Cinématographer MARCH 1976/ONE DOLLARThree came back LEN HOLLANDER CAME BACK FROM CINEMOBILE or the reny years the professional fm maker, hare found fo cay way ve orto upply equipment that works every ime. Tve gotta be at {your service 24 hours every day Trust ‘gal company that fis that description SOT came ack’ BOB KAPLAN CAME BACK FROM HERVIC— NATIONAL CINE AND CANON. the experts how to advise and '&BICECO always ‘makes good om all te promites. So fame beck? BERT CARLSON CAME BACK FROM GORDON ENTERPRISES. We put Berti chara oratory and editing and repairs. The "tve been working wi FEIB/CECO backs me up 100 percent So Teame beck” In this business, survival depends on the integrity of your supplie That's why more pros come to F&B/CECO for sales, service, rentals and repairs than any other supplier. Have you too strayed from us lately? If you're not completely happy, you should come back too. And if you've never tried us before, now’s a good time to begin. 315 West 43 St. New York, N.Y. 10036/(212) 586.1420 7081 Santa Monica Biv, Holywood, Calif 90038/(213) 466-9361 Phone Toll Free (800) 223-5829. ‘THE RENTAL SPECIALISTS In New York State Phone Collect (212) 586-1420TO IMPROVE NEW YORK FILMMAKING, YOU'VE GOT TO HAVE ’VISION. Panavision. Or ‘Ve said it Like Panavisior?’cameras you've said it all in 3 ‘ Panavision lenses have rapidly be- Lenses. Systems. The works come the industry's standard, their Starting with the new ul quality and versatility is world far If blimped Po with exotic N Additions apr regularly us show youmore about Panavisio the ISIVE ibutor. ae tovisit our jorid's most PANAVIEION Raa fi mmakin reliability and versatility Panay sion: @ general camera cor 71 Eleventh Avenue, New York, N.Y. 10018 (212) 594 lon AMERICAN CINEMATOGRAPHER, MARCH 1978Swintek wireless microphone systems clear up your headache without upsetting your stomach. Bad sound isa pain in the ears ‘And since talkies seem to be here to stay, smart movie makers are turning to Swintek when the job calls for a wireless system, The technical aspects of Swintek’s superiority could filla brochure (there's one available), but there are some things you should know right now. All Swinteks are available with an exclusive crystal front end. It limits interference from adja- cent channels or from high power transmitters in close proximity. And it limits many forms of electrical interference. The crystal front end also Ss VICTOR DUNCAN, INC. 11048 Gratiot, Dato, Mich, 48213/(213) 371-4920 {76M 3. Gol, Chiogo, I. 60611 /(812) 321-9406 2659 Fondren, Doles, Texas 75206/(214) 369.1165 MOBIUS CINE, LTD. 7 Kost 47h Stet, New York, MY. 10017/(212) 758.3770, allows you to use two or more units within 50 KC of each other and touching Alllof the Swintek wireless microphone systems offer incredibly pure sound, beautiful workman- ship and guaranteed 24-hour emergency factory So come on in and see the Swinteks. From the Mark VI-SOXL Hitchhiker (smallest and lightest— draws current from your camera or tape recorder) to the Mark III-50XL (popularand portable) to the Mark VII-50 (450 band, UHF, broadcast licensable), They're all built better to make you feel better. ALAN GORDON ENTERPRISES, INC. 1430 Cohuengo Blvd, ollyweod, Cait, 90028/(213) 466-3561Gren inematographer ‘teat ao eis Pte arp nd Preon ae The American Society of Cinematographers is not @ fabor union oF @ guild, but is an educational, cultural and professional organization. hips by nuttin fo those who are actively engaged as Directors of Photography and have demonsiated outstanding abilty. Not al fographers can place the initials AS.C. after tor names. A'S.C. mombarship has become one of the highes! honors that can be wed upon a professional cinematographer, a markt prestige and distinction. MARCH, 1976 Herb A. Lightman editor Three Tyler editorial assistant Barry Day production control Pat Black advertising Barbara Prevedel accounting Gabriele de Ganges layout assembly Lisa Friedman research Contributing Editors David Samuelson Sidney B. Solow Anton Wilson Editorial Advisory Committee Lee Garmes, Chairman Lloyd Ahern Charles Clarke Stanley Cortez Linwood Dunn George Folsey William Fraker Conrad Hall Sol Halprin Winton Hoch Milton Krasner Emest Laszlo William Margulies Richard Moore Joseph Ruttenberg Editoril—Advertising— Business Offices 1782 North Orange Drive Hollywood, Calif. 90028 (213) 876-5080 VOL. 57,NO. 3 @ FEATURE ARTICLES 268 Photographing Stanley Kubrick's “BARRY LYNDON” 276 Two Special Lnses for “BARRY LYNDON” 280 Historic Hollywood Movie Studios — Part | 292 Fllm-making in Hungary 298 How Film-makers are Trained in Hungary 302 Cinematography in Hungary Today ‘306 From Hungary. A New Stereophonic Optical Recording and Reproduction System for Standard 35mm Motion Pictures 314 A Preview of FILMEX "76 324 Making It Look Easy Isn't So Easy 328 Advantages of Shooting 7247 on “HOW DOES A RAINBOW FEEL?” 331 7247 —A Producer/Director's Point of View 332 The New Kenworthy Snorkel-B Camera System © DEPARTMENTS 246 What's New 250 Questions & Answers 254 Cinema Workshop 258 The Bookshelt 262 Industry Activities ON THE COVER: A collage of scenes from Stanley Kubrick's new epic/tomar fr Warner Bros, release, "BARRY LYNOON', photographed by John Alcon, BSC. Graphics Courtesy o! Warner Bros. A Warner Communications Company. AMERICAN CINEMATOGRAPHER, established 1920, in 57th year of publication, is published monthly in Hollywood by ASC Holding Corp. $782 North Orange Drive, Hollywood, Calfornia 90038, US/A. SUBSCRIPTIONS: U.S. $0.00. Canada, foreign, including Pan-American Union, $10.09 year (remit international Money Order of other exchenge payable in U.S.). ADVERTISING: rate card on request to Hollywood ofice’ CHANGE OF ADDRESS: notly Holywood office promptly. Copyrignt 1876 ASG Holding Corp. Second-clase pestage paid ot Los AMERICAN CINEMATOGRAPHER, MARCH 1978New lenses— not still-camera conversions. All genuine T1.4s Floating and aspheric elements, multiple coatings—these are the most oe very photographic lens ever made was designed originally for one purpose, one lens-to-film dis- tance, one film format. If you adapt it for a different use, it'll work—but not as well. Adaptation compromises Some high-speed lens now available for motion picture use are adapted stil camera designs—but not ours. The others are good lenses— but, used in this different way, they're compromised. Remounting problems For example: The typi 35mm SLR still camera has a back focal distance about % advanced lenses you can buy. inch shorter than one