296

in camera ial a SOME -the often

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cinematographers,

focal angle

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movement,

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rs,

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coverage

e normal

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set-up

designated

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cameras

:

pth

and

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to

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in

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lens

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cameras

to

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flatness

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length Optics

cameras

three

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e considered

lens

for

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shot

depth

available

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the

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lenses 40mm

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shoot­ "

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lens

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than But

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for a for sort

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angle optical

fractive rare

for

tions

for 28mm, through 20mm 12.5mm lens

the

class-it

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a of

ing: wide-angle

ing tography

ed nd

tance much

nd

normal

ratio

ut-off"

The

Today

switch

Cameramen

16mm

e

cinematic

sets.

20mm

image

more

35mm

ither

to

.

recently

and

element

opens

in

in

(

! )

lenses

with

AMERICAN

it

lenses

wide-screen

larger

and demand

hn hormal than

30mm, image

wide-angle

small

,

scientists

index

wide ,

While can

necessary

lens the .

to

rapid

television

cameras too,

a

inherent

13mm

that

lenses

cameras

long

we

an

up

a

lens

have

making

be

.

more

for

glass,

rooms

utilization

expression

shorter

introduced

has than

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angular

35mm would

completely is

it

considered and

generally

have

for .

ago

,

16mm

for

Cameramen

is

been

dramatic

using best

CINEMATOGRAPHER

would

15mm

pictures

less

to

lenses

and

possessing

natural they lenses.

or

very

or

still

accurate in

that

from

small "tight

lens

be

and

either

small

normal

18mm

met

field

dispersion,

cameras.

captured

9

such

in recorded

,

of

actually

shorter

be

the . useful

5mm greater

Kinoptic

for

40mm

think because

new

a

cameramen in

17mm

have

sets

possibilitie by

16mm

the

ele spot" and

of

appearing

pull

,

short

the AND

computa latest

shooting

the

high

,

1

c

modern

filming

avenues

113

for

tronics 17mm 25mm

10mm

:85

crowd­

appea

to of

While

lenses

wide

same

back

freak ar real­

with

with

film

pho­

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and the

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in

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7

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USING

MAY

ple spaced

a

a and ration

ployment wide-angle course,

action. larity of cle

ratio wide-angle the distance. tually eye ceive see it

a human ning

field

covering tages

this

Knowledge

pseudo

This

arw angle, narrow

is

,

Let

scene

the

viewer

when

tio~

graphed

low Bros

SCENE furniture

processes

thus also

everything

is

viewing

action

closely

the

filming

of

of much

of

•

-

us

.,

but

and

"corner

eye.

Which effect,·

can

elevation

changes

demonstrates

- the

third-dimensional

records power planes,

the

additional

This aided

of

consider

FROM

1959

in

one

by

view

lens cross

creates

The

of

,

be

a wide-angl approximates

wide

particularly Cinerama

use initial

Ted

the

trees

th because

on

accounts wide

of

the

of

and

by

sharply

- extended "Johnny

which r

of

that

con

hut

lighted

McCord

of a eye

stretches

midst

focus

-

its 0

angle

a the

some

more

scene

ugh

the

or

a

imaginativ

impression

enormous

the

expans

minor

lenses-know LENSES

its

sees

enhance lesser

seemingly

wide

article

other

eye."

,

,

they

impression

rapidly, of

in

type

and

ASC

Belinda

e for

lens -

constant

of the

distinct

regardless is

-

sharply

the

angle

turn

if

to

optics

effect. e,

perspective that

,

attributes.

viewed

e

the

of

will

objects

:

for

the

Cinemira

present

Since

scale

deft

while

pictof'ially

standard

variably

screened

"

depth

t wide its

composi­

lighting

that

creates

Worner of

lens

advan­ we

of .

places

photo­

stand

popu­

sepa­

scan

Peo

The

over

em

that

a

out

the

ac­

Lhe

we

re­

and

in at

of

of

of

.

