American cinematographer (Jan-Dec 1959)

and special effects, a section at the center of the compound is removed to accomodate underneath lighting. Fig. 4 shows a low-cost Oxherry ani¬ mation stand that fits the pocketbook of educational and business organiza¬ tions. It is precision-built and incor¬ porates electric zoom, underlighting, toplighting, and a compound having east-west, north-south and rotating movements. The stand requires 6' x 6' floor space and 8' ceiling clearance. It accommodates all standard 16mm and 35mm cameras and stop-motion motors and zooms can be made from 3 to 12 field with an Ektar 25mm lens for 16mm film. An adaptor 15mm lens is used for larger fields. Zoom counter reads in lOOths of an inch. Four other counters read lOOths of an inch and accurately register north-south, eastwest and peg track movements. Com¬ pound rotates 360 degrees and is caliIjrated for easy positioning. Fig. 5 shows a 3-hole progressive punch which has two locating pegs. By using this precision-built unit, the op¬ erator is assured that all cels and drawings will fit the pegs on the com¬ pound accurately. Fig. 6 shows a draw¬ ing board with glass center. It is mounted over a 16% in. hole in the drawing table to accomodate lighting from below. There are two moving peg bars with locks, one above and one be¬ low the field. Two sets of pegs come with the board. Moving peg bars allow this unit to be used as a limited plan¬ ning board. Modern animation stands and com¬ pounds are designed with integrated components in order to provide ex¬ ceptional flexibility and superior re¬ sults. Such interlocked, precision-built mechanisms have made it possible for animation studios to handle an increas¬ ing load of work and at the same time provide economy, accuracy and speed needed for today’s market. Each com¬ ponent of the complete machine helps to extend the latitude of the operator in planning and executing animated films. MITCHELL CAMERA Continued from Page 295 with a brush or stream of compressed air prior to each loading. Po mount the magazine on either the NC or B\C camera, a six-inch loop of film is pulled out of the magazine. \\ ith the camera door ojten, this loop is droppt'd down through the opening ])ro\ided for it. The magazine is then moved into place and secured with the hold-down screw. In the March issue there are two views of the open BNC camera on page 175, one of which is again re¬ produced here as a means of reference in following the description below of the film threading procedure. The photo shows the pattern of the negative film properly threaded in the camera, with the various film moving com¬ ponents identified. Before the threading operation is started on a cold camera it is ad¬ visable first to start the motor and allow the camera to run for several minutes. This allows both the motor and the camera mechanism to warm up to operating temperature, insuring that they will be operating at the proper and constant speed when the first take is made. With the film threaded in the cam¬ era and the door closed, ready for photography, the next step is to set the frame and footage counters to zero. These differ with the two cam¬ eras. On the NC model, there is a dial footage counter and a separate frame and footage counter at the back of the camera, in plain view of the operator. The dial counter records the amount of film used from the magazine and has a reset knob in the center. The Veeder-type frame and footage counter is to the left of the dial counter and has four small windows three of which indicate footage. The fourth registers the number of frames and is calibrated in increments of one to a maximum of 16 — there being 16 frames to one foot of 35mm film. The frame counter does not reset to zero with the footage counter. This is an advantage when doing double exposure work where it is necessary to backwind the film to a pre-determined frame for the subsequent exposure. The single-frame counter reverses it¬ self in the film back-winding operation. The BNC Mitchell has similar counters for footage and frames. The dial counter of the NC is omitted and Arriflex 16 Now Features Buckle Switch The Arriflex 16mm camera has been further improved by the addition of an automatic buckle switch, a new sprock¬ et roller guide, and a motor cable safe¬ ty catch, according to announcement of Kling Photo Corporation, New \ ork, U. S. distributor for Arri products. The automatic buckle switch, located in the film path near the lower loop, shuts off the camera motor in case of a film jam, and at the end of each film. The buckle switch is reset auto¬ matically when the film is placed through the sprocket rollers. The auto¬ matic cut-off is particularly important when the camera is used in a sound blimp. The new sprocket roller guide as¬ sembly makes film loading easier and faster than before. The motor cable catch lock automatically engages and locks the power supply cord to the camera plug-in receptacle. Thus, acci¬ dental pullout and unintentional discon¬ nection is eliminated. The camera’s new features will be demonstrated at the Kling Photo ex¬ hibit at the forthcoming SMPTE Con¬ vention in Miami, Elorida, May 4th to 8th. NEW IMPROVEMENTS in the Arriflex-16 are indi¬ cated by three arrows. Taking them from left to right, 1st arrow points to new sprocket roller guide assembly. Arrow imme¬ diately below indicates new automatic buckle switch. Arrow at far right points to motor ca¬ ble catch lock which se¬ cures power cable against accidental dis¬ connect. 312 AMERICAN CINEMATOGRAPHER