American cinematographer (Jan-Dec 1963)

J N IT EXTENSION PLATE rankly, we doubt if you will use this many Add-A-Units on Moviola at one time. We just want to show how Add-A-Unit an be attached for almost unlimited multiple sound editing, lost editors find one or two sufficient. Each unit has indiidual volume control for mixing optical or magnetic sound. Attaches instantly without drilling or tapping. Removes easily. Comes complete with belt guard, screw, flange and amplifier connections. $259.50 Series 20 sound heads & take ups additional. Prices on request. N.Y. ■ PLAZA 7-6977 (patent pending) graphically illustrate and explain the peculiar air currents that move the mass of smoke and steam that often cuts off a fireman’s view. Many other real problems are in¬ troduced during the actual burning of structures. To help eliminate these problems, the filming operation should be carefully planned before produc¬ tion begins. Even though fires are difficult talent to control and direct, their actions must be fully anticipated. Pre-planning starts with scouting various locations, with the Technical advisor and film maker working to¬ gether in the scouting operations. At this time, the technical advisor should study the building’s construction, size of the structure, water supply, and nearby buildings. The film maker will be interested in such details as the general appearance of the building. sun direction, various shooting angles, and backgrounds. Here a director’s viewfinder will be a useful aid to se¬ lecting camera angles. The film maker should select camera angles that afford the best possible coverage of the scene or subject. Dur¬ ing actual burning of a structure, two establishing shots are considered essen¬ tial in shooting a large fire. One camera should be placed on a car top to facilitate filming the subject having normal perspective, yet at the same time eliminate people walking in front of the camera. The camera thus mobile-mounted, can also be moved quickly whenever necessary. The second establishing camera should be positioned even higher, to shoot down on the overall operation. Here, nearby buildings or a high boom power truck may be used to accom¬ plish the required high-angle shots. Since the so-called establishing cam¬ eras are located away from the im¬ mediate fire area, they need only mini¬ mum mobility. This is helpful when they are equipped with 400-foot maga¬ zines to give long, continuous runs. Medium shots can be filmed by the same two cameras if they have the proper lens complement. This com¬ plement usually consists of a wide angle, normal and telephoto lens. The director can coordinate the two cam¬ eras by the use of two-way citizensband radio communication with the camera operators. A third camera should be set up near the fire for closeups and extreme closeups. It should be light and flex¬ ible, but should operate on a tripod. Since the film director usually stays close to the fire, he can give personal direction to the third camera. A fourth camera which can be hand held should be available for interior or unplanned shots. The director and closeup camera¬ man need full protective clothing as a precautionary means of protecting themselves from falling embers and excessive heat. This will also make it possible for them to enter the burn¬ ing building, should the need arise. In emergencies, cameramen have been asked to serve as back-up men on hose lines. And there’s still another reason for wearing fireman's equipment. To get in close enough for some shots a cam¬ eraman may accidentally move into the field of the other cameras. He will be much less noticeable in such scenes if AMERICAN CINEMATOGRAPHER, MARCH, 1963 181