RKO had about 12 Mitchell Standards in their camera Department in 1932, when Kong was made, but they also had about 35 pictures in production. There weren't enough cameras to supply all their pictures and Kong at the same time. It would be prudent to out source the cameras for Kong so it wouldn't take in house cameras from their normal production schedule. As with all studios, they would hire extra operators with their own cameras to fill the need.
Interestingly there are very few cameras that have even a partial list of projects they worked on. Almost all records are lost, so having any information at all on any camera is historical treasure of the rarest kind. This camera worked with Eddie Linden for many years. He and his camera worked with Fay Wray on Westerns at Universal before they both worked King Kong
Kong was a very time consuming picture and would take at least four times as many production days as a normal film. The single frame work by Vernon Walker and his team took many days to get just one minute of film. Twenty Four frames to a second times sixty seconds is one thousand four hundred and forty frames per minute. One frame at a time not counting errors and retakes makes for a very long shooting schedule.