nard c
the mor/on
In This Issue .
ORTHICON PICKUP TUBE FOR TELEVISION CAMERAS
JANUARY
1946
(No. 14 of a series on the manufacture of Du Pont Motion Picture Film )
THE SLIT rolls of Du Pont Mo¬ tion Picture Film have now been perforated by precision machines whose dies and punches are accu¬ rate to an unbelievable degree, in¬ suring smooth operation through camera or projector, and steady images on the screen.
Next, as pictured, every foot of every roll of Du Pont Motion Pic¬ ture negative, positive and the recording stocks is given a keen- eyed visual inspection.
This “final exam’’ takes place in air-conditioned rooms where the
only illumination is that reflected on the film from safelights designed for this purpose.
Although control tests are con¬ ducted in Du Pont laboratories throughout the manufacture of Du Pont Motion Picture Film, this fi¬ nal inspection is still another means of providing a product of uniform dependability at all times.
E. I. du Pont de Nemours & Co. (Inc.), Photo Products Depart¬ ment, Wilmington 98, Delaware.
In New York: Empire State Building In Hollywood: Smith & Aller, Ltd.
DU PONT
MOTION PICTURE FILM
BETTER THINGS FOR BETTER LIVING . . .THROUGH CHEMISTRY
approve this film
1. Retention of latent image
2. Extreme wide latitude
3. Color balance
4. Fine grain
5. Speed
6. Contrast
7. Excellent flesh tones
8. Uniformity
January, 1946 • American Cinematographer
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Choose from seven standard Eyemo models the 35mm. camera that will meet your individual need. B&H correlated ac¬ cessories, too, completely "tailor” your Eyemo for every specific job.
Back again, after four years of combat service which have proved anew its su¬ perior qualities, Eyemo excels wherever pictures of theater quality are demanded.
In all models a sturdy spring motor in¬ sures uniform running of 5 5 feet of film for each winding. Precise speed control permits later addition of sound. Unique "grip” construction makes steady hand¬ holding easy. Standard controls are out¬ side, fully visible, and easily operated.
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SINCE 1907 THE LARGEST MANUFACTURER OF PRECISION EQUIPMENT FOR MOTION PICTURE STUDIOS OF HOLLYWOOD AND THE WOR4®
American Cinematographer • January, 1946
£
VOL. 27
JANUARY. 1946
NO. 1
CONTENTS
(55
The S t a f f
EDITOR
Walter R. Greene
Orthicon Pickup Tube for Television Cameras . 6
Pointers on Use New Ansco 16 mm. Color Film . 7
Automatic Follow Focus Devices for Use in Cinematography,
By James T. Strohm and William G. Heckler 8
Aces of the Camera (Peverell Marley, A.S.C By Hilda Black 10
Sixteen Goes Hollywood . By Ray Fernstrom, A.S.C. 12
Review of the Film News . 14
No Cherry Blossoms in a Factory . By Walter Wise 16
Among the Movie Clubs . 20
Fitting Film to Music . By Harold Rawlinson 23
Using Your Movie Camera as a Motion Picture Step Printer,
By James R. Oswald 24
Current Assignments of A.S.C. Members . 28
ON THE FRONT COVER is a photograph on the set of Monogram’s pro¬ duction, “Suspense”; with Director Frank Tuttle and Director of Photo¬ graphy Karl Struss (in center) checking closeup of Belita and Barry Sullivan beforet the cameras roll. Photo by Clifton Kling.
<55
OFFICERS AND BOARD OF GOVERNORS AMERICAN SOCIETY OF CINEMATOGRAPHERS
Leonard Smith. President Fred Jackman. Exec. V.-Pres. and Treas.
Charles Clarke, First Vice-President Joseph Walker, Second Vice-President
Arthur Edeson, Third Vice-President Ray Rennahan, Secretary
George Folsey, Sergeant-at-Arms
John Arnold Byron Haskin John Seitz
John Boyle Sol Polito Leon Shamroy
Lee Garmes William Skall
TECHNICAL EDITOR Emery Huse, A.S.C.
•
ASSOCIATE EDITOR Edward Pyle, Jr.
•
MILITARY ADVISOR Col. Nathan Levinson
•
STAFF PHOTOGRAPHER Mel Traxel
•
ARTIST
Glenn R. Kershner, A.S.C.
•
CIRCULATION AND ADVERTISING Marguerite Duerr
•
ADVISORY EDITORIAL BOARD Fred W. Jackman, A-S. C.
Victor Milner, A. S. C.
Alvin Wyckoff, A.S.C.
Farciot Edouart, A. S. C.
Fred Gage, A. S. C.
Dr. J. S. Watson, A. S. C.
Dr. L. A. Jones, A. S. C.
Dr. C. E. K. Mees, A. S. C.
Dr. W. B. Rayton, A. S. C.
Dr. V. B. Sease, A. S. C.
•
AUSTRALIAN REPRESENTATIVE McGill's, 173 Elizabeth Street, Melbourne. Australian and New Zealand Agents
Published monthly by A. S. C. Agency, Inc. Editorial and business offices:
1782 North Orange Drive Hollywood (Los Angeles, 28), California Telephone: GRanite 2135
Established 1920. Advertising rates on appli¬ cation. Subscriptions: United States and Pan American Union, $2.50 per year; Canada, $2.76 per year ; Foreign. $3.50. Single copies, 26c ; back numbers, 30c ; foreign, single copies 36c. back numbers 40c. Copyright 1946 by A. S. C. Agency, Inc.
•
Entered as second-class matter Nov. 18. 1937. at the postoffice at Los Angeles. California, under the act of March 3, 1879.
4
January, 1946 • American Cinematographer
Color Correct — 16MM prints in 72 hours.
Fast! Yes — but delivery guaranteed.
Full fidelity of sound and definition often exceeding the original.
For superior work — ahead of time — "Byron-ize" your prints.
the most complete 16 MM sound studio in the east Studio: 1712 Connecticut Ave., N.W. Phone Dupont 1800 Washington 9, D.C.
American Cinematographer • January, 1946
5
RCA Television camera equipped with new Image Orthicon pickup tube of extreme sensitivity. The Orthicon catches action under dim lighting conditions — in this case only a match — and accentuates signal's lighting qualities for transmission to any degree of increased brilliance.
Orthicon Pickup Tube
for
Television Cameras
ANEW television camera tube of revolutionary design and sensitiv¬ ity emerged from wartime se¬ crecy for exhibition by Radio Corpora¬ tion of America in a series of studio and remote pickups in which it not only transmitted scenes illuminated by can¬ dle and match light but performed the amazing feat of picking up scenes with infra-red rays in a blacked-out room.
The new tube, known as the RCA Image Orthicon, was demonstrated re¬ cently in a studio of the National Broad¬ casting Company, Radio City, with the cooperation of NBC’s engineering and production staff. In the exhibition, mem¬ bers of the audience saw themselves televised under lighting condition to
demonstrate the super sensitivity of the new electronic “eye” which can solve many of the major difficulties of illumi¬ nation in television programming and makes possible ‘round-the-clock tele¬ vision coverage of news and special events.
Further evidence of the tube’s ex¬ treme sensitivity came in the transmis¬ sion of scenes from a special rodeo show arranged at Madison Square Garden for the visiting United States Navy Fleet. Cowboy acts were picked up by the Image Orthicon and transmitter to the studio in a comparative demonstration displaying its advantage over conven¬ tional television pickup tubes in provid¬ ing greater depth of perception and
clearer views under shifting light con¬ ditions.
RCA-NBC engineers climaxed the demonstration by blacking out the studio where the writers were assemb¬ led, and providing the spectacle of pick¬ ing up television scenes in apparent darkness. Unseen infra-red (Black) lights were turned on, but it was so dark that a member of the audience could not see the person next to him. Then on the screens of television re¬ ceivers in the studio appeared bright images of a dancer and other persons who were in the room. The Image Orthi¬ con tube, it was explained, achieved the feat through its sensitivity to the infra¬ red rays.
Aladdin’s Lamp of Television
“This is the Aladdin’s Lamp of Tele¬ vision,” declared John F. Royal, NBC Vice-President in charge of television. “It’s revolutionary effect on lighting problems means that many of our ma¬ jor difficulties of illumination will be eliminated.
“This new instrument which is easily portable and suitable for use Ln every field of television opens new vistas that challenge the imagination. It assures television of 24 hour coverage, in day¬ light, twilight, or moonlight — in good weather and in bad.
Declaring the Image Orthicon to be 100 times more sensitive than conven¬ tional pick-up tubes, E. W. Engstrom, Research Director of RCA Laboratories, explained details of the development of the tube. He said that early models were built before the war in efforts of RCA television scientists and engineers to improve the quality of television transmission. When war came, the arm¬ ed forces found urgent need for tele¬ vision applications, and throughout the
Compactness of the Orthicon tube is shown with length of 16 inches and diameter of two inches — not any larger than a tubular flashlight. Orthicon tube will allow for manufacture of a smaller, lightweight and more portable television camera.
6
January, 1946 • American Cinematographer
Pointers on Use New Ansco 16mm. Color Film
conflict RCA research and development continued at an accelerated pace in re¬ sponse to military requirements. Many advances were made.
The Image Orthicon tube, for ex¬ ample, Mr. Engstrom said, emerged in its present form much sooner than would normally have been the case. A military secret until now, it can be re¬ vealed that it makes use of the most ad¬ vanced results of more than twenty years of research not only in television pick-up tubes but in electron optics, photo-emission processes, electron mul¬ tipliers, and special materials.
Announcing incorporation of the Image Orthicon in a new super-sensitive television camera to be manufactured by RCA Victor, Meade Brunet, General manager of the Company’s Engineering Products Division, said that deliveries on the camera are expected to be made to television broadcasters in about six months.
“This equipment is especially well suited for televising events remote from the studio and those where brilliant lighting is either impracticable or un¬ desirable,” said Mr. Brunet. “The port¬ able camera is lightweight, simple to operate, and can be quickly set up and placed in operation. It is particularly adaptable for use in televising out-of- door sports and news events and for remote indoor pick-ups such as in the¬ aters, concert halls, schools, churches, courtrooms, and other public buildings.”
Advantages in Performance
RCA engineers listed these specific advantages in performance of the Im¬ age Orthicon:
1. Ability to extend the range of op¬ erations to practically all scenes of vis¬ ual interest, particularly those under- low-lighting conditions.
2. Improved sensitivity, permitting greater depth of field and inclusion of background that might otherwise be blurred.
3. Improved stability which protects
(Continued on Page 27)
/%NSCO’s 16 mm. color film became r\ available generally throughout ^ the United States during the past few weeks, with company announcement disclosing that production of the film permits distribution on virtually unre¬ stricted basis to dealers. Limited quanti¬ ties of the new 16 mm. reversible color stock were distributed in eastern states last year, and the broadened availability results from lessened demands for the film by the armed forces.
For the time being, only 100 foot lengths of the daylight type film will be available, Ansco discloses, but within a few months other length rolls and the tungsten type film will be on the market. Processing charges are included in the purchase price of the 16 mm. color film, and exposed rolls have to be sent to Ansco main color laboratory in Bing¬ hamton, New York for such develop¬ ment, until processing labs are estab¬ lished at convenient points and it is ex¬ pected that processing will be available on the Pacific Coast shortly after Feb. 1, 1946. Company also announces that duplicating service whereby extra prints can be struck off, will also be available.
Ansco’s Information on Use
Despite that fact that 16 mm. Ansco color reversible film has a long scale of gradation and wide exposure latitude, it is important that correct exposure be given if best results are expected. Folder supplied with each roll of film will aid in determining correct exposure of the film, either by use of the exposure charts provided or when using a photo-cell type exposure meter. As a general rule, it is advisable to never use a smaller lens opening than f/11 when out-of-door ex¬ posures are made at 16 frames per sec¬ ond, regardless of how small a lens opening is indicated by the exposure meter; for experience has proven that even the lightest subjects under bright¬ est sunlight conditions are underexposed
at lens openings smaller than f/11. Un¬ less great care is used in interpreting the reading of even the finest photo-cell type exposure meters inaccuracies may, and often do, result. According to Ansco the printed chart in folder provides with each roll has been found to produce con¬ sistent results under the condition given.
This chart discloses that — at normal shutter speed of 16 frames per second with the Daylight type film — best re¬ sults will be secured as follows:
Front Side Lighted Lighted
|
Bright Sunlight . |
... f.8 |
|
Hazy Sunlight . |
_ f5.6 |
|
Soft Shadows |
|
|
Sun Overcast . |
. . . . f.4 |
|
No Shadow |
|
|
Bright Day |
|
|
Sun Overcast . |
_ f2.8 |
Dull Day
The above table is for use under aver¬ age summer conditions in the temperate zones, from two hours after sunrise until two hours before sunset.
In winter, use next larger opening (one full stop) rather than that given in the table, provided there is no snow.
With exceptionally brilliant light, as in seascapes, snowscenes or at high alti¬ tudes, the indicated exposure may be halved.
The exposures in the table are for medium subjects. Dark subjects require one-half stop greater exposure, while light subjects should be given one-half stop less exposure.
For best results, Ansco recommends the exposure of the daylight type color film only in direct sunlight. Products is balanced for use without filters under the normal and recommended conditions.
Hand Tests Possible
In a recent series of tests by Ansco technicians, it has been determined that short strips of 16 mm. Ansco color re¬ versible film can be processed in a beaker or film tank to give an indication of correct exposure. It was observed that the density and color quality of the test strips processed by hand differed but slightly from that of film processed in the Ansco color laboratory. The practice of developing short strips of film to check exposure may prove advantageous at times if the individual realizes that similarly exposed film processed by Ansco may be slightly different in density and color quality from the home processed tests.
Procedure Where Duplicates Wanted
The 16 mm. Ansco color reversible film exposed with intention of having dupli¬ cates made on Ansco color film should be softly lighted so as to avoid extreme contrast because all duplicates exhibit somewhat higher contrast than the orig¬ inals from which they are made. Films which have large, dark shadow areas and extremely light, or even clear highlights are seldom satisfactory when duplicated because these extreme conditions are even more pronounced and annoying in the duplicate film.
RCA IMAGE ORTHICON TUBE
IMAGE SECTION SCANNING SECTION MULTIPLIER SECTION
pick-up tube, shows how the tube's response to the light of a single candle, or even a match, is built up to provide a signal which can reproduce images on home receiver screens. A light image from the subject (arrow at extreme left) is picked up by the camera lens and focused on the light-sensitive face of the tube, releasing electrons from each of thousands of tiny cells in proportion to the intensity of the light striking it. These electrons are directed on parallel courses from the back of the tube-face to the target, from which each striking electron liberates several more, leaving a pattern of proportionate positive charges on the front of the target. When the back of the target is scanned by the beam from the electron gun in the base of the tube, enough electrons are deposited at each point to neutralize the posiHve charges, the rest of the beam returning, as indicated, to a series of "electron multiplier" stages or dynodes surrounding the electron gun. After the returning "signal" beam has been multiplied many times, the signal is carried out of the tube to the television broadcast transmitter.
American Cinematographer • January, 1946
7
Automatic
Follow-Focus Devices
For Use In Cinematography
By JAMES T. STROHM and WILLIAM G. HECKLER
(Captains, Signal Corps, Camera Branch, Signal Corps Photographic Center, Long Island City, N. Y.)
IN THE course of producing training films at the Signal Corps Photo¬ graphic Center, Long Island City, New York, it was soon realized by the cinematographers attached to the Cam¬ era Branch that, in many instances, the type of photography required for train¬ ing films, orientation films, morale films, etc., was somewhat different than the photography required for the production of entertainment films as normally pro¬ duced in the major Hollywood studios. At the outset the production cameramen and special effects cameramen soon found that a great percentage of the Signal Corps productions required nu¬ merous shots of maps, diagrams, mock- up models, inserts, miniatures, etc. In so many shots of this type it was neces¬ sary to open the scene with a full shot of a map, diagram, or model, and then move the camera in to a specific point in
order to call attention to it or emphasize it. The reverse of this procedure was also often the case, where it was neces¬ sary to open the shot at a specific point and then move the camera back in order to encompass the entire object.
Many difficulties were encountered in an effort to photograph such shots with the required degree of accuracy. First of all, the Camera Branch was ham¬ pered by having only a few highly trained and competent camera operators capable of operating the camera in these extremely difficult shots and also only a few assistant cameramen who had had enough experience in changing focus on lenses accurately. The procedure of accurately changing focus on a photo¬ graphic lens while the camera is in mo¬ tion is extremely difficult and requires a great deal of instruction and constant practice. It was found that inexpe¬
rienced camera operators were never sure if the object being photographed was in sharp focus through the entire length of the scene, and it was always necessary to rephotograph the scene several times with the hope that one of the “takes” would be in sharp focus.
Difficulties were also experienced with camera dolly “weave” and vibrations, resulting from the human element in¬ troduced in starting and stopping the dolly and variations in the dolly tracks. For the same reason, acceleration surges were seldom absent. Also, accurate syn¬ chronization of in-and-out movements with up-and-down movements of the camera was seldom realized.
It soon became apparent that it would be advantageous to construct some sort of device which would eliminate the human element not only in moving the dolly but also automatically changing the focus of the photographing lens during the periods when the camera was in horizontal movement. Research work was begun to accomplish this end and resulted in the development of the present all-electric and fully automatic camera dolly which is used at the pres¬ ent time by the Camera Branch at the Signal Corps Photographic Center.
