There are 121 posts filed in videos (this is page 1 of 16).
Love this video from the newly-rebooted Indy Mogul about how to make a documentary in one day. The tips, which are elaborated in detail in the video, are as follows:
Nightline has a new two-part post-mortem of the Theranos scandal that’s worth watching. Of note: they were able to obtain deposition footage of disgraced CEO Elizabeth Holmes acknowledging some of her deceptions, plus an interview with the COO’s defense lawyer. I also appreciated that they got in touch with a Theranos customer to allow people to understand the human misery and wasted resources that this company was capable of causing.
I read reporter John Carreyrou’s Bad Blood last year and found it to be thoroughly engrossing, but almost a year later I’m still really shaken by what the Theranos case says about our culture. Here was a CEO that was making claims about her product that were, on their face, medically impossible. Through some really skillful self-hype and through a corporate culture that prized silence and complicity (and punished anyone who stepped out of line), she was able to convince the world she was right to the tune of a $4 billion valuation.
It says a lot about a culture that we allowed this to happen, and that our only bulwark against it was a lone journalist willing to risk his own livelihood to find the truth.
YouTube channel Coffee Break has produced an interesting video that further articulates some of the thoughts I raised the other day regarding public shaming. One thing I think this video does particularly well is explain why social media public shaming is bad compared to the physical public shamings in the days of yore.
I put together a quick video outlining some reactions to this year’s Oscar nominations. Overall, a pretty weird list.
See all the nominations here.
The Mission: Impossible – Fallout 4K Blu-Ray is a great home video package. Included in the box are three discs: A 4K UHD version of the film, which includes some of the special features like the commentaries, a Blu-Ray version of the film, and a separate Blu-ray disc that contains the rest of the special features. The biggest downside of this release is that it doesn’t match the box art for Paramount’s recently released 4K Mission: Impossible set. Really makes you wonder who Paramount is making those sets for, because in general, anyone who’s going to buy a 4K box set of all these films is probably going to watch those discs to match. Just going out on a limb there.
In terms how the feature presentation looks, it’s great. The movie’s shot and lit beautifully and loses very little in its journey to the small screen. Of course, Fallout was shot on a a mix of film and digital and this does make for an occasionally jarring viewing experience, but this is something that was present in the theatrical presentation as well. The sound mix is also great and it’s a particularly great way to experience composer Lorne Balfe’s score, which is one of my favorites of the franchise.
When it comes to special features, the highlight is the feature length commentary featuring Tom Cruise and Christopher McQuarrie. McQuarrie is an extremely generous filmmaker. Even before this disc was released, I’ve probably listened to about 8-10 hours of interview with him, but even so, I still Learned a few things about the production of this film listening to this commentary. And if you’re a fan of Tom Cruise, it’s great to hear his enthusiasm for the storytelling and the stunts of this film. He seems genuinely excited about the movie and grateful to his cast and crew to have the chance to make it.
On the special features disc there are a few cool things worth noting. First of all, instead of “deleted scenes” there’s a Deleted Scenes Montage. It’s a bunch of deleted scenes cut together with finished color grading and visual effects set to music. The objective of including this was just to give you a sense of all the hard work put into this film that you didn’t see. I personally would’ve preferred to see all the complete deleted scenes here, as it would’ve been fascinating to get more insight into how they decided to structure the final story. But my sense is that director Christopher McQuarrie wants us all to think of the final film as the definitive version (the “Director’s Cut” as it were) and putting in completed scenes might’ve muddied the waters a bit.
There’s also a ton of featurettes about the making of virtually ever major set piece in the film, where you learn really cool tidbits about production, like how they did hundreds of jumps prepping for the halo jump sequence, or how they needed five helicopters for that chase sequence at the end, or how they needed to airlift 150 crew onto the site for the final fight that they shot at Pulpit Rock. It’s all fascinating stuff and reminds me of the heyday of Blu-Rays when discs were just loaded with content.
But it’s not all perfect. One downside is that a lot of the special features are edited in a really distractingly frenetic way. It felt like the person making these didn’t trust they could hold the audience’s attention throughout literally an entire sentence, so you end up with sequences where they are cutting mid-sentence and you have like 4-5 people contributing to that same sentence? After awhile of watching this, it got pretty distracting. I wanted to say to the creators of this disc, “Hey, what you’re showing me is already pretty impressive. Please don’t edit this to ribbons, thanks!”
