The Review of Moon Knight

Running it you know it's very much a Bruce Banner Hulk you know Venom Tom uh Marty but Eddie Brock and sort of with that without the i guess awareness or uh uh or permission for that takeover but it's it's definitely got my interest like i again i like the mystery of not knowing much about it i like how it's like i was done i was a little bit sort of confused or maybe frustrated in that we would not see any of the action for the first hour like first 45 minutes it would cut away or that's that's that's how they would you know save money a little bit here and there yeah so the character um uh what is it him stephen yes yes uh and he's british but he's one of the personalities so moon knight has disassociative identity disorder in the comics so multiple personalities to occupy him one is mark spector who is in the comics the primary character in in the 90s but the more recent runs you also have there are actually many of them uh and they seem like they're focusing on those two stephen and mark specter so he has many in the comics yes yes and and the supernatural aspect the egyptian god aspect they kind of lean more into recently in the past 90s moonright was very much a batman you know with a he was a rich witch billionaire who became a superhero and you know flies a white moon-shaped crescent-shaped plane uh but he's here i like that he has the blackouts the fugue states because it allows these interesting kind of smash cuts uh and and allows them to cleverly edit and maybe they'll revisit those scenes they can maybe you know in the story yeah you know what unreliable narrator style uh reveal new things yeah yeah i guess i kind of i guess i wanted maybe maybe well i'm asking a lot from our first episode but i wanted a little bit more uh interesting use case of that right there i think there's there's a there's a direction you can go with taking somebody out of a situation and bring them back in and have that be like confusing or uh have us wonder what happened as well but this this was just used simply for action scenes in this in this case at least for the first episode um and it does end with you seeing the costume it's not going to make you wait three episodes to see action at the end it does pay off with uh seeing the moon night and uh six episodes will go by quickly it's unlike you know hbo peacemaker where they dropped three episodes at once i kind of wish they did like one or two episodes to kick it off to give you more of the story but at the end it being limited series it feels like it's a movie stretched out to six hours i i prefer that than the 10 hour 12 episodes logs that some of the old other marvel shows felt like yeah i gotta say oscar isaac in the first the first 45 minutes just i've nev never seen him do that do that role yeah it's great do that very squirrely squirrely british and then right when you see sort of the other personality there you are oscar isaac that's that's the one i know yeah uh we'll we'll revisit talking about moon knight hopefully after the series ends but uh we gotta wrap up

i gotta let you guys go thank you joey for jumping on the podcast this week we didn't get the q a but i did pull people and we might do so uh uh we'll have you back in to do some q a about video production another episode and josh welcome again welcome to the podcast great job with that video edit and uh we'll get we'll get you watching mcu at some point we'll shout out at the office next time you're in we will yeah i'm down i'm super down yeah all right uh thanks everyone for listening thanks for tuning in you can follow joey and josh on social media i have links to them in the description of the youtube video

uh but before that let's get into some other stuff hot dog sucks it still takes the hot air balloon i mean i got i got ketchup on it jerry's laughing at my hot dog it's not the first choice no i have four literally four real dogs before my hot dog is a choice and that's no the hot dog is actually of all the things that could be hot dogs that's like more of a hot dog roll dude that's not fair that is a good drawing don't be hard on yourself that's a that's actually a really good hot dog that's better than cashews yeah my hot taco is terrible hot dog not hot dog clearly hot dog right there guys and yet it thinks it's a hot air balloon

"WEBVTTKind: captionsLanguage: enhey let's start the show for thursday march 31st 2022 welcome to this is only a test the official podcast of tested dot com hello and welcome to the podcast this week i am norm so glad to have you here with us and i am spinning the roulette wheel or the what's the thing you call when there's a lottery the tembola picking out the names who's joining me this week oh we have one joey family joey good to see you hello good to see you thanks for joining thanks for making yourself available joey is of course our head of production and been on podcasts recently uh you know we'll say the things you know might need the most might need to know most about joey loves halo loves fast and furious right love loves loves making movies loves watching movies uh and first time on the show we have someone new new to the tested family uh you may have seen him mentioned in our social media posts and in our behind the scenes videos but i want to welcome formally not only to the show but to tested josh self josh welcome hello josh yeah thanks guys yeah it's uh yeah super great to be here i was uh you know nor when you asked me to be on the podcast i was like what okay oh wow this is like uh this is real jumping right into the deep end here yeah into the podcast realm it's all right you've been on a zoom call if you've been on a zoom call you can do a podcast there you go yeah that's that's that's like the the bare minimum required and don't worry about it it's going to be totally uh it's it's not going to be pulling hair and we'll make it easy for you since it's your first time on of course we're getting some rotating seats for guests as uh jeremy has departed cashore has some family matters to take care of the next couple weeks so over the next couple weeks we'll be seeing members of tess and family join me on the show as well as some internet friends people that i'm we may or may not know in real life but i thought it'd be a good chance to find those people and kick out with them as we dive back into the world of pop culture tech and making but having both joey you and josh on the show this week i thought it'd be fun to talk about movies things that we're all into talk about some production some gear um i if i'd been a little more prepared i would have thrown out maybe i'll do this i'll throw it as recording this some questions out on twitter and see if folks out on twitter by the end of the show have questions about production about the tested production that we'll answer in real time i'll i'll throw some out there all right start a twitter five questions all right but maybe some uh first thing to start is josh tell us a little about yourself tell us about you know uh you as a videographer and editor uh the things that you like and um and and what your experience so far has been shooting with us as you sh uh edited one of the big pieces that released this past month adam's big dart blaster this his head cannon as someone named on on social media yeah um i uh yeah sorry i've got a blanket here but yeah um you know something that i've always been um interested in is like you know i've always been um you know passionate about like making movies and you know it's like there's a you know there's some like uh if you go back like uh my mom has like uh some vhs tapes where are you gonna say do you have the vhs's as well yeah yeah like haunt their vhs recorder and make you know toys come to life yeah and there's like uh yeah my mom is like has some vhs tapes where i'm like hey bob okay so i'm trying to like make a movie where i'm trying to like throw a football to myself and like in camera tricks basically yeah exactly yeah and uh yeah and so i'm like i'm telling my mom like no no no you can't like cut away that early like i have to see it like you know um but yeah that's not how you hold a c stand mom you got to save those vhs tapes because when you become a big time director that's what you're going to bring to your you know your your your documentary series or your behind-the-scenes series got to show you show the journey by bringing up the vhs tapes these days the kids have it easy because they're filming with their phones and everything's you know they can throw up their tick tocks as the first film making you know forays you know but if you guys seen m night shyamalan's dvds like early like six cents unbreakable he includes that stuff and his special features right like like terrible vhs short films like you were watching those and be like well well i i can make movies then like these are this look too hard i think awesome oscar isaac was uh he hosted snl uh a couple weeks ago and he showed in the opening monologue one of the short films and it's a classic like socal short film him standing in the pool playing all the roles like you know like a eight-year-old kid playing a ninja you know a ninja warrior and exactly right so we all come from come from those roots um but josh uh like i said earlier you uh shot and edited uh the the big payoff reveal that we had for adam's big um his head this dart blaster head mounted dark blaster right uh talk talk about that process a little bit because i was fun yeah i mean i was um you know i had uh you know back in december i had basically done an audition shoot with you guys um and i think that you know that went really well um you know obviously i got the job um um but yeah and so then we uh we came up on this on this thing and like adam had built this like very wonderful um you know contraption that was like a like a head-mounted dark blaster and and um you know we had the zoom call and i was like uh hey guys what if we did like a james bond kind of thing you know and and what i was really interested in um you know because i i went to school for cinematography but i also went to school for um 3d animation and that was where i um you know really kind of like you know i didn't um you know go into that field of work but um but i did go into animation and so i like this thing about like uh uh silhouettes i guess is what was like really interesting to me and so um for adam to you know have this like helmet that was like firing these darts and like i just had this image where it was like i want to see him like go here and do this right it's like that mickey mouse ears effect that he's got going on there yeah it is like yeah it's the mickey mouse thing but it's also like i think like for the james bond um you know it's just like it works really well to kind of like play off of that i guess but yeah and so i pitched that and um and yeah and i i was like i was blown away that you guys kind of let me do that i was like are you kidding me like you know like adam was super into it he was like oh i'm gonna like bring in my tux and we'll you know we'll get like the psych and um and i was like oh my gosh like these guys they're gonna let me do this they're actually going to let me do this um well it's a great idea and you know to execute it we don't have a ton of space we shot in the tested office joey you filmed a bts video that you can find on the youtube channel but what people see there and it's really funny just for people who watch our videos it's the first time we kind of pull back and show a big wide-angle view of what our office looks like with our high ceilings but we got this big white backdrop photography backdrop how big is that how big was that roll and how how did you hang it up i don't know who hung it up but it was about 12 i think it's 12 feet it's a 12 foot sike that we rolled we rolled down i think adam actually just threw him on some ropes put it up in the ceiling um but yeah it's your typical it's a typical psych which we don't you know we don't know we don't normally shoot you know green screen or sikes in the office so um i think that was a lot of fun to sort of have in there and play with for the first time and then again josh with your idea i mean going back to what you were saying about you know sure let's do this it's i think that's the the benefit of working on on youtube and working in the web right the stakes are not it's not a network uh a televised situation where uh it needs to go through a bureaucratic list of people right it's just hey here's a good idea let's yeah sure do it let's go for it have some fun yeah and having that guiding principle the reference of something that we were aspiring you know gave us the parameters to figure out we knew that we were going to have that vignetting of the barrel of that classic bond opening uh you wanted the full body we tried to recreate that as faithful as possible and then josh as you were shooting it you were thinking of all the different styles because over the history of bond and we just saw over this weekend there was that big 60 years of bond tribute uh every actor that's played that role and then done an opening has done it a little differently so it's like kind of cool for