JANUARY • 1955
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
/0 This issue • • •
• THE BIG SWITCH IS TO TV!
• TECHNICAL PROGRESS IN 1954
• TRI-X IN FEATURE FILM PRODUCTION
25c
$3.00 YEARLY
Joe Dougherty, Du Pont Technical Representative (left) discusses “Superior” 2 and the Mitchell Camera with Burgi Contner (right), operating cameraman Eddie Hyland and assistant cameraman George Wellstead.
^1 Getting ready to shoot on the “Janet Dean — Registered Nurse" set. That’s Burgi Contner taking a meter reading as Ella Raines, the show’s star, prepares for the shooting.
- • a
“Thanks to the extreme flexibility of Du Pont ‘Superior’ 2, we get
HOLLYWOOD QUALITY EVEN ON TV SCHEDULES!”
says J. Burgi Contner, A.S.C.
“Everything happens fast in tele¬ vision,” says J. Burgi Contner, Director of Photography on the popular Cornwall Production series “Janet Dean— Registered Nurse,” starring Ella Raines and filmed in New York. “And even Hollywood directors sometimes ask how we can get such high quality and still keep up with TV’s rigid produc¬ tion schedules.
“That’s where Du Pont ‘Superior' 2 comes in,” continues Mr. Contner. “While we seldom have time to fool around filling in minute shadows, ‘Superior’ 2 allows us to record delicate gradations throughout the entire scale. Its superior gradation
and latitude— particularly in the toe portion of the curve— take the guesswork and fine calculations out of our operation. You just can’t beat ‘Superior’ 2 for fine gray¬ scale rendition.”
Take a tip from Burgi. Shoot your next production on flexible Du Pont Type 926 “Superior” 2. It’s fast, yet offers wide latitude and smooth gradation under the toughest lighting conditions. E. I. du Pont de Nemours & Co. (Inc.),
Photo Products Department, Wil¬ mington 98, Delaware. In Canada: Du Pont Company of Canada Limited, Montreal.
District Offices
ATLANTA 5, GA. 805 Peachtree Bldg.
BOSTON 1 0, MASS. 1 40 Federal Street
CHICAGO 18, ILL. 3289 N. California Ave. CLEVELAND 14, OHIO 1033 Union Commerce Bldg. DALLAS 7, TEXAS 1628 Oak Lawn Street
LOS ANGELES 38, CALIF.
7051 Santa Monica Blvd. NEW YORK 1 1 , N. Y. 248 West 1 8th Street PHILADELPHIA 2, PA. 225 South 15th Street
SPECIFY D0 PONT
FILM
SALES • SERVICE
THE WORLD'S MOST COMPLETE ASSORTMENT OF PHOTOGRAPHIC EQUIPMENT FOR
T \l. oruL M&fott Pictun® SWiM-
New PROFESSIONAL JUNIOR
Adjustable wood BABY TRIPOD
■for Prof. Jr. friction
PACKAGED LIGHTING WITH
studio lighting in a suitcase
FAMOUS
‘‘controlled
action”
SMALL GYRO i TRIPOD
Has substantial shoe and spur.
Measures from floor to flange
25" extended — 1 7
collapsed
Two speeds — slow and fast Sfek — for both panning and tilting.
Helps you capture fine scenic views and fast-moving sports events. Espe¬ cially recommended for 16mm Mitchell. 16mm Maurer, B & H Eyemo and similar cameras.
Imagine being able to use two 5000 watt units on a 30 amp. fuse — COLOR-TRAN will do it! Kit contains 2 light heads, 2 Superior stands and proper size COLOR-TRAN converter to match. Packed in compact case.
Senior Kit
Other style kits available.
Write for COLOR-TRAN Catalogue
presto-splicer
GIVES PERMANENT SPLICE IN 1© SECONDS!
ELECTRIC FOOTAGE TIMER
STOP MOTION MOTOR
FOR CINE KODAK SPECIAL
GRISWOLD HOT FILM SPLICER
Dual model for both 16mm and 35mm. Large white num¬ erals on black background. Accu¬ rate reset dial. Switch controlled by operator, who selects either 16mm operating at 36 feet per minute — or 35mm operating at 90 feet per minute ... or both
in synchronization. 495
Runs forward or reverse, 110 AC synchronous motor with frame counter. May be run continuously or for single frames. Camera mounts without special tools.
Model R-2 for 35mm silent and sound
film. Precision construction makes it easy to get a clean, square splice with accur¬ ate hole spacing. Nothing to get out of order. <A5
Especially good for splicing magnetic film. Butt Weld type for non-perforated or perforated film. 16mm, 35mm or 70mm. <547 jm
Also available — Stop Motion Motors for 16mm — 35mm B & H, Mitchell and other professional cameras.
Single model, either 16mm or 35mm <45
Also Bell & Howell 8mm, 16mm and 35mm Hot Splicers and B & H Labora¬ tory model Foot Splicer.
16mm or 35mm model: for perforated film.
*9. 5mm Lenses in 16mm C mount. 18.5mm (extreme wide angle-flat field) Lenses available in mounts for all 35 mm Motion Picture Cameras. * PHOTO RESEARCH Color Temperature Meters. ‘Electric Footage Timers ‘Neumade and Hollywood Film Company cutting room equipment. •Griswold & B.&H. Hot Splicers. ‘DOLLIES — Bardwell-McAlister, Mole
Richardson, Century and Colortran Lighting Equipment.
FRANK C. ZUCKER
(TnnteRH CouipmcitT
1600 BROADlUfly \ n€UJ yORK CITS
o.
Complete line of 16mm and 35mm Cameras
create
sm
DM
. . . our sincere gratitude and
appreciation
CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif. 1740 Broadway, New York 19, N. Y.
whose
intelligent
demand
AMERICAN
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPHERS
|||||Illllllllllllllllllll|U|||||||||||||||||||||||||||||||lllll|||||||||||||||||||||llliillUIIIIIIIIIIIIII!IIIIIIIIIIIIIIII
Arthur E. Gavin. Editor
Marion Hutchins. Editorial Assistant E.mery Huse, Technical Editor
Editorial Advisory Board: John Arnold. Arthur Edeson. Lee Garmes, Charles Rosher, Leon Shamroy, Fred Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif. Telephone: HOIlywood 7-2135
VOL 36 JANUARY • 1955 NO. 1
In This Issue
ARTICLES
Technical Progress in 1954 — By Arthur E. Garin . 24
The Big Switch Is to TV! — By Frederick Foster . 26
Adapting the Zoomar Lens to the Auricon-Pro — By John Hoke - - 28
Low-Budget Training Film Production — By Arthur H. Smith 30
Tri-X in Feature Film Production — By Stanley Cortez, A.S.C. 33
Movies Without a Camera — By Harold Benson . 34
Travelogues Offer Filming Challenge— By Charles W. Herbert. A.S.C. - 36
FEATURES
Hollywood Bulletin Board . 6
What’s New in Equipment. Accessories, Services . 10
Industry News . 16
Booklets, Catalogs and Brochures . 22
Hollywood Studio Production . 46
ON THE COVER
GREENWICH VILLAGE IN HOLLYWOOD — A Columbia Pictures’ crew sets a Greenwich Village scene on a sound stage, with Janet Leigh and Bob Fosse as performers, for Columbia's musical version of “My Sister Eileen,” the CinemaScope and Technicolor photography for which was directed by Charles “Buddy” Lawton, Jr., A.S.C. Here may be seen some of the interesting technical equipment used in filming a scene of this kind indoors on the sound stage. — Photo by Gereghty.
plllllllllllllilllillllllllllHIIIIIIIIIIIIIHIIIIIIIIIIIIIIIIIIIIIIIIHIffl
g AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. jS m C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter g g Nov. 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 187V. SUB- g m SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American g H Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single g g copies, 35 cents; back numbers 40 cents. Advertising rates on application. Copyright 1954 g g bv A. S. C. Agency, Inc. llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllim
IMPORTANT ANNOUNCEMENT
. . . with this announcement
the Mitchell Camera Corporation, for the first time in history, now offers you shipment of the
re
: the
16mm Professional Camera
IMMEDIATE SHIP ME
are currently being made
famed Mitchell 16mm
THE CAMERA WITH A HERITAGE
There is no substitute for a heritage of creat engineering. No 16mm motion picture camera made anywhere in the world can match the technical perfection which a Mitchell 16 brings to your film. Each 16mm camera has the same supreme custom workmanship and Mitchell’s exclusive, positive operation that is today world-famous . . . wherever truly professional films are made.
Professional Camera on receipt of your order.
666 West Harvard Street • Glendale 4, Calif. • Cable Address: "MITCAMCO" 85% of the professional motion pictures shown throughout the world are filmed with a Mitchell
ONE CAMERA
16mm or 35mm
in 10 SECONDS!
Cameretie»35
Reflex Motion Picture Camera
The perfect camera for the motion picture film maker working in both 16mm or 35mm color or black and white.
LOOK AT THESE ADVANTAGES —
• The same lenses, same motor drives, same sound blimp and accessory equipment used for both 16mm or 35mm — to convert simply change the magazine.
• Precise rugged movement
• Reflex viewing
• 200 degree adjustable shutter
• Divergent three lens turret
• Automatic film gate 400' magazines 1 6 or 35mm — the 1 6mm magazine will accom¬ modate daylight spools as well as standard core load.
• Light weight — only 14 pounds with 3 lenses, 400' magazine, and 6/8 volt motor.
Write for brochure
amerette
patents coutant-mathot
Manufactured by Ets. Cine. Eclair, Paris
Hollywood
Bulletin Beard
WARNER BROTHERS’ “Battle Cry” company is seen here on location on Vieques Island, Puerto Rico, where CinemaScope cameras under the direction of cinematographer Sid Hickox, A.S.C., recorded mighty spectacle of the Guadalcanal invasion.
Joseph Brun, A.S.C., reports from overseas that he is presently in Ger¬ many directing the photography of “Special Delivery,” a Rathvon-Schul- berg-DeGoldschmidt production star¬ ring Joseph Cotten and Eva Bartok. Picture is being shot in two versions — English and German.
★
Thomas Tutwiler, A.S.C., returned from Venezuela last month where he directed the photography of a feature- length film in Eastman Color for and with Coronel Marcos Perez Jiminez, Presidente of Venezuela. Production is a progress report on the accomplish¬ ments of the Jiminez regime during past two years.
★
John Dored, A.S.C., one of the Soci¬ ety’s pioneer members, died September 22 in Norway, where he had resided since his retirement from active photo¬ graphy a year ago. One of the most colorful of newsreel cameramen, Dored had earned a reputation for always coming through whenever given the “impossible” assignment.
★
Correction — A1 Lane, who appeared in the photo on page 626 of our Decem¬ ber issue and was erroneously identi¬ fied as an “MGM set electrician,” is actually an operative cameraman and has been working recently as operator with director of photography A1 Gilks, A.S.C., who shoots the “Halls of Ivy” TV film series.
★
Ted McCord, A.S.C., who recently signed a new term contract with V arner Brothers studio in Hollywood, drew "East of Eden as his first assign¬
ment. Picture marked his first venture in color and CinemaScope. He is presently shooting second unit on “The McConnell Story” for Warner Brothers. John Seitz, A.S.C., is directing the photography on first unit.
★
George Folsey, A.S.C., holds the dis¬ tinction of having three of his top M-G-M pictures, photographed last year, exhibited in the Music Hall, New York City. They include “Executive Suite,” “Seven Brides for Seven Brothers,” and “Deep In My Heart.” He recently completed “Hit The Deck,” and started shooting “The Cobweb,” another M-G-M production, in mid- December.
★
Sol Halprin, A.S.C., and Ted McCord,
A.S.C., have been named on this year’s Scientific and Technical Awards Com¬ mittee of the Academy of Motion Picture Arts and Sciences.
WILLIAM SKALL, A.S.C., who directed the pho¬ tography of Warner Brothers’ “The Silver Chalice,” gives Jack Palance’s makeup a final check before the CinemaScope camera starts to roll on this unique color production produced by Victor Saville.
6
American Cinematographer
January, 1955
been waiting for
clear, alive !
“Life-like color/’’ the ultimate
in the reproduction of color film, is now available to all producers of 16mm motion pictures.
Now you can have your exposed film duplicated with perfect blending and balancing of tones.
Your release prints will have a sensitive living quality ... surpassing anything you have ever seen in clarity.
This is "Life-Like Color” the result of fifteen years of exhaustive research by the country’s outstanding color engineers and technicians. It is now available to you exclusively through the laboratories of Telefilm Studios.
With "Life-Like Color” Telefilm Studios again contributes to its primary objective ... to help the 16mm producer make better motion pictures. Telefilm’s modern facilities and equipment for color printing . . . high fidelity sound recording ( your choice of optical or electronic sound printing) ... editing . . . titling . . . special effects . . . and the skill and the know-how of the finest technicians in the industry are at your command.
for complete information, visit Telefilm Studios, or write for a descriptive brochure.
estab. 1938
60 3 9 HOLLYWOOD BLVD. • HOLLYWOOD, CALIF telephone HOllywood 9-7205
Motion Picture & TV Film Production
Rentals
Sales
Service
EQUIPMENT!
Repairs
Engineering
Manufacturing
th ANNIVERSARY SALE
1000 ONLY
|
NEW |
1 6mm |
REELS |
||
|
TOP |
QUALITY STEEL |
|||
|
Size |
1-11 |
1 1-24 |
25 |
|
|
400 |
ft. |
.39 |
.37 |
.23 |
|
600 |
ft. |
1.23 |
1.13 |
1.00 |
|
800 |
ft. |
1.73 |
1.38 |
1.23 |
|
1200 |
ft. |
2.22 |
1.57 |
1.42 |
|
1600 |
ft. |
2.71 |
1.76 |
1.56 |
|
2000 |
ft. |
3.65 |
3.15 |
2.90 |
|
16mm STEEL |
CANS |
|||
|
400 |
ft. |
.37 |
.33 |
.29 |
|
600 |
ft. |
1.08 |
1.03 |
.90 |
|
800 |
ft. |
1.48 |
1.18 |
.98 |
|
1200 |
ft. |
1.97 |
1.72 |
1.52 |
|
1600 |
ft. |
2.38 |
2.06 |
1.86 |
|
2000 |
ft. |
2.85 |
2.45 |
2.20 |
1 ONLY BOLEX H-l 6 CAMERA
ext. frame counter 3 lenses
Reg. Price SALE
$395.00 $210.00
6 ONLY
ECCO APPLICATOR KITS
for cleaning, conditioning and anti-static treatment of films.
Including ECCO applicator and 1 qt. ECCO 1500 fluid.
Reg. Price SALE
$32.00 $25.50
2 ONLY
DUAL 1 6/ 35mm ELECTRIC SYNCHRONOUS FILM FOOTAGE COUNTERS
2 sync motors, 2 Veeder counters, sync & line switches
Reg. Price SALE
$150.00 $84.50
1 ONLY
MAURER — 16MM RECORDER
Model D — rack and panel. New "G" prime galvo.
Guaranteed perfect.
Value SALE
$6000.00 $1995.00
1 ONLY
CONTINUOUS 16mm PROJECTOR MOVIEMITE SOUND
400 ft. capacity fully automatic
Reg. Price SALE
$450.00 $185.00
30 ONLY
BARDWELL McALISTER STRIP QUADLITE
Heavy duty . . . holds 4 lamps
Excellent with Colortrans
Reg. Price SALE
$45.00 $6.95
30 ONLY
MONOCHROMATIC
VIEWING
FILTERS
Reg. Price SALE
$3.75 $2.99
1 ONLY
CINEVOICE SOUND CAMERA
with 600 ft. magazine inch ext. motor, insert stabilizer, clutch ampl., mike, etc., case, l" fl.9 lens.
Reg. Price SALE
$1250.00 $945.00
6 PAIR ONLY
SYNCHRO-DUAL REWINDS Model SD-16
2 geared ends with friction unit & friction hub for 2-1 6mm reels
Reg. Price SALE
$35.00 $28.50
300 DOZ. PR. ONLY
FILM HANDLING GLOVES GOOD GRADE COTTON
Specify men's or women's sizes
Reg. Price SALE
$3.50 doz. pr. $2.69 doz. pr.
2 ONLY
SYNCHRONOUS MOTORS FOR CINE SPECIAL
Used . . . but excellent Reg. Price SALE
$156.00 $95.00
350 ONLY TECHNICAL BOOKS
Cinematographers
Handbook . $ 4.46
Movies for TV . 4.46
Film & Techniques . 6.67
Rise of American
Film . 5.46
Motion Picture
Encyclopedia . 10.88
Painting with Light . 6.06
Technique of Film
Editing . 6.67
Film & Director . 3.99
Film Sense . 4.46
Intro to 3D . 3.99
Photo Optics . 5.12
Grammar of Film . 3.22
Magnetic Recording . 4.46
16mm Manual . 9.95
Pictorial Continuity . 2.56
Dynamics of Film . 3.12
'/2 Century of Color . 7.33
Cine Data Book . 3.99
Film Form . 3.99
Sound Mot. Piet . 10.88
TV Primer . 3.12
Photog. Process . 14.88
|
6 ONLY |
|
|
TABLE-TOP SCREENS |
|
|
1 8"x24" |
|
|
Reg. Price |
SALE |
|
$4.50 |
$3.49 |
1 ONLY
KINEVOX RECORDER SYNCHRONOUS
Magnetic tape — excellent condition
Reg. Price SALE
$1550.00 $695.00
2 ONLY
SYNCHRONOUS ELECTRIC FILM FOOTAGE COUNTERS
for 35mm
Reg. Price SALE
$75.00 $39.75
|
200 ONLY |
|
|
KELLY CINE CALCULATORS |
|
|
Circular sliderule |
|
|
computer — |
|
|
1 5 useful tables |
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|
1 6mm or 35mm |
|
|
Reg. Price |
SALE |
|
$3.95 |
$2.29 |
|
3 ONLY |
|
|
WRISTWATCH FILM TIMER |
|
|
STOPWATCH |
|
|
Hours, minutes, seconds |
|
|
1 6mm & 35m footage |
|
|
17 jewels |
|
|
Swiss movement |
|
|
Reg. Price |
SALE |
|
$59.50 |
$29.95 |
|
10 ONLY |
|
|
ALUMINUM FLANGES |
|
|
Heavy duty — 1 0” diameter |
|
|
takes male & female |
cores |
|
Reg. Price |
SALE |
|
$1 1 .95 |
$6.95 |
1 ONLY
SUPER CINE SPECIAL II
PAR conversion with 2 — 400 ft. Mitchell mags. PAR reflex mag¬ nifier. 1 2v variable speed motor with battery. Side mounted Mit¬ chell viewfinder, floating mattes.
Mitchell sunshade & filter holder 1 " fl.4 Ektar 1 6mm Ektar Converter 2 custom carrying cases. Heavy duty tripod & triangle
Reg. Price SALE
$3750.00 $2250.00
IMPORTANT:—
SEND CHECK WITH ORDER OR FIRST COME — FIRST SERVED 25% DEPOSIT FOR COD SHIPMENT ALL ITEMS GUARANTEED
WRITE FOR NEW CATALOG . .
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928 Cable Address - FLORBABB, N.Y.
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'Ob Ca£C today tt/a ctdaiid-....
CAPITAL
FILM LABORATORIES, INC.
