American cinematographer (Jan-Dec 1963)

simultaneously to work with. Despite the abundance of footage, it provided flexibility in editing never before avail¬ able to the “Showtime” staff. With ample coverage from three different angles, some highly dramatic and ex¬ citing moments were cut and edited for each show. Despite the success had in shooting the intial group of color shows in 16mm Ektachrome Commercial, the producers have no illusion that 16mm color film will replace 35mm color. “But it has its place in certain pro¬ gramming situations,” they point out. Predicting a bright future for their type of TV show, the producers de¬ clare there is a greater demand today for actuality than for many studioproduced shows. “And when you do these shows in 16mm color,” they add, “you can get so very much with so little equipment. We wouldn't hesitate to go anywhere or to shoot any kind of a show for television in 16mm color.” BEHIND THE CAMERAS Continued from Page 264 INDEPENDENT William Mellor, ASC, Loyal Griggs, ASC, "The Greatest Story Ever Told" (Geo. Stevens Prod., UA release; P’Vision & Ciner¬ ama in Tec.hicolor) with Max Van Sydow and Charlton Heston. George Stevens, pro¬ ducer-director. Conrad Hall, “Stoney Burke”* (Daystar). Joe MacDonald, ASC, “Kings of the Sun” (Mirisch Prod.; UA release; P’Vision & DeLuxe color; shooting in Mexico) with Yul Brynner and George Chakiris. J. Lee Thompson, director. Robert Krasker, “The Fall of the Roman Empire” (Samuel Bronston Prod.; Ultra P’Vision & Technicolor; shooting in Spain 1 with Sophia Loren and Stephen Boyd. Anthony Mann, director. Ernest Laszlo, ASC, “Norman Vincent Peale Story” (Fred Ross Prods.) with Don Murray and Dian Hyland. Denis Sanders, director. Joseph V. Mascelli. “The Incrediblv Strange Creature: or Why I Stopped Living and Became a Mixed up Zombie’'' (MorganSteckler Prods., Eastman color) with Cash Flagg and Carolyn Brandt. Ray Dennis Steckler, director. Meredith Nicholson, “Man in the Water” (Key West Films; shooting in Florida Keys) with Mark Stevens and Jack Doner. Mark Stevens, director. Ted Moore, “From Russia, With Love" (Eon Prods.; shooting in London) with Sean Connery and Pedro Armendariz. Terence Young, director. Linwooo Dunn, ASC, “The Long Corridor" (Leon Fromkess Prod.) Special Effects. Linwood Dunn, ASC, James Gordon. ASC, “It’s A Mad, Mad, Mad, Mad. World” (Stanley-Kramer U.A. ) Special Effects. 11911 THE MIDWEST’S FASTEST GROWIHG FILM CENTER Midwest MITCHELL SALES & SERVICE Mitchell 35mm BNC* 35mm NC • 35mm Hi Speed •35mm MARK II reflex •16mm Mitchells • Blimps RENTALS & SERVICE Mitchell • Arriflex • Bell & Howell • Others Gear Heads • Fluid Heads • Zoom Lenses • Other Accessories ALL RENTAL EQUIPMENT IS WHOLLY OWNED AND MAINTAINED IN OUR SHOP. All equipment is pre-tested under use-conditions before release from our stock. VICTOR DUNCAN AND COMPANY 250 Piquette Ave. Detroit 2, Michigan TRinity 2-7229 Write for our Equipment Rental Price List Used World-Wide By Discriminating Cameramen CINEKAD SYNCHRONOUS MOTOR DRIVE— For 16mm Projectors TIMING BELT One-year Guarantee! Immediate Delivery! CINEKAD ENGINEERING COMPANY, 763 Especially designed to drive all Bel! & Howell, Jan, Ampro, Kodak, RCA, and Victor 16mm projectors at synchronous speed. Projector can be instantly attached to Synchronous Motor Drive and quickly de¬ tached at any time in a matter of seconds. An outstanding feature is the flexible shaft which connects motor with projector and permits smooth, quiet and steady operation. No special technical knowl¬ edge required for installation and mount¬ ing. Write for more details and prices. 10th Ave., N.Y., N.Y., Plaza 7-3511 AMERICAN CINEMATOGRAPHER, MAY, 1963 305