Motion Picture Camera & Lighting Equipment

Choice and Technique

Second Edition

David W. Samuelson

0 Focal Press Contents

INTRODUCTION 11 SPORTS AND MONOCULAR FINDERS 36 ACKNOWLEDGEMENTS 12 Simple sports finders THE PRODUCER'S CHOICE 14 White line sports finders Formats and cameras APERTURE PLATE 38 Director of photography's choice Camera aperture plate dimensions CHOOSING A CAMERA 16 Checking the gate Component parts Marker light Making the choice LENSES 40 THE CAMERA MOVEMENT 18 Optical design How the camera works Choosing suitable lenses

REGISTRATION 20 LENS PARAMETERS 42 Camera noise Focal length Aperture THE SHUTTER 22 Back focal distance Light efficient shutters Lens barrel diameter Smaller-than-average shutter Entrance pupil openings Shooting a TV screen LENS MOUNTINGS 44 Choosing a camera to fit the lens ADJUSTABLE SHUTTERS 24 Choosing a lens to fit the film format Exposure control С mount

REFLEX VIEWHNDER SYSTEMS 26 LENS FOCAL LENGTHS AND Rotating mirrors ANGLES 46 Partial reflectors 'Normal' lenses The image Telephoto lenses THE GROUND GLASS 28 Wide angle or inverted telephoto lenses Projector aperture dimensions LENS TYPES 48 Corner radii Wide aperture (super or ultra speed) Super 16 Zoom or varifocal length lenses Anamorphic VIEWFINDER OPTICAL SYSTEM 30 The eyepiece position LENS/CAMERA COMPATIBILITY 50 The eyepiece functions Lens support Eyecup Collimation Intermediate distance calibration VIEWFINDER: ADDITIONAL FACILITIES 32 LENS ASSESSMENT 52 Magnification Photographic testing Illuminated ground glass markings What to check for Viewing filters Projector line-up leader De-anamorphosing FINDING THE POINT OF FOCUS 54 Newsreel cameras Measuring the distance VIDEO VIEWFINDER Focusing by eye SYSTEMS 34 Focusing zoom lenses Choice of video cameras Focusing on the move LENS FOCUS SCALES 56 VARIABLE CAMERA SPEEDS 82 Focus display systems Speeded-up motion Remote focus Off-speed sync sound IMAGE SIZE CALCULATION 58 Model and miniature Some basic figures cinematography Aperture widths and heights Exposure compensation The formula Calculating exposure

CLOSE FOCUSING BY EXTENSION 60 CAMERA MOTORS 84 Image: object ratios Crystal motors Exposure Other motors for sync and sound CLOSE FOCUSING BY DIOPTERS 62 shooting Optical considerations Non-sync motors Full cover diopters Non-electric camera drives Split diopters

DEPTH OF FIELD 64 CAMERA BATTERY CONNECTION 86 Theoretical considerations Camera to power supply cables Practical considerations Remote switching Spare batteries DEPTH OF FIELD TABLES 66

HYPERFOCAL DISTANCES 68 CAMERA POWER SUPPLIES 88 Practical considerations DC supplies fl hyperfocal distances AC supplies

