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<?xml version="1.0" encoding="utf-8"?>
<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>Mon, 15 Sep 2025 20:38:27 -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>Ice Cube Explains His 4% Rotten Tomatoes Score</title><link>https://nofilmschool.com/ice-cube-war-of-worlds</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/war-of-the-worlds-bad-movie.webp?id=61603987&width=1500&height=2000&coordinates=811%2C0%2C812%2C0"/> Look, everyone online is talking about the Amazon movie War of the Worlds, and not in a good way.It's got a 4% rating on Rotten Tomatoes and inspired countless GIFs and memes from its shoddy plotting and acting.So, how does a movie like this happen?Well, the star, Ice Cube, has a lot to say about how it happened.Speaking on a<a href="https://x.com/FearedBuck/status/1966545403727294916" target="_blank"> recent podcast</a>, Ice Cube broke down exactly why the film looks the way it does.Let's dive in. <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1966545403727294916">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/FearedBuck/status/1966545403727294916"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script><hr/><h2>The "How-To" Guide for a 4% Movie</h2>The above video has Ice Cube explaining to Kai Cenat about what the heck happened with his War of the Worlds movie.In that clip, we learn:<ul><li>It Was a 15-Day Shoot: Yes, a feature-length sci-fi film... shot in 15 days.</li><li>It Was a "Pandemic" Film: Shot in 2020, this was a lockdown production.</li><li>No One Was on Set: Cube explains that the director wasn't there. None of the actors were in the same room. "This was the only way we could really shoot the movie," he said.</li><li>The "Cheap" Look: Cube revealed that some of the footage in the movie, in the scenes he's not in, is real stuff they just found. He said, "All the footage is from real surveillance cameras all around the world."</li></ul><div>So, is there anything we can take away from a movie like this?</div><h2>3 Lessons From the Flop</h2>Ice Cube isn't just making excuses; he's giving us a peek under the hood of a production that was arguably doomed from the conceptual stage.But we don't want that to happen to you.<h4>1. "Concept" Does Not Equal "Execution"</h4>"A <a data-linked-post="2661193923" href="https://nofilmschool.com/high-concept" target="_blank">high concept</a> 'Screenlife' movie made from real surveillance footage starring Ice Cube" sounds like a killer <a data-linked-post="2661197625" href="https://nofilmschool.com/logline" target="_blank">logline</a>. But a concept is only as good as its execution. If you don't tell a compelling story, people will not care. Spend way more time making sure you have a good movie than you do pitching a way to make something.<h4>2. Your Constraints Will Show</h4>You will always have limitations, but you have to find a way to use them to your advantage. A 15-day shoot with a remote director and disconnected actors isn't a "constraint"—it's a recipe for disaster. To us, that's a reason not to shoot. <h4>3. Know When to Walk Away </h4>Everything we've learned about this movie signals to us that it was probably a way for people in 2020 to get work and pay their bills. That's good. We applaud that, and if you can get paid in a time of need, that's paramount. But in any other circumstance, we think many filmmakers need to learn to walk away if a project is not good. If you cannot execute the concept and you know it won't work...walk away. Onto the next one.<div class="horizontal-rule"></div>There is a lot to learn from a bad movie, in fact, maybe more than you can learn from a good one. As filmmakers, we should be studying whatever is in the cultural lexicon to see what connects and what does not.Let me know what you think in the comments.]]></description><pubDate>Mon, 15 Sep 2025 20:38:27 +0000</pubDate><guid>https://nofilmschool.com/ice-cube-war-of-worlds</guid><category>Ice cube</category><category>War of the worlds</category><category>Flops</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/war-of-the-worlds-bad-movie.webp?id=61603987&width=980"></media:content></item><item><title>Shoot Live With Your ALEXA 35 With This New 10” Live Production Monitor</title><link>https://nofilmschool.com/arri-lpm-1-live-production-monitor</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/arri-lpm-1-live-production-monitor.png?id=61604536&width=1500&height=2000&coordinates=833%2C0%2C833%2C0"/> Apparently, the big news of the week is going to be some bold new steps for live production. Following an <a href="https://nofilmschool.com/atomos-shinobi-7-rx" target="_self">announcement of the new Atomos Shinobi 7 RX</a> (which is tailored for live productions), ARRI has also announced a new live production monitor designed to work with the company’s exciting new ALEXA 35 cinema camera.Here’s what you need to know about the ARRI LPM-1 Live Production Monitor and what it can offer for your live production capabilities.<hr/><h3>The ARRI LPM-1 Live Production Monitor</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="d7f9b89f0c7e51217e5e8afa8a936dfc" data-rm-shortcode-name="rebelmouse-image" id="bef19" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61604534&width=980"/>Designed to seamlessly integrate into the ARRI ALEXA 35 Live camera and Live Production System (LPS-1, as ARRI calls it), this new LPM-1 Live Production Monitor could prove to be a popular and perhaps ideal option for those looking to level up their live production capabilities.
A 10” on-camera touchscreen LCD, this LPM-1 model will feature a 16:10 aspect ratio, 900:1 contrast ratio, and will be able to be quite bright with up to 1500 nits, making it certainly usable in outdoor environments.
This ARRI LPM-1 Live Production Monitor will also feature four physical rotary knobs (thank god!) as well as four customizable buttons. The monitor will also be connectable to the ALEXA 35 via a viewfinder cable (which means your SDI outputs will stay free) and it will feature tally lights on the front and rear.<h3>Price and Availability</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="5053b57c76d21a4411e0169f3bbf0adc" data-rm-shortcode-name="rebelmouse-image" id="80160" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61604535&width=980"/>Just announced, the ARRI LPM-1 Live Production Monitor is still pending a full list of specs and price options. We’ll update this page once those are officially announced. You can also keep tabs on this new live production option on <a href="https://www.arri.com/en/camera-systems/camera-components/lpm-1" target="_blank">ARRI’s website here</a>.]]></description><pubDate>Mon, 15 Sep 2025 19:22:10 +0000</pubDate><guid>https://nofilmschool.com/arri-lpm-1-live-production-monitor</guid><category>Arri</category><category>Arri alexa 35</category><category>Live production monitor</category><category>Live production</category><category>Production monitor</category><category>On-camera monitor</category><category>Arri lpm-1 live production monitor</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/arri-lpm-1-live-production-monitor.png?id=61604536&width=980"></media:content></item><item><title>'The Pitt' Works Because It's R-Rated 'ER'</title><link>https://nofilmschool.com/the-pitt-is-er</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-pitt-is-basically-er.jpg?id=61603737&width=1245&height=700&coordinates=0%2C5%2C0%2C110"/> In the 90s, it was hard to find a drama as popular as ER. The show took over network TV as a real and gritty look at what it meant to be a doctor in the emergency room setting.The show also caused a giant surge in medical dramas, from Grey's Anatomy to House, and everything in between.But in recent years, we've seen a bit of a dip in those shows. But this past year, we saw the introduction of The Pitt on HBO Max.What the show does amazingly is just deliver an even more realistic and gritty version of ER.It even stars ER alums John Wells and Noah Wyle.To put it bluntly, The Pitt is just an R-rated ER. And that’s a brilliant lesson in genre.Let’s dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ufR_08V38sQ?rel=0&start=3" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=ufR_08V38sQ&t=3s" target="_blank">www.youtube.com</a><hr/><h3>Let's Get The Obvious Out Of the Way </h3>The Pitt is at the center of a legal dispute over its origins. While it's officially a new medical series, it stars former ER lead Noah Wyle and involves numerous ER producers and writers.The show is awesome, but there's a lot of controversy around it.Basically, they were trying to make an ER reboot that fell apart while negotiating with the Michael Crichton estate.Then, they went off and made The Pitt, which takes place in an ER and has all the same people they thought would be involved in the new ER.This personnel overlap led Michael Crichton's estate to sue, claiming the show is a stolen concept from the ER sequel.The show's creators and Warner Bros., however, deny the allegations and insist they set out to create a completely original show.So, all my opinions here are based on just enjoying both series. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/u32REzMEO88?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=u32REzMEO88" target="_blank">www.youtube.com</a><h3>Why The Pitt Works</h3>What I like about this medical drama is that it feels like it has all the network elements stripped away. It's really <a href="https://nofilmschool.com/johanna-coelho-interview-the-pitt" target="_blank">focused on the job and the kinds of people who do the job</a>. That reminds me of vintage ER. And what I also like is that it's real and it's gross. I have had to look away multiple episodes.And the characters behave and speak like they would in real life. That echoes for me as a viewer and locks me in.I don't love it because it's gross, I love it because this feels like what it is really like. We get to see what these people deal with every day and steep ourselves in that world. It's a really bold choice that pays off on Max, where you can see and show more than you would elsewhere. This is visualizing the stakes.The Pitt's central conflict isn't romantic or some rival rich hospital or a love triangle. It's the collapsing healthcare system and the hard choices doctors have to make while doing their best to save lives.Network TV needs resolution. It needs a tidy win before the final commercial break.The Pitt doesn't do that.It's a show about impossible choices made by doctors. People have to die. It moves our characters to breaking points faster, and lets the show dig deeper into <a href="https://nofilmschool.com/what-is-a-thematic-echo" target="_self">thematic</a> elements.I think that had a huge lesson for writers: Your script doesn't always need a happy ending. It needs a satisfying one.That might be sad and unfiltered, but if you earn it, the audience will follow.<h3>Summing It All Up</h3>The Pitt is one of the best new shows of the year. It’s a perfect case study in taking a proven genre and modernizing it.Let me know in the comments.]]></description><pubDate>Mon, 15 Sep 2025 19:10:25 +0000</pubDate><guid>https://nofilmschool.com/the-pitt-is-er</guid><category>Er</category><category>Medical drama</category><category>The pitt</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-pitt-is-basically-er.jpg?id=61603737&width=980"></media:content></item><item><title>How 'Adolescence' Risked Their Entire Show on Owen Cooper's Powerful Performance</title><link>https://nofilmschool.com/adolescence-risked-their-entire-show</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/owen-cooper-s-powerful-performance.webp?id=61603707&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> I am a big fan of TV shows that take risks. There are so many things to watch; you need to differentiate yourself somehow. But when I heard about the TV show <a href="https://nofilmschool.com/tag/adolescence" target="_blank">Adolescence</a> on Netflix, I was nervous.What would a show look like that takes on toxic masculinity and social media, whose whole concept rests on a kid carrying the entire dramatic <a data-linked-post="2661197986" href="https://nofilmschool.com/character-arc" target="_blank">arc</a>?Well, that kid just walked away with an Emmy, as did others on the show, so I guess it worked!Casting a 14-year-old Owen Cooper was a big risk, but it ended up becoming the show's greatest strength.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Wk5OxqtpBR4?rel=0&start=2" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=Wk5OxqtpBR4&t=2s" target="_blank">www.youtube.com</a><hr/><h3>How Do You Cast a Parent's Nightmare?</h3>Show creators, Jack Thorne and Stephen Graham, wrote a 4-part story about a 13-year-old boy arrested for the brutal murder of his classmate.It's one of those shows that needs that caliber of talent in order to get greenlit. And even then, it needed to find its kid.I loved how the story played with genre. It's not a <a data-linked-post="2671933407" href="https://nofilmschool.com/best-detective-movies" target="_blank">whodunit</a>. The show is a "why-dunit." It’s a deep, agonizing dive into toxic masculinity, social media, and the psychological rot of modern life.One that feels all too relevant now.But like I said at the top, if you get this casting wrong, and the show isn't just bad. It’s unwatchable. It's exploitative. It’s a complete and total failure.And they somehow got it right.<h3>The Gamble</h3>So, you have this impossible-to-cast role. What do you do? I would say conventional wisdom is you'd get a list of kids you've seen in other shows and then parse out their avails and cost.But Adolescence did something even crazier, they cast someone totally new.Owen Cooper had zero professional credits. They found him at a drama school after looking at over 500 tapes.First, that speaks to his talent, but also the dedication the show's producers and writers had in finding the right person and not just casting anyone to make it happen.Even crazier, Cooper is part of several landmark episodes on this series, one done in one take, and another where he is <a href="https://nofilmschool.com/adolescence-therapy-episode" target="_blank">interrogated and has to carry an hour himself,</a> in one virtuoso performance.<h2>What's the Lesson Here? </h2>The writers didn't water down the character to make him easier to cast. They wrote the most difficult version of the character they could, and then trusted they would find the right person.That kind of work is rarely done, but it is so important. And it's not just that it paid off in Emmys, but that it started the career of someone new as well.I love that this show was all about hard work and collaborating with people to make the vision come to the screen. I am sure there were tweaks and concessions made during shooting days, but putting the legwork into writing something deep and then using the time to find the right people to execute puts you in the best position for a payoff.<h3>Summing It All Up</h3>Adolescence is a reminder that the biggest risks can sometimes deliver the biggest rewards. They risked their entire show on Owen Cooper, and he delivered.Let me know in the comments.]]></description><pubDate>Mon, 15 Sep 2025 16:57:04 +0000</pubDate><guid>https://nofilmschool.com/adolescence-risked-their-entire-show</guid><category>Netflix</category><category>Owen cooper</category><category>Adolescence</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/owen-cooper-s-powerful-performance.webp?id=61603707&width=980"></media:content></item><item><title>10 Best Single Location Movies</title><link>https://nofilmschool.com/best-single-location-movies</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/best-single-location-movies.jpg?id=34061352&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> One of the sneaky little subgenres I love is the idea of a <a data-linked-post="2662279973" href="https://nofilmschool.com/how-write-single-location-film" target="_blank">single-location movie</a>. <a data-linked-post="2661190680" href="https://nofilmschool.com/what-is-character" target="_blank">Characters</a> who live in a compressed space and experience their drama all in one area are extremely hard to write and also very gratifying to watch. There are lots of movies that have this conceit, but I wanted to go over ten of them that I think are really good and totally worth watching. Let's dive in. <hr/><h3>1. 