Every year, I feel like there's a sneaky good movie that people in the know talk about, and this year, that movie is _Train Dreams_. It's a wondrous adventure through the old-time logging and construction that went into erecting train tracks. And it also delves deep into the marks we make while alive on this earth. We have a whole explanation of the _Train Dreams_ ending you should check out. This movie is so cinematic and sweeping, even if shot in an unconventional way. In a recent deep dive with _Variety_ , cinematographer Adolpho Veloso broke down why he took the opposite approach for the film _Train Dreams_ and how all that accentuated the themes of the movie. Let's dive in. - YouTubewww.youtube.com * * * ## 1. The 3:2 Aspect Ratio: Capturing Memories Something I loved about _Train Dreams_ was that is shot in its own very unique way. The most striking thing about _the movie i_ sn’t what’s on screen, but the shape of the screen itself. Veloso chose a 3:2 aspect ratio, so it's like we're just looking into a window of the past, and not getting a massive widescreen vision of it. "It’s almost like you found that box full of old pictures of someone’s life," Veloso explained. The film evokes a sense of nostalgia that feels like scrolling through a family album. And the aspect ratio also allowed them to capture the towering scale of the Idaho trees, which is not only visually great but rooted deep in the theme of time. ## 2. Chasing the Sun (Literally) In an era of massive LED panels and artificial Golden Hour, Veloso and director Clint Bentley decided to shoot 99% of the movie using natural light. I found this to be one of the most rewarding movies to seek out on the big screen. It just feels gargantuan. Shout out to the Landmark Westwood, which rocked as a [lace to watch it. The natural light was a logistical challenge. It meant the crew often had only one hour to shoot a scene, sometimes getting only four or five takes before the sun disappeared. Inside scenes weren't spared either because they relied on real fire and real candles to keep the world feeling grounded and raw. The camera they used was the **Alexa 35** , because of its ability to see detail in both bright highlights and deep shadows (we call that dynamic range). This allowed the actors to move freely without tripping over light stands or being boxed in by artificial setups. Paired with the camera were two sets of lenses: spherical lenses for the daytime/sunflares and Zeiss Super Speeds Mark 2 for night scenes due to their speed. Both these helped accentuate the natural effects. ## 3. Nature as a Cast Member One of the most poetic takeaways from Veloso’s breakdown is how he treated the environment. In many films, nature is just a backdrop. In _Train Dreams_ , nature is a character, maybe even the central character, as it gets the first and last shots. Veloso avoided using drones for shots of the forest because he felt a drone was too "mechanical." Instead, he shot the trees like he would shoot a person. If a character was looking at a tree, the tree got a "close-up" just like an actor would. They even rigged a Red Komodo camera to a tree and then knocked it down to capture a tree actually falling. They used local loggers to aim the massive trunk right next to the lens to capture the power of the woods. ## 4. The "Colorized" Look The film’s unique color palette was inspired by the early days of color photography. In order to make it feel real, Veloso worked with legendary colorist Sergio Pasqualino to create a look that feels "99% accurate but a bit off". They wanted the footage to look like black-and-white photos that had been hand-tinted or colorized, adding to that ethereal, "memory-like" quality that defines the whole project. And also that accentuates the theme of the film. ## Summing It All Up I love breakdowns like these because they open me up to new ideas and the creativity of others. I am not a cinematography expert, but I love learning all the unique things they did to capture one of the best-looking films of the last decade. Let me know what you think in the comments.

I watch a lot of movies, so many that when tropes or cliches are poorly done, they pop out right in my face. One of the ones that annoys me the most is bad exposition dumps. And I'm sure it bugs you, too. We’ve all seen it: two characters standing in a kitchen, drinking coffee, and saying things like, _"As you know, Jim, our father died ten years ago, leaving us this debt-ridden shipyard."_ It takes you right out of the story, and it takes the exec reading your script out, too. So if you've struggled with that in your own writing, I am here to present a solution for you. Hide your exposition in conflict. Let's dive in. * * * ## 1. The "Trial by Fire" Technique This is where you take your characters, and you put them through hell, while they deliver the info we need. You don't need to have a mentor explain the rules of a magic system or a heist over a chalkboard. Instead, throw the protagonist into the deep end and force them to swim, along with the audience. Here's how I do it: * **The Conflict:** The protagonist is failing at a task. * **The Exposition:** A partner or antagonist yells at them, explaining _why_ they are failing. * **Example:** In _The Matrix_ , Morpheus doesn't just lecture Neo on physics; he beats him up in a dojo. The "rules" of the digital world are explained through Neo’s physical struggle to keep up. And we stay engaged because of the fighting. - YouTubewww.youtube.com ## 2. The High-Stakes Argument When in doubt, make your characters argue. You can get so much out in an argument, and you get the needed drama, too. Anger is a great truth serum. When people are emotional, they say things they normally wouldn't. This allows you to drop "pipe" (that's what we call exposition) without it feeling forced. * **The Strategy:** Use a character’s past as a weapon against them in an argument. * **Why it works:** The audience perceives the dialogue as a character beat rather than a history lesson. * **Example:** In _The Social Network_ , we start the movie with two people arguing. Mark wants to get into finals clubs. We get this exposition out, and he thinks he's smarter than everyone. We get that out too, but the argument with this girlfriend is what sets the whole story in motion and keeps us interested, even though we are getting a lot explained to us about Harvard and clubs. - YouTubewww.youtube.com ## 3. The Interrogation Interrogations are a favorite in many different kinds of genres. There is a reason why police procedurals and spy thrillers are so popular: the entire premise is built on withholding and demanding information. And that info is easy to get out when characters are actively being asked for it. * **The Dynamic:** One character has the power; the other has the info. * **The Friction:** The "Interrogator" (could be a boss, a cop, or a suspicious spouse) forces the "Subject" to clarify details. This creates a natural "Question and Answer" flow that feels earned because the Subject is resisting. * **Example** : In _The Dark Knight,**__**_we have a rather famous interrogation scene between Batman and the Joker. * **The Exposition:** The audience needs to know that Harvey Dent and Rachel Dawes have been kidnapped, that they are in separate locations, and that Batman only has enough time to save one of them. * **The Conflict:** Batman is physically brutalizing the Joker to get the addresses. The Joker isn't just "giving" the info; he’s using it to taunt Batman, mocking his "one rule" while revealing the locations as a sick game. Because Batman is desperate and the Joker is resisting, the "info dump" about the bombs and the two addresses feels like a ticking-clock thriller beat rather than a plot explanation. - YouTubewww.youtube.com ## Summing It All Up The best exposition is invisible. If you can deliver a piece of information through a slammed door, a broken vase, or a heated accusation, do it. Your goal is to keep the audience interested and to keep your reader flipping pages to learn. Let me know what you think in the comments.

We're big fans of John August over here (and just had him on our podcast). But that doesn't mean we're done learning from him! If you're unfamiliar, the writer behind _Big Fish_ , _Charlie and the Chocolate Factory_ , and _Aladdin_ co-hosts the _Scriptnotes_ podcast with Craig Mazin, and they've just released a book of the same name. I recently listened to August discuss the book on _The Second City_ Podcast, and there was a ton of information in this discussion that can be useful for screenwriters. Have you ever struggled with giving feedback? Or receiving feedback? What about developing character motivation or getting started with a blank page? Let August give you some motivation. Check out the podcast below. - YouTube www.youtube.com ## "You Can Only Write Towards a Thing." Giving notes to another writer is an honor, but it can also be stressful. Sometimes you just don't vibe with a work, but telling someone that is not going to be helpful. August says that negative notes are essentially useless because you can't execute them. If someone tells you a scene or character doesn't work, that's not actionable. You need a clear direction, not just broad criticism. When I was doing professional agency script coverage, it would have never been useful for me to write, "I didn't like this script." I would always clarify what didn't work, and give suggestions for what would fix the element I didn't think was working. You'll need to get comfortable with story basics in order to pinpoint these problems. It might be a structural issue or a problem with character motivation. Maybe you just feel a "bump" on something—keep noodling on what the underlying cause of that bump is. "This is boring," isn't a good note. It's boring to you, but maybe the underlying issue is pacing. Point to that instead. You also need to understand that sometimes a work isn't for you. "Opinions are not facts," August writes in the book. The whole thing is subjective, so as a note-giver, you don't want to lead with opinion. When you react to someone's work, you can be honest about your emotional response. Then separate that from your theory about what caused it. The writer needs both pieces of information, but they need to know which is which. Understanding the note behind the note is a big thing. Notes should point toward a vision of what could work, not at what doesn't. When you're giving notes to someone else or trying to interpret feedback you've received, push for specificity about the destination. What should this scene accomplish? What emotional beat are we aiming for? That's something you can actually write toward. "Describe a future vision of this movie, this scene, whatever, that is successful, and so that you can get there together," August says. If you're in the middle of a notes process, you don't want to be fighting over criticism. Specificity and helpfulness will make these sessions productive. Learn more about how to give effective feedback. _Big Fish_ Credit: Sony Pictures Releasing ## "You Have to Just Become Comfortable with Being Uncomfortable." Here, August references Ashley Nicole Black's advice about the temptation to use AI or other shortcuts to avoid the hard part of writing. (She's written for _Shrinking_ , _Ted Lasso_ , and more.) But the hard part is the point. First drafts feel terrible because you're creating something from nothing. When you're writing, and something isn't working, it can feel like you're wandering in the wilderness. There's no hack for the discomfort. Experienced writers don't suffer less—they've just learned to recognize the feeling as part of the process. Just read any of our interviews with some of today's best working writers. They hate the second act and exposition as much as the rest of us. If you're waiting to feel confident before you start, you'll never start. Push through the discomfort. Get something on the page. ## "Many Screenwriting Books Will Tell You to Focus on What the Characters Want. This is Wrong." August has been writing about this point since 2007. This challenges a common screenwriting principle about character development. August says that obsessing over what a character "wants" versus what they "need" creates a false framework that doesn't actually help you write better scenes. What actually matters is understanding what your character is trying to accomplish in each specific moment and why they think it will get them closer to their goals. To a writer, this advice is more useful than some abstract want/need dichotomy. In 2007, August also pointed out that what a character naturally wants would not always work in a story. I, for instance, like to stay up late watching YouTube instead of fighting crime. So I wouldn't be good in a cop thriller. Instead, August wrote, when you approach a scene, you need to ask, “What needs to happen in this scene?” Or, “What do I need to show the audience?” He wrote, "Yes, the character should be responsible for his or her actions and decisions inside the movie, but you, the writer, are responsible for deciding which moments the audience gets to see." You're almost like an editor instead of a writer, in that case. You're picking moments from their life that serve your story and getting pieces in place for your plot. As you establish what your character wants, make sure to convey this to the audience early. In the podcast, August says, "You need to find some way in those opening few minutes to give us a sense of what vision does this character have for their life? What might they be trying to do to get there? What will success look like for this character? And that's a lot of the struggle." ## "Stakes for a Character Are, 'What Are They Worried About Losing?'" Stakes don't have to be apocalyptic. August's first produced script, _Go_ , isn't about the end of the world. But every character has clear stakes in every moment because he understands what each person stands to lose or gain. Stakes are personal and immediate. They're about relationships, identity, safety, and connection. In comedies, especially, establishing what matters to your characters makes everything funnier because we understand the cost of failure. This connects to why _Die Hard_ works as both an action film and a character study. John McClane is trying to stop terrorists, and there are technically lives at stake, and he is trying to save his wife, but those aren't his only stakes. He's trying to prove something to his wife and to himself about showing up. Those relationship stakes make every action beat matter more. Creating compelling characters means understanding what they stand to lose.

