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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, 07 Nov 2025 01:00:03 -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>What Are the Need-to-Know Terms For Film Sets?</title><link>https://nofilmschool.com/what-are-the-need-to-know-terms-for-film-sets</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-glossary-of-on-set-lingo.jpg?id=62026170&width=1245&height=700&coordinates=0%2C163%2C0%2C1"/> Hanging out or working on set for a movie or TV show is so much fun and a privilege for all who get to do it. So when it comes time for you to visit or get your first job, you want to know all the lingo people use in order to fit in. That's why I created this on-set lingo glossary to teach you all the things you might hear on set and what they mean. Let's dive in. <hr/> <h3>The Glossary of On Set Lingo</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/IFDeoVU_Jmg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><h3>🗣️ The Most Common On-Set Commands</h3>If you only learn ten things, learn these. These are the commands that control the flow of the set.<ul><li>"Quiet on Set!"<ul><li>What it means: The 1st Assistant Director (AD) is calling for total silence. Stop moving, stop talking, and put your phone on silent. They are preparing to roll.</li></ul></li><li>"Roll Sound!"<ul><li>What it means: The 1st AD is cueing the audio department. The Sound Mixer will respond with "Sound Speed!" or "Speed!" once their equipment is recording.</li></ul></li><li>"Roll Camera!"<ul><li>What it means: The 1st AD is cueing the camera department. The Camera Operator will respond with "Speed!" or "Rolling!" once the camera is recording.</li></ul></li><li>"Slate In!"<ul><li>What it means: The 2nd Assistant Camera (AC) will bring the clapperboard (slate) into the frame, state the scene and take number, and "clap" the sticks. This is essential for syncing audio and video in post-production.</li></ul></li><li>"Action!"<ul><li>What it means: The Director's cue for the scene to begin. This is when the actors start performing.</li></ul></li><li>"Cut!"<ul><li>What it means: The Director's cue to stop the recording and the performance. Never call "cut" unless you are the director.</li></ul></li><li>"Back to One!"<ul><li>What it means: The 1st AD is telling all actors, extras, and camera operators to return to their starting positions (their "number one" mark) to reset for another take.</li></ul></li><li>"Checking the Gate!"<ul><li>What it means: After a take, the 1st AC will check the camera's sensor (or "gate," a term from the film days) for any debris like dust or a hair that might have ruined the shot. If it's clear, they'll call "Gate is good!" and the crew moves on.</li></ul></li><li>"Striking!"<ul><li>What it means: Someone is turning on a very bright light. It's shouted as a safety warning so people don't look directly into the lamp and damage their eyes.</li></ul></li><li>"Crossing!"<ul><li>What it means: A courtesy term someone calls out when they have to walk in front of the camera, especially when the crew is setting up a shot. You should always wait for the camera operator to give you a nod before you cross.</li></ul></li></ul><h3>📦 Grip & Electric (G&E) Lingo</h3>These two departments work together to shape the light. The Electric (or "Sparks") department handles power and sets up the lights. The Grip department builds everything to support the camera and, crucially, shapes the light (by blocking it, diffusing it, etc.).<ul><li>Gaffer: The head of the Electrical department; the Chief Lighting Technician.</li><li>Key Grip: The head of the Grip department.</li><li>Best Boy: The second-in-command for either the Grip or Electric department (e.g., Best Boy Grip, Best Boy Electric). This person is the department's lead logistician, handling gear, scheduling, etc.</li><li>Apple Box: A simple wooden box used for a million different things: propping up furniture, adding height to an actor, leveling dolly track, or giving a crew member a place to sit.<ul><li>Sizes: Full (or "Tommy"), Half, Quarter, Pancake (or "Eighth").</li></ul></li><li>C-Stand (Century Stand): The most essential piece of gear on set. It's a heavy-duty stand used by grips to hold flags, nets, silks, and small lights.</li><li>Flag: A solid black piece of fabric in a metal frame, used to "cut" light and create shadows.</li><li>Stinger: An extension cord.</li><li>Juicer (or Spark): An electrician.</li><li>Sticks: A tripod.</li><li>Dolly: A wheeled platform that the camera is mounted on. A Dolly Grip is the specialist who operates the dolly for smooth camera movements.</li></ul><h3>🎥 Camera Department Lingo</h3>This team is responsible for everything the camera captures.<ul><li>DP (Director of Photography): The creative head of the camera and lighting departments. Responsible for the entire "look" of the film.</li><li>1st AC (First Assistant Camera): Responsible for pulling focus. This is a highly skilled job that requires keeping the subject in sharp focus as they or the camera moves.</li><li>2nd AC (Second Assistant Camera): Responsible for operating the slate (clapperboard), managing camera media, and keeping meticulous camera reports.</li><li>DIT (Digital Imaging Technician): On a digital shoot, this person manages all the media (memory cards), backs up footage, and often does a first pass of color correction on set.</li><li>Video Village: The area, usually a set of monitors, where the Director, DP, and other key creatives watch a live feed from the camera.</li><li>MOS (Mit Out Sound): "Mit Out Sound" is a German-American director's phrase for "Without Sound." It means a shot is being filmed without capturing audio.</li><li>Room Tone: The "sound" of an empty room. The sound mixer will record 30-60 seconds of this silence to use in editing, to smooth out audio tracks and cover edits.</li></ul><h3>📋 Production & General Lingo</h3>These are the terms that keep the entire production moving.<ul><li>1st AD (First Assistant Director): The boss of the set. They are responsible for safety, scheduling, and keeping the entire crew working on time. They are the one shouting most of the commands.</li><li>2nd AD (Second Assistant Director): Manages all the off-set logistics, primarily by creating the Call Sheet and coordinating actors, extras, and paperwork.</li><li>PA (Production Assistant): An entry-level crew member who does whatever is asked of them. This can include "locking up" a set (preventing people from walking in), relaying messages, or getting coffee.</li><li>Call Sheet: The daily schedule for the entire production. It tells everyone what scenes are being shot, where to be, and when to be there (the Call Time).</li><li>Blocking: The first rehearsal of a scene, where the director and actors figure out all the physical movements (where they walk, sit, etc.) before the crew and camera are brought in.</li><li>Crafty (Craft Services): The snack and drink table, available to the crew all day. (This is different from catering, which provides the main meals.)</li><li>Martini Shot: The final shot of the day. (Because the next shot is in a glass).</li><li>Wrap: The end of the shooting day. When you hear "That's a wrap!" it means you are finished.</li></ul>Aside from these terms, make sure you're fluent in common <a href="https://nofilmschool.com/2017/12/cheat-sheet-contains-all-walkie-talkie-lingo-you-should-know-set" target="_blank">walkie-talkie lingo</a>, too!Let me know what terms I should add in the comments. ]]></description><pubDate>Fri, 07 Nov 2025 01:00:03 +0000</pubDate><guid>https://nofilmschool.com/what-are-the-need-to-know-terms-for-film-sets</guid><category>Production terms</category><category>Lingo</category><category>On set</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-glossary-of-on-set-lingo.jpg?id=62026170&width=980"></media:content></item><item><title>How De Palma Out-Hitchcocked Hitchcock When He Made 'Sisters'</title><link>https://nofilmschool.com/did-de-palma-out-hitchcocked-hitchcock-sisters</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/how-did-brian-de-palma-use-alfred-hitchcock-to-find-his-own-voice.jpg?id=62026017&width=1245&height=700&coordinates=19%2C0%2C20%2C0"/> <a data-linked-post="2661191220" href="https://nofilmschool.com/brian-de-palma-style" target="_blank">Brian De Palma</a> was obsessed with Alfred Hitchcock and was never shy about it. We've covered his <a data-linked-post="2661193081" href="https://nofilmschool.com/pastiche-definition" target="_blank">pastiche</a> and <a data-linked-post="2673869841" href="https://nofilmschool.com/best-brian-de-palma-movies" target="_blank">homage</a>, but we've never really talked about how to appreciate these two auteurs at the same time. Early in his career, critics said that De Palma was just ripping off the greats, and maybe they had a point. If you look at Sisters, his 1973 breakout, the evidence is pretty damning. You've got a journalist who witnesses a crime from her window, a score from Bernard Herrmann, and all the complex themes of voyeurism, identity, and murder.But there’s a massive difference between imitation and conversation.De Palma wasn't just tracing Hitchcock's lines; he was grabbing the master's playbook and scribbling in the margins. To understand this, I wanted to show you this great TCM clip with Ben Mankiewicz and Mario Cantone looking at Hitchcock's Rear Window and De Palma's Sisters back-to-back.Let's dive in. <hr/> <h3>TCM Breaks Down Hitchcock and De Palma</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ZuiPu2fW51o?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Okay, so when Rear Window came out, it was a massive hit and entered the cultural lexicon. It made Alfred Hitchcock one of the most popular directors in Hollywood and solidified his legend.Hitchcock actually built a neighborhood on Paramount to shoot, and cast the biggest actors of the day in starring roles. He has complete control of the time, weather, and got all the shots he wanted. The movie's resounding success echoes through history. So, almost 20 years later, is it any surprise that a young Brian De Palma would be inspired to put his own spin on the movie with Sisters? But De Palma was not a studio guy. He was an indie filmmaker with a dream and big aspirations, but he also had no money and no studio. <h3></h3>De Palma saw Hitchcock's controlled, single-point-of-view voyeurism and decided to update it for the world he was living in. He added in-camera ideas like the split screens, which let us be peeping toms in two places at once, while utilizing the locations he had on hand that he could cut together. In addition to that, <a data-linked-post="2661200452" href="https://nofilmschool.com/2017/12/watch-colors-brian-de-palma-carrie-cinematography" target="_blank">De Palma also had a lot of slick colors</a> and camera movements that fit the time he had to shoot and were shorthand for the mood he wanted to create. He knew he didn't have the time and money of Hitchcock to make this movie, so it's really where he deviates that he found his own voice. He couldn't get the long takes he wanted, so De Palma compromised and did this heavily edited and stylistic chase with the cops as we see someone murdered. And it doesn't stop there. De Palma also took Hitchcock’s themes and filtered them through his own "tongue-in-cheek" style.He was stealing from the best but not copying; he had his own things to say about the world, and he was developing his own sense of film language for the modern era. <h3>Lessons for Filmmakers</h3> <img alt="Rear Window" class="rm-shortcode" data-rm-shortcode-id="96112b98387eee5a904f37e3a262fccf" data-rm-shortcode-name="rebelmouse-image" id="9593e" loading="lazy" src="https://nofilmschool.com/media-library/rear-window.jpg?id=34062253&width=980"/>I really think the breakdown of Hitchcock's meticulousness and De Palma's audacious evolution of similar themes has a lot of lessons for modern filmmakers. I mean, there's a reason <a data-linked-post="2673911048" href="https://nofilmschool.com/tarantino-and-de-palma-violence" target="_blank">Quentin Tarantino loves Brian De Palma</a>, and has done a bunch of his own pastiche as well. Sometimes it's easier to see what people have done and build on it yourself. What else can we take away? <h3>Don't Apologize for Your Premise</h3>Rear Window works because Hitchcock leans all the way into the voyeurism. He doesn't shy away from it or judge it; he makes the audience complicit. And Sisters works for the same reason! If your film is about obsession, paranoia, or any uncomfortable theme, have the confidence to go all the way, but to also find what you have to say about the subject at hand. De Palma didn't just copy Rear Window. He saw Hitchcock's idea (watching from a window) and replied with his own signature technique (the split-screen). He took the theme of voyeurism and escalated it. Don't just imitate your heroes; find a way to add your own voice, style, or thematic twist to the ideas that inspire you.<h3>Embrace Your Limitations (and Failures)</h3>De Palma's infamous 6-minute tracking shot failed. He couldn't get the shot in the movie and had to rework the whole thing. Instead of scrapping the scene, he was forced to find another solution, and that (likely more frantic and brutal) edit is what made the final film and actually added to the 70s paranoia at the center of Sisters. Your best ideas will often come from solving the problems you didn't see coming, not from perfectly executing your plan. You may not have as much money as your heroes, but all you need ot do is have the same amount of gumption and creativity to figure it out.<h3>Tone is a Tool</h3>Both films are thrillers, but De Palma's Sisters is also "tongue-in-cheek" and humorous. He's clearly having fun with the genre. And Rear Window is a more straightforward <a data-linked-post="2661194576" href="https://nofilmschool.com/thriller-genre-definition" target="_blank">thriller</a> with bits of dark comedy. This tonal blend in both movies is what makes them feel distinct from one another. Your tone is one of the most powerful ways to make a familiar story your own.<h3>Summing It All Up </h3> Two of my favorite directors of all time are Alfred Hitchcock and Brian De Palma. These are guys from different generations who were experts in tension and film form. They both had such unique voices and told such bold stories, it's fun to see them analyzed on TCM and to hear the hosts nerd out about them. Let me know what you think in the comments. ]]></description><pubDate>Fri, 07 Nov 2025 00:49:09 +0000</pubDate><guid>https://nofilmschool.com/did-de-palma-out-hitchcocked-hitchcock-sisters</guid><category>Alfred hitchcock</category><category>Brian de palma</category><category>Tcm</category><category>Rear window</category><category>Sisters</category><category>Pastiche</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-did-brian-de-palma-use-alfred-hitchcock-to-find-his-own-voice.jpg?id=62026017&width=980"></media:content></item><item><title>10 Best Baby Movies Ever Made</title><link>https://nofilmschool.com/best-baby-movies-ever</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/what-are-the-best-baby-movies-ever.jpg?id=62025637&width=1245&height=700&coordinates=18%2C0%2C19%2C0"/> This past weekend, I spent 48 hours in the hospital waiting for my son to be born, so I have consumed a lot of TV and movies as well as a lot of coffee. To prepare for this first kid, my wife and I decided to stream a bunch of movies about babies. Today, I wanted to review what we've decided are the best baby movies available. It's a list of varying genres and stories, and one that kept us busy and having fun while waiting for the arrival of the little guy. Let's dive in. <hr/> <h3>1. Raising Arizona (1987)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/OjWu8i6eMZo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Joel Coen </li><li>Writers: Joel Coen, Ethan Coen </li><li>Cast: Nicolas Cage, Holly Hunter, John Goodman</li></ul>A truly unique and quirky masterpiece from the Coen Brothers that exists in a serious whirlwind. We follow an ex-con (H.I.) and a former police officer (Ed) who discover they can't have children, so they decide to steal one from a local furniture magnate who just had quintuplets and can't seem to handle all of them. It's a surreal, stylish, and surprisingly sweet story about the desperate lengths people will go to for a family. And it's so heartfelt, you'll root for the kidnapping. <h3>2. Three Men and a Baby (1987)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ohBNZZKmtnw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Leonard Nimoy </li><li>Writers: James Orr, Jim Cruickshank </li><li>Cast: Tom Selleck, Steve Guttenberg, Ted Danson</li></ul>This film is the quintessential baby comedy. We follow three bachelors who have their lives turned completely upside down when a baby girl is left on their doorstep. It's one of those movies that laid the groundwork for all the comedies to follow, as we see these clueless men try to navigate diapers, feedings, and lullabies all in the name of big laughs. <h3>3. Rosemary's Baby (1968)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BjpA6IH_Skc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Roman Polanski </li><li>Writer: Roman Polanski (based on the novel by Ira Levin) </li><li>Cast: Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer</li></ul>Every parent's nightmare is to give birth to the spawn of Satan, right? This is the definitive baby-related horror film, and it rocks. A young couple moves into a new apartment building with overly friendly, eccentric neighbors. And when Rosemary (Mia Farrow) becomes mysteriously pregnant, she begins to suspect that her neighbors have sinister plans for her and her unborn child. It's not as fun of a hospital watch as you'd imagine. <h3>4. Look Who's Talking (1989)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Fw0rrn_POfM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Amy Heckerling </li><li>Writer: Amy Heckerling </li><li>Cast: John Travolta, Kirstie Alley, George Segal, Bruce Willis (voice)</li></ul>This classic comedy gives us a look inside a baby's inner monologue with Bruce Willis voicing the witty, sarcastic inner thoughts of baby Mikey. His single mom (Kirstie Alley) tries to find the perfect father, all while the cab driver who rushed her to the hospital (John Travolta) becomes a fixture in their lives. It's such a sweet and endearing movie. <h3>5. Juno (2007)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/K0SKf0K3bxg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Jason Reitman </li><li>Writer: Diablo Cody </li><li>Cast: Elliot Page, Michael Cera, Jennifer Garner, Jason Bateman</li></ul>A sharp, witty, and heartfelt look at teen pregnancy that is somehow both hilarious and one of the most heartfelt movies ever made. Elliot Page shines as the titular character, who is a confident and quirky teen who deals with her unplanned pregnancy by finding what she believes to be the perfect adoptive parents. The film's unique dialogue and stellar performances earned writer Diablo Cody an Oscar and introduced Hollywood to her powerful voice. <h3>6. Knocked Up (2007)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/cv01Mcdf8rI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Judd Apatow </li><li>Writer: Judd Apatow </li><li>Cast: Seth Rogen, Katherine Heigl, Paul Rudd, Leslie Mann</li></ul>From the mind of Judd Apatow, this comedy explores the awkward and hilarious reality of an unplanned pregnancy after a one-night stand. It was a formative movie that made Seth Rogen into a movie star and introduced the world to the improv style of naturalistic comedy that would take over the decade. <h3>7. Baby Mama (2008)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/GOlHAEajMi4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Michael McCullers </li><li>Writer: Michael McCullers </li><li>Cast: Tina Fey, Amy Poehler, Greg Kinnear, Dax Shepard</li></ul>I think this is an underrated comedy. It takes some chances, but we get a ton of big laughs from it. And it was a perfect vehicle for the iconic comedy duo of Tina Fey and Amy Poehler. When a successful but infertile businesswoman (Fey) hires a crass, irresponsible woman (Poehler) to be her surrogate, the two opposites are forced to live together, leading to hilarious and disastrous results.<h3>8. Nine Months (1995)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/QO5XN9kh1Ic?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Chris Columbus </li><li>Writer: Chris Columbus </li><li>Cast: Hugh Grant, Julianne Moore, Tom Arnold, Robin Williams</li></ul>Hugh Grant plays the ultimate commitment-phobe, a child psychologist who is perfectly happy with his life and his long-term girlfriend (Julianne Moore). When she announces she's pregnant, he spirals into a panic, made even worse by a scene-stealing, chaotic performance from Robin Williams as an eccentric obstetrician. It's one of those movies you look back on and only remember how hard you laughed watching it. <h3>9. Children of Men (2006)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/2VT2apoX90o?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Alfonso Cuarón </li><li>Writers: Alfonso Cuarón, Timothy J. Sexton, David Arata, Mark Fergus, Hawk Ostby </li><li>Cast: Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofor, Clare-Hope Ashitey</li></ul>I feel like half of Twitter is always telling me birth rates are down, and all I can think of is this dystopian thriller, where humanity has been infertile for 18 years. The world is on the brink of collapse until a cynical former activist (Clive Owen) is tasked with protecting the only pregnant woman on Earth. I think this movie rocks, and it has some of the best <a data-linked-post="2661192991" href="https://nofilmschool.com/children-of-men-long-take" target="_blank">long takes</a> of all time. <h3>10. The Boss Baby (2017)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/qjMYUQwBG0w?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Tom McGrath </li><li>Writer: Michael McCullers </li><li>Cast: Alec Baldwin (voice), Steve Buscemi (voice), Jimmy Kimmel (voice), Lisa Kudrow (voice)</li></ul>A hilarious animated adventure told from the perspective of a 7-year-old boy whose life is ruined by the arrival of a new baby brother. But this is no ordinary baby—he wears a suit, carries a briefcase, and talks (with the voice of Alec Baldwin). The two must team up to stop a dastardly plot by the CEO of Puppy Co.in a family adventure that I think parents and kids can enjoy. <h3>Summing It All Up </h3> I can guarantee that watching all these movies is better than being stuck in a hospital waiting for labor, but that's just my experience. That's my list, but I bet you have some baby movies that belong on this list that I missed. Let me know what you think in the comments. ]]></description><pubDate>Fri, 07 Nov 2025 00:35:36 +0000</pubDate><guid>https://nofilmschool.com/best-baby-movies-ever</guid><category>Best movies</category><category>Baby 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-baby-movies-ever.jpg?id=62025637&width=980"></media:content></item><item><title>You Can Now Live Stream to YouTube, Twitch & Vimeo Directly from the Blackmagic Camera App</title><link>https://nofilmschool.com/blackmagic-camera-for-ios-update-3-2</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/blackmagic-camera-for-ios-3-2-update.jpg?id=62077239&width=1245&height=700&coordinates=160%2C0%2C160%2C0"/> As is usually the case with the popular Blackmagic Camera app, developed by Blackmagic Design, the iOS app is being released before the Android version. Which is the way things should be (sorry, Android users, that’s the rub).All joking aside, the new update for Blackmagic Camera for iOS is out now, and a similar update for Blackmagic Camera for Android will likely be out soon. The big news here is that the 3.2 update will add support for live streaming to YouTube, Vimeo, and Twitch, as well as to Blackmagic streaming processors.Let’s take a quick look at this news and direct you on to where and how to get the latest version of Blackmagic Camera for iOS yourself today.<hr/> <h3>Blackmagic Camera for iOS 3.2 Update</h3> <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1986308207430803925">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/Blackmagic_News/status/1986308207430803925"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>As mentioned above, the major takeaway of this 3.2 update is the added support for live streaming to YouTube, Vimeo, Twitch, and Blackmagic Streaming Decoder. Blackmagic is also adding support for streaming to custom RTMP and SRT servers with this new Blackmagic Camera for iOS update as well.
