..
412
intended WHEN
Eternity at
activity
Irving CINEMATOGRAPHER photograph before
teria allow
film wo It
struck
rk
work,
l
of
during
giving
for
me
H
I
"
th
would
.
LEARNED
me
u
e
to
on
an
s
Levin to
i
Multiple the
com
ng
a
t
t shoo
h
h
photograph
amate
Okinawa,
e
provide
a
"okay"
persona
p
my
action
t
Burnett
30
a
Burnett
was t
"be
n
T
y
most days
ur HA
16mm
hind-th
and
signal
kind
T
l
interesting
film
Guffey
Allied
s I
documentary
pent
of
the
scenes
the
Guffey,
Cameras
.
decided
e
lo
e
e
quipm
nou
Producer
-
"
ca
his
cash
Marines
Hell on
unit
Artists
mera
g
camera
h
Oki-
ma
e
appra1s1ng
nt.
to
at
lo to
"
for
ASC,
crew
By
n persuaded of sce
80 Marine
to
pa
Ir
nawa. an
Cul
story
et
v
waiting
"
0-foot
eye n
s
n used
ic
some
in
Hell
out
urrender
es
in
GEORGE
g
so
Major,
toward
s
ever
The
1944.
Shooting
H.
tanding
und
Sergeant
of
to
of
Kodachrome
to
two
over
Levin
US
shoot put
the
result
showing
Producer
ARYIS/IX
sun
during
Etern
Saipan
on
1
cast mo
or
,
,
000
is
Guy
film.
of
it
3
t
J. more
y
Corps,
th
to
th
,"
impressive
Japan m
th
e
Levin
scene
film
Here,
e
Time
y
e
tell
Gabaldon
battle
invasion, produced
true
MITCHELL
Okinawa.
labor
picturization
ese
Gab constantly
cameras
with
for
assembled
story
for
s
sold
aldon'
A
lli
battle
i
Of
mag
s
who
ed
Sa
i
ers
by an
varying
of
i
s
Artists'
filmed
"Hell
to
Japanese
prominent Ts
s s of was
valed light th
time trays film
t tar,
"Hell
o
record
e
uru
r
th
Japan
y.
was
also
was
s e
si
in
in
AMERICAN
Lt
Aoki
To
To
lent
J
her
a
il
e .
selected
ese
fost
ffr
an en
problem. 35
Okinawa
Eternity"
Gen.
in
,
star
principal
ey
t
Eternity"
making
forces
e
famous
important
the
years era
r
mother.
Matsui,
Hunter
Sessue
to
cast
on
whose
CINEMATOGRAPHEP
,
on
play
her
location
plays
are
husband
Saipan.
.
,
Hayakawa
Mr
Hollywood
commander
first
Gabaldon
popularity
nsrng
Vic
s
.
Gabaldon
Hayakawa
in
American
His
Damon
's.
Okinawa.
yo
.
wife
Also
por
s
ung
Old
tar
ri
of
e,
's
,
-
JULY
with
sce
and
esse
light
unexpected
sa
luck
business
positions
th
and
against
tractor
ippine one
ness
Suddenly
junc effec
rin hi
effectively
was
were tractor
se
was
tegic
proper
si
up
sive c
scene
taken
ing.
ashore paring the
But
Director
id
ious waki
e
weather,
But
It dressed Army's
Okinawa
"
ne
"
hanical
photography
an
c s
Blair.
Taka,
Williams,
mulated
Da veral
ir
The
nce.
That's
e From
hose
.
One
,
to
The
time crew three
_
tion
si
ts was To
was
"
placed
of explosive drenched
until
he Japan
vi
lower
crews
Burnett
Academy
It
charges located
We
milar
•
, invasions
after
points
me
beach
.
d
cameras
av
to to Sea team
wallowing
It
from
cue.
afternoon
the
to
you
was
The
Burnett
with
the first
different
dire had
Richard fading
Here
late
Ishikawa
y
consum to
and
the
waited Janssen,
had
Mitchell .
when
devices
the
make make
1960
would
e
of
" photograph
ese
the
artillery
cover
tides
on
d
location
inside.
,
and
serve
Richard
c
sides
two crises
have
Guffey
a
to , front
scenes
to cameras.
the
landing
inside story
to
t
Guffey
afternoon
to Photography
following
with
a
so
experts,
the
defenders
To
of
flame
difficult company
the
.
film
were
I be
good Award
the
scenes
Continued
fast.
came
catch
certain
film
Guffey, in
complet
almost
patiently
have
Great
the
remarked
days
Eyer
these
th part at
as
Eternity." to
beach used
angles.
g ramp
NC
of
Recreation moved.
of
unpredictable
Joan
All
during
fire
two
photographed
the a
had
e
photography,
Kin-waki
were
has
ready.
be
company's
Time a craft
Gardner
set-up
throwers
to
set.
my
in
ia
huge
.
similarly-titled
the
,
Marines
been
the working
cameras
camp
and
Waves
of
massiv
day.
