| Pull List | |||
| Sequence: CStyleAssembly060105 |
| Event | Footage | Master TC Start |
Master Duration |
Source Duration |
Key Number | Key Number with Handles |
Start | Lab Roll | Cam Roll | Clip Name | Scene Take |
| 47 | 0455+08 |
01:02:58:26 |
00:00:00:25 |
7026+00 |
7027+00 |
04:00:34:00 |
A1 | Bennett 1 | 101/1 | ||
| 219 | 1352+07 |
01:12:56:25 |
00:00:06:11 |
7051+04 |
7052+04 |
04:00:50:25 |
A1 | Bennett 1 - How did you get started? Came to LA, couldn't get time of day, worked as a set builder, then grip, key, AC then operator for mentor Ron Dexter | 101/1 | ||
| 254 | 1812+05 |
01:18:03:12 |
00:00:04:26 |
7066+01 |
7067+01 |
04:01:00:21 |
A1 | Bennett 1 - How did you get started? Came to LA, couldn't get time of day, worked as a set builder, then grip, key, AC then operator for mentor Ron Dexter.Copy.01 | 101/1 | ||
| 429 | 6393+08 |
02:08:57:16 |
00:00:09:01 |
7154+06 |
7155+06 |
04:01:59:18 |
A1 | Bennett 1 - What did you learn most from Ron Dexter? Never accept what the manafacturers give you. Story about cutting 2C in half, etc.****.Copy.01 | 101/1 | ||
| 431 | 6433+02 |
02:09:23:29 |
00:00:10:12 |
7172+05 |
7173+05 |
04:02:11:16 |
A1 | Bennett 1 - What did you learn most from Ron Dexter? Never accept what the manafacturers give you. Story about cutting 2C in half, etc.****.Copy.01 | 101/1 | ||
| 120 | 0583+14 |
01:04:24:14 |
00:00:00:22 |
6988+03 |
6989+03 |
07:41:23:04 |
A20 | Pearl 1 | 207/1 | ||
| 459 | 7270+13 |
02:18:42:12 |
00:00:21:27 |
7773+05 |
7774+05 |
09:19:58:26 |
A27 | Bridges 2 | 212/2 | ||
| 124 | 0589+15 |
01:04:28:15 |
00:00:01:01 |
9042+04 |
9043+04 |
07:22:50:05 |
A18 | Poster 1 | 206/1 | ||
| 154 | 0711+13 |
01:05:49:22 |
00:00:12:12 |
9068+00 |
9069+00 |
07:23:07:10 |
A18 | Poster 1 - How did you become a DP? At 14 I met a cinematographer and that day I decided that's what I want to do for the rest of my life | 206/1 | ||
| 437 | 6510+13 |
02:10:15:22 |
00:00:07:23 |
9394+05 |
9395+05 |
07:26:44:26 |
A18 | Poster 1 - Talk about 3perf and digital intermediate and where we're heading with that? Do you have an hour? Stuart Little story, working with Kodak on Cineon in 1990, all films finished this way, etc. | 206/1 | ||
| 443 | 6779+14 |
02:13:15:04 |
00:00:18:07 |
9680+09 |
9681+09 |
07:29:55:21 |
A18 | Poster 1 - DI cont'd - Plus the advantage is that you only have to do (the color correction) work once, now you have your HD master and other uses all done at once*** | 206/1 | ||
| 460 | 7313+06 |
02:19:10:24 |
00:00:28:10 |
9934+12 |
9935+12 |
07:32:45:05 |
A18 | Poster 1 - What is the future of Cinematography? No matter what the capture medium people are beginning to understand that until the film is on the screen, the DPs work is not done | 206/1 | ||
| 325 | 3383+13 |
01:35:31:02 |
00:00:08:12 |
5023+15 |
5024+15 |
04:11:49:19 |
a2 | Bennett 5 - Difference between commercial and feature cinematography? In commercials you have to grab the viewer in the first 5 seconds or they are off surfing, ***\ | 101/5 | ||
| 126 | 0593+11 |
01:04:31:00 |
00:00:01:21 |
8000+04 |
8001+04 |
05:33:28:25 |
A8 | Richmond 1 | 108/1 | ||
| 182 | 0931+05 |
01:08:16:02 |
00:00:06:11 |
8025+06 |
8026+06 |
05:33:45:18 |
A8 | Richmond 1 - How did you become a DP? Working at Danziger Studios as Clapper/Loader, went on to meet Nicolas Roeg, Lawrence of Arabia, Dr. Zhivago, etc. | 108/1 | ||
| 184 | 0943+00 |
01:08:23:26 |
00:00:04:16 |
8032+05 |
8033+05 |
05:33:50:06 |
A8 | Richmond 1 - How did you become a DP? Working at Danziger Studios as Clapper/Loader, went on to meet Nicolas Roeg, Lawrence of Arabia, Dr. Zhivago, etc. | 108/1 | ||
| 414 | 6064+01 |
02:05:17:27 |
00:00:14:21 |
8538+06 |
8539+06 |
05:39:27:18 |
A8 | Richmond 2 - What's happened to our technique over the years as cameras have evolved? Cameras as so much smaller and lighter and quieter now, do new thigns | 108/2 | ||
| 439 | 6626+04 |
02:11:32:21 |
00:00:32:07 |
9230+00 |
9231+00 |
08:47:19:20 |
26 | Okada 3 - Do you believe digital intermediates change the role of the cinematographer? Yes, because now the cinematographer truly must be involved with the project to the end, Ansel Adams example of printing**** | 211/3 | ||
| 49 | 0469+03 |
01:03:08:00 |
00:00:00:25 |
9433+11 |
9434+11 |
08:49:35:14 |
Bridges 1 | ||||
| 335 | 3642+02 |
01:38:23:09 |
00:00:28:08 |
9767+11 |
9768+11 |
08:53:18:04 |
Bridges 1.spirit in each cinematographers work | ||||
| 92 | 0540+01 |
01:03:55:07 |
00:00:04:08 |
4975+04 |
4976+04 |
09:44:07:05 |
A30 | 215/1-A30 Kovaks | 215/1 | ||
| 172 | 0885+14 |
01:07:45:24 |
00:00:01:08 |
4980+05 |
4981+05 |
09:44:10:16 |
A30 | Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood | 215/1 | ||
| 226 | 1406+12 |
01:13:33:01 |
00:00:01:29 |
4984+02 |
4985+02 |
09:44:13:03 |
A30 | Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood | 215/1 | ||
