| Event |
Master
Duration |
Key Number |
Key Number
with Handles |
Start |
Lab Roll |
Cam Roll |
Clip Name |
Scene
Take |
| 1 |
0099+02 |
EH 27 6647-7077+11
7176+12 |
EH 27 6647-7076+11
7177+12 |
09:22:57:16
09:24:03:18 |
|
|
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 |
| 2 |
0434+04 |
EH 27 6647-7996+06
8430+09 |
EH 27 6647-7995+06
8431+09 |
09:06:21:10
09:11:10:24 |
|
|
Sigel 1 |
SIGEL/1 |
| 3 |
0121+01 |
EH 77 0250-4246+10
4367+10 |
EH 77 0250-4245+10
4368+10 |
14:27:23:09
14:28:43:29 |
|
|
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 |
|
| 4 |
0004+05 |
EH 04 7445-5874+12
5879+00 |
EH 04 7445-5873+12
5880+00 |
12:30:41:25
12:30:44:20 |
091232 |
|
Seresin 11 - Name only |
119/ |
| 5 |
0072+05 |
EH 11 5165-6515+03
6587+07 |
EH 11 5165-6514+03
6588+07 |
12:26:56:00
12:27:44:05 |
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/ |
| 6 |
0043+04 |
KK 23 3632-1859+05
1902+08 |
KK 23 3632-1858+05
1903+08 |
05:32:58:15
05:33:27:09 |
|
|
Ballhaus 6 - Looking at Painting? Gangs of NY, Ma.Sub.01 |
C4/6 |
| 7 |
0239+06 |
KK 43 3599-0822+00
1061+05 |
KK 43 3599-0821+00
1062+05 |
05:17:35:00
05:20:14:16 |
|
|
C1/1- Ballhaus Interview |
C1/1 |
| 8 |
0515+09 |
EH 75 5650-5445+08
5961+00 |
EH 75 5650-5444+08
5962+00 |
06:36:05:20
06:41:49:10 |
|
14 |
Beristain 1 |
203/1 |
| 9 |
0205+01 |
EH 75 5650-6313+12
6518+12 |
EH 75 5650-6312+12
6519+12 |
06:45:37:25
06:47:54:15 |
|
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 |
| 10 |
0057+13 |
EH 75 5654-5461+08
5519+04 |
EH 75 5654-5460+08
5520+04 |
08:05:36:10
08:06:14:25 |
|
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 |
| 11 |
0721+09 |
EH 75 5659-7259+08
7981+00 |
EH 75 5659-7258+08
7982+00 |
08:14:19:00
08:22:20:00 |
|
22 |
Goi 1 |
208/1 |
| 12 |
0851+12 |
EH 75 5659-8997+04
9848+15 |
EH 75 5659-8996+04
9849+15 |
08:22:20:05
08:31:47:29 |
|
23 |
Kemper 1 |
209/1 |
| 13 |
0335+07 |
EH 75 5646-8218+12
8554+02 |
EH 75 5646-8217+12
8555+02 |
08:36:05:05
08:39:48:23 |
|
24 |
Crudo 1 |
210/1 |
| 14 |
0088+06 |
EH 26 1768-9158+13
9247+02 |
EH 26 1768-9157+13
9248+02 |
08:46:32:06
08:47:31:03 |
|
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 |
| Bad Clip |
| 15 |
0735+08 |
EH 26 1761-7838+02
|
EH 26 1761-7837+02
|
07:50:49:22
07:59:00:00 |
|
31 |
Dibie 1 |
216/1 |
| 16 |
0865+04 |
EL 55 0028-3947+00
4812+03 |
EL 55 0028-3946+00
4813+03 |
02:00:00:00
02:09:36:24 |
000002 |
502 |
Storaro 3 |
603/3 |
| 17 |
0356+04 |
EL 55 0028-4967+00
5323+03 |
EL 55 0028-4966+00
5324+03 |
01:00:00:00
01:03:57:14 |
000001 |
602 |
Storaro 1 |
501/1 |
| 18 |
0071+08 |
EL 55 0040-9074+04
9145+11 |
EL 55 0040-9073+04
9146+11 |
03:00:50:25
03:01:38:14 |
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 |
| 19 |
0136+05 |
EL 06 8917-3971+11
4107+15 |
EL 06 8917-3970+11
4108+15 |
05:00:15:04
05:01:45:29 |
000005 |
606 |
Storaro 6 - Technique and Technology? Demonstration with single light bulb, the meaning of light, how it works in different positions |
506/2 |
| 20 |
0341+04 |
EL 06 8917-4966+00
5307+03 |
