To Pu1lileon Film

to pu1lileon film ... 1 ' J 1

*Scene from 'The Egyptian," 20th Century.Fox CinemaScope Epi.c.

SHOOTING a choral scene in Capital Film Studios for the "Hand to effects In the lighting were obtained through use of the 14-bank B LT R Heaven" evangelistic series of TV films. A great variety of special dimmer board, shown in left foreground. Thrilling realism . . . vivid detail . . . brilliant images in 2D, 3D or CinemaScope-that's what Speed In Small Studio TV Film Production Bausch & Lomb Baltar Lenses mean to the professional cinematographer. For your finest work Drum-tight production schedule enables Capital Film Studio's crew in movies and TV, specify B&L Baltar Lenses. to complete six half-hour TV films in two days shooting time.

ORDER from your professional camera manufacrurer By WILLIAM BANCROFT MELLOR or WRITE to Bausch & Lomb Optical Co., 30035 Martin St., Rochester 2, N. Y. ECENTLY a record of some sort was WLWA, Atlanta; KFEL-TV, Denver, smaller vocal units in the first day of Restablished on the sound stage of and other stations. shooting, while the sermons and solos the Capital Film Studios, Washington, During those mad 48 hours of produc rounded out the two-day race. The • To film "The Egyptian," 20th D.C., when six 30-minute television films tion, the hard-pressed crew filmed and speed was necessitated by commitments '( were wrapped up in two hectic days of tape-recorded a dozen hymns rendered made by the evangelist prior to the Century-Fox chose the new B&L shooting. by a 12-voice choir; also six quartets, letting of the filming contract. 40mm Baltar CinemaScope The films were the first in the series six duets, a dozen solos, a number of Because of the low-budget limitation, Lenses--cine and anamorphic of the "Hand to Heaven" evangelistic incidental organ numbers, and six only one camera could be used- a lens elements in a unified mount program of the Rev. Joe Uhrig, widely sermons by the Rev. Mr. Uhrig. Mitchell BNC on a Fearless dolly. Close known Washington divine. They are The drum-tight shooting schedule ups, reverse angles and other devices operated by a single control. now running coast-to-coast on TV, being worked out by Production Supervisor usually employed to lend variety to a shown Sunday afternoons on WTG, F. William Hart threw all the work of fi lm were out of the question because Washington; KTLA, Los Angeles; filming and recording the choir and (Continued on Page 580)