12 Angry Men (1957)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/TEN-2uTi2c0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This is the gold standard. I love watching the movie, but it's impossible not to think of all the parodies and rip-offs over the years. This movie has 12 jurors in a single, hot room, and it's a masterclass in escalating conflict. The location adds so much; it's stark and forces these people to concentrate on each other. And we never leave the room as these people deliberate. <h3>2. Rear Window (1954)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/m01YktiEZCw?rel=0&start=14" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>It would be hard to pick a director I admire more than Hitchcock. He knew how to use constraints to his advantage and put them in so many of his movies. In this movie, Jimmy Stewart is stuck in a wheelchair. He can’t act. He can only watch and send his girlfriend out to do his bidding. This creates a terrifying vulnerability, proving the ultimate "<a data-linked-post="2661192252" href="https://nofilmschool.com/show-dont-tell-examples" target="_blank">show, don't tell</a>," because showing is the only thing he can do.<h3>3. Locke (2013)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/MyoO35P41YM?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This movie shouldn't work. I remember seeing it in theaters and being mesmerized that I was so sucked into the story. It’s JUST Tom Hardy in a car, making phone calls. But writer/director Steven Knight knows a secret: a man’s life can fall apart entirely through his phone and in the ninety minutes of a drive. The car is a confessional booth. Every call raises the stakes. <h3>4. Buried (2010)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/aRQ0oqFBoP4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Man, I love this movie. It sucks to rewatch it because it is so bleak, but he writing is fantastic. <a data-linked-post="2665877824" href="https://nofilmschool.com/chris-sparling" target="_blank">Chris Sparling</a> (friend of the pod) scripted the most contained thriller possible: it's just a man in a coffin. The location is static, so the story must be hyper-dynamic, giving him things to do in order to try to escape. Ryan Reynolds only has a dying cell phone and he has a lighter. Every call, every dwindling battery percentage, is a plot point. And it all builds and builds to its end. <h3>5. The Breakfast Club (1985)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BSXBvor47Zs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>A single location is the perfect catalyst for forced proximity. And this is a movie about people who never hang out together, so you're adding a <a data-linked-post="2661197308" href="https://nofilmschool.com/themes-in-a-film" target="_blank">theme</a> into the story. John Hughes traps five <a data-linked-post="2671644906" href="https://nofilmschool.com/what-is-an-archetype" target="_blank">archetypes</a> in a library and lets them loose on each other. <h3>6. Reservoir Dogs (1992)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/vayksn4Y93A?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Okay, so we are out of the warehouse for a few scenes, but ultimately, this is a movie centered in one area. But to make this movie, Tarantino took some interesting steps. He skips the expensive heist and focuses on the cheap-to-shoot, dialogue-heavy aftermath as these robbers deal with the paranoia of "who's the rat?"<h3>7. Rope (1948)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8xkQoH8QbVs?rel=0&start=26" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Another Hitchcock movie, and I could have added a few more if I wanted. The real constraint isn't just the "single take" gimmick; it's the weaponized subtext of being stuck in this apartment as more and more people arrive. We open with a murder and then build as the body is hidden. People keep coming in, and the space feels smaller and more dangerous. <h3>8. My Dinner With Andre (1981)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/n7hSY0QOkII?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This movie is your proof that you don't need anything but characters. No gun, no bomb, no murder. Just two guys talking at a restaurant. It works because the characters are fascinating and we care deeply about them. <h3>9. Cube (1997)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/shcK9b-TQIo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Such a weird movie, but one I think you kind of have to see to believe. The location is the <a data-linked-post="2661198710" href="https://nofilmschool.com/antagonist" target="_blank">antagonist</a>. We're trapped inside a puzzle box that actively tries to kill the characters. The script is a masterwork of efficiency, wisely focusing on one question: "How do we get out?" And then the story has stakes you just understand and easily root for people to solve. <h3>10. 10 Cloverfield Lane (2016)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/saHzng8fxLs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This script is all about doubt. The underground bunker is a perfect location for a psychological thriller because it’s both a prison and a sanctuary. Are we safe in here, or is this place really the most dangerous? As our characters pose these questions, we see them play off one another, and then also deal with what's happening outside. <h3>Summing It All Up </h3> Look, <a data-linked-post="2661197193" href="https://nofilmschool.com/spec-script" target="_blank">writing a spec</a> is hard. Getting it made is even harder. But you don't need to write a $200 million epic to prove yourself. You just need to prove you can hold an audience's attention for 100 pages.So, the next time you're stuck, try giving yourself a constraint. Trap your characters in a room, a car, or a coffin. When you force your characters to rely on nothing but their wits and their words, you'll be forced to rely on yours.And good things will happen. Let me know what you think in the comments. ]]></description><pubDate>Mon, 15 Sep 2025 16:48:51 +0000</pubDate><guid>https://nofilmschool.com/best-single-location-movies</guid><category>Best movies</category><category>Single location</category><category>Single location</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/best-single-location-movies.jpg?id=34061352&width=980"></media:content></item><item><title>This New On-Camera Monitor Could Be the Key to Leveling Up Your Live Production Kit</title><link>https://nofilmschool.com/atomos-shinobi-7-rx</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/atomos-shinobi-7-rx.png?id=61603333&width=1245&height=700&coordinates=7%2C0%2C7%2C0"/> If you’ve been on the fence about trying out an on-camera monitor for your live production kit, whether that be for your focus puller or a camera assistant, this new Shinobi 7 RX HDMI/SDI HDR Monitor from Atomos could be a great option to get started with.This new Shinobi 7 RX model is unique too, as it is a rugged, super-bright, 7-inch 2200nit HDR monitor that could be ideal as a director’s monitor, focus puller’s monitor, and program, or even as a preview display for video switchers.Let’s take a look at the new Shinobi 7 RX and explore what it could offer for your live production kits today.<hr/><h3>The Atomos Shinobi 7 RX</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="299f33f7618cf481f2ce2c532da79b69" data-rm-shortcode-name="rebelmouse-image" id="9661d" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=61603335&width=980"/>Best known for its line of monitor-recorders that are great options for all types of video productions, Atomos offers Ninja, Shogun, and Sumo lines, as well as its popular Shinobi one. Following on the heels of a Shinobi II model launched last summer, this 7 RX redesign of the Shinobi 7 monitor will now include the camera control and touch-to-focus functionality of Shinobi II, plus wireless video monitoring.
“With Shinobi 7 RX, we have taken everything people loved about the original Shinobi 7 and made it better. It has been one of our most popular monitors, and we wanted to bring across the powerful camera control features that were first introduced with Shinobi II.” — Atomos CEO Peter Barber.
Ideal as a companion for the Atomos TX RX wireless monitoring system, the Shinobi 7 RX can now help you monitor wirelessly on set with multiple Shinobi 7 RX units. Plus, with up to 4 wireless video destinations per Atomos TX monitoring transmitter, your director as well as your client can each have their own dedicated view.<h3>Price and Availability</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="c27b2cb681a27377057d08424018569a" data-rm-shortcode-name="rebelmouse-image" id="a041a" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=61603336&width=980"/>Announced this weekend at IBC, the Shinobi 7 RX HDMI/SDI HDR Monitor from Atomos ultimately looks to be a high-bright HDR monitor capable of taking live productions to an extra level. It’s available to preorder now if you’re interested, with specs and purchase options below.<ul><li>7" 1920 x 1080 Touchscreen HDR Display</li><li>Wi-Fi Camera Control, Focus, Streaming</li><li>HD 3G-SDI & 4K60 HDMI 2.0 Input & Output</li><li>2200 cd/m² Brightness</li><li>Dual L-Series Battery Slots, USB-C PD In</li><li>HDMI/SDI Cross Conversion</li><li>AtomOS, 3D LUT Support, LANC Control</li><li>10-Stop Dynamic Range</li><li>Supports a Variety of Log Formats, Tools</li></ul><h3>Atomos Shinobi 7 RX HDMI/SDI HDR Monitor</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="3e4e2b81539c5437d45097620c1ac573" data-rm-shortcode-name="rebelmouse-image" id="1d870" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61603306&width=980"/>Add a bright, high-resolution on-camera monitor to your live production kit for your focus puller, director, or camera assistant with the Shinobi 7 RX HDMI/SDI HDR Monitor from Atomos.]]></description><pubDate>Mon, 15 Sep 2025 15:58:25 +0000</pubDate><guid>https://nofilmschool.com/atomos-shinobi-7-rx</guid><category>Atomos</category><category>Atomos shinobi</category><category>On-camera monitor</category><category>Production monitor</category><category>Live production monitor</category><category>Atomos shinobi 7 rx</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/atomos-shinobi-7-rx.png?id=61603333&width=980"></media:content></item><item><title>Atomos Shinobi 7 RX HDMI/SDI HDR Monitor</title><link>https://nofilmschool.com/atomos-shinobi-7-rx-hdmi-sdi-hdr-monitor</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61603306&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> Add a bright, high-resolution on-camera monitor to your live production kit for your focus puller, director, or camera assistant with the Shinobi 7 RX HDMI/SDI HDR Monitor from Atomos.]]></description><pubDate>Mon, 15 Sep 2025 15:17:13 +0000</pubDate><guid>https://nofilmschool.com/atomos-shinobi-7-rx-hdmi-sdi-hdr-monitor</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61603306&width=980"></media:content></item><item><title>Who Won The 2025 Emmy Awards?</title><link>https://nofilmschool.com/2025-emmy-awards</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/2025-emmy-awards.jpg?id=34056564&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> The 77th annual Emmy Awards were really fun. Nate Bargatze was the perfect host, and he did a gimmick where if people spoke over 45 seconds during acceptance speeches, he would dock money from the Boys and Girls Club of America, which was an ongoing, hilarious bit. Shows like The Studio and Hacks cleaned up, and there were a bunch of surprises as well. It really was a fun night celebrating TV's finest talents. Let's break down the winners below. <hr/><h3>2025 Emmy Award Winners</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-8t6mCKTUb0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe><h3>Outstanding Drama Series</h3>AndorThe DiplomatThe Last of UsParadiseThe Pitt - WINNERSeveranceSlow HorsesThe White Lotus<h3>Outstanding Comedy Series</h3>Abbott ElementaryThe BearHacksNobody Wants ThisOnly Murders in the BuildingShrinkingThe Studio - WINNERWhat We Do in the Shadows<h3>Outstanding Limited or Anthology Series</h3>Adolescence - WINNERBlack MirrorDying for SexMonsters: The Lyle and Erik Menendez StoryThe PenguinSirens<h3>Outstanding Lead Actor in a Drama Series</h3>Adam Scott, SeveranceGary Oldman, Slow HorsesNoah Wyle, The Pitt - WINNERPedro Pascal, The Last of UsSterling K. Brown, Paradise<h3>Outstanding Lead Actress in a Drama Series</h3>Bella Ramsey, The Last of UsBritt Lower, Severance - WINNERKathy Bates, MatlockKeri Russell, The DiplomatSharon Hogan, Bad Sisters<h3>Outstanding Supporting Actor in a Drama Series</h3>James Marsden, ParadiseJason Isaacs, The White LotusJohn Turturro, SeveranceSam Rockwell, The White LotusTramell Tillman, Severance - WINNERZack Cherry, SeveranceWalton Goggins, The White Lotu<h3>Outstanding Supporting Actress in a Drama Series</h3>Aimee Lou Wood, The White LotusCarrie Coon, The White LotusJulianne Nicholson, ParadiseKatherine LaNasa, The Pitt - WINNERNatasha Rothwell, The White LotusParker Posey, The White LotusPatricia Arquette, Severance<h3>Outstanding Actor in a Comedy Series</h3>Adam Brody, Nobody Wants ThisJason Segel, ShrinkingJeremy Allen White, The BearMartin Short, Only Murders in the BuildingSeth Rogen, The Studio – WINNER<h3>Outstanding Actress in a Comedy Series</h3>Ayo Edebiri, The BearJean Smart, Hacks - WINNERKristen Bell, Nobody Wants ThisQuinta Brunson, Abbott ElementaryUzo Aduba, The Residence<h3>Outstanding Supporting Actor in a Comedy Series</h3>Bowen Yang, Saturday Night LiveColman Domingo, The Four SeasonsEbon Moss-Bachrach, The BearHarrison Ford, ShrinkingJeff Hiller, Somebody Somewhere - WINNERIke Barinholtz, The StudioMichael Urie, Shrinking<h3>Outstanding Supporting Actress in a Comedy Series</h3>Catherine O’Hara, The StudioHannah Einbinder, Hacks - WINNERJanelle James, Abbott ElementaryJessica Williams, ShrinkingKathryn Hahn, The StudioLiza Colon-Zayas, The BearSheryl Lee Ralph, Abbott Elementary<h3>Outstanding Actor in a Limited Series or a Movie</h3>Brian Tyree Henry, Dope ThiefColin Farrell, The PenguinCooper Koch, Monsters: The Lyle and Erik Menendez StoryJake Gyllenhaal, Presumed InnocentStephen Graham, Adolescence - WINNER<h3>Outstanding Actress in a Limited Series or a Movie</h3>Cate Blanchett, DisclaimerCristin Miliotti, The Penguin - WINNERMeghann Fahy, SirensMichelle Williams, Dying for SexRashida Jones, Black Mirror<h3>Outstanding Supporting Actor in a Limited Series or a Movie</h3>Ashley Walters, AdolescenceBill Camp, Presumed InnocentJavier Bardem, Monsters: The Lyle and Erik Menendez StoryOwen Cooper, Adolescence - WINNERPeter Sarsgaard, Presumed InnocentRob Delaney, Dying for Sex<h3>Outstanding Supporting Actress in a Limited Series or a Movie</h3>Chloë Sevigny, Monsters: The Lyle and Erik Menendez StoryChristine Tremarco, AdolescenceDeirdre O’Connell, The PenguinErin Doherty, Adolescence - WINNERJenny Slate, Dying for SexRuth Negga, Presumed Innocent<h3>Outstanding Guest Actor in a Drama Series</h3>Forest Whitaker, AndorGiancarlo Esposito, The BoysJeffrey Wright, The Last of UsJoe Pantoliano, The Last of UsScott Glenn, The White LotusShawn Hatosy, The Pitt - WINNER<h3>Outstanding Guest Actress in a Drama Series</h3>Catherine O'Hara, The Last Of UsCherry Jones, The Handmaid's TaleGwendoline Christie, SeveranceJane Alexander, SeveranceKaitlyn Dever, The Last of UsMerritt Wever, Severance - WINNER<h3>Outstanding Guest Actor in a Comedy Series</h3>Anthony Mackie, The StudioBryan Cranston, The Studio -WINNERDave Franco, The StudioJon Bernthal, The BearMartin Scorsese, The StudioRon Howard, The Studio<h3>Outstanding Guest Actress in a Comedy Series</h3>Cynthia Erivo, Poker FaceJamie Lee Curtis, The BearJulianne Nicholson, Hacks - WINNEROlivia Colman, The BearRobby Hoffman, HacksZoë Kravitz, The Studio<h3>Outstanding Reality Competition Program</h3>The Amazing RaceRuPaul’s Drag RaceSurvivorTop ChefThe Traitors - WINNER<h3>Outstanding Structured Reality Program</h3>Antiques RoadshowDiners, Drive-Ins and DivesLove Is BlindQueer Eye - WINNERShark Tank<h3>Outstanding Structured Reality Program</h3>America's Sweethearts: Dallas Cowboys CheerleadersLove on the Spectrum - WINNERRuPaul's Drag Race: Untucked The Secret Lives of Mormon Wives Welcome to Wrexham<h3>Outstanding Game Show</h3>Celebrity Family FeudJeopardy! - WINNERThe Price Is RightWheel of FortuneWho Wants to Be a Millionaire<h3>Outstanding Host for a Reality or Reality Competition Program</h3>Alan Cumming, The Traitors - WINNERJeff Probst, SurvivorKristen Kish, Top ChefRuPaul, RuPaul's Drag RaceMark Cuban, Lori Greiner, Kevin O'Leary, Barbara Corcoran, Robert Herjavec, Daymond John and Daniel Lubetzky, Shark Tank<h3>Outstanding Talk Series</h3>The Daily ShowJimmy Kimmel Live!The Late Show With Stephen Colbert - WINNER<h3>Outstanding Scripted Variety Series</h3>Last Week Tonight with John Oliver - WINNERSaturday Night Live<h3>Outstanding Animated Program</h3>Arcane - WINNERBob’s BurgersCommon Side EffectsLove, Death + RobotsThe Simpsons<h3>Outstanding Television Movie</h3>Bridget Jones: Mad About the BoyThe GorgeMountainheadNonnasRebel Ridge - WINNER<h3>Outstanding Variety Special (Live)</h3>The Apple Music Super Bowl LIX Halftime Show Starring Kendrick LamarBeyoncé BowlThe OscarsSNL50: The Anniversary Special - WINNERSNL50: The Homecoming Concert<h3>Outstanding Variety Special (Pre-Recorded) </h3>Adam