| 228 | 1418+12 |
01:13:41:01 |
00:00:05:16 |
5002+15 |
5003+15 |
09:44:25:19 |
A30 | Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood | 215/1 | ||
| 230 | 1431+12 |
01:13:49:21 |
00:00:02:07 |
5021+02 |
5022+02 |
09:44:37:23 |
A30 | Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood | 215/1 | ||
| 232 | 1451+05 |
01:14:02:22 |
00:00:05:12 |
5032+11 |
5033+11 |
09:44:45:14 |
A30 | Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood | 215/1 | ||
| 234 | 1472+15 |
01:14:17:05 |
00:00:10:16 |
5052+05 |
5053+05 |
09:44:58:16 |
A30 | Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood | 215/1 | ||
| 356 | 4347+09 |
01:46:13:17 |
00:00:47:27 |
5803+13 |
5804+13 |
09:53:19:16 |
A30 | Kovaks 1 - Story about Easy Rider, It was 5 years of (practice) to do a film like that, we could fit everything we needed in to the back of a station wagon, not that we didn't dream of the bigger tools, Story about Arri 2C | 215/1 | ||
| 127 | 0595+07 |
01:04:32:05 |
00:00:01:04 |
7286+00 |
7287+00 |
09:36:11:00 |
A29 | Roizman 1 | 214/1 | ||
| 157 | 0740+13 |
01:06:09:02 |
00:00:01:23 |
7295+15 |
7296+15 |
09:36:17:19 |
A29 | Roizman 1 - How did you become a DP? Went to schoold for math and physics, afterschool thought about being a teacher, found out how much they made, asked his father (DP) how much they made, and made up mind | 214/1 | ||
| 192 | 1037+11 |
01:09:27:00 |
00:00:03:14 |
7303+05 |
7304+05 |
09:36:22:16 |
A29 | Roizman 1 - How did you become a DP? Went to schoold for math and physics, afterschool thought about being a teacher, found out how much they made, asked his father (DP) how much they made, and made up mind | 214/1 | ||
| 12 | 0311+10 |
01:01:22:29 |
00:00:08:10 |
7421+04 |
7422+04 |
09:37:41:05 |
A29 | Roizman 1 - What do you see as the cinematographer's role in the future? Same as now, have ideas, light and create movement | 214/1 | ||
| 251 | 1762+01 |
01:17:29:27 |
00:00:11:11 |
7537+12 |
7538+12 |
09:38:58:25 |
A29 | Roizman 1 - How do you go about choosing tools for your projects? I tell students that it's an art and a craft and if you want to make the art you have to master the tools of your craft, lenses, etc. | 214/1 | ||
| 454 | 7086+02 |
02:16:39:09 |
00:00:22:23 |
7573+07 |
7574+07 |
09:39:22:19 |
A29 | Roizman 1 - How do you go about choosing tools for your projects? I tell students that it's an art and a craft and if you want to make the art you have to master the tools of your craft, lenses, etc. | 214/1 | ||
| 350 | 4151+15 |
01:44:03:05 |
00:00:08:21 |
7868+06 |
7869+06 |
09:42:39:08 |
A29 | Roizman 2 - What is the NY look? When first started shooting, had a commercial in LA where they wanted NY look, what did it mean, later with French Connection, I think it was more realistic, gritty, hand held, etc | 214/2 | ||
| 347 | 4117+15 |
01:43:40:15 |
00:00:17:24 |
7898+01 |
7899+01 |
09:42:59:01 |
A29 | Roizman 2 - What is the NY look? When first started shooting, had a commercial in LA where they wanted NY look, what did it mean, later with French Connection, I think it was more realistic, gritty, hand held, etc | 214/2 | ||
| 470 | 7500+09 |
02:21:15:17 |
00:00:14:15 |
7236+14 |
7237+14 |
07:14:03:08 |
A17 | Greenberg 4 | 204/4 | ||
| 75 | 0506+03 |
01:03:32:20 |
00:00:01:00 |
7261+11 |
7262+11 |
07:14:19:24 |
A17 | Fraker 1 | 205/1 | ||
| 162 | 0793+10 |
01:06:44:09 |
00:00:08:17 |
7337+13 |
7338+13 |
07:15:10:16 |
A17 | Fraker 1 - How did you become a DP? My grandmother was a teacher in Mazatlan, left during revolution, came to LA to work at Monroe studios, worked during school developing glass plates | 205/1 | ||
| 164 | 0836+10 |
01:07:12:29 |
00:00:22:14 |
7466+09 |
7467+09 |
07:16:36:11 |
A17 | Fraker 1 - Becoming a DP cont'd - Mother and aunt were both extras, mother said you're going to be a DP because they are the most respected on the set, wear ties, war, GI bill, USC**** | 205/1 | ||
| 371 | 4841+00 |
01:51:42:16 |
00:00:19:20 |
7828+13 |
7829+13 |
07:20:37:26 |
A17 | Fraker 1 | 205/1 | ||
| 291 | 2517+08 |
01:25:53:16 |
00:00:19:09 |
7891+08 |
7892+08 |
07:21:19:20 |
A17 | Fraker 1 | 205/1 | ||
| 99 | 0552+08 |
01:04:03:16 |
00:00:00:27 |
4044+14 |
4045+14 |
18:25:39:20 |
Libatique 1 - Name Only | ||||
| 435 | 6488+03 |
02:10:00:20 |
00:00:05:23 |
4983+05 |
4984+05 |
18:38:13:13 |
Libatique - film stocks shape the way things look today. Elephant in 84 vs Phonebooth in 48 - stocks set looks apart.Copy.01 | ||||
| 420 | 6161+03 |
02:06:22:20 |
00:00:06:15 |
5045+00 |
5046+00 |
18:38:54:16 |
Libatique 3 cameras don't matter, all in the lenses | ||||
| 391 | 5470+12 |
01:58:42:11 |
00:00:29:11 |
5271+09 |
5272+09 |
18:41:25:18 |
Libatique 3- Kino Flo changed cinematography, brought back practical locations, ceilings, less unnatural backlight | ||||
| 345 | 4060+14 |
01:43:02:14 |
00:00:38:27 |
8415+11 |
8416+11 |
10:11:58:18 |
