How to fill out statistical form No. 1 personnel

What is a report form 1

Report on form No. 1 to statistics or statistical observation form No. 1 personnel “Information on advanced training and professional training of employees of organizations”, recommendations for filling it out are contained in Rosstat order No. 554 dated September 28, 2016.

The personnel form for statistics must be filled out by legal entities of all types of activities and forms of ownership, their separate structural divisions, except for small businesses, government bodies, military security and social insurance, religious associations, households and extraterritorial organizations. The full list of persons who carry out the filling is indicated in the order.

Epigraph

“The footage of the film chronicle, shot by Soviet front-line cameramen, even today stand guard over the great feat of our people, defending their victory from totally instilled unconsciousness, and as long as at least a few frames of this film chronicle are preserved, the meaning and meaning of the great victory of our people will be difficult to distort, and therefore by this the staff will never grow old. This is an eternal movie!

V.I.Fomin

“CRY, BUT FILM” This order of the great Soviet film director Alexander Petrovich DOVZHENKO, addressed to front-line cameramen of the Great Patriotic War, became the title of the first fundamental publication in the history of Russian film studies ** , dedicated to Soviet front-line newsreels of 1941–1945. The famous Russian film critic and film historian Valery Ivanovich FOMIN in this book systematized the editing sheets of front-line operators, which are a unique document not only chronicling the events of the Great Patriotic War, but also giving us an idea of ​​how and on what these events were filmed.

Today, when almost everyone considers himself a cinematographer, easily filming everything with an ordinary mobile phone, the publication of materials about film equipment and film materials used by front-line cameramen gives an idea of ​​their human and professional feat, which they performed on the fronts of the Great Patriotic War, filming documentary combat stories for newsreels and films.

"AYMO" and others

Even in pre-war times, Soviet documentary filmmakers could not boast of a large selection of filming equipment. As a rule, chronicle filming was carried out with large stationary French film cameras mounted on a tripod or its domestic analogue “Konvas-1”. It is clear that in combat conditions you cannot photograph much with such cameras, and it is easy to become a stationary target for the enemy.

Cinema camera “Debrie Parvo L” with a set of optics and accessories
Our film reporters had at their disposal hand-held cameras “Aimo” and “KS-5”, but in peacetime conditions these cameras were usually used for additional filming of individual plans of events by assistant cameramen.

V.I. Fomin writes: “...thanks to this circumstance, it was the camera assistants who managed to hold “Aimo” in their hands, and not the venerable, titled masters of newsreels, who quickly came to the fore in front-line film journalism.”

And thus the Aimo movie camera became the main one in filming during the war years, not only for our cameramen, but also for their colleagues from our allies.

Cinema camera "Aimo" from the collection of the Parisian Cinematheque
The film camera "Aimo" was developed in 1925 and was produced by the American company (Bell & Howell) until the early 70s of the last century. The first camera model, Eyemo 71-K, was produced in a single-lens version. In 1929, mass production of the Eyemo 71-Q model with a rotating turret and three lenses with different focal lengths began.

The camera was equipped with a single-blade disc shutter with a constant opening angle of 160°, which provided a shutter speed of 1/54 second at a shooting rate of 24 frames per second. A spring drive drove the film transport mechanism with a one-sided two-tooth grab and two toothed drums. Full winding of the drive was enough for 20 - 28 seconds of continuous shooting (with 12 - 15 meters of film being pulled). The centrifugal regulator stabilized the filming frequency and made it possible to change it within the range from 8 to 32 frames per second. Special metal reels with light-protective sides held 30 meters of 35 mm film. and allowed the device to be recharged in the light.

The simplicity of the Aimo design made it possible in 1938 to begin in the USSR the production of its domestic analogues, KS-4 and KS-5, which were practically no different from their prototype. Therefore, all cameras of this type were called “Aimo,” although the editing sheets for front-line filming sometimes indicated: “Shot with the KS-5 apparatus.”

Hand-held cameras of the "Aimo" type and its analogues were quite light in weight - about 4 kg and absolutely mobile compared to cameras of the "Debrie" type. But we must not forget that in front-line conditions, newsreels added extra kilograms of the camera itself and film supplies to the weight of ordinary military equipment and weapons. Often, a cameraman went on a mission using the principle of “carrying everything I have with me,” so that he could reload the camera in time and enter the battle.

