4 AMERICAN CEC) asfilm products of superior quality " Du Pont Dependable Du Pont films for television are approved and widely used throughout the industry. They're especially suit- able for optimum pictorial and sound results. ” CHECK THIS HANDY CHART: ° . ° "UM PURPOSE e Pictore +) Production Sound Recording Any Dy Font Pte Products Deportect representative will gladly gi Tele- plete information about these fi transcription will esist you with any TV pictorial prob- lem you may have. E.1. du Pont de Nemours & Co. (In), Photo Products Department, Wilmington 98, Del, Release Prints BETTER THINGS FOR BETTER LIVING ... THROUGH CHEMISTRYKITV Staff Uses B&H Equipment To Make Dea Today’s news tonight! | sia wena. Bell & Howell |°AMERICAN arnur E. Gat Circulation, Maxc Aurisonr Bosso: Fred W. Jackm ASC, Lee Garmes, ASC, Charles ASC, Dr. J.§, Waton, ASC. orron Fred G Mees Editorial and: Business Office: 1782 N. Telephone: GRanite 2135 MARCH. * AMERICAN SOCIETY OF CINEMATOGRAPHERS dof apy in the wise, Editor 3 8 2919, Th ome Dum John Arnold, A.C Dr.L. A, Jones, EK Dr. ¢ nematographers tn forsien Orange Or, Hollywood 28, Clit atts clablionsé at 3782 Nor Orange Diive 1951 CONTENTS ARTICLES sam Cases Tats Erte $5 Tor Puorocuseaty — Kav 1 AMATEUR CINEMATOGRAPHY ite Mattox fox tx By eh as FEATURES ON THE cover HIMALAYAS IX HOLLYWOOD. action wo Rex Reavon bel din OFFICERS AND BOARD OF GOVERNORS Asta Kata Wructane V, Sta Joos W Cuansas Romer, Lee Gansces Victor Mien Le Josera, Waixer artes L. Anders Fousee se ALTERNATE BOARD MEMBERS ‘on¢ world ey cal justable to the most extreme and difficult photographic conditions the world over CR CULL eee Ne mee eee eee TayHollywood Bulletin Board JUST FOR A GAG—To prove he's rod from 2 10- Toseph Rutten Romer, ASC Ruttenberg oh William Bradford and Jack Russell were admitted to membership in the American Society of Cinematographers last Bradford currently is directing. photo raphy of new series of Gene Autry TV films, Russell is freelancing, having pho tographed his most recent pictures at Eagle Lion and Republic Robert Surtees, A.C. we were informed was slated to. re. ceive the 1950 Look Magazine award for photography for his outstanding camerawork on M-G-M’s King 8 ‘man's Mines. Awards presentations were Scheduled to be made in Hollywood the evening of February 27th, Hollywood For ciation also was scheduled to present two of its annual Golden Globe awards the following evening, at ceremonies Ciros, to two directors of phorography— ‘one for best black-and-white photography best color photography of Correspondents Asso and one pictures released In evaluating recent 1950 Photoplay Mag azine Awards, consider: given the cinematographers who directed photography of the various pictures cited. American Cinematographer salutes the following: Paul Vogel, A.S.C., who photographed MGM's Battleground, cited by Photo play as most popular picture, also for best. direction and best screenpla Charles Rosher, A.S.C., for the pic torial enhancement of Betty Hutt whom Photoplay cited for most popular performance by a film actress in MGM's Annie Get Your Gun, Picture cited as one of ten most popular. Joseph Walker, A.S.C., for Colum bis's ll The King’s Men, cited as one of ten best pictures Leon Shamroy, AS.C, for Twelve O'Clock High and Ch The Doxen pictur Reggie Lanning, for Republi of Iwo Jima, one of ten mo Fox's per By ‘among. ten most popula popular » AS.C, for MGM's Father of The Bride, one of ten most popular pictures. George Foley Adan's Rib pictures Lee Garmes, AS.C., for Our Very Ouom, one of ten lar pictures. Without taking anything away from the various stars, named below, voted by Photoplay for also salute the men wh raphy contributed something: to AS.C,, for MGM's ‘one of ten’ most popular Goldwyn's popu Top Performances, we he in dividual performances of these players Charles C tographed Ciauder Came Home {or ASS.C,, who photo ford in Warner Brothers Don't Cry: AS.C., whove iphy enhanced the perform: ‘Olivia deHaviland in Para The Heiress; and William Sny Parks in Columbia's Jolson Sings Again Charl Clarke, A.C. tography on 20th Century-Fe roo in Australia, is lated to wind up the metime in March. Picture Technicolor Monopack, part in and around used facilites directing, the pho- « Kanga filmed in filmed. fo Pat Agee Ealing Australia si. President Truman, ski competitions, plane crashes, train wrecks and ice jams are Subjects. which have kept Jim Seeley A.C. busy. Seeley is newsveel camera man for Pathe News on the east coast © Maren, 2952 Visit. Miller, AS.C., recently. photo: graphed a ten-week educational docu mentary film in Chinle, Arizona. Pic ture, titled Voice of the Wind, covers aditions of Navajo Indians and is in tended for release to Art Theatres throughout the world. Norman Foster directed. Miller exposed over 88,00¢ feet of Plus-X and Infrared film for the Paul Exgler, A.C. and) Bob Hansard AS.C,, servicing the independent pro ducers with background projec ment, have just finished the on ‘Thor Productions Golden Goose,” also for All American Fil Red Snow,” produced at General Serv ice Studios. Eagler and Hansard serve ‘most of the independent studios in Holly wood with BG projection equipme cluding Motion Picture Center, N: Hal Roach, Monogram and Jerry Eimer Dyer, A.C, will direct the raphy on a new series of twelve Craig Kennedy T'V films for Adrian Weiss at kett Studios on Sunset Blvd. Shoot tarts March and. Dr, Ferens. H. Fos lent of Film as suggested that the ion Picture Arts and Sciences include among its awards this year an “Oscar” for “the be cifically for television. that such recognition would film induste arm and Hollywood, craft Producti Academy of Mc film made Fodor stated ive the TV shot in the credit to Carutso Lens, which received its first text in major film production in hands of Frank Planer, A.S.C., when he photo: raphed Cyrano de Bergerac re used in the production of films for TV starring Faye Emerson and made in New York. Stanley Cortex, AS.C.. the 1950 gold trophy of the Societe Fran de Industrie Cinematographique for best color photography, result of his camera. work on “Man On ‘The Eiffel Tower,” which he photographed France in Ansco Color for Irving Alle This is first time in history of French awards that an American has wi caphy top honor for color cinemHOUSTON-FEARLESS PANORAM DOLLY... «This versitile piece of equip: ‘ment provides the cameraman with com plete mobility and adjustment of camera Angles. Leveling head, upon which friction or geared head is mounted, can be quickly, smoothly raised from 14” to 70° high remaining level at all times. Entire canti lever arm revolves easily on turret base fast or slowly. Dolly rolls smoothly, quietly, turns on its own axis or can be moved side ways, Very maneuverable in tight places. Steel and aluminum construction provides t maximum strength and minimum weight ‘Top quality throughout. Developed oe (a), Complete oN ae MOBILITY Puls Ly \. Better Pictures HOUSTON-FEARLESS RESEARCH COUNCIL CAMERA CRANE...Devci- \. from Every oped for the Motion Picture Research Coun- cil, Inc,, and standard of major studios in Hollywood and throughout the world Maximum flexibility. Provides lens height from 2 to 10 ft. from the floor, full 360 panning around the crane base, 340° pan- hing around the camera axis and 100° up and down lift. Camera table has seats for perator and assistant, panning hand-wheel and adjustable friction-type turret brake Boom is balanced on a center telescoping pose with hydraulic lift. Panning and tilt brakes are adjustable to any degree of fric tion desired. Entire crane can be turned completely around in six foot radius. Will pass through doorway 36. Motor deiven by new 5 h.p. DC motor. This is the finest of all camera cranes. Write for information om specially-built 7A ‘equipment for your specific needs. (0) ‘= DEVELOPING MACHINES » COLOR PRINTERS + FRICTION HEADS E a Cae 11801 W. OLYMPIC BLVD + LOS ANGELES 64, CALIF. PMORUD'S IANGEST MANUFACTURER OF MOTION PICTURE PROCISSING EQUIPMENT”0.5 at. Mo, 2200368 Goerz AMERICAN APOGOR 22.3 the movie lens with microscopic The CP. GOERZ AMERICAN OPTICAL COMPANY Office and Factory 317 EAST 34 5T., NEW YORK 16, N.Y. EDITORIAL RUBY srvice inc. Complete Film Editorial Facilities f Motion Picture & Television Production SOUNDPROOF_ AIR-CONDITIONED EVERY TECHNICAL REQUIREMENT RENTALS BY DAY, WEEK ‘OR MONTH ALL NEW MOVIOLA EQUIPMENT Equipment Aeailable for Off-the- Premise Rentals, 729 - Tth Aven, New York 19, N.Y. 2 as 0 NEW JERSEY ounnanannenntnntn WHAT'S NEW in equipment, accessories, service \ Turret-Rackover for Filmo A new fourlens turret and rackover for Bell & Howell series heen announced by Par ucts Corp, J, Calif. Hinge-type most efcient method of providin, parallas-free through-the-lens Camer otated in an arc, instead of as with other types of rackovers ‘ over Aeaietice tated ae! C be hand-held—hinge type rackover makes lighter camera; camera is easly and fark dihied Frocs aing to) Soca tion, and back again; foolproof lock be checked without racking ference with me desired; and inte The Par “constant viewfinder system is dual pur viewtinding the takin apparent groundglass focusing _- Further information and price may be had by writing manufacturer at 26 Ne Citrus Ave., Hollywood 38, Calif Set Lighting Lamp Data General Electric Company partment has issued a the various General Electric for set lighting. Comprising four mimeo graphed sheets, all the 3350 K lamp Some of the 3400 K lamps which are for the new all the black-and-white her on one sheet are listed on the second ned for 3200 K for tise with such films as Kodachrome or other films in the 3200 K classification are on the third sheet; and the fourth sheet lists all the special lamps recom mend Special effects, The data emphasizes that lamps in the immediately rkings on the bulbs, Tamps marked MP on for B&W photo- economics dictate that a various classifications are dentifyable by n end of bulb are inten graphy ger lamp life than the CP lamp gives Mart Message Ready The Camera Mart, Ine, 70 W. 4sth St, N.Y. City the new en: arged 1951 edition of the Mart Message is ready for ‘Completely illustrated 36-page booklet lists. 16mm and 35mm’ professional and ‘television p ‘equipment laboratory and editing equipment of the latest type, plus the well-known line of Camart products available from The Camera Mart. Free cop} ad by ‘motion picture Snapshot Movie Camera Eastman Kodak Company, Rochester, N. ¥,, has introduced its new Brownie Movie C an easy-to-use, econo: mical and dependable for the amateur movie enthusiast. who > make movies with the least ther to such details as aphragm settings, et The Brownie brin all the rugged practicality of a "Brownie camera, Its always set to make a few feet Wind the ning, aim it, and That's it. Simplified loading. Uses rolls 8mm Cine Kodak Kodachrome or black-and: ood pictures of subjects f in front of lens to infinity camera, adjust lens op press down the operating lever all there standard 25-4 film, either white Lens is fast 13mm /2.7, Lumenized and set for universal focus. Shutter also set at fixed speed of 16 fps ing Federal Tax.“An even level of diffused white light, or the piercing drive of sun- light across high levels of general illumination are instantly avail- able from the ‘National’ Carbon Are’ Henry Fneulich AS. wal yao’ por The torm ‘Nationa to repstered trade-mark of auto NATIONAL CARBON DIVISION oa bY whee x DISTRICT SALES OFFICES: ATLANTA + CHICAGO DALLAS + KANSAS CITY + NEW YORK + PITTSBURGH + SAN FRANCISCOBuried Treasure Matching photography breathes new life into rare, unre- alayas filmed ago and recently recovered from a S leased saga of the By Stern Onse Tiker, sony completed by Stam Pr ill ‘aectactlae photogranhy of Tibet ever imi of the production began ove international expedition to explore tl forbidding Himalaya mountains. Ma chinations of the Nazis, into whose hands the film unwittingly fell, prevented its completion for world-wide release. Tt was only recently that the original ne tive was found intact and in go tion by Andrew Marton, directed it Marton had gone to Africa to co-ditec King Solomon's Mines for M-G-M. On his way back he flew to Switzerland to reappraise status of the He foun lm thece, safely stored in a deposit vault, purchased it and brought it to Hollywood. Marton's plans for the film, meantime, had been progressing quietly, waiting’ only reassurance that the original was safe and available. He and two Benedek and Ivan Tor ‘a new story line for the pic meant that ic would be necessary. to shoot additional scenes for it in Holly ‘wood—seenes which would have to.care fully match those in the original. Richard Angst, famed. Swi man who photographed. Climbin Matterhorn won an Ac Award a few years ago, was Marton’s photographer on the original fi expedition. Tt is an understatement say that this photographic assignment ne of the toughest ever faced by a cinematographer—and by the rest of the company, too, for that matter. A ma has enough to. do just to keep himself alive and moving forward on such a journey, without having to bothe ‘camera equipment, ete. But Ang in a remarkable job. He used a DeBrie 35mm camera and a special super-teleph condi who had the treasured ” ssccittes, Laslo hhad devel re which samen GEORGE DISKANT 15 years vault. Asc the picture. Addito cluded tw used mostly for shootin ceaquipment Eyemo cameras which were sible locations where it was impossible to use the heavier DeBrie, A powerful storage battery had ially construct ft was designed to supply paver period, the expedition. There were no and when filming echarging it tinued beyond the original was turned. by che ted at ght handle cable i luckily br The company had started « 25,000 fect. of Gevaert film film loads for the De but this gave just as Angst was in rare and unusual scenes inside a stery high in the Himalayas. Late covered that natives olen two cases of he mid had film, believing it tobe imething of value they could use. Fortunately they cnly inex posed film, To continue he Angst resorted shooting tery to his supply of Eyemo film loads, These had to be unwound and re wound for the p threading system of DeBrie came vails in that rarified at high inthe as played peculiar tricks on photo: graphy. For instance the sky often was such ip blue that Ang yo “filtered” sky ef fects without using filter. Himal d for the expedition otor for an unusually long 1 period which Marton and his thought would be suficient for hand using a to a length of flexible such with rather unexpectedly they was ever-changing with the result that rendition of the sky changed almost with every location or setup if not with every take. As ly made check tests of the film, developing his test strips in a little darkroom tent it along, the purpose. Bu even with such pre- caution, the tricky sky proved an_im- possible factor to cope with, ‘There just a filter available to achieve ‘the necessary correction. ‘The result, how is not critical, although it posed a major problem for'me when it came to lighting the matching scenes we photo- aphed in Hollywood. My number one blem was to. match Angs’s photo- raphy and make it look not like a patched up job. Marton had said: “I want the picture to appear on the screen as though all of it had been shot at the same place at the same time. Before we started shooting in Holly wood, Thad looked at the Angst footage a number of times. Frankly I was not too impressed at first, because the editor had already applied his scissors to the original film in order to eliminate the closeups which featured the European p But as the material was rescreened, 1 began to piece together the material on ie This screen study the screen with the new had been handed me. enabled me to visualize the lighting of the various scenes hich I was to match, A great our matching ex teriors were staged and_ photographed indoors at the General Service studi Tn this way we were able to get better control of the matching of Angsts high Himalayan daylight. In all, 60% 10% of which we filmed as actual ex such locations as Bronson Tight to. effect careful ootage shot in theNew Eclair Camerette Takes Either 35mm or 16mm Film Instantly interchangeable 35mm and 16mm film magazines broaden the versatility of this rugged utility camera. By FREDERICK FOSTER Wits 2 ranisacane Balai Cam Hollywood motion licture in in 1949, it was enthusiastical fd the best light-weight 35mm on being picture camera yet developed for cine 3smm black-and-white. The ‘matography demanding a compact, hand an use the camera for hheld camera, Not that it was restricted to such use; its many exclusive features ita popular camnera for all-around motion picture photog 4 ‘gone a step further the Camerette was to combine all the advantages heavier st wluction cameras pany has developed the camera for use with the portabi news cameras with both 16mm a n film. Eclair Equipped with 4oo-ft. film magazines, is producing a 16 combination ra weighs but 14 pounds. One which permits ‘camera to of its outstanding fea its unique we either 16mm or 3smm film inter- ref which permits vie changeably, merely by changi the camera lens the scene bein magazines and insertin aphed. Thus the operator ma film gate accurate check on what hi The advanta a cam a iz by observing the nction inthe viewfinder. A revolving produce 1, may employ the (Continued on Page 118) * Awencas Civewaroorarmee — © Manon, 1981“Twice The Light And Twice The Carrying Power” This unceasing demand by directors of photography spurs the con- tinuing search for more powerful and efficient carbon arc By PETER MOLE, Asc [Lom monte se snced riety the sud ligne unit around it, From a Comproie were made lange lobes early history of carbon arc lighting light collecting and distribution stand- were produced and the equipment. be in the motion picture studios and de- point it was particularly well engineered; came more flexible oenises were scribed the impact which the advent o na utilization standpoint it was i id departments sound had oduetion of not flexible. What the cinematographer on a s ed On sets really wanted was & ine that contra a dl for which he ribution, picture makin . 