The Cine Technician (1943 - 1945)

THE CINE-TECHNICIAN The Journal of The Association of Cine-Technicians •orial & Publishing Office: 9, BROMEFIELD, STANMORE, MIDDLESEX. Telephone: EDGWARE 311& -ertisement Office: 5 & 6, RED LION SQUARE, LONDON, W.C.I. Telephone: HOLBORN 4972 Associate Editors : Darrel Catling, Sidney Cole. George H. Elvin, Kenneth Gordon, Frank Sainsbury. lumber Forty-four, Volume Nine September — October, 1943 Price One Shilling PHOTOGRAPHING of MODELS By ROY KELLINO TO write an article on the "Photographing of Models" is quite a difficult assignment in view of the many problems and var\ ing types of work one is confronted with during a prqjducfcion. J would like to approach the subject as generally as possible for the interest of all readers. 1 think that in England we are broadminded enough to admit that up to the outbreak of war trick photography here has been sadly negle< bed except by one or two specialists. Naturally, as in many* industries, it is the war that has forced on u conditions that have necessitated adapting old bods Eor new, in order to maintain a pre-war of product. Shortage of building materials ould only be surmounted by rinding a substitute. That substitute was the building of scale models. The sudden increase in companies requiring models to be photographed meant that the few specialists were soon swamped with work. Companies began to realise that if their pictures were to be finished t hej must turn to their own cameramen tn finish them. It was in this position Ealing Studios found themselves in 1940 — when I was approached 1>\ the management and asked fco form a Model Department. It was not easy, as I had no previous experience <i. this work. The first consideration obviously was to obtain an assistanl who could help in reproducing the effects necessarj to bring realism to the screen, h\ a good knowledge oi chemistry coupled with sound common-sense. 1 was Lucky in my choice, Cliff Richardson, who has proved a tower of strength during our association of fchi las! three years. After a few weeks of practical experience the existing equipment was found to be inadequati Each job tackled brought additional requirements but the number one obstacle remained, the lack of any high speed drive for the camera that would allow flexibility and freedom to the operator. The use of the Bell and Howell high-speed gear-box coupled l>\ rigid shaft to the camera, although .i lite i fficiently driven by motor, was like wearing .i strait-jacket. This obstacle, like main othi rs, was overcome by Sid Howell, fco whom 1 p; to pay tribute. Sid produced a variable speed or, coupled to the camera by a flexible drive of sufficient length to allow complete freedoi camera movement. Incorporated in this flexible drive is a multi-spring loaded clutch, a safeguard against camera jams at any speed. The interesting features of this motor are its extreme range and its simplicity of operation. Its perform in e is, I think, unique. The lowest s] holds stable at 12 pictures a second, hut can he increased to anj given speed up to 128 pictures a second. This can he done while the camera is in on without any mechanical adjustment, '\ :i greal ad\ antage. I '>_\ compensate exposur ris oi lens, it is quite pr: I cal either to increase or dei rease the speed of the camera during a shol . Ahout this time. 1 was laced with the many problems in using foreground models in conjunctii n ■ ill full size sets, and came up against the immobility of th inn I came to tl witti another unique pre e oi equipment thai ingl\ hears i ho nan Th< 1 1 iwell I >ollv."