Camera Setup Quotes

When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.

Be sure to take the lens cap off before photographing.

In filming, you're waiting - you're waiting for lights, you're waiting for people to set things up - and when you're not waiting, you're repeating.

When I did that first movie, it was the introduction to all the set-up time and the waiting time that's endemic in motion pictures, and the repetition.

I can't do a one-camera show. I don't know how to do that kind of show where you count in your head and then you do the next line.

The cameras were a little twitchy, and you'd get less footage and less set-ups every day. The interesting thing about it was that you just composed images in a completely different way because we had big 3D monitors on set, and you'd wear the glasses and see the image in 3D.

When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.

I come from Venezuela, from the independent film arena, and you work with one camera.

Single-camera is more relentless because it's eight 14-hour days no matter how you slice it.

Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.

To me, a multi-cam is just like the feeling you get from the audience.

The difference between a regular camera and a 3D camera, for an actor, is really no different except that the turn-arounds are longer. It takes a lot longer to set up a shot because the cinematographer is really trying to set up a whole world, so it can't be more intricate and more beautiful to the viewers, in 3D.

We build camera rigs tailored specifically to the story we're trying to tell or the shot we're trying to capture.

The job is exactly the same, it just goes on for longer on TV. Most feature films are 35-40 shooting days. This has 10 parts, with different directors for each block. We shoot with two, sometimes three cameras.

Well, that was certainly - to me, until we could film in Charles' room, I didn't even want to bother filming anything else. And in fact, I did hold off and that was the first thing we filmed.

The learning curve on soaps is through the roof because it's a three-camera setup. There's a master and then there's two singles. And the great thing about soaps, and soap actors will tell you, is that when you get your line wrong, they don't re-shoot it. They just cut to the person listening.

I put the cameras on her and told her to be obnoxious as she could possibly could be. She was.

When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.

I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.

If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.

If you've got five cameras, you're making sure that you're in the right position for each one of the cameras.

Any time you do opposing camera angles, there's gonna be some compromise in the lighting.