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Scene Pull

Opt Scene Pull

Optical Pull

Scan

Assemble List
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 7424+08

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 7653+14

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 7346+03

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 7261+15

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 8472+05

EQ 54 8381-8461+10 8473+05

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 8087+03

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 1403+12

01:13:27:19 01:13:31:01

0005+03 00:00:03:12

0005+03

EH 77 0263-5204+15 5210+01

EH 77 0263-5203+15 5211+01

11:21:55:08 11:21:58:20

Zsigmond 1 - name, title, brief timline from Hungary to USA

226

1403+13 1406+12

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 5214+15

EH 77 0263-5210+06 5215+15

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 5002+15

EH 26 1769-4993+10 5003+15

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 5319+00

EH 77 0263-5308+08 5320+00

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 1431+12

01:13:47:14 01:13:49:21

0003+07 00:00:02:07

0003+07

EH 26 1769-5017+12 5021+02

EH 26 1769-5016+12 5022+02

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 5341+09

EH 77 0263-5329+04 5342+09

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 1451+05

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 5033+11

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 5349+10

EH 77 0263-5342+15 5350+10

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 1472+15

01:14:06:19 01:14:17:05

0015+14 00:00:10:16

0015+14

EH 26 1769-5036+08 5052+05

EH 26 1769-5035+08 5053+05

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 00:00:36:20

0055+01

EH 77 0263-5426+01 5481+01

EH 77 0263-5425+01 5482+01

11:25:13:04 11:25:49:24

Zsigmond 2

236

1528+01 1558+10

01:14:53:27 01:15:14:09

0030+10 00:00:20:12

0030+10

EM 77 1680-5878+15 5909+08

EM 77 1680-5877+15 5910+08

03:50:25:09 03:50:45:20

U16

Laszlo 4

8/4

237

1558+11 1577+13

01:15:14:10 01:15:27:02

0019+03 00:00:12:22

0019+03

EQ 54 8385-9194+13 9213+15

EQ 54 8385-9193+13 9214+15

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 1594+01

01:15:27:04 01:15:37:27

0016+04 00:00:10:23

0016+04

EM 77 1683-5511+14 5528+01

EM 77 1683-5510+14 5529+01

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 6301+06

EM 27 7851-6284+06 6302+06

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 1667+12

01:15:48:20 01:16:27:01

0057+10 00:00:38:11

0057+10

EQ 54 8379-6140+15 6198+08

EQ 54 8379-6139+15 6199+08

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 1675+06

01:16:27:02 01:16:32:04

0007+10 00:00:05:02

0007+10

EQ 54 8378-9017+12 9025+05

EQ 54 8378-9016+12 9026+05

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 7115+02

EQ 56 4512-7109+06 7116+02

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 9912+06

EH 27 6630-9906+12 9913+06

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 1710+02

01:16:52:07 01:16:55:09

0004+10 00:00:03:02

0004+10

EH 77 0264-5058+00 5062+09

EH 77 0264-5057+00 5063+09

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 1719+08

01:16:55:10 01:17:01:16

0009+06 00:00:06:06

0009+06

EQ 54 8391-5714+12 5724+01

EQ 54 8391-5713+12 5725+01

15:19:22:05 15:19:28:11

CU-34

Macat 1

618/1

249

1719+09 1726+11

01:17:01:17 01:17:06:10

0007+03 00:00:04:23

0007+03

EQ 56 4512-7212+04 7219+06

EQ 56 4512-7211+04 7220+06

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 1744+15

01:17:06:11 01:17:18:15

0018+04 00:00:12:04

0018+04

EM 77 1668-9363+08 9381+11

EM 77 1668-9362+08 9382+11

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 1762+01

01:17:18:16 01:17:29:27

0017+02 00:00:11:11

0017+02

EH 26 1772-7520+11 7537+12

EH 26 1772-7519+11 7538+12

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 1788+15

01:17:29:29 01:17:47:25

0026+14 00:00:17:26

0026+14

EM 77 1676-7579+10 7606+07

EM 77 1676-7578+10 7607+07

07:47:16:16 07:47:34:13

U36

Fauer 1 - Andy Laszlo came to speak, kept up, mentor

20/1

253

1789+00 1804+15

01:17:47:26 01:17:58:15

0016+00 00:00:10:19

0016+00

EM 27 7852-8798+13 8814+12

EM 27 7852-8797+13 8815+12

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 1812+05

01:17:58:16 01:18:03:12

0007+06 00:00:04:26

0007+06

EH 26 1756-7058+12 7066+01

EH 26 1756-7057+12 7067+01

04:00:55:25 04:01:00:21

A1

Bennett 1 - How did you get started? Came to LA, couldn't get time of day, worked as a set builder, then grip, key, AC then operator for mentor Ron Dexter.Copy.01

101/1

255

1812+06 1818+09

01:18:03:14 01:18:07:17

0006+04 00:00:04:03

0006+04

EH 77 0247-9566+01 9572+04

EH 77 0247-9565+01 9573+04

10:41:35:06 10:41:39:10

Daviau 2 - How did you meet Ron Dexter? Working on commercials, Ron used to host symposia to talk about new techniques, inspiration to many young filmmakers.Copy.01

256

1818+10 1824+03

01:18:07:19 01:18:11:10

0005+10 00:00:03:21

0005+10

EH 27 6646-7206+05 7211+14

EH 27 6646-7205+05 7212+14

08:44:04:00 08:44:07:21

Dexter 5 - Talk about being a mentor? Always taught, and only saved a few tricks for myself, like perriscope lenses, how he made them, studying optics, etc.

