American cinematographer (Jan-Dec 1961)

QUALITY GUARANTEED USED EQUIPMENT CAMERAS Auricon Cine Voice Model 2 Single lens mount, variable density Galvanometer, Arriflex 16, new style 16-25-50mm Xenon lenses. Matte Box, Camera Case for camera and 400 ft. Mags . 1,900.00 Arriflex 35mm, 120° shutter, 28-50-75mm Xenon lenses . . 1,200.00 Arriflex 35mm w/variable speed motor, 120° shutter, 30-50-75mm Primoplan lenses, 3 — 200 ft. magazines . 1,000.00 Arriflex 35mm w/180° shutter, 28-5075mm Xenon lenses, motor cable, sun¬ shade, matte box, case, 1 — 400 ft. magazine . 1,700.00 Cineflex 35mm camera w/200 ft. mag., 12 volt DC motor, and power cord. . 300.00 Eyemo 35 Single lens "A” mount w/2" Eyemax lens . 225.00 Eyemo 35 w/47mm Cooke F 2.7, case . 175.00 Filmo 16mm 70 S High-Speed Camera.... 200.00 Bell & Howell 35mm standard model D.D. High Speed camera w/cable and extra belts, case . 2,600.00 Bell & Howell 35mm Standard camera #616 w/170° shutter, unit 1 shuttle, overhauled and refinished . 2,500.00 Cine Special II w/100 ft. and 200 ft. mags., 15mm Ektar 2.5, 152mm Kodak, Telephoto F 4.5 Lenses, Case . 925.00 Cine Special I w/100 ft. magazine, 25mm K.A. F 1.9 Lens . 350.00 Cine Special II w/100 ft. magazine . 450.00 Maurer-05 Camera head only w/built-in features and 1 — 400 ft. mag . 2,000.00 DeVry 35mm camera w/50mm lens . . 175.00 Arriflex 35mm Blimp . 1,350.00 Arriflex 35mm 110 Volt Synch motor and case . 400.00 Cine Special sync, motors . 75.00 Mitchell 12 volt 35mm variable speed motor . 250.00 Filmo motor — 115 volts, 24 frame sync, w/ cable . 1 1 0.00 Eyemo motor, variable speed, 24 volt . 65.00 Wall Sync, motors, 220 volt, 50 cycle, 3 phase . 250.00 Arriflex 35mm 200 ft. magazines . 70.00 Arriflex 35mm 400 ft. magazines . 100.00 Cine Special 100 ft. Film Chambers . 150.00 Cine Special 200 ft. Film Chambers . 350.00 Bell & Howell 400 ft. 35mm magazines.... 75.00 Bell & Howell 1000 ft. 35mm magazines.. 125.00 Mitchell 400x35 magazines . . 100.00 Bell & Howell 400x35 Bi-Pack magazine.... 350.00 EDITING Moviola 35/35 w/bulls eye, no mag., com¬ posite sound . 900.00 Moviola 35/35 Preview large screen w/ mag., footage counters . 1,800.00 Moviola editing machine (UCS) 35/53 old model cutters machine only, no take up arms, optical composite sound . 375.00 Neumode Splicer R-2 (35mm) . . . . 22.00 Moviola Model "D" Picture Head w/take up arms, variable speed, foot pedal .... 200.00 Bell & Howell 16-35mm Splicers . . . 225.00 Bell & Howell Splicer, foot models, com¬ bination 16-35mm, overhauled . 900.00 Bell & Howell Splicer, foot model 35mm, overhauled . . . . 850.00 Neumade Heavy Duty Power rewinds w/ foot pedal — 16 or 35mm . . 76.00 Moviola 16/16 w/Bulls Eye, no mag., composite sound . 900.00 Trickle Charger for Arri. wet cell battery.. 10.00 Pan Cinor, 20 to 60mm in “C” mount.... 100.00 Cinegon 20mm in Arri. mount . 375.00 Mikro Kilar 40mm lens . 150.00 Mitchell Viewfinder . 350.00 Spectra 2-Color meter . . 200.00 Spectra 3-color Meter . 260.00 Bell & Howell geared head tripod, com¬ plete w/base . _ . 350.00 Akeley Tripods, gyro head . $550.00 & UP SOUND-PROJECTION-LIGHTING-PRINTERS G-924 Mixer (3-position) . 250.00 Reeves 16mm PV100 Recorder . . 1,200.00 Tapak Recorder . 300.00 Magenemite Recorder . . 200.00 GPL — Jan Projector w/speakers — Genova Movement . 1,000.00 Colortran Jr. Kit . 137.00 1000 Watt T 12 P (Code DFD) Projection lamps . $3.00 each . per dozen 30.00 16mm UHLER combination continuous printer, A-1 condition . 500.00 35mm Bell & Howell Model D printer, completely ove-hnuled, A-1 condition . 3,000.00 Model K FILMLINE Processor for 16mm negative or positive work. Complete with rotary air compressor. Excellent shape .. 