It is clear that all the footage was processed in Moscow, so most editing recordings began with an indication of the type of film and shooting conditions, so that the necessary adjustments to the development process could be made in the studio laboratory.

For example:

“February 29, 1944 Separate Primorsky Army. Assembly construction of the removed material. Operators: M. Poychenko, D. Sholomovich. Filmed – 1510 meters. Film – SChS-4, SChS-2, SChS-1, Panchrome, DuPont, Infra-chrome. Nature sunny, cloudy ."

“February 12, 1945 3rd Belorussian Front. Installation sheet No. 227. Operator: G. A. Golubov. Cloudy and raining - 160 m. Film SChS-2, em. No. 56; outer 2 pieces “Panchrome”

Specific instructions for film processing were often given:

“October 23, 1943. An airplane falls (this frame, apparently, will be overexposed, because the cassette did not accept non-standardly wound film. Please follow this frame in the laboratory ). General plans (all lenses) of the front line of the Germans in the explosions of our bombs and shells. Burning tanks (telephoto lens 150–100). Cameraman A. Krichevsky. Kyiv area. P.S. Panchrome film, um. No. 172″.

“August 7, 1944 Film group of the 3rd Baltic Front. Installation sheet. Operators: Brantman A., Shilo A. Filmed: Brantman - 360 meters, Shilo - 440 meters. SChS film, em. No. 5-14-3, 5-17-3, boxes 7. For the laboratory: the material was filmed in a burning city, there is a lot of smoke, so the negative may seem drawn out (don’t be embarrassed, print).

“November 27, 1944 Installation sheet No. 1641. In Lublin, 6 murderers - Germans from Majdanek - appeared before a Polish court. Operators: A. Sofin, D. Ibragimov. Film SChS-2 – 700 m. Equipment: “Aimo”. Filmed indoors with a minimum. the amount of light and on location, the film had extremely low sensitivity.

“2nd Ukrainian Front. Installation sheet No. 1660, 1661. Operators: Kun, Yatsun. Total filmed - 1220 meters. Opera. Kun – 550 m. Opera. Yatsun – 670 m. /…/ Note for the laboratory: most of the material was filmed at dawn in the morning and afternoon in rainy and cloudy weather. Please show according to the directions on the boxes."

“January 22, 1945 Installation sheet No. 191, 192. Operators: Smirnov Y.K., Shironin K.I. /…/ Taken in cloudy weather . "Aimo" device. SChS-2, em. No. 440. Footage 480 meters. To the laboratory: take samples from the ends in short. Cinematographers Smirnov, Shironin.”

“For director Raisman. Operator: I. Komarov. 4 boxes, footage 570 m. Film SChS-2, em. No. 56, “Panchrome”, em. No. 882. Before the offensive. /…/ Then the commander presented the Gold Star medal and the Order of Lenin to the brigade commander, Colonel Abramov (filmed late in the evening, I’m afraid of underexposure, please pay attention to the laboratory) . /…/ For the laboratory: most of the material was filmed in the evening. Possible underexposure, the boxes indicate where this material is located.”

"Field Marshal Montgomery's return visit to Marshal Rokossovsky." May 10, 1945 Installation sheet. Operator: Kotlyarenko – 81 m, Teacher – 70 m, Smirnov – 105 m, Sholomovich – 90 m,

Kachuryan - 40 m, Troyanovsky - 105 m. A total of 491 m were filmed. /.../ The filming of Troyanovsky and Sholomovich inside the building was done in very poor light and the laboratory’s attention is needed to extract these frames.”

From the above examples it is clear in what conditions front-line cameramen worked. And how they “fought” in advance for their footage during its further processing.

The reader has probably already noticed the wide range of types of film used for filming. Its different types of photosensitivity and spectral sensitivity created additional difficulties and required military newsreels not only to master a movie camera, but also to perfectly know and understand the properties of a particular film material, and, depending on them, make appropriate adjustments during shooting and give instructions according to the specifics of processing the footage.

Cinematographers Boris Dementyev, Boris Sokolov, Mikhail Poselsky and Roman Karmen, May 1945, Germany, Berlin
WHAT THE WAR WAS FILMED ON

Speaking about movie cameras for front-line cameramen, we saw that by the beginning of the Great Patriotic War there were very few models suitable for filming in combat conditions.

What was the situation with film in our country?

