[…]bsp;Yeah. I mean, in those days, of course, you didn't have pictures taken left, right and centre like they do these days. You know, you had a 35 mil camera. And you very carefully calculated whether or not you could afford to press the button, because it was almost expensive and you had to have it […]
[…] the motor up a tube into the side of the camera. But as far as I k now it was a […]
[…]wo back legs in a special kind of booth in the sound van and it was attached by a cable, flexible drive straight from the sound camera to the picture camera. So it was very inflexible, you couldn't pan very far, you certainly couldn't tilt.Anyway we did one or two experimental scenes of charges and […]
[…]h was operating when he was focusing and I was. He was focusing the actual camera. I was uh learning focusing and I was focusing viewfinder and um I'm trac[…]
[…] flexible drive straight from the sound camera to the picture camera. So it was very inflexible, you couldn't pan very far, […]
[…]duplicate her and then we photographed her dancing in the background and then we dissolved in and put the two splits together, it was all done in the camera.KGY: You didn't use any slow motion camera.KGY: Can you describe the motor which was used on The Red Shoes which altered the speed.CC: It was t[…]
[…]ra there which you know I went from this very simple camp. Which a Russian camera. Yes the very simple form that's got a direct positive camera well. The b[…]
[…] then we had to rewind it... Charles Drazin: Rewind the camera. Manny Yospa: Rewind it and er - you had synch […]
[…] massive investment in those days. But he always had a camera. I can well remember a handcranked wooden 400 ft Parvo, […]
[…]move or anything, we are staying on camera two, the close-up’. And we did, and just now and again you could just see a little judder on the camera. I mean we’d all be fired in this day and age for doing things like this, and I said, ‘We’re still on camera two’ and Gerry just kept pour[…]