The fully automatic electric dolly is an adaptation of a standard Raby cam¬ era dolly. (See Fig. 1). The two stand¬ ard rubber wheels are retained on the left side, while the standard rubber wheels on the right side have been re¬ placed with two bronze wheels which have had a V-shape groove cut into their riding surfaces. Round V2 in. tubings which are countersunk into a wooden base act as a straight-line guide for these wheels. Troublesome weave and vibrations are completely eliminated by this new combination of dolly guide wheels and track tubing. The track joints themselves are carefully butted together, eliminating the usual track irregularities.
Presented at Spring, 1945, Technical Conference of Society of Motion Picture Engineers, and published in October, 1945. issue of SMPE Journal. Reprinted here with special permission of the SMPE.
Fig. I. Automatic dolly.
January, 1946 • American Cinematographer
The power unit which motivates the dolly consists of a 14 h.p., 110 v d-c motor which has a top speed of 1725 rpm. The shaft of the motor is con¬ nected to the speed reducer box by means of a rubber coupling that takes up all motor vibrations as well as start and stop jars. The speed of the d-c motor is reduced 50 times by the reducer box, and a sprocket gear pulley from it engages the sprocket chain which in turn rotates the dolly axle and bronze power wheel. A rheostat governs the speed control, while standard reversing switches determine direction.
Essentially, the same type of power unit has also been installed on the dolly and is applied to the dolly tilt arm so that it may be raised or lowered with ease even when the dolly is in motion. To the rear of the unit a seat for the dolly operator is provided, together with a control panel which contains switches and controls that govern the speed and movement of both the dolly and the
tilt arm. The control panel also con¬ tains dials which show any given posi¬ tion of the dolly and the tilt arm. Once the dolly operator knows the conditions of the shot, he can duplicate these con¬ ditions any number of times without fear of error, for any error that he might make would be plainly indicated on the control panel after the shot was completed. Also, additional switches make it possible for the operator to control the entire series of movements by the throwing of a master switch.
The most important mechanism in¬ stalled on the dolly, however, is the automatic follow-focus device. As stated above, this device was developed and installed because of the gx-eat need for accurate and positive focus, particularly on close follow shots where the narrow
depth of field characteristic of photo¬ graphic lenses as they closely approach a given target demands extremely ac¬ curate focusing. This need was of par¬ ticular importance in special effects work where follow shots are concerned mainly with extremely accurate framing and the extreme proximity of the lens to the object or target. Such examples can be cited as the need to move from a close-up of an individual to his mouth or eyes, or in some cases, to one eye. Another common case could be cited such as moving up to or away from small sections of maps or titles.
Although this device could be used in many instances in standard set proce¬ dure, no intent was made to displace current production methods and it was conceived only for those highly difficult follow shots which are almost impossible to accomplish when the cameraman must depend upon the judgment of the operator or assistant to focus the lens by hand. The automatic focusing of the photographing lens is accomplished in the following manner.
The focus unit receives its activation from the right front dolly wheel. (See Fig. 2). It transfers this energy to a cam, which has a contour pitch, com¬ plementary to the curvilinear action of a two inch lens or of the particular focal length lens desired. This action is applied to a small gear on the end of the shaft of a Selsyn generator mo¬ tor. The rotation of this motor is trans¬ mitted to and received by a Selsyn re¬ ceiving motor. A small gear, same size as on the generator, is mounted on the end of the receiving motor shaft. This activates a pinion gear, which turns the actual lens gear itself. (See Fig. 3).
There is a distinct advantage in using electrically connected Selsyn or inter-
(Continued on Page 22)
Fig. 3. Dolly lens gear assembly.
Fig. 4. Title and insert stand.
American Cinematographer • January, 1946
9
ACES of the CAMERA
PEVERELL MARLEY, A.S.C.
By HILDA BLACK
WHEN Pev Marley was graduated from high school he found him¬ self face-to-face with a crisis in his life: should he enter Stanford as his parents had always planned, or should he get a job instead. It was no ordinary matter to decide, and wanting their son to enter Stanford was no idle whim on the part of his parents. Leland Stanford had been their friend, and from the day of Pev’s birth, it was naturally taken for
granted that when the boy became of uni¬ versity age, he would enter Stanford. There had never been any question about it.
Which would have been fine, except that when young Marley reached that age, he couldn’t make up his mind what he wanted to do about his future. Defi¬ nitely, he didn’t want to become a doctor or a lawyer, and the only reason he could find for going to college was to
have fun — football, track, fraternity ac¬ tivities — things like that. Such a program didn’t seem to be sufficient excuse for putting in four years’ time, figured the sensible lad. And so he decided to get some kind of a job during summer vaca¬ tion and think the matter over.
By a lucky break, the job he landed was in the motion picture business as as¬ sistant to A1 Wykoff, Cecil deMilie’s cam¬ eraman. All that summer Pev worked hard, as did all aspiring cameramen in those days. Today, for the same amount of work, four men — instead of one — would probably be hired. With practically no help. Pev’s chores included: packing, unpacking and transporting 22 cases of camera equipment; setting up three cameras; loading the film in the morning and canning it at night; holding the slate; keeping a record of the footage. On location he had to take the cameras apart and put them together again; and always there was the little book in which he kept a derailed report of how far what actor was from what camera in a certain scene and what type of lens had been used. Those were questions that were sure to come up, and they had to be an¬ swered correctly. When a man worked for deMille, he had to be on his toes every minute. The director would not tol¬ erate careless or disinterested employees.
In addition to everything else, Marley kept a little notebook of his own, and he still has it, to this day. It is his per¬ sonal record of what he terms “deMille witicisms.” He thought many of the. di¬ rector’s remarks too good to be lost.
That summer’s work convinced Pev Marley that he liked the motion picture business. And when schooPime rolled around again, he made his decision: in¬ stead of going to school and getting an academic education, he would get a prac¬ tical one. And where, he asked himself, could he get a better understanding of the mofion picture industry than with C. B. deMille, the king of them all. Pev says now that he has never reeretted his choice, even though, at the time, it did cause near-havoc in his family.
Everybody worked hard in the picture business in those days, and many of the men who are now tops in the profession, started just as Pev did — carrying equip¬ ment, taking cameras apart, and put¬ ting them together again — and the dozen and one other odd jobs they are called upon to do. It was tough, but it was one certain way to the top. You learned the hard way.
Pev got the benefit of the finest train¬ ing in the business, for the deMille epics were all made on the grand scale. Mar¬ ley worked on such gigantic productions as “The King of Kings,” (which later opened Grauman’s Chinese Theater), “The Ten Commandments,” “The Volga Boatman” (it opened the Carthay Circle), “Feet of Clay,” and “Dynamite” among others.
Perhaps it was his youth, eagerness, ambition and his great respect for the (Continued on Page 31)
10
January, 1946 • American Cinematographer
1946
and always -
Expect Continuance of
THE BEST
in all
EASTMAN FILMS
and ditto in
BRULATOUR SERVICE
J. E. BRULATOUR, Inc
SIXTEEN GOES HOLLYWOOD
By RAY FERNSTROM, A. S. C.
BEFORE the war, both Technicolor and Cinecolor were blowing up sixteen to thirty-five with results that reached general theatrical distribu¬ tion. None were features until Army, Navy and Marine Corps films arrived. Then sixteen grew up. Now it is quite possible that the future will see entire features shot in sixteen for blowup. Several professional cameras are nearly ready for such productions. Due to the enlargement factor necessary, many new features will be added or included in these machines. Amateur color can be enlarged but this is only another ex¬ ample of where only the professional cinematographer and the tools of his art can deliver the quality results demanded by major producers.
Just the other day I viewed the Mitchell Sixteen, a professional’s camera which is a midget Mitchell NC. All the detail of the bigger model is incorporated in this lighter sixteen. A new tripod, equally as rigid as its older brother looks and acts professional. For the last ten years Fve used every conceivable model sixteen camera, both in and out of the Army; those made here and abroad. Now at long last we are beginning to get the type of equipment we, the professionals, need before we can consistently deliver
the same color quality photography we are able to do in thirty-five.
Both the Mitchell Sixteen and the Jnew Maurer, (which I haven’t seen) promise the necessary accessories we re¬ quire. I for one, need a matte box and sunshade with several filter and pola screen holders. Otherwise it is impos¬ sible to control overall exposure on a monopack type film. I use graduated neutral density filters to hold back hot skies. Often a pola screen at the same time to darken the sky and accentuate cloud effects. At the same time Harri¬ son color correcting filters need a holder. The place to correct for color of light is in the camera at time of shooting. This is simplified with the Harrison Color and Kelvin Meter in addition to a good ex¬ posure meter. I use a GE because I can read through graduates and pola screens (“2”) and thus balance exposures over¬ all for the scene.
Furthermore, I like a glass (coated preferably) out in front on which I can dab transparent color to heighten effects where there is no actual color in the scheme. To use so many pieces of optical glass before a lens I have all lens and filter elements coated here in Hollywood by ACCRA Instruments. They do a good job of balancing their coating for color,
Ray Fernstrom, A.S.C. with the new "Mitchell 14" camera.
using a brown tone on one side which is neutralized by blue on the other. After fcoating surfaces of lenses and filters I suggest that tests be made to compen¬ sate your meter to the new speed of your lenses and filter transmission.
The Mitchell Sixteen will have a pro¬ fessional matte box with standard thirty- five lenses and mounts. Follow focus and blimping will be the same simple routine as with thirty-five Mitchells, except for the adaptors.
With improved equipment, film, and processes, sixteen will take over a great deal of thirty-five’s heavy load of color production both in sixteen distribution and in thirty-five blowups, especially on foreign and domestic type pictures that will carry crews and equipment to the far corners of the globe.
Quite a number of sixteen film features have been made and released through sixteen distributing channels and many more are on the way. Several were shot by A.S.C. members which more than anything else proves that sixteen is really “going Hollywood.” As more and more A.S.C. men add their profes¬ sional touches to sixteen the results will dignify the sixteen productions now planned. After all, what difference does the size of film make to a professional photographer of either stills or motion pictures? Sixteen needs A.S.C. men more than workers in any other category.
This is even more apparent when such originals are used in enlargement to thirty-five Technicolor or other proces¬ ses. The original must be considered as our negative and never viewed as a print. A good original never should look good if screened. Only the dupes or blowup negatives or copies should have the “look” of original Kodachrome or Ansco. To get the necessary result is a matter of tests and more tests, carrying the job through to the print and then screening that. On a recent feature at Monogram, a 5-reel fashion film, I shot all scenes with three different exposures. One for color cutting, one for sixteen dupes and one for Technicolor enlargement to nega¬ tives and prints by IB. From this ex¬ perience I used the resultant blowup technique in shooting Howard Hill shorts at Warners for Technicolor prints in thirty-five.
On these shorts I use the Professional 0.1 Camera that was built by Bell & Howell before the war. It is a profes¬ sional instrument in all details, but they only built this one camera. It is owned and was developed to it’s present stage by Harry McMahan of United States Motion Pictures. He and I shoot “Hol¬ lywood Mini-Tours” for blowup to Cine- color with it. These films are released nationally.
Last week I finished three feature- length sixteen pictures in Kodachrome (Continued on Page 26)
12
January, 1946 • American Cinematographer
Single Broad 500 to 750 Watts
The Double Broad 2000 Watts
The Dinky-lnkie 100 to 150 Watt Spot
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Designers and Manufacturers BOX 1310, HOLLYWOOD 28, CALIFORNIA
(>OLOR photography is the thing, but if it’s to be color you must be able to control your light, and you will need Bardwell & McAlister Lighting Equip¬ ment for good work.
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of the motion picture industry. It is char¬ acteristic of all Bardwell & McAlister lights that they are cool, noiseless and op¬ tically correct.
Fresnel type lenses on all Bardwell & McAlister spots permit full illumination with a smooth field which can be con¬ trolled for all requirements. Bardwell & McAlister lights are the accepted stand¬ ard for excellence throughout the motion picture industry. Place your orders now for early delivery. No priorities required.
THE FOCO SPOT is for use with the Baby Keg-Lite and gives a concentrated spot of light with sharp edges in either round or rectangular forms. Revolving disc projects circles ranging from 33/t" to 8'6" in diameter. Novel background effects may be obtained with painted slides.
The Junior Spot 1 000-2000 Watts
for literature describing the Baby Keg- Lite, The Dinky-lnkie, The Junior Spot (1000-2000 Watts), the Senior Spot (5000 Watts), the Single and Double Broads, and their ac¬ cessories as shown in the accompanying illustrations. Bardwell & McAlister light¬ ing equipment has a com¬ plete line of Snoots, Diffus¬ ers, Barn Doors and other accessories for controlling light at all angles and under all conditions. Address Dept. 24-16.
The Senior Spot 5000 Watts
500 or 750 Watt Spot
THE BABY KEG-LITE (shown above) is a lightweight 500 or 750 Watt spot for use as a key light, and for special lighting jobs. Sturdily built, the de¬ sign assures low temperatures, uniform heat expansion and elimination of heat noises. All light ranges between a 4 degree spot and 44 degree flood, con¬ trolled by a small lever from front or back. Fresnel type lens gives maximum light pick-up. Stand extends from 4'2" to 8'6". Total weight 25 pounds.
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American Cinematographer • January, 1946
REVIEW OF THE FILM NEWS
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MOST important news of the past month was the formation of United World Pictures by Inter¬ national (Leo Spitz and William Goetz), Universal, and British film tycoon J. Arthur Rank. Deal has potentialities of lifting Universal to position among the top major companies of the business; and — at this point — looks like a long- range association of the three partici¬ pants for very interesting future ex¬ pansion and progress.
Stripping the formal announcement of the formation to essential facts: United World Pictures will tie in closely with Rank’s present and future theatre in¬ terests in Great Britain, Canada, Aus¬ tralia, France, India, and other countries to give substantial bookings of company releases on a world-wide scale. If even¬ tually necessary to insure playdates and proper showcasing of product in the United States, theatres in key cities may likely be either acquired or con¬ structed. But, from Universal’s record of the past five years, and Interna¬ tional’s healthy key runs generally since its formation two years ago, there seems little need of American theatre tieups to insure outlet of future productions.
Spitz-Goetz’ International Pictures, Inc., which has been producing four top features annually for RKO release, be¬ comes inactive; and new International Pictures Corp. is being formed to carry on, with joint ownership of Spitz-Goetz and Universal. New International will produce minimum of eight productions annually; while Rank’s British pro¬ ducing units will also contribute the same number of pictures for world re¬ lease. Added product goes through Uni¬ versal exchanges in the United States and most of the foreign countries.
Eventual Universal Control?
Although it was definitely stated that at this time there would be no sale of any stock interest in Universal to either Rank or Spitz-Goetz, some trade ob¬ servers figure that such a move might eventuate in the near or distant future. Rank already holds a 25% interest in Universal through acquisition of Gen¬ eral Film Distributors of England. Lat¬ ter originally participated in the origi¬ nal financing setup which bought Uni¬ versal from the late Carl Laemmle, sr., for around $8,000,000 in 1936. If, as might be possible, other financial inter¬ ests holding large blocks of Universal stock might sell in the next year or so, there is no question but what Spitz- Goetz would pick up such offerings to combine with Rank for operating con¬ trol of the company.
Universal’s First Combo
It is interesting to note that this is the first time that Universal has par¬
ticipated in an amalgamation of any sort in its long and colorful career. Origi¬ nally launched by Laemmle around 1910, it kept independent through a 35 year career for two records — (1) the oldest continuing company, and (2) never an amalgamation despite the tough going at many points. But the present asso¬ ciation with Goetz-Spitz and Rank has many advantages for old U ; bringing in plenty of executive and production manpower, talent, strong theatre affilia¬ tions world-wide, and top box office talent in the star, director, producer and writer fields. That’s why these ac¬ quisitions carry potentialities of lifting the Universal structure up among Metro-Goldwyn-Mayer, Paramount, Warners and 20th Century-Fox, within a reasonable time.
Watch Goetz
Although, on the surface, it would appear that Rank, with his global theatre holdings and financial control of British film producing units, would be the major factor in the United World setup, the key executive appears to be Goetz. The latter has made solid prog¬ ress in the past 12 years; generating loyalty and enthusiasm of talent and production personnel so necessary for the successful production of motion pic¬ tures. Besides his personal abilities, Goetz has the sage advice and counsel of Louis B. Mayer, which cannot be discounted. When it is recalled that Mayer took two unprofitable studios — Metro and Goldwyn — and quickly welded together the greatest producing organi¬ zation of the industry; his guidance of Goetz’ activities is invaluable in numer¬ ous ways.
Television Progress
The more plans for general television broadcasts develop, the closer the new medium veers away from the radio in¬ dustry into closest contact with motion pictures. Utilization of motion pictures for general television broadcasts rather than live action, seems to be growing in general acceptance within the inner councils of television. During the past few weeks, both Paramount and Disney on the Pacific Coast have applied for television transmitter permits.
Paramount, with a large interest in DuMont, is probing a new angle on theatre broadcasts of current events of national interest. Paul Raiburn, an executive assistant to Paramount presi¬ dent Barney Balaban, has been explor¬ ing the possibilities of televising a na¬ tional event into the large theatres of the company’s circuit; with the receiving houses having camera setup whereby film could be made of the television
broadcast and the exposed film quickly developed in a compact tank for pro¬ jection on the theatre screen as soon as the main feature or other attraction is completed. The idea has possibilities, as it would overcome the difficulty of a theatre requiring to stop a feature in the middle in order to directly televise an important happening directly onto the screen. According to information at hand, Paramount’s television channel would broadcast the picture via a nega¬ tive image, so that take-off film in the theatre would be a positive and not require additional step of printing.
