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Sequence: CStyleAssembly060105
Events:475 Picture Conform Method:A Roll (Single Strand) Conformed by:KN Start
Dupes:2 Total Footage:7562+12 Running Footage:35mm, 4perf
Opticals:16 LFOA:7562+12 Durations:Footage
Tracks:Picture 1 Total Time:01:24:01:24 Master TC type:Start
Sound Conform Method:Auxiliary Ink
Event Dupe
Group
Footage Master TC
Start
Master
Duration
Source
Duration
Key Number Key Number
with Handles
Start Lab Roll Cam Roll Clip Name Scene
Take
1 0187+03
0213+05
01:00:00:00
01:00:17:12
0026+03
00:00:17:12
0026+03 Opt 1-0000+00
0026+02
Optical #1
2 0213+06
0219+05
01:00:17:14
01:00:21:12
0006+00
00:00:03:28
0006+00 Opt 2-0000+00
0005+15
Optical #2
3 0219+06
0221+09
01:00:21:14
01:00:22:27
0002+04
00:00:01:13
0002+04 LEADER
LEADER
00:00:00:00
00:00:01:05
4 0221+10
0258+06
01:00:22:29
01:00:47:14
0036+13
00:00:24:15
0036+13 EL 06 8917-3983+02
4019+14
EL 06 8917-3982+02
4020+14
05:00:22:23
05:00:47:08
000005 606 Storaro 6 - Technique and Technology? Demonstration with single light bulb, the meaning of light, how it works in different positions 506/2
5 0258+07
0259+13
01:00:47:15
01:00:48:12
0001+07
00:00:00:27
0001+07 LEADER
LEADER
00:00:00:00
00:00:00:22
6 0259+14
0267+05
01:00:48:14
01:00:53:12
0007+08
00:00:04:28
0007+08 Opt 3-0000+00
0007+07
Optical #3
7 0267+06
0268+13
01:00:53:14
01:00:54:12
0001+08
00:00:00:28
0001+08 LEADER
LEADER
00:00:00:00
00:00:00:23
8 0268+14
0291+02
01:00:54:14
01:01:09:09
0022+05
00:00:14:25
0022+05 EQ 56 4511-4096+15
4119+03
EQ 56 4511-4095+15
4120+03
16:12:15:09
16:12:30:04
000007 W7 Willis 14 - What is a cin. tk 4 - More succinct 101/14
9 0291+03
0292+04
01:01:09:10
01:01:10:01
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
10 0292+05
0297+15
01:01:10:02
01:01:13:25
0005+11
00:00:03:23
0005+11 Opt 4-0000+00
0005+10
Optical #4
11 0298+00
0299+01
01:01:13:26
01:01:14:17
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
12 0299+02
0311+10
01:01:14:19
01:01:22:29
0012+09
00:00:08:10
0012+09 EH 26 1772-7408+12
7421+04
EH 26 1772-7407+12
7422+04
09:37:32:25
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
13 0311+11
0312+12
01:01:23:00
01:01:23:21
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
14 0312+13
0318+07
01:01:23:22
01:01:27:15
0005+11
00:00:03:23
0005+11 Opt 5-0000+00
0005+10
Optical #5
15 0318+08
0319+09
01:01:27:16
01:01:28:07
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
16 0319+10
0329+10
01:01:28:09
01:01:34:29
0010+01
00:00:06:20
0010+01 EM 77 1682-9123+13
9133+13
EM 77 1682-9122+13
9134+13
01:53:39:11
01:53:46:01
U6 Omens 3 - Style for young filmmakers? Not enough to borrow, has to come from within ****Hopper example, on the edge of frame, fool to try and recreate 3/3
17 0329+11
0330+12
01:01:35:00
01:01:35:21
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
18 0330+13
0335+15
01:01:35:22
01:01:39:05
0005+03
00:00:03:13
0005+03 Opt 6-0000+00
0005+02
Optical #6
19 0336+00
0337+01
01:01:39:06
01:01:39:27
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
20 0337+02
0347+06
01:01:39:29
01:01:46:24
0010+05
00:00:06:25
0010+05 EM 77 1680-6544+00
6554+04
EM 77 1680-6543+00
6555+04
04:06:23:21
04:06:30:16
U17 Laszlo 6 - Where do the ideas come from? Some come from experience, some accidents, subway story about the light 8/6
21 0347+07
0348+08
01:01:46:25
01:01:47:16
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
22 0348+09
0353+11
01:01:47:17
01:01:51:00
0005+03
00:00:03:13
0005+03 Opt 7-0000+00
0005+02
Optical #7
23 0353+12
0354+13
01:01:51:01
01:01:51:22
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
24 0354+14
0364+02
01:01:51:24
01:01:57:29
0009+05
00:00:06:05
0009+05 EH 77 0250-4328+08
4337+12
EH 77 0250-4327+08
4338+12
14:28:17:26
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
25 0364+03
0365+09
01:01:58:00
01:01:58:27
0001+07
00:00:00:27
0001+07 LEADER
LEADER
00:00:00:00
00:00:00:22
26 0365+10
0370+13
01:01:58:29
01:02:02:12
0005+04
00:00:03:13
0005+04 Opt 8-0000+00
0005+03
Optical #8
27 0370+14
0371+15
01:02:02:14
01:02:03:05
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
28 0372+00
0386+14
01:02:03:06
01:02:13:04
0014+15
00:00:09:28
0014+15 EQ 54 8377-4966+04
4981+02
EQ 54 8377-4965+04
4982+02
16:11:06:25
16:11:16:23
CU-39 Deschanel 3 - Where start? cont'd: delve deep, subconscious, to visually represet story, once familiar look at paintings, then talk to director, wait to talk, meeting of minds, greatest collaboration in art form directors - DPs 620/3
29 0386+15
0388+00
01:02:13:05
01:02:13:26
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
30 0388+01
0392+02
01:02:13:27
01:02:16:19
0004+02
00:00:02:22
0004+02 Opt 9-0000+00
0004+01
Optical #9
31 0392+03
0393+04
01:02:16:20
01:02:17:11
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
32 0393+05
0402+14
01:02:17:12
01:02:23:24
0009+10
00:00:06:12
0009+10 EH 77 0251-7669+05
7678+14
EH 77 0251-7668+05
7679+14
11:38:31:09
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.
33 0402+15
0404+00
01:02:23:25
01:02:24:16
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
34 0404+01
0410+15
01:02:24:17
01:02:29:05
0006+15
00:00:04:18
0006+15 Opt 10-0000+00
0006+14
Optical #10
35 0411+00
0412+01
01:02:29:06
01:02:29:27
0001+02
00:00:00:21
0001+02 LEADER
LEADER
00:00:00:00
00:00:00:17
36 0412+02
0428+12
01:02:29:29
01:02:41:01
0016+11
00:00:11:02
0016+11 EH 77 0247-9143+01
9159+11
EH 77 0247-9142+01
9160+11
10:36:08:15
10:36:19:18
Daviau 1
37 0428+13
0430+04
01:02:41:02
01:02:42:01
0001+08
00:00:00:29
0001+08 LEADER
LEADER
00:00:00:00
00:00:00:23
38 0430+05
0437+00
01:02:42:02
01:02:46:16
0006+12
00:00:04:14
0006+12 Opt 11-0000+00
0006+11
Optical #11
39 0437+01
0441+02
01:02:46:17
01:02:49:09
0004+02
00:00:02:22
0004+02 LEADER
LEADER
00:00:00:00
00:00:02:05
40 0441+03
0443+15
01:02:49:10
01:02:51:05
0002+13
00:00:01:25
0002+13 EH 77 0255-4105+10
4108+06
EH 77 0255-4104+10
4109+06
16:08:04:14
16:08:06:09
Adefarasin 1
41 1 0444+00
0445+07
01:02:51:06
01:02:52:05
0001+08
00:00:00:29
0001+08

09:22:08:15
09:22:09:14
A28 Alsobrook 1 (MISSING KN) 213/1
42 0445+08
0446+15
01:02:52:06
01:02:53:05
0001+08
00:00:00:29
0001+08 EH 77 0264-4488+07
4489+14
EH 77 0264-4487+07
4490+14
15:48:55:19
15:48:56:18
H Anderson Jr 1
43 0447+00
0449+07
01:02:53:06
01:02:54:25
0002+08
00:00:01:19
0002+08 EH 77 0261-4971+14
4974+05
EH 77 0261-4970+14
4975+05
16:02:03:01
16:02:04:20
H Anderson III 1
44 0449+08
0451+01
01:02:54:26
01:02:55:27
0001+10
00:00:01:01
0001+10 EL 06 3858-9471+13
9473+06
EL 06 3858-9470+13
9474+06
11:05:11:06
11:05:12:08
CU-11 Anderson Peter 1 - Name only ASC 607/1
45 0451+02
0452+15
01:02:55:29
01:02:57:05
0001+14
00:00:01:06
0001+14 KK 43 3599-0899+01
0900+14
KK 43 3599-0898+01
0901+14
05:18:26:11
05:18:27:18
C1/1- Ballhaus Interview C1/1
46 0453+00
0454+03
01:02:57:06
01:02:58:00
0001+04
00:00:00:24
0001+04 EM 77 1682-8026+07
8027+10
EM 77 1682-8025+07
8028+10
02:55:04:24
02:55:05:18
U12 Beebe 1 7/1
47 0454+04
0455+08
01:02:58:01
01:02:58:26
0001+05
00:00:00:25
0001+05 EH 26 1756-7024+12
7026+00
EH 26 1756-7023+12
7027+00
04:00:33:05
04:00:34:00
A1 Bennett 1 101/1
48 0455+09
0467+14
01:02:58:27
01:03:07:04
0012+06
00:00:08:07
0012+06 EH 75 5650-5459+01
5471+06
EH 75 5650-5458+01
5472+06
06:36:14:21
06:36:22:28
14 Beristain 1 203/1
49 0467+15
0469+03
01:03:07:05
01:03:08:00
0001+05
00:00:00:25
0001+05 EH 26 1768-9432+07
9433+11
EH 26 1768-9431+07
9434+11
08:49:34:19
08:49:35:14
Bridges 1
50 0469+04
0470+08
01:03:08:01
01:03:08:26
0001+05
00:00:00:25
0001+05 EQ 54 8380-6987+08
6988+12
EQ 54 8380-6986+08
6989+12
19:32:39:00
19:32:39:25
CU-58 Brown Jonathan 1 - Name Only 628/1
51 0470+09
0473+07
01:03:08:27
01:03:10:25
0002+15
00:00:01:28
0002+15 EM 77 1681-9008+12
9011+10
EM 77 1681-9007+12
9012+10
01:10:50:25
01:10:52:23
U2 Burum 1 2/1
52 0473+08
0474+08
01:03:10:26
01:03:11:16
0001+01
00:00:00:20
0001+01 EM 27 7852-6030+07
6031+07
EM 27 7852-6029+07
6032+07
02:34:14:06
02:34:14:26
U10 Butler 1 6/1
53 0474+09
0475+07
01:03:11:17
01:03:12:05
0000+15
00:00:00:18
0000+15 EQ 54 8381-7387+10
7388+08
EQ 54 8381-7386+10
7389+08
13:35:32:03
13:35:32:20
CU-25 Byrne 1 - Name Only 614/1
54 0475+08
0477+03
01:03:12:06
01:03:13:10
0001+12
00:00:01:04
0001+12 EQ 54 8379-8004+08
8006+03
EQ 54 8379-8003+08
8007+03
17:35:50:05
17:35:51:09
CU-47 Carpenter 1 - Russel Carpeter 623/1
55 0477+04
0478+05
01:03:13:11
01:03:14:02
0001+02
00:00:00:21
0001+02 EH 77 0261-4148+12
4149+13
EH 77 0261-4147+12
4150+13
10:37:16:19
10:37:17:10
Chressanthis 1
56 0478+06
0479+08
01:03:14:04
01:03:14:26
0001+03
00:00:00:22
0001+03 EH 77 0255-5650+09
5651+11
EH 77 0255-5649+09
5652+11
16:45:33:20
16:45:34:13
Collister 1
57 0479+09
0480+14
01:03:14:27
01:03:15:24
0001+06
00:00:00:27
0001+06 EH 77 0260-4022+15
4024+04
EH 77 0260-4021+15
4025+04
09:46:58:15
09:46:59:11
Cooperman 1
58 0480+15
0482+00
01:03:15:25
01:03:16:16
0001+02
00:00:00:21
0001+02 EQ 54 8393-9280+14
9281+15
EQ 54 8393-9279+14
9282+15
20:14:12:08
20:14:12:29
CU-61 Core 1 - Name only 630/1
59 0482+01
0483+06
01:03:16:17
01:03:17:14
0001+06
00:00:00:27
0001+06 EH 75 5646-8229+01
8230+06
EH 75 5646-8228+01
8231+06
08:36:12:01
08:36:12:28
24 Crudo 1 210/1
60 0483+07
0484+08
01:03:17:15
01:03:18:06
0001+02
00:00:00:21
0001+02 EH 77 0255-6990+12
6991+13
EH 77 0255-6989+12
6992+13
12:08:53:21
12:08:54:13
Cundey 1
61 0484+09
0485+09
01:03:18:07
01:03:18:27
0001+01
00:00:00:20
0001+01 EM 77 1684-7513+15
7514+15
EM 77 1684-7512+15
7515+15
07:24:46:25
07:24:47:15
U34 Curtis 1 18/1
62 0485+10
0488+13
01:03:18:29
01:03:21:02
0003+04
00:00:02:03
0003+04 EH 77 0247-9009+08
9012+11
EH 77 0247-9008+08
9013+11
10:34:39:14
10:34:41:18
Daviau 1
63 0488+14
0490+03
01:03:21:04
01:03:22:00
0001+06
00:00:00:26
0001+06 EM 77 1680-8002+04
8003+09
EM 77 1680-8001+04
8004+09
04:22:34:25
04:22:35:21
U19 Deakins 1 9/1
64 0490+04
0491+08
01:03:22:01
01:03:22:26
0001+05
00:00:00:25
0001+05 EL 06 3859-6659+00
6660+04
EL 06 3859-6658+00
6661+04
09:29:02:20
09:29:03:15
CU-3 Deming 1 - Peter Deming 603/1
65 0491+09
0492+15
01:03:22:27
01:03:23:25
0001+07
00:00:00:28
0001+07 EQ 54 8377-4659+00
4660+06
EQ 54 8377-4658+00
4661+06
16:07:47:25
16:07:48:23
CU-38 Deschanel 2 - Name and Title again 620/2
66 0493+00
0493+04
01:03:23:26
01:03:24:01
0000+05
00:00:00:05
0000+05 Opt 12-0000+00
0000+04
Optical #12
67 0493+05
0494+07
01:03:24:02
01:03:24:25
0001+03
00:00:00:23
0001+03 EH 27 6646-6082+10
6083+12
EH 27 6646-6081+10
6084+12
08:19:53:26
08:19:54:19
Dexter 2
68 0494+08
0495+09
01:03:24:26
01:03:25:17
0001+02
00:00:00:21
0001+02 EM 27 7856-9025+11
9026+12
EM 27 7856-9024+11
9027+12
05:00:17:20
05:00:18:11
U22 Dill 1 10/1
69 0495+10
0497+08
01:03:25:19
01:03:26:26
0001+15
00:00:01:07
0001+15

07:50:58:10
07:50:59:18
31 Dibie 1 216/1
70 0497+09
0498+14
01:03:26:27
01:03:27:24
0001+06
00:00:00:27
0001+06 EH 27 6644-8702+04
8703+09
EH 27 6644-8701+04
8704+09
17:23:43:24
17:23:44:20
E Dickerson 1
71 0498+15
0500+06
01:03:27:25
01:03:28:24
0001+08
00:00:00:29
0001+08 EH 77 0255-8000+07
8001+14
EH 77 0255-7999+07
8002+14
14:02:10:20
14:02:11:19
Edlund 1
72 0500+07
0501+14
01:03:28:25
01:03:29:24
0001+08
00:00:00:29
0001+08 EM 77 1676-7496+15
7498+06
EM 77 1676-7495+15
7499+06
07:46:21:13
07:46:22:11
U36 Fauer 1 20/1
73 0501+15
0503+06
01:03:29:25