1e Of course the demand was fantastic! Ha . st chaotic dictator, the director of photography's In order to give the cinematographer conditions created by the advent of sound ‘need for light in sufficient what he wanted we would be o appreciation ood picture making began to be to sacrifice engineering efficiency all the we were no he line. It wou ‘ve much of our energy ti twice the fi ant globes, b Refin wer,” was the eauipm higher operating sting designs and we were gain from the in to learn was that place large diameter mirror type directors of photography eflicency of utilization was the with im condensers We found «rifle ector which ant factor and that stricd : th the well known hting at a gineering efficiency must be made to Fresnel lens system. We had learned the distance from the source, and built a fn Jeson of utilization and our new equip ment rapidly re h the manufNominations For 1950 Cinematography “Oscars”... By LEIGH ALLEN NEE nottxwoon directors of photo- aphy and one from Great Britain have been nominated by members of the Academy of Motion Picture Arts and es as contenders for the Aacdemy’s wvement Awards for cinematography of pictures released during Five fof these men directed the photography ff black-and-white productions and. five filmed productions in. ‘Technicolor. ‘T ‘nominees and the productions which they photographed are as follows: Robert Kraskner, “The Third Map,”” (London Films Prodns. Led.) Milton Krasner, A.S.C., “All About Exe," Goth Century-Fox! Vietor Milner, AS.C. (Paramount) Harold Roson, AS.C., “The Asphalt Jungle,” (Metro: Goldwyn-Mayer) John F. Seitz, ASC vard,”" (Paramount) ‘Sunset Boule George Barnes, A.S.C Delilah,” (Paramount) Emnest Haller, AS.C., “The Flame and the Arrow,” (Warner Brothers) Ernest Palmer, AS.C., “Broken Arrow,” (20th Century-Fox) Charles Rosher, A.S.C., “Annie Get Your Gun,” (Metzo-Goldwyn-Mayer) Robert Surtees, A.S.C., “King Solo mon's Mines,” (Metro - Goldwyn Mayer) Those who have seen all ten. films will agree that the competition this year % Auten Cixesarooraraen is probably the keenest ever presented to Academy voters and will require con: siderable close analysis and re-evaluation in order to finally select fications. All ten films repre sent the finest picture making in th industry's history. E high h picture displays anew in cinematographic art The ten contenders were Academy-votin ‘more than 50 black-and-wh i by d color luctions released. durin, 1950 and named in a preliminary ballot sent out to the industry's ditectors of photography. Result of the initial ballot ing narrowed the list of potential con tenders down to ten films in each class. A second balloting resulted in selectio of the ten films named above These films will now be screened for members of the Academy who will then vote to select the best film in each class fication for the Achievement Award for Cinematography. Only members of the Academy of Motion Picture Arts and Sciences. participate in the final voting The two winners will be with th at the announced Awards clas Academy’s gala Awards Presentation ceremonies, which will be held the night of March 29, at the Pan tages Theatre in Hollywood. ‘The event will be broadcast over the more than 27. stations in the American Broadcasting Company network and shortwaved throughout the world by the Armed Forces Radio S: ‘The combined facilities of these two networks will reach an estimated total of 190 million people alon fiat se in othe As far as is known the event will not be televised The selection of films for the annual Cinematography ns each year with the directors of aphy themselves. The first of Tanuary each director of photography in the ind sd to submit to the Academy for considerat fone black-and-white and one color pro: duction on which he has received sole or joint screen credit, and which was re Teased in Los Any ablic showing prior to Dece he films are listed on the preliminary ballot mentioned earlier. ‘The ballots are mailed to the directors of photography who vote to select the 0. films in each class be voted on for the selection of the final Thus the initial selection of ontenders i in the hands of the men who photograph motion pictures—the directors of photography’ Voting for Academy on the The pictures and. the Acade muy’s Awards in the name of Awards has basis of technical technical elements of work of every actor refully studied by thou: sands of their associates. Competition is Keen; rivalries are intense, Nothing is taken for granted at an Academy Awards election. Rules are simple but explicit. Voring is secret, ballots going from the voter not to the Academy direct but to a firm of certified public accountants No one, except the accountant, whose ‘contract demands that he reveal the ‘count to no one prior to the presentation Continued on Page 109)At The Top of the Ballot and In First Place on All Good Pictures— The Popular Choice— The Popular Winner— EASTMAN PROFESSIONAL MOTION PICTURE FILMS J. E. BRULATOUR, INC. Distributors FortLee Chicago HollywoodPSC ees Sew Sa aakd ea ky Top Photography--Key To Successful Industrial Films Wolff Studios’ emotional documentary technique founded on speci: ized photography by cameramen trained in non-theatrical film making. By NEw coNcéer in training film product lished during the last war by Ra ood industrial film produce ed with the phenomenal growth of his organization as "s Jucers of t6mim institut a was estab acl G. Wolff, Holly Te not only: has endured theatrical film great limitations Wolff ry technique by his ished what he call formula of all films p Ralphael Wolff discovered that average audiences liked other He had ob lecture Kodachrome. Wolff saw it, was the emotional imy ‘One of the first factors establish otional docu mentary formula was incisive photography, in color, The other factors fell naturally in line as he pursued the study further RALPH LAWTON Choral music and natural, every-day nostal contributed further in rounding formula. ‘Thus it is that Wolff pr specialized color photography as the major drivin sound effects 1 documentary n with force to ir this. specially trained tions today be duct of the Holly ‘mien_ personally with the ¢ the fun creative talent and a reasonable grou smentals of photography, Wolff takes him under w lly. channels the man's talents and ability into his particular brand of cinematography a teacher of cinematography, Wolff perhaps has few he never him: ever served in that few 16mm indi hotographer. His nture in photog: in 1919 when, he startled family s by navigating a canoe from New York to New Orlean the way he shot hun 3A. posteard Kodak. His pictures and trip were featured by National Geo- raphy” be, and assocgraphic magazine It of this sudden renown, he was engaged by a nev ww York City, He ed for Underwood & Underwood; later went to Chicago where he was hired as a photographic illustrator. He revolutionized the illustration of automobile conceiving a method of phot ng cars sleek, low-hung and slightly elongated look— an exaggeration Which up until then had been accomplished by commercial art illustration. For years afterward nation’s famous photographic il mately did considerable work was considered one of the rators in color and ulti Standard Oil. Comps with Standard that led to his introduc Wolff, having now moved to Los Angeles, was sought by Standard’s eastern advertising offices with the request to make a business film on service station management. Plans called for one or more Hollywood name” players in the cast and a narrative style