Disney, in applying for television sta¬ tions in Los Angeles, San Francisco and San Diego, figures on a long-range proposition which would eventually hook the trio together via coaxial cable or some other means. The cartoon pi’o- ducer is figuring on production of films for television broadcasts — with both car¬ toons and live action — and apparently expects the three coast tele stations to become showcases for his product made for television advertisers.
20mm. for Theatres
For many years, the large producer- distributor companies have ignored the use of 16 mm. release prints for the¬ atrical showings in both this country and abroad. However, the successful Army and Navy circuits entertaining personnel at and behind the far-flung battlefronts, proved to the film officials that the miniature films held great po¬ tentialities for theatrical use, especially to expand distribution in the foreign markets where heretofore many smaller communities did not have the power fa¬ cilities, or could not support, the regu¬ lation 35 mm. size.
Major companies, with Loew’s Inter¬ national (Metro-Goldwyn-Mayer) in the lead, are planning immediate availabil¬ ity of 16 mm. prints of entertainment features for widespread expansion of showing abroad — Central and South America, Africa, the Near East, and Asia.
In the United States, the distributors have shied away from making the 16 mm. prints available for release. Basic reason for this attitude is fear that such prints would have to be booked to non¬ theatrical accounts, with resultant vig¬ orous complaints from the regular ex¬ hibitors that competition from the schools, churches, and other locations not classed as theatres, would be detri¬ mental to the regularly-operated show- houses.
But the film companies, recognizing the potentialities of expanding distribu-
(Continued on Page 34)
14
January, 1946 • American Cinematographer
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American Cinematographer • January, 1946
15
NO CHERRY BLOSSOMS
IN A
FACTORY
A Discussion on Photographing Educational Motion Pictures
By WALTER WISE
(Editor's Note: Mr. Wise is head ot Tradefilms, which has been producing both commercial pictures and training films for the armed services during the past six years. The author was previously with major studios as a writer for eight years; and his experience in the two fields of film production qualifies him to compare
the mediums.)
THERE is absolutely no doubt about it. In the next few years educational motion pictures are going to provide an increasing source of income to cameramen. There is also no doubt about another point. They are go¬ ing to earn every dollar they make.
We all know that even in the theatrical field creative camera work does not al¬ ways receive the recognition or appre¬ ciation which it merits. If a cameraman hears some one gush that “Ennatrude
Schlagenhopper looked positively rav¬ ishing,” he can interpret that as the ulti¬ mate compliment. Because, despite a slight tendency to nymphomania on Ermatrude’s part, very few people, con¬ sidering the world’s total population, have had a good look at her before Wheaties time.
On the credit side of the cameraman’s ledger as long as he stays inside the studio he has the art department, make¬ up men, set dressers and all the related
Cameras and lights must be adapted within space limitations when shooting factory training films. This illustration, in which the author is rehearsing a machine operator, gives far more latiutde for setup
than is generally the case.
Factory machinery to be used for photographing vocational training films should be either painted or sprayed with gun-metal paint for best results.
crafts to help him. He even has the sweater manufacturers on his side for the benefit of audiences who can count up to two. In a pinch he can even call for a potted palm or a branch of cherry blossoms. But there are no cherry blossoms in a factory and sex appeal is not standard equipment on turret lathes or punch presses. Here the cameraman is on his own, without studio resources, often without adequate lighting facili¬ ties. All that he can rely on is his ex¬ perience and his ability.
At first thought this might seem a harsh analysis or a result caused by conditions which need not exist. But be¬ fore you reach a final conclusion, con¬ sider the conditions for yourself.
1. Training films should be photo¬ graphed at the actual scene of action, even in cases where the equipment to be used is small enough to be set up in a studio. The background, the “feel of the shop,” is of major importance in train¬ ing for any skill.
2. In a factory you will seldom find sufficient clearance around your subject to place the number of lights you would like to use.
3. Low budgets are a constant buga¬ boo. This is not due to penny pinching on anybody's part. The revenue from training films simply does not permit large production costs.
4. And don’t let’s forget the little things such as camera-shy workers on the demonstration machine, uneven floors, low ceilings, cramped quarters and trying to make yourself heard above the gentle chorus of a battery of drop hammers.
These are general conditions which apply to training films as a whole. But each new educational picture has its own problems. Speaking now solely from
(Continued on P»ge 32)
16 January, 1946 • American Cinematographer
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American Cinematographer • January, 1946
New Lens For 6 & H Companion 8 Camera
A new 0.5 inch F2.8 lens for the B&H 8 mm. Companion Camera has been de¬ signed for the amateur cine-photographer who doesn’t care to be bothered with a light meter and F stops.
In addition to the standard F stops another scale has been added. The sta¬ tionary ring is calibrated into two divi¬ sions, “Winter” and “Summer.” The movable ring is divided by three lines marked, “Bright,” “Hazy,” “Dull.” An example of its operation is as follows: If the line marked “Dull” is placed op¬ posite line marked “Winter,” the lens diaphragm will be wide open at F2.8. Conversely, if the line marked “Bright” is placed opposite the indentation for
National Carbon Establishes Technical Specialist Group
Expansion of the technical service facilities of National Carbon Co. is ef¬ fected by establishment of a Technical Specialists group for consultation on more effective and efficient use of light¬ ing carbons for studio arcs and theatre projectors.
E. R. Geib will direct overall activities from the company’s Cleveland office; with Charles W. Handley concentrating solely on west coast studio lighting prob¬ lems and practices. His previous other duties for the company have been dele¬ gated elsewhere to allow full time and effort in the studio field. P. D. Ries will headquarter in the east to handle both
“Summer” the lens diaphragm will be at its smallest opening.
This new lens has been developed to dispel the mystery surrounding F stops that exists in numerous amateur minds. Many people who formerly considered home movie-making an intricate art will be impressed with the simple manner of determining correct diaphragm openings. A glance at the sky, a twist of the wrist, the diaphragm is accurately ad- j usted !
Another innovation is the faster speed of the new lens. Prior to the war, an F3.5 lens was standard equipment on the Filmo Companion Camera. The new speed, F2.8, represents a great improve¬ ment.
studio and theatre lighting contacts, while William C. Kunzman continues as general representative in the national field.
Moviola Expansion Plans
Mark Serrurier, after a number of years on the staff of California Institute of Technology during which time he was in charge of structural design for the 200-inch telescope to be installed at Mount Palomar and for the cooperative wind tunnel, has formed Moviola Manu¬ facturing Co. Latter firm will be closely associated with the Moviola Company which is headed by his father, Iwan Ser¬ rurier.
Bell && Howell Companion 8 with its calibrations which provide error-proof focusing — even for be¬ ginners. F-stop markings are also given for those who prefer the latter.
Trego Starts Sports Series in 16 mm.
Charles Trego is producing “Surf Board Rhythm,” first of series of sports shorts in 16 mm. at Telefilm Studios. Reel depicts intricacies of surf board riding as demonstrated by experts.
Olesen Co. Handles Commer¬ cial Sales on RCA 16 mm.
Sound Projectors
Otto K. Olesen Co. of Hollywood has been appointed dealer for commercial sales of RCA’s lines of 16 mm. sound projectors. Sales and service depart¬ ments are being organized by Olesen Co. for the RCA equipment.
^ National Carbon Company's Technical Specialists ^
E. R. GEIB C. W. HANDLEY P. D. RIES W. C. KUNZMANN
Cleveland Hollywood East National
18 January, 1946 • American Cinematographer
■
FILM PROCESSING
EQUIPMENT IS THE ANSWER
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Users of film are everywhere. Mercantile establishments, financial institutions, government agencies and others use microfilm for copying and recording' Manufacturers and sales organizations use both 16 mm. and 35 mm. motion pictures for training and sales. Studios and photographic supply stores constantly need film processing.
To these and scores of other users of film the Houston owner offers a needed service— a service becoming increasingly necessary to every community. Houston equipment is the proven answer.
Model 11 — Processes 16 mm. negative, positive and reversal film. Processing speeds up to 20 feet per min.
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American Cinematographer • January, 1946
19
AMONG THE MOVIE CLUBS
Brooklyn Amateur Cine Club
Charles Ross, president of Brooklyn Amateur Cine Club, is taking up per¬ manent residence in California, result¬ ing in Francis Sinclaire taking over leadership of the organization. Sam Charmatz and Irving Schertzer will as¬ sist Sinclaire in program planning.
Highlight of the November 28th meeting was a lecture and demonstra¬ tion on film splicing by Sinclaire, and film program which included: “Junior Does His Bit,” by Martin Sternberg; “Horse and Buggy Days,” by Charles Ross; “Russian Easter,” by George Serebrykoff; an 8mm. clinic film by Mr. and Mrs. Leibowitz; and an outdoor color subiect by Jay T. Fox.
Open discussion of the merits of 8mm. in contrast to 16 mm. — or vice versa — provided basis for a most interesting meeting December 5 at the Hotel Bos- sert, with program conducted by Her¬ bert Erles. Films presented for the Eights were “World’s Fair” by Sam Fass, and “Dear Fred” by Herbert Erles; while the Sixteens were cham¬ pioned by “Hubby Finds a Hobby” by Charles Benjamin, and “Mr. Bug Plays Cupid” by Martin Sternberg.
Frank E. Gunnell delivered informa¬ tive and instructive talk on “Practical Use of the Various Lenses in Movie Work” at meeting held on Dec. 19th; and several films were also on the pro¬ gram.
Utah Cine Arts Club
Ted Pope heads Utah Cine Arts Club of Salt Lake City for 1946, as result of recent election which selected other officers as follows: Pete Larson, vice president; A1 Londema, treasurer; Lor¬ raine Olson, secretary; and board of director members including George Brignand, Theo Merrill, Ed Madsen, and LeRoy Hansen.
December 12th meeting of the club, in addition to refreshments to celebrate the holiday season, presented a fine pro¬ gram of films. Subjects included: “Per¬ petual Motion,” by Pete Larsen; “Lit¬ tle Co-Ed,” by Mrs. A1 Morton; “A Man’s World,” by Mr. and Mrs. LeRoy Han¬ sen; “Shots of Old Mexico,” by Ted Pope, and reel of Flowers by Dr. Strom- berg of Ogden Movie Club.
Annual banquet will be held at Hotel Newhouse on January 16, at which time program of prize-winning films will be exhibited.
New York Eight
December meeting of New York Eight Motion Picture Club was held on the 17th at Hotel Pennsylvania, with pro¬ gram including a novelty film by Fred Evans of Hollywood, “Reaping the Raindrops” by Lewis B. Reed and sev¬ eral new subjects of members.
Westwood Movie Club
December 8th meeting of Westwood Movie Club, San Francisco, was mainly devoted to election of officers for 1946. Nominating committee, with endorse¬ ment of the executive committee, pre¬ sented slate as follows: president, Fred Harvey; vice president, W. C. Johnson; secretary, Leo M. Kerkhof; treasurer, Larry Duggan.
Evening’s program of prize winning pictures comprised: “Christmas Well Spent,” by J. Allen Thatcher; “My Mas¬ ter and I Go A-Romping,” by Donald Day; “The Careless Heiress,” by Eric Unmack; “The Water Ouzel,” by Rudy Arfsten; “Amphibious Attack,” by Andy Coiner; and “Hail British Columbia!” by Leo J. Heffernan.
January meeting on the 26th will be a dinner affair at the Del Mar Restau¬ rant for installation of the new officers.
Syracuse Movie Makers
This progressive organization is now on the hunt for new permanent quarters for move by February 1st, and until other location is found, corresponding secretary D. Lisle Conway advises that all communications should be addressed to Syracuse Movie Makers Association, 44 West Calthrop Ave., Syracuse 5, New York, N. Y. Present clubrooms are being vacated due to raise in rent which is not justified in view of the restricted space and facilities available for the members.
Cinema Club, San Francisco
E. L. Sargeant has been elected presi¬ dent of the Cinema Club of San Fran¬ cisco for 1946, succeeding Charles D. Hudson. Other officers selected include: L. J. Duggan, vice president; Rudolph W. Arfston, secretary; Lloyd Littleton, treasurer; and directors at large, Leon Cagne, Dave Redfield, and Hudson.
Special Christmas dinner meeting was staged for the December meeting on the 18th, with fun generated through contribution of novelty gifts not exceed¬ ing two bits in cost for Santa’s sock and later presentation to the members present. Appropriate holiday pictures were also shown.
La Casa Club
D. M. Gardner was chairman of the December 17th meeting of La Casa Movie Club of Alhambra, California. Film program of the evening included several 16mm. subjects: “Nativity Scene,” by Mrs. R. Gillmann; “A Mon¬ tana Garden,” by Dr. Elsie Schild- wachter; “Fiji, Espirtu and Santo,” by Lt. Commander J. A. Biren; and “Mex¬ ico, 1945,” by Guy Nelli.
Metropolitan
Special Christmas program was pre¬ sented at the December 20th meeting of Metropolitan Motion Picture Club at Hotel Pennsylvania, with 16mm. koda- chrome films shown including: “Mohawk Pals,” by Frank E. Gunnell; “Reflec¬ tions,” by Henry E. Hird; and “Snow on the Mountain,” by Robert P. Kehoe. J. Christian Vogel recited his own com¬ position, “The Tale of a Christmas Tree.”
Supplemental meetings of Metropoli¬ tan, devoted to discussions of various techniques of cinematography and prac¬ tices, are finding growing enthusiasm among the members.
Leo Heffernan won first prize of $75 in Metropolitan’s general contest for his “Land Snakes Alive.” Second prize of $50 went to George Mesaros for “Pointless Foray;” while Sidney Moritz received third prize of $25 for “Wind¬ jammer.”
L.A. Cinema Club
Annual banquet of Los Angeles Cin¬ ema Club will be held Monday night, January 7, at the Los Angeles Break¬ fast Club to get the organization off to a fine start for 1946 activities. Awards will be announced for winners in the film contest, and the prize-win¬ ning subjects will be exhibited.
December meeting was held at the Ebell Club on December 3rd, with mem¬ ber Harry C. Chapman presenting the film program with two of his color sub¬ jects with sound recordings — “Hawaii Calls,” and “Canada Holiday.”
Tri-City Cinema Club
Tri-City Cinema 'Club of Davenport, Rock Island and Moline, held its sixth annual Christmas banquet Friday, De¬ cember 14th, at Davenport Chamber of Commerce building, with more than 100 members and friends attending.
Program of the evening included short talks by members on interesting or diffi¬ cult shots experienced in photography; pictures of the past three banquets; and a 16 mm. Kodachrome subject “Music,” which was composed by Harry Lytle and three departments of the Davenport High School.
January meeting of Tri-City will have “Flowers,” by Marvin Russell; and “Autumn and Spring,” by Miss Georgia T. First. Symposium on movie films is also on the program.
Color Experts Check Agfa Plant
Group of American film engineers and technicians are currently in Germany checking all phases of manufacture and processing of Agfa color film. Contingent went abroad under wing of Department of Commerce.
January, 1946 • American Cinematographer
Vfi ' . »
A llAlAf Hpn ■ jb& mm
Good to Know— NOW THAT
%?:■
MOVIE -MAKING TIME IS BACK
Kodak offers “coast-to-coast”
processing of Cine-Kodak Film
NOTE: Every carton of Cine-Kodak Film contains a listing of Kodak Processing Laboratories, both in the U. S. and abroad, felling you where your Cine- Kodak Film may be “finished" without additional charge.
EASTMAN KODAK COMPANY
ROCHESTER 4, N. Y.
Automatic Focus Devices
(Continued from Page 9
lock type motors to transmit the move¬ ment of the dolly to the photographing lens. As can easily be seen, this does not restrict the movement of the camera in any way. The only connection be¬ tween the receiver motor and lens as¬ sembly, and the motor which is activated by the cam and gear assembly, is a flexible cable containing only the motor wires. Hence, it can be seen that the camera may be tilted up or down or panned to right or left without any hindrance whatsoever.
A standard Mitchell camera is used
1 6mm and 35mm
SERVICES
To
Film Producers
Quality backed by 40 years in the cinema labo¬ ratory and equipment field.
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★ Projection Service
Both 16mm. and 35mm.
All in One Package
HOLLYWOOD
COLORFILM
CORPORATION
230 W. Olive Ave., Burbank, Cal. Phone CH 8-5554
on the unit, which is equipped with a 50-mm Bausch & Lomb Baltar, f/2.3 lens in a standard Mitchell lens mount. To the lens mount a ring gear was mounted which is meshed with the con¬ trol gear of the receiver motor assembly. The 50-mm lens can be focused auto¬ matically from 50 feet to 18 inches. Within these limits, no matter where the dolly is moved or at what speed it is moved, the lens is always automati¬ cally held in sharp focus.
The benefits derived from this unit are numerous. One advantage of its use has been a great saving in both time and labor. Before the unit was in opera¬ tion it was necessary to use as many as six men to complete a difficult follow shot. In some instances scenes of this nature required a camera operator, and assistant cameraman to change focus, one or two men to push the dolly, a fifth man to call out footage marks usually marked on the floor, and possibly a sixth man to carry the camera motor cable back and forth as the dolly was moved. As mentioned before, the com¬ mon practice was to photograph the scene many times hoping that at least one of the “takes” all of the technicians connected with the scene had coordi¬ nated and synchronized their operations correctly. This, of course, required a great amount of time, an abnormal waste of film, and usually a crew of from four to six men. With the use of the automatic electric dolly most of these disadvantages were eliminated. No mat¬ ter how difficult the scene, the unit requires the use of only two men — the camera operator and the dolly operator. The only function of the camera oper¬ ator is to start and stop the camera and to operate the pan and tilt head if this should be necessary. The dolly operator controls the movement of the dolly, and all other necessary operations are performed automatically.
