JANUARY, 1963 50 1* Magazine Of Motion Picture Photography And Production Techniques PHOTOGRAPHING A WALT DISNEY PRODUCTION There are a lot of reasons for spending three days at the Seventeenth Calvin Motion Picture Workshop. Those most often mentioned are: exchange ideas, find out what’s new, re¬ view fundamentals, see how the other people do it, get help on a special problem, compare techniques, and just for fun. Five hundred will be expected. Let us know if you will be one of them . . . . TO: Calvin Productions, Inc. i 1105 Truman Road 1 Kansas City 6, Missouri I Please reserve space for: L _ CALVIN PRODUCTIONS, INC., 1105 TRUMAN ROAD, KANSAS CITY 6, MISSOURI Z O Oilf/ 12mm to 120mm WITH THE NEW ANGENIEUX ZOOM LENS Now Available From GORDON ENTERPRISES For Immediate Delivery The dramatic focal length range of the new An- genieux Model 1 20 is of outstanding importance to anyone operating a 16mm motion picture camera or TV camera. Superb optics, small size, light weight and the finest craftsmanship have provided a lens of unparalleled utility and perfection. The zoom range, from 1 2mm to 1 20mm, without image shift, is double that of any lens previously available, at any price. Another outstanding feature is the small hand-crank which operates the gear- driven zoom movement. This gives the cameraman precisely controlled, exceptionally smooth zooms. A Conventional lever is also provided for fast zooms. The Angenieux Model 120 is available in mount for the Arriflex, and in C-mount for videcon and other reflex-type cameras. Aperture: f/2.2 to f/22. (T/2.5 to T/22 ) . Focus Range: Five feet to infinity. Zoom Range: 1 2mm to 1 20mm. Field Angles: 56° to 6°. Dimensions: 53U" ext. from turret. Largest diameter less than 3". Weight: 1 pound- 1 4 ounces. Supplied With . . . End caps and 2-piece adapt¬ er to retain Series 9 filters. (Also serves as shallow sun¬ shade ) . Price: $820.00 Delivery: IMMEDIATE! AMERICAN CINEMATOGRAPHER, JANUARY, 1963 3 CAMART DUAL SOUND EDITOR MODEL SB 1 1 1 Edit single- and double-system optical sound. Edit single-system Magnastripe or double sys¬ tem magnetic sound. Use with any 16mm motion picture viewer. (Works from left to right or right to left.) Dual Editor (without viewer) $195 00 Zeiss Moviscop viewer 96.00 Special Editor-viewer combination $269.50 CAMART CORE DISPENSER Keeps fi lm cores handy at all times. Easy to remove — easy to fill. All aluminum construction. Adjust¬ able to 16mm and 35mm cores. Sizes i6" $10.00 24" . 12.00 36" . 1 6.00 Aluminum Dispenser for Plastic Reels so— 16.50 loo— 18.50 NEW! GTC-59 Makes Glass Smoother Than Glass GTC-59 Glass Treatment Compound • Wa¬ ter repellent • Anti-Static • Anti- Fog • Cleans & degreases • Leaves a lustrous glaze • Excellent for glass, chrome, plastics, etc. 6 oz. with Spray Applicator. $1.65 Prices F O B. N.Y. AMERICAN Cinematographer INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES jiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiimiiiiiniiiimi^ JANUARY, 1963 voi. 44, No i FEATURES Photographing a Walt Disney Production . 22 After Photography, What? . 24 Filming In Asia For American TV . 26 Zoom Lens Technique . 28 Fitting The Camera To The Job . 32 Planning — Key To Better, More Profitable Films . 34 A.S.C. Recommendation No. 11 . 35 The Mitchell Mark II Reflex . 36 DEPARTMENTS Industry News . 6 What’s New In Equipment, Accessories, Services . . 10 Technical Questions & Answers . 14 Behind The Cameras . 20 A.S.C. Roster for January 1, 1963 . 38 ON THE COVER CAMERA REHEARSAL — Edward Colman's camera crew makes dry run with dolly- mounted camera preparatory to making moving camera shot for Walt Disney's "Savage Sam," starring Brian Keith. Note that powerful Brute used for booster light has a stack to carry fumes and heat out of range of crew and cast; the unique snoot and housing encasing the microphone on boom (center); and the assistant cameraman running a tape on Keith as camera rolls back with the moving horsemen. ARTHUR E. GAVIN, Editor MARION HUTCHINS, Editorial Assistant OFFICES — Editorial and Business: 1782 No. Orange Drive, Hollywood 28, Calif. Telephone HOIlywood 7-2135. EASTERN ADVERTISING REPRESENTATIVE: Paul Gilbert, 489 Fifth Avenue, New York 17, N.Y. Telephone AX 1-5641. iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiHMiiiiiiiiiiiiiiiiiiiiniiitii AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. SUBSCRIPTIONS: United States and Canada, $5.00 per year; Foreign, including Pan-American Union, $6.00 per year. Single copies 50 cents; back numbers 60 cents; foreign single copies, 60 cents; back numbers, 70 cents. Advertising rates on application. Copyright 1963 by A. S. C. Agency, Inc. Second-class postage paid at Los Angeles, California. 4 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 ARRIFLEX at work — one of a series* ARRIFLEX goes hunting with the Missouri Conservation Commission Filming a hawk’s swift plunge calls for sharp follow-focus and accurate centering of the viewfinder image. That’s one reason biologist Charles W. Schwartz uses an Arriflex, in his motion picture studies of birds and animals for the Missouri Con¬ servation Commission. The finder image is formed by the taking lens itself . . . parallax-free, framed and focused exactly the way it’s being filmed. Another reason . . . wide- angles and telephotos can be mounted side-by-side on the Arriflex turret, which diverges lens axes a full 21° to eliminate optical and mechanical inter¬ ference. Arriflex . . . extremely mobile,- fast-handling, and precise . . . best in the field ! From the microscope to the missile range... from spot locations to sound stages ... Arriflex professional motion picture cameras are the dominant choice of filmmakers in science, industry, and entertainment. They’re lightweight, rugged, tremendously versa¬ tile - uniquely suited to a range of applications virtually without limits. Here are some of the features that give Arriflex cameras their remarkable capabilities: • MIRROR-SHUTTER REFLEX VIEWFINDER • REGISTRATION- PIN FILM MOVEMENT • 21°-DIVERGENCE 3-LENS TURRET • CONTOUR HAND GRIP • FRAMES-PER-SECOND TACHOMETER • COMPLETE ACCESSORY SYSTEM . . . lenses, standard and special-purpose electric drives, power supplies, time-lapse equip¬ ment, film magazines, sound blimps, tripods. write for new catalog. *YOU ARE INVITED to send us a description of your special use of Arriflex equipment. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 CAMART OIL PEN New ECCO Improved Model D For 16mm & 35mm Clean and inspect your film in one easy operation Operates effectively at several hundred feet per minute. Save time, fluid, labor, and money. Lifetime bakelite construc¬ tion. Elimiates waxing. Absolutely safe and NON-TOXIC. NON-INFLAMMABLE. Widely used by schools, colleges and film libraries. Model D Applicator with One Gallon Ecco Cleaning Fluid $42.00 Ecco No. 1500 cleaning fluid, Gallon $9.00 Ecco No 2000 cleaning fluid for NEGATIVES . Gallon $7.00 ALL FILM HANDLING SUPPLIES IN STOCK Acetone . per quart $1 .40 Ethyloid Film Cement . pint $2.00 Film Handling gloves . per dozen $1 .95 Galco Filmeter stop watch, Swiss jeweled movement. Measures equivalent footage for 16mm and 35mm film . $24.50 Lubristyle precision oiler — ideal for oil¬ ing hard to get at equipment. PrPess point of needle down on spot to be oiled and oil will flow freely. Surplus oil is sucked back into pen. $1 .69 ea. in quantities of six $1.39 ea. Prices F.O.B. Cleans — Lubricates — Prevents Dust Static Speedroll Applicator Model D INDUSTRY NEWS News briefs of industry activities , products and progress “Oscar” Nominations Balloting Begins The 35th Annual Awards presenta¬ tions of the Academy of Motion Pic¬ ture Arts and Sciences of Hollywood got under way December 26th, when preliminary ballots for nominations voting in the cinematography, art di¬ rection, costume design, film editing, music scoring and best song categories were mailed to members of the Acad¬ emy. Deadline for preliminary voting in the above-named categories is Mon¬ day, January 7th. On Monday, January 14th, at the Academy’s theatre, screening of pic¬ tures named in the preliminary ballot¬ ing will begin. Nominations ballots for the five categories will be mailed to Academy members beginning February 11th. Voting deadline on the nomina¬ tions balloting is February 19th. All nominations will be announced Mon¬ day, February 25th. Final balloting to determine the “Oscar” winners begins March 15th and closes March 30th. The awards presentations will take place Monday evening, April 8th, in Santa Monica, Calif. • Calvin Workshop Dates Set Calvin Productions, Inc., Kansas City, Missouri, has set February 4, 5, and 6th as dates for its 17th annual Calvin Workshop, which will take place on the sound stages and throughout the company’s buildings at 1105 Tru¬ man Road, Kansas City. There is no cost or obligation for those attending the workshop. “We welcome everyone who is interested or active in film and motion picture ac¬ tivities,” said Lee Davis, Calvin’s Vice-president. Each year the event is attended by 400 to 500 persons with prime interest in motion picture pro¬ duction, cinematography, and indus¬ trial film applications. “If it is neces¬ sary that you have a personal invita¬ tion on our company letterhead,” Davis added, “we will be happy to furnish same on request.” This should ease the way for in-plant men eager to attend the conference and soak up some film making knowledge, but first must get their employer’s consent to a leave of absence to attend. Tentative program calls for talks, demonstrations, etc., on planning the film, the script, talent selection, loca¬ tion interior and exterior photography and studio lighting on Monday, Feb¬ ruary 4th. Subjects for following day include Sets and Properties, The Di¬ rector, 1 6mm Camera Stocks, Special Camera Effects, Common Errors, and the Editing Process. Workshop will wind up Wednesday with the program that includes, Tech¬ nical and Character Animation, The Storyboard, Background Design, Lab Operations, Sound Recording and Re¬ cording Equipment. • Camera Mart Announces Film Editing Seminar Camera Mart, Inc., 1845 Broadway, New York, N.Y., has scheduled its first annual Film Editing Workshop- Seminar for the week of October 7th through October 11, 1963. All aspects of film editing will be covered during the five-day session through technical demonstrations, lec¬ tures, practice projects, scene-by-scene editorial analysis, and selected film showings. The Workshop-Seminar will be held in the main ballroom of the Henry Hudson Hotel in mid-town Manhattan. A number of prominent professional film editors have agreed to participate as instructors, lecturers and guest speakers, according to Charles Lipow, Camera Mart’s General Manager in charge of the Workshop-Seminar. No charges or fees of any kind are in¬ volved. Attendance is limited to in¬ dustrial in-plant, University and gov¬ ernment agency film editors and asso¬ ciated personnel. • Film Test Method Saves Processing Time A new method for standardized processing of test strips of black-and- white and color negative movie film makes it possible to evaluate exposure, Continued on Page 8 6 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 PROFESSIONAL 16mm MODEL to £006 at S.O.S. Ediola M-16 Jr. Action Viewer... . $ 99.50 S.O.S. Ediola M-16 Sr. Action Viewer with pressure plate and double pad rollers (left to right) $135.00 S.O.S. Ediola MRL-16 Sr. Action Viewer with pressure plate and double pad rollers (right to left) $195.00 S.O.S. Ediola Pro-35 for 35mm . . . $395.00 Model MA Pro-8 Viewer for 8mm . . $ 89.50 Write for illustrated brochure its. PHSTQ-Cltte y-y ki ' -'vM. » . . . ' . ’ r.. . . - - ■ S.O.S. PHOTO-CII-OPTICS, II. formerly S.O.S. CINEMA SUPPLY CORP. 602 West 52nd St., N.Y. 19— Plaza 7-0440 — Telegram: “FAX, N.Y.” Western Branch: 6331 Hollywood Blvd., Hollywood 28, Calif. — Phone: 467-2124 SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 10, 12, 14, 18, 53 AND 57 -< - — - * AMERICAN CINEMATOGRAPHER, JANUARY, 1963 7 Newest light in the recently announced Quartz-King line, the 1000 produces more than 860 foot-candles of smooth even light at 10 feet! Utilizing the Sylvania "DXN" 1000-watt 3400°K quartz-iodine lamp, in a reflector of a brilliant new design, the Quartz-King 1000 produces a round pattern of light, perfectly smooth, without hot spots, without banding, and without filament pattern. Never before has so much usable light been available in a housing as compact and as light as the 1000! The Quartz-King 1000 operates directly from standard 110/120 volt outlets. Intensity is maintained because the quartz-lamp will not discolor or dim during its entire life, and the reflector will never tarnish. The Quartz-King 1000 is available in two basic models; Universal Yoke and Integral Mogul Screw Base, with either medium or wide flood reflectors. WITH UNIVERSAL YOKE LQK/10MY Medium Flood LQK/10WY Wide Flood Specially designed yoke permits mounting on 5/s" dia. lighit stands, horizontal or vertical bars. '/4-20 thread for tripod mounting. 240" vertical tilt. Adjust¬ able for horizontal or vertical lamp orientation. Sup¬ plied with 10 ft. 3-wire heavy duty safety-grounded cable with in-the-line switch and 3-to-2 prong adapter. WITH INTEGRAL MOGUL SCREW BASE IQK/10MM Medium Flood LQK/10WM Wide Flood Allows use of QUARTZ-KING in any lamp or housing designed for mogul base lamps. Supplied with adapter for medium screw base sockets. WRITE FOR ILLUSTRATED LITERATURE 630 S. FLOWER STREET BURBANK, CALIF. • VICTORIA 9-5991 INDUSTRY NEWS Continued from Page 6 lighting effects, and composition of motion-picture scenes before beginning actual photography. A paper by Charles W. Baker and Earl W. Kage of Kodak Research La¬ boratories, in the December '‘Journal of the Society of Motion Picture and Television Engineers,' describes the technique, which gives results com¬ parable to those obtained with large, continuous-processing machines. Processing equipment consists of a hanger for a 12-inch strip of 16mm or 35mm film with an attached vane agitator. The apparatus is shaped to fit the graduated, glass cylinders con¬ taining processing solutions. Black- and-white film can be viewed wet after 10 minutes of processing with the equipment in standard solutions at 75 degrees F. The hanger permits easy loading of film while the , vane agitator makes possible an unvarying agitation rate from batch to batch, even with dif¬ ferent operators. Repeatability of the process means that the developed film strips will be within limits for visually determining the results possible with continuous film processing machines, the paper points out. Although there are differences be¬ tween strip-processed and machine- processed films, enough information is available in strip-processed films to make them valuable, even when the user has a minimum of evaluation ex¬ perience. Details not seen in the shadow areas of the strip-processed negatives probably will not be seen in color prints made from the color negatives. 70mm Cinemas Gain In Japan There were 55 motion picture thea¬ tres in Japan equipped for screening 70mm films as of June 30th. 1962. With seven more theatres currently under construction the total is expected to reach 70 by mid-January, according to Uni Japan Film Quarterly, Japanese film industry trade publication. Since the introduction of the first 70mm American film “Oklahoma” in 1956, the number of 70mm theatres in Japan has been rapidly increasing, and today ultra-wide-screen films may be seen in 32 major cities. Continued on Page 52 8 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 Troutoled Toy ont - of -focus paotnres? Troubled Toy emulsion pile-up in your camera gate? Troubled. Toy distracting camera noise when shooting snbjeots who should, not loe distracted from what tlrey are doing? Troubled by cameras tlrat are always in need of repair arid ad j ustment ? If so, switch to Auricon, the only 16mm Camera that guarantees you protection against all these troubles, because it is so well designed! The Auricon is a superb picture-taking Camera, yet silent in operation, so that at small extra cost for the Sound Equipment, it can even record Optical or Filmagnetic sound in addition to shooting your professional pictures. AURICON SUPER-1200, takes 1200 ft. Runs 33 AURICON "PR0-600 SPECIAL," takes 400 ft. Runs 11 min. $1295.00 & up AURICON PRO-600, takes 600 ft. Runs I6V2 min. $1871.00 & up * CINE-VOICE II, takes 100 ft. Runs 23/4 min. $998.50 & up Write for your free copy of the 74-page Auricon Catalog JtsA.C H A.XJ ±cICO!Nr, Inc. 6902 Romaine St., Hollywood 3 S . Calif, HO llywood 2 - O 931 MANUFACTURERS OK1 PROFESSIONAL, IS MM CAMERAS SINCE 1931 AMERICAN CINEMATOGRAPHER, JANUARY. 1963 9 BUYS MILLION DOLLAR INVENTORY! Extra Savings 11 for You!®”. - oo " CAMERAS 35MM " MITCHELL STANDARD, 4 fast lenses, 2-1000' _ mags., viewfinder, mattebox, 2 motors — 115V * wild or 220V sync., Raby Blimp, freehead tripod. Excellent condition . $6750.00 mm AKEIEY AUDIO from Paramount News with full complement of lenses and matched finders, 12V motor, 1000' magazine, single system sound B recording modulator, amplifier, microphone. $10,000 originally . ....$1995.00 AKELEY AUDIO from Paramount News with full E complement of lenses and matched finders, 12V motor, 1000' magazine, single system less modulator . $1495.00 fl AKELEY NEWSREEL PANCAKE TYPE with 3 lenses and matched finders, 12V motor, 3 magazines, tripod. $3500 originally . . $195.00 B ARRIFLEX I with 3 Zeiss lenses, 35/50/85mm, 3-200' mags., 1-400' mag., Arriflex tripod, 3 _ cases. Good condition . .- . $1095.00 b BELL & HOWELL 35MM 2709 RACKOVER CAMERA with Unit I pilot pin movement, Cooke Speed b Panchro 25MM f2 lens, Astro Pan Tachar 40MM ® fl .8 lens, Baltar 50MM f 2 . 3 lens, 75MM Cooke Speed Panchro f2 lens, 2 each 400'; 1000' mags, B erect image viewfinder, 220V 3ph synchronous * motor, matte box, sunshade . $4450.00 BELL & HOWELL 35MM 2709 STANDARD CAMERA fl with Unit I pilot pin movement, 50MM Baltar f2.3 lens. Astro 75MM f 2 . 3 lens, 2 — 1000' magazines. Excellent condition . $1995.00 fl BELL & HOWELL 35MM EYEMO Q complete outfit. 8 to 48 fps, spider turret, 3 lenses with filters, sunshades, motor, power cable, 2 — 400' mags., B drum finder. List value over $2000 . $795.00 BELL & HOWELL 35MM EYEMO M complete out- fit. 8 to 48 fps, compact turret, 3 lenses with B filters, sunshades, drum finder. List value over $1500 . $495.00 m B & H EYEMO 71 A with 47MM f2.5 Cooke ■ lens . $99.50 CINEFLEX, 3 lenses, 2 — 200' magazines, 1 — 400' b magazine, motor and case . $595.00 ™ DEBRIE Model K with 3 lenses, 4 — 400' magazines, metal case. Direct focusing . $299.50 fl DEBRIE HIGH SPEED with 3 lenses, 12V motor, magazines; original cost over $3000 .... $395.00 DEVRY NEWSREEL CAMERAS with 3 lenses, 12V fl motor . $149 50 DEVRY NEWSREEL TYPE with 2" f3.5 focusing mount lens. Good condition . $125.00 B Same, less lens . $ 85.00 WALL complete sound outfit with RCA Galva- nometer, recording amplifier, fabric blimp. B Reconditioned . $3495.00 WALL single system with 4 lens turret, 2 — 1000' H magazines, 12V DC motor, viewfinder, tachometer, ™ counter, case, $6,580 originally. Serviceable condition . $ 995.00 b Reconditioned . $1995.00 ™ CAMERAS 16MM H AURICON PRO-200 (from Photo News) ....$ 395.00 Reconditioned . $ 595.00 _ AURICON PRO 200 with Zoom Door, Parrish con- ' version for 400' or 1200' Mitchell magazines. In¬ cludes Modulite Galvanometer, NRS-24 Amplifier, b Less magazines. Excellent condition . $1195.00 ® BOLEX HI 6 with PAN CINOR, 60 zoom lens, 26mm fl .9 Pizar, prismatic focusser, pistol grip. fl Very good condition . $249.50 ™ CINE SPECIAL Series I (from Photo News) . $ 395.00 fl Continued on Pages 72 and 14 S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd St., New York 19, N.Y. — PLaza 7-0440 Western Branch: 6331 Holly'd. Blvd., Hollyd. 28, Calif. WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES SYNC SOUND RECORDER FOR BOLEX — Unique magnetic tape record¬ ing unit for Bolex H8 and H16 cameras is contoured to fit camera in place of door (arrow). Records on XA" tape — 3" roll sufficient for recording sound for 100 ft. of picture film. Requires no camera alteration. Outfit includes transistorized amplifier, dynamic microphone, cables, monitoring phones. Net weight with battery is less than 2 lbs. Manufacturer is Louis S. Uhler, 15778 Wyoming Avenue, Detroit 38, Michigan. NEW MITCHELL VARI-STROKE CONTROL— Vari-Stroke control added to Mitchell NC and BNC film movements permits adjusting movement timing to match variations in film being used, resulting in quieter opera¬ tion of camera. Adjustment is self-locking and will not move unless turned by hand. Device is designed to obviate most of the difficulties encountered where age, climatic conditions, etc., have affected pitch or created dimen¬ sional changes in camera film stock. The Vari-Stroke enables the claw not only to move up and down, but also shortens or lengthens the stroke to accommodate the film’s dimensional changes. Mitchell Camera Corpora¬ tion, 666 West Harvard St., Glendale, Calif. Continued on Page 12 0 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 We Idolize Service (THAT’S WHY WE’VE BUILT A NEW PLANT) We outgrew our old quarters. The new plant offers the most modern facilities obtainable anywhere. No color job will be beyond us, no tech¬ nical problem too technical. This is the world’s newest, most modern film processing plant— and we’re delighted to say “at your service.” Capital Film Laboratories, Inc. 470 E St., S.W. • Washington 24, D.C. • District 7-1717 SOUND, EDITORIAL AND ALL MOTION PICTURE LABORATORY SERVICES AMERICAN CINEMATOGRAPHER, JANUARY, 1963 11 CORNERS MARKET * Extra Values — H LENSES ■ CORNEASCOPE 16MM Anamorphic Spread lens with 1 6MM projector adapter. B Brand new . $149.50 ZOOM LENS FOR AKELEY NEWSREEL 35MM cam- era, f4.5 focus, 60MM to 350MM. Matched, ™ coupled viewfinder. Originally $7500. Good condition . $1395.00 _ CAMERA ACCESSORIES AURICON BLIMP for Cine Special with sync mo- ^ tor. Excellent condition . $395.00 DOUBLE COMPARTMENT 35MM MAGAZINES, 1000' capacity with transport mechanism and H aperture gate. Cost government $500. New. ...$99.50 AKELEY GYRO Tripod with bowl and heavy duty h legs. Good condition . $495.00 CECO GYRO Tripod, Jr. type legs and case. Excellent condition . $395.00 H ANIMATION AND SPECIAL EFFECTS EQUIPMENT ACME 7' Animation stand E/W/N/S movements, _ sliding pegs, B & H 35MM camera. Acme Stop- Hi motion motor . $3795.00 BELL & HOWELL 35MM Animation Camera with h 2 lenses, 2-400' or 1-1000' magazine. Unit 1 Shuttle . $1495.00 BELL & HOWELL 35MM Animation Camera with H lens, 2-400' or 1-1000' magazine, unit eye shuttle, prismatic through-the-lens focuser. Excellent condition . $2250.00 H BELL & HOWELL 35MM Animation Camera with rackover, Unit 1 Shuttle, 3 lenses, sunshade, h matte box, 2-400' or 1-1000' magazine & view- ™ finder. $6000 value . $3995.00 LIGHTING EQUIPMENT ■ COLORTRAN 5000 Sr. Kit with two 5 light heads, 2 stands & converter, like new . $195.00 H MOLE-RICHARDSON 150 amp. Molarc (Type 170) on pedestal; grid & cobles. $2410 value. ..$795. 00 _ M-R or B & M Sr. 5000W Spots . $149.50 " 5000W Spots on rolling stands . $199.50 M-R or B & M Jr. 2000W Spots . . . $ 79.95 ® 2000W Spots on rolling stands . $119.50 RUBYLITE PORTABLE NEWSLITE with power- ■ pak in case, new demonstrators . $165.00 RUBYLITE PORTABLE NEWSLITE with powerpak _ in case, new demonstrators . . $ 165.00 RUBYLITE POWERPAK with charger. Demonstrators . $ 119.50 £ RECORDING EQUIPMENT AMPEX 600 Magnetic Recorder with synchronous I generator, playback amplifier and speaker in 2 matched cases. $1000 value . . . $595.00 _ AURICON RT-80 VA Recorder less amplification. . — . - . $295.00 AURICON RT-80 Optical Recorder with noise re- H duction amplifier, available VD or VA, service¬ able condition . $395.00 Reconditioned . $525.00 H MAURER D 16MM Optical Recorder, twin track negative, 4 position mixer, noise reduction, ampli- _ fier 400' Magazine. Excellent condition....$3250.00 " STANCIL-HOFFMAN complete 16MM SYNCHRON¬ OUS MAGNET OUTFIT. 1 6MM recorder/playback | unit, two S4 dummy playbacks, all with Selsyn sync motors. Designed for double sprocketed cen¬ ter track, but one playback has been adapted to ■ single sprocketed edge track. Two portable cases for recorder, metal rack for playbacks. Cost over $6000 . . $1995.00 ■ See A/so Pages TO and 14 Write for Complete Brochure. ■ S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd St., New York 19, N.Y. — PLaza 7-0440 Western Branch: 6331 Holly'd. Blvd., Holly'd. 28, Calif. WHAT’S NEW IN EQUIPMENT, ACCESSORIES, ETC. Continued from Page 10 SHORT LENGTH FILM PROCESSOR— Rapid processing of short lengths of film to check exposure, etc., prior to actual production shooting is af¬ forded by new Rapromatic Series 100 portable processor. Technique em¬ ploys Raproroll saturated web which is interleaved with film and effects processing of same when under forced contact in operation of the processor. Unit is available in a variety of manually-operated or motor-driven models which handle 16mm and/or 35mm film in casettes up to 100 ft. in length. List price is about $185.00. Fifty-foot 35mm Raprorolls are $7.25 each. Manufacturer is Rapromatic, Inc., 235 B Robbins Lane, Syosset, L.I., New York. ARRI SYNC SIGNAL GENERATOR — Now available as an original fac¬ tory installation on new 35mm Arriflex cameras is Arriflex sync signal generator affording synchronization of picture film with portable quarter- inch tape recorders in the production of sound films. The 60-cycle, 1.4-volt output of generator is compatible with all tape synchronous sound record¬ ing systems such as Rangertone, Echelon, Pilotone, etc. A marker light in camera automatically establishes start marks on film. The combination signal generator and start marker installation is available through all Arri¬ flex dealers. Signal generator only may be installed on any 16mm or 35mm Arriflex camera. Arriflex Corporation of America, 257 Park Avenue, South, New York 10, N. Y. 12 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 THIS SUPERB FILM MAKING EQUIPMENT ■ CECO PRO JR. FRICTION HEAD TRIPOD with Revolutionary Ball Joint... TR8VB Net $190.00 Assistant’s Ditty Bag Net $7.50 CECO PROGRAMMER for Time-Lapse Applications Net $495.00 WADDELL NOVA III 16mm HIGH-SPEED CAMERA New features include simplified Timing block and Film Chip Reducer... Net From $2335.00 3 year lease available CECO REFLEX MODIFICATION FOR THE 35mm B&H EYEMO CAMERA Conversion Net $1200.00 Camera with Conversion Net $1500.00 This modification is also available for Mitchell and B&H 2709 Cameras at... Net $2500.00 CECO HI SPEED EDITING TABLE With Torque Rewinds, Single -System Sound and Counter. Acceleration to 240 feet per minute. Available in 16mm and 35mm Models Net From $1750.00 3 year lease available CECO 400' CONVERSION for CINE VOICE CAMERA Net $450.00 400' Mitchell-type Magazine, addi¬ tional .. . Net $135.00 BAUER SELECTON 110 16 mm XENON OPTICAL & MAGNETIC PROJECTOR SOUND BLIMP FOR KODAK REFLEX CAMERA Net $1950.00 KODAK REFLEX ACCESSORIES: Matte Box . Net $225.00 Single Speed Stop Motion Motor Net $650.00 Additional Single Speed Drives (1/4, V2, 1 Sec.) Net $150.00 110 V. AC-DC Variable Speed motor with Tachometer Net $500.00 Balanced Tripod for Blimp Net $460.00 Pro Jr. Spring Head Tripod for Camera with Ball Joint CECO Model TR6VB . . . Net $240.00 5000 ft. capacity allows 2V2 hrs. of uninterrupted showing. Light output with 2000 watt Xenon measures 4,100 lumens. Fills a Cinemascope screen over 40 ft. wide. 2-speed synchronous motor. 1000' MAGAZINE FOR ARRIFLEX 35mm CAMERA Complete with Veeder-Root Counter... Net $369.00 16mm CECO PROFESSIONAL FILM VIEWER Net $375.00 (Also available with Single System and or Double System magnetic installation). NICKEL CADMIUM PORTABLE POWER SUPPLY for Kodak Reflex, Auricon, Arriflex and other Cameras with 110 V. Synchronous motors. Complete with built-in charger... Net $325.00 CECO Model PS 40 DD INDUSTRIAL PHOTOGRAPHERS, Please Note! — Ask us about our NEW “IN-PLANT STUDIO” PROGRAM. For full information and literature on these as well as the thousands of other professional cameras and accessories available from CECO, write or phone today. CAMERA EQUIPMENT CO., INC. FIRST IN SALES, SERVICE, RENTALS AND REPAIRS SUBSIDIARY OF CECO INDUSTRIES, INC. NEW YORK, N.Y. HIALEAH, FLORIDA HOLLYWOOD. CALIFORNIA 315 West 43rd St. JUdson 6-1420 51 East 10th Ave. TUxedo 8-4604 6510 Santa Monica Blvd. HOIlywood 9-8321 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 Technical Questions and Answers S) S 9 8 8 § ■ I 1 s.o.$. GIGANTIC SALE See Also Pages 1 2 anr 57 m EDITING, CUTTING ROOM SUPPLIES & ACCESSORIES MOVIOLA 16MM Model ULPVCS Black Preview sound one side, composite sound and picture on other, magnetic/optical. Excellent condition . $1995.00 FILM HANDLING EQUIPMENT B & H Hot Pedestal Splicer, 35MM. Good condition . $595.00 B & H Hot Pedestal Splicer, 7 OMM. Good condition . - . . . - . $895.00 FOSTER AUTOMATIC Rewind on table with in¬ spection life. 110V AC 60 cycle, heavy duty motor, foot pedal control, speeds zero to 875 RPM. New . $435.00 PRESTO Hot Splicers, 16MM. Originally $747.00. Reconditioned . $495.00 With interchangeable 16MM and 35MM heads, re¬ conditioned . . - . - . $595.00 MOTION PICTURE PRINTERS ACE 35MM (from Photo News) . $295.00 DUPLEX 35MM STEP PRINTER . $295.00 (from Photo News) ACE 35MM Soundtrack Printer on pedestal, oper¬ ates with any picture. Good condition - $295.00 BELL & HOWELL Printer Model D continuous contact 5-way aperture with original style lamp- house. Good condition . $1995.00 B & H Model D Printer. Reconditioned. ...$2465.00 B & H Model D Printer, with standard 300 watt hi-intensity lamphouse, blower cooled, DC rec¬ tifier. Rebuilt like new . $4495.00 B & H 35MM Main Sprockets for D Printers. $500 value. New . $195.00 CINECOLOR Double Head 35MM Step Printer with automatic lite change and timing device. Originally $12,000. (Bank Foreclosure). Good condition _ _ — . - . $2495.00 CUSTOM BUILT 35MM Step Printer on pedestal, pilot pin registration. Fair condition . $395.00 DEPUE Optical Reduction Printer 35/16 picture with automatic light changer. Reconditioned . $3995.00 DUPLEX AUTOMATIC 150 Scene Light Change Boards. $15,000 value (plus $20 crating). .$1 95.00 DUPLEX 35MM Step Printer (2 machines in one). Excellent. Plus $35 crating . $295.00 UHLER 1 6MM SOUND and PICTURE double head, originally $862, hardly used . $295.00 FILM PROCESSING EQUIPMENT FILMLINE R15TC reversal/negative/positive ma¬ chine with refrigeration, bottom drains, air com¬ pressor, cushion-blo squeegee, variable speeds up to 1200 ft. per hour. Good condition . $2450.00 FILMLINE Model R40TC reversal/negative/positive machine with refrigeration, recirculation pump, drain pump, air compressor. Originally $4865. Good condition - $2995.00 GPL 401 Hi-Speed 16MM Spray Processor, neg./ pos. Originally $8000. Reconditioned . $2995.00 HOUSTON-FEARLESS 16MM daylight loading mag. for all HF Processors. $300 val - $99.50 HOUSTON-FEARLESS Model 1, 16MM neg. /pos., variable speed. Reconditioned.. . . . $895.00 MAMMOTH HOUSTON Color Processor 16/35MM Ansco/Ektachrome, neg. /pos. up to 1200 ft. per hour, 16 stainless steel tanks. Full temperature control. Recirculation, air supply 7 squeegees. Cost Cuban Gov't $35,000. Rebuilt like new . - . $11,995.00 Many Other Extra Specials. Write for brochure. S.O.S. PHQTO-CINE-OPTICS, Inc. 602 West 52nd St.# New York 19, N.Y. — PLaza 7-0440 Western Branch: 6331 Holly’d. Blvd., Holly’d. 28, Calif. Q. - Will appreciate answers to the following questions relative to set light¬ ing: (1) How do the major studios pro¬ vide fill light on huge, very deep sets such as a typical ballroom set in costume dramas? Obviously, using broads placed at either side of the camera would flood only a very shal¬ low portion of the set nearest the camera. However, in the type of scene mentioned above, l have noticed that very deep sets are smoothly filled with light from front to back. This doesn’t appear to be spotlighting from the top of the set walls; it is too even for that, too soft. (2) What is the fundamental use of cone lights: Have they merely replaced double broads? Are they ever used for very soft key lighting? — J. W., Cum¬ berland, R. I. A.— Since all big sets erected in the studios have parallels overhead, illumi¬ nating such sets smoothly and in depth is a relatively simple matter. The lamps — usually 5K’s or 10 K’s — are mounted on the parallels and provide smooth illu¬ mination from overhead over the en¬ tire set. Very often these lamps are diffused, with spun glass or plain gela¬ tin diffusers, for improved illumination quality. Cone lights provide the cinematog¬ rapher with the nearest thing to “shad- owless’ light on the sound stage. They make ideal fill lights and are some¬ times used to replace broads or double broads. Of course, the Cone light takes up more space than does the broad. It is possible to use a Cone light for very soft key lighting, but studio cinematog¬ raphers prefer to use a modeling light plus a fill light, which can be con¬ trolled to give better definition, more interesting faces. Q. - How does the Gossen Lunasix meter compare with the Spectra?- — - M. F., Oakville, Ontario, Canada. A. ——The Spectra is essentially an in¬ cident light meter, although it may also be used for reflected light readings. The Gossen Lunasix, on the other hand is basically a reflected light meter, al¬ though it is capable of incident light evaluation also. The Spectra’s large hemispheric light collector is ideally designed to provide high efficiency in collecting and measuring incident light falling on scene or subject from all angles. Both meters are highly sensitive in that light pickup is amplified by means of ultra-sensitive Cadmium Sul¬ phide cells incorporated in the light measuring system. Q. - For a film I am shooting on 16mm Ektachrome Commercial, how can l create the illusion of a chest X-Ray being developed in a darkroom? — L. L. B., Springfield, Mo. A. - For the answer to your ques¬ tion, we consulted two different Holly¬ wood special effects specialists. Fol¬ lowing are their respective answers: You will need two X-Ray plates, both the same size, one blank, the other with completely developed X-Ray image. Photograph hand submerging blank plate in tray of solution. Hold it still, then withdraw hand from scene. Cap lens and wind back film to start of exposure, and remove cap for re-exposure. Place plate with de¬ veloped image in identical spot in tray as blank plate; fade-in and shoot a simple 3-foot dissolve. Place hand in same position as for first exposure, then lift and remove plate. Or ... . If shot is to be a static one, shoot once with blank X-Ray plate in tray, and second time with the developed plate in tray and with camera locked down. A long dissolve between the two shots should yield gradual appearance of image. Where the shot is to contain action, reversal system is probably easiest to handle. Here X-Ray plate is first ex¬ posed normally with the reverse of the desired image (i.e. neg for pos or vice versa). Then follow normal reversal processing, develop, bleach and clear. Process may be stopped at this point and plate exposed to white light. Plate may now be developed in the light while photographing with desired im¬ age fading in as development occurs. Reversal kit, chemicals and instruc¬ tions can be had at most photographic stores. ■ 14 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 F & B Mark III with Viscomatic Head Sachtler-Wolf Double Gyro Model UK Sachtler-Wolf Double Gyro Model KA Miller Model D O’Connor Model C O’Connor Model 100 Miller Professional Sputnick F&B TALKS ABOUT TRIPODS! Like some people we know, cameras don’t move by themselves; they have to be pushed around. A basic requirement in good camera movement is smoothness — a smooth beginning — middle and end when panning, tilting or both. Years ago, when we had to depend on friction heads for movement, most cameramen acquired great skill in using these. Also, many cameramen depended on geared heads cranked with both hands which required tremendous dexterity. Today, with our advancing technology; adapting principles of hydraulics and of gyroscopes we have evolved the fluid and gyro tripod heads. Great skill and dexterity is no longer an absolute requirement for fine, professionally smooth camera movement. Smoothness is now a built-in characteristic of each of the tripod heads shown here. We at F & B sell and recommend these most enthusiastically. If you are still doing great work with outmoded friction or geared heads, we congratulate you. Still we urge you to modern¬ ize. Why not treat yourself to one of these fine fluid or gyro head outfits, and see if you don’t agree that it makes your work easier. With the help of many skilled cameramen, we have made up a chart so that you could select the outfit most suited to your needs. If you want more detailed information on any of these, or if you would like to “try out” or arrange for a demonstration with no obligation, please write us. WEIGHT PRICE Tripod Only $1975.00 SPUTNIK Tripod & Head $369.50 HOW TO SELECT YOUR TRIPOD ASK F & B There is nothing our expert tech¬ nicians like bet¬ ter than talking equipment with you. Complete infor¬ mation and liter¬ ature on all types of professional equipment are yours for the asking. NCE HYDRO FLUID SERVING THE WORLD’S FINEST FILM MAKERS 68 West 45th Street New York 36, New York Murray Hill 2-2928 MILLER PRO SACHTLER WOLF DOUBLE GYRO K A Tripod & Head $795.00 SACHTLER-WOLF DOUBLE GYRO U K Tripod & Head $795.00 MILLER ’’D” Head Only $150.00 7 lbs. Head Only $299.50 10 lbs. O’CONNOR 200-A Head 18 lbs Legs 12 lbs Head 18 lbs. Legs 12 lbs. Tripod & Head $139.50 14 lbs. Head Only $295.00 O’CONNOR 100 Head Only $2250.00 F&B MARK II VISCOMATIC O'CONNOR C 6 lbs. Head Only $695.00 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 1 the ONE PACKAGE deal from JACK A. FROST / . . saves you TIME and money on PRODUCTION RENTAL needs ! . . . . JACK A. FROST COBO HALL OFFICE: 401 Washington Bivd. Rm. 3143, WO 2-1255, Detroit 26, Michigan MAIN OFFICE: 234 Piquette TR 3-8030, Detroit 2, Michigan CANADIAN OFFICE: 6 Shawbridge, BEImont 2-1145, Toronto, Canada 16 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 ANOTHER FIRST BY PRECISION! THE ONLY PATENTED □□□ 00 SYNCHRONIZER MODEL SR16 16mm Sprocket Assembly m fgl with 0-40 Frame Plate ■ # MODEL SR-35 35mm Sprocket Assembly with 0-16 frame plate MODEL S-616-1AN 8mm Nomad Sprocket Assembly, complete with magnetic attachment. MODEL S616-2SP Counter for measuring in seconds, minutes, hours. MODEL S616-1A0 16mm Optical Sound Head f afciSS^P *mr- % Sprocket • m * r: , « • Assembly MODEL * GB-35 *T“ Precision i§| . •i ;h^-v Gear Assembly & II ^ „ 4§ t Decoupling C \ v > \ >\, Y »*Q Gear ** "a ' ' % # Assembly. 1:1 Add or subtract units as you need them when you need them with these components You can now purchase a synchronizer and be able to add-a- unit whenever the need is there. It is not necessary to put your unit aside, because you have outgrown it, or change your mode of operation. We have developed this unitized system to give the film editor a flexible piece of precision equipment. *Units for assembling combination synchs. • Footage Counter — reset type • Precision ball-bearings & oiless bearings throughout • Large sprockets to S. M. P. T. E. standards 1 6mm— 40 frames 35mm— 1 6 frames • Dural tension rollers — adjusted individually • Finger tip release • Perfect control — convenient hand wheel • Individual frame movement — shaft slip lock • Table mounting feet with rubber pads • Attractive hammertone finish • Simple coupling method for unitized assemblies AMERICAN CINEMATOGRAPHER, JANUARY. 1963 17 Jock-Steady Prints are YODRS with TEL-Amatic Prints color, black-&-white, reversal, sound or silent films with rock-steady professional precision. Has many out¬ standing features found only in much higher priced pro¬ fessional printers. Sufficient light is provided to expose fine grain film. Semi-automatic light change assures per¬ fect exposures. Write for brochure. PROFESSIONAL continuous contact sound & Qnly CIQQjj picture printer for 16mm or double 8mm films v 1 » ^ PRINTER S.O.S. PHOTO-CINE-OPTICS, INC. 602 WEST 52ND STREET, NEW YORK 19, N. Y. • Phone: PLaza 7-0440 • Telegram: “FAX, N. Y.” WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Phone: 467-2124 - SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 7, 10, 12, 14, 53 AND 57 -< - This is the latest IMPROVED (INEKAD JUNIOR DOLLY Write for more details and prices. CINEKAD ENGINEERING CO. 763 10th Ave., N.Y., N.Y., PLaza 7-3511 U sed Nationally by Discriminating Cameramen This 3-Wheel Collapsible Dolly Is especially designed to meet the demand for con¬ venient mobility of cameras on location or in the studio. The new model instead of the 4" wheels is constructed with 5" heavy duty rubber-tired swivel wheels. r ■N FOR MORE INFORMATION about products or serv¬ ices advertised in this issue, use the convenient postage- paid inquiry card facing the last page. Simply fill it out and mail. We’ll do the rest. —AMERICAN CINEMATOGRAPHER - - - / Literature BOOKLETS, CATALOGUES AND BROCHURES AVAILABLE FROM EQUIPMENT MANUFACTURERS Splicing and Repair Tapes Permacel, New Brunswick, New Jer¬ sey, manufacturer of pressure-sensitive tapes, electrical insulating materials and adhesives, has prepared a new de¬ scriptive folder on its Permacel F ilm Splicing and Repair Tapes, which are made of Mylar for motion picture and magnetic film. © Colortrends Newsletter ColorTran Industries, 630 South Flower St., Burbank, Calif., manufac¬ turers of specialized lighting equipment for motion picture and Television, is publishing periodically ColorT rends, a new 4-page bulletin that includes arti¬ cles and photographs of company’s various items of equipment in practical use. Readers of A.C. are invited to be placed on mailing list to receive copies of the new publication. • Bulletin on Recording Emcee is title of new publication is¬ sued periodically by Magnasyne Cor¬ poration, 5546 Satsuma Avenue, North Hollywood, Calif. Edited specifically for Magnasync’s many customers and prospective customers, bulletin illus¬ trates and describes interesting applica¬ tions of Magnasyne equipment. Com¬ pany manufactures magnetic sound re¬ cording and playback equipment. • Microphone Literature A new products brochure describing six new Shure microphones is available from Shure Brothers, Inc., Evanston, Ill. It includes specifications and prices on company’s latest microphones, plus information on its new quick-discon- nect microphone isolation units and a new transistorized stereo preamplifier. Film Flow Charts Professional methods of processing motion picture film are described in a set of eight flow charts recently pub¬ lished as producer service bulletins by General Film Laboratories, 1546 North Argyle Avenue, Hollywood 28, Calif. ■ 18 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 IN THE EAST... IT'S MOVIELAB FOR COLOR AND BLACK & WHITE DEVELOPING COLOR NEGATIVES . ADDITIVE COLOR PRINTING • REDUCTION PRINTING INCLUDING A& B • COLOR SLIDE FILM PROCESSING . BLOWUPS • INTERNEGATIVES • KODACHROME SCENE-TO-SCENE COLOR BALANCED PRINTING • EKTACHROME DEVELOPING AND PRINTING • REGISTRATION PRINTING • PLUS COMPLETE BLACK AND WHITE FACILITIES INCLUDING CUTTING ROOMS, FILM M0V|EUB BU|LD|NG 6lg WESI 54IH „T AND TAPE VAULTS AND THE FINEST SCREENING FACILITIES IN THE EAST NEW YORK 19, new YORK . JUdson 60360 featuring Sy/vania's new Zoom Movie Lite / Use ‘flood’ for close to .medium lighting... ‘spot’ for distance. Three-way switch: flood/ off/spot; one- finger operation. T Built-in carbon collector keeps lamp output and color constant. Entirely new! Ideal for zoom movies, wide-angle or telephoto! Compact, light¬ weight, cool, holds any camera. Replace¬ able long-life lamp; 16 hours (8 each filament). Head is adjustable up to 90° bounce. With camera mounting bracket. At Better Dealers Everywhere / FLEX ELECTRIC PRODUCTS, INC. 39-08 24th Street Long Island City 1 , N.Y. LESS THAN $|300 BEHIND WHAT THE INDUSTRY'S ERAS OTING LAST MONTH H I N S NOTE: Asterisks following titles indicate television film productions. AMERICAN-INTERNATIONAL Gilbert Warrenton, ASC, “Bikini” (Michol- son-Arkoff Prod.) with Tab Hunter and Frankie Avalon. Anthony Carras, director. ALLIED ARTISTS Floyd Crosby, ASC, “Black Zoo” (Herman Cohen Prod., P’Vision & Eastman color) with Michael Gough and Rod Lauren. Rob¬ ert Gordon, director. CASCADE STUDIOS Henry Freulich, ASC, Commercials*. Roy Seawright, Commercials*. CBS — N.Y. Charles Mack, Leo Rossi, Robert Clem¬ ens, “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. COLUMBIA STUDIOS James Drought, Commercials** Gordon Avil, ASC, “The Candy Web” (Wm. Castle Prod.; Eastman color) with Kathy Dunn and Murray Hamilton. William Castle, producer-director. Philip Tannura, ASC, Irving Lippman, “Route 66”*. Robert Wycoff, “Dennis the Menace”* ; Commercials*. Robert Pittack, ASC, “Mr. Smith Goes to Washington”*. Joseph Biroc, ASC, “Grindl”* (pilot). Charles Lawton, ASC, Commercials*. Burnett Guffey, ASC, Commercials”*. Robert Bronner, ASC, Commercials*. Christopher Challis, “The Victors” (High¬ road Prod.; P’Vision; shooting in England) with Vincent Edwards and Christine Kauf- mann. Carl Foreman, producer-director. Charles Welborn, “Empire”*. Richard Rawlings, “Higgins”*. Fred Gately, ASC, “Hazel”*. Gert Andersen, ASC, “Donna Reed Show”*. DESILU — Cahuenga Studio Robert deGRASSE, ASC, “The Danny Thomas Show”*; “Dick VanDyke Show”*. Maury Gertsman, ASC, “I’m Dickens — He’s Fenster”*. Henry Cronjacf.r, “The Joey Bishop Show”*. Sid Hickox, ASC, “The Andy Griffith Show”*. DESILU — Culver City Lothrop Worth, ASC, “The Real Mc¬ Coy’s”*. Charles Straumer, “The Untouchables”*. DESILU — Gower Hai. Mohr, ASC, “Breaking Point”* (pilot). Ralph Woolsey, ASC, “Morrison’s Re¬ treat”* (pilot). Maury Gertsman, ASC, “The Lucy Show”*. Ted Voichtlander, “Ben Casey”*. Edward Fitzgerald, ASC, “Lassie”*. Robert Planck, ASC, “My Three Sons”*. Continued on Page 56 20 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 PRODUCTION HEADACH WE CAN SOLVE WITH CONFIDENCE! 1. LIGHTING SincG 1921... INC. 2. GRIP EQUIPMENT 3. PROPS 4. GENERATORS 1800. 1600. 1000 Amp. D C. Trucks 700 Amp. D.C. Trailers 100. 50. 30. 20. A C. LARGEST SUPPLIERS OF MOTION PICTURE. TV AND INDUSTRIAL PHOTOGRAPHIC EQUIPMENT IN THE EAST 333 WEST 52 STREET, NEW YORK 19, N. Y., Circle 6-5470 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 21 Photographing A Walt Disney Production Edward Caiman, ASC, who has filmed six feature films to date for Walt Disney, found new and exciting photographic challenges in “Savage Sam.” Scattered around a clump of oak trees halfway up a parched mountainside in California’s San Fernando Valley, six Hollywood stunt riders, decked out in the Ver¬ million hues and war bonnets of By DARRIN SCOT Apache warriors, and 50 specially trained horses wait impatiently to begin one of the most difficult and spectacular scenes ever attempted for Walt Disney’s feature motion picture, “Savage Sam.” Surrounding a small lake below the horses and riders, six camou¬ flaged camera crews under the supervision of Director of Photo¬ graphy Edward Coleman, ASC, zero-in on a seven-foot high, twen¬ ty-foot wide precipice. Director Norman Tokar shatters the tense silence with the command, "Okay — let’s roll ’em!” "Camera one, speed — camera two, speed — camera three, speed,” and so on, the operators report from around the lake. “Action!,” the director shouts over the P.A. system. “Bring on the horses!” fhe whoop and holler of the wranglers in Indian disguise rings through the air, and slowly, two at a time, then galloping four and five abreast, the horses careen down the sheer slope and into the lake. “Number one, clear!” shouts the assistant director. Down a nar- row p a t h gallops the fi r s t “Apache.” His mount leaps off the embarkment and into the lake. “Number two, clear!,” and down come two youngsters on a big bay. The horse hurtles off the barrier into the water. “Number three, clear,” The third “Apache” spurs his horse down the path and off into the now crowded lake. “Number four, clear!” Two riders on separate horses gallop down the hill together, then plunge off the cliff almost simultaneously in a breathtaking leap. When the director yells, “Cut!,” the 150 -man motion picture crew hurts into spontaneous applause. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 THE CAMERA CREW in action filming a running camera shot for “Savage Sam," Walt Disney’s latest. As the camera car moves swiftly .booster lights are played on the actors, the mike man has the microphone pointed properly, the director keeps in touch with other technicians by radio phone, and the still man shots a record of the action. 22 HERE MAY BE SEEN five of the six Mitchell cameras used by Ed Colman to cover all angles of big climactic scene for “Savage Sam,” photo¬ graphed in Eastman Color. The camera equipment and the barges on which some of the cameras will be mounted are being made ready under the supervision of Colman and director Norman Tokar (out of picture). The actual filming of this spec¬ tacular sequence took only one minute and fifteen seconds, but the planning and preparation required much time and effort of a large crew of technical experts. The de¬ cision to use six cameras simul¬ taneously to film it — a procedure virtually non-existent in present- day, budget-minded Hollywood — was prompted by the fact that con¬ siderable production time could be saved because a single take could produce six different camera an¬ gles of the intricate sequence, with the action perfectly matched — greatly minimizing the need to repeat the complicated maneuvers with the horses and avoiding delays necessary for separate camera set¬ ups. Four cameras were located at various vantage points on the lake shore, while two others were posi¬ tioned on a raft anchored in the middle of the lake to record closer shots of the horses swimming to¬ ward them. As the animals leaped off the cliff, low camera angles helped to exaggerate the height of the jump; also use of lenses of different focal lengths provided variety for the editor in cutting the sequence. “Savage Sam,” a sequel to the highly successful Disney film, ‘"'Old Yeller,” made four years ago, is an outdoor action epic having to do with dogs, horses, Indians and kidnapped children. It may have set some sort of record in that 95% of its scenes are actual ex¬ teriors shot in various picturesque locations not far from Hollywood. The horse-jump sequence was filmed on the sprawling Albertson Ranch, 13,000 acres of scenic mo¬ tion picture locations near Thou¬ sand Oaks in the San Fernando \ alley. Featuring a variety of ter¬ rain — including lakes, mountains, unusual vegetation, sculptured rocks and giant trees — the ranch is used regularly by film com¬ panies. Much of the “Gunsmoke” television series is photographed here. Additional scenes were shot at Escondido Canyon, a starkly eroded area studded with over¬ hanging rocks. Still other scenes were filmed at the scenic Walt Disney Ranch near Saugus, a land¬ locked Shangri-La with clear air and blue skies free of the smog Continued on Page 40 23 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 The factors that affect the quality and the cost of your release prints. TThe basic stages are essentially the same in all A 35mm B&W motion picture production: expose camera stock, process it, print a working copy, edit, conform, make the first intermediate negatives and/ or masters, make a first trial print, and finally the release prints. There are, however, some choices that can be made within these stages. During the shooting of a production, a record of all takes is noted on the camera log (or scene-and- take sheets), with notations to print or not to print the various takes. Following the processing of the negative, the laboratory follows these instructions and removes the unwanted takes before printing. Obviously, this serves two purposes: it saves money and it is a first step in the process of editing the film, since it eliminates unwanted material from the footage that is to be handled by the editor. After the unwanted takes are removed by the laboratory and the remaining negative footage is spliced, the dailies are printed. Although there is occasional demand for one-light dailies, the normal requirement is for timed dailies which enables the producer to estimate his eventual release print qual¬ ity while screening the daily footage. Ultimately the dailies are edited and strung to¬ gether to form what is known as the workprint. Sometimes a producer will require an additional copy of the workprint so that the sound recording department and the film editor can work on the picture simultaneously. In such instances, the usual practice is to make a temporary dupe negative from the edited workprint and a temporary positive print from the temporary dupe. While it is true that an¬ other set of dailies can be made from the camera negative, this is inadvisable because it would subject the negative to additional and unnecessary handling, and it would also involve the additional work of conforming the second set of dailies to the first work- print. In the matter of release prints, there are two choices available to the producer, and the choice he makes will partially determine the other laboratory services. His prints may be made directly from the edited camera negative or from a dupe negative. The printing choice may involve both 35mm and 16mm, the latter being provided by reduction print¬ ing from the edited camera negative, or by contact printing from a 16mm dupe negative — with the dupe reduction printed from a 35mm master positive. The factors involved in making the choice be¬ tween printing from camera negative or dupe nega¬ tive include print image quality and price and size of the print order — the latter considered in relation to the life expectancy of the printing negative. Here the question naturally arises: “Just what is the life expectancy of an edited 35mm negative?*’ Each passage of the negative through the printer may result in scratching or other damage to the film. This can happen even where the laboratory has the most modern machinery plus the latest mechani¬ cal and electronic safeguards, and strict standards governing the handling of customers’ film in the print. A continuous movement printer is gentler with film than a step-printer, which is the type printer used in reduction-printing. But any printing opera¬ tion has some element of hazard. In the production of 35mm release prints on a continuous printer, the number of acceptable quality prints made from a 35mm edited camera negative has run up over six hundred, but the normal run of quality prints is closer to two hundred. In making individual 16mm reduction prints, the average is around one hunderd quality prints, although there are instances where much higher totals have been achieved. The price advantage is with the 16mm contact print from a 16mm dupe negative reduction-printed from the 35mm master positive. This is because the 16mm dupe negative is fully timed, has all the necessary effects incorporated — making it possible 24 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 to produce the required release prints on a continu¬ ous printer without the need for scene-to-scene light changes. There is a price advantage also where 35mm re¬ lease prints are made from a 35mm dupe negative that is fully timed and requires no light changes in the printing operation. Obviously, the less work the laboratory must do in making each release print, and the faster a printing machine can be safely operated, the lower the price of the printed product to the customer. Regarding the matter of quality, the fewer the intermediate steps the better the product — as a rule. As one might reasonably expect, 35mm prints from edited 35mm camera negative are more pleasing visually than prints made from a dupe negative. One can observe this quality in screened prints where it is possible to compare optical effects portions with other footage in the same picture. Similarly, the 16mm reduction print may be ex¬ pected to have better definition, contrast, and over¬ all tonal quality than the 16mm contact print made from a reduction-printed negative. Nevertheless, the 16mm contact prints from reduction negatives we FLOW CHARTS below show progressive steps in the production of release prints from 35mm B&W negative, also the 35/32mm method for producing 16mm positive prints from B&W films. Charts are repro¬ duced from series of Producer Service Bulletin issued by General Film Laboratories, Hollywood. see today are, on the average, very good — especially when the 16mm reduction negative is made on 35/32mm stock and the prints are also made on 35/32mm positive, then slit to 16mm widths. This dual-printing method combined with today’s im¬ proved film stocks, modern printing methods, and close control of processing procedures results in 16mm contact prints very close in quality to the reduction print — and without involving the normal hazards of reduction printing. In actual practice, most small orders are produced from the 35mm camera negative — both 35mm con¬ tact and 16mm reduction. Most 35mm release print orders— up to around 200 prints — are normally made from the camera negative. But larger orders in 35mm, and 16mm release orders of 100 to 200 prints, will usually be produced from a dupe nega¬ tive. In either case, the producer will require certain 35mm fine grain positive and 35mm dupe negative materials. In printing from an edited single-roll camera negative, all dissolves and other special visual effects are provided by making optical dupe negative sec¬ tions of these effects which are cut into the main body of the camera negative. This process requires the making of (1) fine grain 35mm positives of the scenes involved in the effects, and (2) the projection (or optical) printing of the 35mm dupe negative sec¬ tions with the effects incorporated. Continued on Page 54 . o GENERAL PRINTING f LOW CHART ■o GENERAL THE 35/32mm METHOD FOR PRODUCING 16mm PRODUCE*! ' SERVICE I 0 6UUETin| U 35mm BLACK/WHITE NEGATIVE PRODUCER 1 « SERVICE I C. BULLETIN 1 U POSITIVE PRINTS FROM BLACK/WHITE FILMS REBIJCTICN PRINTING REDUCTION PRINTING SOUNO MASTER RE RECORDING 35/32 SOUND NEGATIVE CONTACT PRINTING CONTACT PRINTING 35mm BfW Master Positive 35/32mm B/W Positive Print REDUCTION PH1HHNG .(INTACT PRINTING RECOCT ivN PBINTINS r*C» PRINT l PfOUI'.TlON SOUND MASTER 35mm SOUND NEGATIVE 16mm SOUND NEGATIVE AE-RECOROiNf. CONTACT PRINTING BfW::? Negative 35mm BfW Master Positive 35mm B/W Release Print 35mm B/W Daily Work Print AMERICAN CINEMATOGRAPHER, JANUARY, 1963 25 CINEMATOGRAPHER Marvin Farkas (left) and as¬ sistant setting up Arriflex 16 camera for a high shot during filming of "Bozo's Adventures In Asia" for WHDH-TV. 'T'he decision of TV station WHDH of Boston, Mass., to send its local clown “Bozo” on a goodwill tour of Asia in coopera¬ tion with UNICEF, provided Marvin Farkas, Hong Kong-based cinematographer, with a hectic filming assignment that took him to six countries. In the course of the two-month odyssey, the TV film unit shot enough footage for ten half-hour shows for WHDH’s series entitled “Bozo’s Adventures in Asia,” plus a series of personality interviews. Farkas, his assistant, Y. B. Tang, Frank Avruch (who plays Bozo in the local Boston area) and Vir¬ ginia Bartlett, producer and direc¬ tor, not only visited many major Far East cities, but also traveled extensively in the rural areas where UNICEF does much of its work. To film the “Bozo” segments Farkas used a 16mm Arriflex and a Bell & Howell Filmo. For the sound interviews an Auricon cam¬ era converted to accommodate a 400-ft. magazine and equipped with a zoom lens was used. Farkas and his crew filmed in Hong Kong, the Philippines, Tai¬ wan, Thailand, Burma, India and Pakistan. Much of the shooting was done outdoors to take advan¬ tage of local scenic values of the Filming In Asia For American TV New adventures of Bozo the clown filmed in 16mm color in Far East locales. By CLIFFORD V. HARRINGTON UNICEF photos by J. Ling SUBJECT OF the TV film series — Bozo t elephant in India. Meantime the camera Filming was in 16mm color. countries and to avoid the neces¬ sity for extensive indoor lighting. Also, sequences were planned with a bit of plot whenever possible to provide more interest and tighter continuity. One such vignette shot in the exotic Gardens of Shalimar, in La¬ hore, Pakistan, shows a little boy, sad and alone. Then Bozo in his incongruous costume appears and cheers him up. Other children gather to watch. For the final cut Bozo raises his hands and by prior arrangement the beautiful foun¬ tains in the background spout up. The photography kept camera¬ man Farkas on his toes. The UNICEF organization had planned ie Clown — played by Frank Avruch, mounts an recorded antics for the American TV film series. a crowded schedule for the crew, so Farkas had to draw heavily on his newsreel experience in setting up and photographing quickly. One of the important tasks was to get unobtrusive shots of the youngsters reacting to the Ameri¬ can clown, Bozo. But in one case the crew got tears of fright in¬ stead of howls of laughter. When Bozo was announced and came bounding into the room, the native children were thunderstruck by his red wig and shiny red nose. Never in their wildest dreams had they imagined such a character. “Even we were surprised,” Far¬ kas said. “Bozo approached one child, who seemed not as frightened 26 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 as the rest, and gained his confi¬ dence, and similarly, he won the others over and the filming contin¬ ued.” The dark skins of the local people contrasted sharply with the white or bright colors of their clothing, which presented a prob¬ lem of determining the best ex¬ posure to use. In such instances he compromised on the lens setting and trusted the latitude of the Ektachrome Commercial film to provide the correct light balance. Farkas and his crew experienced many unusual weather conditions during the trip. In India, fortu¬ nately, it was not yet the monsoon season and there was bright sun¬ shine every day. “The strangest thing we en¬ countered was unusual sand condi¬ tions in Pakistan,” Farkas said. “It was as fine as powder and it hung over the area in a cloud. We didn’t take our cameras out of their cases until the sand blew away, which was several days af¬ ter we arrived.” Continued on Page 53 FULL RANGE for demanding cinematography . . . MITCHELL 16mm, 35mm and 65mm Standard and High-Speed Mitchell cameras for TV, theatrical and industrial photography, and 70mm Mitchell cameras are avail¬ able to your individual requirements. Mark il 35mm reflex studio camera orders now being taken. Write for new brochure. Precision cameras for professional film making Underwater ... or Outer Space are extremes calling for special cameras and versatile equipment to assure positive and accurate results for engineer¬ ing evaluation. Mitchell cameras and complete tracking units designed to your specifications are available to meet the most demanding motion picture requirements. USING 16mm ARRIFLEX and Ektachrome Com¬ mercial film, cameraman Farkas photographs colorful detail of oriental temple in Rangoon, Burma, as part of his WHDH-TV assignment. SPECIAL CAMERA DESIGNS The experienced Mitchell team offers 45 years of experience in design and engineering projects for special motion picture equipment. The most advanced group of camera engineers, production and test technicians in the motion picture industry is available to meet your special requirements. 85% of the professional motion pictures shown throughout the world are filmed with Mitchell cameras. Your inquiry is welcomed. Write Sales Department for the Mitchell catalog. MITCHELL CAMERA CORPORATION 666 W. HARVARD ST., GLENDALE, CALIFORNIA AGENTS: Mitchell Camera of New York, Inc. • 521 Fifth Avenue ■ New York, New York Vinten Mitchell Ltd. • 715 North Circular Rd. • London, N.W. 2, England Nagase & Co., Ltd. • 3, 2-Chome Kobunacho • Nihonbashi, Chuoku ■ Tokyo, Japan AMERICAN CINEMATOGRAPHER, JANUARY, 1963 27 ZOOM LENS TECHNIQUE Why zoom shots and tracking shots differ in perspective. By ARTHUR GRAHAM, BKS* ^he idea OF combining different focal lengths within one lens goes back many years in the history of photography, and lenses were in fact de¬ signed so that by using all the components one focal length was obtained, and then with certain compo¬ nents detached this focal length would be increased, although with a smaller f/number. This uncom¬ bined lens frequently suffered from optical defects. In the early nineteen-thirties the idea was taken a step further in lenses intended for motion picture production, which allowed the focal length to be changed not by the removal of any components but by the movement of the parts of the lens in rela¬ tion to one another. They still had the disadvan¬ tage however of the necessity of using a small aperture if a “zoom” was made, in order to obtain acceptable quality, “zoom” being the word used to describe the action of changing continuously from one focal length to another. The film indus¬ try did not show a great deal of interest in these lenses, possibly because of the price (which was high) and also because of the exposure difficulties inherent in their use; and as a result, no further work was undertaken along these lines until after World War II. Lenses were then made in which the widest aperture could be used throughout all the varying focal lengths. Television companies quickly realized that this new piece of equipment was ideally suited for a large amount of the work they had to undertake, if indeed their demands had not in fact stimulated its production. And from Reprinted by permission from Vol. 41, No. 3, of British Kinematography. Author Graham is Films Officer for Bowater Paper Corporation. Ltd.. London. WITH HIS ZOOM-EQUIPPED Bolex mounted on the bed of his station wagon, cinematographer Roy Zeper has the dual advantage of both the zoom and tracking shot, depending on the demands of the script. there its use has spread into all branches of film making. The effect of altering the focal length of a lens while filming — in other words “zooming” — is to change the angle of view. If the lens is set at a wide angle and is then changed to a narrow angle, the result is a concentration on some detail of the original long shot. Reversing the process and going from a narrow angle to a wider one gives the effect of placing a detail seen at the start into a wider setting. The usual method employed in film making to achieve these two effects has been the tracking shot. The camera is mounted on a truck- — known as a “dolly” — and is moved backwards and forwards as required in relation to the objects being filmed. It may also be mounted on a crane in which case the movement of the camera can be vertical as FIG. 1 — long shot — showing perspective before tracking or zooming. 28 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 well as horizontal. Tracking shots are mainly used in a production either for the purposes already mentioned, or in order to maintain a fairly con¬ stant spatial relationship with a moving object. In other words, moving along with the object being filmed. Does the zoom lens replace normal tracking shots? As can be seen from the above, it can only act as a substitute for those shots where the camera is mov¬ ing towards or away from the object. It cannot give the second type of tracking shot — moving with the subject — except under special circumstances of posi¬ tioning. And although it can be used to approach or draw away, the resulting picture is different from that obtained by a tracking camera. The reason for this lies in the difference of perspective in the two shots. With a “zoom” taking the place of a track, the camera remains in a fixed position and consequently the perspective of the scene remains unchanged irrespective of the apparent move. The relationship between the object and the foreground and background is unaltered. The only change is in the size of the object on the screen: it becomes bigger or smaller according to which way the zoom is made. With a tracking camera, this is not the case. Not only does the size of the subject change, but the perspective of the scene does also. Dramati¬ cally, or rather artistically, this difference between the two visual results is very important. With a tracking shot, the audience will feel that they are part of the scene, moving towards or away from the object as the camera does. This feeling of being “inside,” so-to-speak, is due to the chang¬ ing perspective, which resembles that which would be experienced in normal life as one moved in a similar manner. In a zoom shot, on the other hand, those in the audience remain outside of the scene, in the sense that they cannot feel themselves part of it. If the scene begins as a long shot and then narrows down to a closeup, the effect is not that the audience has gone into the scene and approached the subject, but rather that the audience has re¬ mained where it was and that a magnifying glass has been used to examine some detail in the long shot. The perspective in this case does not change, only the size of the object in relation to the screen size. However, there is sometimes an apparent perspective change with a zoom, especially with a zoom-in. It is most marked on the occasions when the scene is zoomed from a long shot to a closeup not of one object by itself, but to two or more stand¬ ing in different planes relative to one another. When this happens, it appears that the distance between the various objects is foreshortened, in other words, they seem closer together. This alteration in appearance is similar to the effect seen when very long focus lenses are used on cricket matches; though it is of, course, far less marked as the longest focal length of a normal zoom lens is still far less than that of the lenses used for such a purpose. The two sets of stumps seem to be very close to each other, and yet when the batsman runs from one set to the other, he resembles the Red Queen — he runs like mad and appears to get nowhere. This effect is, of course, due to the magnification of the image in relation to the position of the audience relative to the screen. A long shot on the screen seems to look normal to people seated in the usual viewing position, but when a section of the long shot is enlarged to the full -screen size — which is what happens in a room, or with very long focus lenses — then the usual view¬ ing position is no longer correct for the degree of magnification, and in order to restore the perspec¬ tive to normal the audience would need to move further away from the screen; the increased dis¬ tance being relative to the increased magnification. The illusion of perspective change is further in¬ creased by the elimination of the objects in the Continued on Page 46 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 29 FACT IS a crisp, sparkling negative must have top-quality prints. Otherwise, it can’t do its job, and your message falls flat on its face, wasting production time and money— station time, too, if your film’s on TV. Moral: Go Eastman all the way— negative and print-stock. And in the case of ques¬ tions— production, processing, projection— always get in touch with Eastman Technical Service. For further information, please write or phone: Motion Picture Film Department, EASTMAN KODAK COMPANY, Rochester 4, N. Y. Or— for the purchase of film: W. J. German, Inc. Agents for the sale and distribution of Eastman Professional Film for Motion Pictures and TV, Fort Lee, N .J., Chicago, III., Hollywood, Calif. CINEMATOGRAPHY IN SERVICE INSTALLATION OF modified T1A camera wing mount on bomb rack of F-86F aircraft. Mount developed by APCS personnel, encloses Bell & Howell Eyemo camera for photographing air- to-ground and ground-to-air combat action. THE T1A camera wing mount showing position of the Eyemo camera and the L-shaped channel through which the film travels to and from the 400-foot magazine in tandem position. Fitting The Camera To The Job Adapting cameras and related equipment to unique photographic assignments is all in the day’s work for cameramen of the APCS. By HERB A. LIGHTMAN Qne of the most stimulating challenges to the U.S. Air Photographic and Charting Service, in providing world-wide motion picture and still photographic coverage of Air Force activities, is the almost constant demand for development of special camera equipment and the adaptation of standard equipment to meet its highly individual¬ ized requirements. Sometimes this merely calls for an imaginative way of utilizing existing units with¬ out mechanical modification. In other cases it re¬ quires designing and construction of the original equipment to serve a unique purpose. In most situa¬ tions, however, a “yesterday” deadline adds zest to the whole procedure and calls into play a com¬ bination of “Yankee Ingenuity” and precise engi¬ neering skill. An account of a typical stop-the-presses assign¬ ment will serve to illustrate how APCS technicians swing immeditaely into action in adapting standard motion picture equipment to a highly specialized situation. Recently APCS headquarters at Orlando Air Force Base received a request for a camera crew to film a two-week Counter Insurgency semi¬ nar at the Air University at Maxwell Air Force Base, Alabama. Hal Albert, Asst. Deputy Chief of Staff-Photographic at Orlando immediately flew to the location to check out the situation. The as¬ signment called for filming forty-six 45-minute lec¬ tures during the seminar — as many as eight in one day. What made the situation more challenging was the fact filming had to be done without dis¬ tracting the audience’s attention from the continu¬ ity of the program itself. Albert decided the best way to accomplish this was to utilize four 1200-foot Super-Pro Auricon single-system sound cameras concealed in two draped booths on either side of the auditorium. He estimated that 170,000 feet of 16mm single-perfora¬ tion Tri-X Pan film in 1200 foot rolls would be needed. Locating this amount of such film stock 32 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 in a hurry was a project in itself. An urgent call was sent out to all APCS units which used the ma¬ terial as well as to Eastman Kodak Company. A barely sufficient amount of the stock was scraped together just in time to start the filming operation. It was planned to pick up the sound from the microphone on the speaker’s stand and to use the single-system sound track recorded on the camera film merely as a cue track. A separate “clean” track would be recorded simultaneously on mag¬ netic tape and used in the actual dubbing. The cameras were to operate in banks of two, record¬ ing from two different angles. Two cameras would shoot at a time, while the other two were reloaded for uninterrupted operation. As soon as a pair of cameras were rolling, the sound mixer would re¬ cord a “pip” to synchronize the picture films with the magnetic track. Near the end of a roll, when the other two cameras started up to provide over¬ lap, he would record another sync signal to key all five sound tracks together. In the actual filming operation, whenever occa¬ sional camera trouble developed, the plan had to be modified somewhat, but two cameras were kept rolling at all times. A wide bank of light units was set up along with adequate controls so that if one set of lights burned out another set could be switched on immediately. A two-way communication system was installed which enabled the director at a central location to maintain voice contact with the camera¬ men in the two camera booths and thus cue opera- ation of the cameras and the selection of subject matter. A detailed cue sheet was made for later reference by the editor so that he would know which cameras were shooting at what times. An additional problem arose out of the fact that the Seminar speakers used visual aids projected on a screen which did not show up clearly on the motion picture film. Still camermen were then assigned to stand by with cue sheets having notations indicating when a speaker would use a certain visual aid, what it was (slide, stereopticon, etc.), plus a brief de¬ scription of the subject matter, and indicating the length of time it would remain on the screen dur¬ ing the speech. Then, as soon as a particular lec¬ ture was over, the still men were given the visual aids. They rushed them to the base photographic laboratory and copied them in color slightly larger than 1-to-l. Later, at the Orlando laboratory, these color stills were mounted on an Oxberry optical printer and rephotographed on 16mm color film. This footage was then turned over to the editor who spliced it into the lecture footage as cutaways. Although the speakers were photographed in black- and-white and the visual aids in color (for greater intelligibility), the two films blended together well in the final release prints, which were made on color stock. One of APCS’s most functional developments of equipment for filming air-to-ground and air-to-air combat action resulted from modifying a T-l bomb rack to hold an Eyemo camera equipped with 400- foot magazine. Because of space limitations the magazine could not be directly affixed to the cam¬ era in the conventional manner but had to be mounted horizontally some distance behind it, with the film travel mechanism re-designed to feed the raw stock through an L-shaped track to the gate. The camera movement was driven by a 24-volt motor activated by the plane’s electrical system. Another 24-volt motor operated the take-up of the magazine. When the original prototype of this wing-mount proved successful, several similar units were con¬ structed of ’/^-inch aluminum rolled to fit 10^/o-inch diameter dividing plates. A tail cone was affixed to the rear of the cylinder and two interchangeable nose cones were designed — one to accommodate a 2-inch lens, the other a 6-inch lens. The resultant T-l A Camera Wing mount has a small access door on one side for changing magazines and another on the opposite side to permit inspection of the take-up motor. This compact camera housing is designed to fit any jet fighter which normally includes a bomb rack, and it mounts directly to the pylon of the aircraft. Continued on Page 48 LOWERING CAMERA into the "Monster" — heavy metal protective hous¬ ing — in preparation for filming series of nuclear tests on Eniwetok Island. Housing enabled camera to record tests without danger to equipment. Unique built-in electronic device triggered camera into action following initial flash of bomb. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 33 WHETHER IT IS an in-plant production or a film produced for a client by a commercial producer, the time required for processing of the film and making prints is an important factor to be con¬ sidered in the initial production planning. Planning— Key To Better, More Profitable Commercial Films Where thorough planning precedes actual start of production, the director and cinematographer will have a complete, thoroughly-detailed script enabl¬ ing shooting to proceed in an orderly and econom¬ ical manner. By FREDERICK FOSTER 'y'HE profit ON an industrial or commercial film production of¬ ten depends on the economies that can be effected before shooting starts. Of paramount importance to anyone producing commercial films is the ability to carefully plan each production before it goes before the cameras. Non-the¬ atrical films, if they are to return a profit and at the same time suc¬ cessfully fill the need for which they were produced, should be carefully planned, step by step. By thoroughly visualizing a production in advance, the pattern of the finished film is established. At the same time, economies are effected through planning the shooting of the scenes in the short¬ est possible time and without need for retracing steps. The planning of a commercial or industrial film should begin with the very first conference be¬ tween producer and client. At this time there should be a clear state¬ ment and understanding of the problem to be considered. Certain basic decisions must be made be¬ fore even the most rudimentary script can be written, namely: the amount of money the client will allot for the production, and how much time will be available to produce the film. Some clients are prone to underestimate both of these factors with the result that serious problems often arise be¬ fore the production is completed. But once these two matters are settled the producer will know just how much production value he can include in his script and can ad¬ vise his writer accordingly — or if he writes the script, be able to pro¬ ceed accordingly. In order to establish a relation¬ ship between budget and produc¬ tion value, it is necessary to review the elements involved. The first factor to be considered is whether the picture is to be black-and-white or color. A color production is more effective than black-and- white but it is also more costly in terms of film stock and the in¬ creased amount of light necessary for interiors. The next factor that should be considered is the sound: whether the picture is to be lip-sync with dialogue, sound effects and music, or simply carry narration. Nar¬ rated sound with musical back¬ ground is usually easy to negoti¬ ate, since there are a number of film service laboratories that pro¬ vide complete music and recording service for the small film producer not having his own recording fa¬ cilities. Lip-sync sound, in which the speech of persons appearing in the picture is recorded simultane- CAREFULLY PLANNED, the production gets un¬ der way on time and proceeds smoothly and on schedule. (Roy Zeper Photo). 34 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 A.S.C. RECOMMENDATION NO. 11 Society’s Research and Educational Committee proposes di¬ mensions for Safe Title Area for wide screen and anamorphic theatrical release prints with TV release potentials. 0.738“ FROM THE GUIDED EDGE FIG. "3" 0.738“ FROM THE GUIDED EDGE ously with the fuming is a more costly step because of the addi¬ tional equipment and personnel required to execute it. The advent of magnetic sound and more re¬ cently, the compact, transistorized and battery-operated portable re¬ corders, now makes it possible for 16mm film producers to do their own recording, thereby modifying the cost of this phase of produc¬ tion. Whether a film will require many interior set-ups or can be staged mainly out-of-doors will have considerable influence on both the budget and the shooting schedule. Shooting indoors can be expensive for the producer who must rent generators and lighting equipment. The extra time in¬ volved in transporting equipment to locations, installing power lines and setting up lights amounts to a very substantial item. Where in¬ teriors are small or where indoor action can be staged indoors in small areas, portable, lightweight lighting equipment such as Color- Tran is ideal and adequate. It is compact and not too expensive to buy or operate, may be used for most all set lighting needs. The small producer today has the advantage of many sources where lighting, camera and grip equipment may be rented. (See Equipment Rental Directory in the December issue.) In setting up a shooting sched¬ ule for a picture it will be found advantageous to plan for earliest shooting those scenes which re¬ require the least staging — such as exteriors, natural location interi¬ ors, etc. In this way it is possible to get a substantial portion of the production “in the can” at an early date; and your crew will be kept busy while the elements of more complicated scenes are being assembled. One of the first steps necessary in planning and setting up the shooting schedule is to go through the script very carefully and list the locations, props and personnel Continued on Page 46 A.S.C. RECOMMENDATION #11 SAFE TITLE AREA FOR WIDE SCREEN (1.85:1) AND ANAMORPHIC (2.35:1) THEATRICAL RELEASE PRINTS 1. SCOPE 1.1 Data for marking camera ground glasses or title boards for safe title areas for theatrical pictures in 1.85:1 and 2.35:1 aspect ratios in view of future display and reada¬ bility on TV channels are specified. 1.2 Recommendation is based on pre¬ vious studies pertaining to TV release, outlined in ASC Recom¬ mendation #4, “Safe Action and Safe Title Areas for 35mm Films for TV Release’’, and especially ASC Recommendation #8, “Re¬ lease Methods Of Wide Screen (Flat) and Anamorphic (Squeezed) Theatrical Pictures on TV”. 2. DIMENSIONS A. Wide Screen (Flat) Release Prints 2.1 The main title and main credits on 1.85:1 theatrical prints should be within a width limit of 0.757" max. as per diagram “A”, having either straight or curved side lines. 2.2 Since height of titles composed for 1.85:1 theatrical aspect ratio is 0.446" max. they will be safely re¬ produced within the 0.565" safe action area height in TV transmis¬ sion as pei* ASC Recommendations #4 and #8. 2.3 The camera aperture for titles as per 2.1 shall be 0.868" by 0.631" (see ASC Rec. #9) with title cards and/or backgrounds covering this entire area to avoid wide-frame line prints and consequent black bars across top and bottom of home receivers as outlined in ASC Ree- Continued on Page 49 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 35 PRODUCT REPORT i i .. — .. — — — THE MITCHELL Mark II Reflex camera with 400-foot inverted magazine dra¬ matically illustrates the flexibility of the camera’s design. THE MARK II Reflex complete with Universal matte box, follow-focus at¬ tachment, studio finder, sync motor and 1000-ft. magazine. The Mitchell Mark II Reflex This new, compact lightweight 35mm camera has all of the professionally required Mitchell features plus an advanced reflex finder system. By JOSEPH HENRY HEN MITCHELL CAMERA CORPORATION intro¬ duced its first 35mm reflex camera two years ago, it wisely limited production to a few cameras and placed them in the hands of professional cine¬ matographers qualified to render objective reports on the camera’s usefulness, performance, and on what it lacked, if anything, to make it a practical tool for the studio cinematographer. As a result of these unpublicized tests and of the critical reports and helpful suggestions that resulted, Mitchell completely re-engineered its original con¬ cept for the reflex and the results are embodied in the new Mitchell Mark II 35mm Studio Reflex Cam¬ era. The Mark II’s design concept, influenced by vet¬ eran directors of photography in the industry, called for a lightweight camera of advanced design having the capabilities of the BNC, NC, and Hi-speed Mitchells; a superior reflex viewfinder, and capabil¬ ity for hand-held shooting. More directly, the design concept, as viewed by Mitchell’s engineers, placed emphasis on the following salient features: A dual register-pin movement capable of speeds up to 128 frames per second. A dissolving shutter, variable while the camera is in operation. Provision for interchangeable camera motors of all types. Interchangeable magazines having film capacity up to 1000 feet that do not require separate take-up motors. Sturdy, accurate and reliable lens mounts. Ground glass interchangeability combined with special effects matte slot. Positive precision viewing system with variable magnification and built-in contrast viewing filters. Camera Showcased at the ASC Although the Mark II Reflex was given its initial public showing several months ago, its Hollywood premiere took place recently when it was demon¬ strated before members of the American Society of Cinematographers at the Society’s monthly meeting November 26th. The versatility of the camera, which incidentally marks a new trend in studio camera design, is ex¬ emplified in two photos above, which show the cam¬ era in streamlined trim for hand-held operation (left) and in full “battle dress” for conventional studio use (right). The salient feature here is the 36 AMERICAN, CINEMATOGRAPHER, JANUARY, 1963 dual film magazine capability which provides for a compact, lightweight inverted magazine that mounts back and below the camera body and at the same time provides a rubber-cushioned indenture between the film chambers that serves as a shoulder-rest for the camera when operated hand-held. Other standout features noted during the A.S.C. demonstration will be described briefly: The Mark II’s full-aperture 128 f.p.s. movement is keyed so that it can be removed and replaced without having to be re-timed. The camera’s reflex focus tube viewfinder pro¬ duces a larger than full aperture field, and so bril¬ liant that the camera lens can be stopped down to a point below which a normal density negative ex¬ posure can be made — yet produce a bright viewing- image with which to compose. The shutter, of advanced design, employs a ground and polished stainless steel rotating mirror to complement the camera’s reflex viewing system. The camera shutter is of focal plane, variable disc design and a salient aim in its design was to pro¬ vide a shutter that would assure optimum exposure consistently over the entire film aperture. Matte slot in the ground glass holder convenient¬ ly provides for inserting a frame of film therein when required for match-dissolve work or other spe¬ cial effects made in the camera. Because of the cam¬ era’s reflex viewing feature, the matte can be viewed continuously when making such shots. Moreover, it makes possible panning and tilting of the camera to accurately locate the image or subject matter being filmed, greatly simplifying the photography of ef¬ fects which subsequently are to be combined optic¬ ally with other photography. The optics of the reflex viewfinder are a combina¬ tion of a Bausch & Lomb f/2.8 lens for variable magnification and a 65mm exit pupil eyepiece, which does not “black out” or fog over and covers a larger than full aperture field. Perhaps the most interesting innovation is the sync-pulse generator which is an integral part of the Mark II Reflex, enabling the camera to work com¬ patibly with the new miniaturized battery-operated tape recorders, such as Perfectone, Nagra, and the Stellavox in the production of synchronized sound films. The DC motors available for the Mark II are all governor-controlled. The Hi-Speed motor provides a range of frame-per-second speeds from 24 to 128. Also, it is possible, with this motor, to start shooting at normal camera speed, then increase the speed for startling effects. An optional accessory is the streamlined blimp designed to facilitate the utmost in camera conven¬ ience in sound stage use. Salient feature is provision for continuation of the camera’s reflex finder when Continued on Page 52 MARK II dual pilot pin registered movement shown with gelatin filter holder inserted in the removable aperture plate (left). With a speed capability of up to 128 fps, this movement is ideal for animation and background plate photography. THE MARK II BUMP is lightweight, streamlined, and designed for unhampered operation of camera. It provides for use of the camera s through-the-lens reflex viewer and utilizes the BNC-fype captive cam studio finder. PICTURED HERE ARE all the various components, accessories, etc., by which the Mark II Reflex may be converted from a lightweight hand¬ held camera to a studio-type camera having all the facilities of a Mitchell BNC. The basic camera head is at lower right. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 37 AMERICAN SOCIETY OF ROSTER • CINEMATOGRAPHERS JANUARY 1, 1963 ACTIVE MEMBERS L. B. Abbott David Abel Lloyd Ahern Norman Alley Gert J. Andersen Howard A. Anderson, .1 r. Lucien Andriot Arthur Arling John Arnold Gordon Avil Lucien Ballard Charles E. Bell Manuel J. Berenguer Carl Berger Joseph Biroc Haskell Boggs Charles P. Boyle Elwood Bredell Norbert Brodine Robert J. Bronner Joseph Brun Robert Burks Jose Carlos Carbajal Ellis W. Carter S. C. Chuck Charles G. Clarke George T. Clemens Wilfrid M. Cline Russell D. Collings Edward Colman Olle Comstedt J. Burgi Contner Stanley Cortez Ray Cory Floyd D. Crosby Russell Cully William H. Daniels Mark H. Davis Faxon Dean Robert de Grasse Dale Deverman George E. Diskant Linwood G. Dunn Elmer G. Dyer Arthur Edeson A. Farciot Edouart Russell Ervin Maximilian Fabian Daniel L. Fapp Arthur Feindel Ray Fernstrom Frank Finger Edward Fitzgerald Frank R. Follette George J. Folsey J. Raymond Foster Ellsworth Fredricks Henry Freulich Karl Freund John P. Fulton Lee Garmes Frederick Gately Maury Gertsman Alfred L. Gilks Donald C. Glouner James B. Gordon Jack Greenhalgh Loyal Griggs Burnett Guffey Carl Guthrie Harry Hallenberger Ernest Haller Sol Halprin Ralph Hammeras Russell Harlan Charles Harten Morris Hartzband Charles W. Herbert John L. Herrmann Sid Hickox Gerald Hirschfeld Robert Hoag Winton C. Hoch David S. Horsley Eric Horvitch James Wong Howe Ed Hyland Ub Iwerks Wm. H. Jansen Torben Johnke Boris Kaufman W. Wallace Kelley Glenn Kershner Jess Kizis Benj. H. Kline Lloyd Knechtel H. F. Koenekamp Milton R. Krasner Charles B. Lang, Jr. Joseph W. LaShelle Ernest Laszlo Philip Lathrop Charles C. Lawton Sam Leavitt Paul K. Lerpae Lionel Lindon Leo Lippe Harold Lipstein Joe MacDonald Jack MacKenzie Glen MacWilliams Don Malkames Fred Mandl William Margulies J. Peverell Marley John J. Martin Harold J. Marzorati Rudolph Mate Ted McCord Wm. C. Mellor Ray Mercer Russell L. Metty Arthur C. Miller Virgil Miller Victor Milner Hal Mohr Nick Musuraca Harry C. Neumann Roy Overbaugh Louis Page Ted Pahle J. F. Painter Ernest Palmer Kenneth Peach Harry Perry Paul Perrv Frank Phillips R. W. Pittack Robert H. Planck Frank Planer Pietro Portalupi Frank Redman Ray Rennahan Gayne Reseller Irving Ries Irmin Roberts Charles Rosher Harold Rosson John L. Russell Joseph Ruttenberg Robert Sable Charles Salerno, Jr. David Savitt George Schneiderman Hoivard Schwartz James Seeley John Seitz Leon Shamroy Henry Sharp Douglas Shearer Lester Shorr William A. Sickner William V. Skall Clarence W. D. Slifer Harkness Smith Edward J. Snyder William E. Snyder William Spencer Harry Squire Ralph Staub William Steiner Alan Stensvold Clifford Stine Harold Stine George J. Stoetzel * William J. Storz Archie J. Stout Harry Stradling Walter Strenge Karl Struss Robert L. Surtees Philip Tannura Ellis Thackery Robert Tobey Leo Tover Thomas E. Tutwiler Charles Van Enger James C. Van Trees Zoli Vidor Paul C. Vogel Joseph Walker John F. Warren Gilbert Warrenton Harold E. Wellman Frederick E. West Albert Wetzel William F. Whitley William N. Williams Rex Wimpy Ralph Woolsey Lothrop Worth Frank C. Zucker ASSOCIATE MEMBERS Herbert Aller Simeon Aller Mark Armistead L. J. Baker Benj. Berg Edgar Bergen John R. Bishop Louis A. Bonn Wilford W. Bower Robert E. Burns Gifford S. Chamberlain L. M. Combs J. L. Courcier George Crane William A. Cushman Dr. C. R. Daily J. T. Dougherty John W. DuVall William Eglinton Ferdinand Eicli Walter L. Farley, Jr. Ted Fogelman Fred W. Gage Arthur E. Gavin William E. Gephart George H. Gibson Dennis F. Godfrey Henry Goldfarb Allan Haines Charles Handley Robert Hansard Wilton R. Holm G. Carleton Hunt Donald Hyndman Ray Johnson John J. Kowalak Wilson Leahy Sidney Lund Lewis Mansfield John H. Maynard O. W. Murray Kemp Niver Capt. Don Norwood Stacey O’Brien Val E. Osborne John Pistor Harry E. Pratt William J. Reddick Jay Reseller Robert Riley Loren Ryder Vaughn C. Shaner Norwood L. Simmons Sidney P. Solow John J. Swain Lou Vincent William J. Wade Jack Webb Ted Winchester HONORARY MEMBERS E. 0. Blackburn Edward P. Curtis Wm. J. German David MacDonald G. A. Mitchell Richard F. Walsh 38 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 An sco sets America's standard of low contrast 16mm color with. . . Anscochrome Professional Camera Film Type 242 Designed especially for camera use when high quality release prints are important. The excellent color fidelity and low contrast of this camera film — plus its unique ability to record detail in shadows— make Anscochrome Type 242 first choice of many quality-conscious professionals. Film speed is 25 with 3200K tungsten lamps. For full details, ask your Ansco Man. When the NEED is SPEED Choose SUPER ANSCOCHROME 16mm Film Both Daylight and Tungsten Super Anscochrome have film speeds of 100. Produce accurate, pleasing color at lower light levels— often eliminating the need for special lighting equipment. ANSCO — America's first manufacturer of photographic materials . . . since 1842. Ansco Binghamton, N. Y. Anscochrome Type 21+2 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 39 OPTICAL FX UNIT AND PRISMS FOR 16mm — 35mm— TV CAMERAS LIVE TV, ANIMATION, MOTION PICTURES L jdk ?, F r o m t w o t o jM: jl seven images or combinations, more »,,/ than 27 variations in op¬ tical effects, montages, and distortions without expensive opticals. Images may be photographed in still motion or for ward and reverse rotation . Complete unit consists of a four sur face prism, mount, revolving housing and camera base assembly. the C R m E R (I • IDRRT inc. 1145 BROADWAY at 40th ST. Phone: Plaza 7-6977 NEW YORK 23. N. Y. Cable Address CAMERAMART Literature on request. FILMING “SAVAGE SAM’’ Continued from Page 23 that usually obscures the landscape only a few miles away. An exterior film photographed in color on location, without the control of elements possible on the sound stage, always presents certain technical challenges, and “Savage Sam” was no exception. Shooting was begun early this past summer while the California hills were still lush green from recent rains. As filming progressed into autumn, the foliage turned brown and it was necessary to spray vast acreages of landscape with green water- soluble paint so that later scenes would match those shot previously. Another problem characteristic of ex¬ terior color filming arose out of the fact that the sun, “Nature’s Own Key- light,” changed its position progres¬ sively throughout the day. The company would begin shooting a sequence in morning with strong backlight prevail¬ ing. By mid-afternoon lighting in the area had changed to fiat front light. Matching the lighting on scenes, shot Continued on Page 42 More Filmline Features: • Film chamber doors are completely removable for easy access to entire chamber (Not found in competitive models of similar class) . Processing section is stainless steel • Impingement dry box • Precision temperature controls with indicating pilot lights for cool¬ ing & heating . 316 Stainless steel pumps for developing & hypo solution - Water temperature regulator • Dual air squegee • Feed in take up elevators for continuous operation • Replenishment flow meters • Manual & automatic brake for film supply • Automatic electrical torque motor take-up • Variable drive with film speed tachometer . Precision Thermometer & footage counter. • DEVELOPS POSITIVE FILM AT 60 FPM MAJOR breakthrough IN SPRAY DEVELOPING • DEVELOPS NEGATIVE FILM AT 35 FPM Recent Filmline Installations: • N. A. S. A. Huntsville, Ala. • Reeves Sound, N. Y. C. • Thiokol Chemical Co. • WHYN-TV, KN DO-TV, WFMY-TV • Moral Rearmament Depf. AJ-63 The S-60 is Filmline’s newest Spray Processor. It is a friction drive processor, guaranteed not to break or scratch film. Filmline’s exclusive overdrive film transport system is so accurate it makes this guarantee possible. What’s more film can be stalled 100% in spray chambers without altering footage. Absolute control of footage in each chamber insures sensitometric quality control and consistent development. And Filmline processors (unlike competitive makes) have lower film assemblies that are adjustable and remain captive in the position placed. Position of lower assemblies can be easily monitored and adjusted by indicator rods at the top of each chamber. The S-60 is the specific answer to every labo¬ ratories need for a Spray Processor — because it outperforms machines costing twice as much. Look into the Filmline S-60 — It Will Pay You. For the full story on the S-60 write today to: CORPORATION MILFORD, CONNECTICUT 40 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 Inspect every foot before it leaves your plant with the HFC High Speed Heavy Duty Inspection Projectors -- 16mm & 35mm models now available. NEW The projector is a converted front shutter Simplex with a two pin intermittent. 16mm or 35/32 film runs at a speed of 144 ft. per minute while 35mm film runs at a speed of 165 ft. per minute. 3. A variac controls the light intensity. 2. A 500 watt lamp is used for 16mm and a 1,000 watt for 35mm (a blower is used to cool the lamphouse). 3. A 2i/2 inch projection lens is furnished with each unit. 4. A start-stop lever controls the power to the lamp and motor. 5. The magazine and take up core takes up to 3,000 ft. of film. 6. Upper guide rollers are made to handle the film from either direction of the feed reel. 7. A free wheeling take off flange is pro¬ vided in the magazine. 8. A lamp near the takeup reel permits hand inspection of the film prior to takeup. NOUVEAU Le projecteur contient un obturateur Sim¬ plex anterieur transforme avec deux cla- vettes intermittent. Les films de 16mm ou 35/32 tournent avec une vitesse de 144 pieds a la minute, tandis que les films de 35mm tournent avec une vitesse de 165 pieds a la minute. 1. Le regulateur de voltage d’intensite d’eclairage. 2. La lampe de 500 watt est necessaire pour les films de 16mm, et de 1000 watt, pour les films de 35mm (un ven- tilateur est mise pour rafraichir la chambre de la lampe). 3. L’objectif de 2l/2 est instale. 4. La manette de mise en marche et d’arret controle en meme temps la lampe et le moteur. 5. La boite de films avec noyau peut con- tenir 3000 pieds du films. 6. La roue superieure est construite de maniere de recevoir le film dans les deux directions, nourrie par la bobine centrale. 7. Une roue est instalee pour liberer rapidement le film de la boite. 8. La lampe se trouve pres de la bobine recepteuse, et donne toute facilite pour inspecter le film a main dans le projecteur. HOLLYWOOD FILM COMPANY NUOVO Questi proiettori sono Simplex transform- ati, otturatore al fronte, meccanismo di scatto di due punte. La velocita di proie- zione in 16 o 35/32mm e di 144 piedi per minuto, e in 35mm, di 165 piedi per minuto. 1. Controllo manuale della luminosita della lampada. 2. Lampada di 500 watt per 16mm e di 1000 watt per 35mm. 3. Obbiettivo di proiezione di 2 y2". 4. Maniglia per controllo di motore e lam¬ pada di proiezione. 5. La cassetta porta pellicola puo con- tenere 3000 piedi. 6. I rulli superiori di guida sono construiti per operare con film provenente di ambi lati della bobina svolgitrice. 7. Disco con montatura sporgente nel magazzino. 8. Una lampadina illumina la bobina a v- volgitrice, permettendo I’ispezione man¬ uale del film prima che si avvolga nel proiettore. NUEVO Esta maquina es un proyector simplex con- vertido, obturador al frente y movimiento intermitente a doble grifa. Para 16mm o 35/32mm, la velocidad fija de proyeccion es de 144 pies por minuto, para 35mm es de 165 pies por minuto. 1. Un reostato controla la intensidad de la lampara de proyeccion. 2. Para 16mm se usa una lampara de 500 watt, y una de 1000 watt para 35mm (un chorro de aire ventila las lamparas en ambos casos). 3. Cada unidad esta provista de un lente de proyeccion de 2 pulgadas y media. 4. Una palanca de control opera el motor y la lampara simultaneamente. 5. Capacidad de proyeccion: rollos de hasta 3000'. 6. Los rodillos de guia superiores operan con la pelicula en ambas direcciones. 7. La tapa de la bobina de carga es desenroscable. 8. Una lampara ubicada junto a la bobina de toma permite la inspeccion manual de la pelicula antes que se rebobine en la bobina superior del proyector. REELS / CANS / CASES 956 N. Seward, Hollywood 38, Calif., HO 2-3284 • 122 W. Kinzie, Chicago 10, III., 644-1940 • 524 W. 43rd St., N.Y. 36, N.Y., LO 3-1546 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 41 SMOOOOOTH That’s the word for MILLER FLUID ACTION TRIPOD HEADS! It’s because Miller Heads are true fluid heads . . . the load rides on the fluid and all tension adjustments take place within the fluid chambers, giving a velvety smoothness unmatched by any other tripod head. There is no slack, no bounce, no backlash, no jitter. They are available in two sizes: The Pro¬ fessional, for cameras of 25-35 lbs., and the Model “D” for cameras weigh¬ ing 12-14 lbs. MILLER MODEL “D” FLUID HEAD with Ball Leveling Top Miller Grooved Leg Tripod. “D” Head: . $150.00 B/L Tripod: . 139.50 Total: . 289.50 MILLER PROFESSIONAL MODEL Fluid Head with Ball Leveling Top, Miller Grooved Leg Tripod. Ball Leveling Pro Head: . $299.50 Tripod: . 154.50 Total: . 454.00 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops avail¬ able coupled with the finest and most rigid tripods in the Junior class. At your dealer, or order direct from MILLER PROFESSIONAL EQUIPMENT 1619 NO. CHEROKEE HOLLYWOOD 28, CALIF. PHONE: HOLLYWOOD 7-8189 FILMING “SAVAGE SAM” Continued from Page 40 out of sequence, under such conditions, is an operation demanding great skill and patience. Cinematographer Cole¬ man avers that never before had he been confronted with so many back¬ lighted locations on a single color fea¬ ture. Judicious use of booster lights pre¬ served the feeling of “outdoors” with¬ out shadow areas going black. Like most Hollywood studio cinematog¬ raphers, Coleman prefers arc lamps to reflectors for booster or fill light when¬ ever available. Arcs are easier on actors' eyes, he says, and produce a stronger and more even light that gives truer pictorial quality than reflectors. Also, arcs do not depend upon sun¬ light for their effectiveness. In shooting exterior long shots Coleman sometimes mixes the two. using arcs to light the actors and light from the reflectors to fill in the background. “Savage Sam includes several se¬ quences in which the moving camera followed horsemen speaking dialogue as they rode. Since most of this action was backlighted by natural daylight, the problem was keeping the actors consistently illuminated with fill light during the shots without permitting noise from the power generators drown¬ ing out the dialogue. Reflectors mounted on the camera car proved unsatisfac¬ tory because they could not be held steady enough over rough terrain. Booster arcs, therefore, were the only answer. This posed the problem of how to power the lamps without using the noisy generators. Surprising enough the answer came from Disney¬ land. At this fabulous playground not far from Los Angeles special heavy-duty 12-volt wet-cell batteries are used to operate monorail cars and miniature automobiles. It was found that six of these batteries in series would provide 72 volts and 250 amps of electricity — sufficient to operate one arc lamp for a short period of time. Thus a double bank of the batteries was installed to activate the two arc lamps mounted on the camera car, making possible the three to four minutes of booster light necessary to film average running shot. The batteries were re-charged over¬ night to ready them for the next day’s shooting. Because most of the action in the picture encompassed vast areas of land¬ scape, and also because the cast fea¬ tured small children who were not permitted to work beyond a certain hour each day, most night sequences were photographed day-for-night. Coleman claims no special magic in this photographic technique. It’s simply careful application of the day-for-night shooting techniques which have be¬ come standard in the industry, he says. Coleman underexposes day-for-night scenes 17/2 L° 2 stops, depending upon the key of the natural light. When pho¬ tographing actors in day-for-night close shots, however, he overlights their faces by twice the normal amount so that, even though the background is underexposed, faces are clearly de¬ tailed. The key-light comes from one side in a fairly high contrast ratio to the fill light, and fill is carefully con¬ trolled to indicate shadow detail with¬ out washing it out. Coleman uses no blue filters in shooting such “night shots, hut works closely with the lab¬ oratory when the film is developed and printed to make sure that just the right amount of “cold" tone is added in the printing. The most challenging sequence of this type in the picture shows Indians around a campfire with the children they have kidnaped. The scenes in¬ cluding the fire had to be shot night - for-night to get a true fire effect, while those of the children were shot day- for-night. Here Coleman was careful to avoid sky backgrounds in these day- for-night scenes, and photographed the children against a hillside background. The resultant shots, filmed under com¬ pletely opposite conditions, intercut perfectly in the edited sequence. One of the most spectacular sequences in the film involves a stampede of more than 1,000 wild horses charging directly toward the cameras. The action had to be played very close to the cameras to capture the full impact of the thundering herd, even though cam¬ eras and often their operators have been known to be trampled during such shooting. Moreover, these cameras could not be operated by remote con¬ trol due to the necessity for following the action. In this case, skilled wran¬ glers controlled the animals so precisely that the sequence was filmed without mishap — although, after the take, lioof- prints were found only two inches from the tripod leg. Did Coleman re¬ main with the camera while all this was going on? “Of course,” he re¬ plies, matter-of-factly, “I had to keep 42 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 AGNASYNC DUBBERS building blocks ” for sound engineers Producers have found that the use of a single recording channel is only a small part of the tremendous savings possible with magnetic film recording. The next step for the organization seeking quality, economy and independence is to equip to handle their own transfer work, assembly and magnetic mixing of dialogue, music and sound effects. Single Dubbers, from *1190 Triple Interlocked Dubbers, from *3910 Rear interior view of Selsyn motor electrical interlock Magnasync dubbers are of “modular” design and are available individually or in combination of two or three units mounted in an enclosed rack cabinet that requires only 22" of floor space. FEATURES: GENERAL SPECIFICATIONS: • Plug-in preamplifiers with balanced 600 ohm output at zero vu. • Individual synchronous drive motors. • Torque motor take-up guarantees smooth film handling and hi-speed rewind. • Electrical interlock assures absolute “sync” with projector from dead start. • Wired for remote control, start and stop. • Fast rewind, fast forward. • Position for second playback head for transfer of both edge and center track re¬ cordings. • Available with 16mm, 17V£mm or 35mm transports. Frequency response: 50 cps to 8,000 cps, zfc2 db (16mm, 36 fpm), 50 cps to 12,000 cps, Hz 2 db (17y2nvn or 35mm, 90 fpm). Signal-to-noise ratio: > 50 db. Flutter and wow: 0.12% maximum RMS in any single band. Distortion: < 0.18% maximum RMS overall total harmonic. Send for free 41 -page catalog describing recorders, dubbers, consoles and acces¬ sories. nfl.c.nj.s vnc Write, wire or phone MAGNASYNC 5546 Satsuma Avenue, North Hollywood, California • TRiangle 7-0965 • Cable “MAGNASYNC” T&k MARK X X-400 in TYPE 5 MARK IE International leaders in the design and manufacture of quality magnetic recording systems Authorized Dealers CHICAGO, ILL. Behrend Cine Corp. 161 E. Grand, Ml 2-2281 Zenith Cinema Service, Inc. 3252 Foster, IR 8-2104 DALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5166 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc. 6331 Hollywood, HO 7-9202 KANSAS CITY, MO. Barnard’s, 4724 Broadway, Country Club Plaza, LO 1-7761 Crick’s'Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, MO. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman’s 121 Fourth Ave., Dl 3-1869 SOUTH AFRICA Photo Agencies Pty. Ltd. 9 Kerk St., Johannesburg AUSTRALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BOLIVIA, La Paz Casa Kavlm Casilla 500, Calle Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42/56 BURMA, Rangoon G.K. Theatre Supply Co., Ltd. 123 Sule Pagoda Road CANADA, Islington, Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St., (W-l) Gordon Cameras, Ltd. 45 Kensington High, (W-8) FRANCE, Paris Brockliss-Simplex S.A. 6, Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. HONG KONG Supreme Trading Co. 60 Hennesy Road INDIA, Bombay Kme Engineers 26, New Queen’s Road ITALY, Rome Reportfilm, di J.M. Schuller Via Antonio Bertolini 31 JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome, Chuo-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd., Rex Annexe SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road THAILAND, Suriwong, Bangkok G. Simon Radio Co. Ltd. 30 Patpong Avenue AMERICAN CINEMATOGRAPHER, JANUARY, 1963 43 Extension Tube Changes focal length of Arri lenses. MWLHABS* Cin-Ar Adapter Converts Arri lens for “C” mount cameras. MWLHABS* Double or Nothing- Here are a couple of simple, low-price gadgets we make- that are worth their weight in gold. Well, maybe not gold, but trading stamps, at least. They are easy to use and they save you money. The Cin-Ar Adapter doubles the value of your lenses because it enables you to use your Arri lenses on “C” mount cameras. Clever, huh? We’re glad to make these adapters for you because service is our paramount objective. However, for some reason, the lens manufacturers seem a little less than enthusiastic about them. Unfortunately for us, the adapter is so simple that we can’t charge you a big, fat price for it. °Made With Loving Hands at Birns ir Sawyer If we could figure out a way to make it complicated we might make a few bucks on it, but we are simple-minded. Then take the Extension Tube — and we wish you would. This is also a simple little tool. It changes the effective focal length of your Arri lens. Makes close- ups and things like that. You should buy one just for fun. In fact, you should buy a whole flock of them and add one onto the other to make a 1— o— n— g extension. Seems like it should be good for shoot¬ ing freckles, • gnats, profits. -Every knowledgeable, competent cameraman should have one. Be in the know; be in competent; place your order today. up the morale of my crew, didn’t I?” The high-point of action in “Savage Sam” takes place during a dust storm which develops into a hail storm punc¬ tuated with lightning. To add the visual effect of hail to the sequence Disney’s unique sodium matte process was used in which the principal action is photographed against an orange background and illuminated by 1200 foot-candles of sodium vapor light. In order to create a strong enough lighting effect to bite through this unusually high level of general illumination, Cole¬ man utilized two of the new Mole- Richardson “Tritan” 350-amp arc lamps, each of which produces 3200 foot-candles of light. Spotted down on the subjects and masked with shutters to create a flash, these units produced a most realistic lighting effect. A Vista- vision camera was used in filming this special effect sequence in order to give the laboratory the benefit of an over¬ size negative to work with in creating the intricate traveling matte composites. “Savage Sam” is the latest of six feature productions which Edward Cole¬ man has photographed for the Disney Studios. Beginning his career in 1924 photographing two-reel “Educational" comedies with director Norman Taurog, today he has an impressive list of photographic credits, including most of Jack Webb's feature and television films. Last year he received an Acad¬ emy nomination as well as the exhib¬ itors’ Laurel award for his ingenious photography of the Disney comedy- fantasy, “The Absent-Minded Profes¬ sor.'’ He recently completed the pho¬ tography of the sequel to that farce, “Son of Flubber.” ■ “Back off, big boy! You promised, ‘No closeups’!” AMERICAN CINEMATOGRAPHER, JANUARY, 1963 Catalog 1150 — Cin-Ar Adapter $16.50 Catalog 1146 — Extension Tube for Arriflex Lenses $18.00 Construction is rich looking, black anodized aluminum, precision turned. Cin-Ar adapter is internally flocked to prevent reflection. See Your Local Franchised Dealer, or Write... BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW Filming in Europe? PRODUCTION FACILITIES, CAMERA EQUIPMENT HIRE, SOUND RECORDING, TECHNICIANS, TRANSPORT, 16 OR 35MM, ANYWHERE. SAMUELSON FILM SERVICE LIMITED Just Cable "SAMCINE, London’’ 44 in Europe when using MOLE-RICHARDSON S Services LIGHTING ENTIRE M.R RANGE COLORTRAN and LOWEL-LIGHTS GENERATORS CAMERAS • DOLLIES CRANES GRIP- and SOUND Equipment TRANSPORT-LABOR TECHNICAL-CONSULTANTS and SPECIALISED-SERVICES. WRITE DIRECT FRANCE — 28-28 bis Rue Marcelin-Berthelot, Montrouge-Seine Cables: Molereng-Paris General Manager: Rene Schell ITALY — Via del Velodromo 68-74, Roma Cables: Molereng-Roma General Manager: George Gardner GERMANY (Austria) HofangerstraBe 78, 8 Munchen, 8 Cables: Molereng-Miinchen General Manageress: Gisell Schneeberger SPAIN — Alcala 32, Madrid, 14 Cables: Molereng-Madrid General Manager: Gregorio Sacristan ENGLAND — Chase Road, London, N.W. 10 Cables: Molereng-London Managing Director: AMERICAN CINEMATOGRAPHER, JANUARY, 1963 45 H X w > X X o X X w < H X U1 > X X M X g BLACK § REVERSAL PRINTING PROCESSING COLOR PRINTING OTHER SERVICES • Work Prints • Color-to-Color Prints • Color-to B & W Prints • Raw Stock • Ultrasonic Film Cleaner • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering FOR COMPLETE INFORMATION WRITE 723 Seventh Ave., New York 19, N.Y. . JU 6-2293 ZOOM LENS TECHNIQUE Continued from Page 29 foreground and at the sides which help to give a feeling of depth in the long shot. Does this mean then that a zoom lens can only be used as a poor substitute for one kind of tracking shot? Not at all. It has in fact added a new item of technique to those already available to film-makers. There is, however, one artistic proviso that goes with it. There is a school of thought which maintains that all camera moves should be mo¬ tivated by some movement or action of the object, and that where this is not the case the audience becomes con¬ scious of the camera — which is un¬ desirable. While there is much to be said in favor of this view, like all other artistic theories it can be ignored with advantage under certain circumstances by a director. And there are, of course, many who would deny its validity in any case and who take the position that as the purpose of a film is to influence an audience either emotionally or in¬ tellectually in the way the director has determined, then any method of doing this is legitimate if it is a genuine part of the film medium. And that zooming is such a genuine part there can be no doubt; the new technique it brings is this ability to approach and withdraw, slowly or quickly, not only under cir¬ cumstances which would make tracking or using a crane impossible, but also in such a way as to create visual move¬ ments in space which no tracking or crane shot can give. Quite apart from the dramatic pos¬ sibilities it gives to makers of news films, it has very great value for docu¬ mentary directors, and even in features, where the actual shooting conditions are usually under complete control, and consequently more elaborate arrange¬ ments for a precise set-up can be made. It can also be a useful tool, especially on exteriors. It does in fact add a new form of movement to film making, and by so doing gives a further extension to the medium. The combination of panning, or tracking, and zooming, or all three together creates new visual possibilities for a director to exploit. A study of TV commercials of recent years will show how in this field, at least, these possibilities have been uti¬ lized very fully. At the moment, the optical qualities of a zoom lens are usually not quite so high as those of standard lenses, but if they can be brought to these standards it would seem probable that given time a zoom lens may replace the battery of lenses of different focal lengths now used by a cameraman, because it would give an infinite gradation of focal lengths within its focal limits, and so could be used not only as a “zoom” lens but also as an adjustable one. ■ PLANNING — KEY TO BETTER COMMERCIAL FILMS Continued from Page 35 that will be required for shooting each scene; also, any special equip¬ ment that may be required, which must be procured. A careful check should be made of all proposed interior locations to make sure that sufficient electric current is available for the lamps that will he re¬ quired for illumination. For black-and- white productions, the usual house lighting circuits will often suffice; but for color, where more light is usually required, a portable power generator may be necessary. In large buildings and factories, sufficient added power for lights may often be obtained by running a cable directly to the main switchboard. The maintenance man on the premises or the engineer should be called in to make such a hookup. Any props or costumes required for a picture provide a problem all their own. When possible, these should be rented rather than purchased outright or made to order. In planning the order in which the different scenes or “takes” are to be filmed, consideration should be given to several factors. Scenes in a common locale or those which involve the same members of cast and crew all should be scheduled for shooting on the same day, even though such scenes may be widely scattered in the actual sequence of the script. Thus, if scenes 22, 83 and 147 all are scheduled for the same lo¬ cation, it is common sense to schedule them for shooting at the same time, in¬ stead of making three different trips to the location. While shooting all 46 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 Acmade Foot-Operated Splicer with Tungsten r Tipped Blades Combination 16mm-35mm Model $1495 This splicer is constructed, as is usual with ACMADE products, of the finest mate rials and workmanship. All castings are of the best quality and the top body and cutter arms are seasoned to prevent dis¬ tortion after machining. The machining is carried out to limits of± .0005" in order that the cutter blades shall close in a dead parallel manner. The cutter blades are made from stainless steel with Tungsten Carbide inserts, and afterwards ground lapped and polished to a limit of ± .0002" thickness and the cutting edges relieved by 1°. The Tungsten Carbide inserts will have indefinite life and will not require sharp¬ ening as with other types. A heater unit is installed in the top body of the machine. The top light in a well glass fitting is at¬ tached to the body of the machine and also an inspection light in the waste bin to¬ gether with cement bottle and brush. A scraper block is supplied and also a scraper block setting jib and support shelf rubber-covered. The whole machine is fin¬ ished in first quality grey hammer and all metal parts other than cutter blades are hard flash chromed. ACMADE MARK II EDITING TABLE 2975 f.o.b. New York Makes Editing Easy! Operation of this simple, efficient editing machine can be mastered in minutes. Con¬ tinuous movement provides absolute safety for your film. Instant controls and de¬ clutching allows up to 50% increase speed and efficiency in editing. Any combination of 2 or 3, 16mm or 35mm channels, plus mag¬ netic and optical sound available. WRITE FOR DETAILED BROCHURE Serving the World’s Finest Film Makers Florman & Babb ■ 68 West 45th Street New York 36, N. Y. MU 2-2928 Another Fine Product From ACMADE AUTOMATIC BUTT SPLICER Cuts, Splices, Applies Magic Mylar Automatically! tive, magnetic other bases. Now, with no fuss, mess or waste, it is possible to splice, repair, butt-splice, or strengthen splices on all types of film — positive, rtega- duPont Cronar or The cutting arm, shown in opera¬ ting position, is used by press¬ ing the chrome button for cut¬ ting both sides of the film si¬ multaneously. The film, has been registered on pins in the horizontal channel. The cutting blade is eas¬ ily replaced. The splicing tape is regis¬ tered on pre¬ cision pins and held in place until automati¬ cally applied to st h e film by swinging the arm over and pressing the chrome button, cutting the adhesive and applying it — in perfect register to the film. Model 35 for 35mm. Model 16 for 16mm — *295 scenes in sequence might be dramati¬ cally more understandable for the ac¬ tors, it is rarely as economical to shoot them that way as grouping the scenes and shooting them all at the same time or on the same trip. Where the time alloted for filming a picture is extremely limited, as is so often the case with commercial produc¬ tions, an alternate shooting schedule can be prepared for interiors or ex¬ teriors. Here, weather conditions can be a factor. Exteriors should be sched¬ uled for shooting first, weather per¬ mitting; but an alternate interior se¬ quence should be charted for filming just in case bad weather precludes shooting out of doors at any time dur¬ ing the exterior filming schedule. There is another important factor in film production that is often overlooked in production planning, and that is the time required for processing of the film by the laboratory, the recording of sound, and for any other services nec¬ essary to complete the film which the producer must obtain outside of his own organization. Unless the producer plans and sched¬ ules his productions carefully, he may promise a completed film on a specified date, only to find that his laboratories NEW \ BOLEX 400 ft. CONVERSION CONVERT YOUR BOLEX TO A 400-FT. CAPACITY CAMERA FOR SPORTS OR NEWS Installation $29.50 additional if desired. Write for Data Sheet No loss of original Bolex design. Includes choice of wild or sync motor. Includes 400-ft. Maga¬ zine (Mitchell-type). All For $3495° LLOYD’S CAMERA EXCHANGE 1612 North Cahuenga Boulevard • Hollywood 28, California HOLLYWOOD’S 16MM EQUIPMENT HEADQUARTERS AMERICAN CINEMATOGRAPHER, JANUARY, 1963 47 are unable to service him as promptly as anticipated. It is advisable, there¬ fore to deal only with those labora¬ tories that can be depended on to help meet deadlines. Both from the standpoint of plan¬ ning and that of day-by-day execution of the production, the storyboard is one of the most valued tools of the film pro¬ ducer. The storyboard provides all con¬ cerned with a visualization of the production, sequence by sequence, in continuity form. Here the whole pro¬ duction can be studied without the need for reading the script page by page. Ideas for improving it, for delet¬ ing unimportant detail, and for cut¬ ting costs come readily from story¬ board studies. Continued from Page 33 Two different mounts are available — one for the F-86F jet fighter, and an¬ other to fit similar types of aircraft. The mounting arrangement permits ac¬ curate bore-sighting of the lens to correspond with the cross-hairs on the pilot’s gunsight — although some pilots prefer to view through a Mitchell view¬ finder zeroed in with the lens. On the F-86F the same stick button which fires the plane’s machine guns also ac¬ tivates the camera motor. In addition to shooting forward, the unit can also be completely reversed to film the results of bombing, strafing and napalm runs. One version of the wing-mount accommodates two 16mm cameras — one pointing forward, the other backward — so that both aspects of a run can be filmed simultaneously. During the series of A-bomb tests made at Eniwetok several years ago there was need for a rugged housing that would permit cameras to be set up as close as possible to the shot with¬ out being destroyed by the lethal blast. The Lookout Mo untain engineers tackled the problem and came up with a weird looking device officially called a Remote Camera Housing, but more familiarly known as “The Monster.” It consisted basically of a four-foot length of metal pipe 12-in. in diameter and with walls one-inch thick. One end —the bottom — was sealed off by a l/£- inch steel plate. At the other end a steel disc 18 inches in diameter with a 12- inch round cut-out was welded to provide a flange. This unit constituted the bulk of the housing and the bottom Storyboards can be of two types: composed of photos or sketches of the basic action in each sequence, or of brief word descriptions typed or let¬ tered on small cards. Whether pictures or typed cards are used, they are ar¬ ranged in sequence on a large panel for study. As changes are made, new cards or illustrations are made and sub¬ stituted for the discarded material. (See “Plotting Camera Angles With Storyboards,” December, 1962, Amer¬ ican Cinematographer. — ED.) No matter how much time is in¬ volved in pre-production planning, it is worth it many times in the better pro¬ duction, finer photography, and — most important — the greater profits that result. ■ three feet of it was buried in the ground on location to insure stability. The top section of the housing con¬ sisted of another 14-inch length of 12-inch pipe edged with an identical flange and capped at the other end by a l^-inch steel plate. In this section a hole was drilled into which was in¬ serted a short section of 4-inch pipe to form a port for the lens. The opening was covered with 14-inch safety plate glass and secured by a retaining lock ring. Three L-shaped brackets were welded to the inside of the bottom section of the housing, and a circular plate at¬ tached to the brackets to form a base for a Mitchell Pro- Junior tilt head mounting a Bell &: Howell Model 70 Eilmo Camera. Another version of the housing accommodated a K-25 aerial camera, which shoots 4x5 color stills at the rate of three frames per second. Once the camera was mounted in¬ side the housing, the top "hat ’ section was lowered onto the base section and the two flanges securely bolted together. Concealed in the base were the bat¬ teries and relays needed to operate the camera’s 24-volt motor. A photo-elec¬ tric cell picked up the flash of the atomic weapon which triggered the relay and started the camera. This system was used because frequent post¬ ponements of the shots made the use of conventional timers impractical. In this way, each unit would be self-suffi¬ cient without the need for wiring or trim circuits. During an actual atomic shot a timer inside the housing auto¬ matically shuts off the camera motor after a three-minute run. Lead bricks were placed around the “Monster” to shield the film from damaging radia¬ tion. Cameras were checked out with a strobe-light in dry runs simulating the atomic flash. Several of these camera units were set up on various islands and atolls at Eniwetok. It was merely necessary to dig a hole, bury the base of the hous¬ ing, boresight the lens of the camera, and leave the unit in place to be trig¬ gered off by the blast itself. The cam¬ eras incidentally recorded some spec¬ tacular footage, including scenes of birds Hying during period of the shot. “It’s improved her acting 100 percent!’ FITTING THE CAMERA TO THE JOB 48 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 Give You A Start From the films it was clearly observed that the birds of dark plumage caught fire while those with light plumage did not — proof of the effectiveness of light- colored surfaces in reflecting heat from the blast. Somewhat later, when Operation Wigman (a series of underwater nu¬ clear tests) was initiated, the “Mon¬ sters” were again pressed into service — this time as housings for the under¬ water cameras that were to record the sub-ocean blasts. The housings were made water-tight by placing neoprene gaskets between the flanges and around the glass ports. Then they were at¬ tached to simulated submarines and lowered into the sea. Sequence timers were set to coincide with the blast so that the cameras would start rolling just before a bomb was detonated. No artificial light was employed. Using fast, Tri-X Pan film striking pictures of the shock wave were recorded as the simulated submarine was rocked by the underwater blasts. As it may be noted here, the U.S. Photographic & Charting Service’s rec¬ ord for achievement is not limited alone to photographic attainments. The Service is equally versatile in develop¬ ing new and unique methods and equipment, whenever necessary, for sueessfully completing the photographic undertakings assigned to it. ■ ASC RECOMMENDATION Continued from Page 35 ommendation #8. B. Anamorphic (Squeezed) Release Prints 2.4 The main title and main credits on 2.35:1 theatrical prints should be within a height limit of 0.678" max. as per diagram “B”. 2.5 This height specification is de¬ rived by taking the 0.565" safe action height times 1.2 which is the reduction factor in release print preparation as per block di¬ agram of ASC Recommendation #8 figure “C”. 