Technical Progress in 1954 Point but Was More Adaptable to the Large Negative and Reducing the Image Neers

aspect ratio of 1.85 to 1 was not only 8" by Paramount, had definite ad- camera based on ideas which had been more desirable from an esthetic stand vantages. By starting with the extra submitted by Paramount studio engi Technical Progress In 1954 point but was more adaptable to the large negative and reducing the image neers. Within a very few weeks, Mitchell majority of the nation's theatres. (Many by printing on standard 35mm color was at work on a prototype of the new had been considered too narrow to ac print stock, grain size was reduced and camera and by October 1st had de Refinements and new departures in photographic technique and equip commodate the very wide screen re greater clarity was achieved. livered the first of six new VistaVision quired for the 2.55 to 1 aspect ratio of By April, 1954, Paramount, follow- camerns to Jack Bishop, Paramount ment highlight the industry's progress during the year just p~ssed. CinemaScope.) ing the successful photography of camera department head. (See Amer. Experiments began with a camera "White Christmas" with the double- Cinematographer for November, 1954, that had been built back in the 20's by frame camera, was now definitely com- page 552.-ED.) By ARTHUR E . GAV I N William P. Stein for the old William milted to the "Lazy-8" system, which After a period of exhaustive testing Fox "Natural Color" system. This was now it had tradenamed "VistaVision." by tli" ..studio camera department, three a two-color system that required the Leading manufacturers of professional of th~_,- new cameras were shipped to the UCH OF THE TECHNICAL progress The original anamorphic lenses which months experimented with still another negative to move past the gate two motion picture cameras were invited to Cecil B. DeMille Company then in M achieved by Hollywood's motion 20th Century-Fox had imported in order new method of motion picture photo frames at a time. Paramount engineers survey the system and to submit designs Egypt, where they were used by Loyal picture industry during 1954 is directly to shoot its first CinemaScope produc graphy in which the film travelled hori turned the camera on its side, changed for a new Vista Vision camera that would Griggs, A.S.C.; Wallace Kelley, A.S.C.; attributable to the frightening jolt it had tion, "The Robe," had been analyzed by zontally, instead of vertically, and ex the aperture to take a lens that would incorporate the horizontal film move- John P. Fulton, A.S.C.; and John F. cover an area two.frames in width, and received the previous year when the Bausch & Lomb and greatly improved. posed a frame 8 sprocket-holes in width, ment. :' Warren in photographing DeMille's rather sudden advent of 3-D, Cinerama Very soon B&L was supplying new and equivalent to two frames of standard after a series of tests, turned the camera Mitchell Camera Corp., of Glendale, ,/i' _latest epic, "The Ten Commandments" and CinemaScope almost brought pro· better CinemaScope lenses to Fox, which 35mm. (See Amer. Cinematographer over to Loyal Griggs, A.S.C., to use in Calif., which had aided the studio in ; With its Vista Vision photographic duction to a standstill. What was taking enabled the studio to expand its slate for December, 1953, page 588.) fi1ming Paramount's "White Christmas." working out· a satisfactory film move- problems now pretty well licked, Para of CinemaScope productions. In all this place, of course, is what has occurred at Paramount engineers, headed by This new photographing system, ment for the modified Stein cameras, mount turned to the exhibition phase of intervals before in the industry-a re endeavor, Sol Halprin, A.S.C., Fox which was originally dubbed the "Lazy- Loren Ryder, were convinced that submitted a design for a Vista Vision (Continued on Page 42) volution and the dawning of a new era Studio camera department head; Grover of technical progress. Laube, camera engineer; and Earl Spon This time it was the photographic able, the studio's technical director, phase of film production that was being made important contributions. affected. Stereo, Cinerama, and Cinema By June of last year, Bausch & Lomb Scope--all these "new" systems began had so improved its design of ana with radical changes in the procedure of morphic lenses, that it now was supply photographing a picture. By January ing Fox and other studios with Cinema of this year, 3-D was clearly on the way Scope lenses in various focal lengths, out as a popular medium of theatrical ranging from a 12-element 40mm up to film presentation. Cinerama continued 152mm. These lenses possessed im to gather popularity, and new Cinerama portant new attributes, not found in the productions were already in the making. first CinemaScope lenses, including im Fast footwork on the part of 20th proved resolving power, greatly reduced Century-Fox executives had sold Cinema distortion, enhanced definition and im Scope to the majority of the nation's ex proved color correction . hibitors and they were already at work Although, by early 1954, most of the to effect a similar coup in Europe. By other majors were swinging over to January 1st, 1954, CinemaScope had be CinemaScope production, one studio- come a solidly established system of film Paramount-'believed it had a better Anamorphic lens adapted to Arrifl.x 35mm cam New, Improved ClnemaScope lens built by Bausch The Bell & Howell "FllmoRama" anamorphic era for photography fn CinemaScope format. Len Roos, ASC, demonslrales the new Kinevox production and exhibition. system. This studio had for several Lomb Oplical Company. lens mounted on a 16mm Filmo. Kay Lab eledronit viewfinder.