RANGE EXTENDERS 70 Optical limitations LEAD ACID ACCUMULATORS 90 Combination lens outfits Fully sealed and maintenance-free type OPTICAL ACCESSORIES 72 Car batteries Multi image prisms Multi image lenses Prismatic attachments NICKEL CADMIUM BATTERIES 92 Fish eye lens Capacity Effects iris Temperature Charging MATTEBOX SUNSHADE 74 Filter holding 35 mm HAND-HOLDABLE SILENT REFLEX Sunshading CAMERAS 94 Checking for cut-off Arriflex 35BL, Moviecam and FILM MAGAZINES 76 Panavision Panaflex Magazine design General specifications Film windings SILENT REFLEX 35 mm CAMERAS SPOOL LOADING 78 FOR TRIPOD USE 96 Loading with spool-wound film Arriflex 35BL, Moviecam Super, SYNC CAMERA SPEEDS 80 Panavision Golden Panaflex Sound speeds Panavision Panaflex X Synchronisation Cinema Products XR35, Mitchell BNCR, Checking camera speeds Panavision Super R-200, et al. 35 mm MULTI-PURPOSE REFLEX 16mm SOUND-ON-FILM CAMERAS 112 CAMERAS 98 Arriflex 16BL, Beaulieu News 16, Arriflex 35 III, Cinema Products Canon Scoopic 200SE, CP35, Fries 35, Mitchell S35R Mkll Cinema Products 16RA, and Panavision Panastar Paillard Bolex 16 Pro Special facilities Reflex viewing Optional facilities Noise and sound recording quality 35 mm LIGHTWEIGHT REFLEX CAMERAS 100 16mm LIGHTWEIGHT REFLEX Aaton 8-35 and Arriflex 35 NIC CAMERAS 114 Arriflex IIC and Eclair CM3 Arriflex 16ST et al Camera facilities Camera drive Lens mounting 35 mm NON-REFLEX CAMERAS 102 Shutters Mitchell BNC Exposure Bell and Howell Eymo Film loadings Eclair GV35 and Camematic Accessories Newman Sinclair Arritechno 35 16mm HIGH-SPEED CAMERAS 116 Arriflex 16SR HS Eclair GV16, Milliken DMB5, 35 mm ULTRA-HIGH-SPEED CAMERAS 104 Mitchell Sportster and Image 300 Photosonics/Actionmaster 500 1PDL Photosonics 35 mm-4ML Viewfinding Photosonics 35 mm-4E Filmstock Photosonics 35 mm-4B

SUPER8 118 LARGE-FORMAT CAMERAS 106 Camera speed Vistavision Films and magazines 65 mm Lenses Imax and Omnimax Exposure control

16mm STUDIO-QUIET CAMERAS 108 AIDS TO HAND-HOLDING A CAMERA 120 Additional 'feature film' facilities Floating camera systems Aaton XTR and 7 LTR Arriflex 16SRII HEADS AND ACCESSORIES 122 Panaflex-16'Elaine' Tripod and dolly mountings Camera mountings 16 mm QUIET SYNC CAMERAS 110 Balanceslide Aaton 7, Arriflex 16BLand16SR, Quick release dovetail Beau lieu News 16, Extra tilt Cinema Products CP16R and GSMO, Special-effects mounts Eclair ACL and NPR, Paillard Bolex 16 Pro FRICTION, FLUID AND GEARED Sync-sound facilities HEADS 124 Auricon Cinevoice, Pro 600 Friction heads and Super 1200, Fluid heads Cinema Products CP16 and Geared heads various Cinevoice derivatives Nodal heads TRIPODS, APPLEBOXES AND COLOUR TEMPERATURE 148 MONOPODS 126 Kelvins Tripod legs Mireds Head mountings COLOUR TEMPERATURE Appleboxes and monopods/risers METERS 150 TRIPOD ACCESSORIES 128 Non-black-body light sources Tying down COLOUR CORRECTION FILTERS 152 Accessories Light balancing filters CRAB DOLLY 130 Colour compensating filters Running surfaces Colour correcting filters Accessories NEUTRAL DENSITY FILTERS 154 Transportation Uses SPYDERDOLLY 132 Graduated neutral density The central column Cut gelatine Wheels on a smooth surface Combination filters Rough or sloping ground POLARIZING SCREENS 156 DOLLY ACCESSORIES 134 Darkening blue skies Mini jib-arms Used to eliminate reflections Crane-arms Eliminating haze Snake arms Polarizing the light Tongues Using polarizing screens Seats and counterweights EFFECT FILTERS 158 LARGE CAMERA CRANES 136 Diffusers Counterweight operation Fog filters Low contrast filters REMOTELY CONTROLLED CAMERA Starfilters SYSTEMS 138 Nets Louma camera crane Skycam 'flying' camera system THE OPTICAL FLAT 160 Noise containment TRACKING VEHICLES 140 Lens and filter protection Insert cars Selective diffusion Tracking platforms Selective filtering