Listen, we’re not asking for much. But if you’re a vlogger or content creator looking to launch your channel or brand, we’re simply recommending that you use some sort of lights for your videos. It doesn’t have to be much; in fact, it can just be a cheap and easy selfie ring light like these we’re about to introduce. Godox has announced the new Litemons LR15Bi and LR30Bi as compact, bi-color LED ring lights that can help creators add fill light to their content. Here’s what you need to know about these cheap and easy lighting options. * * * ### Godox Litemons Bi-Color Selfie LED Ring Lights So, as mentioned above, these new LED ring lights from Godox aren’t anything high-end or even too fancy. They’re cheap, easy, and the bare minimum a content creator can do to make their video footage look more professional. Users can simply select a color temperature from a candlelight 2800K to a crisp, cool 6500K daylight at one of five selectable brightness levels to suit any of their shooting needs. The lights feature an adhesive magnetic ring that is included for rear mounting of the light to non-magnetic smartphones. And the results aren’t bad, as they can help eliminate harsh shadows or awkward lighting. Plus, with the company’s advanced Edge-Lit technology, the lights should further deliver ultra-soft light that's gentle on the eyes and flawless on skin. ### Price and Availability Available to preorder in both LR15Bi and LR30Bi options, let’s quickly look at the more affordable LR15Bi version, which features the full specs and purchase options below. * Compatible with Magnetic Smartphones * Bi-Color Selectable Color Temperature * Selectable Dimming from 20-100% * CRI: 97, TLCI: 98 * USB-C Rechargeable Li-Ion Battery * LED Status Indicators * Includes USB-C Charging Cable ### Godox LR15BI Litemons Bi-Color Selfie LED Ring Light The **LR15BI Litemons Bi-Color Selfie LED Ring Light** from **Godox** is a compact bi-color LED light that allows creators to add fill light to their still or video content.

When it comes to shooting projects quickly and efficiently, the name of the game is organization. While this mostly comes down to an OCD director or producer making it happen, there are tools and products out there that can help keep things distraction-free and clutter-free. One of these options is this new SmallRig MD5991 36" Video Production Camera Cart Lite, which is a professional-grade mobile workstation designed for filmmakers and content creators who crave this efficiency, as well as want durability and versatility on their sets. Let’s check it out. * * * ### The SmallRig MD5991 36" Video Production Camera Cart Lite Designed for those looking to take on frequent relocations or quick deployments during chaotic shoots, this SmallRig MD5991 36" Video Production Camera Cart Lite can be assembled and disassembled by a single crew member in just five minutes. Plus, with it being engineered with aerospace-grade aluminum and industrial-grade materials, it should be quite reliable yet also lightweight and easy to store thanks to its foldable design, which results in a height of just 6.8”. As far as structure goes, the cart will feature a dual-tier platform where the top deck will be able to provide multiple mounting points for connecting monitors, laptops, wireless transmitters, and power systems, while the bottom deck can securely accommodate bulk equipment. A modular expansion system should be able to further enhance workflow flexibility via four cheese plates that include 1/4"-20 and 3/8"-16 threaded holes, as well as 3/8"-16 ARRI locating holes. ### Price and Availability Overall, the design should allow for seamless integration of monitor arms, audio mounts, sunshade brackets, and more, making it ideal for director monitoring, DIT workstations, editing stations, and other professional setups. If you’re curious to check it out, the SmallRig MD5991 36" Video Production Camera Cart Lite is out and available now. Here are the full specs and purchase options. * Meets Most Airline Oversize Standards * Four 360° Lockable Swivel Casters * Standard 35mm C-Stand Compatibility * Four 5/8" Baby Pins & Locks * Tool-Free Assembly & Disassembly * Durable Aluminum Alloy Construction * 551 Pounds Load Capacity * Integrated Quick Release Wheels ### SmallRig MD5991 36" Video Production Camera Cart Lite The **SmallRig MD5991 36" Video Production Camera Cart Lite** is a professional-grade mobile workstation designed for filmmakers and content creators who need efficiency, durability, and versatility on set, facilitating frequent relocation and quick deployment during shooting.

The **SmallRig MD5991 36" Video Production Camera Cart Lite** is a professional-grade mobile workstation designed for filmmakers and content creators who need efficiency, durability, and versatility on set, facilitating frequent relocation and quick deployment during shooting.

I know many of our readers feel a certain way when they hear about _The Joe Rogan Experience_ , but the long-form interview with Ben Affleck and Matt Damon is a wealth of information and a two-and-a-half hour film school. Maybe the biggest revelation from the episode was an offhand comment from Matt Damon about how Netflix movies are all watched by people who are simultaneously on their phones. Damon also detailed the specific, data-driven demands that streamers are now placing on filmmakers as well. Let's dive in. - YouTubewww.youtube.com * * * ## The Death of the "Slow Burn" Back in the day, movies and TV had your attention for much longer. You sat down and completely focused on the stories they wanted to tell you. And action movies followed this simple structure: a set piece in the first act, one in the second, and a massive, big-budget finale in the third. But things have changed. According to Damon, Netflix is flipping that script. "Now they’re like, ‘Can we get a big [action sequence] in the first five minutes? We want people to stay.’" Everything Netflix does is for viewer retention. In an environment where the next movie is just a click away, streamers are terrified of the "bounce rate." If a film doesn't grab a viewer immediately, they’re gone. This shift prioritizes immediate spectacle over the patient tension-building that defined classics of the genre. That means you now need to open with a big set piece and try to front-load the story to keep people involved. ## Dialogue as a "Safety Net" for Distracted Viewers When it came to revelations, the internet was abuzz with what Damon said about Netflix dialogue. Damon noted that executives now encourage writers to reiterate the plot "three or four times in the dialogue." Now, this could have been a rumor he heard or just could be reiterating ideas he's heard from other people, but he never said this was a direct note they were given. Still, Netflix's reasoning is simple: viewers are rarely _just_ watching the movie. They are scrolling through TikTok, folding laundry, or wrangling kids and pets. They have characters explicitly state the stakes and plot points multiple times, so that a viewer who looks up from their phone every ten minutes can still follow the story. Again, this was an offhand remark, but it lit the internet on fire. ## The "In-Home" Attention Deficit I have a kid at home, chores, and everything else. I know how hard it is to concentrate and work at the same time, let alone watch a movie. And that happens at every level across the globe. Damon highlighted a psychological shift in the audience. When you go to a theater, you are in a dark room with a giant screen and no distractions; you’ve made a "contract" to pay attention. At home, that contract is broken. "It’s just a very different level of attention that you’re willing, or that you’re able, to give to it," Damon explained. This lack of immersion is directly "infringing on how we’re telling these stories." ## Is the Craft in Jeopardy? I am always worried about the movies, because I think they're the last great gathering spot for people who love arts and entertainment. And I'm worried Netflix is going to be the downfall of this thing I love. But maybe it'll just be different. But Ben Affleck offered a slightly more optimistic counterpoint. Affleck cited the success of projects like _Adolescence_ that defied these "rules" with long shots, quiet moments, and complex plotting—as proof that audiences still crave high-quality, uncompromising cinema. Affleck’s stance is that creators should still strive to make the "best sh*t you can," believing that true quality will always find an audience, regardless of the platform. And that made me want to keep working and to adapt to this new way of life. ### The Bottom Line As filmmakers, we have to navigate the balance between artistic integrity and the data-driven demands of engagement. The "short attention span" era is no longer just a trend; it’s the new blueprint for Hollywood’s biggest productions. So, how do you combat this with quality? Let me know what you think in the comments.