EL 06 8917-4965+00
5308+03 |
06:00:00:00
06:03:47:14 |
000006 |
609 |
Storaro 9 |
507/1 |
| 21 |
0150+12 |
EL 06 8917-5749+14
5900+09 |
EL 06 8917-5748+14
5901+09 |
06:08:42:18
06:10:23:01 |
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 |
| 22 |
0257+15 |
EH 26 1756-6975+00
7232+14 |
EH 26 1756-6974+00
7233+14 |
04:00:00:00
04:02:51:28 |
|
A1 |
Bennett 1 |
101/1 |
| 23 |
0042+14 |
EH 26 1767-5005+15
5048+12 |
EH 26 1767-5004+15
5049+12 |
04:11:37:19
04:12:06:05 |
|
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 |
| 24 |
0505+07 |
EH 26 1767-7987+00
8492+06 |
EH 26 1767-7986+00
8493+06 |
05:33:20:00
05:38:56:28 |
|
A8 |
Richmond 1 |
108/1 |
| 25 |
0046+03 |
EH 26 1767-8507+10
8553+12 |
EH 26 1767-8506+10
8554+12 |
05:39:07:03
05:39:37:25 |
|
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 |
| 26 |
0439+00 |
EH 75 5664-3947+00
4385+15 |
EH 75 5664-3946+00
4386+15 |
07:00:00:00
07:04:52:19 |
|
A16 |
Greenberg 1 |
204/1 |
| 27 |
0070+08 |
EH 26 1773-7178+08
7248+15 |
EH 26 1773-7177+08
7249+15 |
07:13:24:10
07:14:11:09 |
|
A17 |
Greenberg 4 |
204/4 |
| 28 |
0733+04 |
EH 26 1773-7249+00
7982+03 |
EH 26 1773-7248+00
7983+03 |
07:14:11:10
07:22:20:04 |
|
A17 |
Fraker 1 |
205/1 |
| 29 |
0968+00 |
EH 26 1765-8997+04
9965+03 |
EH 26 1765-8996+04
9966+03 |
07:22:20:05
07:33:05:14 |
|
A18 |
Poster 1 |
206/1 |
| 30 |
0860+14 |
EH 26 1761-6977+04
7838+01 |
EH 26 1761-6976+04
7839+01 |
07:41:15:25
07:50:49:21 |
|
A20 |
Pearl 1 |
207/1 |
| 31 |
0492+00 |
EH 75 5646-6479+00
6970+15 |
EH 75 5646-6478+00
6971+15 |
09:05:41:10
09:11:09:09 |
|
A25 |
Okada 2 |
211/2 |
| 32 |
0973+04 |
EH 26 1765-6979+00
7952+03 |
EH 26 1765-6978+00
7953+03 |
09:11:09:10
09:21:58:04 |
|
A27 |
Bridges 2 |
212/2 |
| 33 |
0531+08 |
|
|
09:21:58:05
09:27:52:14 |
|
A28 |
Alsobrook 1 (MISSING KN) |
213/1 |
| 34 |
0027+12 |
EH 26 1772-7394+03
7421+14 |
EH 26 1772-7393+03
7422+14 |
09:37:23:04
09:37:41:18 |
|
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 |
| 35 |
0094+14 |
EH 26 1772-7803+09
7898+06 |
EH 26 1772-7802+09
7899+06 |
09:41:56:01
09:42:59:08 |
|
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 |
| 36 |
1003+04 |
EH 26 1769-4958+12
5961+15 |
EH 26 1769-4957+12
5962+15 |
09:43:56:05
09:55:04:29 |
|
A30 |
215/1-A30 Kovaks |
215/1 |
| 37 |
0002+05 |
EL 79 8737-4988+08
4990+12 |
EL 79 8737-4987+08
4991+12 |
09:00:02:15
09:00:04:00 |
|
CU-1 |
Taylor 1 - Name only |
601/1 |
| 38 |
0103+14 |
EL 79 8737-5777+01
5880+14 |
EL 79 8737-5776+01
5881+14 |
09:08:46:21
09:09:55:28 |
|
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 |
| 39 |
0001+04 |
EL 06 3855-8173+09
8174+12 |
EL 06 3855-8172+09
8175+12 |
09:12:51:01
09:12:51:25 |
|
CU-2 |
Pope 1 - Name Only |
602/1 |
| 40 |
0059+11 |
EL 06 3855-8758+08
8818+02 |
EL 06 3855-8757+08
8819+02 |
09:19:19:15
09:19:59:08 |
|
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 |
| 41 |
0143+10 |
EL 06 3859-6008+09
6152+02 |
EL 06 3859-6007+09
6153+02 |
09:21:57:16
09:23:33:08 |
|
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 |
