Business Screen Magazine (1963-1964)

iafeOV Kalart/Victor 16inm projectors have a reputation for film safety. For 35 years, Victor Projectors have had three Safety Film Trips (one for each film loop) as exclusive components of the film transport mechanism. These Safety Film Trips spot film trouble liefore it ha|i|)ens and stop the projector instantly and automatically. Saves thousands of dollars in film damage annually. Kalart/Victor's large diameter Single Drive .Sprocket moves film in and out of the ]5rojector smoothly and at one constant speed ... no chance for film "pile up." These features give even lieginning projectionists full confidence, allow them to concentrate on putting on a good show, with no iTiterruptions. .And a good show it will be with a clearer, brighter picture and brilliant sound ... a combination that increases learning power. For full details see your Kalart/Victor dealer or write: SERIES SlVtNTt MOVIEMAIIC 70.1600 ARC KAIART SOUNDSTRfP SILENT 16 I'irsI and I iprenntst in \Utinn \fntitni I'irtitrr Etfiiipnient VICTOR ANIMATOGRAPH CORPORATION, o division of kalart Departini'iit 1U)\ , I'laimilk-, C onneclicut ^S*5te^'* '.\ii iil'slriHlioii of iiiiilliplidi uiiifis lik( Inushxtrnkc.i diiiiinst llic sky . . ." Miilli-Image Look al llic Idea of Seeing Saul I$ass Oeales "The Searching Eye" for Kodak's Pavilion WoKki.NG Visual Miracles within a brief 20 minutes on the screen, a 70mm color film is one of the first-rate attractions within the Eastman Kodak pavilion at the New York World's Fair. Designer turned producer Saul Bass has created what he calls "a film about the idea of seeing." In the appropriately-titled picture. The Secirching Eye. he turns a small boy's walk along the beach into a cinematographic treat in which ordinary objects (pebbles, dandelions, sea birds and sand castles) reveal unsuspected worlds of intense visual experience. To awaken this perception in viewers, the Bass film employs time lapse photography, underwater and aerial photography, microphotography and stop-action filmed at 2.,'iOO frames a second. The finished production was consolidated on 70mm film stock with as many as six frames of motion visible simultaneously. Two projectors are used for the showings. For one scene in the film (see front cover, left), a sequence shows man's fascination with the idea of flight. An antique flying rig was copied from early photographs. On film, these few seconds in the sequence show the man as he joins a seagull in flight. The production includes footage by noted aerial photographer Wil liam Garnet, who used a 20-year old Cessna for its slowness and stability. Garnet shot sequences at two to four times normal film speeds for a "floating" quality on the screen. There are breathtaking studies of snow crystals forming and melting by Japan's Rukuro Yoshida, the first ever recorded on 35mm film. Another sequence — a reahstic battle of toy soldiers in the imaginary vaulted chambers of a castle — was executed in stop action and employed an entirely new optical technique. To avoid a feeling of "flatness" in the scene, the specially-designed lens of the camera tilts and swings. The film, in retrospect, speaks in terms of the visually perceivable on at least three levels: 1. The immediately apparent. 2. Phenomena which had been perceived only through such optical-mechanical aids as high-speed or stop action photography. 3. The inner vision of the eye and mind in such moods of the intellect as imagination, cultivated aesthetic appreciation, or in chemical combinations with acquired knowledge. Bass stresses the fact, however, that his technical virtuosity is only a means to an end. "The concep ' tion of the film is poetic." he says, i "It is concerned with the wonder of seeing. All creatures see. but man has transformed the idea of sight. The difference between the sight of man and the sight of ani | nials is this extraordinary e.xtra thing we call insight." The result of Bass' philosophy, in The Seanliin^ Eye, is a moving and startlingly beautiful ode to the everyday world around us. ff 14 BUSINESS SCREEN MAGAZINE