American cinematographer (Jan-Dec 1963)

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Here motordriven zoom effects are velvet smooth — something not always possible when zooming some varifocal lenses manually. mm film coKflwy 424 U PO CHUN BUILDING HONG KONG COMPLETE 16/MM & 35/MM PRODUCTION FACILITIES professionals use SPLICE-O-FILM . . . the world's finest splicer • Easy, strong splices in just 9 seconds • Accurate to 1/10, 000th inch • Electric heat and automatic scraper • Money-back guarantee Write for complete information and a copy of our film room equipment catalog. THE HARWALD CO. J2v4a5n^cnAG0.lS1I 16MM COLOR and B-&-W Processing and Printing A&B Roll Conforming Sound Transferring Write For Complete Price List MIDWESTERN FILM LAB 161 W. Huron St., Chicago, III. Phone: 664-841 0 L ) NEW IMPROVED PROCESS LAMINATED SOUND STRIPING 380 Ft. Minimum Order — Quality Guaranteed Send for Free Brochure 736V2 SO. ATLANTIC BLVD., LOS ANGELES 22, CAL. QUARTZ LIGHTS Continued From Page 163 110 /120-volts AC or DC and require comparatively low amperage for their light output. The 650-watt lamps are available in a range of three different color temperatures — 3200°K. 3350°K and 3400°K. The 1000-watt lamp is available only in 340Q°K. The rated life of the 3200°K lamp, which has a heavier filament than the others, is 100 hours — an important considera¬ tion. An innovation introduced for the first time with the Quartz-King Dual photo light is the intensifier accessory —a snap-on conical device I Fig. 1 ) which forms an extension of the lamp housing and serves to concentrate the light and eliminate spill, thereby al¬ most doubling the light intensity. This is graphically illustrated in the illus¬ tration, Fig. 4, and augmented by the performance graphs. Fig. 3. Fig. 4 illustrates how buildup of the light intensity is accomplished with either the Dual-650 or Dual-1000 by (1 ) changing the Q-I lamp to the rear position within the lamp housing and (2) by the addition of the intensifier. By changing the lamp unit from wide flood to medium flood in the Dual1000, for example, and adding the in¬ tensifier, the effective light output can be jumped from 620 foot candles to 1035 foot candles. Both the 650-watt and 1000-watt Quartz Kings are available with a uni¬ versal yoke mounting, as pictured in Figs. 1 and 2, permitting them to be readily mounted on conventional tubu¬ lar light stands. However, the film maker with a considerable investment in other types of portable lighting equipment can readily adapt his sup¬ porting equipment to Quartz Kings. The latter are also available with in¬ tegral screw bases — medium screw for the 650-watt lamps and mogul for the 1000-watt. The 650s can be used in any heavy-duty porcelain socket that takes lamps having a medium base, same as found on photoflood, PAR, and ordinary household lamps. The 1000-watt lamps with the mogul base require the larger, heavy-duty mogul receptacle, but they may also be used in regular receptacles with an adapter. With the development of the grow¬ ing line of Quartz King photo lights, Color-Tran has not overlooked the need for the professional illuminating accessories which every cinematog¬ rapher finds essential to his work. Accessory equipment available for all Quartz-King lamps include accessory holder for scrims, filters, etc.; two-leaf barndoor; four-leaf barndoor; gaffergrip lamp mounts; daylight conver¬ sion filter; heat filter; single and double scrims; and holder for spun glass or gel diff users. According to ColorTran Industries, the illumination provided by the 650watt Quartz King is equivalent to that of a conventional 2-K studio set lamp, and that of the 1000-watt QuartzKing equivalent to a 5-K studio lamp. Here a comparison of the weights of these lamps will prove interesting. The 2-K weighs roughly about 29 pounds; the 650 -watt Quartz King but 15 ounces. The 5-K weighs 541/o pounds and its equivalent — the 1000-watt Quartz-King 20 ounces! One could pack around a lot of photographic light in a suitcase full of Quartz-Lights. ■ MUST BE REALISTIC Continued From Page 166 to come before his lens will find some common factor in his memory. Some factor, that is, which will suggest how such a scene should really appear to the eye — which will enable him to visualize the scene and give it complete pictorial honesty in the photographic treatment. It is unlikely that a cinematographer would be able to correctly visualize the arrangement and lighting of a room in a mansion if all of his life had been spent in hotels or rooming houses. It would be like a blind man trying to describe an object he had never seen. To draw, perhaps, a better comparison, 178 AMERICAN CINEMATOGRAPHER, MARCH, 1963