Camera Operator Spring 1995 by Society of Camera Operators

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Spring 1995 Vol. 5, No.1

LIFETIME ACHIEVEMENT AWARDS INTERVIEW VILMOS ZSIGMOND , ASC RESTORING MY FAIR LADY SHOOT THE MOON

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''After shooting several spots in the U.S. for the European market • • using noisy, expensive and unreliable square waveHMl's, I decided to find a better way to deal with the 25fps/60 cycle problem."

Gary Thieltges After gradualingfrom /be AF! cinematography progl'(/111 in 1978, Gary was aul(lrc/ed lbe Alfred Hitchcodl Fellou'Ship i11 Cinemalograp/~1· in 1979. He began working with john Ai<:oll in 1980 as a focus puller, going 011 lo photograph seven features i11dudi11g Eating Raoul.

inc.e 19 6, 71Jieflges has pbologmphed more /ban 1000 C0/11//lercitlls.

''Now, with my ARRI 535, I can shoot 25fps with standard HMl's and 60 cycle cunent. n.e ability to set a precise 150° shutter makes shooting for foreign clients easy and reliable at no extra cost to production. Believe me, producers like that!" The business of commercial production can get complicated when you're shooting for foreign markets. Different countries, different standards, different frame rates . How can you originate footage in Los Angeles and insure that it will play in London without going over budget? The electronically variable mirror shutter on the ARRI 535 provides a simple, elegant solution. Program the camera to effortlessly lock in a shutter angle of

- Gory Th ieltges

precisely 150°. Combine this with 25fps, the standard frame rate for Europe, and shoot away. It's as simple as that. The world's only electronically variable shutter is just one of the many revolutionary features on the ARRI 535 designed to expand your creative options.

ARRI~ ARRIFLEX 535

And , as Gary Thieltges has discovered, options like these are a welcome addition on any set.

NASA: Shoot The Moon

Mvancements in photography ~ ....... during the Lunar mi ions By John Case

Editor Randall Robinson

Contributors Billy Bitzer Jacqueline Bisset John Case Bill Clark Bob Fisher Randy Haberkamp Bill Hines Douglas Knapp Keith La Qua Wes Lambert Randall Robinson Steven Spielberg

Managing Editor Douglas Knapp Design & Production Mary Ann Glicksman, Hal Glicksman, GliCo Ken Jewett, Katy Colleen O'Harra, Tara Gemini Graphics, Marina del Rey Advertising/Sales Bill Hines

Photography eil Armstrong Ken Churnus Danny Feld Wynn Hammer Takashi Seida Phil Stern Gene Stein Warner Bros MCA/Universal

About The Cover Ayoung Steven Spielberg with his father's 16mm Bolex camera, hard at work on a career that would captivate audiences around the world.

POSTMASTER: Send address changes to Society of Operating Cameramen, P.O. Box 2006, Toluca Lake, CA 91610 The Operating Cameraman Magazine, ISSN 1069-0646, is published semi-annually by the Society of Operating Cameramen. For Advertising information and article submissions contact the SOC at P.O. Box 2006, Toluca Lake, CA 91610 Telephone (818) 382-7070 Subscription Rates: USA $10/yr. Canada $15/yr. Foreign $20/yr;

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Spring 1995 Vol. 5, No. 1

The Biograph Camera

O'Connor Engineering

Continuing series on the development of the motion picture camera, by one of the most inventive cameramen in film By Billy Bitzer

The early development and introduction of the fluid head

J L Fisher

The development and introduction of the Fisher family ofdollies

Interview: Vilmos Zsigmond, Ase

Captured in a warm discourse, the renown cinematographer speaks on cinematic issues today and the role of the operator 10

John M Stephens Development of the first remotely controlled camera bead for production use

Heritage Film Series: The Restoration of My Fair Lady

Buzz Aldrin

Robert Harris, the master of restoration, speaks on the urgency for preseroation Are your vital elements safe? By Randall Robin on, oc

Cinesite: Beyond 911

The Crusade for Artists Rights

Artists band together to bring new awareness of the need to prese1ve their rights and redefine the author By Keith La Qua

The Vision of Children

Dealing with the family in a time of cri is By Dr Linn Murphree

Set Etiquette Continuing series on appropriate attitudes in the work place By Ron Dexter

SOC Lifetime Achievement Awards The seventh annual awards banquet with its festivity anti rich meaning By Bob Fisher

Honoring the photographic accomplishments and 25th anniversary of the Apollo 11 Lunar Mission

The Music Box Steps At long last the celebration honoring Laurel and Hardy in stone By Randy Haberkamp

The Reassuring Presence of the Camera Operator

By Jacqueline Bisset

33 The First 7 Years Cammy Recipients

SOC's History of Awards By Bill Hines, soc

Steven Spielberg Accepts Governors' Award

Members

Society of Operating Cameramen

Technical Achievement Awards By Bill Hines, soc

Advertisers' Index

64 page5

The Biograph Camera by Billy Bitzer September 6, 1939 il~v

Bitzer and David Wark Griffith bad one of the most remarkable relationships in film history. lasting sixteen years and working so c/ose~v together it is often difficult to attribute to one or the other their technical contributions that vast~y impacted the motion picture art fonn. Technological breakthroughs such as the use of the close-up, fade-ins, iris, lighting and the dol~y. Bitzer's ingenuity was able to put DW's creative ideas into workable film techniques. Griffith owed much visual aesthetic quality to Bitzer's camera work. He photographed all the master's most important work: New York Hats (1912); Judith of Betbu/ia (1914); Birth of a Nation (1915); Intolerance (1916); Broken Blossoms (1919) .

We pwpose~v have left much of this talented artist's language, from this '39 interview, for路 the cbann and though some what dated, you come to know this master of the camera, and you can almost bear bis voice.

o double exposures or trick work was pos.sible with the Biograph camera. Other motion picture practical cameras used the perforated sprocket hole 35mm film, which is still the universal film used today. This sprocket hole permitted the ninning of the film through the camera for purposes of a second exposure (superimposed) or as many exposures as desired. This was accomplished by the simple process of marking the staning picture frame and having the pull-down sprocket claws engage in the same holes following each exposure. TI1e film could be run through the camera again and again, behind desired masks, etc. (Melies Trick Films, Pathes, Edisons, et al). TI1e film could also be run backward for lap dissolves. But not so with the Biograph camera. The film could only go through (in register) once. It could not be run backward for even one single frame, to the identical previous exposure that is. Hence, the dearth of trick effects in the Biographs. An occasional simple one was attempted now and then, but the operation was expensive and complicated . For its culmination, the Printing Machine was resorted to. Those Awful Hats was one attempt in which the audience of a theater and also the moving picture upon the screen were shown at the same time. In general, all double exposures or trick effects were "taboo." Mr Griffith was made aware of this at his start, otherwise many of his films would have shown dreams, allegorical or symbolistic effects, as he had a tendency toward such. However, he was decidedly against trick photography in general and employed only the simplest and most elementary trick effects. These he used seldom, and only when no other known method would serve the purpose. In later years when trick photography became highly developed and for a while became "all the rage" in the film industry, Griffith continued to shun it for the same aesthetic reasons he had always disliked it. An early picture, and one of the few he also acted in, The Music Master, portrayed a violinist at a fireplace with his violin, while in the upper background, upon the wall, visions of his thwarted love life story appeared in a double exposure. To accomplish this with the Biograph camera required two negative . They had to be run through the printer likewise on one negative. The space

page6

for the vision was matted out in the camera. On the second separate negative, the violinist and fireplace was matted or blocked out. With all other existing sprocket hole (perforated film) cameras, this simple double would have been made upon the one film and printed the same as an ordinary single exposure. But the non-sprocket friction drive, pull-down beater roller mechanical movement of the Biograph Camera prohibited this. The first Biograph Camera was built by the Marvin and Casler Company of Canastota, NY, who specialized in electric rock drills. The camera weighed, when set up ready to take a picture, with its base stand, turn table, electric motor and storage batteries, more than two thousand pounds. After being set up, and it was found necessary to tilt the camera up a little, it required two men to raise it, one with an iron crow bar, the other with a monkey wrench to tighten the somewhat massive nut screw to hold it in place while he was peeping into the camera at the image on the film. The General Electric 2 1/2 horse power motor weighed 250 pounds. Its speed was 1,800 revolutions per minute. The pictures were taken at the rate of 320 ft per minute, or 30 pictures per second. The speed of today is but 90 feet per minute and 24 pictures per second (sound), but at that time other motion picture companies made their pictures at the rate of 16 pictures per second, or 50 feet per minute on the standard 35mm film with pictures 3/4 x 1 inch, same as of today. Biograph raw stock negative film was 2 23132 in or approximately 23/ inches wide and 2 inches high. The intennittent movement was created by a beater roller which bobbed up and down approximately one 2 3/4 inch space of film each time, but not definitely. The space between the exposures varied considerably, sometimes as much as an eighth of an inch. The film was punched at the instant of exposure with rwo round holes as it was clamped in its at rest exposure position. The unevenness, which would have shown a very unsteady picture upon the screen, was taken care of in the printing machine. It used the holes which had been perforated by the camera at the instant of exposure as master or registering guides, which made the Biograph pictures run very smoothly.

Societi路 of Operating Cameramen

Spring 1995

owe had a camera that perforated its film as we took the picture. The punchings from the perforator dies were expelled from the camera as they fell into the compartment in which the rather large circular camera shuuer revolved , a two foot in diameter affair with blades or outstanding wings attached upon its face, which blew these punchings from this chamber out upon the ground. The wide film we used was of rather thin celluloid base for its width. Running through the camera at the rate of five feet per second while intermittently clamped against the exposure frame thirty times per second and likewise punched was anything but a critically flat piece of film at its seat of exposure. Little bulges and ripples would occur which were caused by the uneven pull of the mechanism. Principally by the condition of the film which would become considerably springy upon dry days. "Buckling," we called it, which would cause a focus blur in spots, the picture being sharp and unsharp in spots over its area. We built in a suction pump which went into its functioning upon operation of the camera. Air suction being communicated to what would be called the pressure plate in other cameras, directly behind the exposure frame

camera and fog mark the film at the point of discharge, making imprints of various shapes. Sometimes a continuous series of minute V-shaped marks from lesser discharges, marking the more intense discharges, had rhe appearance of trees, leafless, as in winter. These discharges would occur at points where the celluloid film would leave metal and contacr velvet, with which the light-tight apertures in the film magazines were covered, or at the ebony plate at the aperture frame. Weather conditions had much to do with this static trouble. The Eastman Company could not do anything about it at that time. At times, the entire existing American Companies would be compelled to cease camera work altogether while these conditions existed. We first tried to get control of this discharge by bridging the gaps from metal to velvet with continuous wire and lead it to a Leyden Jar or grounding it on water faucets or on location into the ground itself. We tried ammonia fumes, everything, until we discovered that there was less static where heat and moisture existed. By placing a little gas stove upon which was placed a tin tea kettle just out ide the dark room door, running a rubber tubing from the spout of the

The Mutograph camera of Herman Casler (1895-97) This giant and unwieldy camera took pictures about 2 inches by 2 inches on film 2 314 inches wide. The pictures taken were viewed in a Mutoscope. This illustration from the Scientific American of 1897 shows the camera photographing the Pennsylvania Limited when running at the rate of sixty miles an hour.

through tubes from this pump. To prevent back halation, a perforated backing was constructed of genuine black ebony. Metals were useless, as the blackened surface would quickly be worn off by the film at the speed at which it ran over it. This suction of air pulled the film tightly against the perforated black ebony plate during the instant of exposure, and held it Hat where pressure had failed heretofore. As is the case with many innovations or remedial experiments, this somewhat cmde contraption was improved upon by substituting a curved aperture plate. This positively prevented all this buckling of the film by curving the film in its nmning direction, that is horizontally. It could not develop any other bulges that occurred when the film was Hat. This curve was mathematically figured out in its relation to the photograph.ic lens and also remedied another heretofore defect. It pur the sides of the picture into focus when the center of the picture was in focus. l11is occurred when we used our lens wide open. I am speaking of critical focus. This change accounted for the wonderful sharpness of Biograph pictures of that day as compared to those taken under the same conditions of light by other camera makes. Continual experimentation to overcome concurrent difficulties in the photographing of Biograph pictures was as great if not greater a job than the making of the picwres in those days. Staric, a form of frictional elect ricity, would discharge within the

Society of Operating Cameramen

Spn路ng 1995

tea kettle through a hole in the dark room wall to our film winding table, we wound the film through a jet of steam. Completely ignoring the Eastman caution label, which was pasted upon each package of film which reads, "Keep in a Cool Dry Place. " Thus, we conquered for the time being, our static troubles. It seemed to call for our steam kettle operation to take place right inside of this heanbreaker camera. So heat and moisrure were applied with the aid of a bicycle lamp which was attached to the outside of the camera. Aone-inch diameter brass cube fustened to the top of this lamp, an el wand rube extended through alightprotected hole into the inside of the camera. A funher son of condenser allowed the heat and moiscure to enter and excluded any extraneous light that would tend to fog the negative film. We burned 100% pure alcohol in the bicycle L1mp. Anything inferior would cause residue or soot. Here I would like to give an example of Mr Griffitl1's extreme patience. Just visLL'llii.e mis happening. Hestrove to make more logical pictures with his children, as he was wont to call them. He really worked very much in earnest to create tl1ese better type of pictures, by not having them go through a series of motions, but rehearsing as mud1 as time pern1itted, striving to have his players give it their all. He was mshed for time as we were trying to make five 1, 000 ft pictures aweek and I have record sheets of seven pictures in one week.

page7

Griffith was working in winter weather at Fon that of a two-inch focus to cover a one inch field. lee, ~. trying to beat the not coo many hours of The sprocket-hole 35mm film cameras were using shooting light or sun, exulting at the end of the day that as a standard lens, a SOmm or two-inch lens. if we got about what we set out to do. On occasion An eight-inch lens seemed to be the one for he found that when the negative was developed our 2 1/2 inch film which was a slow f/5.6 at full that there was nothing at all upon the film. opening. It required bright light, prohibiting such 111e heat and moisture inside the can1era scenes as shadowy woods effects. Among many with freezing weather outside had caused a steam other things, it handicapped us from striving for to fom1 upon the back element of our taking lens. artistic lighting effects. Although at times when A la steam upon the window panes on washing day. things were running smoothly and we were not in I don't know if you have ever experienced the the dog house forone ambitious failure or another, steamy windows on wash day, but I remember we we would gingerly attempt astab at apainting effect. had them before I became wealthy. By slowing down the action of the actors and Now Mr Griffith, instead of fuming or raging stealing alittle on tl1e can1era speed, mat is slowing (he never swore) or asking for a new boy, perhaps down to gain exposure wim the shutter and lens wide open, we would slip some desired shading Ariliur Marvin, our other cameraman, just took it lnlerior view of the 65mm MUTOGRAPH camera, (c. 1895) designed by Marvin and Casler for the American Biograph wim his usual (no use aying over spilt milk) attitude, & Mutoscope company. (Referred to by Mr. Bitzer as effects into a picture. lngomar the Barbarian is which was one of his outstanding traits. He just the •second Biograph Camera ") one that comes to mind. It took daring, however, came back to my dark room and we talked it over, used a little horse sense and for if a failure, no one was to blame except me cameraman. He was to know figured we might slightly warm the lens. Tried it and it seemed to do the trick. whether the light conditions pem1itted the taking of the scene and no one else. When on location, we unscrewed me lens and plugged a handkerchief Mr Griffith had a keen perception of lighting and of composition. into the opening and started our bicyde lamp percolating. We'd take the lens He knew when it was there, I mean pleasing lighting. Of course he did not into a nearby house or store. If none, we'd cover the lens with a handkerchief know the camera's limitations and with hin1, you just felt like trying for it anyway. and hold it quite dose to the heat of me bicycle lamp. When ready to take me Like many omer things one acquires almost intuition after a while even on light picture we would screw the lens back into me can1era, to the focus mark we values. I got into many a jam with the powers that were at the 14th Street office had made for that scene, at the last moment and shoot. A lot of extra work kept of me Biograph Company on another angle of light judging. the can1eraman busy. On exterior shooting days, our company would get a call to assemble, There were other drawbacks in Biograph cameras. The lenses had generally on me New York side of Fon Lee Ferry at the foot of West 125th Street. to be of longer focus to cover me wider film. The optical formula tl1en being Until the cameraman anived on doubtful days and guessed at whetl1er it would

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Sodetv of Operating Cameramen

Spn·ng 1995

clear or become worse, nothing happened. As soon as he said OK, the company boarded the ferry. If he misjudged and it rained or tem1inated shooting by either being too dark before the day was over, or vice versa, if he had called it off and the sun came out, he was in bad rrouble. This of course happened at times if he used snap judgment So after some reprimands he began to take this weather thing seriously. Noting the direction of the wind, studying clouds, was the smoke rising, and he becan1e somewhat of a weather prophet This is where the bond started taking root between myself and Mr Griffith, which lasted for 16 years. He would really cllampion me by taking my side against the big mogul wid1 a few words like, "It was difficult for anyone to judge d1e weather"; "Billy is a hard conscientious worker," whicll sure made me feel kindly toward him. The Biograph Camera No 2 left mucll to be desired. With the third Biograph Camera, the Biograph Co had now joined up with the Patents Co. An arrangement had been made whereby they could use the sprocket film camera. They still struck to their "register hole punched by the camera at the time of exposure" principle. Instead of the continuous, evenly spaced sprocket holes in the film in which d1ere were four holes to a frame upon each side of the film , the accepted standard, they had but rwo holes eacll side. .Jusc enough holes to guide the film. They discarded the friction driven idea. A set of pull-down claws could pull the film down intermittently so that they could discard also the uneven pull-down beater. We now also used the smaller 35mm standard film, unperforated. We discarded the more expensive wide film which cost ten cents per foot co the standard ac 4 cents per foot of film . We still could not make double exposures while the camera punched the film, despite the adoption of pull-down pawls, or claws. After a while, when a picture would come along in which a double dissolve or some superimposure seemed it would be effective, we brought out a standard 35mm sprocket hole film camera, which we had in reserve, and made a picture upon that. After seeing some very good results, the Biograph Co discontinued perforating the film in me camera, and it was sucll a camera thac we used it until we left die Biograph Co, October 1913. Now we ran into camera troubles of a new kind. Not being in me Motion Picture Patents Company's fold, we had rrouble getting a camera at all. Mutual Films, whicl1 we connecced with after leaving Biograph did not have a camera. I finally secured one which tickled me immensely as not only was the outfit as light as a thistle-down compared co those I had been using, but I envisioned me many effects diat I could now try, hererofore not practical with me Biograph outfits. When we did finally get a Pame camera, we were pretty closely wacclled and had co work more or less under cover. Adark shadow loomed ahead. Where were we going to get our pictures developed in a Trust, as the companies in the combine were called. Other laboratories were little dumps, working mostly under cover, with hit and miss results. Poor pictures photographically would spell our doom. Society of Operaling Cameramen