a

­

­

­

­

series

i

ng

composition-is

sults seemingly scene and

and enhanced out

various tainable ing

other

what

deals

the

and

composing other

in

itself

with

camera

distances

with

a

appear

if each

brings

.

with

objects

more

greater

scene

This

longer

in

so

separated

from realistic

can

the

effect the

closer

components

occupy

that

clarity

focus

essential

viewer

attributes

the

do

players,

can

to

lenses

pi

positions

camera, than

to

from

the

c

be

ture

into

enhance

are

.

action

Work

is

vastly

props

eac

that

to

ap-

th

ob­

re

of

at

h e

­

­ ,

c

wide-angle

r

eat

effect

lenses

sition

tial resembling veying of perspective

or propriately ground,

the

i

bottom

ve

relationship

since

cannot

wide

is

an

cinematography

and

set

of

-sc

intimate

they

placed

the

cross

lenses.

reen th

be

off

e

audience

flatten

will

obtained

frame

with

Continued

lighted

processes

at

impression

be

the

images

.

a

captured

If

,

sides

partic

strong

a with

on

.

the

vivid

The

,

Page

.

and

squeeze

i compo

closely

longer

pat

Th

same

297

fore

con

spa

314

ion

top

i

s

­ ­

­

­ The terrific vanatlon in size be­ wide-angle's inherently greater depth in place by the gearing that focuses the \liith the BNC model, distance meas­ tween near and far objects when filmed of field, even wide open under adverse lens, and focusing is achieved remotely urements start from the tape hook, BOLEX ACCESSORIES with a wide-angle lens exists because condtions, covers focusing errors and by manipulation of focusing knobs at which is located on the upper left hand the camera is usually placed clcse to makes it a natural for hurried shooting BY STEVENS the rear and left side of the camera. corner of the camera. The lens footage the near person or object-making it when little time is available for careful Variable Shuller • Split-Frame Made • Synchronou1 Rn-,HI speci•li1h fo, ov-, • dec•de. dial lock-screw should be tightened and Battery CC1mera Drives • Time lapse Timer • Our Jong Hp-,ienc:e insures superior qu•lity. Lenses for use on either model cam­ loom larger in relation to the more dis­ focus deliberation. lens Extension Tubes • Rackover • Turret lever • El tdronic:elly controlled mechinH keep tem• after each adjustment. Also, after using Third Turret Stop e Tu,,., Filter Slides e Come,o p,urdure const.nt within .2 of one degree, era are mounted in conventional tant images which are greatly reduced N1tiontl "Brilli•nfone" Cine prints tre the finest either the 25mm or 30mm lens on the The wide-angle is especially valu­ lase • lens Control Handle • 400-Ft. Magadne 0 threaded focusing mounts having iris in size. This technique can be useful in Sound Sprockets •·•il• blt . WritefotfTeecatol09ue. NC, these lenses must be unscrewed a able under poor lighting conditions, in­ C,1.)HTACT ,11NT1NG I I W DU,LICATING diaphragm control rings. On the NC OUR NEW ADDRESS WORK ,11NTS KODACHlOMi 0u,uC.ATIN& sufficient distance before rotation of the speeding up moving vehicles or ani­ doors or out, when a large aperture is [n&i NUMIUIN& VAC.UUMATIN& model. lenses are mounted in the turret All we,~ o,Heleol ol •e ul•• ••••te turret is attempted, otherwise turret mals. A speeding auto, for instance, necessary and maximum depth of field Stevens Engineering Co., Dept. A with four machine screws. So that the 340 N. Newport Blvd. NATIONAL CINE LAB may be forced and misaligned. moving directly toward the camera and desirable. E\'en when used wide open, barrel of a long focal length lens will Newport Beach, Calif. lo•442S WHhin9ton 170 D.C. With the Mitchell camera thus pre­ filmed with a wide-angle lens from a the wide-angle objective (particularly not intrude in the field of a wide-angle pared for use, the chief operational low three-quarter angle, will produce the modern wide-angle retro-focus len­ lens, the 152mm is usually