of
in care
lly
to were
John
cameras
and ready
e that
and
from
postpone
of
washed
carefully
moved cameras
in
be
ASC,
On
O
life,
and
One
for
the
amphibious '
their made
action
in
produce
e 1954
was
near
the
on
Brien amphibious
the
but
Guffey
complicated
Guffey
fie
expensive
n
Next
two
had
" the in
the
set
the
Larch.
the
e
I and
Beach
dealing
rce
engaging
hi
th
for
and camera
storming
h won who
amphib
Guffey
in
da
of
amphib
in
watched
ma
at
camera
special
Hawaii
to
s
e
,
work.
others sw
off a,;,ay for
perfect
Page
could
exp s
s
Phil
a
s
to on
bad
lined from
this
fight
the
a
un
con urf
the
stra
hed
th
ny Ma
t Nicky
Levin and
Miiko
Kin
ift
nd
me
pre
,
the
e
on
lo
be
the
the
B'll
the ,
re
.
Guffey zoom
FORK
lens
TWO
shots
LIFT,
and
mounted
directory
of
mounted
MITCHELL
dramatic
and
ON
surrender
on
Karlson
RUGGED
assistant
on
cameras
bottle
camera
truck
scene
review
scene
Jo
ISL
of served
or
ck
.
AN
e
right
Behind De
script.
for
D
used
e
lo
r
"
.
so
as
ca!ion,
Hell
n.
Cr
to
Mitchell
improv
ew
lo
simultaneously
o
Eternity
i
s
single
ise
standing
camera
d
.
camera
"
camera
by
is
film
operator
crane.
while
i
s
closeup
used
"':,
cinematographer
Nat
to
Andy
ond
e
film
,
_
Pan-Cinar
.,
.
. medium
Japanese
_..
McIntyre
~
>~
~
~,
-
·
~.
·
. .
:
,..;
.
..
..
. the Marines were attacking. This tech nique enabled Director Karlson to se cure a number of various angles of the BEHIND THE SCENES ... same scene in one continuous take. Moreover, it created a greater sense of realism. In addition to the three Mitchell NC cameras, a 35mm Arriflex was fre quently employed.;~ a han~ camera to capture close-m vignettes and sub jectively photograph bits of action. Sun reflectors plus lOK and 20K incandes cent lamps augmented the sometimes illusive Okinawa sun, which often frustrated the camera crew by alter nating from extremely bright to very dull. But as a general rule, the weather was excellent-almost made to order for the daily call sheets. All of the camera equipment was brought from Hollywood. This included three Mitchell NC cameras and one Arriflex. Barneys were main)y used for camera silencing; howev~r, a Raby blimp was on hand and used when BECAUSE SUN played hide-and-seek almost constantly on the Okinawa locations, cinematographer camera noise had to be kept at a mini Burnett Guffey maintaine d a vigilant check on light inte nsities, using a Norwood incident light meter. mum. Although some grip equipment was shipped out from Hollywood, "Chuck" Hanawalt and his grips made most of their equipment after the com pany reached Okinawa. Lighting equip years he has been behind motion pic palm logs, bits of barbed wire and ment was rented from Japan, but Gaffer ture cameras. Within minutes he quick pieces of military equipment were lit Dave Curtis brought along his own ly, skillfully and with authority born of tered about. Hundreds of Marines to diffusers. The Marines furnished and years of experience, selected new set gether with their heavy trucks, tanks ups, lined up each camera for composi and equipment milled around. In the Continued On Page 434 tion, checked lighting and exposure middle of this ·apparent confusion Guf and was ready to roll when Director fey was calmly;;making ready for the Karlson called for "Action!" next series Of~cenes. These were to In front of Guffey's cameras, the show the Ma4'es slowly advancing Marines slowly waded ashore amidst over the beach agai.pst bitter Japanese tremendous artillery explosions and the resistance capturing ·a series of pill box You'll find CHARLES ROSSI es located on the bluff. It was to take chatter of machine guns and crack of There's a lot that goes on behind the scenes rifles. For. many of us on the sidelines Director Karlson's film unit nearly who were combat veterans of World three days to achieve this objective- that never shows on the screen ... important RENTALS SALES SERVICE War II and the Korean War, it was a possibly longer than it had taken the things, that require the very best in·equip bit too realistic for comfort. Karlson Marines in the real;life battle of Saipan. Send for a schedule of rental rotes. was calmly directing the make-believe But, o( course, although the results ment. That's why producers who "get things carnage from the turret of an armored looked as realistic as the actuality, it done" call Charles Ross . . . They choose from amphibious tractor in much the same was much safer for everyone concerned. manner as a combat commander. When To photograph these scenes with one of the largest inventories of lighting and he finally said "Print that one!", the more dramatic effectiveness, Guffey em grip equipment in the east - anything from a sun had almost disappeared behind ployed multiple cameras. As many as sleek, powerful DC Generator Truck a Baby the nearby Ishikawa mountains. At three Mitchells were sometimes used to to ~!