Congratulations!

[Valid RSS] This is a valid RSS feed.

Recommendations

This feed is valid, but interoperability with the widest range of feed readers could be improved by implementing the following recommendations.

Source: https://www.slateandmortar.com/feed

  1. <?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
  2. xmlns:content="http://purl.org/rss/1.0/modules/content/"
  3. xmlns:wfw="http://wellformedweb.org/CommentAPI/"
  4. xmlns:dc="http://purl.org/dc/elements/1.1/"
  5. xmlns:atom="http://www.w3.org/2005/Atom"
  6. xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
  7. xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
  8. xmlns:media="http://search.yahoo.com/mrss/" >
  9.  
  10. <channel>
  11. <title>Slate and Mortar</title>
  12. <atom:link href="https://www.slateandmortar.com/feed" rel="self" type="application/rss+xml" />
  13. <link>https://www.slateandmortar.com</link>
  14. <description>Award-winning video and animation</description>
  15. <lastBuildDate>Thu, 23 Oct 2025 08:15:41 +0000</lastBuildDate>
  16. <language>en-GB</language>
  17. <sy:updatePeriod>
  18. hourly </sy:updatePeriod>
  19. <sy:updateFrequency>
  20. 1 </sy:updateFrequency>
  21. <generator>https://wordpress.org/?v=6.8.3</generator>
  22.  
  23. <image>
  24. <url>https://www.slateandmortar.com/wp-content/uploads/2020/12/cropped-id-32x32.jpg</url>
  25. <title>Slate and Mortar</title>
  26. <link>https://www.slateandmortar.com</link>
  27. <width>32</width>
  28. <height>32</height>
  29. </image>
  30. <item>
  31. <title>24th October 2025 &#124; The Friday Filmmaking Blog</title>
  32. <link>https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog</link>
  33. <comments>https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog#respond</comments>
  35. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  36. <pubDate>Thu, 23 Oct 2025 08:10:25 +0000</pubDate>
  37. <category><![CDATA[News]]></category>
  38. <guid isPermaLink="false">https://www.slateandmortar.com/?p=9125</guid>
  39.  
  40. <description><![CDATA[AI is remaking filmmaking: Sora 2’s copyright clash, on-set body scans, and the “AI extras” debate - our Friday roundup breaks it down.]]></description>
  41. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_0 et_pb_fullwidth_section et_section_regular" >
  48. <div class="et_pb_module et_pb_fullwidth_post_title_0 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
  54. <div class="et_pb_title_container">
  55. <h1 class="entry-title">24th October 2025 | The Friday Filmmaking Blog</h1>
  56. </div>
  58. </div>
  61. </div><div class="et_pb_section et_pb_section_1 et_section_regular" >
  68. <div class="et_pb_row et_pb_row_0">
  69. <div class="et_pb_column et_pb_column_4_4 et_pb_column_0  et_pb_css_mix_blend_mode_passthrough et-last-child">
  74. <div class="et_pb_module et_pb_image et_pb_image_0">
  79. <span class="et_pb_image_wrap "><img fetchpriority="high" fetchpriority="high" decoding="async" width="1280" height="720" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png" alt="Friday Filmmaking Blog" title="43 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-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-9137" /></span>
  80. </div>
  81. </div>
  86. </div>
  89. </div><div class="et_pb_section et_pb_section_2 et_pb_with_background et_section_regular" >
  96. <div class="et_pb_row et_pb_row_1 et_animated">
  97. <div class="et_pb_column et_pb_column_4_4 et_pb_column_1  et_pb_css_mix_blend_mode_passthrough et-last-child">
  102. <div class="et_pb_module et_pb_text et_pb_text_0  et_pb_text_align_left et_pb_bg_layout_light">
  107. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">It’s an AI triple bill this Friday. We’ve got CineD’s sharp take on Sora 2 and why Hollywood’s gone to war over copyright and consent; The Guardian’s on-set investigation into body scanning and “AI doubles”; and No Film School’s coverage of Kevin O’Leary’s claim that A24’s <em data-start="486" data-end="501">Marty Supreme</em> should’ve swapped human background artists for AI extras. Together, they sketch a clear fault line for filmmaking in 2025: dazzling capability on one side, and a scramble for legal, ethical and creative guardrails on the other. If you care about where filmmaking goes next, this week’s reads are essential.</p></div>
  108. </div>
  109. </div>
  114. </div>
  117. </div><div class="et_pb_section et_pb_section_3 et_pb_with_background et_section_regular" >
  124. <div class="et_pb_row et_pb_row_2 et_animated">
  125. <div class="et_pb_column et_pb_column_4_4 et_pb_column_2  et_pb_css_mix_blend_mode_passthrough et-last-child">
  130. <div class="et_pb_module et_pb_text et_pb_text_1  et_pb_text_align_left et_pb_bg_layout_light">
  135. <div class="et_pb_text_inner"><h3 style="text-align: center;">Sora 2 vs Hollywood – The Copyright Reckoning of Generative Video</h3>
  136. <p>&nbsp;</p>
  137. <p data-start="916" data-end="1712"><a href="https://www.cined.com/sora-2-vs-hollywood-the-copyright-reckoning-of-generative-video/" target="_blank" rel="noopener">CineD’s</a> deep dive into OpenAI’s Sora 2 captures both the wow-factor and the whiplash. On the one hand, Sora 2 sets a new bar for consumer-accessible text-to-video: more realistic physics, better continuity, and integrated audio, all packaged in a free iOS app that briefly rocketed up the App Store. On the other hand, its launch triggered the fiercest copyright backlash the industry has seen since early YouTube. CineD lays out why: the app initially allowed copyrighted characters and likenesses to appear in outputs unless rightsholders opted out—effectively reversing the default of consent that underpins modern IP law. That design choice supercharged virality (SpongeBob flipping burgers; Mario in a starfighter) and supercharged Hollywood’s response.</p>
  138. <p data-start="1714" data-end="2321">Trade bodies and talent companies moved fast. The Motion Picture Association publicly demanded action; top agencies reportedly told clients to opt out; SAG-AFTRA warned the model “threatens the economic foundation” of the industry. For studios, CineD notes, the core dispute isn’t just training data, it’s finished outputs that reproduce distinctive characters and likenesses—a realm where infringement risk is clearer and E&amp;O insurers are already skittish. In short: you can’t build a reliable production pipeline on a tool if you can’t guarantee clean chain-of-title.</p>
  139. <p data-start="2323" data-end="2838">Within days, OpenAI signalled a pivot. CineD cites CEO Sam Altman’s “Sora Update #1,” promising more granular rightsholder control, a tilt toward opt-in, and even exploring revenue-share models that frame Sora as a licensed “interactive fan fiction” platform. PR framing aside, the article argues that the damage was done—copyrighted content had already been generated and widely shared under the app’s initial rules, and outrage over “AI slop” clips only intensified the mood.</p>
  140. <p data-start="2840" data-end="3256">CineD also zeroes in on performer rights. Sora 2’s “cameo”-like ability to insert real people into generated footage edges into likeness rights—terrain that unions fought hard to define in recent contracts. It’s a reminder that AI in filmmaking isn’t just about shots and shaders; it’s about consent, authorship, and who gets paid when a face (or a character) appears on screen.</p>
  141. <p data-start="3258" data-end="3892">For working filmmakers, the nuance here matters. The tech is undeniably useful for previs, pitch films and indie-scale ideation. But until licensing and liability are nailed down, deploying Sora 2 in commercial delivery is gambling with legal exposure. CineD’s takeaway is practical: experiment, learn, and keep your ethical house in order—transparency, consent, and authorship are now core craft skills alongside lighting and lenses. And if you want a cultural pulse-check, the piece points to a timely commentary video that captures how quickly this moved from “fun toy” to industry flashpoint.</p>
  142. <p data-start="3258" data-end="3892"><iframe title="Why Sora 2 By OpenAI Is Freaking Out The Movie Industry" width="1080" height="608" src="https://www.youtube.com/embed/XUkGmqTQqFk?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>
  143. </div>
  144. </div>
  149. </div>
  152. </div><div class="et_pb_section et_pb_section_4 et_pb_with_background et_section_regular" >
  159. <div class="et_pb_row et_pb_row_3 et_animated">
  160. <div class="et_pb_column et_pb_column_4_4 et_pb_column_3  et_pb_css_mix_blend_mode_passthrough et-last-child">
  165. <div class="et_pb_module et_pb_text et_pb_text_2 spaced-bullets  et_pb_text_align_left et_pb_bg_layout_light">
  170. <div class="et_pb_text_inner"><h3 style="text-align: center;">Have we done ourselves out of a job?’: concerns in film and TV industry over on-set body scanning</h3>
  171. <p data-start="4185" data-end="4927">If CineD maps the platform fight, <a href="https://www.theguardian.com/film/2025/oct/17/ai-data-scanning-film-tv-actors-crew" target="_blank" rel="noopener">The Guardian</a> maps what’s happening on set. Michael Savage reports first-person accounts from actors, stunt performers and dancers who are being ushered—sometimes at the end of long days—into full-body scanning rigs with opaque explanations of how their biometric data will be used. The anxiety isn’t theoretical: those scans can seed “AI doubles” that live beyond a single production. Supporting artists (SAs) describe hearing crew openly speculate that crowds can now be conjured from stored data, potentially shrinking headcount across ADs, hair and make-up, costume, catering and drivers. That ripple effect is the real bombshell: the risk doesn’t stop at performers. </p>
  172. <p data-start="4929" data-end="5550">Actor Olivia Williams offers one of the piece’s most striking testimonies. She describes the social and professional pressure: you’re mid-scene, an AD you trust asks you to “pop over” to the VFX bus, and the unspoken message is clear—refuse and risk future work. Williams argues that performers need scan controls with the teeth of a “nudity rider,” i.e., explicit opt-ins for context, scope and duration. The article also notes how quickly the <em data-start="5374" data-end="5389">Tilly Norwood</em> saga—the widely publicised “AI actress”—has become a lightning rod, focusing wider unease about identity and substitution.</p>
  173. <p data-start="5552" data-end="6146">Legally, The Guardian spotlights a vacuum. AWO lawyer Alex Lawrence-Archer describes overlapping, outdated contract language that was never designed for this technology. In that grey zone, studios and AI vendors push as far as they can; performers who try to claw back control discover the expense and ambiguity of asserting data rights after the fact. The recommendation is pragmatic: nail the terms up front. Some casts are now forcing addenda that lock scans to a single show and forbid reuse without fresh consent—a tiny but important wedge of control.</p>
  174. <p data-start="6148" data-end="6896">For filmmakers, this piece is a wake-up call on process design. Scans aren’t just a VFX utility; they’re a consent workflow. Build time, documentation and clear language into your call sheets. Define retention, reuse, and destruction policies. Budget for human crowds where authenticity matters, and be honest when synthetic augmentation is being considered. The cultural optics are volatile: in a year of strikes and AI anxieties, a casual, after-hours scan can read as exploitative—especially when it’s captured under fatigue. The upshot for filmmaking is simple: the more transparent and specific you are about scanning, the more trust you retain with cast and crew, and the less legal risk you carry later.</p></div>
  175. </div>
  176. </div>
  181. </div>
  184. </div><div class="et_pb_section et_pb_section_5 et_pb_with_background et_section_regular" >
  191. <div class="et_pb_row et_pb_row_4 et_animated">
  192. <div class="et_pb_column et_pb_column_4_4 et_pb_column_4  et_pb_css_mix_blend_mode_passthrough et-last-child">
  197. <div class="et_pb_module et_pb_text et_pb_text_3 spaced-bullets  et_pb_text_align_left et_pb_bg_layout_light">
  202. <div class="et_pb_text_inner"><h3 style="text-align: center;">‘Just Put 100 Tilly Norwoods In There’: Kevin O’Leary Says Movie ‘Wasted Millions’ on Human Extras</h3>
  203. <p>&nbsp;</p>
  204. <p data-start="7100" data-end="7747"><a href="https://nofilmschool.com/ai-kevin-oleary" target="_blank" rel="noopener">No Film School</a> covers a headline-grabbing claim from investor-turned-first-time-actor Kevin O’Leary: that Josh Safdie’s A24 drama <em data-start="7230" data-end="7245">Marty Supreme</em> “wasted millions” hiring background artists and could have saved a fortune by using AI extras—“just put a hundred Tilly Norwoods in there.” The comment came during a podcast appearance while O’Leary was promoting the film, and it leans into a certain Silicon Valley logic: background work is “only visual,” therefore ripe for synthetic substitution. NFS quotes him suggesting the director could have made two films for the cost of one if AI crowds were allowed. </p>
  205. <p data-start="7749" data-end="8478">The article pushes back from a filmmaking standpoint: period authenticity with 100–150 bodies in frame isn’t just pixels, it’s texture—wardrobe interaction, eyelines, ambient behaviour and the ineffable “lived-in” quality that extras deliver. The piece also points out that O’Leary repeatedly garbles the name of <em data-start="8062" data-end="8077">Tilly Norwood</em>, the controversial AI “actress,” undercutting the authority of his prescription even as it illustrates a broader shift: the AI debate is now happening in budgets and press tours, not just labs and forums. For producers and UPMs, that means you’ll hear more of this argument in notes meetings and boardrooms. Be ready with craft-led counters, not just ideology. </p>
  206. <p data-start="8480" data-end="9209">Context matters. Tilly Norwood’s rise crystallised concerns about AI characters trained on human data and packaged for commercial use; unions and talent agencies have been vocal about the consent and compensation gaps. Swapping real SAs for synthetic avatars doesn’t just change a line item—it redistributes income in an already precarious ecosystem, echoing the Guardian piece’s warning about knock-on job losses across departments. Practically, there are also legal and PR risks: likeness scraping, undisclosed compositing, and the optics of replacing workers mid-contract. In a brand-driven indie like an A24 film, that blowback can be costlier than the background day rate you “saved.” </p>
  207. <p data-start="9211" data-end="9915">Still, NFS acknowledges the market reality: pressure to rationalise costs won’t vanish. The smart path is situational use of AI—crowd tiling for far-background set extensions, previs to plan blocking, or synthetic augmentation where faces are genuinely indistinct—paired with explicit consent frameworks and honest crediting. That approach keeps the creative integrity of filmmaking front and centre while insulating productions from the reputational damage that comes with wholesale replacement rhetoric. Close the read by watching the official teaser—and imagine how quickly the period spell would break if the background crowd behaved like a row of cloned NPCs.</p>
  208. <p data-start="9211" data-end="9915">
  209. <p><iframe title="Marty Supreme | Official Teaser HD | A24" width="1080" height="608" src="https://www.youtube.com/embed/PI6-qKhzTt8?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>
  210. </div>
  211. </div>
  216. </div>
  219. </div><div class="et_pb_section et_pb_section_7 et_pb_with_background et_section_regular" >
  226. <div class="et_pb_row et_pb_row_5 et_animated">
  227. <div class="et_pb_column et_pb_column_4_4 et_pb_column_5  et_pb_css_mix_blend_mode_passthrough et-last-child">
  232. <div class="et_pb_module et_pb_text et_pb_text_4  et_pb_text_align_left et_pb_bg_layout_dark">
  237. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
  238. </div>
  239. </div>
  244. </div><div class="et_pb_row et_pb_row_6 et_animated et_pb_equal_columns">
  245. <div class="et_pb_column et_pb_column_4_4 et_pb_column_6  et_pb_css_mix_blend_mode_passthrough et-last-child">
  250. <div class="et_pb_with_border et_pb_module et_pb_blog_0 et_pb_blog_grid_wrapper et_pb_bg_layout_light">
  251. <div class="et_pb_blog_grid clearfix  et_pb_text_align_center">
  256. <div class="et_pb_ajax_pagination_container">
  257. <div class="et_pb_salvattore_content" data-columns>
  258. <article id="post-9125" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_0_0 post-9125 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  259.  
