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Model R-1 5
ONLY
$4750
Complete* F. 0. B. Milford Conn
The World’s Most Popular Film Processor!
• Develops reversal film at 1200 ft. per hour
• Negative positive film at 1200 ft. per hour
MODEL R-1S
m 1 i
ADDITIONAL FILMLINE FEATURES:
• Double capacity spray wash • Dry Box and developer thermometers • Uniform tank sizes • Cantilever construction • Self-contained plumbing
• Ball-bearing gear box • Oilless air compressor
• Size 77" x 60" x 30" Weight approx. 650 lbs.
Worlds' Largest Manufacturer of Quality Engineered Film Processors Since 1945. Over 100 Other Processor Models Available including Color, Microfilm, Negative/Positive and Spray.
REVERSAL
• Exclusive Overdrive — eliminates film breakage, automatically compensates for elongation, tank footage stays constant.
• Easy-to-operate, fully automatic controls make this an ideal machine for unskilled personnel.
• Variable Speed Drive — development times from IV2 to 12 minutes.
• Complete Daylight Operation on all emulsions— no darkroom needed.
• Feed-in elevator and 1200 foot magazine permits uninterrupted processing cycles.
• Stainless steel tanks, air squeegee, recirculation fittings, air agitation tube, lower roller guards.
• Forced filtered warm air drybox.
When You Buy Quality Filmline Costs Less!
For Additional Information Write Oept. AO-63
‘Including Temperature Control System, Bottom Drains and Valves, Developer Re¬ circulation and Air Compressor.
lease & Time Payments available
drastically minimized.”
It is easy to say, of course, that the designer must stage his scenes accord¬ ing to the new proportion, and that the animator must adjust his previous experience. How? One way, for exam¬ ple, is to be wary of extreme closeups. The effect of wide-screen, for the audience, is greater visual impact. This itself can produce jarring effects in closeups.
“The illusion of dimension in superwide-screen is similar to sitting and viewing a normal movie in one of the first three rows of a theatre,” said Saul Bass. “If under these conditions, you have extreme closeups or across-thescreen action, the audience must vis¬ ually “track” it because peripheral vision cannot encompass the screen under these conditions.
In a sense, the job of composing for wide-screen is comparable to an actor working in a small theater, and then switching to a giant music hall. In both cases, the artist’s timing must adjust to the change.
Filming an animated title for wide¬ screen viewing presents many techni¬ cal challenges. Because the enormous screen is taking in a larger scene, the
PUZZLED ABOUT
EDITING MULTIPLE SOUND TRACKS?
TRY THE NEW
Now you can convert your Series 20 Moviola to Multiple Sound editing with the Camart Add-AUnit Extension Plate. With the Add-A-Unit you can edit and cut three or more sound tracks simul¬ taneously. Each unit has individual volume control for mixing optical or magnetic sound. Attaches in¬ stantly without drilling or tapping. Removes easily. Comes complete with belt guard, screw, flange and amplifier connections.
For further details and price write:
Camart
Add-A-Unit
Extension
Plate
Series 20 sound heads and take-ups addition¬ al. Prices on request.
anodie/t fjim CAMART PRODUCT
Phone: PLaza 7-6977 Cable Addreis CAMERAMART
729
AMERICAN CINEMATOGRAPHER, DECEMBER, 1963