[…]ery specialised job. The main problem was safety. You couldn't use anything electrical unless it had been passed by the Inspectorate of Mines. So our lighting consisted of heavy armoured units, strong enough to contain any explosion. If any gas got inside and ignited, the explosion had to be contain[…]
[…] o r a t e o f Mines. So our lighting consisted of heavy armoured units, strong enough to contain […]
[…] worked side by side, master and apprentice. That's how we got our training. That's one thing that's gone. And it's not just training of exposure and lighting. It's the training of the whole production technique as well. How to manage people, how to work with people, how to work with the general pub[…]
[…]sources. The budget was of no account, we had vast numbers of 10k lights up in the Abbey for months, which were used as part of the outside broadcast lighting but it was basically there for us to be able to film anywhere we wanted in the Abbey. So I had immense resources. I'm not asserting that the […]
[…]nknown Speaker 0:04 The copyright of this recording is vested in the ACTT History Project.Unknown Speaker 0:10 Lionel Baynes, lighting cameraman, interviewer, Peter Sargent, recorded on the 28th of July, 1988Unknown Speaker 0:23 side one.Unknown Speaker 0:27[…]
[…]Y MILLER: Well it was a bit in and out. We had our little cliques of Union in the studios but we found that there were lots of people doing moonlighting and stuff. In the old days the editors paid their assistants they took a price for cutting a film and then they paid the assistant, or[…]
[…]was quite, limited which made shooting Cinéma vérité style in reversal quite difficult because you had to have a lot of consideration of contrast and lighting ratios. And that’s the… really Cinéma vérité is about catching the moment. It’s not about being perfectly… getting a perfect exposure. And pr[…]
[…] to communicate. John Legard: And did you have your favourite lighting cameraman to do your work justice as it were? […]
[…], I'll take this role away. Now, there's the camera and everything. Turn around, do what you like, thinking to yourself as a pity is doing it with my lighting. You know, pity I can't switch all light, because actually, if he wants to do it, he should learn to do the whole thing and then develop and […]
