[…]nknown Speaker 0:04 The copyright of this recording is vested in the ACTT History Project.Unknown Speaker 0:10 Lionel Baynes, lighting cameraman, interviewer, Peter Sargent, recorded on the 28th of July, 1988Unknown Speaker 0:23 side one.Unknown Speaker 0:27[…]
[…]transmitted by them, they weren't a mathmatical calculation.KGY: You've worked also on black and white films. What difference would you say is in the lighting for black and white.CC: The basic difference is that with black and white you're trying to create the illusion of depth. In that all you have[…]
[…]definition and as beautiful as the slow one. But we were seduced into using the fast one because it made life a lot easier and a little bit faster in lighting because it had quite a lot more sensibility. PF: There have been people in the past who have had an affection for the original Tec[…]
[…]nbsp;but he he was good at actually cuz, you know, he really gave me a break with the operator because he felt that the only way he could improve his lighting was to have someone else write for him. Because Paul's done a lot of training in film schools. I think he ran the cinematography course at th[…]
[…]e side set or something and as we were doing this chat with somebody I saw a boom shadow. So I said OK right hold it studio hold it everybody and the lighting director lovely Dickie Hyams who died a couple of years ago he slid the glass thing. Open and said What have you stopped for. And I said well[…]
[…] By the end of the decade he had become a lighting cameraman and in 1940 he joined the Crown Film […]
[…] worked side by side, master and apprentice. That's how we got our training. That's one thing that's gone. And it's not just training of exposure and lighting. It's the training of the whole production technique as well. How to manage people, how to work with people, how to work with the general pub[…]
[…]irely the fire crew, no actors again, and we shot it actually during the blitz in London. And it was during a slight pause in the blitz, but it meant lighting up the whole of Dockland which had already been bombed very heavily, which was in fact not looked on too favourably by the locals, who weren'[…]
[…]t the equipment, right. It had not been my intention, as I Now recall, to stay in Stratton for all that law. What I wanted to do was to go out and do lighting on theatre stages, and above all, I particularly had in mind that somehow they will, please, I'd be finding myself seated at a switchboard th[…]
[…]ard Lester at Viking Studios all using reflected light; Lester asked DW to work on The Knack and light the film the same way; DW believed that direct lighting looks artificial and takes longer to set up; DW’s technique required more lights but less set-ups which saved time; DW talks about his work o[…]