2.6 The full 2.35:1 composition width of 0.839" max. can be used for anamorphic titles and credits since the special printer for the flat TV version can accommodate any hor¬ izontal spread condition to fill the width for safe display within the required 0.757" safe action area. 2.7 The camera aperture for titles as Continued on Page 52 You'll have to hand it to us for coming up with this handy, dandy stop watch. It’s shock proof, water resistant, dust resistant, anti magnetic, self compensat¬ ing and has an unbreakable main spring. But the obvious big difference is the big, block numbers you can read without squinting. For some strange reason, most other motion picture stop watches seem to have itsy bitsy numbers like they are trying to keep the time a secret. We shout it out loud and clear. Elapsed time, accumulated time, and also foot¬ age for 16mm and 35nmi films. You just can’t hardly make movies without one. What is not so obvious is that our stop watch is designed as a stop watch. Just about every other competitive make has a stop watch mechanism squeezed into a pocket watch case. Watch makers are a thrifty lot and they do this to economize. Since we don’t make pocket watches we went all out. Started with a full size, specially designed, hard chrome, stop watch case and gave it the works. Gives you easy, finger tip opera¬ tion in a quality time piece at no extra cost. Guaranteed for one year. Incidentally, our watches have no toek. They don’t go tick-tock, they go tick-tick. Maybe this is because we will let you buy them on tick. Order one today even if you don’t need one. You can have a barrel of laughs having your friends listen to a stop watch that goes tick-tick instead of tick-tock. Catalog 2624 - Filmeter $15.95 Catalog 2625 - Studio $24.95 See Your Local Franchised Dealer, or Write... BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. * HO 4-5166 * CABLE: BIRNSAW SOUND FOR YOUR BOLEX H16 or H8 CAMERA TAKE SOUND PICTURES! Perfectly syn- chronized sound recorded on tape si¬ multaneously with pictures on film. Complete unit includes mechanism section mounted to camera, amplifier with carrying strap, microphone, cords, headset, etc. No camera alterations required. Unit mounts on camera same as cover and appears as part of it. $265-0° Further information on request. LOUIS S. UHLER. F.O.B. Detroit 15778 Wyoming Ave., Detroit 38, Mich. Phone: UN 1-4663, Cable: UHLCIMA. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 49 NEW LOWEL-LIGHT UNI-6 LOCATION KIT Everything you need in one compact case, measures only 1 4 V2 x2 7 V2 x6 V2 , complete with six Lowel-Lights, six Lowel barndoors, 2 PIC 9 ft. 5 section stands, 3-25 ft. extension cables, 2-25 amp. fuses, 12 yd. roll gaffer tape. Comp|e,e . $124.50 Lowel-Lights, model K5, five Lowell-Light, with gaffer tape and case . . 34.50 Gaffer tape, 12 yard roll . 1.95 Gaffer tape, 30 yard roll . . . <£ 3.95 Lowel Barndoors . $ 5.75 COLORTRAN CINEMASTER CONVERTERS MARK 11 Cinemaster — 40,000 watts. 258.00 Cinemaster, Jr. — 25,000 watts .. 168.00 Cinemaster Chief — 50,000 watts . $309.00 IMEW BOOK REPORTS Animation Techniques and Commer¬ cial Film Production, by Eli L. Levi¬ tan. Reinhold Publishing Corporation, 430 Park Ave., New York 22, N.Y. $11.00. Describes in detail the process by which a series of drawings is trans¬ formed into an eye-catching and suc¬ cessful animated commercial film. The author, Eli Levitan, is one of those rare individuals who not only combines practice with theory, but can write about this combination with clari¬ ty and smoothness. An animation vet¬ eran who started with Max Fleischer in the days of “Betty Boop” and “Pop- eye, cartoons, he wisely assumes that the reader has no previous knowledge of film production. He begins with a brief, yet complete description of film production today, from script to final editing. Then are described the mechan¬ ics of the camera and how the vari¬ ous controls are used in the production of animated films. The technical section includes what is easily the most thorough (and, per¬ haps, the only) explanation of how the field guide is used, the notations by which the animator gives instructions to the cameraman, and the various single and combined effects which give the animated film its universal appeal. Following the technical groundwork, the reader is then taken into the world of the film editor whose skill trans¬ forms a mass of film into a motion picture. Finally, and perhaps most important, there is a complete description of ani¬ mation techniques. Profuse illustrations augment the authors’ descriptions and technical treatises. There is virtually no area of animation technique as applied to commercial film production that is not dealt with. The author’s earlier hook, Animation Art in the Commercial Film, has since become a standard work in the field. This book. Animation Techniques and Commercial Film Production, although complete in itself, takes up where the first hook left off. The Technique of the Sound Studio, by Alec Nisbett. Hastings House Pub¬ lishers, Inc., 151 East 50th St., New York 22, N.Y. $10.50. This book is intended not only for those who are directly concerned with putting sound programs together but also for the writer, director, actor, musician, interviewer, contributor of taped actuality, engineer, or anyone else in any of the many fields which come together in the sound studio. The small film producer, newsreel cameramen shooting in sound, and the in-plant film worker especially will find this book of value because for the first time perhaps, it describes in detail all the procedures necessary to recording sound of professional quality on tape or film. Author Nisbett tells the reader what to listen for when placing microphones, controlling relative sound levels, mix¬ ing, creating sound effects, etc. He re¬ veals how best results can be obtained with any equipment from the simplest inexpensive microphone and recorder to that of the most elaborate recording studio. Film makers undertaking sound recording with the new compact, portable tape recorders now on the market, will find all this extremely helpful toward achieving top quality in film sound tracks. 8mm Sound Film and Education, edited by Louis Forsdale. Bureau of Publications, Teachers College, Colum¬ bia University, New York 27, N.Y. $2.50. Informed speculation about the im¬ pact 8mm sound film on educational motion picture use, production, and technology are presented in this new 166-page paperback. Here is perspec¬ tive on the many aspects of 8mm sound film and education which need to he considered. The hook reports the pro¬ ceedings of 8mm Sound Film and Education held at Teachers College, Columbia University, in November, 1961. The conference brought together nationally known representatives from education and photographic industries for three days to see and hear demon¬ strations of 8mm sound film and to discuss papers presented by experts. These cover major aspects of 8mm sound film and education, ranging from descriptions of laboratory practices to speculations on print costs in the years ahead, from discussions of the quality of 8mm small sound film to considera¬ tions of new types of projectors which will he stimulated by the development. The annotated bibliography is proba¬ bly the most comprehensive yet as¬ sembled in the 8mm sound field. This is a book for all concerned with the production and use of motion pic- 50 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 tures in the schools — the educators, the librarian, the film producer, as well as engineering and laboratory personnel. The Decline of the Cinema, by John Spraos. The British Book Center , Inc., 122 East 55th St., New York 22, N.Y. $6.25. Within the last ten years the number of people visiting British cinemas has fallen by nearly two-thirds and is little more than half the pre-war total, according to author Spraos, who points out that enarly ] ,500 of the 4,500 cine¬ mas functioning in 1955 had closed five years later. The author predicts a further substantial fall. The causes of this drastic decline are traced to the competition of television and also to the dramatic halving of the number of new American films and to the difficulty of transferring a cinema’s “congregation” when it is closed. This decline has few parallels in recent times and in conjunction with a disproportionate and unexpected in¬ crease in the price of seats presents a fascinating study for the economist, which the author fully exploits. But the film industry is of general interest so that the author’s conclusions and his social recommendations will appeal to the general reader, as well as those in the industry. H Synchronous ’A-Inch Tape Recorder $610.00 Less Accessories IMMEDIATELY AVAILABLE at CAMERA EQUIPMENT CO., INC. 315 W. 43rd St., N.Y. City, 6510 Santa Monica Blvd., Hollywood, 51 E. 10th Ave., Hialeah, Florida BEHREND CINE CORP. BIRNS & SAWYER 161 E. Grand, Chicago 6424 Santa Monica Blvd., Hollywood HARVEY RADIO CO., INC. MAGNETIC SALES CORP. 103 West 43rd St., New York 1147 N. Vine St., Hollywood Acceptance of the MOVIOLA CRAB DOLLY for motion picture and television cameras is world wide as evidenced by unso¬ licited testimonials. Users have learned through experience that the Moviola Crab Dolly provides a mobile platform for their camera that can be precisely positioned with more facility and speed, and with greater accuracy than any other type of camera support. Regardless of the shot — moving or static — all people en¬ gaged in the creative phases of the industry recognize that production values are enhanced by the use of the Moviola Crab Dolly. PRODUCERS see additional set-ups and more fluid camera work resulting in a quality product even on a tight budget. DIRECTORS can add the dimension of camera movement to their sequences and, through continuous composition, give dramatic force to their story. CAMERAMEN are able to “roll-in” on tight shots, exploit light¬ ing setups to greater advantage, match “takes” to rehearsals through faithful dolly tracking and re-position quickly by smooth precision adjustment. EDITORS welcome “dailies” that have an infinite variety of shots and added coverage. These values provided by the Moviola Crab Dolly eliminate “choppy” continuity caused by limited set-ups on ordinary camera supports. for HIGH production value _ on a LOW budget moviola manufacturing co. WRITERS see that the Moviola Crab Dolly broadens their scope in its use for dramatic effects. You can break the stalemate of production values versus cost with the help of the Moviola Crab Dolly. Call or write now for a free brochure. 5539 RIVERTON AVENUE • NORTH HOLLYWOOD, CALIF. • TRIANGLE 7-2173 • Cable; Moviola, No. Hollywood, Calif. AMERICAN CINEMATOGRAPHER, JANUARY. 1963 51 Automatic Daylight Processini DEVELOPING TANK • Processes up to 200 Ft. • 8mm- 1 6mm-35mm-70mm • Movie — X-Ray — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated • Speedy drying • Automatic shrinkage allow¬ ance • Stainless steel and aluminum construction • Easily assembled without tools • Compact, Portable Guaranteed. Write for Free Literature Micro Record Corp. BOLEX ACCESSORIES By STEVENS SYNCHRONOUS CAMERA DRIVE 115-volt Bodine Motor 24-Frame Lip-Sync Speed. Complete with Safety Clutch, Camera Mounting Base, Forward-Reverse Controls, Condenser, 10-Ft. Cable. Special $150 Write for our Bolex Accessory Catalog STEVENS ENGINEERING CO. Dept. “A”, 340 N. Newport Blvd. Newport Beach, Calif. 10,000 inch Accuracy! with SPLICE-O-FILM world's finest professional splicer Only Splice-O-Film gives .o. you such remarkable precision and extra fea- tures at such a low price. • Perfect 9-second • Automatic tncnil • Full money-back ?,'3-uu guarantee THE HARWALD CO. !^SG0,lK IJ. C. M. for MOTION PICTURE PRINTERS at UHLER CINE MACHINE CO. 15762 Wyoming Avenue, Detroit 38, Mich. Phone: UNiversity 1-4663 • Cable: UHLCIMA VARIABLE SHUTTERS AND YOLO AUTOMATIC DISSOLVE ATTACH¬ MENTS FOR ALL BOLEX H CAMERAS. ALSO DUAL POWER MAGNIFIERS FOR THE BOLEX REFLEX. PELLEGRINI-PIEK 7 COLEMAN PLACE MENLO PARK, CAL. THE MITCHELL REFLEX CAMERA Continued from Page 37 mounted in the blimp. This feature, plus the bayonet-mount lenses and the BNC captive cam-type studio finder provide all the conveniences of a BNC. Utmost versatility was a dominant goal in the engineering of the Mark II Reflex, according to Charles Austin, Marketing Manager for Mitchell. In¬ stead of creating a new camera for one specific use, Austin points out, Mitchell’s engineers have designed a camera that readily meets the needs of producers of research and documen¬ tary films, photo instrumentation and high speed cinematography for indus¬ trial research, special effects, back¬ ground plates, animation and titling — as well as conventional theatrical and television film production. A comparison of the first Mitchell Reflex camera, described in the June, 1960, issue of American Cinematog¬ rapher, with the slick new Mark II indicates that a lot of engineering enthusiasm went into the concept of the latter — no doubt engendered sub¬ stantially by the tests and the sugges¬ tions for improvement that came from the industry’s cinematographers. As one director of photography said, as he examined it at the ASC, ‘‘Here, at last, is a 35mm reflex camera with the ruggedness and scope of the Mitchell BNC, and made quite logi¬ cally, by the makers of the world’s most renowned studio cameras.” ■ ASC RECOMMENDATION Continued from Page 49 per 2.4 shall be 0.870" by 0.735", as per ASC Recommedation ^ 9. NOTE: It should be noted that dimen¬ sion 0.870" camera aperture width reduced by 1.2 would give only 0.725" picture information compared to the required 0.868" max. and has, therefore, to be safeguarded by a 1.2 anamorphic unsqueeze step. In practice any title of this type will be horizon¬ tally unsqueezed to suit the TV re¬ lease requirements. A 2:1 squeezed title will be fully readable on TV even if it is not unsqueezed. However, a special situation prevails where such title is superimposed over action squeezed in the same ratio. Such titles require special consid¬ eration for TV release especially if they fade in and out over action to be shown in between, as is the case in some main titles and trailers. 3. USAGE 3.1 The title areas outlined above ap¬ ply to feature films in 1.85:1 and 2.35:1 aspect ratios. 3.2 All titles should, of course, be photographed with a safe margin inside the width and height lines as shown in figures ‘‘A’ ’ and “B”. 3.3 The recommendations for both flat and anamorphic main titles and credits do not in any way restrict artistic freedom as far as theatrical release is concerned. ■ INDUSTRY NEWS Continued from Page 8 Florman & Babb Expands Rental Department Stepped-up activity in its equipment rental department has resulted in Florman & Babb purchasing new equipment for this department totalling in excess of $350,000, according to Arthur Florman, company President, who last month completed a purchas¬ ing tour throughout the LT.S., including a visit to Hollywood. New equipment includes Mitchell Mark II Reflex cameras, a BNC, a wide range of lenses including zooms and telephotos, Moviolas, sound pro¬ jectors, 10 new Nagra 1/4-ineh tape recorders with sync-heads, Moviola crab dollies, mike booms, and paral¬ lels. Gordon Catalog Debuts Just about the most comprehensive catalogue of motion picture and in¬ strumentation equipment compiled to date is that of Gordon Enterprises, North Hollywood, California, which is now in course of distribution to buyers in the industry. Comprising 128 pages in a hand¬ some, durable ring binder, the catalog illustrates and describes hundreds of items of motion picture photographic, lighting, sound, processing, editing, laboratory, animation and exhibitor equipment. A substantial section is devoted to photo instrumentation equipment, including high-speed, pulse, radar, streak, and oscilloscope cameras and accessories. Every item listed in the catalog is also available for rental. 52 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 FILMING IN ASIA FOR TV Continued from Page 27 In Manila the crew met the largest group of children of the entire trip. The local sponsor of the American Bozo television show had thoroughly publicized the event in advance. As a result, nearly 15.000 youngsters jammed the Manila Zoo for the clown’s ap¬ pearance. Here the photographic job was rel¬ atively easy. Farkas had one whole day in which to shoot, and wherever he turned his camera there were children. Many of them were carrying Bozo bal¬ loons to add to the visual impact. One of the most unusual places the crew visited was a water buffalo milk bottling plant in Bombay. This unusual UNICEF-aided project produces mil¬ lions of bottles of milk per day, ac¬ cording to the local milk commissioner. In Burma, at the famous Shwe Dag- on temple where every visitor is re¬ quired to take off his footwear before entering, Farkas shot several humor¬ ous scenes of Bozo attempting to take off his long clown shoes. He could not show the clown in his stocking feet, however, because it might have disillusioned the kids back home if they discovered that Bozo’s feet were the same shape as theirs. Here a religious procession of brightly garbed participants was also photographed. Bozo in his own vivid costume joined in at the end of the procession. In the same sequence he did a grotesque burlesque of the Bur¬ mese female dancers. Because of the happy spirit of the festival there was no objection to this. Some of the most heart-rending se¬ quences were filmed in Thailand where a Spanish doctor was working with leprosy patients. This spot, about 40 miles from Laos, had grown into a sizeable village as news of his treat¬ ment had spread. Before the crew could shoot here, discussions were held with the village elders. After the necessary arrange¬ ments were made, Bozo put on his show and got the children laughing. As he handed out small gifts of candy, each youngster clasped his own hands and bowed in the traditional gesture of the country. One of the most spectacular filming experiences was the Festival of Lights called “Dewali,” celebrating the Hindu New Year, at which time the city is One - Two - Three PROBLEMS AWAY • Write for brochure This ADVANCED model overcomes the problem of matching 16mm film to 35mm. Provides a direct numerical reference between both sizes.. ....$3750 STANDARD MODELS: Designed to edge number every foot of 16mm, 17'/jmm, 35mm films and simplify the task of checking titles and footage. The MOY VISIBLE EDGE FILM NUMBERING MACHINE replaces cue marks, perforations, messy crayons, punches and embossing — does not mutilate film. Both negative and positive films can be numbered. Non-magnetic parts do not affect magnetic film. . . . $2395 SPECIAL 1 6/35/70mm Combination . $4475 CONVERSION KITS: For changing operation from 16mm to 35mm or 35mm to 16mm . . $875 602 West 52nd St., New York 19— PLoza 7-0440 Western Branch: 6331 Hollywood Blvd., Holly'd, Calif. S.O.S. PHOTO-CINE-OPTICS, Inc. - >-SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 7, 10, 12, 14, 18 AND S7.-<- REPRINTS of the 6-page, illustrated article SPECIAL PHOTOGRAPHIC EFFECTS IN MOTION PICTURES 25c Per Copy AMERICAN CINEMATOGRAPHER 1782 No. Orange Dr., Hollywood 28, Calif. L & F PORTABLE CINE PROCESSOR • Fully Automatic • Daylight Operating $675.00 (f.o.b. Chicago) ® 16mm or 8/8mm • Requires no plumbing • Process 200 Ft. B&W Film in Less Than 1 Hour • Reversal Processing • Less Than 1 Gallon of Solution Needed • 32"x9"x24"! 55 lbs! Write For Descriptive Literature SUPERIOR BULK FILM CO. 446-48 N. Wells • Chicago 10, Illinois Specialized LIGHTING EQUIPMENT for MOTION PICTURE, STILL and TELEVISION STUDIOS Write for A Copy of Our Catalog J on Your Letterhead cyiiole- ^ite/avcL mt 937 NORTH SYCAMORE AVENUE HOLLYWOOD 38, CALIF. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 53 $ peers a s 500X MORE SENSITIVE! Combines a Selenium Cell plus ultra-sensitive Cadmium Sulphide Cell to give more than 500X greater sensitivity than ordinary meters. Actually 100X more sensitive than the previous SPECTRA PROFESSIONAL model! Strictly professional and hand cali¬ brated, produced in limited quantities. ASA range .1 to 32,000; measures incident or re¬ flected light. If there's any light, SPECTRA meas¬ ures it . . . precisely! Previous Spectra models can be converted . . . it's the Lifetime Meter! For tech data: SCOPUS, INC., 404 Park Ave. S„ N. Y. 16 Mfg. by Photo Research Corp., Hollywood 38, Calif. QUALITY AND SERVICE 10mm sLACK&mnt REVERSAL KB POSITIVE PRIME! COLOR Processing- COLOR PRINTING Work prints — Timed Prints Color to Color prints — A & B roll prints Color to B & W prints — Fades-Dissolves Dupe Negative — Multiple prints Raw stock — Fastex service Loop printing Write for complete information FILM LABORATORIES 350 W. 50th ST. • NEW YORK 19, N. Y. JUdson 6-7196 illuminated with millions of lights. One of the cameraman’s problems was to get long establishing shots and at the same time fill the frame with lights. But there was no place high enough for the camera that would en¬ able it to include the city buildings. It was then decided to introduce the festival as it occurs in an Indian home. These scenes were lit frequently with sparklers. The footage shot of this festival was enough to make a whole half-hour segment for the series. Concurrently with the Bozo footage, Farkas had the added chore of shooting the sound interviews mentioned earlier. For these he often had to shoot in¬ doors. He had carried along a supply of Lowel-Lights for both 110 and 220 AC current. Thus, he was able to light the interiors wherever he went. These interviews included sessions with Madame Pandit (Nehru’s sister), the president and vice-president of the Philippines, and the family of U Thant, among others. For the sound interviews Farkas used Eastman Plus X film. The zoom lens AFTER PHOTOGRAPHY, WHAT? Continued from Page 25 The final edited 35mm printing negative, consisting of both camera negative and dupe negative sections, may then be utilized for either 35mm contact or 16mm reduction printing. Here, density correction (timing) of the scenes is part of the printing opera¬ tion. In dupe-negative printing, the 35mm camera negative may be cut (edited) in A&B rolls so that any required fades and dissolves will be incorporated in the contact-printed 35mm master posi¬ tive along with the timing corrections of the individual scenes. (Wipes or other special visual effects require the production of optical dupe negative sections and cutting them into the printing negative, as explained ear¬ lier.) Thus, when either a 35mm con¬ tact or 16mm reduction dupe negative is made from the master positive, the dupe will be corrected for proper den¬ sity and will also contain any desired effects so that the printing operation will be simplified. A full-length 35mm fine-grain posi¬ tive is printed from the edited (single roll or A&B roll ) camera negative to¬ gether with any and all optical dupe sections required for either choice in was also used here and provided vari¬ ety in the compositions throughout the continuous recording sessions. When the tour was over cameraman Farkas estimated he had shot 20,000 feet of 16mm color film, in addition to the black-and-white sound film. All this footage was edited later by station WHDH in Boston. In addition, the Bozo footage will be re-edited into a one-hour film to be distributed by UNICEF. This filming assignment is typical of many which Farkas has undertaken and has completed from his Hong Kong office. During the eight years he has been a motion picture photographer, he has received photographic assign¬ ments from 20 Century-Fox for its “Hong Kong’’ TV series, the Desilu “Barbara Stanwyck Theater,” J. Arthur Rank “Interpol Calling,” NBC “Our Man In Hong Kong” with David Brinkley and a host of advertising ac¬ counts. His most recent 35mm assign¬ ment was the location shooting for the Bing Crosby-Bob Hope opus, “Road to Hong Kong.” ■ release printing. This is set aside as a hedge against loss of the camera nega¬ tive — if printing is to be from this negative. And, the 35mm or 16mm dupe negative is made from it where release prints are to be made from a dupe. A logical question at this point is: When is a First Trial Print (Answer Print) made? This print is made from the edited 35mm camera negative in order to make sure that everything is all right before proceeding with pro¬ duction of release prints. Where release prints are to be made from the nega¬ tive, this will be the cnly First Trial stage. Other First Trials might include: 35mm First Trial print from a 35mm dupe negative, where 35mm release printing is to be from the 35mm dupe. 16mm First Trial reduction print where the 16mm release is to be made by reduction, or 16mm First Trial contact print where 16mm release prints are to be made via contact printing from a 16mm dupe negative. One additional decision involves the choice of the release print leader, which Continued on Page 56 54 AMERICAN CINEMATOGRAPHER, JANUARY, 1963 U Y , SELL, SWA Larges^ Most Productive Classified Ad Section Of Any Publication Serving Makers Of Motion Pictures STUDIO & PRODUCTION EQUIP. EQUIPMENT WANTED LABORATORY & SOUND OXBERRY •'STANDARD" ANIMATION STAND, in perfect condition, moving column type with motorized zoom, compound action-rotating ta¬ ble, built-in colortran unit, platen and under¬ neath light. The peg boards, table and some movements are calibrated in hundredths of an inch with counters. For further information write GOLDSHOLL DESIGN ASSOCIATES, 420 Frontage Road, Northfield, Illinois, or phone Northfield, Illinois, 446-8300. MITCHELL 35MM NC CAMERA #607, with nine T-scaled lenses 17mm through 152mm, two 1000 ft. magazines, auto-focus finder, follow focus, two matte boxes, sync motor, many other accessories. Represents over $13,000.00 value. Outfit is same as new in operation and appearance. $7900.00. VICTOR DUNCAN, 250 Piquette, Detroit, Michigan. TR 2-7229. FOR SALE: Complete sound and movie studio equipment including 1 6mm Arriflex camera and Magna-Sync recorders. All brand new, $6,500.00. Terms available. LOUIS CRANDALL, 1017 N. 3rd Street, Phoenix, Arizona. Tele¬ phone 254-61 3 1 . BERTHIOT ZOOM LENS, NC-BNC mount. 38- 154mm. Has adjustable-prism knobs for cross hair alignment, TV and 1.85-1 reticles. This lens only six months old, $1750.00. VICTOR DUNCAN, 250 Piquette, Detroit, Michigan. TR 2-7229. EYEMO LENSES and others. Complete listing available. From ( 1 ") 25mm up to (10”) 255mm. Priced low because they're from U.S. Govt, surplus. Write: AIR PHOTO SUPPLY CORP., Dept. AC, 555 E. Tremont Ave., Bronx 57, N.Y. CINE SPECIAL 11, like new condition, 200 ft. magazine, Ektar 25mm F/l.4, 40mm F/ 1.6, and WA converter, sync motor, matte box, and studio finder, $795.00. ROBERT DEMING, 8749 Woodside Park Dr., Oak Park 37, Mich. MITCHELL 16mm CAMERA, #175, with four T-scaled Baltar lenses, three magazines, 35mm matte box, viewfinder, 115-volt sync motor, other accessories. Recently completely over¬ hauled by Mitchell. 235-degree shutter. Per¬ fect, optically and mechanically, $4500.00. VICTOR DUNCAN, 250 Piquette, Detroit, Mich¬ igan. TR 2-7229. MAGNACORD tape recorder with Fairchild sync signal generator, like new, $650.00. SAMUEL KRAVITT, 763 Chapel St., New Haven, Conn. RABY BLIMP for NC camera, complete, $750.00. VICTOR DUNCAN, 250 Piquette, Detroit, Michigan. FOR SALE: Professional portable mag. re¬ corders: two 16mm Magna-Tech, plus ch. mixers; perf., $2,200.00. One 35mm Reeves, plus 2 ch. mixer; $2,000.00. One 16mm Reeves plus 2 ch. mixer; $400.00. One 1 6mm Magna-Sync plus 4 ch. mixer; $300.00. One 16mm Reeves rack mounted plus 2 ch. mixer, $500.00. Two 35mm Altec 3-track dubber in racks, perf., $300.00. All in excellent condition. LARRY MEZEY, 210 West 65 St., New York. INSTANT CASH HIGHEST PRICES PAID for your used 16mm and 35mm professional equipment of any kind URGENTLY NEED ARRIS, AURICONS, MITCHELLS, Zoom lenses; lab, editing lighting & recording equipment for our Rental Program CONSIGNMENTS WELCOME NEW— USED RENT, BUY TRADE, REPAIR HOLLYWOOD CAMERA COMPANY 6838 SUNSET BLVD., HOLLYWOOD 28 CALIF. WHO SELLS, SWAPS AND BUYS Whatever in your background lies? Frozen assets can give you a chill Say the word and defrost them we will. CONSIGNMENTS TAKEN — SET YOUR PRICE Ship it in — OUR PERCENTAGE IS SMALL Wire us — Phone PL 7-0440 S.O.S. PHOTO-CINE-OPTICS, Inc. Cable: SOSOUND Dept, fc, 602 W. 52nd Street, New York 19 Western Branch — 6331 Hollywood Blvd. Hollywood, Calif., Phone 467-2124 TRY F&B LAST FOR THE HIGHEST QUOTE ON USED MOVIE EQUIPMENT FLORMAN & BABB 68 W. 45th ST., N. Y. 36, N. Y. WHY SACRIFICE your production and struggle with old or used equipment when we can trade for cash or new equipment? Let us know what you have and what you need. THE CAMERA MART, INC. 1845 Broadway PL 7-6977 New York 23, N.Y. GOOD, USED 16mm Mitchell Blimp, 300 to 750 AMP generator (M-R preferred), 16mm Arriflex with blimp, Mitchell 35mm NC or BNC. Needed immediately, cash waiting. Box 1458, AMERICAN CINEMATOGRAPHER. WANTED: Auricon Cine-Voice single system sound camera, complete and in good running condition. List all accessories and cash price in first letter. Box 1461, AMERICAN CINE¬ MATOGRAPHER. WANTED to buy all types of projection bulbs, spotlight bulbs. ADVANCED SPOTLIGHT SERV¬ ICE, Box 206, Passaic, N.J. WANTED 16mm KODACHROME or Ektachrome shots of marlin or other game fish "tail-walking.” Good price paid for well-exposed, steady shots. Write, giving full details to: FILMS OF AFRICA, P.O. Box 11, 112, JOHANNESBURG, SOUTH AFRICA. WE NEED HELP in producing some of the nation's finest television commercials and in¬ dustrial films. If you are a talented camera¬ man and/or editor, send resume to: KEITZ and HERNDON, INC., 3601 Oak Grove, Dallas, Texas. SOUND RECORDING at a reasonable cost. High Fidelity 1 6 or 35. Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SERVICE, INC., 7315 Carnegie Ave¬ nue, Cleveland 3, Ohio. Phone ENdicott 1-2707. SERVICES AVAILABLE FILM ASSIGNMENTS wanted. Pacific Coast and Midwest Area, for stock shots, process plates, etc. Top Hollywood cinematographers and equipment available. WORLD WIDE FILMS, INC., 108 So. LaJolla Ave., Hollywood 48, Calif. Phones: WE 9-8308 and OL 3-5072. AFRICA Full 16mm equipment, Arri, Magnasync, etc. Experienced cameraman. Complete safaris ar¬ ranged for tourists or professional units. TRANS-AFRICA GUIDES, Box 9538, Nairobi, Kenya. EUROPEAN assignments: THOMAS-d'HOSTE, 31 Avenue Mac-Mahon, Paris 17, France. In U.S. A. 7617 '/2 Hollywood Boulevard, Holly¬ wood, California. In Canada: 3261 Forest- Hill, Montreal, P.Q. FILM assignments, 16mm, Detroit area, scenic, stock shots. Editing and titling. HOWARD TRIEST, 10400 Saratoga, Oak Park 37, Mich. LI 2-7874. CANADIAN assignments wanted. Complete 16mm facilities. Experienced sound crew. Box 1460, AMERICAN CINEMATOGRAPHER. BRAZILIAN English speaking production unit available for assignments in Brazil, Uru¬ guay, etc. 1 1 years' experience, color B&W. HELICONFILM, Ave. Ipiranga 1248, Sao Paulo. ALASKA . . 16mm film assignments specializ¬ ing in Wildlife and big game photography. Stock of wildlife footage available. RON HAYES, Box 1711, Anchorage, Alaska. JAPANESE English speaking director-cinematog¬ rapher for features, TV, etc. HARRY MIMURA, 2-1303 Setagaya, Tokyo, Japan. Credits: "Around the World in 80 Days" (Far East locations), American TV films (See American Cinematographer, March, 1961). TITLES & OPTICALS for low budget produc¬ tions. 8/16/35mm service. Samples and price list from ASSOCIATED CINETITLE SERVICES, 13204 Shaver, Baldwin Park, California. 16mm FILM assignments — Chicago, Zoographic, Scenic, Industrial. ARLETTE STUDIO FILM PRO¬ DUCTIONS, 1657 Grace St., Chicago 13, Illi¬ nois. Bi 8-8612. FILM ASSIGNMENTS, New York, Boston area, scenic, stock shots, industrial. ACORN FILMS, 168 W. 46th St., N. Y. C. Judson 6-2272. CAMERAMAN available for assignments in¬ cluding UNDERWATER. ROY CHEVERTON, 2625 N. Ocean Blvd., Fort Lauderdale, Fla. RATES: Ads set in lightface type, 20 81 6 u 5 pat. or r *Du Pont’s registered trademark for its photographic film. 12mm to 120mm WITH THE NEW ANGENIEUX ZOOM LENS Now Available From GORDON ENTERPRISES For Immediate Delivery The dramatic focal length range of the new An- genieux Model 120 is of outstanding importance to anyone operating a 16mm motion picture camera or TV camera. Superb optics, small size, light weight and the finest craftsmanship have provided a lens of unparalleled utility and perfection. The zoom range, from 12mm to 120mm, without image shift, is double that of any lens previously available, at any price. Another outstanding feature is the small hand-crank which operates the gear- driven zoom movement. This gives the cameraman precisely controlled, exceptionally smooth zooms. A Conventional lever is also provided for fast zooms. The Angenieux Model 1 20 is available in mount for the Arriflex, and in C-mount for videcon and other reflex-type cameras. Aperture: f/ 2.2 to f/22. (T/2.5 to T/22 ) . Focus Range: Five feet to infinity. Zoom Range: 1 2mm to 1 20mm. Field Angles: 56° to 6°. Dimensions: 53A" ext. from turret. Largest diameter less than 3". Weight: 1 pound-1 4 ounces. Supplied With . . . End caps and 2-piece adapt¬ er to retain Series 9 filters. (Also serves as shallow sun¬ shade ) . Price: $820.00 Delivery: IMMEDIATE! gordon enterprises © Serving the li^o r I c/ 5362 NORTH CAHUENGA BOULEVARD NORTH HOLLYWOOD, CALIFORNIA PHONE: 766-3725 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 65 \ SALEH BELL & HOWELL 35mm Studio camera, four lenses, animation and hi-speed shuttles, one 400' maga¬ zine, case, excellent . $1,295.00 EYEMO Q, 3 lenses, positive finder w/matching objectives . $395.00 ARRIFLEX 16mm camera, matte box variable speed motor, 3 lenses, case, excellent . $1,495.00 BOLEX H-16 camera w/Pan Cinor model 70 reflex zoom lens. .$349.50 FILMO 70DR camera, 1" fl.9 lens, excellent condition . $295.00 CINE SPECIAL II camera, 100' chamber Yolo dissolve, 25mm Ek- tar fl.4, sunshade, case, excellent $595.00 CINE SPECIAL I camera, 100' chamber, c-mount turret, 2 lenses, side optical finder, case . $395.00 MAGNACORD 1/4" tape recorder model PT6AH w/Rangertone sync head, 10" reel arms, excellent . $495.09 BELL & HOWELL model 202 opti¬ cal-magnetic projector, excellent.. $495.00 BELL & HOWELL model 302, opti¬ cal-magnetic projector, late model, exceptionally fine . $595.09 COLORTRAN SUPER KICKER LITES with barndoors, for hi-in- tensity even illumination, list $42.00, used, special . $29.95 COLORTRAN Cl N EM ASTER Con¬ verter model CCM, 110/220 volts, will take up to 11-5C0 watt lamps, list $209.50, like new, special . $150.09 GARNELITE converter, will take up to four par 56/300 watt lamps with individual rheostat control for each, list $125.00, exceptional, special . _ . $95.00 MOVIOLA UUCS composite 35mm picture and sound on 3" bullseye viewer, separate 35mm optical sound, footage counter, takeups, special offer . $795.00 MOVIOLA pair differential rewinds model RHB-1L w/brake and tight- wind adapter on one rewind, value $275.00, specially offered at . $195.00 Prices F.O.B. N.Y. cnMEitn miml 1845 BROADWAY Va NEW YORK 23, N. Y. (oble Comtromon AMERICAN Cinematographer INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES 1 1 1 1 1 1 1 1 1 1 1 1 1 M ( 1 1 1 1 1 1 1 f 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 II 1 1 1 1 1 II M 1 1 II I II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 II 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 tl 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 f 1 1 1 1* FEBRUARY, 1963 Vol. 44, No. 2 FEATURES Photographing ‘Mutiny On The Bounty’ 90 Make Way For Youth . . . 92 The Pros Show The Students How . . 93 Filming ‘Shell’s Wonderful World Of Golf. 96 ‘The Virginian’- — Ninety Minutes In Color . 99 Space Cameras Ride a Missile . . 102 The Air Force’s ‘Fire Brigade’ Cameramen . 104 DEPARTMENTS Industry News . . . 68 What’s New In Equipment, Accessories, Services . 72 Behind The Cameras . . 76 Technical Questions & Answers . 80 Color Versus B&W Workprints . 84 Flashback To Yesteryear (1922 — William Daniels, ASC) . 1 21 ON THE COVER MAKING A LOW-ANGLE SHOT for “Shell's Wonderful World of Golf top-rated TV film show seen weekly on the NBC network. Behind the 35mm Arriflex camera focused on U.S. golf pro Phil Rodgers is operator Derek Bro-wne. Kneeling behind camera is Tom Tutwiler , ASC, Director o I Photography of the show, whose story on filming the series in Eastman Color appears in this issue. Others in group are Dick Darley (in white coat), Producer-Director of the show, and Harry Sherman, Assistant Director. (Photo by Hal Power, Shell Oil Company.) ARTHUR E. GAVIN, Editor MARION HUTCHINS, Editorial Assistant OFFICES — Editorial and Business: 1782 No. Orange Drive, Hollywood 28, Calif. Telephone HOIlywood 7-2135. EASTERN ADVERTISING REPRESENTATIVE: Paul Gilbert, 489 Fifth Avenue, New York 17, N.Y. Telephone AX 7-5641. . . . . . . . . . . . . . . iiimiiiimiiimiMimmi AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Holding Corp., 1782 N. Orange Dr., Hollywood 28, Calif. SUBSCRIPTIONS: United States and Canada, $5.00 per year; Foreign, including Pan-American Union, $6.00 per year. (Remit by International Money Order or other exchange payable in the U.S.) Single copies 50 cents; back numbers 60 cents; foreign single copies, 60 cents; back numbers, 70 cents. Advertising rates on application. Copyright 1963 by A. S. C. Holding Corp. Second-class postage paid at Los Angeles, California. 66 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 AUTOMATIC DEVELOPER REPLENISHER CONTROL SYSTEM This one won us an Academy Technical Award. (We thought you'd like to know.) CFI does lots of things like that: re¬ search, invent, improve. Take our clever infra-red leader-reader. It not only auto¬ matically introduces the correct replenisher the instant film en¬ ters the developer, but it also changes the flow to a different replenisher the instant leader enters. This assures proper chemical control of the solu¬ tion. A great boon to customers of Consolidated Film Industries. INDUSTRIES 959 Seward Street, Hollywood 38, Calif. Hollywood 2-0881 or HOIlywood 9-1441 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 67 CAMART DUAL SOUND EDITOR MODEL SB111 CAMART TV MATTES FOR MOVIOLAS • View the correct TV frame sice • Eliminates guess work • Precision cut . . . fitted from durable heavy gauge plastic Moviola New Type Large Conversion 4x5 Picture Head for 16mm and 35mm $8.00 Moviola New Standard “tilt-type" 3x4 Picture Head for 16mm and 35mm $7.00 Moviola 16mm Picture Head, 2%x3% QQ Special sizes to order. Edit single and double system 16mm or 35mm op¬ tical sound. Edit single system magnastripe or double system magnetic sound. Use with any 16mm motion picture viewer to obtain perfect lip-sinc matching of picture to track. Works from left to right or right to left. Dual Editor (without viewer) Optical s\r\ model ...-P 1 Zeiss Moviscop Viewer . 96.00 Special Editor-Viewer Comb. 269.50 CAMART CORE DISPENSER Keeps film cores handy at all times. Attaches eas¬ ily to work table or wall. Easy to remove, easy to fill. All aluminum con¬ struction. Sizes: Length 16" . 10.00 Length 24" . 12.00 Length 36". 16.00 Aluminum Dispenser for Plastic Reels so' . 16.50 ioo' . 1 8.50 INDUSTRY NEWS News briefs of industry activities/ products and progress Gene Levy Heads CECO Eugene H. Levy, last month, was named president of Camera Equip¬ ment Company, Inc., by the directors of CECO Industries, Inc., the parent organization. Levy succeeds Frank C. Zucker, who retired to be¬ come president of Local 644, Interna¬ tiona] Photograph¬ ers of the Motion Picture Industry. Associated with Camera Equipment Company since its founding in 1936, Levy was vice-presi¬ dent for sales and national director of advertising and pro¬ motion prior to as¬ suming his new post. Following acqui¬ sition of the com¬ pany by CECO In¬ dustries in 1961, Levy w'as elected to the board of direc¬ tors. He is credited with designing and introducing a number of new items of motion picture equipment now widely used in the industry. Best Photographed Pictures “The Longest Day,” “The Manchu¬ rian Candidate,” “The Music Man,” “Hatari,” and “Requiem For A Heavy¬ weight” were cited last month as the five Best Photographed Pictures of 1962 by the nation’s critics. Awards followed the annual Filmdom’s Famous Fives poll of newspaper and maga¬ zine critics and film reviewers and TV movie commentators conducted by The Film Daily, motion picture industry tradepaper. The directors of photography of the pictures cited were: “Longest Day,” Jean Bourgoin, Henri Persin, and Walter Wottiz; “Manchurian Candi¬ date,” Lionel Lindon, ASC; “Music Man,” Robert Burks, ASC; “Hatari,” Russell Harlan, ASC; “Requiem For A Heavyweight,” Arthur Ornitz. Invitations to cast ballots in the annual poll were mailed to over 2,000 professional reviewers, critics and com¬ mentators. Motion pictures considered were those placed in general release between January 1, and December 31, 1962. • ASC R&E Committee Seeks TV Frame Standard The possibility of establishing an industry-wide standard for the frame area of all motion picture prints pro¬ duced for television was explored last month in a joint meeting between members of the Research and Educa¬ tional Committee of the American So¬ ciety of Cinematographers and mem¬ bers of the SMPTE allied with feature film production, TV network opera¬ tions, and film laboratories. While the 1.33-to-l frame format of most old films fit the average home TV receiver tube, later wide-screen theatrical films made available for television do not, according to Walter Beyer of Universal City Studios, who is also Chairman of the ASC commit¬ tee which sponsored the discussion. Standardization of the frame format of prints made for TV transmission, according to Beyer, will eliminate the present objectionable wide frame-lines in such prints and at the same time preserve the technical and aesthetic qualities conceived in the original photography. Taking part in the discussion were Edward Ancona and Ken Erhardt of NBC, Elliott Bliss of CBS, Glen Atkins of ABC, Robert Riley and Wadsworth Pohl of Technicolor, Allan Haines and Vic Pesek of Pathe Laboratories, Fred Scobey and Don Klofthel of General Film Laboratories, Vaughn Shaner and Robert Huffort of Eastman Kodak Company; also Ed Reichardt, Con¬ solidated Film Labs; William Wade. Universal City Studios; Ray Johnson. MGM; Winton Hoch, ASC; and Hal Mohr, ASC, co-chairman of the So¬ ciety’s R&E committee. • Sid Solow Hosts ASC Members at Consolidated Sidney Solow, head of Consolidated Film Laboraories’ Hollywood plant, hosted members of the American So¬ ciety of Cinematographers in lieu of Continued on Page 70 68 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 THE FIRST NAME IN EXPOSURE METERS iO , JuU*t£V4ile-\rp in your camera gate? Troubled boy distracting camera noise when shooting sinbojeots "W" bio should not boe distracted from what tbiey are doing? Troubled boy cameras tiiat are always in need of repair and ad j ustment ? If so, switch to Auricon, the only 16mm Camera that guarantees you protection against all these troubles, because it is so well designed! The Auricon is a superb picture-taking Camera, yet silent in operation, so that at small extra cost for the Sound Equipment, it can even record Optical or Filmagnetic sound in addition to shooting your professional pictures. AURICON SUPER-1200, takes 1200 ft. Runs 33 AURICON “PRO-600 SPECIAL," takes 400 ft. Runs 11 mm. $1295.00 & up AURICON PR0-600, takes 600 ft. Runs 16V2 min. $1871.00 & up 0 CINE-VOICE II, takes 100 ft. Runs 23/4 min. $998.50 & up Write for your free copy of the 74-page Auricon Catalog BACH AURICOINT, Inc. 6902 Romaine St., Hollywood 38, Calif. HO L.L.Y'WOOO 2 -OS 31 MANUPACTUR.ERS OF1 PROFESSIONAL 16MM CAMERAS SINCE 1931 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 75 GIGANTIC SALE BEHIND WHAT THE INDUSTRY’S ERAS OTING LAST MONTH H I N S NOTE: Asterisks following titles indicate television film productions. See also pages 72 & 74 EDITING AND CUTTING ROOM SUPPLIES & ACCESSORIES Famous WESTREX EDITOR Machines (similar to Moviola), formerly $4500. Excellent condition; one of the 16mm units is new. 2 — 16mm Editers, each . $2250.00 4 — 35mm Editers, each . $1995.00 ACMADE 35MM Viewers 6,/x81/2// picture, mo¬ torized on rolling stand. Orig. $1800. Service¬ able . $295.00 CECO 35MM Viewer. Orig. $600. Like new . $295.00 MOVIOLA UDS 35MM, picture one side, optical sound on other, with takeup arms and amplifier for bench mounting. Serviceable . $495.00 MOVIOLA 35MM UDS, separate picture and soundhead on rolling stand. Reconditioned. $695 .00 MOVIOLA Preview combination 16/35MM. Com¬ posite 35MM 4"x6" picture and sound coupled to 1 6MM optical soundhead and special 1 6MM pro¬ jector, amplifier and speaker on rolling stand. Serviceable . $975.00 MOVIOLA Preview 35MM UDPVCS separate pic¬ ture and soundhead mounted on rolling stand, with 4"x6" screen. Rebuilt . $1095.00 MOVIOLA 35MM UDCS, separate sound and com¬ posite picture magnetic/optical, footage counter. On rolling stand. Excellent . $1095.00 MOVIOLA 1 6MM Model ULPVCS Block Preview sound one side, composite sound and picture on other, magnetic/optical. Excellent . . $1995.00 AKELEY VIEWER 35mm, sound and composite, 5"x7" aerial image. Originally $3000. Requires repairs (plus crating) . $49.50 PRECISION MAGNETIC OPTICAL SOUND READ¬ ER, Model 800RL . $179.50 FILM HANDLING EQUIPMENT B & H Hot Pedestal Splicer, 35MM. Good condition . $595.00 NEUMADE Neuvator Film Cleaning Machine, re¬ conditioned . 35MM CL- 1 1000' capacity . $195.00 35MM CL-2 2000' capacity . $235.00 35MM CL-16 1600' capacity . $235.00 PRESTO Hot Splicers, 16MM. $747 originally. Reconditioned . $495.00 With interchangeable 1 6MM and 35MM heads, reconditioned . $595.00 WESTERN CINE (now Stanco) 35MM Hot Splicers. List $229.50. New . $179.50 MOTION PICTURE PRINTERS ACE 35MM Soundtrack Printer on pedestal, oper¬ ates with any picture. Excellent condition. $295. 00 BELL & HOWELL Printer Model D continuous contact 5-way aperture with original style lamp- house. Excellent condition . $1995.00 B & H Model D Printer. Reconditioned $2465.00 B & H 35MM Main Sprockets for D Printers. $500 value. New . $195.00 CUSTOM BUILT 35MM Step Printer on pedestal, pilot pin registration. Fair condition . $395.00 DEPUE Microfilm Printer 16/35mm. Excellent con¬ dition . $1795.00 DEPUE Twin Automatic 75 Scene Light Change Board. Value at $2340 . $795.00 DEPUE double head continuous contact 35MM sound and picture. Orig. $6600. Excellent . $1295.00 DEPUE Optical Reduction Printer 35/16 picture with automatic light changer. Rebuilt. ..$3995.00 DUPLEX AUTOMATIC 150 Scene Light Change Boards. $15,000 value (plus $20 crating). .$1 95.00 DUPLEX 35MM Step Printer, 2 machines in one. Excellent condition (plus $35 crating) . $295.00 DUPLEX 35MM Step Printer with pilot registra¬ tion. Excellent condition . $495.00 Many Other Extra Specials. Write for complete brochure. S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd St., New York 19, N.Y. — PLaza 7-0440 Western Branch: 6331 Holly’d. Blvd., Hollywood, Calif. AMERICAN-INTERNATIONAL Gilbert Warrenton, ASC, “Bikini” (Michol- son-Arko(T Prod.) with Tab Hunter and Frankie Avalon. Anthony Carras, director. ALLIED ARTISTS Floyd Crosby, ASC, “Black Zoo” (Herman Cohen Prod., P’Vision & Eastman color) with Michael Gough and Rod Lauren. Rob¬ ert Gordon, director. CASCADE STUDIOS Henry Freulich, ASC, Commercials*. Roy Seawrigiit, Commercials*. CBS — N.Y. Charles Mack, Leo Rossi, Robert Clem¬ ens, “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. COLUMBIA STUDIOS James Drought, Commercials** Gordon Avil, ASC, “The Candy Web” ( Wm. Castle Prod.; Eastman color) with Kathy Dunn and Murray Hamilton. William Castle, producer-director. Jack Marta, Irving Lippman, “Route 66”*. Robert Wycoff, “Dennis the Menace”*; Charles Lawton, ASC, Commercials*. Burnett Guffey, ASC, Commercials”*. Robert Bronner, ASC, Commercials*. Christopher Cfiallis, “The Victors” (High¬ road Prod.; P’Vision; shooting in England) with Vincent Edwards and Christine Kauf- mann. Carl Foreman, producer-director. Charles Welborn, “Empire”*. Richard Rawlings, “Higgins”*. Fred Gately, ASC, “Hazel”*, Commercials.* Gert Andersen, ASC, “Donna Reed Show”*. Gordon Avil, ASC, “Mr. Smith Goes to Washington”*. DESILU — Cahuenga Studio Robert deGitASSE, ASC, “The Danny Thomas Show”* ; “Dick VanDyke Show”*. Maury Gertsman, ASC, “I’m Dickens — He’s Fenster”*. Henry Cronjager, “The Joey Bishop Show”*. Sid Hickox, ASC, “The Andy Griffith Show”*. DESILU — Culver City Lothrop Worth, ASC, “The Real Mc¬ Coy’s”*. Charles Straumer, “The Untouchables”*. DESILU — Gower Maury Gertsman, ASC, “The Lucy Show”*. Ted Voighti.andeR; “Ben Casey”*. Edward Fitzgerald, ASC, “Lassie”*. Robert Planck, A^C, “My Three Sons”*. Frank Phillips, “The Greatest Show on Earth”*. FOX WESTERN AVENUE James Van Trees, ASC, “Dobie Gillis”*. GENERAL SERVICE STUDIOS Lester Shorr, ASC, “The Beverly Hill¬ billies”*. Robert Moreno, “Adventures of Ozzie & Harriet’*. Continued on Page 79 “Idiots! I told you to follow that car!” Der Film Kreis. Germany. 76 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 sound You know the old cliche that “A picture is worth a thousand words,” Well, think about this: how much more is a picture worth with words? When sound was added to the silent screen, the most effective communications medium was born — because the modern sound motion picture stimulates impressions through both eye and ear, capturing almost the entire conscious mind. Today’s film pro¬ ducer, to convey his message precisely, demands the most up-to-date and flexible sound recording equipment, manned by skilled craftsmen. Commissioned by Byron, Westrex design¬ ed and built a sound system incorporating the newest features — sliding faders, graphic equalizers, effects filters, high fidelity monitor¬ ing — a sound system flexible in its use of 'A inch, 16mm, lT’^mm, and 35mm, magnetic and optical. Dubbers and recorders are inter¬ locked for forward and reverse with the finest projectors — voice recording studios, a large mixing theatre — and five complete music and effects libraries on four mediums. Our sound services are under the guidance of one of the country’s finest sound engineers, assisted by expert technicians. Of further importance is the factthat our sound studio is integrated with our own motion picture laboratory, assuring complete coordination and control. There is no more flexible facility in the country. There is no finer sound. Hear for yourself! For free brochure on all Byron services, write, phone, or wire: motion pictures 1226 Wisconsin Avenue, N.W., Washington 7, D.C., Area Code 202, FEderal 3-4000 BEHIND THE CAMERAS Continued from Page 76 GOLDWYN STUDIOS Norbert Brodine, ASC, “The New Loretta Young Show”*. INDEPENDENT Jack Specht, “Born Hunters” (Pandora Pictures; Eastman color; shooting in Texas) with Harv Butler. Ralph White, producer- director. Alan Stensvold, ASC, “Here’s Las Vegas” (Producers Equity Corp. ; UA release; Pathe color) with personnel of Las Vegas shows. Mitchell Leisen, director. Robert Tobey, ASC, “Tomorrow You Die” (Jos. F. Robertson Prod.) with Peter Breck and Kent Taylor. Herbert L. Strock, director. Murray Deatley, “The Lucifer Rose” (Le- Camp Prod.) with Warrene Off and Helen Campus. John Hertelendy, producer-director. Joseph Brun, ASC, “International Show¬ time”*. Sol Necrin, “Dorothy Killgalen Show”* (New York). William Clothier, “McClintock!” (Batjac Prod., UA release; P’Vision & Technicolor) with John Wayne and Maureen O’Hara. Andrew V. McLaglen, director. William Mellor, ASC, “The Greatest Story Ever Told” (Geo. Stevens Prod., UA release; P’Vision & Cinerama in Technicol¬ or) with Max Van Sydow and Charlton Heston. George Stevens, producer-director. Joseph MacDonald, ASC, “Muriel” (Argos Films-Alpha, Paris & Dear Films, Rome, UA release; Eastman color; shooting in France) with Delphine Seyrig and Jean Phierre. Alain Resnais, director. Joseph La Shelle, ASC, “Irma La Douce” (P’Vision & Color; Mirisch-Edward Alper- son Presentation) with Jack Lemmon and Shirley MacLaine. Billy Wilder, director. Conrad Hall, “Stoney Burke”* (Daystar). Philip Lathrop, ASC, “The Pink Panther” (Edwards-Mirisch Prod.; UA release; Super- Techirama 70 & Technicolor; shooting in Rome) with David Iven and Peter Sellers. Blake Edwards, director. Joe MacDonald, ASC, “The Mound Build¬ ers (Mirisch Prod.; UA release; P’Vision & DeLuxe color; shooting in Mexico) with ^ ul Brynner and George Chakiris. J. Lee Thompson, director. Robert Krasker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain) with Sophia Loren and Stephen Boyd. Anthony Mann, director. KEYWEST STUDIOS Fred West, ASC, (Family Films) Series of Religious pictures. LA BREA STUDIOS Robert Hacer, “Perry Mason”*. M-G-M STUDIOS Wiluam Snyder, ASC, “Cattle King” (Mis¬ souri Prod. Inc. Eastman Color) with Robert Taylor and Joan Caufield. Tay Garnett, di¬ rector. Milton Krasner, ASC, “Moon Walk” (Euterpe Prod.; P’Vision & Metrocolor) with Shirley Jones and Gig Young. George Sidney, director. Harkness Smith, ASC, “Dr. Kildare”*. Dale Deverman, ASC, “The Eleventh Hour”*. Continued on Page 121 mat never seem to lose their touch ... Where professional standards are highest and the value of original negatives is the greatest, Hollywood studios and labs still demand the “Velvet Glove” treatment of the Bell & Howell famous “5692” pedestal splicer. The basic design of this splicer offers the greatest possible assurance of perfect film splicing together with maxi¬ mum safety to your irreplaceable originals. Designed and engineered to increase film cutting and splicing efficiency through speed of operation, the “5692” film splicer assures greater economy and faster, more dependable results. Splicers are available with either negative or positive pilot pins for 35mm film. Combination models are avail¬ able for 16 and 35mm, 35/32mm and 35/70mm films. For complete information write or call J. L. Wassell, Director of Marketing, Professional Equipment. (Area code 312 • OR 3-3300) & Howell PROFESSIONAL EQUIPMENT DIVISION 7100 MeCORMICK ROAD CHICAGO 45. ILLINOIS AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 79 NEWS for M ITCH ELL CAMERA OWNERS FACTORY SERVICE DIVISION Mitchell cameras from Malaya . . . Hollywood . . . and New York arrive daily, leave promptly in like-new-condition after complete, precision work by Mitchell craftsmen. Special sound test room, critical quality control, original fac¬ tory parts, and speed of service guarantee your satisfaction. NEW MITCHELL VARI-STROKE CONTROL All new Mitchell Studio cameras are factory equipped with the new. . .Vari- Stroke control. Now ... it is available as a modification to all Mitchell NC and BNC cameras! Vari-Stroke con¬ trol provides a convenient means for changing the attitude of the pull¬ down claw on the perforation, and in this manner reducing “film noise” due to changes in film dimensions, to a minimum! Only your old type movement is required. Shipped Air Express prepaid, it will be “up-dated” and returned promptly. Write concerning your accessory and service requirements. For brochures -address the Sales Department. MITCHELL CAMERA CORPORATION 666 W. HARVARD STREET • GLENDALE, CALIF. 521 Fifth Avenue • New York, New York NOW REPRESENTED IN OVER 45 COUNTRIES THROUGHOUT THE WORLD. AGENTS IN YOUR COUNTRY ON REQUEST. Q. - My problem concerns making a dolly shot of a static display with a 16mm camera moving at an angle of 90° to subject. Is there a published table that can guide me in computing the correct rate of dolly travel so “ skip¬ ping or strobe effects can be avoided ? Would the Panning Speed Tables in Section 4 of the American Cinematog¬ rapher Manual apply to this type dolly shot where the degree of arc is com¬ puted at the center of travel? Do the 35mm Panning Tables in the Manual apply also to 16mm pho¬ tography? — R. G. T., Ithaca, New York. A.— To our knowledge there is no table presently available that can guide you in avoiding the so-called “skip¬ ping” and strobe effects that often result in a dolly shot such as you pro¬ pose to make. This is because the problem in¬ volved is not only highly mathematical but physiological as well. By that we mean that the size, shape, and edge characteristics of your subject matter must be considered as well as the photographic lighting, and also the screen brightness conditions that will prevail in projection of such a scene. The panning speed recommendations published in the Manual are carefully calculated tables that have been empi¬ rically double-checked in exhaustive tests. It was found, for instance, that for photography at 24 fps, the theo¬ retically established value for the pan¬ ning speed in degrees per second could he increased by a factor of 3, follow¬ ing an evaluation of test shots on the screen. The values, shown in the tables in the Manual are the practical applicable values. It is suggested, therefore, that you first shoot a series of tests of your proposed dolly shot and study them in projection to de¬ termine the most acceptable travel speed for your camera dolly. Question 2 is answered in part above; the panning speed recommen¬ dations in the Manual should apply to your situation if the degree of arc is computed at the center of travel. The answrer to your last question is “yes” — the 35mm panning tables in Section 4 of the Manual apply also to 16mm photography. Physiological studies have shown that the troublesome “skipping” ef- Technical Questions and Answers iiiiiiiiiiiiiiiiiiiii | QUESTIONS INVITED | Need professional advice on a g jj picture-making problem, about §j H equipment, film or cinematog- §§ raphy? Reader's questions are in- j| ■ vited and will be answered by J 1 mail when accompanied by a B U stamped, addressed envelope for B ■ reply. Questions and answers con- 1 jj sidered of general interest to other J jj readers will be published. Address your questions to theg “Question & Answer Editor," Amer-S §§ /can Cinematographer, P.O. BoxJ H 2230, Hollywood 28, Calif. iiiiiiiiiiiiiiiiiiiii . iiiiiiiiiiiiiiiiiiiii . . . . . uni . . . in . . feet in some dolly shots can be mini¬ mized by giving due consideration to the focal lentgh of the lens used, the degree of shutter opening, the fps speed of the camera — plus the bright¬ ness level of projection regardless of image size. Q.— Can the filter slot in the Bolex Supreme 16mm camera be u-sed in making split-frame shots? — J. K. Do¬ ver, N. J. A.— In order to obtain acceptable split-frame or masking effects with any camera, it is necessary that the mask be positioned at a point far enough ahead of the lens or directly in front of the film plane (in hack of the lens in the camera) to insure the necessary sharp line of demarcation between the two split-frame areas. The filter slot in Bolex cameras is intended solely for use of filters and is purposely located a good distance forward of the film. To produce true professional-like mask or split-frame shots with your Bolex Supreme, we recommend use of the Bolex Matte Box which is designed especially for all Bolex cameras. Q. - Is there a way to modify a 35mm Eyemo camera to provide a re¬ flex device that will permit viewing the scene or subject continuously while being photographed? — S. V., New York, N. Y. A.— Camera Equipment Company, New \ork, offers a reflex modifica- Continued on Page 82 80 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 ■ ■ ■ Whatever You're Filming... Wherever You’re Filming it RENT FROM CECD t/t& utdtMtiu/X A/b. fjoatote When you rent from CECO you get more than just equipment. Because CECO maintains the world’s largest rental stock, you get exactly the equipment you want . . . when you want it. And more. Dependability. Equipment you can count on wherever in the world you happen to be. Performance- equipment, meticulously serviced between users — every time. That invaluable EXTRA that only the world’s Repair-Service Dept, is equipped to provide. Next time you’re renting equipment, to be sure, rent from CECO. proved largest r- CAMERAS: 16mm & 35mm — Sound (Single or Double System) — Silent — Hi-Speed — Instrumentation LIGHTING: Arcs — Incandescents — Spots — Floods — Dimmers — Reflectors All Lighting Accessories GENERATORS: Portable — Truck Mounted SOUND EQUIPMENT: Magnetic — Optical — Mikes — Booms GRIP EQUIPMENT: Parallels — Goboes — Other Grip Accessories * CRANES, DOLLIES: Crab — Western — Portable Panoram LENSES: Wide angle — Zoom — Telephoto — Anamorphic EDITING EQUIPMENT: Moviolas — Viewers — Splicers — Rewinders PROJECTION EQUIPMENT: 16mm & 35mm — Sound & Silent — Slide — Continuous TELEVISION: Closed Circuit TV CAMERA CARS I I CAMERA EQUIPMENT CO., INC. 315 W. 43rd Street, New York 36, N. Y. I Gentlemen.- Please rush me vour frff i logue of Rental Equipment E COmplete I I I I I I I L Name . - 1 I I cata- | I Firm Street . City Zone State WHERE THE PROS GO... CAMERA EQUIPMENT CO., INC. FIRST IN SALES, SERVICE, RENTALS AND REPAIRS SUBSIDIARY OF CECO INDUSTRIES, INC. NEW YORK, N.Y. 315 West 43rd St JUdson 6-1420 HIALEAH. FLORIDA - 51 East 10th Ave. • TUxedo 8-4604 HOLLYWOOD. CALIFORNIA 6510 Santa Monica Blvd. Hollywood 9-8321 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 81 QUESTIONS & ANSWERS Continued from Page 80 tion for the 35mm B&H Eyemo cam¬ era. It’s rather expensive: $1,200. We refer you to this company’s advertise¬ ment on page 14 of our January, 1963, issue, in which this modification is illustrated and described. We have no knowledge of any do- it-yourself procedure by which the camera owner or anyone but a quali¬ fied camera technician could modify the Eyemo camera for this purpose. Q. - What is the Panacolor Process ? / have heard that it involves only black-and-white film stock in the pro¬ duction of release prints? — J. D. McN., Sydney, Australia. A. - The Panacolor Process is a film printing method which, in a fully-auto- matic and continuous 3-stage printing and chemical process, produces color movie release prints ready for exhibi¬ tion. It is the only process which re¬ produces color images on black-and- white positive film stock. Color fidelity is controlled at time film is being printed since the process has the unique feature of permitting easy and rapid adjustments of color values and scene-to-scene light densities. Q _ Why do some films show more grain, when projected, than others? What, exactly, is grain and its cause? -J. H. H., Portland, Ore. A. - The grain in any film is there all along, but becomes more apparent with underexposure. The impression of grain in an underexposed color scene is greater due to the lack of dye. The extent of visible grain in any scene is determined by the scene con¬ tent. Also, some types of scenes show grain worse than others. Q. - / am advised that the Sylvania Sun Gun, Professional model, pro¬ duces about 5000 watts of illumination while consuming only 10 amps of cur¬ rent. Is it possible to use six or more Sun Guns to light a set in conjunction with a poiver converter such as the Colortran? Also, if the converter can be used on location interiors as a means of avoiding overloading the house circuits ( and using other light¬ ing equipment) can the intensity of the Sun Guns be boosted?— H. L. F., Berkeley, Calif. A.-— The Professional Sun Gun draws 1000 watts of power with a cur¬ rent drain of 8.5 amperes yet pro¬ duces efficient photographic illumina¬ tion equivalent to 5000 watts. This is due to the high efficiency of the quartz-iodine lamp unit and of the reflector-lamp combination. The Colortan Converter is rated at 20 amps. This means that two pro¬ fessional Sun Guns may be used on one converter at an input voltage of 120 volts. Power of the Sun Guns may be boosted only to the extent that 20 amps current drain is not exceeded when used with a converter. Beyond this point, the circuit-breaker of the con¬ verter will open. Q.— — Using 16mm Commercial Ekta- chrome film with a No. 85 filter for daylight correction. I am interested in obtaining day-for-night effects. Would the bluish cast resulting from using this film in daylight without the 85 filter be sufficient to gain this effect when the film is purposely underex¬ posed? I am also using Extachrome High Speed (ER 7257 and 7258) on this filming assignment with which / also wish to achieve day-for-night Continued on Page 120 Acmade Foot-Operated Splicer with Tungsten Tipped Blades > ' - IteiiP Combination 16mm-35mm Model $1495 This splicer is constructed, as is usual with ACMADE products, of the finest mate rials and workmanship. All castings are of the best quality and the top body and cutter arms are seasoned to prevent dis¬ tortion after machining. The machining is carried out to limits of± .0005" in order that the cutter blades shall close in a dead parallel manner. The cutter blades are made from stainless steel with Tungsten Carbide inserts, and afterwards ground lapped and polished to a limit of ± .0002" thickness and the cutting edges relieved by 1°. The Tungsten Carbide inserts will have indefinite life and will not require sharp¬ ening as with other types. A heater unit is installed in the top body of the machine. The top light in a well glass fitting is at¬ tached to the body of the machine and also an inspection light in the waste bin to¬ gether with cement bottle and brush. A scraper block is supplied and also a scraper block setting jib and support shelf rubber-covered. The whole machine is fin¬ ished in first quality grey hammer and all metal parts other than cutter blades are hard flash chromed. ACMADE MARK II EDITING TABLE six. f.o.b. New York Makes Editing Easy! Operation of this simple, efficient editing machine can be mastered in minutes. Con¬ tinuous movement provides absolute safety for your film. Instant controls and de¬ clutching allows up to 50% increase speed and efficiency in editing. Any combination of 2 or 3, 16mm or 35mm channels, plus mag¬ netic and optical sound available. WRITE FOR DETAILED BROCHURE Serving the World’s Finest Film Makers Florman & Babb c. 68 West 45th Street New York 36, N . Y. MU 2-2928 Another Fine Product From ACMADE AUTOMATIC BUTT SPLICER Cuts, Splices, Applies Magic Mylar Automatically.' 4 tive, magnetic other bases. Now, with no fuss, mess or waste, it is possible to splice, repair, butt-splice, or strengthen ' splices on all 1 types of film — positive, nega- even duPont Cronar or 4 The cutting arm, H shown in opera¬ ting position, is used by press¬ ing the chrome button for cut¬ ting both sides of the film si¬ multaneously. The film, has been registered on pins horizontal channel. The cutting blade ily replaced. in the is eas- if The splicing tape is regis¬ tered on pre¬ cision pins and held in place until automati¬ cally applied to the film by swinging the arm over and pressing the chrome button, cutting the adhesive and applying it — in perfect register to the film. Model 35 for 35mm. Model 16 for 16mm— *295 82 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 SHOOT WITH 70-DEGREE EFFICIENCY AT SUB-FREEZING TEMPERATURES WITH THESE WINTER LOCATION BASICS AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 83 UHLER MOTION PICTURE FILM PRINTERS OPTICAL REDUCTION ENLARGER Reduce; 35mm to 16mm; enlarges 16mm to 35mm — color or B&W. 1 200 - ft. capacity. 35mm 16mm model . $2,475.00 8 & 16MM CINE — $195.00 COMBINATION 8 & 1 6MM CONTACT Sound & Picture in Color or B&W . $1,777.00 UHLER (INEMACHINE (0. 15762 WYOMING AVENUE DETROIT 38, MICHIGAN Phone: UN 1-4663 Coble: UHLCIMA COLOR VERSUS B&W W0RKPRINTS The pros and cons on an oft debated question. Should you order a color workprint? Lots of people don’t. The reasons us¬ ually given are the economy of black- and-white reversal and. some say, that they prefer to save the impact of color for the acceptance screening of the answer print. Probably nobody will argue the economy angle. Black-and- white reversal is about four cents a foot cheaper than color. That’s not much of a factor in the overall budget of a show, but if the modest difference does mean something in your size bud¬ gets, you may very well feel obliged to use the cheaper method and take a chance on the consequences. But think it over before deciding for any reason. It’s generally true that the overall qual¬ ity of color in the edited workprint won't be perfect because of the lack of scene to scene exposure correction. Even if you ordered timed prints, it won't represent the “correct” timing because timers bear in mind the adja¬ cent scenes in determining the amount of correction. But your show will be in good color and showing color to the client at the interlock may very well bring out a decision or color problem that is more easily and less expensively corrected before the final prints are made. Imagine the embarrassment of learning at the final delivery, that the beautiful action cut you made was great except for the unexplained tran¬ sition from a gray model to a yellow one, causing the client to suggest that you save your practical jokes for less important assignments. Don’t forget, too, that the black-and-white reversal stock available is color blind and will not give a panchromatic rendering of color tones. Be prepared fer reds, deep yellows and skin tones going dark or black on black-and-white reversal work- prints. Color workprints are good insurance against editing-in-color mistakes, help the cameraman evaluate the printabil- ity of his exposures, give a valid print¬ ing test of the color original and help the laboratory direct its attention to timing desires and requirements. Nor¬ mally a one-light workprint is made, using the exposure setting which would be used if the original were perfectly exposed and of a normal subject. Con¬ trary to many beliefs, the quality of the workprint is as rigidly maintained as release prints. “Light nine” prints won’t vary and to prove this, we’ve seen workprints made from the same orig¬ inal over considerable spans of time and invariably there will be no notice¬ able print difference. If you experience “too light4' or “too dark” workprints, the chances are you’d better give at¬ tention to camera exposures. Kodachrome print stock, of course, has been standard for most 16mm color answer prints and workprints for many years. It’s a high quality reversal stock designed specifically for duplication from reversal color originals. Recently, a similar, but more expensive, print stock was introduced to allow Ekta- chrome processors to offer duplicate prints. Apart from the considerable cost differential, the Kodachrome prints are generally preferred because they are on the same stock the answer print will be, allowing a better evaluation of the original. Also, Kodachrome seems to be less sensitive to scratches during the numerous runs through viewer and pro¬ jector. Perhaps the final argument on what workprints to use is on the advisability of “inked” edgenumbers over “printed- through" edgenumbers, the latter are made by photographically printing the edgenumbers provided outside the sprocket area during film manufacture. (Ask any “bespectacled” film editor and he’ll tell you how you may go blind trying to decipher the blasted photographic numbers! ) Recently, a show with some 500 scenes having the printed-through numbers required four times as long to match as would have been required with inked edgenumber workprints. Apart from the editor’s eyesight and the cost of labor, there’s the loss of time involved in delivery. Color workprints are an integral part of the color film system, offer a check on color quality and accuracy, and therefore ought to be used wherever the production budget will allow it. Condensed and reprinted from The Aperture, workshop publication for 16mm film pro¬ ducers published monthly by Calvin Produc¬ tions, Inc., Kansas City, Missouri. — ED. 84 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 F&B TALKS ABOUT TRIPODS! F&B Mark III with Viscomatic Head Sachtler-Wolf Double Gyro Model UK O’Connor Model C O Connor Model 100 Miller Professional N.C.E. Hydro-Fluid Sputnick Sachtler-Wolf Double Gyro Model KA Miller Model D Like some people we know, cameras don't move by themselves; they have to be pushed around. A basic requirement in good camera movement is smoothness — a smooth beginning — middle and end when panning, tilting or both. Years ago, when we had to depend on friction heads for movement, most cameramen acquired great skill in using these. Also, many cameramen depended on geared heads cranked with both hands which required tremendous dexterity. Today, with our advancing technology; adapting principles of hydraulics and of gyroscopes we have evolved the fluid and gyro tripod heads. Great skill and dexterity is no longer an absolute requirement for fine, professionally smooth camera movement. Smoothness is now a built-in characteristic of each of the tripod heads shown here. We at F & B sell and recommend these most enthusiastically. If you are still doing great work with outmoded friction or geared heads, we congratulate you. Still we urge you to modern¬ ize. Why not treat yourself to one of these fine fluid or gyro head outfits, and see if you don’t agree that it makes your work easier. With the help of many skilled cameramen, we have made up a chart so that you could select the outfit most suited to your needs. If you want more detailed information on any of these, or if you would like to “try out” or arrange for a demonstration with no obligation, please write us. HOW TO SELECT YOUR TRIPOD ASK F&B There is nothing our expert tech¬ nicians like bet¬ ter than talking equipment with you. Complete infor¬ mation and liter¬ ature on all types of professional equipment are yours for the asking. is- /A-.#/ F&B MARK II VISCOMATIC ✓ Tripod & Head $139.50 14 lbs. MILLER ,,D" ✓ Head Only $150.00 7 lbs. MILLER PRO ✓ v'' ✓ ✓ Head Only $299.50 10 lbs. O’CONNOR C v' Head Only $295.00 6 lbs. O’CONNOR 100 ✓ ✓ v' v'' / Head Only $695.00 20 lbs. O'CONNOR 200 A ✓ Head Only $2250.00 32 lbs. SACHTLER-WOLF DOUBLE GYRO K A Tripod & Head $795.00 Head 18 lbs. Legs 12 lbs. SACHTLER WOLF DOUBLE GYRO U K ✓ s s Tripod & Head $795.00 Head 18 lbs. Legs 12 lbs. SPUTNIK / /• Tripod Only $1975.00 100 lbs. NCE HYDRO FLUID _ / / Tripod & Head $369.50 20 lbs. SERVING THE WORLD’S FINEST FILM MAKERS Florman & Bab INC. 68 West 45th Street New York 36, New York Murray Hill 2-2928 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 85 the ONE PACKAGE deal from JACK A. FROST / ★ * . . saves you TIME and money on PRODUCTION RENTAL needs ! . . . . JACK A. FROST COBO HALL OFFICE: 401 Washington Blvd. Jtm. 3143, WO 2-1255, Detroit 26, Michigan MAIN OFFICE: 234 Piquette TR 3-8030, Detroit 2, Michigan CANADIAN OFFICE: 6 Shawbridge, BEImont 2-1145, Toronto, Canada 86 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 If Your Streets Look Like This... You ■ ■ Arri 16 Three-lens turret with 400' magazine and motor. Catalog No. 1401 Price: $168 98 other models to fit most cameras, from $98 to $288. Even if your name isn't Barney, you need a heater. If you are trying to operate a camera when it is cold enough to freeze your ball adapters (B&S Catalog 1120, 1121) you should have a Birns & Sawyer Heater Barney. It keeps your hands warm, heats your coffee, keeps your cigarettes dry and, incidentally, helps you get the picture. You just can’t buy a better Barney than a Birns & Sawyer. You should see the construc¬ tion. Tear one apart some time (after you buy it) and you’ll see that it has more layers than a commercial hen house. WE PILE IT ON Insulation includes wool, nylon, aluminum foil, kapok, glass fibre and sheet lead. A tough, outer coating of heaviest weight, 32-ounce Nauga- hyde, makes it resist weather and abrasion, adds years of service. A Birns & Sawyer Heater Barney keeps out winter cold, summer heat, moisture and humid¬ ity. What it keeps in is the camera in operat¬ ing condition with pliable film. NOT NAKED, PLEASE! We have Heater Barneys to fit most every cam¬ era— 16mm, 35mm, and 70mm, with 100, 400, 1000 and 1200-ft. magazines— some 99 vari¬ eties ranging in price from $99 to $288. Heater pads take 115 volt AC power supply, operate at temperatures to -68°F. Other models available for 220 volt AC and 28 volt DC. Don’t take your camera out in a snow storm naked. Order a Birns & Sawyer Heater Barney today, or yesterday at the latest. See your local franchised dealer, or write BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW In Seattle: Birns & Sawyer Northwest *117 Warren Ave., North • AT 2-7332 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 87 For three pins I’d buy a Tri-Down ! Camera people have spent millions improving cameras but nobody cared about improving the triangles you use with them, until j Birns & Sawyer developed the Tri-Down*. We changed so / ffflF?S$ LOOK 3t much on this triangle that we even changed the name. A/fF/M tTl^SB f3St FAST As you know, the ordinary triangle soon develops a FiWF Hold'dOWfl ClSfTipS sort of coming-apart-at-the-seams condition. The mmr T . , , , ft Tri Down clamps have no slow, time hinges sag and the whole thing looks like it ought m'MjF consuming threads on the holding pins. m fwf They drop in place, fast. Lock with a twist to be in splints. Mmff of the set screw. One, two, three ... and all three legs are secured. Fast. Three, two, one . . . and all three legs are released. Saves time and temper. No more tedious turn, turn, turn of “valve handles." No more bent hold¬ ing pins. You'll love them. Tri-Down clamps are optional. A set can be added at any time. But the Tri-Down . . . there's a piece of equip¬ ment built to last a lifetime — if you don't live too long. Instead of wobbly hinges it has a sturdy pin and clevis construction that works precisely, efficiently and laughs at the years. Folds compactly. The Tri-Down is built by craftsmen with that something extra which makes Birns & Sawyer a cherished label. Order one today in plain aluminum or live it up with our shiny, black anodized aluminum model. Catalog 2110 — Aluminum Triangle with Tri-Down clamps . $36.00 Catalog 2111 — Aluminum Triangle without Tri-Down clamps . $26.00 \ ^'nS Catalog 211 1A — Set of three Tri-Down clamps with pins place, fast. Twist of for adding to 2111 . $10.00 the set screw locks. Catalog 2112 — Shiny black anodized aluminum triangle with Tri-Down clamps . $39.00 ’Trademark applied for See your local franchised dealer, or write . . . J Cameraman . . . 1 Tripod ... 2 Cameras DUAL CAMERA MOUNT FOR SPORTS, NEWS COVERAGE, NATURE PHOTOGRAPHY AND SPECIAL EFFECTS Two cameras always ready to film individually; or, wide angle and telephoto at the same time. Also, upright and inverted camera positionings to film forward and reverse actions simultaneously. A required accessory for every cinematographer for better coverage of many assignments and trick shots. 1 cameraman — 1 tripod — 2 cameras. Saves another tripod and another cameraman. Heavy duty special aluminum plate. Hardened collared wing bolts, wing nuts and spares. Fits all tripods . . . Pre-aligned mounting holes. Complete with Illustrations and Instructions Only $12 ZEPER INDUSTRIES, Photographic Products Division "Quality, Precision by Craftsmen" 8448 Forrest Avenue — Philadelphia 50, Pa. WHAT’S NEW Continued from Page 74 the image plane there is a small aper¬ ture 30/lOOOthsof an inch in diameter, which allows only the light from the center of the optical field to pass through to the photo cathode of the P/M tube. The Luminance Analyzer (Model A-500) measures 71/2 " long, 21//' wide and 6" high, and weighs 3 pounds. List price, less hand grip, is $675.00. Gamma Scientific, Inc., 5841 Mission Gorge Road, San Diego 20, Calif. New Safety Film Leader A unique safety film leader that re¬ quires no scraping and is available in a wide variety of colors, is announced by Starex, Inc., of Kearny, N. J. This new non-flamable acetate film leader can be used on all standard splicing equipment. Made expressly for splicing, it has no emulsion to scrape off. as is necessary with conventional film leaders. The opportunity to color-code film reels according to subject, film base, or any other desired category, is an¬ other advantage Starex offers. Details and prices may be obtained from the main sales office at 251 West 42nd Street, New York 36, New York. New Eclair 16mm Camera Camera Service Center, Inc., 333 West 52nd St., New York, N.Y., has been named distributor of the new Eclair 16mm reflex camera. Among the camera’s salient features are a built-in sync signal generator, automatic start mark system for both picture and sound, instant interchangeability of motors and magazines, and rapid self¬ threading of film. Perfect frame registration is assured through pilot pins which enter film perforations from emulsion side. A wide range of accessories and lenses for the camera are also available. Bolex Camera Conversion Lloyds Camera Exchange, 1612 Ca- huenga Blvd., Hollywood 28, Calif., announces a custom 400- ft. conversion with motor drive for 16mm Bolex cameras. Conversion includes a 400-ft. Mitchell magazine mounted on top of camera plus a rugged, dependable electric motor fitted on side of camera. Motor supplied may be either battery powered type or a 110-V synchronous motor. Complete conversion kit, as supplied for camera-owner installation is $349.50. For installation by Lloyd’s, there is an additional charge of $29.00. 33 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 Originals Only ...PLEASE! SIGHT or SOUND If your editor isn't used for ORIGINAL PRINTS - - then you need the Mode! AO 16mm includes Viewer, Optical Sound Reader, Matched Amplifier/Speaker and Sub-base. ONLY $362.24 Write for brochure SIS. PHOTO-CINE-OPTICS, I _ SEE OFFERINGS OF EXTRA-SPECIAL formerly S.O.S. CINEMA SUPPLY CORP. 602 West 52nd St., N.Y. 19 — Plaza 7-0440 — Telegram: "FAX, N.Y.” Western Branchs 6331 Hollywood Blvd., Hollywood 28, Calif. — Phone: 467-2124 VALUES ON PAGES 72, 74, 76, 115 AND 117 -<■ AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 89 Photographing "Mutiny On The Bounty" Imaginative cinematography is this picture’s greatest asset. By DARRIN SCOT W]VIUT1NY °N THE B°unty’” be¬ set, as it was, with endless cast and production difficulties, also presented an incredible range of photographic problems — none of which, however, are apparent in the final, visually beautiful re¬ sult. For Director of Photography Robert Surtees, ASC, who believed there never could be another try¬ ing assignment like “King Solo¬ mon’s Mines,” which he photo¬ graphed in the jungle country of Africa, or “Ben Hur,” which re¬ quired two years’ of shooting in Rome, 6 “Bounty” and its photo¬ graphic problems and challenges must have topped them both. From the very beginning it was M-G-M’s plan to shoot most of ““Bounty” in Tahiti and the neigh¬ boring islands of Bora Bora and Moorea, the South Pacific area where the actual historic mutiny of Fl.M.S. Bounty took place. When first he received word of the ‘“Bounty” assignment, Surtees was hard at work on location shoot¬ ing M-G-M’s “Cimarron.” He was relieved of that assignment in or¬ der to make a location scouting trip to Tahiti with Producer Aaron Rosenberg, Director Sir Carol Reed (who was later replaced by Lewis Milestone), and the film’s star, Marlon Brando. A script writer also went along with them in the event any interesting details were encountered that could logic¬ ally be worked into the script. It was in this way that the pictorially striking stone-fishing sequence found its way into the picture. While in Tahiti, producer Rosen¬ berg heard about this colorful tech¬ nique of fishing which is per¬ formed only on the island of Bora Bora, 95 miles away. The location- scouting group flew to the island, observed the fascinating ceremony, and decided to have it written into the script. It proved to be one of the most visually dramatic high¬ lights of the picture. Meanwhile the practical sailing model of the ““Bounty,” seen at sea under full sail in the film, was under construction. It was in ef¬ fect to be a floating motion pic¬ ture studio, designed and built to provide the most complete and spectacular camera coverage of the story action. For the first time in the history of the cinema industry SHOOTING ABOARD THE BOUNTY— Director of Photography Robert Surtees, ASC (behind camera), with Producer Aaron Rosenberg and Director Lewis Milestone line up a shot for a shipboard sequence in “Mutiny on the Bounty” aboard the H.M.S. Bounty moving off shore near Tahiti. 90 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 ONE OF THE pictorial highlights in “Mutiny on the Bounty" is panoramic scene above of a Tahitian fishing operation in which hundreds of native girls crouching in the surf act as a human net to contain the hords of fish being driven shoreward by men in canoes. In photo below, right. Director of Photography Robert Surtees and camera crew prepare to shoot doseups of a segment of this action being rehearsed by assistant director before them. Surtees is 2nd from right, standing on camera platform. a ship was constructed from the keel up especially for photography. The ship, adapted in design from the actual plans of Captain Bligh’s “Bounty,” was constructed at the historic Smith & Rhuland ship¬ yards at Lunenberg, Nova Scotia. Above deck the motion picture “Bounty” is a faithful copy of the original, from rope davits to the 10,000 square feet of canvas on the square- rigged masts. However, whereas Bligh’s vessel was 85 feet long and carried a crew of 62, the new “Bounty” was extended to 118 feet to provide room for Panavision cameras, lights and other cinema¬ tographic equipment, as well as dressing rooms and equipment storage below decks. When the vessel was still in the blueprint stage conferences had been held to decide where cameras could best be placed and to make provision for such installations. With this in mind, permanent fittings were built into the ship to readily accommodate platforms and tubular steel parallels in the most strategic locations. Installations for parallels were also provided all along the deck and similar plat¬ forms could be installed far down on the sides of the ship, high up in the rigging, on the masts and bowsprit or in a special rig off the stern from which the complete deck of the ship could be photographed while under full sail. Because of this foresight in design, Surtees was able to achieve the most sweeping coverage of a sail¬ ing vessel ever recorded on film. While he included some breath-taking shots made from high up in the crow’s nest, Surtees believes that low camera angles create the most dramatic effects for action aboard a moving sailing vessel, which is why he often mount¬ ed the camera on a platform attached to the side of the ship, almost at water level. When the ship pitched and rolled the tripod and the camera oper¬ ator were sometimes partly under water. With a crew of 25 under the command of Cap- lain Ellsworth Coggins, a retired commander of the Royal Canadian Navy, the “Bounty” made the 7,327 mile voyage from Lunenberg to Tahiti. Once the ship arrived, 150 days were spent aboard it filming at sea. But bad luck dogged most of the shooting. The Continued on Page 1 14 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 91 Make Way For Youth By MERVYN LEROY A pp.opos AS A companion article to Cliff Harrington’s, which begins on this page, is the following short article reproduced with permission from The journal of the Screen Producers Guild for September. 1962. Author is Mervyn LeRoy, one of the youngest “veterans’ in the Hollywood film industry who has directed some of Hollywood’s finest films, the latest of which is “Gypsy for Warner Brothers. — ED. TJolli wood as a filmmaking entity has passed the 50 mark, too young to die but old enough to be thinking about the future. The upstarts who consign the greatest entertainment apparatus in history to the scrap heap are as worn as are some of their pictures, but they’re not all wrong. Our town has begun to creak a little at at the joints and there is no doubt it needs a little oil here and there. For this lubricity our industry, like any major industry, must call upon the young. But where are they? Once they hung about our gates, clamoring for a chance to be heard, to show their wares, to exhibit the artistry and the talent they felt surging within themselves. “Let us in,” they cried. “Let us in and we’ll show you.” I haven’t heard the hammerings on the gates for a long time now and I doubt many others have, because the cries are becoming feeble. Perhaps they’re hammering on the gates of television or the stage now, but I’m afraid they’ve given us up. It’s a shame, too, be¬ cause as long as the young hopefuls had hope, we had a chance. Without them, we must surely die a little, and perhaps a lot, as all the greatest talents of Hollywood succumb to the passing of the years. If Detroit operated the way we do, we’d still be cranking our cars by hand, putting up the side curtains each winter and riding on hard rubber tires. But Detroit believes in young blood. Each year the big auto makers scour the country’s colleges for promising talent. Then these youngsters are given every opportunity to prove themselves. Practically every major industry in America does the same thing. But do we scour the colleges for writing talent or the little theatres for potential stars or great directors? Not to any extent. Mostly we just scout each other. In the old days you could make a star by taking an extra off his horse. You could make a director by crooking a finger at some young fellow who looked as though he would know stage left from stage right. You could even make a producer out of a guy who thought a good property was a piece of real estate. Needless to say, but I’ll say it, those days are far behind us. We are in an era of fierce competition with television, which has on its side the natural human reluctance to overcome inertia and thus prospers on people who find it easiest not to get up from their chairs; with foreign movie-makers who have rushed in to fill a vacuum which we ourselves created and who find it easy to exploit Continued on Page 1 12 HPhe star of the short 35mm sound film, “Off the High¬ way,” was Richard Widmark and the director, Fred Zinnemann. The key technicians also were Holly¬ wood professionals. All the rest were young men getting their first professional motion picture work under men long experienced in the industry. T his non-profit experiment was conceived to help provide young people aiming for a professional career in motion pictures with the important on-the-job training that they need. The eleven young men, all mem¬ bers of the Lniversity of Southern California’s Cinema Department, were faced with the grim fact that the university’s cinema class could only provide basic training* with little opportunity for practice by which to develop skill. A number of prominent men in the Holly¬ wood studios were sympathetic with their plight — among them, veteran screen director Fred Zinnemann who agreed to lend a hand by di¬ recting a film for them. Key tech¬ nicians, with their union’s ap¬ proval, agreed to contribute their services without pay. When the camera was ready to roll on the first scene, an impressive produc¬ tion company was assembled to work side-by-side with the cinema students. There was Emmet Emer¬ son of the Mirisch Company, and Joe Popkin of 20th Century-Fox who acted as production managers. Joe Edmondson, of Goldwyn Stu¬ dios, was sound man; Sass Bedig of Universal-International Studios acted as special effects technician; Jack Holmes of 20th Century-Fox was film editor, and Terry Sanders supervising cameraman. (USC faculty participants were: Arthur Knight, Saturday Review film critic, Assistant Dean Maynard Smith, and Morgan Cox. Student participants were: Verne Bert, Gary Kurtz, Lear Levin, Pat Mc- Gahan, Len Miller, Stuart Murphy, Spencer Nelson, Mike Neyman, Efrain Ramirez, John Rose and Joe Zucchero.) The students had the very best 92 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 TERRY SANDERS operates the Mitchell 35 camera photographing a Efrain Ramirez, actor Richard Widmark, student Mike Nyman, special- dramatic scene for "Off The Highway," a non-profit production con- effects technician Sass Bedig, director Fred Zinnemann, and students ceived to give on-the-job training to college cinema students under Lear Levin and Len Miller. (Photograph by Helen Mil jakovich.) guidance of Hollywood professionals. Others from left are: student The Pros Show The Students How College cinema students working with Hollywood professionals produce “Off The Highway” in 35mm and sound as a non-profit job-training project. By CLIFFORD V. HARRINGTON of production equipment and fa¬ cilities to work with. They pro¬ vided half of the raw film stock themselves, and Eastman Kodak supplied the rest. Sound facilities were donated by Todd-AO. Camera equipment was loaned by Mark Armistead, Inc. Grip equipment came from the Masterlite Co. Ed¬ iting facilities were provided by the Goldwyn Studios, and labora¬ tory work was donated by DeLuxe Lab of 20th Century-Fox. An arti¬ ficial boulder, an important prop in the picture, was borrowed from Columbia Studios. With this top flight backing a tremendous responsibility fell upon the students. They had to show the pros that they could meet the challenge. Writer Ira Wolfert had donated his short story “Off the Highway” for the production. It is a story of a traveling salesman surprised and attacked on the highway by a luna¬ tic. The role of the salesman was played by Widmark and the luna¬ tic by Whit Bissell, both well- known Hollywood screen actors. Prior to production, director Zinnemann asked each of the stu¬ dents to prepare shooting scripts. These were finally resolved into one. Then the students were sent out to scout locations for the pic¬ ture. Zinnemann suggested that the story locale be set in the desert to reduce the story’s elements to their Continued on Page 1 09 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 93 94 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 DOUBLE EXPOSURE EXTENDED SCENES UNINTENTIONAL SPLICES CtHCKU (KM lAKMATODItl I IM l>oa I Hatjma* a 111 il m 1 • OtNCAAL §lg if 1 4 ■h:|; to Indicate Effects FADE IN kao H if FOR’ PREPARATION OF 16mm PRINTING LEADERS HEAD LEADERS < X X KK>|. i.... V . AO» ‘ X"' * - *" - H |f n 'RAMS || |f - " - • • • X X V ",1‘ • «OU rniMt(A 4IAAT ■ • »OU AAOCUCtA KA[< M /" M M t—m—i t- HEIM HE &<"(•>! >iih lanmuioaks iwtijo* xoiinwa wsmmmmm Charts fit 8> ! 2" x 11" binder These charts should be in your files Who knows when somebody might ask you a question like “What’s the minimum overlap on a zero cut?” Or, “How many generations will we have in those prints?” Sure, you’ll know the answer, but why bother? Show him one of these Producer Service Bulletins we just put out. They don’t cover every situation, but they try! Four of the twelve are editing charts. They show how to mark workprints to indicate effects, how to prepare 16-mm and 35-mm film for A & B Roll printing, and how to prepare 16-mm printing leaders. The other eight are printing flow charts. They illustrate the steps required in different types of printing, from the camera stock to the release prints. All are punched for a three-ring binder (the big ones fold to fit.) We’ll be glad to send you a set of these charts, as long as we have them in supply. Let us know. If you feel inclined to tell us, we’d like to know what you do in your job. It helps us plan advertising. GENERAL FILM LABORATORIES A DIVISION OF PACIFIC INDUSTRIES, INC. Name _ Company _ Address _ Zone City, State 1546 N. Argyle, Hollywood 28, California, Hollywood 2-6171 / central division, 1828 Walnut St., Kansas City 8, Mo., GRand 1-0044 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 FILM PRODUCTION FOR TV DOUG SANDERS, U.S. Pro, fees off on Sweden's Halmsad course while action is recorded by cam¬ era on camouflaged cherry-picker in background. TOM TUTWILER reaches for his exposure meter (a 1946 G-E!) preparatory to calculating exposures for the five cameras working on Halmstad golf course. AFTER THE TEE shots, cameras are moved down the fairway for next set-up. For this work, motorized vehicles were used at all courses. Filmways’ Hollywood camera crew visited eleven countries to photograph with five cameras and 35mm color film some of the most dramatic golf plays ever seen on television. TOM TUTWILER, ASC, who directed photography of "Shell's Wonderful World of Golf,” follows sun as it dodges behind clouds during shooting of match played on Jamaica's Tryall course. FILMING SHELLS /~\ne of the unique things about “Shell’s Wonderful ^ World of Golf,” currently being televised in color each Sunday on the NBC network, is that it is probably the only TV film series photographed entirely with zoom lenses. The series, which last year acquired a Neilson Rating of 15.5 — considered exceptional for a golf show — is a mo¬ tion picture record in color of 22 top professional golfers of the world playing eleven regulation medal play 18-hole tournaments in the U.S. and ten foreign countries. It was produced by Filmways, Inc., for the Shell Oil Company, with Dick Darley as Producer-Director. The matches were photographed, as playing progressed, with five cameras strategically located and covering the action from various angles in a range of formats from wide-angle to long shot. None of the playing action was staged at any time. If a player flubbed a shot, which was not infrequent, there was never a retake of the play. The contestants did not replay such shots and if we missed any of them with the cameras it was just too bad, too. (The names of the golfers, courses on which they competed, and broadcast date of each show in the series appear at the conclusion of this article.) The lenses and all the camera equipment we used in filming the series of shows in eleven different countries of the world were supplied by the rental department of Camera Equipment Company, Inc., New York, N. Y. There were three Mitchell NC cameras, one Mitchell high¬ speed camera, and two Arriflex 35’s. Because sync sound was to be recorded as we photographed, we brought along one of the lightest of portable quarter-inch tape recorders presently available — a Perfectone, supplied by Ryder Sound Services, Hollywood. 96 AMERICAN CINEMATOGRAPHER, FE6RUARY, 1963 TUTWILER, in right background, confers with others on production staff, while camera on boom of cherry-picker in background is elevated for next shot. CAMOUFLAGED cherry-picker is seen here in one of its many uses — providing high vantage point for camera covering action on Tylosand course. WITH EYES GLUED to their zoom lens finders, two slicker-clad camera operators follow the action played in the rain in Dublin, Ireland. WONDERFUL WORLD OF GOLF' My camera crew, organized in Hollywood, con¬ sisted of two operators and two assistant camera¬ men, augmented by a production manager and a sound man. This crew later was enlarged in London to include additional technicians with whom I had worked the year before when filming a segment of the series there, and three more very good men joined us in Manila. All of these men remained with us until shooting of the series was concluded. Through a fortunate arrangement, shipment of our equipment was scheduled to arrive simultane¬ ously with us at each of our eleven destinations. We always traveled by air and so did our equipment. My crew and I left New York May 17, 1962, along with eight boxes of cameras and equipment des¬ tined for Copenhagen, Denmark. From there, we proceeded to Halmstad, Sweden where we were to shoot the first match. Following this, the second match was shot in Hague, Holland; the third in Dublin, Ireland; the 4th in Gleneagles, Scotland; 5th in Quebec, Canada; and the 6th at the Tryall course, Montego Bay, Jamaica. There followed a two-week hiatus for the purpose of reviewing all the film shot up to that time and screening all the rough-cut footage that was ready. We then proceeded to the Philippines where we re¬ sumed shooting the series, with Dave Ragan playing Continued on Next Page B y TOM TUTWILER, ASC Photos by Hal Power, Shell Oil Company JACK NICKLAUS, 1962 U.S. Open Champion, shows concern for putt made on Pebble Beach course in competition with Sam Snead. In background, Tom Tutwiler assists with camera recording the action in color for the Shell Oil Co. TV series. AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 97 LOOKING DOWN on the 7th green at Pebble Beach (Calif.) golf course where one of the eleven competitions were played and filmed for “Shell’s Wonderful World of Golf” TV film series. Foliage, left-center, is camouflage concealing camera mounted on platform atop Jeep. Celestino Tugot on the Waek-Wack course in Ma¬ nila. From there we flew to Singapore, then to Well¬ ington, New Zealand; Pebble Beach, California, and for the grand finale — a round trip that topped them all — from Pebble Beach to Santiago, Chile, where we shot the last show in the series. In all we trav- TOM TUTWILER supervises setting up high-speed camera for low-angle shots of putting action in slow motion on one of the greens of Jamaica’s beautiful Tryall Golf Course. eled some 50,000 miles by air, and ran up a tab of $30,000 just for air transportation of our equip¬ ment. Shooting Procedure The entire series was photographed with the new Eastman Color Negative, Type 5251. I was one of the fortunate “firsts” to have access to this improved color negative. Kodak, in London, was distributing the film long before it became commercially avail¬ able in the U.S. Exclusive of the commercials, which I did not photograph (but which were photographed in each country where the golf matches were played) our five cameras exposed 450,000 feet of this film for the series. We recorded sync sound continu¬ ously as we shot every stroke at every course — very little of which had to be re-recorded later The photography of each match began at the No. 1 tee. Here we had one camera set up behind the player, another in a forward position for a three- quarter shot, with a third camera near the tee pick¬ ing up spectator reactions — closeups of people “Ailing” and “Ohing” in reaction to the players’ good or bad swings, lie of the ball, etc. The fourth camera was set up in elevated position roughly 250 yards down the fairway, mounted on a vehicle and carefully camouflaged with foliage so not to be visible to the cameras at the tee shooting toward Continued on Page 116 IN THOSE countries where a Sikorsky or Bell Ranger heli¬ copter was obtainable, it was used to photograph aerial shots of the local golf course on which the Shell Oil competi¬ tion was staged. Here Tutwiler, accompanied by Dick Darley, prepares to take off and film Pebble Beach course. AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 FILM PRODUCTION FOR TV THE VIRGINIAN... NINETY MINUTES IN COLOR Because it is aimed for both television and foreign theatre release, Revue’s new 90-minute TV series presents special considerations in the photography. By JAMES CARTER Decause “the Virginian” was to be Revue Stu¬ dios’ “showcase” TV film production for 1963, the series was planned as a full hour-and-a-half show in color. It is the first 90-minute TV film series to be photographed with the new Eastman Color Nega¬ tive Film, Type 5251. This series is unique in the annals of Hollywood film production in that each segment is designed to serve two markets: as a theatrical release for foreign movie houses and as a prime-time color feature on the NBC television network. For Lionel Lindon, ASC, who directed the pho¬ tography of the initial show in the series, and has photographed others since, this duality of purpose posed a number of problems. The most challenging was achieving an acceptable balance between con¬ ventional theatrical film and TV film lighting. For example, what might appear as deep shadows on a theatre screen might very likely go completely black on television screens. Moreover, some limitation was placed on the use of dramatic closeups of faces under strong side lighting — so often used in feature film photography. When shots of this type are filmed for television, they require skillful lighting and a carefully considered camera angle in order that de¬ tail not be lost on the dark side of faces. Despite such limitations, however, Lionel Lindon found plenty of latitude for creative improvising in photographing scenes for “The Virginian.” One ex¬ ample in particular stands out: he created a striking Continued on Next Page LIONEL '‘CURLEY” LINDON, ASC (in light raincoat, center), supervises new camera set-up for a scene for "The Virginian," Revue Studios' new 90-minute color TV film series. With him are operator Bob Burkitt (top) and assistant cameraman Wal¬ ter Bleumel. Lindon was awarded an "Oscar" in 1956 for photography of "Around The World In 80 Days." AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 99 FILM PRODUCTION FOR TV SHOOTING A typical exterior for “The Virginian” on Revue Studio’s back lot. The Mitchell camera is set low on platform over the water, while sound technician keeps the microphone, suspended on “fishpole" boom, properly positioned above actor in scene. The “flag” acts as sunshade for the camera, and it will be noted that there’s a filter mounted on the “brute” booster light (left f.g.). sunrise effect — seen through a window on a set — without employing any extra lights or filters. The effect was accomplished by directing red light on the rear of the set from dimmed spotlights, then slowly bringing up the yellow-filtered lights illumi¬ nating the front of the set. Maintaining theatrical quality while working with¬ in the schedules necessary for production of a tele¬ vision series also proved a challenge. The usual time budgeted for shooting a 90-minute television Show at Revue is nine days. Such a schedule re¬ quired Lindon and his crew to complete around 45 set-ups daily — approximately five pages of script. "‘Management at Revue places emphasis on cre¬ ative and imaginative photography for all its tele¬ vision productions,” said Lindon, as we discussed the filming of the series. “However, we make a special effort with ‘The Virginian.’ It is one of our prestige productions- — our showcase.” The stories in this series are laid in the 1890’s, in the town of Medicine Bow, Wyoming, and more specifically on a nearby ranch called Shiloh. The plots revolve about the foreman of the ranch, known only as “The Virginian,” and the changing West near the turn of the century. The American cow¬ boy’s responses to the changing times supply the vital story material. The Virginian, himself, embodies all the qualities of the western cowboy. Supporting him are two other leading men, Steve and Trampas — working cowboys on the ranch. Other major characters are Judge Henry Garth, owner of the ranch, and Molly Wood who runs the town newspaper and is the object of the three young men’s romantic attentions. The basic theme of the stories requires both in¬ door and location photography. Revue Studios pre¬ fers not to work outdoors with color film in the early morning or late afternoon, except where it is desired to utilize the quality of light existing at those times for some special pictorial effect. Color film’s peculiar sensitivity to the color of light is reflected in higher production costs as com¬ pared with black-and-white production, according to Lindon. Larger crews and more lighting equip¬ ment are generally required when shooting in color, he points out, and very often a production company must shift locations more frequently due to sudden changes in the weather. In spite of the extra cost, Revue Studios’ manage¬ ment believes color TV film production is well worthwhile. Color shows are being aired in prime viewing times on two television networks. Further¬ more, it is held that the residual value of a color series for future re-runs in this country or overseas more than offsets any increase in production costs. Currently, prints of “The Virginian” and “Lara¬ mie” (another Revue video series) are produced in 35mm color for release in the three major U.S. television markets: New York, Chicago, and Los Angeles. For the others, release prints are made on 16mm black-and-white film. Regarding the new Eastman Color Negative Film, Type 5251, Lindon believes that the improved color negative provides much truer color reproduction in television transmission. Through carefully controlled lighting, the brightness range is well compressed so there are no extremes in highlight or shadow densi¬ ties. “On the television screen,” said Lindon, “blues are more natural and flesh tones generally are less yellow — more realistic. “There also appears to be better definition of the picture on the TV screen. The improvement, over the old color negative, is apparent because the finer grain structure of the Type 5251 color negative results in a clearer picture,” he explained. This finer grain structure also provides better optical effects for the series. Opticals improved noticeably with the introduction of the better quality, finer-grained material, Lindon said. With improved film stock for the first two generations, he anticipates even further improvement in optical effects after the new Eastman Color Print Film, Type 5385, be¬ comes available within the next few months. Because the new Eastman color negative recorded such an accurate picture on quality control test strips, black-and-white prints are now used for dailies, instead of color, then edited as work prints on the following day. Most aspects of Revue’s TV film production, how¬ ever, have not been drastically changed where shows are shot in color. For example, the new color negative has not changed the techniques for de- Continued on Page 113 100 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 MOLE RICHARDSON LIGHTING ENTIRE M. R. RANGE COLORTRAN and LOWEL-LIGHTS GENERATORS CAMERAS • DOLLIES CRANES GRIP- and SOUND- Equipment TRANSPORT-LABOUR TECHNICAL-CONSULTANTS and SPECIALISED-SERVICES WRITE DIRECT FRANCE — 28-28 bis Rue Marcelin-Berthelot, Montrouge-Seine Cables: Molereng-Paris General Manager: Rene Schell ITALY — Via del Velodromo 68-74, Roma Cables: Molereng-Roma General Manager: George Gardner GERMANY (Austria) HofangerstraBe 78, Munchen, 8 Cables: Molereng-Munchen General Manageress: Gisell Schneeberger SPAIN — Alcala 32, Madrid, 14 Cables: Molereng-Madrid General Manager: Gregorio Sacristan ENGLAND — Chase Road, London, N.W.10 Cables: Molereng-London General Manager: John A. Page AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 101 MISSILE BOOSTER separation, as recorded by Milliken Highspeed 16mm cameras. Frame reproductions from film show (1) camera view looking down side of Atlas 7 F missile 50 miles up. Camera is in 2nd stage, aimed at booster. Earth in background, sun at top, left. (2) Separation produces sudden cloud of fuel residue from booster. (3) Second-stage nozzle now visible. Booster is dark shape just above it. (4) Empty booster has turned edgewise toward the camera, appearing as tiny dark ring, center of picture. Photo, lower left, is Atlas missile taking off ot Cape Canaveral, Florida, for successful test flight. Space Cameras Ride A Missile After recording booster separation, cameras were released back to earth in Cook recoverable capsules. By ARTHUR ROWAN w HEN MISSILE BLASTOFFS are written into the feature movie scripts of the future, special ef¬ fects technicians will encounter new and challenging problems in reproducing and staging such events. If you already have such a project on your schedule, then the photos above may interest you. They depict a nose-cone’s eye-view of the actual separation of an At¬ las missile booster in flight as re¬ corded by Milliken 16mm high¬ speed cameras. The performance demonstrates once more the ability of today’s high-precision motion AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 picture cameras to record unusual action in unusual situations and render film images of excellent quality. The recent flight of four space cameras aboard an Atlas 7F mis¬ sile launched from Cape Cana¬ veral, Florida, marked the first successful on-board motion picture filming of booster separation. The cameras are the product of D. B. Milliken Company, Arcadia, Cali¬ fornia. The purpose of the resultant film was to provide exact graphic detail of what happens as an Atlas lifts off and goes through its se¬ quence of programmed maneuvers before engine cut-off. Two Milli¬ ken DBM-4 cameras photographed launch details and were subse¬ quently ejected at 300 feet. Two DBM-3 cameras remained aboard to record first-stage booster sepa¬ ration before they, too, were re¬ leased back to earth in Cook re¬ coverable capsules 500 miles downrange. The photos 1 to 4 are frame- blowups from the original films. In photo (1), the camera looks down the side of an Atlas 7F mis¬ sile fifty miles up and away from Cape Canaveral. Camera is in sec¬ ond stage, aimed at booster. The earth is seen in the background, with the sun at the top. The diag¬ onal row of small white dots ema¬ nating from the center is reflection Continued on Page 113 MILLIKEN DBM-3 camera, three of which were employed recently in photographing first-stage booster separation of Atlas 7 F missile, then re¬ leased to earth in recoverable capsules. Two DBM-4 cameras were also used in the filming project, are similar in design but not equipped with the wide-angle lens shown here. A HELPFUL BOOK FOR MOTION PICTURE PHOTOGRAPHERS Gives detailed answers to hundreds of prob¬ lems and questions relating to Theatrical, Television, Industrial, Military, Educational and Documentary motion picture production. • Illumination Data for both “boosted voltage” and standard studio lighting equipment together with foot candle, amperage and volt¬ age tables and wiring dia¬ grams. • Data never before printed on: Panning Speeds, Optical Effects, Ultra High Speed, Underwater Cinematogra¬ phy, Make-Up, Background Plates, Process Scenes, Shooting Day-for-Night (col¬ or B&W). • Special Data on Exposure, Color, Illumination, Arctic and Tropic Cinematography, Infrared Film, Filters, etc. • Tables for compensating Fil¬ ter Factors, Shutter Angles, Camera Speeds. • Many useful Camera, Lens, and Filming Formulas. • Complete Data for Ultra Close-Up Cinematography with Extension Tubes, and Diopter Lenses. • Wide-Screen Processes, com¬ plete aperture and viewfind¬ er dimensions for all aspect ratios for 65mm, 35mm and 16mm; squeezed and un¬ squeezed photography, single-and double-frame. • Complete Lens Angle Data for all lenses for all aspect ratios. • Film Threading Diagrams for all cameras. There’s something to help you on every page of this valuable fact- packed book! Charts, tables and diagrams give instant an¬ swers to problems relating to lens angles, filter factors, shutter openings, camera speeds, exposure, lighting, aspect ratios, etc., etc. Order your copy today! $7.50 . . . Post Paid • Detailed Listing of all Mod¬ ern Professional Cameras: 65mm, 35mm, and 16mm. • Black-and-White and Color Film Data, together with ASA ratings. Identification, and Incident Light Readings for same. • Up-to-Date Data on Lenses, Filters, Exposure and Color Temperature Meters. AMERICAN CINEMATOGRAPHER MANUAL I P.O. Box 2230, Hollywood 28, Calif. | Please send me . copies of the AMERICAN CINEMATOGRAPHER MANUAL. . Paymt. enclosed. Ship C.O.D . Name . I Street & No . . . . . City . . . . . . Zone . State . *For orders mailed within California, please odd 4% sales tax. I I AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 103 Ever ready to move into action on a moment’s notice, in case of war or other emergency, they also undertake routine peacetime production assignments and shoot more than half a million feet of 35mm negative a year. AERIAL DOLLY — Lt. Gary Kent and S. Sgt. Elton K. Fernald make good use of Air Force helicopter to photograph western missile sites in the U.S. for the Department of Defense. THE AIR FORCE'S FIRE BRIGADE CAMERAMEN “JlIIS IS A COMBAT-TRAINED, bat- A tie-ready crew of skilled cam¬ eramen who, in case of war or national emergency, could move into action on a moment’s notice. You might say we’re the reserve manpower ‘Fire Brigade’ or ‘Go’ element of the Air Photographic and Charting Service.” With this statement Capt. Robert H. Jung, commanding officer of Detachment 2 of the 1352nd Pho¬ tographic Group (headquartered at Colorado Springs, Colorado), sums up the function of his team of rough-and-ready Air Force cam¬ eramen. Described in more detail, that function may include filming in the Communist-menaced jungles of Viet-Nam, in a vast tunnel hun¬ dreds of feet underground, inside a nuclear reactor, in supersonic aircraft or in the depths of missile silos where explosive destruction is a constant hazard. Of the 70 men, all military, who comprise the detachment, 28 are motion picture cameramen, 19 are still photographers and the re¬ mainder are sound technicians, camera repairmen and supply per¬ sonnel. Working in small camera crews they operate within the con¬ tinental United States from Salt Lake City, LTtah, east to Little Rock, Arkansas, and North and South from the Canadian to the AIR FORCE cameraman Billy R. Cooksey receives assistance with his Arriflex camera as he prepares to shoot aerial footage from back seat of a T-33 jet. 104 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 Mexican borders — servicing, pho¬ tographically, the largest land mass of any APCS organization. In the course of a year’s operation they shoot more than 500,000 feet of 35mm Eastman Color Neg¬ ative, 50,000 feet of 16mm film, 24,000 black-and-white still pic¬ tures, 3500 4x5 color transparen¬ cies and 6000 35mm color slides. Detachment 2 was originally set up over four years ago to service the North American Air Defense headquarters (NORAD), the Air Defense Command (ADC), and the Air Force Academy, all lo¬ cated in and around the strategic nerve center of Colorado Springs. In the ensuing period progress in the development of Intercontinen¬ tal Ballistics Missiles has forged ahead to the point where 60% of the unit’s photographic output is dedicated to the documentation of activities at several hundred mis¬ sile sites located in the mid¬ continent area. The balance of its operation is devoted to combat coverage of such hot-spots as Viet- Nam, field assignments from the Lookout Mountain Air Force Sta¬ tion in Hollywood, filming of Air Force Academy projects and spe¬ cial assignments from ADC and NORAD. The latter category includes a wide range of challenging commit- FILMING THE construction progress in a future und the NORAD combat operation center. Lights used Skypans fed by diesel power generator. ments including complete photo documentation of the construction of the NORAD tunnel. NORAD is a two-nation organization — in¬ cluding elements of the United States Army, Navy and Air Force as well as the Royal Canadian Air Force — set up under a single com¬ mander for instant defense of the North American continent against possible enemy attack. Because of its tremendous strategic impor¬ tance the decision was made to establish an impregnable head¬ quarters inside vast underground chambers tunneled deep within a 10,000 foot mountain of solid granite. In filming the step-by-step prog¬ ress of this monumental drilling operation APCS cameramen had to cope with volatile gases and gushing underground streams lib¬ erated by the blasting of the rock. But the main problem was getting enough illumination to expose color film within the vast cavern. The coal-black rock walls of the tunnel soaked up light like a sponge, requiring use of an enor¬ mous amount of illumination Un¬ acceptable photography. Genera¬ tors were brought in to operate as many Seniors and Sky-pans as possible, enabling the photogra¬ phers to get excellent close shots of the action. The long shots, how¬ round home of USING TWO Arriflex comer re Seniors and formations at the Air Force hands of assistants provide ever, remained unconquered until a flash of Yankee ingenuity pro¬ vided the solution. An ordinary barbecue-spit motor was modified by turning the drive-shaft and slotting it to fit the motor mount of a Bell & Howell Eyemo camera. This motor, turning the camera movement at the rate of 2 frames per second, made possible suffi¬ cient exposure of the under-lighted long shots to achieve a full-bodied negative. Similar lighting problems pre¬ vail while shooting deep inside missile silos. Here space is ex¬ tremely limited and there is so little room to put lights that good photographic results are often dif¬ ficult to attain. To obtain the maxi¬ mum pictorial coverage within the silos, extreme wide-angle lenses are used on Arriflex cameras. Use of ordinary exposed lamps, open spider boxes and three-wire cabl¬ ing set-ups is prohibited because of the constant danger of a vagrant spark setting off explosions of liquid oxygen and other flammable gases present in the silos. For this reason, sealed-beam lamps mounted in Frezzo units provide safe lighting. The cameramen, who must clamber down narrow steel ladders with cameras strapped on their backs, often wear gas masks Continued on Next Page as. Air Force cinematographers photograph parade Academy in Colorado Springs. Sunlight reflectors in necessary fill light. AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 105 la movioid 1 constantly adds new products to its roster of depend¬ able equipment to serve the changing needs of the Motion Picture, Television and Photo Instrumentation industries. Write for free literature — specify items that interest you. r manufacturing co. 5539 Riverton Ave., North Hollywood Calif. Telephone: TRiangle 7-2173 Cable address: Moviola, North Hollywood, Calif. } ‘FIRE BRIGADE’ CAMERAMEN Continued from Preceding Page or pressurized moon-suits and also car¬ ry a reserve supply of oxygen as a pre¬ caution against the deadly gases that sometimes settle at the bottom of a silo. A typical film documentation of a missile site starts with photographing the removal of the first shovel-load of dirt, then shows bulldozers scooping out the foundation, the pouring of the concrete, methods of transporting and installing missiles in the launch area, etc. From the moment of ground¬ breaking until the missile is fired the cameraman filming the operation must understand everything that is being done so that he can emphasize impor¬ tant details and write accurate captions for his footage. As a result of this requirement the cameramen involved probably have more complete knowl¬ edge of the overall missile program than any other group of personnel in the Air Force. They must know the identifying characteristics of every type of missile in the inventory, its hardware, fueling procedure, etc. Because missile sites are constructed in some wildly remote areas, first aid and snake bite kits have become stand¬ ard equipment in all camera cars. At one site near Tucson, for example, more than forty rattlesnakes were killed in one day. A cameraman film¬ ing a site near Denver finished shoot¬ ing, stowed his equipment in the back of his station wagon, got into the driver’s seat, started the engine and shifted into gear. As he looked down, a rattlesnake which had been coiled in the other seat sprang into his lap. The cameraman leaped out the door. The car, idling in low gear, continued down the road another twenty five feet before careening over the embankment. This incident threatened to ruin the detachment’s perfect safety record of 1,000,000 driver-miles without an ac¬ cident. But since the rattlesnake was in full possession of the vehicle at the time, the statement can still be truth¬ fully made that the unit has never had an accident while one of its men was in the car. When Capt. Jung was in Viet-Nam recently directing the operations of sev¬ eral of his camera crews, two camera¬ men were forced down in a strategic village completely surrounded by Com¬ munist troops. Caught in a crossfire of hostile 50mm machine guns, the photographers stood with camera in one hand and gun in the other, unde¬ cided which to shoot first. On several other occasions cameramen shooting from helicopters hovering at low-level above a hot combat area have gone on shooting as bullets whistled right through the plane past their heads and the pilots kept up a running gun duel with hostile troops on the ground be¬ low. Tbe harassment to cameramen film¬ ing in Viet-Nam exists also in the cli¬ matic and terrain conditions under which they are called upon to shoot. The climate there is hot and humid and causes film emulsion to swell and become tacky so that it is difficult to load and tends to jam in the cameras. Also, because of some peculiarity of the actinic rays in that area, scenes exposed according to meter readings are invariably over-exposed. A major hardship was caused by the fact that there was no source of electrical cur¬ rent where Arriflex batteries could be plugged in for re-charging. One cam¬ eraman modified a 30-volt Frezzo-light battery so that it would deliver just 15 volts of current for running the camera. In another case a 25-volt bat¬ tery from a Hawker-Flunter British air¬ craft was pressed into service. Weigh¬ ing 50 to 60 pounds, it had to be hauled by the cameraman through the underbrush along with his camera equipment so that filming could pro¬ ceed. Hazards equally as threatening as those of combat are encountered by Detachment 2 camera crews assigned to film operations of the Air Force’s nuclear energy plant at Sundance, Wyoming. This installation, the first of its type utilized by the Air Force, provides all of the power needed to run a complex radar station plus the electricity for homes in the area. Cam¬ eramen filming the highly radioactive elements of this installation are volun¬ teers especially trained for this hazard¬ ous duty and expect to take certain cal¬ culated risks. In one case, for example, scenes were needed showing the installation of three nuclear cores projecting down into a water tank. Lights were care¬ fully lowered down to water level and the cameraman, clinging to a steel ladder with one hand and holding the camera with the other, shot the re¬ quired scenes. Had he dropped the camera, a light or himself into the water the consequences would have been most serious. 106 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 Inspect every foot before it leaves your plant with the HFC High Speed Heavy Duty Inspection Projectors -- 16mm & 35mm models now available. NEW The projector is a converted front shutter Simplex with a two pin intermittent. 16mm or 35/32 film runs at a speed of 144 ft. per minute while 35mm film runs at a speed of 165 ft. per minute. 1. A variac controls the light intensity. 2. A 500 watt lamp is used for 16mm and a 1,000 watt for 35mm (a blower is used to cool the lamphouse). 3. A 2l/2 inch projection lens is furnished with each unit. 4. A start-stop lever controls the power to the lamp and motor. 5. The magazine and take up core takes up to 3,000 ft. of film. 6. Upper guide rollers are made to handle the film from either direction of the feed reel. 7. A free wheeling take off flange is pro¬ vided in the magazine. 8. A lamp near the takeup reel permits hand inspection of the film prior to takeup. NOUVEAU Le projecteur contient un obturateur Sim¬ plex anterieur transforme avec deux cla- vettes intermittent. Les films de 16mm ou 35/32 tournent avec une vitesse de 144 pieds a la minute, tandis que les films de 35mm tournent avec une vitesse de 165 pieds a la minute. 1. Le regulateur de voltage d'intensite d’eclairage. 2. La lampe de 500 watt est necessaire pour les films de 16mm, et de 1000 watt, pour les films de 35mm (un ven- tilateur est mise pour rafraichir la chambre de la lampe). 3. L’objectif de 2x/2 est instale. 4. La manette de mise en marche et d'arret controle en meme temps la lampe et le moteur. 5. La boite de films avec noyau peut con- tenir 3000 pieds du films. 6. La roue superieure est construite de maniere de recevoir le film dans les deux directions, nourrie par la bobine centrale. 7. Une roue est instalee pour liberer rapidement le film de la boite. 8. La lampe se trouve pres de la bobine recepteuse, et donne toute facilite pour inspecter le film a main dans le projecteur. HOLLYWOOD FILM COMPANY NUOVO Questi proiettori sono Simplex transform- ati, otturatore al fronte, meccanismo di scatto di due punte. La velocita di proie- zione in 16 o 35/32mm e di 144 piedi per minuto, e in 35mm, di 165 piedi per minuto. 1. Controllo manuale della luminosita della lampada. 2. Lampada di 500 watt per 16mm e di 1000 watt per 35mm. 3. Obbiettivo di proiezione di 2l/2". 4. Maniglia per controllo di motore e lam¬ pada di proiezione. 5. La cassetta porta pellicola puo con- tenere 3000 piedi. 6. I rulli superiori di guida sono construiti per operare con film provenente di ambi lati della bobina svolgitrice, 7. Disco con montatura sporgente nel magazzino. 8. Una lampadina illumina la bobina av- volgitrice, permettendo I’ispezione man¬ uale del film prima che si avvolga nel proiettore. NUEVO Esta maquina es un proyector simplex con- vertido, obturador al frente y movimiento intermitente a doble grifa. Para 16mm o 35/32mm, la velocidad fija de proyeccion es de 144 pies por minuto, para 35mm es de 165 pies por minuto. 1. Un reostato controla la intensidad de la lampara de proyeccion. 2. Para 16mm se usa una lampara de 500 watt, y una de 1000 watt para 35mm (un chorro de aire ventila las lamparas en ambos casos). 3. Cada unidad esta provista de un lente de proyeccion de 2 pulgadas y media. 4. Una palanca de control opera el motor y la lampara simultaneamente. 5. Capacidad de proyeccion: rollos de hasta 3000'. 6. Los rodillos de guia superiores operan con la pelicula en ambas direcciones. 7. La tapa de la bobina de carga es desenroscable. 