you to dive into picking a style and and adam tung also in his own way like he did multiple takes uh to get that turn right and to get the right personality to do it in a very adam way yeah totally um yeah i mean he uh you know when he showed up and he put on the tux and and he had the the you know those uh those adam shoes yeah um well going back to the silhouette there i mean like what you've what you put your finger on is like it's there's something comedic in the there's something very comedic in the um the the the the reveal that's in front of your face like when you you know there's you can see it on old cartoons it's probably not it's not it's not aged well but like in cartoons where you see like the the folks walking from the side and then they turn all of a sudden it's a huge wide muscular guy right it's a very like looney tunes-esque sort of absolutely reveal that's right in front of your face that you didn't even recognize and i think those ears are exactly that and like you're able to kind of pinpoint that with that silhouette idea yeah you can you can see in the bts piece that literally on the monitor that we had uh you guys cut out just curved pieces of foam core or something to put on as a mass and we can visualize what the silhouette and what the framing was uh but even then you know there's only so much space we can only pull back so much uh what was that editing like to to then take that footage uh and the different takes and put that together josh yeah i mean um it was it was actually like it was a lot more work than i assumed that it was going to be um and also you know i just got hired by you guys in um in february and so this was like kind of a uh uh you know this is like a a big thing for me and um you know i wanted to uh impress the crew and i wanted to of course impress the um the i guess like the viewers and you know the membership of tested and yeah so i i think like the biggest thing was that like the the backdrop like the uh the cyclorama if you will was not big enough it straight up was not big enough um and it was like just just to give people an idea so this was like um that backdrop was probably 12 feet wide and we pulled it down and then like brought it out and you gotta pull adam away from it so you don't cast shadows so it's like it makes it even smaller yeah right right so it's like it's pulled like four feet up so that like uh so adam can walk on it um and then uh you know joey like you know we hit we had like uh we were having this discussion about like you know how how far could you know um could adam walk and you know i mean because there's like okay so there's the backdrop that adam is behind but what the camera was shooting is actually wider than that yeah so um so we were seeing like you know the other like uh you know the rooms of of tested you know beyond this uh this uh this backdrop and uh and yeah so like when i brought that that footage home and i was trying to you know kind of like make it work i got into illustrator and i was trying to like make this gun barrel and then i had to like get into photoshop and um and yeah basically you know it's like you have this uh yeah sorry i'm trying to like uh but you know you have this like iris that's going around and it like you know i had to like create uh the the backdrop that was the adam was walking behind i had to like remake that from scratch and like you're basically bouncing through you're doing the the world tour of adobe apps for this i'm guessing right like you're going through illustrator bringing things into photoshop after effects like those are the projects that are sent i look at at the end i'm like i don't even know how this workflow works i'm just going to close this project and be done with it right i i think like the the perfect scenario if we had like unlimited space time yeah the the way if you want to shoot it all in camera you're gonna be real far back you use a long lens you're gonna have a massive backdrop that's gonna be you know tens of feet across where you can get it all in frame and so whoever the subject walking along you can just impose just mask it and and track it without having to do any any adjustments of the frame because this is very compressed space and the backdrop is only so big you're like you're animating a a a cut out of adam essentially while they're creating a fake background it's almost like putting him on a on a virtual people mover as he moves across uh up to the center of the frame little like a treadmill action um to create more more of a a frame than we actually had yeah yeah uh 100 and um yeah i i uh it was it was kind of weird because like i i started animating like the the gun iris and was pulling down and then i was like oh yeah there's not uh there's not footage right there like there's literally like no yeah it's uh it just doesn't exist um and so yeah i mean there was stuff that was like uh yeah had to recreate that and recreate that stuff and uh i mean it it fits with the shirt that you're wearing which is fix it and pre right this is a situation there you go you're like oh man i wish we would have had the means to do this in the the scale that it required yeah yeah and that's a that's part of the process that doesn't always get appreciated even in the bts piece you're watching what's going on during the film day but in posts there are the problems that you encounter that you we may not know uh is a problem or something needs to get fixed and that's all in the editing editing isn't just chopping up you know a duration of footage in a clip and piecing it together it's actually adjusting the image itself uh as so many editors do and that's why those editors are so pissed off that they didn't get appreciated at this past year's oscars uh which was of course this past weekend we're not going to talk about uh what everyone else is talking about but one thing i did want to mention of course the big one of the big things was uh the telecast was adjusted to not put on screen many of the awards that previously were there including you know one of the sound uh the score i think i think han zimmer who won didn't they didn't have that actually broadcast film editing achievement film editing was not um was also not broadcast but oscars are a great time it's great kind of milestone every year it's the look back of the year of films and so both of you guys big fans of film uh what did you guys think of this this past year like we're not talking about who won the awards but you know i i didn't certainly didn't see coda but now i want to um i'm glad dune won a bunch of technical awards but what did you guys think yeah you know i realized after after going through going through the oscar like movies trying to try to recap like what i saw um i don't know i wasn't as like i didn't see coda um i think uh yeah uh after yang was probably the more recent one i saw um you know it was like a mix of some quieter movies and some you know spectacles like like dune i don't think there's anything huge off the top of my head that really blew me out of the water i think there's actually more movies that are coming out in the last couple months that like really have my attention that i want to check out um it was interesting i'm just now starting to go to the theater as well i don't know about you guys oh yeah yeah the batman was the last one i i saw in theaters and that was one that i wanted to actually make an effort to see uh and i want to talk about that too but i remember you know 2020 the first year of the pandemic a lot of movies just didn't happen right movies were pushed back production was halted and so last year's oscar was really interesting because of the crop of films it wasn't i wouldn't call it scraping at the bottom of the barrel but it allowed a lot of different films or indeed you're like reaching into the vault movies that may have not been released or maybe yeah exactly um and i feel like this year there's a little bit more of a return to let's have our our feel-good indie film that's dakota the little sunshine of the year let's do our big genre film and night nightmare alley you know let's do our uh our auteur film in you know paul thomas anderson you're getting the the mix of what a typical oscars looks like at the same time though a lot of the more interesting films like you mentioned after yang and all the a24 stuff seems like the stuff that at least in the world of streaming feels way more interesting yeah i mean like you power the dog like there was movies that came out yeah through streaming means that like i think were were more in my wheelhouse um than some of the uh you know theatrical releases and again i haven't seen a lot of ones that are still in the theater but they're even some of the big spectacles i never saw internals i don't know i don't know what it is about those um you know we saw what zack snyder's army the thieves kate uh was an actual one that i really dug shooting on the sony venice and some of these were intended for theatrical distribution and then because people weren't going to theaters because of what the box office looked like uh they then went to uh went to streaming which is different than when like netflix says they're going to commission a film and you know they do i think uh red notice for example was one they they bought and paid for from beginning to end as a big budget netflix film versus one that originally was going to be in theaters and then they got picked up for streaming distribution rights uh which was the case with like mitchell's versus the machines the animated film the best ones last year yeah mitchell i actually really like that moon i haven't seen i've been trying to get my kid to get into uh what is it is uh panda red panda uh turning red turning red there's a couple that i'm like i just wanted to read panda yeah turning red and uh there's another new one that just came out anyway some animated movies my my daughter is still very much into the same three movies that she's been watching this uh last like three years so i'm like trying to get her into uh some of the more i don't know some of the more enjoyable animated movies for us both yeah pixar films definitely uh they fill that role and this one's really good turning red is fantastic uh it's directed by uh dummy she who it's the first theatrical uh directorial debut but she did the short film uh bow that was her show oh really okay i mean i saw the first 20 minutes of turning red and i was like this is my jam this is edgar wright this is like it's scott pilgrim it's very much i'm not just because it's canadian but it has that energy it has a miyazaki and edgar wright mishmash together uh and like like the last pixar film luca that came out very much the director's personal story and also it's very much uh they're they're leaning forward into different animation styles there's not a classic you know pixar human look that you would associate with uh maybe not incredibles but i think like um inside out that's what i think of the humans there as a very pixar human pixar yeah but i think luca and turning red have have distinct uh character design i'm trying to watch luke as well she she sees the fish and she starts getting scared turn it off turn off let's finish this one oh hey everyone before we continue on this week i want to let you know that this is only a test is made possible this week from the stack overflow podcast which you should check out wondering which skills you need to break into the world of technology or level up as a developer curious about how the tools and framework you use every day were created the stack overflow podcast is your resource for tough coding questions and your home for candid conversations with guests from leading tech companies about the art and practice of programming for 13 years the stack overflow podcast has been exploring what it means to be a developer and how the art and practice of software programming is changing our world as i'm sure has been changing in their industry as well the show dives in the topics that matter from a listenership of developers tech enthusiasts and educators of all stages of their careers at this moment and provides tangible tools and conversations about the infrastructure in tech right now with new episodes twice a week the show dives into topics like web3 code security cloud infrastructure and how ai can solve real world problems and more listen at stackoverflow.com podcasts or at any major podcast platform now back to the show but you both mentioned you watched both watch the batman uh what'd you guys think of the batman from a movie production from a filming standpoint let's not even talk about necessarily story or acting but from a filmmaking standpoint what'd you guys think you thought you saw josh i did see it yeah all right why don't you go first uh sure okay um i loved it i thought it was like uh actually incredible and i was like uh um yeah i mean like uh moments in the theater where i'm sitting there with my wife and i was in awe i was like i i yeah honestly like i think it's a it's a great film um i will also i guess kind of mention that uh you know i i uh like dc i mean i guess i have like a that favor um you know what am i trying to say like