Weekly filmmaking news you might have missed while you were out making films. Or videos. Or branded content. Or Instagram stories. Or...

The No Film School Podcast

How do you ensure you’re getting beautiful footage that tells a story, without controlling any of the elements involved? That’s the challenge of being a documentary cinematographer — and with over 100 films between them, Martina Radwan and Nick Higgins have learned to thrive under that challenge. NFS writer and doc filmmaker Oakley Anderson-Moore hosts from the Canon Creative Studio at the 2016 Sundance Film Festival.

Nick, whose work includes The Crash Reel and Drunk Stoned Brilliant Dead: The Story of the National Lampoon, was at the festival with the new seven hour series O.J.: Made in America. Martina, whose previous work includes Watchers of the Sky and Hot Coffee, was at the festival with The Eagle Huntress and Trapped.

No Film School's podcasts from the 2016 Sundance Film Festival are sponsored by Canon and Rode Microphones. 

Documentary Cinematography Tips with Nick Higgins and Martina Radwan

The collaboration between the Cinematographer and Production Designer is what gives a film its "look" (along with the director, of course). In this episode, NFS Founder Ryan Koo talks with Cinematographer Wolfgang Held (Particle Fever, Brüno, American Teen) and production designer Darcy C. Scanlin (Final Recipe, The Presence). They discuss their collaboration to build the visual language of the Sundance 2016 premiere Sophie and the Rising Sun.

Directed by Maggie Greenwald (Songcatcher), Sophie and the Rising Sun takes place in small-town South Carolina in 1941 and profiles the relationship between a local woman and a Japanese-American man new to town. At nofilmschool.com we also publish a clip of the film for visual reference; the first email Wolfgang sent Darcy after his initial scouting trip; and the 1913 color photographs they reference in the conversation.

No Film School's podcasts from the 2016 Sundance Film Festival are sponsored by Canon and Rode Microphones.

How a Cinematographer and Production Designer Collaborate to Set a Look

Last week,&nbsp;Producer/Editor Jon Fusco&nbsp;sat down with several of the impressive line-up of genre directors from the new horror anthology film&nbsp;Holidays,&nbsp;during its world premiere at the Tribeca Film Festival. Joining him on the podcast are Sarah Adina Smith (The&nbsp;Midnight Swim), Nicholas McCarthy (​The Pact,&nbsp;At The Devil's Door),&nbsp;Dracula Untold&nbsp;director Gary Shore&nbsp;and&nbsp;the man in charge of piecing the whole thing together&nbsp;director/producer&nbsp;Adam Egypt Mortimer.&nbsp;
The discussion ranges from Shore's (somewhat easy) decision to go from directing a studio blockbuster back to indie shorts, respecting (or ignoring) influences in filmic history, and how challenges on set end up benefitting your creative drive.&nbsp;

Tribeca 2016: How the Filmmakers Behind Horror Anthology 'Holidays' Use Genre to Thwart Expectations

In this episode of the No Film School podcast, Emily Buder sits down with David Ethan Shapiro, CEO of Starlight Studios, and Jacob Schulsinger, editor ("Force Majeure," "Antichrist"), to discuss their Sundance premiere,&nbsp;"Come Swim," Kristen Stewart's experimental short film. We talk the merits of film school and why it's important to recreate that creative atmosphere in your career, the secret to raising money as a producer, why editors should help directors write movies, and more.

How to Start a Production Company: From Film School to Raising Money Out of Your Bedroom Office

In today's episode of The New Film School Podcast, writer Oakley Anderson Moore talks with two DPs. Her guests are Andrew Ackerman, who shot the brilliant, colorful underwater documentary "Chasing Coral," and Ante Cheng who DPed the nuanced black and white narrative Gook, set during the 1992 LA riots. While the style of productions are practically polar opposites of each other, from underwater timelapse nightmares to stylized lighting for black and white, they find common ground in the joy of telling a story through the visual image.

