American cinematographer (Jan-Dec 1963)

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Rock -Steady Prints are YOURS with TEL-Amatic Prints color, black-&-white, reversal, sound or silent films with rock-steady professional precision. Has many out¬ standing features found only in much higher priced pro¬ fessional printers. Sufficient light is provided to expose fine grain film. Semi-automatic light change assures per¬ fect exposures. Write for brochure. PROFESSIONAL continuous contact sound & picture printer for 16mm or double 8mm films Only $1995 PRIKTFR S.O.S. PHOTO-CINE-OPTICS, INC. 602 WEST 52nd STREET, NEW YORK 19, N.Y. • Telephone : Plaza 7-0440 • Telegram: “FAX, N. Y.” WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Telephone: 467-2124 SEE OTHER S.O.S. OFFERINGS ON PAGES 273, 298, 306 AND 309 ■< SAVE MONEY When Fiiming In Europe By Renting Your Camera Equipment From CHEVEREAU PARIS, FRANCE We Service The Entire Continent CAMERAS, including the Mitchell BFC 65mm CRANES DOLLIES 20 RUE DE LA CHINE PARIS 20, FRANCE Tels: MEN 9472. PYR 5104 Cable: Cameraloc Paris l°OK Ma, No STaNUS! That's right. Lowel-Lights attach virtually everywhere, without stands. Shooting in cramped quarters? Flying to location with minimum equipment? Lowel-Lights will save the day. They tape up on walls with non-marring Gaffer-Tape, clamp onto pipes, furniture, moldings, nail onto objects, balance on level surfaces. Work great on stands, too! Units fit in your pocket, so do the folding Barn-doors which attach instantly — without tools — to all R40 reflector bulbs. Lowel-Light system saves so much set-up time, it pays for itself the first day of location shooting. Fastest, most versatile, most compact incandescent lighting equipment ever designed! Fibre case 9" x 12“ x 4“ with 5 Lowel-Lights, Gaffer-Tape, space for 5 Barndoors $34.50 Vulcanized fibre case 14" x22" x 6" with 6 Lowel-Lights, 6 Barndoors, 2 P.I.C. stands, 3-25' extensions, Gaffer-Tape, holders for 6 R40 bulbs $124.50 Single Lowel-Light with porcelain socket, neoprene cord, Gaffer-Tape $6-95 Lowel-Light R40 Barndoor $5.75 Gaffer-Tape 12 yds. $1.95/ 30 yds. $3.95 LOWEL-LIGHT PHOTO ENGNR., 429 W. 54th ST., N. Y. scene — and nobdy notices it. I feel that too much attention is paid to the match¬ ing of backgrounds and action. Granted that this may improve the technical finish of a picture, there is danger of becoming a slave to the script girl, if you are not careful. I feel that if you are really getting something beautiful, whether it matches or not is unim¬ portant; and to stop the scene simply because someone has a handkerchief in the wrong hand is nonsense. As long as the dramatic itensity of the scene holds up, no one will notice the mis¬ match.” One of the most visually effective se¬ quences in the film involved action taking place between two huge oppos¬ ing mirrors set up directly across from each other, so that a multiplicity of images extended off into infinity. The only practical way to achieve the effect was to shoot through a transparent two-way mirror into the set. By taking a meter reading of the key light nor¬ mally used to light such a sequence and then taking another reading of the light through the mirror, Folsey estab¬ lished the fact that the mirror cut the light down the equivalent of three stops. As a result, he established the formula of lighting the set three times “hotter” than normal for the mirror shots and found that they printed the same as, and could be intercut with, scenes shot normally. He gives a great deal of credit for consistency of ex¬ posure in the film to use of the new improved Spectra meter developed by Karl Freund, A.S.C., maintaining that, "1 have found no other meter that does the job so well.” George Folsey, a camera pioneer in Hollywood, was for many years one of M-G-M’s top cinematographers, filming such outstanding pictures as: “The Ziegfield Follies,” “Meet Me in St. Louis,” “Green Dolphin Street,” “Ex¬ ecutive Suite,” “Forbidden Planet, and “Seven Brides for Seven Brothers.” Of his recent experience in photograph¬ ing “The Balcony” he says: “I have been a cameraman for forty-three years and 1 can t think of another picture that I've enjoyed more, had less trouble with and more satisfaction in doing.” ■ Use of Pola-Screen The use of a Kodak Pola-Screen for controlling brightness of the sky has a number of advantages over the use of color filters: The color rendering of o foreground objects is not altered, and the effect produced by the filter is easily determined by viewing through it. 302 AMERICAN CINEMATOGRAPHER, MAY, 1963