Formerly McGeary-Smitk Laboratories , Incorporated
1905 Fairview Ave., N.E., Washington 2, D.C. Telephone Lawrence 6-4634
Editing • Processing • Printing • RCA Sound Recording • Capital Film Studios
ATTENTION
IV
NEWS FILM DEPT.
The Filmatic
High Temperature 16mm Film Processor
Presents
PROCESSED NEWS FILM WHEN YOU WANT IT!
Yes, here is the film processor built especially for you. Laboratory quality at race track speed. The results are “live” and clean. Think of it — reversal processed, dried and rewinding in 2Vi minutes! Check this partial fea¬ tures list and write for the descriptive brochure and additional information.
★ SPEEDS UP TO 115 FT. PER MIN.
★ BUILT-IN REPLENISHING SYSTEM
★ COMPLETE TEMPERATURE CONTROL
★ DAYLITE OPERATION
★ COMPACT— SELF-CONTAINED
★ FINGER-TIP TANK REMOVAL
★ ECONOMICAL PROCESSING
★ NO INSTALLATION PROBLEMS
PLEASE NOTE ADDRESS OF OUR NEW and LARGER QUARTERS
MANUFACTURING CO.
“A" and LIPPINCOTT STS., PHILADELPHIA, PA.
. . . in equipment, accessories, service
Kinevox 16mm Recorder
Kinevox, Inc., 116 So. Hollywood Way, Burbank, Calif., announce their new 16mm synchronous magnetic film recorder. Said to be designed especial¬ ly for 16mm film production, new recorder records or plays all track positions without need for head ad¬ justment.
Features include 400 ft. film ca¬ pacity. self-contained pre-amplifier, Bodine sync motor, illuminated VU meter, “ears” for rack mounting, push- pull low-distortion bias supply, power receptacle for camera — and a single unit case. Total weight is 27 lbs. Re¬ tail price is $695.00.
Film Editing Machine
Resultant Engineering, Inc., 7424 Santa Monica Blvd.. Hollywood 46, Calif., announces its line of new edit¬ ing equipment which includes a Stand¬ ard model for 35mm picture film with 171/2mm or 35mm magnetic or optical track, and the Combination model that takes both 16mm and 35mm picture film with 171/omm or 35mm sound tracks.
Features include 9" Jensen speaker and hi-fidelity amplifier, rugged Ge¬ neva theatre-projector type intermit¬ tent. electrical hand brake, large pic¬ ture for easy viewing, optical unit which springs away from film expos¬ ing entire frame for easy marking, tone control light well, and extra large film bag. Brochure is available.
Magna-Stripe at Byron’s
Byron, Inc., 1226 Wisconsin Ave., N.W., Washington 7, D. C., announces the addition of a Reeves Magna-Stripe application unit to the company’s lab¬ oratory. Machine is 16mm counterpart of system used to apply magnetic striping to CinemaScope films. Com¬ pany now offers one day striping serv¬ ice to 16mm film producers. Price of Magna-Strip in any width is 1%^ per ft.
Camera Brace
S.O.S. Cinema Supply Corp., 602 West 52nd St., New York 19. N. Y., offers a new type camera support for hand-held motion picture cameras. Tradenamed the Body-Brace Camera Pod, it provides extra camera steadi¬ ness and greater comfort for the cam¬ eraman. Made of lightweight alumi¬ num, it weighs but 31/2 lbs., is priced at $24.95. For descriptive literature, write the company direct, mentioning American Cinematographer.
Continuous Contact Printer
Houston-Fearless Division, Color Corp. of America, 11809 West Olym¬ pic Blvd., Los Angeles 64, Calif., an¬ nounces a new continuous contact (Continued on Page 12)
10
American Cinematographer
January, 1955
Tilt-up hinged Control-Panel construction.
New Auricon "Custom” Amplifier Model NR-40, featuring...
Two 110 DB high-gain microphone inputs, plus speech and music control, with “Telephone- Effects Filter” key on “Input 1” for scenes involving simulated telephone conversations.
“Input 3” for re-recording from Magnetic to Optical-Sound-On-Film.
AURICON “Custom”
ALL AC OPERATED
AMPLIFIER
for Optical Sound-On-Film
Available for Variable-Area or Variable-Density Optical Sound-On-Film Recording. Can be used with all existing Auricon Amplifiers, or with new Auricon “Custom” Model NR-40 A.C. Amplifier shown above.
•+C “Input 4” for re-recording from Disc to Optical-Sound-On-Film.
•Jc Large, self-illuminated “Visual Sound-Recording Volume-Indicator” meter, plus individual illuminated meters for “Sound-Track Exposure” and "Sound-Track Noise-Reduction.”
•ft $845.00 complete with 115 volt, 50-60 cycle A.C. Power Supply. Microphones and Recording Cables extra, available as needed to operate with Auricon Cameras or Recorders.
NEW 16mm
AURICON 1200” RECORDER
Model RM-30 for
Optical Sound-On-Film Recording
Write today for free illustrated literature on the new Auricon Amplifier, Recorder, and Accessories.
' ■* v.
ERNDT-
Film is edge-guided by jewel-hard Sapphire surfaces, (U.S. Patent 2,506,765), for precision placement of the sound track on film.
■+C Triple-filtered film-flow insures “flutter-free” and “wow-free” High Fidelity Recording.
1200 ft. film Magazines for 33 minutes of continuous recording.
-ft Push-button Control Panel with Indicator Lights for dependable operation.
•+C $1,785.00 for Recorder only. Magazines, S-O-F Galvanometer, Amplifier, etc., extra.
6902 Romaine Street, Hollywood 38, Calif.
Negative Developing
First Print Department
Ultra Violet and Flash Patch Printing
16 mm and 35mm Release Printing
Title Department
45 Cutting and Editing Rooms
MOVIELAB FILM LABORATORIES, INC.
619 West 54th Street, New York 19, N. Y JUdson 6-0360
WHAT’S NEW
( Continued, from Page 10)
printer for 16mm black-and-white or color motion picture film.
Equipment provides for 22 printer light settings; proper light value for each scene is easily and accurately controlled by light selector dial which is pre-set for each scene. Index cards showing proper light value for each scene are held in handy receptacle on panel; a pointer shows which scene is being printed.
Optical system is constant and ac¬ curate, projecting a slit of intense even light. Maximum sharpness is provided by focusing adjustment. Fil¬ ters for correcting emulsion differences can be interposed in the optical beam. In color film printing, correction is automatic. Threading of film is fast and simple — all controls are on the front panel for convenience; safety switches and brakes are provided.
Film Buckle Trip
The Camera Mart, Inc., 1845 Broad¬ way, New York. N. Y., announces a film buckle trip for the Arriflex 35mm camera. Device automatically stops camera in event of loss of film loop, preventing damage to camera film transport mechanism. The Camart Buckle Trip can be installed in cus¬ tomer’s camera within 48 hours. Cost of parts and installation is $69.50.
( Continued on Page 00)
12
American Cinematographer
January, 1955
PANORAM DOLLY gi ves camera complete mobility; smooth panning, dolly shots, run¬ ning shots, special effects. Two man crew.
CINEMOBILE offers extreme maneuverability. Camera boom raises hydraulically. Ideal for smooth dollying, panning, etc. Two man crew.
HOUSTON-FEARLESS TC-1 CRANE raises camera to extremely high and low positions. Permits “fluid motion" shots. Foot-operated panning.
HOUSTON-FEARLESS All-Metal Tripod on Tripod Dolly gives mobility to cameras at low cost. Completely portable. Ideal for remotes.
CAMERA is counterbalanced in Model PD-3 TV Pedes¬ tal by Houston-Fearless, enabling cameraman to raise or lower with ease.
WHICH TYPE OF CAMERA MOUNT SHOULD YOU BUY?
Proper mounting of television and motion picture cameras is essential for efficient operation, smooth production and good showmanship. Choice of mobile equipment should be determined by the size of your studio, types of shows, size of camera crew, camera equipment used, budget and many other factors.
Each piece of Houston-Fearless equipment shown here has been designed
for a specific purpose. Each is the finest of its type, the standard of the industry.
A Houston-Fearless representative will be happy to analyze your require¬ ments and recommend the equipment that will serve you best. Write or phone: The Houston-Fearless Corp., 11801 West Olympic Boulevard, Los Angeles 64, California. BRadshaw 2-4331. 620 Fifth Avenue, New York 20, N. Y. Circle 7-2976.
MODEL BT-1 CRANE has power drive, hydrau¬ lic lift. Provides lens height from 2' to 10'. Developed for Motion Picture Research Council.
TV PEDESTAL MODEL PD-1 by Houston- Fearless is operated by camerqman. Rolls smoothly, raises, lowers, turns on own radius.
Wm
OU ASKED FOR IT!
Requests from many Kinevox users for a Kinevox-quality 16mm synchronous recorder at a reasonable price gave our engineers a big job.
HERE IS THE RESULT!
Designed and engineered especially for 16mm film. New design
— New Electronics — New Ideas!
Special precision instrument ball bearings and compo oil-retaining bearings.
•
Plays all track positions without head adjustment.
Panel size: 12'U" x 11" x 73/e". Power required: 70 watts. Total weight, cased: 27 lbs.
Airplane luggage style case with removable front.
Transport and amplifiers in one unit.
400-ft. 16mm film capacity. No reels required.
Self-contained pre - ampli¬ fier operates directly from low impedance micro¬ phone.
Latest type lo-noise tubes, DC heater supply, shock- mounted tube sockets.
Bodine synchronous salient- pole motor with filtered drive.
Cannon XL connectors.
$695°°
Features illuminated VU meter . . . “Ears” for rack mounting available . . . Can be supplied for any voltage and frequency . . . Matching film phonograph available . . . Push-pull low-dis¬ tortion bias supply . . . Power receptacle for camera . . . Complete specifications, performance data and curves available on request.
Designed, Manufactured and Guaranteed By '
KINEVOX BUILDING 114-116 SO. HOLLYWOOD WAY TELEPHONE: Victoria 9-3291 I N
ROME • BOMBAY •
life I
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S.;
BURBANK CALIFORNIA
CORPORATED CABLE: Kinevox, Burbank
NEW YORK • RIO DE JANEIRO • CANADA
H
BOMBAY
"SUPER 1200" capacity for 33 minutes of recording $4652.15 and up.
ALL AURICON EQUIP¬ MENT IS SOLD WITH A 30-DAY MONEY-BACK GUARANTEE. YOU MUST BE SATISFIED.
"CINE-VOICE" capacity for 2% minutes of recording. $695 and up.
"AURICON-PRO" capacity for 5V2 minutes of recording. $1310 and up.
TRIPOD -Pan-Tilt Pro¬ fessional, velvet-smooth action. $325 and up.
WRITE FOR AURICON CATALOG
I
Him MR Oil ROOF
... the One-Stop Source for all your
^l! rAMitOHl—, p.
^Jne - J Hollywood loi-l
CINE-VOICE $695 AURICON-PRO $t]io SUPER 1200 $4652.15
TDIDftn
enoTABic DfttutD iiuit «->*o sn cniinn BfrnotifS 41149,50
mlmSm
Avoid the annoy¬ ance and many man hours now lost classifying films without ti¬ tles.
The MOY edge numbers every foot of 16 and 35mm film and simplifies the task of checking titles and foot¬ age.
BRIDGAMATIC 416035, combination 16/35mm high speed automatic film develop¬ ing machine, totally enclosed for daylight operation — one of 12 standard models.
DEVELOP YOUR OWN FILMS
A true one-name lab. Entirely automatic! Capable of speeds up to 3000' per hr. positive, 1 200’ per hr. negative, depending on developing times. Standard design has open tanks, outside feed-in and take-up reels. Variable speed transmission gives graduated control from zero to infinity. Built-in drybox allows 15 to 30 minutes drying time. Write for illustrated brochure. Other models $1095 up.
AMONG RECENT PURCHASERS ARE:
U.S. Army, Frankford Arsenal, Philadelphia, Pa.
A.I. Dupont Inst. (The Nemours Foundation), Wilmington, Del.
U.S. Naval Microfilm Laboratory, Washington, D. C.
A PRODUCT OF FILMLINE CORP.
IDENTIFY YOUR FILMS INSTANTLY
The MOY replaces cue marks, messy crayons, punches, embossing — does not mutilate valuable film. Work prints showing special effects, fades and dissolves require edge numbering to keep count of frames cut or added. Multiple magnetic tracks in CinemaScope stereophonic recordings make edge numbering a MUST.
With new improved Non-Clog Inking System $2475
Present MOY owners can easily install the neu- and improved inking system!
AMONG RECENT PURCHASERS \RE :
Reeves Soundcraft, Springdale, Conn. Indonesian Supply Mission, N.Y.C.
Holland & Wegman, Buffalo, N.Y. Cinerama Productions, New York
American Optical (Todd AO), Hollywood Columbia Broadcasting System, N.Y.
S.O.S.
" The Department Store of the Motion Picture Industry”
PIIUFMA <lIIPPI V PflRP 602 WEST 52nd ST- NEW mK ,9- NY-
UlIvLIllfl uUrrL I UUlir* Phoae: Plaza 7-0440 Cable: S0S0UND
I1DUSMV DEWS
= New 35 mm Model 2A =
== With 180° Shutter =
I A truly GREM |
| CAMERA 1
EE for TV, Newsreel j= and commercial
— For tough and trying assign- — = ments, ARRIFLEX 35 is in a = mr class by itself. Reflex focusing ^
— through photographing lens ~
— while camera is operating — ^ ^3 this is just one outstanding
= ARRIFLEX feature. EE
= Equipped with bright, right- ==
— side-up image finder, 6Vi x EE: = magnification. Solves all par- ~ == allax problems. 3 lens turret. = = Variable speed motor built EE=
into handle operates from
— lightweight battery. Tachom- EE EE eter registering from 0 to 50 EE = frames per second. Compact, == EE lightweight for either tripod E:
or hand-held filming. Takes EE EE 200' or 400' magazine. Write EE EE for free folder. EE
: — Blimp now available. —
— 1 6 mm ARRIFLEX also available.—
|
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ZUCKER |
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Thirty Technical achievements in mo¬ tion picture production practice have been submitted to the Scientific and Technical Awards Committee of the Academy of Motion Picture Arts and Sciences, Hollywood, for consideration in this year’s “Oscar” awards.
Pursuant to Academy policy, the fol¬ lowing list of achievements is being published in the press to permit those having claims of prior art or devices similar to those under consideration to bring them to the committee’s atten¬ tion :
Reflected light units, Metro-Gold- wyn-Mayer.
Portable Remote Control Console, Universal- International.
Heating Element for Motion Picture Cameras, Metro-Gold wyn-Mayer.
Brightness Spot Meter, Photo Re¬ search Corp.
Comparator, M-G-M.
Electronic Comparator System. Col¬ umbia Pictures.
Improved Magnetic Transfer Ma¬ chine, Columbia Pictures.
Photo-magnetic Recording Method, Columbia Pictures.
Multiplex Electronic Monitor, Col¬ umbia Pictures.
Westrex Densitometers. Westrex Corporation.
Combination Photo Lens for Cine- maScope, 20th Century-Fox studio.
Perspecta Sound System. Perspecta Sound.
Stereophonic Magnetic Sound Re¬ cording, Cinerama.
Four-track Magnetic Cluster, RCA.
Magnescope Cathode Scanner, Mag- nescope.
Magnetic Film Editing Machine, M-G-M.
Magnetic Film Cutter and Splicer, M-G-M.
Mitchell VistaVision Camera, Mit¬ chell Camera Corp.
VistaVision Double-frame Projector, Century Projector Co.
Synchronized Magnetic Tape Re¬ cording, Rangertone.
Graphic Equalizer. Goldwyn Studio.
VistaVision, Paramount Pictures.
New Projection Framing Device, Paramount Pictures.
Variable Focus Device, M-G-M.
Triple-head Process Projector, M-G-M.
New Light Source, Warner Brothers.
Electric Cable Reel, Universal-Inter¬ national.
Portable Electric Fog Machine, Uni¬ versal-International.
Spiral Fluted Columns, Universal- International.
Fabrication of Shutter Slats, Uni¬ versal-International.
After study and investigation of the above, demonstrations of achievements will be held in February for the com¬ mittee, after which final meetings will be conducted to determine the Awards recommendations for the Academy’s Board of Governors.
★
Production of television films in Hollywood has grown to such propor¬ tions that is has created new demands for studio space. As a result, TV rather than theatrical film production has necessitated new studio and stage construction in the film capital.
At Republic studios, a four-stage building has been constructed for its own and subsidiary TV film produc¬ tion companies. Columbia Pictures is planning erection of two new stages for production of its Screen Gems video films.
The TV film boom has also resulted in expansion programs at Kling, American National, California. General Service, Motion Picture Center, Hal Roach, and RKO-Pathe studios. More than seven and a half million dollars are expected to be expended by these studios for new construction.
★
Gevaert color film is soon to make its bow in this country. The Belgian com¬ pany, through its subsidiary, Gevaert Company of America, will launch its sales drive after expiration of the American rights to the process’ patents held by Ansco. The Gevaert process is based on the old German Agfa color system.
★
DuPont Photo Products division will open a new office building and ware¬ house in Dallas, Texas, January 18th, at 16820 Oak Lawn Street.
★
Fairchild C amera and Instrument Corp. has announced plans for con¬ struction of a new plant in Los An¬ geles, to meet the growing demands for its products by industries on the West Coast.
16
American Cinematographer
January, 1955
t
The World’s Outstanding 16mm Camera
Because it has so much more to offer, the Arriflex 16 has become the most wanted 16mm camera in the field. The demand has been greater than the supply from the very beginning . . . and for the best reasons in the world:
• The Arriflex 16 is the only 16mm camera with a mirror- reflex shutter for continuous thru-the-lens focusing and viewing— even during actual shooting. There is no beam-splitting and no light loss; no parallax and no need for extra finders.
• It is equipped with registration pin assuring abso¬ lute frame registration and rock-steady pictures.
• A built-in electric motor drive permits uninter¬ rupted filming — no need to stop and wind a spring.
• By employing a diverging turret, 3 lenses from
For complete information concerning Arriflex 1 6mm and 35mm cameras, and Arri film lab equipment, write to.
extreme wide-angle to 300mm telephoto can be simultaneously mounted— without physical or optical interference.
There are a host of other features that equip the Arriflex 16 for every possible type of professional filming: Footage and Frame Counters — Tachometer — Detachable Matte Box — 400 ft. Accessory Maga¬ zine, etc. Its extreme compactness and light weight (only 7 V 2 lbs. with Matte Box) makes it also ideally suited for hand-held shooting.
The quality, performance, and exclusive features of the Arriflex 16 have created a great demand for this camera. To assure earliest possible delivery, we strongly urge you to place your order now. And even though there is some delay, remember . . . the Arriflex 1 6 is worth waiting for.
ARRI
KLING PHOTO CORP. • 235 Fourth Ave., New York 3, N. Y. • 7303 Melrose Ave., Los Angeles 46, Calif.
..FIRST
KNOWN USE OF ELECTRIC SET LIGHTING- BACKGROUND PROJECTION AT THE PARIS OPERA IN 1846. LIGHT FROM A
primitive arc-lamp WAS
REFLECTED ON A SILK SCREEN TO REPRESENT THE RISING SUN.
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STILL A VALUABLE ASSIST TO SPECIAL
EFFECTS/ REALISM AND PRODUCTION ECONOMY, MODERN
BACKGROUND PROJECTION DEPENDS ON THE BRILEIANCE AND TRUE COLOR- BALANCE OF "NATIONAL" ARC CARBONS.
