Oren Soffer Explains Why He Filmed A Hollywood Blockbuster on Sony FX3

Orin can you confirm or deny that you filmed a freaking Hollywood Blockbuster on the Sony fx3 actually we've been lying this whole time it was Alexa 65 everybody was right I knew it I saw it on IMDb No we we shot a Hollywood movie on the Sony fx3 exclusively no Alexa 65 no Sony Venice none of those cameras even crossed our mind welcome to episode 3 of how they filmed that where we break down movies TV shows and commercials with the people who were actually there making it telling the real true BTS and the secrets of what happened on set and how they created these incredible film making masterpieces in episode one we broke down Joker with Larry Sher in episode two we talked about impossible gimbal shots with Chris hair and today we have the incredibly talented Oren Sofer breaking down the Creator one of the biggest films of the year that was filmed on a $4,000 Sony fx3 why they did that and how it changed the whole production and whether or not he would do it again not a single pickup shot nothing everything is fx3 we shot on the volume as well and the volume does not synchronize with the fx3 or the opposite the fx3 does not synchronize with the volume it doesn't have internal gen lock for the Nerds out there so we did have to shift to the fx9 for 5 days we cheated a little bit and there's also some shots in the movie that are shot on a uh DJI mavic Pro so also not an fx3 uh and there's also some shots in the movie from gareth's original location scout that he shot on a Nikon Z something DSLR right so that's also in the movie but other than that it's all fx3 baby that's it's insane first off like huge congrats it like I went and saw it opening night in here in Canada and like I loved it it's one of my favorite movies of the year it just like hits all like the things that I love about films it hits all of that and to to see that filmed on on fx3 is like I know that's not like yeah it's you know you guys had like $80 million but it's very interesting and like I want to know why like why didn't you guys shoot it on an Alexa or Venice or something like that why did you guys go with an fx3 yeah it was very simple so I I alluded to this before but Gareth shot a a test film to basically pitch the movie to the studio before uh before it was Greenland this was pre-pandemic so 2019 he traveled around just him and Jim Spencer our producer uh they traveled around seven countries in southeast East Asia uh to scout locations but also to shoot footage for what would eventually become uh basically a test film that Gareth used to get movie Green lit um which by the way I cannot wait for that film to come out it's like 10 minutes long it's pure docu style there's no narrative it's just beautiful images and textures that were gathered like just by Gareth solo fully documentary style like shooting on location in all the beautiful spes a lot of what we went back to for the film we went back to those actual locations with a full crew uh but yeah so Gareth shot that test film on a Nikon DSLR on a little lollipop gimbal I don't know exactly which model it was um and the footage is stunning just like slowly walking around getting these cool smooth Dolly shots like in all these beautiful spaces in uh in all these beautiful places in Catman du and Thailand and Cambodia and when it came time to then decide like okay what are we going to shoot the actual movie on gareth's first and foremost Instinct was like I want to shoot the movie like I just shot this little test reel like I want to be able to walk around with a gimbal with a lightweight DSLR like mirrorless form factor camera and just have that like freedom and flexibility uh and and just expand the scope of that to like the whole film so that's what set down the journey that led to the fx3 by the time I came on board the project that decision was made so they had already tested the camera they realized that it was perfectly capable of of what we needed from it um the prores raw was tested Greg actually shot some commercials on the camera and lens combo uh during the Spring and Summer of 2021 before we started filming so they had already tested the workflow and they had already tested the camera and they knew that it was going to work great um so yeah that was it it was that decision was just set in stone by the time I came on board and all it took was for me to also get over the initial response that I had which was like wait really that's the camera I didn't know much about it like I just I wasn't really familiar with the fx3 but um all it took was one visit to photo cam with Greg and Dave Cole are colorist and they showed me the commercials that they shot on it and I was like oh that's what the camera can do cool okay great done perfect I'm never going to think about it again and that was it and that's really what it felt like like once once that decision was made and that form factor was really what drove that decision then that was it it just became it became obvious you know sorry for the interruption we're going to be giving away a ton of stuff at the first human video film festival we started a digital products brand called human video Co and we want to highlight more talented artists like you and even if you don't have enough time to make a short film right now we're still going to be giving away stuff to you guys too all you have to do is follow the human videoo Instagram account and every single week we're going to be giving away a $100 gift card leading up to the film festival so Film Festival we want you to make a short film up to 3 minutes on a human story it can be about AI or your grandpa as long as it relates to The Human Experience it can be a short film a narrative music video anything you want