mounted di­ steps consist briefly of ( 1) racking the impression of greater than normal ses) possesses extraordinary depth of rectly opposite the 25mm, whenever over the camera, ( 2) checking focus speed. The car will approach from a field. both of these lenses a.re to be used on through the focusing tube; (2) racking speck in the distance, become larger Wit:Je-angle lenses can minimize the Used World-Wide By Discriminating Cameramen the camera. Another feature of the NC the camera back to operating position ; and higher in the frame as its long effort of camera weave or unsteadiness is that it has mechanical provision for (3) setting lens £/-stop; (4) compos­ sleek lines zoom by. The wide-angle because their great angular covering CINEKAD SYNCHRONOUS MOTOR rising and falling front effects, but this ing scene in view finder; ( 5) resetting lens creates the impression that the car spread's.:the jiggle over a wider area, requires complicated adjustments, is DRIVE-For 16mm Projectors footage counter to zero; ( 6) starting is further away than it actually is. be­ thus making it less apparent on the limited to use of lenses of 35mm and the camera to photograph the scene; cause its size will be small in relation screen. They are especially useful when Especially designed to drive all longer. and was originally designed as Bell & Howell, Ampro, Kodak, (7) stopping the camera at the end of to the frame area. The car will appear the camera must be hand-held or for a means of 3.chieving correction in RCA, and Victor 16mm projectors scene; and, when necessary, (8) open to cover a greater distance than it ac­ making dolly shots under improvised scenes having prominent vertical lines, at synchronous speed. camera door to check and clean gate tually does, because the shorter the set-ups where absolutely smooth dolly as in heayy archit~ctural exteriors, Projector can be instantly attached to and pressure plate--especially after a focal length, the greater the linear dis­ travel cannot be obtained. etc. Today. cinematographers have tance between objects. The moving Synchronous Motor Drive and quickly de­ lengthy run. The rugged spaciousness of moun­ tached at o·ny time in a matter of seconds. found faster and simpler means of image, because of the wide field of Like a fine automobile, long and tainous scenery is best recorded with An outstanding feature is the flexible achieving this. view, will remain in the frame for a shaft which connects motor with projector trouble-free operation of a Mitchell a wide-angle lens used close, rather greater length of time. All this adds up and permits smooth, quiet and steady After lenses are mounted on either camera over a long period of time is than with a telephoto from a distance. operation. No special technical knowl- to "stretching" distance and increas­ One-year Guaranfffl Immediate Dellveryl edge required for installation a nd mount• the NC or BNC, they are adjusted for dependent mainly on keeping the mech­ The shorter optic will preserve the ing image speed-a professional cine­ ing. Write lor more details and prices. correct focus by means of the focusing anism free of dust, dirt or other foreign roundness. ruggedness, texture and matographer's technique that is most CINEKAD ENGINEERING COMPANY, 763 10th Ave., N.Y., N.Y., Plaza 7-3511 tube of the camera, previously men­ material. Care and vigilance on the general uneven appearance of the ter­ effective in filming action. tioned. The footage dial on the lens part of the operator is essential, since rain, particularly if cross-lighted, be­ Hollyw_ood direc_tors of photography can be used for focusing, providing the small particles of dust in the movement cause of the stronger separation of invariably choose a wide-angle lens to exact distance to the subject is known. or on the lens may cause scratches or images and planes. This effect can be film miniature trick shots involving On the NC camera footage is calculated spots on