major studio camera. So to adapt it, you have to put the SLR lens into a new mount, or even a completely new barrel. Or even move the glass elements! Critical back focus And baek focus is critical, of course. With a 50mm lens at £/2.8, the depth of focus behind the lens is plus or minus two thousandths of an inch. With a 25mm-lens at £/1A, it’s a quarter of that. Wasted trade-offs Moreover, the SLR lens was designed to cover the Leica frame. To get even coverage over the bigger format, with high speed, the designer had to. make certain trade-offs. On the SLR, they may have been worth it. For the motion-pie- ture frame, they're wasted Doing it the hard way ‘To design high-speed lens exclusively for motion pic- ture use takes more time and costs more money, naturally. But, given a good designer, you get a better lens $350,000 investment So we invested ju: $350,000 —and Zeiss designed abrand-new,no-compromise set of lenses. Specifically for Arriflex. cameras. New design parameter: “Make the best lenses.” The Zeiss designers had the unique advantage of start- ing from the beginning. We said: “Don’t just make the best high-speed lenses. Make the best motion-picture lenses in the world.” So they did. Most modern technology Zeiss used aspherical ele- ments, a floating element, and multi-layer coatings on everyglass-to-air surface. Up to six separate layers. New spontaneity possible ‘These lenses are made for the new style of shooting en- couraged by the 35BL. Night-for-night: almost no flare. Distant detail We've seen night-for- night footage. Wide open, on New York City streets—car gned by Zeiss for Arriflex. =lit just by those signs and the street lamps! With good lighting, too: best lenses you can buy Naturally, these lenses perform just as well in daylight and on the soundstage. They're AMERICAN CINEMATOGRAPHER, MARCH 1978 made by Zeiss, after all—using the latest design techniques, and sparing no expense. We hope you'll run some compari- son tests. We're confident of the results. PHONES: (212) 902.2409 AND (219) 845-7687 Pe }ODSIDE NY NSTI. AND 1Oit CHESTNUT ST. BURBANK CALIF 91502 24sWHAT’S NEW IN PRODUCTS, SERVICES AND REVOLUTIONARY FILM EDITING DEVICE PURCHASED BY MAGNASYNC/MOVIOLA Copenhagen, Denmark — L.S. Way- man, president of Magnasync/Movi- la, and Bent Djerberg, chairman of the board of Micro-Optics A/S, headquar- tered here, have announced the pur- chase by Magnasync/Moviola of all Fights, titles and interest in the Hollo- scope Prism System developed by Micro-Optics. ‘Simultaneously, Moviola granted a l- ‘cense to Micro-Optics to manufacture the hollow prism for world-wide distri- bution, Because it produces a “rock-steady” flickerless picture, the primary use for the hollow prism is in flatbed editors, Wayman stated. “There are other exciting applications such as various types of projectors, telecine chains, reviewing machines, library readers ‘and inexpensive transfers from film to tape.” Moviola engineers were successful In designing the hollow prism into a package that makes it practical to pro- duce on a mass scale at a consi- derable reduction in cost, Wayman added ‘Wayman further said that the Movi- ola production facilities in North Holly wood have been completely tooled for the new hollow prism system with de- livery of the first units in late January. DELUXE INTRODUCES P. cHicaco. Deluxe Laboratories has initiated PEP. (Pickup Express Processing) Service — direct Chicago-to-Holly- wood film processing with free pickup land delivery and 48-hour turnaround. In announcing the new P.E.P. Ser- vice, Stanley Judell, Vice President and General Manager of Deluxe, said, “Chi- cago customers now have direct ‘access to our Hollywood processing facility at a cost that is competitive with TO 26 UTERATURE ‘Chicago-based labs.” The complete range of services ‘associated with the famed Color by Deluxe trademark will be offered to Chicago producers in the theatrical, industrial, TV commercial, education and religious audio-visual markets, These services include 70mm, 35mm, 16mm, Super 8888", flmstrips, System iL tape to film transfer, optical printing ‘and sound services. To use P.E.P. directly in Chicago, customers call Media Air Cargo (649- 9337). Deluxe’s Customer Service Office in the Chicago area is located at 2439 Delta Lane, Elk Grove Village (569-2250) RTS SYSTEMS INTRODUCES NEW “TW" INTERCOM SYSTEM RTS Systems of North Hollywood, California has announced the intro- duction of the “TW" Intercom System. ‘A two-wire, closed circuit headset sys- tem, the RTS “TW” can be used in the field for all phases of T.V., film, music concert, theatre and A/V production. In its standard configuration, up to 50 'belt-pack” user stations can be con- ected on line to two independent channels. Each rugged user station features noise-free, high-fidelity perfor- mance with these new additional fea- tures: built-in mic limiter, carbon or dy- namic mic input, flashing call-light with variable-trequency adjustment for selective paging, two-watt headphone Power amp with low distortion and ex- tended response (150Hz to 10 kHz) and individual aux audio input, as well as ‘common on line at power supply. With #22 gauge cable, the RTS "TW" will operate on 2,000 feet of line. Two Individual power supplies (Models PS- 410 and PS-50) are available, which will operate up to 10 or up to 50 user stations. The supplies and the user stations are all available in rack- mounting packages for permanent installation. The rack mount models feature standard three-channel operation The RTS “TW" incorporates the latest developments in solid-state cir- Cuit_design: Phase Locked Loop, GMOS and FET devices are utilzed to achieve the highest quality pertor- mance in an ergonomically designed, rugged and attractive intercommuni- cation system. MODELS PRICE (Rack or Portable Configurations) Beltpack $ 150.00 PS-10 350.00 8-50 500.00 CANON ANNOUNCES INTERCHANGEABLE 12.5-75mm MACRO ZOOM LENS FOR 16mm MOTION-PICTURE CAMERAS Canon U.SA., Inc., has announced the availablity of an interchangeable 1/21 12.5-75mm macro 200m lens for Use with all 1émm cameras. Available in*C”, Arriflex, new Arriflex, Eclair and CP-mounts, this compact, lightweight 6x lens focuses as close as 3-1/8" from its front element. The same macro- focusing feature that makes this pos- sible provides the filmmaker with a number of unique capabilities including “optical dollying” and continuous rack focusing from extremely close to dis- tant subjects. With “optical dollying,” the tens changes its focal point, while