American cinematographer (Jan-Dec 1963)

Record Details:

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MAGNASYNC R ECORDE R MODEL X-400 TYPE 15 has everything in one case — playback amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors — an ALL-IN-ONE magnaphonic sound system (S.M.P.T.E. standard performance). Ac¬ commodates standard 1200-foot film reels. W rite for brochure ONLY $1385 Model X-400 for extra lightweight portability, from $1190 S.O.S. carries the complete line of Magnasync recording systems. S.O.S. PHOTO-CINE-OPTICS, INC. 602 WEST 52ND ST., NEW YORK 19, N. Y. • Phone: PLaza 7-0440 • Telegram: "FAX, N.Y." WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Phone: 467-2124 i mm Electronically Controlled Infinitely Variable Speeds up to 60 ft. per min. ★ Fully Automatic ★ Automatic Temperature Control ★ Chemical Recirculation ★ Complete Plumbing ★ CustomEngineered Models to Industrial and Military Specifications ★ ALLEN REVERSAL PROCESSORS For complete information, ivrite: 16mm Model 700 CAMERA EQUIPMENT CO., INC. A SUBSIDIARY OF CECO INDUSTRIES, INC. NEW YORK, N.Y. HIALEAH, FLORIDA HOLLYWOOD, CALIFORNIA 315 West 43rd St. 51 East 10th Ave. 6510 Santa Monica Blvd. Britain in 1943. “I was pretty keyed up and more than a little bit scared but I had been briefed over and over on the sort of pictures desired.’ he told me one day when I visited a set he was working on. “When we hit the beach, I bound¬ ed out of the landing craft and started covering the action with my Eyemo. The trouble was. in my excitement and preoccupation with the photography, I forgot to keep under cover. “The troops were scattered along the beach behind whatever cover they could find. I would make a shot and then run up to the fellows and ask for their names and units. We were sup¬ posed to send that information along with the exposed film. The boys must have thought I was a complete nut running around with a camera and asking such silly questions, especially when the Japs were throwing plenty of fire in our direction. Finally, an officer pulled me down before I got hit. When I realized what I’d been doing, I really got scared. It’s funny what a camera¬ man will do sometimes just to get a good picture!” After the war, Mauriello joined the AFC camera staff and has been a pro¬ duction cameraman at the Center for the past 17 years. During this time, he has photographed every conceivable type of picture. On this occasion when I talked with him. he was working on a picture deal¬ ing with the classification and rehabili¬ tation of military prisoners. He had just returned from a lengthy location trip to the Army Disciplinary Bar¬ racks, Fort Leavenworth, Kansas, and was in the process of doing the in¬ teriors on the main sound stage at APC. The set depicted a board room where prisoners are brought before a group of officers and civilian officials for classification. “My problem on this picture is to match the studio interiors with the footage we got at Fort Leavenworth. So far I’ve had no special difficulties except that we worked in some pretty tight spots, like for example, prison cells while we were at the Disciplinary Barracks. Also, we used available light for some of the long shots. But we got beautiful results.” He was using a Mitchell BNC camera mounted on a crab dolly and Worrall geared head. He told me he was using DuPont Su¬ perior 2 film and working at an aver¬ age light level of about 150 foot can¬ dles. I learned from both Mauriello 360 AMERICAN CINEMATOGRAPHER, JUNE, 1963