Lucky for you Kizar, I think I'm holding the DVD up because my post production is taking so long (sorry for being old slow and tired everyone waiting on it)

Exclusive DVD animation?!?

Good grief, my account still works!

And I just met Smeagol and the crew! Wow! It was a lot of fun!

Wow, I haven't seen that avatar in a long time! It's nice to see the doc bringing people back to check in.

I will buy it today...

Congrats! I had a a good time and look forward to seeing what makes the cut and everyone else's interviews.

We were looking for a place to film and the liquor cabinet was a clear winner, then all we did was prop up Benny's SPACESHIP! behind me and we were good to go. I also made sure the crew had an opportunity to try some local  beer and coffee because priorities.

One of my favorite little moments was when Philip and the DP Michael went off to shoot some be role and got stuck in sports ball traffic and I hung out with Zachary the sound guy and we had a beer and a long conversation about Tom Waits and Warner Hetzog.

Totally a fair question. For one thing, we shot all of the interviews in 4k resolution, but I'll be finishing the movie in 2k resolution, which is slightly larger than 1080p and is a standard used in movie theatres for the most part. Because 4k is 4x the resolution of 2k, I will be able to punch in to closeups whenever I want. This is useful for hiding edits, so that you don't have to cut away to b-roll every time you shorten something. By centering the interviewees in the frame, I have the most possible flexibility for how I crop the closeups; they'll definitely dance around the frame a little in the final edit, similar to the video of Revmen that I posted on the Kickstarter a while back.

The second thing is that I'm aiming for the interviews to feel like these people are telling you their story, almost directly. I'm seated very close to the camera so that they're not looking at the camera (a bit imposing) but just off of it, giving a similar feel. Generally in real life, when somebody is talking to you, they're in the center of your field of view, so this framing mimics the feeling that creates. It's a little stark, but that's why I like it. This is probably the number one reason for it.

Third, it is my opinion that interviews framed this way tend to cut back and forth a little more cleanly. If you have people to one side, you generally want to have some people on the right and some on the left so the visual composition of the film doesn't become incredibly heavy to one side. When you do this, it limits how you can cut between them, since you don't want to, say, have five people in a row on one side lest it start to feel really unbalanced.

The style of dead-center framing is something I got from watching documentaries by Errol Morris, who does the same thing pretty consistently. There's a simple, pure feeling to it I think that I am trying to create in this film as well. I'm trying to strip away narrative devices for the most part and keep the film primarily composed of people talking, almost right to you, about their story.

Sorry for being a bit off topic, but is your final output res 2048x1080? Just curious...