DP Roundtable: From Brilliant Color to Black and White, Lensing a Sundance Award-Winning Film

In this episode of Indie Film Weekly, No Film School co-hosts Liz Nord, Jon Fusco and Emily Buder get excited about the 16th edition of the Tribeca Film Festival opening this week, and discuss whether (finally!) Netflix might let us see its films in theaters. We also say goodbye to the genius cinematographer Michael Ballhaus and remember his storied career working with Rainer Werner Fassbinder, Martin Scorsese, and Francis Ford Coppola. Tech writer Charles Haine joins us to share more previews of the big NAB gear expo that starts this weekend. He also answers an Ask No Film School question about creating Digital Cinema Packages for your movie. As always, we also bring you the latest gear news, upcoming grant and festival deadlines, this week’s indie film releases, and other notable things you might have missed while you were busy making films. You can see all the links from this show in this week’s podcast post at nofilmschool.com  http://nofilmschool.com/2017/04/indie-film-weekly-042017-podcast

Indie Film Weekly 4.20.17: Tribeca Must-Sees & How to Create a DCP the Right Way

The quality of this summer’s offering of independent films has just been utterly ridiculous. There have already been so many new voices, new perspectives, and unique stories hitting the big screen and now we can add Matt Spicer’s Ingrid Goes West to the list as yet another standout title. The film, which earned the coveted Waldo Salt Screenwriting Award at Sundance follows Ingrid Thorburn, an unhinged social media stalker, frenetically brought to life by Aubrey Plaza, who moves to LA in an attempt to make friends with her latest obsession, the boho-chic social media influencer, Taylor Sloane, a character that’s oh-so convincingly played by Elizabeth Olson. Even with a hilarious cast and chuckle-worthy premise, it's hard to call Ingrid Goes West a comedy, in the truest sense of the word, because, well, it is really, really, creepy. The disturbing tone carefully planted beneath the film's shimmering Los Angeles foreground will stick with you long after you've left the theater.&nbsp; For Spicer, who penned the film along with David Branson Smith, this was the culmination of a ten-year journey from screenwriter to director. He joins us this week to discuss the steps he took to make this film happen, the pros and cons of social media’s new role in the film industry, and how making a film is the only thing that can ever really prepare you for making a film.

Why Making a Film is the Only Thing That Can Ever Really Prepare You for Making Your First Film

Making a short should be an easy thing, right? That’s what No Film School Producer/Editor Jon Fusco thought when he decided he would finally shoot his own. He was wrong.

Making any film, no matter the length is certain to be an ordeal. In both pre-production and on set, many more things are bound to go wrong than right. Fusco sits down with award-winning short director Hughes William Thompson to discuss some of the more common struggles first-time filmmakers face and the steps that you can take to ensure your production goes as smooth as possible.

'Expect That Everything Will Go Wrong': How to Ensure Your First Short Film is the Best it Can Be

Three directors who have been invited to and attended some of the most elite labs and fellowships in the business join No Film School's Liz Nord to define pitch forums, labs, retreats, and fellowships, and let other filmmakers know why participation in these opportunities can be extremely rewarding. Guests Sierra Pettengill ('The Reagan Show'), Sabaah Folayan ('Whose Streets’), and Jeff Unay (‘Cage Fighter’) share their own filmmaking journies and pitching processes, and also elaborate the value of fellowships to anyone trying to get a film made—everything from relationships to mentorship to feedback to simply having space to cry.

What is a Film Fellowship and Why Should You Do One?

Here's Episode One of our new podcast series The First Feature. This is a step-by-step guide on how to get your first feature made, using Ryan Koo's new Netflix Original Film AMATEUR as a case study.

In this episode, we get into: The three questions you can ask yourself to help decide which movie to make; when you need an agent; how Koo lied his way into MTV (and New York); Koo's DIY web series with Zack Lieberman, The West Side; how new platforms represent an opportunity because of decreased competition; how failure can be more instructive than success.

AMATEUR will premiere on Netflix on April 6, 2018.