There’s also your usual mix of general performance and stability improvements, as well as more detailed notifications when connecting or disconnecting external storage. All helpful updates for improving your iPhone live streaming or videography workflows.
Here’s the full list of everything new with Blackmagic Camera for iOS 3.2 Update:<ul><li> Support for live streaming to YouTube, Vimeo and Twitch.</li><li> Support for SRT streaming to Blackmagic streaming processors.</li><li> Support for streaming to custom RTMP and SRT servers.</li><li> Improved feedback when connecting or disconnecting external storage.</li><li> Option to select number of multi-view angles for remote control on iPad and Mac.</li><li> Addressed recording issue when starting app with auto white balance.</li><li> Addressed scenarios where audio monitoring would sometimes stop.</li><li> General performance and stability improvements.</li></ul>
You can find and download the latest version of Blackmagic Camera on <a href="https://www.blackmagicdesign.com/products/blackmagiccamera" target="_blank">Blackmagic Design’s website here</a>.]]></description><pubDate>Thu, 06 Nov 2025 23:17:53 +0000</pubDate><guid>https://nofilmschool.com/blackmagic-camera-for-ios-update-3-2</guid><category>Blackmagic camera for ios update</category><category>Blackmagic camera</category><category>Blackmagic camera app</category><category>Blackmagic camera update</category><category>Live streaming</category><category>Blackmagic camera for ios</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/blackmagic-camera-for-ios-3-2-update.jpg?id=62077239&width=980"></media:content></item><item><title>What Films are The Frontrunners for the 2026 Oscars?</title><link>https://nofilmschool.com/frontrunners-for-the-2026-oscars</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/hamnet.jpg?id=62083112&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> It’s November, which means everyone has now completely focused on the 2026 Oscar race and who's going to win. I blame betting sites, but really, this is when all of Hollywood launches their FYC campaigns, so people start talking and prognosticating. This year, the race for Best Picture isn't just crowded; it’s dominated by a powerful mix of auteur-driven epics, beloved festival darlings, and a few high-concept blockbusters that could go all the way (but will probably not). So today, we're going to break down the films everyone is talking about for the 2025 movie year.Let's dive in. <hr/> <h3>The 2026 Best Picture Race</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/PUeaFx7YUSs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><h3>👑 The Top-Tier Frontrunners</h3>Right now, most experts agree the race is being led by a powerful trio of films, each representing a different "type" of Best Picture winner.One Battle After Another (Warner Bros.) This is the film to beat. And I truly do not think anyone has a shot to do it. It was directed by Paul Thomas Anderson, and it has been described as a modern epic. The cast includes Leonardo DiCaprio, Benicio Del Toro, Chase Infiniti, and Teyana Taylor. They all may be up for awards as well. This film has the star power and critical adoration that voters love. And PTA is a long-overdue Academy favorite. It feels like this is the year for him.Hamnet (Focus Features) The big emotional powerhouse of the year, directed by previous Best Picture winner Chloé Zhao, this adaptation of the novel about Shakespeare's family was the talk of Telluride and Toronto. It went on to win the TIFF People's Choice Award, a marker that has predicted countless Best Picture winners, including Zhao's Nomadland. Expect this to be a major contender across the board.Sinners (Warner Bros.) Don't ever let anyone tell you a spring release can't win. Ryan Coogler's ambitious period vampire film was a massive critical and commercial success back in April. It’s an ambitious original blockbuster that tackles deep themes. If the Academy wants to reward a film that truly resonated with the moviegoing public (like Oppenheimer or Top Gun: Maverick), Sinners is its champion.<h3>🎬 The Auteur & Festival Darlings</h3>These are the critical darlings and international films rounding out the top of the list. I do not think they have a shot to win, but I believe they will be nominated. Marty Supreme (A24) A surprise debut at the New York Film Festival, this Josh Safdie film is A24's big play. It's reportedly carried by a "career-best" performance from Timothée Chalamet, who is the current frontrunner for Best Actor.Sentimental Value (NEON) From Joachim Trier, the director of The Worst Person in the World, this tender family drama was a huge hit at Cannes. It's also Norway's official submission for Best International Feature, and it will probably win. It has a stellar ensemble cast (Renate Reinsve, Elle Fanning, Stellan Skarsgård) and might sneak into the BP running.It Was Just an Accident (NEON) Another major festival winner, this film from acclaimed director Jafar Panahi is France's official international submission. It’s a politically charged story that has earned universal acclaim and is considered a lock for a Best International Feature nomination, but again, might sneak in for BP.<h3>💥 The Blockbusters</h3>These are the big-budget studio films that have the scale, craft, and popular appeal to make a serious run for the top prize.Wicked: For Good (Universal) The first part of the massive musical event hasn't been widely seen, but early buzz is strong. This is expected to be a crafts monster, sweeping nominations for Production Design, Costumes, and Sound. Ariana Grande is also a major frontrunner for Best Supporting Actress. If the film is a critical and box office hit, it will absolutely be in the Best Picture lineup, but probably won't win.Frankenstein (Netflix) Guillermo del Toro is back with his take on the classic monster. The Academy loves GDT, and this is Netflix's big prestige push for the year. Like Wicked, it's expected to dominate the technical categories, but Del Toro's pedigree could easily propel it into the top 10.Avatar: Fire and Ash (20th Century Studios) The golden rule: Never bet against James Cameron. The first two Avatar films were both nominated for Best Picture, and this one is expected to follow suit. It will be a visual effects marvel, and its guaranteed box office dominance makes it a "sure bet" for a nomination.<h3>🏃♂️ The Films Still in the Mix</h3>These films are firmly in the conversation and could easily snag a nomination as the season progresses.Jay Kelly (Netflix)A star-studded dramedy from Noah Baumbach starring George Clooney and Adam Sandler. It has great reviews and may take a few acting categories.Bugonia (Focus Features)Yorgos Lanthimos's follow-up to Poor Things may be too strange for some voters with its <a data-linked-post="2674271543" href="https://nofilmschool.com/bugonia-ending-explained" target="_blank">wild ending,</a> but its all-star cast (Emma Stone, Jesse Plemons) keeps it in the race.Train Dreams (Netflix): An emotional drama that premiered at Sundance and is getting a late-season push from Netflix.<h3>Summing It All Up</h3> It's a long road to the Oscars, but these are the films setting the pace. It'll be interesting to see how they pan out and where the odds shift as more of them get wide releases. Are there any big titles I left off? Let me know what you think in the comments. ]]></description><pubDate>Thu, 06 Nov 2025 19:23:57 +0000</pubDate><guid>https://nofilmschool.com/frontrunners-for-the-2026-oscars</guid><category>Oscars</category><category>Academy awards 2026</category><category>Predictions</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/hamnet.jpg?id=62083112&width=980"></media:content></item><item><title>Could This New Canon 45mm f/1.2 Lens Be the Ideal Replacement for Your Favorite Nifty Fifty?</title><link>https://nofilmschool.com/canon-45mm-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/canon-45mm-f-1-2-stm-lens.jpg?id=62081707&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Announced alongside the <a href="https://nofilmschool.com/canon-r6-mark-iii" target="_self">new EOS R6 Mark III</a>, Canon has also unveiled a new RF 45mm f/1.2 STM lens that promises to be an affordable prime with an extremely fast maximum aperture and a versatile 35mm focal length.An ideal partner with the aforementioned new R6 Mark III with its 32.5MP Full-Frame CMOS sensor, this RF 45mm f/1.2 lens seems to be well positioned to be a nice replacement option for any videographer’s favorite nifty-fifty. But is it actually up to the challenge? Let’s take a look.<hr/> <h3>Canon 45mm f/1.2 STM Lens</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/MU7DzX423Ls?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Designed to be compact, lightweight, and extremely fast, this Canon RF 45mm f/1.2 STM is quite capable and affordable. Canon promises that it will be a perfect lens to take on a long walk around the park or a day in the studio, as it is set to offer exceptionally shallow depth of field and beautiful, expressive bokeh.
Plus, thanks to its wide-aperture capabilities and medium focal length, the lens could also be ideal for portraits, lifestyle content, and low-light work, creating soft images with dramatic focus falloff. 
The STM motor at the heart of the lens should allow for quiet and smooth autofocus performance and full-time manual focus override. The optical design further incorporates one aspherical element, which will help reduce spherical aberrations and distortion.<h3>Price and Availability</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/71K3r4fHN4Y?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>As someone who has a favorite nifty-fifty that they’ve loved for years, I don’t know if this is a slam-dunk replacement, but it is indeed quite promising and could be a nice option for those who might not have their favorite 50mm range lens just yet.
It’s also obviously a nice option to consider if you’re looking to grab the new EOS R6 Mark III and want an ideal prime lens pairing to go with it (or for any other full-frame RF-mount mirrorless, for that matter).
Here are the full specs and purchase options.
