American Cinematographer - October 1968 - 104

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CINE VERITE'
Continued from Page 789

scene. If you have the option to pick
your locale, as I did, you can exer¬
cise some control over the setting.
But, if you are there following your
subject as it proceeds, naturally, you
don't even have this option.
Shooting a sports event comes
close to employing this method of filmmaking. You have to know the game
and be able to anticipate the shots.
Most of the practicing advocates of
the cinema verite approach you will
find using one camera. We went the
two-camera route because of the edi¬
torial consideration. Having two choic¬
es of picture allowed us to condense a
statement oftentimes, without revert¬
ing to a cutaway shot.
We relied heavily upon the new EF
films and quartz-iodine lights with dichroic filters for balancing with sun
light.
Once we had these eleven hours
of filmed interviews, the next step was
to get the material into some sort of
workable form. To do this we had the
taped interviews transcribed. We did
not screen the original film or have it
workprinted at this point.
After the interviews were tran¬
scribed, I read and reread the tran¬
scripts and indexed the statements ac¬
cording to subject and attitude. After
selected statements were put in a sem¬
blance of order, we had workprint
made and sound transferred.
Then we pulled the statements and
made a rough cut. The material at this
point had been reduced from eleven
hours to 45 minutes. But we still had
the other side of the coin to do.
We had to talk with nine young
Negro executives in nine different
companies across the U.S. We had to
tell them what the students had said
and get their reactions to the atti¬
tudes of the students. We had to get
these young Negro executives to tell
it like it is.
Again we used the two-camera ap¬
proach, even though we were only
going to have two people on camera
at one time, an interviewer and the
subject. This was done for the same
reason as before-to give us editorial
flexibility.
There was another problem, too.
Every statement made by the Negro
executives had to be able to stand
alone without having any of the inter¬
viewers' comments to set them up. With
the executives we changed our inter¬
viewing technique. We went over the

AMERICAN CINEMATOGRAPHER, OCTOBER 1968
American Cinematographer - October 1968

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