Perspective Changes When Camera-to-Subject Distance Changes
CHAPTER 26 ADVANCED CAMERAS AND CAMERA EQUIPMENT
Digital Sampling on Recording Media
Recording Format and Load Time
Codecs for Picture Compression
Adapting to Location Exigencies
Camera as Instrument of Revelation
People and Equipment Maintenance
CHAPTER 27 ADVANCED LOCATION SOUND
Shooting Single or Double System
Using the Camcorder to Record Sound
CHAPTER 28 ORGANIZATION, CREW, AND PROCEDURES
Self-Image and Self-Consciousness
“Doesn’t the Camera Change People?”
Camera Issues and Point of View
Motivation for Camera Positioning and Camera Movement
Multiple Angles on the Same Action
Subjectivity Versus Objectivity
Handheld or Tripod-Mounted Camera?
Scene Breakdown and Crib Notes
Eyeline Shifts and Motivating Cutaways
Cover Alternative Versions of Issues
CHAPTER 30 CONDUCTING AND SHOOTING INTERVIEWS
Initial Interviewing During Research
Establish Your Right to Interrupt
Camera and Editing Considerations
Interviewer and Camera Placement
Preparing to Edit Out the Interviewer
Maintain Eye Contact and Give Behavioral Feedback
Going Where Angels Fear to Tread
Don’t Catch Them When They Fall
This part looks into the uses of lenses in relation to the perception of space and perspective, which along with image texture has much to do with the look and impact of photography. There is more of the information a director must know on advanced cameras and sound gear, although more elaborate equipment often means that you direct specialists using it, rather than shooting yourself. There is information on the extra personnel in a larger unit and tips on leadership. Because a director must know how to provide the support and challenges and catalyze telling scenes for the screen, there is a comparison between the psychology of acting and that of being a documentary participant. There is information on coverage and shooting with editing in mind. Most importantly, there is a long chapter on interviewing, such an important part of opening people’s stories to the audience.