01:03:30:24
0001+08
00:00:00:29
0001+08 EH 77 0263-4311+06
4312+13
EH 77 0263-4310+06
4313+13
10:16:46:16
10:16:47:15
Fauntleroy 1
74 0503+07
0504+10
01:03:30:25
01:03:31:19
0001+04
00:00:00:24
0001+04 EH 77 0250-4402+15
4404+02
EH 77 0250-4401+15
4405+02
14:36:42:19
14:36:43:13
Fierberg 2
75 0504+11
0506+03
01:03:31:20
01:03:32:20
0001+09
00:00:01:00
0001+09 EH 26 1773-7260+03
7261+11
EH 26 1773-7259+03
7262+11
07:14:18:24
07:14:19:24
A17 Fraker 1 205/1
76 0506+04
0508+01
01:03:32:21
01:03:33:27
0001+14
00:00:01:06
0001+14 EH 75 5659-7271+08
7273+05
EH 75 5659-7270+08
7274+05
08:14:27:00
08:14:28:06
22 Goi 1 208/1
77 0508+02
0510+03
01:03:33:29
01:03:35:10
0002+02
00:00:01:11
0002+02 EM 77 1668-7407+11
7409+12
EM 77 1668-7406+11
7410+12
06:23:54:25
06:23:56:06
U29 Goldblatt 1 14/1
78 0510+04
0511+08
01:03:35:11
01:03:36:06
0001+05
00:00:00:25
0001+05 EH 27 6643-5977+07
5978+11
EH 27 6643-5976+07
5979+11
15:05:56:00
15:05:56:25
Green 4
79 0511+09
0513+03
01:03:36:07
01:03:37:10
0001+11
00:00:01:03
0001+11 EL 06 3844-3964+04
3965+14
EL 06 3844-3963+04
3966+14
11:22:21:05
11:22:22:08
CU-13 Greenberg 1 - Name Only 608/1
80 0513+04
0515+11
01:03:37:11
01:03:39:00
0002+08
00:00:01:19
0002+08 EH 75 5664-3960+15
3963+06
EH 75 5664-3959+15
3964+06
07:00:09:09
07:00:10:28
A16 Greenberg 1 204/1
81 0515+12
0517+13
01:03:39:01
01:03:40:12
0002+02
00:00:01:11
0002+02 EL 54 8442-8001+07
8003+08
EL 54 8442-8000+07
8004+08
18:33:38:14
18:33:39:25
CU-53 Hofman 1 625/1
82 0517+14
0519+06
01:03:40:14
01:03:41:14
0001+09
00:00:01:00
0001+09 EH 77 0260-9010+08
9012+00
EH 77 0260-9009+08
9013+00
15:06:35:28
15:06:36:28
Holzman 1
83 0519+07
0520+13
01:03:41:15
01:03:42:12
0001+07
00:00:00:27
0001+07 EH 27 6643-6176+12
6178+02
EH 27 6643-6175+12
6179+02
15:19:40:09
15:19:41:06
Hubbs 1
84 0520+14
0522+05
01:03:42:14
01:03:43:12
0001+08
00:00:00:28
0001+08 EM 27 7846-8014+08
8015+15
EM 27 7846-8013+08
8016+15
05:55:39:00
05:55:39:29
U27 Irola 2 12/2
85 0522+06
0524+00
01:03:43:14
01:03:44:16
0001+11
00:00:01:02
0001+11 EL 79 8727-9008+08
9010+02
EL 79 8727-9007+08
9011+02
10:21:47:10
10:21:48:13
CU-8 Irwin 1 - Name Only 605/1
86 0524+01
0525+09
01:03:44:17
01:03:45:17
0001+09
00:00:01:00
0001+09 EQ 54 8391-4115+05
4116+13
EQ 54 8391-4114+05
4117+13
15:01:52:16
15:01:53:16
CU-33 Isaacks 2 616/2
87 0525+10
0526+12
01:03:45:19
01:03:46:11
0001+03
00:00:00:22
0001+03 EH 27 6637-4317+05
4318+07
EH 27 6637-4316+05
4319+07
13:41:28:23
13:41:29:15
Jensen 1
88 0526+13
0528+12
01:03:46:12
01:03:47:21
0002+00
00:00:01:09
0002+00 EH 75 5659-9021+09
9023+08
EH 75 5659-9020+09
9024+08
08:22:36:11
08:22:37:20
23 Kemper 1 209/1
89 0528+13
0530+07
01:03:47:22
01:03:48:25
0001+11
00:00:01:03
0001+11 EM 77 1682-5584+04
5585+14
EM 77 1682-5583+04
5586+14
07:36:27:09
07:36:28:11
U35 Kenney 1 19/1
90 0530+08
0531+11
01:03:48:26
01:03:49:20
0001+04
00:00:00:24
0001+04 EL 06 3844-6447+07
6448+10
EL 06 3844-6446+07
6449+10
11:38:31:09
11:38:32:03
CU-14 Kline 1 - Name Only 609/1
91 0531+12
0533+09
01:03:49:21
01:03:50:27
0001+14
00:00:01:06
0001+14 EL 06 3850-4524+05
4526+02
EL 06 3850-4523+05
4527+02
09:38:50:16
09:38:51:23
CU-4 Koenekamp 1 - Name only tk 2 604/1
92 0533+10
0540+01
01:03:50:29
01:03:55:07
0006+08
00:00:04:08
0006+08 EH 26 1769-4968+13
4975+04
EH 26 1769-4967+13
4976+04
09:44:02:26
09:44:07:05
A30 215/1-A30 Kovaks 215/1
93 0540+02
0542+10
01:03:55:09
01:03:56:29
0002+09
00:00:01:20
0002+09 EM 77 1683-5343+04
5345+12
EM 77 1683-5342+04
5346+12
07:00:41:15
07:00:43:05
U32 Kuras 1 17/1
94 0542+11
0544+09
01:03:57:00
01:03:58:07
0001+15
00:00:01:07
0001+15 K? 77 0256-4988+06
4990+04
K? 77 0256-4987+06
4991+04
11:30:34:11
11:30:35:19
Laskus 1
95 0544+10
0546+11
01:03:58:09
01:03:59:20
0002+02
00:00:01:11
0002+02 EM 27 7852-8001+15
8004+00
EM 27 7852-8000+15
8005+00
03:29:29:06
03:29:30:18
U15 Laszlo 1 8/1
96 0546+12
0548+09
01:03:59:21
01:04:00:27
0001+14
00:00:01:06
0001+14 EH 27 0254-4012+14
4014+11
EH 27 0254-4011+14
4015+11
13:40:29:29
13:40:31:05
Lenoir 2
97 0548+10
0549+15
01:04:00:29
01:04:01:25
0001+06
00:00:00:26
0001+06 EQ 54 8382-4444+08
4445+13
EQ 54 8382-4443+08
4446+13
20:48:25:25
20:48:26:21
CU-64 Leonetti 1 -Matt Leonetti 632/1
98 0550+00
0551+01
01:04:01:26
01:04:02:17
0001+02
00:00:00:21
0001+02 EH 77 0257-6277+04
6278+05
EH 77 0257-6276+04
6279+05
15:37:34:00
15:37:34:21
Levy 1 - Name and title
99 0551+02
0552+08
01:04:02:19
01:04:03:16
0001+07
00:00:00:27
0001+07 EH 27 0247-4043+08
4044+14
EH 27 0247-4042+08
4045+14
18:25:38:23
18:25:39:20
Libatique 1 - Name Only
100 0552+09
0554+02
01:04:03:17
01:04:04:19
0001+10
00:00:01:02
0001+10 EH 27 6635-6401+10
6403+03
EH 27 6635-6400+10
6404+03
14:07:16:09
14:07:17:10
Lighthill 1
101 0554+03
0556+02
01:04:04:20
01:04:05:29
0002+00
00:00:01:09
0002+00 K? 77 0258-5730+11
5732+10
K? 77 0258-5729+11
5733+10
11:04:00:14
11:04:01:23
Lindenlaub 1
102 0556+03
0557+07
01:04:06:00
01:04:06:25
0001+05
00:00:00:25
0001+05 EH 27 6644-7626+12
7628+00
EH 27 6644-7625+12
7629+00
16:47:30:09
16:47:31:04
Logan 1
103 0557+08
0559+03
01:04:06:26
01:04:08:00
0001+12
00:00:01:04
0001+12 EQ 54 8391-5633+01
5634+12
EQ 54 8391-5632+01
5635+12
15:18:27:21
15:18:28:25
CU-34 Macat 1 618/1
104 0559+04
0562+02
01:04:08:01
01:04:09:29
0002+15
00:00:01:28
0002+15 EH 27 6647-6380+03
6383+01
EH 27 6647-6379+03
6384+01
10:30:41:03
10:30:43:00
Mankofsky 1
105 0562+03
0563+06
01:04:10:00
01:04:10:24
0001+04
00:00:00:24
0001+04 EQ 54 8379-3954+00
3955+03
EQ 54 8379-3953+00
3956+03
16:43:39:10
16:43:40:04
CU-42 Manley 1 - Name only 621/1
106 0563+07
0564+10
01:04:10:25
01:04:11:19
0001+04
00:00:00:24
0001+04 EQ 54 8381-9475+15
9477+02
EQ 54 8381-9474+15
9478+02
19:48:48:04
19:48:48:28
CU-59 Mason 1 - Name only 629/1
107 0564+11
0566+02
01:04:11:20
01:04:12:19
0001+08
00:00:00:29
0001+08 EL 54 8443-6416+09
6418+00
EL 54 8443-6415+09
6419+00
12:26:14:26
12:26:15:25
CU-18 Mathis 1 - Name only 610/1
108 0566+03
0567+05
01:04:12:20
01:04:13:12
0001+03
00:00:00:22
0001+03 EQ 54 8391-5610+13
5611+15
EQ 54 8391-5609+13
5612+15
15:18:17:11
15:18:18:04
CU-34 McCuaig 4 - Name again 617/4
109 0567+06
0568+10
01:04:13:14
01:04:14:09
0001+05
00:00:00:25
0001+05 EQ 54 8380-5980+12
5982+00
EQ 54 8380-5979+12
5983+00
18:09:24:25
18:09:25:20
CU-50 McLachlan 1 - Name only 624/1
110 0568+11
0569+07
01:04:14:10
01:04:14:25
0000+13
00:00:00:15
0000+13 EQ 54 8381-8455+01
8455+13
EQ 54 8381-8454+01
8456+13
13:25:12:26
13:25:13:11
CU-24 Minsky 1 - Chuck Minsky 613/1
111 0569+08
0571+06
01:04:14:26
01:04:16:04
0001+15
00:00:01:08
0001+15 EM 77 1671-8490+09
8492+07
EM 77 1671-8489+09
8493+07
06:35:29:05
06:35:30:13
U30 Morgan 1 15/1
112 0571+07
0573+00
01:04:16:05
01:04:17:06
0001+10
00:00:01:01
0001+10 EQ 54 8382-4425+08
4427+01
EQ 54 8382-4424+08
4428+01
20:48:18:15
20:48:19:16
CU-64 Morgenthau 2 - My name is Kramer Morgenthau 631/2
113 0573+01
0574+04
01:04:17:07
01:04:18:01
0001+04
00:00:00:24
0001+04 EQ 54 8381-4977+09
4978+12
EQ 54 8381-4976+09
4979+12
13:09:12:06
13:09:13:00
CU-23 Mullen 1 - Name Only 612/1
114 0574+05
0575+06
01:04:18:02
01:04:18:24
0001+02
00:00:00:22
0001+02 EH 27 6630-9843+15
9845+00
EH 27 6630-9842+15
9846+00
17:31:23:06
17:31:23:28
Murphy 1 - Name and title
115 0575+07
0577+06
01:04:18:25
01:04:20:04
0002+00
00:00:01:09
0002+00 EH 77 0260-5035+04
5037+03
EH 77 0260-5034+04
5038+03
14:24:43:23
14:24:45:01
Narita 2
116 0577+07
0578+11
01:04:20:05
01:04:21:00
0001+05
00:00:00:25
0001+05 EH 27 0248-9026+11
9027+15
EH 27 0248-9025+11
9028+15
18:02:33:14
18:02:34:09
M Negrin 1
117 0578+12
0580+07
01:04:21:01
01:04:22:05
0001+12
00:00:01:04
0001+12 EM 77 1681-8011+07
8013+02
EM 77 1681-8010+07
8014+02
01:00:14:04
01:00:15:08
U1 Negrin 1 1/1
118 0580+08
0581+10
01:04:22:06
01:04:22:29
0001+03
00:00:00:23
0001+03 EH 75 5646-6488+15
6490+01
EH 75 5646-6487+15
6491+01
09:05:47:29
09:05:48:21
A25 Okada 2 211/2
119 0581+11
0582+12
01:04:23:00
01:04:23:21
0001+02
00:00:00:21
0001+02 EM 77 1681-5986+12
5987+13
EM 77 1681-5985+12
5988+13
01:41:21:00
01:41:21:21
U5 Omens 1 3/1
120 0582+13
0583+14
01:04:23:22
01:04:24:14
0001+02
00:00:00:22
0001+01 EH 26 1761-6987+03
6988+03
EH 26 1761-6986+03
6989+03
07:41:22:13
07:41:23:04
A20 Pearl 1 207/1
121 0583+15
0585+15
01:04:24:15
01:04:25:25
0002+01
00:00:01:10
0002+01 EM 77 1684-5547+06
5549+06
EM 77 1684-5546+06
5550+06
06:47:31:03
06:47:32:13
U31 Pearlstein 1 16/1
122 0586+00
0587+05
01:04:25:26
01:04:26:22
0001+06
00:00:00:26
0001+06 EQ 54 8382-4969+01
4970+06
EQ 54 8382-4968+01
4971+06
01:11:14:01
01:11:14:28
CU-66 Pfister - 1 - Name Only 633/1
123 0587+06
0588+05
01:04:26:24
01:04:27:12
0001+00
00:00:00:18
0001+00 EL 06 3855-8173+13
8174+12
EL 06 3855-8172+13
8175+12
09:12:51:06
09:12:51:25
CU-2 Pope 1 - Name Only 602/1
124 0588+06
0589+15
01:04:27:14
01:04:28:15
0001+10
00:00:01:01
0001+10 EH 26 1765-9040+11
9042+04
EH 26 1765-9039+11
9043+04
07:22:49:04
07:22:50:05
A18 Poster 1 206/1
125 0590+00
0591+01
01:04:28:16
01:04:29:07
0001+02
00:00:00:21
0001+02 EH 27 6645-7312+06
7313+07
EH 27 6645-7311+06
7314+07
09:21:37:08
09:21:37:29
Primes 1
126 0591+02
0593+11
01:04:29:09
01:04:31:00
0002+10
00:00:01:21
0002+10 EH 26 1767-7997+11
8000+04
EH 26 1767-7996+11
8001+04
05:33:27:04
05:33:28:25
A8 Richmond 1 108/1
127 0593+12
0595+07
01:04:31:01
01:04:32:05
0001+12
00:00:01:04
0001+12 EH 26 1772-7284+05
7286+00
EH 26 1772-7283+05
7287+00
09:36:09:26
09:36:11:00
A29 Roizman 1 214/1
128 0595+08
0596+08
01:04:32:06
01:04:32:26
0001+01
00:00:00:20
0001+01 EL 54 8443-8229+06
8230+06
EL 54 8443-8228+06
8231+06
12:45:41:08
12:45:41:28
CU-21 Romano - 1 - Pete Ramano 611/1
129 0596+09
0597+13
01:04:32:27
01:04:33:22
0001+05
00:00:00:25
0001+05 K? 77 0256-6355+00
6356+04
K? 77 0256-6354+00
6357+04
12:02:18:14
12:02:19:09
Ryan 1
130 0597+14
0599+05
01:04:33:24
01:04:34:22
0001+08
00:00:00:28
0001+08 EH 77 0251-7296+01
7297+08
EH 77 0251-7295+01
7298+08
11:34:22:14
11:34:23:13
Schreiber 1
131 0599+06
0601+00
01:04:34:24
01:04:35:26
0001+11
00:00:01:02
0001+11 EH 27 6644-5107+11
5109+05
EH 27 6644-5106+11
5110+05
15:49:17:21
15:49:18:24
Schwartzman 1
132 0601+01
0602+08
01:04:35:27
01:04:36:26
0001+08
00:00:00:29
0001+08 EQ 54 8379-5976+13
5978+04
EQ 54 8379-5975+13
5979+04
17:06:06:16
17:06:07:15
CU-44 Seale 1 - My Name is John Seale 622/1
133 0602+09
0603+10
01:04:36:27
01:04:37:19
0001+02
00:00:00:22
0001+02 EM 27 7851-6268+15
6270+00
EM 27 7851-6267+15
6271+00
06:11:21:15
06:11:22:06
U28 Semmler 1 13/1
134 0603+11
0606+13
01:04:37:20
01:04:39:22
0003+03
00:00:02:02
0003+03 EH 04 7445-5875+12
5878+14
EH 04 7445-5874+12
5879+14
12:30:42:15
12:30:44:18
091232 Seresin 11 - Name only 119/
135 0606+14
0608+01
01:04:39:24
01:04:40:17
0001+04
00:00:00:23
0001+04 EM 77 1676-5993+14
5995+01
EM 77 1676-5992+14
5996+01
08:07:24:13
08:07:25:06
U38 Shaw 1 21/1
136 0608+02
0615+00
01:04:40:19
01:04:45:06
0006+15
00:00:04:17
0006+15 EH 27 6647-8018+01
8024+15
EH 27 6647-8017+01
8025+15
09:06:35:24
09:06:40:11
Sigel 1 SIGEL/1
137 0615+01
0616+06
01:04:45:07
01:04:46:04
0001+06
00:00:00:27
0001+06 EL 54 8442-7494+01
7495+06
EL 54 8442-7493+01
7496+06
18:50:14:26
18:50:15:23
CU-54 Six 1 - Name Only 626/1
138 0616+07
0617+12
01:04:46:05
01:04:47:01
0001+06
00:00:00:26
0001+06 EQ 54 8391-8286+12
8288+01
EQ 54 8391-8285+12
8289+01
15:36:30:25
15:36:31:21