maintain- Ing constant field size. By simply setting the macro ring and using the zoom lever to “follow focus,” a subject can be tracked while moving forward or back- ward, without changing apparent size. In other applications, use of the macro ring provides smooth, continuous rack focus from extremely close to distant subjects, Utilizing the same basic lens design proven in the popular Canon Scoopic "M'", the C6x12 Macro Zoom provides fan excellent combination of compact- ness (just 4-7/8" long), ruggedness and economical price. For more infor mation, contact Professional Motion Picture Products Division, Canon Continued on Page 290 AMERICAN CINEMATOGRAPHER, MARCH 1976Ariflex 168B Camera Package consisting of camera body, constant speed motor, Zeiss Vario Sonnar 10-160mm zoom lens Arri “B” mount, two Mini Duro Pack 8 volt batteries, charger: charges up to 4 batteries simultaneously, mini charger: charges single mini-duro pack, adapter to mount mini duro pack, dot line case, New Price, $8068.75 Demo camera. Super buy. Sale Price. $6854.00, Arifler 165 Camera Package consisting of cam: era body, Pan Cinor 17-85mm zoom lens, three Schneider lenses: 16mm, 25mm, 50mm, vari able speed motor, torque motor, one 400 ft magazine, matte box, power cable. New Price, $2895, Realy, Re ut by AGE. Ing Ex cellent condition, Sale Price Ariflex 168 Camera Package consisting of camera body, with 12-120mm zoom lens, three 400. ft. magazines, matte bor, one Cine 60 #6303 battery bet, one Arri Duro Pak battery, power cable, optical flat, 85 filter, Haliburton case, New Price, $15 817.00. Good condition. Sale Price 6995.00 : iq Eclair 16 NPR Camera Package consisting of NPR camera body, Ciblo motor, two 400 ft magazines, power cable, case, New Price, $18 970.00. Good condition. Sale Price. $4250.00 Mitchell 16mm DSR-16 Reflex Camera Package consisting of camera body, two 400 ft. mage zines, two motors, AC power supply, case. New Price, $14,000.00: Good condition. Sale Price $6,950.00 Mitchell Standard 16mm Camera Package con sisting of camera body, two 400 ft. magazines, four Baltar lenses: 17.5mm, 25mm, 35mm, 50mm, viewfinder matte bor, 115V sync motor, Mitchell 16. blimp with matching cams_ for lenses, blimp matte box, power cables, three cases. New Price, $10,000.00 Excelent condi tion. Like New. Sale Price General SSI News Camera Package consisting of camera body, Angenieux 12-120mm AZO zoom lens, Frezolni 10000K power pack, power cable. New Price, $12,155.0. ood condition. Sale Price $3450.00 ‘Auricon Yoder Conversion News Camera Pack- ‘age consisting of camera body, Angenieux 9.5 5mm AZO z00m lens. New Price, $6631.00 Good condition. Sale Price $3995.00 ‘Aurcon C77 Cine Voice Camera Body consist ing of Auricon Model PS2IAL, power supply, viewfinder door, 50mm Baltar'lens, sound on film amplifier, ES microphone, case. New Price, $1895.00, Like new condition. Sale Price 5995.00 Auricon CM75 Pro 600 Camera Package con sisting of camera body, two 1200 f. magazines, New Price, $2600.00 Good condition, Sale Price 1995.00 ‘huricon CM7S-FM Pro 600 Camere Magnetic, w/o mag head, or amplifier with E1F200 auto parallax view rangefinder, Aurion to Mitchell ‘magazine adapter, power cable, matte box. New Price, $2455.00, Like New condition. Sale Price ......$1895.00 Bell & Howell 70HR Filmo Spider Turret. New Price, $985.00 Good!’ condition. Sale Price $350.00 Enc mr) ye Bell & Howell 70DR Filmo Camera Body. New Price, $595.00. Good! condition, Sale Price $275.00 Bell & Howell 700R w/1” viewiinder and Canon 25mm lens. New Price, $750.00 Like New condition. Sale Price... $625.00 Bell & Howell 7ODR Filmo Camera Body. New Price, $595.00. Good condition, Sale Price Mini-Cam 16 GSAP Camera w/C-mount front plate. New Price, $298.50. Good condition. Sale Price 185.00 Mini-Cam 16 GSAP Camera w/Arti-mount front plate. New Price, $354.00. $215.00 Good contition. Sale Price Bolex HIG Camera Body. New Price, $570.00 Good condition, Sale Price $295.00 Revere 16mm Camera Body, 50 ft. magazine. Sale Price $1495 Bell & Howell Camera 200EE, 50 ft. magazine. Sale Price $23.95 ‘Nl Cameras are used and in condition stated and are subject to prior sale. Cable and tele- phone orders acceptable. Must be followed by 2 20% deposit. We also have a complete supply of new and used lenses, tripods, fluid heads, t-angles and ‘other production equipment. Please write or phone your specific requirements. alan gordon enterprises inc. 1430 N. Cahuenga Blvd., Hollywood, Calif. 90028 Sera eC RE a) pirat er a ama d [AMERICAN CINEMATOGRAPHER, MARCH 1876Beaulieu Super 8 motion picture cameras are not for the first time user. These cameras are designed to the same high standards usually associated with professional 1mm motion picture equipment. The first time user probably will not be able to appreciate the professional quality, and because these are the most expensive Super 8 motion picture cameras ever made, he'll be paying too much for the little he can get out of them. ‘We know from our own owners that once you're hooked on Super 8 you'll never be completely satisfied until you own a Beaulieu, Simply be cause the Beaulieu is the best. Period, And if you're a professional or turning professional you may have discovered what the industry knows: Almost overnight the two Beaulieu Not for virgins. Super 8 cameras have opened new ‘markets for professional filmmakers Now the question is: which Beaulieu is best for your needs. The new 5008S, according to a leading expert in the field, "is the standard against which all other Super 8 cameras, silent oF sound, are measured” It has both single and double system sound capability It is shown here with the incredible Angenieux 6 to 80mm zoom lens (A -to-1z00m ratio!) Many owners have told us they have bought the 5008S for the lensalone. The single system records high fidelity sound directly onthe film. Frequency response: 50:12,000 Hz = 1,5 dB at 24 fps distortion: less than 0.75% tonoise ratio: 57 dB; wow and flutter, attenuated peak: less than 0.4%. )If you prefer double system sound, you can plug in a sound recorder. The 4008ZMII has adouble system and if you don't need single system sound capability, you can save some money. They both have C mounts and you can most likely use the 35mm lenses you now have. In fact, a Nikkor 135mm, lens on the Beaulieu will give you the equivalent image of a 475mm Tens on a 35mm SLR camera, Super 8 has grown up and turned pro. Ask for a leisurely demon: stration at a franchised Beaulieu dealer. Or write to Department AC Hervie