post it on Instagram cuz it's the easiest place for us to find it follow human video code and use the hash human video you have until the end of November and the prizes for third place we're going to give away the osmo action 4 combo Adventure combo second place we're giving away a Sony zv E10 with the 35 mil f1.8 lens and first place is going to be $1,500 cash and along with this we're starting a new thing we want to highlight and promote talented artists on YouTube there's a difference between what the algorithm tells us is good and what we humans are moved by or inspired by or just freaking love and we want to help those types of videos sometimes the algorithm is also in agreement but sometimes it isn't and what we're calling this is the human selection think like Vimeo staff pick early days when it actually meant something and it was actually really cool so yeah that's what we want to do I won't take up any more of your time uh this conversation is incredible with Orin uh I loved it you're going to love it all the information is in the description below go and check it out all right carry on it's funny because like I I test out all all of these Pro shumer cameras basically and so I the camera that's stuck around for the last couple years I've tested all these new cameras but I always go back to the A7 S3 and fx3 which is the same camera just different body basically um and it's been incredible and then like it was super interesting to see that that you guys chose that one now so so the requirements essentially were small and light right that was like what you needed that's exactly right what's the smallest lightest camera that can deliver like Cinema quality imagery PR res raw 15 stops dynamic range 4K and the fx3 tick the box and and you know the I guess the thing to mention and emphasize is like two years from now could be something else you know it probably will be something else our hope is that other camera manufacturers see what we did with the fx3 and are like oh wow I mean there's a real opportunity here to make Cinema cameras in this form factor but not going to lie we wouldn't have said no if there was like an SDI port on it you know or if it was a little bit easier to like figure out time code sync and and obviously the Gen lock issue that I mentioned before uh so we couldn't shoot it on the volume I mean we had flicker issues with a bunch of LEDs as a result of it but um you know those were all limitations that we worked around but it's not a perfect camera it has limitations there's definitely things you're compromising on uh in terms of features and um like higher frame rates and things like that that you do get in higher end Cinema cameras but man I mean for that price point like what you can get out of that camera it's pretty mindblowing and it certainly gave us everything that we needed the philosophy of the shoot was always working around limit and working within the confines that we set up for ourselves so one of those was the camera and we just had to kind of AC the limitations and work around them which was was not very hard for do you know why I know you you're saying that it was kind of the decision was made but do you know why they chose the fx3 over like a black magic or whatever like another camera out there what was the reason for that yeah I think what they had identified in the fx3 is that Sony was taking their color science from the bigger cameras like the Venice and shrinking it down into the A7 and the fx3 so there's a color science sort of Continuum with the other Sony cameras that that just elevated the fx3 above the other options that were kind of in the same size and weight range that was pretty much it right that makes sense that's that's really interesting I'm curious like watch I when I was watching the movie I felt like there's a different look to it and I'm curious do you see like a a Sony fx3 look to it or was that just like lighting and other stylistic choices that you guys made and that's why it looks like like it does yeah 100% I mean to us the the fx3 was just a data capturing tool essentially which is to be honest how I think about every digital camera like a digital camera doesn't have an inherent look and I actually get a little iffy when people start talking about like the Alexa look the red look like ultimately what people are talking about is the built-in Luts that come with these cameras that are built in into the cameras off the shelf and yeah maybe some of those have like some inherent look but raw is raw like footage is footage and data is data and what you end up doing with that data and how you interpret it and color grade it uh is what gives a project a look so to me the Creator look is photo cam it's not the Sony camera it's all of the work that we did with Dave Cole and Clary and nelli and all the color scientists at photo chem to like really dig into that slog and the the prores raw and get that richness and that color separation out of it um and add in underneath it like this kind of film emulation I mean there's a lot going on there but yeah to me or to us the fx3 was really just the the bucket that held the data that we then interpreted in order to create the look of the film yeah it's really we shot uh uh so I was part of executive producing a feature film last year called I think I'm sick with my friend Danny and um they they had a Venice but then they would use the fx3 for kind of like specialty shots because you know super low budget and like popped that on a gimbal super easy and it was really interesting watching the movie with some other DP friends of mine and be like oh that shot looks so clean and so nice and knowing that that was just the fx3 that wasn't the Venice or anything like that it's really interesting to see how well