257

1824+04 1840+10

01:18:11:11 01:18:22:09

0016+07 00:00:10:28

0016+07

EH 77 0247-9584+03 9600+09

EH 77 0247-9583+03 9601+09

10:41:47:09 10:41:58:06

Daviau 2 - How did you meet Ron Dexter? Working on commercials, Ron used to host symposia to talk about new techniques, inspiration to many young filmmakers.Copy.01

258

1840+11 1852+05

01:18:22:10 01:18:30:02

0011+11 00:00:07:22

0011+11

EH 77 0251-7376+09 7388+03

EH 77 0251-7375+09 7389+03

11:35:16:04 11:35:23:26

Schreiber 1 - How did you become a DP? UofM, Art Major, underground films, moved to NY, answered ad in Vil. Voice, worked in elec. dept. Gaffer took an interest in teaching

259

1852+06 1858+03

01:18:30:04 01:18:34:00

0005+14 00:00:03:26

0005+14

EH 77 0263-4972+07 4978+04

EH 77 0263-4971+07 4979+04

11:04:32:06 11:04:36:03

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 1903+01

01:18:34:01 01:19:03:27

0044+14 00:00:29:26

0044+14

EQ 54 8381-9229+07 9274+04

EQ 54 8381-9228+07 9275+04

19:46:09:29 19:46:39:25

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 1939+02

01:19:03:29 01:19:27:29

0036+01 00:00:24:00

0036+01

EH 27 6644-5427+02 5463+02

EH 27 6644-5426+02 5464+02

15:54:19:28 15:54:43:28

Schwartzman 2

262

1939+03 2098+15

01:19:28:00 01:21:14:15

0159+13 00:01:46:15

0159+13

EL 55 0028-4024+14 4184+10

EL 55 0028-4023+14 4185+10

02:00:51:28 02:02:38:13

000002

502

Storaro 3

603/3

263

2099+00 2148+00

01:21:14:16 01:21:47:06

0049+01 00:00:32:20

0049+01

EQ 56 4512-8327+03 8376+03

EQ 56 4512-8326+03 8377+03

15:14:53:14 15:15:26:04

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 2155+02

01:21:47:07 01:21:51:29

0007+02 00:00:04:22

0007+02

EL 55 0028-4226+12 4233+13

EL 55 0028-4225+12 4234+13

02:03:06:15 02:03:11:06

000002

502

Storaro 3

603/3

265

2155+03 2159+01

01:21:52:00 01:21:54:17

0003+15 00:00:02:17

0003+15

LEADER

LEADER

00:00:00:00 00:00:02:02

266

2159+02 2186+04

01:21:54:19 01:22:12:21

0027+03 00:00:18:02

0027+03

EH 27 6645-8558+00 8585+02

EH 27 6645-8557+00 8586+02

09:47:49:00 09:48:07:03

Primes 7 - Style cont'd, Important to be interpreting not just recording images, adding own point of view, make commentary with light, dark, color, etc. go to a new place, big monitor helps that, seeing **

267

2186+05 2204+10

01:22:12:22 01:22:24:29

0018+06 00:00:12:07

0018+06

EH 77 0255-4382+02 4400+07

EH 77 0255-4381+02 4401+07

16:11:08:24 16:11:21:00

Adefarasin 1- About Style Collaboration - move to style section

268

2204+11 2224+07

01:22:25:00 01:22:38:05

0019+13 00:00:13:05

0019+13

EH 77 0257-6711+14 6731+10

EH 77 0257-6710+14 6732+10

15:43:35:16 15:43:48:21

Levy 2 - Where does that come from, script? Script and the confidence of the director to allow you to see it your own way, want to audiene to feel or think at the end of the scene***

269

2224+08 2265+02

01:22:38:06 01:23:05:09

0040+11 00:00:27:03

0040+11

EQ 56 4512-9130+08 9171+02

EQ 56 4512-9129+08 9172+02

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

326

3383+14 3407+04

01:35:31:04 01:35:46:21

0023+07 00:00:15:17

0023+07

EQ 56 4512-7919+00 7942+06

EQ 56 4512-7918+00 7943+06

15:10:26:00 15:10:41:18

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

327

3407+05 3429+06

01:35:46:22 01:36:01:14

0022+02 00:00:14:22

0022+02

EQ 54 8393-9473+09 9495+10

EQ 54 8393-9472+09 9496+10

20:16:19:01 20:16:33:23

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

328

3429+07 3449+07

01:36:01:15 01:36:14:25

0020+01 00:00:13:10

0020+01

EH 27 6647-8168+03 8188+03

EH 27 6647-8167+03 8189+03

09:08:15:26 09:08:29:06

Sigel 1 - Origin of style? begins with material & whatever ressonates within you, some things I've discovered some out ignorance, "Looks kinda cool", so comes from many places but hopefully from your own vision

SIGEL/1

329

3449+08 3460+11

01:36:14:26 01:36:22:10

0011+04 00:00:07:14

0011+04

EQ 54 8391-6728+04 6739+07

EQ 54 8391-6727+04 6740+07

15:30:32:25 15:30:40:09

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

330

3460+12 3486+13

01:36:22:11 01:36:39:22

0026+02 00:00:17:11

0026+02

EM 77 1680-9608+11 9634+12

EM 77 1680-9607+11 9635+12

04:40:23:09 04:40:40:20

U20

Deakins 3 - Happy accidents? Why I like working on location..Copy.01

9/3

331

3486+14 3510+07

01:36:39:24 01:36:55:15

0023+10 00:00:15:21

0023+10

EQ 54 8377-5361+14 5385+07

EQ 54 8377-5360+14 5386+07

16:15:30:18 16:15:46:09

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

332

3510+08 3534+02

01:36:55:16 01:37:11:09

0023+11 00:00:15:23

0023+11

EM 77 1681-6214+02 6237+12

EM 77 1681-6213+02 6238+12

01:43:49:20 01:44:05:13

U5

Omens 2 - Talk about style? Dapple on shoulder, story about Conrad Hall, perception, story, etc

