SPEAKER_01 0:00

Hello, my fellow Dreadites. Welcome back to the Dread Alert Podcast. Today we're joined by Clayton Moore, cinematographer for the upcoming film Body Cam releasing on Shudder on March 13th. Body Cam is an innovative found footage film unpacking some heavy cultural issues with a healthy dose of cosmic horror. I absolutely loved this film. I'm so excited to talk to Clayton about what it was like creating this world and how he executed his cinematic vision through the use of literal police body cams. And something personal about me, I am a police body cam footage junkie. I'm always watching those when I'm not watching horror movies. So, Clayton, thank you for joining me today. This is fantastic.

SPEAKER_00 0:38

Thank you for having me. Let's let's talk body cam.

SPEAKER_01 0:41

Yeah, absolutely. Uh so first and foremost, tell me a bit about body cam. I don't expect a lot of people have seen it when we're recording this, of course, but uh I if you haven't seen it when this releases, what's the film about?

SPEAKER_00 0:53

Yeah, it's about uh basically two police officers. Uh they they respond to what they assume is just a everyday call, and uh chaos ensues. So that's that's the short of it. Um but I mean, as you've you've seen the film, it's it is literally they go to the call, chaos happens, and it doesn't stop from there.

SPEAKER_01 1:17

I cannot believe how quickly you all hit the gas pedal with this one. I I mean it's a tight runtime, it's just over an hour and 15 minutes, but I don't think I had time to catch my breath outside of maybe a few shots in this film. There are there are two specific scenes I can think of, but the rest is straight gun in the action. And it's interesting because I I I've seen Knight of the Reaper as well, and this isn't the first time this team has collaborated. And Night of the Reaper is an incredibly different film from Body Cam. But let's start with how did this team come together? How did you and and Brandon Christensen start working together? How how did that relationship develop?

SPEAKER_00 1:54

Oh, we go way back. Um, I live in Las Vegas. Uh Brandon lives in Calgary now, but he used to live in Vegas where we met. Um, and you know, we were both getting started, paying our dues, working on uh corporate videos, commercials, things like that. And uh that's how we cross paths. Um kind of randomly, you know, of course. Uh you you do jobs, you day play, you meet people, you get into your local film scene, etc. Um, so that's how we met. And uh we just we clicked. Uh, we're into the same things, we speak the same language uh with visual storytelling, um, and uh started shooting projects for him over the years. I've done commercials, short films with him, and then finally we did uh right after COVID, we did, or during COVID actually, we did our first feature together, and uh, we've done four now, and so far so good.

SPEAKER_01 2:51

I'll say I really enjoyed the throwback vibes of Night of the Reaper. I thought your highly choreographed camera work was great. Um, some of these locked down wide shots, some of these hyper close-ups that really sped up the action in the edit. But I wonder how different was it working on body cam than some of these other films?

SPEAKER_00 3:12

Uh it's I mean, obviously it was very different. Um me and Brandon come from kind of an old school approach to things typically. Uh, like you said, we like wide shots, we like to let things breathe. Uh, we like dollies, we like tripods, um, we like motivated camera movements. So uh body cam was kind of a breath of fresh air in a way. Uh it was kind of a new approach uh creatively and technically that we could take. And honestly, it kind of felt uh liberating. Uh kind of like we were just let to run free and and just, you know, kind of keep up as best we could because the story is so fast moving. Um I don't think there'd be time for a dolly shot in this movie. So you have to attach the camera to the actor just to keep up with him.

SPEAKER_01 4:12

I thought there were some pretty creative ways that you found of taking it off of the actor, uh, maybe setting it on a sink or uh some dash cam. That was a really uh good use to maybe anchor us for a moment uh in in the midst of all that action. But I wonder, were there specific challenges to executing this? Specifically, you know, I I assume that an actor is wearing it a lot of the time.