THE NEW SCREEN SIZES AND FILMING TECHNIQUES/ "NATIONAL' CARBONS CONTINUE TO AFFORD THE BROAD COVERAGE, PENETRATION, BRILLIANCE AND SHARP SHADOWS REQUIRED FOR TOP PRODUCTION VALUE.
THE “NATIONAL” CARBON ARC ... NOTHING BRIGHTER UNDER THE SUN
The term "National77 is a registered trade-mark of Union Carbide and Carbon Corporation
NATIONAL CARBON COMPANY
A Division of Union Carbide and Carbon Corporation, 30 East 42nd Street, New York 17, New York
Sales Offices: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco IN CANADA: Union Carbide Canada Limited, Toronto
FLASH — FOR ARRIFLEX USERS!
Our research department has developed and made available, an ARRIFLEX CAMERA BUCKLE TRIP de¬ signed to shut off your camera motor INSTANTLY in the event of loss of loop, or if the take-up fails to operate for any reason. Prevent damage to your camera, save expensive parts and repairs, and loss of time. Installation within 48 hours.
$69.50
CAMECA'MACT
THE
INC.
1845 BROADWAY ™ 60™ ST.
• CONE-LITE
New 24" diameter cone light for 1000 watt or 2000 watt T4S- 3200 Kelvin bulbs. A practical and shadowless light giving 120° angle of illumination. Great for color or black and white. Ideal for television, wide application for motion picture studios.
hoenal? $150.00
• CAMART SYNC FILM TIMER
A safe method of insuring a steady tripod support for your motion picture or television newsreels when atop a car or station wagon platform. Heavy, bronze construction, weather¬ proof. Set of three .
$28.00
yea/i ajf New. Pncducti *
$29.00
$4.95
CAMART
ROOF-TOP
CLAMPS
• CAMART TV MATTE for MOVIOLA
Now your film editor or sponsor can view your TV films on your 35mm Moviola with the exact area matted as it would appear on home television receivers. Aluminum, flat anodized black, precision cut.
For post-recording, nar¬ ration, and dubbing, a combination of precision footage counters and synchronous timers designed for ease of operation and exact results. Write for new AMAZINGLY LOW PRICES!
.... and teleuii-ian
HERE'S O REASONS
WHY YOU NEED THE UNIVERSAL
# CAMART TIGHTWIND ADAPTER
• JUNKS SPLIT REELS AND FLANGES!
O Designed to fit all rewinds.
• Chrome plated ball-bearing roller guide.
• For left and right side rewinds.
• Core adapter fits 16mm and 35mm male
and female plastic cores.
• Saves storing film on reels.
• Eliminates cinching and film abrasions.
C Does not interfere with normal use of rewind.
PATENT
PENDING
SPECIAL SERVICES
AUTHORIZED BAUSCH & LOMB BALTAR LENS AGENCY. FACTORY APPROVED SERVICE & REPAIR OF BELL & HOWELL EQUIPMENT. BALTAR LENSES MOUNTED FOR ALL 1 6-35mm CAMERAS.
• CAMART SLATE and CLAPSTICK
PRICES SLASHEDI
LARGE 10" x 12" PROFESSIONAL
SOUND SLATE HIGH QUALITY — LOW COST
PR0D.N0.
DIRECTOR
CAMERA
SOUND
SCENE I TAKE
DATE
NEW YORK 23, NEW YORK
Circle 6-0930
Something missing from your film processing picture? At Precision we’ve learned over the years that selective printing for every scene plays a vital role in a perfect print — and that only expert human judgment can be depended on to select that timing value.
Leaders in the film industry— directors, producers, cameramen— have learned that Precision alone offers such fully rounded experience and skill in film processing.
In everything there is one best... in film processing, it’s Precision.
A division of J. A. Maurer, Inc.
DEDICATED TO DETTED PERFORIDODCE
COLLAPSIBLE 3-WHEEL DOLLY
For motion picture and TV cameras. Sturdy cast aluminum. For standard or baby tri¬ pods. Additional baby tripod point holders to control spread of tripod legs. Adjust¬ able spring seat. Ex¬ tra wide rubber wheels. Bronze tie down clamps and other features.
For studio or location. Folds into one compact unit. Can be used with professional or semi-professional tripods.
HYDROLLY’
TV OR
CAMERA DOLLY
The advanced dolly for instant moveability — streamlined, light¬ weight, exceptionally sturdy. Nothing to get out of order. Many new advantages for easy operation. Hydraulic lift type for fast up¬ ward and downward motion of TV and mo¬ tion picture cameras.
.csfd
m
SYNCHROMASTER
SYNCHRONIZER
Our Exclusive Distributor
jVeutTUuZe
Any combination of 16mm and/or 35mm sprockets assembled to specification. Cast aluminum. Foot linear type, adjustable frame dial. Fast finger rol¬ ler release. Contact rollers adjusted indi¬ vidually for positive film contact. Sprocket shaft slip lock, foot¬ age counter, etc.
^<3
m
W
m
RERTRIiS
SALES - HtPAIftS • SEKVICE
LENS COATING T STOP CALIBRATION DESIGNING and MANUEACTUPING
lens mounts & camera equipt. for 16mm, 35mm, TV cameras.
BAUSCH & LOMB “BALTAP”
LENSES and others
for motion picture, TV camer¬ as. 15mm to 40" focal length.
COMPLETE LINE of 16mm, 35mm cameras, dollies, synchronizers, animation equipment, cutting room and time lapse equipment.
BELL & HOWELL: Standard, Eye- mos, Filmos. MITCHELL: Standard, Hi-speed, BNC, NC, 16mm.
Swivel seat. Adjustable leveling head. Seat for assistant. In-line wheels for track use. Steering wheel, rigid floor locks. Hand pump or combination hand and motor pump. Easily transported in a station wagon. Fits through a 28" door.
L\C
!W>
Kr.:
Groverlite
SENIOR & JUNIOR KITS
‘A STUDIO IN A SUITCASE"
ColorTran re¬ places heavy and expens¬ ive equip¬ ment.. . gives you illumina- t i o n up to 5000w. from an ordinary 20 amp. house current. Equipped with barndoors, diffuser slots for silks, snoots and other accessories. Ideal for studio or location shots.
PORTABLE MICROPHONE BOOM
For Studio or on Location. Light¬ weight — collapsible — for TV and motion picture production. Sturdy construction. Boom telescopes 7 to 17 ft. Rear handle for directional mike control. A remote control per¬ mits 360° rotation of the microphone.
Operator can push the boom and oper¬ ate microphone swivel simultaneously. Extension rods make it simple to operate microphone rotation from floor. Microphone cable hangs outside of boom, preventing cable from tangling with the rotation mechanism. Ball bearing casters, rigid foot locks, pneumatic drop check for lowering the boom, etc.
VARIABLE- SPEED MOTOR with TACHOMETER
for Cine Special or Maurer Cameras
115 V. Universal Motor — AC-DC Separate Base for Cine Special. Variable Speed 8-64 frames. Adapter for Maurer Camera.
INTERCHANGEABLE MOTORS: 12 volt DC Variable Speed 8-64 frames.
115 Volt AC 60 Cycles, Synchron¬ ous Motor, Single Phase.
ANIMATION MOTORS: Cine Spe¬ cial, Maurer, Mitchell, B & H Motors, for Bolex and Filmo Cameras.
NATIONAL CINE EQUIPMENT, Inc.
JOHN CLEMENS
ERWIN HARWOOD
209 W.48th ST., NEW YORK 36, N.Y.-CIrcle 6-0348
Booklets Catalogs Brochures
available from equipment manufacturers
Production Equipment SPECIALS
For The New Year!
CAMERAS
MITCHELL 35mm camera, 2-1000' mags, motor, 40mm, 50mm, 75mm Astro f2.3 lenses, sunshade, viewfinder, tripod,
cases, first class condition . $4,900.00
EYEMO 71 K Cameras, from $295.00 and up.
ARRIFLEX, 2-200' mags, three lenses,
sunshade, motor, excellent . $595.00
CINEFLEX, 2-200' mags, three lenses,
motor, case, fine condition . $650.00
DEVRY newsreel camera, two lenses,
governor speed control . $150.00
AURICON Pro camera, auto-parallax
finder, brand new amplifier with sound accessories, camera like new. ...$1 ,250.00 WESTERN ELECTRIC 16mm camera, three lens turret, built-in 6 volt motor 200' capacity, includes galvo for single sys¬ tem sound, with case, special. ...$595. 00 ARRIFLEX 16mm cameras in stock. ARRIFLEX 35mm blimp and cameras in stock.
EDITING EQUIPMENT
MOVIOLA 35mm Preview, composite and separate sound, completely reconditioned, first class working condition. ...$1 ,695.00 MOVIOLA 1 6mm picture head, used
. $365.00
MOVIOLA 35mm picture head, new, with
footage counter installed . $465.00
SYNCHRO-READER attaches directly to your Moviola synchronizer for reading
magnetic film, with speaker . $99.50
MOVIOLA 35mm sound reader... .$79.50 ACE 35mm rotary viewer w/counter and
image erector, like new . $199.50
FILM EDITORS STOP WATCH . $13.95
MICRO 2/35mm synchronizer . $89.50
BIG SAVINGS ON COLORTRAN KITS!
Senior Kits, new, previous model $185.00
Senior Kits, used, perfect . 165.00
Junior Kits, new, previous model 145.00
Junior Kits, used, perfect . 125.00
Spot kits, new, previous model.. 195.00
Spot kits, used, perfect . 175.00
Movie model converter, previous model, with Kelvin and amp meters, takes 16-
20 bulbs, excellent . $125.00
FOR NEWSREELS, portable battery oper¬ ated light with charger, new lightweight
unit . $195.00
FLUORESCENT lighting units, takes six 20 watt bulbs, ideal fill light, new, original cost $150.00, specially offered at . $21.50
MISCELLANEOUS
HALLEN 22B magnetic recorder for 17.5mm film, two channel mixer, play¬ back speaker, counter, erase, sync speed
. - . $995.00
MAURER model D 16mm optical recorder, amplifier, power supply, sync motor, two 400' mags, cases, excellent.. ..$2, 495. 00 ARRIFLEX sync motor and base. .$325. 00 MAURER blimp, follow focus, lightweight metal construction, soundproof.. ..$495. 00 MOTOR, variable speed, for Cine-Special,
with case, like new . $295.00
ARRIFLEX power unit converts 110 volts AC to 12 volts DC, new . $110.00
THE CAMERA MART, INC.
1 845 Broadway, near 60th Street New York 23, N Y. Circle 6-0930 Cable Address Cjmcramart
Stage Lighting
An informative 24-page booklet, “A Handbook on Modern Stage Lighting,” is available from Metropolitan Electric Mfg. Co., 2250 Steinway St., Long Island City 5, N. Y. It describes in rather complete detail manually-oper¬ ated and remote-control stageboards. Although the descriptions apply to stage use, the company’s equipment has similar use in motion picture and television studios.
★
Tropical Photography
An extensively revised edition of its booklet, “Notes on Tropical Pho¬ tography” has been published by East¬ man Kodak Co., Rochester 4, N. Y. Punched to fit the Kodak Photographic Notebook, it is available from the com¬ pany’s Sales & Service Division.
★
Cine Camera Lenses
Available from Wollensak Optical Co., Rochester 21, N. Y., is a 28-page booklet describing and giving the technical specifications of the Wollen¬ sak line of Masterpiece Cine Raptar Lenses for 8mm and 16mm cameras. It will prove especially valuable as a lens data source for the professional 16mm cameraman.
★
Coated Lens Care
“The Care and Nature of Coated Lenses” is title of educational 16-page booklet offered by Bausch & Lomb Optical Co., Rochester 2, New York. The booklet illustrates typical lens damage and explains how to avoid same. Valuable information for pro and amateur alike.
★
Lab Equipment Data
Photovolt Corporation, 95 Madison Ave., New York 16, N. Y., now has available comprehensive descriptive brochures on its line of equipment, including Transmission and Reflection Densitometers, Sound Track Densi¬ tometer, Electronic Printing Timer, and the Model 200-A Exposure Pho¬ tometer.
★
Title Letters
An informative brochure and sam¬ ples of Graforel ready-gummed cork title letters may be had by writing Grace Letter Company, Inc., 77 Fifth Ave., New York 3, N. Y.
Cine Lens Data
“Elgeet Lenses For More Exciting Movies,” is title of comprehensive, illustrated brochure offered by Elgeet Optical Co., Inc., 838 Smith St., Rochester, N. Y. Illustrated and de¬ scribed and diagrammed are the com¬ pany’s line of lenses for 8mm and 16mm cameras, including standard wide-angle and telephoto.
★
Animation Equipment
Readers interested in professional equipment for the production of ani¬ mated films will find interest in the six-page illustrated brochure now avail¬ able from J. G. Saltzman, Inc., New York 17, N. Y. Also illustrated and described is an optical printer for special effects work, which offers a wide range of tricks and effects.
★
Zoom Lens Brochure
The popular Zoomar 16mm varifocal lens is described in a colorful illus¬ trated brochure offered by Zoomar, Inc., Glen Cove, Long Island, New York. Chapters deal with such matters as Depth of Field, Adjusting The Zoomar to Your Camera, and a Gen¬ eral Description of the lens.
★
Acme Equipment Catalog
The well-known line of Acme special motion picture equipment is illustrated, described and priced in a new 8I/2" x ll1/^" catalog now available from the Producer’s Sales Corp., 2704 West Olive St., Burbank, Calif. Included are comprehensive descriptions of the Acme Process Camera, Acme Stop Motion Motor, Variable Speed Sync Motor, Animated Stand components, Process Projector Head, Printer Lamp House, Matte Shot Projector, and TV Recording Camera.
★
THE LITERATURE described above contains a wealth of valuable data for the cinematographer and others in the film industry. Unless other¬ wise indicated, copies are free. Re¬ quests should be addressed direct¬ ly to the company named — not to American Cinematographer.
— EDITOR.
22
American Cinematographer
January, 1955
* Scene from "The Egyptian," 20th Century-Fox CinemaScope Epic.
*To film "The Egyptian,” 20th Century-Fox chose the new B&L 40mm Baltar CinemaScope Lenses — cine and anamorphic lens elements in a unified mount operated by a single control.
Thrilling realism . . . vivid detail . . . brilliant images in 2D, 3D or CinemaScope — that’s what Bausch & Lomb Baltar Lenses mean to the professional cinematographer. For your finest work in movies and TV, specify B&L Baltar Lenses.
ORDER from your professional camera manufacturer or WRITE to Bausch & Lomb Optical Co.,
30037 Martin St., Rochester 2, N. Y.
The Mitchell-built VistaVision camera.
Todd-AO wide-screen camera.
Disney-built underwater camera blimp.
Technical Progress In 1954
Refinements and new departures in photographic technique and equip¬ ment highlight the industry's progress during the year just passed.
By ARTHUR E. GAVIN
Much of the technical progress achieved by Hollywood’s motion picture industry during 1954 is directly attributable to the frightening jolt it had received the previous year when the rather sudden advent of 3-D, Cinerama and CinemaScope almost brought pro¬ duction to a standstill. What was taking place, of course, is what has occurred at intervals before in the industry — a re¬ volution and the dawning of a new era of technical progress.
This time it was the photographic phase of film production that was being affected. Stereo, Cinerama, and Cinema- Scope — all these “new” systems began with radical changes in the procedure of photographing a picture. By January of this year, 3-D was clearly on the way out as a popular medium of theatrical film presentation. Cinerama continued to gather popularity, and new Cinerama productions were already in the making. Fast footwork on the part of 20th Century-Fox executives had sold Cinema- Scope to the majority of the nation’s ex¬ hibitors and they were already at work to effect a similar coup in Europe. By January 1st, 1954, CinemaScope had be¬ come a solidly established system of film production and exhibition.
The original anamorphic lenses which 20th Century-Fox had imported in order to shoot its first CinemaScope produc¬ tion, “The Robe,” had been analyzed by Bausch & Lomb and greatly improved. Very soon B&L was supplying new and better CinemaScope lenses to Fox, which enabled the studio to expand its slate of CinemaScope productions. In all this endeavor, Sol Halprin, A.S.C., Fox Studio camera department head; Grover Laube, camera engineer; and Earl Spon- able, the studio’s technical director, made important contributions.
By June of last year, Bausch & Lomb had so improved its design of ana¬ morphic lenses, that it now was supply¬ ing Fox and other studios with Cinema¬ Scope lenses in various focal lengths, ranging from a 12-element 40mm up to 152mm. These lenses possessed im¬ portant new attributes, not found in the first CinemaScope lenses, including im¬ proved resolving power, greatly reduced distortion, enhanced definition and im¬ proved color correction.
Although, by early 1954, most of the other majors were swinging over to CinemaScope production, one studio — Paramount — 'believed it had a better system. This studio had for several
months experimented with still another new method of motion picture photo¬ graphy in which the film travelled hori¬ zontally, instead of vertically, and ex¬ posed a frame 8 sprocket-holes in width, equivalent to two frames of standard 35mm. (See Amer. Cinematographer for December, 1953, page 588.)
Paramount engineers, headed by Loren Ryder, were convinced that an
New, improved CinemaScope lens built by Bausch & Lomb Optical Company.
24
American Cinematographer
January, 1955
aspect ratio of 1.85 to 1 was not only more desirable from an esthetic stand¬ point but was more adaptable to the majority of the nation’s theatres. (Many had been considered too narrow to ac¬ commodate the very wide screen re¬ quired for the 2.55 to 1 aspect ratio of CinemaScope.)
Experiments began with a camera that had been built back in the 20’s by William P. Stein for the old William Fox “Natural Color” system. This was a two-color system that required the negative to move past the gate two frames at a time. Paramount engineers turned the camera on its side, changed the aperture to take a lens that would cover an area two-frames in width, and after a series of tests, turned the camera over to Loyal Griggs, A.S.C., to use in filming Paramount’s “White Christmas.”
This new photographing system, which was originally dubbed the “Lazy-
Anamorphic lens adapted to Arriflex 35mm cam¬
era for photography in CinemaScope format.
8” by Paramount, had definite ad¬ vantages. By starting with the extra large negative and reducing the image by printing on standard 35mm color print stock, grain size was reduced and greater clarity was achieved.
By April, 1954, Paramount, follow¬ ing the successful photography of “White Christmas” with the double¬ frame camera, was now definitely com¬ mitted to the “Lazy-8” system, which now it had tradenamed “VistaVision. Leading manufacturers of professional motion picture cameras were invited to survey the system and to submit designs for a new VistaVision camera that would incorporate the horizontal film move¬ ment.
Mitchell Camera Corp., of Glendale, Calif., which had aided the studio in working out a satisfactory film move¬ ment for the modified Stein cameras, submitted a design for a VistaVision
The Bell & Howell “FilmoRama” anamorphic lens mounted on a 16mm Filmo.
camera based on ideas which had been submitted by Paramount studio engi¬ neers. Within a very few weeks, Mitchell was at work on a prototype of the new camera and by October 1st had de¬ livered the first of six new VistaVision cameras to Jack Bishop, Paramount camera department head. (See Amer. Cinematographer for November, 1954, page 552. — ED.)
