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·Movies in Law Enforcement CA MART PRODUCTS DEVELOPED THROUGH YEARS OF EXPERIENCE AND USE! GUARANTEED PROFESSIONAL RES UL TS! • CAMART TIGHTWIND ADAPTER HERE'S 8 REASONS WHY YOU. NEED IT! • JUNKS SPLIT REELS AND FLANGES! • Designed lo flt all rewinds. • Saves storing of film on reels. and right side rewinds. °෧ For left • Chrome plated ball-bearing film guide roller. • Takes male and female plastic cores. • Eliminates cinching and film abrasions. • Does ·not interfere with normal use of the rewind. PRICE: $29,00 Money Back Guarantee! Send for descriptive literature. • CAMART BABY DOLLY ,t like a bicycle, but sturdy like a car. ill carry a heavy load and ride easy. • CONE ·s in your car. LIGHT patrol car is shown above. The POSITION of camera Inside car is relatively Inconspicuous, METHOD of installing camera in 1n set camera from floor to six feet H·16 Is mounted on an Auto-Pod. Four This unit sets a yet It has unobstructed view of road ahead. Using Tri 4 X 16mm battery-driven Bolex seat beside Oregon's high. fllm, clear pictures are possible at night with light furnished radio batteries in case, shown on car shadowless soft light ovel power the camera motor. by automobile headlamps. Sheriff Edward W. Elder, any set. Used ext.,nsively i~·. PRICE: $375,00 Hollywood productions 1,1, color or black and white pho} tography. ·Movies In Law Enforcement New, fast 16mm fllm makes possible night mi,vies of traffic violators, using only car headlights for illumination. HARLOW SCHILLIOS • CAMART By R . I\R TOP CLAMPS ing amount of information can be rrdy ARKNESS, THE PROTECTIVE shroud most popular and shield, an embarrass D jury to see. ,de of bronze deadly with drunk drivers, is being dramatically ripped· recorded for judge and Morover, the "star" is oblivious to his being in the ]ime­ sily fitted to your car • CAMART SLATE from them with something new in law enforcement. experiments, an Oregon Sheriff has found light. ,. Set of three. .. In successful $28,00 and CLAPSTICK night movies of erratic drivers possible with lighting from From test movies made at 11 p.m. on a clear night, Char­ les E. Smith, chief criminal deputy, reports the following: Still the best quality largest patrol car headlights. , CAMART Fast film, first used for photographing night athletic "Under mercury vapor overhead lighting or incandescent slate at the lowest price. Send clearly visible as was rRIANGLE events for reproduction on television, spurred the Lane street lights, the suspect vehicle was for yours today! County Sheriff's department to produce its own "selected the highway center stripe. Make, model and license number proved keystone showed clearly on the projection screen. The walk, facial 1ter. Fob, New York short subjects." Bolex 16mm movie camera mounted on expressions, gait and coordination of the operator were n 't get floppy. With a Paillard an AutoPod mount (see photos), and the camera powere'd easily observed. n't kick over Only $4.75 the patrol "In tests made on a rural, gravel road with no lighting ,r camera. by a series of five F4Pl Radio A hatteries, ca r driver can easily shoot the pictures without detracting other than the police car headlamps, movements of .the car 'r own make, and expression of the operator after he had stepped from best by test. from normal driving operations. - Both Tri-X and Super-XX film have·heen used successfully his auto were clearly recorded. However, the field of vision with the camera speed preset at 16 frames per second was sharply c urtailed. Maximum range: 40 feet for trailing, ICE: $29,50 25 feet for operator tests." HECAM~l!A. MAl!T,NC, and lighting supplied principally by standard sealedbeam T headlights. While the Lane Sheriff's office began filming traffic viola­ With the camera's F / 1.9 lens s nugged up to the wind- (Continued on Pa,:e 495) 1845 BROADWAY at 60th ST. PHONE: Circle 6-0930 AMERICAN CINEMATOGRAPHER • AUGUST, 1%5 • 463 NEW YORK 23, NEW YORK CABLE: CAMERAMA~t""j • ELLIS CARTER. "A Day of Fury," (Tech­ SET LIGHTING nico1or), with Dale Robertson, Jock Mahoney. Harmon Jones, director. (Continued from Page 493) Produce startling animation results WARNER BROTHERS HOLLYWOOD STUDIO PRODUCTION • RUSSELL METTY, "Miracle In The Rain," in record time with depth and stand out more clearly. With Feature and television film productions for which members of the American Society of with Jane Wyman, Van Johnson, Paul Picerni · Bafbara Nichols. Rudy Mate, director. ' men subjects, also, the key-light may Cinematographen were engaged 01 Directors of Photography during the pad month. • WILLIAM MELLOR, "Giant," (Warnercolor) be placed higher and at a more extreme with Elizabeth Taylor, Rock Hudson, James angle to the side of the camera. Dean, Jane Withers. George Stevens, director. Sequences involving special