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  1. <?xml version="1.0" encoding="utf-8"?>
  2. <rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:media="http://search.yahoo.com/mrss/"><channel><title>No Film School</title><link>https://nofilmschool.com/</link><description>No Film School</description><atom:link href="https://nofilmschool.com/feeds/feed.rss" rel="self"></atom:link><language>en-us</language><lastBuildDate>Thu, 10 Jul 2025 21:15:04 -0000</lastBuildDate><image><url>https://nofilmschool.com/media-library/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8zNDM0MjQxMy9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTc1Nzc2NzgwNH0.qhX7ZWubDjZEnjMXAc6bhocup5SCA9QnI3VdhfPoXe4/image.png?width=210</url><link>https://nofilmschool.com/</link><title>No Film School</title></image><item><title>To Write Good, You Have To Write Bad First</title><link>https://nofilmschool.com/to-write-good-write-bad</link><description><![CDATA[
  3. <img src="https://nofilmschool.com/media-library/to-write-good-you-have-to-write-bad-first.jpg?id=61191122&width=1245&height=700&coordinates=0%2C131%2C0%2C131"/><br/><br/><p>There's something fun about digging into other people's processes. As a writer, you need to formulate your own way to get the words onto the page. </p><p>But checking in to get <a href="https://nofilmschool.com/best-writing-advice" target="_blank">writing advice</a> from others can help you refine what you need to do and add new wrinkles to your steps. </p><p>Today, I want to dive into this video from Film Courage that tells you that to write well, you have to write badly first. </p><p>Let's dive in. </p><hr/><h3>Unpacking an Unconventional Writing Process </h3><br/><span class="rm-shortcode" data-rm-shortcode-id="2ba02a536d7c6482b595aa74e2e3adea" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/u5NYKnJMqG0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>The core of this video is about writing "awful pages on purpose" in order to get all the bad ideas and words out before you can dig into the good ones. </p><p>The idea is that it is a liberating concept that frees you from the shackles of perfectionism and just lets you create. </p><p>The theory is that if you let yourself explore, you actually find the core of the stuff you're working on rewriting, </p><p>Just like an artist who sketches before painting, writers need to get the "bad" ideas out to make way for the good ones.</p><h4><strong>The Journey to Brilliance</strong></h4><p>Sometimes, this road is much harder than others. But the one thing that remains consistent for me, and I think a lot of writers, is that <strong>c</strong>reativity is rarely a lightning strike of inspiration.</p><p> It's a slow, iterative process of refinement. And the video beautifully compares writing to an oil painting, where an artist layers paint, covering up mistakes and building upon what works until the desired image emerges.</p><p>That makes the process sound so classy - I feel more like a plumber trying to get all the shit out of the drain so the water runs clear, but to each his own. </p><h4>Repetition</h4><p>Each iteration, no matter how small, brings you closer to your final vision.</p><p>As the video says, "Repetition is the mother of all skill". The more you work on a project, the more you discover. </p><p>Each time you revisit your work, you do so with a fresh perspective, uncovering new layers of your characters, your story, and even yourself. </p><p>It’s through this relentless repetition that you hone your craft and your story begins to take shape.</p><h4>Peeling Back the Layers of Good Writing</h4><p>Finally, the video touches upon the depth of good storytelling. Like an onion, a compelling narrative has multiple layers. </p><p>It feels like everyone uses this onion metaphor, but I guess that means it's universal. </p><p>On the surface, there are the events of the plot, but beneath that lie the deeper motivations and themes that truly resonate with an audience. </p><p>You want to hit their core. </p><p>What made you write this thing? What idea did you want to get across to people? Find those things inside yourself and share them with all the readers you can -- connect with people and find your audience. <span></span></p><h2>Summing It All Up </h2><p>So, the next time you're facing a creative block, remember the lessons from this video. Embrace the "bad," trust the iterative process, and keep repeating. You might be surprised at the masterpiece you create.</p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Thu, 10 Jul 2025 21:15:04 +0000</pubDate><guid>https://nofilmschool.com/to-write-good-write-bad</guid><category>Writing advice</category><category>Screenwriting advice</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/to-write-good-you-have-to-write-bad-first.jpg?id=61191122&amp;width=980"></media:content></item><item><title>The 'Project Hail Mary' Trailer Set a Massive Record</title><link>https://nofilmschool.com/project-hail-mary-trailer</link><description><![CDATA[
  4. <img src="https://nofilmschool.com/media-library/the-project-hail-mary-trailer-set-a-massive-record.png?id=61192187&width=1245&height=700&coordinates=0%2C1%2C0%2C2"/><br/><br/><p>I am a massive Andy Weir fan, I think his writing is fantastic, and I think he's really putting forth new and cool science fiction ideas that feel fresh. </p><p>When I heard Lord and Miller were directing an adaptation of his book, <a href="https://www.amazon.com/Project-Hail-Mary-Andy-Weir/dp/0593135229/ref=sr_1_1?crid=16Y4T8GP4Q3IV&dib=eyJ2IjoiMSJ9.lTHSt_marlufo25NmRsgzdmdjL9A9X7UgyiVrU9B-0nL5tzBfTewmXasBZtOLhwiDbU4qiyv0LTjIfg05vfizNU0ewQJzK6pbNf1MjLCcGY-tFrvWuFcbXtdsrb78NVIS_vgWFij0R5Vpcs1wlfFUNe376tJGwpg5FqqwVc9mkiBgw1Xm0R5hvL0mOICeeH94D2aoE9nooIjdL2VboNCGo_PhQ-NnpBoBpDsKYjjzIs.7HTlBpQQ0UJ06rC-OpuTbgs_oiqdh3gCz2FS4tGIfmw&dib_tag=se&keywords=project+hail+mary&qid=1752169906&sprefix=Project+%2Caps%2C212&sr=8-1" target="_blank">"Project Hail Mary,"</a> I was over the moon. And a script written by <a href="https://en.wikipedia.org/wiki/Drew_Goddard" target="_blank" title="">Drew Goddard</a>, who also adapted <em>The Martian</em>? </p><p>And then when they cast Ryan Gosling....I knew this could be a huge breakout hit. </p><p>Well, the trailer for the movie dropped recently, and it has already achieved a cosmic milestone before even hitting theaters. </p><p>The film's trailer has shattered records, becoming the most-viewed trailer with a staggering 400 million views in its first week. </p><p class="shortcode-media shortcode-media-youtube"> <span class="rm-shortcode" data-rm-shortcode-id="96e34ab8f4b6f81582179650df054021" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/m08TxIsFTRI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span> <small class="image-media media-caption" placeholder="Add Photo Caption...">- YouTube</small> <small class="image-media media-photo-credit" placeholder="Add Photo Credit..."> <a href="https://www.youtube.com/watch?v=m08TxIsFTRI" target="_blank">www.youtube.com</a> </small> </p><p>The movie is about a science teacher who awakens on a spaceship in the far reaches of the solar system with no memory of how he got there or what his mission is. As he pieces together his past, he realizes he is on a desperate quest to save Earth from an extinction-level event.</p><p>Lord and Miller took to social media to express their gratitude to the fans who drove the trailer to its record-breaking numbers. </p><p>In a joint statement, they said, "Holy Moly. Thank you, all you glorious, generous fans of movies/books/near light speed space travel/the Sun for pushing the trailer for 'Project Hail Mary' past 400 million views – the most in one week for a film that's not a sequel or a remake… eve<sup></sup>r."</p><p>Look, I know some people are worried the trailer revealed too much of the plot, but I can assure you there is way more to the story. And the overwhelming response has been one of immense excitement and anticipation. </p><p>Now, I can't wait to see what the box office is for this movie, because with trailer records coming in, it will be interesting to see if this can translate. </p><p>It has everything going for it: a compelling story, a beloved author, a bankable star, and a talented creative team.</p><p>This is my most anticipated movie of next year. </p><p>Let me know what you think in the comments. </p>]]></description><pubDate>Thu, 10 Jul 2025 20:48:57 +0000</pubDate><guid>https://nofilmschool.com/project-hail-mary-trailer</guid><category>Phil lord</category><category>Chris miller</category><category>Andy weir</category><category>Trailer</category><category>Project hail mary</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/the-project-hail-mary-trailer-set-a-massive-record.png?id=61192187&amp;width=980"></media:content></item><item><title>The First Ethically Trained and Commercially Safe AI Video Model is Finally Released Into the World</title><link>https://nofilmschool.com/marey-ai-video-model-released</link><description><![CDATA[
  5. <img src="https://nofilmschool.com/media-library/marey-ai-video-model-released.jpg?id=61191933&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>As the AI revolution continues to grow, the generative AI video space is still primed to be perhaps the most significant arena for the battle over intellectual property. As we’ve seen with <a href="https://nofilmschool.com/major-studios-sue-midjourney" target="_self"><u>major studios suing Midjourney over copyright claims</u></a>, as well as the general debates surrounding training data and ethics, the quest to find a sustainable way to champion AI video generation is still hotly contested.</p>Moonvalley, <a href="https://nofilmschool.com/marey-ethically-trained-ai-video-model" target="_self"><u>which we’ve covered in the past</u></a>, aims to bring the first ethically trained and commercially safe AI video model to the market. Initially released as a test run, Marey—the aforementioned ethically trained AI video model—is finally ready to be released live to the general public. Here’s what you need to know.<hr/><h3>An AI Video Model Designed for Filmmakers</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="88dd2a654ae8e6f3b3937e20c893f538" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/CNt-BJ46z7o?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Unlike many AI video models, which seem to be clearly designed for non-creatives looking to supplement creativity for their projects, Moonvalley’s foundational AI model, Marey, aims to meet the standards of world-class cinematography.</p>
  6. <p>Designed for filmmakers who are looking for precision in every frame, Marey promises to deliver the control, consistency, and fidelity needed for a professional filmmaker looking to create pro-level cinematography.</p>
  7. <p>Billed as the “world’s first commercially safe video model,” Moonvalley confirms that Marey has been trained only on licensed, high-resolution footage that does not include scraped content, user submissions, or legal gray zones.</p><h3>Full Directional Control</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="226b3b60b71addfb28e90b88d65ce6b5" data-rm-shortcode-name="rebelmouse-image" id="e2794" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=61191941&width=980"/><p>Similar to some director controls found with AI models like Runway, Marey has been designed through a collaboration between AI researchers and filmmakers to deliver creative controls that should meet the usual standards of professional directors.</p>
  8. <p>Users will be able to create cinematic camera moves using just a single image. Marey can transform any 2D scene into a 3D environment so users can direct the camera as if they’re on set. The AI will further mirror real production workflows as it should be able to provide the precision and responsiveness to shape each frame with intent and authorship.</p><h3>Price and Availability</h3><br/><p>Moonvalley, which was founded by DeepMind researchers, is looking to make waves in the film industry. Its AI film studio, Asteria Film Co., which was co-founded by filmmakers Natasha Lyonne and Bryn Mooser, is advising Moonvalley on Marey’s development.</p><br/>If you’d like to try out Marey yourself, it’s available on <a href="https://www.moonvalley.com/marey" target="_blank"><u>Moonvalley’s website</u></a> with plans available to filmmakers on subscription tiers starting at $14.99 a month.]]></description><pubDate>Thu, 10 Jul 2025 19:41:49 +0000</pubDate><guid>https://nofilmschool.com/marey-ai-video-model-released</guid><category>Ai video model</category><category>Moonvalley</category><category>Commercially safe ai</category><category>Ai video</category><category>Marey</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/marey-ai-video-model-released.jpg?id=61191933&amp;width=980"></media:content></item><item><title>What Is The 60-30-10 Color Rule in Filmmaking?</title><link>https://nofilmschool.com/60-30-10-color-rule</link><description><![CDATA[
  9. <img src="https://nofilmschool.com/media-library/what-is-the-60-30-10-color-rule-in-filmmaking.jpg?id=34078994&width=1245&height=700&coordinates=0%2C51%2C0%2C51"/><br/><br/><p>Sometimes, when I'm watching a movie, I am just basking in the colors and vibes they put out, and how they match the overall aura or mood set by the filmmaker. </p><p>I'm not sure a movie like <em>Drive</em> could work without the neon or <a data-linked-post="2669339267" href="https://nofilmschool.com/vertigo-color" target="_blank"><em>Vertigo</em> without red and green</a>. </p><p>So, <a href="https://nofilmschool.com/film-color-palette" target="_blank">how do you get a cool color palette</a> that matches the vibe of your movie? It turns out, there's a rule called the 60-30-10 rule that can help guide you on this journey. </p><p>Let's dive in. </p><hr/><h3>The 60-30-10 Color Rule in Filmmaking</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="3ad63230b44a59513004a2e53adff731" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/7d-54gTAgkc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h4>What is the 60-30-10 Rule?</h4><p>This is a rule that breaks down the color palette of a scene into three distinct percentages:</p><ul><li><strong>60% Dominant Color</strong>: This color forms the foundation of the scene's visual identity, setting the overall mood and tone. It provides a sense of depth and three-dimensionality, immediately signaling to the audience whether a scene is meant to feel bright and cheerful or dark and somber. <ul><li>EXAMPLE: The use of yellow in <em>La La Land</em> bathes the film in a warm, nostalgic glow.</li></ul></li><li><strong>30% Secondary Color</strong>: Complementing the dominant color, the secondary color adds layers of realism and visual interest to the scene. Without this crucial element, the visuals can feel flat and artificial. <ul><li>EXAMPLE: In <em>The Matrix</em>, the secondary green hue works in stark contrast to the dark tones, creating a distinct and futuristic aesthetic.</li></ul></li><li><strong>10% Highlight Color: </strong>This accent color is used sparingly to create a pop of vibrancy and to draw the viewer's eye to important details within the frame.<ul><li>EXAMPLE: In <em>Mad Max: Fury Road</em>, we get little pops of red all over, from the guitar guy's red outfit to fire, that contrast with the desert and the sky. </li></ul></li></ul><h3>The Importance of Intentional Color in Production</h3><br/><img alt="Road warriros in the desert, 'Mad Max: Fury Road'" class="rm-shortcode" data-rm-shortcode-id="24bc1894e72114e1b6a3306451ce2687" data-rm-shortcode-name="rebelmouse-image" id="fcd62" loading="lazy" src="https://nofilmschool.com/media-library/road-warriros-in-the-desert-mad-max-fury-road.jpg?id=34327588&width=980"/><p>While <a data-linked-post="2661191615" href="https://nofilmschool.com/color-grading" target="_blank">color grading </a>in post-production is a must, the most impactful and authentic results happen when you plan for your colors to be in the actual production process.</p><p>It's way more effectively to use colorful props or costumes than to just add in digital effects later. So work with your cinematographer, set designer, and peop master to find some fluidity here. </p><h3>Practical Tips for Aspiring Filmmakers</h3><br/><img alt="'Drive'" class="rm-shortcode" data-rm-shortcode-id="884b06cae818ab6674f450b7100caa37" data-rm-shortcode-name="rebelmouse-image" id="20fc6" loading="lazy" src="https://nofilmschool.com/media-library/drive.jpg?id=34060714&width=980"/><p>When selecting your color palette, it's essential to consider how different colors will appear on various skin tones. </p><p>Do some camera tests with different palettes to see which you like best and what works with your actors. </p><p>For those working with a limited budget, a practical approach is to utilize existing furniture as the complementary color, paint the walls a dominant color, and then strategically introduce a highlight color to make a bold statement. </p><p>See what already exists in your locations and then design around that. It can make stuff feel more authentic and actually evokes realism as well. </p><p>This simple yet effective technique can elevate your film's visual language, giving it a professional and intentional look without breaking the bank.</p><p>Also, check out Goodwill! There's always a ton of cool stuff there. Or buy it from Walmart and then...just return it all after. That's the smartest way to do it if you have some money. I used to do this all the time, and it works. </p><h2>Summing It All Up </h2><p>Now that you know all about the rule, you can put it to good use in your next filmmaking endeavors. Hopefully, it helps guide you in the process. </p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Thu, 10 Jul 2025 18:20:04 +0000</pubDate><guid>https://nofilmschool.com/60-30-10-color-rule</guid><category>Color theory</category><category>Color</category><category>Color grading</category><category>Color palettes</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-is-the-60-30-10-color-rule-in-filmmaking.jpg?id=34078994&amp;width=980"></media:content></item><item><title>New MASV Express Aims to Deliver Blazing-Fast, No-Code File Transfer at up to 10Gbps</title><link>https://nofilmschool.com/masv-express-file-transfer</link><description><![CDATA[
  10. <img src="https://nofilmschool.com/media-library/masv-express.png?id=61189900&width=1245&height=700&coordinates=0%2C199%2C0%2C173"/><br/><br/><p>Set to be showcased at IBC 2025, MASV will showcase its new MASV Express, a scalable, high-performance file delivery system designed for today’s modern enterprise environments. This MASV Express enables teams to move larger files faster than ever, without installs, bandwidth caps, and IT complexity.</p><p>While not as much of an option for small or medium video crews, MASV Express would be ideal for enterprise-scale newsrooms and sports networks looking to use emerging platforms like Troveo. Masv Express can be a solid way to enable friction-free content movement and monetization across the modern media ecosystem.</p><hr/><h3>MASV Express Introduced</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="c626b60e4755df4ba9afb6b0482d0026" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/DrYQYdh3AKc?rel=0&start=157" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><blockquote><em><em>“File transfer is no longer just a background process; it’s a critical function in the global media supply chain. When files move faster, more reliably, and with less friction, content gets to market sooner and that means more opportunities to monetize across broadcast, digital, and OTT platforms. MASV helps our customers simplify file movement, eliminate infrastructure headaches, and accelerate the flow of content so they can meet tight deadlines, maximize distribution, and unlock new revenue streams.” — Majed Alhajry, CTO and interim CEO of MASV.</em></em></blockquote>
  11. <p>With MASV, users can automate complex media ingest and delivery processes to cloud or connected on-prem storage, MAMs, and individual recipients without coding or complicated setup. All file transfers leverage two-way encryption, secure authentication, and privacy controls for airtight security. With MASV, users can:</p>