  260. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png" alt="24th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="24th October 2025 | The Friday Filmmaking Blog 1"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  261. <h2 class="entry-title">
  262. <a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog">24th October 2025 | The Friday Filmmaking Blog</a>
  263. </h2>
  265. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  266. </article>
  268. <article id="post-8993" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_0_1 post-8993 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  269.  
  270. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos" class="entry-featured-image-url"><img decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png" alt="Creating authentic student recruitment videos for non-traditional learners" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="24th October 2025 | The Friday Filmmaking Blog 2"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  271. <h2 class="entry-title">
  272. <a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos">Creating authentic student recruitment videos for non-traditional learners</a>
  273. </h2>
  275. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  276. </article>
  278. <article id="post-9058" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_0_2 post-9058 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  279.  
  280. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png" alt="17th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="24th October 2025 | The Friday Filmmaking Blog 3"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  281. <h2 class="entry-title">
  282. <a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog">17th October 2025 | The Friday Filmmaking Blog</a>
  283. </h2>
  285. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  286. </article>
  287. </div>
  288. </div>
  289. </div>
  290. </div>
  291. </div>
  296. </div>
  299. </div><div class="et_pb_section et_pb_section_8 et_pb_with_background et_section_regular" >
  306. <div class="et_pb_row et_pb_row_7">
  307. <div class="et_pb_column et_pb_column_4_4 et_pb_column_7  et_pb_css_mix_blend_mode_passthrough et-last-child">
  312. <div class="et_pb_module et_pb_text et_pb_text_5  et_pb_text_align_left et_pb_bg_layout_light">
  317. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  318. </div><div class="et_pb_module et_pb_text et_pb_text_6  et_pb_text_align_center et_pb_bg_layout_light">
  323. <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>
  324. <p>We’d love to hear from you. Get in touch today!</p></div>
  325. </div>
  326. </div>
  331. </div><div class="et_pb_row et_pb_row_8">
  332. <div class="et_pb_column et_pb_column_4_4 et_pb_column_8  et_pb_css_mix_blend_mode_passthrough et-last-child">
  337. <div class="et_pb_module et_pb_blurb et_pb_blurb_0 rv_button closed  et_pb_text_align_left et_pb_blurb_position_top et_pb_bg_layout_light">
  342. <div class="et_pb_blurb_content">
  343. <div class="et_pb_main_blurb_image"><span class="et_pb_image_wrap"><span class="et-waypoint et_pb_animation_off et_pb_animation_off_tablet et_pb_animation_off_phone et-pb-icon">3</span></span></div>
  344. <div class="et_pb_blurb_container">
  347. </div>
  348. </div>
  349. </div>
  350. <div id="reveal" class="et_pb_module et_pb_contact_form_0 et_pb_recaptcha_enabled et_pb_contact_form_container clearfix" data-form_unique_num="0" data-form_unique_id="d92f7ff2-f81f-4291-a306-6fdfe86ff373">
  356. <div class="et-pb-contact-message"></div>
  358. <div class="et_pb_contact">
  359. <form class="et_pb_contact_form clearfix" method="post" action="https://www.slateandmortar.com/feed">
  360. <p class="et_pb_contact_field et_pb_contact_field_0 et_pb_contact_field_half" data-id="name" data-type="input">
  365. <label for="et_pb_contact_name_0" class="et_pb_contact_form_label">Name</label>
  366. <input type="text" id="et_pb_contact_name_0" class="input" value="" name="et_pb_contact_name_0" data-required_mark="required" data-field_type="input" data-original_id="name" placeholder="Name">
  367. </p><p class="et_pb_contact_field et_pb_contact_field_1 et_pb_contact_field_half et_pb_contact_field_last" data-id="email" data-type="email">
  372. <label for="et_pb_contact_email_0" class="et_pb_contact_form_label">Email Address</label>
  373. <input type="text" id="et_pb_contact_email_0" class="input" value="" name="et_pb_contact_email_0" data-required_mark="required" data-field_type="email" data-original_id="email" placeholder="Email Address">
  374. </p><p class="et_pb_contact_field et_pb_contact_field_2 et_pb_contact_field_last" data-id="phone_number" data-type="input">
  379. <label for="et_pb_contact_phone_number_0" class="et_pb_contact_form_label">Phone Number (optional)</label>
  380. <input type="text" id="et_pb_contact_phone_number_0" class="input" value="" name="et_pb_contact_phone_number_0" data-required_mark="not_required" data-field_type="input" data-original_id="phone_number" placeholder="Phone Number (optional)" pattern="[0-9\s\-]*" title="Only numbers allowed.">
  381. </p><p class="et_pb_contact_field et_pb_contact_field_3 et_pb_contact_field_last" data-id="message" data-type="text">
  386. <label for="et_pb_contact_message_0" class="et_pb_contact_form_label">Message</label>
  387. <textarea name="et_pb_contact_message_0" id="et_pb_contact_message_0" class="et_pb_contact_message input" data-required_mark="required" data-field_type="text" data-original_id="message" placeholder="Message"></textarea>
  388. </p>
  389. <input type="hidden" value="et_contact_proccess" name="et_pb_contactform_submit_0"/>
  390. <div class="et_contact_bottom_container">
  392. <button type="submit" name="et_builder_submit_button" class="et_pb_contact_submit et_pb_button">Submit</button>
  393. </div>
  394. <input type="hidden" id="_wpnonce-et-pb-contact-form-submitted-0" name="_wpnonce-et-pb-contact-form-submitted-0" value="5c1a6b4f92" /><input type="hidden" name="_wp_http_referer" value="/feed" />
  395. </form>
  396. </div>
  397. </div>
  398. <div class="et_pb_module et_pb_code et_pb_code_0">
  403. <div class="et_pb_code_inner"><script type="text/javascript">
  404. jQuery(document).ready(function() {
  405. // Hide the div
  406. jQuery('#reveal').hide();
  407. jQuery('.rv_button').click(function(e){
  408. e.preventDefault();jQuery("#reveal").slideToggle();
  409. jQuery('.rv_button').toggleClass('opened closed');
  410. });
  411. });
  412. </script></div>
  413. </div>
  414. </div>
  419. </div>
  422. </div></p>
  423. ]]></content:encoded>
  425. <wfw:commentRss>https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog/feed</wfw:commentRss>
  426. <slash:comments>0</slash:comments>
  429. <media:content url="https://www.youtube.com/embed/mQy7BuW-R6c" medium="video">
  430. <media:player url="https://www.youtube.com/embed/mQy7BuW-R6c" />
  431. <media:title type="plain">24th October 2025 | The Friday Filmmaking Blog</media:title>
  432. <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>
  433. <media:thumbnail url="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png" />
  434. <media:rating scheme="urn:simple">nonadult</media:rating>
  435. </media:content>
  436. </item>
  437. <item>
  438. <title>Creating authentic student recruitment videos for non-traditional learners</title>
  439. <link>https://www.slateandmortar.com/news/authentic-student-recruitment-videos</link>
  440. <comments>https://www.slateandmortar.com/news/authentic-student-recruitment-videos#respond</comments>
  442. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  443. <pubDate>Tue, 21 Oct 2025 11:44:39 +0000</pubDate>
  444. <category><![CDATA[News]]></category>
  445. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8993</guid>
  446.  
  447. <description><![CDATA[Student recruitment videos that resonate with mature, part-time, and online learners—create video marketing that reflects every student.]]></description>
  448. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_9 et_pb_fullwidth_section et_section_regular" >
  455. <div class="et_pb_module et_pb_fullwidth_post_title_1 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
  461. <div class="et_pb_title_container">
  462. <h1 class="entry-title">Creating authentic student recruitment videos for non-traditional learners</h1>
  463. </div>
  465. </div>
  468. </div><div class="et_pb_section et_pb_section_10 et_section_regular" >
  475. <div class="et_pb_row et_pb_row_9">
  476. <div class="et_pb_column et_pb_column_4_4 et_pb_column_9  et_pb_css_mix_blend_mode_passthrough et-last-child">
  481. <div class="et_pb_module et_pb_image et_pb_image_1">
  486. <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/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png" alt="creating authentic student recruitment videos for non-traditional learners" title="WK 43 - creating authentic student recruitment videos for non-traditional learners" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--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-9007" /></span>
  487. </div>
  488. </div>
  493. </div>
  496. </div><div class="et_pb_section et_pb_section_11 et_pb_with_background et_section_regular" >
  503. <div class="et_pb_row et_pb_row_10 et_animated">
  504. <div class="et_pb_column et_pb_column_4_4 et_pb_column_10  et_pb_css_mix_blend_mode_passthrough et-last-child">
  509. <div class="et_pb_module et_pb_text et_pb_text_7 spaced-bullets et_animated  et_pb_text_align_left et_pb_bg_layout_light">
  514. <div class="et_pb_text_inner"><h3 style="text-align: center;"><span style="font-weight: 400;">Why student recruitment videos must evolve beyond the “typical student” story</span></h3>
  515. <p>&nbsp;</p>
  516. <p><span style="font-weight: 400;">Universities often default to a narrow image in their marketing: fresh-out-of-school undergraduates walking across leafy quads, living in halls, attending daytime lectures. That stereotype sells a dream, but it fails to reflect the truth: many prospective learners juggle work, family, location, and past experience. That’s why student recruitment videos must evolve beyond tradition and speak directly to mature, part-time, online or returning students.</span></p>
  517. <p><span style="font-weight: 400;">When your video content only portrays the 18-year-old in lecture theatres, someone who wants to study part-time while working may simply scroll past, thinking “that isn’t for me.” If a working parent doesn’t see someone like them in your stories, they’ll assume your institution doesn’t understand their reality. The story you tell, or don’t tell, matters.</span></p>
  518. <p>&nbsp;</p>
  519. <p><b>Why universities get it wrong</b></p>
  520. <p><span style="font-weight: 400;">Many higher education marketing teams genuinely want inclusivity, but their visuals betray them. They lean on campus life highlight reels, youthful energy, freshers’ events. Those are fantastic, but only when they’re balanced with stories of mature student marketing and inclusive higher education video marketing. Without that balance, the message is clear: “we’re for the young only.”</span></p>
  521. <p><span style="font-weight: 400;">Non-traditional students don’t crave polished campus tours; they seek understanding. They want to see flexibility: evening or weekend classes, robust online support systems, meaningful career outcomes. They want reassurance that they will belong, even if they don’t check the &#8216;typical student&#8217; box. So your student recruitment videos should deliver authenticity, relevance and an emotional connection.</span></p>
  522. <p>&nbsp;</p>
  523. <p><b>Principles for making effective student recruitment videos</b></p>
  524. <ul>
  525. <li><b>Show life, not just the institution.</b><span style="font-weight: 400;"> Cast students of different ages, backgrounds, family situations, those studying remotely, shifting careers, or returning after a gap. Let them speak in their own voice. Don’t force them into polished branding scripts—let their lived experience come through.</span></li>
  526. <li><b>Focus on practical support and outcomes.</b><span style="font-weight: 400;"> Talk about the scaffolding your university offers: financial aid, mentoring, flexible scheduling, online tools, pastoral care, career services. Show what a graduate from a non-traditional route went on to achieve.</span></li>
  527. <li><b>Don’t hide the struggle.</b><span style="font-weight: 400;"> Returning to education often means wrestling with imposter syndrome, childcare schedules, or fitting study around shifts. If your videos depict a frictionless experience, you lose credibility. Admit the challenge, then show how your institution helps conquer it.</span></li>
  528. <li><b>Use location-agnostic storytelling.</b><span style="font-weight: 400;"> Instead of always filming in lecture rooms or campus lawns, include remote learners on video calls, home study scenes, commuting students logging in from cafes. This emphasises the </span><b>inclusive video marketing for universities</b><span style="font-weight: 400;"> mindset.</span></li>
  529. <li><b>Embed accessibility and inclusion throughout.</b><span style="font-weight: 400;"> Use subtitles, transcripts, inclusive casting, avoid jargon, ensure the visuals are accessible to viewers with different needs.</span></li>
  530. </ul>
  531. <p>&nbsp;</p>
  532. <p><b>Example ideas to try</b></p>
  533. <ul>
  534. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Film short “day in the life” slices of part-time students balancing work and study.</span></li>
  535. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Record candid interviews with mature learners about what made them decide to return.</span></li>
  536. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Create explainer videos showing how online modules, support systems or blended learning work behind the scenes.</span></li>
  537. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Use animated visuals to depict flexible pathways or credit transfers.</span></li>
  538. </ul>
  539. <p>&nbsp;</p>
  540. <p><span style="font-weight: 400;">Higher education institutions that already lean into higher education video marketing are finding greater reach with under-represented student groups. Avoid presenting non-traditional learners as “exceptions” or token cases. Don’t overdo the “hero’s journey” trope where they overcome adversity in dramatic leaps; that can feel exploitative. Don’t ignore the fears: financial pressure, time constraints, confidence. And don’t pretend every part of the journey is perfect.</span></p>
  541. <p><span style="font-weight: 400;">Your student recruitment videos must not just invite a broader audience, they must make them feel seen. That’s the difference between a glossy video library and marketing that drives applications from the students you genuinely want to reach.</span></p>
  542. <p>&nbsp;</p>
  543. <p><b>References</b></p>
  544. <p><a href="https://www.hepi.ac.uk/2025/07/17/reflections-on-the-demand-for-higher-education-and-what-ucas-data-is-telling-us-ahead-of-results-day-2025/" target="_blank" rel="noopener"><span style="font-weight: 400;">Reflections on demand for higher education</span></a><a href="https://www.hepi.ac.uk/2025/07/17/reflections-on-the-demand-for-higher-education-and-what-ucas-data-is-telling-us-ahead-of-results-day-2025/?utm_source=chatgpt.com" target="_blank" rel="noopener"><span style="font-weight: 400;"><br /></span></a><a href="https://www.ucas.com/corporate/news-and-key-documents/news/ucas-releases-undergraduate-end-cycle-data-2024" target="_blank" rel="noopener"><span style="font-weight: 400;">Undergraduate end-of-cycle data 2024</span></a><span style="font-weight: 400;"><br /></span><span style="font-weight: 400;"><span style="font-weight: 400;"><a href="https://www.jisc.ac.uk/guides/video-captioning-and-accessibility-regulations" target="_blank" rel="noopener">Video captioning and accessibility regulations</a></span></span></p>
  545. <p>&nbsp;</p>
  546. <p>&nbsp;</p></div>
  547. </div><div class="et_pb_with_border et_pb_module et_pb_text et_pb_text_8 et_animated  et_pb_text_align_left et_pb_bg_layout_light">
  552. <div class="et_pb_text_inner"><h3 style="text-align: center;"><span style="font-weight: 400;">Need student recruitment videos that speak to every learner?</span></h3>
  553. <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 bring your inclusive vision to life!</h3></div>
  554. </div>
  555. </div>
  560. </div>
  563. </div><div class="et_pb_section et_pb_section_13 et_pb_with_background et_section_regular" >
  570. <div class="et_pb_row et_pb_row_11 et_animated">
  571. <div class="et_pb_column et_pb_column_4_4 et_pb_column_11  et_pb_css_mix_blend_mode_passthrough et-last-child">
  576. <div class="et_pb_module et_pb_text et_pb_text_9  et_pb_text_align_left et_pb_bg_layout_dark">
  581. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
  582. </div>
  583. </div>
  588. </div><div class="et_pb_row et_pb_row_12 et_animated et_pb_equal_columns">
  589. <div class="et_pb_column et_pb_column_4_4 et_pb_column_12  et_pb_css_mix_blend_mode_passthrough et-last-child">
  594. <div class="et_pb_with_border et_pb_module et_pb_blog_1 et_pb_blog_grid_wrapper et_pb_bg_layout_light">
  595. <div class="et_pb_blog_grid clearfix  et_pb_text_align_center">
  600. <div class="et_pb_ajax_pagination_container">
  601. <div class="et_pb_salvattore_content" data-columns>
  602. <article id="post-9125" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_1_0 post-9125 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  603.  
