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American Cinematographer 1951 01 (V32i01)

American Cinematographer 1951

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American Cinematographer 1951 01 (V32i01)

American Cinematographer 1951

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putbook2003
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erty C ne Cinematographer DU PONT MOTION PICTURE FIL CONTRAST BETTER THINGS FOR SETTER LIVING THROUGH CHEMISTRY Si RUE PROFESSIONAL. 2708-Special. 36mm adapta tion of the 85mm camera long populat with Holly- ‘wood Bm studios, Meets the needs of the television elie r ironies: 16 70-1. camara: Beton Held, Four-lens turret accommodates sll TH. speeds, governor controlled three-Lens turret with Speed Panchrotal lenses. Fa positivestype viewlinder system —shutter stabilizer hand crank, rewind kknob-adapted for externa tmagerine and electric melee FAST, ACCURATE SPLICER, Automatic Fiin Splicing bosintliteellie oad Pipieheetagc Machine. Bull to very close tolerances to give quick lamp in new design, high intensity lamphou re tcong a2 the film itself! Vides perfect light for printing any ty on means economy and efficiency im = lee Spi negative or poate 10m a Sm toy Senta ree ee 60 feet per minute. Other models avallab TELEVISION NEWSREELS INDUSTRIAL FILMS OR more than 40 years the Bell & Howell name has stood for the finest among Hollywood ex- GUARANTEED FOR LIFE perts. And today—for television and every other During life of product, any defects professional use—it is still the first choice of the in workmanship or materials will be men who know! remedied free (except transportation), For further information about these and other B&H products for professional use write Bell & Howell You buy for a lifetime when you buy Company, 7148 McCormick Road, Chicago Bell «Howell AMERICAN Cinematographer THE MAGAZINE OF MOTION PICTURE PHOTOGRAPHY Axruur E. Gavin, Editor Technical Editor, Eatery Huse Gurwe Ri Kenan, art Editor Circulation, Marcuse Duvex Eortomt. Aovitory Hosa: Fred W. Jackman, ASC. John Arnold, AS.C. Arthur Edevon, ASC. Lee Garmes, A.C, Charles Rother, AS.C, Leon Shamrey, A.C Fred Gage, ASC, Dr, J. 8. Watson, ASC, Dr. L.A. Jones, ASC, Dr. €. B. K Mees, ASC, Dr. VB. Sease, AS.C, Col, Nathan Leviovo, Editorial and Business Office: 1782 N. Orange Dr., Hollywood 28, Cal Telephone: GRanite 2135 JANUARY * 1951 No. CONTENTS ARTICLES Tax Fussine or “Aus Avour Bvt? —By Leigh Allen Covanana—Suren Movies or rue Forute Meeks abesareer Bhsrdcares 82 Asmican Prise Prooveron — New Tecustove For “Syxc” SouN Ow Quatrax-iven Tare — AMATEUR CINEMATOGRAPHY Tue Rove OF Mosract Ix Awareux M FEATURES Hourwooo Boiss Boseo Keeriyo Ur Wert Protocaarny Roster oF Awenicas SocteTy oF Civ#sATocaAriEns Trevisox Fuusuxe Acrw Curnawr Assowsexts oF A. S.C. Mentnans Wuars New Iv Rovira, Accessons, Seavice ON THE cover DIRECTOR of photography James Wong Howe, A.S.C P Beach (Calif tam seene in Roberts Product cotere tre Cictcoor Joun erty explains action to Garield For another eet eset aie eet underwater with's hand camera in a plastic bag—Photo by Hal Mectipin erst, $400. Sige copies, 25 cary back rarn, 30" cats, foretan sogl copay, 33 ‘Agency, nc’ AUSTRALIAN REPRESENTATIVE: McGifs, 179 Elaabeth St, Melbourne. * AMERICAN SOCIETY OF CINEMATOGRAPHERS FOUNDED January §, 1919, The American Society of Cinematographers is composed of Hollywood motion picture studios. Tee m includes non-resident cine clubhouse at 1782 North Orange Drv 1920, the Society its monty pub Vication “American Claematographer" which i condioes 6 soot 1 whadu stir culated in 62 the world Dominant aims of the Society are to bring ders in the cinematographic art and. sc OFFICERS AND BOARD OF GOVERNORS Rav Rexanay, President Fuso W. Jaceatay, Exec, Vie-President Axruvx Eotsox, First Vice-President Hat. Mowe, Second Vice-President Wine ¥, Skatt, Third. Viee-Presdent Aurumo L. Guues, Treasurer Jon W. Boru, Secretary (Cuanies Rasen, Sergeantat- Arma Geowce Fousey Vicror Micxem Joseen Wasa ALTERNATE BOARD MEMBERS Jou Axxoww Sot. Hatraix Micros Kraven nmin Mun Jone Suave ym Laney ONC Cm CMLL) a Vl a . ‘The MITCHELL STUDIO MODEL" BNC” is a truly silent camera for sound photography No blimp is required. Its smooth, positive operation saves many costly hours of pro- duction time. Since the introduction of the “BNC,” more and more major studios have made it standard equipment. ‘The MITCHELL “16” is enthusiastically acclaimed by leading commercial pro- ducers as the first professional camera to bring theatre-like quality to the 16mm screen, Typically MITCHELL in design and workmanship, it contains the same proven features that made MITCHELL cameras famous throughout the world. Now at a new low price CL chell Camera Ue wa Pee eee eo Perera err Cor cnr enc ae ee Py CU ORO Oe OEE LO Oe COR mL Hollywood Bulletin Board Nomination ballots for voting on 1950 Academy Award 18, with January Academy for clo The will be announced 13. Nominees Division will be announced in t American Ci he ruary 18 U 11 at the Academy Award Hollywood, Final award ballots wil all eligible Academy: membe with the polls closing March 13. The 23rd. annual presenta tion of Oscars will be held March 22 a1 the Hollywood. Panta i the press Februney Cinematography re March d pictures. will be ough March Februacy 2 Cinematographer Robert Wise was the forty-three mitted 0 the Academy of Motion Picture Art and Scienc until the next Fe Tast month. Group was la into the Academy ranks larly scheduled board 1 held in April John Boyle, ASC. wa th sent to. Folsom Warner Brothers, to direct secon 6 © Avtanicay Crvestarocearnten A grim of photography Fox, had hi her year by Director George Sidney's hobby of making Rollei shots throughout the production f his films at MGM. has attracted the Hermitage Press publishing house, which has announced acquisition for March publication of Eye Views,” com f director's candid. shots prisin with ti notes on each picture J. Burgi Contner, A. S.C. New York cameraman, journeyed to Hollywood last ‘month to photograph material for tele vision sp ants for the Billy Rose television show, sponsored by Hud: san Motor Company and produced by Tne cout TV Tod Philips, Holmes, has completed an as Australia for the lecture for New Zealand photog Burton arked Vistecone, pe. x new motion picture produc tion technique of European origin, and said to utilize photographs ax sets which live-action is staged, has been in the U. S. by S hod have Government by: Lese Lesser. Facilities of new