<ul><li>Full-Frame | f/1.2 Maximum Aperture</li><li>Compact, Lightweight Prime Lens</li><li>STM Stepping AF Motor</li><li>Customizable Control Ring</li><li>Aspherical Element Reduces Aberrations</li></ul><h3>Canon 45mm f/1.2 STM Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="0d36963e1275ee167ea6634fac421105" data-rm-shortcode-name="rebelmouse-image" id="51213" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=62077335&width=980"/>Compact and lightweight, the Canon RF 45mm f/1.2 STM is an affordable prime lens with an extremely fast f/1.2 maximum aperture and a versatile 45mm focal length.]]></description><pubDate>Thu, 06 Nov 2025 19:00:06 +0000</pubDate><guid>https://nofilmschool.com/canon-45mm-lens</guid><category>Canon</category><category>Canon lens</category><category>45mm lens</category><category>Nifty fifty</category><category>Rf lens</category><category>Canon rf</category><category>Canon 45mm f1.2 stm lens</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/canon-45mm-f-1-2-stm-lens.jpg?id=62081707&width=980"></media:content></item><item><title>State of the Industry & the Art of Programming with Nicolas Curcio and Imani Davis</title><link>https://nofilmschool.com/state-of-the-industry-nicolas-curcio-imani-davis</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=62081158&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>, host GG Hawkins connects with two key voices in the film-industry ecosystem. First, she chats with screenwriter and filmmaker Nicolas Curcio to take the pulse of the movie business at the close of 2025—what’s changed, what’s hopeful, and what still needs to shift. Then, GG talks with programmer and curator Imani Davis of the American Cinematheque to explore the art and mechanics of programming—from year-round curatorial work to the annual Proof Film Festival, which helps shorts leap into features.<h3></h3> <iframe frameborder="0" height="200" scrolling="no" src="https://playlist.megaphone.fm?e=NFS5919649784" width="100%"></iframe>In this episode, we discuss:<ul> <li>The emotional and career‑landscape “temperature check” for creators post‑strikes and entering 2026</li><li>The role of social media, creator‑voice, and audience‑building in today’s writer/director paths</li><li>Why embracing a “patchwork” of gigs (writing, podcasts, video content) may be more realistic than the old one‑track screenwriter dream</li><li>Why clean spec scripts are “back” and what that signals for writers getting in the door</li><li>What a film programmer actually does—how someone like Imani rates submissions, builds curatorial strategies, leverages relationships</li><li>The difference between ongoing programming (year‑round screenings at an institution) vs. annual festival programming (with a fixed offer to submit, schedule, and panels)</li><li>Inside the Proof Film Festival: what makes a short film “feature‑expandable,” and what kind of statement or vision catches the eye of programmers & studios</li><li>How programmers balance gut feelings, industry data/timeliness, and filmmaker readiness when selecting films</li><li>The specific flaws and tired tropes they’re seeing in short films right now (yes: the “influencer vlogs” and basic “AI cautionary tales”)</li><li>How to start in programming: from basement screenings and volunteer festival committees to full‑time curatorial work</li><li>The importance of mentorship, networking, and building a community around film culture</li><li>Lastly, quick advice to emerging creators — find a way to stand out, build your voice, and force people to pay attention</li><li></li></ul><div>Guests: </div><ul><li><a href="https://www.imdb.com/name/nm7050237/" target="_blank">Nicolas Curcio</a></li><li><a href="https://www.imdb.com/name/nm12252025/" target="_blank">Imani Davis</a></li></ul><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>Thu, 06 Nov 2025 18:49:24 +0000</pubDate><guid>https://nofilmschool.com/state-of-the-industry-nicolas-curcio-imani-davis</guid><category>No film school podcast</category><category>Podcast</category><category>Nicolas curcio</category><category>Industry</category><category>Programming</category><dc:creator>GG Hawkins</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=62081158&width=980"></media:content></item><item><title>'Bugonia' Ending Explained: Unpacking Everything It Says About Humanity</title><link>https://nofilmschool.com/bugonia-ending-explained</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/what-happend-at-the-end-of-the-movie-bugonia.webp?id=62077961&width=1245&height=700&coordinates=0%2C27%2C0%2C161"/> It's always nice to have a movie that people talk about, and it feels like Yorgos Lanthimos is a filmmaker who sort of sets out to make that his goal each and every time he steps behind the camera. His latest film, Bugonia, is no exception. It's a crazy kidnapping story with alien science fiction elements and a lot to say about the state of the world. Today, I want to unpack the ending of Bugonia and explain all the themes and what it has to say about the human condition. Let's dive in. <hr/> <h3>The 'Bugonia' Plot</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/bd_5HcTujfc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Yorgos Lanthimos's black comedy thriller tells the story of Teddy Gatz (Jesse Plemons). He's an amateur beekeeper and a low-level warehouse employee at a megacorporation called Auxolith. Teddy is convinced that Auxolith's chemicals are causing Colony Collapse Disorder, which is destroying his hives.Teddy takes this all very personally because years prior, an experimental drug trial run by Auxolith, turned his mother, Sandy (Alicia Silverstone), into a vegetable - not literally, she's just brain-dead. Now, the angry Teddy has gone down an internet conspiracy rabbit hole and decided that Auxolith's CEO, Michelle Fuller (Emma Stone), is an alien-in-disguise from the Andromeda galaxy sent to destroy humanity, starting with the bees.And Teddy has to stop this all from happening. <h3>Bugonia's Plot Twists: Is Michelle An Alien? </h3> The plot kicks into high gear after Teddy kidnaps Michelle in order to prove that she is an alien on Earth. Teddy's cousin, Don (Aidan Delbis), helps him with the kidnapping, but he becomes overwhelmed by guilt because of the torture he's witnessing. Don kills himself with a shotgun in front of Michelle, and this also rocks Teddy. Michelle sees this guilt in Teddy as a way to fight back against her captors. In the aftermath of that horrifying act, Michelle convinces Teddy that the "Andromedan cure" for his mother's condition is hidden inside an antifreeze bottle in her car. A desperate Teddy rushes to the hospital and injects the antifreeze into his mother's IV, killing her.If you were feeling at all bad about this, the movie takes some guilt away because while Teddy is gone, Michelle finds a secret room revealing Teddy's previous victims. It turns out, he's done this all before. When Teddy returns, Michelle spins a long, complicated tale that she is, in fact, an alien. Michelle claims that aliens did arrive on Earth, but that they created humanity. But they're ashamed of their creation because humans—with their wars and climate change—are the ones destroying the planet, and the Andromedans have been trying to save them all along. At this stage, it's unclear if she is telling the truth or just manipulating him.<h3>The Crazy 'Bugonia' Ending</h3> It's the night of a lunar eclipse and Michelle tells Teddy she will take him to her mothership via a teleportation closet in her office in order to prove that she's an alien. But when they get to the office, we see Teddy is wearing a suicide bomber vest. So he's insulated himself from capture and maybe has nefarious ideas about what he could do to the aliens as well. They sneak into Michelle's office, where Michelle types a long number into a calculator and tells Teddy to enter the closet. He does, and his vest detonates, killing him instantly.It all seems like this was just one crazy story with Michelle as the sole survivor of all the violence. <h2>The Final Bugonia Twist </h2>Michelle is placed in an ambulance but she escapes, rushes back to her office, and goes to the same closet she put Teddy into. She uses the same calculator to activate what is revealed to be a real teleporter.She beams up to her mothership, where it's confirmed: She is the Andromedan Empress hidden on Earth. Teddy was right about all the details of the conspiracy, from his theories all along, and even truly knew about the design of their spacecraft.Michelle circles up with her advisors and declares humanity a "failed experiment." She stands over a model of Earth and pops a bubble surrounding it. Instantly, every single person on the planet drops dead.The film ends with a long montage set to Marlene Dietrich's "Where Have All the Flowers Gone?," showing corpses strewn across the globe. But in a darkly comedic twist, the final image, of the movie is hopeful as we see bees finally returning to their hives. <h3>'Bugonia' Title Explained </h3> The title itself is a key to the film's theme. A brief Google will show you that "Bugonia" is an ancient Greek word meaning "progeny from an ox." It refers to a myth that bees could be spontaneously generated from the carcass of an ox that was sacrificed without any blood being spilled.Screenwriter Will Tracy explained in <a href="https://time.com/7328938/bugonia-ending-explained/" target="_blank">Time</a> that this is a metaphor for the movie's message: "that there might be some opportunity or new life that could arise from the ashes of something that's quite corrupt."<h3>'Bugonia' Ending Explained</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/zRkIFIJj6cU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Okay, so what the heck did all this mean? I think we have to start with the idea that humans are ruining the planet, which was given to us as a gift. We're like if the bees in this movie were destroying their own hives, if that makes sense. To me, it seems like Lanthimos is obsessed with the horrifying absurdity of human behavior. This movie is a brutal takedown of humanity's total inability to see the bigger picture. In other words, we're so busy chasing conspiracies (like Teddy) or, on the flip side, burying our heads in corporate spreadsheets (like Michelle) that we can't see the planet is dying, and even if we do, we don't do anything about it. The central joke of the movie is that Teddy is convinced aliens are destroying the world, but the reverse is true, with us bringing on climate change, engaging in wars, and suffering due to corporate greed. And the movie argues that the aliens aren't the villains; they're just the exterminators called in to deal with the infestation.That's what makes the ending so nihilistic: we don't go out with a bang, or even a whimper. We're just basically erased. Michelle ends our entire species with the same cold, bureaucratic indifference she used to run her pharmaceutical company. It's as cold as her approving an experimental drug trial that kills Teddy's mom. <h3>Summing It All Up </h3> This is one of those bonkers movies that leaves you thinking for a long time. All the twists and turns were pitch-perfect, taking the comedy to incredibly dark places. I think if humanity is the disease on this earth, then at least we get to have high art like this film and to revel in our own destruction. This is all my take, but I'm open to other interpretations. Let me know what you think in the comments. ]]></description><pubDate>Thu, 06 Nov 2025 17:35:06 +0000</pubDate><guid>https://nofilmschool.com/bugonia-ending-explained</guid><category>Ending explained</category><category>Yorgos lanthimos</category><category>Bugonia</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-happend-at-the-end-of-the-movie-bugonia.webp?id=62077961&width=980"></media:content></item><item><title>The David Lynch Directing Secret Every Filmmaker Needs to Hear</title><link>https://nofilmschool.com/david-lynch-directing-secret</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/what-is-the-best-directing-advice-from-david-lynch.jpg?id=62025847&width=1245&height=700&coordinates=3%2C0%2C4%2C0"/> Look, it's pretty hard to be a young director. You have so many things to learn, but you also know your entire career rests on your work being good. It can feel like a no-win situation. Couple that with having to have control of the set and the actors, and that's a lot of pressure to be constantly working under. That's why I found this anecdote from actor Grace Zabriskie with David Lynch to be so poignant. In this fantastic little clip from the Criterion Collection, she shares the single <a href="https://nofilmschool.com/2017/04/david-lynch-art-life-interview" target="_blank">most important lesson she learned from working with Lynch</a>—and it’s a game-changer for any of us who get too stuck in our own heads.Let's dive in.<hr/> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ERIxJtvB7wY?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=ERIxJtvB7wY" target="_blank">www.youtube.com</a> <h2>The Trap of the "Perfect" Vision</h2>As filmmakers, we live and die by our prep. You'll spend months on storyboards, shot lists, and lookbooks to make sure things run smoothly. But according to Zabriskie, this is where we actually fail. We walk onto a set and "only have in your mind what you wanted to see or what you had imagined" when reality doesn't match that perfect vision. In fact, reality will NEVER match that vision. She points out that younger directors see every deviation as a problem to be fixed when they should be more like David Lynch. <h2>The Lynch Method</h2>In this conversation with David Lynch, Zabriskie explains that he does the exact opposite. He "can walk in and see just what's there. In fact, he has the unique ability to look at the "mistakes" and see opportunities.She gives perfect examples:<ul><li>A flickering light: Most of us would yell at the G&E department. Lynch says, "No, don't fix that. This is how I want it".</li><li>"Crap left on the table": The set dresser is about to run in and clean it. Lynch says, "No, leave it".</li></ul>This isn't just about being quirky. It's about being present. It's about understanding that your job as a director isn't just to execute a plan, but to curate reality for everyone on set and then watching at home. When you're only focused on your pre-visualized movie, you're blind to the "many beautiful surprises" that life, your actors, and your location are handing you for free.<h2>Summing It All Up </h2>So, what's the takeaway for your next project? You should still do all the prep and storyboard, but I think the real lesson here is one of flexibility. The next time something "goes wrong," don't automatically yell "cut."Take a breath. Look at what's in front of you. Ask yourself the Lynch question: "What can I do with this?"You might just find that the mistake is better than anything you could have ever planned.Let me know what you think in the comments. ]]></description><pubDate>Thu, 06 Nov 2025 17:23:55 +0000</pubDate><guid>https://nofilmschool.com/david-lynch-directing-secret</guid><category>Directing advice</category><category>David lynch</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-is-the-best-directing-advice-from-david-lynch.jpg?id=62025847&width=980"></media:content></item><item><title>Ninja TX GO: Atomos’ Feature-Packed HDMI Monitor/Recorder for Modern Creators</title><link>https://nofilmschool.com/atomos-ninja-tx-go</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/atomos-ninja-tx.png?id=62078141&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> The camera monitor and recorder space is getting quite crowded, which might cause some confusion from time to time, but make no mistake, the fact that companies are making such quality and helpful camera monitors with recording capabilities is a good thing.The new Atomos Ninja TX GO is a new HDMI-only companion to the Ninja TX that promises to be another solid and compact on-camera monitor and recorder that will be ideal for use on any film set, no matter the size or sophistication.Let’s take a look at this new option and explore what it could offer for you and your workflows.<hr/> <h3>The Atomos Ninja TX GO</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/EoWL-PfMKeM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>So, the most notable news about this Atomos Ninja TX GO here off the bat is its newest features, which include include HDMI 2.0 input/output, integrated Connect technology which will be able to proivde Wi-Fi connectivity for TX/RX streaming and direct upload, a brighter 1500 cd/m² touchscreen display, 6K30 ProRes raw recording, recording to CFexpress Type B or USB-C, a nifty tally light, and a built-in NDI/HX3 license.
Also, all codecs such as ProRes RAW/DNx/H.265 are now built in, so this really should be an easy grab-and-go option for those looking to start using a new camera monitor and recorder on their projects the same day that they buy one.
The Atomos Ninja TX GO is also notable thanks to its 5.2” touchscreen, which offers a 1920 x 1080 resolution with a brighter 1500 cd/m² display that should be able to provide rich and accurate color precision even in the brightest of daylight settings.<h3>Price and Availability</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="f2269cb344768a02dff876bf19e5186f" data-rm-shortcode-name="rebelmouse-image" id="40a66" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=62077564&width=980"/>The Atomos Ninja TX GO also offers 8/10-bit color processing, HDR support, Rec. 709 color gamut, and Calibrite ColorChecker Display Pro/Plus calibration support to ensure color-accurate, and plenty of other new updates and features, including a redesigned AtomOS Linux operating system and more robust connectivity features.
If you’re curious to check out this new Atomos Ninja TX GO version, here are the full specs and purchase options.
<ul><li>1920 x 1080 IPS Touchscreen, 4K60 I/O</li><li>All Codecs + NDI License Preloaded</li><li>Locking HDMI 2.0 Input/Output</li><li>Records to CFexpress Type B Slot, USB-C</li><li>1500 cd/m² Brightness</li><li>Capture up to 6K30 ProRes RAW Video</li><li>W-Fi Firmware Updates</li><li>Updated AtomOS Linux Operating System</li><li>L-Series Battery Slot, Tally Light</li></ul><h3>Atomos Ninja TX GO 5.2" HDMI Wi-Fi-Enabled Camera Monitor/Recorder</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="c45fe0c269964dc0ea53be7a3819eac6" data-rm-shortcode-name="rebelmouse-image" id="8d37b" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=62077513&width=980"/>Designed as the HDMI-only companion to the Ninja TX, the Atomos Ninja TX GO 5.2" HDMI Wi-Fi-Enabled Camera Monitor/Recorder from Atomos is a compact on-camera monitor and recorder ideal for use on any set. ]]></description><pubDate>Thu, 06 Nov 2025 16:48:08 +0000</pubDate><guid>https://nofilmschool.com/atomos-ninja-tx-go</guid><category>Atomos</category><category>Atomos ninja tx</category><category>Atomos ninja</category><category>Monitor recorder</category><category>Atomos ninja tx go</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/atomos-ninja-tx.png?id=62078141&width=980"></media:content></item><item><title>Atomos Ninja TX GO 5.2" HDMI Wi-Fi-Enabled Camera Monitor/Recorder</title><link>https://nofilmschool.com/atomos-ninja-tx-go-5-2-hdmi-wi-fi-enabled-camera-monitor-recorder</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=62077513&width=1245&height=700&coordinates=0%2C164%2C0%2C165"/> Designed as the HDMI-only companion to the Ninja TX, the Atomos Ninja TX GO 5.2" HDMI Wi-Fi-Enabled Camera Monitor/Recorder from Atomos is a compact on-camera monitor and recorder ideal for use on any set. ]]></description><pubDate>Thu, 06 Nov 2025 15:50:49 +0000</pubDate><guid>https://nofilmschool.com/atomos-ninja-tx-go-5-2-hdmi-wi-fi-enabled-camera-monitor-recorder</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=62077513&width=980"></media:content></item><item><title>Canon 45mm f/1.2 STM Lens</title><link>https://nofilmschool.com/canon-45mm-f-1-2-stm-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=62077335&width=1245&height=700&coordinates=0%2C164%2C0%2C165"/> Compact and lightweight, the Canon RF 45mm f/1.2 STM is an affordable prime lens with an extremely fast f/1.2 maximum aperture and a versatile 45mm focal length.]]></description><pubDate>Thu, 06 Nov 2025 15:35:02 +0000</pubDate><guid>https://nofilmschool.com/canon-45mm-f-1-2-stm-lens</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=62077335&width=980"></media:content></item><item><title>Is 7K Video and 3:2 Open Gate Recording Enough to Make the New Canon R6 Mark III Stand Out?</title><link>https://nofilmschool.com/canon-r6-mark-iii</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/canon-r6-mark-iii.jpg?id=62077110&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> The latest model for Canon’s EOS R6 line is here, and the R6 Mark III is bringing back pretty much everything that made its previous versions popular with videographers and hybrid shooters, plus adding a bigger sensor and even more advanced video recording capabilities and specs.Let’s take a look at the Canon R6 Mark III, its 32.5MP full-frame CMOS sensor, the camera’s 7K video recording capabilities, and everything else you need to know about this new high-performance all-arounder.<hr/> <h3>The Canon EOS R6 Mark III Mirrorless Camera</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-LFlqW_ckjw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Featuring upgraded imaging, a revised design for better handling, and a nice combination of an array of hybrid photo and video capabilities, the initial specs here for this R6 Mark III are quite promising indeed.
The biggest highlight is the new 32.5MP sensor, which pairs with DIGIC X processing to offer 7K video recording, up to 40-fps photo shooting, improved Dual Pixel CMOS AF II with Register People Priority, and more capable 8.5-stop image stabilization.
Also, not nothing, but the R6 Mark III will now accept both CFexpress Type B and SD memory cards for flexible file storage. Canon also reports that this new 32.5MP full-frame CMOS sensor will offer a 34% increase in resolution over its predecessor and allow for greater sharpness, print resolution, and cropping ability. <h3>7K Video Recording and Better Slow-Mo</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/XMXVrh9cyEw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>For those looking for the most important specs, we’re happy to report that the R6 Mark III is using a similar sensor to the EOS C50 Cinema Camera, allowing the R6 Mark III to internally record 7K video up to 60p in 12-bit Canon RAW Light Movie. (If recording externally, to an optional external recorder, 7K footage up to 30p in ProRes RAW can be shot.)
Open Gate 3:2 recording is also now possible in 7K 30p in 10-bit MP4 or 12-bit RAW formats, which will be especially useful for those looking to produce social content with greater recording area to crop from when resizing to vertical formats and other unique aspect ratios.
Another of the most notable improvements for the Mark III version will be better slow-motion and high-speed recording capabilities, as the camera now supports both DCI 4K and UHD 4K recording at up to 119.8p for 5x slow motion playback in a 23.98p timeline. <h3>Price and Availability</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/fypen1h3Ez4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>We’ll have more to explore regarding the Canon EOS R6 Mark III in the future, including a look into the camera’s LUTs and color control options. But, for now, if you’re interested, the Canon R6 Mark III is available for preorder with units expected to start shipping at the end of the month.
