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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693610 | [S1] Your shotgun, get it as close to the person as possible and then point it at their chest. I, I always end up pointing it at their mouth 'cause it feels like, well, the voice is coming from there, but you're saying there's actually this like zone of good audio- [S2] Yeah. [S1] ... from the mouth down to the chest. | 13.88 | 3.036912 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693610.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693611 | [S1] Yeah, like your voice is coming up out of, like, your diaphragm that you're pushing all the air through, and it's still resonating through your chest. Like, you're gonna get, um, um, a nice resonance, a nice deep resonance there. So, like, you wanna capture that if you can. [S2] Yeah. [S1] And you're gonna miss that if you're pointing at the mouth, I think. [S2] Okay. | 18.56 | 3.384093 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693611.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693612 | [S1] Um, and then I'm also currently lab still. You can see my lab on here. For in- sit down interviews like this, it's more of a secondary thing just as like a safety. Unless it's like a noisy room or a noisy environment, then usually the lab is going to be closer than the boom could be and potentially sound better as long as it's not too rustly and it's not- [S2] Mm-hmm. [S1] ... um, a noisy lab or- | 21.8 | 3.138802 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693612.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693613 | [S1] But we're going to get into how to lav properly. [S2] Yeah. [S1] Yeah, 'cause that's one thing. I've always thrown lavs on people, and Dane's shown me some tricks, luckily, that have helped me get away shirt rustle, but that's often one of the issues. Or I find sometimes when I put a lav on, suddenly I lose some of the fidelity I would think I would get from a boom mic, which we- [S2] Yeah. [S1] ... we can talk about that as well. | 19.44 | 2.986906 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693613.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693614 | [S1] For me, clean audio is a good signal to noise ratio. So that means, um, the noise of, like, what you're capturing, um, is louder than the preamps of, like, on your camera or on your recorder. Like, each preamp's gonna have its own self-noise, so as long as the signal is loud- [S2] Stronger than the noise. [S1] Yeah. [S2] And is noise just like that white noise you hear in the background? [S1] Yeah. | 25.88 | 3.298362 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693614.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693615 | [S1] Yeah, it can be. It varies depending on, um, like what preamp and stuff you're using, but- [S2] What's a preamp? [S1] Like a preamp is like basically you plug your mic into the input and then that first gain, the trim, the volume, uh, the first thing that it's hitting is a preamp. [S2] Okay, so on a mirrorless camera, that's when you go into the menu- [S1] Mm-hmm. [S2] ... and you're choosing the audio level. [S1] Yeah. [S2] Or on my FX9 right now, there's the dial on the side. [S1] Yeah. [S2] So that's the preamp. | 28.96 | 3.083968 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693615.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693616 | [S1] So, and they're, I mean, they're usually secondary thoughts on cameras, especially for DSLRs. [S2] Mm-hmm. [S1] They're usually actually often the noisiest. Um, just right off the bat, as soon as you plug something in, you get that hiss and you hear it right away. [S2] Yeah. [S1] Um, something like your FX9, it's gonna be pretty good sounding 'cause it's- [S2] Yeah. [S1] ... like a little bit more engineered. And then these obviously are, | 25.24 | 3.225728 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693616.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693617 | [S1] Uh, some of the best on the market in terms of field recording for sound at the moment. So they're gonna be good. So, yeah, good signal-to-noise ratio. Uh, you wanna have a clean, lav, or, like, even shock mounts for your boom. Like, make sure your noise- [S2] Mm-hmm. [S1] Like, just make sure your mic is isolated from noise. | 20.28 | 3.381559 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693617.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693618 | [S1] This is a good shock mount because it's being cradled in the holster here. So when you, when you're hitting the actual boom, or in the case of our cameras, when you're grabbing the handle- [S2] Yeah. [S1] ... it takes away some of the shock. If, if your main audio is a shotgun on a camera, you want to have a good- [S2] Good shock mount. Yeah. [S1] ... good shock mount. [S2] Now, I, I don't, I can't recommend any 'cause I don't know- [S1] Yeah. [S2] ... camera shock mounts that well, but- [S1] Yeah. The, the pricier it is, the better it'll be. [LAUGHS] It's, | 28.2 | 3.345486 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693618.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693619 | [S1] What do you have here? [S2] Uh, this is a Sunila. [S1] Sunila. [S2] Some guy makes these out of his basement in the States somewhere, and they're amazing. [S1] Really? [S2] Um, they're, they're like the quietest ones I've found. [S1] I have a, a small rig shock mount on my camera, but Mikey, who's been using it to film, um, uh, our, his latest documentary, he's been noticing when he grabs his camera, he hears that. And that shock mount was like $25, where you can get upwards of $200. But here's the thing, it seems like a lot of money, but the, | 28.2 | 3.151722 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p49_BV1tu4y197NB_p49_m4-dialogue_0693619.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238615 | [S1] Yeah, I mean, there's always, when I'm going to mic somebody, often I haven't met these people before. Um, sometimes this is the first time they've ever been mic'd. [S2] Mm-hmm. [S1] So the first question I always ask is, well, first I'll introduce myself. I'll say, "Hey, I'm Dane. Nice to meet you. I'm gonna mic you up if that's all right." And then I'll say, "Have you been mic'd up before?" If they're not an actor, usually an actor's always been mic'd up. Um, so I'll ask if they've been mic'd before. | 26.4 | 3.076274 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238615.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238616 | [S1] ... like that. [S2] Usually, like man, like doesn't matter who it is. [S1] Yeah. [S2] I'll get them like, "Hey, can you drop this down for me?" And then just pull it out the bottom. So when it goes down, comes out the bottom, I ask them to pull it out 'cause it's pretty sensitive area right there. [S1] Mm-hmm. [S2] And then I'll grab it and then I'll pull it through. It, it's still a pretty expensive piece of gear, so I'm not gonna make them handle it all the way through. Like I still wanna make sure like it's being placed properly. Um, and then- [S1] Then you'll put, like if it's a woman | 28.2 | 3.223306 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238616.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238617 | [S1] ... and then you'll put the tape on it and ask, ask her to put it- [S2] Yes. [S1] ... like, usually their bra strap is right there. [S2] Yeah. [S1] And so right above that is where you'll tape it, correct? [S2] I mean, it all depends on the outfit. It, it's hard to have like a clear answer depending on like if they're wearing a t-shirt or a deep V or whatever. | 18.88 | 3.202664 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238617.