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FILM PRODUCTION FOR TV
DOUG SANDERS, U.S. Pro, fees off on Sweden's Halmsad course while action is recorded by cam¬ era on camouflaged cherry-picker in background.
TOM TUTWILER reaches for his exposure meter (a 1946 G-E!) preparatory to calculating exposures for the five cameras working on Halmstad golf course.
AFTER THE TEE shots, cameras are moved down the fairway for next set-up. For this work, motorized vehicles were used at all courses.
Filmways’ Hollywood camera crew visited eleven countries to photograph with five cameras and 35mm color film some of the most dramatic golf plays ever seen on television.
TOM TUTWILER, ASC, who directed photography of "Shell's Wonderful World of Golf,” follows sun as it dodges behind clouds during shooting of match played on Jamaica's Tryall course.
FILMING SHELLS
/~\ne of the unique things about “Shell’s Wonderful ^ World of Golf,” currently being televised in color each Sunday on the NBC network, is that it is probably the only TV film series photographed entirely with zoom lenses.
The series, which last year acquired a Neilson Rating of 15.5 — considered exceptional for a golf show — is a mo¬ tion picture record in color of 22 top professional golfers of the world playing eleven regulation medal play 18-hole tournaments in the U.S. and ten foreign countries. It was produced by Filmways, Inc., for the Shell Oil Company, with Dick Darley as Producer-Director.
The matches were photographed, as playing progressed, with five cameras strategically located and covering the action from various angles in a range of formats from wide-angle to long shot. None of the playing action was staged at any time. If a player flubbed a shot, which was not infrequent, there was never a retake of the play. The contestants did not replay such shots and if we missed any of them with the cameras it was just too bad, too. (The names of the golfers, courses on which they competed, and broadcast date of each show in the series appear at the conclusion of this article.)
The lenses and all the camera equipment we used in filming the series of shows in eleven different countries of the world were supplied by the rental department of Camera Equipment Company, Inc., New York, N. Y.
There were three Mitchell NC cameras, one Mitchell high¬ speed camera, and two Arriflex 35’s. Because sync sound was to be recorded as we photographed, we brought along one of the lightest of portable quarter-inch tape recorders presently available — a Perfectone, supplied by Ryder Sound Services, Hollywood.
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AMERICAN CINEMATOGRAPHER, FE6RUARY, 1963