Corporation, 14225, Ventura Boulevard, Sherman signal “0 Oaks, CA 91423 for information and complete specifications, Beaulieu inconestaby ie finest AMERICAN CINEMATOGRAPHER, MARCH 1976POWERFUL In response to many requests. Cine 60 introduces a new line of compact, rugged Power Packs, to meet your power requirements in a wide variety of film, video and lighting applications. Available in versions from 6 to 30 volts, with capacities up to 7 ampere-hours, our Power Packs feature the same premium nickel-cadmium batteries, exclusive circuitry and high reliability that made Cine 60 Power Belts the industry standard. Used on a belt, shoulder strap, or tucked into a pocket, Cine 60 Power Packs are available in models to match any camera or portable tape system...or with our new focusing sun-gun. For specifications and prices, please call or write. Cine 60 Power Packs, feature the same, reliable design Power Belts (IN 5 Eu 60 Ninth Avene, NewYork 10096 (212) §86-8782 AMERICAN CINEMATOGRAPHER, MARCH 197| QUESTIONS & ANSWERS Conducted by CHARLES G. CLARKE, ASC. and WINTON HOCH, ASC. “The one thing no processor manufacturer talks about” I've read a lot of film processor ad: land haven't found any manufacturer who's willing to say how long it takes to install his unit and get it working. It’s not hard to guess why. ‘The usual installation often takes up to3 or 4 weeks and can cost a bundle. ‘So a man would have to be a fool to bring the subject up, right? — Wrong. 'm more than happy to talk about it. Any processor that's any damn good should be adaptable enough to be installed in a hurry, In fact, we'll position a unit, connect system: and have it working in 2-5 days, depending on its size. It you think our customers don’t love us for it, guess again, There's no foot-dragging. We're in and out before they know it, and they're back in operation, making money again! These are important things to consider (— which a lot of folks don't do). And they're every bit as much a cost factor as the price of the processor itself. ‘When you buy a film processor, look at the whole “picture.” It makes a helluva lot of sense to buy a {quality unit that costs a bit more but can be installed in a fraction Of the normal time. The money you save is your own, {and that ain't hay! ==, ENGINEERING, INC. 1941 FIRST ST, © SAW FERNANDO, CALIF. 91340 HONE: (213) 365-3126 ‘wood, Catt 90028.) Mt a person has $40,000 with which to make a low-budget fea- ture should he go with Super-16, regu- lar 16 (ECN-II, 7242 or 7252) or shoot ‘on videotape (3/4" tape transferred to 2° quad and then transferred to 35mm. film)? What would the cost then be to blow-up a 90-minute 16mm film to 35mm? Super-16 was a necessity in cer- tain countries in Europe where, Until a couple of years ago, ECN (7254) was the only 16mm camera film that could be processed locally. This ma- torial, of course, is too coarse-grained for enlargement to 35mm from regular 16mm. Understandably then, Super-16 hhas never been favored or used signi- ficantly in this country where 7252 and 7242 have been readily available. ‘The cost and quality-loss involved in transferring 3/4” tape to 2" quad and then to 35mm film would both militate against this route. Blow-ups from regular 16mm on EGN Il, 7252 or 7242 have had a long history of success, and thisis the way to ‘go when circumstances or budgets dic- tate. The cost of the blow-up, including negative, sound transfer and first 35mm print, runs in the neighborhood of $100.00 per minute. But, an inde- pendent producer need not neces- sarily make this investment. A finished picture can be shown to distributors or previewed in 16mm form since there re now many theatres equipped for 16mm projection. If the film proves to ‘merit theatrical release, the cost of the blow-up may be advanced by a distrib- tutor or by interested investors. — Sidney P. Solow | would like to use an animation ‘motor for Bolex camera made by Stevens Engineering Company, which is designed for 50 cycles as that is the ‘electrical power supplied in our coun- try. What problems are presented? ‘The motor speed will be reduced about 20% and, therefore, the ex- posure increased approximately 20%. ‘The motor may heat up more if used for 1a long continuous time period. If your available voltage Is correct you should (inquiries ae invited relating t0 cinematographic problems. Address Q°8 A, AMERICAN CINEMATOGRAPHER, P.O Box 2290, Holly have no problem. | believe your motor is designed for 100-120V AC. In many European countries the voltage sup- plied is 220-240 AC. In that event, you must obtain and use a stepdown trans- former. rolling? 1 am seeing ‘more and more films where all of the splice marks are visible. A&B rolls have practically never been used in feature mation pie- ture production. In the few instances where this technique has been em- ployed, the reason was not for the pur- ose of making splices invisible but rather for making a series of lap-dis- solves without introducing another generation of dupes. TV series have, in former years, used A & B rolls when dissolves were more in vogue and the Cost of making dupes was less fav able. Moreover, TV required only two 35mm prints. Negative splices never are visible in the print ifthe screen display is 1.85 to 1.00 which is the “wide screen” aspect ratio in which the majority of pictures is shown. However, in the case of ana- morphic systems (CinemaScope, Panavision, etc.) itis possible that the laboratory may be making negative splices too wide, exceeding the pre- scribed standard of .080 inches. It is also possible that a particular theatre ‘may have an aperture for “scope” films that is higher than the specified .700 Inches. To protect the presentation trom either or both of these possiblities, some laboratories may resort to making CRis (the duplicate negatives from which practically all release prints are made these days), using an optical printer in which the original is slightly cropped while the image on the CRI is slightly enlarged tofilltheframe. MOVING? ty ost last four yooh In erence: BE SURE to give your FORMER address os well 35 your NEW ADDRESS and ZIP Cone. ‘AMERICAN CINEMATOGRAPHER [AMERICAN CINEMATOGRAPHER, MARCH 197815 feet of film can win an award, if you treat it right. You've just used the new Eastman Kodak 5247 or 7247 color negative. Whether it's « 10-second TV spot or a four-hour epic, at Movielab any of your best efforts are entitled to all of our best efforts.The most skilled technicians. The most advanced facilities. The most precise