Cinema Canada (Mar-Apr 1975)

TECH NEWS New Zoom Lens From Angénieux After having established a reputation for the finest 10 120mm zoom lens available for 16mm cinematography, Angénieux Corporation has announced a new item that should be of interest. The new lens has a zoom range of 10mm to 150mm for a ratio of 15:1 and focuses down to a mere 80 cm (32’") from the image plane while retaining zoom capability. This results in a field size that can be as small as 26 x 36mm (1 X 1 3/8"), while leaving a working distance of 60 cm (24”) between the front lens and the object, for proper lighting and camera manipulation. Angénieux has made several compromises in the overall operation of the lens in order to minimize size and weight. These will become standard operating procedure for the cameraman once they are recognized but should take some getting used to at the outset. When focussing between 80 cm and 1.5 m (32” and 5’) only focal lengths above 40mm can be used, to avoid vignetting and_ portholing. Secondly, the lens should be used above T/8 when zoomed to the maximum of 150mm. And thirdly the maximum aperture reduces as the focal length increases, so at 10mm it is T/2.3, while at the 150mm _ focal length it becomes T/3.2. The aperture remains constant throughout the entire zoom range at T/3.2 or smaller iris openings. In keeping with modern trends, this lens will be marked with ‘“‘T” stops only, and of course, these are the only markings necessary for _ setting exposure. Film House takes a stand on Colour Neg II Film House Bulletin No. | dated October 30, 1974 backs up Kodak’s statement that 7247 and 5247 (16mm and 35mm respectively) ... “Colour negative II film represents an improvement in granularity and sharpness at the same exposure index as 7254-5254...” but does note that correct exposure is the key to getting the best possible results from this original at all print stages including intermediates and printing masters. The bulletin further states that “forced”? processing should be avoided 18 Cinema Canada oe in their opinion because of the “almost immediate adverse reaction noted in cyan shadows, magenta-red highlights, increased grain and contrast which appeared at the equivalent developing time to one stop under or over exposed.” It is recommeded that in a situation of over or under exposure, developing should be normal and the required print be timed and graded accordingly. The bulletin goes on to say that Film House recognizes that in order to achieve the optimum results from ‘the new stock, tests are an absolute necessity, and that in order to provide a service to the profession and to promote and enhance photographic standards, they will accept and process exposure tests free of charge for the purpose of establishing mid-printer scale dailies. In order to take advantage of this service, call Film House Technical Supervisor, Colin Davis, about developing and sensitometry, and David Herrington, Chief Timer, about densities and colour balance, regarding this most welcome service. Film House, 22 Front Street West, Toronto (416) 363-4321. Super 8 Double Band Projector With the advent of Super 8 double system filmmaking in the last year or so, and its ever-increasing popularity among both amateurs and professionals, comes the demand for more sophisticated equipment to parallel the items available for those working in the larger gauges. Super 8 Sound in the U.S. is the major supplier of new devices, and the introduction of a Double Band Super 8 Projector for screening double system prints and sound tracks carries on their tradition. The Double Band Projector consists of two mechanically connected Eumig S807 projectors which can run forward, reverse, or stop in perfect framefor-frame sync interlock. A supporting table for one projector holds it above the other so all recording and transport controls are easily accessible from one side of the unit. This permits easy threading of the picture film and sound track. The two machines can also be easily separated and used individually. Once running in sync, either projector can be in either playback or record mode, permitting sound transfers from fullcoat mag to mag edge stripe, or vice versa. The inching knob on one of the machines also serves as a clutch, allowing the projectors to run independently. contact information, Super 8 Sound, 95 Harvey St., Cambridge, Mass. 02140 (617) 876-5876. For more No More Claw Pulldown One of the most interesting new items to appear at the SMPTE convention in November was the ‘“Hollogon’”’, an alternative to the intermittent movement. It basically applies the principle of the flatbed editor to projection, i.e. a multi-faceted prism revolves with the passage of the film, and no stop-start movement is required, while the system can be applied to all gauges of film from Super 8 to 70mm. In addition to not being intermittent in motion, the system also has absolutely no flicker at any film speed. The transition from one film frame to the next is accomplished by successive fading in and fading out of images. This means there is no shutter at any speed. The projected light always adds up to a unity of 100 per cent. For projection, the system eliminates film rattle, and vertical instability or image bounce. But probably the most important consideration comes in transferring film to video, since any video camera looking at a “Hollogon”’ projection system will see only what the eye sees, no black bars to interfere. Also the film can be moved in front of the video equipment at any speed, meaning a film for television could have a length of 55 to 65 minutes and still be presented during a tight television hour-long spot without cutting or filling, by merely changing the projector running speed. We should see developments in all areas, including cameras! See “Rough Cut” this issue. We will be attempting to keep up