American cinematographer (Jan-Dec 1952)

unlike the photo-engraver’s screen and photographers do best when they move in as close as possible and when they do not attempt to record an abundance of detail. In shooting, we have to remember we have two different audiences: the client and/or agency people who usually view the spot on a projection screen and the home viewer who sees the same picture with a considerable portion of the frame cropped by transmission and reception. We try to fill these marginal areas with pleasant but unimportant picture matter. We contract with United Sound Sys¬ tems in Detroit for all our sound work in this area. We record all voice-over spots before shooting. This gives us an exact frame count for each scene, es¬ sential for animation and semi-anima¬ tion, helpful on straight photography particularly where closely-cued move¬ ment is involved. Voice and sound effects are first mixed and recorded on tape then onto the track. We try to record above normal level; develop to a density as high as 2.5 so that the track area on the print can be as black as possible to minimize surface noise that sometimes results from rough handling of the prints at the stations. Sync sound spots in the studio are recorded double system, directly on film in a separate recorder and also on pro¬ tection tape. We have had good luck with an Ampex tape recorder with syn¬ chronous motor on location. In such a case, we will use clapboards at the be¬ ginning and end of a scene to determine later the exact amount of “creep.” This is rarely over 4 frames in 40 feet, and in the average spot, sync sound se¬ quences are broken up by cuts and voice-over inserts and rarely run over 12 feet. Recently, we have broken away from the taboo of the visible microphone. In our “sitting at the desk“ spots, we use a table microphone in the scene for two reasons. The TV audience is thoroughly accustomed to seeing microphones in newscasts, panel shows and many other programs. It is no shock. Secondly, the additional voice “presence” gained is particularly important in an intimate medium like television and the conse¬ quent decrease in room noise, particu¬ larly on locations, is another step toward technically perfect recording. When you consider that approximately 90 percent of the stations use 16mm projectors, the sound mechanisms of which may leave something to be desired, anything that can be done to give prints the best possible sound quality and the highest allowable level heavily outweighs artistic considerations. In the field of animation, for which there is a growing demand, we are now working with an animation technique that calls for very few cels, a number of VARIABLE SPEED MOTOR with TACHOMETER for Cine Special or Maurer Cameras II 5 V. Universal Motor — AC-DC Variable Speed 8 64 Frames Separate Base for Cine Special Adapter for Maurer Camera INTERCHANGEABLE MOTORS: 12 Volt DC variable Speed 8-64 Frames. 115 Volt AC 60 Cycle, Synchronous Motor, Single Phase Animation Motors: Cine Special. Maurer. B 1st H . Mitchell. Motors lor Bolex and Filmo Cameras. Time Lapse Equipment . © Lens Coating • “T” Stop Calibration • Designing and Manufacturing lens mountings and camera equipment for 16mm and 35mm cameras. © Bausch Cr Lomb “Baltar” Lenses and others for Motion Picture and TV Cameras. © Rentals — Sales — Repairs: Mitchell, Eyemo, Bell & Howell, Wall, Cine Special Cameras. Write for information and prices NATIONAL CUE EQUIPMENT, lie. SMSt JSVT 16mm or 35mm IMMEDIATE DELIVERY! Any combination of sprockets assembled to your specifications. Sturdy cast aluminum construction. Foot linear type, with frame divisions engraved on sprockets. Contact rollers adjusted individually for positive film contact. Fast finger-tip roller release, sprocket shaft slip lock, complete with footage counter. For Instant Movability and Advanced Design HYDROLLY (TV or CAMERA DOLLY) Hydraulic lift type for fast upward and downward motion of TV and Motion Picture cameras. Light weight — sturdy — easily transported in a station wagon. Fits through a 28" door. Adjustable leveling head. In-line wheels for track use. Steering wheel and floor locks. PRECISION -ACCURATE "SYNCHRONIZER’ December, 1952 American Cinematocrapher 541