American cinematographer (Jan-Dec 1963)

Everything in one compact case, 4V2"x27V2"x 6V2": six Lowel-Lights, six Lowel barndoors, 2 9-ft. 5-section PIC stands, 3 25-ft. extension cables, 2 25-amp. fuses, 12-yd. roll gaffer tape. Complete . $124.50 Lowel-Lights, model K5, five Lowel-Light, with gaffer tape and case $ 34.50 Gaffer tape, 12-yard roll $ 1.95 Gaffer tape, 30-yard roll . $ 3.95 Lowel Barndoors . $ 5.75 3 NEW CAMERA MART ACCESSORIES new GTC-59 LENS CLEANER & PROTECTOR • Anti-Fog • Anti-Static Ideal for lenses, cameras, condensors, reflectors, optical equipment, etc. 6 oz. can with Spray Applicator $1.65 each Case of 12/$1.00 each nn/ffenf LIQUID INSULATING TAPE Just Brush it on Those Hard-To-Tape Places Designed for use in electrical in¬ stallations, maintenance and re¬ pair. Prevents shorts, shocks. 2 oz. Bottle $1.65 each Case of 12/$1.00 each Restores, Quiets, Lubricates Completely safe for sound pro¬ jectors, amplifiers, studio rec¬ ording equipment and editing equipment. Non-inflammable. Used for all gummy parts — instantly cleans and deposits a hard bonded dry lubricant. 2 oz. Bottle $1.00 each Case of 12/75c each Write for complete literature. All Prices F.O.B. N. Y. WfiMERU MaHT 1845 BROADWAY (at 60th St.) NEW YORK 23, N Y. • PLara 7-6977 can take place. 4) Pilot light that indicates when the 10-camera complex is running (shooting). This feature was installed primarily to aid the camera control operator when shooting in noisy areas or when the camera is suspended be¬ neath a helicopter or other aircraft where sound of the cameras cannot be heard. 5) log button that turns on a cue light in each camera. This provides a start mark on the edge of the film as an aid to the film editor who must match up the heads of each of the ten film strips — each of which comprises a different segment of a given 360degree circular scene. 6) Last but not least— a 50-ampere circuit-breaker, on-off switch. During the actual shooting of a 360degree scene, the f/ stops on all ten cameras must be identical to insure consistent perspective and depth of focus. The individual camera exposures are controlled and made uniform by means of neutral density filters. The new Arriflex 16M camera was chosen for this multiple-camera rig be¬ cause of its light weight, precise reg¬ istration pin movement, the fact it can accommodate the lens desired, and its gear-driven film take-up and general rugged design. Each camera is equipped with a 400-foot magazine. Following completion by Behrend’s engineers, the camera was put through two weeks of rigid testing by the Niles organization. Immediately afterward Niles’ camera crew was busy shooting the footage in 16mm color that will wind up as a 12-minute dramatic trav¬ elogue of the New York-New Jersey Port and its 14,000,000 people. Meanwhile the Port Authority is building a circular theatre in its Heli¬ port and Exhibit Building on the New 'i ork World’s Fair grounds in which the ultra-spectacular film will be screened, and literally surround audi¬ ences. There will be no seats in this unique theatre. The circular screen will be about 7 feet above the floor, en¬ abling visitors to wander about the theatre as projection of the picture is in progress. The projection room will be suspended from the ceiling, in the center of the theatre, thus eliminat¬ ing obstructions on the floor. ■ PHOTOGRAPHING “MAD, MAD, MAD, MAD WORLD” Continued From Page 705 way through Long Beach, Oxnard, Santa Monica, Malibu, San Pedro, Palos Verdes, Thousand Oaks, Cama¬ rillo, Santa Rosa, Tustin, Santa Ana and San Diego. In most of these cities the main streets were the location sites for film¬ ing scenes for “Mad World.” In Palos Verdes, a most remarkable set was con¬ structed — a two-acre park which looked as if it had been there forever. Before Kramer’s crafty construction special¬ ists arrived it had been a dreary, shale-covered promontory overlooking the Pacific. When cinematographer Laszlo’s cam¬ eras were artfully trained on the “set” it was a grassy dell of flowers, shrub¬ bery and 70 towering, full-grown sago and fan palms. The company spent two weeks on this location, then returned to the studio for the final sequences in which all the stars work together— the orthopoedic ward of a police hospital. There was one other distant loca¬ tion in which only Phil Silvers per¬ formed — the town of Kernville, 200 miles away and deep in a canyon of the High Sierra. Here Silvers drove his car across what he thought would be a ford in the rushing Kern River. It wasn’t. The car and the actor went straight down. It was a very funny scene. Nobody knew, until after stand¬ by frogmen had pulled him to shore, thai: Silvers is probably the only male adult resident of Beverly Hills who can’t swim. “Kramer Park’’ — a backlot square block at Revue Studios and a sur¬ rounding complex of streets and build¬ ings — saw the last ten days of produc¬ tion. It was a meticulously planned chaos involving, each day, 2,000 ex¬ tras, 200 bit players, a phalanx of stuntmen, snorting special effects ma¬ chinery, fire engines, police cars, cranes, derricks, pile-drivers and tor¬ nado-producing wind-machines which blew hundreds of thousands of pieces of funny-money over the monumental scramble. Men fell from buildings and fire ladders onto power lines, into palm tree tops, through pedestrian bridges into lily ponds, onto picnic tables and into the arms of statues. All the stars, all the money and all the creative talent couldn't have put Kramer’s “World” into orbit without the help of two extraordinary groups 726 AMERICAN CINEMATOGRAPHER, DECEMBER, 1963