Spring 1995

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We made some first exterior shots and developed diem in a barn which I knew about over in Jersey. Afriend had a small plant and a primer. OW, myself and the little gentleman who operated 1.he little plant, making picture titles chiefly, stayed up all night watclling our finished first results. The barn wasn't any too CO'l>f a place either for OW 10 hang ouL OW worked right ahead in his usual calm way, never got excitable. Later diese worries were smoodied out and we had our own laboratory on the old Kinamacolor Im at unset and Hollywood Boulevard, where we even developed and made die first prints of The Birth ofa Nation, Intolerance, etc. Mr Griffith and myself are still the best of friends, our separation coming . about in this way. Mr Griffim was going 10 Europe. "Isn't life wonderful!" There was a law suit impending in New York for me. Awill contest. I fell I could nm go and remained here, causing the first time that I was not at the camera when he was shooting. Entirely personal reasons upon my part, which did not concern Mr Griffith, prevented my working with him again. page9

he great body of work by one of the premier cinematographers of the world, Vilmos Zsigmond, two-time Academy Award winner, moves across the cinema screen in a slow and majestic waltz ofgorgeous lighting and rich tones. Deliverance, Close Encounters of the Third Kind, Heaven's Gate, The Long Goodbye, McCabe and Mrs Miller, The Deer Hunter, The Two fakes and most recently Maverick, are a few of the films where his camera has moved the cinematic experience always to new heights. Last spring, Director of Photography Vilmos Zsigmond graciously accepted our offer to speak to the SOC at our quanerly luncheon. The ambiance was wann as Zsigmond took the podium at the Sportsman's Lodge in Studio City. Vilmos spoke right to the point on bard issues facing cinematographers working in a tumultuous motion picture industry today. He invoked warm laughter from the appreciative group. The questions put forward were from the floor of the general membership of the Society of Operating Cameraman.

VILMOS: I would just like to start by talking about my past and my present. I studied cinematography in Hungary. Over there the system we used was one where we operated our own cameras. When I came to the United States in 1959, for ten years I didn't do any filming. I didn't have any money and I had to learn Engli h. I had to get into the union, things like that. I worked in a still phot0 lab. I was doing a lot of printing. I don't know if Phil tern remembers, he is with us toclay, I was enlarging his pictures. For many years actually. I remember he photographed Marilyn Monroe, just before she died. I remember printing Phil's pictures all night, because there was a deadline to send them to Life Magazine. These pictures of Marilyn Monroe made history. Later on I became a cameraman, and I always wanted to operate my own camera. During those days, I got away with it because I did only low budget pictures and they couldn't afford an operator anyway. Eventually J got into the union and the union started to fight us, that we could not operate a camera. There were a lot of articles written in the trade papers about this problem. One of the most famous was about Laszlo Kovacs.

Laszlo's Violin Laszlo Kovacs, a friend of mine, a Hungarian also, had escaped with me from Hungary. He always operated his camera on his low budget movies and now the union would not allow it. This article said that Laszlo felt as if they had taken away his violin. He meant that the camera is the cinematographer's violin, and now he couldn't play his violin. I love this story very much. They were shooting in San Francisco. The next day his assistant put up a big sign on the Panavision camera that said, "Laszlo's Violin." Some tourists were walking by and said," Look, they're shooting a movie! What's the title of the movie?" "Can't you see? l t's called Laszlo's Violin." I started to shoot more and more features. J had an assistant cameraman named Nick McLean. He wanted to move up; he

page JO

wanted to operate. I le said, "I will only be your operator if you let me operate all the shots. " Before that I used to hire operators and I'd tell them many times, "Listen, I want to operate thi shot." They didn't mind because it was an understanding from the beginning that I did like to do that. ick said, 'Tm not going to do what other operators are doing. If I'm you r operator I will operate all the shots." That's when basically I started to change my whole opinion. You can be a better cinematographer if you can have an operator beside you who not only can do your shots as well as you do, but will also give you more time to do other things. Working with Nick, I had more time to think about the lighting. More time to think about tl1e next set up and to prepare the next shot. He became my closest collaborator on the set. I had more time for the politics as well. You know, many times we have to stand behind the director in discussions. With procluction people if you operate your camera, you lose rime to get involved. In our profession it is very important to have a goocl relationship with the director. A good operator can help tremendously to develop that relationship. Ray de la Motte is here. He has been operating for me for a long time. We've done around 8 or 10 pictures together. I must say Ray's a terrific operator; that's beside the point. He also helps my relationship with everybody on the set. That means we have a better set. You can see how the operator can be a liaison between the director and the cameraman. That's very important. It happened on a feature once when J got angry and wanted to quit. Sometimes when you are angry you don't know what you do. Ray came to me and said, ''Vilmos, you want us all to go home? We will suffer financially, but it will be worse for your career. Think about it. I know you can solve this problem between the director and you. Besides he needs you. We're not going to do this picture without you." Sometimes your operator is also your closest friend. One final thought to the operators present. I think a lot

Society of Operating Cameramen

Spring 1995

The Intersection

page 12

Photo by Takashi Seida

Society of Operating Cameramen

Spring 1995

of you. I give you back the violin. This way I can be a better conductor of the orchestra, and with your help we will play better music.

Aspect Ratios

z路.\

1.85.1 ~-\ 1~路 \.

2.35: 1 1.66: 1

27-inch 1V at home. When 1see a letter-boxed program, I have to move my chair closerto see the image. If I had a 2: 1 wide screen 1V at home I wouldn't feel cheated if I was looking at a little bit of black spaces on the sides. And it only would happen witl1 the old 1.33:1, 1.66:1 and 1.85:1 ratio programs. TI1e 2:1 ratio would definitely give advantage for the most important old wide screen and for the future 2:1 wide screen movies. SOC: What hope do you have gecting acceptance of the 2: 1 format when most of the engineering for the past 5 years has been working co get the 1. 78 ratio accepted? VILMOS: I have no idea about that. I really don't know how we goc into this mess. It puzzles me. I don't know where cinematographers were when all this was decided. obody asked about our opinions. I know we never had a meeting abouc it. We never knew whac was happening. uddenly they have decided for us and cell us what che ratio will be. I don't have an answer for that. It seems like we slept through five years without realizing what was happening to us. SOC: Do you think che boat has left che harbor, so to speak?

There is a lot of discussion nowadays about what is the film format of the future. I know everyone has an opinion on this. I'm going to give you mine. I think tl1e future fomm should be a 2:1 ratio. The future High Def 1V fomlat should be 2:1. Inside the 2:1 format screen you can present all kinds of formats. The old movies, 1.33:1 would fit into the middle. The 1.85:1 would fit almost into the whole area. 111e only problem we have is the anamorphic format. Whac are we going to do with all the anamorphic films shot until now? There's not much we can do about it. We can reduce them with letter-boxing, or lose a little from the sides. Pan and scan, when it is necessary. lf the 2:1 format will be adopted, I would like to propose that we shoot our anamorphic pictures in the new 2:1 ratio. All we have to do is to change the anamorphizer in our camera lenses and in the projection equipment. We should also project the 2:1 ratio movies in the theaters as well as on HDlV, or any other 1V in the future.

Vtlmos: I hope noc. We all have to get together on tl1is issue. I don'c think we have the sanle opinion. I think all cinematographers in the world should get together, including operators and assistants as well. I would like to see you composing in the 2:1 foMat rather than in the 1.78:1 fomlat. The images are more interesting on wide screen, and if there ever will be eleccronic projections in cinemas, the 1.78:1 ratio would really become a step backward in the an of cinema. SOC: The way I understand the way chey came up wich the 1. 8 format was that one gentleman sat down wich all the formacs available and put them together. It was more of a compromise between the I.66 and the 1.85, and that the 1.78 used more of all the frames. Vilmo : Thac's exaccly whac happened. Instead of looking back ac che most important piccures of che past, which were mostly shot in anamorphic or in 65mm. There were hundreds of piccures shot in wide screen fomlat. We should noc compromise the showing of these pictures.

SOC: Whac has been shot in the 2:1 ratio? SOC: What are your feelings on the 3-perf pull-down in 35mm? Do you VILMOS: Most of the 65mm movies (which become 70mm prints) are shown in the theaters basically with a 2:1 ratio. Anamorphic pictures blown up to 70mm, also are shown close to the 2:1 ratio. All the big pictures chat have been shot before, or would be shot in the future on 65mm, could handle that ratio very easily. SOC: Would that be incompatible with the HDTV chey are suggesting now? VILMOS: Definitely. Sony is proposing a 1.78:1 ratio format, which will be butchering all the movies shot in either 1.85, 65mm or in 2.35:1 anamorphic fomlat. All past, present and future wide screen movies have co be letterboxed. I think there is a great resistance from people with celevision sets at home who hate those black bars on the cop and bottom on their screens. They can't get used to it. They feel they are being cheated because the picture is vertically too small. I can understand them; I feel somewhat the same way. I have a

Society of Operating Cameramen

see a resurgence in that?

VILMOS: I think the 3-perf could be a great format because we can make that work for the 2:1 anamorphic format. Without anamorphic lenses there is enough information in 3-perf to make the quality. Better than coday's super 35 shot for anamorphic. using basically 2-perf size negative area. SOC: The OC was able co auend the Anises Rights eminar in Los Angeles. The role of the cinematographer as a co-author of a piccure was addressed. What are your views on that aspecc? VILMOS: I always felt that in the United rates, the cinematographers are not always considered as anists. We are believed co be technicians. They put us "Below-the-Line," paid by the hour or days. There is a trend that producers and directors want to push us aside. It's a movement we should fight against. Years ago, through my agent, we fought to have the cameraman's

page 13

name on the poster, like it was in Europe, where the cinematographer's recognition comes first after the director. Producers don 't realize how many people want to know who the cinematographer was. Movie audiences are more educated today than before, and thousands of film school graduates and cinema magazine readers want to know who shot the movie. This maybe sounds like a joke, but technically you could make a movie without a director, but try and make a movie without a cinematographer. You need an image; someone who knows how to expose, light and compose, a picture. You need a person who is a technician and an artist; you need the cinematographer. You look at a movie poster today and you see the name of the composer, the production designer, the producer one, producer two, friends of the producers, etc. Compared to those people, the cinematographer is doing a million times more work than all those people whose names are printed on the posters. SOC: On that line, how do you feel about having your work panned and scanned for 1V? VILMOS: I hate it. I get angry when I see my old films on television. All my old movies, even my low budget movies, were shot in the anamorphic format. In the old days, they weren't even panning and scanning. They were just cutting the hell out of them. There were some two-shots when there wasn't anybody in the picture. Even with today's pan and scan sometimes they make cuts back and forth between two actors. They alter these movies so much that I can't look at them. About five years ago, I started to shoot more 1.85 movies. But now I am convinced we should not give up the idea of wide screen.

VILMOS: You could start with the English system. I hate it. In the English system, the director usually talks to the operator only. As a cinematographer I would like to control everything that has to do with the image. That means composition, camera movement, lighting. Everything that belongs to a frame. I could not do that in the English system. The director totally ignores your lighting problems. Some directors have all the ideas. I can accept that, I always said: it doesn't really matter in a film who does what. TI1ere are many different kinds of directors. Some directors know it all. You take Kubrick, for example. He knows everything. He'll light the set. He'll operate the camera himself. He'll do everything. I don't know what cinematographers can do when they are working with Kubrick. I would feel left out of the creative process. TI1ere are certain directors who don't need any help because they are geniuses. They know all the answers and they can do everything! Steven Spielberg is probably one of them, who by now knows everything. He even wants to operate the camera most of the lime. I know how much fun it is to be able to see die movie through the camera. That's why I was operating for so long and I dido 't want to give it up. Steven is in a position he can demand that joy for himself. As a cinematographer you shou ld use everybody around you to make a better picture. That's why you have Gaffers, Key Grips, Camera Operators and Assistant Cameramen. 111ey all should contribute to the movie making. It is a collaborative art form. If directors don't want my help, there is nothing I can do about it. I would just step back and help them as much as l can without them knowing it. True, I don't feel as creative because they are doing part of my job. But if diat's what they want, they have the right to do so. SOC: What pictures have been your most gratifying experiences?

SOC: How do you approach composition? VILMOS: Wow! Maybe we could take 5 hours to discuss that. SOC: Especially in widescreen where in a closeup you still have two-thirds of the screen to fill. VILMOS: That's interesting. Some people, who never have shot wide screen, they are afraid of doing it because it's new for them. I found out after a couple low budget pictures how much easier it is to compose in anamorphic. It's easier to tell a story on a wide screen because you can have a closeup and a long shot at the same lime. With one person on the left side in a closeup, on the right side you can have some more important infom1ation, scenic or moving, without cutting to it. It is a great format, you don't have to start with a long shot and cut to a closeup, then go to a medium shot. In one shot, you can tell the story. If you have good directors, who can stage well, the widescreen format doesn't force them into unnecessary cuts. They will use cuts to speed up pacing of scenes, basically for dramatic and arlislic reasons. Sometimes you help the production designer and the director. You have to fill the frame with composed elements. If that doesn't happen you have a lousy composition.

VILMOS: I think the films I did wid1 Robert Altman because he gave me enough space to u e my creative abilities, and to help him. We played together like a couple of jazz musicians; also wid1 directors Mark Rydell, John Boorman, Michael Cimino. I've been lucky because most of the directors I worked with wanted my help and I felt creative. The best directors know how to make you feel important. They know how to make everyone around them creative. SOC: You just came off of shooting Maverick. Could you tell us something about that picture? VILMOS: I think about Maverick as a good movie. It was pleasant to shoot it. Dick Donner is fun to work with; we had comedy on the set. We had agreat lime. We had good actors; good crew members. We also had fantastic locations; among the best was Yosemite National Park. We got there just after the tourist season, just as die leaves started to turn, and we captured diem in a few days of shooting. It was gorgeous. This kind of movie is pleasant to watch because the scenery is beautiful. Wonderful acting, good story, fine directing. People want to be entertained. What more can you expect? The director let me do my job, and I let my crew do their job. That's the secret for success. I hope Maverick is going to be successful.

SOC: You 've worked with many directorial types. How do you feel about directors who want to position the cameras?

page 14

Sociely of Operating Cameramen

Spring 1995

â&#x20AC;˘

st on i dren consultation occurs soon after the diagnosis has been made. For those unable to visit, provisions are made for nationwide telephone assistance. Occasionally, the families are introduced to each other so that they can share encouragement and understanding.

I forma 100 Families in crisis need information and they usually have no idea where to find it. The Institute refers parents and doctors to organizations that specialize in meeting the needs of children with specific visual problems. I Ielp in locating appropriate infant care programs, school settings, learning aids and much more is provided. Ac che Institute, journal articles, booklets and newsletters are written for families and health care professionals. Those tools offer concrete suggestions and coping strategies. Parents often share their experiences and strengths with each other through the publications and through a series of professionally produced videotapes that deal with issues affecting the families of the visually impaired and the health care workers that assist them.

By Dr Linn Murphree

Education

When a family first learns that their child has a serious visual problem it is a devastating experience. Confusion, shock, helplessness, fear, depres.sion and profound sadness oveiwhelm everyone involved. The news affects mothers and fathers, brothers and sisters, the extended family and even concerned health care professionals. Physicians have the unbelievably difficult task of breaking the news. And while most want to provide emotional help and support, few have received the necessary preparation in medical school. Families often report feelings of denial, anger and guilt. They suffer a tremendous loss, and have reactions similar to those experienced when a child dies. A mourning period and associated grieving are crucial to the family's survival. killed professional assistance during those weeks and months makes all the difference. Families can and do pick up the pieces, but it is extremely difficult without help. The Institute for Families ofBlind Children is a place to tum for support, information and understanding.

Family Support The Institute for Families of Blind Children provides multi-lingual consultation and therapy for families. Whenever possible, a family

Sodety of Operating Cameramen

Spring 1995

The Institute for Families of Blind Children provides nationwide in-service training for physicians, residents, medical students, nurses and other health care workers. 111e goal is to enhance their understanding of issues facing families and to improve communication. taff members make presentations at conferences and meetings. We consult with hospital administrators and others interested in improving family care. The lnsticute for Families of Blind Children is a non-profit organization. All services are provided at no cost to families and professionals. Funding is provided by private donations. For information contact the Institute for Families of Blind Children, PO Box 54700, Mail top #111, Los Angeles CA 90054-0700. 213/669-4649.

