American cinematographer (Jan-Dec 1963)

dual film magazine capability which provides for a compact, lightweight inverted magazine that mounts back and below the camera body and at the same time provides a rubber-cushioned indenture between the film chambers that serves as a shoulder-rest for the camera when operated hand-held. Other standout features noted during the A.S.C. demonstration will be described briefly: The Mark II’s full-aperture 128 f.p.s. movement is keyed so that it can be removed and replaced without having to be re-timed. The camera’s reflex focus tube viewfinder pro¬ duces a larger than full aperture field, and so bril¬ liant that the camera lens can be stopped down to a point below which a normal density negative ex¬ posure can be made — yet produce a bright viewingimage with which to compose. The shutter, of advanced design, employs a ground and polished stainless steel rotating mirror to complement the camera’s reflex viewing system. The camera shutter is of focal plane, variable disc design and a salient aim in its design was to pro¬ vide a shutter that would assure optimum exposure consistently over the entire film aperture. Matte slot in the ground glass holder convenient¬ ly provides for inserting a frame of film therein when required for match-dissolve work or other spe¬ cial effects made in the camera. Because of the cam¬ era’s reflex viewing feature, the matte can be viewed continuously when making such shots. Moreover, it makes possible panning and tilting of the camera to accurately locate the image or subject matter being filmed, greatly simplifying the photography of ef¬ fects which subsequently are to be combined optic¬ ally with other photography. The optics of the reflex viewfinder are a combina¬ tion of a Bausch & Lomb f/2.8 lens for variable magnification and a 65mm exit pupil eyepiece, which does not “black out” or fog over and covers a larger than full aperture field. Perhaps the most interesting innovation is the sync-pulse generator which is an integral part of the Mark II Reflex, enabling the camera to work com¬ patibly with the new miniaturized battery-operated tape recorders, such as Perfectone, Nagra, and the Stellavox in the production of synchronized sound films. The DC motors available for the Mark II are all governor-controlled. The Hi-Speed motor provides a range of frame-per-second speeds from 24 to 128. Also, it is possible, with this motor, to start shooting at normal camera speed, then increase the speed for startling effects. An optional accessory is the streamlined blimp designed to facilitate the utmost in camera conven¬ ience in sound stage use. Salient feature is provision for continuation of the camera’s reflex finder when Continued on Page 52 MARK II dual pilot pin registered movement shown with gelatin filter holder inserted in the removable aperture plate (left). With a speed capability of up to 128 fps, this movement is ideal for animation and background plate photography. THE MARK II BUMP is lightweight, streamlined, and designed for unhampered operation of camera. It provides for use of the camera s through-the-lens reflex viewer and utilizes the BNC-fype captive cam studio finder. PICTURED HERE ARE all the various components, accessories, etc., by which the Mark II Reflex may be converted from a lightweight hand¬ held camera to a studio-type camera having all the facilities of a Mitchell BNC. The basic camera head is at lower right. AMERICAN CINEMATOGRAPHER, JANUARY, 1963 37