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238618 | [S1] But depending on the situation, if I know I'm going to be getting into some, like, sensitive areas, then it'll be like, "Hey, can you take this piece of tape and then just stick it?" And then what I'll do is I'll point on the outside of the shirt where I want it to go. [S2] Mm-hmm. [S1] And say, "Hey, can you stick it right here for me?" And then they'll do that and then I'll say, "Okay, now I've got this double-sided tape. Stick that right on top of that piece of tape you just did." And then I'll give them the third piece of tape to- [S2] Yeah. [S1] ... stick over top. And then, um, | 28.68 | 3.361643 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238618.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238619 | [S1] And then after that, I'll plug it in, make sure it sounds good before I put the body pack on them. And then, um, if I need to make any adjustments, I'll get their help. But definitely, like, there's two people involved in the micing process, so make sure both parties are comfortable and- [S2] So just to summarize that- [S1] Yeah. [S2] ... walk them through verbally before you start it? | 21.32 | 3.191057 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238619.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238620 | [S1] Oh, sorry, to the bra strap? [S2] Sometimes, but it, it can get harder with somebody who is a little bustier because if they ever, like, reach out in front of them, and then that mic's kinda gets- [S1] Yeah. [S2] ... closed off. So, try to, I try to avoid being too deep in the bra or something when I can, um- [S1] This is where having a boom mic will also help. [S2] Yeah. [S1] Yeah. | 20 | 3.275942 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238620.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238621 | [S1] Yeah. [S2] Yeah. [S1] Yeah. So I guess it is very situational, um, and it's hard to like give a one- [S2] Yeah. [S1] ... one answer per clothing. But we can show some, uh, different types of typical, like, setups on clothing. Especially for men. Women usually are pretty good in terms of like having a qu- like a good clean lav. [S2] Yeah. [S1] Because there is a natural air pocket there, usually. Um, so, but I can show you some, like, | 25.72 | 3.131398 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238621.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238622 | [S1] ... typical spots for men's clothing and, like, a good place to put a mic. [S2] Yeah. [S1] Right now. | 4.92 | 3.229881 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p50_BV1tu4y197NB_p50_m4-dialogue_0238622.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624015 | [S1] So, so from sending from the packs. [S2] Yeah. [S1] From the pack that's on the body to the pack that's on the camera. [S2] Yeah. [S1] Before you even get to the camera, you can kind of mess up your audio. [S2] Yeah. [S1] Just 'cause now you have a good mic placement and a good setup doesn't mean you're gonna necessarily still get good audio. You have to be cognitive of these steps. [S2] 'Cause there's still two more ways that noise can be introduced. [S1] Here we have the, the Sennheiser G3. [S2] Yeah. [S1] This is what I often use. What, what settings am I looking to do, Dane? | 28.36 | 3.386993 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624015.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624016 | [S1] So, th- what you're looking to do is go into the sensitivity. On the side, on the left side, you can see your audio output. [S2] Get that lit up there. Oh. [S1] Yeah. [S2] And now I'm in the middle. [S1] So as I'm talking- | 12.92 | 3.123102 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624016.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624017 | [S1] As I'm talking, you, you can see that level start to bounce. And right now, it's coming up about, like, 60 to 75%, which is kind of similar to how I have things set up here. It's got, giving me a little space for headroom so that I'm not clipping constantly. And that's pretty much where I wanna have it set. [S2] Yep. [S1] And so right now on the sensitivity, I have it set to minus 30. [S2] Wow. | 26.52 | 3.453337 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624017.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624018 | [S1] ... receiver. [S2] ... receiver. [S1] So the output on this is AF out, and I just usually have it set to zero dB. It kinda depends on, um, like, for me, when I'm going into this, zero dB is plenty 'cause I've got lots of room to attenuate or boost it. Uh, but if you're on something like a DSLR or something with less, you have options in here. | 24.16 | 3.356834 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624018.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624019 | [S1] You can go plus six, plus 12, or minus six, minus 12, minus 18. Actually, you, you can drop it down quite a bit on here if you need to. But usually if your gain is, uh, set here, zero is kinda where you wanna have this set to. [S2] But sometimes why you need to bring that down below zero dB is maybe your mirrorless camera takes a signal in really hot. [S1] Yeah. [S2] So you need to lower the amount of signal that you're sending the camera. | 28.96 | 3.061503 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624019.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624020 | [S1] Yeah. But you know that the signal coming from your transmitter is, uh, good level, and then you'll adjust for whatever you're recording to. [S2] So guys, the steps on that is, the first thing you adjust is you wanna make sure on your transmitter, you're getting good audio. Again, like we said, you want that little line on the corner bouncing up to about 75% of the way up. [S1] Yeah. [S2] Then your receiver- | 22.84 | 3.15776 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624020.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624021 | [S1] And before we, I do want to talk about, like, I do have it set on here at minus 30. However, that's based on this mic and where I'm holding this. Like, that's going to change depending on- [S2] Totally. [S1] ... your microphone or your, the person. So just, you're watching the levels on the side, making sure those are good, and then going from there. So minus 30, like, that, that could be, it could be minus 16, it could be minus 40, like it, | 25.6 | 3.167778 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624021.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624022 | [S1] And, and a great way to look at that is Dane's not telling you guys the exact number to use all the time because that would be like me telling you, "Always expose 400 ISO." [S2] Yeah. [S1] Well, you could be indoors, you could be at night, you could be in the sun. It all changes. | 13.44 | 3.057635 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624022.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624023 | [S1] But what I would want as a cinematographer is to have my skin tones at about 70% IRE. So what Dane's saying is the same thing with audio. He's not going to tell you shoot everything at minus 30 dB. What you want though is your main audio to be kind of what we say tickling the yellows, kind of in the- [S2] Yeah. [S1] Yeah. Just like that. When I say tickling the yellows is, you can see there around minus 20 is where, where the voice is. [S2] Yeah. | 24.24 | 3.377037 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624023.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624024 | [S1] If you are in the field with a shotgun mic or a lav mic on your camera and you're running and shooting, you're pulling focus, you're adjusting exposure, then I would say auto is like kind of the way to go 'cause it's gonna be auto, uh, adjusting those levels for you. Sometimes, uh, those levels can be adjusted a little too hot, I've found. [S2] Mm-hmm. [S1] When I've gotten some of the, um- [S2] Auto audio? [S1] Yeah. When I've done some documentary work, I, | 29.6 | 3.379724 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624024.