A Filmmaker's Journey: Cinematography, Color Grading, and Beyond with Filippo Cinotti

0:00:01 - Filippo Cinotti
You just have to know your boundaries and your limits and just be sure that whatever you're doing, it's honest and you're honest with yourself and with your audience. 

0:00:30 - Jason Bowdach
Hi and welcome to Color and Coffee, a podcast that focuses on the craft of color grading and the artists behind it. I'm your host, Jason Bowdach, and each week we'll sit down with some of the most talented and creative colorists in the industry and have a casual chat from one colorist to another. We'll share their stories, their insights, their grading tips and, of course, their beverage of choice. Whether you're a seasoned colorist or just starting out in the industry, join us for some great color discussion. Strap in, grab your mug. You're listening to Color and Coffee. This week, i'm excited to share with you guys a great chat with cinematographer and colorist Filippo Cinotti. Let's jump right in. I'm really happy to have on this episode Filippo Cinotti. He's a DP, he's a colorist. On this podcast We're going to dig in a little bit deeper to learn about his background, his company, plasma, and how he got started. So welcome to the podcast, filippo. Thank you so much for joining us. 

0:01:32 - Filippo Cinotti
Thanks, Jason, for having me. Hope you're good. We're doing great. How are you doing? I'm doing great. I'm here excited for this podcast. 

0:01:43 - Jason Bowdach
I'm ready, me too, man. So first off and most important, what do you sip it on today? 

0:01:49 - Filippo Cinotti
I'm sipping actually water, you know, because I drink way too many coffees, because I'm in Italy for the one that knows that And here we drink tons of Espresso's during the day And we are like four or five Espresso's from you know a hell of a morning to you know dinner. So I have to stay in my water bottle nearby me because, you know, anytime I can hear that Espresso call and I want to hear that. I want to hear that. 

0:02:25 - Jason Bowdach
I totally understand. I also have a glass of water right here. 

0:02:28 - Filippo Cinotti
Yeah, absolutely. 

0:02:31 - Jason Bowdach
So I've been a follower of yours for quite some time, but one of the things that I found really interesting is your background. Can you tell me a little bit about how you got into being a DP and a colorist? 

0:02:42 - Filippo Cinotti
Yeah, thank you for asking me this. 

So I started, you know, in a pretty strange I'm a collage scenario because I wanted to become sound engineer. I started, you know, like many of us, playing in a band and, you know, on the artist's side, i wanted so bad to work in a recording studio. At a certain time in my life I found out about photography and I literally fell in love for analog photography And I actually started diving in during school time and I started helping, you know, a photographer that was mainly doing weddings. You know, helping him just carrying his bags, and I was producing some pictures. And after a while I also started, you know, making my first videos. I had, you know, the classic DV cams from, you know, my parents and I literally started experimenting And then, after a while, i purchased my first DSLR. It was the Canon 20D, and then the 7D and then the 5D Mark II. 

So during those years I perfectly remember that, you know I was thrilled to have in my hand something like, you know, a tiny beast as the 5D Mark II. And I remember, you know, when Lord of the Rings backstage I guess it was 27 hours of backstage I remember playing all this along and I was like this is a masterclass of how to make a movie and I wanted to make something similar, by passing the fact that I was all by myself with my friends, you know all those stuff And I was like 17, 18 years old I don't remember which time it was, but I literally remember doing my kind of short film without knowing how to do a short film. That was my first project Lord of the Rings inspired short film And you know things after things, i evolved into a filmmaker, like taking courses and traveling a bit abroad to like know a bit of what I had in my hand, how to use it and what was the purpose of that. In kind of scenario, because I started doing this. I started doing this for as my main job, you know, the first day of my 18th birthday, so I literally never worked on any other thing that wasn't being a filmmaker. 