Until 1917, two handicraft factories producing photographic plates and one photographic paper factory operated in Russia. Apart from two or three practitioners, there were no specialists in the production of photosensitive materials at all. Equipment, film and chemicals were imported from abroad.

At the same time, the American company Kodak (Kodak) and the German company Agfa (Agfa) already had more than 30 years of experience and produced more than a billion meters of black and white films per year.

Domestic cinematography was completely dependent on imported materials. Large Western firms were interested in this and refused to help Russia create its own film industry. This forced us to turn to secondary companies for help, and in 1929 an agreement was signed with the French company Lumiere, according to which the company undertook to organize the production of photographic films in our country using the technology of the factory in Lyon.

The ratio of purchases and own production of film in the USSR in 1930-1936

Let me remind you of the main stages in the development of the film industry in the USSR.

May 1, 1930. The first batch of domestic film was released at the Shostka Film Factory No. 3.

June 26, 1930. The first Soviet documentary film “All Quiet at the Front” was released filmed by the Soyuzkinochronika film studio entirely on domestic film .

December 15, 1930. The construction of eight buildings of the film factory in Shostka has been completed.

On July 1, 1931, film factory No. 5 with a capacity of 25 million linear meters per year began operating in the city of Pereslavl-Zalessky, and on August 1 the first batch of domestic film was produced. In the 30s, copies of the best domestic films were printed on Pereslavl film: “Chapaev”, “Baltic Deputy”, “Alexander Nevsky”, “Shchors”, “Lenin in October” and many others.

On October 1, 1931, film factory No. 3, with a capacity of 50 million linear meters of positive film per year, was installed and put into operation in the Ukrainian city of Shostka. The quality and standard of film produced by the factory was low due to the technical equipment not meeting modern production requirements. On the same day, film factory No. 6 was put into operation in Shostka.

November 7, 1931. The board of Soyuzkino adopted a resolution on organizing the production of Soviet negative films.

On December 13, 1931, cameraman B.R. Nebylitsky conducted the first shooting on Soviet negative film.

The first feature films “The Great Comforter” (11/17/1933) directed by L.V. were the first to be completely shot on domestic negative film produced by film factory No. 3. Kuleshov and “Pyshka” (09/15/1934) directed by M.I. Romma.

In 1932, our film factories produced only two types of film - ordinary positive and negative orthochromatic, in 1933 they already produced 7, and in 1941 - 40 types of film.

In June 1933, the NIKFI pilot production produced the first batch of film on a fire-resistant basis developed at NIKFI.

July 1, 1933. Film factory No. 5 in Pereslavl-Zalessky began mass production of positive fire-resistant film.

July 2, 1933. Construction of film factory No. 8 began in Kazan.

In 1934, domestic 16 mm film on a safe cellulose acetate base began to be produced.

On November 7, 1935, the first experimental batch of black and white positive film was produced at Kazan Factory No. 8. The feature film “ We are from Kronstadt”, released on March 20, 1936, was printed on it.

In 1941, Kazan Factory No. 8 began producing highly sensitive aerial film for front-line aviation.

By 1941, laboratory developments in the field of creating domestic multilayer color films, which began in 1937, were completed.

After the end of the Great Patriotic War in September 1945, Agfa, which became a Soviet joint-stock company, restored the production of negative films Agfacolor B-2, Agfacolor G under Soviet management.

In 1947, film factory No. 3 in Shostka began producing Soviet color multilayer negative film for daylight “DS-1” using Agfa equipment and technology. In 1952, film factories No. 3 and No. 8 began producing LN-2 color multilayer negative film for incandescent lamps, and film factory No. 3 began producing DS-2 color negative film for daylight.

After the collapse of the USSR, the production of color film for cinematography at film factories in Russia was practically curtailed. And the price of Ukrainian color film materials has reached the level of prices for films of well-known foreign companies, without reaching their level of quality.

Currently, domestic films, color and black and white, are shot and printed on film materials, "Agfa", "Fuji" and others.

Label of negative film SChS-1 (1938)
But let's return to 1941. By the beginning of the war, film factories in the USSR were producing 40 types of film. Of these, four were most often used for filming documentary materials: “SChS-1”, “SChS-2”, “SChS-4” and “SChS-5”. The abbreviation “SChS” stands for “Photosensitive, Soviet”. And the number indicated the type of film. All these types of negative film were black and white panchromatic, having light sensitivity to all visible radiation down to 700 nanometers. The marking of the film also used the letter designation “Type A” and “Type B”. “Type A” film was of medium sensitivity, suitable for all types of location and studio photography. “Type B” film was of high sensitivity, suitable for all types of location and studio photography, but extremely sensitive to the color red. The negative films “SChS-4” and “SChS-5” had these qualities.

