Search Results for: Editing
Mary Harvey (Welford)
[…]nt I was around the studio and started to learn a bit more of, really of what went on then.Who did, I mean, if Roy went back, who did the rest of the editing, did, can you remember, and the sound?Well there was Clifford Boote.Oh yes.Clifford Boote was the editor. So I suppose he did, but Roy was ver[…]
Michael (Mickey) Hickey
[…] have the... Because I suppose the reason was that they were made up in sequences, more-or-less, as to how they could manage the dub and so on, as to editing the disc and so on?Mickey Hickey: Well more so this happened on the disc side, because I mean, they'd get into sequence, of maybe a dance sequ[…]
Peter Montagnon
[…]Carol Rice. And there's those two and I thought you could take all the rest of that and throw it away. And and coming out of Eisenstein and Rice, and editing, you did know that film conferred on you the power to be anywhere that you want it to be, and to ship change from one location to another in a[…]
Aida Young (nee Cohen)
[…]e equipment has shortened the shooting time. I mean, in the cutting room, equipment is that much more... AY: How do you feel about digital editing which, of course, takes down the time do end? TB: I’m ambivalent about it.. from the point of view I could learn it, I think I don’[…]
Michael Colomb
Alan Lawson 0:05 The copyright of this recording is vested in the BECTU history project. Michael Colomb, BBC TV sound engineer, dubbing mixer and director of better sound of Endell Street interview. Alan Lawson, recorded on the 12th of June 1995. side one you know, first and foremost, wh[…]
Frederick Bentham
BEHP transcript DisclaimerThis transcript has been produced automatically using Otter, https://get.otter.ai/interview-transcription/.It provides a basic, but unverified or proofread transcript of the interview. Therefore, the British Entertainment History Project (BEHP) accepts no liability for[…]
Emmanuel (Manny) Yospa
[…]d everything, because we had a director who had an idea that he wanted to shoot it in sequence. Instead of shooting everything in one set-up and then editing it later, [chuckles] he'd shoot against that, and then the reverse, he'd move the whole thing round, move the set round and they had to shoot […]