Sandler: Love YouAli Wong: Single LadyBill Burr: Drop Dead YearsConan O’Brien: The Kennedy Center Mark Twain Prize for American Humor - WINNERSarah Silverman: PostmortemYour Friend, Nate Bargatze<h3>Outstanding Documentary Or Nonfiction Series</h3>100 Foot Wave - WINNERChef’s TableSimone Biles: RisingSocial StudiesSNL50: Beyond Saturday Night<h3>Outstanding Documentary Or Nonfiction Special</h3>Deaf President Now!MarthaPee-wee as Himself - WINNERSly Lives!Will and Harper<h3>Outstanding Writing for a Drama Series</h3>Dan Gilroy, Andor - WINNERJoe Sachs, The PittR. Scott Gemmill, The PittDan Erickson, SeveranceWill Smith, Slow HorsesMike White, The White Lotus<h3>Outstanding Writing for a Limited or Anthology Series or Movie</h3>Jack Thorne, Stephen Graham, Adolescence - WINNERCharlie Brooker, Bisha K. Ali, Black MirrorKim Rosenstock, Elizabeth Meriwether, Dying for SexLauren LeFranc, The PenguinJoshua Zetumer, Say Nothing<h3>Outstanding Writing for a Comedy Series</h3>Quinta Brunson, Abbott ElementaryLucia Aniello, Paul W. Downs, Jen Statsky, HacksNathan Fielder, Carrie Kemper, Adam Locke-Norton, Eric Notarnicola, The RehearsalHannah Bos, Paul Thureen, Bridget Everett, Somebody SomewhereSeth Rogen, Evan Goldberg, Peter Huyck, Alex Gregory, Frida Perez, The Studio - WINNERSam Johnson, Sarah Naftalis, Paul Simms, What We Do in the Shadows<h3>Outstanding Writing for a Variety Series</h3>The Daily ShowLast Week Tonight With John Oliver - WINNERSaturday Night Live<h3>Outstanding Documentary Or Nonfiction (Hosted Nonfiction)</h3>Conan O’Brien Must Go - WINNERThe Daily Show Presents: Jordan Klepper Finger the Pule: MAGA: The Next GenerationFinding Your Roots with Henry Louis Gates, Jr.My Next Guest Needs No Introduction with David LettermanTucci in Italy<h3>Outstanding Directing for a Comedy Series</h3>Ayo Edebiri, The BearLucia Aniello, HacksJames Burrows, Mid-Century ModernNathan Fielder, The RehearsalSeth Rogen, The Studio - WINNER<h3>Outstanding Directing for a Drama Series</h3>Janus Metz, AndorAmanda Marsalis, The PittJohn Wells, The PittJessica Lee Gagné, SeveranceBen Stiller, SeveranceAdam Randall, Slow Horses - WINNERMike White, The White Lotus<h3>Outstanding Directing for a Limited or Anthology Series or Movie</h3>Philip Barantini, Adolescence - WINNERShannon Murphy, Dying for SexHelen Shaver, The PenguinJennifer Getzinger, The PenguinNicole Kassell, SirensLesli Linka Glatter, Zero DayDid your favorites win? Let me know what you think in the comments. ]]></description><pubDate>Mon, 15 Sep 2025 03:03:50 +0000</pubDate><guid>https://nofilmschool.com/2025-emmy-awards</guid><category>2025 emmy</category><category>Emmys</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/2025-emmy-awards.jpg?id=34056564&width=980"></media:content></item><item><title>Keep Your Gear Powered With These Highly Affordable SmallRig Battery Solutions</title><link>https://nofilmschool.com/keep-your-gear-powered-with-these-highly-affordable-smallrig-battery-solutions</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/keep-your-gear-powered-with-these-highly-affordable-smallrig-battery-solutions.png?id=61598018&width=1245&height=700&coordinates=0%2C6%2C0%2C6"/> While everyone loves to give all of their love and attention to their favorite cameras and video editing software platforms these days, we all know that nothing would be possible in the world of digital video production without one thing: power. So, in that vein, for our latest "<a href="https://nofilmschool.com/tag/filmmaking-deals-of-the-week" target="_self">Deals of the Week</a>" roundup, we're looking at some high-powered and highly-affordable battery solutions from SmallRig. These ultracompact, lightweight professional battery options can be great investments to consider to keep your gear powered, whether you're in-studio or out on location.<ul><li>SmallRig VB99 SE Mini V-Mount Battery: <a href="https://www.bhphotovideo.com/c/product/1835966-REG/smallrig_4608_vb99_se_mini_v.html" target="_blank">$119</a></li><li>SmallRig VB99 Mini V-Mount Battery: <a href="https://www.bhphotovideo.com/c/product/1853315-REG/smallrig_3580b_vb99_mini_v_mount_battery.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1570785/SID/pb" rel="noopener noreferrer" target="_blank">$159</a></li><li>SmallRig VB99 Pro Mini V-Mount Battery: <a href="https://www.bhphotovideo.com/c/product/1788046-REG/smallrig_4292_vb99_pro_mini_v_mount.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1335086/SID/pb" rel="noopener noreferrer" target="_blank">$199</a></li></ul><a href="https://www.bhphotovideo.com/c/product/1788046-REG/smallrig_4292_vb99_pro_mini_v_mount.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1335086/SID/pb" rel="noopener noreferrer" target="_blank"></a><a href="https://www.bhphotovideo.com/c/product/1788046-REG/smallrig_4292_vb99_pro_mini_v_mount.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1335086/SID/pb" rel="noopener noreferrer" target="_blank"></a>You can find more <a href="https://nofilmschool.com/tag/filmmaking-deals-of-the-week" target="_blank">filmmaking deals</a> here.<div><del></del></div>]]></description><pubDate>Fri, 12 Sep 2025 23:32:07 +0000</pubDate><guid>https://nofilmschool.com/keep-your-gear-powered-with-these-highly-affordable-smallrig-battery-solutions</guid><category>Filmmaker deals</category><category>Filmmaking deals of the week</category><category>Deals</category><category>Smallrig</category><category>Batteries</category><category>Power solution</category><category>Filmmaking deals of the week</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/keep-your-gear-powered-with-these-highly-affordable-smallrig-battery-solutions.png?id=61598018&width=980"></media:content></item><item><title>What's My Beef With Pay-To-Play Screenwriting Websites?</title><link>https://nofilmschool.com/pay-to-play-screenwriting-websites</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/pay-to-play-screenwriting-websites.jpg?id=34064246&width=1245&height=700&coordinates=6%2C0%2C6%2C0"/> This past week, I received dozens of emails and a couple of phone calls regarding <a data-linked-post="2668470887" href="https://nofilmschool.com/pay-to-play" target="_blank">pay-to-play websites</a> and my concerns about them. To put it succinctly, I think they're a scam and I hate them. Today, I wanted to expand on that idea for you. Let's dive in. <hr/><h2>The Hope Machine</h2><div>Before I get into pay-for-play, I want to make sure you know about <a href="https://thebitterscriptreader.blogspot.com/2014/04/john-gary-vs-hope-machine.html" target="_blank">The Hope Machine</a>. </div><div>It's a term I think was first coined by screenwriter <a href="https://twitter.com/johngary" target="_blank">John Gary</a>. The idea is that people and corporations often prey on aspiring writers, and the notion that you can break into Hollywood at any time with the right spec screenplay. </div><div>The Hope Machine uses the reality of writing your way into Hollywood and creates a paywall between the aspiring creative and the industry as a whole.</div>It involves sites that promise you access to managers, agents, and producers, so long as you pay a fee. That fee is usually a lot of money to someone trying to break into the arts and, therefore, represents a financial burden to follow their dreams. We've even seen websites soliciting a monthly fee for ongoing connections. I believe that is exploitative and wrong. But some contests and websites collect these fees without actually trying to make good on the promise from the money collected. Instead, they often wait for the aforementioned tastemakers to use their website and proactively reach out through it. This creates a bit of a rock and a hard place.What do you do if you want to get noticed, live outside of Hollywood, and have no access? Is it worth paying for access to these places? <img alt="What Should I Write Next?" class="rm-shortcode" data-rm-shortcode-id="69e4e137f569398cd0636ffd602b5484" data-rm-shortcode-name="rebelmouse-image" id="528a6" loading="lazy" src="https://nofilmschool.com/media-library/what-should-i-write-next.jpg?id=34064742&width=980"/> 'Adaptation' CREDIT: Columbia Pictures <h2>The Writing Process</h2>Let’s be real for a second.As a writer, you know the feeling of pouring months, maybe years, into 110 pages that you truly believe is your ticket into Hollywood. Now what?The gatekeepers of Hollywood feel a million miles away. And right there, glowing on your screen, is a website. It has a slick interface and a promise that feels like a warm hug. For a small fee—$50, $80, maybe $100—they’ll put your script in front of “industry professionals.” They'll be the middleman and make the introductions that could change your life, or give you the <a data-linked-post="2661192612" href="https://nofilmschool.com/script-coverage-services" target="_blank">paid coverage</a> that will show you the way. Wow, what an opportunity for the beleaguered writer! All you have to do is part with your money, and they'll get you where you need to be. They may even promise to get it made! Those places are all disgusting and manipulative and wrong. They hurt Hollywood, and they prioritize making money over actually helping you. There's a reason Hollywood has systems set up to get writers paid and not to take writers' money. These "disruptors" are changing the paradigms to help themselves, not you. <img alt="The cast of 'Little Woman' watching Greta Gerwig type on her computer." class="rm-shortcode" data-rm-shortcode-id="d12398dc300a7d35a0e3f6d4b51201e9" data-rm-shortcode-name="rebelmouse-image" id="cf605" loading="lazy" src="https://nofilmschool.com/media-library/the-cast-of-little-woman-watching-greta-gerwig-type-on-her-computer.jpg?id=34063372&width=980"/> Greta Gerwig on the set of 'Little Women' Credit: Sony Pictures Releasing <h2>Why I Hate Pay-to-Play Websites </h2>Let's be clear: the purpose of any company is to make money. I’m sure the people behind these sites don’t think what they’re doing is actually exploitative (or they try to justify it)—most businesses convince themselves they’re operating for the right reasons. But there's a fundamental, broken logic at the heart of their business model.If writers are paying you, instead of you paying the writers, you’ll always end up with a slate of projects you don’t truly believe in. You’re a service, not a production company. Your financial incentive is to get more writers to pay you, not to find the one script you’d bet your career on.And producers with projects they don’t really believe in… don’t make those movies. This business model, even if unintentionally, is incentivized to keep you paying them. It's a drug they want you on -- you might have a good call or a good meeting or get feedback that tells you that you're oh so close to the finish line...if you pay for another month, or year, or more lessons, or another read. They want you to give them money. It needs your recurring fees to survive. To me, that's a big red flag, and it's the clear definition of The Hope Machine that I truly hate in Hollywood. In my opinion, it's shady and exploitative. <img alt="Charging writers money " class="rm-shortcode" data-rm-shortcode-id="372f740a02f7c8310e6e3033f4f6c9f2" data-rm-shortcode-name="rebelmouse-image" id="e6c7b" loading="lazy" src="https://nofilmschool.com/media-library/charging-writers-money.jpg?id=58653761&width=980"/> 'The Monkey' CREDIT: Neon <h4>The Illusion of Access</h4>The core promise of these sites is access. But here's the first hard truth: real access in this town isn't bought with a one-time fee. If you're paying for access, it's just wrong. Real producers don't ask for your money; they believe in your project and shepherd it accordingly. If they really wanted your script, they’d PAY YOU to option it.Think about it from their perspective. A manager gets hundreds of queries a week. They get scripts from their trusted agents and current clients. Where on that priority list do you think a script forwarded from a hosting website lands? You might get some meetings, and sure, some movies backed by these services might get made, but there are absolutely no guarantees in this business. It's a numbers game where the house always wins.You want to work with people who want to work with you, and not those who want to charge you. Look, I have made movies, TV shows, and web series. I have paid dues to the WGA and my agent, manager, and lawyer. But you don't pay any of those up front. You pay them once you have been paid. And what you get back is legal advice, networking, reading, notes, and health shares! Even a pension! These other websites are asking you to pay up front for it all, even if it never sells. And they sure as hell are not offering you a pension or healthcare. <h4>The Reader Conundrum</h4>“But Jason,” you say, “what about the feedback? I need to know if my script is any good!”I get it. Feedback is gold. But you have to question the source. Who is reading your script for $80? Is it a seasoned development executive? Or is it more likely an overworked, underpaid assistant trying to make rent, plowing through ten scripts over a weekend?And what site are you using? Are you paying for extensive notes like at <a data-linked-post="2671874271" href="https://nofilmschool.com/coverfly-is-shutting-down" target="_blank">Stage32,</a> or using a site like <a data-linked-post="2661190719" href="https://nofilmschool.com/how-i-got-my-script-black-list-without-reps" target="_blank">The Black List</a>, which is not designed for feedback; that's a courtesy/additional service. It is designed to give a snapshot of how the script would be received in Hollywood.Those sites you pay once....I don't know of any subscription-based site that I would trust. This life is hard enough. Save your money. <img alt="Pay for Play" class="rm-shortcode" data-rm-shortcode-id="b81ebda8a6d022d51d2bf49c95ea922f" data-rm-shortcode-name="rebelmouse-image" id="913ec" loading="lazy" src="https://nofilmschool.com/media-library/pay-for-play.jpg?id=34052041&width=980"/> 'Breaking Bad' Credit: AMC <h2>So What’s the Alternative?</h2>This isn’t a counsel of despair. It’s a call to redirect your money and your brain. Our website is filled with free <a data-linked-post="2661194477" href="https://nofilmschool.com/11-minute-rule-writing" target="_blank">screenwriting advice</a>. So are things like <a href="https://scriptnotes.net/" target="_blank">John August and Craig Mazin's Scriptnotes</a>, and even the <a href="https://www.wga.org/" target="_blank">WGA</a>. Getting recognized and getting your movie made is not easy. They call it "breaking in" for a reason—you're supposed to network and work your way in, not buy your way in.And I'm sorry, but that is still the best way to do it. So in the meantime, here are a few things you can do: <ol start="1"><li>Write Another Script. Your best calling card isn't a high score on a website or paid introductions; it's a body of work. When you do get a meeting, the first thing they’ll ask is, “What else you got?” Be ready.</li><li>Do It The Old-Fashioned Way. If you can, move here. Come to Los Angeles, get a job as a PA or an assistant, make friends, and learn the business from the inside out. Be in the ecosystem.</li><li>If You Can't Move, Strategize. If you're older or this is a second career, that’s okay. Hit up a major film festival once a year, like Sundance, TIFF, or Austin - use your money on that instead of subscriptions. Network online or in person. Go watch movies, go to panels, talk to people, and try to make genuine connections there.</li><li>The Query Letter Grind. A smart, targeted<a data-linked-post="2671177169" href="https://nofilmschool.com/screenplay-query-checklist" target="_blank"> query letter</a> to a junior manager at a boutique company who reps writers in your genre is a thousand times more effective than a blast from a hosting site. Do your research. Personalize it. Be professional. Subscribe to IMDbPro to find their emails, again, for less than a contest! </li></ol><h2>No One Gets It More Than Me </h2>I have been there, gang. I am constantly trying to network, package, have new ideas, and write better specs. I totally get what it feels like to be kept out. <div>I know how badly you want this. </div><div>That desperation is a powerful fuel, but it also makes you a target. These websites are selling a lottery ticket without a Powerball pot. </div><div>They just want your money. </div>They’re telling you the way in is to pay the bouncer, when the real way in is to build your own damn bar.Your currency isn't cash. It's talent, persistence, and a stack of incredible scripts. Stop paying to play and start working to win. The work is the only thing that's ever mattered.And anyone who would try to exploit that is the real villain. Now, go back to writing. ]]></description><pubDate>Fri, 12 Sep 2025 23:15:06 +0000</pubDate><guid>https://nofilmschool.com/pay-to-play-screenwriting-websites</guid><category>Pay for play</category><category>Storytelling</category><category>Screenwriting lessons</category><category>Screenwriting advice</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/pay-to-play-screenwriting-websites.jpg?id=34064246&width=980"></media:content></item><item><title>10 Best Cinematographers of All Time</title><link>https://nofilmschool.com/best-cinematographers-of-all-time</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/best-cinematographers-of-all-time.jpg?id=34076000&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Who do you think are the best cinematographers of all time? I've been digging into this subject, and found it's been hard to come up with the people who have shaped the way we look and feel about movies. These are the ten names I came up with. I think they've made some of the best movies, and we've seen people emulate them as they try to find their own voices as well. Let's dive in. <hr/><h3>1. Roger Deakins</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/CZ76u0WHXXI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Let's just get this out of the way: Roger is the master. The guy is a living legend, and if you don't know his name, you've been living under a rock. He’s the guy every director wants in their corner because he makes everything better. Simple as that.