American cinematographer (Jan-Dec 1963)

SMOOOOOTH That’s the word for MILLER FLUID ACTION TRIPOD HEADS! It’s because Miller Heads are true fluid heads . . . the load rides on the fluid and all tension adjustments take place within the fluid chambers, giving a velvety smoothness unmatched by any other tripod head. There is no slack, no bounce, no backlash, no jitter. They are available in two sizes: The Pro¬ fessional, for cameras of 25-35 lbs., and the Model “D” for cameras weigh¬ ing 12-14 lbs. MILLER MODEL “D" FLUID HEAD with Miller Ball-leveling Grooved Leg Tripod. Model “D” Fluid Head: . $150.00 Ball-leveling Tripod: . 139.50 Complete: . 289.50 For the finest possible combination, get the new Miller Grooved Leg Tripod with Ball Leveling Top. These are the easiest and fastest leveling tops avail¬ able coupled with the finest and most rigid tripods in the Junior class. MILLER PROFESSIONAL MODEL Fluid Head with Miller Ball-leveling Grooved Leg Tripod. Miller Professional Head: . $299.50 Ball-leveling Tripod: . 154.50 Complete. . 454.00 At your dealer, or order direct from MILLER PROFESSIONAL EQUIPMENT 1619 NO. CHEROKEE HOLLYWOOD 28, CALIF. PHONE: HOLLYWOOD 7-8189 of Universal City Studios, we viewed this film on several closed circuit set¬ ups at NBC, ABC, and CBS. A resume of the comments by the network en¬ gineers follows: NBC — The wide screen test did not show frame lines on NBC’s monitors and it was felt that they should not show on any home receiver. However, NBC wanted picture information be¬ yond what they could see on the moni¬ tors. In other words, they wanted the full Academy aperture used whether they could see all the picture or not. This seemed rather an unreasonable attitude and I feel that it can be changed at a higher management level. “ ABC — The wide screen test film was received favorably. ABC stated that we no longer had a wide frame line problem. “ CBS — Showing our wide screen test film on a viewing room monitor, the black frame lines encroached upon the picture area slightly, top and bot¬ tom. We then viewed the film on a different monitor— one similar to a home receiver. On this equipment we saw a normal picture without objec¬ tionable frame lines. We again viewed the film on a different set of monitors with similar results. We then asked CBS whether they would accept wide screen feature motion pictures for tele¬ vising if they were photographed in this manner. “Without assuming to speak official¬ ly for the network, it was stated by the spokesman that the results appeared acceptable. He added, however, that a picture having more picture informa¬ tion, top and bottom, would be pre¬ ferred. “Following our discussions, it was generally agreed that an . increase of .005" in the height of the protection area, making it .570", would be de¬ sirable.” Conclusion: As Chairman of the Re¬ search and Educational Committee of the ASC, I am of the opinion that as long as the industry is making pictures for the theatrical market it is under¬ standable that management wishes to put its best foot forward in that direc¬ tion. I consider the solution to establish a minimum camera aperture height of 0.570" in order, since it does not cause a seriously inferior presentation of mo¬ tion picture films on television. In fact, this proposal, as unmistakably demon¬ strated with the test film described above, will satisfy the needs of both film exhibitors and TV networks. Walter Beyer Chairman Research and Educational Committee. April 25, 1963. All action taken by the author and the Committee members has, so .far, been based on oral information that networks can and will refuse to accept for telecasting wide-screen prints that would result in display of frame lines on home receivers. Although the Com¬ mittee feels its efforts have processed toward a solution of the wide frame line problem, it has, in the spirit of mutual cooperation, forwarded a copy of the above report to representatives of the three major TV networks with the specific request that they state in writing their respective policies. In the meantime the Committee re¬ gards the established dimensions, shown in Eig. 2, as an interim solu¬ tion. If confirmed in a subsequent finalizing meeting of the Committee, they will be published as an official ASC Recommendation. It is our convic¬ tion that, for the benefit of directors of photography, camera operators and all film production personnel involved in this matter, we are on the right track in establishing again one common aperture for the photography of all flat motion pictures. ■ “THE GREAT ESCAPE” Continued from Page 338 a few days later, and then it was determined that we had some added scenes to shoot for the sequence. This made it necessary to wait for the weather to turn cloudy again so that the added scenes would match the scenes previously photographed.” It is situations such as this where a director of photography’s skill and artistry is put to the supreme test. There is more to it than simply shoot¬ ing added scenes. The quality of light¬ ing in the scenes previously shot must be remembered as also must the cam¬ era position and the movements or exits, right or left, of the players in camera range — -all this if the added scenes are to properly match and inter¬ cut with the previous photography. Other examples of Fapp’s commend¬ able photography achieved under “im¬ possible” lighting conditions are the 354 AMERICAN CINEMATOGRAPHER. JUNE, 1963