From Filmmaking to Fire Spinning | Cinematographer Marshall Fine
Join host Erika Christie as she chats with videography professional Marshall Fine. Marshall shares his history in film and video production, culminating from a childhood influence to his formal education at Chattahoochee Tech, where he honed skills in various production aspects from lighting to post-production. Marshall talks candidly about his passion for capturing dynamic scenes, from action-packed skiing adventures to mesmerizing fire spinning art. He discusses the importance of safety within the fire community and the challenges of filming with high frame rates to capture the perfect slow-motion effects.
This episode promises to give a glimpse into an early-career filmmaker and what he is doing to up skill himself and get his name out.
Erika Christie- Collaboration Across Creative Fields:
“A filmmaker comes to you and is like, “Hey, Marshall, I need help with something.” And then they go ‘bam, bam, bam’ and tell you exactly what they want. But for someone who's listening, who's a graphic designer or who's a musician or who's a dancer, and they ask, “Hey, Marshall, I need something filmed.” And then you start asking them questions, they may not know how to answer because they don't speak the language of film."
Some Questions I ask:
What are your filmmaking experiences and where did you go to school?
Do you have a filming preference? Live events, shooting, editing, graphics, BTS filming? etc.
What got you into filmmaking in the first place?
PROCESS AND DEVELOPMENT: What questions do you ask yourself about new projects? And what do you ask the requester about what they want?
What are the simplest things a non-video person should know to work with a filmmaker?
In this episode you will learn:
Marshall’s preference for being part of a production team
Desire to work on documentaries, features, and live event coverage
Reflection of past projects with nonprofits and their impact on his growth
Primary camera responsibilities in unexpected situations
Challenges faced during solo projects and resource management
The role of live event tracking and adapting to unpredictable scenarios
Exploration of Marshall's content and YouTube channel and specific interests in fire spinning videos
Feeling the inspiration? Share this slice of creativity with someone who’d appreciate it! 🌟
Connect with Marshall —
YouTube: https://www.youtube.com/@mtyproductions15
Instagram: https://www.instagram.com/mtyproductions15/
IMDb: https://www.imdb.com/name/nm14664111/?ref_=nv_sr_srsg_0_tt_1_nm_7_q_marshall%2520fine
Erika Christie is the host of Creator/Shift and as a Filmmaker/Writer/Producer has worked professionally in many different fields. Erika will be interviewing all types of amazing art-folk and delving into the best ways that artists up skill themselves- meaning, what they do to better themselves and their creative work. We'll also be putting a special focus on transitioning your skills into new artistic mediums and how to best work and collaborate with artists who have very different skill sets from your own. On Tech Tuesdays we will be delving into software, design, and gear reviews as we cover many artistic disciplines.
The Creator/Shift Podcast is both Video and Audio. The Audio portion can be found on Apple Podcasts and all major podcast platforms. Live Streamed interviews, workshops, and gear reviews can be found on YouTube and Twitch. Some interviews that are highly visual are best seen in their video form and may not appear in the audio-only portion of the podcast.
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TRANSCRIPT
Erika Christie:
Hello, everybody. This is the Creator Shift podcast, and I am here with Marshall. Fine. Hello, Marshall.
Marshall Fine:
Hi, Erika.
Erika Christie:
How you been doing today, Marshall?
Marshall Fine:
Good.
Erika Christie:
All right. Fortunately, we're not recording too early, so I am at least a little bit awake right now, which is good. All right. All right, Marshall, what. As far as creative work goes, what is it that you do?
Marshall Fine:
So I am a videographer, editor, and then I guess I can also call myself a cinematographer as well because of the work that I do with Atlive and. Yeah.
Erika Christie:
Awesome. And I will say, if it's correct, to say you're somewhat at the beginning of your career, I think is probably the appropriate way of kind of describing where you are. Correct? Yes. Yep. All right, so I know that you did some kind of schooling. What was it that you did?
Marshall Fine:
Yeah. So I went to. I went to Chattahoochee Tech, and I got my associate's degree in film and video. I actually got a degree and a degree in a diploma, but it was a associate degree of applied science, majoring in film and video production.
Erika Christie:
Excellent. What kind of classes did you take.
Marshall Fine:
In terms of, like, film?
Erika Christie:
Yeah, any of the above film or even non film stuff that you use to kind of help you.
Marshall Fine:
Gotcha. Yeah. So I had to, I mean, just like any. Any school, I had to do, like, a combination of stuff. So I had to do the boring I had to do the boring stuff. And then. But in terms of, like, film, film wise, I had done a class that was all about lighting. I had done a class all about lighting.
