American cinematographer (Jan-Dec 1963)

AS MAY BE SEEN HERE, the APC has virtually all the sound stage fa SUNLIGHT REFLECTORS have been set up in a rugged distant location cilities of a Hollywood major studio. Chris Mauriello and assistant Bob to throw light into shaded area for sequence for a jungle warfare Murphy prepare to shoot scene for an APC training film. training film, beir.g photographed by Frank Argondizza at camera. — U S. Army photos courtesy APC. equipment that will be needed (this includes coordination with the Stage Branch for electrical and grip requirements). Both then confer with the Project Officer and the director, offering suggestions as to the most efficient and eco¬ nomical way the picture can be photographed. Frequently, tests must be made prior to production. As actual photography gets under way, Lipkowitz reviews the “dai¬ lies” in the projection room each morning to check the quality of work and make certain high pho¬ tographic standards are being ob¬ tained. Fine Detail Essential Fine detail is most essential in training-film photography. Pe¬ culiar angles that would cause dis¬ tortion are avoided. Backgrounds are kept clean and plain — non-es¬ sentials distract from the subject. APC cameramen strive to keep the photography clear, needle sharp and with well defined lighting. This does not mean that dramatic low-key lighting is absent from training films. Some subjects, like films dealing with certain phases of intelligence operations for ex¬ ample lend themselves to dramatic photography. But even with such subjects, abstract and “arty” an¬ gles are avoided. So is excessively dim lighting. APC cameramen must always bear in mind that their pictures may be projected in the field under less than ideal con¬ ditions. The photography must be sufficiently clear to render an ac¬ ceptable picture if projected in a poorly darkened classroom, dayroom or tent. A constant problem that besets the Center’s cameramen working overseas in various parts of the world is the wide variety of elec¬ tric voltages and frequencies en¬ countered. To assist camera crews in solving this problem, Lipkowitz has compiled a list of principle foreign voltages and frequencies. But often Army cameramen must operate in the field with troops in areas where no electricity except that provided by generators is available. A heavy generator can present a serious transportation problem and sometimes must be left behind. This, of course, means that the cameraman will not be able to get certain highly desirable scenes. Such problems have been solved with the acquisition of a Birns & Sawyer CAR-on gener¬ ator. This generator, which can be mounted alongside the regular generator of an auto, jeep or weapons carrier, is capable of pro¬ viding 110-volt, 30-amps current, sufficient to run a Mitchell motor and several portable lighting units. B&H Eyemo Favored Quite a bit of thought has been given by Lipkowitz and other APC officials to the need for an efficient, lightweight, spring-driven and ruggedly constructed 35mm mo¬ tion picture camera that can be used by Signal Corps cameramen operating under hazardous field conditions or in actual combat. Lipkowitz calls them “cold war cameramen” since they must op¬ erate in places like South Viet¬ nam, Berlin and other points of tension throughout the world. During World War II, experi¬ ments were conducted on a num¬ ber of motor-driven, battery-pow¬ ered hand cameras. Although these were capable of excellent per¬ formance, they proved too heavy for the cameraman shooting un¬ der ground combat conditions. The workhorse of both World War II and the Korean War was the reliable and practically inde¬ structible Bell & Howell Eyemo, Continued on Page 394 392 AMERICAN CINEMATOGRAPHER, JULY, 1963