American cinematographer (Jan-Dec 1952)

S.O.S. SPRING HOUSE CLEANING SALE Heavy-Duty ANIMATION STAND with 35mm Debrie Camera, stop motion, con¬ tinuous, torward & reverse, 4 spots, pan turn¬ table, double counters $6000 value. Excellent . ~ WALL 35mm SINGLE SYSTEM Fox Movietonews type, Sound Camera, 4 lenses, 2 magazines, tripod, new galvanometer, new amplifier, WE mike, 12V motor, Mitchell type finder, etc. complete. $7,000 value Reconditioned . 3 Maurer 16mm BM RECORDERS complete ready for operation with mixing amp¬ lifier, AGN noise reduction amplifier, power supply, 400' magazine, sync, motor. Dual lateral track, ready for operafion. Very $1795 Excellent $1995 Like $2495 good new ANIMATION STAND with 16mm Eastman Camera, stop motion, con¬ tinuous, forward or reverse, confrol panel. !SrValue . __ . $1495 ART REEVES 35mm RECORDER with motor, tachometer, ultra violet variable density glowlamp, recording amplifier, 2 mixer input, visual indicators, all cables. $1995 Schustek REDUCTION PRINTER 35mm to 16mm picture or 16mm /1 6mm step with 24 scene semi-automatic built-in light change. $5000 Value Rebuilt . $2995 Skinner 16mm Neg/Pos Recorder compact mount, 4 position mixer, sync, motor, noise reduction, power supply, 400' magazine. Orig. Cost Over $4000. $ J 995 HUNDREDS of other equally good values: — Colortran Lights, Synchronizers, Preview Projectors, Dollies, Solar spots, Film Cleaners, Lenses, etc. Send for Late Supplement. B & H 16mm FILMO SPECIALIST Camera wlith 3 lenses, sync, and wild motors, 2-400' magazines, Mitchell type finder, mafte box, sunshade, case, etc. $1 QQC $3000 Value. Like new . * BRIDGAMATIC JR. DEVELOPING Machine 16mm neg/pos. Speed per hour up to 600'. Automatically develops and dries 16mm film. New, demonstrators . . $795 BRIDGAMATIC 21 6B machine, Speeds up to 1800 fph. Good condition . $1195 BRIDGAMATIC 216B machine, recently over¬ hauled and guaranteed . . $1695 MOVIOLA UDS 35mm SOUND and Picture, for separate films, sound one side, picture on other. Automatic takeups, variable speed and reversible motor, amplifier, loud¬ speaker, footswitches and stand on $1 AQC casters. Rebuilt . • \Jsj SEE OUR ADS IN CLASSIFIED SECTION FOR MORE BARGAINS! S.01 CINEMA SUPPLY CORP. “ The Department Store of the Industry' Dept. F, 602 W. 52nd St., New York 19. Cable Sosound 100 miles from Gallup, New Mexico. The main locations include Chinle (a small trading post), the awe-inspiring Canyon de Chelly, and ghostly Death Canyon where a band of Nava j os once holed up and resisted Kit Carson for three years until betrayed by another tribe. Here the intrepid Hollywood pro¬ duction crew lived and worked under the most primitive conditions during the three months of shooting. Here there were no “accommodations,” in the usual sense of the word. The production was filmed during the late autumn months. The main hardship was the extreme cold which often froze the car motors every night and played hob with the camera. Earlier the com¬ pany had been warned they must leave the Canyon before a certain date or risk being snowed-in for the rest of the win¬ ter. When they had not finished shooting by that date, they decided to take the gamble and continue shooting. They just managed to get out before the first snowfall. In the sub-zero temperatures the camera motor failed and the batteries gave out. Production was held up until another motor and batteries were flown from Hollywood to Winslow, Arizona, and transported by car to the location. Much of the action in the picture takes place high up on cliffs, which made it necessary for the heavy Hollywood studio-type camera to be completely dis¬ mantled and packed by the crew up the side of the mesa. At such times, cast and crew were constantly endangered by avalanches of falling rock. Cinematographer Miller surprised the company by the sure-footed manner and speed with which he scaled the sheer cliffs. Many years before, when he was photographing a series of Westerns, his mountain goat ability to negotiate the cliffs earned him the nickname of “Split Hoof.” His athletic maneuvers on the rocks during the filming of “Navajo” made the nickname popular again. To film the picture’s few interiors (inside the trading post and the school), Miller used five ordinary photoflood lamps. A constant nuisance was the fluctuating electrical current which often caused the light level to change radically right in the middle of a take. The com¬ pany was not equipped with portable generators or batteries large enough to run these lights as booster-lamps out¬ doors — a real necessity when shooting during late afternoon or evening hours. Miller was obliged to do the best he May, 1952 American Cinematographer 217