CU-36 Spinotti - 1 - Name Only 619/1
139 0617+13
0619+02
01:04:47:02
01:04:47:29
0001+06
00:00:00:27
0001+06 EH 77 0258-3958+12
3960+01
EH 77 0258-3957+12
3961+01
10:04:36:04
10:04:37:00
Steiger 1
140 0619+03
0620+15
01:04:48:00
01:04:49:05
0001+13
00:00:01:05
0001+13 EM 77 1668-9205+04
9207+00
EM 77 1668-9204+04
9208+00
05:24:31:20
05:24:32:25
U24 Stern 1 11/1
141 0621+00
0628+11
01:04:49:06
01:04:54:10
0007+12
00:00:05:04
0007+12 EL 55 0028-5106+11
5114+06
EL 55 0028-5105+11
5115+06
01:01:33:04
01:01:38:08
000001 602 Storaro 1 501/1
142 0628+12
0630+05
01:04:54:11
01:04:55:12
0001+10
00:00:01:01
0001+10 EL 79 8737-4988+15
4990+08
EL 79 8737-4987+15
4991+08
09:00:02:24
09:00:03:25
CU-1 Taylor 1 - Name only 601/1
143 0630+06
0633+05
01:04:55:14
01:04:57:12
0003+00
00:00:01:28
0003+00 EH 77 0259-5003+07
5006+06
EH 77 0259-5002+07
5007+06
16:33:34:17
16:33:36:15
Toll 1
144 0633+06
0634+11
01:04:57:14
01:04:58:10
0001+06
00:00:00:26
0001+06 EH 27 6634-4195+03
4196+08
EH 27 6634-4194+03
4197+08
08:50:15:03
08:50:15:29
Van Oostrum 1
145 0634+12
0636+04
01:04:58:11
01:04:59:11
0001+09
00:00:01:00
0001+09 EH 77 0264-4978+10
4980+02
EH 77 0264-4977+10
4981+02
15:04:36:19
15:04:37:19
Vincent 1
146 0636+05
0638+13
01:04:59:12
01:05:01:02
0002+09
00:00:01:20
0002+09 EQ 54 8385-9040+01
9042+09
EQ 54 8385-9039+01
9043+09
13:50:15:11
13:50:17:01
CU-27 Wexler - 2 - Name only 615/2
147 0638+14
0640+10
01:05:01:04
01:05:02:09
0001+13
00:00:01:05
0001+13 EQ 56 4512-7030+14
7032+10
EQ 56 4512-7029+14
7033+10
15:00:33:28
15:00:35:03
000001 W1 Willis 1 - Name only 101/1
148 0640+11
0642+08
01:05:02:10
01:05:03:16
0001+14
00:00:01:06
0001+14 EL 79 8736-4754+02
4755+15
EL 79 8736-4753+02
4756+15
10:41:45:03
10:41:46:09
CU-9 Woolsey 1 606/1
149 0642+09
0643+09
01:05:03:17
01:05:04:07
0001+01
00:00:00:20
0001+01 EL 03 8516-8499+02
8500+02
EL 03 8516-8498+02
8501+02
19:16:40:08
19:16:40:28
CU-56 Yeoman 1 - Name only 627/1
150 0643+10
0648+11
01:05:04:09
01:05:07:20
0005+02
00:00:03:11
0005+02 EH 77 0263-5249+12
5254+13
EH 77 0263-5248+12
5255+13
11:23:15:18
11:23:18:29
Zsigmond 2
151 0648+12
0652+10
01:05:07:21
01:05:10:09
0003+15
00:00:02:18
0003+15 LEADER
LEADER
00:00:00:00
00:00:02:02
152 0652+11
0672+05
01:05:10:10
01:05:23:12
0019+11
00:00:13:02
0019+11 EM 77 1680-4991+04
5010+14
EM 77 1680-4990+04
5011+14
03:40:33:15
03:40:46:18
U16 Lazslo 4 - Student's will ask, how did you become a cinematographyer 8/4
153 0672+06
0693+02
01:05:23:14
01:05:37:09
0020+13
00:00:13:25
0020+13 EM 77 1680-8011+11
8032+07
EM 77 1680-8010+11
8033+07
04:22:41:04
04:22:54:29
U19 Deakins 1 - How did you become a cinematographer? Art college, film school, stills, etc. 9/1
154 0693+03
0711+13
01:05:37:10
01:05:49:22
0018+11
00:00:12:12
0018+11 EH 26 1765-9049+06
9068+00
EH 26 1765-9048+06
9069+00
07:22:54:28
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
155 0711+14
0725+13
01:05:49:24
01:05:59:02
0014+00
00:00:09:08
0014+00 EH 77 0247-9015+03
9029+02
EH 77 0247-9014+03
9030+02
10:34:43:08
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
156 0725+14
0738+01
01:05:59:04
01:06:07:07
0012+04
00:00:08:03
0012+04 EQ 54 8377-4711+08
4723+11
EQ 54 8377-4710+08
4724+11
16:08:22:25
16:08:30:29
CU-38 Deschanel 2 - Career start? Johns Hopkins undergrad, interested photography, edited paper, Matthew Robbins, Wlater Murch, went to film school, no hope, unless knew people, USC, Educational film houses, Carole ballard, commericals 620/2
157 0738+02
0740+13
01:06:07:09
01:06:09:02
0002+12
00:00:01:23
0002+12 EH 26 1772-7293+04
7295+15
EH 26 1772-7292+04
7296+15
09:36:15:25
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
158 0740+14
0742+14
01:06:09:04
01:06:10:14
0002+01
00:00:01:10
0002+01 EH 77 0261-4994+02
4996+02
EH 77 0261-4993+02
4997+02
16:02:17:26
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
159 0742+15
0746+01
01:06:10:15
01:06:12:17
0003+03
00:00:02:02
0003+03 EM 77 1671-8525+14
8529+00
EM 77 1671-8524+14
8530+00
06:35:52:21
06:35:54:24
U30 Morgan 1 - How did you become DP? Dad was animation cameraman, boring, worked in labs, then met Tyler, started working on aerials 15/1
160 0746+02
0759+11
01:06:12:19
01:06:21:20
0013+10
00:00:09:01
0013+10 EH 27 6635-7616+08
7630+01
EH 27 6635-7615+08
7631+01
14:40:07:21
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
161 0759+12
0780+12
01:06:21:21
01:06:35:21
0021+01
00:00:14:00
0021+01 EQ 56 4512-7054+08
7075+08
EQ 56 4512-7053+08
7076+08
15:00:49:20
15:01:03:20
000001 W1 Willis 1 - Becoming a DP? Family was in buis. father did makeup at WB, thought wanted to be an actor, stills, Airforce, docs, joined union 101/1
162 0780+13
0793+10
01:06:35:22
01:06:44:09
0012+14
00:00:08:17
0012+14 EH 26 1773-7325+00
7337+13
EH 26 1773-7324+00
7338+13
07:15:02:00
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
163 0793+11
0802+14
01:06:44:10
01:06:50:14
0009+04
00:00:06:04
0009+04 EH 75 5650-5486+00
5495+03
EH 75 5650-5485+00
5496+03
06:36:32:20
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
164 0802+15
0836+10
01:06:50:15
01:07:12:29
0033+12
00:00:22:14
0033+12 EH 26 1773-7432+14
7466+09
EH 26 1773-7431+14
7467+09
07:16:13:28
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
165 0836+11
0852+07
01:07:13:00
01:07:23:15
0015+13
00:00:10:15
0015+13 EH 27 6635-7648+02
7663+14
EH 27 6635-7647+02
7664+14
14:40:28:24
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
166 0852+08
0856+03
01:07:23:16
01:07:26:00
0003+12
00:00:02:14
0003+12 EL 54 8442-7511+05
7515+00
EL 54 8442-7510+05
7516+00
18:50:26:11
18:50:28:25
CU-54 Six 1 - Becoming DP? After HS,job in mail-room at Warner's, Father was in portrait gal., loaded mags at night for free, WB shut down, went to Fox, asst. head camera Dept, go to sets, ask to help, learn eveything 626/1
167 0856+04
0858+09
01:07:26:01
01:07:27:17
0002+06
00:00:01:16
0002+06 EH 77 0251-7397+10
7399+15
EH 77 0251-7396+10
7400+15
11:35:30:05
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
168 0858+10
0868+08
01:07:27:19
01:07:34:06
0009+15
00:00:06:17
0009+15 EQ 54 8393-9298+11
9308+09
EQ 54 8393-9297+11
9309+09
20:14:24:04
20:14:30:21
CU-61 Core 1 - How did you become a DP? Father was a painter/sculptor, went to Art center, saw Kurosawa's Ran, decided that's what he wanted to do. 630/1
169 0868+09
0877+03
01:07:34:07
01:07:40:00
0008+11
00:00:05:23
0008+11 EH 77 0263-4406+15
4415+09
EH 77 0263-4405+15
4416+09
10:19:03:19
10:19:09:11
Fauntleroy 2 - Becoming a DP, tk. 2? Picked up camera in HS in SoCal, course, had always played sports but couldn't draw or paint, but when I picked up the camera, I could paint
170 0877+04
0880+10
01:07:40:01
01:07:42:09
0003+07
00:00:02:08
0003+07 EL 79 8736-4811+09
4814+15
EL 79 8736-4810+09
4815+15
10:42:23:11
10:42:25:19
CU-9 Woolsey 1 - Becoming a DP? Sortof mushroomed all by itself, working in photolab in Minnesota at the university, spending more time there then on the curriculum 606/1
171 0880+11
0883+15
01:07:42:10
01:07:44:15
0003+05
00:00:02:05
0003+05 EH 75 5659-7543+08
7546+12
EH 75 5659-7542+08
7547+12
08:17:28:10
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
172 0884+00
0885+14
01:07:44:16
01:07:45:24
0001+15
00:00:01:08
0001+15 EH 26 1769-4978+07
4980+05
EH 26 1769-4977+07
4981+05
09:44:09:09
09:44:10:16
A30 Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood 215/1
173 0885+15
0887+03
01:07:45:25
01:07:46:20
0001+05
00:00:00:25
0001+05 EH 77 0257-6325+11
6326+15
EH 77 0257-6324+11
6327+15
15:38:06:09
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
174 0887+04
0889+10
01:07:46:21
01:07:48:09
0002+07
00:00:01:18
0002+07 EH 77 0264-4636+02
4638+08
EH 77 0264-4635+02
4639+08
15:51:12:20
15:51:14:08
H Anderson Jr 2 - From LA? Born on 33rd st. lived in culver city between MGM and Thomas Ince Studio, right in the middle of the movie business
175 0889+11
0891+06
01:07:48:10
01:07:49:14
0001+12
00:00:01:04
0001+12 EL 54 8442-8905+13
8907+08
EL 54 8442-8904+13
8908+08
18:43:40:21
18:43:41:25
CU-53 Hofman 2 625/2
176 0891+07
0893+05
01:07:49:15
01:07:50:22
0001+15
00:00:01:07
0001+15 EH 77 0259-5033+01
5034+15
EH 77 0259-5032+01
5035+15
16:33:54:09
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
177 0893+06
0895+09
01:07:50:24
01:07:52:07
0002+04
00:00:01:13
0002+04 EL 06 3844-6241+11
6243+14
EL 06 3844-6240+11
6244+14
11:36:20:19
11:36:22:03
CU-14 Greenberg 3 - How did you get in the business? Had 3 cousins in Poland in business, worked in lab, then shooting and newsreels, great experience, didn't go to school, everything you need to learn is in a DVD, don't waste years in school 608/3
178 0895+10
0897+13
01:07:52:09
01:07:53:22
0002+04
00:00:01:13
0002+04 EL 06 3858-9559+12
9561+15
EL 06 3858-9558+12
9562+15
11:06:09:10
11:06:10:24
CU-11 Anderson Peter 2 - How did you get started? 7yrs old, working for schools, churches, local TV station, university football games, wokring in a local lab, etc. 607/2
179 0897+14
0906+00
01:07:53:24
01:07:59:06
0008+03
00:00:05:12
0008+03 EQ 54 8391-8403+02
8411+04
EQ 54 8391-8402+02
8412+04
15:37:48:13
15:37:53:25
CU-36 Spinotti - 1 - Start career? lived in remote Italy, not good in high school, Uncle cienmatographer, hero, gave first camera, Kenya - work w/ Uncle, carpentry, boom, newsreel, UPI, docs, shot with big Mitchell, read Uncle subscrip of AC 619/1
180 0906+01
0918+15
01:07:59:07
01:08:07:25
0012+15
00:00:08:18
0012+15

07:51:06:28
07:51:15:15
31 Dibie 1 - How did you become a DP? Working on little animations, charging admission, then shooting inspirational films, MOWs, and mulitcamera TV 216/1
181 0919+00
0921+11
01:08:07:26
01:08:09:20
0002+12
00:00:01:24
0002+12 EH 04 7445-6370+05
6373+00
EH 04 7445-6369+05
6374+00
12:36:12:06
12:36:14:00
091232 Seresin 11 - What do you want to do when you grow up? Own a vineyard, wonderful world, good balance to this, tolerant of other cultures, couldn't do one with out the other, film is the only career ever known, 119/
182 0921+12
0931+05
01:08:09:21
01:08:16:02
0009+10
00:00:06:11
0009+10 EH 26 1767-8015+13
8025+06
EH 26 1767-8014+13
8026+06
05:33:39:06
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
183 0931+06
0936+02
01:08:16:04
01:08:19:09
0004+13
00:00:03:05
0004+13 EM 27 7851-6274+06
6279+02
EM 27 7851-6273+06
6280+02
06:11:25:04
06:11:28:09
U28 Semmler 1 - How did you become dp? Worked as props boy at 16, floor mgr. 16mm news, docs, then shot Mad Max II 13/1
184 0936+03
0943+00
01:08:19:10
01:08:23:26
0006+14
00:00:04:16
0006+14 EH 26 1767-8025+08
8032+05
EH 26 1767-8024+08
8033+05
05:33:45:20
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
185 0943+01
0974+04
01:08:23:27
01:08:44:21
0031+04
00:00:20:24
0031+04 EL 55 0028-5200+10
5231+13
EL 55 0028-5199+10
5232+13
01:02:35:23
01:02:56:16
000001 602 Storaro 1 - How did you get started? Lucky, father was a projectionist, had a dream to work with images he was screening. 501/1
186 0974+05
0981+00
01:08:44:22
01:08:49:06
0006+12
00:00:04:14
0006+12 EM 27 7856-9043+11
9050+06
EM 27 7856-9042+11
9051+06
05:00:29:20
05:00:34:04
U22 Dill 1 - How did you become a cinematographer? Loved stills , worked with Walker Evans, wanted to make a living, TV, docs, videos, Sidewalk Stories 10/1
187 0981+01
0996+09
01:08:49:07
01:08:59:17
0015+09
00:00:10:10
0015+09 EH 77 0260-9075+02
9090+10
EH 77 0260-9074+02
