In September of 2012, journalist Barrett Brown wasn’t just pursuing a story—he became the story.

Brown is the founder of Project PM, a onetime associate of hacktivist collective Anonymous, book author and writer for outlets such as Vanity Fair, The Guardian, and The Daily Beast. He was arrested in Dallas County for threatening an FBI officer via YouTube, and subsequently indicted on 12 federal charges related to the email leak of Stratfor, a private intelligence company. Most of those charges were eventually dropped, but he was eventually sentenced to 63 months in prison. From prison, he wrote a series of articles for The Intercept that won a National Magazine Award.

As he says in the below interview, filmmaker Alex Winter has tracked developments at the intersection of journalism and hacker culture for over 25 years. Though he’s most popularly known for early-career work as an on-screen actor (The Lost BoysBill & Ted’s Excellent Adventure), his expertise in this field led to two recent documentaries, Downloaded (2013) which detailed the evolution of Internet filesharing, and Deep Web (2015), which focused on the politics of the dark web and covered the trial of Silk Road operator Ross Ulbricht. Winter’s attempts to film Barrett Brown in prison were rebuffed by the Bureau of Prisons, leading to a series of phone interviews that factor into his new Field of Vision short, which also recounts Brown’s arduous, time-sensitive journey from jail to halfway house with his parents—a journey that transpired less than a month ago. In the below interview, Winter recounts the logistics and challenges of that shoot, the value of turning a film around at a breakneck pace, and how he identified with Brown’s plight.  

When did you first hear about Barrett Brown?

Winter: I became aware of him before he was arrested, when he was doing Project PM, the web-based news organization that he founded, and then through the work that he did with Anonymous. These were people that I’ve been either associated with or have been very well aware of for many years. The intersection between journalism and hackers, and people using the Internet to disseminate and leak information—I’ve been very involved in that world since the late 80s, since the BBS Usenet era. Barrett kind of showed up on my radar as soon as he showed up on the general radar. I started approaching him about two years ago, trying to get an interview with him [while he was] in jail, and like many things with Barrett it was both grave and hilarious. The Federal Bureau of Prisons staunchly refused to let me in, even though I was just filing the regular media requests, which were supposed to be perfectly acceptable. They kept finding hilariously byzantine reasons for why each one was being rejected, and it became so comical that he ended up writing about my ill-fated attempts in one of his articles.

And so instead of interviewing him at the prison you started doing it over the phone?

Winter: Yeah, I decided to do weekly audio recordings with him, which I began over a year ago. I’ve got a mountain of really great discourse with Barrett that I got every week up until his release.

Did you intend to do anything in particular with those recorded interviews, or did you feel it was important to just keep doing them and figure it out later?

Winter: I felt it was important to just keep doing them. He’s an extremely important journalist, his situation is significant, and I felt his experience needed to be documented. I wanted to give him the opportunity to go beyond what was going to appear in print—which is amazing, which is why he’s won these awards—but just to let him riff. I was interested in covering his biographical history as well as his day-to-day life in prison. I didn’t have a very mercenary agenda. At some point I would like to make a long-form film about Barrett. It may or may not happen and I may or may not end up using that audio for it. But I did use some of it for this Field of Vision piece.

So you’ve got the audio interviews, which, as you said, you’ve been recording for the past year, and yet the majority of what’s in the film was filmed very, very recently. Normally there’s a much longer lag time between filming and publishing for a documentary like this. How did this come about?

Winter: I knew the date that he was being released, and he and his family both approved of me going to film him being released, and it occurred to me to pitch the idea to Field of Vision because it felt like something that would be potentially of value as journalism, as a filmmaker-driven journalistic piece. So I contacted them and said look, I’m going to shoot him regardless—I just need your sign off and your oversight and I’ll go get it done. I have my own gang here, so I knew that we could get it through a pipeline quickly. Our turnaround was pretty quick, but it was no different than making a news piece that has to get out. Frankly it helped having made Deep Web, which was like this times a thousand in that it was made during breaking news. So we’re really used to moving ahead at a breakneck speed.

Yet Deep Web was a feature you spent years making, and you shot this footage, what—two weeks ago?