Burum 4 (WRONG PULLIN) - St. Elmo's Fire? Ensemble cast there, lot's of fast dialoge, thought it would be better to play in the wide, decided to shoot it in scope, joy to watch actors working together | ||||
| 116 | 0578+11 |
01:04:21:00 |
00:00:00:25 |
9027+15 |
9028+15 |
18:02:34:09 |
M Negrin 1 | ||||
| 351 | 4194+11 |
01:44:31:20 |
00:00:28:14 |
9719+14 |
9720+14 |
18:10:15:18 |
M Negrin 1 - NY Style? NY is a walking city, 800mm shot of people walking, contrasty, people walk in and out of shadow all the time because of buildings, like Hong Kong, **** | ||||
| 366 | 4687+03 |
01:50:00:00 |
00:00:47:00 |
6330+13 |
6331+13 |
13:57:43:25 |
Lenoir 4 - Euro vs. American styles | ||||
| 393 | 5549+10 |
01:59:34:29 |
00:00:38:14 |
6531+12 |
6532+12 |
14:05:26:19 |
Lenoir 5 - Demo of the RedHead, Explains color, why US gaffers hate them, why they love them, barndoor explanation, styles for bouncing light, etc. | ||||
| 96 | 0548+09 |
01:04:00:27 |
00:00:01:06 |
4014+11 |
4015+11 |
13:40:31:05 |
Lenoir 2 | ||||
| 201 | 1131+05 |
01:10:29:12 |
00:00:18:06 |
4061+07 |
4062+07 |
13:41:02:10 |
Lenoir 2 - Becoming a DP? Going to cinematheque 500films a year, studying medicine, failure, so decided to go to filmschool, LEDC after 68 not recruiting so, went to Lumiere, | ||||
| 379 | 5065+13 |
01:54:12:12 |
00:00:14:08 |
4439+13 |
4440+13 |
13:45:39:24 |
D Lenoir 3 - Flat and non-flat lighting story | ||||
| 457 | 7196+00 |
02:17:52:16 |
00:00:39:29 |
4751+08 |
4752+08 |
13:49:07:18 |
Lenoir 3 | ||||
| 289 | 2463+05 |
01:25:17:12 |
00:00:37:25 |
4824+10 |
4825+10 |
13:49:56:10 |
Lenoir 3 - Where do ideas for style come from? When reading scripts, try not to get too much of a visual picture, so when first meeting I don't want say strong colors and he says B/W, first weeks try to act like sponge, etc** | ||||
| 390 | 5426+10 |
01:58:12:29 |
00:00:10:02 |
9418+08 |
9419+08 |
17:03:40:18 |
Collister 4 - Tools and Tech pt. 2 (KINO FLO TUBE EXAMPLE) Restatement of tk. 3, with Kino tube in hand***** | ||||
| 114 | 0575+06 |
01:04:18:24 |
00:00:00:22 |
9845+00 |
9846+00 |
17:31:23:28 |
Murphy 1 - Name and title | ||||
| 198 | 1080+01 |
01:09:55:07 |
00:00:10:03 |
9867+01 |
9868+01 |
17:31:38:19 |
Murphy 1 - Becoming a DP, Studying architecture, had model he couldn't build, did an aimation everyone liked, that was the end, years later, DP | ||||
| 246 | 1705+08 |
01:16:52:06 |
00:00:03:02 |
9912+06 |
9913+06 |
17:32:08:25 |
Murphy 1 - Big Break, never AC or Operator, bought camera, shot movies on weekends for friends, made a film called Girlfriends which got picked up, went on from there | ||||
| 144 | 0634+11 |
01:04:58:10 |
00:00:00:26 |
4196+08 |
4197+08 |
08:50:15:29 |
Van Oostrum 1 | ||||
| 389 | 5411+08 |
01:58:02:26 |
00:00:16:14 |
4670+07 |
4671+07 |
08:57:33:20 |
Van Oostrum 2 - Style and tech, pt. 2,Using soft lights, drops off very quickly, look for different lights that do different things, look for a tool or create it yourself | ||||
| 382 | 5231+14 |
01:56:03:04 |
00:00:19:07 |
7548+05 |
7549+05 |
12:12:52:29 |
Zsigmond 6 - JON CLIP: Lighting, soft vs hard light, soft light is boring, imagine soft light for deliverance??, sunlight comes into room, need hard light, 16:1. LIGHT COMES ON IN INTERVIEW ** | ||||
| 386 | 5359+05 |
01:57:28:02 |
00:00:15:02 |
7652+01 |
7653+01 |
12:14:02:04 |
Zsigmond 6 - Shadows are more important | ||||
| 100 | 0554+02 |
01:04:04:19 |
00:00:01:02 |
6403+03 |
6404+03 |
14:07:17:10 |
Lighthill 1 | ||||
| 196 | 1058+12 |
01:09:41:01 |
00:00:01:20 |
6412+07 |
6413+07 |
14:07:23:15 |
Lighthill 1 - How did you become a DP Pt. 1, Went to BU as Journalism major, cool students were in film, started doing nightly news, 16mm, | ||||
| 363 | 4531+06 |
01:48:16:04 |
00:00:17:28 |
6656+08 |
6657+08 |
14:10:06:06 |
Lighthill 1 - Difference between lighting docs and features? Running with a camera, comes from minimal equipment, go for a natural look, go there now, love naturalism | ||||
| 160 | 0759+11 |
01:06:21:20 |
00:00:09:01 |
7630+01 |
7631+01 |
14:40:16:23 |
Green 1 - Becoming a DP? Grad. from barber col. and HS within 10 days, cut hair 7 years, father had bathroom darkroom, loved stills, met a cameraman in SF, did AC work, part time and then full time | ||||
| 165 | 0852+07 |
01:07:23:15 |
00:00:10:15 |
7663+14 |
7664+14 |
14:40:39:09 |
Green 1 - Becoming a DP? Grad. from barber col. and HS within 10 days, cut hair 7 years, father had bathroom darkroom, loved stills, met a cameraman in SF, did AC work, part time and then full time | ||||
| 87 | 0526+12 |
01:03:46:11 |
00:00:00:22 |
4318+07 |
4319+07 |
13:41:29:15 |
Jensen 1 | ||||
| 194 | 1045+04 |
01:09:32:01 |
00:00:03:11 |
4384+10 |
4385+10 |
13:43:26:23 |
Jensen 2 - Becoming a DP tk. 2, trained as mech. eng., emigrated from Denmark, came to this country to dig for god, came in little pieces but I finally found the pile | ||||
