Hey Grizli, have you ever watched “The Revenant” and noticed how the camera lingers on the snow for that exact 7.2 second frame—talk about how a single frame rate can almost feel like a breathing pulse of the wilderness? I’m dying to break it down: the steady‑cam shot in that frozen valley, the color grading that turns the ice white and the wolves’ eyes golden—makes you think the director is literally painting the forest. How do you think those visual choices affect the character’s struggle against nature?