Since the unit has been in use it has been found that there are few occasions where it is necessary to make more than one take of the scene. The saving in film because of this advantage can be recognized at once.
In conjunction with the development of the automatic follow-focus electric camera dolly, a similar device was de¬ veloped to accomplish the same results on a permanently installed Insert and Title Stand. (See Fig. 4). In many cases it was found to be more conve¬ nient to mount certain maps, titles, and other special objects on a title board which was placed in an upright position and attached to a lathe bed. The cam¬ era was mounted on a movable pedestal which in turn was mounted on a smooth raceway. This raceway was substituted for the original lathe rack and con¬ structed in such a way as to permit the camera to be moved back and forth on it. When the unit was put into use, approximately the same problems pre¬ sented themselves as before. It was even more difficult to change focus ac¬ curately when moving the camera, for
the shots made with this unit usually required a higher degree of accuracy both in focusing and framing. It was necessary to design the equipment in such a manner so as to allow the 3 inch camera lens to approach the title board or target as close as 12 inches.
Because of the complex nature of certain shots, it was also decided that there would be a distinct advantage in being able to move the title board auto¬ matically in either a horizontal or ver¬ tical direction. To accomplish these features, the unit was reconstructed in the following manner.
The title board part of the installation is made to move in a horizontal and vertical direction by means of two Bodine speed reducer-type animation motors. One of these motors powers the horizontal movement, the other the vertical. The single frame feature per¬ mits small precise moves for straight or animation work. The reversing switches provide directional control. The speed adjustments allow speed control for board movements. Both motors are geared down by 12 to 1 reducer boxes. This smooths out the movements and gives proper basic speed. The follow focus is effected by mounting a contour strip, complementary to the linear movement of a three inch rack type of lens along the side of the lathe bed. A small ball-bearing roller makes contact with this contour. A shaft connects the roller bearing to the shaft of a Diehl- type Selsyn generator motor via reduc¬ tion gears. The action of the ball bear¬ ing as it follows the contour strip acti¬ vates the generator which electrically transmits identical turns to the receiv¬ ing Selsyn motor’s shaft. On the end of the shaft of this motor, a small gear engages and activates the rack and pinion gear directly attached to the rack lens mount itself.
In the actual practice of cinema¬ tography at the Signal Corps Photo¬ graphic Center, both of these devices have been used with a great deal of satisfaction by the cinematographers who are charged with the responsibility of making these difficult shots. During peak periods of production they have enabled the Camera Branch to complete many different scenes of this type where formerly it was possible to complete only a limited number.
It is felt that this dolly with the automatic focus device could be very successfully utilized in television camera operations because of its remote control and pre-set switch features. Another suggested use »for this unit would be in connection with rear projection or process photography where it might be advantageous to dolly the projector in and out during a scene.
The writers wish to express their appreciation to the Pictorial Engineer¬ ing and Research Laboratory Division and the Central Machine Shop Branch of the Signal Corps Photographic Cen¬ ter for their cooperation and valuable assistance in the design and construction of these devices.
22
January, 1946 • American Cinematographer
FITTING A FILM TO MUSIC
By HAROLD RAWLINSON
r^>OONER or later the amateur movie maker will feel the urge to make a serious film. I suppose most of us pass through the same school in gaining our experience. Starting with the fam¬ ily — long-suffering and willing models — we progress to a film about our dog and cat, then on to the holiday record at the seaside, the tour with the car, the local sports, the carnival, and, if we are lucky, a record of some historical event like a jubilee or a coronation.
You have probably added other sub¬ jects to your personal library of home¬ made films. In making these subjects we were working along conventional lines most of the time. The structure of the film is more or less established by the sequence of events, but the treat¬ ment and the way we handle the sub¬ ject can be as varied as the pebbles on the beach. In this article I want to suggest a new angle of approaching the making of a film — at least it will be new to the majority of amateur movie makers.
Today, no serious cine enthusiast would think of showing his silent films without a musical background added by means of gramaphone records and amplifier. Even then, with twin turn¬ tables and a selection of hundreds of records from which to choose, the result will always be a makeshift. Why not, then, make a film to fit a particular piece of music? By doing this there would be tremendous scope for our imagination, and although Walt Disney has shown us how it can be achieved in an animated cartoon (“Fantasia”), the possibilities in the use of straight photography are endless.
Hundreds of musical compositions would lend themselves easily to filmic treatment — and this need not in any way be injurious to the music. Artisti¬ cally and sympathetically handled, the music will — in most cases — become more interesting to the majority. A few “purists” might object — but these gen¬ tlemen may never see your films, so they will not suffer any sleepless nights. Well, then, what about the choice of subject?
Good music will demand a good film. Do not vulgarize a masterpiece by fitting a frivolous idea. First-class poetry re¬ quires first-class music — and we must not cheapen another man’s work. De¬ cide on the piece of music you are going to illustrate photographically — then let the subject gradually take shape in your mind, blossoming out into a complete film in perfect sympathy and mood with the music. Choose something good, and aim high. You very soon tire of poor
This article appeared in Nov. 16, 1945, issue of "The British Journal of Photography", and is reprinted by permission.
music. Remember always that the idea which you are going to put in your film must keep to the rhythm of the music. A slowly unfolding idea cannot be set to music which is full of short phrases and melodies ; in this case we should want our music to flow on — un-ending.
You need not be a practical musician, and knowledge of musical theory and harmony will not be a necessity, al¬ though an advantage. As long as you have an artistic feeling and a sense of
the fitness of things the results should be good. Undoubtedly Walt Disney has been the greatest fitter of films to music — something quite different from fitting music to films. The progress achieved from some of his early Silly Symphonies to the masterly episodes in “Fantasia” is remarkable. Such works as a Beethoven Symphony and Mous- sorksgy’s “A Night on a Bare Moun¬ tain” were not cheapened by being the inspiration of Disney’s work.
There have been many beautiful bal¬ lets arranged to music which was never intended to be used in a choreographic setting. A Symphony by Haydn, a move¬ ment from Mendelssohn’s Violin Con-
(Continued on Page 29)
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American Cinematographer • January, 1946 23
Using Your Movie Camera As A Motion Picture Step Printer
By JAMES R. OSWALD
Few amateurs are aware that in their own movie camera, whether 8 or 16mm, providing it isn’t of the magazine load¬ ing type, they have the facilities not only for making copies of cherished movies, but for making prints from negative films, as well. Without any alterations whatsoever to the camera, it is made to serve as a simplified ver¬ sion of a motion picture step printer, by merely following the few, easy steps outlined here.
The process requires that the two films, the original and the unexposed, be run through the mechanism in con¬ tact, and exposed to a light source. The loading operation is carried on in the darkroom, where both films are spooled together on the supply reel, emulsion to emulsion, in such a way that, when threaded, the shiny side of the original will be nearest the lens. Threading is done as usual, with the exception that larger loops are left in the original film, to prevent jamming. Before re¬ placing camera cover, run off a few frames, making sure that the sprockets properly engage both thicknesses of film.
Any length scene up to one-half the capacity of the camera may be handled with one threading.
Exposures may be made either indoors or out, although artificial light is pre¬ ferred, since it is more uniform, and therefore more easily controlled. An ordinary or 10 watt lamp placed 8 or 10 inches from the camera provides plenty of illumination under average circumstances. There are a number of variables that enter into selecting the proper lens stop to use, such as the density of the original film, speed of the unexposed film, operating speed of the camera, and of course, distance from lamp to lens, and intensity of the lamp, itself, and for this reason it is necessary to determine by actual test the proper setting under the conditions with which you will operate. Once these factors are established, however, if they are per¬ mitted to remain constant, no difficulty will arise in trying to duplicate results, especially if some sort of a table is set up to use as a guide. For a starting point upon which to conduct first experi¬ ments, select a film of normal density,
and use in connection with a medium lens stop.
Outdoors, the camera may be pointed at the blank sky, or aimed toward a clear white card reflecting the direct rays of the sun. As in the case of artificial light, there are a number of things to be taken into consideration here, too, in determining correct ex¬ posure, with the addition of the con¬ stantly changing conditions encountered in natural light. All this not as a word of discouragement, but rather to fore¬ warn the enthusiast of the pitfalls to avoid.
As to the most suitable type of film to use, generally speaking, the slower the speed, the better. As a rule, most slow emulsions are finer grained, which is very much desirable in movie films, and since motion picture printing doesn’t require extreme sensitivity anyway, are ideal from this angle, to say nothing of the economy standpoint.
Perhaps the most economical of all, and certainly the easiest to handle in the darkroom, is the ordinary “positive” type film, for those who can content themselves with black and white pic¬ tures, since it is made expressly for laboratory work, and sells for $1.00 per hundred feet, in 16mm size, not includ¬ ing developing, however. Developing may be done by any one of a number of independent processing laboratories for an additional charge of approxi¬ mately $1.00, since, although the film (Continued on Page 30)
I. (above) The operation is carried on in the darkroom where both films are spooled together on the supply reel, emulsion to emulsion; in such manner that — when threaded — shiny side of original will be nearest lens. (Dark colored film represents the original; light colored the unexposed stock).
2. (Upper right) Look closely and note difference in loop sizes between the two films. Thread as usual, with exception that larger loops are left in original film, to prevent jamming. Before replacing camera cover, run off few frames to insure sprockets engage both thicknesses of film.
3. (Right) Exposures may be made either indoors or out, although arti¬ ficial light, more uniform for easier control, is prefered. Ordinary T/i or 10 watt lamp 8 or 10 inches from camera provides sufficient illumination on
average.
24 January, 1946 • American Cinematographer
Now available to camera owners and dealers — "Pro¬ fessional Junior” standard and baby tripods, "Hi-Hats," alignment gauges, portable dollys, collapsible triangles, etc. They are used by the U. S. Navy, Army Air Bases, Office of Strategic Services, Signal Corps and other Gov't agencies — also by leading Newsreel companies, 16mm and 35mm motion picture producers.
Acclaimed the finest for every picture¬ taking use, "Professional Junior" tripods are compact, versatile, rugged. Super¬ smooth 360° pan and 80° tilt action; positive, simple, leg-height adjustments; compact and light (weighing 14 lbs.); allowing 72" high and 42" low usability — no finer tripod is made. The inset shows the full tripod mounted on our all-metal Collapsible Triangle which is used to pre¬ vent tripod from slipping when used on hard or slippery surfaces.
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American Cinematographer • January, 1946
25
Now available to all home movie-makers— the new Bell & Howell lens-cleaning fluid, Filmo OPTI-K.LEEN. Especially developed for cleaning coated lens surfaces, yet equally efficient on all noncoated surfaces. Ask your B&H dealer for
FILMO OPTI-KLEEN . ...
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Order from your B&H deal¬ er or from Bell & Howell Company, 7148 McCormick Road, Chicago 45.
(and noncoated surfaces, too)
Bell & Howell coated lenses reduce reflection, provide improved picture definition.
For splicing both nitrate and acetate film, B&H labora¬ tories have developed a new combination film cement. Quick-setting, it forms a splice of unusual strength. Does not deteriorate in the bottle. Ask for the new
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Sixteen Goes Hollywood
(Continued from Page 12)
sixteen at Rockett Productions. These were shot with a Cine-Special to which has been added many Hollywood gadgets, such as automatic dissolve mechanism, Mitchell Finder, Magnified image on ground glass for better composing. The results were very good but we needed four hundred foot magazines at various times. On that job we shot everything including special effects and titles com¬ bined with live action, and animation combined with live action, which was ac¬ complished with short lap dissolves giv¬ ing a very unusual effect. In one se¬ quence a man paints with a dry brush and all the colors of the rainbow flow from it as he paints. Many glass shots combined with live action were used in sixteen color with excellent results.
Sixteen production will undoubtedly grow larger in the major studios in 1946, to supplement their thirty-five standard size. If such films are never released in the United States, many will find eager audiences all over the rest of the world. American documentary and propaganda films should certainly be made that the rest of the world might know us better. In exchange we have a tremendous six¬ teen consumption of foreign films of commensurate quality, which opens a new field for the American Professional Cinematographer, especially A.S.C. mem¬ bers who are known in all foreign lands
from their credits on the Hollywood product.
Thirty-five films are limited to thea¬ ters, whereas sixteen film has a ready market throughout the world. One has only to look in a few of the many mag¬ azines devoted to Industrial, Lecture, School, Business and Advertising films to see the opportunities. My earnest hope is that Hollywood goes as thoroughly for sixteen as sixteen is “GOING HOLLY¬ WOOD.”
Gadget Auctions for Added Club Interest
That regular gadget auction of the Cincinnati Camera Club, founded in 1884 to rate as the oldest photographic group in this country, should give offi¬ cers anil program chairmen of ama¬ teur cine clubs an idea for incorporation in meeting programs two or three times yearly which can generate plenty of in¬ terest among members.
According to an Associated Press story of several weeks ago, the Cincin¬ nati club conducts a gadget auction pe¬ riodically, with members bringing along discarded or unwanted photographic materials or supplies for bidding by other members. The event has become an integral part of club affairs, and practically every member brings along some piece of photographic material to go on the auction block — and in turn, he picks up something else that he has wanted to try out for a long time.
NOTES ON SPLICING
By Francis Sinclaire President, Brooklyn Amateur Cine Club
The process of joining two films to¬ gether by using film cement is gen¬ erally believed to be the gluing or ce¬ menting together by the use of an ad¬ hesive substance. This is incorrect. The film cement actually softens the acetate base of the film and when joined with the other piece under pressure the re¬ sult is similar to a weld. A perfectly- made splice should be just as strong as the film itself.
There are two methods of removing the emulsion before applying the ce¬ ment. One is the dry splice and the other the wet splice. For the dry splice the emulsion is removed with a file¬ like implement which scrapes off the emulsion. With the wet splice, water is used with a suitable scraper to soften and remove the emulsion. The dry splice is more popular and is considered to be superior. The wet method’s chiei draw¬ back is that it is likely to buckle the film; also the cement will not soften the base properly if too much moisture is present. With the dry splice, care must be taken to see that the file does not cut too deeply, and that the emulsion is removed evenly.
Frank Gunnell Wins Maxim Award
Frank E. Gunnell, fellow of the Ama¬ teur Cinema League and prominent member of Metropolitan Motion Picture Club of New York, won the Hiram Percy Maxim Memorial Award for 1945. Winning entry was Gunnell’s “While the Earth Remaineth.”
New Filmosound Library Features Announced
NORTH STAR (11 reels)
Samuel Goldwyn’s first 16mm. re¬ lease — an epic film of the “little” people of a peaceful Russian village, over-run by ruthless invaders, and the final tri¬ umph of right and humanity. (Anne Baxter, Dana Andrews, Walter Huston, Ann Harding. Story by Lillian Heilman, direction by Lewis Milestone).
ALLERGIC TO LOVE (Universal)
(7 reels)
Romantic comedy with modern scene that assures countless laughs. Matri¬ monial and business merger between air¬ plane and motor families periled by comic allergy, finally routed in very funny surprise ending. (Noah Beery, Jr., Martha O’Driscoll, David Bruce). Available from January 21, 1946 for ap¬ proved non-theatrical audiences.
CATCHING CROCODILES (10 min.)
Methods of trapping and netting croco¬ diles. Includes both fresh water and salt water species, nests, eggs. (Produced in Australia) .
26
January, 1946 • American Cinematographer
New Orthicon Television Tube
(Continued from Page 7)
images from interference due to ex¬ ploding photo flash bulbs and other sudden bursts of brilliant light.
4. Smaller size of tube, facilitating use of telephoto lens.
5. Type of design that lends itself to use in lightweight, portable television camera equipment.
6. Improved gain control system that provides unvarying transmission, de¬ spite wide fluctuations of light and shadow.
How the Tube Works
Resembling a large tubular flashlight in size and appearance, the advanced development model of the Image Orthi¬ con has an overall length of about 15 inches, with the shank about two inches in diameter and the head about 3 inches in diameter and 3 inches long. It has three main parts: An electron image section, which amplifies the photoelectric current; an improved Orthicon-type scanning section, smaller and simpler than those built before the war; and an electron multiplier section, the function of which is to magnify the relatively weak video signals before transmission.
The principle which makes the new tube super-sensitive to low light levels is similar to that which enables RCA’s multiplier phototube to measure star¬ light. This principle, known as second¬ ary electronic emission, involves the use of electrons emitted from a primary source as missiles to bombard a target or a series of targets, known as stages or dynodes, from each of which two or more electrons are emitted for each electron striking it.
Light from the scene being televised is picked up by an optical lens system and focused on the photo-sensitive face of the tube, which emits electrons from each illuminated area in proportion to the intensity of the light striking the area.
Streams of electrons, accelerated by a positive voltage applied to a grid placed directly behind the photo-sensi¬ tive face and held on parallel courses by an electromagnetic field, flow from the back of the photo-sensitive face to a target. Secondary emission of elec¬ trons from the target, caused by this bombardment, leaves on the target a pattern of varying positive charges which corresponds to the pattern of light from the scene being televised.