| 357 | 4400+08 |
01:46:48:26 |
00:00:35:07 |
4588+10 |
4589+10 |
13:45:42:23 |
Jensen 2 - Technology influencing style? Cinemobile was a Ford Econoline, very small, had openface lights, no fresnels, couldn't cut, so we bounced, 9 lights though shower curtain, style developed by necessity, **** | ||||
| 78 | 0511+08 |
01:03:36:06 |
00:00:00:25 |
5978+11 |
5979+11 |
15:05:56:25 |
Green 4 | ||||
| 395 | 5644+04 |
02:00:38:01 |
00:00:36:09 |
6148+04 |
6149+04 |
15:07:49:26 |
Green 4 - More about Bird, where the inspiration came from for back cross edge lighting, works well of differernt skin tones, etc. | ||||
| 83 | 0520+13 |
01:03:42:12 |
00:00:00:27 |
6178+02 |
6179+02 |
15:19:41:06 |
Hubbs 1 | ||||
| 217 | 1340+05 |
01:12:48:22 |
00:00:01:08 |
6255+08 |
6256+08 |
15:22:08:25 |
Hubbs 3 - How got into the businesspt. 1 - working as a waiter, never taken pictures, worked for industrials company, first pictures ever taken were with motion picture camera | ||||
| 461 | 7342+11 |
02:19:30:10 |
00:00:19:15 |
5060+01 |
5061+01 |
15:36:31:06 |
Hubbs 5 - Future of movies? Digittal tech. exciting, best part of filmmaking is the passion, shut up and listen to your heart*** | ||||
| 131 | 0601+00 |
01:04:35:26 |
00:00:01:02 |
5109+05 |
5110+05 |
15:49:18:24 |
Schwartzman 1 | ||||
| 207 | 1209+05 |
01:11:21:12 |
00:00:03:11 |
5192+00 |
5193+00 |
15:50:13:28 |
Schwartzman 1 - How become a DP? Always had a darkroom as a kid, went to USC grad school, didn't work for many years, good network and made his way | ||||
| 261 | 1939+02 |
01:19:27:29 |
00:00:24:00 |
5463+02 |
5464+02 |
15:54:43:28 |
Schwartzman 2 | ||||
| 426 | 6330+02 |
02:08:15:09 |
00:00:15:14 |
6228+06 |
6229+06 |
16:06:47:25 |
Schwartzman 4 - Tech. & Tech? Chicken or the egg question, keep it simple, equipment is smaller and lighter, do a shot and find equip. to do it, moving the camera example*** | ||||
| 433 | 6473+03 |
02:09:50:20 |
00:00:22:13 |
6264+12 |
6265+12 |
16:07:12:03 |
Schwartzman 4 - Tech. & Tech? Chicken or the egg question, keep it simple, equipment is smaller and lighter, do a shot and find equip. to do it, moving the camera example*** | ||||
| 337 | 3762+08 |
01:39:43:16 |
00:00:49:04 |
6464+04 |
6465+04 |
16:09:25:03 |
Schwartzman 4 - Style? Best style is transparent, from the guy who did The Rock, Armageddon and Pearl Harbor, all style, but that's what the picture needed, different from Seabiscuit*** | ||||
| 438 | 6577+13 |
02:11:00:12 |
00:00:44:18 |
7153+11 |
7154+11 |
16:18:52:23 |
Schwartzman 5 - Digital intermediate? Color timing before, crude, now control like Photoshop, used on Seabiscuit to have finer control, now that the genie is out of the bottle*** | ||||
| 102 | 0557+07 |
01:04:06:25 |
00:00:00:25 |
7628+00 |
7629+00 |
16:47:31:04 |
Logan 1 | ||||
| 218 | 1342+13 |
01:12:50:12 |
00:00:01:18 |
7652+14 |
7653+14 |
16:47:47:21 |
Logan 1 - Becoming a DP? Started in animation in the attic, doing 1000's of drawings, dad gave 9.5mm camera, stop motion, hired in animation co Rostrum camera, then to 2001, Doug Trumbull, VFX school, then to 35mm features | ||||
| 271 | 2292+10 |
01:23:23:19 |
00:00:06:02 |
8010+06 |
8011+06 |
16:53:21:05 |
Logan 2 - Style? Artist's own take on things, vision, caused by a challenge, in my case, didn't know how to light, chose natural light situations, people began to like it, film was 50 or 100ASA, became a style | ||||
| 70 | 0498+14 |
01:03:27:24 |
00:00:00:27 |
8703+09 |
8704+09 |
17:23:44:20 |
E Dickerson 1 | ||||
| 205 | 1193+13 |
01:11:11:02 |
00:00:08:02 |
8761+07 |
8762+07 |
17:24:23:08 |
E Dickerson 1 - How become Cinemtographer? NYU film school grad, thru Spike Lee met John Sayles,1year after grad. shot Sayles Brother From Another Planet | ||||
| 125 | 0591+01 |
01:04:29:07 |
00:00:00:21 |
7313+07 |
7314+07 |
09:21:37:29 |
Primes 1 | ||||
| 211 | 1264+02 |
01:11:57:29 |
00:00:21:19 |
7423+08 |
7424+08 |
09:22:51:10 |
Primes 1 | ||||
| 384 | 5288+12 |
01:56:41:01 |
00:00:12:07 |
8197+06 |
8198+06 |
09:41:05:05 |
Primes 4 - Lighting style cont'd? Like to think that there is a single lighting vector (EXAMPLE WITH FOAM CORE) fill from the opposite side weakens, fill from the front, negative fill makes the source stronger**** | ||||
| 266 | 2186+04 |
01:22:12:21 |
00:00:18:02 |
8585+02 |
8586+02 |
09:48:07:03 |
Primes 7 - Style cont'd, Important to be interpreting not just recording images, adding own point of view, make commentary with light, dark, color, etc. go to a new place, big monitor helps that, seeing ** | ||||
| 67 | 0494+07 |
01:03:24:25 |
00:00:00:23 |
6083+12 |
6084+12 |
08:19:54:19 |
Dexter 2 | ||||
| 428 | 6379+14 |
02:08:48:14 |
00:00:17:09 |
6685+15 |
6686+15 |
08:34:37:05 |
Dexter 3 (OVER MODULATED AUDIO) - About being a mechanic? Got to be a better way? Hi-Hat example, speed rail, other examples, etc*** | ||||
