Business Screen Magazine (1963-1964)

JAVA'S PRESIDENT: (continued from page 34) a good foreman with a gift for understanding his nien"s problems on the job and in their rehitions with management, he was tapped to become an Industrial Relations Supervisor concerned with employee relations. In this job. which involved talking to many groups of employees on almost a daily basis. Mr. Connelly first got to know and use audio-visual tools and methods. He recognized the importance of visuals for the clarilication of the information he had to communicate, and by his own first attempts at providing home-made visuals with blackboards. "Ilannel boards." and charts, stumbled on to the embryonic audio-visual equipment of the time, particularly on the remote control slide and overhead projectors, which he tiumd to be ideal as adjuncts to the public speaker's stock in trade. Begins C'arcer in AcKcrtisini; From industrial relations, he was transferred to the .Advertising Departntent of L'nion Carbide's Pl.istics Division's New York headquarters as Manager of Consumer Relations. For several years, in addition to gaining a solid foundation in industrial advertising theory and practice, he gave on the average of 50 talks a year on plastics, communications and effective presentation. Over the years he has supervised the scripting and production of several dozen motion pictures and sound slide films, from a simple ten-minute technical film on plastics processing to a .'^S-minute color motion picture made in Hollywood, called Flii;lii i<i ilic I uliire. In ly!^?. he was made Manager. Market Programs, in the Advertising Department, and in 1959. was promoted to his present job as Assistant Manager of .Advertising of l'nion Carbide's Plastics Division. Writer on .\udio-\ isual I'se He has written numerous articles on presentation techniques, as well as several books on audio-visual techniques. His most recent hook. "The Why. What and When of Audio-Visuals." which he wrote in 1962 as part of his committee work in the .Association of National Advertisers, is on the reference shelves of a great many of the major advertisers in industry today. His particular interest in the audio-visual field has always been the technique and effective use of Word Portraits of Inchistrv Leaders audio-visual equipment. He believes that there should be a very close association between a visual presentation and the man who is giving it — the tools should fit the job. or not be used at all. ,\cti\e in Conii!iiiiut> .\ft;urs Away from his office on the 44th floor of the Dnion Carbide Building in New York, Bill Connelly's hobbies and avocations are trout fishing, stamp collecting and public service. As a civic-minded resident of Middlesex. New Jersey, he was. at various times. Recreation Commissioner. Sanitation Commissioner. Director of Civilian Defense. Police Commissioner, and President of the Town Council. After 17 years of commuting from Middlesex to New York, he decided, four years ago, to get a little closer to his work by moving to a river-view apartment just on the other side of the Brooklyn Bridge. He is married and has one son. Philately has been one of his keenest interests since boyhood. He belongs to a number of stamp collectors' associations, and is a past president of two of them. His specialty is stamps of the former French .African Colonies, on which he is considered somewhat of an authority. In fact, earlier in his association with this hobby, he taught himself to read French in order to delve deeper into French philatelic lore. Mr. Connelly believes that since World War II. audio-visuals have crystallized into an important part of the communications requirentents of modern business. Equipment and effectiveness of utilization have become much more sophisticated and more useful. g' IF YOU OWN A BERTHIOT ZOOM LENS, YOU WILL NEED THIS F&B TAKES THE WIGGLE OUT OF ZOOMS WITH THE BEELAND ELECTRIC ZOOM CONTROL Here is a rugged yet light weigtit control ttiat assures you of smooth zoom action from start to finish of each shot. Mounts directly on the lens barrel, no camera attachments are required, interchangeable mounting clamps allow the same control to be used for the 17mm to 70mm, and 17mm to 85mm lenses for 16mm cameras, and the 38mm to 150mm lens for 35mm cimeras. The camerman can control the picture size by eye or can pre-set the zoom range by quick-set limit stops on the quadrant A silicon loaded shp clutch and mechanical limit stops rovide precise control of the zoom range. The control box is equipped with instant contact push-buttons for easy fmger-tip operation of zoom-in or zoom-out. The box mounts on a tripod h.in(1le, or directly on the camera for handheld operation. It also may be held and operated by an assistant. Speed range is rheostat controlled and adjustable from approximately 2\': seconds to 10 seconds of zoom time. A special feature is the very efficient motor which operates for hundreds of moves on one set of 5 type "C" flashlight batteries. Two models are available: Regular, where noise is not a problem. Super-quiet, where whlsper-quiet operation is needed for sound recording. Swing the World's Fiiwst Film Makere BA.BB, INC. 68W.45thSt., N.Y.36 MU 2-2928 • Smooth, quiet zoom action • Easy linger tip operation • Precise zoom range control • Zoom speeds trom 2' 2 to 10 seconds • Intcrchangeable-lor 16mm and 35mm cameras. • Mounts directly on lens barrel • Uses type "C" Hash light DaUeries LAB'S SAUL JEFFEE (CONTINUED FROM PAGE 35' Nat Fleischer's famous "Out of th Inkwell" films, and he finally dii become a cameraman, shootin' titles and trailers for the Semle Cinema Service Trailer C\impan\ In 1930, opportunity knoeke and a three room establishmer opened its doors as Movielab Filr. Laboratories, with Saul Jeffee a, president. The company has ac. vanced ever since and is now con sidered one of the leading labora tories in the East. The Ni^hl the Pump Failed Mr. Jeffee remembers soni rough times and some good time on the way up — and some humor ous ones. too. In the 1600 Broad way Building, the laboratory wa located directly over the famou NTG night club and couldn't ob tain permission to run a sewer liii' through the premises because 0 the elaborate decorations of th night club. As a result, the lab wa required to use a sump pump t( draw off the waste fluids overhead^ This worked pretty well until oni night the sump pump conked OU' and the ceiling suddenly gave wav to drip developer all over tht beautiful showgirls below. "Sinci then, we've learned to have doubli pumps for any emergency." Sail' .ieffee says. He remembers when Idmn' sound first appeared. The Victot Animatograph Company, whicl' was one of the first companies |i originate 1 6mm sound projector^ had a service which made Kinin' sound tracks from 3.'imm originals' To encourage 16mm sound films' which he realized would be ari important advancement for the inJ dustrial and educational film in-; dustries. Mr. Jeffee pioneered i service for re-recording the sounc^ track which he offered his custom mers free of charge and recouped his duplicating costs with a surcharge on each 16mm print. De\el()|)cd T\ Film Printer When television first became imminent. Mr. Jeffee developed ar "octette" printing machine whicH produced eight 16mm prints si-l multaneously from a 35mm negative thereby saving wear and teat on the original optical negative.' This proved to be a boon in processing TV commercials and is stilf considered one of the more important advances in tlir laboratory field. In 1949. Movielab was faced with a problem of moving from' its location at the 1600 Broadway Building, which had been sold. As ' ihere were few places in town. 58 BUSINESS SCREEN MAGAZINE