Search Results for: Editing

[…] supplies, travel, expenses, etc. Old or new equipment for recording, editing or screening interviews. A little of your time and […]

BEHP transcript DisclaimerThis transcript has been produced automatically using Speechmatics.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for any misinterpretation of the content of this[…]

BEHP transcript DisclaimerThis transcript has been produced automatically using Otter.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for any misinterpretation of the content of this interv[…]

[…]st of what you can produce so that they can see something as a … they can see what they’ve actually created once they gone through the stages of film editing and various things. They’ve got to this final print that they want to look at. Now, that was usually done, that was always done, in our time, […]

[…]. Whereas if you’re shooting monopack you can make do with an Eastmancolor print which would just show you what was going on and you can use that for editing. So it gave quite an advantage again there, mainly on cost. It’s very difficult to tell the difference between three-strip and monopack becaus[…]

[…]n I was about sixteen I got a job with an American filmmaker called Alan Forbes. Alan made documentary films. He was in London and he taught me about editing, and about camera operating, and about sound, and basically was a very committed filmmaker. And, God, I was lucky to work with somebody who wa[…]

Ron Seeth - Transcript [Start of Recording] [00:00] I: This is an interview with Ron Seeth for the Scottish Broadcasting Heritage Group's Oral History project. The interviewer is Janet McBain and the date is 13 May 2017. Ron, let's start with when and where you were brought up. When w[…]

[…]th, that's right. I remember him, yes, but they were all, David Johnston was a good Controller. David Johnston called me up. I was having a, doing my editing session with John Fletcher, who was a wonderful Editor over the years and I suddenly got a call, "Would I go up and see David Johnston?" I wen[…]

[…]stair took us there. I: Yes, I did. R: And we thought it was rather odd, the tiny room with a series of little alcoves like as if they were editing suites or something! And we said, "You know, that's an unusual sort of dining room!" And they explained, no, a bomb had gone off in the corrid[…]