Business screen magazine (1946)

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A Look Inside Eastern Europe Film-Making Al Bruch reaches for his passport at Checkpoint Charlie as he prepares to enter West Berlin. Having recently returned from an exchange visit to five film studios in F.urope, four of them behind the Iron Curtain, we found it most interesting to see that producers in Hurope make motion pictures in much the same way we do in this country. However, they stress the large studio concept, whereas in the U.S. we are gradually getting away from huge sound stages and massive studio lots. When we accepted an inxitation to join a group of film and recording executives — as part of a Citizens Exchange Corps visit — it seemed like an excellent opportunit\ to find out how the production methods of our European counterparts compared with those in the United States. Our visit was a reciprocal one based on hospitality our C'EC leader had given to Soviet audio specialists in the fall of 1969. (John Woram. the CEC leader, is a recording engineer for a major New York record producer). The first studio we visited was Mosfilm Studios in Moscow, where wc received a warm reception. In order to brief us thoroughly, the studio showL'd us a b w Umim picture that explained some of the highlights of Mosfilm's motion picture production. We lookeil at several reels of their aw.ird-winmng film. Hw/ anil I'viicf. which was filmed in Russian color negative and printed on their color positive. The few reels we saw indicated that it was an excellent production. During our visit to .\1osfilm. our hosts wjrc Fyoder F. Provorov. Director of Photography. Michael Z. Wysotki. Deputy Chief Engineer, and Alexander A. Khruschev. Sound Technique Division Director. They conducted us on an informative tour which ended with a very pleasant discussion in their offices over coffee and cognac. Mosfilm Studios employs about 5.000 people, and has a sound department comprising .^00 people. The studios produce roughh 25 pictures a year in b w and color, and print .^5mm and 7()mm release. Pictures to be released in 70mm are also shot on 7()mm negative we were told. An average of 25 pictures a year from all foreign countries are dubbed into Russian. Il'x a Mad. Mad. Mad Haild has recently been dubbed, and Mosfilm was currently in the process of negotiating the rights tor H'c.sl Sid.Sinry. which they were looking forward to as being a very successful Russian release. All of Mosfilm's camera equipment and sound equipment is manulactiired in Russia. The\ did have .i few Moilel C" Bell X: Howell pnnt.Ms in the laborators and had recenlly acquired a vacuum tube Ha/elline color anaK/er. One thing ol particular interest to us throughout Russia is that in all the studios the sets are very well constructed and some arc very ornate. We saw some very beautiful replicas of p.ilaces. and their actual production its.-lf is quite elaborate, with big casts and large crews, similar Lab executives finci Russian; mix both olcJ and new ways in film procJuction. by ALFRED E. BRUCH, Presiden and JACK J. CLINK, Sound Directc Capital Film Laboratories, Inc. to our productions prior to World W II. It is obvious that they do not p^ the high salaries that the motion pi lure industry in the L.S. has becoi accustomed to. and thus they are al to continue with these methods studios as wjll as the theatres are state owned. In Leningrad our group visited film Studio wh.re we were very CO dialh received by Josif N. Alexand( Chief Engineer. At the time, thi WL-re filming a picture of Franz Lis in Eastman color, which was heir processed in Budapest, as the Len grad laboratory was only equippc for .V^mm b w processing. While ll studio is not as big as Mosfilm, do.'s have seven sound stages an emploNs about 2,0(M) people. As lirrl was running out. we couldn't spi-n ; as much time on our visit to I.enlili as Mosfilm. However, we were take up to the optical as well as the camer department, and saw some of th equipment being checked out. and Ih design work being done on new equip . ment. Among the new equipment i manufacture is a remote ci>nlri»l c.im, era KH>m with T\' monitor and con Irol desk, nie t>[HT.itor sits ap.irt fron the Ixnim and operates the camer. and follows locus as well as con trolling motions of the b«.>om. l.enfilm produces appro\imatel\ 2 pictures plt year and dubs 25 foreig films in Russian. The dubbing tec nique is very sinul.ir to ours beloi> we auloni.ited it. Thev still use indi Milual liuips the same as we did be' 111 24 BUSINESS SCREErl