Television Cameras Have Multiple 1Ey

Home , Karl Freund

term term

cameras cameras

266 266 the the

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A.S.C. A.S.C.

T T R

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EFORE EFORE

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TELEVISION TELEVISION

Walker Walker

first first

Image Image

before before

has has

JOE JOE

a e

equipment

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come come

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August, August,

WALKER, WALKER,

exposure exposure

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space space

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early early

patent patent

1948 1948

tell tell

inventor, inventor,

Don Don

recently recently

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and and

motion motion

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Duomar Duomar

form form

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process process

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ruefully admits admits ruefully

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electronics electronics ought ought

for for

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lens lens

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picture picture

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travelling travelling

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about about tele-cameras, tele-cameras,

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Joseph Joseph

lication

motion motion

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to to

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Innovation, Innovation,

Walker Walker

FREDERICK FREDERICK

AMERICAN AMERICAN

covering covering

the the

ses ses

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television television

tell tell

television television

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processes processes

any any

probably probably

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s s

take take

Walker, Walker,

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lens lens

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time time

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until until

years years

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tion tion

type type

cameras cameras

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ntially ntially

"Joe" "Joe"

With With

a a

for for

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the the

cameraman cameraman

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new

FOSTER FOSTER

today, today,

to to

than than

television television

from from

the the

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sometime sometime

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afterward. afterward.

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by by

Jens Jens

CAMERAS CAMERAS

Duomar Duomar

dissolves dissolves

sreel sreel

now now

a a

said said

customary customary

closeups. closeups.

take take

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transition transition

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Joseph Joseph

lever. lever.

the the

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with with

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motion motion

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modesty, modesty,

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Walker

known known

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appear appear

credit credit

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picture picture

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ere

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Boston Boston

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Walker Walker

until until

general general

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size size

years years

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industry, industry,

John John

construe-

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film film

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suggested suggested tured tured

figured figured

era era

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some some

the the

one one

length length

closeup, closeup,

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TRANSITION TRANSITION

Walker Walker

Thus Thus

Walker Walker

demonstrating demonstrating

quick quick

regular regular

the the

newsreel newsreel

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film film

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Jens. Jens.

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idea idea

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lens lens

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Walker Walker

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aperture aperture

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at at

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Cameraman Cameraman

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effectiveness effectiveness

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President President

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Williamson Williamson The The