  12. <ul><li>Simplify file ingest with secure, automated, drag-and-drop workflows</li><li>Collect large files from global contributors with no plugins, installs, or setup required</li><li>Automate transfers to on-prem or cloud storage without granting direct access, minimizing misconfiguration and security risks</li><li>Enable faster time to market for AI workflows by securely delivering massive datasets to AI/ML cloud providers for processing</li><li>Accelerate production and monetization with integrations across Frame.io, Iconik, AWS, Adobe, Mimir, Qumulo, OpenDrives, Backblaze, Mistika, and more</li></ul>
  13. <p>MASV encompasses the full spectrum of fine-grain security protocols, including role-based permissions, SSO, MFA and authentication, file tracking, integrity checks and observability, fault protection for reliable file transfers, and more.</p>You can find out more about MASV and MASV Express on the <a href="https://massive.io/" rel="noopener noreferrer" target="_blank"><u>company’s website here</u></a>.]]></description><pubDate>Thu, 10 Jul 2025 18:00:04 +0000</pubDate><guid>https://nofilmschool.com/masv-express-file-transfer</guid><category>Masv</category><category>File transfer</category><category>Masv express​</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/masv-express.png?id=61189900&amp;width=980"></media:content></item><item><title>Blackmagic Cloud Store Adds Support for Amazon Web Services S3 Sync</title><link>https://nofilmschool.com/blackmagic-cloud-store-2673046158</link><description><![CDATA[
  14. <img src="https://nofilmschool.com/media-library/blackmagic-cloud-store-adds-support-for-amazon-web-services-s3-sync.jpg?id=61189805&width=1245&height=700&coordinates=56%2C0%2C57%2C0"/><br/><br/><p>For those who are already using, or interested in using, Blackmagic Cloud Store as part of their video production workflows, this latest update is set to add support for Amazon’s Cloud Object Storage. Adding Amazon S3 sync to Blackmagic Cloud Store should open up even more storage possibilities for crews and productions.</p><p>This new update also fixes some minor issues and crashes that have been reported, as well as gives your standard general performance and stability improvements. If you’re ready to dive into this Blackmagic Cloud Store 1.7.1 update version, then here’s everything you need to know below.</p><hr/><h3>Blackmagic Cloud Store 1.7.1 Update</h3><br/><blockquote class="rm-embed twitter-tweet" data-partner="rebelmouse" data-twitter-tweet-id="1943181038525792412">
  15. <div style="margin:1em 0"></div> —  (@)
  16.        <a href="https://twitter.com/Blackmagic_News/status/1943181038525792412"></a>
  17. </blockquote>
  18. <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script><p>The most notable news here for current Blackmagic Cloud Store users is the added support for Amazon Web Services S3 sync. Amazon Simple Storage Service (Amazon S3) is an object storage service that offers industry-leading scalability, data availability, security, and performance.</p><p>There are millions of Amazon S3 users out there who use it to store, manage, analyze, and protect any amount of data for virtually any use case, such as data lakes, cloud-native applications, and mobile apps. This added support should be a pretty big deal for Blackmagic Cloud Store users.</p><p>The rest of the update is centered on some minor bug fixes that will improve users' access to different folders with the same name, plus your regular improvements. Here’s everything new coming to Blackmagic Cloud Store 1.7.1.</p><ul><li>Adds support for Amazon Web Services S3 sync.</li><li>Also, fixes an issue that prevented assigning user access to different folders that shared the same name. Plus, there is a fix for a rare crash when accessing folders named with illegal characters.</li><li>General performance and stability improvements have been made for all models, such as the accuracy of the User Activity speeds on the monitor outputs.</li></ul><h3>How to Download and Install</h3><br/><p>As is always the case, downloading and installing this latest update is quite easy. Here are the most recent minimum system requirements.</p>
  19. <p><strong>Minimum System Requirements for Mac OS</strong></p><ul><li>macOS 14.3 Sonoma.</li><li>macOS 15.0 Sequoia or later.</li></ul><p><strong>Minimum System Requirements for Windows</strong></p><ul><li>Microsoft Windows 10 64-bit.</li><li>Microsoft Windows 11 or later.</li></ul><p><strong>Additional Information</strong></p>
  20. <p>Check out <a href="https://www.blackmagicdesign.com/support/readme/3dd0d2b405734c7fac6deb62034c600f" target="_blank"><u>Blackmagic’s website</u></a> for additional info and to download and install today.</p>]]></description><pubDate>Thu, 10 Jul 2025 17:46:07 +0000</pubDate><guid>https://nofilmschool.com/blackmagic-cloud-store-2673046158</guid><category>Blackmagic cloud store</category><category>Blackmagic design</category><category>Cloud storage</category><category>Blackmagic cloud store 1.7.1 update</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/blackmagic-cloud-store-adds-support-for-amazon-web-services-s3-sync.jpg?id=61189805&amp;width=980"></media:content></item><item><title>The 10 Best Food Movies Of All Time</title><link>https://nofilmschool.com/best-food-movies</link><description><![CDATA[
  21. <img src="https://nofilmschool.com/media-library/the-10-best-food-movies-of-all-time.jpg?id=61191169&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/><br/><br/><p>When it's time to decompress after a long day at work, I love to cook. I'm a big fan of finding new recipes, trying new ingredients, and just shutting off the TV and devoting myself to a new task that is often challenging. </p><p>But what happens when my passion for cooking and my passion for movies meld together? </p><p>Today, I want to go over my favorite movies about food and talk about what makes them delicious. </p><p>Let's dive in. </p><hr/><h3>1. Tampopo (1985)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="11777dd2306849c483bab7256b0adf88" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/0RtXSon0yMw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>When you watch this movie, you immediately want to order some ramen after. It's a movie that celebrates noodles like no other. </p><p>The film weaves together a series of vignettes about the intersection of food and life. They're funny, weird, and teach you a lot about the noodle shop in general. </p><h3>2. Big Night (1996)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="0e348fe1cd33043aec9453c94456daf7" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/lQQhoYLsoHI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>It's very hard to make a movie about the eating experience better than this film. It's all about drama in and outside of the kitchen as two Italian immigrant brothers try to save their struggling restaurant with one spectacular, make-or-break feast. </p><p>Everything they put together is beautiful and poignant. And in the end, the silent scene of two brothers sharing a simple omelet is a powerful and moving moment.</p><h3>3. Babette's Feast (1987)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="bff319e031ed019e2277481a9b03bd06" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/H5w9skKcdnA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>I remember seeing this in college on the big screen and immediately wanting to attend some sort of dinner party. The movie is bonkers. It's about a French refugee in a puritanical Danish village who spends her lottery winnings on a single, extraordinary feast for the whole community. </p><p>The movie is a parable about the ability of a shared meal to break down barriers and open hearts. </p><h3>4. Ratatouille (2007)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="bf4803e3ad53f35e0726acf664a14071" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/NgsQ8mVkN8w?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Pixar's animated gem is a joyous and visually stunning ode to the idea that "anyone can cook."</p><p>Even though I still get a little queasy in the scenes with tons of rats, I love watching Remy cook inside a Paris restaurant. We get into the world of chefs and legacy, and learn how a single dish can take you anywhere. </p><h3>5. Eat Drink Man Woman (1994)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="d55e5c6d67a5abe3b9c79aa7783f11a5" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/l7pKpO8NErU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Ang Lee helmed this delightful Taiwanese dramedy about a widowed master chef and his three unmarried daughters to touching effect. </p><p>The opening scene is a banquet that plays on the central themes of love, tradition, and a shared meal. </p><p>It's a charming and insightful look at generational shifts and the enduring importance of being together.</p><h3>6. Jiro Dreams of Sushi (2011)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="efe205f09f89f586e5ec8fca14937623" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/0VB_DrsHDQ0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>This might be one of the best documentaries of all time. It's a portrait of Jiro Ono, an octogenarian sushi master and owner of a humble, 10-seat, Michelin-starred restaurant in a Tokyo subway station. </p><p>The film picks apart what makes him special and how much care he puts in making his sushi some of the best in the world. </p><h3>7. Chef (2014)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="8705af6e9cb320248bef273c34c36149" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/5xlHJAEaf-s?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Man, some movies, like a meal, make you feel good. This is one of them, and it makes me so hungry watching it. From the grilled cheese to the cubano, this is about cooking with love and passion. </p><p>The movie follows a chef after a public meltdown, who rediscovers his passion by starting a food truck with his son. Favreau stars and directs in a film that just makes you want to eat. </p><h3>8. Like Water for Chocolate (1992)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="6aba60d2ee2e470da9a187c85c618343" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/EkvgSTJkKGI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Food is sexy, and this is a very sexy movie. It's based on the magical realism novel; this Mexican film uses food as a powerful conduit for emotion. </p><p>Tita is forbidden to marry her true love and channels her passions and sorrows into her cooking, with fantastical and often dramatic results. The food in the film is not just sustenance; it's a character in itself.</p><h3>9. The Lunchbox (2013)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="faf808cd141214166c4ba43794ae59ee" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/sK3R0rvnlPs?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>This charming Indian film tells the story of a mistaken lunch delivery that sparks an unlikely connection between a lonely housewife and a reclusive widower. </p><p>The exchange of notes tucked inside the daily tiffin carrier becomes a heartwarming correspondence, with the meals becoming a story of intimacy and care. </p><h3>10. Goodfellas (1990)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ded7e91aa9a6694e4ba70c2d4bb6e5cc" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/2ilzidi_J8Q?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>While not strictly a "food movie" in the traditional sense, Martin Scorsese's mob masterpiece is filled with iconic culinary moments. </p><p>Food is culture, and the Italian culture in this movie makes you want a big bowl of spaghetti and gravy with a bunch of sausage and meatballs. </p><p>Get your razor out and shave some garlic down. </p><h3>Summing It All Up </h3><br/><p>These are the films I most associate with food. They are beautiful stories that make you hungry, introduce you to different cultures, and take you into worlds you may have never been inside before. </p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Thu, 10 Jul 2025 17:41:58 +0000</pubDate><guid>https://nofilmschool.com/best-food-movies</guid><category>Best movies</category><category>Food</category><category>Food</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-10-best-food-movies-of-all-time.jpg?id=61191169&amp;width=980"></media:content></item><item><title>How AI Logging Transformed My Post-Production Workflow for Clients</title><link>https://nofilmschool.com/how-ai-logging-transformed-my-post-production-workflow-for-clients</link><description><![CDATA[
  22. <img src="https://nofilmschool.com/media-library/image.jpg?id=61178889&width=1245&height=700&coordinates=0%2C137%2C0%2C668"/><br/><br/><p><em><em>Navik, founder of Drua Pictures and documentary filmmaker who's worked with major clients like Fujifilm and Caltech, shares how AI tools are enhancing his workflow and allowing him to create efficiencies, make clients happier, and make more money.</em></em></p><p><em><em><img src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXckrRxwXqMg3oPorjcoyuYIfi8KNRPYnkTATHBtIDwjDWBGzxmXpLGUWXkP0BneDJz5Qn3UUZmdWIiyP6oKusIw7_GzmEroUUIwmn7mD9XKi36PChp8MJ_5pHDQT0UdP_QtFaBl?key=B_Q37e3hAGvuP1ZxIvWGqQ"/></em></em></p><p>My name is Navik. I'm a documentary filmmaker, social media producer, and founder of <a href="https://druapictures.com/" target="_blank"><u>Drua Pictures</u></a>, a production company dedicated to telling stories that inspire, educate, and entertain. Over the last few years, my focus has been on creating promotional, educational, and documentary content for corporations, small businesses, and individuals. </p><p>But here's the thing that we’ve resigned ourselves to: for every day spent in the field capturing footage, there are countless hours spent in post doing the mundane work that comes before the actual creative editing begins.</p><h2>The Breaking Point</h2><p>Three months ago, I hit what I can only describe as a breaking point. I love being outdoors, filming incredible stories, and meeting fascinating people. I love the creative side of editing; the storytelling, pacing, and emotional beats. </p><p>But what I absolutely dreaded was the hours spent sifting through interview after interview, tagging B-roll, and organizing footage. It's boring, repetitive work that pulls you away from creative flow.</p><p>After a particularly grueling project where I'd come back from location with 400+ clips of B-roll footage, I knew there had to be a better way. I didn't have the budget to hire an assistant editor, and the thought of manually logging every single clip felt unrealistic given the budget and upcoming deadline for sharing the first cut. </p><p><img src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXetGijwLxoF9gCtpTICmqLmvdLGmcWj8eS9k_4XeFdutEnkk_VlqJscpbXwLuGMED6hnybTEqnKtvXS2xy9PFi_SW6wKDOfW0hYiSZtaw3WBhzTBDdgScEXe55swP7W43nOvZOavg?key=B_Q37e3hAGvuP1ZxIvWGqQ"/></p><h2>Discovering Eddie AI</h2><p>That's when I started googling AI tools for video editing. I'll be honest. I was super skeptical. </p><p>How could AI possibly understand the nuances of my footage? </p><p>Then, I found <a href="https://about.heyeddie.ai/use-cases/ai-b-roll-logging-organization?utm_source=nfs&utm_medium=press&utm_campaign=logging&utm_term=july&utm_content=client" target="_blank"><u>Eddie AI</u></a>. And after trying its B-roll logging feature for the first time, I was blown away. I literally said, "There's no way it's just going to analyze my clips and tell me what's in them." But it did. Not only objects and people, but it started recognizing specific cameras and even lenses I was using.</p><p>When you're working on branded documentaries and promo content, being able to instantly find "Fujifilm GFX100S II with the GF 32-64mm lens" is incredibly valuable.</p><h2>The Game Changer</h2><p>What this has done for my workflow is simple but revolutionary: it's removed the barrier between me and the creative work. Now, when I'm in the flow of editing and need a specific shot, I can search for it via keywords in DaVinci Resolve's search tool in the media pool instead of scrubbing through endless bins of footage. </p><p>What really impressed me beyond the tech was the support. When I encountered a workflow issue with XML, it was resolved literally the day after. I've had direct conversations with Eddie AI founders, and having that level of direct access and responsiveness from a company speaks to their commitment to help video pros like me.</p><p>Instead of dreading the post-production process, I can focus on what I love most, crafting compelling narratives and telling stories that matter.</p><h2>Looking Forward</h2><p>As a documentary filmmaker, my ultimate goal is to spend more time in the field documenting undiscovered and untold stories, which can entail that they don't have huge budgets behind them. Tools like Eddie AI are democratizing the process, making it possible for filmmakers to turn around their stories faster and more efficiently despite the constraints.</p><p>The progress I've seen in just three months, including the advancements in their AI models and the NLE integrations, gives me optimism for the future. I am not worried about AI taking my job since I believe human stories are best told by other humans. What I am worried about, however, is missing out on important developments in AI that can make storytelling more accessible and efficient, no matter what budget or resources I have.</p><p>We're moving toward a world where the barriers to storytelling are falling away rapidly. And that’s incredibly exciting.</p><p>If you’re trying to streamline your post-production process for this type of work, <a href="https://about.heyeddie.ai/use-cases/ai-b-roll-logging-organization?utm_source=nfs&utm_medium=press&utm_campaign=logging&utm_term=july&utm_content=client" target="_blank"><u>Eddie AI</u></a> might be worth exploring.</p><p><img src="https://lh7-rt.googleusercontent.com/docsz/AD_4nXfcuvjaowcDuitf_WwytpSP7hPZCXaEwPqzXBqfLemH5en3pgDUD4htu9nEaertSE3Hhn9CPCpHWLbs28M6dCol7Zgo7QVAh3xwvMFS-2ze-w8KWp77Z_vcwiRAJbmf2jJn5KNL?key=B_Q37e3hAGvuP1ZxIvWGqQ"/></p>]]></description><pubDate>Wed, 09 Jul 2025 22:20:03 +0000</pubDate><guid>https://nofilmschool.com/how-ai-logging-transformed-my-post-production-workflow-for-clients</guid><category>Drua pictures</category><category>Navik nanubhai</category><category>Eddie ai</category><dc:creator>Sponsored Content</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/image.jpg?id=61178889&amp;width=980"></media:content></item><item><title>How 'Surviving Ohio State' Editor Unpacked Institutional Betrayal and Corruption</title><link>https://nofilmschool.com/surviving-ohio-state-charles-olivier-interview</link><description><![CDATA[
