American cinematographer (Jan-Dec 1963)

&*QglfV&%Rn wimmm. Professional Foot candle Meter for the TV Lighting Director and the motion picture Gaffer SPECTHA CANDELA Karl Freund HOLLYWOOD, CALIF. 90038 This is the latest IMPROVED (INEKAD JUNIOR DOLLY U sed Nationally by Discriminating Cameramen This 3-Wheel Collapsible Dolly Is especially designed to meet the demand for con¬ venient mobility of cameras on location or in the studio. The new model instead of the 4" wheels is constructed with 5" heavy duty rubber-tired swivel wheels. CINEKAD ENGINEERING CO. 763 10th Ave., N.Y., N.Y., Plaza 7-3511 Write for more details and prices. LINWOOD DUNN, asc Formerly head of RKO Studios Effects Dept. CREATIVE SPECIAL EFFECTS Complete Advisory and Technical Services From Story Ideas to Theater Screen. Recent assignment, Stanley Kramer — United Artists’ “ It’s a Mad , Mad. Mad, Mad World” FULLY EQUIPPED LABORATORY AND STAGE FOR SPECIAL EFFECTS SERVICES IN 16-35-65-70mm Equipment Design • New Processes Over 30 Years of Major Studio Experience FILM EFFECTS of Hollywood 1153 N. Highland Ave., Hollywood 38, Calif. Phone: HO 9-5808 Cable: FILMEFX focal length of the lens used becomes more critical. Also, being able to get in close enough for proper focusing becomes a problem. Playhouse Pictures solved these prob¬ lems with a Todd-A-0 camera and a specially designed Panavision-Animation APO Panatar 1.25X anamorphic lens. The lens was developed to main¬ tain accurate power from the number four field to the number twelve field. It has a built-in anamorphic system that combines a regular lens with the ana¬ morphic lens. The latter prevents dis¬ tortion of the projected film on the 90-foot wide curved screen. This Panavision lens, insured for $18,000, has a fixed focus range from 19 inches to 40 inches. The wider field of the Cinerama title also presented a problem in distrib¬ uting light evenly over a larger work¬ ing area on the animation stand. Previ¬ ously, two 500-watt baby keg lights amply provided even light distribu¬ tion. However, when filming the larger cels, the results suffered from uneven light distribution. Playhouse Pictures’ head cameraman Allen Childs solved this problem by building a special glass platform to accommodate the wider cels and by adjusting the lighting to cover the greater area. All cinematography was done with 65mm Eastman Color Negative film. Solid color backgrounds were created on pieces of cardboard. The blackand-white texture cells then were placed over these “color cards” and filmed. Because this wide-screen animated color title was a “first,’ film editor Hugh Kelley, chose to work with a 35mm reduction print. Obviously, it was also more economical to work with the smaller print. Producing this animated color title for the Cinerama ultra-wide-screen proved to all concerned that there are few problems in film production today that cannot he solved by ingenuity, imagination and cooperative effort. ■ SHOOTING FROM THE AIR Continued From Page 708 Utmost cooperation between pilot and camerman at all times is, of course, highly essential. The pilot will do some briefing of his own, such as demonstrating use of the safety belt and assisting the cameraman and any others accompanying him on the flight getting into the parachute harness, if one is to be worn. (Regulations usually make it mandatory). A means of communication between pilot and cameraman during flight is a must. Most camera planes are equip¬ ped with two-way intercom phones. When such is not available, then a series of simple hand signals should be established, practiced and memorized prior to taking off. When shooting is to be done from a light plane or helicopter, the camera¬ man’s shooting position is seldom left to choice. When a larger plane is to 730 AMERICAN CINEMATOGRAPHER, DECEMBER, 1963