Interview No 2 Paul Gray (R.I.P) 3 analysis video of Paul death

Interview No 2 Paul Gray (R.I.P)

Introduction

Paul Gray, the bassist for Grammy-winning metal band Slipknot, was found dead Monday in an Iowa hotel room but there was no indication of foul play, police said.

A hotel employee found Gray, 38, dead in a room at the TownePlace Suites in Urbandale, a suburb of Des Moines, police said in a statement. An autopsy was planned for Tuesday.

“Paul Gray was an awesome person on and off stage. He will be missed by many including myself,” Jacoby Shaddix, lead singer of metal band Papa Roach, said in a statement late Monday. “His spirit will live on through the killer music he wrote.”

Gray had been staying at the hotel for “a couple days,” Urbandale Sgt. Dave Disney said, declining further comment. Gray lived in the nearby suburb of Johnston.

Amy Sciarretto, a publicist at Slipknot’s record company, Roadrunner Records, confirmed Gray’s death but declined further comment.

Known for its grotesque masks, trashing sound and aggressive, dark lyrics, Slipknot released its self-titled debut in 1999, and it sold about 2 million copies. Most of the band’s members grew up in the Des Moines area.

“It’s a devastating loss. Paul was a wonderful human being,” said Andy Hall, music director of Des Moines rock station Lazer 103.3 who said he’d known Gray for 10 years. Hall said Gray was a talented bass player and one of the friendliest, most caring people he knew.

“This is a big blow, not only to the community of Des Moines but fans of metal at large, worldwide,” Hall said, noting that his station planned to broadcast an hour-long tribute to Gray on Monday night.

Slipknot emerged in the mid-1990s with an aggressive mix of heavy metal and a vocal style that included growling, rapping and singing. The band has been known for extreme behavior during live performances, including urinating and vomiting on stage, according to biographies.

The band won a Grammy in 2006 for best metal performance for the song “Before I Forget,” and concert industry trade publication Pollstar ranked Slipknot 18th in its Top 20 Concert Tours list in 2009.

In 2003, Gray acknowledged that he was on drugs when his red 2001 Porsche collided with another car that year in Des Moines. No one was seriously injured. Under a plea agreement, prosecutors dropped charges of possession of marijuana, cocaine and syringes.

Media reports at the time noted that court records included a handwritten note from Dr. Joe Takamine that described discussions with Gray that were “very frank and open about his sporadic use of various drugs and of the long periods of abstinence in between.”

Tom Ramirez, a drummer from Des Moines who became friends with Gray in high school, said he ran into Gray at a concert a few months ago and thought Gray “looked great.” Ramirez remembered Gray as someone who always made time for his fans and old friends in Des Moines.

“He was always accepting and he wasn’t stuck up. He was a people person. He knew his friends and who his friends were,” Ramirez said. “He didn’t forget the little people back here.”

Slipknot remains one of the most popular metal bands and can still fill arenas, said David Gehlke, editor in chief of blistering.com, a heavy-metal and rock website.

The band is on a yearlong hiatus, and Gray planned to play with Hail, an all-star metal band that includes the former lead singer of Judas Priest and covers songs by that band, Motorhead and Iron Maiden, Gehlke said.

“This is going to be quite the blow to Slipknot and their fan base,” Gehlke said during a telephone interview from Pittsburgh.

Gehlke noted the deaths of heavy metal singer Ronnie James Dio, who performed with several bands including Black Sabbath, last week and singer-bassist Peter Steel last month.

“This is just a big surprise for a lot of us and it’s a shame too,” Gehlke said. “We just had Dio pass away, Peter Steel from Type-O Negative — three pretty significant blows to heavy metal community.”

Interview and Press Conference

When Paul was died slipknot make a press conference, what is press conference and why do Slipknot have to do that?

Press Conference

Have you ever turned on the news and seen a person speaking to members of the press about a new product, a new player just signed to your home team or the president announcing a new policy? Maybe you saw Michael Vick apologize to fans and dog lovers after he pleaded guilty to the dog fighting charges brought against him. If so, then you’ve seen a press conference in action. A press conference is a staged public relations event in which an organization or individual presents information to members of the mass media.

