We're here to keep you informed and ready to be your own bottle rocket as you launch a career into the ever-changing landscape of film, video, and content.
film history & craft
Dune: Part Three is the first film in the trilogy shot on film, using 65mm and IMAX cameras with custom spherical lenses Atlas built for Villeneuve and DP Linus Sandgren.
ai tools
ElevenLabs’ new Video to Music API generates a score and sound effects that follow your cuts, with separate tracks and an option to match your video’s existing audio.
Post-Production
From Resolve’s built-in Film Look Creator to SpektraFilm, FilmConvert Nitrate, Dehancer, ARRI Film Lab, and Genesis, here are the best film emulation plugins for Resolve and what they cost.
AI Filmmaking
A beginner’s guide to Seedance 2.5: where to use it on Dreamina, Runway, and fal, how its modes and 50-reference limit work, prompting tips, and what it costs.
filmmaking basics
Log footage looks flat, which makes it easy to misjudge exposure. Here are the middle gray targets for S-Log3, C-Log2, C-Log3, and N-Log, plus how to use zebras, false color, and extra exposure.
ai tools
Mirelo SFX 2.0 removes unwanted music from AI video, keeps the dialogue, and rebuilds sound design synced to the picture. It’s live on Runway, fal, and Premiere Pro.
Post-Production
ARRI Film Lab 1.5 adds 8mm, 16mm, and 65mm looks, anamorphic grain matching, new halation controls, ACES 2.0 support, and up to 4x faster processing. It’s free for existing users.
ai tools
Takes is a free, open-source Mac app with a voice-following teleprompter and no timeline. Claude Code cuts your talking-head videos on your own Claude plan.
streaming & platforms
Vimeo’s free plan now includes unlimited public videos, free auto-captions, no ads, and no AI training. Private and embedded videos get 3GB of storage.
ai tools
fal Reframe uses H3 Max to change a video’s aspect ratio by generating new picture around the original frame, keeping timing and audio. Here’s how it works and what it costs.
film history & craft
Emmanuel Lubezki shot Iñárritu’s Digger on a rebuilt 1950s VistaVision camera with Leitz ELSIE and Panavision lenses. Here’s the camera package and why they chose it.
AI Filmmaking
Runway’s new Weekly Challenge offers 175,000 credits in prizes. The first brief, “The Impossible Shot,” asks for a 15–30 second video by October 19.