As Runes contributions to both Swedish cinema and indeed the international film industry itself spans over more than half a century, encompasses over 60 feature films, including numerous cherished audience favorites, as well as launching the super 16 format, championing the 3 perf 35mm format, being the CEO of a film lab, the Scandinavian representative of Panavision, Aaton and Cooke among others, and indeed receiving an academy award for his achievements they are somewhat beyond words.
The career and accomplishments of Rune Ericson FSF will be further remembered and chronicled on this website as well as elsewhere in the near future.
Our thoughts and feelings are with his family at this time
FSF The Swedish Society of Cinematographers
Read article about Rune published by Jon Fauer on his magazine FILM AND DIGITAL TIMES
The Early Years of Super 16 and How it All Started
20/august/2009 | by Rune Ericson
Lets go back 41 years to April 1966. I was 42 years old and had been working in the film business for 24 of them.
But first, as a curiosity – My work with film began in a lab where I processed 35mm black and white negatives on wooden bars which took 60 meter film each and then dried them on a big wooden drum. That went on for six months – before the old-fashioned lab was closed down. After that, I got a job as an assistant cameraman. I worked mostly on feature productions, but shot some documentary films and some commercials too. After the war ended, they were suddenly producing a lot more films and, back then, most were made in the summer. So there was always a shortage of film crews.
In the spring of 1946, the manager of Sandrew Film studios called me into his office and informed me that I would be working on a film called “Mästerdetektiven Blomqvist,” which was to be directed by Rolf Husberg. OK, I said, who’s the DP? The manager looked me deep in the eyes and said, “You’re going to shoot that film.”
I can still remember how my heart thumped and my face grew pale (I was only 22).
The manager could see I was shocked, so he placed his hand on my shoulder and told me not to worry – the director had once been a cameraman himself. (I later learned that he’d been assistant cameraman on a few films). The film was no masterpiece – but at least you could see what was going on, on screen!