SPEAKER_00 4:36

Uh I mean, yes and no. Um I uh it's funny that you notice that. Um I g I guess not that funny because everyone does notice that, and you would maybe typically take you out of the movie if you saw that happen. But I mean, these cameras are removable, you know, they take them on and off before their shift, after their shift. So um it's not out of the out of the question to remove the cameras. And so uh we just we just kind of worked it into the to the screenplay that you know it it'd be nice to have a break from just this front view sometimes. So maybe you know, maybe he sets it on the sink while he's washing up, or maybe he sets it on the desk while they're talking to uh one of their informants, you know, you know, things like that. But uh but it's still all grounded in reality, um, which you know, which doesn't really take you out of it at all. Um everything was you know diegetic. It was great. Yeah, yeah. And and to do that, it was as simple as changing the mount on the camera a little bit just so that we could have a little kind of a little tripod for it to set down on the a surface. You know, so it was it was we had to figure it out, but it wasn't too crazy. Were the actors the ones operating the cameras themselves? Yeah. The actors operated the cameras, and uh I have to give them a lot of credit because you know, there was a learning curve. They had to modify their workflow to make sure they were in the right space uh with the blocking. Um, but you know, after the uh first day or two, they they just fell right into it. They were naturals.

SPEAKER_01 6:15

Um I I was curious, I was like, uh is he wearing this for some of these shots? We have like his hands, but no, I mean, it's it's amazing that the actors were uh executing there because you didn't miss anything, nothing was out of frame. I mean they they really captured it all. It was great.

SPEAKER_00 6:31

It was the best uh way for the story, too, because it was it was authentic every time. You know, it was like the actor per even when the actor was not on camera, you were still present with them performing. It was the camera was on their chest.

SPEAKER_01 6:49

Yeah. It was incredibly intimate for I mean, uh the the two characters that were following. You you feel like you get to see it through their eyes. I know it's a little lower, but you it's uh I mean it's honestly a POV shot movie. It's it's wild, it's really interesting stuff. How did you maintain control of your creative vision, knowing that you're letting these actors run free, essentially?

SPEAKER_00 7:11

Uh, you know, it it part of the vision was to actually embrace that, I think. Um because if you if you go into it with such strict guidelines or boundaries, it's gonna again, I'm gonna go back to that realism and the the verisimilitude to use my film school words. Uh you wanna always you wanna constantly be chasing that and that that kind of realism. So you don't want to put yourself into too many boxes. And and part of that was giving the actors the freedom and the ability to do kind of what they wanted, but but still being able to give them notes like, oh, you need to turn a little bit further on this next take. And they were cool with it. They were cool with it. Because I I can't speak for them, but I can I can tell that just from working with them on the set, they never felt encumbered or you know, prohibited by the the cameras.

SPEAKER_01 8:16

Very interesting. And there were also some visual effects in this that I have to imagine you had to be extremely specific with what you were capturing so that your VFX team could realize that later. Is that correct?

SPEAKER_00 8:28

Uh yes and no. Uh Brandon does visual effects, the director. He he does visual effects, and uh I think he got a little bit in over his head at times on this one. Uh he's he's very confident. Uh, I can do this, I can do that. But um, I think that's part of what took the movie so long to be finished because we shot it three years ago. And uh it was, I mean, that that entire last couple minutes of the movie there is it's all VFX, and it it was a heavy load for him to try and do himself. And uh, you know, God bless him. Uh, he did really well on on pretty much the whole movie, but we had to bring in a couple specialists to help out at the end there. Um but yeah, I mean it it was well worth it, and the vision was retained, and it's it's crazy.

SPEAKER_01 9:22

It was, I mean, it w there was some great moments in the last bit of that movie, so it it it worked for me. I wouldn't have known that there was any trouble. I think I I noticed Stuart Ortiz came in there at the end of the credits, uh, which he had my favorite found footage movie of last year, and I fully suspect I I I've said to a uh number of my colleagues who review films, this is probably going to take the cake for my favorite found footage movie of 2026. I just I think everybody should see this movie. Uh and it's absolutely worth a subscription to Shudder just for this movie, but you're gonna find so much good stuff on Shudder, you won't regret that subscription, trust me. Um I I just I think there was there were some really cool, and I I have to ask, I'm a Blair Witch Project fan. You know uh I am a fan. I showed you my new Blair Witch Project tattoo. Were there a couple of nods to the film in there? I feel like we get to a specific point and there's an iconic moment where uh we get the back of one of the characters, um, and and just that I I don't think we can deny the lineage of the handheld camera self-film. Uh was that intentional or is that just like a function of found footage?

SPEAKER_00 10:26

I it's probably a function of found footage, but I, you know, obviously everything is influenced by what comes before it. So I there's I even if it wasn't consciously in the moment a tribute to that, that I'm sure the roots are there.