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624025 | [S1] and I've got mics on cameras, often I will set it to auto if I know I'm also going to be running audio and I've got tow- mic'd up. [S2] Yeah. [S1] And I'm, I know in post, like, that on-camera audio is going to be used for B-roll and that sort of thing. Or if there's, like, some off-camera people that come in that aren't necessarily part of what we're filming but we want to capture, like, it's going to be fine for that. [S2] Yeah. [S1] But if you're in a controlled environment, you're in a sit-down interview setting, and you can sit there by the camera and, like, | 29.6 | 3.371904 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624025.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624026 | [S1] monitor levels. Hopefully you've got headphones in. [S2] Yeah. [S1] Uh, it's super important to always be listening to what you're recording, uh, which is not what we're doing right now, but... [LAUGHS] [S2] Well, one tip I can give for, for auto audio is, so I have, this is my YouTube setup. I have, um, this little, uh, road mic on top. And the more expensive the camera, and maybe not the more expensive camera, but usually the more professional a camera, the better the audio, audio recording will be. So for my FX9, | 27.96 | 3.229887 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624026.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624027 | [S1] Um, it keeps a pretty good even auto- [S2] Mm-hmm. [S1] ... recording. But with my A7 III here, the issue is when I'm not talking, the stupid little cheap computer chip in here jacks the audio 'cause it goes, "Oh, everything should be at minus 20." [S2] Right. [S1] So when the room's silent, it takes that silence and it tries to push it to minus 20. So what I find I have to do is I record auto- audio on this, is before my takes, I have to g- | 27.48 | 3.253067 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624027.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624028 | [S1] Get the computer to bring the audio back down. 'Cause if I go, "Hey guys," it's been recording the silence really loud and it peaks. So what I do before all my takes is I clip before it or I go, "Test." I yell real loud to bring the audio recording down. [S2] Right. [S1] So that when I talk, it's not peaking. So on, you know, kind of | 19.68 | 3.10272 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624028.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624029 | [S1] You know, I say, I call these cheap cameras. I know they're not cheap. It's still like $3,000, but compared to like a $10,000 camera, it's much cheaper. So on cheaper cameras, I find I need to kind of get that audio going down when I'm doing, um, auto audio recording. [S2] Like auto levels aren't necessarily a bad thing, but if you can avoid it, uh, as much as you can and be able to monitor your levels, uh, I would suggest to do that. [S1] Yeah. | 25.92 | 3.294367 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p51_BV1tu4y197NB_p51_m4-dialogue_0624029.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040008 | [S1] ... Dane's wearing a new shirt 'cause we're gonna get into how to lab people. But first, let's really quickly talk about different recording devices. [S2] Sure. [S1] So, I have Zoom here. This is their, their older one, the 4N, 4HN. [S2] H4N. [S1] H4N, thank you. Um, obviously I use it a ton. This is good 'cause it does have decent pre-amps, but it's also a bit finicky 'cause there isn't a, Dana has a high standard. Obviously I'm like, "This, this is great." Um, but | 26.6 | 3.279141 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040008.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040009 | [S1] Uh, the zoom also, there's no time code in, so you're not syncing it to the camera. It's like you're still doing a collapse slate. [S2] Mm-hmm. [S1] And why, you, you seem like you don't like this thing. [S2] I just, the pre-amps aren't that great, and you don't have a whole lot of, like, control. Like, if you do end up clipping, like, it doesn't really have limiters. Battery life kinda sucks, and there's no, like, besides the AA's in the back, or actually physically plugging it into a wall. It's not, | 26.32 | 3.184091 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040009.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040010 | [S1] ... the most portable if you're running around all day. They, they have a new series, like their F-Series for field mixers, and that you can have different battery options on there. Like in this, in my bag, I've got an external lithium battery that's powering everything right now. I'll get six hours off that one battery. [S2] Wow. What about this other mixer here? [S1] Um, so this is the competitor to the Zoom. Um, I'd say this is sound devices. [S2] MixPre-6. [S1] There's also MixPre-3. | 29 | 3.150529 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040010.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040011 | [S1] And what's good about this is it has the, the thread here, so you can actually- [S2] Yeah. [S1] ... this. [LAUGHS] Throw this on your tiny mirrorless camera, or like the FX9. [S2] Yeah. [S1] And why, why, why would you ever use this over just going directly into a camera? [S2] So the pre-amps on these are amazing, and the, uh, latest version of these have 32-bit float, which is essentially a never clip. So you never have to worry about clipping- [S1] Wow. [S2] ... your audio, and the pre-amps are really great. | 26 | 2.865191 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040011.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040012 | [S1] Yeah, and your quality of preamp, um, affects the quality of sound. [S2] Yeah. [S1] Quite a bit. Uh, but yeah, you've got four inputs on this. It even has, uh, record trigger, so if you have it connected to your camera, if you hit record on your camera, this instantly starts recording. So I r- always recommend these to videographers who are shooting in the field. The, the MixPre3 is slightly smaller and it fits a little nicer on the bottom and you can still get a boom and two labs plugged into the MixPre3. | 29.8 | 3.204606 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p52_BV1tu4y197NB_p52_m4-dialogue_1040012.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134886 | [S1] ... targeting top, top level companies. [S2] Yeah. [S1] And, and there's a lot of other, um, networks and, and festivals that are available now for you guys. But it's just to give you just a, a bit of reality check to know this is a grind and nobody is gonna sell your film harder than you. No, like, you know, these big companies, you think about Netflix or- [S2] Yeah. [S1] ... or an Amazon and all, and like, they're getting pitched and sent hundreds of films a day. My, my fil- [S2] Like, every day. [S1] Yeah. My, my film's about a homeless guy and I remember one of the distributors who was interested was like, | 29.8 | 2.854652 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134886.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134890 | [S1] ... kind of getting going a little bit. [S2] Yeah. [S1] But we did a great job at building a community, and that really, really helped us. [S2] It's nice, yeah. [S1] So if, if you have a character or a story that's relevant, you can, you can use, um, to, to draw in a crowd into your world, whether it's a website or Instagram is fine, or Facebook, something like that, that's gonna be, | 19.04 | 2.984126 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134890.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134892 | [S1] Um, marketed the best. [S2] Yeah. [S1] And so, there's a couple other ways to, so we're talking about you doing this yourself, but one way to partner with people is, is go to a website like Film Freeway and get your f- film in as many festivals as possible. But go watch the film festivals video we did where I explain kind of some of the watch outs with doing film festivals. But what's great about that is instantly someone else is promoting your film. It's on another website. Another great thing to do for your film is get it on online video communities. [S2] Mm-hmm. [S1] There's things like Booth, | 29.96 | 2.8478 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134892.