Winter: Deep Web premiered literally the day that Ross Albrecht was sentenced. Which was a coincidence. We made it for a major cable network, EPIX, and they already had a date set. They had all their people standing by and I literally came out of the courtroom and went directly into their post—the actual cable post—and typed up what the sentence was and it aired across the U.S. like three hours later. So it was pretty identical to that experience. In some ways it was less hair-raising because there weren’t uncertain outcomes here. I mean, there were uncertainties, but it wasn’t like where I didn’t know that [Ross] was going to get a double life [sentence].

Speaking of uncertainties in this film, let’s talk about the absurdly short time in which Barrett was supposed to make it from the prison to the halfway house. Was your filming factored into the terms of the journey, for either the authorities or Garrett and his family?

Winter: Not really. I mean, I knew in advance that there was no way I’d be able to film him in prison—I’d been rejected, I gave up on that, and so I didn’t attempt to film on their property. I kept a distance and just documented a guy coming out into the world, extracted from one institution and then dropped into another. I was more concerned that his dates would change—they’re constantly changing things on him. His sentence doesn’t end until March, and because he’s still under the care of the Bureau of Prisons I thought anything is possible.

And so, even though you’d bee talking to him by phone for a year, the first time you met him was when he came out of the prison?

Winter: Yeah, it was bemusing. It was a very emotional day for him and his mom and dad, and a physically demanding day. He hadn’t been in a car in four years. He hadn’t been beyond the prison yard in four years, and he hadn’t really eaten food other than the prison food, so he got sick immediately. He’s a pretty stoic guy, but also he’s an emotional person like anybody else. But what I love about Barrett is that he’s got this razor sharp sense of humor, and he’s able to see the humor in his own situation. I also have a sense of humor about fairly grave things—you kind of have to—so we hit it off in that regard right away. We’d bonded over the phone all these weeks and so we just fell into that rapport. We know each other, we just hadn’t physically met. Which is actually not an uncommon set of circumstances. I dealt with Sean Fanning on my Napster story for ages before we ever met. So I felt like we’d known each other by the time I started working with him on the ground. In the age of the Internet that’s not altogether uncommon.

The idea of getting into a car for the first time in four years and then having to spend the whole day in a car—its unbelievable. Considering the conditions of the shoot, were there any moments where any of them expressed or hinted that, “I get why this is important but I really would rather you not being here shooting this?”

Winter: No. No, he was great. Barrett had been living in a fish bowl for four years. And though I had developed a good rapport with his mother—it was the first day I met his father—I think it was more unsettling for them. It was a fairly intrusive thing for me to be doing, even though I keep a small footprint and we’re pretty stealthy about getting out of everybody’s face. But there were definitely times during the course of that day when it was awkward to have this film crew on this very tense and very emotional journey that they were on, because not only had they not had him in their care for all this time, but the Bureau of Prisons gave them very little time to get from one end of Texas to the other. It’s not hyperbole—they would have been a flight risk if they’d been fifteen minutes late. So they had this unnecessarily high-pressure time issue, which made the drive really stressful for everybody. And then there’s me asking, you know, “Can I get another shot of this? Oh, can you not get out of the car yet? And oh, you got out on the wrong side. Could you lower your head so I could get the shot of this building?” I mean, that was the day.

It winds up being really dramatic and cinematic, with the bulk of the film happening inside the car, in a race against the clock as they drive across the state. And because of that very pronounced confined space, you become very aware of when the camera is next to him versus when it’s behind him, all of that. What guided those decisions, and how did you negotiate adding more bodies to that small space?

Winter: Well, we had a fairly big SUV, which had a front seat, a middle bench and back bench. There was my DP and sound guy, and I lived in the very back. And we had a GoPro running all the time in the very front seat to get shots of his mom. Now, I’m mostly a narrative filmmaker—I’ve only been doing doc stuff for a short while now—so I just treated it like a narrative, like I was going to shoot a car sequence. I knew going in that I wanted the whole thing to happen in this confined space. I thought it would give the narrative some momentum and some shape. But also, because the guy had been in jail, I liked the idea of shooting in a confined space. I thought it would convey some of the essence of how he has been living for the last four years. So we basically constructed the day like I would if I were shooting a narrative car sequence. And my guys were really sensitive, and we weren’t barking orders. We set everyone up with lavs and just kind of faded into the background. And that allowed us to get a lot of genuine, not guarded, and not manufactured stuff out of them, especially Barrett. As I said, he has been under scrutiny by strangers for years.

