That’s where a lot of these new
ideas came from; like using a
crane, or a slider or using the
Red in general. I remember
joking with Organik about
filming in the Red. We were
just laughing about how
preposterous it would seem to
film a live event with a feature
film camera, but that’s what we
do now, and that’s thanks to
Nelson.
Evan: So what new ideas are you
working on?
Avocado: We got some new
techniques that we’ve never tried
before, that we are going to
try to incorporate for Vendetta
2; we’re super-excited about
it. It’s always about pushing
the envelope with battle
cinematography and, essentially,
making shooting live events
more interesting. I was watching
UFC the other night; it was a
girl-on-girl fight that was a big
deal and it’s filmed in such a s**t
way, which surprises me because
there’s so much money behind it.
That’s where Nelson and I always
try to bring it, so battles have a
cinematic and epic feel to them.
Evan: How do you feel about the
landscape of battle rap filming?
Avocado: I think filming battles
is a lot harder than people
give it credit for. I see a lot of
leagues popping up now and
incorporating sound effects
into their battles, like gunshots
and stuff. I don’t know, man. I
guess I just come from a more
traditional film background
34
where that’s not really what
you’re supposed to do. I think
you’re supposed to let the
footage speak for itself.
I think everybody brings their
own style toward it though. Like
Twizz