American Cinematographer - October 1968 - 105

student material with them before we

TALK ABOUT SPEED!

began filming, explaining to them that
we just wanted their frank reactions.
This

pre-interview

session

get our subject relaxed
begin

thinking

about

and

his

1 North, East, South or West
^ Fast, Personal Service Without Request

helped
let him

views.

We

filmed from 10 to 30 minutes of each
of these nine interviews.

*16mm
*16mm
* 16mm
* 16mm
* 16mm
* 16mm
* 35mm

Then we repeated the same work¬
ing routine we had used with the stu¬
dent material: All the interviews were

-:

'jia

|

transcribed, and statements were cat¬
alogued.
The next step was to give the en¬
tire mass of material shape and make

Jw

ECO - Ektaehrome - Anscochrome processing
Work printing & Release printing
TV printing on magnetic or optical stock
Creative editing
Double system interlock
Ultrasonic cleaning
Color slide duplicating

CHANNEL 8 COLOR LABORATORIES

905 JACKSON STREET * P.O. BOX 1410
TAMPA, FLORIDA 33601 * PHONE 813/224-7082

it play without using a voice-over nar¬
rator to tie together. We wanted the
people we interviewed to tell their
story themselves. The goal was to edi¬
torially stage a

debate between the

students and the businessmen without

ERNESTO CAPARROS ASC
Director of Photography

MU 8-0263
New York City

the aid of an interlocutor (read: inter¬
loper) to hold the film together.
This meant that statements had to
dovetail and one thought had to mo¬
tivate the next. Putting it together on
paper was one thing-when it came

Custom Design

to editing film, that was another prob¬
lem. Just as your directing of talent
and camera is limited, so is your di¬
rection

of the editing of sound

and Manufacture of

and

MOTION PICTURE EQUIPMENT

picture. You must make sure your edi¬

Cameras-Printers-Projection Systems

tor understands what you are trying
to do in order that he can approach

16-35-65-70mm

the editing of the sound and picture

all Film Formats

in the same style.
case,

I

had

Fortunately in

worked

with

my

my editor

CINE SCIENCES CDRR

on many other projects and we had no
problem communicating.
the material was to be emotional rath¬

6478 Santa Monica Blvd.
Hollywood, Calif. 90038

er than logical. We felt a chronologi¬

Tel. (213) 467-7331

On

this

film,

the

organization

of

cal organization of the material would
not have the impact nor the believability we were striving for.
Ray

Wood

of

our

staff

had

the

problem of editing the sound and pic¬
ture

based

on

my

paper editing

of

HOWARD A. ANDERSON CO.

the 16 hours of material we had gath¬

"*

ered.
At this point in making the cinema
verite style documentary, we had 45
minutes of rough edited student ma¬
rated

both the student material and

business

hadn't

interviews

looked

at

or

and
had

we

' .

TITLES
*MINIATURES
*BLUE BACKING
*INSERTS
* MATTE PAINTINGS

terial, a first draft script that incorpo¬
the

<

CREATORS OF DISTINCTIVE IDEAS AND DESIGNS FOR
2®^
SPECIAL PHOTOGRAPHIC EFFECTS AND 0PTICALS FOR
MOTION PICTURES AND TELEVISION

'

„

HE PACESEHER IN TECHNOLOGICAL ADVANCES

still

workprint

made of the business interviews.
However, from the script, we knew
hat statements were required. So we
had a workprint made of each tenminute reel that had a selected state¬
ment in it. The entire reel was workprinted

because there was only one

AMERICAN CINEMATOGRAPHER, OCTOBER 1968

Main Office:
PARAMOUNT PICTURES
5451 MARATHON ST.. HOLLYWOOD 90038
463-0100

<

797
American Cinematographer - October 1968

Table of Contents for the Digital Edition of American Cinematographer - October 1968