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134893 | [S1] Boom TV, there's Vimeo with their Vimeo staff pick, and that channel, if you can get a staff pick, that's really helpful for your film, 'cause instantly you have a following of people watching that. There's also Nowness. This is another great video community. So reaching out to these people, being a part of these communities, it's also good to be a part of them ahead of time, 'cause when you just walk in and say, "Hey, here's my film," people don't know who you are. [S2] Absolutely. [S1] And so it's good to build and warm up those relationships. | 24.2 | 3.151717 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134893.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134894 | [S1] Let me watch it. And, and, uh, there's no promises in this video, but if, if, if this is what I did for the executive director, he was like kind of someone who, 10 years ahead of me who I looked up to, he saw it and said, "I wanna, I wanna watch this. I wanna," and he loved the film and then he put his name on it. And that's, that's also another way to market it, is, again, like, if you can get, you gotta build, it's not like a party, right? And the more people that are coming to the party, the more you're gonna attract more and more attention. [S2] Mm-hmm. [S1] So, you know, if you send it to someone who can maybe say, "Hey, I really love this. Let me send it to my contacts | 29.96 | 3.024797 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134894.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134896 | [S1] passion. [S2] Exactly. [S1] Share your film. [S2] Exactly. Exactly what you said there, Michael, sharing your passion. You can't just give the film to someone and say, "Hey, be passionate about this." [S1] No. [S2] They need to know what makes it unique. [S1] Absolutely. [S2] What is gonna help separate it. And even little things along the way, guys. I, I know a lot of you are really excited about our film, No Country is an Island, which I don't know, depending when you watch this, it may have already come out. Um, but with that film, you know, we've done little screen grabs of our editing timelines. I've shown you guys some Instagram videos of it being on the TV schedule, | 29.96 | 2.877079 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134896.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134898 | [S1] ... totally. And if, you know, for Rescate, we reached out to an incredible group called Firefighters Without Borders, and we said, "Hey, here's this, here's what's happening down in Dominican. Would you guys help?" And what's incredible is actually this team of firefighters came down and helped and brought gear, brought- [S2] Right. [S1] ... chainsaws, brought all this stuff. [S2] Right. [S1] All this gear that the people from my film needed. And like you're saying is your film | 21.24 | 2.868334 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134898.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134900 | [S1] 100%. Audience members, so often, they finish these documentaries and they're, they're left with a question. [S2] How can I help? [S1] Right. Or what's next? You know, like, so what, what can I do? Exactly. So keep that in mind as, as at the start of your process, during the process is what can I do with this? 'Cause this isn't, as Mark said, this isn't just about trying to get a, uh, get a film into a festival or something. It's about trying to have, make that film into, uh, some type of legacy. | 25.96 | 2.909985 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134900.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134902 | [S1] You know, again, we're kind of, this is interesting 'cause we're almost now going back to pre-production. [S2] Yeah. [S1] Uh, but, but I think that's important for you to understand is that knowing what kind of film you're making at the start is really gonna help the way you market it later on. [S2] Mm-hmm. [S1] Whether you take advantage of film festivals, whether you take advantage of your, of, of the, the, the crowd or the community of people that support this type of film or the character or the cause. And, you know, knowing that at the start is just gonna make that marketing process easier later on. | 29.96 | 2.844932 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134902.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134904 | [S1] ... about filmmaking, but I tell you, the marketing really is- [S2] It makes or breaks your film. [S1] Yeah, it's, it, it, it's, it's something I just don't want you all to, you know- [S2] Forget about. [S1] Yeah, because it's not like you finish the film, you lock it, and it's going up. Like that's, it's a different type of effort that's going to have to be required- [S2] Yeah. [S1] ... you know, after the picture's cut or locked. [S2] Yeah. Awesome. So guys, start thinking about marketing now. Leave some questions below if you have them, and we'll see you guys in the next one. | 28.08 | 2.910255 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p54_BV1tu4y197NB_p54_m4-dialogue_0134904.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377837 | [S1] How to make a living. [S2] How to make a living. [S1] Well, as a filmmaker. [S2] Well, that's, uh, that's a tough one. We're, we're doing it, though. [S1] Yeah. [S2] [LAUGHS] [S1] I would say my living comes, you know, after 10 years of doing this, it's probably been, now it's maybe 30% from my filmmaking, 70% from my commercial video making. [S2] Yeah. Yeah. | 21.88 | 2.943892 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377837.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377838 | [S1] Yeah, yeah, yeah. I don't know where it is now with my YouTube and with the do- it's all kind of bundled together. [S2] Right, yeah, yeah. [S1] I don't know where it begins and ends. But you know what I thought recently? I was like, "You know, I might be okay if I never shoot another commercial again." [S2] Mm-hmm. [S1] Like, the goal for us, we're still full-time filmmakers, but the goal for us is to be shooting documentaries all the time. [S2] Mm-hmm. [S1] But the reality is, it's a, it's, there's a very few people who get to do that full-time. One of the first things we want to say is there's two ways to make money. | 27.04 | 2.979476 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377838.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377839 | [S1] It's, it's not a business model. There are a few people who have done it, creating kind of niche films. I know someone in the bodybuilding world who specializes in, in cap, capturing that audience and they're willing to pay for the films or the food, the food audiences, similar, the vegan community. So if that's, if that's what you're interested in, you can maybe kind of come out with a film a year, try to figure it out that way. But it's, it's, it's a very difficult way to create a sustainable living for you and your family. [S2] So how do you, how do you work in film and be full-time? [S1] Well, I'm just gonna speak from experience. | 29.88 | 2.826772 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377839.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377840 | [S1] ... outsourced their, we're, we're their video team. We don't work in their office. We, we work in our own office here. [S2] Yeah. [S1] But that's the route we took is, is we continue to g, make great content for them and as they grow, we grow. And so that's, that would be my f- first piece of advice for you to fund your films and your passion projects in life is look for those businesses in your community, in your town, wherever you are, and make amazing work for them. Help them make sales that help them tell their story better, help them | 29.88 | 3.235775 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377840.