story treat ment. Wolff, lacking experience in Robert Planck, A.S.C., now a direc M-G-M, to photograph the picture a = burn’ Kennedy was signed as the star. The film, shot in black and-white and given wide release, set a new matk for technical snce in ¥omm business films ‘of World W 1 to uncover Wo nd lead ‘him to T6mm training films. Following reports that petitors were landing lush contracts for wartime trainin Wolf began to explore the field, went o and bus ‘What type instruction films are needed most to aid the war effort?” he asked. The Lox Angeles Board of Education, for fone, said J films to teach war workers the tech ‘of are welding,”—an industrial operation that received its st impetus in war production. “But,” he was asked, “how raph effectively the welding procedure with the tremendous flare of the arc Hashing JF camera Tens? first, Wolff 50 vunivent this obstacle by doing. sufficiently convincing. ‘Then followed experim real ability a8 a co Ascencay CovesaTocnAartenSCS SESE CINEMATOGRAPHY Setting Up a TV Newsreel Both independent and station-produced newsreels ble sponsor acceptance, offer gain ready and profi increasing opportunities for 16mm cameramen. HERB A. LIGHTMAN By KYA Tos Anges WEIS TY, Ne York, a WBAPSPY. Fare Worth, He drtaopel cocky sone of te wor production staf The product od TV news reel is not always as simple as it mi The project requires specialized noel plus sufficient fsquipment and pe anization geared to which come around with merc How sends on Following such dec ure has ‘two alternatives: nize ‘own newsreel production staff, as did KTTV, or eel material from a local independent producer. The latter may operate exclusively for the not presently pr station until it gets the project started nevertheless own mot fo until such n feels and lighting equipment which is used in rchase ne Wn us ducin picture camera recording remote program material for later. presentation on the air, or for shooting commercials for pre film. Such equipment, in. pe hnucleus of a formidable TV Mam as a one-man proje member willing. to sweat and no litte fimely material then editing Obviously ficed in scope and po successful TV newsreels started in by a stall spend extra, hours, tears searching for out and filming i, ind putting it on the air. at deal must be sacri bly quality where The stall Staff members as their indi 4 divide up the aphing. ing and caption writing tter a highly important phase of KTTV of a particularly well Owned and operated by the Los Ani Time op editorial department and as such ready access t0 all the latest news tips When an event occurs in of a Angeles that lends is presentation, the tip to KTTV's new and a photographer d The latte with two-wa und Los fF to TV newsteel immediately re patched to the seen wses a car equipped and is thus able to keep in elo her news events transpire in th ime, he is informed cover them without the. office, The auto KTTV's newsreel st able witho cost by the maul ge for the advert alue that acerues from their di Most TV newsreels are produced on 16mm film, Some stations are equippedAuricon | to shoot material with sing sound, For this, the popular “Pro!” and “Cine-Voice” have proven superior equipment. An excellent hand: | held camera to augment sound equipment | versatile Filmo 70-DA. With | KITV, this camera, fitted with special lighting’ equipment, as reported here last month, is proving most ideal in the field where recording of sync sound is Regardless of the should be equipped with a lens turret and a full complement of lenses, although tome TV cameramen prefer the Filme and sin ‘one-inch lens for general news coverage. ‘The lens chosen for work should be the fastest obtainable in view of the lighting conditions invariably encountered on 2 Signments, A suggested range of lens for sound cameras is: a 15mm wide-angle trinch, and a telephoto ranging from 2 to 4 inches in focal length. Until recenth it Was considered optically impractical to grind an extremely fast, wide-angle lens. Thanks to recent technical develop- iments in lens making, wide-angle lens with apertures of f/1.3 are now on the market which, as the manufacturer puts it, “photograph anything visible to’ the Lighting equipment should be portable and compact. For illumination of special ly staged events, the popular Color-Tran lights are adequate for most purposes Photofloods and particularly the re ector-Roods and rellectorspots are ideal light sources. For handcheld cameras, Tighting units such as the Powell-Light which may be readily attached to’ the camera, and which take either two o four relector-floods are ideal where 110 volt current is readily available. Mos recently, KITV developed a lightweight power-pack which enables i to shoot anywhere, using a single special photofloo ‘on page 58 of the F tographer. ‘After the film is shot, the next step of course is developing ‘it Station may send the film to a local labo tory equipped to render quick processing processing equipment such as the ver excellent Houston-Fearles the Bridgamati by Cinema Supply C ‘The film stock most suited to TV newsteel filming, where itis to be given quick 16mm reversal such 2s DuPont No. 330 or Eastman, The production of a high vision newsreel demands lamp, as descr American Cinema ality tele a specialized news-gathering set-up which need not however, licated or costly One person should be designated to (Continsed on Page 110) Television By ASC, and John Boyle, recently completed photographic Mack Stongler, ASC. assignments on a series of filmed video spot announcements for Ivory Soap at the Raphael G. Wolff Studios in Holly wood : “Experimental Television Fil is title of new course to be offered by Department of Cinema of the Univer sity of Southern California. Purpose o course, according to instructor Wilbur T., Blume, is to explore conditions and techniques relevant to ico film production, Production” | Ralph Edwards, who is putting his TV show ‘Truth or Consequences on film, has learned a lot from the experience He had to organize his own film pro: duction company, collect a warehouse full of props and buy cameras and lights In the beginning Edward: ablished 16mm the films, but tl id the. same The stage” the shows —select contestants, rehearse them and then film he show at a movie studio. Edward reneged; said spontaneous quality wv would be lost by these meth “fim. pr el having an es ‘ducer make dered al lected to do the show wth hs Fred Jackman, Jr, AS.C Paul Ivano, AS.C., has been sig Green Film Corporation, H photograph Family ed by lywood, ving TV ‘Working on the theory that no single pe on can know as much about integral TV requirements as a team of individual experts. working Chicas exclusively and de her, the Elston which handles the production end of TV, contends that sloppy writing is biggest cost in current TV production —filmed or live Gene Autry started production Febru ary 26 on another series of 13 television films, Shooting is being done at Pioneer town by Flying A Productions. William Bradford, A.S.C., is directing the pho: ap ° Production of video films hit a new high at Jerry Fairbanks Product week of February with total of four in shooting stage, utilizing services of cam ramen Lester White, AS.C, Harold Stein, and Kenneth Beach, A'S.C. Of Film Production GH ALLEN the four produc and two jo-minute features, Volume of procesing 16mm industrial and TV films has reached point at Consoi- dated Film Industries where comp planning expanded facilities to take care of inereasing business. With the grace of the government, new plant construction will start within 60 days and will be devoted to handling 16mm films exch sively. Numbered among Consolidated’ regular customers for processing and ret lease prints of TV films are producers of such video programs as Growcho Mars Show, Truth or Consequences, Trouble With Pather ‘Theatre, Gene Auory series, Lone Ranger series, Range Riders, Stare Over Hollywood and Sna der Transcriptions Fireside New high in video film production was sep recently by Jerry Fairbanks with eight camera units involving 28 cameramen at work at onetime. Utiliging Fair: hanks’ patented Multicam shooting sys tem, three units were filming Charming Billy, new Bigelow Theatre proj three were photographing Holywood Wrestling, and others were training spot announcements for Pepsi-Cola and Dodge Motor Cars. Still other Fair banks camera crews were busy filming two Campbell’s Soup variety shows at El Capitan theatre: Bing Crosby's Club 15 and Double Or Nothing Frederick K. Rockett Company, Hollywood, has enlarged its studios