[…]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[…]
[…]ights. And I guess I was young and healthy and enthusiastic because I got no extra money for that at all. But I enjoyed it thoroughly. Go back to the lighting room a bit how many worked in it. There are only while there was a head of the load room and there's a gentleman called Mr. brocklebank. And […]
[…]was quite, limited which made shooting Cinéma vérité style in reversal quite difficult because you had to have a lot of consideration of contrast and lighting ratios. And that’s the… really Cinéma vérité is about catching the moment. It’s not about being perfectly… getting a perfect exposure. And pr[…]
[…]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[…]
Anthony Mendleson (costume designer) 2/1915 – 10/1996 by admin — last modified Jul 27, 2008 02:38 PM BIOGRAPHY: Initially a […]
[…] and of course they went on to become the biggest lighting rental company in Europe. And of course at the […]
[…] to that and I used to go to the Mercury Theatre where Marie Rambert started the ballet club. On Sundays, I used to go there, and you'd meet a lot of designers and dancers and so forth. And I was very interested in all that and so I used to have dreams of becoming a costume designer and that's about[…]
[…]re buckling up their belts to stop their sore backs and they're talking about the football and all that and in they come with all these flats and the Lighting Director, "Oh no, you can't come in! I'm still doing the rigging!" There's all that banter and, you know, there's a pile of stuff and it all […]
[…]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[…]
[…] a wonderful three and a half years.!I: A wonderful series.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!15!Sydney!Newman!(1917G1997)!was!a!Canadian!film!and!television!producer,!and!Head!of!Drama!at!the!BBC.!He!initiated!the!creation!of!Doctor$Who!in!1963.!!16!Sean!Kenny!(1929G1973)!was!an!Irish!set,!costume!and! lighting!designer.!He!is!most!notable!for!his!work!with!Lionel!Bart!on!musicals!including!Oliver!!(1960).! ED: I tried to make it look as much […]
