflix, the world’s largest streaming service, and AMC Entertainment, the world’s largest theatre chain, have jointly decided to work together.”And <a href="https://deadline.com/2025/10/kpop-demon-hunters-theaters-return-amc-1236587369/" target="_blank">Deadline</a> reported that discussions are underway about “mutually beneficial opportunities that could arise from this and future collaborations”.I think that would be excellent news for the health of streaming and of the artists moving forward. Also, if Netflix wants to win those Oscars, they need theatrical windows and releases to qualify, so this might be a great match. <h2>Summing It All Up </h2>The truce is a significant development in the ever-evolving landscape of film distribution. I want to see what happens, but I really think this is a partnership that can make them both a lot of money. For now, K-pop fans can rejoice, and we'll see what happens next. Let me know what you think in the comments. ]]></description><pubDate>Thu, 16 Oct 2025 20:01:16 +0000</pubDate><guid>https://nofilmschool.com/kpop-halloween-release</guid><category>Amc</category><category>Kpop demon hunters</category><category>Netflix</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/kpop-demon-hunters-going-back-to-theaters.webp?id=61766843&width=980"></media:content></item><item><title>Best '90s Shows: The Ultimate 10 TV Series of the Decade</title><link>https://nofilmschool.com/best-90s-tv-shows</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/best-tv-shows-of-the-90s.webp?id=61766172&width=1245&height=700&coordinates=0%2C0%2C0%2C261"/> I've been on a kick, going back through some of my old favorite TV shows and rewatching them. And as a child of the 90s, I've spent a lot of time in that decade going through all the things I used to watch and trying to rank them. Today, I wanted to go over what I think are the ten best TV shows of the 1990s. It was hard to go through the decade and just pick ten, because there were so many landmark TV shows on. But I did my best. Let's dive in. <hr/><h3>1. Seinfeld (1989-1998)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/yT2zf_bwAp8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>It would be impossible for me to pick against my favorite sitcom of all time. I believe all life's lessons are contained in this series. Created by Larry David and Jerry Seinfeld, this series, famously known as "the show about nothing," revolutionized the sitcom and changed what it could be. <a data-linked-post="2673911321" href="https://nofilmschool.com/top-seinfeld-episodes" target="_blank">Seinfeld</a> focused on the absurd minutiae of daily life in New York City. It made entire episodes out of the everyday annoyances of its four main characters—Jerry, Elaine, George, and Kramer. Its observational humor and unique structure made it one of the most influential and rewatchable comedies ever.<h3>2. The Simpsons (1989-present)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/sJRvsRnLtdU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>The fact that this show is still running should tell you something. It's beloved, and it still makes me laugh. The brainchild of creator Matt Groening, <a data-linked-post="2661195743" href="https://nofilmschool.com/best-simpsons-episodes" target="_blank">The Simpsons</a> became a defining cultural phenomenon in the 1990s. There were a few years when the T-shirts and toys were everywhere. It was a cultural phenomenon. The animated series offered a satirical lens on the American family and society through the lives of the residents of Springfield. And the fact that no one really aged allowed it to stay relevant and stay on topic. <h3>3. Friends (1994-2004)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Z7UBB41rF_o?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>The number of times my wife and I have run through this series is bonkers. It was created by David Crane and Marta Kauffman and followed six friends navigating life, love, and careers in New York City. <a data-linked-post="2661196874" href="https://nofilmschool.com/friends-pilot-script" target="_blank">Friends</a> was a ratings juggernaut that captured the hearts of millions. It also became part of the culture, with specific lines being repeated and talked about around the water cooler. Also, the central romance between Ross and Rachel sort of defined all sitcom romances moving forward. <h3>4. The X-Files (1993-2002, 2016-2018)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/v4-GcS1UQyg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This one I came to much later. I didn't watch until it was almost over, and then I revisited it during the COVID days. Chris Carter's creation had a generation believing "the truth is out there" and looking for it. This <a data-linked-post="2661193744" href="https://nofilmschool.com/science-fiction-genre" target="_blank">sci-fi </a>show followed FBI agents Fox Mulder and Dana Scully as they investigated paranormal phenomena. The X-Files expertly balanced standalone "monster-of-the-week" episodes with a sprawling government conspiracy mythology. We were always looking for Mulder's lost sister and wondering what was covered up. <h3>5. Frasier (1993-2004)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/GBKrnZ2BjEk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>So, I am a massive Cheers fan, and this spin-off takes a character who is sort of annoying on Cheers and makes him so interesting and likable. Developed by David Angell, Peter Casey, and David Lee, the series followed the high-brow psychiatrist Dr. Frasier Crane as he moved back to Seattle to host a radio show. It has smart-people jokes that cater to a different audience but grounded the whole thing with characters who had the same problems we do. <h3>6. ER (1994-2009)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/aEz-EkPwfE0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This show basically created the sophisticated medical drama. And it changed every medical show that followed, too. It was created by novelist Michael Crichton, who was on a roll after Jurassic Park and tapped back into his doctor roots. The show was set in the chaotic emergency room of a Chicago hospital. Crichton used to be a doctor, and the series was praised for its medical accuracy and realism. Its innovative use of continuous action and complex technical dialogue created a raw and authentic viewing experience. And it still managed to have complex characters and relationships you cared about. <h3>7. Twin Peaks (1990-1991)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/rFuKtJjhBCQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>I have been meaning to rewatch this series, and will probably dive back in soon. David Lynch on broadcast TV is sort of a crazy thought to me. The show was created by Mark Frost and David Lynch. The central mystery of "Who killed Laura Palmer?" unraveled into a surreal, often baffling, and deeply mesmerizing exploration of the darkness lurking beneath a seemingly idyllic small town. And like other shows on this list, it got everyone talking. It had a brief initial run, but its staying power was strong. People kept talking about it, and it profoundly influenced what we expect from murder investigation TV series. <h3>8. Buffy the Vampire Slayer (1997-2003)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/My08pdwvcg0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This was such a formative show for so many. And I am one of them. I really loved how Buffy just took its world seriously but was also okay having fun with its conceit as well. Joss Whedon created this coming-of-age vampire series that was far more than just a show about fighting monsters. It used the supernatural as a metaphor for the horrors of adolescence and gave us such a fun cast. It had all the usual tropes of high school and mixed in the other world to really bring them out. <h3>9. Law & Order (1990-2010, 2022-present)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/TySJcJTOsEg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Another one of those shows that feelsl ike it has lasted forever. I mean, there are so many reruns on, I wasn't aware it ever left the air. And also, it has so many spinoffs, how could you tell? The iconic crime procedural from creator Dick Wolf introduced the world to the "dun-dun" sound effect and a durable two-part format. Each episode followed the New York City police as they investigated a crime, followed by the district attorneys' attempts to prosecute the offender. The show had so many current headlines and modern stories. <h3>10. Freaks and Geeks (1999-2000)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/E0oJ-uYWakw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Look, this show only lasted like 18 episodes, and yet I think about it all the time. It launched the careers of everyone who starred in it. The series was created by Paul Feig and executive-produced by Judd Apatow. It remains beloved because it was so honest and so very real. The show avoided clichés and instead offered a funny and heartfelt look at the awkwardness of being a teenager and how hard it is to grow up. <h3>Summing It All Up </h3> So there you have it, my picks for the ten best TV shows of the '90s. There were a few I wanted to get in there, but I think this runs the gamut of different genres and ideas, and parts of the decade. If you think I left off a classic, I want to hear about it. Let me know what you think in the comments. ]]></description><pubDate>Thu, 16 Oct 2025 18:36:04 +0000</pubDate><guid>https://nofilmschool.com/best-90s-tv-shows</guid><category>Best tv</category><category>90s tv shows</category><category>90s</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/best-tv-shows-of-the-90s.webp?id=61766172&width=980"></media:content></item><item><title>We Gotta Get Over the 'One Battle After Another' Box Office</title><link>https://nofilmschool.com/one-battle-after-another-box-office</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/one-battle-after-another-box-office-analysis.jpg?id=61663514&width=1245&height=700&coordinates=0%2C0%2C1%2C0"/> It feels like every time I log onto the internet, someone is talking about the box office for One Battle After Another. There are people telling us it's going to lose $100 million and bemoaning how it should prove studios can't give these ideas money.There are dozens of hot takes all over the internet, and I'm here to just give some truths. The One Battle After Another box office does not matter.Yes, you heard that right.