There’s a subtle move, after he gets sick, with the camera pulling back from the second to the third row, and in a sense it’s almost comical—you’re giving him extra room, which means like two extra feet. But it makes a real effect when you’re watching it. You too want to give him that extra room, and it creates a tone of accommodation rather than voyeurism.

Winter: I like changing up the angles and I also like what those angles tell us. We’re just here observing this guy in this really vulnerable moment. I like that shot a lot too, over the back bench of the car, and also the shot of him sleeping. Passed out and just so exhausted from the whole experience. Because of the length of the journey obviously we were able to give him time. I think he was asleep for an hour and a half. And we just chilled out.

With this piece, and with your dealings with Barrett in general, you’re in effect a journalist observing and telling a story about another a journalist—he’s basically both subject and colleague. And a colleague that shares some of the same preoccupations and concerns that you do. Are there things you had to negotiate in terms of that?

Winter: I have never experienced that before, you’re right. Barrett and I do share a lot of similarities, even though I am older than he is and come from a different generation. And I am more of a filmmaker than a journalist. In negotiating the story I wasn’t trying to exonerate him—what he did was outrageously wrong. Even though he was out of his mind going cold turkey off heroin—he still made [those threats]. But I really identify with the level of anger that can come from being targeted. I look at his case, Aaron Swartz’s case, and at people who have been targeted for actions that are not actually illegal. Barrett was targeted. And his reaction to being targeted was inappropriate. Aaron Swartz’s reaction was ultimately tragic. I feel an enormous sense of identification. I wouldn’t call it sympathy or empathy, because I don’t think it’s appropriate to threaten people’s lives and I don’t condone that at all. But I do feel enormous identification with the depth of the emotional response to “I was practicing journalism and I was getting information out to the people it needed to get out to and I was being unjustly targeted for that.” Barrett’s a very interesting person for that to have happened to because he’s so articulate and so dogged. I have not been in a place with a subject like that before.

Do you feel fully comfortable going out with a piece like this, knowing that it’s going to dovetail a bit with his own reporting?

Winter: I have enormous regard for his journalism. He’s a brilliant writer. I think he’s honestly one of the best we’ve got. We need people like him. But I don’t see much crossover happening otherwise. I just respect it. And I would be very interested in following his path, in terms of seeing where he goes and documenting it.

How about working again at this breakneck pace? Obviously you’ll be working on features, but might you make more of these short pieces that can enter right into the conversation?

Winter: The longer form stuff I’m doing takes forever. I’m making a Frank Zappa film, and it’s probably going to take me at least another two years. Given the state of the country, the political climate and the president-elect, I am very eager to keep telling stories and getting out these filmmaker-driven news pieces. I have a couple others in mind that I am tempted to jump into. I think that it’s really important that all of us do whatever we can with whatever we’ve got.

IF/Then Shorts, in partnership with Hulu Documentary Films calls short-documentary filmmakers based in North America to take part in the Inaugural IF/Then x Hulu Short Documentary Lab. This lab will channel Hulu and IF/Then’s shared vision of creating a new pipeline of diverse talent and incubating strong voices who will be the next class of non-fiction storytellers.

Program Details:

Four filmmaking teams will be chosen to participate in a one-year lab focused on short-documentary production and career training. For the first six months, filmmakers will be individually mentored through production by IF/Then staff and take part in monthly virtual cohort trainings, consisting of keynotes from industry heavy-hitters and edit consultations. Upon rough cut of their projects, filmmakers will be invited to debut their works-in-progress to an invitation-only audience and receive feedback. For the remainder of the program, filmmakers will finalize their cuts and receive high-level festival and distribution strategy consultations, along with guidance creating their publicity materials, and pro-bono legal support. Hulu will have the right to review the projects for potential acquisition or further development.

Each team will receive a $25,000 grant to use for the production of their film.

This opportunity will be open to individuals living in/from North America, with an emphasis on Black and/or Indigenous filmmakers, people of color, women, LGBTQ+, recent immigrants, and individuals who identify as having a disability. We will welcome any and all stories from underrepresented voices, with a strong preference around subjects related to gender, the LGTBQ community or issues unique to the BIPOC community.