I had done something about using illustrator and Photoshop. Those ones, I mean, they were. They were interesting, but given my. My kind of my directions more towards the film side, they were not exactly a seller point, but we did. And then I did a lot of classes. A lot of the classes I had to do were. It was a lot about post production. I did do a field production class where we kind of.
It was more about going out. Okay, here. Here's a script. And now go. Here's a script. Now go shoot it. And then we would watch. It had something that was very.
That was a post production class. It was all about kind of learning the very, I guess, kind of the lower points of editing, so just learning how to cut things together. And then one of the. And then I had done a class that was two parts, that was a broadcasting class. And so basically, the teacher gave us all these commercials. And honestly, I forget what the website was that he had us use, but we basically used, it was like a teleprompter site that we used and we went through and we would listen to the commercial, the newscast, and we would type out the script and like a teleprompter. And then every class, we basically ran it like a, like a newscast. So you had people that were anchors, you had somebody that was switcher, someone doing playback, someone doing stills, sound, sound, that kind of thing.
And so kind of, I guess, I guess in a way, you could call it a, yes, it was a broadcast studio, but it was kind of more on the lower side of things in a way. But it was being run by each, by each of us as a, as students and teachers, kind of there to make sure that thing grand, smoothly. We all had, if it was our day to have our show, we had our, we had our show done kind of thing. So it's, yeah, that's kind of, I guess, kind of the gist of it.
Erika Christie:
Did you have a preference between those things, between editing short films, like live broadcasting? Like, did you, is there one of those where you're like, yeah, this is the one that I like.
Marshall Fine:
Um, I prefer, honestly, I like, I mean, I do editing right now because I have to, and I don't have anybody to do it for me. I'm the same way the it is editing is. I mean, I wouldn't call myself a, an expert editing editor by any stretch in the imagination, but I would say I'm a decent editor in terms of, like, I would just to, one of the things I would love to really learn is the, is how to take or how to, how to do, like, more effects and like, and that kind of thing inside of premiere or what you call after effects or something like that. But I would say I'm a good ed. I would say I'm a good editor, just not on the effects. On the effects side. And then, like, for transitions, I use, I tend to use kind of think, I tend to think while I shoot of like, okay, how am I going to transition from this to this? I'm using things inside of what I'm shooting to become that transition or using camera angle to become that. To become that transition.
But I would say, of all things, I really enjoy just filmmaking. Yeah. I would say I would really, really enjoy filmmaking. And then, you know, do the editing side because, like I said, you have to.
Erika Christie:
Yeah. And the one thing that I do say to people, especially if they're kind of in the process of learning effects, one, learning effects is really difficult. And two, if you're not a good editor, throwing a bunch of effects on something isn't going to make the project any better. Like, you need to be a good editor first, so you're on the right path. Keep working on the editing, even if you don't love it, because for me, all of these things are connected. The more time I spend doing editing, the more time I'm thinking about how to direct something different. I'm thinking more about where's a better place for me to put the cameras, you know, cutting. Like, all of these things are connected.
Erika Christie:
So as, even if you want to do more camera work, if you're paying a lot of attention during your editing, be a better editor, and that's going to make your transition into doing more effects easier, and it's obviously going to make your camera work even any better, so.
Marshall Fine:
Right.
Erika Christie:
I have a feeling I know the answer to this, but what got you into filmmaking in the first place?
Marshall Fine:
I, you know, I don't, I don't. I don't honestly completely know. It was something that I, it was. Ever since I was little, I've always had a thing for, like, like when you go to, like when you go to the airport, for instance, and you look out the window. Like, I've always had, got a kick out of seeing all those things. I always got a kick out of the. Out of the technical side of things growing up. And even now, my dad is actually a professional photographer.
And so it was like I was kind of taking pictures with his stuff. I've had, I think maybe one, I think it's two or three, actually, like, digital cameras that I grew up, that I grew up with and that kind of thing. And so when I went out to Utah after high school, my parents actually got me my first GoPro. And that's where things kind of really took off from on the video side. And I just kind of fell in love with it to the point that I was just like, you know, this is what I want to do. I'm a very creative person. So it's kind of. Yeah, so I just kind of started doing it, and I, since I wasn't interested in going to school at all, I, when I kind of gave in on that idea, I was like, you know what? I guess I'll go to school for video.
