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  31. <title>29th August 2025 &#124; The Friday Filmmaking Blog</title>
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  34. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
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  39. <description><![CDATA[Explore three standout articles on filmmaking — from lighting jargon to AI tools and the art of a great sequel.]]></description>
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  54. <h1 class="entry-title">29th August 2025 | The Friday Filmmaking Blog</h1>
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  106. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week’s filmmaking finds offer a fascinating mix of emotion, education, and innovation. First, we dive into <em data-start="436" data-end="446">Together</em>, Stephen Daldry’s razor-sharp pandemic drama, and how its final act redefines the story’s emotional centre. Then, we’ve got a seriously handy resource for lighting newbies and veterans alike, <em data-start="640" data-end="665">The Gaffer’s Dictionary</em>, a jargon-busting guide from No Film School. And finally, for the tech-curious among us, a practical breakdown of the latest AI tools in video production from Drew Geraci. Whether you’re on set or in post, there’s something here for everyone.</p></div>
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  134. <div class="et_pb_text_inner"><h3 style="text-align: center;"><em data-start="1086" data-end="1096">Together</em> (2021): A Pandemic Drama with a Quiet Punch</h3>
  135. <p>&nbsp;</p>
  136. <p data-start="1143" data-end="1263"><a class="decorated-link" href="https://www.indiewire.com/features/craft/together-ending-explained-1235141813/?utm_source=chatgpt.com" target="_new" rel="noopener" data-start="1143" data-end="1263"><strong data-start="1144" data-end="1182">Read the full article on IndieWire</strong></a></p>
  137. <p data-start="1265" data-end="1507">Stephen Daldry’s <em data-start="1282" data-end="1292">Together</em> is more than a lockdown drama — it’s an emotional pressure cooker disguised as a talky two-hander. In this IndieWire breakdown, David Ehrlich explores how the film’s ending reshapes everything that came before it.</p>
  138. <p data-start="1509" data-end="1867">The story follows a bickering couple (James McAvoy and Sharon Horgan) forced to quarantine together with their son. What begins as biting, fourth-wall-breaking banter gradually peels back to reveal something far more vulnerable. And it’s in the final moments — understated, honest, and entirely human — that the film delivers its biggest emotional gut-punch.</p>
  139. <p data-start="1869" data-end="2254">Ehrlich points to the film’s theatrical framing, and how its refusal to over-dramatise makes the final reveal all the more affecting. The characters don’t transform overnight, but they do confront grief, guilt and connection in ways that feel painfully real. The result? A film that says something quietly profound about survival — not just through a pandemic, but through shared pain.</p>
  140. <p data-start="1869" data-end="2254">
  141. <p><iframe title="TOGETHER (2025) Ending Explained — Love, Loss &amp; Body Horror" width="1080" height="608" src="https://www.youtube.com/embed/Wx6YU1pm8i0?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
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  169. <div class="et_pb_text_inner"><h3 style="text-align: center;">Lighting the Set: <em data-start="3484" data-end="3509">The Gaffer’s Dictionary</em></h3>
  170. <p>&nbsp;</p>
  171. <p data-start="3512" data-end="3606"><a class="decorated-link" href="https://nofilmschool.com/the-gaffers-dictionary?utm_source=chatgpt.com" target="_new" rel="noopener" data-start="3512" data-end="3606"><strong data-start="3513" data-end="3556">Read the full article on No Film School</strong></a></p>
  172. <p data-start="3608" data-end="3984">It’s often said that lighting is 90% of cinematography — and yet, for many filmmakers, the world of lighting remains something of a black box. That’s what makes No Film School’s <em data-start="3786" data-end="3807">Gaffer’s Dictionary</em> such a valuable find. It’s part glossary, part cultural artifact, and all practical knowledge for anyone who wants to understand how lighting departments really operate on set.</p>
  173. <p data-start="3986" data-end="4328">What sets this piece apart is that it’s not just a dry list of terms — it’s a living, breathing language map of the set. From classics like “HMI” and “baby stand” to more colloquial terms like “Mickey” and “meat axe”, the dictionary gives you a crash course in how gaffers, electrics, and grips talk to one another to keep productions moving.</p>
  174. <p data-start="4330" data-end="4716">The tone is approachable, but there’s real depth here. For example, the entry on “negative fill” isn’t just a definition — it’s an opportunity to understand how subtractive lighting techniques can add dimensionality and mood to a scene. Or the breakdown of “chimeras” and “egg crates”, which goes beyond nomenclature to explain how these tools are used to sculpt light and manage spill.</p>
  175. <p data-start="4718" data-end="5080">One of the most valuable aspects of the dictionary is how it contextualises lighting terminology within the practical demands of a shoot. These aren’t just words — they’re signals that convey urgency, safety, timing, and creative intent. In high-pressure environments where time is money and setups are tight, clear communication can make or break a day’s shoot.</p>
  176. <p data-start="5082" data-end="5381">For filmmakers, especially those climbing the ranks or moving laterally into the world of gaffing or cinematography, this dictionary is an essential reference. It demystifies the jargon and fosters better communication between departments — something that always leads to better filmmaking outcomes.</p></div>
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  204. <div class="et_pb_text_inner"><h3 style="text-align: center;">AI Tools in Filmmaking: Tips &amp; Tricks with Drew Geraci</h3>
  205. <p>&nbsp;</p>
  206. <p data-start="5500" data-end="5637"><a class="decorated-link" href="https://www.cined.com/ai-video-generation-tools-and-tricks-with-drew-geraci-cined-focus-check-ep79/?utm_source=chatgpt.com" target="_new" rel="noopener" data-start="5500" data-end="5637"><strong data-start="5501" data-end="5535">Read the full article on CineD</strong></a></p>
  207. <p data-start="5639" data-end="5964">AI and filmmaking: a topic that provokes equal parts excitement and anxiety. But in this latest episode of <em data-start="5746" data-end="5767">CineD’s Focus Check</em>, time-lapse cinematographer and gear expert Drew Geraci gives a refreshingly grounded take on how AI tools are currently being used by real filmmakers — not just theorised by Silicon Valley execs.</p>
  208. <p data-start="5966" data-end="6451">The article (and accompanying video interview) walks us through Geraci’s practical toolkit, which includes a combination of AI-powered software like Runway ML, Topaz Labs, and Pika. What’s refreshing here is that Geraci doesn’t push hype — he explains where these tools work <em data-start="6241" data-end="6246">and</em> where they fall short. For instance, he discusses using AI for cleanup, background replacement, and generating quick animatics, but notes that creative control and visual consistency remain major hurdles.</p>
  209. <p data-start="6453" data-end="6840">There’s a lot to digest here, especially when Geraci begins to compare AI workflows to traditional VFX pipelines. His message is clear: AI isn’t here to replace artists — it’s another tool in the kit. For indie filmmakers or small production companies, these tools can level the playing field, offering affordable ways to experiment and iterate without the need for big studio resources.</p>
  210. <p data-start="6842" data-end="7181">Geraci also tackles some of the thornier issues around AI in filmmaking, particularly around ethics and copyright. He makes the case for transparency — if you’re using AI, own it. And be mindful of the datasets these tools rely on. In a world where image rights and authorship are becoming increasingly blurred, that level of care matters.</p>
  211. <p data-start="7183" data-end="7471">The big takeaway? Filmmakers who understand both the strengths <em data-start="7246" data-end="7251">and</em> the weaknesses of AI tools will be better positioned to innovate responsibly. The article serves as a primer for those curious but cautious, and Geraci’s measured tone makes it accessible even if you’re not a tech-head.</p>
  212. <p data-start="7183" data-end="7471">
  213. <p><iframe title="Drew Geraci: Gen AI Video Tools Here to Stay, Better Learn Them – CineD Focus Check Ep79" width="1080" height="608" src="https://www.youtube.com/embed/z3rky-Rvuhw?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
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  433. <media:title type="plain">29th August 2025 | The Friday Filmmaking Blog</media:title>
  434. <media:description type="html"><![CDATA[Enjoy the videos and music that you love, upload original content and share it all with friends, family and the world on YouTube.]]></media:description>
  435. <media:thumbnail url="https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog.png" />
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  439. <item>
  440. <title>22nd August 2025 &#124; The Friday Filmmaking Blog</title>
  441. <link>https://www.slateandmortar.com/news/22nd-august-2025-friday-filmmaking-blog</link>
  443. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  444. <pubDate>Thu, 21 Aug 2025 11:04:16 +0000</pubDate>
  445. <category><![CDATA[News]]></category>
  446. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8850</guid>
  447.  