All of the children in the photographs in our Visions of Children series are totally blind or legal(v blind in at least one eye, and have varying degrees of residual vision. Vision, the essential ingredient that we as Camera Operators use in our work, bonds us to children with vision problems. Our organization dedicates its full support to the Eye Care Clinic at Childrens' Hospital of Los Angeles. page 15

Film Laboratory 65/70mm Film Processing Digital 3D Animated Titles and Graphics for Film Special Visual Effects Computerized Images to Film for the Cine-Solitaire System Videotape Services in all formats Production & Editorial Offices Sound Stage

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Anists are beginning to speak with a collective voice against practices that deny them the right to protect their artistic creations from alterations and manipulations at the hands of others. Anists Rights Foundation Vice President Martin corsese eloquently described the issue in a recent speech: "The physical film is the body, which can be owned and must be preserved, but the images are the soul, which has its own distinctive right to protection and integrity." As film libraries are bought and sold worldwide, a politically inspired misnomer in American law allows that whoever purchases a film acquires the copyright and becomes the legal "author." As the film's "author," the copyright owner may alter an existing film by: • panning and scanning - the widescreen image is cut nearly in half with electronic movements and edits introduced to fit video and television formats ... • adding and subtracting scenes - for economic or political reasons ... • speeding up the film, the score, the songs, and the actors' performances to permit more commercials... • recomposing a shot or an entire scene... • replacing original stars with "fresher faces," altering dialogue and electronically moving the actors' lips to match ... • colorizing black and white films ... • stripping the original music from the film , substituting new music.

ew technology offers extraordiruuy pos.sibilities for creative expression, but also presents increasing opportunities for the alteration of existing film art and the distortion of a filmmaker's intentions. Like poetry, like every other art form, film has a specific language. Errors and half-truths that Societv of Operating Cameramen

Spring J9CJ5

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It is time to recognize the moral rights of those whose lifelong creativity has made this medium the most popular and powerful form of self expression in world hist01y. Those who create motion pictures are as ful6 entitled to artistic protection as people who work in the other arts, yet protection has been denied them ... Let generations yet unborn hear the music and see the films produced by our film mtists as they were released, not in some distorted Jann ... s~s~ 'P~. ~u ~~

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remain jeopardize the degree of fluency, the quality and accuracy of a person's synrax and metaphor. Just as deleting a line of a Whitman poem affects our literacy, so dropping a scene, cropping a shoe, tinting a shadow, affects our visual literacy. For a publisher to remove a line from a Walt Whitman poem to make it fit on a single page of a new edition would be unthinkable: a student of American literature or anyone, for that matter, would receive an inferior, misleading education. Film aficionados are not given this courtesy. We are the custodians of our film heritage. If these practices continue unchallenged, this legacy will be lost. Future generations will be denied a national treasure. Beginning in 1991, the Directors Guild of America, the Writers Guild of America West, The American Society of Cinematographers, The International Photographers Guild, The American Cinema Editors, The Screen Actors Guild and TI1e ociety of Composers and Lyricists joined forces and launched the Artists Rights Foundation, an educational and charitable nonprofit corporation. Without intending to thwart any invention or use of digital technologies in film, the Artists Rights Foundation works to educate the public about the importance of protecting and preserving film an. The Foundation fosters constructive debate surrounding the question of protection for artistic works and the artists who created them , and stimulates discussion in order to help safeguard our intellectual and cultural heritage from historical revision. Some recent events span ored by the Artists Rights Foundation include: The International Artists Rights ympo ium in Los Angeles, and presentation of the first John Huston Award for Artists Rights.

co111111uretl 011

p 59

page 17

In what has proven to be a case study of the axiom, "Good things come to those who wait," TiiE SOCIE'IY OF OPERATING CAMERAMEN, TiiE !LENT SOCIE1Y OF HOLLYWOOD HERITAGE, TiiE HOLLYWOOD TUDIO MU EUM and TiiE ILVERIAKE IMPROVEMENT AS OCIATION are finally the proud parents of a long anticipated plaque, commemorating the location used by tan Laurel and Oliver Hardy for their 1932 Academy Award winrling film, Tbe Music Box. The plaque was dedicated on November 5, 1994-the 67th anniversary of the release of Laurel & Hardy's Hats Off, their first film to use the "steps" location. Ironically, Hats Off is no longer known to exist, pointing out the need for more careful attention to film heritage and preservation. Hopefully the placement of thi plaque is one more subtle nudge toward increasing respect, not only for the rich hi tory of film , but for the physical place that is now a synonym for dreams路 Hollywood.

"HATS OFF" TO THE MUSIC BOX STEPS by Randy Haberkamp

The dedication included presentations by Vincent Brook of The ilverlake Improvement Association , Randy Haberkamp of TI1e Silent Society, Bill I lines and Randy Robinson of The ociety of Operating Cameramen, and Councilwoman Jackie Goldberg, (who once lived next 10 the steps and was very helpful in helping with the acquisition of permits): Larry Gordon, authority on Los Angeles' Public Access Stairways and reporter for the LA Times; Richard Bann, author and film historian; and Leonard Maltin, noted film historian and reviewer, also spoke to the gathering of over 200 enthusiasts, dedicated to this commemoration. Jim MacGeorge and Chuck McCann performed in full Laurel & Hardy regalia, and the Radio Ranch traight Shooters provided musical accompaniment while refreshments were served.

Photos by Wynn Hammer

page 18

Society of Operating Cameramen

Spring 1995

RESTORATION

Last fall, M:v Fair Lady, Lerner and Loewe's enchaming musical adaptation of George Bernard Shaw's Pygmalion, once again graced the big screen in all its Super Panavision 70 splendor. ln the 1964 production, Professor Henry Higgins, played by Rex Harrison, transforms the guttersnipe Elisa Doolittle, played by Audrey Hepburn, into a regal lady. Care and planning shine in every detail of this superb film. M:v Fair Lady garnered twelve Academy Award nominations and won eight Oscars, including one fix Best Director, George Cukor, and one for the rich widescreen cinematography of Harry Stradling, ASC. Robert Harris, the master of the large format restoration, was called upon to bring this classic back to the screen. Harris had beautifully restored David Lean's 1962 epic Lawrence ofArabia back to its original 222 minutes. In restoring Lawrence, Harris labored through stacks of 65mm camera original on six continents to find lost footage. He discovered that a full twenty minutes had been cut from the film by distributors so they could wedge in a third showing each day. The condition of the original celluloid that Harris found was badly deteriorating due to improper storage techniques. Parts of the sound track had been lost, requiring re-recording of dialogue with most of the original cast. lt took a full year of intensive work for Harris to restore the beautiful camera work of Director of Photography Freddie Young, BSC. "We had 28,000 pounds of film sent in from England," Harris told the SOC when we visited his editing room on the M:v Fair Lady restoration. "When David Lean walked into my office, I took him up to the vaults, we had all of his original B-negatives, all of his trims, all of his outs, all of the surviving work print elements. He just shook his head, 'Where did this stuff come

Society of Operating Cameramen

Spn路ng 1995

from?"' Fortunately Columbia had saved most of it. Most films haven't fared as well. M:v Fair Lady, has no B-negative, no trims, no outs. Where they have a problem with ashot, which may be a non-sync shot, they have nothing to go back to, other than bad 35mm dupes or defective color separations. "And this was the Best Picture of 1964!" One can only surmise the present condition of less famous works. Harris spoke with Composer Andre Previn, Oscar winner for the Musical Score on M:v Fair Lady to solicit his help in the restoration project. "What do you mean, you're restoring it? How could it possibly be in need of restoration?" Previn asked. People don't understand. When Previn heard how poorly the music tracks had fared, he said,"Of course I'll help. Anything I can do." Harris had to work with a lot of bad sound on this project. "1l1e original music tracks on this are gone. They were junked. We've had to go to composite music and effects tracks. We have mono music on a 3-stripe and that's it. And this is a musical! The music is helpful." The music and sound in Harris' finished product are not only helpful, they are a rich centerpiece. The track was helped by the digital recording techniques of today and exceeds the original in clarity and richness. 11lis is one of the things that strikes you as you leave the theater after seeing Harris' restoration. Another challenge came from Haws in the color separations. Distracting bright spots moving across the screen as Audrey Hepburn is talking, moving across her lip in one scene after she returned from the Ball. Harris showed us a spot that appeared on Higgins' coat. The microscope and the film loop are basic restoration tools. We looked at this spot under magnification. "lf

page 19

you look here, you will see it on the lower right hand comer of the back of his jacket. That appears on the screen to be about eight inches wide .. " "There was some aberration inside the optical printer. If you look at the separations themselves you can see it. They had made dupes from 1%4-1979 as film pieces broke and the spot is visible on every piece of replacement footage. Evidently there was no quality control. Release prints were produced from 65mm camera negative. If the camera negative became scratched, worn out or damaged in any way, it was replaced with dupe negative from the color separations. They just didn't care or they didn't bother once the major release was finished. If the separations were defective, they were left defective." Audrey Hepburn's closeup was a major distraction with this optical aberration taking your eye away from the scene. 'We had to fix it, because it really damages the look of the film. So we're going over to Cinesite, trying to digitally correct some of the most important scenes in the film."

Title Sequence The original titles were shot with 16 x 30 inch glass plates for the titles and 65mm backgrounds of tl1e flowers. Apparently they did separations on the backgrounds, selected a single frame from the separations, and then dry printed that. They either didn't have wet gate printers or chose not co use wet gate. The shots they selected had dirt, separation marks and scratches. They had made loops from a single frame and ran those loops as a background with a separate exposure for the high-contrast material. That's where the dirt and other defects got added in. "That's on the separations. It's built into the seps. Here's another one in the title sequence. This is on Jack Warner's credit. See that thing under the ')A" of his name? That's a film chip chat ended up on the background transparency in che main title, and nobody caught it. That becomes about two feet high on the screen. Allen Daviau, ASC, had offered to reshooc the cities in 65mm for us. It would have been really interesting. Panavision was willing to loan us a 65mm camera. Then we found out we could do it digitally at Cinesice and stay much closer to the original of tl1e film. We elected to go digital ratl1er then reshoot. "This entire roll is off separations." He holds up a 2, 000 foot roll co illustrate che enormity of the problems they were facing. Harris goes on,'We can't afford to fix all the shots. Say we take a scene that is 30 or 40 feet long and try and fix that, and this reel is full of scenes like that. If we tried to fix all the problems in just chis one reel here it would be the same as restoring a picture like Mr Smith Goes to \Vashington, in its entirety. That's what we're up against. Anywhere we found a problem, we had to fix ic." CB , who now owns che rights to the picture, had basically given Harris and his group (Harris, his producing partner James Katz and their restoration assistant Michael Hyatt) the wherewithal co make the decisions on a rational, financial basis to fix the shots. They could have spent another half million dollars fixing shots. "Butac a certain point, it becomes ludicrous. Finally, our decision was to let them go, to let people know this problem exists in the seps. so that maybe owners of pictures around the world who are protected by separations, will go into their negative vaults and check co see if tl1ey have problems before tl1eir camera negatives go," Harris urges. He says they may find a situation where the perforations were torn. It may have been something perfectly f001ble. More often than not the frames with torn perfs were removed from the negative and junked, not saved. Normally you would save all damaged shots so that you can pull something back from them.

Vinegar Syndrome Another major concern is vinegar syndrome, a molecular breakdown of any safety based film except polyester. It includes any picture or sound stock and has a particular affinity for any stock with oxide striping or stocks stored in excessive heat or humidity. le also has an affinity for film , scratch-removal using any acid treatment, film with dye transfer Technicolor, or black and white emulsions.

page20

le is characterized by the smell of vinegar; film afflicted with this loses pliability, elasticity and will gradually condense upon itself to form a solid unwindable block of plastic. Films afflicted with this condition should be stored in plastic bags away from rust and be enclosed in acid-eating molecular sleeves, available from FPC, a Kodak Co. The severity of the problem is only now coming to the forefront of the battle to preserve our precious film heritage. Producers should be checking their elements and finding out their condition. If you have cans of film that have been sitting for 10, 20 or 30 years, open the cans and see what's in them. Vinegar syndrome is contagious, and any film subject to its destructive contamination should be kept in separate quarters. "It's pretty serious," says Harris. "People are under the impression that only nitrate deteriorates. Go into the vault and look," Harris insists. "There are a handful of people out there who know what Co look for and can go through the materials, make suggestions and put together a budget to create preservation materials. This doesn't have to be expensive if you catcl1 it in time." Restoration assistant, Micl1ael Hyatt, agrees with what Bob is saying. "People should be checking their elements co see what they look like. They shouldn't figure because some picture was a big budget movie, that it's okay. The Tony Richardson movie, Tom ]ones never had separations made; now there is no existent interpositive. All they had was the camera negative and that was fading. " Harris says he found one dye transfer print in London, which was good for color reference. "TI1e night scenes were virtually gone. They were just faded out in the negative." ewer color footage is actually just as important to look out for and preserve as nitrate. Harris is not demeaning the effort to save nilfl!.te, but especially with the newer color film, it's very important for people to get in there and check their dupes. Harris spoke to the Commission on Film Preservation. "Everyone was talking about saving the films from 1922, meanwhile we're losing our newer films right n_ow. It's a major problem. There are vast numbers of films that should be inspected and checked. People have gotten very careless and lackadaisical about it." Harris and the group are urging producers to become more conscientious about just checking, and not say, "Oh, somebody else is_taking care ofit. Oh, it's okay. It's being taken care of." Because, it's路 not true. Spartacus was a major studio production, but the negative was so badly faded it couldn't be used any more.

Lo t In The Archive Original negatives on many of the classics can't be found. They can't find many of the negatives at some of the major studios. TI1e negatives may exist, but records have been lost, film elements have been shipped elsewhere. They can't find the original black and white negatives on some of the classic movies made in the forties and fifties. All they have now, in some cases, are the fine grains and dupe negatives. Bob Harris brings up a little picture called Dr Strangelove. For what ever reason, the studio shipped the .original camera negative to someone as a printing master and ii disappeared into the inventory. "Stanley (Kubrick) was apparently very unhappy, as well he should have been, and started pulling in all of the fine grains and all the dupe negative to try and find the best surviving material. He was going to rephotograph it, using his Nikon, frame by frame. In some of the dupe negatives, Kubrick found shots from the original. If a shot got screwed up in a dupe, someone pulled it out of the camera negative and cut it in." The camera negative on that picture is lost, totally gone. As we understand it, there may not be a decent printing element left on Dr Strangelove. Other pictures may well be headed for extinction. The Richard Lester film, Help, has no protection whatsoever. o positive, no separations, no nothing0 KIDDING! co111i11ued 011 p 62

Society of Operating C,ameramen

Spring 1995

~BEYOND

911

EMERGES AS A LEAE>ING DIGITA[ FACILITY Cinesite Digital Film Center offers the full range of digital services to the

the mattes, put the composite on 2 negatives, worked closely with McAlister

feature film, commercial and special venue industries. It's capabilities

and elson to correct the color and recorded the final product back out to film . ot bad for a day's work.

include compositing, 2D and 3D animation, restoration, color correction, scanning and recording. ince opening its doors more than two years ago, Cine ice has quickly built its reputation as one of the mo t sophisticated and

BEVERLY HILLS COP III

efficient digital imaging centers for feature film work in Hollywood. Lead by its president/CEO, indu try visionary and Industrial Light & Magic alumnus, Ed Jones, Cinesite's staff works closely with producers and directors to help

When Bill Taylor, ASC, visual effects supeivisor on Bever(v Hills Cop ///, brought the green screen work to Cinesite, he gave two basic instructions: "Do it quick and do it well." Cinesite composite designers Tom mith and

them achieve the desired results.

Jerry Pooler got to work immediately. By working day and night shifts, they

ome of the center's past projects include work on: In The line Of Fire, The Finn, Ci~y Slickers II and the first total digital restoration of a full length feature, Snow White and the even Dwarfs. A significant portion of

were able to complete the bulk of the work, about 30 sh0ts, in days. Jerry and Tom composited the remainder of the green creen hots in more days, fini hing a total of 37 shots in less than 2 weeks.

Cinesite's work in its first year consisted of emergency jobs Otherwise known as "911 work." The producers of several marquee films brought various problems

'We almost always have strict deadlines, but the work we did for Bever(v Hills Cop Ill was extraordinary," Brad Kuehn, Cinesite's digital effects supervisor

to Cinesite, which encompassed everything from scratches on the film stock

said. " ot only did we turn around a phenomenal amount of work in a short

to last-minute wire removal. Cinesite artists had co cum around these jobs very

time, but we made sure the shots didn't look like they were done quickly."

quickly (sometimes in a matter of hours) in order to meet tight production schedules.

LOVE AFFAIR

Today, everal major studios begin their work with Cinesite artists in

Cine ite compositing artists ran another green screen marathon for

the early stages of production to avoid emergency situations. This way, the

Warner Bros Love Affair, starring Warren Beatty and Anette Bening. Artists

Cinesite staff can work interactively with the visual effects producers and

Doug Tubach and Kevin Lingenfelser met first with Conrad Hall, A..'iC the film's cinematographer, to help create the look he wanted. Once the color

supeivisors to complete the creative process from start co finish. Cinesite's growing client list and tremendous number of shots-in-house are largely due

and light met Conrad's specifications, Doug and Conrad got together and

to 1ts earlier uccess with many 911 jobs. The following are a few examples.

completed 17 one hundred-frame compo ites in only 3 days. "For Love Ajfair, we had to do a lot of subtle manipulation of the shading of Anette Bening's face " Kuehn explains. "TI1is kind of delicate work is not

DEMOLITION MAN With Warner Bros Demolition Man , Cinesite artists had the opportunity to make a great first and last impression. Vi ual effects supervisor Michael McAlister and visual effects producer Kimberly Nelson brought the opening and closing shoes to Cinesite, 13 composite shots in all, which the artists completed in about 3 weeks. The opening sh0t features Los Angeles in the future, complete with fires everywhere and a burning HOLLYW"OOD sign. Cinesite artists composited approximately 10 elements together co create this scene, utilizing matte of the HOLLYW"OOD sign, Los Angeles at night and stock footage of fire and smoke. While stars ylvester tallone and andra Bullock share a forbidden kiss, a building burns and explodes in the background of the closing shot. Cinesite arLists not only composited six fire elements into the shot, but they

ea y to tum around quickly, but working closely with Conrad enabled us to determine the look of the sh0ts early on. C RRENT PROJECTS The ultimate result of all this emergency work? A rapidly expanding facility that now has the visual and special effects work of entire feature films in house. From now until,the end of 1995, Cinesite has enough work to keep its artists buzzing. "\Y/e've proven ourselves to key vi ual effects people in the industry," Jone said. "At first, they came to us becau e they knew we had the technology and expertise to finish the work quickly. ow they're coming to us for the production and creation of every kind of effect imaginable becau e they know we can do the best job." Cinesite Digital Film Center is located at 1017 Las Palmas Ave, uite

matched the movement of the deteriorating building to correspond with the fire's subtle m0tion. Perhaps Cinesite's most impressive feat on Demolition Man was a shot

300, Hollywood, CA 90038. Telephone: 213f Ci8-4400. Cinesite Europe is located at

the artists completed in about 10 hours. TI1ey scanned in the film, pulled up

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Socie~v of Operating

Cameramen

Spring 1995

page21

Or else you may be stuck with a camera left behind by digital technology As we all know, communications, video, information ... everything is going digital. Isn't it time cameras did? Today's digital camera not only outperforms the best analog can offer but sets new bench marks in video quality, features, stability and reliability. The days of the analog camera are numbered because digital offers too many advantages to be ignored.