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telephoto telephoto

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the the

had had

Walker Walker

an an

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camera camera

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TEMPERATURE TEMPERATURE

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FILTER FILTER

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Karl Karl

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2 67 67 • WILFRED CLINE, "Fighter Squadron," been run. This fa u~ful particularly which occur between parts that move roo (Technicolor) wich Edmond O'Brien, Robert fast for visual observation. trrent Assignments of A. S. C. Members Sea ck and cast. Director, Raoul Walsh. when a given actton 1s ro be ph_oro • KARL FREUND, "South of St. Louis," (Tech graphed only after the camera has attained Consequently, the Kodak High Speed Members of The American Society of Cinematographers nicolor) (United Scates Prod.) with Joel a predetermined speed. . . Camera has been used to study such var McCrea and Alexis Smith. Director, Ray Standard loading for the Kodak High ied industrial problems as mechanical Enright. were engaged as Directors of Photography in the Hollywood Speed Camera is a 100-foor roll of speci power transmission, metal cutting and • PEV MARLEY, "Night Beat," with Robert ally spooled 16mm. Cine-Kodak Super Studios during the month of June, as follows: Douglas and Helen Westcott. Director, Elmer forming operations, the flow of coolants Decker. XX Panchromatic Film. Where more ex in metalworking, effects of vibration, elec • ROBERT BURKS, "The Fountainhead," with posure can be given, Cine-Kodak Super trical arcing, aircraft behavior, fuel in Columbia • JOSEPH ROTTENBERG, "The Bribe," with X Panchromatic Film.yields a finer image. Robert Taylor and Ava Gardner. Director, Gary Cooper and Patricia Neale. Director. jection, the mixing of fluids, and metal ENRY FREULICH, "Song of India," ( Gi King Vidor. In addition to these Eastman reversal Robert Z. Leonard. flow in welding. This list is by no means tar) wich Sahu, Gail Russell and Turban films, Super-XX Panchromatic Negative Director, Albert Rogel!. • CHARLES SCHOENBAUM, "Little Women," exhaustive. (Technicolor) with June Allyson, Margaret Film may be used as can Kodachrome HARLES LAWTON, "The lovers," with Cor The solution of a typical industrial pro O'Brien, Eliz. Taylor, Janet Leigh and 1Peter Film when ample light is available. Fifty Wilde and Pauicia Knight. Director, 3000 FRAMES blem through use of this camera involved glas Sirk. Lawford. Director, Mervyn LeRoy. foot rolls of these materials are available Monogram PER SECOND on special order where 100-foor rolls are a machine embodying a ratchet feed that INCENT FARRAR, "Triple Threat," with was continually out of service for replace ria Henry and cast of All-American foot~ • HARRY NEUMANN, "Sheriff From Medicine ( Continued from Page 269) nor needed. stars. Director, Jean Yarbrough. Bow," with Johnny Mack Brown, Raymond Because of its light weight and com ment of the ratchet and pawl. Six rimes Hatton, Evelyn Finley. Director, Lambert BX WIMPY, "Smoky Mountain Melody," A 1/5-h.p., 32-volt universal motor is pactness, the Kodak High Speed Camera each second the pawl had to index a six Hillyer. 1 Roy Acuff and Smoky Mountain Boys. used to drive the film-moving mechan- has proved especially valuable in industry, tooth 2¼-inch ratchet wheel with .01 sec ~tor, Ray Nazarro. • WILLIAM SICKNER, "Bowery Comeback," ond allowed for engagement. Neither with the Dead End Kids. Director, Reginald · -m, optical plate, and take-up spool. Over both in design of high-speed equipment Eagle-Lion Le Borg. loading this motor up tO 115 volts in and in trouble shooting. Nor only can ratchet nor pawl was standing up under ' ILLIAM H. GREEN, "The Big Cat," (Tech Paramount creases the speed beyond the normal rhe camera easily be transported any this service. lor) with Lon McCallister and Peggy Ann ner. Director, Phil Karlson. • DANIEL FAPP, "The Heiress," with Olivia range. This permits rapid acceleration where in a shop, bur-unlike flash dis Morion pictures taken with rhe Kodak de Haviland and Sir Ralph Richardson. Di and maximum speeds without damage to charge photography which must be car High Speed Camera showed the pawl lHN ALTON and GUY ROB, "Red Stallion rector, William W}'ler. the