been offered the the stepped: Benjomin Kline, A. 5. Cx who has been lirecting the Bin Enterprises, series of television films at Hal Roach Studios, was present J with an Award of Merit by the video trade publication “TV" for having photographed the greatest num ber of televis ‘ane hun deed and twenty-five Sharp demand for cinematographers wa ‘made known by the Army Air ing distance talks with Hollyw pening up opport preparation is ned and non-commissioned cially for # like capacity in last wa men, and © who served Albert. Howell fo board chairman of the Bell & Hi Company, died January 3rd at the age of 71. He retired from active duty wit BSH company in 1940 but maintained his association with the company to carry fon a specialized engineerin In 1949, he was elected chairman of the board Mr. F project the company well was an Honorary: Mem: American Society of Cinema wzraphers. His work on early day motion picture equipment led to the standardiza tion of the industry’ p on 35mm film. He duct is credited ‘with taking the motion pictures and being first to. advance 16mm picture medium for amateurs. the mo! Rudolph Mate, AS.C.. former cinemato who later became one of the in directors raphe dustey’s ace ‘Union Station was a recent directorial chore of his), ill fet lirecting the tentatively titled Benegoss xluction, “The White Road,” which starts shooting April tin Fran Mate currently When lds Collide” at Paramount Studios. sis George Pal’s fo mw-up produc Destination Pe AOL Bt Liat y baat ede NEU Et Tae "Whe demand for fast, dependable, quality motion pierre il processing is rapidly ir creasing in every community thoughout the country, pres epperroaity a tper shown above cas it poalbla to provide this profitable service in your area with only & tooderate investocat This porable machine develops 16m black snd whit, negative, positive or reversal fils HOUSTON FEARLESS yee 11801 W. OLYMPIC BLVD + wutomatic and easy ration, re-circulat- ing systems, air compressor and positive tem- erature controls, Operates in daylight, han- tice job era to screen, 2 is che same high Houston-Fearless quality chat bas been standard of the motion picture industry in Hollywood and throughout the world for 20 years. Other 16mm and 35mm Houston-Fearless black and white and color smene toserve your particular requirements, Write for information om specially-built equipment for your specific needs. ‘+ DEVELOPING MACHINES » COLOR PRINTERS « FRICTION HEADS ‘= COLOR DEVELOPERS + DOLLIES + TRIPODS » PRINTERS » CRANES LOS ANGELES 64, CALIF. “WORLD'S LARGEST MANUFACTURER OF MOTION PICTURE PROCESSING EQUIPMENT” Keeping up with : PHOTOGRAPHY Cinematoeapher ABILITY OF COLOR FILM to record fine esetial dat eft Bedi ce aed ey she llete whic erat wdc, ag fol al other foriiog ¥y Karl Mc Sctodlchy dace | Tile camera replenag N Meee ting Goes comaizel vik. raturephaee reer touventional blockand-white. fm. In by niments in fight, the CAA mi piers) "Ghersceriets ef tte ve-dpimion Wella he RUE mE el emulsions create the major ined dickapge lamps for fahryal Oust We colkene are Lily camniait, lie See ee te Inlton Hesoincs «.mnlor Sector. The.) Perinos fhe og Sheena Get The emulsion tapiity Tow and eth deed oy he factor bettie dewicy wad coli Jie ab aircrale, parlealany Hasan itor NEW 1950 EDITION! | feces ies Sore ees Se Sut eee an net Rg eR oct diss ox | rercrsiaciy dnxcrnet, Ecbndlch odd. ceeracay tots coupe! ca nae Thad Ieee eed eee beset : Gen loncl een eneeioe Tio preen forme ane of trac fas an extreate wide-angle leat aad i PROBLEMS OF PHOTOGRAPHY in tropic im melon pcre tee” | ree poererat 0 recriieg rele (peep the ener velo ert rene Mere ceeraterce tate se, | at the Panama laboratory of East Kolal Company, Bere reeerch activi intended for picture ce mil earth and at temperstui the boiling point of water is ne: produced for oi drillers, the Eastman Kodak Com Photographie prac ™Pyi."fim, which is available in both 16mm and 33mm widths, is called Kodak Linagraph Drift Survey Film, Used in a standard clinometer of drifts IVIL AERONAUTICS Administration au- dling operation od trent -s are lowered into the well to deter pple Gacsord THE cle ites atv Mi Sy 3 A an = ee ee including. the stud {oF ose aro cal kn salah tang ans — ara thorities, faced with the problem accurately measuring the takeoff and Tanding runs of aireraft under varying ‘9 ayring cquie men EXPOSURE weTER cOMPENSATOR. nitions, for later airport engineers, have deve ur The film, according to Kodak re search technicians, has to be able to take ety a highly specialized cameras in THESE ARE ONLY A FEW ot the 219.chwts | studying operational characteristic far more th inary punishment from onoen YouR corY Tooay! Ty anes abe Aircraft ‘hukeofl tad higher temperatures encountered as drift For Agprosch Zone Study, the Autor lowered to even greater depths in well matic Flight Data Camera, and the duilling operations. ‘The improved fim I Sere rat Cockpit Visbitry Camera.” All. four ca ily used at depths down altrwosd 28 Bit cameras are illustrated and described int 17,000 and temperatures up to ABLAEH Slee | ing, a new magazine devoted to the st the photographic record made Minonoon Ao aerERONCE CUISE J ce, and the official publication of the on the new film, technicians ean quik! Nene Society of Photographic Engineer tletermine the angle and. direction that dee The special cameras designed f a hole is “off vertical” at any specified oy. Zone_sttn. cording takeoff and landing runs of ai or, chart the course of the well Wye4 lv, ig Calfomia, glewe ine craft photographs the plane on the run- from the moment it leaves the surface way, and on the same film includes all ned on Page 29) DISTRICT SALES OFFICES: ATLANTA = chicas + “For TV or theatre, monochrome or color, ‘National’ carbon arcs give that added, penetrating power I need for quality modeling.” atom yv- Ray toe se the term "Notional is @ registered trade-mark of NATIONAL CARBON DIVISION UNION CARBIDE AND CARBON CORPORATION + NEW YORK * PITTSBURGH SAN FRANCISCO The Filming Of “All About Eve” Deft, subtle cinematography by Milton Krasner lends class and authenticity to Fox’s leading 1950 Academy Award contender. Holly About Eve jer for he iments, Written for rite pictures of A wood du sure to he a leading conte in several dep: ng 1950, “All screen and di ph TL keiewies, “Eve picture pecially ner, ASC. There is e tout the picture that uncommon deep understanding and cooperation existed between Mankiewicz and his director ro Awenicay Covewarooranien S eaily makes By LEIGH ALLEN ‘of photography Krasner, which enabled Mankiewicz to imbue the pi the vitality, warmth and s me of the ty uperb di to. the + which, rs of the ly detailed. ser rection, and last but not least artful cinematography of Kra feven to many within the subtlety. Het once calls a © Sawvany, s9sr camera, All too often the vital part photo: raphy plays in a great picture goes un noticed simply because the story and in dividual perfo iosorbiny the ver which tributed picture in Functionin a row for Mankiewicz a team, once shooting an, Krasner and Man. Kiewicz plotted the photography of Eve” ina mumber of huddles that saw preparations location “scout to San Francisco to select thea New Y againat which x takes place ‘On March tually completed and the most pressing production problems. settled, the flew to New York. There, using for Bette Davis and Celeste Holm, they shot the f the New York theatre wld tie in. with the later inthe Curran The exterio scenes to he shot Theatre in San F of the "a1 Club 's Park Avenue apartment were also photograph Ss for’ mara il plate at the studio. ‘To ligt nes, Krasner used portable C lighting units, and the footage was laten and E es and for scenes to be ‘these sified up to full val When shooting the ni front of the John Golden theatre Kras ner received unusual cooperation from New York City police. In one instanc when the company was shooting after midnight, an officer displaying know! edge of photography, suggested to Kra ner: “You haven't much depth in the background, here. How would you like to have those neon signs in the distance li 2” And when Krasner agreed, the officer dispatched another to the task inducing store and cafe owners a block away to light up thei Because the st locale has a New ary to find a theatre Tobby detail that of the Curran in San Fran: York t of the ke pi shooting was John Golden selected, and here scenes and which In lar. shots Tobby Shooting at the Curran theatre began on April 11, a ed. echoed ‘with activity as Krasne Keground plates were shot + were to match up with sim The theatre and hi camera crew p shooting Electricians wer lamps and laying cables, but long. be his, Krasner, his gaffer and Mankiewice had paid a visit to tl the power shoot scenes in the theatre without Holly iMlumina found the theatre t wurce. Tt was desire Krasner power lines running into the Cu adequate to supply the needed ind it became necessary to find a mean tional current, ‘Together they checked adjoining buildings and happily found they could bring addi tio Cucran from an but not b been spent. lifting treet and check and. his gaffe oltage siderable time had manhole cov ing underground. p sin the wer cables, trane capacities, ete je that forme to make s no power fa midst of shoot The next important sturdy platform over a theatre's orchestr provide unhampered working space for Krasner's camera and the Junior Crane on which it was mounted, An interesting Point is Mankiewice’s preference for this crane as a ca Of size of the sets p was to lay a section of the at stage level to As a result well as interiors—was shot with the Jawan Fr py Ai bet Be camera mounted on a Junior Crane All the necessary ements for the theatre interiors had been carefull planned and charted by Krasne Mankiewicz earlier they ted the location, Now as sh nerely a matter of acefully laid plans and owing them to the l Before shooting the important scenes in the lobby of the Cu when had began, it ~ 0 these affolding to hold the lights, a matter that presented 0 small problem becau permitted to drive nails Cinerama--Super Movies of the Future Newest approach to practical three-dimension motion pictures is system that puts image on three films which are screened by multiple projectors on a curved, segmented screen. Met ear pate tow nent installations in theatres sometime ahout mid-1951 Cinerama is the brainchild of Fred Waller, formerly with Paramount Pic tures and designer of the famous Waller Gunnery ‘Trainer which utilized a five lens camera and airplanes realistically on a curved scree The Cinerama three-len plified modification of the earlier setup. ‘The sound recording and reproduction of Reeves ‘who compiled electronic tricks during W Cinerama their pictures are sterc dimensional movies, that is, in the strict technical interpretation of these terms Such lire either a special screen, that only a limited portion of an audience Drecise rigid-necked ve projectors to an impressive record f 1d War IL onsors do not claim that angle, or the use of analyzers or special cles. No. such extrane are needed by Cinerama audience view the screen images in wholly norma fashion, Norinal binocular (two-eyed) visi Courtery International Prejectionit tant role in the is only part while playing the over-all reason wh seem real. Cinerama starts from this basis and, by. skillfully other ele tion picture ch image pensatory optical and mechanical equip. iment, produces what is substantially a stereoscopic effect. In real life one can lo well as straight ahead times standard size and 4 times as wide forms a great curving arc field of view that ke all around as and the Cine screen of 8 the onlooke res one the feeling ‘of being tight in the inidst, not outside of things, Images in closeups appear near and s0 real that one feels he cou reach right out and touch them. T npression is achieved by the picture taking lenses that march the human eve in focal length and give exactly the same perspective Nor is with the action and he eye alone subjected to this simulation of reali stereophonic sound. positions the sound at exactly on the point of the sereen from ‘whence the sound emanates, even from behind the viewer. The filming and p jection of Cine © Sawuany, a951 and execution—everything is ona grand The eye-lling picture ‘covers a field of vision about 146° wide high—which compares with the extreme limit of human eyes of 160° by 75°. Even the most satisfactory wide- angle lens couldn't p tore than a fraction of this sweep, thus the reason for Cinerama’s threecameras- iby accommodate The eyes of this 150-pound camera are three mate 7-mm focal Tength set at angles 48° apart. Each lens of the total width of we of three standard many film lenses of records one-thir 3sinm films carried in inagazines. Otherwise, the The lines of converge and er em, where a single revol ng-dise shutter serves them all, thus assuring synchronization of exposures Simultaneous all three lenses tof the three lenses at a point 11/16 inch is accomplished by a single knob while another “knob controls