American cinematographer (Jan-Dec 1963)

QUALITY AND SERVICE MM BLACK&mm REVERSAL NEGATIVE POSITIVE PRINTING COLOR Processing COLOR PRINTING Work prints — Timed prints Color to Color prints — A & B roll prints Color to B & W prints — Fades-Dissolves Dupe Negatives — Multiple prints Raw stock — Fastax service Loop printing Write for complete information FILM LABORATORIES NOW AT OUR NEW LOCATION 311 WEST 43RD STREET NEW YORK 36, N.Y. JUdson 6-7196 • JUdson 6-7198 SOUND FOR YOUR BOLEX HI 6 or H8 $265.00 F.O.B. Detroit TAKE SOUND PICTURES! Perfectly synchronized sound recorded on tape simultaneously with pic¬ tures on film. Complete unit includes mechanism section mounted to camera, amplifier with carry¬ ing strap, microphone, cords, headset, etc. No camera alterations required. Unit mounts on cam¬ era same as cover and appears as part of it. Write for data. LOUIS S. UHLER 15778 Wyoming Ave., Detroit 18, Mich. Phone: UN 1-4663; Cable: UHLCIMA pan with the smoothness FLUID PAN HEAD This exciting new head outperforms ANY¬ THING on the market ... at ANY price Insures professional results, superior movies Features positive stop. Never requires servicing or care. A real featherweight at 4 lbs. Comes with adjustable mini-tripod legs. Fits any camera, any tripod. Satis guaranteed. Only $125.00 ppd Immed. Delivery Dealers inquire. TA Mfg., Dept. A 4607 Alger Street, Los Angeles 39, Calif. film. However, excellent results are achieved in 16mm Ektachrome when the cinematographer is 16mm experi¬ enced, knows the limits of the film he is working with, has learned how to stretch those limits under certain cir¬ cumstances, and knows what not to attempt. "Just as in 35mm color work, the quality of the original largely deter¬ mines the quality of the image to be viewed, whether it is a reflecting screen or television tube. Sharpness of image, color saturation, pleasing composition, and clean separation of colors are deter¬ minants of print quality. They are important for the screen, particularly important for television because of the limiting characteristics of the tele¬ vision color chain. Some of the same points made regarding exposure of 35mm color motion pictures for tele¬ vision also apply to 16mm. Original Developing and Daily Printing “Ektach rome is developed to a standard, and the variations possible in black-and-white processing are not available in color. In brief, the cine¬ matographer shoots to a standard, and the laboratory similarly develops. "16mm daily workprints may be made on either color reversal or blackand-white reversal stocks, and they may be timed scene-by-scene or printed "one-light,” using an average printer light. Most producers order color prints because they want to be able to judge the color in the workprint. and they’ve also found that certain defects (off-exposure, flares, streaking) tend to be minimized in the blackand-white print. 16mm Color for Television "To date, production of color film for network television has all been in 35mm, with 35mm prints the primary requirement in network origination. 16mm reduction color prints are in¬ cluded for stand-by use. However, the great majority of television stations are equipped with 16mm projectors rather than 35mm. As more stations take on the color capability, it may be reasonably expected that mass dis¬ tribution of color prints will be in 16mm, as it now is in black-and-white for the networks, and 100% in syndi¬ cation sales. Conclusion “To recap, professional work and results are achieved with 16mm color films when 16mm Ektachrome is han¬ dled as a separate and distinct type of film, rather than cut-down 35mm. In all types of production, advance consultation with the laboratory on special problems and specific informa¬ tion tends to pay off in reduced trou¬ bles and cost. Utilization of 16mm color has expanded tremendously over the past ten years, and additional volume may be expected in the future.” 16mm may he a small film, but to¬ day it’s big business. ■ PANORAMA MOVIES Continued From Page 715 camera’s construction was problem enough, they said, and it was com¬ pounded by the built-in flexibility called for in the original specifications. For example, each of the Arriflex 16M cameras had to be mounted with¬ in a tolerance of .00025 inch. No amount of deviation was permissible in any of the three axes, which insured that the horizons as recorded by each of the ten cameras would be in precise alignment to produce unbroken contin¬ uity. Additionally, it was important that such tolerance be maintained for each camera and be unaffected by the frequent removal of cameras for load¬ ing and unloading of film. To achieve this, each camera and its rig-mount were given corresponding numbers which insured that cameras would al¬ ways be re-mounted in their original mounts. The mounting mechanism employs a flexible, detachable, pin-indexed coupling, and any camera can be re¬ moved, unloaded and reloaded, then remounted on the rig in less than 45 minutes. Alignment of the mirrors was just as critical as aligning the individual cameras, but it was achieved so that no further adjustment need be made when the 10-camera complex is being operated in the field. Optically-ground, water-clear windows are mounted in front of the mirrors to protect their first-surface coatings from dust, mois¬ ture, etc. Main Structure Steel was chosen over aluminum for the main structure of the 10-camera complex, because of steel’s greater rig¬ idity. Two 40-inch steel rings, top and bottom, make the rig easy to handle. Three-inch aluminum tubes can be at 724 AMERICAN CINEMATOGRAPHER, DECEMBER, 1963