American cinematographer (Jan-Dec 1963)

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CAMART DUAL SOUND EDITOR MODEL SB111 CAMART TV MATTES FOR MOVIOLAS • View the correct TV frame sice • Eliminates guess work • Precision cut . . . fitted from durable heavy gauge plastic Moviola New Type Large Conversion 4x5 Picture Head for 16mm and 35mm $8.00 Moviola New Standard “tilt-type" 3x4 Picture Head for 16mm and 35mm $7.00 Moviola 16mm Picture Head, 2%x3% QQ Special sizes to order. Edit single and double system 16mm or 35mm op¬ tical sound. Edit single system magnastripe or double system magnetic sound. Use with any 16mm motion picture viewer to obtain perfect lip-sinc matching of picture to track. Works from left to right or right to left. Dual Editor (without viewer) Optical s\r\ model ...-P 1 Zeiss Moviscop Viewer . 96.00 Special Editor-Viewer Comb. 269.50 CAMART CORE DISPENSER Keeps film cores handy at all times. Attaches eas¬ ily to work table or wall. Easy to remove, easy to fill. All aluminum con¬ struction. Sizes: Length 16" . 10.00 Length 24" . 12.00 Length 36". 16.00 Aluminum Dispenser for Plastic Reels so' . 16.50 ioo' . 1 8.50 INDUSTRY NEWS News briefs of industry activities/ products and progress Gene Levy Heads CECO Eugene H. Levy, last month, was named president of Camera Equip¬ ment Company, Inc., by the directors of CECO Industries, Inc., the parent organization. Levy succeeds Frank C. Zucker, who retired to be¬ come president of Local 644, Interna¬ tiona] Photograph¬ ers of the Motion Picture Industry. Associated with Camera Equipment Company since its founding in 1936, Levy was vice-presi¬ dent for sales and national director of advertising and pro¬ motion prior to as¬ suming his new post. Following acqui¬ sition of the com¬ pany by CECO In¬ dustries in 1961, Levy w'as elected to the board of direc¬ tors. He is credited with designing and introducing a number of new items of motion picture equipment now widely used in the industry. Best Photographed Pictures “The Longest Day,” “The Manchu¬ rian Candidate,” “The Music Man,” “Hatari,” and “Requiem For A Heavy¬ weight” were cited last month as the five Best Photographed Pictures of 1962 by the nation’s critics. Awards followed the annual Filmdom’s Famous Fives poll of newspaper and maga¬ zine critics and film reviewers and TV movie commentators conducted by The Film Daily, motion picture industry tradepaper. The directors of photography of the pictures cited were: “Longest Day,” Jean Bourgoin, Henri Persin, and Walter Wottiz; “Manchurian Candi¬ date,” Lionel Lindon, ASC; “Music Man,” Robert Burks, ASC; “Hatari,” Russell Harlan, ASC; “Requiem For A Heavyweight,” Arthur Ornitz. Invitations to cast ballots in the annual poll were mailed to over 2,000 professional reviewers, critics and com¬ mentators. Motion pictures considered were those placed in general release between January 1, and December 31, 1962. • ASC R&E Committee Seeks TV Frame Standard The possibility of establishing an industry-wide standard for the frame area of all motion picture prints pro¬ duced for television was explored last month in a joint meeting between members of the Research and Educa¬ tional Committee of the American So¬ ciety of Cinematographers and mem¬ bers of the SMPTE allied with feature film production, TV network opera¬ tions, and film laboratories. While the 1.33-to-l frame format of most old films fit the average home TV receiver tube, later wide-screen theatrical films made available for television do not, according to Walter Beyer of Universal City Studios, who is also Chairman of the ASC commit¬ tee which sponsored the discussion. Standardization of the frame format of prints made for TV transmission, according to Beyer, will eliminate the present objectionable wide frame-lines in such prints and at the same time preserve the technical and aesthetic qualities conceived in the original photography. Taking part in the discussion were Edward Ancona and Ken Erhardt of NBC, Elliott Bliss of CBS, Glen Atkins of ABC, Robert Riley and Wadsworth Pohl of Technicolor, Allan Haines and Vic Pesek of Pathe Laboratories, Fred Scobey and Don Klofthel of General Film Laboratories, Vaughn Shaner and Robert Huffort of Eastman Kodak Company; also Ed Reichardt, Con¬ solidated Film Labs; William Wade. Universal City Studios; Ray Johnson. MGM; Winton Hoch, ASC; and Hal Mohr, ASC, co-chairman of the So¬ ciety’s R&E committee. • Sid Solow Hosts ASC Members at Consolidated Sidney Solow, head of Consolidated Film Laboraories’ Hollywood plant, hosted members of the American So¬ ciety of Cinematographers in lieu of Continued on Page 70 68 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963