8. Una lampara ubicada junto a la bobina de toma permite la inspeccion manual de la pelicula antes que se rebobine en la bobina superior del proyector. REELS / CANS / CASES 956 N. Seward, Hollywood 38, Calif., HO 2-3284 • 122 W. Kinzie, Chicago 10, III., 644-1940 • 524 W. 43rd St., N.Y. 36, N.Y., LO 3-1546 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 107 PRECISION’ FILM EDITING EQUIPMENT Precision Unitized Film Synchronizer Model S635-1 Pat. No. 3,053,426 Single Sprocket 35mm Synchronizer $95.00 Single Sprocket 16mm Synchronizer $95.00 (not shown) Sprocket Assemblies 16 or 35mm $32.50 ea. Model S616-3 Three sprocket 16mm Synchro- n i z e r with Spacer and Mag¬ netic head $215.75 *!9 optical- magnetic sound readers Model 800 $259.50 Model 800 RL $269.50 m optical sound readers Model 600 RL $195.00 magnetic film and tape sound reader Model 700 $198.00 Send For Free literature rT.T'fiTrerr DIVISION OF PRECISION CINE EQUIPMENT CORPORATION 928-930 EAST 51st ST. BROOKLYN 3, N. Y. FOB. Filming in PRODUCTION FACILITIES, CAMERA EQUIPMENT HIRE, SOUND RECORDING, TECHNICIANS, TRANSPORT, 16 OR 35MM, ANYWHERE. Europe? SAMUELS ON FILM SERVICE LIMITED Just Cable “SAMCINE, London” Hazards, however, are all in the day’s work for the APCS cameraman. Sometime ago when a forward radar station mounted on a “Texas Tower” in the open sea off the coast of New England started to break up under the force of a hurricane, cameramen from Detachment 2 were rushed to the site in the teeth of the gale to photograph evacuation of the tower personnel. The present headquarters installation of Detachment 2 at Colorado Springs provides all the latest equipment for the photography of motion pictures, but no facilities for processing, precise editing or sound dubbing — these oper¬ ations being handled at Lookout Moun¬ tain, in Hollywood. Arriflex cameras are standard for field operations, while Mitchells are used for studio work. The present studio building has a sound stage 35 x 45 feet in area with a 14-foot ceiling. The walls are sound- treated with acoustical tile and the floor has been soundproofed with ply¬ wood laid over a rubber base. The studio is equipped with a fuff range of Mole-Richardson lights — in¬ cluding Seniors, Juniors, Baby Spots and Sky-pans, also Colortran units for location filming. The studio lights are mounted on aluminum frames sup¬ ported by upright tubular aluminum “Polecat” poles, which can he quickly moved to any area of the studio and set up as easily as any standard pole- light support. A Hydrolly for mobile camera shots and Teleprompter com¬ plete the studio’s production equipment. Available on the stage is 200 amps of 220-volt current split so that 100 amps may be drawn from each of two remote boxes. There is also a three- phase, 220-volt line with four outlets permitting the operation of as many as four cameras at a time. Sound is controlled on the stage by means of two mixing consoles which afford use of up to six channels simul¬ taneously. Film sound is piped from the stage to the recording room, lo¬ cated in another part of the building, where it is recorded on 16mm sprock¬ eted magnetic tape by means of Mag- nasync equipment. A piece of equipment which has been found to be invaluable for re¬ cording synchronous sound under diffi¬ cult location conditions is the Vega combination wireless microphone and transmitter. The basic unit is a metal enclosure roughly six inches long and one inch in diameter, housing a micro¬ phone in its top section and a miniatur- 108 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 ized transmitter below. The entire unit can be concealed under a necktie or blouse. The signal is transmitted by two cable-type antennas looped around the body of the actor or narrator, in¬ side their clothing. The signal is picked up by a receiver plugged into a power source up to 100 yards from the micro¬ phone. The receiver amplifies the signal and feeds it into the high-impedence channel of the mixer. This equipment is especially valuable and is widely used by APCS camera crews when shooting sync sound on a flight line or parade ground where the narrator must be free to move around. Like the commanders of most APCS units, Capt. Jung is intensely proud of his camera crews and believes them to be the best in the Air Force. A former combat cameraman of the First Motion Picture Unit at Hal Roach studios during World War II, he had a spell of civilian activity as a marine cameraman and specialized in under¬ water photography at Catalina Island. Re-entering government service in 1950, he was assigned to him the Eniwetok atomic bomb tests along with ASC members Gil Warrenton and Har¬ ry Perry. A member of IATSE Local 665, he took time off while stationed in Hawaii to work on such pictures as simplest forms. Then, as he pointed out, the human drama becomes more important. Michael Neyman, who is spokesman for the students and was camera oper¬ ator on the picture, said that Zinne- mann really made the students hustle. “The moment a shot was finished,” Neyman said, “I had to hand the view¬ finder to the director and follow after him. As he and the cameraman dis¬ cussed the next shot I had to antici¬ pate the approximate camera position and lens that he wanted and have the assistant set everything up. We had to be ready when the director was. This sort of thing is not taught in schools.” One of the problems encountered in plotting the early part of the story was how to get the salesman out and away from his car, thus simplifying the action of the lunatic shooting a pistol at him. The simplest expedient, it seemed, was to have a tire suddenly go flat. To get around the problem of staging and photographing an actual start. “Hawaiian Adventure,” “The Revolt of Mamie Stover,” and “The Sea Chase.” On the latter he renewed acquaintances with another former combat camera¬ man, Lt. Col. William Clothier now a Hollywood cinematographer. Recently they met again in Tucson where Clothier was photographing the John Wayne him, “McClintock” and Jung was shooting a Titan II missile installa¬ tion. In 1958 he took the first combat motion picture group onto the offshore islands of Quemoy and Matsu while these islands were under Red Chinese hre. He was awarded the “Order of the Flying Horse” from the Chinese Nationalist government for his photo¬ graphic activities in this campaign. Capt. Jung’s right-hand man at De¬ tachment 2 of the 1352nd Photo Group is Lt. Gary Nugent who joined APCS after his graduation from Michigan State University under the ROTC pro¬ gram. A cinema major with consider¬ able civilian experience in motion pic¬ ture and television production, he is typical of the imaginative, highly trained technician sought by APCS as career officers. Under Air Force auspices he will shortly begin work on his Master’s degree in Cinema at the LTniversity of Southern California. ° tire blowout, the effect of the blowout was photographed from inside the salesman’s car: the car suddenly swerves (as the blowout is heard on the sound track ) and Widmark is seen fighting the wheel and applying the brakes in order to keep the car under control. The next shot shows the car barrelling down the highway on a pre¬ flattened tire, then coming to a stop with the blown tire and wheel filling the screen. As Widmark starts to change the tire, the wheel slips from his grasp and rolls down an embankment. As he sets out to retrieve it the lunatic charac¬ ter, gun in hand, suddenly appears out of nowhere and begins shooting at Widmark, who takes refuge behind the prop boulder. Thus, the story gets off to an action-packed start. From here the story moves on to show salesman Widmark, pictured as a weak character, cringing behind the boulder and hoping for someone to come to his aid. Suddenly, and to his horror, he sees two children walking Res ipse loquitur THE PROS SHOW THE STUDENTS HOW Continued from Page 93 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 109 or let the product speak for itself. COMPLETE NEW PLANT— THE WORLD’S MOST MODERN • 35mm & 16mm Eastman Color • 1st lab in East to utilize 35/32 method • Tripled capacity for printing & processing • CinemaScope screening facilities • Expanded, completely equipped editorial rooms • 2 recording studios (RCA & Westrex sound) Capital FILM LABORATORIES, INC. 470 E ST., S.W., WASHINGTON 24, D.C. • DISTRICT 7-1717 SOUND, EDITORIAL AND ALL MOTION PICTURE LABORATORY SERVICES into the danger area. Widmark hesi¬ tates too long and the lunatic kills the children. Stunned by the killings, Widmark steps away from his own shelter, where¬ upon the lunatic orders him and his imaginary army of men to surrender. Widmark complies and to his surprise his assailant does not shoot. He simply orders up imaginary soldiers to guard him and then wanders aimlessly off into the desert. All dialogue in these tense scenes was recorded on the spot in synchronized sound. “After three days of shooting at Pear Blossom, Calif.,” Neyman said, “we practically lived at the Mirisch Com¬ pany cutting rooms at the Goldwyn Studios while our film was being cut.” When the picture was completed Zinnemann had this to say: “The reason why 1 got into this project was simply this: J find it stimulating and reward¬ ing to work with young people who have a fresh outlook on life and who are boundlessly excited about their profession and who want to do good work. 1 enjoy the sponge-like hunger with which they absorb every bit of advice and information that is offered them. “To my mind they are the future life-blood of our industry and I’m afraid that we will die of slow strangulation if doors are not thrown wide open to these youngsters and if they are not invited and encouraged. “We need them more than they need us, I’m certain. There may be one or two Duncan Phyffes or Hepple- whites among all these young students from all over the U.S.; without them, all our stuff will have the Grand Rapids trademark.” Neyman, one of the prime movers in the student group, pointed out that, “by working at the Goldwyn Studio and being able to talk with profes¬ sionals, we began to get some insight into the problems of the film industry. “Because the volume of film produc¬ tion has been greatly reduced, jobs for newcomers will be few and far between, and for a long while job opportunities will be mainly in the production of industrial and documentary films rath¬ er than in theatricals. But these produc¬ tions often are a radically different operation than theatricals and the equipment by which they are produced is not always the same. So, while stu¬ dents at the universities get at least some chance to work with theatrical production equipment, when they grad- 110 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 PRODUCTION HEADACHES WE CAN SOLVE WITH CONFIDENCE! 1. LIGHTING Since 1021... INC. 2. GRIP EQUIPMENT 3. PROPS 4. GENERATORS 1800. 1600. 1000 Amp. D C. Trucks 700 Amp. D C. Trailers 100. 50. 30. 20. A C. RENTALS SALES SERVICE Send for a schedule of rental rates. LARGEST SUPPLIERS OF MOTION PICTURE, TV AND INDUSTRIAL PHOTOGRAPHIC EQUIPMENT IN THE EAST 333 WEST 52 STREET, NEW YORK 19, N. Y., Circle 6-5470 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 111 HOLLYCAM Biggest Inventory Best Buys Cameras — 35 mm Mitchell Standard, 4 lenses, 2-1000' mags, finder, mattebox, 115V wild motor, Raby blimp, gearhead tripod, cases. Excel¬ lent . $4800.00 Mitchell Single System, 4 lenses, 2-1000' mags, finder, martebox, single syst. motor, complete RCA sound system incl. RCA galvo, mike, etc., gearhead tripod, cases. Excel¬ lent . - . $5500.00 Arriflex II, 3 lenses, 2-400' mags, motor, mattebox, cables, case . $ 975.00 Bell & Howell 2709, Unit I pilot pin move¬ ment . $1500.00 Bell & Howell 2709 Animation Camera, Unit I fixed pilot pin movement. Acme animation motor, 2-400' mags . $1995.00 Acme Animation Camera, Unit I move¬ ment . $1495.00 Bell & Howell Eyemo Q, 3 good lenses, filters, sunshades, motor, cable, 2-400' mags, turret finder, critical focuser, filter slot, case, titler, crank . $ 650.00 Bell & Howell 71A, 2" B&H lens, quick-wind, case . $ 99.50 Cineflex 3 lenses, 2-400' mags, case, motor, cables . $ 595.00 Cameras — 1 6mm Bolex Rex, 400' Mitchell mag, 1 1 0V sync motor . $ 675.00 Cine Special, 4-lens turret with 4 "C" mount lenses, 100' mag, set of mattes, filters, sun¬ shades, case . $ 595.00 Cine Special I, 4 lenses, 1 00' mag, case . $ 350.00 Auricon Cine Voice, 400' mag. sync motor, counter, amplifier, galvo, mike, headset, cases . $ 895.00 Auricon Pro-200, complete outfit. Excellent. $ 795.00 One-of-a-Kind Bargains Bowlds animation cell punch, like new, list $350.00 . . . $ 200.00 Mitchell 16mm camera blimp, fibreglas $ 650.00 Raby Blimp, for most 35mm cameras. .$ 595.00 Blimp for Cine Special, w/sync motor, follow- focus . $ 295.00 Camart Mike Boom, $300.00 list, like new. $ 185.00 Permacel splicing tape, 66' 35mm — $8.50, 16mm . $ 4.50 Zoom lens, 12- 120mm Angenieux, Arri or "C" mount . $ 820.00 Film — 16mm, 35mm Shortdated — fully guaranteed 16mmxl00 Hi Speed Ektachrome ....$ 7.50 16mmxl00 Super Anscochrome . $ 3.95 16mmxl00 DuPont Superior IV neg ..$ 2.25 1 6mmx200 Tri-X negative . $ 3.95 16mmx400 Background X negative ..$ 7.95 35mm Plus X short ends, 100' & up, ’64 date. 1000' for . $ 35.00 35mm Double X short ends, 1 00' & up, 64 date. 1000' for . $ 35.00 HOLLYWOOD CAMERA CO. 6838 Sunset Blvd., Hollywood 28, Calif. Phone: HO 6-1318 uate and go into non-theatrical work they are apt to become rusty on the¬ atrical film techniques.” Neyman pointed out that Hollywood’s craftsmen rank among the best in the world because they developed their skills prior to the advent of TV and other new forms of entertainment, when the volume of production was more than sufficient to keep them busy and in practice. But now, under the in¬ dustry’s present economic pressures, few7 employers can afford to break in new men. This makes it difficult not only for beginners to get their first jobs, but also for working craftsmen to advance from one degree of work to the next. “For this reason,” he said, “I think both beginners, who must first work with non-theatrical equipment, and the established craftsmen who would like experience in a line of work more ad¬ vanced than their own, would benefit from a program that would permit them to make theatrical short subjects out of competition with commercial productions. “We are now exploring the possi¬ bilities of establishing official channels through which beginners and profes¬ sionals could receive permission from the unions to join together in the mak¬ ing of such short film subjects, in a similar manner to the production of "Off the Highway.’ This would not only give the beginners opportunities, but would offer professionals the oppor¬ tunity to try new things and experi¬ ment with pet ideas that may not other¬ wise be practical. "‘So far as 1 can learn,” Neyman continued, “the production of ‘Off the Highway,’ is the closest the movie industry has come to an internship type project such as each student of medicine must go through. Its produc¬ tion facilities and materials were do¬ nated, but if such projects should become more frequent, it is unlikely that this could continue. So some fi¬ nancing would have to be arranged. “The industry itself and foundations are possible sources. On the grounds that motion pictures not only enter¬ tain. but also contribute to our national image overseas, the foundations may be persuaded that a program of this sort would be worth supporting. “I think it would be unfair to limit the participants to only those who can financially afford to take the time off without income. So perhaps it would be suitable for each participant to re¬ ceive subsistence, let’s say an amount equal to unemployment compensation. This would be comparable to Holly¬ wood Off-Broadway Equity scales. No one should get more. Any profits from the shorts should go to some industry welfare fund or some other good cause to prevent such projects from ever be¬ coming union-dodging devices for un¬ scrupulous commercial opportunists. “The sole purpose of the projects must be to give both beginning and established craftsmen the opportunity to develop, maintain and display skill during periods of unemployment. “Fred Zinnemann, Richard Widmark and others among the professionals who participated in ‘Off the Highway’ have pledged their support in the promotion of this program. We welcome any others who are similarly interested, Neyman concluded. " MAKE WAY FOR YOUTH Continued from Page 92 depravity, corruption and immorality; with shoestring entrepreneurs who have neither the ability nor the desire to create quality; with night baseball, bowling and similar diversions which compete for the movie dollar. Furthermore, we are in a new tech¬ nical period, with new sound tech¬ niques and photographic concepts and we stand on the threshhold of a new age of electronic gadgetry which may well, given the opportunity, revolution¬ ize our industry. What all this comes down to is that we need new blood. We need the effer¬ vescence and the unlimited optimism of youth if we are to survive as the world capital of filmmaking. We need a direct program which will assure the youngsters who want to become actors or directors or cameramen or pro¬ ducers a chance to show their talents. Many will try and few will be chosen, but those few can become the great stars and creative talents of tomorrow. Not only management must embark upon this program, but the crafts as well. Our backlot workers are the best in the world, a fact attested to by any¬ one who has ever made a picture abroad. But their heads are getting grey, even as ours. They, as well as we, must look to the youngsters. I hope a program like this is started soon, before all the greybeards are gone and there is no one left to take their place. If it is, I’d like to be a part of it. ■ 112 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 hUDDC Combines a Selenium UUuA IVIUtlL Cell plus ultra-sensitive in Cadmium Sulphide Cell \tm\jjlyhl to give more than 500X '-*■*"'-***' greater sensitivity than ordinary meters. Actually 100X more sensitive than the previous SPECTRA PROFESSIONAL model! Strictly professional and hand cali¬ brated, produced in limited quantities. ASA measures incident or re¬ range .1 to 32,000 fleeted light. If there's any light, SPECTRA meas ures it . . . precisely! Previous Spectra model' can be converted . . . it's the Lifetime Meter! Custom-Made! Hand Calibrated, Professional Favorite! For tech data: SCOPUS, INC., 404 Park Ave. S„ N. Y. 16 Mfg. by Photo Research Corp., Hollywood 38, Calif. For Films 35mm to 90mm WIDE FILM PROCESSOR Over-and-under pull-through type, with special design rollers which touch edge of film only. Quick threading. Impingement dryer. Variable speed, 0 to 25 ft. per minute. For Full Specifications Write To METAL MASTERS 5599 Universiy Ave., San Diego, Calif. WORK PRINTS 16mm B-&-W 35mm Low Cost Immediate Service Available 24 hours a day 16mm ,04c per ft. 35mm ,05c per ft. 16mm Color Reversal Work Prints ,05c per ft. Academy Leaders ASSOCIATED TELEPHOTO LABORATORY 2705 West Olive, Burbank, Calif. TH 6-7779 EM 6-1036 SPACE CAMERAS Continued from Page 103 of sun on quartz glass window. Photo (2) shows the moment of sepa¬ ration of booster, which produces a sudden cloud of fuel residue. The white area in lower central portion of photo is reflection of sun on booster. In photo (3), a second-stage nozzle is now visible as also is the combustion ring, which permits film analysis of fuel ignition. In this photo, the booster is dark shape just above nozzle. In the last photo, (4), the empty booster has turned edgewise toward the camera and appears as a tiny dark ring in the center of the picture. Until now, the exact details provided by the films recorded with these cam¬ eras had been impossible to obtain through the usual booster-staging study methods of telemetry and long-range telescopic tracking. The Milliken cameras used were high-speed 1 6mm motion picture units capable of speeds up to 400 frames per second. The cameras can be equipped with a Sun Gun strobe light that pro¬ vides 3200 foot-candles of photograph¬ ic illumination. Lenses of the thrust- section cameras provide a 55° field of view of the target area, while the ex¬ terior staging camera can cover a field of 110 degrees. The staging cameras strike the landing areas at a speed of about 70 miles per hour. ■ ‘THE VIRGINIAN’ Continued from Page 100 termining exposure, it is pointed out. In this respect, the film is treated exactly the same as the earlier color negative. Directly responsible for the control of color quality in both the photogra¬ phy and release printing of “The Vir¬ ginian'’ shows is Revue’s camera de¬ partment head, William V ade. Work¬ ing closely with both Director of Photography Lindon and the labora¬ tory, his aim is to get the precise quality desirable for both theatre and television — the two mediums for which “The Virginian” is produced. “ ‘The Virginian' is the first 90- minute TV film show to be photo¬ graphed in color,” says Wade. “If it starts a trend, it will be due to the photography,” he concluded. ■ H * W > w o w w H < H W m w g BLACK § REVERSAL PRINTING PROCESSING COLOR PRINTING OTHER SERVICES • Work Prints • Color-to-Color Prints • Color-to B & W Prints • Raw Stock • Ultrasonic Film Cleaner • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering FOR COMPLETE INFORMATION WRITE 723 Seventh Ave., New York 19, N.Y. . JU 6-2293 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 113 SMOOOOOTH That's the word for MILLER FLUID ACTION TRIPOD HEADS! It’s because Miller Heads are true fluid heads . . . the load rides on the fluid and all tension adjustments take place within the fluid chambers, giving a velvety smoothness unmatched by any other tripod head. There is no slack, no bounce, no backlash, no jitter. They are available in two sizes: The Pro¬ fessional, for cameras of 25-35 lbs., and the Model “D” for cameras weigh¬ ing 12-14 lbs. MILLER MODEL “D” FLUID HEAD with Ball Leveling Top Miller Grooved Leg Tripod. “D” Head: . $150.00 B/L Tripod: . 139.50 Total: . 289.50 MILLER PROFESSIONAL MODEL Fluid Head with Ball Leveling Top, Miller Grooved Leg Tripod. Ball Leveling Pro Head: . $299.50 Tripod: . 154.50 Total: . 454.00 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops avail¬ able coupled with the finest and most rigid tripods in the Junior class. At your dealer, or order direct from MILLER PROFESSIONAL EQUIPMENT 1619 NO. CHEROKEE HOLLYWOOD 28, CALIF. PHONE: HOLLYWOOD 7-8189 ‘MUTINY ON THE BOUNTY’ Continued from Page 91 highly-touted “peaceful" South Pacific was anything but calm and the ship pitched and rolled continuously. There was constant wind and paralyzing storms, one of which flooded the island, washing out roads and isolating crew members so they could not get to the shooting area for several days. After three weeks of “impossible” shooting weather, the company returned to photograph, ironically enough., storm secpiences on the sound stage. The storm, a climactic sequence in the film, presented its own array of photographic problems. It supposedly raged over several days and nights, calling for a variety of lighting schemes and camera approaches. A full-scale model of the “Bounty,” complete with sails, was set up on rockers inside one of the largest M-G-M sound stages, against a huge gray cyclorama. Gigan¬ tic dump-chutes were installed to send tons of water crashing down on the ship’s deck, to simulate the effect of stormy seas — washing sailors over- hoard and, incidentally, injuring sev¬ eral stunt men in the process. Giant wind machines blew solid sheets of wa¬ ter along the deck to enhance the storm effects. To simulate the luminous overcast of the approaching storm, Surtees be¬ gan the photography of this sequence with an overall soft light, then dark¬ ened the scene as the storm developed. Then, as the storm hit and water began to crash down on the deck, he dropped the light level on the backdrop, letting the “sky” go leaden gray and increased the contrast of the light for a harsh dramatic effect. Night sequences and a driving snow storm were shot next. Through it all Surtees was faced with the problems of not being able to get back far enough with the camera to get a real long shot of the ship and also in lighting the scenes so they would cut easily in the editing with actual location shots filmed at sea. Actually, the sailing model of the “Bounty” which journeyed to Tahiti was one of four full-scale replicas built for the picture. Another was built on a stage for the storm sequence. A third, with full deck gear and sails, was built on the M-G-M backlot as part of the huge exterior set duplicating the wharves of Portsmouth, England prior to the departure of the historic vessel. The fourth full-scale mockup was a cutaway model of the below-deeks in¬ teriors of the ship, built on rockers so that the roll of the sea could be simu¬ lated. One of the problems of shooting the interiors arose from the fact that the Ultra-Panavision anamorphic lens used to shoot the sequences covered an angle of 138 degrees. Photographed with such an extreme wide-angle lens, ship cabins of normal dimensions would have appeared vast on the screen. Therefore, the sets actually had to be cut down and foreshortened to make them look authentically small. To fur¬ ther the illusion of cramped space the ceilings were set so low that the actors had to stoop to walk around. Now the one major remaining problem was where to put the lights, camera and hordes of people called for in some of the scenes. Because the real ship when at sea rocked noticeably, this movement had to be matched in scenes where charac¬ ters are shown below decks in the cabins. Usually such an effect is pro¬ duced by building the interior mockup in such a way that it will accommodate a camera crew. Then the ship, placed on rockers, is made to swing inde¬ pendently of the camera. In this case, however, the spread of the wide-angle lens required that the side walls of the cabins remain in place, which meant that there was no room for a camera crane. To solve this dilemma a camera platform was suspended by chains from the girders at the top of the stage so the camera could be suspended freely down through the lights affixed to the set. This worked well enough, except that each new set-up meant re-banging the camera platform, a slow and pains¬ taking process. Because the ship’s cabins were so small, the rocking of the boat made the camera appear to be moving from one wall to the other. With the wide- angle lens exaggerating the movement, Surtees reasoned that there was danger of audiences watching the filmed re¬ sult on a large theatre screen becoming seasick. Over the protests of observers, the movement of the rocking mechan¬ ism was reduced and more precisely controlled to match the camera angle used for each individual shot. For ex¬ ample, in the long shots a rather ex¬ treme degree of movement could be used. In the matching closeups, how¬ ever, the movement had to be reduced considerably. While the company was constantly fighting overcast skies in shooting se¬ quences which called for fine weather, there was one scene in which this prob- 114 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 a lem was directly reversed. According to history, the “Bounty” sailed from England in December. 1787, during a spell of raw, overcast weather. On the very days set aside for shooting this sequence on the back lot unusually bril¬ liant sunshine prevailed. Surtees met the problem by flattening and dulling down the entire scene through lighting, to capture the true mood of the se¬ quence. The company shot early in the morning and late in the afternoon. The ground was wet down to dull it and shooting through neutral density filters effectively softened the sun-brightened colors. Lighting the sequences shot on the decks of the actual ship at sea was a constant struggle because the huge sails invariably blocked off the sunlight. Here, the action was first rehearsed with the sails furled in order to better control the ship. When it was time for a take the sails would be unfurled, completely cutting off the sunlight. Turning the ship toward the sun for better light usually meant that the wind would be blowing from the wrong di¬ rection and the sails would not billow out as they were supposed to. The ship was driven by two auxil¬ iary Caterpillar motors to augment the s 9 o a One ■ Two ■ Three PKUBLtHi This ADVANCED model overcomes the problem of matching 16mm film to 35mm. Provides a direct numerical reference between both sizes . $3750 STANDARD MODELS: Designed to edge number every foot of 16mm, i7'/jmm, 35mm films and simplify the task of checking titles and footage. The MOY VISIBLE EDGE FILM NUMBERING MACHINE replaces cue marks, perforations, messy crayons, punches and embossing — does not mutilate fiim. Both negative and positive films can be numbered. Non-rnagnefic parts do not affect magnetic film. . $2395 • Write for brochure SPECIAL 16/35/70mm Combination . $4475 CONVERSION KITS: For changing operation from 16mm to 35mm or 35, mm to 16mm . . $875 S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd St., New York 19 — PLaza 7-0440 Western Branch: 6331 Holly’d Blvd., Hollywood, Calif. ->-SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 72, 74, 76, 89, and 117.-^ new! FILMLINE S-60 16/35MM NEG/POS Filmline Features: • Film chamber doors are completely removable for easy access to entire chamber (Not found in competitive models of similar class) • Processing section is stainless steel • Impingement dry box . Precision temperature controls with indicating pilot lights for cool¬ ing & heating • 316 Stainless steel pumps for developing & hypo solution . Water temperature regulator • Dual air squegee • Feed in take up elevators for continuous operation . Replenishment flow meters . Manual & automatic brake for film supply • Automatic electrical torque motor take-up • Variable drive with film speed tachometer . Precision Thermometer & footage counter. MAJOR BREAKTHROUGH The S-60 is Filmline’s newest Spray Processor. It is a friction drive processor, guaranteed not to break or scratch film. Filmline’s exclusive overdrive film transport system is so accurate it makes this guarantee possible. What’s more film can be stalled 100% in spray chambers without altering footage. Absolute control of footage in each chamber insures sensitometric quality control and consistent development. And Filmline processors (unlike competitive makes) have lower film assemblies that are adjustable and remain captive in the position placed. Position of lower assemblies can be easily monitored and adjusted by indicator rods at the top of each chamber. The S-60 is the specific answer to every labo¬ ratories need for a Spray Processor — because it outperforms machines costing twice as much. Look into the Filmline S-60 — It Will Pay You. For the full story on the S-60 write today to : Recent Filmline Installations: • N. A. S. A. Huntsville, Ala. • Reeves Sound, N. Y. C. • Thiokol Chemical Co. • WHYN-TV, KNDO-TV, WFMY-TV • Moral Rearmament IN SPRAY DEVELOPING • DEVELOPS NEGATIVE FILM AT 35 FPM • DEVELOPS POSITIVE FILM AT 60 FPM Dept. AFJ-63 26 YEARS OF QUALITY REVERSAL PROCESSING • Specialists in high speed or standard reversal processing • Security clearance • Free Vacuumating • Films returned same day • Customer extra service: Special prices on Eastman & du Pont Reversal Film Automatic Daylight Processing DEVELOPING TANK • Processes up to 200 Ft. • 8mm-l 6mm-35mm-70mm • Movie — X-Ray — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated • Speedy drying • Automatic shrinkage allow¬ ance • Stainless steel and aluminum construction • Easily assembled without tools • Compact, Portable Guaranteed. Write for Free Literature Micro Record (orp. / - - - - BOLEX ACCESSORIES By STEVENS SYNCHRONOUS CAMERA DRIVE 115-volt Bodine Motor 24-Frame Lip-Sync Speed. Complete with Safety Clutch, Camera Mounting Base, Forward-Reverse Contrels, Condenser, 10-Ft. Cable. Special $150 Write for our Bolex Accessory Catalog STEVENS ENGINEERING CO. Dept. “A’’, 340 N. Newport Blvd. Newport Beach, Calif. V. - - - - J power provided by the sails. It had been planned to use these two motors also to drive power generators to feed the booster lights, but in actual prac¬ tice it developed that one motor was needed constantly to aid in steering the ship, and Surtees was thus restricted to using three Brute sun-arcs at most. The climactic sequence of the pic¬ ture, in which the crew sets fire to the ship, was filmed on the sound stage with a crew of fire fighters standing by ready to spray foam and water should the flame get out of control. The heat was so intense that the technicians had to wear insulated suits and asbestos was placed around the camera. The sequence was tricky to photo¬ graph because the color film used is balanced for incandescent light, and since firelight is similar in color tem¬ perature (approximately 3200° Kel¬ vin) there was the probability that the fire would appear white if normally exposed. In order to retain the red tones of the flames, Surtees purposely underexposed the fire scenes, lighting for a key of f/2.8 and stopping down to f/4.5. Also he lit the scenes very contrasty, using no fill light at all on the faces, since light from the flames tended to fill in the shadowy areas. After making photographic tests in Tahiti Surtees noted that for some un¬ explainable reason, scenes photo¬ graphed according to exposure meter readings invariably turned out to be underexposed one stop. Compensating accordingly he exposed scenes one stop over the meter reading, in effect using the ASA 32 color film as if it were rated at ASA 16. With this adjustment in exposure, he said, the exterior scenes printed consistently in the middle of the scale. Further photographic complications were presented by the fact that fully forty per cent of the exterior scenes had to he filmed at sunset. Under such conditions there is a span of only a few minutes in which the light is right for shooting, and when it is also im¬ possible to get an accurate meter read¬ ing. Moreover, since there was again the danger of washing out the red tones, such scenes had to he slightly underexposed. Surtees added to the ef¬ fect of the natural light by having red gel filters placed before the booster lights used in filming the sunset scenes. Even so. still more red tones had to be added to these scenes by the laboratory in printing. In shooting day-for-night exteriors, a Pola-screen w'as effectively used to darken sky and water without NATIONAL CINE LABORATORIES WASHINGTON 17, D. C. ■ ■■Ill 1 1 1 1 1 1 1 1 m 1 1 1 m 1 1 1 1 1 1 1 1 1 m 1 1 1 1 1 1 1 1 1 1 ii ii 1 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 m 1 1 mm 1 1 1! 1 1 1 ii n mil imm iniimi n mu Cinematographer Harold E. W ell- man is credited with additional photography for “Mutiny on the Bounty,” and A. Arnold Gillespie, Lee Blanc and Robert R. Hoag for its superb special effects. As George J. Mitchell remarked, in reviewing the picture for Films In Review for December, 1962, “This film proves that the problem in photographing miniatures for wide-screen projec¬ tion have been mastered. The scenes of the Bounty attempting to round Cape Horn in a gale are among the best of the kind I have ever seen. ’ —Ed. mill I lllllllllllll 1 1 II 1 1 IIIMIII II Mill llllllll I nil Mil . INI I lilllllll llllllllllll Mllilllll lllllll affecting flesh tones. Several scenes in the sequence show¬ ing the “Bounty" arriving at Tahiti, as well as in the stone-fishing sequence, were filmed with hand-held Panavision cameras operated by cameramen rid¬ ing in outrigger canoes. These cameras were particularly valuable in getting mobile coverage of the unique fishing ceremony, during which 4,000 natives form a human chain in the surf while others in canoes beat the water with stones to drive the fish up onto the beach for the kill. Panavision’s under¬ water camera was put to effective use in this sequence as well as in the keel¬ hauling sequence — the latter actually filmed beneath the ship while at sea. Despite the almost incredible photo¬ graphic problems encountered, “Mu¬ tiny on the Bounty" sweeps across the screen as a spectacularly pictorial ad¬ venture — a credit to Cinematographer Robert Surtees, ASC, the Panavision cameras, and the operators who worked behind those cameras. H ‘WONDERFUL WORLD OF GOLF’ Continued from Page 98 it. Chief purpose of the No. 4 camera was to pick up the hall in flight from the tee and follow it clown to its ulti¬ mate lie on the fairway or green. Here, weather conditions played an impor¬ tant part in the success of these shots, for if l he sky was a milky or hazy one, the hall was lost against it. But w'here the hall was backdropped in its flight by clear blue sky or green trees, it was easy for the camera operator to fol¬ low it. To mobilize the No. 4 camera, wTe used one of two types of carriers — 116 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 depending on their availability in the various countries visited. One was the Jeep or the Land Rover, on which a platform for the camera was erected, the other a truck having a collapsible, hydraulically-operated crane and com¬ monly known as a “cherry picker.” These are shown in the accompanying photos, but are not immediately rec¬ ognizable because of the camouflage given them, as mentioned earlier. Following the tee-off, on par 4 and 5 holes, cameras 1, 2, and 3 were hustled aboard transports provided for the purpose — ranging from golf carts to small motorized trucks — and moved forward and set up in positions for shooting the next play. The No. 3 camera continued to photograph re¬ action shots. Camera No. 1 was posi¬ tioned behind the player, and No. 2 in front of him, at a three-quarter angle. On a par 4 hole, the players usually got on the green with their second shot. In the meantime, the mobile-mounted camera No. 4 moved into a new posi¬ tion in back of the green. Camera No. 5 was up high on a camouflaged cherry picker, also back of the green. On the par 4 holes, cameras 4 and 5 aimed to pick up the ball on the players’ second shots and follow it as it came to lie on the green. Once the two balls were on the green. Dick Darley and I usually huddled and decided on the best camera angles — high or low — to cover the next shots of the players. To make the cup positions on the green readily visible to the camera operators and ultimately to TV audiences view¬ ing the shows, the day before playing began on each course we had the in¬ teriors of all cups painted white. Thus did all cameras cover the playing ac¬ tion as it progressed, then move quick¬ ly forward to the next tee and repeat the procedure. It should be explained here that on the day preceding the shooting of a match, my camera crew and I accom¬ panied by Darley would scout the en¬ tire course and stake out tentative camera positions on the assumption that the playing would be normal and that neither player would get into any trouble off the fairways. When this did occur, during the course of a game, it required some quick thinking and even quicker hustling to get the cam¬ eras into position to cover the ensuing plays with a minimum of delay. \X hen everything was in our favor and the players were hitting good, we MODEL X-400 TYPE 15 is especially designed for servicing “On-the-Go” producers who prefer every¬ thing in one case — playback power amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors — an ALL-IN-ONE magnaphonic sound system (S.M.P.T.E. standard performance) com¬ plete in a single easy-to-carry case. Will accommodate standard 1200 foot film reels. Write for illustrated brochure. PRICED ONLY $1385 Model X-400 for extra lightweight portability, from $985 S.O.S. carries the complete line of Magnasync recording systems. S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd S»w New York 19— PLaza 7-0440 Western Branch: 6331 Holly’d Blvd., Hollywood, Calif. SEE OFFERING OF EXTRA-SPECIAL VALUES ON PAGES 72, 74, 76, 89 and 115.-< - Used World-Wide By Discriminating Cameramen CINEKAD SYNCHRONOUS MOTOR DRIVE— For 16mm Projectors Especially designed to drive all Bell & Howell, Jan, Ampro, Kodak, RCA, and Victor 16mm projectors at synchronous speed. Projector can be instantly attached to Synchronous Motor Drive and quickly de¬ tached at any time in a matter of seconds. An outstanding feature is the flexible shaft which connects motor with projector and permits smooth, quiet and steady operation. No special technical knowl¬ edge required for installation and mount¬ ing. Write for more details and prices. timing BELT One-year Guarantee! Immediate Delivery! CINEKAD ENGINEERING COMPANY, 763 1 0th Ave., N.Y., N.Y., PLaza 7-3511 FOR MORE INFORMATION about products or serv¬ ices advertised in this issue ? use the convenient postage- paid inquiry card facing the last page. Simply fill it out and mail. We’ll do the rest. —AMERICAN CINEMATOGRAPHER AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 117 QUALITY AND SERVICE ICDmm BLACK&WHIU REVERSAL MOTIVE POSITIVE PRMG COLOR Processing- COLOR PHTIIHG Work prints — Timed Prints Color to Color prints — A & B roll prints Color to B & W prints — Fodes-Dissolves Dupe Negative — Multiple prints Raw stock — Fastex service Loop printing Write for complete information VIDEO FILM LABORATORIES 350 W. 50th ST. • NEW YORK 19, N. Y. JUdson 6-7196 — * ^ ^ ^ - ^ 400- and 1200-foot Conversions FINEST conversion on the market to¬ day. Convert your Auricon Cine-Voice or Pro to a fine camera that will handle full 400 feet of film with perfect jam-free, wow-free operation. Includes Veeder-Root footage counter, filter slot and holders, phone jack in camera and complete refinishing. Quick Service . . . Finest Workmanship . . . Mitchell or Bell & Howell Magazines. Write for Pictures and Complete Details GORDON YODER PROFESSIONAL CINE PRODUCTS 2222 N. Prairie Ave., Dallas 4, Texas Phone LAkeside 1-2672 mm FILM COMPANY 424 LI PO CHUN BUILDING HONG KONG COMPLETE 16/MM & 35/MM PRODUCTION FACILITIES could with little difficulty average 35 minutes of shooting time to a hole. That’s from tee-off to the final putt on the green. The commercials for this TV series, institutional in format, were a separate project and were photographed with sync sound on the same locations as the tournaments by Director of Pho¬ tography Eric Cross, B.S.C., and di¬ rected by Kenny Williams. Equipment Performed Well Except for the high-speed camera, we encountered very little difficulty with cameras and equipment during the five months we photographed the eleven tournaments. Our difficulty with the high-speed camera was in operating it at maximum speed — f44 frames per second- — -which induced lateral move¬ ment in the film as it traveled past the gate. We reduced the speed to 120 frames per second — five times normal —which provided much better results in our slow motion studies of the in¬ teresting techniques of the various players. Sequences of speed shots were filmed at the conclusion of each match to demonstrate, in slow speed analytical action, each player’s driving, pitching and putting form. This is a highlight of the series which has met with instant favor with TV audiences. For trouble-free shooting of such action at high camera speeds, I feel best results would he obtained with one of the cameras specifically designed for high¬ speed cinematography — such as one I used in shooting the original atomic bomb tests in the South Pacific several years ago. The two 35mm Arriffex cameras were always operated tripod-mounted except when required for some unusual low-angle shot (such as shown in the cover photo of this issue). Actually, these cameras are a little too heavy for any long, sustained shooting hand held. When a camera operator tires from long periods of shooting with an unmounted camera, unsteady shots in¬ variably result. One Arriffex served as the No. 3 camera, shooting spectator reaction, and the other was used exclusively in connection with magnetic tape record¬ ing of the running commentary during the takes. Equipped with an Arriffex sync generator working in conjunction with a remote Perfectone tape recorder, this camera was responsible for photo¬ graphing and recording the comments iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiMiiiiiiiiiii SHELL’S “WONDERFUL WORLD OF GOLF” MATCH SCHEDULE BROADCAST PLAYERS LOCATION DATE Gene Littler Eric Brown Gleneagles (Scotland) Jan. 20 DowFinsterwald Peter Alliss Tryall (Jamaica, B. W. 1.) Jan. 27 Dave Ragan Celestino Tugot Wack-Wack (Philippines) Feb. 3 Art Wall Stan Leonard Royal Quebec (Canada) Feb. 10 Doug Sanders Arne Werkell Halmstad (Sweden) Feb. 17 Jack Nicklaus Sam Snead Pebble Beach (California) Feb. 24 Byron Nelson Gerry de Wit Hague (Holland) Mar. 3 Phil Rodgers Frank Phillips Royal Singapore (Singapore) Mar. 10 Bill Caspar Harry Bradshaw Portmarnock (Ireland) Mar. 17 Bob Goalby Bob Charles Paraparaumu Beach (New Zealand) Mar. 24 Bob Rosburg Roberto De Vicenzo Los Leones (Chile) Mar. 31 [iiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiimiiiiiiiiiiiiiiiiiimmimiimiii of official narrator George Rogers and Gene Sarazen, star of the show, com¬ menting on the various plays as the competition progressed from tee to green throughout each 18-hole play. An interesting highlight of this whole undertaking was the effective use of camouflage to conceal some of the cameras, their carriers and oper¬ ators during the photographic coverage of the various matches. The sponsor, Shell Oil Company, made a special point of requesting that, if it were at all possible, none of our working cam¬ eras be visible in any of the shots ultimately used in the show series. Camera angles, therefore, were care¬ fully chosen so that the camouflaged Jeeps, Land Rovers or cherry pickers would blend naturally with the trees, shrubbery or the terrain of the courses. To conceal tripod-mounted cameras not mobile mounted, we placed spectators strategically in front of them in such a way as would not interfere with photography yet adequately conceal them. The pattern of camera coverage we used made it necessary for some cameras to face others directly, but so effective was the camouflage work that not a single camera is visible in any of the shots in the eleven shows of the series. The aerial shots seen in the shows I photographed myself from heli¬ copters. There are not more of them because an acceptable helicopter was not always available for photography in some of the countries we visited. But where a Sikorsky or a Bell Ranger could be had, we took to the air and shot interesting aspects of the tourna¬ ment golf course, over which footage narration was recorded later. This pho¬ tography took the place of static dia¬ grams that might otherwise be used for the same but less effective purpose. Continued on Page 120 118 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 UY, SELL, SWA a 1 1 asm Largest, Most Productive Classified Ad Section Of Any Publication Serving Makers Of Motion Pictures STUDIO & PRODUCTION EQUIP. MITCHELL 16mm CAMERA, #175, with four T-scaled Baltar lenses, three magazines, 35mm matte box, viewfinder, 115-volt sync motor, other accessories. Recently completely over¬ hauled by Mitchell. 235-degree shutter. Per¬ fect, optically and mechanically, $4500.00. VICTOR DUNCAN, 250 Piquette, Detroit, Mich¬ igan. TR 2-7229. 1 6MM step printer, 200' Steinman 16/35mm processing reel and loader, Morse G-3 tank, $145.00. 2022 Condor, Colorado Springs, Colorado. AURICON Super 1200 camera, with variable shutter, two 1200' magazines, auto-parallax viewfinder, recording galvanometer NR ampli¬ fier, microphone, headset, cables, carrying cases. Less lenses, $3,250.00 FOB Tampa. JACK WALTON, P.O. Box 1457, Tampa, Fla. CINE SPECIAL with 1 3mm lens, extra 1 00' magazine, Par 4 lens turret, Yolo dissolve, re¬ flex finder, matte box, carrying case. Excellent condition, $500.00. BILL LEHR, Box 147, Scam- mon, Kansas. CAMERA motors, Eyemo (will fit Filmo), Bo- dine 4-6 volt DC, with cable and switch. New, $38.50 each postpaid. Viewfinder, B&H sports or tracing finder, fits Eyemo Q and other mod¬ els. (Can also be used on Filmo), complete with door. New condition, $55.50 each post¬ paid. Cash order, please. JACK WALTON, P.O. Box 1457, Tampa, Fla. WALL camera, sync and DC motors, 4 Cooke lenses, 2-1000' magazines, blimp, tripod, dol¬ ly, $1700.00; Magnasync type 5 recorder, $900.00; 1 6mm-35mm four gang Moviola synchronizer, $100.00. Write: CINEMACTION PRODUCTIONS, 1835 Hyperion Avenue, Los Angeles 27, Calif, or call (evenings): Mr. Schal- lerf 664-4191, 664-8940. FOR SALE: Eyemo model Q. Like new (not sur¬ plus), three excellent lenses, filter slot, critical focus and mounting plate. 17y2mm Hallen re¬ corder, excellent. G. HENRY THURMOND, 414 Crenshaw St., Mobile, Ala. BARGAINS processors, lenses (16 & 35), cam¬ eras, etc. Write for list. PROFESSIONAL CINE PRODUCTS, 2222 N. Prairie, Dallas, Texas. BARGAIN 21 used Cinesalesman continuous 16mm projectors in excellent condition. Will sell all or any part. THOS. J. BARBRE PRO¬ DUCTIONS, 2130 S. Bellaire St., Denver 22, Colorado. ARRI 35 Model 1 with blimp, sync and wild motors, 400' magazines, all accessories, $2400.00. MR. CHANG, HO 9-3523. CAMERA MART 1 6mm dual sound reader and Craig viewer, $125.00. M. V. ORESKOVIC, 1425 Abbott Rd., Lackawanna 18, N. Y. CINE-KODAK SPECIAL II with 25mm & 15mm F/1.4 lenses, 100' & 200' magazines, reflex finder, Cine-Kodak tripod, and case, $850.00. JAY SCHIFF, 500 Cornelia Avenue, Chicago 13, Illinois. Phone LA 5-7340. AURICON Cinevoice with turret. Frezolini con¬ version. Will take 600' or 1200' magazines, deluxe amplier, tripod. Call or write FRONTIER TOWN, North Hudson, N. Y. STUDIO & PRODUCTION EQUIP. COMPLETE 16mm and/or 35mm CAMERA OUT¬ FIT — ECLAIR CAMERETTE 16/35mm REFLEX CAMERA, five Kinoptik F2 coated lenses, five magazines, 12 volt wild and 110 volt sync motors, custom sound blimp, heavy-duty tri¬ pod, many accessories, a real bargain. Arri 35 complete with motor, matte box, three 400' magazines, hi-hat, case, and 28-35-75mm coated Schneider lenses, $900.00. Simplex 35mm sound projector adapted for wide screen projection, $775.00. Ampro 16mm continuous sound projector, $185.00. SALESMATE sound slide projection unit — less than a year old, $230.00. CAMART TV/MP CAMERA DOLLY — a real buy. TEL-Animaprint hot press with much type, $350.00. UNIVERSITY SUPPLIERS, 225 West Ohio Street, Chicago, Illinois (312) 467-6458. HAVE YOU seen the new DUAL CAMERA MOUNT? Page 88. 125MM (5 inch) f/2 Schneider Xenon lens, coated, T-stopped, in Arriflex mount, equal to new for only $275.00. 25MM (1 inch) f/2. 3 Bausch & Lomb Baltar lens, coated, in Mitchell mount, equal to new for only $165.00. Torque motor for Arri 16 magazines only $125.00. Box 1456, AMERICAN CINEMATOGRAPHER. CINE KODAK MAGAZINE WINDERS, $47.50 postpaid. Custom design and work on all mo¬ tion picture equipment. FACTORY SERVICE STA¬ TION FOR ALL BELL & HOWELL EQUIPMENT. CINEMATIC DEVELOPMENTS, P. O. Box 151, Mena, Arkansas. SACRIFICE at nearly half original cost! Cine Special II with 3 Ektar lenses, elec, motor, 2 extra magazines, reflex finder, filters & hold¬ ers, carrying case. Like new. FRANK McGIN- NIS, 3802 Crestlake, Birmingham, Mich. EQUIPMENT WANTED INSTANT CASH HIGHEST PRICES PAID for your used 1 6mm and 35mm professional equipment of any kind URGENTLY NEED ARRIS, AURICONS, MITCHELLS, Zoom lenses; lab, editing lighting & recording equipment for our Rental Program CONSIGNMENTS WELCOME NEW — USED RENT, BUY TRADE, REPAIR HOLLYWOOD CAMERA COMPANY 6838 SUNSET BLVD., HOLLYWOOD 28 CALIF. FOR THIRTY-SIX YEARS WE'VE TRADED AND SOLD Equipment new and equipment old. To Serve our customers is our desire Let us help you find a buyer. CONSIGNMENTS TAKEN — SET YOUR PRICE Ship it in — OUR PERCENTAGE IS SMALL Wire us — Phone PL 7-0440 S.O.S. PHOTO-CINE-OPTICS, Inc. Cable: SOSOUND Dept, fc, 602 W. 52nd Street, New York 19 Western Branch — 6331 Hollywood Blvd. Hollywood, Calif., Phone 467-2124 EQUIPMENT WANTED TRY F&B LAST FOR THE HIGHEST QUOTE ON USED MOVIE EQUIPMENT FLORMAN & BABB 68 W. 45th ST., N. Y. 36, N. Y. WHY SACRIFICE your production and struggle with old or used equipment when we can trade for cash or new equipment? Let us know what you have and what you need. THE CAMERA MART, INC. 1845 Broadway PL 7-6977 New York 23, N.Y. WANTED to buy all types of projection bulbs, spotlight bulbs. ADVANCED SPOTLIGHT SERV¬ ICE, Box 206 Passaic, N.J. WANTED: 1 or 2 200' Cine Special magazines. State price and condition. R. KEEBLE, 330 Seale Ave., Palo Alto, Calif. WANTED: Auricon Pro-600 or CM-71 with or without sound. Other Auricon accessories. PLAZAVISION, 114 St. Paul St., Rochester 4, N. Y. WANTED FILMS WANTED: amateur and professional films for TV release, drama, variety, comedies, adventure, cartoons and documentaries ac¬ cepted. WELLINGTON FILMS, P.O. Box 384, Hollywood 28, California. LABORATORY & SOUND SOUND RECORDING at a reasonable cost. High Fidelity 16 or 35. Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SERVICE, INC., 7315 Carnegie Ave¬ nue, Cleveland 3, Ohio. Phone ENdicott 1 -2707. SERVICES AVAILABLE FILM ASSIGNMENTS wanted, Pacific Coast and Midwest Area, for stock shots, process plates, etc. Top Hollywood cinematographers and equipment available. WORLD WIDE FILMS, INC., 108 So. LaJolla Ave., Hollywood 48, Calif. Phones: WE 9-8308 and OL 3-5072. AFRICA Full 16mm equipment, Arri, Magnasync, etc. Experienced cameraman. Complete safaris ar¬ ranged for tourists or professional units. TRANS-AFRICA GUIDES, Box 9538, Nairobi, Kenya. EUROPEAN assignments: THOMAS-d'HOSTE, 31 Avenue Mac-Mahon, Paris 17, France. In U.S.A. 7 6 1 7 y2 Hollywood Boulevard, Holly¬ wood, California. In Canada: 3261 Forest- Hill, Montreal, P.Q. FILM assignments, 16mm, Detroit area, scenic, stock shots. Editing and titling. HOWARD TRIEST, 10400 Saratoga, Oak Park 37, Mich. LI 2-7874. Continued on Next Page RATES: Ads set in lightface type. 20( per word. Minimum ad. $2.00. Text set in $2.00 per line. Send copy with remittance to cover payment to Editorial Office, lightface capital letters (except 1st word and advertiser’s name) 40p per word. American Cinematographer, P.O. Box 2230, Hollywood 28, Calif. Forms close Modified display format (text set in boldface type, capitals or upper-and-lower case) 1st of month preceding date of issue. AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 119 Classified Ads Continued from Preceding Page SERVICES AVAILABLE CANADIAN assignments wanted. Complete 16mm facilities. Experienced sound crew. Box 1460, AMERICAN CINEMATOGRAPHER. BRAZILIAN English speaking production unit available for assignments in Brazil, Uru¬ guay, etc. 1 1 years' experience, color B&W. HELICONFILM, Ave. Ipiranga 1248, Sao Paulo. JAPANESE English speaking director-cinematog¬ rapher for features, TV, etc. HARRY MIMURA, 2-1303 Setagaya, Tokyo, Japan. Credits: "Around the World in 80 Days" (Far East locations), American TV films (See American Cinematographer, March, 1961). 16mm FILM assignments — Chicago, Zoographic, Scenic, Industrial. ARLETTE STUDIO FILM PRO¬ DUCTIONS, 1657 Grace St., Chicago 13, Illi¬ nois. Bl 8-8612. We FILTER SLOT Filmos & Auricons. Immediate service. PROFESSIONAL CINE PRODUCTS, 2222 N. Prairie, Dallas, Texas. CAMERAMAN available in Los Angeles for production of theatrical, industrial or educa¬ tional films. Strong background in every phase of production. Phone EX 1-5690, A. AKA- RAKIAN, 11200 McDonald St., Culver City, Calif. 16mm FILM assignments — Chicago, scenic, in¬ dustrial, in-plant. ARLETTE STUDIO FILM PRO¬ DUCTIONS, 1657 Grace St., Chicago 13, Illi¬ nois. Bl 8-8612. Ask for brochure. 1 6MM editing rooms w/Moviola. Screening room w/interlocked Maggies. Same day serv¬ ice reversal B&W edge-numbered workprint. This year will shoot in USA, Egypt, Kenya, Brazil. Call us if we can help you. CAMERAS INTERNATIONAL MOTION PICTURES, 1724 N. Orchard St., Chicago 14, Illinois. MO 4-7308. SOUTHWESTERN U.S. assignments 1 6mm. Ac¬ cent on desert photography, travelogue and mining. WEST WIND PRODUCTIONS, P.O. Box 325, Ajo, Arizona. PRESENTLY shooting jazz tour in Northern Europe and Mediterranean area. Other assign- men, s wanted. (Nominal). Camera car, Auri- con. Ampex equipped. JOHN BUSH ASSO¬ CIATES, 45 Hartland Rd., Rochester 17, N.Y. or, cable Doug Duke c/o Philips Co., Holland. giiiiiiiiiiiiiiiiiiiiiiiiiiiiii^ = WHEN CHANGING YOUR ADDRESS EE 1 Please notify us at least four == weeks in advance. BE SURE to H == give your Former address as H m well as your New Address. Our jj n Circulation Department needs =§ n= both addresses in order to properly identify your address M i-jj stencil. M Your cooperation will insure J tha!- American Cinematogra¬ n pher will continue coming to = i you regularly without delay or = omission of issues. Thank you. u — American Cinematographer = iillllilllllillllllllllllllllllllllllllll ‘WONDERFUL WORLD GOLF Continued from Page 118 At no time did any of these ships provide camera mounts. We therefore had to build our own — a simple ar¬ rangement of a two-by-twelve plank extending through the door beyond the ship, with the camera mounted on a hi-hat at the end of the plank. The doors on either side of the helicopters are removable and we usually worked with them off, so that we could shoot from either side. I’m still haunted by the thought of how close I came to tumbling out of one ’copter while shooting, sans parachute, over Manila! Uniformity of exposures between the various cameras was achieved by re¬ laying exposure information to the various operators by walkie-talkie units. I would calculate the exposure for each camera, then radio the information to each operator down the fairway, hop¬ ing of course that he would take my word and set his lens accordingly. In an operation such as this, where the cameras are not only widely separated but shooting at different angles, I could risk no serious errors in lens settings. I had told my assistants and operators in the course of a general briefing before we started the tour: “I’m being paid to make the mistakes, so please let me make them.” ■ QUESTIONS & ANSWERS Continued from Page 82 shots. Please recommend a source of filters required for this type photog¬ raphy. — R. C., King Salmon. Alaska. A.— —Consideration first must be given to the type of night scene desired in day-for-night color pho¬ tography. Usually this type photog¬ raphy results in a soft, under-exposed bluish effect. In straightforward night-for-night photography, a scene which is illuminated by an artificial light source should be given a warm tone — achieved by placing yellow gela¬ tins over the light source. In shooting exterior day-for-night scenes in color, however, the obvious source of illumination in the scene is moonlight, and thus general practice seems to settle for a bluish tone in the overall scene. Shooting such scenes without the 85 filter requires U/2 to 2^/2 stops under-exposure. For a source of special filters we refer you to Harri¬ son & Harrison, 6363 Santa Monica Rlvd.. Hollywood 38, Calif. ■ FROM YOUR 12 VOLT CAR BATTERY CLAMP-ON DELIVERS 250 WATTS of smooth, even 3400°K light — $49.50 | PORTABLE MOVIE LIGHT Fits any camera. No tools needed, no holes to drill. Long life nickel-cadmium I battery with built-in charg¬ er weighs only 7 lbs. Guaranteed one year. s / 99. 50 COMPLETE WITH BATTERY Write for Full Information PHOTOMART 228 So. Franklin St. -Tampa 2, Florida ■■■IVi Telephone 229-1 168 MSB DUAL POWER VIEWER for BOLEX REFLEX From an original 6X to an 8X full field ond 16X critical focus LARGER IMAGES — BETTER SHARPNESS CONTROL WITH ANY LENS Easy to Operate — Guaranteed for Life — More Information Available — When Viewer only is sent $54.00 — When sent with Camera $60.00. PELLEGRINI-PIEK MOVIE CAMERA ACCESSORIES 7 COLEMAN PLACE, MENLO PARK, CALIF. Makers of Variable Shutter Units for all Bo/ex H Cameras. PATHE PRESENTS: THE WEBO-M 16 MM REFLEX PATHE PRODUCTS, INC. 9 Pleasant Street, Providence 6, Rhode Island Sole U.S.A. Agents for Pathe Societe Commerciale et Industrielle. NEW IMPROVED PROCESS LAMINATED SOUND STRIPING THE 380 Ft. Minimum Order — Quality Guaranteed Send for Free Brochure 736V!t SO. ATLANTIC BLVD., LOS ANGELES 22, CAL. 120 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 BEHIND THE CAMERAS LAST MONTH Continued from Page 79 William Spencer, ASC, “Sam Benedict”*. Robert Hauser, “Combat”*. Lee Garmes, ASC, “The Lieutenant”* (pilot). MAYFLOWER STUDIOS, N. Y. Ernie Caparros, “Inside Danny Baker”* (pilot); “Ready for the People”* (pilot). NEW YORK STUDIOS George Jacobson, “Emmett Kelly Show”*. PARAMOUNT STUDIOS Daniel Lapp, ASC, “A New Kind of Love” with Paul Newman and Joanne Woodward. Melville Shavelson, producer-director. Boris Kaufman, ASC, “All the Way Home” (David Susskind Prod.; shooting in Ten¬ nessee) with Jean Simmons and Robert Preston. Alex Segal, director. Irmin Roberts, ASC, “Fun in Acapulco” (Hal Wallis Prod.) with Elvis Presley, Ursula Andes and Elsa Cardena. Mickey Moore, director. Haskell Bocgs, ASC, William Whitley, ASC, “Bonanza”*. PARAMOUNT SUNSET STUDIOS Fleet Southcott, “Gunsmoke”* PRODUCERS STUDIO, INC. Emmet Bergholz, “Death Valley Days”*. REPUBLIC STUDIOS George Diskant, ASC, “Dick Powell Show”*. REVUE STUDIOS Russell Harlan, ASC, “Man’s Favorite Sport?” (Howard Hawks-Gibraltar-Laurel Prod.; Technicolor) with Rock Hudson and Paula Prentiss. Howard Hawks, producer- director. Ellis Thackery, ASC, “Wagon Train”*. John Russell, ASC, Lionel Lindon, ASC, “Alfred Hitchcock Presents”*. Fred Mandl, ASC, “Going My Way”*. Charles Lang, ASC, “Charade” (Stanley Donen Prod.; T’color; shooting in Paris) with Cary Grant and Audrey Hepburn. Stan¬ ley Donen, producer-director. Ray Rennahan, ASC, “Laramie”*. Jack MacKenzie, ASC, “Leave It to Beav¬ er”*. Nick Musuraca, ASC, “Jack Benny Show”*, Walter Strenge, ASC, “Wide Country”*. Clifford Stine, ASC, “The Brass Bottle” (Randall-Greshler Prod.; Eastman Color) with Tony Randall and Burl Ives. Harry Keller, director. Continued on Next Page FLASHBACK TO YESTERYEAR SAVE MONEY When Filming In Europe By Renting Your Camera Equipment From CHEVEREAU PARIS, FRANCE We Service The Entire Continent CAMERAS, including the Mitchell BFC 65mm CRANES DOLLIES 20 RUE DE LA CHINE PARIS 20, FRANCE TelS: MEN 9472, PYR 5104 Cable: Cameraloc Paris 1922— Shooting a scene for "The Merry Go Round” on a back lot exterior | at Universal Studios. Behind the Bell & Howell camera at left is William | Daniels, now President of The American Society of Cinematographers. 1 This was Daniels first major picture assignment. Production starred Mary 1 Philbin, at door, and Norma Kerry, in uniform, center. At Kerry’s right is | Director Erich Von Stroheim. Others in picture are unidentified. Following | completion of this production, both Daniels and Stroheim moved to MGM. | TMlUIlItll llllll Itllllllll 1 1 II II I IIM I llllll I II 1 1 1 1 1 II 1 1 1 II Mlllll I II I II 1 1 III II Mil IMMII1 II I M ItUUItlllMtltlfttllllHIHIttllt llllllllltlllttll lltltlf lltlltff Ml II tllllil lltlllll 111 IIIUI tlllimtlllllll nmimt II LINWOOD DUNN, asc Formerly head of RKO Studios Effects Dept. CREATIVE SPECIAL EFFECTS Complete Advisory and Technical Services From Story Ideas to Theater Screen. LIQUID GATE PRINTING FOR 16-35-65-70 MM BLOW-UPS Specialized Laboratory Services “Over 30 Years of Major Studio Experience” FILM EFFECTS of Hollywood 1153 N. Highland Ave., Hollywood 38, Calif. Phone: HO 9-5808 Cable: FILMFX L & F PORTABLE CINE PROCESSOR • Fully Automatic © Daylight Operating $675.00 (f.o.b. Chicago) 0 16mm or 8/ 8mm 0 Requires no plumbing 0 Process 200 Fl B&W Film in Less Than 1 Hour 0 Reversal Processing 0 Less Than 1 Gallon of Solution Needed 0 32"x9"x24"! 55 lbs! Write For Descriptive Literature SUPERIOR BULK FILM CO. 446-48 N. Wells 0 Chicago 10, Illinois AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 121 Specialized LIGHTING EQUIPMENT for MOTION PICTURE, STILL and TELEVISION STUDIOS ® Write for A Copy of Our Catalog J on Your Letterhead 937 NORTH SYCAMORE AVENUE HOLLYWOOD 38, CALIF. r 16MM COLOR and B-&-W Processing and Printing A&B Roll Conforming Sound Transferring Write For Complete Price List MIDWESTERN FILM LAB 161 W. Huron St., Chicago, III. Phone: 664-841 0 / REPRINTS of the 6-page, illustrated article SPECIAL PHOTOGRAPHIC EFFECTS IN MOTION PICTURES 25c Per Copy AMERICAN CINEMATOGRAPHER 1782 No. Oronge Dr., Hollywood 28, Calif. BEHIND THE CAMERAS Continued from Preceding Page REVUE STUDIOS (Cont’d.) John Russell, ASC, Benjamin Kline, ASC, “Alcoa Theatre”*. John Warren, ASC, “McHale’s Navy”*. Lionel Lindon, ASC, “Arrest and Trial”*. Benjamin Kline, ASC, William Margulies, ASC, Neal Beckner, “The Virginian”*. TWENTIETH CENTURY-FOX, N. Y. Don Malkames, ASC, Arthur Ornitz, “The Laughmakers”*. TWENTIETH CENTURY-FOX Floyd Crosby, ASC, “Evil Come, Evil Go” (API) with Pat Boone and Barbara Eden. Buzz Kulik, director. WARNER BROS. Lucien Ballard, ASC, “Wall of Noise” with Suzanne Pleshette and Ty Hardin. Richard Wilson, direcor. Carl Guthrie, ASC, “True”*. Ellsworth Fredericks, ASC, “America, America” (Athena Ents. Corp.) with Sta- this Giallelis. Elia Kazan, producer-director, Burt Glennon, “The Dakotas”*. Ralph Woolsey, ASC, Ray Fernstrom, ASC, Lewis Jennings, “Hawaiian Eye”*. Robert Hoffman, Harold Stine, ASC, Lewis Jennings, “77 Sunset Strip”*. ZIV-UNITED ARTISTS Monroe Askins, “Ripcord”*. ■ Founded January 8, 1919, The American Society of Cinematographers is comprised of the leading directors of photography in Hollywood motion picture and TV film studios. Its membership also includes cinematographers in foreign lands. Mem¬ bership is by invitation only. • OFFICERS William Daniels, President Hal Mohr, 1st Vice-President Arthur Edeson, 2nd Vice-President Joseph Ruttenberg, 3rd Vice-President Arthur Miller, Treasurer Sol Halprin, Secretary George Folsey, Sergeant-At-Arms BOARD OF GOVERNORS Joseph Biroc, Robert de Grasse, Daniel Fapp, Lee Garmes, Milton Krasner, Ernest Laszlo, Victor Milner, Walter Strenge. ALTERNATE BOARD MEMBERS Harold Lipstein, Winton Hoch, Gordon Avil, Lucien Andriot, Philip Tannura, Lionel Lindon, John Arnold, George Clemens, Linwood Dunn, Arthur Arling. INDEX TO ADVERTISERS Page American Cinematographer Manual . 103 Ansco . 73 Arriflex Corp. of America . 71 Bach-Auricon, Inc. . . 75 Bell & Howell Co . . . .. 79 Birns & Sawyer Cine Equip . 87, 88 Byron . 77, 78 Camera Equipment Co., Inc . 81 Camera Mart, Inc . 66, 68, 70 Camera Service Center . 83 Capital Film Laboratories.. 1 09, 110 Chevereau . 121 Cinekad Engineering Co . 117 Consolidated Film Industries . 69 ColorTran Industries . 70 Dupont . 2nd Cover Farkas Film Co . . . 1 1 8 Film Effects of Hollywood . 121 Filmline Corporation . 115 Florman & Babb, Inc . 82, 85 Jack Frost . 86 General Film Laboratories... .94, 95 W. J. German, Inc . 4th Cover Gordon Enterprises . 65 Hollywood Camera Co . 112 Hollywood Film Company . 107 Kling Photo Corp . 67 Magnasync Corp . 3rd Cover Metal Masters . 1 1 3 Micro-Record Corp . 116 Midwestern Film Lab . 122 Miller Professional Equipment.... 1 1 4 Mitchell Camera Corp . 80 Mole-Richardson Company . 122 Moviola Mfg. Co . 106 Mole-Richardson European Service . 101 National Cine Laboratories . 116 Pathe Products, Inc . . 120 Pellegrini-Piek . 1 20 Photomart . 1 20 Photo Research Corp . 1 13 Precision Laboratories . 108 Professional Cine Products. . 118 Charles Ross, Inc . 1 1 1 S.O.S. Photo-Cine-Optics, Inc . 72, 74, 76, 89, 115, 117 Samuelson Film Service, Ltd . 108 Scopus, Inc . 113 Stevens Engineering Co . 116 Superior Bulk Film Co. . 121 Uhler Cine Machine Co . 84 Video Film Laboratories . 118 Vitatone Co . 1 20 Zeper Industries . 88 122 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 • • •» . • * A.'-vTar A. vrt ’ / •V * . * *T» • A 9 • • v . , « •9 •• «*..*•*. . •• • v •: * • t • • .. s • • ♦ . • < *. • # ft • • • " More motion pictures are product 3d with Magnasync Type 5 Ri than with any other recordei mders r in the world. 1” > Versatility, precision engineering, nonobsolescence and rugged dependability made the Type 5 the most popular recorder in the world, and the basic ingredient of an integrated sound system to meet every recording requirement. 1. Choice of motors for 110 volts, 220 volts, 50 cycle, 60 cycle, single phase and three phase. 2. Selsyn motor attachments for Magnasync, RCA or Westrex distributor systems. 3. Selsyn or mechanical projector interlocks available. 4. Fast forward and fast rewind. 5. Portable; standard panels also permit rack mounting. 6. Complete line of companion equipment available. 7. Five distinct models to suit all film sizes and speed requirements. from Wire, write or phone for free* 42-page catalog describing Magnasync’ s complete line of equipment and accessories The rugged, precision film transport is the heart of every Magnasync/ Magnaphonic professional recorder. This famous “Synkinetic Motion” filtering principle, an original Magnasync concept, has contributed to the firm’s international leadership in the field. MAGNASYNC CORPORATION 5546 Satsuma Avenue, North Hollywood, California • TRiangle 70965 • Cable “MAGNASYNC” Authorized Dealers CHICAGO, ILL. Behrend Cine Corp. 161 E. Grand. Ml 2-2281 Zenith Cinema Service. Inc. 3252 Foster. IR 8-2104 OALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5165 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc. 6331 Hollywood, HO 7-9202 KANSAS CITY, M0. Barnard's, 4724 Broadway, Country Club Plaza, L0 1-7761 Crick's Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, M0. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman's 121 Fourth Ave., Dl 3-1869 SOUTH AFRICA Photo Agencies Pty. Ltd. 21 Kerk St., Johannesburg AUSTRALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BOLIVIA, La Paz Casa Kavlin Casilla 500, Cal ie Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42/56 BURMA, Rangoon G.K. Theatre Supply Co., Ltd. 123 Sule Pagoda Road CANADA, Islington, Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej, 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St., (W-l) Gordon Cameras, Ltd. 45 Kensington High, (W-8) FRANCE, Paris Brockliss-Simplex S.A. 6, Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. HONG KONG Supreme Trading Co. 60 Hennesy Road INDIA, Bombay Kine Engineers 26, New Queen’s Road ITALY, Rome Reportf ilm, di J.M. Schuller Via Antonio Bertolini 31 JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome, Chuo-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd. , Rex Annexe SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road THAILAND, Suriwong, Bangkok G. Simon Radio Co. Ltd. 30 Patpong Avenue NAL INSTITUTION A N A T I O Negatives Positives Color Black-&-White PROMPT SERVICE EVERYWHERE W. J. GERMAN, we LARGEST AND OLDEST AGENCY FOR Sales And Distribution EASTMAN PROFESSIONAL MOTION PICTURE FILMS Fort Lee, New Jersey Chicago, Illinois Hollywood, California . MARCH, 1963 • 50£ AMERICAN ■ V Cinematographer International Journal of Motion Picture Photography and Production Techniques HOLLYWOOD’S CINEMATOGRAPHERS NAME THE TEN BEST PHOTOGRAPHED FILMS OF 1962 I -SOAP/,*?- | w o w w H < H W w > r M F 3 BLACK § REVERSAL PRINTING £ PROCESSING COLOR PRINTING OTHER SERVICES • Work Prints • Color-to-Color Prints • Color-to B & W Prints • Raw Stock • Ultrasonic Film Cleaner • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering FOR COMPLETE INFORMATION WRITE 723 Seventh Ave., New York 19, N.Y. . JU 6-2293 INDUSTRY NEWS News briefs of industry activities, products and progress SIDNEY P. SOLOW (left), head of Consolidated Film Industries' Hollywood lab, and Bill Daniels, President of the ASC whose members were Solow's dinner guests January 28th. Sid Solow Hosts ASC Sidney P. Solow, head of Consoli¬ dated Film Industries’ Hollywood lab¬ oratory, entertained members of the American Society of Cinematographers with dinner followed by technical dem¬ onstrations on the laboratory premises January 28th. By means of colored slides, Solow, who is an Associate Member of the ASC, took his guests on an “armchair tour” of the CFI laboratory and ex¬ plained the many advanced technologi¬ cal developments which have been put into practice at CFI. These included a patented leader for 16mm prints that provides the utmost in legibility, dura¬ bility and infallibility; a new improved printer for making 35mm color prints for television, and which simultaneous¬ ly prints A&B rolls and sound track; a solvent recovery system that salvages solvent used in company’s film cleaning machines; and an infra-red replenisher control system for which the company received an Academy Technical Award last year. Besides the exclusive technical devel¬ opments of his company, Solow also described some recent developments which are now general with film lab¬ oratories everywhere. These included an ultra-sonic film cleaning machine; spray developing of motion picture film devoid of troublesome directional ef¬ fects on the film; and the use of ad¬ hesive metallicised spots on film as cue marks to actuate light changes in the printer. W ith this method, the elec¬ tronic detector never contacts the film but scans the spots at a distance, there¬ by avoiding any possible damage to the film, Solow explained. FOLLOWING DINNER, Solow, with aid of colored slides, illustrated and described some of the ad¬ vances made by CFI in film processing and printing techniques. CFI ENGINEER Ed Reichard (left) explains to ASC members Hal Mohr and Burnett Guffey a display panel demonstrating CFI's automatic developer re¬ plenisher method. Browning Memorial Awards to Aid Cinema Students Top ranking students in college Ci¬ nema classes will be encouraged to ex¬ pand the scope of their work through an awards program sponsored by the Camera Mart, Inc., of New York. The company will bestow its “Irving and Sam Browning Memorial Awards” an¬ nually to three students named by the cinema department heads of New York University, The City College of New York, and Columbia University. Each award comprises a certificate of the award, a $150 credit toward the rental of professional motion picture equipment, plus a minimum supply of 1200 feet of 16mm negative film stock. Out Art Film Uaboratories, of New York has offered to process the nega¬ tive free of charge, according to Samuel Hyman, President of Camera Mart. The annual award is named in honor of the two founders of the Cam¬ era Mart, Inc. Continued on Page 134 130 AMERICAN CINEMATOGRAPHER, MARCH, 1963 ^*W*Sp(ter l 1 .Vv':V jg$ i p 1 M&; wm / if .9 mfc' - m 3K,' : X aal m *. « m % ail •M 1. "color-correct" In Webster’s dictionary, the adjective correct is defined as "conforming to an approved stand¬ ard, free from errors.” This describes exactly the Byron "Color- Correct” process that is recognized throughout the motion picture film industry as represent¬ ing the very highest standard for color duplica¬ tion. And how did this perfected color process come about? In 1943, seeking a process for better color reproduction in motion picture prints, Byron instituted an extensive research program. Comprehensive tests were made on the basis of information secured from the National Bureau of Standards. As a result, Byron's printers were modified. Byron then became the first laboratory to print color while accur¬ ately maintaining color temperature of the printing lamp, year-in and year-out. With the new Byron process so well received, we adopted the term "Color-Correct.” The first of many advertisements on "Color- Correct” printing was placed in November, 1945. Trade-mark application was granted by the U.S. Patent Office on May 26, 1953, under Registration No. 575058. We know — because we’ve been told by our customers — that Byron "Color- Correct” prints symbolize the finest quality available in color duplicating. See for yourself! For free brochure on all Byron services, write, phone, or wire: motion pictures 1226 Wisconsin Avenue, N.W., Washington 7, D.C., Area Code 202, FEderal 3-4000 THE SECOHD MOST IMPORTANT TIME IN THE We all know the most important time — when the word is “Action!” and your motion picture equipment must perform flawlessly. There's a “Second most important time.” And that, strangely enough, is when nobody is using the equipment. This is the time — every time — between users, that every variety of CECO rental equipment is subjected to prescribed, rigorous inspection, of a unique kind that only the world's largest repair/service department is equipped to provide. . . In Depth Service that means equipment you can rely on wherever in the world your filming takes you. One of the reasons more professionals rent from CECO than all other sources combined. Rent with confidence . . . Rent from CECO. Select from the largest variety of equipment available anywhere in the world ... at the lowest possible cost. ■ CAMERAS: 16mm & 35mm — Sound (Single or Double System) — Silent — Hi-Speed — Instrumentation ■ LIGHTING: Arcs — Incandescents — Spots — Floods — Dimmers — Reflectors All Lighting Accessories ■ GENERATORS: Portable — Truck Mounted ■ SOUND EQUIPMENT: Magnetic — Optical — Mikes — Booms ■ GRIP EQUIPMENT: Parallels — Goboes — Other Grip Accessories ■ CRANES, DOLLIES: Chapman — Crab — Portable ■ LENSES: Wide angle — Zoom — Telephoto — Anamorphic ■ EDITING EQUIPMENT: Moviolas — Viewers — Splicers — Rewinders ■ PROJECTION EQUIPMENT: 16mm & 35mm — Sound & Silent — • Slide — Continuous ■ TELEVISION: Closed Circuit TV ■ CAMERA CARS WHERE THE PROS GO... CAMERA EQUIPMENT CO., INC. FIRST IN SALES, SERVICE, RENTALS AND REPAIRS A SUBSIDIARY OF CECO INDUSTRIES, INC. NEW YORK. N.Y. HIALEAH, FLORIDA HOLLYWOOD, CALIFORNIA 315 West 43rd St. • JU 6-1420 51 East 10th Ave. • TU 8-4604 6510 Santa Monica Blvd. • HO 9-8321 I - - - | CAMERA EQUIPMENT CO., INC. | 315 W. 43rd Street, New York 36, N.Y. I Gentlemen: Please rush me your FREE complete cata- ■ logue of Rental Equipment. I Name _ _ _ Firm _ _ _ J Street _ _ _ _ _ I City _ —Zone _ State _ I _ 1 I I I I I I I I I AMERICAN CINEMATOGRAPHER, MARCH, 1963 133 !i Will Will I II That’s the word for MILLER FLUID ACTION TRIPOD HEADS! It’s because Miller Heads are true fluid heads . . . the load rides on the fluid and all tension adjustments take place within the fluid chambers, giving a velvety smoothness unmatched by any other tripod head. There is no slack, no bounce, no backlash, no jitter. They are available in two sizes: The Pro¬ fessional, for cameras of 25-35 lbs., and the Model “D” for cameras weigh¬ ing 12-14 lbs. MILLER MODEL “D” FLUID HEAD with Ball Leveling Top Miller Grooved Leg Tripod. “D” Head: . $150.00 B/L Tripod: . 139.50 Total: . 289.50 MILLER PROFESSIONAL MODEL Fluid Head with Ball Leveling Top, Miller Grooved Leg Tripod. Ball Leveling Pro Head: . $299.50 Tripod: . . 154.50 Total: . 454.00 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops avail¬ able coupled with the finest and most rigid tripods in the Junior class. At y our dealer, or order direct from MILLER PROFESSIONAL EQUIPMENT 1619 NO. CHEROKEE HOLLYWOOD 28, CALIF. PHONE: HOLLYWOOD 7-8189 INDUSTRY NEWS Continued From Page 1 30 William J. German Dies William J. German, President of the Eastman professional motion picture film distributorship hearing his name, died on February Calif. He was 74. Mr. German’s 57-year career in the film industry spanned the era of silent pictures, sound pictures, the second World War, and the ad¬ vent of television. He was associ¬ ated with East¬ man Kodak Com¬ pany, first as a Kodak employee and later as a distributor of its profes¬ sional motion picture films. He became directly connected with the motion pic¬ ture industry when, in 1922, he be¬ came associated with Jules E. Brulator. In 1924 he had a part in organizing and became vice-president and general manager of J. E. Brulatour, Inc., and, upon the death of Mr. Brulatour in 1946, be became president. The Brula¬ tour corporations were distributors of Eastman professional motion picture films. In 1952, Mr. German purchased the Brulatour business and formed W. J. German, Inc., of Fort Lee, N.J., and W. J. German, Inc., of California. When Mr. German first undertook the distribution of film there were es¬ sentially two kinds of black-and-white motion picture films available, negative and positive. At the time of his death, his company carried in its inventory more than three hundred kinds of East¬ man black-and-white and color films. During his career Mr. German be¬ came one of the prominent figures in the motion picture industry. He was honored in New York and California by industry and trade groups as well as industry charity and welfare organiza¬ tions. He was an Honorary Member of the American Society of Cinematog¬ raphers and was actively interested in the affairs of the Society. Surviving are his wife, Mrs. Estelle Wehnert German of New York City, and two sons, Arthur W. German of Cumberland, Md., and Fred C. German of Rochester, N.Y. • Charles VerHalen, Onetime Editor of A.C., Dies Charles J. VerHalen Sr., trade mag¬ azine publisher and a former editor of American Cinematographer, died of 17 in Beverly Hills, WM. J. GERMAN heart failure at his ranch home in Cali¬ fornia February 9. He would have been 75 in March. In the late twenties, Mr. VerHalen came to Los Angeles from the East to handle public relations for the Holly¬ wood Bowl Association. He subsequent¬ ly became editor of American Cinema¬ tographer, in October, 1932. In 1934, during the depression years, he em¬ barked on his own publishing career and founded Home Movies magazine, which became the leader in its field, catering as it did to the growing in¬ terest in amateur movie making. He subsequently founded National Photo¬ graphic Dealer and Film World and in 1947 became joint-publisher of West¬ ern Printer & Lithographer. In recent years he was semi-retired and devoted much of his time to citrus culture on his California ranch. He is survived by his wife, Lillian; a son, Charles, Jr., and three grandchildren. » New ASC Members Howard R. Schwartz, Charles Austin and Charles E. Burke have been voted to active membership in the American Society of Cinematographers. Schwartz is a Director of Photography with Four Star Television, Inc.. Austin, formerly of New York City, is a member of Local 644, IATSE, and served for nine years on its executive board. He joined Mitchell Camera Corporation in 1950 as technical repre¬ sentative with offices in New York. Moving to Los Angeles last year, he became Marketing Manager for Mitch¬ ell and is now based at the company’s headquarters in Glendale, Calif. Charles E. Burke is a Director of Photography with Four Star Television, Inc., and has been associated with the company for the past ten years. © Victor James Appointed Arriflex V.P. Paul Klingenstein. president of Arri¬ flex Corporation of America, has an¬ nounced the appointment of Victor James as Vice President in Charge of Sales. Victor James joined Kling Photo Corporation in 1952, and was pro¬ moted to sales manager of Arriflex Corporation of America when this company was formed in 1959. Since then, he has become well known in the motion picture industry and the tele¬ vision field, having addressed many industry meetings and worked with franchised Arriflex dealers, industrial motion picture producers, and military agencies in the solution of cinemato¬ graphic problems. Continued on Page 136 134 AMERICAN CINEMATOGRAPHER, MARCH, 1963 FftA * Spektrogr amiift BN 483018 / / I / / i [ . 40 ~r . The NAGRA TOP QUALITY TAPE RECORDING III is a self contained professional tape recorder, assu ring anl excellent reliability factor, and . - - the best recording Quality available . “4 outside your studicj. The frequency response, signal to noise ratib and „ wo w & flutter charachteri sties NAGRA III, are similar to those best studio consol recorders, but modulation noise, is even better. This spectrogram measurement of t he N AG R A III, was take n by the Electro-Acoustical laboratory of he Royal Institute of Technology, lock holm. mmw iiaimn Hz kc Reels up to 7 " Three speeds: 3.75" 7.5" 15 ' controlled inputs Battery operated, truly portable SPECIFICATIONS Frequency response Play back circuit signal/noise ratio: Erase : Wow & flutter: Recording power consumption : Weight with 12 flash light batteries : Dimensions : 30 - 18 000 c/s +- 1 db (15 ") 40 - 15 000 c/s ± 1 db (7.5 ”) 72 db ASA A - 80 db at 15 ": 0 04 °/o RMS 2-200 c/s at 7.5": 0.06 °/o RMS 2-200 c/s 205 ma (12-25 V) 15 lb. 14.2 x 9.5 x 4.3" Servo loop speed control Motor Servo Amplifier Frequency Meter Tachy- metricai Amplifier SUGGESTED NET USER PRICES IN THE UNITED STATES NAGRA III B s 1045.- NAGAR III NP FOR UP SYNC IN MOTION PICTURES PRODUCTION $ 1095.- SLP SOUND TRANSFER SYNCHRONIZER $295. ASK YOUR NAGRA DEALER FOR NEW ILLUSTRATED BROCHURE, OR WRITE TO: KUDELSKI 6, CH.DE LETANG PAUDEX LAUSANNE SWITZERLAND NAGRA AGENCIES FOR SALES AND SERVICE . NEW YORK CHICAGO Magna Tech Electronic Co. Inc. 630 ninth avenue Film Center Bldg. New York 36 N.Y. Phone : JU 6-7242 Harvey Radio Inc. 103 West 43 rd Street New York 36 N.Y. Phone : JU 2-1500 Behrend Cine Corp. 161 East Grand Avenue Chicago 11 ILL. Phone : Ml 2-2281 DALLAS Audio Acoustic Equipment Corp. 208 South East Street Arlington Texas Dallas Phone : AN 2-3136 Arlington Phone CR 5-2259 LOS ANGELES Ryder Sound Services Co. 1161 North Vine Street Hollywood 38 Calif. Phone : HO 9-3511 Magnetic Recorders Co. 7120 Melrose Avenue Hollywood 46 Calif. Phone : 933-5545 IF IN EUROPE IN MARCH VISIT OUR STAND 29a AT THE photokinQ SHOW COLOGNE (MARCH 1 6-24) AMERICAN CINEMATOGRAPHER, MARCH, 1963 135 HOLLYCAM Biggest Inventory Best Buys Cameras — 35 mm Mitchell Standard, 4 lenses, 2-1000' mags, finder, mattebox, 115V wild motor, Raby blimp, gearhead tripod, cases. Excel¬ lent . $4800.00 Mitchell Single System, 4 lenses, 2-1000' mags, finder, mattebox, single syst. motor, complete RCA sound system incl. RCA galvo, mike, etc., gearhead tripod, cases. Excel¬ lent . $5500.00 Arriflex II, 3 lenses, 2-400' mags, motor, mattebox, cables, case . $ 975.00 Bell & Howell 2709, Unit 1 pilot pin move¬ ment . $ 1 500.00 Bell & Howell 2709 Animation Camera, Unit I fixed pilot pin movement. Acme animation motor, 2-400' mags . $1995.00 Acme Animation Camera, Unit I move¬ ment . $1495.00 Bell & Howell Eyemo Q, 3 good lenses, filters, sunshades, motor, cable, 2-400' mags, turret finder, critical focuser, filter slot, case, titler, crank . $ 650.00 Bell & Howell 71 A, 2" B&H lens, quick-wind, case . $ 99.50 Cineflex 3 lenses, 2-400' mags, case, motor, cables . $ 595.00 Cameras — 1 6mm Bolex Rex, 400' Mitchell mag, 1 1 0V sync motor . $ 675.00 Cine Special, 4-lens turret with 4 "C" mount lenses, 1 00' mag, set of mattes, filters, sun¬ shades, case . $ 595.00 Cine Special I, 4 lenses, 100' maq, case . $ 350.00 Auricon Cine Voice, 400' mag. sync motor, counter, amplifier, galvo, mike, headset, cases . $ 895.00 Auricon Pro-200, complete outfit. Excellent. $ 795.00 One-of-a-Kind Bargains Bowids animation cell punch, like new, list $350.00 . $ 200.00 Mitchell 1 6mm camera blimp, fibreglas $ 650.00 Raby Blimp, for most 35mm cameras. .$ 595.00 Blimp for Cine Special, w/sync motor, follow- focus . $ 295.00 Camare Mike Boom, $300.00 list, like new. $ 185.00 Permacel splicing tape, 66' 35mm — $8.50. 1 6mm . $ 4.50 Zoom lens, 12-1 20mm Angenieux, Arri or "C” mount . $ 820.00 Film — 16mm, 35mm Shortdated — fully guaranteed 16mmxl00 Hi Speed Ektachrome ....$ 7.50 16mmxl00 Super Anscochrome . $ 3.95 16mmxl00 DuPont Superior IV neg...$ 2.25 1 6mmx200 Tri-X negative . $ 3.95 1 6mmx400 Background X negative ..$ 7.95 35mm Plus X short ends, 1 00' & up '64 date. 1000' for . $ 35.00 35mm Double X short ends, 1 00' & up, '64 date. 1000' for . $ 35.00 HOLLYWOOD CAMERA CO. 6838 Sunset Blvd., Hollywood 28, Calif. Phone: HO 6-1318 INDUSTRY NEWS Continued from Page 1 34 454 — COUNT ’EM! — A record turnout of American and Canadian film industry executives and technical men attended the Annual Calvin Motion Picture Workshop in Kansas City last month. Calvin Workshop Attendance Breaks All Records A milestone was reached in the 17- year history of Calvin Motion Picture W orkshops when 454 participants re¬ ported on Monday, February 4th, for the three day sessions. Every part of the country and a vast cross-section of American and Canadian industry were represented in the record turnout. The meeting was held, as always, “"to con¬ sider basic and factual information in the production of motion pictures”. The second record to fall involved a demonstration of speedy color film pro¬ duction service. This year’s attendees were photographed as they arrived, registered and got. down to business in the morning sessions. The opening ses¬ sions were photographed with sync sound. At 10:00 AM, photography ceased and a race with time began be¬ hind the scenes at Calvin Productions. At 4:30 PM, the same day, after going through all the stages of traditional motion picture production and editing, a sound-color release print of an 8l/> minute him was delivered by the lab¬ oratory. At the evening sessions, the workshop guests saw themselves as the subject of the fastest color production ever accomplished. The film was shot on Ektachrome Commercial, work- printed on Kodachrome (5269) and a married sound-release print made on Kodachrome release stock. The light¬ ning schedule was possible because Cal¬ vin possesses all requirements for com¬ plete production and processing within their facility. Featured at the Workshop sessions, in addition to Calvin’s own staff of creative and technical specialists, were Allan Wylie of International Paper Company; Marion Jones of Kimberly- Clark Corporation; Charles Probst of Cook Electric; Robert Fuller of Pills- bury; Gerry Hall of National Cash Register Company; and Bill Fetter of Boeing. The sessions covered every¬ thing from the earliest sponsored mo¬ tion picture to the latest development in the use of computers to produce ani¬ mation in the aircraft industry, o Mitchell Designs New Cameras For U.S. Army and CBS The Army has contracted with Mitchell Camera Corporation for de¬ sign and development of a special precision dual 70mm surveillance cam¬ era for its Aberdeen Proving Ground, Maryland, and Columbia Broadcasting System has ordered an undisclosed number of Mitchell professional 16mm single-system reflex cameras of unusual advanced design. The 16mm cameras, purchased for CBS News cameramen, are similar in concept to Mitchell’s new Mark II 35mm Reflex camera currently up for a Technical Achievement Award at the Academy of Motion Picture Arts and Sciences. The cameras record both picture and Continued on Page 1 84 136 AMERICAN CINEMATOGRAPHER, MARCH, 1963 Originals Only ...PLEASE! SIGHT or SOUND If your editor isn't used for ORIGINAL PRINTS - - then you need the s.o.$. EDIOLA* 16mm ACTION VIEWER AND SOUND READER \ *r\ Model AO 16mm includes Viewer, Optical Sound Reader, Matched Amplifier/Speaker and Sub-base. ONLY $362.24 Write for brochure SIS. PHOTO-CINE-OPTICS, INC. -> SEE OFFERINGS OF EXTRA-SPECIAL VALUES formerly S.O.S. CINEMA SUPPLY CORP. 602 West 52nd St., N.Y. 19 — Plaza 7-0440 — Telegram: “FAX, N.Y.” Western Branch: 6331 Hollywood Blvd., Hollywood 28, Calif. — Phone: 467-2124 ON PAGES 138, 140 and 144 -< - - - AMERICAN CINEMATOGRAPHER, MARCH, 1963 137 1 I BEHIND WHAT THE INDUSTRY’S B ERAS OTING LAST MONTH h I n s NOTE: Asterisks following titles indicate television film productions. I BUYS MILLION DOLLAR INVENTORY! Extra Savings trrfei* ¥nu? SEE ALSO ■ Ull« PAGES 140 & 144 CAMERAS 35MM AKELEY AUDIO from Paramount News with full complement of lenses and matched finders, 12V motor, 1000' magazine, single system less modulator . $1495.00 AKELEY NEWSREEL PANCAKE TYPE with 3 lenses and matched finders, 12V motor, 3 magazines, tripod. $3500 originally . $195.00 BELL & HOWELL 35MM 2709 STANDARD CAMERA with Unit I pilot pin movement, 50MM Baltar f2.3 lens. Astro 75MM f 2 . 3 lens, 2 — 1000' magazines. Excellent condition . $1995.00 BELL & HOWELL 35MM EYEMO Q complete outfit. 8 to 48 fps, spider turret, 3 lenses with filters, sunshades, motor, power cable, 2 — 400' mags., drum finder. List value over $2000 . $795.00 BELL & HOWELL 35MM EYEMO M complete out¬ fit. 8 to 48 fps, compact turret, 3 lenses with filters, sunshades, drum finder. List value over $1500 . $495.00 CINEFLEX 35MM Camera with 4 lenses — Baltar 50 & 75mm, Apogar 35mm, Seminat 6", 1 — 200' magazine, 2 — 400' magazines; 1 — 24V motor with cord; tripod and case; 2 camera cases $795.00 DEBRIE Model K with 3 lenses, 4 — 400' magazines, metal case. Direct focusing . $299.50 DEVRY NEWSREEL TYPE with 2" f3.5 focusing mount lens. Good condition . $99.50 Same, less lens . $69.50 MITCHELL STANDARD, 4 Baltar Lenses, (Focus as required), Mattebox, finder with adjustable mattes, 2-1000' magazines. 110V sync motor; standard tripod; baby legs case, Raby blimp. Excellent condition . $5995.00 WALL single system with 4 lens turret, 2 — 1000' magazines, 3 lenses, 12V DC motor, viewfinder, tachometer, counter, case, $6,580 originally. Serviceable condition . $ 995.00 Reconditioned . $1995.00 CAMERAS 1 6MM AURICON PRO 200 with mattebox sun-shade filter holder. Auto Parallax Finder, less sound, in case. Good condition . $ 395.00 AURICON PRO 200 like preceding with galvan¬ ometer and amplifier, complete . $895.00 AURICON PRO 200 with Zoom Door, Parrish con¬ version 400' Mitchell magazine. Includes Modu- lite Galvanometer, NRS-24 Amplifier . $995.00 AURICON PRO 600 CAMERA Model CM-75 with Auto-parallax Viewfinder, variable density gal¬ vanometer, 3-lens turret, critical ground glass focusing, noise reduction amplifier, 2-600' maga¬ zines, lens and blimping hood, 2 microphones, extra set of tubes, camera trunk and amplifier Like new . $2995.00 BOLEX H-16 with PAN CINOR 60 zoom lens, 26MM f).9 Pizar, prismatic focusser, pistol grip. Very good condition . $249.50 CINE SPECIAL Series I, 25MM fl .9 lens, top viewfinder and case. Good condition . $395.00 LENSES FOR 35MM CAMERAS, some in Eyemo or B&H mounts, Mitchell, Debrie, Akeley mounts, some unmounted, B&L Baltars, Cooke, Zeiss Tas- sar. Astro, Dallmeyer, Goerz, Schneider, Kinop- tic, etc. 24MM up to 20'r at 10^ on the Dollar. Send for List. Prices start at . $15.00 Continued on Pages 140 andl 44 S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd St., New York 19, N.Y.— PLaza 7-0440 Western Branch: 6331 Holly d. Blvd., Hollywood, Calif. ALLIED ARTISTS Stanley Cortez, ASC, “The Long Corridor” (Leon Fromkess Prod.) with James Best. Samuel Fuller, producer-director. BIOGRAPH STUDIOS — New York George Stoetzel, ASC, “Car 54 Where are You?”* CASCADE STUDIOS Henry Freulicii, ASC, Commercials*. Roy Seawrtght, Commercials*. CBS — N.Y. Charles Mack, Leo Rossi, Rorert Clem¬ ens, “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. COLUMBIA STUDIOS Gil Taylor, “Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (Trooper Films; shooting in Europe) with Peter Sellers and George C. Scott. Stanley Kubrick, producer-director. Leon Shamroy, ASC, “The Cardinal" (Gamma Prod.; T’color I with Tom Tryon and Romy Schneider. Otto Preminger, pro¬ ducer-director. Stelvia Massi, “Gidget Goes to Rome” (Jerry Bresler Prod.; Eastman color; shoot¬ ing in Rome) with James Darren and Cindy Carol. Paul Wendkos, director. Charles Wei.rorn, Prank Carson, “Em- • sfc pire Gordon Avil, ASC, Commercials*. Jack Marta, “Route 66”*. Robert Wycoff. “Dennis the Menace’ * ; Charles Lawton, ASC, Commercials*. Burnett Guffey, ASC, Commercials”*. Christopher Challis, “The Victors” (High¬ road Prod.; P’ Vision; shooting in England) with Vincent Edwards and Christine Kauf- mann. Carl Foreman, producer-director Richard Rawlings, “Higgins”*. Fred Gately, ASC, “Hazel”* Gert Andersen, ASC, “Donna Reed Show”*. DESILU — Cahuenga Studio Henry Cronjager, “The Joey Bishop Show”*; “Trader Brown”* (pilot). Robert deGRASSE, ASC, “The Danny Thomas Show”* ; “Dick VanDyke Show”*. Maury Gertsman, ASC, “I’m Dickens — He’s Fenster”*. Sid Hickox, ASC, “The Andv Griffith Show”*. DESILU — Culver City Lothrop Worth, ASC, “The Real Mc¬ Coy’s”*. Charles Straumer, “The Untouchables”*. DESILU — Gower Glen MacWilliams, ASC, “Fare Ex¬ change”*; “Careful My Love”* (pilot). Maury Gertsman, ASC, “The Lucy Show”*. Jed Voighti.ander. “Ben Casey”*. FILMWAY STUDIOS — New York Morris Hartzband, ASC, “The Defenders”*. FOX WESTERN AVENUE James Van Trf.es, ASC, “Dobie Gillis”*. GENERAL SERVICE STUDIOS Lester Shore. ASC, “The Beverly Hill¬ billies”*. Robert Moreno, “Adventures of Ozzie & I Iarriet’*. INDEPENDENT Oswald Morris, “Ceremony” (Laurence Harvey Prod.; UA release; shooting in Spain) with Laurence Harvey and Ross Martin. Laurence Harvey, director. Joseph Biroc, ASC, “Promise Her Any¬ thing” (Noonan-Taylor Prod.) with Jayne Mansfield and Tommy Noonan. King Dono¬ van, director. Alan Stensvold, ASC, “Here’s Las Vegas” (Producers Equity Corp. ; UA release; Pathe color) with personnel of Las Vegas shows. Mitchell Leisen, director. Joseph Brun, ASC, “International Show¬ time”*. Sol Negrin, “Dorothy Killgalen Show”* (New York). William Mellor, ASC, “The Greatest Story Ever Told” (Geo. Stevens Prod., UA release; P’Vision & Cinerama in Technicol¬ or) with Max Van Sydow and Charlton Heston. George Stevens, producer-director. Joseph La Shelle, ASC, “Irma La Douce” (P’Vision & Color; Mirisch-Edward Alper- son Presentation) with Jack Lemmon and Shirley MacLaine. Billy Wilder, director. Conrad Hall, “Stoney Burke”* (Daystar). Philip Lathrop, ASC, “The Pink Panther” (Edwards-Mirisch Prod.; UA release; Super- Techirama 70 & Technicolor; shooting in Rome) with David Iven and Peter Sellers. Blake Edwards, director. Joe MacDonald, ASC, “Kings of the Sun” (Mirisch Prod.; UA release; P’Vision & DeLuxe color; shooting in Mexico) with Yul Brynner and George Chakiris. J. Lee Thompson, director. Robert Krasker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain) with Sophia Loren and Stephen Boyd. Anthony Mann, director. LA BREA STUDIOS Bobir i Hager. ’"Perry Mason”*. M-G-M STUDIOS Jack Hildyard, “Very Important Persons” (P’Vision & Eastman color; shooting in England) with Elizabeth Taylor and Richard Burton. Anthony Asquith, director. Charles Lang, ASC, “The Wheeler Dealers” ( Filmways Prod.; P’Vision & Metrocolor) Continued on Page 183 133 AMERICAN CINEMATOGRAPHER, MARCH, 1963 vecnon ,s a qua °H of F&B's Ren,ai ■ ■ ■ cameras, lenses, recorders, Moviolas equipment—or w,A„ \.l0la y°u F&B’s rei '* ,s M°RE reliable happen ... we planned I ^ a “rps of top te tools and p recisinn priw m ■ frecisi°n ma< ‘Y maintain all this ec P determination to in * Rental Ea..ir, - . Chief Engineer anrt °°m No,,°' m Camera Room ’and Pff°rtn0n of 0Ur Rental Departments^) %ur °ther Equipment, LJghtjL i rde r0Und went, Editing^#, li ,Gnp Equip- ment, as we// as P °ie,^,0n Equ/p- Machine Shop and w y equ/pped staffed by 31 experts E and Repair service. perts< tec/in icians, and tor all departments- personnel— a// at Serving the World’s Finest Film Makers brand new — . Ar;,;,;.";ro5 . bncmiicMj . (A/I Arriflexes equipped with TTH K 35mm * Arriflex M 16mm «“«»nS.Pro600 . s„«, 1200 — N *'*“ M*« • “«««• c„b o.,„”P'.,G"'co,‘,"‘ Write for complete catalog venerators of rental equipment. — FLORMAN & BABB, INC. 68 WEST 45th STREET, NEW YORK 36, N.Y. • MU 2-2928 Rental & Service Dept.: 304 W. 54th St., N. Y. 19 AMERICAN CINEMATOGRAPHER. MARCH, 1963 1 B CORKERS MARKET! ★ Extra Values CAMERA ACCESSORIES AURION BLIMP for Cine Special less motor. Excellent condition . $295.00 FOX MOVIETONE 4-WHEEL DOLLY. Takes heavy cameras similar to Houston Fearless . $395.00 AIRCRAFT 35MM 1000' Magazines, double claw transport mechanism and aperture gate. Cost Govt. $500. New . _...$ 99.50 BELL & HOWELL 35MM 400' magazine ....$ 39.50 BELL & HOWELL 35MM 1000' magazines.. $ 69.50 EK CINE SPECIAL 100' Chambers . $ 99.50 AKELEY GYRO Tripod with bowl and heavy duty legs. Good condition . $495.00 S.O.S. VERSA CRANE extends 9', camera position adjustable 18" to 96" from floor. Includes rub¬ ber tired dolly, 360° rotation. Value $995; New . ^.$395.00 ANIMATION & SPECIAL EFFECTS SPECIAL EFFECTS OPTICAL PRINTER. Acme Cam- era and Projector Movements throughout, projector does 16/35MM, camera 35MM only. Includes 16 to 8MM reduction. Handles all trick printing. Cus¬ tom built for $25,000. Excellent cond. $9995.00 BELL & HOWELL 35MM Animation Camera with 2 lenses, 2-400' or 1-1000' magazine. Unit Eye shuttle . $1495.00 LIGHTING EQUIPMENT BUY OF A LIFETIME— JUST AS REMOVED FROM FOX MOVIETONE STUDIOS. Every unit complete but needs cleaning and repainting — all service¬ able. Crating Extra. Bardwell & McAlister Single Broads . $ 14.95 Bardwell & McAlister Double Broads ....$ 22.50 Century Quadlites (4 sockets) . $ 19.95 Mole Richardson Jr. 2000W Cast Aluminum Spots . $ 35.00 Mole Richardson Sr. 5000W Cast Aluminum Spots . $ 59.50 M-R Molarc 120 amp. Arc Spots on rolling stand with grid . $249.50 M-R Molarc 65 amp. Arc Spots on rolling stand with grid . $ 99.50 M-R and B & M Pedestals . . $ 19.50 Barndoors, Snoots, Diffusers, Etc . $ 2.50 RECORDING EQUIPMENT AURICON RT-80 VA Recorder less amplifi¬ cation . $295.00 CUSTOM BUILT 17.5MM Synchronous Magnetic Film Transport with torque motor, feed take-up, counter balanced flywheels, dashpot filter. Center track record and playback heads; was used mainly as a dubber. Requires repairs. Closeout $149.50 CUSTOM BUILT 1 6MM Synchronous Magnetic Re¬ corder, torque motor feed and take-up, counter, edge track erase, record and playback heads. Includes Magnecord PT7P record and playback amplifier with 3 microphone inputs. Recorder has bias oscillator built in. $1000 value. Requires slight repairs . $349.50 SINGLE SYSTEM Optical Sandwich Recording Unit for Wall or B & H 35MM Camera. Includes gal¬ vanometer. Easily converted to magnetic $495.00 WESTREX PERFOTAPE SYNCHRONOUS RECORD¬ ING SYSTEM. Most Portable made. !/t" perfor¬ ated tape magnetic recorder RA 1591 with West- rex RA-1592 two position Mixer; Dialogue Equal¬ ization; VU Meter; Headset monitoring 600 ohm output; DC on filaments; Headphones; Intercon¬ necting cables; 2-100' mike cable extensions and 12-1200' rolls of perforated magnetic tape. Com¬ plete, instruction manuals. Excel, cond. $2500.00 MAURER TYPE 10 OPTICAL RECORDING SYSTEM with 2-400' magazines; Model E 16mm Recorder; Model H Galvanometer area or density negative or positive twin track; Model 60 amplifier built- in noise reduction; and power supply, voltage regulator. Headphones, Cables. Completely recon¬ ditioned by factory short time ago. Excellent condition. Present cost $14,500 . $5995.00 See Also Pages 138 and 144 S.O.S. PHOTO-CINE-OPTICS, Inc. 602 V/est 52nd St., New York 19, N.Y. — PLaza 7-0440 Western Branch: 6331 Holly’d Blvd., Hollywood, Calif. WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES DOUBLE SYSTEM 16MM PROJECTOR— The Siemens 16/16 16mm sound projector is a combination machine for screening both conventional single¬ system sound films and films having sound on separate 16mm sprocketed magnetic film. It may be readily utilized as a preview projector by putting work print on picture-projector side and a 16mm sound track film on the other. Multilingual sound tracks are feasible in a similar way. Also, the original camera reversal film can be threaded on the picture-projector side and the original sound recording mounted, fully interlocked, on the second channel. List price is around $1,795. Distributor is Arriflex Corporation of America, 257 Park Ave. South, New York 10, N. Y. ZEISS PLANARS FOR THE ARRI 16 — Owners of 16mm Arriflex cameras will be interested in the new series of Zeiss Planar lenses now available for this camera. Rated among the best and sharpest lenses now available for 16mm professional work, the Planars are available in 16mm, 25mm Continued on Page 144 140 AMERICAN CINEMATOGRAPHER, MARCH, 1963 Wide flood or Medium flood ... with only one housing, fingertip controlled! The new, versatile, 2-WAY ‘DUA This new concept provides you with professional studio lighting versatility and performance of a magnitude heretofore unavailable. Change to WIDE FLOOD or ME¬ DIUM FLOOD in seconds, as your requirements change. Lighting is smooth and even, with no hot spots, band¬ ing or filament pattern. Quartz-iodine lamp will not dis¬ color or dim with age; newly designed reflector will not tarnish or discolor. Small, light-weight, rugged and low cost. Units operate from 110-120 volts A.C. or D.C. CONSTANT COLOR TEMPERATURES are maintained throughout the exceptionally long life of lamp. CONVERTER IS NOT REQUIRED! DUAL-650 (650 watts, 5.4 amps) more than 2000 watts of studio light! DUAL-1000 (1000 watts, 8.3 amps) more than 5500 watts of studio light! 15-DAY UNCONDITIONAL FREE TRIAL! Mail coupon for literature and/or 1 5- day FREE TRIAL I I I ■ I ■ I ■ To: ColorTran Industries, 630 S. Flower St., Burbank, Calif. Ac-3 [“1 Send complete literature on the Quartz-King “DUAL" Q I would like to try the ( ) Dual-650, ( ) Dual-1000 per your 15-day FREE TRIAL offer. Name. .Title. Company. Address — City _ Zone . State . My Dealer is. □ Send name and address of my nearest ColorTran dealer. - I i tdl AMERICAN CINEMATOGRAPHER, MARCH, 1963 14? GIGANTIC SALE See also pages 138 & 140 for Other Extra Specials CUTTING ROOM SUPPLIES Famous WESTREX EDITER Machines (similar to Moviola) formerly $4500. Excellent condition; one of the 16mm units is new. 2 — 16mm Editers, each $2250 00 4 — 35mm Editers, each . $1995.00 MOVIOLA Preview combination 16/35MM. Com¬ posite 35MM 4"x6" picture and sound coupled to 16MM optical soundhead and special 1 6MM pro¬ jector, amplifier and speaker on rolling stand. Serviceable . $875.00 MOVIOLA 16MM Model ULPVCS Block, Preview sound one side, composite sound and picture on other, magnetic/optical. Excellent cond. $1995.00 MOVIOLA 1 6MM Model ULCS Black, sound and separate picture on rolling stand. Excellent con¬ dition . - . $1395.00 MOTION PICTURE PRINTERS ACE 35MM Soundtrack Printer on pedestal, oper¬ ates with any picture printer. Excellent condition. Send tor brochure . $295 00 BEIL & HOWELL Printer Model D continuous contact 5-way aperture with original style lamp- house. Excellent condition. From . $1495.00 B & H 35MM Main Sprockets for D Printers. $500 value. Now . $195.00 DEPUE Microfilm Printer 16/35mm. Excellent con¬ dition) . $1795.00 DEPUE double head continuous contact 35MM sound and picture. Originally $6600. Excellent condition . $1095.00 DUPLEX AUTOMATIC 150 Scene Light Change Boards. $1500 value (plus $20 crating). Send t or brochure . . . - . $195.00 DUPLEX 35MM Step Printer, 2 machines in one. Excellent corTdition (plus $35 crating). Send for brochure . $295.00 PROCESSING EQUIPMENT BRIDGAMATIC KPL 1 6MM negative/positive proc¬ essor, new showroom sample. Never used $995.00 GPL 401 Hi-Sped 16mm Spray Processor, nega¬ tive/positive. Originally $8000; Recond, $2995.00 FILMLiNE R 15 TC reversal/negative/positive ma¬ chine with refrigeration, bottom drains, air com¬ pressor, cushion-blo squeegee, variable speeds up to 1200' per hour. Good condition .. $2450.00 HOUSTON-FEARLESS Model 1, 16MM negative/ positive, variable speed. Reconditioned $895.00 MAMMOTH HOUSTON Color Processor 16/35MM Ansco/Ektachrome, negative/positive up to 1200' per hour, 16 stainless steel tanks. Full tempera¬ ture control. Recirculation, air supply 7 squee¬ gees. Cost Cuban Govt. $36,000. Rebuilt like new . $11,995.00 HILLS 35 MM Daylight Operating Processor with recirculation pump, mixer, automatic hot and cold temperature controls, blower and alarm systems. Cost RCA $7000. Excellent condition . $2495.00 Many other EXTRA SPECIALS included in this Gigantic Sale. Send for latest issue of S.O.S. Photo News _ S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd St., New York 19, N.Y.— PLaza 7-0440 Western Branch: 6331 Holly’d. Blvd., Hollywood, Calif. WHAT’S NEW IN EQUIPMENT, ACCESSORIES, ETC. Continued From Page 140 and 50mm focal lengths and maximum apei’ture of F/2. List price is $225.00 each. Available from Arriflex Corporation of America, 257 Park Avenue South, New York 10, N. Y. PRODUCES AUDIBLE EFFECTS — Sound recording studios and inde¬ pendent industrial film producers now may produce sound effects equalling those heard in major film productions. Mole-Richardson Company, 937 No. Sycamore Ave., Hollywood 38, Calif., is marketing what it has trade- named “Windhowler” — a compact machine with accessories capable of producing a wide range of sound effects for motion pictures. So if you need the sound of wind, a gentle breeze, a hurricane, etc., for some of your forth¬ coming films, the “Windhowler” can produce them with surprising authen¬ ticity. The numerous sounds are produced by means of various combinations of resonators, shown in photo. Sound volume is regulated by rheostat. The equipment may be used “live” on stage, or as a means for recording re¬ quired sounds in advance of filming. _ •> lAKL _ [SOUND DIRECTOR CAMERAMAN PRODUCED BY DATE EXT NT REMARKS SLICK CLAPSTICK-AND-SLATE — There’s a new look in clapstick- slates these days that eclipses the conventional black-and-white slate, used almost since the advent of sound films. Its the CECO Quick Slate, made of white lucite and which utilizes a black grease pencil as the mark¬ ing medium instead of chalk. Pencil is permanently attached to slate by means of a pull-out chain with automatic return. A special eraser is pro¬ vided for quick wipe-off of penciled data and there’s a clip on back of slate to hold it when not in use. A novel feature is the use of imbedded magnets to hold clap-sticks in closed position between takes. Measuring 914" by 11", the slate lists for $24.95. Continued on Page 146 T44 AMERICAN CINEMATOGRAPHER, MARCH, 1963 Going one up on the Bolex H-16 Rex is almost impossible. But Paillard found three ingenious ways to refine viewing, focusing and fade control. The new reflex viewfinder gives you a life-size 1:1 image with the standard 25mm lens. The payoff is in needle-sharp focusing. The variable shutter is engraved to indicate four positions from fully open to fully closed. And when the shutter is not fully open, a new yellow safety signal pops into the reflex viewer to tell you so. Fade-ins and fade-outs are precisely controlled. The new eyepiece is adjustable from plus three to minus three diopters to suit the vision of the individual. If you’re an experienced moviemaker, you probably know the standard features that have made this Bolex a global favorite. Otherwise, better get to a Bolex dealer straightaway. Why the matte box? Just a reminder that it is one of the most versatile Bolex accessories— for titling and special effects. Can you imagine anything Bolex H-16 Rex-2 can’t do? Tell us. $500 with Lytar 25mm f 1.8 lens. Paillard Incorporated, 100 Sixth Ave., New York 13, N.Y. In Canada: Garlick Films Ltd., Toronto, bolex Bolex H-16 Rex-2: three-upmanship AMERICAN CINEMATOGRAPHER, MARCH, 1963 145 Accent WHAT’S NEW Continued From Poge 144 If you want to make a movie of a rescue, turn on the new G-E Portable Cinema Light! Cinema Light is the lightest weight, quickest to recharge, lowest cost portable movie light you can buy. Weighs just 8V2 pounds, packs power enough to shoot more than one roll of film. Full recharge in an hour; half-charge in 16 minutes. Runs cool. And interchangeable wide-angle, nor¬ mal or spot beam lamps make totally mobile Cinema Light a versatile professional movie-making tool. See your dealer for demonstration and free 8-page guide with full details. fivgress is Our Most important Product GENERAL A ELECTRIC and take movies anywhere U. L LISTED ! Attach your movie Tripod Triangle The “Tri-Down” is an improved tri¬ pod triangle offering faster set-up and take-down. Instead of conventional hinges a sturdy pin-and-clevis construc¬ tion is used at the center. An additional optional feature are the “Tri-Down” clamps in which unthreaded holding pins drop into place instantly and are secured by a twist of a set-screw. Prod¬ uct is available in either plain or black anodized aluminum from Birns & Saw¬ yer Cine Equipment, Inc., 6424 Santa Monica Blvd.. Hollywood 38, Calif. 1000 Assorted Characters And that’s a lot of characters for a set of title letters! The DP-90 set pic¬ tured above contains over 1000 charac¬ ters in various sizes and type styles, in both upper and lower case plus bold condensed gothic letters. All this makes possible composing film titles with a mark of creativity and imagination. Completing the outfit are a variety of ornaments, sandwich glass panels, translucent panel for rear projection, colored back-grounds, stands and target sheets. Letters and ornaments are pres¬ sure-sensitive-backed for easy adhesion to any surface. Hernard Mfg. Co., Inc.. 21 Sawmill River Rd., Yonkers. N. Y. 146 AMERICAN CINEMATOGRAPHER, MARCH, 1963 f/i rv# I t'/: v*v: i>> . V-J i? M- & v* •?.'l * /* •/»' I SI Vn ?*■[ SHOOT WITH 70-DEGREE EFFICIENCY AT SUB-FREEZING TEMPERATURES WITH THESE WINTER LOCATION BASICS ]K> HEATED BARNEY AVAILABLE FOR ALL CAMERAS, 110V A.C. AND 220V A.C. I® PORTABLE ROTOR POWER-PAK HEAVY DUTY 70 AMP. /HR. BATTER¬ IES, 7V2 AMP. OUTPUT, 9 HOURS CONTINUOUS OPERATION FOR CAMERA, BARNEY, HOT PLATE AND LAMP. .* oTot ““•JlOV REVERTERS AND POWER STABILIZERS FOR 115/60/1 220/60/3 OPERATION. AUXILIARY INFRA-RED TO HEAT ZOOM LENS, TRIPOD BASE AND OTHER UNPROTECTED EQUIPMENT. FINEST MAINTAINED RENTAL EQUIPMENT Rentals and sales . . . cameras, dollies, sound, editing, projection, lighting and grip equipment. camera service center, ine. sales affiliate • CAMERA SALES CENTER CORPORATION 333 WEST 52nd STREET • NEW YORK 19, N.Y.-PL 7-0906 AMERICAN CINEMATOGRAPHER, MARCH, 1963 147 Technical Questions and Answers Q# _ W hile the term “ filter factor is not entirely unfamiliar to me, / only re¬ cently came up against the problem of having to know exactly what it means and how to use it. It's funny how little straightforward , understandable infor¬ mation one can get from an associate when you put the question to him on technical subject of this kind. There¬ fore, will you kihdly explain the mean¬ ing and the purpose of filter factor as concisely and as clearly as possible for a “ freshman ’ cinematographer ? — J. R. R., Oakland, Calif. ‘ A. - Since a filter absorbs part of tbe light which would otherwise go towards exposing the film, its use involves an increase in exposure corresponding to the proportion of the effective light ab¬ sorbed. The number of times the ex¬ posure must be increased over the ex¬ posure without a filter is known as the filter factor. The filter factor depends principally on the absorption characteristics of the filter, the spectral sensitivity of the pho¬ tographic material, and the spectral composition of the light by which the subject is illuminated. Factors to sun¬ light for most of the filters commonly used are given in the specification sheets which film manufacturers make available for the black-and-white cam¬ era negative films. The filters used for obtaining night effects on day exteriors, with panchro¬ matic film, do not have definite factors since the exposure increase required varies with the degree of night effect to be produced. The foregoing is quoted from “East¬ man Motion Picture f ilms For Profes¬ sional Use,” by Eastman Kodak Com¬ pany, and may be considered authentic and concise information on the subject. Continued on Page 150 "HOF Print Vour Titles with only $495 TEL-Animaprint® HOT PRESS Prints Dry & Fast S.O.S. PHOTO-CINE OPTICS, Inc. 602 West 52nd St., New York 19 — Plaza 7-0440 Western Branch: 6331 Holly’d Blvd., Hollywood, Calif. Write for brochure new! FILMLINE S-60 16/35MM NEG/POS CORPORATION MILFORD, CONNECTICUT MAJOR BR£AKTHRGLi(»H Recent Filmline Installations: • N. A. S. A. Huntsville, Ala. • Reeves Sound, N. Y. C. • Thiokol Chemical Co. • WHYN-TV, KNDO-TV, WFMY-TV • Moral Rearmament Dept. AM-63 More Filmline Features: • Film chamber doors are completely removable for easy access to entire chamber (Not found in competitive models of similar class) • Processing section is stainless steel • Impingement dry box • Precision temperature controls with indicating pilot lights for cool¬ ing & heating . 316 Stainless steel pumps for developing & hypo solution • Water temperature regulator . Dual air squegee • Feed in take up elevators for continuous operation • Replenishment flow meters . Manual & automatic brake for film supply . Automatic electrical torque motor take-up • Variable drive with film speed tachometer . Precision Thermometer & footage counter. For the full story on the S-60 write today to: The S-60 is Filmline’s newest Spray Processor. It is a friction drive processor, guaranteed not to break or scratch film. Filmline’s exclusive overdrive film transport system is so accurate it makes this guarantee possible. What’s more film can be stalled 100% in spray chambers without altering footage. Absolute control of footage in each chamber insures sensitometric quality control and consistent development. And Filmline processors (unlike competitive makes) have lower film assemblies that are adjustable and remain captive in the position placed. Position of lower assemblies can be easily monitored and adjusted by indicator rods at the top of each chamber. The S-60 is the specific answer to every labo¬ ratories need for a Spray Processor — because it outperforms machines costing twice as much. Look into the Filmline S-60 — It Will Pay You. IN SPRAY DEVELOPING • DEVELOPS NEGATIVE FILM AT 35 FPM • DEVELOPS POSITIVE FILM AT 60 FPM 1 48 AMERICAN CINEMATOGRAPHER, MARCH, 1963 MOLE RICHARDSON WHEN FILMING. IN EUROPE FROM^THE SERVICES OF THE LARGEST EQUIPMENT ORGANISATION LIGHTING ENTIRE M. R. RANGE COLORTRAN and LOWEL-LIGHTS GENERATORS CAMERAS • DOLLIES CRANES GRIP- and SOUND- Equipment TRANSPORT-LABOUR TECHNICAL-CONSULTANTS and SPECIALISED-SERVICES WRITE DIRECT FRANCE — 28-28 bis Rue Marcelin-Berthelot, Montrouge-Seine Cables: Molereng-Paris General Manager: Rene Schell ITALY — Via del Velodromo 68-74, Roma Cables: Molereng-Roma General Manager: George Gardner GERMANY (Austria) HofangerstraBe 78, Munchen, 8 Cables: Molereng-Munchen General Manageress: Gisell Schneeberger SPAIN — Alcala 32, Madrid, 14 Cables: Molereng-Madrid General Manager: Gregorio Sacristan ENGLAND — Chase Road, London, N.W.10 Cables: Molereng-London General Manager: John A. Page AMERICAN CINEMATOGRAPHER, MARCH, 1963 149 FLj LL RANGE QUESTIONS & ANSWERS Continued From Poge 148 for demanding cinematography . . . MITCHELL 16mm, 35mm and 65mm Standard and High-Speed Mitchell cameras for TV, theatrical and industrial photography, and 70mm Mitchell cameras are avail¬ able to your individual requirements. Mark II 35mm Reflex studio camera is now in use in major studios throughout the world. Underwater ... or Outer Space are extremes calling for special cameras and versatile equipment to assure positive and accurate results for engineer¬ ing evaluation. Mitchell cameras and complete tracking units designed to your specifications are available to meet the most demanding motion picture requirements. SPECIAL CAMERA DESIGNS The experienced Mitchell team offers 45 years of experience in design and engineering projects for special motion picture equipment. The most advanced group of camera engineers, production and test technicians in the motion picture industry is available to meet your special requirements. 85% of the professional motion pictures shown throughout the world are filmed with Mitchell cameras. Your inquiry is welcomed. Write Sales Department for the Mitchell catalog. MITCHELL CAMERA CORPORATION 666 W. HARVARD ST., GLENDALE, CALIFORNIA 521 Fifth Ave., New York, N. Y. NOW REPRESENTED IN OVER FORTY-FIVE COUNTRIES THROUGHOUT THE WORLD. NAMES OF AGENTS IN YOUR COUNTRY ON REQUEST. Q. - In planning our forthcoming production assignment, which will be in 35mm Eastman Color, we have become involved in a hassle regarding the ad¬ visability of incorporating a number of optical effects, including lap-dissolves, fades, and three superimposed titles. Some of us have experience in produc¬ ing such effects in the camera when working in 16mm, but moving up to 35mm color we are faced with doing the effects in what we understand is "She more professional way' — via A&B roll editing and printing. Although we have read about A&B roll editing in various issues of your publication , we are as yet totally in¬ experienced in the technique. Will you therefore kindly explain how pursing the A&B route will be more advan¬ tageous to us? — A. E. J„ Akron. Ohio. A. - If your production is to be some¬ thing special where quality in ihe prints is of major importance, then A&B roll printing certainly is to he recommend¬ ed. The least expensive method of pro¬ ducing release prints is printing direct from the edited 35mm color camera negative — with optical dupe sections cut in to provide effects. However, this provides no protection for the original. To provide protection, particularly where print requirements will be large, an intermediate positive is made from the camera negative. For the most satisfactory screen qual¬ ity of optical effects, the 35mm camera negative should be cut in A&B rolls so that the color interpositive will be a single roll printed from the original, with all the effects incorporated. Tim¬ ing and color corrections are made at the same time to produce a fully-cor¬ rected color interpositive. The advantage of the A&B roll meth¬ od of printing effects is obvious: All printing is from the original negative, with no intercut dupe sections. Thus the prints will screen the same quality from beginning to end, whether straight-cut or joined by effects. ■ Need professional advice on a picture making problem? Readers' questions will be answered by mail when accompanied by stamped envelope for reply. Questions and answers considered of interest to readers will be published here. 150 AMERICAN CINEMATOGRAPHER, MARCH, 1963 Better Buy...Birns & Sawyer STOP WATCHES Shows film footage for 16 and 35 mm Big, BIG, block numbers you can read without squinting. A real Stop Watch designed as a Stop Watch with a specially designed Stop Watch case and works. Easy, finger tip operation. Shock proof, water resistant, dust resistant, anti magnetic, self compensat¬ ing. Unbreakable main spring. Guaranteed one year. Catalog 2624 — Filmeter . $1 5.95 Catalog 2625-Studio . $24.95 Holding pins drop into place , fast. Lock with a twist of the set screw. TRI-DOWN* Triangles New, advanced design uses sturdy aluminum pin and clevis construction. No hinges to sag or wobble. Works precisely and efficiently. Folds compactly. Laughs at the years. Fast, fast Tri-Down* Clamps eliminate slow, time-consuming threads. Holding pins drop into place, fasten with a twist Catalog 2110— Triangle with Tri-Down Clamps. . . .$36.00 Catalog 2111— Triangle without Tri-Down Clamps. .$26.00 Catalog 2112-Shiny black anodized aluminum triangle with Tri-Down Clamps. . . .$39.00 INSTANT SPLICER CIN-AR ADAPTER Converts Arri Lenses for “C” mount cameras. One lens fits two cameras. Saves money. Catalog 1 1 50 — Cin-Ar Adapter . $16.50 Accessories for ARRI Rugged, but precision engineered for accuracy. Tooled from solid aluminum bar stock. Won’t break if you drop it. Anodized in eye resting green. No paint to chip or peel. Individually turned brass pegs are accurately jig spaced. Tip: Keep an Instant Splicer by each projector. Broken film can be mylar spliced, returned to service in seconds. Catalog 2668— 16mm Splicing Block . . $ 9.50 Catalog 2669— 35mm Splicing Block . $12.50 Extension Tube Changes focal length of Arri lenses. Several Tubes can be combined for close-up work. Makes camera more versatile. See your local franchised dealer, or write. Catalog 1146-Extension Tube for Arriflex Lens. .$18.00 BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW In Seattle: Birns & Sawyer Northwest • 117 Warren Ave., North • AT 2-7332 AMERICAN CINEMATOGRAPHER, MARCH, 1963 151 U. C. M. for MOTION PICTURE FILM PRINTERS Finest Precision Equipment For Every Porfessional Need ► WRITE FOR DETAILED SPECIFICATION SHEETS ON THESE PRINTERS - OPTICAL REDUCTION-ENLARGING PRINTER Reduces 35mm to 16mm; enlarges 16mm to 35mm — color or B&W. 1200-ft. capacity. Speed 1400 to 3500 ft. per hour. 35mm-16mm model . $2,475.00 16mm-8mm model . 1,775.00 Comb. 35mm continuous . 1,945.00 Cineradiograph, 35/l6mm . 2,275.00 16MM-35MM MICRO PRINTER Continuous contact printer for unperforated film. 1200-ft. capacity; prints 1600 ft. per hour. 115-volts, 60 cys. A.C. $920.00 STRIP FILM PRINTER — 35MM OR 16MM Custom built to assure perfect registration. Accommodates looped negatives or rolls up to 1200 feet. Maximum speed 1600 ft. per hour. $1,325 8MM-16MM CINE FILM PRINTER Improved model. Makes sharp, brilliant copies of color or B&W cine films. A.C. operated, no batteries required. Two rheostats afford range of 10 printer light densities. $195.00 DEVELOPING TANKS AND REELS Stainless steel tanks and reels for process¬ ing either color or B&W films. Si Of view Features exclusive Uhler Plastic Separator strip which permits maximum distribution of solutions over film surface when used with wire processing reels. Complete, $50.00 Separate Components: 16mm tank . $16.95 8mm tank . 1 1 .95 16mm reel . 18.95 8mm reel . 12.95 16mm separator strip . 14.95 8mm separator strip . 6.95 COMBINATION 8MM AND 1 6MM CONTACT PRINTER For printing sound and picture, single or double system, separately or simultaneously. Capacity, 1200 ft. Speed 3000 ft. per hr. Perfect prints assured. $1,777.00 1 6MM CONTINUOUS PRINTER Improved comb, printer for B&W, color, with single- or dbl. -system sound tracks. Prints pic¬ ture & sound simultaneously. Capacity 1200- ft.; speed to 1600 feet per hour. $1,295.00 ALL PRICES F. O. B. DETROIT, MICHIGAN 15762 Wyoming Avenue • Detroit 38, Michigan Phone: UNiversily 1-4663 Cable Address: UHLCIMA TERMS: 25% deposit with Domestic Orders. Letter of Credit must accompany Foreign orders c.i.f. Destination established in National Bank of Detroit. 