American cinematographer (Jan-Dec 1963)

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Laminators . . . Like new demonstrators. Fully guaran¬ teed. Complete with accessories, Laminators $150. Wet Striper Laminator comb. $195. Tandbera of America, P.0. Box 171, Pelham. N.Y. ing of the jack-rollers at the police station. The last run was also complete, and it was done entirely in natural sound. Other runs were partially or all scripted. In the final run, Hance got a photographic break. The hit took place in an alley in which lights had been placed on the sides of buildings both at the alley entrance and approximately 100 feet inside. “It was just like a Hollywood set,” Hance laughs. “There was ample light so that our him detail was perfect, but not so much that you could readily identify the subjects there.” Interspersed throughout the show were specially filmed sequences show¬ ing TUF squad members practicing Karate and shooting pistols in a police training school. There was also a com o edy bit — a hefty policeman dressing up as a woman “pigeon.” The show was climaxed with a brief address by O. W. Wilson, Chicago police super¬ intendent. Televised on a Monday night, 9-10 p.m., in February, 1963, the show was an overwhelming success. Sponsored by Sears, Roebuck & Co., it was screened back-to-back with a top network pro¬ gram, and matched it in audience rat¬ ings. The sponsor bought the show for televising the following Sunday, 1 :302:30 p.m. It captured more than 50 per cent of the viewing audience. This kind of response had previously been un¬ heard of for a news presentation pro¬ duced by an independent local station such as WGN-TV. The show also won a 1962-63 Emmy Award for Dick Hance “for the high degree of excel¬ lence attained while filming under ex¬ treme conditions.” ■ MIXING TAPE SOUND Continued from Page 464 While this kind of setup is not satis¬ factory for mixing dialogue tracks in which each word is synchronized with the picture, it will do nicely for most pictures in which narration and music are used. It solves the two most press¬ ing problems confronting the industrial him producer: cost and convenience. Certainly the cost is far less than re¬ sorting to 16mm magnetic film, and just as certainly it is a boon to those producers who are located remotely from a well-equipped sound studio having the necessary mixing equipment for 16mm film. The following is an outline of the required complement of equipment, to¬ gether with detailed procedure for mix¬ ing music and speech with tape record¬ ers: EQUIPMENT : Two tape playback units of reasonable quality. One tape recorder with synchronous motor and a sync signal circuit (Rangertone, Pilotone or equivalent), which can be “read back” by a sound studio or film laboratory equipped for the purpose (Fig. 2) . One synchronous motion picture projector. One mixer — for tapes and micro¬ phone (Fig. 1). PROCEDURE : 1. On the film workprint leader, measure three feet ahead of the first picture frame and punch the frame. Nowr measure ahead another six feet and mark this frame “sound start” (Fig. 4). (This is a special cue for starting the projector when you record the sound, and does not corres¬ pond to the “printer start” mark which you will later place on the white leader of the original film). 2. Transfer the music to tape from whatever source: phonograph, live per¬ formance, other tapes. 3. Measure the workprint footage for each music sequence and translate into minutes and seconds. (A “ReadyEddy” computer is ideal for this). 4. Edit each taped music sequence by timing with a stopwatch, leaving each selection a few seconds longer than the actual length of the corres¬ ponding film section. 5. Prepare “A” and “B” music tapes, alternating the music selections on the two rolls. Splice two seconds of white timing leader between selections. 6. At the head of the “A” tape, splice about ten feet of white timing ^IIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII|||||||||||||||||||||||||||||||||||||||||||IMI||||J^ | QUESTIONS INVITED I | Need professional advice on a § | picture-making problem, about | | equipment, film or cinematog | | raphy? Reader's questions are in | | vited and will be answered by | | mail when accompanied by a| | stamped, addressed envelope for 1 | reply. Questions and answers con | | sidered of general interest to other | | readers will be published. Address your questions to the | | “Question & Answer Editor," Amer | 1 /can Cinematographer, P.O. Box | | 2230, Hollywood 28, Calif. ^IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIimillllllllllllllllllllli 488 AMERICAN CINEMATOGRAPHER, AUGUST, 1963