  604. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png" alt="24th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="Creating authentic student recruitment videos for non-traditional learners 4"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  605. <h2 class="entry-title">
  606. <a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog">24th October 2025 | The Friday Filmmaking Blog</a>
  607. </h2>
  609. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  610. </article>
  612. <article id="post-8993" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_1_1 post-8993 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  613.  
  614. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png" alt="Creating authentic student recruitment videos for non-traditional learners" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="Creating authentic student recruitment videos for non-traditional learners 5"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  615. <h2 class="entry-title">
  616. <a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos">Creating authentic student recruitment videos for non-traditional learners</a>
  617. </h2>
  619. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  620. </article>
  622. <article id="post-9058" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_1_2 post-9058 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  623.  
  624. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png" alt="17th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="Creating authentic student recruitment videos for non-traditional learners 6"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  625. <h2 class="entry-title">
  626. <a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog">17th October 2025 | The Friday Filmmaking Blog</a>
  627. </h2>
  629. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  630. </article>
  631. </div>
  632. </div>
  633. </div>
  634. </div>
  635. </div>
  640. </div>
  643. </div><div class="et_pb_section et_pb_section_14 et_pb_with_background et_section_regular" >
  650. <div class="et_pb_row et_pb_row_13">
  651. <div class="et_pb_column et_pb_column_4_4 et_pb_column_13  et_pb_css_mix_blend_mode_passthrough et-last-child">
  656. <div class="et_pb_module et_pb_text et_pb_text_10  et_pb_text_align_left et_pb_bg_layout_light">
  661. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  662. </div><div class="et_pb_module et_pb_text et_pb_text_11  et_pb_text_align_center et_pb_bg_layout_light">
  667. <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>
  668. <p>We’d love to hear from you. Get in touch today!</p></div>
  669. </div>
  670. </div>
  675. </div><div class="et_pb_row et_pb_row_14">
  676. <div class="et_pb_column et_pb_column_4_4 et_pb_column_14  et_pb_css_mix_blend_mode_passthrough et-last-child">
  681. <div class="et_pb_module et_pb_blurb et_pb_blurb_1 rv_button closed  et_pb_text_align_left et_pb_blurb_position_top et_pb_bg_layout_light">
  686. <div class="et_pb_blurb_content">
  687. <div class="et_pb_main_blurb_image"><span class="et_pb_image_wrap"><span class="et-waypoint et_pb_animation_off et_pb_animation_off_tablet et_pb_animation_off_phone et-pb-icon">3</span></span></div>
  688. <div class="et_pb_blurb_container">
  691. </div>
  692. </div>
  693. </div>
  694. <div id="reveal" class="et_pb_module et_pb_contact_form_1 et_pb_recaptcha_enabled et_pb_contact_form_container clearfix" data-form_unique_num="1" data-form_unique_id="d92f7ff2-f81f-4291-a306-6fdfe86ff373">
  700. <div class="et-pb-contact-message"></div>
  702. <div class="et_pb_contact">
  703. <form class="et_pb_contact_form clearfix" method="post" action="https://www.slateandmortar.com/feed">
  704. <p class="et_pb_contact_field et_pb_contact_field_4 et_pb_contact_field_half" data-id="name" data-type="input">
  709. <label for="et_pb_contact_name_1" class="et_pb_contact_form_label">Name</label>
  710. <input type="text" id="et_pb_contact_name_1" class="input" value="" name="et_pb_contact_name_1" data-required_mark="required" data-field_type="input" data-original_id="name" placeholder="Name">
  711. </p><p class="et_pb_contact_field et_pb_contact_field_5 et_pb_contact_field_half et_pb_contact_field_last" data-id="email" data-type="email">
  716. <label for="et_pb_contact_email_1" class="et_pb_contact_form_label">Email Address</label>
  717. <input type="text" id="et_pb_contact_email_1" class="input" value="" name="et_pb_contact_email_1" data-required_mark="required" data-field_type="email" data-original_id="email" placeholder="Email Address">
  718. </p><p class="et_pb_contact_field et_pb_contact_field_6 et_pb_contact_field_last" data-id="phone_number" data-type="input">
  723. <label for="et_pb_contact_phone_number_1" class="et_pb_contact_form_label">Phone Number (optional)</label>
  724. <input type="text" id="et_pb_contact_phone_number_1" class="input" value="" name="et_pb_contact_phone_number_1" data-required_mark="not_required" data-field_type="input" data-original_id="phone_number" placeholder="Phone Number (optional)" pattern="[0-9\s\-]*" title="Only numbers allowed.">
  725. </p><p class="et_pb_contact_field et_pb_contact_field_7 et_pb_contact_field_last" data-id="message" data-type="text">
  730. <label for="et_pb_contact_message_1" class="et_pb_contact_form_label">Message</label>
  731. <textarea name="et_pb_contact_message_1" id="et_pb_contact_message_1" class="et_pb_contact_message input" data-required_mark="required" data-field_type="text" data-original_id="message" placeholder="Message"></textarea>
  732. </p>
  733. <input type="hidden" value="et_contact_proccess" name="et_pb_contactform_submit_1"/>
  734. <div class="et_contact_bottom_container">
  736. <button type="submit" name="et_builder_submit_button" class="et_pb_contact_submit et_pb_button">Submit</button>
  737. </div>
  738. <input type="hidden" id="_wpnonce-et-pb-contact-form-submitted-1" name="_wpnonce-et-pb-contact-form-submitted-1" value="5c1a6b4f92" /><input type="hidden" name="_wp_http_referer" value="/feed" />
  739. </form>
  740. </div>
  741. </div>
  742. <div class="et_pb_module et_pb_code et_pb_code_1">
  747. <div class="et_pb_code_inner"><script type="text/javascript">
  748. jQuery(document).ready(function() {
  749. // Hide the div
  750. jQuery('#reveal').hide();
  751. jQuery('.rv_button').click(function(e){
  752. e.preventDefault();jQuery("#reveal").slideToggle();
  753. jQuery('.rv_button').toggleClass('opened closed');
  754. });
  755. });
  756. </script></div>
  757. </div>
  758. </div>
  763. </div>
  766. </div></p>
  767. ]]></content:encoded>
  769. <wfw:commentRss>https://www.slateandmortar.com/news/authentic-student-recruitment-videos/feed</wfw:commentRss>
  770. <slash:comments>0</slash:comments>
  773. </item>
  774. <item>
  775. <title>17th October 2025 &#124; The Friday Filmmaking Blog</title>
  776. <link>https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog</link>
  777. <comments>https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog#respond</comments>
  779. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  780. <pubDate>Thu, 16 Oct 2025 12:52:46 +0000</pubDate>
  781. <category><![CDATA[News]]></category>
  782. <guid isPermaLink="false">https://www.slateandmortar.com/?p=9058</guid>
  783.  
  784. <description><![CDATA[Explore the artistry behind editing fear, identity through hair, and cinematic structure — your weekly fix of filmmaking insights.]]></description>
  785. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_15 et_pb_fullwidth_section et_section_regular" >
  792. <div class="et_pb_module et_pb_fullwidth_post_title_2 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
  798. <div class="et_pb_title_container">
  799. <h1 class="entry-title">17th October 2025 | The Friday Filmmaking Blog</h1>
  800. </div>
  802. </div>
  805. </div><div class="et_pb_section et_pb_section_16 et_section_regular" >
  812. <div class="et_pb_row et_pb_row_15">
  813. <div class="et_pb_column et_pb_column_4_4 et_pb_column_15  et_pb_css_mix_blend_mode_passthrough et-last-child">
  818. <div class="et_pb_module et_pb_image et_pb_image_2">
  823. <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/2025/10/42-The-Friday-Filmmaking-Blog.png" alt="The Friday Filmmaking Blog" title="42 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-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-9075" /></span>
  824. </div>
  825. </div>
  830. </div>
  833. </div><div class="et_pb_section et_pb_section_17 et_pb_with_background et_section_regular" >
  840. <div class="et_pb_row et_pb_row_16 et_animated">
  841. <div class="et_pb_column et_pb_column_4_4 et_pb_column_16  et_pb_css_mix_blend_mode_passthrough et-last-child">
  846. <div class="et_pb_module et_pb_text et_pb_text_12  et_pb_text_align_left et_pb_bg_layout_light">
  851. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week’s roundup brings together three pieces that each dig into a different corner of the filmmaking craft — editing tension, the power of hair and identity in cinema, and the formal experiments of political paranoia. What ties them together is how each reveals filmmaking not just as technique, but as a tool for emotional, psychological, and even political impact.</p></div>
  852. </div>
  853. </div>
  858. </div>
  861. </div><div class="et_pb_section et_pb_section_18 et_pb_with_background et_section_regular" >
  868. <div class="et_pb_row et_pb_row_17 et_animated">
  869. <div class="et_pb_column et_pb_column_4_4 et_pb_column_17  et_pb_css_mix_blend_mode_passthrough et-last-child">
  874. <div class="et_pb_module et_pb_text et_pb_text_13 spaced-bullets  et_pb_text_align_left et_pb_bg_layout_light">
  879. <div class="et_pb_text_inner"><h3 style="text-align: center;">Crafting Fear Frame by Frame: The Art of Editing a Psychological Thriller</h3>
  880. <p>&nbsp;</p>
  881. <p data-start="705" data-end="1052"><a href="https://nofilmschool.com/crafting-fear-frame-by-frame-the-art-of-editing-a-psychological-thriller" target="_blank" rel="noopener">Editor Anjoum Agrama</a> walks us through her work on <em data-start="854" data-end="865">Bone Lake</em>, a folk‑horror-ish psychological thriller, offering a masterclass in how editing choices can generate suspense, disorientation, and tonal tension.</p>
  882. <p data-start="705" data-end="1052">
  883. <h4 data-start="1054" data-end="1083">Key themes &amp; techniques</h4>
  884. <ul data-start="1085" data-end="2637">
  885. <li data-start="1085" data-end="1441">
  886. <p data-start="1087" data-end="1441"><strong data-start="1087" data-end="1129">From music videos to narrative editing</strong><br data-start="1129" data-end="1132" />Agrama’s background in music videos taught her to listen for emotional and rhythmic shifts — a sensibility she brings into feature editing. She describes editing as “editing against expectation,” where cuts don’t just follow action, but disrupt or recontextualise it.</p>
  887. </li>
  888. <li data-start="1443" data-end="1868">
  889. <p data-start="1445" data-end="1868"><strong data-start="1445" data-end="1490">Balancing tone: horror, eroticism, comedy</strong><br data-start="1490" data-end="1493" /><em data-start="1495" data-end="1506">Bone Lake</em> mixes horror, seduction, lies, and moments of dark humor. Agrama argues that the tonal balance depends heavily on editing pacing, reaction shots, and precise placement of music cues. In lighter moments, she lets the actors’ grounded performances carry a beat; in terrifying ones, she accelerates and fractures the rhythm.</p>
  890. </li>
  891. <li data-start="1870" data-end="2217">
  892. <p data-start="1872" data-end="2217"><strong data-start="1872" data-end="1922">Music and temp tracks as narrative scaffolding</strong><br data-start="1922" data-end="1925" />She treats temp scores almost like scaffolding: even before final music arrives, she uses tracks to guide rhythm, tension, and emotional arcs. Occasionally, a temp needle drop survives into the final film because it captured the right emotional beat.</p>
  893. </li>
  894. <li data-start="2219" data-end="2637">
  895. <p data-start="2221" data-end="2637"><strong data-start="2221" data-end="2269">Overcoming production challenges via editing</strong><br data-start="2269" data-end="2272" />The final confrontation sequence posed a particular challenge: storms shut down production mid‑shoot. Agrama had to integrate footage shot months apart and reshape the narrative in post. She credits the cinematographer and production designer for giving frames that could be matched — but the edit is what made it coherent.</p>
  896. </li>
  897. </ul>
  898. <h4 data-start="2639" data-end="2676"> </h4>
  899. <h4 data-start="2639" data-end="2676">Why this matters for filmmaking</h4>
  900. <p data-start="2678" data-end="3077">This article exemplifies how the “invisible” choice (an edit cut, a jump cut, a musical cue) is often the one that moves the audience most viscerally. For filmmakers working in psychological or genre spaces, it’s a reminder: the edit is a weapon. And for those working across genres, Agrama’s discussion of tonal agility is a valuable lesson in how editing can unify conflicting emotional registers.</p>
  901. <p data-start="3079" data-end="3257">If you’re curious to see how <em data-start="3108" data-end="3119">Bone Lake</em> looks in motion, here’s the trailer:</p>
  902. <p data-start="3079" data-end="3257">
  903. <p data-start="3079" data-end="3257"><iframe title="Bone Lake | Official Trailer | Bleecker Street" width="1080" height="608" src="https://www.youtube.com/embed/mQy7BuW-R6c?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>
  904. </div>
  905. </div>
  910. </div>
  913. </div><div class="et_pb_section et_pb_section_19 et_pb_with_background et_section_regular" >
  920. <div class="et_pb_row et_pb_row_18 et_animated">
  921. <div class="et_pb_column et_pb_column_4_4 et_pb_column_18  et_pb_css_mix_blend_mode_passthrough et-last-child">
  926. <div class="et_pb_module et_pb_text et_pb_text_14  et_pb_text_align_left et_pb_bg_layout_light">
  931. <div class="et_pb_text_inner"><h3 style="text-align: center;">Every Day, I Had to Reinvent  — The Hair Design of The Smashing Machine</h3>
  932. <p>&nbsp;</p>
  933. <p data-start="262" data-end="740">In a film already receiving huge buzz for its physical transformations, <a href="https://www.indiewire.com/features/craft/mia-neal-on-dwayne-the-rock-johnson-smashing-machine-hair-1235154321/" target="_blank" rel="noopener"><em data-start="472" data-end="494">The Smashing Machine</em></a> features more than just prosthetics and performance to bring authenticity to the screen. At its heart is some of the most inventive and high-stakes hair design seen in recent filmmaking — and the story behind it is as intense as the film itself.</p>
  934. <p data-start="742" data-end="1184">Oscar-winning hair department head <strong data-start="777" data-end="789">Mia Neal</strong> was originally brought onto <em data-start="818" data-end="840">The Smashing Machine</em> to create a wig for Emily Blunt’s portrayal of Dawn Staples, wife of UFC legend Mark Kerr. But when Dwayne Johnson’s own hairpiece ran into major issues just before cameras rolled, Neal found herself unexpectedly tasked with designing the key element that would allow Johnson to disappear fully into the role — a new, robust, camera-ready wig.</p>
  935. <p data-start="742" data-end="1184">
  936. <h4 data-start="1186" data-end="1229">Hair design as a filmmaking cornerstone</h4>
  937. <p data-start="1231" data-end="1719">From the start, Neal approached the project with a character-first mindset. Even Blunt’s wig wasn’t just about replicating Dawn’s real-life hair, but tailoring it to complement Blunt’s skin tone and on-screen presence. She struck a careful balance — darker than Blunt’s natural blonde but lighter than the real Dawn’s brunette. Two wigs were created, with variations in tone and thickness, and Blunt selected her favourite before director Benny Safdie fine-tuned the hairline and texture.</p>
  938. <p data-start="1721" data-end="2187">What’s clear from Neal’s recounting is Safdie’s intense attention to detail and collaborative nature. “I’ve worked on projects where I literally didn’t even have a conversation with the director,” she said. “Benny is the type of director who is involved in every single department.” For filmmakers, it’s a reminder that filmmaking is collaborative down to the finest fibres — and that directors who invest in those collaborations often elevate the entire production.</p>