  448. <description><![CDATA[Discover how filmmaking is evolving through craft, music, and AI in this week’s blog from Slate and Mortar]]></description>
  449. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_9 et_pb_fullwidth_section et_section_regular" >
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  463. <h1 class="entry-title">22nd August 2025 | The Friday Filmmaking Blog</h1>
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  515. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week in the filmmaking world, we&#8217;re looking at how innovation, nostalgia, and controversy continue to shape the craft. First up, we dive into a deceptively simple mirror scene in Nobody 2 that’s causing a stir online for its clever choreography and visual storytelling. Then, we take a trip back to the 1970s to explore how some of the most iconic film scores of all time weren’t just background music, they helped redefine cinema. And finally, we’re looking at how AI is beginning to disrupt film financing, with new tools that could reshape how productions tap into local tax incentives.</p></div>
  516. </div>
  517. </div>
  522. </div>
  525. </div><div class="et_pb_section et_pb_section_12 et_pb_with_background et_section_regular" >
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  533. <div class="et_pb_column et_pb_column_4_4 et_pb_column_11  et_pb_css_mix_blend_mode_passthrough et-last-child">
  538. <div class="et_pb_module et_pb_text et_pb_text_8  et_pb_text_align_left et_pb_bg_layout_light">
  543. <div class="et_pb_text_inner"><h3 style="text-align: center;">Nobody 2’s Mirror Scene Is a Lesson in Low-Key Cinematic Sleight of Hand</h3>
  544. <p>&nbsp;</p>
  545. <p><a href="https://nofilmschool.com/nobody-2-mirror-sequence" target="_blank" rel="noopener">Read the full article at No Film School</a></p>
  546. <p>We’re all suckers for a bit of movie magic — and this week, Nobody 2 gave us a perfect reminder that not all visual wizardry needs a massive VFX budget. In a recent article from No Film School, the team breaks down a mirror fight scene from the upcoming Nobody 2 trailer that’s had film Twitter buzzing — not for what you see, but for what you don’t.</p>
  547. <p>At first glance, the sequence is unassuming: Bob Odenkirk’s character gets into a brawl in a tight, dimly lit bathroom, mirrors everywhere. It&#8217;s chaotic, visceral, and beautifully choreographed. But here’s the kicker — there are no visible camera reflections, despite the actors smashing around in a space lined with reflective surfaces. And once you notice that… you can’t unsee it.</p>
  548. <p>No Film School’s breakdown explains how the filmmakers achieved the scene’s seamless execution using a blend of practical effects, clever blocking, and — most intriguingly — digital erasure and set design tricks. It&#8217;s a great example of how the constraints of a location can push filmmakers into more inventive territory.</p>
  549. <p>Rather than going full Enter the Dragon with elaborate mirrored illusions, the Nobody 2 team went for subtlety. The result is a tight, grounded action sequence that still feels immersive and disorienting, but never pulls you out of the scene to ask, “Wait, where’s the crew?”</p>
  550. <p>For filmmakers, it’s a powerful reminder that what makes a shot look expensive isn’t always the tools — it’s the choices. Clever choreography, rehearsed blocking, and an understanding of how reflections work in-camera can create something far more memorable than an overcooked CGI-laden sequence.</p>
  551. <p>And while Nobody 2 may not be trying to reinvent the genre, this scene shows a real respect for the craft — both in the action design and in the editing room. For indie creators especially, it’s a testament to how smart filmmaking can elevate your production without breaking the bank.</p>
  552. <p>&nbsp;</p>
  553. <p><iframe title="Nobody 2 | Official Trailer" width="1080" height="608" src="https://www.youtube.com/embed/-5X2pt95cIo?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
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  560. </div>
  563. </div><div class="et_pb_section et_pb_section_13 et_pb_with_background et_section_regular" >
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  581. <div class="et_pb_text_inner"><h3 style="text-align: center;">The Scores That Shaped a Cinematic Decade</h3>
  582. <p>&nbsp;</p>
  583. <p><a href="https://www.indiewire.com/features/best-of/best-movie-scores-1970s-1235145726/" target="_blank" rel="noopener">Read the full article at IndieWire</a></p>
  584. <p>There’s a reason we still talk about 1970s cinema with a kind of reverent awe. It was a time of rebellion, experimentation, and an absolute explosion of creative freedom. But often lost in the conversation about gritty realism and director-led storytelling is the music — the scores that quietly (or sometimes very loudly) gave these films their emotional depth and staying power.</p>
  585. <p>IndieWire’s latest retrospective delves into the most influential film scores of the 1970s, but rather than presenting a bland “best of” list, it contextualises how these scores shaped entire genres, moods, and even careers. What emerges is a portrait of a decade where music didn’t just accompany the story — it was the story.</p>
  586. <p>You’ve got the obvious giants, of course: John Williams’ Star Wars fanfare that reshaped what a blockbuster felt like. But the article also makes space for the eerie minimalism of Wendy Carlos’s A Clockwork Orange, and the quietly haunting tension of Jerry Goldsmith’s Chinatown. It’s a reminder that the decade’s cinematic innovations weren’t just happening through the lens — they were being orchestrated in the studio.</p>
  587. <p>What’s particularly interesting is how these scores mirrored the filmmaking risks of the time. Directors like Scorsese, Altman, and Coppola were breaking form — and so were the composers. Bernard Herrmann’s Taxi Driver score, for example, brought noir jazz into a fractured modernity, giving Travis Bickle’s descent a sonic texture as layered as the film’s visuals.</p>
  588. <p>This piece is more than just nostalgia. For modern filmmakers, it’s a call to think more deeply about music as part of the storytelling fabric, not just an afterthought in post. IndieWire also notes the renewed interest in analogue synths and orchestral arrangements by today’s composers — proving that some of these sonic ideas never really left.</p>
  589. <p>In an industry increasingly driven by templates and streaming algorithms, the lessons of ‘70s film scores feel more urgent than ever: don’t be afraid to surprise, disturb, or emotionally overwhelm. That’s what the greats did.</p>
  590. <p>&nbsp;</p>
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  592. </div>
  593. </div>
  598. </div>
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  614. <div class="et_pb_module et_pb_text et_pb_text_10  et_pb_text_align_left et_pb_bg_layout_light">
  619. <div class="et_pb_text_inner"><h3 style="text-align: center;">AI Is Changing the Film Incentive Game. Fast</h3>
  620. <p>&nbsp;</p>
  621. <p><a href="https://www.wrapbook.com/blog/ai-film-incentives" target="_blank" rel="noopener">Read the full article at Wrapbook</a></p>
  622. <p>There’s no shortage of conversation around how AI is creeping into the creative side of filmmaking — from script generation to synthetic voiceovers. But this latest piece from Wrapbook shifts the lens to something far more administrative: film tax incentives.</p>
  623. <p>It might not sound thrilling, but this is where the future of production finance could be headed.</p>