So after years and years working as a filmmaker, i made the purchase of my first movie by Free Fly System. It's a company that, as not anyone knows about Free Fly System because they actually I can say that they invented the first stabilizer, which was the M10. It was the three axis stabilizer used And with this purchase. I became one, i might say one of the first movie operators here in Italy because the cost of that, of that sub laser was so high And I remember like breaking my bank account. 

You know for that. But during the first years I was I'm a movie operator. That was my first real job after being a filmmaker, because before that I shot many music videos And at a certain point I obviously fell in love with light and everything that was about crafting light. So, same scenario I started doing mastercests courses online and not And I think I put that DP tag on me maybe just six or seven years ago, because I've done many works as a DP with different crews but I wasn't ready to call myself a DP. But at a certain point we have to make that jump. So I just started independent to work just as a DP And at the same time I was crafting images with Resolve. Same time period I also produced the Blackmagic 2.5. That apparently wasn't the best fit for the movie, even because of 99% of my sets I was renting other cameras or just using different cameras with other operators or Fox pullers. And, yeah, i started using Resolve with the 10th version. I think it was a Resolve 10. I had my images shot as a DP that I need to be worked And those few times my image went on the hands of a professional. 

It wasn't that professional in my opinion And it was like a period of time here in Italy when if you wasn't working with a senior colorist, your Himeidi would have been pretty much distorted. I'm saying this because I think that here in Italy color reading exploded during the latest three, four years maybe, and before that there were like few colors that right now obviously are senior colors or colors that worked for companies And during those days was really difficult for someone like me that was like in indie level to find someone to work with. So I naturally started being more and more inside the color game and I also decided to call myself a colorist when I become a trainer from Black and Magic Design And after that I started making some documentaries, commercials, music videos and at certain points I like build my scenario, which is this one, my first color reading room. And yeah, it's pretty weird right now like pink bonking between being a DP and a chorus, because from the pandemic I can say that I switched my whole workflow like 80% on the color side because I maintain like client from abroad and production from abroad. In a certain way it hurts because people that knows me know how much I want to leave on set, but on the other side when someone new meets me right now for the social scenario that I have on social media Instagram it's like hey, filippo, i know you, filippo the colorist. No, i am merely a DP. Then, yeah, i became a colorist But yeah, it's like a natural transition that I'm embracing right now And just trying to push as much as I can the DP side, even if feature films, documentaries and things I'm working on are all on the colorist side. 

But yeah, who knows what will happen With the company, with Plasma, i'm merely putting myself on the DP side. So when we have big situation that are a bit big for us to handle, i just try to like intermediate the thing and work merely as a DP. But even if I literally love work with colors and being imposed but I can tell that you need a great cinematography to work best in post And sometimes it's a bit of a pain having some images that I'm like you should have just put that like there or just dim it down a bit or dim it up a bit. It is quite a pain but Fix it all. 

0:10:56 - Jason Bowdach
So there's a couple of things that I find really interesting about your history, like, as opposed to me, i'm clearly a post guy. My onset experiences were quickly lessons in that I was a post guy and that's as much. As I appreciated onset life And I appreciated everybody's efforts on set. It was just not the place for me and that's what I learned very quickly. So I love that you are equally split between both actual production on set and post production and that you feel the straw to both of them. But what I think is really interesting and what I think a lot of people have problems with is they get into that area where they both like production and post, but they're not sure which way to go And you've seemed to figure that out a tiny bit where you have your number one, which is being a DP. 

You like shooting and crafting beautiful images, and then you started to venture into post when you weren't getting the result in what you wanted. You would prefer to spend most of your time being a DP and step into being a colorist when you aren't getting the result. That you like And I think that's a really interesting discussion is we have a lot of people that are coming into our industry and we come into it like both you and I. They come into it loving film. They're off the backs of either the Lord of the Rings, extended the edition, watching the making of of the major, and the fact is it's hard to find out where you belong in this industry. The question that I wanna end this conversation on and then jump on to the next one is when you were making that decision. Was it something that you just came upon one day and you're like you know what I have to make a decision between being a DP and a colorist and lean into one Or is it something that you were gradually making as you were progressing through the industry? 