24 AMERICAN C INEMATOGRAPHER JANUARY, }955 • • AMERICAN CINEMATOGRAPHER • JANUARY, 1955 • 25

42 42

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S S 43 43 camera with a CinemaScope lens. This of the finder. HSlave'' or monitor re· Russell Harlan, A.S.C., is photographing has a huilt·in power source for the ceivers may be placed at convenient at M-G-M. camera motor, and precise external re points on. the sound stage or near the In the realm of set lighting, two im mote controls for rackover, selling the camera, permitting the director of portant developments of 1954 include a P,.ecidion Built Combination Sound Readers lens stop, and focusing. photography and others to observe the new carbon developed by National RKO studio achieved a somewhat less scene during lineup and shooting with Carbon Company designed to balance artistic job but a nonetheless efficient one out going near the camera. lighting to 3200° for color photography, in the construction of two blimped (Al Simon, of McCadden Corp., Hol when used in conjunction with incan cameras for filming underwater scenes lywood, producers of TV films, has a descent lamps. General Electric Com for its production of "The Big Rain similar development under way which pany's lamp division announced the de bow." This production, as did others may be ready for demonstration early velopment of a series of new "noise like it, posed the prKodak Com 1000-watt general service lamp, a 1000- power fed from above by cumbersome pany's Tri-X, which went into first watt 3200° K lamp for photography, cables. HKO engineers utilized a com practical use in the industry last year. and a 2000-watt spotlight, also for pho pact non-spillahle wet storage battery, Following demonstration in Hollywood tographic use. which was built into the camera blimp. of highly interesting Tri-X tests, several Sizing up the industry as a whole for (Photos of the two cameras appear on of the industry's cameramen have 1954, it can be said it made tremendous page 25.-ED.). During the produc already employed it in the production strides forward. The achievements cited tion, approximately 45,000 feet of film of television films. More recently, OPTICAL-MAGNETIC here are selected from among the most Model 800...... 16mm, 35mm & ¼ Inch was photographed in color over a period director of photography Stanley Cortez, important related directly to the photo OPTICAL NET PRICE $259.50 MAGNETIC of approximately six weeks in the studio A.S.C., used Tri-X in photographing 98 graphy of motion pictures. Twelve Model 600...... 16mm and 35mm Model 700... . 16mm, 17.5mm, 35mm tank and, later, 2 weeks in Hawaii. percent of the Leonard Goldstein pro and ¼ inch months hence, we should he able to look NET PRICE $185.00 NET PRICE $198.00 Perhaps the most advanced and suc duction, "Black Tuesday," marking the back over the year and reflect on ac first time this film has been used in cessful undertaking in the matter of complishments eminently as important, FEATURES, Simple threading .. . polished stabilizer drum with needle bearings, w ith a surface which cannot damage underwater camera blimp design was photographing a major Hollywood film ... film rollers machined to conform with SMPTE standards, and equipped with oilless bearings . .. precision judging by the enthusiasm that prevails achieved last year by Metro-Goldwyn feature. (See story elsewhere in this ground shafts • . . dimension 6x6x7 ½ inches. Mayer studio, whose technicians de· issue.- ED.). At this writing, Tri-X is and the impetus toward a bigger and better motion picture business which AMPLIFIE R: 117 volt- 60 cycle - AC .. . power output - 4 watts . . . heavy duty Alnico signed and constructed two for the pho also being used in a second feature pro V speaker . . . safety fused ... prefocused socket •.. pilot light .. . 6 ft. heavy duty cord. tography of underwater scenes for the duction, "Blackboard Jungle," which 1954 gave the industry. All Prices F. 0 . B. Factory, Brooklyn, New York M-G-M color and CinemaScope produc Write for Literature tion, HJupiter's Darling." (See Amer. Cinematographer for September, 1954, TRI-X IN FEATURE FILM PRODUCTION PRECISION LABORATORIES • 1139 UTICA AVENUE • BROOKLYN 3, NEW YORK page 440.) These blimps were unique in that they (Continued from Page 33) had tubular stabilizers attached at the story progressed. Because it was neces sary to achieve the maximum depth of top which controlled and maintained After reading the script the first time, the Army and had been assigned to position of the cameras while under photograph the Yalta Conference. This field in the shots made within the huge J;I it""""$~~~ T I saw possibilities in Tri-X film as the warehouse interior, the ability to shoot water. The feature permitted tilting the medium best suited for interpreting this conference, as readers probably know, cameras at an angle, up or down, right was held in the ancient Czar's Palace. at small stops was a decided advantage. stark drama. Having previously seen It meant we could achieve the necessary CINEKAD Microphone Booms or left, and operating them in such posi many tests which had been made by As we had been informed that no special pictorial result without resorting to more Clf'IEKAD Mike Booms are light in tions without the need for supporting other cameramen with