[…]ular relationship with…CM: There were two labs I worked with a lot and one of the people I enjoyed most of all was a man called John Ensby who was at Technicolor and then David Hemmings at Kays. Yeah that relationship was incredibly important, as important as dealing with, or as working with the art[…]
Paul de Burgh (PB)Laboratory, NFTVA, Restoration (Technicolor)BECTU No.585Interviewers: Kieron Webb (KW), Liz Watkin (LW), Charles Fairall (CF)Date 27/05/20092 DV Tapes (Video) Tape 100:00:00 – 00:08:20 PB shows his membership card for BECTU to the camera; KW introduces PB, LZ and CF; PB starte[…]
[…]s the Citadel with Robert Donat, that was in black and white. Four Feathers which was quite a famous Korda film and that was my first introduction to Technicolor, a great big blimp they had, three strip cameras and of course Herbert Wilcox came along with his 60 Glorious Years and that was also in T[…]
[…]y doing. It's the first color picture, and also on that picture, I felt very much, and I I rather wanted to break any rules that existed at that time Technicolor, particularly as as the main color system, Technicolor, were fairly insistent that one should light fairly flatly. They thought that there[…]
[…] nicest locations I've ever been on. We were shooting on Technicolor monopack and you might remember the speed of it […]
[…] Korda film and tha t was my first introduction to Technicolor, a great big blimp they had, three strip cameras […]
[…] a lot of playing around with ideas and images and different companies had done different things and there were certain looks. Certainly, I know from Technicolor’s perspective, one of the big American laboratories at the time, they had scientists specifically looking on certain looks of things like […]
[…]ful job to work on, I did learn a lot on that. Stanley Sayer [Norman remembered the correct name post-interview] the Director of Photography with the Technicolor man, you know, who worked with the three strip before then. MARTIN SHEFFIELD: Not Jack Cardiff was it?NORMAN J. WARREN: No, No, that was S[…]
