You know, we have him in the thick forest yesterday, now he's in a relatively thin forest.
So all I have is some white dust vacuum and something over the shoulder behind him.
We don't have time for that, we're doing the point of view, just his point of view.
Over the shoulder takes time, it's up to your editor, man.
Well, if he can't cut it, I have nothing to cut it.
If he can't cut it, you shouldn't have hired him to be your editor.
And maybe if you want to give me the ultimate orgasm of cameras in the metropolis, you push in.
Push in?
Yeah.
Throw down, push in.
You hold your breath because you're so afraid of this guy.
And that's when she decides, in the movie, do not be afraid of these guys when one kicks their ass.
Good.
Okay.
Let's, let's, let's shoot.
Ready for a second?
No, no, we, we're not ready.
We need to get it right.
Yeah, we're really, we're waiting on Toddy.
So you got it, Toddy.
Let's rock this out.
And drop.
Yeah.
Good, good, good, good, good.
And reset.
Still looking at a close and trying to walk away and then something cracks.
I need something to cut to.
I need something to cut to.
I need something to cut to.
Ah, part of me.
I'm looking at you.
I'm looking at you.
And this.
And you just go do it on the ground.
I want you.
Show, show me the last one.
Okay.
Is it?
Is it?
Hi, hi.
Where's Toddy?
It is, look at them put it where.
I mean fucking arriving.
Look at these trees.
Look at those trees, they ran.
We shot that yesterday. It looks totally different.
How do I do a cut?
They ran for 20 minutes. There'd be a clearing.
But I have nothing to cut to.
You have a point of view.
I have to have some establishing.
From the couple of trees, down, and then I see the timelapse.
But if I cut from the thick trees to the thin trees, it's not going to cut.
So the footage I'm not going to get for another week.
Take the video tab. You have the IC. You have playback.
I don't see anything. It's just shitty quality.
You've got this technology. Why use it if you're not going to use it?
MG. MG.
MG.
MG.
You're tracking. You're pulling or pushing.
People are going to be distracted and they're going to not see the difference in force.
People are going to be distracted by 20 minutes of force running.
That's the problem.
So I am not sure if I can cut it because it's thick forest and you have thin.
I'm not sure if we have the time.
So that's the problem. I don't have the time.
You don't have the time. We don't have the time.
Now let's just set up over the shoulder and tell, follow him.
I've got point of view over the shoulder and second shot.
I've got a crew that needs to wrap this out before I lose this location
and they get to keep the equipment.
The problem with the producer doesn't understand.
If you watch a movie and you cut from thick forest to thin forest,
the whole suspension of disbelief is gone. You can't cut it.
So I need something in between.
Now we are wrapping because he wants to get his other stupid shot that he can get any day.
We will have to go back to this location again.
I don't understand. He won't do it.
It's just ridiculous.
I don't know the difference between this green and that green.
I don't think anyone does. I don't think anyone will.
It's all green. Here's green. Here's a green. This is green.
Here's the same green. Do you see the difference between these?
It's green. I don't understand.
Swing over the tree.
Very quickly.
Let me do it for you.
Maybe he shot yesterday.
Let's do it again without smiling.
OK.
So here's my problem. Stay tuned.
Thank you.
