Every industry has standards. For example, the motion picture camera, there are 2 or 3 film formats with a number of brackets and number of speed, a shooting speed that is standard. If we didn't have that, then some motion pictures will play back too slowly, and people would talk very slowly, and it will be bizarre.
To not be self-conscious of your appearance is huge, and something that I desperately hope to carry into film at some point in my useless life - to not be thinking, 'My ear looks weird from this angle, why is the camera over there?'
When you work with kids, especially, you want to be ready to turn the camera on at a moment's notice.
I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.
I just want to see more women in film and behind the camera. I'm tired of seeing movies from one perspective.
I like to be on set and see what the camera guys are up to. I like to see all the jobs that come together to make the thing you are also making.
I can't sit on my bum very long in a movie theater seat, and when I'm directing, I always want to move the camera or edit.
I'm used to having a camera in my face but not a camera following me.
I really don't act. I just live what George and I are doing. It has to make some sort of sense to me, or it won't ring true. No matter what the script says, there's no audience and no footlights and no camera for me. There's no make-believe. It's for real.
I don't want to do anything that puts my team members, my camera people or producers, in danger, so it's an ongoing dialogue on all the stories that we do.
I want to be a Kid Reporter because I would like to meet interesting people, and I also love being in front of the camera! As a Kid Reporter, I would love to learn how to be a better writer and interview people.
The day you see a camera come into our courtroom, it's going to roll over my dead body.
Finding where to put the camera is probably the most important thing you have to learn when you're a young director, and it's something that's a mixture of instinct and technique.
I choose things that challenge me. I was afraid of the camera - that's why I chose to do 'Private Practice.' It's not like I left the theater.
If you can show something as complicated as two people falling in love with just music and camera angles, well, just think about what you can do with football.
I grew up loving films and making stupid movies with a good friend of mine, who now actually has a career in a really prominent special effects house, so he's still doing it. We just started messing around with a camera.
In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.
I come from Venezuela, from the independent film arena, and you work with one camera.
Some directors are interested in acting, and others are only interested in cranes and moving the camera.
The big challenge is looking ripped and lean without being too big because on camera, it's easy to appear thick.
My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
I know how to tell a story to a thousand people. Sometimes I don't know how to tell a story to a piece of tape on a wall and a camera.
On stage you can get away with a lot more in the sense of emotion and truthfulness. But the camera is the eye of God. It sees everything.
As a person, I am someone who wants to give my the best in every take. I wouldn't say it was easy for me to get into the industry because I come from a background where no one has been in films. But I do believe if you work hard, you will get noticed. Modeling gave me that courage to stand in front of the camera.
The common ancient ancestor of mulluses and chordates could not possibly have possessed a camera eye, so quite clearly they have evolved independently. The solution has been arrived at by completely different routes.
I'm comfortable in front of the camera, but I can't act.
I think most actors jump at the chance to do something where the camera's on them all the time.
When I had my first camera - I was a child of the '80s. I remember what it was like reusing the same tapes over and over again, and having really bad quality and images kind of bubbling up from under the surface.
Yeah, I kind of grew up in front of the camera: I started modeling when I was two.
I actually hate reality TV! I know people love it, but when I watch, I'm analytical, and I'm like, 'This can't be real because of the camera position! And I see the cuts!'
I love the camera; there's something very special and sensual about it, and I have a tendency to call it a he, like it was a man. But, unlike a man, a camera is accepting of everything I do.
Fog is my weakness, and every time there is low fog, I am out and about with my camera.
I think that I need to work on being comfortable at being normal, everyday-ish on camera.
I was very camera shy. People like hot girls, so I put my music to hot girls and it just became a trend. The whole 'enigmatic artist' thing, I just ran with it. No one could find pictures of me.
I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.
Amazon is pursuing something called Amazon Key, which lets its couriers unlock Prime customers' doors and deliver packages. It's pairing the service, which it plans to make available in 37 cities next month, with a camera so users will have intelligence inside and outside their homes, presumably boosting trust and lowering creepiness.
