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TVLogic's new OLED on-camera monitors were on display at this year's NAB.

Hoping to supply filmmakers with a color-accurate monitoring solution, TVLogic rolls out its newest on-camera monitor, the VMF-055A, which feature HD resolution (1920x1080), 10-bit color depth, and a 5.5" OLED display. It has HDR emulation to help utilize the color gamut, as well as 3D LUT capability, cinema camera log-to-linear LUT conversion, and HDMI-SDI cross-converted output options.

These monitors are available now for $1600.

No Film School's complete coverage of NAB 2018 is brought to you by Adorama, My RØDE Reel, and Blackmagic Design.

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Fujifilm is looking to the future of larger sensors...and wanting to make sure they can cover them.

We stopped by the Fujifilm booth at NAB to talk about the company's plans for the future as camera sensor sizes get bigger and bigger. Already a force to be reckoned with in Super 35mm, Fujifilm says that it plans on having solutions as more filmmakers begin to make the move toward shooting with full-frame (or larger) cameras.

According to Fujifilm's Takuya Noguchi, one solution the company has come up with to fix the issue of covering full-frame sensors with its catalog of Super 35 glass is by adding expanders, namely those from Duclos, that will increase the image circle without sacrificing image quality. However, one major issue when using expanders is the loss of light that occurs during the transition (with the Duclos expander, you're looking at losing a full stop of light), which is something that 1.) Fujifilm is working on solving, and 2.) may not be that big of a deal for Fujifilm's super fast zooms anyway.

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DP Lumi's new bi-color 1x3 LED panel is flexible, waterproof, and has an impressive 98 CRI.

Over at the DP Lumi NAB booth, we were able to check out the company's new 1x3 flexible bi-color LED panel, which has a 98 CRI, a 3200 to 5600K color range, weighs just 3 lbs, and is waterproof (which is great if you're working in the rain or underwater). The 1x3 LED panel also comes with a few extras, like an X bracket, softbox, and egg crate. You get the whole package for $1275.

DP Lumi will also be offering a new battery-powered driver for the 1x3 LED panel for both daylight and bi-color, which cost $179 and $195 respectively, which is set to come out in July.

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Monitor the health and life of your batteries with the BlueShape Granite Two.

Perhaps the most impressive thing about the BlueShape Granite Two batteries is the app they come with. All batteries are equipped with a Wi-Fi module that allows you to connect to the app (within a distance of 65 feet), which provides real-time polling on battery data. This means you can not only check how much time you have until your batteries run out but you can also lock your batteries in case they get stolen. The app also allows you to manage your batteries, run diagnostics as needed, and locate a specific battery with a nifty "Find Me" feature.

You can get your hands on the Granite Two batteries now and prices range from $387 (90Wh) to $957 (270Wh).

No Film School's complete coverage of NAB 2018 is brought to you by Adorama, My RØDE Reel, and Blackmagic Design.

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The light reflector gets a major update with The Light Bridge CRLS reflector system.

Controlling bounced light can be a challenge, a challenge that The Light Bridge, a company founded by the lighting crew of DP Christian Berger, aims to overcome with the CRLS reflector system. These aluminum bounce cards are specially made to not only reflect 97% or light without changing color temperature but to also create less fall off and spill, all resulting in your light having a more natural feel.

To put it simply, the CRLS system makes it possible to reflect more light in a more controlled and accurate way without needing to use additional sources or a ton of flags (to reduce spill).

CRLS comes in four different diffusion levels: Black (minimum), Blue (median), Violet (medium), and White (maximum), as well as two modulators: Green (creates a soft stripe of light) and Red (creates a hard stripe of light).

Prices range from $500 to $3730 depending on which kit you go with. Head on over to The Light Bridge's website to learn more.

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Get up close and personal with Sigma's impressive new art and macro lenses.

At NAB 2018, Sigma showed off its newest lenses, the "Bokeh Master," a big, robust 105mm f1.4 "no compromise" art lens, and the long-awaited 70mm f/2.8 macro lens, whose updated optics make it one of the company's sharpest macros to date.

The price on both lenses have yet to be determined, but the 105mm will retail for less than $2000. Both lenses will be available in a couple of months.

No Film School's complete coverage of NAB 2018 is brought to you by Adorama, My RØDE Reel, and Blackmagic Design.

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Vitec adds a new interface to the SmallHD 703 Bolt and Teradek RT MK 3.1 combo to make room for super accurate lens mapping.

On their own, the SmallHD 703 Bolt monitor/receiver and the Teradek RT MK 3.1 wireless lens controller are powerful pieces of equipment for monitoring and focus pulling, but Vitec decided to take the duo to the next level by incorporating a powerful new interface that features highly accurate lens mapping that can be overlayed on top of your monitor. You can also view iris, focus, and your range of depth-of-field, and in future update,s Vitec will add focus distance values as well as the ability to move values around on the screen.