SPEAKER_01 10:45

It's part of the fabric of found footage at this point. I don't think, yeah, you can't separate the two. So do you have a favorite sequence in the film that that either you you know helped to create or that uh as an audience member watching the cut that you're just like, man, that's my favorite. Without spoiling the film, you can talk around it.

SPEAKER_00 11:05

Uh, I mean, there's so much. Uh it's hard to just pick one. But I guess if I had to, like, right off the bat, they go to that first call, and the house they go into, it's just this decrepit old house, and it's creepy. And you know, as soon as they go in the door, I mean, you know, something's wrong, something's gonna go bad. So it's just that initial tension building for me that I think is uh kind of the most exciting scene almost. Um, and then a close second would probably be like uh towards the end of the movie, there's a scene where they're running through some tunnels underground, and and just because I got to be in that location, and it was so cool just to be down there. Um, so that was pretty creepy and cool too.

SPEAKER_01 12:00

You did some really great stuff with um playing with the background in that sequence. Uh, I was constantly, as an audience member, looking over their shoulder, trying to see what was in the corner of the frames. And one thing this movie does extremely well is it uses its scares in efficient and really clever ways. I don't think that this is this is a tension movie. It's a scary movie. Um, but whenever you pay that all that suspense and that buildup off, it is extremely effective. And I think of that sequence as one of the shining examples of that because that sequence pays off in a very unexpected way, uh, at least for me. And I think what this film does really well as well is I don't think you overplay your hand with the monster design. I think the monster design is pitch perfect, but I don't I couldn't draw you a picture of it. I was not overexposed to it. It's really I don't mean to gush, but I really I thought it was extremely effective.

SPEAKER_00 12:53

I wish I could take credit for that monster, but yeah, I mean just but just to point on that, I mean, we've me and Brandon have done four movies together. Uh I think this was his sixth feature, and uh he just he keeps getting better every time, and our partnership keeps getting stronger, and so yeah, we we keep leveling up every time we say.

SPEAKER_01 13:16

Well, I can tell you with my limited experience as a director that I'm only as good as the team I have around me. So take that compliment for what it's worth.

SPEAKER_00 13:25

Yeah.

SPEAKER_01 13:26

I so we talked a little bit about your background and how you met Brandon and how you kind of uh started this working relationship, but uh uh most of the work I've seen out of you is in the horror genre. So is there something that draws you to horror specifically that that keeps you coming back?

SPEAKER_00 13:42

Uh I mean I've always enjoyed it. Um you know, growing up in the 80s, early 90s, I would, you know, you go rent videotapes for the weekend. I'd or or you'd catch a movie on TV, it was always um Friday the 13th, or you know, Nightmare on Elm Street, you know, all the classics. Um got into all those in my teenage years and stuff. And um uh I I just I enjoy horror. Um I would love to explore other genres as well. Um, I mean, I like filmmaking, I'm a storyteller, uh, but horror is just kind of where I'm at right now, and I I enjoy it. I don't um some people might think less of it or something, but I don't. I think it's I it's and it's so fun to shoot. Um because you can make things as grounded in reality as you want, which can often be scarier sometimes, or you can get as fantastical and you know, exaggerated as you want too, and it all kind of can still fit and work within the genre, you know. So I think horror is a great genre to work in.

SPEAKER_01 14:56

Yeah. I would I mean that's where we chose to stake our tent is uh a hundred percent in horror. I wonder, and for those of you who are this far into this, I hope you know what a cinematographer does, but if you don't, uh why don't we just give a brief description of the of what that is, because I have some follow-up questions on it.

SPEAKER_00 15:15

Uh the cinematographer is basically the the right hand to the director. Uh they're in charge of anything visual with the story. They're in charge of the camera uh placement, lens decision. Um they're in charge of running the lighting crew and the grip crew. Um so I often say that the you know, there's above the line and below the line. Technically, the cinematographer is below the line, but I often say that the cinematographer is the line because he's interfacing so much with the above the lines and uh definitely interfacing quite a bit with the below the lines. Um but yeah, basically just the chief uh visual storyteller, if so to speak.

SPEAKER_01 15:58

And so know knowing that now, if you if you've learned something new today, I hope you have, and if you already knew that, thanks for sticking around. Do you see a giant difference in how a cinematographer a cinematographer would approach a horror film as to maybe a non-horror film?

