It’s somehow fitting that Continental Film and Video Lab’s Kenneth D. Mitchell, COO/executive VP, and Glenn Newland, senior VP of operations and administration, were voted last year to serve on the Board of Film Florida. Similarly apropos was the naming earlier this year of Jim Hodges, Continental’s VP of sales and marketing, to the board of the Association of Independent Commercial Producers’ Florida chapter.
The involvement of prime Continental movers in organizations looking to benefit the overall Florida production/post community seems only natural, given the role that the company has played in its 35-year history to help the state attain a higher industry profile both nationally and globally.
In 1966, Capital Film Laboratories– the predecessor to what is now Continental Film and Video Lab– opened an 8,500-square-foot Miami facility in support of Ivan Tors Studios. Two of the initial projects they collaborated on were the films Flipper and Gentle Ben, which were both made into TV series.
Since those early days, assorted milestones have been reached. Capital was sold to its present owners, including E. Smith "Sandy" Jackson, in ’81; two years later, the company’s name was changed to Continental Film Labs to reflect a new beginning. In the late ’80s, Continental diversified into the video arena. The studio installed its first telecine suite, and the lab kept in step with advances in sound transfers, both optical and magnetic.
In ’91, Continental received its first Eastman Kodak Award for quality laboratory work– a recognition that Continental has attained annually ever since. Also in ’91, Continental installed PAL capabilities for film-transfer purposes due to the growing need to service the European market. In ’92, Continental branched out further with the opening of an office in Orlando in order to help service clients in that region. Three years later, the Orlando commitment became a full-service lab for negative processing and video transfer.
Continental has completed construction of a new state-of-the-art transfer suite in Miami. Currently, both Miami and Orlando offer Ursa Diamonds. Continental Film and Video Lab has established itself as one of the oldest and largest film, video and negative processing facilities in the country, providing support services to feature film, commercial and TV production companies throughout the world.
Continental’s reach is both national and international. An increasingly important segment catered to by the firm is the Latin American market, including Central and South America, Mexico and the Caribbean. Of the 11 million feet of film coming through the lab each year, approximately 30 percent is from south of the U.S. border.
SHORT- & LONGFORM
Besides delivering technically superior film and video dailies (with processing that encompasses 16, Super 16, 35, Super 35, 65 and 70mm), Continental provides ancillary services such as a full complement of sound and screening resources, optical and magnetic sound transfers and projection services for interlock screening, and optical sound for 16mm or 35mm. Continental also does optical printing– color positive release prints, color master positives, dupe negative or inter-negative and a wide range of additional optical printing services.
Commercials have been a mainstay of Continental’s business. Some of the spot credits in 2001 thus far include Apple Computers for House of Usher Films, Santa Monica; Coca-Cola via Traktor Films, Santa Monica; Dr. Scholl’s for Atlas Pictures, Santa Monica; Halifax for London-based Tomboy Productions; Sears via Native Films, Miami; Macy’s Department Stores for The Artists Company, bicoastal/ international; Honda via Jet Films, Montreal; Nabisco/Nickelodeon for Squeak Pictures, Los Angeles; Pepsi Venezuela via Steel Films PDNS, New York; and BMB-Ariola for Renaissance Films PDNS, Germany.
Earlier Continental endeavors include commercials for such advertisers as Disney, The Florida Lottery, Colgate, Memorex, Universal Studios, American Airlines, Club Med, Oil of Olay, the U.S. Navy, Goodyear, Gerber Baby Food and the National Basketball Association’s Miami Heat.
As earlier alluded to, Continental has also made its mark in longform. Citing the company’s contributions to Cocoon and Gung Ho, two films he directed, Ron Howard stated: "The quality and service of Continental has continually made our work easier and better, and the personal attention was much appreciated. I look forward to working with Continental again."
Cinematographer Patrick Cady noted that Continental "was an important part of the creative process" on the John Sayles film Sunshine State. "You allowed me to approach dailies the way I wanted, adapting to my style," said Cady in reference to Continental. "Your quick response to needs put my mind at ease. Continental was a valuable partner. I have in John Sayles a director who couldn’t have been happier."