  23. <img src="https://nofilmschool.com/media-library/how-surviving-ohio-state-editor-unpacked-institutional-betrayal-and-corruption.jpg?id=61185459&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>When acclaimed documentary editor <a href="https://www.imdb.com/name/nm0647140/" target="_blank">Charles Olivier</a>, ACE, first stepped into the editing bay for HBO's <em>Surviving Ohio State</em>, he was met with a mountain of footage and the monumental task of giving voice to a story of profound trauma. </p><p>What he uncovered were the makings of a powerful and shockingly resonant narrative that demanded to be told. </p><p>In collaboration with Grant Heslov and George Clooney's Smokehouse Productions, Olivier meticulously crafted a deeply moving and unflinching testimony to the hundreds of men who survived sexual abuse at the hands of Dr. Richard Strauss, a team doctor in Ohio State University's athletics program.</p><p>It was an honor to get to speak to him today about that doc and about some of the other landmark series, like <em>The Jinx</em>, which he's worked on. </p><p>Let's dive into the interview. </p><p class="shortcode-media shortcode-media-youtube"> <span class="rm-shortcode" data-rm-shortcode-id="27a4346a946c9ceec28c574e21a3c551" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/iSP3PUHmCvc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span> <small class="image-media media-caption" placeholder="Add Photo Caption...">- YouTube</small> <small class="image-media media-photo-credit" placeholder="Add Photo Credit..."> <a href="https://www.youtube.com/watch?v=iSP3PUHmCvc" target="_blank">www.youtube.com</a> </small> </p> <p><br/></p><hr/><p><strong>NFS: Hey Charlie! </strong><em><strong><em>Surviving Ohio State </em></strong></em><strong>has maintained a strong presence as the #1 series on HBO Max since its release. How does it feel to work on such a popular title?</strong></p><p><strong>Charles Olivier:</strong> Hey Jason, thanks a lot. Yeah, I suppose in a word, <em><em>Surviving Ohio State</em></em>’s popularity is, I’d say, bittersweet. It’s complicated. I’m so happy that the story of all these men is finally getting the audience it deserves, and that feels really good, if not also a little painful, in that their decades of tragedy have for so long been overlooked, or worse. The film isn’t a smoking gun of hidden evidence, something that, you know, we suddenly found and revealed. It’s not a gotcha piece. We organized a process of bearing witness to stories that were out there, stories of abuse that so many for so long either ignored or just straight up lampooned. Getting into the reasons for that mocking and overall avoidance is a big part of the film, and I think it very much moves an essential conversation forward. So for me, there’s a swirl of sorrow for these survivors and for so many young men who have been abused or frankly are being abused and keep that secret because of a Guy Code culture. Participating with the men in this film to undertake that process of, I pray, dismantling that code is something for which I’m very proud. </p><p><strong>NFS: How familiar were you with the documentary’s story prior to joining the project? What kind of research went into your work both before and during the edit?</strong></p><p><strong>CO:</strong> I didn’t know anything about the story when I was first approached. I was, like so many, just sort of incredulous when presented with the numbers. I mean, thousands of kids had been abused by this one doctor over decades. And from the beginning, there were rumors, and those rumors became substantiated, and yet the abuse continued for decades more. It was beyond belief for me…. As I then began on the edit, I did deep dives into research. With the projects I cut, any project, I always get very involved with the research. With this one, I did a lot. So, to answer the kind of research I do, I basically do most of what you would do when getting into something. I’ll look up videos or other docs, of course, I’ll look into interviews, etc., but I’d say the majority of what I do is read: books, articles, all manner of documents. I really immerse myself in the research. Usually, this is in off-hours. But, to me, in general, it’s the reason I got into documentary. Making documentaries, editing documentaries, is a portal into fascinating, if sometimes heartbreaking, worlds I didn’t know. Making documentaries reveals the world to me in ways that change me, and I really seek that out. This OSU doc gut-punched me personally, and so I was specifically driven to learn about it, but truly, with any project I work on, I’ll get very involved with research. </p><p>But as I write all of that, there are a bunch of caveats that should be splatter-painted across the words; the biggest of them for me is that I have a job to do, and that my job in film and TV is about developing and maintaining emotional connection. The medium of film / TV isn’t the medium I’d say that is most attuned to conveying raw info. Film and TV are at their most powerful when they’re in what I would say is resonance. “Resonance” as a word signifies reverberating; it’s about how we vibrate in different states. And film elicits those vibrations. Man, I promise we’re not heading into “woowoo-dreamcatcher-teal is the most harmonious hue yada yada.” This is about how we as viewers respond to these stories, how we emotionally engage (or don’t) with facts and figures, the informational base stuff of docs. Another aspect of that word “resonance” is an electrical state. As an editor, you’re looking at how you can, à la Dr. Frankenstein, produce the largest possible emotional response to inanimate numbers and figures. You’re seeking to create life and heart and soul from a mass of information that has been discovered from research. </p><p>So, what’s really important to me in terms of any research I do is that as I go along, I’m keeping track of my emotional and mental states. So I’m always jotting notes about my personal experience as I do research. I’ll do my utmost to keep all of that in mind as I’m later structuring the film overall and/or when I’m structuring particular sequences and scenes. How you tell a story, how you build it, determines what an overall story’s viewer experience will be. How it vibrates with them, how it lingers. Most of a viewer’s life isn’t going to be them watching your movie. It’s going to be how they remember it. So, you want to make sure you’re building something that is a live memory. Structure is key. So, yes, it’s about the information, and an editor does herself a favor by knowing her subject, but more than anything, it’s what she or he does with that research. How they deliver it. And I believe she or he needs to be tapped into their feelings to do that properly. </p><p>An editor, to me, has many hats to wear. One of the bigger, more ceremonial ones is that of the audience representative. An editor is tasked with being a first viewer. That’s a big responsibility. It’s why you’re in the chair (or at your cool standing desk if you’re responsible about your posture… I’m not.) You have to be able to watch your film as a viewer would, a viewer who has no history with your subject matter. That is so easy to lose a grip on. For me, I keep those jotted notes from before out and about, or I have little lines or particular images that suggest my state of mind when confronting this or that section. And as the research goes on, keeping that fresh mind can get more and more challenging. Luckily, I have a keen ability to forget almost everything: keys, meeting times, directions to basically everywhere, library books, why I’m at Home Depot, you name it. But, working on a film for sometimes years at a time, can test even the most absent-minded of us. So, I keep those reminders attached to index cards, just like I do little tidbits of content or interviews, for me to move around as I’m structuring, and re-structuring, and re-structuring again, ad infinitum. Man, that’s a lot of answer for your question. At this rate, we’re going to be here for years. I’m sorry. I can do better. You asked, "How do I research?" I read. While wearing teal.</p><p><strong>NFS: How does your approach to the edit change when dealing with a uniquely sensitive project like </strong><em><strong><em>Surviving Ohio State</em></strong></em><strong>?</strong></p><p><strong>CO: </strong>Sure. Yeah, that’s a great question. I think there are multiple considerations in effect here. There are the various considerations of the many survivors, making sure that their stories are told as best as we can, and what that means, and there are the considerations toward all the various parties involved from the university and from Congress that we hold to account. Beyond ethically wanting to be just, we are also potentially facing litigation threats from the many different athletic and administrative personnel from the Ohio State University whom we call out, and from the University itself. From about halfway into the edit, ramping up and up and up to the end, lawyers from the production companies, 101 and Smokehouse, and lawyers from HBO would comb the edit for factual accuracy and our ability to triply source our assertions. I mean, it was a lot of notes in red and a lot of Zoom calls. That’s the first time I’ve ever been so scrutinized by so many lawyers for so long. All of them were really nice, and all of them were totally pro. So, they’d really nicely say “nope” to something you worked hard on because it intimated too much in one direction or another. What’s on the screen is so thoroughly vetted, there’s zero fat. And because this is all actively in the courts, we need to check and cross-check ourselves that we’re not messing anything up there as well.</p><p>And while all of that is going on, director Eva Orner and I kept coming back to our guys. We kept asking ourselves, “Are we telling their story the way they need it told?” I mean, we would kvetch, me especially, about having to go back and redo something, but after that, we’d bring it back to what was really important.</p><p class="shortcode-media shortcode-media-rebelmouse-image"> <img alt="" class="rm-shortcode" data-rm-shortcode-id="6e911bcdbd11ba3caa3064733ee5f8d1" data-rm-shortcode-name="rebelmouse-image" id="dafb1" loading="lazy" src="https://nofilmschool.com/media-library/surviving-ohio-state.jpg?id=61185464&width=980"/> <small class="image-media media-caption" placeholder="Add Photo Caption...">'Surviving Ohio State' </small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: HBO </small></p><p><strong>NFS: Did you rely on any particular techniques or strategies in crafting such a complex narrative for the film?</strong></p><p><strong>CO:</strong> Eva had developed such incredible relationships with every survivor in this movie. And the interviews she conducted were incredible across the board. They were powerful and intense. These are big athletes who grew up as Big 10 collegiate wrestlers, gladiators, and all that that implies, and they had been systematically betrayed by almost everyone they trusted. And Eva gained these guys' trust to tell stories that they hadn’t told anyone before. So, their interviews were the powerful foundation on which everything was built. As I was building the movie, I wanted to let their voices drive the film.</p><p>Like a lot of editors, I come from a musical background, in addition to narrative. But music is my base, and it’s the most effective lens personally through which I view and craft film or TV. So, in terms of techniques, or frames, I’ll often think of films more in musical composition forms. I play different instruments and like all kinds of music: blues, R&B, pop, etc. But for composition, and for what you and I are talking about in terms of structuring a documentary, I’m a classical-head. This has nothing at all to do with the actual score and has to do with the structural approach. I’ll consider how the biggies of classical composition, like the Viennese guys Haydn or Beethoven or the Romantics like Tchaikovsky or Dvořåk or many who are modern – a big one I like is Shostakovich – sought to lead listeners through particular emotional journeys over a long period of time. I realize that probably sounds pretentious, and don’t think I have any deeper understanding of what’s going on with classical music than anyone, but I just find the link of music to film is so aligned. Whether you like classical music or would just assume pass, I can’t recommend putting in some time studying symphonies enough. Both music and film are structures in time. And both of those structures are built out of emotions. Symphonies are the 45-minute to an hour-and-a-half versions (unless you’re German) of those structures. </p><p>Anyway, if you listen to these symphonies, if you get intimate with the build of melodies and themes, you track how they’re telling their stories, how they’re unfolding that story’s colors and emotions. And those stories are very different and aren’t in the least broken into a classic 3-act structure. The thing with documentary is that while it may be a feature or a series, just like Syd Field-type fictional creations, it is very much its own creature. The structures, by way of production reality or approach, dictate as much. Docs are assembled from what you have access to, who is willing to talk, what archival, if any, is involved, revelations captured, what you are going to need to explain, etc., etc. And it can be – as in IS – all over the place. And you need to find a vehicle in which to structure that, and structure that with emotional resonance (and teal). Musical forms I keep finding fit the bill the best. </p><p>Swap out our listener with a viewer and the game is the same. A first movement in a symphony is typically energetic. It can be fast, but more than anything, it’s about being arresting. And so I like to think about what I find arresting in this particular story, or what best sets up the emotional telling of this journey. Often, I find I want to create presence and immediacy. With <em><em>Surviving Ohio State, </em></em>the story was, for me, humans versus buildings. You know it was about these big institutions, and their seemingly regal neoclassical buildings, but these places are so impersonal and ultimately cold, as confronted by us. And so, I wanted height and air and an absence of, call it, soul, a more palpable rhythm. We come into the film with a kind of bird’s eye of the architectural purity and pattern of OSU. I found that really arresting. It just seemed like a trip. All of it feels so designed, and far away. A symphony’s second movement is about digging and creating depth. So, here we are going into the people. We are anchoring in our two main protagonists, Dan and Mike, but we are also meeting the various people inside the buildings. These are the parts of your movie that are slower and more lyrical. Third is lighter and faster because you need the viewer to reengage. The fourth movement is arresting again. You’re looking to stick the landing. Now, all of these movements have their own internal structures, and we can talk about those in musical forms too, but the key takeaway is that as a documentary editor, it’s good to be aware of different ways of sculpting emotion in time. Music, and in particular, symphonies, are an excellent thing to understand.</p><p>Now, all of that said, we’re not doing music. And so, you need to know your narrative chops. One of the biggest developments in my life of documentary telling is the new documentary movement that came out of the ‘90s with Joe Berlinger and Bruce Sinofsky or Steve James andTerry Zwigoff. Directors and editors began freely and unapologetically applying narrative chops to documentaries. So you had the reliance on engines of setups and payoffs to drive a film forward, you have foreshadowing, you have a conscious decision on point of view, proxemics, etc.. I use all those same elements when I’m building scenes and sequences. I’ll often think of narrative films and their devices when I’m building out a documentary. </p><p>For <em><em>Surviving Ohio State</em></em>,<em> </em>I remember watching <em><em>Spotlight</em></em> and wanting to anchor the story in similar ways, in one character, which is Dan, and then have him meet our other protagonist, Mike, and have their friendship be a spine of development through the story’s telling. Of course, on top of that would come the many other survivors’ stories, but those two and their relationship drove the turns. In <em><em>Spotlight,</em></em> the journalists and their coming to grips with what they are learning drives the structure. In this doc, it’s the men and their own resistance to accepting that they were abused because of male indoctrination, and then their not being believed by their own caretakers, or being vilified for calling into question this university, or someone like Jim Jordan, or anyone else that seemingly was a ”pillar of society.” There are very definite spots along the journey. Finally, like in <em><em>Spotlight</em></em>, these guys have to make the decision to turn apostate from the school. So all of that, for me, defined the first two movements of the film. The back two begin with them, now on the outside of their communities, holding everyone to account.</p><p><strong>NFS: How did you work to balance contemporary interviews with archival footage in the film?</strong></p><p><strong>CO: </strong>There’s always an interesting dance between contemporary footage, in this case, sit-down interviews, largely, and archival. Archival in this film, as in other films I’ve done, is either a means of illustrating what is being discussed in the contemporary interview, or the archival itself begins to build an idea that will then pull in voices from the present to corroborate or respond to it. So in the first case, contemporary interviews are guiding us through their remembrances, and those remembrances are being experienced by the viewers with archival footage, so it’s very 1:1. But then a seed of a theme will be planted and that theme is told by archival, until contemporary voices begin coming in to comment on it. </p><p>For this last one, I’m thinking of when we get into views of male athletes and the sense that they can’t be victims. That story gets told largely in archival, but then someone like the journalist Jon Wertheim will come in and take up the reins to guide it directly back to our OSU guys. Or when Jim Jordan later is denying, denying, denying, that archival of news footage really tells much of that story. Since he’s such a known figure as a prominent congressman, there’s no shortage of news coverage of him. Because of that, it could be shaped on its own with other journalists of the era to shape those sections, with our interviewees then coming in to comment and respond. </p><p><strong>NFS: What was your collaboration like with executive producers George Clooney and Grant Heslov?</strong></p><p><strong>CO:</strong> The way that I usually have worked with producers, especially sort of well-known producers, is that there are a lot of meetings at the beginning. It can all feel kind of <em><em>Flashdance</em></em>. You walk into an echo-y room, announce yourself, and do your dance. Today, that panel of faces staring at you is more during a series of Zooms, but you still initially need to audition and pitch your take on the footage you’ve seen or your approach to the idea you’ve read about in a way that lands with them. And really, you’re seeing if you all resonate together. If you’re even the right person for the film that they want to tell. And then you typically do that <em><em>Flashdance </em></em>panel again. And again, 101 Studios with David Glasser and Eliot Goldberg, along with Smokehouse, George Clooney’s and Grant Heslov’s production group, and their producer Rebecca Arzoian, were also very involved throughout these initial meetings and discussions. And of course, the director, Eva Orner. We all talked a lot about what we each thought we had, and where it could go. Then, if they bring you on, it’s like everyone leaves the room. It all gets quiet as the editor and director work alone for a while. Once cuts start going out, then folks like Grant and George, and the others would send notes. It was all very clean. I got the impression that what always resonated most for Grant was story. "Is this tracking?" "Is that paying of?" And for George, it was about emotional arcing. "Is this moment peak enough?" "Could that be delivered by someone more or less assertively?" That kind of thing. Presence and immediacy were the focus.</p><p class="shortcode-media shortcode-media-rebelmouse-image"> <img alt="" class="rm-shortcode" data-rm-shortcode-id="f78a2d9882d897fc19bbd78476df4cbf" data-rm-shortcode-name="rebelmouse-image" id="ebbc9" loading="lazy" src="https://nofilmschool.com/media-library/surviving-ohio-state.jpg?id=61185462&width=980"/> <small class="image-media media-caption" placeholder="Add Photo Caption...">'Surviving Ohio State' </small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: HBO </small></p><p><strong>NFS: You are perhaps most well known for your work on the iconic HBO documentary </strong><em><strong><em>The Jinx</em></strong></em><strong>. How did your creative approach to that project prepare you for a film like </strong><em><strong><em>Surviving Ohio State</em></strong></em><strong>?</strong></p><p><strong>CO: </strong>Yeah, those are very different projects. I suppose from a creative approach, for starters, you’re looking at two much differently sized canvases. <em><em>The Jinx</em></em> is a series, so the structure is episodic and will play across many more movements than a single feature like <em><em>SOS. </em></em>When you’re laying out a series, especially something with as many moving parts as <em><em>The Jinx</em></em>,<em> </em>sections are moving around the show a lot. Or maybe moving greater distances in time is a better way of saying it. And you’ve got to keep in mind that a viewer is going to see the series over a timeframe of weeks, so moving a section from episode 6 to episode 2 is moving it a month. So, yeah, there’s that and what that means for context and all the rest. With a feature, you’re talking minutes. Maybe it can be as much as an hour in a big change, but you know, it’s still all essentially one sitting. You’ve got much more of a unity of time and tone in a feature.