you would never be able to pick out like oh that's the Venice that's the you know like yeah I completely agree I don't think you could pick it out of a lineup honestly and especially with the prores raw footage like we put that up side by side with Alexa LF footage and and I mean it just holds up like yeah except at the very extremes I mean obviously there's like a highlight cut off at a certain point on the fx3 that the Alexa has like an extra stop but you really couldn't tell the difference I mean as absurd as it sounds like I had a couple people reach out asking if we Shot the movie on film like on 35mm film which is the ultimate goal cuz like obviously we we applied a filmic look to it there's film emulation there's a lot of filmic um uh there's a lot of film color science sort of underneath the grade but uh and there's grain and all of it all that stuff's added halation gate weave but uh if we managed to fool even one or two people which was not our intent but if that's a that's a that's a side effect of it then that's a win in my book and you know or or even the fact that that the whole discussion online was like well there's no way they could have shot in the fx3 there has to have been 65 there has to have been Sony Venice because of the just the sheer disbelief of what that camera is capable of and that whole time Greg and I are texting each other we're like oh wait till they find out it's funny cuz I made a video when I found that out I made a video about it and I was like check this out like this is really interesting kind of thing and so many people I think that was right around when on IMDb all a sudden said like Alexa 65 also and people like see like it wasn't and I even I had to like I I messaged some of my Sony contacts I'm like can you tell me like we can't say anything I was like I'm so curious and like I had I believed it because I've tested these cameras I know what they're capable of and so I believed it but it's still a little bit I was like you know uh I I don't know for sure now I'm curious what lenses did you guys end up pairing it with our hero lens was a Kaa cine prominar it's a two times anamorphic vintage70s Japanese is anamorphic uh so we shot about 95% of the movie on this single focal length uh and we did have three of them yeah so the way that we one of the advantages of of the fx3 was that we we bought 10 camera bodies uh that we carried with us now some of them were redundancies and backups but the main idea behind that was that we basically had six camera rigs that were built at all times simultaneously we had our handheld gimbal rig which you can see in a lot of the behind the scenes Gareth like running around with this custom kind of Frankenstein Ronin rs2 rig with all these handles um we had a ronin that lived on a scissor crane we had a ronin that lived on a sort of larger um techno jib we had a ronin that lived on a little Kesler slider Dolly um we had one that lived we had an fx3 that lived on a drone the whole time we had two rigs that were just like one of them was a handheld rig without a gimbal so that was just mounted on the shoulder like a classic DSLR handheld rig like back in the day and we also had one rig that was just the camera body uh no accessories no anything it was just like camera body ninja recorder on top and the lens and you could just pick that up and shoot anytime like it had a little side handle that was it so basically we had this Buffet of cameras laid out and the goal there was that we could just so quickly and easily pivot from one rig to the next with zero setup time so you know we would get a shot on the handheld Ronin rig and then Gareth would already be thinking like oh okay next I'm going to do this jib shot where we're going to Crane down and push in so I'm just gonna let the grips know like start setting that up while I'm shooting this shot and then as soon as I'm done with this shot this camera goes down the jib is ready to go camera's already on it lens is already on it uh and so we can just seamlessly flow like into one of the other shots and then you know at the same time while we're shooting that jib we can send up the Drone uh and get another shot on on the fx3 that we had up on on the heavy lift which was I think it was a matrice pro DJI matrice it's an it's a discontinued heavy lift drone um and uh yeah and Gareth was operating the camera the whole time which I think is an important detail here is that our director is really operating so all of this was designed to allow him the flexibility that he was used to from shooting that little test film that he did all by himself and also his first first film monsters which he shot the same way he shot on an e Sony EX3 at the time on a shoulder rig with like a little support that sat on his chest there's some great BTS photos of Gareth from Monsters with the EX3 and like the lettuce adapter on the front that he put some still photography lens on the front of but anyway I'm I'm digressing uh COA cine prominar 75 mil that was our hero lens uh and we shot 95% of the movie on that focal length uh for consistency ease simplicity and um you know one other way to save time on set don't have to swap lenses really great Advantage uh but I think it also lends the film a consistency in its visual style like right this is an old Robert brison technique like he would shoot all of his films on a 50 millimeter lens or uh uh u in Japan was also shoot everything on a 35 mil or a 50 mil uh so I think we really adopted that but um we also paired it with a prototype at Mercury 42 mil which we had um yeah and actually the Mercury lenses were inspired by Gareth Edwards so the quick story is that Gareth and Greg visited Dan from Atlas at cinear in like 2018 or 2019 it was right around when they were demoing