American cinematographer (Jan-Dec 1963)

16mm Magnasync Recorder Complete Portable Sound Sy stein! Take it along; this one has everything: playback amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors. Takes standard 1200-ft. film reels, gives SMPTE-standard sound. Send for brochure; and ask about rent or leasing plans. MICROPHONE MIXER . . . for smooth, efficient mixing of sound from up to four microphones. FEATURES • Frequency Response: 20-20,000 • Input ond Output Im¬ pedance: 50 to 150 ohms • Pre-Amp: transistorized circuit provides 6 db boost (increases power 4 times) • Size: 4 x 7x4 inches • Weight: 2 pounds. Feeds four low-impedance microphones (with sepa¬ rate control for each) into any single low-z input. Use with Auricon sound cameras (optical or mag¬ netic), or with Ampex, Magnecord, Nagra, Perfectone, Presto, Stellavox and other professional tape re¬ corders ... or with Mag¬ nasync, RCA, Reeves, Stancil-Hoffman, Westrex and other film recorders. Also for other professional ap¬ plications where low-z mi¬ crophones are used. Professional Net Price $159.50 Write For Complete Specifications PHOIOMART 228 S. Franklin St., Tampa 2, Florida. Phone 229-1168 INDUSTRY NEWS Continued from Page 380 Meter Calibration Filters Filters have been devised by the U.S. Bureau of Standards to effectively calibrate photoelectric exposure me¬ ters. Two sets of filters, one of blue glass for calibrating incident light me¬ ters and the other, a diffusing sandwich composed of both a plexiglas diffuser and a blue glass, for calibrating reflect¬ ed light meters. The filters permit cali¬ bration of exposure meters that are intended for both indoor and outdoor use. Until recently, it was established that for calibration of such meters the effective light source color tempera¬ ture was about 2850°K. However, descrepancies were noted when the me¬ ters were used in daylight. Recent ASA studies indicate a CT of about 4700°K would eliminate the descrepancies and filters have been designed to achieve this. Lightning, Action, Camera The scene being filmed on the Walt Disney set called for a long shot, with six horsemen in the foreground and lightning flashing overhead. The sod¬ ium traveling matte photographic proc¬ ess being used required a foreground light level of 1200 footcandles, which meant an additional 4000 footcandles would be needed to override the set lighting to simulate the lightning. Ordinarily, a carbon arc “scissors” would have solved the problem, but flare control is difficult, and because no white light can strike the sodium backing, this technique was impossible. Besides, the operation of the “scissors” might have frightened the horses. Edward Colman, ASC, suddenly re¬ membered reading just the day before about the new Mole-Richardson “Ti¬ tan” arc lamp, and put in a call to Mole-Richardson’s Howard Bell. Three Titans were brought to the studio, placed on one side of the set, and shutters used to provide the “lightning flashes.” Colman easily got the extra 4000 footcandles he needed, and the horses couldn’t have cared less. The Titan arc lamp, designed for high-amperage operation at 350 amps with a 16mm carbon produced by Na¬ tional Carbon Company, is said to pro¬ vide a greater set lighting intensity than previous lamps. It should find wide use as a booster for shooting exterior scenes in color. ■ 382 AMERICAN CINEMATOGRAPHER, JULY, 1963