this film, I felt lights were to be permitted for photo them on a tripod. graphy, the special "ultra.fast" film was costly lighting, could maintain more 'r1eight, rigidly constructed, precision that we could get a certain dramatic freedom of movement with the camera An interesting development last year quality with Tri-X that could not be supplied for the recording of this very MODEL ~h.gineered and ideal for location or was the follow-focus attachment for historic event. The result we achieved without becoming too involved with st~dio work. achieved as easily nor as effectively with placement of lights. Mitchell cameras, which now enables any other available emulsion. with this film was remarkable not only C-12 Model BR-11 extends from 6 to 11 feet. Some of our most dramatic lighting Ah) \ owners of Mitchell NC, Standard, and It was proposed to the late Leonard for the way it enabled us to obtain ex ALL MODELS FIT . . \ 2 Model C-12 extends from 7 to 13 feet; has accomplishments appear in the sequence IN YOUR CARI . . 16mm cameras to broaden the scope of Goldstein that Tri-X be used for filming cellent exposures in inferior light, but external directional mike control. their photography by including follow for a rare and unusual image quality it where the police lay siege to the gang 3 Model "Miracle" extends from 7 to 18 "Black Tuesday." After he had seen one imprisoned in the warehouse. As night focus and dolly shots. Easy to install gave. , feet; has internal fttted noiseless directional test shot in particular that I had made falls, the police rope off the area sur mike control. ,-,, and remove, the attachment couples the with it in which only a single tallow In a similar way, Tri-X gave us finder directly to the camera lens, and superb results when we filmed a rounding the building and bring up 4 Model C-18 extends from 7 lo 19½ feet; candle had been used to iiluminate the has external directional mllce control. assures fuH control of picture framing sequence of scenes on location in a batteries of high-powered searchlights, closeup of a girl ( it was the first time 5 "Fishpole" mike boom extends from 6 to and lens focusing, particularly at close, downtown Los Angeles bank for " Black which are placed at strategic points to For. Prices and Literature," such a shot had been made, I under throw light into the warehouse interior. 12 feet. The monopod feature permits op critical ranges. Tuesday." Because of the great speed Ask Your Dealer or Write erator to handle "Fishpole" mike boom for stand), he approved use of the film for Long fingers of the powerful search The use of an electronic viewfinder the picture. It should be emphasized of this film, we were able to get excellent CINEKAD ENGINEERING CO. hours without fatigue. with studio cameras, such as the exposures using only a minimum lights probe through every crack of the 500 WEST 52ND ST •• NEW YORK 19. N.Y. that Tri-X was not selected for its great Ploza 7.3511 Each CINEKA.D Mike Boom has a aturdy 1 building. lighting it enough to reveal the Mitchell, has been under consideration speed alone nor to permit working with number of studio lights augmented by DESIGNERS AND MANUFACTURERS OF 5-/oot stand, which can be elevated lo a for some time. Last year, the idea came extremely low-key light, but rather to the light from practical fixtures. horrified group within-further drama MOTION PICTURES AND TV EQUIPMENT height of 10 feet. a step closer to fruition when Len Roos, gel the most in the way of increased Tri-X's remarkable quality potentials tizing their actions and their emotions A.S.C., demonstrated the first of the depth of field by using smaller stops again were demonstrated in the scenes as the police close in. , Kinevox-Kay Lab electronic finders, now we photographed on the sound stage, Throughout the picture, we worked at Complete your files of American Cinema than we otherwise would do with other BACK tographer w ith issues you have missed or undergoing further refinement. The especially so on the set representing the apertures ranging from f/ 2.8 to f/16. negative stock. lost. Valuable technical data in every finder, which is virtually a miniaturized In evaluating the potentials of this interior of the warehouse, where the Our negative was processed at the Pathe ISSUES television camera, is mounted on studio killer and his gang were holed up, fol issue for future reference for both ama film for feature productions, perhaps I Laboratory in Hollywood; developed to teur and professional cinematographers. cameras in place of the standard Mitchell had an advantage over some cameramen lowing discovery by the police. Here a gamma of 0.65. 30c viewfinder. Its lens has the same range in that I had, many years earlier, used a we had to film sceRes that represented Naturally, with a negative film of • Wh ile Supply Lasts AMERICAN CINEMATOGRAPHER as the film camera lens and the image is similar film which was the forerunner of day as well as night, with a gradual such great speed, there are precautions !Foreign, 40c} 1782 No. Orange Drive, Hollywood 28, Calif. reproduced on a TV screen at the rear today's Tri-X. This was while I was in transition to night being evident as the (Continued on Page 47)

44 • AMERICAN CINEMATOCIIAPHER • JANUARY, !955 AMERICAN C INEMATOCRAPHER • ]ANUARY, 1955 • 45