First I want to say that I LOVE Accustats. I have about 30 tapes of great matches that I have watched at least 10 times each, no exaggeration. However I have felt that my preference in how the footage is filmed, there is sort of a catch-22.
First and foremost, I love long races from the tournaments in Reno, or the US Open, or the Masters. I absoloutely hate the short races to 7 at the Derby City Classic. They are just way too short. The latter is filmed with a style that does not only focus on the table the entire time. they catch different angles of the table, and a nice view of it when the commentators are using the telestrator for drawing lines and what not.
When the players execute a shot, often the cameraman will switch angles and show the player in action. Showing his mechanics, stance, EVERYTHING. This I absoloutely love, because you can learn so much from it. Of course you learn from the patterns and position play and safeties, but throwing in the whole package which includes full shots of the players is awesome. The cameramen at the DCC are EXCELLENT. For other matches, like the US Open, I remember one match where Jay Helfert was commentating on Jim Rempe's stance, and how solid and perfect it was for such a tall person. I have never seen Jimmy play live, so I really wanted to see Jimmy's stance. The lamebrain camera man did not show Jimmy in his stance one the entire match, and Jay mentioned this several times that they should show it, but of course it fell on def ears. All I saw was the table, Jimmys arm, the back of his head, and his bridge.
I am positive that the overwhelming majority of people prefer the Derby City camerawork instead of just still frames of the table or once in a while showing the expression on a players face. Pat Flemming, if you are reading this, please, please, please use the same style that you did at the DCC for Accustats at all other tournaments. I will buy many, many more tapes for the rest of my life whether a change is made or not, but I think even more people would buy tapes just because so many people that want to learn, want to learn by seeing the mechanics of the pros. It just sucks that the best camerawork is done at a tournament with a shitty short race, and the worst is done at a tournament with long races which can become very exciting. If someone makes a comeback at the DCC down 6-0 and wins it 7-6, big deal.
First and foremost, I love long races from the tournaments in Reno, or the US Open, or the Masters. I absoloutely hate the short races to 7 at the Derby City Classic. They are just way too short. The latter is filmed with a style that does not only focus on the table the entire time. they catch different angles of the table, and a nice view of it when the commentators are using the telestrator for drawing lines and what not.
When the players execute a shot, often the cameraman will switch angles and show the player in action. Showing his mechanics, stance, EVERYTHING. This I absoloutely love, because you can learn so much from it. Of course you learn from the patterns and position play and safeties, but throwing in the whole package which includes full shots of the players is awesome. The cameramen at the DCC are EXCELLENT. For other matches, like the US Open, I remember one match where Jay Helfert was commentating on Jim Rempe's stance, and how solid and perfect it was for such a tall person. I have never seen Jimmy play live, so I really wanted to see Jimmy's stance. The lamebrain camera man did not show Jimmy in his stance one the entire match, and Jay mentioned this several times that they should show it, but of course it fell on def ears. All I saw was the table, Jimmys arm, the back of his head, and his bridge.
I am positive that the overwhelming majority of people prefer the Derby City camerawork instead of just still frames of the table or once in a while showing the expression on a players face. Pat Flemming, if you are reading this, please, please, please use the same style that you did at the DCC for Accustats at all other tournaments. I will buy many, many more tapes for the rest of my life whether a change is made or not, but I think even more people would buy tapes just because so many people that want to learn, want to learn by seeing the mechanics of the pros. It just sucks that the best camerawork is done at a tournament with a shitty short race, and the worst is done at a tournament with long races which can become very exciting. If someone makes a comeback at the DCC down 6-0 and wins it 7-6, big deal.