American cinematographer (Jan-Dec 1963)

This is the latest IMPROVED CINEKAD JUNIOR DOLLY Write for wore details and prices. CINEKAD ENGINEERING CO. 763 10th Ave.r N.Y., N.Y., PLaza 7-3511 Used Nationally by Discriminating Cameramen This 3-Wheel Collapsible Dolly Is especially designed to meet the demand for con¬ venient mobility of cameras on location or in the studio. The new model instead of the 4" wheels is constructed with 5" heavy duty rubber-tired swivel wheels. F&B TAKES THE WIGGLE OUT OF ZOOMS WITH THE BEELAND ELECTRIC ZOOM CONTROL Here is a rugged yet light weight control that assures you of smooth zoom action from start to finish of each shot. Mounts directly on the lens barrel, no camera attachments are required. Interchangeable mounting clamps allow the same control to be used for the 17mm to 70mm, and 17mm to 85mm lenses for 16mm cameras, and the 38mm to 150mm lens for 35mm cameras $ 185 oo Regular $275 SuperQuiet . Smooth, quiet zoom action > Easy finger-tip operation » Precise zoom range control * Zoom speeds from 2'h to 10 seconds , Interchangeable— for 16mm and 35mm cameras. -» Mounts directly on lens barrel Uses type “C" flash light batteries The camerman can control the picture size by eye or can pre-set the zoom range by quick-set limit stops on the quadrant. A silicon loaded slip clutch and mechanical limit stops provide precise control of the zoom range. The control box is equipped with instant contact push-buttons for easy finger-tip operation of zoom-in or zoom-out. The box mounts on a tripod handle, or directly on the camera for hand¬ held operation. It also may be held and operated by an as¬ sistant. Speed range is rheostat controlled and adjustable from approximately 2V2 seconds to 10 seconds of zoom time. A special feature is the very efficient motor which operates for hundreds of moves on one set of 5 type “C” flashlight batteries. Two models are available: Regular, where noise is not a problem. Super-quiet, where whisper-quiet operation is needed for sound recording. Serving the World's Finest Film Makers FLORMAN & 68 W. 45th St.f N. Y. 36 MU 2-2928 questions: “Will it do the job better than what is already available and will it reduce maintenance costs?” He also believes it highly desirable that equip¬ ment be sufficiently rugged for opera¬ tion under unfavorable conditions in faraway locations such as Southeast Asia, Africa or the Arctic Circle. Lipkowitz thinks that of all the places his crews have worked, none have presented greater problems to men and equipment than that of the Arctic Circle. Perhaps one of the finest examples of Arctic photography was that accomplished by Master Ser¬ geant Lester A. Marks, who photo¬ graphed “Operation Blue Jay,” a doc¬ umentary dealing with the testing of Army equipment in Greenland. Using an Eyemo camera, Marks worked un¬ der extremely difficult conditions in accompanying the expedition across the Polar ice cap. The resultant foot¬ age contained many remarkable scenes and breathtaking photography. This picture received a nomination by the Academy of Motion Picture Arts and Sciences in 1953 as the best short sub¬ ject of the year. Sergeant Alzen Floyd, who handled the cameras on “City Under Ice,” a film also dealing with Army opera¬ tions in Greenland, is another of the Center’s cameramen who has success¬ fully met the challenge of photography in the Arctic. Floyd used a Mitchell Standard camera and Eastman color film for this assignment. He protected his equipment by always avoiding sud¬ den and excessive changes in tempera¬ ture and of temperature differentials between equipment and film. Cameras and film were stored in an unheated room. When the camera had to be moved from a cold place to a warm room for interiors, the change was made slowly and by degrees. The cam¬ era was always carried into a room inside a rubberized, watertight bag, which was vapor-sealed. Excess air was pressed out of the bag before the cam¬ era was removed. Floyd never used a heated barney on the camera. Normally a camera crew includes a first cameraman and two assistants. As a general rule, the first cameraman operates the camera. An exception is made in complicated sequences when an operator is assigned to a crew in order to free the first cameraman for overall supervision. The two assistants handle focus, magazines, reports, equipment and other related duties. Each first cameraman is assigned his own outfit which includes a Mitch¬ ell Standard camera with all lenses and 362 AMERICAN CINEMATOGRAPHER, JUNE, 1963