The No Film School Podcast

In this sponsored episode, GG Hawkins speaks with Eddie AI co-founder and CEO Shamir Allibhai about Eddie AI’s latest release, Eddie v3, which launched on April 14, 2026 ahead of NAB Show 2026. Their conversation explores the new Night Shift workflow, designed to process footage overnight by sorting interviews from B-roll, syncing multicam interviews, logging media, and building a rough cut ready for Adobe Premiere Pro, DaVinci Resolve, or Final Cut Pro by morning. They also discuss Eddie’s expanding role as an AI assistant editor for professional workflows, including docu-style rough cuts with B-roll placement, and the broader questions filmmakers face around creative control, sustainability, curiosity, and the future of storytelling in an AI-assisted post-production landscape.

In this episode, No Film School's GG Hawkins and guest Shamir Allibhai discuss...


Eddie AI’s new Night Shift feature and how it aims to build a structured rough cut overnight


Why the company positions Eddie AI as an assistant editor rather than a replacement for Premiere, Resolve, or Final Cut Pro


How AI can help with multicam syncing, A-roll and B-roll organization, logging, and assembly edits


The difference between AI tools that generate synthetic media and tools built to work from a filmmaker’s real footage


Why editing still depends on human taste, timing, emotional judgment, and story instinct


How AI tools may help filmmakers handle paid client work more efficiently while protecting time for passion projects


The tension between fear and curiosity as filmmakers adapt to new technology


How creative professionals can think about money, sustainability, and long-term career support without sidelining the art


Why Allibhai sees storytelling as a fundamentally human act, even in a future shaped by AI


What filmmakers should watch for around security, ownership, and platform terms when using AI tools

Memorable Quotes:


“We’re not trying to be another timeline editor, like Premiere, Resolve, FCP.”


“When we think about it from the consumer’s perspective, they just care about great stories.”


“This is the root of a lot of the fear because we have struggled so hard just to be able to be here.”


“In 10,000 years, we will still be sitting around a campfire or somewhere and telling each other stories.”

Guests:


Shamir Allibhai

Resources:


The AI Doc Breakdown: Filmmaking in the Age of Uncertainty


How to Scale Video Editing With an AI Storytelling Partner


Eddie AI


The Eddie AI team will be demoing Eddie v3 at NAB 2026

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Writer-director Lee Cronin joins No Film School to discuss how he approached reimagining The Mummy through the lens of family trauma, mystery, and body horror. In conversation with GG Hawkins, Cronin breaks down the emotional architecture behind effective horror, the challenge of staging fear in broad daylight, and the way Irish storytelling, personal experience, and practical effects continue to shape his work. He also reflects on building a long-term creative partnership, collaborating with horror powerhouses like Jason Blum and James Wan, and the discipline required to keep refining a film all the way through the edit.

In this episode, No Film School's GG Hawkins and guest Lee Cronin discuss...


How Cronin infused The Mummy with mystery, family drama, and horror


Why broad daylight can make horror feel even more unsettling


The emotional groundwork required to make gore and shock land with audiences


How themes from The Hole in the Ground evolved into The Mummy


Why character is always the engine of fear in Cronin’s films


How Cronin thinks about the “contract” he makes with audiences from the earliest story stage


The practical and creative lessons he learned from years of making corporate videos and commercials


What it was like collaborating with Jack Reynor, Jason Blum, and James Wan


How shooting in Ireland and Spain helped shape the scale and texture of the film


Advice for emerging filmmakers on collaborators, restraint, and cutting what does not work

Memorable Quotes:


“Writing is not hard at all. Knowing what to write is incredibly difficult.”


“Nothing is more exciting to me than watching something I’ve created with an audience and hearing them vocalize, scream, drop the popcorn, whatever it might be.”


“If something doesn’t work, don’t leave it there.”


“Never be afraid.”

Guests:


Lee Cronin

Resources:


Lee Cronin’s The Mummy on IMDb


Vote for No Film School’s Webby-nominated explainer video

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GG Hawkins speaks with editors Lam T. Nguyen and Austin Keeling about building the visual language of Mercy, a hybrid screen life thriller directed by Timur Bekmambetov. They break down how editorial shaped not just pacing and performance, but also the film’s digital camera moves, interface design, screen choreography, and collaboration with VFX. The conversation also expands into how texting, phones, and screen-based storytelling can work in contemporary filmmaking, and why the core principles of editing still matter even inside a highly technical workflow.

In this episode, No Film School's GG Hawkins and guests discuss...


How Lam T. Nguyen and Austin Keeling first came together on Mercy


What defines the film’s hybrid “screen life” visual language


How the team used early previs to explore a more immersive 3D screen experience


Why the Apple Vision Pro became an early point of reference for the film’s digital courtroom design


How editorial functioned as editing, design, animation, and virtual cinematography all at once


The Premiere Pro workflow they used to manage complex multi-layered timelines


Why the team kept the process technically simple with adjustment layers, transform effects, and blur


How they decided where the audience should look when multiple story elements were happening at once


What the handoff to VFX looked like and why the editorial version had to be nearly final


Their thoughts on how texting and phones can be made cinematic in modern films


How Mercy balanced futuristic technology with interfaces that still feel recognizable to audiences


Why collaboration, adaptability, and saying yes to unexpected opportunities helped shape their careers

Memorable Quotes:


“We had four weeks to build the previs and all they wanted was in traditional screen life formats.”


