ESPN, Pony Excess


“EyeDirect is a filmmaking marvel. We set out to make Pony Excess look like nothing the viewer had seen before – I mean we’ve all seen thousands and thousands of “talking heads” interviews in our lifetime, right? To reach that goal we utilized everything from achieving close to the shallowest depth of field possible to using kino bulbs naked from their casings directly in frame… but it all began (and ended, frankly) with the EyeDirect. Everything else we did was to augment the immediacy that the EyeDirect delivers right out of the box. Speaking for myself and the entire Pony Excess team, we couldn’t have been happier with the results.

“… the audience took notice too! I can’t tell you how often I am told of just how much a part of the story an audience member felt as a result of the direct address achieved by the EyeDirect.

“The EyeDirect is a filmmaking marvel. I’ve always been a proponent of the idea that a truly great invention or advancement is one that has a beauty in its simplicity that is so plain to see, and a result so extraordinary, that one can’t help noting, “why didn’t I think of that?” It’s not often you get the chance to utilize such a tool in its infancy, and to do so with the EyeDirect was an honor… and it seemed like everywhere we had people cooing about the EyeDirect and lamenting that they hadn’t thought of it first.

“The ability to just slap this puppy on and have a one-on-one conversation with anyone, with sincere eye contact – leveling that truth that can only come with direct eye contact – will make anyone a better documentary filmmaker. The interviews I shot before I began using theEyeDirect don’t even compare. And with the speed and ease of use, now the question really becomes, why would you NOT use the EyeDirect?”  – Thaddeus Matula, Director, Pony Excess, a 30 for 30 ESPN film