@paulscheer You're 100% right, fantastic analysis. I also feel like streamers have this budget line they won't cross where they don't want to continue paying residuals after a certain point, or deal with contract demands/negotiations once a show gets popular. Thoughts on that?
@CopaExMachina How do we know some of these story/tone/dialogue choices weren't notes/suggestions given by an exec (with more power than he/she deserves) that eventually ended up being the take/cut used?
Dr. Oz on stage with Dean Cain talks about how great the crowd is at the Great American State Fair... so @hicharliecotton pans his camera to reveal quite the opposite.
BTS footage of Siskel & Ebert recording a tv spot for an upcoming episode ๐ The petty annoyance between these two is really what made them so special
I am not a fan of IMAX. I don't think it does anything. It's just a bigger screen. In a damn box ratio. Blown up television. Give me Cinemascope any day of the week. Just make a big IMAX screen and add the sides. It's only a box because of the limitation of that antiquated film format running through a camera gate that can barely take the stress. Most of that stuff isnt even shot in IMAX but "FOR IMAX." Which is just digital cameras like Venice 2 or Alexa 65.
This fluctuating presentation format is also ridiculous. Do we believe that compositions matter? So you're telling me a filmnaker supposedly cares about every little detail about presentation but then doesn't care that vast majority of the movie will be played in theaters in some compromised cropping? I'd rather lock the image in a very specific format and make sure everyone sees it according to my intended compositions with edits calibrated to that eye tracking.
The irony is there's nothing more dismissive of cinema than the idea that fluctuating compositions due to format presentation don't matter, whether it's IMAX or iPhone.