In Manchester, England, we check into the Radisson Edwardian, well situated in a recently gentrified, reconstructed, and re-imagined section of downtown. On our arrival night, we are just in time for a late dinner at the restaurant in the lobby, which repeats its name in an endless sign across its glass wall. In our jetlagged …
TheÂ low, warm winter sun slants in on the four of us as we shuffle our gear on the curb at San Francisco Airport, en route to England and Japan. Iâ€™ve joined engineer Jim Rolin, producer Lori Wright, and director Randy Field outside the International Terminal. We count cases (13 plus carry-ons), then take a moment …
If the eyes truly are the windows to the soul, donâ€™t we want to see them when we ask someone to be thoughtful, frank, and honest? Donâ€™t we want to look into their eyes â€“ and have them look into ours â€“ to see if theyâ€™re telling the truth?
When Iâ€™m shooting interviews on video or film, the subject often asks whether to look directly into the lens, or off to one side at the interviewer. Worst case is when he or she doesnâ€™t know where to look and glances about wildly, desperately seeking eye contact and approval, and appearing to all the world like a shifty-eyed no-goodnik. This can cause even unsophisticated audiences to mistrust the person theyâ€™re watching.
Historically, most movies use an objective camera style, where actors in closeup look to one side of the camera. Having actors look directly into the lens â€“ subjective camera style â€“ can be extremely disarming.
Presidents and paupers, musicians and moviemakers, actors and athletes, writers and regular Joes â€“ Iâ€™ve shot hundreds and hundreds of interviews, perhaps thousands, sometimes 25 or more in a single day. But shooting for â€œCloser to Truth,â€ the PBS science series on â€œCosmos, Consciousness, and God,â€ presents a unique challenge.
Start with the quest for a dramatic but natural lighting look, while shooting two people talking, with two cameras. Then add the factor that both cameras are moving constantly. Because the cameras will see more than 180 degrees of background during their slow journeys around the room, thereâ€™s nowhere to place stands for backlights. And front light just wonâ€™t do â€“ flat and boring, out of the question.
Preserving the sanctity ofÂ your original media has always been one of the cardinal rules of production. In my first week of film school, I learned about work print. The original film negative is used once to make this cloned copy, then the original is locked away, presumably in a climate-controlled vault environment. The work print …
Former White House Director of Communications David Gergen is recalling the unforgettable day that President Reagan and his staff woke up at Versailles Palace, had lunch with the Pope and ate dinner with Queen Elizabeth. My problem, however, (see photo) is lighting his dark suit without pouring too much light on the top of his head.
Henry Kissinger is describing the peace agreement in Vietnam as a high point in his White House service. But how do I get light in both of his eyes without creating distracting glare in his glasses? And what do I do about the moirÃ© pattern on his tie?
Bill Clinton reveals that he is more idealistic about the presidency now than when he took office,