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/kQUPdVxZNPk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=kQUPdVxZNPk" target="_blank">www.youtube.com</a><hr/><h2>Movie Studios Plan For These Things </h2>If you run a movie studio, you look at your slate every year and hope it's diverse enough to weather the storm of the box office. But it's actually kind of predictable.You want to have a few four-quadrant movies to make money, take chances on some lower-budget genre fare to see if they break out, and then budget in some awards swings that keep big directors happy and build relationships with talent.Pam Abdy and Mike De Luca are the co-chairs and CEOs of Warner Bros. Motion Picture Group. They're responsible for the studio's global theatrical production, marketing, and distribution. The duo, who have worked together for years, recently had their contracts renewed after a successful streak of hit films like Minecraft and Sinners. And those hits at WB keep coming.This year, Warner Bros has had a spectacular box office showing. They had <a href="https://variety.com/2025/film/news/warner-bros-box-office-historic-streak-conjuring-last-rites-1236510864/" target="_blank">seven movies open over $40 million,</a> and even with whiffs like Mickey 17, they more than made up for it with movies like Minecraft and Weapons, which pulled in tons of money.That's why when people talk about the box office for One Battle After Another, which currently stands at <a href="https://www.boxofficemojo.com/releasegroup/gr1385452037/?ref_=bo_rl_su" target="_blank">$141,887,513</a> worldwide, they're just looking for clicks.If the movie did cost around $150 millionThat is a movie that is still in theaters and still doing well. It is also predicted to win or be nominated for many Academy Awards, which will help draw in new audiences and keep it in theaters.This doesn't even factor in what it makes when it hits streaming and rentals.Again, this movie is built to last, in a slow but sure way. It's making around a million dollars a day now.That's why the news of box office articles is all over the place. A good studio, run by smart people, programs movies in order to fill certain needs. WB did not need this to be a blockbuster; they just needed this to be a good movie.It is that, and now it has the chance to break even, but more importantly, bring in the awards the studio craves and set them up for the next PTA, Leo, or Chase Infiniti movie down the line.And it may woo other filmmakers to come over for the future.<h2>Summing It All Up </h2>The sky is not falling at Warner Bros. They see an awards play they invested in that brings them a closer relationship with Paul Thomas Anderson, with Leonardo DiCaprio, and repairs some of their image that suffered when Nolan left the studio, thanks to them unceremoniously dumping things on streaming.So, the next time someone brings up the box office to them, be annoying and show them this article.Let me know what you think in the comments.]]></description><pubDate>Thu, 16 Oct 2025 17:40:05 +0000</pubDate><guid>https://nofilmschool.com/one-battle-after-another-box-office</guid><category>Warner bros</category><category>One battle after another</category><category>Box office</category><category>Box office numbers</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/one-battle-after-another-box-office-analysis.jpg?id=61663514&width=980"></media:content></item><item><title>Nikon Shooters Are Going to Want to Check Out These Ultra-Fast New DX Lenses</title><link>https://nofilmschool.com/nikon-dx-lenses</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/new-nikon-dx-lenses.png?id=61764989&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Exciting news for Nikon Z-mount camera system shooters. Nikon has announced two new DX lenses for the company’s Z crop sensor lineup, which will include a lightweight 35mm f/1.7 DX prime and a 16-50mm f/2.8 DX zoom.These two lenses are both ultra-fast, highly portable, and balanced for speed. They’re both ideal options to use for both photography and videography projects with Nikon cameras. Let’s look at these two lenses and explore what they could offer for you and your projects.<hr/><h3>Nikon NIKKOR Z DX 35mm f/1.7 Lens</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/J8pf7sSMjAs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Designed as a standard prime option for Nikon Z-mount cameras (or other cameras with APS-C sensors), the Nikon NIKKOR Z DX 35mm f/1.7 Lens offers a 52.5mm full-frame equivalent field of view and should excel as a steady, everyday lens option for portrait, still-life, and street photography—as well as your regular video work.
The lens’s wide f/1.7 aperture should further provide control over depth of field and strong performance in low light, while its compact 2.8"-long build ensures convenient handling and integration with smaller DX-format bodies.
The Nikon NIKKOR Z DX 35mm f/1.7 Lens will feature a minimum focus distance of just 6.3", making it a nice option for close-ups with sharp detail, as it will provide smooth background separation. Overall, the Nikon NIKKOR Z DX 35mm f/1.7 Lens will be both practical and versatile, and a nice option for both beginner and advanced shooters.
Here are the full specs and purchase options:
<ul><li>APS-C | f/1.7 to f/16</li><li>52.5mm (Full-Frame Equivalent)</li><li>Large Aperture Standard Prime</li><li>STM Autofocus | 6.3" Close Focus</li><li>Compact 2.8"-Long Design</li><li>52mm Front Filter Thread</li></ul><h3>Nikon NIKKOR Z DX 35mm f/1.7 Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="9008c6092f0dd557ada6171f112d95c2" data-rm-shortcode-name="rebelmouse-image" id="6a0ef" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61764515&width=980"/>Balancing speed and portability, the NIKKOR Z DX 35mm f/1.7 Lens from Nikon is a standard prime designed for Z-mount cameras with APS-C sensors.<h3>Nikon NIKKOR Z DX 16-50mm f/2.8 VR Lens</h3> <iframe class="rm-shortcode" data-rm-shortcode-id="7ab12a58026ed3510a33cb225908451f" frameborder="0" height="480" scrolling="no" src="https://player.vimeo.com/video/1122922340" width="100%"></iframe>Along with the DX prime listed above, Nikon is also rolling out a new zoom for APS-C sensor as the Nikon NIKKOR Z DX 16-50mm f/2.8 VR Lens will be able to provide a 24 to 75mm full-frame equivalent field of view.
Plus, with its constant f/2.8 maximum aperture, this DX zoom will be able to ensure consistent exposure control, smooth background separation, and reliable low-light performance across the zoom range. 
The lens will also be quite lightweight as it will weigh just 11.6 oz and measure 3.5" long, making it a nice combo of portability with strong imaging capabilities that can be an ideal tool for travel, street photography, portraiture, and a wide variety of other scenarios.
Here are the full specs and purchase options:
<ul><li>APS-C | f/2.8 to f/22</li><li>24-75mm (Full-Frame Equivalent)</li><li>STM Autofocus | 5.9 to 9.8" Close Focus</li><li>4.5-Stop Vibration Reduction I.S.</li><li>f/2.8 Aperture Over Entire Zoom Range</li><li>9-Blade Iris | Distinct Circular Bokeh</li><li>Compact 3.5"-Long Design</li><li>User-Assignable Control Ring</li><li>67mm Front Filter Thread</li></ul><h3>Nikon NIKKOR Z DX 16-50mm f/2.8 VR Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="dfa467992cc674a975a618a52ad67d24" data-rm-shortcode-name="rebelmouse-image" id="5b7c7" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61764511&width=980"/>Designed for Z-mount cameras with APS-C sensors, the NIKKOR Z DX 16-50mm f/2.8 VR Lens from Nikon is a versatile zoom that provides a 24 to 75mm full-frame equivalent field of view. ]]></description><pubDate>Thu, 16 Oct 2025 17:40:05 +0000</pubDate><guid>https://nofilmschool.com/nikon-dx-lenses</guid><category>Nikkor lenses</category><category>Nikon dx lenses</category><category>Nikon nikkor z dx 35mm f1.7 lens</category><category>Nikon nikkor z dx 16-50mm f2.8 vr lens</category><category>Nikon lenses</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/new-nikon-dx-lenses.png?id=61764989&width=980"></media:content></item><item><title>Instantly Connect and Access Terabytes of Media From Anywhere With the New Strada Mobile App</title><link>https://nofilmschool.com/strada-mobile-app</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/strada-mobile-app.jpg?id=61764626&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> If you’re a filmmaker, or pretty much anyone else working in video content and media, and you’re looking to ditch the cloud yet still access your media from anywhere (and transfer your files seamlessly across the globe), then you’ve likely heard of Strada and the company’s unique direct drive-to-drive transfer capabilities.Fresh off the launch of the company’s <a href="https://nofilmschool.com/strada-agent-direct-to-edit" target="_self">Strada Agent</a>, which promises to deliver direct-to-edit transfer technologies and a complete reinvention of how to connect cameras directly to editors, eliminating production bottlenecks, the company has a new mobile app version that is also quite promising.Here’s what you need to know about the Strada mobile app.<hr/><h3>Introducing the Strada Mobile App</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/j-qLnFXprrs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>As showcased in a launch video, the Strada mobile app is here to offer a way for every hard drive, folder, and file to be accessible on the go with this new mobile offering. Users will be able to browse, play, and export their media from anywhere on iOS and Android devices.