<ul><li>Famous For: The Shawshank Redemption, Blade Runner 2049, No Country for Old Men, 1917</li></ul><h3>2. Gordon Willis</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/a0KYFuvgNPY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>They called him "The Prince of Darkness," and for good reason. This dude basically invented the modern shadow. Willis made a choice not to show Marlon Brando's eyes for half of The Godfather. Think about the balls on that guy. He didn't just light scenes; he sculpted with shadow and changed the game forever.<ul><li>Famous For: The Godfather Trilogy, Annie Hall, All the President's Men</li></ul><h3>3. Emmanuel "Chivo" Lubezki</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/h0VoHVELoZg?rel=0&start=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Chivo is the guy who straps a camera to himself and runs through a battlefield or sends it floating through space. His long, unbroken takes aren't a gimmick; they're a way of forcing you to live inside the movie. The guy won three Oscars in a row. <ul><li>Famous For: Gravity, The Revenant, Children of Men, Birdman</li></ul><h3>4. Vittorio Storaro</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/hZI6pYVZfRs?rel=0&start=2" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Storaro is an Italian maestro who believes that every color has a specific impact. Watch Apocalypse Now. The greens, the oranges, the oppressive reds—it's all intentional. It's a journey into the madness of the human soul, told through a color palette. <ul><li>Famous For: Apocalypse Now, The Last Emperor, Reds, The Conformist</li></ul><h3>5. Sven Nykvist</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/SeInwPEhJS4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>If you've ever felt the raw humanity in an Ingmar Bergman film, you have Sven Nykvist to thank. He was the master of the human face. He used soft, natural light to create an intimacy that was almost uncomfortable, but always devastatingly honest. His camera didn't just see people; it saw their souls.<ul><li>Famous For: Persona, Cries and Whispers, Fanny and Alexander</li></ul><h3>6. Gregg Toland</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Wmp3G-cJDwU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This is the OG. The innovator. You can draw a straight line from Gregg Toland to pretty much every other name on this list. What he did on Citizen Kane wasn't just groundbreaking; it was like he invented a whole new language. <a data-linked-post="2668538421" href="https://nofilmschool.com/deep-focus" target="_blank">Deep focus</a>? That was him. <a data-linked-post="2661197373" href="https://nofilmschool.com/low-angle-shot" target="_blank">Low-angle shots</a> that made people look like giants? Him again. He wrote the rulebook for modern cinematography.<ul><li>Famous For: Citizen Kane, The Grapes of Wrath, The Best Years of Our Lives</li></ul><h3>7. Conrad Hall</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/olM9S0KkjCo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Connie Hall was all about happy accidents. He was a master who could find pure poetry in a reflection on a rainy window or the way light flares through a lens. His work was drenched in mood and atmosphere. Look at Road to Perdition; it’s like every frame is a somber, beautiful painting you could hang on your wall. He was a true artist who used the camera to capture emotion, not just images.<ul><li>Famous For: American Beauty, Road to Perdition, Butch Cassidy and the Sundance Kid, In Cold Blood</li></ul><h3>8. Kazuo Miyagawa</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Yq4ZKE0ksXU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>A titan of Japanese cinema. This guy was Kurosawa's secret weapon. The way he captured motion was insane. The arrows flying in Throne of Blood, the bandits charging through the rain in Seven Samurai—it’s pure visual adrenaline. But he could also be incredibly delicate, as in Mizoguchi's haunting ghost stories. <ul><li>Famous For: Rashomon, Seven Samurai, Ugetsu, Yojimbo</li></ul><h3>9. James Wong Howe</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/CSc7hJKKvh4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This guy started in the silent era and was still crushing it in the 1970s. He was a relentless innovator. He put on roller skates to get dynamic shots for boxing movies. He used dark, expressionistic lighting to define the whole look of film noir. He was a tough, brilliant craftsman who became one of the titans of the art form.<ul><li>Famous For: Hud, The Sweet Smell of Success, The Thin Man, Seconds</li></ul><h3>10. John Alcott</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/g3YXN4KG6Ts?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Working with Stanley Kubrick must have been one of the wildest rides ever. John Alcott is the guy who helped bring genius to the screen. He's the one who figured out how to shoot scenes lit only by candlelight for Barry Lyndon with the help of NASA. From the sterile horror of the Overlook Hotel to the cosmic ballet of 2001, Alcott was a technical genius who could deliver any impossible vision.<ul><li>Famous For: 2001: A Space Odyssey, Barry Lyndon, A Clockwork Orange, The Shining</li></ul><h3>Summing It All Up </h3> Next time you're watching a movie, don't just follow the plot. Look at the frame. Look at the light. Ask yourself why the camera is where it is. Because I promise you, these folks weren't just pointing and shooting. If you're a <a data-linked-post="2673163178" href="https://nofilmschool.com/nick-kraus-interview" target="_blank">cinematographer</a>, consider <a data-linked-post="2669999808" href="https://nofilmschool.com/how-to-make-money-as-a-cinematography-black-friday-sale" target="_blank">taking our course</a> to brush up on your skills. Or check out our stuff on<a data-linked-post="2661203504" href="https://nofilmschool.com/color-psychology-in-film" target="_blank"> color theory</a>. Let me know what you think in the comments. ]]></description><pubDate>Fri, 12 Sep 2025 22:20:18 +0000</pubDate><guid>https://nofilmschool.com/best-cinematographers-of-all-time</guid><category>Cinematographers</category><category>Cinematography</category><category>Best cinematography</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/best-cinematographers-of-all-time.jpg?id=34076000&width=980"></media:content></item><item><title>5 Movie Franchises That Randomly Went to Space</title><link>https://nofilmschool.com/franchises-that-went-to-space</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/5-movie-franchises-that-randomly-went-to-space.jpg?id=61596645&width=1245&height=700&coordinates=0%2C30%2C0%2C31"/> One of my favorite things in movies and TV is when a franchise sends a movie to space. It usually means they're out of ideas, but I think it's really fun, and it can help them play with genre, and it gives them room to completely reformat the next version of the movie or to start over. So today, I wanted to look at a few times when some huge franchises inexplicably used an entry to go to space. Let's dive in. <hr/><h3>1. Fast & Furious (2001-present)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Qomc0YuGlAI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Perhaps the most recent and high-profile example, the Fast & Furious saga began as a story about illegal street racing and undercover cops. And then one day, <a href="https://nofilmschool.com/why-does-universal-regret-sending-f9-space" target="_blank">they were in space trying to crash a car into a satellite</a>. This is the movie that made me want to write this list. It has a Pontiac Fiero strapped to a rocket. The first movie was about guys stealing DVD players! <h3>2. Friday the 13th (1980-present)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/XuMNAt7xQa8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>The silent, machete-wielding Jason Voorhees spent the better part of nine films terrorizing teenagers at Camp Crystal Lake and its surrounding areas. By the tenth installment, 2002's Jason X, they needed something new, so they went to SPACE! The plot rocks: Cryogenically freeze Jason and reawaken him in the year 2455 aboard a spaceship. He thaws and gets to kill in zero gravity. It's wild. <h3>3. James Bond (1962-present)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/KFOOjYU16KE?rel=0&start=13" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>In 1979's Moonraker, Bond's mission took him out of this world, and people have been upset when franchises do this ever since. I disagree! This movie was basically trying to score points with the 70s science fiction craze fueled by Star Wars. The film features laser battles in orbit. Is it great? No. But I like it. <h3>4. Leprechaun (1993-2018)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/1hiv8o-SRZ0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This horror-comedy series centered on a murderous, rhyming leprechaun relentlessly seeking his stolen gold. So obviously, they had to go to space, too. Leprechaun 4: In Space jettisoned the titular villain into outer space to marry an alien princess to become king of her world, all while stalking a group of space marines. The nonsensical plot cemented the franchise's cult status.<h3>5. The Muppets (1976-present)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/e2wCkxX9YS0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>For decades, the Muppets' adventures were decidedly Earth-bound, focusing on putting on a show, going on road trips, or parodying classic literature. That changed with 1999's Muppets from Space. While I like the movie and this didn't feel forced, it was wild to find out Gonzo was actually an alien. <h3>Summing It Up </h3> Making a list like this one cracked me up. It's so funny to see how franchises take these big swings and go into the great beyond. If you're a filmmaker who needs help with <a data-linked-post="2667272002" href="https://nofilmschool.com/protect-your-ideas-in-hollywood" target="_blank">ideation</a>, check out some of our <a data-linked-post="2666109054" href="https://nofilmschool.com/short-film-ideas" target="_blank">film prompts</a> and maybe even our<a data-linked-post="2661196482" href="https://nofilmschool.com/best-screenwriting-books" target="_blank"> free screenwriting book</a>. Let me know what you think in the comments.]]></description><pubDate>Fri, 12 Sep 2025 22:05:28 +0000</pubDate><guid>https://nofilmschool.com/franchises-that-went-to-space</guid><category>Franchise</category><category>Best movies</category><category>Space</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/5-movie-franchises-that-randomly-went-to-space.jpg?id=61596645&width=980"></media:content></item><item><title>Why Does Universal Regret Sending 'F9' to Space?</title><link>https://nofilmschool.com/why-does-universal-regret-sending-f9-space</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/why-do-they-regret-sending-f9-to-space.jpg?id=61596520&width=1245&height=700&coordinates=178%2C0%2C179%2C0"/> Look, we've all been there. You're deep into a script, the deadline is looming, and someone in the room throws out an idea that's so crazy it just might work.I am always proud when those things make it to the screen, but I can see that if you were in a franchise, it may only make the subsequent movies harder to make.And for the team behind F9, that's exactly what happened.Let's dive in. <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/aSiDu3Ywi8E?rel=0&start=19" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe> - YouTube<a href="https://www.youtube.com/watch?v=aSiDu3Ywi8E&t=19s" target="_blank">www.youtube.com</a><hr/><h3>The Genie is Out of the Bottle</h3>In a recent interview, <a href="https://www.darkhorizons.com/universal-apologises-for-the-f9-space-car/" target="_blank">NBCUniversal's Donna Langley said the decision to go full-on sci-fi with the franchise was a "mistake."</a> She continued, “I’m sorry that we sent them into space. We can never get that genie back.”Langley said later:<blockquote>“We knew that we had to figure out how to grow it. We made a conscious decision to pivot to a sort of globe-trotting heist scenario. Vin was an early adopter of talking to his fans directly. As we saw that growing, we saw where the conversation was going. We’ve always been very fan-first on the Fast franchise.”</blockquote>Now, I actually think sending them to space was a ton of fun and exactly what fans wanted at the time, but I can see as a franchise how hard it would be to build on that idea.And Langley also said something that I think is a crucial lesson for all of us writers and filmmakers out there. She said that a huge part of the Fast & Furious franchise's success is that they listen to the fans.This whole thing started as a movie about street racing in Los Angeles. Now it's a globe-trotting spy saga with a body count that would make James Bond blush.That's because the fans wanted bigger, crazier stunts, and the studio delivered.But as we enter the 11th and 12th installments of the movie, I do think you can't put the genie in the bottle, and those budgets are so large now, it can be hard to turn a profit.You almost wish they had saved space for now, but like she said, you can never go back.I am excited to see what they find moving forward.<h3>Summing It All Up</h3>At the end of the day, the F9 space car is a hilarious and ridiculous moment in cinema history. But it's also a valuable lesson in the importance of taking risks and listening to your audience.If you're a filmmaker looking to do something similar, consider studying the <a data-linked-post="2661197304" href="https://nofilmschool.com/film-genres" target="_blank">genre</a> of things you're working on. That can teach you <a data-linked-post="2661195278" href="https://nofilmschool.com/movie-trope-definition" target="_blank">tropes</a> audiences expect to see.Let me know in the comments below.]]></description><pubDate>Fri, 12 Sep 2025 17:40:04 +0000</pubDate><guid>https://nofilmschool.com/why-does-universal-regret-sending-f9-space</guid><category>F9</category><category>Donna langley</category><category>Fast and furious</category><category>Fast and furious</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/why-do-they-regret-sending-f9-to-space.jpg?id=61596520&width=980"></media:content></item><item><title>Get Support for Syncing Clips From Remote Cameras With Blackmagic Camera 3.0 Update</title><link>https://nofilmschool.com/blackmagic-camera-30-update</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/blackmagic-camera-3-0.jpg?id=61596094&width=1245&height=700&coordinates=56%2C0%2C57%2C0"/> While the iOS and Android versions of Blackmagic Camera were released at different times, it seems like Blackmagic Design has finally been able to sync up the development of both versions to be on the same timeline.This new version 3.0 update for Blackmagic Camera is for both versions, and it’s set to be a pretty significant one. If you’re looking to get support syncing clips from remote cameras to the controller, or if you’d like to try out some fun new quick tap controls, then you’ll want to grab this update today.Here’s how to get started.<hr/><h3>Blackmagic Camera 3.0 Updates</h3> <blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1965611889163190760">
<div style="margin:1em 0"></div> — (@)
<a href="https://twitter.com/Blackmagic_News/status/1965611889163190760"></a>
</blockquote>
<script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>As mentioned above, the big news here is support for remote syncing clips from phone to controller. This should be quite helpful for those managing remote cameras and trying to coordinate recording between different devices.