effects in OXBERRY • ARTHUR ARLING, 0 I'll Cry Tomorrow," • SAM LEAVITT, "The Court-Martial of Billy the long shots should carry out those (Wide-screen) with Susan Hayward, Richard Mitchell," (Warnercolor, CinemaScope), with same effects in the corresponding close­ AMERICAN SOCIETY Conte, Eddie Albert. Daniel Mann, director. Gary Cooper, Ralph Bellamy, Fred Clark, ANIMATION EQUIPMENT OF CINEMATOGRAPHERS Herbert Heyes. Otto Preminger, director. ups. If there is a firelight sequence, for • PAUL VoGEI., "The Tender Trap," (East­ 'example, the closeups should show the man Color, CinemaScope) with Frank Sinatra, • JOSEPH LASHELL£, "Our Miss Brooks," with • Debbie Reynolds, David Wayne, Celeste Holm. Eve Arden, Robert Rockwell, Jane Morgan, · flicker of light on the subject's face. This ~ i;. OXBERRY ST AND , COMPOUND ARTHUR MILLEII, President Gale Gordon. Al Lewis, director. , Charles Walters, director. is done by moving a smaJI branch or Developed to meet the exacting require• SoL HALPRIN, First Vice-President twig in front of the light source simul­ WILLIAM SKALL, Second Vice-President • ROBERT PLANCK, " Diane," (EastmanColor, INDEPENDENT menta of the animation industry. Saves CinemaScope) , with Lana Turner, Pedro Ar­ ,, ating the fire. Cross-lighting, in which ALFRED GILKS, Third Vice-President • HARRY STRADLINC, "Guys and Dolls," Sam­ hours of labor. Provides complete flexihility WALTER STRENCE, Treasurer mendariz, Marisa Pavan, Roger Moore. David uel Goldwyn Prodn., (Technicolor, Cinema­ the key-light is set to one side of the Miller, director. and maximum accuracy. CompaCtly and CHARLES G. CLARKE, Secretary Scope) with Marlon Brando, Jean Simmons, subject with little or no fill.light used, is ruggedly constructed. Au• ROBERT DE GRASSE, Sergeant-At-Arms • RussELL HARLAN, "The Last Hunt," (East­ Frank Sinatra, Vivian Blaine, et al. Jos L very effective in dramatic sequences. manColor, CinemaScope), with Robert Tay­ tomatically coordinates Mankiewicz, director. Rim-lighting is a very extreme adapta­ IOARD OF GOVERNORS lor, Stewart Grunger, Lloyd Nolan, Anne Ban­ • ERNEST LAszLO, "News is Made at Night," fi]m, camera and platen. croft. Richard Brooks director. JOSEPH Brnoc Friedlob Prod., with Dana Andrews, Ida Lup­ tion of this technique and is executed GEORGE FoLSEY PARAMOUNT ino, Rhonda Fleming, George Sanders, Tho­ by placing a light directly behind the BURNETT GUFFEY mas Mitchell, Howard Duff. Fritz Lang, di­ subject so that he screens it, his form WINTON HOCH • LOYAL GRIGGS, WALLACE KELLEY, PEVERELL rector. being outlined with light with his face HAL MoHR MARLEY, "The Ten Commandments," (Vista­ • LUCIEN BALLARD, "A Kiss Before Dying," going dark, This particular effect must RAY RANNAIIAN Vision, Technicolor), with Charlton Heston, Crown Prod., (Eastman Color, CinemaScope), LEON SHAMROY Anne Baxter, Yul Brynner, et al. Cecil B. De with Robert Wa!?:ller, Jeff Hunter, Virginia be perfectly executed and is not recom­ PHILIP TANNURA Mille, director. Leith. Gerd Oswald, director. m~nded except in very dramatic se­ • LIONEL LINDON, "Too Late, My Love," AL TERNA TE IOARD MEMBERS • WINTON Hoce, AL GILKS, "The Searchers," quences. (VistaVision) with Carol Ohmart, Tom Tryon, C. V. Whitney Pies., (Color, VistaVision), . In lighting players on the set, the ELLIS CARTER Jody Lawrence. Michael Curtiz, director. PAUi. EAGLER with John Wayne, Jeff Hunter, Vera Miles, threefold objective is to have them ade­ • ROBERT BuRKS, "The Man Who Knew Too FARCION EoouART Ward Bond. John Ford, director. quately lighted for the action, to light IRVING Gr.A~SBERC Much," (VistaVision, Technicolor), with • HAROI.D LIPSTEIN, "Forever, Dar1ing," (Zan­ OXBERRY OPTICAL STEP Mn.TON KRASNER James Stewart, Doris Day. Alfred Hitch­ ra Prods., EastmanColor, Wide-screen), with them in key with the mood of the se· cock, director. ERNEST LASZLO Lucille Ball, Desi Arnaz, James Mason, Louis quence, and to make them look good PRINTER Designed for spedal effects RonERT PITTACK • DANIEL FAPP, "The Lady Eve," (Techni­ Calhern. Alexander Hall, director, on the screen .. If the 16mm cameraman and projection printing. Produces blow, JOHN SEITZ ups or reductions, skip framing, push offs color, Vista Vision), with George Gobel, Mitzi • Boms KAUFMAN, "Patterns," (Harris-My­ eoproaches his lighting problem with JAMES VAN TREES and traveling mats. Units are equipped Gaynor. Norman Taurog, director. erberg Prods.), (Shooting in N.Y. ), with these points in mind, his camera re­ PAUL VOGEL 1 wlth 35 MM or 16 MM head. Printers to R.K.0.-RADIO Van Heflin, Beatrice Straight. Fielder Cook, · · sults should compare favora:bly with director. handle TODD A-0 VISTA VISION and • WILFRID CLINE, "Glory," (David Butler those characteristic of the professional other processes require special
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