SPEAKER_00 16:16

Uh I mean the the the approach to every project just always starts with the story and the script. Um, so I wouldn't necessarily approach it any differently, other than maybe knowing that you're likely gonna be doing a lot of shooting at nighttime. Uh you'll probably be dealing with a lot of makeup effects and uh blood and gore effects, which um as a cinematographer you need to uh factor that in sometimes. It takes more time. Um, certain things have to be staged uh specifically for the right camera angles, or you know, if you're if you're trying to do a stunt or or something where someone gets their neck head cut off or something, you can't you don't want to show all the the tubes and and blood behind them, so you need to pick your angles uh in a specific way. But it I mean generally overall, it's not gonna just because you're shooting a horror movie versus a period piece, it's not gonna really change too much. Um, because hopefully a cinematographer's goal is to always make their work be invisible. And and what I mean by that is you don't want to really call attention to your work. You want it to be good, uh, but in ultimately you're trying to support the story and do that visually.

SPEAKER_01 17:47

I love that answer. Uh most of my my directing experience came on the stage, and so uh that's one role that we didn't have on our design team is someone picking lenses and uh you know choosing angles. Um, but one one role we did have and that I spend a lot of time with is lighting, and that also falls under your purview. What was it like lighting body cam, keeping it grounded, so so absolutely grounded in reality, um, shooting a lot at night and making sure these dark spaces stay shadowy?

SPEAKER_00 18:20

Well, you want uh you want it to feel realistic, um, and then part of that is uh not only in an artistic uh way, uh, which would be using the flashlights to drive most of the lighting, um, but also there are some technical things you need to consider too, like how much light does your camera need to expose properly. Um and so there's a lot of uh there's actually a lot of subtle lighting in the film that you probably just won't notice, uh, which is kind of by design, because it's kind of made to look supposed to look invisible, and it's supposed to look like it's lit from the sources that we choose it to be lit from. Um like I said, like most of the time it's just their flashlights, which is really creepy. Um But yeah, occasionally you'll need to help out a little bit, like a little get a little fill on their face or something, or you know, get a little extra light in a room or something. Um so there was tons of that stuff. Um but yeah, it was mostly overall a very uh very simple approach to things. Um we didn't we didn't want to overcomplicate the lighting uh because uh the worst thing you can do on set is to uh be waiting.

SPEAKER_01 19:43

Yeah, absolutely. Especially with a two-hander for the most part. I mean you're you're dealing with two actors for I don't know, 30% of the script. Yeah. I I love some of those scenes that were lit by the sirens as well. It put me into like a sort of a this is so not a one-to-one comparison, but a jalo vibe with some of that really bold, colorful lighting. It was so I don't know, it took that third act right up to the to the top for me. Uh and I did not notice a single additional fill. Uh and I didn't, I mean I was I was totally on board with the flashlights being the main source. Nice. But something something I did notice was that you have a lot of night vision in this. And so uh how was that accomplished safely on set with the actors?

SPEAKER_00 20:26

Uh well we actually had we used a body cam that had a night vision mode on it, and so we just used that. Um and if if we needed a flashlight or something, we just used like a little dimmer, uh look uh a less powerful flashlight, so it wouldn't kind of overpower it and blow it out. Um so you know, you could still see what you were doing, but like the main flashlights we used were pretty bright, um, just to be able to get the exposure for the the GoPros. Um so yeah, you know, it was it was funny because we were thinking, like, do we have to use a filter or something to achieve this night vision look? And uh we had we had purchased uh a few like real body cams just to do some testing and stuff, and we found we had one that had like a night vision on it, and we just shot with it and it worked out and it looks great.

SPEAKER_01 21:20

In my mind, as an audience member, and I know enough to know that this wasn't the case, probably, but in my mind, they're in complete darkness. It is pitch black there, and yeah, I mean it was so effective. I'm like, there's no possible way for actor safety and union regulations, you're shooting completely in the dark. So it's it's interesting to hear that they're they're sensitive enough to give you the desired effect, uh, and everybody stayed safe. Yep. That's fantastic. So there are a lot of heavy themes in this film. Uh power dynamics with the police, judging the population you're supposed to be protecting, um, police accountability for one, uh, addiction, which is a theme that hits close to home for me. My father, after my parents got divorced, got very addicted to heroin. So these um and also being sucked back into a life that you thought you had left. And I think that's probably the central point of the movie. All of those themes are they have merit on their own, but combined, it's a very interesting statement about the world we're living in three years ago and the world that we're continuing to live in today. Is there something that you uh and speaking for the production team or speaking for yourself, hope the audience leaves with or leaves thinking about after they watch Body Cam?

