The Cine Technician (1953-1956)

154 THE CINE-TECHNICIAN November, 1953 The General Council DeeUles . . . MEMBERSHIP RECORDS: General Council lias considered the resolution passed at the last A.G.M. It will be remembered that the proposals in the resolution were based upon a census of the membership to be made annually. General Council has decided to prepare and issue the appropriate form in conjunction with the next Annual Report. FOREIGN TECHNICIANS: A meeting has been held bei w.i n representatives of A.C.T. and B.F.P.A. at the suggestion of the B.F.P.A., who called for a review of the quota covering Foreign Producers and Directors. B.F.P.A. stated that their membership had increased, consequently there was a likelihood of more AngloAmerican productions being made during the current year. These productions would probably be using top American stars, but it was impossible to get these without American directors. Also the question of specialised 2nd feature production was discussed. A.C.T. had some sympathy with the B.F.P.A. case and after discussion it was suggested an approach be made to the Ministry of Labour to fix an over-all quota for the industry, meanwhile that the quota should remain at 10 per cent. DUBBED FILMS: The Sub-Committee set up by the General Council to consider this question submitted its report. From this it was clear members have lost work by reason of foreign films being dubbed into English abroad. General Council therefore decided that A.C.T. s policy remain firm and all the appropriate organisations and companies be informed. % LONDON TRADES COUNCIL: It was noted that in the interests of unity the London Trade Union Movement should dissolve the old London Trades Council. General Council agreed to put on record A.C.T.'s appreciation of the sterling work this Council has done for London Trade Unionists since its inception, and that at a later date it should discuss the question of affiliation to the new London Trades Council. CONFERENCE INVITATIONS: Among several received was one from the Socialist Medical Association, who will be holding a conference on " Safety, Health and Welfare." As there were many important points to be discussed at this conference regarding industrial injuries, and application of various factory acts, it was decided to send delegates. E.T.U. EDUCATIONAL SCHEME: This Union has now fixed dates for their proposed Trade Union course at Esher College. Two members have indicated their readiness to take advantage of this course; it was agreed to nominate them for places in the school. INDUSTRIAL SAFEGUARDS: The J.I.C. Sub-Committee failed to agree a scheme to protect technicians from producers who are unable to meet their commitments. Amongst the proposals discussed was a deposit scheme along the lines of that operated by Actors' Equity in the theatre, but no formula acceptable to the B.F.P.A. has been found: it was. therefore, decided to make a very strong protest to B.F.P.A. SIDNEY BOX PRODUCTIONS: A dispute, which arose at Pinewood over the employment of an Assistant Continuity Technician, has now been resolved at local level, and the company have agreed to take on the Ceylon location an Assistant Continuity. It must be emphasised that a satisfactory solution was reached due to very strong action by our members at the studio concerned. This is an example that providing technicians on the job are prepared to stand firm the hands of the General Council and Executive Committee are strengthened. It is interesting to note that whilst there are attacks made on Trade Unions accusing them of restrictive prac tice . the General Council agreed to allow one companj to make alternative arrangements that if bad weather prevents .shouting on night exteriors, alternative scenes could be shot cti the stage. STARTING DATES AND PRODUCTION REQUIREMENTS: Arising from the last A. cm., wherein a resolution was moved asking that the B.F.P.A. be approached to give this information, they have agreed to circulate their members with a request to do then utmost to comply. MINIMUM SOUND CREWS: The resolution on this question from the Sound Section, and endorsed by General Council, had caused several letters to be written to A.C.T., for example, British Lion, stating they could not accept the decision as it is contrary to the agreement between this Union and B.F.P.A. it was agreed that suitable replies be sent informing companies that raised questions, that we shall continue to honour agreements made. STILL CAMERMEN'S SECTION: A formula has been agreed between the Art Department and this section regarding " Reference Stills." also the General Council recommends that a Still Cameraman be employed as part of the minimum crew on all feature films where Stills are required. Cameraman on Everest — cont. cameras with him on to the Lhotse face and South Col, and covered an absolutely vital phase of the expedition under the most awful conditions of cold and exhaustion. I do not think he has received the credit that is due to him for this work. People are always asking me whether the sky at those high altitudes is really as blue as it appears in the film. Of course, there is an enormous amount of ultr,a-violet in the light, but that was taken care of by the 2B haze filters. The truth is that if you look straight upwards the sky is in the daytime almost jet black, becoming dark blue as you look at the tops of the ridges to either side. I used special snow goggles with colour-viewing Alters — neutral density — instead of the pink glasses used by other members. The pink glasses are supposed to generate a more optimistic outlook — mine gave me beautiful surroundings in the sunshine, but in a snowstorm I could hardly see where to put my feet! AT last came the day of success. By a subterfuge I was able to get the shots of the news being broken to John Hunt, and so secured a climax to a wonderful event. But you can all imagine that I myself received the news with a certain sinking feeling in the stomach, because I realised that I had not been filming just one more Everest expedition. but an epic — and if I had slipped up I should never live it down. Because you know almost the worst feature of expedition work is the nerve strain you get from never seeing a foot of film till you get back. You can imagine that this time I sealed the film very carefully indeed for the return, but I did not enjoy the celebrations for our success until I had got back to London and seen the rushes. After that I could relax for the first time since we started. Looking back now I feel that I should have asked for a lot more — my own Sherpas, tents and oxygen — but then would I have got them? The answer is probably, yes, if we had known in advance that this expedition would be crowned with success. CINE TECHNICIAN is published monthly, price 6d. You can get twelve issues for 8/6d. post free