Rockies," (Cinecolor) with Jeanne the motor since it is overloaded only for ried our in subdued light-it may be used bounding off the ratchet tooth so that • RAY RENNAHAN, "Streets of Laredo," thee and Arthur Franz. Director, Ralph few seconds at a time. in normal room light or daylight and its maximum force was exerted when the phy. (Technicolor) with William Holden, Mac Donald Carey, William Bendix and cast. Di Speed in frames per second is con picture cycle embraces a long enough contact was small. Naturally this caused Independent rector, Leslie Fenton. ··olled by setting a stop on a builrin period of rime-I½ to 5 seconds- to the corner to wear rapidly. A change in REGG TOLAND, .. Enchanted," ( Goldwyn rheostat, mechanically coupled to the depict rhe full cycle of the ma1omy of the pawl shape to reverse the rebound )) with David Niven, Teresa Wright and R-K-0 yo Keyes. Director, Irving Reis. • ROBERT DE GRASSE, "Baltimore Escapade," motor. To limit acceleration strain, this high-speed industrial operations. Thus if force eliminated the trouble. BORGE BARNES, "The Numbers Racket," with Robert Young, Shirley Temple and John same rheostat, connected in series with a given part is malfunctioning the camera While pictures of this type are primar Agar. Director, Richard Wallace. bercs Productions; Enterprise Presencacion) the motar, applies a decreasing resistance operator is assured that somewhere in his ily intended for engineering use, they of • HARRY WILD, "Interference," with Victor John Garfield and Be3.crice 'Pearson. Di- as the motor comes up to speed and the footage the failure will be recorded for ten may prove useful in sales promotional >r, Abraham Polansky. Mature and Lucille Ball. Direaor, Jacques pointer moves to the stop. Ac maximum Turner. study. films ro illustrate a particular point about I.NIE LAzLO, "Some Rain Must Fall," ~e settings, approximately 25 feet of film NEW MIKE BOOM 2Cth Century-Fox The importance of such visual studies a machine or process. Inccfrporac!ng such l .. Cover-Up," (Strand Prod.-U. A.) with are required before the camera attains • Efficient • Inexpensive liam Bendix, Dennis O'Keefe and Barbara • JOE MACDONALD, "Yellow Sky," (Techni cannot be overestimated. Industrial en footage in promotional films provides vis 80% of desired rop speed. A motor :on. Director, Alfred E. Green. color) with Gregory Peck and Anne Baxter. gineers and designers are constantly called ual proof of engineering claims and leaves shut-off switch dial curs the current when ,CKSON ROSE, "Bungalow," (Belsam })rod.· Director, William A. Wellman. upon to increase the speed at which ma the end of the film is reached and de the prospective purchaser convinced that 1 Rel.) with Tom Conway and Margaret • ARTHUR MILLER, "Three Wives," with chines and equipment may be operated. 1ilton. Direaor, Edward L. Cahn. Jeanne Crain, Linda Darnell, Ann Sothern and celeration follows immediately. parts operate as intended. Proof of this As a result, they need accurate knowledge nature offers a sales argument of real rINTON HOCH, "Tulsa," (Technicolor) Jeffrey Lynn. Director, -Jos. L. Menkiewicz. In general, the speed at which the cam 1lcer Wanger Prod. for E. L. Rel.) with • HARRY JACKSON, "Chicken Every Sunday," of the rime, space, and force relarionshi ps force. * * * • 12'9" boom arm n Hayward and Robert Preston. Director, with Dan Dailey, Alan Young and Celeste era is to be operated is determined by extension in two re Heisler. Holm. Director, George Searon. the speed of the action pictured. Exces sections. ARL STRUSS, "Tarzan and the Arrow of sive raking speeds increase the problem • Freely rotating mike • CHARLES CLARKE, "Sand," (Technicolor) TRANSITION LENS • Sturdy 3-wheeled stand :h," ( Sol Lesser Prod.) with Lex Barker with Mark Stevens and Coleen Gray. Director, of adequate lighting for the short ex FOR TELEVISION (Continued from Page 266) • Completely portable Brenda Joyce. Director, Lee Sholem. Lou K.i.ng. posures involved. A handy formula for • Immediately available tNIE LAzLO, "The Lucky Stiff," (Amuse • JOSEPH LA SHELLE, "Tlie Fan," with Jeanne computing camera speed is as his automobile rolled up Pennsylvania photography- still, motion picture and Write /or complete information r Enterprises-VA) with Dorothy Lamour Crain and George Sanders. Director, Otto Brian Donlevy. Director, Lew Foster. Preminger. Avenue toward him. Suddenly there was video. He recognized the very