Sid Etherington

Forename/s: 
Sid
Family name: 
Etherington
Work area/craft/role: 
Industry: 
Interview Number: 
151
Interview Date(s): 
11 Jul 1990
8 Aug 1990
10 Oct 1990
Production Media: 
Duration (mins): 
300

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Interview
Interview notes

behp0151-sid-etherington-summary

[This interview contains some excellent detailed information about laboratory practices, problems and associated matters.]

SIDE ONE

Born St Margarets, Middlesex, educated locally. Father owned cycle/electrical shop and wanted him to go into insurance. His elder brother got him an introduction to Gerry Schwarz, Head BIP Labs. Started work in the labs negative department at £2 10 shillings a week [£2.50] in 1929. Detailed description of lab processes at that time, talks about Jack Cox, Claude Friese-Green and Jimmy Wilson. After four years made redundant, went to Gaumont Labs at Shepherds Bush. He talks about Jerry Alderson, Bert Craik, Phil Greenrod, Ernie Palmer, Charles Rosher and Bryan Langley.

SIDE TWO

He talks about the Bush, Bill Girdlestone; joins the union and becomes active, helped process Gaumont British News. He took over sensitometric control and by 1945 he was earning £8 15 shillings [£8.75] a week.

SIDE THREE

He talks about problems of stock consistency, manufacturing faults in Kodak Harrow stock. In 1950 when the Bush closed, he moved to Technicolor, where he went to Negative Control. He talks fondly of his relations with Leslie Oliver and his own union activities.

SIDE FOUR

He goes back to talking about Sensitometric Control at the Bush, of taking a course at the Polytechnic. He then returns to talk about Technicolor. He was asked to take over as shop steward, he talks about his dealings with Leslie Oliver over holiday pay for shift workers, about the Lab negotiating committee meetings with the FLA.

SIDE FIVE
He then turns to technical details about the making of dupes and about rigid formula systems. He then deals with the technical details of processing and the dangers of chemicals.

SIDE SIX

Eastmancolor and its early problems, ‘backing’, internegs, aerial dirt etc. He talks about the great spirit and relationship of the staff to one another. He then goes on to talk about the problems of the various formats’ (35mm, 65mm and 70mm) colour balance problems. The necessity for precision and about processing B & W [?] soundtracks.

SIDE SEVEN

Special Effects Department. He talks about the purchase of Arriflex developing machine from MGM Elstree, and its problems and the waste of money buying a 16/35mm Debrie machine, both lots of equipment quite unsuitable for Technicolor needs.

SIDE EIGHT

He talks about people.

[END]

Transcript