DuArt’s unique capabilities allowed it to offer extremely high quality 35mm blow-ups to independent productions and solidified the lab’s distinction as the home of independent filmmakers. Initially, everything was written in assembler language. This was before the days of Ethernet, and Fred designed a remarkable scheme based on twisted-pair optically isolated wiring. The next decade saw rapid developments in the technology of film and video that would forever change DuArt’s outlook. You are commenting using your Twitter account. Hello Doug, I found your article while researching the Rank-Cintel flying spot scanner. I bumped into Irwin Young, chairman of the board of DuArt in the hallway, and we struck up a brief conversation.
By the mid sixties, with DuArt offering full services in both 16mm and 35mm, color and black and white, negative and reversal processes to the motion picture and television community, the lab was in dire need of space to expand. Please fill out this field with valid email address. B y the end of the eighties, Rombex, now renamed DuArt Video, had become the largest telecine facility on the East Coast. So in the middle of recording take 12 of some scene from Seven Beauties , we took a break. At the end of their first decade, DuArt was enjoying a steady stream of business from the motion picture industry, despite the onslaught of the Great Depression. DuArt rolled out a vast array of similar projects such as the computerized transfer of Eastman Color Negative ECN directly to video using a Rank-Cintel flying-spot scanner.
Robert Smith, Longtime Executive at New York’s DuArt Film Labs, Dies at 88
DuArt’s ingenuity secured another decade’s worth of network news, while opening the possibilities for an industrial film market and independent productions. I started my own software company while still in the Du Art building.
The company has always supported young, up-and-coming filmmakers on low budgets, offering discounts and terrific technical advice. DuArt had come into its own. You are commenting using your Facebook account. Born in Albany, N. Leave a Reply Cancel reply Enter your comment here Therefore, Goetz decided to end his association with DuArt and move the Title Department to the competition.
It was a tremendous learning experience. DuArt’s leadership in the field lead to a major account with CBS Filmm and by the end of the fifties, the lab had achieved prominence servicing the greater television industry in New York.
You are commenting using your Twitter account. Smith spent some 62 years with DuArt, the film processing and post-production facility founded in in the penthouse of an automobile garage in Midtown.
Robert Smith, Longtime Executive at DuArt Film Labs, Dies at 88 – Variety
After grad school, producing and directing two quite forgettable documentaries and spending a year covering events like the U. Please fill out this field with valid email address. I found the challenges of compilers more exciting than the applications themselves, so I left DuArt to start my own compiler-writing company, Rational Data Systems RDS.
A memorial service is set for 11 a. While accepting the award, Lord celebrated what the representation in the movie meant for many. You are commenting using your WordPress. Email required Address never made public. InDuArt’s film lab had become the largest in New York. By the mid sixties, with DuArt offering full services in both 16mm and 35mm, color and black and white, negative and reversal processes to the motion picture and television community, the lab was in dire need of space to expand.
And when I did, who offered to rent me cheap office space and stay on as my first customer? Following the war, Gottlieb, Young and Goetz, began a second joint venture, this time a film lab in Toronto headed by Gottlieb, but in the midst of the post-war slump, the business floundered.
DuArt Film and Video
Whereas Gottleib developed extravagant tastes in the ensuing years, Young became the heartbeat of the lab – the operations partner responsible for the technical and personnel management of the whole operation. Initially, everything was written in assembler language. By the mid fifties, with Al Young ready for retirement, the day-to-day operations was passed onto his son, Irwin, longtime employee, Paul Kaufman and newly appointed Head of Operations Bob Smith.
A new direction emerged from Irwin Young, in his decision to introduce the industry to 16mm reversal dyart dailies, using 16mm Ektachrome and imported Agfa Gevachrome Print Film.
The reality of the early lab work was that it was messy and labor intensive, with much of bew process done by hand.
In the early thirties, with the help of Gottlieb’s connections, DuArt was able to garner the work on the era’s popular boxing matches at Madison Square Garden, a fast-turnaround process that predates the techniques used in later years for news film footage. Fred was a truly brilliant engineer, and his fil, about the efficiency of software and hardware design shaped my own work for the rest of my career. InRombex, DuArt’s video postproduction division, began operation with Richard Markus at its helm.
His experiences vilm him an omnibus grasp of chemical mixing, sensitometry, developing, exposure, film cleaning and repair, and printing.
Services including language localization production, digital asset management, audiobook production and 4K digital post production all add to the turnkey rilm approach at DuArt Media Services. During this period, the business was diversified to also include commercial work and early video-to-film gork, known as kinescopes, while maintaining its longstanding motion picture accounts.
Faced with the challenges to survive the film lab business, Al Young looked towards the industry’s next breakthrough to distinguish DuArt from his competition. B y the end of the eighties, Rombex, now renamed DuArt Video, had become the largest telecine facility on the East Coast. You will be redirected back to your article in seconds.
DuArt Film and Video – Wikipedia
As the bulk of the lab’s business revolved around the major studio accounts, Al Young also began a production business in the late thirties called “Movie Sweepstakes” to provide animated horse race trailers to theaters, a move to offset any slump in business from the major studio accounts. I was able to dabble in such esoteric fields as color correction, negative cutting and film chemistry.
He gave me fiom seven-bit output device for each digit, and I turned each segment on and off in software.