American cinematographer (Jan-Dec 1952)

Classified Ads ( Continued from Preceding Page) CAMERA & SOUND MEN NEW ENGLAND — assignments or production, sound, 16 and 35mm equipment. SAMUEL KRAVITT, 1096 Chapel St., New Haven, Conn. 16MM CAMERAMAN-PRODUCER Desires position with Industrial or Religious Film Producer. Presently self employed; own Cameras, lights, all necessary equipment for location filming, in¬ cluding sound camera. For full particulars write Box 171, or call Phone 1154, Fayetteville, Arkansas. SLIDES, PHOTOS & FILMS NATURAL COLOR SLIDES, Scenic, National Parks, Cities, Animals, Flowers, etc. Set of eight $1.95. Sample & List 25c. SLIDES -Box 206, La Habra, California. FRUSTRATED FOTOGRAPHERS ! Fill fhe gaps in your vacation Kodachrome record. Choose from 1 0<X) travel scenes. Free List, sample, 30c. Write today. KELLY I. CHODA, Box 5, Los Alamos, New Mexico. ALASKAN FOOTAGE — 16mm Kodachrome for pro¬ fessional productions. Eskimos, Indians, Indus¬ tries, Cities, Scenics. ALL SEASONS — ALL AREAS. MACHETANZ PRODUCTIONS, Kenton, Ohio. LABORATORY & SOUND SOUND RECORDING at a reasonable cost. High Fidelity 16 or 35. Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SER¬ VICE, INC., 7315 Carnegie Avenue, Cleveland 3, Ohio. Phone ENdicott 1-2707. WANTED WANTED TO BUY FOR CASH CAMERAS AND ACCESSORIES MITCHELL, B & H, EYEMO, DEBRIE, AKELEY ALSO LABORATORY AND CUTTING ROOM EQUIPMENT CAMERA EQUIPMENT COMPANY 1600 BROADWAY, NEW YORK CITY 19 CABLE: CINEQUIP WANTED Mitchell — Akeley — B & H — Wall — Eyemo Cameras ■ — Lenses ■ — Equipment NATIONAL CINE EQUIPMENT, INC. 20 West 22nd St., New York 10, N. Y. 16mm and 35mm motion picture, laboratory and editing equipment. We Pay Highest Prices. HOLLYWOOD FILM COMPANY — Motion Picture and Television Supply and Equipment — 5446 Carlton Way, Hollywood 27, Calif. Hillside 7191. S. O. S. CAN (AND DOES) PAY MORE for 16/35mm Cameras, Tripods, lenses, projectors, motors, recorders. Moviolas, lights, printers, developers, etc. BECAUSE WE SELL MORE & NEED MORE to keep our three story building and one-stop store full of bargains galore. IF IT'S OVER $100 — WIRE US COLLECT S. O. S. CINEMA SUPPLY CORPORATION Dept, f Cable: SOSOUND 602 W. 52nd Street, New York 19 WE URGENTLY WANT TO BUY Maurer, Auricon, Cine Special, Eyemo cameras. Moviolas, synchronizers, 16mm projectors. Lighting and lab. equipment. Highest Cash Prices Paid FLORMAN & BABB MU. 2-2928 70 WEST 45TH St. NEW YORK, N.Y. BOOKS ( Continued rom Page 88) For those previously engaged in pro¬ duction for stage, screen or radio, Mr. Hnbbell presents a most valuable com¬ parison between the techniques of these separate media and that of television production. He points out how and where adaptations of technique must be made — not only in regard to mechanics, but the point of view of the television technician, as well. The book places suitable emphasis on the fact that TV is primarily a visual medium (despite vigorous protests from the radio faction), and that the camera is the most important single element in production. There is a very thorough discussion of visual technique, camera movement, composition, lighting, edit¬ ing in the camera, and special effects. While much of this is discussed in an apparently theoretical manner, it re¬ flects the accurate anlysis of a man who has undoubtedly had a great deal of practical contact with TV production. The sound or “audio” phase of pro¬ duction comes in for very thorough dis¬ cussion, and here again there is much theory concerning the psychological use of sound and its application to the visual picture. However, these theories are well illustrated by reference to actual pro¬ grams or motion pictures in which va¬ rious effects have been well used. The last chapter of the hook, titled “Going On The Air” is an actual “blow by blow” description of the rehearsal and production of a dramatic show titled “Your Witness” as produced by television station KECA-TV in Holly¬ wood. This is a reportorial account of what happens on the stage and in the control room before and during the show. It serves to illustrate in a very practical way many of the theories pre¬ viously discussed in the book. The ap¬ pendix contains a complete original TV script titled “Thou Shalt Not Kill,” which is a hue example of TV script form and the mechanics of production. The book is slanted for the serious student of TV and for those already en¬ gaged in the profession, but it also includes many elementary explanations easily understandable to the layman. The text is well-illustrated by excel¬ lent still photographs from actual TV production. MOVIES FOR TV, by John H. Battison, published by The MacMillan Company, 1951. $4.25. Here is a scholarly and well-written analysis of the important part played by film in modern television programming. It should prove an increasingly valuable text in view of the fact that there is a • growing trend toward the use of film as opposed to live programming. Several of the top live shows, previously kinescoped for national release, are now being shot by motion picture cameras and edited into a finished frogram. The book deals mainly with a discus¬ sion of the problems of the program director in selecting suitable film for TV transmission, and those of the studio projectionist in actually presenting these films on the air. To studio personnel, these problems are indeed of the greatest importance and Mr. Battison has neatly summarized the results of a great deal of trial and error experience in this field. Despite the book’s somewhat mislead¬ ing title, there is little actual discussion of the technique or procedure of making films for TV. Only one chapter out of a total of 22 is devoted to this' subject, and that one chapter deals oidy in gen¬ eralities and basic theories. This no doubt reflects the fact that Mr. Battison’s own background has been more in the film programming for TV, rather than actual production of films. He is perhaps wise not to have attempted a comprehensive discussion of the filming angle, since the TV medium is still so new, relatively speaking, than even the so-called “film experts” have not yet agreed on standards of technique for TV filming. There are chapters devoted to such subjects as Movie Making Equipment, Lenses, Lighting, Color, Editing and Color — but these subjects are handled more in the mashion of a survey of theories, rather than as an account of actual experience in working with these factors. Moreover, the techniques dis¬ cussed frequently overlap from live TV to film for TV, so that it is sometimes difficult to retain a clear idea of which production phase is being discussed. Mr. Battison is to be commended upon writing about a phase of TV pro¬ gramming that has been more or less ignored in other texts dealing with tele¬ vision programming. His chapters on Choosing Films for TV, Newsreels for TV, Film Commercials, Kinescope Re¬ cording, and Copyright and Releases are especially well done, and should prove highly informative to those concerned with TV programming — either as studio workers or technicians. There is much in the book that will also prove of value to the student of modern television. Acetone and even alcohol have a sol¬ vent effect on motion picture film, and should not be used, or used only with great care, in cleaning film or grease. Hot water exercises a solvent action on the emulsion of film, tending to soften or dissolve it. Even cold water may cause the emulsion to swell. 90 Am eri can Ci n em atograph er February, 1952