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Your
"stand-in"
at Kodak
Misname is Earl Kage. Hehasjustabout as many cameras and lights to work with as you do. As much studio space. As many headaches— maybe more. On top of his own, we give him our very special R&D problems. He accepts them — and a bottle of aspirin — cheerfully, then asks what our research scientists are looking for in a film that, as yet, has only a code name Now he goes into production: a modest epic, usually,
involving no more complicated a plot than "pretty girl reclines on sofa and smiles on signal."
Based on Earl Kage's contribution, the film may t>e made faster or slower, the dyes and couplers altered, the process varied. Naturally, he reshoots with the improved emulsion, either in the studio or on location, or both. By the time you use our product, you can be sure it's been perfected and thoroughly
put to the test. Obviously, we find It extremely helpful to have a working cinematographer around the shop.
Kodak knows where thecinematographer's needsare. Wherever possible, we put ourselves in your place. And we have a direct line to you through our motion picture engineers in the offices listed below. We think this gives us a sound business relationship: professionals working with professionals. EASTMAN KODAK COMPANY
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