  624. <p>Wrapbook explores how AI is now being used to parse, evaluate, and even predict film incentive opportunities across different regions. These systems can analyse complex local legislation, forecast potential rebates, and recommend production locations based on real-time data — far more efficiently than traditional line producers or location scouts might manage on their own.</p>
  625. <p>The upside? Potentially huge cost savings, faster turnaround on financing decisions, and an ability to model out incentive structures that previously required a small army of consultants and legal teams.</p>
  626. <p>One example discussed is how producers are beginning to integrate AI tools directly into budgeting software. These systems can flag regions where incentives are due to expire, where new incentives are likely to emerge, or where spending thresholds may be harder to meet. The result is a level of planning accuracy that could radically improve the pre-production process — especially for indie projects with tight margins.</p>
  627. <p>Of course, the shift isn’t without risk. There are concerns about the opacity of AI systems, especially when dealing with something as legally and financially complex as tax legislation. And as with all things AI, there’s the very real fear that automation will devalue or displace experienced professionals who’ve built careers navigating these systems manually.</p>
  628. <p>Still, for filmmakers operating in the ever-pressurised world of funding and logistics, this kind of innovation could offer a much-needed edge. AI won’t replace creative instincts — but it might just make it easier to protect your bottom line.</p></div>
  629. </div>
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  656. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  700. <h2 class="entry-title">
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  736. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
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  742. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  743. <p>We’d love to hear from you. Get in touch today!</p></div>
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  848. <media:title type="plain">22nd August 2025 | The Friday Filmmaking Blog</media:title>
  849. <media:description type="html"><![CDATA[Enjoy the videos and music that you love, upload original content and share it all with friends, family and the world on YouTube.]]></media:description>
  850. <media:thumbnail url="https://www.slateandmortar.com/wp-content/uploads/2025/08/34-The-Friday-Filmmaking-Blog.png" />
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  854. <item>
  855. <title>15th August 2025 &#124; The Friday Filmmaking Blog</title>
  856. <link>https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking</link>
  858. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  859. <pubDate>Fri, 15 Aug 2025 07:31:50 +0000</pubDate>
  860. <category><![CDATA[News]]></category>
  861. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8815</guid>
  862.  
  863. <description><![CDATA[This week’s filmmaking blog highlights daring actor stunts, Emmy-nominated cinematographers’ insights, plus a polarising War of the Worlds reboot.]]></description>
  864. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_18 et_pb_fullwidth_section et_section_regular" >
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  878. <h1 class="entry-title">15th August 2025 | The Friday Filmmaking Blog</h1>
  879. </div>
  881. </div>
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  891. <div class="et_pb_row et_pb_row_18">
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  897. <div class="et_pb_module et_pb_image et_pb_image_2">
  902. <span class="et_pb_image_wrap "><img loading="lazy" loading="lazy" decoding="async" width="1280" height="720" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog.png" alt="Friday Filmmaking" title="33 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-480x270.png 480w" sizes="(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1280px, 100vw" class="wp-image-8818" /></span>
  903. </div>
  904. </div>
  909. </div>
  912. </div><div class="et_pb_section et_pb_section_20 et_pb_with_background et_section_regular" >
  919. <div class="et_pb_row et_pb_row_19 et_animated">
  920. <div class="et_pb_column et_pb_column_4_4 et_pb_column_19  et_pb_css_mix_blend_mode_passthrough et-last-child">
  925. <div class="et_pb_module et_pb_text et_pb_text_14  et_pb_text_align_left et_pb_bg_layout_light">
  930. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week’s Friday Filmmaking Blog shines a spotlight on three compelling stories from the filmmaking world, from actors daring to test their own limits in stunts, to cinematographers revealing their Emmy-winning camera secrets, to a highly controversial reboot that’s dividing viewers. These articles are packed with insights that filmmakers and cinephiles will find both informative and thought‑provoking.</p></div>
  931. </div>
  932. </div>
  937. </div>
  940. </div><div class="et_pb_section et_pb_section_21 et_pb_with_background et_section_regular" >
  947. <div class="et_pb_row et_pb_row_20 et_animated">
  948. <div class="et_pb_column et_pb_column_4_4 et_pb_column_20  et_pb_css_mix_blend_mode_passthrough et-last-child">
  953. <div class="et_pb_module et_pb_text et_pb_text_15  et_pb_text_align_left et_pb_bg_layout_light">
  958. <div class="et_pb_text_inner"><h3 style="text-align: center;">Why Some Actors Do Their Own Stunts (And What Could Go Wrong)</h3>
  959. <p>&nbsp;</p>
  960. <p data-start="130" data-end="261"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">This piece explores the perennial debate: when should actors step into a stunt performer’s shoes? It begins by examining the lure of authenticity—when actors do their own stunts, the audience feels more immersed, and the performance feels more seamless. But the article doesn’t shy away from the risks: from injury potential to insurance hurdles and production delays. It highlights a range of examples—from actors who had minor falls to those who suffered serious harm. Stunt doubles, the article emphasizes, are bound by union rules and have expertise—and insurance—to perform stunts safely and professionally.</span></p>
  961. <p data-start="263" data-end="300"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">A compelling spoke in the narrative is Jackie Chan (though not the focus of the piece), a performer famed for doing his own stunts and pushing physical comedy to the extreme. His career reveals both the magic and the risks of such an approach: spectacular moments, but with a real danger factor. Drawing from forums and industry chatter, the article balances admiration for such bold work with cautionary advice: actors must work closely with stunt teams, rehearsals are essential, and clear lines must be drawn between what an actor can safely perform versus when professional stunt performers should take over.</span></p>
  962. <p data-start="302" data-end="403"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The piece ends with practical guidance for filmmakers: assess the actor’s physical capability, involve stunt coordinators early, secure proper insurance, allow time for rehearsal—and know when to hold back. It’s an earnest, thoughtful write-up on the ongoing tension in filmmaking between authenticity and safety.</span></p>
  963. <p data-start="302" data-end="403"><a href="https://nofilmschool.com/stunts-actors-did-themselves" target="_blank" rel="noopener">Source</a></p>
