American cinematographer (Jan-Dec 1963)

SALE!! ARRIFLEX 35mm camera, model I1B, 16v motor, matte box, sync control generator, 32mm, 50mm, 85mm Zeiss lenses, 2-200' maga¬ zines, case, battery, value over $3,200. Specially offered at . $2,195.00 BELL & HOWELL 16mm Filmotion viewer, used, excellent . ..$69.50 SYNCH ROM ASTER combination 4/ 35mm-l/70mm synchronizer, two counters, excellent . . $139.50 EYEMO Q camera, spider turret, sound aperture, 24 volt DC motor, 2-400' mags, camera and mag cases, 25mm, 50mm, 100mm lenses, finder w/matching positive objec¬ tives, excellent . $525.00 BELL & HOWELL pair arc projec¬ tors w/arc lamphouse, 2 rectifiers, 2 lenses, 2 stands, one amplifier, good condition . $1,295.00 RCA SOUND PROJECTOR, model 415 w/12" speaker, like brand new, special . $395.00 BODDE DOUBLE 4x5 rear projec¬ tion slide projection pair mounted on stand, complete w/lenses, slide carriers, blowers, step-up trans¬ formers, excellent, special. .$995.00 GENARCO 300 watt slide projector, 6 slide rotary earner, lens, blow¬ er, remote control for TV or dis¬ play, list $ . , excellent con¬ dition, special . $495.00 SPECULART JR. slide projector, 3V2X4 slides, holder for 40 slides, 2KW lamp, blower, remote con¬ trol and automatic, self-contained unit, list $900.00, excellent con ditino, special . $425.00 UHLER 16mm semi-automatic con¬ tinuous printer, separate printing head for sound and picture, value $1700. Special . $650.00 FEARLESS tripod head, heavy duty model, extra wide plate for use w/blimp or BNC, excellent . $295.00 CAMART SCOUT TRIPOD, light¬ weight model, friction head for pan and tilt, good for most 16mm lightweight cameras, list $104.50, demonstrator . $79.50 ARRIFLEX 16mm Camera, 3 lenses, Variable speed motor, matte box, Case, Battery. Excellent.. ..$1495. 00 BOLEX H-16 camera w/Pan Cinor 70mm Reflex Zoom Lens. Very fine . $375.00 All prices are F.O.B. New York CONVERT YOUR SERIES 20 MOVIOLA TO MULTIPLE SOUND EDITING with the A M A R| T ADD-A for further information ivrite: vamitit M/iffT, Needless to say, the extent to which a cinematographer on a feature pro¬ duction can carry out his ideas de¬ pends greatly upon the director with whom he works. Some directors be¬ come engrossed in the action and dialogue, and more or less accept the cinematographer as a matter of course. Others, while not directly interested in the purely pictorial phases of the pro¬ duction, nevertheless realize that the camerawork is important, and work closely with the cinematographer for the pictorial perfection such coopera¬ tion makes possible. The advent of wide-screen processes has had the effect today of directing a great deal more of the producer’s and director's attention toward the cinema¬ tographer and the photography than ever before, because all these new pro¬ cesses begin with the photography and are based on revolutionary camera techniques. The cinematographer today is deserving of greatest respect for the talent and experience which he is capable of bringing to a picture en¬ trusted to him to photograph. The veterans especially are uniquely quali¬ fied to imbue their lighting and camera work with the artistic honesty that can make the photography a genuine con¬ tribution to the production. B FIRE TRAINING FILMS Continued From Page 155 ideas of the technical advisor and in some cases the ideas of the film sponsor. Another problem encountered in making fire-fighting films is to make scenes appear on the screen the way they appear to the eye of the fireman, as though he was seeing the actual live situations. For instance, fire doesn't look as hot on film as it really is. Therefore, to properly illustrate or reproduce an attack on a fire which has ceiling temperatures of 500 degrees F., the film maker's fire should have a ceil¬ ing temperature nearer to 800 de¬ grees F. A very special problem is created by the smoke and steam accompany¬ ing a fire. It often restricts the cam¬ era’s view, making it difficult to show live action. For this reason, anima¬ tion is often an effective way to pre¬ sent principles and theory. With animation, action can be slowed down so audiences can really see what’s happening. Because of the many distractions and rapid action during a live situation, it’s hard to study and carefully analyze principles and theory. Animation elimintaes these problems. Once the fireman trainee is familiar with the principles, he will be able to understand and appreciate their importance in actual fire fighting demonstrations. For this reason, it is important to use live footage of actual fire fighting to re-emphasize the prinsiples established by the animation. Animation can also be helpful in showing firemen reasons for visual observations which sometimes go un¬ explained. Firemen have all seen smoke and steam roll down in front of their face cutting off their view of a fire. Do they really know what is happening? Only animation can 180 AMER4CAI\ CINEMATOGRAPHER, MARCH, 1963