Interrotron Rental
Interrotron Mark III - $1,195
Interrotron Road Warrior - $1,095
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Interrotron Mark |||
Both Talent & Director Share the Same Space
Talent Unit on camera or on stand
Professional Monitor
High Bright 1000+ NITS
HDSDI & HDMI
Director’s Unit
Professional Monitor
High Bright 1000+ NITS
Tripod
Professional Camera
Small Tripod
Interrotron Road Warrior
Talent In Studio | Director In Studio or Another Location
Talent Unit On Camera or on Stand
Professional Monitor
High Bright 1000+ NITS
HDSDI & HDMI
Director’s Unit
Skytronn Remote Unit
Director’s Face Seen on Talent Monitor
Talent Seen By Director “face to face” Over Zoom
Other Client Producers Able to Watch Over Zoom
Interrotron Road Warrior
This version of the classic Interrotron features two “Talent Units.”
Thus, the client has the ability to use two high-end matched cameras such as Alexa Mini’s, REDs, F55s, Venice, etc., with two matched talent units so that two subjects can talk to each other, “eye to eye”, looking directly into the lens and be recorded in, say 4K or 8K or whatever, by a professional camera.
An operator accompanies the device.
The professional Mark IV is a dual unit system that allows the director to see the subject and have access to the framing, lighting, and color correction.
The Mark IV has professional video monitors so that the director sees the subject properly composed. Both video monitors on the Mark IV are 1080p HD.
Simultaneously the director can have a comfortable, accurate, and productive “one-on-one” conversation with the subject while monitoring the technical aspects of the shot.
The studio version talent unit is a modified, professional “gold plate” Autocue Teleprompter. It can easily accept RED, Phantom, Alexa, F55 Venice, and most professional cameras on its sliding rod and plate system.
It accepts every type of camera output: HDMI, HD-SDI. Each has a “pass-through” for additional monitor access.
The Interrotron is delivered and operated by a professional technician.
The Interrotron can also function as a Standard Teleprompter and be switched in seconds by the operator.
Three Versions:
Studio, Remote & Two Camera
The Interrotron Road Warrior
INTERROTRON
The Interrotron allows you to get the best shot, the first time!
With its dual teleprompter units creating a “face-to-face” dynamic, it captures a more natural performance. From the talent’s unit, the director/interviewer’s image is reflected onto the front of the lens. This provides them with direct engagement towards the center of the camera. On the other end, the director’s unit allows you to see the subject, so you can check for framing, correct coloring, or adjust lighting.
ROAD WARRIOR
Interrotron Technology
It allows the familiar “face to face” personalized interaction between the director and subject… but at a distance.
The director could be in Hollywood and the interview subject in Manhattan and still get that highly personal “one-on-one conversation.
It is more authentic. More honest. More visceral. (Academy Award?)
This makes directors happy.
And because great interview responses are often gotten on the first take… it saves time and money.
This makes producers happy.
And now more time and money can often be saved by remotely directing the talent through the lens of the camera while also having access to other views of the set, lighting arrangement, etc.
Naturally, this is a great tool for casting.
One could just stream the casting session but more and more top directors want to control the final “call back sessions” by personally interacting with the candidates through the actual camera lens via “Interrotron at a distance”.
INTERROTRON
Interrotron Mark III HD
The Interrotron inventor, Errol Morris, won an Academy Award for his deeply personal interview style using the unit. His wife is credited with coining the term which is a union of the words “Interview” and “Terror”.
INTERROTRON
Interrotron Style Direct Gaze and Neurocognition
Recent quantitative studies in the areas of neurocognition reveal deep-seated connections between eye-to-eye communication, and brain activity: 4-month-old human infants prefer to look at faces that engage them in mutual gaze. Neuroscientists have documented marked increases in their brain electric activity when interactions are accompanied by direct gaze (Farroni et al., 2002).
Likewise, a 2011 study proposed that a live face with a direct gaze is processed more intensely than a face with an averted gaze or closed eyes, as the direct gaze is capable of intensifying the feeling of being the target of the other’s interest and intentions. “Direct gaze elicited greater face-sensitive N170 amplitudes and early posterior negativity potentials than averted gaze or closed eyes, but only in the live condition,” (Pönkänen et al. 2011).
INTERROTRON DIRECT ADDRESS ISSUES
With direct-address video and film interviews proliferating, fundamental questions about the nature of encounters it facilitates remain unaddressed. The nature and scope of this design investigation seek to establish and define a more formal investigative process of the technique. By employing techniques of participatory design research in a series of direct address interviews I hope to generate insightful responses and reflections about the nature of direct-address based interviewing:
What does it feel like to be the subject of a direct address video interview?
Does the machine promote a more balanced, more level, perhaps more egalitarian encounter?
Do slight variations in hardware orientation facilitate or hinder this leveling?
Does it enable insights and connections for the interviewing participants that are hitherto unavailable using conventional face-to-face techniques?
Does it enable insights and connections for the interviewing participants that are hitherto unavailable using conventional face-to-face techniques?
Likewise, can the device leverage improve listening memory and empathy?
What would subjects, given public access to such a device make with it?
Is the direct-address appropriate for all video-recorded situations?