American cinematographer (Jan-Dec 1963)

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JUdson 6-7196 illuminated with millions of lights. One of the cameraman’s problems was to get long establishing shots and at the same time fill the frame with lights. But there was no place high enough for the camera that would en¬ able it to include the city buildings. It was then decided to introduce the festival as it occurs in an Indian home. These scenes were lit frequently with sparklers. The footage shot of this festival was enough to make a whole half-hour segment for the series. Concurrently with the Bozo footage, Farkas had the added chore of shooting the sound interviews mentioned earlier. For these he often had to shoot in¬ doors. He had carried along a supply of Lowel-Lights for both 110 and 220 AC current. Thus, he was able to light the interiors wherever he went. These interviews included sessions with Madame Pandit (Nehru’s sister), the president and vice-president of the Philippines, and the family of U Thant, among others. For the sound interviews Farkas used Eastman Plus X film. The zoom lens AFTER PHOTOGRAPHY, WHAT? Continued from Page 25 The final edited 35mm printing negative, consisting of both camera negative and dupe negative sections, may then be utilized for either 35mm contact or 16mm reduction printing. Here, density correction (timing) of the scenes is part of the printing opera¬ tion. In dupe-negative printing, the 35mm camera negative may be cut (edited) in A&B rolls so that any required fades and dissolves will be incorporated in the contact-printed 35mm master posi¬ tive along with the timing corrections of the individual scenes. (Wipes or other special visual effects require the production of optical dupe negative sections and cutting them into the printing negative, as explained ear¬ lier.) Thus, when either a 35mm con¬ tact or 16mm reduction dupe negative is made from the master positive, the dupe will be corrected for proper den¬ sity and will also contain any desired effects so that the printing operation will be simplified. A full-length 35mm fine-grain posi¬ tive is printed from the edited (single roll or A&B roll ) camera negative to¬ gether with any and all optical dupe sections required for either choice in was also used here and provided vari¬ ety in the compositions throughout the continuous recording sessions. When the tour was over cameraman Farkas estimated he had shot 20,000 feet of 16mm color film, in addition to the black-and-white sound film. All this footage was edited later by station WHDH in Boston. In addition, the Bozo footage will be re-edited into a one-hour film to be distributed by UNICEF. This filming assignment is typical of many which Farkas has undertaken and has completed from his Hong Kong office. During the eight years he has been a motion picture photographer, he has received photographic assign¬ ments from 20 Century-Fox for its “Hong Kong’’ TV series, the Desilu “Barbara Stanwyck Theater,” J. Arthur Rank “Interpol Calling,” NBC “Our Man In Hong Kong” with David Brinkley and a host of advertising ac¬ counts. His most recent 35mm assign¬ ment was the location shooting for the Bing Crosby-Bob Hope opus, “Road to Hong Kong.” ■ release printing. This is set aside as a hedge against loss of the camera nega¬ tive — if printing is to be from this negative. And, the 35mm or 16mm dupe negative is made from it where release prints are to be made from a dupe. A logical question at this point is: When is a First Trial Print (Answer Print) made? This print is made from the edited 35mm camera negative in order to make sure that everything is all right before proceeding with pro¬ duction of release prints. Where release prints are to be made from the nega¬ tive, this will be the cnly First Trial stage. Other First Trials might include: 35mm First Trial print from a 35mm dupe negative, where 35mm release printing is to be from the 35mm dupe. 16mm First Trial reduction print where the 16mm release is to be made by reduction, or 16mm First Trial contact print where 16mm release prints are to be made via contact printing from a 16mm dupe negative. One additional decision involves the choice of the release print leader, which Continued on Page 56 54 AMERICAN CINEMATOGRAPHER, JANUARY, 1963