The back of the target is scanned by a beam of electrons generated by an electron gun in the base of the tube, but the electrons making up this beam are slowed down so that they will stop just short of the target and turn back until it again approaches a positively charged section.
The returning beam, with picture in¬ formation imposed upon it by the vary¬ ing losses of electrons left behind on the target, is directed at the first of a
series of dynodes near the base of the tube; secondary electrons “knocked out” of this electrode by the bombardment strike a second dynode, and this pro¬ cess continues, with the strength of the signal multiplying at each stage until it reaches the signal plate and is car¬ ried out of the tube through an ex¬ ternal connection.
Men Who Developed the Image Orthicon
Credit for the tube’s development goes to three members of the RCA re¬ search staff: Dr. Albert Rose, Dr. Paul K. Weimer, and Dr. Harold B. Law. The project is a continuation of RCA Lab¬ oratories’ work on the pick-up tube over the past 20 years under the direction of Dr. V. K. Zworykin, associate director of RCA Laboratories. During part of that period, the work was headed by B. J. Thompson, associate director of the laboratories, who was killed in ac¬ tion overseas in July, 1944, while on a special' mission for the Secretary of War.
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American Cinematographer • January, 1946
27
Current Assignments of A. S. C. Members
Santa Anita Track Contracts Telefilm
Santa Anita racetrack has signed con¬ tracts with Telefilm whereby latter will photograph all of the races via the Tele¬ film control system as originally used last summer at Hollywood Park. Films in 16 mm. size, are shot of every foot of a race from special camera towers spotted around the course and the indi¬ vidual clips are developed and assembled within 10 minutes for photographic view¬ ing of each race by the judges if neces¬ sary.
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As this issue of American Cine¬ matographer goes to press, A.S.C. Di¬ rectors of Photography are assigned to the following feature productions:
Columbia Studios
Joseph Walker, “The A1 Jolson Story” (Technicolor).
Charles Lawton, Jr., “The Walls Came Down” with Lee Bowman and Marguerite Chapman.
Mtro-Goldwyn-Mayer
Charles Rosher, “The Yearling” (Tech¬ nicolor), with Gregory Peck and Jane Wyman.
Les White, “Army Brat” with “Butch” Jenkins.
Ray June, “But Not Goodbye,” with Frank Morgan and Keenan Wynn.
Charles Salerno, Jr., “Faithful in My Fashion,” with Donna Reed, Tom Drake, Edward Everett Horton, and Spring By- ington.
Sid Wagner, “Fiesta” (Technicolor), with Esther Williams and John Carroll.
Hal Rosson, “Three Wise Fools,” with Margaret O’Brien, Lionel Barrymore, Lewis S'mne, Edward Arnold and Thomas Mitchell.
Monogram Studios
Ben Kline, “Joe Palooka, Champ,” with Joe Kirkwood, Elyse Knox, Leon Errol, Joe Louis.
William Sickner, ‘Charlie Chan at Al¬ catraz,” with Sidney Toler.
Paramount
Ray Rennahan, “California” (Techni¬ color), starring Ray Milland, Barbara Stanwyck, Barry Fitsgerald.
Lee Garmes, “The Searching Wind,” (Hal Wallis Prod.), with Robert Young, Sylvia Sidney, Ann Richards.
RKO Studios
Harry Wild, “Till the End of Time,” with Dorothy McGuire, Guy Madison, Bob Mitchum, William Gargan, Harry Von Zell.
Milton Krasner, “Without Reserva¬ tions” (Jesse Lasky Prod.), starring Claudette Colbert and John Wayne.
Robert De Grasse, “Crack-Up,” with Pat O’Brien, Claire Trevor, Herbert Mar¬ shall and Wally Ford.
Ted Tetzlaff, “Notorious,” starring Cary Grant, Ingrid Bergman.
George Barnes, “Sister Kenny,” with Rosalind Russell, Alexander Knox, Dean Jagger.
Frank Redman, “Step By Step,” with Lawrence Tierney and Anne Jeflreys.
Republic Studios
John Alton, “One Exciting Week,” with A1 Pearce and Mary Treen.
20th Century-Fox
Ernest Palmer, “Three Little Girls in Blue” (Technicolor), with June Haver, Vivian Blaine, George Montgomery, Frank Latimore.
Harry Jackson, “Strange Triangle,” with Signe Hasso, John Sheppard, Ana- bel Shaw.
Leon Shamroy, “The Shocking Miss Pilgrim” (Technicolor), starring Betty Grable and Dick Haymes.
Ar hur Miller, “Anna and the King of Siam,” starring Irene Dunne and Rex Harrison, with Linda Darnell and Gale Sondergaard.
Norbert Brodine, “Somewhere in the Night,” with John Hodiak, Nancy Guild, Lloyd Nolan, Richard Conte.
Joe MacDonald, “The Dark Comer,” with Lucille Ball, William Bendix, Mark Stevens, Clifton Webb.
Joseph La Shelle, “Cluny Brown,” with Charles Boyer, Jennifer Jones, Helen Walker, Sir Aubrey Smith.
United Artists
Bob Pittack, “The Sin of Harold Did- dlebock,” wi‘h Harold Lloyd, Frances Ramsden, Raymond Walburn, Rudy Val- lee, Edgar Kennedy.
Lucion Andriot, “The Strange Wo¬ man,” with Hedy Lamarr, George San¬ ders, Louis Hayward, Gene Lockhart.
Universal
Joseph Valentine, “Genius in the Family” (Skirball-Manning Prod.), star¬ ring Myma Loy, Don Ameche.
Woody Bredell, “Notorious Gentle¬ man,” with Kent Taylor and Virginia Grey.
Warner Brothers
Sol Polito, “Escape Me Never,” star¬ ring Errol Flynn and Ida Lupino.
Wesley Anderson, “The Beast With Five Fingers,” with Robert Alda, Andrea King, Peter Lorre, J. Carroll Naish.
Arthur Edeson, “Two Guys From Milwaukee,” with Dennis Morgan, Jack Carson, Joan Leslie, S. Z. Sakall.
Ernest Haller, “Humoresque,” starring Joan Crawford and John Garfield; with Oscar Levant, Ruth Nelson.
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28
January, 1946 • American Cinematographer
Fitting Film to Music
(Continued from Page 23)
certo, a Sonata by Liszt, a Symphony by Tchaikowsky, are just a few of the many which come to mind.
There is no reason at all why we should not take a piece of music and build up a photographic picture or story upon its framework.
Here are some practical suggestions which can be taken as some indication of the possibilities of making a film to fit a record.
Sibelius. Prelude to “The Tempest”
A wonderful piece of pictorial writing. An abstract film fitted to this would be a joy to make.
(Shots: Wind swept trees, bending- grasses and scattering leaves, falling branches, swirling smoke. The music paints the picture of a fierce gale, but just before the close of the music the tempest subsides and there is a most moving picture in tones of the desola¬ tion which is left in the wake of the storm. The camera could easily show the pathos of a fallen tree, the limb of an old oak torn from its body by the force of the wind, the heaped-up pile of leaves, the damaged gate, and so on).
In a simple way a most moving film could be created to this Sibelius Prelude.
Bach. Prelude in E flat Minor (Vol. 1, No. 8)
This is such a noble piece of music that only the most inspiring subject could be linked with it. A photographic study of a great cathedral — the camera to tell the story as our own eyes would silently take in the beauties of the glorious pile. (Do not use any sub-titles during the Prelude.)
Honegger. “Pacific 231”
A picture in sound of an American stream-liner. What a magnificent oppor¬ tunity for someone to add a musical pic¬ ture to this most stirring rhythmic piece of music.
Delius. Summer Night on a River
A most delicate poem in music. Would want very careful treatment; but the camera used imaginatively could produce a delightful film.
Delibes. Scarf Dance
If you know the mistress of a ballet school or dancing class, suggest that you film the students. See that the dance (either the one mentioned above or any other number) is always performed to the gramaphone record you are going to use. The timing will then always be the same. (No two performances in the flesh are ever alike.) Take a number of angle shots and enjoy many hours cutting and editing your film.
Gounod. Funeral of a Marionette
Have any of your friends got a puppet theatre — or do you know of a local pup¬ pet theatre club? If so, there is plenty of scope for your camera.
Saint-Saens. Scherzo from Piano Con¬ certo No. 2
An intriguing number which suggests a number of impish subjects.
Liadov. Enchanted Lake
I have visualized a film for this musi¬ cal gem — but it would be very difficult to do without much time and many dis¬ appointments.
Additional Musical Ideas
Here are a few subjects for which ap¬ propriate music could easily be found.
The bustle of a rush hour in a town.
The Saturday market.
The movement of water.
The village.
Trees.
Sunday morning in the park.
Water numphs.
Tempo Picture to the Music
Your film will have to have the same form, balance and climax as the music, and nothing will be more intriguing than figuring this out. The possibilities are, of course, endless.
Having decided on the piece of music which you are going to photographically illustrate, play the record through many times. Get the music right under your skin. Then analyze the music mentally; notice how it changes its time, mood and color. Possibily the music will be in one characteristic mood throughout. You will have to get this into your picture — perhaps this would be better described as “atmosphere.” If it is a 12-inch record it will probably play for 3% to four minutes, so get together a hundred feet of 16 mm. film (50 ft. of 8 mm.) of any of your odd shots joined together. (Every worker will soon have plenty of thrown-out footage which can be joined together in any odd way.) Then play the record through while showing your 100 ft. of miscellaneous shots. Make a first rough note as to where the music changes to a different rhythm or to a different melody (all music is built up in some sort of order. Themes are re¬
peated and contrasting themes added.) All this should be noted on a chart as a record of the footage. Then, from the scenes jotted down, it will be simple to measure the amount of feet or number of frames required for a particular scene. This is a much better method than timing the scene with a watch — because as you look on the screen you can easily make a mental note of the change. Jot¬ ting down the times on a piece of paper as you look at a watch is a difficult job.
Finally, see that you have nice titles. Acknowledge the composer of the music in a subtitle. Explain as much as you can at the beginning. Subtitles in the course of the film will interrupt the flow of the music. Do not start the music until all the titles have been shown. After a little practice at timing the film, you will know just when to gently push the needle (a fibre one!) into the first groove.
(Editor’s Note: Those who use music for synchronization with a film are cau¬ tioned against any public performances of copyrighted musical compositions. Ac¬ cording to a representative of American Society of Composers, Authors and Pub¬ lishers — which controls the licensing for public performance of most popular and classical compositions — numbers on rec¬ ords can be played in conjunction with film in homes or before private groups without incurring copyright violations. However, ASCAP takes the position that any performance of a record for an au¬ dience where admission is either direct or indirect, comes under its regulations for licensing. Even reproduction before a movie club comes under copyright per¬ formance regulations, according to AS¬ CAP, in that members pay annual dues which are claimed as indirect admissions for showings.)
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Shoot your movies with a DeVRY 35mm. or 16mm. camera — the cam¬ era preferred by cinematographers for their personal use.
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29
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Camera as Step Printer
(Continued from Page 24)
is put out by all standard manufactur¬ ers, such as Eastman, Ansco, and DuPont, none of these manufacturers undertake to process this particular type film.
Color film should not be attempted to be used until satisfactory results with black and white have been attained. To do so is a costly proposition. Black and white, on the other hand, is not only less expensive, and easier to use, but in these troublesome times, is less scarce than Kodachrome, or the newly intro¬ duced Ansco color film. (A plentiful supply of “positive” film will be found almost constantly on dealers’ shelves, since it is little in demand by the ama¬ teur movie maker.)
Limiting oneself to the use of black and white film doesn’t mean that a
(Left) The supreme test . . . duplication of a Koda¬ chrome original ... in Kodachrome. These are actual frame enlargements from a Kodachrome duplicate, printed in the camera.
Kodachrome original cannot be used. Naturally if a person is fortunate enough to “snag” a roll of the precious color film, it is much to be preferred over black and white stock, for use with a Kodachrome original, however.
It goes without saying that the ut¬ most precautions must be taken in the darkroom, for therein lies much of the success or failure of the entire venture. Darkroom illumination must be in ac¬ cordance with the speed of the unex¬ posed film, ranging from the familiar red lamp for use with “positive” film, to total darkness in spooling Koda¬ chrome. For something different in your field of endeavors, though, try using your movie camera as a motion picture step printer !
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30 January, 1946 • American Cinematographer
Aces of the Camera
(Continued from Page 10)
director that caused him to learn so quickly and forge ahead so rapidly. While deMille was looking through the finder, Pev would sit on a little box un¬ der the camera. From that position he got the director’s perspective, and hence learned to anticipate what deMille wanted, and did what was required of him. In three and a half years, Marley rose from the lowly rank of roustabout to deMille’s first cameraman, the youngest first cameraman in the business.
He will never forget his first job after that promotion, or the tension under which he worked. The picture was “Feet of Clay,” and there were eight cameras on the job, over 600 extras were working, and the harbor was full of yachts. That was his first scene!
As to the toughest job he ever had to tackle for the screen, Pev thinks that easily goes to the crucifixion scene for “The King of Kings.” The set, the larg¬ est ever constructed, has since been con¬ verted into three good-sized stages. Everyone on the set was nervous, and perhaps a little awed by the magnitude of the scene they were shooting, and what it represented. It was not a job to be undertaken casually, or performed haphazardly. “The King of Kings” was the greatest film ever undertaken, and the crucifixion scene perhaps the most difficult assignment ever handed to any cameraman. Psychologically, as well as technically, it was a tremendous chal¬ lenge.
The problems were many and varied. H. B. Warner, as The Christ, was held to the cross in a manner which became quite painful after a very short time, and so shooting could only be done a few minutes at a time. Then, there was the difficult job of transition from day exterior to night storm. Keyed to each bit of action, the sky had to change from light sunshine through gathering gloom to heavy storm. Over a period of two weeks’ shooting, this gradual change in the lighting took place. The finale, when the s^orm was at its peak, included high winds and lightning. The wind machines fulfilled their role in simulating the proper awe-inspiring atmosphere, but they stirred up dust. And that dust in the air picked up light. But finally, all of those technical hurdles were mastered, and with the help of a switchboard that he had rigged up, plus an elaborate series of hand and foot gestures he had worked out, Marley was able to get the effects he wanted. To say that they were satisfactory, is an understatement.
With the advent of sound, all camera¬ men found themselves up against new obstacles. Marley was no exception, and it was he who first used a camera blimp to encase the camera and deaden its noise. That was for the picture “Dyna¬ mite.”
After making that film, Marley went east for a vacation. But instead of re¬
turning to Hollywood after a couple of weeks, as he planned, he found him¬ self taking a fling at the stage, by a curious fluke. As a kid he had won 22 dancing trophies, and when he received an offer to headline in vaudeville, the novelty appealed to him and he accepted it. But after a few months, the life of a theatrical performer palled on him, and he headed back for Hollywood, and his own profession.
After free-lancing for awhile, he accepted an offer to work in Paris. He made two pictures there, and two in Budapest, staying in Europe for a year. Marley found the European studios many years behind us, technically, and he in¬ troduced many new methods of camera technique, and effected quite a few changes in the laboratory work. He was also the first man to introduce process photography in Europe. Budapest de¬ lighted him, he would have stayed long¬ er, but his father was taken suddenly ill and he returned to this country.
After his return, Marley’s first job was “The House of Rothschild,” for Darryl Zanuck at United Artists. Then, under contract, he went with Zanuck to 20th Century Fox where he worked on such pictures as “In Old Chicago,” “Alex¬ ander’s Ragtime Band,” and several others. He also made a screen test for a talented newcomer at that studio, and filmed three of her first pictures. He thought then, and he still thinks, that she as the most beautiful girl he has ever photographed. He didn’t marry her though, until after he was in the Army. It was in April 1943, that Linda Darnell became Mrs. Pev Marley.
Not only is she the most beautiful girl in pictures, according to Marley, but she’s also a darned good amateur photographer. Better, in facL than he is. Why? Because he’s a professional per¬ fectionist, and for that reason can’t relax and take an ordinary, casual snap¬ shot.
Pev’s hobbies are fishing, dancing, golf, and swimming. And while he was in the service with the Army Air Force Photographic Unit, he did a lot of fly¬ ing, and now flying is his latest hobby. Pev enlisted in the army three months before he was classified, and was in about one year. Out of the service, he finished his 20th Century-Fox contract; then moved over to Warner Brothers, where he’s made four pictures in rapid succession.
In “Pride of the Marines,” there’s a scene he’s rather proud of, for it com¬ bines film shot under three decidedly different conditions, and at different times. Yet it could pass for the same work. Part of the film was actual com¬ bat footage taken on Guadalcanal, some of it was shot outdoors on a foggy morning, and the rest was shot indoors on a sound stage.
Pev is happy in his work, and says he would probably make the same choice of a career, if he had it to do over again. He could never be satisfied with a “debit and credit” type of job — his description
of monotonous or routine work. This business may offer headaches, and plenty of problems, but it isn’t boring, is his opinion. Photography is variable every hour, and the business produces as ver¬ satile a group of people as you’d be likely to find anywhere, he believes.
A good cameraman draws from his past experiences, his artistic ability, his common sense, with a dash of psychology added, and all of it topped off with a sense of humor, is his way of looking at it.
And work? Well, “They are always working on a motion picture set,” he says. “When not actually shooting, they are lining up for the next scene. And who are ‘they’? Why, the cameramen, of course. Actors and directors get a respite now and then; even grips and electricians get a breather. But the cam¬ eraman — never. For ‘they’ are always busy! But they probably wouldn’t change places — even if they could — for any other job in the business.”