After a period of exhaustive testing by the studio camera department, three of the new cameras were shipped to the Cecil B. DeMille Company then in Egypt, where they were used by Loyal Griggs, A.S.C. ; Wallace Kelley, A.S.C.; John P. Fulton, A.S.C. ; and John F. Warren in photographing DeMille’s latest epic, “The Ten Commandments”
With its VistaVision photographic problems now pretty well licked. Para¬ mount turned to the exhibition phase of ( Continued on Page 42)
Len Roos, ASC, demonstrates the new Kinevox' Kay Lab electronic viewfinder.
American Cinematocrapher
January, 1955
25
BENJAMIN KLINE, A.S.C., (right) directs the photography of Frank Wisbar’s “Fireside Theatre” series. One of the real veterans of TV film production, Kline started shooting TV films for Bing Crosby Enterprises in 1951.
PHIL TANNURA, A.S.C., (in checkered shirt) directs the photography of the “Burns and Allen Show” and “The Jack Benny Show” for McCadden Productions. Tannura is credited with several important contributions in the science of lighting sets for TV film production. He was formerly with Columbia Studio.
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WALTER STRENGE, A.S.C., (right) has photographed over 400 TV films for Roland Reed Productions — forty last year alone. He’s shown here with two stars of the “Margie” show — Charles Farrell (left) and Clarence Kolb.
KARL FREUND, A.S.C., one of Hollywood’s “Oscar” winners, directs the photography of the “I Love Lucy” and “December Bride” shows for Desilu Productions. Freund was one of first to use the
26
American Cinematographer
January, 1955
The Big Switch Is To TV!
1954 saw the greatest number of Hollywood’s ace cameramen directing the photography of television films.
By FREDERICK FOSTER
Last year, more and more producers of TV films signed veteran Holly¬ wood cinematographers to direct tfie photography of their shows. Today, al¬ most all the men shooting the top shows on film are members of the American Society of Cinematographers.
One of the most notable things about television programs originating on film last year was the marked improvement in transmission quality — the clarity with which these shows appeared on home receivers. For this important advance¬ ment, a great share of the credit is due the men who directed the photography and who worked closely with network engineers and film laboratory techni¬ cians toward the goal of improvement.
When producers in Hollywood first started making films for video, there was a cautious approach to the lighting and the photography in view of the very poor results that the networks were achieving in the telecasting of old fea¬ ture films. Perhaps it was because cer¬
tain cameramen knew there was quality in the original prints that they set about to find the reason for the great degrada¬ tion that accompanied the reproduction of these films on TV — a study that was to lead them to the successful formula for photographing motion pictures espe¬ cially for television transmission.
The “pioneers” in this field — men like Benjamin Kline, Walter Strenge, Karl Freund, Phil Tannura and others — - worked closely with the engineers of the various film laboratories and ultimately came up with the right answers to the problems of lighting, composition and camera technique for TV films. Today, much of the science which these men developed has become standard practice in the shooting of television films.
The quest for gretaer improvement continues, however, and we find the serious men who are directing the photography of TV films continuing their work on improved lighting formu¬ las and camera treatment in close co¬
operation with the laboratories that process their negatives.
It is a distinct credit to these vet¬ erans of cinematography that they met the challenge which the limitations of television transmission at firt imposed, overhauled their feature film photo¬ graphing technique to fit the new med¬ ium, and thereby advanced the TV film production industry several years. To¬ day, this achievement enables a sponsor to put a show on TV cheaper and with better results than he could possibly do it live. And the growing number of suc¬ cessful “live” shows that are swinging to film attest to this.
One of the interesting things about the recent great expansion of the TV film industry in Hollywood is the way big name cameramen are forsaking ma¬ jor studio assignments in favor of shoot¬ ing television films. The reason is ob¬ vious, of course. In TV film production the director of photography and his ( Continued, on Page 38)
“continuous filming” or “live show” technique of photographing films for TV, using three cameras and more or less fixed set lighting. (Photo courtesy Desilou Productions.)
EDWARD COLMAN, A.S.C., (left), who directs the photography of the “Dragnet” show. Colman’s unique camera treatments and “corner-cutting” technique is credited with much of the success of this popular TV series.
American Cinematographer
January, 1955
27
Adapting The Zoomar Lens To The Auricon-Pro
By JOHN HOKE
Because of the particular design of the Auricon-Pro 16mm single-system camera, which has the lens rather centrally located instead of to the left, as with most motion picture cameras, the Zoomar-16 lens cannot be used on this camera efficiently unless some provision is made for the operator to fully utilize the Zoomar finder. This finder, as most readers know, is coupled to the zoom lens and is focused automatically with it.
Where the Zoomar-16 is mounted on the Auricon-Pro, the case of the camera interferes with use of the finder — the body of the camera intersecting the finder eyepiece, as may be seen in Fig. A. The writer overcame this obstacle by installing an arrangement of prisms, which provide an offset viewing element for the finder, as may be seen in the photos above. Prism No. 1 (Fig. 2) receives the finder image and projects it to the left, where it is observed through prism No. 2 by the operator.
This modification employed two war surplus prisms held in proper alignment with the Zoomar-16 by a framework con¬ structed of acrylic plastic as diagrammed in the figures below. The prisms were obtained at moderate cost from the
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FIG. 1 — Above diagram not only shows why the prism finder gadget is necessary to use of the Zoomar-16 lens on the Auricon- Pro, but also shows how it works to advantage of camera operator.
FIG. A — WITH THE offset prism viewer in place, the camera operator can more conveniently view subject being photographed by the Zoomar lens. Without the offset viewer, use of regular Zoomar finder is hampered because it is too close to camera.
Edmund Scientific Corp., Barrington, New Jersey. (Cata¬ logue No. 3108. Specify right-angle prisms, 38mm x 38mm x 54mm. — ED.).
For other Auricon-Pro owners who may wish to use the Zoomar lens with their camera, the following instructions for making both the prism assembly, and the supporting bracket for the Zoomar itself (Fig. 4) may be of interest.
The prism bracket (Fig. 2) is constructed of clear Fucite i/g-in. thick. This is obtainable in most hobby shops, as is the cement necessary for joining the pieces together. The various pieces — base plate, brace, prism brackets, etc. — may be cut from sheet Fucite with the aid of a small hand coping saw. Any rough edges may be smoothed with a file and sand¬ paper.
The size of the prisms which the reader uses will more or less determine the size of the various segments of the bracket assembly; but if prisms of the size already mentioned are obtained, then the baseplate dimensions should be 4%-in. by 21/2-in. The smaller rectangle — the brace — (Fig 2) should be ll/o-in. by l/^-in. The third and fourth segments — the angular prism bracket pieces shown in Figs. 2 and 3 (the top
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FIG. 2 — Method of assembling the various pieces plus prisms which go together to form the complete offset viewfinder auxiliary. Top prism bracket has been omitted here to show position of prisms.
28
American Cinematographer
January, 1955
FIG. B — CLOSEUP of the finished prism viewer. (Here black paint has not yet been applied to top and bottom prism brackets.) Prism arrangement affords convenient viewing of image by camera operator; shows sharp, clear picture of scene as picked up by Zoomar lens.
FIG. C — As the prism device is mounted entirely on door of the Aurieon- Pro camera, instead of on Zoomar finder itself, opening the camera door to change film does not require removal of the Zoomar lens. When door is closed, prism viewer is accuurately aligned with Zoomar finder.
bracket is omitted in the diagram in order to show position of the prisms)— may be cut according to the prism dimen¬ sions shown in Fig. 3. By placing two pieces of Lucite to¬ gether, the two brackets may be cut and shaped in one opera¬ tion.
For this assembly, the larger rectangle of Lucite becomes the base plate which holds the prism framework to the body of the camera. The two angular brackets sandwich the two prisms, holding them in proper alignment on the base plate, behind the viewfinder of the Zoomar lens. The smaller rec¬ tangular piece serves as a brace to support the brackets and give added rigidity to the whole.
The first step in the construction of the prism-holder and base plate is to remove the regular viewfinder from the Auri- con-Pro camera. Then position the Lucite base plate in the same position that was occupied by the viewfinder. With a sharp instrument mark on the Lucite location of the rear
FIG. 3 — Detail of the prism bracket, showing position of the two prisms when cemented in place. Note that an air space of 1/16- inch is provided between the prisms — a must.
screw hole, and the hole for the top screw in the door of the camera. Next, drill the Lucite panel as marked, using a 3/16- in. drill, and bolt it to the camera door, using the regular camera screws.
To locate the two prisms on the base plate in proper posi¬ tion behind the Zoomar finder, hold one of the prism brackets (Fig. 3) in position on the base plate, with side “A’ flat against the base plate, as shown in Fig. 2. Then, while hold¬ ing this piece in place, position one of the prisms on the bracket in such a way that one of the two square faces is located directly behind the Zoomar finder. Now mark posi¬ tion of the prisms on the bracket, and the position of the prism bracket on the base plate.
When these positions have been determined and clearly marked, the next step is to cement the prism bracket to the base plate. With a small artist’s brush, apply the plastic cement to the joint formed by the base plate and the prism bracket. Hold bracket firmly in position long enough to permit a firm bond to develop between the two pieces of Lucite.
The two prisms are next cemented in place. For this use an acetate bond such as Duco plastic cement. Apply the cement to the surface of the prism bracket, then set prism #1
(Continued on Page 47)
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FIG. 4 — Detail of support for the Zoomar lens which fits on the two matte box rods extending from front of camera. This is companion piece to prism viewer, is necessary to hold Zoomar rigid.
American Cinematographer
January, 1955
29
Budget Training Film Production
The company-owned film production unit can make important contributions toward efficient and profitable operations.
By ARTHUR H. SMITH
preceded actual shooting. H. J. McGinnis, Toll Test Center supervisor, who had made the initial request for the film, became technical advisor. He also drafted the shooting script and played himself in the picture. And since McGinnis was stationed at the company’s plant in Santa Rosa, Calif., it was decided to shoot the picture there.
During the first day and a half of production, we were shooting interiors at the Toll Test Center. Readers who are familiar with telephone company equipment centers will ap¬ preciate the problems of lighting and selecting camera setups that we encountered here. And since this production was in 16mm Kodachrome, considerable lighting units were required.
One of our more vexing problems was locating the proper power circuits for our lights. Most were protected by 15- ampere circuit breakers. We found that we could draw about 18 amperes for about a minute and a half on such circuits before the breaker would operate.
Our lighting equipment consisted of a 2000-watt Junior spot, four double No. 4 photoflood broads, two 750-watt Baby Keglites, and two single No. 4 photofloods. Only in a few shots were all these pieces of equipment used at one time. In changing from full to medium shots and then to closeups, we were able to eliminate unnecessary lights. However, in making those shots where all light units were required, it was a virtual panic. We'd plug ’em in, turn ’em on, and count the seconds. If they held for 30 seconds, we considered the con¬ nection okay, since few takes we made required sustained shooting for that length of time.
( Continued on Page 40)
When the plant training group of the Pacific Telephone Northern California & Nevada Plant Department set up its visual aids section seven years ago, a major part of the plan¬ ning included the establishment of a company unit for the production of training films. Until then, the main source of such films had been from outside producers or the A. T. & T. The great need was for company-produced films that would deal more specifically with local problems.
Recently, the 27th film made by the company’s film pro¬ duction unit was completed. Because its method of production followed pretty closely the pattern set by predecessor films, and because it demonstrates what an important contribution a film production unit such as this can make toward building efficiency for a large company employing great numbers of people, it may be interesting to set down here how the unit functions and how it meets its many problems despite limited budgets and personnel.
The film, titled " Total Failure Healdsburg North,” was designed to serve as a training aid in a special program deal¬ ing with the emergency restoration of toll cable facilities. In this case, there was no other film available, as far as we knew, dealing with this problem.
As with all successful film productions, careful preplanning
TYPICAL of the close quarters encountered in the shooting of Telephone company training film. Location is interior of Toll Test Center. Ken Barron at camera; author Smith hold¬ ing tape.
PREPARING to shoot closeups of operators handling calls in Telephone company Toll Operating Room. Cameraman Barron focuses his 63mm lens while author Arthur H. Smith studies the operator's actions for best camera angle for subsequent shots.
30
American Cinematocrapher
January, 1955
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TRI-X IN FEATURE FILM PRODUCTION
Both pictorial and economic advantages obtained through use of newest “speed” film in shooting “Black Tuesday.”
By STANLEY CORTEZ, ASC
Almost since the very beginning of feature film produc¬ tion, directors of photography have demanded more and more speed in negative films. As a result, panchromatic him replaced the orthochromatic him of early days, and subse¬ quently new pan emulsions were introduced which were steadily improved. Each new advance brought a new label Super-Pan. Super XX Pan, Plus X, and finally the new “wonder" him, Eastman Kodak’s Tri-X.
Eastman, of course, disdains any reference to this new stock as “wonder” him, yet when we consider its remarkable speed — ASA 200/250 — it can truly be considered so.
Until recently, Tri-X had been chiefly used in specihc photographic assignments. Then, a little later, some television him producers employed it as a means of attaining further production economy and increased pictorial quality in the transmitted image.
Recently, Tri-X was used for the hrst time in Hollywood in the production of 98 per cent of a feature picture. “Black Tuesday,” which I photographed for Leonard Goldstein Pro¬ ductions, employed Tri-X for all scenes save a very few ex¬ teriors. After seeing the results on the screen, I believe that
“AFTER seeing screen results of Tri-X used in shooting ‘Black Tuesday,’ says Stanley Cortez, ASC, “I believe it has great pos¬ sibilities for the production of feature films.”
Tri-X has great potentialities in the production of features in black-and-white.
“Black Tuesday” is a tense melodrama about a killer con¬ demned to die in the chair. The day of the execution, accom¬ plices outside the prison arrange to liberate him just moments before the execution. The killer’s next move is to locate the loot which was taken in a bank robbery prior to his arrest, and which was hidden before he was caught.
The action throughout the picture is tense and staged in drab surroundings, reminiscent of the films of the “gangster era” a decade ago.
( Continued on Page 44)
A GREAT many of the scenes for “Black Tuesday” were shot in rugged interiors, either on sound stage or location. Here camera is being focused on Edward G. Robinson and Jean Parker.
A TYPICAL INTERIOR scene in “Black Tuesday,” where Cortez’s use of Tri-X film enabled him to gain great depth of field and at same time work with a minimum of light units. In scene are (I. to r.) Victor Perrin, Sylvia Findley, Hal Barlor and Jack Kelly (on bed).
American Cinematographer
January, 1955
33
Movies Without A Camera
Norman McLaren draws his movies on film by hand or scratches abstract designs on black leader with a pin.
By HAROLD BENSON
ONE MIGHT think that no story, no script, no conferences, no camera, no shooting and no processing could only mean no film. Yet Norman McLaren, “the only name now connected with motion pictures in Canada that means any¬ thing outside of the country,” to quote a Toronto critic, owes his reputation to movies made with just these limitations.
Of course, he does use a camera for occasional films, though never quite like anyone else. His pixillated production, Neighbours, described in the November issue, is one example. But usually McLaren prefers to dispense with the processes which he feels tend to restrict a film maker’s efforts at getting really personal work onto the screen.
His technique was born twenty years ago when, as an eighteen-year-old student at Glasgow School of Art, he soaked the emulsion off a worn-out 35mm print and hand-painted a 300 ft. abstract film with color dyes. Later Color Cocktail, a 200 ft. 16mm production made in a similar way, won an award at the Scottish Amateur Film Festival, and so excited John Grierson, the British documentary pioneer, that he took McLaren to London and set him to work at the G.P.O. Unit,
FIG. 1 — Norman McLaren examining sequence for “Begone Dull Care, ' an abstract film made by applying the design by hand directly to the film. No photographic process was involved.
where the most advanced experimental work in Europe was being done.
McLaren responded well to the congenial environment. Among the shorts he produced in this period was Love on the Wing, which made further use of the hand-drawn cameraless technique.
In 1939 McLaren emigrated to America with only a hundred dollars in his pocket. Luckily he was introduced by an NBC television engineer to a few wealthy folk who paid him to decorate their homes with murals. Meanwhile he made several more abstract films, including Allegro, Scherzo, Dots, Loope, Stars and Stripes and Boogie Doodle, and sold a few to the Guggenheim Museum of Non-Objective Art.
During a brief spell as script and lyric writer with Caravel Films, Inc., New York, McLaren was again contacted by Grierson, who put him in charge of animation at the National 1 ilm Board of Canada. The five wartime propaganda films which McLaren produced for the N.F.B. — Mail Early, V for Victory, Five for Four, Hen Hop and Dollar Dance — were all made without a camera. So were three of McLaren’s best- known post-war productions, Hoppity Pop, Fiddle De Dee and Begone Dull Care.
There are two principal techniques employed by McLaren in making his cameraless films. The first is used for the pro¬ ductions which he says are simply designed “to give the in¬ tellect a rest, and have evolved from his earliest experiments with color dyes. This kind of film presents a non-stop series of vigorously changing patterns accompanying equally vigorous music. (Fig. 1.)
In Fiddle-De-Dee, the track was of “Listen to the Mocking Biid played by an old-time fiddler. Begone Dull Care was made to music played by the Oscar Peterson jazz trio. Dazzling colors dart about the screen at a breathtaking pace, yet still convey innumerable subtle hints and asides about the music they illustrate. No one is more thrifty with footage than McLaren. At the end of Begone Dull Care his own name is scratched on a single frame followed by ten or twelve frames of black leader. Persistence of vision does the trick.
The tremendous pace of these abstract films is hardly sur¬ prising; McLaren explains that the technique he uses largely ignores individual frame divisions. In other words, the film is hand-painted two or three feet at a time. There is no attempt at creating an image by image effect.
In making Fiddle-De-Dee, McLaren used celluloid dyes, inks and transparent paints, and frequently painted on both sides of the clear 35mm film. He achieved his textures by brush stroke effects, scratching off the paint, spraying, stippling and mixing different types of dyes on the film to provoke a kind of “oil-and-water” reaction.
The sound track had been measured before painting began, of course, and the lengths in which the film was painted were metrically organized to fit the music. The painted film acted as a master positive for all subsequent color release prints.
In Begone Dull Care, McLaren and his assistant, Evelyn Lambart, went one stage further and made a considerable
34 • American Cinematographer • January, 1955
FIG. 2 — McLaren at work with apparatus he invented for his single-frame FIG. 3 — Tracing image with ink. Note frames which
“drawing-on-film” technique. Image drawn on last frame is reflected in have preceded this one. Film is automatically advanced
turn onto next frame of film, enabling McLaren to trace it with ink. a frame at a time as each drawing is completed.
FIG. 4 — McLaren scratches some “doodles” on a strip of film which has been coated with opaque paint for one of his abstract, “cameraless” motion picture productions.
part of the film on a running moviola. For some sequences a sponge was used to apply a quick-drying paint having a cel¬ lulose base (“Craftint”) to the film as it ran through the machine. By moving the sponge from side to side stripes were made to sway across the film. Another sequence in¬ volved scratching lines on running black leader with a pin. (Fig. 4.)
A tooth comb, ball bearings, lace, hair nets and gear wheels also were used in applying the paint. An ordinary fly spray gun shot the stuff onto the film through everything from dish¬ cloths to chicken wire to give different textures. (Fig. 5.) Some of the film was sandpapered before the paint was ap¬ plied to give a smoky result. Doodling with a pointed knife on a layer of paint was tried, and found successful. Both
FIG. 5 — Rollers are used where patterns or designs are to be repeated. Textured design which preceded the rolled-on pattern was created by spraying color through cloth netting.
acetate and nitrate stock were used, and every surface reacted differently to the paints.