Spectrograms of negative films of the SChS brand.
All films of the SChS brand had the same photographic latitude - 1.8. The films “SChS-1” and “SChS-2” had a resolution of 40 lines per millimeter, while for “SChS-4” and “SChS-5” it was only 35 lines. It is easy to calculate that the size of the image shot on domestic films was less than 1K. Foreign film materials had twice the resolution.

Great skill and knowledge of the features and pitfalls of this or that film allowed front-line newsreels to use the first domestic negative films of the Soyuz brand from the Shostka film factory No. 3. This analogue of Lumiere film, produced in the USSR since 1931, had practically no advantages of imported film of the late 30s. Their small photographic latitude and low photosensitivity (6-8 GOST units) made them practically unsuitable for reportage photography in combat conditions. But, despite these shortcomings, on this film, with good lighting on location, experienced cameramen Yuli Mikhailovich KUN, Dmitry Georgievich RYMAREV, Evgeny Ivanovich EFIMOV, Vladimir Semenovich ESHURIN, Maria Ivanovna SUKHOVA, Teodor Zakharovich BUNIMOVICH shot a lot of interesting materials included in the issues of the film magazine " Soyuzkinozhurnal", and documentaries both during the war and after its end.

Spectrogram of negative film of the “Infrachrome” brand
During the war, domestic film “Infrachrome” was also useful, specially designed only for location shooting in very unfavorable weather conditions and for obtaining the effect of lunar lighting when shooting during the day. The photosensitivity of this film, sensitive to blue-violet, red and infrared rays, in daylight ranged from 8 to 22 GOST units.

During the Great Patriotic War, Kazan Factory No. 8 remained the only one operating in the film industry. Although the installation work for its full launch had not yet been completed by the beginning of the war, enterprises were evacuated here - the Leningrad photo paper and Kiev enterprises for the production of photographic paper and film copying. At their base in Kazan, production of products for the front began. To urgently master the production of aerial photographic films, a team of specialists from Factory No. 5, headed by Professor K.V., was sent to factory No. 8. Chibisov. The emulsion-technological laboratory of the All-Union Scientific Research Film and Photo Institute (NIKFI) was created and started working at the factory. Already in August 1941, the factory produced the first batch of aerial films, and by the end of the year the production of two more types of aerial films was mastered. Under wartime conditions, Kazan Factory No. 8 began producing highly sensitive film negative SChS-1. In 1943, teams from factories No. 5 and No. 8, together with employees of NIKFI, developed and put into production a new aerial film “Panchrome type 6”, the photosensitivity of which was increased to 18 GOST units. The state highly appreciated the work of employees of the film industry - 26 employees of factory No. 8 and 25 employees of factory No. 5 were awarded orders and medals.

Aerofilm "Panchrome Type 6" found its application not only for its intended purpose for aerial photography, but was also often used for ground-based filming of military operations. An interesting detail: since the work on creating aerial photographic films, starting in 1941, was classified, in the editing sheets, shooting on such film was usually written down as “shooting on T-6 film.”

G.K.
Zhukov. Stills from the film magazine “News of the Day” N14 (1945) All NIKFI works related to defense issues, including the development of new types of emulsions for film, were classified as “secret”. And even after the end of the war, the classification of secrecy was not lifted and “For the development of highly sensitive photographic materials for aerial reconnaissance” employees of NIKFI, Corresponding Member of the USSR Academy of Sciences, Doctor of Technical Sciences Igor Ivanovich Levkoev, Candidates of Chemical Sciences Sofya Vasilievna Natanson and Nikolai Nikolaevich Sveshnikov received a closed Stalin Prize for 1946 Doctor of Physical and Mathematical Sciences Konstantin Sergeevich Bogomolov, head of work at NIKFI, senior engineer of the Air Force Research Institute Tamara Borisovna Yakovleva and head of the workshop of factory No. 5 Antonina Aleksandrovna Kuznetsova “For the development and introduction into industry of new types of film” became laureates of the Stalin Prize of the third degree for 1947 .

