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George Crane Takes a Bow
George Crane, formerly assistant to Mr. George Seid,
Superintendent of photography at Columbia Studios, has recently joined C. King Charney , Incorporated, in a position of sales and contact man.
Crane has been allied with the motion picture industry for more than twenty years, and during this time has acquired not only a thorough technical knowledge and full understanding of the practical needs of the industry, but has, in addition, established innumerable contacts which, no doubt, will contribute to the success of his new venture.
Below is his response to our request for an article dealing with his experiences with Agfa Ansco motion picture products during his activity in the Laboi a'.ory field:
In the past I have quite frequently contemplated the possibility of a personal connection with motion picture film distributing companies. Such a position appealed to me primarily because of the interesting variety of problems and work encountered, and for various reasons I felt a particular preference for Agfa Ansco.
It is easily understood that in effecting a connection of this character my first and perhaps selfish consideration was that the enterprise must show evidence of sound aggressiveness and progress. During my employment with motion picture laboratories, my contacts with technical and sales representatives of the Agfa organization and its distributing company convinced me that Agfa is a thoroughly progressive concern.
I have had numerous opportunities to observe a willingness and sincerity on the part of their technical representatives in aiding the solution of many problems occurring in the technical phase of motion picture production and laboratory procedure. The improvements noticeable in their present Positive and Negative film products, in comparison with the types Agfa offered the market several years ago, is true evidence of the spirit which governs their business activities.
Despite present day perfection in manufacturing technique and the supporting extensive control system maintained by manufacturers, there does not exist such a thing as raw film definitely insured against manufacturing defects. The same applies to all film processing laboratories which, in spite of the most elaborate precautions and accuracy of operation, are always faced with unexpected difficulties due to the complicated nature of the technical procedure and the delicate material involved.
I have always admired the tact and skill of the technical representataives of film manufacturers who are called upon by laboratories to defend the quality of their products. To determine the proper cause of a defect, and to analyze its nature, is an extremely difficult task in many instances. In addition, few realize at the moment the precarious situation involving all kinds of psycho
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