the the dc's dc yeah like my bias i have i have a dc bias is what i'm trying to say yeah all right that's fair so you are restore the snyder verse that's a subset that that's like that's that's the that's the that might be extremist dc yeah norm i agree with you i think uh you know the snyder verse is like uh something that i hate um but yeah uh yeah i mean uh you know me and my buddies like back in high school we used to play hero clicks and uh and i was the i was the dc guy i would uh the main three the core three batman superman wonder woman or who are your favorite dc like uh b heroes or lesser known heroes yeah um i guess like hmm wonder woman i i find superman super not interesting um but yeah so wonder woman batman i would say yeah you know what i forget i was rereading um uh i was rereading the one with the dream why am i blanking on that name uh is it a batman story no dream oh sandman see uh gee i was rereading sandman yeah i forgot the i forgot the the little bits of connective tissue to the rest of the dc universe yeah like um yeah yeah i forgot the reference of batman i forgot i forgot about all this yeah i completely he was always just in the realm of like watchman kind of standalone universe yeah that was vertigo comics back in the day the scent you know sandman swamp thing they were all dc characters but oh man neil gaiman yeah i yeah i love i love gay men's work well that's going to be a tv series netflix you know they've finished production sandman that's coming out soon live action i mean there's obviously the the audible series uh and with all the the um very much like american gods for the voice actors that do the full audio telling of sandman uh but the live-action series is coming out soon after watching spider-man no way home and seeing all the doctor strange stuff that world stuff going on i kept thinking back like this would make this is the visual language i want sandman to sort of exist in this weird spectacular landscape i i know you probably haven't seen the trailer for the new doctor strange movie coming up multiverse of madness because you don't watch trailers joey but absolutely it has the kind of you know architecture in in uh nebulous planes of reality which is very much a sandman right you have staircases that ex that with no foundation that kind of thing right in the vastness of space or the m.c escher universe exactly exactly yeah yeah yeah so i don't know uh we'll see what that sandman production design looks like uh but yes very much looking forward to that the batman though uh that was shot by craig frazier who should shoot frasier dune as well as um uh what he uh rogue one he did rogue one he did a bunch of the early volume stuff with the with mandalorian he's kind of been on a hot streak last five or six years uh yeah he's a he's a pretty incredible dp and made some pretty bold choices with batman i mean i don't know if you guys have read much about the lenses that they've used on that uh really wild broken lenses to to capture that movie the storytelling in in the batman is like absolutely incredible it is like indie noise so and it is so like it's insane it is insane i'm sorry i'm getting like the you know my uh my microphone is probably like clipping right now but like this is like that is uh cinematography telling a story it is so good in the batman um yeah i think robert pattinson does a lot with his they when every time he's in frame uh yeah just the the gotham city itself just looks it looks uh it it looks like it belongs i don't know if this is right it looks like it belongs there where is like you know i watched yeah absolutely i'm like chicago yeah yeah yeah it's really a gotham that that all those people feel like they can easily inhabit and the way they go about that world and their version of gotham is still a version of of new york you know they have their equivalent of times square they have equivalent of madison square garden but the way wherever they shot it i'm not sure what city they did but however they dressed it up even their version of times square has that old architecture with neons with big billboards plastered over it so that mesh of the gothic um that they wanted to show like the city being rebuilt which is a big theme in that story uh when we talk about how how it was shot though and those lenses i think of some of these crowd shots or you know the press conferences shots where it's like very it's not the tilt shift but there's a there's a look to it where it's very the focus is not necessarily a thin plane but it's all very center focused it's distort yeah it's both center focus and distorted and it differed from lens from lens choice from from the the lens set right so if you had six lenses that they were shooting on every one was busted in just a specific in a certain way that like either made it the focus playing a little bit more of a shifted like a tilt shift sort of aspect or it was very center focus where everything was super uh you know out of focus and blurry on the sides it was something that caught my eye for the first 30 minutes and i couldn't stop seeing but after that it just sort of melted in the background and um do you know if they were to look do you know if they were anamorphics they that's a good question i don't i don't think they were but don't quote me on that i know they're old russian lenses that went through iterations they went through iterations of housings and so like they were they started off as some kind of glass that then went through the housing that was used on film from another company and then rehoused into typically what happens is when like a cinematographer really likes some specific older lens or some lens that's been out of usage for a while they will have you have the factory rehouse them in ways that is more suitable and joey you tested some anamorphics lately when we did the the shoot with g4 and you did a video about the um that some of the the qualities in anamorphics obviously the the kind of oval bokeh it's the telltale sign but something also is just like when you i'm not sure what focal length it typically is when you have a subject you like you have the focus kind of has this ring around the subject it's it's almost like this this curvature not just in the shape of the the uh the bokeh but like the there there is some type of bending of the the background scene uh yeah like the distortion yeah really like and that i think that differs based off of how wide your anamorphic those atlas anamorphics that we used are those are two times anamorphic and had a very wide very thin field of view and like you get a lot of that distortion on the end so actually when i did test shots with um something like the the the one of the panasonic's i was using uh that uses it it was like a 43 sensor it was able to use that entire width and right and i was able to really see the distortions happening on the ends but for the canon c500 that we shot um the short film on that actually had a little bit of a crop and so we didn't have that full two times we were cutting that off a little bit and you can sort of control your distortion and your effects uh in that way but yeah every anamorphic has its own weird qualities to it especially the older ones and a really cool look for some of the shots in the batman because it looked like they they had a lot of long shots that were fixed you know very judicious camera placement on a scene with characters walking into focus very slow pace just lingering shots uh especially when we think of batman how slow he was kind of moving from one one position to another of those uh the crime scene shots crime scene scenes yeah yeah crime scene and then the all the fixed cameras like i've never seen a car chase or a whole car action scene filmed with such tight lenses that were just just like locked onto something locked onto a car yeah it was pretty crazy and it wasn't you know it did the geography and it wasn't like it wasn't confusing it wasn't lost it was just it's very stylistic and very very exhilarating in my opinion and some of those shots like just seen you know seeing the batmobile thrust out of that fiery like hellscape of destruction made those scenes just feel so intense and that was a shot where you had locked on to colin farrell uh the penguin space where you're looking at him and then he's looking in the rearview mirror but you also see what essentially what he's seeing with the batmobile flying out in that fireball um and see if there's a lot of these because it's a chase scene you have a lot of their intensity on their faces very different than like if you think of the dark knight chase scene with the tumbler chasing underneath the chicago you know the gotham uh tunnels and you have that's very more traditional like weaving back and forth almost like a drone shot kind of you can tell there was like the right i guess they're not called russian arms anymore but the ukraine's the the the car cars with the yeah like the sort of techno crane crane sitting on top of them you can tell there's a lot of chasing chase cars and stuff like that yeah yeah yeah uh you mentioned also uh the volume and um it sounds like they did use the volume pretty extensively in in the batman as well for either for uh covert reasons or um for because it made sense uh or they wanted to experiment it but where the bat signal was when uh batman would meet gordon up on the in that in construction site as like a recurring location they had the movie overlooking gotham that was all shot on a sound stage with ilms volume technology right yeah yeah again graham greg frazier knows that place well um yeah so you can have basically as long as scenes as you want uh overlooking a a cityscape at sunrise or sunset for however long they needed to shoot yeah i think that's probably the biggest benefit of that right is is just controlling your your golden hour keep your golden hours for as long as you want right right um although i think it also means that they have to shoot in a certain way right you have to you can't necessarily put the camera outside of a building looking back in because there is no building right and you're you and they do take advantage of the silhouetting layer you see a lot of the batman silhouettes um as they're in that building looking out with again gotham in the background yeah it shares a lot of the same limitations that like extensive green screen shoots you know do like anything about star wars prequels and stuff that all had a very specific perspective to it because you're a big green room basically yeah i can't wait to re-watch the batman it's coming out on i think streaming in just a couple weeks because it has that 45 day uh theatrical exclusive window it's done very well nice of course uh so i think they're going to make a sequel for sure um and who knows how it's going to mesh with whatever dc has in in their post zack snyder dc extended universe uh because they've reshuffled some of the release dates aquaman the flash and uh the hbo max series with batgirl which is supposed to be in zack snyder universe because it still has jk simmons as jim gordon uh and then they have i think um blue beetle i want to say is another series of queued up as well so go watch peacemaker christie okay yeah oh yeah and then peacemaker as well that was awesome peacemaker yeah oh yeah that technically also is in that zack snyder dcu but a spin-off of a spin-off okay well hey uh one thing is also an h1 max i wanted to chat with both of you about if you haven't seen it there's a show new show documentary series called one perfect shot and it's uh created by ava dufrene director uh who she was originally gonna be speaking of dc movies she was gonna do the new gods movie in heavy pre-production for a new gods movie with mr miracle and the whole uh a dark side part of the universe uh the cosmic equivalent of what you see in thanos and the mcu side basically the eternals but the dc version of the eternals but they they they decided not to go forward but the lesser the lesser oh it's all it's all it's all jack kirby it's all part of the what jack kirby created right uh but what she produced was this uh i think six part series or half hour episodes that was inspired and a spin-off of a twitter account the one perfect shot twitter account so if you're unfamiliar with that is that the the original that is the so there's been a long-running very popular twitter account called one perfect shot where i think it started off with these film fans posting just screenshots of their favorite movies like these these classic stills that they love from all all genre of film which is kind of like a little bit of a misnomer because those are those are not technically shots right a shot film is a full sequence right these are these are stills one one perfect still one perfect frame one perfect frame exactly they're frames not shots but i think they took the idea and expounded on the idea of a shot of a of like a link you know whatever it takes to get that shot um and from filmmakers like patty jenkins from wonder woman to john m chu for crazy rich asians to even michael mann for heat they had invited these directors along with some of their collaborators to one talk about their