American cinematographer (Feb-Dec 1929)

Thirty-six American Cinematographer September. 1929 CINE LENSES Goerz Cine Lenses are being used all over the World because they are of Superior Quality We manufacture in our New York factory the Kino— Hypar F. 2.7 and F. 3 in focal lengths from 1-inch to 4-inch We also have an imported, superspeed series Cinegor F. 2 and F. 2.5 in focal lengths from 1 % -inch to 4-inch and the telephoto series Telestar F. 4-5 in focal lengths from 4% -inch to 13 inch for long distance shots and close-ups We make all kinds of trick devices, precision focusing mounts, focusing microscopes and special camera fittings. We undertake the development of your own ideas along optical lines. Write us. A new catalogue, listing the complete line of Goerz Lenses and accessories, will be mailed on request. C. P. Goerz American Optical Co. 317 E. 34th St. New York, N. Y. Solving the Ice-Box Problem (Continued from Page 7) provided at the rear through which it may be viewed. Another important addition, for which Mr. Toland is responsible, is a device by which the focus may be adjusted from the outside. The lens-mount is made with a V-shaped groove in which a small belt fits, and extends to a pulley below, to which is attached a dial calibrated for several lenses. As the position of this lower assembly is adjustable, it can quickly be adopted to any lens. This improved "Blimp" can be used from a tripod, but it is generally mounted on a special perambulator, whose height is quickly adjustable, and which makes moving shots even more conveniently easy than they were before sound pictures came. At the Pathe Studios, the problem was tackled by Art Director Edward Jewell, who has turned out one of the most original devices of its kind. Externally, it looks more like an Indian cliffdwelling gone astray than anything else, but it works, and is a very satisfactory silencer. It is made of two papier-mache shells, between which is a layer of sound-absorbent material. At the front a flaring opening surrounds a removable glass window, through which both lens and finder peer. The matte-box is inside the case, as is the motor, making a very convenient, selfcontained unit. There is provision made for following focus on moving shots, the focus being indicated on a scale below the front of the camera. The unit is used on any standard tripod, but insulated from actual metallic contact therewith by its overhanging base. A unique feature is the absence of doors for getting at the camera within: instead of this, the whole device is separable from the base, and may be lifted completely away from the camera — hence its nickname "the Hat." Several of these devices have been made, and found satisfactory under production conditions by such members of the Pathe camera department as Arthur Miller, A. S. C, and Norbert Brodine. At the Paramount Studio, the chief cameraman. Virgil Miller. A. S. C has, after much research, adopted a device known as the Baby Booth." This device is the creation of Roy Hunt and Robert Smiley, of the camera department, and is just what its name implies — a miniature booth. It is a good-sized, square box built around any standard camera, and constructionally very like the big booths. It stands on a special tripod which has, in addition to its legs, a three wheeled undercarriage which is raised or lowered by the turn of a crank, and which can be entirely removed, if necessary. The "Baby Booth" itself is sufficiently large to allow ample working space around the camera, or to accommodate even the wide-film outfits now being experimented with. The device retains the familiar optical-glass window in front, on which provision is made for mounting mattes and gauzes, and around which is built a large metal sunshade. Both the finder and motor are contained inside the case, making the unit an extremely mobile one. Inside, it is probably the most luxurious device in use, for it furnishes the cameraman with every possible convenience. There are small lights for illumination while threading the film; an automatic clutch which disconnects the motor while threading the film, or whenever a buckle occurs; a "bloop light," for marking the starting-point of a scene, which may be worked from either inside or out of the booth; and an extremely accurate device for focusing, which operates from the outside, and which moves the finder to exactly agree with the changing focus of the lens. The focusing arrangement consists of a permanent lens-mount, into which all the lenses fit, around which a small chain operates, connecting with a lever on the outside of the booth, and a large indicating quadrant inside. This indicator is at the rear of the case, easily visible through the large rear window, and illuminated by a small lamp contained in the pointer. The calibrated scales on the indicator are interchangeable, so that each lens has its own accompanying scale; as these scales are absolutely accurate, the value of this feature for present-day cinematography is obvious. The Paramount Studio is at present experimenting with a special camera of their own manufacture for use with these "Baby Booths." but current production is being carried on with standard Bell W Howell and Mitchell sound cameras. The "Baby Booths," themselves, are so completely successful that the studio is completely equipping itself with them as fast as they can be made. During the experiments which finally resulted in this accepted model of the device, a number of interesting designs were tried, including one which embodied a layer of glass in its walls, to achieve the maximum silence with the minimum bulk. In the same line — that of securing silent operation with minimum bulk — a number of individual cinematographers have carried on much worthy research. At the Tiffany-Stahl lot, Jackson Rose began by ruthlessly ripping the glass from his booth, and substituting sheets of sound-absorbing felt, leaving only a small hole to photograph through. This was so successful that he next made an overcoat for his camera, a padded robe so suggestive of "Spark Plug's" famous attire that the staff at once dubbed it a "Barney Google." It is literally an overcoat to be thrown over the camera, allowing the lens to project from the front, the finder from the side, and the motor-cable from the rear. The afterpart is fitted with a "Zipper" fastening, so that immediate access may be had to the camera without removing the whole cover, and a small window is left just over the take-up pulley, as a check against buckles, and such mishaps. The device is so simple and practical that its use should spread to all companies using adequately silent cameras. Another similar device is the most original one made by Joseph Walker. A. S. C. at the Columbia Studio. Walker decided that, since the main thing was to prevent the noise of the camera from escaping, the logical process was to catch it as near the source as possible. Therefore he devised a regular suit of armor for his camera — a set of back-and-breastplates of moulded sponge-rubber, covered with leather, which fit directly onto the camera, parts of which have already been treated with acoustic padding within. Covered this way. the camera is scarcely larger or heavier than before, and all controls are readily accessible, yet the major part of the noise is effectually smothered. For safety, a sheepskin hood is thrown over the camera, and the outfit is ready to work. The final step in this direction is that taken by the Fox Studio, where blanketed cameras— specially treated to reduce their noise-making capacity — are used for all purposes. And as the manufacturers are steadily improving their products, it is hardly to be doubted but another year's progress will see camera booths entirely eliminated, and cameras being used as freely as before. When such is the case, a very great share of the credit will belong to the cinematographers and other technicians whose artistic devotion and inventive genius have again triumphantly risen to surmount the obstacles of the apparently impossible; to the men who don't know how to say, "It can't be done!"