</p><p>The other big difference is that on <em><em>The Jinx,</em></em> there was a team of several editors, and we collaborated, gave a lot of feedback. With <em><em>Surviving Ohio State</em></em> that was a solo edit, so, while I was of course working with Eva and we were sharing cuts, those cuts going out were more official cuts on which to receive notes, rather than “Can you take a look at this section when you have a sec and tell me if it’s sucky or not?” That’s a different working environment. One’s not better than the other. There are pluses and minuses to both. It’s wonderful to share and have a community, especially for the hermit who is an editor. And on the flip side, for me, it’s also really rewarding to go into a film as a solo editor and map out the course and march and scale unaccompanied. I do think the solo one probably comes with more highs and lows emotionally, just that I’ll (often) get lost and think I can’t figure something out, and then will finally get it to work (or so I tell myself). And that solitary puzzle aspect is really trippy. I like it in the end, but it definitely requires staring out into the middle distance a lot, as my brother would say. You take some walks to clear your head and reframe a lot more.</p><p>In terms of tone, both are dark to be sure, but also have comedic elements. What I’m talking about is human comedy. An absurdist aspect. <em><em>The Jinx</em></em> has many more notes of comedy than <em><em>SOS</em></em> without a doubt, but still, there’s comedy in both. I think one of my qualities, or say my voice, is that I often seek to weave in the comedy, the absurdity surrounding a story. Durst is a killer, and his friends know he’s a killer, and when confronted with the fact that yeah, they sort of suspected their buddy Bobby was killing folks, they’d say he was also charming: “You know, he always had a zinger during a dinner party, and he gave me that car…" "But, um, that killing thing didn’t weigh on you sometimes?" "...the killing thing?" "Bobby’s?" "Sure, yeah, that probably wasn’t great...what was the question again?” </p><p>With <em><em>Surviving Ohio State,</em></em> the comedy for me was this school’s straight-up defiance of facing the reality that their doctor was systematically abusing and destroying these boys. These school officials just shuffled past the crime scene over and over and over. Or worse, they’d actively promote this predator, or give him awards, so as to pretend that everything was ok. And that went on and on. So, as truly mind-bendingly horrific as it was, the “move along, nothing to see here” take of these coaches and clowns was a circus of terror. And I looked to build around that. </p><p>Again, I’d say music is a good lens by which to talk about this idea of tragedy and comedy. There are certain composers who I think can walk that razor-thin line between tragedy and comedy, and they can really help shape a story’s telling. John Kusiak, who actually scored some of <em><em>The Jinx, </em></em>and Cornel Wilczek, who scored <em><em>Ohio State</em></em>, can create scores that move in and out of all these different colors. When I’m working, I’ll also use scratch cues from composers who I think are great in this arena too: Mychael Danna, to me, is a face chiseled into the Mount Rushmore of tone variations. For tragicomedy, he’s incredible. For both <em><em>The Jinx </em></em>and <em><em>Surviving Ohio State</em></em>, I would use scratch cues from Danna’s <em><em>The Ice Storm</em></em>. Listen to it, you just get this almost operatic unfolding toward a fatalistic, horrific end, but done with a master’s light, almost playful touch. It’s like a perfect score to me. </p><p>BUT, in the big comparison, the two, while ostensibly being crime type docs, aren’t the same. With <em><em>The Jinx, </em></em>you’re tracking Robert Durst, who is actively sitting, unbelievably, for an interview. And you’re also shifting outside to the lens of Andrew, Marc, and Zac as they decipher what exactly is going on, and, of course, what they discover and record. The power of that series comes in things said and evidence discovered. There’s some “lightning in a bottle” that happens, actually, multiple times. With Season 2, that’s not as on display, and it’s much more a build around the village of complicity that surrounded Durst and let him get away with his crimes, but still you’re riding the revelations of his friends’ knowledge, and even the complicity of the woman he killed. So, that’s all very immediate. With <em><em>Surviving Ohio State</em></em>, there’s not that smoking gun. It’s a weaving of a tapestry. Dr. Richard Strauss, the man who abused these men for all those years, has been dead for some time, so there was never going to be a relationship with him other than as remembered. Yes, for sure, when administrators are deposed and say heinously callous shit that’s immediate in its impact to your gut, but you already kind of knew they were bad news and wildly heartless going in.</p><p class="shortcode-media shortcode-media-rebelmouse-image"> <img alt="" class="rm-shortcode" data-rm-shortcode-id="376d5a29720e9958d9be8e529ce4e78b" data-rm-shortcode-name="rebelmouse-image" id="4a1b5" loading="lazy" src="https://nofilmschool.com/media-library/surviving-ohio-state.jpg?id=61185461&width=980"/> <small class="image-media media-caption" placeholder="Add Photo Caption...">'Surviving Ohio State'</small><small class="image-media media-photo-credit" placeholder="Add Photo Credit...">Credit: HBO</small></p><p><strong>NFS: Is there anything else you would like to share about </strong><em><strong><em>Surviving Ohio State </em></strong></em><strong>and its powerful unveiling of the school’s sexual abuse scandal?</strong></p><p><strong>CO: </strong>I mean, I should just congratulate anyone who has read this interview this far. Beyond just being chatty, I love talking about this stuff. So, mazel tov to you marathoners. In terms of <em><em>Surviving Ohio State,</em></em> the last thing to share is my personal take, not with the building of the movie as an editor or any formal aspect of its telling, but with the story itself and the courage of these guys to weather this terrible, awful journey to bring this tragedy to light. As a man, I grew up very much in the center of a Guy Code. I went to an all-boys school in Texas, played football, etc., etc. All this at the same time as those in this film were at Ohio State as wrestlers. I am steeped in that “Be a Man” indoctrination. And I am steeped in its subsequent hateful shame. There were so many times as I worked on this film that I would just lean back and hurt. These guys carried the crimes of this doctor, but more than that, the crimes of betrayal by their coaches and school administrators, people they looked to as parental figures all of their lives. And it nearly broke them… but what I take from this movie is that these guys helped each other to find the courage, the true sense of strength, to step into the spotlight and tell their stories.</p><p>There is this Japanese art form in which broken items, plates and cups and such, are put back together with lacquer and gold. The places where the pieces were broken, and all the various cracks, aren’t hidden; they are put into relief with gold. It’s this art and philosophical form that doesn’t try to hide the damage, but instead finds a stunningly and ferociously beautiful new life. We are all of us, men and women, so often told explicitly or implicitly, to hide our hurt, to “be tough.” Athletes are on a kind of X1000 level with that. This movie and these men shatter that for me. I’m a Dad to two little boys. When the time is right, I’m going to show them this movie, not because of me in any way, but because of these guys, and what they discovered strength and bravery and love to really and truly mean. I’m so very proud of the survivors in this film and so grateful to have been allowed to participate in their story.</p>]]></description><pubDate>Wed, 09 Jul 2025 21:45:50 +0000</pubDate><guid>https://nofilmschool.com/surviving-ohio-state-charles-olivier-interview</guid><category>Surviving ohio state</category><category>Charles olivier</category><category>Hbo</category><category>Documentary editing</category><category>Interviews</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-surviving-ohio-state-editor-unpacked-institutional-betrayal-and-corruption.jpg?id=61185459&amp;width=980"></media:content></item><item><title>What Advice Did Steven Spielberg Give Gareth Edwards About Directing 'Jurassic Park'?</title><link>https://nofilmschool.com/spielberg-notes-edwards</link><description><![CDATA[
  24. <img src="https://nofilmschool.com/media-library/what-advice-did-steven-spielberg-give-gareth-edwards-about-directing-jurassic-park.jpg?id=61186424&width=1245&height=700&coordinates=0%2C0%2C0%2C1"/><br/><br/><p>The <a href="https://nofilmschool.com/jurassic-park-movies-ranked" target="_blank"><em>Jurassic Park</em> series</a> is one of my favorites, and writing one of those movies is on my bucket list. But no matter what you do, you're always following in Steven Spielberg's footsteps. </p><p>He was the voice and ideas behind the first film, along with writers Michael Crichton and David Koepp, and you'll always have to think about that movie while making your own. </p><p>So when Gareth Edwards stepped into the director's chair for the new <em>Jurassic World: Rebirth</em>, he had a lot to live up to. </p><p>Thankfully, Steven Spielberg was there to give him some advice. </p><p class="shortcode-media shortcode-media-youtube"> <span class="rm-shortcode" data-rm-shortcode-id="dc15c9c8675370113e7e6d7dfd278bd8" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/smavD1fopZ8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span> <small class="image-media media-caption" placeholder="Add Photo Caption...">- YouTube</small> <small class="image-media media-photo-credit" placeholder="Add Photo Credit..."> <a href="https://www.youtube.com/watch?v=smavD1fopZ8" target="_blank">www.youtube.com</a> </small> </p><p>It started as a notes call that made Edwards very nervous. He told <a href="https://www.syfy.com/syfy-wire/jurassic-world-rebirth-director-talks-steven-spielbergs-advice" target="_blank">Syfy</a>, "It's a nerve-wracking moment when you know Steven is about to call you to give you feedback on a film that you've shown him," Edwards said of the first cut they discussed. "It's kind of like the moment you dream of and fear all your life. I remember the phone just sat on the coffee table of the edit suite, and my editor and I were just looking at the phone, just waiting for it to light up."</p><p>From there, he listened and heard the notes and ideas Spielberg had. Unlike other notes experiences, Edwards said this was singular. </p><p>He explained, "But with Steven, if you go, 'What have you done?' the answer is, every masterpiece you've ever loved," Edwards laughs. "So, you sit there a bit like, 'I'm just gonna do everything you say. Every single note you give, I'm doing it,'" he said. </p><p>He expanded, "You kind of hope that you agree and love all of them because you know you're going to do them anyway." </p><p>Edwards continued, "And then you go through them, and you're like, 'Oh yeah, that's a good idea. Okay, yeah, that makes sense. Oh, thank God you said that! Oh, fantastic, I agree with that.'"</p><p>Edwards valued Spielberg as an ally in the process and enjoyed their creative collaboration. He finished with, "Me saying I want it a certain way on some big decision will only get me so far with the studio." He continued, "But Steven Spielberg saying it, or getting to say, 'I'm doing this,' as <em>Steven </em>said..., it's kind of like a bulldozer in the note world that just goes, <em>this</em> is what's happening. It was really, really useful as a filmmaker to have him on your side like that."</p><p>This kind of collaborative effort speaks to both directors' character. It's great to see a team coming together to make the best movie possible, and to really pull out some of the best moments, and to help the movie succeed. </p><p>I don't think people understand that this stuff just does not happen in Hollywood, so when you hear about it, I love to highlight it. </p><p>This should all be a team effort. </p><p>Let me know what you think in the comments. </p>]]></description><pubDate>Wed, 09 Jul 2025 21:20:32 +0000</pubDate><guid>https://nofilmschool.com/spielberg-notes-edwards</guid><category>Gareth edwards</category><category>Jurassic world: rebirth</category><category>Steven spielberg</category><category>Steven spielberg</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-advice-did-steven-spielberg-give-gareth-edwards-about-directing-jurassic-park.jpg?id=61186424&amp;width=980"></media:content></item><item><title>How Do YouTube Creators Hook the Audience Right Away?</title><link>https://nofilmschool.com/how-do-youtube-creators-hook-the-audience-right-away</link><description><![CDATA[
  25. <img src="https://nofilmschool.com/media-library/how-do-youtube-creators-hook-the-audience-right-away.jpg?id=61187491&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>Ever wonder what makes some <a href="https://nofilmschool.com/when-did-youtube-become-popular" target="_blank">YouTube </a>videos so captivating that you can't click away?  Or what makes the most popular content creators hook audiences and get them to stay? </p><p>I did too, which is why I was happy to stumble on the video "The Storytelling Formula YouTubers Use to Hook You" by Philipp Humm, where he goes over the secret to creating engaging YouTube content.</p><p> It all comes down to a five-step formula that can turn any idea into a compelling narrative.</p><p>Let's dive in. </p><hr/><h3>The Storytelling Formula YouTubers Love </h3><br/><span class="rm-shortcode" data-rm-shortcode-id="cbf380e9c1f4a96b84a4100e4953eadc" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BvGKjwZatX0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><h3><strong>Part 1: The Hook</strong> </h3><p>The first step is to grab your audience's attention from the very beginning. They call that the hook, and it's probably the most important part of the whole process. </p><p>You do this by presenting a big goal or a problem that the creator wants to solve. This immediately raises a question in the viewer's mind, making them want to stick around to see the outcome. </p><h3>Part 2: The Context </h3><p>Once you've hooked your viewers, it's time to provide some context for what they'll learn or experience. </p><p>This is where you explain why the goal is important and what led you to take on this challenge. It's also where you can outline your plan of action. By sharing the backstory, you help your audience connect with you and your journey on a deeper level.</p><h3>Part 3: The Rising Action </h3><p>This is the part of the story where you document your journey, showcasing the successes and struggles you have doing the outlined idea. </p><p>It's sort of like the fun and games part of a screenplay. You want the challenges to slowly get harder and harder. </p><p>That will create suspense and keep your audience invested in your story. </p><h3>Part 4: The Climax </h3><p>Like in all writing, the <a data-linked-post="2661196639" href="https://nofilmschool.com/climax-of-a-movie" target="_blank">climax</a> is the peak of your story, where all the tension and conflict come to a head. </p><p>This is the moment your viewers have been waiting for, where they finally find out if you achieved your goal. It should also show a transformation, so you can see how far you've gone in the process.</p><h3>Part 5: The Reflection </h3><p>People love a summary of what you learned. So this is where you share the main takeaway or lesson. </p><p>This is your chance to provide your audience with something valuable, whether it's an actionable tip or a new perspective. </p><p>By ending your video with a powerful message, you'll leave a lasting impression on your viewers, who will come back for similar things. </p><h3>Summing It All Up </h3><br/><p>By following this storytelling formula, you can create YouTube videos that not only entertain but also resonate with your audience.</p><p> So next time you're planning a video, remember to hook your viewers, provide context, build suspense, create a powerful climax, and leave them with a meaningful reflection.<br/></p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Wed, 09 Jul 2025 21:15:41 +0000</pubDate><guid>https://nofilmschool.com/how-do-youtube-creators-hook-the-audience-right-away</guid><category>Creators</category><category>Youtube</category><category>Content creators</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-do-youtube-creators-hook-the-audience-right-away.jpg?id=61187491&amp;width=980"></media:content></item><item><title>DJI Fly App Gets New Firmware Update That Adds and Improves DJI Flip Maneuvers</title><link>https://nofilmschool.com/dji-fly-app-update</link><description><![CDATA[
  26. <img src="https://nofilmschool.com/media-library/dji-fly-app-update.jpg?id=61180814&width=1245&height=700&coordinates=56%2C0%2C57%2C0"/><br/><br/><p>If you’re a DJI drone owner or operator, there’s a new firmware update that might not seem like a big deal, but it’s one that you’re going to want to download and install. And if you’re a <a href="https://nofilmschool.com/dji-flip-firmware-update" target="_blank">DJI Flip</a> owner, then you’re definitely going to want to get this update asap.</p><p>While it might seem innocuous enough, the most recent version update for the DJI Fly App (version 1.17.4 to be exact) is set to offer some notable improvements and tweaks that should help your drones fly smoother and, in the case of the Flip, actually offer some new and improved maneuvers.</p><p>Let’s look at everything new coming to the DJI Fly app with this latest firmware update.</p><hr/><h3>DJI Fly App Firmware Version 1.17.4</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="0c7105265cb1c344409ed8aabd14a432" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/KmEdcFcJUuo?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>While the DJI website only lists that this most recent firmware update refers to “certain issues were fixed and overall app quality optimized,” this firmware update version 1.17.4 does appear to provide some pretty notable improvements.</p>
  27. <p>DJI Flip flyers should notice the bulk of these improvements, most notably being some new maneuvers like the Dolly Zoom feature, which we <a href="https://nofilmschool.com/dji-flip-firmware-update-dolly-zoom#" target="_self"><u>covered previously</u></a> when it was first announced as an improvement for the DJI Flip.</p>
  28. <p>The DJI Flip is also getting a new ability to manually update its Home Point while it’s currently being flown, once the One-Tap Return-to-Home pop-up appears when using the app. It’s not a huge update, but it’s an important one that should make operating the DJI Flip even more seamless and enjoyable.</p><h3>How to Download and Install</h3><br/><p>To download and install this latest update for the DJI Fly app and also for your DJI drones, all you have to do is follow these steps below.</p>
  29. <p>1. Power on the drone and remote controller. After the drone is connected to the app, tap Update when the app displays a prompt indicating that there is new firmware available.</p><p>2. During the download, keep the mobile device network connected and the app will automatically download the firmware.</p><p>3. After the firmware is downloaded, tap Update to start updating the firmware. When the progress bar is completed, the firmware is updated successfully. Then the drone will restart automatically.</p><p>* Do not power off your drone or exit the app during the update process.</p><p>You can find more info on this DJI Fly app update on the <a href="https://www.dji.com/downloads/djiapp/dji-fly" rel="noopener noreferrer" target="_blank"><u>company’s website here</u></a>.</p><h3>DJI Flip Drone (RC-N3)</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="caa491d3b42cd4e7362ce25d7fbe37c8" data-rm-shortcode-name="rebelmouse-image" id="8f7e5" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=56615656&width=980"/><p>Don't confuse the <strong>DJI Flip Drone</strong> for a toy. This pint-sized powerhouse might be small, but it packs a powerful punch when it comes to aerial content creation. </p>]]></description><pubDate>Wed, 09 Jul 2025 19:40:03 +0000</pubDate><guid>https://nofilmschool.com/dji-fly-app-update</guid><category>Dji</category><category>Dji flip</category><category>Fly app</category><category>Dji app</category><category>Firmware update</category><category>Dji fly app</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/dji-fly-app-update.jpg?id=61180814&amp;width=980"></media:content></item><item><title>Announcing The Musicbed Challenge Summer 2025</title><link>https://nofilmschool.com/musicbed-challenge-summer-2025</link><description><![CDATA[