With DIGITAL advantages such as a new video transparency, flesh tone detail to soften facial blemishes, precision detail correction, precision transfer of setups between cameras, a plug-in memory card to recreate exact setups weeks or months later and serial digital outputs for D-1 and D-2/D-3 VTR's, now is the time to consider what all cameras will be ..... DIGITAL.

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Unique PIP (Picture In Picture) Allows a second video source to be windowed with camera video In any of four quadrants or reversed with camera video

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tage Crane Chapman has its impressive line of stage cranes.Used for both location and indoor app licaiions. the stage crane i' electric powered for silence during production shot!,, TI1e ann ;wing a full 360 degrees to follow panning action "' well"' a lift (which utilizes the counter balance sy,tem) from ground level to a maximum of 16'. All stage cranes have your choice of pncu·

matic or 'olid tires and film orTV lurrel. A'k about track and other com emcnt accessory packages to complement the 'lage crane of your choice. Our stage cranes have saved hours of production time to obtain some of the most award winning scene . .

Pede. tal p,,tlolflo. the latest 10 come off Chapman\ production line. This ven.atile unit has the capabilities of both the traditional pedestal as well as the camera d lly. The Pedollv ohlain\ a low camera mount height

of 15 5/ " or 40 cm which make' it one of the lowe>t of all the current pcdc,tal' n the market today .The Pecloll\' '11'trcs the crab and conventional "leering nnd vnrinhlc ch;.1s!-tis leg feature' of the Super PeeWee "hlle maintaming1heabil11y1owork on both 'traight and cuf"ed 1rack.TI1e Pedo/fr al'o has variou' tire' for the different terrains encoun1ered during 1he filming of production,. The maximum 'tandard heigh! of the Pednlly is 55" or 1.42 meters. The Pec/rJllr's ability lo 'hifl 'leering application< either manually or electronically coupled with it' silent. ;mooth pcrfomrnnce nre certainly appealing fe;11ure, . There are many aece"ories for the Peclulfr lo adapt it to most applic;1tion,.

Arms The U.·1111.1· Arm is equipped with the ab1l11y 10 act a. a crane arm (for manned U"iC) as well a' a remote advantagcow.,

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8. Balancing is no longer critical With earlier Power Pods, as little as a quarter-inch off balance would cause vibration. That's why we printed our Balance Guide and why we engraved Balance Marks on our Power Pods. No longer necessary. The Mark Four will work smoothly as much as six inches off. You can eyeball the rig; if it looks balanced. it probably is. 9. The Clairmont Power Pod Handbook When you rent one of our Pods, you get a copy of our Handbook. That's been true since 1988 ; now there's a new Multiplex section. The idea has always been to help you set the Pod up faster. 10. The Clairmont Pod Introduction It has never been difficult to work with. But if you're new to the Power Pod, it can be intimidating. And a lot of people don't know all its capabilities. So part of prepping at Clairmont has been, and is, a short course to familiarize you with it.

and 2 control focus and iris. Number 3 is a spare servo. You can use it for moving grad filters up and down with our power mattebox. Next to the big knobs is a small square switch, for camera on-off, and a small round knob that sets zoom speed. The rocker switch (on top in the photo) is for zooming. 6. Batteries: all at ground level Pan and tilt run on their own separate power : 115VAC or two 24V batteries next to the control wheels at ground level. Everything else is now powered by one 30V battery, also at ground level. That includes high speed, up to 130 frames per second.

7. Choice of power sources The 30V battery gives you a choice of power sources up at the camera mounting plate. There's a 12V for the video assist camera, a 30V for the Mitchell and a 24V for the new ARRI 535, the Moviecam and the Panaflex. F1ip a rocker switch on the mounting plate and the 24V becomes two independent, isolated 12V sources.

Familiar w heel positions

be sure that cable has been serviced and tested and not used since. After you tell us what camera you 'll be using, we assemble every cable you'll need (each in its own bag) and put them all in one big plastic bag. You also get a complete set of spare cables, separately packaged. Experience at Clairmont We've been working with and working on electronic remote heads since the early Eighties. Maybe our experience can help make your shot look better.

11. Our own color coding and engraved instructions To make setup easier, we've been color-coding our Pod connections since 1988. With the Mark Four, eight of them are coded at the factory ; we code a further seven. And we engrave instructions (" To DC Input," for example) under the appropriate sockets. 12. Every cable you'll need, in one big bag Each of our Pod cables goes out in its own sealed plastic bag. You can

Top picture: two risers. In this picture : one riser. With no riser, Pod & 35路3 will fit through car window.

CLAIRMONT

CAMERA

4343 Lankershim Blvd, N. Hollywood. Phone : (818) 761-4440. Fax : (818) 761-0861 North Shore Studios, Vancouver. Telephone : (604) 984-4563. Fax : (604) 984-4693

The new Power Pod: They've made it easier to work with. We've made it easier to set up. It used to take 6 batteries and 12 cables to do

what 3 batteries and 3 cables (up the crane arm) now do. Accurate positioning. Endless pans and tilts. Much easier balancing. 3. Clairmont's three video image signals

New multiplex camera mounting plate. Function control circuits are inside it, close to camera for repeatable lens settings, no more tangled cables.

r"f1e latest version of the Power â&#x20AC;˘ .Pod is called the Mark Four. All ours are now Mark Fours. The factory has built in several improvements; we've added a few more. Here's a list: 1. No more wraparound cables

Key to most of these improvements is the new multiplex camera mounting plate (photo above). Control electronics for seven camera functions are now built into it. Those functions are : camera on-off, video tap, witness-mark camera video to monitor, focus, iris, zoom and power mattebox. Unlimited pans and tilts

The seven cables for those functions used to come up the crane and drape around the camera; they could become entangled. Now they come

from the mounting plate, next to the camera. The plate moves with the camera; tangles are impossible. You can pan and tilt continuously. 2. Fewer cables Those seven functions used to mean seven cables from ground level up to the Power Pod. Power to the camera meant an eighth cable. Pan and tilt made it nine. High speed made it ten. Now it's three cables for everything, including camera power, pan/tilt and high speed.

The third cable is our own multiplex. It gives you up to three video image signals (two more than the standard cable) . You can monitor the video tap, the lens witness mark and the tachometer. Or the footage counter. 4. More control accuracy, at greater distances

umg cable lengths cause voltage losses that diminish accuracy. Putting the control circuits in the mounting plate near the camera solves the problem. Focus marks and pre-set zoom start/stops can be precise and therefore repeatable. The system is now accurate to within the width of the engraved marks on the lens. The factory says that's true out to 500 feet.

Multiplex instead

With the Clairmont-modified system, here's what those three cables do : The first cable is for pan and tilt. The second cable is a multiplex that carries four separate power sources up to the mounting plate together with coded signals for camera on-off, focus, iris, zoom and power mattebox.

Handset controls six camera/lens functions

5. Remote Handset You use the Handset (see photo) at ground level, of course. It has three large rotating knobs. Numbers 1

"When I climb up there on the dolly, aking ifyou mind if I look through the eye peices, it is only because I want to do what you do. You are my second pair of eyes. You are the only ones who see my films before I do. "

Doug Knapp, soc; George Spiro Dibie, Ase; Woody Omens, Ase, Bruce Durning

Ken Hale and Family When I climb up there beside you on the dolly, asking if you mind if I look through the eyepiece, it's only because I want to do what you do. You are my second pair of eyes. You are the only ones who see my films before I do." The speaker was teven Spielberg, recipient of the Board of Governors Award given annually by the Society of Operating Cameraman. The presentation was made at the eventh Annual Lifetime Achievement Awards sponsored by SOC. It was 11:30 p.m. when the presentation to pielberg capped a long and eventful evening at the Grand Ballroom of the Ritz-Carlton Hotel in Marina del Rey. Despite the late hour, Spielberg held the audience enthralled. Everyone knew more or less what he would say. After all, this was Spielberg's year. He engaged audiences around the world with his unique visual stary- telling ability on Jurassic Park, and that was only his second best film of the year. Spielberg also created a film for the ages, Scbindler's List, which finally

page30

Bob Ulland and Friend earned him a long overdue Oscar for directing, another for best picture, and five more for good measure. Jurassic Park al5o earned its share of Oscars Earlier this year, the American ociety of Cinematographers presented pielberg with their Board of Governors Award, recognizing his artistic achievements as a director. The American Film Institute is also bestawing its Lifetime Achievement Award on Spielberg. Despite the fact that the prestigious award from AF! pays tribute lO his impressive body of work, Spielberg is still in his prime. Early in 1995, Spielberg will receive the John Huston Award from the Artists Rights Foundation in recognition of his leadership and commitment lO championing the an of filmmaking. Yet, there he was at 11:30 p.m. at the OC banquet soaking up the affection which flooded the room, leaving no doubt about his respect and appreciation for the role that Camera Operators play in the collaborative an of film making.

The award to pielberg was given in recognition of "his creative artistry in the use of the motion picture camera." The presentation was appropriately phrased by SOC president Randall Robinson. The stories about Spielberg's penchant for moviemaking as a youth are legendary. MCA president Sid Sheinberg "discovered" pielberg when he saw Amblin and other films that he created during his student years. Spielberg first emerged on the scene at Universal tudios in 1971, when he directed Duel, a television movie. The director joked with the audience about the fines he accumulated early in his career when he persistently insisted on operating the camera on shots which were crucial lO him. In 1974, while directing Sugar/and Express, photographed by Vil mos Zsigmond, ASC, pielberg redefined the rules for camera mobility. Panavision president Robert Gottschalk personally delivered the first Panaflex camera out of the

SocieOâ&#x20AC;˘of Operating <Ameramen

Spn'ng 1995

~IP~!El~!EIK\CQJ CQJ!ElJ lOir ~OCC

lllI 0 IN] 0 IK\ J

~l l~ ll!El~M!E ~ Cllll ~ !E\Y/!EM!EINll ~-~{K\[D)J

Randall Robinson, Jacqueline Bisset, Howard Block, and John Rhys-Davis

Joe Epperson, soc factory direnly to pielberg on location in Texas. Up until then, Zsigmond was shooting with a Panavision PSR camera. That same day, pielberg started using the more portable camera to produce a more experiential film. In one scene, the operator walked right into a car, and photographed a crucial scene as the vehicle drove into traffic. It was just like being in the car with the actors. later, Spielberg was among the first to experiment with the Louma crane and other tools for composing moving images in new and imaginative ways that pulled audiences deeper into stories. Zsigmond sent an emotional telegram recounting his experiences with Spielberg on Sugardland F.xpress and other films. Many other cinematographers who have worked with pielberg were present at the tribute, including Bill Butler, AS':. (Jaws) , Allen Daviau, AS':. (FT: The

F.xtraterrestrial, The Color Purple, Empire Of The Sun, etc.) Dean Cundey, AS':. (Hook, Jurassic Society of Operating Cameramen

Steven Spielberg

Spring 1995

Park, etc.) and Janusz Kaminski (Schindler's list). They all had stories to tell. Daviau remembered shooting Amblin when he and Spielberg were students. He also spoke about all of those 360 degree shots in The Color Purple and other pielberg films, which left him no space to hide lights. pielberg's comments focused on his special relationship with Camera Operators. One by one, he recited the names of the operators he worked with over the years, and recounted their attributes. At the end of the evening, Robinson presented pielberg with an honorary OC membership card. Spielberg joked about using it as a license to operate the camera. The Seventh Annual Lifetime Achievement Awards provided many other memories. NASA astronaut Buzz Aldrin received a OC Technical Achievement award in recognition of his photography in outer space and on the lunar surface. Aldrin was one of the first Gemini astronauts during

the early 1960s. On July 20th, 1969,Aldrin rode Apollo XI to the moon and back. Hundreds of millions of people have seen F.arth and the surface of the moon through the lens of Aldrin's cameras. It was a magic moment when Aldrin stepped up to the podium to receive his award from SOC. It was like being in the presence of a larger than life personality. Aldrin is currently lecturing throughout the world, attempting to chart the course for future explorations of outer space. Lifetime Achievement Awards called CAMM/ES were presented to Phil Stem, Still Photographer, Kenneth Hale, Assistant Cameraman, Bill Johnson, Film Camera Operator, and George Meyer, Video Camera Operator. Howard Block, one of the founders, received the coveted President's Award in recognition of his dedication to the artform, and his tireless work for OC. Each of them was selected by their peers in SOC in recognition of their individual achievements. They have established the contemporary standards for

page Ji

excellence and teamwork in their fields of specialty.

Daviau took a chance. He asked the producer to pay him less, and invest the money in hiring an operator to work with him. That's not a scenario that will be repeated very often. But Daviau will tell anyone who listens that it marked a turning point in his career because it freed him to concentrate on lighting and collaborating with directors and the rest of the creative team.

SOC also presented Technical Achievement Awards to three manufacturers, who have made significant contributions to the an form. They are Chadwell O'Connor, O'Connor Engineering Laboratories, for the development of the O'Connor Fluid Camera Control System; John M. We asked several other cinematographers to tephens, for inventing and developing the first remotely controlled pan and tilt head; and define their relationships with Camera Operators: ]. L. Fisher, Inc. for developing the Fisher family of George Spiro Dibie, ASC: "I work with a lot camera dollies. - - - - - - - - - - - - . of operators on both film and video multi-camera shows. The ''Our goal is to recognize The annual SOC minute the operator hows up and encourage innovation in Lifetime Achievement on the set, he becomes my the development of creative Awards are both a eyes. I don't have to look tools for Camera Operators," said Robinson. "These tools celebration and an through that viewfinder every have given us the freedom to affirmation of an art minute. I trust my operators expand our art. The people who and a craft, which is and I depend on them to the "images the way I invented and developed these transparent to the compose envisioned them with the dire<:tools rarely receive the recogniaudience. tor. The Camera Operator i tion they deserve." part of the team. TI1ey give me All of the awards were presented by John the freedom to detach myself from the camera Rhys-Davies and Jacqueline Bisset, both of whom and concentrate on lighting, and on establishing spoke eloquendy about the unique relationship rappon with the cast, and watching the million between Camera Operators and actors and thing.s you have to watch. Once you establish a relaactresses. Bisset described it as "an intimate tionship with an operator, you speak a common lanrelationship. The director is often off in some guage. You don't need words for that language. A corner watching the video assist monitor. There is good operator is somebody who comes on the set a bond, a feeling of trust between the operator with a positive attitude, who can move the equipand actor and actress. It's like love. Without that ment with grace, like a ballerina, and he or she has to be able to communicate with the director trust, there's no magic." of photography and director. I le has one eye and The annual OC Lifetime Achievement one ear watching and listening to the talent, and Awards are both a celebration and an affirmation the other eye and ear watching and listening to of an an and a craft, which is transparent to the the director and cinematographer. I le or she must audience. Allen Daviau , A c noted that be mentally sharp, every second of every hot." "Moviemaking is a collaboration anform, and the Brian Reynolds: "Basically an operator on Camera Operator does play a special role in that process." He recalled that at the beginning of his any set is the director of photography's right hand career, when he was shooting industrial films, man. This is a person who truly could be your documentaries and ultra-low budget films, he brother or your close cousin. I !e's the guy or woman that you must put all of your trust in. He often was the crew. holds all of your marbles. He's a guy, or she's a It's never easy for cinematographers who are gal, who enables or frees you to find other shots trained to operate the camera to let go of that during production. They can be shooting a tight dual role. There is an element of security, because close-up of someone sitting at a table, and you they know that no one can operate the camera may be scouting the set watching the lighting and exactly the way they would, because no one suddenly you see some brilliant piece of business that's going on. If you were operating the camera knows what's in their hearts. you couldn't do that. The other thing an operator Daviau used to feel that way. What changed does for you, especially on a show like NYPD his mind? Early in his career, Daviau was slated to Blue, which can be a tiring and very intense shoot a low budget film. The producer told him experience, is keep you mentally focused. While that there was no money to pay an operator. Lex is operating the camera, I'm trying to get the

page32

lighting done with the gaffer for the next scene, or I'm solving problems with our second unit, and I'm getting the time to work more closely with the director. It's son of a system of hopscotch. He works out the bugs and I come back and watch during the shot, but I get a lot of work done in the meantime. It's really in a can1eraman's best interests to have an operator, because he's truly your eyes and ears. What happens on a set is that sometimes as a cameraman you get a little tunnel-vision. The operator listens to the crosstalk, and he'll tell you what you need to know about what's happening. I was on one show when an actor showed up with a black eye, and no one noticed until my Camera Operator heard him telling someone about it."

Dean Cundey, A c: "I guess I have to son of reiterate some of the thoughts that teven ( pielberg) expressed. I le said that the story i really captured on film by the operator. It's his experience, and rapid reflexes, his judgment about movement, space and timing, and a lot of times evaJ. uating an actors performance as it occurs that, in fact, crystallizes the work accomplished by so many people beforehand. At the moment of photography, when the image i captured on film, everybody is relying on the judgment, experience, reflexes and skills of the operator to bring everything together at that brief moment. \Xlhat is remarkable is that they consistently do it in a timely and efficient manner. In the end, after all of the work is done, what's left are those moving images that the audience finally gets to see, and every one of them , frame by frame, was captured by the operator."