The goal is to allow filmmakers and creative stakeholders to have all of their media always within reach. This means that users will be able to instantly connect to their own computer and explore any connected drive, folder, or even camera card, all from their phone. 
Users will be able to access drives shared by collaborators, making remote work and on-the-go file management more seamless, too. 
When up and running, someone could easily transfer and download files directly to their phone with a helpful download feature, virtually turning their mobile device into unlimited storage. A nice offering that could honestly save some major money for bigger producers.<h3>Price and Availability</h3> Strada is available to try for free and accessible via a subscription plan with basic accounts starting at $8/month and unlimited accounts starting at $24/month. You can find more info on <a href="https://strada.tech/pricing" target="_blank">Strada’s website here</a>.]]></description><pubDate>Thu, 16 Oct 2025 17:30:05 +0000</pubDate><guid>https://nofilmschool.com/strada-mobile-app</guid><category>Strada</category><category>Strada agent</category><category>Strada mobile app</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/strada-mobile-app.jpg?id=61764626&width=980"></media:content></item><item><title>Are Video Editors Truly Ready for the New Apple iPad Pro and Its Powerful M5 Chip?</title><link>https://nofilmschool.com/apple-ipad-pro-m5-chip</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/apple-ipad-pro.jpg?id=61764683&width=1245&height=700&coordinates=0%2C149%2C0%2C149"/> Promised to be the most advanced iPad ever, the new iPad Pro is here and set to be powered by Apple’s new M5 chip. Set to pack an incredible amount of power and AI performance into the highly portable design of the iPad Pro, the M5 chip will deliver a major boost thanks to its next-gen GPU with a Neural Accelerator in each core.Let’s look at what this means for the new iPad Pro and the future of Apple’s filmmaking and video editing powers.<hr/><h3>Apple iPad Pro</h3> <img alt="\u200bApple iPad Pro" class="rm-shortcode" data-rm-shortcode-id="f7d26db29813d51a98ca101e4d30caad" data-rm-shortcode-name="rebelmouse-image" id="aebe7" loading="lazy" src="https://nofilmschool.com/media-library/u200bapple-ipad-pro.jpg?id=61764687&width=980"/>Set to be available in space black and silver, the new iPad Pro will come in 11-inch and 13-inch sizes, and features a new Ultra Retina XDR display for an unparalleled viewing experience. This new iPad Pro will feature iPadOS 26, which will bring its own supercharged performance and some major upgrades over previous M1 models.<blockquote>“iPad Pro with M5 unlocks endless possibilities for creativity and productivity — with a huge leap in AI performance and a big boost in graphics, superfast wireless connectivity, and game-changing iPadOS 26 features, it pushes the boundaries of what iPad can do yet again.”</blockquote>The new iPad Pro will be able to deliver up to 3.5x the AI performance of iPad Pro with M4 and up to 5.6x faster than iPad Pro with M1. Final Cut Pro for iPad will likely get a major boost as well with this new performance, too; however, Apple is (of course) focusing on its huge leap in AI performance as well.The new iPad Pro is available to pre-order starting today, and will be available in stores beginning Wednesday, October 22.<h3>Apple’s M5 Chip</h3> <img alt="\u200bApple iPad Pro" class="rm-shortcode" data-rm-shortcode-id="e7ebf2941c7d82729124b2a07029a9b6" data-rm-shortcode-name="rebelmouse-image" id="d6ec5" loading="lazy" src="https://nofilmschool.com/media-library/u200bapple-ipad-pro.jpg?id=61764689&width=980"/>Being dubbed as the company’s “next big leap in AI,” the M5 chip powering the new iPad Pro will offer a more advanced GPU and CPU, and a faster Neural Engine. The 10-core GPU will introduce a new architecture with a Neural Accelerator in each core, resulting in a massive boost in GPU performance for AI workloads.
Powered by the M5, the new iPad Pro is designed for AI and accelerates a wide variety of workloads, such as on-device diffusion-based image generation in apps like Draw Things and AI video masking in apps like DaVinci Resolve. 
And the faster 16-core Neural Engine will further deliver a more energy-efficient performance for on-device AI, ideal for apps that use the Foundation Models framework and for Apple Intelligence features like creating in Image Playground.<h3>Price and Availability</h3> We’ll have more to explore about the new iPad Pro and the true ramifications of Apple’s new M5 chip in the coming weeks and months, but for now, if you’re interested in checking it out the iPad Pro with M5 can be pre-ordered from <a href="https://www.apple.com/store/" rel="noopener noreferrer" target="_blank">Apple’s website here</a> (and units will be available at Apple locations starting on Wednesday, October 22.)]]></description><pubDate>Thu, 16 Oct 2025 17:17:56 +0000</pubDate><guid>https://nofilmschool.com/apple-ipad-pro-m5-chip</guid><category>Apple</category><category>Ipad</category><category>Ipad pro</category><category>M5 chip</category><category>Apple ipad pro</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/apple-ipad-pro.jpg?id=61764683&width=980"></media:content></item><item><title>Nikon NIKKOR Z DX 35mm f/1.7 Lens</title><link>https://nofilmschool.com/nikon-nikkor-z-dx-35mm-f-1-7-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61764515&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> Balancing speed and portability, the NIKKOR Z DX 35mm f/1.7 Lens from Nikon is a standard prime designed for Z-mount cameras with APS-C sensors.]]></description><pubDate>Thu, 16 Oct 2025 14:51:22 +0000</pubDate><guid>https://nofilmschool.com/nikon-nikkor-z-dx-35mm-f-1-7-lens</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61764515&width=980"></media:content></item><item><title>Nikon NIKKOR Z DX 16-50mm f/2.8 VR Lens</title><link>https://nofilmschool.com/nikon-nikkor-z-dx-16-50mm-f-2-8-vr-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61764511&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> Designed for Z-mount cameras with APS-C sensors, the NIKKOR Z DX 16-50mm f/2.8 VR Lens from Nikon is a versatile zoom that provides a 24 to 75mm full-frame equivalent field of view. ]]></description><pubDate>Thu, 16 Oct 2025 14:50:19 +0000</pubDate><guid>https://nofilmschool.com/nikon-nikkor-z-dx-16-50mm-f-2-8-vr-lens</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61764511&width=980"></media:content></item><item><title>The Hybrid DP: How Mathew Rudenberg Blends Realism with Narrative Cinema</title><link>https://nofilmschool.com/mathew-rudenberg-dp-high-potential</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/mathew-rudenberg-interview.webp?id=61752400&width=1245&height=700&coordinates=0%2C32%2C0%2C281"/> One look at Mathew Rudenberg’s filmography, and one question comes to mind: how does he do it all? The South African-born cinematographer has lensed everything from the moody, arthouse visuals of Ultrasound to the explosive comedy of Die Hart 2, from cult TV hits like Kroll Show to the Emmy-winning polish of Actors on Actors.And now, he's crushing a few episodes on ABC and Hulu's High Potential.But it’s his deep experience in documentary filmmaking—which has taken him from Folsom prison to a Juggalo rally and earned him a SXSW Grand Jury Prize for The Work—that may be the secret to his success.We spoke with Mathew about his process and how nonfiction shooting informs his scripted work, and his advice for DPs looking to avoid being pigeonholed.