And I ended up doing that and really, and really liking it even more, so. Well, now here I am.
Erika Christie:
Yeah, I kind of had a feeling your dad was gonna pop up in it, because just the, just the fact of having cameras lying around as you're growing up, to me, I was like, I'm sure Marshall was playing with his cameras all the time. Like, I didn't grow up, in a way, where I had cameras in, lying around. And so anytime I would get one, it'd be like, oh, wow, I really, really like this. So I was constantly having to seek that out, but I was like, if you grew up seeing him do it all the time and just having access to all of his cameras, I'm like, I kind of have a feeling Marshall's dad probably infected him with the camera, with the camera disease.
Marshall Fine:
So, yeah, I'd say that's probably. That's pretty accurate, honestly.
Erika Christie:
All right, so let it. Let us move towards process and development now. Again, I know we've talked about you're still a bit early in your career, so we've done. You work with Dominic and myself on ATL live. For those who don't know, ATL live is a 90 minutes variety show. And most of our acts are indie, different kinds of indie acts in the Atlanta area. So we've got musical acts, stand up comedians. We've got improv.
Erika Christie:
We do sketches, we do videos. And a lot of the videos are international, but, yeah, we do. It's a live variety show. And Marshall has been one of our camera operators for the majority of the run of the show, and he always does a wonderful job. And then outside of that, I know you've done a few, like, different kind of events stuff, because a month or two ago, you sent me a link to a video that you were in. You were with an event stuff that you've kind of been helping out with, correct?
Marshall Fine:
Yeah. So, so a lot of what I. A lot of. I. In. In law. I mean, in the. I don't know, the best way to say it, like, for the gist of it is kind of.
A lot of what I do is more of a. More running gun.
Erika Christie:
I do. I do a lot of run and gun as well. So, do you. Are you kind of doing, like, the behind the scenes type stuff?
Marshall Fine:
Sort of. So more of. More of. I guess you could call my style of things is more on the kind of the documenting side. And so. And actually, the one. The video that I had sent to you actually was. It's a project that my family and I actually started about 15 years ago.
And I'm a. I'm a brain trimmer. I'm a brain trimmer survivor. And we. Years and years ago, my dad created a partnership with the American Photographic artist of Atlanta with the pediatric brain Tumor foundation. He basically made that partnership. And so every year, they would go in APA does this whole, like, this whole photo shoot with families right around the holidays and that kind of thing. And so in the last several years, what I've done is I've actually done basically a day of documentary or day of, or documentary.
I've done documentary twice, and I've done, usually it's just day of kind of coverage of like, okay, this is kind of behind the scenes. This is what's going on throughout the day. And so I did a documentary our 10th year that I actually shot the entire thing with GoPro. And then this year I did, I had done it as a documentary, but I did it from the volunteer side. So everybody, including everybody from set artists to photo assistants, photographers, myself included, everybody is a, is a volunteer. And so I had just put that together. And actually what I, the one I had done this year is, has a come, a couple of the interviews were actually shot by somebody else. And because I was not able to get interviews with the people I needed, so I was like, hey, can you share this footage with me and, and all that? And so the, so this company had shared the stuff with me, but doing stuff with, I do a lot of stuff with, like, Boy Scouts from America.
Marshall Fine:
I'm an adult leader and I grew up in scouts. I got my ego, all that, but I do, I kind of look at that. A lot of that is like, okay, every outing hour we go on is an opportunity for me to shoot. So I've got a GoPro camera or something, something in hand on that. When we go skiing, I've got gopros, and I do all sorts of stuff with that. And I had been an unusual talent, actually, that I developed was spinning fire. And I had actually, I kind of got roped into it, working on a short film. And the lady that I was working with, she, after one night shooting, she was like, hey, my husband and I host this in our backyard.
You want to come and, like, shoot it? And I was like, sure, why not? Like, I'm here? So I went and I would shoot it, and I just went back week after week to shoot, and it was just, it was cool. It was just a, it was just a cool environment. And then one night, I picked up a staff and I started kind of just twirling, and somebody was like, oh, you're going to light it up. And I was like, why not? Like, let's do it. So I would shoot, I would shoot several weeks and then, you know, edit everything into, like, a little highlight reel that's like a couple minutes or a minute, something like that. And post it out on Facebook and all that stuff. And so, yeah. Doing.
Doing documentaries. Sure. And, you know, trying to. Trying to make a name for myself, basically.