But Fiddle-De-Dee and Begone Dull Care ' were simple to produce compared with such films as Hen Hop , Dollar Dance and Boogie Doodle, which used McLaren s second principal animation technique. In these cases individual frames are respected, and the subject, be it chicken, dollar or doodle, is actually drawn direct onto each frame in turn. This means over 7,000 drawings for a five-minute film.
Obviously characters have to be reduced to a minimum for work of such immensity. Fortunately McLaren has a genius for expressing emotion through the simple movements of matchstick figures. This is the system he uses in producing a film of this nature.
( Continued on Page 50)
American Cinematographer
January, 1955
35
DON’T FORGET to have people active in your scenic travelogue shots! Here a cine photographer records the architectural beauties of San Xavier Mission in Tucson, Arizona, while members of his family supply human interest to the scene.
The Author, Charles W. Herbert, is a veteran cinematogra¬ pher who has photographed newsreels and documentary films throughout the United States, and in just about every important country on the globe. With this background of ex¬ perience, he is in position to advise the aspiring amateur movie maker and the semi-professional on interesting and unusual movie making subjects and their locales.
The following article is the second in a series which Mr. Herbert is writing especially for readers of American Cine¬ matographer. Each article will dwell on the filming opportun¬ ities in specific locales or regions easily accessible, and while the reader may not find it immediately opportune to visit the filmi ng locations described by Mr. Herbert in each of his articles, there is the possibility, of course, that he may pass that way at some future date. In such event, the articles, if saved, will serve as valuable reference and guide to the best professional filming procedure — may even provide the an¬ swer to the reader's annual question of “Where to go?” for his next vacation or movie making trip. — EDITOR.
Amateur movie makers generally fall into two classifica¬ tions: 1 ) those who never progress beyond the “snap¬ shooting" stage of making movies around the home of family and friends, and 2) those who, inspired by the creative possibilities of the cine camera, seek broader horizons to challenge their ability and ingenuity.
for the latter, the documentary or travelogue type of film affords, perhaps, wider scope for creative filming by those who have not yet reached the professional stage of movie
Travelogues Offer Filming Challenge!
Some worthwhile tips from a pro¬ fessional cameraman on shooting movies of professional character.
By CHARLES W. HERBERT, A.S.C.
making. Moreover, here is the most logical field in which to attain professional proficiency. The filmer can still include his family and friends in his pictures, but now the pictures take on more significance than films that simply showed them in meaningless action. The most logical beginning for a travelogue is to show a group of people — your family and friends, perhaps — starting for a certain destination, which is to be pictured in detail, in chronological order, and put to¬ gether with a beginning, a middle and an end.
Thus it is natural to start the picture with shots showing the start of the trip; with good light a number one requisite for good color filming, and with pleasant weather essential to keep your “cast" happy and contented, it’s a safe rule to "follow the sun in choosing the locale of your travelogue.
For the reader's guidance. I'll outline here a procedure to follow which is patterned after the routine I have used in scouting and photographing material for more than 100 travelogues made for theatrical exhibition:
First, do all the research you can beforehand on the locale you plan to visit and photograph. Gather and study brochures, maps, travel stories, National Geographic features, etc., which will acquaint you with the area that will be the subject of your filming.
After careful study of this material, make a detailed list of the places, people, and events typical of the locale and
( Continued on Page 4RJ
ACTION! There s plenty of it all the time on Arizona cattle ranches. Most ranchers welcome visiting photographers, and will often stage an activity especially for the camera.
36
American Cinematographer
January, 1955
You put brilliance into every frame when you use Ansco Hypan Film
I his famous Ansco black-and-white Him is made with an emulsion that gives Hne-grain images of inherently brilliant contrast.
I hat’s why every frame is crisper and has more sparkle. Ansco Hypan Film is fast, too, offering Exposure Indexes of 40 daylight, 32 tungsten.
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crew, work not more than 2 or 3 days each week; but the work is steady week after week and the pay is good. Where a cameraman does more than one show a week — as does Walter Strenge (“My Little Margie,” “Waterfront”), Karl Freund (“I Love Lucy,” “December Bride,” “Our Miss Brooks”), Phil Tan- nura (“Burns and Allen Show.* “Jack Benny Show,”), and others — he may work a full five or six day week; but the average time required to light, re¬ hearse and shoot a “series * show is 2 to 3 days.
As it was predicted only 24 months ago, Hollywood has become the tele¬ vision film production capital of the world. The number of TV shows being produced there on film is steadily in¬ creasing. As of December 24th, 1954, there were 53 TV film shows in produc¬ tion in 21 different studios. A year ago, the number of shows in production to¬ taled 33.
Now being produced in Hollywood are: “So This Is Hollywood.” “The Ray Bolger Show,” “The Lone Ranger. "I Married Joan,” “Dear Phoebe,” “I Love Lucy,” “Willy,” “December Bride.” “Lineup.” “Our Miss Brooks,” “Read¬ er's Digest.” “The Millionaire,” “You Bet Your Life,” “Gene Autry,” “Annie Oakley,” “The Star and The Story,” “Four Star Theatre,” “People Are Fun¬ ny,” “Confidential File.” “Life With Elizabeth,” “Florian Zabach Show.” “The Liberace Show,” “The Loretta Young Show.” “Topper,” “The Whist¬ ler,” “Make Room For Daddy,” “Burns and Allen Show,” “The Jack Benny Show.” “The Bob Cummings Show,” “Life With Father,” “Medic,” “Schlitz Playhouse of Stars,” “Where Were Y ou,” “Here Comes Donald,” “Treasury Men In Action.” “Man Behind The Badge,” “It’s A Great Life,” “Ylayor of the Town,” “Pepsi Cola Playhouse,” “Adventures of Kit Carson,” “The Ray Milland Show,” “My Little Margie,” “Stu Erwin Show.” “Amos *n Andy,” “Waterfront,” “The Life of Riley,”
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“Public Defender," “Passport To Dan¬ ger." “Hey, Mulligan,” “Captain Mid¬ night,” “Father Knows Best,” “Ford Theatre,” “Rin Tin Tin,” “Dragnet,” “The Korla Pandit Show,” “Adventures of Ozzie and Harriett,” “Superman,” “Lassie," “I Led Three Lives,” “Meet Corliss Archer,” and “Cisco Kid.” (Not all shows are shooting as this is written; only 53 ; as stated above.
Directing the photography of most of the films in the various TV series listed above and produced during 1954 were some forty A.S.C. cameramen. With few exceptions, they are veterans with many years experience in photographing fea¬ tures in the major studios. Some have won Academy Awards for photography. Their names, and the TV film series which they photographed entirely or in part during the past year are as follows:
Lucien Andriot, A.S.C. — -“Life of Riley.” “Where WYre You.” “Meet The O'Briens.” “It*s A Great Life.”
Joseph Biroc , A.S.C. — “The Lone Wolf,” “The Family Next Door,” “Trea¬ sury Men In Action,” “Dear Phoebe.”
William Bradford , A.S.C.- — -“Gene Autry.”
Norbert Brodine. A.S.C. — “Letters To Loretta.”
Dan Clark , ,4 .S.C.—“ Cisco Kid,” “I Led Three Lives.”
George E. Clemens. A.S.C. — “Schlitz Playhouse of Stars.”
Edward Colman, A.S.C. — “Dragnet.”
Floyd Crosby, A.S.C.- — “Royal Canad¬ ian Mounted Police,” “Author’s Play¬ house.”
Robert DeGrasse, A.S.C. — “Make Room For Daddy,” “Ray Bolger Show.”
George Diskant, A.S.C. — “Four Star Playhouse.”
E. B. Du Par, A.S.C.— “ Tim McCoy Show.”
Ellsworth Fredericks, A.S.C. — “The Dennis Day Show.”
Henry Freulich, A.S.C. — -“Captain Midnight.”
Karl Freund, A.S.C.- — “I Love Lucy,” “Our Miss Brooks,” “Willy,” “Decem¬ ber Bride.”
Frederick Gately, A.S.C. — ‘ ‘ Big Town,” “Mayor of the Town.”
Alfred L. Gilks, A.S.C.—' '‘Halls of Ivy.”
Jack Greenhalgh, A.S.C. — Religious him series for Family Films.
Russell Harlan, A.S.C. — “Playhouse of Stars.”
Sid Hickox, A.S.C.—' “Willy,” “De¬ cember Bride.”
Benjamin Kline, A.S.C. — “G. E. Thea¬ tre,” “Fireside Theatre.”
Jack MacKenize, A.S.C. — “Hank Mc-
38
American Cinematocrapher
January, 1955
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Cune Show,” “Public Defender,” “Pass¬ port To Danger.”
William Mellor, A.S.C. — “Adventures of Ozzie and Harriett.”
Ernest W. Miller, A.S.C. Rocky Jones, Space Ranger,” “Stu Erwin Show.”
Virgil Miller, A.S.C,— 1 You Bet Your Life.”
Hal Mohr, A.S.C.— ‘‘The Joan Davis Show,” “That’s My Boy,” “Bob Cum¬ mings Show,” “Life With Father.”
Nic/c Musuraca, A.S.C. — “The Lone Wolf,” “Lineup,” “Four Star Play¬ house.”
Kenneth Peach, A.S.C. — “Mr. & Mrs. North,” “Topper,” “Adventures of the Falcon,” “Here Comes Donald.
Robert Pittack, A.S.C. — “Cavalcade of America,” “Private Secretary,” “The Lone Ranger.”
Guy Roe, A.S.C. — “Rocky Jones, Space Ranger. ’
John L. Russell, Jr., A.S.C. — “Joe Palooka.”
William Sickner, A.S.C.— “The Whistler.”
Mack Stengler, A.S.C. — “Life With Elizabeth,” “The Liberace Show,” “The Florian Zabach Show.”
Alan Stensvold, A.S.C. — “Andy’s Gang.”
Harold Stine, A.S.C. — “Cavalcade of America,” “Corla Pandit Show,” £ Sup¬ erman.” (Continued on Next Page)
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January, 1955
39
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Walter Strenge, A.S.C. — “My Little Margie,” Rocky Jones, Space Ranger.” “Waterfront.”
Stuart Thompson, A.S.C. — “Topper,” “Lassie.”
Phillip T annum , A.S.C. — “The Burns and Allen Show,” “The Jack Benny Show.”
James Van Trees. A.S.C. — “For The Defense,” “I Married Joan,” “Hey, Mulligan.”
Gilbert W ar rent on. A.S.C. — “Chevron Theatre.”
Harold E. Wellman, A.S.C. — “Mr. bun.
Lester White, A.S.C. — “Adventures of Rin Tin Tin.”
Here is a summary of the filming technique which Hollywood directors of photography have established as more or less standard for the production of films for television. The most notable general departure from standard motion picture practice is that relating to sub¬ ject lighting contrast. The density range
of a print for television transmission should be lower than standard theatre film prints by 0.3. This means that in the photography of films for TV, subject lighting contrast should be employed which is considerably lower than that which is normally used for conventional black-and-white feature film photogra¬ phy-
Normal lighting contrast and exposure may be employed providing the proces¬ sing conditions of the negative or posi¬ tive, or both, is altered in order to ob¬ tain an overall reproduction gamma which is lower than normal.
A third procedure involves use of normal lighting contrast and exposure, processing the negative and prints in a normal manner, but printing the posi¬ tives lighter by 2 or 3 printer lights than would normally be used for feature film prints.!
! “The Use of Motion Picture Films In Television,” Eastman Kodak Company.
LOW BUDGET TRAINING FILM PRODUCTION
(Continued, from Page 30)
Perhaps our biggest lighting problem was encountered when shooting in the long, narrow room of the Test Center. Here the 2000-watt Junior spot was used to throw light on the rear wall at the back of the set. Then all available photo- Hoods were set up to light the area where ihe action was to take place. Baby Keg- lites were used to highlight certain areas of the equipment racks so there wouldn’t be a large black “cave at rear of the set.
In one instance, where it was physi¬ cally impossible to pour enough light into a scene, we shot it at 12 frames per sec ond and had the men appearing in it move about and perform their opera¬ tions very slowly. This gave us the equivalent of a one-stop increase in ex¬ posure.
The camera used was a Cine Special, for which we had a 200-ft. and a 100-ft. film magazine. By having both maga¬ zines loaded before shooting started each day, we were always prepared to shoot for at least half-a-day without having to reload the magazine again.
Our complement of lenses consisted of a 25mm, a 15mm wide-angle, and a 63mm telephonto. V e used the 25mm for most of the exteriors, the wide-angle for many interiors, and the 63mm for close-ups of detailed operations in the splicing of cables.
Although the Cine Special is equipped with a critical focusing device, we used this focuser only for checking composi tion. We always ran a tape on each shot, except extreme closeups, to insure ac¬ curate focus.
One shot in the script called for identifying the contents of a workmen's emergency kit. It was decided to make it in a dolly shot. The various parts and tools were arranged in a straight line on the floor. The camera was mounted on a baby tripod set up on a dolly. Also mounted on a support attached to the dolly was a Baby Keglite. As the dolly moved forward the light from the Baby Keg spotlighted each item as it was photographed.
In order to shoot this scene in sync with pre-recorded narration, the narra¬ tion was played back as the scene was shot ; the camera operator moved the dolly forward, stopping momentarily on each item as it was described by the narrator, then moved on to the next.
The camera dolly was employed a number of times throughout the produc¬ tion. In several instances we moved in from a medium shot to a closeup to em¬ phasize some salient point. And in the closing shot of the picture, the camera follows the supervisor as he moves down the room congratulating the men on a job well done. Still another time we found that we could not move the cam¬ era far enough back to take in the area desired, even with a wide-angle lens. So the camera was again mounted on the dolly and moved with the subject as he changed position from one desk to an¬ other.
Our baby tripod came in handy on more than one occasion when shooting in narrow quarters. We also mounted the camera on desks, boxes .or cabinets, and
40
American Cinematographer
January, 1955
one time we made a very effective dolly shot with the camera mounted on the step of a rolling ladder.
There is often little in the way of plot or story line in training films. But in this film, we had plot and time was the villain. .Our story line concerned an un¬ expected break in a telephone toll cable, which occured when a bulldozer on a construction job dug too deep in an un¬ charted area. A toll operator at the tele¬ phone office is the first to become aware of the trouble. The supervisor is called, and she notifies the Toll Test Center. Here trained testers set to work, quickly locate the break and very soon have it repaired.
For scenes of action at site of the cable break, we selected a gravel quarry. On either side of a cut in the earth, made to simulate the swath cut by the bull¬ dozer, we buried short lengths of cable, which had been prepared beforehand. One end of each piece of cable was cut up and “damaged,” while the opposite end was prepared for splicing. These lat¬ ter were carefully wrapped and then bur¬ ied in the earth, leaving the jagged or “damaged” ends protruding.
After we made the shots showing dis¬ covery of the break and the arrival of the emergency crew, the cable sections Avere dug up and buried again with the clean ends, ready for splicing, exposed. In this Avay. we encountered no delay in ( Continued on Next Page)
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January, 1955
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shooting, since it would have required considerable time to remove the lead sheath and other coverings of the cables at the location site and make the cable sections ready for splicing.
We followed the accepted practice of shooting all shots from the same camera angle at the same time (or same camera setup), and as a consequence confused the cable splicers working in the picture. In quick succession, we shot all the full shots at this location, then all the med¬ ium shots, and finally all the closeups. As the plot of the film unfolded, less and less cable pairs would be unspliced. Then, after we changed our camera set¬ up, we would take some of the spliced pairs, unsplice them, and start over
again. This was done to make the con¬ tinuity match, but to the cable splicers it made no sense whatever!
On the afternoon of the last day of the production, cameraman Ken Barron and I went out on location to shoot scenes of an actual toll cable. These scenes were to serve as an opening se¬ quence for the picture. We had already taken “Shot 1” twice along with some other shots; but we still had 25 feet of film left in the camera, and Barron, not being satisfied with the shots he had previously made, suggested we make i third attempt. Oddly enough, it was this third take that we selected for editing into the film. And that is how the first shot in the picture happened to be made last.
TECHNICAL PROGRESS IN 1954
( Continued from Page 25)
the system, and by late summer had demonstrated Vista Vision projected from full double-frame prints, using a special projector in which the print travels horizontally past the gate, the same as does the negative in the VistaVision camera. (Amer. Cinematographer for November, 1954, page 574.)
While Metro-Goldwyn-Mayer studio is employing CinemaScope for its wide¬ screen productions, it has been working on its own version of wide-screen. At intervals during the past two years rumors have emanated from M-G-M that its engineers were at work on newer and greater wide-screen cameras. However, as yet, none of these rumors have cul¬ minated in a public demonstration of the equipment.
It can be said, however, that M-G-M, which has continuously encouraged its executives and engineers in research and development to improve the technical quality of motion pictures, definitely has some startling and solid developments to reveal. John Arnold, A.S.C., head of the studio’s camera department for more than 30 years, has developed a new camera having horizontal film travel on the order of Paramount’s VistaVision camera. However, Arnold’s design pro¬ vides for readily interchangeable film movements, affording a range of frame dimensions from six to ten sprocket holes in length.
Another development by Arnold for M-G-M is a camera that uses 35mm film which appears like super-size 16mm in that there are just two sprocket holes — one at either side — at each frame line, instead of the conventional four in standard 35mm film. This permits ex¬ tending the picture area — making it wider — right and left into the area nor¬ mally occupied by the sprocket holes.
Arnold and his studio technical as¬ sociates are presently working on an even more advanced motion picture camera, which will record the largest picture area yet — a frame dimension 1%" in height by 214" in width. Such a large negative image, it is claimed, would enable the studio to make reduc¬ tion prints of great clarity and sharpness in any aspect ratio, including Cinema- Scope, without resorting to the use of an anamorphic taking lens.
An account of cinematographic ac¬ complishments in 1954 should include also an appraisal of the Todd-AO sys¬ tem, and especially of the Todd-AO camera itself, which was described in the October, 1954, issue of American Cinematographer. While developments on this camera had begun prior to 1954, it was not until early last year that the present Todd-AO cameras were com¬ pleted and put into use in the shooting of the Rodgers and Hammerstein pro¬ duction, “Oklahoma!” at Metro-Gold¬ wyn-Mayer studios.
Todd-AO is the only one of the new super-wide-screen systems that employs film stock of larger dimensions than standard 35mm. Todd-AO cameras use 65mm film for negative, which is printed on 70mm stock — the additional width accommodating the sound track.
On the same order as Cinerama in screen size, but considered vastly superior, since it is photographed with only one camera and projected with only one machine instead of three, Todd-AO gives the spectator a terrific sense of audience participation. Aspect ratio is 2 to 1. and projection is on a curved screen having a high reflectance surface. As with Cinerama and CinemaScope, stereophonic sound is employed.
Todd-AO’s major accomplishment was
42
American Cinematographer
January, 1955
in perfecting a lens system whereby it could pick up with a minimum of dis¬ tortion a scene having a 2 to 1 aspect ratio and put it on 65mm film. The front element of many of the Todd-AO lenses is about the diameter of an aver¬ age dinner plate. Whereas the company began with a camera having a single lens, there is now a choice of four lenses that may be used. Unlike the lenses used on standard 35mm cameras (such as- the Mitchell), which vary in focal length, the Todd-AO lenses are classified according to their angle of coverage, which ranges from 128° to 37°. Robert Surtees, A.S.C., ace M-G-M director of photography, has the distinc¬ tion of being the first to photograph a full-length feature with the Todd-AO system. This is the Rodgers and Ham- merstein production, “Oklahoma!” still shooting at M-G-M. (See Amer. Cine¬ matographer for October, 1954, page 494.)