152 AMERICAN CINEMATOGRAPHER, MARCH, 1963 IN THE EAST... IT'S MOVIELAB t FOR COLOR ANO BLACK & WHITE DEVELOPING COLOR NEGATIVES • ADDITIVE COLOR PRINTING • REDUCTION PRINTING INCLUDING A & B • COLOR SLIDE FILM PROCESSING • BLOWUPS • INTERNEGATIVES . KODACHROME SCENE-TO-SCENE COLOR BALANCED PRINTING • EKTACHROME DEVELOPING AND PRINTING - REGISTRATION PRINTING • PLUS COMPLETE BLACK AND WHITE FACILITIES INCLUDING CUTTING ROOMS, FILM AND TAPE VAULTS AND THE FINEST SCREENING FACILITIES IN THE EAST MOVIELAB BUILDING, 619 WEST 54TH ST. NEW YORK 19, NEW YORK . JUdson 6 0360 Some of the challenges involved in producing Training Films For Fire Fighters Saving flaming sets for a second and third take was only one of the many problems faced by Iowa State University film makers in producing a training film on fire fighting techniques. By D. FREDERICK COOK CAMERAMAN AND DIRECTOR working close to fire for dramatic shots of burn¬ ing school. Using 2-way radio intercom, director supervises fueling of flames and instructs other cameramen covering scene fiom other setups. the director shouted. The cameraman flipped off the switch, threw his headgear to the ground, and began wiping wa¬ ter spots from his lens filter. Ev¬ eryone on the set relaxed — except the actors. Sweaty, grimy and de¬ termined, they continued as if they hadn’t heard the director’s order. It was a good take. But there wouldn’t be any more takes if the actors quit now. For this was a training film on fire-fighting tech¬ niques. And the “set” was going up in smoke and flames. “More pressure on this line,” one straining “actor” yelled. An¬ other raced up a ladder to begin chopping a hole in the roof. And the actors, all members of the Iowa State University Fire Serv¬ ice Extension staff, spent three hours extinguishing the fire before filming could continue on the next scene. The fire had spread to the next room, raced up an interior wall, and completely engulfed the attic. Saving the set for another take is only one example of the many unique problems that can sudden¬ ly confront the film maker who is working on such a highly tech¬ nical subject as fire-fighting. There are many more, each interesting and challenging. Let’s take a look at a few of these unique problems that have confronted the Iowa State University Film Production Unit staff during its production of fire training films. Although the principles are related directly to fire-fighting films, they also apply to other technical and specialized filming areas. If quality training films are to 1 54 AMERICAN CINEMATOGRAPHER, MARCH, 1963 be produced in specialized areas such as fire fighting, there must be a complete understanding be¬ tween the film maker and fire serv¬ ice technician or specialist who is serving as technical advisor. The technical advisor on the film must be acquainted with the many production problems in¬ volved in film making. Having this background knowledge, such a specialist can help the film mak¬ er produce a clearer interpreta¬ tion of the subject. Must Know Subject Before the film maker starts, he must thoroughly understand the technical information he is pro¬ posing to present on film. If he is going to make a film on fire-fight¬ ing techniques, he will be wise to watch the techniques applied in fighting full-scale accidental fires. He may even go one step farther and try to gain additional knowl¬ edge through actual fire-fighting experience. For example, if the film maker really wants to find out how a wide fog stream of water protects the nozzleman from the heat of a fire, there is no better way to find out than to stand behind such fog and then turn it off. Observation and experience will bolster the theoretical background the film maker has carefully obtained from the technical advisor. It gives him a better chance to an¬ alyze existing problems and de¬ velop a more comprehensive and accurate script. And the script has crucial im¬ portance. With an unpredictable subject like fire, it may seem like a script would be a waste of time. But this is not the case. An even more unpredictable subject is fire-fighting, all the more reason why the subject matter should be fully scripted before production begins, because it provides a com¬ mon ground on which to proceed with the production and helps add continuity to the finished film. It allows the film maker a chance to integrate his own ideas, the Continued on Page 180 lillililpli CAMERA, MOUNTED ON elevated hydraulic boom of power company service truck, covers fire fighting operation from h.gh vantage point to effectively show method of attacking a large fire from above. WORKING FROM CARTOP platform, photographer covers a fire fighting exercise unham¬ pered by curious onlookers who might otherwise crowd around camera and obscure its view. SCRAP LUMBER fueled flames for schoolhouse burning. AMERICAN CINEMATOGRAPHER, MARCH, 1963 155 Hollywood's Cinematographers Name The 10 BEST PHOTOGRAPHED FILMS OF 1962 From among the ten, one black-and-white and one color film will be honored for Best Achievement in Photog¬ raphy by the Academy next month, and the Directors of Photography presented with “Oscars.” By ARTHUR GAVIN Tust as there’s no better judge of cooking than an experienced ** and dedicated chef or cook, it follows that the film industry’s cinematographers are eminently qualified to choose annually the year’s best photographed motion pictures — as they have been doing each year in naming their choice of five black-and-white and five color pictures as the Nominees for the Best Photographic Achieve¬ ment awards of the Academy of Motion Picture Arts and Sciences. The ten films so selected logically may be considered the Ten Best Photographed Motion Pictures of the year, chosen as they are by the men who know cinematography best — Hollywood’s directors of photography. The Nominees for the Academy’s “Oscar" awards for photo¬ graphic achievement were announced February 25th following a series of screenings and subsequent balloting by members of the Academy’s Cinematographers’ Branch. From among the ten films named, one black-and-white and one color picture will be voted “the best photographed” in a general balloting on all categories in the annual “Oscar” derby by the entire Academy membership this month. Presentation of awards will be made April 8th. “Oscar” Nominees for Best Photography — the Ten Best Photo¬ graphed Pictures of 1962 — and the men who photographed them are: BLACK-AND-WHITE “Bird Man of Alcatraz,” United Artists, Photographed by BURNETT GUFFEY. ASC “The Longest Day,” 20th Century-Fox, Photographed by JEAN B0URG0IN, HENRI PERSIN and WALTER WOTTITZ “To Kill A Mockingbird,” Universal-International, Photographed by RUSSELL HARLAN, ASC “Two For The Seesaw,” Mirisch-Argyle-Talbot & U.A., Photographed by TED McCORD, ASC “What Ever Happened to Baby Jane?" Warner Brothers, Photographed by ERNEST HALLER, ASC COLOR “Gypsy,” Warner Brothers, Photographed by HARRY STRADLING, ASC “Hatari!” Paramount, Photographed by RUSSELL HARLAN, ASC "Lawrence Of Arabia,” Columbia, Photographed by FRED A. YOUNG, BSC "Mutiny On The Bounty,” Metro-Goldwyn-Mayer, Photographed by ROBERT L. SURTEES, ASC "Wonderful World Of The Brothers Grimm," Metro-Goldwyn-Mayer, Photographed by PAUL C. VOGEL, ASC 156 AMERICAN CINEMATOGRAPHER, MARCH, 1963 Ansco sets America’s standard in low contrast 16mm color film Quality color release prints start with Anscochrome Type 242 in your camera The excellent color fidelity and low contrast of Anscochrome® Type 242 film make it first choice among many quality-conscious professionals. Type 242 has fine grain and is unequalled for rendition of natural colors with a unique ability to record detail in shadows. Film speed is 25 with 3200K illumination. For full details contact your supplier. Or write Ansco, Binghamton, New York. ANSCO — America’s first manufacturer of photographic materials.,. since 1842. Ansco Binghamton. N Y. General Aniline & Film Corp. ANSCOCHROME 16mm TYPE 242 AMERICAN CINEMATOGRAPHER, MARCH, 1963 157 FRANKLY, YOU’RE DOING JUST THAT, if you’re buying top-quality negatives— and “economizing” on prints. Fact is: to do its job, a crisp, clear negative must have top-quality prints. Otherwise, your message falls flat and you've wasted negative and print costs. Moral: Go Eastman all the way— negative and print-stock. And in the case of questions — production, processing, projection — always get in touch with Eastman Technical Service. For further information, please write or phone: Motion Picture Film Department, EASTMAN KODAK COMPANY, Rochester 4, N. Y. Or-for the purchase of film: W. J. German, Inc. Agents for the sale and distribution of Eastman Professional Film for Motion Pictures and TV, Fort Lee, N.J., Chicago, III., Hollywood, Calif. EASTMAN FILM CLAPSTICKS must be used to indicate the synchronous start of both sound and pic¬ ture on every take. On film the “start” is determined by locating frame where clapsticks come together; on the sound track, by the audible sound of the clap¬ sticks coming together. (Photo courtesy Ohio Wesleyan College.) IN EDITING method described by author, the same machine used for recording must also be used to reproduce the sound when transferring from V4 -inch tape to sprocketed 16mm magnetic film. (Univ. of So. Calif, photo.) If You Record t—JPrTgS > - fg‘ 1 1 1 ■ 1 1 M 1 1 1 1 1 1 1 1 II 1 1 ■ 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II II 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 •* Custom-Made! Hand Calibrated, Professional Favorite! COMBI-500 Professional Exposure < Mf)DC Combines a Selenium OUUA IflUllL Cell plus ultra-sensitive Cadmium Sulphide Cell to give more than 500X greater sensitivity than ordinary meters. Actually 100X more sensitive than the previous SPECTRA PROFESSIONAL model! Strictly professional and hand cali¬ brated, produced in limited quantities. ASA range .1 to 32,000; measures incident or re¬ flected light. If there's any light, SPECTRA meas¬ ures it . . . precisely! Previous Spectra models can be converted . . . it's the Lifetime Meter! It For tech data: SCOPUS, INC., 404 Park Ave. S„ N. Y. 16 Mfg. by Photo Research Corp., Hollywood 38, Calif. SAVE MONEY When Filming In Europe By Renting Your Camera Equipment From CHEVEREAU PARIS, FRANCE We Service The Entire Continent CAMERAS, including the Mitchell BFC 65mm CRANES DOLLIES 20 RUE DE LA CHINE PARIS 20, FRANCE TelS: MEN 9472, PYR 5104 Cable: Cameraloc Paris AMERICAN CINEMATOGRAPHER, MARCH, 1963 17S • 8819 SOL INI D! CRISP CLEAR AND LIGHT (IN WEIGHT) 16mm MAGNASYNC RECORDER MODEL X-400 TYPE 15 is especially designed for servicing “On-fhe-Go" producers who prefer every¬ thing in one case — playback power amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors — an ALL-IN-ONE magnaphonic sound system (5.M.P.T.E. standard performance) com¬ plete in a single easy-to-carry case. Will accommodate standard 1200 foot film reels. Write for illustrated brochure. PRICED ONLY $1385 Model X-400 for extra lightweight portability, from $1190 S.O.S. carries the complete line of Magnasync recording systems. St) \ PHOTO-flNF-nDTin Inr 602 West 52nd s,‘ New York i9— pLaz° 7-0440 * llwlV VlnL wl I IVjf Western Bianch: 6331 Holly'd Blvd., Hollywood, Calif. - * - >• SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 138, 140 and 144 ■< - This is the latest IMPROVED CINEKAD JUNIOR DOLLY Used Nationally by Discriminating Cameramen This 3-Wheef Collapsible Dolly Is especially designed to meet the demand for con¬ venient mobility of cameras on location or in the studio. The new model instead of the 4" wheels is constructed with 5" heavy duty rubber-tired swivel wheels. Write for more details and prices. CINEKAD ENGINEERING CO. 763 10th Ave., N.Y., N.Y., PLaza 7-3511 r - — - FOR MORE INFORMATION about products or serv¬ ices advertised in this issue 9 use the convenient postage- paid inquiry card facing the last page . Simply fill it out and mail. We’ll do the rest . —AMERICAN CINEMATOGRAPHER l _ _ _ _ _ j positives are also made for scenes to he optically printed.) Color I nter negative: A 35mm color internegative may be ordered, to be used in 35mm contact or 16mm reduc¬ tion release printing, or a 16mm re¬ duction color internegative for 16mm contact release printing. (If B/W prints are required, for best results a B&W panchromatic fine grain positive should be made from the color negative. From this either a 35mm or 16mm re¬ duction B&W dupe negative can he made at this stage.) Color internegatives may he made also from 35mm separation positives, the original 35mm intermediate posi¬ tive material. However, the interpositive has practically replaced the three-strip positive separations process. First T rial from Internegative ( or from Dupe Negative) : This is the last stage on the laboratory production line prior to release printing. Since new stages and materials have come in since a first trial was made from the 35mm cut color negative, a new ‘‘proof’ should be struck off for final approval. This will be any one (or several) of various things — 35mm or 16mm color print from 35mm color internegative, 16mm color from 16mm color inter¬ negative, 35mm or 16mm B&W from 35mm B&W dupe negative, a 16mm B&W from 16mm B&W dupe negative. Release Prints: This, as may be noted from Flow Chart No. 9 at the begin¬ ning of this article, is where we’ve been heading. After the final approval of a trial print is received, the lab is ready to roll on the release printing order — 35mm or 16mm, color or black- and-white. The increasing use of 35mm color film, especially in many of the newer TV film series, has brought with it in¬ creasing demand for blowing up 16mm color to 35mm. Can 16mm be blown up to 35mm color successfully? Yes, if the 16mm original color film is well ex¬ posed with both good definition and color saturation. General has handled a number of such orders in recent months, with 16mm Ektachrome edited in A roll, or A and B rolls, optically printed to a 35mm color negative. The orders included theatrical release, in¬ dustrial films, and other non-theatrical materials. In all cases, liquid gate printing was utilized in making the 35mm color negative. We should caution, however, that 16- to-35 blow-up is not the preferred way 176 AMERICAN CINEMATOGRAPHER, MARCH, 1963 Acmade Foot-Operated Splicer * with Tungsten j Tipped Blades Combination 16mm-35mm Model $1495 This splicer is constructed, as is usual with ACMADE products, of the finest mate rials and workmanship. All castings are of the best quality and the top body and cutter arms are seasoned to prevent dis¬ tortion after machining. The machining is carried out to limits of± .0005" in order that the cutter blades shall close in a dead parallel manner. The cutter blades are made from stainless steel with Tungsten Carbide inserts, and afterwards ground lapped and polished to a limit of ± .0002" thickness and the cutting edges relieved by 1°. The Tungsten Carbide inserts will have indefinite life and will not require sharp¬ ening as with other types. A heater unit is installed in the top body of the machine. The top light in a well glass fitting is at¬ tached to the body of the machine and also an inspection light in the waste bin to¬ gether with cement bottle and brush. A scraper block is supplied and also a scraper block setting jib and support shelf rubber-covered. The whole machine is fin¬ ished in first quality grey hammer and all metal parts other than cutter blades are hard flash chromed. ACMADE MARK II EDITING TABLE $3295 f.o.b. New York Makes Editing Easy! Operation of this simple, efficient editing machine can be mastered in minutes. Con¬ tinuous movement provides absolute safety for your film. Instant controls and de¬ clutching allows up to 50% increase speed and efficiency in editing. Any combination of 2 or 3, 16mm or 35mm channels, plus mag¬ netic and optical sound available. WRITE FOR DETAILED BROCHURE Serving the World’s Finest Film Makers Florman & Babb ■ 68 West 45th Street New York 36, N . Y. MU 2-2928 Another Fine Product From ACMADE AUTOMATIC BUTT SPLICER Cuts, Splices, Applies Magic Mylar Automatically! tive, magnetic other bases. Now, with no fuss, mess or waste, it is possible to splice, repair, butt-splice, or strengthen splices on all types of film — positive, nega- duPont Cronar or The cutting arm, shown in opera¬ ting position, is used by press¬ ing the chrome button for cut¬ ting both sides, of the film si¬ multaneously. The film, has been registered on pins in the horizontal channel. The cutting blade is eas¬ ily replaced. The splicing tape is regis¬ tered on pre¬ cision pins and held in place until automati¬ cally applied to ,t h e film by swinging the arm over and pressing the chrome button, cutting the adhesive and applying it — in perfect register to the film. Model 35 for 35mm. Model 16 for 16mm— *295 in which to arrive at 35mm color re¬ lease. A 35mm color print from 35mm color negative exposed in the camera will be the better print — in many com- parisions. much the better print — hut, blow-up work is practical, under the qualifications mentioned above. H The foregoing article was originally pub¬ lished in Vol. 3, No. 6 of the General Film Rewind. It is condensed and reprinted here by permission of General Film Laboratories, Hollywood. The flow charts at the beginning of the article are two of a series recently distributed by General. — editor. ZOOM LENS MOTOR Continued From Page 169 found that operating the motor at around 6 to 10 volts produces a slow, pleasing zoom with a smoothness rarely obtainable through manual operation of the lens. The 5-pole, double-throw, on-off-on toggle switch, shown at 6 in Fig. 2, determines the electrical polarity fed to the reversible motor. With the switch in forward position, the zoom lever moves forward; in the extreme reverse position it causes the zoom lever to move backwards. In the central posi¬ tion, the switch is off. In operation, if the motor driven zoom lever is not stopped at any inter¬ mediate point and is allowed to con¬ tinue until it contacts the micro-switch that arrests its movement, halting the operation in no way adversely affects the zoom control mechanism and the zoom comes to a smooth stop. Where the switch is moved from one operating position to the other to reverse the direction of the zoom, i.e. — from a zoom-in to a zoom-out — the torque of the motor is reversed and a smooth change in direction of the zoom is effected. Still another feature inherent in the control switch described above is the means it provides also to stop and start the camera motor simultaneously with operation of the zoom lens, when de¬ sired. The camera motor is powered by a separate battery and can he switched on simultaneously as the zoom control switch is moved to either “on” position. Figure 4 shows author’s Bolex cam¬ era equipped with the motorized Pan Cinor zoom lens mounted on the front bumper of his car for making comhina- Specialized LIGHTING EQUIPMENT for MOTION PICTURE, STILL and TELEVISION STUDIOS Write for A Copy of Our Catalog J on Your Letterhead 937 NORTH SYCAMORE AVENUE HOLLYWOOD 38, CALIF. AMERICAN CINEMATOGRAPHER, MARCH, 1963 177 Automatic Daylight Processing r "" DEVELOPING TANK vrl • Processes up to 200 Ft. • 8mm-l 6mm-35mm-70mm • Movie — X-Ray — Microfilm 'gyi /’*• • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated fjVWnWm) • Speedy drying * Automatic shrinkage allow¬ fj §vt | 1 Sv|:i ance 1 ^ * Stainless steel and l! f i _ nf ' aluminum construction * Easily assembled without tools • Compact, Portable Guaranteed. Write for Free Literature Micro Record Corp. lion moving camera zoom shots. Oper¬ ation of both camera and zoom lens is by remote control from the driver's seat. Zoom shots made this way, of course, are a matter of luck as it is impossible to observe the zoom effect in the lens reflex finder. So zooming is virtually a blind operation — but effective for some subject matter. With the camera mounted on a tri¬ pod, its another story. Here motor- driven zoom effects are velvet smooth — something not always possible when zooming some varifocal lenses manually. mm film coKflwy 424 U PO CHUN BUILDING HONG KONG COMPLETE 16/MM & 35/MM PRODUCTION FACILITIES professionals use SPLICE-O-FILM . . . the world's finest splicer • Easy, strong splices in just 9 seconds • Accurate to 1/10, 000th inch • Electric heat and automatic scraper • Money-back guarantee Write for complete information and a copy of our film room equipment catalog. THE HARWALD CO. J2v4a5n^cnAG0.lS1I 16MM COLOR and B-&-W Processing and Printing A&B Roll Conforming Sound Transferring Write For Complete Price List MIDWESTERN FILM LAB 161 W. Huron St., Chicago, III. Phone: 664-841 0 L - - - - ) - - NEW IMPROVED PROCESS LAMINATED SOUND STRIPING 380 Ft. Minimum Order — Quality Guaranteed Send for Free Brochure 736V2 SO. ATLANTIC BLVD., LOS ANGELES 22, CAL. QUARTZ LIGHTS Continued From Page 163 110 /120-volts AC or DC and require comparatively low amperage for their light output. The 650-watt lamps are available in a range of three different color temperatures — 3200°K. 3350°K and 3400°K. The 1000-watt lamp is available only in 340Q°K. The rated life of the 3200°K lamp, which has a heavier filament than the others, is 100 hours — an important considera¬ tion. An innovation introduced for the first time with the Quartz-King Dual photo light is the intensifier accessory —a snap-on conical device I Fig. 1 ) which forms an extension of the lamp housing and serves to concentrate the light and eliminate spill, thereby al¬ most doubling the light intensity. This is graphically illustrated in the illus¬ tration, Fig. 4, and augmented by the performance graphs. Fig. 3. Fig. 4 illustrates how buildup of the light intensity is accomplished with either the Dual-650 or Dual-1000 by (1 ) changing the Q-I lamp to the rear position within the lamp housing and (2) by the addition of the intensifier. By changing the lamp unit from wide flood to medium flood in the Dual- 1000, for example, and adding the in¬ tensifier, the effective light output can be jumped from 620 foot candles to 1035 foot candles. Both the 650-watt and 1000-watt Quartz Kings are available with a uni¬ versal yoke mounting, as pictured in Figs. 1 and 2, permitting them to be readily mounted on conventional tubu¬ lar light stands. However, the film maker with a considerable investment in other types of portable lighting equipment can readily adapt his sup¬ porting equipment to Quartz Kings. The latter are also available with in¬ tegral screw bases — medium screw for the 650-watt lamps and mogul for the 1000-watt. The 650s can be used in any heavy-duty porcelain socket that takes lamps having a medium base, same as found on photoflood, PAR, and ordinary household lamps. The 1000-watt lamps with the mogul base require the larger, heavy-duty mogul receptacle, but they may also be used in regular receptacles with an adapter. With the development of the grow¬ ing line of Quartz King photo lights, Color-Tran has not overlooked the need for the professional illuminating accessories which every cinematog¬ rapher finds essential to his work. Accessory equipment available for all Quartz-King lamps include accessory holder for scrims, filters, etc.; two-leaf barndoor; four-leaf barndoor; gaffer- grip lamp mounts; daylight conver¬ sion filter; heat filter; single and double scrims; and holder for spun glass or gel diff users. According to ColorTran Industries, the illumination provided by the 650- watt Quartz King is equivalent to that of a conventional 2-K studio set lamp, and that of the 1000-watt Quartz- King equivalent to a 5-K studio lamp. Here a comparison of the weights of these lamps will prove interesting. The 2-K weighs roughly about 29 pounds; the 650 -watt Quartz - King but 15 ounces. The 5-K weighs 541/o pounds and its equivalent — the 1000-watt Quartz-King 20 ounces! One could pack around a lot of photographic light in a suitcase full of Quartz-Lights. ■ MUST BE REALISTIC Continued From Page 166 to come before his lens will find some common factor in his memory. Some factor, that is, which will suggest how such a scene should really appear to the eye — which will enable him to visualize the scene and give it complete pictorial honesty in the photographic treatment. It is unlikely that a cinematographer would be able to correctly visualize the arrangement and lighting of a room in a mansion if all of his life had been spent in hotels or rooming houses. It would be like a blind man trying to describe an object he had never seen. To draw, perhaps, a better comparison, 178 AMERICAN CINEMATOGRAPHER, MARCH, 1963 how close could a person, whose only experience in home life had been in the squalor of slums, come to portray¬ ing convincingly a scene laid in the home of a cultured millionaire? This is a factor that is too often overlooked in all phases of motion pic¬ ture production. The aim. when pro¬ ducing a picture, is to present a story in scenes which give it at least an illusion of actuality. This illusion can only be attained when every phase of production — writing, acting, direction, settings, and cinematography — strikes a keynote of sincerity based on human experience. In other words, when all of the artists concerned are artistically honest — with themselves and with their work. Directors of photography in Holly¬ wood believe that a vitallv important and often neglected factor necessary to bringing about honesty and authen¬ ticity in cinematography is more close¬ ly coordinated pre-production prepara¬ tion in which the director of photogra¬ phy participates. More and more, production experience is proving that the picture benefits immeasurably where the director of photography is allowed ample time for thorough prep¬ aration — a chance to study the entire script, to consult with the director and the art director, and to discuss makeup problems as they relate to the photog¬ raphy of the picture. Unfortunately, there is a tendency today to avoid such preparation, especially in TV film pro¬ duction. In any feature film production, where time and circumstances permit, it is advantageous for the cameraman to make photographic tests of the star and sometimes of the key sets, both interiors and location. During actual production the di¬ rector of photography with a penchant for strict authenticity will make it a point to pay as much attention to the photographic and lighting treatment of the set itself as to that of the players. Essentially, of course, the set is primarily a backdrop against which the players enact the story; but it should nevertheless be a wholly convincing background. Therefore it should be treated with equal care. Actually, the set serves two purposes: it must be a convincing, believable back¬ ground for the action, and it must form a vital part of the composition. Thus, it should he lit not only with an eye to enhancing the effect of actuality, but also to enhance the pictorial value. EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE new, improved super-efficient CINE VOICE CONVERSION Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion. • A true torque motor — Idles at V? power, when camera is turned on. Assumes full power. This system prevents excessive heating. • Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc. • Veeder counter effectively silenced. • Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines. • Neon camera running light. CINE VOICE CAMERA CONVERSION including torque «/1 >1(100 motor and belt JjUU (price does not include Mitchell magazines) At present we can promise delivery within 15 days. Accessories Available: Behind-the-lens filter slot $45.00 Lens Turret Lock for Zoom Lens operation . $25.00 NEW ANGENIUX 12mm - 120mm ZOOM LENS “C” MOUNT WITH SIDE-VIEW FINDER IN STOCK! $895.00 John Fletcher, ABC cameraman, with Ray Emeritz, F & B's Chief Engineer, who developed the new Cine Voice Conversion. Serving the World’s Finest Film Makers Filming in Europe? PRODUCTION FACILITIES, CAMERA EQUIPMENT HIRE, SOUND RECORDING, TECHNICIANS, TRANSPORT, 16 OR 35MM, ANYWHERE. SAMUELS ON FILM SERVICE LIMITED Just Cable “SAMCINE, London' AMERICAN CINEMATOGRAPHER, MARCH, 1963 179 SALE!! ARRIFLEX 35mm camera, model I1B, 16v motor, matte box, sync control generator, 32mm, 50mm, 85mm Zeiss lenses, 2-200' maga¬ zines, case, battery, value over $3,200. Specially offered at . $2,195.00 BELL & HOWELL 16mm Filmotion viewer, used, excellent . ..$69.50 SYNCH ROM ASTER combination 4/ 35mm-l/70mm synchronizer, two counters, excellent . . $139.50 EYEMO Q camera, spider turret, sound aperture, 24 volt DC motor, 2-400' mags, camera and mag cases, 25mm, 50mm, 100mm lenses, finder w/matching positive objec¬ tives, excellent . $525.00 BELL & HOWELL pair arc projec¬ tors w/arc lamphouse, 2 rectifiers, 2 lenses, 2 stands, one amplifier, good condition . $1,295.00 RCA SOUND PROJECTOR, model 415 w/12" speaker, like brand new, special . $395.00 BODDE DOUBLE 4x5 rear projec¬ tion slide projection pair mounted on stand, complete w/lenses, slide carriers, blowers, step-up trans¬ formers, excellent, special. .$995.00 GENARCO 300 watt slide projector, 6 slide rotary earner, lens, blow¬ er, remote control for TV or dis¬ play, list $ . , excellent con¬ dition, special . $495.00 SPECULART JR. slide projector, 3V2X4 slides, holder for 40 slides, 2KW lamp, blower, remote con¬ trol and automatic, self-contained unit, list $900.00, excellent con- ditino, special . $425.00 UHLER 16mm semi-automatic con¬ tinuous printer, separate printing head for sound and picture, value $1700. Special . $650.00 FEARLESS tripod head, heavy duty model, extra wide plate for use w/blimp or BNC, excellent . $295.00 CAMART SCOUT TRIPOD, light¬ weight model, friction head for pan and tilt, good for most 16mm lightweight cameras, list $104.50, demonstrator . $79.50 ARRIFLEX 16mm Camera, 3 lenses, Variable speed motor, matte box, Case, Battery. Excellent.. ..$1495. 00 BOLEX H-16 camera w/Pan Cinor 70mm Reflex Zoom Lens. Very fine . $375.00 All prices are F.O.B. New York CONVERT YOUR SERIES 20 MOVIOLA TO MULTIPLE SOUND EDITING with the A M A R| T ADD-A for further information ivrite: vamitit M/iffT, Needless to say, the extent to which a cinematographer on a feature pro¬ duction can carry out his ideas de¬ pends greatly upon the director with whom he works. Some directors be¬ come engrossed in the action and dialogue, and more or less accept the cinematographer as a matter of course. Others, while not directly interested in the purely pictorial phases of the pro¬ duction, nevertheless realize that the camerawork is important, and work closely with the cinematographer for the pictorial perfection such coopera¬ tion makes possible. The advent of wide-screen processes has had the effect today of directing a great deal more of the producer’s and director's attention toward the cinema¬ tographer and the photography than ever before, because all these new pro¬ cesses begin with the photography and are based on revolutionary camera techniques. The cinematographer today is deserving of greatest respect for the talent and experience which he is capable of bringing to a picture en¬ trusted to him to photograph. The veterans especially are uniquely quali¬ fied to imbue their lighting and camera work with the artistic honesty that can make the photography a genuine con¬ tribution to the production. B FIRE TRAINING FILMS Continued From Page 155 ideas of the technical advisor and in some cases the ideas of the film sponsor. Another problem encountered in making fire-fighting films is to make scenes appear on the screen the way they appear to the eye of the fireman, as though he was seeing the actual live situations. For instance, fire doesn't look as hot on film as it really is. Therefore, to properly illustrate or reproduce an attack on a fire which has ceiling temperatures of 500 degrees F., the film maker's fire should have a ceil¬ ing temperature nearer to 800 de¬ grees F. A very special problem is created by the smoke and steam accompany¬ ing a fire. It often restricts the cam¬ era’s view, making it difficult to show live action. For this reason, anima¬ tion is often an effective way to pre¬ sent principles and theory. With animation, action can be slowed down so audiences can really see what’s happening. Because of the many distractions and rapid action during a live situation, it’s hard to study and carefully analyze principles and theory. Animation elimintaes these problems. Once the fireman trainee is familiar with the principles, he will be able to understand and appreciate their importance in actual fire fighting demonstrations. For this reason, it is important to use live footage of actual fire fighting to re-emphasize the prin- siples established by the animation. Animation can also be helpful in showing firemen reasons for visual observations which sometimes go un¬ explained. Firemen have all seen smoke and steam roll down in front of their face cutting off their view of a fire. Do they really know what is happening? Only animation can 180 AMER4CAI\ CINEMATOGRAPHER, MARCH, 1963 J N IT EXTENSION PLATE rankly, we doubt if you will use this many Add-A-Units on Moviola at one time. We just want to show how Add-A-Unit an be attached for almost unlimited multiple sound editing, lost editors find one or two sufficient. Each unit has indi- idual volume control for mixing optical or magnetic sound. Attaches instantly without drilling or tapping. Removes easily. Comes complete with belt guard, screw, flange and amplifier connections. $259.50 Series 20 sound heads & take ups additional. Prices on request. N.Y. ■ PLAZA 7-6977 (patent pending) graphically illustrate and explain the peculiar air currents that move the mass of smoke and steam that often cuts off a fireman’s view. Many other real problems are in¬ troduced during the actual burning of structures. To help eliminate these problems, the filming operation should be carefully planned before produc¬ tion begins. Even though fires are difficult talent to control and direct, their actions must be fully anticipated. Pre-planning starts with scouting various locations, with the Technical advisor and film maker working to¬ gether in the scouting operations. At this time, the technical advisor should study the building’s construction, size of the structure, water supply, and nearby buildings. The film maker will be interested in such details as the general appearance of the building. sun direction, various shooting angles, and backgrounds. Here a director’s viewfinder will be a useful aid to se¬ lecting camera angles. The film maker should select camera angles that afford the best possible coverage of the scene or subject. Dur¬ ing actual burning of a structure, two establishing shots are considered essen¬ tial in shooting a large fire. One camera should be placed on a car top to facilitate filming the subject having normal perspective, yet at the same time eliminate people walking in front of the camera. The camera thus mobile-mounted, can also be moved quickly whenever necessary. The second establishing camera should be positioned even higher, to shoot down on the overall operation. Here, nearby buildings or a high boom power truck may be used to accom¬ plish the required high-angle shots. Since the so-called establishing cam¬ eras are located away from the im¬ mediate fire area, they need only mini¬ mum mobility. This is helpful when they are equipped with 400-foot maga¬ zines to give long, continuous runs. Medium shots can be filmed by the same two cameras if they have the proper lens complement. This com¬ plement usually consists of a wide angle, normal and telephoto lens. The director can coordinate the two cam¬ eras by the use of two-way citizens- band radio communication with the camera operators. A third camera should be set up near the fire for closeups and extreme closeups. It should be light and flex¬ ible, but should operate on a tripod. Since the film director usually stays close to the fire, he can give personal direction to the third camera. A fourth camera which can be hand held should be available for interior or unplanned shots. The director and closeup camera¬ man need full protective clothing as a precautionary means of protecting themselves from falling embers and excessive heat. This will also make it possible for them to enter the burn¬ ing building, should the need arise. In emergencies, cameramen have been asked to serve as back-up men on hose lines. And there’s still another reason for wearing fireman's equipment. To get in close enough for some shots a cam¬ eraman may accidentally move into the field of the other cameras. He will be much less noticeable in such scenes if AMERICAN CINEMATOGRAPHER, MARCH, 1963 181 LINWOOD DUNN, asc Formerly head of RKO Studios Effects Dept. CREATIVE SPECIAL EFFECTS Complete Advisory and Technical Services From Story Ideas to Theater Screen. LIQUID GATE PRINTING FOR 16-35-65-70 MM BLOW-UPS Specialized Laboratory Services “ Over 30 Years of Major Studio Experience” FILM EFFECTS of Hollywood 1153 N. Highland Ave., Hollywood 38, Calif. Phone: HO 9-5808 Cable: FILMFX PATHE PRESENTS: THE WEBO-M 16 MM REFLEX PATHE PRODUCTS, INC. 9 Pleasant Street, Providence 6, Rhode Island Sole U.S.A. Agents for Pathe Societe Commerciale et Industrielle. / - - ^ BOLEX ACCESSORIES By STEVENS SYNCHRONOUS CAMERA DRIVE 115-volt Bodine Motor 24-Frame Lip-Sync Speed. Complete with Safety Clutch, Camera Mounting Base, Forward-Reverse Contrels, Condenser, 10-Ft. Cable. Special $150 Write far our Bolex Accessory Catalog STEVENS ENGINEERING CO. Dept. “A’’f 340 N. Newport Blvd. Newport Beach, Calif. V--.„ . , . , . J L & F PORTABLE CINE PROCESSOR • Fully Automatic • Daylight Operating $675.00 (f.o.b. Chicago) • 16mm or 8/8mm • Requires no plumbing • Process 200 Ft. B8W Film in Less Than 1 Hour • Reversal Processing • Less Than 1 Gallon of Solution Needed • 32"x9"x24"! 55 lbs! Write For Descriptive Literature SUPERIOR BULK FILM CO. 446-48 N. Wells • Chicago 10, Illinois VARIABLE SHUTTERS AND YOLO AUTOMATIC DISSOLVE ATTACH¬ MENTS FOR ALL BOLEX H CAMERAS. ALSO DUAL POWER MAGNIFIERS FOR THE BOLEX REFLEX. PELLEGRINI-PIEK 7 COLEMAN PLACE MENLO PARK, CAL. he looks like a fireman. It is often a problem to get enough closeup shots, particularly when the main burning activity takes place too quicklv. To solve this problem, a num¬ ber of cut-ins and cut-aways should he filmed before and after the fire. Shoot¬ ing such scenes out of sequence gives the cameraman more time to carefully compose, focus, and fill in heavily shadowed areas with reflectors. Smoke bombs can often be used to enhance scenes shot before, during and after the main fire so they will more readily cut together. Not all fires demand coverage by two or more cameras. Often only a single camera is needed. This is es¬ pecially true with interior filming. On interior shots the camera should he kept low so that its view will not be cut off too early by the fire. Smoke and steam usually concentrate at the ceiling level first, then drop down as they cool. Any light for added illumi¬ nation should also be kept low. It may lie necessary to build special light stands for this and to cover all such lights as well as possible to avoid damage from hot embers and water. Intense heat can force a camera¬ man and his camera out of a room in which he seeks to film. When this happens, a hole can be chopped in the wall and the camera kept outside the major fire area, greatly decreasing any punishment the cameraman and his equipment must take. In the production of hre fighting films, fire can consume interior fur¬ nishings as well as the condemned buildings used for staging and shoot¬ ing fire fighting techniques, but this presents a relatively minor problem. Fifteen dollars worth of used furniture from a local auction house will usually furnish a room. Used furniture looks surprisingly good when it’s mixed with light, smoke, steam and water. It makes no difference whether you’re shooting interior or exterior scenes, the room or building must be fueled. There must be some way to get the fire started since combustible material normally found in a room is usually moved out. Waste cardboard is a cheap fuel for this purpose and it produces a flame build-up similar to actual hre conditions. Use of kerosene or gasoline is not recommended be¬ cause they produce excessive black smoke. Recently, to get fuel for a big school house burning, two frame houses were wrecked with a big crane and the pieces of lumber carried by hand into the various rooms of the subject structure. Structures suitable for fire fighting demonstrations usually are not hard to find. Urban renewal, highway con¬ struction, and general modernization of cities have resulted in condemnation of a great many such buildings. Demo¬ lition contractors who have charge of the buildings, are usually very co¬ operative where the structures are to be ignited for training fire fighters. Actually their task of demolition is thus often greatly reduced. One contractor has estimated he saved a thousand dollars by permitting the burning of a large condemned structure. During the past three years the Iowa State University Film Production Unit has deliberately burned 11 houses, 3 garages, 2 grain elevators, 2 barns, 1 duplex, 1 three-story apartment house, 1 corn crib, and 1 chicken house — all for the purpose of staging scenes for fire training films. In all cases the structures had out-lived their usefulness, and the burnings were a cooperative effort of the university Film Production Unit, Fire Service Extension, and the local cooperating fire department. Local fire departments usually give their enthusiastic cooperation. Besides doing a public service by participating in the production of educational films, the filming projects afford the firemen extra-curricular training in fire fight¬ ing techniques — experience they can usually get only in real emergencies. ■ HOW DO YOU EDIT SOUND? Continued From Page 160 stereo track. This recording of the 60- cycle signal becomes, in effect, a re¬ cording of “magnetic sprocket holes’’ on the tape which have a fixed relation¬ ship to the speed of the camera that is driven by the 60-cycle power supply. In the second method, the audio can be transferred from the l/4-inch tape to sprocket-driven 16mm magnetic film, as described above, except that the 60- cycle synchronizing signal is repro¬ duced from the 14-inch tape. This sig¬ nal is amplified through a preamplifier, then a power amplifier, and the output of the power amplifier is used to drive the 16mm sprocket-driven magnetic re¬ corder. This method will assure abso¬ lute synchronization for any length of 182 AMERICAN CINEMATOGRAPHER, MARCH, 1963 time — one-half hour, an hour or even more. By using the following procedure, it is possible to do simple editing of 16mm picture and 14,-inch tape with¬ out transferring to sprocket-driven magnetic film. The shooting and re¬ cording method is the same as in the second procedure described above ex¬ cept that a clapstick is used twice for each take — just before the start and just after the end of each scene. The picture film and the 14-inch tape are now cut just after the head clapstick marks and just before the tail clap¬ stick marks and the picture and tape are then assembled in the desired sequence. In reproduction, the synchronizing signal from the tape is run through a preamplifier and a power amplifier. In this case the power amplifier drives a synchronous motor on the projector and the picture and sound will run at the same relative speed. In this last described system, it is necessary to thread both the projector and tape recorder with a proper length of leader so that when the projector and sound reproducer are started simul¬ taneously by means of a single switch, the two machines will come up to speed together and in sync. Should they fail to do so, synchronization can be achieved by momentarily switching the motor off on the machine that is lead¬ ing. After a little experience, it is possible to become quite proficient doing this type of editing and pro¬ jecting. ■ BEHIND THE CAMERAS Continued From Page 138 METRO-GOLDWYN-MAYER with Lee Remick and James Garner. Arthur Hiller, director. Arthur Ibbetson, “Murder at the Gallop” (shooting in London) with Margaret Ruther¬ ford and Flora Robson. George Pollack, director. Robert Pittack, ASC, Georce Clemens, ASC, “Twilight Zone”*. Thomas Tutwiler, ASC, Commercials*. Milton Krasner, ASC, “Moon Walk” (Euterpe Prod.; P’Vision & Metrocolor) with Shirley Jones and Gig Young. George Sidney, director. Harkness Smith, ASC, “Dr. Kildare”*. Dale Deverman, ASC, “The Eleventh Hour”*. William Spencer, ASC, “Sam Benedict”*. Robert Hauser, “Combat”*. NBC — New York Bernard Dresner, “The World of Darryl Zanuck”*. i D Hock - Steady Prints ■ ■■■■■A •' are YOURS with S.O.S. PHOTO-CINE-OPTICS, INC. TEL-Amatic Prints color, black-&-white, reversal, sound or silent films with rock-steady professional precision. Has many out¬ standing features found only in much higher priced pro¬ fessional printers. Sufficient light is provided to expose fine grain film. Semi-automatic light change assures per¬ fect exposures. Write for brochure. PROFESSIONAL continuous contact sound & Qnjy ^ 1 995 picture printer for 16mm or double 8mm films 7 PRINTER 602 WEST 52ND STREET. NEW YORK 19, N. Y. • Ph one: PLaza 7-0440 • Telegram: “FAX, N. Y." WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Phone: 467-2124 - — SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 138, 140 and 144 -< - NEW YORK STUDIOS George Jacobson, “Emmett Kelly Show”*. PARAMOUNT STUDIOS Lucien Ballard, ASC, “Wives and Lovers” (Hal Wallis Prod.) with Janet Leigh and Van Johnson. John Rich, director. Lee Carmes, ASC, “Lady in a Cage” (American Entertainment Corp. Prod.) with Olivia de Havilland. Walter Grauman, di¬ rector. Joseph Ruttenberg, ASC, “Who’s Been Sleeping in my Bed?” (Jack Rose Prod.; color) with Dean Martin and Elizabeth Montgomery. Daniel Mann, director. Daniel Fapp, ASC, “A New Kind of Love” with Paul Newman and Joanne Woodward. Melville Shavelson, producer-director. Dan Fapp, ASC, Irmin Roberts, ASC, “Fun in Acapulco” (Hal Wallis Prod.) with Elvis Presley, Ursula Andes and Elsa Cardena. Mickey Moore, director. Haskell Bocgs, ASC, William Whitley, ASC, “Bonanza”*. PARAMOUNT SUNSET STUDIOS Frank Phillips, ASC, “Gunsmoke”*. PRODUCERS STUDIO Hal Mohr, ASC, (VPI Prods.) Commer¬ cials*. REPUBLIC STUDIOS Howard Schwartz, ASC, “The Lloyd Bridges Show”*. Charles Burke, ASC, “Ensign O'Toole”. Jack Swain, “Rawhide”*. Continued on Next Page QUALITY AHD SERVICE 16 mm BucK&mm REVERSAL NEGATIVE POSITIVE PRINTING COLOR Processing- COLOR PRINTING Work prints — Timed Prints Color to Color prints — A & B roll prints Color to B & W prints — Fades-Dissolves Dupe Negative — Multiple prints Raw stock — Fastex service Loop printing Write for complete information VIDEO FILM LABORATORIES 350 W. 50th ST. • NEW YORK 19, N. Y. JUdson 6-7196 AMERICAN CINEMATOGRAPHER, MARCH, 1963 183 BN STOCK! Available Immediately NEW ANGENIEUX IOX ZOOM .■.ryvU to i ■ 12mm-120mm f2.2 available for all 16mm cameras. 25mm-250mm f3.2 available for all 35mm cameras. Serving the World’s Finest Film Makers • Lowest Prices! • Trades Accepted! WRITE* WIRE • PHONE FLORMAN & 9 68 West 45th St., New York 36, N. Y. MU 2-2928 PHOTOMART ( 228 So. Franklin St. -Tampa 2, Florida - — 920.1168 mamma FROM YOUR 12 VOLT CAR BATTERY e CLAMP-ON DELIVERS 250 WATTS of smooth, even 3400°K light — $4950 PORTABLE MOVIE LIGHT Fits any camera. No tools needed, no holes to drill. Long life nickel-cadmium battery with built-in charg¬ er weighs only 7 lbs. Guaranteed one year. * 199. 50 COMPLETE WITH BATTERY Write for Full Information FOR BARGAINS IN USED EQUIPMENT See Classified Advertising on Pages 185 & 186 BEHIND THE CAMERAS Continued From Preceding Page TWENTIETH CENTURY-FOX John Nickolaus, Jr., “Police Nurse” with Ken Scott and Merry Anders. Maury Dexter, producer-director. TWENTIETH CENTURY-FOX, N. Y. Don Malkames, ASC, Arthur Ornitz, “The Laughmakers”*. UNIVERSAL CITY Russell Harlan, ASC, “Man’s Favorite Sport?” (Jloward Hawks-Gibraltar-Laurel Prod.; Technicolor) with Rock Hudson and Paula Prentiss. Howard Hawks, producer- director. Ellis Thackery, ASC, “Wagon Train”*, “Arrest and Trial”*. Fred Mandl, ASC, “Going My Way”*. Charles Lang, ASC, “Charade” (Stanley Donen Prod.; T’color; shooting in Paris) with Cary Grant and Audrey Hepburn. Stan¬ ley Donen, producer-director. Ray Rennahan, ASC, “Laramie”*. Jack MacKenzie, ASC, “Leave It to Beav¬ er”*. Walter Strenge, ASC, “Wide Country”*. Clifford Stine, ASC, “The Brass Bottle” ( Randall-Greshler Prod.; Eastman Color) with Tony Randall and Burl Ives. Harry Keller, director. Russell Metty, ASC, “Captain Newman, M.D.” with Gregory Peck and Tony Curtis. David Miller, director. John Russell, ASC, Benjamin Kline, ASC, Lionel Lindon, ASC, “The Birginian”*. Lionel Lindon, ASC, “The Virginian”*. William Margulies, ASC, John Warren, ASC, “Alcoa Theatre”*. John Warren, ASC, John Russell, ASC, “McHale’s Navy”*. Ray Flin, “The Young and the Bold"’*. Fred Mandl, ASC, “Going My Way”*. Jack MacKenzie, ASC, “Leave it to Beaver”* WARNER BROS. Harold Lipstein, ASC, “Palm Springs Weekend” (Technicolor) with Troy Donahue and Connie Stevens. Norman Taurog, di¬ rector. Harold Stine, ASC, Ray Fernstrom, ASC, “Hawaiian Eye”*. Lucien Baij.ard, ASC, “Wall of Noise” wiih Suzanne Pleshette and Ty Hardin. Richard Wilson, direcor. Haskell Wexler, “America, America” (Athena Ents. Corp.) with Stathis Giallelis. Ela Kazan, producer-director. Carl Guthrie, ASC, Ralph Woolsey, ASC, “True”*. Burt Glennon, “The Dakotas”*. Robert Hoffman, “77 Sunset Strip”*. ZIV-UNITED ARTISTS Monroe Askins, Curt Fetters, “Ripcord”*. INDUSTRY NEWS Continued from Page 136 sound simultaneously on the same film, and will be used throughout the world by CBS for the production of “on-the- scene” news events and documentary interview type film programs. Sound components for this project were spe¬ cially designed by the Radio Corpora¬ tion of America in a joint effort with Mitchell engineers. CBS engineers co¬ operated in the design and field testing of the new camera, which incorporates the well-known Mitchell pin-registered movement. The camera can be hand held using a 400 foot magazine, but retains a facility for using larger magazines up to 1200 foot capacity. A precision and extremely bright reflex view-finder system and magnetic sound recording are two salient features inte¬ grated in this new special-purpose Mitchell camera. • Course In TV Commercials A course in “The Broadcast Com¬ mercial,” directed to both advertisers and advertising students and featuring lectures by advertising and broadcast¬ ing leaders and actual production of student-written commercials, will be conducted by Boston University’s Di¬ vision of Continuing Education, begin¬ ning February 20. Under the instruction of William H. McIntosh of Kenyon & Eckhardt Ad¬ vertising, the 12-meeting weekly course sessions will be on Wednesdays, from 7 to 9 p.m. in the University’s Seminar Center, 152 Bay State Rd., Boston. ■ 184 AMERICAN CINEMATOGRAPHER. MARCH, 1963 BUY, SELL, SWAP HERE! Largest, Most Productive Classified Ad Section Of Any Publication Serving Makers Of Motion Pictures STUDIO & PRODUCTION EQUIP. STUDIO & PRODUCTION EQUIP. STUDIO & PRODUCTION EQUIP. BELL & HOWELL Model “J" 16mm printer with 300 Watt high intensity lamp house, roller gate, shoe gale, adapted for air, includes new power supply . . . $2,645.00. Cine Special II with two 1 00' film chambers, four Ektar lenses, case( all like new . . . $995.00. 35mm Western Cine Automatic Splicers, new, with 1-year guarantees, list $220.50, now . . . $129.50. 210MM "C” mount Kinoptik F/2.8 lens, new, lists for $400.00, special $199.00. Magnasync Model 602, list $ 1 ,- 725.00, excellent condition . . . $995.00. Magnasync X-400 woth footage counter, lists for $1,242.00, excellent condition $45.00. TSI-DU-5 sound projector, like new . . . $210.00. Harwald Moviemite sound pro¬ jector . . . $127.00. Auricon Cine Voice W/400' Parrish conversion, case, amplifier, 1 " lens, excellent . . . $740.00. Bell & Howell 17 to 70mm Angenieux zoom lens, demon¬ strator w/case . . . $245.00. WESTERN CINE SERVICE, INC., 312 So. Pearl, Denver 9, Colorado. Auricon Pro 200, Hill-Smith conversion to Pro- 600, optical and magnetic sound, optical amplifier only, mike, headset and all cables, case, two Mitchell 600 ft. mags., all in perfect condition . . . $1,250.00. Bolex H16T, F/l.8 Lytar, brand new . . . $260.00. Cineflex 35mm, three lenses, two motors, six 200 ft mags., sports finder, silent aperture, deluxe original fitted case, perfect . . . $475.00. Colortran Master-lite, heavyduty senior stand with casters, like new . . . $40.00. Cine Spe¬ cial I F/l.9 lens, excellent . . . $190.00. W. G. CAVANNAUGH, P. O. Box 123, Rockledge, Florida. 5 KW MR SOLARSPOT heads $55.00; 2 KW MR heads, $40.00; 750 BM Keglights with stands, $47.50; 750 single broads with stands, $40.00; Colortran Sr kit, $100.00; 110 volt door mounted sync motor for Mitchell stand¬ ard, $325.00; Kinovox automatic slater, $450.00; Mitchell 35mm 400' magazines, $60.00; Bodde 4x5 background slide pro¬ jector, $600.00; Bodde 9x12 background screen, $100.00. J. BURGI CONTNER, ASC, Blue Seal Sound Devices, P. O. Box 472, New Canaan, Conn. 1 Senior Bardwell McAlister 5,000 watts, 7 Juniors 2,000 watts, 1 2 Mole Richardsons 750 watts, 6 Inkie Dinkies. (All lights are with stands and accessories and 35 % off new list.) 1 long heavy Western studio dolly, 3 wheel, $750.00; 1 Century, 35mm, RCA projector with Motiograph sound, Selesen interlock and sync motor, $1,500.00. Will sell or trade for 16mm or 35mm Arri, 16mm Mitchell or what have you. GUILD STUDIOS 5, INC., 4770 N.W. 7th Avenue, Miami 37, Florida. For highly portable filming special NAGRA taperecorder, also portable synch generator for camera,- also lenses. MAYSLES FILMS, INC., 162 W. 13 St., New York 11, N.Y. BELL & HOWELL magnetic recording projector model 202, less than 25 hours use. Original price $825.00. Will sacrifice for $375.00. Will give personal guarantee. ROBERT W. WEYEN- BERG, 820 Winona Way, Appleton, Wisconsin. FOR SALE at STOCKDALE & COMPANY, 200 E. 1st So., Salt Lake City, U.ah 05 Maurer cam¬ era, 3 lenses, 400' magazine, 12 volt motor, fitted case, $1,500.00. Magnasync 16mm type 15 recorder with torque motor takeups, $950.00. Houston CPI 6 double head printer, $2,500.00. Magnacord Voyager with ranger- tone sync head, $500.00. WALL camera 35mm late type, with double claw registration pin movement, less lenses. Accessories, Mitchell viewfinder, 12-volt mo¬ tor, two 1,000' magazines, four 400' maga¬ zines, sunshade and matt box. Used very little. A fine production camera. In excellent condi¬ tion, $2,250.00 FOB Tampa. JACK WALTON, P.O. Box 1457, Tampa, Fla. MOVIOLA model LP (green model) has one optical head on picture side, plus one optical and one 1 6mm magnetic head. Also has pro¬ vision for additional head. Complete with foot controls, amplifier, footage counter, etc. Every¬ thing in excellent working order. Best offer. RODEL PRODUCTIONS, INC., 1028 33rd St. NW, Washington 7, D.C. LEICA M3 with 35mm, 50mm, 90mm, 135mm lenses, wide angle finder, sunshades, filters, Leica exposure meter and other accessories. Over $800 value for only $425. In mint con¬ dition, equal to new. Write for details. Box 1463, AMERICAN CINEMATOGRAPHER. LIGHTING equipment for sale: 1 Creco 5KW, 1 Kliegal #44nl6 5 KW, 13 Kliegal #44n8 2 KW, 3 misc. 2 KW, 1 Kliegal 2 KW cone and 2 misc 750 spots. Most lights have stands and doors. Lights will be sold for best offer. RODEL PRODUCTIONS INC., 1028 33rd St. NW, Washington, D.C. MITCHELL 110 volt variable speed motor, lat¬ est model, new, $300.00. Kinevox Automatic Slater with arms for NC and BNC, $300.00. DON MALKAMES, ASC, 7 Plymouth Ave., Yonkers, N.Y. AURICON pro 200 turret lens blimp, variable area noise reduction sound. Cases, Pan Cinor 70 lens. EDWARDS CLEANERS, INC., Ports¬ mouth, Ohio. MITCHELL hi-speed motor, tech, and case, $150.00. Also full size crab dolly, new, $950.00. CARL POTORTI, Lacy Ave., R.D. #1, Morrisville, Penna. New ANGENIEUX zoom 12-1 20mm for Arriflex 16. Also one for Auricon, very reasonable. MAYSLES FILMS, INC., 162 West 13 St., New York 1 1, N.Y. 35MM custom blimped background projector, B&H type unit 1 shuttle, 225-amp lamphouse, talk back system, distributor, cables, etc. Excellent condition, $8,400. Same with double head, $12,500. BOX 1467, AMERICAN CINE, MATOGRAPHER. AMERICAN CINEMATOGRAPHER Classified Ad Rates ARE LOWER Than for any other publication serving the makers of motion pictures. 35MM B&H rackover camera (2709), $2,650. BOX 1466, AMERICAN CINEMATOGRAPHER. BARGAINS processors, lenses (16 & 35), cam¬ eras, etc. Write for list. PROFESSIONAL CINE PRODUCTS, 2222 N. Prairie, Dallas, Texas. BARGAIN 21 used Cinesalesman continuous 16mm projectors in excellent condition. Will sell all or any part. THOS. J. BARBRE PRO¬ DUCTIONS, 2130 S. Bellaire St., Denver 22, Colorado. 1 25MM (5 inch) f/2 Schneider Xenon lens, coated, T-stopped, in Arriflex mount, equal to new for only $275.00. 25MM (1 inch) f/2. 3 Bausch & Lomb Bailor lens, coated, in Mitchell mount, equal to new for only $165.00. Torque motor for Arri 16 magazines only $125.00. Box 1456, AMERICAN CINEMATOGRAPHER. SACRIFICE at nearly half original cost! Cine Special II with 3 Ektar lenses, elec, motor, 2 exira magazines, reflex finder, filters & hold¬ ers, carrying case. Like new. FRANK McGIN- NIS, 3802 Crestlake, Birmingham, Mich. AURICON Super 1 200 camera with variable shutter, two 1200' magazines, auto-parallex viewfinder, recording galvanometer, NR ampli¬ fier, microphone headset, cables, carrying cases. Less lenses, $3,250.00 FOB Tampa JACK WALTON, P. O. Box 1457, Tampa, Fla 1 6MM AURICON Pro-200, V/A sound, $750; 16mm Auricon Pro-600 (like new) $1,650; 35mm Wall camera, RCA sound, double pull¬ down, double register pins, etc., $3,900; 17'/2mm Stancil-Hoffman S6 recorder, con¬ verter, cables, etc., 110-220 volt, $1,950; 70mm Westrex editing machine, Todd A-O conversion, 6 track mag. sound, $3,775. BOX 1468, AMERICAN CINEMATOGRAPHER. PAN Cinor 70 F/2. 4 zoom lens C mount, view finder. Excellent, $150.00. ROBERT RANBERG, 15 Gilmore Road, Red Bluff, Calif. COLORTRAN super 80 less lamp, with stand. Like new! $50.00. Box 1465, AMERICAN CINEMATOGRAPHER. EQUIPMENT WANTED TRY F&B LAST FOR THE HIGHEST QUOTE ON USED MOVIE EQUIPMENT FLORMAN & BABB 68 W. 45th ST., N. Y. 36, N. Y. WHY SACRIFICE your production and struggle with old or used equipment when we can trade for cash or new equipment? Let us know what you have and what you need. THE CAMERA MART, INC. 1 845 Broadway PL 7-6977 New York 23, N.Y. WANTED to buy all types of projection bulbs, spotlight bulbs. ADVANCED SPOTLIGHT SERV¬ ICE, Box 206, Passaic, N.J. Continued on Next Page RATES; Ads set in lightface type, 20( per word. Minimum ad. $2.00. Text set in $2 00 per line. Send copy with remittance to cover payment to Editorial Off.ce. lightfaco capital letters (except 1st word and advertiser's name) 40p per word. American Cinematographer, P.O. Box 2230. Hollywood 28. Calif. Forms close Modified display format (text set in boldface type, capitals or upper-and-lower case) 1st of month preceding date of issue. AMERICAN CINEMATOGRAPHER, MARCH, 1963 185 Classified Ads Continued from Preceding Page EQUIPMENT WANTED INSTANT CASH HIGHEST PRICES PAID for your used 16mm and 35mm professional equipment of any kind URGENTLY NEED ARRIS, AURICONS, MITCHELLS, Zoom lenses; lab, editing lighting & recording equipment for our Rental Program CONSIGNMENTS WELCOME NEW — USED RENT, BUY TRADE, REPAIR HOLLYWOOD CAMERA COMPANY 6838 SUNSET BLVD., HOLLYWOOD 28 CALIF Top Cash Dollar Paid For: Good used 35mm Arriflex camera, 400 ft. magazines, 35mm zoom lens for Arriflex, 35mm viewer (Ceco, Ediola, etc.) with picture area at least 4x6, Moviola, 35mm Arriflex constant speed and synch motors, Houston or Raby Dolly, Nagra Sound Unit, reflectors with stands, generator truck, Klieg or Mole- Richardson lights and any other equipment for use by rapidly expanding production company. R. MENARD, 714 Howard Avenue, New Orleans, Louisiana. Telephone: 525-7056. WHO SELLS, SWAPS AND BUYS Whatever in your background lies? Frozen assets can give you a chill Say the word and defrost them we will. CONSIGNMENTS TAKEN— SET YOUR PRICE Ship it in— OUR PERCENTAGE IS SMALL Wire us — Phone PL 7-0440 S.O.S. PHOTO-CINE-OPTICS, Inc. Cable: SOSOUND Dept, fc, 602 W. 52nd Street, New York 19 Western Branch — 6331 Hollywood Blvd. Hollywood, Calif., Phone 467-2124 WANTED to buy — good used Bell & Howell Model J 16mm printer. GOODWIN FILM SERV¬ ICE, 407 11th St., Sioux City, Iowa. WANT Micro Record tank and B&H #70 series cam. body. 10501 Ilona Ave., Los Angeles 64, Calif. GR 7-9830. SERVICES AVAILABLE CAMERAMAN — EDITOR Heavy experience doc¬ umenting missile research and development. Presently engaged in business and industrial film production. Desire challenging position with vigorous film organization, either com¬ mercial or in-plant. Complete resume available. Box 1462, AMERICAN CINEMATOGRAPHER. EUROPEAN film assignments. Worldwide ex¬ perience in documentary and television pro¬ ductions. WORLD ALIVE FILMS, Willemspark- weg 207, Amsterdam, Netherlands. FILM ASSIGNMENTS wanted. Pacific Coast and Midwest Area, for stock shots, process plates, etc. Top Hollywood cinematographers and equipment available. WORLD WIDE FILMS, INC., 108 So. LaJolla Ave., Hollywood 48, Calif. Phones-. WE 9-8308 and OL 3-5072. AFRICA Full 16mm equipment, Arri, Magnasync, etc. Experienced cameraman. Complete safaris ar¬ ranged for tourists or professional units. TRANS-AFRICA GUIDES, Box 9538, Nairobi, Kenya. SERVICES AVAILABLE EUROPEAN assignments: THOMAS-d'HOSTE, 31 Avenue Mac-Mahon, Paris 17, France. In U.S.A. 7617V2 Hollywood Boulevard, Holly¬ wood, California. In Canada: 3261 Forest- Hill, Montreal, P.Q. FILM assignments, 16mm, Detroit area, scenic, stock shots. Editing and titling. HOWARD TRIEST, 10400 Saratoga, Oak Park 37, Mich. LI 2-7874. BRAZILIAN English speaking production unit available for assignments in Brazil, Uru¬ guay, etc. 1 1 years' experience, color B&W. HELICONFILM, Ave. Ipiranga 1248, Sao Paulo. JAPANESE English speaking director-cinematog¬ rapher for features, TV, etc. HARRY MIMURA, 2-1303 Setagaya, Tokyo, Japan. Credits: "Around the World in 80 Days" (Far East locations), American TV films (See American Cinematographer, March, 1961). 16mm FILM assignments — Chicago, scenic, in¬ dustrial, in-plant. ARLETTE STUDIO FILM PRO¬ DUCTIONS, 1657 Grace St., Chicago 13, Illi¬ nois. Bl 8-8612. Ask for brochure. SOUTHWESTERN U.S. assignments 16mm. Ac¬ cent on desert photography, travelogue and mining. WEST WIND PRODUCTIONS, P.O. Box 325, Ajo, Arizona. WANTED CAMERAMAN NEEDED. Send prints of produc¬ tions you have filmed, plus any other footage you have shot. Minimum requirement is abil¬ ity to operate camera without errors. We are looking for imaginative man to work up to director of industrials and TV spots. FRANK WILLARD PRODUCTIONS, 1842 Briarwood Road NE, Atlanta 6, Georgia. OUTSIDE salesman. Must be experienced. Sal¬ ary and liberal commission. Our employees know of this ad. Only top-notch man with good background in motion picture equipment sales will be considered. Los Angeles area. Box 1464, AMERICAN CINIEMATOGRAPHER. FILMS WANTED: amateur and professional films for TV release, drama, variety, comedies, adventure, cartoons and documentaries ac¬ cepted. WELLINGTON FILMS, P.O. Box 084, Hollywood 28, California. LABORATORY & SOUND SOUND RECORDING at a reasonable cost. High Fidelity 1 6 or 35. Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SERVICE, INC., 7315 Carnegie Ave¬ nue, Cleveland 3, Ohio. Phone ENdicott 1-2707. To Classified Advertisers Copy deadline for classified adver¬ tising is the 15th of month preced¬ ing publication date. Mail copy and remittance to cover cost to AMERICAN CINEMATOGRAPHER 1782 No. Orange Dr. Hollywood 28, Calif. INDEX TO ADVERTISERS Page American Cinematographer Manual . . 169 Ansco . 1 57 Arriflex Corp. of America - 1 29 Bach-Auricon, Inc . . 4th Cover Birns & Sawyer Cine Equip . 1 5 1 Byron . 131-132 Camera Equipment Co., Inc. . . 128, 133, 167 Camera Mart, Inc . 180-181 Camera Service Center . 147 Capital Film Laboratories 173, 174 Chevereau . . 1 75 Cinekad Engineering Co . 176 ColorTran Industries . 143 Eastman Kodak Co . .. 158-159 Farkas Film Co . . . 178 Film Effects of Hollywood . . 182 Filmline Corporation . 148 Florman & Babb, Inc. 139, 171, 177, 179, 184 Jack Frost . 1 61 General Electric Co . 146 W. J. German, Inc . 2nd Cover The Harwald Co . 178 Hollywood Camera Co . 136 Hollywood Film Company . 164 Lab-TV . . . 130 Kudelski . - . 135 Magnasync Corp . 3rd Cover Micro-Record Corp . 178 Midwestern Film Lab . 178 Miller Professional Equipment 134 Mitchell Camera Corp . 150 Mole-Richardson Company .... 177 Movielab . . . 1 53 Mole-Richardson European Service . 149 Paillard, Inc . 145 Pathe Products, Inc . 182 Pellegrini-Piek . 182 Photomart . . . 1 84 Photo Research Corp . . . 175 Precision Laboratories . 172 Charles Ross, Inc . 1 27 S.O.S. Photo-Cine-Optics, Inc . ....137, 138, 140, 144, 148, 172, 176, 183 Samuelson Film Service, Ltd. .. 179 Scopus, Inc . 175 Stevens Engineering Co . 182 Superior Bulk Film Co . 182 Louis Uhler . 171 Uhler Cine Machine Co . 152 Video Film Laboratories . 183 Vitatone Co . 178 Zoomar . 141-142 186 AMERICAN CINEMATOGRAPHER, MARCH, 1963 MAGNASYNC DUBBERS building blocks ” for sound engineers Single Dubbers, from *11 90 Triple Interlocked Dubbers, from *3910 Rear interior view of Selsyn motor electrical interlock Producers have found that the use of a single recording channel is only a small part of the tremendous savings possible with magnetic film recording. The next step for the organization seeking quality, economy and independence is to equip to handle their own transfer work, assembly and magnetic mixing of dialogue, music and sound effects. Magnasync dubbers are of “modular” design and are available individually or in combination of two or three units mounted in an enclosed rack cabinet that requires only 22" of floor space. FEATURES: • Plug-in preamplifiers with balanced 600 ohm output at zero vu. • Individual synchronous drive motors. • Torque motor take-up guarantees smooth film handling and hi-speed rewind. • Electrical interlock assures absolute “sync” with projector from dead start. • Wired for remote control, start and stop. • Fast rewind, fast forward. • Position for second playback head for transfer of both edge and center track re¬ cordings. • Available with 16mm, 17Y2mm or 35mm transports. GENERAL SPECIFICATIONS: Frequency response: 50 cps to 8,000 cps, zt2 db (16mm, 36 fpm), 50 cps to 12,000 cps, ±2 db (17y2mm or 35mm, 90 fpm). Signal-to-noise ratio: > 50 db. Flutter and wow: 0.12% maximum RMS in any single band. Distortion: <0.18% maximum RMS overall total harmonic. Send for free 41-page catalog describing recorders, dubbers, consoles and acces¬ sories. rmflcnflsvnr GJ - - ."TT77 r y/fa/uft/tmic SOUND SYSTEM Write, wire or phone MAGNASYNC N 5546 Satsuma Avenue, North Hollywood, California • TRiangle 7-0965 • Cable “MAGNASYNC’ gUP ©gill piil — 0lt«uu{ MARK m X-400 TYPE 1 TYPE 15 TYPE 5 xPSik Olmad MARK I MARK XC X-400 TYPE 1 TYPE 15 TYPE 5 MARK IT International leaders in the design and manufacture of quality magnetic recording systems Authorized Dealers CHICAGO, ILL. Behrend Cine Corp. 161 E. Grand, Ml 2-2281 Zenith Cinema Service, Inc. 3252 Foster. IR 8-2104 DALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5166 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc. 6331 Hollywood, HO 7-9202 KANSAS CITY, MO. Barnard’s, 4724 Broadway, Country Club Plaza, LO 1-7761 Crick’s Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, MO. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman's 121 Fourth Ave., Dl 3-1869 SOUTH AFRICA Photo Agencies Pt«. Ltd. 21 Kerk St., Johannesburg AUSi RALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BOLIVIA, La Paz Casa Kavlin Casilla 500, Cal le Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42/56 BURMA, Rangoon G.K. Theatre Supply Co., Ltd. 123 Sule Pagoda Road CANADA, Islington, Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej, 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St., (W-l) Gordon Cameras, Ltd. 45 Kensington High, (W-8) FRANCE, Paris Brockliss-Simplex S.A. 6, Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. HONG KONG Supreme Trading Co. 60 Hennesy Road INDIA, Bombay Kme Engineers 26, New Queen's Road ITALY, Rome Reportfilm, di J.M. Schuller Via Antonio Bertolini 31 JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome, Chuo-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd . , Rex Annexe SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road THAILAND, Suriwong, Bangkok G. Simon Radio Co. Ltd. 30 Patpong Avenue Visit our booth #8 at the S.M.P.T.E. convention in Atlantic City, April 22-25 16 lrLiTx Soimd-On-Filiii Canxera _ NEVER DISTURB THE AUDIENCE WITH CAMERA NOISE! Does the scene above look familiar? You may be interested to know more about its significance relative to your sound recording needs. Here is Auricon Professional 16 mm Motion Picture Sound Camera Equipment, operating right in the middle of an audience — actually within inches of the surrounding spectators! Yet, despite the complex precision mechanisms that are recording a full-color picture and every whispered word of the speaker on the rostrum, not even a murmer of distracting camera noise is heard by the audience. This quiet, dependable recording of 16mm Sound-On-Film Talking Pictures is the special engineering “magic” of Auricon! Except for the red signal lights glowing on the Auricon Sound Camera, the audience has no way of knowing that the Camera is running. In fact, even the click of the on-off switch has been muted! Auricon Cameras are versatile and easy-to-handle because there is no bulky, sound-proof enclosure "blimp” such as all other 16mm cameras use when recording sound. Professional Producers and Cameramen choose Auricon to shoot pictures synchronized with Optical or Magnetic “Double-System” recording equipment, or to record “Single-System” sound on the same film taking the picture. Write us about your sound recording equipment needs today! All Auricon Cameras are sold with a 30 day money-back guarantee. You must be satisfied! €3 S3 O S R/Omaine Street, Hollywood 3 Q , California HOllywood 2-0331 MANUFACTURE RS OF SOUND-ON- FI LIVE RECORDING EQUIPMENT SINCE 1331 100 ft. Runs 23/4 min. 1200 ft. Runs 33 min. 600 ft. Runs I6V2 min. CINE-VOICE II AURICON SUPER-1200 AURICON PRO-600 $998.50 & UP $5667.00 & UP $1871.00 & UP APRIL, 1963 • 50t JM AMERICAN m B Cinematographer International Journal of Motion Picture Photography and Production Techniques \ 0 IP L-p - \ v •JI1VD 9P OOOMA 110H Oy N0ANV3 SIOHDIN 9 £ | z 1 N 0 W b I V 1 0 l SPECIAL REPORT 8 MM SOUND FILM PROGRESS TECHNICAL QUESTIONS & ANSWERS • BEHIND THE CAMERAS WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES • INDUSTRY NEWS Wide flood or Medium flood... with only one housing, fingertip controlled! The new, versatile. 2-WAY ‘DUAL’ This new concept provides you with professional studio lighting versatility and performance of a magnitude heretofore unavailable. Change to WIDE FLOOD or ME¬ DIUM FLOOD in seconds, as your requirements change. Lighting is smooth and even, with no hot spots, band¬ ing or filament pattern. Quartz-iodine lamp will not dis¬ color or dim with age; newly designed reflector will not tarnish or discolor. Small, light-weight, rugged and low cost. Units operate from 110-120 volts A.C. or D.C. CONSTANT COLOR TEMPERATURES are maintained throughout the exceptionally long life of lamp. CONVERTER IS NOT REQUIRED! DUAL-650 (650 watts, 5.4 amps) more than 2000 watts of st udio light! DUAL-1000 (1000 watts, 8.3 amps) more than 5500 ivatts of studio light! 15-DAY UNCONDITIONAL FREE TRIAL! Mail coupon for literature an d/ or 15- day FREE TRIAL ■ ■ ■ ■ ■ ■ ■ i ■ To: ColorTran Industries, 630 S. Flower St., Burbank, Calif. ac-3 [7] Send complete literature on the Quartz-King "DUAL” □ I would like to try the ( ) Dual-650, ( ) Dual-1000 per your 15-day FREE TRIAL offer. Name _ Title _ Company _ Address - City. Zone- State . My Dealer is _ □ Send name and address of my nearest ColorTran dealer. ARRIFLEX at work — one of a SERIES* THE SIMPLICITY OF THE ARRIFLEX-16 OPERATION IS EXPLAINED BY CAMERAMAN WALLY BARRUS TO BRIGHAM YOUNG UNIVERSITY’S HEAD COACH, HAL MITCHELL. Five seasons of filming football games with an Arriflex 16, with never a lost play due to mechanical malfunction, is the proud report of Wally Barrus, official cameraman for Brigham Young University, Provo, Utah. Selected to eliminate the fail¬ ings of previous equipment, Arriflex has lived up to its reputation for performance and dependability. In filming sports events particularly, there is no chance for retaking footage lost through mechanical failures or cumbersome equipment. ‘‘In this respect,” Barrus says, ‘‘Arriflex is a joy!” Lightweight, portable and engineered for one-man operation, it helps the photographer “stay on top” of every play. The reflex view-finder permits fast through- the-lens composition and makes follow-focus easy ... no matter how deceptive the quarterback, Arriflex’s exclusive 21°-divergence 3-lens turret saves time, too — permits side-by-side mounting of long and short Lenses — switch from telephoto to wide angle without mechanical or optical interference! So satisfactory did the Arriflex prove itself, both on campus and away, that the University acquired two more: for its Motion Picture Department and to record other collegiate activities. Summing up the general reaction, Cameraman Barrus states, “In my opinion, Arriflex is the best 16mm camera available today.” Whatever your need — in industry, science or enter¬ tainment — filming sports or satellites, you will come to the same conclusion. ARRIFLEX scores in every game at Brigham Young U. From the microscope to the missile range... from spot locations to sound stages ... Arriflex professional motion picture cameras are the dominant choice of filmmakers in science, industry, and entertainment. They’re lightweight, rugged, tremendously versa¬ tile - uniquely suited to a range of applications virtually without limits. Here are some of the features that give Arriflex cameras their remarkable capabilities: • MIRROR-SHUTTER REFLEX VIEWFINDER • REGISTRATION- PIN FILM MOVEMENT • 21°-DIVERGENCE 3-LENS TURRET • CONTOUR HAND GRIP • FRAMES-PER-SECOND TACHOMETER • COMPLETE ACCESSORY SYSTEM . . . lenses, standard and special-purpose electric drives, power supplies, time-lapse equip¬ ment, film magazines, sound blimps, tripods. WRITE FOR NEW CATALOG. *YOU ARE INVITED to send us a description of your special use of Arriflex equipment. 257 PARK AVENUE SOUTH, NEW YORK 10, N. AMERICAN CINEMATOGRAPHER, APRIL, 1963 191 power rewinders Automatic & Conventional Models for 16mm, 35mm, 70mm films or Video Tape AMERICAN Cinematographer An entirely new concept in power rewinding is represented by Moviola’s precision-built APR series Automatic Power Rewinders. INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES 4iiiiiiiiiiiiimiimiiiiiiiiiiiiiiiiiiiiimiiiiiHiiiiiimiiiiiimiiiiiiiiiHimiiiiiiiiiiiiiiiilliiiiiiiiniiiiiiimiiiiiiiiHiiiiiiiiMiiiiiHiMMiiiiiiiiiiiiiimiiiiiiiiiiimiiiiiiiiiiiiiiimiiiiiiiiMiiiiiiiii‘ safety Automatic sensing device and electric brake prevent film damage by "runaway” supply reels. Built-in tension control prevents center "drop-out” of cored film caused by loose, uneven winds. speed Up to 3000 feet of 35mm film in IV2 minutes. versatility Rewinds from or to any combination of cores and reels. May be used in conventional manner if required. convenience Saves space. Operator can load, then do other things while APR completes its cycle and shuts itself off. APRIL, 1963 Vol. 44, No. 4 FEATURES Wizardry In Special Effects . 218 Lookout Mountain — Filming Center of APCS . 220 8mm Sound Films Progress . 223 Report On 8mm . 224 Double-Frame 8mm . 225 Quantity Dupes From 8mm Originals . 226 TV News Film — New Role For 8mm . 227 Location Photography . 228 DEPARTMENTS Write for free literature: AUTOMATIC MODEL APR Industry News . 1 94 What’s New In Equipment, Accessories, Service . 198 Behind The Cameras . 202 Technical Questions & Answers . 208 Flollywood Bulletin Board . 212 Literature . 216 Index To Advertisers . 248 ON THE COVER WHAT THE WELL-DRESSED cameraman may wear in event of a future atomic attack. Protected from radiation exposure in his “ rad-safe ” outfit, an Air Force cinematogra¬ pher prepares to photograph an atomic detonation during nuclear testing program conducted in Nevada desert recently. — APCS Photo. ARTHUR E. GAVIN, Editor MARION HUTCHINS, Editorial Assistant OFFICES — Editorial and Business: 1782 No. Orange Drive, Hollywood 28, Calif. Telephone HOIlywood 7-2135. EASTERN ADVERTISING REPRESENTATIVE: Paul Gilbert, 489 Fifth Avenue, New York 17, N.Y. Telephone AX 7-5641. ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 1 1 1 1 1 1 1 n ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 m 1 1 1 1 1 1 1 1 1 1 m 1 1 1 1 1 1 1 1 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 1 1 1 m u 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ■ 1 1 1 1 1 1 1 AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Holding Corp., 1782 N. Orange Dr., Hollywood 28, Calif. SUBSCRIPTIONS: United States and Canada, $5.00 per year; Foreign, including Pan-American Union, $6.00 per year. (Remit by International Money Order or other exchange payable in the U.S.) Single copies 50 cents; back numbers 60 cents; foreign single copies, 60 cents; back numbers, 70 cents. Advertising rates on application. Copyright 1963 by A. S. C. Holding Corp. Second-class postage paid at Los Angeles, California. 192 AMERICAN CINEMATOGRAPHER, APRIL, 1963 A.u.1* ico n 16m.m. Soun.d.-On-Film Cameras r xl ix QUIET AS A CAND The Auricon Camera is unique, with noiseless operation as silent proof of precision design. It runs so quietly that no heavy and cumbersome external blimp (sound-proof enclosure) is required! For fast ''set-up” and dependable filming of professional 16 mm talking pictures, Producers and Cameramen choose Auricon to shoot pictures synchronized with Optical or Magnetic "double-system” recording equipment, or to record "single-system” sound on the same film taking the picture. All Auricon Cameras are sold with a 30-day money-back guarantee. You must be satisfied! WKmfmS^ & Write for your free copy of this 74-page Auricon Catalog. ^ 6902 Romaine Street, Hollywood 38, Calif. / HOllywood 2-0931 16 MM SOUND-ON-FILM CAMERAS A CINE-VOICE II $967.00 & UP 100 ft. Runs 2 3A min. AURICON PRO-600 $1459.25 & UP 600 ft. Runs 16 Vi min. AURICON SUPER- 1200 $4149.00 & UP 1200 ft. Runs 33 min. MANUFACTURERS OF1 SOXJ3SrD-OKr-F'Xx_1i^; RECORDING EQUIFIVEEISTT SI3STCB 1931 ZOOM NAVITAR Elgeet offers Vidicon television cameras and 16mm cameras the first Zoom Navi- tar, a manually-controlled 4:1 zoom with a 20mm to 80mm range— f: 1.8! This new lens achievement is optically compen¬ sated to hold focus through the entire zoom action. Fourteen elements — covers Vidicon format— resolves 600 lines— linear zoom action by ring— list price: $400. For information, write for Catalog 2080-CZ18. EL-96 INDUSTRY NEWS News briefs of industry activities, products and progress Studio Plans Aid For Aspiring Filmmakers Universal studios has announced it is stepping up its new talent develop¬ ment activities and has launched a program to find, develop and encour¬ age fresh, new young talent — actors, writers, directors, producers — as well as to consider worthy film-making projects by outsiders for which financ¬ ing is needed. To provide opportunities for these newcomers to express themselves in actual creation of motion pictures rath¬ er than in any training program, Ed¬ ward Muhl, Vice-president in charge of production at Universal said the company has allocated a substantial budget for the production of a num¬ ber of such motion pictures. The program aims to reply to those critics contending that young Ameri¬ can picture-makers have not kept pace with the recent “new wave” or neo- realism school of producers abroad, Muhl points out, and says it will tackle in a concrete and practical manner the problem of developing major new pic¬ ture-making talent behind the camera as well as the performang artist. (See “The Pros Show The Students How,” American Cinematographer for Febru¬ ary, 1963. — ED.) e Unions Plan Easing Rules To Aid Indie Filmmakers The IATSE, whose union rules gov¬ ern all professional film making in Hollywood, is considering easing its working rules with non-theatrical film producers “to benefit them via smaller crews, etc.” Move is disclosed as part of long range plan of IATSE to put the production of non-theatrical films, es¬ pecially those for the U. S. govern¬ ment, into professional hands. Regarding the latter, a spokesman said that organized film centers in the U.S. find it impossible to obtain gov¬ ernment film contracts except in a very limited degree. Hiring of a Washing¬ ton D.C. research group is planned to determine how much expenditures for films are contained in governmental prime contracts, the in-house film pro¬ duction capabilities of various govern¬ mental agencies, and to analyze the film bid procedures of the agencies with the object of formulating a policy that will make it possible for experi¬ enced film-makers to bid on govern¬ ment motion picture requirements. © G-E Develops Large-Screen Color TV For Theatres Development of a light valve projec¬ tor which for the first time makes pos¬ sible display of color television images covering theater-size screens, was an¬ nounced recently by General Electric. The large-screen capability of G.E.’s new Talaria projector is expected to have important implications for the entertainment industry, as well as for education (particularly medical educa¬ tion), military and business communi¬ cations. Until perfection of the projector by G.E.’s Technical Products Operation, Syracus, N.Y., display of TV pictures on full size (25-by-33-foot) screens with adequate brightness was limited to black-and-white. Previously most color systems were limited to screens about one-fourth this size and thus were impractical for large audiences. The Talaria system reportedly is capable of producing a wider gamut of colors than the best color film avail¬ able because color is determined by optical filters rather than dyes. Resolu¬ tion, or amount of detail, is about 500 TV lines, better than home TV re¬ ceivers. Uniformity of illumination is excellent. Illumination at the edges of the Talaria picture falls to 70 per cent of that at the center. SMPTE stand¬ ards allow a drop to 60 per cent. • UCLA Grad Wins Screen Gems Film-Making Fellowship James D. Wotring, 23, Phi Beta Kappa UCLA graduate student in the radio-TV division of the theater arts department, has won the Si 500 fellow¬ ship given annually by Screen Gems, major producer of TV films. He will spend five months at Screen Gems stu¬ dio in Hollywood as an apprentice to Continued on Page 196 194 AMERICAN CINEMATOGRAPHER, APRIL, 1963 1 To: Dept BAC-43, Paillard Inc., P. 0. Box 564, Linden. N. J. Please send the following free literature and name of my nearest Bolex dealer: □ 16mm camera and accessory catalog □ 8mm camera and accessory folder Also, please send me these special technical brochures: □ Education and Sports Training Films □ Achieving Special Effects With the Matte Box □ Cinematography Through the Microscope □ Professional Applications of 8mm Cameras NAME _ _ ADDRESS _ _ _ CITY. _ ZONE _ STATE _ Identical twins? (not quite) One is the Bolex H-8 Rex. One is the Bolex H-16 Rex-2, Both are cameras of highest professional quality. Which one is best for you? The Bolex H-8 Rex gives you the cost -saving advantages of 8mm at a professional level of quality! With superb macro-Switar lenses, variable shutter, reflex viewing and other special effects features, it is an excellent camera for industrial, educational, medical, time lapse, sports coverage, traffic studies, weddings, etc. And you get 100' double 8 capacity for far longer continuous shooting and film economy! Where highest quality results are a must, the Bolex H-16 Rex-2 is the answer. Lightweight, extremely rugged and dependable, this camera gives top results even under severe climatic conditions. Excellent lens combinations and built-in features give full scope to your ability, for finest television, documentary, industrial, research, training and advertising photography. See both the Bolex H-8 Rex and the Bolex H-16 Rex-2 with companion projectors and accessories at your Bolex dealer’s. Why not today? AMERICAN CINEMATOGRAPHER, APRIL, 1963 195 new, improved super-efficient CINE VOICE CONVERSION Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion. EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE • A true torque motor — Idles at Vz power, when camera is turned on. Assumes full power. This system prevents excessive heating. • Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc. • Veeder counter effectively silenced. • Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines. • Neon camera running light. CINE VOICE CAMERA CONVERSION including torque motor and belt o X At present we can promise delivery within 15 days. Accessories Available: Behind-the-lens filter slot $45.00 Lens Turret Lock for Zoom Lens operation $25.00 NEW ANGENIUX 12mm - 120mm ZOOM LENS "C” MOUNT WITH SIDE-VIEW FINDER IN STOCK! $895.00 John Fletcher, ABC cameraman, with Ray Emeritz, F & B's Chief Engineer, who developed the new Cine Voice Conversion. Serving the World's Finest Film Makers 3AISm3X3 • M3N • 3AISm3X3 • M3N • 3AISmOX3 FOR THE ANSWER to your photographic problems, refer with confidence to the new AMERICAN CINEMATOGRAPHER MANUAL More than 400 pages of concise, practical and informative data and charts invaluable to every motion picture cameraman . $7.50 AMERICAN CINEMATOGRAPHER MANUAL, P.0. Box 2230, Hollywood 28 .California. INDUSTRY NEWS Continued from Page 194 observe and engage in all phases of telefilm-making, from story conception to marketing. The fellowship was established at UCLA in 1961. Previous winners John Rhone and John Choy are now work¬ ing in the industry, the former an asso¬ ciate producer at Screen Gems and the latter at Revue. Solow Hollywood Delegate To Argentine Festival Sidney P. Solow, Vice-president and General Manager of Consolidated Film Industries, represented the American Society of Cinematographers, the So¬ ciety of Motion Picture and Television Engineers and the Cinema Department of the University of Southern Califor¬ nia at the Mar del Plata Film Festival in Argentina last month. • Macauley Heads S.O.S. Alan and Jan Mcauley, husband-wife managerial team of SOS’s Hollywood offices since 1955, have acquired a substantial stock interest in the com¬ pany and Alan Mcauley has been elect¬ ed a Director of the company and also its new President. Joseph A. Tanney, who has been President of SOS since its founding 37 years ago, becomes Chairman of the Board. Other new officers of the Com¬ pany are: Dominick J. Capano, Vice- president and General Manager; Wil¬ liam H. Allen, Engineering Vice-Presi¬ dent and Secretary; and Jan T. Macauley, Treasurer. Mr. Capana and Mr. Allen have each been with the Company for over 25 years. Claude C. Pitts has been engaged as Sales Engineer with headquarters in the Hollywood Office. He brings with him a varied experience, including 20 years with the Photographic Branch of the U.S. Navy as well as associations with the motion picture groups of Boeing and General Dynamics-Convair. • Camera Mart Seminar Speakers Announced More than 24 executives and techni¬ cal heads of various east coast film production companies are slated to participate as lecturers, instructors or guest speakers at the forthcoming Cam¬ era Mart 1st Annual Film Editing Continued on Page 246 196 AMERICAN ’ CINEMATOGRAPHER, APRIL, 1963 ONLY FROM CECO THIS SUPERB FILM MAKING EQUIPMENT CECO PRO JR. FRICTION HEAD TRIPOD with Revolutionary Ball Joint... TR8VB Net $190.00 Assistant's Ditty Bag Net $7.50 CECO PROGRAMMER for Time Lapse Applications Net $495.00 WADDELL NOVA III 16mm HIGH-SPEED CAMERA New features include simplified Timing block and Film Chip Reducer... Net From $2335.00 3 year lease available CECO REFLEX MODIFICATION FOR THE 35mm B&H EYEMO CAMERA Conversion Net $1200.00 Camera with Conversion Net $1500.00 This modification is also available for Mitchell and B&H 2709 Cameras at... Net $2500.00 CECO HI SPEED EDITING TABLE With Torque Rewinds, Single -System Sound and Counter. Acceleration to 240 feet per minute. Available in 16mm and 35mm Models Net From $1750.00 3 year lease available CECO 400' CONVERSION for CINE VOICE CAMERA Net $450.00 400' Mitchell Type Magazine, additional Net $135.00 SOUND BLIMP FOR KODAK REFLEX CAMERA Net $1950.00 KODAK REFLEX ACCESSORIES: Matte Box Net $225.00 Single Speed Stop Motion Motor Net $650.00 Additional Single Speed Drives (1/4, 1/2, 1 Sec.) Net $150.00 110 V. AC-DC Variable Speed motor with Tachometer Net $500.00 Balanced Tripod for Blimp Net $460.00 Pro Jr. Spring Head Tripod for Camera with Ball Joint CECO Model TR6VB . . . Net $240.00 CECO 35mm RED LAKE STOP-MOTION ANALYST PROJECTOR with footage counter and remote control feature Net $2495.00 3 year lease available 1000' MAGAZINE FOR ARRIFLEX 35mm CAMERA Complete with Veeder-Root Counter... Net $369.00 16mm CECO PROFESSIONAL FILM VIEWER Net $375.00 (Also available with Single System and/or Double System magnetic installation). NICKEL CADMIUM PORTABLE POWER SUPPLY for Kodak Reflex, Auricon, Arriflex and other Cameras with 110 V. Synchronous motors. Complete with built-in charger... CECO Model PS 40 DD Net $325.00 INDUSTRIAL PHOTOGRAPHERS, Please Note! — Ask us about our NEW “IN-PLANT STUDIO” PROGRAM. For full information and literature on these as well as the thousands of other professional cameras and accessories available from CECO, write or phone today. CAMERA EQUIPMENT CO., INC. FIRST IN SALES, SERVICE, RENTALS AND REPAIRS SUBSIDIARY OF CECO INDUSTRIES, INC. NEW YORK. N.Y. HIALEAH, FLORIDA HOLLYWOOD. CALIFORNIA 315 West 43rd St. JUdson 6-1420 51 East 10th Ave. TUxedo 8-4604 6510 Santa Monica Blvd. HOIlywood 9-8321 197 AMERICAN CINEMATOGRAPHER, APRIL, 1963 BLUE RIBBON SPECIAL! RECORDING EQUIPMENT AURICON latest model RM-30 re¬ corder complete with Modulite mod¬ el S variable area galvo, custom all- AC operated four channel amplifier, one 1200' mag, like new condition, list over $3,600. Special. Price . $2,195.00 SOUND EQUIPMENT and ACCESSORIES HALLEN 17.5mm magnetic film re¬ corder, two case unit, complete with playback amplifier and speaker, foot¬ age counter, erase, excellent, was $1,900. Specially offered at . ..$495,00 MAGNASYNC model 602E 16mm magnetic film recorder, two case unit, completely reconditioned, value over $1,500. Special . $1,195.00 BELL & HOWELL model 185 single case sound projector, excellent . $265.00 CAMART TV MIKE BOOM 13' boom arm, collapsible stand, internal mechanism for directional mike con- ti’ol, list $297.50 demonstrator . $245.00 EDITING EQUIPMENT B&H FILMOTION 16mm viewer, right to left operation, excellent, special . $49.50 ZEISS Moviscop 16mm viewer, left to right, large bright image, list $96.00, demo . $69.50 SOS PRO-35mm viewer, large 4x6 screen, demonstrator . $295.00 PRECISION model 800 optical- magnetic reader, list $259.50, demo $195.00 TRAID model 135 hot splicer for 16/ 35mm list $339.00, demo . $295.00 CAMART film editing bin w/rack and liner, 12x24x30, list $45.25, slightly used . $36.00 ACE Deluxe 16/35/70mm Mylar tape splicer, straight and diagonal, list $125. ACE serrated edge mylar cut¬ ter bar $5.00, both items brand new, special package price . $49.50 All prices fob. New York SEE PAGE 202 FOR FREE GIFT OFFER WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES Moviola TV Mattes The Camera Mart, Inc., 1845 Broad¬ way, New York 23, N Y., announces a newly designed TV matte for Moviola film editing machines. Designed to eliminate guesswork in framing exact picture area as it is to be seen on home TV receivers, the Camart TV matte enables the film editor or sponsor of the film (or commercial) to pre¬ view the picture in the correct TV frame size directly on a Moviola pic¬ ture head, illustrated above. The matte is placed flat on the Moviola viewing glass surface and is instantly removable. Precision cut and fitted from durable opaque plastic, it is available in three sizes to fit all 16mm and 35mm Moviolas. Prices range from S6.50 to $8.00. Sun Gun II A new member of the Sylvania Sun Gun family, claimed to have all of the effective light output of the original model, has had a number of features added for more versatility and com¬ pactness. The Sun Gun 11 has a camera bracket fixed permanently to the unit and folds against the gun handle when not in use. Its removable head is con¬ nected to the handle by an adjustable locking knob, permitting the head to be tilted easily and quickly for bounce¬ lighting. A head-angle indicator is in¬ cluded for accurate positioning of the light direction. The new Sun Gun operates on or¬ dinary household current. Its halogen lamp ( DWY) is balanced for 3400 deg. K for use without filters with Type A color or black-and-white film. Also available is a 3200 deg. K lamp (FAD) for use with Type B color film. A third version of the Sylvania lamp (I)XV), is designed for overseas use where 250-volt current is used. All three lamps are interchangeable, and can be placed in position quickly. Syl¬ vania Electric Products, Inc., 730 3rd Ave., New York 17, N. Y. Magna-Tech Has Nagra Magna-Tech Electronic Co., Inc., 630 Ninth Avenue, New York 36, N. Y., announces it is distributing and servicing the Nagra portable tape re¬ corder. The company maintains excel¬ lent servicing facilities and carries a stock of replacement parts for the equipment. A price list and specifica¬ tion sheet is available on request. Angenieux Zoom Looms Zoomar Intrnational Inc., division of Zoomar, Inc., Glen Cove, L.I., N.Y., announces its affiliation with Ets Pierre Angenieux of Paris and Evershed Power-Optics Ltd. of London to act as their Exclusive representative for the United States, Canada and South America. Through this affiliation Zoom¬ ar International Inc. will make avail¬ able to North and South American film-makers a particularly comprehen¬ sive range of standard zoom lenses as well as special optics. Zoom lenses can also be supplied with servo controls manufactured jointly by Ets Pierre Angenieux and Evershed & Vignoles Ltd., London. Of special interest are the Angenieux zoom lenses with a range from 1:10 for 16mm or 35mm movie cameras and for Orthicon and Vidicon TV cameras. Stop-Watch For Film Makers A new, specially designed stop watch for timing 16mm and 35mm film. Continued on Page 200 198 AMERICAN CINEMATOGRAPHER, APRIL. 1963 THE MIDWEST’S FASTEST GROWING FILM CENTER MITCHELL CAMERAS, MITCHELL AND OTHER PROFESSIONAL CAMERA EQUIPMENT RENTALS & REPAIR SERVICES D u n c a n VICTOR DUNCAN & COMPANY 250 Piquette— Phone 872-7229 Detroit 2, Michigan NATIONALLY RECOGNIZED FOR TOP QUALITY, FAST FILM PROCESSING GENERAL FILM LABORATORY, INC. ( C. ) 66 Sibley-Phone 961-7818 Detroit 1 . Michigan COMPLETE MOTION PICTURE SOUND RECORDING SERVICES INCLUDING MIXING, SCORING FACILITIES AND 16MM ONE SOURCE FOR PRODUCTION LIGHTING NEEDS- FASTER SERVICE BECAUSE WE ROLL OUR OWN ffii JACK A. FROST COMPANY 234 Piquette — Phone 873-8030 Detroit 2, Michigan LOOK TO DETROIT FOR COMPLETE FILM SERVICES IN CAMERA EQUIPMENT, LIGHTING, RECORDING AND FILM PROCESSING. USE AREA CODE NO. 313 AMERICAN CINEMATOGRAPHER, APRIL, 1963 199 BLUE RIBBON SPECIAL! BOWLDS ANIMATION STAND and CAMERA BOWLDS model D animation stand complete with compound table with NSEW movement, 2-12" field plat¬ ens, 2-14" field platens, Acme anima¬ tion camera, 35mm, with motor, lens, two 400' Mitchell magazines with bi¬ pack adapter, lights, pantograph, auxiliary peg movement, exception¬ ally fine condition, value over $12,000. Special Offer . $6,495.00 DEBRIE Super Parvo 35mm blimped studio camera, 220v 3 phase motor, 6 Kinoptik lenses, finder, mags, tri¬ pod, cases, 220/110 volt reverter and voltage regulator, value over $7,000. Special . $3,495,00 TOBIS SCHLECTA 35mm Studio camera, 220v motor, 3-400' mags, prismatic rackover, 28, 50, 100mm lenses, value over $2,000. Specially offered at . $395.00 ARRIFLEX 35mm blimp with syn¬ chronous motor, value over $2,300 used, exceptionally fine condition, special . $1,650.00 EYEMO model K camera, 2" F2.8 lens in focusing mount, drum finder, excellent . $175.00 AURICON blimp complete with syn¬ chronous motor for Cine Special camera, excellent, was $495. Special¬ ly offered at . $295.00 BERNDT MAURER professional camera, 2-400' mags, finder, sun¬ shade, registration pin movement prismatic rackover, excellent, value over $3,000. Special . $995.00 CINE VOICE sound camera, 100' capacity, turret, variable area galvo, amplifier, mike, headset, cables, bat¬ teries, case, excellent, value $1,250. Special . $725.00 B&H Filmo hi-speed 128 fps spring wind camera w/1" fl.8 lens, excel¬ lent . $195.00 SPECTRA three color temperature meter complete w/case and set of 2x2 filters, value over $400. Special $195.00 MITCHELL 1000' x 35mm maga¬ zines, new, value $190.00, special $110.00 All prices fob. New York SEE PAGE 202 FOR FREE GIFT OFFER WHAT’S NEW ConlViued from Page 198 features large, easy-to-read numbers set in three different colors. The watch is shock proof, water resistant, dust resistant, anti magnetic, self compen¬ sating and has an unbreakable main¬ spring. It is offered by Birns & Sawyer Cine Equipment, 6424 Santa Monica Boulevard, Hollywood 38, California. Two models are available, a deluxe Studio model at $24.95 and a Filmeter model at $15.95. Both come complete with a generous, braided lanyard and carry a one-year guarantee. Reversal Processor The Filmline Corp., Milford, Con¬ necticut announces a new high speed film processor. Designed to meet the exacting requirements of the him in¬ dustry, the new model R-15 can de¬ velop reversal or neg-pos him at 1200 feet per hour. Among its many exclu¬ sive features are the Filmline overdrive system, which eliminates him breakage, automatically compensates for him elongation and keeps tank footage con¬ stant. A variable-speed drive allows control of development times from ll/> to 12 minutes. A feed-in elevator and 1200' magazine permits continuous processing. All tanks are stainless steel. The R-15 has an air squegee, recircula¬ tion fittings, air agitation tube, lower roller guards and forced hltered warm air drybox. Easy-to-operate by un¬ skilled personnel in daylight — no dark¬ room needed. Additional features include: double capacity spray wash, uniform tank sizes, cantilever construction, self con¬ trolled plumbing, ball-bearing gear box, oilless air compressors, dry box and developer thermometers. Size 77" x 60" x 30". Weight approx. 650 lbs. Priced at $4750 complete. (Including Temperature Control System, Bottom drains and valves, developer recircula¬ tion and air compressor.) Inspection Projector Hollywood Film Company, 956 No. Seward St., Hollywood 38, Calif., announces a new, high-speed inspec¬ tion projector for use by him labor¬ atories to inspect release prints before they leave the lab. The projector is available in either 16mm or 35mm models and is mounted on a modern designed base which allows the oper¬ ator to easily and quickly make height adjustments. The 16mm machine runs at 144 feet per minute which is four times normal speed. Two picture frames are viewed simultaneously together with the per¬ foration and sound track areas. The 35mm machine runs at 165 feet per minute and can be speeded up by the mere change of pulleys. This unit views one frame at a time. 16mm Bench Editor Direct front-projection 16mm editing by means of a small bench or table mounted unit has been announced by S.O.S. Photo-Cine-Optics, Inc., 602 W. 52nd St., New York 19, N. Y. The device, measuring 7x6x7 inches, is de¬ signed to project a steady image for viewing by a number of persons simul¬ taneously. Called the S.O.S. Projectola, it consists of a four-element projection lens with the front objective 40mm in diameter, a rotating 8-sided prism, and surface mirror, all of which are dust- proof encased. Cleaning of optics is done through a high-speed locking de¬ vice at the film gate. Film guiding elements have grooves for the picture and sound track to pro¬ tect the film and insure uniformly sharp pictures with forward, reverse or still projection. The gate maintains focus. An AC transformer for 110/240 volts feeds a 25-watt, 6V lamp, which is adjustable from outside. ■ 200 AMERICAN CINEMATOGRAPHER. APRIL, 1963 Originals Only ...PLEASE! SIGHT or SOUND If your editor isn't used for ORIGINAL PRINTS - - then you need the Model AO 16mm includes Viewer, Optical Sound Reader, Matched Amplifier/Speaker and Sub-base. ONLY $362.24 Write for brochure PHOTO-Uf-OPTICS, 11. formerly S.O.S. CINEMA SUPPLY CORP. 602 West 52nd St., N Y. 1*— Plaza 7-0440 — Telegram: "FAX, N.Y.'' Western Branch: 6331 Hollywood Blvd., Hollywood 28, Calif. — Phone: 467-2124 > SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 232, 241, 243 AND 245 -<■ AMERICAN CINEMATOGRAPHER, APRIL, 1963 201 LIGHTING EQUIPMENT COLORTRAN Spot Kit with three spot heads, one broad, four stands, snoots, scrims, case. Junior Mark II converter, value $325.00. Special . $225.00 REGAL Converter. 2000 watt capa¬ city. Ideal for studio or animation stand. Was $65.00. Special . $49.50 GARNELITE converter will handle 4 Par 56/300 watt lamps. Individual rheostat control for each light. Was $145.00, excellent, special . $89.50 FREZZOLITE model 210 portable newsreel light w/reflector and power pack, list $250. Demonstrator model, special . $179.50 BARDWELL 2KW spots . $ 85.00 5KW spots . $115.00 Single broads . $ 35.00 Double broads . $ 50.00 CONE LIGHT 2KW, demo . $75.00 GE Cinemalite, portable battery-op¬ erated light. List $125.00, demo model . $99.50 LILLIPUT twin light head and barn¬ doors. Light output over 5KW. List $135.00, demo . $109.50 All prices fob, New York FREE CAMART OILER PEN Our famous imported Camart Lu- bristyle Oiler Pen, regularly adver¬ tised at $1.69 is our gift to you. Just fill in and return the coupon or send us the requested information on your letterhead. Please enclose 25d in coin to cover postage and handling. Offer Expires April 30, 1963. Camera Mart, Inc., 1845 Broadway, New York 23. N. Y. Please send me the FREE Camart Lubristyle oiler pen. I enclose 25«‘ to cover postage and handling. Name . . . Company . Address . . City . State . I am interested in the following items at pres¬ ent. I have the following equipment to offer in trade: BEHIND WHAT THE INDUSTRY’S B ERAS OTING LAST MONTH H I N S NOTE: Asterisks following titles indicate television film productions. ALLIED ARTISTS Stanley Cortez, ASC, “The Long Corridor” (Leon Fromkess Prod.) with James Best. Samuel Fuller, producer-director. Paul Vogel. ASC. “The Gun Hawk” (Bern- Field Prods., color) with Rory Calhoun and Rod Cameron. Edward Ludwig, director. AMERICAN-INTERNATIONAL Mario Bava, “Black Sabbath” Galatea Prods., API. Eastman color) with Boris Karl¬ off and Mark Damon. Mario Bava. director. Floyd Crosby, ASC, “X” (James H. Nichol- son-Samuel Z. ArkofT Prod., Pathe color) with Ray Milland and Diana Van der Vlis. Roger Corman, producer-director. BILTMORE STUDIOS, N.Y. Jack Priestly, “Naked City”*. BIOGRAPH STUDIOS— New York George Stoetzel, ASC, “Car 54 Where are You?”* CASCADE STUDIOS Henry Freulich, ASC, Commercials*. Elwood Bredell. ASC, Commercials*. Tyler Byars, Commercials*. CBS — N.Y. Charles Mack, Leo Rossi, Robert Clem¬ ents. “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. Bernard Dresner. Bert Gerard, Kf.n Snel- son, “Twentieth Century”*. Bill Garroni, “CBS Sports Spectaculars”*. COLUMBIA STUDIOS Gil Taylor, “Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (Trooper Films; shooting in Europe) with Peter Sellers and George C. Scott. Stanley Kubrick, producer-director. Leon Shamroy, ASC, Ross Lowell, “The Cardinal” (Gamma Prod.; T’color with Tom Tryon and Romy Schneider. Otto Preminger, producer-director. Stelvia Massi, “Gidget Goes to Rome” (Jerry Bresler Prod.; Eastman color; shoot¬ ing in Rome) with James Darren and Cindy Carol. Paul Wendkos, director. Joseph Biroc, ASC, “Under the Yum Yum Tree” (Brisson-Swift Prods., Eastman color) with Jack Lemmon and Carol Lynley. David Swift, director. Christopher Challis, “The Long Ships” (Warwick Films Prods., Technirama-Techni- color, shooting in Yugoslavia) with Richard Widmark and Sidney Poitier. Jack Cardiff, director. Arthur Arling, ASC, Commercials* Fred Gately, ASC, Commercials* Charles Welborn, “Empire”*. Gordon Avil, ASC, Commercials*. Robert Wycoff, “Dennis the Menace”*; Charles Lawton, ASC, Commercials*. Burnett Guffey, ASC, Commercials”*. Richard Rawlings, “Higgins”*. DESILU — Cahuenga Studio Henry Cronjacer, “The Joey Bishop Show”*. Robert deGRASSE, ASC, "Dick Van Dvke Show*”. Maury Gertsman, ASC, “I’m Dickens — He’s Fenster”*. Sid Hickox, ASC, “The Andv Griffith Show”*. DESILU — Culver City Lothrop Worth, ASC, “The Real Mc¬ Coy’s”*. Charles Straumer, “The Untouchables”*. DESILU — Gower Glen MacWilliams, ASC, “Fare Ex¬ change”*. Maury Gertsman, ASC, “The Lucy Show”*. Ted Voightlander, “Ben Casey”*. FILMWAY STUDIOS — New York Morris Hartzband, ASC, “The Defenders' *. GENERAL SERVICE STUDIOS Lester Shorr. ASC, “The Beverly Hill¬ billies”*. Robert Moreno, “Adventures of Ozzie & Harriet’*. FRED NILES STUDIOS, N.Y. Sol Negrin, “Universal Electronics (Fred Niles Prods, at AT&T). Phil Goodman, di¬ rector. INDEPENDENT Alan Stensvold, ASC, “Here’s Las Vegas” (Producers Equity Corp.; UA release; Pathe color) with personnel of Las Vegas shows. Mitchell Leisen, director. William Mellor, ASC, “The Greatest Story Ever Told” (Geo. Stevens Prod., UA release; P'Vision & Cinerama in Technicol¬ or) with Max Van Sydow and Charlton Heston. George Stevens, producer-director. Conrad Hall, “Stoney Burke”* (Daystar). Philip Lathrop, ASC, “The Pink Panther” (Edwards-Mirisch Prod.; UA release; Super- Techirama 70 & Technicolor; shooting in Rome) with David Iven and Peter Sellers. Blake Edwards, director. Joe MacDonald, ASC, “Kings of the Sun” (Mirisch Prod.; UA release; P’Vision & DeLuxe color; shooting in Mexico) with Yul Brynner and George Chakiris. J. Lee Thompson, director. Robert Krasker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain) with Sophia Loren and Stephen Boyd. Anthony Mann, director. Jack Marta, “Route 66”*. Continued on Page 206 202 AMERICAN CINEMATOGRAPHER. APRIL, 1963 color-correct 0 "color-correct" prints What do you want in a color release print? Perfection! Think you can get it? Yes — if you have your color printing done by Byron. Why? Because Byron’s exclusive "Color-Correct” printing process is recognized throughout the motion picture film industry as representing the very highest standard for color duplication. Only Byron can give you “Color-Correct” prints. Byron can print additively or subtractively with color balancing from scene-to-scene. We can print fades and dissolves in any length from 16 to 96 frames. We can print with zero cut for extended scenes. We can cue magnetic¬ ally, if required. All information is automatically cued into the prints from programmed tape. And you’ll find that our optical masters on Ektachrome are absolute perfection. You, like most of our customers, probably will find it impossible to identify the master from the original. Next time you want color prints, order “Color- Correct” prints made only by Byron. See perfection for yourself! For free brochure on all Byron services, write, phone, or wire: motion pictures 1226 Wisconsin Avenue, N.W., Washington 7, D.C., Area Code 202, FEderal 3-4000 Question: Who In the World Rents from Birns & Sawyer? Example: Producer Sam Spiegel, and Director David Lean, for Academy Award Winning LAWRENCE OF ARABIA. Director David Lean in white hat, pointing, is directing Academy Award winning Lawrence of Arabia in hot sands of Jor¬ dan Desert. Birns & Sawyer equipped the 16-month production with the Academy Motion Picture Research Council Crane and Worrall geared head shown in photo, which aided in a small way achieving the award for excellence in cinematography. Making an Academy Award Winning Picture Nominated for 10 Academy Awards, including Best Cinema¬ tography in color, Lawrence of Arabia achieved spectacular chase scenes by building a half-mile long “private railroad”. A Birns & Sawyer “Academy” Crane with geared head, mounted on a flatcar, not only kept pace with galloping riders but enabled the special 70mm Panavision Technicolor camera to make steady, jerk free panning while swinging out for close-ups and down for low level shots. To insure reliability, equipment was chosen in Hollywood and shipped to Jordan, rather than being picked from over¬ seas sources. Birns & Sawyer is honored to have played a small part in the success of the picture. Let Birns & Sawyer dependable equipment and budget prices help your award¬ winning films. Crane was mounted on a flat¬ car which ran on a half-mile track. Bril¬ liant cinematography was by Fred A. Young, BSC. BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW Birns & Sawyer Northwest • 611 East Pine St. • Seattle 22, Wash. *EA 4-4550 AMERICAN CINEMATOGRAPHER, APRIL, 1963 205 H X w r > w o w Sd w < w w U1 > M F S BLACK & REVERSAL PRINTING & PROCESSING COLOR PRINTING OTHER SERVICES • Work Prints • Color-to-Color Prints • Color-to B & W Prints • Raw Stock • Ultrasonic Film Cleaner • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering FOR COMPLETE INFORMATION WRITE 723 Seventh Ave., New York 19, N.Y. . JU 6-2293 BEHIND THE CAMERAS Continued from Page 202 Ernest Laszeo, ASC, “Norman Vincent Peale Story” (Fred Ross Prods.) with Don Murray and Dian Hyland. Denis Sanders, director. Joseph V. Mascelli, "The Incredibly Strange Creature: or Why I Stopped Living and Became a Mixed up Zombie’' (Morgan- Steckler Prods., Eastman color) with Cash Flagg and Carolyn Rrandt. Ray Dennis Steckler, director. Fouad Said, “Cobwebs” (Jos. F. Robertson Prod.) with Richard Evans and Rafael Cam¬ pos. William Martin, director. Milan Babic. “Quest of the Damned” (Mark III Scope Prods., Triglav Films; shooting in Yugoslavia and London) with John Bentley and Faten Hamama. George P. Breakston, producer-director. Eugene Shuftan, "Les Virgins” (shooting in France). LA BREA STUDIOS Robert IIacf.r. “Perry Mason”*. M-G-M STUDIOS Jack Hildyard, “International Hotel,” (P’Vision & Eastman color; shooting in England) with Elizabeth Taylor and Richard Burton. Anthony Asquith, director. Charles Lang. ASC, “The Wheeler Dealers” ( Filmways Prod.; P’Vision & Metrocolor) with Lee Remick and James Garner. Arthur Hiller, director. Arthur Ibbetson, “Murder at the Gallop” (shooting in London) with Margaret Ruther¬ ford and Flora Robson. George Pollack, director. Ted Scaife, “Tarzan Faces Three Challen¬ ges” ( Color- P’vision ; Banner Prods.) with Jack Mahoney and Woody Strode. Robert Day, director. James Drought, Commercials*. Thomas Tutwiler, ASC, Commercials*. Harkness Smith, ASC, “Dr. Kildare”*. Dale Deverman, ASC, “The Eleventh Hour”*. Robert Hauser, “Combat”*. PARAMOUNT STUDIOS Milton Krasnf.r. ASC, “Love with the Proper Stranger” ( Pakula-Mulligan Prod.; shooting in N.Y.) with Natalie Wood and Steve McQueen. Robert Mulligan, director. Lucien Ballard, ASC, “Wives and Lovers” (Hal Wallis Prod.) with Janet Leigh and Van Johnson. John Rich, director. Lee Garmes, ASC, “Lady in a Cage” (American Entertainment Corp. Prod.) with Olivia de Havilland. Walter Grauman, di¬ rector. Joseph Ruttenberg, ASC, “Who’s Been Sleeping in my Bed?” (Jack Rose Prod.; color) with Dean Martin and Elizabeth Montgomery. Daniel Mann, director. Dan Fapp, ASC, Irmin Roberts, ASC, “Fun in Acapulco” (Hal Wallis Prod.) with Elvis Presley, Ursula Andes and Elsa Cardena. Mickey Moore, director. Haskell Boggs, ASC, William Whitley, ASC, “Bonanza”*. PARAMOUNT SUNSET STUDIOS Frank Phillips, ASC, “Gunsmoke”*. PARAMOUNT STUDIOS, N.Y. Peter Garbini, “Sport Shorts”*. PATHE STUDIOS, N.Y. Gaynf. Rescher, ASC, “The Nurses”*. PRODUCERS STUDIO Hal Mohr, ASC, (VPI Prods.) Commer¬ cials*. REPUBLIC STUDIOS George Diskant, ASC, “The Lloyd Bridges Show”*. Jack Swain, “Rawhide”*. TWENTIETH CENTURY-FOX, N. Y. Boris Kaufman, ASC, “Purley Victorious” (Hammer Films) with Ossie Davis and Ruby Dee. Nicholas Webster, director. Julian Townsend, “The Christophers”*. Arthur Ornitz, “East Side, West Side”*. UNIVERSAL CITY Russell Harlan, ASC, “Man’s Favorite Sport?” (Howard Hawks-Gibraltar-Laurel Prod.; Technicolor) with Rock Hudson and Paula Prentiss. Howard Hawks, producer- director. Gabor Pogany, “Dark Purpose” (Brazzi- Barclay-Hayutin Prod., Eastman color; shoot¬ ing in Rome) with Shirley Jones and Ros- sano Brazzi. Steve Barclay, director. Benjamin Kline, ASC, Lionel Lindon, ASC, “The Virginians'*. John Russell, ASC, William Marguiles, ASC, “Alfred Hitchcock Presents”*. Ellis Thackery, ASC, Lionel Lindon, ASC, John Warren, ASC, “Alcoa Theatre”*. Ellis Thackery, ASC, “Wagon Train”*, Me Hale’s Navy”*. Ray Rennahan, ASC, “Laramie”*. Continued on Page 246 AMERICAN SOCIETY OF CINEMATOGRAPHERS Founded January 8, 1919, The American Society of Cinematographers is comprised of the leading directors of photography in Hollywood motion picture and TV film studios. Its membership also includes cinematographers in foreign lands. Mem¬ bership is by invitation only. • OFFICERS William Daniels, President Hal Mohr, 1st Vice-President Arthur Edeson, 2nd Vice-President Joseph Ruttenberg, 3rd Vice-President Arthur Miller, Treasurer Sol Halprin, Secretary George Folsey, Sergeant-At-Arms BOARD OF GOVERNORS Joseph Biroc, Robert de Grasse. Daniel Fapp, Lee Garmes, Milton Krasner, Ernest Laszlo, Victor Milner, Walter Strenge. ALTERNATE BOARD MEMBERS Harold Lipstein, Winton Hoch, Gordon Avil, Lucien Andriot, Philip Tannura, Lionel Lindon, John Arnold, George Clemens, Linwood Dunn, Arthur Arling. 206 AMERICAN CINEMATOGRAPHER, APRIL, 1963 This outstanding cinematographer has the highest number of winners in the American TV Commercials Festival for 1962 — and the highest combined total of wins in the "commercials" business. He prefers to work with DuPont film. "I've shot SUPERIOR* 2 and 4 under all conditions — right up to the Arctic Circle," Bert says. "The results — particularly the shadow detail— are always excellent." The satisfaction of top creative cinematographers is important to us. That’s why we try to give good service, as well as good film. When you need both — or technical help or information — call or wire one of the Du Pont sales offices shown here. ATLANTA 18, GA., 1737 Ellsworth Ind. Dr., N. W. 355-1230 • CHICAGO 46, ILL., 4560 Touhy Ave., Edgebrook Station. ORchard 5-5500 • CLEVELAND 16, OHIO, 20575 Center Ridge Road. 333-3674 CLIFTON, N.J., 380 Allwood Rd„ Allwood Station (New York). PLaza 7-0573 • DALLAS 7, TEXAS, 1628 Oak Lawn Ave. Riverside 1-1404 • HOLLYWOOD 38, CALIF., 7051 Santa Monica Blvti HOIlywood 9-5147 • WALTHAM 54, MASS., 45-4th Ave. (Boston). TWinbrook 9-8300 • WYNNEWOOD, PA., 308 E. Lancaster Ave. (Phila.) . TRinity 8-2700 • EXPORT, Nemours Bldg Wilmington 98, Delaware • IN CANADA, DuPont of Canada Ltd., Toronto * DuPont's registered trademark for its motion picture films PHOTO PRODUCTS DEPARTMENT BETTER THINGS FOR BETTER LIVING . . . THROUGH CHEMISTRY THE WORLD S FINEST SYNC TAPE RECORDER The lightest (5 lb. 10 oz.), smallest (2i/2"x5"xl0") truly professional (broadcast- quality) portable instrument of its kind in existence, it is Swiss-precision engineered, still plenty rugged on loca¬ tion where it has to be. And it carries its own power with it (new Dryfit rechargeable storage cells). Other Features include: • MANUAL AND FULLY AUTOMATIC VOLUME CONTROL • SYNCHRONIZATION with 16 and 35 mm cameras • ACCESSORIES Remote control by Wire or Wireless, Eveready Case, Automatic charger, Panel light AVAILABLE FOR IMMEDIATE DELIVERY $610.00 Plus Accessories Stop in, call or write for a FREE DEMONSTRATION and complete technical informa¬ tion. (NY, Hollywood or Hia¬ leah) CAMERA EQUIPMENT co., INC. Subsidiary of CECO Industries NEW YORK, N. T. 315 West 43rd St. JU 6 1420 HIALEAH, FLORIDA 51 East 10th Ave. • TU 8-4604 HOLLYWOOD, CALIFORNIA 6510 Santa Monica Blvd. • HO 9-8321 Technical Questions and Answers Q, - / am in the final stages of edit¬ ing a comprehensive 16mm sound film for our company, for which all sound has been recorded magnetically on 16mm magnetic film. We estimate our print requirements at this time will be approximately ten prints and the lab¬ oratory has suggested “ electro-print¬ ing ” of the sound track. As the lab is in another city , 1 am unable to discuss with them personally what this in¬ volves. Please explain what, “electro- printing’' is and thereby add to my enlightenment. — R. B. McD., Sioux Falls, S. D. A. - -One of the most lucid explana¬ tions of electro-printing appeared in an issue of General Film Laboratories monthly publication Rewind. It is re¬ produced herewith and should answer your questions: Electro-printing — the rerecording of a motion picture sound track direct to the sound track area of the print — pro¬ vides the producer considerable flexi¬ bility of choice in sound printing. The resulting print track is a photo¬ graphic track which becomes an inte¬ gral and permanent part of the print. It’s the same as a “printed” track, ex¬ cept that it’s rerecorded from the mag¬ netic mixed sound roll direct to the print — in place of the standard proce¬ dure of 1 ) rerecording the magnetic sound to an optical sound image track, which is then processed, and used to print the track on the release print, in a film printer operation. Electro-printing is normally utilized for 16mm reversal prints — either color or black-and-white — in small orders. When a 16mm film goes to positive color or B&W printing it usually means a large release print order, in which the use of a photographic (or optical) printing track is most economical. More time is required for electro¬ printing sound, than using a printing track. On small orders this is not a major factor, but on larger release print orders it can be significant. Then, even though the electro-printed sound quality is good there are limita¬ tions. The electro-printing process lacks the consistency of results that is cha¬ racteristic of the normal printed sound track. Since each exposed — but — un¬ processed print requires a separate re¬ cording run. there may be some quality variation within a group of finished prints. Also, the threading of print and magnetic track in optical recorder and magnetic playback machine is critical with the result that lip-sync match is assured, as in normal sound printing. And, there’s the economic factor we’ve already touched upon. General Eilm’s rate for eletctro-printing is one cent a foot, additional to the normal composite print price. When this is compared to the rerecording rate for a printing track of .1069 (for film stock rerecording, and processing), it becomes apparent the cost of electro¬ printing crosses over at eleven prints, and is an added cost for release print¬ ing from that point on — since there is no surcharge for printing sound from a printing track. But electro-printing at one cent per foot has definite advantages: 1. For the 16mm Ektachrome film headed towards a color itnernega- tive and positive release printing, the First Trial color reversal print track can be electro-printed, elim¬ inating the need for a B-wind negative printing track. On appro¬ val, only one printing track need be recorded — the A-wind track used in positive color printing. 2. For the very small print order — a single print, or a few prints — electro-printing provides standard, high quality photographic track on the print, at, low cost. 3. For the very important interlock, or presentation for approval, the low-cost electro-printed track pro¬ vides professional sound on a trial print, so that, changes do not in¬ volve the economic loss of a scrapped printing track. 4. Alternative track versions. Many English language releases also call for but one or two prints with the same pictures but another lan¬ guage track. Electro-printing is then an obvious choice. For normal motion picture sound printing, the use of a photographic Continued on Page 246 208 AMERICAN CINEMATOGRAPHER, APRIL, 1963 imera service center inc. MM TEN TO ONE eta with sunshade , proxar lenses and filters at CSC. Aperture: f :3 .2 / maximum focus range: one foot to infinity / fixed image plane at all focal lengths / zoom range: 25mm to 250mm without image-shift / weight: 5 pounds, 2 ounces / immediate availability. Lens can be mounted on all 35mm and 16mm cameras. Write for information on lens supports, correlators and motorized zoom and focus units. camera service center, inc. sales affiliate • CAMERA SALES CENTER CORPORATION 333 WEST 52nd STREET • NEW YORK 19, N.Y.* PL 7-0906 AMERICAN CINEMATOGRAPHER, APRIL, 1963 M.T. E. motion picture sound recording equipment NAGRA foryouroriginal recordings 15 lb. lip-sync recorder, battery or A.C. operated for location or studio use. 400 SERIES magnetic and optical recorders and dubbers for your mixing studio. For Product Catalogue please write M.T. E. Magna-Tech Electronic Co., Inc. 630 Ninth Avenue, New York 36, N.Y. JU 6-7242 210 AMERICAN CINEMATOGRAPHER, APRIL, 1963 2-1 There’s action all night at Gen¬ eral Film, in Hollywood. Our 24- hour operation gets your motion- picture footage started fast and finished well and soon. We do front end work on 16mm and 35mm, color and black and white ; and release prints in 35mm, 16mm, and 8mm, color or black and white. Send for our new 12- page price list, just off the press. You should have one on file. •• GENERAL FILM LABORATORIES A DIVISION OF PACIFIC INDUSTRIES, INC. 1546 North Argyle Avenue / Hollywood 28, Californio / Area Code 213 / Hollywood 2-6171 AMERICAN CINEMATOGRAPHER, APRIL, 1963 21 1 HOLLYWOOD BULLETIN BOARD Guesting of “Wagon Train” cast, presentation of gold 25-Year Membership Cards, and demonstration of new Arriflex 16mm camera highlight February meeting of ASC. BILL DANIELS, ASC Prexy (right), presents 25-year Gold Membership Card to Harry Stradling. Others similarly honored were Simeon Aller, Edqar Bergen, Elwood Bredell, Wilfrid Cline, George Crane, Jack Greenhalqh, Winton Hoch, Charels C. Lawton, Wilson Leahy, Ray Rennahan, William Skall, Philip Tannura, Charles VanEnger, and Paul Vogel. CHATTING WITH Bill Daniels in photo above, left, is “Wagon Train” star John McIntyre, 2nd from left. Interested listeners are Scott Miller (far left) and Frank McGrath, both of “Wagon Train.” In center photo, Hal Mohr (3rd from L.) reminisces with actor Scott Miller who later spoke briefly on his career experiences. Others are Sol Halprin and Arthur Edeson (far left) and John McIntyre. “Wagon Train’s” Terry Miller (L in 3rd photo) reminisced with cinematographers Arthur Miller (center) and George Folsey on some of iheir mutual sound stage and location experiences. WALTER STRENGE (back to camera) shows guests Frank McGrath, John McIn¬ tyre and Terry Wilson the ASC’s collection of oldtime stills picturing early- day activities of Hollywood cinematographers. In center photo Neal Keehn of General Film Labs (center) chats with Eric Johnson, Sales Mgr., Magnetic Products, E-K Co. General Film’s Bill Gephart and Kodak's Norwood Simmons are in background. In foreground are Don Norwood (left) and Kodak’s Vaughn Shaner. In 3rd photo, Fritz Spiess, Canadian cinematographer guest (L.), is seen in serious talk with Charles Austin (at his left) and Abbott Sydney. February dinner marked final open meeting of the Society under its present admin¬ istration. Election of new officers will be announced next month. 212 AMERICAN CINEMATOGRAPHER, APRIL, 1963 WORE REUA8 [T1! Tl pen-..we planned it thafw" a corns nf tn 11 *nat way ; an* Precision maecChh,nC'anS maintain all fh.v chlnery to ^termination * qU’Pnlem'- !nta( Eon in lnsure that equipment is m„,„ MW&giSS D»m"ott„\„r ^mera Room 'an/ stall r‘n" m Rental Department* h 5 ?ur other Equipment, Lighting ^°rU^e Sound IS mOre ment, Editing & £np Equip. went, as vveP as * ° W0n ip- Machine Shop and I U y e(?u'pped . . _ _ fi/?4/VD /V£^ - Wgh-Speed Mitchells • Amf/* ^ ^ Ref*ex Mitchells . BNC M i (All Amf, exes equipped with TTH V m * Anifle* M 16mm M',re'e» Mikes • Moviola C hn PM ReC0rde^ Write for complete catalog "V rat) D°Wes • Genprxt*^ of rental equipment. *■* - — Serving the World’s Finest Film Makers 68 WEST 45th STREET, NEW YORK 36, N.Y. • MU 2-2928 Rental & Service Dept.: 304 W. 54th St., N. Y. 19 AMERICAN CINEMATOGRAPHER, APRIL, 1963 213 PRODUCTION HEADACHES WE CAN SOLVE WITH CONFIDENCE! 1. LIGHTING 2. GRIP EQUIPMENT 3. PROPS 4. GENERATORS 1800, 1600. 1000 Amp. D C. Trucks 700 Amp. D C. Trailers 100. 50. 30. 20. A.C. Since 1021... RENTALS SALES SERVICE Send for a schedule of rental rates. LARGEST SUPPLIERS OF MOTION PICTURE. TV AND INDUSTRIAL PHOTOGRAPHIC EQUIPMENT IN THE EAST 333 WEST 52 STREET, NEW YORK 19, N. Y., Circle 6-5470 214 AMERICAN CINEMATOGRAPHER, APRIL, 1963 ANOTHER FIRST BY PRECISION! THE ONLY PATENTED □□□ m SYNCHRONIZER MODEL Available in 8,17.5, 32 & 35mm MODEL S616-2SP Counter for measuring in seconds, minutes, hours. MODEL S-616-1AN 8mm Nomad Sprocket Assembly, complete with magnetic attachment. MODEL SR-35 35mm Sprocket Assembly with 0-16 frame plate MODEL S616-1A0 16mm Optical Sound Head Sprocket Assembly MODEL S616-1AUM 16mm Magnetic Head Sprocket Assembly. For editing Magnetic Film with Base Up. MODEL GB-35 Precision Gear Assembly & Decoupling Gear Assembly. 1:1 Add or subtract units as you need them when you need them with these components You can now purchase a synchronizer and be able to add-a- unit whenever the need is there. It is not necessary to put your unit aside, because you have outgrown it, or change your mode of operation. We have developed this unitized system to give the film editor a flexible piece of precision equipment. ’Units for assembling combination synchs. • Footage Counter — reset type • Precision ball-bearings & oiless bearings throughout • Large sprockets to S. M. P. T. E. standards 16mm— 40 frames 35mm— 16 frames • Dural tension rollers — adjusted individually • Finger tip release • Perfect control — convenient hand wheel • Individual frame movement — shaft slip lock • Table mounting feet with rubber pads • Attractive hammertone finish • Simple coupling method for unitized assemblies Look f or this trademark For information and prices write COMBINATION SYNCHRONIZERS are also available Designers and Manufacturers of Equipment for the Moti Picture and TV Induslr on DIVISION OF PRECISION CINE EQUIPME 928-930 EAST 51st STREET AMERICAN CINEMATOGRAPHER, APRIL, 1963 215 EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE WHAT'S A MINI MONITOR? IT LOOKS LIKE THIS: llSg Height— 23/8 inches Width— 4-Va inches Depth— 3% inches Weight— 11 oz. Price IS IT A... • playback monitor for tape recorders (Stellavox, etc.) • sound reader, used with synchronizer • extra booth speaker • field amplifier • field sound reader • sound editing monitor • sound reader for 8mm magnetic THE ANSWER IS YES! And it has dozens of other uses, too! F& B MINI MONITOR. A miniature, transistor¬ ized, battery-powered (standard 9 volt tran¬ sistor radio battery) magnetic sound reader, complete with amplifier and speaker. A com¬ pact unit which will be the handiest gadget in the sound room, the editing room, pro¬ jection booth, or on location. Synchronizer Bracket & Magnetic Head Con¬ nector Cable $6.95 Moviola Magnetic Head & Bracket $25.00 Designed and Manufactured by • public address amplifier • field p.a. amplifier • phono amplifier, hi & lo impedance • remote speaker system • amplifier to drive auxiliary 8" speaker • CONVERTS YOUR OPTICAL ONLY MOVIOLA TO OPTICAL MAGNETIC IN 30 SECONDS 9 ^ Serving the World's Finest Film Makers 68 West 45th St., New York 36, N. Y. • MU 2-2928 3AISmOX3 • M3N • 3AISm3X3 • M3N • 3AISm3X3 DUAL POWER VIEWER for BOLEX REFLEX From on original 6X to on 8X full field and 16X critical focus LARGER IMAGES — BETTER SHARPNESS CONTROL WITH ANY LENS Easy to Operate — Guaranteed for life — More Information Available — When Viewer only is sent $54.00 — When sent with Camera $60.00. PELLEGRINI-PIEK MOVIE CAMERA ACCESSORIES 7 COLEMAN PLACE, MENLO PARK, CALIF. MaLerx of Variable Shutter Units for all Bo lex H Cameras. LINWOOD DUNN, asc Formerly head of RKO Studios Effects Dept. CREATIVE SPECIAL EFFECTS Complete Advisory and Technical Services From Story Ideas to Theater Screen. LIQUID GATE PRINTING FOR 16-35-65-70 MM BLOW-UPS Specialized Laboratory Services “Over 30 Years oj Major Studio Experience ” FILM EFFECTS of Hollywood 1153 N. Highland Ave., Hollywood 38, Calif. Phone: HO 9-5808 Cable: FILMFX Literature BOOKLETS, CATALOGUES AND BROCHURES AVAILABLE FROM EQUIPMENT MANUFACTURERS Lab Price List A new 16-page price list is avail¬ able from General Film Laboratories, 1546 No. Argyle, Hollywood 28, Calif. All pertinent data is conveniently ar¬ ranged for utmost convenience of the film producer. A step-by-step check list describing the preferred method of or¬ dering either film processing or prints is another feature of the list — actually a 16-page brochure punched for in¬ sertion in standard 3-ring hinders. Items in the publication include pre¬ cise information on prices for process¬ ing 35mm and 16mm color or B&W motion picture, TV and slide films. Typical items are developing, dailies, trial prints, dupes, internegatives, in¬ terpositives, A&B and additional roll printing, paper-to-paper printing, re¬ lease prints, etc. Rental Catalog Samuelson Film Service of London has recently published a comprehen¬ sive 40-page catalog of its rental serv¬ ices and prices. The company services film producers shooting on the British Isles or the Continent with virtually every type of motion picture photo¬ graphic and production equipment. Copies of the Samuelson catalog are available to bonafide film producers. Write the company at 25-29 The Bur¬ roughs, Hendon Central, London, N.W. 4, England. The Gordon Catalog Probably the largest and most com¬ prehensive catalog of motion picture and instrumentation equipment ever published is that of Gordon Enter¬ prises, 5362 Cahuenga Blvd., North Hollywood, Calif. Comprising 128 pages in a sturdy ring binder, fully indexed the catalog illustrates and de¬ scribes thousands of items of equip¬ ment which are available through sale or rental from the Gordon organiza¬ tion. One division alone lists over 7,300 lens and camera combinations. The publication was nearly a year-and-a- half in the process of compilation and production. Joseph V. Mascelli, Editor of the American Cinematographer Manual, assisted in the compilation. 216 AMERICAN CINEMATOGRAPHER, APRIL, 1963 BLACK & WHITE LEADER PaTE 3.898,805 PRINT NUMBER BLACK & WHITE PRINT NUMBER LEADER BLACK & WHITE PRINT NUMBER LEADER PATENT BLACK & WHITE PRINT NUMBER f>ROO. number leader patent 3,898,805 BLACK & WHITE PRINT NUMBER LEADER PATENT 2,898,805 number " BLACK & WHITE PRINT NUMBER leader patent 2,898,805 NUMBER LEADER PATENT 2,898,805 BLACK & WHITE PRINT NUMBER number PROO. number LEADER PATENT 2,898,805 BLACK & WHITE PRINT NUMBER LEADER PATENT 2,898.805 BLACK & WHITE PRINT NUMBER leader BLACK & WHITE PRINT NUMBER BLACK & WHITE PRINT NUMBER At CFI.hand labeling head leaders on release prints is obsolete. Identification data, inscribed in the negative leader, is reproduced in the head leader of each release print. When reinforced with white opaque cellophane tape, the result is a more durable leader, which is easy to read and 100% accurate. CONSOLIDATED FILM INDUSTRIES 959 Seward Street, Hollywood 38, California Hollywood ' r ' , ' ' ■ ' : }jf‘. 521 W. 57th Street. New York 19, New York Circle 6-0, 2 \y AMERICAN CINEMATOGRAPHER, APRIL, 1963 WIZARDRY IN SPECIAL EFFECTS M-G-M’s Special Effects Department has impressive record of accomplishment. By DARRIN SCOT Perhaps the closest thing to a sorceror among the men behind the cameras in feature film pro¬ duction is the Special Effects expert. He is the craftsman who, by combining imagination with intri¬ cate technology, can create on order earthquakes, fires, floods, tornadoes, air and sea battles, plagues and the parting of the Red Sea. He is the man for whom the word “impossible” does not exist, for without his creative thought and effort the scope and spectacle of the cinema would be considerably limited. Foremost among these cinematic wizards is A. Arnold Gillespie, who has been associated with M-G-M Studios continuously for the past forty years A. ARNOLD GILLESPIE, M-G-M’s Special Effects chief, stands beside camera barge named in his honor as he supervises camera set-up for miniature shots for “Mutiny On The Bounty." and has headed that studio’s Special Effects Depart¬ ment since 1936. Fitting testimony to his craftsman¬ ship in this fascinating field are the four Academy Award “Oscars” which stand in his office. These represent top special achievements in “Thirty Sec¬ onds Over Tokyo,” 1944; “Green Dolphin Street,” 1947 ; “Plymouth Adventure,” 1952 and “Ben Hur,” 1960. Gillespie points out that the categories recognized by the Academy under visual Special Effects (as differentiated from audible effects) include minia¬ tures, full-size effects, rear-projection process, matte paintings and optical effects. Of these categor¬ ies miniatures is his favorite because of the chal- FOR SERIES OF PROCESS shots of a car careening wildly down a tor¬ tuous road, M-G-M’s special effects department contrived the set-up pictured above. Car is mounted before process screen on elevated plat¬ form so wheels run free. These were made to turn during takes by electric motors in contact with tires. The desired swerving of car was achieved by technicians operating winches and cables, the action care¬ fully cued to picture on process screen. Camera was properly angled to exclude the extraneous mechanical details. 218 AMERICAN CINEMATOGRAPHER. APRIL, 1S63 GILLESPIE'S ASSISTANTS are seen here maneuvering model of the Bounty into place for a take in M-G-M's "tank” while wave and wind machines (not shown) churn up water only 42 inches deep into realistic deep-sea waves. lenge they present in making them so they do not look like miniatures. He believes that if an audience can identify a miniature the effect has failed in its intent. Miniatures are not employed to save mon¬ ey. On the contrary, they are often extremely ex¬ pensive and are resorted to simply because there is no other practical alternative. For example, it is rarely possible to sink an actual aircraft carrier, or crash a jet liner or go to Kansas and persuade a tornado to pick up a house (on cue) and whisk it off to fantasyland, as was required in “The Wizard of Oz.” When, during the period just after World War II, the script of “The Beginning or the End” called for shots of the atom bomb exploding into its famous mushroom cloud, it was discovered that no official pictures had been shot of the actual bomb drops on Hiroshima and Nagasaki. Also, at that time, all of the technical details relating to the bomb were classi¬ fied as restricted. With no photographs or data to draw upon by way of research, Gillespie and his crew set about trying to find a way to re-create the mushroom cloud in miniature. Several methods were tried but the results were visually unsatisfactory. Then he remembered a sequence from an early Tarzan movie in which the apeman wrestled a full-sized mechanically operated crocodile underwater. He recalled that when the small sacks concealed in the monster’s neck were slashed by Tarzan’s knife the dye used to simulate blood floated up through the water in a form resem¬ bling a mushroom cloud. Based on this remembered clue a technique was worked out to shoot the entire atom bomb sequence underwater in miniature. The effect was so realistic HOW THE MINIATURE scene looked to the technicians and camera¬ man as it was being photographed. Sky backing was skillfully painted for these scenes to represent an ominous, stormy sky, thus enhancing the visual effect at the storm that was created by the other devices. that it fooled top officers of the Manhattan Project and was used by the Air Corps in their instructional films for several years afterwards. Similar ingenuity was brought into play during the filming of “The Good Earth,” the script of which called for a cloud of locusts to swarm up over the horizon and swoop down and destroy the crops. Since it was impossible to round up a horde of real locusts and have them perform on cue, M-G-M Special Effects department began a search for an alternative method. The solution to the problem, when finally worked out, proved to be incredibly simple and inexpensive. An inverted camera was set up in front of a tank in which a curved piece of masonite was placed un¬ derwater. Coffee grounds were then dumped into the water from a height, gliding down over the ma¬ sonite in unduluting patterns. Turned right side up, the action on this film was reversed and, when super¬ imposed on an actual scene of wheat fields, the locusts (coffee grounds) seemed to swarm up from the horizon and form in a thick black undulating cloud overhead. Closeups of the insects feeding on the plants were achieved by animating dead pickled grasshoppers with tiny sticks of wood invisible to the camera. Tackling a very different type of problem having to do with insects, the department once was called upon to construct and mechanically animate an oversize mosquito going through a hole in a screen for closeups in a film dealing with malaria fever. Full-scale effects involve actual people in life-size surroundings. Examples of this are the earthquakes which were created for “San Francisco” and later Continued on Page 243 AMERICAN CINEMATOGRAPHER, APRIL, 1963 HERE ASSEMBLED on fhe Lookout Mountain sound stage are some of the film unit’s production equipment — all of it the latest and the best the in¬ dustry affords. Lookout Mountain — Filming Center of APCS On a hilltop overlooking Hollywood is one of the most completely equipped motion picture studios in the U.S. Its the headquarters of the Air Force’s 1352 Photographic Group, nerve center of the APCS, whose film productions have won many national awards. JJigh on a Hollywood hilltop, in an area populated by resi¬ dential “cliff dwellers,” nestles a complex of fortress-like buildings which house what is perhaps the world’s most unusual motion pic¬ ture studio. This is the Lookout Mountain Air Force Station, home of the 1352nd Photographic Group, an important nerve center of Air Photographic and Charting Service (APCS). It is equipped to produce all types of stills and mo¬ tion pictures for the United States Air Force. Commanded by Maj. Robert G. Leffingwell, with Pierre Wilson as cilvilian Chief of Operations, and expertly staffed by both civilian By HERB A. LIGHTMAN and military film specialists, Look¬ out Mountain’s major mission is the photographic documentation of Air Force activities and the pro¬ duction of scientific, technical and informational motion pictures for the Air Force, the Atomic Energy Commission and other government agencies. Of the 165 technicians engaged in operations at Lookout Mountain approximately 85% are civilians, most of them with major studio or commercial production experi¬ ence. The Camera Department un¬ der John Norwood and the Still Department headed by Sal Mai- mone, are equipped and staffed to photograph every type of subject in a wide variety of formats, in both black-and-white and color. Since the majority of personnel are civilians from the Hollywood film industry they have brought with them valuable techniques and experiences gained in that field, and their approaches to film pro¬ duction and the general atmos¬ phere of the organization is much more akin to that of a major studio than of a purely military organ¬ ization — even though certain for¬ mats especially applicable to the filming of military subjects have been standardized. Much of Lookout Mountain’s film production comes under the classification of “Top Secret,” so 220 AMERICAN CINEMATOGRAPHER, APRIL, 1963 security regulations are rigidly en¬ forced. Guards inspect everything and check everyone that goes in or out of the installation. When a classified subject is in production the sound stage is kept locked. Every inch of film or magnetic tape that is classified must be ac¬ counted for, and editors cutting such material work behind locked doors. Shoot All Over The World As needed, camera crews from Lookout are dispatched on tempo¬ rary duty to filming locations all over the world. They cover U.S. activities on islands in the Pacific as well as at atomic test sites in Nevada. At Holloman Test Track, using a camera mount specially designed for the purpose, its film crews have photographed runs of a high-speed sled carrying a live chimpanzee to test for the accele¬ rated “G’s” with which man has moved out into space. Always the subject matter is varied and dra¬ matic. It may be a rocket launch at a slant range of 100,000 feet over a Pacific Island testing area or the zero launch of an F-100 from its trailer bed. Continued on Page 240 HOLLYWOOD ACTOR Glenn Ford, here pausing be¬ tween takes, contributed his services as narrator for the Air Rorce production, “Taiwan, Isle of Freedom." FUL "... RANGE for demanding cinematography . . . MITCHELL 16mm, 35mm and 65mm Standard and High-Speed Mitchell cameras for TV, theatrical and industrial photography, and 70mm Mitchell cameras are avail¬ able to your individual requirements. Mark II 35mm Reflex studio camera is now in use in major studios throughout the world. Precision cameras for professional film making Underwater ... or Outer Space are extremes calling for special cameras and versatile equipment to assure positive and accurate results for engineer¬ ing evaluation. Mitchell cameras and complete tracking units designed to your specifications are available to meet the most demanding motion picture requirements. Advanced applications for picture recording SPECIAL CAMERA DESIGNS The experienced Mitchell team offers 45 years of experience in design and engineering projects for special motion picture equipment. The most advanced group of camera engineers, production and test technicians in the motion picture industry is available to meet your special requirements. 