<P> The equipment used by both studio and location units was broadly the same; 35mm camera, film and sound equipment . In 1945 the cumbersome separate sound camera was replaced by a sound - on - film camera similar to those used for newsreels . The studio had a permanent complement of staff consisting of Indian as well as British personnel . The location unit usually comprised a director, two cameramen, two sound recordists, two assistants and a welfare officer responsible for making the contacts . At least one of the location units operated as part of the Army Kinematograph Service (AKS) and had been sent out from the UK to assist . </P> <P> Generally, people from one particular city, town or region were grouped together in order to facilitate screening back in the UK, and while personnel from all three services are featured, they are predominantly from the army . The completed negatives were sent by sea to the UK, a journey of about six weeks . On arrival the negative was sent to Denham Studios near Uxbridge, Middlesex, where a print was made for distribution, although a copy was kept in Bombay as a precaution against the negative being lost . </P> <P> Each Calling Blighty screening took place at a cinema in the subjects local area and was usually organised by the regional Army Welfare Committee . The names and addresses of those to be invited were sent to the UK along with the films . </P> <P> These films continued to be produced after the surrender of Japan in August 1945 as many thousands of service personnel were still needed in SEAC; transport and forces were still required for the occupation of Malaya, Java and the return of thousands of prisoners of war, as well as for the occupation of Japan . Production of Calling Blighty finally ceased in April 1946 . </P>

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