****What is the cost of progress? For some, it means sacrificing everything — including your life. If you're looking for a way to celebrate the work of the great Dr. Martin Luther King Jr., as well as the myriad other inspiring figures during that time, why not have an epic marathon of civil rights movies? We've put together a list of classic features as well as moving documentaries for you to take a look at. Let's go! ### 'Selma' Directed by Ava DuVernay, _Selma_ takes us through the iconic marches from Selma to Montgomery led by MLK and directed by civil rights leader James Bevel to protest against voting discrimination. These marches managed to put enough pressure on Congress and President Lyndon Johnson that the Voting Rights Act was signed into law that year, so suffice it to say that DuVernay picked one of the most consequential moments in civil rights history to make a movie about. ### 'Malcolm X' You can't talk about Martin Luther King Jr. without talking about Malcolm X. Directed by Spike Lee, _Malcolm X_ depicts some of the most pivotal moments in one of the most famous figures in the civil rights movement. ### 'Judas and the Black Messiah' Director Shaka King really knows how to sow tension and distrust on the big screen—and _Judas and the Black Messiah_ is 126 minutes of nothing _but_ that. This biopic follows Fred Hampton, chair of the Illinois chapter of the Black Panther Party before his death, as he is sold out to the FBI by informant William O'Neil after he infiltrates the Illinois BPP. __ I love LaKeith Stanfield but I had a _really_ hard time loving him after watching this, to be honest. ### '​'Mississippi Burning' Alan Parker's crime thriller, titled after the codename given to the FBI investigation, tells the heartbreaking story of the murders of civil rights workers Andrew Goodman, James Chaney, and Michael Schwerner at the hands of the Ku Klux Klan. ### ''One Night in Miami' What would happen if you got Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke all in a room together? You'd get _One Night in Miami_ , Regina King's feature debut as director. The film is a fictional rendering of an actual meeting between the four friends on February 25, 1964, in which they discuss the civil rights movement, freedom, and loyalty. ### 'Rustin' Produced by Higher Ground (Barack and Michelle Obama's production company), _Rustin_ tells the story of Bayard Rustin, a civil rights activist who helped organize MLK's famous March on Washington in 1963. This movie is energetic, uplifting, and witty as hell. ### 'Till' Yeah, if you just want to get absolutely emotionally wrecked, director Chinonye Chukwu's _Till_ will do the job. The film tells the infamous true story of Mamie Till, the mother of Emmett Till, as she seeks justice for her 14-year-old son's brutal murder and kidnapping.__ ### 'Harriet' Directed by Kasi Lemmons, _Harriet_ takes us on one of the most epic journeys with _the_ Harriet Tubman as she escapes from her own shackles to guide hundreds of slaves to freedom through the Underground Railroad. ### 'To Kill a Mockingbird' Though this classic story took place decades before MLK made his mark on the world, the systems of oppression that plagued the South in the 1920s were the same ones civil rights activists were up against forty years later. ### 'Fences' Denzel Washington directs and stars in this searing story about a 1950s family man whose bitterness leaves him isolated and rejected by the ones he loves the most. It's a testament to the lasting effects of racial injustice and persecution—anger and resentment that only appear skin deep, while the pain infects deep beneath the surface. ### 'Loving' _Loving,_ directed by Jeff Nicholas, tells the true story of Richard and Mildred Loving, who were criminally charged with interracial marriage in 1959. The two, with the help of the ACLU, sued and took the fight all the way to the Supreme Court, resulting in the landmark decision Loving v. Virginia, which ruled laws banning interracial marriages to be unconstitutional. ### In the Mood for a Civil Rights Documentary Instead? Ooooh, I gotchu. Here's a quick list of some of my favorite documentaries about civil rights. **_I Am Not Your Negro_** James Baldwin's words have never sounded more powerful. **_MLK/FBI_** This doc digs into the government's involvement in MLK's assassination. **_John Lewis: Good Trouble_** We miss him big time and the good trouble he made in the civil rights movement _and_ __ in Congress. **_13th_** Ava DuVernay left NO CRUMBS with this banger about how the prison industrial complex affects the black community.__ **_4 Little Girls_** Spike Lee's chilling doc about the infamous 16th Street Baptist Church bombing that resulted in the deaths of four young girls at the hands of the KKK. **_Stamped from the Beginning_** This is a beautiful doc based on Ibram X. Kendi's book of the same name that explores how racist ideas have been perpetuated in the U.S. **_Summer of Soul_** What was the biggest musical event in 1969? You probably said Woodstock, but Questlove's doc tells the story of the Harlem Cultural Festival, which took place at the same time as Woodstock but is rarely talked about despite having acts like Stevie Wonder, Gladys Knight and the Pips, and Nina Simone. What titles would you add to my list of civil rights movies?

We just talked about book publishing trends screenwriters should note, and one was the idea that openly marketing yourself as a human (rather than AI) writer would be a way to stand out from the crowd. Well, there's one potential way to certify that now, and it's Verify My Writing. Last week, Verify My Writing announced a partnership with the International Screenwriters' Association (ISA) to provide scanning and verification services to the group. ISA will use VMW’s services internally and provide discounted certifications to its members. “It’s become more and more essential that leaders in the creative arts industries be able to find and verify work that is created by humans,” Derek Newton, VMW founder, said in a statement. “The ISA has been a leader in nurturing and elevating authentic voices through on-screen storytelling, and we are delighted to partner with them in meeting this important mission." Craig James Pietrowiak, Founder of the International Screenwriters’ Association, said in the statement: "Screenwriting is deeply personal work, and our mission at the ISA has always been to honor the writer while helping their story find the right home. Verify My Writing gives producers and studios confidence that they’re investing in a truly original human voice." Credit: Verify My Writing ## What Is Verify My Writing? It's no secret that many people are using artificial intelligence as a shortcut in creative workflows, whether that's in the visual arts with tools like Midjourney or in video with Sora or Nano Banana Pro. AI is also often used to generate screenplay coverage—and, sometimes, the screenplays themselves. With LLMs operating as amalgamations of written works that churn out approximations of "new" creative content, many concerns about a lack of originality, if not outright plagiarism, have plagued AI content generation from the beginning. So even if the aforementioned "human-first writer" marketing angle isn't your goal, a tool like this might give readers confidence that the writing is wholly original. To get a coveted "human" authenticity certificate like the one above, writers submit their work for verification on the site. The checker will flag writing from LLMs like Claude and ChatGPT, as well as text that has been edited after being generated by an LLM (the FAQs don't clarify how). Text that has been edited and corrected heavily via a suggestion tool or software (we assume something like Grammarly) "may" be detected. When your work is certified as human, that verification can be viewed by "editors, agents, publishers, producers, and the public" if you choose, per the site. You might wonder about false positives. After all, there are plenty of people online who purport that every em dash comes from ChatGPT—not so. (I mourn you, beloved em dash.) But according to VMW, "Good AI alert systems are highly accurate. The one in VMW has been proven to be the best, most reliable, and accurate system on the market—established by five independent, university-run research studies. The system we use has an inaccuracy rate of one in 10,000 at the paragraph level—that’s 99.9999%." Uploaded materials will not be used in AI training and are visible only to the uploader and the site admin, VMW states. The International Screenwriters' Association was founded in 2008 and boasts more than 160,000 writers and industry professionals.

Every time there's a new _Game of Thrones_ show, I rejoice because I think it has the best production value on TV. They spend so much money making these shows look amazing, and that helps when I want to disappear in Westeros. With HBO’s newest series, _A Knight of the Seven Kingdoms_ , we are invited to see the Seven Kingdoms from the ground up. The show is based on George R.R. Martin’s beloved Dunk and Egg novellas. This new chapter takes place roughly 90 to 100 years after the events of _House of the Dragon_ and a century before the start of _Game of Thrones_. It is a time when dragons have passed into memory, and the realm is, for the moment, at peace. They just released an amazing behind-the-scenes look at how they make the magic. Let's dive in. - YouTubewww.youtube.com * * * ## A Tale of Two Characters While other iterations of _Game of Thrones_ are about aristocracy and what it's like to rule, this is a show about the subjects of a kingdom and their adventures. The show's creators emphasize that while _Game of Thrones_ focused on kings and queens, this series focuses on the "grungier" reality of life in Westeros. At its heart, the series is a "sweet but gritty" story centered on two unlikely companions who are just guys trying to survive. * **Sir Duncan the Tall (Dunk):** A newly knighted "hedge knight" who comes from nothing and is struggling to find his way to a tournament at Ashford Meadow. * **Egg:** A young, mysterious boy who becomes Dunk's squire. ## Casting the Legend Finding the right actors to portray such iconic characters was the production's biggest challenge. I can't imagine what it's like to get actors to hold up the weight of being a part of one of the most popular franchises of all time. * **Peter Claffey as Dunk:** An ex-professional rugby player, Claffey brings an "incredibly charming" energy and a team-first mentality to the role. He even admitted to being so nervous during the audition process that he "puked everywhere" in the production office—a vulnerability the directors felt perfectly captured Dunk's own anxiety. * **Dexter Sol Ansell as Egg:** Dexter charmed the casting team with his personality (and his opinions on McDonald’s pickles). Per George R.R. Martin’s strict "no bald caps" rule, Dexter fully committed to the role by shaving his head for real. ## Building a Practical Westeros This is why these shows tand out to me, even in a world with a lot of effects, they are still committed to having practical parts to enhance the reality. One of the most exciting aspects for fans is the show’s commitment to practical effects. They filmed in Belfast, the home of the original _Thrones_ crew. And the production built a massive 360-degree set for Ashford Meadow in order to make the tournament fields feel real. A massive timber bridge was built across a salmon river without any legs touching the water to protect the environment. And the tournament grounds feature incredible, glowing tents for the great houses, including the Fossaways, Tyrells, Lannisters, and a massive Baratheon tent adorned with giant stag heads. ## A Different Kind of Tone Look, this is a series that starts with a poop joke, so it was always going to be a little different than the stories we've seen in this world. The series maintains the "grit and earthiness" of its predecessors, but it introduces a sense of humor and absurdity that is kind of wild. The first episode concludes with Dunk and Egg staring up at a shooting star, and it's very sweet. These are two people who are small in standing but might matter. ## Summing It All Up This show offers a fresh, honest POV into the world of Westeros and a world that's really fun to check out from a different side. Whether you’re a die-hard scholar of George R.R. Martin’s lore or a newcomer, this "hedge knight's tale" is looking like a journey worth taking. Let me know what you think in the comments.