Here are all of the specs and purchase options.<ul><li>32.5MP Full-Frame CMOS Sensor</li><li>7K 60p 12-Bit Internal RAW Light Video</li><li>Open Gate 7K 30p, High-Speed 4K 120p</li><li>Dual Pixel CMOS AF II & Movie Servo AF</li><li>Up to 40 fps & Pre-Continuous Shoot Mode</li><li>8.5-Stop 5-Axis Image Stabilization</li><li>3.69m-Dot OLED EVF with OVF View Assist</li><li>3" 1.62m-Dot Vari-Angle Touchscreen LCD</li><li>CFexpress & SD UHS-II Memory Card Slots</li><li>Multi-Function Shoe, Wi-Fi and Bluetooth</li></ul><h3>Canon EOS R6 Mark III Mirrorless Camera</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="5114fae0f1e92b01b5ff4a75c8cde5e9" data-rm-shortcode-name="rebelmouse-image" id="c47e3" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=62077072&width=980"/>Built to be the high-performance all-arounder for creatives who work in both photo and video, the Canon EOS R6 Mark III deftly combines an array of hybrid capabilities, upgraded imaging, and revised handling and design to suit shooters working in a wide variety of scenarios.]]></description><pubDate>Thu, 06 Nov 2025 15:14:04 +0000</pubDate><guid>https://nofilmschool.com/canon-r6-mark-iii</guid><category>Canon</category><category>Canon r6</category><category>New canon camera</category><category>Open gate</category><category>Canon r6 mark iii</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/canon-r6-mark-iii.jpg?id=62077110&width=980"></media:content></item><item><title>Canon EOS R6 Mark III Mirrorless Camera</title><link>https://nofilmschool.com/canon-eos-r6-mark-iii-mirrorless-camera</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=62077072&width=1245&height=700&coordinates=0%2C164%2C0%2C165"/> Built to be the high-performance all-arounder for creatives who work in both photo and video, the Canon EOS R6 Mark III deftly combines an array of hybrid capabilities, upgraded imaging, and revised handling and design to suit shooters working in a wide variety of scenarios.]]></description><pubDate>Thu, 06 Nov 2025 15:06:26 +0000</pubDate><guid>https://nofilmschool.com/canon-eos-r6-mark-iii-mirrorless-camera</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=62077072&width=980"></media:content></item><item><title>AI Assistant for Premiere Pro Called “One of the Best Assistants”</title><link>https://nofilmschool.com/eddie-ai-premiere-gal-review</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/premiere-gal-eddie-ai-review.jpg?id=62065925&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> The conversation around AI in video editing is getting louder every day. From automating tedious tasks to generating creative options, the potential is huge. But with new tools popping up constantly, how do you know which ones are genuinely useful and which are just hype?That's where trusted voices in the community come in. Kelsey, the creator behind the massively popular YouTube channel <a href="https://www.youtube.com/@PremiereGal" target="_blank">Premiere Gal</a>, recently did a deep dive into <a href="https://www.heyeddie.ai/" target="_blank">Eddie AI</a>, an AI assistant designed to revolutionize the editing process, especially for dialogue-heavy content. Her verdict? It might just be the assistant editor you've been waiting for.<hr/><h3>Saving Your Most Valuable Asset: Time</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Hp2LGiGtp80?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>As Premiere Gal points out, "As video editors, time is everything." The endless hours spent sifting through footage and making rough cuts are a universal pain point. This is where Eddie AI steps in. Kelsey highlights that what editors truly need are "task-based tools that will save us time," and she found Eddie AI to be a powerful solution.She was particularly impressed with its ability to handle the "boring, mundane task of cutting up a video edit," allowing editors to jump straight into the creative and stylistic parts of the process much faster.<h3>Seamless Premiere Integration, Not Another Headache</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="6424266e61adfe7f88718150fce1cc6d" data-rm-shortcode-name="rebelmouse-image" id="005e8" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=62065940&width=980"/>One of Kelsey's biggest praises for the tool was its flawless connection with Adobe Premiere Pro."The integration with Premiere Pro was seamless and worked really fast," she notes. "It made it seem like Eddie AI wasn't its own separate standalone app, but a direct extension of my Premiere Pro workspace."This is a critical point for any professional. Instead of a clunky workflow that requires exporting and importing between different programs, Eddie AI works directly with your Premiere Pro projects, making the entire process smooth and intuitive.<h3>An Intelligent Assistant That Understands Your Needs</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="689e4e53f243f08f0ab2ad5a66db533f" data-rm-shortcode-name="rebelmouse-image" id="fea61" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=62065942&width=980"/>Premiere Gal tested several of Eddie AI’s features, but two stood out:<ul><li>Chat Mode: Kelsey demonstrated how you can talk to Eddie AI like you would to a human assistant. She asked it to "gather all the takes where the speaker invites viewers to Adobe MAX," and within seconds, Eddie had compiled a new sequence with just those clips. It's an incredibly powerful way to quickly find specific moments in long interviews or hours of footage.</li><li>Scripted Mode: For creators who work from a script, this feature is a game-changer. By providing the script, Eddie AI can assemble a rough cut that follows it. Kelsey was also a huge fan of how it handles multiple takes, stacking them in the Premiere Pro timeline so she could easily audition and choose the best performance for each line.</li></ul>After extensive testing, Kelsey's conclusion was clear and compelling:"After all the tools that I've tried, Eddie AI is one of the best assistants that me and my team have tried out when editing projects in Premiere Pro."Of course, no tool is perfect. In her full review, Kelsey also breaks down a few limitations and areas where Eddie AI can still improve, giving an honest and "brutally honest" look at the good and the bad.Ready to see if this AI assistant can transform your editing workflow? Watch Premiere Gal's full, in-depth review to see Eddie AI in action and get all the details on its powerful features.Watch the <a href="https://www.youtube.com/watch?v=Hp2LGiGtp80" target="_blank">full video on YouTube</a> now!]]></description><pubDate>Wed, 05 Nov 2025 23:10:04 +0000</pubDate><guid>https://nofilmschool.com/eddie-ai-premiere-gal-review</guid><category>Eddie ai review</category><category>Premiere gal</category><category>Premiere pro</category><category>Ai video editing</category><category>Ai assistant editor</category><category>Eddie ai</category><dc:creator>Sponsored Content</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/premiere-gal-eddie-ai-review.jpg?id=62065925&width=980"></media:content></item><item><title>All The Best 'Mummy' Movies Ranked</title><link>https://nofilmschool.com/all-the-best-mummy-movies-ranked</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/ranking-all-the-mummy-movies.jpg?id=62066216&width=1245&height=700&coordinates=0%2C156%2C0%2C156"/> There are so many spooky movie monsters out there, but the Mummy has to be one of my favorites. Whether he's lumbering in robes or dissipating into a cloud of sand, the ancient mythology and treasure seeker heroes were always aspirational to me as a kid, and the worlds felt so big and genuine.While there have been many interactions over the last century, and many movies, I love the lore and tropes we see across the films.Today, I want to rank all the Mummy movies that have come out and talk about which ones I think are the best.Let's dive in.<hr/><h3>All The Mummy Movies Ever</h3> <img alt="The Mummy movies" class="rm-shortcode" data-rm-shortcode-id="77b6603e2748007586ff77b8558e7e79" data-rm-shortcode-name="rebelmouse-image" id="b38d1" loading="lazy" src="https://nofilmschool.com/media-library/the-mummy-movies.jpg?id=34049136&width=980"/>When I embarked on making this list, I had no idea just how many movies featuring mummies there actually were. I think in the 1930s, when the first ones came out, they had to feel revolutionary since people were still digging in Egypt and making huge discoveries. And as they kept making those movies, you had a ton of nostalgia for that time. Before I rank the movies, I want to give you a list of all the actual movies there have been, so you can see the breadth of the monster's role in Hollywood. <h3>1. The Universal Classic Monsters (1932–1955)</h3>This is the original series that started it all. It began with Boris Karloff's iconic, slow-moving monster and then evolved from there to Lon Chaney Jr's take on the Pharaoh. <ul><li>The Mummy (1932) - Starring Boris Karloff as Imhotep.</li><li>The Mummy's Hand (1940) - Introduces the mummy Kharis (played by Tom Tyler).</li><li>The Mummy's Tomb (1942) - Lon Chaney Jr. takes over the role of Kharis.</li><li>The Mummy's Ghost (1944) - Starring Lon Chaney Jr.</li><li>The Mummy's Curse (1944) - Starring Lon Chaney Jr.</li><li>Abbott and Costello Meet the Mummy (1955) - A comedy-horror crossover.</li></ul><h3>2. The Hammer Horror Series (1959–1971)</h3>The British studio Hammer Film Productions rebooted the character with a more menacing and physical presence that felt more aligned with modern horror. The beast was famously played by Christopher Lee in the first installment. These were like gothic tales. <ul><li>The Mummy (1959) - Starring Christopher Lee as Kharis.</li><li>The Curse of the Mummy's Tomb (1964)</li><li>The Mummy's Shroud (1967)</li><li>Blood from the Mummy's Tomb (1971) - This film is a notable departure, based on a Bram Stoker novel (The Jewel of Seven Stars) and featuring a female mummy/spirit.</li></ul><h3>3. The Modern Series (1999–2008)</h3>This is the beloved action-adventure trilogy that redefined the franchise for a modern audience, starring Brendan Fraser, Rachel Weisz, and John Hannah.They're actually rebooting this series now! <ul><li>The Mummy (1999)</li><li>The Mummy Returns (2001)</li><li>The Mummy: Tomb of the Dragon Emperor (2008)</li></ul><h4>The Scorpion King Spin-off Series</h4>This series spun off from the character introduced in The Mummy Returns, played by Dwayne "The Rock" Johnson. Most of these were direct-to-video prequels but all of them contained the lore from the movie. <ul><li>The Scorpion King (2002) - The only film in this series to get a wide theatrical release.</li><li>The Scorpion King 2: Rise of a Warrior (2008)</li><li>The Scorpion King 3: Battle for Redemption (2012)</li><li>The Scorpion King 4: Quest for Power (2015)</li><li>The Scorpion King: Book of Souls (2018)</li></ul><h3>4. The "Dark Universe" Reboot (2017)</h3>This was Universal's attempt to launch an interconnected "Dark Universe" of its classic monsters, starting with a reboot starring Tom Cruise.<ul><li>The Mummy (2017)</li></ul><h3>Other Notable Mummy Films</h3>Beyond the major franchises, many other studios and countries have produced their own mummy-themed movies that are either family-oriented, scary, or something in between.<ul><li>The Jewel of Seven Stars (1917) - A lost silent film based on the Bram Stoker novel.</li><li>The Aztec Mummy (1957) - A Mexican horror film that was followed by two sequels:<ul><li>The Curse of the Aztec Mummy (1957)</li><li>The Robot vs. The Aztec Mummy (1958)</li></ul></li><li>The Awakening (1980) - Starring Charlton Heston, another adaptation of Bram Stoker's The Jewel of Seven Stars.</li><li>Bram Stoker's Legend of the Mummy (1998)</li><li>Bubba Ho-Tep (2002) - A cult classic starring Bruce Campbell as an elderly Elvis Presley who, along with a man who believes he is JFK, fights a mummy in a nursing home.</li><li>The Monster Squad (1987) - A family-friendly adventure where The Mummy is one of several classic monsters.</li><li>Hotel Transylvania (2012) - The animated film series features a fun-loving, portly mummy named Murray as part of the main cast.</li></ul><h3>Ranking the Best Mummy Movies </h3> For the ranking, I wanted to pick out the most famous Mummy movies and also the ones I think are the best in general. They run the gamut of genres and tones, and I think they are so representative of everything I love about these movies. <h3>6. The Mummy (1932)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/1i6xNScZRP4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Karl Freund</li><li>Writer: John L. Balderston</li><li>Starring: Boris Karloff, Zita Johann</li></ul>I actually saw this movie for the first time a year ago and fell in love. If you're only familiar with the 1999 version, you will be shocked. It's this brooding, atmospheric, gothic horror-drama that capitalizes on mood. Powered by a legendary and haunting performance from Boris Karloff, he plays Imhotep as a creepy, shuffling, and deeply unsettling presence that just keeps coming after you. In this movie, he spends most of the film out of his iconic bandages, posing as a modern Egyptian tapping into ancient secrets. <h3>5. Abbott and Costello Meet the Mummy (1955)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/EPmeEMWPMvI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Charles Lamont</li><li>Writers: John Grant and Lee Loeb</li><li>Starring: Bud Abbott, Lou Costello, Marie Windsor</li></ul>This might have actually been my first introduction to any Mummy movie ever. I was a big fan of Abbott and Costello movies and dipped my toes into "horror" here. It's just a funny movie that plays with the classic Universal monster tropes alongside <a data-linked-post="2671283352" href="https://nofilmschool.com/what-is-slapstick-comedy" target="_blank">slapstick comedy</a>. We find our titular heroes caught between a cult and treasure hunters all vying for the mummy Klaris. It’s goofy fun. <h3>4. Bubba Ho-Tep (2002)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/pa9331xmvhg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Don Coscarelli</li><li>Writer: Don Coscarelli (based on the novella by Joe R. Lansdale)</li><li>Starring: Bruce Campbell, Ossie Davis, Ella Joyce</li></ul>Okay, so this was one of the first indie movies I saw that really knocked my socks off. It was loud and funny and weird, and so easy to recommend to people because of its unique premise. Bruce Campbell gives a career-best performance as a man in a nursing home who claims to be the real Elvis Presley. He claims he switched places with an impersonator decades ago, but no one believes him...except his only friend is a man who believes he is John F. Kennedy (the legendary Ossie Davis).Their quiet life of regret is interrupted by a soul-sucking mummy in a cowboy hat who is preying on the elderly residents to try to keep himself alive. Bubba Ho-Tep is a hilarious, bizarre, and surprisingly poignant film about aging. It’s a true cult masterpiece.<h3>3. The Mummy Returns (2001)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3yXjs7BUKYc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Stephen Sommers</li><li>Writer: Stephen Sommers</li><li>Starring: Brendan Fraser, Rachel Weisz, Dwayne "The Rock" Johnson</li></ul>Bigger, louder, and more expensive than its predecessor, The Mummy Returns is a classic sequel that just expands on the first movie by having even more fun. This kind of movie was meant to be loved by the fans, and gives them everything they want from the first and builds out the world. Our heroes, Rick and Evie, have a son now. And we learn that Evie is a reincarnated princess who is the only one who can stop Imhotep and his bride from resurrecting The Scorpion King and conquering the world with the army of Anubis. The entire original cast is back, and their chemistry is still electric. The quips and zingers never stop, and the high-octane adventure takes us all over the globe.<h3>2. The Mummy (1959)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/nTnkLTRR6v8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Terence Fisher</li><li>Writer: Jimmy Sangster</li><li>Starring: Peter Cushing, Christopher Lee</li></ul>For many horror purists, this is the definitive Mummy film. The legendary Hammer Horror studio took the 1932 concept and injected it with vibrant Technicolor, gothic dread, and two of the genre's biggest icons: Peter Cushing and Christopher Lee.Unlike Karloff’s slow, creeping mummy, Christopher Lee’s Kharis is a force of nature. He is tall, fast, and terrifyingly strong, a genuine physical threat. You can see modern movement and terror in this one. And Peter Cushing is our rogue, doing his best to stop himThis movie also looks incredible, with genius cinematography. It is a genuinely scary film that combines the best parts of the original and the 1940s sequels into one fantastic package.<h3>1. The Mummy (1999)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/fZE8jD6fiZg?rel=0&start=2" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Stephen Sommers</li><li>Writer: Stephen Sommers</li><li>Starring: Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo</li></ul>This movie is a miracle. It had no right to be this good, and yet it’s the perfect movie that reaches fun pinnacles few ever have in movie history. The Mummy (1999) is a flawless blend of action, romance, comedy, and horror. I legit have no idea how they did all that, but I think it has something to do with the charm of its leads. Brendan Fraser is the perfect swashbuckling hero, Rachel Weisz is his brilliant and capable equal, and their chemistry is one of the all-time greats. You actually feel like this movie is sexy a times, like, how did they do that? From the charismatic villain Imhotep to the hilarious comic relief, every single piece of this movie just works. It’s endlessly rewatchable. <h3>Summing It Up </h3> I think the world built in these mummy movies is one of the most underrated in film, and the movies that came out of it are all a lot of fun. They have a lot in common, but it does feel like filmmakers can come in and play with the genres of the movie to get their vision on the screen and apply any tone they want. These are my favorite mummy movies, but I am sure you have your own. Let me know what you think in the comments.]]></description><pubDate>Wed, 05 Nov 2025 23:00:04 +0000</pubDate><guid>https://nofilmschool.com/all-the-best-mummy-movies-ranked</guid><category>Best movies</category><category>The mummy</category><category>Movie monsters</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/ranking-all-the-mummy-movies.jpg?id=62066216&width=980"></media:content></item><item><title>What Sergio Leone Teaches Us About Bridging Classic and Modern Cinema</title><link>https://nofilmschool.com/sergio-leone-filmmaking-lessons</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/filmmaking-lessons-from-sergio-leone.jpg?id=61461243&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> I think one of the biggest hurdles every single filmmaker faces is how to f<a href="https://nofilmschool.com/voice-in-writing" target="_blank">ind their own unique voice</a> and visual style. The reason for this is that it takes some craft mastery to really diversify yourself from what others have done before, but also not to forget all the formative lessons that explain film itself. Now, that might be one of the most daunting things to read, but you should know that every single filmmaker has had to face this hurdle...even the great ones. Enter this video essay from <a href="https://www.youtube.com/@TheHouseofTabula" target="_blank">The House of Tabula</a>, which argues that Sergio Leone is in a class of his own as a director because he's not just a master of his own voice, but he successfully blended it with all of film beforehand as well. Today, I want to go over three key lessons for filmmakers that are inspired by the video essay.Let's dive in. <hr/> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/68K54K-qpvU?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=68K54K-qpvU" target="_blank">www.youtube.com</a> <h3>1. The Face is a Landscape</h3>When I think about Sergio Leone, I think about the way he shoots people, particularly the way he shoots faces. His auteur style is one of "grandiose scale and spectacle." But it’s how he achieved this storytelling voice that I think holds one of our most important lenses. Leone frequently used some of the widest-angle lenses available during his era. This single choice had two profound, and seemingly contradictory, effects:<ul><li>Deep Focus: It created an immense<a data-linked-post="2661196107" href="https://nofilmschool.com/deep-depth-of-field" target="_blank"> depth of field</a> where "almost everything that can be seen" became the subject. Instead of just focusing on a foreground character, the entire panoramic landscape became a living, breathing part of the frame.</li><li>Close-Ups: Leone's favorite visual subject was the human face. He used these same wide-angle lenses for his famous <a data-linked-post="2668709636" href="https://nofilmschool.com/extreme-close-up-shot" target="_blank">extreme close-ups</a>. This meant the camera had to be physically right up in the actor's face, creating an "imposing" and intensely intimate feel that distorts the features into a map of emotion and grit.</li></ul>Leone's frames are an emotional tool, and a lesson you can emulate. A wide lens isn't just "for landscapes." Used up close, it creates an aggressive, unsettling intimacy. Think about how your lens choice makes the audience feel—whether it's the overwhelming scale of a desert or the proximity of a killer's eyes.<h3>2. Image is Character</h3>When it came to storytelling, Leone was a master of taking a genre and picking it apart. His <a data-linked-post="2661202629" href="https://nofilmschool.com/2016/12/7-cinematic-trademarks-master-spaghetti-western-sergio-leone" target="_blank">Spaghetti Westerns</a> "demythologized" the American Westerns of directors like John Ford. His approach, which the video explains better than I will, was rooted in Italian "Comedia del'arte." This style of theater relies on fixed archetypes identifiable by their masks and costumes.Leone applied this directly to his films. His characters (Harmonica, Angel Eyes, The Man With No Name) are pure <a data-linked-post="2671644906" href="https://nofilmschool.com/what-is-an-archetype" target="_blank">archetypes</a>. Because he used these strict archetypes, Leone could build on what came before him and put his own spin on how these guys actually functioned in a western. There was also a lot of shorthand with the way they looked. His whole process was "<a data-linked-post="2661192252" href="https://nofilmschool.com/show-dont-tell-examples" target="_blank">Show, don't tell.</a>" So when it comes to your own work, your <a data-linked-post="2668122961" href="https://nofilmschool.com/character-introductions" target="_blank">character's introduction</a> is everything. Their silhouette, their costume, a single prop (like a harmonica), or the way they walk into a frame can tell the audience 90% of what they need to know. And you can also subvert the way they dress or are seen to create something new. <h3>3. Master the Set Piece</h3>The video makes a strong case that Leone could rival <a data-linked-post="2673922979" href="https://nofilmschool.com/filmmaking-tips-from-alfred-hitchcock" target="_blank">Alfred Hitchcock</a> for the title "Master of Suspense." Leone's narrative structure is a slow-burning rise towards an explosive and climactic crescendo, which is best exemplified at the end of The Good, the Bad, and the Ugly. But a Leone film doesn't just have one ending, but as the video argues, a "collection of multiple crescendos." I actually loved this point from the video because it broke it down like this: each ending is a "distinct block of scenes" or set-piece that functions as its own self-contained story, with a clear beginning, middle, and end. Think about that standoff I mentioned. You have three guys at the end of the movie in a shootout over gold. There's a clear beginning to it, where you see a guy digging up a grave, and then two others enter. A middle where they negotiate a standoff, and then an ending where it actually happens, and then a denouement where we find out where the gold really was...which is sort of the beginning of its own little story as well! So what do you need to know as a filmmaker? A simple plot gives you room to be complex in your execution. Stop rushing to the next plot point. Instead, think of your film as a series of self-contained set-pieces. Own the real estate of "real-time." Make your audience wait. Wind them up, stretch the tension until it's unbearable, and then give them the release.<h2>Summing It Up </h2>Leone wasn't just telling stories of loyalty and violence; he was using the fundamentals of composition and story to make something totally in his own voice. And now, we as filmmakers can take those lessons and use them in our own work, ro both reference the past and show people who are in the present. That's what makes an art form like filmmaking so beautiful and so able to constantly evolve. Let me know what you think in the comments. ]]></description><pubDate>Wed, 05 Nov 2025 22:37:39 +0000</pubDate><guid>https://nofilmschool.com/sergio-leone-filmmaking-lessons</guid><category>Filmmaking lessons</category><category>Directing</category><category>Directing tips</category><category>Sergio leone</category><category>Sergio leone</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/filmmaking-lessons-from-sergio-leone.jpg?id=61461243&width=980"></media:content></item><item><title>The Legendary ICG Magazine to Fold After Nearly a Century</title><link>https://nofilmschool.com/icg-magazine-ending</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/icg-magazine-ending.png?id=62064960&width=1245&height=700&coordinates=0%2C44%2C0%2C90"/> In sad news for cinematographers (and the art of cinematography itself), the International Cinematographers Guild has reportedly told its members that the Guild has decided to sunset <a href="https://www.icgmagazine.com/web/" target="_blank">ICG Magazine</a>, the Guild’s famous cinematography publication, which has existed since 1929 (albeit in a few different names and forms over the years).Let’s look at what we know so far, as well as share some other cinematography resources and publication recommendations to check out and support.<hr/> <h3>RIP to ICG Magazine</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="aa2dd41f38d66cf04728e63302dd31bf" data-rm-shortcode-name="rebelmouse-image" id="24b00" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=62064984&width=980"/>According to <a href="https://www.hollywoodreporter.com/business/business-news/icg-magazine-cease-publication-1236417987/" rel="noopener noreferrer" target="_blank">The Hollywood Reporter</a>, International Cinematographers Guild president John Lindley has let members know that its national executive board has decided to sunset ICG Magazine. The Guild is looking to transition towards new ways of connecting with its members, and, perhaps understandably, a print magazine in 2025 might not be as feasible as it once was.