~LIGHTS I GRIP llQUIPMllNT Assistant Director Clark Palow's com photograph different fields of action Spot. There's service too! The kind of service mand, "dead" Marines and Japanese simultaneously in the same scene. For soldiers slowly rose from the beach in example two cameras, each employing that, within minutes after your order is the eerie light of the gathering dusk. different focal length lenses, would received, has the equipment on its way to your t-n~~~. -=- -=--- . .- -· Guffey tilted back his ten-gallon cow cover the advancing Marines as they location. You'll find it's great doing business boy hat and smiled, satisfied. Another crawled across the fire-swept beach, 000~:,ll~:1:,,R:,,,":.';':,! important scene was "in the can." using shell holes and debris for cover. with Charles Ross. ~~ ~ 100 50 Jo 20 Amp AC USING A BOLEX H~16 camera with full complement When I visited the set the next day, A third camera, mounting either a of lenses, the author photographed much of the pro~ ------the beach looked as if a real invasion telephoto or a Som Berthiot "zoom" duction action from behind or alongside the big Mitchell cameras for a personal documentary film of Lighting the Motion Picture Industry Since 1921 had taken place. Shell holes, shattered lens, would he trained on the objective a movie company in action on location. it~ 434 434 FORBES· FORBES· 350 350 about about photo photo Ask Ask Super Super 2801 2801 "MITE- - IJ IJ LONG 723 723 FITS FITS ) In In LOWEL-LIGHT LOWEL-LIGHT ~ ~ LIGttT your your 421 421 West West Se Oak Oak Anscochrome Anscochrome d 16mm 16mm other other .A.NY .A.NY ER ER ve ea ,.::. WEST WEST ,.o,.u • • • • • • L OBINSON, OBINSON, • • EST EST nt E ler ler Point Point ,o BURNING BURNING ~;;;;::,, ~;;;;::,, SS SS h h 50th 50th CAMERA-COSTS CAMERA-COSTS . BETTER BETTER 16MM 16MM 16MM 16MM flne flne 16MM 16MM 16MM 16MM o~ JACK JACK BLACK BLACK - :J...61\'Il.YI :J...61\'Il.YI 54TH 54TH Ave., Ave., FIim FIim 0 NEWSREE ~ ~ 0.A.R «"- Dr., Dr., products products StrHI, StrHI, STREn. STREn. K K force-developed force-developed N. N. developin~ developin~ INC. INC. D. D. SKIN SKIN L.A.113-T"V L.A.113-T"V B&W B&W ANSCOCHROME ANSCOCHROME B&W B&W B&W B&W ~IEileci ~IEileci iiU~i~;d iiU~i~;d to1r model$ model$ Hollywood Hollywood BACKGROUNDS BACKGROUNDS PHOTO PHOTO .A.NO .A.NO Y. Y. apher1. apher1. LEPPERT LEPPERT L L 19 19 ~~ • • NEW NEW - New New PORTABLE PORTABLE TONES TONES from from POSITIVE POSITIVE NEGATIVE NEGATIVE REVERSAL REVERSAL tc~e~c~~~~~ tc~e~c~~~~~ a~ndh;r~~!~~~;~~{ a~ndh;r~~!~~~;~~{ SPECIALIZING SPECIALIZING & & LITE" LITE" fl:f~n~; LESS LESS ONLY ONLY • • Established Established ENGINEERING, ENGINEERING, MUCH MUCH fqulva JUdson JUdson FILM FILM YORI YORI LABORATORIES LABORATORIES WHITE WHITE 28, 28, PRO PRO and and - York York $19.S CHARGING CHARGING 1 ~/~~ ~/~~ l to to en California California 19. 19. O printing printing t t LESS LESS \~~e~:~~r , , A.S.A LITE LITE RESULTS RESULTS 6 FOR FOR to to 19 tor tor ·2 c~ N !.'o!f:t~o! !.'o!f:t~o! . . 293 293 1 hl1h-prleed hl1h-prleed 1,g,;;~ 1,g,;;~ , , Y. Y. II II 1949 1949 . . e N limited limited . . 400 400 .Y . . ' ' "G better better camera camera pr photography photography di Toru Toru worked worked Oshima two two Japanese Japanese Simpson, Simpson, Andy Andy of of crews crews principal principal consis an ators, ators, manned manned for for in in Co plete plete notable notable the the proximate other other forded forded of of "HELL "HELL able able g to to " protection. protection. have have cannot cannot ASA ASA The The meter meter be be case man's man's size, size, ing ing unit, unit, cameramen," cameramen," is is re-charging re-charging up up spe round round Mite-Lite" Mite-Lite" ese Guffey Guffey ntinu uffe d d In In A Shooting Shooting The The Okinawa), Okinawa), newsreel newsreel amp face3 face3 be be cameras, cameras, varied approximate Mite·Lite's Mite·Lite's lth hauled hauled nt nt nsib . . to to photograph t reduc and and McIntyre McIntyre with with y-san y-san 250 working working Hayashi, Hayashi, known known charger charger units units w ed ed 25 25 e Ho 12 12 wh been been o , , o d bet 6 " " 6 3 " " 3 ot l that that in hi rate rate be be fu u by by e e crew crew fall fa most most l TO TO the the for for ll crew crew e e h fee From From g i , , t and and c crew crew ll ll for for ch ch l , , erpreter, erpreter, is is h t ult h h " " er er ywood, ywood, ass i h y y exposures exposures e hooked hooked t f f . spare spare ad ad are are ion to to othe off off to to a r r from from t ne n camera camera il eas of of c includ Tri·X Tri·X s s l provided provided s are are n the the as as gear gear s s i one ocatio these these h were were ecessary ecessary ETERNITY" ETERNITY" h his his normal normal American American of of stant stant Page Page pra d d and and h " " the the under under d of of ver ver Jack Jack , , arge arge ows ows says says shown shown is is three three Guffey Guffey is is battery battery used. used. and ass ark ark ( ( a