  939. <p data-start="1721" data-end="2187">
  940. <h4 data-start="2189" data-end="2220">The Dwayne Johnson wig saga</h4>
  941. <p data-start="2222" data-end="2654">Neal’s greatest challenge began just as production was about to start. Johnson’s original wig wasn’t holding up — both physically and visually. It was jet-black (true to Mark Kerr’s real hair), but didn’t blend with Johnson’s skin tone and looked obviously artificial. On top of that, early camera tests showed a major issue: a visual “gap” between Johnson’s neckline and the wig’s hairline. “It looked like a bad wig,” Neal said.</p>
  942. <p data-start="2656" data-end="3081">And so, without sleep, Neal ventilated (i.e., built) a completely new hairpiece overnight. She extended the nape, stripped out the harsh black dye, re-cut and restyled the piece to sit flatter and more realistically on Johnson’s scalp. She dyed the lace to match his skin tone — a subtle but crucial step in making the hairline disappear on camera. “The lace needed to be dyed… all you saw was white lace [before],” she said.</p>
  943. <p data-start="2656" data-end="3081">
  944. <h4 data-start="3083" data-end="3128">Engineering under pressure (and humidity)</h4>
  945. <p data-start="3130" data-end="3502">Then came the next filmmaking hurdle: <em data-start="3168" data-end="3192">how to keep the wig on</em>. The film is full of intensely physical scenes. Johnson insisted on real contact in fight choreography, often sweating through scenes under 100% humidity — or, in Japan, 110-degree heat. “The wig is literally melting on him,” Neal recalled. “At that point, it was like, I’m going to let Jesus take the wheel.”</p>
  946. <p data-start="3504" data-end="4045">To counter the sweat, heat, and oil from Johnson’s body makeup (used to cover his tattoos), Neal devised a multi-layered approach. She used alcohol to strip oil from his skin, a custom prosthetic band made by her friend Christal Shanes (originally designed for cancer patients), high-definition lace, skin tabs, and industrial-strength top stick adhesive — which often needed replacing mid-day. And even then, Johnson’s head bumps and elongated neckline added to the chaos. “Every day, I had to reinvent how to keep this thing on,” she said.</p>
  947. <p data-start="3504" data-end="4045">
  948. <h4 data-start="4047" data-end="4095">What this means for the filmmaking community</h4>
  949. <p data-start="4097" data-end="4546">While hair and makeup may not always get the spotlight in discussions of filmmaking craft, this article is a case study in why they should. Neal’s approach is less about cosmetic design and more about <strong data-start="4298" data-end="4323">narrative engineering</strong> — making something invisible that would otherwise derail an audience’s immersion. Her commitment, adaptability, and craftsmanship made it possible for Johnson’s transformation to succeed not just visually, but emotionally.</p>
  950. <p data-start="4548" data-end="4838">There’s also a powerful takeaway here about last-minute problem solving on set — and the endurance required when you’re the last line of defence against a visual breakdown. “It was hands down the most challenging job I’ve ever had,” Neal admitted — and yet the results speak for themselves.</p>
  951. <p data-start="4548" data-end="4838">
  952. <p data-start="5098" data-end="5246">And if you haven’t seen it yet, here’s the trailer:</p>
  953. <p data-start="5098" data-end="5246"><iframe title="The Smashing Machine | Official Trailer HD | A24" width="1080" height="608" src="https://www.youtube.com/embed/aRpnP3LZ99g?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>
  954. </div>
  955. </div>
  960. </div>
  963. </div><div class="et_pb_section et_pb_section_20 et_pb_with_background et_section_regular" >
  970. <div class="et_pb_row et_pb_row_19 et_animated">
  971. <div class="et_pb_column et_pb_column_4_4 et_pb_column_19  et_pb_css_mix_blend_mode_passthrough et-last-child">
  976. <div class="et_pb_module et_pb_text et_pb_text_15 spaced-bullets  et_pb_text_align_left et_pb_bg_layout_light">
  981. <div class="et_pb_text_inner"><h3 style="text-align: center;">Revisiting The Parallax View Through a Modern Filmmaking Lens</h3>
  982. <p>&nbsp;</p>
  983. <p data-start="5748" data-end="6057"><a href="https://www.criterion.com/current/posts/8950-parallax-views" target="_blank" rel="noopener">David Hudson’s essay</a> revisits one of the most formally audacious political thrillers of the 1970s, Alan J. Pakula’s <em data-start="5911" data-end="5930">The Parallax View</em>, and reflects on how its structure, editing, and visual language continue to haunt us.</p>
  984. <p data-start="5748" data-end="6057">
  985. <h4 data-start="6059" data-end="6102">Deep dive into form, meaning &amp; legacy</h4>
  986. <ul data-start="6104" data-end="7333">
  987. <li data-start="6104" data-end="6515">
  988. <p data-start="6106" data-end="6515"><strong data-start="6106" data-end="6138">The “parallax test” sequence</strong><br data-start="6138" data-end="6141" />Hudson focuses on the mid-film sequence where Bass (Warren Beatty) is put through a psychological evaluation: for around five minutes, the narrative abandons conventional continuity. Visuals, slogans, and music assault him (and us) in a hypnotic montage. This is a moment of cinematic disorientation, where meaning itself fractures.</p>
  989. </li>
  990. <li data-start="6517" data-end="6993">
  991. <p data-start="6519" data-end="6993"><strong data-start="6519" data-end="6555">Parallax as metaphor &amp; structure</strong><br data-start="6555" data-end="6558" />The notion of parallax — the shifting of perspective when you move your vantage point — becomes a central metaphor. <em data-start="6676" data-end="6695">The Parallax View</em> continually shifts the frame, teases conspiratorial gaps, and destabilizes the viewer’s viewpoint. Hudson argues that this unsettled geometry is not just style, but subtext: the film suggests that truth in politics is always shifting, partial, and mediated.</p>
  992. </li>
  993. <li data-start="6995" data-end="7333">
  994. <p data-start="6997" data-end="7333"><strong data-start="6997" data-end="7020">Legacy &amp; resonances</strong><br data-start="7020" data-end="7023" />Hudson draws lines from Pakula’s visuals to contemporary anxieties: surveillance, propaganda, and the fragility of trust. He also notes that modern tools (digital, AI, montage sequencing) allow for reinterpretations or “remixes” of that original hallucinatory logic.</p>
  995. </li>
  996. </ul>
  997. <h4 data-start="7335" data-end="7382"> </h4>
  998. <h4 data-start="7335" data-end="7382">Why this is fertile ground for filmmaking</h4>
  999. <p data-start="7384" data-end="7859">For filmmakers interested in pushing form, <em data-start="7427" data-end="7443">Parallax Views</em> is a potent reminder of how narrative and aesthetic innovation can engage politics, psychology, and ideology. It insists that technique (editing, camera, montage) isn’t just decoration — it’s a lens on how we see the world (and what we might miss). Hudson’s essay invites questions: how might we rethink disorientation, jump cuts, or fragmented perspectives today — especially under digital and post‑truth pressure?</p></div>
  1000. </div>
  1001. </div>
  1006. </div>
  1009. </div><div class="et_pb_section et_pb_section_22 et_pb_with_background et_section_regular" >
  1016. <div class="et_pb_row et_pb_row_20 et_animated">
  1017. <div class="et_pb_column et_pb_column_4_4 et_pb_column_20  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1022. <div class="et_pb_module et_pb_text et_pb_text_16  et_pb_text_align_left et_pb_bg_layout_dark">
  1027. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
  1028. </div>
  1029. </div>
  1034. </div><div class="et_pb_row et_pb_row_21 et_animated et_pb_equal_columns">
  1035. <div class="et_pb_column et_pb_column_4_4 et_pb_column_21  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1040. <div class="et_pb_with_border et_pb_module et_pb_blog_2 et_pb_blog_grid_wrapper et_pb_bg_layout_light">
  1041. <div class="et_pb_blog_grid clearfix  et_pb_text_align_center">
  1046. <div class="et_pb_ajax_pagination_container">
  1047. <div class="et_pb_salvattore_content" data-columns>
  1048. <article id="post-9125" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_2_0 post-9125 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1049.  
  1050. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png" alt="24th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="17th October 2025 | The Friday Filmmaking Blog 7"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1051. <h2 class="entry-title">
  1052. <a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog">24th October 2025 | The Friday Filmmaking Blog</a>
  1053. </h2>
  1055. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1056. </article>
  1058. <article id="post-8993" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_2_1 post-8993 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1059.  
  1060. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png" alt="Creating authentic student recruitment videos for non-traditional learners" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="17th October 2025 | The Friday Filmmaking Blog 8"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1061. <h2 class="entry-title">
  1062. <a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos">Creating authentic student recruitment videos for non-traditional learners</a>
  1063. </h2>
  1065. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1066. </article>
  1068. <article id="post-9058" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_2_2 post-9058 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1069.  
  1070. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png" alt="17th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="17th October 2025 | The Friday Filmmaking Blog 9"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1071. <h2 class="entry-title">
  1072. <a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog">17th October 2025 | The Friday Filmmaking Blog</a>
  1073. </h2>
  1075. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1076. </article>
  1077. </div>
  1078. </div>
  1079. </div>
  1080. </div>
  1081. </div>
  1086. </div>
  1089. </div><div class="et_pb_section et_pb_section_23 et_pb_with_background et_section_regular" >
  1096. <div class="et_pb_row et_pb_row_22">
  1097. <div class="et_pb_column et_pb_column_4_4 et_pb_column_22  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1102. <div class="et_pb_module et_pb_text et_pb_text_17  et_pb_text_align_left et_pb_bg_layout_light">
  1107. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1108. </div><div class="et_pb_module et_pb_text et_pb_text_18  et_pb_text_align_center et_pb_bg_layout_light">
  1113. <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>
  1114. <p>We’d love to hear from you. Get in touch today!</p></div>
  1115. </div>
  1116. </div>
  1121. </div><div class="et_pb_row et_pb_row_23">
  1122. <div class="et_pb_column et_pb_column_4_4 et_pb_column_23  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1127. <div class="et_pb_module et_pb_blurb et_pb_blurb_2 rv_button closed  et_pb_text_align_left et_pb_blurb_position_top et_pb_bg_layout_light">
  1132. <div class="et_pb_blurb_content">
  1133. <div class="et_pb_main_blurb_image"><span class="et_pb_image_wrap"><span class="et-waypoint et_pb_animation_off et_pb_animation_off_tablet et_pb_animation_off_phone et-pb-icon">3</span></span></div>
  1134. <div class="et_pb_blurb_container">
  1137. </div>
  1138. </div>
  1139. </div>
  1140. <div id="reveal" class="et_pb_module et_pb_contact_form_2 et_pb_recaptcha_enabled et_pb_contact_form_container clearfix" data-form_unique_num="2" data-form_unique_id="d92f7ff2-f81f-4291-a306-6fdfe86ff373">
  1146. <div class="et-pb-contact-message"></div>
  1148. <div class="et_pb_contact">
  1149. <form class="et_pb_contact_form clearfix" method="post" action="https://www.slateandmortar.com/feed">
  1150. <p class="et_pb_contact_field et_pb_contact_field_8 et_pb_contact_field_half" data-id="name" data-type="input">
  1155. <label for="et_pb_contact_name_2" class="et_pb_contact_form_label">Name</label>
  1156. <input type="text" id="et_pb_contact_name_2" class="input" value="" name="et_pb_contact_name_2" data-required_mark="required" data-field_type="input" data-original_id="name" placeholder="Name">
  1157. </p><p class="et_pb_contact_field et_pb_contact_field_9 et_pb_contact_field_half et_pb_contact_field_last" data-id="email" data-type="email">
  1162. <label for="et_pb_contact_email_2" class="et_pb_contact_form_label">Email Address</label>
  1163. <input type="text" id="et_pb_contact_email_2" class="input" value="" name="et_pb_contact_email_2" data-required_mark="required" data-field_type="email" data-original_id="email" placeholder="Email Address">
  1164. </p><p class="et_pb_contact_field et_pb_contact_field_10 et_pb_contact_field_last" data-id="phone_number" data-type="input">
  1169. <label for="et_pb_contact_phone_number_2" class="et_pb_contact_form_label">Phone Number (optional)</label>
  1170. <input type="text" id="et_pb_contact_phone_number_2" class="input" value="" name="et_pb_contact_phone_number_2" data-required_mark="not_required" data-field_type="input" data-original_id="phone_number" placeholder="Phone Number (optional)" pattern="[0-9\s\-]*" title="Only numbers allowed.">
  1171. </p><p class="et_pb_contact_field et_pb_contact_field_11 et_pb_contact_field_last" data-id="message" data-type="text">
  1176. <label for="et_pb_contact_message_2" class="et_pb_contact_form_label">Message</label>
  1177. <textarea name="et_pb_contact_message_2" id="et_pb_contact_message_2" class="et_pb_contact_message input" data-required_mark="required" data-field_type="text" data-original_id="message" placeholder="Message"></textarea>
  1178. </p>
  1179. <input type="hidden" value="et_contact_proccess" name="et_pb_contactform_submit_2"/>
  1180. <div class="et_contact_bottom_container">
  1182. <button type="submit" name="et_builder_submit_button" class="et_pb_contact_submit et_pb_button">Submit</button>
  1183. </div>
  1184. <input type="hidden" id="_wpnonce-et-pb-contact-form-submitted-2" name="_wpnonce-et-pb-contact-form-submitted-2" value="5c1a6b4f92" /><input type="hidden" name="_wp_http_referer" value="/feed" />
  1185. </form>
  1186. </div>
  1187. </div>
  1188. <div class="et_pb_module et_pb_code et_pb_code_2">
  1193. <div class="et_pb_code_inner"><script type="text/javascript">
  1194. jQuery(document).ready(function() {
  1195. // Hide the div
  1196. jQuery('#reveal').hide();
  1197. jQuery('.rv_button').click(function(e){
  1198. e.preventDefault();jQuery("#reveal").slideToggle();
  1199. jQuery('.rv_button').toggleClass('opened closed');
  1200. });
  1201. });
  1202. </script></div>
  1203. </div>
  1204. </div>
  1209. </div>
  1212. </div></p>
  1213. ]]></content:encoded>
  1215. <wfw:commentRss>https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog/feed</wfw:commentRss>
  1216. <slash:comments>0</slash:comments>
  1219. <media:content url="https://www.youtube.com/embed/P8LKI3n41qo" medium="video">
  1220. <media:player url="https://www.youtube.com/embed/P8LKI3n41qo" />
  1221. <media:title type="plain">17th October 2025 | The Friday Filmmaking Blog</media:title>
  1222. <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>
  1223. <media:thumbnail url="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png" />
  1224. <media:rating scheme="urn:simple">nonadult</media:rating>
  1225. </media:content>
  1226. </item>
  1227. <item>
  1228. <title>9th October 2025 &#124; The Friday Filmmaking Blog</title>
  1229. <link>https://www.slateandmortar.com/news/9th-october-the-friday-filmmaking-blog</link>
  1231. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1232. <pubDate>Thu, 09 Oct 2025 13:53:40 +0000</pubDate>
  1233. <category><![CDATA[News]]></category>
  1234. <guid isPermaLink="false">https://www.slateandmortar.com/?p=9010</guid>
  1235.  