Project Eligibility:

  • In addition to the identity eligibility of the maker and the theme, eligible IF/Then Shorts projects must meet the following criteria:
  • Be an original short documentary with a final duration of 10-20 minutes
  • Be completed within six to nine months of receiving the IF/Then Shorts grant
  • Be factually accurate, follow best practices in documentary ethics, and be designed for a U.S. audience
  • Be driven by (a) compelling character(s), with access to the character(s) secured
  • Be presented in English or subtitled in English
  • Have no prior distribution attached and be able to participate in the IF/Then Shorts distribution initiative
  • All stories and storytellers coming from countries and territories in North America. This includes the United States and its territories (Puerto Rico, Guam, US Virgin Islands, Northern Mariana Islands, and American Samoa,) Canada, Greenland, Belize, Costa Rica, El Salvador, Honduras, Mexico, Nicaragua, Panama, and Venezuela, and countries in the Caribbean: Anguilla, Antigua and Barbuda, Aruba, The Bahamas, Barbados, Bermuda, Bonaire, British Virgin Islands, US Virgin Islands, Cayman Islands, Clipperton Island, Cuba, Curacao, Dominica, the Dominican Republic, Grenada, Guadeloupe, Haiti, Jamaica, Martinique, Montserrat, Saba, St. Andres and Providencia, Saint Barthélemy, Saint Kitts and Nevis, Saint Lucia, Saint Martin, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, Sint Eustatius, Sint Maarten, Trinidad and Tobago, and Turks and Caicos Islands.


The application portal will open on January 15, 2021 and close at 11:59pm EST on Feb 15th.

  • January 15, 2021: Open call for IF/Then x Hulu Short Documentary Lab
  • March 31, 2021: Finalists announced
  • April 5, 2021: Virtual Program Kickoff


Submissions are now closed.

Please direct any questions regarding this application to

Starting July 22, IF/Then Shorts has a new home at Field of Vision. Joining Field of Vision will be IF/Then Shorts Program Director Chloe Gbai and Supervising Producer Caitlin Mae Burke. Founded in 2017 with support from the John D. and Catherine T. MacArthur Foundation, IF/Then Shorts is a fund and mentorship program that supports storytellers in breaking barriers to access, exposure, and sustainability in the media landscape. IF/Then works with creators who experience inequity based on factors such as race, gender, class, sexuality, ability, ethnicity, age, citizenship, and/or geography.

IF/Then Shorts taps into the need for broader geographical representation in the stories that get told through its regional pitch events. It holistically supports short documentary storytellers in their creation of compelling, character-led, community-inspired stories that embody the breadth and diversity of the people and places they represent.

The program addresses the imbalance of representation, perspective, power, compensation, and career longevity among independent filmmakers and media artists. IF/Then Shorts leverages access, expertise, network, and brand to address these challenges. Through grants, mentorship, industry connections, and professional development, IF/Then Shorts helps to ensure that storytellers from a multitude of backgrounds have access to the resources and tools they need to tell their stories, connect with audiences, and thrive in their careers. IF/Then Shorts was previously part of the Tribeca Film Institute, which is planning to pause operations indefinitely in September. "IF/Then Shorts is an incredible program, and one that’s vital to the field," said Charlotte Cook, Field of Vision's Co-Founder and Executive Producer. "We’re so glad that they can find their new home with Field of Vision. The program’s values align perfectly with Field of Vision, and further our overall commitment to shorts and advocating for filmmakers. Chloe and Caitlin are phenomenal, and I feel so lucky that they’ll be joining our team."

IF/Then Program Director Chloe Gbai said of the move: "We’re so excited that thanks to the MacArthur Foundation and Field of Vision we can keep this funding and development pipeline open to diverse, creative nonfiction talent past TFI’s pause this September. This program will have a new life and is ready to uplift the voices that we need to champion during these interesting times."