film that is otherwise properly enhanced by choosine; a strong fore­ "THE CINEMATOGRAPHER" scaled down sets. For such scenes the exposed. • _g-round. with a shadow base and a from the ground glass to the object. camera is positioned at the eye-level of framing tree branch and then havi11g Informational and instructive motion picture produced a similarly scaled observer. Such care­ by the Hollywood Motion Picture Industry. Depicts role a pictorially interesting middle ground ful choice of lens and camera angle re­ of the Director of Photography in lighting and photo• -one that contains some variation in graphing motion pictures in Hollywood studios. Shows CHOOSING AND USING LENSES sults in utmost realism and allows the terrain. trees-, rocks or other ob­ various camera and lighting equipment used on Holly­ miniatures to be "cut in" with live ac· wood sound stages and the results achieved from Continued.-.,,h:om Page 297 jects. These will stand out as distinct tion without detection. Filmed with a their use. planes. with the mountains risin~ up angle shots for added dramatic impact. normal or telephoto lens the miniature One•reel 16mm block-and-white prints available on planes closer together and generally behind them. Add a nice clouded sky, Fr•• loan to cine clubs, college cinema g,oi,ps, By placing the camera low, and shoot­ would have a phoney appearance-like .chool,, ond occredited clubs and civic groups within tend to destroy any three-dimensional place the action in between and a per­ the contlnental U.S. l•Hrvotions neceuary and pay• looking at a toy through a telescope ment of retum shipment required. quality that the scene may possess. ing up at a three-quarter angle to the fect outdoor action-scene having three.­ from a distance. Only a wide-angle ob­ It is a photographic fallacy that subject - shooting "angle on angle" - dimensional quality will result. AMERICAN SOCIETY OF CINEMATOGRAPHERS wide-angle lenses create distortion. This the subject is made to stand out strong· jective can place the viewer where hP­ ly against a dropped horizon. must look up and feel "surrounded" No"· for a few don'ts-for after all 1712 Nerth Orange Drive Hollywood 21, Calif. is not true. Any lens will distort the the wide-angle lens has some disad- • image if improperly used. Distortion For example, let us take a western by the set and the action. results from shooting from a wrong picture in which the hero is filmed Newsreel men switch to the wide­ viewpoint thus. creating poor perspec­ against a cloudy sky as he draws and angle lens when working outdoors at tive-not by anything inherent in the fires his six-shooter. A low angle, wide­ crowded public events, and also when lens. The wide-angle lens is more likely angle, three-quarter angle camera set­ they must work shoulder to shoulder to record a distorted picture when up will etch him dramatically against with still photographers, as when film­ used too close to the subject. Often the the clouded sky as he looms up in the ing celebrities, etc. Since the still pho­ very distortion that is considered a frame with his gun seemingly sticking tographers invariably "move in," they liability can be turned into a useful out into space directly over the head thus decide the "camera line," and the asset. The wide-angle lens is ideal for of the viewer. It is for scenes such as newsreel cameramen thus have no al­ capturing a forceful perspective - a this that the wide-angle lens excels be­ ternative except to use the shorter lens. strong, exaggerated perspective, with a cause of the forceful perspective, the The wide-angle lens is also the prime heavy base or forground and a rapidly excellent three-dimensional modeling !;ns of ne:sreel camerama_n filming diminishing vanishing point. This tech­ and the intimate feeling of participa­ grab shots or when shootmg guess­ nique can be used in low angle, wide- tion that the audience receives. focus hand-held shots on the fly. The