r r p lwao lwao "Pepe." "Pepe." l , , ·s too, too, there's there's y y whom whom y y batte ictu as as i fuses fuses mono·source mono·source not not por long·tim sed sed top top is is lo so so subject subject in in i th veteran veteran up up ed ed pac 414 414 lin nin $130.00. $130.00. gned gned gets gets Yoneo Yoneo th mounted mounted or or expos Leppert, Leppert, the the catio follows Deerson Deerson - l work. work. " " e e backgrounds-two backgrounds-two cameramen. cameramen. re re eve his his at at 6" 6" T use. use. e e Jun Jun ab t car car in in separate separate g g in in as as ri designed designed wrong, wrong, ked ked Niki, Niki, g g e slower slower h Mite.Lite, Mite.Lite, Guffey Guffey D to to re es es wa lectri had had th and and 24 24 quality quality ere ere ra l l a a l c direction an an T in in great great n n angry," angry," x x u th e e j ur . to to h e e dir trunk trunk i i The The c Pont Pont aga ti h s s twice twice e e with with of of built further further arging arging guc Nono b e fps fps sites h k Nishimura 6" 6" o o es es : : e e li Japan accompany f/16 f/16 is is f/8 f/8 f / f pr arging arging ectors ectors ey ey bulb, bulb, cal cal the the /4 /4 and and hi gh Operator, Operator, in in the the "find "find Japanes and and in a 1.9 1.9 of of ev a a than than l as as charging charging s s with with nd nd li x x are are -i highly. highly. eaching eaching . . camera camera camera camera t t camera . . or or i 936 936 that that noticew noticew a a ght generw generw iously iously n n trucks trucks s s battle battle other other . . ever units back· back· 6" 6" "Most "Most . . wh Koji Koji said said com fuse week week Bob Bob The The T se rate. rate. sa amp amp su Jn this this hi in that that ca ap· ap· the the h af· af· of of e ll i e e at at it in in m m e e , , . . g g d d n n , , it it s s n n · · , , s s at at boost boom, boom, ot height height ca very very sm quick front front e gressed, gressed, This This Mar crew crew lif pab act i ped se be be t m pine pine crew crew near near B comp were were the the Okinawans Okinawans Japanese Army, Army, Japanese wans wans t s served served uniforms. uniforms. hundred hundred e charge" charge" twee c nawa nawa in in the the tories. tories. was was was was a X 1.85: 1.85: in in in in made made "Three "Three previously previously h ra nicians nicians how how one one wen ur d d u h attalion pable pable quence." quence." Most Most e e il t t An An night night oothly oothly It It lm er. er. i One One s s "He es es the the Directing Directing ed. ed. l on. on. in in to to b 1954. 1954. cameras cameras in f f o e e p er er Camp Camp 3rd 3rd nd nd and and n n ty.fi processed processed la in sent sent l nt l Japanese Japanese took took was was co AMER l 1 1 bad bad adept adept y y were were Kin·son Kin·son e e Sea. Sea. ete ete of of ca playing playing aced aced interesting interesting from from and and take take W c of of the the ll ll a film film in in " " readiness readiness th Interspersed Interspersed Dailies Dailies of of of of lamp k· nsisted nsisted truck. truck. Tri·X as as m ll ll screen screen es es t was was the the and and S ve ve h of of supporting supporting , , e e to to their their Tank Tank th Okinawan Okinawan by by rigged rigged a filming filming for for oved oved an by by tripe e about about things things the the Japan Japan th th nd Marines Marines It It was was The The 5th 5th n n pro Marines Marines e e : Hansen Hansen officers officers part part On On l Eternity" Eternity" directed directed is is CAN CAN of of e e against against Camp Camp ift ift li in in 3 e e and and . . Marine Marine at at not not in in .wh improvised improvised th at at the the air air . . lift. lift. was was . . not not fting fting ban most most the the a a jec better better s s film, film, crews, crews, the the A A by by c overloo the were were e e lo Marine Marine from from ra Batt for for of of r severa furious furious dusk, dusk, the the was was in in hoisting hoisting it 30 30 ewmember in in so so other other up up new new go go for for to to work work cat ted ted a a woode Japanese. Japanese. to to za of of C tio and and se se in in General General e e their their As As boom boom American American a a th Hansen Hansen important important INEMATOGRAPHER INEMATOGRAPHER and and auth and and these these i i post post alion alion Hollywood Hollywood dressed dressed for for i extras extras wi 4 wrong!" wrong!" fe by by th . . the the among among two two their their flown flown the the o sh fanatical fanatical men men back back Columbia Columbia in in operators operators part part attack attack e e one one u u :00 :00 to to was was was was n n h ki e the the l l e e All All so so th th !!:e !!:e us eq sed sed of of oot oot eavy· t t Su n n wa Gu Regim an an Jap en ng ng j th night night Guffey. Guffey. photography photography mornin eful eful ob ob entire entire NCO's NCO's uipm theater. theater. came