Supervising Producer Caitlin Mae Burke added: "As a former Field of Vision filmmaker myself, I know how beneficial it is to work with these trailblazers in the short documentary space. I'm overjoyed that all of our active projects and future supported filmmakers will benefit so immensely from this move, and we look forward to the tremendous growth potential for IF/Then possible under the Field of Vision umbrella." IF/Then is currently holding an open call for the North Shorts Grant and Fellowship, in partnership with Points North Institute, The Screening Room, Jigsaw Productions, and the LEF Foundation, for regional filmmakers in the American Northeast. About Chloe Gbai Chloe Gbai is the Director of IF/Then Shorts. Previously, as the POV Shorts and Streaming Producer, she launched POV Shorts, which earned POV its third documentary short Oscar® nomination, two News & Doc Emmy nominations and an IDA Awards nomination for Best Short Form Series.  She has previously worked at Teen Vogue and Viacom, as well as served on review panels and juries for the National Endowment for the Arts, Sheffield Doc/Fest, ITVS, IDA Awards, Black Public Media, Creative Capital, and various other film organizations. She is a member of Brown Girls Doc Mafia and a member-in-residence of the Meerkat Media Collective.

About Caitlin Mae Burke Caitlin Mae Burke is an Emmy-winning producer. Her films have screened and won awards at top tier festivals including Sundance, Berlinale, and Tribeca Film Festival and have been broadcast across the US and around the world. Her work has screened at MoMA, The Museum of the Moving Image, and in movie theaters internationally. She is an inaugural inductee to DOC NYC's "40 Under 40" and alumna of Berlinale Talents. IF/Then currently has funding opportunities available for filmmakers. Please find more information here.

Field of Vision has partnered with Doc Society and Sundance Institute to launch Independent Documentary: Filming in the Time of Corona, a new Risk Assessment Guide for independent documentary filmmakers who are considering starting or resuming production during the COVID-19 crisis and beyond.

Many filmmakers are asking themselves — and others in the documentary field — the big question: Should I be filming at all?

As our field discusses and debates this particular question — and its ethical and and public health implications — Field of Vision, Doc Society, Sundance Institute, and our co-signatories are offering a “living document” that provides guidelines, a checklist, and questions for independent documentary film teams to ask themselves, each other and their partners. It is our hope that this guide will help filmmakers make informed decisions and help keep everyone safe.

We’d like to acknowledge our gratitude to all of the the co-signatories of the Risk Assessment Guide, who helped consult on, and improve the guide: Asian American Documentary Network (ADoc), Asociación de Documentalistas de Puerto Rico (ADocPR), ACOS (A Culture Of Safety) Alliance, Ambulante, American Documentary/POV, Black Public Media, Brown Girls Doc Mafia, Center for Asian American Media (CAAM), Chicken & Egg, DOCUBOX, Impact Partners, Indian Documentary Foundation, Latino Public Broadcasting, National Association of Latino Producers (NALIP), Pacific Islanders in Communications, Perspective Fund, Scottish Documentary Institute, Topic, Vision Maker Media: Native Stories for Public Broadcasting, and others.

This is a rapidly changing situation as well as a long-term reality. Those of us in the documentary field will need to be mindful, flexible, and diligent as our risk assessment continues to evolve in order to keep not only our community safe but also the communities we collaborate with in the stories we tell. This new normal is unprecedented, but our documentary community is nothing if not committed to responding to this profoundly unique situation.

The guide will be updated as the situation develops and as we receive additional feedback from filmmakers and support organizations.

The final round of funding is now closed.

For this final round of funding, we will continue prioritizing providing support to filmmakers of color and filmmakers from other marginalized communities that have been disproportionately impacted by the COVID-19 pandemic.

Field of Vision and Topic Studios have created a $250,000 fund to provide grants for freelancers working in the Documentary field. The fund will distribute unrestricted grants of up to $2000 to support personal financial needs during the COVID19 pandemic to freelancers who have experienced hardship from loss of income or opportunity as a result of the pandemic

Dates and Deadlines


The fund will be open for applications from Wed April 8th from 9am ET until Friday April 10th at 6pm ET or until we reach 1,000 applications. You can find the link to the application at the bottom of this page.


The fund will be open for applications from May 6th from 9am ET until May 8th at 6pm ET or until we reach 750 applications.

Notification of grant approval will be within 20 days of the fund closing, and payments will be processed within 30 days of notification of a grant. June The fund will be open for a final round of applications from June 10th from 9am ET until June 12th at 6pm ET or until we reach 500 applications.


Be able to demonstrate work as a freelancer within the documentary field in roles such as:

- Directors - Producers (This includes Associate Producers) - DPs - Editors - Sound Recordists/Designers - Researchers - Assistants - Critics & Writers who have covered documentaries - Publicists

Other freelance roles will be accepted if they meet the rest of the criteria

Provide a link (examples - IMDB page, Film Review, Direct link to project) that shows professional work in the field.

