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  31. <title>Video Production Outsourcing: Why Universities Should Rethink Their Approach</title>
  32. <link>https://www.slateandmortar.com/news/video-production-outsourcing-university</link>
  33. <comments>https://www.slateandmortar.com/news/video-production-outsourcing-university#respond</comments>
  35. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  36. <pubDate>Mon, 05 May 2025 12:45:59 +0000</pubDate>
  37. <category><![CDATA[News]]></category>
  38. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8341</guid>
  39.  
  40. <description><![CDATA[Video production outsourcing helps universities create high-quality, engaging content without overburdening in-house teams. Find out how!]]></description>
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  55. <h1 class="entry-title">Video Production Outsourcing: Why Universities Should Rethink Their Approach</h1>
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  107. <div class="et_pb_text_inner"><h3 style="text-align: center;">How Video Production Outsourcing Can Elevate Your University’s Content Strategy</h3>
  108. <p>&nbsp;</p>
  109. <p>Many universities already have talented communications teams and in-house creatives, making it tempting to keep video production internal. However, as the demand for high-quality, engaging content grows, video production outsourcing offers a powerful solution to scale content creation without stretching internal resources too thin.</p>
  110. <p><strong>The Challenges of In-House Video Production</strong></p>
  111. <p>Producing video content isn’t just about having a camera—it requires expertise, time, and a dedicated production workflow. In-house marketing teams are often balancing multiple responsibilities, from managing digital campaigns to creating social media content, press releases, and internal communications. Adding large-scale video projects to this workload can lead to stretched deadlines, lower production quality, or content that lacks impact.</p>
  112. <p>Beyond resource limitations, there’s also the issue of creative perspective. While internal teams know the university’s brand inside and out, this familiarity can sometimes lead to repetitive storytelling. External video partners bring fresh, strategic insights that can elevate content, introduce innovative storytelling techniques, and provide the technical expertise to produce high-end videos that captivate audiences.</p>
  113. <p><strong>Why Video Production Outsourcing Makes a Difference</strong></p>
  114. <p>Partnering with a professional video production agency doesn’t mean losing control—it means gaining specialised expertise, high-end production value, and the ability to scale content effortlessly. A trusted agency works as an extension of your team, ensuring your brand’s identity and messaging remain intact while handling the complex logistics of production.</p>
  115. <p><strong>Key Benefits of Video Production Outsourcing:</strong></p>
  116. <ul>
  117. <li>Higher production value: Access to industry-grade cameras, lighting, and post-production tools.</li>
  118. <li>Faster turnaround times: Agencies have dedicated teams focused solely on video, ensuring efficient delivery.</li>
  119. <li>Specialist expertise: From storytelling techniques to motion graphics, agencies bring skills that in-house teams may not have.</li>
  120. <li>Reduced internal workload: Allowing marketing teams to focus on strategy while experts handle execution.</li>
  121. </ul>
  122. <p><strong>When Should Universities Consider Outsourcing Video Production?</strong></p>
  123. <ul>
  124. <li>For high-stakes projects like promotional campaigns, student recruitment videos, or alumni engagement content.</li>
  125. <li>When scaling content production beyond what the internal team can manage.</li>
  126. <li>When looking for fresh creative input to avoid repetitive or uninspired storytelling.</li>
  127. <li>For specialist expertise such as drone footage, animation, or documentary-style videos.</li>
  128. </ul>
  129. <p>In an era where video plays a crucial role in university marketing and communications, video production outsourcing can be the key to producing impactful, high-quality content without overburdening internal teams. It’s not about replacing in-house talent—it’s about enhancing capabilities, increasing efficiency, and delivering exceptional content that resonates.</p>
  130. <p>&nbsp;</p>
  131. <p><b>References</b></p>
  132. <p><a href="https://blog.hubspot.com/marketing/outsourcing-video-production" target="_blank" rel="noopener"><span style="font-weight: 400;">The Benefits of Outsourcing Video Production for Businesses</span></a> <a href="https://blog.hubspot.com/marketing/outsourcing-video-production" target="_blank" rel="noopener"><span style="font-weight: 400;"><br /></span></a><a href="https://www.insidehighered.com/admissions/article/2023/05/10/power-video-higher-education-marketing" target="_blank" rel="noopener"><span style="font-weight: 400;">Why Higher Education Marketing Needs Professional Video Content</span></a><span style="font-weight: 400;"><br /></span><a href="https://www.forbes.com/sites/forbesagencycouncil/2022/08/03/how-to-choose-the-right-video-production-agency/" target="_blank" rel="noopener"><span style="font-weight: 400;">How to Choose a Video Production Partner for Your Brand</span></a><span style="font-weight: 400;"><br /></span></p>
  133. <p>&nbsp;</p></div>
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  139. <div class="et_pb_text_inner"><h3 style="text-align: center;">Want to create high-impact university marketing videos without the hassle?</h3>
  140. <h3 style="text-align: center;"><strong><span style="text-decoration: underline;"><a href="https://www.slateandmortar.com/get-in-touch">Contact us today</a></span></strong> to get started!</h3></div>
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  203. <a href="https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog">2nd May | The Friday Filmmaking Blog</a>
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  212. <h2 class="entry-title">
  213. <a href="https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog">25th April | The Friday Filmmaking Blog</a>
  214. </h2>
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  248. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  249. </div><div class="et_pb_module et_pb_text et_pb_text_4  et_pb_text_align_center et_pb_bg_layout_light">
  254. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
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  362. <title>2nd May &#124; The Friday Filmmaking Blog</title>
  363. <link>https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog</link>
  364. <comments>https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog#respond</comments>
  366. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  367. <pubDate>Thu, 01 May 2025 14:19:18 +0000</pubDate>
  368. <category><![CDATA[News]]></category>
  369. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8539</guid>
  370.  
