American Cinematographer - May 1990 - 90

Filmline Technologies, Inc. is pleased to announce the addition of two new mem¬
bers to it's staff, William Bloomingdale and Imre Fodor. Mr. William Bloomingdale
is employed as Chief Engineer and Production Manager of the Connecticut office.
Mr. Imre Fodor is employed as Vice President of the California Research and

the two media, and their projections for
the future. The results have demon¬
strated that viewers define "look" in

broadly different terms.
Words that

Development office. We welcome both of them to our team.

came to

mind

when
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describing film included "grainy,"
"distant, " "lush, " "soft, " "liquid, "
"moody," "rich," "saturated," "deep,"
jerky," "textured," "subtle," "clear,"
"dynamic," "emotionally involving, "
"natural looking," "naturally lit," "natu¬
"

ral colors, " "lifelike, "

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"sensuous, "
"realistic," "atmospheric, " "warm,"
"edgy," "high contrast," and "quality."
For video, descriptions in¬
cluded "present, " "washed out, "
"sharp, " "smooth motion, " "live, "
"bright lights," "artificial," "flexible,"
"convenient," "harsh," "contrasty,"
"lifelike," "dull," "colorful," "unrealis¬
tic, " "glary," "pop outs," "electric,"
"hard edged," "stark," and "precise."
Despite the plethora of termi¬
nology, most subjects found it hard to ar¬
ticulate the differences between the film
look and the video look. On the whole
viewers see a difference, but mass au¬
dience member and expert alike have a
hard time pinpointing exactly what it is.
As for the emotional response to film or

video, comments ranged from, "I've
never been emotionally involved with a
TV set, it's just difficult," to "I went to a
movie last night, I couldn't stop crying."
High drama aside, the more

feet-on-the-ground preference question
("Do you prefer movie theaters or televi¬
sion?") revealed that 85 percent of the
viewers chose the theater experience for
screen size, environment, high picture
quality, newer material and the fact that
it is a social event. One subject said that
he didn't like the theater because of the
rude audiences, but other than that, the

quality and content offered at the thea¬
ter was better than that available on

television. One subject preferred televi¬
sion because, "It's more comfortable to

stay at home."
Questions

look and

prefer¬

put to the media professionals in
this study revealed strong opinions and
fierce loyalties. When asked about per¬
ence

Hollywood,

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

Geneva, Hong Kong, London

just

some

of the centres worldwide where

our

graduates

are

covering studio feature and location documentary productions in 16mm and

ceived differences between the cultures
of film and video, noted cinema verite
filmmaker Richard Leacock said, "...

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

people who have gone into filmmaking
and film editing have really labored over
how to make a cut and how to film, and

making films.
Students from over thirty different countries come to the heart of London's West End to
take our two year Diploma Course. Experienced professionals teach all aspects of film

making

35mm.

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
88

how to use lighting properly. Video has
traditionally been controlled by radio
people. In a video production, you know

where the director is. In the control

room.

American Cinematographer - May 1990

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