The Cine Technician (1953-1956)

March 1955 CINE TECHNICIAN 39 AV»#rs irom French Laboratories FROM the French General Trades Union of Film Industry Workers come copies of Le Film (information bulletin for studios and labs), and of the first and second issues of Le Coq a Color, a monthly supplement published by the Joinville-le-Pont laboratory section. An article in the former, headed "Where is French production?" points out that, between 1949 and 1953, the number of French productions dropped from 100 to 63, while that of co-productions rose from 3 to 25. The figures for 1954 were expected to be 45 French films (18 fewer than in 1953), 22 co-productions (only 3 fewer) — a total of 67 (21 fewer). The NOTEBOOK — continued are having a pretty thin time. In the Feb. 18th issue there is a brief and easy to follow account of the I.T.A. set-up and how it is expected to work. The Feb. 25th number goes into the pros and cons of 16mm. or 35mm. gauge for TV filmed programmes and commercials. We look forward to further instalments of this lively feature. National Entertainment Federation has drawn up a programme which would make possible the production of the 120 feature films a year necessary to maintain full employment in the industry and the position of France in the world film market. The article calls on all film workers to take action to enforce this programme, and concludes, " Don't let us be deluded by an apparent increase in the volume of work, which can only be temporary. Let us prepare for action to ensure that our studios are occupied by French production, which alone can guarantee security of employment for the future." Another article, addressed to colour developers, calls upon them to take full advantage of legislation on industrial disease. Infections arising from toxic chemicals, some of which (certain aromatic amines) are used in colour baths, are specified in the legislation on the subject. ( Is there, perhaps, some experience here which would be useful to our own lab workers?) Le Coq a Color deals at some length with lab profits. Between 1949 and 1953 one large company, G.T.C., uniting Gaumont and Pathe interest, raised its net profit from 14.2 to 30.2 million francs and its dividends from 4% to 7%. The December issue records the setting up of a French Technicolor Company, with a million pounds capital and with a new lab in construction at Joinville. On the board of directors are representatives of the Gaumont and Pathe companies, of Technicolor Motion Picture Corpn. and of Technicolor Inc., including Kay Harrison, Dr. Kalmus, Joseph Reed and Roger Schulz. M. Andre Colling, late of G.T.C., has, with the support of the American Group, been appointed Director-General of the Company. In 1953, U.S. Technicolor recorded a profit of $2,371,735, a rise of $302,529 on the previous year, processed 106 films and had another 99 in hand or projected. The parallel figures for British Technicolor are quoted (well over £3* million profit in 12 years and dividends raised from 8% in 1948 to 25% in 1953), together with a promise to publish subsequently the comparative British and American wage scales. The article rightly concludes that the figures speak louder than any comment. Other subjects dealt with are current negotiations on both lab and studio agreements, pensions and holiday credits and bonuses, the fight against German rearmament and the anniversary of the death of the union's pre-war secretary, Robert Jarville, in a German concentration camp. STILL on the subject of TV— the International Photographer for February, under heading "New Electronic Film Editing," describes a process used in N.B.C.'s " Background " programme. This programme, an interpretive reportorial show, involves sending crews into the field. The new process, which is said to cut time and costs enormously, requires the field camera crew to make only a general shot including the principals and background. This shot is then back projected in the studio and the television cameras pick out close-ups, dolly in and out and pan according to producer's instructions. Time saved is put at about 40 per cent, and in money terms, $2,000 to $3,000 a show. A recent programme, using this system, opened with a long shot of a bus interior, then took the viewers through the bus to show passengers being interviewed by a newsman. Actually, the camera remained in one position at the back of the bus throughout. The movement through the interior was done later in the studio. OFFICIAL APPOINTMENTS INVESTIGATOR/EDITOR required for FILM PRODUCTION UNIT of NIGERIAN FEDERAL GOVERNMENT INFORMATION SERVICE on contract for 12/24 months in first instance. Salary scale (including expatriation pay) £807 rising to £1,557 a year. Commencing salary according to experience. Gratuity at rate of £100/£150 a year. Outfit allowance £60. Free passages for officer and wife and assistance towards cost of children's passages or grant up to £150 annually for maintenance in U.K. Liberal leave on full salary. Candidates must be able to write clear and concise production reports and be fully conversant with 35mm. and 16mm. editing and matching sound to picture. They must be able to edit rush prints and assist in final editing with the Director and Editor. A knowledge of film production in tropical conditions would be an advantage. Write to the Crown Agents, 4 Millbank, London, S.W.I. State age, name in block letters, full qualifications and experience and quote M3B/35002/CY.