  964. <p>&nbsp;</p>
  965. <p><iframe title="John Wick: Chapter 4 Movie Clip - Arc de Triomphe (2023)" width="1080" height="608" src="https://www.youtube.com/embed/bGFvg0WSnCg?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  966. </div>
  967. </div>
  972. </div>
  975. </div><div class="et_pb_section et_pb_section_22 et_pb_with_background et_section_regular" >
  982. <div class="et_pb_row et_pb_row_21 et_animated">
  983. <div class="et_pb_column et_pb_column_4_4 et_pb_column_21  et_pb_css_mix_blend_mode_passthrough et-last-child">
  988. <div class="et_pb_module et_pb_text et_pb_text_16  et_pb_text_align_left et_pb_bg_layout_light">
  993. <div class="et_pb_text_inner"><h3 style="text-align: center;">2025 Emmys: 19 DPs on How They Shot Their Shows—A Camera Survey</h3>
  994. <p>&nbsp;</p>
  995. <p data-start="433" data-end="561"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">This fascinating article collates insights from nineteen Emmy-nominated directors of photography on the visual storytelling techniques behind this year’s most visually arresting television. It digs into how each DP approached lighting, camera movement, lenses, and color palettes to define their show’s look—and thus, emotional tone.</span></p>
  996. <p data-start="563" data-end="600"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">For instance, one DP discussed using soft, diffused light and handheld cameras to create intimacy in a character-driven drama, whereas another described choosing anamorphic lenses and bold color contrast to heighten visual drama. Several in the group mentioned the practical demands of shooting on streaming schedules—how tight turnarounds forced creative solutions, whether that meant shooting in natural light at odd hours or using innovative rigging to pull off complex movements quickly.</span></p>
  997. <p data-start="602" data-end="639"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The piece also spotlights how technology shapes aesthetics: LEDs enabled fine control over color temperature, drones offered dynamic aerial perspectives, and virtual production gave teams the ability to craft realistic, responsive environments on the fly.</span></p>
  998. <p data-start="641" data-end="737"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">What makes the article especially valuable is its blend of craft detail—gear choices, lighting strategies—with direct quotes and observations from the DPs themselves. It’s a goldmine for anyone interested in the language of cinematography and how to adapt creative vision to practical constraints.</span></p>
  999. <p data-start="641" data-end="737"><a href="https://www.indiewire.com/gallery/2025-emmys-cinematographers-camera-survey/" target="_blank" rel="noopener">Source</a></p>
  1000. <p data-start="641" data-end="737">
  1001. <p><iframe title="Behind the Scenes: Capturing Adolescence in One Take with Ronin 4D | Filmmaking BTS | Crew Studio" width="1080" height="608" src="https://www.youtube.com/embed/YXKGar6goSI?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1002. </div>
  1003. </div>
  1008. </div>
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  1019. <div class="et_pb_column et_pb_column_4_4 et_pb_column_22  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1024. <div class="et_pb_module et_pb_text et_pb_text_17  et_pb_text_align_left et_pb_bg_layout_light">
  1029. <div class="et_pb_text_inner"><h3 style="text-align: center;">War of the Worlds 2025 Cast, Ice Cube, ‘Worst Movie Ever’?</h3>
  1030. <p>&nbsp;</p>
  1031. <p data-start="767" data-end="977"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">This week, <em data-start="11" data-end="28">The Independent</em> examines the polarizing reaction to Amazon Prime Video’s 2025 <em data-start="91" data-end="110">War of the Worlds</em>, starring Ice Cube and Eva Longoria—specifically addressing claims it might be the “worst movie ever.” Released July 30, 2025,</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">this screenlife-style reboot—telling an alien invasion story entirely through digital screens—drew intense criticism.</span></p>
  1032. <p data-start="979" data-end="1302"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Rotten Tomatoes initially dropped it at 0% critics score (now creeping up to 3–4%) with poor audience ratings, landing it at #88 on their list of the 100 worst movies ever.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Critics lambasted it for clunky execution, questionable storytelling choices, and intrusive Amazon product placement. </span><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">One reviewer called it a “feature‑length commercial for all things Amazon”</span>, <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">while others lamented stiff performances and a lack of coherence.</span></p>
  1033. <p data-start="1304" data-end="1465"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">But opinions aren’t unanimously negative—some argue it’s “so bad it’s good,” offering cringe-worthy but entertaining moments ripe for meme culture.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The spectacle of its flops may turn it into a cultural touchpoint, prompting broader discussions around content, corporate influence, and creative risk.</span></p>
  1034. <p data-start="1467" data-end="1658">In sum, it’s a disaster that’s still generating conversation—some as a cinematic misfire, others as an unintended comedic gem.</p>
  1035. <p><a href="https://www.independent.co.uk/arts-entertainment/films/news/war-of-the-worlds-2025-cast-ice-cub-worst-movie-ever-b2806076.html" target="_blank" rel="noopener">Source</a></p>
  1036. <p>&nbsp;</p>
  1037. <p><iframe title="War of the Worlds Gets 0%" width="1080" height="608" src="https://www.youtube.com/embed/55S4ejPDpyk?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1038. </div>
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  1065. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  1087.  
  1088. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/29th-august-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog-400x250.png" alt="29th August 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="15th August 2025 | The Friday Filmmaking Blog 7"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1089. <h2 class="entry-title">
  1090. <a href="https://www.slateandmortar.com/news/29th-august-friday-filmmaking-blog">29th August 2025 | The Friday Filmmaking Blog</a>
  1091. </h2>
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  1096. <article id="post-8850" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_2_1 post-8850 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1097.  
  1098. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/22nd-august-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/34-The-Friday-Filmmaking-Blog-400x250.png" alt="22nd August 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/34-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/08/34-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="15th August 2025 | The Friday Filmmaking Blog 8"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1099. <h2 class="entry-title">
  1100. <a href="https://www.slateandmortar.com/news/22nd-august-2025-friday-filmmaking-blog">22nd August 2025 | The Friday Filmmaking Blog</a>
  1101. </h2>
  1103. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1104. </article>
  1106. <article id="post-8815" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_2_2 post-8815 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1107.  
