The goal was to seek out a new look, different from "48".

The three hours were produce with separate groups of field producers, with common Ex Prod, Sr. Prod.

The three hours were DP'd by three different operators, with contributions from other DP's and possibly other cameras ie HDX 900

Show 1 "Busby" DP Ron Hill/Panasonic Varicam

Show 2 "Rivers Edge" DP Dennis Dillon/Sony PDW-700/PMW-EX1

* Ending was a Panasonic HDX 900 DP Rob Fortunato .

Show 3 "Black Wave" DP John DeTarsio/Sony HDCAM 900/EX1 Underwater

When I got the call for show 2, shows 1 and 3 were already in production and I had the advantage of seeing what the Sr. Producer along with Ron and John had started. I was asked to provide a third look. All color pallets were decided before hand and maintained throughout. J peg dailies were sent to the editor every night and conferenced.

Standard HD zoom lens on show 1, and combo HD zoom and digi primes on show 3. For "Rivers Edge" #2, I chose the DOF path. Pro 35/Zeiss cine primes/Letus/Zeiss. Note, there may be other lensing above, but these were the main picks.

Shows 1 and 3 used an "interrotron" system. 2 prompters.

After some research I chose the "Eyeliner" System. Much more intimate. Less set up. Shows 1/3 adapted to the "Eyeliner".

Shows 1/3 had the Interrtron on a dolly. I kept the "eyeliner" fixed, and added the dolly shot (45 degree 3 sections), and third camera 60-70 degrees off too the lead side.

The pace was something of a dream come true. We sent out the first run, and NY/editor said yes, stay with it. BTW the Sr Editor was Michael McHugh. I owe him many beers.

Thank you for the kudos.

Dennis Dillon

PS. The feel good ending was shot by Rob Fortunato. Rob, you are the best. I'LL CARRY YOUR STICKS ANYTIME. Bob Eyers was the second DP on all the interviews. Bob, Thank you again.