In the realm of motion picture photo¬ graphy, other notable accomplishments during 1954 included the development by Bell & Howell Company of a practical anamorphic lens for CinemaScope-type photography with 16mm cameras. Bell & Howell’s lens, tradenamed Filmorama ( See Amer. Cinematographer for Octo¬ ber, 1954, page 504), is said to be pat¬ terned after the 20th Century-Fox CinemaScope lens. It can be used on all existing 16mm cameras.
Arnold & Richter, of Germany, makers of the Arriflex camera, made a major contribution when it developed an anamorphic lens for its 35mm camera, permitting cameramen to make hand¬ held shots in CinemaScope with com¬ parative ease. (See Amer. Cinemato¬ grapher for July, 1954, page 344.)
Thanks to the Bell & Howell and the Arnold & Richter anamorphic lens de¬ velopments, it became possible this year for the first time for 16mm producers to make quality CinemaScope-type films; also, for many of Walt Disney’s roving cameramen to gather super wide-screen footage for coming Disney short subjects in the CinemaScope format without hav¬ ing to use the larger studio camera equipment.
Last year saw an unprecedented number of underwater photographic as¬ signments for Hollywood’s directors of photography. The most renowned, per¬ haps, if not the most challenging, was Walt Disney’s color and CinemaScope production, “Twenty Thousand Leagues L nder the Sea.” The underwater scenes were photographer by Till Gabbani (Amer. Cinematographer for June, 1954, page 282). For this assignment, Disney engineers designed and constructed a very efficient streamlined, pressurized, underwater blimp to take the Mitchell
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American Cinematographer
January, 1955
43
camera with a CinemaScope lens. This has a built-in power source for the camera motor, and precise external re¬ mote controls for rackover, setting the lens stop, and focusing.
RKO studio achieved a somewhat less artistic job but a nonetheless efficient one in the construction of two bl imped cameras for filming underwater scenes for its production of “The Big Rain¬ bow.” This production, as did others like it, posed the problem of providing sufficient power to drive the cameras for long periods of time without need for power fed from above by cumbersome cabl es. RKO engineers utilized a com¬ pact non-spillable wet storage battery, which was built into the camera blimp. (Photos of the two cameras appear on page 25. — ED.). During the produc¬ tion, approximately 45,000 feet of Him was photographed in color over a period of approximately six weeks in the studio tank and, later, 2 weeks in Hawaii.
Perhaps the most advanced and suc¬ cessful undertaking in the matter of underwater camera blimp design was achieved last year by Metro-Goldwyn- Mayer studio, whose technicians de¬ signed and constructed two for the pho¬ tography of underwater scenes for the M-G-M color and CinemaScope produc¬ tion, “Jupiter’s Darling.” (See Amer. Cinematographer for September, 1954, page 440.)
These blimps were unique in that they had tubular stabilizers attached at the top which controlled and maintained position of the cameras while under¬ water. The feature permitted tilting the cameras at an angle, up or down, right or left, and operating them in such posi¬ tions without the need for supporting them on a tripod.
An interesting development last year was the follow-focus attachment for Mitchell cameras, which now7 enables owners of Mitchell NC, Standard, and 16mm cameras to broaden the scope of their photography by including follow- focus and dolly shots. Easy to install and remove, the attachment couples the finder directly to the camera lens, and assures full control of picture framing and lens focusing, particularly at close, critical ranges.
The use of an electronic viewfinder with studio cameras, such as the Mitchell, has been under consideration for some time. Last year, the idea came a step closer to fruition when Len Roos, A.S.C., demonstrated the first of the Kinevox-Kay Lab electronic finders, now undergoing further refinement. The finder, which is virtually a miniaturized television camera, is mounted on studio cameras in place of the standard Mitchell viewfinder. Its lens has the same range as the film camera lens and the image is reproduced on a TV screen at the rear
•
of the finder. “Slave or monitor re¬ ceivers may be placed at convenient points on the sound stage or near the camera, permitting the director of photography and others to observe the scene during lineup and shooting with¬ out going near the camera.
( A1 Simon, of MeCadden Corp., Hol¬ lywood, producers of TV films, has a similar development under way which may be ready for demonstration early this year.)
Most outstanding development in film, of course, was Eastman Kodak Com¬ pany’s Tri-X. which went into first practical use in the industry last year. Following demonstration in Hollywood of highly interesting Tri-X tests, several of the industry’s cameramen have already employed it in the production of television films. More recently, director of photography Stanley Cortez, A.S.C., used Tri-X in photographing 98 percent of the Leonard Goldstein pro¬ duction, “Black Tuesday,” marking the first time this film has been used in photographing a major Hollywood feature. (See story elsewhere in this issue. — ED.). At this writing, Tri-X is also being used in a second feature pro¬ duction, “Blackboard Jungle,” which
After reading the script the first time,
I saw possibilities in Tri-X film as the medium best suited for interpreting this stark drama. Having previously seen many tests which had been made by other cameramen with this film, I felt that we could get a certain dramatic quality with Tri-X that could not be achieved as easily nor as effectively with any other available emulsion.
It was proposed to the late Leonard Goldstein that Tri-X be used for filming “Black Tuesday.” After he had seen one test shot in particular that I had made with it in which only a single tallow candle had been used to iiluminate the closeup of a girl (it was the first time such a shot had been made, I under¬ stand ) . he approved use of the film for the picture. It should be emphasized that Tri-X was not selected for its great speed alone nor to permit working with extremely low-key light, but rather to gel the most in the way of increased depth of field by using smaller stops than we otherwise would do with other negative stock.
In evaluating the potentials of this film for feature productions, perhaps I had an advantage over some cameramen in that I had. many years earlier, used a similar film w hich was the forerunner of today s Tri-X. This was while I was in
Russell Harlan, A.S.C., is photographing at M-G-M.
In the realm of set lighting, two im¬ portant developments of 1954 include a new carbon developed by National Carbon Company designed to balance lighting to 3200° for color photography, when used in conjunction with incan¬ descent lamps. General Electric Com¬ pany’s lamp division announced the de¬ velopment of a series of new “noise- free” incandescent lamps for motion picture set lighting. These include a 1000-watt general service lamp, a 1000- watt 3200° K lamp for photography, and a 2000-watt spotlight, also for pho¬ tographic use.
Sizing up the industry as a whole for 1954. it can be said it made tremendous strides forward. The achievements cited here are selected from among the most important related directly to the photo¬ graphy of motion pictures. Twelve months hence, we should be able to look back over the year and reflect on ac¬ complishments eminently as important, judging by the enthusiasm that prevails and the impetus toward a bigger and better motion picture business which 1954 gave the industry.
the Army and had been assigned to photograph the Yalta Conference. This conference, as readers probably know7, was held in the ancient Czar’s Palace. As we had been informed that no special lights were to be permitted for photo¬ graphy, the special “ultra-fast film was supplied for the recording of this very historic event. The result wre achieved with this film was remarkable not only for the way it enabled us to obtain ex¬ cellent exposures in inferior light but for a rare and unusual image quality it gave.
In a similar way, Tri-X gave us superb results when we filmed a sequence of scenes on location in a downtown Los Angeles bank for "Black Tuesday.” Because of the great speed of this film, we were able to get excellent exposures using only a minimum number of studio lights augmented by the light from practical fixtures.
Tri-X's remarkable quality potentials again w7ere demonstrated in the scenes we photographed on the sound stage, especially so on the set representing the interior of the warehouse, where the killer and his gang were holed up, fol¬ lowing discovery by the police. Here we had to film scenes that represented day as well as night, with a gradual transition to night being evident as the
TRI-X IN FEATURE FILM PRODUCTION
(Continued from. Page 33)
44
American Cinematographer
January. 1955
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story progressed. Because it was neces¬ sary to achieve the maximum depth of field in the shots made within the huge warehouse interior, the ability to shoot at small stops was a decided advantage. It meant we could achieve the necessary pictorial result without resorting to more costly lighting, could maintain more freedom of movement with the camera without becoming too involved with placement of lights.
Some of our most dramatic lighting accomplishments appear in the sequence where the police lay siege to the gang imprisoned in the warehouse. As night falls, the police rope off the area sur¬ rounding the building and bring up batteries of high-powered searchlights, which are placed at strategic points to throw light into the warehouse interior.
Long fingers of the powerful search¬ lights probe through every crack of the building, lighting it enough to reveal the horrified group within — further drama¬ tizing their actions and their emotions as the police close in.
Throughout the picture, we worked at apertures ranging from f/2.8 to f/16. Our negative was processed at the Pathe Laboratory in Hollywood; developed to a gamma of 0.65.
Naturally, with a negative film of such great speed, there are precautions (Continued on Page 47)
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American Cinematographer
January, 1955
45
Feature and television film productions for which members of the American Society of Cinematographers were engaged as Directors of Photography during the past month.
AMERICAN SOCIETY OF CINEMATOGRAPHERS
FOUNDED January 8, 1919, The Ameri¬ can Society of Cinematographers is com¬ posed of the leading directors of photog¬ raphy in the Hollywood motion picture studios. Its membership also includes non¬ resident cinematographers and cinematog¬ raphers in foreign lands. Membership is by invitation only.
•
BOARD OF GOVERNORS — 1954
Arthur Miller, President Sol Halprin, First Vice-President Joseph Ruttenberg, Second Vice-President Alfred Gilks, Third Vice-President Walter Strenge, Treasurer Philip Tannura, Secretary Robert de Grasse, Sergeant-At-Arms John Arnold Joseph Biroc Arthur Edeson George Folsey Lee Garmes Victor Milner Hal Mohr Leon Shamroy
ALTERNATE BOARD MEMBERS
Arthur Arling Lucien Ballard Dan Clark Paul Eagler Farciot Edouart Ernest Laszlo Robert Pittack John Seitz James Van Trees Paul Vogel
Russell Harlan — “Blackboard Jungle,” (Wide-Screen, black-and-white), with Glenn Ford and Anne Francis. Richard Brooks, di¬ rector.
Arthur Arling — “Love Me or Leave Me,’ (Color, Cinema-Scope), with Doris Day and Janies Cagney. Charles Vidor, director.
George Folsey — -“The Cobweb,” (Eastman- Color, CinemaScope), with Richard Widmark and Lauren Bacall. Vincente Minnelli, di¬ rector.
Robert Planck — "The Kings 1 hief , ( Last-
manColor, CinemaScope), with Ann Blythe and Edmund Purdom. Hugo Fregonese, di¬ rector.
PARAMOUNT
Daniel Fapp — “You’re Never Too Young,” (Technicolor, VistaVision ) , with Dean Mar¬ tin and Jerry Lewis. Norman Taurog, di¬ rector.
Lee Garmes — “The Desperate Hours,” (Vista- Vision), with Humphrey Bogart and Martha Scott. William Wyler, director.
James Wong Howe — “The Rose Tattoo,” (VistaVision), with Burt Lancaster and Anna Magnani. Daniel Mann, director.
Ray Rennahan — “The Court Jester,” (Dena Prods. -Technicolor ; VistaVision), with Danny Kaye and Glynis Johns. Norman Panama and Melvin Frank, producers-directors.
Robert Burks — “The Vagabond King, (Technicolor; VistaVision), with Kathryn Grayson and Oreste Kirkop. Michael Curtiz, director.
UNIVERSAL-INTERNATIONAL
Wilfrid Cline — “Third Girl from the Right, retitled “Ain’t Misbehavin’”, (Technicolor), with Rory Calhoun and Piper Laurie. Eddie Buzzell, director.
Carl Guthrie— “Kiss of Fire,” (Technicolor; wide-screen), with Jack Palance and Barbara Rush. Joseph Newman, director.
Maury Gertsman — -“Tacey,” retitled “One Desire,” (Technicolor), with Anne Baxter and Rock Hudson. Jerry Hopper, director.
Charles Lang — “Female on the Beach,’ with Joan Crawford and Jeff Chandler. Joseph Pevney, director.
WARNER BROTHERS
Hal Rosson — “Strange Lady in lown, (V ar- nerColor; CinemaScope), with Greer Garson and Dana Andrews. Mervyn LeRoy, producer- director.
John Seitz — “The McConnell Story, (War- nerColor; CinemaScope), with Alan Ladd and June Allyson. Gordon Douglas, director
INDEPENDENT
Robert Surtees — “Oklahoma!” (R&H Pic¬ tures — Eastman Color; Todd-AO; Technicolor, CinemaScope), with Gordon MacRae, Shirley Jones, Gene Nelson and others. Fred Zinne- mann, director.
Frank Planer— “Not As A Stranger,” (Stan¬ ley Kramer Prods, for U.A.; Wide-screen), with Olivia de Havilland, Robert Mitchum, Frank Sinatra and others. Stanley Kramer, producer-director.
Earnest Laszlo — “Kiss Me Deadly,’ (Park- lane-Saville Prods, for U.A. release), with Ralph Meeker, Cloris Leachman and others. Robert Aldrich, producer-director.
Floyd Crosby — “Five Guns West,” (Palo Alto Prods.; EastmanColor ) , with John Lund and Dorothy Malone. Roger Corman, pro¬ ducer-director.
COLUMBIA
Charles Lawton — -“My Sister Eileen,” (Tech¬ nicolor, CinemaScope), with Janet Leigh. Jack Lemmon. Richard Quine, director.
Henry Freulich — “Duel on the Mississippi,” (Technicolor), with Patricia Medina and Lex Barker. William Castle, director.
Lester White — “Five Against the House,” with Guy Madison and Kim Novak. Phil Karl- son, director.
Ira Morgan — “Devil Goddess,” with Johnny Weissmuller and Angela Stevens. Spencer Bennet, director.
METRO-GOLDWYN-MAYER
Paul C. Vocel and Joseph Ruttenberg — “Interrupted Melody,” (Color, CinemaScope), with Glenn Ford, Eleanor Parker. Curtis Bern¬ hardt, director.
Paul C. Vogel — “The Scarlet Coat,” ( Color, CinemaScope), with Cornel Wilde, Michael Wilding and Ann Francis. John Sturges, di¬ rector.
Loyal Griggs and Wallace Kelley — “I he Ten Commandments,” (Technicolor; Vista¬ Vision), with Charlton Heston, Anne Baxter and cast. Cecil B. DeMille, producer-director.
William Daniels — -“The Girl Rush,” (Tech¬ nicolor; VistaVision), with Rosalind Russell and Fernando Lamas. Robert Pirosh, director.
20TH CENTURY-FOX
Harold Lipstein — -“A Man Called Peter,” (Color; CinemaScope), with Richard Todd and Jean Peters. Henry Koster, director.
Leon Shamroy — “Daddy Longlegs,” (Color; CinemaScope), with Fred Astaire and Leslie Caron. Jean Negulesco, director.
Leo Tover — “Soldier of Fortune,” (Color; CinemaScope), with Clark Gable and Susan Hayward. Edward Dmytryk, director.
Charles G. Clarke — “Violent Saturday,” (Color; CinemaScope), with Victor Mature and Richard Egan. Richard Fleischer, di¬ rector.
Harry Neumann — “Canada's Great Man¬ hunt,” ( Bischoff-Diamond Prod, for U.A. ). with Edward G. Robinson, George Raft and Audrey Totter. Lewis Allen, director.
Gilbert Warrenton — “No Place To Hide.” (EastmanColor, Wide-screen; shooting in Manila), with David Brian and Marsha Hunt. Joseph Shaftel, producer-director.
Lucien Ballard — “Magnificent Matador,” (Nat'l. Pics. — Primero Prod, for 20th-Fox re¬ lease; EastmanColor; CinemaScope. Shooting in Mexico), with Maureen O’Hara and Anthony Quinn. Budd Boetticher, director.
Leo Tover — “Soldier of Fortune,” (Color; CinemaScope; shooting in Hong Kong), with Clark Gable and Susan Hayward. Edward Dmytryk, director.
TELEVISION
( For list of directors of photography who shot television films last month, see special article beginning on page 27 of this issue. — ED. )
46
American Cinematographer
January, 1955
TRI-X IN FEATURE FILM PRODUCTION
( Continued from Page 45)
that must be taken. As is true with other negative emulsions, granularity in¬ creases with density of the negative. It is therefore highly important to avoid overexposure. The precaution is even more important with this film because of its extremely high speed.
Because of Tri-X’s great speed and the limited sensitivity of some exposure meters in use today, it should be noted that satisfactory exposures often may be obtained even when the set or location illumination is so low that a reading cannot be secured with a meter. Where there is any doubt, of course, proper exposure can be determined by shooting and developing tests.
Frankly, we often arrived at exposures intuitively. Just as a good cook, in pre¬ paring some unusual dish, adds a pinch of salt, a dash of pepper or a modicum of other condiment — following no estab¬ lished recipe — so we determined the exposure for some scenes strictly on the basis of long experience with motion picture negatives. Of course, in making
such deductions, there had to be a start¬ ing point, and here we had the film manufacturer’s recommendations. (See Am. Cinematographer for July, 1954, page 335. — ED.).
One of the pleasant discoveries we made with this film is that it affords a comfortable margin for exposure error of approximately one full stop. How¬ ever, knowing well in advance the film’s potential for overexposure, we reduced this possibility to a minimum by work¬ ing closely with the art director with regard to the color values in the sets. In this way, the possibility of “burning up” walls and other areas in a set while achieving correct exposure elsewhere was carefully avoided.
Today, it is the aim of the film manu¬ facturers to keep developing negative emulsions with still greater speeds, at the same time retaining the most desir¬ able screen quality. It would seem that this has been successfully attained with the development of Tri-X.
ADAPTING THE ZOOMAR LENS TO AURICON-PRO
( Continued from Page 29)
in place as previously determined. When this prism is properly located, you will be able to see clearly through the Zoomar finder when looking through the other square face of the prism. (Each prism has two square faces, one oblong.)
The second prism (prism #2 in Fig. 2) is now cemented in place. Here fol¬ low the pattern indicated in Fig. 3. This is placed in exactly the reverse position of prism #1, i.e., with two square faces facing, and with the other square face on prism #2 facing toward the back of the camera.
When cementing this prism in place, take care that none of the cement seeps into the air space which must be allowed between the two prisms. This space should be no less than 1/16-inch.
After the prisms are properly located and cemented to the lower prism bracket, the next step is to set in place the upper prism bracket. Apply cement sparingly to top of each prism, making sure that none flows down into the air space between the two, and press the top bracket into place. Next apply cement along the edge of the bracket where it joins the base plate, securing it to same.
As the thickness of prisms sometimes varies, it is advisable to measure the distance between the two mounted prism
brackets before cutting out the small rectangular brace (shown in Fig. 2) that is to be inserted between the two. When proper size has been determined, cut and shape the piece and then cement it in place.
After all the various parts have been cemented together to form the compact prism unit, it may be mounted and dis¬ mounted from the camera simply by re¬ moving two screws. The gadget will enable the camera operator now to line up and compose his shots through the Zoomar lens finder, as shown in Fig. A. The attachment can be given a more professional look if the Lucite parts are painted black. Be sure not to apply paint to the prisms.
So much for the prism viewing device. Before the Zoomar-16 lens can be properly used on the Auricon-Pro, a second gadget must necessarily be built and installed. This is the simple plastic and sponge rubber support diagrammed in Fig. 4. Because the Zoomar is at¬ tached directly to the Auricon-Pro camera lens, it is advisable to provide additional support for the Zoomar, to prevent it from shifting position, especially with relation to the prism viewer. This, the support described here, does quite satisfactorily.