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ozpAKcX2G-8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=ozpAKcX2G-8" target="_blank">www.youtube.com</a><hr/>NFS: Hi Mathew! Having joined High Potential in its second season, how do you adapt to a show's existing visual language while also hoping to innovate upon it?Mathew Rudenberg: One of the things I love most about shooting television is that it’s iterative. You can always look at what’s been done and ask, "How can we perfect this? "Joining High Potential in Season 2 was a great opportunity to take a step back, breathe, and really evaluate what was working and where we could elevate things.Building a visual language always starts with story and character. At its core, High Potential is about an unconventional character, Morgan Gillory, whose presence brings color and unpredictability into a grounded police procedural world. There’s a natural tension in those two worlds colliding, and I wanted the visuals to reflect that.For the police procedural side, my co-DP Amanda Treyz and I completely re-evaluated our camera and lens package. We spent days testing cameras, filters, and lenses at my longtime camera house, Keslow, and then reviewed the footage with our fantastic colorist, Cody Baker, at Company 3.We decided to stay with the Alexa 35 because of its incredible range and skin tones, but Cody built a brand-new show LUT that really brought out the blues in the shadows. We also switched our main lens package to the Arri Master Primes, paired with zooms, for a clean but cinematic feel.For Morgan’s interior world, my longtime collaborator and visionary producing director Nancy Hower encouraged me to really push things creatively. We zeroed in on the “Morgan Visions” as a place to experiment and elevate the show’s visual storytelling, taking them beyond what was done in Season 1.NFS: Can you tell us more about the "Morgan Visions" that play such an essential role in the show? Do you have any favorites from this season?MR: The “Morgan Visions” are moments where the audience gets to peek inside Morgan’s brilliant and quirky mind as she connects seemingly unrelated facts to solve a mystery. They have to deliver information, but always through her lens—her humor, her associations, her worldview.Our showrunner, Todd Harthan, wanted to move away from greenscreen and stock footage and instead ground these moments in reality. That doesn’t mean we never use CG to augment things, but we try to do as much as possible practically—even if it’s imperfect. That handmade quality is part of the charm.For example, we needed a time-lapse of a plant growing, but didn’t have time to shoot it practically. Instead of using CG, we built a fake square of ground, pulled the plant through a hole, and played it backward so it looked like it was sprouting. It’s silly, tactile, and it works beautifully.To differentiate the look of these sequences, we use Ancient Optics Petzvelux lenses, probe lenses, and tilt-shift lenses to craft unusual visuals. Beyond that, we’ve created all kinds of looks—from 1940s newsreels to 8mm Vietnam hostage films to 1980s educational kids’ shows. There’s even a very special cameo I can’t spoil yet, but viewers are going to love it.NFS: How does High Potential compare to your work on other series, such as Blue Mountain State or The Kroll Show?MR: One of my primary goals as a DP is to find the right look for each show rather than impose a personal signature. I love using all the tools available to craft a style that best communicates the tone, characters, and story. In that sense, I think of my approach as a bit chameleonic—I’ve built totally different visual styles for comedies, horror, and sci-fi.Every project expands my toolbox of techniques and ideas. Kroll Show, in particular, was a great primer for High Potential, because I worked with DP Christian Sprenger to design a variety of looks depending on the sketch or segment.That experience of constantly shifting tone and texture—from heightened parody to naturalism—really helped prepare me for a show like High Potential, which walks the line between grounded drama and playful imagination.We were shooting on an early RED camera that let us vary the sensor size. For the cinematic pieces, we’d use the full sensor with primes for a rich depth of field, while for the reality-style segments, we’d crop the sensor to 16mm size to mimic ENG cameras. I’ve taken a similar approach on High Potential using the Alexa.And while Blue Mountain State was a cult comedy, there’s a similar sense of humor in High Potential that balances and heightens the dramatic moments. <img alt="" class="rm-shortcode" data-rm-shortcode-id="baa5de49ee9d74eedc8f38fa82e4fe20" data-rm-shortcode-name="rebelmouse-image" id="f2b95" loading="lazy" src="https://nofilmschool.com/media-library/mathew-rudenberg.png?id=61752399&width=980"/> Mathew RudenbergPhoto by Rob SchroederNFS: I’m fascinated by your work as the cinematographer on Variety’s Actors on Actors series. What has that experience taught you about being a creative or the industry at large?MR: I’ve shot Actors on Actors for about a decade now, and it’s been one of the most rewarding long-term projects I’ve been a part of. The show has evolved a lot—it started with more of a talk-show vibe, but after going remote during the pandemic, we returned with a much cleaner, minimal aesthetic that I really love.That stripped-down approach puts all the focus on two actors having an intimate, honest conversation. Over the years, I’ve had the privilege of sitting just off-camera from almost every major actor in film and television, listening as they open up about their inspirations, struggles, and triumphs. It’s given me a much deeper appreciation for their humanity.Across the industry, there’s a lot of talk about AI-generated stories and performances. But after witnessing these conversations firsthand, I’m convinced that no technology—no matter how advanced—can replace the lived experience, passion, and emotional truth of a real person.NFS: High Potential deftly walks a tightrope between comedy and drama. How do you navigate that balance from a visual perspective?MR: There’s a tendency in our industry to make binary distinctions— dividing shows into “comedy” and “drama.” But that’s really just a practical separation based on runtime. In truth, all good comedy has drama in it, and all good drama has humor.I do have a little saying: “Comedy is clean, drama is dirty.” By that I mean that when shooting comedy, I often go for clean singles—especially since there’s usually improv and matching can be tricky—while in drama I like to include both actors in frame to feel the emotional weight between them. But that’s hardly a hard-and-fast rule.In High Potential, the only moments that lean overtly comedic are the Morgan Visions, since they exist outside of reality. Sometimes we even end those with a wink to the camera, breaking the fourth wall. For the rest of the show, I don’t think in terms of comedy versus drama—I think in terms of emotional truth.For example, my episode “11 Minutes” tells a heartbreaking story of two very different adult children trying to reconnect with their dying parents. If it were shot with a comedic sensibility, it wouldn’t land the same way emotionally.NFS: What is the collaboration like among the department heads on High Potential?MR: One of the most vital collaborations is with our production designer, Valerie Green, and art director, Ryan Suchon. Since we avoid greenscreen and stock footage, each Morgan Vision requires a physical set—often built for just a few seconds of screen time.For example, one Morgan Vision was originally written as spinning magazine covers flying into frame—a simple post effect. I suggested we print each cover and physically throw them onto a small set dressed to match each headline. Val ended up building little environments—a swamp, a construction site, a gym—all just a few feet square.For another scene, Ryan built a giant lock so we could push a probe lens on the camera through it to reveal a criminal picking it from the other side.Our whole crew loves that we do things practically. I can see our special effects coordinator, Jonathan Kombrinck, light up every time we decide to achieve something in-camera, like figuring out a safe way to simulate a thermite reaction burning through glass.NFS: Are there any other genres you’d like to explore?MR: As I’ve said, I love tailoring a look to each project, and what excites me most is when I get to build an entire world through cinematography—as I’ve done on some of the sci-fi projects I’ve shot, like the Nolan-esque feature Ultrasound for Rob Schroeder, which played at Tribeca in 2021.I grew up reading sci-fi paperbacks from my dad’s library, and I’ve always been inspired by the epic worlds of filmmakers like Villeneuve and Kubrick. But I’m just as amazed by what can be done on a smaller scale—films like Shane Carruth’s Upstream Color or Caldwell and Earl’s Prospect.So a dream of mine would definitely be to shoot a sci-fi series, or a few more features in that space.NFS: Is there anything else you’d like to share about High Potential or your upcoming work?MR: I couldn’t end an interview without mentioning how incredible Kaitlin Olson is—both as an EP and as an actor. She’s the heart of the show and deeply involved in every aspect, from concept to performance. Working with her is an absolute joy, and I’m in awe of everything she brings to the production every single day.We’re still in the middle of shooting Season 2, and there’s so much great stuff coming up that I can’t wait for audiences to see—including a killer car chase we shot right here in LA, with some of the best stunt drivers in the business, beautifully orchestrated by our stunt coordinator, Kimberly Shannon.If anyone’s curious about the craft behind High Potential, I love sharing behind-the-scenes looks at our camera and lighting setups on Instagram — you can find me at <a href="https://www.instagram.com/rudenberg_dp" target="_blank">@rudenberg_dp</a>.]]