[…]amera would be out of focus so that the mingling from the model to the actual was an out of focus blur. So it was really imperceptible so long as the lighting was level. Naturally if you overexposed one or the other you could tell it but generally speaking it was jolly good. They could do all sort o[…]
[…] amateur night on Saturday, so spot work was there, stage lighting was there to a certain extent, but only in […]
[…]age. You were there with maybe a reflector or things like that and a theodolite in the early days but things bumped up a bit in scale so you would be lighting maybe interiors, maybe night scenes, and you would tend to, you would tend to try and make the interiors look as natural as possible as far a[…]
[…]he Rialto somehow, although there was a lot more to do, there were stage shows, you had some amateur night on Saturday, so spot work was there, stage lighting was there to a certain extent, but only in a very limited sort of way. It was not a Granada - they said if you could last the week at a Grana[…]
[…]and of merry battlers. Jack Cox and Arthur Crabtree and when I started directing there, I upgraded Phil Grindrod who was our operator and he became a lighting cameraman and he did several for me. They all knew their job. Basil Emmott was another one. He was a terror. He'd been so used to photographi[…]
[…]?CL I didn’t say what to him. To him I was very but I didn’t realise what I had taken on so my quick reaction was to talk to Jack Hibberd who was the lighting cameraman on Dietrich’s film. Jack was a friend of mine. Senior to me but very helpful. He said Cornel she’s a very difficult woman so […]
[…]t thathe set, whether they used it in the film or not, he insisted that the establishing shot washis and because it had to be to his sketch, with the lighting. He was a great guy forpainting in lighting on his sets. For instance if he wanted a shaft of light he would painthis set so the shaft of lig[…]
[…]hing except a pretty girl if there was one, and food. It never struck me that it was going to lead to a life, and as I worked with some of the finest lighting cameramen in the world, because Gaumonts had German, French, Japanese, all nationalities working as lighting cameramen.DB. Did you know Fredd[…]
[…]day, working in conjunction with Chief projectionist Percy Gough who I had primed to play the “Fire Evacuation music cue” and switch on the emergency lighting signals that went with this at a time of his choosing rather than the way we traditionally did it by rote after the pep talk. As I blandly ca[…]
[…]sources. The budget was of no account, we had vast numbers of 10k lights up in the Abbey for months, which were used as part of the outside broadcast lighting but it was basically there for us to be able to film anywhere we wanted in the Abbey. So I had immense resources. I'm not asserting that the […]