There are two rods normally extend-
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American Cinematocraphek
January, 1955
47
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ing from the front of the Auricon-Pro camera, which are used to support a matte box and sunshade. These rods are used to hold the support for the Zoomar-16 lens. A piece of l/^-inch Lucite, cut to the shape shown in Fig. 4. is drilled to fit over the rods. On the top edge of the Lucite piece, mount a short strip of 3/16-in. sponge rubber, using plastic cement. This offers a firm but not too rigid surface for the base of the Zoomar lens to rest upon. The notch in the Lucite piece, which may be seen
which you plan to record with your camera.
After your arrival at the locale, and before unpacking your camera, first make a personal check of the “places, people, and events” previously noted to determine their pictorial worth, where best to set up the camera for most de¬ sirable composition, and the time of day the light is best for the type of shot you propose to make. Carry along a sizeable notebook, and don’t be stingy with your notes; they’ll prove invaluable to you when it comes time to shoot. While you are making this survey, also determine whether or not special permission is necessary in order to photograph the subject, the people who appear there, or the activity. If so, make the necessary arrangements in advance.
Talk to as many “natives” as possible, explain your objective, and ask for sug¬ gestions. Invariably they can tell you of additional things of interest that should be included in your travel film. Be sure, however, to personally check on the pic¬ torial possibilities of such suggestions before setting out to photograph them.
I once journeyed two days on horse¬ back to photograph what a native had declared to be “the most spectacular scene in the world!” — high atop a moun¬ tain. But when I reached the summit and surveyed the view I found it entirely devoid of picture-making possibilities.
At this time of the year, one of the best bets photographically is Tucson, Arizona and the surrounding country¬ side. Tucson is easy to reach by air, train or automobile. It has naturally ideal shooting weather the year around, and there is a wide variety of attrac¬ tions and activities to beckon the lens of the cine photographer.
Assuming, then, that you are going to make a travelogue of Tucson, suppose we set down a tentative plan or “shooting script.” Here is the program I once fol¬ lowed in making a travelogue of this area, and it is the pattern I would fol¬ low were I to do it again — in black-and-
in Fig. 4 just under the word “sponge,’ should be made with a file after the brace has been mounted on the camera and the Zoomar lens installed in place. Purpose of the notch is to permit full operation of the Zoomar lens lever.
Needless to say, I found the construc¬ tion and installation of these two gad¬ gets quite worthwhile, inasmuch as they made it possible to add to my camera the Zoomar-16 lens, and enabled me to use it with full professional results.
white or color, in CinemaScope or any aspect ratio!
1 — Introduction • the setting, the land¬ scape, etc.
2 — Historical Aspects: Existing his¬ torical structures, ruins, etc.
3 — Characteristic Architecture : Con¬ temporary homes, business blocks, schools, churches, etc.
4 — A griculture
5 — / ndustry
6 — Education
7 — The arts
8 — Curiosities
9 — Unique businesses or industry
10 — Sports
1 1 — Wild Life
12 — Unusual scenic vistas
13 — Ceremonials or folklore
Theatrical travelogues usually are lim¬ ited to around nine hundred feet of 35mm film — about ten minutes screen time — making it necessary to keep the subject matter down to about six to eight topics or points of interest, each running about a minute and a half. The cine cameraist, however, has no such restric¬ tions to follow. Nevertheless, he should avoid “cluttering” his picture with a lot of relatively unimportant subject matter. He shouldn’t try to put a “trip around the world” all on a single reel of film. The aim should be always to do a thor¬ oughly interesting coverage of a limited area rather than a hit-and-miss spotty coverage of a large area.
For the reader’s guidance, here is a comprehensive outline of some of the most interesting subjects to include in a travelogue of Tucson, Arizona and the surrounding area:
1— Panorama of the city, which is situated in a valley and backdropped by picturesque mountains and surrounded by desert.
2 — A section of the old city wall with commemorative plaque; old territorial buildings; glimpse of the Historical So¬ ciety displays; San Xavier Mission, Ft. Lowell. The Barber Shop Mueum.
(Continued on Page SO)
TRAVELOGUES OFFER FILMING CHALLENGE
(Continued from Page 36)
48
American Cinematographer
January, 1955
CLASSIFIED ADVERTISING
10c per word, minimum ad $1.00. Words set in capital letters except 1st word and advertiser’s name, 15c per word. Modified display format 90c per line. No discount on classified advertising. Send copy with remittance to editorial office, 1782 No. Orange Drive, Hollywood 28, Calif. Deadline 15th of month preceding date of issue.
STUDIO & PRODN. EQUIP.
FOR SALE
WANTED
STUDIO AND PRODN. EQUIP.
INVENTORY REDUCTION SALE CLOSE-OUTS
NEW ENCLOSED FILM STORAGE CABINETS, ca¬ pacity twenty 400' reels, 2 drawers, gray
enamelled, $37.50 value . ..$ 14.95
In lots of 3, $12.95. Lots of 6 . 9.95
MOLDED TITLE LETTER SETS, 3-D effect, sanded or pinbacks.
150 all caps, 3/4 " $8.50; l1/," . 10.50
246 upper and lower case 3/4" high, 13 x
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150 Gothic Italian caps l'/4" high, 16 x
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EDITORS, Big projected image . 347.45
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3 Quadruple heads holding 12 bulbs on rolling tripod stand, Orig. Gov't cost
$180.00 Surplus . 29.50
BM QUADLITE heads only, $4.95. Stands only 19.95 35MM REWIND SETS, geared and dummy
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WE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT. NEW AND USED WE ARE DISTRIB¬ UTORS FOR ALL LEADING MANUFACTURERS. RUBY CAMERA EXCHANGE, 729 Seventh Ave., New York City. Established since 1910
AUDIO AKELEY single system camera complete wnh Akeley sound head. Gyro tripod, 3 lenses, view finder, Maurer mixing amplifier. Complete with cables, power supply and W. E. microphone. CAMERA EQUIPMENT CO., 1600 Broadway, New York 19, N.Y. Cable Cinequip.
NC MITCHELL camera (Serial 284), good condition, now in daily use in Hollywood studio production, for sale with following accessories: five coated Baltar lenses — 25mm T/2.5, 30mm T/2.5, 35mm T/2.5, 40mm T/2.5, and 75mm T/2.5; filter holder and case; erect image viewfinder with built-in mattes,- finder support bracket; reducing finder adapter lens; combination matte box and sunshade; wide-angle matte box; standard size friction tilt- head; standard size tripod; 110-V, AC/DC variable speed motor; camera carrying case; accessory case. BOX 1203, AMERICAN CINEMATOGRAPHER.
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CINEMATOGRAPHERS HANDBOOK |
. $ 5.00 |
||
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"FILM |
TECHNIQUES" Spottiswoods |
. 7.50 |
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BELL & |
HOWELL 70DL Fl .9 LIKE |
NEW |
. 219.50 |
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B & H |
ALIGNMENT GAUGE . |
. 32.50 |
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"KD" |
ACTION VIEWER HEADS, |
50 |
WATTS |
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NEW |
. 14.95 |
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TRI-X |
1 6MM NEGATIVE FILM |
IN |
STOCK |
MAIL ORDERS FILLED PROMPTLY
CAMERA CRAFT
18 E. 42nd Street New York 17, New York
35MM CINEPHON with all facilities of standard studio camera in compact unit. Ideal for hard-to-get- to places. Rock-steady picture. Mitchell-type focusing, 5 coated color calibrated lenses, 7 magazines. Built-in automatic dissolve, reversible electric motor. Matte box, cases. CARL-FREDRIK NELSON, 164-12 110th
Road, Jamaica 33, Long Island.
CINE Kodak Special Model II with Ektar fl .4 lens and 15mm f2.7 lens. Perfect condition and guaran¬ teed— $600.00. COLEMAN PRODUCTIONS, 56 West 45th Street, New York 36, N. Y.
INTERLOCK Selsyn motors, new GE 230-volt 3-phase $65.00. 115-volt single-phase $60.00 each. 12 new Daven 30:30 ohm pots with dial and knob $8.00 each. STEVEN WELSH, 6240 N. Tripp Ave., Chicago 30, III.
FOR SALE or exchange for 16mm equipment — 16mm MacVan Model A. A. sound and picture printer, new machine with automatic life changer. Value $1200.00. SAM'S ELECTRIC SHOP, Passaic, New Jersey.
CINE SPECIAL with Par 4-lens turret; also Cine Special II with full set Ektar lenses. Write BOX 385, Waukesha, Wisconsin.
SOUND-mirror tape recorder Model B-K-414. Like new, $100.00. J. GROSS, 2424 S. 2nd St., Phila¬ delphia 48, Penna.
PRECISION Magnetic Heads for Engineers - Industry Erase - Record - Playback
STANCIL-HOFFMAN CORPORATION 921 North Hiahland Avenue Hollywood 38. California
WANTED
IMMEDIATE CASH PAYMENT FOR CAMERAS AND EQUIPMENT
NEED EYEMOS (SINGLE LENS AND TURRET) MITCHELLS, ARRIFLEX, DE BRIES, B8iH STANDARDS AND HI-SPEEDS, WALLS, AKELEYS, CINE SPECIALS AURICONS, MAURERS, FILMOS. ALSO BALTARS COOKES AND OTHER LENSES. SOUND STAGE LABORATORY AND EDITING EQUIPMENT OF ALL TYPES REQUIRED. PLEASE SHIP INSURFD OR FOR- WARD DESCRIPTIONS AIRMAIL. IMMEDIATE PAY¬ MENT.
GORDON ENTERPRISES • 5362 N. Cohuengo
NORTH HOLLYWOOD, CALIFORNIA
YOU MOST ALWAYS GET THE MOST AT THE S.O.S. TRADING POST
BUY — SELL — SWAP — CONSIGN
Cameras, Dollies, Lenses, Lights,
Moviolas, Printers, Recorders,
Studio or Laboratory Equipment
Western Union-WUX New York Phone PL. 7-0440
S. O. S. CINEMA SUPPLY CORPORATION Dept, fc Cable: SOSOUND
602 W. 52nd Street New York 19, N. Y.
WANTED TO BUY FOR CASH
CAMERAS AND ACCESSORIES
MITCHELL, B & H, EYEMO, DEBRIE, AKELEY ALSO LABORATORY AND CUTTING ROOM EQUIPMENT
CAMERA EQUIPMENT COMPANY 1600 BROADWAY, NEW YORK CITY 19 CABLE: CINEQUIP
WANTED
PRODUCTION EQUIPMENT, LABORATORY EQUIPMENT,
EDITING EQUIPMENT, 16mm. and 35mm. FROM SIN¬ GLE ITEMS TO COMPLETE STUDIOS. TRADES AC¬ CEPTED.
THE CAMERA MART, INC.
1845 Broadway Circle 6-0930 New York 23, N.Y.
F 4 B PAYS MORE FOR USED 16/35MM EQUIPMENT
WRITE — WIRE — PHONE FOR OUR CASH OFFER
FLORMAN 4 BABB MU. 2-2928
70 W. 45TH ST. NEW YORK 36, N.Y.
WANTED
Mitchell — Akeley — B 6 H — Wall — Eyemo Cameras — Lenses — Equipment
NATIONAL CINE EQUIPMENT, INC.
209 West 48th St. New York, N.Y.
WANTED Akeley Gyro Tripod and High Hat. TOM BURNEY, 89 Fairvew Ave., Bergenfield, N. J.
WANT moderate-priced automatic 16mm film processor, for color preferred. Reply via Air Mail to BAILEY BELL, JR., 618 East 14th St., Anchorage, Alaska.
CAMERA & SOUND MEN
CANADA! What do you need in Canada? Background plates? TV film bridges? Establishing shots? For any shooting in 35 or 16mm, colour or B&W, write FELIX LAZARUS, York Film Productions, 344 Jarvis Street, Toronto, Ontario.
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 Avenue, Cleveland 3, Ohio. Phone Endicott 1-2707.
LOWER cost 16mm editing and sound recording — only 22 miles from Hollywood. EL RANCHO AUDIO, 26236 Fairview Avenue, Lomita, California. DAv- enport 6-4925.
POSITIONS WANTED
EUROPEAN Cameraman-Director-Editor just arrived in the U.S.A. Age 37, 15 years experience in film
production (features, advertising and now T.V. films). The best of references. BOX 1202, American Cinematographer.
SHOOTING In Europe? Cameraman available. Equipped for 16 & 35mm. Knowledge of ropes in most
European countries. Capable of shorts production. B&W — Color. A. COMA, 762 Lea Bridge Road, London E17, England.
To Classified Advertisers
Copy deadline for classified advertising is the 12th of month preceding publication date. Mail copy and remittance to cover cost to
AMERICAN CINEMATOGRAPHER 1782 No. Orange Dr. Hollywood 28, Calif.
American Cinematographer
January. 1955
49
TRAVELOGUES
(Continued from Page 48)
3 — Important buildings, businesses, homes, and institutions with Spanish and southwestern type architecture.
4 — Agricultural aspect: irrigation, date harvesting, citrus groves, cotton fields, winter vegetable growing. The cattle industry with its roundups, brand¬ ing, rodeos.
5 — Open pit mining of copper ore, the smelters, aircraft factories, cement plant.
6 — Comparison shots of beautiful St. Phillips church in the hills, with its pic¬ ture window over altar; also other elab¬ orate and artistic churches; primitive places of worship of the nearby Taqui and Papago Indians.
7 — The University of Arizona, with its emphasis on outdoor activities — archaeology, botany, art, geology, agri¬ culture and animal husbandry; ranch- type school; Indian school.
8 — The Davis-Monthan Airbase. Spe¬ cial permission must be obtained to photograph here. Opportunity for ef¬ fective shots of high-flying planes in sky followed by vapor trails.
9 — Festival of Southwestern Arts; art shows, outdoor art classes in striking settings; Navajo silversmiths at work; Papago basket weavers; Mexican cos¬ tumes and dances.
10 — Study of cacti; fantastic shapes and sizes and a wide variety make in¬ teresting compositional shots. In the spring, the desert flowers.
1 1 — Unique business of making furni¬ ture from cactus skeletons; cactus candy making.
12 — Fiesta de los Vaqueros — the an¬ nual rodeo — also the Kid's Rodeo, the Intercollegiate Rodeo, and the Papago Indian Rodeo.
13 — Desert Trailside Museum pro¬ vides opportunity to photograph animals and birds. Similar opportunities abound near homes at outskirts of city where citizens feed and tame wildlife.
14 — Outstanding scenery; Mt. Lem¬ mon with its rocky highways; the won¬ derland of rocks; Arizona sunsets.
15 — Indian ceremonials: Yaquis at Easter time; the Papagoes at Christmas. La Posadas and La Pinyatas Mexican ceremonial customs ; the Wishing Shrine ; Puberty Rites of the Apache Indians.
There are, of course, many other sub¬ jects and places which one might easily include in this outline. It will be a test of the filmer’s ability to recognize the unusual and the photogenic in locating them.
The above is but a suggested outline — a pattern to follow in your search for interesting subject matter for your trav¬ elogue. So much will depend upon the weather, the light, the time of day, and the camera angles you select. Naturally,
you will have to decide on camera an¬ gles yourself, as it would be impractical in this brief article to attempt to define shooting positions and camera angles for each of the above-mentioned subjects or locales.
You will be interested to know, how¬ ever, that a great many professional cinematographers have made Arizona, and especially Tucson and its surround¬ ing points of interest, the subject of their cameras and with considerable success. So if you live in a region where inces¬ sant cloudiness, fog, smog and other hinderances plague the photographer, it will be a delight for you to awake each day in Tucson and find the sky clear and blue, the mountains and distant vistas etched sharply and everything just made to order for photography.
Here it is possible to shoot outdoors quite successfully both in the early morning and in late afternoon, when the sun is quite low. You needn’t be afraid to shoot in such extremes of light if you have a good exposure meter and know how to use it.
To sum it up, here you'll not only find a real challenge to your movie making ability, but many pleasant experiences in meeting it.
MOVIES WITHOUT A CAMERA
(Continued from Page 35)
After the music has been recorded, each note, phrase and sentence is marked on the track with a grease pencil. The notes are measured cumu¬ latively from zero as the track is run on a frame counter, and measurements are put against the notes on a dope sheet, usually a simplified musical score. The length of each note in frames is calcu¬ lated, and the grease-pencilled sound track is run through a two-way winder together with a roll of clear leader, known as the “dummy.” The notes are copied and identified with India ink on the dummy.
The actual drawing is done with the aid of an apparatus adapted by McLaren himself from a camera gate. (Fig. 2.) The claw mechanism is used to hold the film in place and advance it one frame at a time. An ingenious optical system reflects the image of the frame just drawn onto the new frame about to be drawn.
The clear machine leader to be drawn on is threaded into this apparatus with the dummy below it. The drawing is done with pen and ink from the first frame to the last in natural sequence. (Fig. 3.) Finally the drawn film goes into the lab. for two prints — one for checking sync and one as a master for release printing. When color releases are needed, various kinds of dupes are
made from the master and are assembled in parallel to act as separation negatives for the color process used.
Only McLaren could have thought of using his cameraless technique for one of the first 3-D films ever publicly shown. Now is the Time was made in 1950 for the ultra-modern Telecinema at the Festival of Britain, held in the following year, and McLaren's match- stick men stepped out from the screen to chase each other among the en¬ thusiastic audience.
But the most intriguing of the stereo¬ scopic films shown was Around is Around, another McLaren experiment, this time made with a camera. But as I said earlier, he never uses a camera like anyone else. Examples of how he does use it must wait until next month.
WHAT’S NEW
(Continued from Page 12)
Table-top Viewer
Craig, Inc., a division of Kalart Company, Plainville, Conn., announces its new Projecto-Editor, a dual pur¬ pose unit for table-top viewing of mo¬ tion pictures and a complete outfit for film editing and repair. It can be set up for either use in 60 seconds.
The Projecto-Editor consists of viewer, with rotating prism shutter, flat-field projection lens, ground and polished condenser, reel spindle arms. Craig Master splicer, film cement, and carrying case. Price is $79.50 for either the 8mm or 16mm model.
Lab Price List
Film Industries, Inc., 973 Bridge¬ port Ave., Milford, Conn., invite those interested in 8mm and 16mm film processing duplication, etc., to write for the company’s new price list.
Title Letters
Descriptive literature and price sheets of movable letters for making amateur and professional film titles are now available from H. W. Knight & Son. Inc., Seneca Falls. N. Y.
50
American Cinematographer
January. 1955
ADVANCE ENGINEERING REPORT
PRINTERS
1955 . . . Bell & Howell’s Year of Printer Progress
These accessories — for J and D printers, old and new — will be available to you soon to improve quality, reduce costs, speed print releases. Automatic fade attachment— Double¬ head sound and picture printing —Automatic traveling matte for color printing — New sensitized-patch cueing system — Fast printer speeds — New edge number printing attach¬ ment— New 3-lamp additive light source. All of these will be genuine Bell & Howell ac¬ cessories . . . from the leader in the industry who brought you the finest printer in the first place. For details write Professional Equipment Department, 7148 McCormick Road, Chicago 45, Illinois. More than anyone, professionals know . . .