SPEAKER_00 22:34

Man, um Hmm. I think I I think it's just it's just important to uh remember that uh I don't know, it's just you you gotta you gotta hold people accountable for their actions. I think it's important to do, and I think um, you know, we see a lot of body cam footage these days, and so it it the it makes the movie very like timely and relevant to current events. Um But yeah, I think I think that's just it is uh it it kind of shows a darker side of things where uh not to spoil anything, but um some things go south and they these guys try and end up trying to scrub the footage and it you know it's uh there's other plans for them there, so they they aren't too successful at that. But uh yeah, I think overall it's just kind of kind of that.

SPEAKER_01 23:39

Yeah. I I I will say this film asked a little bit of me to have empathy for characters I might not have liked. Um, and I think horror does that as a genre particularly well. It's always asking me to step out of myself and and relate to somebody who's being chased by a maniac, which I have luckily never had that experience, or um cross genders with final girls, and this film made me feel for a man who did some things that I absolutely detest and uh go on a journey to save his family at some point. Uh it made me feel for a man who who pulled himself out of circumstances I didn't have to pull myself out of, but watched my father go into. Um so empathy was a big part of this for me, but at the same time, it's so relevant to the accountability we need to see now, and made me I think the the scariest part about this movie for me was that I'm sure something like this, maybe with or without monsters, I I've not proven monsters exist yet, but um but something like this could very well have happened yesterday or two days ago or three days ago or today. And that's that's the scariest part about it for me, is the lack of accountability and the um and the put potential for cover-up. So very yeah, very relevant movie. Uh, and I'm gonna plug it again here. You absolutely should check this out. Okay, I have a few questions that I ask everybody who comes on the podcast, and I'm curious to hear your answers. First and foremost, found footage is one of my favorite subgenres of horror, and I uh I'm maybe not an expert, maybe not a connoisseur, but it is like it's up there for me. Do you have a favorite found footage movie?

SPEAKER_00 25:19

Yeah, I mean, it's probably Blair Witch, you know, it's like the OG the original sensation. I I was there, I remember it all. Uh it was terrifying the first time I watched it. I thought it was real. But yeah, I mean that's gotta be it. I I haven't seen it in a long time, but I just I still remember how insane it was watching it, you know. Um, and then I creep is really good too. You know, I really enjoyed creep.

SPEAKER_01 25:54

So another reason to subscribe to Shudder is the creep tapes, fantastic stuff there. Um, I enjoyed both of those quite a bit, Blur, which is probably it's it's on my letterbox top four. If you ask me tomorrow, I'll tell you it's my favorite movie. If you ask me next week, yeah. Um I I I've had I've dragged my poor wife to those woods on more occasions. Every time we pass, because we're in Pennsylvania, every time we pass through Maryland, I'm like, we're gonna just it's just like 10 minutes that way. She's like, it's not it's not even close to 10 minutes that way, dude.

SPEAKER_00 26:21

Well, I sh if I can add to I would say um Grave Encounters. Oh, yes, yeah. We were just because our actor was our actor was in that movie too.

SPEAKER_01 26:32

Totally missed that. That's fantastic. Now, now I know what I'm doing. I'm doing that tonight. That's what I'm doing tonight. I'm watching Grave Encounters again. There you go. That's fantastic. Yeah, good plug, good plug. Um, so we asked we ask everybody who comes on the show uh another question as well. And this one is tough. I've had a lot of people not be able to choose or give me three, four, and five movies, and you're more than welcome to do that. I always add to my watch list from this. But what is your favorite horror movie of all time?

SPEAKER_00 27:03

I hate these questions. Uh and I I'm I don't know, I'm I might sound cliche, I don't care. Um, I like The Shining, it's probably my favorite. Um I know you probably want me to mention some obscure film you've never seen, but not at all. The Shining. I like The Shining. Uh for more recently, I like I like Ex Machina. That movie was insane. I I consider that a horror film. Yeah. Um hundred percent. Yeah. Yeah.

SPEAKER_01 27:33

I will tell you, The Shining is probably the most cited movie on this podcast. The Shining, maybe The Exorcist Get Some Love. Yeah. Oh, sure. It's yeah, it's like a perfect film. I mean, it's great. We were we were at a horror convention this weekend, and my daughter has a trike that we push her on. She's two. And my as we're there, my wife goes, Why didn't we cosplay her as Danny? And now I'm on a mission, so we're gonna get that to you. Next time. Next time. That's true. That's a good choice, though. I I especially I don't know if you have kids at all, but watching The Shining as a father versus when I saw it as a son, completely different experience. Yeah. Yeah.