  1236. <description><![CDATA[VistaVision reborn, hybrid VFX in Tron, &#038; real flames over LEDs — this week’s filmmaking stories push cinematic risk and intent.]]></description>
  1237. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_24 et_pb_fullwidth_section et_section_regular" >
  1244. <div class="et_pb_module et_pb_fullwidth_post_title_3 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
  1250. <div class="et_pb_title_container">
  1251. <h1 class="entry-title">9th October 2025 | The Friday Filmmaking Blog</h1>
  1252. </div>
  1254. </div>
  1257. </div><div class="et_pb_section et_pb_section_25 et_section_regular" >
  1264. <div class="et_pb_row et_pb_row_24">
  1265. <div class="et_pb_column et_pb_column_4_4 et_pb_column_24  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1270. <div class="et_pb_module et_pb_image et_pb_image_3">
  1275. <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/2025/10/41-The-Friday-Filmmaking-Blog.png" alt="filmmaking" title="41 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/41-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/10/41-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/10/41-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-9014" /></span>
  1276. </div>
  1277. </div>
  1282. </div>
  1285. </div><div class="et_pb_section et_pb_section_26 et_pb_with_background et_section_regular" >
  1292. <div class="et_pb_row et_pb_row_25 et_animated">
  1293. <div class="et_pb_column et_pb_column_4_4 et_pb_column_25  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1298. <div class="et_pb_module et_pb_text et_pb_text_19  et_pb_text_align_left et_pb_bg_layout_light">
  1303. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week’s picks reflect something I find increasingly exciting in filmmaking: a renewed appetite for craft, risk, and reappraisal of older formats and techniques. First, we look at <em data-start="420" data-end="446">One Battle After Another</em>, Paul Thomas Anderson’s bold revival of VistaVision for his epic new film — a throwback strategy with modern ambition. Then, we dig into Tron: Ares, where director Joachim Rønning lays bare his creative decision to bring the Light Cycle sequences into the real world — a hybrid of VFX, stunts, and practical ingenuity. Finally, we get behind the flames of <em data-start="807" data-end="821">The Lost Bus</em> fire sequence, via Paul Greengrass’s VFX and on‑set choices.</p></div>
  1304. </div>
  1305. </div>
  1310. </div>
  1313. </div><div class="et_pb_section et_pb_section_27 et_pb_with_background et_section_regular" >
  1320. <div class="et_pb_row et_pb_row_26 et_animated">
  1321. <div class="et_pb_column et_pb_column_4_4 et_pb_column_26  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1326. <div class="et_pb_module et_pb_text et_pb_text_20  et_pb_text_align_left et_pb_bg_layout_light">
  1331. <div class="et_pb_text_inner"><h3 style="text-align: center;"><em data-start="1028" data-end="1054">One Battle After Another</em> — VistaVision’s surprising comeback</h3>
  1332. <p>&nbsp;</p>
  1333. <p data-start="1092" data-end="1444">In “One Battle After Another Is the Latest Film Shot in VistaVision,” <a href="https://theconversation.com/one-battle-after-another-is-the-latest-film-shot-in-vistavision-a-1950s-format-making-a-big-comeback-264979" target="_blank" rel="noopener">The Conversation</a> (and its associated video) explores how Paul Thomas Anderson resurrects a format nearly dormant since the 1950s, using it to make a bold visual statement. The embedded clip gives you a sense of its texture and framing strategy.</p>
  1334. <h4 data-start="1446" data-end="1481">Technical and aesthetic revival</h4>
  1335. <p data-start="1483" data-end="1891">VistaVision was introduced in the mid‑1950s as an alternative to anamorphic widescreen — it runs the film horizontally, giving a larger image area with finer grain. Its heyday ended decades ago. With <em data-start="1683" data-end="1709">One Battle After Another</em>, Anderson becomes one of the first directors in many years to shoot principal photography in VistaVision — alongside <em data-start="1827" data-end="1842">The Brutalist</em> in 2024.</p>
  1336. <p data-start="1893" data-end="2311">The decision isn’t just nostalgia. VistaVision gives a richness and resolution to 35mm that competes better with digital and 70mm, especially in high-contrast or wide compositions. Anderson and cinematographer Michael Bauman treat the taller, more “vertical” framing as a compositional tool: to let landscapes, sky, and figure interplay in ways that heighten suspense and scale.</p>
  1337. <p data-start="2313" data-end="2636">In reviews and technical analyses, critics note how the climactic chase on a winding highway uses every inch of the frame for momentum. In lower shots you feel compression and danger; in upper shots, space and the sky seem to press in. The format becomes a kind of narrative partner.</p>
  1338. <p data-start="2638" data-end="2985">Of course, the logistics are nontrivial. Producing and projecting VistaVision prints is a specialty process. The press release confirms that along with VistaVision, the film will also screen in 70mm, IMAX, and other formats, so producers are hedging — giving viewers multiple ways to experience the picture.</p>
  1339. <h4 data-start="2987" data-end="3028">Narrative, politics &amp; filmmaking risk</h4>
  1340. <p data-start="3030" data-end="3508">The film itself is audacious: loosely inspired by Thomas Pynchon’s <em data-start="3097" data-end="3107">Vineland</em>, the story is an expansive, politically charged father‑daughter epic set in a near‑present America. It opens the film world to political radicalism, surveillance, and the cost of resistance. That Anderson anchors all that within such a visually bold frame signals that this is not safe, decorative filmmaking — it’s cinema staking claim to scale and intention.</p>
  1341. <p data-start="3510" data-end="3859">Critics have responded strongly. Many call <em data-start="3553" data-end="3579">One Battle After Another</em> one of Anderson’s most viscerally exciting films, a new benchmark for him. The Guardian’s more politically focused commentary frames it as a risky departure from the “apolitical middle” of studio fare.</p>
  1342. <p data-start="3861" data-end="4016">In short, this is filmmaking as manifesto: where the choices of format, framing and scale all echo the film’s themes of insurgency, memory and spectacle.</p>
  1343. <p data-start="3861" data-end="4016"><iframe title="What is VistaVision?" width="1080" height="608" src="https://www.youtube.com/embed/P8LKI3n41qo?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>
  1344. </div>
  1345. </div>
  1350. </div>
  1353. </div><div class="et_pb_section et_pb_section_28 et_pb_with_background et_section_regular" >
  1360. <div class="et_pb_row et_pb_row_27 et_animated">
  1361. <div class="et_pb_column et_pb_column_4_4 et_pb_column_27  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1366. <div class="et_pb_module et_pb_text et_pb_text_21  et_pb_text_align_left et_pb_bg_layout_light">
  1371. <div class="et_pb_text_inner"><h3 style="text-align: center;">Tron: Ares — bringing the Light Cycle chase into the real world</h3>
  1372. <p>&nbsp;</p>
  1373. <p data-start="4310" data-end="4700"><a href="https://www.indiewire.com/features/interviews/tron-ares-director-joachim-ronning-light-cycle-chase-1235154713/" target="_blank" rel="noopener">IndieWire’s</a> interview with director <strong data-start="4346" data-end="4365">Joachim Rønning</strong> digs into an intriguing hybrid decision: preserve the digital legacy of <em data-start="4438" data-end="4444">Tron</em>, but execute Light Cycle sequences in live environments as much as possible. The accompanying YouTube link gives you visual context for what that hybridity looks like in motion.</p>
  1374. <h4 data-start="4702" data-end="4730">Why go partly practical?</h4>
  1375. <p data-start="4732" data-end="5032">Rønning’s approach comes from a critique of the earlier <em data-start="4788" data-end="4794">Tron</em> films: they were spectacular yet emotionally distant. One of his stated goals was to introduce real-world weight and texture to the digital world, so the audience feels present, not just dazzled.</p>
  1376. <p data-start="5034" data-end="5440">By pushing Light Cycle sequences onto real streets, Rønning forces integration with real lighting, atmosphere, and environment. That demands tighter coordination — VFX teams can’t just build everything from scratch. They must match live elements, cam placement, and interactions. Impacts, reflections, dust, shadows: these must all be credible in-camera or in a tight composite, not just layered in post.</p>
  1377. <p data-start="5442" data-end="5733">Moreover, his critique of legacy <em data-start="5475" data-end="5481">Tron</em> is that it lacked “heart” — that is, emotional stakes beyond aesthetic spectacle. So his balancing act is not just technical, but narrative: combining prismatic visuals with real stake and emotional resonance.</p>
  1378. <h4 data-start="5735" data-end="5762">Challenges &amp; trade‑offs</h4>
  1379. <p data-start="5764" data-end="6133">Doing real-world Light Cycle work comes with obvious complications: rigging, safety, control of the environment, and blending the real and synthetic so the seams vanish. On top of that, certain maneuvers or stunts will remain in the digital realm — so you have to choose where to lean practical vs full CG. That’s an editorial and design decision, not just technical.</p>
  1380. <p data-start="6135" data-end="6462">Rønning also talked about how legacy <em data-start="6172" data-end="6178">Tron</em> films leaned heavily on digital spectacle. His is more hybrid — but that means the team must be sensitive to consistency. Digital augmentation must feel coherent with live plates. The more practical footage you push, the less room for visual mismatch — but also less room to cheat.</p>
  1381. <p data-start="6464" data-end="6711">From a filmmaking perspective, this is a kind of risk: you&#8217;re not fully “safe” in VFX where everything can be finessed later. You&#8217;re making commitments early, and that forces discipline in planning, storyboarding, previs, and stunt coordination.</p>
  1382. <p data-start="6717" data-end="6919">In sum, the <em data-start="6729" data-end="6741">Tron: Ares</em> push is a reminder: visual spectacle need not live purely in virtual space. It can — and perhaps should — live at the interface of live and digital, when narrative demands it.</p>
  1383. <p data-start="6717" data-end="6919"><iframe title="Tron: Ares | Official Trailer" width="1080" height="608" src="https://www.youtube.com/embed/YShVEXb7-ic?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>
  1384. </div>
  1385. </div>
  1390. </div>
  1393. </div><div class="et_pb_section et_pb_section_29 et_pb_with_background et_section_regular" >
  1400. <div class="et_pb_row et_pb_row_28 et_animated">
  1401. <div class="et_pb_column et_pb_column_4_4 et_pb_column_28  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1406. <div class="et_pb_module et_pb_text et_pb_text_22  et_pb_text_align_left et_pb_bg_layout_light">
  1411. <div class="et_pb_text_inner"><h3 style="text-align: center;">The Lost Bus fire — Why Greengrass lit real flames instead of relying on LED</h3>
  1412. <p>&nbsp;</p>
  1413. <p data-start="7028" data-end="7345">In “Inside ‘The Lost Bus’ Fire: Why Paul Greengrass Ditched LED Virtual Stages,” <a href="https://www.indiewire.com/features/podcast/the-lost-bus-fire-vfx-real-flames-new-mexico-podcast-1235154322/" target="_blank" rel="noopener">IndieWire</a> describes a production choice that feels almost rebellious in 2025: instead of simulating fire in LED walls or pure VFX, Greengrass opted to light <em data-start="7266" data-end="7272">real</em> flames for much of the sequence.</p>
  1414. <p data-start="7347" data-end="7510">The podcast article gives insight into the mindset and discoveries behind that decision, and why for this particular sequence, real flame beats virtual simulation.</p>
  1415. <h4 data-start="7512" data-end="7552">The aesthetic &amp; psychological impact</h4>
  1416. <p data-start="7554" data-end="7874">Greengrass argued that digital or LED-based fire, no matter how polished, lacks a certain unpredictability, organic flicker, ember scatter, and the sub‑surface heat signature that audiences unconsciously detect. Those subtleties matter — the dance of light and shadow, the variation in flicker, the bounce on surfaces.</p>
  1417. <p data-start="7876" data-end="8111">Because <em data-start="7884" data-end="7898">The Lost Bus</em> is a grounded action film (Greengrass’s signature style), that tactile truth of real flames pushes the sequence from “ok VFX moment” into “visceral, on‑the-edge cinema.” The risk is greater, but so is the payoff.</p>
  1418. <h4 data-start="8113" data-end="8146">Technical challenges &amp; safety</h4>
  1419. <p data-start="8148" data-end="8421">Of course, working with real fire imposes major constraints. Safety becomes paramount. You need fire suppression, careful choreography, controlled burn zones, and fallback plans. There’s less room for error. Shots must be tightly coordinated, both in camera and lighting.</p>
  1420. <p data-start="8423" data-end="8643">Also, real fire reacts to wind, humidity, air currents, and scene geography. That unpredictability means the cinematographer, gaffer, and stunt/fx teams must be fluent and responsive. There&#8217;s no “undo” in the same way.</p>
  1421. <p data-start="8645" data-end="8952">One interesting detail: Greengrass reportedly considered LED staging (inspired by what he saw at the U2 Sphere concert), but ultimately concluded that for <em data-start="8800" data-end="8806">this</em> film, the physical presence and “chaos” of real flames was essential to the sequence’s emotional truth.</p>
  1422. <h4 data-start="8954" data-end="8990">Implications for VFX integration</h4>
  1423. <p data-start="8992" data-end="9321">Using real fire doesn’t negate VFX — in fact, it imposes discipline on it. The VFX team must clean up, extend, and sometimes enhance the real flames, but the base is real. That means reference, plate clarity, and planning are crucial. Sometimes VFX artists prefer “less to fake,” rather than building a full flame from scratch.</p>
  1424. <p data-start="9323" data-end="9522">The podcast also mentions that Greengrass was in the edit room while these decisions were being made, giving him real-time influence as the sequence evolved. To me, this is a great case study in how confident filmmaking is about choosing constraints. Greengrass didn’t take the “safe” digital route. He chose risk to earn cinematic authenticity.</p></div>
  1425. </div>
  1426. </div>
  1431. </div>
  1434. </div><div class="et_pb_section et_pb_section_31 et_pb_with_background et_section_regular" >
  1441. <div class="et_pb_row et_pb_row_29 et_animated">
  1442. <div class="et_pb_column et_pb_column_4_4 et_pb_column_29  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1447. <div class="et_pb_module et_pb_text et_pb_text_23  et_pb_text_align_left et_pb_bg_layout_dark">
  1452. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
  1453. </div>
  1454. </div>
  1459. </div><div class="et_pb_row et_pb_row_30 et_animated et_pb_equal_columns">
  1460. <div class="et_pb_column et_pb_column_4_4 et_pb_column_30  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1465. <div class="et_pb_with_border et_pb_module et_pb_blog_3 et_pb_blog_grid_wrapper et_pb_bg_layout_light">
  1466. <div class="et_pb_blog_grid clearfix  et_pb_text_align_center">
  1471. <div class="et_pb_ajax_pagination_container">
  1472. <div class="et_pb_salvattore_content" data-columns>
  1473. <article id="post-9125" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_3_0 post-9125 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1474.  