Similar to any other area of filmmaking (or other creative projects), it’s always a balancing act between finding power and control. We’ll also add price to this Venn diagram, as that will quickly become a factor too. However, we have to commend the brands that try to offer the best of all sectors, and that’s what Godox is chasing with these new high-output LED panels. The company has introduced the new KNOWLED P600R Hard P4 and the P1200R Hard P8 as options that aim to provide both power and pixel control. Let’s take a look to see if these LED panels could be nice options for your next projects. * * * ### Godox KNOWLED P600R Hard P4 RGB LED Light Panel Let’s look at the Godox KNOWLED P600R Hard P4 RGB LED Light Panel first, which is available with a new travel kit option. Released as a four-pixel, 700W full-color, all-weather fixture that aims to be capable of withstanding the most demanding filming conditions, this new P600R Hard P4 shares many characteristics of its previous P600R Hard Pro version, as it delivers high output in a compact body, but here users will find other elements, such as pixel control and Ethernet support. The ideal user for this P600R Hard P4 will be those looking for cinematic lighting options for larger studios, as theP600R Hard P4's LED system produces a wash of extremely bright light with RGB settings. This P4 model will still have the same wide 1800 to 10,000K CCT range as the previous P600R Hard Pro, and a high IP65 rating to withstand wet weather conditions. However, this kit will stand out as it includes a case that facilitates storage and transportation. ### Price and Availability We’ll have more details on the P1200R Hard P8 in the future, but for now, if you’re interested in the Godox KNOWLED P600R Hard P4 RGB LED Light Panel (Travel Kit) mentioned above, here are the full specs and purchase options. * For Studio & Film/TV Production * Output: 73,200 Lux at 3.3' (5600K) * 1800-10,000K CCT; RGB Color Control * 4 Pixels, 17 FX & GM Shift * 17 x 15" Panel | AC Power * CRI 96 | TLCI 98 * Onboard, DMX/RDM, CRMX & App Control * Art-Net/sACN Support & NFC Addition * Fan Cooling & IP65 Rating * Includes U-Bracket & AC Power Cord ### Godox KNOWLED P600R Hard P4 RGB LED Light Panel (Travel Kit) **Godox** launches the **KNOWLED P600R Hard P4 RGB LED Light Panel Travel Kit** as a four-pixel, 700W full-color, all-weather fixture that withstands the most demanding filming conditions.

Whether you’ve just recently purchased a Panasonic LUMIX camera for the first time or if you need a quicker refresher in case you’ve been away for a bit, LUMIX USA has put out the first episode in a three-part series devoted to covering the basic functionalities, settings, and controls found in LUMIX cameras. This first episode is well over an hour and goes over a huge range of details and insights, exploring everything you need to know to go “back to the basics” with LUMIX cameras. Let’s check out this first episode and preview what’s to come with the rest of this helpful new series. * * * ### LUMIX Back to Basics Part One Released on the official _LUMIX USA_ YouTube channel, this Back to Basics is a new series that covers the basic functionalities, settings, and controls found in LUMIX cameras. This first video, featured above, is about an hour and a half long and goes over the general info you need to know about camera controls and settings. This includes, but is not limited to, discussions on the monitor and EVF settings, shortcuts for various tools, menu configurations and customizations, power saving settings, playback settings, function button configurations, and Real Time LUTs. The rest of the series is set to drop over the next couple of weeks and will cover the following: * Week 2: Photography Specific Settings — High Resolution Shot, Live View Composite, Burst mode selections, Exposure tools, Stills framing and exposure tools, Dual Native ISO settings, Image format selections, Crop Zoom / Hybrid Zoom. * Week 3: Video Specific Settings — Framerates, Resolutions, Proxy Settings, Color profiles, Crop Zoom / Hybrid Zoom, Image Stabilization, Anamorphic Settings, Focus Transition, Live Cropping, Dual Native ISO Settings, and Audio Settings (32bit Float). You can follow along and find more info on the _LUMIX USA channel here_.

__It feels like every week I read an article or see some tweet espousing the "existential dread" of an AI takeover. Andthat always frustrates me because I haven't seen much that proves AI can write or direct, or do anything but maybe help with visuals or a pitch deck. Anyway, I'm not the only skeptic. Ben Affleck and Matt Damon offered a grounded perspective on AI during a recent sit-down on _The Joe Rogan Experience._ Let's dive in. - YouTubewww.youtube.com * * * ## The "Mean" Problem: Why AI Writing is "Sh*tty" One of the things I love about long-form podcasts is that they get people to open up and have a conversation. And usually it's a pretty honest one. Hearing Damon and Affleck be honest about AI made me very happy. Affleck doesn’t mince words when it comes to current AI. He thinks tools like ChatGPT or Gemini are impressive, but Affleck argues that by their very nature, they trend toward "the mean", which is just the average. AI cannot excel at anything because its whole model is being basic. Great art exists at the edges. It’s specific, weird, and unpredictable. AI generates what is most _likely_ to come next based on a massive dataset, which makes it a useful assistant for logistics (like drafting a letter or setting up a scene structure), but fundamentally incapable of writing anything truly meaningful. ### Lived Experience vs. Algorithms Here's another thing AI cannot do: it has no life and no past. Damon talks about how this comes into play in Dwayne Johnson's great performance in _The Smashing Machine_. Damon recounts a powerful scene where Johnson’s character, suffering from an overdose, pulls a hospital sheet over his head. It's a moment that felt so raw and real, it left Damon in tears. When he asked Johnson how the scene came to be, the actor explained it was a fusion of two traumatic memories: his father’s struggles with substance abuse and the way his mother pulled a sheet over her head when diagnosed with stage three lung cancer. AI can't make that kind of stuff up because it has no life. "No fu**ing AI can do that," Affleck said. An AI can map a face and make it photorealistic, but it cannot reach into a "lived human experience" to create a performance that resonates with a stranger in a dark theater. 'The Smashing Machine' Credit: A24 ### AI as a "Visual Effects Tool" Here's where Affleck and Damon think AI might excel. Instead of replacing actors, Affleck sees AI evolving similarly to electricity or modern VFX. They point out that Hollywood has been "tiling" extras and using digital crowd-generation for years, from the orcs in _The Lord of the Rings_ to the stadium in _Invictus_. This is just a step forward in doing that, one that needs to be regulated and watched, but that's about it. There are positive uses for it. For example, instead of flying a crew to the North Pole, actors can perform in a studio while AI renders a hyper-realistic Arctic environment. That would allow the team to focus on the performance rather than the freezing temperatures. But it's not coming for the jobs any time soon. ### The Plateau of the "Two-Year Revolution" This was where I really felt like Affleck started cooking. Affleck addressed the tech industry's rhetoric, suggesting that much of the "AI will change everything in two years" narrative is driven by companies trying to justify massive valuations and capital expenditures. He talked about how the massive leap in quality seen between early models is already starting to level off. Getting a model to be 25% better now costs significantly more in electricity and data, suggesting that the "exponential growth" may be hitting a plateau of diminishing returns. These returns have not been what's promised, and they've been so prohibitively expensive that we're not seeing any great leaps any time soon. ## Summing It All Up When it comes down to it, I think Matt Damon summed it up the best. Audiences crave "real things made by real people". Much like how we value a handmade table over a factory-produced one, we will continue to value the quivering lip of a real actress like Claire Danes or the authentic tears of a performer drawing from their own life. AI is a tool to handle the "drudgery" of production, but it will never be the artist. Let me know what you think in the comments.

While it seems like most generative AI models have hit a level that we won’t call stagnation, but do appear to be somewhat at a plateau of sorts, major tech companies like Google are still putting out announcements highlighting the improvements these models are seeing with the most recent updates. The latest example of this is Veo 3.1, which gets new "ingredients to video” as part of a new update that aims to add more consistency, creativity, and control to the AI video model. Without casting judgment, something we’ll leave to you to do if you feel so inclined, let’s take a look at the new improvements to Veo 3.1, which have been shared online and with some video examples. * * * ### Google Veo 3.1 AI Video Model Update Announced on _Google’s blog_, Veo 3.1 Ingredients to Video is adding new capabilities to let users create videos based on reference images, as well as overall make videos more expressive and creative, even with simple prompts. The other notable news in this update is that Veo 3.1 will now feature native vertical outputs for Ingredients to Video (portrait mode) to help out those looking to create AI content for mobile-first, short-form video platforms. As part of this update, Veo will now offer new state-of-the-art upscaling to 1080p and 4K video resolutions and more support for high-fidelity production workflows. ### Issues, Concerns, and Improvements As we’ve seen with the rampant rise of generative AI video models over the past few years, the same issues and concerns remain. Unlike non-generative AI tools and features (which aim to improve and speed up workflows), Veo is a generative AI model that can be used to create videos based on simple prompts. However, even by the company’s own standards and admissions, there are still issues with maintaining identity consistency for characters through multiple prompts and scenes. Something that Google has addressed in Veo 3.1, but appears to still remain one of the most critical issues limiting larger adoption. Still, as far as improvements go, Veo 3.1 is getting much better with its identity consistency as well as how it achieves background and object consistency, and its ability to seamlessly blend texture, characters, and objects into backgrounds. ### Keep Tabs Today If generative AI is something that you’re at all interested in, even just to keep tabs on to see how these technologies are developing, any interested users can check out Veo 3.1 Ingredients to Video directly in the _YouTube Shorts and the YouTube Create app_, as well as access it in Google’s Gemini app.

