The Academy of Television Arts & Sciences Foundation Presents



Who talked about this profession

John Bartley

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John Bartley on the importance of the camera operator (and other camera crew)
John Bartley on the responsibilities of a Director of Photography

Wade Bingham

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Wade Bingham on the job of a camera operator/cinematographer on a news program or documentary series

Haskell Boggs

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Haskell Boggs on new filming techniques that came about during the run of Bonanza
Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza
Haskell Boggs on acting as director of photography for the Bonanza episode "Bushwhacked," and on the importance of a director of photography knowing the script
Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza
Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set
Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope
Haskell Boggs on advice to aspiring directors of photography

George Spiro Dibie

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George Spiro Dibie on how being a gaffer helps cinematographers
George Spiro Dibie on making suggestions for D.P.s on various shows
George Spiro Dibie on telling actors to show audience 3/4 and not open up entirely - different from stage acting
George Spiro Dibie on the challenges of lighting women
George Spiro Dibie on the difference between cinematographer and director of photography

Gerald Perry Finnerman

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Gerald Finnerman on the role of a director of photography 
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek and on the challenges of lighting the interior
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
Gerald Perry Finnerman on being director of photography for Police Woman, being signed to work at Columbia Television and, working with different types of film stock
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
Gerald Perry Finnerman on the cinematographer's relationship with the director and what he looks for in a gaffer

Thomas Del Ruth

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Thomas Del Ruth on his style of communication and his early projects as a cameraman 
Thomas Del Ruth on what a director of photography does and working with directors
Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job
Thomas Del Ruth on his visual style 
Thomas Del Ruth on the most important developments in television cinematography 
Thomas Del Ruth on his advice to an aspiring cinematographer 

Joseph M. Wilcots

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Joseph M. Wilcots on the challenges of lighting Roots
Joseph M. Wilcots on depth of field and selective focus when shooting, and the use of filters
Joseph M. Wilcots on technological innovations during his career, and on working with a crew
Joseph M. Wilcots on advice to an aspiring cinematographer
Joseph M. Wilcots on his philosophy for dealing with crews and directors
Joseph M. Wilcots on his advice to aspiring Directors of Photography

Ben Wolf

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Ben Wolf on the role of a cinematographer in television
Ben Wolf on how the television cinematographer works with the lighting director
Ben Wolf on the television cinematographer working with the director
Ben Wolf on cinematographers working with assistant directors and stage managers
Ben Wolf on cinematographers establishing a look for a show with lighting directors
Ben Wolf on shot composition 
Ben Wolf on advice to someone starting out in the cinematography business
Ben Wolf on how cinematography has changed
Ben Wolf on then-recent technological developments for cameras and then-current cinematography