The Blackmagic Camera app is also adding new quick tap access to presets, slate, and camera controls, as well as three programmable function buttons. All of these should certainly help improve workflows and speed up your productions.
Here’s the full list of everything new coming to Blackmagic Camera 3.0:<ul><li>Support for remote syncing clips from phone to controller.</li><li>Reorganized navigation toolbar and ordering.</li><li>Tap left for quick access to presets, slate and camera controls.</li><li>Tap right for quick access to three programmable functions.</li><li>Single lens and zoom control with additional dolly zoom options.</li><li>FPS controls now include off speed and time lapse options.</li><li>New camera light controls under exposure and focus.</li><li>Histograms can now be expanded to fill preview.</li><li>Built in LUT support for Apple Log, Rec.709, Rec.2020 and P3 D65.</li><li>New HUD controls to switch LUTs and record with LUTs.</li><li>Support for recording in open gate resolution.</li><li>New 2.0 anamorphic desqueeze option.</li><li>Support for auto exposure controls in auto mode.</li><li>General performance and stability improvements.</li></ul>
As always, you can download and install the latest version of Blackmagic Camera for free by following the links on <a href="https://www.blackmagicdesign.com/products/blackmagiccamera" rel="noopener noreferrer" target="_blank">Blackmagic Design’s website here</a>.]]></description><pubDate>Fri, 12 Sep 2025 17:08:00 +0000</pubDate><guid>https://nofilmschool.com/blackmagic-camera-30-update</guid><category>Blackmagic camera</category><category>Blackmagic camera app</category><category>Ios app</category><category>Android app</category><category>Blackmagic camera 3.0</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/blackmagic-camera-3-0.jpg?id=61596094&width=980"></media:content></item><item><title>Is This New FUJINON Large-Format Power Zoom the Perfect Lens for the GFX ETERNA 55?</title><link>https://nofilmschool.com/fujifilm-large-format-power-zoom-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/fujifilm-gf-32-90mm-t3-5-pz-ois-wr-lens.jpg?id=61596050&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Buried in all of the excitement of several new cinema cameras being announced this week, we almost forgot to tell y’all about a new lens that might be a necessary addition to really make one of the headline-grabbing new cameras really pop.Designed specifically to be a great option for large-format camera systems, <a href="https://nofilmschool.com/fujifilm-gfx-eterna-55-announced" target="_blank">like the aforementioned GFX ETERNA 55</a>, for example, this new FUJIFILM GF 32-90mm T3.5 PZ OIS WR Lens is a large-format power zoom that should be able to bring a nice cine-style touch with run-and-gun features.Let’s check it out.<hr/><h3>The FUJIFILM GF 32-90mm T3.5 PZ OIS WR Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="2bc1f4c77fe08bcafaa6c5d35a146bdf" data-rm-shortcode-name="rebelmouse-image" id="9f570" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61596055&width=980"/>So, what’s most intriguing about this GF 32-90mm T3.5 PZ OIS WR Lens from FUJIFILM might simply be in its marketed blend of a cine-style form with several functions desirable for single-operator capture.
You know, features like optical image stabilization, autofocus, auto iris, and servo and manual zoom. The FUJIFILM GF 32-90mm T3.5 PZ OIS WR Lens is designed specifically for large-format sensors as well and can provide a nice 35mm equivalent of 25-71mm.
This LF power zoom will also include some other versatile features like 0.8 MOD gearing for compatibility with lens control systems with selectable run-and-gun functions like OIS (optical image stabilization), autofocus, auto iris, and servo and manual zoom control. <h3>A Large-Format Power Zoom</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="422b1bfd09b39c84ea34ed9698470c2b" data-rm-shortcode-name="rebelmouse-image" id="65f9f" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61596057&width=980"/>As far as aspherical and ED elements go, this GF32-90mm lens is set to feature three aspherical and three ED (extra-low dispersion) elements, which should help reduce chromatic aberrations and color fringing overall, resulting in increased clarity and color accuracy.
Plus, with a T3.5 maximum aperture, the lens should be able to retain constant performance across the 32 to 90mm focal length range. It will also include your usual weather-resistant design that protects the lens against moisture, dust, and select temperatures.<h3>Price and Availability</h3> The FUJIFILM GF 32-90mm T3.5 PZ OIS WR Lens is available to preorder now, with units expected to ship here in the coming week. Here are the full specs and purchase options.
<ul><li>Covers Large Format | T3.5-32 Aperture</li><li>35mm Equivalent: 25-71mm</li><li>Internal Focus, Iris, and Zoom Motors</li><li>0.8 MOD Focus, Iris, and Zoom Gears</li><li>Autofocus and Auto Iris Functions</li><li>Optical Image Stabilization</li><li>Manual and Servo Control Switch</li><li>13-Blade Iris, 25 Elements in 19 Groups</li><li>114mm Front Outside Diameter</li><li>Focus Marks in Feet and Meters</li></ul><h3>FUJIFILM GF 32-90mm T3.5 PZ OIS WR Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="879f1b5e956b5312f0eb09cc7a2ed43f" data-rm-shortcode-name="rebelmouse-image" id="426a1" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61596036&width=980"/>The GF 32-90mm T3.5 PZ OIS WR Lens from FUJIFILM melds a cine-style form with several functions handy for single-operator capture, like optical image stabilization, autofocus, auto iris, and servo and manual zoom.]]></description><pubDate>Fri, 12 Sep 2025 16:58:38 +0000</pubDate><guid>https://nofilmschool.com/fujifilm-large-format-power-zoom-lens</guid><category>Fujifilm</category><category>Fujifilm gf zoom lens</category><category>Large format power zoom</category><category>Large format lens</category><category>Fujifilm gfx eterna 55</category><category>Fujifilm gf 32-90mm t3.5 pz ois wr lens</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/fujifilm-gf-32-90mm-t3-5-pz-ois-wr-lens.jpg?id=61596050&width=980"></media:content></item><item><title>FUJIFILM GF 32-90mm T3.5 PZ OIS WR Lens</title><link>https://nofilmschool.com/fujifilm-gf-32-90mm-t3-5-pz-ois-wr-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61596036&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> The GF 32-90mm T3.5 PZ OIS WR Lens from FUJIFILM melds a cine-style form with several functions handy for single-operator capture, like optical image stabilization, autofocus, auto iris, and servo and manual zoom.]]></description><pubDate>Fri, 12 Sep 2025 15:05:57 +0000</pubDate><guid>https://nofilmschool.com/fujifilm-gf-32-90mm-t3-5-pz-ois-wr-lens</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61596036&width=980"></media:content></item><item><title>Editor Kali Kahn on Crafting 'After This Death' in Premiere Pro</title><link>https://nofilmschool.com/editor-kali-kahn-on-crafting-after-this-death-in-premiere-pro</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/editor-kali-kahn-on-crafting-after-this-death-in-premiere-pro.png?id=61339662&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> When Elliot abruptly disappears after their dangerous dance of longing and attraction, Isabel is forced to confront the haunting aftershocks of their vanished love.Editor Kali Kahn brought this narrative to life in Adobe <a href="https://www.adobe.com/products/premiere.html" rel="noopener noreferrer" target="_blank">Premiere Pro</a>, leveraging its intuitive software and flexibility to experiment with story structure and different kinds of media. Notably, Kahn said she couldn’t have edited this project without the <a href="https://helpx.adobe.com/premiere-pro/using/premiere-essential-sound-panel.html" rel="noopener noreferrer" target="_blank">Essential Sound Panel</a>, since sound design was so key to creating its unique tone and feel.Check out our full interview with Kahn below for even more insights into her creative process.How and where did you first learn to edit?Kali Kahn: I taught myself how to edit on Premiere Pro back in 2018 by editing my own short films and films for my friends. A lot of editors I know have a similar self-taught origin story with Premiere Pro because it’s such intuitive software. I really feel like it’s the NLE system of the people because it’s one that works for you, not the other way around. How do you begin a project/set up your workspace?KK: I’ll start off by re-reading the script two or three times to metabolize the director’s intentions. I think it was David Lynch who said something like, “My intuition throws the ball and my rationality is the dog that retrieves it.” I feel like that sort of sums up the director/editor relationship. Lucio [Castro], especially, has such rich intuition, so our process involved so much chatting and philosophizing about the themes and emotions in the story.When the footage comes in, I like to watch it scene by scene and start loosely throwing some cuts together that make me feel something, which is kind of my general MO as I’m editing. For “After This Death,” I tried something a little new at the beginning, where I jotted down every single thought that came to me as I was watching the footage for the first time, kind of like a catalogue of first impressions of the movie. I would often revisit this 60-page document when I was lost in the weeds of a scene or if my senses got dulled after hours in front of the monitor. Tell us about a favorite scene or moment from this project and why it stands out to you.KK: There’s a scene in the movie where Isabel reunites with Elliot in the green room of a concert venue where his band has just performed. It’s one of those scenes where every department is firing on all cylinders: the production design is so fun, the actors are magnetic, the cinematography pulls you into the world. I especially love the sound design in that scene because it adds so much texture and dynamism. Lucio crafted such a beautiful audiovisual experience, and I also have to shout out multi-hyphenate sound extraordinaires Rob Lombardo and Yegang Yoo, who created the band’s original music as well.I especially love that scene because it was really tricky to cut; there’s all this action being condensed into such a tiny space on top of the numerous dramatic threads that are unraveling simultaneously. It’s easy for a scene like that to devolve into chaos, so you have to know how to use sound and cuts to guide the audience’s attention. Luckily, I didn’t do it alone – I was working with Julia Bloch, our consulting editor, who famously edited a movie set entirely in a green room, so I was fortunate enough to be able to lean on her as I was cutting the scene.What were some specific post-production challenges you faced that were unique to your project? How did you go about solving them?KK: The movie was written nonlinearly, so Lucio and I tried our hand at a bunch of different structures until the right one clicked into place, which ended up being linear in the end. We would audition structural changes by creating an animatic of sorts in a timeline, which was basically just a digital version of notecards and a corkboard that we could scrub through. This is the kind of thing Premiere Pro is particularly good at because of its drag-and-drop workflow and its flexibility with different kinds of media. It allows for so much more trial and error and experimentation, which really helped us along the way. What Adobe tools did you use on this project, and why did you originally choose them?KK: I love the Essential Sound Panel. I actually couldn’t edit without it. A lot of people say that an edit should work with and without the sound on, and I agree, but I’d add that sound can either save or kill a scene. It’s also what elevates an edit from just “working” to being something that you feel in your bones, so I’m constantly playing around with sound as I’m editing. Especially on this film, because it has the soul of an arthouse film in the body of a thriller, sound design played a huge role in helping us dial in the unique tone and feel of the movie. Not to mention just how sonically rich the movie is in general, between the band’s music and the original score and all the gorgeous autumnal landscapes. The dropdown presets gave us so much autonomy to play around with all those elements. Who is your creative inspiration and why?KK: I really look up to Joe Bini. He’s sort of my editing hero, and he’s a genius with story structure. When I’m stuck on an edit, I’ll revisit the movies he’s cut for inspiration, or I’ll rewatch his BFI masterclass. He has this quote I love where he says in order to be a good editor, you have to “long for a reunion with ideas.” That’s exactly what editing is to me: it’s about staying curious and opening yourself up to what the movie wants to be, rather than imposing some preconceived agenda onto it. ]]></description><pubDate>Thu, 11 Sep 2025 23:46:03 +0000</pubDate><guid>https://nofilmschool.com/editor-kali-kahn-on-crafting-after-this-death-in-premiere-pro</guid><category>Adobe</category><category>Kali kahn</category><category>Premiere pro</category><category>After this death</category><category>Adobe sponsored</category><category>Interviews</category><dc:creator>Sponsored Content</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/editor-kali-kahn-on-crafting-after-this-death-in-premiere-pro.png?id=61339662&width=980"></media:content></item><item><title>DP Oren Soffer’s Short Film Shows You Exactly What the GFX ETERNA 55 Can Do</title><link>https://nofilmschool.com/fujifilm-gfx-eterna-55-short-film</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/fujifilm-gfx-eterna-55-short-film.jpg?id=61591033&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Best known for his work alongside Greig Fraser, ASC ACS, on The Creator, as well as recently wrapping up filming on the feature film, Onslaught, for director Adam Wingard, Oren Soffer is a nice choice for one of the first cinematographers to be able to take the new Fujifilm GFX ETERNA 55 through the paces.Released by Fujifilm to coincide with the <a href="https://nofilmschool.com/fujifilm-gfx-eterna-55-announced" target="_self">official announcement of the GFX ETERNA 55</a> (a camera that was long-rumored and long-teased, as well as debatably given the title of the “first Fujifilm filmmaking camera”), this short film is a great way to peek into what this new large-format cinema camera is capable of.You can watch it in its entirety below, as well as check out some interesting behind-the-scenes features too.