[…]nner lighting technique, which give to German photographer something special. They had the art of mixing arcs and incandescent lighting that gave you visually as well. The chariot had a sort of bluish tone, blue black. They were not what are called gray, black, and it was quality and the lighting be[…]
[…]aker 1 0:00 the copyright of this recording is vested in the British entertainment history project. The interviewee is Matt Ervin. He's a visual effects supervisor. The interviewer is alias Hayes and the date is the 27th of July 2022.Speaker 2 0:15 Melasma. Herman I agree to […]
[…]garded as ‘framing an ideology of television.’ When I made a film called Sunderland Oak in 1961which was I thought and still think a quite remarkable visual film that accompanied by a rather fumbling soundtrack made up of music and voices. Humphrey Burton and Huw Wheldon who ran Monitor and Hu[…]
[…]00 All right, here we go. Tim, okay, thank you. I'm Kent Houston. I was born in Wellington, New Zealand in September 1951 I'm a visual effects technician, Darrol Blake 0:16 great. Okay, tell us a bit about the family and whether they had anything to d[…]
[…]just before the Whit Week holiday and up to the start of the Summer Season. To attract attention from the passing footfall in the Centre we felt some visual displays involving TV screens running continuous loops of film trailers, standee displays with posters of these upcoming attractions and variou[…]
[…] the courage to hold those shots as long as David did, and so it taught me a lot like that, to have the courage to do it, you know, and to be able to visualise how it will be when the music is on and the, you know, they’re plodding and, the effect of plodding without become boring. I was always worr[…]
[…]stories about working with Hitchcock. Is there anything you remember. Did you find him not really interested in sound but much more interested in the visuals?John Aldred: He was more interested in editing I think than sound and he wasn't really interested in actually filming. All the time we were ma[…]
[…] interest ed in sound but much more interested in the visuals? John Aldred: He was more interested in editing I […]
[…]ars. I think, I think a lot of their special effects were on black screen on black velvet. And as far as Flash Gordon was concerned, we the specialty visual effects we're not we're against blue screen, we tend to did concentrate much more on blue screen, which had its own inherent problems have a lo[…]
[…] with some of the companies. RL: 1:03:30 Let me just say that UNI MEI is the International Organisation of trade unions in the audio visual and cultural sector. So we have representatives from Germany, from Italy, from America, from every area, and they've come together now, well, t[…]