Along with the press release, public relations professionals use press conferences to draw media attention to a potential story. Press conferences are typically used for political campaigns, emergencies and promotional purposes, such as the launch of a new product.

Presidents have been using press conferences since the Wilson administration to alert the country to their stance on issues or to calm public fears. Political activists hold press conferences to state opinion on proposed legislation, and candidates use them to communicate their stance on important issues.

Emergency press conferences are held in response to a crisis or disaster. During the aftermath of Hurricane Katrina, the mayor of New Orleans, the governor of Louisiana and the president all held multiple press conferences to keep the country abreast of events that occurred, as well as the steps being taken to resolve the situation. Emergency press conferences serve a dual role as both public service and public relations, since those responsible for the crisis can use the press conference to regain public trust.

Promotional press conferences are among the most common. Public relations professionals use press conferences to make important announcements to gain coverage in newspapers, magazines, blogs and on TV news broadcasts. Reasons to hold a press conference include:

  • Introducing a new product
  • Revealing a new scientific breakthrough
  • Unveiling a new advertising campaign
  • Announcing a charity event with a featured celebrity
  • Acquiring a new player on a sports team
  • Releasing company financial statements
  • clarified an issue or  a judgement

Promotional press conferences offer several advantages, such as the ability to reach all media outlets at the same time while controlling the message. A press conference also can build excitement or anticipation about an event.

Press conferences can waste time and money if the story isn’t newsworthy or the press conference is poorly organized and executed. In this HowStuffWorks article, we’re going to explain the ins and outs of planning a press conference, walk you through the key steps, and then explore the emerging trend of Web conferences.

Read on for step-by-step instructions on how to plan a press conference.

Interview and Interview shoot

An interview is a conversation between two people (the interviewer and the interviewee) where questions are asked by the interviewer to obtain information from the interviewee.

The interview (IV) is a fundamental element of video and television production, used in a huge range of programming. Interviews are a very efficient way of creating content — cheap to produce, effective for gathering and presenting information, and easy to edit into the program. In fact entire programs can be made using little more than interviews laced with cutaways and links.

Producing a successful interview requires a combination of skills. In professional situations these responsibilities may be shared by the producer, director, interviewer, camera operator, audio and lighting technicians. In other situations it is a one-person operation.

Preparation

Interview shoots are very unforgiving. This is a situation in which you must get everything right first time and make the job flow smoothly and comfortably for everyone involved. Interviews will quickly fall apart if things start going wrong or taking a long time. Therefore competent operators should be able to organise and shoot interviews in their sleep. It is a skill which must be second nature, so you should be well practiced in this art before you attempt a “mission-critical” interview.

Preparing for an interview involves:

  • Contacting and making arrangements with the guest(s)
  • Choosing a location
  • Preparing equipment
  • Traveling to the location and setting up
  • Final briefing and technical checks

Before you begin shooting, double check everything. If you’re not 100% sure that it is all working okay, stop and get it right. Don’t use take one of the IV as a practice or test record.

Shooting an Interview TV-Style

You can shoot a television-style interview with a single camcorder and a little creativity.

Interviews are the most common form of nonfiction television; and with just a little practice, you can adapt this cheap and versatile format to your corporate, school, church, club, community and family programs. Most studio interviews aim one camcorder at the subject and the other at the reporter, providing A- and B-roll footage for easy editing, often in real time.

What’s that? You say you don’t have two camcorders? Here’s a secret: neither do the pros. Location interviews generally use a single camera.

Making one camera look like two is surprisingly easy, as long as you know a few tricks and plan your approach before you shoot. Let’s look at the production side of shooting a two-person/one-camera interview. We’re not concerned with documentary-style interviews in which the questioner never appears, and we don’t care about how to ask penetrating questions and such. Today’s chalk talk is strictly about production nuts and bolts. We’ll start with what you need to achieve and how you plan to do it. Then we’ll walk through setting up your camera, lights and mike and wrap it all up with procedures for taping an interview that your editor will love.