As of right now, the firmware is not available on current units, but Vitec will be coming out with a new single-channel lens controller system that will be able to handle the upgrade, which features adjustable tension knobs, larger rings, and backlit focus indicators. Those will be available next month retail at around $2000 to $3000.

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A former showrunner for 'The Office,' Paul Lieberstein's feature directorial debut finds the humor in pain.

Complete with a last name ripe for ridicule, Fred Trolleycar (played by writer/director Paul Lieberstein) leads an equally ridiculed life. Employed as a paralegal at his father's antagonistic law firm, hopelessly looking for love, and dealing with excruciating, chronic back and neck pain, Fred's daily existence is equal parts emotional and physical struggle.

After meeting a client (Rosemarie Dewitt) inquiring about an attorney for her impending divorce, the two strike up a relationship centered around their physical ailments. Are things finally taking a turn for the better? It's a good indication, and one further underlined by the revelation that, upon deciding to try acupuncture as a method of pain reduction, Fred discovers that his needle-ridden back can produce otherworldly soundwaves, literally producing music to our ears.

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Why use still images when you can use video?

That’s what I always say. Whether you’re an independent filmmaker, a wedding videographer, a YouTuber, the owner of a production company, or just using video to promote your brand, you should definitely use a cover video for your Facebook page. Before you run over and try to upload something, however, be aware that these only work on a Facebook Business Page, not a Profile. Let me show you how.

Export, upload, and share

Cover videos can be 20-90 seconds in length with pixel dimensions of 820x462. This is the standard 16:9 aspect ratio, but be aware that you can also upload content as small as 820x312 pixels. Also, while you can prepare these videos with almost any editing program, I’ll be using Adobe Premiere Pro for this tutorial.

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At Tribeca 2018, the showrunners and stars of HBO's mind-bending series revealed the new directions the show will take in its second season.

The HBO series Westworld returned on Sunday night, but last week at the Tribeca Film Festival in New York, series co-creators Jonathan Nolan and Lisa Joy, along with cast members Thandie Newton, Evan Rachel Wood, James Marsden and Jeffrey Wright premiered the second season's first episode before sitting down for a panel discussion moderated by writer Christopher Orr. They discussed the challenges of opening up the show's world, the timeliness and relevance of Westworld's themes, robot nudity, revolution, and more. Check out what they had to say about the highly anticipated new season.

[Editor's note: If you have not seen Season 1 of Westworld, this post contains spoilers.]

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The Rosario Dawson-starring BattleScar brings audiences to the epicenter of '70s punk rock.

Think virtual reality is for gamers and geeks? What about punk rockers? The animated VR film BattleScar lets audiences step into the heart of New York’s notorious '70s punk music scene—the squats and clubs of Manhattan’s Lower East Side. Created by Spanish visual artist Martin Allais and Argentine illustrator Nico Casavecchia, your guide through the story is the teenaged Lupe (voiced by Rosario Dawson), who discovers the underground world when she runs away from home.

BattleScar had its world premiere at Sundance 2018. No Film School caught up with the co-directors for a short conversation before the project’s New York premiere in the Tribeca Film Festival’s Virtual Arcade to learn about how the project came together.

NFS: Why was VR the right medium for this project as opposed to 2D animation?

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Three SXSW filmmakers discuss why this may be the golden age for documentary shorts, and how theirs got made. <

This episode of the No Film School podcast welcomes a great roundtable of three filmmakers who had short docs screening at SXSW last month, including Charlie Tyrell, who won the festival’s Jury Award for My Dead Dad's Porno Tapes, plus Mohammad Gorjestani (Sister Hearts) and Leah Galant (Death Metal Grandma). I think you’ll enjoy our conversation about the burgeoning doc shorts landscape, how they each got their projects made, and how shorts can fit into your filmmaking career’s bigger picture even if you’ve already worked on commercials or features.

Listen to the episode by streaming or downloading from the embedded player above, or find it on iTunes here.

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Learning which mistakes DPs make at the beginning of their careers is the first step in avoiding them when you get started on your own.

Creating masterful images isn't innate. Granted, most people can recognize a beautiful picture when they see one, and some can even compose a stunning shot without receiving any formal training, but for the most part, filmmakers and DPs go through years of stumbling through their craft, making tons of mistakes, and providing the rest of us lessons on what not to do when we pick up a camera.

In this video from Aputure, you'll get to learn about five of the most common mistakes new cinematographers make, from capturing nothing but bokeh-licious shots to not using negative fill to add a little style and intrigue to your shots. Check it out below:

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You can create this impressive cloning effect right inside of Adobe Premiere Pro.