the diaphragm Individual Cinerama film frames are ‘one-half again standard height; and since Continued on Page 28) Modern Laboratory Stimulates So. American Film Production By JOHN FORBES in the U A New Revolving Camera Mount New M-G-M development makes possible trick shots involving rotation of the camera. By FREDERICK FOSTER lor ALL TRICK sHors are the of the special effects department. A great many still originate in the camera this there is frequently n some new and novel jeted at Metro-Goldwyn-Mayer under the direction John Arnold, ASC 1 executive director of photography and d Known as the Revolving Camera Mount, the device vides a balanced rotatable mount for either Mitchell or Te nicolor cameras, permitting camera to be rotated on it axis while it records the scene. The only other piece of equip iment of note which has been designed to achieve similar effec. is the “squirrel cage” buile by Warner Brothers’ camera de partment several years ago. ‘This has seen frequent jer studion and i possible many of the effects seen in ion Me this 9 The new MGM mount also make the camera tilted on its side at various degrees or in own position J in conjunction with any ‘mounted on a dolly or camera parallel When either a Mitchell or Technicolor camera is mounted in place, the lens axis is always centered with that of the roto The slight displacement between centers of the Mitchell and Technicolor cameras is taken care of by a shim inserted he The accompanying photos show the ca junt in various positions of a complete 3 = well as « full 360 pan, for whic nthe mounting also. prov ope a friction head principle, with a lock screw at the pletely locks it in. any trolled by a sturdy hand crank which ear attached to the rotor. An ank provide tilting action up and down within a range of approximately 65°. This fectly balanced so that the camera re mains in position without lockin Sliding weights moufte ubular shaft extending from the rear afford accurate of the camera and simplify rerability. ‘The hollow shaft also functions as a Better Pictures In 1951 Will Be Photographed In Black and White And In Color With a Wide Range Of EASTMAN NEGATIVES Always EASTMAN Always The Best And — Of Course — BRULATOUR SERVICE J. E. BRULATOUR, INC. Distributors Fort Lee Chicago Hollywood New Technique For ‘Sync’ Sound : On Quarter-inch Magnetic Tape PART | By Vice President RACTICARLE magnetic tape record may well be considered the greatest single advance io id field inthe By now, it has been inte the past ten ye fnew applications devel almost daily numerous. Tt is advantages of magnetic tape arc a recording medium Delayed and the ‘might ‘ded with no loss in 30 sch required announcement, listeners never know they were hearing ro The ns for phonograph records is almost i calculation. A. duction providing ed nd final equipment is universal the right hand, arm and shi production department. It tural to find uses for the new medium in motion picture work where econom without sacrifice of quality is keynoted. The Fairchild Recording Equipment Corporation of Whitestone, New York. nized 28 only nat WENTWORTH D FLING t Corporation Equip studied the quest of applying. 14-inch ional synchronous oun ding because of it omy, superior fidelity, excellent mo tion and ease in handling. The need, 2 nd. pla hack equipment which would maintain synchronism with picture film—either 35, 16 or $ millimeter. ‘The problem was the D. G. C. Hare Co New Canaan, Connecticut, which dots a large part of the research work in the field of tape fe cording for the Fairchild Corporation, The project of the D. G. C. Hare Com pany was to modify the Fairchild Pr fessional Tape Recorder so that it could record and playback in synchronism with Kinese turned ove pany. of es ment. The projec ted as the Fairchild P + Unit 125 with tachment Unit 130. (See Fi simplicity’s sake, it Syne—a_ contr of and synchronism.” ‘The Fairchild PicSyne Tape { inch magnetic tape and, with only the frequency of the fe ind with no electrical inter-connections, can order employs Tine as the synchronizing reference synchronism indefinitely with A further development known as 1 Automatic Framing Control be led to the PicSyne so that, using a the tape recorder ultaneously with cameras, and projection equipment, and synchronism automatic single master switch, kines fall into li ally. Basically, the method by which the PicSync system maintains. synchronism is not at all complicated, It is only nec to record on the tape a “sample” the ac. voltage that is driving the camera motor while the of This ‘matically mixing the in Control T ing is being made al fron ick Generator with the program in the recording amplifier of the tape recorder bein Once thi is done, the tape may thereafter be played the PicSyne R with the Pic-Syne coder in exact picture. During compares th phases of the le and voltage driving the projector, tr difference into to in tuen causes the eep in step with the projector Since the a.c. voltage which drives th amera oF proje frequency (usually 60 eps) which is audible to the this voltage is not recorded peed of the tape to directly ut is used to m 14,000 eps tone produced in I Track Generator. It is this tone modulated with the 60 cop line frequency which is. recorded. On playback, this high frequency signal matically separated from the sound The high frequency cont lated, the tape ulate a the Cont track signal is dem nal, Tt maki treat Tine ame the orig: Whe tly 60 eps at the ti di inal recording was ‘madi it is exactly 60 eps at the time of play Continued on Page 2) eee T Ve Camera Equipment... Small GYRO Tripod This light weight GYRO Tripod performs with all the efficiency of larger, heavier and costlier tripods now in use. New, small size GYRO tripod handles all 16mm. professional type cameras: Mitchell 16mm.; Auricon single systom: Maurer 16mm.; motor-driven Cine Spe cial: also 35mm, motor-driven Eyemo ‘with 400° magazine. It features Sup ‘Smooth Pan & Tilt Action. tl. Swivel e-down ie equipped for either 3 or Ye Inch Teen TT Guat eu © ee Sta NOTICE TO CONTESTANTS RULES Each entry must be wholly amateur produced, ‘except for any titles and film laboratory work AMERICAN. CINEMATOGRAPHER’S Any wd. ktteipnticne ine be rere 1951 INTERNATIONAL AMATEUR ‘exclusively by the entrant and/or his amateur MOTION PICTURE COMPETITION meek Film length limited as follows: 8mm. 400 feet You must file an entry blank with oa Og RERES SE Sg Eh film we and is container mst be lain 1g your film. Use coupon below drew. to secure your entry blank. Films