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SHOOTING INSIDE hangar areas presents lighting problems, and here reflectors re-direct sunlight into the hangar for color photography. Nearly all Lockheed films are produced in 16mm Ektachrome.
ALTHOUGH MOST films produced at Lockheed are of the narrative type, the film unit is equipped to shoot lip-sync whenever the script calls for it. Double-system sound techniques are used.
ing a film production. From this modest beginning, the production of one film led to another and in due time the company manage¬ ment became convinced of the im¬ portance of motion pictures in promoting the company’s products and as an effective public rela¬ tions medium. Lockheed’s motion picture program was expanded, Everett Kelley became supervisor, and the unit’s working staff en¬ larged.
In 1954, when the need arose for establishing motion picture units in Lockheed’s newly-formed Missile System Division and also at its Georgia Division, personnel from the Burbank unit were trans¬ ferred and promoted to these di¬ visions. Today, they carry on comparable film production pro¬ grams. In 1957, the company’s motion picture production person¬ nel reached a total of fourteen: group supervisor, production su¬ pervisor, five cameramen-editors, a clerk and — within the Sales Pro¬ motion department — a film co¬ ordinator, three script writers, an expeditor and a clerk. Today, as a result of economy measures in the California Division, the number of personnel in film ac¬ tivities has been reduced to nine.
Lockheed’s California Divi¬ sion’s film unit acquired new and larger quarters in 1957, which covered 2,500 square feet of work¬ ing space. The new quarters pro¬ vided five individual editing
HERE IN A special “break-away” cockpit mockup, cameraman takes light reading prior to shooting scene for a pilot indoctrination film. Use of mockup permitted camera angles not possible in cockpit of real plane. Lighting was planned to approximate actual daylight.
rooms, 6' by 10' in size — one for each of the Unit’s cameramen-edi¬ tors. Each room is furnished with basic editing equipment such as Hollywood Film Co. metal editing benches, Moviola rewinds, Moviescop ‘’between the rewinds” type film viewer, Moviola magnetic sound reader, Moviola four-chan¬ nel synchronizer, Bell & Howell 16mm/35mm professional porta¬ ble hot splicer, a film bin, and a film storage cabinet. A standard 16mm Moviola is shared by the group. When the work load de¬ mands additional equipment, it is rented as required. Otherwise, the Unit’s film editing facilities are quite modern and complete, and provide an efficient base for its film editing work.
Standard professional tech¬ niques and practices are pretty much adhered to in the course of film editing — from color work print through final assembly of original “A” and “B” rolls' De¬ pending on the degree of complex¬ ity of the film production and the production values desired, a Lock¬ heed film may involve, in addition to a basic narrative track, the edit¬ ing of “A” and “B” music tracks, “A”, “B” and “C” sound effects
Continued on Page 116
FEBRUARY • 1961
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