Erika Christie:
Yeah. I think it was a couple weeks after we met, you had done maybe one. One shoot with us for ATL live. And I remember you were talking to someone else, and I heard you say something about spinning fire. And my brain was like, did Marshall just say spinning fire? Like, I think I misheard this. And I kind of inserted myself into the conversation, and I was looking over, and you were showing a video of you spinning fire, and I was like, Marshall said, spinning fire. Okay. That is not what I was expecting Marshall to say.
Erika Christie:
And also, before we go any further, we're all very glad that you're still here, Marshall, so congratulations. It takes a lot of strength, physically and mentally, to get through something like that, so we're all extremely happy that you're still here. All right, so process and development. So we've talked a little bit about Atli very, very briefly, some of the events behind the scenes, documenting type stuff you do. And then I know you've done a couple of short films as well. Yeah. So kind of big, big picture. If someone comes to you and is like, hey, marshall, I want you to film something for me.
Erika Christie:
Like, what are. What are some of the initial thoughts that you have about whether you want to do the project? And what is it that you ask the other person?
Marshall Fine:
So the. I guess the thoughts that I have that come into mind as soon as someone says, hey, I want you to do this project for me, my first definite question is, well, what is it? I've had a couple people ask me to do, to do a project before, and we started talking about ideas, and then they never say. Never say anything. And I'm, like, racking my brain of, like, okay, here's what I'm going to use for this. And here what I'm going to do. I reach out to them. You never hear anything. But.
But the biggest thing that I guess that I would. That would come to my mind, that comes to my mind is, what is the project? Do I have the capability to do that project? And is this something that I can pull off by myself? And is this something that I can pull off by myself? And while we are. While we're all in a spot where we're all trying to figure this stuff out and all that, it's also all about money. And it's one of the things that, for me, I don't have any money to be able to pay somebody say, hey, can you come in? Can you come and help me with this? And so what makes things. Which makes things difficult? And so it is one of the things where, okay, am I able to pull this stuff off? Can I use what I have? And can I use what I have to do? This are really the questions that come to mind. And usually the answer is, yes, this is something that I can do. But it becomes, it becomes, I guess, in a way, a longer conversation sometimes than maybe people want to have, because it's kind of like, all right, well, I'm one person, and I, unfortunately have to work with just me, so how do I. And trying to understand the details of, like, okay, what are you.
What are you looking for? And that. And that kind of thing.
Erika Christie:
Yeah. And one of the things that we really focus on, especially in this particular show, is, is creatives work with each other. And so if a filmmaker comes to you and is like, hey, Marshall, I need help with something, they're just going to go, bam, bam, bam, bam, bam, and tell you exactly what they want. But for someone who's listening, who's a graphic designer or who's a musician or who's a dancer, and it's like, hey, Marshall, I need something filmed. And then you start asking them questions, and then they just don't know how to answer because they don't speak the language of film. So that's a little bit of what we're doing, which you've. Which would. Is what you've been answering is someone comes to you and you ask them questions, they kind of need to have some understanding of how to respond.
Erika Christie:
Once you come back with questions. If it's, you know, in your first question is, what is it? And if it's a dancer who's asking you and you say, what is it? To them, the answer is so obvious what kind of video they want. But if they haven't said it, you still don't know what kind of video they want.
Marshall Fine:
Right. And, I mean, one of the things that I have definitely found in it's like, I mean, I mean, ATL Live is the same way of it's a live event. And yes, you can. And things like, there's things like tracking where you're tracking a person across the stage or anything like that, but it is. But at the same time, anything, literally anything can happen. And just because you. You're predicting that they're gonna go left doesn't exactly mean that they're going to go left. Or just because, like, even though you're following their movement doesn't mean that they're going to do necessarily to do something.
And so, like, for me, one of the things that I try to do, so, because everything I do is very. Is very live. So, like, when I go on a scout outing and I got a GoPro or whatever in hand, it is. It's literally, I will take whatever I can shoot from that outing and make a story out of is. Is what I do. The. I did a documentary and a highlight reel last summer, all with GoPro in Montana. I was there for a brain tumor retreat, and I said to the president, I was like, hey, what do you think about doing, like, this as a highlight reel? And then I was like, you know what? Let's make this interesting.
Let's. Let's make this a document. Let's do a documentary with it. And so I ended up. I ended up building both, and they both turned out really, really good and that kind of thing, but kind of thinking. Trying to think through my head of, like, okay, what. What exactly is it that I'm looking for? I did, a few months back, I did a pro bono shoot for a Cub scout pack for their Pinewood derby. And the guy was, I said to.