  30. <img src="https://nofilmschool.com/media-library/announcing-the-musicbed-challenge-summer-2025.jpg?id=61187220&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>We're big fans of the <a href="https://challenge.musicbed.com/" target="_blank">Musicbed Challenge</a> over here at No Film School. We've covered it many times, and every year when it rolls around, we get stoked to tell you about how you can take advantage of this great opportunity, including its $80,000 in prizes.</p><p>So, let's dive in and go over the details of Musicbed's short film contest.</p><p>Let's dive in.</p><hr/><h3>Musicbed Challenge 2025</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="5e6db0e2944d3a49757b54375365bf70" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/waIEbfzN_kU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>This summer's challenge will feature 17 new industry professionals as judges and a 30-day timeframe for creatives to produce their films. </p><p>The competition is divided into three categories: narrative, documentary, and spec ad. Entrants are required to select a song from Musicbed's curated library to use in their film.</p><p>Submissions will be judged on four criteria: creativity, craft, storytelling, and the integration of the chosen song.</p><p>The prize pool, valued at over $80,000, will be distributed among four categories: Best Documentary, Best Spec Ad, Best Narrative, and People's Choice. </p><h3>Best Documentary Winner</h3><ul><li>$15K Cash Grant (pay your crew properly)</li><li>Musicbed Business 1-Year Subscription</li><li>$2,000 Filmsupply Licensing Credit</li><li>$350 Clever Supply Co Store Credit</li><li>$2,000 Lensrentals Credit*</li><li>Moment Supercage</li><li>Saturation 1-Year Production Membership</li><li>Nanlite On-The-Go Kit</li><li>ACIDBITE Complete Acid Collection</li><li>FilmConvert Nitrate</li></ul><h3>Best Spec Ad Winner</h3><ul><li>$15K Cash Grant (fund your next passion project)</li><li>Musicbed Business 1-Year Subscription</li><li>$2,000 Filmsupply Licensing Credit</li><li>$350 Clever Supply Co Store Credit</li><li>$2,000 Lensrentals Credit*</li><li>Moment Supercage</li><li>Saturation 1-Year Production Membership</li><li>Nanlite On-The-Go Kit</li><li>ACIDBITE Complete Acid Collection</li><li>FilmConvert Nitrate</li></ul><h3>Best Narrative Winner</h3><ul><li>$15K Cash Grant (make your feature happen)</li><li>Musicbed Business 1-Year Subscription</li><li>$2,000 Filmsupply Licensing Credit</li><li>$350 Clever Supply Co Store Credit</li><li>$2,000 Lensrentals Credit*</li><li>Moment Supercage</li><li>Saturation 1-Year Production Membership</li><li>Nanlite On-The-Go Kit</li><li>ACIDBITE Complete Acid Collection</li><li>FilmConvert Nitrate</li></ul><h3>People's Choice Winner</h3><ul><li>Musicbed Business 1-Year Subscription</li><li>$2,000 Filmsupply Licensing Credit</li><li>$350 Clever Supply Co Store Credit</li><li>$2,000 Lensrentals Credit*</li><li>Moment Supercage Super Bundle</li><li>Saturation 1-Year Production Membership</li><li>Nanlite On-The-Go Kit</li><li>ACIDBITE Complete Acid Collection</li><li>FilmConvert Cinematch</li></ul><h2>Summing It All Up </h2><p>If this sounds great to you, I would get working on your entry. Competition will be fierce. </p><p class="">The deadline for submissions is August 7 at 5 PM UTC. A "<a href="https://challenge.musicbed.com/" target="_blank">Starter Ki</a>t" with additional resources is available for <a href="https://challenge.musicbed.com/" target="_blank">download on the Musicbed Challenge website</a>.</p><p>Now, go get filmmaking. </p>]]></description><pubDate>Wed, 09 Jul 2025 19:15:15 +0000</pubDate><guid>https://nofilmschool.com/musicbed-challenge-summer-2025</guid><category>Contest</category><category>Musicbed</category><dc:creator>Sponsored Content</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/announcing-the-musicbed-challenge-summer-2025.jpg?id=61187220&amp;width=980"></media:content></item><item><title>The 10 Best Natural Disaster Movies of All Time</title><link>https://nofilmschool.com/best-natural-disaster-movies-of-all-time</link><description><![CDATA[
  31. <img src="https://nofilmschool.com/media-library/the-10-best-natural-disaster-movies-of-all-time.webp?id=61187202&width=1245&height=700&coordinates=0%2C0%2C0%2C55"/><br/><br/><p>When it comes to <a data-linked-post="2661191343" href="https://nofilmschool.com/disaster-film-genre" target="_blank">disaster movies</a>, sometimes the scariest ones are natural disasters. These weather occurrences provide the perfect <a data-linked-post="2661198710" href="https://nofilmschool.com/antagonist" target="_blank">antagonists</a> and <a data-linked-post="2661194994" href="https://nofilmschool.com/what-is-conflict" target="_blank">conflict</a> for a story about humanity trying to overcome. </p><p>Today, I want to go into the top natural disaster movies of all time and show how they show humanity's triumph over the elements. </p><p>Let's dive in. </p><hr/><h3>1. The Impossible (2012)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="1b6d1d9febfc435d32841c2567321081" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Bgw394ZKsis?rel=0&start=18" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director:</strong> J.A. Bayona</li><li><strong>Writer:</strong> Sergio G. Sánchez</li><li><strong>Cast: </strong>Naomi Watts, Ewan McGregor, Tom Holland, Samuel Joslin, Oaklee Pendergast</li></ul><p>Based on the harrowing true story of a family caught in the devastating 2004 Indian Ocean tsunami, <em>The Impossible </em>shows us what it's like to survive a disaster and then have to deal with the aftermath. It's about hope and struggle and humans sorting through the aftermath. </p><h3>2. Twister (1996)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ddde016bedf957d01bcb326cb21c5b07" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/beHzfQPaTaw?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director:</strong> Jan de Bont</li><li><strong>Writers:</strong> Michael Crichton, Anne-Marie Martin</li><li><strong>Cast:</strong> Helen Hunt, Bill Paxton, Jami Gertz, Cary Elwes, Philip Seymour Hoffman</li></ul><p>A quintessential 1990s blockbuster, this is the movie that made you believe cows can fly. We follow storm chasers as they go out to help warn people about incoming tornadoes. It was a landmark for special effects. </p><h3>3. The Day After Tomorrow (2004)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="9cb867e7e5b97e0c4b8a26824d6eeb7a" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Ku_IseK3xTc?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director:</strong> Roland Emmerich</li><li><strong>Writers: </strong>Roland Emmerich, Jeffrey Nachmanoff</li><li><strong>Cast:</strong> Dennis Quaid, Jake Gyllenhaal, Emmy Rossum, Ian Holm, Sela Ward</li></ul><p>Director Roland Emmerich is a master of the disaster genre. In this, he explores what it would be like to experience a climate disaster, a return to an ice age, and a crazy storm. It's epic in scope and scale. </p><h3>4. Contagion (2011)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="e20f23ad5c2f73abe5d9d29b30f1d6c3" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/4sYSyuuLk5g?rel=0&start=16" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director: </strong>Steven Soderbergh</li><li><strong>Writer: </strong>Scott Z. Burns</li><li><strong>Cast:</strong> Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow, Kate Winslet</li></ul><p>If you lived through 2020, you kind of never want to watch this movie again. But it told us the story of a terrifyingly realistic look at the global outbreak of a deadly virus. We track scientists as they search for a cure and try to figure out patient zero in a gripping and realistic way. </p><h3>5. The Poseidon Adventure (1972)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="7d0edbf4a5ea9cc6ca58140f6081369b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/bidQ-RTxAIY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director: </strong>Ronald Neame</li><li><strong>Writers: </strong>Stirling Silliphant, Wendell Mayes</li><li><strong>Cast: </strong>Gene Hackman, Ernest Borgnine, Shelley Winters, Red Buttons, Roddy McDowall</li></ul><p>A star-studded classic of the 1970s disaster movie boom, <em>The Poseidon Adventure </em>takes on an unknown threat of...rogue waves. It's kind of a crazy movie, but a lot of fun watching as a small group of survivors navigate the inverted cruise ship and try to get to the surface to survive. </p><h3>6. Deepwater Horizon (2016)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="04f3632becc7c7a32937a3a06bcf9dba" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/8yASbM8M2vg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director: </strong>Peter Berg</li><li><strong>Writers:</strong> Matthew Michael Carnahan, Matthew Sand</li><li><strong>Cast:</strong> Mark Wahlberg, Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O'Brien, Kate Hudson</li></ul><p>The real-life 2010 explosion of the Deepwater Horizon oil rig in the Gulf of Mexico was one of the worst disasters we've seen. This movie dramatizes that and shows how humans had to come in and fix the issues that other humans created drilling for oil. It's all about unsung heroes. </p><h3>7. San Andreas (2015)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="aa8b4f7e2f142001c6095e07438d760f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/23VflsU3kZE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director:</strong> Brad Peyton</li><li><strong>Writer: </strong>Carlton Cuse</li><li><strong>Cast: </strong>Dwayne Johnson, Carla Gugino, Alexandra Daddario, Ioan Gruffudd, Paul Giamatti</li></ul><p>Dwayne "The Rock" Johnson headlines this action-packed thriller about a catastrophic earthquake that basically splits California. I don't think there's a lot of realism here, but it's a cool story that has great effects and lots of action. The big earthquake is every Angelo's fear. </p><h3>8. Dante's Peak (1997)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="aadba05f4b0c1468d7f7de68ed86f73f" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/O8HNlhVbGzY?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director: </strong>Roger Donaldson</li><li><strong>Writer:</strong> Leslie Bohem</li><li><strong>Cast: </strong>Pierce Brosnan, Linda Hamilton, Charles Hallahan, Grant Heslov, Elizabeth Hoffman</li></ul><div>You kind of forget that there are volcanoes all over the world, waiting to just explode one day. Pierce Brosnan stars as a volcanologist who must convince a skeptical town of the imminent danger posed by a long-dormant volcano that's ready to pop. This movie has an acid water scene that haunts my memory. </div><h3>9. Greenland (2020)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="1c11e7eaf48cf96bef6bb1565b8d2610" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/vz-gdEL_ae8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director:</strong> Ric Roman Waugh</li><li><strong>Writer:</strong> <a data-linked-post="2665877824" href="https://nofilmschool.com/chris-sparling" target="_blank">Chris Sparling</a></li><li><strong>Cast: </strong>Gerard Butler, Morena Baccarin, Roger Dale Floyd, Scott Glenn, David Denman</li></ul><p>This movie is really good. I felt like it was unsung because it came out in 2020 during all the COVID noise, but it delivers a character-driven take on the world-ending disaster of a comet coming to hit Earth. The film focuses on the human element of survival against insurmountable odds, creating a tense and emotional experience.</p><h3>10. The Wave (2015)</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="e447557626921300168d0f242d163d3b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/QPIOV-tCaEU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><ul><li><strong>Director:</strong> Roar Uthaug</li><li><strong>Writers: </strong>John Kåre Raake, Harald Rosenløw-Eeg</li><li><strong>Cast:</strong> Kristoffer Joner, Ane Dahl Torp, Jonas Hoff Oftebro, Edith Haagenrud-Sande</li></ul><p>This Norwegian thriller delivers a pulse-pounding and realistic depiction of a mountainside collapsing into a fjord, creating a massive tsunami that threatens a small town. It has all the elements of a fun ride through how a small town can prepare and try to survive these kinds of issues. </p><h3>Summing It All Up </h3><br/><p>Natural disasters are terrifying things that plague the Earth. They can make for excellent stakes for movies and pack in lots of action and thrills. </p><p>There are so many great ones, I know I may have forgotten yours off the list. </p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Wed, 09 Jul 2025 19:06:29 +0000</pubDate><guid>https://nofilmschool.com/best-natural-disaster-movies-of-all-time</guid><category>Disaster genre</category><category>Disaster movies</category><category>Best movies</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-10-best-natural-disaster-movies-of-all-time.webp?id=61187202&amp;width=980"></media:content></item><item><title>Get Prime Day Deal Savings on All of Your Production Gear Needs</title><link>https://nofilmschool.com/deals-of-the-week-prime-day-2025</link><description><![CDATA[
  32. <img src="https://nofilmschool.com/media-library/get-prime-day-deal-savings-on-all-of-your-production-gear-needs.png?id=61187136&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>While Prime Day may come and go every year, the gear that you can snag for these reduced prices can be priceless. Well, not priceless obviously as they're not free. But they are heavily discounted, which is always welcome.</p><p>For our latest "<a href="https://nofilmschool.com/tag/filmmaking-deals-of-the-week" target="_self">Deals of the Week</a>" roundup, we're looking at some of the best Prime Day, and even non-Prime Day, deals that can be used to find cameras, lenses, and lights on B&H. Let's look at some of the best deals out there for your production gear needs.</p><div><a href="https://www.bhphotovideo.com/c/product/1762211-REG/amaran_ap30011a10_300c_rgb_led_monolight.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1231259/SID/pb" target="_blank"><u></u></a></div><h2>Cameras</h2><ul><li>Sony FX30 Digital Cinema Camera: <u><a href="https://www.bhphotovideo.com/c/product/1729317-REG/sony_ilme_fx30_fx30_digital_cinema_camera.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1839708/SID/DFF" target="_blank">$1,748.00</a></u></li><li>Canon EOS R6 Mark II Mirrorless Camera: <u><a href="https://www.bhphotovideo.com/c/product/1733214-REG/canon_eos_r6_mark_ii.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1694153/SID/DFF" target="_blank">$1,899.00</a></u></li><li>Sony a7R V Mirrorless Camera: <u><a href="https://www.bhphotovideo.com/c/product/1731389-REG/sony_alpha_camera.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1458833/SID/DFF" target="_blank">$3,798.00</a></u></li></ul><h2>Lights</h2><ul><li>SmallRig RF 10C Portable Focusable LED Video Light: <u><a href="https://www.bhphotovideo.com/c/product/1837962-REG/smallrig_4634_rf_10c_portable_focusable.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1506048/SID/DFF" target="_blank">$42.39</a></u></li><li>amaran 300c RGB LED Monolight: <u><a href="https://www.bhphotovideo.com/c/product/1762211-REG/amaran_ap30011a10_300c_rgb_led_monolight.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1231259/SID/DFF" target="_blank">$455.00</a></u></li><li>Aputure LS 600x Pro Bi-Color LED Monolight: <u><a href="https://www.bhphotovideo.com/c/product/1657955-REG/aputure_als600xprovus_ls_600x_pro_lamp.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1132112/SID/DFF" target="_blank">$1,393.00</a></u></li></ul><h2>Lenses</h2><ul><li>Canon RF 16mm f/2.8 STM Lens: <u><a href="https://www.bhphotovideo.com/c/product/1663582-REG/canon_rf_16mm_f_2_8_stm.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1295600/SID/DFF" target="_blank">$259.00</a></u></li><li>Canon RF 28-70mm f/2.8 IS STM Lens: <u><a href="https://www.bhphotovideo.com/c/product/1852753-REG/canon_6535c002_rf_28_70mm_f_2_8_is.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1567042/SID/DFF" target="_blank">$1,099.00</a></u></li><li>Canon RF 24-70mm f/2.8 L IS USM Lens: <u><a href="https://www.bhphotovideo.com/c/product/1502500-REG/canon_3680c002_rf_24_70mm_f_2_8l_is.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1671941/SID/DFF" target="_blank">$2,399.00</a></u></li></ul><div><a href="https://www.bhphotovideo.com/c/product/1502500-REG/canon_3680c002_rf_24_70mm_f_2_8l_is.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1671941/SID/DFF" rel="noopener noreferrer" target="_blank"><u></u></a></div><div><a href="https://www.bhphotovideo.com/c/product/1502500-REG/canon_3680c002_rf_24_70mm_f_2_8l_is.html/BI/5955/KBID/6829/DFF/d10-v21-t1-x1671941/SID/DFF" rel="noopener noreferrer" target="_blank"><u></u></a>You can find more <a href="https://nofilmschool.com/tag/filmmaking-deals-of-the-week" target="_blank">filmmaking deals</a> here.</div><div><del></del></div>]]></description><pubDate>Wed, 09 Jul 2025 18:55:54 +0000</pubDate><guid>https://nofilmschool.com/deals-of-the-week-prime-day-2025</guid><category>Filmmaker deals</category><category>Filmmaking deals of the week</category><category>Deals</category><category>Lighting</category><category>Cameras</category><category>Lenses</category><category>Prime day</category><category>Filmmaking deals of the week</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/get-prime-day-deal-savings-on-all-of-your-production-gear-needs.png?id=61187136&amp;width=980"></media:content></item><item><title>Atlas Lens Co. Debuts New Way to Deliver Multiple Formats From a Single Shot</title><link>https://nofilmschool.com/atlas-lens-co-atlasscope</link><description><![CDATA[
  33. <img src="https://nofilmschool.com/media-library/atlasscope.jpg?id=61184512&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>As the trend of cinematographers and video production crews needing to shoot footage for a wide variety of formats and uses has become more prevalent, the need to record video that can be utilized for all the different social cuts and formats is becoming increasingly the norm.</p><p>And, as you can imagine, shooting footage for so many different and diverse formats can be quite problematic and tricky to manage. That’s why it’s cool to see Atlas Lens Co. present a new solution for this problem with their new format system, AtlasScope.</p><p>Let’s look at AtlasScope and what it can offer for you.</p><hr/><h3>Atlas Lens Co. Introduces AtlasScope</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="761bcff2313863cd3d8da2048a2a4eb6" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Dx-lciPZ4WI?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Are you looking to deliver multiple formats from a single shot? You know, formats like 1:1, 9x16, and even 16x9? Well, then, AtlasScope from Atlas Lens Co. is aiming to be the perfect solution for social media deliveries.</p>
  34. <p>Founded in 2016 by lead designer Forrest Schultz and cinematographer Dan Kanes, Atlas Lens Co.’s vision has been to build anamorphic lenses that are optically pleasing, mechanically robust, and accessible to modern cinematographers worldwide.</p>
