Casey Liss

Yeah, so this is, shoot, I already forgot the director's name, but he did some recent Western movie, I think. Oh, this is already going on to a great start. But, hey, that's all right. Basically, this is a 15-ish minute film about a World War II submarine, which, you know, something bad happens. I don't know. Can I spoil it? Should I spoil this? I don't even know what's appropriate.

Yeah, so this is, shoot, I already forgot the director's name, but he did some recent Western movie, I think. Oh, this is already going on to a great start. But, hey, that's all right. Basically, this is a 15-ish minute film about a World War II submarine, which, you know, something bad happens. I don't know. Can I spoil it? Should I spoil this? I don't even know what's appropriate.

thank you, who I think had just won an Oscar or something like that for one of his films.

thank you, who I think had just won an Oscar or something like that for one of his films.

Yeah, there is, but I'm not looking at it right now. Nice plug, though. I appreciate that. Anyways, so this is... It is unlike... It is unlike pretty much anything I've ever seen. So a lot of the Vision Pro stuff so far has either been CGI dinosaurs or let's tell a three to seven minute story about something or maybe 10 minutes tops. And it was more documentary style than it was anything else.

Yeah, there is, but I'm not looking at it right now. Nice plug, though. I appreciate that. Anyways, so this is... It is unlike... It is unlike pretty much anything I've ever seen. So a lot of the Vision Pro stuff so far has either been CGI dinosaurs or let's tell a three to seven minute story about something or maybe 10 minutes tops. And it was more documentary style than it was anything else.

So as an example, I don't think we've talked about it on the show, but they came out like a month ago with a four or five minute sizzle reel on the most recent Super Bowl for American football. It's incredible. As someone who enjoys American football... This was an absolutely phenomenal, like four or five minutes sizzle reel, but again, like a documentary.

So as an example, I don't think we've talked about it on the show, but they came out like a month ago with a four or five minute sizzle reel on the most recent Super Bowl for American football. It's incredible. As someone who enjoys American football... This was an absolutely phenomenal, like four or five minutes sizzle reel, but again, like a documentary.

And to my knowledge and my recollection, as I sit here now, slightly sick with a cold, uh, I don't recall any other like scripted thing that has happened on the vision pro and certainly not anything that they've described as a scripted short film, which is how they describe submerged. And this is a 17 minute short film that is obviously scripted.

And to my knowledge and my recollection, as I sit here now, slightly sick with a cold, uh, I don't recall any other like scripted thing that has happened on the vision pro and certainly not anything that they've described as a scripted short film, which is how they describe submerged. And this is a 17 minute short film that is obviously scripted.

It's acted and it is incredibly, incredibly, incredibly cool. And I think one of the things that I find most amusing about it is trying to understand the language of the film and how do they leverage this medium to still accomplish the same thing that any filmmaker generally needs to do. So, for example, how do they point your attention at something? And one of the ways they do this...

It's acted and it is incredibly, incredibly, incredibly cool. And I think one of the things that I find most amusing about it is trying to understand the language of the film and how do they leverage this medium to still accomplish the same thing that any filmmaker generally needs to do. So, for example, how do they point your attention at something? And one of the ways they do this...

is with incredibly shallow depth of field. Perhaps an incredible close-up of somebody's face with very, very shallow depth of field. So even if you try to look around, there's nothing else to really see. It's all blurry. And sorry, I don't know if I actually said it clearly, but this is immersive. So you get 180 degrees. You can look around and tilt your head. And so...

is with incredibly shallow depth of field. Perhaps an incredible close-up of somebody's face with very, very shallow depth of field. So even if you try to look around, there's nothing else to really see. It's all blurry. And sorry, I don't know if I actually said it clearly, but this is immersive. So you get 180 degrees. You can look around and tilt your head. And so...

Even though, in some cases, the depth of field is as you would expect, and as such, the extras that you really can't focus on in a traditional movie, you can turn your head and you can go see what that extra's doing. You can turn your head and go see what the other extra

Even though, in some cases, the depth of field is as you would expect, and as such, the extras that you really can't focus on in a traditional movie, you can turn your head and you can go see what that extra's doing. You can turn your head and go see what the other extra

is doing and you know that's the whole idea and I'm doing Foley work on purpose which is going to drive Marco nuts when he edits but but nevertheless but the point is that you know even the extras have to be acting always in a way that I think is not typical for an extra because they couldn't they might not be the extra they might be the star just because I turned my head that way

is doing and you know that's the whole idea and I'm doing Foley work on purpose which is going to drive Marco nuts when he edits but but nevertheless but the point is that you know even the extras have to be acting always in a way that I think is not typical for an extra because they couldn't they might not be the extra they might be the star just because I turned my head that way

Similarly, all of the audio in all of the lighting, it kind of has to be on set because unless it's behind the camera, you need to be able to, you're going to be able to see it because you can look around. You can look down, you can look up, not a lot, but you can look down, you can look up, and you can look 180 degrees side to side.

Similarly, all of the audio in all of the lighting, it kind of has to be on set because unless it's behind the camera, you need to be able to, you're going to be able to see it because you can look around. You can look down, you can look up, not a lot, but you can look down, you can look up, and you can look 180 degrees side to side.