Breastplates of the Stalin Prize laureate 1st, 2nd and 3rd degree
Employees of NIKFI Doctor of Technical Sciences Alexander Nikolaevich Iordansky, Candidates of Chemical Sciences Vsevolod Sergeevich Cheltsov and Valentin Alekseevich Uvarov for the development of a new type of photographic materials became laureates of the Stalin Prize of the third degree for 1949.

In 1950, NIKFI employees, corresponding member of the USSR Academy of Sciences Konstantin Vladimirovich Chibisov, candidate of chemical sciences Alexandra Alekseevna Mikhailova, senior researcher Alexey Alekseevich Titov, became laureates of the Stalin Prize of the second degree “For research into the nature of photosensitivity and the mechanism of processes occurring during the synthesis of photographic emulsions.” These works were also carried out during the war years and were first published in the collection “Proceedings of NIKFI” in 1948.

Despite the successes in the creation of films, our film industry lagged far behind the foreign one, especially in such characteristics as light sensitivity and resolution. In pre-war times, despite the beginning of the production of its own film, the Soviet Union purchased a significant amount of high-quality foreign film materials. Therefore, front-line film groups had at their disposal negative films from various companies around the world.

Still from the logo of the film magazine “Soyuzkinozhurnal” (1942)
The publication of editing sheets of front-line cameramen made it possible to see the entire range of negative films used during the war, both domestic and imported.

Negative films from AGFA

Negative films from Italy, England and the USA

Of course, not all and not always front-line operators had such a rich assortment of film, which is listed in the table. Sometimes you had to use what was at hand. For example, on January 5, 1945, cameraman Viktor Nikolaevich Muromtsev shot 850 meters of film material “Albanian partisans, having liberated their homeland, moved to Yugoslavia...” on domestic film SChS-5 (emulsion No. 552), which had to be developed before March 1944).

Film stocks were also replenished from trophies. For example: the German film “Agfa Super Pan” was not used in the first years of the war, and all Austrian materials from 1945 were already shot only on this film. Mention of the use of this high-quality German material is found in most installation sheets from 1945.

Soviet traffic policewoman N. Klimenko on the outskirts of Vienna. April 1945

High professionalism, extensive work experience and knowledge of not only their own, but also foreign film equipment and film, allowed front-line operators to successfully use captured equipment and materials for filming.

In the pre-war years, work began in the USSR to develop color cinema. Two- and three-color methods of shooting and printing color films, both feature films and documentaries, were successfully introduced. Some of the future front-line cameramen took part not only in the creation of these films, but in the very process of developing technological processes for filming and printing. One of them was Igor Vladimirovich Gelein , the director of photography of the color feature film directed by Alexander Macheret “Color Film Novels”, shot using three-film technology proposed by the operator of the Mosfilm Pavel Mikhailovich Mershin . The film premiered on August 22, 1941, when the cameraman was already in the people's militia. In 1942, Gelein joined the ranks of front-line cameramen - with the rank of engineer-captain, he filmed on the South-Western, Kalinin, 1st Baltic and 2nd Belorussian fronts. While filming material about the battles for Vitebsk, Igor Vladimirovich received captured German color film “Agfacolor B” and was the first Russian cameraman to film military operations in color: preparations for the assault on the city, an attack, a Katyusha salvo, aviation actions, soldiers at night around a fire, operation in the medical battalion. Unfortunately, we do not know the further fate of this unique colored material - it has not been preserved.

Front-line cameraman Viktor Vasilyevich Dobronitsky, who shot about 300 stories for film magazines and 53 films, having received a captured “Agfacolor B” at the end of the war, began shooting on color film not only with a movie camera, but also with a camera. That is, he became one of the first to begin mastering the color negative-positive process in photography. Dobronitsky's colorful original works were published in central magazines. After the war, large numbers of color photo postcards were released, shot by the cameraman on captured Agfacolor B color film.

Poster for the film “Spoils of Great Battles” (1943)

During the war years, using the domestic three-color method, a documentary was made about the exhibition of weapons captured from Germany, which opened two years after the start of the Great Patriotic War at the Central Park of Culture and Culture named after. Gorky in Moscow on June 22, 1943. And already on October 10, 1943, the Mosfilm film studio released a color documentary film “Trophies of Great Battles”***, shot by cameramen Fedor Fedorovich Provorov and Georgy Aleksandrovich Reisgof. Later this film was shown in cinemas in other cities of the USSR.