Visual effects are a great way to add some flair and a little production value to your project. The problem is, visual effects are often difficult and time-consuming to create. But even if you're not a talented Adobe After Effects guru, you can still create some pretty sweet effects without having to use a complicated VFX program if you know how to get clever. In this tutorial, Josh Enobakhare (a.k.a. Olufemmi) invites Kyle Dobie onto his YouTube channel to go over how to pull off a really slick cloning technique right inside of Premiere Pro. Check it out below:

This cloning technique is really simple and doesn't involve a ton of tools. Really, it's just a matter of:

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Even an ostensibly complex story like "The Dark Knight" follows the simple curve of the Story Circle.

Story structure can be a difficult beast to tame, namely because it's hard to know which structure is "best." In one ear, screenwriting gurus are telling you to follow one of a million storytelling formulas and in the other ear, naysayers are telling you to ditch formulas all together and ride your story bareback through the wilderness of unblemished narrative freedom.

The short answer: do whatever you want. Personally, I like a story structure that is easy for me to navigate so I don't get lost when adding all of the necessary elements and one that I've come across that has sated my craving for simplicity is Dan Harmon's Story Circle, which is basically a simplified version of Joseph Campbell's monomyth.

How simple is it? Well, in this video, StudioBinder broke down Christopher Nolan's The Dark Knight to reveal how a seemingly complex plot can actually adhere to the "rules" of Harmon's uncomplicated 8-step story structure template. Check it out below:

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Got a camera? Is it in your hand? Then you're ready to do some super easy, super stylish in-camera transitions.

Simple cuts can not only be boring, they can also eat up a lot of screen time as you try to breadcrumb your way to that editorial sweet spot. That's where in-camera transitions come in. They're stylish, exciting, and cinematically economical ways to go from one shot to the next. Plus, they're really simple to pull off. In this tutorial, Kellan Reck shows you six easy in-camera transitions that even the noobiest noob can do. Check out the video below:

Even though the traditional cut is going to make up 99% of all of your transitions, these in-camera transitions are a great way to add a little flair and pizazz to your work. The best thing about them, especially for those who are just starting out, is that they're so easy to do with just a few motions of your hand and don't require you to add a bunch of post-production effects to make them work.

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In parts of America long ignored, a filmmaker found stories worth telling.

For many of us longing to reflect on our adolescent upbringing, we take to old photographs, home video footage, elementary school essays, and dusty journals. We're desperate to connect who we became with who we were; a narrative throughline with indicative hints must exist, right? What would we tell our former selves? To follow our dreams? That things work out? To stress less? To work harder? What if we had no choice in the matter at all?

Daniel Patrick Carbone's Phantom Cowboys, an elegiac documentary that quietly invokes those questions via three young men living in different parts of the United States, offers cumulative evidence rather than concrete answers. Life does the same.

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This video looks at four trademarks that gave the series a uniquely hypnotic aesthetic.

When people talk about the legacy of Breaking Bad, one name usually comes up: Vince Gilligan, the series' creator, writer, director, and showrunner. But the series, as famous for its cinematic aesthetic as its Shakespearean storyline, had another titanic creative force: DP, Michael Slovis.

Slovis arguably played an equal role in shaping Bad, which was one of the most stylized TV series ever to hit airwaves. This video from ScreenPrism looks at four trademark camera moves from the series, dissecting how they worked with the show's existential themes to create a unified work of American art.

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What do three friends in the entertainment industry do when one of them becomes insanely famous? Create a meta-comedy that takes global celebrity culture head-on.

Paulinho Caruso and Teodoro Poppovic knew each other from shared interests while studying filmmaking in São Paulo, Brazil. After graduating, Poppovic got a job directing comedy skits on Brazilian MTV. There he collaborated with Tatá Werneck, an actress with OCD and a knack for comedic improv.

In a stroke of chance, Tatá got cast in a soap opera and became a national celebrity overnight. Poppovic, Caruso, and Werneck then teamed up to make an unusual, genre-bending comedy that plays with the persona of Tatá, while taking a satirical look at entertainment, celebrity, and the pursuit of happiness.

After their SXSW premiere, Caruso and Poppovic sat down with No Film School to talk about shooting their comedy like a more chaotic Apatow-esque indie, balancing two-camera improv setups with stylized singles, and why the only thing you need is to have when you get started is a good script.

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As always, Time keeps it 100.

Although there haven't been too many lists celebrating the filmmakers in 2018 who have had an awesome year—we're only four months in!—there is a pretty substantial one that celebrates what they have accomplished over the past 365 days.

Time Magazine has released its annual Time 100 list, a comprehensive guide to the men and women who have had an influence on the world over the past twelve months. Several filmmakers working outside of the studio system made the cut, and here are a few recognizable to No Film School readers.

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