| 430 | 6417+08 |
02:09:13:16 |
00:00:15:29 |
6739+02 |
6740+02 |
08:35:12:19 |
Dexter 3 (OVER MODULATED AUDIO) | ||||
| 432 | 6439+08 |
02:09:28:06 |
00:00:04:06 |
7164+06 |
7165+06 |
08:43:36:01 |
Dexter 5 - Talk about sawing lenses? on Harvest, had eclair CM3s and Arris, put Nikon mounts on them, how to get the lenses to fit | ||||
| 256 | 1824+03 |
01:18:11:10 |
00:00:03:21 |
7211+14 |
7212+14 |
08:44:07:21 |
Dexter 5 - Talk about being a mentor? Always taught, and only saved a few tricks for myself, like perriscope lenses, how he made them, studying optics, etc. | ||||
| 104 | 0562+02 |
01:04:09:29 |
00:00:01:28 |
6383+01 |
6384+01 |
10:30:43:00 |
Mankofsky 1 | ||||
| 279 | 2339+13 |
01:23:55:02 |
00:00:00:18 |
6657+02 |
6658+02 |
10:33:45:21 |
Mankofsky 1 - How does style happen? Like to say don't have style, style determined by story and dir's desire what he wants to see, limited to style gets pidgeon-holed, start with a plan, etc. | ||||
| 396 | 5661+08 |
02:00:49:16 |
00:00:11:14 |
6721+07 |
6722+07 |
10:34:28:18 |
Mankofsky 1 - How does style happen? Like to say don't have style, style determined by story and dir's desire what he wants to see, limited to style gets pidgeon-holed, start with a plan, etc. | ||||
| 441 | 6699+04 |
02:12:21:11 |
00:00:18:11 |
7105+13 |
7106+13 |
09:23:16:09 |
Sigel 3 - DI pt. 2, Danger is role of DP is much more vulnerable now, if 9 months after shoot, studio ready for DI butDP isn't available, problem, turn of a knob and it's a different movie, change a sweater, etc | SIEGL/3 | |||
| 136 | 0615+00 |
01:04:45:06 |
00:00:04:17 |
8024+15 |
8025+15 |
09:06:40:11 |
Sigel 1 | SIGEL/1 | |||
| 210 | 1231+10 |
01:11:36:09 |
00:00:10:29 |
8067+12 |
8068+12 |
09:07:08:28 |
Sigel 1 - Becomign a DP? Studied painting in HS, went to Whitney Mus. program, loved painting couldn't get them to move, started shooting super8, 16mm, abstract, segue into docs, then to narrative "the mess I'm in today" | SIGEL/1 | |||
| 328 | 3449+07 |
01:36:14:25 |
00:00:13:10 |
8188+03 |
8189+03 |
09:08:29:06 |
Sigel 1 - Origin of style? begins with material & whatever ressonates within you, some things I've discovered some out ignorance, "Looks kinda cool", so comes from many places but hopefully from your own vision | SIGEL/1 | |||
| 409 | 5961+01 |
02:04:09:07 |
00:00:20:26 |
7733+06 |
7734+06 |
10:03:29:19 |
Burum 3 - Style is organic, comes from experinece? Emotion, experience, talent influences, how well you can accomplish is your craftskill, Art is about expressing how you see something*** | ||||
| 118 | 0581+10 |
01:04:22:29 |
00:00:00:23 |
6490+01 |
6491+01 |
09:05:48:21 |
A25 | Okada 2 | 211/2 | ||
| 206 | 1204+03 |
01:11:18:00 |
00:00:06:26 |
6565+02 |
6566+02 |
09:06:38:23 |
A25 | Okada 2 - Did you go to film school? No, worked on a lot of student films, watched films at night, worked on low budget films, anything I could do but go to school | 211/2 | ||
| 59 | 0483+06 |
01:03:17:14 |
00:00:00:27 |
8230+06 |
8231+06 |
08:36:12:28 |
24 | Crudo 1 | 210/1 | ||
| 243 | 1686+04 |
01:16:39:11 |
00:00:04:16 |
8289+05 |
8290+05 |
08:36:52:06 |
24 | Crudo 1 - How did you become a DP? Professor was a commercial producer, aksed for help, went to set, saw a Mitchell on the dolly, camera dept. looked cool, never worked outside camera again | 210/1 | ||
| 412 | 6024+11 |
02:04:51:20 |
00:00:10:19 |
8464+04 |
8465+04 |
08:38:48:25 |
24 | Crudo 1 - Give us the history of cameras? Very simple process, light moves through a lens to the film which the camera advances, it's universal, and printer technlogy and lights are the same the world over. ** | 210/1 | ||
| 48 | 0467+14 |
01:03:07:04 |
00:00:08:07 |
5471+06 |
5472+06 |
06:36:22:28 |
14 | Beristain 1 | 203/1 | ||
| 163 | 0802+14 |
01:06:50:14 |
00:00:06:04 |
5495+03 |
5496+03 |
06:36:38:24 |
14 | Beristain 1 - How did you become a DP? Coming from Mexico, going to Europe the only language to speak was the language of images, working his way to becoming DP | 203/1 | ||
| 296 | 2609+06 |
01:26:54:24 |
00:00:20:25 |
5892+06 |
5893+06 |
06:41:03:18 |
14 | Beristain 1 - Where does your inspiration come from? I follow schools of art, Dolores Claiborne was influenced by Magrit, but I'ld like to think I don't have a style. Some DPs are DP/Engineer, DP/Editors, I'm a DP writer, my lighting and camera become c | 203/1 | ||
| 440 | 6671+10 |
02:12:02:29 |
00:00:30:07 |
6518+05 |
6519+05 |
06:47:54:06 |
15 | Beristain 2 - What about DI? Had this technology for years in commercials, now it's available to features, and beacause you can get such good images with new films and lenses, this is what we can do to separate our images from others, like hand painting | 203/2 | ||
| 445 | 6822+14 |
02:13:43:24 |
00:00:20:13 |
5067+04 |
5068+04 |
08:01:13:15 |