85% of the professional motion pictures shown throughout the world are filmed with Mitchell cameras. Your inquiry is welcomed. Write Sales Department for the Mitchell catalog. MITCHELL CAMERA CORPORATION 666 W. HARVARD ST., GLENDALE, CALIFORNIA 521 Fifth Ave., New York, N. Y. NOW REPRESENTED IN OVER FORTY-FIVE COUNTRIES THROUGHOUT THE WORLD. NAMES OF AGENTS IN YOUR COUNTRY ON REQUEST. AMERICAN CINEMATOGRAPHER, APRIL, 1963 22J A WESTRAS ORDEAfES AT YOUR S FRY fCE /HRER VEREUGUHG A VOTRE SERV/CE VOSTRO SERY/Z/O LIGHTING ENTIRE M. R. RANGE COLORTRAN and LOWEL-LIGHTS GENERATORS CAMERAS * DOLLIES CRANES GRIP- and SOUND- Equipment TRANSPORT-LABOUR TECHNICAL-CONSULTANTS and SPECIALISED-SERVICES WRITE DIRECT FRANCE — 28-28 bis Rue Marcelin-Berthelot, Montrouge-Seine Cables: Molereng-Paris General Manager: Rene Schell ITALY — Via del Velodromo 68-74, Roma Cables: Molereng-Roma General Manager: George Gardner GERMANY (Austria) HofangerstraBe 78, Munchen, 8 Cables: Molereng-Munchen General Manageress: Gisell Schneeberger SPAIN — Alcala 32, Madrid, 14 Cables: Molereng-Madrid General Manager: Gregorio Sacristan ENGLAND — Chase Road, London, N.W. 10 Cables: Molereng-London General Manager: John A. Page 222 AMERICAN CINEMATOGRAPHER, APRIL, 1963 A SPECIAL REPORT SOUND FILMS . ... A Survey Of Progress To Date Js there A future for you in commercial 8mm A sound film production? Ever since 8mm films became a practical reality three years ago, the medium has been struggling for recognition and attempting to overcome the ob¬ stacles which seem to hamper its progress. Nevertheless progress has been made and 8mm sound film today is serving an ever-widening field of commercial application. The narrowest of all motion picture films, which gave such impetus to the hobby of amateur movie making, has come of age, just as 16mm ultimately did, and thanks to technical improvements both in the film emulsion and in the lenses, cameras, projectors and sound equipment allied with the film’s continuing prog¬ ress, strides have been made in its practical appli¬ cation which is reassuring to those who believed 8mm sound films had a real destiny, right from the very beginning. On the pages that follow are four interesting re¬ ports on 8mm sound films, each of which deals with a different aspect of the medium or its use — none of it theory. If you are one of the many who has considered the commercial opportunities that the smaller, more economical 8mm sound film might open up for you, these articles should en¬ able you to properly assess the medium’s poten¬ tials in the light of recent developments. 223 8MM SOUND FILMS “Report on 8mm'' was subject of important discussion on closing day of the 1963 Calvin Workshop, sponsored by Calvin Productions, Inc., Kansas City, Mo. REPORT ON 8 MM* While 8mm sound prints are being produced and used today, the demand for the medium predicted two or three years ago has failed to materialize. What has caused this dwindling of enthusiasm? Will it be revived? Jt would be nice to report a definite statement A about the position of 8mm film in the non-ama¬ teur motion picture industry. To date this is not possible. About the most that can be expected today is to identify the areas of confusion in the 8mm sit¬ uation, report on what progress is being made to resolve them, and take a somewhat guarded look at the future. We think that we have a right to speak publicly about 8mm problems. Our firm manufactured the first 8mm projector capable of projecting sound and picture from the same 8mm film. This projector was invented, developed and marketed by the late Lloyd Thompson of the Calvin Company in the early 1950’s. Over 1000 of these projectors were sold. Economic factors rather than technical problems ultimately caused this projector to be withdrawn Irom production; however, it remained the only sound 8mm projector until others of similar design * Reprinted by permission from “The Aperture,” workshop publica¬ tion for 16mm film producers issued monthly by Calvin Productions. were introduced by several manufacturers in 1960. We still use this projector today and find it quite comparable to other current models. When this projector was introduced it was ob¬ vious that 8mm sound prints must be available for it. Much research was conducted here towards pro¬ duction methods for producing 8mm magnetic sound prints of the highest picture and sound quality pos¬ sible. This experience largely laid dormant until the great awakening of 8mm interests three years ago. With the introduction of six or seven different 8mm magnetic sound projectors in 1960, many people predicted great potentialities for an 8mm industrial and educational revolution. We quickly activated our previous 8mm laboratory experience and have been making 8mm color prints in quantity for over two years. One would have to be completely deaf not to have heard the tremendous predictions and possibilities made for 8mm sound film during the last few years. Continued on Page 237 224 AMERICAN CINEMATOGRAPHER. APRIL, 1963 8MM SOUND FILMS STANDARD 16MM HORIZONTALLY PHOTOGRAPHED 16MM SLIT TO YIELD DOUBLE-FRAME 8MM STANDARD 8MM DOUBLE-FRAME 8MM This may be the answer to the search for a larger picture area for commercial eight-millimeter films. By LOWELL BODGE R Jn the practically endless quest of film tech¬ nicians and filmmakers alike to improve the quality of the projected image, there are those meth¬ ods which tackle the problem by improving basic film characteristics, and those which obtain a sharper screen image through the use of a larger film image. It is the latter method with which this discussion is concerned. Taking the four accepted film widths presently in use in the U.S. (8mm, 16mm, 35mm, and 65-70mm) we see the greatest quality resulting, naturally, from the largest image, since it requires the least magnification to fill a given screen area. In particular applications (such as VistaVision) it is noted that a frame of larger than normal size can be obtained on any film width if the film moves through the camera in a different manner, namely in a horizontal direction of travel. In the case of VistaVision, 35mm film is positioned horizontally to expose a frame whose height is approximately equal to the width of the normal 35mm frame, and whose width is eight performations. Hence the area is twice normal, the degree of magnification neces¬ sary in projection is halved, and the quality on the screen improved considerably. While the system outlined above involves special¬ ized equipment in practice, it is an observation of the author and others that this same technique can easily be employed in another film width where pro¬ jection quality presently suffers under anything more than moderate-sized screenings. Eight-millimeter film, long the champion of home- movie buffs for obvious reasons of economy and simplicity of handling, has come into consideration and limited use as a professional medium. Its qual¬ ity at 24 f.p.s. is acceptable but usually far from that of 16mm film. For the filmmaker concerned with economy and quality, and also for the experi¬ mentalist interested in new techniques and formats, is the prospect of double-frame 8mm films. In common practice, the conventional 8mm cam¬ era is designed to handle 16mm film, with the 16mm material bearing twice as many perforations as in standard 16mm use. The strip is run through the camera twice — on the first pass through the entire length is exposed along one half of the film’s width; Continued on Page 235 AMERICAN CINEMATOGRAPHER, APRIL, 1963 225 8 MM SOUND FILMS. QUANTITY DUPES FROM 8MM ORIGINALS G-E Credit Corporation in-plant Film production dispels notion that acceptable 8mm dupes are not possible and sets example for others who would utilize 8mm sound cameras for limited low-budget film production. By JOHN FORBES PREPARING TO SHOOT a product closeup for a test promo¬ tional film, using Fairchild 8mm sound camera. jyjoST of the thinking with regard to profes¬ sional or commercial 8mm film production has been in terms of volume prints, with the initial pho¬ tography done in 35mm or 16mm and the prints produced by optical reduction printing. It is the only way that acceptable quality can be obtained on 8mm prints, many experts aver. As in most controversies, there are the dissenters who, with a dedicated purpose, set out to upset this claim. “It is quite possible today,” they assert, ‘"using the most modern equipment, to produce 8mm sound originals from which a limited number of good quality dupe prints may be obtained.” One of the first was Bernard Green, head of Color-Sound, Inc., of New York, who produced a successful series of sales promotion films several months ago. These were photographed in 8mm color with a Fairchild Cinephonic 8mm sound camera — the first 8mm single-system movie camera utilizing magnetic recording. More recently the industrial use of 8mm sound films took a giant step forward when multiple prints from an 8mm sound original were successfully em¬ ployed by the General Electric Credit Corporation to promote its “Accent On Value” program among its employees scattered throughout the country in over 300 branch offices. The Corporation, a subsidiary of General Elec¬ tric Company which provides consumer, commercial and industrial financing, had been searching for a means of dramatizing the company’s “Value” pro¬ gram before its 3,000 employees. Until now, the program, which aims to stimulate customer-demand for GECC services by encouraging better service on part of employees, had been promoted primarily through newspaper, magazine and television adver¬ tising. Until now, motion pictures had not been employed in this promotional activity. Joseph J. Heffernan, the company’s Sales Pro¬ motion and Plan Development manager conceived the idea of a sound film as a means of stepping up employee interest. He suggested the production of a motion picture in sound showing individual em¬ ployees explaining what the “Accent on Value” program meant and pointing out how they could Continued on Page 230 226 AMERICAN CINEMATOGRAPHER, APRIL, 1963 8MM SOUND FILMS SMALL AND unobtrusive, 8mm sound cam¬ eras such as the Fairchild Cinephonic 8 enable a TV news cameraman to operate with speed and efficiency on any assign¬ ment. Sound is recorded simultaneously with picture on pre-striped film. TV NEWS FILM -NEW ROLE FOR 8MM U.S. television stations that have explored the potentials of 8mm film for newsreels say the results are promising and point to the inherent advantages for the news cameraman in 8mm’s lighter, more compact cameras and equipment. Jn the heyday of the theatre newsreel, most news footage was photographed with cumbersome, boxy Pathe cameras mounted on equally cumbersome tripods. Not until the advent of the Bell & Howell Eyemo was the load lightened for the news camera¬ man. This compact, lightweight camera with its limited 100-foot him load became the newsreeler’s favorite camera where mobility and quick action were required. With the growth of television news programs, filmed material became a major factor; 16mm him replaced 35mm as the medium in this held and the single-system Auricon-16 zoomed to popularity as the TV news man’s favorite camera. Portability and light weight were important factors for news camera¬ men working in the new era of population explosions and traffic jams. Few newsreel veterans have considered that an 8mm single-system sound camera might someday compete with if not replace the 16’s in producing qualihed newsreel footage. But this, too, may soon come to pass. Experiments which were conducted sporadically only a few years ago indicated that 8mm him images could successfully be televised and that the qualitv compared favorably with that of 16mm him. Today there is increasing use of 8mm him in TV newscasts. One who has not only used 8mm news him in TV newscasts hut who has become something of a proponent for the medium is Dick Hance, Executive Producer for WGN-TV News, Chicago. Hance writes a monthly column, “TV-Image” for National Press Photographer, journal of the National Press Photog¬ raphers Association. In his column for December 1962, Hance stated: “We at WGN-TV conducted an experiment for the 92nd Semi-Annual Convention of the Society of Motion Pictures and Television Engineers to show the feasibility of applying 8mm him to a TV news operation. “Our news him crews were given 8mm camera equipment and were assigned to the local news stories for the day. The day’s coverage was handled Continued on Page 23Q AMERICAN CINEMATOGRAPHER, APRIL, 1963 227 LOCATION PHOTOGRAPHY Helpful hints for aspiring cinematographers ONE OF THE PRIME jobs of the cam¬ era crew on location is to make the best use of the sun outside, and the available power or the supplemen¬ tary power which may he inside. Direct sunlight gives the best light¬ ing, although other factors must he taken into consideration. While the sun is one of the photographer’s great¬ est allies, it can deal you fits if you do not plan carefully. For one thing, angles should be selected to avoid strong, objectionable shadows. Athough it. is a rare occurrence, subject matter may sometimes he too contrasty for Ektachronre or other color film. You are most apt to run into this situation where you have extremes of light and shadow — as in a forest, or if action is taking place within an overhang surrounded by direct sun¬ light. If actors are the prime subject in the frame, contrast may be reduced by clothing change. With inanimate objects, it may be possible to substi¬ tute a less contrasty subject. Skies may “wash out” under certain conditions. This can happen when it is necessary to use considerable back¬ lighting or reflectors, or when the sky is “flat” and slightly overcast. In this situation, it is best to wait for a good blue sky, although shooting schedules seldom permit one to do so. Fill Light Aids Mechanical aids can also help solve exterior lighting problems. Lens shades, of course, are a must. Reflectors, ju¬ diciously placed, will provide “fill light in dark shadow areas. Pola screens can be used to cut down objec¬ tionable highlights, but must be used with caution. Long shots filmed in color with a pola screen cause the sky to go extremely blue and may kill interesting highlights on trees and other objects in the frame area. This can sometimes be more objectionable than contrast. Another valuable aid is the zoom lens. This can be used as your only lens with the option of zoom effects. It is easy to over-use zooms, however, as such effects are often startling to an audience and should be reserved for occasional, specific in¬ stances. Lilters plus under-exposure provide the means for making effective day- for -nig ht scenes, which must be ex¬ tremely well planned in advance. Sun shadows cannot be too prominent, and light sources must be checked. Auto¬ mobile headlights, windows in build¬ ings, streetlights, etc., must be turned on to “cheat” the desired nighttime effect. To shoot the nighttime scene during the day, the daytime sky must go extremely dark, or be avoided alto¬ gether. Here again, the pola screen can be effective. Its natural tendency to ac¬ cent blueness and to reduce highlights make it valuable here. Use Your Meter To avoid strong shadows caused by direct sunlight, try to shoot your night¬ time scenes in an overcast sky. It is now possible, as the speeds of color film continue to increase, to shoot simu¬ lated night shots later in the day. Always use a good exposure meter and follow the recommendations of the manufacturer. Lor best results, spend considerable time becoming completely familiar with the meter, and check it frequently for accuracy. Regardless of the type of color film you are using, optimum color is obtained when the film is exposed at certain times of the day with light of specified color tem¬ perature. The time of day will vary; the instruction sheets supplied with your raw film stock will indicate the most ideal shooting conditions for that particular stock. If you have done any location inte¬ rior shooting at all, you are aware that the power available on location for lighting is seldom sufficient for ideal work. Lor this reason, determine in advance all the lighting requirements for the scenes to be shot. Then, find out all information as to the available power. The amount of power needed will be affected by the size of the area to be shot and the amount and size of the lights you feel to be necessary. Often you will find that the existing power supply is not sufficient for the job, and your only alternative is to rent or lease supplementary power generators. In general, 60 amperes are usually available in the average home. This lighting load can be spread over two or more circuits, or the main switch can be used. Certain heavy power-draw appliances (ranges, air-conditioners, dryers, etc.), are good plug-in sources. Before moving a camera crew into a factory location, explain the power re¬ quirements to the plant electricians, specifying where you need power, for how long, and the sequence of the areas you will be shooting. Then, be sure to double check the voltage sup¬ plied before plugging in. There are several lighting considera¬ tions when working with large areas. Spots generally are more effective and flexible than floods. In addition, during times of pure panic only, multiple ex¬ posures, slow camera speeds, or re¬ photographing transparencies may prove adequate. Lighting The Set To insure the best possible lighting setup, spend some time watching the normal action of the scene to be shot before moving in your lights. This usually takes only a few minutes and saves much time when you are setting up your lights. Light the set or area with the subjects in position, or with screen action camera movement before actually exposing the film. Don’t be too concerned with natural light coming onto the set from win¬ dows or doors. This lends a realistic “feel” to a scene and is completely ac¬ ceptable to the audience. However, when you are shooting into daylight, try to use as small an aperture as pos¬ sible to keep the daylight from wash¬ ing out completely. When shooting location-interiors, use of a grey card and meter to determine exposure will insure dependable results because the grey card represents a bet¬ ter overall balance than where a meter reading is made directly of the set. Also to be recommended is the kev J system of lighting on location, but for a different purpose. On a sound stage set the key system is used to calculate ex¬ posure. On location the key system is used to position lights only. This en¬ ables us to establish a basic lighting procedure, both on the set and on lo¬ cation, in giving directions to grips and Continued on Page 246 228 AMERICAN CINEMATOGRAPHER, APRIL, 1963 ‘ gSjBF* fro"’ 0056 the ONE PACKAGE deal from JACK A. FROST/ ★ * . . saves you TIME and money on PRODUCTION RENTAL needs ! . . . . JACK A. FROST COBO HALL OFFICE: 401 Washington Blvd. Rm. 3143, WO 2-1255, Detroit 26, Michigan MAIN OFFICE: 234 Piquette TR 3-8030, Detroit 2, Michigan CANADIAN OFFICE: 6 Shawbridge, BEImont 2-1145, Toronto, Canada AMERICAN CINEMATOGRAPHER, APRIL, 1963 229 from HOLLYCAM BELL & HOWELL CINE PRINTERS 35MM Model D Features include adjustable 5-way print¬ ing aperture that eliminates picture bleeding; 300-watt high-intensity light source for color; 3-speed synchronous drive; and printing speeds of 60, 90, and 120 feet per minute. HollyCam brings all this to you at a substantial saving from the factory price of more than $4,600. *3,200°° F.O.B. Our Plant Fully Reconditioned - O - 300-Watt selenium rectifier for all 16mm and 35mm Bell & Howell Printers. Lat¬ est B&H model. $345.00 • - O - $1,295 Uhler 16 Printer . $650 $12,000 Herrnfeld 35 Printer . $1295 $9000 Arri 35 Printer . . $1400 - — - O - We Buy, Sell, Trade, Rent & Repair. Consignments and Foreign Orders Welcomed. H0UVW00D CAMERA CO. 6838 Sunset Boulevard Hollywood 28, Calif. Phone; HO 6-1318 QUANTITY 8MM DUPES Continued from Page 226 accent values in their own particular jobs. An unpretentious film having a simple approach, he believed, would have greater impact. A highly polished film might detract from the obvious sincerity of GF.CC employees who were to act in the film, he said. To carry out this objective, John C. Johansen, a member of Heffernan’s staff, was chosen producer of the film and authorized to acquire the neces¬ sary camera and equipment to accom¬ plish the job. Johansen was familiar with the Fairchild Cinephonic 8mm sound camera and from results he had seen obtained with this camera, was convinced it could produce a film hav¬ ing both the sound and picture quality that would net a limited number of good dupe prints. Using nothing more than the Fair- child camera, a meter, a multiple-light bar plus a single fill-light, Heffernan carried out his assignment, visiting various GECC branch offices where he photographed and recorded the com¬ ments of employees at random while on their jobs. In all, employees in a wide range of job categories were photographed ranging from company President C. G. Klock to a secretary at her desk. Also credit specialists making calls, an area sales manager visiting an appliance dealer’s show¬ room, an industrial credit sales mana¬ ger of the company calling on a manu¬ facturer, and a service center manager working with a G-E computer were typical subjects of Heffernan’s 8mm sound camera. When all shooting was completed, the film was sent to Cine Magnetics, Inc., of New York, for processing of the original. Afterward, Johansen edited it down to approximately 25 minutes screen time. The original sound track was transferred to 16mm magnetic film for re-recording on the dupe prints. Heffernan estimated the company would need 23 prints of the 8mm color sound film. A sample print was run off and screened for the approval of G-E Credit Corporation’s executives. The order for the additional 22 prints is believed to be the first of its kind and that it marks the first time that multiple prints of acceptable commer¬ cial quality have been producing di¬ rectly from an 8mm sound and color original. Prior to undertaking this do-it- yourself sound film production, the company had obtained estimates from industrial film producers for a 25- minute 16mm sound film on the sub¬ ject. Average estimate was around $25,000, whereas the total cost of the 8mm sound film produced by the com¬ pany itself was $500. This included rental of the Fairchild camera and related equipment, film, answer print and re-recording of sound, hut did not include the 23 dupe prints. Commenting on the accomplishment, Heffernan said, “The film gave us an extremely effective and dramatic com¬ munications tool with which to reach our employees on a nationwide basis with a minimum of expenditure. Al¬ though prints of the film were normally screened to groups of 15 to 20 employ¬ ees at a time, as many as 60 attended some showings. ’ Some indication of the film’s suc¬ cess is the fact that International Gen¬ eral Electric requisitioned a print for showing in Europe and another print has been sent to Mexico at the request of the G-E affiliate in that country. While a 23-print order is not considered large in the industrial film business or by film laboratories, still it is sig¬ nificant. In these embryonic days of 8mm sound films, it is encouraging. ■ 8MM TV NEWS FILM Continued from Page 227 exactly as if it were 16mm film. Earlier controlled tests on a closed- circuit TY system had indicated that the definition of 8mm reversal film was comparable to 16mm. “That evening we produced one of our regularly scheduled 10 p.m. news¬ casts using 8mm sound and silent film. During the broadcast, the quality did not come up to our full expectations because of a grain problem. Our origi¬ nal plans called for the use of Dupont 930 and 931 raw stock, perforated for 8mm and prestripped. At the last min¬ ute, it was discovered that the pre¬ stripping on the Dupont 931 stock did not meet standards, so we had to switch to Eastman Tri-X. Processing proce¬ dures had already been set up and could not be changed, and we obtained a greater grain structure on the fast speed film. Aside from this, the han¬ dling of 8mm proved no more difficult than 16mm. The only added equip- 230 AMERICAN CINEMATOGRAPHER. APRIL, 1963 Inspect every foot before it leaves your plant with the HFC High Speed Heavy Duty Inspection Projectors -- 16mm & 35mm models now available. NEW The projector is a converted front shutter Simplex with a two pin intermittent. 16mm or 35/32 film runs at a speed of 144 ft. per minute while 35mm film runs at a speed of 165 ft. per minute. 1. A variac controls the light intensity. 2. A 500 watt lamp is used for 16mm and a 1,000 watt for 35mm (a blower is used to cool the lamphouse). 3. A 2x/2 inch projection lens is furnished with each unit. 4. A start-stop lever controls the power to the lamp and motor. 5. The magazine and take up core takes up to 3,000 ft. of film. 6. Upper guide rollers are made to handle the film from either direction of the feed reel. 7. A free wheeling take off flange is pro¬ vided in the magazine. 8. A lamp near the takeup reel permits hand inspection of the film prior to takeup. NOUVEAU Le projecteur contient un obturateur Sim¬ plex anterieur transforme avec deux cla- vettes intermittent. Les films de 16mm ou 35/32 tournent avec une vitesse de 144 pieds a la minute, tandis que les films de 35mm tournent avec une vitesse de 165 pieds a la minute. 1. Le regulateur de voltage d’intensite d’eclairage. 2. La lampe de 500 watt est necessaire pour les films de 16mm, et de 1000 watt, pour les films de 35mm (un ven- tilateur est mise pour rafraichir la chambre de la lampe). 3. L'objectif de 2l/2 est instale. 4. La manette de mise en marche et d’arret controle en meme temps la lampe et le moteur. 5. La boite de films avec noyau peut con- tenir 3000 pieds du films. 6. La roue superieure est construite de maniere de recevoir le film dans les deux directions, nourrie par la bobine centrale. 7. Une roue est instalee pour liberer rapidement le film de la boite. 8. La lampe se trouve pres de la bobine recepteuse, et donne toute facilite pour inspecter le film a main dans le projecteur. 956 N. Seward, Hollywood 38, Calif., HO 2-3284 HOLLYWOOD FILM COMPANY REELS / CANS / CASES • 122 W. Kinzie, Chicago 10, III., 644 1940 NUOVO Questi proiettori sono Simplex transform- ati, otturatore al fronte, meccanismo di scatto di due punte. La velocita di proie- zione in 16 o 35/32mm e di 144 piedi per minuto, e in 35mm, di 165 piedi per minuto. 1. Controllo manuale della luminosita della lampada. 2. Lampada di 500 watt per 16mm e di 1000 watt per 35mm. 3. Obbiettivo di proiezione di 2x/2" . 4. Maniglia per controllo di motore e lam¬ pada di proiezione. 5. La cassetta porta pellicola puo con- tenere 3000 piedi. 6. I rulli superiori di guida sono construiti per operare con film provenente di ambi lati della bobina svolgitrice. 7. Disco con montatura sporgente nel magazzino. 8. Una lampadina illumina la bobina av- volgitrice, permettendo I'ispezione man¬ uale del film prima che si avvolga nel proiettore. NUEVO Esta maquina es un proyector simplex con- vertido, obturador al frente y movimiento intermitente a doble grifa. Para 16mm o 35/32mm, la velocidad fija de proyeccion es de 144 pies por minuto, para 35mm es de 165 pies por minuto. 1. Un reostato controla la intensidad de la lampara de proyeccion. 2. Para 16mm se usa una lampara de 500 watt, y una de 1000 watt para 35mm (un chorro de aire ventila las lamparas en ambos casos). 3. Cada unidad esta provista de un lente de proyeccion de 2 pulgadas y media. 4. Una palanca de control opera el motor y la lampara simultaneamente. 5. Capacidad de proyeccion: rollos de hasta 3000'. 6. Los rodillos de guia superiores operan con la pelicula en ambas direcciones. 7. La tapa de la bobina de carga es desenroscable. 8. Una lampara ubicada junto a la bobina de toma permite la inspeccion manual de la pelicula antes que se rebobine en la bobina superior del proyector. • 524 W. 43rd St., N.Y. 36, N.Y., LO 3-1546 AMERICAN CINEMATOGRAPHER, APRIL, 1963 231 One -Two- Three Th is ADVANCED Moy Visible Film Edge Numbering Machine simplifies matching 16mm to 35mm with direct numerical reference between both sizes.... $3750 STANDARD MODELS: Designed to edge number every foot of 16mm, 17'/2mm, 35mm films and simplify the task of checking titles and footage. MOV EDGE NUMBERING replaces cue marks, perforations, messy crayons, punches and embossing — does not mutilate film. Both negative and positive films can be numbered. Non-magnetic parts do not affect magnetic film . $2395 SPECIAL 16/35/70mm Combination . $4475 CONVERSION KITS: For changing operation from 16mm to 35mm or 35mm to 16mm . $875 ATS D HIM EDCE ARE IASI 10 SEE Write for brochure SA f niJATA TIME AMift I nr 602 West 52nd s* ' New York ,9— pLaz° 7 0440 iV ijt I llv I U'UrShVr I I vj|i mt. Western Branch: 6331 Holly'd Blvd., Hollywood, Calif. - >-SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 201, 241, 243 AND 245 ■< - 26 YEARS OF QUALITY REVERSAL PROCESSING • Specialists in high speed or standard reversal processing • Security clearance • Free Vacuumating • Films returned same day • Customer extra service: Special prices on Eastman & du Pont Reversal Film NATIONAL CINE LABORATORIES WASHINGTON 17, D. C. ■ ■■■■■ SAVE MONEY When Filming In Europe By Renting Your Camera Equipment From CHEVEREAU PARIS, FRANCE We Service The Entire Continent CAMERAS, including the Mitchell BFC 65mm CRANES DOLLIES 20 RUE DE LA CHINE PARIS 20, FRANCE Tels: MEN 9472. PYR 5104 Cable: Cameraloc Paris ment was a set of 8mm rewinds and preview projector. “To broadcast the 8mm film, we used a modified Fairchild Cinephonic projector, projecting the image directly into a vidicon film chain system. A five-blade shutter replaced the standard shutter to eliminate ‘shutter bar.’ Also a synchronous motor replaced the standard projector motor to give con¬ stant controlled speed. “The standard Fairchild 8mm mag¬ netic sound cameras were used with no modifications. The silent news film cameras used were standard Bolex 8mm cameras, using regular 100-foot daylight-loading spools of double-8 film. “I have reached these conclusions from this experiment: “(1) 8mm can he readily adapted to TV news film work, when profes¬ sional equipment becomes available. Existing equipment is manufactured for a consumer’s market and is not dependable enough for the heavy stresses of professional use. “(2) Tests indicated that when the present black-and-white reversal films are used, the definition of the picture is acceptable for TV news formats. “(3) More caution has to be exer¬ cised in the handling of the film to prevent scratches and the accumula¬ tion of dirt. “(4) The sound quality from the magnetic strip is as good as the single¬ system optical tracks of 16mm film. “(5) Tests indicated that 8mm color film shows excellent definition through the color chain system.” In his February, 1963, column Dick Hance summarized the activity to date on use of 8mm film in TV news: “KPHO-TV, in Phoenix, Arizona, has been experimenting with the Fair- child sound camera and projector. They ran into a film grain problem because they were processing double 8mm film as negative. They are now using reversal film, which has elimi¬ nated the grain problem. It appears that, generally speaking, there is less grain when using the reversal system. “Ray Curtiss, KPHO’s News Direc¬ tor, writes that they just received three new Fairchild Zoom Cameras, and the sound quality has greatly im¬ proved. They have also concluded that the Agfa Sonector 8 gives them ‘fan¬ tastic sound quality.’ KPHO engineers are currently converting the German projector from a three to a five-blade shutter, so that it will work into the film chain system. 232 AMERICAN CINEMATOGRAPHER, APRIL, 1963 “More motion pictur es are produced with Magnas . than with any ync Type 5 Recorders other recorder in the world!” Versatility, precision engineering, nonobsolescence and rugged dependability made the Type 5 the most popular recorder in the world, and the basic ingredient of an integrated sound system to meet every recording requirement. 1. Choice of motors for 110 volts, 220 volts, 50 cycle, 60 cycle, single phase and three phase. 2. Selsyn motor attachments for Magnasync, RCA or Westrex distributor systems. 3. Selsyn or mechanical projector interlocks available. 4. Fast forward and fast rewind. 5. Portable; standard panels also permit rack mounting. 6. Complete line of companion equipment available. 7. Five distinct models to suit all film sizes and speed requirements. from Wire, write or phone for free 42-page catalog describing Magnasync’ s complete line of equipment and accessories The rugged, precision film transport is the heart of every Magnasync/ Magnaphonic professional recorder. This famous “Synkinetic Motion” filtering principle, an original Magnasync concept, has contributed to the firm's international leadership in the field. MAGNASYNC CORPORATION 5546 Satsuma Avenue, North Hollywood, California • TRiangle 70965 • Cable “MAGNASYNC” fiiflcjuisvnci L 7/fanq>/mic SOUND SYSTEM MARK I AUTHORIZED DEALERS: CHICAGO, ILL. Behrend Cine Corp. 161 E. Grand, Ml 2-2281 Zenith Cinema Service, Inc. 3252 Foster, IR 8-2104 DALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. Southwest Film Labs 3024 Fort Worth St. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5166 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc. 6331 Hollywood, HO 7-9202 HOUSTON, TEXAS Cine Associates P.0. Box 98, Bellaire KANSAS CITY, MO. Barnard’s, 4724 Broadway, Country Club Plaza, LO 1-7761 Crick’s Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, M0. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman’s 121 Fourth Ave., Dl 3-1869 CANADA, Islington, Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. SOUTH AFRICA Photo Agencies Pty. Ltd. 9 Kerk St., Johannesburg SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road BOLIVIA, La Paz Casa Kavlin Casilla 500, Calle Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42/56 ASIA: . AUSTRALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BURMA, Rangoon G.K. Theatre Supply Co., Ltd. 123 Sule Pagoda Road HONG KONG Supreme Trading Co. 60 Hennesy Road INDIA, Bombay Kine Engineers 26, New Queen's Road JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome, Chuo-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd., Rex Annexe THAILAND, Suriwong, Bangkok G. Simon Radio Co., Ltd. 30 Patpong Avenue EUROPE, Magnasync Office: SWITZERLAND, Geneva William P. Lear, Jr. P.0. Box 18, Airport Geneva 15 DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St., (W-l) Gordon Cameras Ltd. 45 Kensington High, (W-8) FRANCE, Paris Brockliss-Simplex S.A. 6. Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. ITALY, Rome Reportfilm, di J. M. Schuller Via Antonio Bertolini 31 FROM YOUR 12 VOLT CAR BATTERY CLAMP-ON DELIVERS 250 WATTS of smooth, evert 3400°K light — $4950 PORTABLE MOVIE LIGHT Fits any camera. No tools needed, no holes to drill. Long life nickel-cadmium battery with built-in charg¬ er weighs only 7 lbs. Guaranteed one year. * 499. 50 COMPLETE WITH BATTERY Write for Full Information PHOTOMART I 228 So. Franklin St. -Tampa 2, Florida ■■Hmn Telephone 229-1168 mmmm 4 - - BOLEX ACCESSORIES By STEVENS SYNCHRONOUS CAMERA DRIVE 115-volt Bodine Motor 24-Frame Lip-Sync Speed. Complete with Safety Clutch, Camera Mounting Base, Forward-Reverse Contrels, Condenser, 10-Ft. Cable. Special $150 Write for our Bolex Accessory Catalog STEVENS ENGINEERING CO. Dept. ‘‘A’’, 340 N. Newport Blvd. Newport Beach, Calif. - 4 L & F PORTABLE CINE PROCESSOR • Fully Automatic • Daylight Operating $675.00 (f.o.b. Chicago) • 16mm or 8/ 8mm • Requires no plumbing • Process 200 Ft. B4W Film in Less Than 1 Hour • Reversal Processing • Less Than 1 Gallon of Solution Needed • 32"x9"x24"! 55 lbs! Write For Descriptive Literature SUPERIOR BULK FILM CO. 446-48 N. Wells • Chicago 10, Illinois NEW IMPROVED PROCESS LAMINATED SOUND STRIPING THE 8MM — 16MM 2V2 wr mSm !■ 1 ImIwI HI ADDITIONAL FILMLINE FEATURES: • Double capacity spray wash • Dry Box and developer thermometers • Uniform tank sizes • Cantilever construction • Self-contained plumbing • Ball-bearing gear box • Oilless air compressor • Size 77" x 60" x 30" Weight approx. 650 lbs. Worlds’ Largest Manufacturer of Quality Engineered Film Processors Since 1945. Over 100 Other Processor Models Available including Color, Microfilm, Negative/Positive and Spray. • Exclusive Overdrive — eliminates film breakage, automatically compensates for elongation, tank footage stays constant. • Easy-to-operate, fully automatic controls make this an ideal machine for unskilled personnel. • Variable Speed Drive — development times from IV2 to 12 minutes. • Complete Daylight Operation on all emulsions— no darkroom needed. • Feed-in elevator and 1200 foot magazine permits uninterrupted processing cycles. • Stainless steel tanks, air squeegee, recirculation fittings, air agitation tube, lower roller guards. • Forced filtered warm air drybox. When You Buy Quality - Filmline Costs Less! For additional information write: ‘Including Temperature Control System, Bottom Drains and Valves, Developer Re¬ circulation and Air Compressor. Lease i Time Payments available CORPORATION MILFORD, CONNECTICUT AMERICAN CINEMATOGRAPHER, APRIL, 1963 239 Specially designed and manufac¬ tured for F & B after careful mathe¬ matical computation, these TV cut¬ off mattes are ACCURATE. Simply position oneoverthe ground glass of your Moviola screen and see at a glance how the TV cut-off affects your picture. Fits all Moviolas (except Bullseye models). ALL SIZES-ONE PRICE $C75 D 3 for $15.95 Please send Moviola ground glass measurements with your order. Serving the World's Finest Film Makers FLORMAN & 68 West 45th Street N. Y. 36, N. Y. MU 2-2928 QUALITY AND SERVICE 16mm BucK&mm REVERSAL NEGATIVE POSITIVE PRINTING COLOR Processing- COLOR PRINTING Work prints — Timed Prints Color to Color prints — A & B roll prints Color to B & W prints — Fades-Dissolves Dupe Negative — Multiple prints Raw stock — Fastex service Loop printing Write for complete information VIDEO FILM LABORATORIES 350 W. 50th ST. • NEW YORK 19, N. Y. JUdson 6-7196 2. Considering proposed variants from today s system and assessing their technical importance as solutions to problems evident from data collected under the above. 3. Reporting the results of their work to the Society, including such recommendations to Engi¬ neering Commitees as they reach.” Dr. Louis Forsdale of Columbia Uni¬ versity, chairman of this committee, has asked for assistance in evaluating the present 8mm system in the field of business and industry. A questionnaire has been prepared for this purpose. ^ on can assist this commitee by com¬ pleting the questionnaire, copies of which may be obtained by writing to Rill Hedden, Calvin Productions, Inc., 1105 Truman Road. Kansas City 6, Mo. ■ LOOKOUT MOUNTAIN Continued from Page 221 Lookout Mountain’s qualified aerial cameramen (both civilian and mili¬ tary), for whom the term "‘daredevil is something of an understatement, fly a variety of air-to-air assignments, in¬ cluding such missions as recording the drop of an X-15 from its Mother plane, the flight of a U-2, the crack aerial- acrobat Thunderbirds in action, as well as the performances of a wide range of supersonic aircraft in flight. Camera crews in the field are con¬ stantly encountering challenges which call for special photographic methods and equipment. In filming Operation Fullscope, a giant tactical weapons maneuver recently conducted in west¬ ern Florida, remote-controlled cameras were set up to record air-to-ground strikes on targets located in impene¬ trable areas of swampland. Photo¬ graphic equipment was flown in by helicopter, but the extremely difficult terrain precluded the stringing of con¬ ventional land-lines to start and stop the cameras. An “S.O.S.” to Lookout Mountain resulted in a highly sophisti¬ cated piece of equipment being rushed to the location to solve the problem. It consisted of a small, highly port¬ able, battery-operated radio transmit¬ ter console with four buttons, each of which, when pressed manually, gene¬ rated a separate and distinct tone sig¬ nal that was picked up by a tiny re¬ ceiver mounted on one of the remote cameras. Thus activated, the receiver closed the relav between the camera switch and the battery power supply, starting the camera mechanism. Thus, all four cameras could be turned on separately at different times, each res¬ ponding to the frequency of its individ¬ ual tone signal — or, by means of a simple plug-in adjustment, all could be rigged to respond to the same tone signal and start simultaneously. During the Fullscope operation the remote control console was operated from a helicopter hovering some dis¬ tance away where it could spot planes approaching the target area and start the cameras at exactly the right mo¬ ment. Many of the films made at Lookout Mountain feature actual air Force offi¬ cers or technical experts playing them¬ selves in front of the cameras. How¬ ever, because of its location in the film capital, the film unit is also able to draw from the ranks of Hollywood's screen talent to lend an extra touch of professional finish to their productions. Many of the top stars of the industry have volunteered their services for films of national or international signi¬ ficance. Jimmy Stewart starred in “The Air Force Mission.’ Glenn Ford ap¬ peared in “Taiwan, Isle of Freedom. ’ Boh Cummings and his son were fea¬ tured in a film on Air Force Academy activities. Other films produced at Lookout starred Tennessee Ernie Ford, the late Dick Powell, famed newscaster Walter Cronkite, and James Arness — Marshal Dillon of TV's “Gun Smoke ’ series. Lookout Mountain camera crews also document the annual Bob Hope Christmas tour, accompanying the fa¬ mous comedian and his troupe as they bring holiday cheer to American serv¬ icemen stationed throughout the world. Motion pictures produced at Look¬ out Mountain have received numerous awards from domestic organizations (such as the Industry Film Producers Association ) and from organizations in foreign countries. Last year, filming of a spectacular display of precision Hying by the United States Air Force Thunderbirds and the pilots of several far Easetrn nations produced on Acad¬ emy Award nominee called “Breaking the Language Barrier.” A series of “People-to-People” films designed to promote understanding and good will between Americans and the peoples of far-flung nations have been produced by crews on location assignment from Lookout. One of these was filmed on Taiwan, another in Korea. Working outdoors as well as on 240 AMERICAN CINEMATOGRAPHER. APRIL, 1663 sound stages in the latter country, they recorded the native customs — some of them old and strange, others more mod¬ ern and familiar. A film entitled ‘‘Blood Brothers.’’ produced to help explain Philippine cul¬ ture to American servicemen, was in¬ troduced by Ambassador Romulo. A high-point of the picture is a spectac¬ ular storm-rescue sequence staged with hair-raising realism on the beach in Manila. The elaborate special effects required were a joint effort: the local fire department produced the rain; a Navy landing craft created the waves; an Air Force helicopter produced the wind; the Marines supplied the am- i phibian craft, and American and Phil¬ ippine actors played the parts. Lookout Mountain technicians directed the ac¬ tion and cameramen from the Islands did the photography. Lookout Mountain Air Force Station is a complete motion picture studio capable of producing a feature-length production from script to screen with¬ out going outside its own plant. It has complete processing labs equipped to develop and print all types of still and motion picture materials in black-and- white and color. Its camera equipment runs the full gamut of professional i MODEL X-400 TYPE 15 is especially designed for servicing "On-the-Go" producers who prefer every¬ thing in one case — playback power amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors — an ALL-IN-ONE magnaphonic sound system (S.M.P.T.E. standard performance) com¬ plete in a single easy-to-carry case. Will accommodate standard 1200 foot film reels. Write for illustrated brochure. PRICED ONLY $1385 Model X-400 for extra lightweight portability, from $1190 S.O.S. carries the complete line of Magnasync recording systems. SO ^ DHOTH-flNF-nDTin Inr 602 Wesl 52nd s,< New York i?— pLaia 7-0440 ■ ViJa riyVlw“VlIlL“Vrl ■ Wf *llw. Western Branch: 6331 Holly'd Blvd., Hollywood, Calif. - - SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES ^01, 232. 243 AND 245 -< - Acmade Foot-Operated Splicer with Tungsten Tipped Blades Combination 16mm-35mm Model $1495 This splicer is constructed, as is usual with ACMADE products, of the finest mate rials and workmanship. All castings are of the best quality and the top body and cutter arms are seasoned to prevent dis¬ tortion after machining. The machining is carried out to limits of± .0005" in order that the cutter blades shall close in a dead parallel manner. The cutter blades are made from stainless steel with Tungsten Carbide inserts, and afterwards ground lapped and polished to a limit of ± .0002" thickness and the cutting edges relieved by 1°. The Tungsten Carbide inserts will have indefinite life and will not require sharp¬ ening as with other types. A heater unit is installed in the top body of the machine. The top light in a well glass fitting is at¬ tached to the body of the machine and also an inspection light in the waste bin to¬ gether with cement bottle and brush. A scraper block is supplied and also a scraper block setting jib and support shelf rubber-covered. The whole machine is fin¬ ished in first quality grey hammer and all metal parts other than cutter blades are hard flash chromed. ACMADE MARK EDITING TABLE f.o.b. New York Makes Editing Easy! Operation of this simple, efficient editing machine can be mastered in minutes. Con¬ tinuous movement provides absolute safety for your film. Instant controls and de¬ clutching allows up to 50% increase speed and efficiency in editing. Any combination of 2 or 3, 16mm or 35mm channels, plus mag¬ netic and optical sound available. WRITE FOR DETAILED BROCHURE Serving the World’s Finest Film Makers Florman & Babb n c. 68 West 45th Street New York 36, N . Y. MU 2-2928 Another Fine Product From ACMADE AUTOMATIC BUTT SPLICER Cuts, Splices, Applies Magic Mylar Automatically! tive, magnetic other bases. Now, with no fuss, mess or waste, it is possible to splice, repair, butt-splice, or strengthen splices on all types of film — positive, nega- duPont Cronar or The cutting arm, shown in opera¬ ting position, is used by press¬ ing the chrome button for cut¬ ting both sides, of the film si¬ multaneously. The film, has been registered on pins in the horizontal channel. The cutting blade is eas¬ ily replaced. The splicing tape is regis¬ tered on pre¬ cision pins and held in place until automati¬ cally applied to ,t h e film by swinging the arm over and pressing the chrome button, cutting the adhesive and applying it — in perfect register to the film. Model 35 for 35mm. Model 16 for 16mm— *295 AMERICAN CINEMATOGRAPHER, APRIL, 1963 241 SMOOOOOTH That’s the word for MILLER FLUID ACTION TRIPOD HEADS! It’s because Miller Heads are true fluid heads . . . the load rides on the fluid and all tension adjustments take place within the fluid chambers, giving a velvety smoothness unmatched by any other tripod head. There is no slack, no bounce, no backlash, no jitter. They are available in two sizes: The Pro¬ fessional, for cameras of 25-35 lbs., and the Model “D” for cameras weigh¬ ing 12-14 lbs. MILLER MODEL “D” FLUID HEAD with Ball Leveling Top Miller Grooved Leg Tripod. “D” Head: . $150.00 B/L Tripod: . 139.50 Total: . 289.50 MILLER PROFESSIONAL MODEL Fluid Head with Ball Leveling Top, Miller Grooved Leg Tripod. Ball Leveling Pro Head: . $299.50 Tripod: . . 154.50 Total: . 454.00 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops avail¬ able coupled with the finest and most rigid tripods in the Junior class. At your dealer, or order direct from MILLER PROFESSIONAL EQUIPMENT 1619 NO. CHEROKEE HOLLYWOOD 28, CALIF. PHONE: HOLLYWOOD 7-8189 units and includes 15 Mitchells, plus several Arriflexes and a wide range of special purpose, high-speed units. The sound stage is equipped with a variety of standard studio lighting equipment. Masterlite and Colortran portable lighting kits are used for much of the filming of location interiors. An experienced animation staff, working with top-grade equipment that includes the latest model Oxberry ani¬ mation stand, turns out technical ani¬ mation sequences to effectively portray abstract or extremely complex ideas, the workings of intricate mechanisms, or a cross section of an atomic weapon. The Lookout Mountain Sound De¬ partment is headed by William A. Mueller, former Sound Director of Warner Brothers studio, and a veteran of 30 years service at that studio. The Sound Department, which was totally destroyed in a fire a few years ago. now boasts the latest and best recording equipment available. Its installation, designed and supervised by RCA en¬ gineers, is entirely new and includes a twelve-channel recording console with every possible quality control. Original sound recordings processed here are received from Air Force pro¬ duction units situated throughout the world. Whether on quarter-inch tape; 16mm, 1714mm or 35mm magnetic film; or optical tracks on 16mm or 35mm film, regardless of the medium the department is capable of reproduc¬ ing and re-recording all of them. An important adjunct of the sound department is its wide and varied sound effects library to which new additions are made regularly. It goes without saying that since a typical audience of Air Force personnel in¬ cludes many experts in many fields, the sound effects dubbed into Lookout Mountain film productions must be completely authentic. Because the sound tracks and the entire content of each film production is subject to the critical approval of APCS headquarters, critical screenings are presented with the sound on a separate film interlocked with the pic¬ ture. All final dubbed masters are set up as triple-track on a single magnetic film. The dialogue, music and effects, if any, are recorded on this film side bv side as separate tracks in dubbed bal¬ ance for interlock screening, using a triple-head playback pickup. Thus, anv changes recommended as a result of the critical screening of the picture can be easily made simply by changing the relative balance of the tracks or bv inserting new sections of recorded sound. In this way, costly, time-con¬ suming re-dubbing of productions is avoided. While a lot of the film unit’s per¬ sonnel production know-how rubbed off on them from close association with technicians in nearby Hollywood, much of what is now established as regular “Zanuck saw his home movies — thinks the guy’s got possibilities.” (Reprinted by request) 242 AMERICAN CINEMATOGRAPHER, APRIL, 1963 procedure there is the result of the unit’s own explorations, improvisations, and application. One has only to view some of their recent films to realize how tremendously important motion picture films are to the welfare, the progress and the efficiency of the U.S. Air Force. ■ SPECIAL EFFECTS Continued from Page 219 for “Green Dolphin Street.” In a climactic interior sequence for “San Francisco” involving four hundred players, balconies loaded with people came crashing down, walls fell in and the entire set shook back and forth, shifting as much as three feet laterally in a scientifically accurate pattern of destructive horizontal motion. Due to extremely careful rigging none of the players in the scene was injured. A number of interesting methods have been developed at M-G-M to achieve spectacular aerial effects. For “Test Pilot” M-G-M developed devices that made possible full-scale airplanes to loop-the-loop and roll in front of a process screen. Later, in “A Guy Named Joe,” a P-38 was maneuvered hydraulically so that it could roll and dive in a realistic fashion in front of a process screen. Recently, for “Two Weeks in An¬ other Town,” an ingenious device was used to violently whip a full-size auto¬ mobile about in front of a process screen to simulate a wild ride down a winding road at high speed. To film many of its effects involving water, both full-size and miniature, M-G-M uses a 300-foot square tank lo¬ cated outdoors on Lot Three adjacent to the studio. Across the rear of the tank is a backing 328 feet long by 60 feet high. By painting this backround to represent various types of skies, ef¬ fects can be accurately controlled. Night scenes can be shot in broad day¬ light with an effective portrayal of fire, a city illuminated or a lighted ship. M-G-M was the first studio to slope the backing at an angle in order to pick up more light. The backing is often used alone, with no water in the tank, for effects sequences such as the oil field gusher and fire featured in “Cim¬ arron.” The tank was used extensively for sea and shipboard sequences for “Ply¬ mouth Adventure,” “The Wreck of the IBB8B9B6Gi9BB9900B80SBBV8(!BBBBBBflB8B8 Bock are YOURS with TtL-Amatic PRINTER Prints color, black-&-white, reversal, sound or silent films with rock-steady professional precision. Has many out¬ standing features found only in much higher priced pro¬ fessional printers. Sufficient light is provided to expose fine grain film. Semi-automatic light change assures per¬ fect exposures. Write for brochure. PROFESSIONAL continuous contact sound & picture printer for 16mm or double 8mm films Only $1995 S.O.S. PHOTO-CINE-OPTICS, INC 602 WEST 52nd STREET, NEW YORK 19, N. Y. • Telephone . PLaza 7-0440 » Telegram: "FAX, N. Y." WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Telephone: 467-2124 - >-SEE OFFERINGS OF EXTRA-SPECIAL VALUES ON PAGES 201, 232, 241 AND 245 -< - Mary Deare,” “Ben Hur,” and “Muti¬ ny on the Bounty.” Depth of the water in the tank is 42 inches, except for three pits in the tank that accommodate action where deeper water is needed. One of these is 16x40 feet in size and 30 feet deep. The other two are 20 feet square and 12 feet deep. Normally these pits are covered over with hatch¬ es and are opened only when it be¬ comes necessary to sink a ship or show a submarine diving. In “Atlantis, The Lost Continent” the pits were used to conceal hydraulic rams and other de¬ vices for lowering the legendary city beneath the waves. The first version of “Ben Hur,” pro¬ duced in 1925, was filmed entirely in Italy. The famous sea battle was staged with full-sized ships. Gillespie, who was then an Art Director, was aboard a galley rigged to burn and sink with 400 Italians on deck. To duplicate this naval battle on a larger and more spectacular scale for the second ver¬ sion, a number of different effects were combined. One problem was immedi¬ ately evident: a sea battle with modern ships has the advantage of explosives and noise to give it dramatic impact, but because ancient galleys involved no Specialized LIGHTING EQUIPMENT for MOTION PICTURE, STILL and TELEVISION STUDIOS Write for A Copy of Our Catalog J on Your Letterhead zsfflo/e- 0lic/a/*dk on ^o 937 NORTH SYCAMORE AVENUE HOLLYWOOD 38, CALIF. AMERICAN CINEMATOGRAPHER, APRIL, 1963 243 400- and 1200-foot Conversions FINEST conversion on the market to¬ day. Convert your Auricon Cine-Voice or Pro to o fine camera that will handle full 400 feet of film with perfect jam-free, wow-free operation. Includes Veeder-Root footage counter, filter slot and holders, phone jack in camera and complete refinishing. Quick Service . . . Finest Workmanship . . Mitchell or Bell & Howell Magazines. Write for Pictures and Complete Details GORDON YODER PROFESSIONAL CINE PRODUCTS 2222 N. Prairie Ave., Dallas 4, Texas Phone LAkeside 1-2672 SOUND FOR YOUR BOLEX H 1 6 or H8 $265.00 SPECIAL EFFECTS SHOT F.O.B. Detroit TAKE SOUND PICTURES! Perfectly synchronized sound recorded on tape simultaneously with pic¬ tures on film. Complete unit includes mechanism section mounted to camera, amplifier with carry¬ ing strap, microphone, cords, headset, etc. No camera alterations required. Unit mounts on cam¬ era same as cover and appears as part of it. Write vor data. LOUIS S. UHLER 15778 Wyoming Ave., Detroit 18, Mich. Phone: UN 1-4663; Cable: UHLCIMA explosions or noise in operation, other methods had to he found to indicate spectacular fighting. This was done by hurling fireballs through the air and maneuvering the ships so they would crash and side-swipe each other, break¬ ing off oars, etc. Some of these scenes were shot in miniature and intercut with scenes involving full-size sections of the galleys. Many miniature shots were also used in traveling matte pro¬ cess to combine as backgrounds with full-sized action foreground shots. The latest version of “Mutiny on the Bounty” presented many problems, particularly in the creation of the storm and lire sequences. These scenes were shot in the tank using two minia¬ ture ships — one 1/6 scale (2 inches to the foot), the other, T/4 scale (3 inches to the foot). The latter model was large enough to accommodate the camera on deck, permitting many spectacular shots to be made. Many of the “Boun¬ ty” miniature scenes of the storm and the fire were also used as process back¬ grounds for composite scenes that in¬ cluded real people in the foreground. The rear-projection process, which has been in use in studios for many years, has always involved a basic dis¬ advantage in that the background scene, being re-photographed, is in ef¬ fect a dupe while the foreground action is original negative. The dupe qualities of the background scene were invari- 16MM COLOR and B-&-W Processing and Printing A&B Roll Conforming Sound Transferring W rite For Complete Price List MIDWESTERN FILM LAB 161 W. Huron St., Chicago, III. Phone: 664-841 0 J PATHE PRESENTS: THE WEBO-M 16 MM REFLEX PATHE PRODUCTS, INC. 9 Pleasant Street, Providence 6, Rhode Island Sole U.S.A. Agents for Pathe Societe Commerciale et Industrielle. Using A Technique of triple back-projection to simulate a complicated radar display, production staff of Stewart Films, British industrial film maker, is shown at work on special effects sequences for “Radar Reporter,” an Admiralty Training Film. A pre-filmed radar picture is projected from the especially-designed background process projector (left), via three mirrors on to the radar display table in back¬ ground. Two film strip projectors project colored graticules via a third mirror. The combined picture is filmed from overhead by the vertically-mounted camera, while amber light is used to illuminate the hands and arms of the plotters. On scaffolding with telephone is John R. F. Stewart, head of company, directing the radar photography. (Photo courtesy of the British Admiralty.) 244 AMERICAN CINEMATOGRAPHER, APRIL. 1963 ably accentuated by shooting original negative right on top of it. The dis¬ crepancy was not so glaring in black- and-white photography, but with the advent of color photography it became much more obvious. Numerous tests were conducted by M-G-M and other major studios and by Technicolor to establish what compensations had to be made in the background prints so they would have more of the qualities of original photography. A most important discovery was that more light was needed to expose the background image than could be pro¬ vided by a single projector. So triple¬ head projectors were designed that superimposed on the process screen three identical images precisely, one on top of the other. The former back¬ ground portion process involved two projectors projecting at right angles into mirrors, and a third machine pro¬ jecting directly toward the process screen. M-G-M subsequently developed its own method that has all three ma¬ chines projecting straight ahead. Key¬ stoning is avoided by means of a rack- over system of lenses positioned so that one picture can be directly superim¬ posed over another. Recently M-G-M engineers have de¬ veloped a revolutionary advancement in rear-projection photography incor¬ porating its “Laced Process” method, details of which will be reported in a future issue of American Cinema¬ tographer. Matte Paintings comprise another major category of visual Special Effects at M-G-M that is economically very im¬ portant in film production. The tech¬ nique makes possible the filming of scenes of great apparent scope and production value by building only part of the set, the remainder being painted to match and printed-in optically later. This method is effective, for ex¬ ample, when shooting on a studio street where the aim is to make actual two story buildings appear to he several stories taller. The camera must be set up far enough back to allow room at the top of the scene frame for the extra stories that are added later by means of a matte painting. While it is usually the upper portion of such compositions that is painted in, it could conceivably he the lower area, such as in a scene where figures near the top of the frame are seen moving along the edge of a precipice that actually does not exist. In making a matte painting shot, a frame of the scene to be matched is projected onto a white card. The lines of the composition to be extended into the painted area are sketched and meticulously checked by viewing di¬ rectly through the camera lens. The painting has to match the original scene precisely in perspective, color tone, density and the direction of the light source. At M-G-M the method has been im¬ proved so that matte paintings can he panned optically, producing the effect of actual camera movement within the scene, even though the camera was stationary when the shot was made. Original photography is done on 65mm film with the lens of the optical printer moved well within the frame so that there is room to pan or tilt. This added movement lends an illusion of realism to matte painted scenes, which was not possible to achieve in the past. Sometimes a third component, such as moving clouds or birds flying, is added to give a painted sky more real¬ ity. This was done in the extremely complicated opening harbor scene of “Mutiny on the Bounty” in which the camera moves from a combination of miniature and matte painted water and ships to a full-size set on the hacklot, in a long pan and tilt down. The birds, optically superimposed from a separate negative by means of the Rotoscope process, added an extra element of visual continuity to the scene. During his long tenure at M-G-M, A. Arnold Gillespie has worked with many of the top special effects camera¬ men in the industry, including ASC members Max Fabian, Harold Mar- zorati, Clarence Slifer, Harold Lip- stein, Mark Davis, and Harold Well¬ man, and Jack Smith and Walter Lun- din. “This sort of work is never a one- man job,” Gillespie said, “It involves many specialists in the prop shop and metal shop, as well as powder men and water men — all loyal, wonderful, cap¬ able craftsmen. Without their skill and very able assistance much of our work would never be possible.” College Student-made Films Honored Four motion pictures produced by students of the Department of Theater Arts at University of California at Los Angeles have been honored at eight different international him festi¬ vals this year. During the last ten years, over thirty student-made films have won awards. H %H0FPrint Vour Titles with only $495 W rite for brochure TEL-Animaprint HOT PRESS Prints Dry & S.O.S. PHOTO-CINE OPTICS, Inc. 602 West 52nd St., New York 19 — PLaza 7- 0440 Western Branch: 6331 Holly’d Blvd., Hollywood, Calif. II. C. HI. for MOTION PICTURE PRINTERS at UHLER CINE MACHINE CO. 15762 Wyoming Avenue, Detroit 38, Mich. Phone: UNiversity 1-4663 • Cable: UHLCIMA Automatic Daylight Processing DEVELOPING TANK • Processes up to 200 Ft. • 8mm-16mm-35mm-70mm • Movie — X-Roy — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated • Speedy drying • Automatic shrinkage allow¬ ance • Stainless steel and aluminum construction • Easily assembled without tools • Compact, Portable Guaranteed. Write for Free Literature Micro Record Corp. AMERICAN CINEMATOGRAPHER, APRIL, 1963 245 farms film company 424 LI PO CHUN BUILDING HONG KONG COMPLETE 16/MM & 35/MM PRODUCTION FACILITIES FILM ROLLERS Special plastic — Proven design — Inert to strong chemicals. Other sizes available. Also rollers with stainless steel ball bearings. Write for catalog. MtTAL MASTERS 5599 University Ave. San Diego 5, Calif. FOR THE ANSWERS . . . . . . to your photographic problems, refer with confidence to the new AMERICAN CINEMATOGRAPHER MANUAL Most comprehensive compilation of cinema¬ tographic data ever assembled between the covers of a single book. Contains more than 400 pages of concise, practical and informative data and charts invaluable to every cinematographer. There's something to help you on every page of this valuable fact-packed bookl Order your copy today! $7.50 . . . Post Paid AMERICAN CINEMATOGRAPHER MANUAL P.O. Box 2230. Hollywood 28, Calif. Please send me . copies of the AMERICAN CINEMATOGRAPHER MANUAL. Payment enclosed . . Please ship C.O.D.. _ _ Name . . . . . . Street & No . City . . . . Zone . . State . . . . . . . •For orders mailed within California, please add 4% sales tax. LOCATION FILMING Continued from Page 228 gaffers in the placement of lights. Exposure remains the most impor¬ tant item as far as photography is con¬ cerned. Sometimes exposure has to be determined as much by experience as by meter. And, if you’re ever in doubt, make two lakes using different ex¬ posures. Shoot the second take slightly on the dark side if there is a question, as most labs can make more satisfac¬ tory correction with under-exposed film than with film that is over-exposed. Condensed and reprinted from Vol. XX, No. 2 edition of The Aperture, workshop pub¬ lication for 16mm film makers issued by Calvin Productions, Inc., Kansas City, Mo. BEHIND THE CAMERAS Continued from Page 206 Jack MacKenzie, ASC, “Leave It to Beav¬ er”*. Walter Strence, ASC, “Wide Country”*. Clifford Stine, ASC, “The Brass Bottle” ( Randall-Greshler Prod.; Eastman Color) with Tony Randall and Burl Ives. Harry Keller, director. Russell Metty, ASC, “Captain Newman, M.D.” with Gregory Peck and Tony Curtis. David Miller, director. Fred Mandl, ASC, “Going My Way”*. WARNER BROS. Harold Lipstein, ASC, “Palm Springs Weekend” (Technicolor) with Troy Donahue and Connie Stevens. Norman Taurog, di¬ rector. Ray Fernstrom, ASC, “Hawaiian Eye”*. Harold Stine, ASC, Burt Glennon, “The Dakota’s”*. Burt Glennon, “Temple Houston”* (pilot). Harry Stradling, “Mary, Mary” (Mervyn LeRoy Prod., Technicolor) with Debbie Rey¬ nolds and Barry Nelson. Mervyn LeRoy, di¬ rector. Carl Guthrie, ASC, “True”*. Robert Hoffman, “77 Sunset Strip”*. ZIV-UNITED ARTISTS Monroe Askins, Curt Fetters, “Ripcord”*. INDUSTRY NEWS Continued from Page 196 Workshop-Seminar, scheduled for the week of October 7th through 11th, 1963, in New York. The list includes: Stephen Kambourian of Robert H. Klaeger Associates; Tak Kako and Frank McGovern of WABC-TV (Film Dept.) ; Robert Yung and Len Ap- pelson of Elektra Film roductions; Irving Oshman of Vision Associates; Fred De Croce and Edwin Picker of Titra Sound Corporation; Anthony Termini and Bill Henry of Terminal Film Editorial Service; Arthur Leigh and Stanley Buetans of Cinema Scores; Jerry Forman of Allegro Film Productions; Marcel Broekman of Pro¬ fessional Film Services; Hoyt Griffith of Visualscope; Paul Falkenberg of Paul Falkenberg Films; Ken Grubel of Grumman Aviation and Mai Wittman. Spcial guest speakers will include Maurice Levy of Eastern Effects; John Kowalak of Movielab; Calvin M. Hotchkiss of Eastman Kodak; Irving Sheib of Q.Q. Motion Picture Titles; Arnold Eagle of Arnold Eagle Produc¬ tions and the New School of Social Research; and Jack Glenn of Jack Glenn, Inc. and the Institute of Film Techniques at C.C.N.Y. QUESTIONS & ANSWERS Continued from Page 208 printing track is recommended for quantity order economy, consistent quality, faster delivery, and accurate reproduction of the producer’s mixed sound. Q.— — / am told that the 200mm, 280mm and 400mm Leica camera lenses can also be mounted on the Bo- lex H16 camera with the aid of a Leica adapter ring and tube. However, / re¬ call reading somewhere that only lenses specifically designed for 16mm cameras should be used with them. In your opin¬ ion will use of 35mm still camera lenses on the Bolex H16 affect results in any way? — T. A. S., Green Bay, Wise. A.— Leica lenses in a thread mount can be used on 16mm C-mount cam¬ eras such as the Bolex H16 by means of the Leica adapter made by Paillard, Inc. Leica lenses used on your camera should provide completely satisfactory results, especially since only the cen¬ ter portion of the field is used. The viewfinder on the camera should be set for the focal length of the Leica lens used. The focusing ring on the lens should be set for the subject-to- camera distance and the diaphragm then set in the normal manner accord¬ ing to your exposure meter reading. 246 AMERICAN CINEMATOGRAPHER, APRIL, 1963 U Y 9 SELL, SWA Largest, Most Productive Classified Ad Section Of Any Publication Serving Makers Of Motion Pictures STUDIO & PRODUCTION EQUIP. BELL & HOWELL Model "J" 16mm printer with 300-watt high intensity lamp house, roller gate, shoe gate, adapted for air, includ'es new power supply . . . $2,645.00. Cine Special II with two 100' film chambers, four Ektar lenses, case, all like new . . . $995.00. 35mm Western Cine Automatic Splicers, new, with 1-year guarantees, list $220.50, now . . . $129.50. 210MM "C" mount Kinoptik F/2.8 lens, new, lists for $400.00, special $199.00. Magnasync Model 602, list $1,- 725.00, excellent condition . . . $995.00. Magnasync X-400 with footage counter, lists for $1,242.00, excellent condition $645.00. TSI-DU-5 sound projector, like new . . . $210.00. Harwald Moviemite sound pro¬ jector . . . $127.00. Auricon Cine Voice W/400' Parrish conversion, case, amplifier, 1 " lens, excellent . . . $740.00. Bell & Howell 17 to 70mm Angenieux zoom lens, demon¬ strator w/case . . . $245.00. WESTERN CINE SERVICE, INC., 312 So. Pearl, Denver 9, Colorado. TERMINATING complete 16mm & 35mm sound production facilities. Write your needs. CAM- ART TV/MP CAMERA DOLLY, new, cost $2,000.00, special $975.00. MAGNASYNC 16mm DUBBER edge and center track, $725.00. Moviola 35mm model 20 (picture only), $295.00. Maurer 16mm camera. ECLAIR (CAMERAFLEX) CAMERETTE 16/35mm complete with sound blimp, cost over $10,000.00, bar¬ gain. Arriflex 35mm. Ampro 600, $295.00. Many other items too numerous to mention. Write UNIVERSITY SUPPLIERS, 225 West Ohio Street, Chicago, Illinois. (312) 4 67-6458. 5 KW M-R SOLARSPOT heads $55.00; 2 KW M-R heads, $40.00; 750 BM Keglights with stands, $47.50; 750 single broads with stands, $40.00; Colortran Sr kit, $100.00; 110 volt door mounted sync motor for Mitchell stand¬ ard, $325.00; Kinevox automatic slater, $450.00; Mitchell 35mm 400' magazines, $60.00; Bodde 4x5 background slide pro¬ jector, $600.00; Bodde 9x12 background screen, $100.00. J. BURGI CONTNER, ASC, Blue Seal Sound Devices, P. O. Box 472, New Canaan, Conn. REAL BUYS from one of the leading mail order camera stores for over 20 years! New Graflex Galaxy deluxe sound projector, 16mm model, $375.00. Used Cine Kodak Special 1 00 -ft. magazine, $100.00. Used Cine Kodak Special 200-ft. magazine, $200.00. Used Rebikoff colormeter, $20.00. WESTENS, 800 State Street, Santa Barbara, California. MOVIOLA model LP (green model) has one optical head on picture side, plus one optical and one 1 6mm magnetic head. Also has pro¬ vision for additional head. Complete with foot controls, amplifier, footage counter, etc. Every¬ thing in excellent working order. Best offer. RODEL PRODUCTIONS, INC., 1028 33rd St. NW, Washington 7, D.C. LEICA M3 with 35mm, 50mm, 90mm, 135mm lenses, wide angle finder, sunshades, filters, Leica exposure meter and other accessories. Over $800 value for only $425. In mint con¬ dition, equal to new. Write for details. Box 1463, AMERICAN CINEMATOGRAPHER. STUDIO & PRODUCTION EQUIP. LIGHTING equipment for sale: 1 Creco 5KW, 1 Kleigl #44nl6 5 KW, 13 Kleigl #44n8 2 KW, 3 misc. 2 KW, 1 Kliegal 2 KW cone and 2 misc 750 spots. Most lights have stands and doors. Lights will be sold for best offer. RODEL PRODUCTIONS INC., 1028 33rd St. NW, Washington, D.C. 1 25MM (5 inch) f/2 Schneider Xenon lens, coated, T-stopped, in Arriflex mount, equal to new for only $275.00. 25MM (1 inch) f/2. 3 Bausch & Lomb Baltar lens, coated, in Mitchell mount, equal to new for only $165.00. Torque motor for Arri 16 magazines only $125.00. Box 1456, AMERICAN CINEMATOGRAPHER. 1 6MM NIKOR film processing reel complete with loader and tanks, $145.00. Ling closed- circuit TV camera and Miratel 17" monitor, demonstrator. Originally $700.00, special $395.00. RONALD H. PLANT PRODUCTIONS, Box 748, Redlands, Calif. AURICON Cinevoice converted to 400', Mitchell 400' mags., take-up motor, 3-lens turret, one 25mm and one 1 00mm lens, amplifier, mike, headphones, zoom door. Recently reconditioned. Everything for $1100.00. RONALD MERK, 224 Baton Hall, Univ. of Miami, Coral Gables, Fla. SUPERB 1 6mm lenses. 25mm Bausch & Lomb Animar in Mitchell 16mm follow-focus mount, $150.00. “T” stopped 17V^mm Bausch & Lomb Baltar in NCE focusing "C" mount, $95.00. MICHAEL RAYHACK, 10 Overlook Ave., Little Falls, New Jersey. 16MM production camera in excellent con¬ dition. Maurer Model 05 complete; viewfinder, sync motor, two 400' mags., new matte box, case, $1275.00. IRVING DEUTCH, 18-50 211 St., Bayside 60, N.Y. AURICON CV 400', B&H magazine, sync motor, turret, Auricon variable area galvo and am¬ plifier, mike; in single case. All like new, $1345.00. REISINGER, 1417 Kalmia Rd„ Wash¬ ington 1 , D. C. WALL CAMERA, 4 lenses and accessories. CINE- FLEX with Cameraflex movement, $300.00. MR. SCHALLERT (evenings) 664-8940 or 664- 4191. PROJECTOR, 16mm, Magnetic-optical, B&H 202. Separate 12" speaker. Just like new, $465.00. 1417 Kalmia Rd., Washington 12, D.C. TWO 35MM SIMPLEX rear shutter mechanisms with magazines and pedestals, $95.00 each. All for $175.00. RALPH BOICE, Warsaw, Ind. CINE VOICE II VA, turret, 3 lenses, zoom door, two 400' B&H mags., all A-l, $950.00. FORBES, 1426 "M" Street, Washington, D. C. VARIO-SWITAR 18-86 zoom lens, C mount, new, $345.00. Cash. ANTON J. CINDEL, 225 Naples Terr., New York 63, N.Y. BARGAINS processors, lenses (16 & 35), cam¬ eras, etc. Write for list. PROFESSIONAL CINE PRODUCTS, 2222 N. Prairie, Dallas, Texas. LOW COST ADVERTISING is available in the Classified Advertising columns of American Cin¬ ematographer. All it costs is 20C per word. Sell, swap, buyl EQUIPMENT WANTED INSTANT CASH HIGHEST PRICES PAID for your used 16mm and 35mm professional equipment of any kind URGENTLY NEED ARRIS, AURICONS, MITCHELLS, Zoom lenses; lab, editing lighting & recording equipment for our Rental Program CONSIGNMENTS WELCOME NEW — USED RENT, BUY TRADE, REPAIR HOLLYWOOD CAMERA COMPANY 6838 SUNSET BLVD., HOLLYWOOD 28 CALIF. TOP CASH Dollar Paid For: Good used 35mm Arriflex camera, 400 ft. magazines, 35mm zoom lens for Arriflex, 35mm viewer (Ceco, Ediola, etc.) with picture area at least 4x6, Movicrla, 35mm Arrifiex constant speed and synch motors, Houston or Raby Dolly, Nagra Sound Unit, reflectors with stands, generator truck, Klieg or Mole-Richardson lights and any other equipment for use by rapidly expanding production company. R. MENARD, 714 Howard Avenue, New Orleans, Louisiana. Telephone: 525-7056. TRY F&B LAST FOR THE HIGHEST QUOTE ON USED MOVIE EQUIPMENT FLORMAN & BABB 68 W. 45lh ST., N. Y. 36, N. Y. WHY SACRIFICE your production and struggle with old or used equipment when we can trade for cash or new equipment? Let us know what you have and what you need. THE CAMERA MART, INC. 1845 Broadway PL 7-6977 New York 23, N.Y. WANTED to buy all types of projection bulbs, spotlight bulbs. ADVANCED SPOTLIGHT SERV¬ ICE, Box 206, Passaic, N.J. SERVICES AVAILABLE CAMERAMAN — EDITOR Heavy experience doc¬ umenting missile research and development. Presently engaged in business and industrial film production. Desire challenging position with vigorous film organization, either com¬ mercial or in-plant. Complete resume available. Box 1462, AMERICAN CINEMATOGRAPHER. CAMERAMAN-PRODUCER Cameraman-producer, 16mm industrial films, wants free-lance assignments to fill famine gaps of feast or famine business. This man has 20 years experience with films for blue chip corporations. ROBERT FISHER, Grosse lie, Mich¬ igan. JAPANESE English speaking director-cinematog¬ rapher for features, TV, etc. HARRY MIMURA, 2-1303 Setagaya, Tokyo, Japan. Credits: "Around the World in 80 Days" (Far East locations), American TV films (See American Cinematographer, March, 1961). Continued on Next Page RATES: Ads sot in lightface typo, 20 X M £ O — x r~ oi — r~ o ~ I -< 4^ ^ ^ I O — f -5 O ° J> A O T — O x 0£>r*s Ln O' if) O I 2 — 00—1 *» l» r* 2 - c -n o International Journal of Motion Picture Photography and Production Techniques 'Pocket-size' Camera Dolly ALSO IN THIS ISSUE Photographing “The Balcony” • Some Aspects OF Shooting Films For TV How The Producers Service House Aids Film Makers W.J. GERMAN, INC. AGENT FOR THE SALE AND DISTRIBUTION OF EASTMAN Professional Films FORT LEE, New Jersey LONGACRE 5-5978 HOLLYWOOD 6677 SANTA MONICA BLVD. HOLLYWOOD 4-6131 CHICAGO 6040 N. PULASKI ROAD IRVING 8-4064 In this day of speed and deadlines the importance and real values of quality materials is increasingly vital to success. To engage in a competitive venture with less than the best that is available to you is giving your competitor an advantage to which he is not entitled. Insist that from camera to screen you have every advantage that quality raw stock can provide . . . specify Eastman Professional Motion Picture Films. For true economy and a maximum of satisfaction for you and your client rely on Eastman Films, supported by the most experienced service and research staffs in the industry today. ARRIFLEX at work — one Col. John Glenn enters space capsule “Friendship 7” At Cape Canaveral, as across the world, Arriflex re- to prepare for epic flight. cords operations of Glenn’s launch crew. OF A SERIES* “Capsule activity” on world map in Mercury Control filmed by Arriflex on crane. Arriflex assigned to tracking station at Kano, Nigeria Arriflex readied to photograph Glenn's arrival aboard takes background footage. Aircraft Carrier Randolph. Home safe! “Friendship 7” is recovered from Atlantic and hoisted aboard. Arriflex is proud to have contributed to the official recording of Col. John Glenn's epic spaceflight in Friendship 7. Strategic placement of 12 Arriflex 16mm cameras, with a battery of lenses, helped co-ordinate tracking and filming of the event in Cape Canaveral, Bermuda, Nigeria, Australia, Hawaii, Mexico, California, Texas and aboard the Aircraft Carrier Randolph in the Atlantic. “From Missiles to Microbes” Arriflex 16mm and 35mm motion picture cameras are sharing in today’s most sophisticated ventures into the frontiers of science and industry. In research and Orhitpll flight development, in the studio or on loca- Ul UllCil I llgl IL tion /\rrjfiex motion picture cameras do the job better, faster and more economically. ARRIFLEX- records history in filming “FRIENDSHIP 7’s" (BASED ON DATA AND PHOTOS SUPPLIED BY GENERAL DYNAMICS/ASTRONAUTICS) From the microscope to the missile range... from spot locations to sound stages ... Arriflex professional motion picture cameras are the dominant choice of filmmakers in science, industry, and entertainment. They’re lightweight, rugged, tremendously versa¬ tile — uniquely suited to a range of applications virtually without limits. Here are some of the features that give Arriflex cameras their remarkable capabilities: • MIRROR-SHUTTER REFLEX VIEWFINDER • REGISTRATION- PIN FILM MOVEMENT • 21 “-DIVERGENCE 3-LENS TURRET • CONTOUR HAND GRIP • FRAMES-PER-SECOND TACHOMETER • COMPLETE ACCESSORY SYSTEM . . . lenses, standard and special-purpose electric drives, power supplies, time-lapse equip¬ ment, film magazines, sound blimps, tripods. WRITE FOR NEW CATALOG. *YOU ARE INVITED to send us a description of your special use of Arriflex equipment. 257 PARK AVENUE SOUTH, NEW YORK 10, N. AMERICAN CINEMATOGRAPHER, MAY, 1963 253 acclaimed I AMERICAN Cinematographer INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES MAY, 1963 Vol. 44, No. 5 FEATURES “The Balcony’’ — Cinematic Illusion Without Confusion 274 The Producers Service House — Aid to Film Makers . 276 Some Aspects of Photographing Films For Television ... 278 Designed For Shootin’ From The Shoulder . 284 ‘Pocket-Size’ Camera Dolly . 286 Shooting “International Showtime’’ In 16mm Color . 288 A Matte Box For Producing Effects In 16mm . 290 Introduced a short time ago, the Gossen LUNASIX Electronic has been acclaimed around the world! No other exposure meter so effectively measures the ex¬ tremes of light— from brilliant sun to the threshold of complete darkness, with con¬ sistent accuracy. Try the Gossen LUNASIX Electronic yourself— for an adventure into new photographic horizons! HERE’S WHY THE LUNASIX HAS WON PRAISES FROM STILL AND MOVIE PHOTOGRAPHERS EVERYWHERE! Measures reflected and incident light with built-in hemispheric diffuser • 30° light acceptance angle • Two-button brightness range system • Automatic needle lock • Built-in battery tester • External zero adjustment • Smooth one-hand operation • Com¬ puter range: ASA 6/1° to 12,000/12°; f/1 to f/90; 1/4, 000th sec. to 8 hours; Cine: 8 to 128 frames per sec.; EV — 9 to EV+22; .014 to 14,000 foot-candles • Weight 7 ounces. Another famous GOSSEN meter rvi® CVv/#v>,»y,^INSTANTLY Shows iJ^v/-^C-c//X7c7color temperature of color temperature meter and filter indicator light source (in de¬ grees Kelvin) and filter required for correct 'color balance . . . with ANY type of color film. Calibrated in “deca- mired” filter scale adapted by leading camera and filter man¬ ufacturers. Complete with leather ever- ready case and gold- metal chain. See the entire Gossen line at franchised photo dealers KI.I9ra PHOTO CORPORATION 257 PARK AVENUE SOUTH, NEW YORK 10, N. Y. DEPARTMENTS Industry News . 256 Hollywood Bulletin Board — Mohr Elected ASC Prexy ... 262 Behind The Cameras . 264 Technical Questions & Answers . 268 What’s New In Equipment, Accessories, Services . 270 ON THE COVER LINING UP A TRICKY low-angle moving camera shot of Danny Kaye for Columbia Pictures' “The Mon From The Diners' Club." Directing the photography is Hal Mohr, ASC, standing in back of camera and playing beam of fill light on Kaye from Sun Gun mounted on car hood. The Mitchell camera is mounted low to take in both Kaye and background as car moves down street. Crouching behind camera is Director Frank Tashlin. — Photo by Van Pelt. ARTHUR E. GAVIN, Editor MARION HUTCHINS, Editorial Assistant OFFICES — Editorial and Business: 1782 No. Orange Drive, Hollywood 28, Calif. Telephone HOIlywood 7-2135. EASTERN ADVERTISING REPRESENTATIVE: Paul Gilbert, 489 Fifth Avenue, New York 17, N.Y. Telephone AX 7-5641. iiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiimiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiii AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Holding Corp., 1782 N. Orange Dr., Hollywood 28, Calif. SUBSCRIPTIONS: United States and Canada, $5.00 per year; Foreign, including Pan-American Union, $6.00 per year. (Remit by International Money Order or other exchange payable in the U.S.) Single copies 50 cents; back numbers 60 cents; foreign single copies, 60 cents,- back numbers, 70 cents. Advertising rates on application. Copyright 1963 by A. S. C. Holding Corp. Second-class postage paid at Los Angeles, California. 254 AMERICAN CINEMATOGRAPHER, MAY, 1963 IN THE EAST... IT'S MOVIELAB FOR COLOR AND BLACK & WHITE DEVELOPING COLOR NEGATIVES . ADDITIVE COLOR PRINTING • REDUCTION PRINTING INCLUDING A & B • COLOR SLIDE FILM PROCESSING . BLOWUPS • INTERNEGATIVES . KODACHROME SCENE-TO-SCENE COLOR BALANCED PRINTING • EKTACHROME DEVELOPING AND PRINTING • REGISTRATION PRINTING • PLUS COMPLETE BLACK AND WHITE FACILITIES INCLUDING CUTTING ROOMS, FILM AND TAPE VAULTS AND THE FINEST SCREENING FACILITIES IN THE EAST MOVIELAB BUILDING, 619 WEST 54TH ST. NEW YORK 19, NEW YORK . JUdson 6 0360 LOWEL-LIGHT LOCATION KIT Everything in one compact case, 4V2"x27V2"x 6V2'': six Lowel-Lights, six Lowel barndoors, 2 9-ft. 5-section PIC stands, 3 25-ft. extension cables, 2 25-amp. fuses, 12-yd. roll gaffer tape. Complete . $124.50 Lowel-Lights, model K5, five Lowel-Light, with gaffer tape and case $ 34.50 Gaffer tape, 12-yard roll ... $ 1.95 Gaffer tape, 30-yard roll . $ 3.95 Lowel Barndoors . $ 5.75 3 NEW CAMERA MART ACCESSORIES new GTC-59 LENS CLEANER & PROTECTOR • Anti-Fog • Anti-Static Ideal for lenses, cameras, condensors, reflectors, optical equipment, etc. v 7 6 oz. can with Spray Applicator $1.65 each Case of 12 J $1 .00 each LIQUID INSULATING TAPE lust Brush it on Those Hard-To-Tape Places Designed for use in electrical in¬ stallations, maintenance and re¬ pair. Prevents shorts, shocks. 2 oz. Bottle $1.65 each Case of 12/$1.00 each Restores, Quiets, Lubricates cl w/acf Completely safe for sound pro¬ jectors, amplifiers, studio rec¬ ording equipment and editing equipment. Non-inflammable. Used for all gummy parts — instantly cleans and deposits a hard bonded dry lubricant. 2 oz. Bottle $1.00 each Case of 12/75c each Write for complete literature. All Prices F.O.B. N. Y. thCttMEQtt mR7b 1845 BROADWAY (at 60th St.) NEW YORK 23, N Y. Plaza 7-6977 INDUSTRY NEWS News briefs of industry activities, products and progress Cinerama Has Competitor in British D-l 50 System A new ultra-widescreen process, Di¬ mension 150, said to be comparable to the dimensions of the original Cinerama is scheduled to be unveiled for the public sometime in 1964. Initial presentation will be a feature to be made in England by John Halas and Lothar Wolfe under the supervision of Louis de Rochemont. Dimension 150 is first new process to offer competition to Cinerama since the short-lived Cinemiracle process faded from scene a few years ago. It uses a single, specially-printed 70mm film for exhibition and in this respect further competes with the new Cin¬ erama process which employs new single-film projection print and will debut in Hollywood in November with the presentation of Stanley Kramer’s “Mad, Mad, Mad, Mad World.” It is not known if the D-150 process is compatible, projection-wise, with Cin¬ erama. With D-150, picture is photographed on regular 70mm negative, same as new Cinerama Process, with the cam¬ era fitted with special lenses having an arc of view range of 50 degrees to 150 degrees. Widest arc achieved with the original 3-panel Cinerama cameras was 146 degrees. Advantage of using single 70mm negative in both the Cinerama and D-150 processes is the resultant elimi¬ nation of lines of demarcation between the three picture panels on the screen, also ability to print down releases to conventional 35mm, where desired. • William Mellor, Veteran Cinematographer, Dies William C. Mellor, ASC, who last month was compelled because of illness to withdraw as director of photography on “The Greatest Story Ever Told,” George Stevens production, died April 30 while hospitalized following recent surgery. A two-time Acadamey Award win¬ ner for photographic achievement (“A Place In The Sun,” 1951 and “Diary Of Anne Frank,” 1959) Mellor was for many years under contract to 20th Century-Fox studios. He was acknowl¬ edged one of Hollywood’s most skillful and versatile mas¬ ters of the camera. At Paramount Studios, where he began his career in the late twenties as a helper in the film laboratory, Mellor advanced rapidly to a full- fledged director of photography and proved his versa¬ tilityshooting everything from westerns to comedies, to Bing Crosby & Bob Hope musicals. He probably photo¬ graphed more productions starring Paramount’s then pet glamour-girl, Dorothy Lamour, than any other cam¬ eraman. He had been a member of the American Society of Cinematographers since 1933 and was a member of an exclusive group in that organization who had received Gold 25-year Mem¬ bership cards. His sister, Mrs. Dorothy M. Bunker of Los Angeles survives. • New ASC Members Recently elected to membership in the American Society of Cinematogra¬ phers were Walter Beyer, Associate, and Robert Hauser, Active. Beyer heads the ASC’s Research and Educa¬ tional Committee as Chairman. Hauser has directed the photography of such TV film series as “Combat,” “Desilu Playhouse,” “Bus Stop,” and “Yancy Derringer.” • Joseph A. Tanney, Founder of S.O.S., Honored A testimonial luncheon honoring Joe Tanney, founder of S.O.S. Photo-Cine- Optics, Inc., New York, was given the industry leader April 23 in Atlantic City, N. J., during gathering of S.M.P.T.E. conventioneers there. Host was Alan C. Macauley, who succeeds Tanney as President of the company. Tanney, one-time newspaper re¬ porter, manager of an automotive sup¬ ply house, and technician with the old Metropolitan Studio in Ft. Lee. launch¬ ed the business that ultimately was to become known as “S.O.S. ”, in 1926. Continued on Page 258 William C. Mellor 256 AMERICAN CINEMATOGRAPHER, MAY, 1963 THE SECOND MOST IMPORTANT TIME IN THE We all know the most important time — when the word is “Action!” and your motion picture equipment must perform flawlessly. There's a “Second most important time.'' And that, strangely enough, is when nobody is using the equipment. This is the time — every time — between users, that every variety of CECO rental equipment is subjected to prescribed, rigorous inspection, of a unique kind that only the world’s largest repair/service department is equipped to provide . . . In Depth Service that means equipment you can rely on wherever in the world your filming takes you. One of the reasons more professionals rent from CECO than all other sources combined. Rent with confidence . . . Rent from CECO. Select from the largest variety of equipment available anywhere in the world ... at the lowest possible cost. ■ CAMERAS: 16mm & 35mm — Sound (Single or Double System) — Silent — Hi-Speed — Instrumentation ■ LIGHTING: Arcs — Incandescents — Spots — Floods — Dimmers — Reflectors All Lighting Accessories ■ GENERATORS: Portable — Truck Mounted ■ SOUND EQUIPMENT: Magnetic — Optical — Mikes — Booms ■ GRIP EQUIPMENT: Parallels — Goboes — Other Grip Accessories ■ CRANES, DOLLIES: Chapman — Crab — Portable ■ LENSES: Wide angle — Zoom — Telephoto — Anamorphic ■ EDITING EQUIPMENT: Moviolas — Viewers — Splicers — Rewinders ■ PROJECTION EQUIPMENT: 16mm & 35mm — Sound & Silent — Slide — Continuous m TELEVISION: Closed Circuit TV ■ CAMERA CARS WHERE THE PROS GO... CAMERA EQUIPMENT CO., INC. FIRST IN SALES, SERVICE, RENTALS AND REPAIRS A SUBSIDIARY OF CECO INDUSTRIES, INC. NEW YORK, H.Y. HIALEAH, FLORIDA HOLLYWOOD, CALIFORNIA 315 West 43rd St. • JU 6-1420 51 East 10th Ave. • TU 8-4604 6510 Santa Monica Blvd. . HO 9-8321 I - ( CAMERA EQUIPMENT CO., INC. | 315 W. 43rd Street, New York 36, N. Y. I Gentlemen: Please rush me your FREE complete cata- | logue of Rental Equipment. I | Name _ I Firm _ | Street _ I City _ Zone - State _ I - 1 AMERICAN CINEMATOGRAPHER, MAY, 1963 257 CAMART DUAL SOUND EDITOR MODEL SB1 1 1 Edit single and double system 16mm or 35mm op¬ tical sound. Edit single system magnastripe or double system magnetic sound. Use with any 16mm motion picture viewer to obtain perfect lip-sinc matching of picture to track. Works from left to right or right to left. Dual Editor (without viewer) Optical model . - . Zeiss Moviscop Viewer . . . 96.00 Special Editor-Viewer Comb. . 269.5C '$195.00 CAMART CORE DISPENSER Keeps film cores handy at all times. Attaches eas¬ ily to work table or wall. Easy to remove, easy to fill. All aluminum con¬ struction. Sixes: Length 16" - $10.00 Length 24" . 12.00 Length 36", . 16.00 Aluminum Dispenser for Plastic Reels so' . 16.50 ioo' . 1 8.50 FOR MOVIOLAS CAMART TV MATTES • View the correct TV frame size • Eliminates guess work • Precision cut . . . fitted from durable heavy gauge plastic Moviola New Type Large Conversion 4x5 Picture Head for 16mm and 35mm Moviola New Standard “tilt-type” 3x4 Picture Head for 16mm and 35mm Moviola 16mm Picture Head, 23/4x3'/j ALL SIZES $5.95 INDUSTRY NEWS Continued from Page 256 In the mid-thirties, a merger with In¬ ternational Theatre Accessories Corp. saw the business well on its way to success and by the end of World War II it had become important as a major supplier of motion picture production equipment. In the mid-fifties, progress of the company under Tanney's guidance led to company opening a western office in Hollywood with Alan Macauley as manager. Eight years later, an ex¬ pansion move culminated in changing the company name to S.O.S. Photo- Cine-Optics, Inc., Tanney’s retirement as president, and Macauley’s elevation to head of the company. ITALIAN FILM technicians see demonstration of ColorTran lighting equipment in Rome. Mole-Richardson Sponsors Italian Industry Meeting The opening technical meeting for the 1963 season for the A.T.I.C. (Asso- ciazione Technica Italiana Cinema- tografica) was held in Rome last month, sponsored by the Mole-Richard- son (Italia) organization. The meeting was attended by more than 180 members of the motion pic¬ ture and television industries of Italy. Highlight of the meeting was an address by Mr. Gordon Cook, of Rank- Taylor-Hobson, London, who spoke on “Recent Advances in Cine Optics." Following the meeting, various types of film production equipment repre¬ sented by Mole-Richardson were dem¬ onstrated. In the photo above Mr. Ing. Cok, on the right, of Mole-Richardson, is shown demonstrating the new Color¬ Tran Quartz-King “Dual” light to cameramen and technican members of the A.T.I.C. 9 General Film Labs Marks Tenth Anniversary The president of General Film Lab¬ oratories, William E. Gephart, Jr., commemorated his firm’s 10th birth¬ day last month with the shortest speech on record for such an occasion. “We are surprised to be so big so soon.’’ he said, simply. A division of Pacific Industries, Inc. since 1956, General is one of the major Hollywood processors of professional motion-picture film, with a yearly total of approximately 140 million feet of color and black-and-white film, includ¬ ing theatrical feature films, television programs and commercials, and indus¬ trial, educational, and government films. During its ten-year span, the com¬ pany reports, it has introduced to the industry the first automated control of printing processes, and the first com¬ puterized production-control system. Other novelties include development of high-speed processing for “hot” kines, which was the backbone of the com¬ pany’s business in its early years, and the pioneering and perfecting of the 35/32 method of producing 16mm neg¬ atives and prints. FILM EFFEC7 Production Brass View Effects For “Mad-World” Arthur Krim. President, and a con¬ tingent of other United Artists top brass, held final production conferences at Film Effects of Hollywood, where photographic special effects for Stan¬ ley Kramer’s “Mad, Mad, Mad, Mad World” are being completed. Linwood G. Dunn, ASC, President of Film Effects, demonstrated how miniatures, mattes, optical effects and animation are being used in the Kramer block¬ buster. Seen in above photo, taken in front of the Filin Effects of Hollywood Studio are: (l.-r.) Earl Kramer, A1 Horwitz, Dunn, Stanley Kramer, George Schaeffer, Meyer Beck, Robert S. Benjamin (Chairman of the Board. United Artists), Krim, Arnold Picker (Executive Vice President, United Artists), James R. Velde (Vice Presi¬ dent in Charge of Sales, United Art¬ ists), Robert F. Blumofe (Vice Presi¬ dent, United Artists West Coast office), David Picker (United Artists Vice President), and Eric Pleskow, (Vice President in Charge of Foreign Dis¬ tribution) . Continued on Page 310 258 AMERICAN CINEMATOGRAPHER, MAY, 1963 mera service center me. MM MM TEN TO ONE Aperture: f:3.2 / maximum focus range: one foot to infinity / fixed image plane at all focal lengths / zoom range: 25mm to 250mm without image-shift / weight: 5 pounds, 2 ounces / immediate availability. Lens can be mounted on all 35mm and 16mm cameras. Write for information on lens supports , correlators and motorized zoom and focus units. camera service center, inc. sales affiliate • CAMERA SALES CENTER CORPORATION 333 WEST 52nd STREET • NEW YORK 19, N.Y. • PL 7-0906 AMERICAN CINEMATOGRAPHER, MAY, 1963 259 Photolight Head— 7" deep (front to back, including bracket). 6'/z" wide, 5" high. Weight 3'/2 pounds. Now it’s all head. ..no handle... easier to mount with a new universal post clamp. THIS IS THE NEW SUN GUN PHOTO LIGHT that professional photographers have been asking for. It’s a complete, portable, studio lighting system... exceptionally versatile ...and lower in cost than you would ever imagine. Now the redesigned SUN GUN Photo Light has a spe¬ cial bracket on the back of the head for easy mounting on poles or light stands anywhere. Full mounting flexibil¬ ity allows universal positioning. This unit has unusually powerful light output for a 1000-watt lamp. The new SUN GUN Photo Light is also equipped with dual leaf rotating and locking barn doors, that turn a full 360°. It’s lightweight, too. Weighs only 3% pounds. And that’s not all. There is a wide range of standard and optional accessories that gives the SUN GUN Photo Light virtually the flexibility of a complete lighting system. Lets you spread, spot, diffuse, etc. The standard dual- purpose flood lens, for instance, affords you a range of beam spreads up to 110° . THE NEW SYLVAC CONTROL tells you exact voltage across the lamp, and allows you to dial the precise color tempera¬ ture you require. For black and white work, this same unit gives you quick, easy, finger-tip control of light intensity and lighting ratios. And the SYLVAC Control also lets you control the SUN GUN Photo Light from any posi¬ tion in the shooting area, with suitable extension cord. A product of Sylvania research in solid-state electron¬ ics, the SYLVAC unit is compact, lightweight and rug- I GUN Professional Photo Light! SYLVAC Control -7" long, 6 %' wide, 3Vi" high. Weight 4 pounds Now it comes complete with a new transistorized SYLVAC ™’ Control that lets you dial exact color temperature. gedly built to stand hard use. SYLVAC comes in two models: the SV-9 for one photo light; the SV-20 for two photo lights. This new combination of SUN GUN Photo Light, SYLVAC Control and accessories gives you an inte¬ grated lighting system that is so compact, so lightweight ...you can easily carry it around in a suitcase. SYLVANIA SUBS/D/Anv' OF= GENERAL TELEPHONE & ELECTRONICS Find out more about this remarkably portable, remarkably powerful studio lighting system. Mail coupon today for com¬ plete technical details or a free demonstration. Sylvania SUN GUN® Products Sylvania Electric Products Inc. 730 Third Avenue, New York 17, N. Y. I I Please send me free technical information on the new SUN GUN Photo Light and SYLVAC Control Unit. | | I would like a free demonstration. Name _ Address. City _ .Zone, State. MOST RELIABLE GUIDE! HOLLYWOOD BULLETIN BOARD ASC ELECTS HAL MOHR PRESIDENT . if you shoot motion pictures TV or Theatres Industry Education Government Research, Etc. There’s something to help you on every page of this fact-packed book ! Never before a helpful book like thisl Gives detailed answers to hundreds of problems and questions related to theatrical, TV, industrial, military, educational and documentary film pro duction Informational text covers data never before published on panning speeds, optical effects, ultra light-speed photography, underwater cir.ema- togrcphy, background plates, process shots, trav¬ eling mattes, day-for-night photography, color temperature, etc. Charts, tables and diagrams give instant an¬ swers to problems relating to lens angles, filter factors, shutter openings, camera speeds, exposure, lighting, aspect ratios, etc Order your copy today! $7.50 . . . Post Paid AMERICAN CINEMATOGRAPHER MANUAL P.O Box 2230, Hollywood 28, Calif. Please send me . copies of the Americcn CINEMATOGRAPHER MANUAL. Paymt. enclosed. Ship C.O.D . Name. ... . Street & No . . . Z 003 . State . . *For orders moiled within California, please add 4% sales tax. Called A Second Time To Head Cinematographers’ Society ASC PRESIDENT-ELECT Hal Mohr (seated, center) surrounded by newly elected officers of the Society. Top row, from left, are Robert de Grasse, 3rd Vice-president; Charles G. Clarke, Secretary; Arthur Miller, Treasurer; and Joseph Biroc, Sergeant-At-Arms. Seated at Mohr’s right is Burnett Guffey, 1st Vice-president, and on his left, George Folsey, 2nd Vice-president. Hal Mohr, a former President of the American Society of Cinematographers, last month was named to again head the cameramen’s society following an¬ nual election of the Society’s Board of Directors. Mohr, one of Hollywood’s veteran top flight directors of photogra¬ phy. previously served as President of the ASC in 1930 and 1931. Mohr, who joined the Society in 1927, has served almost continuously since on its Board of Directors and often as a Vice president. Mohr has won two Academy Awards for photographic achievement. ‘‘Mid¬ summer Night’s Dream.” (1935) and “Phantom Of The Opera” (1943 ), and an Academy Award Nomination for “The Four Poster” (1952). His most recent feature assignment was photo¬ graphing “The Man From The Diners' Club’ for Columbia Pictures, which stars Danny Kaye. (See cover photo). Between feature film assignments, Mohr has photographed various TV films and TV commercials. Over the years, Hal Mohr has con¬ tributed considerably toward strength¬ ening the prestige and dignity of the film industry’s directors of photogra¬ phy. A pioneer member of the Academy of Motion Picture Arts and Sciences, which he joined the same year it was founded in 1927, he has served on the Academy’s Board of Directors and as a representative of the Academy’s Cinematographers" Branch for almost 18 of the 36 years he has been a member. Mohr is presently Assistant Secretary of the Academy. He is also a member of the Academy of Tele¬ vision Arts and Sciences which recent¬ ly named him to a special committee to evaluate foreign-made TV films sub¬ mitted as possible nominees for that Academy’s forthcoming annual Emmy awards presentations. Among congratulatory messages re¬ ceived by Mohr the evening of April 29th, when he and fellow Board mem¬ bers were inducted into office, were telegrams from outgoing President Bill Daniels, who is in Stockholm, Sweden ; Karl Freund, ASC, presently in Wash¬ ington, D.C.; and Eddie Blackburn, formerly head of W. J. German, Inc., in Hollywood, and an Honorary mem¬ ber of the ASC. Other officers elected with Hal Mohr were Burnett Guffey, 1st Vice-presi¬ dent; George Folsey, 2nd Vice-presi¬ dent; Robert de Grasse, 3rd Vice- president; Arthur Miller, Treasurer; Charles Clarke, Secretary; and Joseph Biroc. Sergeant-At-Arms. ■ 262 AMERICAN CINEMATOGRAPHER, MAY, 1963 Question: Who In the World Rents from Birns & Sawyer? Example: Producer Sam Spiegel, and Director David Lean, for Academy Award Winning LAWRENCE OF ARABIA. Director David Lean in white hat, pointing, is directing Academy Award winning Lawrence of Arabia in hot sands of Jor¬ dan Desert. Birns & Sawyer equipped the 16-month production with the Academy Motion Picture Research Council Crane and Worrall geared head shown in photo, which aided in a small way achieving the award for excellence in cinematography. emy Crane was mounted on a flat¬ car which ran on a half-mile track. Bril¬ liant cinematography was by Fred A. Young, BSC. Making an Academy Award Winning Picture Nominated for 10 Academy Awards, including Best Cinema¬ tography in color, Lawrence of Arabia achieved spectacular chase scenes by building a half-mile long “private railroad”. A Birns & Sawyer “Academy” Crane with geared head, mounted on a flatcar, not only kept pace with galloping riders but enabled the special 70mm Panavision Technicolor camera to make steady, jerk free panning while swinging out for close-ups and down for low level shots. To insure reliability, equipment was chosen in Hollywood and shipped to Jordan, rather than being picked from over¬ seas sources. Birns & Sawyer is honored to have played a small part in the success of the picture. Let Birns & Sawyer dependable equipment and budget prices help your award¬ winning films. BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW Birns & Sawyer Northwest • 611 East Pine St. • Seattle 22, Wash. *EA 4-4550 AMERICAN CINEMATOGRAPHER, MAY, 1963 263 Value from HOLLYCAM BELL & HOWELL 16-35 HOT SPLICERS Features • Low visibility splices at frame line • Built-in scraper blade and holder • Precision full fitting registration pins • Heated blades with thermostatic con¬ trol for perfect welds • Hardened ground chrome steel cutter blades • Portable but for heavy duty profes¬ sional use. • 1 10V. AC • Model 1 98A (Traid #135) List price $339.00 NOW ONLY $259.00 MAGAZINES BRAND NEW 1 6mm x 400' for B&H . $129.50 1 6mm x 400' for Mitchell . $112.50 35mm x 400' Mitchell . $125.00 35mm x 1000' Bell & Howell . $ 95.00 USED — EXCELLENT 16mm x 100' Cine Special . $125.00 1 6mm x 200' Cine Special . $350.00 1 6mm x 400' Cine Special, Pair. .$500. 00 35mm x 400' B&H BiPack . $195.00 35mm x 400' Mitchell BiPack ....$250.00 35mm x 400' Arri (Conv.) . $119.00 35mm x 2000' Mitchell . $265.00 6838 Sunset Boulevard Hollywood 28, Calif. Phone: HO 6-1318 ERAS WHAT THE INDUSTRY’S NG LAST MONTH NOTE: Asterisks following titles indicate television film productions. AMERICAN-INTERNATIONAL Mario Bava, “Black Sabbath” Galatea Prods., API, Eastman color) with Boris Karl¬ off and Mark Damon. Mario Bava, director. Manuel Berenguer, ASC, “Pyro” (SWP Prod.; Pancolor; shooting in Spain) with Barry Sullivan and Martha Hyer. Sidney W. Pink, director. Floyd Crosby, ASC, “The Haunted Palace” (Color) with Vincent Price and Debra Paget. Roger Corman, producer-director. BILTMORE STUDIOS, N.Y. Jack Priestly, “Naked City”*. BIOGRAPH STUDIOS— New York George Stoetzel, ASC, “Car 54 Where are You?”* CASCADE STUDIOS Henry Freulich, ASC, Commercials*. Elwood Bredell, ASC, Commercials*. Tyler Byars, Commercials*. Winton Hoch, ASC, Commercials*. CBS — N.Y. Charles Mack, Leo Rossi, Robert Clem¬ ents, “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. COLUMBIA STUDIOS Gil Taylor, “Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (Trooper Films; shooting in Europe) with Peter Sellers and George C. Scott. Stanley Kubrick, producer-director. Leon Shamroy, ASC, Ross Lowell, “The Cardinal” (Gamma Prod.; T’color with Tom Tryon and Romy Schneider. Otto Preminger, producer-director. Robert Bronner. ASC, “Gidget Goes to Rome” (Jerry Bresler Prod.; Eastman color; shooting in Rome) with James Darren and Cindy Carol. Paul Wendkos, director. Joseph Biroc, ASC, “Under the Yum Yum Tree” ( Brisson-Swift Prods., Eastman color) with Jack Lemmon and Carol Lynley. David Swift, director. Christopher Challis, “The Long Ships” (Warwick Films Prods., Technirama-Techni- color, shooting in Yugoslavia) with Richard Widmark and Sidney Poitier. Jack Cardiff, director. Gerald Hirschfield, ASC, “Fail Safe” ( Youngstein-Lumet Prod.) with Henry Fon¬ da and Dan O’Herlihy. Sidney Lumet, pro¬ ducer-director. Gert Andersen, ASC, “Donna Reed Show"*. Robert Bronner. ASC, Commercials*. Maury Gertsman, ASC, Commercials*. Eugene Shuftan. "Lilith” (Centaur Prods.; locations in N.Y. & Md.) Robert Rossen, director. Fred Gatei.y. ASC, “Hazel”*. Charles Wf.lborn, “Empire”*. Jack Marta, “Route 66”*. Robert Wycoff, “Dennis the Menace”*? Commercials*. Burnett Guffey, ASC, Commercials”*. Richard Rawlings, “Higgins”; Commer¬ cials*. JERRY FAIRBANKS STUDIO Hal Mohr. ASC, Commercials* FILMWAY STUDIOS — New York Morris Hartzband, ASC, “The Defenders”*. GENERAL SERVICE STUDIOS Lester Siiorr. ASC, “The Beverly Hill¬ billies”*. Robert Moreno, “Adventures of Ozzie & I larriet'*. Hal Mohr. ASC, Commercials*. DESILU — Gower Ray Foster, ASC, Commercials*. Continued on Page 305 Founded January 8, 1919, The American Society of Cinematographers is comprised of the leading directors of photography in Hollywood motion picture and TV film studios. Its membership also includes cinematographers in foreign lands. Mem¬ bership is by invitation only. OFFICERS Hal Mohr, President Burnett Guffey, 1st Vice-President George Folsey, 2nd Vice-President Robert de Grasse, 3rd Vice-President Arthur Miller, Treasurer Charles Clarke, Secretary Joseph Biroc, Sergeant-at-Arms BOARD OF GOVERNORS Lee Garmes, Milton Krasner, Ernest Laszlo, Harold Lipstein, Ray Rennahan, Joseph Ruttenberg, Harry Stradling, Waller Strenge. ALTERNATE BOARD MEMBERS Gordon Avil, George Clemens. Edward Colman, Linwood Dunn, Winton Hoch, Robert Pittack, Harold Rosson, John Seitz, Philip Tannura, James Van Trees. 264 AMERICAN CINEMATOGRAPHER, MAY, 1963 all-services Sound . . . Editing . . . Developing . . . Printing. Everything. Once the cameraman shoots his footage, his job is done. The film is sent to Byron, and we take care of the rest — all of the necessary services you require. Color and spray black and white developing — negative, positive and reversal. Work prints. Edge numbering. Mag¬ netic striping. Editing. Sound recording on our Westrex sound system, the finest, most flexible facility. Music. Screening. Interlock. Conforming. Answer prints. Release prints. Black and white and color. Every type of printing — additive and subtractive, contact, reduction and optical. Fades and dissolves. All color printing by our exclusive “Color- Correct” process. Quality control, with our technicians maintaining constant surveillance for contrast, exposure, gamma, color, and definition. We can provide everything except the original photography. And remember this: no order is too large for us, no order too small. We do it all in one place, all under one roof, all in our own building, all at Byron Motion Pictures. We coordinate all services under a tightly controlled system of responsibility. We have the most modern equipment — in all departments. And, of course, we have the most experienced, skilled personnel. Come and see for yourself! For free brochure on all Byron services, write, phone, or wire: motion pictures 1226 Wisconsin Avenue, N.W., Washington 7, D.C., Area Code 202, FEderal 3-4000 Goi ng to Eu rope MOLE- RICHARDSON tiwbPM Swim LIGHTING MOLE - RICHARDSON COLORTRAN INDUSTRIES (exclusive European manufacturing and sales representatives) CAMERAS GRIP EQUIPMENT DOLLIES and CRANES GENERATORS SOUND EQUIPMENT TECHNICAL CONSULTANCY and SPECIALISED SERVICES WRITE DIRECT: FRANCE - 28-28 bis Rue Marcelin-Berthelot, Montrouge- Seine Cables: Molereng- Paris General Manager: Reni Schell ITALY - Via del Velodromo 68-74, Roma Cables: Molereng- Roma General Manager: George Gardner GERMANY - Hofangerstrasse 78, Miinchen, 8 Cables: Molereng- Miinchen General Manageress: Gisell Schneeberger SPAIN - Alcali 32, Madrid, 14 Cables: Molereng- Madrid General Manager: Gregorio Sacristan ENGLAND - Chase Road, London, N.W. 10 Cables: Molereng- London Managing Director: John Page AMERICAN CINEMATOGRAPHER, MAY, 1963 267 ZOOM NAVITAR Elgeet offers Vidicon television cameras and 16mm cameras the first Zoom Navi- tar, a manually-controlled 4:1 zoom with a 20mm to 80mm range— f : 1 .8! This new lens achievement is optically compen¬ sated to hold focus through the entire zoom action. Fourteen elements— covers Vidicon format— resolves 600 lines— linear zoom action by ring— list price: $400. For information, write for Catalog 2080-CZ18. -an-s rhii OPTICAL COMPANY, INC. 303 Child St., Rochester 11, N. Y. Q. 1 laving just purchased a second¬ hand Bell & Howell 16mm Magnetic- optical sound projector , / would like your opinion as to the feasibility of utilizing it to record the narration for a series of instructional films I am producing. Is the sound obtained with this machine considered of professional quality? In other words, is the quality commercially acceptable? I plan to transfer the original sound recorded with this machine to sound-striped re¬ lease prints by direct re-recording. Are there any hazards to be encountered here? — R. R. L., Portland. Oregon. A. - General Film Laboratories, in the April, 1961, issue of its monthly publication, Rewind . featured a com¬ prehensive article dealing with the re¬ cording of magnetic sound on striped 16mm film which we believe will an¬ swer most of your questions. We have prevailed upon General to permit us to condense and reprint the article here, hoping it will prove helpful to you and to a number of other readers who have written to us on the same subject: Bell & Howell Company, in 1952. in¬ troduced its 16mm projector capable of reproducing not only the standard 16mm optical sound track, but equip¬ ped also to record, erase, or play hack sound on a magnetic stripe applied to the edge of a 16mm film. Much was promised by the new type of sound projector (Now, you, too, can he a sound motion-picture producer!” ), and many new problems were raised (“How do 1 know some joker won't erase my words and put on his own version?” “Will the stripe stick on the him?” “How long will the sound last?”) Now, nine years later, what has happened? What is our experience? How is the magnetic stripe track being utilized ? On the negative side, owning and operating a magnetic projector didn't automatically, of itself, create a cap- aide producer out of just anybody. Some who bought the new projectors, and had somewhat vague ideas about the machines helping them solve pro¬ duction or promotional problems, were disappointed. But, on the positive side, the avail¬ ability of magnetic striping on him and of combination 16mm optical — magnetic sound projectors had certain specific and definite advantages for Technical Questions and Answers both the producer and user of educa¬ tional and industrial films. First and most obvious, by utilizing a magnetic stripe on 16mm print ma¬ terial and a combination magnetic- optical projector, sound may be easily recorded, erased or changed at will. Second, a magnetic stripe may be utilized on already-processed original or print material to make possible a sound track where optical sound was not provided for. Third, a magnetic stripe can be varied in width so that, for example, instead of the normal full-width (100 mil I track, a 50 mil track may be placed to cover only half of the width of a normal optical track — so that eith¬ er the optical or the magnetic sound may be played in projection. Fourth, within limits, magnetic sound striping is the most economical choice for a sound track when him has been exposed in the camera, for a sin¬ gle showing and throw-away, or when a very few prints are to be ordered. This must be measured against the availability of magnetic projectors wherever the him is to be used, and also against the possibility that more prints might be required later on — in which case the standard optical track would eventually be the more eco¬ nomical. Fifth, a magnetic stripe may be placed on unexposed camera him for single -system projection — recording sound on the location and at the same time as the photography is being ex¬ posed. This is a special situation use, subject to most of the limitations that optical single-system sound has. And, sixth, the full-width I 100 mil) magnetic stripe has the potential of ac¬ cepting a practical range of sound from approximately 50 to 8000 cvcles. Now, how does theory translate into practice? Let’s take up our last point, hrst — the quality of the recorded sound. True, the wide stripe does accept the sound range mentioned, but there are other important and limiting factors. On the production side, there is microphone design and placement, acoustics, and the basic compromise on him move¬ ment that’s necessarily built into a pro¬ jector-recorder. To be a projector, him movement must be intermittent. To be a recorder, him movement — ideally — should be constant. Continued on Page 309 268 AMERICAN CINEMATOGRAPHER, MAY, 1963 This 35mm motion picture camera was literally born a classic. Not through appearance alone ...but through function and performance! The very first Arriflex 35s, built in 1938, gave filmmakers un¬ precedented versatility, operating ease, technical ca¬ pabilities, and money-saving advantages... through a completely original optical system designed around a mirror-reflex shutter. One of the few genuine inno¬ vations in cine camera engineering since the days of Lumiere, Friese-Greene, and Edison . . . the mirror-reflex shut¬ ter is today's most desired and most imitated motion picture a classic in its own time! camera feature. It provides continuous through- the-lens viewing while filming . . . eliminates parallax! And it all but antiquates an assortment of finder correcting gear most other cameras still require. Wherever film releases must meet the highest standards of theater-quality, Arriflex 35s are chosen. They’re lightweight, so they make ex¬ cellent newsreel and location cameras; rugged, so they can take extremes of climate; dependably precise under all conditions . . . ideally suited for every assign¬ ment from missile tracking to full-scale studio productions! Write today for complete literature INCOMPARABLE VERSATILITY! The Arriflex 35 is shown: as a hand camera (left), with 400-foot magazine, matte box, and 16-volt variable-speed DC motor; and as a studio sound camera, fully blimped with 400-foot magazine (center); and with 1,000-foot blimp (right). CORPORATION OF AMERICA 257 PARK AVENUE SOUTH, NEW YORK 1 0, N. Y. AMERICAN CINEMATOGRAPHER, MAY, 1963 269 F&B A New Splicing and Repairing Technique NOW IN ROLLS! only $2.20 for 16mm $4.04 for 35mm REPAIR Torn, damaged films & film strips, patch cuts, tears, gouges, nicks, burns, etc. REPLACE Torn perfor¬ ations — on sound or silent films & film strips — missing pieces of film — restore torn-out bits of film — BUTT SPLICE With¬ out losing a single frame of your film strip or 16mm movie film — butt splice leaders and tails — no cement or splicers needed — STRENGTHEN OVERLAP SPLICES Placing a frame of Magic Mylar over your regular over-lap splice absolutely prevents it from ever opening — Use Magic Mylar white opaque tape for splicing magnetic film — or for vis¬ ible splices in darkroom processing. Florman & Babb, Inc. ' " 68 W. 45th St, N.Y. 36, N.Y. * Please send me: 20 ft. rolls — transparent 16mm — single perforation (T16S) at $2.20 66 ft. rolls — transparent 16mm — single perforation (T16S) at $6.00 20 ft. rolls — transparent 16mm — double perforation (T16D) at $2.20 66 ft. rolls — transparent 16mm — double perforation (T16D) at $6.00 20 ft. rolls — transparent 35mm (T-35) at $4.04 66 ft. rolls — transparent 35mm (T-35) at $11.00 66 ft. rolls — white opaque — 16mm — magnetic film only (0-16) at $6.00 66 ft. rolls — white opaque — 35mm (0-35) at $11.00 W splicing tape for magnetic tape (S4) at $.57 □ □ □ □ □ □ □ □ □ SPECIAL INTRODUCTORY KIT: 1 20' roll T16 ($2.20) 1 20' roll T35 ( 4.04) F&B Film Repair & Butt Splice Block I I Spec ($26.16) ial Introductory Kits at only *14.50 Name Address City WHAT'S NEW IN EQUIPMENT, ACCESSORIES, SERVICES CINE-VOICE CONVERSION Florman & Babb, Inc., 68 West 45th St., New York 36, N. 4 ., announces a new, improved, Cine-Voice conversion for 400- ft. and 1200-ft. Mitchell maga¬ zines. Important new feature is true- torque motor, powerful enough to pull an entire 1200-ft. film load. Motor cool¬ ing is effected even during continuous operation, through a new and unique system which causes it to idle at re¬ duced (I/3) power; when film is run¬ ning through, it resumes full power. Other important features include: rear camera running light, a motor housing which completely encases the torque motor and Veeder counter, af¬ fording complete protection and insu¬ lation against weather, etc., and an ef¬ fectively silenced Veeder counter. The F&B conversion accepts 400-ft. and 1200-ft. Mitchell magazines, in¬ cludes torque-motor and belt, costs $445.00, and may be adapted to any model Cine-Voice camera. Delivery in 15 days. Also available are two accessories: behind-the-lens fil¬ ter slot, $45.00. and lens turret lock, for zoom lens operation. $25.00. ARRI LENS EXTENSION TUBE An extension tube (right) which changes the effective focal length of Arrillex lenses for closeups is made by Birns & Sawyer, Hollywood. The ex¬ tension tube is designed so that it can be used singly or in multiples. Con¬ struction is rich looking, black ano¬ dized aluminum, precision turned. Priced at $18.00, it is available from dealers or from Birns & Sawyer Cine Equipment, 6424 Santa Monica Boule¬ vard, Hollywood 38, California. NEW 10-TO-1 ZOOM LENS The new 10-to-l (25mm to 250mm) Angenieux zoom lens is now available on order from Mitchell Camera Corp. Shipments are being made within 30 days following receipt of orders, the company states. Full information is available from Mitchell Camera Corp., 666 W. Harvard St., Glendale, Calif. ADD-A-UNIT EXTENSION PLATES The Camera Mart, Inc., 1845 Broad¬ way, New York 23, announces its new Camart Add-A-Unit Extension Plate for Moviolas, designed for greater flex¬ ibility in adding extra sound heads to Moviola Series 20 editing machines. The Add-A-Unit plate is instantly at¬ tached to the Moviola without drilling into the cabinet and bolting it to the chassis. Unit permits adding two addi¬ tional sound heads to a Moviola so that film editor can check three separate sound tracks, if necessary. New, re¬ duced price is $259.50. LEVITAN FILM COMPUTER The Levitan Film Computer, dis¬ tributed by Camera Equipment Corp., 315 W. 43rd St., New York, N. Y., is a 4-way pocket-size computer for film production personnel and adver¬ tising agencies dealing in TV film commercials. Computer indicates time, footage, film frames and the number of words of narration or commercial spiel in any given time period for Continued on Page 272 270 AMERICAN CINEMATOGRAPHER, MAY, 1963 Inspect every foot before it leaves your plant with the HFC High Speed Heavy Duty Inspection Projectors -- 16mm & 35mm models now available. NEW The projector is a converted front shutter Simplex with a two pin intermittent. 16mm or 35/32 film runs at a speed of 144 ft. per minute while 35mm film runs at a speed of 165 ft. per minute. 1. A variac controls the light intensity. 2. A 500 watt lamp is used for 16mm and a 1,000 watt for 35mm (a blower is used to cool the lamphouse). 3. A 2l/z inch projection lens is furnished with each unit. 4. A start-stop lever controls the power to the lamp and motor. 5. The magazine and take up core takes up to 3,000 ft. of film. 6. Upper guide rollers are made to handle the film from either direction of the feed reel. 7. A free wheeling take off flange is pro¬ vided in the magazine. 8. A lamp near the takeup reel permits hand inspection of the film prior to takeup. NOUVEAU Le projecteur contient un obturateur Sim¬ plex anterieur transforme avec deux cla- vettes intermittent. Les films de 16mm ou 35/32 tournent avec une vitesse de 144 pieds a la minute, tandis que les films de 35mm tournent avec une vitesse de 165 pieds a la minute. 1. Le regulateur de voltage d’intensite d’eclairage. 2. La lampe de 500 watt est necessaire pour les films de 16mm, et de 1000 watt, pour les films de 35mm (un ven- tilateur est mise pour rafraichir la chambre de la lampe). 3. L'objectif de 2X/Z est instale. 4. La manette de mise en marche et d’arret controle en meme temps la lampe et le moteur. 5. La boite de films avec noyau peut con- tenir 3000 pieds du films. 6. La roue superieure est construite de maniere de recevoir le film dans les deux directions, nourrie par la bobine centrale. 7. Une roue est instalee pour liberer rapidement le film de la boite. 8. La lampe se trouve pres de la bobine recepteuse, et donne toute facilite pour inspecter le film a main dans le projecteur. HOLLYWOOD FILM COMPANY NUOVO Questi proiettori sono Simplex transform- ati, otturatore al fronte, meccanismo di scatto di due punte. La velocita di proie- zione in 16 o 35/32mm e di 144 piedi per minuto, e in 35mm, di 165 piedi per minuto. 1. Controllo manuale della luminosita della lampada. 2. Lampada di 500 watt per 16mm e di 1000 watt per 35mm. 3. Obbiettivo di proiezione di 2l/z" . 4. Maniglia per controllo di motore e lam¬ pada di proiezione. 5. La cassetta porta pellicola puo con- tenere 3000 piedi. 6. I rulli superiori di guida sono construiti per operare con film provenente di ambi iati della bobina svolgitrice. 7. Disco con montatura sporgente nel magazzino. 8. Una lampadina illumina la bobina a v- volgitrice, permettendo I’ispezione man¬ uale del film prima che si avvolga nel proiettore. NUEVO Esta maquina es un proyector simplex con- vertido, obturador al frente y movimiento intermitente a doble grifa. Para 16mm o 35/32mm, la velocidad fija de proyeccion es de 144 pies por minuto, para 35mm es de 165 pies por minuto. 1. Un reostato controla la intensidad de la lampara de proyeccion. 2. Para 16mm se usa una lampara de 500 watt, y una de 1000 watt para 35mm (un chorro de aire ventila las lamparas en ambos casos). 3. Cada unidad esta provista de un lente de proyeccion de 2 pulgadas y media. 4. Una palanca de control opera el motor y la lampara simultaneamente. 5. Capacidad de proyeccion: rollos de hasta 3000'. 6. Los rodillos de guia superiores operan con la pelicula en arribas direcciones. 7. La tapa de la bobina de carga es desenroscable. 8. Una lampara ubicada junto a la bobina de toma permite la inspeccion manual de la pelicula antes que se rebobine en la bobina superior del proyector. REELS / CANS / CASES 956 N. Seward, Hollywood 38, Calif., HO 2-3284 • 122 W. Kinzie, Chicago 10, III., 644-1940 • 524 W. 43rd St., N.Y. 36, N.Y., LO 3-1546 AMERICAN CINEMATOGRAPHER, MAY, 1963 271 PRECISION FILM EDITING EQUIPMENT Precision Unitized Film Synchronizer Model S635-1 Pat. no. 3,053,426 Single Sprocket 35nim Synchronizer $95.00 Single Sprocket 16mm Synchronizer $95.00 (not shown) Model S616-3 Three sprocket 16mm Synchro- n i z e r with Spacer and Mag¬ netic head $215.75 Sprocket Assemblies 16 or 35mm $32.50 ea. ■a optical- magnetic sound readers Model 800 $259.50 Model 800 RL $269.50 optical sound readers Model 600 RL $195.00 DIVISION OF PRECISION CINE EQUIPMENT CORPORATION 928-930 EAST 51st ST. BROOKLYN 3, N. Y. magnetic film and tape sound reader Model 700 $198.00 Send For Free literature PATHE PRESENTS: THE WEBO-M 16 MM REFLEX fat'l , • PATHE PRODUCTS, INC. 9 Pleasant Street, Providence 6, Rhode Island Sole U.S.A. Agents for Pathe Societe Commerciale et Industrielle. _ _ I _ : _ _ : _ ! _ _ 16 MM COLOR and B-&-W Processing and Printing A&B Roll Conforming Sound Transferring W rite For Complete Price List MIDWESTERN FILM LAB 161 W. Huron St., Chicago, III. Phone: 664-841 0 _ / WHAT’S NEW Continued from Page 270 35mm, 16mm or 8mm films. Commercial film standards are shown with diagrams and markings that list footage and sound track lengths for 1-minute, 20-second and 10-second TV commercials. On reverse side of com¬ puter is photography-projection chart that lists both live action and anima¬ tion shooting fields and safety pro¬ jection areas for both motion picture projection and television. A fourth feature is the Standard Wipe Chart illustrating 120 of the most frequently used wipes in their logical sequence. List price of com¬ puter is $1. 00. SUN GUN CONTROL UNIT Sylvania Electric Products, Inc.. 730 3rd Ave., New York 17, N. Y., is mar¬ keting a new electronic power control unit called Sylvac for regulating the light output and color temperature of Sun Gun photo lights when used for professional photography. The Model SV-9 operates from standard 120-volt A.C. current. At this voltage, a simple adjustment of the controls varies light output of a Sun Gun from zero to full brightness, or permits selecting color temperatures up to 3400° K. Unit weighs 4 lbs., is 7"\6%"x31/^" in size. A second model. SV-20, will accom¬ modate two 1000-watt Sun Guns or several photolamps up to 20 amperes. The same control results may be had with this unit as with the Model SV-9. Simultaneously with announcement of its Sylvac control units, Sylvania also announced two new voltage boost¬ ers lor use with Sun Gun photo light equipment under sub-standard voltage conditions. Designed for use in con¬ junction with the Sylvac controls de¬ scribed above, the Flexi-core Voltage Boosters make it possible to attain the Continued on Page 309 272 AMERICAN CINEMATOGRAPHER, MAY, 1963 Originals Only ...PLEASE! SIGHT or SOUND If your editor isn't used for ORIGINAL PRINTS - - then you need the Mode! AO 16mm includes Viewer, Optical Sound Reader, Matched Amplifier/Speaker and Sub-base. ONLY $362.24 Write for brochure S.O.S. PHOTO-CII-OPTICS, II. formerly S.O.S. CINEMA SUPPLY CORP. 602 West 52nd St., N.Y. 19 — Plaza 7-0440 — Telegram: "FAX, N.Y." Western Bronchi 6331 Hollywood Blvd., Hollywood 28, Calif. — Phone: 467 2124 SEE OTHER S.O.S. OFFERINGS ON PAGES 298, 302, 306 AND 309 ■< - - AMERICAN CINEMATOGRAPHER, MAY, 1963 273 " The Balcony "■ George Folsey, ASC, for mony years a top director of photography at MGM, photographed such memorable pictures as “The Ziegfeld Follies/’ “Meet Me in St. Louis/' “Green Dolphin Street/' “Seven Brides For Seven Brothers/’ and “Executive Suite." Of his recent experience in photographing “The Balcony/' he says: “I can't think of another picture that I've enjoyed more , had less trouble with and more satisfaction in doing." By HERB A. LIGHTMAN ~pVsiLY the most unusual American film of this season (and quite possibly any other season) is the currently-released filmization of Jean Genet’s controversial play, “'The Balcony,” directed by Joseph Strick (“The Savage Eye”) and artfully photographed by George Folsey, ASC. Made on a “quickie” budget of $112,000 with top-flight actors (Shelley Winters, Peter Falk, Kent Smith, Lee Grant) and key technicians working at scale against a deferred percentage of the profits, “The Balcony” is not a quickie in any sense of the word. It was made entirely in Hollywood on a six- week shooting schedule, with a 22-man crew. Defi¬ nitely slanted toward the relatively small, unusu¬ ally sophisticated segment of the filmgoing audience that regularly patronizes art film houses, the picture proves that the well-made art film need not be an exclusively European monopoly, and that such films can have the technical finish and professional qual¬ ity of Hollywood’s best product without resorting to the frantic pace of television film production or the expenditure of a great deal of money. Almost the entire action of “‘The Balcony” takes place inside a cavernous movie sound stage repre¬ senting a unique sort of “establishment” set up to cater to the bizarre whims and fantasies of an all¬ male clientele that comes there to escape “from the falseness of life into the greater reality of their dreams.” On hand to help enact any desired charade is a bevy of beautiful and not-so-beautiful actress- courtesans surrounded by a conglomeration of stage flats, costumes, props and backdrops that are used to create whatever atmosphere the client may re¬ quire. “We sell illusions,” explains Miss Winters, the den mother of this menagerie, in what turns out to be a colossal understatement. Outside the sound stage, via some superbly edited newsreel footage, a revolution rages through the streets of a nameless city. But inside the dreamy oasis of the establishment business proceeds as usual with a plumber making like a bishop, a baker impersonating a cavalry general and a mousy ac¬ countant slithering down off the judicial bench to carry on like the most masochistic jurist imagin¬ able. Into this never-never land stalks the Chief of Police, representing the incumbent government of the unidentified locale. He is a scrappy, paranoiac, 274 AMERICAN CINEMATOGRAPHER, MAY, 1963 Cinematic Illusion Without Confusion Product of a six-week shooting schedule, “The Balcony” is replete with unique and imaginative photographic touches that add luster to an off-beat story. richly uniformed type who harangues the populace via radio from within the confines of the sound stage. His speech is a masterpiece of double-talk demagoguery expounded in a furious jargon con¬ sisting of idiotic cliches borrowed from real-life political oratory and TV commercials. The Chief successfully turns the tide of battle in SHELLY WINTERS, who plays a queenly madam in "The Balcony,” re¬ hearses with the costumed staff of her unique establishment. Here cinematographer Folsey artfully contrived the lighting to point up the bizarre aspects of the scene. his favor by setting off remotely controlled explo¬ sions that raze the entire rebel sector of the city. Afterwards, in order to present a powerful front to the people, he enlists the aid of the plumber, the baker and the accountant to play the roles of dig¬ nitaries who have been liquidated in the conflict. Dressed in the borrowed raiment of a bishop, a general and a judge, the unlikely trio rides in a motorcade through the city, making pompous speeches as empty as those characteristic of the real Continued on Page 298 * *>*♦«,*. ipf> * * S 4 « It ’■ **‘j AMERICAN CINEMATOGRAPHER, MAY, 1963 275 COMPLEX AND COSTLY machinery such as this is required for making complicated optical effects such as seen in so many of today’s TV com¬ mercials. Here Don Wortman pushes button on the Oxberry optical printer al Cineffects Studio in New York to start the film for a special effects assignment. The Producers Service House— Vital Aid To Film Makers A boon to the producers of TV commercials, they also enable the small producer to embellish his films with opticals and other professional effects that are beyond the capacity of his limited equipment. By VERN /"hy is the producers service business boom¬ ing? To get the answer to this question, the author visited the studios of Cineffects, in New York City. Irving Hecht, president. Jack Present, pro¬ duction manager, and Robert Pittluck, general mana¬ ger, escorted me on a tour of the premises. After that, we spent a couple of hours in conference. W . P A L E N The pressure of TV deadlines and the complex¬ ity of work being done for TV commercials requires a very large work capacity at times. A producer may have a campaign involving one or two spots which demand a tremendous amount of effort, with the corresponding need for a lot of equipment to do the particular job. FIG. 2 — THREE PHASES in the production of a TV commercial for o popular beer are pictured above. The required effect was that of the background scene (middle photo) showing through glass of clear beer (first photo). The effect was accomplished by using color separations from a color negative to make mattes of the glass of beer, then running the various elements through the optical printer. This pro¬ cedure permitted the desired control in exposure to achieve the smooth, professional results shown in third photo. 