  1475. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png" alt="24th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="9th October 2025 | The Friday Filmmaking Blog 10"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1476. <h2 class="entry-title">
  1477. <a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog">24th October 2025 | The Friday Filmmaking Blog</a>
  1478. </h2>
  1480. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1481. </article>
  1483. <article id="post-8993" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_3_1 post-8993 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1484.  
  1485. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png" alt="Creating authentic student recruitment videos for non-traditional learners" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="9th October 2025 | The Friday Filmmaking Blog 11"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1486. <h2 class="entry-title">
  1487. <a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos">Creating authentic student recruitment videos for non-traditional learners</a>
  1488. </h2>
  1490. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1491. </article>
  1493. <article id="post-9058" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_3_2 post-9058 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1494.  
  1495. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png" alt="17th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="9th October 2025 | The Friday Filmmaking Blog 12"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1496. <h2 class="entry-title">
  1497. <a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog">17th October 2025 | The Friday Filmmaking Blog</a>
  1498. </h2>
  1500. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1501. </article>
  1502. </div>
  1503. </div>
  1504. </div>
  1505. </div>
  1506. </div>
  1511. </div>
  1514. </div><div class="et_pb_section et_pb_section_32 et_pb_with_background et_section_regular" >
  1521. <div class="et_pb_row et_pb_row_31">
  1522. <div class="et_pb_column et_pb_column_4_4 et_pb_column_31  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1527. <div class="et_pb_module et_pb_text et_pb_text_24  et_pb_text_align_left et_pb_bg_layout_light">
  1532. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1533. </div><div class="et_pb_module et_pb_text et_pb_text_25  et_pb_text_align_center et_pb_bg_layout_light">
  1538. <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>
  1539. <p>We’d love to hear from you. Get in touch today!</p></div>
  1540. </div>
  1541. </div>
  1546. </div><div class="et_pb_row et_pb_row_32">
  1547. <div class="et_pb_column et_pb_column_4_4 et_pb_column_32  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1552. <div class="et_pb_module et_pb_blurb et_pb_blurb_3 rv_button closed  et_pb_text_align_left et_pb_blurb_position_top et_pb_bg_layout_light">
  1557. <div class="et_pb_blurb_content">
  1558. <div class="et_pb_main_blurb_image"><span class="et_pb_image_wrap"><span class="et-waypoint et_pb_animation_off et_pb_animation_off_tablet et_pb_animation_off_phone et-pb-icon">3</span></span></div>
  1559. <div class="et_pb_blurb_container">
  1562. </div>
  1563. </div>
  1564. </div>
  1565. <div id="reveal" class="et_pb_module et_pb_contact_form_3 et_pb_recaptcha_enabled et_pb_contact_form_container clearfix" data-form_unique_num="3" data-form_unique_id="d92f7ff2-f81f-4291-a306-6fdfe86ff373">
  1571. <div class="et-pb-contact-message"></div>
  1573. <div class="et_pb_contact">
  1574. <form class="et_pb_contact_form clearfix" method="post" action="https://www.slateandmortar.com/feed">
  1575. <p class="et_pb_contact_field et_pb_contact_field_12 et_pb_contact_field_half" data-id="name" data-type="input">
  1580. <label for="et_pb_contact_name_3" class="et_pb_contact_form_label">Name</label>
  1581. <input type="text" id="et_pb_contact_name_3" class="input" value="" name="et_pb_contact_name_3" data-required_mark="required" data-field_type="input" data-original_id="name" placeholder="Name">
  1582. </p><p class="et_pb_contact_field et_pb_contact_field_13 et_pb_contact_field_half et_pb_contact_field_last" data-id="email" data-type="email">
  1587. <label for="et_pb_contact_email_3" class="et_pb_contact_form_label">Email Address</label>
  1588. <input type="text" id="et_pb_contact_email_3" class="input" value="" name="et_pb_contact_email_3" data-required_mark="required" data-field_type="email" data-original_id="email" placeholder="Email Address">
  1589. </p><p class="et_pb_contact_field et_pb_contact_field_14 et_pb_contact_field_last" data-id="phone_number" data-type="input">
  1594. <label for="et_pb_contact_phone_number_3" class="et_pb_contact_form_label">Phone Number (optional)</label>
  1595. <input type="text" id="et_pb_contact_phone_number_3" class="input" value="" name="et_pb_contact_phone_number_3" data-required_mark="not_required" data-field_type="input" data-original_id="phone_number" placeholder="Phone Number (optional)" pattern="[0-9\s\-]*" title="Only numbers allowed.">
  1596. </p><p class="et_pb_contact_field et_pb_contact_field_15 et_pb_contact_field_last" data-id="message" data-type="text">
  1601. <label for="et_pb_contact_message_3" class="et_pb_contact_form_label">Message</label>
  1602. <textarea name="et_pb_contact_message_3" id="et_pb_contact_message_3" class="et_pb_contact_message input" data-required_mark="required" data-field_type="text" data-original_id="message" placeholder="Message"></textarea>
  1603. </p>
  1604. <input type="hidden" value="et_contact_proccess" name="et_pb_contactform_submit_3"/>
  1605. <div class="et_contact_bottom_container">
  1607. <button type="submit" name="et_builder_submit_button" class="et_pb_contact_submit et_pb_button">Submit</button>
  1608. </div>
  1609. <input type="hidden" id="_wpnonce-et-pb-contact-form-submitted-3" name="_wpnonce-et-pb-contact-form-submitted-3" value="5c1a6b4f92" /><input type="hidden" name="_wp_http_referer" value="/feed" />
  1610. </form>
  1611. </div>
  1612. </div>
  1613. <div class="et_pb_module et_pb_code et_pb_code_3">
  1618. <div class="et_pb_code_inner"><script type="text/javascript">
  1619. jQuery(document).ready(function() {
  1620. // Hide the div
  1621. jQuery('#reveal').hide();
  1622. jQuery('.rv_button').click(function(e){
  1623. e.preventDefault();jQuery("#reveal").slideToggle();
  1624. jQuery('.rv_button').toggleClass('opened closed');
  1625. });
  1626. });
  1627. </script></div>
  1628. </div>
  1629. </div>
  1634. </div>
  1637. </div></p>
  1638. ]]></content:encoded>
  1642. <media:content url="https://www.youtube.com/embed/Sc8mjBvRuMM" medium="video">
  1643. <media:player url="https://www.youtube.com/embed/Sc8mjBvRuMM" />
  1644. <media:title type="plain">9th October 2025 | The Friday Filmmaking Blog</media:title>
  1645. <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>
  1646. <media:thumbnail url="https://www.slateandmortar.com/wp-content/uploads/2025/10/41-The-Friday-Filmmaking-Blog.png" />
  1647. <media:rating scheme="urn:simple">nonadult</media:rating>
  1648. </media:content>
  1649. </item>
  1650. <item>
  1651. <title>Emotion-driven storytelling in video production: Why humans still win over AI</title>
  1652. <link>https://www.slateandmortar.com/news/emotion-driven-storytelling-in-video-production</link>
  1654. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1655. <pubDate>Wed, 08 Oct 2025 09:11:30 +0000</pubDate>
  1656. <category><![CDATA[News]]></category>
  1657. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8949</guid>
  1658.  
  1659. <description><![CDATA[Emotion-driven storytelling in video production cuts through the noise—humans feel more than machines ever will. Let’s make stories that last.]]></description>
  1660. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_33 et_pb_fullwidth_section et_section_regular" >
  1667. <div class="et_pb_module et_pb_fullwidth_post_title_4 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
  1673. <div class="et_pb_title_container">
  1674. <h1 class="entry-title">Emotion-driven storytelling in video production: Why humans still win over AI</h1>
  1675. </div>
  1677. </div>
  1680. </div><div class="et_pb_section et_pb_section_34 et_section_regular" >
  1687. <div class="et_pb_row et_pb_row_33">
  1688. <div class="et_pb_column et_pb_column_4_4 et_pb_column_33  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1693. <div class="et_pb_module et_pb_image et_pb_image_4">
  1698. <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/2025/10/WK-41-Emotion-driven-storytelling-in-video-production.png" alt="Emotion-driven storytelling in video production" title="WK 41 Emotion-driven storytelling in video production" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-41-Emotion-driven-storytelling-in-video-production.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-41-Emotion-driven-storytelling-in-video-production-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-41-Emotion-driven-storytelling-in-video-production-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-8963" /></span>
  1699. </div>
  1700. </div>
  1705. </div>
  1708. </div><div class="et_pb_section et_pb_section_35 et_pb_with_background et_section_regular" >
  1715. <div class="et_pb_row et_pb_row_34 et_animated">
  1716. <div class="et_pb_column et_pb_column_4_4 et_pb_column_34  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1721. <div class="et_pb_module et_pb_text et_pb_text_26 et_animated  et_pb_text_align_left et_pb_bg_layout_light">
  1726. <div class="et_pb_text_inner"><h3 style="text-align: center;"><span style="font-weight: 400;">Why emotion-driven storytelling in video production is the advantage AI can never replicate</span></h3>
  1727. <p>&nbsp;</p>
  1728. <p><span style="font-weight: 400;">Emotion is not automation: that’s the truth audiences cling to long after the credits roll. AI is impressive. It can generate outlines, trim scripts, propose shot lists, and do it fast. But emotion-driven storytelling in video production isn’t about efficiency or variation: it’s about intentionality, meaning, and connection.</span></p>
  1729. <p><span style="font-weight: 400;">Every choice in a film matters, not because it was convenient, but because a human decided it should. The pause between lines, the held breath, the moment of silence: these are things AI can’t intuit. It doesn’t understand tension or relief; it can’t sense when the unsaid carries the weight of everything. It can’t feel heartache, joy, dread, or know when an image resonates because it reflects a lived truth.</span></p>
  1730. <p><span style="font-weight: 400;">Human storytelling arises from experience, empathy, and nuance. It’s the flicker in someone’s eye, the tremor in their voice, the subtle shift in expression. It’s recognising how real people behave when they see themselves onscreen. That peer-to-peer recognition, the authenticity, the bond, that is what emotion-driven storytelling in video production creates</span></p>
  1731. <p><span style="font-weight: 400;">Brands are catching on. In UK advertising, McDonald’s, Cadbury, EE and others are leaning into deeply human themes, dementia, divorce, nights out… because these stories feel grounded, relatable, memorable. Those campaigns don’t rely on spectacle so much as sincerity.</span></p>
  1732. <p><span style="font-weight: 400;">Yes, technology enhances workflow. AI can help us polish, organise, spark ideas… but it doesn’t supply the emotional core. It can never replace the messy act of human collaboration. Because the heartbeat of a campaign grows from conversation, from intuition, from people caring enough to make every detail matter.</span></p>
  1733. <p><span style="font-weight: 400;">In a world drowning in content, campaigns built on emotion-driven storytelling in video production cut through. They ride memory, not noise. They prompt sharing, conversation, and emotional loyalty. That’s the difference between a video you watch and a video you feel.</span></p>
  1734. <p><span style="font-weight: 400;">When your message is anchored in meaning, not gimmick, you don’t just reach an audience, you move them. You give them something that lingers. You create advocates, not viewers.</span></p>
  1735. <p><span style="font-weight: 400;">Let’s make your next film about more than process or speed. Let’s build one that pulses with humanity, that echoes the stories people recognise in themselves.</span></p>
  1736. <p>&nbsp;</p>
  1737. <p><b>References</b></p>
  1738. <p><a href="https://www.forbes.com/councils/forbesagencycouncil/2024/02/16/how-brands-can-drive-emotional-engagement-with-customers/" target="_blank" rel="noopener"><span style="font-weight: 400;">How brands can drive emotional engagement with customers</span></a><a href="https://www.forbes.com/councils/forbesagencycouncil/2024/02/16/how-brands-can-drive-emotional-engagement-with-customers/?utm_source=chatgpt.com" target="_blank" rel="noopener"><span style="font-weight: 400;"><br /></span></a><a href="https://www.forbes.com/councils/forbescommunicationscouncil/2024/08/05/the-power-of-storytelling-in-modern-marketing/" target="_blank" rel="noopener"><span style="font-weight: 400;">The power of storytelling in modern marketing</span></a><span style="font-weight: 400;"><br /><a href="https://www.outboundengine.com/blog/4-emotional-elements-that-are-vital-to-storytelling-in-marketing/" target="_blank" rel="noopener"><span style="font-weight: 400;">4 emotional elements that are vital to storytelling in marketing</span></a><span style="font-weight: 400;"><br /></span></span></p>
  1739. <p>&nbsp;</p></div>
  1740. </div><div class="et_pb_with_border et_pb_module et_pb_text et_pb_text_27 et_animated  et_pb_text_align_left et_pb_bg_layout_light">
  1745. <div class="et_pb_text_inner"><h3 style="text-align: center;">Want to create something that connects, moves, and stays with people?</h3>
  1746. <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 something that matters!</h3></div>
  1747. </div>
  1748. </div>
  1753. </div>
  1756. </div><div class="et_pb_section et_pb_section_37 et_pb_with_background et_section_regular" >
  1763. <div class="et_pb_row et_pb_row_35 et_animated">
  1764. <div class="et_pb_column et_pb_column_4_4 et_pb_column_35  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1769. <div class="et_pb_module et_pb_text et_pb_text_28  et_pb_text_align_left et_pb_bg_layout_dark">
  1774. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
  1775. </div>
  1776. </div>
  1781. </div><div class="et_pb_row et_pb_row_36 et_animated et_pb_equal_columns">
  1782. <div class="et_pb_column et_pb_column_4_4 et_pb_column_36  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1787. <div class="et_pb_with_border et_pb_module et_pb_blog_4 et_pb_blog_grid_wrapper et_pb_bg_layout_light">
  1788. <div class="et_pb_blog_grid clearfix  et_pb_text_align_center">
  1793. <div class="et_pb_ajax_pagination_container">
  1794. <div class="et_pb_salvattore_content" data-columns>
  1795. <article id="post-9125" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_4_0 post-9125 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1796.  