></description><pubDate>Wed, 15 Oct 2025 22:27:05 +0000</pubDate><guid>https://nofilmschool.com/mathew-rudenberg-dp-high-potential</guid><category>Cinematography</category><category>Mathew rudenberg</category><category>High potential</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/mathew-rudenberg-interview.webp?id=61752400&width=980"></media:content></item><item><title>Read and Download Some of the 'Batman: The Animated Series' Screenplays</title><link>https://nofilmschool.com/batman-the-animated-series-screenplays</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-batman-the-animated-series-screenplays-to-read.jpg?id=61758663&width=1245&height=700&coordinates=77%2C0%2C78%2C0"/> As a kid, my favorite show to curl up and watch was Batman: The Animated Series. It was so well written and had so many deep and interesting episodes. Now, as a writer, I love looking back and seeing how they put the ideas and characters onto the page, and taking note of the ways they told stories. To do that, you have to read the screenplays. So today, I thought it would be fun to go through some of them and give you an opportunity to scroll through some of <a data-linked-post="2674181328" href="https://nofilmschool.com/best-batman-animated-series-episodes" target="_blank">the best episodes of all time</a> in order to see how they made the magic happen. Let's dive in. (For educational purposes only)<hr/><h2>Batman: The Animated Series Screenplays </h2><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Writers%27_Guidelines.pdf" rel="noopener noreferrer" target="_blank"></a><ul><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Writers%27_Guidelines.pdf" rel="noopener noreferrer" target="_blank"></a><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Writers%27_Guidelines.pdf" rel="noopener noreferrer" target="_blank"></a><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Writers%27_Guidelines.pdf" rel="noopener noreferrer" target="_blank">Batman: The Animated Series Writers' Guidelines</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_-_Vigil_%28treatment%29.pdf" target="_blank">Batman: The Animated Series - Vigil (treatment)</a></li></ul><h3>Unmade episodes</h3><ul><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_-_Midnight.pdf" target="_blank">Batman: The Animated Series - The Midnight Hour</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_-_Mind_Games.pdf" target="_blank">Batman: The Animated Series - Mind Games</a></li></ul><h3>Scripts</h3><ul><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Animated_Series_1x03_-_Heart_of_Ice.pdf" target="_blank">Batman: The Animated Series 1x03 - Heart of Ice</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Animated_Series_1x04_-_Feat_of_Clay_Part_2_.pdf" target="_blank">Batman: The Animated Series 1x04 - Feat of Clay Part 2</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Animated_Series_1x09_-_Pretty_Poison.pdf" target="_blank">Batman: The Animated Series 1x09 - Pretty Poison</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Animated_Series_1x25_-_The_Cape-and-Cowl_Conspiracy.pdf" target="_blank">Batman: The Animated Series 1x25 - The Cape-and-Cowl Conspiracy</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Animated_Series_1x42_-_Joker%27s_Wild.pdf" target="_blank">Batman: The Animated Series 1x42 - Joker's Wild</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Gotham_Knights_2x06_-_Legends_Of_The_Dark_Knight.pdf" target="_blank">Batman: Gotham Knights 2x06 - Legends Of The Dark Knight</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Gotham_Knights_2x11_-_Mad_Love.pdf" target="_blank">Batman: Gotham Knights 2x11 - Mad Love</a></li><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_Beyond_1x02_-_Rebirth_Part_2.pdf" target="_blank">Batman Beyond 1x02 - Rebirth Part 2</a></li></ul><h3>Movie</h3><ul><li><a href="https://tvwriting.co.uk/tv_scripts/Collections/Animation/Batman/Batman_-_Mask_of_the_Phantasm.pdf" target="_blank">Batman: Mask of the Phantasm</a></li></ul>]]></description><pubDate>Wed, 15 Oct 2025 22:07:04 +0000</pubDate><guid>https://nofilmschool.com/batman-the-animated-series-screenplays</guid><category>Script download</category><category>Screenplay download</category><category>Batman the animated series</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-batman-the-animated-series-screenplays-to-read.jpg?id=61758663&width=980"></media:content></item><item><title>Tax Documents Revealed 'Rise of Skywalker' Cost How Much?!</title><link>https://nofilmschool.com/rise-of-skywalker-budget</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/credit-tax-documents-revealed-for-rise-of-skywalker.webp?id=61760012&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> When it comes to budgeting a blockbuster movie, things can get out of hand pretty quickly, especially if there are hiccups or any kind of unrest on set.That's why it was so interesting to check out some leaked tax documents that show that the total cost of 2019’s Star Wars: The Rise of Skywalker came to $593.7 million.Those numbers make it the third most expensive movie in history.<a href="https://www.forbes.com/sites/carolinereid/2025/10/13/cost-of-star-wars-the-rise-of-skywalker-approaches-600-million/" target="_blank">Forbes</a> recently published the documents that came up in a court case.Now, thanks to the magic of filming in the U.K. and their incentives, Disney receives a hefty tax reimbursement of $103.8 million, which brings the net cost down to a slightly less staggering $489.9 million.I wish the USA had tax breaks like these for movies! Still, that is a massive budget, but it highlights the importance of production incentives and shows why people are filming outside of the US.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8Qn_spdM5Zg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=8Qn_spdM5Zg" target="_blank">www.youtube.com</a><hr/><h2>The Box Office Battle</h2>The Rise of Skywalker grossed over $1.077 billion worldwide, which, on the surface, looks like a huge success. However, remember that theaters typically take a 50% cut. That leaves Disney with roughly $538.5 million from the theatrical run.So, after all that, the film's theatrical profit was a relatively slim $48.6 million.These are all estimates, and it doesn't count the money they could make on:<ul><li>Home Entertainment: Blu-ray, DVD, and VOD sales are a significant revenue stream.</li><li>Merchandising: This is Star Wars, after all. Toys, apparel, and other merchandise are a goldmine.</li><li>Streaming: The film's eventual home on Disney+ adds long-term value.</li></ul><div>But I really love dissecting this studio budgeting and seeing how a massive studio can take these big risks. It's the equivalent of betting a lot of money to try to win a lot.</div>Still, are there any lessons for filmmakers playing in a small sandbox?<h2>What's the Takeaway for the Rest of Us?</h2>Honestly, it's the same lessons. If you get investment for a movie, you need to hopefully turn some sort of a profit in order to show your investors it was a good opportunity.Now, someone might give you money for art's sake, and bless that person. But most filmmaking is the meeting of art and commerce. While you're probably not working with a half-billion-dollar budget, the principles are the same:<ul><li>Budgeting is Everything: Know your numbers, inside and out. Every dollar counts.</li><li>Don't Forget Marketing: A great film is useless if no one sees it. Factor in marketing and distribution costs from the very beginning.</li><li>Find Your Revenue Streams: Don't just think about the box office. Explore every possible avenue for monetization.</li></ul><h2>Summing It All Up </h2>The Rise of Skywalker is an extreme example, but it's a fascinating case study in the high-stakes world of blockbuster filmmaking at the studio level.For the rest of us, it's a reminder that at the end of the day, filmmaking is a business as well as an art form. Art and commerce work hand in hand to get people to the theater.You have to be smart and resourceful to make money back and to keep your investors happy, no matter what level you work at.Let me know what you think in the comments.]]