Objectives and Strategy

When producing a location interview, you have three basic objectives. First, you want a single camcorder to do the work of two. Next, you want the edited program to look as if it’s unfolding in real time, just like a multi-camera studio shoot. Finally, you want to provide the editor with the content and the coverage required to cut together a seamless sequence. Here’s a strategy for achieving these goals.

The idea is to shoot the interview from several different camera setups. Typically, these setups include:

  •  A neutral angle showing the relationship between subject and reporter.
  •  An angle on the subject, shooting over the reporter’s shoulder (typically called an “OTS,” over-the-shoulder shot).
  •  A closeup angle on the subject alone.
  •  A closeup angle on the reporter alone (often called “a reverse,” because it is a near-mirror image of the subject’s closeup).

Figures 1 through 4 diagram these setups, and we’ll frequently refer to these drawings.

In shooting this way, the trick is to avoid losing the flow of the interview by stopping it to change camera setups. For this reason, the majority of the conversation takes place as shown in Figures 2 and 3, because these setups require no change in the positions of camera, lighting and microphone.

Before looking at this procedure in detail, let’s run over the equipment employed and the four basic setups.

Equipment and Setups

Of course, you’ll have a camcorder on a tripod. (Because interview subjects don’t move much, they give away even the best hand-held camera work.) Today, almost all camcorders come with external LCD viewing screens, which are indispensable for framing subjects during long takes. Ironically, the finest three-chip Mini DV camcorders sometimes lack these screens, so you may need an external reference monitor.

For high-quality sound, an external microphone is equally essential. If you’re stuck with your built-in mike, consult the Tips for Camcorder Setups sidebar on setup guidelines for suggestions of how to use it to your advantage. A lapel mike (wired or wireless) works well, or you can mount a cardioid or shotgun mike to a table-top stand and place it close to the speaker and just below the frame line. Headphones are an absolute must, both for monitoring voice quality and for detecting any interfering background noises.

When optimized for the subject, all these mikes will also record the reporter’s questions adequately for documentation, though not well enough for use in the finished audio. Shotgun mikes work very well because they have secondary pickup areas behind and to the sides of them. They’re also good for minimizing extraneous background sounds found in noisy environments.

On the other hand, an omnidirectional stand mike can record both participants well enough for use in the program (assuming they’re close together), which is a big help if you don’t want to re-record every one of the reporter’s questions and comments.

The most versatile location interview light kits have at least four units: key light, fill light, rim (hair) light and background light. At the other extreme, the simplest may have just one soft key light and maybe a large sheet of white foamcore board for reflected fill. We’ll compromise with a two-light setup: a spotlight with spun-glass diffusion clipped to its barn doors and a large, soft fill light either an umbrella style or a softbox type.

Now let’s deploy our hardware. Figure 1 shows the shot that establishes both participants. Notice several things about this setup:

  •  The microphone’s angle will record both participants.
  •  The participants are close enough to the side wall that the fill light can also illuminate it. (Note that the back walls behind the participants are not seen in this shot.)
  •  The key light on the subject also provides rim light for the reporter. The fill light performs a similar, double role on the opposite side.
  •  The camera is a sufficient distance from the participants, as explained in the sidebar.
  •  An imaginary action line has been established. As long as the camera stays on the same side of this line, the participants will continue to face each other on the screen.

Figure 2 is a closeup of the subject, with the reporter’s shoulder appearing in the foreground. Note that the subject has moved closer to the wall behind, and the lights have moved in to illuminate the wall as well as the subject. This move is invisible to the audience, because the back wall was not in the establishing shot. In the drawing, the mike points at the subject, but again, an omnidirectional mike could adequately record the reporter too.

Figure 3 shows how easy it is to get a pure closeup of the subject, simply by zooming in somewhat (and narrowing the field of view). The reporter’s cheek and shoulders are now outside the image frame.