Look, when TV takes chances, when TV makes bold moves, it's a great thing for the medium. That's how we get great scenes, episodes, and series. And it's what made the whole _Game of Thrones_ universe so fun to watch. It feels like anything could happen at any time. That sentiment has carried to the spinoffs _House of the Dragon_ and now _A Knight of the Seven Kingdoms_. But at what cost? In the opening five minutes of _A Knight of the Seven Kingdoms,_ we meet a charming knight who buries his mentor and decides to take up his armor to join a tournament. And then, for kind of no reason at all, we see him watch a bird on a tree while using the bathroom, and then we cut to a wide shot where we see him take a very graphic crap, completely with poop flying out of his butt. For the first time while watching TV, I was legitimately shocked. and not just because that whole moment was scored by the original _Game of Thrones_ theme. Mostly because I have no idea what the shot was saying, or how it fit into the otherwise charming idea of a knight stepping into his own power and daring to be something more. Lucky for me, George R.R. Martin spoke with The Hollywood Reporter this week, along with the show's creator, Ira Parker, and they talked about the poop and much more. Let's dive in. - YouTubewww.youtube.com * * * ## The Poop That Set The Tone George R.R. Martin addressed the bathroom break heard around the world by saying, “Yeah, that was a bit of a surprise...Not to say that my characters don’t take shits, but I normally don’t write about them at any length. When I saw the rough cut, I wrote, ‘What is this? Where did this come from? I don’t know if we really need the shit.’ But [showrunner Ira Parker] liked it for whatever reason.” Parker had a much more story-based answer when THR approached him about the bathroom scene. He said, “So in the script it reads, ‘Duncan hears the hero theme in his head’ — which wasn’t necessarily going to be the _Thrones_ theme at that moment,” Parker continued, “He was going to hear that call to greatness that we all hear that when we decide we’re going to do something really difficult that we’ve never done before. It’s a little scary, and you feel like, ‘Okay, I’m gonna be the guy. I’m gonna do it!’ He picks up the sword. He’s thinking about it.” And then comes the juxtaposition. Parker elaborates, “But then the reality of doing this, how difficult it is, how scary it is — that turns his guts to water. Because he’s _not_ a hero yet, you know? All we’re trying to say here is that Dunk is not a hero yet. He’s just a nervy kid with a nervous stomach — just like me. And as badly as you want to do something great, as soon as you actually have to go off and do it, it becomes trickier. And that’s what the whole season is for him.” Here's the thing: all of that makes perfect sense. And in a world that lets you push the envelope, I can see why they chose to then manifest it as an irreverent, "This is not your typical Knight" sentiment. And I got that while watching the scene. I think it was just the extra cut of going wide that made it feel possibly too much. I actually think going too far is good. It means the show is willing to try different things and to do different things. That's exciting to me. It means it's not just going to rest on its famous laurels and tell a boring story; it's going to try to entertain and push us. That kind of push is what keeps me coming back to TV and movies where people take big swings; it means they care, and it means they're passionate about their story. Even if I don't love seeing that knight do his business, I love anyone who's willing to roll the dice on showing it. Let me know what you think in the comments.

I don't know about you, but I'm the kind of person who always veers straight to concessions after arriving at my local AMC. I'd readily tell you that movie theater popcorn is one of my favorite foods. I have an almost Pavlovian response to hearing the Universal or Columbia Pictures fanfares—I can taste that movie theater butter just thinking about it. But why and how did popcorn become synonymous with the movie-going experience? Today, National Popcorn Day, seems like the right time to explore why. It turns out, the pairing wasn't as ubiquitous as we always thought. - YouTube www.youtube.com ## Theaters Wanted Nothing to Do with Popcorn Originally, popcorn was popular on its own. Of course, it was delicious, but it was also easy to make and mobile, because by the late 1800s, C. Cretors & Company had built a mobile popcorn-popping cart based on a previous design of a peanut roaster. Theaters of the period didn't want people smacking on a crunchy food in their fancy picture houses. They wanted to be distinguished environments, almost like the opera. Plus, during the silent film era, the sounds would have been distracting. "Movie theaters wanted nothing to do with popcorn," Andrew Smith, author of _Popped Culture: A Social History of Popcorn_ , told Smithsonian Magazine. "Because they were trying to duplicate what was done in real theaters. They had beautiful carpets and rugs and didn't want popcorn being ground into it." Credit: Corina Rainer/Unsplash ## The Rise of Movie Popcorn Many point to the Great Depression as the turning point for popcorn at the movies. A bag of popcorn ran you 5 to 10 cents, money people were willing to spend. So the snack was cheap, and more and more people were going to the movies as an escape, so theater owners finally embraced it. As a bonus, the kernels were shelf-stable for years. Initially, owners found themselves competing with those street vendors. Some theaters even asked that patrons check their popcorn at the door with their coats, according to Popped Republic. (If you know anything about movie theater rules, people found ways to break them.) Street vendors were initially allowed into lobbies to sell to patrons. Theaters started leasing lobby space to popcorn vendors for a daily fee. One early entrepreneur, Julia Braden of Kansas City, got rich setting up stands in theater lobbies, reportedly pulling in over $14,000 a year by 1931 (via The New York Times). Soon enough, theaters started running their own concession stands. According to Smith, theaters that embraced popcorn sales typically survived the Depression, while those that resisted often went under. World War II ensured the continued rise of popcorn. Rationing meant candy was scarce, but popcorn stayed cheap and plentiful. By 1945, over half the popcorn consumed in America was eaten at movie theaters. ## Movie Popcorn Today You probably already know that theaters still make a bulk of their revenue via concessions. That's why it's so expensive. According to the University of Chicago, theaters "only keep 10-40% of ticket revenue; the rest goes to movie studios. Concessions are where they earn most of their profit—often 85% or more on items like popcorn and soda." Theaters need those margins to survive, especially as they compete with streaming services and home viewing options. The next time you grab popcorn at the movies, you're participating in a tradition born from economic necessity that became one of cinema's biggest rituals. Sometimes the best parts of the movie-going experience aren't only what's on screen. If you're not swinging by a theater today, check out how to make movie theater popcorn at home.