276 AMERICAN CINEMATOGRAPHER, MAY, 1963 In both New Vork and Hollywood, the accelerated growth of film service organizations has been largely due to the expanding TV market with its big pres¬ sures for time and ever-increasing complexity of the services required. This involves opticals and animation work and few producers can justify the stall and equipment they would need to perform such activities in their own studios. Obviously, a producer experiences both surges and lulls in his assignments. The problem, there¬ fore, of being staffed and equipped for the heavy periods would pose an impossible economic situa¬ tion during the slow periods. Since the service house handles hundreds of customers in contrast to a pro¬ ducer’s one or two, many people and many machines can be utilized at full capacity the year round. The average producer gets his script or story board in rough form from the advertising agency. He has the necessary facilities to put the story to¬ gether on film in the form of individual scenes. He makes up a work print which is viewed, criticized and discussed with the agency. Once the work print is approved and sound is edited, it is ready for opticals. Today, the complexity of the opticals de¬ manded by agencies makes this a job for experts who can devise new tricks which will accomplish the purpose. One of the tasks the service house must perform quite frequently involves a scene where a person is watching a movie or a TV set with a live picture in action on the screen. To do this wth live shoot¬ ing makes the job almost prohibitive since it re¬ quires use of a camera and projector operating in sync, making the project much more complicated and expensive. It is much simpler to shoot the two scenes separately and give them to a service house to combine. Fig. 3 shows an example where a movie on a screen is combined with a live action scene of a family in the living room. A job recently completed for the U.S. Army Sig¬ nal Corps required three images on three TV moni¬ tors in a color scene of a control room. The se¬ quence also required multiple changes in the im¬ ages on the monitors in order to simulate conditions where a monitor shifts scenes and where the opera¬ tor shifts scenes from monitor to monitor. The service house handled this problem by shooting multiple mattes on its Oxberry animation stand, using drawings of the TV monitor screens properly positioned on the background scene. First, it was necessary to make a series of hold¬ back mattes, which allowed the background scene to be exposed separately four each monitor. Using the mattes and interpositives or fine grains on an Oxberry optical printer where exact control can be maintained over positive and exposure, the com¬ posite scene was recorded on one film to give the desired effect. Because the producers service house handles such FIG. 3 — A familiar effect often attempted by inexperienced film makers with straight photography. The movie scene on the home movie screen was combined with the live action scene of family in living room by traveling matte process on optical printer. a large volume of work, special techniques have been developed and optical equipment of the most advanced design is employed. Motorized animation stands permit precise projection of scenes for pre¬ paring the shooting mattes. Special techniques have been devised for handling the mattes on the optical printers in order to assure accurate registration. These machines have aerial image projectors and many other new features which afford complete flexibility in combining mattes and in repositioning scenes. The Signal Corps job mentioned earlier was made more complex, too, because color had to be balanced in all scenes to provide a realistic and Continued on Page 294 FIG. 4 — Familiar to TV viewers is this shot from a commercial for Peter Pan peanut butter. The live Peter Pan and the jar of peanut butter were photographed separately and later combind in this composition by traveling matte process. AMERICAN CINEMATOGRAPHER, MAY, 1963 277 RALPH WOOLSEY, behind boom-mounted camera, shooting a TV film for Warner Brothers on location near Hollywood. Interview with Ralph Woolsey, ASC SOME ASPECTS OF PHOTOGRAPHING FILMS FOR TELEVISION Here is an expert look at television film production today by a director of photog¬ raphy who has photographed both tele¬ vision films and feature productions. In this interview with Ralph Woolsey, ASC, some interesting aspects of photographing films for various TV film series are explored and compared with feature film photography. iiHiiiiiimiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiimiiHiiiiiiiiiiiiHiiiiiHimiiiiimiiiiiiiiiiiiiiiiiiiiiiimiimiiiiiiiimmimimiimmmiimiiiii ii i iimiimiiiii iifiim^ Q — Mr. Woolsey, viewing television film production objectively today what, in your opinion, are the differences if any in the problems encountered by the director of photography shooting films for television as compared with feature films? A — One area of difference lies in pre-production preparation. For feature films, a lot more money is usually spent and a lot more time is devoted by each department in the studio in the planning of a picture. This is rarely the case with TV films. When a tele¬ vision film gets under way on the sound stage it happens not infrequently that the script for the pic¬ ture has just barely been approved. I have at times been assigned to photograph a TV film where the script has undergone many drastic changes before the production was completed. There have been in¬ stances where we have photographed sequences and shortly afterward that same day someone would ap¬ pear on the set with new, revised pages of script for the scenes already shot, and we would then have to re-shoot the scenes in order to incorporate new and different dialogue. This is not typical practice, of course, but it does happen. The most efficient produc¬ tion companies aim to get all scripts fully approved before they start the cameras rolling. When this happens and the cameraman directing 278 AMERICAN CINEMATOGRAPHER, MAY, 19M the photography of the show is given a copy of the script in advance of the show’s starting date, it affords him opportunity to study it and plan his lighting and photographic approach. When a cameraman doesn’t see the script until the day he’s scheduled to start shooting a show, he goes on the set more or less “cold” and must start working virtually “off the cuff.” He can’t very well read the script and do his work at the same time. As a rule, I find it quite satisfactory to work from a story breakdown. There is so much similarity in TV story formats that it is usually no problem to figure out the action and how the story will go. A breakdown provides a synopsis of the action that is to take place on each set in terms of scenes and essential motivation. It indicates also what sets I am to work on that day. Q — Generally speaking, does the technique of light¬ ing for TV film photography differ from that for feature films? And is there any technique or pro¬ cedure used in feature film photography that is not applicable to shooting TV films? A — If we expect the TV viewer to see the action and recognize detail in the picture on the small screens of home receivers, we must use a little broader brush in certain aspects of lighting and photography. In the early days of TV the prevailing idea was that stories should be shot in closeups as much as pos¬ sible and that long shots were to be avoided. The technical improvements in both today’s television sets and in the transmission of video programs in¬ validates such thinking and the long shot is now as important and generally used in TV films as in fea¬ tures. When so much of the action was played in closeups, the audience lost orientation with the story or its locale. Shooting TV films in the accepted pattern of long shot, medium shot and closeup estab¬ lished for motion pictures in general has greatly enhanced presentation of filmed television dramas. We used to be told by TV network engineers that there were certain brightness range and contrast limitations to be observed in photographing films for television; that the cameraman must work within these limitations to insure the most satisfactory re¬ production of his work on video screens. Experience has proved that these limitations are not as rigid as originally pronounced. Most cameramen shooting TV films endeavor to keep up with the continuing technical developments in the photography and reproduction of films on TV. Many spend considerable time with engineers and technicians in the industry and in reading the tech¬ nical journals. I personally have never been one to accede to every demand made by the engineers, yet 1 have tried to give certain reasonable things. The work of all TV film cameramen still suffers from the lack of DC restoration in black-and-white home re¬ ceiver circuits; DCR enables a receiver to reproduce blacks as true black and intermediate tones with comparable fidelity so that much more quality of the photography comes through on the TV screen. Q — Has the speed and pressure demanded in TV film production affected the method of lighting sets to the degree that the final print suffers by com¬ parison with prints of feature films? A — Generally speaking no. But one must often sim¬ plify certain things in lighting sets for TV films where the extra time devoted to lighting for a fea¬ ture film simply wouldn’t pay off. Continued on Next Page Ralph Woolsey, AS C, was for a number of years under contract to Warner Brothers as a di¬ rector of photography. Among the TV film series for which he photo¬ graphed shows were “ Maverick /' “ Sunset Strip/' “Cheyenne/' and “Roaring Twenties.” He has at various times lectured on cinematography before stu¬ dents of the Cinema Department of the University of Southern California. 279 AMERICAN CINEMATOGRAPHER, MAY, 1963 INTERVIEW I know that all the television film I shoot is going to he reviewed by projection on a conventional the¬ atre screen by studio production heads, and 1 want them to see the best possible photographic result. Producers and directors invariably check their T\ film productions in this manner; many of them sel¬ dom see the same picture televised. If the photog¬ raphy looks good on a theatre screen, it follows that it also will look good when televised — assuming that transmission conditions and the viewer’s set are functioning properly. Q — This matter of good picture results suggests that lighting praetiee and the lighting equipment used play a major role, lias the photography of TV films brought about the use of any new lighting equipment ? A — Our basic set lighting hasn’t changed much. There have been some improvements made in exist¬ ing equipment such as high-intensity arc lamps, also some re-designing of conventional lamp housings and accessories. Also, there have been significant improvements made in so-called “boosted-voltage” lighting equipment such as the ColorTrans and Mas- terlites. The recently-introduced quartz-iodine lamps hold some promise for lighting small sets. More recently, some manufacturers have developed radically new housings to employ this illumination unit, enabling it to produce a variety of light patterns. The March issue of American Cinematographer featured an article describing the new quartz-iodine photo lamps developed by ColorTran, which utilizes this efficient light source in a reflector that affords a range of beam configurations and illumination volume. How¬ ever, no one to date has successfully combined the QI lamp with a lens-reflector combination that will provide positive beam control similar to our present standard spotlights. Still another advancement in lighting equipment that has seen little application in film studios is the solid-state dimmer. This is a silicon-controlled recti¬ fier now popular in theatres and some television studios. It requires alternating current whereas most Hollywood film studios utilize direct current for set lighting — chiefly because of the large number of arc lamps used in set lighting. The new silicon rec¬ tifier-dimmers are remarkably compact and offer simplified remote and pre-set advantages. Q — Do you use much arc lighting today in set illu¬ mination for TV films? A — I often use arcs for lighting large sets, but rarely for small interiors. When working on exterior sets, arcs are used to enhance sharpness of detail. Out¬ doors, arcs are also used for booster light and for illuminating some night scenes. One thing about TV filming, you shoot hot or cold, rain or shine. I have shot scenes in pouring rain and the rain didn’t show up on the screen. In one se¬ quence, the rain became so heavy that it began to show on the actors’ clothes. The script was quickly re-written to coincide with the rain. But before we could finish the sequence, the rain stopped and we had to move rain-making equipment to the location to complete the sequence with photographic uni¬ formity. It is often surprising how difficult it is to make falling rain visible in exterior scenes, especially when the set is not rigged for backlighting or cross¬ lighting. Here arc lighting is essential to highlight the rain effect and give the scene a little “snap.” (J — Have the faster B&W film emulsions been help¬ ful in photographing television films? A — Yes. Emulsions like Eastman’s Double-X — per¬ haps the most important film improvement in recent years — enable me to get good quality plus all the advantages of a high-speed film. Some cameramen believed that when negatives of higher speed became available they would be able to use less light and the studios would consequently save money on lighting bills. But what actually happened is that many cameramen simply stopped down the lens, say from f/4 to f/6.3, and used the same volume of light. I prefer to flood the existing lights or add diffu¬ sion and thus be able to work at the same f/ stop as before. If I need the advantage of the extra stop- down the fast emulsion affords, I can remove the diffusers from the lamps or make the set illumina¬ tion “hotter.” Q — Does this mean that you generally avoid detail that is too sharp? A — There are often situations where I prefer to keep background detail soft, but the sharpness in the over¬ all picture depends on the magnification relative to audience viewpoint. When we see a picture on the television screen, the reduction in size of the picture in effect increases the depth of field. Q— it would seem advantageous as well as a means of saving time where a cameraman is shooting a TV series, to have much of the set lighting ‘‘fixed’’ or permanently rigged so that it is more or less ready for instant use when he returns to the set each week. What are your views on this? A — Where a cameraman is permanently assigned to a TV series there could be advantages in having certain basic backgrounds pre-lit in permanent sets. It happens, however, that in some studios the camera¬ men shooting established TV series are rotated in their assignments so that a different one shoots a given show each week. And each one, being some¬ what of an individualist, has his own ideas how these shows should be lit. There never has been any fixed Continued on Page 295 280 AMERICAN CINEMATOGRAPHER, MAY, 1963 fro ^ oo se the ONE PACKAGE deal from JACK A. FROST / ~k * . . saves you TIME and money on PRODUCTION RENTAL needs ! . . . . JACK A. FROST (OBO HALL OFFICE: 401 Washington Blvd. ftm. 3143, WO 2-1255, Detroit 26, Michigan MAIN OFFICE: 234 Piquette TR 3-8030, Detroit 2, Michigan CANADIAN OFFICE: 6 Shawbridge, BEImont 2-1145, Toronto, Canada AMERICAN CINEMATOGRAPHER, MAY 1963 281 SHARP NEGATIVES rate crisp, clear prints. Otherwise, you’re throwing away good money, no matter how much you’re “saving” on prints. Moral: Go Eastman all the way— negative and print-stock. And in the case of questions — production, processing, projection — always get in touch with Eastman Technical Service. For further information, please write or phone: Motion Picture Film Department, EASTMAN KODAK COMPANY, Rochester 4, N. Y. Or— for the purchase of film: W. J. German, Inc. Agents for the sale and distribution of Eastman Professional Film for Motion Pictures and TV, Fort Lee, N.J., Chicago, III., Hollywood, Calif. Ill I EASTlsjlAljl FIL DESIGNED FOR H The advantages of shooting motion pictures with a hand-held camera has had a direct influence on the design of both the newer portable cameras and shoulder-support apparatus for use with conventional cameras, both 35mm and 16mm. On this page are pictures and descriptions of three relatively new cameras with built-in shoulder rests for hand-held shooting plus some interesting supporting apparatus that affords similar convenience for newsreel and other mobile camermen who work with professional 16mm cameras. ^ PROBABLY THE FIRST AND ONLY portable camera for wide-screen photography with 65mm film is Panavision's Panaflex 65, weighing but 30 pounds, fully equipped and loaded. The 500-foot magazine mounts on the camera at an angle and rests on the operator's shoulder to provide solid support for hand¬ held shooting. When not used as a hand-held camera, the pistol grip and curved shoulder support are readily detachable so camera may be used tripod-mounted. In the works is a new, improved reflex model having same ap¬ pearance, positive reflex viewing, and a follow-focus finder and 1000-foot magazines as companion equipment. THE NEW FRENCH ECLAIR 16MM REFLEX camera is of radically new design, but retains the basic reflex and detachable film magazine features of the Eclair Camerette. Like the Panaflex and the Mitchell Mark II Reflex (pictured below) the new Eclair 16mm Reflex is so designed that the magazine rests on the operator's shoulder to provide support for the camera when used hand-held. A COMPACT, LIGHTWEIGHT, INVERTED 400-foot magazine that mounts back and below the cam- ^ era and also provides a rubber-cushioned in- t denture between the film chambers that serves as a shoulder rest, is a salient feature of the new Mitchell Mark II Reflex 35mm camera. The camera's full aperture 128 fps movement is keyed and can be removed and replaced without need for re-timing. Reflex finder image is exceptionally brilliant. Assuring optimum exposure over entire frame area is a focal-plane variable-disc shutter. A built-in sync signal generator enables camera to be used for synchronous sound recording with remote magnetic tape recorders. AMERICAN CINEMATOGRAPHER, MAY, 1963 SHOOTIN' FROM THE SHOULDER THE MOBILE CAMERMAN who works mostly with a hand-held 16mm camera created a need for an efficient and dependable support for his camera, especially when he switched to the heavier Auricon sound cameras or the Arriflex. For a long time he had to make his own, but more recently some excellent supports called shoulder-pods or belt-pods have appeared on the market. THE SHOULDER-POD PICTURED AT RIGHT is a German-made import that fits all conventional light-weight motion picture cameras such as the Auricons and Arriflex 35mm and 16mm. It leaves the operator's hands entirely free to handle instruments, make camera or sound level adjustments during shooting, or to sup¬ port himself in precarious situations. Head to which the camera is attached is adjustable for height, direction and distance between operator and camera finder. The supporting bar is also adjustable to allow camera to be used at either left- or right-hand side of oper¬ ator. Constructed of lightweight aluminum tubing, the shoulder-pod is anchored to operator's waist by means of an adjustable belt. TV NEWSFILM CAMERMEN and documentary and travel film producers are discovering the ad¬ vantages of the shoulder-pod, which not only eases the load and provides more comfortable balance of the camera, but enables them to work faster and more freely in crowds or con¬ fined locations. MEETING THE NEED of peripatet ic cameramen for a simple, lightweight shoulder-pod is the S.O.S. Body Brace pictured at right. It offers the double support of a shoulder-pod plus a body brace, providing steadiness, comfort for the cameraman and the ability to aim, tilt, and pan the camera with the same ease as when tripod-mounted. Made of lightweight cast aluminum, it weighs 4£ pounds, and is furn¬ ished with standard 3/8" X 16 camera tie-down screw. As pictured, it will easily support the heavier professional 16mm cameras such as the Auricon Pro-600, Arriflex, Maurer, etc. An important feature is collapsible design of the brace, permitting it to be folded com¬ pactly for easy storage in camera equipment case. For source information, see page 294. AMERICAN CINEMATOGRAPHER, MAY, 1963 POCKET-SIZE CAMERA DOLLY Affords major production camera mobility on a popcorn budget. By LEO OZOLS Jt often happens in the production of commer¬ cial, industrial or documentary films, that the cinematographer must forego the convenience of a camera dolly and tracks because of budget limi¬ tations or the great bulk of such equipment, or both, and must limit his camera action or movement to simple panning. A solution to this problem is a lightweight, port¬ able dolly and tracks which almost any cameraman, with adequate mechanical assistance, can construct himself. Instead of the conventional burdensome dolly, a small, lightweight camera platform on wheels rolls along lightweight, knockdown tracks that, instead of being laid on the floor or ground 286 AMERICAN CINEMATOGRAPHER, MAY, 1963 are waist-high and supported by adjustable stan¬ chions. (See diagram.) In my experience of shooting documentary films in remote areas of South America, I have often encountered the need to give my camera mobility. Except for some high-budget productions which could afford dolly equipment, I invariably had to restrict camera movement to panning and tilting. There frequently were assignments, usually in some new and distant location, where I found myself improvising some device to give mobility to the camera for dolly and traveling shots. It is quite impossible to transport a conventional camera dolly and tracks into the South American wilds; there is no safe and easy way to transport such equipment and the necessary crew and expense would make the production unprofitable. The frequent frustra¬ tions which I encountered set me to thinking of ways and means of solving the dolly problem, for me at least, and the equipment illustrated in the accom¬ panying diagram is the result. I first got the idea for the portable, elevated dolly and tracks when shooting a film in Puerto Rico for the Roosevelt Foundation. Ed Frank, the director, along with a child actor, had come all the way from the United States, and I had journeyed from Vene¬ zuela to photograph the picture — only to discover that no camera dolly and tracks were available on the whole island. Observing the Puerto Rican childien racing on the streets with tiny cars made of a piece of lumber and four ball-bearing wheels taken from roller skates gave me an idea. I borrowed one of these from a group of kids and used it as a camera dolly, securing a tripod-mounted camera upon it and using only the street pavement as tracks. Further develop¬ ment of the “pocket-size” dolly evolved when I was commissioned to shoot a commercial film for Alcoa Aluminum. This time I used a toy car for a dolly, mounted an Arriflex camera upon it, and rolled it on a long table which served as dolly tracks. The resulting traveling shots came out very well. When I returned to Venezuela, following my appointment as Director of the Motion Picture De¬ partment of the Los Andes University, I again encountered the problem of no camera dolly. There were no funds to purchase one and as my next project demanded the use of a dolly, I drew upon my previous Puerto Rico experiences and came up with an idea which was subsequently approved by the authorities. In the mechanical shop of the University we began to build it. I put it to use as DIAGRAM AT LEFT illustrates author's “pocket-size" camera dolly and tracks, also details of various components. “A" is view of the equipment erected for use. “B" is cross-section detailing the camera car platform, with its grooved wheels which ride on thin metal rails. “C" shows details of the tele¬ scoping, adjustable stanchions which support the narrow tracks. “D" affords both top and side view of track construction. TRACK SIMILAR TO author's but of heavier construction was used by cinematographer Joseph Brun, ASC, in photographing scenes in Puerto Rico for “Elodia," which he also directed. Photo shows how the camera operator effects a traveling shot by walking alongside the waist-high tracks and moving the dolly-mounted camera as he goes. soon as construction was completed and the results more than justified the effort. I was able to make dolly and traveling shots comparable to Hollwood’s standards. It is so constructed that the entire equipment can be disassembled and stowed in a Jeep or car in a matter of minutes, and it can be reassembled by one man, if necessary, in a few minutes. No trained dolly crew is required to operate the dolly. As a matter of fact, we use only one man to handle it, and there have been instances where the camera operator alone has managed both the camera and the dolly in making moving camera shots with the equipment. The various components of the equipment are illustrated in the diagram. “A” is a sketched view of the equipment in use. “B” is a cross-section detailing the camera platform with its grooved wheels which ride on thin metal rails. “C” shows details of the telescoping, adjustable tripods or stanchions which support the tracks. “D” affords both top and side view of the track construction plus details of the assembly of the metal components of same. Depending upon the length of the dolly tracks, as many as 3, 4 or more tripods may be required to provide solid support. These are adjustable for height to accommodate the convenience of the cam¬ era operator and also to enable the tracks to be used on uneven terrain; here height of the tripods is adjusted to the uneveness of the terrain — much Continued on Page 296 Construction AMERICAN OINEMATOGRAPHER, MAY, 1963 287 FILM PRODUCTION FOR TV ysmmR THREE 16MM CAMERAMEN (one ouf of view in rear) prepare to shoot exciting motorcycle act in Japan for NBC's "International Showtime," weekly TV series. LOOKING OVER shoulder of one cameraman shooting mixed animal act in Japan for "International Showtime.” Camera is Mitchell 16 — one of three cameras used in NBC's Synchro-16 Color system, a new, unusually fast production technique ideally suited to photographing program material of this sort. ** **#* Shooting "International Showtime" In 16mm Color 16mm color film proves more than adequate for “International Showtime’s” debut in growing circle of color TV shows. By JOSEPH HENRY j^EWSREEL-TYPE production tempered with tele¬ vision techniques may pave the way for wider use of 16mm color film in photographing TV shows on location. That’s the outlook based on NBC’s experiences with “International Showtime,’* an hour-long weekly program featuring foreign circus and ice skating acts. Thus far, six shows have been filmed in 16mm color and all, according to Norman Grant, NBC’s director of color coordination, have been “commer¬ cially acceptable” for television. It was the first time that Grant’s Synchro-16 “on location” shooting technique was used for the show. The technique involves use of three motion picture cameras shooting in sync — one equipped with a zoom lens. The cameras simultaneously shoot the acts from different angles to provide variety in the cutting. The sound is recorded on tape in sync with the cameras and combined with the picture when prints are made by the laboratory. “With this type of show, where filming is done in the field under inflexible time schedules, 16mm color is practical, financially and operationally,” Grant explained. “The quality is not up to the standards of 35mm color,” Grant said, “but, by and large, NBC has been generally successful with 16mm color.” NBC’s “David Brinkley’s Journal,” “The River Nile,” “Vincent Van Gogh — A Self Portrait” and “Shakespeare — Soul of an Age** have all been successfully filmed for television in 16mm color. Other NBC productions using some 16mm color are Sports International,” “'‘All-Star Golf” and “Wild Kingdom.” Program-wise, Grant and “International Show- Continued on Page 303 AMERICAN. CINEMATOGRAPHER, MAY. 1963 288 PRODUCTION HEADACHES WE CAN SOLVE WITH CONFIDENCE! 1. LIGHTING Since 1921... 2. GRIP EQUIPMENT 3. PROPS 4. GENERATORS 1800. 1600. 1000 Amp D C. Trucks 700 Amp. D.C. Trailers 100. 50. 30. 20. A C. RENTALS SALES SERVICE Send tor a schedule of rental rates. LARGEST SUPPLIERS OF MOTION PICTURE. TV AND INDUSTRIAL PHOTOGRAPHIC EQUIPMENT IN THE EAST 333 WEST 52 STREET, NEW YORK 19, N. Y., Circle 6-5470 AMERICAN CINEMATOGRAPHER, MAY, 1963 289 THE BOLEX MATTE BOX mounted on sturdy rails before Bolex H Rex 16mm camera, showing method of use for copying 35mm slides. Professional 16mm film makers, especially those small independents who turn out TV commer¬ cials for their local stations and others, encounter almost daily problems in producing special effects — a film technique that is increasingly demanded in the production of commercials and in industrial, training, educational and technical research films. Working on modest budgets that invariably pre¬ clude the inclusion of any but the simplest of optical effects in their productions, many of these produc¬ ers are taking a page from early day film makers and are now making their effects in the camera using a matte box. Fades and lap-dissolves of laboratory quality can be made in those 16mm cameras having a variable shutter that can be automatically controlled and where the camera also provides a means of back- winding the film in the camera. With the addition of a matte box, the range of special effects possible is extended to include wipes, split-screen shots, mask shots such as the familiar binocular and key-hole effects, and many others. Paillard, manufacturer of the Bolex camera, of¬ fers a matte box for 16mm cameras of excellent professional design which any 16mm cameraman will find extremely helpful in the production of a wide range of cinematic effects. It is pictured in A MATTE BOX FOR PRODUCING EFFECTS IN 16MM By ERNST WILDI Fig. 1, quite logically mounted before a Bolex H-16 camera — although it is adaptable to other 16mm cameras of similar size. For the production of special effects in the cam¬ era, the matte box used should be of the adjustable bellows type with movable front and rear frames — which the Bolex matte box is. Since many of the masks necessary for producing effects must be placed several inches ahead of the lens in order to insure the desired degree of sharpness in outline or line of demarcation in the film image, the front frame of the matte box should be adjustable to at least 7 inches away from the film plane. The matte box should be firmly mounted to the camera body and should provide adjustment for centering mattes ac¬ curately in front of the taking lens. All this, of course, is also possible with the Bolex matte box. Additionally, the camera operator must be able WITH MASK inserted for binocular shot. 290 AMERICAN CINEMATOGRAPHER, MAY, 1963 THE MATTE BOX set up for making simple split-screen shot. to check, preferably by viewing through the taking lens, to determine if masks are properly centered in the box, if they are positioned at the proper distance, if they are properly sharp in detail, and what stop must be used to achieve the desired depth of field. A reflex camera affording ground glass viewing and focusing, such as the Bolex H-Rex 16 is ideally suited for this work. The production of matte box effects requires a wide angle lens on the camera — usually a 10mm or 17mm for 16mm cameras. Range of effects In the following paragraphs, the most popular uses for the matte box will be described: The matte box as a sunshade: The Bolex matte box makes a most efficient sunshade. It can be ex¬ tended to eliminate all unnecessary light reaching USING TWO MASKS with V-shape cuts and sliding the two together as scene is shot, produces unique diamond-shaped iris-oit effect. the lens and works well with all but the longest focal length lenses. For further protection with telephoto lenses, a cut-out rectangular mask can be inserted in the front frame. The matte box as a filter holder: This is among the most popular uses of a matte box, since many of the light-balancing and color-correction filters are available only in gelatin squares. Since the gelatin material is thin and flexible it is usually mounted in a cardboard frame. Most matte boxes have grooves to take two filter mounts of this type. For copying slides and movie frames : The matte box makes an ideal support for copying color slides and movie frames. The slide to be copied is mounted on a cardboard panel into which a rectangle the size of the slide has been cut. A thoroughly cleaned glass plate also can be used, in which case the slide Continued on Next Page -< - METHOD OF shooting title text lettered on translucent panel with small cut-out to show scene in distance. - >► FOR EFFECT of camera mov¬ ing through keyhole, mask is mounted in rear frame of matte box and moved to¬ ward lens while filming. AMERICAN CINEMATOGRAPHER, MAY, 1963 291 MITCHELL Mark II Reflex Blimp Mark II Reflex Camera 16mm Mitchell ; PROFESSIONAL Hi-Speed & . Studio Camera 35mm Mitchell NC and Standard Hi-speed Cameras ■f 65mm Mitchell Studio BFC and 35mm BNC Advanced thinking . . . produces timeless designs. This proven Mitchell philoso¬ phy now expresses itself in the Reflex. The Mark II is only the first of a series of Reflex cameras for both the 35 and 16mm fields. “Reflex” or “Rack-Over” . . . there is a Mitchell camera for your application. For superior camera maintenance, reconditioned camera equipment, new project developments or new Mitchell camera information, write on your letterhead to Sales Department. MITCHELL CAMERA CORPORATION 666 W. HARVARD STREET • GLENDALE, CALIF. NOW REPRESENTED IN OVER 45 COUNTRIES THROUGHOUT THE WORLD. AGENTS IN YOUR COUNTRY ON REQUEST. MATTE BOX FOR EFFECTS Continued from Preceding Page is masked off with black paper or tape. This latter method is particularly recommended for copying movie frames. The illumination required for such copying consists of a regular photo¬ flood. studio light or SunGun placed several feet in front of the matte box, and with an opal glass placed between light and slide. "Freezing’' an image1: In this fre- quently-used and effective professional technique a subject is first seen com¬ pletely stationary — as in a still photo —then suddenly starts to move. Per¬ haps the scene might open with nor¬ mal movement then suddenly “freeze" for a few seconds, only to start moving again. First choose the frame — it must be sharp — where the action is to “freeze." If the scene is to open with a “freeze,’* this would be the first frame. It is then copied on the same type of film as the original, following the technique outlined previously. Make certain that the framing is exactly along the edges of the original frame to prevent dis¬ placement of the subject. The new “freeze" scene is then spliced-in at the proper place. Masking scenes with the matte box: The effect of viewing through a pair of binoculars, a keyhole or porthole is easily and accurately produced with the matte box. Since the outline of the mask in this effect should be slightly out of focus, the distance between the film plane and mask, and also the lens opening and focus settings must be carefully selected. No exposure com¬ pensation is necessary when shooting through a mask. Exposure should be based solely on the brightness of the background scene. The traveling mask: To produce the effect of the camera moving through a keyhole or other mask, move the mask toward or away from the taking lens while filming. Silhouettes: Some interesting effects can be obtained by shooting through silhouettes showing the outline of a window, doorway, gate, a rail fence, etc. The desired silhouette is cut out of a black paper or cardboard and mounted in the matte box frame, with the background scene visible behind it. In some cases it is best to have the silhouette in sharp focus, in others it may look more natural slightly out of focus. 7 he matte box for wipes : A ipes are created by moving a masking de¬ vice across the front frame of the matte box at the beginning or at the end of a scene. The outline of the mask must be reasonably sharp. The wipe mask can be in many shapes and can move in any direction, vertically or horizontally. For a diagonal wipe, the edge of the mask is simply cut diagonally to the matte box frame. Wipes should be rather quick and should never last more than two sec¬ onds. The movement must be as smooth as possible. It is always prefer¬ able to have the wipe move in the direction of the action. If, for instance, in a basketball game scene the action moves from left to right, the wipe should also move from left to right. Whenever a scene ends with a wipe, the next scene should open with a wipe, or a fade in. If a wipe, it does not have to be the same shape or move in the same direction as the closing wipe. Double wipes: Instead of using one masking device for a wipe, two may be used moving from opposite directions and wiping out (or wiping in) the image toward the center. This effect is especially effective with the mask edge cut diagonally to diamond shape or to a zigzag edge. Double wipes are most appropriate with scenes having their main subjects in the center of the frame. Effect of opening or closing center: A transition often found in professional films is the circle or square which opens or closes a scene, an effect readily obtainable with the matte box (see illustration). Two masks mounted in the front frame are equipped with a triangular cutout (angle of cutout about 60° ) . They are then moved to¬ wards or away from each other, de¬ pending on whether an opening or closing effect is desired. Ibis transi¬ tion is also most effective with scenes having subjects in the center of the frame. Superimposed wipes: The most pro¬ fessional-looking w-ipe effect is a double exposure of two connecting scenes. The technique is similar to making a lap- dissolve — it calls for a double-exposure of the wipe-out and wipe-in. The new scene actuallv wipes out the first one, creating an extremely striking effect. The first scene is wiped out by means of a black mask as described previously. The film is now rewound 292 AMERICAN CINEMATOGRAPHER MAY, 1963 to the beginning of the wipe-out. The new scene is opened with a wipe-in moving in the same direction as the wipe-out. It is most important that the speed of the newr wipe-in correspond to the speed of the wipe-out. Otherwise the dividing line between the twro scenes will be objectionably noticeable. Throughout the wipe, the new scene should cover exactly the area wiped off the previous scene, not more, not less. With a little practice this can be done with perfection. The matte box for split-frame scenes: The most familiar type of split frame scene pictures a person sharing a scene with himself. To obtain this ef¬ fect. right and left halves of the pic¬ ture are filmed separately with one half always masked off. The mask must be several inches in front of the lens to appear slightly out of focus. It is not mandatory that exactly half the frame be masked off. The masking can be done anywhere within a scene; ver¬ tical or diagonal splits are possible and a scene can be split more than twice. For instance, it is possible to combine four different sports in one scene, each covering *4 of the area, as frequently done in some newsreel openings. Split-frame filming is designed not only for comedy or mystery purposes, it has many applications in industrial and other professional filming. One can show a new and old building or piece of machinery simultaneously on the screen. In a sales promotion film or a television commercial one can show the old and new method of per¬ forming a task, or the advantages of one product over another, side by side on the screen. A chart showing sales or production figures can occupy half of a frame while the president of a company delivers his message on the other half, a title can cover part of the frame, a regular scene the re¬ mainder. Special split-frame effects: Some of the most striking split-frame effects seen in professional films, and usually WHEN CHANGING YOUR ADDRESS Please notify us at least four weeks in advance. BE SURE to give your Former address as well as your New Address. Our Circulation Department needs both addresses in order to properly identify your address stencil. Your cooperation will insure that American Cinematographer will con¬ tinue coming to you regularly without delay or omission of issues. Thank you. American Cinematographer produced in the laboratory, can be made w'ith the matte box. For instance, you can shoot a scene in which your own movie is shown on television. The scene is the interior of a room with a TV set facing the camera. The picture on the television tube is to show your own film, your children or pets playing on your home-produced dramatic show. It is only necessary to shoot this indoor scene with the television screen masked off, cap the lens and wind back the film, then super¬ impose over it the scene to be seen on television with everything but the TV screen area masked off. In a similar fashion, action can be shown on a projection screen. The matte box for titling: The Bolex Matte Box can also serve as a compact, portable titler, especially valuable for superimposing a black title over a live action scene. The title cell can be made in a number of ways: it can be painted, drawn or hot pressed on a sheet of clear acetate, or titling letters can be mounted on the acetate or the glass plate. The matte box for superimposed ani¬ mation: The matte box permits com¬ bining animation with live action scenes, an almost untouched field with limitless possibilities in all types of motion pictures. Here are some simple examples: A painted arrow can be superimposed over a live action scene, pointing out an important area on a machine, in a medical specimen, in an aerial view, in a motion study sequence. Charts or figures can be superimposed over the actual scene. The matte box for creative experi¬ ments: The matte box can be used to hold all types of other things in front of the taking lens, producing an almost unlimited variety of effects. A glass plate can be partly or com¬ pletely covered with a coating of vase¬ line or lipstick to add an element of mystery to a scene, or to produce an out-of-focus effect at the end or begin¬ ning of a scene. Scenes can be filmed through all types of glasses or plastic materials to produce deliberate distor¬ tions or through sheets of colored gela¬ tin. Effects that, up to now, have never been possible to produce in a practical manner on the original film can now be made easily by using a matte box in combination with today’s versatile 16mm cameras. B A booklet describing in lull detail how each of these matte box effects are made is available free from Paillard, Inc., 100 Sixth Avenue, New York 13, N. Y. — Editor. SALUTE TO 35 HISTORIC YEARS of the Visual Artistry of Academy Award Winning Directors of Photography Since the presentation of the first Acad¬ emy Award for the Best Film of 1927, 35 dramatic years have marked the significant contributions of the artistry of the Director of Photography to these distinguished films. Mitchell Camera Corporation is proud that 97% of all "Oscar" winning Best Feature Films have been produced with Mitchell equip¬ ment. We express our thanks to the Director of Photography for his lasting loyalty and confidence in Mitchell. To the Academy of Motion Picture Arts and Sciences we extend our apprecia¬ tion for their dedicated work to give all people, the world over, an awareness of the great talents, efforts and achieve¬ ments of the people of the motion picture industry. MITCHELL CAMERA CORPORATION 666 W. HARVARD STREET • GLENDALE, CALIF. NOW REPRESENTED IN OVER 45 COUNTRIES THROUGHOUT THE WORLD. AGENTS NAMES AVAILABLE ON REQUEST. AMERICAN (WNEMATOGRAPHER, MAY, 1963 293 BLACK $ REVERSAL PRINTING $ PROCESSING COLOR PRINTING OTHER SERVICES • Work Prints • Color-to-Color Prints • Color-to B & W Prints • Raw Stock • Ultrasonic Film Cleaner • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering FOR COMPLETE INFORMATION WRITE 723 Sevi/nth Ave.( New York 19, N.Y. . JU 6-2293 PRODUCERS SERVICE HOUSE Continued from Page 277 pleasing result. This project worked out very well and today the sequence is being used in an Army training film. In many cases, the producer comes to the service house for advice before he shoots a TV commercial requiring special treatment. This often saves him time and expense in his work because he then understands how the desired effects can he attained. A good example of this involved a film made for Eastman Kodak Company where the producer wanted a ghost shown throughout the production, dart¬ ing in and out of scenes in order to point out safety hazards and methods of correction. The Eastman film was in color but the producer wanted a white ghost. The service house recommended shoot¬ ing the ghost against a dark back¬ ground on black-and-white film. When this was done, the color film and ghost film were delivered to the serv¬ ice house. Here, the job required superimposing the ghost over the color scenes, at the same time maintaining a constant degree of transparency for the ghost. In order to maintain the position of the ghost in some scenes where the registration with the background scenes was critical, both conventional and aerial image projectors were em¬ ployed on the printer. In this man¬ ner, both films were projected, posi¬ tioned and photographed simultane¬ ously. In addition to repositioning many of the scenes to make the ghost fit properly, it was necessary to make a series of exposure tests in order to retain the desired ghost effect through¬ out the presentation. Another recent project required a glass of beer to be superimposed over a live background scene. The produ¬ cer wanted the scene to show through the clear beer but not through the foam and not through the stem of the goblet. This was accomplished by using color separations from a color negative to make mattes of the beer, then running the various elements through the printer. This allowed careful control over the degree of exposure and provided the desired ef¬ fect. The background scene was clear¬ ly visible through the beer and at the same time, the beverage appeared live and appetizing. Fig. 2 shows the three scene components: the outdoor scene, the glass of beer, and the beer super¬ imposed over the outdoor scene. Frequently, a producer wants an effect where people or objects must be shown in a size that is out of pro¬ portion with respect to surrounding props or scenery. In such scenes, closeup films are made of normal-size objects. Mattes are prepared and one film is blown up when it is projected on the printer to create the giant and midget effect. Some startling results are possible with this technique. One recent job involved a tiny Peter Pan alongside a mammoth jar of peanut butter, as shown in Fig. 4. Here, Peter Pan is actuallv a live person who moves around the jar and looks at it longingly. Occasionally, a producer comes to the service house with nothing more than an idea or a title and he wants creative help in developing this spark into the final product. A recent case of this kind dealt with the title scene for the feature movie “The Sky Above and The Mud Below.” The project involved artwork, design and photog¬ raphy. This job, shot on the anima¬ tion stand, showed a cannibal's spear and other unique animated effects that added a great deal of interest to the title scene. The background was stylized as a drawing to represent jungle surround¬ ings in New Guinea where the live action takes place. Ideally demon¬ strating the current demands that must be met by the service house today, this project utilized the complete fa¬ cilities of the art department. It de¬ veloped the concept, conferred with the producers until plans were ap¬ proved, then finalized the drawings. Lettering was prepared, overlay cels were made for moving objects, then FOR MORE INFORMATION about the shoulder-supported cameras and shoulder supports for 1 6mm cameras pic¬ tured on pages 284 and 285, write to the following: PANAFLEX 65 — Panavision, Inc., 1917 Pontius, Los Angeles 25, Calif. ECLAIR 16MM REFLEX — Eclai r International Diffusion, 1 2 Rue Gaillon, Paris, France. MITCHELL MARK II REFLEX — Mitchell Cam¬ era Corp., 666 West Harvard, Glendale, Calif. PRENZEL SHOULDER-POD — Distributed in U.S. by Cine 60, 630 Ninth Avenue, New York 36, N.Y., also Florman & Babb, Inc., 68 W. 45th St., New York. S.O.S. BODY BRACE — U.S. distributor is S.O.S. Photo-Cine-Optics, Inc., 602 West 52nd St., New York 19, N.Y. 294 AMERICAN CINEMATOGRAPHER, MAY, 1963 animation was accomplished by pan¬ ning-in certain objects and by mov¬ ing tlie camera to get transition ef¬ fects between titles. A great deal of work can go into a title; it can take hours or weeks to create the wanted results. The job depends on the amount of artwork required and on the complexity of the shooting. The producers service house is fre¬ quently called upon to prepare maps for documentary shows such as CBS’s “Twentieth Century’’ and NBC’s “Pro¬ ject Twenty.” The type of scene is often used to deal with troop move¬ ments, to illustrate a threat created by political situations, or to show the relationships between the two countries. In such cases, movement is represented by a moving line or by shaded areas. The work is performed on an Oxberry animation stand where lines or shaded areas on cels are super¬ imposed and moved over the map background. Sometimes the effect is accomplished by scratching off lines and shooting the process in reverse, or by actually panning a cel or line. From the problems described above, the reader can readily get the answer to the question “Why Is the Pro¬ ducers Service Business Booming? ”. The hard-pressed producer is in no position to maintain the staff of ex¬ perts and the costly machines that are needed for today’s jobs. Most impor¬ tant, he must hold his expense to a minimum to meet competition. He is able to do this by enlisting the aid of the producers service house to exe¬ cute the intricate and complex visual effects increasingly called for today in the scripts for TV commercials, indus¬ trial and other films. Here, high vol¬ ume production and modern equip¬ ment provide superior results at the lowest possible cost. ■ PHOTOGRAPHING FILMS FOR TELEVISION Continued from Page 280 lighting on sets for any of the TV shows I have photographed. Personally, I dislike flat lighting and I avoid using units such as cone lights from the floor, although I have on oc¬ casion used them for fill light. But I prefer more directional light, cross¬ lighting, more contrast — lighting with lots of guts. When you photograph films for tele¬ vision you have to be more careful in delineating action against backgrounds because the ultimate picture, as seen on home receivers, is small. A dark figure against a dark background on a TV screen is difficult to see. So a bit of edge or kicker light on the figure will at least suggest his presence in such a scene, even when TV reception is had. Ted McCord’s photography of the feature, “Two For The Seesaw,” is a fine example of light artistically and realistically used. No unnecessary or un-motivated lighting was employed anywhere. Where there was no call for it, McCord avoided use of back light and sometimes fill light. The same prin¬ cipal is valid for TV film lighting; however, one may have to use a little more separation, fill or accent light than might be used in shooting the same scene for theatre screens in order to compensate for the loss of detail in¬ herent in TV transmission. I am categorically opposed to using obviously un-motivated lighting. If. in a scene, a player is standing in shadow, as when under some overhanging shelf or ledge, for example, I won't worry too much about separation except that which I can control in the background in a natural way. Q — To summarize, then, wwuid you say that certain limiting fac¬ tors of the television medium and especially of the small screens of home TV receivers more or less dictate the lighting techniques em¬ ployed today by cameramen who photograph television films? A— Yes. ■ DID YOU KNOW . . . . . . that virtually all photosensitive ma¬ terials deteriorate with age. There may be a loss in sensitivity, a loss in contrast, or a growth in fog level, or all three? . . . that the exposure produced on a photographic material depends on the quality and amount of light falling upon it and the time during which it acts? . . . that granularity in a film increases with the density of the negative; hence it is important to avoid overexposure? Our service AMERICAN CINEMATOGRAPHER, MAY, 1963 295 Our service is better than ever now that our new plant is in operation CAMERA DOLLY Continued from Page 287 the same as wedges are driven for the same purpose under the timbers of con¬ ventional dolly tracks laid on the ground. The two tracks or rails are then laid on the platforms of the tri¬ pods and secured by bolts and wing- nuts. The rail sections are in short lengths to facilitate erection of the track to any suitable length. The tripods, rails and the camera “car” all are made of lightweight aluminum. Grooved plastic rollers serve as wheels. We found that plastic wheels provided a softer and therefore quieter run on the tracks than metal ones. We also learned that wheels should not be too small in diameter; smaller wheels create more vibration which seriously affect camera steadiness. The larger the wheels, the better, but this is a factor which depends upon one’s need for compactness of the equipment. When erecting the dolly tracks on uneven ground, there is never the need to move a single grain of sand or to smooth the surface with a shovel; the adjustable tripods take care of devia¬ tions in the ground surface, as already stated. The only time there is any dig¬ ging to do is when the tracks are used in wilderness brush areas, where a path for the camera operator must be cleared alongside the tracks so that he can walk along with the camera during the making of a tracking shot. This “pocket-size” dolly and track equipment was specifically designed for use with cameras such as the 35mm Arriflex and 16mm cameras of similar weight and size. For heavier cameras, such as a Mitchell BNC, it would be necessary to use more sturdy and heavier construction in both the tracks and the dollv itself. Capital FILM LABORATORIES, INC. 470 E St., S.W. • Washington 24, D.C. • District 7-1717 SOUND, EDITORIAL AND ALL MOTION PICTURE LABORATORY SERVICES EDITOR’S NOTE: Tracks and dolly similar to the author’s were used by cinematographer Joseph Brim, ASC. the early part of 1962. while pro¬ ducing and photographing the feature film, “Elodia” in Puerto Rico — an ex¬ perience he described in an article in the September, 1962, issue of Amer¬ ican Cinematographer , on page 540. The equipment was pictured in one of the illustrations and is reproduced in this issue, on page 287. We queried Ozols about this equip¬ ment, asking if he designed it. “The tracks and dolly pictured in Joseph 295 AMERICAN CINEMATOGRAPHER, MAY, 1963 WIDE FLOOD or MEDIUM FLOOD with only one housing, fingertip controlled! The new, versatile, 2-WAY DUAL’ Quartz-iodine lamps will not dim; reflectors will not tarnish. Units operate from 110-120 volts A.C. or D.C. with CONSTANT COLOR TEMPERATURES. DUAL-650 DUAL-IOOO Brun s article," lie replied, “were not designed nor constructed by me. As a matter of fact, my equipment was not built in Puerto Rico but right here in Venezuela. The equipment shown in the Joseph Brim photo is much heavier than mine and obviously constructed to support a much heavier camera, such as the Mitchell. “As to the origin of the tracks used by Brun, I offer the following: while working in Puerto Rico about two years ago, I encountered Jim Sheldon, an American and at that time the only professional motion picture prop man in Puerto Rico. He was also an ex¬ cellent carpenter, capable electrician and all around handyman. He was free-lancing — if such can be said about his profession — working for small local film producers and foreign mo¬ tion picture companies shooting on location in P.R. He was wonderfully inventive, an ideal trait for a prop man. He built a small sound stage for Delta Films and designed and built sets for Vigue Films — both local com¬ panies. “We got together one day over glass¬ es of La India beer, a local product, and together we discussed a possible solution for a mutual problem — the great need for and the lack of suitable camera dollies and tracks for Puerto Rico film production. The elevated, ‘pocket-size’ dolly-and-tracks idea was kicked about as a possibility. I saw no more of Jim Sheldon after that pleasant visit and shortly thereafter, returned to Venezula. “It is likely, however, that both of us again gave some thought to the idea we discussed, with the result we did something about it when the need for dolly and tracks again arose. One rea¬ son I believe the equipment used by Brun was made by Jim Sheldon is that it appears to be ruggedly built to ac¬ commodate the heavy motion picture production cameras which European and American film companies bring to Puerto Rico when on location there. Moreover, it is hard to believe that there is any other person in Puerto Rico capable of designing and build¬ ing such equipment. “And besides, there was the discus¬ sion we had about a ’pocket-size' dolly that day over a glass of beer." ■ Motion picture film swells during processing, shrinks during drying, and continuous to shrink at a decreasing rate throughout its life. (650 watts, 5.4 amps) 1 220 foot-candles, Wide Flood 390 foot-candles, Medium Flood (measured at 10 ft.) More than 2000 waits of studio light! | (1000 watts, 8.3 amps) 400 foot-candles, Wide Flood 850 foot-candles, Medium Flood (measured at 10 ft.) . . More than 5500 ivatts of studio light! PRICED TO SELL! INDUSTRIES P T 900 Presto professional tape recorder with Rangertone sync. Two-case model, all in like new condition, $450. Auricon Pro 200 camera with conversion to Mitchell-type magazines; amplifier, mike, all cables and cases, all like new, $775. Two Fairchild disc recorders as a unit, ampli¬ fier with all controls including vacuum thread control. A complete recording set-up in every way, all equipment in best of condition, $1075. Your correspondence invited on these or other equipment which may be for sale. ERNEST M. REYNOLDS 165 East 191st Street, Cleveland 19, Ohio Code 213, Victoria 9-5991 630 South Flower Street Burbank, California LINWOOD DUNN, asc Formerly head of RKO Studios Effects Dept. CREATIVE SPECIAL EFFECTS Complete Advisory and Technical Services From Story Ideas to Theater Screen. FULLY EQUIPPED LABORATORY AND STAGE FOR SPECIALIZED EFFECTS SERVICES IN 16-35-65mm Equipment Design o New Processes Over 30 Years of Major Studio Experience FILM EFFECTS of Hollywood 1153 N. Highland Ave., Hollywood 38, Calif. Phone: HO 9-5838 Cable: FILMEFX AMERICAN CINEMATOGRAPHER, MAY, 1963 297 One - Two - Three This ADVANCED Moy Visible Film Edge Numbering Machine simplifies matching 16mm to 35mm with direct numerical reference between both sizes.... $3750 STANDARD MODELS: Designed to edge number every foot of 16mm, 17'/jmm, 35mm films and simplify the task of checking titles and footage. MOY EDGE NUMBERING replaces cue marks, perforations, messy crayons, punches and embossing — does not mutilate film. Both negative and positive films can be numbered. Non-magnetic parts do not affect magnetic film . $2395 SPECIAL 16/35/70mm Combination . $4475 CONVERSION KITS: For changing operation from 16mm to 35mm or 35mm to 16mm . $875 HIM EDCE NUMBERS ARE EASY 10 SEE • Write for brochure S.O.S. PHOTO-CINE-OPTICS, Inc. SEE OTHER S O S. 602 West 52nd St., New York 19— Plaza 7-0440 Western Branch: 6331 Holly'd Blvd., Hollywood, Calif. OFFERINGS ON PAGES 273, 302, 306 AND 309 ■< - MAKE YOUR OWN NICKEL I CADMIUM BATTERIES FOR ARRIFLEX FT) PROVIDES & X3 COMPLETE DO-IT-YOURSELF KITS 10 VOLT Eight 11/4 Volt Nickel Cadmium Cells, All Wire, Cell Straps, Banana Jacks, and Hardware . . . plus & $A Q50 Instruction Sheet. I W Assembled $79.50 15 VOLT Twelve IV4 Volt Nickel Cadmium Cells, All Wire, Cell Straps, Banana Jacks, and Hardware ... plus Leather Case and Instruction Sheet. *7450 Assembled . $100.00 68 West 45th Street New York 36, N. Y. MU 2-2928 Specialized LIGHTING EQUIPMENT for MOTION PICTURE, STILL and TELEVISION STUDIOS Write on Your Letterhead for A Copy of Our Catalog J ^i(cle=0lic/avcb i mi ty)c 937 NORTH SYCAMORE AVENUE HOLLYWOOD 38, CALIF. ’THE BALCONY” Continued from Page 275 authority figures they represent and en¬ joying the adulation of the populace— so much so, in fact, that they decide to hold onto their assumed authority. They are promptly nullified by the Chief of Police who reminds them that he still controls the real power, that of force. In the final sequence, however, the Chief and the erstwhile leader of the rebels are ganged up on by the “ladies” of the establishment in a scene reminiscent of the climactic melee in “Suddenly Last Summer.” Stripped of their fancy uniforms and shorn of their protective phychological facades the two former “tigers” are turned out to skulk ignominiously through the streets of the city. The unperturbed Miss Win¬ ters then turns to the audience and advises the viewers to go to their own homes and beds where everything will be even phonier than it appeared to he in the film. If the plot seems confused, the satire is not. It is a brilliantly abrasive, some¬ times funny, sometimes shocking roar of protest against the false aspects of modern life. Sensibly, the producers of the film have cut through the nebulous symbolism of the play to expose the raw meat of the theme, and Director of Photography Folsey has managed to create a visual aura of almost-real fan¬ tasy without resorting to photographic gimmicks or arty optical effects. His photography in black-and-white and 185-to-l aspect ratio is smooth and rich in the highest professional style — quite unlike the poor photography that marks so many art films. Since the picture was conceived as an attempt to view the whole world as a thing of illusion, a motion picture sound stage was logically selected as the ultimate place of the illusion. Visually there was an effort to get onto the film a feeling of the essential sleaziness characteristic of the enormous backlot construction of major studios — empha¬ sizing that kind of cheap-beautiful tex¬ ture that seems to say: “This has been an illusion-making device that is now' weathered by the storm, hut still has a substance of its own.” Inside the stage there are no sets, in the conventional sense — only frag¬ ments of walls, caverns of darkness, pieces of canvas and pools of light; a melange of devices completely different from the sets used in an ordinary mo- 298 AMERICAN CINEMATOGRAPHER, MAY, 1*63 tion picture. Even the two areas that might conceivably be called sets, in the usual sense, are clearly established as not being that at all. The first, the Win¬ ters bed-chamber, is given an illusion of glamour and solidity by “walls” that turn out to be gossamer strands of cloth. The other is the office of the “establishment” — solid-looking enough on the inside, but quite obviously formed of backless and topless flats hut¬ ted together. In the establishing shot of the stage, the vast expanse seems to be dotted with tiny sets and pools of light. The sets are actually nothing but arrange¬ ments of tables, chairs, rugs and pieces of cloth hanging down beside frag¬ mentary walls or flats. A stairway, part of the permanent geography of the stage, which leads up to the catwalks around the ceiling, is also used. In material terms there was actually little, but it was made to take form through ingenuity. Standard tools of picture-making — such as backings, drops, photo-murals and newsreel clips were thrown to¬ gether in a helter-skelter mosaic de¬ signed to say: “Cast aside your ordi¬ nary way of looking at things and let go for a hit.” This is in key with the underlying idea of the film: that most people go through life playing a kind of charade, acting out roles that others expect of them, whereas what is really valuable is that which each person has as an individual, rather than the facade he assumes in order to conform to accepted standards. That idea is ex¬ pressed in the film by portraying real situations as charades, suggesting that everything in life is a pose, to a certain extent. Photographically the theme is car¬ ried out through the use of simple but effective techniques. For example, in one scene a realistic view of a Cape Cod cottage fills the screen. Suddenly a live character, all out of proportion to the cottage, walks in front of it and we realize that we have actually been view¬ ing a huge painted background mural. A similar effect is created when another player suddenly overwhelms a pano¬ ramic vista of Monument Valley. In another sequence, a judge harangues a sober-faced, attentive jury. Only when the camera cuts to a side angle do we realize that the “jurors” are actually life-size photographic cutouts mounted in a jury box. Long shots of the “establishment” en¬ compassed the entire sound stage, in- 1 XCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE new, improved super-efficient CINE VOICE CONVERSION Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion. \ • A true torque motor — Idles at V3 power, when camera is turned on. Assumes full power. This system prevents excessive heating. • Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc. • Veeder counter effectively silenced. • Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines. • Neon camera running light. Accessories Available: Behmd-the-lens filter slot $45.00 Lens Turret Lock for Zoom Lens operation $25.00 NEW ANGENIUX 12mm - 120mm ZOOM LENS "C" MOUNT WITH SIDE-VIEW FINDER IN STOCK! $895.00 CINE VOICE CAMERA CONVERSION $44500 (price does not include Mitchell magazines) At present we can promise delivery within 15 days. - • y-m.1 ■ - m3 8 1 John Fletcher, ABC cameraman, with Ray Emeritz, F & B’s Chief Engineer, who developed the new Cine Voice Conversion. Serving the World’s Finest Film Makers FLORMAN & BABB, INC. 68 West 45th St., New York 36, N. Y. MU 2-2928 3AISfl10X3 • M3N • 3AISm3X3 • M3N • 3AISfTOX3 Automatic Daylight Processing DEVELOPING TANK • Processes up to 200 Ft • 8mm- 1 6mm-35mm-70mrn • Movie — X-Ray — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated • Speedv dryinq • Automatic shrinkage allow¬ ance • Stainless steel and aluminum construction • Easilv assembled without tools • Compact, Portable Guaranteed. Write tor Free Literature 487-14 South Ave Beacon. N Y Micro Record Corp. Cieanatt . . . the phantom cleanser Advertised on radio KFI (NBC). Safel Con¬ tains no acids, caustics, ammonia or hydro¬ carbons. Made with an herb imported from Italy. Will positively clean movie equip¬ ment, stainless steel, porcelain cabinets, developing tanks, cutting tables, etc. Ex¬ cellent hand cleanser. $1.50 Money-back Guarantee CLEANALL BOX 548, BURBANK, CALIFORNIA Phone: TH 6-6860 AMERICAN CINEMATOGRAPHER, MAY. 1963 299 Professional Foot can c/le Meter SPECTRA * HOMING DIRECTO* 837 N. CAHUENGA BLVD. • HOLLYWOOD 38. CALIF. Lighting Directors will find their work made easier with this new SPECTRA instrument. Range, 0 to 300 foot candles, is extended to 3000 foot candles with X10 multiplier slide. Meter scale hand calibrated for extreme accuracy. PHOTO RESEARCH corp. FOR TV AND MOTION PICTURE LIGHTING QUALITY AND SERVICE 16mm BLACK&WMU REVERSAL NEGATIVE POSITIVE PRINTING COLOR Processing- COLOR PRINTING Work prints — Timed prints Color to Color prints — A & B roll prints Color to B & W prints- — Fades-Dissolves Dupe Negative — Multiple prints Raw stock — Fastex service Loop printing Write for complete information FILM LABORATORIES 350 W. 50th ST. • NEW YORK 19, N. Y. JUdson 6-7196 CURE TV CUT-OFF Specially designed and manufac¬ tured for F & B after careful mathe¬ matical computation, these TV cut¬ off mattes are ACCURATE. Simply position oneoverthe ground glass of your Moviola screen and see at a glance how the TV cut-off affects your picture. Fits all Moviolas (except Bullseye models). ALL SIZES-ONE PRICE $C75 O 3 for $15.95 Please send Moviola ground glass measurements with your order. Serving the World’s Finest Film Makers 68 West 45th Street N. Y. 36, N. Y. MU 2-2928 eluding the sound-padded walls. The stage, located at KTTV studios in Hol¬ lywood, measured 100 x 65 feet. A problem was to make it appear much larger, as if it extended to infinity. Shooting with an extreme wide-angle lens helped create this illusion, but something more was needed. Folsey conceived the idea of setting a group of studio lights in a perspective line that would stretch the full length of the stage. Instead of using lamps of uni¬ form size, however, he placed the largest lamp closest to the camera and graduated the sizes down to a Dinky- inky at the far end. The lamps were all set on dimmers so that their brightness would balance and the depth of the perspective was thus vastly increased. In one sequence Folsey was confront¬ ed with the challenge of lending visual interest to a long, empty hallway made up of loosely assembled flats and door¬ ways against a backdrop visible above the tops of the flats in the long shot. Having little in the way of props or set decorations to work with, he created a dramatic effect by bringing cross- light in through openings and shuttered windows, playing light against shadow. He also beamed shafts of light onto the backing in contrast to the dark edges of the flats, breaking up the solid ex¬ panse of wall by working one element against the other and increasing the illusion of depth through the forced perspective of the wide-angle lens. The resultant effect, far from being flat, has depth and texture on a highly dramatic level. Boldly defying cinematographic can¬ on, Folsey filmed one entire sequence, closeups and all, with an 18mm wide- angle lens. The action, which takes place inside a tent, involved the make- believe cavalry general in a startling dialogue with a ravishing female “horse’' equipped with her very own mane and an ersatz tail. The purpose of the unorthodox photographic ap¬ proach in this sequence was to include as much as possible of the provocative background in each composition, even when the camera moved in for big- head closeups. The inevitable distortion in the closer shots was not regarded as a liability; rather, it was welcomed as subtly intensifying the fantasy of the situation. In another somewhat revolutionary departure from standard filming tech¬ nique, the director encouraged the ac¬ tors to improvise their action rather than follow precisely blocked move- 300 AMERICAN CINEMATOGRAPHER, MAY, 1963 msrr ADDITIONAL FILMLINE FEATURES: • Double capacity spray wash • Dry Box and developer thermometers • Uniform tank sizes • Cantilever construction • Self-contained plumbing • Ball-bearing gear box • Oilless air compressor • Size 77" x 60" x 30" Weight approx. 650 lbs. Worlds’ Largest Manufacturer of Quality Engineered Film Processors Since 1945. Over 100 Other Processor Models Available including Color, Microfilm, Negative/Positive and Spray. The World’s Most Popular Film Processor! • Develops reversal film at 1200 ft. per hour • Negative-positive film at 1200 ft. per hour ggjfTTClA nji#%rfecri ca_ cc pp^ MODEL R 15 REVERSAL FILM - Model R-1 ONLY $4750 Complete* ' • Exclusive Overdrive — eliminates film breakage, automatically compensates for elongation, tank footage stays constant. • Easy-to-operate, fully automatic controls make this an ideal machine for unskilled personnel. • Variable Speed Drive — development times from 1 V2 to 12 minutes. • Complete Daylight Operation on all emulsions — no darkroom needed. • Feed-in elevator and 1200 foot magazine permits uninterrupted processing cycles. • Stainless steel tanks, air squeegee, recirculation fittings, air agitation tube, lower roller guards. • Forced filtered warm air drybox. When You Buy Quality - Filmline Costs Less! For additional information write: * Including Temperature Control System, Bottom Drains and Valves, Developer Re¬ circulation and Air Compressor. Lease & Time Payments available ment, the theory being that they would he able to concentrate on performance instead of being concerned with hitting specific marks. Since follow-focus now became somewhat catch-as-catch-can, Folsey decided to increase depth-of- field by lighting at a key high enough to permit stopping down the lens to f/8. He also switched from DuPont Superior 2 to the somewhat faster Eastman Double X. He had started out using a Fearless dolly, but soon discovered that this was not nimble enough to hold contact with the freely-improvising actors and that a great deal of time was being lost in re-laying dolly tracks. The problem was solved by substituting a crab dolly cap¬ able of swinging easily in any direction to cover unexpected moves. Admitting that such improvisation created prob¬ lems on the stage and in the cutting room. Director Strick. nevertheless, maintains that the results justify the means: “There are a couple of violent deliberate mis-matches in the picture.” he points out. “There is even one in which an actress changes from one costume to another in the midst of a continuous walk — with direct cuts made back and forth to the original IN STOCK! Available Immediately NEW ANGENIEUX IOX ZOOM 12mm-120mm f2.2 available for all 16mm cameras. 25mm-250mm f3.2 available for all 35mm cameras. Serving the World’s Finest Film Makers • Lowest Prices! • Trades Accepted! WRITE* WIRE • PHONE FLORMAN & BABB, INC. 68 West 45th St., New York 36, N. Y. MU 2-2928 AMERICAN CINEMATOGRAPHER, MAY, 1963 301 Rock -Steady Prints are YOURS with TEL-Amatic Prints color, black-&-white, reversal, sound or silent films with rock-steady professional precision. Has many out¬ standing features found only in much higher priced pro¬ fessional printers. Sufficient light is provided to expose fine grain film. Semi-automatic light change assures per¬ fect exposures. Write for brochure. PROFESSIONAL continuous contact sound & picture printer for 16mm or double 8mm films Only $1995 PRIKTFR S.O.S. PHOTO-CINE-OPTICS, INC. 602 WEST 52nd STREET, NEW YORK 19, N.Y. • Telephone : Plaza 7-0440 • Telegram: “FAX, N. Y.” WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Telephone: 467-2124 - SEE OTHER S.O.S. OFFERINGS ON PAGES 273, 298, 306 AND 309 ■< - - SAVE MONEY When Fiiming In Europe By Renting Your Camera Equipment From CHEVEREAU PARIS, FRANCE We Service The Entire Continent CAMERAS, including the Mitchell BFC 65mm CRANES DOLLIES 20 RUE DE LA CHINE PARIS 20, FRANCE Tels: MEN 9472. PYR 5104 Cable: Cameraloc Paris l°OK Ma, No STaNUS! That's right. Lowel-Lights attach virtually everywhere, without stands. Shooting in cramped quarters? Flying to location with minimum equipment? Lowel-Lights will save the day. They tape up on walls with non-marring Gaffer-Tape, clamp onto pipes, furniture, moldings, nail onto objects, balance on level surfaces. Work great on stands, too! Units fit in your pocket, so do the folding Barn-doors which attach instantly — without tools — to all R40 reflector bulbs. Lowel-Light system saves so much set-up time, it pays for itself the first day of location shooting. Fastest, most versatile, most compact incandescent lighting equipment ever designed! Fibre case 9" x 12“ x 4“ with 5 Lowel-Lights, Gaffer-Tape, space for 5 Barndoors $34.50 Vulcanized fibre case 14" x22" x 6" with 6 Lowel-Lights, 6 Barndoors, 2 P.I.C. stands, 3-25' extensions, Gaffer-Tape, holders for 6 R40 bulbs $124.50 Single Lowel-Light with porcelain socket, neoprene cord, Gaffer-Tape $6-95 Lowel-Light R40 Barndoor $5.75 Gaffer-Tape 12 yds. $1.95/ 30 yds. $3.95 LOWEL-LIGHT PHOTO ENGNR., 429 W. 54th ST., N. Y. scene — and nobdy notices it. I feel that too much attention is paid to the match¬ ing of backgrounds and action. Granted that this may improve the technical finish of a picture, there is danger of becoming a slave to the script girl, if you are not careful. I feel that if you are really getting something beautiful, whether it matches or not is unim¬ portant; and to stop the scene simply because someone has a handkerchief in the wrong hand is nonsense. As long as the dramatic itensity of the scene holds up, no one will notice the mis¬ match.” One of the most visually effective se¬ quences in the film involved action taking place between two huge oppos¬ ing mirrors set up directly across from each other, so that a multiplicity of images extended off into infinity. The only practical way to achieve the effect was to shoot through a transparent two-way mirror into the set. By taking a meter reading of the key light nor¬ mally used to light such a sequence and then taking another reading of the light through the mirror, Folsey estab¬ lished the fact that the mirror cut the light down the equivalent of three stops. As a result, he established the formula of lighting the set three times “hotter” than normal for the mirror shots and found that they printed the same as, and could be intercut with, scenes shot normally. He gives a great deal of credit for consistency of ex¬ posure in the film to use of the new improved Spectra meter developed by Karl Freund, A.S.C., maintaining that, "1 have found no other meter that does the job so well.” George Folsey, a camera pioneer in Hollywood, was for many years one of M-G-M’s top cinematographers, filming such outstanding pictures as: “The Ziegfield Follies,” “Meet Me in St. Louis,” “Green Dolphin Street,” “Ex¬ ecutive Suite,” “Forbidden Planet, and “Seven Brides for Seven Brothers.” Of his recent experience in photograph¬ ing “The Balcony” he says: “I have been a cameraman for forty-three years and 1 can t think of another picture that I've enjoyed more, had less trouble with and more satisfaction in doing.” ■ Use of Pola-Screen The use of a Kodak Pola-Screen for controlling brightness of the sky has a number of advantages over the use of color filters: The color rendering of o foreground objects is not altered, and the effect produced by the filter is easily determined by viewing through it. 302 AMERICAN CINEMATOGRAPHER, MAY, 1963 “INTERNATIONAL SHOWTIME” Continued from Page 288 time’s” executive producers and pack¬ agers, Lawrence White and Joseph Cates, found the mobility of 16mm equipment enabled the crew to get shots that would otherwise have been impractical to schedule. One of these was a high-wire act that was filmed with the camera high, near the top of the circus tent. The first complete color film show of '‘International Showtime” evolved from NBC’s decision to do a “color week” in October, 1962. Up to then, the show had been taped in black-and- white. At the time, there were no color taping facilities where the show was being shot. Originally it was intended that the show be shot in 35mm color, but in a virtual last-minute switch in plans the producers decided to use 16mm color and the Synchro- 16 technique. A show in Ravenna, Italy, was the first recorded in 16mm color. Though previous shows were recorded on tape and the news film crew doing the photography had little knowledge of “International Showtime” production techniques, some remarkable photog¬ raphy resulted from their initial efforts. Using lighter and more mobile 16mm equipment, the crew was able to move around the circus grounds for interest¬ ing shots as the tents were erected. Overlayed with titles, these scenes in¬ troduced the show. “The color made it just as exciting as real-life,” Grant said. “And there were some locations where a live TV camera couldn’t go, but were accessible to the 16mm film camera,” he added. The one-hour Ravenna show took three days to shoot, and 12 days of editing, cutting, mixing and production of answer prints. With more experi¬ ence, the 12 days of editing probably could have been cut to four. However, from what the producers learned in Italy, later they were able to shoot five one-hour Japanese shows in eight shooting days. (A one-hour Hollywood-produced dramatic TV show, like “Bonanza” and “Empire,” takes five to six days to film.) Director of Photography Joseph Brun, ASC, was accompanied by a crew of three from the United States. The balance of the film crew was Japanese. Brun’s color photography brought new visual ex¬ citement to “International Showtime” on the February 1 broadcast of the EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE WHAT’S A MINI MONITOR? IT LOOKS LIKE THIS: , 50 db. Flutter and wow: 0.12% maximum RMS in any single band. Distortion: < 0.18% maximum RMS overall total harmonic. Send for free 41 -page catalog describing recorders, dubbers, consoles and acces¬ sories. IflCflflSVflC- r SOUND SYSTEM Write, wire or phone MAGNASYNC N 5546 Satsuma Avenue, North Hollywood, California • TRiangle 7-0965 • Cable “MAGNASYNC' fl. '• juU J MARK I n 8® MARK 31 X-400 TYPE 1 TYPE 15 TYPE 5 pit MARK IH International leaders in the design and manufacture of quality magnetic recording systems AUTHORIZED DEALERS: CHICAGO, ILL. Behrend Cine Corp. 161 E. Grand, Ml 2-2281 Zenith Cinema Service, Inc. 3252 Foster, IR 8-2104 DALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. Southwest Film Labs 3024 Fort Worth St. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5166 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc. 6331 Hollywood, HO 7-9202 HOUSTON, TEXAS Cine Associates P.0. Box 98, Bellaire KANSAS CITY, MO. Barnard’s, 4724 Broadway, Country Club Plaza, LO 1-7761 Crick’s Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, MO. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman's 121 Fourth Ave., Dl 3-1869 CANADA, Islington, Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. SOUTH AFRICA Photo Agencies Pty. Ltd. 9 Kerk St., Johannesburg SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road BOLIVIA, La Paz Casa Kavlin Casilla 500, Calle Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42/56 ASIA: . AUSTRALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BURMA, Rangoon G.K. Theatre Supply Co., Ltd. 123 Sule Pagoda Road HONG KONG Supreme Trading Co. 60 Hennesy Read INDIA, Bombay Kine Engineers 26, New Queen's Road JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome, Chuo-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd., Rex Annexe THAILAND, Suriwong, Bangkok G. Simon Radio Co., Ltd. 30 Patpong Avenue EUROPE, Magnasync Office: SWITZERLAND, Geneva William P. Lear, Jr. P.0. Box 18, Airport Geneva 15 DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St., (W-l) Gordon Cameras Ltd. 45 Kensington High, (W-8) FRANCE, Paris Brockliss-Simplex S.A. 6. Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. ITALY. Rome Reportfilm, di J. M, Schuller Via Antonio.-Bertolini 31 /KJR/CQt/ /6m Sw/xf-On-fik fyt/M! ALL AURICON EQUIPMENT IS SOLD WITH A 30 DAY MONEY-BACK GUARANTEE. Mojrrs "CINE-VOICE II" 18 mm Optical Sound-On-Film Camera. * 100 ft. film capacity for 2% minutes of recording; 6-Volt DC Convertor or 115-Volt AC operation. * $967.00 (and up). "AURICON PR0-600"16mm Optical Sound-On-Film Camera. * 600 ft. film capacity for I6V2 minutes of recording.* $1871.00 (and up) with 30 day money-back guarantee. "SUPER 1200” 16 mm Optical Sound-On-Film Camera. -K 1200 ft. film capacity for 33 minutes of recording. * $5667.00 (and up) complete for ‘‘High-Fidelity" Talking Pictures. "PRO-600 SPECIAL” 16mm Light-Weight Camera. * 400 ft. film capacity for 11 minutes of recording.* $1,295.00 (and up). PORTABLE POWER SUPPLY UNIT — Model PS-21... Silent in operation, furnishes 115-Volt AC power to drive "Single System” or "Double System" Auricon Equipment from 12 Volt Storage Battery, for remote “location” filming. * $269.50 Strictly for Profit CHOOSE AURICON If it's profit you’re after irt the production of 16 mm Sound-On Film Talking Pictures, Auricon Cameras provide ideal working tools for shooting profitable Television Newsreels, film commercials, inserts, and local candid-camera programming. Now you can get Lip-Synchronized Optical or Magnetic Sound WITH your picture using Auricon 16 mm Sound-On-Film Cameras. Precision designed and built to "take it.” Strictly for Profit— Choose Auricon! FILMA6NETIC — Finger points to Magnetic pre-stripe on unexposed film for recording lip-synchronized magnetic sound with your picture. Can be used with all Auricon Cameras. * $960.00 (and up). TRIPOD — Models FT-10 and FT-10S12... Pan-Tilt Head Professional Tripod for velvet-smooth action. Perfectly counter-balanced to prevent Camera "dumping.’** $406.25 (and up). -X3LC. SSOS Romaine St., Hollywood 3 S , Calif. HO L.LYWOOD 2-0931 Auricon Equipment is sold with a 30-day Money Back Guarantee You must be satisfied. Write for your ^ free copy of this 74-page Auricon Catalog MANUFACTURERS OF PROFESSIONAL 16MM CAMERAS SINCE 1931 JUNE, 1963 AMERICAN ■ V Cinematographer Photographing ■ ■ is THE GREAT >XM2 O - X r~ C4 -Por I -< I O-r- O O > Ji.OX- O 33 O^T2 in — -< *no • z 30 o fnf&mational Journal of Motion Picture Photography and Production Techniques ESCAPE ■■i M\ m i • .. . pi IN THIS ISSUE WHEN THE ARMY HAS SHOOTING TO DO Looking in on the Army Pictorial Center. Page 348 HITCH-HIKE SYNC Simple method for syncing tape sound. Page 340 u JOURNEY TO THE STARS H How space-age movie hit was produced. Page 344 WIDE SCREEN MOVIES AND TV A proposal to standardize aspect ratios. Page 350 ROLL CUE! Recorded cue system for film narrators. Page 342 PREPARATION OF PRINTING LEADERS Accepted professional method described. Page 347 REPORT FROM COLOGNE Some new cameras shown at Photokina 63. Page 346 TECHNICAL QUESTIONS & ANSWERS • BEHIND THE CAMERAS r WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES • INDUSTRY NEWS EASTMAN FILMS for Television release prints on Eastman positive raw stock represent the highest possible standard of quality, and like all superior products, offer you REAL ECONOMY W. J. GERMAN, ... Eastman Professional Motion Picture Films HOLLYWOOD FORT LEE, New Jersey CHICAGO 6677 Santa Monica Blvd. LOngacre 5-5978 6040 N. Pulaski Road Hollywood 4-6131 IRving 8-4064 This 35mm motion picture camera was literally born a classic. Not through appearance alone ...but through function and performance! The very first Arriflex 35s, built in 1938, gave filmmakers un¬ precedented versatility, operating ease, technical ca¬ pabilities, and money-saving advantages. ..through a completely original optical system designed around a mirror-reflex shutter. One of the few genuine inno¬ vations in cine camera engineering since the days of Lumiere, Friese-Greene, and Edison . . . the mirror-reflex shut¬ ter is today's most desired and most imitated motion picture a classic in its own time! camera feature. It provides continuous through- the-lens viewing while filming . . . eliminates parallax! And it all but antiquates an assortment of finder correcting gear most other cameras still require. Wherever film releases must meet the highest standards of theater-quality, Arriflex 35s are chosen. They’re lightweight, so they make ex¬ cellent newsreel and location cameras; rugged, so they can take extremes of climate; dependably precise under all conditions . . . ideally suited for every assign¬ ment from missile tracking to full-scale studio productions! Write today for complete literature INCOMPARABLE VERSATILITY! The Arriflex 35 is shown: as a hand camera (left), with 400-foot magazine, matte box, and 16-volt variable-speed DC motor; and as a studio sound camera, fully blimped with 400-foot magazine (center); and with 1,000-foot blimp (right). CORPORATION OF AMERICA 257 PARK AVENUE SOUTH, NEW YORK 10, N. Y, AMERICAN CINEMATOGRAPHER, JUNE, 1963 315 NEWS for MITCH ELL CAMERA OWNERS FACTORY SERVICE DIVISION • Mitchell cameras from the world over arrive daily, leave promptly in like-new- condition after complete, precision work by Mitchell craftsmen. Special sound test room, critical quality control, original factory parts, and speed of service guarantee your satisfaction. INSTANT FILTERS • New 35mm filter punch saves time and expense by making exact size gelatin filters to fit any 35mm Mitchell camera filter holder. Pressing down on the upper plate cuts the precise shape required ; makes 6 filters from 3-inch square gelatin. A 16mm filter punch also to be available shortly. Write concerning your camera and service requirements. For brochures — address the Sales Department. til MITCHELL CAMERA CORPORATION 666 W. HARVARD STREET • GLENDALE, CALIF. NOW REPRESENTED IN OVER 45 COUNTRIES THROUGHOUT THE WORLD. AGENTS IN YOUR COUNTRY ON REQUEST. AMERICAN Cinematographer INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES 'iiiiiiiiiiiiiiiiiiMiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiiiiiiMiimiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiimiiiiiiiiiiiiiiiimiiiiiiiiiiiiiii JUNE, 1963 Vol. 44, No. 6 FEATURES Filming ‘The Great Escape’ . 336 Hitch-Hike Sync . 340 Roll Cue! . 342 ‘Journey To The Stars’ . 344 Report From Cologne 346 Preparation of 16mm Printing Leaders 347 When The Army Has Shooting To Do 348 Wide Screen Films and Television 350 DEPARTMENTS Industry News . 318 Hollywood Bulletin Board 322 What’s New In Equipment, Accessories, Services 324 Behind The Cameras . 328 Technical Questions & Answers . 334 ARTHUR E. GAVIN, Editor MARION HUTCHINS, Editorial Assistant OFFICES — Editorial and Business: 1782 No. Orange Drive, Hollywood 28, Calif. Telephone HOIlywood 7-2135. EASTERN ADVERTISING REPRESENTATIVE: Paul Gilbert, 489 Fifth Avenue, New York 17, N.Y. Telephone AX 7-5614. iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiniimimiiiiiiiiiiinimiiiimiimiiiiiiimiiiiiiiiiinimiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiimiiiimiiimiimiii AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. SUBSCRIPTIONS: United States and Canada, $5.00 per year; Foreign, including Pan-American Union, $6.00 per year. (Remit by International Money Order or other exchange payable in the U.S.) Single copies 50 cents; back numbers 60 cents; foreign single copies, 60 cents; back numbers, 70 cents. Advertising rates on application. Copyright 1963 by A. S. C. Holding Corp. Second-class postage paid at Los Angeles, California. 316 AMERICAN CINEMATOGRAPHER, JUNE, 1963 Bernard Dresner’s Choice for Important Assignments On-location assignments took award-win¬ ning cinematographer Bernard M. Dresner more than 62,000 miles in the last 12 months. They carried him around the world and from the Arctic wastes of Greenland to the jungles of Colombia, South America. Here’s what he has to say about his con¬ stant companion, Du Pont SUPERIOR 2. "In the Arctic I needed a wide latitude film that would give me continuous telecast quality against the glare of ice and snow. Wide-range SUPERIOR 2 filled this need perfectly-even on tricky close-up shots in¬ volving flesh tones against walls of ice. “In the Tropics-humidity 98%, tempera¬ ture 110 degrees- 1 needed a film with a heat stable emulsion, good gray scale and mildew resistance. Again, SUPERIOR 2 proved its reliability by performing per¬ fectly at all times.” Some of the recent awards won or shared in by Mr. Dresner are the Grand Prix (trave¬ Cinematographer Bernard M. Dresner (foreground) on location in Greenland using SUPERIOR 2 to film the CBS “The Twentieth Century" program, “City Under the Ice.” logue category) at the Cannes Film Festival, the Peabody Award, the Blakeslee Award, the Trans World Airlines Writing and Pic¬ ture Award and the Emmy Award. Dresner used Du Pont motion picture film for each of his prize-winning efforts in black-and-white. SUPERIOR 2 is just one of many Du Pont films-each designed to satisfy your motion picture needs. Film and data on them are available to you. Just write any of the Du Pont Photo Products Sales Offices listed below. ATLANTA 18, GA . 1737 Ellsworth Ind. Dr., N. W. 355-1230 CHICAGO 46, ILL. . . . 4560 Touhy Ave., Edgebrook Station. ORchard 5-5500 CLEVELAND 16, OHIO . 20575 Center Ridge Road. 333-3674 CLIFTON, N. J. . . 380 Allwood Rd., Allwood Station (New York). PLaza 7-0573 DALLAS 7, TEXAS . 1628 Oak Lawn Ave. Riverside 1-1404 * Du Pont’s registered trademark for its photographic film. HOLLYWOOD 38, CALIF . 7051 Santa Monica Blvd. Hollywood 9-5147 WALTHAM 54, MASS . 45-4th Ave. (Boston). TWinbrook 9-8300 WYNNEWOOD, PA . 308 E. Lancaster Ave. (Phila.). TRinity 8-2700 EXPORT, Nemours Bldg., Wilmington 98, Del. IN CANADA, Du Pont of Canada Ltd., Toronto cB0PDHt> **«.u.s.PAT.ofr. BETTER THINGS FOR BETTER LIVING . . . THROUGH CHEMISTRY INDUSTRY NEWS News briefs of industry activities , products and progress CAMART DUAL SOUND EDITOR MODEL SB11 1 Edit single and double system 1 6mm or 35mm optical sound. Edit single system magnastripe or double system magnetic sound. Use with any 1 6mm motion pic¬ ture viewer to obtain perfect lip-sync matching of picture to track. Works from left to right or right to left. Dual Editor (without viewer) . $195.00 Zeiss Moviscop Viewer . $96.00 Special Editor-Viewer Combination . . $269.50 TRAID SPLICER • Assures a perfect weld at all times with a durable safe hot splice. • Found on all professional editing tables. • With Carbide scraper blade. Model 1 35 — 35mm or 16mm.. $339.00 Model 1 1 6 — 1 6mm or 8mm.... $239.00 CAMERA MART FILM EDITING WORKSHOP SEMINAR I October 7-11, 1963 I Over 50 Scheduled Speakers A comprehensive seminar on I all aspects of film editing of I interest to film editors in in¬ dustry, governments and j schools. No charge for attend¬ ance. If you are interested in at¬ tending, write the Camera Mart for aoplication form. Arriflex Honors American Representative The coincidence of Photokina 63 and the Tenth Anniversary of the in¬ troduction of the 16mm Arriflex pro¬ fessional motion picture camera in the United States was highlighted by the presentation of a silver trophy to Mr. Paul Klingenstein (right, in photo above), President of Arriflex Corpora¬ tion of America. Presentation was made in Cologne by Dr. Robert Richter (L) President of Arnold & Richter. Mr. Erich Kaestner, Chief Design En¬ gineer of Arnold & Richter, shares in the happy event. Acknowledging 10 years of tremen¬ dous growth, the trophy is inscribed : “To Arriflex Corporation of America In Recognition Of Outstanding Arriflex Success In The U.S.A. From Arnold & Richter, KG, Munchen, March, 1963.” • TV Film Production Off To Good Start With a record 3500 employees on its payroll. Revue Studios last month was busiest studio in Hollywood. “What might develop into a new era of em¬ ployment in Hollywood,” said The Hol¬ lywood Reporter, “is under way at Revue which during the next four weeks will employ approximately 3500 persons as it swings into peak telefilm production. This is a record for a tele- filmery, and tops many feature studios’ all-time job marks.” Meanwhile, National Broadcasting Company set up a film unit in Holly¬ wood to produce telefilms. Heading up new unit is Felix Jackson. NBC-pro¬ duced films will augment filmed shows from other suppliers, the company re¬ ports, and added it is building its own film organization for more NBC-pro¬ duced shows in Hollywood. Hollywood Feature Film Production Rising Production of feature films by the Hollywood studios took another upward jump last month; there were 30 films before the cameras May 10 as com¬ pared to 28 the previous week, and 25 the week before. Of the 30 features, 19 were shooting in Hollywood — the rest out of the state or on location overseas. New Equip ment Purchases Seen For Proposed Super Film Center In the event Columbia Pictures, MGM and 20th Century-Fox undertake the plan presently under consideration to jointly erect a vast new modern film studio in Malibu, California, it will be equipped with all new camera, lighting and sound recording equipment, it is reported, giving the production com¬ panies working there the finest film making set-up to be found anywhere. A primary consideration in building a completely modern production cen¬ ter, spokesmen for the studios said, is to enable Hollywood more effectively to compete in today’s world market. “There is now greater opportunity for profitable growth than at any time in film history,” they pointed out. • B. G. Tubbs Elected President Of Mitchell Camera Corp. B. G. Tubbs, who joined Mitchell Camera Corp. of Glendale, Calif, in 1961 as Vice-president and General Manager, last month was elected to the company presidency. The company also announced the promotion of Paul Piper, formerly Financial Control Manager for the company to Assistant Treasurer. In addition to manufacturing the famous Mitchell NC and BNC 35mm motion picture cameras, the standard in most motion picture studios for years, the company also is active in special camera design and production for CBS, U.S. Army, Air Force, and the Navy. • Gevaert Company Expands The Gevaert Company of America, Inc., has opened a new branch office near Detroit to serve film makers in the Great Fakes area. Focated at 27236 Southfield Road, Fathrup Village, Continued on Page 320 318 AMERICAN CINEMATOGRAPHER, JUNE, 1963 Your Copy Is Waiting Unless you’ve already received a copy, it's idling away the time here, awaiting your request. Who Needs Tf9 JL l • Our customers, for sure, and maybe our competitors and their customers. What’s Inside? Precise information on costs of process¬ ing 35mm and 16mm color and black-and-white motion picture film and slide films, including developing, dailies, trial prints, release prints, dupes, internegatives, interpositives, A & B and additional roll printing, coding, etc., etc. GENERAL FILM LABORATORIES A DIVISION OF PACIFIC INDUSTRIES, INC. GENERAL FILM LABORATORIES 1546 N. ARGYLE, HOLLYWOOD 28, CALIFORNIA AREA CODE #213 • HOLLYWOOD 2-6171 Send copy of price list to: Name _ Address _ City _ Zone _ State. AD #2-6 1 New ECCO Improved Model D For 16mm & 35mm Cleans — Lubricates Prevents Dust Static Speedroll Applicator Model D Clean and inspect you film in one easy opera¬ tion. Operates effectively at several hundred feet per minute. Save time, fluid, labor and money. Lifetime bakelite construction. Elimi¬ nates waxing. Absolutely safe and NON¬ TOXIC . . NON-INFLAMMABLE. Widely used by schools, colleges and film libraries. Model D Applicator with one gallon Ecco #1500 cleaning fluid . . $45.00 Ecco No 1500 cleaning fluid, gallon . $9.00 Ecco No 2000 cleaning fluid for NEGATIVES, gallon . $7.00 Acetone, per quart . $1.40 Ethyloid Film Cement, pint . $2.00 Film Handling gloves, per dozen . $1.95 3 NEW CAMERA MART ACCESSORIES new GTC-59 LENS CLEANER & PROTECTOR • Anti-Fog • Anti-Static Ideal for lenses, cameras, condensors, reflectors, optica! equipment, etc. V '/ 6 oz. can with Spray Applicator $1 .65 each Case of 12 J $1 .00 each <**«. t/'W' LIQUID INSULATING TAPE Just Brush it on Those Hard-To-Tape Places Designed for use in electrical in¬ stallations, maintenance and re¬ pair. Prevents shorts, shocks. 2 oz. Bottle $1.65 each Case of 12/$1.00 each Restores, Quiets, Lubricates nntf/acf Completely safe for sound pro¬ jectors, amplifiers, studio rec¬ ording equipment and editing equipment. Non-inflammable. Used for all gummy parts — instantly cleans and deposits a hard bonded dry lubricant. 2 oz. Bottle $1.00 each Case of 12/75c each Write for complete literature. All Prices F.O.B. N. Y. MHR7 1845 BROADWAY (at 60th St.) NEW YORK 23, N Y. • PLaza 7-6977 INDUSTRY NEWS Continued from Page 318 Michigan, it is headed by Fred Schaetz- ing, formerly company sales manager, Chicago district. New office brings to eight the number of Gevaert branch offices and warehouses located through¬ out the United States. HAL MOHR, ASC Hal Mohr, William Daniels On Academy Board For 1963-64 Hal Mohr, ASC, representing the Cinematographers Branch, was re¬ elected last month for a two-year term to the 1963-64 Board of Governors of the Academy of Motion Picture Arts and Sciences, Hollywood. William H. Daniels, ASC, who was elected to the Board last year, also represents the Cinematographers Branch of the Acad¬ emy. Wendell Corey is Academy Pres¬ ident. o Behrend’s, Inc., Opens Office In Cleveland Behrend’s, Inc., Chicago, last month opened its Cleveland, Ohio, office at 4019 Prospect where it will specialize in the sale and rental of motion picture equipment, including cameras, lights and editing equipment. Heading the office is Mac Blair. SPIE Sets Symposium Date The Society of Photographic Instru¬ mentation Engineers will hold its 8th Annual Technical Symposium at the Los Angeles Ambassador Hotel, August 5 through 9, 1963. The five-day meeting will offer tech¬ nical papers, seminars and workshop sessions covering the advanced tech¬ niques of photo-optical data acquisi¬ tion, storage, retrieval and assessment and relate this science of precise measurement to the demands of the aerospace age. An extensive exhibit of instruments and materials will be on display. India To Start Raw Film Manufacture The state-owned raw him plant at Ooty, in India, is expected to go into production sometime early in 1964, ac¬ cording to report in Journal of the Film Industry, motion picture trade paper published in Bombay. SMPTE Mulling Expansion Three national photographic engi¬ neering societies are proceeding with merger plans following preliminary ap¬ proval by their governing bodies. They are: Society of Motion Picture and Tele¬ vision Engineers (SMPTE), the So¬ ciety of Photographic Scientists and Engineers (SPSE), and the Society of Photographic Instrumentation Engi¬ neers (SPIE). Heading the liaison committees have been Ethan M. Stifle of Eastman Kodak Co., who is execu¬ tive vice-president of SMPTE; George Eaton of Eastman, representing SPSE, and A. J. Carr, executive secretary of SPIE. If the consitution and plans are ap¬ proved by the boards of the three societies, they will be submitted to a referendum of the individual members. • Video Film Labs Moves Video Film Laboratories, specialists in 16mm him developing and printing, has moved to new and larger quarters at 311 West 43rd Street, New Vork City. Victor Duncan Now In Dallas Victor Duncan Company, Detroit, has established a branch office at 9009 Freeport Drive, Dallas, Texas. The company, which has long been estab¬ lished in renting professional motion picture cameras and accessories, will now offer Mitchell, Arriflex and other cameras to him makers from both its Detroit and Dallas offices. Henry Koko- jan heads the Dallas branch. Byron Haskin To Head Daystar Special Effects Byron Haskin, veteran cinematogra¬ pher and director who for eight years was head of special effects for Warner Brothers, has been signed by Daystar Productions, Hollywood., to create and supervise special effects for the com¬ pany’s new science-fiction TV him series “The Outer Limits,” now in pro¬ duction at KTTV and MGM studios. • 320 AMERICAN CINEMATOGRAPHER, JUNE, 1963 Call ... 24 hours around the clock! Our several floors of rental inventory puts us in a position to offer LIGHTING EQUIPMENT, GRIP EQUIPMENT GENERATOR TRUCKS and ACCESSORIES to supply your immediate needs. Be it an inkie or a tener, should bulbs blow or extra cable be needed, the whole line including generator trucks is available at any time! Since 1021... 333 WEST 52 STREET. NEW YORK 19, N.Y. Circle 6-5470 RENTALS SALES SERVICE Send for a schedule of rental rale s LARGEST SUPPLIERS IN THE EAST: Motion Picture, TV Lighting and Grip Equipment, Props, Generators AMERICAN CINEMATOGRAPHER, JUNE, 1963 321 HOLLYWOOD BULLETIN BOARD News briefs about the A.S.C., its members, and important industry personalities HARRY STRADLING, ASC Stradling To Film “Fair Lady” Warner Brothers has signed Harry Stradling, ASC, to direct the photogra¬ phy of “My Fair Lady,” which goes before the cameras at the Burbank studio August 1st. The production, which stars Audrey Hepburn and Hex Harrison, will be photographed in Super-Panavision 65 and color. Di¬ rector is George Cukor. Stradling re¬ cently completed the color photography of “Mary, Mary,” a Mervyn LeRoy production for Warner Brothers. Fredericks Filming “7 Days” Ellsworth Fredricks, ASC, is direct¬ ing the photography of “Seven Days In May” at Paramount studios in Hol¬ lywood. The Seven Arts-Frankenheimer- Joel Production, which began shooting May 17, stars Burt Lancaster, Kirk Douglas, Fredric March, and Edmond O’Brien. Upon completion of studio shooting, the company is scheduled to do location filming in Washington, D. C. Mohr Filming Documentary ASC-prexy Hal Mohr is directing the color photography of a 90-minute commercial documentary film for the makers of Listerine. Film, which will trace the origin of the Listerine for¬ mula and stress the germicidal values of the product which have made it a household word for decades, will in¬ volve extensive location photography. GEORGE FOLSEY, ASC Cinematographer Folsey Cited For Best Color TV Commercial George Folsey, ASC, last month was honored with a special citation of the American TV Commercials Festival which held presentation ceremonies at the Waldorf-Astoria Hotel in New York, May 24th. The citation was for Best Color Cinematography of a TV Commercial and was sponsored by Radio Corporation of America. The specific commercial for which Folsey won the citation was for Ford Thunderbird, titled “How Would You Like,” produced by Group Productions for the J. Walter Thompson Co. ad¬ vertising agency. Citation for Best Black-And-White Cinematography of a TV Commercial went to Leonard Hirschfield for the Sprite Soft Drink commercial “Spice,” produced by VPI Productions. Award was sponsored by Eastman Kodak Co. Laszlo Shooting “4 For Texas” “Four For Texas,” which went be¬ fore the cameras at Warner Brothers Studio May 24th, is being photo¬ graphed in color for Technicolor re- ERNEST LASZLO ASC lease by Ernest Laszlo, ASC. Heading the cast is Frank Sinatra, Dean Martin, Anita Ekberg, Bette Davis, Victor Buono and Charles Bronson. Producer- director is Robert Aldrich. Daniels Filming “The Prize” MGM’s Panavision-Metrocolor pro¬ duction, “The Prize,” starring Paul Newman, Edward G. Robinson, Elke WILLIAM DANIELS ASC Sommer and Diane Baker, went before the cameras in Culver City May 13th. Directing the photography is William Daniels, ASC. Daniels, incidentally the “most re¬ cent” past-president of the ASC, was guest of honor at the Society’s May dinner-meeting, at which time he was presented with a plaque commemorat¬ ing his services and contributions to the ASC during his two-term presi¬ dency. Bob Tobey Filming “Hawaii Calls” Pilot Bob Tobey, ASC, who photographed many of the “Hawaiian Eye” TV films for Warner Brothers, left for Honolulu June 1st where he will direct the pho¬ tography of the pilot film for the pro¬ posed “Hawaii Calls” TV series. Pilot will be made in 16mm color and will feature Webley Edwards, original M.C. for the “Hawaii Calls” radio program. Incidentally, Tobey and fellow cine¬ matographer Jack Russell, ASC, have been exchanging birthday cards for the past 33 years — the same card! Both being Scotch, the idea is under¬ standable. Over the years, each has saved also the envelopes in which the card is received and all accumulated envelopes, together with the original card with some new message appended, have been remailed — or as the accumu¬ lation grew — have been shipped by messenger or express. Last year Bob Tobey shipped the lot to Russell in an old steamer trunk, which was deposited in front of his garage the evening of his birthday, May 15th. Now Tobey, whose birthday is in October, awaits Russell’s move to top him. Meanwhile, Tobey gave new impetus to the gag when he prevailed upon Russell's brother ASC members to send him birthday cards this year — duplicates of the original card, which Tobey had copied and supplied to them. ■ 322 AMERICAN CINEMATOGRAPHER. JUNE, 1963 AURICON PR0-600 SPECIAL EVEN THE ON-OFF BUTTON IS MUTED 400 FT^su;iM,N- --one of many reasons an Auricon 16mm Pro-600 Special gives you perfect sound without a heavy, expensive blimp Silent operation is built into the Pro-600 Special. As a result, you can get high-quality sound even under difficult acoustic conditions without a blimp. You save as much as 75 pounds and $1800! A superb photographic instrument, the Pro-600 Special gives you a rock-steady picture with perfect frame-line registration. Takes a 400- or 600-foot magazine; records either optical or “Filmagnetic” single system sound, as well as double-system sound. GET THE FULL STORY WRITE FOR YOUR FREE COPY OF THIS 74-PAGE AURICON CATALOG. GUARANTEE j§ All Auricon Equipment is sold with a 30-day money-back Guarantee and a one-year Service Warranty. You must be satisfied! \j~~. You can carry twice the weight and pay three times the price, but you can’t get better 16mm sound-on-film pictures than you get with an Auricon. Investigate the Auricon Pro-600 Special now. ATJKICOIff, Inc. €3 902 Romame Street Hollywood 3 S , California AMERICAN CINEMATOGRAPHER, JUNE, 1963 323 from HOLLYCAM ARRIFLEX 16 Complete Outfit • Arriflex 16mm Camera • Matte Box • 8V Wild Motor • 25-75mm Zoomar lens • 8V Nickel Cadmium Battery • Built-in Charger • 400' Magazine • Torque Motor • Carrying case • Excellent Condition $2195.00 Arriflex is the only truly professional 16mm life-weight, hand-held camera. Focus, view and shoot thru the extra - bright, reflex, thru-fhe-lens system. Cam¬ era has built-in tachometer, pilot pin registration movement, divergent 3 -lens turret, frame & footage counters, con¬ toured hand grip, etc. HOLLYWOOD CAMERA CO- 6838 Sunset Blvd. Hollywood 28, Calif. Phone: HO 6-1318 I WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES COLORDYNE DIMMER The ColorDyne-1000 is compact dim¬ mer for use with incandescent or quartz-iodine lamps in any combina¬ tion up to maximum of 1000-watts. Permits use of 3350°K and 3450°K Q-I lamps at 3200°K without filters, extending life of lamps to about 100 hours; is said to extend life of in¬ candescent lamps 50 per cent. Control range is from zero to full intensity through a single adjustment knob. Pro¬ vision for remote control unit. Color- Trail Industries. 630 So. Flower St., Burbank. Calif. INSTANT FILTER MAKER Mitchell 35mm filter punch cuts ex¬ act size gelatin filter squares quickly and accurately. Pressing down upper plate of device cuts filters from gelatin stock which fit any 35mm Mitchell camera filter holder. Six filters can be cut from one 3-inch square of gelatine material. Mitchell Camera Corp., 666 West Harvard St.. Glendale. Calif. ARRI LENS ADAPTER New Cin-Ar lens adapter doubles the value of Arriflex lenses by permitting them to be used also on “C” mount cameras. Construction is rich looking, black anodized aluminum, precision turned and internally flocked to pre¬ vent light reflection. List price is $16.50. Designed and manufactured by Birns & Sawyer Cine Equipment Co., 6424 Santa Monica Blvd.. Hollywood 38. Calif. NEW PROFESSIONAL SUN GUN Newest Sun Gun photo light (model SG-63A ) weighs but 3!/6 lbs. and can be held in one hand. It is equipped with a 1000-watt high-silica halogen lamp in non-tarnishing reflector, and produces 65.000 center-beam candle- power with a color temperature of 3400°K at 120 volts. Head is adjust¬ able through a tilt range of 90°. Fea¬ tures include locking, rotatable two- leaf barndoors, head-angle positioning arm and lock, channel that accommo¬ dates flood or portrait lenses, and 12-ft. cord. Sylvania Electric Products, Inc., New ^ ork 17, N. \ . POWER CONVERTER Available for sale or rental from Camera Service Center, Inc., 333 West 52nd St., New York 19. N. Y.. is new CSC Rotor Converter location power pak for converting 24-v power to 115-v 60 cycle A.C. The ruggedly-built unit Continued on Page 326 324 AMERICAN CINEMATOGRAPHER, JUNE, 1963 AN ULTRA- SONIC Boor " BOON 1. A welcome benefit; blessing. — Webster The Lipsner-Smith ultra-sonic film cleaning machine was first introduced to the Hollywood motion picture industry by Consolidated Film Industries. Thru close user-manufacturer collaboration and under actual working conditions, CFI technicians helped develop the original machine to today’s practical** and efficient machine. Now, ultra-sonic cleaning has become standard procedure for negative cleaning in film processing laboratories throughout the world. A famous first from CFI. One of many in its 40+ years of serving the film industry. **STILL ANOTHER FIRST FROM CFI is the recent development of a solvent recovery sys¬ tem that further extends the use of ultra sonic cleaning. CONSOLIDATED FILM INDUSTRIES 959 SEWARD STREET • HOLLYWOOD 38, CALIFORNIA • HOIlywood 2-0881 • AREA CODE 213 • HOIlywood 9-1441 AMERICAN CINEMATOGRAPHER, JUNE, 1963 325 THE WORLD'S FINEST SYNC TAPE RECORDER St^IIaVQX' Sm5 The lightest (5 lb. 10 oz.), smallest (2i/2"x5"xl0") truly professional (broadcast- quality) portable instrument of its kind in existence, it is Swiss-precision engineered, still plenty rugged on loca¬ tion where it has to be. And it carries its own power with it (new Dryfit rechargeable storage cells). Other Features include: • MANUAL AND FULLY AUTOMATIC VOLUME CONTROL • SYNCHRONIZATION with 16 and 35 mm cameras • ACCESSORIES Remote control by Wire or Wireless, Eveready Case, Automatic charger, Panel light AVAILABLE FOR IMMEDIATE DELIVERY Plus Accessories Stop in, call or write for a FREE DEMONSTRATION and complete technical informa¬ tion. (NY, Hollywood or Hia¬ leah) CAMERA EQUIPMENT CO., INC. Subsidiary of CECO Industries NEW YORK. N T. 315 West 43rd St. • IU 6-1420 HIALEAH, FLORIDA 51 East 10th Ave. • TU 8-4604 HOLLYWOOD. CALIFORNIA 6510 Santa Monica Blvd. • HO 9-8321 WHAT’S NEW Continued from Page 324 is completely enclosed and specially mounted for silent and vibrationless operation. The 750-watt output is suf¬ ficient to operate two Mitchell cameras, tape recorder and all accessories con¬ tinuously for two hours or for eight hours of intermittent shooting. MINI-MONITOR Florman & Babb, Inc., 68 West 45th Street, New York 36, N. Y., announces the Mini-Monitor, first miniature, tran¬ sistorized, battery-powered, magnetic sound reader complete with amplifier and speaker. Weighing less than 8 oz., Mini-Monitor is about same length and width as a pack of cigarettes — 5"x3"x2". The Mini-Monitor has multiple uses: for field and location checking and play-back o’f magnetic tape; it can be attached to a Moviola, editing table synchronizer, recorder or sound pro¬ jector or wherever magnetic tape is used. Auxiliary uses are: as a portable public address system, a projection booth speaker, playback monitor for tape recorders, phono amplifier, re¬ mote speaker systems, and 8mm mag¬ netic sound reader. The Mini-Monitor has both low and high impedance in¬ put and will drive an auxiliary speaker up to 8" in size. Price complete is $49.50. 1-TO-lO ZOOM LENS Designated the Zoom 10X25, this new Angenieux 35mm, f/3.2 zoom lens is said to compare closely with standard optics over the entire range of focal lengths from 1" to 10". Lens is IOI/2" long and has maximum diameter of 41/2". Its long back focal length of 2.35" makes lens adaptable to all 35mm motion picture and instrumenta¬ tion cameras. Zoomar International, Inc., Glen Cove, L.I., New York. FILM SLITTER Designed for high-production, high- accuracy slitting of 8mm motion pic¬ ture film. Dual-takeup feature permits simultaneous slitting and rewinding. Slitting wheels can be resharpened in¬ definitely without altering the dimen¬ sional characteristics of film after slit¬ ting. Model SL-100 complete and ready to operate, $2,500, F.O.B. Milford, Conn. Manufacturer is Filmline Cor¬ poration. CINE-VOICE CONVERSION S.O.S. Photo Cine Optics, Inc. an¬ nounces a balanced Cine- Voice conver¬ sion and an improved Transist-O-Sound amplifier with an exclusive built-in limiter. The S.O.S. conversion consists of cutting down the Auricon Cine-Voice camera to the lowest practical point and mounting a machined and ano¬ dized plate assembly to accept standard Mitchell 400-ft. or 1200-ft. magazines. Installation includes an external, silent torque take-up motor to handle loads from 400 to 1200 feet, and includes a footage counter. Cost of the conversion is $495.00. The new Transist-O-Sound amplifier for use with converted camera weighs 2% lbs. with the added exclusive fea¬ ture of a built-in limiter. The new Model 2CSA/L offers two low micro¬ phone input impedances of 35 or 250 ohms, permitting high quality broad¬ cast type mikes to be used at front un¬ der the lens. Separate gain controls for each channel makes possible 20% more microphone gain per channel. Frequency response is flat within 1 db from 15,000 cps, equalized for the Auricon galvanometer. The new Transist-O-Sound is avail¬ able either as a permanently attached unit with no wires or as a separate unit which can be quickly attached through tripod stud holes. ■ 326 AMERICAN CINEMATOGRAPHER, JUNE, 1963 Now it’s all head (no handle)— easier to mount with a new universal post clamp. Now it comes complete with a new transistorized SYLVAC(™> Control that lets you dial the color temper¬ ature you need for each shot. And it’s a complete, portable, studio lighting sys¬ tem priced lower than you would ever imagine. The new 3Vfc-lb. SUN GUN Photo Light is equipped with dual leaf rotating and locking barn doors that turn a full 360°. And there’s a full range of standard and optional accessories that lets you do virtually anything with the light from its powerful 1000-watt lamp. The new SYLVAC Control tells you the exact voltage across the lamp, allows you to dial the precise color temperature you require— gives you quick, easy, finger¬ tip control of light intensity and lighting ratios for black-and-white work, too. It comes in two models: SV-9 for controlling one SUN GUN photo light, SV-20 for controlling two. Details? Ask your dealer— or write Sylvania SUN GUN Products, Sylvania Electric Products Inc., 730 Third Ave., New York 17, N. Y. SYLVANIA SUBSIDIARY- or (•Mll/u) GENERAL TELEPHONE ^ELECTRONICS \S1§/ AMERICAN CINEMATOGRAPHER, JUNE, 1963 327 Lae-TV In a word that dividend is quality. The kind of quality processing your invest¬ ment deserves. Quality that has made Lab-TV the east's #1 source for re¬ versal processing. There aretwoother dividends you can count on from Lab-TV. 1. Fast Reliable Service. 2. Fair Competitive Prices. Could you want more? THE LAB FOR REVERSAL FILM 16mm BLACK & WHITE REVERSAL PRINTING & PROCESSING COLOR PRINTING OTHER SERVICES: * Work Prints • Color-to-color Prints • Color-to- 8&W Prints • Raw Stock • Ultrasonic Film Clean¬ ing • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering • 8mm Processing 723 Seventh Ave., New York 19, N.Y. . JU 6-2293 BEHIND WHAT THE INDUSTRY’S B ERAS OTING LAST MONTH h i n s NOTE: Asterisks following titles indicate television film productions. AMERICAN-INTERNATIONAL Mario Bava, “Black Sabbath” Galatea Prods., API, Eastman color) with Boris Karl¬ off and Mark Damon. Mario Bava, director. Manuel Berenguer, ASC, “A Cold Wind from Hell” (SWP Prod.; Pancoor, shooting in Spain) with Barry Sullivan and Martha Hyer. Sidney W. Pink, director. Floyd Crosby, ASC, “The Haunted Palace” (Color) with Vincent Price and Debra Paget. Roger Corman, producer-director. Kay Norton, “Beach Party” (Nicholson- Arkoff Prod., Pathe Color) with Bob Cum¬ mings and Dorothy Malone. William Asher, director. BILTMORE STUDIOS, N.Y. Andrew Laszlo, “Naked City”*. BIOGRAPH STUDIOS— New York John S. Priestly, “East Side, West Side”*. CASCADE STUDIOS Elwood Bredell, ASC, Commercials*. Tyler Byars, Commercials*. Hal Moiir, ASC, Commercials*. CBS— N.Y. Charles Mack, Leo Rossi, Robert Clem¬ ents, “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. COLUMBIA STUDIOS Gil Taylor, “Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (Trooper Films; shooting in Europe) with Peter Sellers and George C. Scott. Stanley Kubrick, producer-director. Leon Shamroy, ASC, “The Cardinal” (Gamma Prod.; T’color with Tom Tryon and Romy Schneider, Otto Preminger, pro¬ ducer-director. Joseph Biroc, ASC, “Under the Yum Yum Tree” (Brisson-Swift Prods., Eastman color) with Jack Lemmon and Carol Lynley. David Swift, director. Christopher Challis, “The Long Ships” (Warwick Films Prods., Technirama-Techni- color, shooting in Yugoslavia) with Richard Widmark and Sidney Poitier. Jack Cardiff, director. Gerald Hirschfield, ASC, “Fail Safe” ( Youngstein-Lumet Prod., Shooting in N.Y.) with Henry Fonda and Dan O’Herlihy. Sid¬ ney Lumet, producer-director. Gert Andersen, ASC, “Donna Reed Show”*. Robert Bronner, ASC, Commercials*. Eugene Shuftan, “Lilith” (Centaur Prods.; locations in N.Y. & Md.) Robert Rossen, director. Jack Marta, “Route 66”*. Burnett Guffey, ASC, Commercials”*. Fred Gately, ASC, “Hazel”*. Wilkie Pollard, “Siege of the Saxons” (Chas. If. Schneer Prods., T’color; shooting in London) with Janette Scott and Ronald Lewis. Nathan Juran, director. Irving Lippman, “The Three Stooges Go Around the World in a Daze” (Normandy Prods.) with the Three Stooges. Norman Maurer, producer-director. DESILU— Gower Ted Voightlander, ASC, “Ben Casey”*. Maury Gertsman, ASC, “The Lucy Show”*. Robert Planck, ASC, “My Three Sons”*. FILMWAY STUDIOS — New York Morris Hartzband, ASC, “The Defenders”*. GENERAL SERVICE STUDIOS Robert Moreno, “Adventures of Ozzie & Harriet’*. INDEPENDENT Loyal Griggs, ASC, “The Greatest Story Ever Told” (Geo. Stevens Prod., UA release; P’Vision & Cinerama in Technicolor with Max Van Sydow and Charlton Heston. George Stevens, producer-director. Conrad Hall, “Stoney Burke”* (Daystar). Joe MacDonald, ASC, “Kings of the Sun” (Mirisch Prod.; UA release; P’Vision & DeLuxe color; shooting in Mexico) with Yul Brynner and George Chakiris. J. Lee Thompson, director. Robert Kr asker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain) with Sophia Loren and Stephen Boyd. Anthony Mann, director. Ted Moore, “From Russia, With Love” (Eon Prods.; shooting in London) with Sean Connery and Pedro Armendariz. Terence Young, director. Linwood Dunn, ASC, “The Long Corridor” (Leon Fromkess Prod.) Special Effects. Linwood Dunn, ASC, James Gordon, ASC, “It’s A Mad, Mad, Mad, Mad, World” (Stan- ley-Kramer U.A. ) Special Effects. William Garronni, “John Glenn in Japan” (MAS A, shooting in Japan; color). Robert Yung, director. Richard Winik, “Sport Shorts.” William Storz, ASC, “On the Art of Ballet” (Film Productions, shooting in N.J.). Enzo Serafin, “Wounds of Hunger” (Color; Widescreen; shooting in Spain) with Ros- sano Brazzi and Mark Damon. Saul Swim¬ mer, director. LA BREA STUDIOS Robert Hager, “Perry Mason”*. M-G-M STUDIOS Charles Lang, ASC, “The Wheeler Dealers” (Filmways Prod.; P’Vision & Metrocolor) with Lee Remick and James Garner. Arthur Hiller, director. Dale Deverman, ASC, “The Eleventh Hour”*. George Clemens, ASC, Robert Pittack, ASC, “Twilight Zone”*. William Spencer, ASC, “The Richard Boone Show”*. Continued on Page 332 328 AMERICAN CINEMATOGRAPHER, JUNE, 1963 New SeAQUArtz* Most Powerful Underwater Light 5,000 watts from “pocket size” underwater light A new concept in underwater lighting is the "pocket size” SeAQUArtz Light, researched and engineered by Birns & Sawyer. The SeAQUArtz is only 7 Vi inches square but delivers a powerful 5,000 watts of exposure. A Birns & Sawyer designed cast aluminum housing with convection cooling fins, accommodates the intense, 65,000 candlepower. quartz iodide Sylvania Professional Sun Gun lamp and reflector. The exclusive reflector design has over 750 light intensifying surfaces individually engineered to work with and reinforce one another to provide a bril¬ liant, evenly distributed, easily directed light. The compactness and light weight of the SeAQUArtz makes possible new freedom, flexibility and maneuver¬ ability in underwater photography and illumination. It ’trademark comes with adjustable locking yoke which attaches to camera or underwater apparatus for angling the beam. Unit can also be attached with C clamps. SeAQUArtz lights are available for 115 volt AC, 220 volt AC or 30 volt DC battery pack. Waterproof Joy connector cable comes in 50 and 100 ft. lengths, can be joined to reach greater depths. The SeAQUArtz with its special Vi -inch thick Pyrex lens, can withstand pressure to 300 feet. Other SeAQUArtz lights are in development with 1,000 ft. depth capabilities. Typical applications are for marine life study, geology, A.S.W. research, dredging and salvage operations, boat hull examinations, underwater missile research, piling and pier construction, harbor building and repair. Shown above: Catalog 5500 — SeAQUArtz light for 115 volt A.C _ $275.00 For prices on other models, cables and accessories, request SeAQUArtz Data Sheet. See your local franchised dealer, or write. BIRNS & SAWYER Cine Eqvipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW AMERICAN CINEMATOGRAPHER, JUNE, 1963 329 BALANCED INVENTORY DEPEND ON CSC FOR THE BEST BALANCED CAMERA INVENTORY IN THE EAST . . . WHATEVER YOUR NEEDS, CSC CAN PROFESSIONALLY FILL THEM FROM OUR VAST STOCK OF THE ASSOCIATE MEMBER OF NtW YORK camera service center, inc. sales affiliate • CAMERA SALES CENTER CORPORATION "333 WEST 52nd STREET • NEW YORK 19, N.Y. PL 7-0906 330 AMERICAN CINEMATOGRAPHER, JUNE, 1963 ARRIFLEX at work — ONE OF A SERIES* NBC NEWS CORRESPONDENT MARTIN AGRONSKY (FAR LEFT) INTERVIEWS CAPT. EDWARD COOKE ABOARD DOWN UNDER, WHERE ELBOW SPACE IS U.S.S. GEORGE WASHINGTON WHILE ARRIFLEX RECORDS THE EVENT. A LUXURY, THE COMPACT ARRIFLEX FILMS MISSILE-FIRING ACTIVITY. Filming of a realistic exercise aboard Polaris submarine U.S.S. George Washington, was climaxed by the actual launching of its missiles into the Atlantic Missile Range. News Correspondent Martin Agronsky, Associate Producer Daniel Karasik and a crew of four created an hour-long documentary color film, “Polaris Submarine: Journal of an Undersea Voyage," shown over NBC-TV Network. Director Tom Priestly and Cameraman Scott Berner selected the compact, easily maneuverable Arriflex 16 for the pioneering job. The NBC newsmen, first TV team ever permitted aboard during a mission, met the Polaris sub at sea. Once sub¬ merged, the George Wash¬ ington was under “battle” orders not to resurface — for any reason - for 16 days. Working day and night, approximately 14 hours a day, the camera crew filmed duty tours, church services, recreation activities and “bull” sessions of officers and men, then settled down to the serious business of missile-firing activity — recording the underwater launching after the warheads had been removed. Meeting all challenges on land, in the air, on the sea - or under it — Arriflex does its usual dependable job rapidly, accurately and economically. It will do the same for you. ARRIFLEX- goes underseas in pioneer recording of POLARIS missile launching From the microscope to the missile range... from spot locations to sound stages. .. Arriflex professional motion picture cameras are the dominant choice of filmmakers in science, industry, and entertainment. They’re lightweight, rugged, tremendously versa¬ tile — uniquely suited to a range of applications virtually without limits. Here are some of the features that give Arriflex cameras their remarkable capabilities: • MIRROR-SHUTTER REFLEX VIEWFINDER • REGISTRATION- PIN FILM MOVEMENT • 21°-DIVERGENCE 3-LENS TURRET • CONTOUR HAND GRIP • FRAMES-PER-SECOND TACHOMETER • COMPLETE ACCESSORY SYSTEM . . . lenses, standard and special-purpose electric drives, power supplies, time-lapse equip¬ ment, film magazines, sound blimps, tripods. write for new catalog. *YOU ARE INVITED to send us a description of your special use of Arriflex equipment. ^[&[&0[FQl[!2& OFRAMREAR,CA 257 PARK AVENUE SOUTH, NEW YORK 10, N.Y. AMERICAN CINEMATOGRAPHER, JUNE, 1963 331 BEHIND THE CAMERAS Continued from Page 328 Leo Tover. ASC, “Sunday in New York"’ ( Widescreen-Metrocolor; shooting in N.Y. ) with Cliff Robertson and Jane Fonda. Peter Tewksbury, director. Philip Lathrop, ASC. “Twilight of Honor” (P'Vision) with Richard Chamberlain and Nick Adams. Boris Segal, director. PARAMOUNT STUDIOS Milton Krasner, ASC, “Love with the Proper Stranger” (Pakula-Mulligan Prod.; shooting in N.Y.) with Natalie Wood and Steve McQueen. Robert Mulligan, director. Wallace Kelley, ASC, “Who’s Minding the Store?” (York-Jerry Lewis Prod.; T’color) with Jerry Lewis and Jill St. John. Frank Tashlin, director. PARAMOUNT SUNSET STUDIOS Frank Phillips, ASC, “Gunsmoke”*. PATHE STUDIOS, N.Y. Gayne Rf.scher, ASC, “The Nurses”*. PRODUCTION CENTER, N.Y. Arthur Ornitz, “Act 1” (Dore Schary Prod., Warner Bros.) with George Hamilton and Jason Robards, Jr. Dore Schary, direc¬ tor. George Stoetzel, ASC, “The Patty Duke Show”*. TWENTIETH CENTURY - FOX Daniel Fapp, ASC, “Move Over, Darling” (C’Scope & Color) with Doris Day and James Garner. Michael Gordon, director. LOYAL GRIGGS, ASC Now directing the photography of “The Greatest Story Ever Told,’’ George Ste¬ vens production for United Artists. Griggs replaced William Mellor, ASC, following untimely death of latter in April. Lucien Ballard. ASC, “Take Her, She’s Mine” (C’Scope-DeLuxe color) with James Stewart and Sandra Dee. Henry Koster, pro¬ ducer-director. UNIVERSAL CITY Arthur Ibbetson, “The Chalk Garden” ( Ross-Hunter-Quota Rentals Ltd. 'Prod.; T’color; shooting in England) with Deborah Kerr and Hayley Mills. Ronald Neame, di¬ rector. Joseph LaShelle, ASC, “Monsieur Cognac” with Tony Curtis and Christine Kaufman. Michael Anderson, director. Gabor Pogany, “Dark Purpose” (Brazzi- Barclay-Hayutin Prod., Eastman color; shoot¬ ing in Rome) with Shirley Jones and Ros- sano Brazzi. Steve Barclay, director. Ellis Thackery, ASC, “Wagon Train”*, Jack MacKenzie, ASC, “Leave It to Beav¬ er”*. Russell Metty, ASC, “Captain Newman, M.D.” with Gregory Peck and Tony Curtis. David Miller, director. Lionel Lindon, ASC, “Alfred Hitchcock Presents”. Benjamin Kline, ASC, Lionel Lindon, ASC, “Kraft Mystery Theatre”*. John Russell, ASC, John Warren, ASC, “McHale’s Navy”*. Nick Musuraca, ASC, “Jack Benny Show”*. Clifford Stine, ASC, “King of the Moun¬ tain” (Eastman color) with Marlon Brando and David Niven. Ralph Levy, director. WALT DISNEY Edward Colman, ASC, “Mary Poppins” (T’Color with Julie Andrew and Dick Van Dyke. Robert Stevenson, director. WARNER BROS. Harold Lipstein, ASC, “Palm Springs Weekend” (Technicolor) with Troy Donahue and Connie Stevens. Norman Taurog, di¬ rector. Charles Lawton, ASC, “Youngblood Hawke” with James Franciscus and Suzanne Pleshette. Delmer Daves, producer-director. Burt Glennon, “77 Sunset Strip”*; “True”*. ■ >N • EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE * NEW • EXCLUSIVE • NEW • EXCLUS/|z & FIRST FIRST FIRST FIRST TRIPOD CRAB DOLLY inexpensive crab dolly in the U.S. market. Crab Dolly which mounts your tripod. No expensive boom arm necessary. Crab Dolly which folds up to 21" height, weighs 290 lbs., easily portable, fits in station wagons. 3-wheeled Crab Dolly — just as efficient as a 4- wheeled dolly and more economical — has 3 dual wheels with 10" pneumatic tires. Width-35" Length— 48" Weight— 290 lbs. Platform Height— 18" Wheels— 10" pneumatic tires SPECIFICATIONS: Construction— Stainless Steel Seats— 2 upholstered, adjust¬ able height Push Bar— Folds down; with transmission lever for crabbing and tracking. _ - AMAZINGLY LOW-PRICED at $1495 FLORMAN & BABB, INC. 68 WEST 45th STREET, NEW YORK 36, N. Y. . MU 2-2928 4lSm0X3 • M3N • 3AISm0X3 • M3N • 3AISfnOX3 • M3N • 3AISmDX3 • M3N • 3AISmDX3 r 332 AMERICAN CINEMATOGRAPHER, JUNE, 1963 A G N I F H SIGHT & SOUND with S.O.S. Units that give you a BIG, SHARP IMAGE (whether film is moving or stopped) and CLEAR, CRISP SOUND from a Separate Magnetic Reader S.O.S. Senior Ediola 16mm Action Viewer, Model M-16 Sr..._ . ... $135 N II OW you can run originals as well as prints with complete confidence in the S.O.S. ACTION VIEWER. Its roller-smooth action is positive insurance against film scratching, or damage to film sprocket-holes. Designed to view films easily . . . for editors, laboratory workers, animators and TV technicians. S.O.S. MAGNIOLA for 16mm Double system editing is the perfect combination of the S.O.S. EDIOLA ACTION VIEWER teamed with a distortion-free sound reader, a precise synchronizer and footage counter. YOU GET MORE EDITING VALUE WITH S.O.S. MAGNIOLA! Send for FREE illustrated brochure. $.0.