[…]her with given the extra cost and the fine grains of Eastmancolor, Fujicolor, and Agfacolor.00:38:40 – 00:44:30 SS has moved between special effects, lighting and operating; he has more work as a travelling matte consultant; SS’s first break as a lightning cameraman was a documentary about the Vatic[…]
[…]ears and years now I'd been my own reporter I'd be my own boss my own director I hadn't edited my material except I edited it in the camera and now&nb[…]
[…]ng, the old Debrie. And, in order that he could release his few supers, and save a bit of money, together with George Pearson, who helped me with the lighting, we shot the scene. Now of course that was my first real start in studio work. And then of course the war, and I joined up into the army in 1[…]
[…]e room, finally it must have been about 12 people in the negative room. It was really great fun, it was a very nice group of people. Then some of the directors decided they wanted to have their own negative cutter. And Stuart Legge, who was doing the World in Action programme, he started off with Ca[…]
