American cinematographer (Jan-Dec 1952)

SPRING INVENTORY SALE PRODUCTION EQUIPMENT MAURER Film Phonograph, model 40, like new, complete . ...$1,895.00 MAURER 16mm camera, latest model, 400' mag, 2 motors, 3 lenses, tripod, case, excellent . $4,595.00 BRIDGAMATIC model 21 6B developing machine, in new condition . $2,650.00 AURICON CM-71 sound camera and amplifier, used, excellent $1,195.00 CINE VOICE sound camera and ampli¬ fier, used, excellent . $550.00 CINE SPECIAL — I camera, 2 lenses . $425.00 100' chambers . $100.00 200' chambers . $225.00 Colortran Lighting Equipment “750" UNIT, 3 spots, 1 broad, stands, converter, case; equal to 3000 watts on less than 1 5 amps. New . $265.00 used. . $209.50 “2000" UNIT, 2 floods, stands, conver¬ ter, case; equal to 4000 watts on less than 20 amps. New . $163.00 used . $109.50 “5000" UNIT, 2 floods, stands, conver¬ ter, case; equal to 10,000 watts on less than 30 amps. New . $207.50 used . $159.50 Miscellaneous MICRO 16mm hot splicer . . . $75.00 MICRO 2 gang 35mm synchronizer . $95.00 BOLEX H-16 camera, 3 lenses. .$295. 00 CECO 3 wheel dolly . $195.00 HOLMES 35mm sound projector $250.00 Trade Equipment You Don’t Want for Equipment You Do Want THE CAMERA MART, INC. 1845 Broadway, near 60th Street New York 23, N.Y. Circle 6-0930 Cable Address: Cameramart RUBY CAMERA EXCHANGE Rents . . Sells . . Exchanges © Everything You Need for the PRODUCTION & PROJECTION of Motion Pictures Provided by a Veteran Organization of Specialists 35 mm . 16 mm. Television IN BUSINESS SINCE 1910 729 Seventh Ave., New York 19, N.Y. Tel: Circle 5-5640 Cable Address: RUBYCAM !^Fii3ters In Wurld-UM* Uss Produce moonlight and night effects in daytime* fog scenes « diffused focus and many other effects. Information moiled on request. SCHEIBE FILTERS COMPANY ORIGINATORS OF EFFECT FILTERS P.O. Box 16834, Hollywood46, Calif. could with existing natural light and re¬ flectors — and he did very well indeed. Not all of the problems were photo¬ graphic, however. Because the Indian school authorities would not permit any of their students to take a leave-ofabsence for the purpose of becoming movie actors, it was necessary to select a boy of pre-school age to play the lead. Young Francis Kee Teller, like the other Navajos in the cast, spoke no English whatsoever, and it was necessary to have an interpreter available during shooting at all times. The only white man Francis had ever previously known was the trader who, incidentally, plays the part of himself in the film; but the boy had the inherent Navajo hatred for all white men. None of the Indians employed in the picture had ever seen a motion picture, and they were at a loss to understand why they had to repeat each bit of action several times. They often would go on a sit-down strike, refusing to carry on further with such “foolishness.” When the little boy grew tired of acting he would quit and set off for home on foot, even though it was 35 miles away. In such emergencies, producer Bartlett would have to play football with the lad until he became co-operative again. The old Indian who plays the role of the hoy’s grandfather (a former power¬ ful medicine man of the tribe) had to he paid a hale of hay and a sheep before each day’s shooting. He, too, often would get tired of it and quit. The producer, director and cameraman would then have to use the utmost diplomacy to get him back in the cast. On one occasion he developed a grudge against director Foster, after which he would take direc¬ tion only from producer Hall. The old Indian further complicated matters by cutting off his hair halfway through the “ production, holding up the schedule until a wig could be flown in from Hollywood. On some days the little Indian boy would not start work until he had been fed quantities of strawberry pop and Cracker-jack for “breakfast,” which in¬ variably made him violently car-sick on the way to location. However, the repeti¬ tion of this malady never caused him to change his strange diet. “We lived in constant fear that the hoy would be LOYALTYPROGRESS -ART — CREED OF THE A.S.C. By JOHN ARNOLD, A.S.C. With the election last month of officers and members of the board of directors of the American Society of Cinematographers, the Society reaches another milestone in its long and suc¬ cessful history — its 33rd anniversary. On this occasion it is timely to review the purposes and the creed of the So¬ ciety, oldest organization in the motion picture industry. The Society’s constitution estab¬ lishes, as one of its chief objectives, the advancement of the art and science of cinematography; to maintain the honor and dignity of the members of the cinematographic profession, and to cultivate and maintain goodwill be¬ tween directors of photography and other members of the great motion pic¬ ture industry. These aims are summed up in the Society’s creed: LoyaltyProgressArt. Criticism of the motion picture in¬ dustry and of its people often occurs because the spotlight is ever on Holly¬ wood. Sometimes this criticism arises from within the industry, sometimes from outside. True to the A.S.C.’s creed, Society members have not only rarely become involved in such critic¬ isms, but have been the first to expose those who would attempt to smear or belittle Hollywood and its loyal workers. This vigilance must be con¬ tinued. The loyalty for which the A.S.C. stands must remain a para¬ mount objective. Today, just as in the early days of the A.S.C., the Society and its mem¬ bers are contributing much in the pro¬ gress of cinematography, enabling the industry to meet ever-changing trends — trends which have seen sound, then color, and, most recently, television challenge the progress of the motion picture industry. Among the members of the A.S.C. are many who have made significant contributions to this progress. The Art of cinematography also con¬ tinues to advance, thanks to the in¬ genuity, intelligence and integrity of Hollywood’s veteran directors of photo¬ graphy. Today, due in no small way to the efforts of these men, color mo¬ tion pictures have become the indus¬ try’s most significant artistic achieve¬ ment. Sound gave the movies its voice, but color has brought to motion pic¬ tures more genuine realism than any other factor. And what about tomorrow? Mem¬ bers of the American Society of Cine¬ matographers, with their vast ex¬ perience and their resources of tech¬ nical knowledge, will continue to contribute substantially to the indus¬ try’s progress. Loyalty — Progress — Art, as always, will influence this continuing march forward. 218 American Cinematographer May, 1952