journeys in getting to be a filmmaker and their philosophies in making film but also to re-examine specific sequences specific shots of their most well-known films so for patty jenkins wonder woman it was the no man's land scene for wonder woman for uh crazy rich asians it was the wedding scene um and for michael mann for heat it was the iconic shootout between you know pacino and de niro in the bangkai scene uh i asked if you guys could watch the michael mann episode you guys get a chance to watch that i did that's the only one i watched yes i don't have any context of the others well what did you think about the the format because it was an interesting way for a director not only to do a little bit of retrospective on their their filmography but then also use some type of green screen augmented reality uh recreation to break down a shot yeah so i guess in in the format i don't know if this is for the rest but the format at least for this michael mann was about 45 minutes so it's it's pretty breezy uh considering what they're what they're doing they basically have a the first third dedicated to like it's almost i want to say master class because they very much they even have they even have the the person say i'm michael mann and this is my one perfect shot which is if you ever watch any any master classes it's i'm helen mirren and welcome to my master class uh yeah so they have to they have them sort of talk about the process of getting into the movie making the movie um what it was like you know some of the just kind of overall aspects of of their involvement uh and getting that bringing it to life and then they go into like the second part which is like you said they they bring a couple collaborators in this case it was his editor and a cinematographer uh to do a little roundtable just discussion and then they go into what i would call is like a it's a little bit of augmented reality they michael manley's does not engage with the world at all it's very much he is just placed into a he's placed into like an unreal engine style representation it felt pre-production i don't know if you've seen like previously yeah yeah people like matt workman are developing these unreal tools that allow you to sort of set a scene up like that using very generic models just all the stock stuff that unreal offers and then you can take a digital camera and sort of figure out your storyboards and stuff that's what it felt like i feel like they placed everybody there in you know val kilmer robert de niro look alikes and then michael mann sort of just walked around for a minute talking wasn't really grabbing things or wasn't engaging with that it was very much sort of a green screen um it was all sort of interesting i don't know about you guys but some of the some of the way they shot it was almost a little bit distracting like i would say the first three the first part of it where it's like a three camera michael mann sitting down is like masterclass as if but but also they wanted to be mtv in the 90s like the second and third cameras were all over the place right crashing in doing weird cliff clifford masterclass it wasn't like as interesting as i wanted it to be um yeah i mean there was like uh like yeah what you're saying is like you know i mean it's super interesting to have like michael mann in a room right with his editor and his cinematographer um you know and that's like that's not uh you know conversations that that a lot of us are privy to sorry um and so that was like super interesting to me they're almost a little bit limited though because they're talking about one perfect shot so it's like yeah i can't remember the editor's name forgive me but he's like editor like how was it editing that one sequence he was like right well you gave the thumbs up and i felt great like yeah all right yeah yeah he's like he's like sucking up a little bit and like yeah um but also i mean it's like yeah of course like i mean this guy is like you know he's doing his dream job basically um and so yeah it's like it's kind of funny in that way but yeah i mean it's like uh i i wanted the the two-hour version of this i think if you're gonna get all these very accomplished filmmakers and not just directors but production designers and costume designers and editors and cinematographers and the cinematographer there is you know this is a famous uh italian cinematographer yeah and you you almost feel like there is a hour-long conversation that they had but for the show they gave us five ten minutes of it at most uh because so much of it was chewing in this idea of the quote unquote one perfect shot uh and then once they they have to reserve the second half of this episode to this augmented reality green screen unreal engine previz breakdown which because it's faked because michael mann isn't actually seeing what we're seeing it's very scripted he's just kind of very broad strokes describing you know it's kind of these general the thesis of of the scene uh vanity fair has a has a web series called notes on a scene which i think is a very similar vein but much more thorough breakdowns and these were new movie releases and some some older ones but you have directors on basically watching their movie on a uh on a on a big tablet or a some type of table and they're using a marker to draw on the scene circling things and so it's while it's not as immersive as you know recreating a scene and trying to get up to you know which very like video game pans and zooms the notes on a scene series are is i think way more you get way more cool anecdotes because then the director will pause and circle this thing and point out things that they were remembering from filming that day yeah it feels a little bit more like a visual director's commentary at the vanity fair yeah and it's i wasn't going to recommend that i was going to recommend the holiday reporter youtube channel does a a roundtable with cinematographers and they get sort of in the in the weeds especially when you have cinematographers talking to each other uh yeah you know they have questions and they really go deep down that stuff but also with both vanity fair and holiday reporter youtube channel you kind of have to sift through a lot of you have to find those video series there's a lot of just like one minute what was he wearing on the red carpet videos but if you if you can you know find those ones those are great i think uh robert rodriguez i this is i think long done but he did a series called the director's chair i don't know if you guys have seen that uh if you want to watch a director talk to a director and get very deep into the weeds about specific filmmaking stuff um check that out he's got some great folks on there john carpenter with queen tarantino course uh and goes into like their whole catalog for about an hour and a half yeah and maybe it's it's a matter of you know hbo whoever however they're producing this thinking of who the audience is i think with with web and youtube and streaming they can get away with going deeper or not having set lengths but this one feels very much like here's our half hour purdue show that could also work if it was broadcast on abc or something or oh yeah or on tv yeah but it's an interesting concept um the recreations of the scene especially something that was shot in the 90s was was neat uh but i i think i still want i want the extended version of that show and i hopefully i mean it's good for that that twitter account which i think uh is it film school rejects that runs it there's there's one a big uh movie site that runs the one perfect shot twitter account uh hopefully i get to do more of that because there are definitely a lot of a lot of great shots did you watch any of the others or just the mecca man i watched the uh the crazy rich asians one um and that one's great uh because a lot of personal story of john m chu's journey to usc being discovered by spielberg and kind of a very very personal story that he tells about how he got to the making of this film no mention joey of the veriz or the virgin america safety video which i would say is a high bar high mark on the career of john m chu oh yeah but uh it's pretty insightful he does the thing where he like when he literally walks onto the recreation of the wedding scene he does like oh it's like you're here you can see the glass he plays the smell the flowers he really like bends down gets down and like touches the water so like that i didn't need that it plays out just a little bit a little bit too much uh well i didn't want to take up too much of your time but one thing i did want to wrap up with is sorry josh we're going mcu as is a tradition on this show whenever there's a new mcu show we want to talk about the first episode this is a moon night of course which premiered this week it's oscar isaac in a part limited series what is a moon knight what is it what is it well kind of like a batman but okay crazier and he wears white instead yeah okay uh so moon knight is the first of the disney plus mcu shows that's introducing a wholly new character as the premise where previously you had one division loki hawkeye captain america winter soldier extending the stories of characters we've seen on the big screen before here it's complete introduction it's the first of a series with this marvel and she-hulk coming out that will be new characters that we might see on the big screen at some point um but what what did you think joey have for context i i read a lot of uh i read a lot of the team-based marvel stuff growing up like x-men well spider-man would be the exception uh i never read any moon knight i would only see i would only see moon knight when he would show up in other people's comics i'm like oh there's that one guy oh yeah i forgot about him so i didn't know but you know with an egyptian god kind of yeah okay so now it did what the the egyptian angle is this all i didn't see the turtles does any of this have to do with eternals no there's nothing and and that's probably the most notable thing one of the most important things about this is how disconnected from the mcu it feels at least in this first episode it does not feel like it's part of that world at all and there are opportunities there were like literally opportunities in this pilot episode where they could have made some reference to a thanos or a thing right and in fact snap yeah right and which they do in every other recent phase four thing but they don't and maybe there's a reveal later on for like when this happens because it's not very clear if it's you know in the mcu timeline supposed to be i think 2024 or something uh post-snap but maybe that's a there might be a connection i'm happy that there's no connection because so far it stands on its own as a like supernatural horror thriller right there's something there's i mean the first the first movie i thought of watching it was venom there's a very very venom like this deep voiced yeah uh i i don't know anything about what his what his issue is i don't know if this is a that's a comic book thing of it running it you know it's very much a bruce banner hulk you know venom tom uh marty but eddie brock and sort of with that without the i guess awareness or uh uh or permission for that takeover but it's it's definitely got my interest like i again i like the mystery of not knowing much about it i like how it's like i was done i was a little bit sort of confused or maybe frustrated in that we would not see any of the action for the first hour like first 45 minutes it would cut away or that's that's that's how they would you know save money a little bit here and there yeah so the character um uh what is it him stephen yes yes uh and he's british but he's one of the personalities so moon knight has disassociative identity disorder in the comics so multiple personalities to occupy him one is mark spector who is in the comics the primary character in in the 90s but the more recent runs you also have there are actually many of them uh and they seem like they're focusing on those two stephen and mark specter so he has many in the comics yes yes and and the supernatural aspect the egyptian god aspect they kind of lean more into recently in the past 90s moonright was very much a batman you know with a he was a rich witch billionaire who became a superhero and you know flies a white moon-shaped crescent-shaped plane uh but he's here i like that he has the blackouts the fugue states because it allows these interesting kind of smash cuts uh and and allows them to cleverly edit and maybe they'll revisit those scenes they can maybe you know in the story yeah you know what unreliable narrator style uh reveal new things yeah yeah i guess i kind of i guess i wanted maybe maybe well i'm asking a lot from our first episode but i wanted a little bit more uh interesting use case of that right there i think there's there's a there's a direction you can go with taking somebody out of a situation and bring them back in and have that be like confusing or uh have us wonder what happened as well but this this was just used simply for action scenes in this in this case at least for the first episode um and it does end with you seeing the costume it's not going to