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­ . . Twentieth Century-Fox transition from an ordinary overall the result f!ould not be distinguished The Zoomer Lens view to a telephoto shot would make from the real thing. Leon Shamroy, ''Forever Amber" Current Assignments of A. S. C. Members (Continued from Page 87) the whole thing confusing as these de­ (Technicolor) with Linda Darnell, Co~­ The foregoing example shows a devia­ tails are generally too small to be de­ tion from one of the basic rules of or­ nell Wilde, Richard Greene, Glenn Lan­ which later could be matched to the tected on overall shots. The gradual As this issue of AMERICAN CINE­ Ernest Laszlo, "The Road to Rio," gan, George Sanders, Leo G. Carroll, thodox camera technique, namely, that with Bing Crosby, Bob Hope, Dorothy sound track without the need of special transition by a zoom shot not only MATOGRAPHER goes to press, mem­ Margot Grahame. every camera movement has to be slow Lamour, Gale Songergaard, Frank Fay­ editing. The Zoomar lens has proved guides the attention of the spectator and steady; this rule was Qroken to bers of the A. S. C. were engaged as Charles Clarke, "Miracle on 34th extremely useful in other fields also. Directors of Photography in the Holly­ len, Joseph Vitale. to that particular detail,· but it also simulate the impression of falling, div­ Street," with John Payne, Maureen It is easy to imagine the difficulties shows him where. this detail is located. wood studios as follows: Fred J ~ck man, Jr., "Albuquerque," O'Hara, Porter Hall, Philip Tonge, ing and so on. But the unorthodox, Columbia (Clarion Prod.-Pine Thomas) (Cine­ of a cameraman covering a session of A 36 times enlargement of a detail will rapid, even hasty zoom itself is a power­ James Seay, Edmun!:l Gwenn, Gene Lock­ the United Nations Assembly, or any Charles Lawton, Jr., "The Lady From color) with Randolph Scott, Barbara generally be sufficient even if the build­ ful tool to express dynamic definite hart, William Frawley. other formal meeting, from the press ing to be filmed is across a river, or Shanghai," with Rita Hayworth, Orson Britton, George (Gabby) Hayes, Russell Joseph LaSheUe and Arthur Arling, emotions like fear, terror, anxiety, etc., Hayden, Lon Chaney. and film gallery. V ~ry often, long se­ situated upon an inaccessible hill top. especially · in the field of the modern Welles, Glenn Anders. "Captain from Castile," (Technicolor) quences of one speaker are required and Edward Cronj ager, 0 Three Were PRC with Tyrone Power, Jean Peters, Cesar The same problem arises in educa­ artistic films. These films try not so Jackson Rose, "Stepchild," with Bren­ with only one camera available, the ex­ tional pictures of all kinds. It is a much to give a photographically faith­ Thoroughbreds," (Technicolor) with Romero, Lee J. Cobb, John Sutton, An, change of lenses on a turret-camera Robert Young, Willard Parker, Margue­ da Joyce, Donald Woods, Terry Austin, tonio Moreno, Thomas Gomez, Alan standard practice t o draw attention to ful record of actual happenings but to Gregory Marshall. head is not rapid enough to assure an important details by close-ups. But such convey the mood and impressions of rite Chapman, Akim Tamiroff. Mowbray. uninterrupted flow of pictures of the Burnett Guffey, 11 Assigned to Treas­ Jack Greenhalgh, "Too Many Win­ a close-up tells only half the story if it the protagonists. Charles Lang, "The Ghost and Mrs. speaker. ury," with Dick Powell, Signe Hasso, ners/' with Hugh Beaumont, Trudy Mar­ Muir," with Gene Tierney, Rex Harri­ does not show how this detail fits into In animation and cartoon work the Maylia, Ludwig Donath, Vladimir Soko­ shall. son, Edna Best, Robert Coote, Natalie A variable focus lens fitted to the the whole. Zoomar lens will be greatly appreciated camera will guarantee an absolutely loff. Republic Wood, Isobel Elsom, Victoria Horne. In industrial pictures another factor for the many shortcuts which it offers. John Alton, "The Trespasser," with continuous picture flow and achieve the Henry Freulich, "Major Denning's United Artists has to be considered. The customer The same problems which confront Trust Estate/' with Gloria Henry, Paul Dale Evans, Janet Martin, Warren vividness and variety of closer and who commissions these pictures usually Karl Struss, "Heaven Only Knows,'1 the motion picture cameraman are also Campbell, Harry Davenport, Mark Den­ Douglas, Adele Mara, Douglas Fowley, wider shots which up to now were only does not wish ·to incur the additional (Nero Films) with Robert Cummings, a cameraman's dream. The same goes encountered in another field which is nis. Grant Withers. expense of stopping the work in his still in its infancy; television. Here, the Eagle-Lion RKO Brian Donlevy, Jorja Curtright, Marjo­ for the filming of any official functions, rie Reynolds, Bill Goodwin, John Lite], factory and having the workers pose situation is aggravated by the fact that L. W. O'Connell, "Repeat Perform­ Frank Redman, "If You Knew Susie," such as the inauguration of a presi­ for the cameraman. The latter, there­ with Eddie Cantor, Joan Davis, Allyn Stuart Erwin. dent, the celebrating of High Mass in the video equipment is much clumsier ance," with Louis Hayward, Joan Leslie, fore, usually has to work while work than the motion picture camera and Richard Basehart, Tom Conway, Benay Joslyn, Sheldon Leonard, Douglas Fow­ Franz Planer, "Vendetta," ( California a cathedral, or of any scene where the Pictures) with Domergue, George· Do­ at the plant is in full swing and is cannot be as easily moved around. Venuta. ley, Sig Ruman. solemnity of the occasion makes it im­ thereby greatly handicapped in his move­ Robert de Grasse, "Indian Summer," lenz, Hi1lary Brooke, Nigel Bruce. possible for the cameraman to weave Everything previously said about mo­ Metro-Goldwyn-Mayer ments. It is certainly a boon if he can tion picture work, especially newsreel Hal Rosson, "The Hucksters," with with Alexander Knox, Ann Sothern, James Wong Howe, "Body and Soul," around for closer or wider shots. In zoom from long shots to close-ups of and documentary reporting applies to Clark Gable, Deborah Kerr, Sydney George Tobias, Myrna Dell, Florence (Enterprise) with John Garfield, Lilli such situations, one cameraman has the Palmer, Hazel Brooks, Ann Revere, Wil­ machinery and processes without get­ an even greater extent to t elecasting. Greenstreet, Keenan Wynn, Ava .Gard­ Bates, Sharyn Moffett. possibility of filming from one fixed ting too close to the workers, endanger­ liam Conrad. A varifocal lens similar to the motion ner, Adolphe Menjou, Edward Arnold. Harry Wild and W. Howard Greene, position, both the main celebrities of the ing himself, or obstructing the flow of Charles Rosher, "Song of the Thin" "Tycoon," (Technicolor) with John Universal-International event and the public as the use of the work. picture Zoomar but adapted to the Wayne, Laraine Day, Sir Cedric Hard­ Zoomar lens makes it unnecessary for special needs and conditions of televi­ Man" with William Powell, Myrna Loy, , Stanley Cortez, "Secret Beyond the In the production of geological and wicke, Anthony Quinn. him to change the position of his sion work is now in p;eparation. Keenan Wynn, Jayne Meadows, Leon Door," (Diana Prod.) with Joan Ben­ other nature ftlm::i, situations may occur Ames, Patricia Morison. Gregg Toland, "The Bishop's Wife," nett, Michael Redgrave, Natalie Schafer, camera. Thus, when video takes its rightful (Samuel Goldwyn Prod.) with Cary in which it would be desirable to show Monogram Rosa Rey. While filming great sports events the place beside stage, screen, and radio it Paul Ivana, "The Gangster," (King­ Grant, Loretta Young, David Niven, the inside of a crater, the bottom of the William Daniels, "Brute· Force," newsreel cameraman may find himself will have the necessary tools not only Bros.-Allied Artists), with Barry Sulli­ Monty Woolley, Marsha Anne Northrop. Grand Canyon or similar inaccessible (Mark Hellinger Prod.) with Burt Lan­ in a similar situation. The · exchange of spots. The Zoomar lens, with its tele­ van, Belita, Joan Lorring, Akim Tami­ Selznick caster, Harne Cronyn, Charles Bickford, electronically but also optically to live lenses or the turning of the turret head scopic extension, makes it possible to roff, Henry Morgan, Fifi Porsay. Lee Garmes, "The Paradine Case," Sam Levene, J elf Corey, Ann Blyth, Ella up to any situation which may arise. of the camera often requires refocusing render in large size any desired close­ Paramount with Gregory Peck, Ann Todd, Charles Raines, Yvonne De Carlo. or resetting of the stop, which means Laughton, Charles Coburn, Ethel Barry­ up of a geological formation. Leo Tover, "I Walk Aloile," (Hal Wal­ Warners considerable loss of time. A football or lis Prod.) with Lizabeth Scott, Burt more, Louis Jourdan, Joan Tetzel, Leo a fast tennis game can be filmed in a The spectator of such scenes will per­ Lancaster, Kirk Douglas, Wendell Corey, G. Carroll, Colin Hunter, Valli, Lester Ernest Haller, "The Unfaithful," with manently keep in mind the exact loca­ Ann Sheridan, Zachary Scott, Lew Ayres, more vivid, more interesting, and more Kristine Miller, Ge0rge Rigaud. Matthews. satisfactory way if the Zoomar lens is tion of such a detail alld will be con­ Steven Geray, Eve Arden, Peggy Knud- . sci.ous of ·its proportions, its correct sen, John Hoyt. used. Thus one focusing gives a sharp definition of the picture for any posi­ size and its relationship to the whole Woody Bredell, "The, Unsuspected," phenomenon. (Michael Curtiz Prod.) with Joan Caul­ tion of the focal lever and no changing field, Claude Rains, Audrey Totter, Con­ of the stop is necessary because the The Zoomar offers nearly unlimited stance Bennett, Michael North, Hurd relative aperture remains unchanged possibilities in the field of trick-shots Newl TELEFILM'S "Lok-On" Flange throughout the zoom. and special effects. A rapid zoom taken •" ..~ ""-it.-- Hatfield. ""'"'""'"'-_, · -!.. Used by Leading Hollywood 16mm Editors Karl Freund, 0 Wallflower," with In spite of its versatility the Zoomar from a high roof top with a camera 5W" and Producers for Editing and. Re-winding Joyce Reynolds, Robert Hutton, Janis lens was by no means designed to re­ tilted downward gives the impression ~ Paige, Edward Arnold, Barbara Brown, place the other camera lenses now in as if the cameraman were falling from h's Tdditm's Ja1cst 16mm. 1imc saver\ Sides arc nf heavy Don McGuire. gauge clear plank. Engraved foo1agc scale on inside surian• use. Its main purpose is to serve in great heights, an effect which can show1 amount of film on spool. One side rcmonblc--so yuu situations where other lenses or · other hardly be achieved otherwise. On one I want to buy your save time by slipping on f ilm with,ml winding. N,uhing ever technical means would fail; or where occasion the script required a pilot's like ii for winding sh

AMERICAN CINEMATOGRAPHER • March, 1947 109 108 March, 1947 • AMERICAN CINEMATOGRAPHER