camera camera and and Mitc s Eastman Eastman it it scenes scenes Japa as as n se platform, platform, the the e e h had had and and photographed photographed a of of added added ti s s Film Film picture picture exposed exposed were were comrades comrades ff back back " " o approximate approximate of of early early . anese anese , , to to t·up t·up c i m in in was was was was th even about about ey ey t duty duty O t the the n n it o o "no "no s. s. a a a a which which " h . . could could sequences sequences e e e ra ra ve y y invaders. invaders. battle battle n en J J field field formerly formerly ca e nt nt a a lead lead the the s an an w week week became became . ese ese " a camera camera a Pictures Pictures . . so so " L gs, gs, ll ll upp :r It It was was r r staged staged to to Philip He He ings ings t nd nd Okina· Okina· to to neces- banzai banzai p in in h meras meras boom. boom. ecr banzai banzai to to a w , About About matter matter which which could could dawn dawn 4·ton 4·ton to to ane3e ane3e fork three three e cam bora· bora· eight eight pro· pro· Plus· Plus· area area was was t that that Oki· Oki· r 2nd 2nd an film film the the ort ort ec uit ca ex· ex· was was his his e e t h,d h,d the the the the be be be as ho ho h in in to to in in a a of of h· h· · · e e it it · · · · · · J U LY LY case case inf inf Yvar Yvar .. .. Switar Switar Switar Switar Yvar Yvar inf inf Reflex Reflex Switar Switar Yvar Yvar Yvar Yvar Switar Switar Switar Switar Sw Pan Pan Pan Pan Pan Pan ($37 Variable Variable instead instead posure posure H-16 H-16 -- lens. lens. with with from from BOLEX BOLEX 1" 1" . . itar itar ...... • • . ... ········ . Cinor Cinor Cinor Cinor Cino 50) 50) 16mm 16mm 75mm 75mm 150mm 150mm f 100mm 100mm .. 25mm 25mm /1. 75mm 75mm f ············ 25mm 25mm 16mm 16mm . 10mm 10mm . / . control control ... ...... Lytar Lytar 1960 1960 of of r r · 1.4 1.4 $400 shutter shutter -· that that · .. ·····- f 1001 85-w / .... 8 8 w 3" 3" lens. lens. 2.4 2.4 REX REX .. / 50mm 50mm I" I" w 6" 6" .... {3 w I .... · 4" 4" a a ·············· / " " · permits permits / / --- " possible possible 3.4 3.4 f/2.8 f/2.8 . . a a f ---· f/2.8. f/2.8. lens a a f ...... f ) f ) ..... , , f / permits permits f / / Shown Shown /4 /4 f R.F 1.4. 1.4. / 1.5 1.5 / / /1.6 /1.6 . lens , , 3 ..... 1. 1.9 2" 2" . . . focal focal 8 8 3 3 lele. lele. tele Focuses Focuses From From FM FM · Foc .. , , ··,------=-· auto , , FM FM BOlfX BOlfX F throu ...... te tele. tele. focus focus focal focal M M smooth smooth with with . . ---- uses uses le. le. l . -- l ·· 8" 8" ...... ma Foc lens ½' ½' e 8" 8" · 17.5 17.5 · ngth g ··· lens. lens. h h 4·power 4·power tic tic to to lengths lengths u I' I' 5' 5' 16mm 16mm REXOFADER REXOFADER to to ······ I½' I½' t . . ses ses o o part s s inf. inf. fades fades 7½" 7½" .. to to to to to to in operat inf. inf. . · from from . ·------$145.75 ·------$145.75 f. f. . Ultra ial ial to to 5 ... · inf 85mm inf ·· "C" "C" ' ' LENSES LENSES · .. "C" "C" Visifocu,,_ Visifocu,,_ from from · . . inf ·· . . . magnification to to closing closing and and length. length. ... 17½mm 17½mm ····· i "C · Visifocus on on hi . " . . . mount. mount. .... ______ - inf. inf. mount. mount. " " - g ··· 25mm 25mm lap lap h h .. C of of F2 F2 mount. mount. ············· .... " " speed an an of of . "C . FM FM . mount... mount... dissolves. dissolves. the the .. . _ Visifocus Visifocus . to to .. ...... " " , , the the Visifoc lo lo option ...... C ______ 13' 13' 70mm 70mm mount. mount. . . Vi . . · var ·········· mount IOOm va sifocu Focu Focuse ·· ...... i r to to ·· able able al al us us iabl · .... ...... ...... · · Greater Greater m m ... ses ses ·· ...... , , inf. inf. Visifoc accessory accessory · · ...... s s .. .. . . e e . . $169 Rex Rex $168.00 $168.00 $145 .. .. 8 s $115 $ $329.50 $329.50 $269.50 $269.50 $420 shutter. shutter. $69.50 $69.50 $5 $89 $99.50 $99.50 shutter shutter 1 3 49.50 49.50 with with ' ' 9 ' ' an . . .5 .0 . 50 50 . 00 00 us us 50 50 to to ex 00 00 to to d d 0 0 0 0 -~L -~L Used Used tripod, tripod, for for • AURICON AURICON SUPER SUPER AURICON AURICON AURICON AURICON film film ret ret tronic tronic accessories accessories clutches clutches film; film; single single CINE CINE Torque Torque Pan Pan 400-ft. 400-ft. 25 Arriflex 10mm 10mm 75mm 75mm switch switch and and 16mm 16mm Same Same The The ing ing mm mm 33 33 cable cable for for camera camera ········· Cinor Cinor VOICE VOICE test test only only during during se minut wgt. wgt. 1200 1200 " take-up or or Xenon Xenon Xeno as as , , Xenon Xenon Cinegon Cinegon Motor Motor and and C" C" lf·b Magaz or or PR0 lock lock PR0·600- "S Model Model · film film 16mm 16mm ·· d 70-Z above above l m UP es es I-Use,~ · 27 27 be imp available available n n o - ·· motor {self·blimped ·2 o exposu u · f/2 f/2 , , ··· ER ine ine un f lts. lts. ble·system ble·system f 00 reco ______ / ___ / ed; ed; lb,~ AURIC ----- film 1.5 1.5 · · t t NEW NEW 1.9 1.9 FJ.8, FJ.8, ooms ooms . . 