21 | Pearl 2 - What do want to see at trade show? I go for new lighting, especially things that are lighter, easier, more and more budget aware, trying to bring shows in expeditiously*** | 207/2 | ||
| 378 | 5044+05 |
01:53:58:02 |
00:00:06:02 |
5474+14 |
5475+14 |
08:05:45:08 |
21 | Pearl 2 - Story about orginal Texas Chainsaw Massacre, t2.8 zoom, do we have enough light, yes, that's what he named it, etc.*** | 207/2 | ||
| 387 | 5369+15 |
01:57:35:05 |
00:00:07:01 |
5518+14 |
5519+14 |
08:06:14:18 |
21 | Pearl 2 - Story about orginal Texas Chainsaw Massacre, t2.8 zoom, do we have enough light, yes, that's what he named it, etc.*** | 207/2 | ||
| 76 | 0508+01 |
01:03:33:27 |
00:00:01:06 |
7273+05 |
7274+05 |
08:14:28:06 |
22 | Goi 1 | 208/1 | ||
| 203 | 1159+12 |
01:10:48:11 |
00:00:05:19 |
7496+05 |
7497+05 |
08:16:56:26 |
22 | Goi 1 | 208/1 | ||
| 171 | 0883+15 |
01:07:44:15 |
00:00:02:05 |
7546+12 |
7547+12 |
08:17:30:15 |
22 | Goi 1 - What is your background? Grew up in Chicago, went to Columbia Col. Taught there for 3 years, worked on docs, and then commercials to pay the bills before coming to LA | 208/1 | ||
| 355 | 4275+10 |
01:45:25:19 |
00:00:21:19 |
7906+09 |
7907+09 |
08:21:30:11 |
22 | Goi 1 - Technique and Technology? Approaches to work definitely change with new technology, example smaller, lighter camers in the 60s and 70s let directors take cameras on the road, in bathrooms etc, led to experimentation | 208/1 | ||
| 88 | 0528+12 |
01:03:47:21 |
00:00:01:09 |
9023+08 |
9024+08 |
08:22:37:20 |
23 | Kemper 1 | 209/1 | ||
| 242 | 1679+06 |
01:16:34:24 |
00:00:02:19 |
9073+07 |
9074+07 |
08:23:10:29 |
23 | Kemper 1 - How did you become a DP? Working in an independent TV stationin NJ, pushing dolly, boom, AMPEX comes out with 2" tape, went to CA to get trained, came back and independent engineer | 209/1 | ||
| 349 | 4138+13 |
01:43:54:12 |
00:00:06:03 |
9605+03 |
9606+03 |
08:29:05:14 |
23 | Kemper 1 - How does new technology influence the work of DP? Film stocks especially influence the way we work, in NY DPs were always asking for faster stocks so they could work with less light, and that all directly relates to the types of light you use | 209/1 | ||
| 316 | 3126+13 |
01:32:39:22 |
00:00:10:08 |
9813+08 |
9814+08 |
08:31:24:10 |
23 | Kemper 1 - How do you go about lighting a set? The ideas come earlier during production meeting, head banging, etc. | 209/1 | ||
| 80 | 0515+11 |
01:03:39:00 |
00:00:01:19 |
3963+06 |
3964+06 |
07:00:10:28 |
A16 | Greenberg 1 | 204/1 | ||
| 62 | 0488+13 |
01:03:21:02 |
00:00:02:03 |
9012+11 |
9013+11 |
10:34:41:18 |
Daviau 1 | ||||
| 155 | 0725+13 |
01:05:59:02 |
00:00:09:08 |
9029+02 |
9030+02 |
10:34:52:16 |
Daviau 1 - How did you become DP? Saw color TV in LA for the first time on in LA, went to all the TV stations and then eventually gate crashed the studios asking questions | ||||
| 36 | 0428+12 |
01:02:41:01 |
00:00:11:02 |
9159+11 |
9160+11 |
10:36:19:18 |
Daviau 1 | ||||
| 255 | 1818+09 |
01:18:07:17 |
00:00:04:03 |
9572+04 |
9573+04 |
10:41:39:10 |
Daviau 2 - How did you meet Ron Dexter? Working on commercials, Ron used to host symposia to talk about new techniques, inspiration to many young filmmakers.Copy.01 | ||||
| 257 | 1840+10 |
01:18:22:09 |
00:00:10:28 |
9600+09 |
9601+09 |
10:41:58:06 |
Daviau 2 - How did you meet Ron Dexter? Working on commercials, Ron used to host symposia to talk about new techniques, inspiration to many young filmmakers.Copy.01 | ||||
| 408 | 5929+11 |
02:03:48:10 |
00:00:05:13 |
9668+02 |
9669+02 |
10:42:43:08 |
Daviau 2 - Where does style come from? Cinematography is mastering of complex technology in the service of Art, getting in the director's mind, watching films together, tear sheets, R. Coutard quote | ||||
| 292 | 2525+12 |
01:25:59:01 |
00:00:05:14 |
9678+00 |
9679+00 |
10:42:49:25 |
Daviau 2 - Where does style come from? Cinematography is mastering of complex technology in the service of Art, getting in the director's mind, watching films together, tear sheets, R. Coutard quote | ||||
| 298 | 2663+10 |
01:27:30:29 |
00:00:08:18 |
9739+11 |
9740+11 |
10:43:30:29 |
Daviau 2 - Where does style come from? Cinematography is mastering of complex technology in the service of Art, getting in the director's mind, watching films together, tear sheets, R. Coutard quote | ||||
| 310 | 2970+04 |
01:30:55:11 |
00:00:23:29 |
9787+10 |
9788+10 |
10:44:02:28 |
Daviau 2 - Where does style come from? Cinematography is mastering of complex technology in the service of Art, getting in the director's mind, watching films together, tear sheets, R. Coutard quote | ||||
| 317 | 3144+01 |
01:32:51:07 |
00:00:11:13 |
9890+04 |
9891+04 |
10:45:11:10 |
Daviau 2 - Style part 2, ENR, skip-bleach, now DI,communicating with the director, studio, etc, a look, belief in film dailies, working with the production designer to create the look | ||||