the Orion lenses and they were looking at them and Gareth was like huh this is great but can you make it smaller and that sort of colel an idea led to the atlas mercuries which are a lot smaller and lighter weight yeah and a 1.5d squeeze which actually works perfectly well with the um the fx3 sensor uh so yeah we did also have those as well and we also carried a set of iron glass um Soviet rehouse Stills lenses that we had modded to have ovular bokeh so that they could intercut with the anamorphic did you find any problems with using uh like two times squeeze on on the fx3 sensor cuz then you're getting like a sliver basically you know yeah yeah well we didn't find any problems with it we just it just results in a 3.5 to1 Des squeezed image which which Gareth loved and actually there was a time where we were considering shooting the whole movie in that format like the test footage that he shot is in that format uh and he really loved that it's like Ultra Ultra widescreen like super wide cinama I mean no no movie has been released in this form so there was noed for us to stand on we ended up compromising at 276 which is wider than your typical cinemascope but at least has a precedent in um Ultra 70 Panavision anamorphic from from the 50s and 60s like it's the same aspect ratio has been her so you know we were able to kind of point to that and more recently Tarantino shot the hateful a in that ratio with Robert Richardson uh because they use the same process they use ultra Panavision 70 millimeter anamorphic lenses that gives you that ratio um so we used that as a an excuse to show the studio like hey we can release a movie in 276 like but they nobody was going to go for 3.5 so all it meant was we were just framing for you know a slightly narrower band of that like really wide strip and we kind of tossed the rest of the footage so going back to the 10 different cameras and different setups and then you know thinking about your usual maybe shooting on Alexa bigger camera whatever how much faster was that you know and and did did it mean you got better shots better performances what what did that mean using a smaller lighter setup versus you know the traditional big big setup big crew all that this was our whole philosophical approach to the film is we treated ourselves like gold diggers and what we were constantly doing was sifting for gold like we were basically scooping up as much like sand as we could and just shooting everything like shooting shooting shooting we would shoot four hours of raw footage per day which is a very high ratio for a film like this um that's four hours out of a 10-hour day minutes of those are lunch so you can already imagine like how much time we're spending just rolling cameras like all the time knowing we're doing this knowing that our end goal is all we need to do is find like a few gold nuggets in the footage we just need out of those four hours of footage every day we need like three really good minutes of pure gold and that's the whole visual process everything that we did finding the shots having Gareth operating the camera the spontaneous shooting style like the looseness of it the small cameras that enabled all of this all of it was was um all of it was intended for this purpose of like looking for those moments of perfection of spontaneity with the actors with the camera that all the elements like align and you just get these perfect moments and then the hope is that the whole whole movie ends up just just made up of those moments and I think for the most part that's exactly what we did so were were you essentially just kind of rolling and letting the actors do things I know this is probably more on gareth's side of directing but like is that what the camera package allowed you guys to do versus again what traditionally is done we would block the scenes with the actors but we would always try to start shooting as quickly as possible like as soon as Gareth was felt like there was enough of a skeleton of the scene it would be like all right get me the Gimbal and like let me just start rolling like let me just start searching and looking for interesting moments and interesting shots and compositions um Gareth would still shot list in his head and he had a little Notes app shotless to reference throughout the day just to make sure he wasn't missing any beats but the goal was really to create like a more spontaneous film making style and an approach that just felt a little bit more organic like kind of shooting it almost docu Style but not ver like obviously we're still using gimbals and jibs and cranes and dollies and everything that I mentioned but this kind of allowed us to like use all those big tools but in a way that was very quick and off the cuff and spontaneous in a way that if we were using like big traditional film set tools like big dollies and alexas or whatever like all that stuff just slows you down and it just means that every single process like every time you decide like okay well let's set up a push in here that's 15 20 minutes to set that up and correct me if I'm wrong but you guys traveled to a whole bunch of locations and again that was a function of having smaller camera packages which meant smaller Cruise which meant way more on location versus stages whatever green green screen whatever you know yeah that's exactly right so the movie was shot almost entirely on location uh mostly in Thailand and we shot in 80 locations throughout the country so just having a small package like this kept us like super mobile and super Nimble and on our feet and even then like some of the locations we were filming at we would always have a base camp where the trucks were but like some of our filming locations were sometimes like half a mile away from base camp like that