I had gotten on the phone the guy, and I was like, all right, I get what you're saying, but that, okay, you want to make something about the Pinewood derby, but what about it? Like, what's the. What's the objective of this? And so he was, he was like, yeah, basically, I want to make it pro bono. Make people want to come to do Pinewood Derby, that kind of thing. I was like, all right, cool. And I ended up. I stayed there the whole time and shot, and I ended up doing a 52nd little video of like, okay, car goes down the track here. Awards kids are making announcements. Just leaders are making announcements here.
Some of the reaction here's last minute repairs, blah, blah, blah. And so trying to understand kind of some of those steps kind of from people. Right? What do I. What is. What is it to expect but knowing, knowing at the same time, you know, anything can happen.
Erika Christie:
And that's. That's really interesting, the way you brought that up, because that if you're doing a project like that, whether it's pro bono or volunteer or something like that, being. What you were doing is you were being very proactive. It's like, I'm just here for this. And you get there and go, oh, there's another cool thing we can do on top of that. And then, oh, while I'm doing this, I can also do this, like, so. So being able to do that is really great. And, and being proactive, thinking ahead, coming up with ideas, is always what you want to be doing as a filmmaker.
Erika Christie:
As you said, you're a creative person, so being able to do that is awesome. The only flip side to that is, which I tend to not do a lot until these last few years, is doing a lot of corporate work. And there's, that's where the gray area comes in, is when you're being paid, I want to make these two videos, and then you get there and they go, oh, we want you to do this video, too. It's going to be really easy. And that's, that's that awkward spot where you have to be like, well, that's a third video, so we'll need to add that to the contract. And that's where, and I've always been like, oh, yeah, I'll do it, no problem. And I'm finally getting to the point where I have to be like, this is a corporate job. We've signed a contract, and you want me to do extra work.
Erika Christie:
Then we just need to be very clear about, this is extra work that we're doing. But because so much of what I do is like, oh, yeah, no problem, I'll help you out. Whenever I have the opportunity to do something extra to make, you know, make a little sizzle video or make a little two minute behind the scenes documentary, I always do that kind of stuff, and I always try to make it something that I can use either in my portfolio or something that I can put on my website. So it's helping whoever I'm working with. It's helping me be a little bit more creative, thinking on my feet. And it's helping me advance my career as well because I'm able to use it for other stuff.
Marshall Fine:
Right. And it's one probably about a couple years ago, and I did it. The, my, one of my grandparents I was doing some work with, with a nonprofit, and my grandparents are involved with the nonprofit, and it's, people with, it's an organization that supports Parkinson's. And I, he originally, my mom had kind of gotten me into it and says, doing a project for them, and it started off being a kind of a pro bono thing, and the project just kind of grew bigger and bigger and bigger and was stuff. And it was, and I was, I mean, looking back on the video, the video that I did was still actually on their website, but, but looking back on it, I'm like, wow, this looks horrible versus versus what I can versus what I can do now. Like, I could have done all these things so much better, but I've also. I've learned a lot since. Since then.
Marshall Fine:
And so. But it was but learning, but the, but getting the fact that it was like, okay, this is a project started off pro bono, and then it was becoming bigger and bigger and bigger. And I'm like, all right, there's. I gotta have. I gotta have something here. I never got. I never got, like, paid, for instance, what I. Anything, what I should have.
Marshall Fine:
But because of, there's a delicate relationship between the organization and, like, my grandparents that I was kind of like, okay, I don't feel comfortable with being able to go back and say, hey, I need more or something like that because of. Because there was a delicate relationship that was at play, but that was kind of a learning to say, okay, how I got to make sure that I kind of have all these things kind of upfront and kind of having the details up front of like, okay, this is what you want me to do. This is what the deal is. And therefore, I mean, for me, I have very little projects that I've actually done for and been paid for, but that was kind of a learning of saying, okay, I have to kind of figure out, like, okay, this is what the project can be. What are all the details? What are the exact kind of thing that you're looking for? And trying to sit down with the person, and even if it's pro bono, literally still sitting down with the person to say, okay, so you're looking for this, this, and this, and these are the things I can do. These are the things I cannot do. Or how are we, what's. What's the overall.
Marshall Fine:
What's the overall goal? I've been put into a spot where I was for scouts. I have been as a commissioner, I do a lot of the editing for everybody, but they were trying to create something that was about why people should come to this conference. And I got all these. He gave me all these interviews, and I was like, I was like, wait, this isn't what we. This isn't what we talked about. Like, this isn't. This isn't what we talked about. There's not anything I can do with these.