16 16 12 camera camera , , l w len,s.... 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' turret. turret. .... s s ...... ericard. ericard. two two a a s s , , C camera camera 16 16 with with and and ...... ry. ry. . Free Free re focusing focusing var .. Mon. Mon. . , , ...... . dit dit _ . l . .... e . . . i ...... . Available Available ... bu Operates Operates ety ety . n moto $3 $3 . . s• __ __ .. .. .. ..... P ilt. ...... Ti with with ...... . p cavi . . arkin . ...... purch lus lus of of ...... l l . r r in in .. .. and and $1380 $1455.00 $1455.00 $998.50 $998.50 9 9 $157.50 $157.50 $260.00 $260.00 ty ty $189.50 $189.50 $255.00 $255.00 $157 $179 $169.50 $169.50 filming filming profes II II 130.00 130.00 g g buckle buckle Yo p.m as from from caps in in view al al ur ur e . . . 00 00 50 50 50 50 . . . . a a , , 435 435 sary for Guffey to shoot day-for-night, Almost immediately following the slowly sinks to the ground and dies. using filter combinations in con junction filming of these scenes, the company This scene was photographed with _ , ~ · •. .} :; . Laborato,y Equipment ( ,,., , . • SQUEEGEE with booster lighting on the faces of moved into Koza, the second largest Hayakawa and Hunter moving toward . TIOUaLES? ,M:, the players. Multiple cameras were em city in Okinawa, where a street had the edge of a hill overlooking a small · · Wan a sure cure? ployed using a wide range of lenses. been converted to look like a section / Nylon Squeegee with· valley where over 800 Japanese sol .- out mounting bracket Telephoto lenses and the "zoom lens" of Honolulu. Guffey and his crew diers are calmly waiting for orders . $4ll.OO were frequently utilized in photograph worked all night shooting exteriors of With mounting bracket to attack the Marines. The dolly and roller, ___ _ $S8.00 ing some of the long shots. the Marines enjoying a "liberty." mounted camera travels along in front Radio "walkie-talkies" and sound Tri-X film and batteries of lOK and of them as they move forward to the powered telephones were used exten 20K lamps were used on these scenes. CHEMICAL PUMPS ( .r:; __ brink of the hill and, as they reach A!I sizes sively by Karlson to communicate with A minor disaster occurred when one their objective, the camera trucks 1/~ h.p. pump \--, his assistant directors and with the of the Mitchell cameras was acciden with motor , . " backward and, keeping both actors $63.00 Marine commanders controlling the tallly knocked over and badly dam in the frame, pans to reveal the ,wait troops. When the actual banzai charge aged. Emergency repairs were made ing Japanese soldiers. It is then that PROFESSIONAL FILM PROCESSORS was made, Assistant Director Paylow and shooting continued without a Hayakawa plays his impressive scene. with the famous Micro-Tension Drive and his chief aide, Joe Marakoff, gave break but a replacement camera had Fork-Lift Camera Boom the Okinawan extras a "pep talk." The to be flown in from Hollywood. MET AL MASTERS Guffey employed his improvised 5599 University Ave., Son Dl•go 5, Calif. resulting scene was so effective and In one key sequence, Jeffrey Hunter frighteningly realistic that Director and Bill Williams, hiding in a camou fork-lift camera boom for the final Karlson applauded and thanked them flaged "spider hole," secretly observe scene in the picture. As Jeffrey Hun BOLEX ACCESSORIES warmly for their efforts. Karlson was Sessue Hayakawa and his men plan ter leads the Japanese prisoners in very popular with the Okinawans. ning· a desperate last ditch banzai "pied-piper fashion" from out of the BY STEVENS valley and toward the American lines, Three Mitchell Cameras Used attack against the Marines. Th,e script Variable Shutter • Split-Frame Mask • Syn called for a shot showing the two two cameras ( one fitted with a chronous and Battery Camera Drives • Time Several days were spent filming close "zoom" lens) are slowly lifted 30 feet Lapse Timer • Lens Extension Tubes • Rack in hand-to-hand fighting and vignettes actors carefully lifting the cover of over • Turret Lever • Third Turret Stop • Turret their hiding place and watching the into the air by the fork-lift and then Filter Slides • Camero Base • Lens control of Marines and Japanese in action. down again. It is a dramatic and ef Handle • 400-Ft. Magazine • Sound Sprockets This included shots of Japanese soldiers Japanese in action. This scene had to fective shot. Write for our Bolex Accessory Catalog. weilding samurai swords and bayonets be staged showing the entire opera and engaging Marines who also met tion from the viewpoint of the two Most of the interiors as well as the STEVENS ENGINEERING CO. them with bayonets and clubbed rifles hidden Marines. U. S. locations were filmed after the 340 N. Newport Blvd. and carbines. Guffey would first photo Here Guffey ·Was able to again em company returned