Shooting handheld for documentary, commercial, musical, and even dramatic films can challenge, vex, frustrate, exhaust, and exhilarate—often all at once. Handholding the camera lets you improvise angles quickly, stick the camera in places a tripod can’t reach, or float with innovative, flowing moves difficult to duplicate from a dolly. And if you’re tall like me, throwing the camera on your shoulder enables you to see over crowds at news events, rallies, shows, and parties.
The first movies were filmed from tripods and later from rolling dollies. . . . CONTINUE READING: Handy-Looky: Shooting from the Hip … and the Shoulder
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?
Bill Clinton reveals that he is more idealistic about the presidency now than when he took office, . . . CONTINUE READING: Polishing the Talking Head: The West Wing Documentary Special