What began as a largely synth-driven, hybrid score for Epic Pictures’ new sci-fi film, __Space/Time__ , took an unexpected turn late in the filmmaking process when a rare opportunity arose: the chance to record with a full orchestra. For any composer working on an indie project, this is the equivalent of hitting the lottery—an offer impossible to pass up. With much of the music already written and the realities of indie schedules closing in, composer Adrian Diery was suddenly tasked with rethinking and reshaping the entire score in a matter of weeks. Electronic textures and thematic sketches had to be translated into orchestral language, all while the film itself continued to evolve in the edit. Diery says, “From the moment that the orchestra became a reality, I had to pivot hard to rewrite the entire score. I vividly remember the call from Michael, he said something like “I have good news and bad news, the good news is the Melbourne Symphony Orchestra are onboard to record, the bad news is you have 7 weeks”.” The end result is a score Diery is incredibly proud of, along with a wealth of lessons he’ll carry into future projects. In the below exclusive interview, Diery reflects on the creative pivot he made, the logistical challenges of preparing nearly feature-length music for live players, and how the process ultimately reshaped not just the sound of __Space/Time__ , but his approach to scoring films altogether. __Space/Time__ is available now on _VOD_. You can also listen to Diery’s score for __Space/Time__ _here_. - YouTubewww.youtube.com * * * **No Film School:**_**_Space/Time_**_**plays with big conceptual ideas while staying grounded emotionally. When you first read the script, what musical problems immediately jumped out at you as a composer?** **Adrian Diery:** What jumped out at me as I was reading the script was the range of the narrative material. This was a sci-fi, but it wasn't a gritty, grey-scale kind of sci-fi; there was significant character depth, romance, and a natural humour as well. Michael, the director, had envisaged the score being heavily thematic to accompany the colourful approach to the narrative. Weaving a cohesive musical tapestry to accompany the light and shade of the film was going to be a fun challenge. **NFS: Process-wise, what was your earliest musical entry point for the film? Did you start with themes, textures, or experimentation before locking into a palette?** **AD:** I started with themes, or leitmotifs; the melodic passages aren't too long or complex. My entry point into the film was identifying a contrasting leitmotif for the engine element and the duality of its purpose in the film. When I had a thematic sketch, I could then play with its harmonic and rhythmic framing to alter it as the story required. **NFS: Sci-fi scores often lean heavily on synths, but** _**_Space/Time_**_**feels more hybrid. How did you decide on the balance between electronic and organic elements in the score?** ****AD** :** Initially, we talked about a more synth-heavy approach before contracting an orchestra was a reality. The plan was to use soloists to augment a primarily synth-based score. Once the decision was made to go with a mainly orchestral score, Michael and I set up some guiding principles; character moments would be primarily organic, the engine and time travel would feature electronic elements (synths, heavier percussion, processed textures). Of course, you can blur those lines once you get down into the weeds, but it's really useful to have some guideposts at the outset. We held off on going too heavy on the electronic elements until later in the film. There's a particular moment that really announces the turn in the score in the third act. Adrian Diery at the Piano Credit: Projection PR **NFS: Can you talk about your collaboration with director Michael O’Halloran? How early were you brought on, and how did that timing shape the final score?** ****AD** :** Michael and I had previously collaborated on short films and commercial work, and I was brought on to __Space/Time__ incredibly early. Michael and Adam showed me a completed script around six months before principal photography to gauge my interest in the project. By the time pre-production meetings were taking place, I had sketched a few themes and ideas with synths, electronic percussive elements, and a few solo acoustic instruments carrying the melodic content. I played some of these ideas at an early pre-production meeting for the Heads of Department, and the VFX Supervisor was an early fan. At that stage, we were still thinking the score would be more heavily synth-based with soloists. So coming on that early helped me get a sense of the production and maybe try out ideas that weren't quite right. But very little of that early work made it to the final score. **NFS:**_**_Space/Time_**_**has an orchestral score performed by the Melbourne Symphony Orchestra. Can you tell us how this came about? It’s pretty rare for an indie film to get a full orchestral score.** ****AD** :** We had talked about how great it would be to have an orchestral score, but knew it was a distant prospect. Michael had a contact, Karen Soennichsen, who worked with another orchestra in Australia. We thought once the time was right, we could ask her to put us in contact with some of the soloists we would need to complete the synth-based score. But what ended up happening was Karen took a job with the Melbourne Symphony Orchestra; Michael and I caught up with her on a trip to Melbourne, and she casually mentioned Andrew Pogson, who was in charge of special projects with the orchestra. That really set the wheels in motion. That night in his hotel room, Michael put together a pitch to send through to Andrew, really just to gauge possibilities. It was a really impressive folio. At that time, we did not know that Andrew created and hosted a film score podcast, “Art of the Score”, which has since become a successful concert series. He immediately appreciated what we were trying to do with the film and the score. In between long conversations about John Williams and film music, he and Michael worked out a scenario that could be affordable. The next piece of the puzzle was solved by one of our producers, Jai Hogg. I don't know how, maybe I don't want to know, but he secured the investment, which paid for the score recording. **NFS: Time and perception are central to the film. Did those themes influence the way you approached rhythm, repetition, or structure in the music?** ****AD** :** A lot of best intentions were quickly discarded during the re-editing process, but ultimately, for this film, and the type of film we were aiming for, the score was serving the emotional aspect of the film, while the conceptual elements were largely the domain of the sound design. You can start out with a lot of conceptual ideas, and it can be cool and exciting to attempt to translate those ideas into music. Michael and I talked about perhaps processing the music, stretching and distorting it during the time jumps, but when we got past the initial excitement of the idea, we realised it clearly didn't make sense to treat the non-diegetic score diegetically. I definitely learned a lot during the writing, recording, and re-editing of the score, which I will take with me into future projects. **NFS: From a technical standpoint, what tools or workflows were essential for you on this project—DAWs, synths, sample libraries, or custom sound design?** ****AD** :** The score preparation workflow was perhaps the most essential, and the most human. Working with a live orchestra means the musicians need sheets of music to read. I had an incredible music preparation team, many of whom were doing this job for the first time, but overseeing it all was Richard Grantham, who has an incredible knowledge of orchestral music and score preparation. I wrote, arranged, and produced mockups of each cue in Cubase. Once a cue was approved by the director, it could be exported as musicXML to begin score preparation. Sheet music was prepared in Finale and Dorico. Richard would prepare the conductor's score, send it back to me for review, and I might have had time to make tiny adjustments, but usually I was marking up dynamics and double-checking tempo and trusting Richard's judgment if I had messed up a chord voicing. From there, the conductor score was split into individual parts, which were prepared by several people. As each cue's score and parts were finished, they were collated and forwarded onto the orchestra. The orchestra performance was recorded into Pro Tools at ABC studios by the in-house engineers. Once again, the human element was the most essential. I did not know how to record a 60-piece orchestra, but Alex Stinson does, and he's very good at it. Nick Mierisch was the Pro Tools engineer. He had a very slick workflow and template; each cue was recorded into its own session, which Nick had prepped and could have up and running in seconds. Brett Kelly conducted the score; he's conducted so many film scores that his experience was invaluable. Once again, the human element, someone who could communicate the score to the orchestra and get through the mountain of music I had written. I edited and mixed the cues in 5.1 surround using Nuendo and supplied stems to the film's music mixer, Sam Lowe, who used Pro Tools to create the Dolby Atmos mix for cinema. I created a few custom sounds for the score. One cool sound that enters in the final act of the film is the sound of a Vietnamese Dan Bau, which is a single-string instrument played by plucking and stopping the string at the natural harmonic nodes. In the context of the score, it sounds like a lead synth, but it has an organic attack and sustain, which sets it apart. Another bespoke texture I used regularly throughout the film is based on a sample of a bandmate playing guitar with tremolo picking. It created this nice blurry organic texture which helped to bed some cues and didn't sound like an orchestral element or a synth. The Melbourne Orchestra Credit: Projection PR **NFS: Budget and schedule realities are always part of indie filmmaking. How did those constraints affect your creative decisions on** _**_Space/Time_**_**?** ****AD** :** Usually, music is one of the last elements, but part of the deal of securing the orchestra at a price we could afford was that we were locked into a limited number of recording calls and set dates that were well before visual FX were completed. I think this led to writing some music that ended up doing more than it needed to do in some sequences, and ultimately, it gave way to sound design. From the moment that the orchestra became a reality, I had to pivot hard to rewrite the entire score. I vividly remember the call from Michael, he said something like “I have good news and bad news, the good news is MSO is onboard to record, the bad news is you have 7 weeks”. I wrote around 93 minutes of music, of which 77 minutes ended up in the final film. Some of that time would be needed to prep the sheet music, and we went right down to the line, delivering the manuscripts to the orchestra librarian. There were many cues that were 1st or 2nd drafts; a few very important cues got a lot more attention, but there wasn't much time. A larger issue arose when the film went through a major re-edit well after the final recording session. We couldn't record any more orchestral material. So I had to get creative with how cues were edited and repurposed. This scenario is unique to __Space/Time__ ; it happens quite often on really big films with significant budgets, so that helped to console me as I went about cutting and rearranging cues to fit new shapes they weren't designed to fit. **NFS: For composers trying to break into sci-fi or genre films, what skills do you think are most important to develop beyond just writing strong music?** ****AD** :** There are the general skills of learning how to talk with and to directors/producers who don't have much musical language. Remember that it's a collaboration, you're working in the service of the film and the filmmaker's vision. If you are wanting to work with orchestras and live musicians, it's invaluable to learn some music engraving and understand the physicality of the instruments you are writing for. Meet musicians who know their instruments and with whom you can collaborate. Specifically for genre films and sci-fi, I guess they are meant to be fun; keeping that in mind at all times is important. Music can be a lot of things, and it's allowed to be fun in line with what the film needs. Don't take yourself too seriously. If it feels right, it's right. Also, some wisdom I saw in an interview with Skip Lievsay, he was talking about the final mix, but it's applicable to composing as well. Often by the time the film is at the mixing stage, the filmmaker is in quite a vulnerable state, and half your job is reassuring them. 'Space/Time'Credit: Socrates Films **NFS: Looking back, is there a cue or moment in** _**_Space/Time_**_**that best represents what you were trying to achieve with the score as a whole?** ****AD** :** __The Guy From Last Year__ is a really good example of the orchestral style I was trying to achieve; it's lush, and it has moments of playfulness, darkness, and boldness. There is a fanfare moment in this cue I'm quite happy with; it reminds me of that John Williams quote of maybe being happy with his writing in a few bars here or there. The orchestra really responded to that moment as well, the brass section really shine, and there's a call and response between the brass and strings with winds. __Liv With This Decision__ is a good example of a more contemporary treatment. The cue is focused on a soloist playing one of the motifs associated with Liv. I processed the orchestral backing and then slowly brought in the unfiltered orchestra under the solo melody. __This Is The Solution,__ I think I almost got it right. Hugh, the actor who plays Holt, gave us an incredible performance. Illustrating the stakes of what his character is describing in that moment was a great challenge. It reaches almost operatic heights after some snaky twists and turns.

Trust us when we say this, audio will make or break your projects. Well, maybe not literally break your projects. But not recording quality audio can sure make your life much more miserable when you sit down to edit. Luckily, there are a ton of great audio solutions available for those working in film and video content. For our latest "_Deals of the Week_" roundup, we're looking specifically at several options from DJI. The DJI Mic is a popular wireless audio system that can be the perfect investment for small video crews or indie filmmakers looking to record audio for their films and video projects. These DJI Mic options are also on sale and capable of adding value. Check them out below. * DJI Mic Dual-Transmitter Compact Digital Wireless Microphone System/Recorder for Camera & Smartphone (2.4 GHz): _$179_ * DJI Mic 2 2-Person Compact Digital Wireless Microphone System/Recorder for Camera & Smartphone (2.4 GHz): _$199_ * DJI Mic 3 2-Person Compact Wireless Microphone System/Recorder for Camera & Smartphone: _$259_ __ __You can find morefilmmaking deals here. ~~~~

One of the things that I find so cool about filmmaking is that three different directors can tackle the same subject, and you can get three completely different interpretations. In the world of cinematography, color is more than just an aesthetic choice; it is a powerful tool for emotional storytelling. And you can use different colors to display different emotions, or the same emotion, depending on what you're doing with the story. Case in point, I found this awesome YouTube video where we see how different directors and cinematographers often use distinct palettes to represent the same universal human experience. Let's dive in. * * * ### The Colors Of Love I think if you had to pick a color for love off the top of your head, you'd probably choose red. But what if that doesn't fit the scheme of your movie? That's where some color theory comes into play and color palettes. Well, these three directors want to do something very different. **** ### **Purple: The Romantic Dream in _La La Land_** In Damien Chazelle’s _La La Land_ , love is often bathed in a lush, magical purple. This hue reflects the "City of Stars" atmosphere. The idea here is that purple literally blends the passion of red with the tranquility of blue in order to find a more stable kind of love, like what's being sought out in the movie. It captures the dreamlike, almost surreal quality of Seb and Mia’s romance, especially during their twilight walks and jazz club encounters. And in the end, we know that neither is the other's pruple kind of love...so it also gives them a thematic lesson. ### **Blue: The Melancholy of _500 Days of Summer_** While blue is frequently associated with sadness, in _500 Days of Summer_ , it serves as the signature color for love and obsession. Marc Webb famously used blue to draw the audience's eye toward Summer (Zooey Deschanel). We saw blue in her eyes and her wardrobe. We saw it in the bird that lands on JGL's shoulder when he's in love with her. There are lots of pops of blue. Even when his heart breaks, and he feels blue. In this context, blue represents a love that feels cool, refreshing, and yet slightly detached. It's a reflection of the projection-based feelings for Summer. ### **Yellow: The Intense Warmth of _Whiplash_** How about a love that hurts? Love doesn't always have to be between two people; it can be the love for a craft. What's fun here is that we go back to Chazelle for a different color of love. In _Whiplash_ , the screen is often saturated in a sickly, intense yellow. While the film focuses on a toxic mentorship, the yellow tones highlight the sweat, the late-night practice sessions, and the obsessive "love" Andrew has for jazz drumming. It feels warm but high-pressure, representing a love that is consuming, gritty, and physically demanding. ## Summing It All Up As these films demonstrate, there is no "correct" color for an emotion. You pick the one that fits your film and fits the kind of emotion you want from everyone. Whether it’s the whimsical purple of a musical, the focused blue of a quirky rom-com, or the harsh yellow of a psychological drama. Working with an editor and your cinematographer to color grade and to help define the specific "flavor" of love the characters are experiencing. Let me know what you think in the comments.