CAMERA-TO-VEHICLE FIXING 142 FILTERS FOR BLACK AND Car rigs WHITE 162 Safety MATTEBOX ACCESSORIES 164 Filming from a racing car Cameraprompter AIRCRAFT AND BOAT CAMERA Panafade MOUNTING SYSTEMS 144 Lightflex Helicopter mounts LIGHT SOURCES: INCANDESCENT 166 Jet aircraft camera mounts Incandescent bulbs Power-operated levelling heads Tungsten halogen bulbs

EXPOSURE METERS 146 LIGHT SOURCES: NON Incident light INCANDESCENT 168 Reflected light Carbon arc lamps Light and shade Metal halide lamps CONTROLLING SUNLIGHT 170 CYCLORAMA LIGHTING 195 Weather forecasts Placing cyclorama lighting High luminosity lamps Cabling systems for cyclorama Reflectors lighting Nets, butterflies, scrims, silks Traditional backdrop lighting and blackouts BATTERY PORTABLE LIGHTS 19< COLOUR-BALANCING LIGHTING 172 Newsreel usage Balancing daylight Documentary use Balancing artificial lighting Feature use CONTROLLING LAMP BRIGHTNESS 174 Fuses Dimmers Battery/mains interchangeability Shutters and reflectors TRANSPORTABLE LIGHTING 19« Wire mesh (scrim) Compact and lightweight HOW MUCH LIGHT? 176 Power requirements Lighting levels Plugs and sockets Lamp efficiency Assessing light coverage FLUORESCENT LIGHTING 19f 'How much light' tables Camera speeds Suitable filters HOW MUCH LIGHT LAMPS GIVE 178 Fluorescent fill light Measuring light output METAL HALIDE LIGHTING 20( FRESNELLUMINAIRES 180 Advantages Tungsten halogen bulbs Disadvantages Dual filament Cleanliness METAL HALIDE LIGHTING BALLAST Safety UNITS 20: FRESNEL LUMINAIRE CONTROL 182 Choke ballast units Barn doors Triplicated lighting Pole operation Square-wave ballast units Local lighting High-frequency ballast units

GENERAL PURPOSE LIGHTING 184 METAL HALIDE LAMP TYPES 20* Open bulb lamps Single-ended bulbs Multi-lights Double-ended bulbs

SOFT LIGHTS 186 CAMERA SETTINGS FOR MH Bashers, broads and scoops LIGHTING 20« Blimp basher and obie lights Light pulses per exposure Studio fittings Variable frequency Colour temperature Tolerances

SHADOWLESS LIGHTING 188 STROBE LIGHTING 20i Bounced light Use in commercials Translucent materials Synchronizing with the camera Power and frequency CARBON ARC LAMPS (BRUTES) 190 Modern versions LIGHTING STANDS 21( Older models General purpose stands Technical considerations Stands for heavyweight lamps Colourtemperature Overhead fixtures LAMP MOUNTING ACCESSORIES 212 EFFECT LIGHTING 224 Practicals LIGHTING ACCESSORIES 214 Effects spotlights Light control accessories Lighting Non-creative accessories ELECTRICAL EFFECT EQUIPMENT 226 POWER SUPPLIES FOR LIGHTING 216 Wind Planning Fog Warning Firelight Cobwebs CABLING 218 SPECIAL EFFECTS EQUIPMENT 228 Voltage Front projection Amperage Blue screen for travelling matte

PLUGS AND CONNECTORS 220 COMPUTERS IN CINEMATOGRAPHY 230 High-voltage AC power 'Wire frame' drawings of solid distribution objects Domestic plugs and sockets Motion-control cameras and Kleigl plugs and sockets objects Computer-generated information GENERATORS 222 Computer synchronisation AC or DC? MOTION PICTURE CAMERA Silent generator TECHNIQUES 232 Portable generators Altitude INDEX 233