Frank Biondo on going to school for TV production
05:45
Frank Biondo on the types of cameras he worked with in TV production in the 1960s and working in early color television
02:53
Frank Biondo on the types of camera shots on Sesame Street Christmas specials and Sesame Street
06:11
Frank Biondo on what he enjoys about being a camera operator
01:47
Haskell Boggs on new filming techniques that came about during the run of Bonanza
01:14
Haskell Boggs on learning to deal with the smaller sized television screen during his time was director of photography on Bonanza
01:45
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
03:31
Haskell Boggs on dealing with the weather and daylight when working on location on Bonanza
01:49
Haskell Boggs on how cinematography techniques changed during his time on Bonanza and moving to the Warner Bros. set
01:23
Haskell Boggs on the differences between shooting for television and shooting features and on working with Bing Crosby and Bob Hope
02:57
Haskell Boggs on advice to aspiring directors of photography
02:21
Robert Caminiti on the difference between stage managing and being an assistant director
04:56
Robert Caminiti on assistant directors editing footage
01:14
Robert Caminiti on how technology has impacted Saturday Night Live and the job of assistant director
02:09
Robert Caminiti on advice for aspiring television production professionals
04:05
Robert Caminiti on advice for aspiring assistant directors
03:50
Charles Cappleman on his duties as a stage manager, and on working on Climax! and Playhouse 90
05:58
Charles Cappleman on his duties as assistant director of design and production operations at CBS in the 1960s
01:33
Charles Cappleman on managing the production electronics department at CBS
04:39
Charles Cappleman on the technological innovation he oversaw at CBS as manager of production electronics
01:50
Charles Cappleman on the role CBS executives like Frank Stanton played in technological innovation while he was manager of production electronic, and on its impact on news gathering
06:42
Charles Cappleman on how new technology impacted the CBS coverage of political conventions
05:07
Charles Cappleman on his duties as director of special projects at CBS
03:14
Charles Cappleman on his duties as director of program production services at CBS
01:32
Gerald Perry Finnerman on dealing with the color scheme on Star Trek, and on the visual style of the show
03:17
Gerald Perry Finnerman on making the Enterprise lurch forward or stop short on Star Trek, and on the challenges of lighting the interior
03:46
Gerald Perry Finnerman on the equipment used to shoot Star Trek, and on the special effects of the show
03:19
Gerald Perry Finnerman on dealing with the budgets of Star Trek as the cinematographer
00:58
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
09:05
Gerald Perry Finnerman on the challenges of doing cinematography for made-for-television movies
01:30
Gerald Perry Finnerman on filming the black and white Moonlighting episode "The Dream Sequence Always Rings Twice"
08:03
Gerald Perry Finnerman on the cinematographer's relationship with the director, and on what he looks for in a gaffer
04:20
Frank Inn on the keys to his success as an animal trainer
04:21
Frank Inn on advice to aspiring Hollywood animal trainers
01:35
Frank Inn on the specific talents an animal trainer must possess
05:50
Frank Inn on his technique training animals
02:43
Frank Inn on the difference between training male dogs and female dogs, and on his animals getting awards
01:31
Stewart MacGregory on the duties of a stage coordinator
04:22
Stewart MacGregory on how the advent of color affected his job as stage coordinator
03:51
Stewart MacGregory on the technical aspects of being a unit manager on Wide Wide World
05:32
Stewart MacGregory on the difference between a unit manager and a production manager
01:53
Barney McNulty on how he became involved with The Ed Wynn Show, where he first wrote out cue cards
05:48
Barney McNulty on the physical aspects of cue cards
05:26
Barney McNulty on the logistics of writing out cue cards and working with performers
02:28
Barney McNulty on dealing with emergency situations with cue cards and on the need to be quick on your feet
06:02
Barney McNulty on perfecting his cue card system over the years and on his competition
01:18
Barney McNulty on dealing with shadows from cue cards and getting actors to not look like they're looking at the cards
01:15
Barney McNulty on using shorthand on the cue cards or using key words
02:06
Barney McNulty on how he got his cue card assignments and on his cue card company Ad-Libs
04:19
Barney McNulty on cue card professionals dealing with censorship
01:24
Barney McNulty on working with actors reading cue cards, including an initially reluctant Bette Davis
02:55
Donald A. Morgan on becoming a lighting director under Tommy Schamp's tutelage on Another Day
01:15
Donald A. Morgan on what a lighting director is responsible for