As a resident of Los Angeles, I am always hoping to see production come back in droves. We've seen it leave over the last ten years. Now, politicians are talking about ways to spur the economy and to get it back. But that all might be too late. According to a recent report from Variety, the post-strike rebound we were all promised in 2026 hasn’t just been slow, it’s virtually non-existent. If you’re a filmmaker living in LA, you’ve likely felt this, or at least seen it in the closures of restaurants and the absence of job listings. Maybe, like me, you're taking survival jobs just to stay afloat. Let’s look at the numbers, and then let’s talk about what this means for you. * * * ## The Numbers Are Bleak The latest FilmLA report is a sobering reality check. Production in Los Angeles is still down nearly 20% compared to its five-year average. While there was a tiny 5% bump in the fourth quarter of 2025, largely thanks to the expanded California tax credits, it hasn't been enough to stop the bleeding. And as we go into another year of guild contract negotiations, people are doing whatever they can to survive. Here’s the breakdown: * **Television is the hardest hit:** TV shoot days are down a staggering 50% from the five-year average. * **Reality TV is cratering:** Usually the "safe" bet for steady work, reality production dropped 12% in the last year alone. We see a lot of that shooting overseas. * **Feature Films:** While independent films are taking advantage of new tax incentives, big-budget studio features are increasingly looking elsewhere. ## Why Isn't LA Bouncing Back? People love to blame the strikes, but the real reason is that California was just never competitive enough with its tax incentives. Jobs moved all across America first, then overseas, and to Canada. And CA never bothered to keep up. Here are a few other big issues I see us facing: 1. **The "Hostile" Reputation:** Producers are increasingly viewing Los Angeles as a "hostile place to film." Between permit fees, "inconvenience fees" from local businesses, and the general bureaucracy, it’s becoming harder for indies to justify staying local. 2. **Global Competition:** While LA stalls, places like the UK, Georgia, and Ontario have doubled their soundstage capacity since 2020. It's cheaper, and there's more space available for less. Plus trained crews. 3. **The Incentive Gap:** Even with Governor Newsom pushing to raise the tax credit cap to $750 million, California’s 20-25% credit still struggles to compete with the 30% (or higher) offered by global rivals who don't have the same $100 million spending caps. ## What Does This Mean for You? I know what you’re thinking: _Jason, should I pack my bags?_ I'm right there with you, and I just had a kid, so I am freaking out. While I am not leaving LA, I am shifting my strategy. And I've been talking to a lot of local producers who are saying the same thing. If the "old" Hollywood of 2019 isn't coming back, you have to adapt to the 2026 version. * **Go Small or Go Home:** FilmLA is launching "low-impact permits" for small crews. This is a massive hint. If you’re waiting for a $50 million studio gig to land in your lap in Burbank, you might be waiting a while. The work that is staying in LA is lean, mean, and independent. * **Expand Your Map:** If you’re a DP or a Producer, you can’t just be "the LA person" anymore. You need to understand the tax incentives in Atlanta, Albuquerque, and London. Your value is no longer just your craft; it’s your ability to help a production survive financially. Maybe it is time to go. * **Diversify Your Skillset:** With reality TV and traditional episodic work down, the "middle class" of filmmaking is being squeezed. Now is the time to look at high-end commercial work, brand storytelling, or even the tech side of the industry (AI, virtual production, etc.) that is still centered here. ## Summing It All Up I do believe that when CA gets a new governor, they're going to have to expand on what Newsom has done to try to bring these gigs home. But that could take a while. Los Angeles will always be the heart of the industry’s creative brain, but the "factory floor" is moving. And I don't blame anyone who chases it. Let me know where you're thinking about going in the comments.

If you read this site a lot, you know my all-time favorite director is Steven Spielberg. I think he's the best to ever do it, and there are so many lessons to glean from his work. Spielberg has pretty much made every kind of movie that exists at every budget level, and while you might think you need the latest and greatest tech to keep up with him, he has other advice for you. He argues that the most expensive gear in the world can't save a weak narrative. Let's dive in. * * * ### Spielberg’s Advice for New Filmmakers ### Storytelling Over "Camera Magic" While you may want the newest Red camera or to shoot in IMAX, Spielberg emphasizes that when he evaluates student films or short films from first-time directors, he isn't looking for technical perfection. Just go work on your story and let the rest follow. Test your idea like this: * **Compelling:** Does it hold the audience's attention? * **Cohesive:** Does the narrative hold together? * **Original:** Does it offer a fresh perspective? ### It’s Okay to Be Derivative (At First) You're not going to be a genius right away. Craft takes time and hard work. Aspiring filmmakers often feel pressured to be 100% original from day one. Spielberg offers a comforting perspective: it is okay to be derivative in your early work. Imitate your heroes and pick apart how they do things. While you're learning the basics, you're going to be developing your point of view at the same time. ### Finding Your Voice Your voice is special to you. It's what you believe and what you have to say. While starting with imitation is fine, the ultimate goal is to find your own natural cadence and way of weaving a narrative. Spielberg reminds us that every person is inherently original because of their unique identity. > "Every bone in your body is an original bone... but sometimes trying to figure out how to express your own originality takes a number of years". ## Summing It All Up The takeaway for any creator is to focus on the "why" and the "what" of your story before worrying about the "how" of the camera. Your technical skills will grow with time, but your unique voice is the most valuable tool you have. Even shooting on your iPhone is fine! Let me know what you think in the comments.

We know you may not always want to rush to download the latest firmware updates for your cameras and gear these days, as there can sometimes be new issues caused by these releases. However, if you’re a Sony a7 IV owner or shooter, you might want to check this one out. This is especially true if you’ve experienced this minor bug where the camera would enter power save mode when the monitor was closed, regardless of your Power Save by Monitor settings. Let’s take a quick look at firmware update version 6.01 for the Sony a7 IV and explore how you can get your camera updated in no time. * * * ### Sony a7 IV Firmware Update 6.01 So, this firmware update is pretty much just here to fix this issue, which was reportedly happening to a small number of users who had updated to the previous 6.00 version. As is the case, these major firmware updates (like the 6.00 version) can sometimes cause new issues, which is what appears to have happened here. Luckily, companies like Sony are pretty good at correcting these corrections when needed, so this won’t be a huge deal going forward. The update basically just does one thing, which is fix an issue where products that successfully updated to Ver. 6.00 would enter power save mode when the monitor was closed, regardless of the Power Save by Monitor setting. Sony apologizes for any inconvenience this may have caused and has some easy-to-follow steps for a7 IV owners to go through to get their cameras updated and running properly. ### How to Download and Install To download and install, all you need to do is head to _Sony’s website here_. If you’re curious to check out everything else that is being added or changed with this update, here’s a full breakdown below. **Benefits and Improvements** * Fixes an issue where some products were unable to update to Ver. 6.00, as well as an issue where products that successfully updated to Ver. 6.00 would enter power save mode when the monitor was closed, regardless of the Power Save by Monitor setting. We apologize for any inconvenience this may have caused. * This update also includes the improvements that were introduced in Ver. 6.00. **Shooting and Playback Functions** * Adapts the display layout of shooting information for both horizontal and vertical viewing * Adds Spot: XL under Spot in the Focus Area menu * Adds Custom 1, Custom 2, and Custom 3 under Custom in the Focus Area menu * Adds Tracking: Spot XL, Tracking: Custom 1, Tracking: Custom 2, and Tracking: Custom 3 under Tracking in the Focus Area menu * Adds the Golden Ratio Grid option to the Grid Line Type setting menu * Adds the option to enlarge the menu screen display * Allows you to add OK/NG/KEEP flags to clips during or after movie recording * Allows the remaining capacity of both storage devices to be displayed during movie recording when using Simult. or Auto Switch Media (Relay Recording) * Displays audio levels on the screen at all times during movie recording * Adds support for the Relay Playback function * Adds a function that allows you to narrow down played-back images using multiple filters (e.g. Rating) * Allows Custom Key settings to be assigned to the AF-ON, AEL, and Delete buttons during playback * Adds support for importing/switching multiple IPTC Presets * Supports the Write Digital Signature function for movies as part of Sony's Camera Authenticity Solution * The timing for the provision of licenses (paid) to customers other than certain media outlets is yet to be determined. * Services may not be available in some countries or regions. For more information, please visit the _Authenticity Catalog Page_. * Supports Scan and Tag, Photo Cropping, and Volume Photography Commands under the Volume Photography License * Installation of a paid license is required for use. * Services may not be available in some countries or regions. **FTP Transfer and Network Functions** * Allows scheduling of FTP transfers while writing data to the camera's storage media * Allows you to automatically schedule FTP transfers of protected movies and still images * Allows you to automatically protect movies/still images transferred via FTP transfer * Allows you to transfer specific images with priority during FTP transfer * Supports the following Monitor & Control app function: * Focus map display Note: The latest version of the Monitor & Control app is necessary. The app may not be available in some countries or regions. **Others** * Improves the operational stability of the camera ### Sony a7 IV Mirrorless Camera An all-arounder that pushes beyond basic, the **Sony a7 IV** does double duty with strong stills and video performance.

