Casey Liss

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.

And so all the lighting and all the sound pickup kind of has to be there. And in fact, in one of the scenes, I'm not going to spoil the story as much, but in one of the scenes, there's two people sitting around a table having a snack, basically. And you end up zoomed in on the star of the film. And the other person is behind you based on the way the set is, right?

And so all the lighting and all the sound pickup kind of has to be there. And in fact, in one of the scenes, I'm not going to spoil the story as much, but in one of the scenes, there's two people sitting around a table having a snack, basically. And you end up zoomed in on the star of the film. And the other person is behind you based on the way the set is, right?

Because you're basically, the camera's kind of floating above the table, if you will. And you can hear Dude Man eating behind you, right? Because that's the way surround sound works. And so that, you know, they could obviously have the pickup behind the camera. But for anything that's happening in front of the camera, you know, you don't want to be able to see a microphone.

Because you're basically, the camera's kind of floating above the table, if you will. And you can hear Dude Man eating behind you, right? Because that's the way surround sound works. And so that, you know, they could obviously have the pickup behind the camera. But for anything that's happening in front of the camera, you know, you don't want to be able to see a microphone.

And you don't want to be able to see the lights and whatnot. It's incredibly, incredibly weird in a good way. And it feels like you're there. Not that you're participating in it necessarily, but in a lot of ways, it feels more real than anything I've ever done before. A couple of examples of this. they do move the camera from time to time.

And you don't want to be able to see the lights and whatnot. It's incredibly, incredibly weird in a good way. And it feels like you're there. Not that you're participating in it necessarily, but in a lot of ways, it feels more real than anything I've ever done before. A couple of examples of this. they do move the camera from time to time.

They don't have the same problem that that MLS thing did where there's just constant cuts, constant, constant, constant cuts. There are cuts, but they're much better, much fewer and far between. Not unlike the football one I was talking about a minute ago, the NFL one.

They don't have the same problem that that MLS thing did where there's just constant cuts, constant, constant, constant cuts. There are cuts, but they're much better, much fewer and far between. Not unlike the football one I was talking about a minute ago, the NFL one.

But there's, there's occasions where they move the camera and once or twice they kind of like just take what would effectively be a couple of steps forward. Although clearly the camera's on like rails or whatever. Um, But there's a couple of times they're moving the camera like quite a ways, like a solid 15, 20 feet, which what is that, like three meters or something like that? No, more than that.

But there's, there's occasions where they move the camera and once or twice they kind of like just take what would effectively be a couple of steps forward. Although clearly the camera's on like rails or whatever. Um, But there's a couple of times they're moving the camera like quite a ways, like a solid 15, 20 feet, which what is that, like three meters or something like that? No, more than that.

Anyway, four or five meters. And it feels slightly off-putting. Like, John, you would absolutely hate this because your body is telling you you just moved, but yet... or I guess your eyes are telling you you just moved, but your body is saying, no, I'm still sitting here. John's out. Yeah, right, exactly. It's not off-putting to the point that it was bad, but it was weird.