3/2

333

3534+03 3561+06

01:37:11:10 01:37:29:14

0027+04 00:00:18:04

0027+04

EM 77 1680-9769+06 9796+09

EM 77 1680-9768+06 9797+09

04:42:10:13 04:42:28:16

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

334

3561+07 3599+11

01:37:29:15 01:37:55:00

0038+05 00:00:25:15

0038+05

EM 77 1683-5713+00 5751+04

EM 77 1683-5712+00 5752+04

07:04:48:00 07:05:13:15

U32

Kuras 1 - What determines style? Working with the director, creating context with images, lighting, camera moves***

17/1

335

3599+12 3642+02

01:37:55:01 01:38:23:09

0042+07 00:00:28:08

0042+07

EH 26 1768-9725+05 9767+11

EH 26 1768-9724+05 9768+11

08:52:49:26 08:53:18:04

Bridges 1.spirit in each cinematographers work

336

3642+03 3688+12

01:38:23:10 01:38:54:11

0046+10 00:00:31:01

0046+10

EQ 56 4512-5989+14 6036+07

EQ 56 4512-5988+14 6037+07

15:21:18:18 15:21:49:19

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

337

3688+13 3762+08

01:38:54:12 01:39:43:16

0073+12 00:00:49:04

0073+12

EH 27 6644-6390+09 6464+04

EH 27 6644-6389+09 6465+04

16:08:35:29 16:09:25:03

Schwartzman 4 - Style? Best style is transparent, from the guy who did The Rock, Armageddon and Pearl Harbor, all style, but that's what the picture needed, different from Seabiscuit***

338

3762+09 3779+09

01:39:43:17 01:39:54:27

0017+01 00:00:11:10

0017+01

EL 06 3855-8759+07 8776+07

EL 06 3855-8758+07 8777+07

09:19:20:04 09:19:31:14

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

339

2

3779+10 3862+08

01:39:54:29 01:40:50:06

0082+15 00:00:55:07

0082+15

EL 06 8917-4974+03 5057+01

EL 06 8917-4973+03 5058+01

06:00:05:14 06:01:00:21

000006

609

Storaro 9

507/1

340

2

3862+09 3879+05

01:40:50:07 01:41:01:12

0016+13 00:00:11:05

0016+13

EL 06 8917-5057+02 5073+14

EL 06 8917-5056+02 5074+14

06:01:00:23 06:01:11:28

000006

609

Storaro 9

507/1

341

3879+06 3926+14

01:41:01:14 01:41:33:04

0047+09 00:00:31:20

0047+09

EQ 56 4512-8465+15 8513+07

EQ 56 4512-8464+15 8514+07

15:16:25:29 15:16:57:19

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

342

3926+15 3947+07

01:41:33:05 01:41:46:25

0020+09 00:00:13:20

0020+09

EQ 54 8377-6356+06 6376+14

EQ 54 8377-6355+06 6377+14

16:36:44:18 16:36:58:08

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

343

3947+08 3959+13

01:41:46:26 01:41:55:02

0012+06 00:00:08:06

0012+06

EQ 56 4504-4335+10 4347+15

EQ 56 4504-4334+10 4348+15

15:46:28:03 15:46:36:09

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 4002+08

01:41:55:04 01:42:23:16

0042+11 00:00:28:12

0042+11

KK 23 3632-1859+12 1902+06

KK 23 3632-1858+12 1903+06

05:32:58:24 05:33:27:06

Ballhaus 6 - Looking at Painting? Gangs of NY, Ma.Sub.01

C4/6

345

4002+09 4060+14

01:42:23:17 01:43:02:14

0058+06 00:00:38:27

0058+06

EH 27 0247-8357+06 8415+11

EH 27 0247-8356+06 8416+11

10:11:19:21 10:11:58:18

Burum 4 (WRONG PULLIN) - St. Elmo's Fire? Ensemble cast there, lot's of fast dialoge, thought it would be better to play in the wide, decided to shoot it in scope, joy to watch actors working together

346

4060+15 4091+03

01:43:02:15 01:43:22:20

0030+05 00:00:20:05

0030+05

EH 77 0263-6894+10 6924+14

EH 77 0263-6893+10 6925+14

11:52:17:21 11:52:37:26

Zsigmond 4

347

4091+04 4117+15

01:43:22:21 01:43:40:15

0026+12 00:00:17:24

0026+12

EH 26 1772-7871+06 7898+01

EH 26 1772-7870+06 7899+01

09:42:41:08 09:42:59:01

A29

Roizman 2 - What is the NY look? When first started shooting, had a commercial in LA where they wanted NY look, what did it mean, later with French Connection, I think it was more realistic, gritty, hand held, etc

214/2

348

4118+00 4129+09

01:43:40:16 01:43:48:07

0011+10 00:00:07:21

0011+10

EM 77 1681-8465+03 8476+12

EM 77 1681-8464+03 8477+12

01:05:15:16 01:05:23:08

U1

Negrin 3 - More about the raw look? Shirt again, talks about getting what you get, Pelham 123, Kojack, etc.

1/3

349

4129+10 4138+13

01:43:48:09 01:43:54:12

0009+04 00:00:06:03

0009+04

EH 75 5659-9596+00 9605+03

EH 75 5659-9595+00 9606+03

08:28:59:10 08:29:05:14

23

Kemper 1 - How does new technology influence the work of DP? Film stocks especially influence the way we work, in NY DPs were always asking for faster stocks so they could work with less light, and that all directly relates to the types of light you use

209/1

350

4138+14 4151+15

01:43:54:14 01:44:03:05

0013+02 00:00:08:21

0013+02

EH 26 1772-7855+05 7868+06

EH 26 1772-7854+05 7869+06

09:42:30:16 09:42:39:08

A29

Roizman 2 - What is the NY look? When first started shooting, had a commercial in LA where they wanted NY look, what did it mean, later with French Connection, I think it was more realistic, gritty, hand held, etc

