[…]u had to sit in there all day............and it was dreadful stuff. Anyway, he had got this purply greyish tinge to it and with the fluorescent lighting in those days and you had this kind of grey......it would be good the SciFi films, it would be marvellous, you know what I mean. And so[…]
Copyright is vested in the BECTU History ProjectCORRECTED VERSIONRudi Cartier, television producer, interviewer Norman Swallow, recorded on 22nd January 1991[By the time of this recording Rudi Cartier's hearing was badly impaired and as a consequence he was reading questions from a pre-prepared ques[…]
[…] Perspex panels and it was lit from underneath but the lighting of it was just spectacular and I think that […]
[…] do, all the arrangements in the Abbey and all the lighting. We used to light for TV as well at […]
[…]ves, you haven’t got any kind of print grading to guide you as to how scenes are supposed to look and so you’re very much dependant on, obviously the lighting and photography to begin with but also there are things you can do electronically to enhance the artistic look of a scene which you wouldn’t […]
[…]d all the editors were staff. Freelance would come on board for dramas, for Taggart and the like, that was largely freelance but even still then, the lighting cameramen would be staff. Sound recordists would probably be staff. But the industry has evolved to being much more flexible labour force. Th[…]
BEHP Interview No 0726t Roger Smither (RS). Transcript. Interviewer: Murray Weston (MW). MW: This interview is No 726 for the British Entertainment History Project. The subject, the interviewee, is Roger Smither, and I’m Murray Weston, interviewing.Now Roger, we start as with most of these[…]
[…]ing to be coming soon-ish. It was 1965 I think when it did happen. So I had all the arrangements to do, all the arrangements in the Abbey and all the lighting. We used to light for TV as well at that time, or basically light for them because we were doing colour and they weren't.John Turner: Tell me[…]
