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KRON: News Highlights (1958)

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  • KRON 15.mp4 (248.80 MB – MPEG4 video)

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What a wonderful suprise coming upon this website and seeing my father's footage! I followed in his footsteps and spent most of my life working in the film industry in a variety of capacities. My father and I traveled around the world producing documentaries together and those were the best of times in my life. I accompanied my father on many news stories when he worked for NBC Nightly News with Huntley/Brinkley, as their West Coast Cameraman, and thereafter as  KRON TV s first News Cameraman working with Tom Franklin, KRONs first TV News Reporter, and Dale McGill thereafter.KRONs office was located at the Chronical Building at 5th and Mission a few feet away from Herb Caen's desk. I recall the many times my father would have me walk in the backround or foreground while he was shooting a scene and I would watch myself on the Channel 4 evening news. I remember the final crossing of the Ferryboat to San Leandro and the sad emotion it evoked in me as my father and I rode many Ferryboats during my younger  days and I was very aware it was the end to an era on SF Bay. Among the many stories my father filmed for KRON, I distinctly remember Jack Lelane swimming, handcuffed, from Alcatraz to the South End Rowing Club at Aquatic Park and how amazed I was that Jack could do that. Cameraman of this day, would be amazed what was required of a Cameraman, both physically and otherwise, to capture news events and shoot film in those days. My father had a"State of the Art" 16mm Auricon Camera with an Angeniux 12 to 120 zoom lens and it required a physically fit camerman to handle the incredible weight as such. Magnetic Striped, 16mm film, was a real step up from optical sound tracks regarding sound fidelity, but required a sound man with a heavy Audio Mixer strapped over his neck to insure proper modulation during each take. The 16mm, Black and White  film stock, (Plus X @120 or Tri X@ 400 ASA) had a high enough exposure rating that lighting wasn't much of a problem normally. When TV went to color,later on, the ASA was 16 daylight and 32 tungsten, and you had to dump a hell of a lot of light on the subject to obtain an acceptable exposure. The film had to go to one of two Labs in SF for processing and editing was extremely labor intensive. I have been using a Canon XL1-s Mini DV format Digital Camera for the last few years and editing the footage on a PC using Adobe Premier. MAJOR DIFFERENCE !!! Well then, having said all that, it is 6 AM in La Paz, Baja California Sur, and time to call it a night. My gratitude to Leonard Library. and San Francisco State University.for archiving my father's work from many years past ! I could go on for hours recounting my life as a "News Brat" and my own career thereafter, but I won't try your patience. Hope you enjoyed the read !

Warm regards to you all,

Charles "Skip" Stanyan                          

April 21, 2011

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