American cinematographer (Jan-Dec 1963)

Record Details:

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depending on their availability in the various countries visited. One was the Jeep or the Land Rover, on which a platform for the camera was erected, the other a truck having a collapsible, hydraulically-operated crane and com¬ monly known as a “cherry picker.” These are shown in the accompanying photos, but are not immediately rec¬ ognizable because of the camouflage given them, as mentioned earlier. Following the tee-off, on par 4 and 5 holes, cameras 1, 2, and 3 were hustled aboard transports provided for the purpose — ranging from golf carts to small motorized trucks — and moved forward and set up in positions for shooting the next play. The No. 3 camera continued to photograph re¬ action shots. Camera No. 1 was posi¬ tioned behind the player, and No. 2 in front of him, at a three-quarter angle. On a par 4 hole, the players usually got on the green with their second shot. In the meantime, the mobile-mounted camera No. 4 moved into a new posi¬ tion in back of the green. Camera No. 5 was up high on a camouflaged cherry picker, also back of the green. On the par 4 holes, cameras 4 and 5 aimed to pick up the ball on the players’ second shots and follow it as it came to lie on the green. Once the two balls were on the green. Dick Darley and I usually huddled and decided on the best camera angles — high or low — to cover the next shots of the players. To make the cup positions on the green readily visible to the camera operators and ultimately to TV audiences view¬ ing the shows, the day before playing began on each course we had the in¬ teriors of all cups painted white. Thus did all cameras cover the playing ac¬ tion as it progressed, then move quick¬ ly forward to the next tee and repeat the procedure. It should be explained here that on the day preceding the shooting of a match, my camera crew and I accom¬ panied by Darley would scout the en¬ tire course and stake out tentative camera positions on the assumption that the playing would be normal and that neither player would get into any trouble off the fairways. When this did occur, during the course of a game, it required some quick thinking and even quicker hustling to get the cam¬ eras into position to cover the ensuing plays with a minimum of delay. \X hen everything was in our favor and the players were hitting good, we MODEL X-400 TYPE 15 is especially designed for servicing “On-the-Go” producers who prefer every¬ thing in one case — playback power amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors — an ALL-IN-ONE magnaphonic sound system (S.M.P.T.E. standard performance) com¬ plete in a single easy-to-carry case. Will accommodate standard 1200 foot film reels. Write for illustrated brochure. PRICED ONLY $1385 Model X-400 for extra lightweight portability, from $985 S.O.S. carries the complete line of Magnasync recording systems. S.O.S. PHOTO-CINE-OPTICS, Inc. 602 West 52nd S»w New York 19— PLaza 7-0440 Western Branch: 6331 Holly’d Blvd., Hollywood, Calif. SEE OFFERING OF EXTRA-SPECIAL VALUES ON PAGES 72, 74, 76, 89 and 115.-< Used World-Wide By Discriminating Cameramen CINEKAD SYNCHRONOUS MOTOR DRIVE— For 16mm Projectors Especially designed to drive all Bell & Howell, Jan, Ampro, Kodak, RCA, and Victor 16mm projectors at synchronous speed. Projector can be instantly attached to Synchronous Motor Drive and quickly de¬ tached at any time in a matter of seconds. An outstanding feature is the flexible shaft which connects motor with projector and permits smooth, quiet and steady operation. No special technical knowl¬ edge required for installation and mount¬ ing. Write for more details and prices. timing BELT One-year Guarantee! Immediate Delivery! CINEKAD ENGINEERING COMPANY, 763 1 0th Ave., N.Y., N.Y., PLaza 7-3511 FOR MORE INFORMATION about products or serv¬ ices advertised in this issue ? use the convenient postagepaid inquiry card facing the last page. Simply fill it out and mail. We’ll do the rest. —AMERICAN CINEMATOGRAPHER AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963 117