Markiplier

So kind of grounding everything was an important thing to do.

I wanted an art team and they've like Iman and Travis were the people that were in charge of making the set come to life and.

they did an incredible job because working with the DP Phil, we both knew that we wanted to shoot every single inch of this sub because we needed every angle possible and we needed to find those cinematic angles.

So we did a lot of macro stuff.

We did probe lenses.

We were

We were putting the camera in corners that we never even thought it could fit in.

We were stripping down the whole thing so that we could get that angle.

And it was difficult because there was a few parts of the sub that you could remove and shoot through.

But that was very rare because of the time it took to do that.

And because if you did that, you couldn't move it at all when it was happening.

And most of the time the sub is moving and it's on a big motion control rig.

So all these little elements were...

kind of combined to make that feel cinematic, especially the motion rig at the bottom, that motion and the movement of it was kind of essential to marrying everything together.

You, you had the set, it was beautifully made.

You had the cameras with beautiful lenses and you had a DP that had the skill to find those spots.

And then you had this entire motion control rig that could make everything come to life and really put you in that space and earn all that forgiveness to get to that moment.

I probably should have.

Yeah.

I did.