  1108. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-400x250.png" alt="15th August 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="15th August 2025 | The Friday Filmmaking Blog 9"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1109. <h2 class="entry-title">
  1110. <a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking">15th August 2025 | The Friday Filmmaking Blog</a>
  1111. </h2>
  1113. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1114. </article>
  1115. </div>
  1116. </div>
  1117. </div>
  1118. </div>
  1119. </div>
  1124. </div>
  1127. </div><div class="et_pb_section et_pb_section_26 et_pb_with_background et_section_regular" >
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  1140. <div class="et_pb_module et_pb_text et_pb_text_19  et_pb_text_align_left et_pb_bg_layout_light">
  1145. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1146. </div><div class="et_pb_module et_pb_text et_pb_text_20  et_pb_text_align_center et_pb_bg_layout_light">
  1151. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  1152. <p>We’d love to hear from you. Get in touch today!</p></div>
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  1257. <media:title type="plain">15th August 2025 | The Friday Filmmaking Blog</media:title>
  1258. <media:description type="html"><![CDATA[Enjoy the videos and music that you love, upload original content and share it all with friends, family and the world on YouTube.]]></media:description>
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  1262. </item>
  1263. <item>
  1264. <title>How to make any university visually engaging with authentic student stories</title>
  1265. <link>https://www.slateandmortar.com/news/university-video-production-authentic</link>
  1267. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1268. <pubDate>Tue, 12 Aug 2025 10:21:28 +0000</pubDate>
  1269. <category><![CDATA[News]]></category>
  1270. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8804</guid>
  1271.  
  1272. <description><![CDATA[Discover how creative storytelling in university video production can make any campus shine—no Gothic spires or sweeping coastal views required.]]></description>
  1273. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_27 et_pb_fullwidth_section et_section_regular" >
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  1287. <h1 class="entry-title">How to make any university visually engaging with authentic student stories</h1>
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  1339. <div class="et_pb_text_inner"><h3 style="text-align: center;">Transforming ordinary campuses into extraordinary university marketing videos</h3>
  1340. <p>&nbsp;</p>
  1341. <p>Not every university has Gothic spires, sweeping coastal views, or instantly recognisable landmarks. Many campuses are more modest in appearance, without postcard-perfect courtyards or cinematic aerial views. But in university video production, breathtaking architecture isn’t the deciding factor in whether your content resonates—authentic student stories are.</p>
  1342. <p>The most memorable campus marketing videos work because they tell a story that feels real. A stunning backdrop might look impressive for a moment, but students don’t choose a university based on one sweeping drone shot. They choose it because they can imagine themselves there—immersed in the student experience, connecting with people, sharing moments, and becoming part of the community.</p>
  1343. <p>That’s why the right creative approach can make even the most ordinary campus feel extraordinary.</p>
  1344. <p>&nbsp;</p>
  1345. <p><strong>How to make your campus shine on video</strong></p>
  1346. <p>Great storytelling transforms any location. With a strong narrative, dynamic cinematography, and creative framing, a grey-skied city campus can feel vibrant, and a plain lecture hall can come alive with energy. The goal of higher education video marketing is to capture the moments that define student life: coffee catch-ups between lectures, the excitement of joining a society, or the quiet determination during late-night study sessions.</p>
  1347. <p>By using creative university videography techniques—playing with camera angles, movement, and pacing—you can elevate everyday spaces into engaging, shareable content.</p>
  1348. <p>Every university has its own character. It could be the independent coffee shop where friendships start, the tucked-away study nook where ideas spark, or the hum of activity in a busy library. These authentic moments communicate more about a university than any building ever could.</p>
  1349. <p>&nbsp;</p>
  1350. <p><strong>It’s not about the scenery—it’s about the story</strong></p>
  1351. <p>The power of a university video production lies in emotion. A personal student journey, a heartfelt voiceover, or the authentic interactions of campus life can transform even the simplest setting. Viewers remember how a video makes them feel, and that emotional connection is what drives engagement.</p>
  1352. <p>The best engaging student life content doesn’t rely on the location to do the heavy lifting—it relies on human stories. If your content makes your audience feel inspired, connected, or curious, it will stand out—no matter the backdrop.</p>
  1353. <p>&nbsp;</p>
  1354. <p>If you’d like to see how this approach works in practice, take a look at our recent work on the <a class="" href="https://www.slateandmortar.com/project/school-of-performance-and-cultural-industries" target="_new" rel="noopener" data-start="205" data-end="356">School of Performance and Cultural Industries promotional video</a>. Filmed across a variety of everyday campus locations, it blends <strong data-start="424" data-end="453">authentic student stories</strong> with dynamic cinematography to create a vibrant and engaging piece—without relying on iconic architecture. This project is a perfect example of how <strong data-start="602" data-end="633">university video production</strong> can transform even the simplest spaces into powerful, emotion-led marketing content.</p>
  1355. <p>&nbsp;</p>
  1356. <p><b>References</b></p>
  1357. <p><a href="https://www.timeshighereducation.com/campus/how-authentic-stories-can-empower-unheard-voices" target="_blank" rel="noopener">How authentic stories can empower the “unheard voices”</a><br /><a href="https://www.qs.com/using-storytelling-to-improve-your-student-recruitment-strategy/" target="_blank" rel="noopener">Using storytelling to improve your student recruitment strategy</a><br /><a href="https://www.oho.com/blog/higher-education-video-best-practices" target="_blank" rel="noopener">Higher education video best practices</a></p>
  1358. <p>&nbsp;</p></div>
  1359. </div><div class="et_pb_with_border et_pb_module et_pb_text et_pb_text_22 et_animated  et_pb_text_align_left et_pb_bg_layout_light">
  1364. <div class="et_pb_text_inner"><h3 style="text-align: center;">Ready to turn your campus into a story students can’t forget?</h3>
  1365. <h3 style="text-align: center;"><strong><span style="text-decoration: underline;"><a href="https://www.slateandmortar.com/get-in-touch">Contact us today</a></span></strong> and let&#8217;s make it happen!</h3></div>
  1366. </div>
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  1393. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  1415.  
  1416. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/29th-august-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog-400x250.png" alt="29th August 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/08/35-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="How to make any university visually engaging with authentic student stories 10"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1417. <h2 class="entry-title">
  1418. <a href="https://www.slateandmortar.com/news/29th-august-friday-filmmaking-blog">29th August 2025 | The Friday Filmmaking Blog</a>
  1419. </h2>
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  1422. </article>
  1424. <article id="post-8850" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_3_1 post-8850 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1425.  
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  1427. <h2 class="entry-title">
  1428. <a href="https://www.slateandmortar.com/news/22nd-august-2025-friday-filmmaking-blog">22nd August 2025 | The Friday Filmmaking Blog</a>
  1429. </h2>
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  1432. </article>
  1434. <article id="post-8815" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_3_2 post-8815 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1435.  
