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how close could a person, whose only experience in home life had been in the squalor of slums, come to portray¬ ing convincingly a scene laid in the home of a cultured millionaire?
This is a factor that is too often overlooked in all phases of motion pic¬ ture production. The aim. when pro¬ ducing a picture, is to present a story in scenes which give it at least an illusion of actuality. This illusion can only be attained when every phase of production — writing, acting, direction, settings, and cinematography — strikes a keynote of sincerity based on human experience. In other words, when all of the artists concerned are artistically honest — with themselves and with their work.
Directors of photography in Holly¬ wood believe that a vitallv important and often neglected factor necessary to bringing about honesty and authen¬ ticity in cinematography is more close¬ ly coordinated pre-production prepara¬ tion in which the director of photogra¬ phy participates. More and more, production experience is proving that the picture benefits immeasurably where the director of photography is allowed ample time for thorough prep¬ aration — a chance to study the entire script, to consult with the director and the art director, and to discuss makeup problems as they relate to the photog¬ raphy of the picture. Unfortunately, there is a tendency today to avoid such preparation, especially in TV film pro¬ duction.
In any feature film production, where time and circumstances permit, it is advantageous for the cameraman to make photographic tests of the star and sometimes of the key sets, both interiors and location.
During actual production the di¬ rector of photography with a penchant for strict authenticity will make it a point to pay as much attention to the photographic and lighting treatment of the set itself as to that of the players. Essentially, of course, the set is primarily a backdrop against which the players enact the story; but it should nevertheless be a wholly convincing background. Therefore it should be treated with equal care. Actually, the set serves two purposes: it must be a convincing, believable back¬ ground for the action, and it must form a vital part of the composition. Thus, it should he lit not only with an eye to enhancing the effect of actuality, but also to enhance the pictorial value.
EXCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE
new, improved super-efficient
CINE VOICE CONVERSION
Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion.
• A true torque motor — Idles at V? power, when camera is turned on. Assumes full power. This system prevents excessive heating.
• Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc.
• Veeder counter effectively silenced.
• Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines.
• Neon camera running light.
CINE VOICE CAMERA CONVERSION
including torque «/1 >1(100 motor and belt JjUU
(price does not include Mitchell magazines) At present we can promise delivery within 15 days.
Accessories
Available:
Behind-the-lens filter slot
$45.00
Lens Turret Lock for Zoom Lens operation . $25.00
NEW ANGENIUX 12mm 120mm ZOOM LENS “C” MOUNT WITH SIDE-VIEW FINDER IN STOCK!
$895.00
John Fletcher, ABC cameraman, with Ray Emeritz, F & B's Chief Engineer, who developed the new Cine Voice Conversion.
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AMERICAN CINEMATOGRAPHER, MARCH, 1963
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