></description><pubDate>Wed, 15 Oct 2025 21:53:04 +0000</pubDate><guid>https://nofilmschool.com/rise-of-skywalker-budget</guid><category>Budget</category><category>Disney</category><category>Blockbusters</category><category>Star wars: the rise of skywalker</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/credit-tax-documents-revealed-for-rise-of-skywalker.webp?id=61760012&width=980"></media:content></item><item><title>Christopher Nolan Calls Dwayne Johnson's 'Smashing Machine' the Best Performance of the Year</title><link>https://nofilmschool.com/christopher-nolan-calls-dwayne-johnson-s-smashing-machine-the-best-performance-of-the-year</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/christopher-nolan-calls-dwayne-johnson-s-smashing-machine-the-best-performance.webp?id=61760435&width=1245&height=700&coordinates=0%2C103%2C0%2C104"/> In a crossover of cinematic worlds you probably didn't have on your bingo card, Christopher Nolan has given one of the year's most powerful endorsements to an unlikely recipient: Dwayne "The Rock" Johnson.But if you've seen the movie, you kind of understand what he means. It really is an amazing and transformative performance from him. Speaking with director Benny Safdie on the DGA's podcast, The Director's Cut, the Oppenheimer helmer didn't mince words when it came to Johnson's turn as UFC fighter Mark Kerr in Safdie's A24 film, The Smashing Machine.Nolan said it was “heartbreaking,” adding: “I think it’s an incredible performance. I don’t think you’ll see a better performance this year or most other years.”He went on to say, “I heard a rumor that when you were supposed to be learning your lines on my set, you were actually canvassing people to be in your movie. I wasn’t aware of that at the time, but it seems to have worked out great for you." Safdie laughed at that joke. And Nolan added, “Congratulations on the movie. It’s a really remarkable and radical piece of work that will be understood more and more over time. I’m very proud to know you.”Let's dive into these kind words! <hr/><div class="rm-embed embed-media"><iframe allow="autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture" allowfullscreen="" data-testid="embed-iframe" frameborder="0" height="352" loading="lazy" src="https://open.spotify.com/embed/episode/1zLDPriFYSEKKSsUP6xV1G?utm_source=generator" style="border-radius:12px" width="100%"></iframe></div><h2>The Takeaway For Filmmakers </h2>For filmmakers and actors, this is more than just a fun news item. It shows that there is power behind casting against type. Johnson is a global superstar synonymous with blockbuster action and charisma, but in this movie, that all gets stripped away. He's still ripped, but this is a grittier look at a guy trying to elevate a sport. Safdie saw the potential for a transformative performance, and Nolan's high praise suggests he pulled it off.Johnson was also allowed to act and show complexity, which he doesn't usually get to do. He rocked this role and added so much nuance. I think it will open doors for him in the future and allow him to do other complex roles. <h2>Summing It All Up </h2>There's a benefit for everyone to try to subvert expectations, both from a performance and from a director. Sometimes even huge stars need those opostinriesmad you might be able to get a bigger name on your script if you send an actor something they're not used to reading to tap into a secret desire they have to play someone. Let me know what you think in the comments. ]]></description><pubDate>Wed, 15 Oct 2025 21:41:14 +0000</pubDate><guid>https://nofilmschool.com/christopher-nolan-calls-dwayne-johnson-s-smashing-machine-the-best-performance-of-the-year</guid><category>Benny safdie</category><category>The rock</category><category>Smashing machine</category><category>Christopher nolan</category><category>Dwayne johnson</category><category>Christopher nolan</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/christopher-nolan-calls-dwayne-johnson-s-smashing-machine-the-best-performance.webp?id=61760435&width=980"></media:content></item><item><title>10 Best Soccer Movies to Watch Before the World Cup</title><link>https://nofilmschool.com/best-soccer-movies</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/what-are-the-best-soccer-movies-of-all-time.jpg?id=61757373&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> Soccer, or football everywhere else, is one of the most popular sports in the world. It's actually surprising we don't have more movies about the game. But lucky for us, we have a bunch of great ones, and with the 2026 World Cup less than a year away, it's a good time to make the ultimate watchlist.Today, I want to go over what I think are the ten best movies about soccer and talk about what makes them special. Let's dive in. <hr/><h3>1. Bend It Like Beckham (2002)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/EyorDLWW1Nw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Gurinder Chadha</li><li>Writers: Gurinder Chadha, Guljit Bindra, Paul Mayeda Berges</li><li>Cast: Parminder Nagra, Keira Knightley, Jonathan Rhys Meyers, Anupam Kher</li></ul>This movie rocks. It's a brilliant <a href="https://nofilmschool.com/best-coming-of-age-movies" target="_blank">coming-of-age movie</a> as well as a <a href="https://nofilmschool.com/sports-movie" target="_blank">sports movie</a>. The film became a cultural phenomenon that transcended the sports genre and was beloved by audiences all over the world. At the heart of this movie is an 18-year-old British-Indian girl who idolizes David Beckham and dreams of playing professional soccer against the wishes of her traditional Indian family. It's a dramedy that tugs on the heartstrings and makes you so happy while watching it. The film was a box office success and a critical darling. <h3>2. The Damned United (2009)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/lfjvNgMGy94?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Tom Hooper</li><li>Writer: Peter Morgan</li><li>Cast: Michael Sheen, Timothy Spall, Colm Meaney, Jim Broadbent</li></ul>There's so much drama in the sport of soccer, and this movie manages to capture it all. It delves into the turbulent 44-day reign of controversial football manager Brian Clough at Leeds United in 1974. In this movie, Michael Sheen delivers a tour-de-force performance as the brilliant and abrasive Clough. The film is a fascinating character study. It explores the themes of ego, rivalry, and the high-pressure world of professional sports.<h3>3. Shaolin Soccer (2001)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/KEWUDWYDdYs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Stephen Chow</li><li>Writers: Stephen Chow, Tsan-Cheung Kan</li><li>Cast: Stephen Chow, Zhao Wei, Ng Man-tat</li></ul>You know I love a <a data-linked-post="2673938737" href="https://nofilmschool.com/american-martial-arts-cinema" target="_blank">Martial Arts movie</a>, so this falls in both categories. This Hong Kong action-comedy seamlessly blends martial arts with soccer. You get all the style and grace of movement from both, and a lot of laughs as well. While not as famous in America, the film was a massive box office hit in Asia and garnered international acclaim for its creativity and infectious energy.<h3>4. Offside (2006)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/PC8fav3UEeQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Jafar Panahi</li><li>Writer: Jafar Panahi</li><li>Cast: Sima Mobarak-Shahi, Shayesteh Irani, Ayda Sadeqi</li></ul>I love a movie about sneaking into something. And this is an underseen coming-of-age story that tells the story of a group of girls who disguise themselves as boys to sneak into a stadium to watch a World Cup qualifying match, an act forbidden by law in Iran.It's a moving and often humorous look at gender inequality in repressive countries and the universal love of the game. The film won the Silver Bear at the Berlin International Film Festival.<h3>5. Diego Maradona (2019)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Pmm7r4ynyIQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Asif Kapadia</li><li>Writer: Asif Kapadia</li><li>Cast: Diego Maradona (archive footage)</li></ul>I went through a few docs to maybe put on this list. But this one stood out as the most real and raw. It was made from over 500 hours of never-before-seen footage and chronicles the extraordinary life of legendary Argentine footballer Diego Maradona. The film focuses on his tumultuous time at S.S.C. Napoli. It explores his genius on the field and the personal demons that haunted him off it. <h3>6. The Two Escobars (2010)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/PHzixowbbYU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Directors: Jeff Zimbalist, Michael Zimbalist</li><li>Writers: Jeff Zimbalist, Michael Zimbalist</li><li>Cast: Andrés Escobar (archive footage), Pablo Escobar (archive footage), Francisco Maturana</li></ul>I love a good ESPN's "30 for 30", and this is one of the best. It explores the fascinating and tragic intersection of crime and soccer in 1990s Colombia. The film chronicles the parallel lives of Colombian soccer captain Andrés Escobar and notorious drug lord Pablo Escobar. It is an incredible story about two men who both died for their country's obsession with drugs and with soccer after the national team's disastrous 1994 World Cup and Andrés' subsequent murder.