| 309 | 2934+04 |
01:30:31:11 |
00:00:02:17 |
8076+03 |
8077+03 |
17:35:52:15 |
Murphy 2 - Architecture influence your style? Everything we learn influences us, very interested in space, how the lens preceives space, abstract concept of cinema space, | ||||
| 372 | 4887+02 |
01:52:13:09 |
00:00:30:22 |
8619+01 |
8620+01 |
17:44:50:03 |
Murphy 4 (WRONG PULLIN) - Dark stage? Usually turn on one lgiht that I've placed, see how that looks and then turn others on one at a time, then start turning them off again, until it looks right**.Copy.01 | ||||
| 24 | 0364+02 |
01:01:57:29 |
00:00:06:05 |
4337+12 |
4338+12 |
14:28:24:01 |
Edlund 7 - Dgital pt. 2, Look at how NTSC has evolved over the years, improved with age, etc, love film, grew up with the smell on hands, but film is like a Sumo, some times you get thrown out ring, digital is easier | ||||
| 74 | 0504+10 |
01:03:31:19 |
00:00:00:24 |
4404+02 |
4405+02 |
14:36:43:13 |
Fierberg 2 | ||||
| 189 | 1019+03 |
01:09:14:20 |
00:00:08:15 |
4474+06 |
4475+06 |
14:37:30:08 |
Fierberg 2 - How did you become a DP? In Detroit, friends had cameras, made reg. 8mm movies in the summer, in college had to decide about filmmaking, in Detroit, deciding on filmmaking was like jumping off a cliff** | ||||
| 130 | 0599+05 |
01:04:34:22 |
00:00:00:28 |
7297+08 |
7298+08 |
11:34:23:13 |
Schreiber 1 | ||||
| 220 | 1363+03 |
01:13:04:00 |
00:00:07:04 |
7345+03 |
7346+03 |
11:34:55:06 |
Schreiber 1 - How did you become a DP? UofM, Art Major, underground films, moved to NY, answered ad in Vil. Voice, worked in elec. dept. Gaffer took an interest in teaching | ||||
| 258 | 1852+05 |
01:18:30:02 |
00:00:07:22 |
7388+03 |
7389+03 |
11:35:23:26 |
Schreiber 1 - How did you become a DP? UofM, Art Major, underground films, moved to NY, answered ad in Vil. Voice, worked in elec. dept. Gaffer took an interest in teaching | ||||
| 167 | 0858+09 |
01:07:27:17 |
00:00:01:16 |
7399+15 |
7400+15 |
11:35:31:21 |
Schreiber 1 - How did you become a DP? UofM, Art Major, underground films, moved to NY, answered ad in Vil. Voice, worked in elec. dept. Gaffer took an interest in teaching | ||||
| 32 | 0402+14 |
01:02:23:24 |
00:00:06:12 |
7678+14 |
7679+14 |
11:38:37:20 |
Schreiber 1 - Style cont'd. Doesn't like it when DPs get pidgeon-holed as action or story, etc. Tries to make every film individual. | ||||
| 293 | 2535+01 |
01:26:05:07 |
00:00:06:05 |
7705+08 |
7706+08 |
11:38:55:13 |
Schreiber 1 - Style 3? Likes to work with the director to break down the story step by step, scene by scene, get involved early so photographic needs are addressed early** | ||||
| 458 | 7237+14 |
02:18:20:14 |
00:00:27:27 |
5015+08 |
5016+08 |
14:39:03:01 |
Narita 4 - Changes in technology? in our lifetime, we've seen great changes in (cinema) technology, sound, color film, etc, these were big compared to digital aquisition technology changes, should embrace it | ||||
| 305 | 2880+14 |
01:29:55:24 |
00:00:06:18 |
5575+14 |
5576+14 |
14:46:32:18 |
Narita 5 | ||||
| 40 | 0443+15 |
01:02:51:05 |
00:00:01:25 |
4108+06 |
4109+06 |
16:08:06:09 |
Adefarasin 1 | ||||
| 267 | 2204+10 |
01:22:24:29 |
00:00:12:07 |
4400+07 |
4401+07 |
16:11:21:00 |
Adefarasin 1- About Style Collaboration - move to style section | ||||
| 367 | 4712+13 |
01:50:17:02 |
00:00:17:01 |
4476+13 |
4477+13 |
16:12:11:28 |
Adefarasin 1 - The difference bt US and UK style, no humanity, execs coming down | ||||
| 421 | 6167+04 |
02:06:26:21 |
00:00:04:00 |
5037+13 |
5038+13 |
16:23:04:08 |
Adefarasin 3 - Relationship with director most important, camera, etc. | ||||
| 376 | 4999+05 |
01:53:28:02 |
00:00:20:00 |
5459+06 |
5460+06 |
16:31:00:11 |
Adefarasin 5 - Importance of lighting? Best tools for cinematographer, must know story before you know how to light it, like contradictory lighting, sad scene, instead rain projected dribbles, sunset, rain at funeral scences example,*** | ||||
| 56 | 0479+08 |
01:03:14:26 |
00:00:00:22 |
5651+11 |
5652+11 |
16:45:34:13 |
Collister 1 | ||||
| 60 | 0484+08 |
01:03:18:06 |
00:00:00:21 |
6991+13 |
6992+13 |
12:08:54:13 |
Cundey 1 | ||||
| 197 | 1064+13 |
01:09:45:02 |
00:00:04:00 |
7076+12 |
7077+12 |
12:09:51:01 |
Cundey 1 - How did you become a DP? Knew wanted to be in movies since HS, wanted to do prod. des., studied architecture, took class with James Wong Howe, created images with lights, knew that was what it was | ||||
| 71 | 0500+06 |
01:03:28:24 |
00:00:00:29 |
8001+14 |
8002+14 |
14:02:11:19 |
Edlund 1 | ||||
| 436 | 6499+01 |
02:10:07:27 |
00:00:07:06 |
8773+08 |
8774+08 |
14:19:34:25 |
Edlund 5 - Tech. and Tech? Works both ways, the tools dictate what we can do (color, film,etc) but we decide how they are used, sea change coming with digitial acquisition, comes from VFX, $9M optical printer story | ||||
| 324 | 3371+02 |
01:35:22:19 |
00:00:08:14 |
9795+07 |