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133 133 * * * * * * * * shots will be the answer to the building direction of Leon Shamroy, ASC. As suit of overnight development, despite of vast panoramic sets where the action soon as the key sets are constructed, the sudden general plunge into 3-D film must be staged indoors on the sound shooting will get under way, which will production. Studio engineers have toyed ALLIGATOR CLAMP stage. be about March 4. Shamroy has worked with 3-D intermittently over the years. · Ray Kellogg, who heads the special closely the past month with Sol Halprin, One example is Paramount, which de For Instant Movability WITH BARN DOOR photographic effects department at 20th head of Fox's camera and laboratory signed and built a complete 3-D camera Century-Fox said, "With CinemaScope, departments, and the man most instru years ago and made successful stereo special effects will bring greater realism mental in the development of Cinema scopic motion pictures with it-only to and Advanced Design have the project shelved and the equip than ever before. To me, CinemaScope Scope for the studio. Exhaustive tests ment put away in mothballs. The idea is more important to the industry today have proven the system perfect in every way, and according to a studio execu was good, but it was just 15 to 20 years than was the advent of sound in its early in coming to fruition. "HYDROLL Y" day." tive, all that remains to make Cinema Scope an established big-time thing in Responsible for developing, testing ITV or CAMERA DOLLYI CinemaScope is ideally suited to spec industry is volume production of Cine and refining the 3-D cameras presently Hydraulic lift type for fast tacle films in which most of the action maScope lenses. Twentieth Century-Fox, in use in the studios are such men as upward an d downward can be played against huge outdoor which holds world rights to the system, Jerry Rackett and Emil Oster, ASC, at motion of TV and Motion panoramic vistas. Twentieth Century except for France and its colonies. ex Columbia; Loren Ryder, ASC, Farciot Picture cameras. Light - weight - sturdy - easily F ox has chosen "The Robe" as its initial pects to have between 3,000 and 5,000 Edouart, ASC, Dr. Charles R. Daily, ASC, and Ferdinand Eich, ASC at Para transported in a station production to be made in CinemaScope, sets of CinemaScope lenses available wagon. Fits through a 28" which will be photographed under the before the end of 1953. END mount; Mike McCrea! and Fred Gage, door. Adjustable leveling ASC, at Warner Brothers; Sol Halprin, head. In-line wheels for ASC, at 20th Century-Fox; John Arn track use. Steering wheel old, ASC, at MGM; and Stanley Hors and floor locks, ALL HOLLYWOOD STUDIOS SHOOTING 3-D FILMS ley, ASC, Fred Campbel!, and Eugene "' Hangs from a nail on the wall. E. Polito, at Universal-International. "' Clamps to a chair, door, top of set (Continued from Page 110) Aiding these men and other studio SYNCHRO-FILM-ED SYNCHRONIZER or stand. engineers working on 3-D equipment Peverell Marley, ASC. A second pro ~ Sets on floor as a foot light. enter 3-D film production March 1st has been the Motion Picture Research A Precision Instrument for duction, "Burning Arrow," also to be with an outdoor feature in black and Council, Inc. The council opened its Synchron·ization a11d Measurement "' Adaptable to almost everywhere, filmed with a Natural Vision camera, is white. Company will employ a new and vast library of technical books and test ft Barn door, swivels 360°. scheduled to follow completion of hitherto unannounced 3-D motion pic films on stereoscopic motion_pictu res to of 16mm and/or 35mm Films "House of Wax." Features of the Natur ture camera, designed and manufactured ft For R2 - R40 or Par 38 Bulbs the studio men. At the same time, its Any combination of sprockets assembled to al Vision 3-D camera are described by Producers Service, Burbank, com own research work was accelerated. It your specifications. Sturdy cast aluminum elsewhere in this issue. plete details of which are to be found put together a series of illustrated lec construction. Foot linear type, with frame Price - $15.00 Warner engineers are also working elsewhere in this issue. Gordon Pollock, tures which have been given before tech divisions engraved on sprockets. Contact on studio's own version of a 3-D cam ASC, will direct the photography. nical men of the studios as a guide to rollers adjusted individually for positive :lamp without barn door wired era, but are not prepared to make a Nat Levine, veteran Hollywood pro exploration and development in the new film contact. Fast finger-tip roller release. ,ith plug and switch - Price-$5.00 statement regarding same at this time. ducer-distributor has set March 15th as field. Slides were shown illustrating the sprocket shaft slip lock, complete with the starting date for his first 3-D fea footage counter. :lamp only Price-$2. 