AFFORDABLE TV CAMERAS CASE STUDY
I have permanent loss of feeling on a few of my fingertips due to repetitive frost nip, and I’m still working on finding the perfect glove combination for operating! “With respect to Hunted , as the camera, you really feel part of the game. Your heart is pounding every time a car drives past, or you get on and off public transport, knowing the Hunters might be waiting for you. You need to have the camera up, but cannot draw attention to the fugitive. It’s a fine line between being amongst the action, and blending into the background. It’s not until you’re involved in an experience like this that you realise how vulnerable you are – CCTV, ANPR, phone calls, cash point transactions – everything can pinpoint your position in seconds. “On top of the constant state of paranoia, the fugitives have no food, no water and nowhere to sleep. It’s an exhausting process to witness, and capturing those moments is key. I’ve been lucky enough to film some incredible programmes in amazing locations, but the buzz of following the fugitives on Hunted is right up there.”
were constantly talking with them and encouraging them to be vocal with their thought processes. Luckily I was with a father-and-son team so there was lots of natural conversation. They generated great content, both with visuals and sync.” In terms of shooting style, Hunted has a particular ‘look’, which adds to the energy of the show and the sense of it being filmed in an uncontrolled, live environment. This includes shots that wouldn’t be acceptable on other shows, such as out-of-focus scenes, rain on the lens and not having a direct line of sight. These are all part and parcel of the shooting conditions and all, luckily, work very well on screen. “It was a very exciting process to be involved in,” confirms Anna, “and it’s a unique experience. When the production companies crew for these kinds of shows they know what kind of people they are looking for. You have to be fit, alert, and resilient to filming in conditions that other people may not be able to withstand. The desert and Arctic shoots I’ve done have been particularly difficult: for example,
ABOVE Anna also has experience of using high-end cameras such as the ARRI ALEXA.
More information Jon Shepley: www.creokinetics.com
SUMMER 2018 PRO MOVIEMAKER
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