SPEAKER_00 28:12

I I need to revisit it. I have a four-year-old now, so I should revisit it with fresh fatherly eyes. It's it's probably behind me somewhere, I'm sure. Yeah. That is a fantastic wall. Yeah, I'm a big uh physical media guy.

SPEAKER_01 28:27

Same, same. I just restarted my collection. I had been on the digital train for a while. Uh but I said to my wife, you know, if we're taking this movie thing seriously, reviewing movies seriously, we should be investing in special features. And then I found that I just really love the quality and I love owning the disc. Yeah, yeah. That said, but longtime shutter subscriber here, so don't want to take that away from anybody.

SPEAKER_00 28:51

I mean, you you can't beat the uh uh the convenience of it. You know, it's like all my movies are on my phone right here, but but I mean you can't beat this either. No, no. I will say Yeah, it's like I have my own little video store back here behind me, right?

SPEAKER_01 29:07

Absolutely, absolutely. Um my my most recent acquisition, I don't know if you'll appreciate this or not, but it was Troll 2 in 4K. My wife is like 4K now? I guess yes, Vinegar Syndrome has a 4K Troll 2 release. Time to upgrade. It's wild. I was like, this is the wildest money I spent all weekend at this convention. Well, excellent. Uh, what are you working on next?

SPEAKER_00 29:33

Can you share anything? I can't share anything too specific, but just know that there's always things in the works. Uh, me and Brandon are discussing our next uh venture. He's got two or three things kind of waiting for something to happen. Um, and then I am a proud uh UNLV film alumni, and I'm working on two projects with uh former uh students and uh professors. One that I'm gonna try and direct, and then another one that I'm gonna shoot up in Oregon.

SPEAKER_01 30:07

That's fantastic. I think the uh cinema cinematographer to director pipeline is very strong.

SPEAKER_00 30:13

I I suspect that's a yeah, I it I think it happens a lot, and it's it's almost a bit of a natural progression, I think. Um yeah. I I I've I've had the pleasure of working on several features over the years, and it's just ever more and more I just want to work with the actors, and so I'm excited to to give that a shot.

SPEAKER_01 30:37

I'm excited to see whatever you put out next because uh your And it is a horror movie. Yes. Well, of course keep keep us on your media list, we'll throw you a review. For sure, for sure. I absolutely love that. Uh uh and I just I was such a big fan of Night of the Reaper. I thought it captured the the throwback vibes super well. I thought it was just technically so precise. And this film, seeing how it is just uh the opposite of the precision of that film, but not by any means not precise, and just a completely different use of the genre, I am I think so highly of both you and Brandon's work. I I I you got a fan in me, so I can't wait to see what either of you and both of you get up to next. Thank you.

SPEAKER_00 31:20

And I think that kind of shows our range, you know, of things we can do.

SPEAKER_01 31:25

Yeah. 100%. Uh so if you're listening in your uh financier, throw money at these guys. They uh they should be doing good stuff. Um I don't know how many financiers are in our audience, but um excellent. Well, when where and when can people see body cam?

SPEAKER_00 31:40

Bodycam is on Shudder. It will be released officially on uh Friday, the 13th. That's March 13th. So very soon. Very soon. Excellent. And uh and me and Brandon have four movies on Shudder.

SPEAKER_01 31:56

So even more reason to subscribe. We're just racking them up right now at this point. That's fantastic. Well, where can people stay abreast of what you're working on if they want to maybe keep an eye on what you've got coming up next? Do you have any social media handles?

SPEAKER_00 32:11

Yeah, I'm on uh Instagram, Claytonmore DP is my handle on there. That's pretty much my primary uh social media platform, and uh that's probably the best spot to look me up.

SPEAKER_01 32:25

Excellent. Well, uh that'll be in the video or audio description below. So if you want to stay abreast of what's going on, go give Clayton a follow. Clayton, this is a ton of fun. I learned so much having not worked with a cinematographer myself. Um so this was enlightening, and the film was just, I don't know, so unique that I had a blast digging into the specifics. Thank you so much for joining me today. Thank you for having me. It was very fun. Excellent. As always, stay spooky, my friends.