American cinematographer (Jan-Dec 1963)

OPTICAL FX UNIT AND PRISMS FOR 16mm — 35mm— TV CAMERAS LIVE TV, ANIMATION, MOTION PICTURES k , jjjLT' From two to seven images or m , combinations, more fflk.? than 27 variations in op¬ tical effects, montages, and distortions without expensive opticals. Images may be photographed in ward and reverse rotation. Complete unit consists of a four sur face prism, mount, revolving housing and camera base assembly. Literature on request Phone: PLazo 7-6977 Cable Address CAMERAMART SMOOOOOOOTH That's the word for Miller Fluid Action Tripod Heads. It's because Miller Hoods are true fluid Heads — the load rides on the fluid and all ten The Modsion adjustments take place within the flu¬ id chambers giving a velvety smooth¬ ness unmatched by any other tripod head • — there is no slack, no bounce, no back¬ lash, no judder. Miller Fluid AcHeads are available in two sizes — The Profes¬ sional for cameras of 25-35 lbs. The Mod¬ el D for c a m e r as of 1214 lbs. Miller Model "D” Fluid Head with Ball Level¬ ing Top Miller Grooved Leg Tripod. "D" Head $150.00 B/L Tripod 139.50 Total $289.50 Miller Professional Model Fluid Head with Ball Level¬ ing Top, Miller Grooved Leg Tri¬ pod. Ball Leveling Pro Head $299.50 Tripod 154.50 Total $454.00 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops available coupled with the finest and most rigid tripods in the Junior class. At your dealer or order directly from MILLER PROFESSIONAL EQUIPMENT 1619 No. Cherokee Phone Hollywood 28, Calif. HO 7-8189 show. In addition to filming a high trapeze act from above, with a hand¬ held camera, he captured a highly dramatic low-angle shot of one trapeze artist as he fell into the safety net. Unusual audience reaction shots further heightened the presentation. Each segment of "International Show¬ time” occupies an hour of TV air time, minus time for commercials, and while each show may take no more than two days to shoot, the pre-produc¬ tion planning may take months. Foreign circuses, particularly European, live a gypsy-like existence and move about the countryside playing one-day stands. This requires producers White and Cates to scout each show thoroughly, timing the various acts and analyzing them for any unusual camera coverage they afford. Even the circus tents— their size, color, etc.— are considered for whatever pictorial interest they may present for color photography. In the case of the Ravenna show, one of the reasons it was chosen for the first “In¬ ternational Showtime” show to be photographed in color was that the tent interior was a pleasing blue color, which NBC’s color consultants deemed to be the most compatible as a back¬ ground against which to photograph the various acts. Once a show is chosen as a subject for “International Showtime,” it is contracted for then kept under sur¬ veillance until the camera equipment is moved in. Meantime, the producers are ever vigilant that none of the acts are changed in any way or that the timing has been varied. Sometimes, this is difficult. Once, a show, which was signed., ran two hours and 15 minutes. Before it was finally taped, the show length varied from two hours to two hours and 45 minutes. Pre-production preparation also includes planning of camera angles; what lenses to use; where to spot the lighting; and how to erect the scaffolding to hold the equipment. Finally, the shows are filmed in their entirety in a single runthrough, act-bv-act, before a tent audi¬ ence. In producing a show of this type for television, mobility of camera and crew outside the tent is almost as im¬ portant as during the show itself. With filming, as compared with video-taping, all necessary camera equipment ex¬ clusive of lights can be transported in a large steamer trunk. All the circus shows for “Interna¬ tional Showtime” were photographed with Eastman Ektachrome Commercial film, Type 7255, in the camera. Prints for presentation in the United States were made on Eastman Color Reversal Print Film, Type 5269. For color tele¬ vision, the producers aver, Type 7255 16mm color film in the camera gives excellent results. All of the “Showtime” shows shot in color were edited abroad. This was an unusually laborious job considering that the editors had three batches of film from three cameras shooting pilllllllIIIIIIIIIIIII QUESTIONS INVITED Need professional advice on a jj j| picture-making problem, aboutg jj equipment, film or cinematog |j I raphy? Reader's questions are in1 vited and will be answered by g mail when accompanied by a | gg stamped, addressed envelope form ( reply. Questions and answers con jj B sidered of general interest to other [ ( readers will be published. Address your questions to the jj jj "Question & Answer Editor," Amer-m jj ican Cinematographer, P.O. Box jj | 2230, Hollywood 28, Calif. IlHIIIIIIIIllllIlllllH 304 AMERICAN CINEMATOGRAPHER, MAY, 1963