make you wait three episodes to see action at the end it does pay off with uh seeing the moon night and uh six episodes will go by quickly it's unlike you know hbo peacemaker where they dropped three episodes at once i kind of wish they did like one or two episodes to kick it off to give you more of the story but at the end it being limited series it feels like it's a movie stretched out to six hours i i prefer that than the 10 hour 12 episodes logs that some of the old other marvel shows felt like yeah i gotta say oscar isaac in the first the first 45 minutes just i've nev never seen him do that do that role yeah it's great do that very squirrely squirrely british and then right when you see sort of the other personality there you are oscar isaac that's that's the one i know yeah uh we'll we'll revisit talking about moon night hopefully after the series ends but uh we gotta wrap up i gotta let you guys go thank you joey for jumping on the podcast this week we didn't get the q a but i did pull people and we might do so uh uh we'll have you back in to do some q a about video production another episode and josh welcome again welcome to the podcast great job with that video edit and uh we'll get we'll get you watching mcu at some point we'll shout out at the office next time you're in we will yeah i'm down i'm super down yeah all right uh thanks everyone for listening thanks for tuning in you can follow joey and josh on social media i have links to them in the description of the youtube video uh but until next time we'll see you then bye-bye bye hi there i didn't see here hot dog sucks it still takes the hot air balloon i mean i got i got ketchup on it jerry's laughing at my hot dog it's not the first choice no i have four literally four real dogs before my hot dog is a choice and that's no the hot dog is actually of all the things that could be hot dogs that's like more of a hot dog roll dude that's not fair that is a good drawing don't be hard on yourself that's a that's actually a really good hot dog that's better than cashews yeah my hot taco is terrible hot dog not hot dog clearly hot dog right there guys and yet it thinks it's a hot air balloon that's ithey let's start the show for thursday march 31st 2022 welcome to this is only a test the official podcast of tested dot com hello and welcome to the podcast this week i am norm so glad to have you here with us and i am spinning the roulette wheel or the what's the thing you call when there's a lottery the tembola picking out the names who's joining me this week oh we have one joey family joey good to see you hello good to see you thanks for joining thanks for making yourself available joey is of course our head of production and been on podcasts recently uh you know we'll say the things you know might need the most might need to know most about joey loves halo loves fast and furious right love loves loves making movies loves watching movies uh and first time on the show we have someone new new to the tested family uh you may have seen him mentioned in our social media posts and in our behind the scenes videos but i want to welcome formally not only to the show but to tested josh self josh welcome hello josh yeah thanks guys yeah it's uh yeah super great to be here i was uh you know nor when you asked me to be on the podcast i was like what okay oh wow this is like uh this is real jumping right into the deep end here yeah into the podcast realm it's all right you've been on a zoom call if you've been on a zoom call you can do a podcast there you go yeah that's that's that's like the the bare minimum required and don't worry about it it's going to be totally uh it's it's not going to be pulling hair and we'll make it easy for you since it's your first time on of course we're getting some rotating seats for guests as uh jeremy has departed cashore has some family matters to take care of the next couple weeks so over the next couple weeks we'll be seeing members of tess and family join me on the show as well as some internet friends people that i'm we may or may not know in real life but i thought it'd be a good chance to find those people and kick out with them as we dive back into the world of pop culture tech and making but having both joey you and josh on the show this week i thought it'd be fun to talk about movies things that we're all into talk about some production some gear um i if i'd been a little more prepared i would have thrown out maybe i'll do this i'll throw it as recording this some questions out on twitter and see if folks out on twitter by the end of the show have questions about production about the tested production that we'll answer in real time i'll i'll throw some out there all right start a twitter five questions all right but maybe some uh first thing to start is josh tell us a little about yourself tell us about you know uh you as a videographer and editor uh the things that you like and um and and what your experience so far has been shooting with us as you sh uh edited one of the big pieces that released this past month adam's big dart blaster this his head cannon as someone named on on social media yeah um i uh yeah sorry i've got a blanket here but yeah um you know something that i've always been um interested in is like you know i've always been um you know passionate about like making movies and you know it's like there's a you know there's some like uh if you go back like uh my mom has like uh some vhs tapes where are you gonna say do you have the vhs's as well yeah yeah like haunt their vhs recorder and make you know toys come to life yeah and there's like uh yeah my mom is like has some vhs tapes where i'm like hey bob okay so i'm trying to like make a movie where i'm trying to like throw a football to myself and like in camera tricks basically yeah exactly yeah and uh yeah and so i'm like i'm telling my mom like no no no you can't like cut away that early like i have to see it like you know um but yeah that's not how you hold a c stand mom you got to save those vhs tapes because when you become a big time director that's what you're going to bring to your you know your your your documentary series or your behind-the-scenes series got to show you show the journey by bringing up the vhs tapes these days the kids have it easy because they're filming with their phones and everything's you know they can throw up their tick tocks as the first film making you know forays you know but if you guys seen m night shyamalan's dvds like early like six cents unbreakable he includes that stuff and his special features right like like terrible vhs short films like you were watching those and be like well well i i can make movies then like these are this look too hard i think awesome oscar isaac was uh he hosted snl uh a couple weeks ago and he showed in the opening monologue one of the short films and it's a classic like socal short film him standing in the pool playing all the roles like you know like a eight-year-old kid playing a ninja you know a ninja warrior and exactly right so we all come from come from those roots um but josh uh like i said earlier you uh shot and edited uh the the big payoff reveal that we had for adam's big um his head this dart blaster head mounted dark blaster right uh talk talk about that process a little bit because i was fun yeah i mean i was um you know i had uh you know back in december i had basically done an audition shoot with you guys um and i think that you know that went really well um you know obviously i got the job um um but yeah and so then we uh we came up on this on this thing and like adam had built this like very wonderful um you know contraption that was like a like a head-mounted dark blaster and and um you know we had the zoom call and i was like uh hey guys what if we did like a james bond kind of thing you know and and what i was really interested in um you know because i i went to school for cinematography but i also went to school for um 3d animation and that was where i um you know really kind of like you know i didn't um you know go into that field of work but um but i did go into animation and so i like this thing about like uh uh silhouettes i guess is what was like really interesting to me and so um for adam to you know have this like helmet that was like firing these darts and like i just had this image where it was like i want to see him like go here and do this right it's like that mickey mouse ears effect that he's got going on there yeah it is like yeah it's the mickey mouse thing but it's also like i think like for the james bond um you know it's just like it works really well to kind of like play off of that i guess but yeah and so i pitched that and um and yeah and i i was like i was blown away that you guys kind of let me do that i was like are you kidding me like you know like adam was super into it he was like oh i'm gonna like bring in my tux and we'll you know we'll get like the psych and um and i was like oh my gosh like these guys they're gonna let me do this they're actually going to let me do this um well it's a great idea and you know to execute it we don't have a ton of space we shot in the tested office joey you filmed a bts video that you can find on the youtube channel but what people see there and it's really funny just for people who watch our videos it's the first time we kind of pull back and show a big wide-angle view of what our office looks like with our high ceilings but we got this big white backdrop photography backdrop how big is that how big was that roll and how how did you hang it up i don't know who hung it up but it was about 12 i think it's 12 feet it's a 12 foot sike that we rolled we rolled down i think adam actually just threw him on some ropes put it up in the ceiling um but yeah it's your typical it's a typical psych which we don't you know we don't know we don't normally shoot you know green screen or sikes in the office so um i think that was a lot of fun to sort of have in there and play with for the first time and then again josh with your idea i mean going back to what you were saying about you know sure let's do this it's i think that's the the benefit of working on on youtube and working in the web right the stakes are not it's not a network uh a televised situation where uh it needs to go through a bureaucratic list of people right it's just hey here's a good idea let's yeah sure do it let's go for it have some fun yeah and having that guiding principle the reference of something that we were aspiring you know gave us the parameters to figure out we knew that we were going to have that vignetting of the barrel of that classic bond opening uh you wanted the full body we tried to recreate that as faithful as possible and then josh as you were shooting it you were thinking of all the different styles because over the history of bond and we just saw over this weekend there was that big 60 years of bond tribute uh every actor that's played that role and then done an opening has done it a little differently so it's like kind of cool for you to dive into picking a style and and adam tung also in his own way like he did multiple takes uh to get that turn right and to get the right personality to do it in a very adam way yeah totally um yeah i mean he uh you know when he showed up and he put on the tux and and he had the the you know those uh those adam shoes yeah um well going back to the silhouette there i mean like what you've what you put your finger on is like it's there's something comedic in the there's something very comedic in the um the the the the reveal that's in front of your face like when you you know there's you can see it on old cartoons it's probably not it's not it's not aged well but like in cartoons where you see like the the folks walking from the side and then they turn all of a sudden it's a huge wide muscular guy right it's a very like looney tunes-esque sort of absolutely reveal that's right in front of your face that you didn't even recognize and i think those ears are exactly that and like you're able to kind of pinpoint that with that silhouette idea yeah you can you can see in the bts piece that literally on the monitor that we had uh you guys cut out just curved pieces of foam core or something to put on as a mass and we can visualize what the silhouette and what the framing was uh but even then you know there's only so much space we can only pull back so much uh what was that editing like to to then take that footage uh and the different takes and put that together josh yeah i mean um it was it was actually like it was a lot more work than i assumed that it was going to be um and also you know i just got hired by you guys in um in february and so this was like kind of a uh uh you know this is like a a big thing for me and um you know i wanted to uh impress the crew and i wanted to of course impress the um the i guess like the viewers and you know the membership of tested and yeah so i i think like the biggest thing was that like the the backdrop like the uh the cyclorama if you will was not big enough it straight up was not big enough um and it was like just just to give people an idea so this was like um that backdrop was probably 12 feet wide and we pulled it