was only accessible with a steak bed pickup truck or or on foot and so we needed like gear that could be carried or shuttled in like very small Vehicles like Gators or pickup trucks uh to get to these like remote spots and yeah like you're not bringing a techn crane out there you know you're not bringing a 20 case camera package out there like no it's just completely unrealistic and and cumbersome so yeah all of this stuff opened up like all this location work for us and all this flexibility and freedom that yeah it just made the whole film better I heard Gareth you talk about how you guys were filming the the beach scene where the the guys come out of the water um and like that there was just like tourists around like nobody was even really paying attention again sounded like because the crew and the cameras and everything were smaller so people weren't like oh what's going on over there they were a little bit more casual about it versus if you had big techno cranes and all this stuff people would be like whoa what the heck is it crowding around and all that stuff I mean it's it's always funny to give people like a a little peek behind the curtain of the movie Magic but if you can picture it the opening sequence of the film the the the sort of Special Forces coming out of the water like if you notice the camera's only ever pointing in One Direction in that sequence the closeups the wides all of them are only pointing like out to the ocean and that's because behind us is a resort like there's literally people like sunbathing well by the time we were shooting at dusk they were not sunbathing anymore but they were definitely relaxing out like on beach chairs uh and like eating their dinner um and all of that's like behind camera and then we were just on that beach that belonged to the resort but filming out towards the water nothing was shut down nothing was cordoned off but yeah people just didn't seem to care really what we were doing cuz it just it looked like we were filming like a YouTube video basically you know it's like one guy running around hey hey hey or what what is what is wrong with YouTube videos hey I mean that in the best way possible no I mean that in the coolest way they were probably just like oh yeah cool great I mean there's like there was you know tourists on the beach during the day that I actually remember this like on our day off we would always sit in make fun of them like they're all filming Tik toks like everybody's just like filming Tik Tok videos of them like look we're on we're on this beach in Thailand and d d du and so a part of me thinks that maybe everyone just thought that we were doing just like a slightly elevated version of that and that for some reason our Tik toks involved like sci-fi costumes I don't know what they were thinking but the point is people left us alone pretty much cuz we had this like really small footprint and it was it was really funny it also gave us an advantage because we were filming also in a lot of like real Villages around Thailand and and we always we wanted the villagers to be in the scenes like in the movie and we wanted that sort of doyu verite style thing like everything should feel alive and real and I think having that small footprint like means that you can enter a space like this and it's like you said you're not taking it over with like big lights and techn cranes and all this gear it's like really stripped down and people just let their guard down a little bit more when when when you come in it's like it's more disarming in a good way so I think it also allowed us to capture this like really raw and real nature um in all these places we shot with real people which was really really special I I think to me why this whole fx3 is so interesting is that I I think this will be the Creator will be one of the most influential movies in like the decade just because of how motivating and inspiring it's going to be for all these filmmakers okay yeah you guys still had 880 million but you're making a blockbuster sci-fi film but what can you know somebody with just an fx3 and filming a drama like you know what's what's the budget there what can they do and and in the style that you guys are doing it much more you know like on location you know kind of finding like finding the gold like you're saying that to me is what makes this movie so interesting and I think it will be one of it it maybe it won't be a box office breaking records but I think it'll just be one of those movies that lives in all these you know future filmmakers minds of like but hey they did that you know and that to me is super interesting yeah couldn't have said it better myself honestly these are conversations that Greg Gareth and I were having like at every level throughout the film and I think there's there's two interesting things about it like one is just this question of you know there's been this conversation online about how big budgets have gotten on like big Blockbusters these days and I think that what we were really able to prove is like you don't need $300 million to make a film of this scope and scale like if you just scale down your approach and adopt a film making style that is all about Simplicity and minimalism and having a vision and sticking with it and just being very deliberate with all of these choices and and shrinking your footprint suddenly like this whole world of creativity opens up that does not compromise your scale and scope whatsoever so that's on the high end and then on the low end of it is exactly what you were just saying like if we were able to shoot a $300 million movie for 80 mil you know what does this mean for a $20 million movie like scaling it down you know and just adopting this filming approach of just being open to like a different