  371. <description><![CDATA[Explore how shadows, method directing, and John Wick stunts are shaping the future of filmmaking in this week’s roundup.]]></description>
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  438. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Welcome to this week’s edition of the Friday Filmmaking Blog, where we delve into the art and craft of filmmaking through three compelling reads.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">First, we explore the atmospheric cinematography of Alvin Sun in <em data-start="65" data-end="79">The Killgrin</em>, highlighting how shadows can become a narrative force.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Next, we examine the concept of &#8220;method directing,&#8221; a technique that fosters authentic performances by immersing actors in their characters&#8217; experiences.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Finally, we get a behind-the-scenes look at the <em data-start="48" data-end="59">John Wick</em> franchise with the upcoming documentary <em data-start="100" data-end="114">Wick is Pain</em>, revealing the dedication and challenges faced by the cast and crew.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">These articles offer valuable insights for filmmakers seeking to enhance their storytelling techniques.</span></p></div>
  439. </div>
  440. </div>
  445. </div>
  448. </div><div class="et_pb_section et_pb_section_10 et_pb_with_background et_section_regular" >
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  461. <div class="et_pb_module et_pb_text et_pb_text_6  et_pb_text_align_left et_pb_bg_layout_light">
  466. <div class="et_pb_text_inner"><h3 style="text-align: center;">DP Alvin Sun on the Importance of Shadows in &#8216;The Killgrin&#8217;</h3>
  467. <p>&nbsp;</p>
  468. <p class="" data-start="358" data-end="471"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">In a recent interview with No Film School, cinematographer Alvin Sun discusses his work on the psychological horror film <em data-start="121" data-end="135">The Killgrin</em>.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Directed by Joanna Tsanis, the film centers on Miranda, who, after a personal tragedy, discovers she has an infection of her aura called a &#8220;killgrin&#8221; that thrives on her misery.</span> </p>
  469. <p class="" data-start="473" data-end="598"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Sun emphasizes the significance of shadows in the film, stating, &#8220;Shadows were not just a visual element to the film, but a story element as well. The Killgrin plays on the idea that it follows a person around, like a shadow.&#8221;</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Drawing inspiration from films like <em data-start="36" data-end="47">Nosferatu</em> (1922) and Japanese horror such as <em data-start="83" data-end="90">Kairo</em> (<em data-start="92" data-end="99">Pulse</em>), Sun aimed to create an atmosphere of unease and psychological tension.</span></p>
  470. <p class="" data-start="600" data-end="725"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The collaboration between Sun and Tsanis began during pre-production, where they conducted extensive discussions over Zoom to align their visions.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Sun&#8217;s background as a gaffer and key grip, working across commercials, features, and TV, provided him with a comprehensive understanding of lighting and camera work, which he brought to his role as DP.</span>​</p>
  471. <p class="" data-start="727" data-end="852"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Sun&#8217;s approach to cinematography in <em data-start="36" data-end="50">The Killgrin</em> showcases how lighting and shadows can be harnessed to enhance storytelling, particularly in the horror genre.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">His work serves as a testament to the power of visual elements in conveying psychological themes and emotions.</span>​</p>
  472. <p class="" data-start="854" data-end="933"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">For a deeper dive into Alvin Sun&#8217;s insights and techniques, read the full interview on <a href="https://nofilmschool.com/dp-alvin-sun-interview" target="_blank" rel="noopener">No Film School</a>.</span></p>
  473. <p data-start="854" data-end="933">
  474. <p><iframe title="The Killgrin | Official Promo #1 HD | Available Now on Digital" width="1080" height="608" src="https://www.youtube.com/embed/U6QqnIPlGmQ?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  475. </div>
  476. </div>
  481. </div>
  484. </div><div class="et_pb_section et_pb_section_11 et_pb_with_background et_section_regular" >
  491. <div class="et_pb_row et_pb_row_9 et_animated">
  492. <div class="et_pb_column et_pb_column_4_4 et_pb_column_9  et_pb_css_mix_blend_mode_passthrough et-last-child">
  497. <div class="et_pb_module et_pb_text et_pb_text_7  et_pb_text_align_left et_pb_bg_layout_light">
  502. <div class="et_pb_text_inner"><h3 style="text-align: center;">Method Directing – What is It and How to Use It?</h3>
  503. <p>&nbsp;</p>
  504. <p class="" data-start="1096" data-end="1215"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out"><a href="https://www.cined.com/method-directing-what-is-it-and-how-to-use-it/" target="_blank" rel="noopener">CineD</a>&#8216;s recent article explores the concept of &#8220;method directing,&#8221; a technique that parallels method acting by immersing actors deeply into their characters&#8217; experiences.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">While method acting involves actors drawing upon their own emotions to deliver authentic performances, method directing focuses on creating an environment that facilitates such immersion.</span></p>
  505. <p class="" data-start="1217" data-end="1342"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Method directing involves various tools and approaches, such as encouraging actors to stay in character off-camera, using improvisation to explore scenes, and fostering a collaborative atmosphere on set.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The goal is to elicit genuine emotional responses, resulting in more believable and impactful performances.</span>​</p>
  506. <p class="" data-start="1344" data-end="1469"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The article emphasises that method directing is not a one-size-fits-all approach but rather a set of techniques that directors can adapt to suit their project&#8217;s needs.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">By understanding and applying these methods, directors can enhance the authenticity of their films, creating a more engaging experience for audiences.</span>​</p>
  507. <p class="" data-start="1471" data-end="1550"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">For filmmakers interested in deepening their directing skills and fostering authentic performances, this article provides valuable insights into method directing.</span></p>
  508. <p data-start="1471" data-end="1550">
  509. <p class="" data-start="3828" data-end="4004">
  510. <p><iframe title="Best Joker Scenes in The Dark Knight | Max" width="1080" height="608" src="https://www.youtube.com/embed/lNLmk7CPtOw?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  511. </div>
  512. </div>
  517. </div>
  520. </div><div class="et_pb_section et_pb_section_12 et_pb_with_background et_section_regular" >
  527. <div class="et_pb_row et_pb_row_10 et_animated">
  528. <div class="et_pb_column et_pb_column_4_4 et_pb_column_10  et_pb_css_mix_blend_mode_passthrough et-last-child">
  533. <div class="et_pb_module et_pb_text et_pb_text_8  et_pb_text_align_left et_pb_bg_layout_light">
  538. <div class="et_pb_text_inner"><h3 style="text-align: center;">&#8216;Wick is Pain&#8217; Trailer – Keanu Reeves&#8217; John Wick Stunt Documentary</h3>
  539. <p>&nbsp;</p>
  540. <p class="" data-start="1732" data-end="1897"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The upcoming documentary <em data-start="25" data-end="39">Wick is Pain</em> offers an in-depth look at the making of the <em data-start="85" data-end="96">John Wick</em> franchise, highlighting the physical and emotional challenges faced by the cast and crew.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">As reported by <a href="https://www.indiewire.com/news/trailers/wick-is-pain-trailer-keanu-reeves-john-wick-stunt-doc-1235119492/" target="_blank" rel="noopener">IndieWire</a>, the documentary features behind-the-scenes footage and interviews that reveal the dedication required to bring the action-packed series to life.</span> ​</p>
  541. <p class="" data-start="1899" data-end="2064"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Keanu Reeves, known for performing many of his own stunts, discusses the intense training and preparation involved in portraying the titular character.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">He candidly shares experiences of pushing himself to the limit, including moments of physical exhaustion and injury.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The documentary also sheds light on the collaborative efforts of the stunt coordinators, directors, and other crew members who contributed to the franchise&#8217;s success.</span>​</p>
  542. <p class="" data-start="2066" data-end="2191"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out"><em data-start="0" data-end="14" data-is-only-node="">Wick is Pain</em> not only celebrates the achievements of the <em data-start="59" data-end="70">John Wick</em> series but also serves as a testament to the resilience and passion of those behind the scenes.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">For filmmakers and fans alike, the documentary provides valuable insights into the complexities of action filmmaking and the commitment required to execute high-octane sequences.</span>​</p>
  543. <p class="" data-start="2193" data-end="2278"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Watch the trailer for <em data-start="22" data-end="36">Wick is Pain</em> here:</span></p>
  544. <p data-start="2193" data-end="2278">
  545. <p><iframe title="Wick is Pain - Exclusive Trailer (2025) Keanu Reeves" width="1080" height="608" src="https://www.youtube.com/embed/bDtFaFNint0?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  546. </div>
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  568. <div class="et_pb_module et_pb_text et_pb_text_9  et_pb_text_align_left et_pb_bg_layout_dark">
  573. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  599. </h2>
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  607. <h2 class="entry-title">
  608. <a href="https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog">2nd May | The Friday Filmmaking Blog</a>
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  614. <article id="post-8518" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_1_2 post-8518 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
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  616. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-400x250.png" alt="25th April | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="2nd May | The Friday Filmmaking Blog 6"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  617. <h2 class="entry-title">
  618. <a href="https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog">25th April | The Friday Filmmaking Blog</a>
  619. </h2>
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  622. </article>
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  653. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
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  767. <media:title type="plain">2nd May | The Friday Filmmaking Blog | Slate and Mortar</media:title>
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  774. <title>25th April &#124; The Friday Filmmaking Blog</title>
  775. <link>https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog</link>
  777. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  778. <pubDate>Thu, 24 Apr 2025 14:58:23 +0000</pubDate>
  779. <category><![CDATA[News]]></category>
  780. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8518</guid>
  781.  