9091+10
15:07:19:00
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**
188 0996+10
1006+06
01:08:59:19
01:09:06:04
0009+13
00:00:06:15
0009+13 EH 77 0258-3999+09
4009+05
EH 77 0258-3998+09
4010+05
10:05:03:10
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
189 1006+07
1019+03
01:09:06:05
01:09:14:20
0012+13
00:00:08:15
0012+13 EH 77 0250-4461+10
4474+06
EH 77 0250-4460+10
4475+06
14:37:21:23
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**
190 1019+04
1022+06
01:09:14:21
01:09:16:24
0003+03
00:00:02:03
0003+03 EH 77 0264-4995+14
4999+00
EH 77 0264-4994+14
5000+00
15:04:48:04
15:04:50:06
Vincent 1 - How did you become a DP? Theater and lighting in college, came to LA as asst. editor for 4 years, then camera PA, 2nd AC, 1st AC, Operator, then DP
191 1022+07
1032+07
01:09:16:25
01:09:23:15
0010+01
00:00:06:20
0010+01 EL 06 3858-9581+13
9591+13
EL 06 3858-9580+13
9592+13
11:06:24:01
11:06:30:21
CU-11 Anderson Peter 2 - How did you get started? 7yrs old, working for schools, churches, local TV station, university football games, wokring in a local lab, etc. 607/2
192 1032+08
1037+11
01:09:23:16
01:09:27:00
0005+04
00:00:03:14
0005+04 EH 26 1772-7298+02
7303+05
EH 26 1772-7297+02
7304+05
09:36:19:03
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
193 1037+12
1040+02
01:09:27:01
01:09:28:19
0002+07
00:00:01:18
0002+07 K? 77 0256-6388+14
6391+04
K? 77 0256-6387+14
6392+04
12:02:41:02
12:02:42:19
Ryan 1 - How did you become a DP? Studies eng. in collge, ski raced for a few years, got interested in photography, ski mag. photog., worked for Warren Miller, docs, etc (MIC PROBLEM)
194 1040+03
1045+04
01:09:28:20
01:09:32:01
0005+02
00:00:03:11
0005+02 EH 27 6637-4379+09
4384+10
EH 27 6637-4378+09
4385+10
13:43:23:11
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
195 1045+05
1056+03
01:09:32:02
01:09:39:10
0010+15
00:00:07:08
0010+15 EM 77 1682-5596+10
5607+08
EM 77 1682-5595+10
5608+08
07:36:35:16
07:36:42:24
U35 Kenney 1 - How did you become a DP? At Hofstra, needed 6 credits, prof asked him to work in film co. Choose to be a camera man 19/1
196 1056+04
1058+12
01:09:39:11
01:09:41:01
0002+09
00:00:01:20
0002+09 EH 27 6635-6409+15
6412+07
EH 27 6635-6408+15
6413+07
14:07:21:25
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,
197 1058+13
1064+13
01:09:41:02
01:09:45:02
0006+01
00:00:04:00
0006+01 EH 77 0255-7070+12
7076+12
EH 77 0255-7069+12
7077+12
12:09:47:01
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
198 1064+14
1080+01
01:09:45:04
01:09:55:07
0015+04
00:00:10:03
0015+04 EH 27 6630-9851+14
9867+01
EH 27 6630-9850+14
9868+01
17:31:28:15
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
199 1080+02
1098+08
01:09:55:09
01:10:07:16
0018+07
00:00:12:07
0018+07 EL 54 8443-6477+14
6496+04
EL 54 8443-6476+14
6497+04
12:26:55:23
12:27:08:00
CU-18 Mathis 1 - How did you become a DP? Both parents worked for NASA, all science in school until a progressive teacher let him make a video instead of a paper, working on it for 6 hours felt like 30 minutes, never lost track of time doing calculus*** 610/1
200 1098+09
1103+15
01:10:07:17
01:10:11:05
0005+07
00:00:03:18
0005+07 EQ 54 8377-4676+06
4681+12
EQ 54 8377-4675+06
4682+12
16:07:59:13
16:08:03:00
CU-38 Deschanel 2 - Career start? Johns Hopkins undergrad, interested photography, edited paper, Matthew Robbins, Wlater Murch, went to film school, no hope, unless knew people, USC, Educational film houses, Carole ballard, commericals 620/2
201 1104+00
1131+05
01:10:11:06
01:10:29:12
0027+06
00:00:18:06
0027+06 EH 27 0254-4034+02
4061+07
EH 27 0254-4033+02
4062+07
13:40:44:04
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,
202 1131+06
1151+04
01:10:29:14
01:10:42:21
0019+15
00:00:13:07
0019+15 EQ 54 8393-9316+07
9336+05
EQ 54 8393-9315+07
9337+05
20:14:35:29
20:14:49:06
CU-61 Core 1 - How did you become a DP? Father was a painter/sculptor, went to Art center, saw Kurosawa's Ran, decided that's what he wanted to do. 630/1
203 1151+05
1159+12
01:10:42:22
01:10:48:11
0008+08
00:00:05:19
0008+08 EH 75 5659-7487+14
7496+05
EH 75 5659-7486+14
7497+05
08:16:51:08
08:16:56:26
22 Goi 1 208/1
204 1159+13
1181+10
01:10:48:12
01:11:02:29
0021+14
00:00:14:17
0021+14 EH 77 0261-4200+15
4222+12
EH 77 0261-4199+15
4223+12
10:37:51:13
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***
205 1181+11
1193+13
01:11:03:00
01:11:11:02
0012+03
00:00:08:02
0012+03 EH 27 6644-8749+05
8761+07
EH 27 6644-8748+05
8762+07
17:24:15:05
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
206 1193+14
1204+03
01:11:11:04
01:11:18:00
0010+06
00:00:06:26
0010+06 EH 75 5646-6554+13
6565+02
EH 75 5646-6553+13
6566+02
09:06:31:26
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
207 1204+04
1209+05
01:11:18:01
01:11:21:12
0005+02
00:00:03:11
0005+02 EH 27 6644-5186+15
5192+00
EH 27 6644-5185+15
5193+00
15:50:10:16
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
208 1209+06
1212+12
01:11:21:14
01:11:23:21
0003+07
00:00:02:07
0003+07 EM 77 1681-6026+12
6030+02
EM 77 1681-6025+12
6031+02
01:41:47:20
01:41:49:28
U5 Omens 1 - How did you become a DP? Went to art school, stills, used a home film camera, decided he wanted to do movies, came to SC and then up through ranks. 3/1
209 1212+13
1215+02
01:11:23:22
01:11:25:09
0002+06
00:00:01:17
0002+06 EQ 54 8381-7785+02
7787+07
EQ 54 8381-7784+02
7788+07
13:39:56:18
13:39:58:04
CU-25 Byrne 2 - Inspiration for lighting, look at paintings? Wanted to be a painter, know art fairly well, and other movies, going back to black and white 614/2
210 1215+03
1231+10
01:11:25:10
01:11:36:09
0016+08
00:00:10:29
0016+08 EH 27 6647-8051+05
8067+12
EH 27 6647-8050+05
8068+12
09:06:57:29
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
211 1231+11
1264+02
01:11:36:10
01:11:57:29
0032+08
00:00:21:19
0032+08 EH 27 6645-7391+01
7423+08
EH 27 6645-7390+01
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09:22:29:21
09:22:51:10
Primes 1
212 1264+03
1296+12
01:11:58:00
01:12:19:21
0032+10
00:00:21:21
0032+10 EH 77 0260-5083+01
5115+10
EH 77 0260-5082+01
5116+10
14:25:15:19
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
213 1296+13
1325+14
01:12:19:22
01:12:39:04
0029+02
00:00:19:12
0029+02 EM 27 7846-8031+02
8060+03
EM 27 7846-8030+02
8061+03
05:55:50:03
05:56:09:14
U27 Irola 2 - How did you become a DP? Working as a secretary at KQED, watched camer dept. work, decided she wanted to do that 12/2
214 1325+15
1328+12
01:12:39:05
01:12:41:01
0002+14
00:00:01:26
0002+14 EQ 54 8391-4153+05
4156+02
EQ 54 8391-4152+05
4157+02
15:02:10:26
15:02:12:23
CU-33 McCuaig 1 - Becoming DP? Worked as stage hand in local 33, asked by friend to do new camera, film in those days, eventually all came to pass 617/1
215 1328+13
1334+02
01:12:41:02
01:12:44:19
0005+06
00:00:03:17
0005+06 EM 77 1684-5553+12
5559+01
EM 77 1684-5552+12
5560+01
06:47:35:10
06:47:38:26
U31 Pearlstein 1 16/1
216 1334+03
1338+05
01:12:44:20
01:12:47:12
0004+03
00:00:02:22
0004+03 EL 54 8443-8252+15
8257+01
EL 54 8443-8251+15
8258+01
12:45:56:29
12:45:59:21
CU-21 Romano - 1 - How did you get started? Started out in USN, got hooked up with an underwater cameraman 611/1
217 1338+06
1340+05
01:12:47:14
01:12:48:22
0002+00
00:00:01:08
0002+00 EH 27 6643-6253+09
6255+08
EH 27 6643-6252+09
6256+08
15:22:07:16
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
218 1340+06
1342+13
01:12:48:24
01:12:50:12
0002+08
00:00:01:18
0002+08 EH 27 6644-7650+07
7652+14
EH 27 6644-7649+07
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16:47:46:03
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
219 1342+14
1352+07
01:12:50:14
01:12:56:25
0009+10
00:00:06:11
0009+10 EH 26 1756-7041+11
7051+04
EH 26 1756-7040+11
7052+04
04:00:44:14
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
220 1352+08
1363+03
01:12:56:26
01:13:04:00
0010+12
00:00:07:04
0010+12 EH 77 0251-7334+08
7345+03
EH 77 0251-7333+08
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11:34:48:03
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
221 1363+04
1375+06
01:13:04:01
01:13:12:04
0012+03
00:00:08:03
0012+03 EQ 54 8393-7249+13
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EQ 54 8393-7248+13
7262+15
20:34:51:11
20:34:59:14
CU-63 Morgenthau 1 - After college? Worked as PA on horror, then to NY, 200/wk. on a friends couch, by the end loading mags, didn't begin wanting to be a DP, wanted to be 'filmmaker', docs, change the world, etc. 631/1
222 1375+07
1385+02
01:13:12:05
01:13:18:19
0009+12
00:00:06:14
0009+12 EQ 54 8381-8462+10
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EQ 54 8381-8461+10
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13:25:17:28
13:25:24:11
CU-24 Minsky 1 - Becoming a DP? Camera PA in 1971 low budg, 2nd sent for mattebox, couldn't find it, yelled at him until realized it was back at the studio, so embarassed, made him part of camera dept. 613/1
223 1385+03
1390+01
01:13:18:20
01:13:21:27
0004+15
00:00:03:07
0004+15 EM 77 1681-8082+05
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EM 77 1681-8081+05
8088+03
01:01:01:11
01:01:04:19
U1 Negrin 1 - How did you start shooting films? Got a job out of highschool working for a company that did industrials and commercials, went to hs in NY 1/1
224 1390+02
1398+09
01:13:21:29
01:13:27:17
0008+08
00:00:05:18
0008+08 EM 77 1680-5064+00
5072+07
EM 77 1680-5063+00
5073+07
03:41:22:00
03:41:27:19
U16 Laszlo 4 - 2 questions contd: How did you get into the busisness, students so lucky, went through apprenticeship started sweeping up in the lab. 8/4
225 1398+10
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01:13:27:19
01:13:31:01
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00:00:03:12
0005+03 EH 77 0263-5204+15
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11:21:55:08
11:21:58:20
Zsigmond 1 - name, title, brief timline from Hungary to USA
226 1403+13
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01:13:31:02
01:13:33:01
0003+00
00:00:01:29
0003+00 EH 26 1769-4981+03
4984+02
EH 26 1769-4980+03
4985+02
09:44:11:04
09:44:13:03
A30 Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood 215/1
227 1406+13
1410+06
01:13:33:02
01:13:35:14
0003+10
00:00:02:12
0003+10 EH 77 0263-5211+06
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EH 77 0263-5210+06
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11:21:59:16
11:22:01:28
Zsigmond 1 - name, title, brief timline from Hungary to USA
228 1410+07
1418+12
01:13:35:15
01:13:41:01
0008+06
00:00:05:16
0008+06 EH 26 1769-4994+10
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EH 26 1769-4993+10
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09:44:20:03
09:44:25:19
A30 Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood 215/1
229 1418+13
1428+05
01:13:41:02
01:13:47:12
0009+09
00:00:06:10
0009+09 EH 77 0263-5309+08
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EH 77 0263-5308+08
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11:23:55:13
11:24:01:23
Zsigmond 2 - Film Smuggle story. dcoumentary film of revoultion, secret meeting, three cine's were chosen(him, Kovacs and another) smuggle film to west. father worked in Moracco
230 1428+06
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01:13:47:14
01:13:49:21
0003+07
00:00:02:07
0003+07 EH 26 1769-5017+12