Paramount Stages 16 mm. Premiere of "Duffy's Tavern' in Chicago
Paramount staged a special premiei’e of “Duffy’s Tavern” in Chicago recently for members of the press and radio at — of all places — Duffy’s Tavern in the Windy City. Showing was an exploita¬ tion stunt for the picture; but more im¬ portant, marked the first time that a studio feature had been premiered in 16 mm. form. Pair of Bell & Howell Filmosound 179 projectors were utilized for the performance.
Craig Western Distributor for Professional Junior Tripod
Craig Movie Supply Company of Los Angeles has been appointed western distributor for the Professional Junior tripod with removable head. Arrange¬ ment was made with Frank Zucker of Camera Equipment Co., New York.
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American Cinematographer » January, 1946
31
Director George Marshall rehearses Bob Hope and Joan Caulfield in a stair-walking scene for "Monsieur Beaucaire" at Paramount. For making the shot, camera and sound mike will follow the players up the stairs via movement of camera crane. Lionel A. Lindon, A.S.C., is director of photography on the production.
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Factory Filming
(Continued from Page 16)
my own experience and observation, the only cameraman I have seen do bang-up jobs were those who had the moral cour¬ age to subdue their own creative urge and adapt their ability to the problems at hand. Why? Because beautiful pic¬ tures alone do not constitute a well-pho¬ tographed training film.
The film must be subjective, not ob¬ jective. In other words, the audience should be participants and not merely spectators. To achieve this, good com¬ position must, if necessary, be thrown out the window. If one angle will per¬ mit better lighting and another a bet¬ ter participating point of view the con¬ scientious cameraman has no choice. He must be willing to leave his own work open to criticism (by those who don’t
know) so as to achieve the main objec¬ tive.
A demand frequently heard by educa¬ tional cameramen is, “get the worker’s point of view.” This sounds easy enough. Place the camera at about the average man’s height and have the machine’s operator cheat a little to one side or the other. But rarely does this give the ex¬ pected result. The reason is that the camera’s single eye is stationary whereas the two eyes of the worker are con¬ stantly changing position and focus, even though his head, to all appearances, remains stationary. Actually the head is moving constantly in a series of al¬ most imperceptible pans.
Yet I have seen cameraman Jockey Feindel get shots which solved this prob¬ lem. He carefully figured out the angle which the audience would recognize as the worker’s point of view and set up his camera accordingly. I was directing that opus and squawked loud and long when I saw where he put the camera. But Jockey squawked louder and longer and the results proved that it was for¬ tunate he did so.
On another film, Floyd Crosby, A.S.C., was asked if he could get a “nice, easy long shot” of Lockheed’s P-38 assembly line. He looked at his two seniors, four juniors, three “broads” and three baby spots. He muttered a number of things but all that was audible was a very definite “No!” There ensued a one-sided discussion between Floyd and our cus¬ tomer’s representative. We’ve all heard similar discussions, so you won’t be sur¬ prised that it ended with Floyd making
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32 January, 1946 • American Cinematographer
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the shot while his face went all the colors of the spectrum and a few Dr. Kalmus never heard of. The next day we saw the shot in the rushes. It was beautiful. I never figured out how Floyd did it. I am not too convinced that he knows himself.
It is my conviction that in spite of conditions and obstacles, educational films can be photographically beautiful as well as functional. During production the cameraman is the key man. I have a few suggestions which may make it a bit easier for him to fulfill that role:
1. Together with the script writer, di¬ rector and gaffer, watch the operation you are going to shoot and become famil¬ iar with the job you are going to teach via the screen.
2. Determine the amount of lights you will need, remembering that the pro¬ ducer is probably on a short budget. If he is a legitimate producer he won’t mind telling you just how much money he has to work with.
3. Read the script and let the writer clarify any points you do not fully grasp.
4. Together with the director, work out complete story sketches for the job. It doesn’t matter how rough these sketches are. The main thing is to make them for the whole picture at once and not just for a day’s shooting.
5. Where conditions permit plan for dolly shots so as to come up close on details of an operation without having to cut fi’om the medium or full establish¬ ing shot.
6. Do your diplomatic best to have the factory, or anybody, paint the subject machines. Battleship gray seems the most popular color for best photographic results.
7. If you are working with metal be sure there is plenty of wax on hand to eliminate reflection and halation. Also be certain that the demonstrating worker has plenty of sample pieces to put through his machine during the filming for the several takes which may be neces¬ sary. While neither of these points is generally conceded to be the camera¬ man’s responsibility, I think that when shooting begins you’ll be mighty glad you checked up on them.
I am only repeating old stuff when I say that educational pictures are going to play an increasingly important fact in our national life. They are a challenge to the cameraman’s ability. The work is poor in glamor and rich in headaches. But I earnestly believe that any man who has shot a good educational can look in his mirror and say, “Well, prune puss, I guess we are a cameraman after all.”
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American Cinematographer • January, 1946
33
Review of News
(Continued from Page 14)
tion of features in smaller towns and locations that cannot support the orig¬ inal investment and overhead required for a 35 mm. operation, are currently probing the possibilities of utilizing the economical advantages of 16 mm. size, but still taking measures to prevent pro¬ jection of the minnie prints on the pre¬ sent 16 mm. machines in private hands.
Best progress has been made on sug¬ gestion to use a 20 mm. size printstock — with the same frame size as the pre¬ sent 16 mm., but with the added 4 mm. comprising sprocket holes on other side opposite present ones, to provide double sprocket movement for projectors which would be made by the manufacturers and sold only to regulation theatres that are expected to be opened for operation under the more economical conditions.
The 20 mm. standard proposal is far advanced both in New York and Holly¬ wood. Head offices of the major com¬ panies have technical representatives conferring on the matter, while the Academy Research Council in Hollywood is giving the idea a thorough going- over through several of its committees. If the green light is given to the new standard for smaller theatres, many months will elapse before prints will be available. Projection equipment manu¬ facturers will have to tool up for the new professional equipment; laborator¬ ies will have to set up developing ap¬ paratus for processing the 20 mm. size; and then the 20 mm. prints will be available for the smaller theatres when sufficient number of the latter are ready for operation to justify making quan¬ tities of the prints.
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WE BUY, SELL AND RENT PROFESSIONAL AND 16mm EQUIPMENT, NEW AND USED. WE ARE DISTRIBUTORS FOR ALL LEAD¬ ING MANUFACTURERS. RUBY CAMERA EXCHANGE, 729 Seventh Ave., New York City. Established since 1910.
BELL & HOWELL PROFESSIONAL PRODUC¬ TION outfit,, consisting silenced Single System Camera, 2 viewfinders, tripod, 3 lenses, blimp. Double System Recorder, 6-BH magazines. 3 motors, microphone, amplifiers, etc., complete, $3,950.00 ; Akeley Newsreel Camera with 5 maga¬ zines. Gyro tripod, 2 lenses, motor, $995.00 : DeBrie metal camera, 3 lenses, 6 magazines, $350.00 ; Quartz slits, $39.50 ; RCA Galvanometer complete, $650.00 ; with noise reduction, $800.00. Send for Catalog. S. O. S. CINEMA SUPPLY CORPORATION, NEW YORK 18.
BRAND NEW, LATEST STYLE, 16mm. sound projector, facotry guaranteed ; also one slightly used, cheap. Box 875, Reading, Pa.
FOR SALE : S.M.P.E. Transactions and Journal. Complete from 1925 to date. Cost over $300.00. Best Offer. Box 1028, AMERICAN CINEMA¬ TOGRAPHER.
ARRIFLEX — AKELEY — DEBRIE — EYEMO - DEVRY 35 mm. cameras, complete with all accessories. Bolex — Filmo — Cine Kodak 16mm. cameras. Silent — Sound Projectors — lights - — splicers — reels — rewinds • — large and small — measuring machines -film and disc recorders — 16mm. and professional tripods. Send for circu¬ lar on Camart tripod. Camera Mart, 70 West 45th Street, New York.
BERNDT-MAUER MODEL “D” RECORDER complete with amplifier and AGN amplifier and necessary cords — $2,000 cash. The Calvin Com¬ pany, 1105 E. 15th St., Kansas City 6, Mo.
COMPLETE FILE OF THE AMERICAN CINE¬ MATOGRAPHER from August 1932 to Decem¬ ber 1944 inclusive. File through 1939 bound in black leather-backed cloth, gold lettering. Last five years not bound. Valued at $100.00. Write best offer. Box 1029, AMERICAN CINEMA¬ TOGRAPHER.
COMPLETE 35mm. sound on film, portable, single system camera, with 4 lens turret, wide angle F.3 :5 ; 50mm. F.l :5 ; 4 inch Telephoto F.4 :5 and F.l :5 copying lens for titles. 1,000 foot maga¬ zines. Three element Glow lamp recording, 110V. 60 cycle AC operated. $4,000.00 cash. John W. Warner, Plaza Theatre, P.O. Box 409, Green¬ ville, N.C.
SINGLE LENS EYEMO. GOOD CONDITION $125.00. C. W. HERBERT, ROUTE SIX, BOX 511, TUCSON, ARIZONA.
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HOME MOVIE FANS, JOIN MOTION PICTURE Educational Society. Free valuable information. Box 875. Reading. Pa.
WANTED to hear from parties interested in form¬ ing producing unit of high grade 16mm enter¬ tainment shorts. Need capital, technicians. Or from established concern with studio, lab, and releasing facilities. If only curious, don’t waste postage. Louis Ell Lovenburg, Box 543, Ogallala, Nebraska.
WANTED
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WE PAY CASH FOR EVERYTHING PHOTO- GRAPHIC. Write us today. Hollywood Camera Exchange. 1600 Cahuenga Blvd.. Hollywood.
LABORATORY, STUDIO OR RECORDING EQUIPMENT, SOUND PROJECTORS, CAM¬ ERAS, TRIPODS. PAY HIGHEST PRICES. S. O. S. CINEMA SUPPLY CORPORATION, NEW YORK 18.
WANTED: JUNE 1940 issue of JOURNAL of S.M.P.E. to complete set. Can anyone help me? L. Duncan, MoMM2/c, U.S. Coast Guard Base, Wilmington, California.
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34 January, 1946 • American Cinematographer
A TYPE FOR EVERY PURPOSE
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IMPROVED and refined, as are all Bell & Howell Filmos, the 8mm Companion is more than ever the ideal personal camera for making fine mov¬ ies at low cost.
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Companion action shots have real theater quality — in full color or in sparkling black-and-white. You just sight, press a button, and what you see , you get.
See the new Filmo Companion 8 at your B&H dealer’s today.
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38
February, 1946 •
American Cinematographer
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3d
American Cinematographer • February, 194<>
VOL. 27
FEBRUARY. 1946
NO. 2
CONTENTS
Photographing Army Air Force Training Films . 42
Army Air Force’s “The Last Bomb” Sensational War Film . 44
The Subjective Camera . By Herb Lightman 46
Report of SMPE Committee on Color . 48
Through the Editor’s Finder . 50
Among the Movie Clubs . 56
Simplified Movie Processing in Your Own Darkroom .
. By James R. Oswald 58
Current Assignments of A. S. C. Members . 64
ON THE FRONT COVER is a photograph of one of the numerous sweeping- locations for the David Selznick production in Technicolor, “Duel In the Sun.” King Vidor is director of the $5,000,000 production. Lee Garmes, A. S. C., is director of photography; with Ray Rennehan, A. S. C., as Technicolor associate. Still by Madison Lacy.
OFFICERS AND BOARD OF GOVERNORS AMERICAN SOCIETY OF CINEMATOGRAPHERS
Leonard Smith, President Fred Jackman. Exec. V.-Pres. and Treas.
Charles Clarke, First Vice-President Joseph Walker, Second Vice-President
Arthur Edeson, Third Vice-President Ray Rennahan, Secretary
George Folsey, Sergeant-at-Arms
John Arnold Byron Haskin John Seitz
John Boyle Sol Polito Leon Shamroy
Lee Garmes William Skall
The Staff
EDITOR
Walter R. Greene
•
TECHNICAL EDITOR Emery Huse, A.S.C.
•
ASSOCIATE EDITOR Edward Pyle, Jr.
MILITARY ADVISOR Col. Nathan Levinson
•
STAFF PHOTOGRAPHER Mel Traxel
•
ARTIST
Glenn R. Kershner, A.S.C.
•
CIRCULATION AND ADVERTISING Marguerite Duerr
•
ADVISORY EDITORIAL BOARD Fred W. Jackman. A. S. C.
Victor Milner, A. S. C.
Alvin Wyckoff. A.S.C.
Farciot Edouart, A. S. C.
Fred Gage, A. S. C.
Dr. J. S. Watson, A. S. C.
Dr. L. A. Jones, A. S. C.
Dr. C. E. K. Mees, A. S. C.
Dr. W. B. Rayton, A. S. C.
Dr. V. B. Sease, A. S. C.
•
AUSTRALIAN REPRESENTATIVE McGill's, 173 Elizabeth Street, Melbourne, Australian and New Zealand Agents
Published monthly by A. S. C. Agency, Inc. Editorial and business offices :
1782 North Orange Drive Hollywood (Los Angeles, 28), California Telephone: GRanite 2135
Established 1920. Advertising rates on appli¬ cation. Subscriptions: United States and Pan- American Union, $2.50 per year; Canada, $2.76 per year ; Foreign. $3.50. Single copies, Z6c ; back numbers, 30c ; foreign, single copies 35e. back numbers 40c. Copyright 1946 by A. S. C. Agency, Inc.
•
Entered as second-class matter Nov. 18. 1937, at the postoffice at Los Angeles, California, under the act of March 3, 1879.
40 February, 1946 • American Cinematographer
66
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American Cinematographer • February. 1946
CINEMATOGRAPHY IN THE WAR
ARMY AIR FORCE TRAINING FILMS
WITH CAPT. TOM TUTWILER, A.SC.
Now that the war is over, the “top secret” and “confidential” activities of various services are off on disclosing intimate details of the importance of cinematography in waging a winning battle over the enemy. In starting this series of “Cinematography at War,” articles on the use of motion pictures on the home and battle fronts will be published detailing the experiences of members of the American Society of Cinematographers in various phases of the services.
AAF training films played a most vital part in accelerating the instruction of air force pilots and personnel when speed was essential. Air Force heads early realized the importance of visual
training to supplement class and text¬ book instruction, and made maximum use of films in the domestic training program.
In presenting various phases of pro¬ duction of AAF training films, the ex¬ periences of Capt. Tom Tutwiler, A. S. C., provide a typical history of the motion picture instruction program of that branch of the service. Tutwiler, who received commission of first lieu¬ tenant with the original AAF First Mo¬ tion Picture Unit in February, 1943, entered the service after more than 15 years’ experience in Hollywood studios where he mainly worked on special ef¬ fects photography at Metro-Goldwyn- Mayer. He was promoted to the rank of
Captain while in service.
Captain Tutwiler, who logged more than 1,000 hours of flying time while functioning as a cinematographer with the AAF, estimates that this exceeds the total flying hours of any other AAF cameraman for the similar period of three years. Assigned to head an aerial camera unit immediately, Captain Tut¬ wiler photographed air and ground foot¬ age in about equal amounts on his many and varied assignments.
These assignments covered all types of aircraft and models introduced pe¬ riodically to do specific jobs. Films de¬ tailing the flying characteristics and various types of equipment of each model were made to not only intimately familiarize pilots in training in this country, but also to make the new models familiar with the flyers and crews on battlefronts where the new plane would be dispatched for service.
Included in each film as standard footage was picturization of the air performances of the individual types of planes, including maneuverability, take¬ off, landing, flying characteristics and other features for the knowledge of the pilots in the field and in training.
Small Crew
In handling the assignments, which necessitated location trips to various fields where the different plane models were being tested or flown for the film¬ ing, Captain Tutwiler carried a small crew of only one assistant cameraman and one grip. This compact unit capa¬ bly and efficiently handled the work to be done, although individual fields gen¬ erally supplied trucks when required during filming operations.
Detailed Scripts Provided
The film project on a new type plane, or instructional picture of various phases of operation was always care¬ fully planned and set up in advance in script form for the cameraman assigned to the job. When a project was re¬ quested, the AAF First Motion Picture unit dispatched one or more writers to
Setting up the Bell & Howell camera in waist door of an A-29.
42
February, 1946 • American Cinematographer
the particular field or base to prepare a suitable script. On this preliminary work, an officer at the base familiar with the film requirements was assigned as technical advisor and liaison to work closely with the writer to familiarize the latter with what was required and to provide necessary technical informa¬ tion and performance features of the plane that was to be the subject of the film.
After the script was okayed by the commanding officers of the particular base, the camera unit was sent along from the Culver City base to launch production. During this period, also, the officer functioning as technical advisor was constantly with the camera unit to advise and assist in the filming.
Cramped Setups on Planes
In his numerous photographic expedi¬ tions for the Air Force, Captain Tutwiler covered a territory embracing air bases all over continental United States, and he was also on many filming- missions that extended far out over the Atlantic, Pacific and Caribbean waters.
For aerial photography, where the camera plane had to follow the subject plane, Captain Tutwiler continually found himself in cramped quarters. For example, operating the camera from the tail of a B-29 required that he be on Tiis knees for the entire trip. On other occasions, he had to crawl through a plane to the camera position, and then operate while on his side in a prone position. The only time he could stand up and operate the camera comfortably, Tutwiler discloses, was from the turret of an AT-11.