<hr/><h3>OKAY: A Short Film Shot on the Fujifilm GFX ETERNA 55</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/tSR_G8-AHNA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Directed by Andrew Kightlinger, the narrative short film OKAY was shot entirely on the new Fujifilm GFX ETERNA 55. Built around a new large-format sensor that covers Open Gate and a range of additional formats, the GFX ETERNA 55's looks to be a promising addition to the large-format camera market that promises to bring the best of Fujifilm’s vaunted photographic history into a high-end video-centric form.The short is a nice look at how the camera can perform in a variety of settings to achieve high-end professional and cinematic looks. It’s also quite interesting, a nice reminder of the types of projects that make filmmaking fun, and not just business.You can watch the behind-the-scenes featurette, which further showcases the Fujifilm GFX ETERNA 55 in action, below.<h3></h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/j8_wmX8acrY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>]]></description><pubDate>Thu, 11 Sep 2025 23:40:03 +0000</pubDate><guid>https://nofilmschool.com/fujifilm-gfx-eterna-55-short-film</guid><category>Fujifilm</category><category>Oren soffer</category><category>Okay</category><category>Short film</category><category>Camera test</category><category>Fujifilm gfx eterna 55</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/fujifilm-gfx-eterna-55-short-film.jpg?id=61591033&width=980"></media:content></item><item><title>10 Times Cillian Murphy Completely Owned the Big Screen</title><link>https://nofilmschool.com/best-cillian-murphy-movies</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/cillian-murphy-movies.jpg?id=34050174&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> Cillian Murphy is one of those actors who just seem to blend seamlessly into any role thrust upon him. The guy is so versatile — he does drama, action, horror, and he can also switch his accent when needed. Today, I wanted to go over ten movies he's in that I think are great. We'll look at his roles and what he brings to each feature film. Sound good? Let's dive in. <hr/><h3>10. A Quiet Place Part II (2020)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BpdDN9d9Jio?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Joining an established franchise is tough. You have to fit the tone while still making a mark. Murphy's Emmett barely speaks for half the movie, but his performance is screaming with loss and carrying a tragedy.<h3>9. Red Eye (2005)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/GoXQZyNpeIk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Want to learn how to build tension? Watch this movie. It's a Wes Craven thriller that's essentially a two-hander 20,000 feet in the air. Murphy’s Jackson Rippner is all charm and charisma until he's not. And that switch he flips is so hard -- he has to trick the audience over and over. Hide the monster, and then unleash it. <h3>8. Breakfast on Pluto (2005)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/5blVrqSKiRc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>I think this is one of those underseen and underrated movies. As Kitten Braden, Murphy is vulnerable and completely fearless. This role could have so easily become a caricature, but he grounds it in a deeply human search for love and belonging. And the movie rocks. <h3>7. Sunshine (2007)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/FetfR0vQvd4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Danny Boyle’s <a data-linked-post="2673250398" href="https://nofilmschool.com/best-sci-fi-movie-adaptations" target="_blank">sci-fi </a>epic is a pressure cooker. Murphy plays the physicist Capa, and he has to explain and carry the intellectual and moral weight of the entire mission for the audience. He is the smartest man in the room, but breaks things down in a way that is accessible and also scary as things go sideways. <h3>6. Batman Begins (2005)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/neY2xVmOfUM?rel=0&start=14" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Every great hero needs a great villain, but Scarecrow is a different kind of threat. Murphy plays him as an intellectual experimenting to tear a city apart. This aura fits into the tapestry of Gotham City and lays in with the plan to level it. Murphy makes us understand Doctor Crane and his evil intentions. <h3>5. Dunkirk (2017)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/F-eMt3SrfFU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This movie is so excellent and so wild. Nolan drops Murphy onto a boat, calls him "Shivering Soldier," and that's it. We know nothing about him. But in his vacant stare and trembling hands, we see the entire horror of the war. This is just a director trusting an actor to show the audience everything we need to understand. <h3>4. Inception (2010)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/YoHD9XEInc0?rel=0&start=2" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This is the "There are no small parts" role. On paper, Robert Fischer is the "mark," and in this movie, a<a data-linked-post="2661198701" href="https://nofilmschool.com/plot-devices" target="_blank"> plot devic</a>e to get us into the action. But Murphy makes his desperate need for his father's approval feel real and necessary. Without his incredible performance, the high-concept heist has no soul. <h3>3. The Wind That Shakes the Barley (2006)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/6yvHe_ksnDA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>If you ever want to understand quiet conviction, watch this movie. Ken Loach’s Palme d'Or winner is raw and naturalistic, and Murphy is its beating heart. He transforms from an idealistic doctor to a hardened revolutionary, ready to kill whoever stands in his way. His quiet moments are his most profound. <h3>2. 28 Days Later (2002)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/mWEhfF27O0c?rel=0&start=2" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>This is the performance that put him on the map. Danny Boyle’s film reinvented a whole genre, and it did it by focusing on Murphy's terrified, bewildered face as he searches London for other survivors. And then we see Murphy carry the hope and future into this role as well. <h3>1. Oppenheimer (2023)</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/uYPbbksJxIg?rel=0&start=4" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Yeah, it’s the Oscar winner, but it's at the top for a reason. This is one of the best performances in a movie in a long time, and of all time. Nolan’s camera is basically a microscope on Murphy's face for three hours, and he delivers every emotion and beat of the story. He's a genius, a charming womanizer, and a brutal war machine at other times. and everything in between. <h3>Summing It All Up </h3> Cillian Murphy is such a wonderful actor who picks great roles. I love how open he is to doing different things and how much soul he brings to each person. He's such a human actor and so interesting. I cannot wait to see what he does next. Let me know what you think in the comments. ]]></description><pubDate>Thu, 11 Sep 2025 22:45:03 +0000</pubDate><guid>https://nofilmschool.com/best-cillian-murphy-movies</guid><category>Best movies</category><category>Cillian murphy</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/cillian-murphy-movies.jpg?id=34050174&width=980"></media:content></item><item><title>How Theaters Choose What to Show: Inside Programming</title><link>https://nofilmschool.com/how-theaters-choose-what-to-show-inside-programming</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/how-theaters-choose-what-to-show-inside-programming.jpg?id=61592309&width=1245&height=700&coordinates=0%2C1%2C0%2C1"/> In this episode of the <a href="https://nofilmschool.com/podcast" target="_blank">No Film School Podcast</a>, GG Hawkins is joined by Shelby Schultz, Director of Programming at LOOK Cinemas. Shelby shares her insights into the complex and often misunderstood world of theatrical exhibition, from how she discovers films to what drives the decision-making process behind booking movies in theaters. Drawing from her extensive background in distribution, financing, and development, Shelby explains how indie filmmakers can better position their projects for theatrical success, the importance of knowing your audience, and the evolving role of movie theaters in the digital age.<h3></h3> <iframe frameborder="0" height="200" scrolling="no" src="https://playlist.megaphone.fm?e=NFS9618654943" width="100%"></iframe>In this episode, we discuss:<ul> <li>How Shelby’s background in film led her to become a theater programmer</li><li>The process LOOK Cinemas uses to discover and book films</li><li>Why strong marketing and audience engagement matter more than ever for indie films</li><li>The importance of trailer placement and timing when planning a theatrical run</li><li>The metrics used to evaluate a film’s success in theaters</li><li>How filmmakers can effectively pitch their projects to theater chains</li><li>Seasonal trends in theatrical programming and when indie films have the best shot</li><li>How audience behavior has shifted post-COVID and why theaters are still thriving</li><li>The critical role local support plays in theatrical success</li></ul> Guests:<ul> <li>Shelby Schultz | Director of Programming at <a href="https://www.lookcinemas.com/" target="_blank">LOOK Cinemas</a><a href="https://www.imdb.com/name/nm4162406/" target="_blank"></a></li></ul> Subscribe to the No Film School Podcast on:<ul><li><a href="https://podcasts.apple.com/us/podcast/the-no-film-school-podcast/id1078804724" target="_blank">Apple Podcasts</a></li><li><a href="https://open.spotify.com/show/1vfyZ6hx3QJWS6etdDZZ5V" target="_blank">Spotify</a></li><li><a href="https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vTk5MTEMzMjI5NDg4NTcz" 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" target="_self">GG Hawkins</a>.]]></description><pubDate>Thu, 11 Sep 2025 22:09:59 +0000</pubDate><guid>https://nofilmschool.com/how-theaters-choose-what-to-show-inside-programming</guid><category>No film school podcast</category><category>Podcast</category><category>Interviews</category><category>Shelby schultz</category><category>Theaters</category><category>Programming</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-theaters-choose-what-to-show-inside-programming.jpg?id=61592309&width=980"></media:content></item><item><title>Paramount Skydance Bids to Buy Warner Bros. Discovery</title><link>https://nofilmschool.com/paramount-skydance-bids-to-buy-warner-bros-discovery</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/paramount-skydance-bids-to-buy-warner-bros-discovery.jpg?id=34051604&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> It’s a strange time to be a filmmaker. Consolidation has taken a lot of buyers and jobs from us, and it seems as if we're going to lose another. Reports have <a href="https://deadline.com/2025/09/paramount-exploring-bid-warner-bros-discovery-1236529093/" target="_blank">Paramount Skydance exploring a bid to buy Warner Bros.</a> is a move that would take another studio off the table. Yeah, you read that right. The studio that brought you The Godfather and Mission: Impossible might be teaming up with the home of Batman, Harry Potter, and Game of Thrones. It’s a mega-deal that could create a Hollywood behemoth.Let’s dive in.<hr/><h3>Terms of the Deal </h3>Warner Bros. Discovery's market cap is around $39.8 billion, and Paramount's is about $17.95 billion. So if they combined, you could see a studio worth almost $60 billion, though I'll leave those numbers to the professional prognosticators. It would be a massive place that has IP spanning many different worlds and franchises that would instantly create a powerhouse. Combining the content libraries and subscriber bases of Paramount+ would finally create a profitable streamer and help shrink a landscape that's become too big and unsustainable. It's hard to know anything else based on preliminary reports. <h3>The Ever-Shrinking Hollywood Landscape</h3>It will be a very long road to know what happens with a deal like this. It would have to pass the Justice Department, and there are so many moving parts. The first worry is redundancies and more playoffs, which have already rocked Hollywood. After that, the most obvious takeaway is that there might be one less place to sell your script. A combined Paramount/Warner Bros. would mean one less studio to pitch to, one less executive to email, and one less chance to get your foot in the door.For those of us who have been in this game for a while, this is a familiar story. We’ve seen Disney swallow Fox, and now this. But here’s the thing I’ve learned: you can’t control what happens in the boardrooms of these massive corporations. All you can control is what you put on the page.<h3>Summing It All Up </h3>At the end of the day, we can’t predict the future. We don’t know if this merger will actually happen, or what it will mean for the industry if it does. Now, I want to hear from you. What do you think about this potential merger? Are you excited? Worried? Let me know in the comments.]]