  35. <p>Headquartered in Glendale, CA, Atlas Lens Co. offers some popular high-end anamorphic lenses like its Orion and Mercury lenses, yet they’re still hard at work finding new ways to improve the lives and workflows of DPs and video crews.</p><h3>AtlasScope Explained — Vertical Anamorphic How-To</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="4bc877b81164d69d5a37815995494bc1" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/f0gHs89QhHE?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>As you can see in the video above, AtlasScope can indeed be quite helpful and not too hard to utilize. You can find out more about AtlasScope and how it can be used with Atlas Lens Co. lenses on the <a href="https://atlaslensco.com/" target="_blank"><u>company’s website here</u></a>.</p>]]></description><pubDate>Wed, 09 Jul 2025 18:31:48 +0000</pubDate><guid>https://nofilmschool.com/atlas-lens-co-atlasscope</guid><category>Atlas lens co.</category><category>Vertical video</category><category>Video formats</category><category>Atlasscope</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/atlasscope.jpg?id=61184512&amp;width=980"></media:content></item><item><title>Expand Your Portable Power Options with the DJI Power 1000 V2</title><link>https://nofilmschool.com/dji-power-1000-v2</link><description><![CDATA[
  36. <img src="https://nofilmschool.com/media-library/dji-power-1000-v2.jpg?id=61184547&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>Following up on the heels of <a href="https://nofilmschool.com/dji-fast-car-charger#" target="_self"><u>just announcing Power 1kW Super Fast Car Charger</u></a>, DJI is back with a new Power 1000 V2, an upgraded fast-charging, portable power solution for road trips, outdoor adventures, reliable home backup, and—of course—portable power for your film and video productions.</p><p>This new V2 version of the DJI Power 1000 is further set to offer some additional upgrades that will make your portable power solutions even more robust and usable for running your productions out in the field.</p><hr/><h3>Introducing the DJI Power 1000 V2</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="ae859024f86f4a89b919709a18918f88" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/5aJciQFtEQg?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Designed as an upgraded fast-charging, portable power solution, the DJI Power 1000 V2 serves a lot of purposes for film and video crews. Not only can it offer ultra-high capacity power output to supply power for a wide range of pro video devices and gear, but the Power 1000 V2 will also offer dual 140W USB-C ports that offer super-fast charging.</p>
  37. <p>If you’re operating in truly remote locations too, the DJI Power 1000 V2 can recharge via grid, solar, or car power, and it can be fully charged up in just under an hour. It should also be quite quiet and safe to use indoors or outdoors, and will be compatible with all SDC accessories.</p><h3>Price and Availability</h3><br/><p>The DJI Power 1000 V2 has just been announced, but it appears that it will be available for €899 ($1,053 USD), with more info to come on <a href="https://www.dji.com/404?from=/power-1000-v2" target="_blank"><u>DJI’s website here</u></a>.</p><p>Here are the full specs for the DJI Power 1000 V2:</p><ul><li>Genuine ultra-high capacity power output</li><li>Dual 140W USB-C ports for super-fast charging</li><li>Flexible recharging via grid, solar, or car power</li><li>Fully charges in just 56 minutes</li><li>Quiet operation at only 26 dB, sleep undisturbed, indoors or outdoors</li><li>Enhanced safety features with 10ms uninterruptible power supply (UPS)</li><li>Built-in wireless module for app control</li><li>Compatible with all SDC accessories</li></ul>]]></description><pubDate>Wed, 09 Jul 2025 18:28:58 +0000</pubDate><guid>https://nofilmschool.com/dji-power-1000-v2</guid><category>Dji</category><category>Portable power</category><category>Power station</category><category>Dji power 1000 v2</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/dji-power-1000-v2.jpg?id=61184547&amp;width=980"></media:content></item><item><title>Read &amp; Download the Scripts of David Fincher's Best Movies</title><link>https://nofilmschool.com/david-fincher-script-pdfs</link><description><![CDATA[
  38. <img src="https://nofilmschool.com/media-library/read-the-scripts-for-david-fincher-movies.jpg?id=34072713&width=1245&height=700&coordinates=0%2C77%2C0%2C77"/><br/><br/><p>One of my favorite directors out there is <a href="https://nofilmschool.com/best-david-fincher-movies" target="_blank">David Fincher</a>. He's played with lots of different genres, and his touch on these movies is undeniable. I love that he works with different writers and absorbs a lot of different points of view. </p><p>Today, I thought it would be cool to look at the screenplays for all the movies he's directed and see how he translates them to the screen. </p><p>This is for educational and research purposes only! </p><p>Let's dive in. </p><hr/><h2>Read and Download These David Fincher Script PDFs </h2><p>Known for his meticulously crafted and often dark and stylish thrillers, David Fincher is a critically acclaimed American film director and producer.<sup></sup> His work is characterized by its psychological depth, intricate narratives, and a signature visual style often employing low-key lighting and a muted color palette.<sup></sup></p><h2><em>The Killer </em>(2023)</h2><h3>Screenplay by Andrew Kevin Walker </h3><ul><li><strong><a href="https://assets.scriptslug.com/live/pdf/scripts/the-killer-2023.pdf?v=1729115025" target="_blank">Read the screenplay!</a></strong></li></ul><h2><em>Mank </em>(2020)</h2><h3>Screenplay by Jack Fincher </h3><ul><li><strong><a href="https://deadline.com/wp-content/uploads/2021/02/Mank-Screenplay.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Gone Girl (2014) </h2><h3>Screenplay by Gillian Flynn </h3><ul><li><strong><a href="http://www.dailyscript.com/scripts/GoneGirl_Final_Shooting_Script.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>House of Cards (2013) </h2><h3>Teleplay by Beau Willimon </h3><ul><li><strong><a href="https://www.blacktvfilmcollective.org/wp-content/uploads/2017/09/House-of-Cards-Pilot-Script.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Girl with the Dragon Tattoo (2011) </h2><h3>Screenplay by Steven Zaillian </h3><ul><li><strong><a href="http://readwatchwrite.com/wp-content/uploads/2013/07/thegirlwiththedragontattoo-screenplay.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>The Social Network (2010) </h2><h3>Screenplay by Aaron Sorkin </h3><ul><li><strong><a href="http://flash.sonypictures.com/video/movies/thesocialnetwork/awards/thesocialnetwork_screenplay.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Zodiac (2007) </h2><h3>Screenplay by Jamie Vanderbilt</h3><ul><li><strong><a href="http://www.screenplaydb.com/film/scripts/Zodiac.PDF" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Panic Room (2002) </h2><h3>Screenplay by David Koepp</h3><ul><li><strong><a href="http://screenplaysandscripts.com/script_files/P/PANIC%20ROOM.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Fight Club (1999) </h2><h3>Screenplay by Jim Uhls </h3><ul><li><strong><a href="https://www.thescriptsource.net/Scripts/FightClub.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><h2>The Game (1997) </h2><h3>Screenplay by John Brancato & Michael Ferris </h3><ul><li><strong><a href="http://www.dailyscript.com/scripts/the-game-early.html" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Seven (1995) </h2><h3>Screenplay by Andrew Kevin Walker </h3><ul><li><strong><a href="http://www.dailyscript.com/scripts/seven_early.html" target="_blank">Read the screenplay!</a></strong></li></ul><h2>Alien 3 (1992) </h2><h3>Screenplay by Walter Hill & David Giler </h3><ul><li><strong><a href="https://www.avpgalaxy.net/files/scripts/alien-3-hill-giler-1990-12-18.pdf" target="_blank">Read the screenplay!</a></strong></li></ul><p>Let me know what you think in the comments. </p>]]></description><pubDate>Tue, 08 Jul 2025 22:10:03 +0000</pubDate><guid>https://nofilmschool.com/david-fincher-script-pdfs</guid><category>David fincher</category><category>Script download</category><category>Screenplay download</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/read-the-scripts-for-david-fincher-movies.jpg?id=34072713&amp;width=980"></media:content></item><item><title>Is 'Superman' Doomed If It Doesn't Hit a Home Run at the Box Office?</title><link>https://nofilmschool.com/superman-box-office</link><description><![CDATA[
  39. <img src="https://nofilmschool.com/media-library/is-superman-doomed-if-it-doesn-t-hit-a-home-run-at-the-box-office.jpg?id=61180436&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>Look, I want every movie to be a huge box office success, and I already have my tickets for <em>Superman</em>, but many people have <a href="https://nofilmschool.com/superman-trailer-bleeds-with-hope-for-the-future-of-comic-book-movies" target="_blank">put the entire fate of Warner and DC on the movies' shoulders</a>. </p><p>So, how does DC Studios co-CEO James Gunn feel about the idea? </p><p>In a <a href="https://www.hollywoodreporter.com/movies/movie-news/james-gunn-superman-doesnt-need-make-700-million-successful-1236308516/" target="_blank">recent interview,</a> Gunn pushed back against the online chatter that the film needs to gross a massive $700 million to be profitable.</p><p>“This is not the riskiest endeavor in the world,” the director said. “Is there something riding on it? Yeah, but it’s not as big as people make it out to be. They hear these numbers that the movie’s only going to be successful if it makes $700 million or something, and it’s just complete and utter nonsense. It doesn’t need to be as big of a situation as people are saying.”</p><p>So, how did everyone come up with the $700 million number? </p><p class="shortcode-media shortcode-media-rebelmouse-image"> <img alt="How James Gunn\u2019s Superman Is Setting a New Tone for the DCU" class="rm-shortcode" data-rm-shortcode-id="c3c76e78705a67d4278a3f566202ece0" data-rm-shortcode-name="rebelmouse-image" id="b3de9" loading="lazy" src="https://nofilmschool.com/media-library/how-james-gunn-u2019s-superman-is-setting-a-new-tone-for-the-dcu.jpg?id=59802768&width=980"/> <small class="image-media media-caption" placeholder="Add Photo Caption...">'Superman'</small> <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">            Credit: Warner Bros.        </small> </p><p>If we were breaking it down, a film usually needs to make approximately two-and-a-half times its production budget to break even, factoring in marketing and distribution costs. </p><p>With reports placing the <em>Superman</em> budget in the range of $200 to $225 million, a $700 million worldwide gross would undoubtedly be a solid win. </p><p>I am happy Gunn came out and said something. Of course, there are stakes involved with the launch of a new DC Universe; but a movie has to live on its own as well.</p><p>They have both <em>Clayface</em> and <em>Supergirl</em> greenlit. I guess if <em>Superman</em> totally bombed, it could affect that, but their rollout strategy, but the movie is tracking for a massive opening weekend. </p><p>We often solely measure a movie's success in box office receipts, but the film's ability to resonate with audiences, generate positive word-of-mouth, and, most importantly, lay a compelling groundwork for the future of the DCU will be the actual test. </p><p>Let me know what you think in the comments. </p>]]></description><pubDate>Tue, 08 Jul 2025 21:50:03 +0000</pubDate><guid>https://nofilmschool.com/superman-box-office</guid><category>James gunn</category><category>Box office</category><category>Superman</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/is-superman-doomed-if-it-doesn-t-hit-a-home-run-at-the-box-office.jpg?id=61180436&amp;width=980"></media:content></item><item><title>How a Professional Screenwriter Outlines a Project</title><link>https://nofilmschool.com/professional-screenwriter-outlines-a-project</link><description><![CDATA[
  40. <img src="https://nofilmschool.com/media-library/screenplay-outline.jpg?id=34082396&width=1245&height=700&coordinates=0%2C66%2C0%2C67"/><br/><br/><p>Lately, I have been trying to look into how other people follow the same process I do when it comes to writing. I like to suss out if they do steps in a different order, or if there's nuance to any part of the process I've never seen before. </p><p>That's why I was stoked to see this video from Glenn Gers,  a full-time professional writer of movies and television for 25 years. His credits include theatrical features, no-budget indies, TV staff and episodes, and original movies for cable and streaming, such as <em>BROTHER'S KEEPER</em> (2002), <em>FRACTURE</em> (2007), <em>MAD MONEY</em> (2008), and many more. </p><p>So, let's see how he <a data-linked-post="2661198467" href="https://nofilmschool.com/script-outline" target="_blank">outlines</a> a movie. </p><p>Let's dive in. </p><hr/><h3>Outlining a Screenplay Like a Pro </h3><br/><span class="rm-shortcode" data-rm-shortcode-id="cdb8b53ba2da7c4e59b120e78308aceb" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/ulRSVPi-XqU?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>When it comes to outlining, you are creating the backbone of your screenplay. And depending on how detailed you get, it may take you longer to outline it than it would take to actually write it. </p><p>So, what are the benefits of making one of these documents? </p><h3>A Private Workspace for Creativity</h3><p>One of the things I loved from the video is how he described the outline as a private "workspace" not intended for public consumption. It gives the writer the freedom to be messy, to experiment, and to be truly creative in their primary outline without the pressure of external judgment.</p><p>You can do anything you want, try any twist or turn, and really pressure test what the best choices are for the story itself. </p><h3>The Power of Knowing the End</h3><p>The video strongly advocates for a method many successful writers swear by: "writing backward." This means knowing your story's ending before you even begin writing page one. </p><p>I've always advocated that on this website, you really want to know where things are going so you can draw the best map to get  there with your outline. </p><p>Spend a lot of time making sure your ending is satisfying. </p><p>By establishing the conclusion first, you can ensure that every scene, every line of dialogue, and every character arc is purposefully driving forward. </p><h3>Be Ready to Adapt </h3><p>Writers must be willing to make significant, even radical, changes to their stories to best serve the overall narrative.</p><p>If you spend time outlining, you won't waste time in the script doing this later. You can suss out all the issues here and then write. </p><p>That's what makes the outline such a powerful tool. </p><h2>Summing It All Up  </h2><p>The journey to a finished screenplay is a long one. As this video makes clear, taking the time to build a detailed, thoughtful, and flexible outline is not a shortcut, but a necessary foundation for telling a truly compelling story.</p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Tue, 08 Jul 2025 21:14:23 +0000</pubDate><guid>https://nofilmschool.com/professional-screenwriter-outlines-a-project</guid><category>Screenwriting advice</category><category>Storytelling</category><category>Story structure</category><category>Outline</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/screenplay-outline.jpg?id=34082396&amp;width=980"></media:content></item><item><title>Is Denis Villeneuve Actually Shooting ‘Dune Messiah’ Entirely on IMAX Film Cameras?</title><link>https://nofilmschool.com/is-denis-villeneuve-actually-shooting-dune-messiah-entirely-on-imax-film-cameras</link><description><![CDATA[
  41. <img src="https://nofilmschool.com/media-library/is-denis-villeneuve-actually-shooting-dune-messiah-entirely-on-imax-film-cameras.jpg?id=61178530&width=1245&height=700&coordinates=26%2C0%2C27%2C0"/><br/><br/><p>Let’s face it, everyone’s excited for <em>Dune Messiah</em>. The third installment of Denis Villeneuve’s film series adaptation of Frank Hubert’s epic space opera <em>Dune</em> has reportedly started filming. Yet, despite much fanfare for such a large tentpole project, Warner Bros. hasn’t officially announced that the project has begun.</p><p>Still, that hasn’t stopped many in the industry from reporting on the project, even going as far as announcing that the movie will be the second feature-length film to be shot entirely in IMAX. Yet, if you listen closely to what people are saying (namely, IMAX CEO Richard Gelfond) regarding the project, questions remain as to what Denis Villeneuve is actually shooting <em>Dune Messiah</em> on.</p><p>Let’s explore and see what we know, and perhaps don’t know, so far.</p><hr/><h3>Dune Messiah is on the Way</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="61b0cff7fbf8618840124eb922976b72" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/un3uQ22WOCk?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>While it’s interesting to dive into this, it’s worth noting that we’re all very excited about <em>Dune Messiah</em> and have a lot of faith in Villeneuve and his team to craft yet another major blockbuster that should give a good boost to the industry, and perhaps be the director’s best shot at some serious awards once all is said and done for the film.</p><p>And, as we saw with <em>Dune: Part Two</em>, Villeneuve and cinematographer Greig Fraser are certainly capable of shooting films for IMAX. Yet, using <em>Dune: Part Two</em> as an example, the project was <a href="https://nofilmschool.com/camera-and-lenses-greig-fraser-used-to-shoot-dune" target="_blank">primarily filmed using ARRI Alexa LF digital cameras</a> with a focus on spherical lenses. While it was “filmed for IMAX” for where it was meant to be displayed, it was not shot using IMAX film cameras.</p><h3>Will Dune Messiah Be Entirely Shot on IMAX?</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="583940c68572bc3ca5e9825dba2b596b" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Gy91RIFbNIA?rel=0&start=244" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>A lot of the contention surrounding this ongoing story regarding what <em>Dune Messiah</em> will, or will not, be shot on most likely has to do with the fanfare that Christopher Nolan has been getting for reportedly shooting all of his latest film <em>The Odyssey</em> with full-screen IMAX 70mm-capable film cameras—the first major blockbuster to do so.</p><p>In an interview with CNBC, IMAX CEO Richard Gelfond appears to indicate that Denis Villeneuve will be doing the same with <em>Dune Messiah</em>, but… it’s a bit confusing as the phrasing could be interpreted a couple of ways.</p><p>According to <a href="https://gizmodo.com/denis-villeneuve-will-shoot-all-of-dune-messiah-in-imax-2000625398" rel="noopener noreferrer" target="_blank"><u>Gizmodo</u></a>, a spokesperson for IMAX has confirmed that Villeneuve is shooting <em>Dune Messiah </em>with IMAX cameras, as Gelfond mentions; however, neither the spokesperson nor the interview clip appears to indicate that the film will be entirely shot on IMAX film in the same way as <em>The Odyssey</em>.</p><p>Regardless of how you feel about what the project will, or won’t, be shot on, it will be a fascinating story to follow as <em>Dune Messiah</em> is slated to be one of the biggest blockbusters of our time.</p>]]></description><pubDate>Tue, 08 Jul 2025 18:45:04 +0000</pubDate><guid>https://nofilmschool.com/is-denis-villeneuve-actually-shooting-dune-messiah-entirely-on-imax-film-cameras</guid><category>Dune</category><category>Denis villeneuve</category><category>Greig fraser</category><category>Imax</category><category>Imax cameras</category><category>Richard gelfond</category><category>Dune messiah</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/is-denis-villeneuve-actually-shooting-dune-messiah-entirely-on-imax-film-cameras.jpg?id=61178530&amp;width=980"></media:content></item><item><title>Calculate and Plan Your Lighting Setups With This Easy-to-Use App</title><link>https://nofilmschool.com/lightcalc-lighting-app</link><description><![CDATA[