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EH 26 1769-5016+12
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09:44:35:15
09:44:37:23
A30 Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood 215/1
231 1431+13
1443+02
01:13:49:22
01:13:57:09
0011+06
00:00:07:17
0011+06 EH 77 0263-5330+04
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EH 77 0263-5329+04
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11:24:09:08
11:24:16:24
Zsigmond 2 - Film Smuggle story. dcoumentary film of revoultion, secret meeting, three cine's were chosen(him, Kovacs and another) smuggle film to west. father worked in Moracco
232 1443+03
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01:13:57:10
01:14:02:22
0008+03
00:00:05:12
0008+03 EH 26 1769-5024+09
5032+11
EH 26 1769-5023+09
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09:44:40:01
09:44:45:14
A30 Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood 215/1
233 1451+06
1457+01
01:14:02:24
01:14:06:17
0005+12
00:00:03:23
0005+12 EH 77 0263-5343+15
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EH 77 0263-5342+15
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11:24:18:11
11:24:22:05
Zsigmond 2 - Film Smuggle story. dcoumentary film of revoultion, secret meeting, three cine's were chosen(him, Kovacs and another) smuggle film to west. father worked in Moracco
234 1457+02
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01:14:06:19
01:14:17:05
0015+14
00:00:10:16
0015+14 EH 26 1769-5036+08
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EH 26 1769-5035+08
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09:44:48:00
09:44:58:16
A30 Kovaks 1 - How he came to US, with Vilmos, shooting film, and working in Hollywood 215/1
235 1473+00
1528+00
01:14:17:06
01:14:53:26
0055+01
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0055+01 EH 77 0263-5426+01
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11:25:13:04
11:25:49:24
Zsigmond 2
236 1528+01
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01:14:53:27
01:15:14:09
0030+10
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0030+10 EM 77 1680-5878+15
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03:50:25:09
03:50:45:20
U16 Laszlo 4 8/4
237 1558+11
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01:15:14:10
01:15:27:02
0019+03
00:00:12:22
0019+03 EQ 54 8385-9194+13
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EQ 54 8385-9193+13
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13:51:58:01
13:52:10:24
CU-27 Wexler - 3 - Start career?? started as a kid making movies, merchant marines for 5 years, came back to chicago, didn't know what to do, but loved making movies 615/3
238 1577+14
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01:15:27:04
01:15:37:27
0016+04
00:00:10:23
0016+04 EM 77 1683-5511+14
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EM 77 1683-5510+14
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07:02:33:28
07:02:44:21
U32 Kuras 1 - Never was a news cameraman, father encouraged news, wanted to tell stories 17/1
239 1594+02
1610+02
01:15:37:29
01:15:48:19
0016+01
00:00:10:20
0016+01 EM 27 7851-6285+06
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EM 27 7851-6284+06
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06:11:32:14
06:11:43:04
U28 Semmler 1 - How did you become dp? Worked as props boy at 16, floor mgr. 16mm news, docs, then shot Mad Max II 13/1
240 1610+03
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01:15:48:20
01:16:27:01
0057+10
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0057+10 EQ 54 8379-6140+15
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EQ 54 8379-6139+15
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17:07:55:29
17:08:34:10
CU-44 Seale 1 - Into features? Back to Sydney, no features, Gov't. TV station, had WWII combat cameramen, assisting, didn't know if you would do a great job or get totally drunk*** 622/1
241 1667+13
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01:16:27:02
01:16:32:04
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EQ 54 8378-9016+12
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14:44:06:10
14:44:11:11
CU-32 Isaacks 1 - Becoming a DP? Guys next door asked to work in TV station, had a camera in hand by the end of the first year, from there kept shooting, wanting to do more visually 616/1
242 1675+07
1679+06
01:16:32:05
01:16:34:24
0004+00
00:00:02:19
0004+00 EH 75 5659-9069+08
9073+07
EH 75 5659-9068+08
9074+07
08:23:08:10
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
243 1679+07
1686+04
01:16:34:25
01:16:39:11
0006+14
00:00:04:16
0006+14 EH 75 5646-8282+08
8289+05
EH 75 5646-8281+08
8290+05
08:36:47:20
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
244 1686+05
1696+00
01:16:39:12
01:16:45:26
0009+12
00:00:06:14
0009+12 EL 06 3844-6464+08
6474+03
EL 06 3844-6463+08
6475+03
11:38:42:20
11:38:49:04
CU-14 Kline 1 - Becoming a DP? Started as AC in 43, Navy, college, 8years as operator, then 43 years as DP 609/1
245 1696+01
1700+13
01:16:45:27
01:16:49:02
0004+13
00:00:03:05
0004+13 EQ 56 4512-7110+06
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EQ 56 4512-7109+06
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15:01:26:28
15:01:30:03
000001 W1 Willis 1 - Becoming DP pt. 2? Nice man invited him to work on a show, came with a tape measure and a paper bag, got started 101/1
246 1700+14
1705+08
01:16:49:04
01:16:52:06
0004+11
00:00:03:02
0004+11 EH 27 6630-9907+12
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EH 27 6630-9906+12
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17:32:05:23
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
247 1705+09
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01:16:52:07
01:16:55:09
0004+10
00:00:03:02
0004+10 EH 77 0264-5058+00
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EH 77 0264-5057+00
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15:05:29:16
15:05:32:18
Vincent 1 - How did you become a DP? Theater and lighting in college, came to LA as asst. editor for 4 years, then camera PA, 2nd AC, 1st AC, Operator, then DP
248 1710+03
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01:16:55:10
01:17:01:16
0009+06
00:00:06:06
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EQ 54 8391-5713+12
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15:19:22:05
15:19:28:11
CU-34 Macat 1 618/1
249 1719+09
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01:17:06:10
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0007+03 EQ 56 4512-7212+04
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EQ 56 4512-7211+04
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15:02:34:25
15:02:39:18
000001 W1 Willis 1 - Luck involved? Everything that ever happened in my career was becuase of right place, right time, someone giving me an opportunity 101/1
250 1726+12
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01:17:06:11
01:17:18:15
0018+04
00:00:12:04
0018+04 EM 77 1668-9363+08
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EM 77 1668-9362+08
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05:26:17:05
05:26:29:09
U24 Stern 1 - How did you start lighting? In school at stanford, mentor and industry mentor, then Owen Roizman nd Conrad Hall, learning all the time 11/1
251 1745+00
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01:17:18:16
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00:00:11:11
0017+02 EH 26 1772-7520+11
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09:38:47:14
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
252 1762+02
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01:17:29:29
01:17:47:25
0026+14
00:00:17:26
0026+14 EM 77 1676-7579+10
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EM 77 1676-7578+10
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07:47:16:16
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U36 Fauer 1 - Andy Laszlo came to speak, kept up, mentor 20/1
253 1789+00
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0016+00 EM 27 7852-8798+13
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03:38:19:14
03:38:30:03
U15 Laszlo 3 - Do you hope students will read it? Yes, to learn but also those who aren't students who think hollywood is all glamour, hard work. 8/3
254 1805+00
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01:17:58:16
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00:00:04:26
0007+06 EH 26 1756-7058+12
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04:00:55:25
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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
255 1812+06
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10:41:35:06
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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
256 1818+10
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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.
257 1824+04
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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
258 1840+11
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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
259 1852+06
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01:18:30:04
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11:04:32:06
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Chressanthis 4 - Mentors? Vilmos is a mentor, intern on Witches of Eastwick, shot some inserts, and later2nd Unit, all difficult in retrospect, great respect and admiration
260 1858+04
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CU-59 Brown Jonathan 3 - About storaro? Did a job with Vittorio in LA, had to drive to set evey morning, each day got a lecture (doctorate) on his views on composition, color, inspiration for shots, etc, special gift**** 628/3
261 1903+02
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Schwartzman 2
262 1939+03
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000002 502 Storaro 3 603/3
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000002 W2 Willis 2 - The Importance of no? No gets you more jobs than yes, never remember the no in the screening room if it looks good. They will always remember the yes if it looks bad 101/2
264 2148+01
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000002 502 Storaro 3 603/3
265 2155+03
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0003+15 LEADER
LEADER
00:00:00:00
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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 **
267 2186+05
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Adefarasin 1- About Style Collaboration - move to style section
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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***
269 2224+08
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15:32:42:20
15:33:09:23
000004 W4 Willis 6 - Wrap up about Style? Comes out of you, your experieces, who you are, that's what ends up on screen, not good ideas that come to you when your're sitting in a bar 101/6
270 2265+03
2283+08
01:23:05:10
01:23:17:16
0018+06
00:00:12:06
0018+06 EH 77 0259-5198+03
5216+08
EH 77 0259-5197+03
5217+08
16:35:44:12
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...
