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Victor Duncan chose the ARRIFLEX 16BL to avoid 'bugs' in filming for Volkswagen.
In ordering their 1969 Announcement Film to be produced by the Kerbawy Company, Detroit, Volkswagen had provided Director of Photography, Victor Duncan, with requirements that were almost contradictory.
Intended for large audiences in seven cities, the 45 mmute lip-sync photoplay was to be projected on 22 foot screens. Ordmanly a job for 35mm... but the shooting schedule was tight, and involved travel to numerous Volkswagen dealers from California to Connecticut. "Choice of equipment was of special concern," writes Mr. Duncan, "not only because of the needle-sharp requirements of large screen projection, but also due to the fast moving, travellight nature of the job." 16mm fulfilled the latter requirements—and Arriflex was used to ensure the all-important technical quality.
Choosing an Arriflex 16BL as his 'universal' camera for all sound work, and a 16S for wild shots and cutaways, Mr. Duncan headed for the many location challenges that awaited him. As he describes it, "it was an on-and-off the airplane routine, with short schedules at every stop. It was exciting as a technical and logistical problem. How many magazines, for example, do you carry? The BL's magazines being compact as they are, we were able to pre-load more than enough without overloading ourselves, but this is the kind of thing you've got to consider.
There were acoustical problems too— after spending six easy-going days with the 16BL on the sound stage, we found out just how miserable an automobile showroom— with its wide open, echoing spaces— can be for sound recording. And without many objects to hide lights behind, we often had to rely on available light, or relatively low levels of artificial light. Without much depth-of-field, we constantly had to ride the focus, and often from a camera position too cramped for an assistant. If it hadn't been for the brilliance of the Arri's viewfinder, and focusing grips I could really get my hands on, I'm not sure what we'd have gotten on those 22 foot screens."
When not mastering filming problems like these, Mr. Duncan runsa lively equipment rental business. An enviable position for a cameraman— it not only keeps the most extensive resources at hand it also gives him an 'inside' knowledge of their performance.
Not only Mr. Duncan, but filmmakers all over the world who really know equipment, choose Arriflex.
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