  1797. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png" alt="24th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="Emotion-driven storytelling in video production: Why humans still win over AI 13"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1798. <h2 class="entry-title">
  1799. <a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog">24th October 2025 | The Friday Filmmaking Blog</a>
  1800. </h2>
  1802. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1803. </article>
  1805. <article id="post-8993" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_4_1 post-8993 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1806.  
  1807. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png" alt="Creating authentic student recruitment videos for non-traditional learners" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="Emotion-driven storytelling in video production: Why humans still win over AI 14"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1808. <h2 class="entry-title">
  1809. <a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos">Creating authentic student recruitment videos for non-traditional learners</a>
  1810. </h2>
  1812. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1813. </article>
  1815. <article id="post-9058" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_4_2 post-9058 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  1816.  
  1817. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png" alt="17th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="Emotion-driven storytelling in video production: Why humans still win over AI 15"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  1818. <h2 class="entry-title">
  1819. <a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog">17th October 2025 | The Friday Filmmaking Blog</a>
  1820. </h2>
  1822. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  1823. </article>
  1824. </div>
  1825. </div>
  1826. </div>
  1827. </div>
  1828. </div>
  1833. </div>
  1836. </div><div class="et_pb_section et_pb_section_38 et_pb_with_background et_section_regular" >
  1843. <div class="et_pb_row et_pb_row_37">
  1844. <div class="et_pb_column et_pb_column_4_4 et_pb_column_37  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1849. <div class="et_pb_module et_pb_text et_pb_text_29  et_pb_text_align_left et_pb_bg_layout_light">
  1854. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1855. </div><div class="et_pb_module et_pb_text et_pb_text_30  et_pb_text_align_center et_pb_bg_layout_light">
  1860. <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>
  1861. <p>We’d love to hear from you. Get in touch today!</p></div>
  1862. </div>
  1863. </div>
  1868. </div><div class="et_pb_row et_pb_row_38">
  1869. <div class="et_pb_column et_pb_column_4_4 et_pb_column_38  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1874. <div class="et_pb_module et_pb_blurb et_pb_blurb_4 rv_button closed  et_pb_text_align_left et_pb_blurb_position_top et_pb_bg_layout_light">
  1879. <div class="et_pb_blurb_content">
  1880. <div class="et_pb_main_blurb_image"><span class="et_pb_image_wrap"><span class="et-waypoint et_pb_animation_off et_pb_animation_off_tablet et_pb_animation_off_phone et-pb-icon">3</span></span></div>
  1881. <div class="et_pb_blurb_container">
  1884. </div>
  1885. </div>
  1886. </div>
  1887. <div id="reveal" class="et_pb_module et_pb_contact_form_4 et_pb_recaptcha_enabled et_pb_contact_form_container clearfix" data-form_unique_num="4" data-form_unique_id="d92f7ff2-f81f-4291-a306-6fdfe86ff373">
  1893. <div class="et-pb-contact-message"></div>
  1895. <div class="et_pb_contact">
  1896. <form class="et_pb_contact_form clearfix" method="post" action="https://www.slateandmortar.com/feed">
  1897. <p class="et_pb_contact_field et_pb_contact_field_16 et_pb_contact_field_half" data-id="name" data-type="input">
  1902. <label for="et_pb_contact_name_4" class="et_pb_contact_form_label">Name</label>
  1903. <input type="text" id="et_pb_contact_name_4" class="input" value="" name="et_pb_contact_name_4" data-required_mark="required" data-field_type="input" data-original_id="name" placeholder="Name">
  1904. </p><p class="et_pb_contact_field et_pb_contact_field_17 et_pb_contact_field_half et_pb_contact_field_last" data-id="email" data-type="email">
  1909. <label for="et_pb_contact_email_4" class="et_pb_contact_form_label">Email Address</label>
  1910. <input type="text" id="et_pb_contact_email_4" class="input" value="" name="et_pb_contact_email_4" data-required_mark="required" data-field_type="email" data-original_id="email" placeholder="Email Address">
  1911. </p><p class="et_pb_contact_field et_pb_contact_field_18 et_pb_contact_field_last" data-id="phone_number" data-type="input">
  1916. <label for="et_pb_contact_phone_number_4" class="et_pb_contact_form_label">Phone Number (optional)</label>
  1917. <input type="text" id="et_pb_contact_phone_number_4" class="input" value="" name="et_pb_contact_phone_number_4" data-required_mark="not_required" data-field_type="input" data-original_id="phone_number" placeholder="Phone Number (optional)" pattern="[0-9\s\-]*" title="Only numbers allowed.">
  1918. </p><p class="et_pb_contact_field et_pb_contact_field_19 et_pb_contact_field_last" data-id="message" data-type="text">
  1923. <label for="et_pb_contact_message_4" class="et_pb_contact_form_label">Message</label>
  1924. <textarea name="et_pb_contact_message_4" id="et_pb_contact_message_4" class="et_pb_contact_message input" data-required_mark="required" data-field_type="text" data-original_id="message" placeholder="Message"></textarea>
  1925. </p>
  1926. <input type="hidden" value="et_contact_proccess" name="et_pb_contactform_submit_4"/>
  1927. <div class="et_contact_bottom_container">
  1929. <button type="submit" name="et_builder_submit_button" class="et_pb_contact_submit et_pb_button">Submit</button>
  1930. </div>
  1931. <input type="hidden" id="_wpnonce-et-pb-contact-form-submitted-4" name="_wpnonce-et-pb-contact-form-submitted-4" value="5c1a6b4f92" /><input type="hidden" name="_wp_http_referer" value="/feed" />
  1932. </form>
  1933. </div>
  1934. </div>
  1935. <div class="et_pb_module et_pb_code et_pb_code_4">
  1940. <div class="et_pb_code_inner"><script type="text/javascript">
  1941. jQuery(document).ready(function() {
  1942. // Hide the div
  1943. jQuery('#reveal').hide();
  1944. jQuery('.rv_button').click(function(e){
  1945. e.preventDefault();jQuery("#reveal").slideToggle();
  1946. jQuery('.rv_button').toggleClass('opened closed');
  1947. });
  1948. });
  1949. </script></div>
  1950. </div>
  1951. </div>
  1956. </div>
  1959. </div></p>
  1960. ]]></content:encoded>
  1964. </item>
  1965. <item>
  1966. <title>26th September 2025 &#124; The Friday Filmmaking Blog</title>
  1967. <link>https://www.slateandmortar.com/news/26th-sept-2025-friday-filmmaking-blog</link>
  1969. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1970. <pubDate>Thu, 25 Sep 2025 10:27:06 +0000</pubDate>
  1971. <category><![CDATA[News]]></category>
  1972. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8911</guid>
  1973.  
  1974. <description><![CDATA[Three essential reads this week for filmmaking: real on‑set injuries, Redford’s creative mountain, and Rob Reiner revisits Spinal Tap.]]></description>
  1975. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_39 et_pb_fullwidth_section et_section_regular" >
  1982. <div class="et_pb_module et_pb_fullwidth_post_title_5 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
  1988. <div class="et_pb_title_container">
  1989. <h1 class="entry-title">26th September 2025 | The Friday Filmmaking Blog</h1>
  1990. </div>
  1992. </div>
  1995. </div><div class="et_pb_section et_pb_section_40 et_section_regular" >
  2002. <div class="et_pb_row et_pb_row_39">
  2003. <div class="et_pb_column et_pb_column_4_4 et_pb_column_39  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2008. <div class="et_pb_module et_pb_image et_pb_image_5">
  2013. <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/2025/09/39-The-Friday-Filmmaking-Blog.png" alt="The Friday Filmmaking Blog" title="39 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/09/39-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/09/39-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/09/39-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-8914" /></span>
  2014. </div>
  2015. </div>
  2020. </div>
  2023. </div><div class="et_pb_section et_pb_section_41 et_pb_with_background et_section_regular" >
  2030. <div class="et_pb_row et_pb_row_40 et_animated">
  2031. <div class="et_pb_column et_pb_column_4_4 et_pb_column_40  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2036. <div class="et_pb_module et_pb_text et_pb_text_31  et_pb_text_align_left et_pb_bg_layout_light">
  2041. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">This week’s trio of articles cover surprising, deeply human, and delightfully meta corners of filmmaking. First, we dive into real <strong data-start="372" data-end="391">on-set injuries</strong> that made it into final cuts — a raw reminder that the line between performance and accident is sometimes thin. Next, we explore a Criterion deep‑dive on Robert Redford’s philosophy of “climbing the mountain” — a metaphor for creative endurance and risk. Finally, we get cheeky with Rob Reiner’s return to <em data-start="698" data-end="710">Spinal Tap</em> lore: in conversation about the new sequel, he reflects on legacy, improvisation, and what it means to revisit a cult classic in later life. These picks reflect the pressures, philosophies, and playing-within-the-frame ideas that shape modern filmmaking.</p></div>
  2042. </div>
  2043. </div>
  2048. </div>
  2051. </div><div class="et_pb_section et_pb_section_42 et_pb_with_background et_section_regular" >
  2058. <div class="et_pb_row et_pb_row_41 et_animated">
  2059. <div class="et_pb_column et_pb_column_4_4 et_pb_column_41  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2064. <div class="et_pb_module et_pb_text et_pb_text_32  et_pb_text_align_left et_pb_bg_layout_light">
  2069. <div class="et_pb_text_inner"><h3 style="text-align: center;">10 On‑Set Injuries That Made It Into The Final Movie</h3>
  2070. <p>&nbsp;</p>
  2071. <p><a href="https://nofilmschool.com/real-on-set-injuries" target="_blank" rel="noopener">This No Film School</a> piece catalogs ten instances where real injuries on film sets survived into the final version of a movie. It’s a macabre but compelling glimpse into the unpredictable intersections of risk, authenticity, and narrative.</p>
  2072. <p><strong>Key Cases &amp; Themes</strong></p>
  2073. <ul>
  2074. <li><strong>Leonardo DiCaprio, Django Unchained</strong> — In a table‑slam scene, DiCaprio smashed his palm on glass, cutting himself. Rather than cut the take, the filmmakers used the real bloodied hand as part of the effect.</li>
  2075. <li><strong>Viggo Mortensen, The Lord of the Rings: Two Towers</strong> — Mortensen broke two toes kicking a helmet in an emotional moment. His scream of pain was untouched.</li>
  2076. <li><strong>Tom Cruise, Mission: Impossible – Fallout</strong> — While performing a rooftop jump, Cruise miscalculated and broke his ankle mid‑shot. He limped onscreen.</li>
  2077. <li>Other stories include Martin Sheen punching a mirror in Apocalypse Now, Channing Tatum headbutting glass in Foxcatcher, and Ellen Burstyn’s spine injury during The Exorcist stunts.</li>
  2078. </ul>
  2079. <p>Through the article, author Jason Hellerman threads a cautionary tone: while realism is compelling, safety should never be collateral. Accidents do happen, especially with stunts, physical drama, and practical effects — and this piece invites a sobering reflection: how often do we see onscreen moments that were never meant to be part of the script?</p>
  2080. <p>&nbsp;</p>
  2081. <p><strong>Why This Matters in Filmmaking</strong></p>
  2082. <ul>
  2083. <li><strong>Authenticity vs. Liability:</strong> These stories highlight the tension between capturing raw authenticity and maintaining a safe environment. It’s tempting — especially in action, horror, or intense dramatic scenes — to lean into what’s “real,” but the stakes are high.</li>
  2084. <li><strong>Improvisation &amp; Momentum:</strong> In several cases, filmmakers recognized that bleeding, screaming, or limping produced something they couldn’t replicate artificially. A decision was made in the editing room — sometimes the mistake becomes the art.</li>
  2085. <li><strong>Set Culture &amp; Preparedness:</strong> The article is also a reminder that safety measures, rehearsals, stunt doubles, clear communication, and on‑set medical readiness are critical. Even the most disciplined teams can’t eliminate all risk, but they can minimize it.</li>
  2086. <li><strong>Audience Perception:</strong> Knowing these backstories can change how we watch a scene. When you hear that scream in LoTR, the knowledge that it was agony in real life adds a layer of vertigo to the experience.</li>
  2087. </ul>
  2088. <p>&nbsp;</p>
  2089. <p><iframe title="Actors&#039; Real Injuries That Made It to Film" width="1080" height="608" src="https://www.youtube.com/embed/Sc8mjBvRuMM?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>
  2090. </div>
  2091. </div>
  2096. </div>
  2099. </div><div class="et_pb_section et_pb_section_43 et_pb_with_background et_section_regular" >
  2106. <div class="et_pb_row et_pb_row_42 et_animated">
  2107. <div class="et_pb_column et_pb_column_4_4 et_pb_column_42  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2112. <div class="et_pb_module et_pb_text et_pb_text_33  et_pb_text_align_left et_pb_bg_layout_light">
  2117. <div class="et_pb_text_inner"><h3 style="text-align: center;">Up Three Mountains with Robert Redford — A Tribute and Reflection</h3>
  2118. <p>&nbsp;</p>
  2119. <p>Robert Redford, who died this past week at age 89, left behind a constellation of roles, ideals, and creative aspirations. Revisiting the <a href="https://www.criterion.com/current/posts/8925-up-three-mountains-with-robert-redford" target="_blank" rel="noopener">Criterion essay <em data-start="405" data-end="447">“Up Three Mountains with Robert Redford”</em></a> now resonates with extra poignancy — this is not just an exploration of his philosophy, but an elegy to a man whose own climbs now lie behind him.</p>
  2120. <p data-start="596" data-end="640"><strong>The Mountain Metaphor Deepened by Loss</strong></p>
  2121. <p>In the original essay, Redford’s oft‑quoted line — <em data-start="693" data-end="757">“to climb up the mountain is the fun, not standing at the top”</em> — is treated as philosophical counsel: life and art are defined by striving, not by static achievement. Today, it feels almost elegiac: Redford’s life was his mountain range, each film a peak, each reinvention a new ascent. The summit is now behind him, but the climb echoes onward in how his work continues to matter.</p>
  2122. <p>The essay traces Redford’s journey through his most iconic films — <em data-start="1183" data-end="1219">Butch Cassidy and the Sundance Kid</em>, <em data-start="1221" data-end="1232">The Sting</em>, <em data-start="1234" data-end="1251">Ordinary People</em>, <em data-start="1253" data-end="1271">Jeremiah Johnson</em> and more — showing how he balanced commercial appeal with quiet artistic risks. In light of his passing, these choices feel like deliberate footholds laid by someone scaling beyond the ordinary: not resting on reputation, but pressing toward new ground.</p>
  2123. <p data-start="1902" data-end="1936"><strong>Redford’s Peaks and Passages</strong></p>
  2124. <p data-start="1902" data-end="1936">
  2125. <ul data-start="1938" data-end="2933">