900.00 CAMERA EQUIPMENT CO., INC. 315 West 43rd Street, New York 36, N.Y. JUdson 6-1420 which we read on the Weston reflectedlight meter. According to the manu¬ facturer’s instructions, a reading should be taken of a sheet of white blotting paper and multiplied by 4. This renders a reading in so many foot-candles and will be approximately correct, as it is based on the fact that the bright¬ ness of an object is the result of the number of foot-candles by percentage of reflectance. And as no white surface would reflect a full 100 per cent of light, the white blotting paper prob¬ ably represents about 90 per cent of reflectance, which results in the sug¬ gested multiplication by 4. Two Meters Used Because we are now using two com¬ pletely different meters and different units of measurement, our calculation of foot-candles into brightness units will only be approximate; but an exact calculation would require precise labo¬ ratory instruments and much more de¬ tailed work, something a comparatively low-budget production isn't likely to be able to afford. However, I think that calculating between the two meters can be accurate enough in most instances. The meters can be checked by taking readings with them from the 18 percent Kodak neutral grey card, which rep¬ resents on the dial on the meter the central position for latitude of exposure between black and white. (Not 50 per¬ cent of reflectance.) If the incidentlight meter at a certain number of foot-candles gives an exposure of F /5, under the same conditions the reflectedlight meter should show the same ex¬ posure. But our main concern in determin¬ ing the correct exposure is the artist’s face. Because human faces vary, the use of make-up is helpful to bring all the faces to something like the same reflectance. I don’t mean heavy make¬ up which would change the character of the face; most of the time just a brownish powder in different shades is sufficient. As it is usually difficult to continually check the light on artists’ faces while they are rehearsing, I used to check it once at the beginning of shooting, or even in test shooting, and then rely on the Lilly, as described earlier. On the Lilly I had two greys: one approximately 40 percent and the other approximately 20 percent, and I found that all average faces would fit somewhere in between. Once my two meters were set up for correct expos¬ ure based on the 18 percent grey card, 1 would put aside the incident-light meter and rely exclusively on bright¬ ness. I knew that my exposure would be correct for I was dealing now only with the change of tones within the grey scale. If I had to deal with an exceptional face which was outside the usual range and required a change in exposure, I wouldn’t change either the stop or the shutter, but would only adjust the intensity of some lamps in terms of brightness units. Here is a method I used and found very practical: If, for example, the foot-candles reading on the incidentlight meter is 350 P.C, a 30 percent face reading taken from the Lilly showed 32 candles per square foot, which is one unnumbered block on the meter above 25. We are shooting on Kodak Plus X negative, ASA 64-80; shutter 175; F.T. 5. We know that we are working to a range of 16 to 1, or at most, 24 to 1, which represents a maximum of 4 stops. If there wasn’t the TV requirement, we would con¬ sider this a central point of the range and have two blocks either side for whites and blacks, but because of the relationships required for television, 32 candles per square foot should cor¬ respond to 65 percent of the bright¬ ness of the high lights, which would be 50 c.p.s.f. However, we make up for this loss by gaining a greater range in the blacks, down to 2 c.p.s.f. In other words, with 4 blocks on the meter at our disposal, the face should register a little past the third block and the high-lights should not go over the fourth There are occasions though, as in eloseups, where the highlights are areas as small as a collar or a button, and the deepest shadow may only be part of a tie, or a shadowed part of the hair. Reading such small areas with a Weston meter is impossible. Here, only a meter with a very nar¬ row angle, such as the spot-brightness Spectra, can be of help. By knowing the relationship between the reading in foot-lamberts and candles per square foot, which is approximately 3.2 to 1, we can easily find the limits of our range. Indoor shooting. In indoor shooting on location I use essentially the same technique as for setting lights in the studio. But very often in these locations there is day¬ light coming in through windows, or built-in lighting effects, which cause Continued on Poge 440 438 AMERICAN CINEMATOGRAPHER