Lorrie’s often on hand when I’m doing these crazy things. She’s the designated video pro. She knows what’s going on and sees the stuff I can’t. But I’m always a little surprised by what she’s captured. Herewith are some examples.
Be sure to watch: The Butcher, Baker: Mind of a Monster on Investigation Discovery, September 2, 2020, 9pm/8 Central.
Her first video shows me being interviewed. Well, it starts out like that. Slowly, but surely, the camera pans to the right because Lorrie wants to capture something else. It’s just after 12:30 pm, March 8, 2019. Not a day I’d normally associate with weather disturbances. Whatever. No big deal. Except… all the heat was off, because the blowers made too much noise. So yeah, we were starting to get cold. Should’ve known…
And then, just like that, it was done. The snow, I mean. Welcome to the Pacific Northwest.
The next video shows me talking, gesturing, articulating… whatever it was. The conversation is about prostitution during the boom days in Anchorage, which I witnessed during my early research trips with Walt Gilmour. I’m talking about Fourth Avenue, and how the street hookers would slowly gravitate toward the sumptuous Hotel Captain Cook in search of spendier tricks. That’s when the cops started making arrests and pushing the street action back toward the seedier parts of Fourth Avenue.
Almost every production relies upon a few context shots – b-roll in industry parlance — to help move the story along. They don’t even have to originate at the scene they’re describing (think car close-ups). But when you come all the way from London to shoot in Seattle… you know there is some b-roll video you have to get while you’re actually on site. In this one, Alec is using a gimbal to get some casual shots of me ambling in the late winter sun.
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