Business screen magazine (1959)

Kcijuautu (/J>iit FILM SHIPPING CASES • Best quality domestic fibre • Heavy steel corners for added protection • Durable 1" web straps • Large address card holder with positive retainer spring • Telescopic construction allows additional capacity Write direct to manufacturer for catalog. WM. SCHUESSLER 361 W. SUPERIOR ST. CHICAGO 10, ILLINOIS FOR BETTER FILM SHOWINGS The Aiiiliii -Visual PriiJRrtiiinist's Hiiiiilhmik Here's a graphic, colorfully illustrated basic guide to operation and projection of all 16nim showings. Step-by-step simple lessons on preparation and handling the show, room arrangement, projector care and maintenance. The widely-used Projectionist's Handbook contains threading diagrams of 1 6mm projectors and other a-v equipment most widely used today. Plastic bound and printed in color with heavy cover. $1.00 the copy Special discount on quantity orders write or wire BUSINESS SCREEN MAGAZINE 7064 Sheridan Road • (Miicago 26 The Dff-Screen Voice: (CONTINUED FROM PAGE EIGHTEEN) with earlier plans to make videotape a part of the Transfilm operation," he added. Buckeye is a manufacturer of automatic feeding eL|uipment for poultry and livestock. ^ * * * General Film Laboratories Sets Up a Producer's Service Center in Kansas City ■Cx Appointing Neal Keehn as regional vicepresident in charge of the new facility. General Film Laboratories Corporation, a subsidiary of Pacific Industries, Inc., has announced that it is establishing a producer's service center in Kansas City. Mo. In making the announcement. General Film Labs president G. Carleton Hunt noted that Keehn will also supervise all central United States sales operations for the Hollywood-based film processing firm. The new General v. p. was formerly vice-president of the Calvin Company, Kansas City and director of its widely-attended Workshops since their inception in 1947. i^l' :{' * * Art Weitzel, Director of Photography at Firestone, Going Strong in His 41st Year tV Another pioneer who can truly say "1 knew him when" of many of the business film leaders is Firestone's Art Weitzel, who has handled motion picture activities in that company for nearly 41 years. As Director of Photography for the major rubber concern, Mr. Weitzel has worked with practically all studios from coast-to-coast. He's an avid Business Screen reader, a recent letter informs us, and says our recent 9th Annual Production Review brought back wonderful memories of past associations throughout the field he has served with distinction for over four decades. i^jj * * * VS. Steel to Preview "Plan for Learning" Designed to Meet Community School Needs ^ A new 30-minute color film. Plan jor Learning, will be previewed in mid-April by the United States Steel Corporation. Designed primarily as an aid to communities which are in the throes of needing new schools, it will be nationally released. Picture tells the story of how a new school came to be in fictional "Elmsville" and relates (with answers) most of the problems and questions which beset the town on this particularly rocky road. y^ * * * Is Videotape Really "Live" Medium Or Are Film Producers Playing Dead? ^ WE HAVF. WATCHED a growing trend among the TV critic fraternity to heap praise on the tape output of the "live" camera, and to scorn the film. John Crosby, for example: "Since it was on tape, it looked fine . . . You get the fiavor of a Hawaiian beach far more accurately on a tape show done with live cameras than you would with film . . ." Well, we wonder what these comments really mean. That the pictorial quality and fidelity of the taped image on the tube is superior to the broadcast image of .l.'imm film? We doubt New president iif ilie University of Minnesota AInmni Club. Chicago, is Jack Rhelnstrom (right) Wilding v. p. in charge sales. E.xtending kudos (I. to r.) are Jack Manders. Minnesota and Chicago Bears star: guest speaker Harry Stuhldreher and retiring club president, Les Welch. it very much. Tape is just fine, but we've never yet seen a taped picture with as good an image as either a film freshly made for TV output, or a real live show. We think it isn't the image itself the critics are talking about, but the technique of taping vs filming. Tape, so often, does seem fresh and "live" even when it's, fuzzy, and film can be awfully rigid and dead, though stunningly sharp. We've watched tape production, and it seemed to us that everyone concerned seemed to have the feeling they were communicating directly with the audience. Even when scenes were re-shot each take seemed to be It. This was real. We've also watched with horror the glazed eyes of actors as a film TV spot assistant director yelled "Take 57." No communication here — just zombies going through the paces. Perhaps it is time film producers re-examined their methods. Why does each scene have to be so all-fired perfect to the sacrifice of all spontaneity? Who cares? If it doesn't recreate reality in the viewer's mind, or what merit is the perfection? Watch that sunny beach scene — enough fill-in lights, reflectors and other paraphernalia to light a factory, and the picture is a complete phony — audiences know it. Look at this pretty refinery — all silver and blue. The crew twiddled their thumbs for three days for the sun to be j-u-s-t right to get that shot. A pretty picture postcard. Who cares? There is an analogy to be made. Look back at the picture magazines and the advertising photography of a few decades back. Pretty stilted stuft' — everyone looking all set and rigid. Great technical shots, but no life. Then, thumb through a recent Life or Look — or VfiGUF. See how miniature cameras and the art directors' and picture editors' requirements of life and movement have revolutionized photography. We'll bet that any skilled film cameraman can go onto any Hawaiian beach and get a better picture than Crosby's "live" camera and tape. But he won't if he goes out with his truckloads of gadgets, his phony "perfect" lighting, and no real desire to communicate with his audience. BJ"