processing. The most versatile custom services. Movielab has grown to its position of AA Movielab Its allt importance because of its attention to detail and devoted customer service. All camera originals — whether Eastman Kodak or Fuji—preflashing, postflashing, forced developing, dailies, release printing, CRI liquid gate blowups—whatever your processing need—Movielab can do it. If you want special handling for special footage, don't gamble, pick a winner. Send it to Movielab. We'll treat it right. ttle things we do that make us big. {IN THE EAST; 619 WEST 54TH ST, NEW YORK, NY. 10019. (212) $86.0360 IN THE WEST: 6823 SANTA MONICA BLVD., HOLLYWOOD, CAL. 90038. (213) 469-5961| oyHow do yu praacea TY sou that scenes? Wat’ te Tne ie soning iron pe? or caesar Semen oan ttefim bss? Taortstom ae limite became Wit gn fos pr ns? Mie tries wt a film for teevsion called" Bernadet Butte chow that peobisly payed te the Untouchables This has been made pos improvements in camera equipment and film ‘One ofthe reasons I accepted doing this imerview isT have no problem do- ing tI don't normally do these kinds of things, but I ike Eastman Kodak Company. They're always there. You know youre dealing with a company that is constantly working, upgrading the product, researching new ones, When their new, fine grain Eastman color negative I film 5247 came out Streets of San Francisco” was one of the first series to use it. We thought it would In perfect forthe dramatic documentary Jook we wanted. Frankly, I wasn't too happy with itthen because we had prob When formed my own company _lems with backgrounds changing colors. i 1960, one of our frst shows Was Wecalled in a Kodak consultant, got The Fugitive” It became the number one together atthe la, and after doing show, won an Emmy for"Best Dramatic alot of tests, we ironed out the problems Show" and was critically acclaimed, So Kodak kept improv T would say; for me, even though"*The think it’ probably the finest stock Ive Unouchabies” was the show that gave me ever seen abigstart,"The Fugitive” istheone lil Hive you ever used idetape? alas have in my heart because it No, ve never worked with ape ‘cemented the company’s name as a It may become a reality some day for producer of quality products action adventure shows, but I fee the remember the orga tuo bor {quipment has to improve some more Untouchables” Pant Tio, ebich played er ot oneof the highest ratings ithe at eran of The Fuge What changes he you noticed in prac from these shous and If Tmade any mark inthis business, it was to force television off the sound stages and back lots. People were hor Filed at my wanting to shoot on real locations. Now it's a common practice for us to shoot five out of seven days on locations, We average about forty setups a day an be handled on film. I st paint through my cinematograp Tnotice your deck is covered with scrip Wout are some hase things you lok for? Scripts that deal with human ‘emotions, that don't write down to people, I believe you have to give people Credit for their level of understanding. If they don't understand it intellectually they'll understand it emotionally. What ever success we've had comes from the attitude that people deserve better. One of our TV movies, “Attack On Terror” was about the three civil rights workers killed in the South in 1965, AMERICAN CINEMATOGRAPHER, MARCH 1978 Also, Ilike the subtle way with which light- 524 m i 1 eS It wasnt a popular subject, but we felt it should be done. Asit turned out, it was one of the highest rated shows of the year. You have thre series running — "Cannon: ‘Sires of Son Fons, ana jomesas well as four pilots, some ‘Movies if the Week,” and other projects in the works How do you manage to supervice it all? In essence, [run a benevolent dicta torship. Everybody has a say in the ‘company. But in the final analysis, I have the responsibility to the network, sol have to make the final decisions. But we get good ideas from everybody I surround myself with good people that's another secret. You should always try to get the best people. You cant learn anything from someone who is dumber than you are. Then you set a climate that they can work well in. Thave a positive viewpoint. I think anybody that has talent and is willing to work hard can make a mark in this busi ness. The Horatio Alger myth still exists in America. Like Quinn Martin, Eastman Kodak Company surrounds itself with good people — specialists who can give you the facts abou products lke Eastman color negative I flm 7 They be glad to demonstrate whut it ‘am do fr you So give your local Kodak repa cal ‘An, fora fre copy ofthis and other intereces, snd for our booklet. Write: Eaten Kodak Company, Department G40, Rochester, NY. 14650.CINEMA WORKSHOP By ANTON WILSON TECHNISCOPE The basic drawback of flat wid ‘screen systems is the inherent waste of film stock. Almost 40% of the negative farea remains unused in the 1.85:1 for- ‘mat. The anamorphic system reclaims this waste, utilizing 100% of the available negative area, and produces a significantly superior projected image. Higher budget productions which are usually released into large theatres with long throws benefit great- ly from the large image area of the a morphic format. However, there is another, more economical ‘alternative to the wasteful 1.85:1 wide-screen for- ‘mat: Techniscope. ‘A quick look back at the at morphic process will help explain the Techniscope principle. The C'scope aperture utilizes the full available image area, which is a height of .746", repre- senting a pulldown of four pertora- tions, and a width of .868", which is the maximum distance between pertora- tions on the one side and the sound- track on the other. These dimensions yleld an aspect ratio of 1.18:1. The C'scope process, in essence, doubles the effective width of the frame with the 2:1 squeeze and, thus, also doubles the aspect ratio to 2.35:1. This same as- pect ratio can also be achieved by haly- ing the height as opposed to doubling the width. This is precisely what the Techniscope format does. By employing a two-perforation pull-down in lieu of the standard four, the frame height is cut in half, resulting In a FIGURE 1 — Standard printing procedur of original hall-irame Techniscope to a 35mm release print. dimension of .373" height by the full 868" width and yielding the standard C’scope aspect ratio of 2.35:1 The Techniscope process offers ‘some attractive features along with the ‘obvious limitations. For openers, the system uses standard lenses. Any ‘35mm lens