to Hollywood. The Newport Beach, Calif, graph these scenes using all three ploy his multiple camera technique interior of Hayakawa's cave headquar Mitchell cameras. Then the action most effectively. One camera, equip ters was made on one of the sets con would be repeated with Operator Andy ped with a wide-angle lens, was placed structed in the Camp Hansen gymna sium. HOUSTON FEARLESS McIntyre using the hand-held Arriflex at ground level in a trench dug di 35mm for close-in shots. McIntyre had rectly to the rear of Hunter and I concentrated my personal movie to be agile to avoid getting upset by Williams. This camera covered the making mainly around the beachhead PANORAM struggling actors. two actors in one corner of the frame invasion and the banzai attack scenes. DOLLIES All of the key members of the cast and in the background also included Most of this footage was devoted to Thoroughly Overhauled took part in these vigorous and some the Japanese. Another camera, placed scenes of the production crew at work: Guaranteed times dangerous scenes. Stunt man Gil above the ground, covered a general Guffey and his crew in action, Karl view of the Japanese in action. The son rehearsing actors, make·up men SPECIAL LOW PRICE: Perkins was assisted by a group of Most of our clients . . . third camera, mounting a "zoom" at work, and various shots of the Immediate 4-Whael ••.•...... • $1,400.00 Marine judo and bayonet experts, but lens, followed Hayakawa and his men principal actors relaxing "between D.Jivery 5-WhHI ..•....•...• 1,800.00 this did not spare Jeffrey Hunter, ~ CAMERA !QUIPMENT CO., INC. David Janssen, Vic Damone and John as they moved about the set. Three takes." Jeffrey Hunter is also an 315 West 43rd St,-1, N- York 36, N. Y. men manned this camera: an opera· amateur movie maker and works in JUdson 6-1420 Larch from a few bruises. Phil Karlson likes to keep the cameras "close-in" to tor, one assistant controlling the 16mm with Bolex cameras. John the action so this precluded the usual "zoom" handle and the other pulling Larch, who plays Gabaldon's company practice of doubling the principals. the focus. commander, is another amateur filmer. Automatic Daylight Processing Jeffrey Hunter, in particular, was in The climax of the picture comes My equipment consisted of two DEVELOPING TANK volved in several rough and tumble when the Japanese commander (Haya Bolex cameras: one an H-16 model • Processes up to 200 ft. scenes and these were not faked. If the e l mm-16mm-3Smm-70mm kawa), who has been persuaded by equipped with a Pellegrini variable • Movi-X-RoY-Mlcromm bumps came his way, he cheerfully ac Gabaldon (Hunter) to surrender the shutter and the other a new "REX" • Motor driven portoble • Uniform Density A11ur•d cepted it all as part of the scene. remains of his army to the Marines, reflex model with an attached auto • 400 ft. Tonk Availoble On a gruelling and unseasonably countermand's his original order for matic fading device. Exposure read FILM DRYER warm afternoon, Guffey and his crew a last stand effort and, instead, tells ings were taken with General Elec • Motor drlv.. ,-·Heoled • SpHdy drying worked in the vicinity of Chibana, his men to surrender to· the Ameri tric and Norwood meters. It was not • Automatic 1hrlnko11• allow shooting a sequence showing Sessue cans. Then, before their horrified ance possible to use a tripod without get • Stainless steel ond Hayakawa walking amongst his men eyes, he commits suicide in the tra ting in the way of the crew, so all aluminum con1tructlon c Eo1l1y assembled without and observing their pitiful state of idtional Japanese manner of hari-kari. shots were made with camera hand tools • Compact, Portable semi-starvation. Shooting this action As Hayakawa comes to attention, the held; however, I was able to support Guaranteed. Writo for Fr•• Literotur• was complicated by roaring jet fighter hari-kari knife tears at his vitals and, the camera frequently on ladders, planes taking off and landing from grimly trying to hold back the pain, MICJO• Recor dC orp. ,.•.• •"·" Av, . parallels and several times on an un Beacon, N.Y. nearby Kadena Air Base. he orders "Forward March!" Then he used 35mm camera tripod. In this AMERICAN CINEMATOGRAPHER 436 JULY • 1960 437 connection, the Stevens camera bases sequence, it seemed like the best judg I use on my cameras were of con ment to go ahead and shoot the day siderable benefit. scenes with the tarps pulled also." .reversal film at 1200 ft. per hr. I was able to shoot a number of Working under the tarps permitted actual scenes from the picture being greater control, but with so many ositive film at 1200 ft. per hr. photographed. However, I shot only lights involved the flickering of the arcs those scenes made without sound and caused inevitable delays. This was ••••••••••••••••••••••••••••••••• some of the big battle scenes which especially so when yellow carbons were