| 42 |
0002+03 |
EL 06 3859-6658+11
6660+13 |
EL 06 3859-6657+11
6661+13 |
09:29:02:14
09:29:03:26 |
|
CU-3 |
Deming 1 - Peter Deming |
603/1 |
| 43 |
0003+04 |
EL 06 3850-4523+05
4526+08 |
EL 06 3850-4522+05
4527+08 |
09:38:49:26
09:38:52:00 |
|
CU-4 |
Koenekamp 1 - Name only tk 2 |
604/1 |
| 44 |
0987+04 |
EL 79 8727-6977+00
7964+03 |
EL 79 8727-6976+00
7965+03 |
10:00:00:00
10:10:58:04 |
|
CU-6 |
Koenekamp 3 |
604/3 |
| 45 |
0002+13 |
EL 79 8727-9007+10
9010+06 |
EL 79 8727-9006+10
9011+06 |
10:21:46:23
10:21:48:18 |
|
CU-8 |
Irwin 1 - Name Only |
605/1 |
| 46 |
0069+15 |
EL 79 8736-4460+13
4530+11 |
EL 79 8736-4459+13
4531+11 |
10:38:31:16
10:39:18:04 |
|
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 |
| 47 |
0085+08 |
EL 79 8736-4748+00
4833+07 |
EL 79 8736-4747+00
4834+07 |
10:41:41:00
10:42:37:29 |
|
CU-9 |
Woolsey 1 |
606/1 |
| 48 |
0448+00 |
EL 06 3858-8998+00
9445+15 |
EL 06 3858-8997+00
9446+15 |
11:00:00:00
11:04:58:19 |
|
CU-11 |
Woolsey 4 |
606/4 |
| 49 |
0003+03 |
EL 06 3858-9471+09
9474+11 |
EL 06 3858-9470+09
9475+11 |
11:05:11:01
11:05:13:04 |
|
CU-11 |
Anderson Peter 1 - Name only ASC |
607/1 |
| 50 |
0207+05 |
EL 06 3858-9520+07
9727+11 |
EL 06 3858-9519+07
9728+11 |
11:05:43:04
11:08:01:09 |
|
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 |
| 51 |
0013+07 |
EL 06 3844-5533+12
5547+02 |
EL 06 3844-5532+12
5548+02 |
11:17:27:00
11:17:35:28 |
|
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 |
| 52 |
0002+06 |
EL 06 3844-3964+01
3966+06 |
EL 06 3844-3963+01
3967+06 |
11:22:21:01
11:22:22:18 |
|
CU-13 |
Greenberg 1 - Name Only |
608/1 |
| 53 |
0835+12 |
EL 06 3844-4116+08
4952+03 |
EL 06 3844-4115+08
4953+03 |
11:24:02:05
11:33:19:09 |
|
CU-13 |
Greenberg 2 |
608/2 |
| 54 |
0201+01 |
EL 06 3844-6229+02
6430+02 |
EL 06 3844-6228+02
6431+02 |
11:36:12:08
11:38:26:08 |
|
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 |
| 55 |
0001+14 |
EL 06 3844-6447+07
6449+04 |
EL 06 3844-6446+07
6450+04 |
11:38:31:09
11:38:32:15 |
|
CU-14 |
Kline 1 - Name Only |
609/1 |
| 56 |
0126+03 |
EL 54 8443-4476+07
4602+09 |
EL 54 8443-4475+07
4603+09 |
11:49:56:09
11:51:20:11 |
|
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 |
| 57 |
0003+11 |
EL 54 8443-6414+12
6418+06 |
EL 54 8443-6413+12
6419+06 |
12:26:13:20
12:26:16:03 |
|
CU-18 |
Mathis 1 - Name only |
610/1 |
| 58 |
0001+10 |
EL 54 8443-8228+13
8230+06 |
EL 54 8443-8227+13
8231+06 |
12:45:40:26
12:45:41:28 |
|
CU-21 |
Romano - 1 - Pete Ramano |
611/1 |
| 59 |
0002+09 |
EQ 54 8381-4976+10
4979+02 |
EQ 54 8381-4975+10
4980+02 |
13:09:11:18
13:09:13:08 |
|
CU-23 |
Mullen 1 - Name Only |
612/1 |
| 60 |
0120+05 |
EQ 54 8381-5669+01
5789+05 |
EQ 54 8381-5668+01
5790+05 |
13:16:53:06
13:18:13:11 |
|
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 |
| 61 |
0108+06 |
EQ 54 8381-7995+03
8103+08 |
EQ 54 8381-7994+03
8104+08 |
13:20:12:14
13:21:24:20 |
|
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 |
| 62 |
0002+07 |
EQ 54 8381-8453+15
8456+05 |
EQ 54 8381-8452+15
8457+05 |