“The best way to do is simplify it, right?”


“The fundamentals still apply as an editor for this film.”


“It’s all just using the tools that are available and kind of like using them to your advantage.”

Guests:


Lam T. Nguyen


Austin Keeling

Resources:


Vote for No Film School’s Webby-nominated explainer video


Tickets: Beacon Film Society screening — May 7, New York

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In this episode, GG Hawkins speaks with animator and director Julian Glander about making his microbudget animated feature Boys Go to Jupiter for just $30,000, premiering it at Tribeca, building momentum through a 50-festival run, and eventually landing theatrical distribution and a streaming home on HBO Max. Glander breaks down the realities of producing an animated feature outside the studio system, from teaching himself new tools in Blender to embracing the scrappy story behind the film, negotiating festival fees, navigating distribution conversations, and figuring out what comes next after a breakout first feature.

In this episode, No Film School's GG Hawkins and guest Julian Glander discuss...


How Glander and producer Payson made Boys Go to Jupiter with a tiny team and a $30,000 budget


Why Blender and open-source communities made an indie animated feature possible


What surprised Glander most about audience reactions to the film’s scrappy origins


The reality check of premiering at Tribeca without an instant splashy acquisition


How a long festival run helped the film build momentum and recoup its budget through screening fees and prizes


Why showing up in person for festival screenings and Q&As can make a lasting impact


How Cartuna helped shape the film’s theatrical rollout


The role of PR, timing, and critical response in helping the film break out theatrically


What it means to let go of control during distribution while still protecting the work


How Glander is thinking about a second feature and resisting the pressure of “heat”

Memorable Quotes:


“You really do have to be delusional and not know what’s going to happen.”


“I was embarrassed by how scrappy it was but it turned out to be like the thing that brings people in and the thing that makes them love it.”


“If you don’t ask for it, you don’t get it.”


“Most things are Googleable.”

Guests:


Julian Glander on IMDb


Julian Glander on Instagram

Resources:


Boys Go to Jupiter on IMDb


I Really Love My Husband Screening and QA

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In this episode, No Film School host GG Hawkins speaks with director Charlie Tyrell and editors Davis Coombe and Daysha Broadway about The AI Doc: Or How I Became an Apocaloptimist. The conversation explores how the team shaped an essay-driven documentary around AI, parenting, authorship, and uncertainty, while also breaking down the collaborative editorial process, the ethics of making a film in real time about a rapidly changing subject, and the analog craft choices that gave the project its tactile visual identity.

In this episode, No Film School's GG Hawkins and guests discuss...


How The AI Doc: Or How I Became an Apocaloptimist uses a filmmaker’s journey into impending parenthood as a narrative device for exploring AI anxiety and optimism


Why the team chose an essay-documentary structure while still grounding the film in Daniel Roher’s on-camera perspective


The challenges of shaping a documentary whose subject kept changing during production as AI news evolved in real time


How Charlie Tyrell, Davis Coombe, and Daysha Broadway each found their way into filmmaking and documentary storytelling


The creative and ethical complications of having a co-director also function as a subject within the film


How the filmmakers balanced accessibility, complexity, and emotional honesty while making a movie about a massive technological shift


The editorial collaboration behind the film, including remote workflows, shared creative decision-making, and leaving ego at the door


Why the team intentionally avoided using AI in the film’s creative workflow


How Premiere Pro Productions, transcription tools, Blender, After Effects, Dragonframe, stop-motion builds, and practical effects supported the film’s handmade aesthetic


Where the guests currently land on the spectrum between AI optimism and AI anxiety as working filmmakers and editors


Why the guests believe the biggest question is not just what AI can do, but how people choose to use it

Memorable Quotes:


“It actively wrestles with it in real time, both thematically and in the way that it was made.”


“Everyone kind of just left their ego at the door and showed up to do the work.”


“Filmmaking only brings suffering.”


“I don't feel like AI is the big bad. To me, the people are the big bad.”

Guests:


Charlie Tyrell


Davis Coombe


Daysha Broadway

Resources:


The AI Doc: Or How I Became an Apocaloptimist


Synopsis: From the Academy Award-winning filmmakers behind Everything Everywhere All at Once and Navalny, a father-to-be tries to figure out what is happening with all this AI insanity. The AI Doc: Or How I Became an Apocaloptimist is a hand-made, eye-opening documentary about the most powerful technology humanity has ever created and what’s at stake if we get it wrong.


For resources and ways to join the apocaloptimist community, visit theaidocgetinvolved.com

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