American cinematographer (Jan-Dec 1952)

PRODUCTION EQUIPMENT MAURER 16mm camera, latest model, 2 mags, 2 motors, 3 lenses, tripod.. ..$4, 450. 00 EYEMO Q, 2 mags, motor, 3 lenses, tripod, case, excellent . . . $1,195.00 CINE-SPECIAL II f 1.4 Ektar, reflex magni¬ fier, side viewfinder, exceptionally fine.. . $995.00 MAURER film phono, recond, at factory . $1,595.00 AURICON RT-70 recorder, amplifier. . $425.00 OPTICAL 35mm Recorder, 1000' magazine, sync motor, va galvo, amplifier, fully re¬ conditioned by original manufacturer, fine production, outfit, price on request. AMPRO 16mm Arc projector, 12" speaker $895.00 DUPLEX 35-1 6mm optical reduction printer $595.00 BRIDGAMATIC model 21 6B processing machine . . $2,345.00 STINEMAN developing system, 3 tanks, drying rack, case, new . $89.50 B&H DIPLOMAT projector, case . $129.50 B&H FILMOSOUND projector, 12" speaker $395.00 VICTOR 1600' silent projector . $69.50 VICTOR Lightweight sound projector. .. . $275.00 ZOOMAR 16mm lens, like new . $895.00 BARDWELL-McAlister 750 boomlite 125.00 PRESTO K-8 disc recorder, like new 225.00 BRUSH SOUNDMIRROR 1/4" tape recorder $125.00 MICRO 16mm hot splicer, new . $75.00 E-K wide angle converter for 1.4 Ektar . $69.50 ALL COLORTRAN LIGHTING UNITS AVAILABLE THE CAMERA MART, INC. 1 845 Broadway, near 60th Street New York 23, N.Y. Circle 6-0930 Cable Address: Cameramart AKELEY CAMERA AND INSTRUMENT C0RP. 1 75 Varlck Street New York 14, New York — Established 1914 — Designers and manufacturers of silent and sound motion picture cameras with 225° shutter opening, (288° shutter opening for television use) , gyro tripods and precision instruments. Complete engineering and machine shop facilities for experimental work, model and production runs. INQUIRIES INVITED . _ _ _ _ _ w Develop Your Own Films with BRIDGAMATIC —it pays for itself! A true one-man lab — anyone can run it! Self contained automatic processors, 16mm or 16/35mm machines for TV Stations, Small Labs, Producers, Microfilmers. Reversal and Color models available, standard or custom built. Prices start at $1095. IP' rite for Illustrated, Brochure S. O. S. Cinema Supply Corp. Dept, f 602 W. 52nd St., New York 19, Cable : SOSOUND at his destination. A typical treatment would be to show the man closing his suitcase after packing it and starting for the door, followed by quick shots of him buying his plane ticket, passing through the airport gate, as the camera swings to the sign indicating the plane’s destination. Here we make a lap-dis¬ solve or, better perhaps, a fade-out fol¬ lowed by a fadein of the New York skyline, (we use a stock shot for this, or shoot a still of the scene in our titler) then cut to the man unpacking frame. We keep these areas bright with lighting or light-colored props. We are currently using a large percentage of light from ceiling or pipe fixtures which correspond with the position of lights in most TV studios. This, we tell our¬ selves, will make less noticeable the switch from live to him. It also helps keep the floor clear for the many camera movements called for in most TV spot scripts. For exteriors, we like a slightly over¬ cast day, unless the sky is important to the scene. We use reflectors, and, where possible, booster lights to diminish the ratio between sunlight and shadow. In many cases, we will use the sun as our backlight and reflectors or boosters as our key and fill. Outdoors or in, we virtually never use diffusion devices of his bag in his (New York) hotel room. Thus in five short scenes, we have pic¬ tured the man crossing the continent — five scenes which all could have been Aimed in Hollywood where the journey started (or any other place). And speaking of Hollywood, the pictures that are made there all are pretty good examples of the application of tempo, both in the photography and the cutting. Study them, for no other medium demonstrates so easily how tempo puts the “move” in movies. any sort. TV does its own diffusion all too well. Backgrounds are tremendously im¬ portant. We are constantly trying to out¬ wit what engineers refer to as “hori¬ zontal smear,” an evil resulting from the scanning direction of television systems. We have found that a preponderance of vertical lines reduces this smear effect considerably and that any pattern is better than none. One of our favorite “cookies” for small objects, is a wire refrigerator rack. Window patterns are also very successful. Essentially, the TV photographer is up against somewhat the same problems as his newspaper or publication counter¬ part. Both have their pictures Anally presented by means of an intervening mechanical step. The TV mosiac is not VIDEO FILMS, Detroit, designed this editing table especially for its own use in cutting TV advertising films. Features include magnetic film clips, leader film supply 16 kinds) available through slots in table, viewing glass, sound reader with speaker, and electrically-heated film splicer in pull-out drawer. TECHNIQUE FOR TV COMMERCIALS (Continued from Page 533) 540 ® « American Cinematographer December, 1952