American Cinematographer - June 1995 - 99

daily reports as well as "live"
stand-ups, which for reasons of
convenience are actually often
taped.
That afternoon

Jeff

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running into the bureau. "You
have to leave right away!" With
no time to find a sound
person, I
grabbed the camera and tripod,
a
Lowel-light kit and an as¬
sortment of microphones, and
jumped into the back of their
Jeep. Jeff had to stay behind to

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coordinate a satellite transmis¬
sion of material to New York, so
it

just Charlayne and me and
young local translator named
Connie.
The driver sped along
was

a

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bumpy back streets for what
seemed like forever and everyone
very edgy. It turned out that
we were about to do an exclusive
interview with Evan Paul, the
was

mayor of Port au Prince, who at
that point had been in hiding for
the past three years and whose
whereabouts were a matter of

On the
of the
mayor's associates, who led us to
the mayor's hideaway, a fairly
opulent villa tucked away behind
locked gates, deep in the lush
green hills.

great secrecy and security.
way, we picked up one

It was,

of

cult shoot. Three

course, a

diffi¬

people had to be

miked, and the interview

was to
semi-outdoor
terrace at five o'clock in the after¬

be conducted

on a

the light was changing
continously. To make matters
worse, the mayor was very darknoon, as

skinned and the translator, who
had to sit next to him, was very

pale. I decided to place them both
in

a

shaded

corner

to minimize

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the changing color temperature,
and boosted the camera gain,
which raised the overall level and
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more detail to the dark
areas. As with much of this type
of shooting, to get it down on
tape at all is half the battle. As we
were
finishing the interview, a
crew from German TV
pulled
into the driveway. So much for
exclusives!
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American Cinematographer - June 1995

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