to take care program of television film production. Company recently completed films for Richfield Oil, which aphed by Al Higgins of increased were photo Copyrights on TV films registered during 333406 more than for pre rear, according to U. 8. Copy ‘Office in. Washington: Bob Hope and Lou Costello are planning to put their TV shows on film. Both have filming because pf treater Aexibility permitted in personal travel programs, and fact filming affords more careful editing, resulting in better Filming’ would also mini ize ot eliminate most of the tension surrounding present live shows and bring better performances into the living said Costello, Stated preference fc Asenicass CiveearoceArienThey'll sit through this one twice © Once, of course, because here is a show that’s got everything. Laugh. ter and joy. A charming young “actress.” A plot that will never grow old, ‘The second time, we think, they'll stay to applaud Ansco Hypan— the splendid panchromatic film that ives you sharp, crisp screen images which look so wonderfully natural, ‘Whether you're shooting indoors or out, you can count on Hypan’s extremely fine grain and sparkling contrast to add that extra some thing which makes your movies bet. ter. Add to this the splendid pan: chromatic balance of Hypan—its pleasing scale of tonal values—and you can't help but get movies with that sought-after professional look, Next time load your camera with co Hypan (available in 8 or 16mm rolls) and discover for your- self why so many amateurs are turning out way -above -average home movies. Ansco, Binghamton, New York. A Division of General Aniline & Film Corporation, “From Research to Reality INSIST ON Ansco 8 and 16MM HYPAN FILMPOC EV CURSE Cre tGr sry kg GurTing te so You Must Start From The Beginning! As with all the arts, there are certain fundamentals the amateur must master in cinematography before he can hope to ad- vance from the novice class. By CHARLES L. ANDERSON [ogre ney eae oshooe good fms i ike leg to ride a bicycle. You can carefully read the instructions that come with the bike and the safety rules for riders, and yet you Still won't be able to keep your balance until you've had actual practice in riding. And that goes for cine photography, 100. You can get acceptable focus, exposure, and framing by re rmembering the instructions in the manuals, but the only’ way you will achieve a fine “balance” in your pictures is through trial-and-error. If you know about the most n errors beforehand, however, you're most likely to gain a mastery of the screen idiom much sooner. Some beginners who anxiously 'dy books on film construction before they do much shooting fear that they have to learn a complicated sort of grammar consisting of particular shots and cutting rhythms. This is especially true of people coming to cinema with a background in another art. They’ are anxious to express themselves ina new medium and carefully study the volumes dealing with ‘motion pictur se that Fisenstein's “Film Sen ‘more prospective film makers than all Tew cameras put togethe truth of the matter is that making a good motion Temean a picture that entertains ally just talking about the subject matter ‘of with words, We develop our powers of by instinctively copying speech and by stumbling along with our own Tf what we said was understood, we bit more power of expression. But if we were misunderstood or laughed at—well, there was always a new way of telling The sentence structure and ¥ ry development of our earlier days will, in a sense, be repeated in terms of filming Sequences and shots. You've heard about long and medium shots and close-ups; their primary function isto show different aspects of your subject in a logical fashion. The old formula of Long shot Medium shot Closeup js altered to suit individual scene requirements so often (Contineed on Page 109 Manon, 19st Autenicax CiNEMToGRAMteRPete item eret ed years to complete the picture because “The Mirror”--Amateur Production “i=! ¢°ssce equivalent of “two packs a day” to ac ccumulate so we could buy fim, In The Professional Manner 4! *"s-Ss% ese hats and. painting pictures and she Homemade equipment plus resourcefulness nets Te we ee a thrilling mystery film complete with sound. cameraman and also By ARTHUR H. SMITH I Sect pee ck vice Lg celine de doo los ld" ual ee rice epee gine in one way or another. Wolfgang Schu- I will explain later re: our leads backed out and bert and I are no exception. We are I had been influenced somewhat by an 5 1 attic had been mokers and therefore claim that the Thad read wherein the author : for many of the ay we save on cigarettes st u want to make a motion pic found it inconvenient to continue ind maybe SW the ps er a hectic fi tion until a is w fixed Firs ¢ story, naturally. Te was writte nto screen play form. [always think in terms of sereen ap pearance anyway, so the full shots, long thots, closeups, ete., fell directly on. to paper. Our plans ‘called for shootin, some scenes with lip a, but we didn’t have recording. equip available when we started on the fe, we Kept such scenes at miniVew SPECTRA 3 METER THE ONLY METER THAT MEASURES ALL LIGHT SOURCES— INCLUDING DAYLIGHT, ACCURATELY — For a true color picture, there must be a correct lationship between the color content of the ind the color sensitivity of the film SPECTRA 3 Color Meter measures the propor- tionate amounts of all three primary colors pre- sent in the light source, and indicates the filters necessary for positive color correction. ‘The only meter that has the ewo scales— BLUE/RED and GREEN/RED and is librated to read directly in the Spectra Index Units (able ig supplied 1 neo Kelvin U SPECTRA CT and GC FILTERS CT (Color Temperature) GC (Green Correction) II filters are optically flat and coated, the SPECTRA 3 Color Meter indicates the correct SPECTRA Filter to be used. Write today for our descriptive literature of SPECTRA 3 Color Meter, Filters and prices—also for conversion of existing models to the new 3 Color SPECTRA. PHOTO RESEARCH CORP. 127 W. ALAMEDA AVE. BURBANK, CSTART FROM BEGINNING (Continued from Page 10! be called a formula. But it’s still a useful concept. to. picture maker, especially the beginner, we'll examine it close The long shot shows the audience where the scene is taking place. If in- feveals as much of the room as space (and anew chromium-pla wide-angle lens) allow. If outdoors, it pictures the grounds or buildings where the main aetion cccurs. audience likes to know thing that interests them is happenin The long shot tells them where. Tt's that simple, Sometimes a sequence can be properly opened with a closeup. One that comes to hegan with a closeup—wrongly, The filmer began his picture with closeups of a cute litle girl inva Dutch costume. The only clue as to ‘where the girl was when filmed was sug gested by some shrubbery appearing be hind her in the scene ly assume she was at either a park or 4 garden. At last the camera panned to reside (a bit too quickly, incidentally) and a grand Mardi Gras type of cele brat on ina city park ‘A more natural shot order would have introduced the celebra hen singled out the litte girl as an especially interesting side Tight subjec Medium shots bring us closer to the bject and reveal Tess of the surround: territory. “But why use a medium vay may ask. "The shot tells where—and the closeup tells exactly who and what. There the medium shot in this formula has 190 logical purpose.” Actually, the ‘medium shot ood pu: it can hardl Your ses when used in this shot sequence First, it serves as a buffer between the widely-differing first and third shots. If e view t0 a big clo ock your audience this s0 you cut from aa up, You can expect to in the eye.” A jump tmissable to emphasize the close but only at the risk of disrupting. the smooth continuity flow. ‘The medium shot, you can see acts as a stepping-stone shots are from the Furthermore, intermediate generally not photographed same line of sight as those preceedin; anid following them. They are best made from another angle, but jects Aa abva someone who slavishly follows the rules" is his making three separate shots, each one from the identical line of fig tortie the same mark of he’ but moved close Certain filmers with a three-lens turret are guilty of this o while thers who are forced to move about because they have just one lens will top© —_Astnicay Crxesaroorarian angle they've already had to carry theit camera and tripod to get a closer shot. Perhaps our basic formula should be modified to read Long shot Medium shot from a new Closeup, s, there are