Stills from the film “Spoils of Great Battles” (1943)
Heavy equipment and a complex printing process did not allow the use of the three-color method for filming in combat conditions. For the same reasons, the two-color shooting method was not suitable, since two Bipak films could only be used in stationary Debrie Parvo L cameras, and Aimo and Soviet KS film cameras did not allow two films to be processed simultaneously.

Thus, the only film material suitable for reportage shooting at that time could only be multilayer color negative German film “Agfacolor B-2”. It is difficult now to say how and from whom in 1942 the color film on which I shot in I. Gelein was obtained as a trophy. But it is known where it began to appear after the liberation of Austria and Czechoslovakia by our troops. Cameraman Dmitry Georgievich Rymarev, for example, found a batch of Agfacolor color negative film in a captured warehouse in Vienna, Austria. According to legend, he brought one box of color film to Sergei Gerasimov, who then headed the TsSDF film studio. Legend says that it was on this film from Vienna that the 1946 May Day parade in Moscow was filmed in color. Of course, the matter was not done with just one box, and this is confirmed by the original color negative of this film, 1007.1 meters long, and another 1662 meters of materials shot on Agfacolor for this film, preserved in the Russian State Archive of Film and Photo Documents.

At the May 1st Parade, 1946.
The availability of captured materials and the restored film production in Germany made it possible to begin the production and replication of Soviet color films with very high color quality. Therefore, most films made and released in the 50s were in color.

Stills from the film “Victory Parade” (1945)

Only in 1945 in the USSR, using the negative-positive process “Agfacolor” on trophy film, five documentaries were shot and released into Soviet distribution: “Victory Parade” , “All-Union Parade of Athletes”, “Berlin Conference” , “Celebration of the 28th Anniversary of the October Revolution” Moscow" and "XXVIII October". In the same year, Soviet color animated films began to be shot on Agfacolor film; the first of them, Teremok, was released in September 1945.

The country and cinema were moving onto a peaceful path. Front-line cameramen returned to the studios and only on holidays some of them could be seen in full regalia in front of the movie cameras on Red Square...

B.A.
Sokolov. Berlin. 1945 Time is merciless to heroes. On January 19, 2020, just one year short of his centenary, the last of the film chroniclers of the Great War, Boris Aleksandrovich Sokolov .

They are no longer with us, but their films remain - witnesses of the great battles and heroic military labor of our people, of which they themselves were a part.

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** “Cry, but take pictures!..” Soviet front-line newsreels. 1941–1945.

Cover of the book “Cry, but take it off!..”

Installation sheets for front-line operators. Materials for biographies: Scientific monograph / Author-compiler V.I. Fomin – M.: 2020. – 700 p. with ill. ISBN © V.I. Fomin

This book is dedicated to the work of Soviet front-line cameramen who created a stunning film chronicle of the feat of the Red Army and the entire Soviet people during the Great Patriotic War.

The book publishes for the first time a significant part of the surviving collection of installation sheets of Soviet front-line operators.

Editing sheets are a special type of documentation mandatory for camera operators, in which they gave a general description of the event they filmed, its location and a frame-by-frame listing of everything captured during this shooting.

From the mosaic of these unique documents, a largely new large-scale panorama picture of the Great Patriotic War emerges.

The book ends with a section of reference and biographical materials about participants in Soviet front-line film groups.

_________________________________

*** "Trophies of Great Battles"

USSR, Mosfilm , 1943, color. (three-color method by P.M. Mershin ), 12 min., 1 h., 324.1 m, 00:11:27, 35 mm, 1.37:1, mono. RGAKFD. Account number 9691. Released on October 10, 1943.

Opening credits: Color operators F. Provorov, G. Reisgof. The author of the text is V. Shklovsky. Musical arrangement - B. Volsky. Director of the film B. Chizhov. The text is read by Stalin Prize laureate, Honored Artist of the Republic Boris Chirkov.

Annotation. Exhibition of captured weapons captured from the Germans in 1941-1943, in the Park of Culture and Leisure named after. Gorky in Moscow.

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FIRST IN THE HISTORY OF WORLD CINEMA

FIRST IN THE HISTORY OF NATIONAL CINEMA

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Information about the labor function code

One of the fields of the SZV-TD form is the Function Code (if available) . According to the filling rules, this field must be filled out from January 1, 2021 . if available .

