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ROVING CAMERA BLOG • Travel • Production • Tech

Around the World in 11 Days: Part 3

Our flight to Japan on Virgin Atlantic is half-empty and quite comfortable. Virgin’s Premium Economy seats, which our travel agent says were not much more expensive than standard Economy, provide better food, better seats, better video, and more legroom.

Our flight leaves London at 1 pm Sunday. Twelve hours later, after flying nearly 6000 miles east across nine time zones, we arrive at Narita Airport outside Tokyo, where, somehow, it’s 10 am Monday. In San Francisco it’s still 5 pm Sunday, 17 hours earlier than Tokyo. None of us sleep much on the plane. The time change has us oddly discombobulated. Our midday departure and the availability of hundreds of movies (we’re all film buffs) both mitigate against sleep, as does, oddly, our enjoyment of the extra comfort on this flight.

. . . CONTINUE READING: Around the World in 11 Days: Part 3

ROVING CAMERA BLOG • Travel • Production

Continental Drift

I’m hunkering down at home right now after a three-week trip through Europe and South America to shoot a global corporate medical film. Our route took four of us – and 13 cases of video and audio gear – drifting through the Netherlands, Switzerland, Germany, and Brazil. Plus one day shooting here in the San Francisco Bay Area last Monday.

Tomorrow, Sunday, we go to China to finish shooting the project. It will be the fourth continent on this shoot for DIT Jim Rolin and me. Director David Rathod and producer Anne Sandkuhler joined us for the travel legs in Europe. After shooting at three locations in the US, director Randy Field and producer Lori Wright then joined Jim and me for the long schlep down to Brazil.

<<See also Eerie Times at USP, Brazil: My First iPhone Video>>

And what a schlep it was! Nine flights in 19 days: SFO–>Frankfurt–>Amsterdam–>Geneva–>Hamburg–>Geneva–>Washington Dulles–>Sao Paulo–>JFK–>SFO. Nearly 24,000 miles, a real butt-burner. Somewhere over the Atlantic between Switzerland and coastal US, I surpassed 50,000 miles on United this year, qualifying me for coveted Premier Executive status in their mileage program. Only mileage whores like me care about such things. I’m . . . CONTINUE READING: Continental Drift

ROVING CAMERA BLOG • Production • Tech

Taming the Wild Eyeline

If the eyes truly are the windows to the soul, don’t we want to see them when we ask someone to be thoughtful, frank, and honest? Don’t we want to look into their eyes – and have them look into ours – to see if they’re telling the truth?

When I’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 doesn’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 they’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 – subjective camera style – can be extremely disarming.

. . . CONTINUE READING: Taming the Wild Eyeline