Business screen magazine (1946)

attention in a context with which the worker can icicntit'v, we've won half the battle. Reviewed for accuracy When completed, our films are shown to a review board carefully selected from experts in the field. If questions are raised, we revise. For example, we had to throw out all the footage we had prepared for a safety film because the participants — kitchen workers — were wearing rings and wrist watches, a real taboo to safety experts. Another time we had to replace an audio track because we'd identified an obscure meat bone by the wrong name. Actors are employed for the scenes inxohing dialogue, such as those demonstrating courtesy or the proper way to take an order. For kitchen work, however, we usually use European-trained professional chefs and cooks. It simply would take tot) much time to teach an actor liow to use a deep fat fryer or carve a roast, for example. The impact of showing real people at work cannot be overestimated. We've used a variety of real-life locations, including distinguished hotels and restaurants, cafeterias, trade schools, and hospitals. One of our favorites is the famed Century Plaza Hotel in Los Angeles, which provides us with sets of some of the most modern and fully-equipped kitchen and hotel facilities in the country. Throughout production we use the Eastman Color System. All our original footage is exposed in 16nmi format. When color fidelity is especially important, as with food footage, we use Ektachrome Commercial Film, 7255. When we have a little more latitude regarding color fidelity, such as for our film on preventing waste, we use the "faster" Ektachrome EF films. They permit us to move more quickly and to work with less lighting equipment. Either way, our film is processed and printed by Consolidated Film Industries in Hollywood. The cam era original is transferred to Internegative Film, 7271, which produces economical release prints with consistently sharp images, fine grain and faithful color rendition on Eiustman Color Print Film. About 80 percent of our orders are for 16mm prints, but demand is increasing fast for the continuous loops of 16mm and super 8 film, which we sell in cartridges. In all cases, the sound is recorded on masinetic strips edge-coated on the film. Small format portability While schools and libraries, in particular, are still major 16mm users because of the projection equipment they own, we feel the smaller format films along with regular-screen projection equipment have definite advantages for individualized training. Workers can even view them in fully-lighted working areas during their spare time — on coffee breaks, for example. Training directors particularly like the new super 8mm attache case projectors, which can be easily transported from one location to another. The 8mm and super 8 cartridge equipment permits easy handling and repetition of our films. Thus, we encourage such use by our customers because the information recorded on film is so compressed that trainees can benefit from repeated re-runs. They pick up a little more information each time. Printed study guides The training films produced by National Educational Media, Inc., can be used independently, but each is designed for use with a printed study guide. Each guide contains a programmed self-examination which stresses points made in the motion picture. This we feel, produces maximum learning retention in a carefully structured program ol multi-media education, which is fast becoming a generally accepted tool for food service industry education. On location in the kitchen of the Century Plaza Hotel in Los Angeles, film crew photographs professionals at work. OCTOBER, 1970 39