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.
RKO Hillstreet — Los Angeles — RKO Theotres. roioa BT TECHWCOUW JOAN ^THE STORY OF ROBiN H°° D «« alec TV£ LAUNDER HILL MGB>Sxa*« Jl ' > ®w«ess ' TECHIHCOlOli IMANJARO^. “isStiSImw''’* rON)T£ .T 8 3! the snows of I KILIMANJARO Loew’s Theatre — Evansville, Indiana — Loew’s Inc. wmfap ft Pickwick Drive-In Theatre — Los Angeles — Pacific Drive-In Theatres. Arcadia Theatre — Philadelphia, Penn. — Merton and Bernard Shapiro, Owners. Rivoli Theatre — New York — United Artists Theatres. SEEKING LOCATIONS FOR COLOR BY TECHNICOLOR background, but the greatly increased traveling habits of the American people have made location work more complicated, according to Hal Fisher, Columbia’s loca- tion manager. Fisher, who has scouted locations in all parts of the western United States, says “Americans now travel around so much, especially in their own country, that they are quick to spot inaccuracies in a back- ground. Authenticity is especially important when you are shooting in Color by TECHNI- COLOR, for then you are dealing with ‘live’ backgrounds, as compared to the deadness of black-and-white. “With color it is possible to establish immediately the locale of your picture, and swing into the action without delay. Color gives you the opportunity to photograph at CONTINUED FROM PAGE TWO the start of a picture a setting which will cause the audience to say immediately ‘Spain’ or ‘Japan’.” Fisher cited Lone Pine, Calif., as a favo- rite location spot because of moss forma- tions in red, green and other shades. With the color camera, such a background may be used for scenes in different climates and altitudes. Southern California’s varied topography has one handicap — lack of green grass, he said. Even the Ruess “Unfinished Sym- phony” Ranch in the Malibu Lake region of Los Angeles County, much favored for lo- cation shooting, suffered from a long period of drought and was only recently restored by timely rains. “The great virtue of this location site is its similarity to country landscapes not only throughout the United States, but also in many other parts of the world, including England, France and Italy,” Fisher stated. Not only is the background itself a more complicated matter when shooting in color, but the human element as well. When the location department has turned up a site, there will be discussions which may also involve the producer, director, cinematog- rapher and technicolor color consultant, said Fisher. As there are differing tastes in color, such conferences are sometimes spirited. “You may find a location with a white house on it,” Fisher concluded, “and then find yourself with a cameraman who has a phobia about shooting white houses. So he’ll demand a location with a red or green house instead.” MARQUEES OF LONDON’S LEICESTER SQUARE THEATRES ACCENT COLOUR BY TECHNICOLOR Ritz Theatre Empire Theatre Warner Theatre TECHNICOLOR IS THE TRADE MARK OF TECHNICOLOR MOTION PICTURE CORPORATION HERBERT T. KALMUS, PRESIDENT AND GENERAL MANAGER