9796+07 |
12:42:15:00 |
Cundey 5 - How is the style of commercials different from Features? Commercials are the areas that allow us to experiement, area where learned to experiment in post, now with DI, example of how com. effect features, etc. | ||||
| 98 | 0551+01 |
01:04:02:17 |
00:00:00:21 |
6278+05 |
6279+05 |
15:37:34:21 |
Levy 1 - Name and title | ||||
| 173 | 0887+03 |
01:07:46:20 |
00:00:00:25 |
6326+15 |
6327+15 |
15:38:07:04 |
Levy 1 - Where are you from? From Sydney, Aus. school there called Commonwealth Film Unit, started out as a freelance, in 1988, came to US to shoot Nightmare on Elm st. 5 | ||||
| 398 | 5703+11 |
02:01:17:20 |
00:00:08:24 |
6552+00 |
6553+00 |
15:40:37:05 |
Levy 1 | ||||
| 268 | 2224+07 |
01:22:38:05 |
00:00:13:05 |
6731+10 |
6732+10 |
15:43:48:21 |
Levy 2 - Where does that come from, script? Script and the confidence of the director to allow you to see it your own way, want to audiene to feel or think at the end of the scene*** | ||||
| 139 | 0619+02 |
01:04:47:29 |
00:00:00:27 |
3960+01 |
3961+01 |
10:04:37:00 |
Steiger 1 | ||||
| 188 | 1006+06 |
01:09:06:04 |
00:00:06:15 |
4009+05 |
4010+05 |
10:05:09:25 |
Steiger 1 - Becoming a DP? Shot weird little films in HS, Zurich, friend went to film school, went to university, didn't dare to apply to Film School , Lit & art, worked on side, grant to London Film Sch., started to struggle | ||||
| 290 | 2488+08 |
01:25:34:06 |
00:00:16:22 |
4395+04 |
4396+04 |
10:09:27:04 |
Steiger 1 - Where does style come from? Movie decides itself what it looks like, I'm very open, don't really know, I have my ideas, I listen a lot and pretend to know, through equipment have or don't have, director*** | ||||
| 143 | 0633+05 |
01:04:57:12 |
00:00:01:28 |
5006+06 |
5007+06 |
16:33:36:15 |
Toll 1 | ||||
| 176 | 0893+05 |
01:07:50:22 |
00:00:01:07 |
5034+15 |
5035+15 |
16:33:55:17 |
Toll 1 - Becoming a DP? Did stills as a kid, went to school in LA, worked in David Wolper's doc. co., PA, then AC, Op. then DP | ||||
| 270 | 2283+08 |
01:23:17:16 |
00:00:12:06 |
5216+08 |
5217+08 |
16:35:56:18 |
Toll 1 - Where does style come from? Trying to tell a visual story, so the style comes from the story, can be anything you want it to be... | ||||
| 57 | 0480+14 |
01:03:15:24 |
00:00:00:27 |
4024+04 |
4025+04 |
09:46:59:11 |
Cooperman 1 | ||||
| 115 | 0577+06 |
01:04:20:04 |
00:00:01:09 |
5037+03 |
5038+03 |
14:24:45:01 |
Narita 2 | ||||
| 212 | 1296+12 |
01:12:19:21 |
00:00:21:21 |
5115+10 |
5116+10 |
14:25:37:10 |
Narita 2 - Becoming a DP pt. 2? Got frustrated in illustrations doing one images, so explored documentaries, then did AC and assitant lighting, then pretended to be a cinematographer | ||||
| 295 | 2578+01 |
01:26:33:27 |
00:00:10:10 |
5626+15 |
5627+15 |
14:32:17:09 |
Narita 3 - Style your films? Never Cry Wolf, working for days and days in tundra, get to appreciate the northern light, open space etc, style grew out of itself, danger of applying your old style on something new** | ||||
| 323 | 3358+06 |
01:35:14:04 |
00:00:21:24 |
8232+01 |
8233+01 |
14:48:21:23 |
Fierberg 3 - Many members of the ASC started in comm. then features, wish I had started that way, in commercials, learn very quickly because of turnover, DW Griffith one reeler ex., now takes years to do feature** | ||||
| 424 | 6282+01 |
02:07:43:07 |
00:00:26:17 |
8712+06 |
8713+06 |
14:56:59:06 |
Fierberg 5 - (WIDE ANGLE LENS) Talking about the psychology of lenses, gesturing towards camera, example of using wide angle lenses on Secretary, etc. | ||||
| 82 | 0519+06 |
01:03:41:14 |
00:00:01:00 |
9012+00 |
9013+00 |
15:06:36:28 |
Holzman 1 | ||||
| 187 | 0996+09 |
01:08:59:17 |
00:00:10:10 |
9090+10 |
9091+10 |
15:07:29:10 |
Holzman 1 - Becoming DP? Watned to do stills for LIfe, folded, did stills as kid, had a dream of space movie, woke up and went to NYU, everyone wanted to be a Director, hands up on first day story** | ||||
| 446 | 6830+13 |
02:13:49:02 |
00:00:05:07 |
9382+06 |
9383+06 |
15:13:21:00 |
Holzman 4 | ||||
| 55 | 0478+05 |
01:03:14:02 |
00:00:00:21 |
4149+13 |
4150+13 |
10:37:17:10 |
Chressanthis 1 | ||||
| 204 | 1181+10 |
01:11:02:29 |
00:00:14:17 |
4222+12 |
4223+12 |
10:38:05:29 |
Chressanthis 1 - In highschool saw a book in library, Motion Pic. Cameraman, Freddie Young, wasn't aware of DP in movies, started making shorts, docs, moved to LA to join the circus*** | ||||
| 464 | 7370+14 |
02:19:49:04 |
00:00:04:22 |
4658+06 |
4659+06 |
10:44:00:22 |
Chressanthis 2 | ||||
| 43 | 0449+07 |
01:02:54:25 |
00:00:01:19 |
4974+05 |
4975+05 |
16:02:04:20 |
H Anderson III 1 | ||||
| 158 | 0742+14 |
01:06:10:14 |
00:00:01:10 |
4996+02 |
4997+02 |
16:02:19:06 |
H Anderson III 1 - How did you get where you are today? Born into it, started in highshcool then in college working part time, then full time after UCLA | ||||
| 354 |