314 AMERICAN CINEMATOGRAPHER MAY • 1959 31S ~""

vantagl!s, too. Never use a wide-angle PHOTOGRAPHIC ASSIGNMENTS PAUL IvANO, ..The Texan"* (Desilu Prods.) CLASSIFIED ADVERTISING for closeups of people unless a weirdly RATES: Ads set in lightface type, 10c per word, minimum ad, line. Send copy with remittance to cover payment to Editorial Continued from Page 268 $1.00. Text set in lightface capital letters (except 1st word ~mLeave it to Beaver"• TWENTIETH CENTURY-FOX ingly. They are fine for comedy or SPRING CLEANING SALE SURPLUS OU~ 29th YEAR * * * * SUPPLYING EVERYTHING ( Gomalco Prods.) with Barbara Billingsley BRYDON BAKER, "The Return of the Fly" AND DISCONTINUED ITEMS PHOTOGRAPHIC AND CINEMATIC and Hugh Beaumont. Norman Tokar, di­ 35mm DEBRIE CAMERA MODEL l/E featur· shock effects, but don't use the wide­ (Associated Producers) with Vincent Price CAMERAS 35mm rector. ing 28mm Schneider, 50mm, 75mm lenses, angles for serious closeup filming. Be and David Frankham. Edward Bernds, direc­ CAMERAFLEX (Cinenexl, 3 lenses-Apogar 35mm, 50mm and 75mm Boltars. oJI f2.3; 24V motor; Pilot Registration Pins, Direct focusing tor. 2.200' magazines Excellent -----~ ...... $ 495.00 on ground glass. 5--400' magazines, careful when panning indoors with this BENJAMIN KLINE, ASC. "Wagon Train"• ARRIFLEX I, 3 fast lenses 200' magazine matte box, sunshade, efc $1700.00 value.. 675.00 free.head tripod. Motte box. Solenoid ( Revue Prods.) with Ward Bond. FRANK REDMAN, ASC, "The Perry Mason MITCHELL w/syncmotor; 16 fps; single lens mount. Reconditioned...... 747.50 Stop Motion Moto r for 1-1 Exposure. lens : the rapidly changing, foreshort­ Value $2355.00 ------····· 1250.00 Show"* with Raymond Burr. AKELEY AUDIO, w/4 mogazines-3 fast lenses; matched viewfinders; motor. O;iginally $5,000.00...... 795.00 ened perspective created will cause ELLIS THACKERY, ASC, "Restless Gun"• CAMERAS 16mm 35MM GRAF LEX, photo record identification LLOYD AHERN, ASC, "The Third Man"• camera, with 75mm F4.5 lens. 100' mag. (Window-Glen Prods.) with John Payne; AURICON PRO 200 W/Parallox Finder; matte box; wnshade; case. Less soun------S 495.00 walli to appear to "tumble" as the "Wells Fargo" * (Overland Prods.) with Dale with Michael Rennie. azine, single or double frame. List price B&H FILMO 70DA TURRET w/3 lenses drum finder; objectives; trun,~--c-c------c--···· ..·· ············...... 239.50 $295.00, special price 150.00 camera swings in its pan movement. Robertson. MORTON SOUNDMASTER, 200' and 400' magazines; zoom viewfinder; 3 fast lenses; recording am· LEO Tovrn, ASC, "Blue Denim" (C'Scope) p/ifrer; power supply; sheath barney blimp; coses .$2000.00 volu~----- ...... 895.00 Extra identiflction magazines only $65.00 On panning on outdoor buildings line­ RAY RF.:N NA HAN, ASC, "Buckskin"* (Re· with Macdonald Carey and Carol Lynley. MAURER Modified 05, syncmotor; -400' magazine; 4 lens turret. A new low...... ·-··· ..... 1495.00 each. MITCHELL 16, w/3 Bolte n; 400' magazine; 220V 3ph syncmotor; large finder. $6,000.00 va lue ...... 