American cinematographer (Jan-Dec 1952)

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THE RO-CRANE 7<& DEPT. STORE OF THE INDUSTRY Here, under one roof, you will find all your needs for making, producing and showing motion picture films . . . and at the usual worthwhile S. O. S. saving in price. Try us, and see! Send us your list of needed materials and equipment and we will submit full descriptions with illustrations and prices. • Amplifiers, Recording ® Books, technical • Cameras, Professional • Developing Machines • Film Cleaners • Film Editing Equipt. • Film Lab Equipt. • Film Printing Machines • Film Splicers ® Film Storage Cabinets « And hui © Microphones © Motors, Camera, Record. • Moviola Editors © Projection Equipt. © Recorders, Film, Magn't’c. © Sound Cameras • Studio Lighting Equipt. • Studio Spots • Synchronizers ® Tripods, Camera -eds of others s.o.s. TRADING POST Your idle or surplus equipment may fill the bill for someone else. Tell us what you have and we will offer it to a receptive customer. NO CHARGE FOR THIS SERVICE. • See Our Ads in Classified Section S.O.S. CINEMA SUPPLY CORP. Dept. F, 602 West 52nd St., New York 19 Cable: "SOSOUND" (Continued, from Page 65) It is ihe film loading procedure for the Technicolor camera which, until now, has precluded its use on the RO Crane. The color camera, using three negatives, requires access to both sides for loading and inspection. Because of the under¬ slung design of the crane’s camera sup¬ port, the Technicolor camera could only be opened from one side, unless removed from the crane altogether — a time-con¬ suming operation which materially slowed production. Now, John Arnold has overcome this obstacle by designing a rotating base plate for the camera which replaces the original camera base on the crane. Also, by adding an inch to the length of the supporting column, the added height of the Technicolor camera is easily accom¬ modated. The rotating base revolves a full 360°, and may be locked firmly at any point in the circle of rotation. The crane’s desirable pan and tilt feature thus be¬ comes available to the Technicolor cam¬ era, as may be seen in the last photo, of the 3-picture group. No other crane af¬ fords the Technicolor camera this flexi¬ bility. The improved RO Crane opens up a broad new scope for Technicolor photo¬ graphy, especially for filming musical and novelty numbers, enabling the cam¬ eraman to obtain moving camera and angle shots never before possible. Until now, if the cameraman wanted to use the Technicolor camera close to the floor, he couldn’t do so with it mounted on a crane or dolly. This meant that he couldn’t move the camera during the take. Now he has unlimited latitude for a wide range of effect shots — high or low, panning and tilting, etc. The RO Crane mounting affords faster loading of the Technicolor camera, than even the Technicolor blimp affords. With the latter, the camera must first be re¬ moved from the blimp to a special plat¬ form, always on the set for the purpose, where it is opened, loaded and inspected —then returned to the blimp. Mounted on the crane, it is only necessary to re¬ lease the base locking mechanism, move the camera a quarter of a turn, and both sides of camera may be opened, as shown in the photos. After loading and inspection, the camera may be quickly RUBy EDITORIAL SERVICE, INC. Complete Film Editorial Facilities for Motion Picture & Television Production SOUNDPROOF AIR-CONDITIONED PRIVATE EDITING ROOMS Modem Equipment for EVERY TECHNICAL REQUIREMENT 35 & 16mm. RENTALS BY DAY, WEEK OR MONTH ALL NEW MOVIOLA EQUIPMENT Equipment Available for Off -the Premise Rentals. 729 7th Ave., New York 19, N.Y. Tel: Circle 5-5640 TV GROUND CLASS for Mitchell Standard, N. C., and Bell & Howell 35mm. cameras. Showing TV alignment — outlining active re¬ ceiver area, and Academy (sound) aperture. Write For Details CAMERA EQUIPMENT COMPANY 1600 Broadway New York, N. Y. New Eastman Film Distributor William J. German, who has been ap¬ pointed distributor for Eastman profes¬ sional films, as reported in American Cinematographer last month, in effect takes over the distributorship of J. E. Brulatour, Inc., whose con¬ tract expired on December 31st. According to Edward P. Cur¬ tis, Eastman Ko¬ dak C o m p a n y vice-president who announced the appointment, German will con¬ tinue to operate the distributorship with substantially the same personnel which made up the Bru¬ latour organization. No change in operational methods is contemplated, since it was German who managed J. E. Brulatour, Inc., following the death of the company’s founder, and who earlier had been Brulatour’s right hand man. “In view of Mr. German’s long ex¬ perience in selling film to the motion picture industry and his wide contacts throughout the trade,” said Mr. Curtis, “I feel that the Kodak company is for¬ tunate in obtaining his continued serv¬ ices in that capacity. We are confident the industry will continue to receive the same excellent service to which they have been accustomed through the years from the Brulatour company.” William German was born in Port Hope, Ontario, Canada. He came to Eastman Kodak as an accountant in 1906. He has a long history with East¬ man in various auditing positions, in¬ cluding retail stores, later was in charge of planning and distribution. He re¬ signed in 1921 to become manager of GM Laboratories, the Sen Jack Film Printing Corp., and the Paragon Studios and Laboratories in New York. He became associated with Jules E. Brulatour in 1922. In 1924 he organ¬ ized and became vice-president and gen¬ eral manager of J. E. Brulatour, Inc., which held the distribution rights on the sale of Eastman motion picture films to film producers and the television in¬ dustry. He succeeded Brulatour to the presidency, when the latter died in 1946. An associate member of the American Society of Cinematographers, German’s friendships among cinematographers on both the east and west coasts are con¬ siderable. 82 American Cinematographer February, 1952