></description><pubDate>Thu, 11 Sep 2025 19:46:04 +0000</pubDate><guid>https://nofilmschool.com/paramount-skydance-bids-to-buy-warner-bros-discovery</guid><category>Warner brothers</category><category>Consolidation</category><category>Paramount skydance</category><category>Merger</category><category>Acquisitions</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/paramount-skydance-bids-to-buy-warner-bros-discovery.jpg?id=34051604&width=980"></media:content></item><item><title>2025 Emmy Predictions: New Shows Shake Things Up</title><link>https://nofilmschool.com/2025-emmy-predictions</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/2025-emmy-predictions.webp?id=59701506&width=1245&height=700&coordinates=80%2C0%2C80%2C0"/> With the 77th Primetime Emmy Awards just around the corner, a clearer picture of the likely winners is coming into focus. This seems like it's going to be a night where both new and old shows make their marks on Hollywood and take home major awards. We covered the <a href="https://nofilmschool.com/2025-emmy-awards-nominations#" target="_blank">nominations</a>, but which ones will bring home all the top awards? The 77th Annual Primetime Emmy Awards will air live on Sunday, September 14, at 8 p.m. ET/5 p.m. PT on CBS and Paramount+. Comedian Nate Bargatze will host.Before we see the real winners, let's predict a few. Let's dive in. <hr/><h3>2025 Emmy Predictions</h3> <h3></h3>Here are the early predictions for the 2025 Emmy Awards, broken down by major categories.<h3>Outstanding Drama Series</h3>The competition for best <a data-linked-post="2661196571" href="https://nofilmschool.com/drama-genre" target="_blank">drama</a> appears to be a showdown between two vastly different workplace series with very different tones. <ul><li>Frontrunner: Apple TV+'s dystopian thriller Severance is a powerful contender with its highly anticipated second season.</li><li>Top Challenger: The new HBO medical drama The Pitt has earned widespread critical acclaim for its gripping and emotional narratives.</li><li>Also in the Mix: Keep an eye on the final season of AMC's Better Call Saul spinoff, the latest chapter of HBO's The White Lotus, and Disney+'s acclaimed Star Wars series, Andor.</li></ul><h3>Outstanding Comedy Series</h3>Hollywood satire takes on more traditional funny shows as this year's <a data-linked-post="2661197239" href="https://nofilmschool.com/comedy-genre" target="_blank">comedy</a> race feels like a battle of old and new. <ul><li>Frontrunner: Seth Rogen's sharp parody of the movie business, The Studio on Apple TV+, is generating significant awards buzz.</li><li>Top Challenger: HBO Max's Hacks continues to be a dominant force, thanks to the stellar performances of its lead duo, Jean Smart and Hannah Einbinder.</li><li>Also in the Mix: Expect to see nominations for reliable hits like ABC's Abbott Elementary, along with the Harrison Ford-led comedy Shrinking.</li></ul><h3>Outstanding Limited or Anthology Series</h3>This category is filled with dark, character-focused stories and compelling <a data-linked-post="2661190384" href="https://nofilmschool.com/what-is-true-crime" target="_blank">true-crime </a>adaptations. But which will come out on top? <ul><li>Frontrunner: The British family drama Adolescence from Netflix has been praised for its intense storytelling and powerful acting.</li><li>Top Challenger: Featuring a transformative performance from Colin Farrell, HBO's The Penguin has impressed critics and audiences alike.</li><li>Also in the Mix: FX's poignant series Dying for Sex and Ryan Murphy's latest Netflix docudrama, Monsters: The Lyle and Erik Menendez Story, are strong possibilities for a nomination.</li></ul><h3>Lead Acting Races</h3>The acting fields are crowded with veterans and breakout talents.<ul><li>Lead Actor in a Drama: The race is tight between Noah Wyle for The Pitt and Adam Scott for Severance. We're going Wyle. </li><li>Lead Actress in a Drama: Veteran star Kathy Bates is a favorite for the Matlock reboot, and we think she'll win. </li><li>Lead Actor in a Comedy: Seth Rogen is considered a frontrunner for his performance in The Studio, and he deserves it! </li><li>Lead Actress in a Comedy: Jean Smart is widely expected to be a top nominee once again for her celebrated role in Hacks.</li></ul><h3>Summing It Up </h3> The Emmys are the start of awards season that will carry on for the next 6 months, and can be the happiest time in Hollywood if you're involved in any of these races. It's also a great time to discover new shows people think are great. Got different predictions? I want to hear your thoughts. Let me know what you think in the comments. ]]></description><pubDate>Thu, 11 Sep 2025 19:33:38 +0000</pubDate><guid>https://nofilmschool.com/2025-emmy-predictions</guid><category>Emmys</category><category>Emmys 2025</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/2025-emmy-predictions.webp?id=59701506&width=980"></media:content></item><item><title>Comedy Central Pulls Charlie Kirk ‘South Park’ Parody in Wake of Assassination</title><link>https://nofilmschool.com/south-park-charlie-kirk</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/comedy-central-pulls-charlie-kirk-south-park-parody-in-wake-of-assassination.webp?id=61591005&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> After the horrifying assassination of Charlie Kirk yesterday, Comedy Central has chosen to pull the South Park episode mocking him from reruns. The episode, titled “Got a Nut,” is still available on Paramount+ as of Thursday, Sept. 11th, 2025. When the episode aired, it received a lot of praise, even from Charlie Kirk. In a TikTok, Kirk called the episode "Hilarious."<blockquote cite="https://www.tiktok.com/@thecharliekirkshow/video/7535846573972917517" class="tiktok-embed" data-video-id="7535846573972917517">
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<a href="https://www.tiktok.com/@thecharliekirkshow" target="_blank" title="@thecharliekirkshow">@thecharliekirkshow</a>

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<script async="" src="https://www.tiktok.com/embed.js"></script> Kirk goes on to say, "Now, there's going to be a lot said about this, but we need to have a good spirit about being made fun of," and he continued, "This is all a success, this is all a win. We, as conservatives, we have thick skin, not thin skin. And you could make fun of us, it doesn't matter. And until next time, I hope all of you become 'masterdebaters' for truth."The senseless act of violence that took Kirk's life yesterday should be condemned by all. It's a tragedy and it's appalling. What makes America great is the ability to speak your mind and debate with your fellow citizens safely. Once that has been stripped away, there is no country left. South Park returns with a new episode on September 23rd on Comedy Central, which will be available to stream on Paramount+ the next day.Let's have some peace, please. ]]></description><pubDate>Thu, 11 Sep 2025 18:50:30 +0000</pubDate><guid>https://nofilmschool.com/south-park-charlie-kirk</guid><category>Charlie kirk</category><category>South park</category><category>South park</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/comedy-central-pulls-charlie-kirk-south-park-parody-in-wake-of-assassination.webp?id=61591005&width=980"></media:content></item><item><title>Vimeo’s Filmmaking-Friendly Legacy is on the Line as It's Acquired for Over $1 Billion</title><link>https://nofilmschool.com/vimeo-acquisition</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/vimeo-acquisition.png?id=61589011&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Vimeo, the well-known video hosting service that has held a special place in the hearts of indie filmmakers and video professionals over the years as a preferred option for posting and sharing films and videos, has just announced that the company has entered into a definitive agreement to be acquired for approximately $1.38 billion.The acquiring company is the European software company Bending Spoon, which has a large portfolio of tech businesses, including WeTransfer, Meetup, Evernote, and more. The deal is reportedly an all-cash deal which will take Vimeo private, and—as is the case with most acquisitions—leaves several aspects of Vimeo’s future in question.<hr/><h3>Vimeo Acquired by Bending Spoon</h3> Announced on <a href="https://investors.vimeo.com/news-releases/news-release-details/vimeo-enters-definitive-agreement-be-acquired-bending-spoons-138" target="_blank">Vimeo’s blog</a> and reported online, Vimeo CEO Philip Moyer sounds optimistic about the acquisition in terms of how Bending Spoons will handle Vimeo moving forward.
<blockquote>"Bending Spoons has tremendous respect for the Vimeo team, our customers, and the creator community we serve. Luca and his team are committed to expanding our product across all segments: Self-Serve, OTT/Vimeo Streaming, and Vimeo Enterprise. We are excited about this partnership, which we believe will unlock even greater focus for our team and customers as we continue to strive towards our global mission to be the most innovative and trusted video platform in the world for businesses." — Philip Moyer, Vimeo CEO.</blockquote>
And Bending Spoons’ CEO and co-founder, Luca Ferrari, has similar positive things to say about Vimeo and the reputation the brand has built over the years within the filmmaking community.
<blockquote>“Vimeo is a pioneering brand in the video space, serving a passionate, global community of creators and businesses. At Bending Spoons, we acquire companies with the expectation of owning and operating them indefinitely, and we look forward to realizing Vimeo’s full potential as we reach new heights together. In particular, after closing, we’re determined to make ambitious investments in the US and other priority markets, and all key areas of the business, spanning both the creator and enterprise offerings. We'll focus on achieving even more stellar levels of performance and reliability, bringing advanced features to more customers, and continuing to release powerful and responsible AI-enabled features." — Luca Ferrari, Bending Spoons CEO and co-founder.</blockquote>
However, as we’ve seen in the past in similar acquisitions, the future for Vimeo becomes a bit more clouded. <h3>Vimeo’s Past and Future</h3> <blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/DL0AfJruVo-/" data-instgrm-version="4" style="background:#FFF; border:0;
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</blockquote><script async="" defer="" src="//platform.instagram.com/en_US/embeds.js"></script>Over the years, Vimeo has truly built a strong relationship with the filmmaking community as <a href="https://vimeo.com/channels/staffpicks" target="_blank">Vimeo Staff Picks</a> remains a powerful spotlight for up-and-coming indie filmmakers and a strong supporter of diverse voices and creatives.
Vimeo also recently <a href="https://nofilmschool.com/vimeo-short-film-grant" target="_self">partnered with the likes of Nikon</a> to launch its first-ever short film grant that provided $150,000 to support a new generation of filmmakers.
But, perhaps most importantly for those who are keeping close tabs on how video tech companies are handling AI training concerns, the real hope is Vimeo will continue to honor its promise to <a href="https://nofilmschool.com/vimeo-ai-news#" target="_self">not allow AI models to train on your videos on its platform</a> without your explicit consent, a commitment that Vimeo CEO Philip Moyer has made in the past.
We’ll keep you updated as this story develops and if any major changes are announced in the future.]]></description><pubDate>Thu, 11 Sep 2025 17:15:04 +0000</pubDate><guid>https://nofilmschool.com/vimeo-acquisition</guid><category>Vimeo</category><category>Bending spoons</category><category>Philip moyer</category><category>vimeo acquisition</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/vimeo-acquisition.png?id=61589011&width=980"></media:content></item><item><title>It Must Be Zoom Season as Another Powerful New All-Purpose Telephoto Lens Has Dropped</title><link>https://nofilmschool.com/om-system-mzuiko-digital-ed-50-200mm-f28-is-pro</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/om-system-m-zuiko-digital-ed-50-200mm-f-2-8-is-pro.png?id=61589550&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Do you feel that in the air? There’s a crispness that only comes when the leaves begin to fall and the major camera and lens manufacturing companies announce all of their new telephoto lenses all at once.Ok, maybe not all of the companies, but in the wake of Sigma unveiling its <a href="https://nofilmschool.com/sigma-200mm-f-2-dg-og-sports-lens" target="_self">world’s first 200mm f/2 telephoto prime</a>, and <a href="https://nofilmschool.com/canons-new-rf-75-300mm-lens-is-the-perfect-telephoto-zoom-for-beginners#" target="_self">Canon dropping its RF 75-300mm beginner-friendly zoom</a>, it sure feels like the season is heading towards a full bloom.It’s exciting, though, as this new M.Zuiko Digital ED 50-200mm f/2.8 IS PRO looks to be quite powerful and promising for photographers and videographers alike. Here’s what you need to know.<hr/><h3>The OM System M.Zuiko Digital ED 50-200mm f/2.8 IS PRO</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/-L9EOGiE7dQ?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Designed as an all-purpose telephoto zoom that aims to be both fast and flexible, the M.Zuiko Digital ED 50-200mm f/2.8 IS PRO is a 100-400mm-equivalent telephoto zoom that offers a nice mix of bright, stable design features with a strong, weather-sealed, and lightweight construction.
Tailored for those looking to capture wildlife, sports, and other adventure photos and videos, the OM System M.Zuiko Digital ED 50-200mm f/2.8 IS PRO should be a great option for those shooting outdoors and trying to capture the fastest-moving subjects.<h3>Covering a Wide Range of Uses</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/wOFEhKxZ_Lk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Some of the best features of this new M.Zuiko Digital ED 50-200mm f/2.8 IS PRO will be its aforementioned unique 100-400 mm equivalent zoom range with a constant f/2.8 maximum aperture, which comes in a portable, hand-holdable design that should offer a great deal of flexibility when shooting distant subjects.
The lens's f/2.8 maximum aperture should also be well-suited for working in available lighting conditions and enable a shallow depth of field. The lens will also feature an especially quick and responsive autofocus system ideal for the same subjects and will really emphasize the benefits of Micro Four Thirds camera systems with its lightweight design and size.<h3>Price and Availability</h3> The OM System M.Zuiko Digital ED 50-200mm f/2.8 IS PRO is available for preorder now, with units expected to start shipping at the beginning of October 2025. Here are the full specs and purchase options.