"The dailies were wonderful, as well as the lab’s willingness to communicate with the production staff," assessed DP Lajos Koltai, ASC, of his experience working with Continental on The Maddening.
Continental has also serviced such notable features as the Martin Scorsese-directed Cape Fear; Problem Child II for Universal; True Lies for Warner Bros.; Buena Vista’s The Specialist, The Jungle Book and Miami Rhapsody; Columbia Pictures’ Bad Boys; and the James Bond movie Live and Let Die.
TV program endeavors for Continental include FOX’s Fortune Hunter, BBK Productions’ Swamp Thing, Columbia TriStar TV & Distribution’s Sheena, and the ABC Movie of the Week Family Reunion.
However, given all the big-ticket work in which Continental has been involved, perhaps the most notable and gratifying projects are in the pro bono arena. For the past seven years, the firm has donated processing and services to "Alianza"– also known as The Alliance For A Puerto Rico Without Drugs– a nonprofit coalition of private companies formed to help reduce and discourage drug use among the youth. The organization has bestowed its Appreciation Award upon Continental for its staff’s efforts.
Continental’s facilities in Miami and Orlando also do between 15 to 20 PSAs annually to promote worthwhile causes such as cancer prevention, intervention to break the cycle of child abuse, and public awareness campaigns tackling drug addiction.
GEAR & MARTY
Continental’s Miami operation has an equipment inventory that includes the daVinci 8:8:8 with "Power Windows" option and "Edwin" option in Y-Front; another daVinci 8:8:8 with "Power Windows"; a Cintel URSA Diamond Y-Front telecine; a Cintel Digi-IV 4:2:2 telecine; a DVNR 1000 noise reducer; Filmline ECN 35mm-16mm; Filmline ECP 35mm-16mm; the Allen ECN-ECP 70mm; and digital Betacam, Beta SP, ?" SP, SVHS, VHS and DAT audio.
Among the resources in Orlando are the Cintel URSA Diamond telecine, daVinci 8:8:8 with "Power Windows," Filmline ECN 35mm-16mm, and digital Betacam, Beta SP, ?" SP, SVHS, VHS, and DAT audio capabilities.
But beyond the lineup of gear, the human element is what sets Continental apart. And in looking back on the company’s 35-year history, sadly, one key person is sorely missed. In ’70, Marty Puccio Sr. joined the company in control and timing. Eleven years later he became VP, sales and marketing– and more importantly, the most visible member of Continental’s team in both business and community relations. In ’99, Puccio suddenly passed away, leaving a tremendous void. His contributions to Continental and the Florida market were immeasurable.
Another key player at Continental, who remains a consultant to the company today, is Clay Kelty, who was hired as general manager in ’70 when the firm was known as Capital Film Laboratory. In ’81, Kelty became company president, overseeing tremendous growth, which included the addition of video inspection (enabling artists to view negative as they did work prints), the diversification into telecine and video dailies, the broadening into PAL for European markets and the launch of the Orlando facility. Kelty retired from Continental’s staff in ’95, after 25 years of service.
Independent TV commercial producer Ed McNamara noted that he’s known Continental since moving to Florida in ’79. "Even in the beginning, I used to ship my film up to New York," he recollected. "Sandy Jackson bought Continental and Marty Puccio asked if I would work at their lab. … Marty said they were ‘making a lot of changes.’ I told him to call me when the changes were in place. He did call, and since that day I have gotten outstanding service. They would do things for me that made me feel like I was their only customer. It’s as if I have my own personal lab. Any problems that arise, I have complete access to everyone from Sandy to the guy that takes the film from the drop box. They took my suggestions, which at the time were ahead of the mainstream– being the first [in Florida] to provide PAL, video dailies and now even DVCAM dailies. I continue to recommend them to my clients whether they’re located in the U.S. or internationally."
PRO-FILES
Among the many who make integral contributions to Continental and its clients are such key players as:
E. SMITH (SANDY) JACKSON – Co-Owner/Working Partner
With a superb financial background and an uncanny ability to analyze markets in many different fields, Jackson invested in the Capital lab in 1981. He has maintained the same philosophy throughout his career: Keep up with the best technology to serve the market, always respect the customer and produce the best possible results. That’s been the gospel that Continental has adhered to under Jackson’s management.