You can find all episodes of The First Feature at nofilmschool.com/firstfeature

How Do You Know Which Idea to Pursue? The First Feature: AMATEUR [Episode 1]

The landscape for short films is changing quickly. One might say we're entering a "Golden Age," where content is being taken seriously and you can even make money off of a five-minute&nbsp;video...if you get the right eyes on it. Traditionally, getting those views used to be all about submitting your project onto the festival circuit. This also came with the stipulation that you couldn't exhibit your project online or anywhere else if you wanted to make it in. That's not the case anymore.&nbsp; Many aspiring filmmakers may not know just how valuable a Vimeo Staff Pick can be to your career. The distinction, which celebrated its tenth anniversary at SXSW this year, can lead not only to massive exposure but gigs from brands, producers and even music companies. You can really make a name for yourself if you're one of the 3-4 projects selected every day. Case and point, Jon Fusco's guests on today's show who have a combined 19 video staff picks between them: DANIELS, of Swiss Army Man fame, and Kirsten Lepore who's animated shorts in the style of Hi, Stranger led to jobs like creating an episode of Adventure Time, which later went on to win an Emmy. Together they join Vimeo's Head of Curation Sam Morrill to discuss how to get a Vimeo Staff Pick, what that Staff Pick can do for your career and how to best position yourself for a successful career after creating a short.

How to Get a Vimeo Staff Pick with DANIELS, Kirsten Lepore, and Head Curator Sam Morrill

In this episode of our step-by-step podcast on how to get your first feature made, we dive into the pitching and financing processes on Ryan Koo's Netflix Film AMATEUR. This episode covers his experiences pitching Amateur eighty (!) times and eventually getting it to Netflix, including the following points: Making a pitch into a back-and-forth conversation as early as possible; What goes into a pitch packet other than the script, including a rip-o-matic/multimedia lookbook; Using CRM software to track producers and financiers (Ryan used Streak); How rejection can be a development process unto itself; Why "producer" is an amorphous term and how to identify producers with complementary skill sets; Who his producers were (Jason Michael Berman, Chip Hourihan, and Mark Moran) and what their roles were; and finally, How he got the film to Netflix. Watch Amateur on Netflix, available now worldwide at netflix.com/amateur. You can find all other episodes of The First Feature at nofilmschool.com/firstfeature.

This episode of The First Feature is sponsored by Music Bed. Get 20% off you next on-site license with coupon code "FirstFeature20."

How Do You Pitch Your Film and Find Financing? The First Feature: AMATEUR [Episode 4]

We’ve discussed many different tactics for getting your short films into film festivals on this podcast, but at SXSW last month we decided to head straight for the source: the people in charge of selecting the films themselves. That’s right we’re talking about the all-powerful festival programmer. And to get the inside scope there’s no one better than SXSW Senior Film Programmer Claudette Godfrey. On today’s program, Claudette and NFS Producer Jon Fusco run through exactly what it is that attracts a festival programmer to a certain short. She also gives us a rundown of the things a filmmaker should focus on when submitting, as well as what they should attempt to avoid when working on a project they hope will be selected. Claudette makes a powerful case for the value of festivals like SXSW for all filmmakers and if you’re in the middle of planning a festival run, you better listen close.

What a Festival Programmer Looks for in a Short Film

In this episode of our step-by-step podcast on how to get your first feature made, using No Film School founder Ryan Koo's Netflix Film "Amateur" as a case study, we dive into the creative and visual side of prep including storyboarding, shotlisting, previz, and creating overheads. He also discusses some common pitfalls to avoid such as why it's challenging to rewrite the script during prep and why locking locations is&nbsp;so important before starting principal photography. Ryan gives us some tips into his favorite tools and apps that helped him through pre-production as well as the cameras and gear that made the production of the film possible.

How Do You Tell Your Story Visually? The First Feature: AMATEUR [Episode 6]

A short film is a tricky thing, you don’t know how much time or money to invest in such a personal thing that nobody may even end up seeing, so a lot of people don’t even try. The point of this podcast is to get you to stop worrying and just try. 