75 Independents-Among the independ results that follow in 3-D cinematogra ture. He will employ still another inde ent producers, Sol Lesser was the first phy under different conditions of con pendently developed stereo camera- the Above unit excellent for use with to undertake a 3-D feature. Employing vergence, interaxial spacing, composi Dunning 3-D camera engineered by ""COLOR TRANS" the stereo cameras of Stereo-Cine Corpo tion, etc. Thus, technicians were shown VARIABLE SPEED MOTOR with TACHOMETER Carroll and Dodge Dunning of Dunning virtually what and what not to do in ration, Lesser started shooting at RKO color Corp., Hollywood. for Cine Special or Maurer Cameras Pathe studios early in January. The 3-D cinematography, without waiting to Stereo-Cine equipment is produced and The Dunning is a single camera hav make mistakes in actual production. 115 V. Universal Motor-AC-DC leased by a corporation headed by ing one film magazine carrying two Still another contribution of the Variable Speed 8 .. 64 Frames ICHOEN & CROWE negatives side by side, through a singly 403 WEST 47th STREET Raphael G. Wolff, Hollywood industrial Council is the design of a handy refer Separate Base for Cine Special integrated camera movement and a fixed ence circular "slide-rule" type calculator, NEW YORK 36, N. Y. film producer, and Sol Lesser. (See Adapter for Maurer Camera American Cinematographer for Febru interocular spacing of 1.3 inches. which enables 3-D cinematographers to Circle 5-4691 ary, 1953, page 60.) The Dunning system has great porta get desired and correct answers to prob INTERCHANGEABLE MOTORS: The Stereo-Cine 3-D camera consists bility. Actual weight of camera is around lems of convergence, interaxial distance, 12 Volt DC variable Speed 8-64 frames. ,,: 11 S Volt AC 60 Cycle, Synchronous Motor, Single Phase ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ of two 35mm Camerettes mounted op 68 pounds, including motor and maga etc., in a hurry when, shooting on the posed on a base engineered by Richard zines, and the blimp weighs only 30. set or on location. (Similar calculators Animation Motors: Ci,u Spui•f, Maurer, B £!I H, Mitdull. Motor, /or Boltx and Fi/mo Camtru. Timt Lapu Equipmtnt , son Camera Company, Burbank. Cam Camera employs no mirrors. A twin also have been designed by the Polaroid eras record images reflected by twin lens optical system operates in connec· Corporation, and by Raymond Spotti angular mirrors, having micrometer ad· tion with an interlock which insures swoode, British stereo scientist and film Cl Lens Coating e "T" Stop Calibration justments for varying convergence. In· balanced frame by frame exposure of producer.) Nlll.Y CINE CIII.CUlllTOR the two negatives. A novel finder auto • Designing and Manufacturing A Sliderule Disc Computer terocular spacing is controlled by turn The third major contribution by the lens mountings and camera equipment for Eliminates Bulky Manuals matically combines the two stereo im 8~16mm and 35mm models ing knobs beneath each camera, which Council has been the setting up and 16mm and 35mm cameras. move cameras laterally as required. A ages into a single composite picture. publication of a proposed set of stand 15 USEFUL SCALES single motor drives both cameras, in The Dunning 3-D camera thus be ards to be followed by exhibitors of e Bausch & Lomb "Baltar" Lenses Film per second comes the fifth non-studio stereo camera and others for Motion Picture and TV Filters and Factors suring sync at all times. While cameras 3-D films. Cameras. Aperture Scale provide for viewing scene through tak to be developed and made available for While the photography of 3-D motion Depth of Focus Hyperfocal Distance ing lens during photography, precise feature film production. Others are: pictures involves techniques little differ Q Rentals - Sales - Repairs: Field of View alignment of cameras is provided by Natural Vision, Stereo-Cine, Norling, ent than those followed in conventional Mitchell, Eyemo, Bell 6- Howell, Wall, Camera Speeds Cine Special Cameras. ;truction Manual included special loupes which fit in film gate of and Producers Service. Still others will film production, the cameraman and his $3.95 cameras when magazines are removed. come to light in ensuing months- one assistants do need a comprehensive Write for information and prices A central Mitchell-type finder affords we know of from a firm presently turn· knowledge of the tlory of stereoscopic JOHN CLEMENS ERWIN HARWOOD Writ, or 111k Yoi.ir D,ahr viewing scene by operator before and ing out 3-D equipment for home movies. photography, and ust learn what is FLORMAN 6- BABB t WEST 45TH ST., NEW YORK 36, N.Y. during camera operation. The cameras engineered by the major necessary in order o achieve satisfac Lippert Productions is scheduled to studios were, in most cases, not the re-· tory and distor_t_bn ess pictures. In this NATIONAL CINE EQUIPMENT, Inu. t~tv ~~s;K 1!~h N~~:

Al\llmlCAN C1N£MATOCRAPIIER • MARCIi, 1953 MARCH, 1953 • AMERICAN CINEMATOGRAPHER • 135 --+.~i