Marshall Fine:
And so, but having. Trying to have that conversation of, okay, well, here's what we talked about, but this is what you gave me, but this stuff is not workable. So I don't know. So you got to tell me where we. Where we go? Where do we go with this? So, and that actually may not be the. I mean, it's a good example, but not the Internet project wipe, but not. Maybe not the right thing to talk about. I don't know.
Erika Christie:
Yeah, no, I mean, it's. That's. That's kind of like the uncomfortable spot that I was talking about a few moments ago. Is. Is when is the moment where you have to go? Let's hold on for a second, because this isn't what we discussed, and that. That, at times, can be a really difficult thing to do, so that I actually commend you for being able to go. Actually, this isn't quite what we talked about. Let's make sure that we know so that we're both on the same page.
Erika Christie:
That's kind of how I always put it, is let's just make sure we're both talking about the same thing. What I'm thinking is, that is not what you said, but what I say is, let's make sure we're on the same page. I try to be a little bit polite about that. Yeah. I think when. When people bring projects to me, I think scope is probably one of the first things that I ask about. How big is it? What is it? How many moving pieces are in it? And then deliverables. Is this.
Erika Christie:
Is this three 1 minute videos, or are we making one 18 minutes video? So I think I kind of like, what's. What's the nuts and bolts? What's the big picture? What are we trying to get out of this?
Marshall Fine:
Right?
Erika Christie:
And then after those is when I kind of move back to, like, what's the tone? What's the style? That sort of thing. But just. It's in it. And it can be hard if you're not a video person talking to a video person and they're asking you questions. It's just. It's just. Just try to figure out what the simplest way of explaining what it is that you need from the video person. Like, just figure that little stuff out first before you go into the conversation.
Erika Christie:
It's gonna make everything so much easier.
Marshall Fine:
Right. And, I mean, one of the things I hate haven. I mean, it's one of the things that happens. Happens a lot. For me, that, like. Like, as a leader and stuff like that, is that people, they injure. And for me, I'm all about making people happy. It's like.
Marshall Fine:
And all about trying to deliver and all that, but it's like, oh, will you leave this out? Oh, will you? Will you do this? Oh, will you do that? And, like, I agreed to do a slideshow for. For a bunch. For a bunch of kids. And I said, they were like, oh, do we should. Do we need to pay you anything? I was like, no, it's part of, like, like, you're part of the troupe. Like, whatever. And I had said, I was, like, realizing after the fact of, like, you know what? I should have said, yes, I do want something. Like, this was I was being nice, and I went and I was hunting down people and saying, hey, I need your pictures.
Like, even after the deadline I gave people, I was going and saying, hey, I need your pictures. Even though I had already finished the other stuff, like, I had the time, but things like, okay, I should have. I should have asked for stuff like that.
Erika Christie:
Marshall, can we look at your fire spinning videos? So is this all stuff that you've shot?
Marshall Fine:
Yeah, yeah, all of this is my. Is my own content.
Erika Christie:
Is there anything in particular you focus on when you're filming any of this fire spinning stuff?
Marshall Fine:
Oh, that's me, actually, not really. It's more of just kind of what it is that people are doing that is. That's cool. Yeah, it's kind of just that I try not to get lit on fire.
Erika Christie:
Don't light self on fire. Check.
Marshall Fine:
A lot of these guys, they do them all. They do this stuff for, like, as gigs. Just like we have our. We have video gigs. Maybe the same thing. Um, but it's, um. And I've. It's a nice little.
It was a nice little community. Um. And, uh. And so it's. Yeah, it's just. It's just. It's fun. But this is the guy that's actually, like.
It's his thing. But, um. And I don't know why it looks so staticky, but it's.
Erika Christie:
Yeah, it looks good. All right. Is there another video that you wanted to show off?
Marshall Fine:
Sure. I can show you guys another fire video. Let's see. There you go.
Erika Christie:
What made you go from filming the fire stuff to actually doing the twirling yourself spinning? Is it spinning to actually doing the spinning yourself?
Marshall Fine:
It was more of just community of. Or the fact of being there that I was kind of like, you know, this is cool. Like, I do a lot of kind of risk oriented stuff. I do. I'm all about doing stuff. So I was like, you know, I'm here. Why not? Why not give it a shot and. And that kind of thing.