  1436. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-400x250.png" alt="15th August 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="How to make any university visually engaging with authentic student stories 12"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1437. <h2 class="entry-title">
  1438. <a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking">15th August 2025 | The Friday Filmmaking Blog</a>
  1439. </h2>
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  1442. </article>
  1443. </div>
  1444. </div>
  1445. </div>
  1446. </div>
  1447. </div>
  1452. </div>
  1455. </div><div class="et_pb_section et_pb_section_32 et_pb_with_background et_section_regular" >
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  1463. <div class="et_pb_column et_pb_column_4_4 et_pb_column_31  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1468. <div class="et_pb_module et_pb_text et_pb_text_24  et_pb_text_align_left et_pb_bg_layout_light">
  1473. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1474. </div><div class="et_pb_module et_pb_text et_pb_text_25  et_pb_text_align_center et_pb_bg_layout_light">
  1479. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  1480. <p>We’d love to hear from you. Get in touch today!</p></div>
  1481. </div>
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  1583. </item>
  1584. <item>
  1585. <title>8th August 2025 &#124; The Friday Filmmaking Blog</title>
  1586. <link>https://www.slateandmortar.com/news/8th-august-2025-friday-filmmaking-blog</link>
  1588. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1589. <pubDate>Thu, 07 Aug 2025 09:26:17 +0000</pubDate>
  1590. <category><![CDATA[News]]></category>
  1591. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8789</guid>
  1592.  
  1593. <description><![CDATA[Explore the latest in filmmaking: AI editing tools, Tim Burton's cult debut, and Marvel’s bold reimagining of Galactus.]]></description>
  1594. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_33 et_pb_fullwidth_section et_section_regular" >
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  1608. <h1 class="entry-title">8th August 2025 | The Friday Filmmaking Blog</h1>
  1609. </div>
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  1632. <span class="et_pb_image_wrap "><img loading="lazy" loading="lazy" decoding="async" width="1280" height="720" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/32-The-Friday-Filmmaking-Blog.png" alt="32 The Friday Filmmaking Blog" title="32 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/32-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/08/32-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/08/32-The-Friday-Filmmaking-Blog-480x270.png 480w" sizes="(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1280px, 100vw" class="wp-image-8795" /></span>
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  1660. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">Every week, we wade through the flood of filmmaking news so you don’t have to — surfacing three stories that caught the Slate and Mortar team’s eye. This Friday, we’re exploring some seriously forward-thinking tools and nostalgic flashbacks: from <strong data-start="414" data-end="454">AI transforming the editing pipeline</strong>, to a <strong data-start="461" data-end="517">deep-dive oral history of Tim Burton’s first feature</strong>, and an early look at how Marvel is handling <strong data-start="563" data-end="606">Galactus in the upcoming Fantastic Four</strong> reboot. Whether you&#8217;re chasing innovation or indulging in retro inspiration, there&#8217;s something in here for every filmmaker.</p></div>
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  1683. <div class="et_pb_module et_pb_text et_pb_text_27  et_pb_text_align_left et_pb_bg_layout_light">
  1688. <div class="et_pb_text_inner"><h3 style="text-align: center;">The AI Assistant That Edits for You — How ‘Strada Agent’ is Reshaping Post-Production</h3>
  1689. <p>&nbsp;</p>
  1690. <p>Source: <a href="https://nofilmschool.com/strada-agent-direct-to-edit" target="_blank" rel="noopener">No Film School</a></p>
  1691. <p>The post-production world has long been primed for disruption. While cameras and on-set workflows have evolved rapidly in recent years, the editing process has remained relatively untouched by the tech revolution—until now. Enter Strada Agent, a new AI-powered tool that’s generating serious buzz for its bold claim: it can turn raw footage into a first cut, instantly.</p>
  1692. <p>No Film School takes a deep dive into the release of Strada Agent, a generative AI that integrates directly with editing software to create “Direct-to-Edit” sequences. The idea is simple, but the implications are huge. Strada Agent analyses your rushes, applies scene metadata, and generates an editable timeline that mimics human decision-making. It doesn’t just tag shots — it starts cutting. You can feed it a script, style references, or even pacing preferences, and it’ll try to deliver a first draft that’s ready for review.</p>
  1693. <p>What makes this particularly noteworthy is the tool’s accessibility. It isn’t locked behind studio-level paywalls or designed solely for VFX-heavy pipelines. This is software built for indie filmmakers, editors, and content creators looking to speed up their workflows without sacrificing control. It&#8217;s also the first AI product from the team behind Strada, who previously developed Scriptation and were known for pushing innovation in script-based workflows.</p>
  1694. <p>Of course, No Film School doesn&#8217;t present this as a magic solution. Editors aren’t being replaced anytime soon — and rightly so. The article rightly emphasises that storytelling is still a deeply human craft. But Strada Agent might take on the grunt work, freeing up editors to do what they do best: refine, interpret, and elevate.</p>
  1695. <p>There’s also a brilliant little demo of the tool in action. For anyone curious about where AI fits into the future of filmmaking, this is a must-watch:</p>
  1696. <p>&nbsp;</p>
  1697. <p><iframe title="45.  Fastest Delivery from the Set to the Editor" width="1080" height="608" src="https://www.youtube.com/embed/thT9cNulnlg?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1698. </div>
  1699. </div>
  1704. </div>
  1707. </div><div class="et_pb_section et_pb_section_37 et_pb_with_background et_section_regular" >
  1714. <div class="et_pb_row et_pb_row_36 et_animated">
  1715. <div class="et_pb_column et_pb_column_4_4 et_pb_column_36  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1720. <div class="et_pb_module et_pb_text et_pb_text_28  et_pb_text_align_left et_pb_bg_layout_light">
  1725. <div class="et_pb_text_inner"><h3 style="text-align: center;">The Oral History of ‘Pee-wee’s Big Adventure’ — From Studio Risk to Cult Classic</h3>
  1726. <p>&nbsp;</p>
  1727. <p><a href="https://www.indiewire.com/features/interviews/pee-wees-big-adventure-oral-history-tim-burton-1235142382/" target="_blank" rel="noopener">Source: IndieWire</a></p>
  1728. <p>This feature-length oral history from IndieWire is a nostalgic goldmine — particularly for filmmakers who came of age in the &#8217;80s or who admire how cult classics are born from creative risk. “Pee-wee’s Big Adventure” might seem like an oddball hit now, but in 1985, it was a studio gamble: a feature debut for Tim Burton, written by two comedians (Paul Reubens and Phil Hartman), with a tonally unique vision that defied easy classification.</p>
