"Outside it's a bit of a struggle to make High-Definition work. Contrast becomes a problem. You're dealing with videotape, which doesn't have the latitude of film. As long as we were off bright stuff, it worked very well. Inside, because they live in an apartment and the window is very important, we would always have to ride the dimmers on the lights from the window and raise the lights in the room to bring them into an acceptable range for the camera."
"When working in High-Definition or any electronic medium, being able to decrease the amount of depth of field helps a lot with the look. So we shot everything wide open and I put everything on the longest possible lens that I could. The problem of working in the confined space we had is always trying to put the camera back far enough so that I could compress the background against the subject enough to lose that depth of field that video wants to give me. That was an issue in terms of creating a look."
"Another thing that bothers me about High-Definition is all the cables that are connected to the camera. I can't move around as much as I want to. There's a lot of technology that delays the situation. Everything is being fixed all day long. But I think a lot of it has to do with people not being that familiar with the medium. It's the kind of medium that people are still working bugs out of. And there is no state of the art in video. As soon as you learn one electronic medium something else comes up, so it never gets a chance to truly arrive."
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