In the Code field of the function being performed (if available), indicate the corresponding code, consisting of seven alphanumeric characters in the format “ХХ.ХХХ-Х-Х”, where:

• the first five digital characters, separated by a dot, are the code for the name of the type of professional activity (Section I of the professional standard), containing a generalized labor function, which includes the work performed by the employee by position (profession), specialty (Section III of the professional standard);
• the last two alphanumeric characters (Section II of the professional standard) are the letter character of the generalized labor function code and the digital character - the level of qualification to which this generalized labor function belongs.

Codes of professional activity and labor function are prescribed in professional standards. The list of approved professional standards can be found on the Ministry of Labor website:

• Register of professional standards

To automate the filling of this code, accounting of labor functions was implemented in the ZUP 3 program.

Firstly, a special reference book Labor functions . For the elements of this directory, you can set the name and professional activity code :

The professional activity code can be entered manually; loading from classifiers is not yet provided.

Secondly, the indication of the labor function in the staffing table and for positions has been implemented:

• in the staffing position, the labor function is indicated on the Additional :
• The job function should be indicated in the position if staffing is disabled in the program:

Next, the completed information about the labor function from the staffing table or position will be pulled up in personnel documents in the Labor function (if necessary, the value in the field can be reselected):

For more details, see - WHAT THEY ARE FOR AND HOW THE FIELDS “JOB FUNCTION” AND “PROFESSIONAL ACTIVITY CODE” ARE FILLED IN IN HR DOCUMENTS

Indication of the reason for dismissal

If the SZV-TD form is filled out upon the dismissal of an employee, then the reason for dismissal must be indicated in the form:

According to the filling rules, the reason for termination of the employment contract must be indicated without any abbreviations in accordance with the provisions of the Labor Code of the Russian Federation or other federal law and an indication of the subparagraph, paragraph, part of the article of the Labor Code of the Russian Federation or other federal law that is the basis for dismissal.

Please note that in the paper SZV-TD there is only one column for the reason for dismissal, but in the electronic format there are two columns: separately the basis for dismissal, and separately - the reason:

In the ZUP 3 program, the reasons for dismissal and grounds are combined in the directory Grounds for dismissal the SZV-TD document indicates an element of this directory:

In this case, uploading into electronic format occurs in separate fields of the file indicating the reason for dismissal and the name of the regulatory document, as well as specific subparagraphs, clauses, articles and parts of the Labor Code of the Russian Federation, according to the approved filling formats:

In ZUP 3, detailed information on the numbers of subparagraphs, clauses, articles, parts of the Labor Code of the Russian Federation is stored in special details of the directory Grounds for dismissal (Settings - Classifiers - Grounds for dismissal):

The text of the basis from the directory is displayed in the file in the details Reason for dismissal :

The breakdown of subparagraphs, paragraphs, articles and parts of the Labor Code of the Russian Federation is reflected in the block with the grounds for dismissal:

Fines for late reporting

Failure to submit or untimely submission of reports to Rosstat constitutes an administrative offense, liability for which is provided for by the provisions of Article 13.19 of the Code of Administrative Offenses of the Russian Federation and is punishable by fines in the amount of:

• for officials - from 10,000 to 20,000 rubles;
• for legal entities - from 20,000 to 70,000 rubles.

Repeated violation will increase the costs of enterprises:

• for officials - from 30,000 to 50,000 rubles;
• for legal entities - from 100,000 to 150,000 rubles.

Currently, cases under Article 13.19 of the Code of Administrative Offenses of the Russian Federation are considered by Rosstat itself, the period for bringing to responsibility is 2 months from the date of commission of the administrative offense. Since there are many enterprises, and Rosstat is one, it does not have time to punish everyone, and this is lost profit in the form of lost fines to the country’s budget. In order to correct the current situation, Rosstat came up with an initiative to increase the statute of limitations for bringing to administrative responsibility under Article 13.19 from two months to two years. This, according to officials, will make it possible to observe the principle of equality of all before the law, because currently Rosstat officials, for reasons beyond their control, do not have time to attract all violators. The text of the Rosstat bill can be found on the website of the Government of the Russian Federation. If the amendments are adopted, they will make changes to Article 4.5 of the Code of Administrative Offenses of the Russian Federation.