occasions when @ move he direct line of sight is perfectly One of them occurs when ston, Supping shot of a player a fy. Then you s-inch lens and get closeup of the same player again catch ing a fi running the camera longer to show his reaction to the play Can the two shots be intercut? Certainly You are cutting on action, audience the cut is unobtrusive because it sees only the ball player's movements in one continuous leap and catch. Ob: taken from ngle reveals some more of the setting fot given in the long shot, is helpful, Remem enjoy seeing something new, satisfactory photographing a sand You make a good Ton leaping up to snaj switch and this, too, jr that the audience and extra ‘medium shots keep the film moving at a pleasant clip, even if there isn't very ‘much doing on the screen. The ¢ final unit of this shot series, presents the subtle details of ou subject marter. It magnifies motion and satisfies curiosity that might have been roused by the les-revealing longer views. The compositions of closeups are and thereby be. come visual. se orial platter of shots. And then there is the technical rou: tine to be learned. For instance, it often takes a novice cine filmer 3 oF 4 rolls of film to get exposure under control un NOTICE To CONTESTANTS, AMERICAN CINEMATOGRAPHER'S 1951 ANNUAL COMPETITION Regarding Closing Date for Entries in entey blanks mailed to contestants which stated closing. date jon is March 31, instead of ted in notices which have appeared in American Cine closing date to MARCH 31st, 1951 he has had much experience in shooting stills. Part of the first roll should be set aside for exposure practice and nothing cle, Quick takes of about 3. seco each are long enough for test shots taken under many different exposure ‘condi The cameraman then soon learns the use of his meter or computer for direct. sunlight, overcast illumination, backlight, shade, and indoor set-ups. Focus is something the filmer should be aware of, even if he has a fixed-focus lens, For it’s important to know when a fixed-focus lens will produce a sharp picture and when it won't, Al long shots will automatically. be in’ focus because the lens is set for either 25 feet or in finity. And when shooting in the bright aylight, your lens will be at {/8 or smaller, so that objects will be in, focus from about 6 feet and beyond. ‘They'll be sharp even closer to the lens in 8mm the optical effects of the short lenses. used on’ that But when youre filming indoors with lange apertures, depth of field suddenly shrinks and cate in, checking distances becomes mportant. The Smm filmer has the advantage 0 greater depth inherent in his camera lens and the small. frame ‘out-of-focus effects apparent. Tf you plan to film many closeups and medium shots indoors with a fixed-focus lens, it might be wise to buy a snap-on portrait attach Lenses that are in focusing mounts are naturally, more versatile, but they also hold their traps for the unwary. ‘There js probably no error in movie making easier to commit than shooting long shot without resetting the lens after a big closeup. My own most painful file ing memory is of the time I photographed a sailboat regatta for some friends who ‘pating. After the race, they sailed to where I had my camera set up and made a beautiful, slow curve against the wind to the breakwater I was stand: ing on. ‘The shot used a full spring-wind ing of film. At the conclusion, I quickly checked my lens to make sure everything was O.K. and found the focus scale at 2 feet! I had left it that way after pho graphing a gray test chart earlier as part fof some color tests. The scene was re photographed immediately, but the wind not nearly so good the second time. nts, as might be expected, were As in most other aspects. of photo: graphy, there are two extremes in f ing the new amateur can go to, He may measure with a tape even when shooting at {/11 every distance for he may not bother to use his focusin mount at all, although he often makes scenes at full aperture. A setting based on a quick estimate is a good compromise, END,GORDON ENTERPRISES :; Ea Ras suas &: iO ee es eet Sees ee “s % stim ano saa sauraa Bit Gntie rns ont Beet ence lec, reaene SanUae 3 sae nova. Promina TNO De bmi tr rakve ‘icgerat Resonant Miao rintine seen" cranes MET. Honey. aity Colao exteaine Ber diam! Lape teatro gts, eee gu ssceu mai nn” syiopee MMS TROD, Medd A, tenn hot SEIS iowatk evans ET GAR S| Som end emer Soke Th seek FILM DEVELOPING MACHINES ateamommicen SaaS AGRE dae MONDE Oars rare Lem won» ty Feet nae may essa Pte seas mee Taka dn mene Bat 6 NOW, Syn Sard ae we “eee ag 2 SOadPObMRS, comeane eure brute wowna fren, 27 Sens BY aicar 12 Se CAMERA MAGAZINES SEE Gatafieg cvs 9 Nous actA gun ro Mose 1) Bett "Mowat 200°" MTONEL COMBINATION MATTEO,” Swen pg geval oh 3 wovious EEgporabecne tzvour earn 2° gouon, tem, colon, macnn est NOvioLA 5HA, MODEL. Nw ae emet 100 hats Go tie tena ete MITCHELL LENSES IN MOUNT. muna o'msn”="s 200 MOUSTON 2mm FL DEVELOP, Conse Mehta 2 ee = Sn RASA Ge, ee Phoue asa Sonn besa 3500 fe riba Waxine haewin sci $750 Flu Daves BELL @ HOWELL EYEMO Lenses lil fac REELS AND’ CANS 1™ MOUNT 86 H BIPACK MAGAZINE ADAPTER 5135.00 can Neri 40 ft wed Jom 5a § 4500 Siatasien sane fel ot con Sem 900 1, ne Se ‘TRIPODS AND DOLLIES BT Fou one Tee asattght, owe ate $850 SB acy, se marae {2 CAMERA AND ANIMATION MOTORS se 88 ARREY anoARo Toone, my ron avout Be vera me Seca re og, 1h AR ce ttt MO wow tc ory fran ase, Nee eege ne nen EB oat oe ere (MORE GORDON SPECIALS ON PACE 118) O R D O Ni {cite convent TERPRIS E 8| ttm Dac pee ey ee ane eea aes Manon, 19st Aweneax CrvensrootamnenTOP PHOTOGRAPHY (Continued from Page with photography of actual welding. There. was considerable research done with filters; in talking with other color photographers and with physicists; and after many long. hours of painstakin camera work, Wolff eventually found the right combination of filters, lighting, film and camera technique to achieve his objective. His first one-reel i al film on are welding, in 16mm Koda chrome, was widely acclaimed wherever ir was shown, General Electric Company who, mean time, had endeavored to produce its own films on arc welding, heard of Wolff's film and asked for a sereening. Here be zzan a valuable business contact hetween Wolif and General Electric Company that continues to this day. Wolff Studios produced for General Electric eight films jn 16mm Kodachrome on AC and DC are welding and atomic hydrogen weld. ing. Hundreds of prints of each film have since been made and distributed throughout the world, Another Principles of Electricity, also sp by G-E, was later translated into twenty ai Tanguages for distribution in jes by the U. S. State Department, Very early Wolff began to emplo mation in his training and insteuc tional films, and is said to have revolu- tionized the 16mm film industry when he introduced his documentary animation technique in the production of training and instructional films. ‘The Wolff ani ‘mation department, which is equipped with two of the largest animation cam era cranes ever built, today is one of the most formidable in the 16min film industry Since 1945, Raphael G. Wolff Stu dios have been the greatest single user ‘of 16mm Kodachrome in the world, and during a recent period reportedly used more Kodachrome film than all other x6mm commercial film pro put together. Today, the studios’ entire prod uct, save for television films, is photo graphed on 16mm Commercial Koda chrome Wolff Studios reads like a p list of, major clients cout of “Who's Wh in American’ business and industry. In addition to Standard Oil. and General Electric Company, the studios have made films for Ford Motor Company, Inter national Paper Company, Nash-Kelvina tor Company, American Meat Institute Link-Belt Company, Minnesota. Valley Go,, Proctor & Gamble, General Motors Pontiac Division and. Tronite Ifoner Corp. The company will soon begi duction on a film depicting the history the city of Detroit, Ford or Company is sponsoring in conne tion with that city’s 2soth anniversary and for which Raphael G. Wolff will personally direct the photography which Wolf Studios maintain a full-time staff of four 16mm cameramen—two of them animation cameramen. ‘These are Pat Co Bodrero, A\ thur Pierce and Jay Adams. In bet, Allessan addi Visual Sound On Magnetic Film Ne may ier Noe Sav tion, whenever there is a picture to be produced in 35mm, cameramen. mem: bers of the American Society of Cinema: tographers are employed. John Boyle, ASC, recently completed photography of a series of TV commercial