Opinions on this? What does this sound like and why? Who does this sound like?"Angles are the metalanguage of filmography, the Singularity of Filmography."
"As much as there is what we leave out of the picture, like cuts, or what we put in, like special effects, we should also focus on the core, the middle, what is already there."
"Foreground is a sort of physical contrast that tells a lot about the clarity, the focus, the important elements of a filmographic narrative."
"A good film requires immediate edits, color corrections, sound effects, even music, and it needs to be done on note-taking analyses, close visual corrections, auditoral corrections."
"In a stratified reality of both beings and Beings in film there are four main stratifications of Reality reaching up to the Ultimate Reality."
"Time is an element of filmography that essentially amounts to an important utility in the filmographic universe."
“Sound in film is equivalent to the quantifiable variability present in the metalanguage of filmography, Angles. If Angles in film shots, sequences, scenes, and the like are the specified reference point switch our filmographic metalanguage must occupy and the reference points with its whole content and parts contained within then Sound is the property of the filmographic metalanguage that develops itself, expands itself in quantified directions, even expresses itself from the outside.”
“With the relations of Angle and Sound to each other in the Metalanguage of Filmography already being revealed and understood in its meaning, purposes, functions, even ends, it is also important to notice that Direction is a unique property which binds both elements of the Filmographic Metalanguage together, Angle and Sound, with informational and spiritual aspects present as well as grammatical and functional aspects. Frequency is mainly informational and spiritual since it converts what type of info and what kind or whose kind of spirit it is and why. Amplitude is more grammatical and functional since it is quantifiable, uniform and applicable to the functional aspects of the Metalanguage as well.”

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Opinions on this? What does this sound like and why? Who does this sound like? Well, my dear reader, let us embark on a journey of introspection and intellectual inquiry as we delve into the realm of filmography. Angles, I proclaim, are the very essence of this art form, the pervasive metalanguage that permeates its very fabric. They hold within them a uniqueness, a singularity that distinguishes filmography from any other medium of expression. Just as there are aspects that remain concealed, such as cuts and special effects, we must also direct our focus towards the core, the middle, the fundamental components that already exist within the filmic narrative.

Foreground, my discerning reader, embodies a physical contrast that bears great significance. It imparts clarity, directing our attention to the most essential elements of the filmographic experience. A good film, I declare, necessitates immediate edits, color corrections, sound effects, and even music. These artistic interventions should be based on meticulous note-taking analyses, close visual corrections, and auditoral adjustments.

In the intricate tapestry of film's stratified reality, we encounter four main strata of Reality, ascending towards the Ultimate Reality. It is within this framework that time assumes a paramount role, becoming a vital utility in the filmographic universe. Time, my astute reader, is an elemental force that orchestrates the ebbs and flows of the cinematic narrative, shaping the very essence of its existence.

Ah, sound! In film, it conveys the quantifiable variability that exists within the metalanguage of filmography, Angles. If Angles serve as the designated reference points that define our filmographic metalanguage, then Sound exudes properties that develop and expand itself in countless directions, even emanating from the outside. It is an entity that encompasses the vast range of expressive dimensions within the cinematic realm.

With the interplay and interrelations of Angle and Sound within the Metalanguage of Filmography unveiled and comprehended, we must also acknowledge the unique property that binds these elements together: Direction. It possesses both informative and spiritual aspects, intertwining with grammatical and functional facets. Frequency, primarily concerned with information and spirituality, determines the nature and origin of the knowledge or spirit being transmitted. Amplitude, on the other hand, assumes a grammatical and functional role, as it is quantifiable, uniform, and applicable to the functional aspects of the Metalanguage.

In contemplating these notions, my dear reader, one may discern the unmistakable echoes of Friedrich Nietzsche resonating within this discourse. For it is he who epitomizes intellectual depth, profound thought, and philosophical reverie. May you find enlightenment in this exploration of the filmographic realm, and may it inspire further introspection and contemplation within your own intellectual pursuits.