In this episode, No Film School Producer Jon Fusco identifies the key crew you'll need to get started and how to them on your project, how to create a proper lookbook, what to plan for on a location scout, strategies in collaborating with your DP in pre-production and how to obtain the best gear for your project.

How Do You Make a Film with Zero Experience? The First Short: THE GUY [Episode 1]

It seems that many short films even after they wrap a successful shoot never end up seeing the light of day. And why is that? Because they dry up in the post-production process.

Whether it's for lack of money, lack of inspiration, lack of enthusiasm, or just plain destitution at what your footage has revealed, the sad truth is that may directors decide to leave their precious projects on the cutting room floor.  All their time and effort, wasted, for not.

On the final episode of The First Short, No Film School Producer Jon Fusco is joined by his editor Tam Le to discuss their own trying experiences over nine-months of post-production in an attempt to make sure that this will never happen to you.

They cover the ideal relationship between editor and director, why a director should attempt to edit their film, how to identify what needs to be cut, how to establish tone and pacing and more.

How Do You Know What to Cut on the Editing Floor? The First Short: THE GUY [Episode 3]

Jon Fusco and Erik Luers buckle down and get serious this week to discuss one of the single biggest hacking controversies of our generation and what it could mean for Marvel's box office returns. There will only be one group of people to blame if Venom flops this weekend, and it's Lady Gaga fans. Also in the news, do people who play video games for ten hours or more a week somehow end up having more disposable income?

Charles Haine joins us for gear news, where he details RED's massive new monochrome sensor and a new monitor that'll have you drooling. In Ask No Film School, he ponders whether living life as a freelancer is absolutely essential for directors looking to breakthrough.  

As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films.

IFW 10.4.18: When to Move On to Freelancing & Why You Should Be Playing Video Games

Hayley Pappas (Head of RYOT Films), Caroline von Kuhn (Director of Artist Development at SFFILM), and Leah Giblin (Head of Grants at Cinereach) are responsible for getting millions of dollars to independent filmmakers each year through grants and financing. They join No Film School’s Liz Nord to discuss the many ways independent films are being funded today, and how you can access these various funding sources for your films.

One Hundred Different Ways to Get Your Film Funded

If you've seen any of Yorgos Lanthimos' films, then you know the Greek director isn't afraid to put anything on the screen. Like many famous surrealists, Lanthimos isn't interested in exploring stories where things go right, he wants his audience to see what's wrong in the world. 

To him, nothing is off limits and any dark side of the human psyche is worth exploring. In surrealist film, any image can be too much or too little. It's a delicate balance, but one that Lanthimos has truly mastered with his latest film The Favourite.

A period piece set in early 18th century England, a frail Queen Anne Olivia Colman, occupies the throne and her close friend Lady Sarah (Rachel Weisz) governs the country in her stead. When a new servant Abigail (Emma Stone) arrives, however, her charm endears her to Sarah and a competition to be the queens favorite emerges.

In this interview, Lanthimos is joined by screenwriter Tony McNamara to discuss how commercial work early in his career ended up steering him in the complete opposite direction, not conforming to filmic norms, and breaking every possible rule you can.

Yorgos Lanthimos on How to Shoot Surrealist Film

The documentary cinematographer is a special kind of cinematographer. Whereas in narrative, the role is more defined, DP’s of the more truthful persuasion may find themselves piling on more hats than their fiction bound counterparts. Take it from David Paul Jacobson of Ask Dr. Ruth and Kristy Tully of Raise Hell: The Life & Times of Molly Ivins, two Sundance caliber cinematographers who join us on today’s show.

Both of their projects revolve around strong women. Ask Dr. Ruth chronicles the incredible life of Dr. Ruth Wertheimer, a Holocaust survivor, former soldier, immigrant and two-time divorcee who became the world’s most influential sex therapist. Raise Hell: The Life & Times of Molly Ivins memorializes the former journalist who made a name for herself as rough talkin’ six foot Texan who was quick to expose corruption wherever she found it.