spot an: rnouncements for Wolff, and eatlier Gil Warrenton, AS.C., photographed Tike Human Bridge, one of the studios’ most notable productions, sponsored by Ford Motor Company. Wolff Studios have had as many’ as four production crews fon the road at one time. A crew com prises about ten men. The studios mai c of the great cst fleets of location rolling stock in the five general purpose trucks, ‘oo-ampere and oe L00o-ampere ile or truck, and three per sonnel cars. Most of this equipment is kept in the east for use on the many productions filmed east of the Mississippi. Camera equipment consists of four Maurer t6mm' cameras, two 70-DA Filmos, and two Eastinan Cine Kodak Specials. Dissatisfied with available cam: cera blimps for the Maurer camera, Wolf and his staff designed their owa—a result ‘of Wolfi’s constant search for newer and better methods and equipment for ‘making 16mm films. He was among the first to try magnetic tape recording and while he uses it occasionally for short industry sequences in remote locations, Syne sequences as far as possible filmed in the studios, employing Glen Glenn Sound Company's facilite recording personnel. ‘One notable feature of Wolff studio production planning is the story board. an idea adapted from Walt Disney Today. every Wolff production. is pre praed in story board form as a means of Visualizing the production for both client Applied to industrial film reds up production and re and and. crew making. i 9 ‘duces costly production mistakes. ‘Wolff's detailed attention to the pho tographic’ treatment of his pictures is Giretly cemponaible, fac imag OF these ‘winning awards for their sponsors. Clean Waters, produced for Genera Co,, was acclaimed the most out industrial film at the. Fil World Festival in Chic 1947 The Human Bridge, produced for Ford Motor Company, won top honors at the Cleveland Film Festival last year. Over 600 prints of this film have been dis: tributed by the sponsor to date OF This We Are Proud, produced for Nash-Kelvinator Co. motion picture best "representing con: temporary American life for deposit in a time capsule at Valley Forge last summer, The film also was honored with 1 Gold Medal at the Valley Forge Free dom Fair, ‘One of Wolff Studios’ more recent and widely acclaimed 16mm productions was chosen theOg eT VM) ERS meee Set a ee eR Hi TION ge Small GYRO Tripod light weight GYRO Tripod performs with all the efficiency of larger, heavier and costlier tripods now in use. New, small size GYRO tripod han all. 16mm. prof 1 Mitehell 16mm. ‘with 400° magazine. It features Super ‘Smooth Pan & Tilt Action, (Amera EQuipment (O.MOTION PICTURE AND TV PRODUCTION EQUIPMENT FOR STUDIO OR LOCATION PURPOSES ‘Above EQUIPMENT AVAILABLE for sole and rental THE CAMERA ¢ MART, inc. Dara Reremreci Sr ea ies Corer etd [LUN OTe JONING and RENTALS — SALES ME LENS COATING “stnen ‘erage to el & Hows, Wil fore o ine Specs Cameras jin” in Pictures? YES you ned the EVERYBODY IS TALKING ABOUT. Rapid Film Technique, Inc. Tet 1998 Laxembarg 2206 35mm VIEWFINDER GROUND GLASSES for TV GREINER GLASS INDUSTRIES CO. is the Magic Key, which tells the chrono logical story of signs to call attention to. their wa Five cameramen we filming the picture over a fears, ‘The production is notable for many’ singular photographie innovat One is a scene depicting an au jewing a demonstration film in color mally, shooting a scene like this would entail background projection ot special process photography — both costly fo Wolf's staff staged the by substituting live ac tion for the projected image on the creen was actually ¢ ‘mangle. Skillful illuminatio I attention to the camera an ued the illus nthe picture has removed from the set and a translucent screen substituted in the abinet. The picture was transmitted to the screen by rear projection, using a Bell & Howell sound projector and ‘eontinuots film loop, The scene was hot with a Mitchell 16mm professional aera. There was no interlock between projector und camera. “Te was the result fa simple experiment,” said Wolf ind it was just sheer Tuck that the ters of both projector and camera opened and closed simultaneously These and other innovations which invariably highlight every Wolf pra uction are the result of his personal lance aver the camera work in each picture. To many Wolff phot phs scenes himself. Where a crew is 8, the film that is the home studios daly ing is promotly pr d and clips, similar to the ligh amen receive daily in the studi are airmailed to the cameramen in the eld together with Wolfs personal let ter of criticism and instructi Every foot of film phot iductions. com Recently he had ograph a brief an finally approved it for a client's picture Professional cameramen agree that If production is n And while Wolf suit of perfec in him « hard taskmaster, unanimous opinion of his cameramen is that they are the better technicians for it“OSCAR’ NOMINATIONS (Continued from Pape 94) hour, knows the winners in advance. On the evening of the Awards presentation a simple note listing the nominees and ame of the winner is brought to the podium in an envelope closed with sealing wax. As each nounced, the master-of-ceremonies opens the envelope in full view of the audience, reads the sominees, concluding with the name of the winner. The “Oscar” win ner of the preceding year often presents the Award to current winners, Award category is an- ‘Of the ten men whose cinematographic artistry has been nominated for the 1950 Awards, won ‘Oscars for cinematographic achieve ment. Charles Rosher has two awards to his credit for “Sunrise” in 1928, which he photographed jointly with Karl Struss; and “The Yearling,” photo graphed jointly with the late Leonard Smith and Arthur Arling, and cited in the awards for 1946. five have _ previously ‘Oxar” in “Cleopatra.” est Haller won an award in 1939 for With ‘The Wind,” which he ly with’ Ray Renna. George Barnes was cited in 1940 for his photography of "Re becca,” and Ernest Palmer won the color photography award in 1941 for Blood and Sand,” co-photographed by Ray Rennahan. None of the 1950 cor tenders were nominated the preceding year, although many have been ‘nominees in previous years Robert Krasker is the only foreign director of photography among the con- tenders this year. He photographed London Films Production’s “The Third Man,” the first British film nominated for a cinematographic award since Desmond Dickenson's “Hamlet” which twas a contender in 1948. Colorful as has been the career of the ‘awarded by the Acade- ry, nothing is more amusing than the true story of how the trophy got its name In 1931 Mrs, Margaret Herrick, now executive director of the Academy of Motion Picture Arts and Sciences, wh studying the small golden statuette coveted “Oscar marked that the square jaw and sharp manish features reminded her of her Unele Oscar. A newspaper columnist overheard the comment and the next day published a single line in his nation-wide column reading, “Academy employees have affectionately dubbed their famous old statuette ‘Oscar’.” Bette Davis and other stars later used the nickname in press interviews and the screen's most distinguished art symbol became world END. famous as “Osea “AURICON “tno” CAMERA 100 FT. 16mm Sound-On-Film .. 969500 AURIGON Synchronous Motor Drive forE.K.Cine Special 6mm Camera $15950 “AURIGON-PRO” CAMERA 200 FT.16mm Sound-On-Film . .$1310% Continuous Recording . . ‘MODULITE Sound-On-Fim Recording GALVANOMETER Variable Area or Variable Density $49500 Write today for YOUR free Catalog fully describing this AURICON Equipment in etal, plus Dual Phono-Turntable, Tripod, and other Sound-On-Film Equipment. “mae, BERNDT-BACH, Inc. "i RCA LICENSED 7381 Beverly Blvd., Los Angeles 36, Calif. 