originating outside the continental United States should be securely wrapped or boxed, preferably in carriers which maybe wed be made that will insure films passing all neces N American Cinematographer Tro All films must be shipped on reels and in cans to contest headquarters in Hollywood, fully pre paid. Entry blank should be mailed to contest phy Awards are the prizes that await the makers of the TEN TOP films en Seed ee oe tered in our 1951 competition, which pn GSR af umpittoc WDA eceived will be returned via Express collect and insured closes March 1st. Judging and classifi. in the Uni ). Contestants. residing outside the United States should make the nec cation of films begins December 1st, 1950. sy cintigeninis tn, aivans Vote ra postal and import regulations tography will make up the judges panel. ee igh set stelle et achat al aa ry blank. In most instances an International Postal Money Order will be the simplest way handle’ Six leading Hollywood directors of pho DEADLINE FOR ENTRIES — MARCH MAIL ees COUPON Hollywood 28, Calif Sic: Kindly send me official entry blank for AMERICAN. CINEMATOGRAPHES'S 1951 Amateur Motion Picture Competition. | plan to enter an &mm.—/16mn TODAY A lene ‘4 FOR YOUR re -- ENTRY BLANK | Amateur Cinematography —EcTION The Role Of The Montage In Amateur Movies ‘An important professional cinematic effect, montage lends style to amateur films, com- presses time or effectively condenses action through a series of quick cuts joined by fades or dissolves. By CHARLES L. ANDERSON man’s article, “The Magic of Montage," in the October, 1049, issue. Mr. Lightman discuses the use of montages in TAGE Si adaptable to amateur and documentary films corporating ely, you must omit filming hundreds of miles of any journey for lack of film and time, but there is nu reason why highlights of the leer parts of a vacation cannot be well presented in quick cuts ‘The real DisteABINe quality of amateur film-making is that no “feel” of a trip can be better expressed if the audience sees technique or a new artistic goal before us. We attain a profi-. However, these short shots can become irritating if they are iency in composing scenes, and we discover that our editing inserted haphazardly. A montage should have coherence and ix weak. No sooner do we edit competently, then we be rhythm. Coherence is gained by giving the montage well disatised with our continuity. And now I'm setting before defined limits. It can begin with a big close-up or an_angle you anew challenge that may leave you unrestful until you can shot that definitely sets it apart from the rest of the picture, fay in truth, “My montages are the equal of those in other When it has ended, a leisurely long-shot will inform the 6mm. productions today. audience that they are back to the main theme of the picture Incidentally, if you have filed your copies of American “Of course, if you produce your montages with disolves and Cinematographer, you may wish to refer to Herb A. Light (Continsed on Bay Jasvany, 1951 Auenicas Civewarocaarnen — ® Developing “Style” In Cine Photography How to add those cinematic touches that make your movies win contests and in- fluence people. By CHARLES LORING is not as diffcult as it may seem, nor is the approach to style imerely a coll act theories th he camera man bewilde Co tio rary, there are certain very cone ich we shall analyze here First of all, ad individual style, we subject in the very same way: If he did all his films would have a “sameness” that would soon ie, both t0 himself and. to his es. Every top-notch Hallywood meraman in his wo in evidences of style hare hots, moving-camera s,unbal but these men are at the their ry are able to modify ther jemarks of styl fe they are han If you wish to specialize in in type of mo picture work, itis advisable then to study that type as executed hs For this pu ighborhood movie mes a fine cla : seen and ‘only’ dramatic photopl: documentaries and newsreels as well. Tf i terested pin a style suitable for the ents which distingui c amateur cameraman bE net quality known 1 The term et when we realize that nothing more than the cameraman's own original ated into technical terms. Tn the case of the pr cameraman, this is usually the result of many years of trial and-error experiments, plus a desire to produce a result that on he ean consider uniquely his own What? A “blue” sky in black-and-white movies? No, not quite, But Ansco Hypan File, thas the knack for catching nature in her most wonderful, natural best. ‘Water looks wetter. Old fence posts Took older. You can slmost hear your baby's gurale .. . and a summer sky really is 2 summer sky. ‘Why? Because Hypan has the ex- tremely fine grain and sparkling con trast—plus splendid panchromatic color balance—that gives nothing but superb results all the time. And when your neighbors applaud the way your sereen images stand out with snap and brilliance—well, you can be sure you're fon the road toward having that “pro- fessional” touch in your home movies, Next time, Jond your camera with ‘Ansco Hypan (available in 8 or 16mm), and give yourself a pat on the beck at your frst screening! Anse, Bingham- ton,New York. A Division of General Aniline & Film Corporation. “From Research to Reality.” ASK FOR Ansco 8 and 16mm HYPAN FILM PCr rg Don’t Talk when giving a running By DOUGLA real sage er common for which is pethaps wa echo fed visually — and ean spol trying to describe what makes it lovel Every picture b to tell it all himself. And forth at length about scenes which quire litele explanation, Watching film is like watching a play with some aloud the st ould add s0 Commentary parrotsfashion what the came there already. Certain make your picture boring. It should en hhance it. And it should incre the advantage of movie making individual be plane ato rh ° this qu would have you believe: Tt is preferable to show the silent and. decide on ding and at would b film several. times ue, efc., you propose where musical accompanim Tn general advice t ed suitable The an sfterth job, the fil sh gether. True, there are those fo add commentary. to Whichever wa and excess detail like the plague er. Let ture ur shots with a nic the commentary act as a fail to. you pictures. Make it the pinch of salt which brings out the flavor. As an example here is a quotation from the light-hearted ent E. V. H. Emmett nny Tribe, » deli verbal accompan supplies for The S ful tworreeler on the je, Emmett has christened the heroine dys." He says: “She makes he way into the nest, pushing