Although shooting was from odd and uncomfortable positions most of the time, Captain Tutwiler discloses that he never photographed through plexiglas — but always out of the nose, tail, waist or turret of the camera planes. This re¬ quired that the cameraman take a tough beating while shooting; and either win¬ ter or summer, the trips were decidedly cold.
Special Camera Planes
Major Frank ClarK was OIC of the Flight Echelon attached to the First Motion Picture unit, and his division supplied the camera ships and pilots for the various film expeditions in all parts of the country. Major Clark had under his command a group of pilot-officers who were experienced in operating camera ships for film production, which resulted in not only better aerial pho¬ tography overall, but saved immeasur¬ ably in production delays that would fiave existed if unskilled film production pilots had been assigned at each par¬ ticular field.
Principal types of camera planes used were Lockheed Hudsons and the B-25
(Continued on Page 68)
AERIAL PHOTOGRAPHY CAMERA POSITIONS for AAF training films — top, shooting from turret of an A-29; middle, setup in turret of an A- II; bottom, from the nose of an A-29.
American Cinematographer • February, 1946
43
rr
AAF's "Last Bomb Sensational
“The Last Bomb” is one of the great¬ est — if not the tops — in the series of actual combat picturizations of the war. An exposition of the details of attack by the B-29 Superfortresses on Japan in the late months of the war, nothing in printed form could more clearly ex¬ plain the devastation and ruin wrought on the Jap homeland and the impossi¬ bility^ of the Nips continuing to resist, than this epic from the motion picture files of the Army Air Forces.
Members of the American Society of Cinematographers were privileged to witness one of the first — if not the initial — showing, before a semi-public audience on the night of January 21, 1946, at the A. S. C. clubhouse in Holly¬ wood. General consensus was that this was the finest and most spectacular film to be issued from the war activities of the United States forces.
Specific showing was arranged through the courtesy and cooperation of Frank Lloyd, veteran motion picture director and former major in the AAF photographic unit who was recalled from civilian life to function as director of the unit undertaking the enterprise.
Several members of the American Society of Cinematographers were closely identified with the making of “The Last Bomb,” including Major Wilfrid Cline, who had previously spent 20 months in China as commanding officer of the 16th Air Force Combat
Camera Unit; Captain Gilbert Warren- ton, A. S. C., who was several years in the South Pacific battle area; and Cap¬ tain Tom Tutwiler, A. S. C., who shot the sequence of P-51 maneuvers for inter-cutting into the subject.
Picture was made entirely in 16mm kodachrome, with the exposed film planed back from the Philippines, Mari¬ anas and I wo Jima to Honolulu with escort AAF officers for processing at the Eastman kodachrome processing laboratory in Hawaii in record time. Subsequently, 35mm color blowups were made by Technicolor, which will even¬ tually make the release prints when the picture is shown generally in the the¬ atres of the world.
The film, which was made in a total of five months, was planned to give the American public an insight into the details of a multi-plane bombing raid on the Jap homeland. Some reports state that the heads of AAF, after checking the most favorable public re¬ action to the Navy’s “Fighting Lady” (which was a documentary in which much of the filmed material was scripted and shot in advance through cooperation with a Hollywood studio), decided that the Air Force could top the sensational audience qualities of “Fighting Lady” with a film on the concentrated bombings of Japan.
Whether or not this report is correct, the final result is sufficiently thrilling
to justify all the effort expended by the AAF and its most proficient motion picture division. There is no doubt but what — even with the war terminating with abrupt suddenness — “The Last Bomb” will be released generally via theatres throughout the world to give everyone an opportunity to view the terrific and overwhelming air forces di¬ rected at the Nip homeland.
“The Last Bomb” is a “must see” for every American, and will also provide audiences in other countries with the “know how” of the United States in organizing and waging air war — no matter what the distance or difficulty.
Picture depicts the planning, start, flight, etc., of a 500 B-29 raid on Jap targets — two air plants. The big planes are shown in takeoffs from the Maria¬ nas in flights; the pickup of P-51 fighter plane escorts off Iwo Jima, and the run to the Japan islands. Over the target, the bombs drop more numerous than salmon on a spawning run, while the P-51s engage the intercepting Jap fighter planes in sensational air battles.
Direct hits — from 12,000 feet — on the objectives are vividly seen in the orange flashes and glows below. There are sev¬ eral shots from the big bombers to give the onlookers a visual thrill of the de¬ vastation and ruin which had previously been visited on Tokyo via air attacks.
While the bombers go about their work, the P-51 fighters battle the Jap fighter planes. Through medium of GSAP (gun sight aiming point) cam¬ eras synchronized with gunfire on the fighters, the blasting of the Nip fighter planes is vividly depicted. When hit by shells, the Jap planes shudder as if suspended on a string in the breeze — emit smoke or catch fire — and go into crashes or fall apart.
When the bombers have completed their missions and turn for home, a portion of the fighters stick close by as escorts to prevent delayed raids by the tricky Jap fighter pilots. But other fighters peel off for strafing runs over power lines, trains, factories, airfields, shipping, etc. This sequence of about 10 minutes duration on the screen, sur¬ passes anything else that has been seen in this war; and will be the tops until something better might come along.
Final sequence shows the Iwo Jima base, where crippled B-29s are forced to land due to gas shortage or being crippled in the battle. Several episodes provide maximum thrills when the big planes are forced to belly-land on air¬ strips or close waters to save the lives of the crew members. Most thrilling is the continual effort extended to save the lives of the pilots and crews, no matter how great the danger to the rescuers.
“The Last Bomb” is a most vivid mo¬ tion picture of this war — it is certain to be one of the greatest documentaries for preserving the peace for many years to come. Every person — both in the United States and the world — should see it and realize the fallacy of embarking on any future war.
ON THE SET of RKO's "Till the End of Time." Director Edward Dmytryk and Director of Photography Harry Wild, A.S.C., ready to shoot a scene with Jean Porter and Guy Madison.
44
February, 1946 • American Cinematographer
At Your Service! the staff of
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By HERB A. LiGHTMAN
The camera is the “eye” of the motion picture. It is not merely a mechanical thing of cogs and wheels and optical glass that records an image on a strip of film. Rather, it is an artistic tool — like a painter’s brush, or a sculpter’s chisel. In the hands of a craftsman it be¬ comes the instrument through which a dramatic story can be placed on film — so that later on, in darkened theaters all over the world, vast audiences can see the film, react to if, and be entertained.
Psychologically, an audience responds
as strongly to creative camerawork as it does to clever direction or powerful act¬ ing. For the camera has “point of view” and the audience will see the story only as the camera sees it. For this reason, the camera’s approach to a specific scene must be in key with the concept of that scene as set down in the screenplay, and with the pattern of action worked out by the director.
Usually the camera maintains the role of a detached observer of the story. It is not, in itself, a part of the action — so
it simply stands by and records what goes on, assuming whatever angle will best portray that action. When this is the case, and the camera remains apart from the action itself, we say that the camera is “objective.” A vast majority of the action in most photoplays is filmed with this approach.
Occasionally, however, the camera steps out of its role as casual observer and becomes a participant in the story. In so doing it assumes the point of view of one of the characters, and what appears on the screen is what that par¬ ticular character sees in a certain filmic situation. Thus, the camera actually be¬ comes his “eye,” and when this is the case we say that the camera is sub jective.
This technique, in itself, is not entirely new. Even back when the movies were young a character could scarcely be represented on the screen as being drunk without the audience’s being treated to a revolving prism shot of his multiple D.T.’s. But, just as motion picture tech¬ nique in general has outgrown obvious forms of trickery, the subjective treat¬ ment as used in Hollywood today has be¬ come a smooth, subtle way of putting the audience into a character’s “shoes.” It is dynamic without being clumsy.
The psychological effect of this device on the audience is direct and potent. The modern photoplay appeals princi¬ pally to the emotions. For this reason, it is desirable that an audience participate subconsciously in the action that is tak¬ ing place on the screen. When a person viewing a film can lose himself in the story and react vicariously to the emo¬ tions of the actors — then he, is quite apt to leave the theater with the glow of satisfaction of having seen an enter¬ taining film.
The subjective approach, when well executed, tends to bring the andience into the pictuie. It is allowed to see part of the action as it appears to one of the characters, and it will subconsciously experience the same reactions he does.
In several recent Hollywood photo¬ plays there have been some excellent ex¬ amples of this technique in use. In the film: “The Lodger,” directed by John Brahm and superbly photographed by John Seitz, A.S.C., one sequence con¬ cerned the murder of a dowdy London charwoman who had stopped by at the pub for an “arf ’n’ arf” before going home. By previously established motiva¬ tion the audience knew that the killer was waiting in her little shack. But when the camera followed her into her room the murderer was not once shown. Instead, the woman started to remove her clothes, whirled about as she heard
(Continued on Page 66)
DETAILS OF UNUSUAL LIGHTING on close shot of William Powell and Lewis Stone for Metro-Goldwyn- Mayer's production, "The Hoodlum Saint." Director Norman Taurog is seated on stool in left foreground, with director of photography Ray June behind Taurog making final check of fhe scene before shooting.
46
February, 1946 • American Cinematographer
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American Cinematographer • February, 1946
47
Report of the SMPE Committee on Color
(Presented at Oct. 17, 1945 Technical Conference of the Society of Motion Picture Engineers in New York, and published in SMPE Journal of Dec. 1945. Re¬ printed by special permission of the SMPE.)
AS the motion picture industry un¬ dertakes an ever-growing per¬ centage of production in color, the matters of increasing present facili¬ ties, of opening up new facilities, and, above all, the removal of limitations and restrictions upon methods of opera¬ tion, become of utmost importance. The engineers and technicians of the indus¬ try need to look ahead and formulate the problems and possible solutions thereof, so as to be ready wisely to advise the executives and producers who, it can be confidently predicted, will wake up to the problem rather suddenly.
It is from this point of view that the Color Committee of the Society of Mo¬ tion Picture Engineers wishes ,to empha¬ size the importance to the industry of the new high sensitivity caesium-anti¬ mony phototubes which are currently being described.
In order to appreciate the significance of these cells it should first be realized that the great majority of dyes which can be used in the production of color film are transparent to the near infrared region of the spectrum and consequently are unsuitable for use as components of the sound track, if, as is currently the case, the standard photoelectric cell has its maximum response in that region. This remark applies equally to acid dyes such as are used in imbibition processes,
to basic dyes as used in dye-toning proc¬ esses, and to the insoluble dyes produced by the aid of color formers and color developers.
To be sure, there are a very few dyes or suitable pigments which are absorp¬ tive in the near infrared region — ferric- ferrocyanide (the usual iron-tone) is the outstanding example. If, then, ferric- ferrocyanide is used for the cyan com¬ ponent of the picture, a satisfactory track, absorptive in the infrared, can be produced simultaneously with the cyan picture component without the require¬ ment of any special processing steps. Such prints and tracks have been widely used in the 2-color field, as, for example, in Cinecolor prints.
However, the methods which produce this iron-tone image cannot in general be used in the production of yellow and magenta images. Furthermore, the use of this pigment permits no choice what¬ ever in the selection of the cyan com¬ ponent. The iron-toned image for the pic¬ ture has to be accepted as it is. So as a general conclusion, it can be said that the picture components suitable for the imbibition process, the color-former proc¬ ess, or for any process wherein the three components are treated in a common manner, cannot be used to form a satis¬ factory track absorptive to infrared rays.
This difficulty has been overcome in the past by producing the sound track in silver or a silver compound, either by a completely separate step, or by means of edge treatment of the film at some stage of the processing. As an example of the former method there is Technicolor’s
black silver track, and as an example of the latter there is Kodachrome’s silver sulphide track. Now either of these methods resulted in added ex¬ pense— -in the latter case, because of the delicacy of the operation. The boundary of the area of action of the edge-treating fluid, whether applied to track alone or to picture alone, must be confined to a zone only 0.015 in. wide between track and picture, and the action of the fluid must be absolutely uniform across the zone of the application with no variation in the vicinity of sprocket holes; yet agi¬ tation as a means of securing uniform¬ ity is obviously excluded. A delicate operation of this sort requires, on the one hand, careful control, and on the other hand, the constant threat of re¬ duced yields and increased costs. Quite a number of patents have appeared de¬ scribing various chemical and mechanical methods of performing this edge treat¬ ment.
But now, if the sensitivity of the phototube can be confined to the visible range, then the same components that are used to make up the picture can also be used to produce the track without the necessity of edge treatment. It was with this thought in mind that an earlier Color Committee (in 1937) called atten¬ tion to the desirability of finding or pro¬ ducing such a tube. At about that same time a photosensitive alloy was discov¬ ered by a German investigator, which alloy, when illuminated by an incandes¬ cent tungsten lamp, has a peak of re¬ sponse well inside the visible range. Fur¬ thermore, when properly prepared, this alloy possesses very remarkable sensi¬ tivity.
The development of phototubes con¬ taining this alloy has apparently been considerably retarded by the war, though various constructions containing it have appeared in several countries. German- made tubes have been referred to in vari¬ ous articles in Kinotechnik and other German magazines, which have been ab¬ stracted in the Kodak Monthly Abstract Bulletin for November, 1943, and Febru¬ ary, May, October and December, 1944. A translation of one of these articles appeared in the SMPE Journal for Sep¬ tember, 1944. English-made tubes are de¬ scribed in the Proceedings of the Physi¬ cal Society (London) for March, 1943, and also in an article in the Journal of the British Kinematograph Society for January, 1943. The U. S. patent on the alloy is now in the hands of the Alien Property Custodian and licenses are available to anyone at a nominal fee.
For use in projectors it seems most desirable to arrive at a phototube which will have about the same output as does the ordinary Ag-O-Cs tube. A tube which meets this requirement and which is me¬ chanically and electrically interchange¬ able with the present 868 type has been
(Continued on Page 62)
PHOTOGRAPHER BEHIND TWO-BY-FOURS — An intricate camera position to film a train sequence for
David O. Selznick's production of "Duel in the Sun."
48
February, 1946 • American Cinematographer
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THROUGH
Although reports from London state that the British critics were lukewarm to the premiere of Gabriel Pascal’s “Cae¬ sar and Cleopatra,” when the production opened there last month; it does not fol¬ low that the picture will not be box office in both Great Britain and the United States. Financed by J. Arthur Rank to the tune of around $5,000,000 to make it the most expensive released neg¬ ative to date (although David Selznick’s “Duel in the Sun” is said to be in excess of that figure while currently in the edit¬ ing stages) “Caesar” encountered pro¬ duction problems and delays of unusual character to send costs zooming to astro¬ nomical figures.
“Caesar” has to roll up world grosses of terrific amounts to recoup its nega¬ tive cost. But Rank is too great a busi¬ ness realist not to realize that the pic¬ ture cannot be forced onto the public unless it carries entertainment values. He will be satisfied with returns that might get back a large portion of the outlay, and figure whatever losses even¬ tuate will be valuable in the long run by providing a showcase picture of Brit¬ ish production to catch attention of both theatre men and the public to the effect that England can turn out pictures com¬ parable in general production quality to the best in Hollywood.
This brings to mind the fact that a high cost production does not necessarily guarantee box office merit. During the past two years, there have been at least five or six productions from the Holly¬ wood major studios that were unable to recoup negative costs of $2,500,000 and upwards. Some were even on Academy Awards nominations, which attested to the fine artistic and production merit of the pictures. But, for some reason or other, they .failed to catch attention of the paying public — even in these lush days of box office happiness.
Films for Fire Dept. Reports?
Stopping the other day to survey the damage of what had been a pretty good- sized fire a few/hours previously, we were surprised to see the arrival of an officer of the fire department — apparently an investigator sent to the scene to make out a complete report on the specific blaze for the study by the fire preven¬ tion bureau. Accompanying him Was a fireman equipped with a press graphic camera, and bags of both bulbs and hold¬ ers. Methodically, the officer inspected all sectors of the exterior, directing the photographer to shoot various phases. The pair then moved into what was left of the building and debris, and the flash bulbs were popping constantly.
The incident impressed one as being important as another important use for
the EDITOR'S FINDER
photography. If we had delayed longer, perhaps another fireman would have ar¬ rived equipped with a 16 mm. camera and a couple of portable lights to secure a more visual picturization of the dam¬ age. How much better to secure films of such an incident for runoff to the heads of the department and the fire prevention bureau, who could study the entire situation carefully and in detail over and over, than to have an individual — no matter how discerning and capable — checking over the scene and making a report from just one individual’s obser¬ vations, as has previously been the case.
As one well-versed individual who has been connected with films for many years recently observed in a gab- fest, 16 mm. films can be much more valuable than multi-paged reports or symposiums on situations or events where higher executives or officials have to be given details.
In the specific case of use of films by fire departments, there’s an oppor¬ tunity for the semi-professional and amateur cinematographers in smaller communities to make valuable civic con¬ nections by offering to photograph fire ruins for' the local departments to study at leisure. And the chores would be right in line wUh personal pleasures of cine¬ matography.
Peak Color Capacity
It is interesting to note that the color processing laboratories, Technicolor, Cinecolor and Magnacolor, are all at peak production capacity in turning out prints of features and shorts for the film producers. Technicolor, which sup¬ plies by far the largest annual footage of color films for the industry, has scheduled present capacity of its labora¬ tory for many months in advance. And the company can do little to increase its capacity to take care of major pro¬ ducers’ requests for more color releases. Although property has been purchased and plans drawn for a large addition to the present Technicolor plant, there’s the problem of getting the necessary building materials for construction. Fur¬ ther, there are also the important fac¬ tors of building the highly-precisioned processing equipment necessary, and the training of additional laboratory work¬ ers to handle the added volume of output.