Originally launched in 1929 as The International Photographer, ICG Magazine has been published every month for nearly 100 years at this point. The report by THR indicates that the December issue of ICG Magazine will be the last in the publication’s long run.
It remains to be seen what will happen to the podcast hosted by ICG Magazine executive David Geffner, as well as the fates of staff and writers for ICG Magazine.<h3>Cinematography Publications and Resources</h3> All things considered, the fact that ICG Magazine was able to exist for as long as it did (nearly 100 years) is still quite impressive and a testament to the tight-knit and supportive community of the Guild's roughly 10,000 members.
If you’re feeling the loss of the announcement, here are some other helpful cinematography resources to consider subscribing to and supporting, including—of course—<a href="https://nofilmschool.com/topics/cinematography-cameras" target="_self">No Film School’s cinematography and cameras news coverage</a>.
<ul><li><a href="https://theasc.com/american-cinematographer" rel="noopener noreferrer" target="_blank">American Cinematographer</a></li><li><a href="https://www.cinematography.world/" rel="noopener noreferrer" target="_blank">Cinematography World</a></li><li><a href="https://britishcinematographer.co.uk/" rel="noopener noreferrer" target="_blank">British Cinematographer</a></li></ul>]]></description><pubDate>Wed, 05 Nov 2025 20:20:05 +0000</pubDate><guid>https://nofilmschool.com/icg-magazine-ending</guid><category>International cinematographers guild</category><category>Cinematography</category><category>Cinematography news</category><category>icg magazine</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/icg-magazine-ending.png?id=62064960&width=980"></media:content></item><item><title>George Miller Is Not Afraid of AI Films</title><link>https://nofilmschool.com/george-miller-not-afraid-ai</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/george-miller-s-take-on-ai.png?id=52327425&width=1245&height=700&coordinates=77%2C0%2C78%2C0"/> You really can't go long in Hollywood without talking about AI. Everyone wants to know people's perspectives on the technology, and it seems like every studio is looking for ways to both use it to save money and fight it to protect their copyrights. This battle has extended to filmmakers, who are all coming out for or against, sometimes with strong language.According to a report from <a href="https://deadline.com/2025/11/mad-max-george-miller-omni-ai-film-festival-1236607709/" rel="noopener noreferrer" target="_blank">Deadline</a>, George Miller, the man who spent over 40 years meticulously hand-crafting the Mad Max universe filled with practical effects and realism, is not only unafraid of AI—he’s actively engaging with it.The director just served as the head of the jury for OMNI, Australia’s first artificial intelligence film festival.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/w9yhapUMYGA?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=w9yhapUMYGA" target="_blank">www.youtube.com</a><hr/><h2>From Auteur to AI </h2>A lot of times, what I'm looking for from the filmmakers I respect is kind of a solid statement on what they actually believe in terms of AI.So, when Miller was announced as a juror for an AI festival, I just brushed it off. But this isn't just a passive endorsement. Miller was so drawn in that he didn't just agree to judge; he reportedly contacted the AI prompt artists behind the submissions to understand their process and, in return, share his own storytelling expertise to figure out how they can improve.When you couple that with Miller's interview with <a href="https://www.theguardian.com/film/2025/oct/09/ai-film-making-omni-festival-mad-max-director-george-miller-interview" target="_blank">The Guardian</a> last month, where he said that AI “echoes earlier moments in art history,” particularly the Renaissance, where oil painting “gave artists the freedom to revise and enhance their work over time.”Miller went on to say, “That shift sparked controversy – some argued that true artists should be able to commit to the canvas without corrections, others embraced the new flexibility.” Miller continued, “A similar debate unfolded in the mid-19th century with the arrival of photography. Art has to evolve. And while photography became its own form, painting continued. Both changed, but both endured. Art changed.”And while in The Guardian piece we learned that Miller believes AI won't be able to ever replace humans, he does think it might bring more humans to storytelling.“It will make screen storytelling available to anyone who has a calling to it,” Miller said. “I know kids not yet in their teens using AI. They don’t have to raise money. They’re making films – or at least putting footage together. It’s way more egalitarian.”It seems that for Miller, AI can find its place alongside traditional cinema, but only if it prioritizes emotional resonance over technical novelty and still engages with our humanity.<h2>What's the Filmmaking Takeaway? </h2>I go back and forth with my own views on AI. I think the only thing I'm actually gleaning from all this is that it's a tool that can only be wielded by a human who understands story and emotion.I think if it can help with VFX, it'll be quickly embraced, but I don't think people will ever buy fully into AI characters because of the uncanny valley. Maybe we'd lean into animation if it looked as good as Pixar, but that remains to be seen.At the end of the day, the only way to actually get ahead in Hollywood and in movie making in general is being able ot tell a story that engages with people and makes them care.I have yet to see an AI film do that.<h3>Summing It Up</h3>For the rest of us, his advice is the most practical takeaway we could ask for: Stop worrying about the tool and start worrying about the story. Is it good enough to make someone want to know what happens next?]]></description><pubDate>Wed, 05 Nov 2025 20:10:05 +0000</pubDate><guid>https://nofilmschool.com/george-miller-not-afraid-ai</guid><category>Ai</category><category>George miller</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/george-miller-s-take-on-ai.png?id=52327425&width=980"></media:content></item><item><title>A New Hotkey and Major Performance Boosts Highlight Latest DaVinci Resolve Update</title><link>https://nofilmschool.com/davinci-resolve-update-2023</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/davinci-resolve-update-20-2-3.jpg?id=62064560&width=1245&height=700&coordinates=0%2C0%2C555%2C184"/> We got to start with the most exciting news here at the very top: DaVinci Resolve is getting a new hotkey to quickly open the timeline keyframe and curves tray. What a time to be alive!All joking aside, this is a pretty significant update to DaVinci Resolve that adds a ton of new improvements, including some significant boosts to performance for some fun tools like Magic Mask, Depth Map, and Super Scale on Windows Intel GPUs.There’s also new support for Blackmagic RAW SDK 5.1 and other improvements. Here’s everything you need to know.<hr/> <h3>DaVinci Resolve 20.2.3 Update</h3> <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1985930516563202527">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/Blackmagic_News/status/1985930516563202527"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>As is the case with most of these DaVinci Resolve updates, there are some big changes and many minor ones. The minor ones are mostly addressing small issues with audio playback or decoding—nothing serious, but always worth the update to be safe.The big news is a new keyboard customization action to toggle the timeline keyframe tray, as well as the aforementioned performance boosts on Intel GPUs. You can read all of the new features that have been added or updated below:<ul><li>Support for Blackmagic Raw SDK 5.1.</li><li>Up to 4x faster Magic Mask, Depth Map, Super Scale on Intel GPUs.</li><li>Keyboard customizable action to toggle timeline keyframe tray.</li><li>Pasting spline window tracking data no longer resets spline shape.</li><li>Workflow integration plugins are now persisted across restarts.</li><li>Data burn-in honors limit timecode display to 24 hours.</li><li>Object masks now invalidate for edit and input sizing changes.</li><li>Addressed issue blading all clips under playhead in Fairlight.</li><li>Addressed possible audio playback issue when using Mac trackpad.</li><li>Decode support for WEBM and MKV clips with VP8 video codec.</li><li>Addressed an issue with decoding some MP4 clips.</li><li>Addressed an issue with decoding some MKV FFV1 files.</li><li>Addressed issue loading templates with very large thumbnails.</li><li>Addressed deep image issues with proxy scaling and flipbook.</li><li>Addressed DCTL issues with some ACES 2.0 EOTFs.</li><li>Three-dot option menu action to reset all scopes settings.</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.
Installing DaVinci Resolve Software on MacOSDouble-click the DaVinci Resolve Installer icon and follow the onscreen instructions. To remove DaVinci Resolve from your system, double-click the Uninstall Resolve icon.
Installing DaVinci Resolve Software on WindowsDouble-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.
Installing DaVinci Resolve Software on LinuxDouble-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.
You can find out more info on <a href="https://www.blackmagicdesign.com/support/readme/9d5f7fb13cfd446aa384cc26b587061b" target="_blank">Blackmagic Design’s website here</a>.]]></description><pubDate>Wed, 05 Nov 2025 19:49:31 +0000</pubDate><guid>https://nofilmschool.com/davinci-resolve-update-2023</guid><category>Davinci resolve</category><category>Davinci resolve update</category><category>Blackmagic design</category><category>Davinci resolve update 20.2.3</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/davinci-resolve-update-20-2-3.jpg?id=62064560&width=980"></media:content></item><item><title>Blackmagic Video Assist Adds Support for Blackmagic RAW Recording From Sony FX3 and FX30 Cameras</title><link>https://nofilmschool.com/blackmagic-video-assist-update-322</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/blackmagic-video-assist-3-22-update.jpg?id=62064682&width=1245&height=700&coordinates=56%2C0%2C57%2C0"/> Blackmagic Design has announced a new firmware update for Blackmagic Video Assist that is set to add support for Blackmagic RAW recording for several new cameras. The cameras to get Blackmagic RAW support will be the new Sony FX3 and FX30, as well as the Leica SL3-S.With more of a focus on the FX3 and FX30, let’s look at what this means for adding more recording capabilities and range to your film and videography options with these cameras and with working with the Video Assist 5” and 7” 12G HDR models.<hr/> <h3>Blackmagic Video Assist 3.22 Update</h3> <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1985943582944215133">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/Blackmagic_News/status/1985943582944215133"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>While not a huge update, the big news here is that Blackmagic RAW is coming to these cameras. The Leica SL3-S is a great option, but perhaps not the most notable for video work. The Sony FX3 and Sony FX30 are more popular for working videographers and film crews, so this is likely quite exciting for those who own or work with these cameras.
Here’s the full list of updates on what’s new with Blackmagic Video Assist 3.22:
<ul><li>Blackmagic Video Assist 5” 12G HDR</li><li>Blackmagic Video Assist 7” 12G HDR<ul><li>Adds Blackmagic RAW recording from Sony FX3 and FX30.</li><li>Adds Blackmagic RAW recording from Leica SL3-S.</li><li>General performance and stability improvements.</li></ul></li></ul>
To find more info on how to download and install, you can get everything you need for this latest Blackmagic Video Assist update on <a href="https://www.blackmagicdesign.com/support/readme/8a983d590e9c47e39f48360bc22b66f9" rel="noopener noreferrer" target="_blank">Blackmagic Design’s website here</a>.]]></description><pubDate>Wed, 05 Nov 2025 18:38:34 +0000</pubDate><guid>https://nofilmschool.com/blackmagic-video-assist-update-322</guid><category>Blackmagic video assist</category><category>Blackmagic video assist update</category><category>Blackmagic design</category><category>Sony fx3</category><category>Sony fx30</category><category>Leica sl3-s</category><category>Blackmagic video assist 3.22 update</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/blackmagic-video-assist-3-22-update.jpg?id=62064682&width=980"></media:content></item><item><title>Brendan Fraser & Rachel Weisz Reunite for New ‘Mummy’—A Millennial Nostalgia Play</title><link>https://nofilmschool.com/the-mummy-revival</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-mummy-is-being-revived-to-service-the-millennial-crowd.jpg?id=62064811&width=1245&height=700&coordinates=0%2C0%2C0%2C200"/> One of my favorite movie-going experiences ever happened when I was in fourth grade. I remember going to a matinee of The Mummy with my dad. It was my first "scary" movie in theaters, and it totally blew me away.There was everything a kid could love: action, adventure, partial nudity, and pithy one-liners. I was completely enraptured by the film, and when the sequel came out when I was in seventh grade, it only steeped me and my generation further in the world and the characters.According to a report from <a href="https://deadline.com/2025/11/new-mummy-movie-brendan-fraser-rachel-weisz-radio-silence-1236606781/" rel="noopener noreferrer" target="_blank">Deadline</a>, after years of fan speculation and a recent surge in nostalgia with Brendan Fraser's acting comeback, Universal Pictures is reportedly developing a new installment in The Mummy franchise with original stars in talks to return.That's right, Brendan Fraser and Rachel Weisz will pick up where they left off 25 years ago and explore even more of the crypts of Egypt.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/fZE8jD6fiZg?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=fZE8jD6fiZg" target="_blank">www.youtube.com</a><hr/><h2>The Mummy Returns...Again </h2>I have to say, when this news broke, I actually cheered. I am a massive fan of the movies of everyone involved, so this feels like a dream come true.The new film is set to be directed by the filmmaking team "Radio Silence," also known as Matt Bettinelli-Olpin and Tyler Gillett. These are the guys behind modern horror hits like Ready or Not, Scream (2022), and Scream VI.The project is reportedly being written by David Coggeshall, with franchise veteran Sean Daniel returning to produce alongside Project X Entertainment's William Sherak, James Vanderbilt, and Paul Neinstein.Plot details are being kept under wraps, but the idea is they will probably retcon The Mummy: Tomb of the Dragon Emperor out of the canon and focus on a brand new story that puts Rick and Evie in the spotlight. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/3yXjs7BUKYc?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=3yXjs7BUKYc" target="_blank">www.youtube.com</a><h2>Millennials Rule Hollywood </h2>Right now, Hollywood is looking for any way to get butts into seats, and the target audience appears to be millennials. They have money, kids, and grew up going to the movies, so why not try to bring them back by servicing movies they made into hits when they were kids?The return of The Mummy franchise follows a wave of renewed appreciation for Fraser and the original franchise, which was recently highlighted by the successful 25th-anniversary theatrical re-release of The Mummy in April 2024.That did well, and I think places like Letterboxd show just how many people log watching these films and what they mean to these audiences.It's interesting to me to be part of the key demo Hollywood is catering to now. If this is a hit, I do think it opens the doors for a lot more plays at catering to millennials, especially if they show up as a strong demo.The smart thing about The Mummy movies is that they brought in a few genres, with people coming for horror scares that kept these movies PG-13 and action and adventure that helped them branch out from just the core monster fans.That amalgamation was revolutionary at the time, and I'd love to see that genre mashup come back, because I think it would help bring in fans of all ages.<h2>Summing It All Up </h2>The reboot of The Mummy is a clear sign that Hollywood is looking at millennials not only for their taste but also for their wallets.This is a big play at reviving a franchise, but one I am all for and that seems just so exciting and pulpy to me.I can't wait to see what's in store on this next adventure.Let me know what you think in the comments.]]></description><pubDate>Wed, 05 Nov 2025 16:39:30 +0000</pubDate><guid>https://nofilmschool.com/the-mummy-revival</guid><category>Reboot</category><category>Brendan fraser</category><category>Rachel weisz</category><category>The mummy</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-mummy-is-being-revived-to-service-the-millennial-crowd.jpg?id=62064811&width=980"></media:content></item><item><title>Has the DJI Osmo Mobile 8 Become the Go-To Gimbal for Advanced Subject Tracking?</title><link>https://nofilmschool.com/dji-osmo-mobile-8</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/dji-osmo-mobile-8.jpg?id=62065066&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> We know there aren’t many of you out there that are shooting <a href="https://nofilmschool.com/movie-shot-on-iphone" target="_blank">feature (or even short) films on your smartphone</a>, despite the best efforts of Steven Soderbergh to make that a thing. Yet, even if it’s not specifically for indie filmmaking, the DIY spirit of run-and-gun video remains alive in the world of content creation.And new tools like the DJI Osmo Mobile 8 Smartphone Gimbal bring some incredible capabilities, including advanced tracking and a wide array of helpful features, for those looking to get the most out of their mobile smartphone video setups.Let’s look at the DJI Osmo Mobile 8 and what it has to offer.<hr/> <h3>DJI Osmo Mobile 8 Smartphone Gimbal</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/B6uGvi6XJzw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Advanced subject tracking is the main selling point for this new Osmo Mobile. A follow-up to the popular Osmo Mobile 7, this Mobile 8 version brings a new Multifunctional Module and ActiveTrack 7.0 technology.