air. She's ra Too Much! commentary on your films. S GOODLAD moves deep into thi shape. of shimmerin wax pinnacles gradually comes clean fairyland d thousand be he has to fin ct take the honey she How have those four henced the visuals? Emmett od the hollow tree but pretty, idea. He talks of aera fer ee reminds us that where the wil mn. It's a simple ing wax pinnacles, Pi a d the phr ing a bee's eye view. He ented air.” That alks of the "warm, thing the And own. Vea just oi tapes A pres were. One of ther hot of hu mark: “An f flaming Jun nothing clever about that. b igh 5 The enhance the shot in the sime way tha T'might have b fragment from the & why. Ons white f ch white ald ha sunlight ng like ny pictures convey all A fillip MONTAGE IN AMATEUR MOVIES mae the film they are h of the sh sppe the P to rerun the film in a project several times and develop a rhythm by jal- and-error. Edit amateur films are no the onal, and_ yo kin suitable monta night communicate some the take-off in a shy be established wit tower, fel, he plane. ‘Then your ms to reproduce even take-off appeat An effective shot on the screen, quence could follow like this Taken cen with tele Bystanders at gate watching plane wil as plane begins to squence like this, you might in hand for the take-offs hn a have to be ay indirectly” im and one the ly, too quence showing the night lights The ncon-Mazda kaleido s fash m. Lig fi hin won the horizon. A Square. ‘This is one montage that has become a cliche” in fil world but which manages to amuse audiences again and again with its lumi nescent di od can ented ina jim opened with a too, A quiet res smoothly weld ding a quick ssimilate. ‘The rainy day reurately as if he spoke impression be one tthe downpour, it himself. Tf lightshear and emp thought Perhaps you might editing that the montage may’ be ad ote. An extra ide ‘m without int eatly with the main bo ure. As an example, one amateur filmer made a picture of his fine A project, and he tage sequence the film was the beauty o den grapher had his wife sh cet of 16mm of him which he and I later cut tion, this ght twenty feet. In add ce became a wel from the slow cut ting of the pictorial scenes, Commercial films have one burden placed upon them that is not usuall with in entertainment pictures. This the need for making ¢ member the picture diagram on the printed p attracts the observer's atte away from the prec the message bein nted may thereby be overlooked by an audience. A summary montage at the end of a picture may seem “Guaranteed Results! For television films of theatrical quality, try the new “Cine-Voice” 16mm Sound-On-Film Camera, Tested and now being used by leading studios and television stations for public relations, newsreels and commercials. 30-day y-back guarantee. uu must be satisfied. Write today for free | BERNDT-BACH, Incorporated 7381 Beverly Blvd., Los Angeles 36, Calif. Awenicay Crvewsrocaarnen RESIDENT MEMBERS L. B, Abbot David a Bredel tert Bro Walter Cast Philip. Chancilor Russell Collings Mark Davis EB. DuPa Ernest Halle soll Edwin. Hammeraas Koster American Society Of Cinematographers JANUARY 1, 1951 Harlen Allan E, Irving Fred W. Ja H. Gordon Jenni [Depame te Ray Jone Benj. H. Kline TP, Koen Mitton Ko Charles B, Lang, Je. Joe Lasiei Ernest Last Paul K. Lerpne Walter Ladi E Lynch Virgil Miller Hol Mone ra H. Morgan Nick Musurece Ernest Palmer Harry Perry RW. Pittck Prank Planer Sol Polio Irving Ries Awamicaw Civesearocaa rien Jaxvany Charles Rosher Harold Row Allen Siegler Edward Sapder Archie J. Stout Harry Secadling Walter Strenge Karl Sen Robert Ly Surtees Stuart Thompson Leo Tover ASSOCIATE MEMBERS Sidney Jamer R_ Wilkinson Wallace V. Wolfe NON-RESIDENT MEMBERS Charen Belt Pal, Mines O° Borradaile—Canada Jack Cardift—England 8°. Chuck —China Gite Comstede—New York J. Burgh Contner--New: York, N.Y John Dored-Halden, Norway Max B. DuPontTat Higine J. Fallrina Frank FolleweSparta, New Jersey Charles Harten—New York, N.¥ Joba L- Herrman--New Orleans, La Erle Horvich--South. Africa Wm. H, Jansco—Manil, Po Ricardo Marcelino-Mania, P.1 William ‘Steiner, Je-—New Jersey Prasart alland Nicholas Toporkof— Frederick A. Young Frank. Zocker—New York INACTIVE MEMBERS Dan B. Clark Paton Dean Harry Hallenberger G. Floyd Jackman Win. O'Connell Gordon B, Pol Douglas Shearer HONORARY MEMBERS AS. Howell David MacDonald G.'A. Mitchell KINEVOX, Inc. Manufacturers of Synchr SYNCHRONOUS MA RECORDER $1395.00 ers irr att acy mind th film's content. A. Red jfesaving concluded with The screen portion zative cli ions while the narrat plained each step. A. single actly ex an excellent perspective of lifesaving before their the picture gave audien Cameramen occasions subject that intrigues an effectiveness of idence by alone. Skiing scenes are exciting even after the beauty of the landscape has worn thin, and the movements in skiin can be exploited to the utmost through tage cutting. Fast downhill runs, sharp turns, quick falls may be clever m cut together to present a view of the sport one is unable to see at the actual ski resorts. Pare Lorentz produced a thrilling ‘climax in his film, “The River the felling of trees. Gi rere photographed toppling us Magnetic and Associated Equipm LICENSED Recorders FILM PHONOGRAPH For Rack Mountin 5840 Creer Correa Sas KINEVOX, Inc. A NEW YEAR of t Motion and Television Production Equipment OUR MANY YEARS’ EXPERIENCE OF INTRODUCING NEW PRoDUCTS 1S YOUR ASSURANCE THAT WE ARE CONSTANTLY STRIVING FOR NEWER AND BETTER EQUIPMENT New Developments in Cat icture OUND UP YOUR USED EQUIPMENT FOR YOUR BEST 1951 TRADL-IN VALUES NOW! COMING SOON; NEW 1951 MART MESSAGE, IT'S BETTER THAN EVER Al 16-35 mm production equipment available for rental, THE CAMERA e¢ MART, inc. Pears Roem eced Pecos Cer met ers January, 1951 Avtencay Creat aroonariten cover and then cut the other without a fall until x dozen had been seen coming down. Here, an important idea—the felling of enti forests—was presented. forcefully. wi only # few trees actually down The montag apher who has never The pitfalls are many in this film-making, but the “SYNC” SOUND ON QUARTER-INCH MAGNETIC TAPE back. The important fact is that the co re of the actu the camera durin playback th ithe with the spe increased or d to keep step J of the jector at that particular time Referring to Fig. 1, it will be seen dliagramatically that "the micro picks up the a nal, which passes through the and the Control Track Generator to the recordi The generator corded ing of the desi the modulated During the “rec ed is held synchr