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FOR THE ANSWERS . . .
. . . to your photographic problems, refer
with confidence to the new
AMERICAN
CINEMATOGRAPHER
MANUAL
Most comprehensive compilation of cinema¬ tographic data ever assembled between the covers of a single book. Contains more than 400 pages of concise, practical and informative data and charts invaluable to every cinematographer.
There's something to help you on every page of this valuable fact-packed bookl Order your copy today!
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LOCATION FILMING
Continued from Page 228
gaffers in the placement of lights.
Exposure remains the most impor¬ tant item as far as photography is con¬ cerned. Sometimes exposure has to be determined as much by experience as by meter. And, if you’re ever in doubt, make two lakes using different ex¬ posures. Shoot the second take slightly on the dark side if there is a question, as most labs can make more satisfac¬ tory correction with under-exposed film than with film that is over-exposed.
Condensed and reprinted from Vol. XX, No. 2 edition of The Aperture, workshop pub¬ lication for 16mm film makers issued by Calvin Productions, Inc., Kansas City, Mo.
BEHIND THE CAMERAS
Continued from Page 206
Jack MacKenzie, ASC, “Leave It to Beav¬ er”*.
Walter Strence, ASC, “Wide Country”*.
Clifford Stine, ASC, “The Brass Bottle” ( Randall-Greshler Prod.; Eastman Color) with Tony Randall and Burl Ives. Harry Keller, director.
Russell Metty, ASC, “Captain Newman, M.D.” with Gregory Peck and Tony Curtis. David Miller, director.
Fred Mandl, ASC, “Going My Way”*.
WARNER BROS.
Harold Lipstein, ASC, “Palm Springs Weekend” (Technicolor) with Troy Donahue and Connie Stevens. Norman Taurog, di¬ rector.
Ray Fernstrom, ASC, “Hawaiian Eye”*.
Harold Stine, ASC, Burt Glennon, “The Dakota’s”*.
Burt Glennon, “Temple Houston”* (pilot).
Harry Stradling, “Mary, Mary” (Mervyn LeRoy Prod., Technicolor) with Debbie Rey¬ nolds and Barry Nelson. Mervyn LeRoy, di¬ rector.
Carl Guthrie, ASC, “True”*.
Robert Hoffman, “77 Sunset Strip”*.
ZIV-UNITED ARTISTS
Monroe Askins, Curt Fetters, “Ripcord”*.
INDUSTRY NEWS
Continued from Page 196
Workshop-Seminar, scheduled for the week of October 7th through 11th, 1963, in New York. The list includes: Stephen Kambourian of Robert H. Klaeger Associates; Tak Kako and Frank McGovern of WABC-TV (Film Dept.) ; Robert Yung and Len Appelson of Elektra Film roductions;
Irving Oshman of Vision Associates; Fred De Croce and Edwin Picker of Titra Sound Corporation; Anthony Termini and Bill Henry of Terminal Film Editorial Service; Arthur Leigh and Stanley Buetans of Cinema Scores; Jerry Forman of Allegro Film Productions; Marcel Broekman of Pro¬ fessional Film Services; Hoyt Griffith of Visualscope; Paul Falkenberg of Paul Falkenberg Films; Ken Grubel of Grumman Aviation and Mai Wittman.
Spcial guest speakers will include Maurice Levy of Eastern Effects; John Kowalak of Movielab; Calvin M. Hotchkiss of Eastman Kodak; Irving Sheib of Q.Q. Motion Picture Titles; Arnold Eagle of Arnold Eagle Produc¬ tions and the New School of Social Research; and Jack Glenn of Jack Glenn, Inc. and the Institute of Film Techniques at C.C.N.Y.
QUESTIONS & ANSWERS
Continued from Page 208
printing track is recommended for quantity order economy, consistent quality, faster delivery, and accurate reproduction of the producer’s mixed sound.
Q.— — / am told that the 200mm, 280mm and 400mm Leica camera lenses can also be mounted on the Bolex H16 camera with the aid of a Leica adapter ring and tube. However, / re¬ call reading somewhere that only lenses specifically designed for 16mm cameras should be used with them. In your opin¬ ion will use of 35mm still camera lenses on the Bolex H16 affect results in any way? — T. A. S., Green Bay, Wise.
A.— Leica lenses in a thread mount can be used on 16mm C-mount cam¬ eras such as the Bolex H16 by means of the Leica adapter made by Paillard, Inc. Leica lenses used on your camera should provide completely satisfactory results, especially since only the cen¬ ter portion of the field is used. The viewfinder on the camera should be set for the focal length of the Leica lens used. The focusing ring on the lens should be set for the subject-tocamera distance and the diaphragm then set in the normal manner accord¬ ing to your exposure meter reading.
246
AMERICAN CINEMATOGRAPHER, APRIL, 1963