We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
ERNEST LASZLO lines up battery of Panavision 65mm cameras to film some frantic action staged on large exterior set on Universal Studio backlot.
TO SHOOT straight down on mob action in a village square, Laszlo mounted two Panavision 65 cameras on aerial platform suspended from Chapman camera crane.
Tn the mild dawn of a midApril morning, four pieces of motorized studio equipment bearing several Ul¬ tra Panavision cameras and related equipment, along with a cadre of 160 crew members, stuntmen, and a corps of special effects technicians snaked out of the main gate of Revue Studios and headed toward the desert town of Palm Springs, 120 miles southeast of Hollywood.
Six hours later, with producer-director Stanley Kramer setting the pace, Director of Photography Ernest Laszlo, ASC, started the cameras rolling on a highway location where almost daily for the next four weeks, he photo¬ graphed a mighty speeding carnage of automobiles, trucks and airplanes, operated by skilled stuntmen and re¬ mote electronic controls for some of the most thrilling scenes for ‘‘It’s a
Mad, Mad, Mad, Mad World/'
The story for this rollicking movie covered a lot of real estate and re¬ quired that Laszlo and his camera crew and equipment traverse virtually the breadth and length of the state of Cal¬ ifornia, from the Colorado desert area northward to Ventura and beyond. The company’s cavalcade of personnel, equipment and personalities shot their
Continued on Page 726
CINEMATOGRAPHER LASZLO used two remote-controlled cameras to photograph this tricky stunt of light plane crashing through a signboard.
LASZLO’S CAMERA crew lines up crane-mounted camera during a rehearsal for one of the picture’s most frantic and hilarious sequences involving Sid Caesar and Edie Adams.
AMERICAN CINEMATOGRAPHER, DECEMBER, 1963
705