American Cinematographer - February 1988 - 86

LONDON INTERNATIONAL FILM SCHOOL

footage had the privilege of using it as a
rough work print in combination with his
rushes and other material. When the final

editing

was finished, this scratched print
returned to the library with paper
markers indicating the actual footage the
director or editor wanted to buy. These

was

lengths were then matched to the negative
and a duplicating positive was delivered to
the purchaser, who had a duplicate negative
made and inserted it in the complete pro¬
duction negative."
Then, as now, prints and nega¬
tives are matched through the key numbers
on the edge of the film. "Scratched prints"
are

Hollywood,

Athens, Tokyo, Lagos, Rio, Tel-Aviv, Reykjavik, Sydney, Toronto,

Geneva, Hong Kong, London -just

some

of the centres worldwide where

our

graduates

are

Students from over thirty different countries come to the heart of London's West End to
take our two year Diploma Course. Experienced professionals teach all aspects of film
-

covering studio feature and location documentary productions in 16mm and

35mm.

Teaching of scriptwriting, direction, camerawork, sound recording, editing etc. ensures a
high degree of professionalism. And it must do - Governments, T.V. Networks and
Educational Foundations have been sending personnel to us for training for over twenty
years.

This intensive Course, demanding hard work and committment, produces over twentyfive films each term - many students working on more than one production.
There are fresh intakes in January, April and September.

extensively on films of the 20s, 30s and 40s
which have utilized scenes from other, ear¬
lier productions. However, it should be
stressed here that stock footage is not film
used in earlier productions but rather film
shot for but not used in an earlier feature.

WMD6
CRYSTAL SYNC RECORDER
a

remanufactured version

of the Sony WM-D6C Walkman
use as a

for

location sync recorder. Hie

unit features

internal 60hz

producer

miliar with the term.
William K. Everson has written

Contact: The Administrator, London International Film School, Department AC2
24 Shelton Street, London WC2H 9HP, England. Telephone (London) 01-836 0826

We offer

However, most producers can decide if they
need a specific shot by looking at a library's
viewing print, and based on that they will
order negative. Because it is industry prac¬
tice for a library to charge a license fee once
a negative is pulled and released to a client,
"scratched prints" tend to be used less and
less, and many laboratories today are unfa¬

making films.

making

generally utilized today if

needs a workprint to determine if a stock
shot will work when cut into his production.

50hz

crystal sync pulse generator, com¬
plete resolving capabilities and is
available with a full range of options.

Strictly speaking, films such

Isle of Love

from 1922, which re-edits footage from a
feature of two years earlier, An Adven¬
turess, to emphasize the presence of

Rudolph Valentino, is not an example of the
use of stock footage. The most important
criteria for film to be culled and used as
stock footage is that it must not include
actors or actresses in the scene. Any foot¬
age with recognizable individuals in the shot
is deemed "production," and would not be

acceptable to a stock shot library. Film in a
stock shot library cannot generally be re¬
leased for use until at least one year after
release of the film from which it
some cases,

special 59.94hz version allows the
same flexibility of double system film
sound to

now

be married with con¬

ventional location video

STEflDicflm
OWNER/OPERATOR

Rusty Geller
805-498-8844

(So. California)

production
techniques. A unique video resolver
provides for transfers between audio
cassette and video tape and for sync
locked playback in the

field.

The Film Group
P.O. Box 9

203-527-2972

Wethersfield, CT 06109 U.S.A.

been

came or, in
until the original production has

given

a network television airing.
During the first half of this cen¬
tury, independent producers had to rely for
stock footage on only one major source, the
General Film Library, operated by Sidney

Kandel and Morris Landres. Because he had
much footage - some 20 million feet -

available to the independent producer, Landres was dubbed by Motion Picture Herald

"the Mayor of Poverty Row." Founded in
1920, with offices in both Los Angeles and

American Cinematographer - February 1988

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