13:25:12:04
13:25:13:21 |
|
CU-24 |
Minsky 1 - Chuck Minsky |
613/1 |
| 63 |
0147+15 |
EQ 54 8381-6989+05
7137+03 |
EQ 54 8381-6988+05
7138+03 |
13:31:10:11
13:32:48:29 |
|
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 |
| 64 |
0002+04 |
EQ 54 8381-7386+15
7389+02 |
EQ 54 8381-7385+15
7390+02 |
13:35:31:19
13:35:33:03 |
|
CU-25 |
Byrne 1 - Name Only |
614/1 |
| 65 |
0039+15 |
EQ 54 8381-7776+04
7816+02 |
EQ 54 8381-7775+04
7817+02 |
13:39:50:20
13:40:17:08 |
|
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 |
| 66 |
0007+12 |
EQ 54 8385-9037+01
9044+12 |
EQ 54 8385-9036+01
9045+12 |
13:50:13:11
13:50:18:15 |
|
CU-27 |
Wexler - 2 - Name only |
615/2 |
| 67 |
0082+08 |
EQ 54 8385-9158+15
9241+06 |
EQ 54 8385-9157+15
9242+06 |
13:51:34:04
13:52:29:03 |
|
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 |
| 68 |
0080+15 |
EQ 54 8386-9325+00
9405+14 |
EQ 54 8386-9324+00
9406+14 |
14:28:45:25
14:29:39:23 |
|
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 |
| 69 |
0038+08 |
EQ 54 8378-9010+04
9048+11 |
EQ 54 8378-9009+04
9049+11 |
14:44:01:10
14:44:26:29 |
|
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 |
| 70 |
0176+04 |
EQ 54 8391-3946+08
4122+11 |
EQ 54 8391-3945+08
4123+11 |
15:00:00:00
15:01:57:14 |
|
CU-33 |
Isaacks 2 |
616/2 |
| 71 |
0058+14 |
EQ 54 8391-4144+10
4203+07 |
EQ 54 8391-4143+10
4204+07 |
15:02:05:03
15:02:44:09 |
|
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 |
| 72 |
0003+12 |
EQ 54 8391-5608+15
5612+10 |
EQ 54 8391-5607+15
5613+10 |
15:18:16:04
15:18:18:18 |
|
CU-34 |
McCuaig 4 - Name again |
617/4 |
| 73 |
0203+00 |
EQ 54 8391-5625+00
5827+15 |
EQ 54 8391-5624+00
5828+15 |
15:18:22:10
15:20:37:19 |
|
CU-34 |
Macat 1 |
618/1 |
| 74 |
0098+14 |
EQ 54 8391-6872+10
6971+07 |
EQ 54 8391-6871+10
6972+07 |
15:32:09:03
15:33:14:29 |
|
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 |
| 75 |
0005+06 |
EQ 54 8391-8283+12
8289+01 |
EQ 54 8391-8282+12
8290+01 |
15:36:28:25
15:36:32:11 |
|
CU-36 |
Spinotti - 1 - Name Only |
619/1 |
| 76 |
0104+10 |
EQ 54 8391-7259+12
7364+05 |
EQ 54 8391-7258+12
7365+05 |
15:47:29:00
15:48:38:21 |
|
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 |
| 77 |
0010+03 |
EQ 54 8377-4658+02
4668+04 |
EQ 54 8377-4657+02
4669+04 |
16:07:47:08
16:07:54:00 |
|
CU-38 |
Deschanel 2 - Name and Title again |
620/2 |
| 78 |
0128+05 |
EQ 54 8377-4961+08
5089+12 |
EQ 54 8377-4960+08
5090+12 |
16:11:03:20
16:12:29:05 |
|
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 |
| 79 |
0180+11 |
EQ 54 8377-6293+12
6474+06 |
EQ 54 8377-6292+12
6475+06 |
16:36:02:25
16:38:03:08 |
|
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 |
| 80 |
0002+04 |
EQ 54 8379-3953+09
3955+12 |
EQ 54 8379-3952+09
3956+12 |
16:43:39:01
16:43:40:15 |
|
CU-42 |
Manley 1 - Name only |
621/1 |
| 81 |
0047+15 |
EQ 54 8377-8211+13
8259+11 |
EQ 54 8377-8210+13
8260+11 |
17:02:28:16
17:03:00:14 |
|
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 |
| 82 |
0005+11 |
EQ 54 8379-5975+04
5980+14 |
EQ 54 8379-5974+04