214/2

351

4152+00 4194+11

01:44:03:06 01:44:31:20

0042+12 00:00:28:14

0042+12

EH 27 0248-9677+03 9719+14

EH 27 0248-9676+03 9720+14

18:09:47:04 18:10:15:18

M Negrin 1 - NY Style? NY is a walking city, 800mm shot of people walking, contrasty, people walk in and out of shadow all the time because of buildings, like Hong Kong, ****

352

4194+12 4215+09

01:44:31:21 01:44:45:17

0020+14 00:00:13:26

0020+14

EQ 56 4512-9342+00 9362+13

EQ 56 4512-9341+00 9363+13

15:35:03:20 15:35:17:16

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 4233+06

01:44:45:19 01:44:57:14

0017+13 00:00:11:25

0017+13

EH 77 0263-3973+00 3990+12

EH 77 0263-3972+00 3991+12

10:01:44:01 10:01:55:26

Cooperman 3

354

4233+07 4243+02

01:44:57:15 01:45:03:29

0009+12 00:00:06:14

0009+12

EH 77 0262-6999+04 7008+15

EH 77 0262-6998+04 7009+15

16:52:21:03 16:52:27:17

Toll 3 - Style and background of Wind with Carole Ballard, hand-held 35mm Aaton, splash housings, nitrogen deflectors

355

4243+03 4275+10

01:45:04:00 01:45:25:19

0032+08 00:00:21:19

0032+08

EH 75 5659-7874+02 7906+09

EH 75 5659-7873+02 7907+09

08:21:08:23 08:21:30:11

22

Goi 1 - Technique and Technology? Approaches to work definitely change with new technology, example smaller, lighter camers in the 60s and 70s let directors take cameras on the road, in bathrooms etc, led to experimentation

208/1

356

4275+11 4347+09

01:45:25:20 01:46:13:17

0071+15 00:00:47:27

0071+15

EH 26 1769-5731+15 5803+13

EH 26 1769-5730+15 5804+13

09:52:31:19 09:53:19:16

A30

Kovaks 1 - Story about Easy Rider, It was 5 years of (practice) to do a film like that, we could fit everything we needed in to the back of a station wagon, not that we didn't dream of the bigger tools, Story about Arri 2C

215/1

357

4347+10 4400+08

01:46:13:19 01:46:48:26

0052+15 00:00:35:07

0052+15

EH 27 6637-4535+12 4588+10

EH 27 6637-4534+12 4589+10

13:45:07:15 13:45:42:23

Jensen 2 - Technology influencing style? Cinemobile was a Ford Econoline, very small, had openface lights, no fresnels, couldn't cut, so we bounced, 9 lights though shower curtain, style developed by necessity, ****

358

4400+09 4415+11

01:46:48:27 01:46:59:00

0015+03 00:00:10:03

0015+03

EQ 54 8379-6522+10 6537+12

EQ 54 8379-6521+10 6538+12

17:12:10:13 17:12:20:15

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 4457+13

01:46:59:01 01:47:27:02

0042+02 00:00:28:01

0042+02

EQ 54 8377-5622+05 5664+06

EQ 54 8377-5621+05 5665+06

16:18:24:06 16:18:52:08

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 4470+01

01:47:27:04 01:47:35:07

0012+04 00:00:08:03

0012+04

EL 54 8442-8383+09 8395+12

EL 54 8442-8382+09 8396+12

18:37:53:06 18:38:01:10

CU-53

Hofman 1

625/1

361

4470+02 4480+01

01:47:35:09 01:47:41:27

0010+00 00:00:06:18

0010+00

EH 77 0262-9061+04 9071+03

EH 77 0262-9060+04 9072+03

12:13:57:19 12:14:04:08

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 4504+07

01:47:41:29 01:47:58:05

0024+06 00:00:16:06

0024+06

EM 77 1680-8406+06 8430+11

EM 77 1680-8405+06 8431+11

04:27:04:08 04:27:20:14

U19

Deakins 1

9/1

363

4504+08 4531+06

01:47:58:06 01:48:16:04

0026+15 00:00:17:28

0026+15

EH 27 6635-6629+10 6656+08

EH 27 6635-6628+10 6657+08

14:09:48:09 14:10:06:06

Lighthill 1 - Difference between lighting docs and features? Running with a camera, comes from minimal equipment, go for a natural look, go there now, love naturalism

364

4531+07 4575+11

01:48:16:05 01:48:45:20

0044+05 00:00:29:15

0044+05

EM 27 7851-6178+13 6223+01

EM 27 7851-6177+13 6224+01

06:10:24:00 06:10:53:15

U28

Irola 6 - Shooting documentaries, experience, travelling the world, learning how people move, helps with narrative, blocking, lighting

12/6

365

4575+12 4616+10

01:48:45:21 01:49:12:29

0040+15 00:00:27:08

0040+15

EQ 54 8391-7260+13 7301+11

EQ 54 8391-7259+13 7302+11

15:47:29:21 15:47:56:29

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

366

4616+11 4687+03

01:49:13:00 01:50:00:00

0070+09 00:00:47:00

0070+09

EH 27 0252-6260+05 6330+13

EH 27 0252-6259+05 6331+13

13:56:56:25 13:57:43:25

Lenoir 4 - Euro vs. American styles

367

4687+04 4712+13

01:50:00:01 01:50:17:02

0025+10 00:00:17:01

0025+10

EH 77 0255-4451+04 4476+13

EH 77 0255-4450+04 4477+13

16:11:54:26 16:12:11:28

Adefarasin 1 - The difference bt US and UK style, no humanity, execs coming down

368

4712+14 4770+14

01:50:17:04 01:50:55:24

0058+01 00:00:38:20

0058+01

EQ 56 4512-9807+13 9865+13

EQ 56 4512-9806+13 9866+13

15:40:14:06 15:40:52:26

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 4775+06

01:50:55:25 01:50:58:24

0004+08 00:00:02:29

0004+08

LEADER

LEADER

00:00:00:00 00:00:02:11

370

4775+07 4811+07

01:50:58:25 01:51:22:25

0036+01 00:00:24:00

0036+01

EL 06 8917-4040+08 4076+08

EL 06 8917-4039+08 4077+08

05:01:01:00 05:01:25:00

000005

606

Storaro 6 - Technique and Technology? Demonstration with single light bulb, the meaning of light, how it works in different positions