Together in this roundtable we talk about how to grab the most effective b-roll, the perfect kits for the job, and not overstepping boundaries with directors and editors as you must also direct and edit yourself.

How to Become a Sundance Worthy Documentary Cinematographer

“In the rugged wilderness of Appalachia, the members of an isolated community of Pentecostal snake handlers led by Pastor Lemuel risk their lives to attest themselves before God.” This is a much different type of log-line than the others entries you’d find scrolling down the list of Dramatic Competition entries in Sundance’s program. 

It is the plot of Them That Follow, the feature film debut for writer/directors Britt Poulton and Dan Madison Savage and boy, is it a doozy. Though they didn’t have any directing credits prior to the film’s premiere, the duo had more than enough experience between them to pull off the gripping narrative. Through years of working for other studios and other directors they found themselves with the opportunity to "get in the room.” What is the room? Well and not to use a cliche lightly here, but, “the answer may surprise you.”

We also talk through writing a story about a secretive community with limited access, filling in the blanks with your own personal experiences and working with an incredible cast that included Olivia Coleman, Walton Goggins, Jim Gaffigan and more.

How To Put Yourself in the Room: Sundance Breakout ‘Them That Follow’

This week on the No Film School Podcast, we’re going to talk about one of the most largely undiscussed nuances of filmmaking: the portrayal of masturbation on film. Specifically, of the female kind.

'Yes, God, Yes' is a film unlike any you’ve seen before. In it, a Catholic teenager in the early aughts discovers masturbating and struggles to suppress her new urges on a religious retreat. But this ain’t no American Pie satire. Writer/Director Karen Maine (who you may know as half of the writing team from 2014’s indie hit 'Obvious Child') truly brings us inside the mind of female adolescence. 

Much of this ability is due to the fact that she lived through this experience as a teen herself. As I learned when I sat down with Maine and her cast at SXSW earlier this month, however, it was the director’s openness to collaborate with her talented young leads that truly sealed the deal.

The cast is led by a standout performance from Natalia Dyer, who shows she clearly deserves more complex roles than the likes of 'Stranger Things'’ archetypal Nancy Wheeler provides her. Dyer joins us on the show today, along with Timothy Simons (perhaps best known for his role as Jonah Ryan from 'Veep'), and talented new comers Francesca Reale, Alisha Boe and Wolfgang Novogratz. We talk about building an atmosphere on set comfortable enough to to avoid the pitfalls of the typical coming of age story and masturbation, lots of masturbation.

Masturbation on Film: Karen Maine, Natalia Dyer & More on SXSW Standout 'Yes, God, Yes'

Today is a very special episode of The No Film School Podcast and perhaps a momentous occasion in the history of the universe itself. The very balance of the cosmos hangs at a thread as Academy Award Nominated screenwriter John Fusco and former No Film School Producer Jon Fusco finally meet to discuss their craft.

John Fusco is, of course, the legendary screenwriter who dropped out of high school at age 16 to travel the south as a blues musician before returning to the Northeast and attending Tisch School of the Arts at New York University. He later went on to write such hit films as Young Guns, Hidalgo, and most recently Netflilx's The Highway Men, which made its debut at 2019's edition of the SXSW film festival. 

The man has been writing films for over thirty years and has a wealth of knowledge to share with us all including practices on how to become disciplined (and stay that way), getting yourself into the screenwriting zone, and ways to retain control of your script once it hits the production stage.

The Ultimate Screenwriting Masterclass with John Fusco and Jon Fusco

This week we also discuss the Sigma fp, Deakins using all ARRI on '1917', and writing lessons from Phoebe Waller-Bridge.

10.17.19: What Would the Perfect Film School Curriculum Look Like?

Director of Photography Lawrence Sher takes us through his career from the early days (he calls his first day "the worst first day in the history of first days") to how he lensed the most successful R-rated movie of all time, offering insights as well as practical tools.