5981+14 |
17:06:05:15
17:06:09:08 |
|
CU-44 |
Seale 1 - My Name is John Seale |
622/1 |
| 83 |
0098+05 |
EQ 54 8379-4967+14
5066+02 |
EQ 54 8379-4966+14
5067+02 |
17:15:52:08
17:16:57:23 |
|
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 |
| 84 |
0115+10 |
EQ 54 8379-7137+01
7252+10 |
EQ 54 8379-7136+01
7253+10 |
17:28:36:11
17:29:53:13 |
|
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 |
| 85 |
0003+02 |
EQ 54 8379-8003+09
8006+10 |
EQ 54 8379-8002+09
8007+10 |
17:35:49:16
17:35:51:18 |
|
CU-47 |
Carpenter 1 - Russel Carpeter |
623/1 |
| 86 |
0141+14 |
EQ 54 8380-4352+07
4494+04 |
EQ 54 8380-4351+07
4495+04 |
17:51:17:24
17:52:52:10 |
|
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 |
| 87 |
0267+05 |
EQ 54 8380-4970+00
5237+04 |
EQ 54 8380-4969+00
5238+04 |
18:00:05:10
18:03:03:15 |
|
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 |
| 88 |
0003+10 |
EQ 54 8380-5979+02
5982+11 |
EQ 54 8380-5978+02
5983+11 |
18:09:23:23
18:09:26:04 |
|
CU-50 |
McLachlan 1 - Name only |
624/1 |
| 89 |
0087+06 |
EQ 54 8380-6478+05
6565+10 |
EQ 54 8380-6477+05
6566+10 |
18:14:55:06
18:15:53:13 |
|
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 |
| 90 |
0893+12 |
EL 54 8442-7992+00
8885+11 |
EL 54 8442-7991+00
8886+11 |
18:33:32:05
18:43:27:29 |
|
CU-53 |
Hofman 1 |
625/1 |
| 91 |
0104+12 |
EL 54 8442-8886+12
8991+07 |
EL 54 8442-8885+12
8992+07 |
18:43:28:00
18:44:37:24 |
|
CU-53 |
Hofman 2 |
625/2 |
| 92 |
0003+01 |
EL 54 8442-7492+10
7495+10 |
EL 54 8442-7491+10
7496+10 |
18:50:13:28
18:50:15:28 |
|
CU-54 |
Six 1 - Name Only |
626/1 |
| 93 |
0142+00 |
EL 54 8448-6268+14
6410+13 |
EL 54 8448-6267+14
6411+13 |
19:03:17:08
19:04:51:26 |
|
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 |
| 94 |
0002+02 |
EL 03 8516-8498+12
8500+13 |
EL 03 8516-8497+12
8501+13 |
19:16:40:00
19:16:41:11 |
|
CU-56 |
Yeoman 1 - Name only |
627/1 |
| 95 |
0132+12 |
EL 03 8516-9006+09
9139+04 |
EL 03 8516-9005+09
9140+04 |
19:22:12:11
19:23:40:25 |
|
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 |
| 96 |
0002+00 |
EQ 54 8380-6987+01
6989+00 |
EQ 54 8380-6986+01
6990+00 |
19:32:38:21
19:32:40:00 |
|
CU-58 |
Brown Jonathan 1 - Name Only |
628/1 |
| 97 |
0094+09 |
EQ 54 8381-9228+01
9322+09 |
EQ 54 8381-9227+01
9323+09 |
19:46:09:01
19:47:12:01 |
|
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 |
| 98 |
0002+10 |
EQ 54 8381-9474+14
9477+07 |
EQ 54 8381-9473+14
9478+07 |
19:48:47:13
19:48:49:04 |
|
CU-59 |
Mason 1 - Name only |
629/1 |
| 99 |
0078+04 |
EQ 54 8393-9188+01
9266+04 |
EQ 54 8393-9187+01
9267+04 |
20:13:13:21
20:14:05:25 |
|
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 |
| 100 |
0004+11 |
EQ 54 8393-9277+10
9282+04 |
EQ 54 8393-9276+10
9283+04 |
20:14:10:03
20:14:13:05 |
|
CU-61 |
Core 1 - Name only |
630/1 |
| 101 |
0081+14 |
EQ 54 8393-9445+15
9527+12 |
EQ 54 8393-9444+15
9528+12 |
20:16:00:19
20:16:55:05 |
|
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 |
| 102 |
0056+14 |
EQ 54 8393-8796+07
8853+04 |
EQ 54 8393-8795+07
8854+04 |
