My life has become a reality show. When I am home, people are climbing trees with cameras. I feel that my personal space is being encroached upon. I will try and protect it as much as I can.
Motion capture is amazing. I prefer it. You wear a ‘Power Ranger’-esque suit, you have tape balls on you, you have 60 cameras around you capturing your every movement and there’s no hair, no makeup.
Just remember, in 1973, we had no digital cameras, no personal computers, no Internet. The thought of putting a billion transistors in a cell phone was ludicrous.
Happy Days, which we did for 11 years, we did with three cameras in front of a live audience. Very special. We had a party every Friday night. The boys, Ron, Henry, they grew up on that show.
We need not wait for further, well-placed home video cameras to see that low-intensity warfare is being waged against low-income minorities. We need only listen to the voices of the poor; they can testify that they are dehumanized, disparaged, and despised by the police.
We have experienced an utter explosion in investigative techniques. Walk the streets, look at the cameras! They are now recognising people automatically from photos; we have DNA fingerprinting, infrascan photos that can identify you from the veins in your face.
If you take the cameras out of the courtroom, then you hide a certain measure of truth from the public.
I think the biggest challenge we faced in making ‘The September Issue’ was the fact that people in the fashion world are very suspicious of cameras. They’re used to a camera being the enemy, something that is prying and looking to catch you in a compromising position, something that’s judging you.
Long before the arrival of reality TV – before speed cameras, before recording angels on buses and lampposts – I felt I was living in a country that already knew how to watch itself. It was journalism that held the responsibility for seeing who we were and noticing what we did.
It’s a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the ’70s they were heavy metal.
A friend is someone you can trust who isn’t just your friend when the cameras are rolling or when you’re successful.
We’re all bloggers and punks and rebels with cameras. There is absolutely no respect for career journalists anymore.
We had the guys from X Men 2 do the cameras. They had a 360 camera that would go from one car, up in the air and over to another car in a continuous shot while the film was still rolling, going 90 mph.
The first time I went to Taiwan, there were cameras, paparazzi, TV stations outside my hotel twenty-four hours a day nonstop.
It’s usually when the cameras leave that the support leaves as well.
After having done this whole slew of press for ‘Big Love’, now I’ll have anxiety dreams for like a week and a half about all the stupid things I said. I can’t even imagine being in front of the cameras all the time. I had a weird dream the other night that I was on ‘Jersey Shore.’
Most of the planet’s terrestrial surfaces are visually accessible through video cameras and satellite imagery, if not physically within reach. Even the approaches to Mount Everest are now littered with human debris. One can drive to Timbuktu, which for centuries was synonymous with inaccessibility.
The things I do, I do for me, not for no publicity stunt or cameras or whatever.
How can a society that exists on instant mashed potatoes, packaged cake mixes, frozen dinners, and instant cameras teach patience to its young?
Often the last thing I want to do is stand up in front of 50 cameras on the red carpet. I’d rather have a cup of hot milk and an early night.
What you don’t see are the cameras shoved in my face and the bizarre intrusive questions being asked, or the people falling over themselves, screaming and taunting to get a reaction.
One of the phenomenons of American political life is that it all stops one day. One day, you’ve got 200 reporters and cameras, and everybody is hanging on you. And three days later, you’re alone. And it’s quite a transition.
I like quiet. No television cameras. I’m not the Hollywood type.
Unfortunately, too many public school officials believe that cameras are needed to enforce order and discipline.
With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.
I’m very interested in directing actors – many directors direct cameras.
There’s a large percentage of mobile phones that now have a camera that’s with you a lot of the time, and there’s a lot of interest around those cameras as a data collection mechanism.
The AP has only so many reporters, and CNN only has so many cameras, but we’ve got a world full of people with digital cameras and Internet access.
It’s great to have a good relationship with the directors and learn about things you do with cameras, and how you direct.
I don’t use film cameras. I don’t do visual effects the same way. We don’t use miniature models; it’s all CG now, creating worlds in CG. It’s a completely different toolset. But the rules of storytelling are the same.
I don’t want to sound too critical, but a lot of fans at some grounds I go to have got cameras in their hands, taking pictures of anything rather than generating any atmosphere during the game.
I’m ridiculously fortunate to get a chance to experience the sitcom world. The schedule is extremely easy, and you get fed as an artist because you’re not only working on a project, but you get to work with cameras, and you get the audience there.
It’s all performance and my acting background made me very comfortable in front of people, in front of cameras. It helped me think on my feet in front of a crowd.
I think cameras should be in the courtroom, but they need to be managed properly. You need a judge to hold the line.
I’ve just been on a German TV show called ‘Come Back’, a bit like ‘Reborn In The USA’, and the pressure of being scrutinised all the time by cameras has made me very self-conscious.
I have developed my eye as a cinematographer through the craft of operating. When I am not operating, I am often anxious, uncertain, restless, sometimes irritable. When I am in the position of working with Steadicam or remote cameras, I fly with a broken wing.
When Jimmie Johnson goes out early and finishes 35th, as he did Sunday, he can look at the cameras, lament about it being a tough day, and then say, ‘We’ll just try to get them next week at Darlington.’
No matter how much you rehearse on that stage, once you add 30,000 screaming people with flashing cameras into the equation, it’s pretty intense.
I’m in front of cameras a lot; I’m used to it.
In the beginning, my equipment, I would rent them from teamster-types, really. I don’t know where they got the cameras – I think from the TV stations. But I don’t know if they asked the TV stations.
I just do me, honestly, I do me. It don’t matter if the cameras are there or not, I’d be doing the same thing.
We had two cameras, so they could turn it on and shoot as much as we wanted. You don’t have to worry about wasting money on film. A lot more takes are possible.
There’s something really magical about trying to see things in new ways that go beyond, in some sense, the biological human experience. Light-field photography, too, goes beyond the human experience because our eyes work like conventional cameras.
What does it tell you that applications for guns since the shooting are up 41 percent in Colorado, and that our cameras found about 50 people in line at one gun shop yesterday outside Denver?
Technology has already opened the door a bit wider for filmmakers, with smaller digital cameras making production less cumbersome. Social media is allowing self-distribution, and girl groups like Spark Summit are leading the way in calling for fewer Photoshop image alterations of girls in print media.
Joanna points her camera at a section of society unused to having cameras pointed at it. But I don’t know about categorizing them in terms of class; I’m a bit wary of that. My dad is the son of a shipbuilder.
From analog film cameras to digital cameras to iPhone cameras, it has become progressively easier to take and store photographs. Today, we don’t even think twice about snapping a shot.
I hate cameras. They interfere, they’re always in the way. I wish: if I could work with my eyes alone.
Funny is funny, whether you have three cameras or one.
I think there are two different types of people in television. There are people who can turn it on like a switch when the cameras go on, and then, when the cameras go off, they kind of lower it down a little bit. And then there are people who are on all the time, no matter if the cameras are there or not.
You see, one of the things about being a Housewife, and a New Jersey Housewife in particular, is that most of the drama seems to happen behind the scenes when the cameras aren’t around.
I was partnered with the singer Drew Lachey of the popular group 98 Degrees. Drew and I complemented each other with our strengths. I was good at dancing and teaching dance, and he was a good student and a natural-born ham for the cameras.
The better players need to be out there in front of a big crowd, the TV cameras, with the adrenaline going. That is a test for any player to be able to do it on the big stage.
