We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
535
52 Film Preservation 1993
Statement of Harrifon EUenthaw, Vice President, Boena VIsu Special Effects, Walt Disney Compaiqr
MR. ELLENSHAW: Thank you. First, let rae thank you for allowing us to be here. We take this very seriously, so trust that none of this is taken lightly. I will, in my remarks, tell you who I am, why I am the person representing Disney. But first I'd like to say, maybe somebody pointed out this morning that your logo is in color and will fade over a period of time [Laughter], just in case you don't know that. The logo every time Fve seen it so far has been in black and white, but it's very nice to see those rich colors.
That's the reason we're here today, every studio in town, as you can see by this panel. I won't sf>eak for them, but there is a certain commonality here, and that is that somebody at each studio is addressing this situation. So we all take it seriously. This is not an ad hoc kind of thing where somebody calls and says, 'Tou'd better get over there because they're talking about film preservation."
Fm a vice president of Walt Disney Pictures and Television. I'm in charge of visual effects there. It may seem a little incongruous that that puts me also in charge of preservation. However, if I explain to you my background it may make a little more sense. I began in the industry in 1970 as an apprentice matte artist. I went into visual effects. I followed in my father's footsteps, who also worked in the motion picture industry as did his stepfather, so there's a bit of a legacy there. So I have a background in films and an interest in films.
I remained in visual effects and I am still in visual effects today. I left Disney after a number of years and freelanced as a visual effects supervisor, working on films for many of the major studios in town-Twentieth Century Fox, Warner Bros., Paramount, etc. So I see a lot of similarities and I see some differences in how studios work. But the differences are very minimal.
When I was asked to take over visual effects at Disney three years ago, included in our task was to run a visual effects department and support the visual effects for various motion pictures coming from Disney, as required. Also included were theme park motion picture productions that are shown in the various theme parks of Disney. We also do trailers and titles. We also have a black-and-white processing lab, a very extensive one, more than one machine that does black-and-white processing, and blackand-white printing.
Black and white is very important in visual effects because when you do a visual effects shot of combining two elements, one element may be shot against a blue screen. As most of you probably know, to get rid of the blue, you have to go to a black-andwhite element that filters out the blue. So black and white-when it comes to making mattes, when it comes to making elements, when it comes to combining film-is a very