The DJI Osmo Mobile 8 is set to include a magnetic phone clamp that supports smartphones up to 3.3" wide in a fast mounting interface, a built-in extension arm and tripod, as well as the OM Multifunctional Module for improved pets and humans tracking technology, gesture control, and a fill light. 
Some other notable updates and improvements are set to include the ability to directly connect with support for Apple DockKit, a USB-C output for charging your camera, and a counterweight mounting hole for adding an optional counterweight.<h3>3-Axis Stabilization and ActiveTrack 7.0</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/vX1k8LHp-y8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>As mentioned above, stabilization and advanced tracking have improved as the Osmo Mobile 8 will now feature improved stability over longer distances with the updated ActiveTrack 7.0, which can automatically track body shapes to track human or pet subjects without needing to make a manual selection. Users will even be able to track subjects even after they leave the frame using automatic zooming and gimbal movements for continuous filming.
The Smart Capture feature will be able to detect multiple subjects and allow you to effortlessly switch by tapping on your phone's screen. Smooth tracking pinpoints your preferred subject, whether a person or family pet, and maintains continuous tracking regardless of movement or obstruction, too.<h3>Price and Availability</h3> As is the case with all of these smartphone gimbal options, the DJI Osmo Mobile 8 is quite affordable and made for beginners or pros. Here are the full specs and purchase options.<ul><li>Extendable Smartphone Gimbal Stabilizer</li><li>Auto-Track Humans/Pets</li><li>Magnetic Phone Clamp, Robust Motors</li><li>10.6 oz Load Capacity, 10-Hour Battery</li><li>Built-In Tripod and Extension Rod</li><li>ActiveTrack 7.0, Follow, Dual Lens Boost</li><li>Supports Smartphones up to 3.3" Wide</li><li>Intelligent Features with DJI Mimo App</li><li>Supports Phone Charging via USB-C</li><li>Direct Smartphone & DJI Mic Pairing</li></ul><h3>DJI Osmo Mobile 8 Smartphone Gimbal</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="9fc903b6a48b413d460a219ba4dbc6a2" data-rm-shortcode-name="rebelmouse-image" id="27369" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=62064354&width=980"/>Accurately track subjects while maintaining stable smartphone footage with the DJI Osmo Mobile 8 Smartphone Gimbal. ]]></description><pubDate>Wed, 05 Nov 2025 15:46:02 +0000</pubDate><guid>https://nofilmschool.com/dji-osmo-mobile-8</guid><category>Dji</category><category>Dji osmo</category><category>Dji osmo mobile</category><category>Smartphone gimbal</category><category>Gimbal</category><category>Dji osmo mobile 8</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/dji-osmo-mobile-8.jpg?id=62065066&width=980"></media:content></item><item><title>DJI Osmo Mobile 8 Smartphone Gimbal</title><link>https://nofilmschool.com/dji-osmo-mobile-8-smartphone-gimbal</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=62064354&width=1245&height=700&coordinates=0%2C164%2C0%2C165"/> Accurately track subjects while maintaining stable smartphone footage with the DJI Osmo Mobile 8 Smartphone Gimbal. ]]></description><pubDate>Wed, 05 Nov 2025 15:41:54 +0000</pubDate><guid>https://nofilmschool.com/dji-osmo-mobile-8-smartphone-gimbal</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=62064354&width=980"></media:content></item><item><title>What Are the Best Marlon Brando Movies?</title><link>https://nofilmschool.com/best-marlon-brando-movies</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-wild-one.jpg?id=62054999&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> The legend of Marlon Brando is pretty epic. <a href="https://nofilmschool.com/marlon-brando-changed-acting-forever" target="_blank">The guy changed the way acting happened in Hollywood</a> and made everyone think about how "real" they could be on screen, instead of affecting what you would do on stage. Aside from that, he was also the star of some legendary movies and could steal any scene away from anyone else just by walking into a room. Today, I want to go over all of my favorite Marlon Brando movies and talk about his performances in each of them and what makes them so epic. Let's dive in. <hr/> <h3>10. Viva Zapata! (1952)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Ek2K5cLQ8E8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Elia Kazan</li><li>Writer: John Steinbeck</li><li>Cast: Marlon Brando, Jean Peters, Anthony Quinn, Joseph Wiseman</li></ul>Coming right on the heels of Streetcar, this was Brando’s second collaboration with Elia Kazan and a passion project written by John Steinbeck. The casting is not one you'd do today, but Brando plays legendary Mexican revolutionary Emiliano Zapata. It was reported that Brando studied photos of Zapata and pored over the history in order to become this man. <h3>9. Guys and Dolls (1955)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ykzP_64l-xk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Joseph L. Mankiewicz</li><li>Writer: Joseph L. Mankiewicz (based on the musical by Jo Swerling & Abe Burrows)</li><li>Cast: Marlon Brando, Frank Sinatra, Jean Simmons, Vivian Blaine</li></ul>Let's start with the one that doesn't match any of the others... Marlon Brando in a musical. This is such a fun film because they fill it with legends like Frank Sinatra and Vivian Blaine, who can actually sing! So no one really questions it when Brando doesn't do it much, or sounds different than the others. He thrives as the smooth gambler Sky Masterson, and his chemistry with Jean Simmons is electric. It’s a baffling, audacious, and weirdly perfect performance from him.<h3>8. Sayonara (1957)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/koIRJwmbtyE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Joshua Logan</li><li>Writer: Paul Osborn (based on the novel by James A. Michener)</li><li>Cast: Marlon Brando, Miiko Taka, Red Buttons, Miyoshi Umeki, James Garner</li></ul>Even though Brando is a movie star, he did a lot of gritty films. But this was one that let him be a polished sex symbol. It's a Technicolor "message movie" where he plays Major "Ace" Gruver, a hotshot Korean War pilot and good-ol'-boy Southerner who is forced to confront his own deep-seated prejudice when he falls for a Japanese performer. It's a little cheesy, but I think a lot of fun for the era. Brando’s performance is all subtlety as you watch his entire worldview shift through internal moments of realization.<h3>7. Julius Caesar (1953)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/uYRsMfuIAgo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Joseph L. Mankiewicz</li><li>Writer: Joseph L. Mankiewicz (based on the play by William Shakespeare)</li><li>Cast: Marlon Brando, James Mason, John Gielgud, Louis Calhern, Greer Garson</li></ul>At the time, critics were already calling him "The Mumbler," so Brando ignored them and took on Shakespeare. In this movie, he starred opposite classical acting titans like John Gielgud, and he steals the entire movie. Brando plays Mark Antony, a dangerous political operator who wants the best for Rome. When he delivers the "Friends, Romans, countrymen" speech, he doesn't just recite the verse; he becomes it. This was him showing the world his method and brilliance. <h3>6. The Wild One (1953)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ieK8cxbTSRA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: László Benedek</li><li>Writer: John Paxton & Ben Maddow</li><li>Cast: Marlon Brando, Mary Murphy, Lee Marvin, Robert Keith</li></ul>I love a good B-movie, and this one is about a biker gang that terrorizes a small town. But this movie was more about Brando becoming a star than anything. He plays Johnny Strabler, a guy with a tilted cap, leather jacket, and Triumph motorcycle. He set the look for any and all bikers moving forward. The look goes back to him. And he delivered the line that defined a generation: "Hey Johnny, what are you rebelling against?" ... "Whaddaya got?"<h3>5. Last Tango in Paris (1972)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/o35Z4ue0BPI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Bernardo Bertolucci</li><li>Writer: Bernardo Bertolucci & Franco Arcalli</li><li>Cast: Marlon Brando, Maria Schneider, Jean-Pierre Léaud</li></ul>I'll just say up front it's probably impossible for many people to separate this movie and performance from the controversy around it and its toxic production, so if you want to skip this section, I get it. But if you can, Brando's performance is one of the most raw and intense ever filmed. He plays Paul, a grieving American widower who begins a purely sexual affair with a young Parisian woman. Much of his dialogue was improvised and pulled from the wreckage of his own life. The famous monologue over his wife’s body isn't acting; it’s a terrifying and hypnotic deconstruction of himself.<h3>4. Apocalypse Now (1979)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/9l-ViOOFH-s?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Francis Ford Coppola</li><li>Writer: John Milius & Francis Ford Coppola</li><li>Cast: Martin Sheen, Marlon Brando, Robert Duvall, Dennis Hopper, Laurence Fishburne</li></ul>By the late '70s, Brando had become more myth than man, and this film pushed him over the edge into otherworldly legend. The entire movie is a journey upriver into the heart of madness, and at the end of it is Brando’s Colonel Kurtz. He’s barely in the movie, but his presence is all-encompassing. When he finally appears, shaven-headed and massive, he’s a black hole of intellect and insanity. He improvised most of his dialogue to create a man who has "gone over the edge." His final, whispered monologue on "the horror" is the dark, philosophical anchor of the entire film. And even though he was a bear on set, he gave Coppola all he needed. <h3>3. A Streetcar Named Desire (1951)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/u9YgJjSCT08?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Elia Kazan</li><li>Writer: Tennessee Williams & Oscar Saul (based on the play by Tennessee Williams)</li><li>Cast: Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden</li></ul>This movie signified the moment Brando became a symbol of raw charisma. This movie is a sweltering pressure cooker. It pitted Brando’s primal Stanley Kowalski against the fragile, fading illusions of Blanche DuBois (Vivien Leigh). Stanley is a monster—a bully, a domestic abuser—but Brando plays him with such an unapologetic life force that you can’t look away. The iconic "STELLA!" changed 50s cinema and Hollywood forever. <h3>2. The Godfather (1972)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/UaVTIH8mujA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Francis Ford Coppola</li><li>Writer: Mario Puzo & Francis Ford Coppola (based on the novel by Mario Puzo)</li><li>Cast: Marlon Brando, Al Pacino, James Caan, Robert Duvall, Diane Keaton</li></ul>It's so crazy to think this role almost never happened because Brando was considered "unbankable" at the time. They even made him screen-test for the part. When he got it, his career took off immediately again. Brando's Vito Corleone, with cotton-stuffed jowls and a raspy, labored whisper that forces you to lean in and also fear him. He transformed into a man of immense power and weariness with the world and its corruption. He both loves his family and strikes fear into his enemies. It's a landmark performance. <h3>1. On the Waterfront (1954)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/vOdYAXOfLMc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><ul><li>Director: Elia Kazan</li><li>Writer: Budd Schulberg</li><li>Cast: Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger, Eva Marie Saint</li></ul>This is probably the greatest performance in American film history. It changed all acting afterward. People just decided to play real characters and not be stagey. It legitimately sent a ripple effect across the world. Brando plays Terry Malloy, a broken-down ex-boxer and dockworker who "coulda been a contender." He’s a man trapped between a corrupt union and his own conscience. This isn't just Brando's best performance; it's the high-water mark that every actor since has been trying to reach.<h3>Summing It All Up </h3> Ranking a career like Brando's is wild. I mean. I almost included some goofy roles because he just has so many fun ones. But these are the ten films that stand as monuments to his genius. He was a rebel, a mumbler, a god, and a monster, and cinema is unimaginable without him.Let me know what you think in the comments. ]]></description><pubDate>Tue, 04 Nov 2025 23:50:04 +0000</pubDate><guid>https://nofilmschool.com/best-marlon-brando-movies</guid><category>Best movies</category><category>Marlon brando</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-wild-one.jpg?id=62054999&width=980"></media:content></item><item><title>What Are The Longest Theatrical Movies Ever Released?</title><link>https://nofilmschool.com/longest-theatrical-movies-ever-released</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-longest-theatrical-movies-ever-released.jpg?id=62025012&width=1245&height=700&coordinates=97%2C0%2C98%2C0"/> I was joking with a buddy of mine recently that Hollywood is so focused on getting people to the theaters to see movies, they're making them so long that we never get the opportunity to leave. And while I know that's hyperbolic, it does feel like every movie I'm going to see in theaters has been eventized into an entire night out. That got me thinking, what are the longest theatrical movies ever released? Let's dive in.<h3>The Longest Movies Ever</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/YSDDyzCagMY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Okay, so we did a deep dive on<a data-linked-post="2661206031" href="https://nofilmschool.com/longest-movie-ever-made" target="_blank"> the longest movies ever</a> before, but I wanted to provide a refresher on this one. Now, these movies are <a data-linked-post="2661190366" href="https://nofilmschool.com/experimental-genre-definition-examples" target="_blank">experimental films</a>, and typically screened in art galleries, museums, or special film festivals. They have insane run times, so don't freak out. In film school, my professor made us watch two hours of Andy Warhol's Empire. It was hard to do, but I do feel like I understood the art of it...or at least appreciated the bold statement. Here are just a smattering of these types of movies. <ul><li>Logistics (2012)<ul><li>Summary: This conceptual film documents the entire life cycle of a pedometer in real-time, from its creation in a Chinese factory to its sale in Sweden.</li><li>Runtime: 857 hours (35 days and 17 hours)</li><li>Directors/Writers: Erika Magnusson & Daniel Andersson</li><li>Cast: This film has no actors.</li></ul></li><li>Modern Times Forever (2011)<ul><li>Summary: A projection shows the accelerated decay of the Stora Enso building in Helsinki over several thousand years.</li><li>Runtime: 240 hours (10 days)</li><li>Directors: Bjørnstjerne Reuter Christiansen, Jakob Fenger, & Rasmus Nielsen (artist collective Superflex)</li><li>Writer: A conceptual piece, no traditional screenplay.</li><li>Cast: This film has no actors.</li></ul></li><li>The Cure for Insomnia (1987)<ul><li>Summary: An experimental film consisting primarily of artist L.D. Groban reading his 4,080-page poem, intercut with other clips.</li><li>Runtime: 87 hours (3 days and 15 hours)</li><li>Director: John Henry Timmis IV</li><li>Writer: Nickoli Schirripa</li><li>Cast: L.D. Groban</li></ul></li><li>Empire (1964)<ul><li>Summary: A silent, eight-hour, single, stationary shot of the Empire State Building as night falls.</li><li>Runtime: 8 hours, 5 minutes</li><li>Directors: Andy Warhol & John Palmer</li><li>Writer: A conceptual piece (idea by John Palmer).</li><li>Cast: This film has no traditional cast; its sole subject is the Empire State Building.</li></ul></li></ul><h3>The Longest Narrative & Documentary Films</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/9MNUbt8HEaw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>These are films with plots or subjects, often shown with multiple intermissions or in parts at festivals and special screenings. They have narratives to them, meaning they have a story you can follow over all this time. Again, this is not an exhaustive list, but I wanted you to see some times that are out there to check out. <ul><li>Resan (The Journey) (1987)<ul><li>Summary: A sprawling documentary that interviews people from across the globe about their awareness and fears of the nuclear threat.</li><li>Runtime: 14 hours, 33 minutes</li><li>Director/Writer: Peter Watkins</li><li>Cast: This is a documentary featuring interviews with families from around the world.</li></ul></li><li>La Flor (2018)<ul><li>Summary: An epic divided into six episodes, each adopting a different film genre, from a B-movie horror to a spy thriller.</li><li>Runtime: 13 hours, 28 minutes</li><li>Director/Writer: Mariano Llinás</li><li>Cast: Elisa Carricajo, Valeria Correa, Pilar Gamboa, Laura Paredes</li></ul></li><li>Out 1 (Noli me tangere) (1971)<ul><li>Summary: This largely improvised film follows two Parisian theater groups and two loners who become convinced a secret society is manipulating events.</li><li>Runtime: 12 hours, 55 minutes</li><li>Directors/Writers: Jacques Rivette & Suzanne Schiffman</li><li>Cast: Jean-Pierre Léaud, Michael Lonsdale, Michèle Moretti, Juliet Berto</li></ul></li><li>Shoah (1985)<ul><li>Summary: A landmark documentary that presents a comprehensive history of the Holocaust through harrowing interviews with survivors, witnesses, and perpetrators.</li><li>Runtime: 9 hours, 26 minutes</li><li>Director: Claude Lanzmann</li><li>Writer: This is a documentary; the film consists of interviews conducted by Lanzmann.</li><li>Cast: Simon Srebnik, Michael Podchlebnik, Motke Zaïdl, and other survivors, witnesses, and perpetrators.</li></ul></li><li>O.J.: Made in America (2016)<ul><li>Summary: This Academy Award-winning documentary examines the life of O.J. Simpson, set against the backdrop of race, celebrity, and justice in Los Angeles.</li><li>Runtime: 7 hours, 47 minutes (467 minutes)</li><li>Director: Ezra Edelman</li><li>Writer: A documentary (Ezra Edelman is credited).</li><li>Cast: O.J. Simpson, Marcia Clark, F. Lee Bailey. (It's a documentary featuring interviews with the real people involved).