506/2

371

4811+08 4841+00

01:51:22:26 01:51:42:16

0029+09 00:00:19:20

0029+09

EH 26 1773-7799+05 7828+13

EH 26 1773-7798+05 7829+13

07:20:18:06 07:20:37:26

A17

Fraker 1

205/1

372

4841+01 4887+02

01:51:42:17 01:52:13:09

0046+02 00:00:30:22

0046+02

EH 77 0248-8573+00 8619+01

EH 77 0248-8572+00 8620+01

17:44:19:12 17:44:50:03

Murphy 4 (WRONG PULLIN) - Dark stage? Usually turn on one lgiht that I've placed, see how that looks and then turn others on one at a time, then start turning them off again, until it looks right**.Copy.01

373

4887+03 4899+15

01:52:13:10 01:52:21:25

0012+13 00:00:08:15

0012+13

EM 27 7852-7672+14 7685+10

EM 27 7852-7671+14 7686+10

02:51:35:08 02:51:43:23

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

374

4900+00 4935+13

01:52:21:26 01:52:45:22

0035+14 00:00:23:26

0035+14

EQ 56 4512-6088+00 6123+13

EQ 56 4512-6087+00 6124+13

15:22:24:00 15:22:47:26

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 4969+04

01:52:45:24 01:53:08:01

0033+07 00:00:22:07

0033+07

EM 27 7856-9792+05 9825+11

EM 27 7856-9791+05 9826+11

05:08:48:08 05:09:10:15

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

376

4969+05 4999+05

01:53:08:02 01:53:28:02

0030+01 00:00:20:00

0030+01

EH 77 0255-5429+06 5459+06

EH 77 0255-5428+06 5460+06

16:30:40:11 16:31:00:11

Adefarasin 5 - Importance of lighting? Best tools for cinematographer, must know story before you know how to light it, like contradictory lighting, sad scene, instead rain projected dribbles, sunset, rain at funeral scences example,***

377

4999+06 5035+02

01:53:28:04 01:53:51:29

0035+13 00:00:23:25

0035+13

EQ 56 4512-7633+11 7669+07

EQ 56 4512-7632+11 7670+07

15:07:15:24 15:07:39:19

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 5044+05

01:53:52:00 01:53:58:02

0009+03 00:00:06:02

0009+03

EH 75 5654-5465+12 5474+14

EH 75 5654-5464+12 5475+14

08:05:39:05 08:05:45:08

21

Pearl 2 - Story about orginal Texas Chainsaw Massacre, t2.8 zoom, do we have enough light, yes, that's what he named it, etc.***

207/2

379

5044+06 5065+13

01:53:58:04 01:54:12:12

0021+08 00:00:14:08

0021+08

EH 27 0254-4418+06 4439+13

EH 27 0254-4417+06 4440+13

13:45:25:15 13:45:39:24

D Lenoir 3 - Flat and non-flat lighting story

380

5065+14 5132+14

01:54:12:14 01:54:57:04

0067+01 00:00:44:20

0067+01

EL 54 8443-4482+06 4549+06

EL 54 8443-4481+06 4550+06

11:50:00:08 11:50:44:28

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

381

5132+15 5203+00

01:54:57:05 01:55:43:26

0070+02 00:00:46:21

0070+02

EQ 54 8380-5057+02 5127+03

EQ 54 8380-5056+02 5128+03

18:01:03:13 18:01:50:04

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

382

5203+01 5231+14

01:55:43:27 01:56:03:04

0028+14 00:00:19:07

0028+14

EH 27 6634-7519+08 7548+05

EH 27 6634-7518+08 7549+05

12:12:33:23 12:12:52:29

Zsigmond 6 - JON CLIP: Lighting, soft vs hard light, soft light is boring, imagine soft light for deliverance??, sunlight comes into room, need hard light, 16:1. LIGHT COMES ON IN INTERVIEW **

383

5231+15 5270+05

01:56:03:05 01:56:28:22

0038+07 00:00:25:17

0038+07

EM 77 1671-8092+06 8130+12

EM 77 1671-8091+06 8131+12

06:31:03:28 06:31:29:15

U30

Goldblatt 2 - Technology and Style? Not specifically, new Kodak stocks, ***story about backlight invented, steadicam

14/2

384

5270+06 5288+12

01:56:28:24 01:56:41:01

0018+07 00:00:12:07

0018+07

EH 27 6645-8179+00 8197+06

EH 27 6645-8178+00 8198+06

09:40:52:28 09:41:05:05

Primes 4 - Lighting style cont'd? Like to think that there is a single lighting vector (EXAMPLE WITH FOAM CORE) fill from the opposite side weakens, fill from the front, negative fill makes the source stronger****

385

5288+13 5336+10

01:56:41:02 01:57:12:29

0047+14 00:00:31:27

0047+14

17:14:40:26 17:15:12:22

Toll 5 (NOT RECAPTURED FROM BETA)

386

5336+11 5359+05

01:57:13:00 01:57:28:02

0022+11 00:00:15:02

0022+11

EH 27 6634-7629+07 7652+01

EH 27 6634-7628+07 7653+01

12:13:47:01 12:14:02:04

Zsigmond 6 - Shadows are more important

387

5359+06 5369+15

01:57:28:04 01:57:35:05

0010+10 00:00:07:01

0010+10

EH 75 5654-5508+05 5518+14

EH 75 5654-5507+05 5519+14

08:06:07:16 08:06:14:18

21

Pearl 2 - Story about orginal Texas Chainsaw Massacre, t2.8 zoom, do we have enough light, yes, that's what he named it, etc.***

