American cinematographer (Jan-Dec 1963)

Because this was a trucking shot it was important for both the dolly and train to move synchronously so that the train would stay in frame. An arrangement of pipe was attached to the dolly that extended up and over the miniature trees set between the dolly and the train, and was well out of the camera field of view. Attached to it was a length of metal rod which hooked onto the engine — on the side away from the camera. Thus, it was simply a matter of the train towing the dolly at the proper speed. Immediately following the trestle explosion in the picture is a scene in which Stuart and his men raid and burn wagons in an enemy camp. For this it was necessary to construct a a model camp in reduced scale for an establishing shot that would intercut with live location shots filmed earlier of the cavalry burning a number of enemy wagons. The scale for the wagons was determined according to how they would look between fore¬ ground and background. The camera was set on a tripod about 62 inches above the floor and left there during the entire building process so that all work done on the set could be viewed in correct perspective through the finder. How Fire Effects Achieved Miniature wagons were to be seen burning in the foreground. Small auto bulbs were used to simulate campfires among the tents, which were nothing more than rectangular pieces of white paper folded down the center and propped up on the ground. Beside the bulbs were holes in the ground from which smoke issued from smoke-makers installed beneath the set. The latter con¬ sisted of glass eyecups filled with fog juice, which was heated by small elec¬ tric coils inserted in the cups. The filming of this important scene required an establishing shot of the camp before the cavalry attacked, then several cut-backs as the wagons were set ablaze. After sufficient footage of the static scene had been shot, each of the foreground wagons were ignited. First, a piece of thin aluminum sheet was placed in the bottom of each wagon to prevent the fire from burn¬ ing through the wagon bottom and dropping to the table, since much of the scene was as flammable as tinder. Then a wick soaked in paint thinner was placed in each wagon. As the camera rolled, the wagons were successively ignited by an assist The serious looking character above is using a Birns & Sawyer Fishpole Sound Boom. He concentrated so hard on using a Birns & Sawyer boom that he forgot to attach a mike. It always helps to pick up sound if you use a mike. Especially if you also remember to plug it in. the Birns & Sawyer extra quality but we can’t say much for his technique. It’s hard to hold the boom in that position unless you are endowed with an extra deep navel. An easier way is to rest the boom across the shoulders. LIGHTWEIGHT SILENT GEARS There are several reasons why the SLC (serious looking character) above in¬ sisted on using a Birns & Sawyer boom. This boom has a geared head which permits turning the microphone to fol¬ low the dialogue. Nothing special about that. But, the Birns & Sawyer head rotates silently on ball bearings and Nylon gears— doesn’t generate any noise of its own. Won’t bind with the heaviest mike and mike hanger. And, instead of threading the tubing wall for coupling the sections, Birns & Sawyer uses sturdy threaded brass inserts for extra strength. We d say the SLC is smart to insist upon Catalog 2655 — 3-section Fishpole Sound Boom But hold it any way you like so long as it is Birns & Sawyer. You can tell a Birns & Sawyer boom by the noiseless, easyturning gears, the sturdy but lightweight black anodized aluminum rods ( a total of 14 feet in three sections), and by the Birns & Sawyer labels which are prob¬ ably plastered all over the thing. Those guys in our production department are real proud of their work and can’t help bragging. Not that we mind. If they weren’t fired with enthusiasm we’d probably fire them that way. BIRNS & SAWYER Cine Equipment 6424 SANTA MONICA BLVD. • HOLLYWOOD 38, CALIF. • HO 4 5166 • CABLE: BIRNSAW "THE CINEMATOGRAPHER" Informational and instructive motion picture produced by the Hollywood Motion Picture Industry. Depicts role of the Director of Photography in lighting and photo¬ graphing motion pictures in Hollywood studios. Shows various camera and lighting equipment used on Holly¬ wood sound stages and the results achieved from their use. One-reel 16mm black-and-white prints available on Free Loan to cine clubs, college cinema groups, schools, and accredited clubs and civic groups within the continental U.S. Reservations necessary and pay¬ ment of return shipment required. AMERICAN SOCIETY OF CINEMATOGRAPHERS 1782 North Orange Drive Hollywood 28, Calif. AMERICAN CINEMATOGRAPHER, AUGUST. 1963 481