Cool mount, but it needs to be disguised in some part of the camera otherwise just unscrew it. Put it behind a v mount plate or under a tripod plate or something. Two screws and it’s off

I would add a meta aspect. I was watching a Johnny Harris Doco on the World Cup and it’s become clear that this meta aspect of the story being told is as or slightly less important than the story of the people trying to make it. There’s the double tension built there. The story of the doc and the story of trying to make the doc. Also present in The Rehearsal, The Show About the Show and Mr Beasts videos. Also to a slightly different extent Patrick H Willems.

It’s as if our monkey brain destined to tune out need as much stimulation as possible, these dual layers of tension possibly feed into this. A show within a show, a character making a show where the show made is the making and the show in one video.

I'm way too excited for the podcast pile on this goober deserves... If you watch some of the other videos they seems to progressively to get even worse... He's like some sort Ari Gold perennial perineum praiser.

LA has sort of lost is lustre as a film making destination, I travelled from Australia to LA with a short film for Dances With Films in July and the people were amazing and the films screened were great but for some reason the city just felt... desolate or sad, or desperate... It feels like a city of haves and desperately wanting to haves and I can't see how this will help anyone have a creative spark... For some maybe creating this kind of desperation model forces 'creativity' but it seems to force, desperation and his model is about looking, being and acting as desperate as possible to 'prove' you deserve... Absolute dystopia...

Any way. Holler at him Hellerman. Honestly I would LOVE a Scriptnotes/Final Draft equivalent smackdown with NFS/ThisGOOBER

No TV can fix this fundamental problem, personally i dont think its a problem of darkness or brightness but a problem of key-fill ratio. That's why you can't raise the brightness of the TV to make it viewable in anything other than a light controlled black room (a colour grading studio) without just turning it into a grey mess... Or raising the contrast on the TV and essentially trying to artifiically stretch the luma range of an image to make it viewable... Even in cinemas this shooting where all the information is in the lowest 5% of luminance struggles... unless they are in the most amazing modern Laser projector cinemas which is less than 5% of cinemas....

sorry but... what?

It's made for viewing at home, and lots of other movies with night scenes motivated by candlelight and moonlight look fantastic at home... I use a projector at home so can not get quite as deep blacks as an Oled... yet almost eveything, even horror films, look fantastic on it...

The fundamentals of cinematography is you need bright parts in the frame to balance out the dark and make the dark feel like darkness and not just underexposing... these shots all seem across the board seem to sit so low that the actual key-fill ratios are more like a comedy, just underexposed rather than a higher key-fill ratio to amplify the feeling of darkness they underexpose a low key-fill ratio to make it, i dono, hard to see stuff in the frame? I don't get it, it feels lazy... like a high end version of the 5D phase of shallow depth of field as a facsimile to 'cinema'....

Is anyone from NFS attending the fest?