  782. <description><![CDATA[Explore filmmaking insights from Technicolor’s legacy to Superman’s reboot and Minecraft’s Gen Z marketing magic.]]></description>
  783. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_17 et_pb_fullwidth_section et_section_regular" >
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  797. <h1 class="entry-title">25th April | The Friday Filmmaking Blog</h1>
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  821. <span class="et_pb_image_wrap "><img loading="lazy" loading="lazy" decoding="async" width="1280" height="720" src="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog.png" alt="17 The Friday Filmmaking Blog" title="17 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-480x270.png 480w" sizes="(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1280px, 100vw" class="wp-image-8521" /></span>
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  844. <div class="et_pb_module et_pb_text et_pb_text_12  et_pb_text_align_left et_pb_bg_layout_light">
  849. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">Welcome to this week’s edition of the Friday Filmmaking Blog from Slate and Mortar. We&#8217;ve curated three standout articles that delve into the rich tapestry of filmmaking history, the intricate process of bringing iconic characters to life, and the innovative marketing strategies behind blockbuster hits. From the vibrant hues of Technicolor to the behind-the-scenes magic of Superman, and the pixelated world of Minecraft, these reads offer valuable insights for filmmakers and enthusiasts alike.</p></div>
  850. </div>
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  877. <div class="et_pb_text_inner"><h3 style="text-align: center;">The Evolution of Technicolor: A Cinematic Milestone</h3>
  878. <p>&nbsp;</p>
  879. <p class="" data-start="613" data-end="1020">StudioBinder&#8217;s comprehensive article, &#8220;What is Technicolor? Definition and History Explained,&#8221; offers an in-depth look at the revolutionary process that transformed the filmmaking industry. Technicolor, introduced in the early 20th century, brought vibrant, saturated colors to the silver screen, forever changing audience expectations and cinematic storytelling.​</p>
  880. <p class="" data-start="1022" data-end="1525">The article traces the development of Technicolor from its inception in 1916 to its peak in the 1950s. Initially, the process involved a two-color system capturing red and green hues. However, it wasn&#8217;t until the introduction of the three-color process in 1932 that Technicolor truly revolutionized filmmaking. This method used a beam-splitter prism to simultaneously expose three strips of film, each recording a different primary color—red, green, and blue.​</p>
  881. <p class="" data-start="1527" data-end="1646"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">This advancement allowed for unprecedented color reproduction, leading to iconic films like &#8220;The Wizard of Oz&#8221; and &#8220;Gone with the Wind.&#8221;</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">These movies showcased the emotional and narrative power of color, influencing directors and cinematographers to explore new visual storytelling techniques.</span>​</p>
  882. <p class="" data-start="1648" data-end="1805"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The article also delves into the technical challenges and innovations associated with Technicolor.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">From the bulky cameras to the complex dye-transfer printing process, filmmakers had to adapt to new workflows.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Despite these hurdles, the allure of rich, vibrant visuals made Technicolor a sought-after process for major studios.</span>​</p>
  883. <p class="" data-start="1807" data-end="2188">Moreover, StudioBinder highlights the lasting impact of Technicolor on modern filmmaking. The emphasis on color theory, mood setting, and visual symbolism can trace its roots back to the Technicolor era. Even in today&#8217;s digital age, the principles established during this time continue to inform color grading and cinematography choices.​</p>
  884. <p class="" data-start="2190" data-end="2544">For filmmakers, understanding the history and mechanics of Technicolor is more than an academic exercise; it&#8217;s a lesson in how technological innovation can expand creative possibilities. By studying this evolution, contemporary creators can appreciate the tools at their disposal and the legacy they inherit.​</p>
  885. <p class="" data-start="2546" data-end="2704"><em data-start="2546" data-end="2704">Original article by StudioBinder: <a class="" href="https://www.studiobinder.com/blog/what-is-technicolor-definition/" target="_new" rel="noopener" data-start="2581" data-end="2703">What is Technicolor? Definition and History Explained</a></em></p>
  886. <p class="" data-start="2706" data-end="2811">For a visual exploration, check out this informative video:​</p>
  887. <p>&nbsp;</p>
  888. <p><iframe title="Color Theory in Film — Color Psychology for Directors: Ep5" width="1080" height="608" src="https://www.youtube.com/embed/lINVnA3rVIE?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  889. </div>
  890. </div>
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  916. <div class="et_pb_text_inner"><h3 style="text-align: center;">Behind the Cape: Crafting the New Superman</h3>
  917. <p>&nbsp;</p>
  918. <p class="" data-start="2873" data-end="3238">No Film School&#8217;s article, &#8220;Check Out This Behind the Scenes Featurette for the New &#8216;Superman&#8217; Movie,&#8221; provides an exclusive look into the making of the latest Superman film under the direction of James Gunn. This featurette offers valuable insights into the filmmaking process, from set design to character development.​</p>
  919. <p class="" data-start="3240" data-end="3405"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The article emphasizes Gunn&#8217;s commitment to capturing the essence of Superman—a symbol of hope and integrity.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">By focusing on the character&#8217;s core values, the film aims to resonate with both longtime fans and new audiences.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">This approach marks a deliberate shift from darker interpretations, bringing a renewed sense of optimism to the DC Universe.</span>​</p>
  920. <p class="" data-start="3407" data-end="3532"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Behind-the-scenes footage reveals the meticulous attention to detail in set construction and visual effects.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">From the bustling streets of Metropolis to the crystalline structures of the Fortress of Solitude, each location is crafted to enhance the narrative and immerse viewers in Superman&#8217;s world.</span>​</p>
  921. <p class="" data-start="3534" data-end="3699"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The featurette also highlights the collaborative efforts of the cast and crew.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Actors discuss their interpretations of iconic characters, while the production team shares insights into costume design, stunt coordination, and the integration of practical and digital effects.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">These elements combine to create a cohesive and compelling cinematic experience.</span></p>
  922. <p class="" data-start="3701" data-end="3826"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">For filmmakers, this behind-the-scenes look serves as a masterclass in balancing tradition with innovation.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">By honoring the character&#8217;s legacy while introducing fresh perspectives, the film exemplifies how thoughtful storytelling and technical prowess can revitalize a franchise.</span>​</p>
  923. <p class="" data-start="3828" data-end="4004"><em data-start="3828" data-end="4004">Original article by No Film School: <a class="" href="https://nofilmschool.com/behind-the-scenes-featurette-superman" target="_new" rel="noopener" data-start="3865" data-end="4003">Check Out This Behind the Scenes Featurette for the New &#8216;Superman&#8217; Movie</a></em></p>
  924. <p data-start="3828" data-end="4004"><iframe title="Superman | Superman Day - Behind The Scenes Look" width="1080" height="608" src="https://www.youtube.com/embed/Rq5LyXG8m2U?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  925. </div>