set of tools and an approach that values minimalism and simplicity and and and being deliberate about your choices um I think the world is anybody's oyster and and I think also you know the proof point is now out there that like the tools are not what is preventing you from just like going out and making something happen um and I think that that kind of like continued democratization of film making is like a really really beautiful thing and I think we're all very proud to even though it wasn't necessarily the intention to be able to demonstrate that and like give people a proof point to be able to point to and say well look what they were able to do you know and the tool ultimately it was just the conduit to the creativity and the the overall holistic approach to the film like I mentioned earlier like the specific camera you know you can swap it out but it's more about the overall approach and the way that you're thinking about like what are the tools you actually need to like make a film and I think that we have more tools than ever now at our disposal to do that and I can't wait to see what people do with it I think to me technology and the tools have changed so much in like just the I'm I've been you know film making for like the last 10 years or whatever it's changed so much but I feel like the the set and the process hasn't necessarily kept up with how much the technology has changed and so I feel like you guys are now like pioneering some of that change and like oh okay new tools we can actually now change the way we work also and so I'm curious do you think this is going to become a trend and would you do it again or are you going to go back to the back back to the alexas back to the venes well I will also add there's a way to adopt this film making approach with an Alexa you know like that's the thing is the the foot the actual footprint itself like you know can shrink or grow depending on like what tool you you want to use and and I'm not going to lie I'm very comfortable shooting on Alexa uh you know I I there is a comfort and familiarity and in the tools that we know and you know you know what you're going to get and and it's a great camera uh but um whether or not this is a Trend I think is going to come down to filmmakers I mean the one thing that I would have to emphasize above everything is like all of our talk about tools and everything is great and understanding what they can do and how they can Empower filmmakers but at the end of the day what really matters is the film making and in our case we had $80 million we had industrial Light and Magic we had wet a workshop like we had the best of the best like technicians and crew and people and and creatives but what we really had that unlocked the possibilities for this film is Gareth Edwards and we had his vision as a director his assuredness his knowledge of film language his understanding of film making and scope and ultimately all of these tools and everything we were discussing all just existed and were brought together by us Greg myself to empower Gareth and Empower his vision and his creativity and so that's the most important part of all of this is tapping into that creativity and tapping into you know that kind of fil film making uh tapping into the filmmaker within you and I think that if there are other directors out there willing to take those leaps then maybe we'll see more people try to replicate this I would certainly do it again I know that Gareth you know has already said like whatever his next film is he would love to do it with this approach and actually even go a little bit further uh and adapt some of the things we learned from this process to to kind of shrink it down even more um I know that Greg like really wants to to do it again so there's there's a willingness out there at least from us and now it's just going to be a question of like if other filmmakers see the advantages of it and understand how much it it can kind of unlock and free that creativity within them but it requires you to have that Vision in the first place and so that's the most important part to start from 100% And I I love I love seeing Greg Greg uh testing gfx other Sony setups different lenses it's clearly like on his mind okay this was great i l hearing all this stuff about the gear fx3 can we please do a part two where we break down some scenes how you guys actually lit them block them all that stuff I would love to hear more oh absolutely 100% we should do a deep dive uh I love the video you did with Larry uh so yeah like let's sit down and once the film is out like and we have access to the footage and the clips and everything like we should do a deep dive breakdown I would love nothing more we need more BTS more BTS that's what we need I have a huge folder of BTS on my phone and as soon as the film is like fully released on like home video and all that um the Disney marketing team I think will will give me the final okay to like open the floodgates of all the BTS that I have like accumulated over a year and a half so there's a lot more to discuss and a lot more to see and I can't wait to share more about it with everybody dude thanks so much I really appreciate it and I can't wait to see more of that BTS and he about that stuff all right thanks so much appreciate it my pleasure yeah thanks for having me it's was great to chat with you bye [Music] everybody

Channel: Matti Haapoja

Views: 455,544

Keywords: matti, haapoja, travel, feels, tutorial, filmmaking, photography, photo, premiere, film, cinema, cinematic, learn, drone, gimbal, camera, sony, canon, panasonic, videographer, youtuber, vlog, vlogger, vlogging, lifestyle, gear, tech, the creator movie, the creator

Id: Gxi4jfFD5uA

Length: 35min 11sec (2111 seconds)

Published: Mon Oct 23 2023