We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
fl combination machine for neqativ^e or positi^^e films....
'WmMm fflodel 1
The Houston Model IOC is a precision-built, fully automatic developing machine that enables the laboratory to handle both negative and positive films alternately without changing solutions. Two developer tanks are provided, one for the negative, the other for the positive solution. Processes neg¬ ative film 600 to 1200 feet per hour; positive film 1200 to 2400 feet per hour. Write today for illustrated brochure.
Automatic Film Developers Printers Studio & Laboratory Equipment THE HOUSTON CORPORATION, W. LOS ANGELES 64, CALIFORNIA
Tel: BRadshaw 24331 Cable HOUSCORP
had had some experienced as an actor on the stage, but had never considered going into the movies. So he remained an actor and made pictures on the side. One day his photos caught the eye of the studio’s ace cameraman. “You’re wasting your time,” he told Edeson. “Switch over to the other side of the camera where your ability will mean more and you can be sure of a steadier and longer career.” Edeson took his advice and when later one of the cameramen fell sick during a picture, Edeson was given the chance to complete it. He went on to become one of the industry’s ace cinematogra¬ phers, shooting most of Douglas Fair¬ banks, Sr’s., silent films and later such well-remembered sound productions as “In Old Arizona,” “All Quiet On The Western Front,” and “Mutiny On The Bounty.”
Some of Hollywood’s best cinematog¬ raphers got their start in the comedy field, with Mack Sennett and Hal Roach. Of these, probably Fred Jackman is best remembered and the most illustrious. Fred, too, wanted to be a motion picture cameraman, so he bought his own camera and set out to make pictures on his own. H is “business headquarters” was a rick¬ ety film laboratory which occupied an old pioneer home atop Bunker Hill in downtown Los Angeles. One day a studio asked the lab to send them a cameraman, one who owned his own camera. Fred was sent out on the job. The director was Hal Roach.
The first day on the job, Roach ap¬ proached Fred and said, confidentially, “This is the first picture I ever directed. So if you see me do anything wrong, its O.K. to tell me.”
“Don’t worry,” Fred told him, “It’s the first picture I ever photographed, too !”
What happened after that is movie history. Roach went on to become one of Hollywood’s leading film producers while Jackman became Mack Sennett’s chief cameraman. He is credited with cre¬ ating more trick cinematic effects than any other early-day cameraman. Later he specialized in this field, ultimately set¬ ting up Warner Brothers’ special effects department. Now retired, he manages the American Society of Cinematogra¬ phers as the Society’s Executive VicePresident.
T he story of the beginning of cinema¬ tographic careers for many another A.S.C. member makes interesting read¬ ing, too, but limited space prevents our relating them all here. In a subsequent issue we shall tell you how such top cinematograpers as Charles Rosher, Ar¬ thur Miller, George Folsey and others got their start.
416 • American Cinematographer
• November, 1949