  42. <img src="https://nofilmschool.com/media-library/lightcalc.png?id=61177843&width=1245&height=700&coordinates=0%2C0%2C0%2C225"/><br/><br/><p>In the world of filmmaking, there’s always room for more innovation. And, no, for once we’re not talking about <a href="https://nofilmschool.com/topics/ai" target="_blank">AI</a>. Instead, we’re talking about efficiency and workflow improvements, namely in the form of a new app that can help cinematographers and film crews streamline their lighting plans.</p><p>Designed to help you calculate exposure, plan your gear, and then work with real-world cameras, lights, and diffusion data, LightCalc is a simple option that can help users execute their lighting setups in minutes.</p><p>Let’s look at LightCalc and what it can offer.</p><hr/><h3>Introducing LightCalc</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="a71941142db45324e604ababb5e259ea" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/X36fC5uD1lA?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>So, LightCalc does seem cool not just for its simplicity and helpfulness, but also for its huge amount of data, as users will have access to the photometric data of over 120 lighting fixtures from various brands, as well as 350-plus lighting modifiers to account for nearly every unique lighting scenario.</p><p>The app is easy to use as all users need to do is select an ambiance scenario and subject and dial in your camera settings, and BAM—LightCalc will now tell you how over- or underexposed your subject and background are for the given camera settings. </p><p>Users can then add a light source (from a list of industry-standard manufacturers) as well as diffusion material to compensate for exposure differences.</p><h3>Price and Availability</h3><br/><p>LightCalc is free to download and try out, which is nice. To fully access LightCalc, users don’t need to sign up for a subscription, which is also nice—and quite rare in today’s market. Instead, LightCalc costs a one-time fee of $45, which guarantees the app for life and includes all future updates.</p>
  43. <p>To try out LightCalc yourself, you can visit the <a href="https://lightcalc.io/" rel="noopener noreferrer" target="_blank"><u>company’s website here</u></a>.</p>]]></description><pubDate>Tue, 08 Jul 2025 18:13:25 +0000</pubDate><guid>https://nofilmschool.com/lightcalc-lighting-app</guid><category>Lighting app</category><category>Lighting</category><category>Lighting resources</category><category>Lightcalc</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/lightcalc.png?id=61177843&amp;width=980"></media:content></item><item><title>How Trump’s Latest Tariffs Could Further Increase Prices for Film and Video Gear</title><link>https://nofilmschool.com/tariffs-effects-on-the-film-industry</link><description><![CDATA[
  44. <img src="https://nofilmschool.com/media-library/how-trumps-latest-tariffs-could-further-increase-prices-for-film-and-video-gear.jpg?id=61178966&width=1245&height=700&coordinates=2%2C0%2C2%2C0"/><br/><br/><p>While it can be quite tricky to keep up with the different tariffs being implemented (or threatened to be implemented) these days, it sounds like some major new tariffs on imports coming from Japan and South Korea (plus 12 other nations) are set to likely bring some major price increases to cameras and other film and video gear in the United States.</p><p>We’ve seen several brands like <a href="https://nofilmschool.com/sigma-price-increase-tariffs#" target="_self"><u>Sigma</u></a>, <a href="https://nofilmschool.com/sony-price-increase#" target="_self"><u>Sony</u></a>, and <a href="https://nofilmschool.com/dji-osmo-pocket-3-price-increase" target="_self"><u>DJI</u></a> already raise prices for US consumers, and with DJI in particular, we’ve seen the Chinese company choose <a href="https://nofilmschool.com/dji-mavic-4-pro-not-available-in-us" target="_self"><u>not to offer its latest flagship camera drone</u></a> to the US at all.</p><p>And despite there being hope that maybe these tariffs might calm down eventually, or at least settle on some exact rates moving forward, it appears that things are ramping up once again, which brings extra uncertainty to the industry.</p><hr/><h3>What Prices are Likely to be Raised</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="9f07017e3cc3f202b01ff6faef4a7a89" data-rm-shortcode-name="rebelmouse-image" id="277e6" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61178296&width=980"/><p>Looking at the 25% import tariff being levied against Japanese goods coming to the US in particular, the majority of the cameras, lenses, and gear that provide the background for the digital film, video, and photography industry in the US is powered by Japanese companies like Sony, Canon, Nikon, Panasonic, and more.</p><p>As such, it would be expected that once these tariffs do hit on August 1st (save for any last-minute increases, decreases, or postponements), prices for all of the cameras, lenses, and gears from these Japanese and South Korean companies will increase by around the same percentage.</p><p>Again, taken with a grain of salt as these things have changed quickly in the past, President Trump has added that if any tariffs are raised in retaliation for these new US-imposed ones, then the US will be adding more on top as well.</p><h3>What to Expect Next</h3><br/><p>While we have been trying to cover any price increases once officially announced by brands, as we’ve learned from some of the early tariff-based price increases announced by <a href="https://nofilmschool.com/blackmagic-pyxis-12k-price-update" target="_self"><u>Blackmagic Design for the PYXIS 12K</u></a>, things can change quickly.</p><p>Trump’s latest tariff announcements, as covered by the <a href="https://apnews.com/article/trump-japan-south-korea-tariff-25-2c725e8f06367e20f9300c1081ea4ec0" rel="noopener noreferrer" target="_blank"><u>AP</u></a>, do appear to be set to come into effect on the first of August this year. However, we’ve also seen tariffs walked back or postponed last minute quite often as well.</p><p>Overall, these Japanese-based companies will likely be in limbo along with the rest of the world, waiting to see what actually becomes official. Price increases might be on the way before, but they also might wait until the deadline to see if they need to or not.</p><p>Regardless, uncertainty in the industry isn’t usually a breeder of innovation and improvements. But time will tell, and we’ll see how things shake up.</p>]]></description><pubDate>Tue, 08 Jul 2025 17:41:15 +0000</pubDate><guid>https://nofilmschool.com/tariffs-effects-on-the-film-industry</guid><category>Trump</category><category>Japan</category><category>South korea</category><category>Price increases</category><category>Tariffs</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/how-trumps-latest-tariffs-could-further-increase-prices-for-film-and-video-gear.jpg?id=61178966&amp;width=980"></media:content></item><item><title>Diving Into the 10 Most Divisive Movies of the Last Decade</title><link>https://nofilmschool.com/most-divisive-movies-of-the-last-decade</link><description><![CDATA[
  45. <img src="https://nofilmschool.com/media-library/diving-into-the-10-most-divisive-movies-of-the-last-decade.jpg?id=34072328&width=1245&height=700&coordinates=0%2C22%2C0%2C22"/><br/><br/><p>As a big <a data-linked-post="2672359357" href="https://nofilmschool.com/you-should-have-a-letterboxd" target="_blank">Letterboxd</a> fan, you know I love going to the movies and then rating and reviewing what I've seen. </p><p>But as it turns out, not everyone has the exact same reaction to the movies I see. In fact, some of my great joys in life are debating with people in real life the merits and quality of a movie.  </p><p>Today, I wanted to look at some of the most divisive movies of the last decade and pull apart what made them such hot-button issues. </p><p>Let's dive in. </p><hr/><h3>Star Wars: The Last Jedi (2017)</h3><br/><img alt="Star-wars-last-jedi-rose-finn" class="rm-shortcode" data-rm-shortcode-id="7af768018c0c964ab797b8b9ec32257f" data-rm-shortcode-name="rebelmouse-image" id="55f8a" loading="lazy" src="https://nofilmschool.com/media-library/star-wars-last-jedi-rose-finn.jpg?id=34072649&width=980"/><p>I think this movie legitimately broke the internet and ended friendships. It also somehow became really political, which was wild. </p><p>This eighth installment in the Skywalker saga is perhaps one of the most well-known examples of a film that split even its fanbase. </p><p>While many critics praised director Rian Johnson's subversion of franchise tropes, a significant portion of the audience lost their damn minds. </p><h3>Joker (2019)</h3><br/><img alt="'Joker'" class="rm-shortcode" data-rm-shortcode-id="dc1ada1813084f0cfc641851918009a1" data-rm-shortcode-name="rebelmouse-image" id="d1914" loading="lazy" src="https://nofilmschool.com/media-library/joker.jpg?id=34063515&width=980"/><p>Look, this site had a whole viral article about <a href="https://nofilmschool.com/joker-movie-should-you-see-it" target="_blank">this movie being dangerous</a>, and I think we actually helped its massive box office with it. </p><p>Todd Phillips' dark, gritty reimagining of the iconic Batman villain's origin story was both a critical and commercial success, earning Joaquin Phoenix an Academy Award for Best Actor. </p><p>But people thought the movie was going to incite violence and riots. Honestly, if it came out after 2020, it might have. It was a weirdly predictive movie. </p><h3>mother! (2017)</h3><br/><img alt="The Ending of 'mother!' Explained " class="rm-shortcode" data-rm-shortcode-id="b6b399367268bc62cf11050ef18ea2c8" data-rm-shortcode-name="rebelmouse-image" id="4ef50" loading="lazy" src="https://nofilmschool.com/media-library/the-ending-of-mother-explained.jpg?id=34053108&width=980"/><p>This movie kind of broke me in the theater. It was noisy, people were groaning, I was uncomfortable, and yet I go back to it a lot just because it has so much to say. And it is weirdly watchable. </p><p>Darren Aronofsky's allegorical horror film starring Jennifer Lawrence and Javier Bardem is a visceral and unsettling experience. Its biblical allegories were either lauded as brilliant and audacious or dismissed as heavy-handed and pretentious. </p><p>To this day, it was one of the most insane experiences of my movie-going life. </p><h3>The Green Knight (2021)</h3><br/><img alt="The Green Knight Movie Explained" class="rm-shortcode" data-rm-shortcode-id="26254662a685534e7c0c208709e6c29e" data-rm-shortcode-name="rebelmouse-image" id="369fc" loading="lazy" src="https://nofilmschool.com/media-library/the-green-knight-movie-explained.jpg?id=34056335&width=980"/><p>David Lowery's atmospheric and visually stunning adaptation of the 14th-century Arthurian poem was a critical darling, but it didn't really deliver the <em>Game of Thrones</em>-type action I think people wanted at the time. </p><p>Viewers got a slow-burn, surrealist exploration of honor, temptation, and mortality that confused some of the masses. </p><h3>Cats (2019)</h3><br/><img alt="Cats, Tarantino, Sony, Aputure NFS podcast" class="rm-shortcode" data-rm-shortcode-id="a0a21d26526eff63891d9aac4e4b9c63" data-rm-shortcode-name="rebelmouse-image" id="99494" loading="lazy" src="https://nofilmschool.com/media-library/cats-tarantino-sony-aputure-nfs-podcast.jpg?id=34066773&width=980"/><p>Sheesh, this movie is so wild to watch. That's all I've got. </p><p>Tom Hooper's big-screen adaptation of the beloved Andrew Lloyd Webber musical became an instant cultural phenomenon and the theme of many birthday parties I've been to in LA. </p><p>The film's "digital fur technology" and unsettling character designs were widely mocked and people say there's a cut with buttholes out there somewhere? </p><h3>Ghostbusters (2016)</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="c318068483dd23b7883b20a05d485fec" data-rm-shortcode-name="rebelmouse-image" id="e194f" loading="lazy" src="https://nofilmschool.com/media-library/image.webp?id=61178823&width=980"/><p>This is a perfectly fine movie that became part of a culture war that it was unprepared to fight </p><p>The casting of four women in the lead roles sparked a vitriolic online backlash, with the film's trailer becoming one of the most disliked in YouTube history. </p><p><span></span>It was weird, and the movie can really never be judged fairly because of it. </p><h3>Batman v Superman: Dawn of Justice (2016)</h3><br/><img alt="Https_blogs-images" class="rm-shortcode" data-rm-shortcode-id="f59b903877dcede9d427a7212a9f7bad" data-rm-shortcode-name="rebelmouse-image" id="e7371" loading="lazy" src="https://nofilmschool.com/media-library/https-blogs-images.jpg?id=34057917&width=980"/><p>Real ones know the director's cut of this movie actually was pretty good, but what hit theaters was polarizing. </p><p>Zack Snyder's grim and brooding superhero showdown was a box office success, but critics lambasted its convoluted plot, tone, and characterizations of its iconic heroes. </p><p>The infamous "Martha" scene still lives on in pop culture lore. </p><h3>Once Upon a Time in Hollywood (2019)</h3><br/><img alt="Once Upon a Time in Hollywood" class="rm-shortcode" data-rm-shortcode-id="79e19e7c0c8ca6b8c07c335761a46957" data-rm-shortcode-name="rebelmouse-image" id="372e7" loading="lazy" src="https://nofilmschool.com/media-library/once-upon-a-time-in-hollywood.png?id=34067166&width=980"/><p>Quentin Tarantino's ninth film is a meticulously crafted love letter to the final days of Hollywood's golden age. I absolutely loved it and will defend pretty much every choice in it. </p><p>But since it is revisionist history, a lot of people were upset at the idea of the Mansons in it and of the portrayal of Bruce Lee. </p><h3>The Shape of Water (2017)</h3><br/><img alt="The Shape of Water" class="rm-shortcode" data-rm-shortcode-id="280bb054cc23a8ba85b846b8dcafe978" data-rm-shortcode-name="rebelmouse-image" id="ac3ea" loading="lazy" src="https://nofilmschool.com/media-library/the-shape-of-water.jpg?id=34074521&width=980"/><p>Guillermo del Toro's romantic fantasy about a mute cleaning woman who falls in love with an amphibious creature was a critical darling that won the Academy Award for Best Picture. </p><p>But the central interspecies romance left squares upset. Let the fish f***! </p><h3>Don't Look Up (2021)</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="4c56573997a329096010d181fcbbd82a" data-rm-shortcode-name="rebelmouse-image" id="6dc81" loading="lazy" src="https://nofilmschool.com/media-library/image.jpg?id=61178834&width=980"/><p>Honestly, good for a movie that was only on Netflix to become such a part of the cultural lexicon that it inspired millions of hot takes. </p><p>Adam McKay's star-studded satirical allegory for climate change was a massive hit but it sharply divided critics and viewers. </p><p>Its tone was biting and also very heartfelt at the end. Some of the messages came down with a hammer, but it got people talking and that was a big deal! </p><h3>Summing It All Up</h3><br/><p>That's my take on the ten most controversial and divisive movies of the last decade. They're weird movies that I think will stand the test of time because we'll always be talking about them. </p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Tue, 08 Jul 2025 17:26:52 +0000</pubDate><guid>https://nofilmschool.com/most-divisive-movies-of-the-last-decade</guid><category>Movies</category><category>Best movies</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/diving-into-the-10-most-divisive-movies-of-the-last-decade.jpg?id=34072328&amp;width=980"></media:content></item><item><title>Sony Adds Side-by-Side Display of 4K SDI/IP Signals to BVN-HX3110 HDR Pro Monitor</title><link>https://nofilmschool.com/sony-bvm-hx3110-firmware-update</link><description><![CDATA[
  46. <img src="https://nofilmschool.com/media-library/sony-bvm-hx3110-firmware-update-2-0.png?id=61177800&width=1245&height=700&coordinates=87%2C0%2C87%2C0"/><br/><br/><p>Suppose you’re a high-end colorist or an across-the-board video editor who wants to be able to step up to the highest levels of color correction and grading. In that case, the Sony BVM-HX3110 is by far one of the best options out there for serious professionals.</p><p>Designed to support Sony’s highest-end cinema cameras, and offering a resolution of up to 4096 x 2160 and 89-degree viewing angles, the Sony BVM-HX3110 brings a lot to the table. But it can always be more. And that’s what this new firmware update is set to offer.</p><p>Let’s look at everything new, including new side-by-side display capabilities that are set to come to the Sony BVM-HX3110 with this latest firmware update.</p><hr/><h3>Sony BVM-HX3110 Firmware Update 2.0</h3><br/><img alt="" class="rm-shortcode" data-rm-shortcode-id="478704d5ae154d6a7aa57dc23a8a5349" data-rm-shortcode-name="rebelmouse-image" id="9ad12" loading="lazy" src="https://nofilmschool.com/media-library/image.png?id=61177800&width=980"/><p>As mentioned above, the Sony BVM-HX3110 is a top option for a reason. Supporting a resolution of up to 4096 x 2160 and having 89° viewing angles, a contrast ratio of 1,000,000:1, and a brightness of 1000 cd/m², the Sony BVM-HX3110 also features eight SDI inputs, an HDMI port, and an RJ45 Ethernet port—everything a high-end colorist might need from a pro monitor.</p><p>Yet, there’s always more to add, and this new firmware update does add quite a bit. Here’s the full list of new functions, improvements, and bug fixes set to come to the Sony BVM-HX3110.</p><p>New functions</p><ol><li>Side-by-side display of 4K SDI/IP signals</li><li>BVMK-R10 support</li><li>Setting copy function among BVM-HXxx10</li><li>Additional support for Closed Caption over 3G-SDI signals</li><li>Source ID display</li><li>Status F key</li><li>Picture out Display</li><li>H/V Delay</li><li>Scopes 2x display</li><li>IP Interface function Status display over Web menu</li></ol><p>Improvements</p><ol><li>Peak Lumi. 4000/3000/2000/1000/700/600/500/400 from Peak Lumi.4x, 2x and Off</li><li>300% Pixel Zoom function from 9 zones of the screen</li><li>Tally response time</li></ol><p>Bug fixes</p><ol><li>Embedded Audio</li><li>Native Scan about 1920 x 1080/24PsF</li><li>Noises about non-selected SDI input</li><li>Accuracy of long-term color temperature reinforcement</li></ol><p>Users can find more info and download the latest firmware update on <a href="https://www.sony.com/electronics/support/professional-monitors-pro-monitors/bvm-hx3110/software/00356283" rel="noopener noreferrer" target="_blank"><u>Sony’s website here</u></a>.</p>]]></description><pubDate>Tue, 08 Jul 2025 17:19:26 +0000</pubDate><guid>https://nofilmschool.com/sony-bvm-hx3110-firmware-update</guid><category>Sony</category><category>Sony monitor</category><category>Pro color grading monitor</category><category>Color grading</category><category>Monitor</category><category>Firmware update</category><category>Sony bvm-hx3110</category><dc:creator>Jourdan Aldredge</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/sony-bvm-hx3110-firmware-update-2-0.png?id=61177800&amp;width=980"></media:content></item><item><title>Lights, Camera, Disruption: Breaking Taboos By Challenging Status Quo</title><link>https://nofilmschool.com/lights-camera-disruption-breaking-taboos-by-challenging-status-quo</link><description><![CDATA[
  47. <img src="https://nofilmschool.com/media-library/lights-camera-disruption-breaking-taboos-by-challenging-status-quo.png?id=61174238&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>This week on the <a href="https://nofilmschool.com/podcast" target="_blank">No Film School Podcast</a>, GG Hawkins presents two riveting conversations that push boundaries and challenge cultural taboos. First, she interviews Michael Taylor Jackson, writer, director, and star of the radically inventive film <em>Underground Orange</em> (Bajo Naranja), a satirical, punk-infused narrative born out of the Argentine quarantine. Then, she speaks with Kate Downey, creator and host of the podcast CRAMPED, which explores the hidden pain and social invisibility surrounding menstruation. </p><p>Together, these conversations highlight how bold, personal storytelling can become an act of protest and empowerment.</p><h3></h3><br/><iframe frameborder="0" height="200" scrolling="no" src="https://playlist.megaphone.fm?e=NFS1489394414" width="100%"></iframe>