01:40
Donald A. Morgan on what makes a good lighting setup
01:46
Donald A. Morgan on lighting and camera basics - differences between a pedastal and dolly setup
06:10
Donald A. Morgan on shooting on videotape and how that impacts lighting decisions
02:02
Donald A. Morgan on lighting different skin tones for television in the 1970s
04:12
Donald A. Morgan on learning from film cinematographers on films that shot on the KTTV lot during summers
03:00
Donald A. Morgan on how he became a director of photography
04:53
Donald A. Morgan on the responsibilities of a director of photography
06:22
Donald A. Morgan on calling cues
02:10
Donald A. Morgan on becoming a gaffer/electrician/lighting designer
01:14
Donald A. Morgan on lighting cars, and a memorable setup on Last Man Standing
03:46
Donald A. Morgan on working with a fifth camera, often a jib
02:04
Donald A. Morgan on working on multiple shows at once and how his weekly schedule is divided for prep and production
09:24
Donald A. Morgan on where he physically is during shooting
01:19
Donald A. Morgan on the crew that he oversees and who has to be where when
05:46
Donald A. Morgan on how involved he is with post-production and on working with a colorist
03:20
Donald A. Morgan on a cinematographer and a director of photography being the same role
02:22
Donald A. Morgan on a cinematographer and a director of photography being the same role
02:22
Donald A. Morgan on advice to aspiring cinematographers
00:36
Donald A. Morgan on cinematographers who have influenced or mentored him and on cinematographers he has mentored
02:41
Donald A. Morgan on loving the creativity he gets to have with his work
02:19
Donald A. Morgan on how cinematography for television has changed since he first started in the business
01:06
Donald A. Morgan on his work as a mentor
02:08
Donald A. Morgan on advice to aspiring cinematographers
00:37
Donald A. Morgan on his signature style
01:31
Hector Ramirez on being staff vs. a freelance camera operator
03:17
Hector Ramirez on how shooting in front of a live audience changes what was done in rehearsal
01:38
Hector Ramirez on his start as a camera operator for CBS
01:44
Hector Ramirez on qualities a good camera operator has
03:06
Hector Ramirez on what makes a good camera operator
01:36
Hector Ramirez on the elements of good composition and his visual style
03:04
Thomas Del Ruth on his style of communication and his early projects as a cameraman
01:50
Thomas Del Ruth on what a director of photography does and working with directors
04:41
Thomas Del Ruth on acting as director of photography on various made-for-television movies and on the technical aspects of the job
03:54
Thomas Del Ruth on his visual style
02:32
Thomas Del Ruth on the most important developments in television cinematography
01:40
Thomas Del Ruth on his advice to an aspiring cinematographer
02:26
Abby Singer on the duties of a unit production manager
03:36
Abby Singer on what makes a good production manager
02:38
Abby Singer on the main responsibilities of a production manager/executive, and a typical work week
02:41
Abby Singer on advice to people getting into production management and his influence in the business
02:02
James Wall on being the first African-American stage manager on Broadway
03:46
James Wall on the basic role of a stage manager for television
03:03
James Wall on the importance of collaborating with the director as a television stage manager
11:07
James Wall on how television stage managers are assigned jobs
03:02
James Wall on how a stage manager is different from an assistant director in television
01:36
James Wall on advice to a young television stage manager
01:31
James Wall on how Vaudeville, nightclubs, and the Army prepared him to be a television stage manager
03:41
Joseph M. Wilcots on the challenges of lighting Roots
03:53
Joseph M. Wilcots on depth of field and selective focus when shooting; on the use of filters
05:47
Joseph M. Wilcots on technological innovations during his career and on working with a crew
05:46
Joseph M. Wilcots on advice to an aspiring cinematographer
01:04
Joseph M. Wilcots on becoming the first Black member of the cinematographers union
04:09
Joseph M. Wilcots on the cinematographers union not being quick to welcome Black members
06:05
Ben Wolf on how the television cinematographer works with the lighting director
01:55
Ben Wolf on advice to someone starting out in the cinematography business
02:32
Ben Wolf on how cinematography has changed
01:42
Ben Wolf on then-recent technological developments for cameras and then-current cinematography
02:16
Ben Wolf on the role of a cinematographer in television
05:06
Ben Wolf on the television cinematographer working with the director
03:37
Ben Wolf on cinematographers working with assistant directors and stage managers
02:27
Ben Wolf on cinematographers establishing a look for a show with lighting directors
02:19
Ben Wolf on shot composition
02:44
