TL: But the world of TV News is more about getting the shot, rather than being cinematic because you just don’t have time, right?
CC: The television news is a brutal business. Its tight deadlines and limited resources make it very difficult to shoot beautiful images. Most of the time, you are by yourself and have to manage every aspect of shooting without a lot of set-up time. We don't get to site survey, so we don't know what we're going into. We don't get the seven, eight hours to set up that you might have in film. Sometimes, it can be an hour or hour-and-a-half. So we just solve the problem on the move.
For example, on a movie set, even though there are many lights out there, they're usually all motivated lights. They're usually all coming from a window or coming from under a door, where that light could normally be coming in. You don't normally see that in television news. They put up lights and they're not motivated lights. A lot of times, they'll just blast the light on somebody and just get them on television.
TL: Your work always looks incredible. Can you talk about your process for going on-site and getting that perfect interview set up?
CC: You have to improvise! You cannot just use the gear that is given to you by the news engineering team. I use stuff that I own and mix it in. Because I want to brand a certain look when it comes to my work. Usually, when we go into a location, whether it is a site survey or the day of shooting, the first thing I'm looking for is the size in my role. The reason being is I want as much depth in my shots and my singles as I can get. I'm not so much worried about what's in the background as long as I can get the space. So that's the first thing I'm looking for is depth. Then, I think about what I can put in backgrounds, especially color. I try to shoot as shallow as possible.
And here is one of the main reasons why I love Sony, the autofocus of the cinema line. It's like made right for me and what I tried to accomplish.