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  952. <div class="et_pb_text_inner"><h3 style="text-align: center;">Marketing Minecraft: Engaging Generation Z</h3>
  953. <p>&nbsp;</p>
  954. <p class="" data-start="4150" data-end="4275"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Screen Daily&#8217;s feature, &#8220;Marketing &#8216;A Minecraft Movie&#8217;: &#8216;Blockifying&#8217; the World and Chasing Generation Z,&#8221; explores the innovative promotional strategies behind the successful adaptation of the popular video game into a cinematic experience.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The article sheds light on how the marketing team effectively engaged a younger audience through immersive and interactive campaigns.</span>​</p>
  955. <p class="" data-start="4277" data-end="4442"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">The marketing approach centered around creating real-world experiences that mirrored the game&#8217;s environment.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Pop-up events, interactive installations, and collaborations with influencers allowed fans to step into the blocky universe of Minecraft.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">These activations not only generated buzz but also fostered a sense of community among players and moviegoers.</span>​</p>
  956. <p class="" data-start="4444" data-end="4609"><span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">Social media played a pivotal role in amplifying the film&#8217;s reach.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">By leveraging platforms popular with Gen Z, the marketing team disseminated trailers, behind-the-scenes content, and user-generated challenges that encouraged audience participation.</span> <span class="relative -mx-px my-&#091;-0.2rem&#093; rounded px-px py-&#091;0.2rem&#093; transition-colors duration-100 ease-in-out">This strategy capitalized on the game&#8217;s existing fan base and expanded its appeal to a broader demographic.</span>​</p>
  957. <p class="" data-start="4611" data-end="5004">The article also discusses the importance of authenticity in marketing to younger audiences. By staying true to the game&#8217;s aesthetic and values, the promotional efforts resonated with fans and avoided the pitfalls of appearing disingenuous. This alignment between the game&#8217;s identity and the film&#8217;s marketing contributed to its box office success.​</p>
  958. <p class="" data-start="160" data-end="564">For filmmakers and marketers, this case study underscores the power of strategic alignment between content and campaign. The success of <em data-start="296" data-end="318">Minecraft: The Movie</em> wasn’t just about brand recognition—it hinged on understanding the behaviour, values, and online habits of its core audience. The marketing team didn’t just promote a film; they built a digital playground for fans to explore, share, and connect.</p>
  959. <p class="" data-start="566" data-end="828">This approach exemplifies a broader shift in modern filmmaking promotion: it’s no longer about one-way messaging, but about interactive storytelling and community building. By ‘blockifying’ the world, the marketers didn’t just sell tickets—they created memories.</p>
  960. <p class="" data-start="830" data-end="1076"><em data-start="830" data-end="1076">Original article by Screen Daily: <a class="" href="https://www.screendaily.com/features/marketing-a-minecraft-movie-blockifying-the-world-and-chasing-generation-z/5204063.article" target="_new" rel="noopener" data-start="865" data-end="1075">Marketing &#8216;A Minecraft Movie&#8217;: &#8216;Blockifying&#8217; the World and Chasing Generation Z</a></em></p>
  961. <p class="" data-start="1078" data-end="1127">Check out the official trailer for the film here:</p>
  962. <p data-start="1078" data-end="1127"><iframe title="A Minecraft Movie | Official Trailer" width="1080" height="608" src="https://www.youtube.com/embed/wJO_vIDZn-I?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
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  990. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  1024. <h2 class="entry-title">
  1025. <a href="https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog">2nd May | The Friday Filmmaking Blog</a>
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  1032.  
  1033. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-400x250.png" alt="25th April | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="25th April | The Friday Filmmaking Blog 9"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
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  1070. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
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  1076. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
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  1182. <media:title type="plain">25th April | The Friday Filmmaking Blog | Slate and Mortar</media:title>
  1183. <media:description type="html"><![CDATA[Enjoy the videos and music that you love, upload original content and share it all with friends, family and the world on YouTube.]]></media:description>
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  1188. <item>
  1189. <title>How to Create an Engaging Training Video That Actually Gets Results</title>
  1190. <link>https://www.slateandmortar.com/news/engaging-training-video-gets-results</link>
  1192. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1193. <pubDate>Wed, 23 Apr 2025 07:39:38 +0000</pubDate>
  1194. <category><![CDATA[News]]></category>
  1195. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8383</guid>
  1196.  
  1197. <description><![CDATA[Breathe life into your employee learning—create an engaging training video that captures attention and drives real behavioural change.]]></description>
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  1212. <h1 class="entry-title">How to Create an Engaging Training Video That Actually Gets Results</h1>
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  1264. <div class="et_pb_text_inner"><h3 style="text-align: center;">Engaging training videos that capture attention and drive real change</h3>
  1265. <p>&nbsp;</p>
  1266. <p><span style="font-weight: 400;">Training content doesn’t have to be dull—yet so much of it is.</span></p>
  1267. <p><span style="font-weight: 400;">When people hear the words training video, their expectations tend to nosedive. They imagine something overly scripted, sluggishly paced, and promptly forgotten before the coffee break is over. And truthfully, that reputation isn’t unearned. All too often, training content is produced to check a box, not to spark meaningful change.</span></p>
  1268. <p><span style="font-weight: 400;">But an engaging training video doesn’t just inform—it connects. It motivates. It sticks in the mind and influences behaviour far beyond the closing frame. And it’s not about throwing money at a five-camera setup or adding flashy graphics for the sake of it; it’s about crafting content that feels clear, relevant, and human from start to finish.</span></p>
  1269. <p><b>Make It Matter in the Moment</b></p>
  1270. <p><span style="font-weight: 400;">In today’s workplace, people are pressed for time and attention. Expecting them to sit through 20 minutes of content just to glean 2 minutes of insight simply isn’t realistic. Your training video has to earn their attention—immediately. That means:</span></p>
  1271. <ul>
  1272. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Getting straight to the point without the fluff</span></li>
  1273. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Using a tone that sounds natural, not like it came from a legal department</span></li>
  1274. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Rooting the message in real-world scenarios, not abstract theory</span></li>
  1275. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Giving viewers something to do with what they’ve just learned</span></li>
  1276. </ul>
  1277. <p><span style="font-weight: 400;">When people can recognise themselves in the content—when they see how it impacts their day-to-day—they’re more likely to engage and retain the message.</span></p>
  1278. <p><b>Training That Feels Like a Conversation</b></p>