<ul><li>Micro Four Thirds | f/2.8 to f/22</li><li>100-400mm (Full-Frame Equivalent)</li><li>Fast, Compact Super-Telephoto Zoom</li><li>7-Stop 5-Axis Sync IS</li><li>2.6' Min. Focus, Supports C-AF at 50 fps</li><li>ED and HR Elements & ZERO II Coating</li><li>Internal Zoom and Focus Design</li><li>Focus Limit Switch & 4 Lens Fn Buttons</li><li>IP53 Weather-Sealed, Fluorine Coating</li><li>Compatible with Optional Teleconverters</li></ul><h3>OM SYSTEM M.Zuiko Digital ED 50-200mm f/2.8 IS PRO Lens</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="6c215e7793f3985b7f77549c1683d979" data-rm-shortcode-name="rebelmouse-image" id="41640" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61589089&width=980"/>A distinctly fast and flexible lens, the M.Zuiko Digital ED 50-200mm f/2.8 IS PRO, from OM SYSTEM, is a 100-400mm-equivalent telephoto zoom that mixes a bright , stable design with a robust, weather-sealed, and lightweight construction.]]></description><pubDate>Thu, 11 Sep 2025 17:07:02 +0000</pubDate><guid>https://nofilmschool.com/om-system-mzuiko-digital-ed-50-200mm-f28-is-pro</guid><category>Om system m.zuiko digital ed 50-200mm f2.8 is pro</category><category>Zoom lenses</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/om-system-m-zuiko-digital-ed-50-200mm-f-2-8-is-pro.png?id=61589550&width=980"></media:content></item><item><title>OM SYSTEM M.Zuiko Digital ED 50-200mm f/2.8 IS PRO Lens</title><link>https://nofilmschool.com/om-system-m-zuiko-digital-ed-50-200mm-f-2-8-is-pro-lens</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61589089&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> A distinctly fast and flexible lens, the M.Zuiko Digital ED 50-200mm f/2.8 IS PRO, from OM SYSTEM, is a 100-400mm-equivalent telephoto zoom that mixes a bright , stable design with a robust, weather-sealed, and lightweight construction.]]></description><pubDate>Thu, 11 Sep 2025 14:57:05 +0000</pubDate><guid>https://nofilmschool.com/om-system-m-zuiko-digital-ed-50-200mm-f-2-8-is-pro-lens</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61589089&width=980"></media:content></item><item><title>How Duality Is Omnipresent in 'Black Swan'</title><link>https://nofilmschool.com/duality-in-black-swan</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/natalie-portman-as-nina.png?id=61585330&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/> Aaron Darronofsky’s Black Swan (2010) is a beautiful visual rendition of how perfection means striking a balance between the darkness and the light in you. The narrative explores nature’s duality both philosophically and visually, through Nina’s (Natalie Portman) journey, as she finally transforms into the Black Swan, but at the cost of her own life.In this article, we’re analyzing how every scene and almost every frame in the Black Swan realigns the narrative to its central theme, nature’s duality.<h2>The Story</h2>Black Swan follows Nina, a ballet dancer at the New York City Ballet Company. Ambitious and talented, Nina’s identity centers on her art. When the company announces a new show, their own rendition of the Black Swan, and the director announces that he is looking for a lead, Nina is determined to nab the role.In the audition, Nina realizes that while she is perfectly encapsulating the essence of the White Swan, Odette, she is far from being the Black Swan, Odelia, despite her experience, talent, and years of practice. Knowing that the director is hell-bent on casting a single dancer to play both roles, Nina begins a desperate pursuit of perfection in her art.Even after bagging the part, Nina is still unable to encapsulate the Black Swan. Her obsession with perfection and ambition starts taking a toll on her mental health. Things go from bad to worse when Lily (Mila Kunis), a talented and promising dancer but a comparatively newer addition to the ballet troupe, shows a naturalistic sync with the role of the Black Swan, proving herself to be the worthier choice for the Black Swan.Seeing her carefree poise and seductive grace, Nina begins to perceive her as a threatening rival, becoming more and more insecure with every passing day. As she loses herself in her pursuit of perfection, she begins to hallucinate her inner darkness, in her own shape and form, continuously shadowing her. Be it at practice, dress-fitting, or in her bath, the dark Nina is everywhere, psychologically tormenting her just by her mere presence. Amidst her mental turmoil, she juggles her overbearing mother, competitive fellow dancers, and a demanding director until she transforms into the Black Swan perfectly, but at the cost of her life.<h2>How Black Swan Unveils Its Duality Scene by Scene</h2>Let’s begin unveiling the duality that lies snugly hidden in the <a href="https://nofilmschool.com/tag/story-structure" target="_blank">story structure</a>.<h3>Underlying Duality in Nina</h3>Nina is shy, composed, and poised. She strives to dive into the details of her art to perfect every little aspect of her dance. She is disciplined, soft-spoken, and fragile. She never goes against what is expected of her and hardly ever lives for herself, beyond the ballet. But the moment she is offered the role, we begin to get glimpses of the buried restlessness within her. Throughout the story, while she outwardly embodies the White Swan, her jealousy, obsession, and competitiveness continue to give us glimpses of the version of Nina that she is yet to meet—the dark Nina.Although she feels such strong emotions that are often considered negative, she strongly resists breaking free from the cage she has made for herself, as if she is choosing to be fragile in the name of being safe. Or maybe she was too comfortable in her delusion. In any case, the cowardice in her is somehow too evident to miss. For instance, when the old man in the subway openly starts touching himself in the metro, digging his eyes straight into Nina's, she chooses to turn her face away instead of confronting him. Or when she doesn’t even try to fight the director’s decision to replace her with someone else for the role of Swan Queen, until he explicitly prompts her to fight for her place.But did you notice how she didn’t think before confronting Lily directly after she learned that she had been talking to the director about her behind her back (although she said good things)? With these sequences throughout the narrative, Aronofsky continues to remind us that we’re almost equal parts light and darkness, and it’s smarter to embrace the darkness before the light overwhelms you.<h3>Duality Through Contrasts</h3>The scenes are also designed with duality in mind. For instance, every interaction between Lily and Nina focuses on highlighting the contrast between the two. <img alt="" class="rm-shortcode" data-rm-shortcode-id="19d8f6309622708fcd66a813a1c44203" data-rm-shortcode-name="rebelmouse-image" id="f064a" loading="lazy" src="https://nofilmschool.com/media-library/black-swan-2010.jpg?id=61564534&width=980"/> Black Swan (2010)Credit: Searchlight PicturesBe it at the practice or at dinner and clubbing, the difference between the two women is jarring, until Nina breaks out of her shell. <img alt="" class="rm-shortcode" data-rm-shortcode-id="c7c5e1e3ae0b926083f83e870870aeb0" data-rm-shortcode-name="rebelmouse-image" id="e2a5b" loading="lazy" src="https://nofilmschool.com/media-library/black-swan-2010.jpg?id=61564538&width=980"/> Black Swan (2010)Credit: Searchlight PicturesEven the costumes are largely divided into blacks and whites, especially in her rehearsals. The climax, i.e., the ballet show, is also visually checkered—blacks and whites, from costume to set design.<h3>Duality Through Visual Motifs</h3>Visually, Aronofsky uses mirrors as his central visual <a href="https://nofilmschool.com/motif-in-film" target="_blank">motif</a> to establish duality every chance he gets. Almost every scene has prominent usage of mirrors that continue to visually project Nina into twos, even before her descent into madness. For instance, in the opening sequence, she is shown sitting before a three-fold life-sized mirror, as she talks about her dream from the previous night. Where there is no mirror, Aronofsky plays with her reflection. <img alt="" class="rm-shortcode" data-rm-shortcode-id="e0a70c66a9b2ffb044001a483effbef0" data-rm-shortcode-name="rebelmouse-image" id="2c515" loading="lazy" src="https://nofilmschool.com/media-library/black-swan-2010.jpg?id=61564530&width=980"/> Black Swan (2010)Credit: Searchlight Pictures <img alt="" class="rm-shortcode" data-rm-shortcode-id="558c10ce335ad9a9dc9078b24b121045" data-rm-shortcode-name="rebelmouse-image" id="2e7a3" loading="lazy" src="https://nofilmschool.com/media-library/black-swan-2010.jpg?id=61564552&width=980"/> Black Swan (2010)Credit: Searchlight PicturesNina is rarely alone, visually.This relentless visual and narrative mirroring of the “yin-yang” concept compels audiences to experience Nina’s duality as she does, seemingly in real-time. The beauty of Black Swan lies in its visual metaphors. Be it duality, obsession, masochism, or self-discovery, Black Swan’s visual language is as strong as its storytelling. Have you watched Black Swan yet? Let us know your favorite highlights from the movie.]]></description><pubDate>Thu, 11 Sep 2025 08:10:03 +0000</pubDate><guid>https://nofilmschool.com/duality-in-black-swan</guid><category>Black swan</category><category>Darren aronofsky</category><category>Movie analysis</category><category>Black swan</category><dc:creator>Sreenidhi Podder</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/natalie-portman-as-nina.png?id=61585330&width=980"></media:content></item><item><title>FUJIFILM GFX ETERNA 55 Cinema Camera</title><link>https://nofilmschool.com/fujifilm-gfx-eterna-55-cinema-camera</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/image.jpg?id=61585875&width=1245&height=700&coordinates=0%2C109%2C0%2C110"/> FUJIFILM brings its vaunted photographic history to a video-centric form with the GFX ETERNA 55 Cinema Camera.]]></description><pubDate>Thu, 11 Sep 2025 02:08:30 +0000</pubDate><guid>https://nofilmschool.com/fujifilm-gfx-eterna-55-cinema-camera</guid><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61585875&width=980"></media:content></item><item><title>Can Fujifilm's First Filmmaking Camera Bring Balance to the Large Format Market?</title><link>https://nofilmschool.com/fujifilm-gfx-eterna-55-announced</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/fujifilm-gfx-eterna-55-introduced.png?id=61578504&width=1245&height=700&coordinates=0%2C180%2C0%2C180"/> In what is turning into one of the biggest, most exciting, and perhaps most important weeks of the year in terms of major camera announcements, Fujifilm has finally officially introduced the GFX ETERNA 55 and, man, does this camera slap. At release, the GFX ETERNA 55 is set to be the tallest digital filmmaking sensor that has ever been available for purchase on the open market. With a native 4:3 Open Gate format that is set to mirror the filmmaking legacy of the 4-perf Super 35mm, but—you know—at a scale nearly approximately 3x larger , the tall sensor-powered GFX ETERNA 55 is going to be a powerhouse workhorse, likely, for years to come.Here’s what to know about the just-announced Fujifilm GFX ETERNA 55.<hr/><h3>The Fujifilm GFX ETERNA 55 is Here</h3> <iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/rk9RHViSywY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe>Featuring a GFX 102MP CMOS II HS sensor with full dimensions of 43.8 x 33.9mm and native dual-based ISO of 800 and 3200, the Fujifilm GFX ETERNA 55 looks to be all that has been promised. Long rumored and with specs released a few months ago, there’s been some debate as to whether this would count as Fujifilm’s “first filmmaking camera,” or not. (Since this is what Fujifilm is saying, we’re going to go with that.)<blockquote>“GFX ETERNA 55 introduces the filmmaking community to the tallest digital filmmaking sensor that has ever been available for purchase on the open market ... This sensor height brings a great range of format flexibility and opportunities to create larger than Full Frame images with spherical lenses, or images of epic cinematic scale when paired with anamorphic lenses.” — John Blackwood, Director, Product Marketing, Electronic Imaging Division & Optical Devices Division, FUJIFILM North America Corporation.</blockquote>The GFX ETERNA 55 will also be able to import up to 16 3D LUTs as well as hang its hat on its ability to allow cinematographers and filmmakers of all types to get the best color they can straight out of the camera, thanks to Fujifilm’s color legacy in analog film.<h3>Innovative Image Expression</h3> <img alt="Fujifilm GFX ETERNA 55" class="rm-shortcode" data-rm-shortcode-id="2ee85f2090bd9b1132f482bd15c53ccf" data-rm-shortcode-name="rebelmouse-image" id="354bc" loading="lazy" src="https://nofilmschool.com/media-library/fujifilm-gfx-eterna-55.png?id=61578507&width=980"/>The calling card of the GFX ETERNA 55 might end up being its rich tonal and true-to-life image quality, which promises to be unique to its large-format sensor. The goal is to bring new value to filmmaking across various genres such as independent and feature films, television, documentaries, weddings, commercials, music videos, and everything else in between these days.
The GFX ETERNA 55 is also set to feature five main formats, which will each have more options for resolution selections. The five main formats will include:
<ul><li>GF</li><li>Premista</li><li>35mm</li><li>ANAMORPHIC (35mm)</li><li>Super35</li></ul>
With these diverse selections, cinematographers should have plenty of opportunities to find diverse visual expression when combined with the many types of lenses that can be paired with each specific format.
Another of the main selling points for the GFX ETERNA 55, which we can now confirm, is the incorporation of dual-base ISO with two base sensitivities, ISO 800 and ISO 3200, options that should help considerably in either very bright or very dark lighting conditions.<h3>Pricing and Availability</h3> It’s been a long time coming, but Fujifilm’s first filmmaking camera is a promising addition to the large format market that should give filmmakers and high-end cinematographers more options and a greater balance against some of the familiar names in the space.The Fujifilm GFX ETERNA 55 is set to begin shipping in October 2025 and will retail for the suggested price of $16,499.95 USD. We’ll have more reviews and info to share in the future, but for now, you can find more info on <a href="https://www.fujifilm-x.com/en-us/products/cameras/gfx-eterna-55/" target="_blank">Fujifilm’s website here.</a><h3>FUJIFILM GFX ETERNA 55 Cinema Camera</h3> <img alt="" class="rm-shortcode" data-rm-shortcode-id="ec3d3b33eb0ffbb0b900dbd951cbe470" data-rm-shortcode-name="rebelmouse-image" id="d6af6" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61585875&width=980"/>FUJIFILM brings its vaunted photographic history to a video-centric form with the GFX ETERNA 55 Cinema Camera.]]></description><pubDate>Thu, 11 Sep 2025 01:01:03 +0000</pubDate><guid>https://nofilmschool.com/fujifilm-gfx-eterna-55-announced</guid><category>Fujifilm</category><category>Fujifilm gfx eterna</category><category>Fujifilm gfx series</category><category>Large format</category><category>Fujifilm gfx eterna 55</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/fujifilm-gfx-eterna-55-introduced.png?id=61578504&width=980"></media:content></item><item><title>The Paul Thomas Anderson Scripts Every Cinephile Should Read</title><link>https://nofilmschool.com/paul-thomas-anderson-scripts</link><description><![CDATA[
<img src="https://nofilmschool.com/media-library/the-best-paul-thomas-anderson-scripts.jpg?id=56611083&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/> Few filmmakers explore the American psyche with the same ferocious empathy as Paul Thomas Anderson. His movies always contain a cast of dreamers, hustlers, lost souls, and would-be prophets, all navigating the vast landscapes of California and beyond.Today, I wanted to take a look at his screenplays and pick apart what we can learn from them. As always, these are for educational and research purposes only.Let's dive in. <hr/><h2>Lessons From PTA's Writing </h2>In a PTA screenplay, the plot doesn't happen to the characters; the plot is the characters. He builds his stories from the inside out, starting with deeply flawed individuals defined by their powerful, often contradictory, needs. From there, you can see him build out the world and introduce people to push our heroes ot their brink, and put them in situations where their flaws come out alongside their strengths, as they try to reconcile them both. Reading these screenplays and seeing how he makes this work on paper is an invaluable lesson. They are ones I keep going back to to see how he shows emotion and <a data-linked-post="2661193642" href="https://nofilmschool.com/story-development" target="_blank">development</a> on screen and what draws actors to be part of his films. <h2>Paul Thomas Anderson Screenplays </h2><h3>Hard Eight (1996)</h3>Screenplay by Paul Thomas Anderson – <a href="http://issuu.com/lafamiliafilm/docs/sydney__hard_eight_" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>Boogie Nights (1997)</h3>Screenplay by Paul Thomas Anderson – <a href="https://www.dropbox.com/s/o9ir49a2v68gflj/Boogie%20Nights%20%2805_96%29.pdf?=1&dl=1" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>Magnolia (1999)</h3>Screenplay by Paul Thomas Anderson – <a href="http://www.pages.drexel.edu/%7Eina22/splaylib/Screenplay-Magnolia.PDF" target="_blank">Read the screenplay!</a><h3>Punch-Drunk Love (2002)</h3>Screenplay by Paul Thomas Anderson – <a href="http://www.pages.drexel.edu/%7Eina22/splaylib/Screenplay-Punch-Drunk_Love.pdf" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>There Will Be Blood (2007)</h3>Screenplay by Paul Thomas Anderson – <a href="http://www.hollywoodchicago.com/uploaded_images/therewillbeblood_script.pdf" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>The Master (2012)</h3>Screenplay by Paul Thomas Anderson – <a href="http://screenplayexplorer.com/wp-content/scripts/the-master.pdf" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>Inherent Vice (2014)</h3>Screenplay by Paul Thomas Anderson – <a href="http://pdl.warnerbros.com/wbmovies/awards2014/pdf/iv.pdf" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>Phantom Thread (2017)</h3>Screenplay by Paul Thomas Anderson – <a href="https://www.scriptslug.com/script/phantom-thread-2017" rel="noopener noreferrer" target="_blank">Read the screenplay!</a><h3>Licorice Pizza (2021)</h3>Screenplay by Paul Thomas Anderson – Coming Soon! <h3>One Battle After Another (2025)</h3>Screenplay by Paul Thomas Anderson – Coming Soon!<h2>Summing It All Up </h2>Paul Thomas Anderson has established himself as one of the most acclaimed directors of his generation. His filmography is a celebrated collection of works, and these scripts are a gateway into his genius. Let me know what you think in the comments. ]]></description><pubDate>Wed, 10 Sep 2025 21:40:04 +0000</pubDate><guid>https://nofilmschool.com/paul-thomas-anderson-scripts</guid><category>Script download</category><category>Screenplay download</category><category>Paul thomas anderson</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-best-paul-thomas-anderson-scripts.jpg?id=56611083&width=980"></media:content></item></channel></rss>

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