Postscript: A few weeks after the OC awards banquet, Dean Cundey was a lecturer at the annual lighting seminar sponsored by the International Photographers Guild. Cundey is currently filming Apollo 13 for Amblin, and Dibie a ked him to make a special presentation to pielberg, acknowledging the OC award. pielberg was givin an honorary Camera Operator's card in !AT E659. Cundey observed: '路He is, in fact, very operator friendly, and understands the guy behind the camera is a very great contributor. This honorary union operator's card will help relieve the heavy burden of guilt he must feel every time he tries to operate a camera. I'm also hoping that we can collect some dues from him."

By Bob Fishe1Jree/ance writer/or Eastman Kodak, Hol(vwood Repo11e1; and othei路publications.

Socie~1路 of Operating

Cameramen

Spring 1995

SEVENTH ANNUAL AWARDS BANQUET Master of Ceremonies

Presentor of Awards

Jacqueline Bisset Making a living in the arts is indeed a privilege, but to me the greatest privilege is being able to live life to the fullest, reflects John Rhys-Davies. "I've always relished adventures and experiences." He currently hosts the Discovery Channel's popular series, Archaeology. As well, John is a consummate collect0r and "tinkerer", be it vintage cars or antique cameras. He owns two Mitchell B C Cameras in fine working condition. John Rhys-Davies was raised in England, Africa and Wales. He is a graduate of the Royal Academy of Dramatic An. John currently splits his time between Los Angeles, England and the Isle of Man, where he intends t0 build a 61m studio.

The Reassuring Presence of the Camera Operator by Jacqueline Bisset Having been asked to come and give these awards, I've been thinking about the contributions of so many different people who don't usually get the credit and attention they deserve, and who are now being shown some re pect, a small word but a big is.sue. From the point of view as an ames.s, the people behind the camera are the most intimately tied in to me when I'm performing, apart from the actors of course. The operator is really tl1e person who sees a performance in the mo t detail, especially nowadays when the direct0r is frequently off in a corner watching a video screen, with les.s than a perfect image. The operat0r's eye and quiet presence is the audience that most performers need. The personality of the operat0r, watching through the lens, guarding his frame, can be the most encouraging, accepting and somehow a sensual presence. Hawk-like and alert, and yet kind and unjudgmental. When the actor ties in tO the personality behind the camera, knowing that he or she is inside your head, there is a tremendous mutual trust. It is like love. Everything in this proces.s of film making, in my mind, is about love. Sociely of Operaling Cameramen

Spring 19')5

Jacqueline Bisset was born in Weybridge, urrey, England. Her father was a cottish doct0r and her mother was a lawyer of French and English descent. Her emergence as one of the international film world 's most lustrous stars has resulted in her being featured on the covers of ewsweek and People in the ame week. In 1981, Mi Bis.set formed her own production company and co-produced her first personal film venture, Rich and Famous, the highly regarded MGM release in which she co-starred with Candice Bergen.

Acting is about love, even when cenes are angry or bitter, full of hatred, they should be about love. Lighting is definitely about love. Camera opernling is being in much with the genero ity and truth of the moments that we all try to show the audience. This requires patience, a harp eye, a sturdy, delicate hand, an organized mind, an unflappable, unobtrusive manner and lots of practice. I think also a willingnes.s tO redirect one's own ego for the sake of the piece. For the love of life and all it's untidy maneuverings. This is a great contribution. The great contribution that I have just talked about would probably hold true for the still phomgrapher as well, though the position of the unit photographer has become harder and harder each film I do. I'm shocked tO see how little time they are given to do what is an absolutely es ential part of a film 's life span, and it's depiction in the media. I made a film some years ago with the French direcmr, Francois Truffaut. o one has impres.sed me more with the respect he gave to each contributor in his crew. After each setup, he smpped the noise and bustle tO give the photographer time tO take wonderful st0ry-telling photographs, in a minimum of time and I add: Photograph that would lacer grace the pages of magazines and film books. I find my elf referring to him and wishing tl1at crews could experience what is rarely given tO them. till photographers are bullied and rushed by as.sistanc directors and production on the et. Then bullied and criticized when they don't have the shots tO ell the moments that make the magic. That is surely what we are all doing here, hoping to make magic.

page33

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SEVENTH ANNUAL AWARDS BANQUET EXCELLENCE AND INDUSTRY CONTRIBUTIONS LIFETIME A CHIEVEMENT AWARD FILM CAMERA OPERATOR

BILL JOHNSON Bill Johnson learned camera from the nuts and bolts approach. He was a camera mechanic, first at Fox tudio in 1942, then at Mitchell Camera Co. After two years in the Navy he came back and worked for Universal, then Paramount where h.e designed and built their 3D cameras and the VistaVision cameras. When William Daniels, ASC, photographed trategic Air Command at Paramoun~ he took Bill along to ensure that the cameras kept running. The combination was so successful they continued it on~ NI Boats at Universal. In 1955, Bill was promoted to Assistant Cameraman and a few years later, William Daniels and Frank inatra promoted Bill to Camera Operator. With Daniels, Bill operated the camera on the following pictures: Cat On A

Hot Tin Roof, Some Came Running, jumbo, Can Can, Never So Few, Ocean's Eleven, Come Blow Your Horn, Robin And The Seven Hoods, Maniage On The Rocks, Come eptember, Von Ryan's Express, How The \Vest Was Won, None But The Brave, The P1ize, Something's Got To Give, Assault On A Queen, Impossible Years, Jn Like Flint and Valley Of The Dolls. Bill then spent twelve years with Phil Lathrop, ASC. Together they worked on nineteen feature motion pictures of which P01tnoy's Complaint Ea1thquake and Mame, were just a few.

Bill's attention to detail and the precision he required of his Assistant and Dolly Grip in executing camera moves are legendary. l11e flawless results speak for themselves. It is surprising for ome to learn that most of Bill's operating was done with agear head in high gear. His long-time friends in the camera fraternity affectionately call him Q-Tip.

LIFETIME A CHIEVEMENT AWARD VIDEO CAMERA OPERATOR

GEORGE MEYER

George spent thirty-eight years working at NBC, and when it was time to retire, he was upset. After all, when he started they told him this would be steady work! In 1948, when the radio network decided to branch into television, George was on that first crew. Through the years he has worked regularly as a cameraman on: The Bob Hope how, Dean Martin Show, Andy Williams how, Ernie Kovacs how, teve Allen's Tonight how, various dramatic and musical shows such as Annie Get Your Gun and Ne/Iv B~y.

Those who have worked with George over the years say he was simply the best of the best. George worked on the "A" crew at BC. Everyone wanted to work on his crew. They did all the top programs. George was an integral part of the critically acclaimed Hallmark Hall of Fame. And it is from here that stories of George's talent abound. Dead set against the new zoom lens contraption the network brought around, George preferred to use his trusty lens turret, with its complement of prime lenses. On one program of the Hallmark series, all the other cameras railed, ''went down", except for George's. This was before video tape; this was live television! With his usual cool, George simply went about covering for the other cameras, incorporating their angles and shots into his own assignments. He saved the broadcast. George also was a cameraman on major NBC sporting events and specials. He always worked those early morning calls New Year's Day covering the Rose Parade. Later, before retiring from NBC, George worked Days Of Our lives. He always knew everything that was happening on the stage. He

Sodety of Operating Cameramen

Spring 1995

could be working a crossword puzzle on the far side of the set, and if an actor would "go up" during a rehearsal, George would cue the line never missing a beat. He is a true professional, an original. George Meyer helped write the book on the television industry. With all those years of experience around electronics, you'd think George would be right at home changing a light switch or a fuse ... " ot so", says George, "Electricity scares me. Always has". page35

John Waye and John Ford , The Alamo, 1960

page36

Photo by Phil Stern

Society of Operating Cameramen

Spring 1995

LIFETIME ACHIEVEMENT AWARD STILL PHOTOGRAPHER P HIL S TERN There are songs that live in the memory of that gray tuff in your brain. All it takes to bring them back, is to suddenly tum a strange comer and mell again that old perfume and then to ee her briefly. Phil tern's photographs are like that; once you've een them you are forever pleasurably haunted. Whether it is a young Marilyn Monroe, beautiful, but are there traces of a future adness in her face? Or James Dean, with leather 1acket, a cigarette hanging out of the corner of his mouth and the motorcycle. The personification of youthful rebellion, they said. But in the eye , something more. I it danger and adness? Phil excelled at delineating character through subtle means; a certain expression, the posture of the body, a small gesture with the hand . These are the things that reveal omething of the complex nature of the film star. From the 19 Os through the 19 0 , Phil tern captured an extraordinary range of actors, directors, cameramen and designers for the pages of Life and a dozen others. (In 19 6, briefly the camera changed hands -Joan Crawford and Phil.) His subjects were the public idols spanning three generations: inatra, Tracy, lancaster, Garland, Bacall, Houston, Hepburn, Monroe and Dean to name but a few. Phil served as special or unit phmographer on over 2 feature films induding Guys and Dolls, judgpzent at Nuremberg, Friend~v Persuasion, The Alamo, Separate Tables, Porgy and Bess and A Star Is Born. Phil tern's photographs are both familiar and startling, a glimp e of the I lollywood sryle now almost forgouen. Phil is a unique talent who brought a fresh eye, intuition and perspective to a genre of photography.

James Dean, 1955

Society of Operating Cameramen

Spring 1995

Photo by Phil Stern

page 37

CORPORATE AFFILIATE

AGFA DMSION Mll.F.S INC Toni Robertson ARRIFLEX CORPORATION Bill Russell LEONARD STIJDIO EQUIP INC Leonard Chapman Charles Huenergardt f.AsTMAN KODAK COMPANY Curtis Jones John Mason FUJI PHOTO FIIJ,i USA INC Hap Parker J L FI HER INC James L. Fisher Dennis Knopf MAllllEWS 11JDIO Ei.EcrRoNICS Bob Nettman O'CONNOR ENGINEERING INC Chadwell O'Connor Joel Johnson OTTO NF.MENZ INTERNATIONAL Karl Kresser PANAVISION lNTERNATIONAL LP Tracy Langan PHOTO-SoNICS INC Conrad Kiel HOTMAKER 0oUJES & CRANES Derek Church SONY ELECTRONICS INC Jeff Cree TuCNICOLOR Adam Chuck VICTOR DUNCAN INC Frank Marasco

ACTIVE CHARTER Parker Bartlett Paul Basta Michael Benson Bob Bergdahl Howard Block Jerry Callaway David Calloway Joseph Calloway Mike Chevalier Steve Conant Sam Drummy Joe Epperson Mike Ferra Ron Francis Bill Gahret Peter Hapke Bill Hines John Huneck Wayne Kennan Bob Keys Norm Lan~ley Tom Laug ridge Brice Mack III Ed Morey Tom Munshower Lee Nakahara Jak Nefcy Ri Nervik Kin~Nicholson Leig Nicholson John Nogle Dan Norris Skip Norton David Nowell Wahne Orr Ric ard Price Ernie Reed Chris Schwiebert

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Society of Operating Camermen 1995 Mike Scott Hal Shiffman Ro~er Smith Mi e St Hilaire Ray Stella Joe Steuben Carol Sunflower Joe Valentine

ACTIVE Art Adams James Anderson Ted Ashton Jr Bill Asman Brett Babcock Paul Babin Liz Bailey Vincent Baldino Gerald Banales Stewart Barl:iee Ed Barger Louis Barlia Tom Barron Guh Bee Ric ard Benda Bob Berry Al Bettcher Geo~ Billinger III Joe B 路sdeU James Blanford Peter Bonilla David Boyd Billy Bragg Garrett Brown Bob Bryan Robert Carmichael Joe Chess Jr Dana Christiaansen Charles Cohen Tom Connole Freddie Cooper John Corso Ron Courtney Ivan Crai8 Richard ullis Edward Dadulak Maury Dahlen Roe~ Danielson Ray e la Motte David Diano George Dibie ASC Troy Dick Stephen Douglas Alexis DuPont David Elkins James Etheridge Tom Faigh Jerome Fauci Michael Ferris Kenneth Ferro Bruce Finn Howard Ford Thomas Fraser David Frederick Michael Frediani Kirk Gardner Jag Gaynor Rusty Geller Michael Genne Wayne Getchell Allen Gonzales John Goode John Gutierrez Anette Haellmigk Dean Hall

Michael Hanley II Terry Harkin Ronald High Sean Higgins Patricia Hill William Hirsh Jeffrey Hoffman Joachim Hoffmann David Irete Levie Isaacks David Judy Michael Karp Burl Kinney John Kiser Douglas Knapp Dan Kneece Jerry Kulhawik Robert La Bonge Jeffrey Laszlo Henry Lebo Mark Levin Michael Litcle Patrick Longman George Loomis Allan Lumli Kenji Luster Braden Lutz Carn Macdonald Constantine Makris James Mann John Maskall Richard Mason Stan McClain Don Mccuaig Ron McManus Mike Meinardus Robert Mills William Molina Joseph Montgomery Christopher Moon Jeff Moore Donald Morea Dennis Moran Joshua Morton Don Muirhead Rick Neff Michael N'.flfrin Chuck Nick in Ed Nielsen Randy Nolen Philip Oetiker Russel Ofria William O'Drobinak Michael O'Shea Lucio Olivieri David Parrish Aaron Pazanti Robert Peebles David Plenn Ronald Precious Robert Presley William Purdy II Laszlo Regos Bernard Reilly Herb Roberts Randall Robinson Rick Robinson Andy Romanoff Harvey Rubin James Rush Frank Ruttencutter Steven Schoedsack Philip Schwartz Guy Skinner Jonathan Smith

Sandy Spooner Stephen tJohn Craig tewart Michael Stramisky David Stump Bill Swearingen GeneTalvin Richard Tiedemann John Toll Daniel Turreu Pemell~s Robert land Gregory Van Der Veer William Waldman Victoria Walker John Ward David West Bill Williams Ben Wolf Elizabeth Ziegler

Richard ezvadovitz Andrew Parke orman Parker Jetson Pfoutz Ted Polmanski Serge Poupis Bill Reiter Marvin Rush ASC Lee Safar Richard Salvatore Bob Seaman Jan Sluchak Kun Soderling Owen tephens teve Su~ Amanda ompson Kenneth Wade Haskell Wexler ASC haun Wheeler TonyYarleu Vilmos Zsigmond ASC

ASSOCIATE Gary Armstrong Eugene Ashbrook Chuck Barbee Mitchell Block Bruce Cardozo Jeff Clark Greg Collier Don Cropper Richard Crudo Christopher Dawson James Dennett Ronald Deveaux Steven Douglas Kevin Downey Robert Feller Dan Fetler Gerald Finnerman ASC John Flinn III Mark Forman Peter Frintrup Steve Gainer Richard Garbutt James Garvey Michael Gaun Harvey Genkins Norman Glasser Wayne Goldwyn Bud Gray Jeff Greene Kevin Hafa'jerry Donald H liday Whnn Hammer Jo n Hill Charles House John Huggins Philip Hum Gregory Irwin Chris Ishii Douglas Kirkland George La Fountaine tevan Lamer John LeBlanc Brian LeGrady Alan Levi Dr Ellen Matsumoto Annie McEveery John McPherson ASC Mark Melville Charles Minsky ASC Karin Modlin Gary Moore Sol Negrin John Newby

HONORARY tephanie Benson Bruce Doering Bill Fraker ASC Ron Kelley Wesley Lambert Jerry Lewis A Linn Murphrey MD David Myers Jay Roth teven pielberg Frank Stanley c George Toscas RETIRED Bernie Abramson Cesare Allione Rupert Benson Jr Vee Bodrero Don Burch Phil Caplan Bruce Catlin Bill Clark Dick Colean Cliff Concialdi Jim Connell Linwood Dunn ASC Ra~h Gerling Je Goldenberg Jerry Good Gil Haimson Lutz Hapke John Hussey Bill Johnson David Kurland Steve Lydecker Owen Marsh Bob Marta Michael Mcclary Emmanuel Metaxas Arnold Rich David Robman Sam Rosen Jim Saper Lou Schwartz Phil Stem David Sutton John Thoeny Sven Walnum

Society of Operating Cameramen

Spring 1995

LIFETIME ACHIEVEMENT AWARD Ass1sTANT CAMERAMAN

KEN HALE

Born in Chelsea, Michigan into a family with seven sister and one brorher, Kenny moved tO California while still in school. He attended orth Hollywood High chool, and upon graduation entered the Marine Corps for three years. The Walt Disney mail room was Ken's first studio job, a vantage point from which he could discover what interesred him. His quest for a more stimulating career in Camera lead him to Pacific Title, a company that filmed inserts, titles and commercials. The often grueling job of shooting subtitle cards for foreign releases became Ken's specialty. While other "shooters" would use frame counts and a myriad of details, Ken developed his own system of footage counts, and soon was finishing an entire feature's subtitles in a single day, a record ar thar time. Even then, he marched to his own drnmmer. It was ar Pacific Tille thar Ken started as a producrion Assistant Cameraman with Ben Coleman doing commercials. Thar was the beginning of a beautiful relarionship thar panned rwenty-rhree years. Ken's first "on production ' experience was rhe Burt Reynolds series, Dan August. After thar, he worked the final year of Death Valley Days. The following years found Ken on such pictures as The Harrod F:xpe1iment, Adam At 6AM, The Organization and junior Bonner. His 1V commercials include Cannes Festival Award Winners. His Directors of Photography include Charles Rocheur, Joe Biroc, Lucien Ballard, and Matt Leonetti. Television series include Bama~v }ones, Mccloud, witch, Six Million

Dollar Man, Hardy Boys, Balllestar Gallactica, Buck Rogers, The Fall Guy, and for rhe pasr six happy years, Mwp~v Brown Ken' sense of timing, his understanding of len e and framing make him invaluable 10 any Camera Operator. Add 10 thar his wry wir and impish sense of mischief; Kenny is loved by casr and crew alike wherever he goe . His operarors have said, "There's no grearer lens man rhan Kenny".

