[…]at was the early days of television, because I can remember us doing all of our film work in black and white. And there was a point when we went into colour, so obviously the trace and paint department without him to use colour. But yeah, in the early days, we were doing black and white basically, v[…]
[…];I think as far as I know that was thefirst television programme, feature, about the colour bar because that was anarea with racist difficulties, that was the main theme […]
[…]early days using frames; after a year, the studio lab was closed; he developed First Man in the Moon which he also tinted and toned; FY describes the colours used in tinting and toning; he then moved up to the studio as assistant cameraman, first cameraman was Arthur Brown; FY took stills, processed[…]
[…]bsp;and it so happened I was - oh, I was very lucky. Kodak had just started to bring out a new line of pos. film. In those early days, if we wanted a colour film, to colour a scene, you used to have to put in aniline dye, yellow, blue, pink, red, whatever. But Kodak brought out a new series of posit[…]
[…];They refused the passport and I lost my place at University.Rodney Giesler:You lost everything then?Roy Fowler:Yah, yah, which I suppose to this day colours my attitude towards any bureaucracy but especially the way in which this country is run. This country is for the pits as far as I am conc[…]
[…] in Hollywood, anyway. Charles Bennett : It has to be colour now. Stuart Birnbaum : The script that we made […]
[…] I suppose it was FP3 with an ASA rating of 80 and Double-X, I think, was the other one which had, I think it was 200 ASA. Then we started going into colour. And I think the early colour film was something like about 64 ASA. Now, of course, if you're talking about film stocks, there's been a g[…]
[…]it was in all the Technicolor contracts that she was the Technicolor consultant and she had a right to interfere, she would attempt to stipulate what colour the set would be and the costumes would be. They maintained very rigorous control over the process but it had been operating since 1935. The Ma[…]
[…]e Paddington tests was ‘five-four’, circa-1961; Edgar Anstey, head of British Transport Films, was displeased that the whole film had been printed in colour.00:09:00 – 00:18:25 DW talks about Joan Littlewood’s Sparrows Can’t Sing for which Littlewood came to Edgar Anstey for advice; DW was fired fro[…]
[…] historical picture it is because this mind of Castleton Knight was very very clever and he gave me that opportunity of doing that picture in 1950 on colour. And I got them to the stain and they’re really something I. now that came in to my mind when I started photographing the camera men for […]