  1729. <p>The article tracks the film’s journey from conception to cult status through extensive interviews with key cast and crew. What emerges is a portrait of a project that was far from a sure thing. In fact, the film nearly didn’t happen. Reubens was hot off his HBO special but had no film deal; Burton was an ex-Disney animator with a knack for dark whimsy but no directing credit. And Danny Elfman? He was a rock musician with no prior film scoring experience.</p>
  1730. <p>Some of the most insightful moments come from reflecting on studio resistance. Executives struggled to get a handle on the tone — was it for kids? Was it surrealist comedy? Was it just too weird? That tension, however, is exactly what gave the film its edge. The team talks candidly about how Burton’s style, Elfman’s eccentric score, and Reubens’ unwavering vision clashed and harmonised in just the right way.</p>
  1731. <p>It’s also a story about creative trust. Reubens admits he’d never seen a film like the one Burton pitched, but he took the leap anyway. Elfman, terrified by the scoring process, found his stride thanks to Burton’s confidence in his instincts. These are lessons every filmmaker can take to heart — especially when navigating the ambiguity that often comes with doing something original.</p>
  1732. <p>And for fans of behind-the-scenes gems: the article delivers. From set disasters to costume mishaps to Elfman writing the iconic theme on a plane in under 48 hours, it’s the kind of insight you don’t get from EPKs or DVD extras.</p>
  1733. <p>&nbsp;</p>
  1734. <p><iframe title="Pee-wee&#039;s Big Adventure (1985) Official Trailer - Paul Reubens, Elizabeth Daily Movie HD" width="1080" height="608" src="https://www.youtube.com/embed/AhBxbUEIq1g?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1735. </div>
  1736. </div>
  1741. </div>
  1744. </div><div class="et_pb_section et_pb_section_38 et_pb_with_background et_section_regular" >
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  1757. <div class="et_pb_module et_pb_text et_pb_text_29  et_pb_text_align_left et_pb_bg_layout_light">
  1762. <div class="et_pb_text_inner"><h3 style="text-align: center;">Galactus Is Coming — Marvel’s Cosmic Gambit in ‘Fantastic Four’</h3>
  1763. <p>&nbsp;</p>
  1764. <p><a href="https://www.thewrap.com/who-is-galactus-in-fantastic-four-2025/" target="_blank" rel="noopener">Source: The Wrap</a></p>
  1765. <p>With Marvel’s cinematic momentum feeling slightly off-course in recent years, all eyes are on the upcoming Fantastic Four reboot to realign the franchise. The Wrap delivers a timely and intriguing preview of how the film is introducing Galactus, a character with literally universe-sized implications for the MCU.</p>
  1766. <p>For those not steeped in Marvel lore, Galactus is no ordinary villain. He’s not a scheming genius or a cosmic warlord — he’s a force of nature, a planet-devouring entity that operates on an entirely different moral scale. And according to The Wrap’s report, Fantastic Four (2025) is embracing that grandeur, going full epic in its tone and scale.</p>
  1767. <p>What’s exciting from a filmmaking perspective is the shift in genre and tone. Director Matt Shakman (of WandaVision fame) is said to be aiming for a blend of sci-fi opera, grounded emotion, and retro charm — leaning into 1960s design influences and practical effects where possible. That retrofuturism approach is a bold move, considering how CGI-heavy Marvel films have become.</p>
  1768. <p>There’s also talk of Galactus not being a lone force, but arriving with the Heralds of Galactus — potentially setting up an even wider cosmic arc that spans several future films. The Wrap highlights how the creative team wants to reframe Fantastic Four not just as another superhero movie, but as a kind of emotional sci-fi adventure, where the stakes are deeply personal, even as the world-ending threats loom.</p>
  1769. <p>It’s worth noting that Marvel has previously struggled to make Galactus work onscreen. (Remember the space cloud from Fantastic Four: Rise of the Silver Surfer? Yeah, best forgotten.) But the studio seems aware of that misfire and is putting serious thought into how to reintroduce the character in a way that respects both the comics and modern storytelling expectations.</p>
  1770. <p>From a technical standpoint, VFX houses are reportedly already experimenting with a blend of volumetric capture, real-time rendering, and performance-driven animation to bring Galactus to life. It’s a potentially game-changing moment for cinematic world-building.</p>
  1771. <p>Whether you&#8217;re a Marvel fan or not, this article is a fascinating look at how franchise filmmaking evolves — especially when dealing with characters that challenge narrative convention.</p>
  1772. <p>&nbsp;</p>
  1773. <p><iframe title="The Fantastic Four: First Steps | Final Trailer | Only in Theaters July 25" width="1080" height="608" src="https://www.youtube.com/embed/18QQWa5MEcs?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1774. </div>
  1775. </div>
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  1796. <div class="et_pb_module et_pb_text et_pb_text_30  et_pb_text_align_left et_pb_bg_layout_dark">
  1801. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  1826. <a href="https://www.slateandmortar.com/news/29th-august-friday-filmmaking-blog">29th August 2025 | The Friday Filmmaking Blog</a>
  1827. </h2>
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  1835. <h2 class="entry-title">
  1836. <a href="https://www.slateandmortar.com/news/22nd-august-2025-friday-filmmaking-blog">22nd August 2025 | The Friday Filmmaking Blog</a>
  1837. </h2>
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  1840. </article>
  1842. <article id="post-8815" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_4_2 post-8815 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1843.  
  1844. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-400x250.png" alt="15th August 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/08/33-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="8th August 2025 | The Friday Filmmaking Blog 15"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1845. <h2 class="entry-title">
  1846. <a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking">15th August 2025 | The Friday Filmmaking Blog</a>
  1847. </h2>
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  1850. </article>
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  1881. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1882. </div><div class="et_pb_module et_pb_text et_pb_text_32  et_pb_text_align_center et_pb_bg_layout_light">
  1887. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  1888. <p>We’d love to hear from you. Get in touch today!</p></div>
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  1993. <media:title type="plain">8th August 2025 | The Friday Filmmaking Blog </media:title>
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  2000. <title>1st August &#124; The Friday Filmmaking Blog</title>
  2001. <link>https://www.slateandmortar.com/news/1st-august-the-friday-filmmaking-blog</link>
  2003. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  2004. <pubDate>Thu, 31 Jul 2025 08:22:39 +0000</pubDate>
  2005. <category><![CDATA[News]]></category>
  2006. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8767</guid>
  2007.  