20:31:06:04
20:31:44:00 |
|
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 |
| 103 |
0167+14 |
EQ 54 8393-7219+05
7387+02 |
EQ 54 8393-7218+05
7388+02 |
20:34:31:01
20:36:22:28 |
|
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 |
| 104 |
0007+15 |
EQ 54 8382-4421+13
4429+11 |
EQ 54 8382-4420+13
4430+11 |
20:48:16:01
20:48:21:09 |
|
CU-64 |
Morgenthau 2 - My name is Kramer Morgenthau |
631/2 |
| 105 |
0003+13 |
EQ 54 8382-4442+11
4446+07 |
EQ 54 8382-4441+11
4447+07 |
20:48:24:19
20:48:27:04 |
|
CU-64 |
Leonetti 1 -Matt Leonetti |
632/1 |
| 106 |
0107+06 |
EQ 54 8382-7073+13
7181+02 |
EQ 54 8382-7072+13
7182+02 |
01:01:03:11
01:02:14:28 |
|
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 |
| 107 |
0002+11 |
EQ 54 8382-4968+02
4970+12 |
EQ 54 8382-4967+02
4971+12 |
01:11:13:13
01:11:15:05 |
|
CU-66 |
Pfister - 1 - Name Only |
633/1 |
| 108 |
0155+13 |
EQ 54 8382-5380+04
5536+00 |
EQ 54 8382-5379+04
5537+00 |
01:15:46:15
01:17:30:10 |
|
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 |
| 109 |
0195+02 |
EQ 54 8382-5549+07
5744+08 |
EQ 54 8382-5548+07
5745+08 |
01:17:37:14
01:19:47:15 |
|
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 |
| 110 |
0325+12 |
EM 77 1681-8004+00
8329+11 |
EM 77 1681-8003+00
8330+11 |
01:00:09:05
01:03:46:09 |
|
U1 |
Negrin 1 |
1/1 |
| 111 |
0152+14 |
EM 77 1681-8416+11
8569+08 |
EM 77 1681-8415+11
8570+08 |
01:04:43:06
01:06:25:03 |
|
U1 |
Negrin 3 - More about the raw look? Shirt again, talks about getting what you get, Pelham 123, Kojack, etc. |
1/3 |
| 112 |
1008+04 |
EM 77 1681-8997+00
0005+03 |
EM 77 1681-8996+00
0006+03 |
01:10:43:00
01:21:55:04 |
|
U2 |
Burum 1 |
2/1 |
| 113 |
0367+00 |
EM 77 1682-5968+00
6334+15 |
EM 77 1682-5967+00
6335+15 |
01:33:04:15
01:37:09:04 |
|
U4 |
Burum 5 |
2/5 |
| 114 |
0225+00 |
EM 77 1681-5976+00
6200+15 |
EM 77 1681-5975+00
6201+15 |
01:41:13:25
01:43:43:24 |
|
U5 |
Omens 1 |
3/1 |
| 115 |
0190+10 |
EM 77 1681-6205+14
6396+07 |
EM 77 1681-6204+14
6397+07 |
01:43:44:05
01:45:51:06 |
|
U5 |
Omens 2 - Talk about style? Dapple on shoulder, story about Conrad Hall, perception, story, etc |
3/2 |
| 116 |
0192+07 |
EM 77 1682-9066+00
9258+06 |
EM 77 1682-9065+00
9259+06 |
01:53:00:25
01:55:09:03 |
|
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 |
| 117 |
0013+12 |
EM 77 1682-9624+06
9638+01 |
EM 77 1682-9623+06
9639+01 |
02:02:12:10
02:02:21:14 |
|
U6 |
Omens 5 cinematographers cut from the same cloth as painters |
3/5 |
| 118 |
0749+00 |
EM 77 1681-4988+01
5737+00 |
EM 77 1681-4987+01
5738+00 |
02:06:38:25
02:14:58:04 |
|
U7 |
Omens 7 |
3/7 |
| 119 |
0108+04 |
EM 27 7852-5985+06
6093+09 |
EM 27 7852-5984+06
6094+09 |
02:33:44:05
02:34:56:09 |
|
U10 |
Butler 1 |
6/1 |
| 120 |
0124+11 |
EM 27 7852-7662+00
7786+10 |
EM 27 7852-7661+00
7787+10 |
02:51:28:00
02:52:51:03 |
|
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 |
| 121 |
0340+01 |
EM 77 1682-7987+00
8327+00 |
EM 77 1682-7986+00
8328+00 |
02:54:38:15
02:58:23:19 |
|
U12 |
Beebe 1 |
7/1 |
| 122 |
0184+12 |