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377841 | [S1] I was surrounded by churches. I was part of the church community. My dad's a pastor and, uh, I still serve at a church to this day, and those churches needed videos. They needed to tell stories. And so I didn't know a darn thing about video filmmaking. I can remember getting my first camera and, and, and spending like three weeks just trying to learn how to get the mic to work. [S2] Right. [S1] But I began trying to tell these stories. And what happened was, like Mike said, he poured himself into those and didn't see it as just a job. I poured myself into those first videos for those churches, and they were terrible. | 29.88 | 3.06751 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377841.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377842 | [S1] They were absolutely trash, the videos I made. But people saw my passion. And what happened next was there was a couple people with humanitarian groups who were like, "Mark, do you think you could bring that passion and try to help tell our stories?" And, and in a lot of the cases, I didn't get paid any money. [S2] Mm-hmm. [S1] But I used those as opportunities and I poured myself again into those films. Uh, we'll, we'll show you a clip from one of the first videos I did down in Haiti. | 23.12 | 3.142204 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377842.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377843 | [S1] ... space, which is something that I started with. [S2] Yeah, exactly. [S1] So it's like- [S2] It comes full circle. [S1] It does. [S2] Yeah. [S1] So I guess the, the moral of that story is take serious the job you have right now because it could define your whole career. [S2] Totally. [S1] You know, and, and don't think like, "Oh, it's just like whatever, I'm, I'm filming roofers," or something. There might be an amazing story on roofers one day. Like, you know- [S2] If you're on the roof, is great film. [S1] [LAUGHS] No. [S2] [LAUGHS] Yeah. [S1] You don't know where it's gonna go, so take, take it serious where you are- [S2] Yeah, tell- | 25.4 | 3.034958 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377843.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377844 | [S1] It's serious where you are right now. [S2] Totally. [S1] And I think, I, I truly believe, um, that that passion you put in the best work, you apply everything you've learnt in the course, it's just going to, you're just going to- [S2] Exactly. [S1] ... propel yourself. | 12.92 | 3.211925 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377844.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377845 | [S1] You never know who is watching your work. So that video I did down in Haiti, what was really cool was that aid organization, one of their next clients was the Boston Pizza Foundation. [S2] Right. [S1] Boston Pizza is a huge restaurant chain across North America, and they have a foundation that helps with humanitarian work. So they saw that video, and then they came to me, they're like, "Hey, can you shoot a video for this?" [S2] Right. [S1] And this time, there was a bit of a budget, so I could actually get a, yeah, a budget. So I got the FS-700. [S2] Yeah. [S1] And I shot, like, 6,000-frame-per-second. [S2] Slow-mo. [S1] Yeah. | 29.92 | 2.991249 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377845.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377847 | [S1] Yeah, I don't, I don't, I recommend being independent. Uh, like, you know, I'm, I'm signed on to three or four rosters around the world and I, I get more work through our production companies than I do them. [S2] Yeah. [S1] The, the commercial industry now, there is so many directors and it's so hyper-competitive. [S2] Yeah. [S1] That me and Michael have kind of looked at that world, dipped our toes into it. You know, we've, I've gotten to work on campaigns for like BMW, Mercedes, but in the end, we find it way more fulfilling having our own small clients and getting to create our own amazing | 29.92 | 2.933681 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377847.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377848 | [S1] ... documentaries. [S2] Yeah. [S1] With that whole story there of the Haiti video and then the Boston Pizza Foundation, what I'm trying to tell you is every job is a key, and that key is to unlock the next door for you. Now, that may be a really ugly key. You may not like that job. You may not even like the clients, but treat that as the opportunity that's gonna unlock the next door for you. And people will feel that. People know when you're working a job or when you're working with passion. [S2] Yeah. [S1] And they'll feel that, and you'll f- see it in the final product as well. [S2] Yeah, yeah, absolutely. | 27.08 | 2.881457 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377848.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377849 | [S1] Totally, totally. And that's where, if you go to, guys, to our research video, Lewis talks about how he has bookmarks with different stories. 'Cause what happens is these big organizations, and, you know, there's a couple banks in Canada that do this every year, where they announce, "We're gonna," RBC is one of them, they'll say, "This year, we want films about water-related issues." [S2] Mm-hmm. [S1] And they only give you, like, a month to pitch it. But what's great is if you're like Lewis, and you have this list of stories- [S2] Mm-hmm. [S1] ... Lewis just goes in there and goes, "Oh, hey, here's a water-related story. I've been thinking about this, let's pitch it." And then you're ready | 29.92 | 3.08312 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377849.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377851 | [S1] getting paid for three months. And I was like, "That's been my entire career." [S2] Right. Yeah. [S1] Where you go for these months and months and months without getting paid, and you need to have a resilience and a tolerance as a filmmaker. And I want to say this to you, looking in the lens, just because you haven't been hired for a few months doesn't mean you're a bad filmmaker, doesn't mean you're good at your craft. There is just dry spells. It's important to use those as motivations, as chances to grow, to try new things, to get out there and work. | 27.08 | 3.081907 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377851.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377852 | [S1] Yeah, for me personally, that's always been something I've been very adamant about is, you know, every month with those, I, I told you earlier how our team, we have, uh, clients on retainer and, and, you know, I'm, I'm very well aware, well, we're on retainer with them for X amount of months, I know that they might not renew. So it's like taking, um, X amount of dollars every month and that has to go into savings. [S2] Yeah. [S1] Because, you know, it might take, | 24 | 3.31356 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p55_BV1tu4y197NB_p55_m4-dialogue_0377852.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896132 | [S1] In this video, we want to talk about how to shoot a film solo. Both me and Michael have shot a couple different documentaries completely on our own. Michael just shot a feature film completely by himself. There was one day that I showed up to help you shoot some interviews, which I don't even know if any of that footage made it into the film, but you shot that film 99.9% on your own. [S2] Yeah. [S1] And filmed like Riscate. I filmed that almost entirely by myself. So we want to give you guys some tips. How do you go film by yourself? 'Cause | 29.92 | 3.156502 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896132.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896133 | [S1] One great thing about filming by yourself is there's no one to tell you what to do. You really learn- [S2] Right. [S1] ... your own voice as a filmmaker. [S2] Yeah, yeah. [S1] And also too, shooting your own film on your own, you don't need a budget. [S2] Yeah. [S1] You just need a camera and you can get it going. It's a great way to shoot a teaser, it's just on your own. [S2] For sure. It's also possible to do. [S1] Yes. [S2] You know, back in the day, like, you know, you'd have to have a sound guy, you'd have to ha- or girl, whatever. You'd have to have a crew to help out. But now with the technology, like, you can shoot these things on your own. You have ND filters, whatever, like- [S1] Yeah, everything's there. | 29.92 | 3.070486 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896133.