HONORARY ACADEMY AWARD 1954 TO BELL a HOWELL FOR 47 YEARS OF PIONEERING CONTRIBUTIONS TO THE MOTION PICTURE INDUSTRY.
experience leads to Bell & Howell
There’s only one
color-correct
process
. . . and onlybyrort can give you all these 16mm production facilities on one order:
sound effects animation recording
complete black-and-white laboratory facilities
music library
sound stage
location photography
titling
editing
Want guaranteed satisfaction for your color films? Demand Byron color-correct' prints, the film industry’s highest standard of color duplication. Byron service is dependable — prices are the lowest in the industry — quality the best. Call today for our illustrated brochure and price list.
8-hour service if required
Studios and Laboratory
1226 Wisconsin Avenue, N.W., Washington 7, D.C. DUpotlt 7-1800
byron
*Reg. U.S. Patent Office
PRACTICALLY EVERY 16MM FILM PRODUCER IN THE WESTERN HEMISPHERE IS A CLIENT OF BYRON
THE
MOTION PICTURE PHOTOGRAPHY
MAGAZINE
O F
FEBRli-
'■r,.
jit This fsstte • • •
THE ROLE OF THE CAMERA
• VISIBLE EDGE-NUMBERING OF FILM
• FILMING BATTLE SCENES FOR “BATTLE CRY”
THERE IS A HOUSTON-FEARLESS FILM PROCESSOR FOR EVERY NEED!
Whatever your requirements in motion picture or TV film processing equipment, Houston Fearless has the answer. 16mm, 35mm, 70mm . . . black and white or color . . . negative, positive, reversal or positive-negative color film . . . from 5 to 250 feet per minute . . . from the smallest, most compact unit to the largest installation, Houston Fearless builds the finest, most dependable, best engineered of all processing equipment. Houston Fearless is a major supplier to the Military and is known and respected throughout the world.
Only a few of the many Houston Fearless models are shown here. For complete information on the type of equipment best suited for your particular needs or for help on your special requirements and problems, send the coupon below. Houston Fearless engineers will recommend what is most appropriate and, if desired, plan your entire film processing lab for maximum efficiency and highest quality results.
HOUSTON
FEARLESS
'{ !■ t/n- (///«.«
'World’s Largest Manufacturer of Motion Picture Film Processing and TV Studio Equipment”
Houston-Fearless Corporation
pi 809 W- J°lympic B,vd-' Angeles 64, Calif.
toured for?h7ti?oUVpurpPos0eCrSSin9 eqU''Pment
1 1 809 W. OLYMPIC BLVD. LOS ANGELES 64, CALIF. BRadshaw 2-4331
620 FIFTH AVE., NEW YORK 20, N.Y. Circle 7-2976
NAME
FIRM_
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ADDRESS CITY _
STATE,
OCESSING EQUIPMENT
MOTION PICTURE and TV
BLACK and WHITE and
we custom design and manufacture to your specifications or you may select from our large stock of machines of standard manufacture
COLOR
Gordon Enterprises is world famous for producing and supplying motion picture laboratory and TV film processing equipment. Our film processing equipment department is typical of our efficient, streamlined operation . . . 16mm, 35mm, 70mm, 12" oscillograph paper . . . black and white or color . . . negative, positive, reversal or positive-negative color film . . . whatever your requirements, we’ll supply from our extensive stock of new and rebuilt equipment from such famous names as Houston, Eastman and Fonda or custom design and fabricate it for you. Gordon engineers will help you plan your entire film processing laboratory. For full information, send coupon below.
ANSCQ.RASTMAN COLOR PROCESSOR
l6/95mm COMBINATION PROCESSOR
HOUSTON 18mm REVERSAL PROCESSOR
NAME
FIRM— -
address
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gordon enterprises
serving the world
5362 North Cahuengo Boulevard • STanley 7-5267
North Hollywood, California
Cable Addre** "GORDENT" • Teletype "ZFN"
PRIME
CONTRACTORS TO THE
UNITED STATES AIR FORCE, ARMY AND NAVY
. Department
Processing tqu'PrI'en CoV.f0r«*«
Chief Eng'-ne^Jrises , North _
Gordon ^^enga B°u'eV°r process.ng
5362 T e send f »tt ^^Sl*** V* *
Please sen forrn the 1° ^ _ _ _
equipment to P
AMERICAN
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WSSSm^
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to you
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create
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lq|u|a|l|i|t|y|
. . . our sincere gratitude and
appreciation
CONSOLIDATED
FILM
INDUSTRIES
959 Seward St., Hollywood 38, Calif. 1740 Broadway, New York 19, N. Y.
THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY
PUBLICATION OF THE AMERICAN SOCIETY OF CINEMATOGRAPERS
i::i!l!!!l!lf!l!!!!l!!l!IIIIII!!lll!l!llll!ll!II!!l!ll!l!!lll!ll
Arthur E. Gavin, Editor
Makion Hutchins, Editorial Assistant Emery Huse, Technical Editor
Editorial Advisory Board: John Arnold, Arthur Edeson, Lee Garmes, Charles Rosher, Leon Shamroy, Ered Gage, Glenn R. Kershner
Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Calif. Telephone: HOIlywood 7-2135
I!IIIIIIIIIIII!IIIIIIII!I!!I!III!!II1III!!I!IIIII!^
VOL. 36 FEBRUARY • 1955 NO. 2
In This Issue
ARTICLES
“Six Bridces to Cross” — Suspense in Black-and- White—
By Frederick Foster 78
Visible Edge-numbering of Film Aid to Editing — By Charles L. Anderson - 80
The Role of the Camera . 82
Filming Battle Scenes for “Battle Cry" . 84
Motion Picture Production at University of Oklahoma —
* By Ned Hockman 86
Speed in Film Processing — By Leigh Allen . 88
So You Want to Shoot Indians? — By Roanna 11. Winsor . 90
Point of View Is Important — By Charles Loring . 92
FEATURES
Hollywood Bulletin Board . 58
What’s New in Equipment, Accessories, Service . 62
Industry News . 68
Booklets, Catalogs and Brochures . 74
Roster of American Society of Cinematographers . 96
Hollywood Studio Production . 106
ON THE COVER
SMOOTH DOLLY SHOT — With two CinemaScope cameras mounted on stern of rowboat, M-G-M camera crew under direction of cinematographer John Seitz, A.S.C. (not shown in photo) makes a dolly shot on water as Robert Taylor swims a river in “Many Rivers to Cross," M-G-M’s rollicking comedy-drama set in pioneer days and starring Taylor and Eleanor Parker.
1 ' i ;
Him
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AMERICAN CINEMATOGRAPHER, established 1920, is published monthly by the A. S. C. Agency, Inc., 1782 N. Orange Dr., Hollywood 28, Calif. Entered as second class matter Nov. 18, 1937, at the postoffice at Los Angeles, Calif., under act of March 3, 1879. SUB¬ SCRIPTIONS: United States and Canada, $3.00 per year; Foreign, including Pan-American Union, $4.00 per year. Single copies, 25 cents; back numbers, 30 cents; foreign single copies, 35 cents; back numbers 40 cents. Advertising rates on application. Copyright 1955 bv A. S. C. Agency, Inc.
iiiiiiiiiiiniiiiiifiiiiiiiw .
16mm PROFESSIONAL
The 16mm Professionol ha* the same proven Mitchell 35mm feature* — to bring 35mm quality to 16mm screen*. Equipped with 16mm Mitchell blimp, thi* camera i* a favorite of lead¬ ing commercial producer* for *ound photography.
The Mitchell 35mm Camera — standara equipment of major studio*
— is internationally known for dependability end performance. For superb photography, Mitchell 35'* are available in BNC (blimp * unnecessary); NC and Hi-Speed models to meet every requiremen
For over 25 years, Mitchell Cameras have set proies* sional photographic standards for the Motion Picture Industry, These flawlessly designed, ruggedly con* structed cameras have proven themselves in smooth, positive operation under the most exacting condi* dons. Today, as yesterday, the arid's greatest films depend upon Mitchell — pn sional equipment for truly professional results.
35mm BNC MODEL
666 West Harvard Street • Glendale 4, Calif. • Cable Address: "MITCAMCO
85% of the professional motion pictures shown throughout the world are filmed with a Mitchell
ASC MEMBERS, at their January monthly meeting, were shown new dual-purpose electronic and film camera developed by Al Simon head of McCadden Productions, Hollywood. In front, at far left, is Phil Tannura, ASC, first to test the new camera in production. Seated beneath camera is Arthur Miller, ASC prexy, talking to
Joseph RuKenberg, ASC. Immediately behind camera is Al Simon, and Bob Nichols who aided in its development. In photo above right, the dual-purpose camera is shown from rear. Gathered around and observing the electronic viewfinder image is (L. to R.) Phil Tannura, Al Simon, and Doug Upton, of RCA.
CAMERAGLIMPSED at the speakers’ table were Al Simon, Arthur Miller, ASC president, and William J. German, head of W. J. German, Inc. Simon explained function and purpose of his camera briefly, promised a full press preview next month, following completion of further refinements.
Burnett Guffey, ASC, last year's Oscar winner for best black-and-white cinema¬ tography (“From Here To Eternity ), is in Japan directing the photography of “The General Wolfhound” for Columbia Pictures. Produced by Fred Kohlmar and directed by Richard Murphy, picture is being shot in black-and-white and regular format.
★
Charles G. Clarke, ASC, who recently completed shooting “Prince of Players,”
has been signed to a new long-term con¬ tract by 20th Century-Fox. Clarke, long one of 20th’ s .top directors of photo¬ graphy, left the middle of January for Hong Kong along with second unit director Otto Lang to set up exteriors and location shots for “A Many Splen- dored Thing.”
★
Jack Webb, star of the “Dragnet” TV series and an Associate Member of the ASC, will be master of ceremonies for the forthcoming announcement of nomi¬ nations of the Academy of Motion Picture Arts and Sciences on February 12th. in the first time the event has been put on television.
This is a special pre-Awards event, which will be carried over the NBC tele¬ vision and radio networks from coast to coast. The Twenty-seventh Annual Academy Awards Presentation will fol¬ low six weeks later.
★
Joe MacDonald, ASC, along with a 20th Century-Fox camera crew, flew to Tokyo latter part of January, where he will direct the photography of 20th’s “House of Bamboo,” starring Japanese film star Shirley Yamaguchi and Robert Stack.
Picture will be photographed in CinemaScope and Eastman Color.
★
The need for technicians, created by growth of television film production in Hollywood has resulted in three Union locals considering opening their rolls to new members. As we go to press, some 40 candidates for admission will be voted on at a general membership meet¬ ing of Studio Sound Local ; 60 can¬ didates are being considered by the Film Editor’s Local, and the Studio Photo¬ graphers’ Local 659 is considering 40 applicants.
★
Maury Gertsman, ASC, one of Uni¬ versal-International’s oldest directors of photography in point of service, has been assigned the chore of filming U-I s “The Spoilers,” one of the big photo¬ graphic plums of the year. The early- day silent production of the same story is still considered one of the all-time greats, and it is rumored that the modern version will have all the action and drama which give inspiration to good photography.
★
Daniel Fapp, ASC, is slated to direct the photography of Paramount’s “Artists (Continued on Page 68)
58
American Cinematographer
February, 1955
V
you’ve been waiting for
^Life-like COlor,,T the ultimate
in the reproduction of color film, is now available to all producers of 16mm motion pictures.
Now you can have your exposed film duplicated with perfect blending and balancing of tones.
Your release prints will have a sensitive living quality ... surpassing anything you have ever seen in clarity.
This is "Life-Like Color” the result of fifteen years of exhaustive research by the country s outstanding color engineers and technicians. It is now available to you exclusively through the laboratories of Telefilm Studios.
With "Life-Like Color” Telefilm Studios again contributes to its primary objective ... to help the 16mm producer make better motion pictures. Telefilm’s modern facilities and equipment for color printing ... high fidelity sound recording (your choice of optical or electronic sound printing) ... editing ... titling ... special effects ... and the skill and the know-how of the finest technicians in the industry are at your command.
for complete information , visit Telefilm Studios, or write for a descriptive brochure.
HOLLYWOOD BLVD. • HOLLYWOOD, CALIF, telephone HOllywood 9-7205
HERE'S gQ ‘-SO-
F & B SPLIT REELS
ARE BETTER FOR YOUR FILM!
1. NO REWINDING needed when projecting — measuring — edit¬ ing — synchronizing • — inspect¬ ing — cleaning.
2. STORE FILM ON CORES — but
perform all above functions in¬ stantaneously simply by oper¬ ating between split reels.
3. REMEMBER — with titewinds, you can only rewind film off reels onto cores — or vice versa and that’s all. You still must rewind and rewind.
4-79 For the time, trouble, labor, space, scratches, abrasions, dirt, aggravation and money
you will save by using F&B
SPLIT REELS.
80. Don’t junk F&B SPLIT REELS. We ll
gladly refund your money if you're not 100% satisfied.
400 ft. split reel — 16mm. $4.50 800 ft. split reel — 16mm.... 6.00
1200 ft. split reel — 16mm 7.50
1600 ft. split reel — 16mm.... 9.00
(Professional & Educational Discounts)
SORRY — No titewinds will be accepted in trade!
ROCK STEADY • VELVET SMOOTH
14 lb. TRIPOD
Auricon-Pro Cinevoice . . .
Filmo . . . Bolex . . magazine & motor . .
— for all cameras — . . Maurer . . . Cine Special . . . . Eyemo . . . with Arriflex 16 . . .
Arriflex 35
. All still cameras .
view cameras
A BRAND-NEW, MODERN TRIPOD . . . pre¬
cision engineered and designed, ruggedly con¬ structed for long and satisfactory service.
if SUPER-SMOOTH, fluid friction pan and tilt head.
if TELESCOPING, two position, offset panhandle, for adjustability to your length requirements, left or right hand use; offset tor greatest com¬ fort and convenience.
■k KNURLED camera-tightening knob, externally operated by angle gears for fumble-free, maxi¬ mum tightening.
* PRECISION ENGINEERED positive pan & tilt locks for utmost in rigidity and safety.
★ SUPERB, SEASONED, solid hardwood legs, fin¬ ished for smooth, non-sticking telescoping ac¬ tion.
A" REMOVABLE friction head for easy mounting on baby tripod or hi-hat.
★ SPRING-BALANCED HEAD, adjusted to your camera, available at extra cost.
MADE IN U.S.A.
List Price . . . $135.00
HEIGHT: 41" to 75" . . . 360° pan,- 90° tilt.
FINEST WORKMANSHIP AND MATERIALS 5 YEAR UNCONDITIONAL GUARANTEE . . .
Fibre Carrying case . . . $20.00
Available Direct or at Your Dealer
F&B Gator Grip-Lites
PROFESSIONAL RESULTS NOW POSSIBLE WITH YOUR
CINEVOICE CAMERA
Shoot Complete 1 5 Minute Programs
600 FOOT MAGAZINE CONVERSION FOR 1 6mm AURICON CINEVOICE CAMERA Av Low Cost
W rite for Brochure
FACTS ABOUT F&B
F&B Cannot be Undersold F&B prices are
always the lowest in the industry. Maximum dis¬ counts cheerfully granted whenever possible.
Hangs from a nail — clamps securely to doors, chairs, flats or stands. Barn door swivels 360° — accepts diffusers, filters, etc. Great with
Colort’-an converter.
Price Complete . $12.95
Barn Door Only . $ 8.75
ASK FOR FREE 1955 CATALOG
F&B USED EQUIPMENT
Always in stock . . . THOUSANDS OF ITEMS . . . cameras, projectors, lenses, accessories,
rewinds, splicers, synchronizers, editing. ghr- ing and laboratory equipment . . . ALL AT
REASONABLE PRICES. We are always glad to quote lowest possible prices for specific items.
• F&B carries a Complete Stock . . . Everything in new and used equipment for production, projection, processing, recording, editing, distribution, etc. F&B is agent for all major manufacturers.
• F&B offers on Ironclad Guarantee Nothing
sold as is. Every item sold carries a 100% money back guarantee.
• F&B wants your Account . . . Your credit is good at F&B. You will receive top service, courtesy and reliability when you deal with F&B.
FLORMAN & BABB
70 West 45th Street, New York 19, N. Y.
Phone: Murray Hill 2-2928 Cable Address - FLORBABB, N.Y.
NOW, A DUAL-PURPOSE AURICON "SUPER 1200" CAMERA
with TeleVision -Transcription "TV-T" SHUTTER . . . .
...designed for Kinescope Recording. ..and shoots regular Live Action 16mm Sound-On-Film Talking-Pictures without any Camera modification or change in the “TV-T” Shutter! The Auricon “Super 1200” Camera can Kinescope Record a continuous 30 minute show using 1200 foot film magazines. The “TV-T” Recording Shutter (Patent applied for March, 1949) works equally well with negative-positive or reversal film. This Dual-Purpose “TV-T” Shutter is also available for the “Auricon-Pro” and “Cine-Voice” Cameras. Write today for information and prices.
Auricon Cameras with “TV-T” Shutter are sold...
( 1 Without sound for “TV-T” Kinescope Recording of picture only.
2 With Single-System Sound-On-Film for “TV-T” Kinescope Recording of picture and sound-track on same film at same time.
3 For Variable-Area OR Variable-Density Sound-On-Film “TV-T” Recording.
Auricon 50 ft. Kinescope “TV-T” Demonstration Films are available on loan to TV Station Managers and TV Film Producers. Please request on your letterhead.
PIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIH
j USE AURICON "TV-T" KINESCOPES FOR: j
DELAYED RE-BROADCASTING -K SPONSOR PRESENTATIONS -+C COMPETITION CHECKS PILOT KINESCOPES ■+C SHOW-CASE FILMS FILM LIBRARY -frC "HOT KINES"
* AIR CHECKS
Auricon 16 mm Sound-On-Film Cameras are sold with a 30-day money-back guarantee. You must be satisfied!
BERNDT-BACH, INC.
6702 Romaine St., Hollywood 38, Calif.
= New 35 mm Model 2A ==
= With 180° Shutter =
. . . in equipment, accessories, service
I a truly GREM. i
CAMERA =
EE for TV, Newsreel = and commercial
— For tough and trying assign- ~
— ments, ARRIFLEX 35 is in a ~~ class by itself. Reflex focusing
EE through photographing lens EEE zzr while camera is operating —
== this is just one outstanding ~
— ARRIFLEX feature. ^
~ Equipped with bright, right- iE ~ side-up image finder, 6V: 2 x ~ EE magnification. Solves all par- EE: = allax problems. 3 lens turret. = Variable speed motor built ~ into handle operates from —
— lightweight battery. Tachom- =EE
5E eter registering from 0 to 50 EEE =z frames per second. Compact, ^ EE lightweight for either tripod EE == or hand-held filming. Takes — EE 200' or 400' magazine. Write EE EE for free folder. EE
— Blimp now available. ^
— 1 6 mm ARRIFLEX also available."
FRANK C. ZUCKCR
nm€RR Couipmem (o
1600 BROROujny \ n«uj yoRK cay >s— ■ '
Tightwind Adapter
The Camera Mart, Inc., 1845 Broad¬ way, New York 23, N. \ offers a novel device which aids in rewinding 16mm or 35mm him on cores, without need for reels or flanges. Known as the Camart Tightwind Adapter, it fits over the top of most standard rewinds, as shown above, and is complete with core adap¬ ter.
The adapter permits winding short lengths of him quickly, tightly and evenly; need for separate tightwinders for each roll of him is unnecessary.
List price is $24.00.
Optical-Magnetic Reader
Precision Laboratories, 1139 Ltica Avenue