</li></ul></li><li>Sátántangó (1994)<ul><li>Summary: In a desolate Hungarian village, the lives of the few remaining residents are thrown into turmoil by the return of a charismatic, false prophet.</li><li>Runtime: 7 hours, 19 minutes (439 minutes)</li><li>Director: Béla Tarr</li><li>Writers: Béla Tarr & László Krasznahorkai (based on his novel)</li><li>Cast: Mihály Víg, Putyi Horváth, Miklós Székely B.</li></ul></li><li>War and Peace (Voyna i mir) (1966-1967)<ul><li>Summary: A monumental Soviet adaptation of Leo Tolstoy's novel, detailing the impact of Napoleon's invasion of Russia on several aristocratic families.</li><li>Runtime: 7 hours, 11 minutes (431 minutes)</li><li>Director: Sergei Bondarchuk</li><li>Writers: Sergei Bondarchuk & Vasily Solovyov (based on the novel by Leo Tolstoy)</li><li>Cast: Lyudmila Savelyeva, Sergei Bondarchuk, Vyacheslav Tikhonov</li></ul></li><li>The Best of Youth (La meglio gioventù) (2003)<ul><li>Summary: A sweeping family saga following the lives of two Italian brothers from the 1960s to the 2000s, set against major social and political events.</li><li>Runtime: 6 hours, 6 minutes (366 minutes)</li><li>Director: Marco Tullio Giordana</li><li>Writers: Sandro Petraglia & Stefano Rulli</li><li>Cast: Luigi Lo Cascio, Alessio Boni, Adriana Asti, Jasmine Trinca</li></ul></li><li>Carlos (2010)<ul><li>Summary: A biographical epic chronicling the life and career of the Venezuelan terrorist Ilich Ramírez Sánchez, also known as Carlos the Jackal.</li><li>Runtime: 5 hours, 34 minutes (334 minutes)</li><li>Director: Olivier Assayas</li><li>Writers: Olivier Assayas & Dan Franck</li><li>Cast: Édgar Ramírez, Alexander Scheer, Nora von Waldstätten</li></ul></li><li>Happy Hour (2015)<ul><li>Summary: The film follows four middle-class women in Kobe, Japan, whose friendships and personal lives are re-evaluated after one reveals she is getting a divorce.</li><li>Runtime: 5 hours, 17 minutes (317 minutes)</li><li>Director: Ryūsuke Hamaguchi</li><li>Writers: Ryūsuke Hamaguchi, Tadashi Nohara, & Tomoyuki Takahashi</li><li>Cast: Sachie Tanaka, Hazuki Kikuchi, Maiko Mihara, Rira Kawamura</li></ul></li><li>Novecento (1900) (1976)<ul><li>Summary: An epic that chronicles the lives of two Italian men—a landowner and a peasant—born on the same day in 1900, tracing their parallel lives through 20th-century Italian history.</li><li>Runtime: 5 hours, 17 minutes (317 minutes)</li><li>Director: Bernardo Bertolucci</li><li>Writers: Bernardo Bertolucci, Franco Arcalli, & Giuseppe Bertolucci</li><li>Cast: Robert De Niro, Gérard Depardieu, Burt Lancaster, Donald Sutherland</li></ul></li></ul><h3>The Longest Mainstream Theatrical Films</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/9Vz5f9NOVuk?rel=0&start=15" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Okay, so when we go ot the movies, how long are you willing to spend there? I went through a list of long mainstream movies and tried to pull out the longest ones out there. These are the longest well-known films that received a release in conventional cinemas, often as "roadshow" events with intermissions.I've actually tried to watch a lot of these when they get released because they really are massive event movies that can be fun things to do with your friends. I mean, who didn't have fun at The Brutalist during the intermission? <ul><li>Gettysburg (1993)<ul><li>Summary: A detailed, day-by-day depiction of the key figures and strategic movements of the decisive Battle of Gettysburg during the American Civil War.</li><li>Runtime: 4 hours, 14 minutes (254 minutes)</li><li>Director/Writer: Ronald F. Maxwell (based on the novel The Killer Angels by Michael Shaara)</li><li>Cast: Tom Berenger, Jeff Daniels, Martin Sheen, Stephen Lang, Sam Elliott</li></ul></li><li>Cleopatra (1963)<ul><li>Summary: The famously lavish epic follows the Egyptian queen as she navigates political power and love affairs with Rome's leaders, Julius Caesar and Mark Antony.</li><li>Runtime: 4 hours, 8 minutes (248 minutes)</li><li>Director: Joseph L. Mankiewicz</li><li>Writers: Joseph L. Mankiewicz, Ranald MacDougall, & Sidney Buchman</li><li>Cast: Elizabeth Taylor, Richard Burton, Rex Harrison, Roddy McDowall</li></ul></li><li>Hamlet (1996)<ul><li>Summary: The first complete and unabridged film version of Shakespeare's play, following the Prince of Denmark as he seeks to avenge his father's murder.</li><li>Runtime: 4 hours, 2 minutes (242 minutes)</li><li>Director/Writer: Kenneth Branagh (based on the play by William Shakespeare)</li><li>Cast: Kenneth Branagh, Derek Jacobi, Julie Christie, Kate Winslet, Robin Williams</li></ul></li><li>Gone with the Wind (1939)<ul><li>Summary: A sweeping historical romance chronicling the life of the strong-willed Southern belle Scarlett O'Hara during and after the American Civil War.</li><li>Runtime: 3 hours, 58 minutes (238 minutes)</li><li>Director: Victor Fleming</li><li>Writer: Sidney Howard (based on the novel by Margaret Mitchell)</li><li>Cast: Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, Hattie McDaniel</li></ul></li><li>The Ten Commandments (1956)<ul><li>Summary: Cecil B. DeMille's biblical epic tells the story of Moses, from his discovery as a baby to his leading the Hebrew slaves out of Egypt.</li><li>Runtime: 3 hours, 40 minutes (220 minutes)</li><li>Director: Cecil B. DeMille</li><li>Writers: Aeneas MacKenzie, Jesse L. Lasky Jr., Jack Gariss, & Fredric M. Frank</li><li>Cast: Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson</li></ul></li><li>Lawrence of Arabia (1962)<ul><li>Summary: The historical epic follows the complex life of T.E. Lawrence, the British officer who united and led Arab tribes against the Turks in World War I.</li><li>Runtime: 3 hours, 47 minutes (227 minutes)</li><li>Director: David Lean</li><li>Writers: Robert Bolt & Michael Wilson</li><li>Cast: Peter O'Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Omar Sharif</li></ul></li><li>The Brutalist (2024)<ul><li>Summary: An epic spanning 30 years in the life of a Hungarian-born Jewish architect who survives the Holocaust and immigrates to America to pursue his vision.</li><li>Runtime: 3 hours, 35 minutes (215 minutes)</li><li>Director: Brady Corbet</li><li>Writers: Brady Corbet & Mona Fastvold</li><li>Cast: Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn</li></ul></li><li>Seven Samurai (Shichinin no samurai) (1954)<ul><li>Summary: In 16th-century Japan, a poor village hires seven masterless samurai (ronin) to protect them from a gang of bandits.</li><li>Runtime: 3 hours, 27 minutes (207 minutes)</li><li>Director: Akira Kurosawa</li><li>Writers: Akira Kurosawa, Shinobu Hashimoto, & Hideo Oguni</li><li>Cast: Toshiro Mifune, Takashi Shimura, Keiko Tsushima</li></ul></li><li>The Irishman (2019)<ul><li>Summary: Hitman Frank Sheeran looks back on his life and the secrets he kept as a loyal member of the Bufalino crime family and confidant to Jimmy Hoffa.</li><li>Runtime: 3 hours, 29 minutes (209 minutes)</li><li>Director: Martin Scorsese</li><li>Writer: Steven Zaillian (based on the book I Heard You Paint Houses by Charles Brandt)</li><li>Cast: Robert De Niro, Al Pacino, Joe Pesci</li></ul></li><li>Malcolm X (1992)<ul><li>Summary: A biographical epic chronicling the extraordinary and controversial life of the civil rights leader, from his childhood to his assassination.</li><li>Runtime: 3 hours, 22 minutes (202 minutes)</li><li>Director: Spike Lee</li><li>Writers: Spike Lee & Arnold Perl (based on The Autobiography of Malcolm X by Alex Haley and Malcolm X)</li><li>Cast: Denzel Washington, Angela Bassett, Albert Hall, Al Freeman Jr.</li></ul></li></ul><h2>Summing It All Up </h2>Long movies are kind of fun. You know you're stepping into a journey that takes time and effort, and you also appreciate the scope and scale of the story being told. When it's raining or I'm stuck inside, I love to throw one of these on and just get lost in a world and a much bigger story. What are your favorite long movies? Let me know what you think in the comments. ]]></description><pubDate>Tue, 04 Nov 2025 23:40:04 +0000</pubDate><guid>https://nofilmschool.com/longest-theatrical-movies-ever-released</guid><category>Long movies</category><category>Longest movie ever made</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-longest-theatrical-movies-ever-released.jpg?id=62025012&width=980"></media:content></item><item><title>How Did Marlon Brando Change Acting Forever?</title><link>https://nofilmschool.com/marlon-brando-changed-acting-forever</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/how-did-marlon-brando-introduce-method-acting-to-hollywood.jpg?id=62024347&width=1245&height=700&coordinates=0%2C16%2C0%2C17"/> Marlon Brando is an absolute legend and one of the greatest actors of all time. Still, even with all that acclaim, it can feel like he deserves more. When you watch one of his movies, his performance just sucks you in. He was the original <a data-linked-post="2661193588" href="https://nofilmschool.com/what-is-method-acting" target="_blank">method actor,</a> and you can see his influence in lots of other actors even today. I was on YouTube poking around and found a brilliant new video essay from Nerdwriter called "How Marlon Brando Changed Acting" that breaks down a single scene from On the Waterfront to give us a practical, powerful lesson in craft.Let's dive in. <hr/> <h3>Marlon Brando's Incredible Acting </h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-L6OGruW9i4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Just how revolutionary was Marlon Brando's acting style in the 1950s? The guy brought realism to the big screen and that caused a waterfall of people following suit, and dramatically changed how we think of movies, as well. What I love about video essays like this one is that they have a ton of lessons for aspiring people to take away, not just factoids. Here's some stuff that stuck with me. <h4>1. The Power of "Distraction"</h4>The video opens on a revolutionary choice: Brando acting in the middle of a conversation, or <a data-linked-post="2665655970" href="https://nofilmschool.com/in-medias-res" target="_blank">in medias res</a>. During that scene, we see Brando glance away, fuss with something under the table, and turn his head from the mic. This was something no one had ever seen before in the 1950s. Brando was bringing a real person to the screen. He wasn't emoting for the stage and the people in the back; he was just being a person on camera, he’s a person in a room, and his mind and body are reacting to the internal, not just the external.The secret was that Brando understood that a character's attempt to avoid a moment is often more compelling than the moment itself. <h4>2. The Famous "Mumble" </h4>Yes, Brando famously mumbled in some roles, but it wasn't sloppy work; it was a deliberate choice to show he was uncomfortable and trying to find the words he needed to express himself. Brando prioritized emotional truth over technical clarity. That made the people he embodied, especially Terry in On the Waterfront, feel like real life. The mumbling was part of that showcase of a real man in turmoil. He coupled that with his physicality to humble himself on screen. <h4>3. The Genius of Contradiction</h4>As the vidro emphasizes, Brando’s true genius was in his ability to say one thing and mean the complete opposite, or to add <a data-linked-post="2661190664" href="https://nofilmschool.com/subtext-examples" target="_blank">subtext</a> to each line as necessary. In the famous bar scene with Edy, Terry puts up a tough-guy front, but his body language betrays him at every turn.<ul><li>What he says: "What do you really care?"</li><li>What his eyes say: "Please care. Please show me that you care." </li></ul>This is the core of modern screen acting, and it all started here, with Brando in this movie. The real drama is in the conflict between what a character says and what they actually feel, and then how the audience understands that through the performance. <h3>Summing It All Up </h3> Brando’s performance is as alive as it was in 1954. He became the "north star" for generations of actors because he showed that the most powerful performances aren't about being perfect—they're about being true.Doesn't this make you want to go out and watch a Marlon Brando movie? The guy just had something special, and even later in his career, you could still see it when he stepped onto the screen. I loved learning how his transformation from stage to film acting and how the entire world followed. Let me know what you think in the comments. ]]></description><pubDate>Tue, 04 Nov 2025 23:20:03 +0000</pubDate><guid>https://nofilmschool.com/marlon-brando-changed-acting-forever</guid><category>Method acting</category><category>Acting</category><category>Marlon brando</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-did-marlon-brando-introduce-method-acting-to-hollywood.jpg?id=62024347&width=980"></media:content></item><item><title>How Dave Clark of Promise Studios is Striving to Bring Balance to the World of AI Filmmaking</title><link>https://nofilmschool.com/dave-clark-interview-adobe-max</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/dave-clark-interview.jpg?id=62049891&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> If there was one major takeaway from <a href="https://nofilmschool.com/tag/adobe-max-2025" target="_blank">this year’s Adobe MAX conference</a> in Los Angeles, it’s simply this: AI is here. Love it, hate it, it doesn’t matter. AI has been the talk of the town for several years now, and while it’s still taking shape to its true form, it’s undeniable that it’s the major force of the future.But what does that future actually look like? As part of our coverage of Adobe MAX this year, we sat down to chat with Dave Clark, the co-founder and chief creative officer at the AI studio Promise, to hear what he thinks about this new future and the importance of finding balance between traditional filmmaking techniques and the new age of generative AI.Disclosure: This interview was done as part of a roundtable discussion with other journalists at Adobe MAX. The questions and answers have been edited for clarity and into a more straightforward format.<h3></h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="e8918634ae1a5977ff50ca73adb0c229" data-rm-shortcode-name="rebelmouse-image" id="f3efa" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=62049882&width=980"/>Discussion Topic: Tell us a bit about Promise and your background in filmmaking.Dave Clark: My background is in traditional filmmaking. I started off at Pratt Art School, went into commercial advertising as a creative director, and then made the pivot into directing commercials and brand films because I was always a filmmaker at heart. For many of the jobs I had, I was that creative director on set over the director's shoulder saying, "Actually, let's shoot it from this angle. Let's use this lens." Then I realized, maybe I should just be the director, so I made the pivot. I was living in New York at the time, doing work for Coca-Cola, HP, Intel, and a number of brands like that, and I was always intrigued by how technology was changing different industries. Post-pandemic, I moved to LA and started pitching Hollywood to be a writer-director. I was in the room pitching one time, and the people I was meeting with said, “I love your script, but I can't visualize it.” That was frustrating. Within a week, I discovered generative AI text-to-image, and I thought, "Wow, I can actually use this to visualize and present my creative vision so it’s clear." I think that was the first moment when I realized the power of generative tools for creativity, and how they help people visualize your pitch in a way they can understand.One of my co-founders, George Strompolos, saw a video that I did very early on. It was a spec spot for Adidas that I had put out, and it went mega viral on Reddit and LinkedIn. I remember him commenting, “I think there's a business here.” Fast forward maybe a year of us talking, and I was still making a name for myself in the filmmaking and AI space. We decided that we should start a studio built from the ground up that's built around these new GenAI tools. George brought in Jamie Byrne, who he knew from his YouTube days, and the company was formed. It was a great combination of backgrounds. I had the creative background. Jamie - who managed creators for years - understood scaling an entertainment and tech company, and George had previously started Fullscreen, which was a pioneering company in the creator economy and sold to Warner Media in 2019. To all of us, generative AI was that next technology that was going to allow a new creator economy to happen, and empower traditional creatives from Hollywood as well. With all of our backgrounds, we felt we could form a new, innovative company that could produce high-quality films, series, and new forms of storytelling.<h3></h3> Discussion Topic: What kind of generative AI tools were you using at the start of your AI filmmaking journey, and what tools are you using now?Dave Clark: We want to make sure that we're doing partnerships that are right for the type of work we want to do, but also we want to produce films that can be distributed theatrically or with streamers, and get into proper distribution channels. To do this, you have to be compliant. You have to create content that can actually work for the different network partners. So for us, we have a partnership with Google (they're a strategic investor) and then we're working with Adobe hand in hand on using the Firefly model, which was great for the most recent production that I'm premiering here, “My Friend Zeph,” because it had all the models under one roof. Usually, with generative AI, some models do some things better than others, so to have the option to mix models together to get certain shots is great. My film was a hybrid film where we had live action sequences with actors on set and on a blue screen. Having the ability to change out the backgrounds, having multiple models to work with inside of AdobeFirefly was key.We did things like flashback imagery of the lead actor as a child, where we used tools like Nano Banana inside Firefly to de-age her with her permission, based on her childhood photos. And we were able to animate her and our robot, Zeph, in VEO. Adobe gave us flexibility to mix and match the models based on the creative need. <h3></h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/w7lgfOcgUx8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Discussion Topic: How do you see AI filmmaking evolving over the next few years?