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He will make profitable contacts with officials of the local police department, fire de partment, schools, hospitals, Chamber of Commerce, and the civie cubs, and other similar organizations—to x" Such contacts are usually quite happy to donate their personal services where it will benefit their 0 In some citi relations exist station and local newspapers or radio stations, it should be po reciprocal medium cooperate formed of ble to work out ements whereby each to keep the other in spot news or feature assignments. By establishing mation, it usually is posible for the TV news ¢ o learn in advance about ins that make reel_ stories, and to plan filming ac cordingly. When the newsreel editor receives a tip fo vediatel ‘spot news story, he in contacts his camera erew and describes c asignment briefly. Where time per a quick briefing of the approach and shots needed will help the crew to back the right material for the telecast. As time goes by, the crew itself will develop a sense of approach and will instinctively know how stories should be handled. ng a spot news story, the should be setup ina ation which commands 1 good sound camera central view of the overall situation, This loca n will also serve as a base ins for the crew during film a spot news story is often catch-asateh ay often be ration furnished from the during the telecast. How a small microphone it ‘and ‘commentary of. the Scenes as they are filmed, This sound-on. film narration, if not actually acceptable for broadcast, will at least serve the newsreel editor later in writing a suitable commentary for the film, By us the range of lenses on his , the operator can. secure ind angles while re at the same vantage point. In the reantime,_ bi the hand-held camera can hots of the crowd. Both ‘cameramen should keep charts describing briefly the subject matter of each scene This may not always be possible, but it isa great aid later in editing the films ‘of shots associate equipped with closeups and reac Television news filming follows the WBE Magnetic Recording Choice In Italy Marci, 19stof standafd newsreel with few exceptions. The long. shot, medium shot, close-up establishing shot formula stil in the general sense. However, since tele sdand the film pro geeed, a tmininmum ‘of edi fe the edited i veloping system ified edit Ihave a news feel on the air within two hours after filming is completed, “TWICE THE LIGHT AND CARRYING POWER” Continued from Page 03) f our lamps without inversely and twice the penetrating power Tncandes but they fail pete in controllability andl owwerful ial vie a new and efficient carbon fonable. Tt is true that the demand was there, but it a small, specialized demand that edt Relespected alcoves” tie ide the situation from all twas commercially ins sn went ahead with with a two-color proces, that they we to launch motion pictures in the full color scale and that the white ‘carbon are lamp of the INTRODUCING.. VISUAL SOUND MAGNETIC FILM EDITORS—SAVE TIME and EFFORT PRODUCERS — SAVE MONEY First in Electro Printing to Kodachrome and Ansco FIRST IN VISUAL MAGNETIC SOUND RYDER 16m™ SERVICES, Inc. EVERYTHING PHOTOGRAPHIC AND CINEMATIC FOR PROFESSIONAL AND AMATEUR The World's Largest Variety of Cameras and Pro Ito Stu and Laboratory SALES - CAMERAS.MOVIOLAS-DOLLYS aed er ee dee eee SERVICE - Eee RENTALS Pees Mitchell: Standard - Hi-Speed - NC - BNC - 16 mm, Bell & Howell: Standard - Shiftover - Eyemos Ferrera et ects Pree ent a Cis Tee ate nes Poe eC meePie Race ee ee ete ene ener ret Cee eet ee ete ee reed 5 Peer ee ee ere 5 fl Set CCU rac) CE et ee ee ey . PRO Nea Mcad aCe Na LSAT CHARLES ROSS, Inc. Brno geer en ag (aehceodtelans Crete 6-5470-1 RUBY CAMERA EXCHANGE AKELEY CAMERA AND Rents . . Sells . . Exchanges INSTRUMENT CORP. verthing You Need forthe re DRODUCTION & PROVECTION New York 14, New York casa stir of Motion Pictures Provided by a Veteran Organization Designers and manufacturers of silent Coase and sound mation picture camera with 225° shutter opening, (286 25 16 mm. Shutter opening for television use “Televison Complete engineering and machine shop facilities for experimental work 729 Seventh Ave,, New York 19, N.Y. model and production runs ‘Tel Circle 5.5640 Cable Address: RUBYCAM INQUIRIES INVITED TV GROUND GLASS CAMERA EQUIPMENT COMPANY Awencas Civewaroonarnen © Maret, 1951 that color was something they could take oF leave Many believed that 1¢ would. never replace black and. white and others r correctly that if it did eventually replace black-and white it would be by evolution and by revolution. So the revolution of the effects of the arrival of color was within our own Organization. True we had done bon are lamp and would have probably built a few and have allowed the cine pher to approve or discard vustom. But if we were aioe re ph a number of different. typ arc lamps and have them ready We conferred with the carbon manu facturer, with Te and with the urged us to go ahead; others just shook their heads. If we could have started with spotlamp units which would al find a use on black and white we would hhave had something tangible to but it was carbon are floodlamp units which were required most urgently and we did not believe these would ever be ‘on black and white ine possible failure that I in a corner, or that we ldn't hide from each Tf we did go into it and it fale ceived a serious setback, itis doubt we would have had a corner to hide anything in We discussed it among ourselves untill we were sure it was a most dangerous gamble and having got that out of ow collective system we went ahead and ‘manufactured the required number of ically, the arrival of color lowed a pattern similar to the arrival of sound except that it was not_dumped dustry overnight. Aisde from the urgency roducing the original equipment for more color productions it has ar rived in more or less orderly fashio The first carbon are floodlamps we produced had to be a refinement of the then obsolete units which had. bee service previous to the a ft incandescent lamp. For spotlamp type y were able to use some of the semi-obsolete searchlight types of high The carbon manufacturer supplied us with a special carbon trim which was vast rior to the one used in the former carbon arc floodlamp and we gambled on a compromise lamp with Which we could meet the production deadline. Later we produced a fullyautomatic carbon arc floodlamp which hhax become the standard for color flood: lightin Again the cinematographer was faced with technical restrictions. Color re quired higher levels of illumination than black and white and the latitude of the process was more narrow. He was told by some engineers that color itself would provide contrasts, depth and form, and that all he needed to worry about was 2 uniform intensity of illumination suf ficient for adequate exposure. Again he tightened his belt and said, “I want lamp with twice the intensity and twice the penetrating power of existing units We designed and produced 150-ampere carbon are spotlamps fitted with a Fresnel-type lens. ‘These afforded vary ing beam divergences that would allow the cinematographer to continue pai ing with light. The Technicolor proc wat improved and the cinematographer again began to express his individuality Then came word that the speed of the nicolor process had been doubled and we wondered if this would reduce the demand for the high powered carbon re spotlamps With the thought that there might be a market for smaller units we conferred with the cinematographer. "What will be the ef he increased speed of the color ps Tt will allow me to obtain better he said, and as an after thought he added, “I could use a lamp with twice the intensity and twice the penetrating power of existing equip. Through a cooperative mov tween equipment manufacturers and the Research Council, the National Carbon Company had pro n for process projection and we had made an we it. The car peres and was depth of focus, in burned at capable of delivering twice the light the 1so-ampere. trim. ipher went to his electrical department and said he wanted to use it in some of his spotlamps. The cinematog- Again our engineering department was put to work on the problem and we pro Guced a high-intensity carbon are spot lamp twice the output beam divergences three times the output, of the r5o-ampere spotlamp. Again we felt that this insatiable demand for more light must at some time come to an end and in this case we have learned that We were partially correct because the cinematographer is able to create a bet ter effect with one of the large carbon arc lamps than with a number of the smaller units. After this new super high-intensity lamp had found its way into the studios PROFITS ARE AUTOMATIC with BRIDGAMATIC ° anybody can run it machine does the your ‘precious mega Fives. Speeds up your intire production rou fine.” Straight 1mm : ng elements. pl ‘Sperating--sttach rubber hose and. plugin any corner. $1175 tine | 5.0.5. CINEMA SUPPLY CORP. 602 West sind USED BY MOST OF THE MAJOR STUDIOS ry house current! itl COLOR-TRAN foting © Enough illumination for normal set lighting usin eee re eee Q@lorfray @nverter @mpany 2045 femaine, Neiesed 34, Cait Phone: Wemptead 2326 Satissaction Tillfredsstallelse Sodd atissacion Satisfacio Tilfredsstillelse In ANY Language KINEVOX Spells SATISFACTION! 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