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896134 | [S1] ... things there. [S2] You know, yeah. [S1] Which leads us into our first two points, and these are real practical. The first, if you're shooting on your own, is get good freaking audio. [S2] Yeah. [S1] Don't skimp out. You, you can put all your money into camera and lenses, but if you don't have good audio- [S2] Yeah. [S1] ... I've always said, you can have bad image- [S2] Yeah. [S1] ... but good audio, people will watch it. [S2] Yeah. [S1] But if you have good images and bad audio, people | 18.96 | 3.269198 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896134.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896135 | [S1] ... will turn off your film. [S2] Yeah, my suggestion would be, you know, I'll, I'll just use example, like with Ray. Every day I showed up, the very first thing, I, I left my house and I had, I had a bunch of rules I made for myself. I had my, I didn't use a tripod or a monopod even. I just had the, one lens. [S1] That was for Scott Day. Never, never brought a tripod or monopod. [S2] Yeah. [S1] Yeah. | 19.56 | 3.445847 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896135.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896136 | [S1] ... Monopod. [S2] Yeah, exactly. And so, the lav was on, everything was ready to go, I'd show up, and before I'd talk to the character, say anything, I'd say, "One second." He knew what was going on. Put the mic on, make sure it's good, hide it, and say, "Okay, we're going." And then that was, you make sure they have a lav on. [S1] Yeah. [S2] That's so important when you're on your own. You know, even if you've got a great shotgun mic, you still want to have that- [S1] Yeah. [S2] ... your main character's audio, uh, being clear. [S1] Totally. [S2] And then you're good to go, really. | 28.52 | 3.30223 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896136.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896137 | [S1] Because I saw, you know, the deficiencies of not having a boom operator. I mean, this is a big investment, but I think this is a few thousand dollars. [S2] Two or three thousand dollars. [S1] Yeah, so, you know, you're going from a couple hundred dollars to a few thousand dollars. So, that's where the lab, though, you know, if it's a, if it's a character portrait or something, that can be useful. And some of the cameras now, you can do two XLRs, so you could be having two labs. I did that quite a bit too. But, yeah, if you can afford to do a better shot gun, I would do it. [S2] Yeah. [S1] It really does help in the field. | 29.88 | 3.447455 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896137.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896138 | [S1] Especially if there's open space, you're just going to be able to pick up- [S2] Yeah. [S1] ... some more of that. So, yeah, don't skimp on sound. That's- [S2] No. And that's- [S1] ... that's somewhere you should invest your money. [S2] And this is no hit on sound men. We love them. But in case of point, for no countries and island, we just didn't have the budget to fly someone there. So instead, for the price of one plane ticket- [S1] Right. [S2] ... for a sound guy, we pick up a good- [S1] Yeah. [S2] ... a shotgun mic. | 24.04 | 3.347076 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896138.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896139 | [S1] It's also, it's also analog technology, right? So it's not gonna be outdated. [S2] Yeah. [S1] You know, it's like, like they're not, it's not digital, so you're not gonna, they're not coming out with a better mic. [S2] Yeah. [S1] Or much better mic in the next couple of years. So you're gonna have it for, you could have it your whole career. | 13.56 | 3.03477 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896139.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896140 | [S1] They say date the camera, but marry the lenses and your microphone. [S2] Yeah, they're, we'll add the microphone in there. [S1] Yeah, exactly. So our next point for when you're shooting a documentary by yourself is review, review, review, review your footage. Now, there is some purists of filmmakers who say, "Don't review your footage. It'll taint what you're doing." But I think when you're starting off in filmmaking, it's so important. Every night, even if you're so tired, just | 24.4 | 3.306813 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896140.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896141 | [S1] ... pull your footage into a timeline, even skin through it. For one, you'll notice technical things. You'll be like, "Holy crap, the audio didn't work." [S2] Yeah. [S1] Or, "That shot was out of focus." Or what I find is I start noticing, "Am I, do I have a wide yet of the city that we're filming in? Do, do I have a shot of his wife?" I start realizing, I'm almost like I'm beginning to edit, and I begin realizing the mistakes I'm making. And I also begin to understand what texture and what style I'm telling this story. And it helps me to, maybe I want to do more of a certain thing or do less of a certain thing. But I think reviewing is really important. | 29.16 | 3.267641 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896141.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896142 | [S1] Yeah, I think in that way it's good, especially if you're doing it on your own, just to try and have some outside eyes. I'd show my wife, few colleagues, I'd give them a little sneak peek. [S2] This is Ray, you would, you would watch it. [S1] For Ray, yeah. Just 'cause I, I, you know, you don't wanna work on something for eight months or a year and then realize at the end of it that you're kind of all over the place. So, yeah, I'd say review the footage, but then at the same time, don't start doing the sto- too much story editing. [S2] Yeah. [S1] Because the beauty of documentaries is the story can take you in so | 29.88 | 3.231513 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896142.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896143 | [S1] ... many directions. And so if you're doing, if you're reviewing the footage and trying to, um, you know, find your next logical beat, just be careful of that. [S2] Yeah. [S1] Yeah. | 10.48 | 3.349511 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896143.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896144 | [S1] Next point, this is super practical, is if you're traveling, um, or even if you're not traveling, you're shooting the film in your hometown, is have your footage in two places. [S2] Mm-hmm. [S1] I just had my entire apartment flooded during COVID. And then I also, my wife got in a car accident and totaled our car. It's like, if I carry my hard drives with me like I always do- [S2] Or put them in the trunk of your car. [S1] Put them in the trunk of the car, it's like- [S2] You're screwed. [S1] ... project is | 23.56 | 3.469245 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896144.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896145 | [S1] Gone. So if you're shooting your own project, when we were traveling, we would mail, we'd go FedEx a hard drive home, or we'd make sure two different crew members who are on two different flights have the footage. You just don't want your footage in the same place. And that's one great thing too, with Matrix, we use that with their media shuttle platform. We send all of our footage- [S2] Yeah. [S1] ... that we're shooting. [S2] So then you're safe. [S1] Yeah, then you're safe. It's online, it's backed up, and it's like, then you could actually just destroy the hard drives you have. Well, yeah, I don't know why you would. [S2] Yeah, no. [S1] You literally could. [S2] I don't advise it. [S1] No. | 28.48 | 3.316038 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896145.