271 2283+09
2292+10
01:23:17:17
01:23:23:19
0009+02
00:00:06:02
0009+02 EH 27 6644-8001+05
8010+06
EH 27 6644-8000+05
8011+06
16:53:15:04
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
272 2292+11
2302+11
01:23:23:20
01:23:30:10
0010+01
00:00:06:20
0010+01 EM 77 1682-9134+07
9144+07
EM 77 1682-9133+07
9145+07
01:53:46:14
01:53:53:04
U6 Omens 3 - Style for young filmmakers? Not enough to borrow, has to come from within ****Hopper example, on the edge of frame, fool to try and recreate 3/3
273 2302+12
2322+03
01:23:30:11
01:23:43:10
0019+08
00:00:12:29
0019+08 EQ 54 8382-5400+07
5419+14
EQ 54 8382-5399+07
5420+14
01:15:59:29
01:16:12:28
CU-66 Pfister - 2 - Where does style come from? From the narrative, must serve the narrative. Personally likes dark and moody, chooses projects that allow him to explore that 635/2
274 2322+04
2330+08
01:23:43:11
01:23:48:26
0008+05
00:00:05:15
0008+05 EM 77 1684-5099+03
5107+07
EM 77 1684-5098+03
5108+07
06:42:36:24
06:42:42:09
U31 Morgan 2 - Style, what determines the look of the picture? The written word, read the script 15/2
275 2330+09
2331+15
01:23:48:27
01:23:49:25
0001+07
00:00:00:28
0001+07 EL 54 8448-6276+14
6278+04
EL 54 8448-6275+14
6279+04
19:03:22:18
19:03:23:15
CU-55 Six 2 - Look of a show? Read script, in features comes from director, TV - Prod., do they have ideas, shoot a test, or first day and work from there, Midnight Caller, lots of nights, natural look, filters, nets, harrison C, etc 626/2
276 2332+00
2336+01
01:23:49:26
01:23:52:17
0004+02
00:00:02:21
0004+02 EQ 54 8381-7022+03
7026+04
EQ 54 8381-7021+03
7027+04
13:31:32:09
13:31:35:00
CU-25 Minsky 2 - Style, from pre-pro. to shoot? Evolves, always honing, always comes from the story, character, don't like movies all about the look, overwhelming, Robert Aldritch example low angles, color, shadow, etc. 613/2
277 2336+02
2336+14
01:23:52:19
01:23:53:04
0000+13
00:00:00:15
0000+13 EL 03 8516-9012+00
9012+12
EL 03 8516-9011+00
9013+12
19:22:16:00
19:22:16:15
CU-57 Yeoman 3 - Where does the look of film come from? Script, get general tone, movies, stills, locations with director, Prod. Des very key, try to get in Dir. head to find the look, some don't have look, create with Prod. Des. 627/3
278 2336+15
2338+13
01:23:53:05
01:23:54:12
0001+15
00:00:01:07
0001+15 EQ 54 8380-6499+05
6501+03
EQ 54 8380-6498+05
6502+03
18:15:09:06
18:15:10:14
CU-50 McLachlan 2 - Where does style come from? Starts with script, evolves into location, know the story you have to tell and let the location speak to you, young DPs try to impose a preconceived notion on a location 624/2
279 2338+14
2339+13
01:23:54:14
01:23:55:02
0001+00
00:00:00:18
0001+00 EH 27 6647-6656+03
6657+02
EH 27 6647-6655+03
6658+02
10:33:45:03
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.
280 2339+14
2341+02
01:23:55:04
01:23:55:29
0001+05
00:00:00:25
0001+05 EQ 54 8380-4367+04
4368+08
EQ 54 8380-4366+04
4369+08
17:51:27:20
17:51:28:15
CU-48 Carpenter 2 - How do arrive at the style of a film? Working in pre-production, develops brain book, references, notes, etc. which after 6 weeks of exhaustion, I can refer to as a baseline safety net*** 623/2
281 2341+03
2343+06
01:23:56:00
01:23:57:14
0002+04
00:00:01:14
0002+04 K? 77 0256-5223+15
5226+02
K? 77 0256-5222+15
5227+02
11:33:33:24
11:33:35:08
Laskus 2 - Where does style come from? Slow evolution, starts with written word but also influences, art, images that you see on the street, experience looking at the world
282 2343+07
2345+01
01:23:57:15
01:23:58:17
0001+11
00:00:01:02
0001+11 EQ 54 8379-4975+13
4977+07
EQ 54 8379-4974+13
4978+07
17:15:57:16
17:15:58:19
CU-45 Seale 2 - Lighting style? Starts with script, whole new concept, different place, diff. people, should be totally new, use discussions with Dir., Prod. Designer, pick that up an go with it 622/2
283 2345+02
2349+01
01:23:58:19
01:24:01:07
0004+00
00:00:02:18
0004+00 EL 79 8727-7497+11
7501+10
EL 79 8727-7496+11
7502+10
10:05:47:04
10:05:49:23
CU-6 Koenekamp 3 604/3
284 2349+02
2354+12
01:24:01:09
01:24:05:01
0005+11
00:00:03:22
0005+11 EL 79 8737-5780+15
5786+09
EL 79 8737-5779+15
5787+09
09:08:49:09
09:08:53:01
CU-1 Taylor 4 - Where does style come from? Comes from the script, for Swimmers, wanted that mist of the water feel of Maryland's eastern shore, desaturated, tools, doesn't matter, have to cut through 601/4
285 2354+13
2361+02
01:24:05:02
01:24:09:09
0006+06
00:00:04:07
0006+06 EQ 54 8377-4835+03
4841+08
EQ 54 8377-4834+03
4842+08
16:09:45:09
16:09:49:15
CU-38 Deschanel 2 - STYLE? Where start? immerse in story, read script 10 times, film about Jean Renoir, Italian Method, actors, jump to conclusions if you make decisions too soon, cliche, like choice for actors same for visualizing ROLL OUT 620/2
286 2361+03
2374+00
01:24:09:10
01:24:17:26
0012+14
00:00:08:16
0012+14 EM 27 7851-6567+13
6580+10
EM 27 7851-6566+13
6581+10
06:14:40:23
06:14:49:09
U28 Semmler 1 - What determines style? Comes from the script, preparation, then sometimes you have to change and magic can happen, Dances w/wolves story 13/1
287 2374+01
2388+11
01:24:17:27
01:24:27:20
0014+11
00:00:09:23
0014+11 EQ 54 8381-7540+11
7555+05
EQ 54 8381-7539+11
7556+05
13:37:13:19
13:37:23:11
CU-25 Byrne 2 - How do you visualize a story? Read the script, visualize what things are going to look like, sometimes when I see locations, it doesn't meet my visualization, I'm dissapointed, but you adapt 614/2
288 2388+12
2406+08
01:24:27:21
01:24:39:16
0017+13
00:00:11:25
0017+13 EH 77 0263-5601+09
5619+05
EH 77 0263-5600+09
5620+05
11:27:10:04
11:27:21:29
Zsigmond 2
289 2406+09
2463+05
01:24:39:17
01:25:17:12
0056+13
00:00:37:25
0056+13 EH 27 0254-4767+14
4824+10
EH 27 0254-4766+14
4825+10
13:49:18:15
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**
290 2463+06
2488+08
01:25:17:14
01:25:34:06
0025+03
00:00:16:22
0025+03 EH 77 0258-4370+02
4395+04
EH 77 0258-4369+02
4396+04
10:09:10:11
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***
291 2488+09
2517+08
01:25:34:07
01:25:53:16
0029+00
00:00:19:09
0029+00 EH 26 1773-7862+09
7891+08
EH 26 1773-7861+09
7892+08
07:21:00:11
07:21:19:20
A17 Fraker 1 205/1
292 2517+09
2525+12
01:25:53:17
01:25:59:01
0008+04
00:00:05:14
0008+04 EH 77 0247-9669+13
9678+00
EH 77 0247-9668+13
9679+00
10:42:44:11
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
293 2525+13
2535+01
01:25:59:02
01:26:05:07
0009+05
00:00:06:05
0009+05 EH 77 0251-7696+04
7705+08
EH 77 0251-7695+04
7706+08
11:38:49:08
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**
294 2535+02
2562+08
01:26:05:09
01:26:23:16
0027+07
00:00:18:07
0027+07 EQ 54 8382-5676+07
5703+13
EQ 54 8382-5675+07
5704+13
01:19:02:04
01:19:20:11
CU-66 Pfister - 3 - About style and showboating pt. 1 - For our own work we need to be able to do things photographically which satisfy us, must fit the material, but try to do things that don't look like everything else, push the envelope. 635/3
295 2562+09
2578+01
01:26:23:17
01:26:33:27
0015+09
00:00:10:10
0015+09 EH 77 0260-5611+07
5626+15
EH 77 0260-5610+07
5627+15
14:32:06:29
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**
296 2578+02
2609+06
01:26:33:29
01:26:54:24
0031+05
00:00:20:25
0031+05 EH 75 5650-5861+02
5892+06
EH 75 5650-5860+02
5893+06
06:40:42:23
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
297 2609+07
2650+11
01:26:54:25
01:27:22:10
0041+05
00:00:27:15
0041+05 EL 55 0040-9074+11
9115+15
EL 55 0040-9073+11
9116+15
03:00:51:04
03:01:18:19
000003 604 Storaro 4 - Style cont'd - That's why cinema is called 'dechimamusa' (SP?), it's the bringing together of the other muses, dance, painting, architecture, etc. 503/1
298 2650+12
2663+10
01:27:22:11
01:27:30:29
0012+15
00:00:08:18
0012+15 EH 77 0247-9726+13
9739+11
EH 77 0247-9725+13
9740+11
10:43:22:11
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
299 2663+11
2674+12
01:27:31:00
01:27:38:11
0011+02
00:00:07:11
0011+02 EM 77 1682-9625+00
9636+01
EM 77 1682-9624+00
9637+01
02:02:12:23
02:02:20:04
U6 Omens 5 cinematographers cut from the same cloth as painters 3/5
300 2674+13
2711+12
01:27:38:12
01:28:03:01
0037+00
00:00:24:19
0037+00 EM 77 1682-6233+12
6270+11
EM 77 1682-6232+12
6271+11
01:36:01:20
01:36:26:09
U4 Burum 5 2/5
301 2711+13
2742+00
01:28:03:02
01:28:23:06
0030+04
00:00:20:04
0030+04 EM 77 1681-5031+03
5061+06
EM 77 1681-5030+03
5062+06
02:07:07:18
02:07:27:21
U7 Omens 7 3/7
302 2742+01
2833+06
01:28:23:07
01:29:24:04
0091+06
00:01:00:27
0091+06 EQ 54 8380-4397+12
4489+01
EQ 54 8380-4396+12
4490+01
17:51:48:00
17:52:48:26
CU-48 Carpenter 2 - How do arrive at the style of a film? Working in pre-production, develops brain book, references, notes, etc. which after 6 weeks of exhaustion, I can refer to as a baseline safety net*** 623/2
303 2833+07
2848+10
01:29:24:05
01:29:34:09
0015+04
00:00:10:04
0015+04 EM 77 1684-7085+14
7101+01
EM 77 1684-7084+14
7102+01
07:20:02:13
07:20:12:16
U34 Kuras 3 - What do you bring to the style of a film? My experiences, going against the grain, Personal Velocity experience, Summer of Sam experience 17/3
304 2848+11
2870+15
01:29:34:10
01:29:49:05
0022+05
00:00:14:25
0022+05 EQ 54 8380-4495+03
4517+07
EQ 54 8380-4494+03
4518+07
17:52:52:29
17:53:07:24
CU-48 Carpenter 2 - In terms of style, every cinematographer brings their own life experiences to the film, always been associated with big action pictures, like smaller pictures lighting women, old Hollywood style** 623/2
305 2871+00
2880+14
01:29:49:06
01:29:55:24
0009+15
00:00:06:18
0009+15 EH 77 0252-5566+00
5575+14
EH 77 0252-5565+00
5576+14
14:46:26:00
14:46:32:18
Narita 5
306 2880+15
2898+08
01:29:55:25
01:30:07:16
0017+10
00:00:11:21
0017+10 EL 06 3844-4472+09
4490+02
EL 06 3844-4471+09
4491+02
11:27:59:16
11:28:11:08
CU-13 Greenberg 2 608/2
307 2898+09
2912+00
01:30:07:17
01:30:16:16
0013+08
00:00:08:29
0013+08 EM 27 7856-9885+01
9898+08
EM 27 7856-9884+01
9899+08
05:09:50:03
05:09:59:01
U22 Dill 3 - What do you as DP bring to a picture? Life experience at it's best, not conventional 10/3
308 2912+01
2930+05
01:30:16:17
01:30:28:22
0018+05
00:00:12:05
0018+05 K? 77 0256-5246+07
5264+11
K? 77 0256-5245+07
5265+11
11:33:48:24
11:34:00:29
Laskus 2 - Where does style come from? Slow evolution, starts with written word but also influences, art, images that you see on the street, experience looking at the world
309 2930+06
2934+04
01:30:28:24
01:30:31:11
0003+15
00:00:02:17
0003+15 EH 77 0248-8072+05
8076+03
EH 77 0248-8071+05
8077+03
17:35:49:28
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,
310 2934+05
2970+04
01:30:31:12
01:30:55:11
0036+00
00:00:23:29
0036+00 EH 77 0247-9751+11
9787+10
EH 77 0247-9750+11
9788+10
10:43:38:29
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
311 2970+05
2992+03
01:30:55:12
01:31:10:00
0021+15
00:00:14:18
0021+15 EH 77 0262-7569+10
7591+08
EH 77 0262-7568+10
7592+08
16:58:41:10
16:58:55:28
Toll 3 - Improvisation in films? Good filmmaking comes from improv, don't want to tell each story the same way*** (LOST TRAIN OF THOUGHT)
312 2992+04
3030+01
01:31:10:01
01:31:35:07
0037+14
00:00:25:06
0037+14 EQ 54 8377-5225+01
5262+14
EQ 54 8377-5224+01
5263+14
16:13:59:11
16:14:24:18
CU-39 Deschanel 3 - Where style comes from? research prepare, but be ready to respond on set, actor can overpower, change, factors along the way, well rehearsed but its like Jazz, respond, ebb and flow as it evolves *** 620/3
313 3030+02
3053+05
01:31:35:09
01:31:50:22
0023+04
00:00:15:13
0023+04 EM 27 7851-6447+11
6470+14
EM 27 7851-6446+11
6471+14
06:13:20:20
06:13:36:04
U28 Semmler 1 - Did the news work influence your later work? Yes, if it looks good as it is, don't start tweaking*** 13/1
314 3053+06
3088+03
01:31:50:24
01:32:14:00
0034+14
00:00:23:06
0034+14 EQ 54 8377-5263+09
5298+06
EQ 54 8377-5262+09
5299+06
16:14:25:01
16:14:48:08
CU-39 Deschanel 3 - Where style comes from? research prepare, but be ready to respond on set, actor can overpower, change, factors along the way, well rehearsed but its like Jazz, respond, ebb and flow as it evolves *** 620/3
315 3088+04
3111+05
01:32:14:01
01:32:29:12
0023+02
00:00:15:11
0023+02 EM 77 1668-7892+08
7915+09
EM 77 1668-7891+08
7916+09
06:29:18:01
06:29:33:13
U29 Goldblatt 1 - Where does style come from? Everywhere, but you must listen to that inner drive to be open to that instinct 14/1
316 3111+06
3126+13
01:32:29:14
01:32:39:22
0015+08
00:00:10:08
0015+08 EH 75 5659-9798+01
9813+08
EH 75 5659-9797+01
9814+08
08:31:14:01
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
317 3126+14
3144+01
01:32:39:24
01:32:51:07
0017+04
00:00:11:13
0017+04 EH 77 0247-9873+01
9890+04
EH 77 0247-9872+01
9891+04
10:44:59:26
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
318 3144+02
3159+14
01:32:51:09
01:33:01:24
0015+13
00:00:10:15
0015+13 EL 03 8516-9049+07
9065+03
EL 03 8516-9048+07
9066+03
19:22:40:29
19:22:51:14
CU-57 Yeoman 3 - Where does the look of film come from? Script, get general tone, movies, stills, locations with director, Prod. Des very key, try to get in Dir. head to find the look, some don't have look, create with Prod. Des. 627/3
319 3159+15
3198+15
01:33:01:25
01:33:27:25
0039+01
00:00:26:00
0039+01 EQ 54 8379-5253+09
5292+09
EQ 54 8379-5252+09
5293+09
17:19:02:21
17:19:28:21
CU-45 Seale 2 - Working with Prod. Designer? Very important, they've been on project long before, looking at locations, had long talks with director, already decided what it's going to look like, building sets, etc, 622/2
320 3199+00
3249+02
01:33:27:26
01:34:01:09
0050+03
00:00:33:13
0050+03 EQ 54 8381-8012+01
8062+03
EQ 54 8381-8011+01
8063+03
13:20:23:21
13:20:57:04
CU-24 Mullen 4 - Art Dept. coordination again? Northfork story about art dept. B/W US flag, grey paint in ketchup bottles, etc, better to get the look in the camera, and then enhance in post, etc.(CELL PHONE) 612/4
321 3249+03
3303+05
01:34:01:10
01:34:37:12
0054+03
00:00:36:02
0054+03 K? 77 0258-6162+06
6216+08
K? 77 0258-6161+06
6217+08
11:09:22:19
11:09:58:21
Lindenlaub 2 - Example of style for a picture? Evolves, helps if you've worked with the director before, meeting with prod. des. is very important, put photos on the wall of the hotel to remind him of the look****
322 3303+06