Cinecolor, which is a two color proc¬ ess, also is enjoying capacity through contracts for features and shorts of the studios. Limited capacity of its present plant prevents taking on any further commitments at this time. Metro-Goldwyn-Mayer was the first ma¬ jor company to utilize the Cinecolor bi¬
pack color for production of a feature, “Star From Heaven,” which was re¬ cently completed with John Boyle A. S. C., as director of photography. Hal Roach, in resuming production ac¬ tivities to make a series of 12 Stream¬ liner features for United Artists re¬ lease, contracted with Cinecolor for the latter process on the entire series. Roach also wisely signed Boyle to a contract to take responsibilities of director of photography on the group.
Magnacolor method, also a bi-pack similar to Cinecolor, has also taken a splurge of activity, and now holds con¬ tracts for processing for its present limited capacity. But the overall pic¬ ture demonstrates that the producers realize the box office values of color features, and are impatiently looking forward to the time that virtually all releases will be in color to add to the audience appeal of the product.
Strikes Delay Projectors, Etc.
Industrial strikes in the midwest and east will materially slow movement of 16mm sound-film projectors and both 8 and 16mm cameras, if those strikes continue for any appreciable length of time. This information is disclosed by a distributor who points out that an¬ ticipated early and wholesale delivery of 16mm equipment is delayed due to inability of the manufacturers to secure necessary accessories from subcontract¬ ors. Let it be plain that there is not — at this time — any indication of strikes or labor troubles in the factories of the projector manufacturers. But the lat¬ ter depend on smaller plants for certain accessories that go into the final assem¬ bly, and that’s where the bottleneck will be. In view of this, we recommend that prospective purchasers of projectors and cameras of 8 and 16mm sizes exercise patience with the manufacturers, dis¬ tributors and dealers.
Film Stockpiles Low
Film trade papers have, during the past several weeks, reported that 35mm negative and positive raw stock is not too plentiful at the present time. If such is the case, there’s logical reasons for a certain percentage of decline in volume of manufacture by the raw film companies. It must be remembered that — for at least five years — the latter operated the plants on a 24 hour a day basis. Machines and equipment were kept operating with only makeshift re¬ pairs in order to turn out the large
(Continued on Page 70)
50
February, 1946 • American Cinematographer
1 For perfection in lighting, it must be carbon arc lamps . Ernest Haller, A.S.C
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NATIONAL CARBON COMPANY, INC.
Unit of Union Carbide and Carbon Corporation 0 General Offices: 30 East 42nd Street, New York 17, N.Y.
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Division Sales Offices: Atlanta, Chicago, Dallas, Kansas City, New York, Pittsburgh, San Francisco
American Cinematographer • February, 1946
51
Bell & Howell Introducing New 16 mm. Auto Load Camera
The famous "Guzap" camera used by the armed forces to record aerial gunnery effects during combat and training; provides improvements for the new Bell & Howell 16 mm. Auto Load Camera.
Battle-tested and proved under the rigors of war, the new and improved Bell & Howell Filmo Auto Load 16 mm. magazine loading camera will soon be appearing for sale to the public.
Many features of this camera point to its becoming popular in the 16 mm. field. First of all, film threading is effort¬ less. A pre-threaded film magazine is inserted into the rear of the camera, the door is closed and the camera is loaded. Film can be interchanged in mid¬ reel due to the shutter action on the film magazine. This shutter is opened auto¬ matically when the film magazine is in¬ serted, and is closed automatically when the magazine is withdrawn.
A viewfinder of the “positive” type, fully enclosed within the camera for pro¬ tection, is standard equipment. The “positive” type viewfinder eliminates eye-parallax, one of the most frequent causes of poorly composed pictures. Four years of painstaking research were employed on this finder; result, an image 2xk times brighter than before. One of the most desirable assets is the small size and light weight of this latest Filmo. Measuring 1 by 314 by 5% inches and weighing only 2 pounds 7% ounces, it is easily carried in a coat pocket for instant use. Despite its small size, professional results are still ob¬ tained.
The Auto Load will be available with any of several fine, fast lenses, fully color corrected to produce excellent movies both in color and black-and-white. Telephoto lenses for distant work, and wide-angle lenses for close quarters are instantly interchangeable. Lenses sold by B & H will be specially coated to provide greater clarity of pictures (eliminates “ghost”).
A choice of two models can be had, the Filmo Auto Load operating at 8, 16, 24, and 32 frames per second and equipped with a 1" F 2.5 U. F. lens, or the Filmo Auto Load Speedster operating at 16, 24, 32, 48, and 64 frames per second
mounting a 1" F 1.9 F. M. lens. Other¬ wise, the two cameras are identical.
Most of the aerial combat pictures of this war were taken with Auto Load Cameras modified and specially adapted for that purpose. The Armed Forces’ name was Gun-Sight-Aiming-Point Cam¬ era, later nicknamed “Guzap.” Equipped with a motor, heating device, and other secret modifications, it performed bril¬ liantly.
State Dept. 16 mm. Films
The State Department of the United States has announced organization of a film section which will concentrate on production of 16 mm. films to be dis¬ tributed both abroad and in this country.
Setup will combine members of the staffs of OWI and Office of Inter- American Affairs, and will be headed by John Begg, veteran official of State Department film division.
Atlas Educational Film Co. Under New Ownership
Atlas Educational Film Co. of Oak Park, Ill., producers of educational and industrial pictures for 32 years, has been acquired by a new corporation of the same name organized by the banking firm of F. S. Yantis & Co. Added capital provided by the new setup will provide for expanded activities of the company.
S. O. S. Cinema Vets Back
Five employes of S. O. S. Cinema Sup¬ ply Corp. of New York, returned to their posts with that company last month, fol¬ lowing release from service in the armed forces. Quintet included: Dominick Ca- pano, Joseph Liguori, But Carlson, Ira Perry and William Allen. Two former workers with the company were killed in action during the war.
Color Slide Contests
Color division of the Photographic So¬ ciety of America is instituting series of color slide contests to enable members of PSA to evaluate their work in that particular field, and to have an oppor¬ tunity to win medals and ribbons in the contests. Initial event was held in January, with others to follow in Feb¬ ruary, Max-ch, April, and June of 1946, with entry deadline tenth of each month. PSA members may submit slides with no entry fee, non-members are charged $1.00 plus postage. Official entry blanks may be obtained from L. F. Plummer, 8320 Cai’penter St., Chicago 20, Ill.
Second Canadian International Color Slide Exhibition of Photography will be held at Art Gallery of Toronto March 1 to 14, 1946, with entries closing February 11. Toronto Camera Club is sponsoring the contest, with entry fee listed at $1.00 by Chairman Sam J. Vogan, Box 25, Toronto 9, Ontario.
Ansco Moves Chicago Offices
Ansco has moved its Chicago branch to recently-purchased three story build¬ ing located at 247 East Ontario Street, where both the sales offices, new labora¬ tory for film processing, and shipping department will be consolidated under one roof.
New Filmosound Library Releases Announced
MOON LIGHT AND CACTUS (Univer¬ sal) 6 reels
Returning serviceman has his troubles with women in war jobs — in this case in the running of a cattle ranch. But there is more than one solution of the woman question in the postwar world, though few will be quite as funny. (Andrews Sisters, Leo Carrillo, Elyse Knox, Eddie Quillan). Available from March 8, 1946 for approved non-theatrical audiences.
IN SOCIETY (Universal) 7 reels
A pair of plumbers go high-hat, and on Lou Costello that’s particularly funny. The boys go to sea in a bathtub, ride a runaway couch down busy streets, ditto with a fire truck, and finally go fox-hunting riding a steer! (Abbott and Costello, Marion Hutton, Kirby Grant, Anne Gillis). Available from February 18, 1946 for approved non-theatrical au¬ diences.
DANCE REVIVAL — INDIA 10 min.; (black-and-white and color prints)
Pleasant human tale of beautiful girl who becomes teacher of folk dancing in India. Essential dignity and religious im¬ port of interpretive dancing is brought out. Should help improve our under¬ standing of Indian people and culture. Photographed in fine color in India by A. Patel, authentic music by Bhatodekar editing and narration by W. F. Knise.
52 February, 1946 • American Cinematographer
HOW MUCH PER FOOT?
L/OOK at it this way:
A tremendous expenditure has been made be¬ fore a single camera rolls. Staggering amounts have been spent on talent, meticulous sets, special skills, and equipment.
Recording all that investment on film makes the finished negatives a pretty valuable property.
That’s the way we look at it!
And so every frame of Ansco Supreme is the finest film we know how to make. In grain,
KEEP YOUR EYE OK AKSCO— FIRST WITH THE FINEST
speed, and wide latitude, it has consistently proven true to the trust put in it. You can depend on Supreme.
Ansco
A DIVISION OF GENERAL ANILINE A FILM CORPORATION
BINGHAMTON • HOLLYWOOD ‘ NEW YORK
American Cinematographer • February, 1946
53.
Eastman Kodak Explains Research Status Of Professional Safety Film
Although progress is being made on research development for .professional 35 mm. negative and positive motion picture film, prepared statement by East¬ man Kodak Company cautions that many factors have to be considered before the non-inflammable type film can replace the present nitrate stock.
Ed Kuykendall, president of Motion Picture Theatre Owners of America, na¬ tional exhibitor group, first asked for early introduction of the safety film stock for theatrical use in a bulletin to members several years ago. This was picked up by trade publications, some of which indicated that a changeover to non-inflammable print stock could be made within a short time.
However, as the Eastman information discloses, much has to be accomplished and a long time will undoubtedly elapse, before the industry secures the full bene¬ fits of Eastman’s development and per¬ fection of the safety film for production and theatre use.
The Eastman Kodak release states:
“In view of the numerous and some¬ times inaccurate articles which have re¬ cently appeared on the subject of safety motion picture film, the Eastman Kodak Company has authorized the following statement covering their own position.
“Following the years of research and development, the quality of motion pic¬ ture safety film, particularly with re¬ spect to its ability to stand up under theatre projection, has constantly im¬ proved. The Eastman 35 mm. safety film used in large quantities by all govern¬ mental agencies during the war per¬ formed satisfactorily under the condi¬ tions under which it was used. This included regular theatre projection but, generally speaking, the length of run to which these prints were subjected was considerably shorter than that for nor¬ mal nitrate release prints.
“Numerous tests of safety film, both standard and experimental, have been made by Eastman in recent years in their own laboratories and under trade con¬ ditions. Such tests will continue. So far, however, both laboratory and trade tests have shown that the best safety film is not equal in wearing quality to nitrate. Any attempt to generally replace nitrate film with the present safety would in¬ evitably result in substantially increased print damage and much higher print costs to the industry.
“No experience to date has indicated that safety base can be produced as cheaply as nitrate. When and if a com¬ pletely satisfactory safety base can be made and sold in quantities comparable to the present output of nitrate, the price might be lower than the present 1.25 cent price of current safety posi¬ tive, but there is no present prospect that it could reach the low price level of nitrate film.
“The outlook for the eventual transi¬ tion of the industry to safety film con¬ tinues to be hopeful. Improvements, how¬ ever, are still essential and certainly no specific date for a possible shift to safety base can be set at this time.”
Tom Law of London, representing the J. Arthur Rank British group of com¬ panies, and Joe McNabb, president of Hell & Howell Company, are concluding agreements started with the visit of Arthur Rank to Chicago last June.
By the terms of the agreements, Bell & Howell Company of Chicago and Brit¬ ish Acoustics, the engineering and manu¬ facturing company of the Arthur Rank group, are entering into a long term period for an interchange of research, manufacture, and distribution of equip¬ ment and films.
British Acoustics will set up the com¬ plete manufacture in England of all Bell & Howell standard and substandard equipment including 16mm. sound and silent projectors, 16mm. and 8mm. cine cameras, and 8mm. projectors, as well as a wide range of accessories. The plants in England will be operated on
Still another demonstration of the technical and engineering inventive abil¬ ities of members of the American So¬ ciety of Cinematographers is seen in the widespread national attention and pub¬ licity accorded an electronic radar “see¬ ing eye” developed by Joseph Walker, A.S.C.
Walker, in addition to being an out¬ standing director of photography in mo¬ tion picture production, finds time to experiment and research on radio and electronic devices. His home workshop and experimental laboratory contains modern and exacting equipment gen¬ erally only contained in the research lab¬ oratories of the electrical companies.
The “seeing eye” device is currently contained in a box the size of a portable radio, although Walker expects to get the instruments eventually into a case the size of a folding camera. Inventor Walker is no newcomer to radio and wireless, having assisted Dr. Lee De Forest in 1910 in tests of the world’s first wireless telephone. He has turned over the device to the Braille Institute of America for further testing and de-
Tiedeman Joins Ansco
Dr. John A. Tiedeman, until recently attached to the U. S. Naval Academy as a Commander, U.S.N.R. has been ap¬ pointed director of Ansco’s Education Department. For the past five years, Dr. Tiedeman was assistant head of the physics section at Annapolis. Previously, as a member of the faculty of the Wo¬ man’s College of the University of North Carolina, he pioneered in offering a course in photography.
Bell & Howell engineering and manu¬ facturing methods. Distribution of prod¬ ucts made in England will cover the British empire and certain countries in Europe and Africa. Duplicates of Bell & Howell tools and drawings, as well as consulting engineer,, will be winging towards the English coast shortly, it is expected.
The agreements also provide for an interchange of 16mm film distribution between the Rank 16mm libraries and Bell & Howell’s Filmosound libraries. When in full operation, the deal will considerably strengthen the British field of equipment in the standard profes¬ sional 35mm line as well as in the ama¬ teur and substandard lines and give England and the British colonies the counterpart of the production of the Bell & Howell equipment, manufactured in Chicago.
velopment and along go the patents for which he has applied.
Apparatus in operation is best de¬ scribed as an auditory range finder for blind persons. Basically, it embodies photographic features in that two mo¬ tion picture camera lenses set 10 inches apart on front side of the box activate a buzzer to earphones of the carrier through two photoelectric cells in the box. It is explained that the closer the carrier gets to an object in his path, the buzzing becomes more insistent. Spe¬ cial color filters, also adapted from cinematography, allow identification of colors through a wheel that turns the particular filters in front of the lenses.
Walker points out that the device can¬ not guide a blind person through traffic or crowds, but it will undoubtedly have limited uses for the sightless which will enable the latter to get around easier, especially at home or in familiar neigh¬ borhoods where landmarks are familiar through long association. Mainly, it will allow a blind person to take a turn around the block without recourse to the white stick method for tapping to ascer¬ tain that he is still in safe channels.
Bell & Howell Equipment To Be Manufactured In England
Blind Aid Invented by Joseph Walker,A.S.C.
54
February, 1946 • American Cinematographer
^Patent No. 2318910
The friction type head which is unconditionally guar¬ anteed for 5 years, gives super-smooth 360° pan and 80° tilt action. It is removable, can be easily mounted on our Hi-Hat” low-base adaptor or Baby "Professional Junior Tripod base. The large pin and trunnion assures long, dependable service. A "T" level is attached. The top-plate can be set for 16mm. E. K. Cine Special, with or without motor; 35mm. DeVry and B & H Eyemo (with motor), and with or without alignment gauge.
The standard size tripod base is sturdy. "Spread-leg" de¬ sign affords utmost rigidity and quick, positive height adjustments. Complete tripod weighs 14 lbs. Low height, at normal leg spread, 42". Extended height 72". All workmanship and materials are the finest.
“iP!a®i?ggia®sga!L
with Removable Head Now Available!
Acclaimed the finest for every picture taking use.
The new "Professional Junior" Baby Tripod, shown ready for the Removable head, weighs S'/2 lbs., is made of
Aluminum with Dural legs having spurs. Extended height — 21 inches, de¬ pressed — IS inches. It's compact and sturdy. Quality throughout.
Adaptability: here are illustrated ( I ) the friction type removable "Pro¬ fessional Junior" tripod head that may be affixed to (2) the Standard Tripod Legs Base and (3) the new all-metal "Baby" tripod and (4) the "Hi-Hat" by simply fastening the finger-grip head fastening nut that is shown under it. Note the positive-locking, fluted, height-adjustment knobs and tie-down rings of the Standard Tripod Base which is standing on a Triangle.
ISoiv Available to Camera Oivners ami Dealers
"Professional Junior"* Tripods, Baby Tripods, Developing Kits, "Hi-Hats' and Shiftover Alignment Gauges made by Camera Equipment Co. are used by the U. S. Navy, Army Air Bases, Signal Corps, Office of Strategic Services and other Government Agencies — also by many leading News¬ reel companies and 16mm. and 35mm. motion picture producers.
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AMONG THE MOVIE CLUBS
Los Angeles Eight
President W. D. Garlock won the 1945 contest of Los Angeles 8mm. Club with his entry, “The Grass Is Green.” Fred Evans’ “Billy’s Big Adventure” was sec¬ ond, and Sylvia Fairley’s “She Lives Alone and Likes It” caught the nod for third. Mildred Caldwell was fourth with “The Farmer’s Daughter”; John North- rup fifth with “How to Ski,” and John E. Walter sixth with “El Camino Real.” These six pictures were shown at elev¬ enth annual banquet and installation of officers, held at Scully’s with 125 in attendance.
Other prize winning films in the con¬ test were shown at the January 8th meeting at the Bell & Howell Audito¬