A popular 75mm portrait prime lens is about to make the jump from its original Sony E-mount to some new versions for other top camera systems. The Voigtlander Portrait Heliar 75mm f/1.8 Aspherical Lens, _which we’ve covered in the past_, has proven to be a top—and fun—option for photographers, videographers, and other hybrid content creators. Featuring a unique aberration control ring that allows users to adjust for spherical aberration, which can affect the image’s overall sharpness and allow for a wide range of bokeh expressions, this is big news for Canon RF and Nikon Z shooters looking for new lenses and looking to explore in 2026. Let’s check it out. * * * ### Voigtlander Portrait Heliar 75mm f/1.8 Aspherical Lens For those looking to control their aberration and bokeh with this controllable spherical aberration feature, or just looking for a fun 75mm portrait prime to throw in their camera bags, the Voigtlander Portrait Heliar 75mm f/1.8 Aspherical Lens could be a nice option to explore. Designed to harness spherical aberration with its built-in control ring, the lens has been tailored to maximize photographic creativity when used with these camera systems. As a medium-telephoto prime, the lens has a fast, nine-blade iris with a versatile f/1.8 to f/11 aperture range, a 2.3' minimum focus distance, and contacts for the transmission of Exif data to a connected camera. When working with the aberration control ring, users can produce an image with a sharp center of focus and bokeh with a distinct, bubbly shape. You can also decide to under-correct your shots where the center of focus is softer and has slight flares at the highlights, while bokeh is rendered more gently. ### Price and Availability Overall, this is a fun lens that could be a nice option to consider not only for Sony E-mount shooters, but also now for Canon RF and Nikon Z mount as well. The new versions will be out soon, but you can check out the lens and its specs below. * Full-Frame | f/1.8 to f/11 Aperture * Fast Medium-Telephoto Prime Lens * Spherical Aberration Control Ring * 9-Blade Iris | Various Bokeh Expressions * Manual Focus Design | 2.3' Close Focus * Transmits Exif Data via Sony E Contacts * 6 Optical Elements in 3 Groups * 62mm Front Filter Thread ### Voigtlander Portrait Heliar 75mm f/1.8 Aspherical Lens Harnessing spherical aberration with its built-in control ring, the **Voigtlander Portrait Heliar 75mm f/1.8 Aspherical Lens** is designed to maximize photographic creativity when used with full-frame Sony E-mount cameras.

You might've assumed _The Holdovers_ was shot on celluloid. From the opening frames, the 2023 Best Picture nominee has that unmistakable warmth of early '70s cinema. It looks amazing, with its slight grain and vivid colors. But as Frame Voyager broke down in one of their videos, director Alexander Payne and cinematographer Eigil Bryld pulled this off entirely on digital. Shooting on an ARRI Alexa Mini, Bryld said they wanted the movie to “look like it was a movie found in the cans in someone’s garage” decades after being shot. Colorist Joe Gawler told Filmmaker Magazine went even further, saying they wanted the film to look like a “questionable release print.” They approached film emulation not by using surface-level illusions. To get their look, they had to manipulate the four fundamental pillars of film emulation—color response, grain, halation, and gate weave. If you're thinking about film emulation (and trust, we get it, because the film look is beautiful), start by learning these basics. - YouTube www.youtube.com ## Color Film stock is celluloid coated with light-sensitive emulsion. The chemicals in the stock are what give it color. Different stocks create different color signatures. Early 1970s film stock, which was dominated by Kodak's Eastman Color Negative II (5247), gave pictures warmer, more saturated colors with deep shadows, fine grain, and lower dynamic range. Bryld and Gawler created custom LUTs to replicate this digitally. Bryld told Cinematography World that modern film stocks evolved significantly after digital intermediate workflows became standard. “We shot tests on both digital and film, we even tried 16mm, but we didn’t pursue it in the end as Kodak said that, due to COVID-era logistical issues, they couldn’t guarantee us the amounts of stock we needed. And we realized that if we decide to shoot on film, we’d still have to build in a lot of the artifacts of the early ‘70s stocks in post. We would basically have to de-grain the image, then add grain again, etc., which was quite discouraging, so we abandoned the idea." To match the period aesthetic, they had to reverse-engineer those older characteristics. Per Filmmaker Magazine, the team also shot at ISO 1280, two-thirds of a stop over the Alexa's native rating, pushing them to shoot more like they would have with film stock. When you're learning cinematography fundamentals, understanding how different capture mediums respond to light is a great place to start. - YouTube www.youtube.com ## Grain Film grain makes an image look very slightly "fuzzy." It's the physical structure of silver halide crystals suspended in a stock's emulsion. Each frame shifts and moves. But digital sensors produce uniform, predictable noise that looks nothing like film grain. For _The Holdovers_ , the production employed LiveGrain, a software that generates algorithmic grain responding to the luminance and chrominance properties of each frame. According to Filmmaker Magazine, Gawler had previously used LiveGrain for Kelly Reichardt's _First Cow_. Different film stocks exhibit varying grain characteristics. Faster stocks (higher ISO) show more pronounced grain, while slower stocks appear finer. The grain structure also varies between color channels. Tools like FilmConvert offer presets for various stocks, but the _Holdovers_ custom-tuned their grain to match specific references from early 1970s cinematography. This attention to detail separates convincing emulation from something that just looks "film-ish." _The Last Detail_ Credit: Columbia Pictures ## Halation Halation gives you reddish-orange halos in footage, especially around highlights. It happens when light penetrates through the stock's emulsion layers and reflects off the film base. It bleeds back into the red layer. Dehancer explains, "Light reflected from the inner surfaces of the camera is usually filtered out from the high-frequency components (blue and green spectrum) and backlights mostly the ‘red’ emulsion layer, which is also the closest to the inner surface of the camera." This happens in-camera, not in post, so it's something you can (usually) only achieve when shooting on film. Digital sensors just can't do this in the same way. So for _The Holdovers_ , production added halation digitally in post. While some might use simple glow effects or slap on a filter, sophisticated emulation requires understanding the physics of halation. The effect should bloom from your highlights naturally. Start studying what halation looks like. Different film stocks show varying amounts of halation depending on their anti-halation layer effectiveness. _Jackie_ Credit: Fox Searchlight Pictures ## Gate Weave Gate weave refers to the slight mechanical movement of film as it travels through a camera's film gate (the rectangular opening where film gets exposed). It's basically a jitter on the image. “We added a little subtle gate weave throughout the show,” Gawler told Filmmaker Magazine. The _Holdovers_ team motion-tracked actual 35mm film and applied that data to their digital footage. Dehancer describes it as "breathing life" into digital images. FX Elements looked at gate weave from Hollywood films across different decades, finding that 1930s footage shows large jumps while 1970s footage exhibits subtler movements. _The Holdovers_ targeted this minute, 1970s level. ## Summing It All Up There are other things the team did to get that 1970s feel beyond emulation. They used snap zooms, slow cross-fades, and smart needle drops. Even the blocking of scenes and character performances call back to the era. As The Hollywood Reporter wrote, Bryld thought carefully about the meaning of 1970s cinematography—the freedom and experimentation of that era—rather than just copying its aesthetics. "I was thinking, ‘What is it that I really love about that era?'" Bryld said. "There’s a sense of a spirit of the ’70s movies—breaking away from your studios. And all the DPs of the period that I really admired would push the film stock, or they would do handheld or whatever. And then I started thinking, ‘That’s really what I should be going for.'" Understanding cinematography fundamentals is great, but you should know not just how cameras work but how different capture mediums interpret reality. What do your choices reflect in the story? What are you actually saying or referencing when you want to add grain or gate weave? Film emulation tools continue improving, but knowing _why_ film looks the way it does helps you use those tools effectively rather than just slapping on LUTs. So get planning on your next project!

Panasonic has announced that a new camera is here, but—sadly for indie filmmakers—it’s not a cinema or mirrorless camera. Instead, it might actually be one of the company’s best studio and broadcast cameras yet. Built on the same platform as the company’s previous AK-UCX100 studio camera, this new AK-UBX100 4K Multi-Purpose Camera is set to feature a 19.29MP MOS image sensor, multiple 12G-SDI and fiber outputs, and a ton of live video specs and features. Here’s everything you need to know about this new box-style Panasonic AK-UBX100 4K Multi-Purpose Camera and what it will be able to offer for your studio and broadcast needs. * * * ### The Panasonic AK-UBX100 4K Multi-Purpose Camera As is the case with most broadcast cameras, the full title and name of this camera is a mouthful. Still, while it may take a while to say, the AK-UBX100 4K HDR 12G-SDI Studio Camera from Panasonic is set to be quite capable for live video work as it will offer up to 12G-SDI output, SMPTE ST 2110 redundancy, and support for NDI and SRT. As a professional broadcast camera option, it will also feature a high 2000 TV-line, and UHD 4K resolution video at rates up to 59.94 fps, making it ideal to pair with LED walls, volume projection, sports broadcasting, and live events. The AK-UBX100 is also notable as it will be able to offer standalone operation without requiring a CCU, outputting video via its fiber optic, LAN, and 12G-SDI connectors. Meaning it could be a nice investment for teams, both big or small, depending on your needs for a camera like this. ### Price and Availability There’s a lot more to explore with this Panasonic AK-UBX100 4K Multi-Purpose Camera, however a lot of it will depend on whether you’re looking for live production and studio broadcast needs. If you are, then you can check out more with the specs and purchase options below. * 19.29MP MOS Image Sensor * Up to UHD 4K60 12G-SDI Output * Redundant Operation with ST 2110 * Compact, Box-Style Form * 2000 TV Lines High-Resolution * Dual SFP Fiber Connectors * B4 2/3" Bayonet Lens Mount * Built-In ND Filter Wheel, Optional OLPF ### Panasonic AK-UBX100 4K Multi-Purpose Camera Built on the same platform as the AK-UCX100 studio camera, the **AK-UBX100 4K HDR 12G-SDI Studio Camera** from **Panasonic** features a large 19MP sensor that is ready to meet your live video demands with up to 12G-SDI output, SMPTE ST 2110 redundancy, and support for NDI and SRT.