Tales Of Hollywood - Ray Harryhausen Lunch

Tales of Hollywood - Ray Harryhausen Lunch

In 1983, I was working "Ghostbusters" and "2010," for Boss Film, and the stop-motion guys were fun to lunch with. They had done some of the best stop-motion anywhere. Phil Tippett, Jon Berg, Randall William Cook, Jim Aupperle, and some others. 

They were very funny guys, and I was was very pleased to be in their company. I was fresh off an animated clay movie in Portland, and my 35mm Seattle feature, now I was building 65mm camera equipment in Hollywood. 

My friend Jerry Jeffress had told me Ray Harryhausen had a unique way of speaking, and Jerry could imitate it perfectly. He was great at it. So, I could mimic Jerry imitating Ray, which I did to the amusement of the stop-motion guys at lunchtime.

To my surprise, they ALL could imitate Ray's speaking voice! It was clear they loved him. He was their hero, the reason they got started animating. That was fun! 

In the next couple of days, some amazing things happened. A magazine writer asked if I could do a favor. Ray Harryhausen was in town, and could I take him to lunch? And then bring him to Showscan, where the writer also worked, to see the Showscan demo presentation? 

(Showscan was a 65mm 60fps system, at Doug Trumbull's company near Boss Film). 

Then Mr. Harryhausen would be interviewed for the magazine. Did I say yes? Yes, indeed! 

I picked up Mr. Harryhausen, and we chatted a bit. I took him to the restaurant, where the stop-motion guys were. I asked if we could surprise someone, and he grinned yes. As he waited outside for a minute, I went in. 

"Guys, our last lunchtime, my Ray Harryhausen imitation wasn't very good. I've been working on it, and it's better. I want to show it to you. I just need a moment to prepare." What a setup. Such eager, expectant faces.

I went outside, and sent Ray back in. Hubbub! Tumult! Somebody yelled "Sam, that's a fantastic imitation!" And that was a fantastic lunch.



2010
Boss Film
Showscan
Ghostbusters
Sam Longoria
Doug Trumbull
Clay Animation
Ray Harryhausen
Tales of Hollywood
Stop-Motion Animation

Filmmaking - Do you know MoCo?

Filmmaking - Do you know MoCo?

I got my start in the movie business waaay back,
making computer-controlled "robot cameras,"
when "motion control" was all the rage in filmmaking.
(1970s.)

Now it's "MoCo," and it's still around, and it still
makes impossible shots happen. Very cool.

One of the great MoCo players is Bill Tondreau.
If you're in visual effects, you know who I'm talkin'
about.

I met Bill on "Ghostbusters," as he made his motion
controller jog the Boss Film 65mm Oxberry around,
after I'd rebuilt and motorized it.

Bill's software made steppers make musical tones,
on their travels. I got so I could play tunes on it.
(Challenge was to play the tune without driving the
camera into the wall, or the light box.)

About Bill, I can only say, what an interesting guy.

Here's Bill's great MoCo page, from his outstanding site.

Hope you enjoy it,

Sam

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© 2008 Sam Longoria, All Rights Reserved

Filmmaking Gear - Film Synchronizer

Filmmaking Gear - Film Synchronizer

When you're shooting real film, and you need the magnetic sound film to match up to the picture film time-wise, sometimes you have to get your hands dirty. You need...the machine.

Although you'll probably be cutting the sound on a digital workstation, you might see a venerable "film synchronizer" or "sync block," on a shelf somewhere in your editing facility, because they're still useful for measuring print length, and comparing exact length or duration of any two pieces of picture or sound film.

A film synchronizer is a blocky aluminum casting, usually painted green or silver, some are black. A common shaft on bearings supports 1 to 8 sprocket wheels, called "gangs," each a foot in circumference, with keeper rollers that clamp down, and keep the film on the sprocket teeth. The gangs can be coupled or decoupled from the shaft, and so can rotate independently of one another.

65mm film has 12.8 frames per foot, 35mm has 16 frames per foot, 16mm has 40 frames per foot, Super 8mm has 72 frames per foot, Regular 8mm has 80 frames per foot, so each turn of the synchronizer's shaft moves the film one foot, and is geared to a mechanical counter, which displays how many rotations (feet) have gone by.

Yes, they're still made, and new they're thousands of dollars. You can find shiny brand-new ones at good old Christy's Editorial, or EEP (Editorial Equipment Parts.)

I can remember how much of my early filmmaking training was geared (pardon) toward learning how to use, borrowing, renting, or finally buying, a film synchronizer.

It was a lot, and they were soooo expensive, hundreds of dollars then, and now I see used film synchronizers cheap on eBay, and like much film equipment, I've bought at least one of each film gauge.

Film gear still works fine, and this current topsy-turvy situation, where heavy metal quality is cheaper than junky ephemeral digital gear, somehow feels rich.

Sam Longoria

film school
filmmaking
film financing
film production
digital filmmaking handbook

© 2008 Sam Longoria, All Rights Reserved