The second thing is that everything on this disc and these special features is meant to convince you that Tom Cruise risked his life to make this movie. I have no doubt that people put themselves in danger, but the special features do a lot to downplay all the safety precautions that were taken. It’s never about “Here are the 15 things we did to make sure Tom Cruise didn’t die,” it’s always about “Here are all the ways things could’ve gone wrong for Tom Cruise.”
I’m not sure if we should be celebrating the fact that Tom Cruise almost died making Mission: Impossible – Fallout? On the one hand, yes, we’re living in an age where advancements in CG have made audience skeptical of virtually anything they see on screen. And it genuinely is impressive that Tom Cruise did a lot of this stuff practically. But it’s also true that a lot of it was augmented with visual effects, and the special features barely talk about any of that at all. For me, I would’ve been much more interested in how they were able to combine both the practical and the digital, and how the director made those calls. But fundamentally, that’s not the story these features are interested in telling.
In a time where stunt people have actually died while making movies quite recently, the idea that this billionaire risked his life for us just feels like a weird message to hammer home in this piece of mass market entertainment.
Those minor issues aside, if you’re a big fan of Mission: Impossible – Fallout like I am, I think you’ll find this disc is worth your money. I just wish they had made the box art match.
Here is a list of all the special features included in this disc:
Here’s a brief video on what I loved about Better Call Saul this season – specifically, the two conversations in the season finale that define the arc of the characters. It’s really impressive when a prequel can chart new territory from its predecessor, and I think the show has done just that.I wrote, filmed, and edited this video over the course of just a few hours on Saturday. I hope you find the insights to be worth your time. If not? S’all good, man.
I’ve been under the weather after my trip to Virginia, and the travel didn’t improve things (it turns out when you have sinus issues, you shouldn’t get into an aluminum tube with recirculating air hurtling across the country at 500 miles per hour!). But I hope to back to full functionality soon. In the meantime, here are some interesting links I’ve come across:
It’s a rare thing to have your movie screened and to be able to host a Q&A about it at an Alamo Drafthouse, so I decided to use my iPhone XS Max to try to capture my recent experience in Virginia. I wanted to see how the new smartphone held up to as a vlogging camera, especially without any of the other accoutrements I’d typically need to shoot something like this (e.g. external recorder, gimbal, etc.).
In making this, I developed a much greater appreciation of what it takes to shoot a good vlog (iJustine makes it look totally effortless). In particular, I don’t think I shoot enough b-roll to transition from location to location. I also just generally didn’t have enough coverage — I tried to make this as a one-man band, but there are definitely a few moments that could’ve benefited from alternate angles. Overall, I optimized for enjoying the evening rather than shooting as much as possible, and unfortunately I think that definitely shows in the final product.
That said, how did the iPhone XS Max fare? Not too bad. I think when you have a decent amount of light (e.g. outdoor), it’s a fantastic vlogging camera. The image is solid and it gives you decent normalized stereo audio. But in low light conditions and in most indoor situations, the phone’s camera jacks up the ISO and provides some pretty aggressive noise reduction. There’s lots of detail loss and the colors and skin tones don’t look great (See: how this camera is really different than the old one). Without a camera app that gives you manual control of the settings, it can even be difficult to use with a decent light — just compare the first and last shot of the above video.
For this specific situation, the XS Max worked out great. I could travel light and shoot quickly. But if I wanted something more professional looking and sounding, I’d definitely go with something with a larger sensor like an Sony RX100, Sony A6000-series, or a Fuji X-T-series, coupled with an external recorder. It makes a difference, particularly if you’re viewing the video on anything bigger than a mobile device.
Patrick Willems has put together another insightful video essay, this time on the storytelling language of Star Wars. This essay eschews any talk of storytelling decisions, focusing only on how the craft informs the audience’s experience of the film.
One thing this essay made me realize is that each of the post-Return-of-The-Sith films (i.e. the ones made by Disney) has a vastly different style, yet a couple of them (Rogue One and Solo) have had a really troubled production history, requiring new directors to be brought in. It’s a small reflection of how Lucasfilm was willing to take chances on new directions for the series, but then discovered during the execution that maybe it didn’t want to do that after all.