Sony's F65 camera was brand new when seasoned cinematographer Michael Goi, A.S.C. decided to be the first to use it to shoot for television: the pilot of the NBC comedy hit The New Normal. A past president of the American Society of Cinematographers, Michael's other recent projects include Glee and the first two seasons of American Horror Story, the second of which will begin airing Wednesday, October 17 -- and which Michael is shooting on 35mm film.
"Every format opens up its own creative possibilities," he says, and as much as he enjoys working digitally when the project calls for it, there are aspects of film-based workflows that he still prefers. "I prefer to work with a dailies timer as opposed to a 'lab-in-a-box' approach. I have always been most comfortable with having another pair of eyes in the dailies timing room on the footage that have been shot. I'm the kind of person who likes to go in at 2 am and sit down with the dailies timer and talk about the footage and the artistic objectives."
Michael also talks about the ways that camera choices affect the entire set, -- and not just the shooting crew -- and how all of that filters into post. Insights abound in this exclusive conversation with Creative COW from one of the industry's most respected cinematographers.