down and then like brought it out and you gotta pull adam away from it so you don't cast shadows so it's like it makes it even smaller yeah right right so it's like it's pulled like four feet up so that like uh so adam can walk on it um and then uh you know joey like you know we hit we had like uh we were having this discussion about like you know how how far could you know um could adam walk and you know i mean because there's like okay so there's the backdrop that adam is behind but what the camera was shooting is actually wider than that yeah so um so we were seeing like you know the other like uh you know the rooms of of tested you know beyond this uh this uh this backdrop and uh and yeah so like when i brought that that footage home and i was trying to you know kind of like make it work i got into illustrator and i was trying to like make this gun barrel and then i had to like get into photoshop and um and yeah basically you know it's like you have this uh yeah sorry i'm trying to like uh but you know you have this like iris that's going around and it like you know i had to like create uh the the backdrop that was the adam was walking behind i had to like remake that from scratch and like you're basically bouncing through you're doing the the world tour of adobe apps for this i'm guessing right like you're going through illustrator bringing things into photoshop after effects like those are the projects that are sent i look at at the end i'm like i don't even know how this workflow works i'm just going to close this project and be done with it right i i think like the the perfect scenario if we had like unlimited space time yeah the the way if you want to shoot it all in camera you're gonna be real far back you use a long lens you're gonna have a massive backdrop that's gonna be you know tens of feet across where you can get it all in frame and so whoever the subject walking along you can just impose just mask it and and track it without having to do any any adjustments of the frame because this is very compressed space and the backdrop is only so big you're like you're animating a a a cut out of adam essentially while they're creating a fake background it's almost like putting him on a on a virtual people mover as he moves across uh up to the center of the frame little like a treadmill action um to create more more of a a frame than we actually had yeah yeah uh 100 and um yeah i i uh it was it was kind of weird because like i i started animating like the the gun iris and was pulling down and then i was like oh yeah there's not uh there's not footage right there like there's literally like no yeah it's uh it just doesn't exist um and so yeah i mean there was stuff that was like uh yeah had to recreate that and recreate that stuff and uh i mean it it fits with the shirt that you're wearing which is fix it and pre right this is a situation there you go you're like oh man i wish we would have had the means to do this in the the scale that it required yeah yeah and that's a that's part of the process that doesn't always get appreciated even in the bts piece you're watching what's going on during the film day but in posts there are the problems that you encounter that you we may not know uh is a problem or something needs to get fixed and that's all in the editing editing isn't just chopping up you know a duration of footage in a clip and piecing it together it's actually adjusting the image itself uh as so many editors do and that's why those editors are so pissed off that they didn't get appreciated at this past year's oscars uh which was of course this past weekend we're not going to talk about uh what everyone else is talking about but one thing i did want to mention of course the big one of the big things was uh the telecast was adjusted to not put on screen many of the awards that previously were there including you know one of the sound uh the score i think i think han zimmer who won didn't they didn't have that actually broadcast film editing achievement film editing was not um was also not broadcast but oscars are a great time it's great kind of milestone every year it's the look back of the year of films and so both of you guys big fans of film uh what did you guys think of this this past year like we're not talking about who won the awards but you know i i didn't certainly didn't see coda but now i want to um i'm glad dune won a bunch of technical awards but what did you guys think yeah you know i realized after after going through going through the oscar like movies trying to try to recap like what i saw um i don't know i wasn't as like i didn't see coda um i think uh yeah uh after yang was probably the more recent one i saw um you know it was like a mix of some quieter movies and some you know spectacles like like dune i don't think there's anything huge off the top of my head that really blew me out of the water i think there's actually more movies that are coming out in the last couple months that like really have my attention that i want to check out um it was interesting i'm just now starting to go to the theater as well i don't know about you guys oh yeah yeah the batman was the last one i i saw in theaters and that was one that i wanted to actually make an effort to see uh and i want to talk about that too but i remember you know 2020 the first year of the pandemic a lot of movies just didn't happen right movies were pushed back production was halted and so last year's oscar was really interesting because of the crop of films it wasn't i wouldn't call it scraping at the bottom of the barrel but it allowed a lot of different films or indeed you're like reaching into the vault movies that may have not been released or maybe yeah exactly um and i feel like this year there's a little bit more of a return to let's have our our feel-good indie film that's dakota the little sunshine of the year let's do our big genre film and night nightmare alley you know let's do our uh our auteur film in you know paul thomas anderson you're getting the the mix of what a typical oscars looks like at the same time though a lot of the more interesting films like you mentioned after yang and all the a24 stuff seems like the stuff that at least in the world of streaming feels way more interesting yeah i mean like you power the dog like there was movies that came out yeah through streaming means that like i think were were more in my wheelhouse um than some of the uh you know theatrical releases and again i haven't seen a lot of ones that are still in the theater but they're even some of the big spectacles i never saw internals i don't know i don't know what it is about those um you know we saw what zack snyder's army the thieves kate uh was an actual one that i really dug shooting on the sony venice and some of these were intended for theatrical distribution and then because people weren't going to theaters because of what the box office looked like uh they then went to uh went to streaming which is different than when like netflix says they're going to commission a film and you know they do i think uh red notice for example was one they they bought and paid for from beginning to end as a big budget netflix film versus one that originally was going to be in theaters and then they got picked up for streaming distribution rights uh which was the case with like mitchell's versus the machines the animated film the best ones last year yeah mitchell i actually really like that moon i haven't seen i've been trying to get my kid to get into uh what is it is uh panda red panda uh turning red turning red there's a couple that i'm like i just wanted to read panda yeah turning red and uh there's another new one that just came out anyway some animated movies my my daughter is still very much into the same three movies that she's been watching this uh last like three years so i'm like trying to get her into uh some of the more i don't know some of the more enjoyable animated movies for us both yeah pixar films definitely uh they fill that role and this one's really good turning red is fantastic uh it's directed by uh dummy she who it's the first theatrical uh directorial debut but she did the short film uh bow that was her show oh really okay i mean i saw the first 20 minutes of turning red and i was like this is my jam this is edgar wright this is like it's scott pilgrim it's very much i'm not just because it's canadian but it has that energy it has a miyazaki and edgar wright mishmash together uh and like like the last pixar film luca that came out very much the director's personal story and also it's very much uh they're they're leaning forward into different animation styles there's not a classic you know pixar human look that you would associate with uh maybe not incredibles but i think like um inside out that's what i think of the humans there as a very pixar human pixar yeah but i think luca and turning red have have distinct uh character design i'm trying to watch luke as well she she sees the fish and she starts getting scared turn it off turn off let's finish this one oh hey everyone before we continue on this week i want to let you know that this is only a test is made possible this week from the stack overflow podcast which you should check out wondering which skills you need to break into the world of technology or level up as a developer curious about how the tools and framework you use every day were created the stack overflow podcast is your resource for tough coding questions and your home for candid conversations with guests from leading tech companies about the art and practice of programming for 13 years the stack overflow podcast has been exploring what it means to be a developer and how the art and practice of software programming is changing our world as i'm sure has been changing in their industry as well the show dives in the topics that matter from a listenership of developers tech enthusiasts and educators of all stages of their careers at this moment and provides tangible tools and conversations about the infrastructure in tech right now with new episodes twice a week the show dives into topics like web3 code security cloud infrastructure and how ai can solve real world problems and more listen at stackoverflow.com podcasts or at any major podcast platform now back to the show but you both mentioned you watched both watch the batman uh what'd you guys think of the batman from a movie production from a filming standpoint let's not even talk about necessarily story or acting but from a filmmaking standpoint what'd you guys think you thought you saw josh i did see it yeah all right why don't you go first uh sure okay um i loved it i thought it was like uh actually incredible and i was like uh um yeah i mean like uh moments in the theater where i'm sitting there with my wife and i was in awe i was like i i yeah honestly like i think it's a it's a great film um i will also i guess kind of mention that uh you know i i uh like dc i mean i guess i have like a that favor um you know what am i trying to say like the the dc's dc yeah like my bias i have i have a dc bias is what i'm trying to say yeah all right that's fair so you are restore the snyder verse that's a subset that that's like that's that's the that's the that might be extremist dc yeah norm i agree with you i think uh you know the snyder verse is like uh something that i hate um but yeah uh yeah i mean uh you know me and my buddies like back in high school we used to play hero clicks and uh and i was the i was the dc guy i would uh the main three the core three batman superman wonder woman or who are your favorite dc like uh b heroes or lesser known heroes yeah um i guess like hmm wonder woman i i find superman super not interesting um but yeah so wonder woman batman i would say yeah you know what i forget i was rereading um uh i was rereading the one with the dream why am i blanking on that name uh is it a batman story no dream oh sandman see uh gee i was rereading sandman yeah i forgot the i forgot the the little bits of connective tissue to the rest of the dc universe yeah like um yeah yeah i forgot the reference of batman i forgot i forgot about all this yeah i completely he was always just in the realm of like watchman kind of standalone universe yeah that was vertigo comics back in the day the scent you know sandman swamp thing they were all dc characters but oh man neil gaiman yeah i yeah i love i love gay men's work well that's going to be a tv series netflix you know they've finished production sandman that's coming out soon live action i mean there's obviously the the audible series uh and with all the the um very much like american gods for the voice actors that do the full audio telling of sandman uh but the live-action series is coming out soon after watching spider-man no way home and seeing all the doctor strange stuff that world stuff going on i kept thinking back like this would make this is the visual language i want sandman to sort of exist in this weird spectacular landscape i i know you probably haven't seen the trailer for the new doctor strange movie coming up multiverse of madness because you don't watch trailers joey but absolutely it has the kind of you know architecture in in