LIFETIME ACHIEVEMENT AWARD

HOWARD BLOCK PRESIDENT'S AWARD As one of the founding fathers of the Society of Operating Cameramen, I loward Block has given unstintingly of his time and energy to build and sustain this Society. He has been Membership Chairman from the beginning of OC and has been Chairman of the Lifetime Achievemen.t Awards Banquet Committee for the last three years. It is largely due tO his effons thar our spe路 cial events are so thoroughly enjoyed by those attending. Howie has been active in all the events of the ociety over the past fif. reen years, from the picnics 10 helping man the booth at how Biz Expo in Lo Angeles. His efforts go beyond the scope of Society activities. Howie's varied interests have always included consideration for his fellow man. He has been an active leader in the Boy Scouts of America for nearly ixty years and now erves on the Council Exploring Committee. He has been involved in fund rai ing for the City of Hope for the past sixteen years. And he currently serves as Trustee for the International Photographers Guild. Howie served in the Coast Guard during WWil and is a member of the Coast Guard Combat Veterans Association, the WWII Patrol Craft Sailors Association and the Veterans of Foreign Wars. Following the war, he received an Associate in Arts degree from the ew Institute for Film in ew York. Then he began working in the film industry on such films as On the Waterfront, Baby Doll, Ziegfeld, Bye Bye Bravennan and numerous others. When he broughr his family to Hollywood, he continued tO be in demand, shooting such 1V fare as Rockford Files, Maverick, Barella, The Hulk and Moonlighting among others.

Society of Operating Cameramen

Spring 1995

TI1e President's Award is given ar rhe discretion of rhe OC President and is designed to acknowledge those special individuals who have given路 unselfishly of rhemselves thereby benefiring others. This year rhe Pre ident is proud 10 recognize Howard Block's dedicared work, for borh the Society and his fellow man, with this well-deserved award.

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STEVEN SPIELBERG RECEIVES

soc

1994

GOVERNORS AWARD

Steven Spielberg:

Thank you. Wow. Thank you very much. Thank you Vilmos and everyone else over the years. When I think about what it feels like to stand leaning on a camera in blasting polar wind waiting for the setup or waiting for the actors to come out of their heated motor homes, I cannot think of a better person lo suffer alongside than the overworked and always underpaid operating cameraman. I think m the foxhole of production, the faces I have looked into that have given me the most consolation are Serge Haignere's, Michael Chapman's, 1ck McLean 's, Dick Colean's, Chick Waterson 's, john Fleckenstein's, john Connor's, john Toil's, Barry Brown's, David Worrel's, Norm Langley's, Mike Phaft's, Bill Engler's, Mike Roberts', Paul Sabin's, Joe August's, and Ray tella's. It is an honor to be recognized by the Society of Operating Cameramen , but this Governors Award is truly shared in equal partnership with the group of artists whose names I've just read. These men have been over the last 22 years, my second eyes. They saw my movies before I did and before anyone did. They have felt the same pressures I feel, with the pressure placed on them by that ubiquitous video assist machine, immediately making anyone standing in its environs an instant film critic. They especially feel the pressure from the actors, who don't always reach a consistent level of excellence on each and every take. The good operator knows at the same moment the good director knows, when the actor is in the groove, and doing that one take that is going to be what we call the keeper. And the camera operator starts at that moment to pray: "Dear God , don't let my sweaty fingers slip on the wheels. Don't let an allergy form. Don't let the sun get between my eye and the eyepiece. Don't let a nying insect, at this very moment, enter my ear. Don't let any of this happen , because I can't stand it when Spielberg screams." Being on the set with me, as some of you in this room know, 1s an artform m itself. I pretended not to hear you guys murmur under your breath, 'They brought me here all this way to make his picture, I wish he'd get off the damn camera." So this is my forum and opportunity to explain Society of Operating Ca1112ramen

myself to all of you . The highest compliment I can pay you, the proof of my admiration for what you do, is that I want to do what you do. Working a camera while unexposed film is clicking past the shuner is truly an endomorphic high . This is why I occasionally like to sit where you sit and try to do what you do best of all. Ray Stella, who is here tomght, cured me of some of that on Jurassic Park. After Ray had shot four takes , l asked him if I could shoot the fifth. And he shrugged and said, " ure." And he hopped off the camera, walked into the set and began to direct all my actors. I think the relationship between the director and the camera operator goes beyond familiarity, l mean aside from the fact that we sit around smelling that Motel Seven bathtub soap all day long. You know, the hot desert scenes. I think that there are those moments where the director and the cameraman have many, many'moments and hours to wait and we are always leaning against the same camera. We often don't talk. But we're always wondering about what the other person is thinking. I've always cared for and loved the camera operator. I feel like I'm one of you. I feel like I belong to you as much as you belong to my life and my work . o, thank you to each of the camera operators who have made me and my cinematographers look so good over the years. And thanks to all of you for this special recognition of my contribution to the use of the camera in motion pictures. Thank you very much.

Randall Robinson: Mr Spielberg, we share the same love of the camera and the same magic that we find though the viewfinder. You 've come a long way since that 12-year-old looked through your father's Bolex. On behalf of the Board of Governors of the ociety of Operating Cameramen, we would like to give you an Honorary Membership in our organization.

Steven Spielberg: Thank you very much . I have to tell you one more quick story and then I know everybody wants to go. When I first got started, and this is why this is so significant to me, I began directing television, and the second 1\1 show I ever directed was a series nobody in this room will remember called The Psychiatrist, starring Roy Thinnes. fl was on for six episodes on NBC in 1971. And there was a scene in one episode where Roy Thinnes was driving a Porsche, and he had six pages of dialogue. And I wanted the shot 10 be lower. I didn't want 1t just mounted on the side or on the front and low the car. I wamed the camera to be inside the Porsche and the only way you can get a camera inside a little Porsche 1s to hold it in your hand. And a Porsche has two seats, and so I said I'd like lo hold the camera and run il while I'm directing Roy. And, of course I got fined that day, $400 for operating the camera. From that moment on , and for the next three or four years, I did a lot of illicit operating, and I got fined a lot. And its so wonderful that because of this (the honorary membership), I will hold this up and never pay another fine agam. It's great.

Thank you. page 40

Servicing Independent Producers and Distributors Worldwide

HOLLYWOOD LONDCJN

ROME

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TECHNICAL ACHIEVEMENT AWARDS BY BILL HINES, SOC

CORPORATE LIAISON

John Rhys-Davis and John M. Stephens

For the third year since inaugurating these Awards, the ·ery of Operating Cameramen is proud to recognize dedicated inventors, manufactures and suppliers, These lifetime achievers have developed and introduced equipment, material, services or techniques that have significantly contributed to the art and craft of operating cinematography. 0 is an international honorary society composed of several hundred men and women of outstanding and dedicated talent who make their living operating film and video cameras. In addition, our iate Members include eminent Directors of ~. Camera Amlnrs arrl Still

page 44

Bill Hines and James L. Fisher

Photographers, Corporate Affiliate Membership includes leaders in the film industry. A principal purpose of the society is to aid, and recognize excellence in the field of camera operation. The Society therefore encourages development of technology and production methods that will help its members achieve that excellence. The corporate community is always actively involved in developing or supplying the tools with which we as camera operators apply our craft. It is you, our corporate colleagues, who solicit and listen to our suggestions and then proceed to develop product and services that will fill that need. ince the beginning of our industry in the

Joel Johnson and Chadwell O'Connor

early 1890s, there have been many significant developments and innovations affecting all aspects of film and video production. If we were to consider only tho e technological advances that have had a direct bearing on camera operating, there remains a rather impressive group of innovative achievements that deserve recognition. The · ty of Operating Cameramen, its Officers, Board of Governors and international membership, continue the process of selecting and recognizing notable technical contributions made by the corporate community. It is our way of aying, thank you. Be assured your contributions are greatly appreciated.

SocieO•of Operating Cameramen

Spring 19<)5

TECHNICAL ACHIEVEMENT AWARD

O 'CONNOR ENGINEERING

O'Connor Engineering Laboratories and it's line of camera support system originated with Chadwell O'Connor. An historian of the team Locomotive Era, Chad began documenting all the trains he could , using his I6mm Bell & Howell camera. Ile soon realized the friction head he was u ing caused his pan and tilt moves to be jerky and thus unpleasant to watch. Chad was, by education and employment, a mechanical engineer. He decided to design a more suitable head for his tripod. Hi first design u ed better bearings, tighter machining tolerances and a thick fluid material between amoving di c and the fixed outside body of the head. The fluid offered resistance to the motion of a pan or tilt, and eliminated the mechanical noi e Qerkiness) of the older friction heads. To compensate for the camera's mass being above the center of rotation during a tilt, a counter-balancing spring was added. Anxious to test the new Fluid !lead, Chad went to the Glendale Train tation to film the Daylight steam locomotive. While shooting his film, Chad was approached by another team Buff who was curious about the camera mount. Chad explained the new Fluid Head and his reasoning to the gentleman, who had a keen interest. The man explained he was experiencing imilar problems on a film he was shooting. When the conversation was finished the man asked Chad to build him a head for te ting. Chad agreed. The gentleman turned out to be Walt Di ney. After successfully testing the head, Mr Disney ordered ten additional head so they could finish The living

Desert. This sequence of event , in 1950, started O'Connor Engineering Laboratories in the camera support bu iness. ince its formation, O'Connor Engineering I.abs has designed and built several more Fluid I leads and Tripods of varied configurations to meet the need of the end u ers. TI1e first new head, The Model 5, was introduced in the 50s. The head was designed to balance a sixty-five pound camera and have variable fluid drag. The Model 5 and the fluid material were upgraded in the late -os. TI1e Model 5 became the Model 100, a longtime tandard in the industry. As new demands arose, O'Connor Engineering built heads for many different applications. Cameras weighing from twenty to one hundred forty pounds could be supported by various O'Connor Fluid I leads. The Clawed Ball Tripod concept and the innovative Hydroped were developed to offer a complete camera support system. The most recent Fluid I lead in the series was the Ultimate Model 2575. This head could handle up to eighty-five pound cameras with a center of mass at eight inches. All the Ultimate Head had +90 to -90 degree tilt ranges, continuously variable counterbalance and fluid systems, rngged and reliable de ign and construction and reasonable costs. The other added feature O'Connor introduced with the Ultimate Heads was a two-year warranty, which by 1991 had been increased to five years. O'Connor was again leading the way.

I NTROD UCTION AND D EVELOPMENT OF TH E O ' CONN OR FLUID CAMERA CONTROL SYST EMS

Society of Operating Cameramen

page 45

Focusing our best wishes toward all skilled professionals of the Society of Operating Cameramen.

- FOTO路KEm - FOTO路TROnlCS Miiiin Picture 1nd Vlde111pe Lebarllary

TECHNICAL ACHIEVEMENT AWARD

J.L.

FISHER, INC.

INTRODUCTION AND DEVELOPMENT OF THE FISHER FAMILY OF CAMERA DOLLIES

James L Fisher began his career in the Motion Picture lndusuy as a laboratory technician in 1938 at the MGM Lab in Hollywood, California. He later worked at Consolidated and Republic tudios Laboratories before joining the sound department at Republic in 1946. Early on, Jim Fisher recognized the need for better equipment to produce motion pictures. In 1951,Jim Fi her went into business for himself part-time, producing lightweight microphone booms for the motion picture industry. By 1954, this had become a full-time venture. James L Fisher was awarded an Emmy in 1990-1991 for outstanding Achievement in Engineering Development for his innovative Microphone Booms and Bases. Jim Fisher was frequently asked to do to the Camera Dollies what he had done to the Microphone Booms and Bases, to make them smaller, lighter and better. In 1963, the three-wheeled Model Eight Camera Dolly was introduced, featuring a patented lift mechanism and patented steering. The Model Nine Dolly was released in 1966, a four-wheeled Camera Dolly with the same patented features as the Model Eight. It also featured improved controls and polyurethane tires, the first camera dolly to have these tires. The Model Nine Dolly has become the industry standard for the multiple camera film sitcoms. The Model Ten Dolly was introduced in 1978. It is smaller than a Nine Society of Operating Cameramen

Spring 1995

Dolly and has a patented three-way steering system that allows rear, crab and circular steering modes, a feature not presently available on any OLher camera dolly. It also features a patented lift mechanism. The hydraulic system is refined and the Ten Dolly has a self-contained track guide wheel system, not requiring conversion wheels, the first dolly to have these features as well. James L Fisher has received two awards from the Academy of Motion Picture Arts and Sciences for the Model Ten Camera Dolly. In January of 1994, J L Fisher introduced the Model Eleven Camera Dolly (shown above). Even smaller yet, the Model Eleven does not compromise quality or features. It is the first compact, full-featured camera dolly of it's kind. The Model Eleven incorporates the patented three-way steering and lift mechanism of the Model Ten Dolly along with a more sophisticated hydraulic system and a new quick change multiple position level head system, which fills another need of production personnel. Over the years Jim Fisher has continued to improve existing products while developing new products and accessories. The quality of his work demonstrates the respect he has always shown toward those who use his equipment, and he has listened to many of the suggestions made by them. It has been a pleasure for Jim Fisher to be able to provide the people in this industry with these tools of their trade for the past forty-four years. page 47

TECHNICAL ACHIEVEMENT AWARD }OHN

M. STEPHENS

INVENTOR AND DEVELOPER OF THE FIRST REMOTELY CONTROLLED PAN john tephens has always loved a challenge: whether it's hurtling off a 150 foot ski jump with a 35 pound hand-held Todd-AO camera, or testing parachutes for the U. . avy with a camera strapped to his chest pack, John is always the one willing to take the risk to capture the action. So, in the Fall of 1964, when this not-yet-30-year old cameraman was approached with the most daunting challenge of his career, it was no surprise that he rose to the occasion. At the time, john was working as camera operator for Director of Photography James Wong Howe on John Frankenheimer's film Seconds for Paramount tudios. Frankenheimer was preparing to direct Grand Prix, an ambitious, all-star, Cinerama epic about the intoxicating world of auto racing for MGM. Frankenheimer wanted this to be an authentic film with no rear-projection process shots or stock racing footage. A film that would definitively capture all the passion, drama and danger of the Grand Prix circuit. lie planned co shoot the actual Grand Prix races throughout Europe, having his actors drive race cars and deliver dialogue while the real races were being run. Frankenheimer knew John had worked with many unusual camera rigs on snow-skiing, water-skiing and surfing assignments. o on a train ride from carsdale to Manhattan, Frankenheimner threw down the gauntlet. lie wanted a camera car that could keep up with racing cars going 180 miles per hour, he wanted his actors shot actually driving the cars, he wanted as many as twenty cameras shooting each race and, he wanted to be able to communicate with the operators of all of these cameras individually. Was John interested? Undaunted and excited.John staned a book of sketches on how a specialized camera car could be built, including camera mounts, remote control facilities and communications. This book of sketches was the beginning of a year-long advencure for John as coordinator of a ground-breaking filming technology. From Sketch Book to Reality While in the Navy, John had worked in El Centro with radio controlled airplanes with cameras mounted on the wings. If he could mount a Panavision 65 mm camera on a racing car and completely control it from a camera car or helicopter, Frankenheimer would get the realism he wanted.It would require a kind of "Buck Rogers" rig, one that would include electronic control of the pan and tilt head, follow focus, footage counter, change of aperture, on-off switch, etc. It would also need some sort of electronic viewfinder so that the remote operator could see exactly what the camera was recording while the scene was being filmed. This called for a blending of space age eleetronics and motion picture technology. But chis was the early 60s. pace Age Technology and Innovation captured the imagination of the nation. Anything was possible. The opportunity to apply the use of NASA technology, such as remote control filming co another medium, not only excited John Stephens but all the creative talents he assembled. If you could sic in your living room and see the eanh from a rocket's POV, certainly the technology could be applied to filming on cerra firma. john took the challenge to Grant Loucks at Gordon Enterprises. Grant

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TILT HEAD

showed John the electronic pan and tilt head manufactured by the Pelco Company of Los Angeles for the purpo e of tracking missiles. It was a heavy duty head weighing 70 pounds. The rate of the pan or tilt could be speeded up or slowed down by remote control as required. The electronic pan and tilt head had to be redesigned co pan at three times its normal peed, which meant that special gears had to be made. Al o, a convener had to be used to convert 12 volts AC to 110 volts AC. By way of an electronic view finder, Gordon Enterpri es also provided a Cohu television camera, an extremely rugged vibration proof, shock-proof mechanism about 3" in diameter and 1 " long. This was the type of video camera ASA attached to missiles to send flight pictures back to eanh. John was sure this was the kind of rugged 1V camera needed because of the beating it would take during high-speed racing sequences. A Sony 5" screen would serve as a viewing monitor. As ured now was the operator's capability of viewing a scene by means ut a ylvania microwave while working as far as one mile away. till needed was highly ophisticaced radio-controlled system for operating the various functions of the camera itself. For this, Grant Loucks referred John co Jacobson Engineering Company in Hollywood. Irving Jacob on said that no such device was currently on the market, but that he could build a 12-channel radio-controlled unit to uit the films needs. Gordon's later combined this with their microwave unit and the Sony monitor into a seven pound package measuring only 10" long, 6" wide and 3" deep. This miniature console was compact enough for john co hold in his lap and regulate all che functions of the camera by remote control while strapped into the chase car moving at 160 miles per hour. Jacobson Engineering and Gordon Enterprises had refined their Sylvania microwave unit and radio-control units down to the final form. With twelve channels available on the transmitter, they could: A. Pan and tilt the electronic head at different speeds (6 channels) B. Follow focus from 3 feet co infinity (1 channel) C. Change aperture (1 channel) D. Turn off and on the camera 0channel) E. Footage Counter (1 channel) The Camera Equipment Realizing that unusual demands were to be made upon the cameras involved, John Stephens and John Frankenheimer went to Bob Gottschalk, President of Panavision Inc, and discussed with him their unique production needs. Part of the problem was the incredible amount of centrifugal force that would build up when the cars went around curves at high speeds, plus the violent vibration that went with it. To avoid having cameras and magazines flying off in mid-curve, Frank Scalaui, machinist and technician at MGM tudios, built special cage-like braces around the cameras that could be securely bolted co the mount. Another problem had to do with the G-forces exerted upon film inside the displacement chamber of a magazine when a fast moving car takes a curve. The film is forced against the inside of the magazine causing a braking

Socie/1â&#x20AC;˘of Operating Cameramen

Spring 19'J'

aCLion and resultant jamming of Lhe camera. To forestall such trouble, Panavision installed free-moving Hanges in ide the magazines so that no matter how much lateral pressure was generated, the film , forced against those Hanges, would continue to How normal!)'. In order to get some of the extreme wide angle shots that john Frankenheimer required, Panavision came up with its 28mm Hyper Wide-a lens of high resolution and almost negligible distortion. TI1e uper Panavision 65 mm hand-held camera, carrying its normal 500 foot magazine was the camera selected to be mounted on the race cars. These cameras were adapted to be quickly convertible to standard shooting with 1,000 foot magazines. Panavision also devised a special feedback read-0ut for the follow focus system that enabled the operator at all times to tell the exact distance at which the camera was focused.