  1279. <p><span style="font-weight: 400;">Nobody wants to feel like they’re being talked at. The best training videos feel like they’re speaking with the viewer. That’s where storytelling plays a critical role—not for the sake of drama, but to offer clarity, context, and connection. Whether the topic is compliance, onboarding, or leadership development, stories make ideas relatable and memorable.</span></p>
  1280. <p><span style="font-weight: 400;">This doesn’t mean your training content needs to be emotional or theatrical; it just needs to feel real. Ask yourself:</span></p>
  1281. <ul>
  1282. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">What common mistakes are people already making?</span></li>
  1283. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">What’s the solution, and why does it matter?</span></li>
  1284. <li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">How can the viewer use this insight immediately?</span></li>
  1285. </ul>
  1286. <p><span style="font-weight: 400;">By framing your training video around these questions, you’re far more likely to foster genuine buy-in and long-term behaviour change.</span></p>
  1287. <p><b>Effective Doesn’t Have to Mean Expensive</b></p>
  1288. <p><span style="font-weight: 400;">An engaging training video doesn’t have to come with a premium price tag. What it does require is intention. That means stripping away the unnecessary—like lifeless voiceovers, drawn-out intros, and stock footage overload—and focusing on clarity, authenticity, and brevity.</span></p>
  1289. <p><span style="font-weight: 400;">Shorter content. Sharper insights. Simpler takeaways. If your team can understand it, apply it, and recall it, then it’s doing its job. And when training content starts to make sense in the moment, it sticks for much longer after the screen goes dark.</span></p>
  1290. <p>&nbsp;</p>
  1291. <p><b>References</b></p>
  1292. <p><a href="https://elearningindustry.com/why-microlearning-is-effective-for-corporate-training" target="_blank" rel="noopener"><b>Why Microlearning Works in Corporate Training</b></a><span style="font-weight: 400;"> – eLearning Industry</span><span style="font-weight: 400;"><br /><a href="https://www.harvardbusiness.org/the-power-of-storytelling-in-learning/" target="_blank" rel="noopener"><b>The Science Behind Why Storytelling is So Effective in Learning</b></a><span style="font-weight: 400;"> – Harvard Business Publishing</span><span style="font-weight: 400;"><br /></span><a href="https://www.techsmith.com/blog/make-training-videos-engaging/" target="_blank" rel="noopener"><b>5 Ways to Make Your Corporate Training Videos More Engaging</b></a><span style="font-weight: 400;"> – TechSmith</span></span></p>
  1293. <p>&nbsp;</p></div>
  1294. </div><div class="et_pb_with_border et_pb_module et_pb_text et_pb_text_20 et_animated  et_pb_text_align_left et_pb_bg_layout_light">
  1299. <div class="et_pb_text_inner"><h3 style="text-align: center;">Want to create engaging training videos that people actually want to watch?</h3>
  1300. <h3 style="text-align: center;"><strong><span style="text-decoration: underline;"><a href="https://www.slateandmortar.com/get-in-touch">Contact us today</a></span></strong> to<span style="font-weight: 400;"> get started!</span></h3></div>
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  1408. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
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  1414. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  1415. <p>We’d love to hear from you. Get in touch today!</p></div>
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  1518. </item>
  1519. <item>
  1520. <title>18th April &#124; The Friday Filmmaking Blog</title>
  1521. <link>https://www.slateandmortar.com/news/18th-april-the-friday-filmmaking-blog</link>
  1523. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1524. <pubDate>Thu, 17 Apr 2025 11:52:37 +0000</pubDate>
  1525. <category><![CDATA[News]]></category>
  1526. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8426</guid>
  1527.  
  1528. <description><![CDATA[Explore the tools, tones, and trends shaping modern filmmaking — from shot sizes to Tribeca 2025’s standout premieres.]]></description>
  1529. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_34 et_pb_fullwidth_section et_section_regular" >
  1536. <div class="et_pb_module et_pb_fullwidth_post_title_4 et_pb_post_title  et_pb_text_align_center et_pb_bg_layout_light et_pb_image_below"   >
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  1543. <h1 class="entry-title">18th April | The Friday Filmmaking Blog</h1>
  1544. </div>
  1546. </div>
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  1567. <span class="et_pb_image_wrap "><img loading="lazy" loading="lazy" decoding="async" width="1280" height="720" src="https://www.slateandmortar.com/wp-content/uploads/2025/04/16-The-Friday-Filmmaking-Blog.png" alt="16 The Friday Filmmaking Blog" title="16 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/04/16-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/04/16-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/04/16-The-Friday-Filmmaking-Blog-480x270.png 480w" sizes="(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1280px, 100vw" class="wp-image-8434" /></span>
  1568. </div>
  1569. </div>
  1574. </div>
  1577. </div><div class="et_pb_section et_pb_section_36 et_pb_with_background et_section_regular" >
  1584. <div class="et_pb_row et_pb_row_31 et_animated">
  1585. <div class="et_pb_column et_pb_column_4_4 et_pb_column_31  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1590. <div class="et_pb_module et_pb_text et_pb_text_24  et_pb_text_align_left et_pb_bg_layout_light">
  1595. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">Another week, another deep dive into the ever-evolving world of filmmaking. This week, we’ve been geeking out over visual storytelling, dissecting the art of emotional tone, and eyeing the early buzz around this year’s Tribeca Festival. From understanding why a medium close-up feels more intimate than a wide shot, to unpicking what separates melodrama from cinematic drama, to celebrating the diverse, bold, and exciting lineup at Tribeca 2025 — this week’s roundup is full of creative fuel for filmmakers, both seasoned and aspiring. Let’s get into it.</p></div>
  1596. </div>
  1597. </div>
  1602. </div>
  1605. </div><div class="et_pb_section et_pb_section_37 et_pb_with_background et_section_regular" >
  1612. <div class="et_pb_row et_pb_row_32 et_animated">
  1613. <div class="et_pb_column et_pb_column_4_4 et_pb_column_32  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1618. <div class="et_pb_module et_pb_text et_pb_text_25  et_pb_text_align_left et_pb_bg_layout_light">
  1623. <div class="et_pb_text_inner"><h3 style="text-align: center;">Camera Shots &amp; Sizes: The Visual Language of Filmmaking</h3>
  1624. <p>&nbsp;</p>
  1625. <p data-pm-slice="1 1 &#091;&#093;"><em>Via StudioBinder</em><br /><a>Read the original article</a></p>
  1626. <p>Camera shots are more than just technical choices — they’re the emotional and narrative foundation of any film. StudioBinder’s detailed guide to shot types and sizes unpacks the visual grammar filmmakers use to guide audience attention, evoke emotions, and tell stories visually.</p>
  1627. <p>The piece breaks down 13 core shot sizes, ranging from the Extreme Wide Shot (EWS) — used to establish scale, setting, or isolation — to the Extreme Close-Up (ECU), which magnifies detail and emotion. Each shot is accompanied by clear examples and helpful diagrams, making it easy to understand not only what each shot is, but when and why to use it.</p>
  1628. <p>One of the standout features of the article is its emphasis on storytelling intention. For example, the Medium Shot is described as the &#8220;default&#8221; for dialogue scenes, but it’s not just about showing two people talking — it’s about conveying balance and neutrality. Meanwhile, the Over-the-Shoulder Shot helps anchor viewers in a character’s perspective, useful in both action sequences and intimate exchanges.</p>
  1629. <p>The guide doesn’t stop at the basics — it includes animated diagrams, comparisons, and even a free downloadable shot size chart, which is incredibly handy for planning storyboards or communicating ideas on set. Whether you’re a seasoned cinematographer or a first-time director, it’s a brilliant refresher on how to frame your visual storytelling effectively.</p>