can be used with the Tech- niscope forrmat. As arule, shorter focal- Jength lenses will be employed with the 2-pert pull-down to achieve the same ‘general vertical composition as Acad- femy or standard flat wide-screen formats. This fact will yield a relatively greater depth of field. Because the pulldown is only 2 perts in lieu of 4, film ‘moves through the camera at only 45 feot/min instead of the standard 90 feet/min (at 24 fps). Obviously, a roll of film will go twice as far. Raw stock and processing costs are literally cut in half Only half as much film need be carried ‘around on location. Camera maga- Zines will run twice as long, yielding an effective capacity double that of stand- ard 35mm; 200' mags can be con- sidered 400, 400’ as 800’, and 1000" gets you 2000°. Production can move along quicker with magazine changes ‘occurring with half the normal fre- ‘quency, or smaller magazines can be ‘employed with usual running times. ‘The camera original can be printed In a multitude of formats. Work prints ‘are printed as standard C'scope ana- morphic (FIGURE 1), and require no special editing equipment. Some manufacturers make equipment that Girectly accepts the 2-pert format. Re- lease prints are normally in the stand- ‘ard C'scope process, according to FIG- URE 1. The aspect ratios match perfectly, as can be seen in FIGURE 2A. The Techniscope original can also be released in several other formats. With very little cropping, the 2-pert frame can be printed up to flat 70mm, Referring to FIGURES 28 and 2C, the 2pert frame can be cropped and print- ed for 1.85:1 flat wide-screen and standard 1.33:1 Academy for tele- vision release, Sixteen millimeter re- lease is also possible in both C’scope (FIGURE 2A) and standard 1.38:1 (FIG- URE 20) formats. ‘The Techniscope process appears very attractive. Standard lenses, 50% savings in raw stock and processing (FROM TOP) FIGURES 2A, 2B and 20, ‘showing composition areas for various ro: Tease formats generated trom original 2- perforation Techniscope twice the capacity of magazines, stand- ‘ard C’scope editing and a wide choice of release methods. There are obvious- ly some major trade-offs. Techniscope Uses exactly half the negative area of anamorphic 36mm. A film shot in 35 C’scope uses 100% more image area ‘and need be magnified only half as much as a Techniscope original to fil the same size screen, The anamorphic ‘original will obviously produce a far su- perior image. ‘When cropped to a 1.93:1 format, as for television, Techniscope offers no advantage over 16mm. The cropped dimensions of the 2-perf are .373" x 497", about the same as 16mm (.295 x 402), yet the Techniscope uses 170% more raw stock which Is mostly waste. FIGURE 3 lists some rolevant sta- tistics. Another shortcoming is the ‘scarcity of Techniscope cameras. The newer selt-blimped cameras such as the Arri 95B1 are not available in the 2- Pert pulldown. Special printing tech- niques are necessary for both work- prints. and release prints, which could ‘cause has Despite these drawbacks, the 2-pert system is attractive to the low-budget Producer who wants a 2.35:1 format Continued on Page 249, AMERICAN CINEMATOGRAPHER, MARCH 1976INTRODUCING THE CANON ULTRA-FAST ASPHERIC PRIME LENSES FOR 35MM CINEMATOGRAPHY Specifically designed for professional cinematography, these exciting new lenses are the result of an extensive and painstaking research program jointly undertaken by Canon. Inc and Cinema Products Corporation, in cooperation with the Research Center of the Association of Motion Picture and Television Producers Naturally, these lenses incorporate all the latest advances in modern lens technology, including multiple anti- reflective coatings on all elements, floating elements wherever required, ete But it is the aspheric property of these lenses that makes them so ex traordinary — because aspheric lens design is inherently superior to conventional lens design since it permits the best possible use of all available light. And, unlike any other series of high speed lenses currently available for motion picture use, every lens in the Canon series is aspheric. The technological breakthrough While the theory for the design of aspheric lenses has been known for quite some time, it was not until the advent of modem computer technol- ogy and the development of com: puter-controlled automated machin. ery that it became possible to design and grind aspheric lenses in such a way as to permit consistent high qual: ity manufacture at a reasonable cost. Which is what prompted Canon and Cinema Products to launch a development program for a series of ultra-high-speed aspheric prime lenses, all supplied with BNCR-type mounts, and covering the range of focal lengths most used in pro: fessional cinematography: 24mm, 35mm, 55mm and 85mm. ‘A great deal of money, time and effort went into this program. The fi nal results are more than well worth it herics — ideal forties at all light levels By causing the marginal rays to be in sharp focus, and, at the same time, rejecting random or spurious rays, the Canon aspheric lenses improve definition and sharpness at the edges and reduce flare when the lens is wide open. Shooting night-for-night with available light — the aspheric lens wide open — at 25 footcandles and even ae ‘2mm (716) ‘85mm (TA) [AMERICAN CINEMATOGRAPHER, MARCH 1978 (CH ‘Canon SSmum THA Aspere ower, with nothing but neon signs and street lamps for illumination, there's virtually no halation, The Canon aspheric just take the light in: penetrating the scene, holding all the detail The Canon aspheric lenses mini mize uncontrollable flare (with its concomitant loss in contrast and res- olution) and improve the definition and contrast of the scene regardless of variation of light levels within the scene. Even at the highest levels of illumination, The result on film is photography that is remarkably clear and sharp, well defined and well balanced, with good color rendition and saturation, especially with regard to flesh tones. Which makes the Canon aspheric lenses ideal for filming under any and all ight conditions. Night-for-night with available light, as well as in broad daylight, or on a well lit sound stage. ‘35mm (T14) ‘85mm (14) ASPHERICAL SURFACE Let your eyes convince you Ask your dealer (or call Cinema Products) to arrange for a screening of our dramatic 35mm test reel com- paring the Canon aspherics with other high speed lenses for motion picture use. Before you start on your next film project, shoot some test film of your Your eyes