American Cinematographer - February 1988 - 88

r

The

Light

library practice to the present. Any client
utilizing stock footage must pay a minimum
fee for the use of ten feet of film per
editorial cut, no matter how little film he

On Her Face

actually use in that cut. As Hazel
Marshall recalls, "Around 1940,1 was feeling

may

a treasure chest of
historical tidbits and anecdotal gems,
worth reading by anyone who

"Walker's book is

loves

guilty about sending out such small bills for
the

-Robert Osborne

Light

on

Hollywood,
Her Face"

no stan¬

industry,
although Abram Stone's library did, appar¬
ently, charge for a 25-foot minimum.

CA 90078

Studio stock shot libraries were
also maintained at Republic, Walt Disney,

M-G-M, Universal, Warner Bros., and Co¬
lumbia; the last three remain active, under
the guidance of Jack Rush, Martin Fox and

Name

Address

Barbara Goetz. Stock footage from Columbia
features is handled by the Warner Bros.

City
□

three feet of film at $2.50

Forties, there had been
dardized minimum cut within the

$19.95

P.O. Box 2230,

or

to the

Hollywood Reporter

The ASC Press
"The

of two

per foot. And the accounts department was
raising cain about paperwork involved cost¬
ing more than the film was bringing in." Prior

film lore."
The

use

State

Library, while the Columbia Library handles
footage only from that studio's televi¬
sion productions.
With the demise of Republic
Pictures, its stock footage was handled for a
number of years by the EVC0 Film Library
(founded in 1962), and subsequently taken
over by the CBS/MTM Film Library when
Janet Meyer became its librarian in the mid
Sixties. CBS/MTM Film Library, now super¬
vised by Phil Podley, also has the out-takes
from two David 0. Selznick productions, A
Star Is Born and Nothing Sacred. With her
husband, Norman, Janet Meyer presently
operates the Cameo Film Library, which
represents stock footage from Tri-Star, NBC

Zip

stock

Payment enclosed □ Charge my Visa

□ Mastercard

Card #

Exp. Date

Signed
Allow 6-8 weeks for

delivery U.S. funds only.

$2 Postage (Foreign $2.50) California tax $1.20

PRODUCTION BAGS
DESIGNED BY PRO'S

Productions, Viacom, and others.
Hazel Marshall points out that
stock footage libraries came into their own
with World War II, and the shortage of raw
stock. "Anywhere you could save ten feet of

STANDARD SIZES
FOR EVERY APPLICATION

negative stock by using somebody else's
establishing shot of City Hall, say, you would
go with it."

The

professional way to organize and
pack all kinds of s
that
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that won't fit

A further resurgence in the im¬

portance of stock footage libraries came in
the Fifties with the ready availability of
16mm footage. Prior to that decade no one
shot film just for its possible use as stock

easily into
other

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ware,

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86

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footage, but with 16mm that became a
viable proposition. The Lem Bayley Library,
consisting entirely of 16mm film, was
founded in 1953. Actor Jon Hall founded his
company,

the Torrejon Film Library, three

years later. Today, two major stock footage
libraries continue to offer a substantial
collection of footage which they have shot
but in 35mm - Larry Dorn and Carl

-
American Cinematographer - February 1988

Table of Contents for the Digital Edition of American Cinematographer - February 1988
