American cinematographer (Jan-Dec 1952)

Notes and editorial comment Why is the Camerette the world’s most modern motion picture camera? Because the Camerette with its functional shape, precision movement, and unique, rugged but light weight construction incor¬ porates the newest ideas in camera design. Reflex Viewing through the taking lens at all times — no parallax, no auxiliary finders neces¬ sary. Accurate framing and focusing of all scenes ... Instantaneous Magazine Loading. No losses of action or waits while threading. Ideal for news, sports, medical photography . . . Divergent Three Lens Turret. No interference from shortest to longest focal length lenses. The only reflex motion picture camera able to use short focal length lenses. 18.5mm to 300mm available . . . Adjustable Shutter from 200° to 40° . . . Rapid Dove Tail Mounting. Sim¬ ply slide the flat base of the Camerette on the tripod and it’s locked tight . . . Complete Line of Accessory Equipment. 6/8 volt motor drive, 110 and 220 single and three phase syn¬ chronous motors, hand gear box, tripod, matte box and filter holders, and focusing mounts for all principal makes of lenses . . . and the 16/35 Camerette has all the advantages of the 35mm Camerette, plus the ability to use both film sizes interchangeably. The change¬ over is accomplished in a matter of seconds. L!£Jamerette patents coutant-mathot Manufactured by Ets. Cine. Eclair, Paris for descriptive brochure write U.S. representative Benjamin Berg Agency 1366 No. Van Ness Ave., Hollywood 23, Calif. CLDSEUPS I The television boom — and particularly the recent trend toward putting major TV programs on film — poses the question: “What has all this done for the cinema¬ tographer?” In Hollywood, TV film production has given work — steady work — to many cameramen, assistants and operators who formerly worked only occasionally. Today, there are about 30 directors of photography on contract with Holly¬ wood TV film producers as contrasted with about 8 a year ago. The number of cinematographers regularly employed in the motion picture studios has de¬ creased only by about 8%, indicating some decline in studio production — mainly the gradual elimination of “B” or second-feature films. Most of the men photographing TV films today formerly were major studio cameramen. The present TV film production pic¬ ture seems to bear out the predictions generally made by astute industry heads a year ago that television would even¬ tually benefit rather than harm the fu¬ ture of the cinematographer. ★ Following publication 0f an article in last month’s issue which described MGM’s new jeep camera crane, it was called to our attention that previously UniversalInternational Studios had built and put into use a similar vehicle. While our article in no way implied that MGM’s Jeep camera crane was the first of its kind, and because we wish always to give credit where credit is due for tech¬ nical accomplishments in the motion picture industry, we take this oppor¬ tunity to cite U-I’s engineers for their earlier development of a Jeep camera crane. While we have not seen U-I’s equip¬ ment, it is reported that MGM’s pos¬ sesses many new and unusual features not found in other crane equipment. Engineers of both studios, incidentally, are leaders in the development of new and improved equipment for photo¬ graphing motion pictures. ★ Two of the focal points of world interest in documentary and experimental films are at Edinburgh, Scotland and Venice, Italy where annual international film festivals take place. Each year these foreign festivals grow in stature, and presentation at each festival has become a coveted distinction among makers of = by the editor .... non-theatrical films the world over. Many of the films entered are shown publicly for the first time and some re¬ ceive their world premiere at Edinburgh or at Venice. In order to expedite and coordinate the submission of American non-govern¬ mental, non-theatrical films for exhibi¬ tion to both festivals this year and each year hereafter, the Film Council of America, 600 Davis Street, Evanston, Illinois, has been asked by the direc¬ tors of both festivals to undertake the handling (evaluating and transmission) of such films originating in the United States. All inquiries concerning either festi¬ val should be directed to Mr. Charles Bushong, of the FCA, at the above address. ★ The photographer using color film has just as much artistic freedom as a painter with his brush, Ralph M. Evans, a nationally-known color expert, told the annual convention of the Photographic Society of America in New York City last month. Denying the charge made by artists that color photography is merely a me¬ chanical device for recording a natural scene, Evans said, “The only thing mechanical about a photograph lies in the fact that ‘pressing the button’ makes permanent the image which the photog¬ rapher has already created.” Evans, who is superintendent of East¬ man Kodak Company’s color control department, spoke on the subject, “Cre¬ ative Directions in Color Photography.” His lecture, illustrated by more than 100 Kodachrome and Ektaehrome slides, was sponsored by the PSA’s Technical Division. Evans told his audience that the sub¬ ject matter of photography is infinite. It is limited only by the imagination and the capacity for feeling of the pho¬ tographer, he said. “What all good photographers do is use the medium creatively so that you will see a particular phase of a typical scene according to your own experience.” ★ Eastman Kodak Company has just an¬ nounced a new infra-red raw film stock which literally permits motion pictures to be photographed in the dark with ( Continued on Page 378 ) 376 American Cinematographer September, 1952