Nurses face traumatic situations on a daily basis. So it’s no surprise that many of them suffer from post-traumatic stress disorder. This is a problem that lurks in the shadows and it’s time that it’s brought into the light. Here are the powerful stories of just a few of the nurses who have been affected. To note, we used an EyeDirect, so that the story could be told directly into the lens, without compromising the connection. ~ Tripwire Media Group Inc.
Director: Jeremy Warshaw
DP: Shane Kelly
Client: Colorado Foreclosure Hotline
Shoot Location: Denver, CO
Shot with an EyeDirect.
Part of a series of HP attached services sales accelerator videos shown at RockOn 2013. ~emotion studios
“The project is going great. We shot about 35 stories all over the world with the EyeDirect and they look gorgeous! The good news is that Ms. Winfrey LOVES what she is seeing, so I think the series will hit big. Fingers crossed. Thanks for your continued help and support. The EyeDirect style and technology has been key to the look of our series and you have been so wonderful.” The Producers at Part 2 Pictures.
About the documentary – Oprah Winfrey presents “Belief,” a groundbreaking television event exploring humankind’s ongoing search to connect with something greater than ourselves. This original, seven-part series allows viewers to witness some of the world’s most fascinating beliefs through the eyes of the believer. Journeying to the far reaches of world, and inside places cameras have rarely been, the real stars of this special are the seven billion people here on earth whose ability to believe in things they cannot see, touch or smell, provides comfort, healing and a sense of purpose.
Shot on Blackmagic URSA Mini 4K with Leica 35mm f1.4 Summilux-R and EyeDirect
Directed, shot, and edited by Peter Furia
The Documentary Group used EyeDirect for eye contact with TV stars, producers, and writers in interviews for the series “America in Primetime” on PBS.
This six-part series is the epic story behind food and how it made us “us.” The producers used a common 2-camera technique, starting with a 1/4 side-angle on a closeup for a few seconds, then cutting to a wider eye-contact shot obtained with EyeDirect.
“The EyeDirect offers us something that any amount of preparation can’t guarantee; an authentic, direct connection from our subjects, delivered straight down the barrel of the lens.
Variable specializes in commercial and documentary work dealing primarily with real people and real stories. A big part of our creative and production process revolves around building strong relationships with our subjects since we always strive for authenticity within our body of work. What we have learned over the years is that no matter how well you know your subject, in most cases they will still have a difficult time opening up and maintaining a consistent eye-line when cameras and lights are present. This is where the EyeDirect comes into play for us.
“This is absolutely ideal for anyone dealing with informative content since the subjects focus is directly on the viewer without any distractions. No matter the shooting circumstances, the result we continually achieve is an interview that feels organic, conversational, and most importantly, real. We’ve been using the EyeDirect for the last few years, and it’s hard to imagine shooting an informative interview without it. The EyeDirect played immensely in our benefit while shooting a recent short documentary for ESPN entitled “No Quit.”” – Tyler Ginter, Creative Producer, Variable, New York
“I knew that I needed to connect with my “non-actor” crew, who were all actual members of The Boys and Girls Club of Metro Denver for our dramatic video, and I turned to EyeDirect. I called Steve McWilliams, and through our conversation I knew his invention was what we needed. ACamera in Denver supplied the rental and we hooked it up to our Sony F55 and just rolled. We captured in 4K so we set a master shot with the 85 Ultra Prime and let the editor push in for close ups in post. He could push in 200%. That reduced a lot of zoom in/out commotion on the set. My actors felt at ease seeing my face in lens, just like we’d been rehearsing. Frankly, without this device, my kids would have been lost on the first set of their young lives staring into a black void. With it they had a friend in the lens and we just tuned into each other. The results were spectacular.” Bob Carmichael, Director
“Couldn’t have done it without your equipment”, @Efranfilms (via Twitter)