3995.00 J BRUNT· MYER SUMP for Cine Special ar distortion will be particularly dis­ \'UC Prods.) . Philip Dunne, director. CAMERA ACCESSORI ES camera, # one or two 110 volt, syn­ tressing at the sides of the frame. Such FLOYD CROSBY, ASC, "The Miracle of tbe chronous motor, Astro e rect•image view• JOHN RUSSELL, ASC, JOHN WARREN, ASC, H.F. Heavy Duty Commercia l Type Cor Top Platforms, holds 800 lbs, Includes 4'x5' non·skid top, finder, follow focus gears, Va lue $990.00. shots should be filmed from a fixed "Alfred Hitchcock Presents"* (Revue Prods.) Hills" (Associated Producers) with Rex removable lodder. $220 value ...... ______...... $ 149.50 Special ______595.00 Reason and Theona Bryant. Paul Landres, HOUSTON FEARLESS Perambulator. $3,000 value. .. . . 1795.00 position. So, remember that in such RAY RENN'A HAN, ASC, JOHN RUSSELL, HOUSTON FEARLESS Gearheod, $1500.00 valve...... 995.00 B & H 16mm FILMO CAMERA Model 70· director. CECO CINE SPECIAL BLIMP w/ syncmotor. extro gears. 439.50 OH with 17mm f2.7 Wollensok, 1" fl.5 cases it is always best to shoot from an ASC, "S. A. 7" ( Revue Prods.) 16.95 Dalmeyer, 2" f2.8 Schneider. 3" f-4 angle. never head-on, particularly on CHARLES CLARKE, ASC, "A Private's Affair" ~~·~A]~ :;~e J;~i;~~: :iih0 1~fe~efu~,~~~~'.~~!.:"... ~==:~~---_ -__::_::_::_-_::_:: ~-_::_::_::_::_::_::_::_-_-_::_::__ _ l 19.50 B & H Tefetar, and 6'1 f-4.5 Telephoto JOHN Russtu, ASC, JOHN WARREN, ASC, (C'Scope & Color) with Christine Carere NEW TEWE 35mm MOTIVFINDERS, zoom from w/ a to telephoto. $75 va lve 49.50 Xenor l enses; 2--400' Magazines; Motor; establishing long shots depicting build­ "General Electric Theatre"* (Revue Prods.) and Sal Mineo. Raoul Walsh, director. NEW Dolly Track with connectors, 5'-10'·15' lengths, per ft 4 .95 Wells Semi-Professiona l Tripod. Carrying NEW MITCHELL type HEAVY DUTY tripods, 3/4 or Std. ______119.50 Cose. Value $1,695.00. Special..·-···-······· 1150.00 ings, streets. rooms, etc. Jo£ MACDONALD. ASC, "The Cave" * (Pilot) ANIMATION & SPECIAL EFFECTS I 6MM AURICON·CI NE VOICE conversion to LIONEL LINDON, ASC, WILLIAM SICKNER, 400' B&H magazine, features 3 llens Scenes having. predominant verticals, ASC, "Schlitz-Lux Playhouse"'* (Revue Joseph Parker, director. TELANIMASTAND, sliding celboard with pantograph extension; shadow box; platen. $4.000.00 value .... $2495.00 turret. I" 2" , 3" speed le nses, 1--400' HOT PRESS with 4" typeholder; 3 way switch. $400.00 value. liken~------295.00 magazine, I Parrish viewtihde r, ampllfler, on the other hand, should be shot with Prods.) B&H 35mm AnlmatiOfl Cameras; 400' magazine; dissolve. $3500.00 va lu~---- 1495.00 Pro Cine tripod, case _____-,1098 .00 UNIVERSAL-INTERNATIONAL Some with thru•lens.focvsin,9-c------··-···················~~-~ 2250.00 the camera set at a height that will al­ EowARD COLMAN, ASC, "The D. A. Man"* ACME 16mm Animation Camera; reflex viewer; automa tic dissolve & takeup; 35mm B & H SINGLE SYSTEM SOUND (Mark VII Ltd.) with John Compton ; "Pete counter; stop motion motor; 32mm lens. $4500.00 value. . 