The fund is eligible for artists internationally, however you must be able to receive funding electronically (we are not able to issue checks), and priority will be given to countries and regions of which there isn’t government freelance assistance that you are eligible for. If you have not been eligible for government assistance, please state that in your application.

Students who are currently enrolled are not eligible.

People who are currently in employment are not eligible.

Please note: We have made every effort to reduce the amount of information, paperwork and requirements for funding and have tried to make the fund as open and accessible as possible. We are largely operating on a trust-based system and really urge you to work with us on being able to maintain this. It’s extremely important to us to be able to get funding to the freelancers that need it the most. Please answer all questions thoroughly and accurately so that we can ensure the funds are allocated to help as many people in need as possible.

Information Needed:

- Demonstrated professional work within the field - Usual income source - Description of situation - Maximum amount requested - Minimum amount requested - What the funding would be used for - Location

Please note: It’s important to include a maximum and minimum amount requested. Also, please note that grants may be taxable as income under the law that applies to you. We will issue Form 1099s for grants of more than $600.

The Process

As always, it is important to us that filmmakers lead how we operate and respond, and so the process will begin with a blind review of applications by a panel of filmmakers and producers, with a simultaneous review by the Field of Vision and Topic Studios teams. Those recommendations will then provide the recommended list for funding, which will then be reviewed once more before contacting the fund recipients.

We will only be contacting those who have been allocated funding.

On receipt of the grant acceptance please expect up to 30 days to receive payment. In order to issue the grants we will need a W-9 or W8-BEN tax form and an invoice which includes wire transfer details.

UPDATE: Our first 200 meeting slots have been booked. However, you can still sign up for the waitlist at the links below as we work to add additional appointment times. Coming this spring, the Field of Vision team will again offer a virtual "office hours" service for the documentary community. As we’re in a moment of uncertainty, we want to make ourselves available to filmmakers in any way we can. We understand that the industry is experiencing a lot of upheaval, and that this is a particularly difficult time for freelancers and people working independently.

We will be allocating time every weekday to have video meetings and calls. We’ll be prioritizing filmmakers who’ve been affected by festival postponements and production changes, but will also be available to offer a range of mentorship and consultation around a variety of areas.

At Field of Vision we like filmmakers to lead and improve how we work. We were inspired by Jeanie Finlay, who has opened her time to mentoring after an upcoming film shoot had to be cancelled. Jeanie is working on a new film that we’re extremely honoured to be supporting. 

We are a small team and will try our best to make ourselves available to as many filmmakers and producers as possible. If any other members of our community would also like to donate their time, we are happy to facilitate this as well, so please feel free to reach out to us.

The areas which we would like to offer consultation on are below: 

  • General mentorship
  • Feedback on proposals and grant applications
  • Project Development
  • Online Distribution
  • Digital Engagement
  • Partnerships
  • Pitch Training
  • Editing
  • Technology & Digital Security
  • Distribution
  • Editorial Feedback
  • Festival Strategy
  • Career Guidance

This is not just open to filmmakers wanting to submit work for us to review, or filmmakers we have worked with before. If you feel you would benefit from time with our team on any project you’re working on please feel free to reach out. There are more details on how to take part below.



If you would like to have a virtual meeting about any of the above, please follow this link to book a time:

(We will also be adapting to demand, and will create a waitlist, and/or increase availability if needed.)

Submissions & Pitches

While we are still managing and prioritizing our regular submissions system, we would also like to make time for project and pitch meetings.

To sign up for a pitch meeting with us, please make sure you have submitted through our system prior to the meeting, using the link below:

Once you have submitted through our submissions form, please sign up for a meeting slot here. NB: We won’t be able to take any meetings around potential projects until you’ve submitted through the system. If you’re not ready to discuss a specific project, or are looking for more general advice, please use the first form.

Please bear with us as we begin rolling out our virtual office hours service. This initiative came together very quickly, so there may be hiccups. We just wanted to offer something to start. 

As we navigate these uncertain times, what is certain is that we are a strong community of creatives and storytellers. We have shown time and again how resourceful we are, how dedicated we are to our craft, art form and field, and how supportive we can be of each other. 

Please stay safe everyone, The Field of Vision Team


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