included only sounds of artillery and used. Yellow carbons burn at the MODEL R-15 gunfire. This precaution was neces same color temperature as incandes REVERSAL FILM sary to prevent sound of my un cent lamps ( about 3300° Kelvin) so blimped camera ruining the sound that the two types of light can be PROCESSOR track. For some of the dialogue mixed, eliminating the necessity for scenes, I was able to shoot rehearsals. filters in front of the arcs. However, • EXCLUSIVE OVERDRIVE eliminates film breakage, automa tically compensates for elongation; tank footage stays This was done well to the rear of the yellow carbons tend to flicker, constant. Guffey's camera positions and I whereas the white carbons, used in al • EASY TO OPERATE, needs no attention. ways included in such scenes both the matching daylight and also in night • VARIABLE SPEED DRIVE, development times from 1½ to crew and the players in action. Here photography, burn more steadily. 12 minutes. I should like to express my apprecia The night quarry sequence gave • COMPLElE DAYLIGHT OPERATION on all emulsions, no dark• tion to "Chuck" Hanawalt and his Arling opportunity to make full use room needed. grips who somehow always had an of a technique which he had em • FEED-IN ELEVATOR & 12DO-FT. MAGAZINE permits uninter- . extra stepladder or unused parallel ployed only sparingly in previous rupted processing cycles. handy when I needed one to shoot films--the mixing of warm ljnd cold • STAINLESS STEEL tanks, air squeegee, recirculation fit!l"gs, from. • light. The sequence depicts a crowd air agitation tube, lower roller guards. of prisoners at work in the quarry • FORCED WARM AIR DRYBDX, uses no heating lamps. at night. The set is generally suffused • Double Capacity Spray Wash • Filtered Air Supply "STORY OF RUTH" with an overall cold light of a slightly • Uniform Tank Sizes • Self-Contained Plumbing bluish tinge to suggest moonlight. The • Cantilever Construction • Ball Bearing Gearbox • Weight, Approx. 475 lbs, Continued From Page 421 areas of action are bathed in pools • Size: 76" x 50" x 24" of amber light to simulate the torch light supposedly illuminating the a block long and a half block wide. Milford, Conn. De pt. ACJ-60 Arling gave this sequence a great scene. The contrast of the warm deal of thought before deciding to torchlight against the blue moonlight cover the exterior set with tarps ( tar· of the shadow areas created a highly pictorial mood. This mixture of light g1vmg rainstorm to break the deadly ...... paulins) and shoot it under artificial drought that has plagued the parched light. "At first I thought I might be was again used effecti vel y in a se This is the latest IMPROVED quence shot on the stage depicting nation. better off to let the sunlight in," he The day on which this sequence explains, "hut I was deterred from this the forest glade in which an outdoor was to be shot was extremely over CINEKAD JUNIOR DOLLY . . . stay with us. for the reason that we were shooting festival and wedding take place. cast. Arling thought of the golden in the winter and couldn't be sure we One of the attributes of a top-notch Used Nationally by light that sometimes emanates from would get a sunny day. There were cameraman is his ability to keep the Discriminating Cameramen the sky just before a storm-so he about 200 people involved, and that's a company shooting, if possible, no mat put yellow carbons in the arcs used This 3-Wheel Collapsible Dolly Is pretty big call these days. Regardless of ter how bad the weather. During as booster lights. The result is a esp•cially designed to mHt th• demcznd for con what kind of day I had gotten, I would shooting of "The Story of Ruth" a venient mobility of cameras on locotion or in golden glow ;;,hich bathes the scene the studio. have had to shoot the sequence-and siege of overcast forced the company and gives it a supernatural aura if I'd gotten a foggy day I would have to shoot indoors until it finally The new model instead of the exactly in key with the mystical mood been in trouble, because the establish ran out of interior sequences, and 4" wheels is constructed with 5" attendant to the appearance of the ing scene shot in Africa was filmed in there was nothing left to shoot but heavy duty rubber-tired swivel prophet. • Sound • Editorial very hot sunlight, which these scenes exteriors. Arling decided to take ad wheels. • Laboratory Services had to match. If the day were sunny, vantage of a bad situation and turn Technically, the photography of I would have had to keep 200 people it in favor of the story. "The Story of Ruth" is honest and Write tor more detaifs and prices. waiting while the crew pulled the over There is a sequence in which Naomi, straightforward. That is to say, there head rigging to eliminate shadows of in despair, kneels to pray. She hears are no exaggerated angles or tech CINEl 438 AMERICAN CINEMATOGRAPHER JULY • 1960 439