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Talent. J3909000
. . . and Studio costs . . . $403,000; Production staff . . . $275,000;
Sets . . . $ 242,600 ; Story . . . $143,500; Location . . . $86,500 . . .
Can you afford to risk it all oa less thaa Eastmaa films ?
More than anything else except creative skill, film is crucial to quality in movie¬ making. Isn’t it a false economy, then, to attempt to save a fraction of a cent per foot on film stock which has less than Eastman quality? And doesn’t poor film quality jeopardize your entire invest¬ ment, even make talent look bad?
But total-picture quality doesn’t de¬ mand that you merely shoot on the best negative. There’s also the print stock to consider . . . and some don’t. It’s a great mistake— both from your point of view and that of your audience— to print on anything less than EASTMAN Film.
Look at it this way. Film— both neg¬ ative and print stock— must have consis¬ tent speed, uniform processing charac¬ teristics, dimensional stability, precision perforations and uniform slit edges. In the theater it must possess a long weartear capability for precision in projection, and in order to hold down costly print reorders. EASTMAN Films have all these qualities because Eastman’s engineering and technical facilities are unique. Fur¬ thermore, Eastman’s film specialists are always at hand to help you maximize production efficiency.
Everything considered, doesn’t it make good sense to use EASTMAN all the way ?
Motion Picture and Education Markets Division
Eastman Kodak Company
HOCHESTElt, V.l.
ATLANTA: 5315 Peachtree Industrial Blvd., Chamblee, Ga. 30005 404— GL 7-5211
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