$. PHOTO-CINE-OPTICS, INC. formerly S.O.S. CINEMA SUPPLY CORP. 602 West 52nd St., N.Y. 19 — PLaza 7-0440 — Telegram: “FAX, N.Y.” Western Branch: 6331 Hollywood Blvd., Hollywood 28, Calif. — Phone: 467-2124 SEE PAGE 360 FOR COMPLETE PORTABLE 1 6MM MAGNASYNC SOUND SYSTEM < - - - AMERICAN CINEMATOGRAPHER, JUNE, 1963 333 constantly adds new products to its roster of depend¬ able equipment to serve the changing needs of the Motion Picture, Television and Photo Instrumentation industries. Rewinders — Power, Conventional 70 mm Viewer for Type I Film Sound Readers Editing Tables Sound Reader for Video Tape Library Reader for 16 mm Sound Film Write for free literature — specify items that interest you. Technical Questions and Answers Q- - When negative film is used in the production of single-system optical sound films for television, and the image is changed electronically to posi¬ tive in the course of TV transmission, fast, films such as I ri-X or DuPont 928 are utilized, and a variable density gal¬ vanometer used in the camera. What effect does the grain pattern of these fast films have on the sound reproduc¬ tion ? And what would happen to the sound track if it became necessary to over-develop the film to gain a suitably dense picture negative? — J.A.S. A. - Apparently it is your intention to play the single-system negative on the TV film reproducer. The track must then be considered as a “direct positive” recording and, to avoid seri¬ ous distortion, must he exposed very low with a resulting unbiased density of approximately 0.4. The noise reduc¬ tion operation must be reversed — that is, greatest exposure while there is low sound level. To answer your specific questions: 1 ) The grain pattern from negative type stock is very detrimental to sound, resulting in a pronounced “hiss” dur¬ ing low-level sound passages. 2) Over¬ developing the single-system recording raises the gamma (contrast) on picture and sound together. However, in the case of “direct-positive” recording, the higher gamma is beneficial rather than detrimental. This is true for both vari¬ able area and variable density types of recording. Q* - In order to provide fill light, for a large area outdoors, I understand that several sunlight reflectors are often used together. 1 have observed that most cinematographers achieve very evenly lighted scenes with reflectors, even to the extent of controlling the sun-to-fill ratio (3:1). It would seem impossible from a time standpoint alone to individually place the various re¬ flectors and measure the light. Hoiv is this uniformity achieved and the cor¬ rect ratio maintained without unduly delaying production? — V.S. A.— -The placement of sunlight re¬ flectors is always controlled by the po¬ sition of the sun in conjunction with the angle of the shot that is being made. Large areas are “filled” by using a number of reflectors — sometimes a dozen are used. But with enough grips on hand to constantly change the po¬ sition of the reflectors, the desired re¬ sult is accomplished. Cinematographers never measure the light from reflectors to determine a light value ratio. This is accomplished through experience and judgment — judging the balance by sight. Also, a great many shots are “filled” with booster lights, instead of with reflected light, especially closeups and medium shots. Q. - 1 am planning to make a pic¬ ture with Ektachrome commercial film, using a Cine Special camera with Ektar lenses and also an Arriflex 16 with Schneider lenses. Test footage shot with both cameras show scenes made with the Schneider lenses are considerably “ bluer than those made with the Ek- tars. Can such differences be corrected in the printing? — E.P. A. - It is suggested that the lenses be corrected so their respective results will match. If this is not possible, use of compensating filters on the lenses is suggested. Keep in mind that most film labora¬ tories offer scene-to-scene correction in color film printing. Q* - When using ordinary 150-watt lamps with Colortran equipment and setting the converter to 3400° K, must 1 use a filter with daylight-type Koda- chrome film? If I use Type A Koda- chrome, should I set the converter to 3200° K? — A.L.L. A. It is necessary to use a Kodak ^ ratten 80B filter over the camera lens when exposing daylight Koda- chrome to 3400° K illuminant. This film-filter combination is suggested for emergency use only, since it is ineffi¬ cient in use of available exposure illu¬ mination. It is recommended that Type A Kodachrome be exposed with 3400° K illumination without a filter. For 3200° K illumination, a Kodak light¬ balancing filter No. 82A is required for this film. AMERICAN CINEMATOGRAPHER, JUNE, 1963 To: Dept. 8AC-43, Paillard Inc., P. 0. Box 564, Linden, N. J. Please send the following free literature and name of my nearest Bolex dealer: □ 16mm camera and accessory catalog □ 8mm camera and accessory folder Also, please send me these special technical brochures: □ Education and Sports Training Films □ Achieving. Special Effects With the Matte Box □ Cinematography Through the Microscope □ Professional Applications of 8mm Cameras NAME - ADDRESS - CITY. _ ZONE _ STATE _ Identical twins? (not quite) One is the Bolex H-8 Rex. One is the Bolex H-16 Rex-2. Both are cameras of highest professional quality. Which one is best for you? The Bolex H-8 Rex gives you the cost-saving advantages of 8mm at a professional level of quality! With superb macro -Switar lenses, variable shutter, reflex viewing and other special effects features, it is an excellent camera for industrial, educational, medical, time lapse, sports coverage, traffic studies, weddings, etc. And you get 100' double 8 capacity for far longer continuous shooting and film economy! Where highest quality results are a must, the Bolex H-16 Rex-2 is the answer. Lightweight, extremely rugged and dependable, this camera gives top results even under severe climatic conditions. Excellent lens combinations and built-in features give full scope to your ability, for finest television, documentary, industrial, research, training and advertising photography. See both the Bolex H-8 Rex and the Bolex H-16 Rex-2 with companion projectors and accessories at your Bolex dealer’s. Why not today? AMERICAN CINEMATOGRAPHER, JUNE, 1963 335 DRAMATIC SCENE in “The Great Escape” in which a harried prisoner of war attempts to escape compound by climbing high barbed wire fence, only to be shot down by German guard (right foreground) being restrained by Steve McQueen, a fellow prisoner. FILMING THE GREAT ESCAPE The challenging factor in the successful photography of this picture was the adverse weather conditions in which much of it was shot. The results prove again that color film, in the hands of a skilled photographer, not only can enhance a factual picture but also make excellent detail obtainable when poor lighting is unexpectedly encountered. By ARTHUR GAVIN WHILE TECHNICIANS prepare set-up for upcoming scene on prison compound location in Germany, Director of Photography Dan Fapp, ASC, rests behind the Mitchell camera. In foreground, looking over the activities is Producer Director John Sturges. 3C6 AMERICAN CINEMATOGRAPHER, JUNE, 1963 LOOKING DOWN ON the German prison camp set between takes. The huge Chapman DAN FAPP (sitting behind camera, wearing cap and glasses) boom (shipped from Hollywood) with camera platform lowered, may be seen in discusses upcoming shot with operator James Knott while center of picture. Prominent also are several M-R Brutes which furnished booster Director Sturges, right, watches preparation of scene for illumination for the extensive scenes photographed here. the camera. Day was one of few when sun shone brightly. A cloudy day over Tunisia in March, 1943, a burst of fire from a Messerschmitt 109 shattered the tail of the Spitfire flown by Paul Brickhill, wrecking the controls. Brickhill parachuted to the ground in the middle of a mine field, was captured by the Germans and transferred to Stalag Luft III, a prison camp in Germany. There he joined organ¬ ization “X” on the project he would one day write about as “The Great Escape.” “The Great Escape” is the story of a great ad¬ venture — an impossible scheme that was conceived and carried out by an indomitable group of Allied prisoners of war who refused to stay captured and insisted upon causing confusion among the enemy even after all their weapons — except for their in¬ genuity, imagination and sense of humor — had been taken away from them. The event is considered the largest and most effective mass breakout of POW’s in military history. John Sturges, who produced and directed “The Great Escape” for The Mirisch Company first read the story several years ago and subsequently ar¬ ranged for its acquisition. To photograph it, the Mirisch Company engaged Daniel Fapp, ASC, who previously had photographed two pictures for them: “One, Two, Three,” and “West Side Story.” The picture was shot entirely on authentic loca¬ tions in Europe. A fictional complete camp resem¬ bling Stalag Luft III was built near Munich, and all compound exteriors were filmed there. Exteriors for the escape sequences were shot in the Rhine Country and areas leading toward the North Sea. All interiors were filmed at the Bavaria Studio, near Munich. Asked why he was shooting the picture in Ger¬ many, John Sturges said, “Because this is where the story happened. I wouldn’t shoot a western in Spain — I shot ‘Magnificent Seven’ in Mexico because the story called for that locale.” Filming on-the-spot in Germany proved a decided asset, however, when it came time to round up au¬ thentic World War II German military equipment, available nowhere else in the world. Countless ve¬ hicles, many of 1941 vintage — trucks, cars and cycles — were resurrected from automobile grave¬ yards and put into running order as efficient rolling stock of the German Army. Shooting in Germany and especially at the Ba¬ varia Studio in Munich was nothing new to director of photography Daniel Fapp, who just a year before had photographed much of “One, Two, Three” there. Also, he had the benefit of a substantially Hollywood technical crew — the producer having sent over 27 in all from Hollywood, among them camera operator James Knott, camera assistant Hugh Crawford, and still photographer Jack Harris. The company also brought along from Hollywood almost all equipment except lights, which were ob¬ tainable in sufficient numbers in Germany. But the Mitchell camera, Panavision lenses, two Chapman cranes, and miscellaneous grip equipment were shipped on ahead of the company’s departure from Hollywood. Photography was in 35mm Eastman col¬ or in the Panavision wide-screen aspect ratio. AMERICAN CINEMATOGRAPHER, JUNE, 1963 337 POW’S DISCUSS THEIR chances of making successful escape during respite in their laborious tun¬ neling out of German prison camp. The set, over 200 feet in length, was erected on sound stage of German movie studio. The entire production was shot overseas. Originally, it was in¬ tended only to shoot the picture’s exteriors there, in the black forest region near Munich. But alter working there a few days and find¬ ing an ideal site nearby for erect¬ ing the prison camp plus the fact the facilities of the Bavaria Studio were conveniently near, the com¬ pany decided to do the entire pic¬ ture there. “A big factor,” said Fapp, “was the tremendous number of extras required for many scenes of the picture — a requirement which ranged from 300 to 2,000 extras daily. To shoot these same scenes in a mountain locale near Holly¬ wood — say at Big Bear or Lone Pine — would have presented al¬ most insurmountable problems of transportation, feeding and hous¬ ing. As it was, the German exterior locations where the mob scenes were shot — and where we shot close to 30 per cent of the picture — was only five minutes distant from the Bavaria Studio. This af¬ forded an additional advantage: whenever the weather turned bad, which was frequent, we could re¬ turn to the studio and shoot in¬ teriors.” Munich weather played hob with the company’s shooting sched¬ ules from the very start. There was snow in July, rain most of the time and very little sunshine. Fapp and his crew had their hands full trying to shoot through the murk and anticipate clear weather. Director Sturges remarked that it was like playing musical chairs. Saving the situation were the score or more Mole-Richardson Brute arc lights which the company wise¬ ly had ordered for the production and which Fapp used to maintain consistency in the illumination of many exterior scenes shot on days heavy with murk. Despite the bad weather and the need to augment daylight with same artificial light, Fapp achieved remarkable photographic results, even when obliged to shoot in rain — which he did on a num¬ ber of occasions. The prisoners’ 4th of July celebration, otherwise known as the “drinking sequence” is one example. Here, the POW’s, having secretly brewed large vats of “liquor” in their barracks quarters, bring it out into the open compound for one and all to par¬ take — without interference from the German prison guards. “It was a dull day when we started to prepare for shooting,” said Fapp, “and by the time we were ready to roll the cameras, the sky had become increasingly dark. We moved in more lights and started shooting. It was a lengthy sequence — really too long to shoot in bad weather. But we got started and had to see it through, and had faced up to all kinds of problems by the time the final scene in the sequence had been shot. As it invariable hap¬ pens, the weather cleared briefly Continued on Page 354 DIRECTOR STURGES rehearses scene to be enacted on street of small German village, as throng of villagers assemble to watch. Here may be seen the unique German “hatrack” parallels for mount¬ ing booster lights. Elevating or lowering the lights is simple, motorized operation. 338 AMERICAN CINEMATOGRAPHER, JUNE, 1963 THE MIDWEST’S FASTEST GROWING FILM CENTER MIDWESTERN REPRESENTATIVE— MITCHELL CAMERAS, MITCHELL AND OTHER PROFESSIONAL CAMERA EQUIPMENT -RENTALS & REPAIR ' SERVICES VICTOR DUNCAN & COMPANY 250 Piquette— Phone 874-2334 Detroit 2, Michigan COMPLETE MOTION PICTURE SOUND RECORDING SERVICES INCLUDING LARGE SOUND STAGE 60 x 65 . -MIXING AND SCORING FACILITIES X j w \ < UNITED SOUND SYSTEMS 5840 Second Blvd.— Phone 871-2570 Detroit 2, Michigan NATIONALLY RECOGNIZED FOR TOP QUALITY, FAST FILM PROCESSING SERVICES IN 35MM AND 16MM BLACK & WHITE OR COLOR GENERAL FILM LABORATORY. INC. 66 Sibley— Phone 961-7818 Detroit 1. Michigan 4 ONE SOURCE FOR PRODUCTION LIGHTING NEEDS- FASTER SERVICE BECAUSE WE ROLL OUR OWN JACK A. FROST COMPANY 234 Piquette— Phone 873-8030 Detroit 2, Michigan LOOK TO DETROIT FOR COMPLETE FILM SERVICES IN CAMERA EQUIPMENT. LIGHTING. RECORDING AND FILM PROCESSING. USE AREA CODE NO. 313 AMERICAN CINEMATOGRAPHER, JUNE, 1963 339 HIKE SYNC HITCH- ^vailability of fair-quality, low-cost, ^4-inch tape stereo recording equipment has brought many sync-sound techniques within the range of low- budget film producers. With a simple sync gener¬ ator, a synchronous motor-driven camera, and a two-track ^4-inch tape recorder, synchronous dou¬ ble-system sound can be shot quite inexpensively. And with two stereo recorders your horizons can be widened to include dialogue looping with guide sound, picture looping, lip-syncing and even nar¬ ration with an amount of scoring, all before transfer. Fig. 1- Sync generator First, as the sync generator is basically used only during the original shooting, let’s look at its con¬ struction. Two standard 6.3 volt radio filament transformers are connected, as shown in Fig. 1. The standard household plug is connected to the primary of one transformer. The secondary is con¬ nected to the primary of the other transformer, which has its secondary terminated in whatever type plug matches the tape recorder to which it is to be connected. The two transformers lower the standard 110-volt household voltage to approximately — 7 DBM level for safe input. The transformers may be mounted in a suitable case obtainable from any radio supply house. Though not actually necessary, a pilot light connected across the secondary of the first transformer is a convenient and reassuring way to confirm power to the transformers. When the initial studio or location shooting is A simple but effective method for record¬ ing sound on quarter-inch tape, accurately synchronized with picture. By PHIL J. FLADD, JR. All Illustrations By Author being done, the sync-generator records a 60-cycle tone or ‘‘sync signal’* on track No. 2 of the stereo recorder. The dialogue is recorded simultaneously on track No. 1. The 60-cycle sync signal will even¬ tually assure absolute sync with the picture shot in the camera if the latter is equipped with a synchron¬ ous motor operating from the same power source. As the tape movement slows or speeds up, the sine waves of the sync signal will be spread or com¬ pressed along the length of the tape. Consequently, instead of 1 second = 7 % inches, the ratio will be 1 second = 60 cycles. The sync signal, recorded in the latter ratio, will parallel the dialogue recording on the same dual-track tape. At the end of the shooting day, normally, the tape is shipped to the lab for transfer to a more compat¬ ible and editable material, e.g., 16mm magnetic film. In the lab the sound is transferred from the tape to perforated 16mm magnetic film, and here another ratio conversion takes place: 60 cycles (one second) of ^-inch tape now equals 24 frames of 16mm magnetic film; sync is once again resolved between sound and picture and editing can take place in a normal manner to complete the film. Of course, all this presupposes the acoustical qualities of the original recording are acceptable. 340 AMERICAN CINEMATOGRAPHER. JUNE, 1963 But if camera or recorder noise level is high, or environmental sounds at the location intrude on dialogue, or the camera angle precludes optimum microphone positioning for pick-up, then what does one do? If two ^-inch stereo recorders are avail¬ able, the answer is simple. Shoot it, and record the sound anyway. Then, at your convenience in a better acoustical setting, loop the dialogue and '‘hitch-hike” the sync. Here’s how it works: For safety, first dub a copy of the original sound on ^4-inch tape. Remember to dub both tracks; i.e., the dialogue from original track No. 1 to dub track No. 1 and the 60-cycle sync signal from original track No. 2 to dub track No. 2. This dubbing step protects the original tape from cutting errors or tape breakage. Now cut the dupli¬ cate into loops of sufficiently short length for the actor to comfortably perform. (See Fig. 3.) Each of the tape loops will contain some words of dia¬ logue on track No. 1, and the 60-cycle signals cor¬ responding to the same pulses that controlled both the camera and recorder for the original scene will be on track No. 2. The two recorders are connected as illustrated in Fig. 2. Recorder No. 1 track No. 1 feeds the guide sound loop to the actor’s earphones. Recorder No. 1 track No. 2 hitch-hikes the sync signal from the loop directly to recorder No. 2 track No. 2. The actor’s microphone is connected directly to recorder No. 2 track No. I. It is important to keep sufficient tension on the tape loop during this operation to assure reasonably constant output level of the sync signal being hitch-hiked. For this, a plastic tape reel resting and rotating in the lower part of the tape loop should suffice. (See Fig. 3.) The actor, who should be situated in another room free from recorder noise, listens through earphones to his, or for that matter anyone’s original on- camera performance played continuously on the loop on recorder No. 1 from track No. 1. His objective is to duplicate the original performance in inflection and timing on track No. 1 of recorder No. 2. At first this process of speaking-while-listen¬ ing may seem difficult to the embryo actor, but the knack is quite easily acquired. Transfer of the sync signal is necessary because of possible variation in the linear speeds between the two tapes due to tape slippage and stretch. One of the most reputable professional machines speci¬ fies timing to ± 3 seconds in l/b hour, a difference which, of course, would he intolerable. This prob¬ lem is overcome by hitch-hiking the sync signal from track No. 2 recorder No. 1 onto track No. 2 recorder No. 2. Looping is continued until the actor’s deliv¬ ery matches the original, at which point the post- recorded dialogue will transfer and cut in perfect sync with the original because the identical sync signal has also been transferred, and the need for synchronous drive sprocket equipment is eliminated for this operation. For looping dialogue while watching a projected picture loop without guide sound, the basic method remains the same. In this case, however, the film itself generates the sync signal and transfers it to the two-track tape. The work print that is to be cut into loops is first striped with oxide, and the 60-cycle signal recorded on the stripe; or, if a magnetic projector is unavailable, a 60-cycle optical track can be electroprinted on the work print. When the film is cut into loops, this same sync signal is Continued on Page 368 WHEN PLAYING back tape loops, it is important that sufficient tension be main¬ tained on the loops at all times to keep the tape in solid contact with the re¬ corder head and thus assure reasonably constant output level of the sync signal being hitch-hiked. Fig.3- Loops on two transports AMERICAN CINEMATOGRAPHER, JUNE, 1963 341 THE ROLL CUE SYSTEM in action. Robert Earle, host of CBS's "The General Electric College Bowl," narrates a film on the Cornell Uni¬ versity sound stage. Wire from recorder, seen between his ankles, leads to concealed hearing-aid by which Earle listens to pre-recorded nar¬ ration as he speaks. Pouring A filming session about a year ago our crew was jokingly called down for using the term “idiot card” on the sound stage. The learned professor remarked, “On the college campus, can’t we call them refresher cards or something more be¬ fitting the academic climate?” His remark was in jest, of course, but it pointed up a basic problem of many a film production crew: the shortcomings of visual cue systems for talent appearing before the camera. We decided to do something about it. An electronic cue system was subsequently de¬ veloped at the Cornell TV Motion Picture Sound Stage which has been highly successful in various phases of film production. First, with electronic cueing, our production time is cut to a minimum. Less time is needed for rehearsals because no mem¬ ory work is necessary. The second and possibly the most important problem the cue system solves is that of retakes due to the talent’s lack of “eye con¬ tact” with the camera lens. The electronic cue sys¬ tem permits the narrator or actor to keep his eyes right on target. A third production bonus is that of retention by the talent of the instructions given by the director before the cameras roll. A fourth and final benefit is the gain in overall production qual- ROLL CUE! ... a tape-recorded cue system for film narrators. By GUSTAV E. LANDEN Cornell University, Ithaca, N. Y. ity due to the acting or projection of more person¬ ality into the talent’s performance. Our cueing system frees the talent of script prob¬ lems and lets him concentrate on performance, the visuals used, camera shifts, and all of the finer points that many producers would like to add to their productions. Any film producer with a little imagination, a i/^-inch tape recorder, a few feet of plastic tubing, a hearing aid earmould, a $1.49 earphone, and lots of wire can set up his own electronic cue system as we have done. The system works in this fashion: The talent does a walk through, script in hand, and records on 14- inch tape the dialogue or narration for upcoming scenes in their proper shooting sequence. The direc¬ tor has, of course, gone over the actions with the talent, and time for action is left or spaced on the tape. There are times when verbal reminders are added to the tape such as directions for certain movements, or “Show such and such an item to camera 1,” or “Turn to camera two,” etc. Such Continued on Page 367 SOUND FROM hearing-aid earphone is piped through flexible tubing to earmould in subject’s ear. Earmould is used because it is smaller, less conspicuous than earphone. 342 AMERICAN CINEMATOGRAPHER, JUNE, 1963 in Europe when using MOLE-RICHARDSON S Services LIGHTING ENTIRE M. R. RANGE COLORTRAN and LOWEL-LIGHTS GENERATORS CAMERAS • DOLLIES CRANES GRIP- and SOUND- Equipment TRANSPORT-LABOUR TECHNICAL-CONSULTANTS and SPECIALISED-SERVICES WRITE DIRECT FRANCE — 28-28 bis Rue Marcelin-Berthelot, Montrouge-Seine Cables: Molereng-Paris General Manager: Rene Schell ITALY — Via del Velodromo 68-74, Roma Cables: Molereng-Roma General Manager: George Gardner GERMANY (Austria) HofangerstraBe 78, Munchen, 8 Cables: Molereng-Miinchen General Manageress: Gisell Schneeberger SPAIN — Alcala 32, Madrid, 14 Cables: Molereng-Madrid General Manager: Gregorio Sacristan ENGLAND — Chase Road, London, N.W.10 Cables: Molereng-London General Manager: John A. Page AMERICAN CINEMATOGRAPHER, JUNE, 1963 343 "JOURNEY Space-age movie in hemispherical format required novel wide- angle photography and vertical projection on dome-shaped screen. By DARRIN SCOT SPECIAL CINERAMA CAMERA, shown above, equipped with 0.9-inch, f/2.2 inverted telephoto lens and using 70mm film was employed in photographing “Journey To The Stars,” much of it in single-frame exposures. LINING UP a dolly shot. Camera door is open, permitting adjust¬ ment of mechanism and focusing. Saturn-type satellite model in back¬ ground is one of several miniatures constructed for the production and shot against black backdrop. CINERAMA CAMERA CORPORATION'S super-wideangle 70mm cam¬ era with “bug-eye" lens features frame counters, forward and re¬ verse operation, single frame photography, dissolving mechanism and special shuttering affording long exposure times per frame. hen the Seattle World Fair opened last summer the “hit of the show’’ was the Space- arium featuring a new space motion picture sys¬ tem created and constructed by Cinerama for the Boeing Co. and the United States Science Exhibit. Inside the U.S. Pavilion a 15-minute color film, “Journey to the Stars,” was projected on a hemi¬ spherical 360-degree, 75-foot screen, filling the 6,000 square foot surface with all the excitement of an actual trip to the outer galaxies. During the run of the Fair, standing audiences of 1,000 at a time viewed the spectacle. It played more than 6,000 performances before an audience totalling 4l/o million people and springboarded the formation of a vital new company serving the motion picture and missiles industries, the Cinerama Camera Cor¬ poration. 344 AMERICAN CINEMATOGRAPHER, JUNE, 1963 TO THE STARS" The story behind the development of the Space- arium filming and projecting systems is one of remarkable technical achievement. The challenging assignment called for a totally new concept of mo¬ tion picture presentation — including the design and construction of photographic equipment, optics, spe¬ cial processing, printing and film-handling equip¬ ment, projection, a giant dome-shaped screen, a film production involving intricate three-dimensional ani¬ mation and a precisely engineered auditorium in which to screen it — all to be completed in less than fourteen months. Cinerama, Inc., was designated prime contractor to work with a group of sub-contractors including Fine Arts Productions (film production), Fairchild- Curtis (optics), Benson-Lehner Corporation (photo¬ graphic and projection equipment). Film Effects of Hollywood (printing equipment, optical effects and release printing), Technicolor, Inc. (processing) and many others. Program Manager and Co-ordinator of the proj¬ ect, William D. Liittschwager, realized that the challenge was far different from that of normal motion picture production and that the first logical step was one of experimentation with standard and FILM IMAGE IS projected vertically on overhead screen by this special Cinerama projector to produce a full 360-degree hemispherical picture of star-studded heavens. Here, operator makes focus adjustment before starting run of film. SEATTLE WORLD FAIR visitors view “Journey To The Stars" pro¬ jected overhead on dome-shaped screen. The 15-minute color film was screened for more than 6,000 performances during 1962, was seen by an audience estimated at 4Vi million. available equipment to prove the feasibility of the system. For this he borrowed from Naval Training Devices an inverted telephoto lens having a 142- degree field and originally designed for use in Naval Gunnery Training. With this lens, a Bell & Howell camera and a 35mm projector, Fine Arts Productions began shooting tests and experimenting with projection onto a 20-foot dome. Concurrently, Benson-Lehner began developing the 70mm produc¬ tion camera, adapting it from a 2^-/4." x2\^r frame- size model originally designed for photoinstrumen¬ tation work. This camera had to be modified for animation photography and fitted with optics yet to be engineered. The camera utilized ASA Type 1 perforated film, having a .234 pitch. The mechanism was modified to permit stop-motion photography and included such refinements as frame counters, forward and reverse operation, thru-the-lens viewing, critical focus adjustment, a dissolving mechanism and spe¬ cial shuttering devices for exceptionally long ex¬ posures. A method was also devised to mount the camera on an animation crane so that it could be rotated in increments of 1/10 degree in any direction. Curtis Optical, assigned the task of designing the lenses, delivered the first one — a 0.9-inch focal length, f/2.2 inverted telephoto — which could be used for both photography and projection. Its resolving characteristics were of a very high order — 500-600 lines per millimeter visually on axis and 70-80 on film, with virtually no vignetting at the Continued on Page 364 AMERICAN CINEMATOGRAPHER, JUNE, 1963 345 Fig. 1 — Now Eclair 16mm camera design provides solid support for hand-held shooting. Fig. 2 — Unorthodox in design but easy to carry. Fig. 3 — Duol-spool magazine includes film movement. r'g, 4 — Eclair camera motors are interchangeable. REPORT FROM Growing importance of professional 16mm film production reflected in design and innovations of new cameras shown at Photokina-’63. By HANS KOEBNER Munich, Germany ^he professional cinematographic equipment displayed at Photo¬ kina-1963, concluded recently in Cologne, reflected the growing importance of 16mm in the production of industrial, commercial and television films. It also reflected the special attention to both design and performance which manufacturers have given their equipment to meet the need for compact, functional and lighter-weight cameras. While the Photokina exhibits were not limited to cameras alone, it is with the new or improved professional 16mm cameras displayed which this report is concerned. Arri had all its camera equipment on display in its booth, includ¬ ing the new Arriflex 16M, which is a mirror-shutter reflex camera designed to take external film magazines. The provision for 100-ft. internal film loads, found in the earlier Arri 16, has been eliminated in favor of a more compact camera box, which will accommodate 200-ft., 400-ft., and 1200-ft. magazines. A built-in sync-signal gen¬ erator simplifies the camera’s use for 16mm sound-film production with remotely operated tape recorders. Also new was such Arri equipment and accessories as the feather¬ weight blimp (Fig. 6). Designed especially for the 16M, the blimp is constructed of plastic layers, weighs but 13 kg. (about 29 lbs.), and may be had in black, white or a range of colors. New, also, for the Arri 16M was the 300-meter (about 1000-ft.) casette — a single compartment film magazine in which the film rolls are mounted side-by-side. Pictured in Fig. 5, the casette weighs 4.2 kg. (about 3 lbs.). Considerable attention was focused on the Zeiss retrofocus Miro- tar 1, a 500mm f/4.5 lens which can be used with either the Arriflex 16 or Arriflex 16M. It weighs 4.4 kg. (about 3 lbs.) and requires a special cradle for support before the camera, as may be seen in Fig. 7. A truly brand new entry in the Photokina display this year was the new Eclair 16mm professional camera from France, (Figs. 1 to 4 inch). Highly unorthodox in design, the camera nevertheless has excellent balance for hand-held operation. Among its many features are the facility for quick interchange of electric motors of different speeds and voltage requirements, a detachable film magazine, a sync- signal generator, and two-lens rotary turret. Fig. 1 is side view of the camera, showing how both the magazine and motor rest on operator’s shoulder to give solid support for hand¬ held shooting. The white disk (there’s one on either side of the mag¬ azine) is for making pencil notations, etc., relative to the film con tent. The zoom lens — a 12-120mm — is from Angenieux. Continued on Page 363 346 AMERICAN CINEMATOGRAPHER, JUNE, 1963 COLOGNE Fig. 5 — 1000-ft. single chamber film magazine for the new Arriflex 1 6M camera. Fig. 6 — Featherweight blimp for the Arriflex 16M. Fig. 7 — Zeiss Mirotar lens fits Arri 16 or 16M. PREPARATION OF 16MM PRINTING LEADERS HEAD LEADERS FOR "B" WIND MATERIAL BLACK LEADER |f - 25 FRAMES - ^ t - * PRINTER START EE CLEAR OR BIAS TRACK DATA TO PRINT THRU VI y v7 PRINTER START ¥ TRACK PROOUCER TYPE Of TRACK HEAD ( \ FOOTAGE K - 2FT. - * - 1 FT. - i K - - FT. - J| k - 4FT - * / ) > SYNC TONE EDIT SYNC TAIL LEADERS FOR "A" WIND MATERIAL USE SAME HEAD SYNC INFORMATION AS IN "B" WIND MATERIAL ABOVE BLACK LEADER BLACK LEADER M DATA TO PRINT THRU PRINTER START TITLE PROOUCER FOOTAGE Je— 25 FRAMES-jj |e— * If- ■2 FT 'f— X THE ACCEPTED PROFESSIONAL method of preparing and marking 16mm printing leaders as a guide to the laboratory is illustrated in above chart, issued recently in 1 1 "x 1 6 T^ format by General Film Laboratories, Hollywood, and reproduced here by permission. The preparation of I6MM PRINTING LEADERS rJ^HE 16mm edited film received for printing by laboratories is | usually edited in A&B photo rolls, with a separate sound roll — either 16mm photographic (optical) printing track or magnetic tape or film. The film leaders are attached, labeled with the usual infor¬ mation: Head, Title, Producer, Type of film, etc. (See illustration above.) and marked for sync. Somehow, in spite of all this, a new | show occasionally will he printed out of sync. Why? | Well, first granting that the laboratory itself can make a mistake, most such out-of-sync errors trace back to either one of two things: the labeling of the sync mark or marks, and the advance of the sound | track made for printing sound with picture. | Let’s take up the sound advance first. Since a 16mm projector’s optical sound reproducing head is 26 frames after the light aperture, the sound track on a 16mm print must be 26 frames ahead of the | corresponding photo frames. When the track is advanced 26 frames, the speaker will reproduce the sound that belongs with, or “is in sync | with” the picture being projected on the screen. | Once a new film editor grasps this point, marking the film becomes simple. All he need do is count toward the foot (or tail) end of the roll 26 frames from his Edit Sync, and mark the 26th frame “Print | Sync.” The problem seems to be that the person who doesn’t edit regularly, but only occasionally, tends to forget which way to count. So, a laboratory will occasionally get film with the sound leader print sync marked 26 frames ahead, instead of being retarded. If printed ac- I cording to such sync mark, the sound print will be 52 frames out of 1 sync. | And, there is the case of the producer who marked the correct | frame for his printing sync, but didn’t label it before answering a = Continued on Page 370 AMERICAN CINEMATOGRAPHER, JUNE, 1963 347 APC CREW shooting scene on Army Pictorial Center sound stage, using techniques, lighting and equipment comparable to that found on Hollywood sound stages. Here may be seen the large painted backdrop backing up greenery of simulated exterior, all adequately lit for full day-time effect by overhead lighting units, some of which were constructed by APC's electrical department. JOE IIPKOWITZ, left. Chief of APC Camera Branch, and Charles Hemingway, of APC’s Special Effects Branch, inspect Mitchell Camera used in filming special effects. (U.S. Army Photo.) When The Army Has Shooting To Do ... . ... it ail begins at the Army Pictorial Center in Long Island, New York, where complete major studio facilities enable staff of civilian and Army-trained cinematographers and technicians to produce motion pictures of high professional quality. ly/ToTiON pictures were an im¬ portant training aid in pre¬ paring the United States for World War II and the subsequent Korean conflict. Through the use of Army training films, soldiers were given instruction quickly, cheaply and with a uniform standard of excel¬ lence in all military subjects from weapons to battlefield survival. Advances in the technology of warfare, coupled with the advent of nuclear weapons, require to¬ day’s soldier to be able to absorb greater technical knowledge about more complex machines and weap¬ ons in a shorter time than ever be- By GEORGE J. MITCHELL Lieut. Colonel, U.S. Army, Retired. fore. Hence, the training film and its more recent companion, tele¬ vision, is playing an increasingly important role as one of the Army’s most effective training aids in this atomic age. The Signal Corps is charged with the responsibility of all mo¬ tion picture production. Its major operating arm for actual produc¬ tion of films is the Army Pictorial Center — commonly known as APC — which occupies five large build¬ ings covering nearly four city blocks in Long Island City, New York and includes the former Paramount eastern studios. Over 1,000 military and Civil Service employees, skilled in all phases of motion picture and tele¬ vision production, are employed at the Center, making it one of the busiest non-theatrical film studios anywhere in the world. The stu¬ dio’s personnel — men and women — comprise many different talents and crafts, including producers, directors, writers, cinematogra¬ phers, carpenters, grips, film edi¬ tors, sound experts, animators, set designers, costumers, make-up ex¬ perts and property masters. The motion pictures, video tapes and TV recordings produced by these 348 AMERICAN CINEMATOGRAPHER. JUNE, 1963 people illustrate in vivid imagery the tactics, techniques and doctrine of combat survival. The Army Pictorial Center is similar to many other military in¬ stallations, containing such fami¬ liar sights as a barracks, medical dispensary, Military Police Pro¬ vost Marshal, Post Engineer, Offi¬ cer and NCO clubs, a post news¬ paper (appropriately named In Focus) and the inevitable Post Ex¬ change or PX. But, the big, block- long main building housing the five giant sound stages — one of which is among the largest in the United States — make it consider¬ ably different from other Army posts. The Center is comparable to a major Hollywood studio, with all the latest equipment and talent necessary to produce highly pro¬ fessional motion pictures and tele¬ vision recordings. Although the Signal Corps has been actively involved in training film production since about 1909, it was not until 1942 that the pre¬ sent well-equipped plant was ac¬ quired. It was purchased from Paramount Pictures Corporation for $500,000 in what one APC of¬ ficer terms ’‘the best real estate deal since the Indians sold Man¬ hattan for $24.” How does an Army training film come into being? Edward L. Scheiber, Deputy Chief of the Production Division (that part of the Center which co¬ ordinates and supervises all pro¬ duction) illustrated and explained to me how this is done with a series of graphic illustrations on a chart in his office. First, subjects are proposed by the combat arms — Infantry, Artil¬ lery, Armor- — or by the various Technical and Administrative Services like the Signal Corps, Quartermaster Corps, Military Po- AIR VIEW of Army Pictorial Center, Long Island City, N.Y. 1 — Motion Picture Studio (formerly Paramount's Long Island studio); 2 — TV studio; 6 — Finance & film depository building; 12 — Film vaults; 13 — Film lab and technical maintenance building; 21 — Paint shed; 23 — Film storage; 24 — Enlisted men’s barracks; S-25 — Self service build¬ ing; $-27 — TV maintenance; S-28 — Post Engineer. (U.S. Army Photo.) lice Corps, Intelligence Corps, En¬ gineers, Ordnance Corps and the Women’s Army Corps. A script is then prepared by an APC writer working closely with the originat¬ ing agency’s technical adviser. The resulting script is then cir¬ culated to interested agencies and finally is approved by a panel pre¬ sided over by the Deputy Chief of Staff for Military Operations at Department of the Army level. Army Pictorial Center supplies the time and cost estimates and the re¬ questing agency furnishes the necessary justification. A Project Officer (producer) is assigned to take charge of the pro¬ duction and a director is selected. Together, they begin to coordinate with the various branches of the Production Division that will fur¬ nish the technicians and equip¬ ment: camera, editorial, sound, film, stock shot library, anima¬ tion, art, props, grips. The shooting schedule is made up and a cost breakdown is pre¬ pared. The Project Officer and Di¬ rector begin casting the players. Professional actors are engaged through the Screen Actors Guild for all films. Military personnel are used only for technical demon¬ stration and only then if they have an acceptable screen presence. While the cast is being selected and rehearsed, sets are built and ON LOCATION at Ft. Benning, Georgia, APC camera crew shoots escape and evasion scene for film dealing with code of conduct. Camera¬ man is Harry C. Kreider. (U.S. Army Photo.) props assembled. The shooting gets under way either on location or on the sound stages at the Cen¬ ter. Considerable location work is done at various Army installa¬ tions throughout the United States and overseas; however, maximum use is made of the studio. Back¬ ground projection and stereoptican Continued on Page 358 AMERICAN CINEMATOGRAPHER, JUNE, 1963 RELEASE PRINT IMAGE AM • Wide Screen Films And Television Wide-screen feature films are more readily adaptable to television if certain framing considerations are observed at the time they are photographed. By WALTER BEYER Chairman, Research & Educational Committee of the ASC hen the research & Educational Committee of the American Society of Cinematographers convened in a special meeting early this year, its purpose was to explore and seek a solution to the problems involved when wide-screen feature films are televised. The aspect ratio of a feature film photographed 185-to-l is not compatible with the less-rectangular format of television screens, and such pictures, when televised, appear on the screens of TV receivers with objectionable wide frame lines, top and bottom. The Era of Aspect Ratios Ten years ago, one of the most stimulating conver¬ sation pieces at studio production and engineering meetings was the elusive “aspect ratio.” Prior to that time all apertures — both for cameras and thea¬ tre projectors — was the Academy Standard, 1.33- to-1 (1.33:1). The advantage of this aspect ratio with relation to set construction is illustrated at A in Fig. 1. On sets, placement of microphones and lights was most advantageous, and with the proper head clearance and the minute difference in height between the camera and projector apertures there was never a problem concerning “over-shooting” a set or in providing a “protection” area when fram¬ ing scenes in the camera finder. With the introduction of wide screen photography, shooting in any aspect ratio other than 1.33:1 cre¬ ated a number of problems relating to the economics and technicalities of production. Those who parti¬ cipated in the battle of the aspect ratios at that time will understand that it would far exceed the scope of this report to mention all of them here. 350 AMERICAN CINEMATOGRAPHER, JUNE, 1963 However, it all boiled down to a decision to es¬ tablish 1.85:1 as the composition area within the standard 1.33:1 aperture, as shown at B, in Fig. 1. Composing a 1.85:1 “ribbon” inside the 1.33:1 camera aperture required new finder and ground glass marks; and, of course, microphones and lights had to be placed safely outside the so-called “pro¬ tection” areas. This meant constructing sets with higher walls than actually were needed for 1.85:1 composition. There now ensued a lengthy period of inter-studio technical discussions on the matter of what should be protected — a subject which continues to be de¬ bated today. Some of the studios decided to leave camera apertures at the established Academy Aper¬ ture dimension; others now used the full, standard aperture of the camera, protecting more or less the areas above and below the 1.85:1 “ribbon” area with the consequent risk of having mike or gobo shadows occasionally appear in this area of the film. It should be pointed out that such “protection” areas as I have described at once introduce uncer¬ tainties: The director of photography can never be absolutely sure that all extraneous mike shadows, etc., will never be seen on either the theatre or TV screen. It introduces problems for the camera opera¬ tor, too; but worst of all is the fact that such protection areas, above and below the 1:85:1 com¬ position lines, permit careless projectionists to mis- frame the picture, virtually re-composing it — not at all compatible with the original esthetic values of composition and story-telling impact. To support the majority decision to compose and photograph wide-screen pictures in the 1.85:1 for¬ mat, several studios reduced the protection a^ea to as little as possible and have provided camera hard mattes (camera apertures) having a height ranging Continued on Page 352 £ ACADEMY APERTURE MOST RELIABLE GUIDE! . if you shoot motion pictures TV or Theatres Industry Education Government Research, Etc. There’s something to help you on every page of this fact-packed book! Never before a helpful book like this! Gives detailed answers to hundreds of problems and questions related to theatrical, TV, industrial, military, educational and documentary film pro¬ duction Informational text covers data never before published on panning speeds, optical effects, ultra light-speed photography, underwater cinema¬ tography, background plates, process shots, trav¬ eling mattes, day-for-night photography, color temperature, etc. Charts, tables and diagrams give instant an¬ swers to problems relating to lens angles, filter factors, shutter openings, camera speeds, exposure, lighting, aspect ratios, etc. Order your copy today! $7.50 . . . Post Paid AMERICAN CINEMATOGRAPHER MANUAL P.O. Box 2230, Hollywood 28, Calif. Please send me . copies of the American CINEMATOGRAPHER MANUAL. . Paymt. enclosed. Ship C.O.D . Name . Street & No . City . Zone . State . . . . *For orders mailed within California , please add 4% sales tax. AMERICAN CINEMATOGRAPHER, JUNE, 1963 351 . . . . . . . WIDESCREEN FOR TV Continued from Page 351 between 0.530" and 0.536", A visual¬ ization of this situation may be seen at C in Fig. 1. Here it is obvious that the vertical situation is now under con¬ trol and over-shooting and set height requirements are almost comparable to those required for the old 1.33:1 aspect ratio, illustrated at A in Fig. 1. This latter step was undoubtedly well-meant, but of course resulted in prints best suited for the theatre; and, having wide frame lines, not enough picture information is provided on the film frames to meet the requirements of standard TV screens in the event such films are subsequently exhibited on television. Because more and more feature films are being made available to tele¬ vision, it is essential to consider that all future film productions may eventually reach the television market and to re¬ move all technical sturnblimr blocks that may jeopardize the use of such films on TV. The need is for standard¬ ization that will benefit both motion picture producers and the television in¬ dustry. The Wide Frame Line Bugaboo To acquaint the less-informed reader with the film frame height : itnation involved in this problem, the following information will be helpful: lhe pic¬ ture aperture of the 35mm projector employed in TV stations in the trans¬ mission of motion pictures has a height of 0.612". The height of the transmitted area inside this field is 0.594". The height of the safe action area is 0.565", and the wide-frame line release print presently has 0.536" maximum picture information on the film. That the frame lines of such prints may show on TV screens is at once obvious. It is this situation which this Committee present¬ ly is attempting to correct. (For more complete details on aspect ratio dimen¬ sions, etc., refer to the Committee’s report on ASC Recommendation No. 4 published in American Cinematogra¬ pher for May, 1962, pp. 272). The following report by the Com¬ mittee Chairman, released in April, is self-explanatory and is reproduced here to bring readers up to date on this project and to reveal something of the activities of the Research and Educa¬ tional Committee of the ASC: THEATRICAL WIDE-SCREEN VS. TV-RELEASE ASPECT RATIO CONSIDERATIONS It was first pointed out in my article in the American Cinematographer Manual, published in October, 1960, (pp. 47) that the reduction of camera hard mattes to suit the 1.85:1 aspect ratio only would result in wide frame line prints — not too welcome for the theatre and absolutely undesirable in regard to future release of theatrical films for television. This problem was again the main reason for establishing ASC Recom¬ mendation No. 8, issued April 30, 1962, and subsequently published in Amer¬ ican Cinematographer for June, 1962, pp. 366. The drawings on pages A and B of that recommendation are self- explanatory. On January 15, 1963, a joint meet¬ ing of members of the ASC and SMPTE was held to discuss the prob¬ lem, with the participation of repre¬ sentatives from ABC, CBS, AND NBC networks. (See American Cinematog¬ rapher for February, 1963, pp. 68). The basic points established were as follows : The major networks will refuse to telecast wide frame line prints of mo¬ tion picture films. They will consider as ‘‘non-standard for TV release” any print that does not have sufficient print¬ ed picture information to fill the 0.816" X 0.612" aperture of the net¬ works’ 35mm TV film projectors. There is full understanding for the fact that economic and technical reasons have caused studios to reduce picture height from 0.600 since com¬ position for 1:85:1 aspect ratio plays only between 0.477" which, even for 1.66:1 protection requires no more than approximately 0.530" pictuie height for presentation of the film on theatre screens. The chairman outlined the details of all problems with the aid of charts and celluloid overlays to demonstrate the incompatibility of the 1.85:1 produc¬ tion method and 1.33:1 aspect ratio TV home receivers. No definite solution was reached at the termination of the meeting. Among the many proposals offered by the Com¬ mittee Chairman was enlarging camera hard mattes to a height of 0.565" from the approximate present height of 0.530" — a move he considered a logical middle-of-the-road solution inasmuch as this dimension is the same as the presently recognized height of the TV safe action area. From 0.565" to the transmitted height of 0.594" is a differ- ance of 0.029" or only 0.0145", top and bottom, which should not be con¬ sidered by the networks as an objec¬ tionable frame line to appear on home receivers. Subsequent to this meeting, Mr. Ray Johnson, head of the camera depart¬ ment at M-G-M Studios, prepared a short wide-screen test film that demon¬ strated the results of a scene photo¬ graphed with three different 35mm camera apertures: full TV aperture height, 0.536", and 0.565". The fol¬ lowing is a condensation of Ray John¬ son’s report to the ASC’s Research and Educational Committee: ‘Tn association with Walter Beyer “Quit worrying. Your mother will probably never see the picture. “ ■ — Der Film Kre-is. Germany 352 AMERICAN CINEMATOGRAPHER, JUNE, 1963 professional jr. Tripod with grooved Tripod Legs Standard Equipment for all Famous CECO Pro Jr. Tripod Heads Pro Jr Tripod is better than ever with new Heavy Duty Grooved tripod leg design. Assures greater rigidity, no matter how far legs are extended. Heavy Duty Groove design guarantees herculean gripping power, because there’s almost twice the gripping surface. Modern, rounded leg shape adds strength and durability to the wood. Comes equipped with indispensible double knob leg locks which assure equal pressure on each leg. Avail¬ able with new ball joint swivel or standard base plate. When you are looking for the best in a tripod, buy Professional Junior — the tripod designed with the professional in mind! CECO Pro Jr. Fluid Head The tripod head with smooth-as-silk maneuverability. Silicone fluid unaffected by extreme temperature range. Won’t dive in locked position. Guaranteed leakproof. The undisputed performance champ! ♦CECO — trademark of Camera Equipment CO. CAMERA EQUIPMENT CO., INC. A SUBSIDIARY OF CECO INDUSTRIES. INC. A NEW YORK, N. Y. W 315 West 43rd St. • JUdson 6-1420 HIALEAH, FL0RI0A W 51 East 10th Ave. • TUxedo 8-4604 HOLLYWOOD, CALIFORNIA 6510 Santa Monica Blvd. Hollywood 9-8321 CECO Ball Socket Swivel Joint Adapter For Pro Jr. Tripod Heads A one piece adapter which fits quickly, easily on to any Pro Jr Head. For use on new swivel base tripod or standard Pro Jr tripod with ball socket adapter base plate. CECO Pro Jr. Friction Head with Ball Joint Swivel Allows really fast, easy leveling without adjusting tripod legs. Fits any Pro Jr Tripod with adapter base plate. Has same exclusive features as standard Pro Jr Friction head . . . Pan & Tilt tension controls; accessible camera mounting knob; adjustable interchangeable telescoping pan handle. Skilfully designed and engineered for long dependable service. Unconditionally guaranteed — the World’s Standard of Tripod Quality! AMERICAN CINEMATOGRAPHER, JUNE, 1963 353 SMOOOOOTH That’s the word for MILLER FLUID ACTION TRIPOD HEADS! It’s because Miller Heads are true fluid heads . . . the load rides on the fluid and all tension adjustments take place within the fluid chambers, giving a velvety smoothness unmatched by any other tripod head. There is no slack, no bounce, no backlash, no jitter. They are available in two sizes: The Pro¬ fessional, for cameras of 25-35 lbs., and the Model “D” for cameras weigh¬ ing 12-14 lbs. MILLER MODEL “D" FLUID HEAD with Miller Ball-leveling Grooved Leg Tripod. Model “D” Fluid Head: . $150.00 Ball-leveling Tripod: . 139.50 Complete: . 289.50 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops avail¬ able coupled with the finest and most rigid tripods in the Junior class. MILLER PROFESSIONAL MODEL Fluid Head with Miller Ball-leveling Grooved Leg Tripod. Miller Professional Head: . $299.50 Ball-leveling Tripod: . 154.50 Complete.- . 454.00 At your dealer, or order direct from MILLER PROFESSIONAL EQUIPMENT 1619 NO. CHEROKEE HOLLYWOOD 28, CALIF. PHONE: HOLLYWOOD 7-8189 of Universal City Studios, we viewed this film on several closed circuit set¬ ups at NBC, ABC, and CBS. A resume of the comments by the network en¬ gineers follows: NBC — The wide screen test did not show frame lines on NBC’s monitors and it was felt that they should not show on any home receiver. However, NBC wanted picture information be¬ yond what they could see on the moni¬ tors. In other words, they wanted the full Academy aperture used whether they could see all the picture or not. This seemed rather an unreasonable attitude and I feel that it can be changed at a higher management level. “ ABC — The wide screen test film was received favorably. ABC stated that we no longer had a wide frame line problem. “ CBS — Showing our wide screen test film on a viewing room monitor, the black frame lines encroached upon the picture area slightly, top and bot¬ tom. We then viewed the film on a different monitor- — one similar to a home receiver. On this equipment we saw a normal picture without objec¬ tionable frame lines. We again viewed the film on a different set of monitors with similar results. We then asked CBS whether they would accept wide screen feature motion pictures for tele¬ vising if they were photographed in this manner. “Without assuming to speak official¬ ly for the network, it was stated by the spokesman that the results appeared acceptable. He added, however, that a picture having more picture informa¬ tion, top and bottom, would be pre¬ ferred. “Following our discussions, it was generally agreed that an . increase of .005" in the height of the protection area, making it .570", would be de¬ sirable.” Conclusion: As Chairman of the Re¬ search and Educational Committee of the ASC, I am of the opinion that as long as the industry is making pictures for the theatrical market it is under¬ standable that management wishes to put its best foot forward in that direc¬ tion. I consider the solution to establish a minimum camera aperture height of 0.570" in order, since it does not cause a seriously inferior presentation of mo¬ tion picture films on television. In fact, this proposal, as unmistakably demon¬ strated with the test film described above, will satisfy the needs of both film exhibitors and TV networks. Walter Beyer Chairman Research and Educational Committee. April 25, 1963. All action taken by the author and the Committee members has, so .far, been based on oral information that networks can and will refuse to accept for telecasting wide-screen prints that would result in display of frame lines on home receivers. Although the Com¬ mittee feels its efforts have processed toward a solution of the wide frame line problem, it has, in the spirit of mutual cooperation, forwarded a copy of the above report to representatives of the three major TV networks with the specific request that they state in writing their respective policies. In the meantime the Committee re¬ gards the established dimensions, shown in Eig. 2, as an interim solu¬ tion. If confirmed in a subsequent finalizing meeting of the Committee, they will be published as an official ASC Recommendation. It is our convic¬ tion that, for the benefit of directors of photography, camera operators and all film production personnel involved in this matter, we are on the right track in establishing again one common aperture for the photography of all flat motion pictures. ■ “THE GREAT ESCAPE” Continued from Page 338 a few days later, and then it was determined that we had some added scenes to shoot for the sequence. This made it necessary to wait for the weather to turn cloudy again so that the added scenes would match the scenes previously photographed.” It is situations such as this where a director of photography’s skill and artistry is put to the supreme test. There is more to it than simply shoot¬ ing added scenes. The quality of light¬ ing in the scenes previously shot must be remembered as also must the cam¬ era position and the movements or exits, right or left, of the players in camera range — -all this if the added scenes are to properly match and inter¬ cut with the previous photography. Other examples of Fapp’s commend¬ able photography achieved under “im¬ possible” lighting conditions are the 354 AMERICAN CINEMATOGRAPHER. JUNE, 1963 0056 the ONE PACKAGE deal from JACK A. FROST/ ★ * . . saves you TIME and money on PRODUCTION RENTAL needs ! . . . . JACK A.FROST C080 HALL OFFICE: 401 Washington Blvd. Rm. 3143, WO 2-1255, Detroit 26, Michigan MAIN OFFICE: 234 Piquette TR 3-8030, Detroit 2, Michigan CANADIAN OFFICE: 6 Shawbridge, BEImont 2-1145, Toronto, Canada AMERICAN CINEMATOGRAPHER, JUNE, 1963 355 ELGEET ZOOM NAVITAR Elgeet offers Vidicon television cameras and 16mm cameras the first Zoom Navi- tar, a manually-controlled 4:1 zoom with a 20mm to 80mm range— f: 1 .8! This new lens achievement is optically compen¬ sated to hold focus through the entire zoom action. Fourteen elements— covers Vidicon format— resolves 600 lines— linear zoom action by ring— list price: $400. For information, write for Catalog 2080-CZ18. OPTICAL COMPANY, INC. 303 Child St., Rochester 11, N. Y. scenes of two POW’s escaping by row boat on tbe Rhine river — shot entirely in light rain, with the lens set at f/2.8 most of the time; and the sus¬ pensive sequence of scenes in which a number of recaptured prisoners are taken by truck to a lonely spot in the country, turned out and coldly ma¬ chine-gunned. The dour, cloudy day exactly matched the mood of these ter¬ rible scenes and Fapp’s photography and skillful lighting give the sequence powerful pictorial impact. Much of the picture’s exciting action takes place in the underground escape route laboriously dug beneath barracks and compound by the pris¬ oners while German guards vigilantly policed the camp grounds. The set rep¬ resenting a cross-section of the tunnel was extensive — about 200 feet in length — - and was constructed on a sound stage of the Bavaria Studios. In its design and construction, Director Sturges insisted that it be kept as nar¬ row in depth as practical so that both the ceiling and the base of the tunnel would appear in the picture frame. It was important, he said, to maintain the visual effect of extremely cramped quarters the prisoners had to work in as they inched along toward freedom with their laborious digging. As the tunnel length grew, the prisoners ex¬ tended the crude wooden tracks over which they moved low-slung carts to carry the excavated soil — and later the prisoners themselves as they were trans¬ ported one by one from the secret exit in the barracks floor to the end of the tunnel and freedom. Here the photography was extensive and required several days to complete. Most of it was mobile camera shots, with the Mitchell camera dolly-mounted and moving on tracks parallel to the tunnel set. “The wide scope of our Panavision lenses,” said Fapp, “pre¬ cluded panning the camera. Lighting of this set was predomin¬ antly low-key and it was an important factor in the build-up of suspense which the feverish action in the tunnel generated. Compatible with the grim mood of the scene, the lighting was deliberately underplayed, yet was ade¬ quate at all times to afford easy dis¬ cernment of action and players on the screen. As the prisoners began digging their escape tunnel, they used candles for illumination. Later, they fashioned “oil lamps” from discarded tin cans and wicks made from strips of cloth, which burned fat obtained from the com¬ pound kitchen. Fapp played irregular spots of yellow light on the tunnel wall back of these lamps to simulate the glow of the tiny flames. In shooting scenes of the men moving through the tunnel one at a time on the rickety, low carts, a Baby Junior mounted on a second cart moving along in front of the players properly illuminated them for photography. There is another sequence in this pic¬ ture that particularly stands out, both for the photography and the execution of it. It is the crashing of a light, single-motored plane in which two of the escapees are attempting flight to freedom. “Logically, we did all of the close shots before the plane was actu¬ ally crashed,” Fapp explained. The spectacular crash was no special effects job ; it was a deliberate crackup by an expert flyer, without injury to himself. “To film the pre-crash close shots depicting the ‘crashed’ plane nosed over and burning at the edge of a forest,” Fapp explains, “the plane was angled over as required and a number of broken tree limbs and some up¬ rooted brush arranged on and around it. Some combustible material was then ignited within the setup to give the illusion that the plane with its occu¬ pants inside was afire. “After all the close shots were com¬ pleted,” Fapp continued, “the big, spectacular crash scene was staged and photographed. This was a one-time, one-shot, no-retakes operation and every precaution was taken to insure getting the action just right on film. With everything in readiness, we started the cameras rolling as the pilot headed our way, as instructed. He brought the plane in low among the trees. The right wing caught a branch, veered into a clump of trees and crashed. It was a perfect take. “The only process shots involved in this whole sequence,” Fapp continued, “were closeups of actors James Garner and Donald Pleasance seated in the plane as it ostensibly moved in flight. The shots were done in the Bavaria studio using a single-head process pro¬ jector, which just barely gave us the volume of light required for the pro¬ cess shots.” These are but a few of the photo¬ graphic highlights of this dramatic and suspensive motion picture — the third, which Daniel Fapp has photographed for The Mirisch Company. For the photography of “One, Two, Three,” 356 AMERICAN CINEMATOGRAPHER, JUNE, 1963 Inspect every foot before it leaves your plant with the HFC High Speed Heavy Duty Inspection Projectors -- 16mm & 35mm models now available. NEW The projector is a converted front shutter Simplex with a two pin intermittent. 16mm or 35/32 film runs at a speed of 144 ft. per minute while 35mm film runs at a speed of 165 ft. per minute. 1. A variac controls the light intensity. 2. A 500 watt lamp is used for 16mm and a 1,000 watt for 35mm (a blower is used to cool the lamphouse). 3. A 2i/2 inch projection lens is furnished with each unit. 4. A start-stop lever controls the power to the lamp and motor. 5. The magazine and take up core takes up to 3,000 ft. of film. 6. Upper guide rollers are made to handle the film from either direction of the feed reel. 7. A free wheeling take off flange is pro¬ vided in the magazine. 8. A lamp near the takeup reel permits hand inspection of the film prior to takeup. NOUVEAU Le projecteur contient un obturateur Sim¬ plex anterieur transforme avec deux cla- vettes intermittent. Les films de 16mm ou 35/32 tournent avec une vitesse de 144 pieds a la minute, tandis que les films de 35mm tournent avec une vitesse de 165 pieds a la minute. 1. Le regulateur de voltage d’intensite d'eclairage. 2. La lampe de 500 watt est necessaire pour les films de 16mm, et de 1000 watt, pour les films de 35mm (un ven- tilateur est mise pour rafraichir la chambre de la lampe). 3. L’objectif de 2x/2 est instale. 4. La manette de mise en marche et d’arret controle en meme temps la lampe et le moteur. 5. La boite de films avec noyau peut con- tenir 3000 pieds du films. 6. La roue superieure est construite de maniere de recevoir le film dans les deux directions, nourrie par la bobine centrale. 7. Une roue est instalee pour liberer rapidement le film de la boite. 8. La lampe se trouve pres de la bobine recepteuse, et donne toute facilite pour inspecter le film a main dans le projecteur. HOLLYWOOD FILM COMPANY NUOVO Questi proiettori sono Simplex transform- ati, otturatore al fronte, meccanismo di scatto di due punte. La velocita di proie- zione in 16 o 35/32mm e di 144 piedi per minuto, e in 35mm, di 165 piedi per minuto. 1. Controllo manuale della luminosita della lampada. 2. Lampada di 500 watt per 16mm e di 1000 watt per 35mm. 3. Obbiettivo di proiezione di 2y2". 4. Maniglia per controllo di motore e lam¬ pada di proiezione. 5. La cassetta porta pellicola puo con- tenere 3000 piedi. 6. I rulli superiori di guida sono construiti per operare con film provenente di ambi lati della bobina svolgitrice. 7. Disco con montatura sporgente net magazzino. 8. Una lampadina illumina la bobina av- volgitrice, permettendo I’ispezione man¬ uale del film prima che si avvolga nel proiettore. NUEVO Esta maquina es un proyector simplex con- vertido, obturador al frente y movimiento intermitente a doble grifa. Para 16mm o 35/32mm, la velocidad fija de proyeccion es de 144 pies por minuto, para 35mm es de 165 pies por minuto. 1. Un reostato controla la intensidad de la lampara de proyeccion. 2. Para 16mm se usa una lampara de 500 watt, y una de 1000 watt para 35mm (un chorro de aire ventila las lamparas en ambos casos). 3. Cada unidad esta provista de un lente de proyeccion de 2 pulgadas y media. 4. Una palanca de control opera el motor y la lampara simultaneamente. 5. Capacidad de proyeccion: rollos de hasta 3000'. 6. Los rodillos de guia superiores operan con la pelicula en ambas direcciones. 7. La tapa de la bobina de carga es desenroscable. 8. Una lampara ubicada junto a la bobina de toma permite la inspeccion manual de la pelicula antes que se rebobine en la bobina superior del proyector. REELS / CANS / CASES 956 N. Seward, Hollywood 38, Calif., HO 2-3284 • 122 W. Kinzie, Chicago 10, III., 644-1940 • 524 W. 43rd St., N.Y. 36, N.Y., LO 3-1546 AMERICAN CINEMATOGRAPHER, JUNE, 1963 357 ONLY fmCECO! 7kz /Hco*Hpata6/e BAUER SELECTON 16mm PROJECTOR Some of the features that put the Bauer in a class by itself: • 2Vi hrs. uninterrupted showings with 5000 ft. reel. • No skilled operator needed — simple push button operation. • XENON LAMP operates 1500 continu¬ ous hrs. . . . No carbon replacement ... No lamp maintenance ... No mir¬ ror splatter ... No exhaust system needed (Generates no carbon monox¬ ide fumes) . . . Instant starting at peak output . . . Quality closest to daylight ...Variable light output with no change in color quality. • 2000 WATT XENON LAMPHOUSE de¬ livers 4100 lumens — fills Cinema¬ scope screen over 40 ft. wide. 1000 watt Xenon gives 2300 lumens for Cinemascope screens to 30 ft. wide. • Exclusive lamphouse “Cold Mirror” reduces aperture heat — extends film life. • Film Pulldown System, Maltese Cross Design Intermittent Sprocket, insures positive, safe film engagement — no claw mechanism to damage film. • Circulating Lubrication System for trouble-free operation. • SOUND SYSTEM — Optical & Mag¬ netic Sound Heads ... Amplifier handles optical & magnetic signals ... 15 watt amplifier for optical and magnetic reproduction. • CECO 2-Speed Synchronous Motor 16 & 24 F.P.S. available. • Simple Installation. • Guaranteed Parts & Service. INDUSTRIAL DEALERSHIPS AVAILABLE For complete information, write: Projector Division, Dept. 32 CAMERA EQUIPMENT co., me. A SUBSIDIARY OF CECO INDUSTRIES. INC NEW YORK. N. Y. 315 West 43rd St HIALEAH. FL0RI0A 51 East 10th Ave. < JU 6-1420 TU 8-4604 HOLLYWOOD. CALIFORNIA 6510 Santa Monica Blvd HO 9-8321 Fapp received an Academy Award nomination last year for best black- and-white photography. Simultaneous¬ ly, the same year, he was nominated and won the Academy’s Oscar for best color photography for the award-win¬ ning “West Side Story.” Of “The Great Escape,” Fapp says simply: “Our chief aim, photographi¬ cally, was to sustain mood and to aid in building suspense. It was a very factual picture; we didn’t try to glam¬ orize anything at anytime.” All negative shot on the production was shipped by air to DeLuxe Labor¬ atories in Hollywood, where it was pro¬ cessed and “dailies” printed. Ship¬ ments of exposed negative were made three times weekly. The laboratory air- expressed “dailies” to the company on location on a similar tri-weekly sched¬ ule. “The frequent arrival of ‘dailies’, said Fapp, “enabled us to keep close check on photographic results — very desirable in view of the adverse weath¬ er in which so many exterior scenes were photographed.” ■ WHEN THE ARMY SHOOTS Continued from Page 349 transparencies are used whenever pos¬ sible to hold down costly location trips. But it is not unusual to find as many as a dozen companies working in such varied locales as Fort Benning, Geor¬ gia; Fort Sill, Oklahoma; Korea; Fort Richardson, Alaska; South Viet-Nam; Germany; France; Fort Bliss, Texas; and Fort Old, California. At the same time several other units may be work¬ ing on the sound stages. Any necessary animation and special photographic effects are usually pre¬ pared at the same time principal pho¬ tography of a production is under way. When all photography is com¬ pleted, the film is edited and the rough cut approved. Narration, music, and sound effects are added. Re-recording is accomplished and the “answer print” is sent to the requesting agency for approval. If the film is approved and no re-takes or re-editing is neces¬ sary, the Center’s processing lab makes up the release prints. In the final phase, the release prints are sent to Signal Corps Film Exchanges through¬ out the world for distribution. Training films have been made cov¬ ering in detail virtually all subjects taught in the Army. But tactics, weap¬ ons, equipment and technology change. New films must be constantly pro¬ duced. Whenever possible, old films are updated. For example, it is not al¬ ways necessary to completely re-make a film but it can be frequently brought up to date by photographing new scenes to keep abreast of new technical developments and changes in policy or tactics. This economical practice has saved many thousands of dollars. Films are also revised, re-narrated and lip-sync’d for use by Allied na¬ tions. Army training films have been translated into many different lan¬ guages and are given wide dissemina¬ tion by Army military advisers on duty with friendly nations throughout the world. The running time of most training films is held to about 20-25 minutes. A study was made by Army psycholo¬ gists who determined that most stu¬ dents cannot satisfactorily assimilate more from a lengthier film. Long, in¬ volved subjects such as infantry tactics, artillery firing, map reading, guided missiles are issued in episodes. The use of color in training films is dictated by several important consider¬ ations — time, money and teaching ef¬ fectiveness. For most military subjects, it has been found that black-and-white film will do an effective job. But there are certain subjects like camouflage, medical and guided missile subjects where color recognition is of para¬ mount importance. In such cases, color is employed because it can do a more effective teaching job. The operation of the Camera Branch (which is under the overall supervision of the Production Division) offers a typical example of how one of the APC technical branches functions and is staffed. It is headed by Joseph J. Lipko- witz, who joined the Center with the first detachment of soldiers back in 1942, and who has had more than 25 years experience as a cinematographer. Prior to enlisting in the Army, Lipko- witz had been a professional cinemato¬ grapher. After the war ended, Lipko- witz was offered a job with the Army as a civilian cameraman. For several years he was a production cameraman at APC and worked on all types of films before being appointed branch chief. The Camera Branch is divided into three main sections: motion picture, still photography and special photo¬ graphic effects. The Branch is respon¬ sible for the photography in all APC 358 AMERICAN CINEMATOGRAPHER. JUNE, 1963 projects; assigns personnel as a part of a production crew or on location ; furnishes the camera crews with neces¬ sary equipment; accomplishes special effects and process photography; and requisitions, tests, stores and issues and maintains records of cameras, auxiliary equipment and raw stock. At this writing, the following first cameramen are assigned to the Camera Branch: Master Sergeant Hiroshi Kaku, Sergeant First Class John Mar- sten, Sergeant J. D. Devan, Sergeant William H. Wilson, Sergeant Alzen Floyd, Specialist 5th Class James 0. Macintosh, Frank Argondizza, Charles N. Arnold, George R. Howell, Charles B. Hemingway, Harry C. Kreider, Christopher Mauriello, Robert E. Sul¬ livan, Stanley T. Swed, Vibo V. Val- enzio and Peter R. Voutsas. Lipkowitz said that many of the civilian cameramen have been at APC since World War II. Suprisingly, most of the military cameramen now as¬ signed to the Camera Branch received all of their training and experience in the Army. Soldiers are given basic training in photography at the Signal Photographic School at Fort Mon¬ mouth and acquire additional skill through “on-the-job training” and ex¬ perience. Lipkowitz has set up his own training program for new men and keeps it going as often as he can despite a heavy workload. *A soldier has to have the aptitude and the interest to become a camera¬ man,” Lipkowitz says. He claims that it is possible to determine early wheth¬ er or not a newly-assigned soldier- cameraman has such aptitude or in¬ clination. He told me that it takes about two years to train a capable assistant cameraman. “Skill in light¬ ing, composition, and actual produc¬ tion photography come only with ex¬ perience, and a lot of that. You really can’t teach those things. Such skills must be acquired over a long period of time,” is his opinion. Christopher Mauriello is a typical APC cameraman. He has been an Army cameraman for more than 20 years both as a soldier and civilian. He was a combat cameraman with General Douglas MacArthur’s forces in Australia early in World War II and followed his armies through the vari¬ ous South Pacific Island campaigns until the war ended in the Philippines. Mauriello was one of several combat cameramen assigned to cover the in¬ fantry assault on the Island of New XCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE ■■ V new, improved super-efficient CINE VOICE CONVERSION Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion. • A true torque motor — Idles at V3 power, when camera is turned on. Assumes full power. This system prevents excessive heating. • Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc. • Veeder counter effectively silenced. • Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines. • Neon camera running light. ■■■■ V* , . CINE VOICE CAMERA CONVERSION including torque Easy finger-tip operation » Precise zoom range control * Zoom speeds from 2'h to 10 seconds , Interchangeable— for 16mm and 35mm cameras. -» Mounts directly on lens barrel Uses type “C" flash light batteries The camerman can control the picture size by eye or can pre-set the zoom range by quick-set limit stops on the quadrant. A silicon loaded slip clutch and mechanical limit stops provide precise control of the zoom range. The control box is equipped with instant contact push-buttons for easy finger-tip operation of zoom-in or zoom-out. The box mounts on a tripod handle, or directly on the camera for hand¬ held operation. It also may be held and operated by an as¬ sistant. Speed range is rheostat controlled and adjustable from approximately 2V2 seconds to 10 seconds of zoom time. A special feature is the very efficient motor which operates for hundreds of moves on one set of 5 type “C” flashlight batteries. Two models are available: Regular, where noise is not a problem. Super-quiet, where whisper-quiet operation is needed for sound recording. Serving the World's Finest Film Makers FLORMAN & 68 W. 45th St.f N. Y. 36 MU 2-2928 questions: “Will it do the job better than what is already available and will it reduce maintenance costs?” He also believes it highly desirable that equip¬ ment be sufficiently rugged for opera¬ tion under unfavorable conditions in faraway locations such as Southeast Asia, Africa or the Arctic Circle. Lipkowitz thinks that of all the places his crews have worked, none have presented greater problems to men and equipment than that of the Arctic Circle. Perhaps one of the finest examples of Arctic photography was that accomplished by Master Ser¬ geant Lester A. Marks, who photo¬ graphed “Operation Blue Jay,” a doc¬ umentary dealing with the testing of Army equipment in Greenland. Using an Eyemo camera, Marks worked un¬ der extremely difficult conditions in accompanying the expedition across the Polar ice cap. The resultant foot¬ age contained many remarkable scenes and breathtaking photography. This picture received a nomination by the Academy of Motion Picture Arts and Sciences in 1953 as the best short sub¬ ject of the year. Sergeant Alzen Floyd, who handled the cameras on “City Under Ice,” a film also dealing with Army opera¬ tions in Greenland, is another of the Center’s cameramen who has success¬ fully met the challenge of photography in the Arctic. Floyd used a Mitchell Standard camera and Eastman color film for this assignment. He protected his equipment by always avoiding sud¬ den and excessive changes in tempera¬ ture and of temperature differentials between equipment and film. Cameras and film were stored in an unheated room. When the camera had to be moved from a cold place to a warm room for interiors, the change was made slowly and by degrees. The cam¬ era was always carried into a room inside a rubberized, watertight bag, which was vapor-sealed. Excess air was pressed out of the bag before the cam¬ era was removed. Floyd never used a heated barney on the camera. Normally a camera crew includes a first cameraman and two assistants. As a general rule, the first cameraman operates the camera. An exception is made in complicated sequences when an operator is assigned to a crew in order to free the first cameraman for overall supervision. The two assistants handle focus, magazines, reports, equipment and other related duties. Each first cameraman is assigned his own outfit which includes a Mitch¬ ell Standard camera with all lenses and 362 AMERICAN CINEMATOGRAPHER, JUNE, 1963 accessories and a Bell & Howell Eye- mo camera. Included in each outfit is a copy of the American Cinematog¬ rapher Manual which APC camera¬ men have found invaluable. Camera equipment, such as the Mitchell BNC, the Arriflex or Mitchell Sixteen, are assigned camera crews as they are needed. A wide range of the latest type of studio lighting is available in abun¬ dance but some units are homemade such as the efficient banks of overhead flood units which have been built in the APC engineering shop. Portable lighting units, notably Colortan and Johnson lights, are used frequently for shooting on locations. Recently ex¬ cellent results have been obtained with Sun-Gun units, which give the camera¬ men even greater portability. Many APC directors have expressed surprise at the excellent results various camera¬ men have been getting with the Sun- Guns. “It’s hard for them to believe that such a little light can do such a good job,” Lipkowitz told me. Almost all Army films are photo¬ graphed on 35mm film for standard screen projection ; however, composi¬ tions are set up so that the picture can be effectively projected on wide screens or on television without image loss. Virtually all release prints are on 16mm, the format of most Army class¬ room projectors. (To Be Continued) REPORT FROM COLOGNE Continued from Page 346 The handy method for carrying the camera is illustrated in Fig. 2, and the dual-spooled single-chamber film maga¬ zine is pictured in Fig. 3. The magazine includes the film movement and gate as an integral part — long a salient feature of Eclair portable 16mm cam¬ eras. The quick inter-change of motors is demonstrated in Fig. 4. The American-made Auricon Pro- 600 Special and Super-1200 16mm single-system sound cameras were dis¬ played in the booth of Hahnel-Kino- GmbH. Both cameras afford photogra¬ phy with sound on the same film strip. In addition to the standard optical sound recording facility, a magnetic recording head and transistorized am¬ plifier and companion monitoring equipment is also available for both cameras where filming and recording WIDE FLOOD or MEDIUM FLOOD with only one housing, fingertip controlled! w Quartz-iodine lamps will not dim; reflectors will not tarnish. Units operate from 110-120 volts A.C. or D.C. with CONSTANT COLOR TEMPERATURES. DUAL-650 (650 watts, 5.4 amps) 220 foot-candles, Wide Flood 390 foot-candles, Medium Flood (measured at 10 ft.) More than 2000 watts of studio light! ( DUAL-IOOO (1000 watts, 8.3 amps) 400 foot-candles, Wide Flood 850 foot-candles, Medium Flood (measured at 10 ft.).. More than 5500 watts of studio light ! . . . the phantom cleanser Advertised on radio KFI (NBC). Safel Con¬ tains no acids, caustics, ammonia or hydro¬ carbons. Made with an herb imported from Italy. Will positively clean movie equip¬ ment, stainless steel, porcelain cabinets, developing tanks, cutting tables, etc. Ex¬ cellent hand cleanser. $1.50 Money-back Guarantee CLEANALL BOX 548, BURBANK, CALIFORNIA Phone: TH 6-6860 Automatic Daylight Processing r ” ” DEVELOPING TANK • Processes up to 200 Ft. • 8 mm- 1 6mm-25mm-70mm • Movie — X-Ray — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER > \ 111 • Motor driven — Heated • Speedy drying • Automatic shrinkage allow- \ ance • Stainless steel and aluminum construction • Easily assembled without tools ti T • nTi ( • Compact, Portable Guaranteed. Write for Free Literature Micro Record (orp. r j AMERICAN CINEMATOGRAPHER, JUNE, 1963 363 PUZZLED ABOUT EDITING MULTIPLE SOUND TRACKS? TRY THE NEW Now you can convert your Series 20 Moviola to Multiple Sound editing with the Camart Add-A- Unit Extension Plate. With the Add-A-Unit you can edit and cut three or more sound tracks simul¬ taneously. Each unit has individual volume control for mixing optical or magnetic sound. Attaches in¬ stantly without drilling or tapping. Removes easily. Comes complete with belt guard, screw, flange and ’mplifier connections. For further details and price write: Camart Add-A-Unit Extension Plate Series 20 sound heads and take-ups addition¬ al. Prices on request. CAMART PRODUCT Phone: PLaza 7-6977 Cable Address CAMERAMART \ouJi BUSINESS CARD PHOTOGRAPHICALLY PRINTED ON 35 MM PAPER FILM CONVENTIONAL TWO-COLOR CARDS rs smith John Q- 5,1 Send For FREE Brochure Cinema Business Cards, P.0. Box 255, Beltsvilie, Md. Cinema Business Cards, P.O. Box 255, Beltsvilie, Md. Please send me _ brochure(s) with free samples of Cinema Business Cards. NAME _ ADDRESS _ CITY & STATE SAVE MONEY When Filming In Europe By Renting Your Camera Equipment From CHEVEREAI] PARIS, FRANCE We Service The Entire Continent CAMERAS, including the Mitchell BFC 65mm CRANES DOLLIES 20 RUE DE LA CHINE PARIS 20, FRANCE TelS: MEN 9472, PYR 5104 Cable: Cameraloc Paris are to be done on pre-striped single- perforated 16mm film. Etablissments Andre Debrie dis¬ played its latest professional 16mm camera, the Sinmor, designed for both newsreel and soundstage use. The Sin¬ mor is an unusually lightweight unit, made so by the use of a tough and highly-resiliant plastic material for the housing, instead of metal. The camera takes external magazines, provides for a range of quick-interchange motors, and can he adapted for single-system sound and picture recording. Among the accessory lenses for 16mm cameras displayed and worthy of mention here was the Vario-Sonnar f/2 designed for Arriflex 16mm cam¬ eras. A product of Carl Zeiss, lens has a zooming range between 12.5 and 75mm and incorporates a total of 15 lens elements grouped into 12 com¬ ponent groups. At the 12.5 setting it is a true wide-angle lens with an angle of view of 52°. At the long end setting it renders a telephoto angle of 9°. Also shown was Zeiss' f/2 Distagon 8mm focal length lens, a super wide- angle lens for the 16mm format having a 75° angle of view. It is a well- corrected nine-element lens with high definition and excellent image illumi¬ nation. ■ “JOURNEY TO THE STARS” Continued from Page 345 edges. Its angular field of slightly more than 162 degrees assured sharp pro¬ jection coverage of the vast hemispher¬ ical dome. Because the ASA Type 1 film per¬ foration is non-standard it was neces¬ sary to place special orders with East¬ man Kodak Company for the 70mm film stocks required — making the first time that Eastman Color negative, internegative and print stocks were manufactured in this size and perfora¬ tion. In addition, three different black- and-white negatives were supplied: Tri-X, Plus-X and Background X. Meanwhile, Fine Arts Productions, Inc., under the guidance of Producer- director John Wilson and Chief Cam¬ eraman Eugene Borghi, had begun filming the simulated voyage into 60 thousand billion miles of inter-galactic space. The production called for in¬ credible precision and the exploration of new frontiers in three-dimension stop-motion photography and anima¬ tion. 364 AMERICAN CINEMATOGRAPHER, JUNE, 1963 Model R-15 ONLY $4750 Complete* F. 0. B. Milford Conn m?T7 i :4m The World’s Most Popular Film Processor! • Develops reversal film at 1200 ft. per hour tive-positive film at 1200 ft. per hour MODEL R-15 REVERSAL eh m IIAh V 88 m ImIvB I • Exclusive Overdrive — eliminates film breakage, automatically compensates for elongation, tank footage stays constant. • Easy-to-operate, fully automatic controls make this an ideal machine for unskilled personnel. • Variable Speed Drive — development times from IV2 to 12 minutes. • Complete Daylight Operation on all emulsions— no darkroom needed. • Feed-in elevator and 1200 foot magazine permits uninterrupted processing cycles. • Stainless steel tanks, air squeegee, recirculation fittings, air agitation tube, lower roller guards. • Forced filtered warm air drybox. When You Buy Quality - Filmline Costs Less! For Additional Information Write Dept. AJ-63, ‘Including Temperature Control System, Bottom Drains and Valves, Developer Re¬ circulation and Air Compressor. Lease & Time Payments available CORPORATION MILFORD, CONNECTICUT The primary problem was the vast scope of the format itself: a film to completely encircle the audience — which would be projected on the world’s largest motion picture screen, an 8.000 square foot aluminum dome weighing eight tons and dwarfing the 3.000 square foot screens used for the triple-projector showings of Cinerama. The film was to encompass a vertical angle of 160 degrees, only slightly less than that of the natural horizon. Pre¬ viously the widest vertical angle cov¬ ered by a projected motion picture had been 140 degrees, achieved by a device used to train flyers during World War II. To simulate the black sky ablaze with stars that was to serve as the background for the entire film, a spe¬ cial 10-foot dome was constructed of fiberglass painted black on the inside and drilled with more than 1,000 in¬ dividual holes accurately plotted to duplicate constellations covering 210 degrees of the Northern hemisphere. The holes, representing five magni¬ tudes of star brightness, ranged in size from 1/8 to 1/64 inch in diameter. Outside and above the dome forty 10KW lamps produced an over-all even — - IN STOCK! Available Immediately NEW ANGENIEUX IOX ZOOM 12mm-120mm f2.2 available for all 16mm cameras. 25mm-250mm f3.2 available for all 35mm cameras. Serving the World’s Finest Film Makers • Lowest Prices! • Trades Accepted! WRITE* WIRE • PHONE FLORMAN & 68 West 45th St., New York 36, N. Y. MU 2-2928 AMERICAN CINEMATOGRAPHER, JUNE, 1963 365 QUALITY AND SERVICE MM UACK&mm REVERSAL NEGATIVE POSITIVE PRINTING COLOR Processing- COLOR PRINTING Work prints — Timed prints Color to Color prints — A & B roll prints Color to B & W prints — Fades-Dissolves Dupe Negatives — Multiple prints Raw stock — Fastax service Loop printing Write for complete information FILM LABORATORIES NOW AT OUR NEW LOCATION 311 WEST 43RD STREET NEW YORK 36, N Y. JUdson 6-7196 • JUdson 6-7198 L & F PORTABLE CINE PROCESSOR • Fully Automatic # Daylight Operating $675.00 (f.o.b, Chicago) • 16mm or 8/ 8mm • Requires no plumbing • Process 200 Ft. 8SW Film in Less Then 1 Hour • Reversal Processing • Less Thon 1 Gallon of Solution Needed • 32"x9"x24"! 55 lbs! Write For Descriptive Literature SUPERIOR BULK FILM CO. 446-48 N. Wells • Chicago 10, Illinois SOUND FOR YOUR BOLEX H16 or H8 .00 F.O.B. Detroit TAKE SOUND PICTURES! Perfectly synchronized sound recorded on tape simultaneously with pic¬ tures on film. Complete unit includes mechanism section mounted to camera, amplifier with carry¬ ing strap, microphone, cords, headset, etc. No camera alterations required. Unit mounts on cam¬ era same as cover and appears as part of it. > Write for dota. LOUIS S. UHLER 15778 Wyoming Ave., Detroit 18, Mich. Phone: UN 1-4663; Cable: UHLCIMA light that was given a measure of diffusion by a white silk parachute draped over the dome. The effect was to soften the light coming through the holes without eliminating the required star-like sparkle. The camera was placed inside the dome, shooting straight up at the man¬ made heavens. Because of the need to minimize grain and insure maximum sharpness of the star images, this back¬ ground scene was photographed on black-and-white Plus X film and printed on Eastman high contrast stock. For part of the footage, large stars and galaxies such as the Milky Way were accurately reproduced in white paint on the inside surface of the dome. These paintings were illumi¬ nated by leak-light spilling through fiberglass shields arranged around the bottom of the dome. Thus, the small stars were exposed by light reflected from the painted inner surface. By experimenting, exposure was balanced to photograph both in proper tonal ratio without graying the background. Three-dimensional models of the planets, asteroids and the Moon were constructed in miniature and averaged three feet in diameter. Colors and topography were accurately reproduced according to latest scientific data. (It required two months of steady work to faithfully duplicate the crater-pocked surface of the moon.) These models were lined up in proper relationship against a black-draped stage on a 100- foot path along which the stop-motion camera dollied in steps of % -inch per frame. Crews rotated each model by means of intricate gear-mechanisms as the director called out numbered direc¬ tions for each exposure. The huge inverted telephoto lens, with its 30 lbs. of glass elements, vio¬ lated many of the established princi¬ ples of optics and, in effect, made its own rules. Firstly, spherical aberration caused a fall-off of sharpness at the edges when the image was in sharp focus at the center of the composition, and vice versa. Through trial-and- error experiments, a midpoint of focus was located which indicated that the desired overall sharpness could be achieved in the photography by stop¬ ping down the lens aperture to f/11. There was not enough light, however, to permit motion picture photography at this aperture at conventional camera speeds. The alternative was to shoot the sequence in stop-motion, a frame at a time, at exposures of l/fj-minute each — which is the procedure decided upon. Secondly, the extreme wide-angle characteristic of the lens diminished images to such an extent that it was often necessary to move the camera within 2 or 3 inches of a 3-foot planet model in order to fill the frame with the subject. To get a realistic illusion of soaring past the Moon, the camera was dollied, between stop-motion ex¬ posures, to within l/^-inch of the sur¬ face of the model. In the case of Saturn, the scene began with a con¬ ventional long shot of the ringed planet — then the camera approached and tilted 90 degrees, skimming along within %-ineh of the slowly revolving rings. The lift-off from Earth which opens the picture might have been filmed with greater ease had a 10-foot globe been used with the camera mounted on a Chapman boom. Since elements of such size were not practical, the cam¬ era started at a point ^8 °f an inch from the surface of a 4-foot Earth model, skimmed along in simulated orbit and then lifted free of the planet — the entire maneuver taking approxi¬ mately 25 seconds on the screen. A special cradle was built for the camera which incorporated two gear- heads, mounted one above the other. This permitted full 360-degree hori¬ zontal and 160-degree vertical rotation of the camera to simulate the view from the lookout port of a space ship. Each gear-head was precisely cali¬ brated to insure the smoothest possible stop-motion photography. As the camera approached within 18 inches of an object, focus became high¬ ly critical and had to be corrected every five or six frames. Precise con¬ trol was made possible by a Vernier guage having micrometer calibrations down to l/1000th of an inch. Check¬ ing focus through the lens was a com¬ plicated operation, there being no lateral rackover mechanism on the camera. In order to make a quick check of the framing only, the camera was racked back from the lens and a prism-type viewer inserted sideways at the film plane to show an inverted image of the scene. To check for criti¬ cal focus, however, it was necessary to clear the film, disengage it from the movement, remove the movement from the camera and insert a special scope inside the camera body for critical viewing through the lens. 365 AMERICAN CINEMATOGRAPHER. JUNE, 1963 Phenomena such as the Beta Lyra star, with its spiral-shaped luminous trail, the Super Nova (an exploding star) and the Andromeda galaxy were created by means of multi-plane ani¬ mation techniques using glass “cels” up to five feet square. The coloring for these heavenly objects was derived from authentic color photographs taken at Mt. Wilson Observatory. A dense celestial cloud of wispy gas — called Lagoon Nebuls — was simulated by con¬ structing a large wire tunnel, which was sprayed first with artificial cob¬ webs and then with prismatic colors of blue and red. It was built in break¬ away sections so that the camera could move through it. With filming now underway, facili¬ ties had to be adapted for processing and printing. Because of the non¬ standard characteristics of the raw stock it was necessary for Technicolor to modify its 70mm friction drive posi¬ tive machine to negative processing. Lin Dunn, Don Weed and William Liittschwager combined efforts to con¬ vert a Model J Bell & Howell continu¬ ous printer to 70mm for the printing of dailies and release prints. Special film-handling equipment, such as gang synchronizers, splicers, etc., was built by Benson-Lehner. It developed that optical printing would be necessary to superimpose the main images of the planets over the star backgrounds and to create other special effects. For this Film Effects of Hollywood designed and built a special optical printer. This incorporated a second Benson-Lehner camera set-up for bi-packing and a newly-built pro¬ jection head. So that experimentation in the pro¬ jection phase might continue during production, the complete dome and projection system were set up on Stage 10 of Hal Roach Studios, in Culver City, Calif., this being the only avail¬ able building in Los Angeles having sufficient ceiling clearance to accomo¬ date the installation. Two months be¬ fore opening of the Fair the dome and equipment were dismantled and ship¬ ped to Seattle for installation. A sound system was incorporated, consisting of a four-track Ampex 35mm tape trans¬ port synchronized to the two projectors with a switching circuit to tie in to the particular projector in operation. The dome was suspended from the ceiling within the square building so that the axis had a 10-degree incline normal to the 10-degree slope of the 26 YEARS OF QUALITY REVERSAL PROCESSING • Specialists in high speed or standard reversal processing • Security clearance • Free Vacuumating • Films returned same day • Customer extra service: Special prices on Eastman & du Pont Reversal Film Area Code 301 — 422-4333 NATIONAL CINE LABORATORIES WASHINGTON 17, D. C. ■ ■■■■■ tiered audience area within the audi¬ torium. It was intended that the audi¬ ence should stand during the showing, for which hand-rails were provided. The projection booth was elliptical in shape and centered to the dome. The projection lens extended from the booth at a height to provide a clear throw to the screen. Cinerama oper¬ ated the exhibit during the entire run of the Fair using a crew of six pro¬ jectionists in three shifts, and giving 33 continuous performances a day for 184 days without any down-time due to equipment malfunctions. Twenty re¬ lease prints were used in over 6,000 performances for an average of 264 performances per print. Meanwhile, “Journey to the Stars” continues to thrill visitors to Seattle’s Spacearium, which is now part of a permanent science exhibit established after close of the 1962 Fair. Reduced to 35mm format and projected on a 30-foot dome, the film recently played to more than 40,000 people at a space show presented by the Lytton Center of Visual Arts in Hollywood. It will also be a special attraction at the forth¬ coming Los Angeles Home Show. ■ ROLL CUE! Continued from Page 342 verbal directions are done in a falsetto voice to distinguish them from the recorded cue text. The scenes are now ready to be shot. The tape is rewound to a predeter¬ mined start and, after the sync re¬ corder has attained speed, the cam¬ eras are rolling, and everything is properly slated, the director gives the command, “Roll cue! ’ At this point, the recorder begins to play back the pre-recorded text of the script, feed¬ ing it to the talent by means of a con¬ cealed hearing aid earphone, thus pro¬ viding aural prompting or cueing and making unnecessary the conventional “idiot cards” or mechanical prompting device for this purpose. With a minimum of practice, the talent can follow the cue playback and stay about a half-sentence behind it in his delivery. Moreover, he can maintain better “eye contact” with the camera lens, his overall perform¬ ance is improved, and retakes are cut to a minimum. The results obtained by non-profes¬ sional talent with our electronic cue 400- and 1200-foot Conversions FINEST conversion 1 on the market to¬ day. Convert your i Auricon Cine-Voice or Pro to a fine camera that will handle full 400 feet of film with perfect jam-free, wow-free operation. Includes 1 Veeder-Root footage counter, filter slot i and holders, phone jack in camera and i complete refinishing. \ Quick Service . . . Finest Workmanship . . . Mitchell or Bell & Howell Magazines, i Write for Pictures and Complete Details | GORDON YODER t PROFESSIONAL CINE PRODUCTS . 2222 N. Prairie Ave., Dallas 4, Texas i Phone LAkeside 1-2672 FAflMS FILM COMPANY 424 II P0 CHUN BUILDING HONG KONG COMPLETE 16/MM & 35/MM PRODUCTION FACILITIES AMERICAN CINEMATOGRAPHER, JUNE, 1963 367 FROM YOUR 12 VOLT CAR BATTERY CLAMP-ON DELIVERS 250 WATTS of smooth, even 3400°K light — $49.50 PORTABLE MOVIE LIGHT Fits any camera. No tools needed, no holes to drill. Long life nickel-cadmium battery with built-in charg¬ er weighs only 7 lbs. Guaranteed one year. * 199. 50 COMPLETE WITH BATTERY Writ* for Full Information PHOTOMART I 228 So Franklin St. -Tampa 2, Florida ■■■■■■I Telephone 229-1168 DUAL POWER VIEWER for BOLEX REFLEX From an original 6X to on 8X full field and 16X critical focus LARGER IMAGES — BETTER SHARPNESS CONTROL WITH ANY LENS Easy to Operate — Guaranteed for Life — More Information Available — When Viewer only is sent $54.00 — When sent with Camera $60.00. PELLEGRINI-PIEK MOVIE CAMERA ACCESSORIES 7 COLEMAN PLACE, MENLO PARK, CALIF. Makers of Variable Shutter Units for all Bolex H Cameras. PATHE PRODUCTS, INC. ■ ' 9 Pleasant Street, Providence 6, Rhode Island Sole U.S.A. Agents for Pathe Societe Co’mmerciale et Industrielle. I- ‘ .* ' • % . NEW IMPROVED PROCESS LAMINATED SOUND STRIPING 380 Ft. Minimum Order — Quality Guaranteed Send for Free Brochure 736 W SO. ATLANTIC BLVD., LOS ANGELES 22, CAL. THE rr. 8MM — 16MM t-U. 2V2* per ft. system has varied. Some have found it more difficult to become accustomed to than others. None have required more than an hour or two, however, to get used to sound coming into the ear and talking at the same time. It is a little frightening on the very first test, but within a few minutes things settle down, and soon the talent finds that he can do it. With professional talent, the system seems simple. Boh Earl, Master of Ceremonies of the CBS show, “The General Electric College Bowl,” can report for a shooting session on our stage at ten o’clock, be handed a script he has never seen, go through one walk through and make a recording. Then, after one take with the cameras roll¬ ing, he is finished. For Bob, we could paint on the slate a permanent “Take One.” Bob, of course, is an old hand at this type of cueing. On television he would do a complete newscast, never looking at the script, but turning the pages as he heard a tongue click from playback of a tape that he had re¬ corded earlier. In cases where we are dealing with non-professional actors, we have found that our most successful use of the system comes from introducing the talent to the system during the early stages of script preparation. At Cor¬ nell, many subject matter specialists are also the talent. By showing them early how the system works and how they should stay a half sentence be¬ hind the script, they can start prac¬ ticing at home or in the office, using a dictating machine or personal tape recorder. A little practice at home or in the quietness of the office does won¬ ders to further enhance the final film¬ ing. There are a few things we have learned in setting up the cue system. One important point is to have the earphone concealed on the back of the talent instead of in his ear. A thin plastic tube is then attached between the earphone and the earmould in the ear. The hollow tube and earmould are much smaller and easier to hide than any earphone inserted in the ear. All the earphones we have tested so far which attach directly to the ear have been visible to the cameras. The use of a hearing aid earmould with the sound piped to it from an earphone through a short length of plastic tub¬ ing solves the problem. In running several tests, we have found that the plastic tubing can be as long as three feet. We have made tests witli the tubing as long as ten feet hut we found we were pushing the volume and had some leakage into the mike. Earmoulds can be purchased in many sizes and we have an assortment ready for any talent. They also are made for both left and right ears. In¬ cidentally, we have found that a little make-up applied to the plastic tube helps to camouflage and make it invis¬ ible to the camera lens. ■ HITCH-HIKE SYNC Continued from Page 341 fed into track No. 2 of the ^-inch tape recorder, once again effectively hitch-hiking the sync and maintaining frame-for-cycle reference even though wild motors are used. The actor merely fits his lines to the lip movements on the screen and records them on track No. 1 of the tape. Narration is simple with the same system; here you keep the film intact, stripe the print, hitch-hike the sync to 14-inch track No. 2 while recording narration on track No. 1. Once an ac¬ ceptable narration or dialogue track has been cut, music can be added by using a set-up similar to that shown in Fig. 2 (not cutting loops, of course), and mixing the score from another source (live or recorded) with the narration from recorder No. 1 track No. 1 to recorder No. 2 track No. 1 while hitch-hiking the sync from re¬ corder No. 1 track No. 2 to recorder No. 2 track No. 2. hen transferred and printed the picture and sound will synchronize perfectly. If it is necessary or desirable to pre¬ record a musical selection with the talent on-camera pantomiming to a playback, the sync generator is used again. The procedure is to record the selection on recorder No. 1 track No. 1, then, while playing it back through a speaker, simultaneously shoot the pan¬ tomime picture with the synchronous drive camera and feed the output of the sync generator onto track No. 2. Just a word of caution: contact your lab regarding your plans before em¬ barking on any extensive recording and dubbing sessions as outlined here. The lab may wish certain test levels on the tape as a guide to adjusting their transfer equipment. ■ 368 AMERICAN CINEMATOGRAPHER, JUNE, 1963 UY, SELL, SWA Largesf, Most Productive Classified Ad Section Of Any Publication Serving Makers Of Motion Pictures STUDIO & PRODUCTION EQUIP. Magnetic Laminating Machine, Juwal, for 8mm & 1 6m film, including suply of laminate base. Like new $595.00 B&H 20-70mm "C" Mount Zoom Lens, demonstrator . 210.00 Bell & Howell 70DR with 1" lens & case, like new . 195.00 TSI-DU5 Sound Projector, $400 value 199.00 75mm Arriflex Kinoptek Lens, excellent 1 10.00 Cine Special 2 w/4 lenses, 2 mags, & case, excellent . 995.00 Nikkor 50mm “C“ Mount F 2 . 65.00 B&H Angenieux 1 0mm Lens, with objective, new . 95.00 210mm Kinoptek “C” Mount Lens, list $400.00 . 199.00 8mm Baurer Projector, value $100.00 49.00 WESTERN CINE SERVICE, INC. 312 South Pearl Street Denver 9, Colorado MITCHELL 35mm NC type camera converted to reflex with 28mm Angenieux lens, 35mm to 140mm Angenieux zoom lens, 90mm Makro Kilar, two 1000 ft. magazines, matte box, 110 variable speed motor, cases. Like new con¬ dition, $9000.00. Eyemo Q with 3 Baltar lenses, two 400 ft. magazines, 12 volt motor, zoom finder, $695.00. 35mm DeVry sound projector, amplifier, speaker, $695.00. Box 1477, AMERICAN CINEMATOGRAPHER. STANCIL Hoffman rack mounted 35mm mag¬ netic recorder reproducer Model S-7. Standard speed, three track record and playback. All transistor electronics including amplifier. Slight¬ ly used one year, $2,050.00. TECHNITAPE, INC., 1701 S. State College Ave., Anaheim. (715) 633-4280. AURICON CINE VOICE LIKE NEW, WITH EXTRA MIKE, CABLE AND PRO JUNIOR TRIPOD. SELL COMPLETE FOR $775.00. Also have single lens EYEMO model K, with fast wide angle lens with case. Perfect condition. Sell for $175.00. FRANK KING, 352 Capen Blvd., Buffalo, 26, N.Y. MOVIOLA model LP (green model) has one optical head on picture side, plus one optical and one 16mm magnetic head. Also has pro¬ vision for additional head. Complete with foot controls, amplifier, footage counter, etc. Every¬ thing in excellent working order. Best offer. RODEL PRODUCTIONS, INC., 1028 33rd St. NW, Washington 7, D.C. AVAILABLE again — brand new, guaranteed Cine Kodak Special 100 foot film chambers in original sealed packing, $175.00 each. Phone or write for special quantity prices. BOB FRIEDMAN ASSOCIATES, INC., P.O. Box 44, Clarksdale, Miss. Telephone 627-7370 Area Code 601 . WALL 25mm Cooke lenses, accessories, $875.00. CINEMACTION PRODUCTIONS, 1835 Hyperion, Los Angeles 27. Phone: 664-8940, 664-4191 (evenings). SYNCHRONOUS CINEFLEX MOTORS, Houston 35mm processor magazines for sale. J. DOERR, 1415 N. Renaud, Grosse Pointe 36, Mich. STUDIO & PRODUCTION EQUIP. BELL & HOWELL 70HL camera rebuilt. One year warranty, $345.00. NORTEX ELECTRONIC CO., P.O. Box 2071, Fort Worth, Texas. BARGAINS processors, lenses (16 & 35), cam¬ eras, etc. Write for list. PROFESSIONAL CINE PRODUCTS, 2222 N. Prairie, Dallas, Texas. EQUIPMENT WANTED INSTANT CASH HIGHEST PRICES PAID for your used 1 6mm and 35mm professional equipment of any kind URGENTLY NEED ARRIS, AURICONS, MITCHELLS, Zoom lenses; lab, editing lighting & recording equipment for our Rental Program CONSIGNMENTS WELCOME NEW — USED RENT, BUY TRADE, REPAIR HOLLYWOOD CAMERA COMPANY 6838 SUNSET BLVD., HOLLYWOOD 28 CALIF. TRY F&B LAST FOR THE HIGHEST QUOTE ON USED MOVIE EQUIPMENT FLORMAN & BABB 68 W. 45th ST., N. Y. 36, N. Y. WHY SACRIFICE your production and struggle with old or used equipment when we can trade for cash or new equipment? Let us know what you have and what you need. THE CAMERA MART, INC. 1 845 Broadway PL 7-6977 New York 23, N.Y. SERVICES AVAILABLE HONG KONG ASSIGNMENTS. English speak¬ ing, T. C. Wang, assistant to producer of “The World of Suzie Wong” has staff and equip¬ ment available for all phases 16/35mm pro¬ duction. Contact one who knows Hong Kong and save dollars. No. 1, Yun Ping Road, Hong Kong. Cable: Salonfilms. CAMERAMAN available for assignments in¬ cluding UNDERWATER. ROY CHEVERTON, 2625 N. Ocean Blvd., Fort Lauderdale, Fla. EUROPEAN assignments: THOMAS-d'HOSTE, 31 Avenue Mac-Mahon, Paris 17, France. In U.S.A., 7 6 1 7 y2 Hollywood Boulevard, Holly¬ wood, California. 16mm PHOTOGRAPHY, sound. MATHEWSON, 10501 Ilona. GR 7-9830, Los Angeles. AMERICAN CINEMATOGRAPHER Classified Ad Rates ARE LOWER Than for any other publication serving the makers of motion pictures. SERVICES AVAILABLE FILM assignments, 16mm, Detroit area, scenic, stock shots. Editing and titling. HOWARD TRIEST, 10400 Saratoga, Oak Park 37, Mich. LI 2-7874. BRAZILIAN English speaking production unit available for assignments in Brazil, Uru¬ guay, etc. 1 1 years' experience, color B&W. HELICONFILM, Ave. Ipiranga 1248, Sao Paulo. JAPANESE English speaking director-cinematog¬ rapher for features, TV, etc. HARRY MIMURA, 2-1303 Setagaya, Tokyo, Japan. Credits: “Around the World in 80 Days" (Far East locations), American TV films (See American Cinematographer, March, 1961). 16mm FILM assignments — Chicago, scenic, in¬ dustrial, in-plant. ARLETTE STUDIO FILM PRO¬ DUCTIONS, 1657 Grace St., Chicago 13, Illi¬ nois. Bl 8-8612. Ask for brochure. ANIMATOR, experienced in all types of ani¬ mation and its phases, from storyboarding through camera. Will re-locate. Write for resume and sample reel. DALE CASE, 713 N. Kingsley Dr., Los Angeles 29, California. CANADA Montreal,, all 16mm facilities and experienced staff using Magnasync recording, Arriflex, Auri- con cameras. DAVID BIER STUDIOS, 265 Vitre Street, W., Montreal, P.Q. CAMERAMAN-DIRECTOR-EDITOR, travelled, de¬ sires new position. Box 1484, AMERICAN CINEMATOGRAPHER. 1 6MM film assignments wanted in CANADA. Scenic, stock shots, industrial featuretttes, etc. Cameraman with European Film Academy background and 7 years Canadian experience. MacBETH FILM SERVICES, Box 223, Station "H”, Montreal, Quebec. WANTED WANTED: WILD ANIMALS! Producers of NBC-TVs WILD KINGDOM are hunting for 16mm color film footage of any type of wild animal action from any part of the world. Action should emphasize close-up details and have continuity. Send description of your footage to: DON MEIER PRODUCTIONS, INC. 333 N. Michigan Ave. Chicago 1, Illinois EXPERIENCED PRODUCER-DIRECTOR OF WILD¬ LIFE MOTION PICTURES for network television series. Project includes studio sync sound and location shooting. Send complete details, credits, to Box 1485, AMERICAN CINEMATOG¬ RAPHER. LABORATORY & SOUND SOUND RECORDING at a reasonable cost. High Fidelity 1 6 or 35. Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SERVICE, INC., 7315 Carnegie Ave¬ nue. Cleveland 3, Ohio. Phone ENdicott i 2707 RATES: Ads set in lightface type, 20? per word. Minimum ad, $2.00. Text set in $2.00 per line. Send copy with remittance to cover payment to Editorial Office, lightface capital letters (except 1st word and advertiser’s name) 40c Per word. American Cinematographer. P.O. Box 2230, Hollywood 28, Calif. Forms close Modified display format (text set in boldface type, capitals or upper-and-lower case) 1st of month preceding date of issue. AMERICAN CINEMATOGRAPHER, JUNE, 1963 369 16MM PRINTING LEADERS Continued from Page 347 phone call. hen he came back, later, he didn’t think he'd advanced the track, so he advanced it another 26 frames — and again was called away before labeling it. But, this time, as he left, he told one of his men to “mark the printing sync” — which the man understood to mean advance-and-label. So. the track was advanced another 26 frames. When the print was made it had one of the longest sound introduc¬ tions on record and was way out of sync. The other part of the problem has to do with terminology. Edit Sync, Dead Sync, Straight Across Sync, etc. all seem to mean the same thing — the sound edited in a synchronizer to exactly and properly match the picture rolls. Similarly, Printer Sync, Printing Sync, Projection Sync, Married Sync all mean that this sync mark indicates the sound track has been advanced 26 frames, ready for printing. Now, most all laboratories will ac¬ cept 16mm films edited and marked in any manner the producer prefers and will do their best to understand, and fill the order correctly. But. in the interest of clarity and to make life easier for all concerned, it is recommended that you use these: 1. Edit Sync for the straight-across photo-and-sound roll match in the synchronizer. 2. Print (or Printing) Sync for the 26 frame advance for printing, marked on the sound roll leader only. 3. If there’s any question at all, mark Edit Sync only — On both the picture and sound rolls — and let the laboratory advance the track and mark it for printing sync. Condensed and reprinted by permission of General Film Laboratories from Rewind, the company’s monthly publication for film producers.- — editor. 16MM COLOR and B-&-W Processing and Printing A&B Roll Conforming Sound Transferring Write For Complete Price List MIDWESTERN FILM LAB 161 W. Huron St., Chicago, III. Phone: 664-8410 INDEX TO ADVERTISERS Page American Cinematographer Manual . . . . 351 Arriflex Corp. of Amer . .315, 331 Bauch-Auricon, Inc . . 323 Birns & Sawyer Cine Equip _ 329 Byron 4th Cover Camera Equipment Co., Inc _ _ 326, 353, 358, 360 Camera Mart, Inc . ..318, 320, 364 Camera Service Center . 330 Chevereau _ 364 Cinekad Engineering Co. . . 362 Cinema Business Cards _ _ 364 Cleanall . 363 ColorTran Industries . . 363 Consolidated Film Ind _ _ 325 Detroit Film Center _ 339 Victor Duncan & Co . . . 339 Du Pont _ _ _ _ 3 1 7 Elgeet . 356 Farkas Film Co . 367 Film Effects of Hollywood. . 370 Filmline Corporation . . 365 Florman & Babb, Inc. 332, 359, 362, 365 Jack Frost . . . . . . 355 General Film Labs . . 319 W. J. German, Inc . .2nd Cover Hollywood Camera Co . 324 Hollywood Film Co. . . 357 Lab-TV . 328 Magnasync Corp. . . . 3rd Cover Ray Mercer & Co _ 362 Metal Masters . 370 Micro-Record Corp . 363 Midwestern Film Lab . 370 Miller Professional Equipment _ 354 Mitchell Camera Corp . 316 Mole-Richardson Company _ 361 Mole-Richardson European Service . 343 Moviola Mfg. Co . 334 National Cine Labs . . . 367 Paillard, Inc . 335 Pathe Products, Inc . 368 Pellegrini-Piek . 368 Photomart . 368 Photo Research Corp . 359 Precision Laboratories . 361 Professional Cine Prods . 367 Charles Ross, Inc . 321 S.O.S. Photo-Cine-Optics, Inc . 333, 360 Stevens Engineering Co . . 370 Superior Bulk Film Co . 366 Sylvania Elec. Prods . 327 Uhler Cine Machine Co . 370 Louis S. Uhler . 366 Video Film Laboratories . 366 Vitatone Co . 368 370 AMERICAN CINEMATOGRAPHER, JUNE, 1963 • .A • 0 •%» •/* \ * f A - r > ' /♦ **•'•***• ^ » • t 0*0 • • § 0 • V • 0 y •0 • 0 * .* * • • .♦ •3* *. • s • A. " More motion pictures are produced with Magnasync Type 5 Recorders than with any other recorder in the world!” Versatility, precision engineering, nonobsolescence and rugged dependability made the Type 5 the most popular recorder in the world, and the basic ingredient of an integrated sound system to meet every recording requirement. 1. Choice of motors for 110 volts, 220 volts, 50 cycle, 60 cycle, single phase and three phase. 2. Selsyn motor attachments for Magnasync, RCA or Westrex distributor systems. 3. Selsyn or mechanical projector interlocks available. 4. Fast forward and fast rewind. 5. Portable; standard panels also permit rack mounting. 6. Complete line of companion equipment available. 7. Five distinct models to suit all film sizes and speed requirements. from Wire, write or phone for free 42-page catalog describing Magnasync’s complete line of equipment and accessories The rugged, precision film transport is the heart of every Magnasync/ Magnaphonic professional recorder. This famous “Synkinetic Motion” filtering principle, an original Magnasync concept, has contributed to the firm’s international leadership in the field. MAGNASYNC CORPORATI ON 5546 Satsuma Avenue, North Hollywood, California • TRiangle 70965 • Cable “MAGNASYNC” Authorized Dealers CHICAGO, ILL. Behrend Cine Corp 161 E. Grand, Ml 2-2281 Zenith Cinema Service, Inc. 3252 Foster. IR 8-2104 DALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5166 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc, 6331 Hollywood, HO 7-9202 KANSAS CITY, M0. Barnard’s, 4724 Broadway, Country Club Plaza, LO 1-7761 Crick’s Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, MO. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman's 121 Fourth Ave., Dl 3-1869 SOUTH AFRICA Photo Agencies Pty. Ltd. ?l Kerk St.. Johannesburg AUSTRALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BOLIVIA, La Paz Casa Kavlin Casilla 500, Calle Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42 / 56 BURMA, Rangoon G.K. Theatre Supply Co.. Ltd. 123 Sule Pagoda Road CANADA, Islington. Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej, 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St., (W-l) Gorddn Cameras, Ltd. 45 Kensington High, (W-8) FRANCE, Paris Rrockliss-Simplex S.A. 6, Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. HONG KONG Supreme Trading Co. 60 Hennesy Road INDIA, Bombay Kine Engineers 26, New Queen's Road ITALY, Rome Reportfilm, di J.M. Schuller Via Antonio Bertolini 31 JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome. Chuc-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd., Rex Annexe SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road THAILAND, Suriwong, Bangkok G Simon Radio Co. Ltd. 30 Patpong Avenue complete ONE STOP services for film producers! UNDER ONE ROOF . . . in one convenient location. Write, phone or wire for information and quotations on any and all producer services. studio services: Editorial Creative Editing Dialogue Cutting Music Cutting Conforming Preparation of A&B Rolls Hot Splicing Syncing Cutting Room Rental Art Storyboards Graphic Art Cartoons Hand-lettered Titles Hot Press Titles Title and Animation Photography Music Optical Film, 35mm Magnetic Film, 35, 1714 & 16mm, 14 -inch Tape Disc, 33 Vs & 78 Sound Effects Sound Recording Location Recording Narration Music Recording Post-dubbing Re-recording Mixing Transfer Interlocks Facilities Include Optical and Magnetic 35, 1714 & 16mm, 14 -inch Sync Tape Screening 16mm Projection 35mm Projection Interlocks laboratory services: Developing Processes COLOR: Negative EK 16mm Positive EK 16mm Ektachrome 16mm* Kodachrome 16mm* Ansco 16mm* * Processed by film manufacturers’ local plant BLACK AND WHITE: Spray Picture Negative, 16 & 35mm Spray Sound Negative, 16 & 35mm Newsreel Negative, 16mm Spi’ay Picture Positive, 16 & 35nnn Immersion Positive, 16mm Reversal, 16mm Printing COLOR: Kodachrome, 16mm Ansco, 16mm EK Internegative, 16mm EK Positive, 16mm Reduction, 16mm Blow-ups, 35mm Optical, 16mm Workprint, 16mm Masters, 16mm Answer Prints, 16mm Release Prints, 16mm BLACK AND WHITE: Dupe Negative, 16 & 35mm Master Positive, 16 & 35mm Reversal, 16mm Reduction, 16mm Blow-ups, 35mm Optical, 16mm Track Prints, 16 & 35mm Work Prints, 16 & 35mm Answer Prints, 16 & 35mm Release Prints, 16 & 35mm TV Spots, 16 & 35mm Miscellaneous Edgenumbering Print Cleaning Peerless Treatment Magnetic Striping Reels Cans Shipping Cases byron motion pictures 1226 Wisconsin A ve., N.W., Washington 7, O.C., FEderal 34000 Affiliated with MECCA FILM LABORATORIES CORP., 630 Ninth Avenue, New York 36. N.Y. The Photography of ‘The Defenders’ “Hud- avid And Lisa — flRD CLAtR AMERICAN ■ 1 Cinematographer INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES JULY 1963 • 50e 'SvS''! IN THE EAST... IT’S MOVIELAB • 1 i FOR COLOR AND BLACK & WHITE DEVELOPING COLOR NEGATIVES . ADDITIVE COLOR PRINTING . REDUCTION PRINTING INCLUDING A & B • COLOR SLIDE FILM PROCESSING . BLOWUPS • INTERNEGATIVES . KODACHROME SCENE-TO-SCENE COLOR BALANCED PRINTING • EKTACHROME DEVELOPING AND PRINTING - REGISTRATION PRINTING • PLUS COMPLETE BLACK AND WHITE FACILITIES INCLUDING CUTTING ROOMS, FILM AND TAPE VAULTS AND THE FINEST SCREENING FACILITIES IN THE EAST NEW YORK 19, NEW YORK • JUdson 6-0360 ARRIFLEX 35 U with built-in signal generator O and automatic start market ! NOW! Throw away Ji§ your “Clap-Stick" output frequency that is always a positive re¬ flection of camera speed. The electrical out¬ put is compatible with every quarter-inch tape sync system in use today. Starting the 16 volt transistorized governor-controlled motor energizes marker lights, which go out the in¬ stant the camera comes to speed. Several frames are flashed at the beginning of each take to indicate the start mark. The compact Arriflex 35, uniquely light weight and maneuverable, combines with modern compact recorders ideally — a perfect match for today’s film assignments. Eureka! Now, without the use of clap-sticks, achieve perfectly-sync’d sound movies — easily, efficiently, economically! This new Arriflex 35 motion picture camera, factory-equipped* with a built-in signal generator and automatic start marker, becomes an even more versatile tool for the professional. In all filming, particularly news, candids and documentaries, the art of location synchronous sound recording is streamlined. And on the editing bench, your line-up is fast, accurate and economical. The Arri built-in generator develops the required 60 cycle signal for lip synchronization and assures an ♦Available only as an original installation on new cameras. i i i INCOMPARABLE VERSATILITY! The Arriflex 35 is shown: as a hand camera (left), with 400-foot magazine, matte box, and 16-volt variable-speed DC motor; and as a studio sound camera, fully blimped with 400-foot Write today for complete literature magazine (center); and with 1,000-foot blimp (right). 257 PARK AVENUE SOUTH, NEW YORK 10, N. Y. AMERICAN CINEMATOGRAPHER, JULY, 1963 375 H * H 1 1 !» W O w w H < H * > M F 3 AMERICAN Cinematographer INTERNATIONAL JOURNAL OF MOTION PICTURE PHOTOGRAPHY AND PRODUCTION TECHNIQUES illllllllllllllllllllllllllllllllllllllllllllllilMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIHIIIIMIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII4 JULY, 1963 Vol. 44, No. 7 FEATURES When The Army Has Shooting To Do . 390 Photographing "Cleopatra” . 396 Filming "The Defenders” . 400 Browning Memorial Awards . 404 "David and Lisa” — A Photographic Challenge . 404 Filming The Birth of an Elephant . 406 The Photography of "Hud” . 408 Colortran’s Electronic Dimmer System . 410 BLACK £ REVERSAL PRINTING PROCESSING COLOR PRINTING OTHER SERVICES • Work Prints • Color-to-Color Prints • Color-to B & W Prints • Raw Stock • Ultrasonic Film Cleaner • A & B Roll Prints • Fades-Dissolves • Timed Prints • Edge Numbering DEPARTMENTS Industry News . 378 Behind The Cameras . 384 What’s New In Equipment, Accessories, Services. . 386 Roster of Members of the A. S.C. . 412 Flashback To Yesteryear (The Covered Wagon Title) ... 420 ON THE COVER PHOTOGRAPHING Cleopatra's majestic entrance into Rome on slave-drawn sphinx, one of the big spectacle scenes in Twentieth Century-Fox's "Cleopatra," photo¬ graphed in color with Todd-AO cameras by Leon Shamroy, ASC (standing near camera in left foreground and wearing straw hat). Story about the photography of “ Cleopatra ” begins on page 396 of this issue. ARTHUR E. GAVIN, Editor MARION HUTCHINS, Editorial Assistant OFFICES — Editorial and Business: 1782 No. Orange Drive, Hollywood 28, Calif. Telephone HOIlywood 7-2135. EASTERN ADVERTISING REPRESENTATIVE: Paul Gilbert, 489 Fifth Avenue, New York 17, N.Y. Telephone AX 7-5614. FOR COMPLETE INFORMATION WRITE 723 Seventh Ave., New York 19, N.Y. . JU 6-2293 iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiliiiiiiimiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. SUBSCRIPTIONS: United States and Canada, $5.00 per year; Foreign, including Pan-American Union, $6.00 per year. (Remit by International Money Order or other exchange payable in the U.S.) Single copies 50 cents; back numbers 60 cents; foreign single copies, 60 cents; back numbers, 70 cents. Advertising rates on application. Copyright 1963 by A. S. C. Holding Corp. Second-class postage paid at Los Angeles, California. 