Search Results for: Sound Design

[…] for documentaries. I remember Lou Hanks, who was mixing the sound, asked Peter if he thought the BBC would allow […]

[…]he union was that a deal had been done I think in the late Forties around, around crewing really, which was about four, four and four, four people on sound, four on camera, four on production, which a lot of the older negotiators were so desperate to keep that they’d, they were determined to keep th[…]

[…]cial effects with that film? Speaker 1  11:22  I Well, yes, the special effects were the brainwave of Syd Mills, who was the sound man, and he had all sorts of thunder sheets that he would use. And also the legend is that he had a small circular railway track behind the scre[…]

[…] it changed?Michael Aldridge  6:08  Heavy. [Laughter]  I mean, our basic tools. When I started the basic camera was, if you were doing sound it was the Cameflex in a double camera, or it was the ST with either a stripe box on the bottom or in a fibreglass blimp. And only in the mid 60[…]

[…]e to be shown in this way with polarizing spectacles in neutral colors, which permitted films in full color, and were also going to have stereophonic sound, which was extremely novel in 1951, and, again, was the first time that stereophonic sound had ever been put before a public audience. And […]

[…] Fowler: Right. And what were your budgets? Andy Worker: Oh, thirty thousand, thirty-five thousand. Roy Fowler: Ah hmm - and these were, it sounds, proving grounds - testing grounds for talent? Andy Worker: Oh yes, hmm. Roy Fowler: In front of the camera or behind the camera?&nbs[…]

[…] I know we had Alfie Bass, who was as inexperienced as I was.Stephen Peet: Would that be Pillar to Post? Or something like that?Philip Leacock: Oh it sounds like it, yes [laughs]. Terrible pun!Stephen Peet: That's in '48. Two extraordinary things when you joined the Crown Unit, called Pillar to Post[…]

[…] and I didn’t know where it was. And I was sound asleep and the phone went and there was an […]