EM 77 1681-7736+06
7921+01 |
EM 77 1681-7735+06
7922+01 |
03:27:08:01
03:29:11:05 |
|
U14 |
Beebe 5 - Anecdote, all the lightbulbs in Chicago |
7/5 |
| 123 |
0019+12 |
EM 27 7852-7994+10
8014+05 |
EM 27 7852-7993+10
8015+05 |
03:29:24:10
03:29:37:14 |
|
U15 |
Laszlo 1 |
8/1 |
| 124 |
0127+15 |
EM 27 7852-8754+11
8882+09 |
EM 27 7852-8753+11
8883+09 |
03:37:50:01
03:39:15:09 |
|
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 |
| 125 |
0020+13 |
EM 77 1680-4990+07
5011+03 |
EM 77 1680-4989+07
5012+03 |
03:40:32:29
03:40:46:24 |
|
U16 |
Lazslo 4 - Student's will ask, how did you become a cinematographyer |
8/4 |
| 126 |
0167+11 |
EM 77 1680-6539+05
6706+15 |
EM 77 1680-6538+05
6707+15 |
04:06:20:18
04:08:12:10 |
|
U17 |
Laszlo 6 - Where do the ideas come from? Some come from experience, some accidents, subway story about the light |
8/6 |
| 127 |
0667+08 |
EM 77 1680-7986+00
8653+07 |
EM 77 1680-7985+00
8654+07 |
04:22:24:00
04:29:48:29 |
|
U19 |
Deakins 1 |
9/1 |
| 128 |
0121+01 |
EM 77 1680-9583+03
9704+03 |
EM 77 1680-9582+03
9705+03 |
04:40:06:09
04:41:26:29 |
|
U20 |
Deakins 3 - Happy accidents? Why I like working on location..Copy.01 |
9/3 |
| 129 |
0151+07 |
EM 27 7847-9009+15
9161+05 |
EM 27 7847-9008+15
9162+05 |
04:44:54:29
04:46:35:26 |
|
U21 |
Deakins 4 - First day on Barton Fink, Cohen's open to ideas, Luma Crane shot, wrap by 12**** |
9/4 |
| 130 |
0106+13 |
EM 27 7847-9536+02
9642+14 |
EM 27 7847-9535+02
9643+14 |
04:50:45:04
04:51:56:09 |
|
U21 |
Deakins 5 - Lens choice Part 2? How he would shoot would be more inside, shorter or over the shoulder dirty |
9/5 |
| 131 |
0227+12 |
EM 27 7847-9654+02
9881+13 |
EM 27 7847-9653+02
9882+13 |
04:51:59:20
04:54:31:14 |
|
U21 |
Deakins 6 |
9/6 |
| 132 |
0238+12 |
EM 27 7856-9010+03
9248+14 |
EM 27 7856-9009+03
9249+14 |
05:00:07:10
05:02:46:14 |
|
U22 |
Dill 1 |
10/1 |
| 133 |
0066+04 |
EM 27 7856-9869+07
9935+10 |
EM 27 7856-9868+07
9936+10 |
05:09:39:20
05:10:23:24 |
|
U22 |
Dill 3 - What do you as DP bring to a picture? Life experience at it's best, not conventional |
10/3 |
| 134 |
0178+14 |
EM 77 1668-9008+09
9187+06 |
EM 77 1668-9007+09
9188+06 |
05:22:22:16
05:24:21:23 |
|
U24 |
Dill 6 - More about cave drawings, "You can't photograph what you can't see" |
10/6 |
| 135 |
0425+04 |
EM 77 1668-9196+12
9621+15 |
EM 77 1668-9195+12
9622+15 |
05:24:26:00
05:29:09:14 |
|
U24 |
Stern 1 |
11/1 |
| 136 |
0257+12 |
EM 27 7846-8008+08
8266+03 |
EM 27 7846-8007+08
8267+03 |
05:55:35:00
05:58:26:24 |
|
U27 |
Irola 2 |
12/2 |
| 137 |
0162+08 |
EM 27 7851-6064+10
6227+01 |
EM 27 7851-6063+10
6228+01 |
06:09:07:26
06:10:56:05 |
|
U28 |
Irola 6 - Shooting documentaries, experience, travelling the world, learning how people move, helps with narrative, blocking, lighting |
12/6 |
| 138 |
0736+00 |
EM 27 7851-6238+07
6974+06 |
EM 27 7851-6237+07
6975+06 |
06:11:01:05
06:19:11:24 |
|
U28 |
Semmler 1 |
13/1 |
| 139 |
0556+08 |
EM 77 1668-7389+07
7945+14 |
EM 77 1668-7388+07
7946+14 |
06:23:42:20
06:29:53:19 |
|
U29 |