How Larry Sher Shot 'Joker', Built a Career, and Almost Got Fired on His First Day of Filmmaking

The Department of Justice is working to rescind the Paramount consent decrees, we break down what those are and how it could impact film and the entertainment industry at large. 

Charles also gives us further insights into the new MacBook Pro, what he loved about it and what he'll have to learn to live without.

11.21.2019: A Potential Movie Distribution Game-Changer plus The New MacBook Pro

Our editor's roundtable covers many important topics... Like what to do during renders.  

During Sundance 2020 we gathered a group of editors to discuss a variety of topics. Among them were how they got started, details on their editing setups, plus advice for future editors.

They also discussed how the idea of a film evolves and how a story comes together in a cut, explaining their role in the process alongside their directors.

7 Editors Take Us Behind the Curtain on Cutting a Sundance Feature

We've answered the question, "what does a producer do?" What happens when we ask some producers?

What's invaluable about this round table discussion is that we get a variety of answers from a group of producers that cover the entire spectrum of experience, budget, role, and expertise. This podcast will help you find the types of producers you need, identify what your project needs to attract them, and give you an edge when it comes to mounting a project in the first place. 

We were lucky enough to gather this group of expert producers in Park City during Sundance 2020, and we're thrilled to bring all their combined knowledge to you now.

How Do You Find a Good Producer? Sundance Producers Show Us The Way

There may not be NAB in Vegas this week, but that didn't stop Canon from releasing several new products!  We take a look at the new cameras from Canon, chat about what film sets and filmmaking may look like when we return to work, breakdown the new update from Blackmagic, and tackle an age-old question through an Ask No Film School:  What do I do after I finish my script?

4.24.20: When Can Production Resume in the Time of Coronavirus?

Justin Roiland is best known as the co-creator and lead vocal talent behind the immensely popular show 'Rick and Morty'.  

Mike McMahan went from a 'Rick and Morty' writer's assistant to a showrunner along with Roiland. Now they've got a new show 'Solar Opposites' (May 8 on Hulu).  

We won't sugar coat it... this interview gets strange. But you should expect no less from these guys. 

After warming up a bit, we get into the conceit and intent behind 'Solar Opposites', what properties they'd both love to reboot or work with, how they got started creating things, how to keep humor fresh and edgy in an era with so many topics off-limits, and more.

'Rick and Morty' Creator Justin Roiland Gives Us a Tour of His New Show and His Twisted Mind

This week, we “Follow The Cheese” towards Netflix’s new on-set rules in the times of Covid-19, dig into Ken Burn’s burns of the Michael Jordan documentary "The Last Dance," share Frame.io’s new features, and we wonder: did Apple finally make a 13-inch laptop for filmmakers?  Plus, deep cuts!

5.8.20: How will Netflix Get Back On Set?

Our guest this week is the unique and legendary Jonathan Frakes. He was a lead on 'Star Trek: The Next Generation' before he transitioned to the directing chair. To get his shot at directing he had to learn a ton from the craftspeople around him. But he also applied his history as an actor to his process, resulting in an ability to be an extremely economical actor's director.

Jonathan Frakes Shoots to Thrill

In a world full of real artists, why not create a virtual one?  We chat about CAA’s newest signing, the digital Lil Miquela, whether folks are saying Qui-bye to Quibi, and Aputure’s new 600d along with a new round of Deep Cuts.

A heads up as you dive into this week's conversation: we've been adjusting some of our sound settings and piloting our podcasting software.  Our voices may sound a little different but we swear we're still entertaining to listen to.

5.15.20: Fake Artist... Real Weirdness. What Do We Make of Lil Miquela?

This week brings a lot of questions.  Will Christopher Nolan’s 'Tenet' be movie theater's savior?  Will we adopt 8K into our workflows?  How does Red Komodo’s PDAF change the game?  And, what can we learn from the extremely talented team that wrote 'The Sopranos'?