nique mechanism, Syncr let it be said that if used which the appli the cap I mechanism fl Tows up immediately and speed the stan just enough synchronism. Conve tends to diminish movement of the capstan shaft, the sync roll mechanism follows up and the eap stan ved. The syncroll effects a dynamic equilibrium of tape load vers tape is recorded synchron n special equipment and a co Tape is affected by teu are and humidity conditions. Tt stretches and shrinks, even though it may be lying idle Recording a inch magne tape provi the o inal geometry of the ti hat aut matie com fan be effected du ing playback Magnetic to the same dimens the same causes. H tion synchronism is applied by the drive tooth engaging the film sprocket and literally compressing the stretched frames, and stretching the frames that have sprockete 6 Anentcax Cieatarocaariten inherent in a ‘magnetic film medium, nd flutter the sprocket hole and rapid nizer, the sprocke ecognized evils ‘driven sound track optical he spracket engages n Pic-Sync unit, ampl winding fa twoph fol rotor whi the capstan flywheel, (See Fig. 2 is mechanically coupled to The nergized by the there in phase be es applied to it low-up-motor_eithe he movement of the ‘oF hinde The syneroll drive mechanisn Fairchild re the recording he wrap of the tape of the tape past seca und. the cigs capstan fo sulle bb, clicinate slippage entirely, and (2) the capstan i maintained at all drive mechanism, michronous speed the unique syn ed with re of the Pie-Sync sys eduction The advanta ion picture work. The re Jed sound t available projectors leave though sd. With synchronism is readily main de sound quality for 16 his even better than 33mm optical ing. Because of the s the usual ising the optical stricted. In fact, where i maintain low distortion f sd. However, the a dynamic. re NAB 4s db ptical recorders were to Fairchild May must be virtual Fairchild PieSyne_ has ‘2 db, using the Tecan k if the limited dynamic ran encountered in applied to. the Tape Recorder, an extra ber of dubbings could artion and noise factors become re For profe cordin rembly of th which motion pict und. track, I the ae picture into sequences, bbing is I track. After all of the magnetic tape on production ings had. been made is then released to be used ove and ove This results in an 80. per cent reduction in nd track, splayed for picture re-and sound wund recording is ated. A single switch starts both camera and recorder, and “lap sticks establish a syne mark at the beginning each take, a practice long used in pro ‘onal pi The co inch magne initial track recording ction, is. ridiculously of the reusability of the fone small magnet senall initial in tired over a nui: ber of. pr Furthe inch, magnetic tape is light ia weight and re film making with tespect to ick recording and it icf description of the Pic the “Contr has been ment oughly 8x9: nd weighing ‘without enabling yous sound Track Generator will he discussed nex KO?) & THE FILMING OF “ALL ABOUT EVE” walls, ‘The problem was solved by se curing two:by-sixes between the walls near the ceiling using wedges protected by felt. Small illumination units—baby kegs, small spots, etc—were then sus pended from the beams, which supplied the predominance of light from over head ‘There were few if any light units fon the floor. ‘These interiors were the scenes that had to match tarlier in the Golden theatre in New York, Obviously this called for careful ‘matching of lighting, and camera angle by Krasne nall difference in the architectural detail of the two be minimized if not so that any ured, The important early scenes in the pi ture in which Anne Baxter meets Celeste Holm in the alley outside the theatre were actually shot in the alley behind the Curran Theatre. In order to scenes in daytime, K arranged to have the whole 2 with tarpaulins 10 keep daylight fr the scene. Afterward, appropri: illuminati night time tempo and ¢ which ther spellbound — a performan riven added lustee on the seree to masterly lighting and skilled camera technique Anne Baxter cof the picture five—ine Bette Davis whose pe wrap turned to the jr more than a month 0 Jere the studio had. repro Club at. While producer Mankiewice's unrelent perfection, bi sure of credit is due art director re Davis, whom Krasner rates as the very few art directors always keeps the cameraman's problems in mind when designing sets. [twas Davis’ understanding of photographic oblems that eased the way in all of the “Eve because Davis had p = through the unobtrusive open Krasner's set illumination was to play so effectively—all this, of course, the re TUDIO s D READER One Unit For Both Film and Tape FILM: 16mm and 35mm A TAPE: Sm, 16mm and 17.Smm $13950 fob. Lor Angeles For Details, write SCHOEN F 519 EAST 31st STREET LOS ANGELES 11, CALIF THE NORD COMPANY 254 FIRST AVENUE, NORTH, MINNEAPOLIS, MINN. the picture was finished. Over a hund thousand feet of negative film had passed through Krasner’s camera and more then double that am Glia earlier ot background which now Ww aphed on the ind feet in wh und plates are scenes filmed.at loc old. tions remote from the studio, then pro- Ki ackground he nique firs player Mankiewice when he mera is synchronized film the latter's "Hi mind p hat for Twentieth Century oth machines open and I the close sinsultaneously that they One of these background projection “No Way seenes had to do with Baxter and makes the George Sanders walking down a New picture Yor award the camera. In front camera artis of the BG screen a treadmill was placed ing the start on a fourth. Krasner set his walked the wward-winning stride when _¢ unfolded on aphed “Three Came Home the The final result is for Fox, for which he has received the highly effective, thanks to the American Society of Cinematographers matching of the set lightin Picture Of The Month” award for the gle by Krasner month of April. Come next April, he After a Date rte: ary Cmca Tus A months on wand track printed to get mand stage. Back- th th the sner's solid cinema udio with the fore them. ‘The with the back ajector 0 Fon! Go; eae the shutters of her famed. again on Fo All About E Mankiewicr-directe Krasner has lent his Ou whi and the two this the screen at he pho A NEW REVOLVING CAMERA MOUNT fur The Revolving Camer Astar venting the cable fro to. photograph jon with otated actually da Exp secognize the many other p for which this piece of equip may be employed, and it is certain hie new MGM creation will find use in that studio if not in the en: should MGM d Mount The cightinch