  2126. <li data-start="1938" data-end="2205"><strong>Mainstream &amp; Depth Together:</strong> Throughout his career, Redford inhabited the dual role of leading man and introspective figure. The essay notes how he chose roles that allowed for ambiguity, inner conflict, and moral nuance.</li>
  2127. <li data-start="2206" data-end="2454"><strong>Reinvention as Continuity:</strong> The shifts in his career — from actor to director, from star to film festival pioneer — are shown not as retreats, but as climbs of equal weight. The essay suggests that each new phase was its own summit to reach.</li>
  2128. <li data-start="2455" data-end="2631"><strong>Artistry Through Restraint:</strong> Redford never pushed for spectacle or excess; his climbs often depended on restraint, patience, and trusting the subtle power of naturalism.</li>
  2129. <li data-start="2632" data-end="2933"><strong>Legacy in Empowering Others:</strong> Perhaps his most enduring climb was through his founding of the Sundance Institute — a foothold he built for countless filmmakers. The essay frames that not just as philanthropy, but as a decisive extension of his creative life.</li>
  2130. </ul></div>
  2131. </div>
  2132. </div>
  2137. </div>
  2140. </div><div class="et_pb_section et_pb_section_44 et_pb_with_background et_section_regular" >
  2147. <div class="et_pb_row et_pb_row_43 et_animated">
  2148. <div class="et_pb_column et_pb_column_4_4 et_pb_column_43  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2153. <div class="et_pb_module et_pb_text et_pb_text_34  et_pb_text_align_left et_pb_bg_layout_light">
  2158. <div class="et_pb_text_inner"><h3 style="text-align: center;">Spinal Tap II: Rob Reiner on Scorsese, Woody Allen, The Bear</h3>
  2159. <p>&nbsp;</p>
  2160. <p data-start="6738" data-end="7064">In this<a href="https://www.indiewire.com/features/podcast/spinal-tap-2-rob-reiner-scorsese-woody-allen-the-bear-1235151339/" target="_blank" rel="noopener"> IndieWire</a> podcast interview, Rob Reiner returns to the world of <em data-start="6810" data-end="6822">Spinal Tap</em> with <em data-start="6828" data-end="6862">Spinal Tap II: The End Continues</em>. He discusses the decision to revisit the cult classic, his evolving relationship with the medium, and how he views legacy, collaboration, and creative timing.</p>
  2161. <p data-start="7066" data-end="7095"><strong>Highlights &amp; Takeaways</strong></p>
  2162. <ul data-start="7096" data-end="8282">
  2163. <li data-start="7096" data-end="7298">
  2164. <p data-start="7098" data-end="7298"><strong data-start="7098" data-end="7129">Reiner Returns to His Roots</strong>: After decades avoiding sequels, Reiner sees <em data-start="7175" data-end="7183">Tap II</em> as an opportunity for reflection and nostalgia — but also new territory.</p>
  2165. </li>
  2166. <li data-start="7299" data-end="7510">
  2167. <p data-start="7301" data-end="7510"><strong data-start="7301" data-end="7332">Tone, Aging &amp; Creative Risk</strong>: He addresses how working with aging characters invites tonal nuance — how absurd comedy collides with mortality, memory, and identity.</p>
  2168. </li>
  2169. <li data-start="7511" data-end="7731">
  2170. <p data-start="7513" data-end="7731"><strong data-start="7513" data-end="7538">Improvisation &amp; Trust</strong>: Reiner emphasizes the improvisational core of <em data-start="7586" data-end="7591">Tap</em>. The cast’s freedom, the trust among actors, and the room for unrehearsed moments remain central.</p>
  2171. </li>
  2172. <li data-start="7732" data-end="7973">
  2173. <p data-start="7734" data-end="7973"><strong data-start="7734" data-end="7760">Mentors &amp; Inspirations</strong>: He reflects on his relationships with Scorsese and Woody Allen, how their sensibilities influenced him, and how those comparisons both carried weight and challenged him.</p>
  2174. </li>
  2175. <li data-start="7974" data-end="8282">
  2176. <p data-start="7976" data-end="8282"><strong data-start="7976" data-end="8008">Challenges of Legacy Sequels</strong>: Reiner is frank about the shadow of the original <em data-start="8059" data-end="8079">This Is Spinal Tap</em>. He acknowledges that expectations are high — and that reentering a beloved world is fraught. But he also views <em data-start="8192" data-end="8200">Tap II</em> as a new chapter, not just fan service.</p>
  2177. </li>
  2178. </ul>
  2179. <p data-start="8476" data-end="8514">
  2180. <p data-start="8476" data-end="8514"><strong>Why It Resonates for Filmmakers</strong></p>
  2181. <ul data-start="8515" data-end="9294">
  2182. <li data-start="8515" data-end="8718">
  2183. <p data-start="8517" data-end="8718"><strong data-start="8517" data-end="8556">Revisiting the Past with Fresh Eyes</strong>: Many filmmakers confront projects or characters from their earlier years. Reiner’s approach — acknowledging nostalgia but pushing forward — offers a template.</p>
  2184. </li>
  2185. <li data-start="8719" data-end="8862">
  2186. <p data-start="8721" data-end="8862"><strong data-start="8721" data-end="8743">Comedy + Mortality</strong>: Comedy often shies away from aging, death, regret. Here is a case of using comedic framing to access deeper themes.</p>
  2187. </li>
  2188. <li data-start="8863" data-end="9093">
  2189. <p data-start="8865" data-end="9093"><strong data-start="8865" data-end="8891">Trust, Tools &amp; Freedom</strong>: Creative risk depends on trust — among director and cast, crew, collaborators. Reiner’s willingness to allow improvisation, to adjust mid‑shoot, and to lean on the team reflects a mature confidence.</p>
  2190. </li>
  2191. <li data-start="9094" data-end="9294">
  2192. <p data-start="9096" data-end="9294"><strong data-start="9096" data-end="9118">Legacy Is a Medium</strong>: For many established creators, legacy looms large. But legacy isn’t static — it’s a space we revisit, critique, recontextualise. <em data-start="9249" data-end="9257">Tap II</em> treats it like a lens, not a trophy.</p>
  2193. </li>
  2194. </ul>
  2195. <p data-start="9296" data-end="9398">
  2196. <p data-start="9296" data-end="9398"><iframe title="Spinal Tap II: The End Continues - Official Trailer - Only In Cinemas Now" width="1080" height="608" src="https://www.youtube.com/embed/wMQZG9u4Sjg?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>
  2197. </div>
  2198. </div>
  2203. </div>
  2206. </div><div class="et_pb_section et_pb_section_46 et_pb_with_background et_section_regular" >
  2213. <div class="et_pb_row et_pb_row_44 et_animated">
  2214. <div class="et_pb_column et_pb_column_4_4 et_pb_column_44  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2219. <div class="et_pb_module et_pb_text et_pb_text_35  et_pb_text_align_left et_pb_bg_layout_dark">
  2224. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
  2225. </div>
  2226. </div>
  2231. </div><div class="et_pb_row et_pb_row_45 et_animated et_pb_equal_columns">
  2232. <div class="et_pb_column et_pb_column_4_4 et_pb_column_45  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2237. <div class="et_pb_with_border et_pb_module et_pb_blog_5 et_pb_blog_grid_wrapper et_pb_bg_layout_light">
  2238. <div class="et_pb_blog_grid clearfix  et_pb_text_align_center">
  2243. <div class="et_pb_ajax_pagination_container">
  2244. <div class="et_pb_salvattore_content" data-columns>
  2245. <article id="post-9125" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_5_0 post-9125 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  2246.  
  2247. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png" alt="24th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/43-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="26th September 2025 | The Friday Filmmaking Blog 16"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  2248. <h2 class="entry-title">
  2249. <a href="https://www.slateandmortar.com/news/24th-oct-2025-friday-filmmaking-blog">24th October 2025 | The Friday Filmmaking Blog</a>
  2250. </h2>
  2252. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  2253. </article>
  2255. <article id="post-8993" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_5_1 post-8993 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  2256.  
  2257. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png" alt="Creating authentic student recruitment videos for non-traditional learners" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners-.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/WK-43-creating-authentic-student-recruitment-videos-for-non-traditional-learners--400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="26th September 2025 | The Friday Filmmaking Blog 17"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  2258. <h2 class="entry-title">
  2259. <a href="https://www.slateandmortar.com/news/authentic-student-recruitment-videos">Creating authentic student recruitment videos for non-traditional learners</a>
  2260. </h2>
  2262. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  2263. </article>
  2265. <article id="post-9058" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_5_2 post-9058 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  2266.  
  2267. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png" alt="17th October 2025 | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/10/42-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="26th September 2025 | The Friday Filmmaking Blog 18"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  2268. <h2 class="entry-title">
  2269. <a href="https://www.slateandmortar.com/news/17th-oct-2025-friday-filmmaking-blog">17th October 2025 | The Friday Filmmaking Blog</a>
  2270. </h2>
  2272. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  2273. </article>
  2274. </div>
  2275. </div>
  2276. </div>
  2277. </div>
  2278. </div>
  2283. </div>
  2286. </div><div class="et_pb_section et_pb_section_47 et_pb_with_background et_section_regular" >
  2293. <div class="et_pb_row et_pb_row_46">
  2294. <div class="et_pb_column et_pb_column_4_4 et_pb_column_46  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2299. <div class="et_pb_module et_pb_text et_pb_text_36  et_pb_text_align_left et_pb_bg_layout_light">
  2304. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  2305. </div><div class="et_pb_module et_pb_text et_pb_text_37  et_pb_text_align_center et_pb_bg_layout_light">
  2310. <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>
  2311. <p>We’d love to hear from you. Get in touch today!</p></div>
  2312. </div>
  2313. </div>
  2318. </div><div class="et_pb_row et_pb_row_47">
  2319. <div class="et_pb_column et_pb_column_4_4 et_pb_column_47  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2324. <div class="et_pb_module et_pb_blurb et_pb_blurb_5 rv_button closed  et_pb_text_align_left et_pb_blurb_position_top et_pb_bg_layout_light">
  2329. <div class="et_pb_blurb_content">
  2330. <div class="et_pb_main_blurb_image"><span class="et_pb_image_wrap"><span class="et-waypoint et_pb_animation_off et_pb_animation_off_tablet et_pb_animation_off_phone et-pb-icon">3</span></span></div>
  2331. <div class="et_pb_blurb_container">
  2334. </div>
  2335. </div>
  2336. </div>
  2337. <div id="reveal" class="et_pb_module et_pb_contact_form_5 et_pb_recaptcha_enabled et_pb_contact_form_container clearfix" data-form_unique_num="5" data-form_unique_id="d92f7ff2-f81f-4291-a306-6fdfe86ff373">
  2343. <div class="et-pb-contact-message"></div>
  2345. <div class="et_pb_contact">
  2346. <form class="et_pb_contact_form clearfix" method="post" action="https://www.slateandmortar.com/feed">
  2347. <p class="et_pb_contact_field et_pb_contact_field_20 et_pb_contact_field_half" data-id="name" data-type="input">
  2352. <label for="et_pb_contact_name_5" class="et_pb_contact_form_label">Name</label>
  2353. <input type="text" id="et_pb_contact_name_5" class="input" value="" name="et_pb_contact_name_5" data-required_mark="required" data-field_type="input" data-original_id="name" placeholder="Name">
  2354. </p><p class="et_pb_contact_field et_pb_contact_field_21 et_pb_contact_field_half et_pb_contact_field_last" data-id="email" data-type="email">
  2359. <label for="et_pb_contact_email_5" class="et_pb_contact_form_label">Email Address</label>
  2360. <input type="text" id="et_pb_contact_email_5" class="input" value="" name="et_pb_contact_email_5" data-required_mark="required" data-field_type="email" data-original_id="email" placeholder="Email Address">
  2361. </p><p class="et_pb_contact_field et_pb_contact_field_22 et_pb_contact_field_last" data-id="phone_number" data-type="input">
  2366. <label for="et_pb_contact_phone_number_5" class="et_pb_contact_form_label">Phone Number (optional)</label>
  2367. <input type="text" id="et_pb_contact_phone_number_5" class="input" value="" name="et_pb_contact_phone_number_5" data-required_mark="not_required" data-field_type="input" data-original_id="phone_number" placeholder="Phone Number (optional)" pattern="[0-9\s\-]*" title="Only numbers allowed.">
  2368. </p><p class="et_pb_contact_field et_pb_contact_field_23 et_pb_contact_field_last" data-id="message" data-type="text">
  2373. <label for="et_pb_contact_message_5" class="et_pb_contact_form_label">Message</label>
  2374. <textarea name="et_pb_contact_message_5" id="et_pb_contact_message_5" class="et_pb_contact_message input" data-required_mark="required" data-field_type="text" data-original_id="message" placeholder="Message"></textarea>
  2375. </p>
  2376. <input type="hidden" value="et_contact_proccess" name="et_pb_contactform_submit_5"/>
  2377. <div class="et_contact_bottom_container">
  2379. <button type="submit" name="et_builder_submit_button" class="et_pb_contact_submit et_pb_button">Submit</button>
  2380. </div>
  2381. <input type="hidden" id="_wpnonce-et-pb-contact-form-submitted-5" name="_wpnonce-et-pb-contact-form-submitted-5" value="5c1a6b4f92" /><input type="hidden" name="_wp_http_referer" value="/feed" />
  2382. </form>
  2383. </div>
  2384. </div>
  2385. <div class="et_pb_module et_pb_code et_pb_code_5">
  2390. <div class="et_pb_code_inner"><script type="text/javascript">
  2391. jQuery(document).ready(function() {
  2392. // Hide the div
  2393. jQuery('#reveal').hide();
  2394. jQuery('.rv_button').click(function(e){
  2395. e.preventDefault();jQuery("#reveal").slideToggle();
  2396. jQuery('.rv_button').toggleClass('opened closed');
  2397. });
  2398. });
  2399. </script></div>
  2400. </div>
  2401. </div>
  2406. </div>
  2409. </div></p>
  2410. ]]></content:encoded>
  2414. <media:content url="https://www.youtube.com/embed/Wx6YU1pm8i0" medium="video">
  2415. <media:player url="https://www.youtube.com/embed/Wx6YU1pm8i0" />
  2416. <media:title type="plain">26th September 2025 | The Friday Filmmaking Blog</media:title>
  2417. <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>
  2418. <media:thumbnail url="https://www.slateandmortar.com/wp-content/uploads/2025/09/39-The-Friday-Filmmaking-Blog.png" />
  2419. <media:rating scheme="urn:simple">nonadult</media:rating>
  2420. </media:content>
  2421. </item>
  2422. </channel>
  2423. </rss>

If you would like to create a banner that links to this page (i.e. this validation result), do the following:

  1. Download the "valid RSS" banner.

  2. Upload the image to your own server. (This step is important. Please do not link directly to the image on this server.)

  3. Add this HTML to your page (change the image src attribute if necessary):

If you would like to create a text link instead, here is the URL you can use:

http://www.feedvalidator.org/check.cgi?url=https%3A//www.slateandmortar.com/feed

Home · About · News · Docs · Terms

 
Copyright © 2002-9 Sam Ruby, Mark Pilgrim, Joseph Walton, and Phil Ringnalda