American cinematographer (Jan-Dec 1960)

. . . we deliver. • Sound • Editorial • Laboratory Services Capital CAPITAL FILM LABORATORIES, INC. 1905 FAIRVIEW AVENUE, N. E. WASHINGTON 2, D. C. PHONE LAWRENCE 6-4634 all-in-one unit, wliich may readily he mounted on or detached from the pro¬ jector, as may he seen in Fig. 2. This unit consists of a lightweight metal housing containing a conventional elec¬ tric phonograph turntable motor plus a friction-clutch pulley and spring belt to the takeup spindle which is mounted on a metal arm extending from the housing. The auxiliary arm “AA” is a standard 202 feed-arm and is conven¬ tionally-mounted for ease in removing and storage. Fig. .3 shows interior of the modified 202 projector, the modifications of which are further detailed in the dia¬ gram. Fig. 4. Indicators point out the spring-mounted idler “T ’ (identified in the diagram at “C”), which maintains the desired film security as it passes over the lower drive-sprocket; “M” the path of the magnetic film which by¬ passes the picture film gate; and “F”. the magnetic sound film as it proceeds toward its respective takeup reel. In Fig. 4, path of the magnetic sound film is shown by the heavy broken line. Here the film travels from the supply reel mounted on the supj)ort “AA” over the idler roller “A” and thence to the top s})rocket “e” where it is interlocked with the picture film (solid line). As previously stated, the sound film by-passes the picture film gate but is re-united with the lat¬ ter at sprocket “d”, then proceeds to the sound head and on to the takeup reel. To facilitate travel of the picture film from sprocket “d” to the auxiliary takeup reel “BB” mounted at front of the projector, three idlers — “A”, “B”, and “C” were mounted at strategic points along the film path. Idler “A” at this point is necessary to aflford safe slot clearance by the film as it leaves the projector. Idler “B” is affixed to a spring-tension arm to compensate for the “starting jerk” on the picture film, which occurs when the projector is started. Idler “C” maintains the de¬ sired sprocket-tooth security as the film travels over the drive-sprocket “d” — as previously mentioned. The ideal sync point for the two films is indicated at a point about onehalf the distance between sprocket “d” and idler “C”. Accurate sync threading is accomplished by matching uj) punched holes in both the magnetic film and j)icture film at this point, and the threading procedure then begins with locking both films over sprocket “d”. The basic purpose of the modifica¬ tion described above, of course, is, first, to permit use of 16mm magnetic film for sound recording instead of pre or post-striped 16mm film; and second, to utilize the 202 projector for editing of both sound and picture — now feas¬ ible because each medium is on a sep¬ arate film. When a cut is required in the picture film, the sound film can be cut or otherwise adjusted to maintain a continuation of sync between the two very much the same as it is done by film editors at the cutting table, using a sound reader, synchronizer and asso¬ ciated equipment. Using the modified 202 projector, the two films are merely re-aligned on the drive sprockets. Last, but not least, it permits simultaneous projection of both picture film and sound film in sync when it is desired to screen a film without the need to combine both picture and sound in a single print. This setup has been successfully used by the writer since shortly after intro¬ duction of the B&H 202 projector. It not only meets my average needs but the projector modification is pleasing in appearance. As for the 16mm mag¬ netic film, it costs about the same as sound-stripe applied after the photog¬ raphy, and offers the advantage of fullhead recording at all times. It can he cut and spliced on a conventional film splicer, the same as picture film, and it is the ideal medium where sound subsequently is to be re-recorded to optical for release prints. ■ TABLES, CHARTS, ETC. Continued From Page 242 quick answer, so much the better. If you want to perfect this technique, start out by memorizing one phase of cinematography at a time. Take fast and slow speed camera work, something that comes along with increasing frequency these days. One method is to expose a roll of film in your camera, using the full range of fps speeds afforded by the camera and then studying the results on the screen. Eight frames per second speed, for example, is one-half the speed of 16 fps. At 8 fps. twice the amount of light will reach the film as when the camera is running at 16 fps. In order to obtain an exposure result equal to that obtained with the camera operat¬ ing at 16 fps, the lens must be stopped down one full stop for photography at 246 AMERICAN CINEMATOGRAPHER