Born in Rhode Island, a graduate of the University of Pennsylvania and the Wharton School of Finance, Jackson began his career as an investment banker at Kidder Peabody in New York. His professional life began to take off and he moved to Reynolds Securities in the corporate finance department, also in New York. He and his family relocated to Atlanta in ’73, responding to an offer he "couldn’t refuse" from Landour Associates, to be a real estate consultant.
Jackson brought his expertise in finance and his understanding of markets to the film business, putting capital into Capital and helping it make the transition to Continental. Today Continental stands three-dimensional due to Jackson’s hands-on involvement, solid work ethic and the quality product the company delivers under his direction.
KENNETH D. MITCHELL – COO/Executive VP
Mitchell’s leadership ability, easygoing manner and superior technical skills in evaluating film to tape have led to recognition throughout the East Coast.
A graduate of Middle Tennessee University specializing in radio, TV and film, Mitchell found his love in the area of technology. He landed his first job at local TV in Nashville. After three years he realized that he needed more challenges, and worked his way up the ladder at some of the top postproduction facilities in New York and Miami, finding his specialty: telecine.
In his 16-year career, Mitchell has worked in every aspect of the visual entertainment business, including feature films, longform television, commercials and music videos. His skill and reputation as a colorist have allowed him the privilege of working on high-profile projects with NBC, VHl, ESPN and The History Channel– as well as on films including All About the Benjamins for New Line Cinema; Striptease and Bad Boys, both for Columbia; and In the Company of Men for Atlantis Productions. Mitchell’s indelible style has proved successful on critically acclaimed television movies including Miss Evers’ Boys and For Love and Country, both for HBO. His endeavors in the ad arena include spots for such clients as Turner Productions, the 1998 Goodwill Games and the Atlanta Braves.
With his considerable technical expertise in the field of video, combined with his pleasing way with people, Mitchell was named COO/executive VP for Continental, overseeing video operations as well as administrative operations for both the Miami and Orlando facilities. He has been astute in evaluating film-to-tape needs, and in negotiating the purchase of the proper equipment.
GLENN NEWLAND – Senior VP of Operations & Administration
Expert in implementing and executing plans that call for the progressive design and maintenance of a film and video lab, Newland has ensured continued growth and success in Continental’s future.
Upon graduating from Webster University in St. Louis, Mo., majoring in film and video, Newland took off for California, where he felt he would have his best chance to break into the business. His youth, ideals and love for film landed him a job at Monaco Labs in San Francisco.
"When they say, ‘I started from the ground floor and worked my way up,’ in my case it was true. My first job at Monaco was mixing chemicals for developing film. From there I worked my way up the ladder and eventually entered management," recalled Newland.
His inquisitive nature proved to be one of his greatest assets, as reflected in his accomplishments at Monaco, which entailed maximizing efficiency in feature film handling, and instituting progressive policies and procedures.
Newland’s reputation in the U.S. film lab community grew steadily and led to his being lured away by Continental, where he found a new home as operations manager, eventually becoming senior VP. His technical knowledge and sense of organization and diplomacy have positively impacted Continental, both in its day-to-day operations and in the analysis and implementation of services for challenging projects.
VICKI AMOROSI – Director of Operations-Orlando
Amorosi has literally grown up at Continental. She began her career almost two decades ago as a receptionist right out of school. She moved up the ranks to eventually running the customer service department in Miami. Five years ago she was offered the same position upon the opening of Continental in Orlando, one of the company’s most strategic and important moves.
Much of the success of Continental-Orlando can be attributed to Amorosi. Her amicable style, professionalism and hard work have helped build the company into the success it is today.
"I love working at Continental. I take considerable pride in the company and I’m surrounded by a terrific, professional staff who continually make my job a pleasure," she assessed.
"My colleagues and I rest easy knowing Vicki is handling our work," related Mike Stevens, co-producer of the TV series Sheena for Columbia TriStar TV & Distribution. "She is a total ‘pro’ in running the operation in Orlando. Her word is as good as gold. My series is in good hands."
