General Information

Serial #

N/A

Part Number

4

Total Parts

6

AKA

N/A

Patents

N/A

General Description

Metal rod

Dimensions

Note: These reflect the general size for storage and are not necessarily representative of the object's true dimensions.

Length

27.2 cm

Width

5.1 cm

Height

1.6 cm

Thickness

N/A

Weight

N/A

Diameter

N/A

Volume

N/A

Lexicon

Group

Photography

Category

Miscellaneous

Sub-Category

N/A

Manufacturer

AKA

NFB

Country

Canada

State/Province

Quebec

City

St-Laurent

Context

Country

Canada

State/Province

Quebec

Period

1960-1969

Canada

For decades after its founding in 1941 the National Film Board was Canada’s largest centre for the production of films, the training of filmmakers, and the development of new film technology. Unlike the CBC, much of whose production was broadcast live, recorded on video tape, purchased from other sources, or limited to ephemeral news films, the NFB was dedicated to the production of original films for exhibition largely in the film medium. Due to its freedom from commercial pressures, its large permanent staff and its possession of its own studios and laboratories, the NFB was able to maintain high technical standards and encourage technical and stylistic innovation by its staff. From the early 1950s through the early 1960s, the National Film Board enjoyed a "golden age" with a string of award-winning documentaries and innovative animated films. Expo 67 and the NFB's showcase Labyrinth pavilion marked the apogee of the institution's political and financial fortunes. By the end of the 1960s, however, there was growing public and political disenchantment with the NFB over unsuccessful forays into feature films, a number of controversial documentaries and a decline in its output of educational and sponsored factual films. Over the next two decades, the federal government promoted the development of a commercial film industry by taking away the NFB's lucrative sponsored work (done for government departments) and providing grants and tax incentives for privately produced feature films. Henceforth the Board would increasingly limit itself to research and experimentation, the training of young filmmakers, and provision of technical and distribution services for independent producers. Board staff produced a steady supply of award-winning documentaries, dramas and animated films through the 1970s and 1980s, yet its role within the Canadian film landscape was steadily diminishing. In the last two decades, it has sharpened its focus on “social issue documentaries, auteur animation and alternative dramas” and has brought its distribution system into the digital age. Increasingly, its films are realized through a diverse range of community-based projects, programs for emerging filmmakers, and joint productions with independent producers and directors.

Function

Possibly used to hang a counterweight at the rear end of the camera crane.

Technical

This is a compact, counterweighted crane, constructed of aluminum and designed by NFB camera operator and director Eugene Boyko. The National Film Board was a pioneer in developing lightweight, mobile equipment for documentary and television film crews. The crane could be mounted on a standard tripod and moved by the cameraman up and down or through a complete 360° pan. Balance and steadiness of movement were ensured by a counterweight filled with either sand or water. This device obviated the need for a large and heavy dolly and could be used in cramped locations like house interiors where most commercially-available equipment could not go.

Area Notes

Unknown

Details

Markings

None apparent

Missing

Appears complete

Finish

Silver-coloured metal rod with a dull grey pin through one end.

Decoration

N/A