3495.00 CAMERA. lenses: 40mm, 50mm, 75mm, low it to record the scene without tilt­ ARTHUR ARLINC, ASC, "Any Way the Wind 125mm, Mod ullte galvanometer, amplifier, Kelly's Blues"* (Mark VII Ltd.) with Wm. LIGHTING EQUIPMENT motor, Tachometer. 2-1000' magazines, ing. This usually results in a sli~htly Reynolds and Connie Boswell. Jack Webb, Blows" ( C'Scope & Color; Arwin Prod.) with Rock Hudson and Doris Day. Michael NORTHLI TES, 2000W Cone less stand. $110.00 value...... $ 79.50 Tripod with Freehand, quick relea se legs, .higher camera angle on interiors film· director. BARDWELL· McA LISTER 750W Baby Kegs w ith stands .. 57.50 ca rrying coses. Guaranteed ....• 2500.00 Gordon, director. B&M or MR 2000W Spots on stands. Excellen,~ ------­ 99.95 MOLE RIOIAROSON 2000W Spot, ro ll ing ed with a wide-angle lens. If converg­ WILU ..\i\t WH ITLEY, ASC, WILLIAM SICKNER, SKW KLJEGL and MR. SENIOR spots on stands, exce llen~---- 179.50 stand and Lamp BOOM and Mike Com· ASC, "Mickey Spillane's Mike Hammer"* RusSELL HARLAN, ASC, "Operation Petti­ EXTENS ION & POWER CORDS, 25' w/half plug or box 22.50 bination. Special ------195.00 ing verticals, such as room corners, or coat' ( Granart Prod.; shooting in Keywest, DOUBLE BROADS w/stonds; 1000W lamps. $125.00 value.... --c-----c7=ccc--c-­ 59.50 ( Revue Prods.). SEN/OR FIVELITE KIT, 2 heads; stand; new Colortran Senior Converte r. $275.00 value 159.50 B & H 12V or 24V EYEMO & F1LMO MO· sides of tall buildings, are desired, F1a. ) with Cary Grant and Tony Curtis. TORS. New. Value 142.v~---- 95.00 MICHAEL N EBB IA, "Markham series"* ( Re­ Blake Edwards, director. RECORDING & PLAYBACK panning should be a voided. All of these EN LARGERS, EXCELLENT CONDITION, EL- vue Prods.) starring Ray Miliand. Ray NEW AMPEX 35mm Magnetic Re producers w/filtered filmAow. Make wonderful re-recorders or ploy- WOOD. Auto focus, w/lens... .•...... -.. . 225.00 rules may lie broken, of course, espe­ Milland, director. RussELL METTY, ASC, "Spartacus" (Techni· backs. $600.00 valu · ...... : ...... $ 249.50 rama; Bryna Prods.) with Ki.rk Douglas STEPHENS WIRELESS MIKE outfit. 2 Microphones; power supply; transmitter; antenna; receiver. Sx7 EK AUTO FOCUS WITH LENS ...... ·-··· 175.00 cially when some peculiar effect, such $2000.00 value ············-·······------·· 595.00 JOHN RusstLL, ASC, WILLIAM S1cKNER, and Laurence Olivier. Anthony Mann, di­ RCA PHOTOPHONE 35mm Fantosound film phonographs w/ Selsyn motors. Originally $6.500.00...... 1495.00 MOVIOLAS sound and silent editing ma· as a trick shot or montage or dream ASC, "State Troopers"* ( Revue Prods.) rector. RCA Photophone 35mm Optical Reco rding Heads; 1000' mogozine; less motor. No license required. ... 