same prob Price $ I 89 .50 40 x Subject Speed a renewed ovation from the crowds of !ems in television photography that had iE GARMES, "The Luckiest Girl in the Universal-I nte1·national Frames per second Width of Subject Field ·ld," (Enterprise) with Barbara Bel Ged spectators lining either side of the ·Ave- earlier beset the motion picture camera- t> RUSSELL METTY, "You Gotta Seay Happf," THE Director, John Berry. nue, and the President doffed his hat. men with the advent of sound. CAMERA. MART (Technicolor) with Joan Fontaine and James when subject speed is measured in inches !NJAMIN KLINE, .. Miss Mink of 1949," 70 WEST 45th STREET, N.Y 19. N.Y. Stewart. Director, H. C. Potter. per second and subject field is measured Walker instantly switched to his rele- In the early days of talking pictures, CABLE ADDRESS: CAMERAMART utz.el-20th) with Jimmy Lyd.on and Lois WORLD-WICE SALES AND SERVICE iec. Director, Glenn Tryon. • ARTHUR EDESON, "The O'Flynn," (Fair- in inches. This formula, however, is based photo lens, capturing a well rimed close- a lens was designed by Walker that would banks Co. Prod.) with Douglas Fairbanks, Jr. · b' ·1LLIAM MELLOR,' "Blondes Up," (Lester and Helena Career. Director, Al'thur Pierson. on the assumpt10n that the su Ject moves up of the President as he removed his hat permit a quick transition from a long an-UA) with Groucho, Chico and Harpo and bowed, smiling, ro the cheering shot to a closeup, and vice-versa. Ir had 0 WILLIAM DANIELS, .. Family Honeymoon," in a plane parallel tO the plane of the { and Ilona Massey. Director, David with Claudette Colbert and Fred MacMurray. film. Where subject motion is directed. throng. Years later a print of the reel two fields of view and was rhe forerun MOVIOLA ~r. Director, Claude Binyon. toward or away from the camera lens, conraining this memorable footage was ner of the present Duomar lens. The or FILM EDITINC EQUIPMENT 1L POLITO, "If This Be My Harvest," Used in Every Major Studio ch er-SRO) with Valli and Robert • FRANK PLANER, "Criss Cross," with Burt lower speed may be adequate. presented as a gift to the President's iginal transition lens was used recently Illustrated Literature on Request hum. Director, Irving Rapper. Lancaster and Yvonne de Carlo. Director, The actual speed of any given action widow by the newsreel company. to good effect by Orson Welles in Rita Manufactured by Robert Siodmak. d ed · b 1 ENRY SHARP, "Strike le Rich," (Jack Subsequently, Walker continued his ex- Hayworth's .. Lady From Shanghai." MOVIOLA MANUFACTURINC CO. • IRVING GLASSBERG, .. Black Velvet, .. (Tech- phorographe may be rim tn a so ute 14S1 Cordon Street Hollywood 28, Calif. thtr-AA) with Rod Cameron and Bonica nicolor) wich Anne Blyth and George Brent. units. An argon lamp, connected to nor- plorarions with transition lenses, develop- Ir became a simple matter for Walker 1ville. Director, Lesley Selander. Director, Georse Sherman. ma! 115-volr 60-cycle, produces light im- ing the automatic, multi-element zooming ro redesign this lens for rhe longer focal M-C-M Warner Brothers pressions on the film edge denoting each lens for both 35mm. and 16mm. cameras. length and greater covering power re- IARLES ROSHER, "Words and Music," • ·Psv MARLEY~ "Silver Lining," (Techni- 1/'120 second. With the rapid development of rele- \quired by the television camera. While :hnicolor) with Judy Garland and Mickey color) with June Haver and Ray Bolger. Di- A synchronization switch dial is pro- vision photography, the tele-camera and modern television cameras have multiple 1ey. Direc.tor, Norman Taurog. rector, David Buder. vided to enable the operator automatically Jts peculiar problems attracted the arren- lens turrets affording all the facilities of >BERT SURTEES, "Act ·of Violence," with • TED McCORD, "June Bride," with Betce to make or break an external electrical tion of Joe Walker who makes it a point turreted morion picture cameras, actually ~H;;e:;,:fl;,:.in::....:a:::n:::d_Je..:a:::n:::et:....::Le:::i:.eg:..:h·:...... :D:..:ic.re:..:c:::to'-r'-,..c.F.:cred:.::....-iiD,ia;-;cvi-,is=acc n..,d=R,,ioa,b,,-er_t_M_o_n_,tg:..o_m_e...,ry'-._D_i_re_c_ro_r;_,-: .:z.•c::.-:,--c, ••:----::{ •• ' ....,... - ~..,=~..,:,.., .,.__ .... , _ .. i...,, ~I ..... i..,..,. e"man. Breca1gnt: Wm

August, 1948 AMERICAN CINEMA TOGR.APHER • AMERICAN CINEMATOGRAPHER • August, 1948 287 f

288

set

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