5.26.20: Will 'Tenet' bring movie goers back to theaters?

We are living in interesting times, to say the least.

Prior generations have fought similar battles and faced similar challenges. Ashamedly, they faced this very battle time and again. But there is something very different about this time right now and it relates to you. You, the filmmaker.

6.5.20: What Is the Role of the Filmmaker in a Time of Unprecedented Upheaval?

A Christopher Nolan rumor makes us consider on-set rules and philosophies and Fuji's new update makes us ponder how this will change upcoming cameras.  Plus we time travel (not through a Nolan film) to see if we can answer a No Film School question that dates back more than 100 years ago.

7.3.20: To Sit Or Not To Sit?

It seems improbable or impossible to the more seasoned (or jaded) among us. A man, outside of the system and outside of the major cities like New York and LA, built a thriving indie production company with a full growing slate of movies and content... but that's not even the crazy part. 

The crazy part is that the stories he's telling reflect his worldview, and a specific vision for humanity and the future. It sounds as bold as it sounds unlikely. Yet it is a reality. 

BK's story is not just one of perseverance and making your own success, but it's a story of the type of self-education we love at No Film School.

It all sounds great... but how come it actually works? Listen to BK tell you in his own words.

This is How One Man Created a Thriving Indie Production Company with Hope

We’re not throwing away our shot to talk about Hamilton.
Disney+ and Hamilton change the game and the conversations around streaming platforms, Broadway musicals, and awards. Plus, this week, AMC heads to church (murch?), Zoom brings out an "Octo" monster, and...will filmmakers be "satisfied" with a recent camera announcement?

7.10.20: Revolutions, Revelations, and Resolutions

We're feeling hot, hot, hot as Canon cameras heat up and Palm Springs is a hit from the desert.  Plus, we dive into a new app with a confusing name and the newest codec on the block.

7.17.20: Is Canon feeling burned?

This week, Charles, George, and Michelle reflect on a recent conversation around terminology.  Plus, Blackmagic's big news, a case for theaters to look like the Star Wars' Galactic Senate, and we have Tenet's new release date... kind of.

7.24.20: Ks For Days

7.31.20: Did Filmmakers Finally Get What They Wanted?

Two years ago, Matt Enlow and Oren Kaplan started the Just Shoot It Podcast with a key question:  What does a director do?  Now, we come to them with our own key question in mind:  What does a director do...during a pandemic?   

Listen in as we learn more about how to use this time creatively, how to shoot in the time of COVID, and other secrets of the trade.

How Do You 'Just Shoot It' During a Pandemic?

Unlike Hamilton, Mulan will hit Disney+ VOD... at a cost. Plus, 12-bit raw is coming for the a7S III through Atomos and we answer a question about master fees and a YouTube clip.

8.6.20: Will families pay $30 for Mulan?

Back to the future...of Vertical Integration. The Paramount Decrees are officially over...so what does that mean for filmmakers?  Plus, a Deakins inspired chat about focus groups and decisions, we also talk about the new Sigma lens.

8.14.20: How will the end of the Paramount Decrees affect theaters and filmmakers?

In an informative new episode featuring guest Katherine Tolentino, we tackle the history of foreign influence in Hollywood, pay equality across departments, working overly long days, and what might be the birth of a new filmmaking manifesto á la Dogme 95. Plus, a new augmented reality software from FXhome and the pros and cons of crowdfunding.

8.20.20: A Middle-Class Moviemaking Manifesto?

***As of 2020 the No Film School Podcast is no longer hosted on Soundcloud. Please subscribe via iTunes, Spotify, or the podcast app of your choice. Thank you!*** A podcast about how to build a career in filmmaking. No Film School shares the latest opportunities and trends for anyone working in film and TV. We break news on cameras, lighting, and apps. We interview leaders in screenwriting, directing, cinematography, editing, and producing. And we answer your questions! We are dedicated to sharing knowledge with filmmakers around the globe, “no film school” required.

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