0:12:45 - Filippo Cinotti
100%, gradually because even now sometimes it's a bit hard live with a decision and an etiquette that this society wants you to have, because the opinion for me, i will love to be like a multitask guy of many levels. Obviously, i know that you can't perfect yourself if you attack too many things, but by coming from the audio side, by loving so many things in my life, i will really love to make multiple things. But I think at some point we have to take decision for ourselves and for the ones that will work for us, even because, time by time, it's better for me to say no, thank you, or I'm not available for this job. And in the same way, you have to decide what part you wanna take and what job you wanna do your life. And right now I think I fit both this kind of scenarios, even because I lived kind of a stressful situation being imposed with directors and you know that better than me And at the same time being a DP, like living for weeks around Europe. I remember pre-COVID in Paris. We shot this feature and I was I don't know if I can say living, but I was sleeping two hours every three days, but it was I don't know, i don't know that making film was a necessity and I haven't felt the need of good sleep during those days. And so I live those scenarios like I want to see it crafted and I want to see the final result. And by building this right now, i can tell that I can live on both those sides. 

On the other end, i decided this gradually because at some point in my head I told myself that I could just be a DP or a colorist. And I can tell that. You know, moving on in the industry and doing months after month, you know, works at one more let's call it important or bigger, i don't know how to call them, but a bit more important to me and for my career. I can feel a bit of pressure on this. The society want to see you. For one thing, there is no such a thing as director, as a DP And I tell this also to my colleagues and friends and I talk a lot about this with them There is on the super professional side, not such a thing as a DP and a colorist. 

But I know, naturally, that at some point I will make my final choice, because it's kind of I won't call it a game, but at some point. It will be like there is this opportunity, they want you in as a DP or as a colorist, what you want to do, and you will figure out that this will be like a scenario that you can take it or not, and it will bring something and eventually, if it will bring something, it will change the future. It's always like that. So I live this thing in a really natural way. I know right now that I am on a Hindi level, i'm working on documentaries, features, name it, different things, but I'm not working, obviously, on Marvel moving, you know extremely high budget. So I know that I can call myself a DP and a colorist right now, but still I know that at some point I will make this. 

Maybe I don't know, and I hear from now I'll write something, i'll become a director. 

I don't know, i don't think so, but I live this in this way in a really really natural way. 

But I know one thing I know that fellow colorists are really really really talented and nerd and geek person and in a way, i won't ever be, because I try day by day to take as much as I can on the tech side, on the color science, but I can tell that I am a set guy and I just don't have that much you know and effort to tell myself I have to know more about this thing. 

Let's take the DCTL scenario. I'm not even entering into this DCTL scenario because I know that I can't code DCTLs and I think that it's not a thing for me, you know. And just saying that it's cutting half, you know myself as a professional or it's like creating kind of a situation where I don't know where I'll go if I put my hand into that. I know where I'll go if I use DCTLs. I obviously know a certain amount of things about it. But it's kind of a point where I just decided I won't go further because I'm not that much nerd, you know and I tell it with all the love possible for nerd, because on other sides I'm nerd on other things obviously. 

0:18:17 - Jason Bowdach
Wow. I think one of the things that I loved most is one your understanding of specialization and just the fact that you know yourself clearly where you lie. I happen to be on that same understanding and I understand that. I happen to be one of those color nerds and on the other side, i don't do as well on set, but I have an amazing appreciation for the amount of expertise and time that it takes to properly capture an image And then, finally, when it makes it way into my suite, i can use what I'm a nerd about to take it to the next level. But one of the things that I thought was really interesting is the fact that you stopped yourself from going further. You know where your limit is And I think that's really interesting in the fact that you don't need to completely reinvent the wheel. Like you said, you're using DCTLs, but I'm not gonna code them, and I think that's great because you don't need to reinvent the wheel And if you need to, then involve somebody else that is further into that color geekery. 