Mounting the Cameras Onto The Race Cars One of the major challenges was that uf designing the equipment securely while not interfering with the efficiency of the racing cars. They didn't know how much additional stress and strain they would put on these cars. When you mount 120 extra pounds of weight three feet out on one ide of a car, you can pretty well expect that something's got to give on the other side. Bill Frick, the world's foremo t de igner of camera mounts, was engaged to tackle thi problem. Frankenheimer wanted each race to be photographed in a different way so Bill designed many different mounts. Each mount was specially tested to withstand a stress of more than 300 pounds. One of the most effective uses of the pan and tilt head was when a car would drive up on a 45 degree banked track. By mounting the camera side· ways, it could be tilted laterally, correcting for the angle of the horizon line, then leveling out when the car would travel back down to the Hat track. This

was discovered through the extensive testing and retesting that John supervi ed both in the United tates and Europe. John and his team of engineers, drivers and technicians worked for more than 8 months, experimenting and perfecting all the new equipment prior to the film 's start. john tephens' dedication and ingenuity re ulted in the development of the remote pan and tilt head. This development allows the director to get new and unusual angles without jeopardizing the camera operator. The innovation has helped camera operators give reality to the ideas that writers and directors pull from their imagination. After leaving the photographic unit of the avy, John started hi film career at Twentieth Century Fox as an assistant cameraman on productions uch as South Pacific, The Young Lions, Bus Stop and let's Make Love. john moved up to operator on Seconds and A Fine Madness before beginning work on Grand Prix. Today john tephens is well-known to the world of television commercial as director/cameraman. Photographing the "ballet" of Mercedes Benz luxury automobiles won john a Clio. His technique became one of the most copied car filming tyles. John is always ready to accept the challenge of bringing the director's vision to reality: whether that is teven pielberg's bicycle chase in E.T., directed by Glenn Randall Jr, the white water and car chase sequences in Midnight Run, William Friedkin's jungle journey in The Sorcerer, John turges' underwater action in Ice talion Zebra , filming on glaciers in teven Segal's On Dead~v Ground or a dog's point of view in Ivan Reitman's Beethoven. john tephen i the man who makes the difference.

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Society of Operating Cameramen

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NASA

July 20, 1969

APOLLO 11 EVA

Astonaut Edwin E. Aldrin Jr., lunar module pilot walks on the surface of the Moon near the edge of the Lunar Module "Eagle" during the Apollo 11 extravehicular activity. Astronaut Neil A. Armstrong, commander, took this photograph with a 70mm lunar surface camera.

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Society of Operating Cameramen

Spn路ng 1995

T ECHNICAL A CHIEVEMENT AWARD

Buzz ALDRIN

Buzz Aldrin was born in Montclair, ew Jer:ey on January 20, 1930. I Lis mother, named Marion Moon, was the daughtef of an Army Chaplain. I Lis father, F.clwin Eugene Aldrin, was an aviation pioneer and a student of rocket developer Robert Goddard. Buzz was educated at West Point, graduating with honors in 1951, number three in his class. After receiving his wings, he became a jet fighter pilot. He flew ixty-six combat missions in the Korean Conflict, shooting down two MJG-15s. Returning to his educarion, he earned his Doctorate in Astronautics from Massachuseus lnstitute of Technology in Manned pace Rendezvous. The techniques he devised were used on all U rendezvou missions, including space docking with rhe Ru ian Cosmonauts. ln October 1963, Buzz was selecred by ASA as one of the early group of astronauts. In ovember 1966, he esrabli hed a new record for Extravehicular Activity in space during his mi ion on the Gemini XII orbital flight. He has logged four thousand five hundred hours of flying time, two hundred ninety of which were in space, including eight hours of EVA As

Backup Command Module Pilot for Apollo VIII, man's first flight around the moon, Buzz significantly improved operauonal techniques for astronautical navigation star di play. Then on July 20, 1969, Buzz and eil Armstrong made their historic Apollo XI moon landing, becoming the first two humans to set foot on rhe moon. pon Buzz's return from the moon, he was presented the Pre idential Medal of Freedom. The Apollo XI mission successfully accomplished about ninety percent of its photographic objectives, and about eighty-five percent of the requested lunar photography. All nine of the Omm and all thirteen of the 16mm film magazines on board were expo ed. Video images were sent directly 10 Earth from both the space capsule and the lunar surface. Now Buzz, a carcraft Enterprises, the name of his privare space endeavors, is lecturing and traveling throughout the world to pursue and di cu hi and others' latest concepts and ideas for exploring the universe. I le is aleading voice in charting the course of future space efforts ffom Planet Earth.

P HOTOGRAPHY IN S PACE AND ON THE L UNAR S URFACE

Society of Operali11g Cameramen

Spn路11g 1995

page51

SHOOT THE MOON

NASA

APOLLO 12 EVA VIEW - Astronaut Alan l. Bean, lunar module pilot for the Apollo 12 lunar landing mission, holds a Special Environmental Sample Container filled with lunar soil collected during the Extravehicular Activity (EVA) in which astronauts Charles Conrad Jr., commander, and Bean participated. Conrad, who took this picture, is reflected in the helmet visor of the LM pilot. Conrad and Bean descended in the Apollo 12 lunar Module (LM) to explore the lunar face while astronaut Richard F. Gordon Jr., command module pilot, remained with the Command and Service Modules (SAM) in lunar orbit.

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Sociefl•of Operating Ca111era111e11

Spn·ng 1995

by john Case, oc Earth rise. The hauntingly solitary view of our home planet as it spun above the rim of a lunar crater, surrounded by all that nothingness, brought us face to face with the heady perspective of ourselves as passengers aboard a fragile ship that sails us through the unforgiving deadness of space. pace photography gives us that gift of perspective. We are able to experience just how vulnerable and finite our own little chunk of din really is. How tenuous the erobalance of our thin film of living area appears. At once both inspiring and sobering, it also gives many of us out first chance ever to relate to ourselves from "out there" as Others, if there are Others, might see us; perhaps as heroic survivors of past epochs of lifecrushing Earth changes, struggling to preserve our species and the ground from which we, and all life as we know it, sprang路 perhaps as troublesome parasites inhabiting the thin land ousts of an otherwise beautiful bluewater sphere. Perspective. It allows us a better shot at the big picture, the IMAX version, if you will, of our place among the stars, replacing forever our usual Brownie viewfinder outlook from down here on the surface. PerspeClive is to image as lighting is to emotion. Change it and it changes the whole picture. All knowledge, all revelation, all learning, i OOsed on the change in perspective from looking at something in one way to seeing it from another angle. ew light thrown on an old scene brings out different detail, throws a new mood on the frame, a new way of seeing what we thought was there. For the camera operator, who always sees everything before anyone else, the medium is the light, but the an is in the perspective. And the an is the last thing we see, and that only after all the practicing is done, the science is mastered, the machines built, the technology tweaked, and ol' man erendipity has had a hand in the final outcome. All the more so when the level of an being attempted is in the range of complexity and refinement required to land men on the moon and bring them back safely. The cameras operated by the Apollo astr0nauts didn't just document what went on during the m1 ions, they were the m1SSion. Photographic data collected from previous flights made the progress of each new mission of the series possible. There was virtually no phase of the operations that went on during the lunar missions that weren't dependent upon, or built around, photo imaging.

Society of Operating Cameramen

Spring 1995

Hasselblad was designated the official NASA camera manufacturer back in 1962, during the Gemini missions. Though companies like Kodak, Fairchild and Westinghouse built special-use space cameras for NASA's Apollo flights, the Hasselblads were the workhorses of the moon missions. The eleclfic motor drive 500El/70 was the standard space camera used in the command module. Another 500El/70, with Reseau plate and Zeiss 60mm lens, hand-held while in the lunar lander, but mounted on the astr0naut's chest bracket during PIA (exLravehicular aaivity), was designated the "Lunar urface" model. A third, the smaller 500C, was designed to take a photograph every six seconds of 100 mile wide strips of lunar surface through a special spherical lens. A cluster of four Hasselblad 500ELs, fitted with various filters, was used to shoot specific targets from which ASA scientists required multi-filter, multi-spectral information. The Hasselblads were hassle free, except for one incident involving an improperly installed (loose) setscrew on the Lunar urface camera. The thumbwheel fell off in the asLronaut's hand and reassembly was impossible due to the unwieldy pace gloves. The film magazine was salvaged and the camera body left on the moon. Closeup photos of the lunar surface were accomplished with the Kodak-designed-and-built Apollo Lunar urface Closeup Camera. You might say this camera was the forerunner of today's disposables, as it was purposefully left on the moon to disintegrate after the film cassette was removed. It was made to shoot the lunar dirt without having the asLronaut bend over, and looked more like a metal detector with its 32-inch collapsible handle and cigar box body. The film (thin Estar base Kodak Ektachrome MS S0-368) was held slightly less than 10 inches from the surface while two fixed focus;fixed aperture (f/22.6) 46mm six-element lenses, similar to that used on Kodak's Recordak Miracode microfilmer, shot every frame at l/lOOth of a second. This gave anything within 6mm of the focal plane a crisp focus, and yet objects up to twice that distance from the plane were easily recognized. Edgerton, Germeshausen & Grier Inc, supplied the internal flash. It was mounted 6. inches from the surface and strobed a 200 microsecond burst (200 millionths of a second) that ensured sharp focus even if the astronaut moved during the shot. Early press releases described their special unit as being "A mere

4 x 4 3/4 x 11/l inches. As compact as a transistor radio!" Transistor radio? I saw one the other day at a flea market. Just like my very first Sony which, at the beginning of the 60s mini revolution, we all pronounced "sunny." The Lunar urface Close-up camera held over 30 feet of 35mm film; enough for 112 paired stereo photographs. Of these, 100 were used to shoot the "dirt." The rest were used to record calibration charts-gray scales, resolution, color charts. Comparison photos were taken before lift-off back on Earth, and then again on the lunar surface, to discern any differences due to camera or film damage. These charts were necessarily much denser than normal, with only about 10 percent reflectance, to simulate the reflectance of the lunar soil. From lhe Command M ule, mapping lhe lunar surface was accomplished with a special camera built by Fairchild's Defense ystems Dvision. The Mapping Camera ubsystem consisted of a high resolution 3-inch focal length, an f/ .5 lens with a glass plate focal plane, and 5-inch wide EK type 3400 Aerial film with spherical optics to yield its 1/2 x 4 1/2 inch format. The lens was colorcorrected in the range of interest; the color temperature of the moon is more toward the red end of the spectrum. pecial thorium-treated glasses were used in some of the 13 elements to keep lhe system compaa. Reseau plate tolerances were ground to within 1/10 wavelength specs. Forward Motion Compensation was built into the Mapper ubsystem to minimize image blur in the focal plane. It moved the film in the focal plane relative to the forward ground speed of the spacecraft so that the image remained in the same position on the film . Exposure time was automatically controlled in ranges from 1/ 15 through l/l40 second. A fascinating adjunct to the ubsystem is the interlocking tellar Camera that worked in synchrony with the Mapper. It recorded simultaneous time-correlated stellar fixes to provide altitude and position information coincident with the center of each topological exposure. Being 35mm. it needed only 500 feet in its magazine to complement the 1,500 feet carried in the Mapper. But the thing we all remember about the moon landings was that we were there. Ah, yes. Television! More than anything, Television was why we were there. Outside the obvious PR points, it was also the most efficient cargo/fuel ratio payload ever delivered by rocket power. For

page53

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the cost of a few batteries worth of electricity, ASA brought along nearly everybody on F.arth with access to a 1V set. Real-time. o waiting for film developing. NASA's requirement was chat space 1V cameras had to withscand from 10 to 2,000 cps of vibrational 6 g shock with up to 8 g single pulse sh0ck (as during primary launch and lunar landing); pressure variation down to 10 to the minus 14mm of mercury (vacuum); salt spray, particle bombardment, and a temperature range from minus 300 to plus 250 degrees F. The earlier orbital missions and the first landing of the Apollo Xl F.agle used one of the first EC (secondary electron conduction) devices to amplify the light. It was black and white, shot 10 frames a second, and derived its technology from then-classified military night-sighting devices. Later missions (Apollo Flights Xll through XIV) used the "new" Westinghouse compact color camera with a zoom lens. It ran at 30 frames and 525 lines of scan, but still was not compatible without attenuation with "normal" 1V. Now, a color 1V camera in those days was a cumbersome package, utilizing three separate imaging tubes for the red, blue, and green. But Westinghouse used a technology based on a technique first developed by Dr Peter C. Goldmark

Societ1â&#x20AC;˘of Operating Cameramen

Spring 1995

for CBS back in 1940. The heart of the system was a sequential color wheel that spun the filters in front of the imaging tube at 600 rpm. The sequence during one revolution was: red, blue and green, red, blue and green. F.ach picture was transmitted back to earth where special equipment (using those new printed circuit gizmos) superimposed the images in a matrix and then converted the whole thing again for regular broadcast. At first, the astronauts balked at having the 1V camera in the modules. Well, just think of not being able to scratch your ass, or cuss when you banged your shin, not to mention if you should really goof up, without umpteen million people sharing your every minute. But Bob Schaeffer, who had left NBC to join ASA as their Live Television Transmissions Executive, argued that it was a small price to pay to have such a noble endeavor brought home to the American people. It worked. We got to see everything, even if sometimes ad nauseam. But my favorite story, one that exemplifies the true spirit of the Operating Cameraman was told to our OC president Randall Robinson by Tom Bentzen, the present NASA Live Television Exec. who took over after Bob chaeffer retired from the position: The Apollo Xl F.agle was ready

to depart the moon. The astronauts had dumped all "excess" weight, which included the 1V camera and tripod deployed a safe discance away and trained on the F.agle. Chief Engineer Olin Gram was tentatively ecstatic, as were the resc of Houston Control, ac the successes of the mission, and someone joked that if one of the ascronauts would only volunteer to stay behind they could get a really dramatic tilt-up shot of the F.agle as she left. Immediacely amid the chuckles, Olin went to work. And within the 15-minute window left, he plotted a little trigonometry, taking into consideration the slowdown with elapsed time/angle increase of tilt-up, and reprogrammed the Lunar 1V camera's tripod actuator to move accordingly, starting the same second the F.agle was scheduled to fire. Of course, if there had been any delay in the launch count, the world would have gotten a lovely shot of the empty space above the F.agle and they would probably not have time to enter another command to the actuator. But nevermind. The launch came off on cue, and the shot was one of those which any Cameraman would give his sidefinder for. An inseam classic in the mind's eye of history.

page55

[)et 'E,tiquette ROAD MAPS

CARTES ROUTIERES

STRASSENKARTEN

In the entertainment business, set etiquette is a must. For a newcomer on a set it can be like being dumped in aforeign country. The language alone is a struggle. The rules are often different·and the glamour factor can distort one's views. Without a carefully defined structure, a large shoot would be absolute chaos. On small shoots, departmental lines can become blurred, but certain rules of etiquette still apply. These are not elaborate theories, but are observations and opinions from many years working in the business. There are definitely different ways that things are done on the different size and types of shoots. Locatwn 'Etiquette r

• I'

the road, stop and get it checked. Call production immediately. When you get gas, check the oil and radiator fluid. Engines die for the

,. • r

Don't think that just because you are in the TEE-VEE or MOVIE business that you are something special. To a local person, you may be a once in a lifetime opportunity to fame or emissaries from Hell. Your success on a location and the success of future crews on that location depends on your behavior. Everywhere you are treading on someone's turf. Tread lightly. Their opinion of you will determine how cooperative they will be. The first impression is often the most important. Send in your most diplomatic person with the most in common with the area to make that first contact. Maybe ... "Hello, how are you ... You might be able to help us ... We are trying to find out who owns ... " NOT ... "We're from Hollywood and we're going to ... " They may see Hollywood, 1V and movies and the big cities as the reasons that their children are tempted by drugs and sin. To a shopkeeper, you could be a potential customer or shoplifter. Clothes appropriate to the area make you stand out less as a city slicker. Start any conversation with a perturbed local with, 'Tm sorry, let me get these people out of your way." NOT, " We'll just be a minute ..." Being LEGAL or having permission from a higher authority, may not apply locally.

Drivers should park out of people's drive-ways and parlcing spaces. Get permission. Don't block traffic. When about to leave, find out the direction of the next location, get turned around and ready to roll. Treat motels, etc, with respect. Use heating, cooling and lights as needed. Don't "borrow" towels for your own or company needs. Close the door, and turn off lights, etc, when you leave. Be quiet, especially early and late. Keep a low profile with the camera gear. Don't tempt. Word gets around a small town about your behavior. (l

Z,'diic(e;

Don't abuse a company or rental vehicle just because it's not yours. If you hear strange sounds, find out what they are. Occasionally turn the radio down so that you can listen for knocks and grinds. If you suspect a problem tell someone in production or transportation so things can be fixed. If on

page56

lack of either one. Check the tires for proper inflation and if the radiator needs water. Watch the gages and warning lights. Don't trash a good vehicle with props and equipment. Protect the floor, roof and upholstery. Lock it up if you are not in it. Props, tools or anything stolen at night can mean a disaster on the next days shoot.

