My Podcast: Show Don’t Tell – Will Now Be Found On A New Section Of

This week I released episodes 4 & 5 of Show Don’t Tell: A Podcast On Micro-Budget Filmmaking, and I will continue to post at least 1 new podcast each week, every Thursday! On some weeks, I may even release a bonus podcast, which means every month you can expect anywhere from 4 to 8 new episodes…

In order to better organize the content, I am going to start posting all new episodes on their own page, as opposed to simply grouping them in with all of my other content on the homepage.

On the main menu above, you will now find a “Podcast” link. So for those of you that want to check for new episodes weekly, feel free to use this direct link to access all of the most recent episodes of Show Don’t Tell.

If you haven’t heard this week’s episodes yet, be sure to check them out soon and let me know what you think…

In Episode 04, just released today – I interview two micro-budget filmmakers from England who just completed production on their feature film. With experience on some huge productions such as Wonder Woman, Doctor Strange, Fantastic Beasts, Free Fire and Rogue One, they have a really interesting story and lots of great insight.

On Episode 05 – also released today, I outline some practical advice for those of you looking to buy your next DSLR or Mirrorless camera, and go in depth as to why DSLRs are still relevant for filmmakers today.

These podcasts and more can be found here, on the dedicated podcast page.

And as always, you can subscribe to the podcast using the links below:

Subscribe to this podcast via iTunes

Subscribe to this podcast via Google Play

Subscribe to this podcast via Stitcher

Subscribe to this podcast via SoundCloud

Subscribe to this podcast via RSS

For more content like this, be sure to follow me on Instagram, Facebook, and Twitter!

About Author

Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe. Follow Noam on Twitter, Instagram and Facebook for more content like this!


  • Henry Larry

    The separate podcast section is a brilliant move. Episode 04s filmmaker insights and Episode 05s camera advice were truly engaging. Can not wait for the upcoming episodes.
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  • In a recent episode of the podcast, talking about coverage, you mentioned the perks of filming coverage insert shots over wide shots.
    Since I write, edit and direct my films, I know what I need in the edit room, so I also only shoot a wide for moments where I think I will need it and thats it, I rarely use them.
    Could you expand on what you shoot as insert shots.
    I always tell myself to shoot some, so it can save me in the edit room. But I don’t have much practice shooting/storyboarding for it and editing with it. Is it just – for example peoples hands during a scene, or items in the room that are relevant in some way etc.

    Thank you, I really appreciate your podcast, there are a lot of filmmaking podcasts out there and they are all great but hard to find an indie filmmaker that seems to be on the same page in most areas of filming, and not depending on budget or climbing up the ladder to start a career as the only option.

    Thanks for the taking the time

    • Thanks for the kind words, Cory! Glad you’ve been enjoying the site. With regards to insert shots –

      First and foremost I recommend looking at how insert shots in a specific scene can elevate your story, not just how they can give you extra coverage. For instance, in the example you gave I would only get an insert of someone’s hands if it was really critical to understanding part of the story. Otherwise, I might shoot other inserts (such as objects in the room that are emblematic of a character’s personality), to help set the scene and connect the viewer with the environment and setting. These inserts might be used to open a scene, or perhaps to punctuate other moments in the middle of the scene while also providing a cutting point.

      Every scene is different though, so I take it on a case by case basis every time!

      Hope this makes sense…


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