0:19:25 - Filippo Cinotti
And that's really interesting things The body reinventing the wheel. The fact is that too many needs I think they want or they need to prove the audience that they can do something more. That's the thing, you know. I haven't problems with that because I love so many forms of art that I know that I have to stop on so many levels. And you know it's the thing that if you don't know a thing, just listen and keep your mouth shut. That's how I'm supposed to live. You know heart and heart forms. 

It's also the fact that, when it comes also to train people, i perfectly know where I can train people from too, and I perfectly know that obviously, i can talk about DCTLs. 

I knew back in 2020 that I couldn't talk about HDR because I started working with HDR and putting my hand on HDR doing this later here. 

You know you just have to know your boundaries and your limits and just be sure that whatever you're doing, it's honest and you're honest with yourself and with your audience. And on the DP side, you know there are so many geek things that I'm interested in and so many things I don't care. You know, on the practical side, we are in 2023 and there are things that are good to know, to understand why we are here, and other things that maybe they're not even good to know because they were supposed to die or float away during a certain amount of time. So just to take this really philosophically, i might say And yeah, we are here on earth for God knows how many here, so we just have to live our life in the best way we can with the things we love, because of the end of the day, if I'm just putting my hand on a training and I'm like 15 hours on something that I don't care about, yeah, it doesn't help me, you know. 

0:21:38 - Jason Bowdach
And that comes through. And that leads me into my next question, which is can you introduce us to Plasma? Plasma sort of came out of nowhere and I think it's a really, really cool sort of brand and company and I'd like to know a little bit more about it. 

0:21:51 - Filippo Cinotti
Yeah, sure. So one year, one month from now, we launch Plasma, which is my production company. It's not just a production company, it's also, you know, community hub we created for professionals. And you know, plasma started for mainly because of fun necessity, because, you know, i jumped into the social media game with so many things. So the beginning was, you know, behind the scenes pictures of me with my movie. I remember the forced case they saw on Instagram was about me with my movie, and then as DP with different cameras. Then I met different collaboration during the years and then the color scenario. With color scenario, i just decided to put the one. That was my first masterclass. And then at a certain point, i felt really that really strong sense of from the fact that we had, i had met many students and situation running on and I haven't started a proper community because I used following but I haven't a community. And so I was like searching for someone to start, you know something, even because on that side it was a moment of my life where I was struggling, working and as a colorist, and sometimes I also made filmmaking things for myself or for others. And so I knew Tomaso, michele and Jacomo, which are the three fellas that made Plasma with me Tomaso is actually a producer, michele is a director and actually Jacomo might be. She has an accountant. And we started Plasma with the direction of making our own production company and luckily the first year has been great here. First client that were really, really great. We just finished work for Prada in Milan during the fashion week. 

On the Republic side the socialists I'm trying to build something that is taking baby steps, because actually I am the one behind males, copy, design, posts, whatever you see on the Plasma side, graphics side for the graphics side, it comes from my hands, because my fellas comrades don't know how to use male scene Photoshop, all those things, because Michele, as a director, is a director. You know how to write, maybe how to use a camera a bit. He doesn't have a strong filmmaking background. Tomaso have, but as he is a producer And so on that side I still have to manage all those things myself. And with that it comes also my curses and the products that we're doing and a really tight schedule that right now it's a bit more opened on the community side, because 2021 was about building like a strong base for whatever we will be doing. 

So we create the shop, we create our hub, we create the Discord server, the graphics side. We create Cooper, which is our avatar. It's an astronaut suit feel of Aurora Borealis And it's like a dream essence that, as a avatar, we see him as our main inspiration. It's the astronaut trying to reach something new and trying to actually deliver the future, which is a phrase that I use as the plasma payoff, but it comes from Half-Life 2. If you play Half-Life 2, it's a video game that some of us will love. It's from the Black Mesa facility And delivering the future was of. That phrase remained inside me for many years And I think it's a really strong phrase to say delivering the future, not doing something that will lead to something new, that will help you carrying something new, and that's the main core of plasma on the Republic side. 