Dave Clark: We're in pre-production on an animated feature film that will use generative AI technology, traditional visual effects, and 3D tools. We're creating custom workflows and Python code, for instance, to make AI tools work with certain 3D products. And obviously, Firefly will be a big help because of the available models. But for me, with this film that we did here at Adobe Max, we were able to show how you get something that's AI-generated to the same or at least close to the same type of color space as the live action scenes. So we're pioneering what that pipeline looks like. How do you go from eight 8-bit to 16-bit color space with this type of stuff?That's important if you want something to be on a big screen or to pass QC at a streamer like Netflix or Amazon. So it was very important for us to get the generative AI backgrounds to match the same quality as the 3D assets so that they can be edited with live-action assets. We’re very happy with how it turned out.<h3></h3> Discussion Topic: For the next generation of filmmakers, what advice would you give them for deciding between traditional filmmaking techniques versus using new generative ones?
Dave Clark: Well, AI isn't one size fits all. I talk to a lot of my filmmaker friends who are from traditional filmmaking. Many are not yet into AI for production, but they are interested in how you can pre-visualize an idea. And I'm starting to get some of them to adopt the pre-visualization of their ideas using AI tools because it's helping them in rooms when they're trying to pitch and help visualize what the movie could feel and look like. So I tell my friends who are indie filmmakers, “I'm not saying make AI movies, but make it part of your pipeline, because you can use it in previs, and you could probably find it helpful in post. You can still shoot your movie the way you want to shoot it.”I say, “Use tools like AI to expand the world. You can now do bigger flashback moments, or if it's a horror film, you can do really cool creature work using generative AI. And it doesn't take away from what you love to do, which is filming on set and on location.” So I think there are ways to mix it into all parts of production.
It's not all one size fits all. I still love shooting on set, and directing actors is my favorite thing to do. That will never go away, no matter how great the tools get. I think when people understand there's a balance and a choice, and it's not like it has to replace everything, I think they become more comfortable. <h3></h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/cHkGoQ5tkYo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Discussion Topic: How do you work with clients and educate them on what you offer and what generative AI is capable of these days?Dave Clark: <a href="http://promise.ai" rel="noopener noreferrer" target="_blank">Promise</a> is building a development slate of original IP for films and TV series. We want to produce our own projects and partner up with other studios on co-productions. These projects will be distributed in theaters and on streaming platforms.Then we have a division called <a href="http://www.curiousrefuge.com" rel="noopener noreferrer" target="_blank">Curious Refuge</a>, which is one of the largest AI filmmaking schools in the world, training emerging artists and professionals in over 170 countries. Caleb and Shelby Ward started the school and have been super successful in building a brand for people to learn AI filmmaking. They teach editing, they talk about storytelling, and they really focus on the technical and the artistic side of using these tools. They’re also partnering with the studios, big ad agencies, and marketing companies to help them train up as well. We also have The Generation Company, which is basically our AI visual effects division. We want to be able to partner with studios and creative partners who have big grand visions, but maybe they don't have a certain budget for certain visual effects type shots. So they are now seeing AI as an option. One of our offerings is also the GenCo Crew, which is our AI unit that can embed into a production at any phase. They could work with the production designer, the post-production team, the DP, etc. We hope to help give artists the creative freedom to dream bigger.<h3></h3> Discussion Topic: How do you handle discussions about budgets with AI projects?Dave Clark: I don’t look at GenAI as being simply about cutting budget, but actually saving time, which I think is a real way to look at AI, because let's say a movie like a big sci-fi epic takes six months to film. Maybe if you use AI, you're able to complete it in three months instead of six months. Obviously, there's money savings there, but it frees up time, allows for more iteration, and allows you to spend more time on the creative and in the post side of things, because anyone who's dealt with traditional visual effects knows how long it takes. If you're able to save a little bit of time, that same artist, same crew, same actor can then move on to another production.So I think for me, I try to look at it as a way to save time, be more efficient, and really free up people. I'm a family man. I have three kids. I told my wife one of the greatest things about AI is that I don't have to work 18-hour days anymore. When I leave the set, I like to look at dailies and in post-production work with the VFX artists, and that's very time-consuming. If I'm able to see things quicker and sooner, it allows everyone to go home at normal hours, which I think no one really thinks about as a benefit, but that's really a huge benefit to the industry. Michelle Slavich: I would add that if and when there is money saved, hopefully that money gets put back into more production, and as a result, more things get made. Getting a greenlight, particularly on original, unproven IP is tough. The studios, the creatives, all want to make more, not less, so if AI can catalyze more production, that's a win for everyone across the industry.Dave Clark: And that leads to more creative voices that can emerge. People often say, “Oh, it's the same movie again. I don't want to see it.” If there’s more money and opportunity in the system to make more projects, then studios can take more risks on IP, more bets on new voices, and more scripts can get realized. <h3></h3> Discussion Topic: Are there any common misconceptions about AI filmmaking that you'd like to dispel?Dave Clark: Yeah. Using AI at the professional level is very hard. It's not easy. And I think people assume, because they see a lot of press and social media, that it's as simple as hitting one button and you get a movie. To make a movie is hard with this technology; you have to really bring filmmaking expertise into the room because audiences aren’t going to settle for less. We're used to great movies, we're used to great visual effects. So if we're going to introduce a new tool, it has to be at least as great or, if not greater in my opinion, or at least be a help and additive to the process and not take anything away. It's actually a lot harder, especially with long form, because of character consistency issues. With generative AI, you often get generative drift. So maintaining consistency across a project is a real challenge.And you also have to work within new production pipelines. Shout out to Adobe Firefly because with something like Boards, you're able to put 20 images on one board and animate them all, and get different versions. It's the same idea as working on set and getting different camera takes, but you're working through it with a machine. But at the end of the day, it's still the artist's vision. You're still directing the visuals. It's just a different way of directing visuals. Disclosure: No Film School was hosted by Adobe at Adobe MAX. Adobe is also a No Film School sponsor, and their directly sponsored posts are <a href="https://nofilmschool.com/u/sponsored" target="_self">marked as Sponsored</a>.]]></description><pubDate>Tue, 04 Nov 2025 22:40:12 +0000</pubDate><guid>https://nofilmschool.com/dave-clark-interview-adobe-max</guid><category>Adobe max</category><category>Dave clark</category><category>Promise</category><category>Promise studios</category><category>Generative ai</category><category>Ai filmmaking</category><category>Curious refuge</category><category>Adobe max 2025</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/dave-clark-interview.jpg?id=62049891&width=980"></media:content></item><item><title>This New Book on Tarantino's 'Once Upon a Time in Hollywood' is a Must-Read for Filmmakers</title><link>https://nofilmschool.com/once-upon-a-time-in-hollywood-book</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/jay-glennies-the-making-of-quentin-tarantino-s-once-upon-a-time-in-hollywood.webp?id=62050837&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> If you're anything like me, you've probably spent countless hours dissecting every frame, every line, every needle drop in Quentin Tarantino's Once Upon a Time in Hollywood.For me, it's become my comfort movie. It's about a Hollywood that's true and just, one where good things do happen, and the people who work hard get redemption and succeed. It's also a love letter to a bygone era of moviemaking, and a masterclass in craft.As a fan of the movie, I was so pumped to find out it would be getting a deep dive by author <a href="https://www.amazon.com/Jay-Glennie/e/B0FJM2XHBZ/ref=dp_byline_cont_book_1" target="_blank">Jay Glennie</a>. Well, on Thursday of last week, I got my copy of <a href="https://www.amazon.com/Making-Quentin-Tarantinos-Once-Hollywood/dp/B0F5NZ14WQ/ref=sr_1_1?crid=1P497S2FNIOG8&dib=eyJ2IjoiMSJ9.BTRVJvXN_Hj0unWE_X79o3hqBK_cw-6B15r6UCvAwRGrPATO0J70FX0rPm1ntaHeAdl0k7Q3pHHb7uTy7vJAC9B1vk-vK45ev85rFS6q0hKiuRJB1df0VeKv8s67pt-nFZpjMIa5baF7ARSX980hzrTN7UUBo_ZOjwn6cZ3PxPmmM8eHheWysl93e0RWECBQ56BGZuVaxmsXBt1ZWD8_y7xdbk1j2hLgJMIMZNrQQ5c.0kcbDbHDmlMEqd7feiEDXFUFnTT5ne-oWk0ZwzovByU&dib_tag=se&keywords=Tarantino&qid=1762109284&s=books&sprefix=tarantin%2Cstripbooks%2C219&sr=1-1" target="_blank">"The Making of Quentin Tarantino's Once Upon a Time in Hollywood,"</a> and let me tell you, it's a game-changer.This isn't just another glossy coffee table book; it's a comprehensive, behind-the-scenes look at how one of the greatest filmmakers of our time brought his vision to life. From the initial spark of an idea to the final cut, it's all here, meticulously documented and beautifully presented.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Yg0cyNbuNbo?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=Yg0cyNbuNbo" target="_blank">www.youtube.com</a><hr/><h2>Why I Am Obsessed With the Book </h2>I won't lie, there's no way I could have read the entire book by now, so I won't even pretend to have done that. It's‎ 488 glossy pages of photos, interviews, and so much more; the sheer amount of detail is astounding.I mean, there are interviews with pretty much every huge cast member, including Oscar-winning actors Leonardo DiCaprio and Brad Pitt, Oscar-nominee Margot Robbie, Oscar winner Mikey Madison, Margaret Qualley, Oscar-nominee Austin Butler, Lena Dunham, Kurt Russell, Dakota Fanning, Emile Hirsch, Damian Lewis, Maya Hawke, and Sydney Sweeney.The deeper you go, the more you get into the world Tarantino created and how he did it, both from his own memories and archives.We're talking about never-before-seen photos, concept art, storyboards, and even excerpts from the script -- which you know Tarantino doesn't usually share.You get to see the evolution and refinement of characters like Rick Dalton and Cliff Booth from ideas in Tarantino's mind to the actual people he brought to the screen.There's also the meticulous recreation of 1969 Los Angeles and the incredible effort that went into every single shot and composition to tell the sprawling story.One of the coolest aspects is getting to peek into Tarantino's process. He endorsed the book and actually opened the book, talking about how happy he is with it and how much access he gave Glennie inside his mind.The book really highlights his obsessive attention to detail and how he uses those elements to create something truly unique in terms of story and character.I also want to highlight how much the book means in terms of delivering lessons for filmmakers. <img alt="Once Upon a Time in Hollywood" class="rm-shortcode" data-rm-shortcode-id="5ad134c060cc05daec17edaf092d7c3d" data-rm-shortcode-name="rebelmouse-image" id="372e7" loading="lazy" src="https://nofilmschool.com/media-library/once-upon-a-time-in-hollywood.png?id=34067166&width=980"/> 'Once Upon a Time in Hollywood' Credit: Sony <h2>Why This Book is Essential for Filmmakers</h2>These books are brilliant tomes that give you a lot of behind-the-scenes stuff for nerds, but I also appreciate how I feel educated as a filmmaker.Tarantino is not a guy who seems like he gives a ton of advice, but seeing his exact directing process is a masterclass on its own.Here are some of my key takeaways:<h3>Deconstruct the Craft</h3>If you're looking to understand how a master storyteller builds a world, this book is your blueprint. You'll see how location scouting, production design, costume design, and cinematography all work in harmony to create a cohesive and immersive experience.<h3>The Power of Pre-Production</h3>This book is a testament to the importance of thorough pre-production. You'll read about the exhaustive research and planning that went into recreating the era, but also how Tarantino made it his own and played with history a bit.<h3>Tarantino's Vision</h3>Get a direct pipeline into the mind of Quentin Tarantino. You'll learn about his inspirations, his creative choices, and how he navigates the complex process of filmmaking. Again, this is a guy who is not actually that open about his process, so that for me has been the best part.<h3>Inspiration for Your Own Work</h3>Like I said, if the movie inspires you, the behind-the-scenes stuff can amp that up and get you ready to work on your next epic.<h2>My Review</h2>This book isn't just for fans of Once Upon a Time in Hollywood; it's for anyone serious about filmmaking. It's a rich resource that offers invaluable insights into the art and craft of cinema.If the movie is a comfort to aspiring creatives, the book helps dispel any <a data-linked-post="2661196641" href="https://nofilmschool.com/what-is-imposter-syndrome" target="_blank">imposter syndrome</a> because it shows all the hard work and craft Tarantino puts into his work. It's not magic, it's a guy busting his ass to get his soul onto the screen.So, if you're looking to deepen your understanding of Tarantino's genius and get a behind-the-scenes look at one of the most talked-about films of recent years, do yourself a favor and pick up "<a href="https://www.amazon.com/Making-Quentin-Tarantinos-Once-Hollywood/dp/B0F5NZ14WQ/ref=sr_1_1?crid=1P497S2FNIOG8&dib=eyJ2IjoiMSJ9.BTRVJvXN_Hj0unWE_X79o3hqBK_cw-6B15r6UCvAwRGrPATO0J70FX0rPm1ntaHeAdl0k7Q3pHHb7uTy7vJAC9B1vk-vK45ev85rFS6q0hKiuRJB1df0VeKv8s67pt-nFZpjMIa5baF7ARSX980hzrTN7UUBo_ZOjwn6cZ3PxPmmM8eHheWysl93e0RWECBQ56BGZuVaxmsXBt1ZWD8_y7xdbk1j2hLgJMIMZNrQQ5c.0kcbDbHDmlMEqd7feiEDXFUFnTT5ne-oWk0ZwzovByU&dib_tag=se&keywords=Tarantino&qid=1762109284&s=books&sprefix=tarantin%2Cstripbooks%2C219&sr=1-1" target="_blank">The Making of Quentin Tarantino's Once Upon a Time in Hollywood.</a>" You won't regret it.And if you read it, let me know what you think in the comments.]]></description><pubDate>Tue, 04 Nov 2025 18:32:25 +0000</pubDate><guid>https://nofilmschool.com/once-upon-a-time-in-hollywood-book</guid><category>Quentin tarantino</category><category>Books on film</category><category>Book</category><category>Once upon a time in hollywood</category><category>Once upon a time in hollywood</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/jay-glennies-the-making-of-quentin-tarantino-s-once-upon-a-time-in-hollywood.webp?id=62050837&width=980"></media:content></item><item><title>Think You're Up for Dropping $20K for a UHD HDR Reference Monitor for Your Editing Suite?</title><link>https://nofilmschool.com/flanders-scientific-xmp651-reference-monitor</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/flanders-scientific-xmp651-uhd-hdr-reference-monitor.jpg?id=62048760&width=1245&height=700&coordinates=0%2C6%2C0%2C65"/> In the world of high-end UHD HDR reference monitors, Flanders Scientific is leading the pack. This new XMP651 might be the company’s best yet, too, as this 65” UHD resolution HDR and SDR reference mastering monitor is built around an all-new 4th generation QD-OLED panel that allows for this new model to feature a staggering 4,000nits peak luminance capability, 8,000,000:1 contrast, and our widest color gamut to date.While certainly not for everyone, if you are someone looking for high-end monitors for your editing suites or workflows, here’s what you need to know.<hr/> <h3>Flanders Scientific XMP651 UHD HDR Reference Monitor</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/U7NOa16qbBE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>The larger sibling to the popular 55" XMP551 model, Flanders Scientific’s new XMP651 is designed for the most demanding HDR and SDR mastering environments. Promising uncompromising accuracy, extraordinary brightness, and class-leading contrast in a true reference-grade display, the XMP651 brings a lot to the table.
Built on advanced QD-OLED technology, the XMP651 is set to combine 4,000 nit peak luminance with an 8,000,000:1 contrast ratio, which should enable faithful reproduction for both extreme highlights and delicate shadow detail simultaneously.
The XMP651 is also set to qualify as a Dolby Vision mastering monitor, meaning it will be able to provide true reference-grade performance and industry-leading off-axis performance in a form factor large enough for both the colorist and clients to view. <h3>Price and Availability</h3> Again, while not for everyone, it’s nice to see what the latest and greatest technology is in any given field. This UHD HDR reference monitor might be right for someone, though. If you’re curious to find out more, you can check out the XMP651 on <a href="https://flandersscientific.com/news/index.php?article=110325" target="_blank">Flanders Scientific’s website here</a>.]]></description><pubDate>Tue, 04 Nov 2025 18:20:06 +0000</pubDate><guid>https://nofilmschool.com/flanders-scientific-xmp651-reference-monitor</guid><category>Flanders scientific</category><category>Uhd hdr reference monitor</category><category>Uhd monitor</category><category>Hdr monitor</category><category>Flanders scientific xmp651</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/flanders-scientific-xmp651-uhd-hdr-reference-monitor.jpg?id=62048760&width=980"></media:content></item></channel></rss>

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