<h3>7. Goal! The Dream Begins (2005)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/i8CzrSxRns4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Danny Cannon</li><li>Writers: Mike Jefferies, Adrian Butchart, Dick Clement, Ian La Frenais</li><li>Cast: Kuno Becker, Alessandro Nivola, Marcel Iureș, Stephen Dillane</li></ul>This is a classic underdog story about a young Mexican-American immigrant who gets a once-in-a-lifetime opportunity to trial for a professional team in England.It kind of has the traditional, familiar sports movie trajectory, but the film is elevated by its authentic soccer sequences and heartfelt performances.<h3>8. Victory (1981)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/MO2yuDWi-IA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: John Huston</li><li>Writers: Evan Jones, Yabo Yablonsky</li><li>Cast: Sylvester Stallone, Michael Caine, Max von Sydow, Pelé, Bobby Moore</li></ul>Who doesn't love a good war movie and sports movie mashup? This World War II drama features an all-star cast that includes Sylvester Stallone, Michael Caine, and soccer legends Pelé and Bobby Moore. The film tells the story of a group of Allied prisoners of war who play an exhibition match against a German team, with a daring escape plan intertwined. It's a thrilling blend of sports and wartime action and speaks to the universality of the sport. <h3>9. Green Street Hooligans (2005)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/IaShAfaZ-JQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Lexi Alexander</li><li>Writers: Lexi Alexander, Dougie Brimson, Josh Shelov</li><li>Cast: Elijah Wood, Charlie Hunnam, Claire Forlani</li></ul>I can't believe it took this long to get to a good fighting movie. The best part about soccer is the people fighting outside. This raw and intense drama delves into the violent and tribal world of English football hooliganism. The film follows a wrongfully expelled Harvard student who gets drawn into the world of a London football firm that brawls as much as it cheers. While its depiction of hooligan culture has been a subject of debate, it's a thought-provoking movie that explores themes of masculinity and belonging.<h3>10. Looking for Eric (2009)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/DFCmF32HSjI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Ken Loach</li><li>Writer: Paul Laverty</li><li>Cast: Steve Evets, Eric Cantona, Stephanie Bishop</li></ul>This movie tells the story of a depressed postman whose life takes a turn for the better when he starts receiving life advice from a hallucinatory version of the enigmatic French football legend, Eric Cantona (played by himself). The<a data-linked-post="2667206876" href="https://nofilmschool.com/magical-realism" target="_blank"> magical realism</a> at its heart is surreal and a lot of fun. It shows us the power of sports, its heroes, and of making friends. <h3>Summing It All Up </h3> The World Cup happens every four years and unites the globe in rooting for their teams as they try to advance. In between those years, you have a ton of great movies to watch to keep your appetite fed. These are the ten I think are the best. But maybe I've missed a few. Let me know what you think in the comments. ]]></description><pubDate>Wed, 15 Oct 2025 18:44:38 +0000</pubDate><guid>https://nofilmschool.com/best-soccer-movies</guid><category>Best movies</category><category>Soccer movies</category><category>Sports movies</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-are-the-best-soccer-movies-of-all-time.jpg?id=61757373&width=980"></media:content></item><item><title>This New Full-Frame Telephoto Lens Can Help Bring The Most Coveted Focal Length Into Reach</title><link>https://nofilmschool.com/laowa-200mm-f2</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/laowa-200mm-f-2-af-ff.png?id=61756237&width=1245&height=700&coordinates=0%2C152%2C0%2C152"/> There’s a lot of discussion in the film and video world as to what terms like “affordable” and “micro-budget” mean these days. To some, camera packages under $50k and film budgets under $10 million are low-budget. To others, cameras under $500 and films under $10k are the true low-budget, affordable, DIY projects.Regardless of your perspective, Venus Optics has rolled out a new Laowa telephoto lens that promises to bring the price of the elongated lens market down, if at least a little bit. The new Laowa 200mm f/2 AF FF lens is here for your full-frame cameras and designed to help bring one of the most coveted focal lengths into reach.Let’s look at this Laowa 200mm f/2 AF FF lens and explore what it has to offer.<hr/><h3>The New Laowa 200mm f/2 AF FF</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/1aNw7RgdFf4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Designed to bring one of the most popular focal lengths into reach for a wide range of photographers, videographers, and other hybrid shooters, the Laowa 200mm f/2 AF FF is designed for full-frame cameras and aims to buck many norms.
Traditionally, 200mm f/2 lenses have been pretty damn expensive and out of reach for most shooters, especially those not working on huge projects or raking in huge projects to spur heavy lens investments. Set to be priced just below $2,000, this Laowa 200mm f/2 AF FF will be (somewhat) more affordable for the regular shooters.
The lens will also be quite lightweight and durable, weighing in at less than 1.6kg (for the Canon EF version), and will offer accurate autofocus. The lens also promises to deliver incredible background separation, stunning compression, and outstanding low-light performance.<h3>Price and Availability</h3> Again, ideally designed for photographers first, the Laowa 200mm f/2 AF FF could be great for videographers or hybrid creators as well, looking to capture everything from portraits to sports to events for both photo and video purposes. The lens will come in Canon EF, Sony E, and Nikon Z mount options at launch, and is available to order now on Laowa’s website with options ranging from <a href="https://www.venuslens.net/product/laowa-200mm-f-2-af-ff/" target="_blank">$1,799.00 to $1,999.00</a>.]]></description><pubDate>Wed, 15 Oct 2025 16:55:05 +0000</pubDate><guid>https://nofilmschool.com/laowa-200mm-f2</guid><category>Laowa</category><category>Telephoto lens</category><category>200mm lens</category><category>Venus optics</category><category>Laowa 200mm f2 af ff</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/laowa-200mm-f-2-af-ff.png?id=61756237&width=980"></media:content></item><item><title>Get Smoother Audio Playback and Improved Trimming With Latest DaVinci Resolve Update</title><link>https://nofilmschool.com/davinci-resolve-update-2022</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/davinci-resolve-20-2-2-update.jpg?id=61756438&width=1245&height=700&coordinates=113%2C0%2C114%2C0"/> If you’re a DaVinci Resolve user, you’re familiar with two things. The first is simply working with a great video editing platform that’s quickly becoming one of the most popular options for both beginners and pros alike. You’re also likely familiar with lots of updates.And, trust us, updates are a good thing—especially when they fix minor bugs and offer major improvements. Blackmagic Design has released another update for DaVinci Resolve, which is not earth-shattering, but it’s important nonetheless.Set to add smoother audio playback in Fairlight, improved trimming and ripple behaviours on the edit timeline, and other color management upgrades, let’s look at everything new coming to DaVinci Resolve 20.2.2 update.<hr/><h3>DaVinci Resolve 20.2.2 Update</h3> <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1978304410280226928">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/Blackmagic_News/status/1978304410280226928"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>As mentioned above, this isn’t a huge update by any means. It’s primarily a matter of general housekeeping to enhance overall performance and stability. However, a few notable features are being addressed and improved. 
The biggest news might be the improved Mac viewer color management for Rec.709 scene, as well as some fixes to issues having to do with jittery playback on Fairlight and other issues with ripple deletes and sometimes unlinking clips.