3325+10
01:34:37:14
01:34:52:09
0022+05
00:00:14:25
0022+05 EQ 54 8391-6932+10
6954+14
EQ 54 8391-6931+10
6955+14
15:32:49:03
15:33:03:28
CU-35 Macat 3 - Stunts on Home Alone, afraid it would be too cutty, classic comedy, Sullivan's travels, Abbot & Costello, play in medium, worry about cutting together, can make great individual pictures, etc. (ROLL OUT) 618/3
323 3325+11
3358+06
01:34:52:10
01:35:14:04
0032+12
00:00:21:24
0032+12 EH 77 0260-8199+06
8232+01
EH 77 0260-8198+06
8233+01
14:47:59:29
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**
324 3358+07
3371+02
01:35:14:05
01:35:22:19
0012+12
00:00:08:14
0012+12 EH 77 0255-9782+12
9795+07
EH 77 0255-9781+12
9796+07
12:42:06:16
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.
325 3371+03
3383+13
01:35:22:20
01:35:31:02
0012+11
00:00:08:12
0012+11 EH 26 1767-5011+05
5023+15
EH 26 1767-5010+05
5024+15
04:11:41:06
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
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000001 W1 Willis 1 - Commercials vs Features - Made a living for long time in comm. learned a lot of technique of shooting in commercials, lots of gear to draw upon, learned about features from movies in 40's ROLL OUT 101/1
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CU-61 Core 2 - Talk about style and music videos? Style was everything, always trying sometihing new, new looks good way to come up, used to having a long leash 630/2
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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
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CU-35 Macat 3 - Look of home alone? References but then if your'e smart you let great accidents happen, try to document that, like any artist, don't call myself an artist, try to capture moments like a documentarian 618/3
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U20 Deakins 3 - Happy accidents? Why I like working on location..Copy.01 9/3
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CU-39 Deschanel 3 - Happy Accidents? Oh yes!, All DP's take credit for happy accidents, clouds, in sync with emotional thrust of story, like music scary or melancholy 620/3
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U5 Omens 2 - Talk about style? Dapple on shoulder, story about Conrad Hall, perception, story, etc 3/2
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U20 Deakins 3 - Notice that you react to actors fluid? Yeah, but it's all about the story, shouldn't say beautiful movie**** 9/3
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U32 Kuras 1 - What determines style? Working with the director, creating context with images, lighting, camera moves*** 17/1
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Bridges 1.spirit in each cinematographers work
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000003 W3 Willis 3 - Style in your films? tk2 - There is a definable style in my films, applied differently, trick is to integrate your visual decsisions with the movie, best movies have both, not always the case**** 101/3
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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***
338 3762+09
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CU-2 Pope 2 - What inspired the look of the Matrix? Inspired by the light of Paris, soft with a green tinge to it, a different reality*** 602/2
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000006 609 Storaro 9 507/1
340 2 3862+09
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000006 609 Storaro 9 507/1
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000002 W2 Willis 2 - Where does style come from? Should come from inside, story about Godfather, 20minutes before, should look gritty, street, brassy, have no idea where it came from 101/2
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CU-41 Deschanel 5*** - style cont'd - One thing that's happening with technology is the removal of distance from the look on set and the look in dailies, Godfather example, people would have chickened out, dangerous 620/5
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000005 W5 Willis 9 - Described as best US Cin. Does that help? Try not to pay too much attention to it, didn't help in Hollywood, many who wouldn't touch, didn't choose to think inside the box, people afraid of what might happen 101/9
344 3959+14
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Ballhaus 6 - Looking at Painting? Gangs of NY, Ma.Sub.01 C4/6
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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
346 4060+15
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Zsigmond 4
347 4091+04
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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
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U1 Negrin 3 - More about the raw look? Shirt again, talks about getting what you get, Pelham 123, Kojack, etc. 1/3
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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
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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
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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, ****
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000004 W4 Willis 6 - NY Pt. 2, Don't have to do much to make NY look good, it's a feeling, what do you choose to do, where to shoot. 101/6
353 4215+10
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Cooperman 3
354 4233+07
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Toll 3 - Style and background of Wind with Carole Ballard, hand-held 35mm Aaton, splash housings, nitrogen deflectors
355 4243+03
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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
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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
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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, ****
358 4400+09
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CU-44 Seale 1 - Improvising was interesting? Didn't have any money, good training ground, held in good stead, think of a quick way that looks good, save a lot of money/time, not scared to do it 622/1
359 4415+12
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CU-39 Deschanel 3 - Style Example: Black Stallion: Ballard and Caleb, eductional doucmentary films, Ballard's style set up scene like it is happening, shoot like documentary, repeatable, interesting reality, think on feet, marks 620/3
360 4457+14
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18:37:53:06
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CU-53 Hofman 1 625/1
361 4470+02
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Ryan 3 - Locations and style? Coming from documentary, hyper-aware of the locations, like to know how a particular location relates to the actors, scene, placing in the frame so the audience can expoloe images
362 4480+02
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01:47:41:29
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U19 Deakins 1 9/1
363 4504+08
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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
364 4531+07
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U28 Irola 6 - Shooting documentaries, experience, travelling the world, learning how people move, helps with narrative, blocking, lighting 12/6
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CU-37 Spinotti - 2 - Style - Holwyood style cont'd:more in touch with audience, reflected in language of filmmaking, shots, longer in Italian, slower, - this is kind of style, USA, coverage, more pragmatic, no distraction 619/2
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13:57:43:25
Lenoir 4 - Euro vs. American styles
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Adefarasin 1 - The difference bt US and UK style, no humanity, execs coming down
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000004 W4 Willis 7 - How were you able to break through? Never did anything to be different, thin line between different and lousy, kinda caused a riot a few times, that helped people do things after, don't thinka bout can't 101/7
369 4770+15
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LEADER
00:00:00:00
00:00:02:11
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01:50:58:25
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000005 606 Storaro 6 - Technique and Technology? Demonstration with single light bulb, the meaning of light, how it works in different positions 506/2
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A17 Fraker 1 205/1
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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
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02:51:35:08
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U11 Butler 4 - How do you start lighting a set? Likes to light/rig ahead of time but can be a problem with directors who change their minds, punt 6/4
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000003 W3 Willis 3 - Cin. subservient to the story? No, not subservient, other way around, editorialize with photography,Relativity, story of person by window, on in the dark, have an idea, don't just provide options**** 101/3
375 4935+14
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U22 Dill 3 - How do you go about teaching lighting? Has to do three things, what can it do is more interesting. Dropouts 10/3
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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,***
377 4999+06
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000001 W1 Willis 1 - Philosophy of cinema? Minimalist, like to take things out instead of add, example of a boat listing, adding weight, then it sinks, usually things go wrong because of adding 101/1
378 5035+03
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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
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D Lenoir 3 - Flat and non-flat lighting story
380 5065+14
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CU-15 Kline 2 - Improv style, pt. 3, Film compared to tennis coach advice, not just keep eye on ball, what part of the ball, same with screen, make the audience look, especially in commercials,30 seconds, light, lens, set, etc** 609/2
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CU-49 Carpenter 3 - How do you go about lighting actresses? Every face is different, angular like Cameron Diaz, vs fuller, rule of thumb 2 12x12s with full grid and frame of 216, where you place it is important, fill light, xenon flashlight 623/3
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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 **
383 5231+15
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U30 Goldblatt 2 - Technology and Style? Not specifically, new Kodak stocks, ***story about backlight invented, steadicam 14/2
384 5270+06
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09:40:52:28
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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****
385 5288+13
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17:14:40:26
17:15:12:22
Toll 5 (NOT RECAPTURED FROM BETA)
386 5336+11
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12:13:47:01
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Zsigmond 6 - Shadows are more important
387 5359+06
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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
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CU-65 Leonetti 2 - Lighting ex. cont'd, Control the light, once you put it up, nets, dimmers, diffusion, etc., Big set like Strange Days, had 6 city blocks to light at night, requires a big plan, rigging, do it once try to do it once*** 632/2
389 5386+13
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08:57:17:06
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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
390 5411+09
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17:03:30:16
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Collister 4 - Tools and Tech pt. 2 (KINO FLO TUBE EXAMPLE) Restatement of tk. 3, with Kino tube in hand*****
391 5426+11
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01:58:13:00
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18:40:56:06
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Libatique 3- Kino Flo changed cinematography, brought back practical locations, ceilings, less unnatural backlight
392 5470+13
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15:13:12:25
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CU-34 McCuaig 4 - Lighting tech. influencing your work? Musco lights and 9light arrays, made lighting 6 blocks possible with just a few units, less crew, makes us lighter on our feet 617/4
393 5491+15
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14:04:48:05
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.
394 5549+11
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01:59:35:00
02:00:01:21
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15:37:12:23
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000004 W4 Willis 7 - Denis Lenior Blonde quote? Nothing does everything, favorite form is 100w bulb, TURN OFF KEY EXAMPLE, LIGHT PANEL, MICROFLOW, punishment fits crime, using appropriate lighing*** 101/7
395 5589+13
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02:00:01:22
02:00:38:01
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00:00:36:09
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15:07:13:18
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.
396 5644+05
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02:00:38:02
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00:00:11:14
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10:34:17:04
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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.
