[…]rk. Just really exciting. Again it’s the buzz of something real. It was extraordinary. DB: And he didn’t have to wait while you spent four hours lighting it? PB-C: He didn’t. [laughter] He had this bright idea that we shoot at night, with – what do you call those things – night-sights.&nbs[…]
[…] him if there was anything he wanted altered for his lighting and that sort of thing. Freddie, at that time, […]
[…]dangerous to put a check there. You know what I mean? And I also worked out we worked out together sort of a liking scheme for should you bring extra lighting up at night and things. And so we did that wrong went out with one sortie for two and two weeks or two came out with this lovely stuff, you k[…]
[…]ughs] Or words to that effect! And they wanted an interpreter, a German interpreter - English-German interpreter - for Hans Schneeberger, who was the lighting cameraman on 'Conquest of the Air', (I can't remember who... Yes, that's right,...) and he had a focus puller called Karl Matthews. That's im[…]
[…] find little sort of pockets of resistance. You know, the lighting director whom I eventually got to know quite well who, […]
[…]The BBC because I’d actually been around for quite some time. I think occasionally you would find little sort of pockets of resistance. You know, the lighting director whom I eventually got to know quite well who, you know, we had terrible arguments. I won’t say what his name is.Oh go on.It was John[…]
[…]ewman-Sinclair cameras; B&D used Mitchell cameras; they made their own blimps for the Mitchell cameras. Side 200:00:00 – 00:07:30 Changes in lighting equipment; early days at Gaumont they worked with daylight, blinds and carbon arc lights; when more lights were available the studio was pain[…]
[…] wanted to do, he used to leave it to the lighting director and me to get on with the job and […]
[…]t today. That'sUnknown Speaker 20:52 interesting. Like while you were talking, I was remembering. Probably the first attempt at pictorial lighting samples. Yes. in Disney's Fantasia. That's right. Yes,Unknown Speaker 21:07 I would ratherUnknown Speaker 21:10 die. […]
[…] by that time I'd been upgraded, I was no longer the number boy, 1 was the first assistant, I think I was working to Sid Bonnet, Percy Strong was the lighting cameraman.Arthur Graham: You say you were a number boy when you started, what exactly did you have to do?Alan Lawson: Putting up the number f[…]