Goldblatt 1 |
14/1 |
| 140 |
0205+10 |
EM 77 1671-8009+15
8215+08 |
EM 77 1671-8008+15
8216+08 |
06:30:08:29
06:32:26:00 |
|
U30 |
Goldblatt 2 - Technology and Style? Not specifically, new Kodak stocks, ***story about backlight invented, steadicam |
14/2 |
| 141 |
0506+00 |
EM 77 1671-8484+01
8990+00 |
EM 77 1671-8483+01
8991+00 |
06:35:24:25
06:41:02:04 |
|
U30 |
Morgan 1 |
15/1 |
| 142 |
0100+07 |
EM 77 1684-5092+07
5192+13 |
EM 77 1684-5091+07
5193+13 |
06:42:32:09
06:43:39:06 |
|
U31 |
Morgan 2 - Style, what determines the look of the picture? The written word, read the script |
15/2 |
| 143 |
0431+00 |
EM 77 1684-5531+12
5962+11 |
EM 77 1684-5530+12
5963+11 |
06:47:20:20
06:52:07:29 |
|
U31 |
Pearlstein 1 |
16/1 |
| 144 |
0685+04 |
EM 77 1683-5281+00
5966+03 |
EM 77 1683-5280+00
5967+03 |
07:00:00:00
07:07:36:24 |
|
U32 |
Kuras 1 |
17/1 |
| 145 |
0209+06 |
EM 77 1686-9682+09
9891+14 |
EM 77 1686-9681+09
9892+14 |
07:15:14:16
07:17:34:03 |
|
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 |
| 146 |
0263+00 |
EM 77 1684-7061+03
7324+02 |
EM 77 1684-7060+03
7325+02 |
07:19:45:29
07:22:41:08 |
|
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 |
| 147 |
0165+08 |
EM 77 1684-7495+11
7661+02 |
EM 77 1684-7494+11
7662+02 |
07:24:34:20
07:26:24:29 |
|
U34 |
Curtis 1 |
18/1 |
| 148 |
0101+04 |
EM 77 1682-5198+08
5299+11 |
EM 77 1682-5197+08
5300+11 |
07:32:16:10
07:33:23:24 |
|
U35 |
Curtis 3 - Dialectic between technology and style, best films are stylish but used simple tech *** |
18/3 |
| 149 |
0393+12 |
EM 77 1682-5561+01
5954+12 |
EM 77 1682-5560+01
5955+12 |
07:36:11:25
07:40:34:09 |
|
U35 |
Kenney 1 |
19/1 |
| 150 |
0506+08 |
EM 77 1676-7476+01
7982+08 |
EM 77 1676-7475+01
7983+08 |
07:46:07:15
07:51:45:04 |
|
U36 |
Fauer 1 |
20/1 |
| 151 |
1006+04 |
EM 77 1676-5965+00
6971+03 |
EM 77 1676-5964+00
6972+03 |
08:07:05:05
08:18:15:29 |
|
U38 |
Shaw 1 |
21/1 |
| 152 |
0065+05 |
EQ 56 4512-8322+01
8387+05 |
EQ 56 4512-8321+01
8388+05 |
15:14:50:01
15:15:33:16 |
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 |
| 153 |
0080+07 |
EQ 56 4512-5984+14
6065+04 |
EQ 56 4512-5983+14
6066+04 |
15:21:15:08
15:22:08:25 |
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 |
| 154 |
0059+09 |
EQ 56 4512-9130+03
9189+11 |
EQ 56 4512-9129+03
9190+11 |
15:32:42:14
15:33:22:04 |
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 |
| 155 |
0097+11 |
EQ 56 4512-9768+15
9866+09 |
EQ 56 4512-9767+15
9867+09 |
15:39:48:09
15:40:53:11 |
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 |
| 156 |
0101+13 |
EQ 56 4504-4251+00
4352+12 |
EQ 56 4504-4250+00
4353+12 |
15:45:31:20
15:46:39:15 |
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 |
| 157 |
0073+04 |
EQ 56 4520-3963+10
4036+13 |
EQ 56 4520-3962+10
4037+13 |
16:00:11:23
16:01:00:16 |
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 |
| 158 |
0031+06 |
EQ 56 4511-4096+04
4127+09 |
EQ 56 4511-4095+04
4128+09 |
16:12:14:25
16:12:35:21 |
000007 |
W7 |
Willis 14 - What is a cin. tk 4 - More succinct |
101/14 |
