It was rough having my body develop, fluctuate and become fleshier in front of the ‘Popworld’ cameras.
When I walked outside of my room for the first time since being placed into self-isolation for breaking the Covid-19 protocols, I heard the cameras clicking with every single step I took. The whole spectacle made me feel uneasy.
It’s impossible to make dancing really effective on TV. The screen is too small, and the cameras can’t move fast enough to get the right angles.
For the most part, we’ve moved past the awkward-for-everyone period of food bloggers toting giant DSLR cameras and flash kits in restaurants, but that’s been replaced by almost everyone armed with a phone stopping to immortalise their breakfast.
It’s a different world now. You look out there and you can see so many people filming with their cameras nowadays. I can go on YouTube and see last night’s show if I want to. It’s out there.
I can’t specify this enough: when cameras go on, everybody wanna be big and tough. You’re not like that in real life.
It’s about how much hard work you put in and who works harder – that’s who wins the fights. The fight itself, when the cameras are there, that’s your chance to show off and say, ‘You millions of people around the world watching this, look what I can do!’
Nick and Nate Diaz. We’re different people, we have different personalities. But I have mad respect for them because that is them. That is Nick and Nate being themselves and not putting on a front. Not acting differently when the cameras on than when the cameras off. I got a lot of respect for Nick and Nate for that reason.
On ‘The City,’ I allowed the cameras more into my life and I ended up exactly where I was meant to be.
When ‘Nil By Mouth’ was released, people thought that’s what we were actually like, that they’d put me and Ray in front of the cameras and filmed what came out. No acting involved.
I can look around a room and tell you if there are hidden cameras or not.
Much like the death sentence, I believe, hidden cameras should be used in the ‘rarest of rare’ cases.
Walking down the red carpet, suddenly I felt very special and different. All the flashlights from cameras and requesting voices from the media, the scene, it was just like what I remembered seeing on TV or a movie when I was a little girl – the scene only when movie stars appeared.
In the normal course of things, journalists want their story, and as soon as they are through with it, they pack their cameras and go. That was never the impression that David Astor gave when you were interviewed by him. It was far deeper than that.
I guess it turns out choosing your life partner from a group of men trying to get their break in show business by sitting around shirtless in a swimming pool while cameras watch around the clock isn’t the path to a soulmate after all.
People who have expertise or the luck to have rehearsal time with cameras have it over people who don’t.
You know, I do music. If you look under the hood of the industry I’m in, it’s all based on technology. From radio to phonographs to CDs, it’s all technology. Microphones, reel-to-reels, cameras, editing, chips, it’s all technology.
I was lucky enough to go to an all-boys prep school in upstate New York that had a film program, so we had access to 16mm Bolex cameras, Nagra sound recorders, Arriflex cameras. We even had an Oxberry animation stand!
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.
I certainly think cameras ought to be in courtrooms.
I think cameras ought to be everywhere the reporters are allowed to go. I think, furthermore, reporters and cameras ought to be everywhere that the Constitution says the public can go.
Diving has been in the game for years. Probably the coverage the game gets now, with all the cameras around, it gets highlighted a bit more. But it hasn’t got any worse.
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.
We shot ‘Breaking Bad’ on film; we capture ‘Better Call Saul’ digitally. In the shooting of ‘Breaking Bad,’ we would have this steady, handheld, cinema verite sort of look, so we purposely went the opposite way with ‘Better Call Saul’ – locked in the cameras and made the movements smoother and more mechanical.
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