207/2

388

5370+00 5386+12

01:57:35:06 01:57:46:11

0016+13 00:00:11:05

0016+13

EQ 54 8382-7080+07 7097+03

EQ 54 8382-7079+07 7098+03

01:01:07:24 01:01:18:29

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 5411+08

01:57:46:12 01:58:02:26

0024+12 00:00:16:14

0024+12

EH 27 6634-4645+12 4670+07

EH 27 6634-4644+12 4671+07

08:57:17:06 08:57:33:20

Van Oostrum 2 - Style and tech, pt. 2,Using soft lights, drops off very quickly, look for different lights that do different things, look for a tool or create it yourself

390

5411+09 5426+10

01:58:02:27 01:58:12:29

0015+02 00:00:10:02

0015+02

EH 27 6630-9403+07 9418+08

EH 27 6630-9402+07 9419+08

17:03:30:16 17:03:40:18

Collister 4 - Tools and Tech pt. 2 (KINO FLO TUBE EXAMPLE) Restatement of tk. 3, with Kino tube in hand*****

391

5426+11 5470+12

01:58:13:00 01:58:42:11

0044+02 00:00:29:11

0044+02

EH 27 0247-5227+08 5271+09

EH 27 0247-5226+08 5272+09

18:40:56:06 18:41:25:18

Libatique 3- Kino Flo changed cinematography, brought back practical locations, ceilings, less unnatural backlight

392

5470+13 5491+14

01:58:42:12 01:58:56:14

0021+02 00:00:14:02

0021+02

EQ 54 8391-5154+00 5175+01

EQ 54 8391-5153+00 5176+01

15:13:12:25 15:13:26:26

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 5549+10

01:58:56:15 01:59:34:29

0057+12 00:00:38:14

0057+12

EH 27 0252-6474+01 6531+12

EH 27 0252-6473+01 6532+12

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 5589+12

01:59:35:00 02:00:01:21

0040+02 00:00:26:21

0040+02

EQ 56 4512-9535+10 9575+11

EQ 56 4512-9534+10 9576+11

15:37:12:23 15:37:39:14

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 5644+04

02:00:01:22 02:00:38:01

0054+08 00:00:36:09

0054+08

EH 27 6643-6093+13 6148+04

EH 27 6643-6092+13 6149+04

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 5661+08

02:00:38:02 02:00:49:16

0017+04 00:00:11:14

0017+04

EH 27 6647-6704+04 6721+07

EH 27 6647-6703+04 6722+07

10:34:17:04 10:34:28:18

Mankofsky 1 - How does style happen? Like to say don't have style, style determined by story and dir's desire what he wants to see, limited to style gets pidgeon-holed, start with a plan, etc.

397

5661+09 5690+07

02:00:49:17 02:01:08:25

0028+15 00:00:19:08

0028+15

EM 77 1681-7755+04 7784+02

EM 77 1681-7754+04 7785+02

03:27:20:19 03:27:39:26

U14

Beebe 5 - Anecdote, all the lightbulbs in Chicago

7/5

398

5690+08 5703+11

02:01:08:26 02:01:17:20

0013+04 00:00:08:24

0013+04

EH 77 0257-6538+13 6552+00

EH 77 0257-6537+13 6553+00

15:40:28:11 15:40:37:05

Levy 1

399

5703+12 5733+10

02:01:17:21 02:01:37:19

0029+15 00:00:19:28

0029+15

EM 77 1681-7837+00 7866+14

EM 77 1681-7836+00 7867+14

03:28:15:04 03:28:35:01

U14

Beebe 5 - Anecdote, all the lightbulbs in Chicago

7/5

400

5733+11 5780+15

02:01:37:20 02:02:09:05

0047+05 00:00:31:15

0047+05

EQ 54 8380-5445+09 5492+13

EQ 54 8380-5444+09 5493+13

18:05:22:11 18:05:53:26

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 5804+09

02:02:09:06 02:02:24:27

0023+10 00:00:15:21

0023+10

EL 79 8727-6987+08 7011+01

EL 79 8727-6986+08 7012+01

10:00:07:00 10:00:22:21

CU-6

Koenekamp 3

604/3

402

5804+10 5833+03

02:02:24:29 02:02:44:00

0028+10 00:00:19:01

0028+10

EH 77 0263-5090+09 5119+02

EH 77 0263-5089+09 5120+02

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 5856+11

02:02:44:01 02:02:59:20

0023+08 00:00:15:19

0023+08

EQ 54 8379-7173+07 7196+14

EQ 54 8379-7172+07 7197+14

17:29:00:19 17:29:16:08

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 5879+15

02:02:59:21 02:03:15:05

0023+04 00:00:15:14

0023+04

EL 79 8727-7048+00 7071+03

EL 79 8727-7047+00 7072+03

10:00:47:10 10:01:02:24

CU-6

Koenekamp 3

604/3

405

5880+00 5897+04

02:03:15:06 02:03:26:21

0017+05 00:00:11:15

0017+05

EQ 56 4520-3980+15 3998+03

EQ 56 4520-3979+15 3999+03

16:00:23:09 16:00:34:24

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 5917+10

02:03:26:22 02:03:40:09

0020+06 00:00:13:17

0020+06

EQ 54 8379-8819+02 8839+07

EQ 54 8379-8818+02 8840+07

17:44:53:08 17:45:06:24

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 5921+08

02:03:40:10 02:03:42:26

0003+14 00:00:02:16

0003+14

LEADER

LEADER

00:00:00:00 00:00:02:01

408

5921+09 5929+11

02:03:42:27 02:03:48:10

0008+03 00:00:05:13

0008+03

EH 77 0247-9660+00 9668+02

EH 77 0247-9659+00 9669+02

10:42:37:25 10:42:43:08

Daviau 2 - Where does style come from? Cinematography is mastering of complex technology in the service of Art, getting in the director's mind, watching films together, tear sheets, R. Coutard quote