  1630. <p>Camera shots shape the rhythm and emotional tone of a scene. Choosing between a Close-Up and a Medium Close-Up might seem trivial, but as the article shows, it can dramatically shift how viewers perceive a moment. This guide makes the case that filmmaking isn’t just about capturing action — it’s about capturing meaning.</p>
  1631. <p>StudioBinder’s guide is a must-bookmark for filmmakers looking to level up their visual literacy. As filmmaking continues to become more accessible, knowing how to visually articulate your story has never been more essential.</p>
  1632. <p>Check out the full breakdown and visual guide in the original post — it’s well worth a read.</p>
  1633. <p>And for a quick visual walkthrough, here’s the video companion to the article:</p>
  1634. <p>&nbsp;</p>
  1635. <p><iframe title="Ultimate Guide to Camera Shots: Every Shot Size Explained &#091;The Shot List, Ep 1&#093;" width="1080" height="608" src="https://www.youtube.com/embed/AyML8xuKfoc?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1636. </div>
  1637. </div>
  1642. </div>
  1645. </div><div class="et_pb_section et_pb_section_38 et_pb_with_background et_section_regular" >
  1652. <div class="et_pb_row et_pb_row_33 et_animated">
  1653. <div class="et_pb_column et_pb_column_4_4 et_pb_column_33  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1658. <div class="et_pb_module et_pb_text et_pb_text_26  et_pb_text_align_left et_pb_bg_layout_light">
  1663. <div class="et_pb_text_inner"><h3 style="text-align: center;">Melodrama vs. Cinematic Drama: Telling Emotional Truths</h3>
  1664. <p>&nbsp;</p>
  1665. <p data-pm-slice="1 1 &#091;&#093;"><em>Via No Film School</em><br /><a href="https://nofilmschool.com/melodrama-vs-cinematic-drama" target="_blank" rel="noopener">Read the original article</a></p>
  1666. <p>This week, No Film School takes on a fascinating question that trips up even experienced screenwriters: what’s the difference between melodrama and cinematic drama? It’s a deceptively subtle distinction, but one that can make or break a screenplay’s emotional authenticity.</p>
  1667. <p>At its core, melodrama is about heightened emotions and clearly defined moral stakes — think swelling music, tearful monologues, and characters who wear their hearts on their sleeves. It’s not necessarily a bad thing; melodrama has its place, especially when you want to tap into archetypal storytelling or evoke strong emotional responses. Films like &#8220;Titanic&#8221; or even certain moments in &#8220;The Notebook&#8221; lean into melodramatic territory with great success.</p>
  1668. <p>Cinematic drama, on the other hand, thrives on restraint and realism. Characters don’t always say exactly what they mean, and emotional tension often plays out in silences, subtext, and subtle shifts in behaviour. Think &#8220;Manchester by the Sea&#8221; or &#8220;Nomadland&#8221; — dramas that trust the audience to sit with ambiguity and complexity.</p>
  1669. <p>The article does a great job of illustrating these concepts with examples from both film and television, showing how tone, performance, direction, and score all contribute to the emotional register of a scene. It’s not about one being better than the other — it’s about choosing the right emotional framework for your story.</p>
  1670. <p>The piece also provides practical advice for writers and directors looking to navigate the grey area between the two. If a scene feels overwrought or unearned, it might be veering into melodrama unintentionally. Conversely, if your story feels emotionally flat, injecting a bit of melodramatic flair might actually enhance its impact.</p>
  1671. <p>Understanding this tonal spectrum is crucial for filmmakers. It’s easy to fall into the trap of writing what you think is “serious drama” when in fact it reads as melodramatic because the emotional beats aren’t grounded. Or vice versa — pulling back too much and losing the audience’s engagement.</p>
  1672. <p>In short, this article is a masterclass in emotional tone. It challenges filmmakers to interrogate their choices and be intentional about how they want audiences to feel.</p>
  1673. <p>&nbsp;</p>
  1674. <p><iframe title="Christmas 2021 Special Subject – ALL THAT HEAVEN ALLOWS (1955) &amp; CAROL (2015) + More Fear &amp; Movie..." width="1080" height="810" src="https://www.youtube.com/embed/og1V_vZ-uro?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  1675. </div>
  1676. </div>
  1681. </div>
  1684. </div><div class="et_pb_section et_pb_section_39 et_pb_with_background et_section_regular" >
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  1692. <div class="et_pb_column et_pb_column_4_4 et_pb_column_34  et_pb_css_mix_blend_mode_passthrough et-last-child">
  1697. <div class="et_pb_module et_pb_text et_pb_text_27  et_pb_text_align_left et_pb_bg_layout_light">
  1702. <div class="et_pb_text_inner"><h3 style="text-align: center;">Tribeca 2025: A Festival Line-Up that Reflects the Future of Filmmaking</h3>
  1703. <p>&nbsp;</p>
  1704. <p data-pm-slice="1 1 &#091;&#093;"><em>Via Filmmaker Magazine</em><br /><a href="https://filmmakermagazine.com/130382-tribeca-festival-2025-features-rza-mariska-hargitay/" target="_blank" rel="noopener">Read the original article</a></p>
  1705. <p>The 2025 Tribeca Festival is shaping up to be one of its most exciting editions yet. Filmmaker Magazine’s preview of this year’s programme offers a compelling snapshot of what’s ahead — a line-up that’s as diverse, daring, and forward-looking as independent filmmaking itself.</p>
  1706. <p>Kicking off on June 4th in New York City, the festival will showcase 103 feature films and 15 short films from 36 countries. Of those, 86 are world premieres, and over half of the selections are directed by women or BIPOC filmmakers — a strong testament to the festival’s ongoing commitment to inclusive storytelling.</p>
  1707. <p>One of the buzziest entries is <em>One Spoon of Chocolate</em>, a noir-infused thriller from RZA of Wu-Tang Clan fame. Early descriptions suggest it blends genre elements with a unique visual style, marking another bold turn in RZA’s evolving directorial voice. Meanwhile, actress Mariska Hargitay makes her directorial debut with <em>Evelyn’s Wake</em>, a quiet family drama that promises to be a nuanced and heartfelt addition to the line-up.</p>
  1708. <p>The festival will open with <em>Billy Joel: And So It Goes</em>, a documentary directed by Alex Gibney that delves into the iconic musician’s creative process. And it will close with <em>YANUNI</em>, a powerful, visually arresting documentary about Indigenous activist Juma Xipaia, directed by Brazilian filmmaker Camila Freitas.</p>
  1709. <p>There’s also a strong emphasis on genre filmmaking this year. Horror, sci-fi, and hybrid docs all have a significant presence — reflecting a broader trend in indie film toward blending form and experimenting with narrative structure.</p>
  1710. <p>Tribeca has always been a platform for bold voices and emerging talents, and this year’s slate feels especially vital. It’s not just about premieres — it’s about conversation, representation, and cultural relevance. For filmmakers, the festival offers both inspiration and aspiration — a look at what’s resonating with audiences and what’s pushing the medium forward.</p>
  1711. <p>With new voices, international perspectives, and boundary-pushing storytelling, Tribeca 2025 is a snapshot of where filmmaking is headed.</p></div>
  1712. </div>
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  1819. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  1820. </div><div class="et_pb_module et_pb_text et_pb_text_30  et_pb_text_align_center et_pb_bg_layout_light">
  1825. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  1826. <p>We’d love to hear from you. Get in touch today!</p></div>
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  1931. <media:title type="plain">18th April | The Friday Filmmaking Blog | Slate and Mortar</media:title>
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  1937. <item>
  1938. <title>11th April &#124; The Friday Filmmaking Blog</title>
  1939. <link>https://www.slateandmortar.com/news/11th-april-the-friday-filmmaking-blog</link>
  1941. <dc:creator><![CDATA[Stuart Whitehouse]]></dc:creator>
  1942. <pubDate>Thu, 10 Apr 2025 11:34:07 +0000</pubDate>
  1943. <category><![CDATA[News]]></category>
  1944. <guid isPermaLink="false">https://www.slateandmortar.com/?p=8370</guid>
  1945.  