  2008. <description><![CDATA[Hyperreal actors, AI debates, and a Liam Neeson spoof — this week’s filmmaking stories explore the future (and absurdity) of cinema.]]></description>
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  2023. <h1 class="entry-title">1st August | The Friday Filmmaking Blog</h1>
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  2048. </div>
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  2054. </div>
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  2064. <div class="et_pb_row et_pb_row_43 et_animated">
  2065. <div class="et_pb_column et_pb_column_4_4 et_pb_column_43  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2070. <div class="et_pb_module et_pb_text et_pb_text_33  et_pb_text_align_left et_pb_bg_layout_light">
  2075. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week we’ve been diving into the strange, fascinating crossroads where artificial intelligence meets cinematic creativity. From new tools that replicate human nuance with startling realism, to arguments over whether AI can truly ever generate a meaningful original idea&#8230; and to round things off with a smile (and possibly a facepalm), we take a look at the early buzz around the unexpected reboot of <em>The Naked Gun</em> — with none other than Liam Neeson stepping into Leslie Nielsen&#8217;s shoes.</p></div>
  2076. </div>
  2077. </div>
  2082. </div>
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  2098. <div class="et_pb_module et_pb_text et_pb_text_34  et_pb_text_align_left et_pb_bg_layout_light">
  2103. <div class="et_pb_text_inner"><h3 style="text-align: center;">Hypernaturalism: When AI Becomes Too Real</h3>
  2104. <p>&nbsp;</p>
  2105. <p data-pm-slice="1 1 &#091;&#093;">The filmmaking world has become increasingly familiar with AI tools, whether it’s for VFX, script analysis or dialogue clean-up. But a new short film project titled <em>Hypernatural</em> pushes the conversation further, confronting us with the surreal realism AI is now capable of replicating — and whether we should be worried.</p>
  2106. <p>Directed by LA-based filmmaker Fabian Stelzer, <em>Hypernatural</em> is more than just a proof of concept. It&#8217;s a chilling demonstration of how AI-generated human performances can now mimic not only movement and voice, but also micro-emotional nuance. Think deepfakes, but dialled up to 11 — and placed in a high-concept sci-fi short that asks what happens when synthetic humans become indistinguishable from real ones.</p>
  2107. <p>What sets <em>Hypernatural</em> apart is its use of multiple AI models: one for the voices, another for the performances, and yet another for storyboarding and animation. Stelzer isn’t replacing the human process entirely; he’s using AI to explore a visual aesthetic he calls &#8220;hypernaturalism&#8221; — a strange hybrid between synthetic smoothness and emotional authenticity.</p>
  2108. <p>The project intentionally treads close to the uncanny valley, letting the viewer feel that something’s a little off, but not enough to switch off emotionally. In this way, Stelzer&#8217;s film becomes a kind of ethical Rorschach test for the future of filmmaking: will audiences embrace this realism, or will we long for the human touch?</p>
  2109. <p>The broader implications for the industry are huge. If AI can now generate characters and performances that are not only photorealistic but emotionally resonant, what does that mean for actors, editors, and directors alike? And are we prepared for a future where ‘realism’ is algorithmically manufactured?</p>
  2110. <p><a href="https://nofilmschool.com/hypernatural-ai" target="_blank" rel="noopener">No Film School’s write-up</a> explores these questions through the lens of Stelzer’s process and intent. It’s a must-read for filmmakers curious (or anxious) about where storytelling tech is headed next.</p>
  2111. <p>&nbsp;</p>
  2112. <p><iframe title="From Prompt to Post in Minutes with Hypernatural AI" width="1080" height="608" src="https://www.youtube.com/embed/6Mv_gVFbsGA?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  2113. </div>
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  2135. <div class="et_pb_module et_pb_text et_pb_text_35  et_pb_text_align_left et_pb_bg_layout_light">
  2140. <div class="et_pb_text_inner"><h3 style="text-align: center;">Why AI Will Never Replace Originality in Filmmaking</h3>
  2141. <p>&nbsp;</p>
  2142. <p data-pm-slice="1 1 &#091;&#093;">In this thoughtful <a href="https://www.indiewire.com/features/podcast/why-ai-cannot-create-original-movie-ideas-consumer-product-1235141816/" target="_blank" rel="noopener">IndieWire</a> podcast episode, filmmaker and <em>Robot Dreams</em> director Pablo Berger joins the Filmmaker Toolkit crew to make a compelling case for why AI simply cannot (and likely never will) create truly original movies. The conversation is a refreshing counterpoint to the current tech-hype cycle, arguing that storytelling is not just data synthesis, but an act of emotional, cultural, and often irrational intuition.</p>
  2143. <p>Berger, whose Oscar-nominated animated feature was a surprise hit, argues that AI lacks not only emotional intelligence but also the irrational spark that underpins most great creative leaps. AI can remix existing tropes. It can mimic voice. But can it feel loss? Can it dream?</p>
  2144. <p>The heart of the argument rests on the distinction between storytelling as an act of communication versus one of replication. AI is an echo chamber trained on what’s come before, while great films often emerge from personal trauma, social context, and spontaneous moments of inspiration. Berger makes the point that AI tools may one day be useful assistants to the filmmaking process, but they won’t be the source of truly groundbreaking narratives.</p>
  2145. <p>This isn’t a luddite’s view. Berger embraces technology. But he warns against the commodification of creativity that comes when studio executives see AI as a cost-saving device rather than a tool to support artists. The conversation touches on the streaming economy, the homogenisation of scripts, and the irony that AI might only be reinforcing the formulas we’re all tired of.</p>
  2146. <p>If you’re a filmmaker wondering how to keep your voice authentic in a world increasingly saturated with algorithmic storytelling, this one is essential listening.</p>
  2147. <p>&nbsp;</p>
  2148. <p><iframe title="Contagion (2011) Official Exclusive 1080p HD Trailer" width="1080" height="608" src="https://www.youtube.com/embed/4sYSyuuLk5g?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  2149. </div>
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  2176. <div class="et_pb_text_inner"><h3 style="text-align: center;">The Naked Gun Returns (No, Really) — First Look Reactions</h3>
  2177. <p>&nbsp;</p>
  2178. <p data-pm-slice="1 1 &#091;&#093;">Sometimes the best way to end a heavy week of AI and ethics is with a bit of silliness. This week, the internet did a double take as early reactions rolled in for the reboot of <em>The Naked Gun</em> — now starring Liam Neeson as the bumbling cop once made iconic by Leslie Nielsen.</p>
  2179. <p>Yes, <em>that</em> Liam Neeson.</p>
  2180. <p>Directed by Akiva Schaffer (of <em>The Lonely Island</em> fame), the 2025 version isn’t trying to reinvent the spoof genre, but rather give it a glossy, modern twist. Early reports suggest the film stays remarkably faithful to the slapstick tone of the originals, complete with pratfalls, deadpan delivery, and gloriously silly gags.</p>
  2181. <p>Initial screenings have seen mixed-to-positive reactions, with some critics praising Neeson’s unexpectedly straight-faced comic timing and others questioning whether this reboot was ever necessary. What’s clear, though, is that <em>The Naked Gun</em> 2025 is leaning fully into the absurd, and that in itself is something of a cinematic statement. At a time when Hollywood is drenched in cynical reboots, there&#8217;s a strange charm in one that wears its idiocy like a badge of honour.</p>
  2182. <p>The <a href="https://www.independent.co.uk/arts-entertainment/films/news/naked-gun-2025-review-reactions-liam-neeson-b2798545.html" target="_blank" rel="noopener">Independent&#8217;s</a> coverage focuses on the tension between nostalgia and novelty: can a spoof comedy from the ‘80s really land in today’s cultural climate? Is Neeson in on the joke, or is that the joke? While it might not change the filmmaking landscape, this film might just offer the kind of irreverent escapism many audiences are craving.</p>
  2183. <p>&nbsp;</p>
  2184. <p><iframe title="The Naked Gun | Official Trailer (2025 Movie) - Liam Neeson, Pamela Anderson" width="1080" height="608" src="https://www.youtube.com/embed/uLguU7WLreA?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
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  2237. <a href="https://www.slateandmortar.com/news/29th-august-friday-filmmaking-blog">29th August 2025 | The Friday Filmmaking Blog</a>
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  2247. <a href="https://www.slateandmortar.com/news/22nd-august-2025-friday-filmmaking-blog">22nd August 2025 | The Friday Filmmaking Blog</a>
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  2257. <a href="https://www.slateandmortar.com/news/15th-august-2025-the-friday-filmmaking">15th August 2025 | The Friday Filmmaking Blog</a>
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