409

5929+12 5961+01

02:03:48:11 02:04:09:07

0031+06 00:00:20:26

0031+06

EH 27 6648-7702+01 7733+06

EH 27 6648-7701+01 7734+06

10:03:08:23 10:03:29:19

Burum 3 - Style is organic, comes from experinece? Emotion, experience, talent influences, how well you can accomplish is your craftskill, Art is about expressing how you see something***

410

5961+02 5989+14

02:04:09:09 02:04:28:14

0028+13 00:00:19:05

0028+13

EM 77 1686-9778+02 9806+14

EM 77 1686-9777+02 9807+14

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 6008+11

02:04:28:15 02:04:41:00

0018+13 00:00:12:15

0018+13

EQ 54 8393-9197+04 9216+00

EQ 54 8393-9196+04 9217+00

20:13:19:25 20:13:32:10

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 6024+11

02:04:41:01 02:04:51:20

0016+00 00:00:10:19

0016+00

EH 75 5646-8448+05 8464+04

EH 75 5646-8447+05 8465+04

08:38:38:06 08:38:48:25

24

Crudo 1 - Give us the history of cameras? Very simple process, light moves through a lens to the film which the camera advances, it's universal, and printer technlogy and lights are the same the world over. **

210/1

413

6024+12 6041+15

02:04:51:21 02:05:03:05

0017+04 00:00:11:14

0017+04

09:25:12:10 09:25:23:24

A28

Alsobrook 1 (MISSING KN)

213/1

414

6042+00 6064+01

02:05:03:06 02:05:17:27

0022+02 00:00:14:21

0022+02

EH 26 1767-8516+05 8538+06

EH 26 1767-8515+05 8539+06

05:39:12:26 05:39:27:18

A8

Richmond 2 - What's happened to our technique over the years as cameras have evolved? Cameras as so much smaller and lighter and quieter now, do new thigns

108/2

415

6064+02 6078+09

02:05:17:29 02:05:27:17

0014+08 00:00:09:18

0014+08

EL 06 3859-6043+10 6058+01

EL 06 3859-6042+10 6059+01

09:22:20:28 09:22:30:16

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 6093+07

02:05:27:19 02:05:37:15

0014+14 00:00:09:26

0014+14

EL 54 8442-8445+14 8460+11

EL 54 8442-8444+14 8461+11

18:38:34:23 18:38:44:19

CU-53

Hofman 1

625/1

417

6093+08 6121+10

02:05:37:16 02:05:56:09

0028+03 00:00:18:23

0028+03

EQ 54 8386-9348+06 9376+08

EQ 54 8386-9347+06 9377+08

14:29:01:13 14:29:20:05

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 6135+00

02:05:56:10 02:06:05:06

0013+06 00:00:08:26

0013+06

EL 06 3855-8522+02 8535+07

EL 06 3855-8521+02 8536+07

09:16:43:13 09:16:52:09

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 6151+06

02:06:05:07 02:06:16:04

0016+06 00:00:10:27

0016+06

EQ 54 8380-6380+01 6396+06

EQ 54 8380-6379+01 6397+06

18:13:49:21 18:14:00:18

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 6161+03

02:06:16:05 02:06:22:20

0009+13 00:00:06:15

0009+13

EH 27 0247-5035+04 5045+00

EH 27 0247-5034+04 5046+00

18:38:48:01 18:38:54:16

Libatique 3 cameras don't matter, all in the lenses

421

6161+04 6167+04

02:06:22:21 02:06:26:21

0006+01 00:00:04:00

0006+01

EH 77 0255-5031+13 5037+13

EH 77 0255-5030+13 5038+13

16:23:00:08 16:23:04:08

Adefarasin 3 - Relationship with director most important, camera, etc.

422

6167+05 6218+09

02:06:26:22 02:07:00:27

0051+05 00:00:34:05

0051+05

EM 27 7847-9549+05 9600+09

EM 27 7847-9548+05 9601+09

04:50:53:28 04:51:28:03

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 6242+02

02:07:00:29 02:07:16:19

0023+09 00:00:15:20

0023+09

EM 27 7847-9659+02 9682+10

EM 27 7847-9658+02 9683+10

04:52:03:00 04:52:18:20

U21

Deakins 6

9/6

424

6242+03 6282+01

02:07:16:20 02:07:43:07

0039+15 00:00:26:17

0039+15

EH 77 0260-8672+08 8712+06

EH 77 0260-8671+08 8713+06

14:56:32:19 14:56:59:06

Fierberg 5 - (WIDE ANGLE LENS) Talking about the psychology of lenses, gesturing towards camera, example of using wide angle lenses on Secretary, etc.

425

6282+02 6306+14

02:07:43:09 02:07:59:24

0024+13 00:00:16:15

0024+13

EM 27 7847-9601+00 9625+12

EM 27 7847-9600+00 9626+12

04:51:28:11 04:51:44:26

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 6330+02

02:07:59:25 02:08:15:09

0023+04 00:00:15:14

0023+04

EH 27 6644-6205+03 6228+06

EH 27 6644-6204+03 6229+06

16:06:32:12 16:06:47:25

Schwartzman 4 - Tech. & Tech? Chicken or the egg question, keep it simple, equipment is smaller and lighter, do a shot and find equip. to do it, moving the camera example***