Finally, Figure 4 shows a completely different setup:

  •  The subject is not in the shot, and may even have left the interview.
  •  The reporter has been moved back, closer to the other rear wall and the lights have been completely reset to light the reporter and to splash on the background. The mike has reversed as well, for optimal sound pickup of the reporter. Notice that the camcorder is still on the left side of the action line, to keep the “eye look” of the reporter consistent.

Interview Procedures

The neutral angle establishing shot is used to begin, and maybe to end the interview. If the sound quality is good enough, you can start the interview in the establishing shot. Often, however, this wide two-shot acts as a silent background for a title or voiceover introduction to the interview. In the same way, you can use this shot to wrap up the sequence. Typically, subject and reporter simply exchange unheard small talk behind the credits.

It’s often a good idea to delay the actual questions and answers until after the two-shot, because shifting the camera, lights and mike for the main interview setup (Figures 2 and 3) can take long enough to distract the participants and lose the flow of the discussion.

Typically, the interview will start with an over-the-shoulder closeup of the subject. In framing the shot, try to include the side of the reporter’s face. A moving cheek will indicate that the reporter is speaking, without revealing what’s being said. (The editor can then lay “moving cheek” footage over anything the reporter says.)

After you have enough footage over the reporter’s shoulder, zoom in to the subject’s closeup . That way, the closer angle on the subject can enhance the growing drama of the interview. (If you time it right, you can zoom and re-frame during a question so that the editor can replace the zoom with a shot of the reporter.)

Wait a minute. What shot of the reporter would that be? Ah. Now comes the trick. You set up and shoot the reporter after the main interview is over; in fact, you can allow the subject to leave at this point.

If you’ve been miking only the subject, the reporter will need to repeat every question. The easiest way to do this is with a playback deck: find each question on the A roll, play it back for the reporter, and then tape the reporter repeating it on the B roll. If you don’t have the equipment to do this, roll through the original footage in the camcorder, making notes on each question, and then have the reporter work from these notes. In some cases, you won’t need a follow-up question. Instead, the editor can insert a brief shot of the reporter listening while the subject adds to the previous response.

And now the reporter gets to really act. To provide cutaway footage for the editor, you need to record a repertory of reporter reactions for insertion at suitable moments. In addition to simply listening and nodding encouragement, a few other reactions are often useful:

  •   Slight puzzlement, as if to say, “Could you explain that further?”
  •   Mild surprise, indicating “You don’t say,” or “No kidding!
  •   A smile, signaling a warm response to a humorous remark.

Of course, the subject’s statements may suggest other reactions.

You can, of course, personalize this interview formula (some directors omit the neutral angle establishing shot), but our outline should get you launched in the right direction to shoot an interview that will rival anything on network TV.

 

Tips for Camcorder Setups Here are some suggestions for getting the best possible picture and sound quality:

 

  •  Keep the camcorder back from the subject. A long camera throw, as it’s called, keeps the hardware out of the subject’s face and the telephoto lens setting makes for pleasing closeup shots.
  •  Light the background by moving the subject. Working with minimal lighting, you’ll illuminate the background with spill from the key and fill lights. Watching your monitor carefully, move your subjects toward or away from the walls behind them until the subject lighting makes the backgrounds just slightly darker than the foregrounds.
  •  Use slightly low camera angles. Generally, people look more impressive when shot from just below eye level.
  •  Make the best use of camcorder mikes. When forced to record audio with the built-in microphone, move as close to your subject as possible. Since wide-angle lenses tend to produce unflattering closeups, try to stay with wider waist- and chest-level compositions.

 Interview Equipment Checklist

__ Tripod
__ External viewscreen or monitor
__ External microphone
__ Headphones
__ Lights

The Conclusion’

When the Slipknot bassist was passed out the slipknot members held the press conference and now we understand why they do this which is to clarified about the situation at that time, and before Paul was died there is  a last interview from him, we can learn how to make a interview shoot. Rest In Peace Paul

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