American Cinematographer - March 1987 - 88

LONDON INTERNATIONAL FILM SCHOOL
The Cineco-Centrill crew re¬
from Rome with more than
20,000 feet of original negative. Editing
was done first on film, with the edited
work print conformed, then transferred
turned

A, B, and C rolls on one-inch video.
The final edit, effects and titles were
edited on video. The combination of a
film and tape edit was a very efficient
and cost-effective approach, allowing
to

greater flexibility in developing sound
effects tracks.
"It was not really practical,
from a money standpoint, to transfer all
the original to tape and do a pure video

edit," White explained. "George and

Hollywood,

Athens, Tokyo, Lagos, Rio, Tel-Aviv, Reykjavik, Sydney, Toronto,

Geneva, Hong Kong, London
making films.

just

some

of the centres worldwide where

our

graduates

are

Students from over thirty different
take our two year Diploma Course.

making

countries come to the heart of London's West End to
Experienced professionals teach all aspects of film
covering studio feature and location documentary productions in 16mm and

the editors simply had too many scenes
to look through and too many decisions
to make to be making them in a video

editing suite,

35mm.

Teaching of scriptwriting, direction, camerawork, sound recording, editing etc. ensures a
high degree of professionalism. And it must do - Governments, T.V. Networks and
Educational Foundations have been sending personnel to us for training for over twenty
years.

This intensive Course, demanding hard work and committment, produces over twentyfive films each term
many students working on more than one production.
There are fresh intakes in January, April and September.
-

Contact: The Administrator, London International Film School, Department AC2
24 Shelton Street, London WC2H 9HP, England. Telephone (London) 01-836 0826

even

had assembled

off line.
The

rated

completed release is nar¬
by Percy Rodrigues and has a hi-fi

soundtrack. The film takes view¬
from high-tech Vatican Radio, to the

stereo
ers

tranquil gardens that

weave

through the

Vatican grounds. It goes inside the bar¬
racks of the Swiss Guard, the colorful

military unit that has guarded the Pope
since the 16th Century, and to the Vat¬
ican Altar Boys School. The camera
even

descends

the seldom

tographed tomb of St. Peter, the

pho¬

man

whom Jesus said, 'On this rock, I will
build my church.' "

The film has

an original digital music
produced in 24 track on a Synclavier System. "Church or classical
music was not appropriate to the style
of the film," according to Little. "Most
viewers have preconceived notions of
score

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what a sound track for a film on the
Vatican should be. People are pleas¬

antly surprised when this track is not
consistent with their expectations. It is
fresh and lively and, most of all,
appropriate."
Now that the subject is being mar¬
keted along with a teaching guide, Little
and White look back on an exciting job
of work. "Dan and I have nearly 18
months on this film," Little said. "We
started out with a terrific subject and

formulated
worked very

creative approach that
well. We consistently tried

avoid the obvious-we didn't want
On This Rock
to be predictable.
to

...

We set out to make a film that had so
much to see and so much to listen to
that viewers would want to see it more

than once."

American Cinematographer - March 1987

Table of Contents for the Digital Edition of American Cinematographer - March 1987