American cinematographer (Jan-Dec 1956)

QUE A L ANSWERS T E /alter Strenge, A.S.C. , to cinematography As of film production M readers and will be dtter by Walter Strenge or dified members of the Amer.iy of Cinematographers. Quesd answers considered of general st will appear in this column. — Ed. I recently read about a news camera¬ man in Oregon who lias set up a nit rack and tank outfit for quickjessing of color film on a small , using 200-foot racks. Where can •tain data on a similar setup? I ate a small laboratory, processing ly professional reversal films, and nterested in tackling color proeessn a limited scale. — H. G ., IS etc York, e color film which the Oregon newsis processing is undoubtedly the high-speed Anscochrome color re1 film. A processing instruction in is being mailed you by the or. A comprehensive article describhe new Anscochrome color film ured in the August, 1956, issue of •icon Cinematographer . 4re are presently many processing ines available that are suitable for ssing Anscochrome. These range > ce from $80,000 on down. Manurers of such equipment regularly otise in the pages of American iiatographer. Possibly the lab you labout is the rack and tank setup i Forde Motion Picture Laboratory •little, Washington, which processes chrome for station KOMO-TV. >n Kowalak, A.S.C. am preparing to shoot an outdoor lm on 16mm Kodachrome, which • >e released in 35mm color. have one of the major film labs < the release prints, using Eastman 'negative as an intermediate, would tbetter quality release prints if the id were regular daylight Kodaie? Or Commercial Kodachrome? • •e is a difference, is it appreciable? Commercial Kodachrome is used in lining with no color correction filter I red to compensate for differences <n emulsion lots, would it prove 'advantageous than regular Kodaie? — R. E. S., Buffalo, IS. Y. nvering the first of your two quesboth daylight Kodachrome Type nd Kodachrome Commercial film Type 5268 will produce satisfactory re¬ sults when blown up to 35mm Eastman Color negative and release-printed to Eastman Color Print film. However, Kodachrome Commercial film would ap¬ pear to be a little more desirable for the following reasons: 1) Manufacturing and processing tol¬ erances are more closely controlled. 2) Its lower contrast makes it more desir¬ able for any duplicating work; and 3), Kodak’s new internegative film was de¬ signed specifically for Kodachrome Com¬ mercial film. The answer to your second question is “No.” — Walter Strenge, A.S.C. Q I wish to obtain a diffusion or softfocus effect, similar to that which was common in Hollywood-made films around 1935. There is a certain liquid softness in this style of photography which I have been unable to match. I have tested most of the available diffu¬ sion and fog filters without achieving the desired results. — B. L. H., Prince¬ ton, IS. J. The diffusion effect you have in mind was probably achieved in the Hollywood films referred to by use of filters pro¬ duced at that time by Harrison & Har¬ rison. Hollywood. At one time they made diffusion filters in six grades ranging from just a suggestion of diffusion to almost fog-like effect. Scheibe Filters Co., P.0. Box 46834, Hollywood, Calif., can also supply you with the desired filter or make it up special to your specifications. — Walter Strenge, A.S.C. Q How does the Thrillarama system operate? I have expected to see this system described in American Cine¬ matographer, as you did with Todd-A-O, CinemaScope, and others. — J. V. L., Atlanta, Ga. Thrillarama is a new dual-camera filming process that produces a scene on two negatives, just as Cinerama pro¬ duces it with three. In projection, two interlocked machines project the two halves of the picture and make it appear on the screen as one wide, unbroken scene. The sound track is recorded and played on a separate reel. Both closeups and long shots are photographed with¬ out distortion. The cameras used are made in France, but the photographic system was engineered and built by the Raphael G. Wolff Studio, Hollywood. — Walter Strenge, A.S.C. ONE CAMERA 16mm or 35mm in 10 SECONDS! c amerette 16/35 Reflex Motion Picture Camera The perfect camera for the motion picture film maker working in both 16mm or 35mm color er black and white. LOOK AT THESE ADVANTAGES — • The same lenses, same motor drives, same sound blimp and accessory equipment used for both 1 6mm or 35mm — to convert simply change the magazine. • Precise rugged movement • Reflex viewing • 200 degree adjustable shutter • Divergent three lens turret • Automatic film gate 400' magazines 16 or 35mm — the 16mm magazine will accom¬ modate daylight spools as well as standard core load. • Light weight — only 14 pounds with 3 lenses, 400' magazine, and 6/8 volt motor. Write for brochure U£yamerette patents coutant-mathot Manufactured by Ets. Cine. Eclair, Paris C. ZUCKER (7hih€RH &^uipm€nT (o.jnc. Dept. A 315 West 43rd St., New York 36, N. Y. JUdson 6-1420 American Cinematographer November, 1956 653