397 5661+09
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02:00:49:17
02:01:08:25
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00:00:19:08
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EM 77 1681-7754+04
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03:27:20:19
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U14 Beebe 5 - Anecdote, all the lightbulbs in Chicago 7/5
398 5690+08
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00:00:08:24
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15:40:28:11
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Levy 1
399 5703+12
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03:28:15:04
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U14 Beebe 5 - Anecdote, all the lightbulbs in Chicago 7/5
400 5733+11
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18:05:22:11
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CU-49 Carpenter 3 - Talk about the relationship with actors? Try to develop a relationship with the camera operator to make the enviroment such that actors can do their best and take risks, we're watching out, used to think actors were props, other way around 623/3
401 5781+00
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02:02:09:06
02:02:24:27
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00:00:15:21
0023+10 EL 79 8727-6987+08
7011+01
EL 79 8727-6986+08
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10:00:07:00
10:00:22:21
CU-6 Koenekamp 3 604/3
402 5804+10
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02:02:24:29
02:02:44:00
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EH 77 0263-5089+09
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11:05:50:29
11:06:10:00
Chressanthis 4 - Being a mentor yourself? Assume that everyone in the camera dept. wants to shoot, all are artists, not just technicians, try to share my knowledge, as Vilmos did with me
403 5833+04
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CU-46 Seale 3 - Operate yourself? Yes, big challenge, some think it's slower, but if with good gaffer, can see what's important, Mo Flam from NY, story about lighting suggestion, already ready, that kind of gaffer hold on to for life*** 622/3
404 5856+12
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02:02:59:21
02:03:15:05
0023+04
00:00:15:14
0023+04 EL 79 8727-7048+00
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10:00:47:10
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CU-6 Koenekamp 3 604/3
405 5880+00
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16:00:23:09
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000006 W6 Willis 11 - Family and crew? You see your crew more than your family, if you're married, they hopefully understand, I've been very lucky that she's always been there when I've finished 101/11
406 5897+05
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17:44:53:08
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CU-47 Carpenter 1 - Talk about people on the set, relationships? Management style is one of admiration, surround myself with great people that I love working with and watch them do great work, only step in if it's not going as I would like 623/1
407 5917+11
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02:03:40:10
02:03:42:26
0003+14
00:00:02:16
0003+14 LEADER
LEADER
00:00:00:00
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408 5921+09
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10:42:37:25
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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
409 5929+12
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02:03:48:11
02:04:09:07
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10:03:08:23
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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***
410 5961+02
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07:16:18:08
07:16:37:13
U33 Kuras 2 - How does tech. influence style? It does, approach story with heart, and then figure out how the tech. can help, Eternal Sunshine and Arricam story 17/2
411 5989+15
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20:13:19:25
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CU-61 Mason 4 - Advice for students? Don't go into the film industry? (Laughs) Must keep pace with new technology, greatest thing about being DP is the passion, great DPs are passionate, immerse themselves in the work*** 629/4
412 6008+12
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02:04:51:20
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08:38:38:06
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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
413 6024+12
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09:25:12:10
09:25:23:24
A28 Alsobrook 1 (MISSING KN) 213/1
414 6042+00
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02:05:17:27
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05:39:12:26
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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
415 6064+02
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02:05:17:29
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09:22:20:28
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CU-3 Pope 3 - Technology and style of New Wave? Lightweight cameras allowed them to run around Paris, low budgets freed them requirements, worst thing you can give a DP is time, better be good at adlibbing))) 602/3
416 6078+10
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02:05:27:19
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18:38:34:23
18:38:44:19
CU-53 Hofman 1 625/1
417 6093+08
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14:29:01:13
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CU-30 Wexler - 8 - Subjective statement: that moment in time, different feeling when could see and hear the actor and know that was on film, no video tap, no one second guess, it is YOUR magic, not like that anymore *** 615/8
418 6121+11
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09:16:43:13
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CU-2 Pope 1 - So for you, cinematography is emotion? Yes, emotion and atmosphere. Almost like an actor, blocking and workign with them to try and tell the story in 2 demensions 602/1
419 6135+01
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CU-50 McLachlan 2 - Doc. Experience, cont'd, Having camera on shoulder, learned how people move, where best to cover scene, advice for young DPs, shoot everything, all the time, it's going to serve you well later 624/2
420 6151+07
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Libatique 3 cameras don't matter, all in the lenses
421 6161+04
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Adefarasin 3 - Relationship with director most important, camera, etc.
422 6167+05
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04:50:53:28
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U21 Deakins 5 - Lens choice Part 2? How he would shoot would be more inside, shorter or over the shoulder dirty 9/5
423 6218+10
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04:52:18:20
U21 Deakins 6 9/6
424 6242+03
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14:56:32:19
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Fierberg 5 - (WIDE ANGLE LENS) Talking about the psychology of lenses, gesturing towards camera, example of using wide angle lenses on Secretary, etc.
425 6282+02
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04:51:28:11
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U21 Deakins 5 - Lens choice Part 2? How he would shoot would be more inside, shorter or over the shoulder dirty 9/5
426 6306+15
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16:06:32:12
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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***
427 6330+03
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11:01:48:13
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CU-11 Woolsey 4 606/4
428 6353+15
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08:34:19:26
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Dexter 3 (OVER MODULATED AUDIO) - About being a mechanic? Got to be a better way? Hi-Hat example, speed rail, other examples, etc***
429 6379+15
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04:01:50:16
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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
430 6393+09
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Dexter 3 (OVER MODULATED AUDIO)
431 6417+09
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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
432 6433+03
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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
433 6439+09
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16:06:49:20
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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***
434 6473+04
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CU-43 Manley 3 - How does new technology effect style? It does and it keeps us excited about the craft inspires new things 621/3
435 6479+09
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18:38:07:20
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Libatique - film stocks shape the way things look today. Elephant in 84 vs Phonebooth in 48 - stocks set looks apart.Copy.01
436 6488+04
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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
437 6499+02
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07:26:37:03
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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
438 6510+14
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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***
439 6577+14
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02:11:00:14
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08:46:47:13
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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
440 6626+05
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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
441 6671+11
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09:22:57:28
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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
442 6699+05
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13:17:29:14
13:18:04:28
CU-23 Mullen 2 - On DI? Finally getting to the point in the feature world where we have the same controls that you have in telecine, daVinci, etc, infinite choices mean infinite ways to screw up the image 612/2
443 6752+09
6779+14
02:12:56:27
02:13:15:04
0027+06
00:00:18:07
0027+06 EH 26 1765-9653+04
9680+09
EH 26 1765-9652+04
9681+09
07:29:37:15
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
444 6779+15
6792+03
02:13:15:05
02:13:23:10
0012+05
00:00:08:05
0012+05 EH 11 5165-6572+06
6584+10
EH 11 5165-6571+06
6585+10
12:27:34:04
12:27:42:09
091230 Seresin 9 - Cameras changed since Mid. Exp.? So much, used BL on that? Now switch eyepiece left to right, need to rack, gear is there, faster now too with all the pressures on all of us to do it faster, 118/
445 6792+04
6822+14
02:13:23:11
02:13:43:24
0030+11
00:00:20:13
0030+11 EH 75 5654-5036+10
5067+04
EH 75 5654-5035+10
5068+04
08:00:53:03
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
446 6822+15
6830+13
02:13:43:25
02:13:49:02
0007+15
00:00:05:07
0007+15 EH 77 0260-9374+08
9382+06
EH 77 0260-9373+08
9383+06
15:13:15:23
15:13:21:00
Holzman 4
447 6830+14
6843+07
02:13:49:04
02:13:57:15
0012+10
00:00:08:11
0012+10 EL 06 3859-6112+03
6124+12
EL 06 3859-6111+03
6125+12
09:23:06:19
09:23:15:00
CU-3 Pope 3 - Technology and style of New Wave? Lightweight cameras allowed them to run around Paris, low budgets freed them requirements, worst thing you can give a DP is time, better be good at adlibbing))) 602/3
448 6843+08
6856+03
02:13:57:16
02:14:06:00
0012+12
00:00:08:14
0012+12 K? 77 0258-5060+00
5072+11
K? 77 0258-5059+00
5073+11
10:42:46:14
10:42:54:28
Mankofsky 3 -Tech & Tech? Effects the look of film but direct correlation between budget and use of tools, Technocrane, Baloon lights, nice but 90% of films can't afford them
449 6856+04
6970+13
02:14:06:01
02:15:22:12
0114+10
00:01:16:11
0114+10 EM 27 7847-9033+00
9147+09
EM 27 7847-9032+00
9148+09
04:45:10:10
04:46:26:21
U21 Deakins 4 - First day on Barton Fink, Cohen's open to ideas, Luma Crane shot, wrap by 12**** 9/4
450 6970+14
6995+10
02:15:22:14
02:15:38:29
0024+13
00:00:16:15
0024+13 EQ 56 4512-7846+15
7871+11
EQ 56 4512-7845+15
7872+11
15:09:37:29
15:09:54:14
000001 W1 Willis 1 - Expand on motion vs accomplishment? Problem in movie business, camera is a tool, actors are tools, technology is not important, getting the story up on screen is important 101/1
451 6995+11
7008+07
02:15:39:00
02:15:47:15
0012+13
00:00:08:15
0012+13 EH 77 0264-3996+03
4008+15
EH 77 0264-3995+03
4009+15
15:26:22:15
15:26:31:00
Vincent 5 - tools and technology comment
452 7008+08
7024+08
02:15:47:16
02:15:58:06
0016+01
00:00:10:20
0016+01

07:55:15:08
07:55:25:28
31 Dibie 1 - What about new technology? Just new tools, like different size paintbrushes, we shouldn't close our eyes to new technology, we should use it and adapt with it 216/1
453 7024+09
7051+15
02:15:58:07
02:16:16:15
0027+07
00:00:18:08
0027+07 EM 77 1682-5216+14
5244+04
EM 77 1682-5215+14
5245+04
07:32:28:18
07:32:46:25
U35 Curtis 3 - Dialectic between technology and style, best films are stylish but used simple tech *** 18/3
454 7052+00
7086+02
02:16:16:16
02:16:39:09
0034+03
00:00:22:23
0034+03 EH 26 1772-7539+05
7573+07
EH 26 1772-7538+05
7574+07
09:38:59:26
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
455 1 7086+03
7130+12
02:16:39:10
02:17:09:01
0044+10
00:00:29:21
0044+10

09:23:34:11
09:24:04:03
A28 Alsobrook 1 (MISSING KN) - Technique and Technology? Analogy to making dyes for cave paintings, technology hasn't changed that much in 100 years. 213/1
456 7130+13
7136+00
02:17:09:02
02:17:12:16
0005+04
00:00:03:14
0005+04 LEADER
LEADER
00:00:00:00
00:00:02:23
457 7136+01
7196+00
02:17:12:17
02:17:52:16
0060+00
00:00:39:29
0060+00 EH 27 0254-4691+09
4751+08
EH 27 0254-4690+09
4752+08
13:48:27:19
13:49:07:18
Lenoir 3
458 7196+01
7237+14
02:17:52:17
02:18:20:14
0041+14
00:00:27:27
0041+14 EH 77 0252-4973+11
5015+08
EH 77 0252-4972+11
5016+08
14:38:35:05
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
459 7237+15
7270+13
02:18:20:15
02:18:42:12
0032+15
00:00:21:27
0032+15 EH 26 1765-7740+07
7773+05
EH 26 1765-7739+07
7774+05
09:19:36:29
09:19:58:26
A27 Bridges 2 212/2
460 7270+14
7313+06
02:18:42:14
02:19:10:24
0042+09
00:00:28:10
0042+09 EH 26 1765-9892+04
9934+12
EH 26 1765-9891+04
9935+12
07:32:16:25
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
461 7313+07
7342+11
02:19:10:25
02:19:30:10
0029+05
00:00:19:15
0029+05 EH 27 6644-5030+13
5060+01
EH 27 6644-5029+13
5061+01
15:36:11:21
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***
462 7342+12
7349+15
02:19:30:11
02:19:35:05
0007+04
00:00:04:24
0007+04 EL 06 3844-5538+07
5545+10
EL 06 3844-5537+07
5546+10
11:17:30:04
11:17:34:28
CU-12 Anderson Peter 3 - Why is this the most exciting work? Because we get to put our ideas on film and shot it to the world. 607/3
463 7350+00
7363+12
02:19:35:06
02:19:44:11
0013+13
00:00:09:05
0013+13 EQ 54 8393-8817+00
8830+12
EQ 54 8393-8816+00
8831+12
20:31:19:25
20:31:29:00
CU-62 Core 4 - Future of cinematography? Exciting future new technology, greatest gift is not the opposable thumb, but the abillity and desire to tell stories, question why we are here, dps to do this in a visual, visceral way 630/4
464 7363+13
7370+14
02:19:44:12
02:19:49:04
0007+02
00:00:04:22
0007+02 EH 77 0261-4651+05
4658+06
EH 77 0261-4650+05
4659+06
10:43:56:00
10:44:00:22
Chressanthis 2
465 7370+15
7404+12
02:19:49:05
02:20:11:21
0033+14
00:00:22:16
0033+14 EM 77 1668-9016+09
9050+06
EM 77 1668-9015+09
9051+06
05:22:27:26
05:22:50:13
U24 Dill 6 - More about cave drawings, "You can't photograph what you can't see" 10/6
466 7404+13
7426+01
02:20:11:22
02:20:25:27
0021+05
00:00:14:05
0021+05

09:24:05:24
09:24:19:29
A28 Alsobrook 1 (MISSING KN) - Technique and Technology? Analogy to making dyes for cave paintings, technology hasn't changed that much in 100 years. 213/1
467 7426+02
7430+09
02:20:25:29
02:20:28:27
0004+08
00:00:02:28
0004+08 EL 79 8736-4505+13
4510+04
EL 79 8736-4504+13
4511+04
10:39:01:16
10:39:04:15
CU-9 Irwin 3 - Future of cinematography? Hope is based on telling story with pictures, give people a reason to spend 20bucks on popcorn & soda, technologically can help or hinder us, 605/3
468 7430+10
7463+08
02:20:28:29
02:20:50:26
0032+15
00:00:21:27
0032+15 EL 06 8917-5849+15
5882+13
EL 06 8917-5848+15
5883+13
06:09:49:09
06:10:11:06
000006 610 Storaro 10 - Where is cinematography going? The tools get more minimal but the mind can't change. E=mc analogy, (Walks out) 507/2
469 7463+09
7478+12
02:20:50:27
02:21:01:01
0015+04
00:00:10:04
0015+04 EQ 56 4504-4477+14
4493+01
EQ 56 4504-4476+14
4494+01
15:48:02:28
15:48:13:01
000005 W5 Willis 9 - Why vs. How tk. 2 - (More succinct) The why is much more imporant that the how. 101/9
470 7478+13
7500+09
02:21:01:02
02:21:15:17
0021+13
00:00:14:15
0021+13 EH 26 1773-7215+02
7236+14
EH 26 1773-7214+02
7237+14
07:13:48:23
07:14:03:08
A17 Greenberg 4 204/4
471 7500+10
7503+11
02:21:15:19
02:21:17:20
0003+02
00:00:02:01
0003+02 LEADER
LEADER
00:00:00:00
00:00:01:19
472 7503+12
7510+11
02:21:17:21
02:21:22:10
0007+00
00:00:04:19
0007+00 Opt 13-0000+00
0006+15
Optical #13
473 7510+12
7518+04
02:21:22:11
02:21:27:11
0007+09
00:00:05:00
0007+09 Opt 14-0000+00
0007+08
Optical #14
474 7518+05
7624+10
02:21:27:12
02:22:38:09
0106+06
00:01:10:27
0106+06 Opt 15-0000+00
0106+05
Optical #15
475 7624+11
7749+14
02:22:38:10
02:24:01:24
0125+04
00:01:23:14
0125+04 Opt 16-0000+00
0125+03
Optical #16