  48. <p><strong>In this episode, we</strong><strong> discuss:</strong></p><ul> <li>How <em><em>Orange Underground</em></em> merges satire, street art, and protest cinema to confront U.S. neocolonialism</li><li>The creative process of blending real-life social media storytelling with scripted filmmaking</li><li>How Argentina's unique film funding system and underground economy supported an international indie film</li><li>Kate Downey’s journey from theater to podcasting, and how <em><em>CRAMPED</em></em> sheds light on the mystery of period pain</li><li>Why menstruation remains a cultural and cinematic taboo, and how media can normalize it through better representation</li><li>The power of representation in shaping societal understanding of women's health and lived experiences</li></ul><p><strong><br/></strong></p><p><strong>Guests:</strong></p><ul> <li><a href="https://www.imdb.com/name/nm3721323/" target="_blank">Michael Taylor Jackson</a></li><li><a href="https://www.instagram.com/katehelendowney/" target="_blank">Kate Downey</a><a href="https://www.imdb.com/name/nm2134133/" target="_blank"></a></li></ul><p><strong><br/></strong></p><p><strong><em><em></em></em>Subscribe to the No Film School Podcast on:</strong></p><ul><li><a href="https://podcasts.apple.com/us/podcast/the-no-film-school-podcast/id1078804724" target="_blank">Apple Podcasts</a></li><li><a href="https://open.spotify.com/show/1vfyZ6hx3QJWS6etdDZZ5V" target="_blank">Spotify</a></li><li><a href="https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vTk5MTEMzMjI5NDg4NTcz" target="_blank">Google</a></li></ul><p>Get your question answered on the podcast by emailing <a href="https://nofilmschool.com/2025/06/editor@nofilmschool.com" target="_self">podcast@nofilmschool.com</a></p><h3></h3><br><p>
  49. <em>Listen to more episodes of the No Film School podcast right here:</em>
  50. </p><iframe frameborder="0" height="482" src="https://playlist.megaphone.fm?p=NNLLC3229488573" width="100%"></iframe></br><p class=""><sub><em>This episode of The No Film School Podcast was produced by <a href="https://nofilmschool.com/u/lostingraceland" target="_self">GG Hawkins</a>.</em></sub></p>]]></description><pubDate>Mon, 07 Jul 2025 21:20:04 +0000</pubDate><guid>https://nofilmschool.com/lights-camera-disruption-breaking-taboos-by-challenging-status-quo</guid><category>No film school podcast</category><category>Podcast</category><category>Interviews</category><category>Michael taylor jackson</category><category>Underground orange</category><category>Kate downey</category><dc:creator>NFS Staff</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/lights-camera-disruption-breaking-taboos-by-challenging-status-quo.png?id=61174238&amp;width=980"></media:content></item><item><title>The Secrets to Writing Unforgettable Villains</title><link>https://nofilmschool.com/secrets-to-unforgettable-villains</link><description><![CDATA[
  51. <img src="https://nofilmschool.com/media-library/the-secrets-to-writing-unforgettable-villains.jpg?id=61174143&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>When you're working on a screenplay, you spend so much time making sure the hero pops out and the plot makes sense that oftentimes, the villains can be left behind. </p><p>But if you want a movie or a TV show to really stand out in the audience's mind, or attract some great actors, you need the villain to be unforgettable.</p><p>Today, I want to look into the YouTube video I watched about how screenwriter <a href="https://www.imdb.com/name/nm1255710/" target="_blank">James A. Hurst </a>works to create <a href="https://nofilmschool.com/best-movie-villains" target="_blank">memorable villains.</a> </p><p>Let's dive in. </p><hr/><h3>Create an Unforgettable Villain </h3><br/><span class="rm-shortcode" data-rm-shortcode-id="f649273d82141380f88d2b8a7ae16ce3" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/9Yyu6ufLgp4?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>Look, screenwriting is hard. It can take me forever to finish a script and to really craft it in a way that connects with an audience. </p><p>So if people have "tricks" or "shortcuts" to do this stuff, I'm all ears. That's ehy I was pumped to watch this video. </p><h3>1. Villains Believe in Something</h3><div>Here's an excellent tip at the start - what does your villain believ in and how can you bolster that with your work? </div><p>The Joker, for example, is a twisted nihilist who believes that human morality is a fragile construct that he can bend if he puts people in the right situation. This belief system, however warped, provides a logical, albeit terrifying, foundation for his actions.</p><p>If you know what someone believes, you know how they're going to act. And you can write scenes around that. </p><h3>2. Villains See Themselves as Heroes</h3><p>this is a pretty old strategy, but one to keep in mind. They think they're doing the hard work in the script. </p><p>Take Gus Fring from <em>Breaking Bad. </em>He's a disciplined and methodical man who sees his brutality as a necessary component of his grand vision. Even Thanos, the genocidal warlord from the Marvel Cinematic Universe, believes he is the only one with the courage to make the difficult decisions necessary to save the universe. </p><p>These villains force us to confront uncomfortable truths and question our own definitions of good and evil.</p><h3>3. Villains Target the Hero's Vulnerabilities</h3><p>What's your hero's Achilles heel? If it's Achilles, I can venture a guess. Another example would be how Darth Vader's revelation that he is Luke Skywalker's father shatters Luke's sense of self and his understanding of his place in the galaxy.</p><p>Vader then uses that to continuously lure him to the dark side. And Luke uses that fact to try and Lure Vader back to the light. </p><p>By targeting what matters most to the hero, the villain creates a deeply personal and emotionally resonant conflict.</p><h3>4. Villains are Unstoppable Forces</h3><p>I think about The Terminator when I think about this idea from the video. How he just keeps coming no matter what, until you finally tear him apart. </p><p>But there are other ways to do this stuff, like how Amy Dunne from <em>Gone Girl</em> meticulously orchestrates her own disappearance and frames her husband, controlling every twist and turn of the story, or Cersei Lannister from <em>Game of Thrones</em> relentlessly plotting the destruction of her enemies. </p><p>By being an unstoppable force, the villain forces the hero to rise to a new level and become the person they need to be to defeat them.</p><h3>Summing It All Up </h3><br/><p>By following these principles, screenwriters can create villains who are not just evil but complex, compelling, and unforgettable.<br/></p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Mon, 07 Jul 2025 21:00:04 +0000</pubDate><guid>https://nofilmschool.com/secrets-to-unforgettable-villains</guid><category>Villain</category><category>Antagonist</category><category>Screenwriter</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/the-secrets-to-writing-unforgettable-villains.jpg?id=61174143&amp;width=980"></media:content></item><item><title>Hollywood Has a New Highest-Grossing Actor. Do You Know Who It Is?</title><link>https://nofilmschool.com/highest-grossing-actor-of-all-time</link><description><![CDATA[
  52. <img src="https://nofilmschool.com/media-library/hollywood-has-new-highest-grossing-actor-do-you-know-who-it-is.png?id=61174184&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>If you want to open a movie in theaters, you need a movie star. And while we constantly debate over who has the clout to bring people into the theater to see movies, the numbers don't lie. </p><p>And the new highest-grossing actor of all time is Scarlett Johansson. </p><p>Now, naysayers will point out her involvement in franchises like Marvel and now Jurassic helped give her a boost, but that's just the way things work. There's a reason those mega franchises went after her to star in them. </p><p>According to data from <a href="https://www.the-numbers.com/box-office-star-records/domestic/lifetime-acting/top-grossing-leading-stars" target="_blank">The Numbers</a>, ScarJo is now on top, with $14.8 billion in box office grosses, and climbing. More than $8.7 billion comes from the Marvel movies she's starred in, and then if you add in the <em>Sing</em> movies and <em>Jurassic</em> and <em>Lucy</em>, she's doing pretty well for herself. </p><p class="shortcode-media shortcode-media-rebelmouse-image"> <img alt="Highest-Grossing Actor" class="rm-shortcode" data-rm-shortcode-id="d84d3e950c9419793d13e3ceee441fc4" data-rm-shortcode-name="rebelmouse-image" id="8dac5" loading="lazy" src="https://nofilmschool.com/media-library/highest-grossing-actor.jpg?id=56213956&width=980"/> <small class="image-media media-caption" placeholder="Add Photo Caption...">'Jurassic World Rebirth'</small> <small class="image-media media-photo-credit" placeholder="Add Photo Credit...">            SOURCE: Universal        </small> </p><p>Here's a look at the top 10 stars and their box office gross, age, and average movie box office. </p><h2>The Top 10 Highest-Grossing Movie Stars </h2><table><tbody><tr><td>1</td><td><strong><a href="https://www.the-numbers.com/person/72460401-Scarlett-Johansson" rel="noopener noreferrer" target="_blank">Scarlett Johansson</a></strong></td><td>$14,851,079,186</td><td>36</td><td>$412,529,977</td></tr><tr><td>2</td><td><strong><a href="https://www.the-numbers.com/person/670401-Samuel-L-Jackson" rel="noopener noreferrer" target="_blank">Samuel L. Jackson</a></strong></td><td>$14,605,054,357</td><td>71</td><td>$205,704,991</td></tr><tr><td>3</td><td><strong><a href="https://www.the-numbers.com/person/41500401-Robert-Downey-Jr" rel="noopener noreferrer" target="_blank">Robert Downey, Jr.</a></strong></td><td>$14,315,312,353</td><td>45</td><td>$318,118,052</td></tr><tr><td>4</td><td><strong><a href="https://www.the-numbers.com/person/126330401-Zoe-Saldana" rel="noopener noreferrer" target="_blank">Zoe Saldana</a></strong></td><td>$14,233,755,398</td><td>33</td><td>$431,325,921</td></tr><tr><td>5</td><td><strong><a href="https://www.the-numbers.com/person/116290401-Chris-Pratt" rel="noopener noreferrer" target="_blank">Chris Pratt</a></strong></td><td>$14,127,500,639</td><td>26</td><td>$543,365,409</td></tr><tr><td>6</td><td><strong><a href="https://www.the-numbers.com/person/540401-Tom-Cruise" rel="noopener noreferrer" target="_blank">Tom Cruise</a></strong></td><td>$12,655,720,915</td><td>45</td><td>$281,238,243</td></tr><tr><td>7</td><td><strong><a href="https://www.the-numbers.com/person/64300401-Chris-Hemsworth" rel="noopener noreferrer" target="_blank">Chris Hemsworth</a></strong></td><td>$12,189,867,298</td><td>28</td><td>$435,352,404</td></tr><tr><td>8</td><td><strong><a href="https://www.the-numbers.com/person/39880401-Vin-Diesel" rel="noopener noreferrer" target="_blank">Vin Diesel</a></strong></td><td>$11,993,665,573</td><td>28</td><td>$428,345,199</td></tr><tr><td>9</td><td><strong><a href="https://www.the-numbers.com/person/72720401-Dwayne-Johnson" rel="noopener noreferrer" target="_blank">Dwayne Johnson</a></strong></td><td>$11,445,774,265</td><td>39</td><td>$293,481,391</td></tr><tr><td>10</td><td><strong><a href="https://www.the-numbers.com/person/45600401-Chris-Evans" rel="noopener noreferrer" target="_blank">Chris Evans</a></strong></td><td>$11,428,299,065</td><td>29</td><td>$394,079,278</td></tr></tbody></table><p>One of the things that is staggering is how young Johannsson is and how she's become such a star with such a high per-movie average. </p><p>The top 10 is bolstered a lot by Marvel alums and Tom Cruise, who is a classic movie star working in <em>Mission: Impossible</em> and other blockbusters like <em>Top Gun</em>. </p><p>It's safe to say that if you want to package a movie, you should consider anyone from this top ten and feel really good about your chances of it getting made.</p><p>One of the things I generally critique when it comes to stardom is whether or not any of these people can open a movie outside of their franchises to make money. </p><p>Scarlett Johansson has done that as well, so I think she deserves a place on top...for now. It will be interesting to see how people battle this out time and time again over the next decade, as opening movies theatrically hopefully grows. </p><p>Are you surprised by any of the names on this list? </p><p>Let me know what you think in the comments. </p>]]></description><pubDate>Mon, 07 Jul 2025 20:19:44 +0000</pubDate><guid>https://nofilmschool.com/highest-grossing-actor-of-all-time</guid><category>Actor</category><category>Box office</category><category>Scarlett johansson</category><category>Scarlett johansson</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/png" url="https://nofilmschool.com/media-library/hollywood-has-new-highest-grossing-actor-do-you-know-who-it-is.png?id=61174184&amp;width=980"></media:content></item><item><title>What Risky Move Launched Sofia Coppola's Career?</title><link>https://nofilmschool.com/what-risky-move-launched-sofia-coppolas-career</link><description><![CDATA[
  53. <img src="https://nofilmschool.com/media-library/what-risky-move-launched-sofia-coppola-s-career.jpg?id=61173939&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>It's impossible to imagine the world without the movies of <a href="https://nofilmschool.com/sofia-coppola-quotes-to-be-better-filmmaker" target="_blank">Sofia Coppola</a>, and I think that's a very good thing. Her work has such emotional power and nuance; I'm always happy to hear when she has a new movie out or something is screening. </p><p>Recently, she was at The Academy Museum in LA, showing <a href="https://en.wikipedia.org/wiki/The_Virgin_Suicides_(film)" target="_blank"><em>The Virgin Suicides</em>,</a> which is an awesome movie that put her on the map. </p><p>But we may not have had that movie without one big risk. </p><p>Let's dive in. </p><hr/><h3>Sofia Coppola's Risky Move</h3><br/><span class="rm-shortcode" data-rm-shortcode-id="2d24fa82bacbae7f7d13e7be7dd43e8a" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/BZCicL_uT-8?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span><p>If you're ever in LA, you gotta go to the Academy Museum, it's an awesome spot to see movie history, and to me, it's the best movie theater in the world. </p><p>At the recent screening of <em>Virgin Suicides</em>, Coppola opened up about her career and the movie that launched it. </p><p>Coppola said that she didn't always know she wanted to be a director. She initially went to art school, exploring a variety of interests without settling on just one. </p><p>Her whole life had been spent on film sets, so she just got away from it all. </p><p>It wasn't until she made a short film that she realized filmmaking was the perfect medium to combine her passions for photography, music, and design.</p><p>But then she knew she had to make a feature... </p><p>The idea to adapt <a href="https://www.goodreads.com/book/show/10956.The_Virgin_Suicides" target="_blank">Jeffrey Eugenides' novel "The Virgin Suicides" </a>came to Coppola after she fell in love with the book. She began writing a screenplay as an experiment, driven by a desire to see the story brought to life in a way that was true to her own vision of what was happening on the page. </p><p>She wanted it to be light and funny and also beautiful. </p><p>This experiment led her to a finished screenplay she thought was pretty good. </p><p>But she still didn't own the rights to the book. She approached the independent producers of the movie and expressed her interest in directing that movie, but her way. Coppola used a reference book filled with images that captured the aesthetic she wanted for the film. </p><p>Eventually, people bought in and helped her get the rights to the novel to make her vision come to life. </p><p><span></span>The film was shot in just 28 days on a shoestring budget. </p><p>Producers were concerned about the cost of film and having her as a first-timer, but she insisted on letting the camera roll to capture the perfect emotional tone for certain scenes, especially the ones shot in the bedroom. </p><p>She also credits her Director of Photography,<a href="https://www.imdb.com/name/nm0005767/" target="_blank"> Ed Lachman</a>, for his support throughout the process of making her first feature film and for helping her find the look and feel that she wanted the whole time. </p><h2>Summing It All Up </h2><p>I love how Coppola bet on herself, even if the idea of adapting something you don't own is a terrible one. She had such a clear vision for the movie and was able to just will her version into existence. I find that to be inspirational. </p><p class="">Let me know what you think in the comments. </p>]]></description><pubDate>Mon, 07 Jul 2025 19:59:11 +0000</pubDate><guid>https://nofilmschool.com/what-risky-move-launched-sofia-coppolas-career</guid><category>Virgin suicides</category><category>Adaptation</category><category>Sofia coppola</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-risky-move-launched-sofia-coppola-s-career.jpg?id=61173939&amp;width=980"></media:content></item><item><title>What 3 Superhero Moments Does James Gunn Not Want in Movies Anymore?</title><link>https://nofilmschool.com/3-superhero-moments-james-gunn</link><description><![CDATA[
  54. <img src="https://nofilmschool.com/media-library/what-3-superhero-moments-does-james-gunn-not-want-in-movies-anymore.jpg?id=55361286&width=1245&height=700&coordinates=0%2C0%2C0%2C0"/><br/><br/><p>We have had so many <a href="https://nofilmschool.com/superhero-movie-structure" target="_blank">superhero movies</a> made, remade, rebooted, and spun off all on the same characters that audiences have become incredibly knowledgeable about how characters got to where they are and who they have become. </p><p>So, how do you find new ways to tell the audience about someone? Turns out, the best answer might just be relying on their knowledge of the character and not showing stuff at all. </p><p><a href="https://nofilmschool.com/james-gunn-advice" target="_blank">James Gunn</a> recently had to deal with that conundrum as he rebooted Superman for DC and Warner Bros. </p><p class="shortcode-media shortcode-media-youtube"> <span class="rm-shortcode" data-rm-shortcode-id="fadf6b2a383726018a5cb3cdad6add98" style="display:block;position:relative;padding-top:56.25%;"><iframe frameborder="0" height="auto" lazy-loadable="true" scrolling="no" src="https://www.youtube.com/embed/Ox8ZLF6cGM0?rel=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" width="100%"></iframe></span> <small class="image-media media-caption" placeholder="Add Photo Caption...">- YouTube</small> <small class="image-media media-photo-credit" placeholder="Add Photo Credit..."> <a href="https://www.youtube.com/watch?v=Ox8ZLF6cGM0" target="_blank">www.youtube.com</a> </small> </p><p>In his movie, we won't see baby Supers being sent to Earth before Krypton explodes, because we've already had a ton of that in different movies and TV shows. </p><p>In a recent interview, Gunn told<a href="https://www.thetimes.com/culture/film/article/james-gunn-interview-superman-film-2025-david-corenswet-dhb3bw3rp?utm_medium=website&utm_source=website_internal&utm_campaign=web_link_3" target="_blank"> The Times</a>, “I don’t need to see pearls in a back alley when Batman’s parents are killed. I don’t need to see the radioactive spider biting Spider-Man. I don’t need to see baby Kal coming from Krypton in a little baby rocket.”</p><p>So, what story is Gunn telling with this new iteration of the character? Gunn is harkening back to the comics and making sure this is steeped in Americana and current struggles. </p><p>“I mean, Superman is the story of America,” said Gunn. “An immigrant that came from other places and populated the country, but for me it is mostly a story that says basic human kindness is a value and is something we have lost.” </p><p>When asked if he has considered how differently the film might play in a blue state versus a red one, Gunn says, “Yes, it plays differently. But it’s about human kindness and obviously there will be jerks out there who are just not kind and will take it as offensive just because it is about kindness. But screw them.”</p><p>If you want to sum it all up, “He is a hero for the world,” Gunn says. </p><p>That sounds like a really interesting way to focus on a character we're so familiar with while still delivering a story that begs to be watched on the biggest screen possible. </p><p>Gunn's <em>Superman</em> debuts on July 11th.</p>]]></description><pubDate>Mon, 07 Jul 2025 19:30:03 +0000</pubDate><guid>https://nofilmschool.com/3-superhero-moments-james-gunn</guid><category>Superman</category><category>Superhero</category><category>James gunn</category><category>Superhero genre</category><dc:creator>Jason Hellerman</dc:creator><media:content medium="image" type="image/jpeg" url="https://nofilmschool.com/media-library/what-3-superhero-moments-does-james-gunn-not-want-in-movies-anymore.jpg?id=55361286&amp;width=980"></media:content></item></channel></rss>

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