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896146 | [S1] ... you know, be productive. [S2] Mm-hmm. [S1] And so, you know, for myself, for instance, like I, I, I had some different rules where I, I didn't want to bring a camera bag with me at all, so I knew I was only gonna have two batteries. I was only gonna have, I don't know what it was, two to three cards with me of memory. And it forced me to be decisive in my filmmaking and, and just make sure that I knew what I was going out there to do each day. Um, I'd really encourage you to just think about those, those rules. And, you know, am I gonna use light? I didn't use any light. I didn't have the luxury of being able to ... I was on the street | 29.88 | 3.357339 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896146.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896147 | [S1] It, it'll alleviate a lot of stress from you. 'Cause the thing in the film world is there's so much technology, so much gear, it, it can all be great, but it can also be a burden and, and an obstacle if you don't have, if you don't, if you're overusing it and if you're over, you know, if you're trying to over-style-ize it. [S2] Totally. [S1] So, so just create some parameters for yourself to work from. And maybe you're like, "I want to shoot this whole thing from sticks." You know, "I want this to be like Roma and I just, I just want very steady panning." And like, that's perf- that's beautiful, right? Just, you know, stick to these kind of rules so that you | 29.88 | 3.297032 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896147.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896148 | [S1] You're, you'll get a film at the end that has style, it has vision. [S2] Totally. We've talked about this on this channel before, having boundaries will actually give you more freedom. [S1] Oh, for sure. [S2] And I think the, the tenancy for young filmmakers is there's a beautiful drone, a handheld, but then gimbal, but then also like a big one. It's like you see all these different styles from different people and you try to put them all in one, but then it tastes like, like a day old burrito where it's just a bunch of like ingredients all together. It's like pick one flavor and go after it. [S1] And it, | 27.72 | 3.17161 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896148.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896149 | [S1] And, and I'd say is like to even, let's just go a little further with that, is like, you know, that could be, I'm going to shoot the whole thing on an iPhone. [S2] Mm-hmm. [S1] You know? It's like, you know, a movie like "Tangerine" from Sean Baker or something. [S2] Yeah. [S1] It's like, you know, I, like, make some choices. | 16.2 | 3.160192 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896149.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896150 | [S1] You know, I think that, and, and be responsible for your choice. I think as documentary filmmakers, it's like- [S2] This is assertive. [S1] Yeah, yeah, exactly. You've gotta be assertive, you've gotta be focused and directional and, and, and not, you know, the typical artistic, you know, I don't know, like the energy and the, and like just- | 17.2 | 3.136651 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896150.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896151 | [S1] ... anything goes. It, it, that's not, that's not the way it is. Like, like Mark said, once you have some focus and some boundaries, then you're free to actually make something. [S2] Yeah. Yeah. [S1] And that's where, that's where it'll get special 'cause people will see this person made choices. [S2] Yeah. [S1] And you can see it in their voice. And that's, that's where you'll start differentiating yourself from a lot of the conventional filmmaking out there. | 19.96 | 3.227055 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896151.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896152 | [S1] Which is we celebrate people who are good at one thing. [S2] Mm-hmm. [S1] We love Usain Bolt, fastest man in the world. [S2] Yeah, yeah. [S1] We love, you know, you look at a javelin throw in the Olympics. They are so good at throwing that javelin, but we're not being like, "Oh, well, they're good at high jump too." [S2] Yeah, yeah. [S1] And I think they're okay at, uh, uh, cooking Eggs Benedict. It's like- [S2] Right. [S1] No, they're good at throwing a javelin. So for you as a filmmaker, it's okay to try one style, like Mike said, do a whole film on a GoPro, but just go crazy at that. [S2] And you, and- [S1] And people will know it. They'll write, they'll be like, "Hey, that film was shot on a GoPro- [S2] Right. [S1] ... kind of thing. | 27.96 | 2.801996 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896152.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896153 | [S1] You know, Mark came more from the commercial world. It's like, I've never been great around five or six people, uh, and having to direct 'cause I just get a little overwhelmed. My best work comes when I'm generally on my own or very, very small groups because I know in my heart what I'm trying to do, and if I have too many voices, I end up getting a little flustered. [S2] Yeah. [S1] 'Cause I just don't have that confidence maybe yet, and so I'm sure you're probably in a similar boat. So being a solo filmmaker can actually be a very fun, rewarding, and, um, yeah, you can, productive experience. | 29.84 | 3.437689 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896153.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896154 | [S1] Uh, gritty places. So I always left the stuff outside when I came in the house every, after every shoot. But it was just kind of this process of, of just trying to embed yourself in the world. [S2] It becomes a uniform. You get into- [S1] Yeah, it's almost like, you know, you've heard of method acting, right? It's almost like method directing. You know, I, I would encourage you to just really kind of take on the shape of, of the world you're, you're operating in. And, you know, it, it helps a lot. | 25.56 | 3.272186 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896154.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896155 | [S1] That was, where Scott, I wore a paramedic outfit. [S2] Right. [S1] I wore their uniform, and I was just part of their team. And especially then, when I would arrive on accidents, rather than people looking at me, they would, they would stay true to the moment. [S2] Yeah, yeah, yeah, yeah. [S1] Yeah, and just be, you became part of the team, part of the- [S2] Exactly. [S1] Yeah. Oh, and how could we forget? A n- white t-shirt. [S2] Uh-huh. [S1] This is a hack Mikey's told me, which is actually- [S2] Yeah. [S1] I'm used to the commercial world- [S2] Everywhere is black. [S1] ... where we're all wearing black, and it's like, if you are in a reflection, you get, like, fired, but you- [S2] Yeah, no, this is the- | 26.48 | 3.045884 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896155.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896156 | [S1] But, no, this is the, this is the revolution that the assertive filmmakers is gonna start. [S2] Yeah. [S1] Is, uh, you, we're documentarians, we need to wear white. [S2] Yeah. Uh, and why is that? [S1] Well, if you're solo, it, it's a, and, and I- [S2] You have lights. | 14.16 | 3.180854 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896156.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896157 | [S1] Yeah, and I, I tend to like, as well as Mar, I enjoy back lighting, so it's, it's just a little bounce. You know, you can use it as a little bounce on the character's face. [S2] Yeah. [S1] And it, it works great. I, I've actually shifted sometimes. I'm looking at the character's face and just get the light on and it works. [S2] There you go. [S1] Yeah. [S2] I think I'm gonna wear a reflector. [S1] Yeah. [S2] I'm just gonna show- [S1] Well, that gold suit, yeah, that, that would be, maybe this is, we'll have a clothing option for the students. [S2] I'm just gonna show up to set wearing this. There we go. Yeah, | 27.36 | 3.182376 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896157.