American cinematographer (Jan-Dec 1952)

COMMONSENSE LIGHTING (Continued from Page 30) photograph him anywhere?” It was pointed out these filmers’ prob¬ lems could readily be solved by using the handy light arrangement setup which is pictured at the beginning of this article on page 28. While an ar¬ rangement which calls for the thirddegree type of lighting is not ideal, still it is the lighting which has been recom¬ mended for years in the instruction sheets covering color films. Thus it cannot be written off as a total loss. The lights in the illustration are clamped on a rod, with the camera mounted in the center, so that lights and camera move together as the tripod head is adjusted. When panning, the camera points toward the center of the lighted area. This means that the lights are not fixed, hut move with the camera at all times; and as the resulting light¬ ing is Hat, there is a minimum of shadows to be reckoned with. I have used this light setup in photo¬ graphing candid action at weddings and parties, and it represents the fastest means of shifting from one scene to another that 1 know of. For each new scene, it is otdy necessary to adjust camera for distance and diaphragm opening. In quick shooting, an assistant is alerted to measure the distance with a tape, then set the focusing ring of the lens and adjust the diaphragm. Before filming commences, a table is compiled indicating the proper diaphragm stops at varying distances from 3 feet up to the greatest distance at which these lights can he used. The outfit 1 have is so efficient that the two No. 2 photo¬ flood lamps used have a light output equal to four R2 photoflood lamps. There are several ready-made lighting units such as this available in the cam¬ era shops, some of them employing four photo lamps instead of two. Here is a table of distances and stops which we compiled just before we started to make the long dolly shot illustrations : iietured in the DISTANCE FROM FILM CORRECT PLANE TO SUBJECT F STOP 3 feet f 6.3 4 4,5 5 <6 3.8 6 6 3.2 7 U 2.5 8 U 2.2 9 u 2.0 10 u 1.8 11 66 1.6 12 u 1.5 13 14 “ ) approximately “ ) f 1.4 1.41/2 1.3i/o Now, these are the stops just the way we tabulated them, and it can he seen "HYDROLLY” (TV or CAMERA DOLLY) Hydraulic lilt type for fast upward and downward motion of TV and Motion Picture cameras. Light weight — sturdy — easily transported in a station wagon. Fits through a 28" door. Adjustable leveling head. In-line wheels for track use. Steering wheel and floor locks. For Instant Movabllity and Advanced Design PRECISION-ACCURATE "SYNCHRONIZER” 16mm or 35mm IMMEDIATE DELIVERY! Any combination of sprockets assembled to your specifications. Sturdy cast aluminum construction. Foot linear type, with frame divisions engraved on sprockets. Contact rollers adjusted individually for positive film contact. Fast finger-tip roller release, sprocket shaft slip lock, complete with footage counter. VARIABLE SPEED MOTOR with TACHOMETER for Cine Special or Maurer Cameras 1 1 5 V. Universal Motor — AC-DC Variable Speed 8-64 Frames Separate Base for Cine Special Adapter for Maurer Camera Interchangeable Motors: 12 Volt DC variable Speed 8-64 Frames. 115 Volt AC 60 Cycle, Synchronous Motor, Single Phase Animation Motors: Cine Special, Maurer, B W //, Mitchell. Motors for Bolex and Filmo Cameras. Time Lapse Equipment . • Lens Coating • “T” Stop Calibration • Designing and Manufacturing lens mountings and camera equipment for 16mm and 35mm cameras. • Bausch & Lomb “Baltar” Lenses and others for Motion Picture and TV Cameras. © Rentals — Sales — Repairs: Mitchell, Eyemo, Bell & Howell, Wall, Cine Special Cameras. IV rite for information and prices 20 W. 22nd St., N.Y.C. January, 1952 American Cinematographer 33