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|It's good to vary the pace, but first you have to set it.
|Technique in which two
strands of a story are interwoven.
(They usually take place in the same timeframe)
|A film synchroniser with a
picture head. They were made by Acmade in England. They also produced a
motorised version called a Compeditor.
(In my view they were a narrow triumph of engineering over design i.e. they were such a bad design they could only be kept working if you were good at maintaining them - a bit like British motorbikes. Who needs a flooded carburettor or a graunched mag track at eleven pm? Great for masochists! LW)
Sorry to quibble Laurence, but I take a slightly different view. The Pic-sync was a great design concept, no other editing machine could synchronise four sound channels with a picture you could view. What let it down was pathetic engineering utilising shit metal and war surplus components. In contrast the Hollywood Moviola (mind your fingers) and German Steenbeck (try changing the bulb) were dumb designs rescued by superb engineering that never went wrong. Whether the same applies to Triumph bikes I'm not qualified to say. SR
|Used to refer to
stop-frame animation using actors.
Now refers to enlarging the size of pixels on video to disguise detail, or as an effect.
|Point of View.
Often the director will be viewing the rushes and , pointing at a wobbly hand-held walking shot, say "That's a POV". If the editor asks "Whose POV?" eighty percent of directors don't have a convincing answer.
The usual way to make a POV 'work' is to precede it with a close-up of someone clearly looking. The audience then reads the next shot as their pov, especially if movement, angle etc match. The absolute cliché is; close-up man with binoculars. Cut to, POV shot with 'binocular' mask on lens.
It is possible to use POVs and imply the presence of the 'looker' before you see them. (usually by heartbeat/ breathing on the soundtrack).
One film in which the 'looker' is never seen (except once, in a mirror) is "The Lady in the Lake" (MGM 1946, starring and directed by Robert Montgomery, based on book by Raymond Chandler). It was a critical success, but at 103 minutes the public found it too clever by half and a bit of a drag. (Ref. Paul at the Blue Posts).
|The person in charge of the money, who gives the director and the rest of the creative team the time, space and encouragement to make the best possible film. There are a few about.
|US term for section of interview marked up on transcripts. In the UK we call this a "section of interview marked up on transcripts".