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certain amount of error in the judgment of the operator.
The designers increased the accuracy of the mechanism by calibrating the footage dial to the longest focal length lens used, 40-mm at //1. 4 stop. Obviously, where critical focusing is required, the camera is racked over and the subject aligned and focused on a ground glass. This is the most accurate means of focusing and does not depend on footage calibrations engraved on the lens. This means of focusing cannot be used when the subject or camera is in motion.
Conclusions
The follow-focus device was found to be exceedingly efficient as to the accuracy of the mechanism and as to simplicity and time-saving in operation. The knowledge that the lens parallax and distance calibrations are at all times synchronized gives, to the operator, assurance that a sharp focused and composed image is properly recorded on the film.
The lightweight plastic blimp was tested on i sound stage under normal operating conditions and found to be equal in performance to other blimped professional motion picture cameras. In most cases, the front glass was left off and still the camera noise was below the ambient sound noise of the stage making it possible to record dialogue with the microphone within 3 ft of the camera.
Acknowledgments
The authors wish to acknowledge the sponsorship of this project by the Raphael G. Wolff Studios, to Mr. Wolff personally and his camera technicians Art Treutlaar, Gail Papineau and Henry J. Ludwin, all of whom outlined the essential requirements incorporated in this design. Charles L. Bluske, industrial designer, styled the camera blimp. John Roy of the U.S. Rubber Company gave technical advice on fabricating Royalite Plastic material. The Glen Glenn Sound Co. gave its sound stage facilities for testing the performance of the equipment.
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August 1952 Journal of the SMPTE Vol. 59