427

6330+03 6353+14

02:08:15:10 02:08:31:04

0023+12 00:00:15:24

0023+12

EL 06 3858-9160+10 9184+05

EL 06 3858-9159+10 9185+05

11:01:48:13 11:02:04:06

CU-11

Woolsey 4

606/4

428

6353+15 6379+14

02:08:31:05 02:08:48:14

0026+00 00:00:17:09

0026+00

EH 27 6646-6660+00 6685+15

EH 27 6646-6659+00 6686+15

08:34:19:26 08:34:37:05

Dexter 3 (OVER MODULATED AUDIO) - About being a mechanic? Got to be a better way? Hi-Hat example, speed rail, other examples, etc***

429

6379+15 6393+08

02:08:48:15 02:08:57:16

0013+10 00:00:09:01

0013+10

EH 26 1756-7140+13 7154+06

EH 26 1756-7139+13 7155+06

04:01:50:16 04:01:59:18

A1

Bennett 1 - What did you learn most from Ron Dexter? Never accept what the manafacturers give you. Story about cutting 2C in half, etc.****.Copy.01

101/1

430

6393+09 6417+08

02:08:57:17 02:09:13:16

0024+00 00:00:15:29

0024+00

EH 27 6646-6715+03 6739+02

EH 27 6646-6714+03 6740+02

08:34:56:20 08:35:12:19

Dexter 3 (OVER MODULATED AUDIO)

431

6417+09 6433+02

02:09:13:17 02:09:23:29

0015+10 00:00:10:12

0015+10

EH 26 1756-7156+12 7172+05

EH 26 1756-7155+12 7173+05

04:02:01:05 04:02:11:16

A1

Bennett 1 - What did you learn most from Ron Dexter? Never accept what the manafacturers give you. Story about cutting 2C in half, etc.****.Copy.01

101/1

432

6433+03 6439+08

02:09:24:00 02:09:28:06

0006+06 00:00:04:06

0006+06

EH 27 6646-7158+01 7164+06

EH 27 6646-7157+01 7165+06

08:43:31:25 08:43:36:01

Dexter 5 - Talk about sawing lenses? on Harvest, had eclair CM3s and Arris, put Nikon mounts on them, how to get the lenses to fit

433

6439+09 6473+03

02:09:28:07 02:09:50:20

0033+11 00:00:22:13

0033+11

EH 27 6644-6231+02 6264+12

EH 27 6644-6230+02 6265+12

16:06:49:20 16:07:12:03

Schwartzman 4 - Tech. & Tech? Chicken or the egg question, keep it simple, equipment is smaller and lighter, do a shot and find equip. to do it, moving the camera example***

434

6473+04 6479+08

02:09:50:21 02:09:54:26

0006+05 00:00:04:05

0006+05

EQ 54 8377-8220+13 8227+01

EQ 54 8377-8219+13 8228+01

17:02:34:16 17:02:38:21

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 6488+03

02:09:54:27 02:10:00:20

0008+11 00:00:05:23

0008+11

EH 27 0247-4974+11 4983+05

EH 27 0247-4973+11 4984+05

18:38:07:20 18:38:13:13

Libatique - film stocks shape the way things look today. Elephant in 84 vs Phonebooth in 48 - stocks set looks apart.Copy.01

436

6488+04 6499+01

02:10:00:21 02:10:07:27

0010+14 00:00:07:06

0010+14

EH 77 0255-8762+11 8773+08

EH 77 0255-8761+11 8774+08

14:19:27:19 14:19:34:25

Edlund 5 - Tech. and Tech? Works both ways, the tools dictate what we can do (color, film,etc) but we decide how they are used, sea change coming with digitial acquisition, comes from VFX, $9M optical printer story

437

6499+02 6510+13

02:10:07:29 02:10:15:22

0011+12 00:00:07:23

0011+12

EH 26 1765-9382+10 9394+05

EH 26 1765-9381+10 9395+05

07:26:37:03 07:26:44:26

A18

Poster 1 - Talk about 3perf and digital intermediate and where we're heading with that? Do you have an hour? Stuart Little story, working with Kodak on Cineon in 1990, all films finished this way, etc.

206/1

438

6510+14 6577+13

02:10:15:24 02:11:00:12

0067+00 00:00:44:18

0067+00

EH 27 6644-7086+12 7153+11

EH 27 6644-7085+12 7154+11

16:18:08:04 16:18:52:23

Schwartzman 5 - Digital intermediate? Color timing before, crude, now control like Photoshop, used on Seabiscuit to have finer control, now that the genie is out of the bottle***

439

6577+14 6626+04

02:11:00:14 02:11:32:21

0048+07 00:00:32:07

0048+07

EH 26 1768-9181+10 9230+00

EH 26 1768-9180+10 9231+00

08:46:47:13 08:47:19:20

26

Okada 3 - Do you believe digital intermediates change the role of the cinematographer? Yes, because now the cinematographer truly must be involved with the project to the end, Ansel Adams example of printing****

211/3

440

6626+05 6671+10

02:11:32:22 02:12:02:29

0045+06 00:00:30:07

0045+06

EH 75 5650-6473+00 6518+05

EH 75 5650-6472+00 6519+05

06:47:24:00 06:47:54:06

15

Beristain 2 - What about DI? Had this technology for years in commercials, now it's available to features, and beacause you can get such good images with new films and lenses, this is what we can do to separate our images from others, like hand painting

203/2

441

6671+11 6699+04

02:12:03:00 02:12:21:11

0027+10 00:00:18:11

0027+10

EH 27 6647-7078+04 7105+13

EH 27 6647-7077+04 7106+13

09:22:57:28 09:23:16:09

Sigel 3 - DI pt. 2, Danger is role of DP is much more vulnerable now, if 9 months after shoot, studio ready for DI butDP isn't available, problem, turn of a knob and it's a different movie, change a sweater, etc

SIEGL/3

442

6699+05 6752+08

02:12:21:12 02:12:56:26

0053+04 00:00:35:14

0053+04

EQ 54 8381-5723+07 5776+10

EQ 54 8381-5722+07 5777+10

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