I don't have much to say about the production company side because we are just starting off. Right now We don't have a specific direction because we are working on so many different paths. Right now I am working a feature that is in the Bollywood scenario, another one that is a documentary, another one that is another documentary. Then we have commercial of different flavor, but we have this kind of nerd core on the old scenario. That makes us what we are. Where I would love to come with plasma. It's working on the video game scenario, but not on the digital production side, but more commercials for those specific clients And we are going to make our first commercials for some interesting names here in Italy. That represents I don't know what I can say about that, but it obviously involves a real engine, a lot And it's a brand new scenario for us. 

I would love to embrace it because at the end of the day I'm a nerd, i am super. You know I'm diving a lot on the whole. You know retro PlayStation vibes And I think that the ones that knows Plasma can see that a bit. We also embraced the. It's called the Design Republic And that's also why we chose Plasma Republic, this movement, because the Design Republic was the first studio that designed the video game Wipeout And we completely embraced that as the visual core of Plasma. So tech, futuristic but still pinky, and the 90 Japanese vibe side. So that's a bit strange. Making a production company with those vibes and that direction was quite strange. But our clients so far are telling us that it feels great, it feels new and it feels something fresh, for sure Bit hard. Yeah, it's a bit hard to manage it, but feels cool. 

0:28:38 - Jason Bowdach
One of the things that struck me about it is your creative and your art design and the incredibly strong persona and personality behind it. That's what struck me and continues to strike me about it. For those of you watching or listening, i encourage you to check it out at Plasma Fillout, if nothing more, just to see the Avatar. Cooper is a really cool brand icon. I would have never guessed that one person was behind all of the creative and the marketing. As somebody who also has to do quite a bit for a brand, i am beyond impressed. So really, really incredible job. 

0:29:14 - Filippo Cinotti
No, no, it's just because I am a bit obsessed with I won't say with perfection, because it's not about perfection, but it's about doing things as they were in my mind. Because when we launched Plasma, we had our first logo design from a graphic designer. Everyone was saying, yeah, that's good, that's insanely great. And I was like, no, guys, it's far, far away from what I want. And we passed six different graphic designer, six different graphic designer, and in the end I was like, yeah, we are a bit near by that. So with the same graphic designer, we had our final logo and from that we had different creators Elisa Minini is our creator from Italy that designed Cooper, then other artists that designed Cooper on other ways. 

Because I was obsessed with Kojima production and the art history behind Metal Gear Solid And it was like finding someone that would replicate that avatar on that style, and so all those vibes was just made by a madman that at night, was like I need to have it in this way. I have a bit of graphic design background also, because at school we made that And that's where I obviously knew about photography. 

0:30:42 - Jason Bowdach
But yeah, it's a bit insane, but because I'm becoming a bit insane staying behind those things, but yeah, Well, it absolutely comes off in its presentation And all the work that you're doing for it has, if nothing more incredibly strong persona and design in it. So, moving on a tiny bit, i wanted to talk about a recent project that you've worked on. What is a really interesting project that you've worked on recently, sort of the favorite project? I hate asking your favorite project, but what is a fun project that you really enjoyed working on recently And why specifically did you enjoy working on it? 