  1946. <description><![CDATA[Explore the latest in filmmaking: Black Mirror’s bold new turn, 1977 Star Wars returns, and Aronofsky's take on method acting.]]></description>
  1947. <content:encoded><![CDATA[<p><div class="et_pb_section et_pb_section_44 et_pb_fullwidth_section et_section_regular" >
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  1961. <h1 class="entry-title">11th April | The Friday Filmmaking Blog</h1>
  1962. </div>
  1964. </div>
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  1985. <span class="et_pb_image_wrap "><img loading="lazy" loading="lazy" decoding="async" width="1280" height="720" src="https://www.slateandmortar.com/wp-content/uploads/2025/04/15-The-Friday-Filmmaking-Blog.png" alt="15 The Friday Filmmaking Blog" title="15 The Friday Filmmaking Blog" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/04/15-The-Friday-Filmmaking-Blog.png 1280w, https://www.slateandmortar.com/wp-content/uploads/2025/04/15-The-Friday-Filmmaking-Blog-980x551.png 980w, https://www.slateandmortar.com/wp-content/uploads/2025/04/15-The-Friday-Filmmaking-Blog-480x270.png 480w" sizes="(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) 1280px, 100vw" class="wp-image-8376" /></span>
  1986. </div>
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  1992. </div>
  1995. </div><div class="et_pb_section et_pb_section_46 et_pb_with_background et_section_regular" >
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  2008. <div class="et_pb_module et_pb_text et_pb_text_31  et_pb_text_align_left et_pb_bg_layout_light">
  2013. <div class="et_pb_text_inner"><p data-pm-slice="1 1 &#091;&#093;">Each Friday, we spotlight three thought-provoking filmmaking articles we’ve discovered online—not written by us, but selected because they’ve sparked conversation in our studio, challenged our thinking, or simply deepened our appreciation for the craft. This week, we dive into <em data-start="534" data-end="548">Black Mirror</em>&#8216;s complex blend of satire and horror, explore the legendary 1977 <em data-start="614" data-end="625">Star Wars</em> cut finally getting a UK screening, and examine Darren Aronofsky’s intriguing take on method acting. Whether you&#8217;re a filmmaker, film-lover or industry professional, there’s plenty to chew on this week.</p></div>
  2014. </div>
  2015. </div>
  2020. </div>
  2023. </div><div class="et_pb_section et_pb_section_47 et_pb_with_background et_section_regular" >
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  2036. <div class="et_pb_module et_pb_text et_pb_text_32  et_pb_text_align_left et_pb_bg_layout_light">
  2041. <div class="et_pb_text_inner"><h3 style="text-align: center;">Charlie Brooker’s Dark Mirror: Pop Culture, Paranoia and Paul Giamatti</h3>
  2042. <p>&nbsp;</p>
  2043. <p class="" data-start="918" data-end="1131"><strong data-start="918" data-end="941">Original article by</strong> <em data-start="942" data-end="959">The Independent</em><br data-start="959" data-end="962" /><strong data-start="962" data-end="979">Read it here:</strong> <a class="" href="https://www.independent.co.uk/arts-entertainment/tv/reviews/black-mirror-charlie-brooker-rashida-jones-paul-giamatti-b2730253.html" target="_new" rel="noopener" data-start="980" data-end="1131">independent.co.uk</a></p>
  2044. <p class="" data-start="1133" data-end="1653">Charlie Brooker has always had a talent for holding up a cracked mirror to society, but in the latest season of <em data-start="1245" data-end="1259">Black Mirror</em>, particularly the episode “Demon 79”, the reflection becomes even darker, and a little stranger. Written by Brooker and Bisha K. Ali, this chapter—featuring a dazzlingly offbeat performance by Anjana Vasan and a deliciously unhinged Paul Giamatti—leans into horror pastiche while tackling disturbingly relevant themes of cultural decay, social compliance, and the dangerous allure of ideology.</p>
  2045. <p class="" data-start="1655" data-end="2017">What makes this instalment so captivating is its ability to oscillate between pop-culture referencing and biting satire without ever losing emotional weight. In doing so, it both lampoons and elevates the horror genre, much in the same way <em data-start="1895" data-end="1904">Get Out</em> or <em data-start="1908" data-end="1932">The Cabin in the Woods</em> did, but with the unmistakable bleakness that only <em data-start="1984" data-end="1998">Black Mirror</em> can truly sustain.</p>
  2046. <p class="" data-start="2019" data-end="2411">The Independent’s review peels back the layers of Brooker’s creative decision-making, highlighting his resistance to formula and his increasing interest in genre fluidity. It’s also a reminder of how streaming platforms have opened the floodgates for non-traditional storytelling structures—something increasingly relevant to indie filmmakers who are no longer bound by rigid 3-act paradigms.</p>
  2047. <p class="" data-start="2413" data-end="2699">From the bold visual aesthetics to the unsettlingly ambiguous moral messages, <em data-start="2491" data-end="2501">Demon 79</em> challenges the viewer just as much as it entertains. For filmmakers, it’s a compelling case study in genre blending, tonal risk-taking, and the power of giving talented actors room to surprise you.</p>
  2048. <p data-start="2413" data-end="2699">
  2049. <p><iframe title="Black Mirror: Season 7 | Official Trailer | Netflix" width="1080" height="608" src="https://www.youtube.com/embed/1iqra1ojEvM?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  2050. </div>
  2051. </div>
  2056. </div>
  2059. </div><div class="et_pb_section et_pb_section_48 et_pb_with_background et_section_regular" >
  2066. <div class="et_pb_row et_pb_row_42 et_animated">
  2067. <div class="et_pb_column et_pb_column_4_4 et_pb_column_42  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2072. <div class="et_pb_module et_pb_text et_pb_text_33  et_pb_text_align_left et_pb_bg_layout_light">
  2077. <div class="et_pb_text_inner"><h3 style="text-align: center;">The Original 1977 Star Wars Cut Comes to the UK—for One Night Only</h3>
  2078. <p>&nbsp;</p>
  2079. <p class="" data-start="3174" data-end="3345"><strong data-start="3174" data-end="3197">Original article by</strong> <em data-start="3198" data-end="3209">IndieWire</em><br data-start="3209" data-end="3212" /><strong data-start="3212" data-end="3229">Read it here:</strong> <a class="" href="https://www.indiewire.com/news/breaking-news/star-wars-original-1977-cut-bfi-screening-1235114076/" target="_new" rel="noopener" data-start="3230" data-end="3345">indiewire.com</a></p>
  2080. <p class="" data-start="3347" data-end="3660">There’s a rare and rather magical moment in cinema history about to unfold at the BFI Southbank: the UK screening of the original, unaltered 1977 version of <em data-start="3504" data-end="3515">Star Wars</em>. Long buried under George Lucas’s ever-evolving remasters, this cut has become something of a holy grail for purists and film historians alike.</p>
  2081. <p class="" data-start="3662" data-end="4119">IndieWire’s article taps into the legacy of this landmark film, discussing how its untouched version not only preserves cinematic nostalgia, but also offers a tangible insight into the mechanics of late-‘70s practical effects, editing, and sound design. What’s fascinating here isn’t just the return of Greedo <em data-start="3972" data-end="3977">not</em> shooting first; it’s the restoration of film history in a form that today’s generation of filmmakers rarely get to witness on the big screen.</p>
  2082. <p class="" data-start="4121" data-end="4451">This screening, which will take place as part of the <em data-start="4174" data-end="4195">Cinema Rediscovered</em> strand, is especially poignant for those working in visual storytelling: it strips away the digital enhancements and reveals the raw, brilliant limitations of the era. You’re watching not just a film, but a moment of cultural and technological transition.</p>
