I spent three weeks on a documentary in a damp basement in Cardiff, surrounded by enough high-end glass to fund a small nation, only to realize we had shot ourselves into a corner. We had the most beautiful, sharp, sensor-crushing close-ups you’ve ever seen, but we had absolutely no way to bridge the gaps between…
I remember sitting in a dim corner of a studio in South London back in ’98, watching a director lose his mind because he’d spent four hours obsessing over a slow-motion gimbal move, only to realize he had nothing to cut to. He’d bought the most expensive lenses available, but he hadn’t actually thought about…
I spent three days on a documentary in the Highlands last year, filming a craftsman in a workshop where the light only hit the shavings on the floor for twenty minutes at noon. I shot hundreds of beautiful, slow-motion, shallow-depth-of-field shots of his hands, his tools, and the dust dancing in the air. They looked…
I spent three hours last week watching a kid on a YouTube tutorial explain how to set up an interview shot using a three-point lighting kit that cost more than my first car. He was talking about lumens, color temperatures, and sensor bit-depths like they were the magic ingredients, but he never once mentioned the…
Read More “Interview Framing: Eyeline First, Background Second” »
I spent three hours last week watching a kid on a forum argue that the secret to a professional look was a $4,000 cinema lens and a specific sensor readout. It’s the same nonsense I see every time someone asks how to interview someone on camera without it looking like a home movie. They think…
Read More “The Silence After the Answer Is Where the Answer Is” »
I remember a documentary shoot in a cramped kitchen in West Cork, ten years ago. The light was coming through a dirty window, barely enough to expose the sensor, but that wasn’t the problem. The problem was the subject—a man who looked at my lens like I was about to perform an unanesthetized dental extraction….
I remember a shoot in a damp basement outside of Bristol, twenty years ago, where the generator was coughing like a heavy smoker and the producer was vibrating with a level of anxiety that was actually making the light flicker. Everyone was looking for a new piece of software or a more sophisticated digital workflow…
I remember a shoot in a damp warehouse outside of Bristol, ten years ago, where we spent three hours arguing about whether we had enough bounce for a wide shot, only to realize the entire crew was standing in the wrong parking lot. We weren’t missing light; we were missing the basic coordination that tells…
Read More “A Call Sheet That Answers Questions Before They Are Asked” »
I remember a shoot in a cramped basement in South Wales—no grip truck, no gaffer, just me, a sound guy who looked like he’d rather be anywhere else, and a director who thought we could shoot a period piece with a single LED panel and a prayer. Everyone thinks the secret to success is a…
I once spent four hours sitting in a damp van outside a municipal building in South Wales, waiting for a permit clerk to sign a piece of paper that essentially meant I could stand on a sidewalk without being harassed. I had the right lenses, the right lighting plan, and a crew that was ready…