2995.00 chines, synchronizers, rewinds at big sequence cails for distortion, revolving with Rod Cameron. MR MIKE BOOM a nd 3 wheel tricycle type Perambulator...... _____ 895.00 savings. MR MIKE BOOM & PERAMBULATOR, late type. $2100.00 value. ----·.. · ······ 1395.00 35mm WilJort Professional camera 2" f2.7 or tumbling images that must be pre­ WARNER nos. WESTREX DISC LATHE RECORDERS, originally $4500.00...... ~ -~------995.00 B & L lens, Dhect.thru./ens focusing. REVUE STUDIOS WESTREX 35mm Dubbers, 220V 3ph interlock moto rs, $1500.00 va lue... · ------··········· 895.00 4--400' magazines, viewfinder, Solenoid Sf'nted in an eerie or unnatural way. • WESTREX 35mm Optical Recorders, outright purchase, good condition...... -----·· 3500.00 stop motion motor outfit, with case. Good KEN NF.TH PEACH, ASC, "Steve Canyon"* MARK DAVIS, ASC Commercials* Reconditioned ------.....$4995 .00 for a nimation and experi mental work. ( Pegasus Prods.) with Dean Fredericks. Special ______360.00 Don Taylor, director. ARTHUR FEINDEL, ASC, Commercials*. PROJECTION THEAT RE CHAIRS for screening rooms, used and rebuilt (send for Chaii' List] from ...... $ 3.50 16mm SOUND projecto rs, various makes $150.00 and up. ELLSWORTH FREDRICKS, ASC, LIONEL LIN­ HARRY STRADLING, ASC, "A Summer Place" AMPRO ARC 16mm Sound Proiector with HI Intensity Arclamp; le ns; pedestal; 30A rectifier; SSW INDUSTRY NEWS (Technicolor; shooting at Monterey) with amplifie r & 2 speakers. Excelle nt...... ______, ______849.50 16mm CINE SPECIAL Model l ···-····-······-··· 400.00 DO N, ASC, "The Deputy"* Whirlybirds"* (Desilu 1 JAMES DROUGHT, Commercials* lure control; speeds to 1200' per hour Govt paid $10,000 Recond1t1one"'------············$1995.00 lights, lenses, mikes, booms, dollies. motors, etc. Prods.) with Kenneth Tobey and Craig Hill. 299 New-Used. Reasonable- prices. Cash for used Robert Alton, director. ~fi~~~:N ig,~f~G R~~~~ . ~·oci!k35:~ce~~~~city {us;~ii;···for 16mm) . ··N~:;;:···;~~·pi~~·:··$16.00 volue:::: !:~~ equipment. Trodes taken. A new CinemaScope lens that will LUCIEN BALLARD, ASC, "The Brambie Bush" St1nemon 16/35mm DEVELOPING OUTFITS 200' in case with loading device. New, surplus. $200 value 96.95 HOLLYWOOD CAMERA EXCHANGE, LTD. NrcK MUSURACA, ASC, ''Barbara Stanwyck (United States Picts.) with Richard Burton F!LMLINE Bridgomatic J r. 16mm neg./pos. processor; variable speed transmission; recondiitoned: 1600 CAHUENGA BLVD., HOLLYWOOD 28, CALIF. eliminate the distortion in closeups $1500.00 valve ...... ____ 975.00 Theatre"* (Desilu Prods.) with Barbara and Barbara Rush. Delmer Petrie, director. HOLLYWOOD 9-3651 which has been labeled "anamorphic Stanwyck. Robert Florey, director. TRADES TAKEN PL 7-0440 Coble: SOSOUND HAROLD STINE, ASC, PERRY FtNNERMAN, S.0.S. CINEMA SUPPPLY CORP, CINE Special Series 1. Perfect. 1" lens. $400.00, mumps," is reportedly under develop­ Write Box 1250, AMERICAN CI NEMATOGRAPHER. "Cheyenne"* with Clint Walker. 602 W. 52nd Street, New York 19 ment by Twentieth Century-Fox engi­ RKO PATHE LoTHROP WORTH, ASC, "The Real McCoy's"* CARL BERGER, ASC, WES LEY ANDERSON, ED­ Western Branch--6331 Hollywood Bl vd ., Hollywood, Ca!if.-Phone HO 7-2124 Continued on Next Page neers in conjunction with the optical (Brennan-Westgate Prods.) with Walter WIN DuPAR, ASC, "77 Sunset Strip"* with firm of Bausch & Lomb. Brennan. Hy Averback, director. Efrem Zimbalist, Jr. MAY • 1959 317

316 AMERICAN CINEMATOGRAPHER