376 AMERICAN CINEMATOGRAPHER, JULY, 1963 BACH-AURICON, Inc. 6902 Romaine Street, Hollywood 38, California AtoMUtotiHU THE NEW rSXcSl _ ^ RUGGEDI2ED-M0UNT for the 10 to 1 zoom lens by Ets. Pierre Angenieux. Available exclusively from Bach Auricon, Inc. for the Auricon Pro-600, Model CM-75, the Auricon Pro-600 Special, Model CM-77, and the Auricon Super-1200, Model CM-74. Also available soon for the Auricon Cine-Voice, Model CM-72, with custom-designed Angenieux finder. THIS amazingly fast f/2.2 ANGENIEUX AURICON ZOOM LENS covers the range from 12mm extreme wide-angle, up to a 5-inch telephoto. Finder is precision custom-installed on each Auricon Camera. Once installed, the finder is rugged enough to use as an auxiliary handle, without disturbing the built-in precision of the Angenieux Lens. Also, the Auricon Lens Mount is equipped with a phasing pin which is precision doweled into place, eliminating all the usual problems of orienting the lens to the horizon. G U A RANTEE All Auricon Equipment is sold with a 30-day money-back Guarantee and a one-year Service Warranty. You must be satisfied! Bach-Angenieux 1 2:X: 1 20 Auricon Zoom Lens with Angenieux Viewfinder, custom-fitted and mounted including precision machining of Camera at Bach-Auricon Hollywood factory, for your new or existing Auricon Camera. For Auricon Pro-600, Model CM-75 or “Special” Model CM-77 cameras. Catalog Number K-7889 . . $965.00 For Auricon Super-1200 Camera Model CM-74, Catalog Number K-7892 . $1,048.00 Write today for Free Technical Fact Sheet on the New Bach-Angenieux 12:X: 120 Auricon Zoom Lens. If you don’t already have your free copy of the 74-page Auricon catalog, ask for that too. B A c ANGENIEU X 12: : X : 1 2 0 z o o Hollywood 2-0931 . . . Area Code 213 PORTABLE POWER SUPPLY UNIT $269.50 SOUND RECORDER $3643.00 & up BACH I AURICON. ..the Professional Camera STANDARD OF THE 16MM SOUND INDUSTRY SINCE 1931 $406.25 & up CINE VOICE I $967.00 & up PRO 600 SPECIAL $1295.00 & up AURICON PRO 600 $1456.25 & up SUPER 1200 $4149.00 & up yO ©oJJem* , JLMAtCV&lKs EL.EC~TF=tOI\IIG Photographers of prominence are distin¬ guished by their equipment as well as their professionalism . . . and no camera accessory is more impressive, more highly prized by this group— as well as by gifted amateurs — than the incredibly efficient GOSSEN Lunasix: the most sensitive, widest range exposure meter ever made! The GOSSEN Lunasix measures the ex¬ tremes of light from brilliant sun to the threshold of complete darkness, with con¬ sistent accuracy. It’s the most-prized ex¬ posure meter in the world! HERE’S WHY THE LUNASIX HAS WON PRAISES FROM STILL AND MOVIE PHOTOGRAPHERS EVERYWHERE! Measures reflected and incident light with built-in hemispheric diffuser • 30° light acceptance angle • Two-button brightness range system • Automatic needle lock • Built-in battery tester • External zero adjustment • Smooth one-hand operation • Com¬ puter range: ASA 6/1° to 12,000/12°; f/1 to f/90; 1/4, 000th sec. to 8 hours; Cine: 8 to 128 frames per sec.; EV — 9 to EV+22; .014 to 14,000 foot-candles • Weight 7 ounces. - - ~sr. ;-mn ■* •- Another famous GOSSEN meter goJSen® Sixticeioc color temperature meter and filter indicator INSTANTLY Shows color temperature of light source (in de¬ grees Kelvin) and filter required for correct color balance . . . with ANY type of color film. Calibrated in "deca- mired” filter scale adapted by leading camera and filter man¬ ufacturers. Complete with leather ever- ready case and gold- metal chain. See the entire Gossen line at franchised photo dealers INDUSTRY NEWS News briefs of industry activities, products and progress Technicolor Launches Techniscope — Aimed At Cutting Color Costs 50% Technicolor Corporation last month introduced a new photographic and printing system for motion pictures called Techniscope, which the com¬ pany hopes will shave costs on produc¬ tion of color features. Savings will be effected, says Tech¬ nicolor, by the fact 50% less color negative will be used in the photog¬ raphy, because the negative frame in the camera is two perforations in height as compared with usual four- perforation frame of conventional 35mm photography. Costs for nega¬ tive processing will also be halved. Following processing of the nega¬ tive, the two-perforation Techniscope frame is optically printed vertically to an aspect ratio of l-to-2, providing a 35mm anamorphic Technicolor posi¬ tive print having the normal 4-per- foration frame height. Techniscope photography is accom¬ plished with conventional 35mm cam¬ eras after simple modifications have been made to the film transport, aper¬ ture and finder. As standard squeeze prints are provided, no special pro¬ jection equipment is required for ex¬ hibition. Other advantages claimed are: great depth of field is obtained through use of short focal length spherical camera lenses; new system doubles the length of time for camera shooting before changing magazine is required; short- end losses are reduced as only one-half the amount of negative formerly used is required to photograph a scene; the shortened film transport in camera greatly reduces camera noise; and a wide range of prints may be manu¬ factured from the Techniscope nega¬ tive. Industry News Forums Planned The American Society of Cinema¬ tographers has set in motion plans to conduct a series of ASC Industry News Forums for the purpose of demon¬ strating before its members latest processes, techniques and equipment relating to the photography and pro¬ duction of films for theatres and TV. Ha] Mohr, ASC President, has in¬ vited a number of equipment manu¬ facturers and others with products or techniques of interest to cinematog¬ raphers to consult with Walter Beyer, Chairman of the A SC’s Research and Educational Committee, to arrange participation in the forums. CINEMATOGRAPHER Charles Cignatti (right) and director Fred Jackson shooting scenes for prize¬ winning film. Antarctica Movie Wins “Cindy” For Martin Company Power For Continent Seven, a 28- minute documentary film depicting the construction by Martin Company of the nuclear power plant for the Mc- Murdo Sound scientific base in Ant¬ arctica, won a “Cindy” award for placing first in the Industrial Film Producers Association’s 1963 motion picture festival. Martin Company cinematographer Charles J. Cignatta spent more than three months in the antarctic last year shooting the film and also making a second documentary relating to testing at the power station. Also participating in the production of the prize-winning film were George Merriken, editor; Marvin Fryer, ani¬ mator; Jack Clink and Pat Patton, sound; Fred Jackson and Jon Fogel, directors; Oveste Granducci, script writer; and Byron Motion Pictures, Inc., lab work. • Birns & Sawyer Purchase Studio’s Equipment Birns & Sawyer Cine Equipment Company, Hollywood, has acquired the complete equipment of the cam- Continued on Page 380 378 AMERICAN CINEMATOGRAPHER, JULY, 1963 New SeAQUArtz Most Powerful Underwater Light 5,000 watts from “pocket size" underwater light A new concept in underwater lighting is the “pocket size” SeAQUArtz Light, researched and engineered by Birns & Sawyer. The SeAQUArtz is only IV2 inches square but delivers a powerful 5,000 watts of exposure. A Birns & Sawyer designed cast aluminum housing with convection cooling fins, accommodates the intense, 65,000 candlepower, quartz iodide Sylvania Professional Sun Gun lamp and reflector. The exclusive reflector design has over 750 light intensifying surfaces individually engineered to work with and reinforce one another to provide a bril¬ liant, evenly distributed, easily directed light. The compactness and light weight of the SeAQUArtz makes possible new freedom, flexibility and maneuver¬ ability in underwater photography and illumination. It •trademark comes with adjustable locking yoke which attaches to camera or underwater apparatus for angling the beam. Unit can also be attached with C clamps. SeAQUArtz lights are available for 1 1 5 volt AC, 220 volt AC or 30 volt DC battery pack. Waterproof Joy connector cable comes in 50 and 100 ft. lengths, can be joined to reach greater depths. The SeAQUArtz with its special 14 -inch thick Pyrex lens, can withstand pressure to 300 feet. Other SeAQUArtz lights are in development with 1 ,000 ft. depth capabilities. Typical applications are for marine life study, geology, A.S.W. research, dredging and salvage operations, boat hull examinations, underwater missile research, piling and pier construction, harbor building and repair. Shown above: Catalog 5500 — SeAQUArtz light for 1 15 volt A.C _ $275.00 For prices on other models, cables and accessories, request SeAQUArtz Data Sheet. See your local franchised dealer, or write. BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4-5166 • CABLE: BIRNSAW AMERICAN CINEMATOGRAPHER, JULY, 1963 379 12mm-120mm ANGEH Zoom Lenses with or without VIEWFINDER FOR 16MM MOTION PICTURE CAMERAS Dealer Inquiries Invited SOLE DISTRIBUTORS ZOOMAR INTERNATIONAL, INC. Glen Cove, N.Y. 516 ORiole 6-1900 INDUSTRY NEWS Continued from Page 378 era, grip, and film editing depart¬ ments of the Ziv-United Artists studio. Some of the equipment will be made available through the company’s rent¬ al department and the balance sold outright to independent film producers in the U.S. and overseas. Previously, Birns & Sawyer acquired surplus motion picture production equipment from MGM, Columbia, Uni¬ versal-International, and Republic stu¬ dios. ROBERT CIRACE (left) received award from Robert Berman for New England Press Photographers Assn. At right is Bob Howard, Prexy of Association. Robert Grace, WBZ-TV News Cameraman, Honored New England Press Photographer’s Association last month voted Robert Cirace, news photographer for WBZ- TV, Boston, “Newsreel Photographer of the Year’’ and presented him with an award for “Best In The Show” for his film “Christmas In A Toy Store,” entered in the Feature TV Class of the Association’s annual awards event. The winning film portrayed youngsters en- joying the wonders of a department store toy section during the height of the Christmas shopping season. Presentation of the award was a feature of the Annual Press Photog¬ rapher’s Ball held at Boston’s Sheraton Plaza Hotel last month. • Aerojet Films Win Two Cindy Awards Two “Cindy” trophies, comparable to Hollywood’s famous “Oscars,” were awarded last month to Aerojet-General Corporation’s Sacramento (Calif.) film group. The winning films were “Power of the Individual,” a documentary con¬ cerning man’s role in the production of reliable propulsion systems, pro¬ duced by Frederick Giermann for the company’s Liquid Rocket Plant; and “Two Dimensional Grain Design for Solid Rocket Motors,” produced by Mitch Rose. Cameramen F red Stocks, George Madson, Glenn Beier, and Norm Han¬ son did the photography for “Power of the Individual.” Art direction and animation for the second film was done by a sub-contractor. Eastman Kodak and Du Pont Increase Raw Film Prices Prices of professional black-and- white motion picture positive film were increased last month by both Eastman Kodak Company and Du Pont Photo Products. Eastman films affected by the change are B&W positive 35mm and 16mm films and sound recording and B&W motion picture positive types of materials. Costs are up from $16 to about $17 per thousand feet for 35mm, and from $8.75 to about $9.25 per thousand feet for 16mm. Du Pont’s price hikes, announced simultaneously with Eastman’s, affect Type 802 sound recording, Type 833 fine grain VA sound recording, Type 803 high-speed release positive, Type 824 fine grain low-contrast positive, Type 828 fine grain master positive, Type 834 TV recording, Type 225 “Cronar” fine grain release positive, Type 825 fine grain release positive and leader stock films. Du Pont’s price hikes range from 2.3 to 7.9 per cent. A week later (June 25th) Eastman announced that the price of Ekta- chrome ER motion picture film had been reduced about 17 per cent — the price cut applying to 16mm, 35mm and 70mm widths. • Du Pont Debuts “Superior” 3 Negative in 16mm and 35mm Du Pont, on June 21st, announced its “Superior” 3 negative film, a new panchromatic motion picture film for indoor use in both 16mm and 35mm widihs. “Superior’’ 3 is a high-speed, fine-grain negative with an ASA speed rating of 250 daylight and 200 tung¬ sten. It is designed for general motion picture and TV studio production work to permit photography of fine-grain images under low set illumination lev¬ els, or to shoot with smaller lens open¬ ings in order to increase depth of field. New film is available in 16mm day¬ light loading rolls of 100, 200, and 400 feet, and bulk loads of 400 and 1200 feet. In 35mm it is available in 100-loot daylight loading rolls and in bulk loads of 200, 400, and 1000 feet. • Veteran Van der Veer Dies Willard Van der Veer who was of¬ ficial cameraman with the Adm. Rich¬ ard E. Byrd expeditions, died of a heart attack in his home last month. He had served half a century as a movie and newsreel cameraman. Continued on Page 382 380 AMERICAN CINEMATOGRAPHER, JULY, 1963 JkwMMMk. . . Camera Equipment Co., Inc. is proud to have had a part in the EMMY award-winning production, "THE DEFENDERS." The equipment used in the filming of this worthy series was rented from CECO. As the leading supplier of film-making equipment, it is with great pleasure that we join in acclaiming and congratulating all those, who, by their notable creative contributions to the high standards of the industry, won 1962-1963 EMMY Awards. Our special congratulations and thanks to six of our friends, who rent CECO equipment, for their estimable accomplishments: MR. JOHN S. PRIESTLY, Local 644, for BEST ACHIEVEMENT IN TV CINEMATOGRAPHY, "THE NAKED CITY." (Mr. Priestly is currently shooting the new Talent Associates series "EAST SIDE -WEST SIDE" with CECO equipment.) MR. EDMUND "Bert” GERARD, Local 644, Regional Award, CINEMATOGRAPHY on "SUPERFLUOUS PEOPLE” MR. HERBERT BRODKIN & MR. CLAY ADAMS, Plautus Productions, for OUTSTANDING PROGRAM ACHIEVE¬ MENT IN THE FIELD OF DRAMA, "THE DEFENDERS" MR. SID KATZ, Plautus Productions, for BEST ACHIEVEMENT IN TV FILM EDITING FOR TELEVISION, "THE DEFENDERS" MR. STUART ROSENBERG, Plautus Productions, for the BEST DIRECTIONAL ACHIEVEMENT IN DRAMA, "THE DEFENDERS" ("THE MADMAN”) We wish also, on this occasion, to thank all of our many customers and friends for your valued patronage over the years, and look forward to the opportunity of continuing to serve you with the finest in film-making equipment. Sincerely, President, Camera Equipment Co., Inc. CAMERA EQUIPMENT CO., INC. FIRST IN SALES, SERVICE, RENTALS AND REPAIRS A subsidiary of ceco industries, INC. NEW YORK, N.Y.-315 West 43rd St. • JU 6-1420 / HIALEAH, FLORIDA-51 East 10th Ave. • TU 8-4604 AMERICAN CINEMATOGRAPHER, JULY, 1963 38 5 16mm Magnasync Recorder Complete Portable Sound Sy stein! Take it along; this one has everything: playback amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors. Takes standard 1200-ft. film reels, gives SMPTE-standard sound. Send for brochure; and ask about rent or leasing plans. MICROPHONE MIXER . . . for smooth, efficient mixing of sound from up to four microphones. FEATURES • Frequency Response: 20-20,000 • Input ond Output Im¬ pedance: 50 to 150 ohms • Pre-Amp: transistorized circuit provides 6 db boost (increases power 4 times) • Size: 4 x 7x4 inches • Weight: 2 pounds. Feeds four low-impedance microphones (with sepa¬ rate control for each) into any single low-z input. Use with Auricon sound cameras (optical or mag¬ netic), or with Ampex, Magnecord, Nagra, Perfec- tone, Presto, Stellavox and other professional tape re¬ corders ... or with Mag¬ nasync, RCA, Reeves, Stan- cil-Hoffman, Westrex and other film recorders. Also for other professional ap¬ plications where low-z mi¬ crophones are used. Professional Net Price $159.50 Write For Complete Specifications PHOIOMART 228 S. Franklin St., Tampa 2, Florida. Phone 229-1168 INDUSTRY NEWS Continued from Page 380 Meter Calibration Filters Filters have been devised by the U.S. Bureau of Standards to effectively calibrate photoelectric exposure me¬ ters. Two sets of filters, one of blue glass for calibrating incident light me¬ ters and the other, a diffusing sandwich composed of both a plexiglas diffuser and a blue glass, for calibrating reflect¬ ed light meters. The filters permit cali¬ bration of exposure meters that are intended for both indoor and outdoor use. Until recently, it was established that for calibration of such meters the effective light source color tempera¬ ture was about 2850°K. However, des- crepancies were noted when the me¬ ters were used in daylight. Recent ASA studies indicate a CT of about 4700°K would eliminate the descrepancies and filters have been designed to achieve this. Lightning, Action, Camera The scene being filmed on the Walt Disney set called for a long shot, with six horsemen in the foreground and lightning flashing overhead. The sod¬ ium traveling matte photographic proc¬ ess being used required a foreground light level of 1200 footcandles, which meant an additional 4000 footcandles would be needed to override the set lighting to simulate the lightning. Ordinarily, a carbon arc “scissors” would have solved the problem, but flare control is difficult, and because no white light can strike the sodium backing, this technique was impossible. Besides, the operation of the “scissors” might have frightened the horses. Edward Colman, ASC, suddenly re¬ membered reading just the day before about the new Mole-Richardson “Ti¬ tan” arc lamp, and put in a call to Mole-Richardson’s Howard Bell. Three Titans were brought to the studio, placed on one side of the set, and shutters used to provide the “lightning flashes.” Colman easily got the extra 4000 footcandles he needed, and the horses couldn’t have cared less. The Titan arc lamp, designed for high-amperage operation at 350 amps with a 16mm carbon produced by Na¬ tional Carbon Company, is said to pro¬ vide a greater set lighting intensity than previous lamps. It should find wide use as a booster for shooting exterior scenes in color. ■ 382 AMERICAN CINEMATOGRAPHER, JULY, 1963 LARGEST INVENTOK of Lighting Equipment in MIDWEST, U.S.A. and CANADA IliilfitisillS _ MOBILE POWER & L«GjH* npuco X ■ MOSItE GENERATOR X- rATICW National Headquarters-Detroit JACK A. FROST COBO HALL OFFICE: 401 Washington Blvd. MAIN OFFICE: 234 Piquette CANADIAN OFFICE: 6 Shawbridge, Rm. 3143, WO 2-1255, Detroit 26, Michigan TR 3-8030, Detroit 2, Michigan BEImont 2-1145, Toronto, Canada AMERICAN CINEMATOGRAPHER, JULY, 1963 383 MITCHELL Mark II Reflex Mark II Reflex Camera 16mm Mitchell — j" PROFESSIONAL l&gaM Hi-Speed & Studio Camera 65mm Mitchell Studio BFC and 35mm BNC 35mrh Mitchell NC and Standard Hi-speed Cameras Advanced thinking . . . produces timeless designs. This proven Mitchell philoso¬ phy now expresses itself in the Reflex. The Mark II is only the first of a series of Reflex cameras for both the 35 and 16mm fields. “Reflex” or “Rack-Over” . . . there is a Mitchell camera for your application. For superior camera maintenance, reconditioned camera equipment, new project developments or new Mitchell camera information, write on your letterhead to Sales Department. MITCHELL CAMERA CORPORATION 666 W. HARVARD STREET • GLENDALE, CALIF. NOW REPRESENTED IN OVER 45 COUNTRIES THROUGHOUT THE WORLD. AGENTS IN YOUR COUNTRY ON REQUEST. ERAS WHAT THE INDUSTRY’S NG LAST MONTH NOTE: Asterisks following titles indicate television film productions. AMERICAN-INTERNATIONAL Manuel Berenguer, ASC, “A Cold Wind from Hell” (SWP Prod.; Pancoor, shooting in Spain) with Barry Sullivan and Martha Hyer. Sidney W. Pink, director. Kay Norton, “Beach Party” (Nicholson- Arkoff Prod., Patlie Color) with Bob Cum¬ mings and Dorothy Malone. William Asher, director. ALLIED ARTISTS Joseph Biroc, ASC, “Gunfight at Comanche Creek” (C’Scope & Color) with Audie Mur¬ phy and Colleen Miller. Frank McDonald, director. BILTMORE STUDIOS, N.Y. Andrew Laszlo, “Naked City”*. BIOGRAPH STUDIOS' — New York John S. Priestly, “East Side, West Side”*. CASCADE STUDIOS Elwood Bredell, ASC, Commercials*. Tyler Byars, Commercials*. Hal Mohr, ASC, Commercials*. Winton Hoch, ASC, Commercials*. CBS — N.Y. Charles Mack, Leo Rossi, Robert Clem¬ ents, “CBS Reports”*. Fred Hoffman, Mike Zingale, “Candid Camera”*. COLUMBIA STUDIOS Gil Taylor, “Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” (Trooper Films; shooting in Europe) with Peter Sellers and George C. Scott. Stanley Kubrick, producer-director. Christopher Challis, “The Long Ships” (Warwick Films Prods., Technirama-Techni- color, shooting in Yugoslavia) with Richard Widmark and Sidney Poitier. Jack Cardiff, director. Gerald Hirschfield, ASC, “Fail Safe” (Youngstein-Lumet Prod., Shooting in N.Y.) with Henry Fonda and Dan O’Herlihy. Sid¬ ney Lumet, producer-director. Gert Andersen, ASC, “Donna Reed Show”*. Eugen Shuftan, “Lilith” (Centaur Ents. Inc.) with Warren Beatty and Jean Seberg. Robert Rossen, producer-director. Charles Lawton, ASC, Commercials*. Robert Wycoff, Commercials*. Robert Bronner, ASC, Commercials*. Burnett Guffey, ASC, Commercials”*. Fred Gately, ASC, “Hazel”*. Wilkie Cooper, “Siege of the Saxons” (Chas. H. Schneer Prods., T’color; shooting in London) with Janette Scott and Ronald Lewis. Nathan Juran, director. Irving Lippman, “The Three Stooges Go Around the World in a Daze” (Normandy Prods.) with the Three Stooges. Norman Maurer, producer-director. DESILU — Cahuenga Henry Cronjager, “The Joey Bishop Show”*. DESILU — Gower Ted Voightlander, ASC, “Ben Casey”*. Maury Gertsman, ASC, “The Lucy Show”*. Robert Planck, ASC, “My Three Sons”*. Robert Hauser, ASC, “The Breaking Point”*. FILMWAY STUDIOS — New York Morris Hartzband, ASC, “The Defenders”*. GOLDWYN STUDIOS Lloyd Ahern, ASC, “The Fugitive”*. INDEPENDENT Loyal Griggs, ASC, “The Greatest Story Ever Told” (Geo. Stevens Prod., UA release; P’Vision & Cinerama in Technicolor with Max Van Sydow and Charlton Heston. George Stevens, producer-director. Robert Krasker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain) with Sophia Loren and Stephen Boyd. Anthony Mann, director. Ted Moore, “From Russia, With Love” (Eon Prods.; shooting in London) with Sean Connery and Pedro Armendariz. Terence Young, director. Lin wood Dunn, ASC, “The Long Corridor” (Leon Fromkess Prod.) Special Effects. Lin wood Dunn, ASC, James Gordon, ASC, “It’s A Mad, Mad, Mad, Mad, World” (Stan- ley-Kramer U.A.) Special Effects. Richard Winik, “Sport Shorts.” William Storz, ASC, “On the Art of Ballet” (Film Productions, shooting in N.J.). Enzo Serafin, “Wounds of Hunger” (Color; Widescreen; shooting in Spain) with Ros- sano Brazzi and Mark Damon. Saul Swim¬ mer, director. Irv Phillips, “The Creeping Terror” (Met¬ ropolitan Int’l Pictures) with Vic Savage and Shannon O’Neil. A. J. Nelson, producer- director. Harold Rosson, ASC, “Music at Midnight” (MRA Films; shooting on Mackinac Island, Mich.) with Martin Landau and Nora Swin- bourne. Lewis Allen, producer-director. M-G-M STUDIOS Dale Deverman, ASC, “The Eleventh Hour”*. George Clemens, ASC, Robert Pittack, ASC, “Twilight Zone”*. William Spencer, ASC, “The Richard Boone Show”*. Leo Tover, ASC, “Sunday in New York” ( Widescreen-Metrocolor; shooting in N.Y.) with Cliff Robertson and Jane Fonda. Peter Tewksbury, director. Continued on Page 423 3S4 AMERICAN CINEMATOGRAPHER, JULY, 1963 UNUSUAL VALUES in new and used - / professional motion picture equipment aordon enterprises 5362 N. Cahuenga Blvd., North Hollywood, Calif. Phone (213) 766-3725 Equipment Rental Gordon Enterprises offers the largest stock of professional motion picture equipment available anywhere ... on daily, weekly, monthly or long-term rental. Write today for detailed Master Rental Equipment Catalog. Northern Calif.: Photographic Engineering Co. P.0. Box 344, San Jose, Calif. Texas: Carey Wolf Co., 3327 Winthrop St., Fort Worth, Texas. Northwest U.S.: Vince Johnson Co. 2614 N.E. 86th St., Seattle, Wash. BELL & HOWELL 2709 Professional 35mm camera with an exceptional range of capabilities. Employs “Unit I’’ fixed-dual registra¬ tion pin film movement. Assures precise film registra¬ tion regardless of number of times film is run thru gate, forward or reverse. Has 4-lens turret, prismatic focusing, and 170° variable shutter. Accessories avail¬ able for camera are sunshade, matte box, erect image viewfinder, lenses, 1000 ft. magazines, 12 volt DC and 110 volt AC variable speed motors, 220 volt synchronous motor, high speed motor, and high speed 200 frame-per-second movement. List, new $4303.00. Used, in good condition. ^ j 295 00 Also available fully rebuilt to new condition. ARRIFLEX “35” A most unusual value in a camera with unparalleled versatility and utility. This Model II 35mm Arri is used, but in truly excellent condition. The price for this com¬ plete outfit includes matte box, 3 lenses, three 200 ft. magazines and one 400 ft. magazine, 3" sq. filters, 16 volt variable speed motor, 8/16 volt battery and charg¬ er, and carrying case. List new $3214.00. Complete outfit, used $1295.00 KENYON GYRO STABILIZER “The Invisible Tripod”. Effectively stabilizes the longitudinal axis of hand-held cameras, binoculars, or other optical instruments. Provides steady vibration-free hand-held pans and tilts. Takes the heart beat out of the hand. Hermetically sealed housing with high precision electrically driven gyroscopes. Standard V4-20 or %-16 attaching screw. Another Gordon Enterprises exclusive. Model KS-3 for light cameras . $225.00 KP-4A power pack and charger 124.50 Model KS-4 for medium wt. cameras 280.00 KP-4B power pack and charger 148.50 Aircraft and Marine inverters available. DYNAMAX POWER PACK A Gordon Enterprises’ exclusive. A long¬ life source of portable power for cameras, lights, and other eauipment. Essentially doubles footage available with standard type batteries. Better than 6 ampere-hour capac¬ ity. Can be recharged virtually without limit, and completely recharges overnight. Batter¬ ies are leak-proof nickle-cadmium type and are designed for rough use. Deluxe model with stainless steel insert and shoulder strap. Model 280-GE features built-in switch for both 8 and 16 volts DC, with built-in solid state encapsulated charger. Model 280-SE $210.00 20 Dynamax Power Pack models are avail¬ able in various voltages to meet your specific needs. PORTA-DOLLY A Gordon Enterprises exclusive. Truly portable, this lightweight dolly will support the heaviest studio camera with ease, yet weighs only 320 lbs. Small enough to fit in a station wagon. Camera base plate descends to 13V2", rises to 55" . . . 65" with optional hi-plate. Smooth hydraulic action with elec¬ tric or hand-operated pump. Other features include 360° boom, 4 rubber-tired wheels and wheel locks. Manually operated hydraulic pump model ... $1270.00 Motor driven hydraulic pump model . 1737.00 Rental Rate: Manual $15.00 day, $60.00 week Electric $20.00 day, $80.00 week AMERICAN CINEMATOGRAPHER, JULY, 1963 385 from HOLLYCAM Fluid Head Tripod. Nat'l Cine. New $ 369. Akeley Gyro Tripod. New. Inc. Boots . 695. B&H Printer. Mod. D. Hi Inten. Lamp 3300. Kodak Sensitometer. Process Control . 495. OeVry 16mm Arc Proj . 695. Neumade Film Cleaner. CL 16-16mm . 169. 8-16mm Hot Splicer. Micro. Excellent ... 99. Magazine f/Mitchell. New. 16mm x 400' 112. Magazine f/B&H. New. 16mm x 400' . 129. Magazine f/Mitchell. 16mm x 1200' . 185. 40" f8 Lens. B&L. For Arri 16 or 35 . 375. 12-120mm Angenieux. Arri or “C” Mt . 740. Arri 16. Complete Outfit . 1995. Arri 35. Complete outfit . 1150. Mitchell 35 Std. Complete Outfit . 4500. B&H 2709. Unit I Shuttle. 35mm . 1495. Acme 16. Animation Camera . 1400. Acme Animation Motor . 415. 100' Cine Special Chamber . 105. 17-70 Pan Cinor Zoom. For Arri . 165. 16mm Projector. Ampro Silent . 65. Pro Jr Tripod. New Legs, Used Head . 110. Mitchell Matte Box. New . 195. Scene Slate. W/Clapboard. NCE. New.... 28. Auricon Finder. Model EIF-20 . 165. Meyer Hancock Finder. W/Bracket . 79. Mitchell Finder. Insert Matte . 89. Camart TV Mike Boom. Castered Base.... 195. Auricon Pro-200. Complete Outfit . 795. Raby Blimp. F/35 or 16 Mitchell, etc . 595. 16mm Synchronizer, 2-gang. Micro . 89. Rectifier. F/B&H Printers. Like New . 325. 16mm Houston. Model K-1A Processor.... 1995. Moviola. 35mm Mod. D w/take-ups . 189. Stineman Processor. 16mm x 200'. New 97. Reeves Sensitester. Like New. 16mm . 495. Morse G-3 Processor. 100'-8-16-35mm..„ 27. 70mm Hot Splicer. New . 250. Neumade Flange. 10". New. Micarta . 5. Griswold Splicer. Model R-2, 35mm . 13. Neumade Film Waxer. 35mm. New . 19. SEI Lite Meter. Like New . 110. Uhler 16 Printer. New . 195. WE RENT, BUY, TRADE, REPAIR CONSIGNMENT & FOREIGN ORDERS WELCOME 6838 Sunset Blvd. Hollywood 28, Calif. Phone: HO 6-1318 WHAT’S NEW IN EQUIPMENT, ACCESSORIES, SERVICES New Tel-Animastands Two new models of the Tel-Anima- stand are announced by S.O.S. Photo- Cine-Optics, Inc., 602 West 52nd St., New York 19, N.Y. The Model 11A is a portable table unit of rugged con¬ struction. An accurate full view scale mount¬ ed adjacent to the vertical guide is calibrated in quarter fields from 3 to 12. The standard work table is 18" x 48" including removable end extension and moves 10" East/West or 4^" North/South. Two 70" flush fitting peg bars with engraved scale move 24" in either direction from the optical center. Peg bars are controlled by large 4" handwheels calibrated in lOOths and 64ths. An electrically oper¬ ated glass platen for standard 12 field or optional 16 field is self adjusting. The unit is complete with two fully adjustable 300 watt 2000 hour flood lamps and single voltage control for front lighting. Argon back lighting supplies constant cold light for pencil tests and color transparencies. The Model IA is similar, and makes an ideal animation stand for film strip work, filmographs, titles, television com¬ mercials and animation that does not require all the features in the Tel- Animastand 1 1 A. Price of the Model IIA is $4,500; for the Model IA, $3,250. 8mm and 35mm Synchronizers Precision Laboratories, 928 East 51st St., Brooklyn, N.Y., announce addition of two new film synchronizers to company’s line of film editing equip¬ ment. The Model S616 is a single-gang “Unitized” 8mm synchronizer. Com¬ plete with footage counter, it is priced at $120.00. Also available for this unit is a 16mm sprocket assembly and gearbox having a differential ratio of 2-to-l. Model S635-2AO is for 35mm film and includes an optical sound reader head and footage counter. Price of unit is $224.50. Available also for this unit are amplifier and speakers. Hi-speed 16mm Lens A new 25mm f/0.95 ultra-high speed 16mm lens, the “Night-Hawk”, is an¬ nounced by the importer, Century Precision Optics Div., 10659 Burbank Blvd., North Hollywood, Calif. The lens’ precision, 9-element optical sys¬ tem boasts high resolving power and full spectrum color correction. It is more than twice as fast as an f/1.4 lens, made possible by new type optical glass. Well exposed color films can be made in normal room light. It is avail¬ able in 16mm “C” mount or Bolex RX mount. Price is $149.50, includ¬ ing filter holder, sunshade and case. Adapters for 8mm “D” mount are $3.95 extra. CECO Offers Motors Camera Equipment Co., Inc., 315 West 43rd St., New York 36, N.Y., announces a new stop-motion motor for Continued on Page 388 386 AMERICAN CINEMATOGRAPHER, JULY, 1963 WRITE DIRECT: | FRANCE - 28-28 bis Rue Marcelin-Berthelot, Montrouge - Seine Cables: Molereng- Paris General Manager: Rend Schell ITALY - Via del Velodromo 68-74, Roma Cables: Molereng - Roma | General Manager: George Gardner GERMANY - 4 Hofangerstrasse 78, Miinchen, 8 Cables: Molereng -Miinchen General Manageress: Gisell Schneeberger SPAIN - Alcala 32, Madrid, 14 Cables: Molereng- Madrid General Manager: Gregorio Sacristan ENGLAND - Chase Road, London, N.W. 10 Cables: Molereng- London General Manager: John Page I shooting in Europe, Tate it easy. ...and let tfOLE- RICHARDSON DO THE WORK LIGHTING MOLE - RICHARDSON COLORTRAN INDUSTRIES (exclusive European manufacturing and sales representatives ) CAMERAS* GRIP EQUIPMENT* DOLLIES and CRANES GENERATORS* SOUND EQUIPMENT TECHNICAL CONSULTANCY and SPECIALISED SERVICES AMERICAN CINEMATOGRAPHER, JULY, 1963 387 ZOOM NAVITAR Elgeet offers Vidicon television cameras and 16mm cameras the first Zoom Navi- tar, a manually-controlled 4:1 zoom with a 20mm to 80mm range— f: 1 .8! This new lens achievement is optically compen¬ sated to hold focus through the entire zoom action. Fourteen elements— covers Vidicon format— resolves 600 lines — linear zoom action by ring— list price: $400. For information, write for Catalog 2080-CZ18. Ekeet ~ qiy* r hi OPTICAL COMPANY, INC. 303 Child St., Rochester 11, N. Y. WHAT’S NEW Continued from Page 386 the Bell & Howell Eyemo camera with a control box affording continuous op¬ eration or stop-motion programming. Continuous speed is 8 fps, affording exposures of Vg second with a 170° shutter. List price is $400.00. Also announced is a new motorized zoom control for Angenieux 12-120mm and 15-150mm zoom lenses. Rheostat control affords a 3-12 and 8-30 range of zoom speeds. Price is $350. Microphone Mixer The Rubylite microphone mixer per¬ mits use of four low-impedance micro¬ phones, with separate control of each, into the single low-z input of any pro¬ fessional tape recorder, sound motion picture camera, amplifier, etc. Weigh¬ ing but 2 pounds and only 4x7x4 inches in size, frequence response of the mixer in 20-20,000 cps; signal-to- noise, better than 130 lb; input and output impedance, 50 to 250 ohms; Pre-amp transistorized circuit provides 6 db boost, increasing power 4 times. Power is supplied by self-contained 9- volt battery. Net price is $159.50. Man¬ ufacturer is Photomart, 228 So. Frank¬ lin St., Tampa 2, Fla. New Spectra Meter Designed especially for television lighting directors and for motion pic¬ ture head electricians (gaffers), the Spectra “Lighting Director” footcandle meter measures a basic range of 0 to 300 footcandles, which can be extend¬ ed to 3,000 footcandles with an 10-X multiplier slide and on to 30,000 foot¬ candles with an 100-X multiplier slide, affording precise control of set light¬ ing balance. The meter’s large selen¬ ium cell is mirco-ammetered to a logar¬ ithmic response scale which is individ¬ ually calibrated on an N.B.S. approved photo-bench. Price of the meter, in¬ cluding luggage-leather carrying case, X10 and X100 multiplier slides, and a “zero ’ slide for meter checking, is $74.50. Manufacturer is Photo Re¬ search Corp., 837 No. Cahuenga Blvd., Hollywood 38, Calif. Filter Factor Computer Facto-Rator renders instant answers to problems of filter factors and ex¬ posure equalization. Two by two inches square, it is made of durable alumi¬ num with printed figures, etc., for easy computation, using rotary center disc which shows at a glance the cor¬ rect {/ stop to use when using or re¬ moving a filter from camera lens. List price is $2.50. Les Miller Enterprises, 3023 Hillcrest Dr., San Antonio 1, Texas. Motor Adapter Door The CSC adapter door permits the use of all Mitchell and Mitchell type variable speed AC/DC motors with the new Mitchell Mark II camera. Pre¬ cision engineered and manufactured, it can be installed in seconds without tools. Four knurled thumb screws mount the door to the camera. The standard Mitchell motors can then be mounted to the adapter door in the conventional manner. Made of alumi¬ num with a black crinkle finish that matches finish of the Mitchell Reflex camera. Wiring is complete and com¬ patible with standard camera wiring. Only 7%" x 51/) " x 214” in size, door weighs less than 2 pounds. Manufac¬ turer is Camera Service Center, Inc., 33 West 52nd St., New York 19, N.Y. New Bewi Exposure Meter The new Bewi Super exposure me¬ ter permits readings of shutter values at extremely low light levels by means of its cadmium sulphide cell. Match- pointer system and arrangement of scales in a single range of sensitivity make operation extremely simple. There are no switches or buttons or low range meter settings. Meter is suitable for both reflected and inci¬ dent light readings and affords an ASA range from 12 to 3200 at exposures from 1/1000 of a second to 60 sec¬ onds. Distributor is Burleigh Brooks, Inc., 420 Grand Ave., Englewood, N. J. » 388 AMERICAN CINEMATOGRAPHER, JULY, 1963 MIS PHOTOGRAPHER ARAM PETER MARGOSIAN USING SYNCHRONIZED FLASH ILLUMINATION AND MODIFIED KILFITT LENS ARRIFLEX at work ARRIFLEX® achieves macrocinematographic objective for Moody Institute of Science A 10-year project of photo-documenting bees maintaining their cities, communicating, telling time and even measuring distances geometrically, was culminated when Dr. Irwin A. Moon, Director of the Moody Institute of Science, Los Angeles, California completed filming "City of the Bees.” In making the notable documentary, which has attracted widespread acclaim both here and abroad, Moody Institute of Science photog¬ raphers relied heavily on the Arriflex 16’s mirror reflex features, highly-maneuverable compactness and famed versatility. Ex¬ ploring unusual procedures in macrocinematography, they synchronized stroboscopic light pulses with the reflex mirror- shutter. This permitted maximum film exposure without sub¬ jecting the sensitive, delicate bees to the disturbing, destruc¬ tive heat of standard lighting. The background story of this fascinating production is reported in the SMPTE JOURNAL, September, 1962 and FILM WORLD of February, 1963. Utilizing a variety of lenses and lens combinations, the challenges of shooting from moving vehicles . . . within closely- restricted tree and hive areas... or combining macroscopic subjects with normal backgrounds — were all easily met. In successfully filming “City of the Bees," Arriflex once again proved itself indispensable as a photographic tool of almost limitless capabilities. On location, or in studio, it will do the same for you. From the microscope to the missile range... from spot locations to sound stages ... Arriflex professional motion picture cameras are the dominant choice of filmmakers in science, industry, and entertainment. They’re lightweight, rugged, tremendously versa¬ tile — uniquely suited to a range of applications virtually without limits. Here are some of the features that give Arriflex cameras their remarkable capabilities: • MIRROR-SHUTTER REFLEX VIEWFINDER • REGISTRATION- PIN FILM MOVEMENT • 21 “-DIVERGENCE 3-LENS TURRET • CONTOUR HAND GRIP • FRAMES-PER-SECOND TACHOMETER • COMPLETE ACCESSORY SYSTEM . . . lenses, standard and special-purpose electric drives, power supplies, time-lapse equip¬ ment, film magazines, sound blimps, tripods. WRITE FOR NEW CATALOG. *Y0U ARE INVITED to send us a description of your special use of Arriflex equipment. 257 PARK AVENUE SOUTH, NEW YORK 10, N. Y. AMERICAN CINEMATOGRAPHER, JULY, 1963 389 THE HUS APC CINEMATOGRAPHER Charles B. Heming¬ way (tight) prepares to photograph an insert on the special effects stand which the Center’s technicians designed end constructed. Jn my introductory article last month, I described the physical layout of the Army Pictorial Cen¬ ter in Long Island, New York, its facilities and key personnel, and revealed something of the scope of activities of the APC, said to be the largest non-theatrical film pro¬ duction organization in the world. The center is comparable to a ma¬ jor Hollywood studio in facilities, equipment and technical person¬ nel. Understandably the major por¬ tion of the productions undertaken by APC are Army training films. After a film project is officially approved for production, the script is forwarded to the Camera Branch of APC where it is read and studied by Joe Lipkowitz, vet¬ eran cinematographer and Chief of the Camera Branch. He deter¬ mines the most economical way to get the job done and then assigns to it the best qualified cameraman. The cameraman studies the script and, together with Lipkowitz, as¬ certains the amount and type of Continued PART 2 By GEORGE J. MITCHELL Lieut. Colonel, U.S. Army, Retired. STILL A FAVORITE with APC cam¬ eramen for hand-held shooting is the reliable and near-indestructible Bell & Howell Eyemo “Q” camera, shown here in hands of 2 / Lt. Peter J. Tarolli of the Army Pictorial Center in Long Island. 390 AMERICAN CINEMATOGRAPHER, JULY, 1963 Division of Union Carbide Corporation 270 Park Avenue • New York 17, N. Y. In Canada: Union Carbide Canada Limited, Toronto UNION CARBIDE 30 kw. “Titan Molarc” set¬ lighting spotlamp and grid mounted on Molevator and carried by wide track lo¬ cation dolly I “Experience has proven to me that National carbons give the cinema¬ tographer the most effective answer to his set-lighting problems.” RUSS METTY • A. S. C The most powerful set-lighting spotlamp ever used in the motion picture industry! From the crater of a high-intensity carbon arc burn¬ ing at 350 amps. DC — the 30 kw. “Titan Molarc” spotlamp pours out approximately twice the light of a 225 amp. Brute. Simultaneously, it provides excel¬ lent beam distribution characteristics throughout its focusing range of minimum spot to maximum flood. Arc carbons used in the “Titan Molarc” were espe¬ cially developed by National Carbon in cooperation with Mole-Richardson Company. More powerful than any other spotlamp ever used in the industry, the “Titan Molarc” is particularly useful as an outdoor sunbooster ... as a source for lighting extra large areas for both motion picture and TV productions. Top carrying power, sharper definition, shadow details, highlights, and true-to-life color reproduc¬ tion are yours when you light your sets with “Titan Molarc” spotlamps trimmed with National high- intensity arc carbons . . . white or yellow flame. “National” and “Union Carbide” are registered trade-marks for products of NATIONAL CARBON COMPANY TITAN MOLARC trimmed with nIational . . TRADEMARK HIGH-INTENSITY ARC CARBONS AMERICAN CINEMATOGRAPHER, JULY, 1963 391 AS MAY BE SEEN HERE, the APC has virtually all the sound stage fa- SUNLIGHT REFLECTORS have been set up in a rugged distant location cilities of a Hollywood major studio. Chris Mauriello and assistant Bob to throw light into shaded area for sequence for a jungle warfare Murphy prepare to shoot scene for an APC training film. training film, beir.g photographed by Frank Argondizza at camera. — U S. Army photos courtesy APC. equipment that will be needed (this includes coordination with the Stage Branch for electrical and grip requirements). Both then confer with the Project Officer and the director, offering suggestions as to the most efficient and eco¬ nomical way the picture can be photographed. Frequently, tests must be made prior to production. As actual photography gets under way, Lipkowitz reviews the “dai¬ lies” in the projection room each morning to check the quality of work and make certain high pho¬ tographic standards are being ob¬ tained. Fine Detail Essential Fine detail is most essential in training-film photography. Pe¬ culiar angles that would cause dis¬ tortion are avoided. Backgrounds are kept clean and plain — non-es¬ sentials distract from the subject. APC cameramen strive to keep the photography clear, needle sharp and with well defined lighting. This does not mean that dramatic low-key lighting is absent from training films. Some subjects, like films dealing with certain phases of intelligence operations for ex¬ ample lend themselves to dramatic photography. But even with such subjects, abstract and “arty” an¬ gles are avoided. So is excessively dim lighting. APC cameramen must always bear in mind that their pictures may be projected in the field under less than ideal con¬ ditions. The photography must be sufficiently clear to render an ac¬ ceptable picture if projected in a poorly darkened classroom, day- room or tent. A constant problem that besets the Center’s cameramen working overseas in various parts of the world is the wide variety of elec¬ tric voltages and frequencies en¬ countered. To assist camera crews in solving this problem, Lipkowitz has compiled a list of principle foreign voltages and frequencies. But often Army cameramen must operate in the field with troops in areas where no electricity except that provided by generators is available. A heavy generator can present a serious transportation problem and sometimes must be left behind. This, of course, means that the cameraman will not be able to get certain highly desirable scenes. Such problems have been solved with the acquisition of a Birns & Sawyer CAR-on gener¬ ator. This generator, which can be mounted alongside the regular generator of an auto, jeep or weapons carrier, is capable of pro¬ viding 110-volt, 30-amps current, sufficient to run a Mitchell motor and several portable lighting units. B&H Eyemo Favored Quite a bit of thought has been given by Lipkowitz and other APC officials to the need for an efficient, lightweight, spring-driven and ruggedly constructed 35mm mo¬ tion picture camera that can be used by Signal Corps cameramen operating under hazardous field conditions or in actual combat. Lipkowitz calls them “cold war cameramen” since they must op¬ erate in places like South Viet¬ nam, Berlin and other points of tension throughout the world. During World War II, experi¬ ments were conducted on a num¬ ber of motor-driven, battery-pow¬ ered hand cameras. Although these were capable of excellent per¬ formance, they proved too heavy for the cameraman shooting un¬ der ground combat conditions. The workhorse of both World War II and the Korean War was the reliable and practically inde¬ structible Bell & Howell Eyemo, Continued on Page 394 392 AMERICAN CINEMATOGRAPHER, JULY, 1963 SOS Ediola 10mm SOS Mayniola 10mm Double System Editor Double System Editor Editing— the Easy Way This is the Ediola Model M-16 Senior, the most advanced of its kind. Big clear 3"x4" picture gives easy viewing in motion or still, can be viewed in a lighted room. There’s no excess heat, even when film is still. Use the Cue Punch for Work Prints, remove the optical elementtoclean. 6"xl0"xl0", only IV2 pounds. SOS EDIOLA 1 6MM ACTION VIEWER MODEL M-16 SENIOR (left to right) ONLY $135 MODEL MRL-16 SR. (right to left) ONLY $195 Standard Magniola M-16DS, for synchronizing picture and sound tracks, combines Ediola with special Moviola Synchronizer & Remote Speaker; matches sound with picture, giving crisp clean reproduction on both. Flip Top Viewer lets you cue film directly; fingertip release permits handling of individual magnetic tracks. SOS MAGNIOLA 16MM DOUBLE SYSTEM EDITOR STANDARD MODEL M-16DS ONLY $450 DELUXE MODEL M-1 6DSS (single or double tr.)$495 Want to convert to double system editing? If you now own the Ediola shown here, our MAGNIOLA CONVERSION KIT ($315) will fit with the Action Viewer to give you the excel¬ lent double system editing you want. The Kit contains everything found in the Magniola except, of course, the Action Viewer. Send for brochures and complete price lists on Ediola, Magniola, component and replacement parts. IN N. Y.: 602 west 52 street new york 19, n. y. * pi 7-0440 IN CALIF.: 6331 hollywood bl. ^ SOS PHOTO-CINE-OPTICS, INC, hollywood 28, calif. - 467-2124 A J AMERICAN CINEMATOGRAPHER, JULY, 1963 393 write to us in London for a free sample copy of FILMS AND FILMING, the English illustrated monthly magazine which is absolutely devoted to the cinema. OR SEND $6.25 FOR 12 MONTHS SUBSCRIPTION. HANSOM BOOKS 16 BUCKINGHAM PALACE ROAD LONDON, S.W. 1, ENGLAND Yoid BUSINESS CARD PHOTOGRAPHICALLY PRINTED ON 35 MM PAPER FILM CONVENTIONAL TWO-COLOR CARDS . _ o smith John u- ^ Send For FREE Brochure Cinema Business Cards, P.0. Box 255, Beltsville, Md. Cinema Business Cards, P.O. Box 255, Beltsville, Md. Please send me _ brochure(s) with free samples of Cinema Business Cards. NAME _ ADDRESS - CITY & STATE WHEN THE ARMY SHOOTS Continued from Page 392 which performed an outstanding job in combat. Although the standard Eyemo is small, lightweight, spring-driven, rug¬ ged and capable of taking pictures of the highest quality, it still lacked cer¬ tain other features which the APC considered desirable at the time. Three years ago Lipkowitz prevailed upon Camera Equipment Corporation in Newr Tork City to experiment with modifying an Eyemo camera with reflex viewing, a feature he considers invaluable to combat and “cold war” cameramen. The result is the CECO reflex adap¬ tation to the Eyemo which provides parrallax-free, 10X magnification through-the-lens focusing and viewing. The camera retains the essential spring-drive, can be fitted with any de¬ sired shutter openings, will operate at a variety of speeds (8, 12, 24, 32 and 48 frames per second) and can be fit¬ ted with a zoom lens. It weighs 11 pounds, less lens. Some of these cam¬ eras are in regular use by APC cam¬ eramen and the results obtained with them so far have been highly satisfac¬ tory. Many Army training and informa¬ tion films require footage of maps, graphs, schematics employing movable arrows, “pop-ons” and “pop-ins.” Lip¬ kowitz is particularly proud of the special effects title and insert stand developed by the APC Camera Branch which makes photography of such scenes economical and efficient. A lathe bench was fitted with a mov¬ able mount capable of supporting a Mitchell camera, either Standard or High-speed. As the camera moves either forward or backward, an interlock cable coupled to the movable mount automatically pulls the camera focus. The entire apparatus may be operated from a remote control panel permit¬ ting the camera to be moved forward slowly, “zoomed” to any desired sec¬ tion of the object being photographed, or pulled back. Focus is always accur¬ ately held. Lipkowitz believes that most camera¬ men make ideal directors because of their experience, background and training. Recently, Stanley T. Swed and Vibo V. Valenzio, who lost a leg as a Navy Combat cameraman in World War II, have taken on the di¬ rector’s job in addition to handling photography. The director-cameraman concept is being used on certain type films. For example, on essentially “nuts and holts” subjects like Parachute Packing and Operation of the Grenade Launcher, a small, compact crew con¬ sisting of a director-cameraman, as¬ sistant cameraman, assistant director, grip, property man and general pro¬ duction assistant have been employed with considerable success, efficiency and savings in production costs. The Army has been cited by many organizations for its record in pioneer¬ ing teaching and documentary films. Some of the awards given to films pro¬ duced at the Center include three “Os¬ cars” awarded by the Academy of Mo¬ tion Picture Arts and Sciences for outstanding achievement in documen¬ tary film making: Prelude To War (1942), Seeds of Destiny (1946), and Towards Independence (1948). Other honors are: National Headliner's Club Award for “best newsreel reporting” in 1944; National Committee on Films for Safety accorded highest honors in the general safety field for non-theatri¬ cal films produced in 1950 for Once Too Often; Venice International Ex¬ hibition of Cinematographic Art first prize for the natural science film, Ro¬ dent Control, in 1951, and Schistoso¬ miasis in 1948; Freedom Foundation Award for the film Voice of the People (1949), Communism (1950) and In¬ ternational Communism in 1953. There is also the coveted Peabody Award the Signal Corps shared with NBC in 1954 for a coast-to-coast television presentation. B Dry Process Photography A new method for taking pictures and developing them instantly, by Hashing light onto an electrostatically- charged film, has been developed by General Electric Company. The dry- processed pictures are completely grainless and can be developed and then “erased” simply by heating the film, which can then be re-used. The film can be made either sensitive or insensitive to nuclear radiation. Called “Photo-plastic Recording,” the new process permits images to be developed in 1 /1 0th to l/1000th of a second. After the film is softened by heating, microscopic depressions are formed in it by the charges, conform¬ ing to the pattern of the image. The film is cooled and the picture results. 394 AMERICAN CINEMATOGRAPHER, JULY, 1963 Call ... 24 hours around the clock! Our several floors of rental inventory puts us in a position to offer LIGHTING EQUIPMENT, GRIP EQUIPMENT GENERATOR TRUCKS and ACCESSORIES to supply your immediate needs. Be it an inkie or a tener, should bulbs blow or extra cable be needed, the whole line including generator trucks is available at any time! Since 1921... 333 WEST 52 STREET, NEW YORK 19, N.Y. Circle 6-5470 RENTALS SALES SERVICE Send lor o schedule of renlol roles. t : !• . ' % \ LARGEST SUPPLIERS IN THE EAST: Motion Picture, TV Lighting and Grip Equipment, Props, Generators AMERICAN CINEMATOGRAPHER, JULY, 1963 395 ONE OF THE FIRST SCENES photographed for “Cleopatra." Leon Shamroy, left of the Todd-AO camera, discusses upcoming take with operator Moe Rosenberg, seated behind the camera mounted on boom of Chapman crane. PHOTOGRAPHING The subtle , effective use of colored lighting and dramatic use of Todd-AO cameras photograph y of the industry's most talked DIRECTOR of Photography Leon Shamroy signals for a light change on Richard Burton, who plays Antony. “Cleopatra” is third picture which Shamroy has photographed with Todd-AO cameras. 396 AMERICAN CINEMATOGRAPHER, JULY, 1963 THE TODD-AO CAMERA, mounted high on elevated boom at right, photographs a broad, sweeping view of Cleopatra's dancers in the vanguard of her procession. VAST THRONE ROOM SET, scene of Cleopatra's coronation, is lavish in decor, was enhanced through subtle coloring in the illumination, effected through use of colored gelatins on lamps. THIS CLOSEUP of Caesar crowning Cleopatra Queen reveals some of the splendor of the picture’s settings and costuming, which was adroitly pointed up in the artful lighting and photography. CLEOPATRA' and lenses having great depth of field mark the about motion picture filmed in color by Leon Shamroy, ASC. By ARTHUR GAVIN all due respect for the contributions of all other artists and creators who worked on Cleopatra, credit for the picture’s visual splendor and much of its dramatic impact belongs to Leon Shamroy, ASC, who directed the photography. True, there were the production designer, the set deco¬ rators and the costumers, each of whom contributed importantly to the myriad physical components of the picture; but it is the lighting and meticulous handling of the camera conceived and executed by Shamroy that give the picture’s fabulous sets the BOOM-MOUNTED CAMERA pulls back slowly as it photographs Cleopatra and her small son being carried down golden steps of huge sphinx on which she made majestic entry into Rome. AMERICAN CINEMATOGRAPHER, JULY, 1963 397 LEON SHAMROY, on stepladder, explores a set through tiny finder in quest of desirable camera set-up, while Writer-Director Joseph Mankiewicz (left) discusses upcoming scenes with Rex Harrison. IN THE STRONG LIGHT of a set lamp, Leon Shamroy studies the col¬ ors in a sample of set decoration material submitted for his approval by Art Director Jack Smith. scope and splendor that are a visual delight. The Todd-AO camera has never before been used with such skill to achieve scenes of vast grandeur and with such fidelity of color and detail. The un¬ common artistry of the man who directed the cam¬ era is evident in every scene. The huge spectacle scenes, such as Cleopatra’s arrival on a massive sphinx in Rome, are classics in composition and camera treatment. In the intimate shots, the cam¬ era and lighting effectively point up a change in pace or new locale in keeping with the movement of the story. Here Shamroy employed one of his pet SOME OF THE lengthy strands of cable which were required to carry electric power from the 15 mobile power generators located some distance away from sound stages of Cine Sperimentale in order to light the vast throne room set, scene of Cleopatra's coronation. techniques — the projection of colored light into scenes to add an aspect of warmth to the decor of the sets and enhance set details. Throughout the ar¬ duous assignment, on large sets or small, interiors or exteriors, it was the critical combination of the right lens, camera position and angle and the light¬ ing which enhanced with unusual pictorial impact the sets, the action played upon them, and the play¬ ers themselves. Some of the Photographic Problems Cleopatra is the third picture which Leon Sham¬ roy has photographed in the Todd-AO process. “I think it is a very fine medium,” he says, “the best super wide-screen system that exists today. This is because Todd-AO cameras use anastigmat lenses, not cylindrical optics. You can see in the finder what you will actually get on the screen, and you get ex¬ cellent detail in the background.” Twentieth Cen¬ tury-Fox virtually cornered the market on Todd-AO cameras for Cleopatra; they had five of them in Italy for the picture, precluding any chance there might be delays due to a camera breakdown. Fortunately, camera trouble was the least of the company’s production problems. “In the begin¬ ning,” said Shamroy, “my biggest single problem was working without a script. We had no overall plan on which to project a visualization of the pho¬ tography. A lot of sets had been built in Italy be¬ fore any semblance of a script was available. As a result, the director had a very difficult time fitting his action into the sets. “Another thing that hampered us greatly was the lack of sound stage space to accommodate the sets for a picture of the magnitude of Cleopatra. Not Continued on Page 420 398 AMERICAN CINEMATOGRAPHER, JULY, 1963 DEPEND ON CSC FOR THE BEST BALANCED CAMERA INVENTORY IN THE EAST . . . WHATEVER YOUR NEEDS, CSC CAN PROFESSIONALLY FILL THEM FROM OUR VAST STOCK OF THE tvulwlItx 'vwL W/djy§ SMPTE MEMBER ASSOCIATE MEMBER jesn c or NEW YORK c camera service center, inc. sales affiliate • CAMERA SALES CENTER CORPORATION "333 WEST 52nd STREET • NEW YORK 19, N.Y. PL 7-0906 AMERICAN CINEMATOGRAPHER, JULY, 1963 399 ON THE SET — Charles Dubin, center, directing "The Loophole” episode of "The Defenders" TV series, briefs E. G. Marshall, left, on action to be filmed in a complicated two-minute moving camera shot. CAMERA HAS MOVED IN for a closeup over shoulder of second attorney, and later, an extreme closeup of latter standing and facing camera. Assistant Felix Trimboli is at left; Operator Rayhack is behind camera. FILMING THE DEFENDERS' Some of the factors which make the photography of this popular television film series a technically unique operation. By LOWELL A. BODGER Ceen one hour weekly over the CBS network, * Plautus Productions’ The Defenders is a filmed dramatic series of unusually high quality, both technical and story-wise. The show was created by Reginald Rose, who remains script editor and oc¬ casional script writer and closely oversees all phases of production. Though a number of writers and directors have worked on The Defenders, it continues to bear a marked style of direct, factual and mature analysis of the legal questions con¬ fronted bv the father-and-son law firm of Preston j & Preston. The topics explored on individual pro¬ grams have included capital offense, freedom of speech, religious freedom and apparently every¬ thing from insanity to obscenity. E. G. Marshall, as Lawrence Preston, and Robert Reed as his son constitute the only permanent cast. The series is filmed in New York City at Film- ways Studios. The director of photography is Morris Hartzband, ASC. A veteran of thirty-two years be¬ hind the camera, Moe Hartzband has worked in short subject, feature and TV commercial produc¬ tion. He has seen service in close to a dozen TV series, and some of the notable feature films on which he has worked are Boomerang, Miracle On 34th Street, Limelight, A Streetcar Named Desire and Patterns. Hartzband has been directing photog¬ raphy of The Defenders since the program’s incep¬ tion two-and-a-half years ago. The Necessity Of Speed Though each one-hour segment is filmed and completed far in advance of the date it is aired, The Defenders' crew works at high speed, filming all required footage for an entire one-hour show in a maximum of six days plus a few hours over¬ time. The high-speed operation requires that every corner of the sound stage be continually in some phase of use. Sets are continually being built and struck, with carpenters moving walls and furniture and electricians moving lighting equipment between takes. A high degree of coordination between all hands of the 56-member crew makes possible the preparation of the next set while camera, sound and dramatic participants are working on the pres¬ ent one. Chief gaffer David Golden, of the crew that made the award-winning The Hustler two years ago, supervises basic lighting of a set while Hartzband 400 AMERICAN CINEMATOGRAPHER, JULY, 1963 GENERAL VIEW OF sound stage during progress of shooting scenes on a key set for "The Defenders." Operator Rayhack, perched atop ladder, pre¬ pares to shoot wide-angle view of scene. Note 2nd camera at right. and his crew are shooting on another a few feet away. When the previous location is wrapped up, Hartzband, his crew of assistant cameraman Felix Trimboli and operator Michael Rayhack come in and rehearse the next scene with director and actors. Hartzband lights the scene, arranges with the di¬ rector for camera angles, composition, and camera movement (of which there is a great deal). The large number of moving camera shots, which either begin or end in extreme closeups or may include several completely different angles and setups, re¬ quire considerable planning. Lighting must be perfect for every phase of the move and for each position at which the camera comes to rest. (One shot two minutes long can take the crew one hour to light and rehearse, and then be in the can in just two takes.) The average number of takes on one scene varies with director and actor. It is usually less than three but sometimes runs up to seven. The fact that Hartzband is able to plan camera work on a scene and then leave the rest to assistant Trimboli and operator Rayhack makes for a saving of time. “With anyone else I’d have to be in there all the time. Felix and Mike are about the best in New York and can handle follow-focus shots effortlessly,” said Hartzband. Crew coordination is so high that often a scene can be “rehearsed on film.” A meeting of one or two hours with the director on the day before shooting of each episode begins is the only forwarning Hartzband is given of the problems the story’s photography will present. Eastman Double-X negative is used both indoors and out. Hartzband rates Double-X at 200 foot- candles under tungsten illumination and exposes at f/7. On location he rates the film at the recom¬ mended 250 ASA, and almost always uses a 60% neutral density filter. Until recently, Plus X had been used indoors and DuPont Superior 2 outdoors. Hartzband has made the switch due to the “fine- grain, better gray gradation and generally better quality of Double-X. The speed has little to do with it, in fact Double-X is a little too fast for daylight, which is why we use neutral density filters outdoors, as a rule.” Each day’s footage is processed at Pathe Labs; rushes are viewed there the following day by Hartz¬ band, the director, one or more crew members and editor Sid Katz. Editing is done in Plautus Produc¬ tions’ editing rooms at Pathe. Sound for The Defenders is recorded on quarter- inch magnetic tape. Recordist is Arty Bloom. In the studio an Ampex recorder is used, operating independently of the camera; on location Bloom uses a Nagra recorder with sync-signal interlock. Jack C. Jacobsen is chief sound engineer. Cinematic Style An Important Factor The factors which make filming of The Defenders a technically unique operation deal with the pro¬ gram’s particular style. The great number of mo¬ bile-camera shots combined with frequent closeups, which are either cut in on or arrived at through camera movement, call for an unusually great deal of planning. The action on every set is photographed not only in master composition and then closeup on each participating character, but also a variety Continued on Page 425 MORRIS HARTZBAND, ASC, who directs the photography of "The De¬ fenders,” is veteran with 32 years experience behind motion picture cameras. He has been photographing "The Defenders" since its in¬ ception. Below is assistant cameraman Felix Trimboli. AMERICAN CINEMATOGRAPHER, JULY, 1963 401 Today’s audiences respond eagerly to high technical quality in showmanship— quality that starts with sharp negatives and sharp prints. So— go Eastman all the way— negative and print stock. And be sure to give the laboratory time to do its job right. Most important, if you have questions — production, proc¬ essing, or projection— always get in touch with Eastman Technical Service. For more information on this subject, write or phone: Motion Picture Film Department, EASTMAN KODAK COMPANY, Rochester 4, N. Y. Or— for the purchase of film: W. J. German, Inc., Agents for the sale and distribution of EASTMAN Professional Film for Motion Pictures and Television, Fort Lee, N. J., Chicago, III., Flollywood, Calif. DAVID PHOTOGRAPHIC HUMOROUS REMARKS of speaker addressing audience gathered for Browning Awards pre¬ sentations amuse (from left) Paul Meistrich, Samuel Hyman, and Mrs. Anna Browning of Camera Mart, Inc., who were assembled on stage to congratulate award-winning students. Browning Memorial Awards By LEONARD HIRSCHFIELD VPI Productions, New York, N Y. The following address was presented by cinematographer Leonard Hirsch- field at the presentation of the first Irving and Sam Browning Memorial Awards in New York, May 27th. For the edification of assembled student film makers , and using "'David and Lisa ” as the example, Hirsch field dis¬ eased the problems of making a suc¬ cessful low-budget film for theatre exhibition. His talk is reprinted by permission from Backstage, New York film industry trade paper. — Editor. Three New York university film makers named most promising film production students of the year. Camera Mart, Inc., New York, which for the past 27 years has catered to the needs of film makers, supplying everything from advice to the latest cameras and lighting equipment, recently in¬ augurated an annual awards program aimed at encouraging the amateur and semi-professional film makers of three New York universities. The first awards were presented to three students May 27th in ceremonies held in the Casa Italiana Auditorium on the Columbia University campus. The award-winning students were Harrison Engle of Columbia University, for direction of the film “ Legacy ” (17\ o min. B & W ) ; David Bienstock of C.C.N.Y. for direction of the film “ Long¬ ing ” ( 4 min. B & W) ; and Eli Bleich and Ares Demertzis of New York University for the co-direction of the film, ""Emil, Joe, Jack, Bob & Bill” ( 8 min. B & IV). The annual awards, known as the Irving and Sam Browning Memorial Awards, are named for the brothers who founded Camera Mart, Inc. 27 years ago. Camera Mart s present manage¬ ment, which includes Samuel Hyman, President, Paul Meistrich, Vice-president, Mrs. Anna Browning, Secretary-treasurer, and General Manager Charles Lipow plans to bestow the awards an¬ nually to the three university students achieving outstanding ac¬ complishments in motion picture film making. Eligible are film production students of three participating schools: Columbia University, C.C.N.Y., and New York University. Prof. Erik Barnouw of the Department of Film, Radio and Continued on Page 418 Tt is unfortunate that Frank Perry, the director of the film David And Lisa, is not here with us tonight be¬ cause I think that the key to the whole problem of making low-budget films really boils down to the presence of one dominant creative force — the di¬ rector. In this case, that man was Frank Perry and it is very difficult for me to speak for him; but he deserves every credit he has received for his contribu¬ tion in making David And Lisa what it is today. For those in the audience who may hope to make low budget pictures, I think the most important initial step is to pick the right people. You can talk about equipment, facilities, the¬ ories, etc., but I think we were very lucky when making David And Lisa to have people with us who were dedi¬ cated, who worked very closely to¬ gether, and who wanted nothing more than to make the best film possible. My specific job as Director of Pho¬ tography was to put on film a very sensitive story as inexpensively and yet as artistically as possible. The picture was not made in a studio but entirely on location. This presented the prob¬ lem that is most common in document¬ ary films, that of using available fa¬ cilities. However, the story is not a 404 AMERICAN CINEMATOGRAPHER, JULY, 1963 AND LISA’-A CHALLENGE The problem was to put the story on film as inexpensively and yet as sensitively as possible, says Leonard Hirschfield who photographed it. documentary. It is a theatrical and dramatic story, and it demanded all the techniques that are used in the best Hollywood-type films. It was my hope to involve the cam¬ era in the story. I think that to a certain degree we achieved this, thanks to Frank Perry’s understanding of my particular problems and his adapting to them. For example, the last sequence of the story takes place on the steps of the Philadelphia Museum. In the ini¬ tial script, the sequence was begun at night. Lisa has run away from school and is trying to enter the Museum to LEONARD HIRSCHFIELD of VPI Productions, New York, who directed the photography of “David and Lisa," low-budget black-and-white production. PREPARING A NEW camera set-up for scene in “David and Lisa" under direction of cinematog¬ rapher Leonard Hirschfield. Looking on are Frank Perry (white shirt, on right) Director of the film, and actors Howard Da Silva and Keir Dullea. make contact again with the family- group statue which stands in the lobby. She fails to get in, because it is night time and the Museum is closed. Now, if we had a Hollywood-type budget, we could have very well lit the whole Mu¬ seum front with Brutes, using perhaps forty electricians. We didn’t have that kind of money. So it was my sugges¬ tion that we make the scene a sunrise or dawn scene by simply adding to the script a time transition line in the scene immediately preceding the Mu¬ seum sequence. By making it dawn, we probably saved four days of shooting, and speaking realistically it would have been impossible for our small unit to light up the entire front of the Museum at night. Yet, interestingly enough, the mood that the available light gave us at dawn greatly en¬ hanced the ending of the film. The school itself presented unusual problems in photography. It was not a very handsome school, and was fur¬ nished mostly with furniture from the Board of Education of Philadelphia. It was actually an abandoned building which we took over, and it had very little available electricity. Those of you who are independent film makers will invariably face this same problem of having to make do with the facilities at hand when working in remote loca¬ tions. We had available about 250 amperes, which is about the amount of power required to light a single Brute arc lamp. We used small Colortrans, Mole-Richardson spot lights, and other lightweight equipment to photograph the school interiors. The problem in the school was to give each of the rooms a different feel¬ ing. We spent two weeks out of a total of five shooting interiors in the office of the school analyst, showing his sessions with David. This was a very small room, and would have been very dull and uninteresting if we had just photographed it under one mood of lighting. Frank Perry therefore adapted the story so that we could shoot some of these office scenes at night, which gave us the chance to do low-key mood lighting. Some of these scenes were staged against the windows so that we could use the exterior as a back¬ ground. The important thing to remember about making low-budget films and photographing them is to make full use of what you have at hand. Don’t think of grandiose ideas! There are no so-called “production shots” in David Arid Lisa. The photography tries to enhance the story and is a star in itself. Actually, it is difficult to talk about photography as a separate entity because you cannot really separate it from the direction, the story or the acting. Continued on Page 426 AMERICAN CINEMATOGRAPHER, JULY, 1963 405 IN A SUN-DRENCHED enclosure of the Portland Zoo, Belle walks her baby, Packy, while visitors marvel at the sight of a tiny, new-born elephant — said to be the first domestic-born pachyderm ever to survive. Packy's advent into the zoo world was recorded on 16mm color film by Portland cinematographer Bob Snethen. FILMING THE BIRTH OF AN ELEPHANT 635-day cinematographic vigil nets rare motion pictures of Portland Zoo pachyderm’s blessed event. By BOB JJob Snethen patiently waited 635 days to shoot one of the most extraordinary motion picture scenes on record — the birth of an elephant. Then, when the time came, he had about 30 seconds in which to expose 17 feet of color film. The memorable event, which unfolded in a darkened interior of the Port¬ land (Ore.) City Zoo, was shot through a foggy, double-glass win¬ dow. The scene is now the climax of a documentary film for which ALLEN cinematographer-producer Snethen has yet to find a buyer. Yet, he would do it all over again, he says. The reason: Snethen accom¬ plished a cinematographic first. He is believed to be the first camera¬ man to record the birth of an elephant with a a motion picture camera. When “Packy” was born to “Belle” at the Portland City Zoo, during the spring of 1962, it marked the first time that an ele¬ phant, born in this country, had survived. In fact, so little was known about the natal habits of elephants that Belle’s doctors were hard-pressed to find out what could be expected of her. The last birth of an elephant in the United States was at the Salt Lake City Zoo in 1918. However the mother pachyderm trampled one of her newborn calves to death and none of the others sur¬ vived infancy. The color film of Packy’s birth which Snethen has put together traces Belle through her period of gestation and Packy through birth and early life. It is certainly the most authoritative documentary ever done in any format on this topic. Snethen’s technical advisors were among the world’s foremost experts on animal gestation. Packy’s birth drew world-wide attention to the Portland Zoo. How¬ ever, only four persons other than Snethen sat the long nightly vigils Continued on Page 422 AS THE TIME FOR Packy’s birth became imminent, cinematographer Snethen, with his Bolex-16 poised for action, maintained a 'round the clock vigil at the zoo. (Photos by David Falconer.) AMERICAN CINEMATOGRAPHER, JULY, 1963 406 ANOTHER FIRST BY PRECISION! THE ONLY PATENTED □□D Qli] SYNCHRONIZER MODEL FC-35 Footage Counter Rear Assembly MODEL S616-2SP Counter for measuring in seconds, minutes, hours. MODEL S-61 6-1 AN 8mm Nomad Sprocket Assembly, complete with magnetic attachment. MODEL SR-35 35mm Sprocket Assembly with 0-16 frame plate MODEL S616-1A0 16mm Optical Sound Head Sprocket Assembly MODEL S616-1AUM 16mm Magnetic Head Sprocket Assembly. For editing Magnetic Film with Base Up. MODEL GB-35 Precision Gear Assembly & Decoupling Gear Assembly. 1:1 Add or subtract units as you need them when you need them with these components You can now purchase a synchronizer and be able to add-a- unit whenever the need is there. It is not necessary to put your unit aside, because you have outgrown it, or change your mode of operation. We have developed this unitized system to give the film editor a flexible piece of precision equipment. *Units for assembling combination synchs. • Footage Counter — reset type • Precision ball-bearings & oiless bearings throughout • Large sprockets to S. M. P. T. E. standards 1 6mm— 40 frames 35mm— 1 6 frames • Dural tension rollers — adjusted individually • Finger tip release • Perfect control — convenient hand wheel • Individual frame movement — shaft slip lock • Table mounting feet with rubber pads • Attractive hammertone finish • Simple coupling method for unitized assemblies AMERICAN CINEMATOGRAPHER, JUI V 1963 407 DIRECTOR OF PHOTOGRAPHY James Wong Howe, ASC, lines up Mitchell camera for a location scene for Paramount Pictures’ ‘'Hud.” Mounted on front of the camera are the Panavision lens and widescreen sunshade. FOLLOW SHOT of Patricia Neal is made in close- up by camera operator with Mitchell camera mount¬ ed on shoulder brace. Watching the proceedings closely is cinematographer Howe, 2nd from right. The Photography Of 'Hud' James Wong Howe reveals some highlights of photographing this monochrome production in Vistavision — most of it on location in remote Texas cattle country. By HERB A. LIGHTMAN z^ll of the exteriors and many of the interior scenes for Hud were shot on location in the Texas Panhandle. Even before the picture had been completed, it had made a tremendous impact on the citizens of Claude, Texas, and also on many touring motorists who were confused by the temporary change wrought by the film makers. For the produc¬ tion campany had moved into Claude, re-named it temporarily, repainted some of its oldest and most reliable landmarks, and even gave new names to prominent stores and buildings on the town’s main street. Claude, with the kind consent of the town’s administration suddenly became Vernal, Texas — story locale of Hud — and remained so for the five weeks the company was in production there. Claude is a picturesque little cattle country com¬ munity, 29 miles east of Amarillo, which the film producers found afforded just about every location site needed for the picture. There was the vacant two-story ranch home on the 100-year old Hender¬ son Ranch, 12 miles east of Claude, which was used to represent the Bannon Ranch house of the story. Unoccupied for ten years, the house, which stands in lonely solitude on the barren plains, was re¬ painted, a front porch added, and otherwise mod¬ ernized to the period by Paramount studio work- 408 AMERICAN CINEMATOGRAPHER, JULY, 1963 men to serve as the principal set for the film. Hud is a realistic film drama of contemporary Texas, produced by Salem-Dover Productions for Paramount release. To photograph it in Panavision, the producers chose veteran director of photography James Wong Howe, ASC, noted for many outstand¬ ing photographic achievements in black-and-white — among them ‘“The Rose Tattoo” for which he re¬ ceived an Academy Award in 1955. Hud proved a highly challenging assignment for Howe and his ability to photograph a picture in back-and-white with unique pictorial impact. Following a preview of the picture in Hollywood, I talked to Jimmy Howe about the photography. Some of his cinematographic theories and tech¬ niques, as applied to the filming of Hud, are re¬ vealed in the following interview with him: Q — Was this your first experience in working with Director Martin Ritt? A — Yes, and 1 enjoyed very much working with him. He is completely honest in his work and he has a fine sense of camera. I find that the cameraman’s job is so much easier when working with a director who understands the use of the camera and appre¬ ciates the cameraman’s problems. I have worked with directors who seemed never to consider the camera at all. They were mainly concerned with directing and considered the camera merely an in¬ strument. Well, it is an instrument, a wonderful instrument, but it has to be used properly as an integral part of motion picture and television pro¬ duction. It is the element most directly concerned with telling the story and everything must answer to it. A creative director and cameraman can do important things with camera angles and lights that may be quite subtle, but if the audience is made aware of them, their impact is lost. I think the whole secret of good photography and lighting is never to be too obvious. Q. — That area of Texas in which the location scenes were filmed, it seems to me, doesn’t have much to offer pictorially. How did you manage to inject visual impact into scenes filmed here? A. — It is true that part of Texas is flat as a pancake, with not a tree in sight — and this is enough to dis¬ courage any cameraman. However, we took ad¬ vantage of die barren land and made it pictorial. For example, for one important scene we elevated the camera crane so that when Hud pulled away in his car and moved down the long, receding ribbon of road, we were shooting down at a very low hori¬ zon line, which accentuated the feeling of space and the vast land area. This became a motif and a symbol of the man’s character. It is many small details like this that, when put together correctly, create visual impact in drama. Q. — The use of high camera angles, I felt, was quite Continued on Page 414 THE THREE SCENES above are representative of the range of photog¬ raphy which delineates "Hud" on the screen. Much of the picture, including many interiors, was shot on location in and near a small Texas cattle community. Top photo is a night scene in which head¬ lights of car furnish only illumination on player in foreground. Center: location interior in which Newman and Patricia Neal enact important scenes. It shows nice balance between fill light and natural light coming through windows. Bottom: bulldozer covers mass grave of slaughtered cattle — a scene which Howe said he would prefer to have filmed on a dull, overcast day. AMERICAN CINEMATOGRAPHER, JULY, 1963 409 PRODUCT REPORT FIG. 1 — ColorDyne “1000" Dimmer has maximum capacity of 1000 watts, utilizes latest silicon symetrical switch in place of rectifier. Other models handle 2,000 and 5,000 watts. Small remote control unit is shown at B. FIG. 2 — ColorDyne multiple dimmer control houses six individual dimmer units which may be pre-set to any light intensity. The unit “O' at left is the Master Dimmer Control used in conjunction with it. ColorTran's Electronic Dimmer System New technical advances have resulted in the production of com¬ pact, lightweight and highly efficient dimmers for Q-l and incan¬ descent lamps used for motion picture set lighting. ^OLORTRAN INDUSTRIES which brought to prominence the use of boosted-voltage illumination for motion picture photography, intro¬ duced last month its line of Color¬ Dyne Dimmers for use with quartz- iodine and incandescent lamps. Development of the new, light¬ weight lamp dimmers follows closely other notable developments by this aggressive photo industry manufacturer. Not only have Col- orTran lamp housing and power converters been improved to meet the needs of today’s budget-mind¬ ed film makers, but early last year the company introduced its new Quartz-King lamps which utilize the revolutionary quartz- iodine lamp source. Now ColorTran has com!' up with a complete system of electronic dimmers which offer television, motion picture and still itographers infinite intensity control of phot > lamps, either sin¬ gly or in groups. Heart of the system is the Color¬ Dyne Dimmer (Fig. 1). Its unique solid state circuitry makes full re¬ mote control possible for the first time, as well as a host of other ad¬ vantages. It uses a newly designed silicon symmetrica] switch (SSS) in place of fragile and less efficient silicon controlled rectifiers (SCR). It is small, light in weight, and can be mounted directly to the light stand, as shown in Fig. 4. Any combination of incandescent or quartz-iodine lights may be used up to the rated capacity of the dimmer. The 4-pound Color¬ Dyne 1000 is rated at 1000 watts total; the 7-pound ColorDyne 2000 at 2000 watts; and an 11- pound 5000 watt model is now in production. All incandescent and quartz- iodine lamps, including focusing types, rated at 3350°K and 3450°K can be operated at 3200°K, without filters, with greatly increased lamp life. With an efficiency factor of 96 percent, the ColorDyne dimmers extend the life of incandescent lamps better than 50 percent. Of special interest to motion picture and TV cameramen is the unique electronic circuitry that ef¬ fectively suppresses filament sing and also precludes microphone and TV camera interference. This is accomplished through the use of a choke coil filter circuit with a rise time of 450 to 500 microsec¬ onds. The AC-operated dimmers are protected for cold starting and against overloads and short cir¬ cuits by a separately-fused input circuit. An important feature of the ColorDyne dimmer is the fact it can be remotely-controlled regard¬ less of its position on the set. Main 410 AMERICAN CINEMATOGRAPHER, JULY, 1963 FIG. 3 — Rear panel of the multiple dimmer control pictured at left, showing the six 4-prong receptacles that take the control cable terminals — each leading to an individual lamp dimmer. power cables do not have to be run to the control position. The dim¬ mer remotes require only about 10 milliamperes of current and can be located as far away as 500 feet from the dimmer itself. Thus, if the dimmer is mounted directly on the lamp standard, as shown in Fig. 4, the remote control unit can Continued on Page 428 FIG. 4 — Method of mounting ColorDyne dimmer on lamp standard of lighting unit it controls. Dimming can be accomplished at the lamp position, or by remote control from a distance. A HELPFUL BOOK FOR MOTION PICTURE PHOTOGRAPHERS Gives detailed answers to hundreds of prob¬ lems and questions relating to Theatrical, Television, Industrial, Military, Educational and Documentary motion picture production. • Illumination Data for both “boosted voltage” and standard studio lighting equipment together with foot candle, amperage and volt¬ age tables and wiring dia¬ grams. • Data never before printed on: Panning Speeds, Optical Effects, Ultra High Speed, Underwater Cinematogra¬ phy, Make-Up, Background Plates, Process Scenes, Shooting Day-for-Night (col¬ or B&W). • Special Data on Exposure, Color, Illumination, Arctic and Tropic Cinematography, Infrared Film, Filters, etc. ® Tables for compensating Fil¬ ter Factors, Shutter Angles, Camera Speeds. • Many useful Camera, Lens, and Filming Formulas. • Complete Data for Ultra Close-Up Cinematography with Extension Tubes, and Diopter Lenses. • Wide-Screen Processes, com¬ plete aperture and viewfind¬ er dimensions for all aspect ratios for 65mm, 35mm and 16mm; squeezed and un¬ squeezed photography, single-and double-frame. • Complete Lens Angle Data for all lenses for all aspect ratios. • Film Threading Diagrams for all cameras. • Detailed Listing of all Mod¬ ern Professional Cameras: 65mm, 35mm, and 16mm. • Black-and-White and Color Film Data, together with ASA ratings, Identification, and Incident Light Readings for same. • Up-to-Date Data on Lenses, Filters, Exposure and Color Temperature Meters. There’s something to help you on every page of this valuable fact-packed book! Charts, tables and diagrams give instant an¬ swers to problems relating to lens angles, filter factors, shutter openings, camera speeds, exposure, lighting, aspect ratios, etc., etc. Order your copy today! $7.50 . . . Post Paid AMERICAN CINEMATOGRAPHER MANUAL I P.O. Box 2230, Hollywood 28, Calif. Please send me . copies of the AMERICAN CINEMATOGRAPHER MANUAL. . Paymt. enclosed. Ship C.O.D . Nome . Street & No . . . City . Zone . State . * For orders mailed within California, please AMERICAN CINEMATOGRAPHER, JULY, 1963 411 AMERICAN SOCIETY OF U1' CINEMATOGRAPHERS ROSTER • JULY 1, 1963 ACTIVE MEMBERS L. B. Abbott David Abel Lloyd Ahern Norman Alley Gert J. Andersen Howard A. Anderson, Jr. Lucien Andriot Arthur Arling John Arnold Charles Austin Gordon Avil Lucien Ballard Charles E. Bell Manuel J. Berenguer Carl Berger Joseph Biroc Haskell Boggs Charles P. Boyle Elwood Bredell Norbert Brodine Robert J. Bronner Joseph Brun Charles E. Burke Robert Burks Jose Carlos Carbajal Ellis W. Carter S. C. Chuck Charles G. Clarke George T. Clemens Wilfrid M. Cline Russell D. Collings Edward Colman Olle Comstedt J. Burgi Contner Stanley Cortez Ray Cory Floyd D. Crosby Russell Cully William H. Daniels Mark H. Davis Faxon Dean Robert de Grasse Dale Deverman George E. Diskant Linwood G. Dunn Elmer G. Dyer Arthur Edeson A. Farciot Edouart Russell Ervin Maximilian Fabian Daniel L. Fapp Arthur Feindel Ray Fernstrom Frank Finger Edward Fitzgerald Frank R. Follette George J. Folsey J. Raymond Foster Ellsworth Fredricks Henry Freulich Karl Freund John P. Fulton Lee Garmes Frederick Gately Maury Gertsman Alfred L. Gilks Donald C. Glouner James B. Gordon Jack Greenhalgh Loyal Griggs Burnett Guffey Carl Guthrie Harry Hallenberger Ernest Llaller Sol Halprin Ralph Hammeras Russell Harlan Charles Harten Morris Hartzband Robert Hauser Charles W. Herbert John L. Herrmann Sid Ilickox Gerald Hirschfeld Robert Hoag Winton C. Hoch David S. Horsley Eric Horvitch James Wong Howe Ed Hyland Ub Iwerks Wm. IJ. Jansen Torben Johnke Boris Kaufman W. Wallace Kelley Glenn Kershner Jess Kizis Benj. H. Kline Lloyd Knechtel H. F. Koenekamp Milton R. Krasner Charles B. Lang, Jr. Joseph W. LaShelle Ernest Laszlo Philip Lathrop Charles C. Lawton Sam Leavitt Paul K. Lerpae Lionel Lindon Leo Lippe Harold Lipstein Joe MacDonald Jack MacKenzie Glen MacWilliams Don Malkames Fred Mandl William Margulies J. Peverell Marley John J. Martin Harold J. Marzorati Rudolph Mate Ted McCord Ray Mercer Russell L. Metty Arthur C. Miller Virgil Miller Victor Milner Hal Mohr Nick Musuraca Harry C. Neumann Meredith M. Nicholson Roy Overbaugh Louis Page Ted Pahle J. F. Painter Ernest Palmer Kenneth Peach Harry Perry Paul Perry Frank Phillips R. W. Pittack Robert H. Planck Pietro Portalupi Frank Redman Ray Rennalian Gayne Reseller Irving Ries Irmin Roberts Charles Rosher Harold Rosson John L. Russell Joseph Ruttenberg Robert Sable Charles Salerno, Jr. David Savitt George Schneiderman Howard Schwartz James Seeley John Seitz Leon Shamroy Henry Sharp Douglas Shearer Lester Shorr William A. Sickner William V. Skall Clarence W. D. Slifer Harkness Smith Edward J. Snyder William E. Snyder William Spencer Harry Squire Ralph Staub William Steiner Alan Stensvold Clifford Stine Harold Stine George J. Stoetzel William J. Storz Archie J. Stout Harry Stradling E. Charles Straumer Walter Strenge Karl Struss Robert L. Surtees Philip Tannura Ellis Thackery Robert Tobey Leo Tover Thomas E. Tutwiler Charles Van Enger James C. Van Trees Zoli Vidor Paul C. Vogel Ted Voightlander Joseph Walker John F. Warren Gilbert Warrenton Harold E. Wellman Frederick E. West Albert Wetzel William F. Whitley William N. Williams Rex Wimpv Harry L. Wolf Ralph Woolsey Lothrop Worth Frank C. Zucker ASSOCIATE MEMBERS Herbert Aller Simeon Aller Mark Armistead L. J. Baker Benj. Berg Edgar Bergen Walter Beyer John R. Bishop Louis A. Bonn Willord W. Bower Robert E. Burns Gifford S. Chamberlain L. M. Combs J. L. Courcier George Crane William A. Cushman Dr. C. R. Daily J. T. Dougherty John W. DuVall William Eglinton Ferdinand Eicli Walter L. Farley, Jr. Ted Fogelman Fred W. Gage Arthur E. Gavin William E. Gephart George If. Gibson Dennis F. Godfrey Henry Goldfarb Allan Haines Robert Hansard Wilton R. Holm G. Carleton Hunt Donald Ilyndman Ray Johnson John J. Kowalak Wilson Leahy Sidney Lund Lewis Mansfield John H. Maynard O. W. Murray Kemp Niver Capt. Don Norwood Slacey O’Brien Val E. Osborne John Pistor Harry E. Pratt William J. Reddick Jay Reseller Robert Riley Loren Ryder Vaughn C. Shaner Norwood L. Simmons Sidney P. Solow John J. Swain Lou Vincent William J. Wade Jack Webb Ted Winchester HONORARY MEMBERS E. 0. Blackburn Edward P. Curtis David MacDonald G. A. Mitchell Richard F. Walsh 412 AMERICAN CINEMATOGRAPHER, JULY, 1963 MAGNASYNC DUBBERS “ building blocks ” for sound engineers C B C iA Single Dubbers, from *1190 Triple Interlocked Dubbers, from *3910 Rear interior view of Selsyn motor electrical interlock Producers have found that the use of a single recording channel is only a small part of the tremendous savings possible with magnetic film recording. The next step for the organization seeking quality, economy and independence is to equip to handle their own transfer work, assembly and magnetic mixing of dialogue, music and sound effects. Magnasync dubbers are of “modular” design and are available individually or in combination of two or three units mounted in an enclosed rack cabinet that requires only 22" of floor space. FEATURES: • Plug-in preamplifiers with balanced 600 ohm output at zero vu. • Individual synchronous drive motors. • Torque motor take-up guarantees smooth film handling and hi-speed rewind. • Electrical interlock assures absolute ‘‘sync” with projector from dead start. • Wired for remote control, start and stop. • Fast rewind, fast forward. • Position for second playback head for transfer of both edge and center track re¬ cordings. • Available with 16mm, 17y2mm or 35mm transports. GENERAL SPECIFICATIONS: Frequency response: 50 cps to 8,000 cps, ±2 db (16mm, 36 fpm), 50 cps to 12,000 cps, ±2 db (17%mm or 35mm, 90 fpm). Signal-to-noise ratio: > 50 db. Flutter and wow: 0.12% maximum RMS in any single band. Distortion: <0.18% maximum RMS overall total harmonic. Send for free 41 -page catalog describing recorders, dubbers, consoles and acces¬ sories. [jycnflsvnc| y/fy/uftfmic SOUND SYSTEM 5546 Satsuma Avenue, North Write, wire or phone MAGNASYNC CORPORATION Hollywood, California • TRiangle 7-0965 • Cable “MAGNASYNC” International leaders in the design and manufacture of quality magnetic recording systems AUTHORIZED DEALERS: CHICAGO, ILL. Behrend Cine Corp. 161 E. Grand, Ml 2-2281 Zenith Cinema Service, Inc. 3252 Foster, IR 8-2104 DALLAS, TEXAS Producers Services, Inc. 4519 Maple Ave. Southwest Film Labs 3024 Fort Worth St. DAYTON, OHIO Salem Camera Co. 335 Salem, BA 3-7206 DENVER, COL. Western Cine Service, Inc. 312 S. Pearl, SH 4-1017 HIALEAH, FLA. Camera Equipment Co., Inc. 51 E. 10th, TU 8-4064 HOLLYWOOD, CALIF. Birns & Sawyer Cine Equipment 6424 Santa Monica, HO 4-5166 Camera Equipment Co., Inc. 6510 Santa Monica, HO 9-5119 S.O.S. Photo-Cine-Optics, Inc. 6331 Hollywood, HO 7-9202 HOUSTON, TEXAS Cine Associates P.0. Box 98, Bellaire KANSAS CITY, MO. Barnard’s, 4724 Broadway, Country Club Plaza, LO 1-7761 Crick’s Camera Shop 6320 Brookside Plaza, HI 4-3390 MINNEAPOLIS, MINN. Century Camera Shops, Inc. 26 S. 7th, FE 8-5857 NEW YORK CITY Camera Equipment Co., Inc. 315 W. 43rd, JU 6-1420 Florman & Babb, Inc. 68 W. 45th, MU 2-2928 Pictronics Corporation 236 E. 46th, YU 6-3713 S.O.S. Photo-Cine-Optics, Inc. 602 W. 52nd, PL 7-0440 PHOENIX, ARIZ. Wilson Camera Sales Co. 130 W. Adams, AL 4-0662 ST. LOUIS, MO. Stanley Photo Service 106 N. Broadway, CE 1-7840 SAN FRANCISCO, CALIF. Brooks Cameras, Inc. 45 Kearny, EX 2-1902 SAN MATEO, CALIF. Foreman’s 121 Fourth Ave., Dl 3-1869 CANADA, Islington, Ontario Alex L. Clark, Ltd. 3751 Bloor St., W. SOUTH AFRICA Photo Agencies Pty. Ltd. 9 Kerk St., Johannesburg SOUTH RHODESIA, Salisbury William Over & Co. Pvt. Ltd. Kingsway & Manica Road BOLIVIA, La Paz Casa Kavlin Casilla 500, Cal le Potusi 261-263 BRAZIL, Rio de Janeiro Mesbla, S.A. Rua do Passeio 42/56 ASIA: . AUSTRALIA, Sydney Sixteen Millimetre Australia Pty. Ltd. 49 Market, New South Wales BURMA, Rangoon G.K. Theatre Supply Co., Ltd. 123 Sule Pagoda Road HONG KONG Supreme Trading Co. 60 Hennesy Road INDIA, Bombay Kine Engineers 26, New Queen's Road JAPAN, Tokyo J. Osawa & Co., Ltd. 5, Ginza, Nishi 2-Chrome, Chuo-ku NEW ZEALAND, Auckland Kerridge Odeon Industries St. James Building, Queen St. PAKISTAN, Karachi-3 Film Factors, Ltd. 27 Victoria Rd., Rex Annexe THAILAND, Suriwong, Bangkok G. Simon Radio Co., Ltd. 30 Patpong Avenue EUROPE, Magnasync Office: SWITZERLAND, Geneva William P. Lear, Jr. P.0. Box 18, Airport Geneva 15 DENMARK, Copenhagen CHL Kinovox Electric Corp. Jenslousvej 2 ENGLAND, London Delane Lea Processes, Ltd. 12 Moor St„ (W-l) Gordon Cameras Ltd. 45 Kensington High, (W-8) FRANCE, Paris Brockliss-Simplex S.A. 6. Rue Guillaume Tell GERMANY, Hilden Dusseldorf Gerhard Johansen 3 Lessingstrasse GREECE, Athens Christos Axarlis 50 Stadium St. ITALY, Rome Reportfilm, di J. M. Schuller Via Antonio Bertolini 31 AMERICAN CINEMATOGRAPHER, JULY, 1963 413 QUALITY AND SERVICE BiMK&mm REVERSAL NEGATIVE POSITIVE PRINTING AND PROCESSING COLOR Processing- COLOR PRINTING Work prints — Timed prints Color to Color prints — A & B roll prints Color to B & W prints — Fades-Dissolves Dupe Negatives — Multiple prints Raw stock — Fastax service Loop printing Write for complete information FILM LABORATORIES NOW AT OUR NEW LOCATION 311 WEST 43RD STREET NEW YORK 36, N Y. Jlldson 6-7196 • JUdson 6-7198 mm FILM COMPANY 424 LI PO CHUN BUILDING HONG KONG COMPLETE 16/MM & 35/MM PRODUCTION FACILITIES PATHE PRESENTS: THE WEBO-M 16 MM REFLEX PATHE PRODUCTS, mC. 9 Pleasant Street, Providence 6, Rhode Island Sole U.S.A. Agents for Pathe Societe Commerciale et Industrielle. THE PHOTOGRAPHY OF “HUD” Continued from Page 409 effective. 1 was somewhat surprised, however, that you did not use many low camera angles outside on exteriors. A. — No — we used them more indoors because we wanted to show the ceilings of the rooms. We had hoped to get dramatic skies in our exteriors but with production schedules the way they are today, you can’t wait for them. We briefly considered printing clouds into these scenes optically, which can be done easily enough. But this presents a handicap in that you can’t pan in such scenes and must keep the actors free of the areas where clouds are later to he superimposed, so they do not cross in front of the effect. So, we simply forgot about it and let nature take its course. The ranch house in the film is sup¬ posed to be miles from nowhere — in an area of vast desolation — so we had to be careful not to show other ranches that were close by. Although there were houses only a mile or so away, we effectively pushed them way back by using a 25mm wide-angle lens. Some of the photography was done in a violent windstorm, and proved very difficult. Then, the wind died down before shooting was completed and we had to have a wind machine fill in and blow dust through the background so that the remaining scenes would match those filmed earlier. Q. — / understand that between 50 % and 60 % of the film was shot on lo¬ cation. A. — Yes — we shot all exteriors there and some of the interiors — -places like the theatre, the church (which sequence has since been deleted), and a variety store. Q. — Were there any special problems peculiar to location filming encountered on this picture? A. — Shooting on location, where we work in actual sets, always involves special problems, but I like it. You may not have the catwalks overhead to hang lights as in a studio, but this can he good. If you have them you automatically use them. They are handy and save time, but using such conveniences becomes a habit. After many years in the motion picture busi¬ ness, of course, you become very con¬ scious of time, so that when you work in location sets you have to maintain schedule by changing your methods accordingly, but not necessarily your style. Q. — Wh/it are the main adaptations in technique which you must make when shooting on location? A. — In the first place, you invariably can’t hang lights up high, so you have to light from the floor. You can’t use much backlight, blit I think that can be to your advantage, because back¬ light is often over-used. It became popu¬ lar in earlier days and the chief reason we backlighted then was to separate the actor from the background. But now there are other ways of getting separa¬ tion — like playing a light background against a darker image in the fore¬ ground, or vice versa. However, we don’t always need a halo following the actors around. Sometimes you look down when you are making a long shot and you discover there are four or five shadows of the actor on the floor, created by all the backlights. It spoils the illusion. The audience may not know why, but they are conscious that something is wrong. Also, if you have pan and dolly shots to make, it is a problem keeping all those lights out of the lens; the only way you can do it is to play the lights off camera— to one side. You can’t tell the director that he must not pan or dolly there, because the shot may demand camera movement. Certain directors and art directors fully understand the poten¬ tials of the camera, the different lenses and camera movement. They justify camera movement not for the sake of movement alone, but because the actors move and the camera properly should follow their action. The story dictates the action and the camera movement. On H ud, Martin Ritt wanted certain pan shots. They were necessary - — and it was up to me to find ways to rearrange the lights to get them out of the way of the camera while still making everything seem simple. Q. — What about the problems of mak¬ ing dolly shots in some of those small interior location sets? A. — Some of those interiors were so small that we had to use a wide-angle lens to get any sort of establishing shot. We didn’t use too many dolly shots inside — nor did the director want to use a zoom lens as a substitute, which may seem surprising since he comes from live TV. He simply has 414 AMERICAN CINEMATOGRAPHER, JULY, 1963 Inspect every foot before it leaves your plant with the HFC High Speed Heavy Duty Inspection Projectors - 16mm & 35mm models now available. NEW The projector is a converted front shutter Simplex with a two pin intermittent. 16mm or 35/32 film runs at a speed of 144 ft. per minute while 35mm film runs at a speed of 165 ft. per minute. 1. A variac controls the light intensity. 2. A 500 watt lamp is used for 16mm and a 1,000 watt for 35mm (a blower is used to cool the lamphouse). 3. A 2y2 inch projection lens is furnished with each unit. 4. A start-stop lever controls the power to the lamp and motor. 5. The magazine and take up core takes up to 3,000 ft. of film. 6. Upper guide rollers are made to handle the film from either direction of the feed reel. 7. A free wheeling take off flange is pro¬ vided in the magazine. 8. A lamp near the takeup reel permits hand inspection of the film prior to takeup. NOUVEAU Le projecteur contient un obturateur Sim¬ plex anterieur transforme avec deux cla- vettes intermittent. Les films de 16mm ou 35/32 tournent avec une vitesse de 144 pieds a la minute, tandis que les films de 35mm tournent avec une vitesse de 165 pieds a la minute. 1. Le regulateur de voltage d’intensite d'eclairage. 2. La lampe de 500 watt est necessaire pour les films de 16mm, et de 1000 watt, pour les films de 35mm (un ven- tilateur est mise pour rafraichir la chambre de la lampe). 3. L’objectif de 2y2 est instale. 4. La manette de mise en marche et d’arret controle en meme temps la lampe et le moteur. 5. La boite de films avec noyau peut con- tenir 3000 pieds du films. 6. La roue superieure est construite de maniere de recevoir le film dans les deux directions, nourrie par la bobine centrale. 7. Une roue est instalee pour liberer rapidement le film de la boite. 8. La lampe se trouve pres de la bobine recepteuse, et donne toute facilite pour inspecter le film a main dans le projecteur. HOLLYWOOD FILM COMPANY NUOVO Questi proiettori sono Simplex transform- ati, otturatore al fronte, meccanismo di scatto di due punte. La velocita di proie- zione in 16 o 35/32mm e di 144 piedi per minuto, e in 35mm, di 165 piedi per minuto. 1. Controllo manuale della luminosita della lampada. 2. Lampada di 500 watt per 16mm e di 1000 watt per 35mm. 3. Obbiettivo di proiezione di 2y2''. 4. Maniglia per controllo di motore e lam¬ pada di proiezione. 5. La cassetta porta pellicola puo con- tenere 3000 piedi. 6. I rulli superiori di guida sono construiti per operare con film provenente di ambi lati della bobina svolgitrice. 7. Disco con montatura sporgente nel magazzino. 8. Una lampadina illumina la bobina av* volgitrice, permettendo 1'ispezione man¬ uale del film prima che si avvolga nel proiettore. NUEVO Esta maquina es un proyector simplex con- vertido, obturador al frente y movimiento intermitente a doble grifa. Para 16mm o 35/32mm, la velocidad fija de proyeccion es de 144 pies por minuto, para 35mm es de 165 pies por minuto. 1. Un reostato controla la intensidad de la lampara de proyeccion. 2. Para 16mm se usa una lampara de 500 watt, y una de 1000 watt para 35mm (un chorro de aire ventila las lamparas en ambos casos). 3. Cada unidad esta provista de un lente de proyeccion de 2 pulgadas y media. 4. Una palanca de control opera el motor y la lampara simultaneamente. 5. Capacidad de proyeccion: rollos de hasta 3000'. 6. Los rodillos de guia superiores operan con la pelicula en ambas direcciones. 7. La tapa de la bobina de carga es desenroscable. 8. Una lampara ubicada junto a la bobina de toma permite la inspeccion manual de la pelicula antes que se rebobine en la bobina superior del proyector. REELS / CANS / CASES 956 N. Seward, Hollywood 38, Calif., HO 2-3284 • 122 W. Kinzie, Chicago 10, III., 644-1940 524 W. 43rd St., N.Y. 36, N.Y., LO 3-1546 AMERICAN CINEMATOGRAPHER, JULY, 1963 415 found that the zoom lens has been overworked. I don’t care for it either because it produces just a flat frame coming toward you. In a zoom shot the perspective is static — the camera doesn’t pass anything and you have no sense of true movement. It is just a set composition being blown up larger by degrees. Q. — / noted that there was an absence of projected shadows in the interiors you filmed on location. W as this due to any lack of cukaloris or other de¬ vices on the location site? A. — On this picture I didn’t use a single artificial shadow produced by devices such as the cukaloris or gobo. Often, when I see such shadows on the walls of a set 1 wonder what their source is supposed to be. They are decorative, but I seldom use them, be¬ cause I believe in creating mood through gradations of light — varying textures and tone values — rather than by throwing in artificial shadows. I want more purity in my lighting and camerawork. Q. — Do you feel that you can achieve this purity in technique when filming on location? A. — Yes, I think that working in loca¬ tion sets can actually simplify things — - mainly by eliminating the need for a lot of backlight and overhead light. You have to stay away from flatness, of course, but you can take a key light and put it right over the camera just above the actor’s eye level and get sufficient roundness. For example, if you light a round bottle and hit it right in front, it doesn’t look flat be¬ cause the light follows the contour of the bottle and falls off gradually at either side. Many of our biggest stars, because of facial structure, must have their key light directly above the camera lens, with just a little soft light added to fill in. Any cameraman who knows lighting technique can always light a set some¬ how. But you will find that when you have space problems, for example, your set tends to come out better with simpler lighting that is invariably more effective, too. It looks well — it looks real. I think no matter what you light — a night club, a circus or a nice home — you should light it as naturally as you can. I have come to realize that the best lighting is true to the subject, but it took me many years to find this out. I used to do a lot of things with lights that I shouldn’t have been doing. You believe at the time that is the thing to do and that it shows what a fine cameraman you are. You want to demonstrate what you can do with all those tricky lights, but the tendency sometimes is to get carried away with lighting, to over-dramatize. Q.—Do you still have to fight this tendency ? A. — Not so much any more. Our prob¬ lem on Hud, for example, was to make our interiors not look like movie sets. I could have lighted the location sets and very easily made them look like studio sets by using cookies and other lighting effect gadgets, but I resisted the impulse. To illustrate my point the actual store interior seen in this pic¬ ture was lighted more or less like a country store is actually lighted. I had them turn on the regular store lights to get the feeling of how it was illumi¬ nated. Then I simply built up the established lighting a bit more and shot it that way. In other words, I didn’t give the lighting my “ special touch” to make that store look like / wanted it to look — but the way it ac¬ tually looked. When we got back to the studio, of course, the interiors shot on the stage had to be lighted to match our location lighting. To make sure it would, ceil¬ ings were included on all the sets whether they were to show in the photography or not, so that I would automatically have to light in the same way. I didn't find that the use of ceilings slowed me up at all. I think there is a growing trend toward utilizing more actual locations rather than so many studio sets. Mo¬ tion picture art directors are very good at creating authentic sets and usually manage to get very real char¬ acter into them— but it is the lighting of those sets that often makes them look stagey. Q. — In Hud l noticed that there was no obvious use of reflectors or booster lights to provide fill light in exteriors. Was this a deliberate effect, part of your photogr/iphic style on this pic¬ ture? A. — Yes. I did not want audiences to be aware of light coming from any particular place, but to feel that the light was naturally reflected from the ground. I used both sunlight reflectors and booster lights, of course, but I avoided as much as possible showing them at work, and I tried to be espe¬ cially careful not to wash out the shadow side of actors faces. Q- — I noticed that you kept both the sky and faces in good rich tones. What filter or combination of filters did you use to achieve this result? A.- — The characters portrayed in the picture were western outdoor people and they naturally would be tanned by the sun. I don’t believe in the kind of photography where everything must balance and where all the faces are made up in the same skin tone. In real life it is not that way — some people are more tanned than others. Those who are out in the sun a great deal are darker than, say, bank clerks who work indoors. I did want good rich skies, but I knew that if I used a yellow, orange or light red filter it would darken the sky and also tend to lighten skin tones. So I used a light green filter which darkened the sky and also kept the faces dark. Paul Newman has very light blue eyes and you have to be very careful 416 AMERICAN CINEMATOGRAPHER, JULY, 1963 Model R-1 5 ONLY $4750 Complete* F. 0. B. Milford Conn Vy ADDITIONAL FILMLINE FEATURES • Double capacity spray wash • Dry Box and developer thermometers • Uniform tank sizes • Cantilever construction • Self-contained plumbing • Ball-bearing gear box • Oilless air compressor • Size 77" x 60" x 30" Weight approx. 650 lbs. Worlds Largest Manufacturer of Quality Engineered Film Processors Since 1945. 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AJ-63, Including Temperature Control System, Bottom Drains and Valves, Developer Re¬ circulation and Air Compressor. lease & Time Payments available not to “’lose” them photographically. So you have to light him a little higher to keep the key light out of his eyes and then use a very soft fill for a catch light. If you are not careful, and get both the key light and fdl in his eyes, you may wash them out. Q- — I noticed that all the night se¬ quences in the picture were (ictuaUy shot night-for-night. What advantage was this over day-for-night filming? A.— Shooting day-for-night is the easier way to do it, but not the most effective. At certain times and under certain conditions you can filter the sky down, underexpose slightly and get a good night effect; but where a big sequence is to be played where it is necessary to change angles sharply it is not pos¬ sible. You can never match the skies, because whenever you shoot against the sun the sky is always lighter than when you shoot away from the sun. If you pan all the way around, the sky changes from deep blue to pale blue. It is jolting to an audience when you cut suddenly from one angle to the other and the skies don’t match. Q. — / was especially impressed with the night sequence in which H ud IN Available Immediately NEW ANGENIEUX IOX ZOOM 12mm-120mm f2.2 available for all 16mm cameras. 25mm-250mm f3.2 available for all 35mm cameras. Serving the World’s Finest Film Makers • Lowest Prices! • Trades Accepted! WRITE* WIRE • PHONE FLOBMAN & BABB, INC. 68 West 45th St., New York 36, N. Y. MU 2-2928 AMERICAN CINEMATOGRAPHER, JULY, 1963 417 SMOOOOOOOTH That's the word for Miller Fluid Action Tripod Heads. 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We motivated this by having the truck go off the road. The boy gets excited, and jumps out, leaving the headlights on. We now have an excuse for a light source. This sequence was shot in the dead of night on an absolutely black country road. In order to light the faces as the characters drove along in their vehicles I tried to simulate the natural spill from the dashboard light. I used one photoflood lamp, mounted under the dash. Then I hung a light on the op¬ posite side so that it would create a feeling of flare from the headlights bouncing back off the road. We shot many of our closeups for this sequence actually in the car without the use of process, and they were very difficult to photograph; others were shot later in the studio against a process screen. Q. — The greased-pig chase contest was a very funny sequence in the film. However, I imagine it offered some special lighting problems. Can you describe some of them? A. — Yes. The sequence was filmed in Griffith Park, at one of the riding academies. We were shooting in a large ring and we didn’t know which way the pigs were going to run, so I had to light the entire area. Small bulbs were strung around the ring to show in the picture and establish a light source. I mounted several sky pans up high on several poles that surrounded the ring to produce a more or less overall flat lighting. On the roof of one of the buildings I placed a few 10KW lamps concentrated on the peo¬ ple in the grandstand. I just lighted the area rather generally because I couldn’t outguess the pigs. Besides, there is only so much you can do by way of artistically lighting a greased- pig chase. We used several cameras on the event equipped with a range of lenses from wide-angles to telephotos for closeups. The main problem here was avoiding picking up the other cameras. Q. — Now that you’ve seen the com¬ pleted film, do you feel that the pho¬ tography came out the way you hoped it would? A. — There is one sequence that dis¬ appointed me a little — the one involv¬ ing the shooting of the cattle. There wasn’t supposed to be anything beauti¬ ful about that action. But on the day that we started filming it a lot of fluffy clouds decorated the sky. Every time I looked up and saw those clouds I hated them. What I really wanted was a bleak, early-morning sky, but the clouds remained so we had to go ahead and shoot anyway. Everytime I look at that sequence now and see those pretty clouds there it frustrates me because it’s too beautiful to be in keep¬ ing with the scene. I personally can’t believe that sequence at all. ■ BROWNING MEMORIAL AWARDS Continued from Page 404 Television at Columbia University, Mr. Yael Woll, Director of the Institute of Film Techniques at C.C.N.Y., and Prof. Haig P. Manoogian of the Dept, of Television, Motion Pictures and Radio at Mew York University, chose the most promising film production stu¬ dents of the year at the schools named and presented the award plaques. Preceding the presentation of awards and screening of the winning films was a discussion of the problems involved in making independent low-budget films. Among those leading the dis¬ cussion were several of the people who were active in the production of David And Lisa: Leonard Hirsch- field of VPI Productions, who was Di¬ rector of Photography; Irving Oshman of Vision Associates, who was the Film Editor; Miss Janet Margolin, who is the “Lisa” of the film, and Dr. Theodore I. Rubin, author of the or¬ iginal story. Mr. Hirschfield, whose comments are reprinted here in a separate article, pointed out that “the secret of making low budget films is to pick the right people.” Mr. Oshman emphasized that David And Lisa was entirely plotted on paper before a foot of negative was exposed in the camera. And although the shooting ratio was about 9 to 1, most of the footage was usable and could have been incorporated into the 418 AMERICAN CINEMATOGRAPHER, JULY, 1963 film had it been edited from a different point of view. Dr. Rubin discussed the validity of the psycho-dynamics of the characters in the film, and Miss Margolin related some of her personal reactions and ex¬ periences in the course of making David And Lisa. Mr. Paul Meistrich discussed the motion picture background of Irving and Sam Browning, their experiences in the early days of film making, and the ready help of encouragement they gave young film-makers throughout their lifetime. He also said that the Browning brothers were the first to introduce the Arriflex Camera in the U.S. and were instrumental in per¬ suading Robert Flaherty to use this camera in making his famous “Louisi¬ ana Story.5' As part of the Irving and Sam Browning Memorial Awards, The Cam¬ era Mart, Inc. is granting each of the four award-winning students a $150 credit towards the rental of professional motion picture equipment plus a sub¬ stantial supply of raw film. Du Art Film Laboratories, a major New York laboratory participating in the awards program, has offered to process this negative film without charge. ■ NEW! MOLORAMA QUARTZ CYC-STRIPS Four-Light Strip , Three-Light Strip A One-Light Strip i W • EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE * NEW • EXCLUSIVE • NEW • EXCLUS/p F&B TRIPOD CRAB DOLLY FIRST FIRST FIRST FIRST inexpensive crab dolly in the U.S. market. Crab Dolly which mounts your tripod. No expensive boom arm necessary. Crab Dolly which folds up to 21" height, weighs 290 lbs., easily portable, fits in station wagons. 3-wheeled Crab Dolly — just as efficient as a 4- wheeled dolly and more economical — has 3 dual wheels with 10" pneumatic tires. Width-35" Length— 48" Weight— 290 lbs. Platform Height— 18" Wheels— 10" pneumatic tires SPECIFICATIONS: Construction — Stainless Steel Seats— 2 upholstered, adjust¬ able height Push Bar— Folds down; with transmission lever for crabbing and tracking. AMAZINGLY LOW-PRICED at >1495 FLOHMAN & BABB, INC. 68 WEST 45th STREET, NEW YORK 36, N. Y. * MU 2-2928 ^ ^ismoxa • M3N • 3AISm0X3 • M3N • -3AISmOX3 • M3N • 3AISmOX3 • M3N • 3AISfn0X3 • ^ AMERICAN CINEMATOGRAPHER, JULY, 1963 419 NEW • EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE ’’CLEOPATRA” Continued from Fage 308 only did we eventually occupy all the sound stages at Cinecitta Studios in Rome, but we took over a little two- stage studio across the street called Cine Sperimentale. The two stages were altered — merged into one — and here the large throne room set was constructed. Our next problem here was lighting. Cine Sperimentale has not the required electrical output for picture making as we know it — they have only about 3,000 amps, of A.C. current. “To solve our problem here, we rented fifteen gasoline-powered electric generators and set them up about a quarter of a mile from the studio. The generated power was fed to the sound stage over a huge network of cables. This power set-up posed addi¬ tional problems for us in that our set lighting units had to be divided up and a certain number of them oper¬ ated off each generator. There were no switchboards, so we either killed a generator or killed the lights individu¬ ally at the unit itself when necessary. Often the generators would get over¬ heated or run out of gas; but we strug¬ gled through it. “For heavy volume lighting we had 50 Brutes and we tied up every 10K we could locate. We required a tre¬ mendous amount of cable and much of it had to be made especially for us. We had to rig so many big sets, there wasn't enough equipment for them all. It was a constant trial for all of us — having to constantly switch cables and lamps from one set to another.” Another major problem he and his crew encountered, Shamroy said, was the language barrier. Shamroy brought most of his key men from Hollywood. But there was a tremen¬ dous staff of Italian workmen to deal with and this required interpreters, and more important, workmen who could speak both English and Italian. Pietro Portalupi, ASC, an eminent Italian cameraman, was engaged to work with Shamroy and to do second unit photography on the picture; he proved of inestimable value in the matter of dealing with Italian tech¬ nicians and workmen. It was Porta¬ lupi who directed the photography of the Battle of Moongate and a number of other large sequences in the pic¬ ture. “I will say this about the Italian technicians,” said Shamroy. “They had a great deal of respect for us and were extremely loyal, especially in their relationships with my gaffer Fred Hall and grip Leo McCreary. “One problem we had was keeping them quiet while the camera was roll¬ ing. It seems they are not accustomed to remaining quiet on the stage while shooting is going on. But they soon caught on and eventually the prob¬ lem was licked. I also found some very fine artisans among the Italian studio workers — particularly the plas¬ terers and sculptors. Unlike in Hollywood, where studio sets are cut and partially erected in the mill, then transported to the sound stage and set up, in Italy they build the sets entirely on the sound stage. This caused numerous delays, Sham¬ roy said. It meant that after complet¬ ing the shooting on a sound stage, the company had to vacate it until the old sets were cleared and new sets erected and decorated. Another sound stage difficulty Sham¬ roy encountered in Italian studios was the scaffolding for the lights. It was cumbersome, making it almost im¬ possible to mount lights up high, ex¬ cept for certain shots. “Following the custom in Hollywood of illuminating sets from overhead,” said Shamroy, “we had to hang the lights for each set, and this proved quite a problem with lOK’s having gelatins and holders mounted on them, plus the ever-present danger of mike shadows which the lights might create.” Some of the Outstanding Scenes Among the eye-dazzling scenes that make up the 41/2-hour long Cleopatra , most reviewers agree that Cleopatra’s entrance into Rome is the most mag¬ nificently staged and photographed. It is a supreme moment in the picture when Cleopatra, with her young son at her side, makes her triumphant en- £_l 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 II 1 1 1 1 1 1 1 II I II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 II II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 FLASHBACK TO YESTERYEAR | 1923 — Cranking a Bell & Howell studio camera, Karl Brown, ASC, photo- | graphed the main title for the memorable silent-era production of The | Covered If agon in this unique manner. Theatre-screen-size title card was | mounted on a framework and embellished with drapery valance at the top | and curtains at either side, which were opened and closed at the beginning | and the end of the title period to give the title a theatrical-like presentation. | Illumination for the title was furnished by hroadlites set up at either side 1 of the camera. (Photo courtesy George J. Mitchell, Jr., Lt. Col. U.S. A. Ret.). rilllllllllllllllllllllllllllllllllllllMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII?’ 420 AMERICAN CINEMATOGRAPHER, JULY, 1963: trance sitting on a gold throne high on a majestic sphinx hauled by hun¬ dreds of slaves, and preceded by scores of exotic dancers. Shamroy’s camera captures every moment of this on wide color film in dramatic camera angles that give emphasis to the grandeur that production designer John De Cuir lavished on the set and costume de¬ signers Irene Sharaff and Renie de¬ voted to the dancing groups, which choreographer Hermes Pan so skill¬ fully trained and directed. For the many scenes in this lavish sequence, Shamroy used one camera mounted low on a dolly and another on a large Chapman boom. The mobility thus achieved was both effective and pro¬ ductive of some of the most breath¬ taking color photography ever seen in a motion picture. The arrival of the Queen’s royal barge at Tarsus for the rendezvous with Antony was a most difficult night sequence to photograph. Staged in a harbor on the Isle of Ischia, the barge was some 300 yards distant from the camera. To light it and the several structures in the harbor as well as the foreground required every light unit that the company could scrape up; these were carefully con¬ cealed on boats moored in the bay and behind stone walls and other ob¬ jects in the scene to throw light into the huge panorama. ‘‘This was the most difficult scene in the whole pic¬ ture for me to light and photograph,” Shamroy said. “Ironically, it has been reduced in the editing to a mere flash on the screen.” The huge set representing the in¬ terior of the Queen’s barge was a different story. Here Shamroy had all the advantages of the sound stage and wTas able to use brilliant colored light¬ ing to enhance the mood of the cele¬ bration, which Cleopatra staged there for Antony. The delicate hues which Shamroy added to the set illumination was by means of colored gelatin filters mounted in front of the lamps. Colored lighting also played a domi¬ nant role in the illumination of the huge and lavishly decorated throne room set, where the coronation of Cleopatra takes place. This is the set which required the physical merger of two sound stages of Cine Speri- mentale. It also presented the most difficult lighting problems of all the interiors in the picture, for it was here that power for lighting the sets was supplied by the 15 distant mobile gen- i EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE new, improved super-efficient CINE VOICE CONVERSION Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion. ill # Hi v • A true torque motor — Idles at Vi power, when camera is turned on. Assumes full power. This system prevents excessive heating. • Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc. • Veeder counter effectively silenced. • Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines. • Neon camera running light. Accessories Available: Behind-the-lens filter slot $45.00 Lens Turret Lock for Zoom Lens operation $25.00 NEW ANGENIUX 12mm - 120mm ZOOM LENS “C” MOUNT WITH SIDE-VIEW FINDER IN STOCK! $895.00 1. : ■ ' Pf CINE VOICE CAMERA CONVERSION including torque motor and belt $44500 (price does not include Mitchell magazines) At present we can promise delivery within 15 days. » > . John Fletcher, ABC cameraman, with Ray Emeritz, F & B’s Chief Engineer, who developed the new Cine Voice Conversion. Serving the World’s Finest Film Makers FLORMAN & BABB, INC. 68 West 45th St., New York 36, N. Y. MU 2-2928 3AISm0X3 • M3N • 3AISm0X3 • M3N • 3AISmOX3 f Automatic Daylight Processing DEVELOPING TANK • Processes up to 200 Ft. • 8mm-l 6mm-25mm-70mm • Movie — X-Ray — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated • Speedy drying • Automatic shrinkage allow¬ ance • Stainless steel and aluminum construction • Easily assembled without tools • Compact, Portable Guaranteed. Write for Free Literature Micro Record Corp. LINWOOD DUNN, asc Formerly head of RKO Studios Effects Dept. CREATIVE SPECIAL EFFECTS Complete Advisory and Technical Services From Story Ideas to Theater Screen. FULLY EQUIPPED LABORATORY AND STAGE FOR SPECIALIZED EFFECTS SERVICES IN 16-35-65mm Equipment Design © New Processes Over 30 Years of Major Studio Experience FILM EFFECTS of Hollywood 1153 N. Highland Ave., Hollywood 38, Calif. Phone: HO 9-5808 Cable: FILMEFX AMERICAN CINEMATOGRAPHER, JULY, 1963 421 I°0K Ma, No STaNDS! That's right. Lowel-Lights attach virtually everywhere, without stands. Shooting in cramped quarters? Flying to location with minimum equipment? Lowel-Lights will save the day. They tape up on walls with non-marring Gaffer-Tape, clamp onto pipes, furniture, moldings, nail onto objects, balance on level surfaces. Work great on stands, too! Units fit in your pocket, so do the folding Barn-doors which attach instantly — without tools — to all R40 reflector bulbs. Lowel-Light system saves so much set-up time, it pays for itself the first day of location shooting. Fastest, most versatile, most compact incandescent lighting equipment ever designed! Fibre case 9" x 12" x 4" with 5 Lowel-Lights, Gaffer-Tape, space for 5 Barndoors $34.50 Vulcanized fibre case 14"x 22" x 6" with 6 Lowel-Lights, 6 Barndoors, 2 P.I.C. stands, 3-25' extensions, Gaffer-Tape, holders for 6 R40 bulbs $124.50 Single Lowel-Light with porcelain socket, neoprene cord, Gaffer-Tape $6.95 Lowel-Light R40 Barndoor $5.75 Gaffer-Tape 12 yds. $1.95/ 30 yds. $3.95 LOWEL-LIGHT PHOTO ENGNR., 429 W. 54th ST., N. Y. - -s BOLEX ACCESSORIES By STEVENS New Synchronous Camera Drive New Panel-type Camera Drive New 400-foot Magazine New Interval Timer Write for our Bolex Accessory Catalog STEVENS ENGINEERING CO. Dept. “A”, 340 Newport Blvd. Newport Beach, Calif. — - - / HI, CANADIANS! “Miller" world famous fluid head, tripods & professional equipment now available in Canada. Save exchange, etc. Factory service and repairs. F. B. RICHARDSON 1075 Jervis, Vancouver 5, B.C., Canada. VARIABLE SHUTTERS AND YOLO AUTOMATIC DISSOLVE ATTACH¬ MENTS FOR ALL BOLEX H CAMERAS ALSO DUAL POWER MAGNIFIERS FOR THE BOLEX REFLEX. PELLEGRINI-PIEK 7 COLEMAN PLACE MENLO PARK, CAL. erators through a vast network of cables. Shamroy lit this scene with yellow and white light to give rich emphasis to the dominant gold decor of the set, furnishings and costumes. While perhaps not one of the big¬ gest scenes in the picture, the one in which Cleopatra arises from her gossa¬ mer shrouded bed to visualize the slay¬ ing of Caesar in the Curia of the Sen¬ ate is one of the most artfully photo¬ graphed of the picture’s intimate scenes. The camera dollies in toward Cleopatra, shooting through the trans¬ parent drapery surrounding her bed. And when the drapes are parted as the camera moves in close on Cleo¬ patra, the soft texture in the photog¬ raphy effected by shooting through the drapes is continued — an effect Sham¬ roy achieved by mounting a piece of the same gauze material in front of the camera matte box. The effect is repeated later when, after Caesar’s death and Cleopatra has married An¬ tony, the two play a scene in the same bedchamber. Last but not the least important of the spectacle sequences is the furious naval engagement at Actium, where Antony’s forces are defeated by Octavian s. This sequence combines miniature shots with live action shots that are unusually effective because of the studied placement of the camera and the choice of lenses used. The Battle of Moongate is notable for the vast area that was so effec¬ tively covered by photographic illu¬ mination. Some 20 Brutes plus a large number of lOK’s with gelatin filters were used to light the scenes, which were staged on the back lot at Cinecitta and photographed by Pietro Portalupi. Understandably, it is impossible to cite all the scenes and sequences in this picture the photography of which is equally deserving of mention here. But one additional sequence merits special mention— the Battle of Phar- salia, which opens the picture. Staged in the atmospherically clear highlands of Spain, much of the action was imaginatively photographed by French cameraman Claude Renoir, who is credited, along with Portalupi. with second unit photography. Shamroy’s Credo “It is the cinematographer’s respon¬ sibility to evaluate and translate to the screen the concepts of a screen story as visualized by the producer, the director and the cast,” Shamroy em¬ phasized in summing up the photog¬ raphy of Cleopatra. “When people go to a theatre to see a picture, they are virtually seeing the story unfold on the screen through the eyes of the one who photographed it.” Shamroy’s eyes are those of a true, dedicated artist. Intimates are im¬ pressed with his knowledge of paint¬ ing and of the old masters and their works. This knowledge is reflected in all his photography; one invariably sees in his camera work scenes that are pictorially compelling. “Painting with light” aptly describes his tech¬ nique of employing light tinted by gelatin filters to illuminate interiors. “When photographing a motion pic¬ ture in color,” he says, “it is impor¬ tant to give scenes a change of pace visually by means of the lighting, otherwise the picture may become monotonous despite a good story and capable acting.” Shamroy feels there is a growing tendency for Hollywood film makers to get away from the essentially visual aspects of motion pictures and that stilted, overly-dialogued pictures are resulting. In his opinion strong pic¬ torial impact is vital to a motion pic¬ ture, especially to a big production such as Cleopatra that requires impos¬ ing dramatic backgrounds against which to play the action. Shamroy believes that writer-direc¬ tor Joseph Mankiewicz did a monu¬ mental job on Cleopatra, considering that the production was launched with only a skeleton script as a guide. “It requires many talents working in clos¬ est harmony to make a successful mo¬ tion picture,” he declared, and added that “A ‘happy marriage’ must prevail in the thinking and concepts of both the director and the cinematographer. This, I believe, is visually evident in Cleopatra.” ■ BIRTH OF AN ELEPHANT Continued from Page 406 during the last three months when Packy was expected to arrive at any time. The others were Dr. Matthew Mayberry (a veterinarian), Morgan Berry (Belle’s owner at the time), and a writer-photographer from Life mag¬ azine. The reasons for the others being there were more apparent than Sneth- en’s. He has been head of the TV Film Department for KOIN-TV, in Portland, 422 AMERICAN CINEMATOGRAPHER, JULY, 1963 since 1957. Before that he worked for three years primarily as a film cutter at KOIN-TV. Snethen’s first film production ex¬ perience did not come until 1958, when he teamed up with another cameraman to film two documentaries for the state of Oregon. Later, he organized Bob Snethen Films, concentrating on bid¬ ding for governmental documentaries. However, it was his KOIN-TV em¬ ployment that eventually led Snethen to the zoo. Upon occasions, Portland City Zoo Director Jack Marks used to show on television many of the films which he had made of various animals in the zoo. When Morgan Berry told Marks of his wish to have a film made of Belle’s pregnancy, and possibly the birth of her calf, he recommended Bob Snether to produce it. Snethen did all of the filming him¬ self, using a 16mm Bolex Reflex cam¬ era hand-held. The rest of his cine¬ matographic tools consisted of 25mm f/1.4 and 10mm f/1.9 lenses, an am¬ ple supply of Ektachrome ER film, Type 7258, and several portable lights. Approximately 900 feet of color film was exposed during the period of Belle’s gestation. It was one of Snethen’s jobs to film the animal’s behavior during the time of pregnancy. He recorded such things as the conducting of blood, temperature and electro-cardiograph tests, and later he intercut footage to show the test readings. Special characteristics adopted by the elephant during her pregnancy were other important developments in the documentary film. For example. Belle was a “rocker.” Snethen recalled that “Belle used to stand in one spot for hours at a time rocking to and fro.” Using a hand-held camera, Snethen was able to follow any unexpected movements of Belle. His 10mm lens WHEN CHANGING YOUR ADDRESS Please notify us at least four weeks in advance. BE SURE to give your Former address as well as your New Address. Our Circulation Department needs both addresses in order to properly identify your address stencil. Your cooperation will insure that American Cinematogra¬ pher will continue coming to you regularly without delay or omission of issues. Thank you. — American Cinematographer IF YOU OWN A BERTHIOT ZOOM LENS, F&B TAKES THE WIGGLE OUT OF ZOOMS WITH THE BEELAND ELECTRIC ZOOM CONTROL Here is a rugged yet light weight control that assures you of smooth zoom action from start to finish of each shot. Mounts directly on the lens barrel, no camera attachments are required. Interchangeable mounting clamps allow the same control to be used for the 17mm to 70mm, and 17mm to 85mm lenses for 16mm cameras, and the 38mm to 150mm lens for 35mm cameras $ 185 00 Regular $275 Super- Quiet • Smooth, quiet zoom action • Easy finger-tip operation • Precise zoom range control . Zoom speeds from 2 Vi to 10 second^ . interchangeable— for 16mm and 35mm cameras. • Mounts directly on lens barrel Uses type “C" flash light batteries The camerman can control the picture size by eye or can pre-set the zoom range by quick-set limit stops on the quadrant. A silicon loaded slip clutch and mechanical limit stops provide precise control of the zoom range. The control box is equipped with instant contact push-buttons for easy finger-tip operation of zoom-in or zoom-out. The box mounts on a tripod handle, or directly on the camera for hand¬ held operation. It also may be held and operated by an as¬ sistant. Speed range is rheostat controlled and adjustable from approximately 2V-2 seconds to 10 seconds of zoom time. A special feature is the very efficient motor which operates for hundreds of moves on one set of 5 type “C" flashlight batteries. Two models are available: Regular, where noise is not a problem. Super-quiet, where whisper-quiet operation is needed for sound recording. Serving the World’s Finest Film Makers FLORMAN & 68 W. 45th St., N. Y. 36 MU 2-2928 L I’dfhjn' From two to ' seven images or combinations, more Ik 7 than 27 variations in op¬ tical effects, montages, and distortions without expensive opticals. Images may be photographed in still motion or for ward and reverse rotation. PRODUCTS OPTICAL FX UNIT AND PRISMS