Search Results for: Sound Supervisor

[…] He talks about the difficulty of projecting rough-cuts with separate sound-tracks for directors at Pinewood, and about his rare encounters […]

[…] the size of the equipment, the film stocks, the cumbersome sound recording. Yes, there were some limitations in production. Did […]

[…]t way. Don’t try and sharpen the contrast if it’s not there in the original.10Don’t remove all the grain. Factors like that. Don’t try to perfect the soundtrack, it wasn’t meant to be a perfect soundtrack.” You know all these factors. So I think that the balance is somewhere – use digital tools, not[…]

[…]nnington.  1927 the Queen’s Hall, Dover.  And my father who was the by that time projectionist and film booker argued with his father about sound, because his father said it was a fad and his daughter would no longer be able to play the piano to accompany the films and therefore he would n[…]

[…]ni and the other was Baird. We did a week in each studio. So we used to have to learn both systems of course. And I did all the jobs. I used to be on sound, on the floor.JH: Were you the first woman to operate a camera?BH: I was the first to operate a camera that's right, then it was upside down and[…]

[…] always running out of money in those days... Roy Fowler: Sound City? Andy Worker: Hmm. And Tony Kimmins told me […]

[…] cameras at the sun, the tube burnt out immediately. cameras don't even modern cameras don't like that. And so that night on the news, we had all the sound we had no pictures I'd rushed home. I didn't live that far away from Alexandre palace. And quickly made up models photograph them yesterday Fash[…]

[…]aid, "It might make a bit of a noise going through," you know. Anyway we ran it and the old Simplex projectors - in the base of the casting above the sound-head, you used to keep packed with wadding, to absorb the oil that leaks from the bearings, you know, so it's always a gooey mess there. And whe[…]

[…] 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[…]