0:31:22 - Filippo Cinotti
I mentioned earlier this Bollywood feature that is called Friesty. I don't know what it will be coming out a bunch. It has been quite a challenge because working with another culture for the first time, with the InduCulture for the first time, was quite strange, but in a really, really positive way because it opened me to so many different things that I didn't know. I worked with friends, directors, starting directors, single directors, different directors around the world, but never with an Indu director And this one was a really fun to work, an interesting to work feature, because it had so many different visions from what is, for us, making cinema. By the same time, they had a really, really strong touch to their image. They gave me some references from Tarkovsky movies and also some it's fun to say, because I can mention Tarkovsky and other movies that are like, yeah, tarkovsky with that blockbuster, but at the same time it's like saying Tarkovsky and Tim Spielberg made But it was Super similar right. 

Why? Yeah, yeah, super similar. But at the same time it was interesting embracing their vision, the director's vision, and it's a feature that they worked on for years And it's going into competition right now. It has so many visual effects because we have flashbacks of the antagonists and the protagonists that were really really not difficult to manage but complicated in terms of decisions on the artistry side, because there are those kind of visual effects that you don't know how much to push in or push out, or help Or not, and no one to give away the effect. It was really interesting. 

0:33:33 - Jason Bowdach
You're trying it. You're trying it Yeah yeah. Not to give away the seams of the artistry. 

0:33:38 - Filippo Cinotti
You know I'm always super respectful to cinematography. Even when I was doing all the bass corrections, i I tend to like don't even touch the white balance sometimes if something seems off. Maybe the DP wanted in this way because it's still cool. You know, you have like a warm tone on like a sunny scenario, that it's not perfectly balanced, but it's supposed to be in that way. You don't know how to interpret that. And we had so many, you know, shots That were shot in super strange scenarios, scenarios with fire and with like neon, viper, sodium light, and I was like, hmm, it that a mistake or you want it in that way? and at the end of the day he want like 90% of those shots in that way and I was glad about it because I was like with I. 

It felt a bit hard to me at the first. You know watch of this movie. But you know, by talking to them and knowing some things on about their culture and why they use some types of colors, i house you knew about the massive use of orange for their religion and culture and You know I had to work a lot on that. I think it's a movie with Like two scenes with a bit of a TL tint, just just a little tiny little bit. It's really rich and warm movies that I can't wait to have it done. We, we, we. We had like a long long time for for the VFX, but it's almost there, so I'm really excited about that very different. 

0:35:22 - Jason Bowdach
I I myself, have also gotten into into situations where you're working with filmmakers from a different culture and really you have to To check what you, what you bring into there, to walk in and make sure you have an understanding of where they're coming from in their culture. I've encountered situations like yours where you're like I don't really think that looks great, but then when you find out the context behind it, all of a sudden it makes a lot more sense. So I was gonna ask what cameras were there shot on, specifically the narrative feature? 

0:35:54 - Filippo Cinotti
it was a mixture of black magic 6k pro and There there was, like think, one or two alexa mini and Yeah, i think that they blend pretty well. I always thought that black magic is the, in my opinion, the nearest camera to an hour. We also talked to about this earlier here, about, you know, purchasing a black magic 12k or an Alexa classic. Right now I will be on the 12k for, not for the 12k is obviously, but for, i think, a much evolved DNA that is still a bit more closer to what is this Ari right now and I love black magic cameras, by the way, and yeah, it was actually with two six case and An an Ari alexa mini, yeah, I I mean, i am a little bit of a black magic nerd myself, having my one of my first professional cinema cameras being the similar to you, the 2.5k Cinema camera. 

0:36:57 - Jason Bowdach
I'd say that our industry is pretty widely adapted black magic cameras as the universal B cam. Yeah, for Ari's they're very useful. They're small and I think at least today, in 2023, ideally, we're trying to capture a negative and for me, that's exactly what these black magic cameras do. They capture a great, great negative and let us do quite a bit to it. I am also preferring, like you mentioned, the best data capture, the best negative possible, and for me, yeah, i'm really loving what black magic is doing. Now, obviously, there's gonna be certain circumstances where I would like an Alexa mini or these, these other cameras. 

0:37:35 - Filippo Cinotti
Yeah. 

