Bill Zarchy

‘Wrecks and Pissers’ Wins Travel Writing Award

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Winners of the Fifth Annual Solas Awards for Best Travel Story of the Year were announced February 28 on BestTravelWriting.com, by the editors of Travelers’ Tales.

I’m pleased that my story “Wrecks and Pissers: The Bombay-Pune Road” has won a Bronze Certificate in the category “Destination: The best story about a place that captures its essence and reveals its attractions, making the reader want to go there.”

“Wrecks” is a funny story about my travels in India a few years ago. It certainly captures some of India’s essence. I’m not sure it makes you want to go there, but who am I to quibble? You be the judge.

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Dragon’s Cheeseball Rig

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A cheeseball rig is a setup where necessity spawns bizarre offspring, where crewmembers put the gear together in a new and odd way, often because of a missing item, which would have made life much simpler. Like the NASA guys ingeniously kluging together an improved air scrubber on Apollo 13, using only materials on hand … duct tape, baling wire, paper clips. Innovation in the face of adversity.

Most of all, it has to be funky.

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Production APPtitude: Sun Seeker

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This is the first in a series of posts about useful iPhone apps for film and video production. In the past few months, during my shoots overseas, I have been confronted by producers, crew members, drivers, waiters, and ordinary folks on the street, using iPhones for texting, tweeting, gaming, emailing, translating, navigating, Facebooking, computing currencies,

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Around the World in 11 Days: Epilogue

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On our way back to the hotel after the shoot at the Karaoke club, Richard spontaneously has our driver pull the gigantic van over, right in the middle of Shibuya Square, the famed, neon-crazy crossing in the heart of Tokyo, through which nearly a million people pass every day.

We hop out into the mob scene on the sidewalk, shooting pictures and video and gaping at thecrowds. Randy climbs the built-in ladder on the gigantic van to a flat platform on the roof and shoots the huge video billboards, ads for pop stars, flashing lights, car traffic, and human flow with his Sony EX3.

We remain parked there for at least half an hour, with no permission, no permits, no pesky police presence threatening us, issuing citations, or even politely asking us to move.

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Around the World in 11 Days: Part 3

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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.

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Eerie Times at USP

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In Brazil, our story was based in Ribeirao Preto, (pronounced something like “HEE-bay-roan PRAY-toe,” though all Brazilians laughed at our attempts to say it) a city of a half million, three or four hours inland from Sao Paulo. Our final shoot was at the local campus of the Universidade de Sao Paulo. In search of

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Continental Drift

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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

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Taming the Wild Eyeline

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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.

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Shooting into the Void: PBS Science Series “Closer to Truth”

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Presidents and paupers, musicians and moviemakers, actors and athletes, writers and regular Joes: I’ve shot hundreds and hundreds of interviews, perhaps thousands, sometimes 25 or more in a single day. But shooting for “Closer to Truth,” the PBS science series on “Cosmos, Consciousness, and God,” 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, there’s nowhere to place stands for backlights. And front light just won’t do: flat and boring, out of the question.

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Monument

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In a corner of my back yard, surrounded by drop cloths, my heavy pink rubber gloves caked in caustic, brownish gunk, I gingerly brushed paint remover on an old metal file cabinet, then scraped off layers of paint. From time to time, I cursed bitterly after inadvertently touching a bare elbow or exposed knee to

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Murse Gone Missing

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Sometimes the road home is paved with obstacles. I got out of Glen’s car in front of my hotel after a massive dose of Southern cooking, stretched, admired the alabaster dome of the U.S. Capitol in the distance, and waved goodbye as he drove off. An instant later, my heart sank as I realized I

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Living in Oblivion: On Creating, then Destroying Your Original Video Media

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Preserving the sanctity of 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

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The Bus to Maitencillo

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Christmas Eve on the other side of the planet, and we had just missed our bus. Raw chicken was thawing in my backpack as we trudged along la Alameda in Santiago’s 85-degree heat, through throngs of late shoppers and sidewalk vendors, from one bus station to another. Susan and I were visiting our son Danny,

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Polishing the Talking Head: The West Wing Documentary Special

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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 moiré pattern on his tie?

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