Here’s a full list of everything new in DaVinci Resolve 20.2.2:
<ul><li>Improved Mac viewer color management for Rec.709 scene.</li><li>Addressed intermittent jittery playback on Fairlight.</li><li>Addressed trim edits sometimes removing linked audio.</li><li>Addressed ripple deletes sometimes unlinking clips.</li><li>AI IntelliScript now works with multicam clips.</li><li>Addressed go to mouse pointer not working in the cinema viewer.</li><li>Addressed issue with go to mouse pointer in fixed playhead mode.</li><li>Addressed an issue renaming generators in inspector.</li><li>Addressed issue with blade hover preview in edit timeline.</li><li>Addressed a crash with some ripple trim operations in edit page.</li><li>Addressed incorrect track clip counts for timeline subclips.</li><li>Apply grade from clip now honors node stack grade preference.</li><li>Addressed issue editing Fusion spline ease in values.</li><li>Addressed issue when loading some USD texture paths.</li><li>Addressed viewing named layers from Renderer3D in Fusion.</li><li>Addressed net rendering of some Swizzler comps.</li><li>Addressed issues with audio stuttering on some mp3 files.</li><li>Addressed Fairlight viewer in out controls hidden at certain widths.</li><li>Addressed issue with R3D artefacts when using motion blend.</li><li>Addressed EXR to ProRes transcodes losing immersive metadata.</li><li>Scripting API support to set media location on project creation.</li><li>Scripting API support to query and apply Fairlight presets.</li><li>Addressed issues querying some render formats from scripts.</li><li>Right click on media metadata to copy file metadata values.</li><li>General performance and stability improvements.</li></ul><h3>How to Download and Install</h3> Downloading and installing this latest update is quite easy; just follow the steps listed below for your operating system.<h3>Installing DaVinci Resolve Software on MacOS</h3>Double-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, double-click the Uninstall Resolve icon.<h3>Installing DaVinci Resolve Software on Windows</h3>Double-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, go to the Programs and Features control panel, select DaVinci Resolve, click on Uninstall, and follow the onscreen prompts.<h3>Installing DaVinci Resolve Software on Linux</h3>Double-click the DaVinci Resolve installer and follow the onscreen instructions. To remove DaVinci Resolve from your system, select the uninstall option after running the installer.For DaVinci Resolve 20.2.2, we have taken efforts to keep the project libraries compatible with DaVinci Resolve 19.1.4. While this allows you to access the project library with 19.1.4, individual projects created or opened in 20.2.2 will no longer be accessible in 19.1.4. We recommend a full project library backup as well as individual project backups before opening projects in 20.2.2.You can find out more info on <a href="https://www.blackmagicdesign.com/support/readme/f4ba055b94004a80bb71fb32137d7179" target="_blank">Blackmagic Design’s website here</a>.]]></description><pubDate>Wed, 15 Oct 2025 16:44:05 +0000</pubDate><guid>https://nofilmschool.com/davinci-resolve-update-2022</guid><category>Davinci resolve</category><category>Blackmagic design</category><category>Davinci resolve update</category><category>Davinci resolve 20.2.2 update</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/davinci-resolve-20-2-2-update.jpg?id=61756438&width=980"></media:content></item><item><title>Blackmagic Camera for Android Users Can Now Shoot Open Gate and in Selectable Aspect Ratios</title><link>https://nofilmschool.com/blackmagic-camera-for-android-update-3-1</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/blackmagic-camera-for-android-update-3-1.jpg?id=61756618&width=1245&height=700&coordinates=56%2C0%2C57%2C0"/> This is big news for Android users. If you’re an Android owner who swears by your favorite smartphone’s camera and filmmaking capabilities, this latest update for the Blackmagic Camera for Android app is going to possibly help take that chip off your shoulder.Blackmagic Camera for Android Update 3.1 is set to add support for shooting open gate as well as in selectable aspect ratios, major new upgrades that will undoubtedly make your smartphone videography capabilities more sophisticated and diverse.Let’s look at this latest update and explore how you can improve your Android filmmaking and videography output today.<hr/><h3>Blackmagic Camera for Android Update 3.1</h3> <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1978338932023542150">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/Blackmagic_News/status/1978338932023542150"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>Without exploring any jokes about the age-old battle between Android owners and iPhone owners, let’s just look at the facts. Ever since Blackmagic Design rectified the injustice of releasing its Blackmagic Camera app for just iOS devices at launch to include a Blackmagic Camera for Android version, this Android app is quickly becoming a favorite with smartphone video pros.This new update adds support for shooting open gate, a huge improvement. The app also allows for selectable aspect ratios and the ability to apply Samsung Log LUTS, as well as several new features. Here’s everything new coming to Blackmagic Camera for Android Update 3.1:<ul><li>Support for aspect ratio selection and open gate on compatible devices.</li><li>Support for function buttons to select audio sources, false color, zebra, and live stream.</li><li>New Samsung Log calibrated LUTs on compatible devices.</li><li>Remote HDMI monitoring now displays selected remote camera.</li><li>General performance and stability improvements.</li></ul><h3>Price and Availability</h3> As always, it’s worth noting that the Blackmagic Camera app is free for both iOS and Android devices. The latest version of the Blackmagic Camera for Android app can be downloaded on the <a href="https://play.google.com/store/apps/details?id=com.blackmagicdesign.android.blackmagiccam" target="_blank">Google Play Store here</a>.]]></description><pubDate>Wed, 15 Oct 2025 16:32:30 +0000</pubDate><guid>https://nofilmschool.com/blackmagic-camera-for-android-update-3-1</guid><category>Blackmagic camera</category><category>Blackmagic camera app</category><category>Blackmagic camera for android</category><category>Blackmagic camera update</category><category>Blackmagic camera for android update</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/blackmagic-camera-for-android-update-3-1.jpg?id=61756618&width=980"></media:content></item><item><title>Did Hollyland Just Kill Traditional Camera Monitors With Its New Vcore Smartphone System?</title><link>https://nofilmschool.com/hollyland-vcore-monitor</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/hollyland-vcore.png?id=61756365&width=1245&height=700&coordinates=0%2C33%2C0%2C34"/> Promising to be more than just a regular on-camera monitor that serves as a base video transmission system, the new Hollyland Vcore is aiming to be a new style of creative companion. Intending to keep you in perfect sync with your creative vision while streamlining and simplifying all parts of your project’s production, Vcore is here to possibly usher in a new era of smartphone on-camera monitoring tools.Capable of delivering crystal-clear 4K30p monitoring on your iOS or Android devices, shooters have another new option to turn their smartphones into professional-grade portable monitors. However, with seamless HD monitoring, image transfer, and a ton of versatile recording capabilities, this might be the accessory that finally breaks the back of the traditional camera monitor market.<hr/><h3>Introducing Hollyland Vcore</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/kUPyNQ8GT_k?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Designed to be both lightweight and powerful, Hollyland’s new Vcore tool is a small accessory that can be used to turn a smartphone into a pro-level on-camera monitor. Users simply need to connect Vcore to their camera via an HDMI and to their phone via a USB-C. Then, with the HollyView app, their phone can instantly become a high-performance on-camera monitor capable of supporting real-time monitoring at up to 4K at 30fps.
The Vcore signal can be sent over 5 GHz and up to 350’ line of sight with a low latency of approximately 65ms. This means users will be able to record at up to 1080p at 60fps with the H.264 codec from great distances, ideal for facilitating an efficient production-to-post workflow.
The Vcore system will also be able to record proxy files in the MP4 format with embedded timecodes, which can be saved to internal SD cards as well. Additionally, the linked mobile device can be set to automatically start synchronous recording in MP4 format via the companion HollyView app—helpful for quick editing and fast-paced projects.<h3>Price and Availability </h3> Just announced, Vcore is out and available now. You can check it out and explore purchase options below.
<ul><li>Plug-and-Play, Streamlined Workflow</li><li>Pro-Grade Proxy Recording, Seamless Post-Production Integration</li><li>Dual-Backup Recording: Security and Convenience Combined</li><li>Lossless Format Instant Transmission</li><li>Wired and Wireless Dual Modes with Free Switching</li></ul><h3>Hollyland Vcore Wireless Video Transmission System</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="5e54bf2a5038ab581a759f72755d69a4" data-rm-shortcode-name="rebelmouse-image" id="e2361" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61756346&width=980"/>Vcore is more than just a video transmission system - it's your creative companion, keeping you in perfect sync with your vision while streamlining and simplifying both your setup and post-production. ]]></description><pubDate>Wed, 15 Oct 2025 15:57:45 +0000</pubDate><guid>https://nofilmschool.com/hollyland-vcore-monitor</guid><category>Hollyland</category><category>Vcore</category><category>Smartphone camera monitor</category><category>Camera monitor</category><category>On-camera monitor</category><category>Monitor</category><category>hollyland vcore</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/hollyland-vcore.png?id=61756365&width=980"></media:content></item></channel></rss>

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