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896159 | [S1] Awesome. Cool. The last point for when you're filming on your own is, and this is super practical, uh, is, is literally a fanny pack. [S2] [LAUGHS] [S1] We, we, we live and die by these 'cause when we're filming by ourselves, it's like you wanna have an extra memory card and an extra battery and something to wipe off your lens. [S2] Mm-hmm. [S1] And then you're good. And always, I always have headphones in there 'cause if you have bad audio, you're film screwed. [S2] Yeah. And maybe release forms. [S1] Release forms, yeah. [S2] I, I would, I would throw in some release forms in there. [S1] Well, some of your footage can't be used if you're going to broadcast. [S2] Yeah. Yeah. | 27.28 | 2.879129 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896159.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896160 | [S1] Yeah. I'm sure you will talk about it at some point. [S2] We do, yeah. [S1] But that's, you know, if you don't have release forms, I would just advise you just get them on camera to say, "Hey, I'm making a documentary. Are you okay being in it?" And just get them to verbally say, "Yes, I am." [S2] Yeah. [S1] And then you should, you'll be covered. It's not a lot. It really isn't a lot, but it's just the essentials. And then when you're done, you're done for the day. [S2] There you go. | 19.84 | 3.350853 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p56_BV1tu4y197NB_p56_m4-dialogue_0896160.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860663 | [S1] But I, I like to think that documentaries should be held to a high standard of ethics, similar to what journalists are held to. The difference with documentaries is that you have your own voice in the film. There's a bit more, I don't wanna say artistry, I'm not criticizing journalism, but journalism is about just giving the facts. It's not about the voice of the writer or the voice of the creator. Where documentary is about injecting your own, maybe a bit of your own worldview or your own perspectives. [S2] There's a lens. [S1] There's a lens. Yeah. [S2] There's a | 27.84 | 3.385348 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860663.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860664 | [S1] There's a lens. [S2] There's a lens. Yeah. [S1] There's a lens you're seeing it through, right? [S2] There's a voice. [S1] That's fine, right. A voice, a person on the other side of the camera. | 7.48 | 2.872863 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860664.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860665 | [S1] You know, based on what you said, this is actually one of the reasons I generally try to avoid political films or any- [S2] Yeah. [S1] ... because of the responsibility to kind of get all the facts straight, and the facts aren't always obvious. Like I, that's why I try to steer my way more towards just human portraits because- [S2] Yeah. [S1] ... you know, I, I can't lie what I'm seeing and what I'm experiencing. But, you know, if you're gonna venture in that route of, you know, some corporate greed or, you know, Catholic priesthood or kind of some of these big topics out there, just, | 29.88 | 3.422287 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860665.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860667 | [S1] Yeah, when making Transformer as an example, I, I specifically told Janae I'm not making a politically motivated or a, you know, sexual identity motivated film. Like that was kind of our, when we were talking about meeting the character and kind of gaining access, that was the main driver, was to say I'm not doing those things because, me personally, I don't think that makes a good film. Like, because I think then you're- [S2] It's propaganda. [S1] Yeah, when you're segregating the audience, you know, you | 27.84 | 3.543414 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860667.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860668 | [S1] You end up, you end up being a preacher on the pulpit, and you're just kind of, you're talking to the, the choir. You know, you're not ta- you're not bringing their, you're, you're doing a real disservice to your characters, to be honest, because you're not bringing that character's life into new people. [S2] Yeah. [S1] You're just share, you know, if it's a political film about, you know, one party being great, chances are, you know, it's just that one party that's gonna like your film. | 23.56 | 3.45781 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860668.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860669 | [S1] to tell this story. And, you know, this was 2016. I don't know if my answer then would be sufficient now, but back then it was, well, the right, my right was that I got in the car and drove to see her and she wanted me to tell her story. [S2] Mm-hmm. [S1] I tend to think that that's a good enough reason. Now, | 19.4 | 3.395756 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860669.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860670 | [S1] ... empathetically by, by multiple characters in the film, you know? Because you see that they have their own reasons for coming at it. And then you're treating your audience more maturely, I think, by doing that. [S2] Mm-hmm. [S1] You know, like you're not, you're not spoon-feeding them whatever. Take this, now do this, now I'm gonna lead you here. It, it, it's creating an environment in which they have to think about it. So again, with the Chinese workers in American factory, it's a great example of being like, "Huh, I get their point." | 24.92 | 3.356463 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860670.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860671 | [S1] You know, I can see why they're doing this and, and, and Zakaria, I can see why this guy, he's drug dealing, he has to feed his family. [S2] And sometimes giving a voice to the other side of the subject actually proves your point even more. [S1] It's mature. | 11.64 | 3.23167 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860671.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860672 | [S1] It's mature. It's, you know, it shows confidence. [S2] Yeah. [S1] You know, it shows, it shows there's nothing to be afraid of. Like, you know, I don't, I hate those films where I'm like, "Is the director afraid that I'm gonna figure it out?" [S2] Yeah. [S1] Like, is he hiding piece, is he trying to, like, not steer me this way 'cause he doesn't want me to- [S2] Yeah. [S1] ... figure this out? It's like, that's, you don't wanna be doing that. [S2] No. [S1] You know, treat your audience with respect. Like, treat your audience like they have a brain and, and can, at the end, come to a conclusion, right? You don't need to, you don't need to hold their hand. | 25.92 | 3.244479 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860672.mp3 | [
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bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860673 | [S1] So that's the ethics of documentary, or at least for us. I mean, this is a longer conversation. We could really do like a three hour podcast on this. [S2] For sure. [S1] Yeah. But maybe we will. [S2] I th- yeah, I guess the takeaway though, you know, like we've been saying, you're dealing with people's lives, you're dealing with their stories. When you put the camera down, this film hopefully goes up somewhere, you know, they have to deal with people watching it and then seeing them again potentially, you know? So just always remember that. You're dealing with someone's real life. [S1] For sure. | 27.36 | 3.517807 | 24,000 | audio/en/bilibili_data_14118553_BV1tu4y197NB_p57_BV1tu4y197NB_p57_m4-dialogue_0860673.mp3 | [
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