ste eel base plate The “L has been especially en absolute safety of th withstand. the make it availabe he came tex. The Revolving C ri another ofthe camera and to fluctating ner Mount i just puttin Last month, you may remember, we ibed the ‘Tripod Easi-Lift which he recently designed and put into MGM, wh addition of produc and suitable motor. But in’ most nat h makes it easier ido Tnitial use was given this new camer mount at MGM when direc tography Robert Planck, A.S.C ployed it in shooting a trick dance row The tine in Royal Wedding, featuring F va Astair. The sequence called for Ast to. appear dancing on the walls nf a room—beginning firs! then upo thence on the ceiling NEXT MONTH Valley,” Walt nal short subj laying pipeline in Western Canada. The Be t the February Mount mi c 4m Disney's and “Ar eau Cinematoprbber CINERAMA—SUPER MOVIES OF TOMORROW three film the total are used, this means that cof film used. is. 4 tandard 35mm After the camera has dissected the ne into three parts, it remains for the gether again. This requires three fone. Installation of these booths and of the large curved screen will adapt ex vo show Cinerama films hose of the camera projectors throw. the three ons of the picture side b TheFeanier ecctean side o is curved, usually on ind two fat win; fe tangential to this curve mth of focus of the p th so that the An innovation in © mechanical device ach project nickram igo Just as makes vignette, th om view at its edge films blend together on mnspicuous divid For wand effects, 6 micr ‘make individual tracks nlm used for this Theatre speakers arranged nas the microphones are individually operated by the, sound acks. T iking “soun A fave hot and the nicrophone is put some and produced in at the rear of technique The sixth behind and speakers, respect full wid theatres bya ave led t the hoice of magnetitype played back a their in jew films are not entirely Like conventional movies ney, the p re of technical faul straight by certain As the sp which will be bettered VARIABLE SPEED HOTOR with TACHOMETER for CINE SPECIAL CAMERA AND MAURER CAMERA Universal Motor — AC-DC "Sack obo Sere VATIONAL INE BOUIPMENT, inate WITH PHOTOGRAPHY ee PRECISION "T” STOP LENS CALIBRATION Est maciencarcs of all lin & etas mr oe (olay, cee abe caa enn ee ies * uintl it reaches its bottom in oil bearin quale your lens stop on all focal lengths for exporure ‘density by having them °T" Stop eal ‘now. ENSES COATED FOR PHOTOGRAPHY AND SPECIAL TY COATING — PROMPT SERVICE ment a ait USED BY MOST OF THE MAJOR STUDIOS & magnetic sound t optical track to MOVIOLA 3 SOUND — pa Model LP 16m Pleture wiretr MOVIOLA MANUFACTURING CO. RUBY CAMERA EXCHANGE Rents... Sells. Exchanges | ° Everything You Need for the PRODUCTION & PROJECTION ‘of Motion Pictures Provided by a Veteran Organization of Specialists 35 16 mm. Television Cable Addrese New York 19, NY RUBYCAM CAMERA EQUIPMENT COMPANY FOR EQUIPMENT See Classified Advertaing 0 Page 37 of this inswe “Televistou Filming Activities The Government's stepp dup war prep. gram has put in mothball LTV film pro defense ducers for co vision, A hut off has greatly lessened the supply film. Most producers, tually alread) were planning heir TV film shooting on 6mm Kod: films would ailable when and if color tele Fred Jackman, Jr. shooting on film the TV version of Ralph Edwards’ “Truth or Conse how, finds the assign full of surprises. Last month he Alaska to 3 Eskime The production of moti directly for showing TV screens may g in the ala sion pro Skouras h Centar Wale Disney's “One Hou and,” hourdong filme ised Christmas. da hip of Coca-Cola Company, reportedly had a nation-wide audience of several. hun dred thousand vide In Wonder TV. show under them scores of mighty interest ision film p Said the ewer of the picture If Walt Disney's Wonderland’ can be tak TV entertainmen makin ‘One Hour In wil be like cof what when t taken over by major produ ay your chips on. TV keep the folks The show is a sort of Walt cartoon re d with the li ome Disney © Janeane, 19st LEIGH ALLEN appearances of Disney himself as Edgar Bergen with Charlie McCarthy and M Kathryn Beau: mond, the voice of Alice in the forth Alice In Wonderland’; Bobby Hans Conreid, as. the gro- f the slave in the mirr delightful specialties an performed. by the. Sever Snow White nald Duck Unele Mickey tangled ina Remus story Mad ‘Tes Ps ne from ‘Alice In Wonderland,” caricatures of Ed Wyna and Jerry Colona with their ‘own voices, some by. the Five Dwarfs and Mouse, and I clock-works; an Disne ‘own Firchous Plus Two, and othe lading a couple of timer Snerd with the snoozin that could have been developed ously in the hest Kubl tradition if time had Above choice tidbits, in- Mor Pluto ios Fran and Ollic ed all, the show had about it that must have teen welcomed with open arins a5 a Te lief from the mess of mouldy movies that have been filling the TV The live-action sequences tographed Ande whore technical skill in re ASC rick ieed Lucien five months in, Korea 1 for KETV Angel fering a cracked rib in an accident in the war zone. DeSoria win eae 68 jh newsreel televisi ‘cameramen on the scene, and h remarkable job supplying KITV with of the war, which he aphed, using two 16mm Filmo in Auricon Cine-Voice rémim sound Replacing, DeSeris, is rapher Red Humphreys, for Los Ange tographers. Sever Times’ crack news pho- months ago lumph ys was transferred to KTTV's news reel department, headed by Benjamin Berg. He arrived in Tokyo New Year's Day—in time to shoot unusually inter ‘sting Japanese New Yea then headed for war zone in Korea 0 furnish figures onthe int of footage used by’ all customers during 1949-50. Ver have any: considerable re during: this Some already have man Kodak Com: lable of the to the mew medium either in lighting telew : raphing TV films, These included Lucien Audriot Bi Brodine, Fl onneli, Gus Peterson, Robert Pittack, Wy Roe, Jackson Rose, James Van , Macie Stengler, Walter Strenge Karl Struss, Stuart Tho Warrenton and Rex Wimp) Movies For TV," written by Joh Bartison, associate Tele Company AUTOMATIC FILM PROCESSING at unbelievably low cost with the BRIDGAMATIC JR. only SINT 5 ics. rac Every step of mm positive and negative film processing automat fcally controlled at speeds up 10 600" por hour. Patented overdrive svlasive with BRIDGAMATIC) prevents film breakage, scratches, Static marke or any” harm what wt than 12 2g. t Hloce apace. score. Special design with xtra wash tank and spray bar FOR MICROFILM. 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