0:37:35 - Jason Bowdach
Yeah, for sure, but it's really hard with the cost of black magic. 

0:37:39 - Filippo Cinotti
Come on, it's I think it's five or five or six K right now, the 12, the 12k. So it's really, really cheap for what it does. And I will always say, you know we also Talk a bit here internally about purchasing ourselves. You know, on Hari, and right now obviously is the s35 moment and you know, on the other side there is the, the large format mini that obviously have Some problems for, for the anamorphic side, because everything I don't know in America right now But here in Italy it's the cost of lenses and everything. It's kind of double for the anamorphic. And so, talking about the classic, the only thing about the classic and the mini is their age right now, but they're still incredible. But obviously things move on, programs move on and Latest black magic cameras are absolutely, absolutely incredible. You know, tiny 6k pros are incredible. 

0:38:41 - Jason Bowdach
Okay, it's great in my opinion and I can't, i can't say that, you know, on the negative side, at 12k It's not better than a classic or I don't even care about the resolution, it's just getting a great quality for us to work with and throw into into good color science like DaVinci, wide gammon and resolve or aces whatever your, your projects working with. But I think the next question is so you've worked on a couple of these projects, but you were here in your studio with all of the tools that DaVinci Resolve offers. If I took you and put you on a desert island and you only had one grading tool to work with, what would it specifically be? 

0:39:21 - Filippo Cinotti
I Would unplug the offset wheel and bring the offset wheel with me, just that I you know it's funny because I talk with Mark Todd Osborne on the podcast about that and He also mentioned the offset wheel and it's quite a strength for me because I I don't know, i saw few posts on forums, on on groups on on Facebook about this thing, about you know So many colors, finding out right now how Andy is the offset will to use. Man, it has been my starting point for day from day one. You know I I've literally Managed to make the base grade of so many projects just by pressing next node and move the offset wheel for both white balance and exposure. And you know, i think that that will be it, because you know it's super and the filling both exposure and colors with one end, and to me it feels just not wrong right now, knowing that kind of color wheel in your head and knowing where you have to push and Where you want to attack. You obviously know that you will have to compensate with maybe lift, maybe shadows, maybe dark areas, you don't know but still, offset wheel, it's great. 

Maybe another tool might be the stream deck, but I I'll tell you I use it. I use it a lot, but I think that most of the time even the panel itself would be enough. But when I use it with us that I got here, yeah, it's like sky rock, as you and it's, it's. It's quite an insane tool, you know, and all the times I'm like I will really love to have that 30k panel here, but I don't know, i guess I'll be looking at it and I'll Just keep using that kind of mini panel portion In the center. 

0:41:25 - Jason Bowdach
I know a lot of that that have migrated over from From an advanced panel over to meaning with the stream deck. I'm staring at two XL stream decks right now, so coming from one stream deck attic to another, i would probably take my stream deck to my desert island And it would be a very difficult decision between my stream deck and my mini panel. To be honest, because of how attached I am to my stream decks all the time we have today. I do want to make it pretty easy for people to find you, for people that want to find More information about you and plasma. What is the easiest way to find you? Where can we find you? on Instagram. 

0:42:02 - Filippo Cinotti
They can find me on Instagram through my Instagram account. We have all the links here. You know you have all the links for plasma Republic, also for My personal website and on my personal links got two link trees that are full of, you know, material things that will be and for all you fantastic, and I will include those links in the show notes as well. 

0:42:26 - Jason Bowdach
Thank you so much for coming on the show. It was really a pleasure to spend this time chatting with you and digging into your background and everything about plasma and the stuff You've been looking on recently. Thank you so much. Thanks you, jism, and that's our second episode of color and coffee. Thank you so much for listening. Be sure to follow us on Instagram, youtube or your podcast app of choice. We hope you have a fantastic Memorial Day weekend and we'll see you in two weeks with another fantastic interview. See you then and happy grading You. 

Transcribed by https://podium.page