uh nebulous planes of reality which is very much a sandman right you have staircases that ex that with no foundation that kind of thing right in the vastness of space or the m.c escher universe exactly exactly yeah yeah yeah so i don't know uh we'll see what that sandman production design looks like uh but yes very much looking forward to that the batman though uh that was shot by craig frazier who should shoot frasier dune as well as um uh what he uh rogue one he did rogue one he did a bunch of the early volume stuff with the with mandalorian he's kind of been on a hot streak last five or six years uh yeah he's a he's a pretty incredible dp and made some pretty bold choices with batman i mean i don't know if you guys have read much about the lenses that they've used on that uh really wild broken lenses to to capture that movie the storytelling in in the batman is like absolutely incredible it is like indie noise so and it is so like it's insane it is insane i'm sorry i'm getting like the you know my uh my microphone is probably like clipping right now but like this is like that is uh cinematography telling a story it is so good in the batman um yeah i think robert pattinson does a lot with his they when every time he's in frame uh yeah just the the gotham city itself just looks it looks uh it it looks like it belongs i don't know if this is right it looks like it belongs there where is like you know i watched yeah absolutely i'm like chicago yeah yeah yeah it's really a gotham that that all those people feel like they can easily inhabit and the way they go about that world and their version of gotham is still a version of of new york you know they have their equivalent of times square they have equivalent of madison square garden but the way wherever they shot it i'm not sure what city they did but however they dressed it up even their version of times square has that old architecture with neons with big billboards plastered over it so that mesh of the gothic um that they wanted to show like the city being rebuilt which is a big theme in that story uh when we talk about how how it was shot though and those lenses i think of some of these crowd shots or you know the press conferences shots where it's like very it's not the tilt shift but there's a there's a look to it where it's very the focus is not necessarily a thin plane but it's all very center focused it's distort yeah it's both center focus and distorted and it differed from lens from lens choice from from the the lens set right so if you had six lenses that they were shooting on every one was busted in just a specific in a certain way that like either made it the focus playing a little bit more of a shifted like a tilt shift sort of aspect or it was very center focus where everything was super uh you know out of focus and blurry on the sides it was something that caught my eye for the first 30 minutes and i couldn't stop seeing but after that it just sort of melted in the background and um do you know if they were to look do you know if they were anamorphics they that's a good question i don't i don't think they were but don't quote me on that i know they're old russian lenses that went through iterations they went through iterations of housings and so like they were they started off as some kind of glass that then went through the housing that was used on film from another company and then rehoused into typically what happens is when like a cinematographer really likes some specific older lens or some lens that's been out of usage for a while they will have you have the factory rehouse them in ways that is more suitable and joey you tested some anamorphics lately when we did the the shoot with g4 and you did a video about the um that some of the the qualities in anamorphics obviously the the kind of oval bokeh it's the telltale sign but something also is just like when you i'm not sure what focal length it typically is when you have a subject you like you have the focus kind of has this ring around the subject it's it's almost like this this curvature not just in the shape of the the uh the bokeh but like the there there is some type of bending of the the background scene uh yeah like the distortion yeah really like and that i think that differs based off of how wide your anamorphic those atlas anamorphics that we used are those are two times anamorphic and had a very wide very thin field of view and like you get a lot of that distortion on the end so actually when i did test shots with um something like the the the one of the panasonic's i was using uh that uses it it was like a 43 sensor it was able to use that entire width and right and i was able to really see the distortions happening on the ends but for the canon c500 that we shot um the short film on that actually had a little bit of a crop and so we didn't have that full two times we were cutting that off a little bit and you can sort of control your distortion and your effects uh in that way but yeah every anamorphic has its own weird qualities to it especially the older ones and a really cool look for some of the shots in the batman because it looked like they they had a lot of long shots that were fixed you know very judicious camera placement on a scene with characters walking into focus very slow pace just lingering shots uh especially when we think of batman how slow he was kind of moving from one one position to another of those uh the crime scene shots crime scene scenes yeah yeah crime scene and then the all the fixed cameras like i've never seen a car chase or a whole car action scene filmed with such tight lenses that were just just like locked onto something locked onto a car yeah it was pretty crazy and it wasn't you know it did the geography and it wasn't like it wasn't confusing it wasn't lost it was just it's very stylistic and very very exhilarating in my opinion and some of those shots like just seen you know seeing the batmobile thrust out of that fiery like hellscape of destruction made those scenes just feel so intense and that was a shot where you had locked on to colin farrell uh the penguin space where you're looking at him and then he's looking in the rearview mirror but you also see what essentially what he's seeing with the batmobile flying out in that fireball um and see if there's a lot of these because it's a chase scene you have a lot of their intensity on their faces very different than like if you think of the dark knight chase scene with the tumbler chasing underneath the chicago you know the gotham uh tunnels and you have that's very more traditional like weaving back and forth almost like a drone shot kind of you can tell there was like the right i guess they're not called russian arms anymore but the ukraine's the the the car cars with the yeah like the sort of techno crane crane sitting on top of them you can tell there's a lot of chasing chase cars and stuff like that yeah yeah yeah uh you mentioned also uh the volume and um it sounds like they did use the volume pretty extensively in in the batman as well for either for uh covert reasons or um for because it made sense uh or they wanted to experiment it but where the bat signal was when uh batman would meet gordon up on the in that in construction site as like a recurring location they had the movie overlooking gotham that was all shot on a sound stage with ilms volume technology right yeah yeah again graham greg frazier knows that place well um yeah so you can have basically as long as scenes as you want uh overlooking a a cityscape at sunrise or sunset for however long they needed to shoot yeah i think that's probably the biggest benefit of that right is is just controlling your your golden hour keep your golden hours for as long as you want right right um although i think it also means that they have to shoot in a certain way right you have to you can't necessarily put the camera outside of a building looking back in because there is no building right and you're you and they do take advantage of the silhouetting layer you see a lot of the batman silhouettes um as they're in that building looking out with again gotham in the background yeah it shares a lot of the same limitations that like extensive green screen shoots you know do like anything about star wars prequels and stuff that all had a very specific perspective to it because you're a big green room basically yeah i can't wait to re-watch the batman it's coming out on i think streaming in just a couple weeks because it has that 45 day uh theatrical exclusive window it's done very well nice of course uh so i think they're going to make a sequel for sure um and who knows how it's going to mesh with whatever dc has in in their post zack snyder dc extended universe uh because they've reshuffled some of the release dates aquaman the flash and uh the hbo max series with batgirl which is supposed to be in zack snyder universe because it still has jk simmons as jim gordon uh and then they have i think um blue beetle i want to say is another series of queued up as well so go watch peacemaker christie okay yeah oh yeah and then peacemaker as well that was awesome peacemaker yeah oh yeah that technically also is in that zack snyder dcu but a spin-off of a spin-off okay well hey uh one thing is also an h1 max i wanted to chat with both of you about if you haven't seen it there's a show new show documentary series called one perfect shot and it's uh created by ava dufrene director uh who she was originally gonna be speaking of dc movies she was gonna do the new gods movie in heavy pre-production for a new gods movie with mr miracle and the whole uh a dark side part of the universe uh the cosmic equivalent of what you see in thanos and the mcu side basically the eternals but the dc version of the eternals but they they they decided not to go forward but the lesser the lesser oh it's all it's all it's all jack kirby it's all part of the what jack kirby created right uh but what she produced was this uh i think six part series or half hour episodes that was inspired and a spin-off of a twitter account the one perfect shot twitter account so if you're unfamiliar with that is that the the original that is the so there's been a long-running very popular twitter account called one perfect shot where i think it started off with these film fans posting just screenshots of their favorite movies like these these classic stills that they love from all all genre of film which is kind of like a little bit of a misnomer because those are those are not technically shots right a shot film is a full sequence right these are these are stills one one perfect still one perfect frame one perfect frame exactly they're frames not shots but i think they took the idea and expounded on the idea of a shot of a of like a link you know whatever it takes to get that shot um and from filmmakers like patty jenkins from wonder woman to john m chu for crazy rich asians to even michael mann for heat they had invited these directors along with some of their collaborators to one talk about their journeys in getting to be a filmmaker and their philosophies in making film but also to re-examine specific sequences specific shots of their most well-known films so for patty jenkins wonder woman it was the no man's land scene for wonder woman for uh crazy rich asians it was the wedding scene um and for michael mann for heat it was the iconic shootout between you know pacino and de niro in the bangkai scene uh i asked if you guys could watch the michael mann episode you guys get a chance to watch that i did that's the only one i watched yes i don't have any context of the others well what did you think about the the format because it was an interesting way for a director not only to do a little bit of retrospective on their their filmography but then also use some type of green screen augmented reality uh recreation to break down a shot yeah so i guess in in the format i don't know if this is for the rest but the format at least for this michael mann was about 45 minutes so it's it's pretty breezy uh considering what they're what they're doing they basically have a the first third dedicated to like it's almost i want to say master class because they very much they even have they even have the the person say i'm michael mann and this is my one perfect shot which is if you ever watch any any master classes it's i'm helen mirren and welcome to my master class uh yeah so they have to they have them sort of talk about the process of getting into the movie making the movie um what it was like you know some of the just kind of overall aspects of of their involvement uh and getting that bringing it to life and then they go into like the second part which is like you said they they bring a couple collaborators in this case it was his editor and a cinematographer uh to do a little roundtable just discussion and then they go into what i would call is like a it's a little bit of augmented reality they michael manley's does not engage with the world at all it's very much he is just placed into a he's placed into like an unreal engine style representation it felt pre-production i don't know if you've seen like previously yeah yeah people like matt workman are developing