American cinematographer (Jan-Dec 1963)

MODEL X-400 TYPE 15 hos everything in one case — playback amplifier, monitor loudspeaker, recorder, footage counter, rewind, torque motors — an ALL-IN-ONE mognaphonic sound system (S.M.P.T.E. standard performance). Ac¬ commodates standard 1200-foot film reels. Write for brochure ONLY $1385 Model X-400 for extra lightweight portability, from $1190 S.O.S. carries the complete line of Magnasync recording systems. MAGNASYNC R ECORDE R Compel? in one PORTABLE case let* SOUND SYSTEM S.O.S. PHOTO-CINE-OPTICS, INC. 602 WEST 52ND ST., NEW YORK 19, N. Y. • Phone: PLaza 7-0440 • Telegram: "FAX, N.Y." WESTERN BRANCH: 6331 Hollywood Boulevard, Hollywood 28, California • Phone: 467-2124 FROM YOUR T 2 VOLT CAR BATTERY CLAMP-ON DELIVERS 250 WATTS of smooth, even 3400°K light — $49.50 PORTABLE MOVIE LIGHT Fits any camera. No tools needed, no holes to drill. Long life nickel-cadmium battery with built-in charg¬ er weighs only 7 lbs. Guaranteed one year. * 799. 50 COMPLETE WITH BATTERY Write for Full Information PHOTOMART 228 So. Franklin Si. Tampa 2, Florida I TalsnKnnA MM VARIABLE SHUTTERS AND YOLO AUTOMATIC DISSOLVE ATTACH¬ MENTS FOR ALL BOLEX H CAMERAS. ALSO DUAL POWER MAGNIFIERS FOR THE BOLEX REFLEX. PELLEGRINI-PIEK 7 COLEMAN PLACE MENLO PARK, CAL. LA BREA STUDIOS Robert Hacek, “Perry Mason”*. M-G-M STUDIOS Charles Lang, ASC, “The Wheeler Dealers” (Filmways Prod.; P’Vision & Metrocolor) with Lee Remick and James Garner. Arthur Hiller, director. Harkness Smith, ASC, “Dr. Kildare”*. Dale Deverman, ASC, “The Eleventh Hour”*. Robert Hauser. ASC, “Combat”*. FRED NILES STUDIOS, N.Y. Sol Negrin, “Universal Electronics (Fred Niles Prods, at AT&T). Phil Goodman, di¬ rector. PARAMOUNT STUDIOS Milton Krasner, ASC, “Love with the Proper Stranger” (Pakula-Mulligan Prod.: shooting in N.Y.) with Natalie Wood and Steve McQueen. Robert Mulligan, director. Joseph Ruttenberg, ASC, “Who’s Been Sleeping in my Bed?” (Jack Rose Prod.; color) with Dean Martin and Elizabeth Montgomery. Daniel Mann, director. W’allace Kelley, ASC, “Who’s Minding the Store?” (York-Jerry Lewis Prod.; T’eolor) with Jerry Lewis and Jill St. John. Frank Tashlin, director. PARAMOUNT SUNSET STUDIOS Frank Phillips, ASC, “Gunsmoke”*. PATHE STUDIOS, N.Y. Gayne Rescher, ASC, “The Nurses”*. PRODUCTION CENTER, N.Y. Arthur Ornitz. “Act 1” (Dore Schary Prod., Warner Bros.) with George Hamilton and Jason Robards, Jr. Dore Schary, direc¬ tor. REPUBLIC STUDIOS George Diskant, ASC, “The Lloyd Bridges Show”*. Jack Swain, “Rawhide”*. SENECA STUDIOS Julian Townsend, “Diary of a Bachelor” (Homer Prods.) with James Hurst and Dagney Crane. Sandy Howard, director. TWENTIETH CENTURY-FOX, N. Y. Boris Kaufman, ASC, “Purley Victorious” (Hammer Films) with Ossie Davis and Ruby Dee. Nicholas Webster, director. UNIVERSAL CITY Arthur Ibbetson, “The Chalk Garden” (Ross-Hunter-Quota Rentals Ltd. Prod.; T’color; shooting in England) with Deborah Kerr and Hayley Mills. Ronald Neame, di¬ rector. Joseph LaSiielle, ASC, “Monsieur Cognac” with Tony Curtis and Christine Kaufman. Michael Anderson, director. Lionel Lindon, ASC, “Alcoa Theatre”*. John Warren, ASC, “Mad World”*. Walter Strenge, ASC, John Russell. ASC, “Kraft Theatre”*. Ellis Thackery, ASC, Benjamin Kline, ASC, William Marguiles, ASC, “McHale’s Navy”*. Gabor Pogany, “Dark Purpose” (BrazziBarclay-Hayutin Prod., Eastman color; shoot¬ ing in Rome) with Shirley Jones and Rossano Brazzi. Steve Barclay, director. William Marguiles, ASC, “Alfred Hitch¬ cock Presents”*. Ellis Thackery, ASC, “Wagon Train”*, Jack MacKenzie, ASC, “Leave It to Beav¬ er”*. Russell Metty, ASC, “Captain Newman, M.D.” with Gregory Peck and Tony Curtis. David Miller, director. WARNER BROS. Harold Lipstein, ASC, “Palm Springs Weekend” (Technicolor) with Troy Donahue and Connie Stevens. Norman Taurog, di¬ rector. Harold Stine, ASC, Robert Hoffman, “The Dakota’s”*. Harry Stradling, ASC, “Mary, Mary” (Mervyn LeRoy Prod., Technicolor) with Debbie Reynolds and Barry Nelson. Mervyn LeRoy, director. Charles Lawton, ASC, “Youngblood Hawke” with James Franciscus and Suzanne Pleshette. Delmer Daves, producer-director. Harold Stine, ASC, Burt Glennon. “True”*. Aging Shrinkage of Film It is important that motion picture negatives, internegatives and color orig¬ inals have low aging shrinkage, so that satisfactory prints or duplicates can be made therefrom even after many years of storage. The shrinkage of mo¬ tion picture positive film on the other hand, is not especially critical. For this reason, a lower shrinkage triacetate negative support was introduced in June 1954 by Eastman Kodak Com¬ pany for both B&W and color. 306 AMERICAN CINEMATOGRAPHER, MAY, 1963