[…] first credit as it were, or treatment was written for film he did on the Wose collection with Bernard Braden went out on the 28th of August 55. That sounds like bank holiday almost. No, it wouldn't have been in those days. And that was because he was going to America. Because they were co produced […]
[…]ob gone of course but I had I had the fortunate thing of living next door to a cameraman called Jack Whitehead and Jack Whitehead got me a job in the sound department at Chip's Bush studios. Why were you so keen on major so keen on getting into the films. I haven't the faintest idea. Did you go to f[…]
[…]'s no substitute. If you haven't made it acoustically right you won't equalise it right.Jim Shields: No. But then you get this sort of horrible, flat sound...Maurice Askew: That's right...Jim Shields: ...which is only part of the battle of post-synch to make it fit. It is so often when you have a pi[…]
[…]ining up the machines and there were two 35 mm machine speeds which mostly did commercials and then there were two 16 mm machines and a magnetic film sound transport and there was also a brand new Rank-Cintel Mk III Telecine which we could actually, it was much more like a VTR, we could fast rewind […]
[…]o I've found with Maurice [Askew] that when you were post-synching and you could accept that it was a live - you were halfway there because it didn't sound flat and horrible. And with effects too, you say - well you didn't have to mention anything, I mean, he would give it it's maximum, you were hel[…]