will convince you. The Canon aspheric prime lenses are superior to any other high speed lenses currently available for 35mm cinematography. +tDescanes, the French philosopher and math ‘ematican, had areody suggested that the use ‘of non-sphencal surfaces might reduce opal ‘bberation. That was way back in 1638 xRa5 Ponte Exclusive world-wide distribution by amen (S the CLEAN way to 7247 answer prints ~ LARORATORIES, 1. i 4 ; Se . | A ale OO Du Art Film Building, 245 W. 55th St.. New York, N.Y. 10019 (212) PL 7-4580 AMERICAN CINEMATOGRAPHER, MARCH 1978INDUSTRY ACTIVITIES ASC TO HOLD 2d ANNUAL COLLEGE FILM AWARDS ON MAY Py Hollywood — The American Society of Cinematographers will hold its sec- ‘ond annual College Film Awards on Monday, May 24, it was announced by event chairman Stanley Cortez. ‘Awards will be presented to the best student-photographed film of calen- dar 1975 and to its student cinematog- rapher, Cortez said. Invitations to more than 160 Ameri- can universities and colleges, to sub- mit entries for the awards event, were ‘mailed the first week of January. Dead- line tor submission of these entries is March 31. "We will hold a series of screenings at the ASC, to select the eventual five nominees,” noted Cortez. The entire ‘ASC active membership will vote to choose the winning film. Last year's highly-successful awards ‘event was won by San Diego State Uni- versity, for the film, "Negative Image’ and by student Denis Mayer, its Cinematographer. The ASC was founded in Hollywood in 1919, and now has a distinguished membership extending to five conti- ents. ASC members have won 80 ‘Academy Awards. ‘The test TELEVISION CRAFTSMEN INVITED TO SUBMIT WORKS FOR “EMMY” AWARD CONSIDERATION The National Academy of Television ‘Arts and Sciences is extending an invi- tation to every active creative crafts- man in television to enter his own achievement for Emmy Award con- sideration. All craftsmen are eligible, whether or not they are Academy mam- bers. The requirements for entering are as follows: 1. There are two sets of eligibility a) ime, Daytime and the eligibility period Is March 11, 1975 through March 15, 1976. For Religious and Children's Instructional/informational, the eligibility period is July 1, 1974 through March 15, 1976. Achievement must have been broadcast nationally so that it was available for viewing by 50% of the total potential United States tele- Vision audience, or approximately 25 milion households, Only the individual who would re- ceive the Emmy for his category is eligible to submit his achievement. Deadline for entry cards to bein the hands of the National Awards factical 200m lens to be utlized in the feature flm Industry is presented by Bern Levy, Motion Picture Optics Manager for the Angenieux Corporation of America, to Charles Clarke, ASC, Curator, for the extensive historcal/technical collection of the American So- Ciety of Cinematographers’ Museum in Hollywood. Office is 1 AM, March 15, 1976. To obtain a list of categories and an Entry Card, please contact The Awards Department; The National Academy of Television Arts and Sciences; 291 South La Cienega Boulevard, Suite 200; Beverly Hills, California 90211 or Phone: (213) 659- (0990; Att: Miss Laya Gelff, Manager, National Awards, ASC ACQUIRES ANGENIEUX OPTICS FOR ITS MUSEUM The museum at the American So- ciety of Cinematographers headquar- ters in Hollywood, California, acquired @ historical Angenleux zoom lens during a recent gathering held by the Society for prominent executives of the ‘motion picture industry. Angenieux, the ‘major supplier of zoom optics to the professional motion picture industry, Presented a 10x25T20, 25-250mm, {/3.2, the first practical zoom lens for the feature film industry, to the Ameri- can Society of Cinematographers. ‘The Angenioux 10x25T20 zoom lens |s prominently displayed at the ASC Museum along with other feature film Production equipment which repre- sent milestones in the industry. It was this lens which was introduced to Holly- wood in 1963 that was Immediately recognized as a great asset to the production of feature films. With its un- limited choice of focal lengths between 25 to 250 millimeters, it permitted the cameraman to make various shots requiring different angles of view with- ‘out physically changing lenses. This resulted in a substantial saving of production time. In addition, the zoom ‘was utilized throughout the feature film industry for its special effect. It was for these proficiencies that an “Oscar’ award trom the Academy of Motion Picture Arts and Sciences was pre- sented to Pierre Angenieux for: “his discovery and commercialization of the 10x zoom lens.” Continuing his efforts, in 1970, An- genieux brought forth a new type of zoom lens, the 6x20L2, 20-120mm, 172.6. For the first time in the history of the professional motion picture indus- try, a z00m lens was available that ren- dered images of the highest quality comparable to the finest fixed-focal- length lenses throughout Its entire ‘zoom range, Over the past six years, motion picture production stage Continued on Page 323, AMERICAN CINEMATOGRAPHER, MARCH 1978A whole new scene for editors! THE ONLY FLICKERLESSde deme Messi) Me lA Chem-Tone made that shot possible. 6 We find that Chem-Tone and 7247 gives us fan- tastic results when filming under fluorescent lighting. We are able to film, for instance, large office ar and computer rooms often without the aid of fill lighting, while maintaining very good skin tones with minimal color correction: “'Bven when we push 7247 one stop, Chem-Tone ives us excellent results — a feature that comes in particularly handy when we film in large, low-light level warehouses, a situation we have found imp sible for the video camera. ‘Chem-Tone is helpful in both interior and exterior Only tvé has Che filming situations. It decreases the contrast level tremendously, resulting in more pleasing tones — especially in shadow areas. ‘7 and Chem-Tone have made it possible for to film with very good quality results in low-light levels, where portable video tape cameras don’t func- tion efficiently. We thereby avoid excessive lighting expense and set-up time. Also, 7247 and Chem-Tone give very pleasing re- sults as regards color balance. It creates a controllable blend between daylight, fluorescent and tungsten. @@ Herbert irector of photography, commercial film department, WVUE, Neve Orleans ‘Tone. tve laboratories, inc. 311 west 43rd street, new york 10036 (212) 397-8600$4,000 FEATURES. UNDER-$2,000 PRICE. Powertulnicadtattery —Easy-oview rear Convenient bitin shoots 16100"rOls mounted footage sccessoryshoe Fully automatic, quick ongengiacharge, Sauter wit aahstable reacting exposire con replaces ngeconds, tran manual over Charges in 3h he. 5 me Exremetyoran, Sa Sroundglass nde Sith bain TV tame . Macroring focuses inoandvasbe ape ‘i aaiihiak " donno lockein tire incieaton: aust a ‘ormat postion 60 able eyepiece (to ie : i Provides oxctsive 2 oplers) with seca sire aoa he Sinmreonstan held size Battry check button ower connector, for Soded versatity Boren 05 Eure Eman aes 74 Ibs completovwith battery, rugged. wel balanced, low-profile body. Cuneta Finitdndeatner ener newin — Sagiastendare Terouikinnimesier postielineuning — Sheotmetcr sree” ith adustable st paras Speeds—16,24,32-48 feloase tock With the Canon Scoopic 16M. your professional instincts dont Scoopic 16M gives you the tools to do the job faster, have tofight your budget: Because no other16'offersso___easier and less expensively. With the kind of quality that’s much versatility for so littie money—just $1848 for the entire _ made Scoopic’s the world’s most popular sient aes package: camera with lens, battery and fitteddeep-fiotation cameras, case. And iookat the features! But irying is believing, so see your Canon Professional ‘Whatever your application—industrial, educational or news, Dealer. For his name—or more information contact us. Canon Protessional Motion Picture Division, 10 Nevada Drive, Lake Success, N.Y. 1040 (516) 4886700. 123 East Paularino Avenue, Costa Mesa, Ca, 92628 (714) 978-6000 Canon Optics & Business Machines Canad 1d. 3246 American Drive, ‘Mississauga, Ontario (416) 678-2730 AMERICAN CINEMATOGRAPHER, MARCH 1978PROFILE: A.S.C. By JOHN ORMOND HAROLD E. WELLMAN, A.S.C. On a steaming hot afternoon along the Orinoco River in the jungles of Venezuela, a German pilot flew in to a movie location to bring word that cinematographer Harold Wellman, ‘ASC, had just won an Emmy in Holly- wood for his photography of the Frank Capra TV show, "Hemo The Magni- ficent’ ‘Not only that, but Wellman’s wife had Just given birth to a baby gir. Mrs, Well- ‘man promptly named her (what else?) Emmy. “I guess you'd have to say that day in 1087 was just about the biggest of my lifetime,” grins Wellman, recalling the happy double event. Wellman, tall, lean and stil athletic, is ‘one of a small but elite group of Holly- wood craftsmen whose expertise is special effects. This group includes ‘such notable names as Linwood Dunn, Irmin Roberts, Clifford Stine and Don Weed, all masters of their unusual cratt It was Wellman who filmed that un- forgettable chariot race in "Ben Hur” He also directed the action units on the train robbery, the Indian massacre and the shooting-the-rapids sequences in “How The West Was Won". And it was Wellman, earlier in his career, who worked with Linwood Dunn and others staging those memorable special ef- fects for "King Kong”. His 45 years in the movie business have included filmmaking stints in China, Australia, New Zealand, France, Germany, Italy, Tahiti, Yugoslav Venezuela, Peru, Spain and Sweden, ‘A native of Colorado Springs, Colo., Wellman began that notable career as 1 prop man in 1930, Soon, he got a job as assistant cameraman on “She Goes To War", a silent movie in the new era of sound. “I was never a camera operator,” notes Wellman. At Paramount, Harold worked as assistant on three Richard Dix films — also “The Virginian", one of Gary istant cameramen at Paramount then,” he says. “And they were working all year long. Course, camera crews were large, and they'd have as many as five cameras shooting ‘on one show.” ‘One assignment he recalls with en- thusiasm was a film co-starring Lupe Velez and Bill Boyd, photographed at Goldwyn Studios. It was supposed to be a night club sequence in Paris,” says Wellman. “And in the movie, each time she liked ‘a man, his face would dissolve into Boyd's face. We did the whole thing in the camera by rewinding and dis- solving.” Wellman eventually won his first ‘cameraman's card in 1947, and since Harold Wellman, ASC with Mr. and Mrs. Norman Rockwell then he's been active as a director of photography in both motion pictures ‘and television, in addition to his unique vocation as special effects expert. He also was admitted to member- ship in the American Society of Cinematographers, word-famed ‘organization of the industry's top direc- tors of photography, in 1960. "I got my 25-year gold card the other day — and I'm darn proud of it In _more recent years, his credits have included shows on such TV series ‘as “Medical Center", “Streets of San Francisco”, “F.B..", and "My Favorite Martian", as well a5 a half dozen pilot programs. Still primarily a feature man, Well- man’s movie credits range from “Ben Hur" and "Mutiny On The Bounty” to such as "Hawaii", "Butch Cassidy and the Sundance Kia", “Funny Gir!” and “Lost Horizon’ ‘And recently, he handled the proc- fess photography on "Day of the Lo- cust” and the action unit on “Won Ton Ton", a modern-day version of yester- year’s canine star, Rin Tin Tin, His latest assignment was for pro- ducer Howard W. Koch on “The Big Bus", at Paramount, supervising the process photography. In his personal life, Harold Wellman has attained much. He and Trudy, his wife of more than 30 years, have a beautiful modern home in the Doheny «Estates section of Los Angeles, where they've lived for the past seven years. Trudy goes with her husband on ‘every picture location, no matter where it might be. “She paints while 'm on the set,” he adds. Trudy even came along with they were filming in shark-intest- ed Pacific waters off Peru. Wellman admits to having gone shark-hunting on that occasion, without success. Which brings us to Wellman's great love: deep sea fishing. It's been a pas- sion with him all his life, He's certainly cone of the most dedicated fishermen you'll ever meet. “ve fished all over the world,” he says proudly. “I've fished in Hawaii, in Australia and Tasmania and in Peru, ‘and in all the waters around North ‘America. We even caught a 620-pound ‘marlin once off Kona, back in 1948, Boy, that was some kind of a thrill” For years, Wellman fished the ‘oceans with an old friend who owned a 37-foot cabin cruiser. Now, his fishing Crony Is @ retired building contractor, who owns a 51-foot fishing boat. Needless to say, his home Is filled with the trophies — and the memories — of the seas. Not to mention many significant memorabilia of Hollywood's Continued on Page 260 ‘AMERICAN CINEMATOGRAPHER, MARCH 1978