  2083. <p class="" data-start="4453" data-end="4716">For filmmakers, it’s a reminder that great storytelling isn’t about what tools you have at your disposal; it’s about how creatively you use them. And sometimes, less really is more—unless, of course, you’re George Lucas with a CGI budget and an itchy edit finger.</p>
  2084. <p data-start="4453" data-end="4716">
  2085. <p><iframe title="Star Wars A New Hope 1977 Trailer" width="1080" height="608" src="https://www.youtube.com/embed/1g3_CFmnU7k?feature=oembed"  allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></p></div>
  2086. </div>
  2087. </div>
  2092. </div>
  2095. </div><div class="et_pb_section et_pb_section_49 et_pb_with_background et_section_regular" >
  2102. <div class="et_pb_row et_pb_row_43 et_animated">
  2103. <div class="et_pb_column et_pb_column_4_4 et_pb_column_43  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2108. <div class="et_pb_module et_pb_text et_pb_text_34  et_pb_text_align_left et_pb_bg_layout_light">
  2113. <div class="et_pb_text_inner"><h3 style="text-align: center;">Darren Aronofsky on Method Actors: “It’s Just Not My Thing”</h3>
  2114. <p>&nbsp;</p>
  2115. <p class="" data-start="5086" data-end="5222"><strong data-start="5086" data-end="5109">Original article by</strong> <em data-start="5110" data-end="5126">No Film School</em><br data-start="5126" data-end="5129" /><strong data-start="5129" data-end="5146">Read it here:</strong> <a class="" href="https://nofilmschool.com/darren-aronofsky-method-actors" target="_new" rel="noopener" data-start="5147" data-end="5222">nofilmschool.com</a></p>
  2116. <p class="" data-start="5224" data-end="5476">Darren Aronofsky, known for psychologically intense films like <em data-start="5287" data-end="5308">Requiem for a Dream</em>, <em data-start="5310" data-end="5322">Black Swan</em> and <em data-start="5327" data-end="5338">The Whale</em>, may seem like the ideal director for method actors who like to fully immerse themselves in their roles—but surprisingly, he’s not a fan.</p>
  2117. <p class="" data-start="5478" data-end="5859">In this interview covered by <em data-start="5507" data-end="5523">No Film School</em>, Aronofsky makes it clear: while he respects actors who employ the method approach, he prefers those who can step in and out of character with ease. His reasoning is simple but significant—he believes that emotional availability is just as important as emotional immersion, especially when trying to maintain a productive and safe set.</p>
  2118. <p class="" data-start="5861" data-end="6232">He also reflects on his experiences with performers like Brendan Fraser and Natalie Portman, highlighting their ability to access raw emotion without losing sight of the collaborative nature of filmmaking. In his view, method acting can sometimes blur lines in ways that are unhelpful—risking not only the wellbeing of the actor but the cohesion of the entire production.</p>
  2119. <p class="" data-start="6234" data-end="6556">This take is particularly relevant today, as conversations around mental health, boundaries, and safe working environments in the industry are becoming more mainstream. Aronofsky’s comments challenge a long-standing romanticism around suffering for one’s art and instead champion professionalism, communication, and trust.</p>
  2120. <p class="" data-start="6558" data-end="6711">It’s a compelling read for directors and actors alike—especially those navigating the balance between artistic authenticity and workplace sustainability.</p></div>
  2121. </div>
  2122. </div>
  2127. </div>
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  2143. <div class="et_pb_module et_pb_text et_pb_text_35  et_pb_text_align_left et_pb_bg_layout_dark">
  2148. <div class="et_pb_text_inner"><h2>Latest News</h2></div>
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  2170.  
  2171. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/video-production-outsourcing-university" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/03/WK-19-Video-Production-Outsourcing-400x250.png" alt="Video Production Outsourcing: Why Universities Should Rethink Their Approach" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/03/WK-19-Video-Production-Outsourcing.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/03/WK-19-Video-Production-Outsourcing-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="11th April | The Friday Filmmaking Blog 16"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  2172. <h2 class="entry-title">
  2173. <a href="https://www.slateandmortar.com/news/video-production-outsourcing-university">Video Production Outsourcing: Why Universities Should Rethink Their Approach</a>
  2174. </h2>
  2176. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  2177. </article>
  2179. <article id="post-8539" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_5_1 post-8539 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  2180.  
  2181. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/05/18-The-Friday-Filmmaking-Blog-400x250.png" alt="2nd May | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/05/18-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/05/18-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="11th April | The Friday Filmmaking Blog 17"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  2182. <h2 class="entry-title">
  2183. <a href="https://www.slateandmortar.com/news/2nd-may-the-friday-filmmaking-blog">2nd May | The Friday Filmmaking Blog</a>
  2184. </h2>
  2186. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  2187. </article>
  2189. <article id="post-8518" class="et_pb_post clearfix et_pb_has_overlay et_pb_blog_item_5_2 post-8518 post type-post status-publish format-standard has-post-thumbnail hentry category-news">
  2190.  
  2191. <div class="et_pb_image_container"><a href="https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog" class="entry-featured-image-url"><img loading="lazy" loading="lazy" decoding="async" src="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-400x250.png" alt="25th April | The Friday Filmmaking Blog" class="" srcset="https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog.png 479w, https://www.slateandmortar.com/wp-content/uploads/2025/04/17-The-Friday-Filmmaking-Blog-400x250.png 480w " sizes="(max-width:479px) 479px, 100vw " width="400" height="250" title="11th April | The Friday Filmmaking Blog 18"><span class="et_overlay et_pb_inline_icon" data-icon="U"></span></a></div>
  2192. <h2 class="entry-title">
  2193. <a href="https://www.slateandmortar.com/news/25th-april-the-friday-filmmaking-blog">25th April | The Friday Filmmaking Blog</a>
  2194. </h2>
  2196. <div class="post-content"><div class="post-content-inner et_multi_view_hidden"></div></div>
  2197. </article>
  2198. </div>
  2199. </div>
  2200. </div>
  2201. </div>
  2202. </div>
  2207. </div>
  2210. </div><div class="et_pb_section et_pb_section_53 et_pb_with_background et_section_regular" >
  2217. <div class="et_pb_row et_pb_row_46">
  2218. <div class="et_pb_column et_pb_column_4_4 et_pb_column_46  et_pb_css_mix_blend_mode_passthrough et-last-child">
  2223. <div class="et_pb_module et_pb_text et_pb_text_36  et_pb_text_align_left et_pb_bg_layout_light">
  2228. <div class="et_pb_text_inner"><h2>Thinking about using an award winning production company for your next project?</h2></div>
  2229. </div><div class="et_pb_module et_pb_text et_pb_text_37  et_pb_text_align_center et_pb_bg_layout_light">
  2234. <div class="et_pb_text_inner"><p>Want to chat through a video or animation idea you may have?<br />Planning on using video or animation in your next campaign?</p>
  2235. <p>We’d love to hear from you. Get in touch today!</p></div>
  2236. </div>
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