these unreal tools that allow you to sort of set a scene up like that using very generic models just all the stock stuff that unreal offers and then you can take a digital camera and sort of figure out your storyboards and stuff that's what it felt like i feel like they placed everybody there in you know val kilmer robert de niro look alikes and then michael mann sort of just walked around for a minute talking wasn't really grabbing things or wasn't engaging with that it was very much sort of a green screen um it was all sort of interesting i don't know about you guys but some of the some of the way they shot it was almost a little bit distracting like i would say the first three the first part of it where it's like a three camera michael mann sitting down is like masterclass as if but but also they wanted to be mtv in the 90s like the second and third cameras were all over the place right crashing in doing weird cliff clifford masterclass it wasn't like as interesting as i wanted it to be um yeah i mean there was like uh like yeah what you're saying is like you know i mean it's super interesting to have like michael mann in a room right with his editor and his cinematographer um you know and that's like that's not uh you know conversations that that a lot of us are privy to sorry um and so that was like super interesting to me they're almost a little bit limited though because they're talking about one perfect shot so it's like yeah i can't remember the editor's name forgive me but he's like editor like how was it editing that one sequence he was like right well you gave the thumbs up and i felt great like yeah all right yeah yeah he's like he's like sucking up a little bit and like yeah um but also i mean it's like yeah of course like i mean this guy is like you know he's doing his dream job basically um and so yeah it's like it's kind of funny in that way but yeah i mean it's like uh i i wanted the the two-hour version of this i think if you're gonna get all these very accomplished filmmakers and not just directors but production designers and costume designers and editors and cinematographers and the cinematographer there is you know this is a famous uh italian cinematographer yeah and you you almost feel like there is a hour-long conversation that they had but for the show they gave us five ten minutes of it at most uh because so much of it was chewing in this idea of the quote unquote one perfect shot uh and then once they they have to reserve the second half of this episode to this augmented reality green screen unreal engine previz breakdown which because it's faked because michael mann isn't actually seeing what we're seeing it's very scripted he's just kind of very broad strokes describing you know it's kind of these general the thesis of of the scene uh vanity fair has a has a web series called notes on a scene which i think is a very similar vein but much more thorough breakdowns and these were new movie releases and some some older ones but you have directors on basically watching their movie on a uh on a on a big tablet or a some type of table and they're using a marker to draw on the scene circling things and so it's while it's not as immersive as you know recreating a scene and trying to get up to you know which very like video game pans and zooms the notes on a scene series are is i think way more you get way more cool anecdotes because then the director will pause and circle this thing and point out things that they were remembering from filming that day yeah it feels a little bit more like a visual director's commentary at the vanity fair yeah and it's i wasn't going to recommend that i was going to recommend the holiday reporter youtube channel does a a roundtable with cinematographers and they get sort of in the in the weeds especially when you have cinematographers talking to each other uh yeah you know they have questions and they really go deep down that stuff but also with both vanity fair and holiday reporter youtube channel you kind of have to sift through a lot of you have to find those video series there's a lot of just like one minute what was he wearing on the red carpet videos but if you if you can you know find those ones those are great i think uh robert rodriguez i this is i think long done but he did a series called the director's chair i don't know if you guys have seen that uh if you want to watch a director talk to a director and get very deep into the weeds about specific filmmaking stuff um check that out he's got some great folks on there john carpenter with queen tarantino course uh and goes into like their whole catalog for about an hour and a half yeah and maybe it's it's a matter of you know hbo whoever however they're producing this thinking of who the audience is i think with with web and youtube and streaming they can get away with going deeper or not having set lengths but this one feels very much like here's our half hour purdue show that could also work if it was broadcast on abc or something or oh yeah or on tv yeah but it's an interesting concept um the recreations of the scene especially something that was shot in the 90s was was neat uh but i i think i still want i want the extended version of that show and i hopefully i mean it's good for that that twitter account which i think uh is it film school rejects that runs it there's there's one a big uh movie site that runs the one perfect shot twitter account uh hopefully i get to do more of that because there are definitely a lot of a lot of great shots did you watch any of the others or just the mecca man i watched the uh the crazy rich asians one um and that one's great uh because a lot of personal story of john m chu's journey to usc being discovered by spielberg and kind of a very very personal story that he tells about how he got to the making of this film no mention joey of the veriz or the virgin america safety video which i would say is a high bar high mark on the career of john m chu oh yeah but uh it's pretty insightful he does the thing where he like when he literally walks onto the recreation of the wedding scene he does like oh it's like you're here you can see the glass he plays the smell the flowers he really like bends down gets down and like touches the water so like that i didn't need that it plays out just a little bit a little bit too much uh well i didn't want to take up too much of your time but one thing i did want to wrap up with is sorry josh we're going mcu as is a tradition on this show whenever there's a new mcu show we want to talk about the first episode this is a moon night of course which premiered this week it's oscar isaac in a part limited series what is a moon knight what is it what is it well kind of like a batman but okay crazier and he wears white instead yeah okay uh so moon knight is the first of the disney plus mcu shows that's introducing a wholly new character as the premise where previously you had one division loki hawkeye captain america winter soldier extending the stories of characters we've seen on the big screen before here it's complete introduction it's the first of a series with this marvel and she-hulk coming out that will be new characters that we might see on the big screen at some point um but what what did you think joey have for context i i read a lot of uh i read a lot of the team-based marvel stuff growing up like x-men well spider-man would be the exception uh i never read any moon knight i would only see i would only see moon knight when he would show up in other people's comics i'm like oh there's that one guy oh yeah i forgot about him so i didn't know but you know with an egyptian god kind of yeah okay so now it did what the the egyptian angle is this all i didn't see the turtles does any of this have to do with eternals no there's nothing and and that's probably the most notable thing one of the most important things about this is how disconnected from the mcu it feels at least in this first episode it does not feel like it's part of that world at all and there are opportunities there were like literally opportunities in this pilot episode where they could have made some reference to a thanos or a thing right and in fact snap yeah right and which they do in every other recent phase four thing but they don't and maybe there's a reveal later on for like when this happens because it's not very clear if it's you know in the mcu timeline supposed to be i think 2024 or something uh post-snap but maybe that's a there might be a connection i'm happy that there's no connection because so far it stands on its own as a like supernatural horror thriller right there's something there's i mean the first the first movie i thought of watching it was venom there's a very very venom like this deep voiced yeah uh i i don't know anything about what his what his issue is i don't know if this is a that's a comic book thing of it running it you know it's very much a bruce banner hulk you know venom tom uh marty but eddie brock and sort of with that without the i guess awareness or uh uh or permission for that takeover but it's it's definitely got my interest like i again i like the mystery of not knowing much about it i like how it's like i was done i was a little bit sort of confused or maybe frustrated in that we would not see any of the action for the first hour like first 45 minutes it would cut away or that's that's that's how they would you know save money a little bit here and there yeah so the character um uh what is it him stephen yes yes uh and he's british but he's one of the personalities so moon knight has disassociative identity disorder in the comics so multiple personalities to occupy him one is mark spector who is in the comics the primary character in in the 90s but the more recent runs you also have there are actually many of them uh and they seem like they're focusing on those two stephen and mark specter so he has many in the comics yes yes and and the supernatural aspect the egyptian god aspect they kind of lean more into recently in the past 90s moonright was very much a batman you know with a he was a rich witch billionaire who became a superhero and you know flies a white moon-shaped crescent-shaped plane uh but he's here i like that he has the blackouts the fugue states because it allows these interesting kind of smash cuts uh and and allows them to cleverly edit and maybe they'll revisit those scenes they can maybe you know in the story yeah you know what unreliable narrator style uh reveal new things yeah yeah i guess i kind of i guess i wanted maybe maybe well i'm asking a lot from our first episode but i wanted a little bit more uh interesting use case of that right there i think there's there's a there's a direction you can go with taking somebody out of a situation and bring them back in and have that be like confusing or uh have us wonder what happened as well but this this was just used simply for action scenes in this in this case at least for the first episode um and it does end with you seeing the costume it's not going to make you wait three episodes to see action at the end it does pay off with uh seeing the moon night and uh six episodes will go by quickly it's unlike you know hbo peacemaker where they dropped three episodes at once i kind of wish they did like one or two episodes to kick it off to give you more of the story but at the end it being limited series it feels like it's a movie stretched out to six hours i i prefer that than the 10 hour 12 episodes logs that some of the old other marvel shows felt like yeah i gotta say oscar isaac in the first the first 45 minutes just i've nev never seen him do that do that role yeah it's great do that very squirrely squirrely british and then right when you see sort of the other personality there you are oscar isaac that's that's the one i know yeah uh we'll we'll revisit talking about moon night hopefully after the series ends but uh we gotta wrap up i gotta let you guys go thank you joey for jumping on the podcast this week we didn't get the q a but i did pull people and we might do so uh uh we'll have you back in to do some q a about video production another episode and josh welcome again welcome to the podcast great job with that video edit and uh we'll get we'll get you watching mcu at some point we'll shout out at the office next time you're in we will yeah i'm down i'm super down yeah all right uh thanks everyone for listening thanks for tuning in you can follow joey and josh on social media i have links to them in the description of the youtube video uh but until next time we'll see you then bye-bye bye hi there i didn't see here hot dog sucks it still takes the hot air balloon i mean i got i got ketchup on it jerry's laughing at my hot dog it's not the first choice no i have four literally four real dogs before my hot dog is a choice and that's no the hot dog is actually of all the things that could be hot dogs that's like more of a hot dog roll dude that's not fair that is a good drawing don't be hard on yourself that's a that's actually a really good hot dog that's better than cashews yeah my hot taco is terrible hot dog not hot dog clearly hot dog right there guys and yet it thinks it's a hot air balloon that's it\n"