Buying equipment to supplement one's income can be wise, but don't assume that it will help you get work. Would your employers be glad to rent from you AND would you then become competition to YOUR own reguL1f suppliers? If a camera assistant buys filters and batteries to rent he is cutting into one of the money makers for the camera rental house. The rental house la;es money on camera body rentals, but makes it up on accessories such as batteries and filters. You might be jeopardizing your own standing with the rental houses. It's tough deciding how to charge for equipment that you happen to bring along to the job. If something is requested, a rental price should be agreed upon. If you happened to bring along something that saved the day, be careful about how you collect for it. Some producers are fair and some not, no matter how much time and money you might have just saved them. Sometimes your future job may be at risk. It can be assumed that because you are not in the rental equipment business and that what you bring along might be regular tools of the trade. Remember that your garage operation is in competition with the established businesses with more overhead to suppon; insurance, rent, employees, etc In short, be cautious with your side line business. Don't let it interfere with your job that is your major source of income. If your toys make you a better technician, they are worth the cost even if your don't make a lot on them. You can't spend all your effons on the set just watching out for your equipment. It's there just like anyone else's stuff. Everyone's equipment should be taken care of. Socie~11 of Operating

Cameramen

I ay "Hello," introduce yourself, and gee to know people a bit before you give orders. Ask about the families of people you know. Use names. (Make a list.) Thank people. "Yes ir'' and "Thank you Sir" (or Ma'am) implies respect. Try it. (Works when you have forgotten a name.) Appreciate people's efforts EVEN if they make mistakes. If they are trying, give chem credit for trying. Maybe your instructions were inadequate or confusing. Assume that people are trying to do a good job and that they are trying to please you. Even if you think that your instructions were clear, it is wise for you to take the blame for not communicating. Try to understand their side first. It will give you time to plan your own approacl1. Your ideas will be better accepted if people are given a chance to contribute. Let's say a director has very carefully researched and planned how to do something mechanical. Instead of telling the crew exactly what to do, he might start with, "I'm sure that you have a better way of doing this, but I had to plan this before you were on the job" or "I didn't get a chance to ask you about thi . Let's go through it and see if my idea will work at all." You can reduce their resistance to your offering expert information by being humble. Even if your way is best, a crew may be able co add hortcuts and insure safety. Do listen, and let them do their job. For runners and assistants, make sure chat they understand instructions. Instruct them to call back if there are problems finding something or if things cost a lot more than expected. metimes the limited availability of things will require finding substitutes. Often suppliers, or unexpected things found out there, will offer better solutions. Tell them to call in repeatedly as things change. Ask for forgiveness if you have to repeat things or explain things they may already know. Some egos are easily insulted. Use "I'm sure that you already know" or "forgive me for repeating myself."

'r Most people are preparing and waiting for the chance to move up the ladder. Often that next chance is just a trial step to see if you are ready. Usually that chance is given when the opportunity giver thinks you are about ready, not when you think that you are ready. Your talking about moving up may be taken as normal ambition or a swelled head. Once given a chance, don't assume that you have made it too soon. You may have to step back down to your old job for a little longer because of not being quite ready or just because there is no need for you in that new position at the moment. Breaks are often given on less demanding jobs so that you will have a better chance of succeeding. Too often a break goes to people's heads and they think they are an old pro in just three weeks. Knowing the mechanical skills of a job is only part of the job. Every advancement requires additional communications and management skills. Running a crew is a skill that takes time to learn. How orders are given is very important. Taking on smaller challenges at first is wise before tackling the big ones. Getting the best help is wise and asking for help from the more seasoned crew is wise. A recommendation from a co-worker who has credibility is worth more than observations of bosses who don't have time to notice much of the working situation. Socie~11 of Operating

Cameramen

uccess in the entertainment business can be rocket propelled. But DPs and directors often don't know how to handle success any better than a rock star, politician or other whiz kid. Making big bucks and having everyone desiring one's services goes to most people's heads. Ghandi kept his humble by doing humble things every day. It's human nature, power corrupts. One of the casualties of the demise of the studio training system is the progressive rise of people through the ranks. ow people can move too fast, sometimes from bottom to top in one or two seeps. A little advice other than be humble. Don't be a threat to people. Let tl1em feel worthwhile. Let them succeed coo. Give them plenty of credit for their efforts.

A "my crew," "my set," "my hoot" attitude by a production manager or production coordinator, rub most people the ~ wrong way. Often, along with the "my crew" attitude, is an attitude that jobs are dependent upon making that production person happy. "Do things MY way, treat ME right and I will see that you work in this town again. " First of all, people are very uncomfortable working under uch a condition. A director, producer, DP, key grip, gaffer, etc can call their crew "my crew," but not the AD or production coordinator, who only puts out the work calls. The crew is usually selected by the director, DP, etc. The coordinator is just making the calls. Often, along with this ME, MY, I attitude is never making a mistake. A scapegoat for any mistake must be found and admonished, often along wi th a job security threat. "If you want to work for me you must make me look good in the boss's eyes. " For a DP or department head to talk affectionately about "my crew," he is saying "you had better take care of them ," "don't abuse them," "don't try

"1;;3

to take advantage of them." r

One measure of success is the ability to buy things that we couldn't afford on the way up. All the goodies out there to buy sometimes straps the technician, camera assistant or budding director with payments that can be achain around his neck when the "real break" arrives. One often has to work for a lot less money or none at all when making that next big step up the ladder. Lots of vans, boats, and even houses are lost for payments when the economy gets a little slow. Losing hard earned things is a blow to one's self esteem. You can blame the economy, some union out on strike, or changes in the business, but how far one extends oneself financially is one's own decision.

Ron Dexter is a world renowned Director/Cameraman. lie bas been an owner of a very successful Hol~vwood based commercial production company since 1977. Ron is an innovative equipment designer, mechanic and teacher. He bas shot in 20 foreign countries and 35 US states. His video tapes on va1ious aspects offilm production â&#x20AC;˘ are available. For infonnation contact: Dexter's Trix's 1-800/274-8749 page57

I I

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ARTIIDS RIGHTS co111i11ured from

p 17

7k ~ ~Ud"'" r!ÂŤJ4!ld""" ~ ~~ The john Huston Award for Artists Rights was created to acknowledge an individual who has demonstrated outstanding courage and distinguished service on behalf of artists rights. In 1994, the john Huston Award, designed by renowned sculptor Robert Graham, was bestowed for the first time upon the legendary filmmaker Fred Zinnemann. The 1995 john Huston Award dinner will be held in Lo Angeles on Friday, April 28. 7k?~~~~s~ In April 1994, The Artists Rights Foundation presented the International Artists Rights ymposium in IDs Angeles. Twenty countries were represented in the world of film by prominent film artists, executives, legal experts and political leaders, who engaged in spirited and vital dialog with critical consequences to the future of our cultural heritage. This unprecedented event succeeded in raising awareness of the issue in the film community, and in the world at large. The ymposium established the depth of the commitment the artists of the world have for successful resolution of these rights. The Artists Rights Foundation believes that an artist has the inalienable right to claim authorship of a film, to object in a meaningful way when a work has been altered and to remove his or her name from a film when changes are intolerable. These are fundamental ways for artists to protect their freedom of expression and reputations. Academy Award-winning cinematographer Haskell Wexler, speaking as a panelist at the 199 International Artists Rights Symposium in Los Angeles

stated , "I don't like to see a film that l"ve shot panned, scanned, screwed, stewed and tattooed and not representing anything really that I did and I worked on and I thought on, and particularly when there is my credit, so basically it's a discredit... I look at it as not truth in adverti ing, and I think that as artists we have a right to complain or make public when something is presented to the public as our work when, indeed, it i not... In the course of the creative process we accept other creative people doing things to our work becau e that's the course of it, and, of course, the director himself is the key in this whole project, so that it may not be exactly what you as an individual artist desire, but it's something that you accepL What isn't acceptable is having work presented that is not your work, and I believe that is a key thing." On April 27 and 28, 1995, a second ymposium will be held in Los Angeles, with plans to focus on the impact of technology on film and artists rights. Filmmakers, Visual Effects Experts, Computer Graphics Designers, Digital Animators, and other representatives from the new media industry will discuss and demonstrate the latest technological innovations. Ed Jones, President and CEO of Cinesite, and a panelist in the 199 symposium said that "... the most important thing to discuss is how digital technology can be used in an ethical way .. . we want to make sure that we have everyone digitally housebroken." Additional plans for 1995 include a series of benefit concerts in 1995 to rai e funds for a legal defense fund. For more information on the Foundation, or to volunteer, contribute or participate in events contact:

The A7tists Rights Foundation, 7920 Sunset Blvd, 6th Flo01; Los Angeles, CA 90046; (310) 289-2036; (310) 289-2024 (fax)

Weaver /Steadman Camera Support Systems 1646 20th Street Santa Monica CA 90404 Tel : 310.829.3296 Fax: 310.828.5935

Call, write or fax for your complimentary copy of our first, fully-illustrated , Systems Manual - a compendium of priceless information on the assembly and operation of the Weaver/Steadman Tube Frame Head, Third-Axis Module and Multi-Axis Jib Arm.

Weaver/Steadman Society of Operating Cameramen

Spring 1995

page59

A History of the Lifetime Achievement Awards In 1979 thirteen camera operators banded together with the goal of advancing the position of the working camera operator in the motion picture and television industries. They drew up a Constitution and By-Laws for the organization. They took steps to bring a higher understanding and respect for all craftspeople in the industry. Plans were made for an awards banquet honoring talented men and women, behind the camera, who had given a lifetime of dedicated service

1981

1983

1986

TI1e first OC Lifetime Achievement Awards Banquet took place at the Friars Club, Beverly Hills, in 1981. The event was a gala affair, with such celebrities taking part in the presentation of awards as: Gregory Peck; Arthur Miller; Lorenzo Lamas路 teve Martin- Robert tack; Robert Ginty; James tevens; Bernadette Peters; Loni Anderson and Lou Ferrigno. On this premier occasion, 16 craftspeople were honored:

The Second Lifetime Achievements Awards took place at the Beverly Hilton Hotel on August 20, 1983. Once again a gala tum out, with celebrities presenting awards: Blake Edwards; Julie Andrews; Patti Duke-Astin; John Astin; Frank Capra Sr.; Robert Stack; Billy Barty; Ralph Bellamy; William Shatner and James tevens. Twenty individuals who had given a lifetime behind the camera, came forward to receive their golden Cammy statuette:

111e Third Lifetime Achievement Awards Banquet was staged on September 6, 1986 at the portsman Lodge. Leslie Ann Downs presented Cammys to the honorees.

Camera Operators Film Jimmy King, soc

Camera Operator Film Til Gabbanti Video Robert "Curly" Fonarow

Camera Operator Film David Kurland, soc

Video

Al Myers soc Moe Rosenberg Sam Greenwald

Camera Assistant John Thoeny Camera Assistant Emilio J Calori Still Photographer Alfred St Hilaire

Camera Assistant Charles Termini Joe Raue Walter Rankin

Still Photographer Mel Traxel Dolly Grip

Robert Gaynor

Sound Boom Operator B Eugene Ashbrook Governors Award Joe Biroc, ASC

Still Photographer George Hurrell

Gaffer

Clifford Hutchinson Lawrence E Milton

Gaffer

Bobby Comer

Key Grip

Harry.Jones

Script Supervisor Rose Stienberg-Wapner

Sound Boom Operator Clint Althouse

Property Master

Willard Nunley

Script Supervisor Meta Rebnor-Wilde

Makeup Artist

Fred B Phillips

Prop Master

Ed Key

Hair Stylist

Vivienne Walker

Costumer

Wes.Jefferies

Costumer

Makeup Artist

Frank Westmore

Hairdresser

Mary Keats

Men's Wesley "Mickey" herrard Women's Agnes Henry

Transportation

Gilbert Casper

Greens

Glenn H Harman, r.

First Aid

Ive Lewis

Craftservice

Arthur S "Klondike" Jones

Set Painter

Robert T Lawless

Studio Teacher

Margaret Cobb

Special Effects

August.I Lohman

Stuntman

Harvey Parry

Governors Award John Houston

Governors Award Ernest Laslo, ASC page60

Sociely of Operating Cameramen

Spring 1995

A History of the Lifetime Achievement Awards For the next three years the Society of Operating Cameramen held the Lifetime Achievements Awards at the Calabasas lnn.

1990

1992

1993

The founh Banquet was held on October7, 1990. Past SOC President, Bill Clark, soc, was the Master of Ceremonies.

The fifth Awards Banquet continued at the Calabasas lnn and was held on a beautiful indian summer evening in October of 1992. Guests enjoyed cocktails in the warm twilight before the dinner, and danced to the music of oblegrande. Our gracious Misuiss of Ceremonies was Betty White.

The Calabasas Inn once again was the site for the sixth Annual Lifetime Achievements Awards on October 18, 1993.

Camera Operator Film Al Boetcher, soc Video Paul Basta, soc

Camera Operator Film Owen Marsh, soc Video Ben Wolf, soc

Camera Operator Film William Clark, soc Video Parker Roe soc

Camera Assistant Richard Meinardus

Camera Assistant Robert Feller

Camera Assistant Bruce Catlin

Still Photographer David utton

Still Photographer Bud Gray

1st President's Award Phil Caplan, soc

President's Award Douglas H Knapp, soc

Governors Award Frank tanley, ASC

Governors Award

For the first time, tbe Board of Governors presented tbe corporate community wilb beautiful plaques for Technical Achieveme11ts, for invenJions and development of tools and equipment /hat have advanced tbe art of camera operating.

Tbree Technical Achievement Awards were presenled tbat evening.

Arriflex Corp. For the introduction of the mirrored reflex, rotating shutter, in 1932.

Nelson Tyler For the stabilized helicopter camera mount.

till Photographer Gene rein

'Wow! Thank You" Steven Spielberg October 29, 1994

Panavision, Inc. & Albert Mayer, Sr. For development of the Panaglow viewfinder system.

Kemp Niver

Chapman Studio Equipment For the Titan family of cranes.

Sony Corporation For the development of the Betacam.

Cinema Products Inc. & Garrett Brown, soc For invention and development of the teadicam.

Five of our 1994 Lifetime Achievement Award recepients Sodety of Operating Cameramen

Spring 1995

page6J

MY FAIR VJJY cc11ti11ued from p.20

Mixing Nitrate and Acetate Stocks 'There is another problem alot of peoplearen't awareoP' Midiad Hyatt warns. "Using nitrate film as leaders to splice on to safety film ... there was a lot of nitrate stock left over when production was converted over to safety film. The nitrate stock was just sitting and people figured, 'Well, it's just leader. You need to examine your leader. Nitrate leader eats right through the safety film. Examine your leader." On Roman Holiday, they were using nitrate for the NB roll sections. Now because of the nitrate burns from the leader, there isn't a good fine grain element left. "I understand on the laser disc release, all the dissolves were lost due to the nitrate burns on the NB rolls."

Preserving Our Heritage Harris is often asked if he thinks that to preserve a film legacy it should be transferred to digital tape. "Not unless you have to. l can't imagine ever doing that. Why go to any format other than your fi lm materials? When you've got original negative going, I just can't imagine getting somed1ing better than film. Why work from something other than Freddy's (Young) negative? When you go to digital tape you are adding something that wasn't there to begin with. So why add it? You're not preserving the original film." "Some people want to preserve our heritage. There is a difference between copying and preserving. It is best to take a look at the final product on some of these films before you call them restorations. Most of it is copying. They think by just copying it on new stock, that is keeping it with us. Actually, it's not. It's degrading the image. " ''You have to be willing to put some money into the restoration. You have to pay for a good laboratory. You have to have people who know what they are doing do the restorations. If someone goes to the theater to see a film, it should be more than a print from a new dupe negative. If it's a black and white film, it should be pristine. It should have proper contrast and

proper gray scales and everything else. If it's a color film, it should be as gorgeous as it can be made from the existing materials." Harris encourages people who are really interested in preservation to get a copy of the discussions which took place before the Film Preservation Committee at the Library of Congress last February. "My basic feeling was, stop film restoration. Don't do it. Because it's not getting us anywhere. ot the way that it's being done now. Most people don't know what they are doing. Many laboratories are inadequate." Harris is looking for licensing, or an approval in some way for laboratories, if and when they prove that d1ey know what they are doing, so far as restoration is concerned. "There are few labs that can adequately handle old materials. find a lab which is willing to go into a restoration project to at least break even, or hope they will make it up on the prints. You need a lab willing to work very dosely with you, because theywant to see the project get done. They have to care about film. " Harris condudes with a warning to all producers, who have a residual interest financially in a film, or an artistic interest in a film. Go into you lab and say, "Excuse me, how are my seps, how's my negative? How are my tracks? Do my tracks have vinegar syndrome? Have my separations ever been tested? What elements survive on my pictures from 10, 20 or 30 years ago? Have you made separations as yet?" Cenainly test those separations, if they haven't been tested. "Most people make them , they vault them , then bring them out and then it becomes our probl~m , whatever that might be. On panacus, we were missing the yellow record on a lot of scenes. We made them 2-strip, and we faked the third color. All you have to do is test-print from the seps. Make one frame and you'll see the condition of your negative. But you shouldn't do that. You should thoroughly test-print your separations. TI1e negative should be a totally usable negative. "Finally, whenever you 're pmting your original material in a time capsule for some future generation, bury the display device along with the film material. Don't take it for granted that there will be any of that type of projection system still around when they dig it up. Don't believe d1a1 the latest new system will be the standard of the future. It won't."

Picture this: You frame your shot. You concentrate on composition. You don't worry about backpanning. You know that as the crane arm swings, the pan head senses the movement and rotates an equal amount in the opposite direction. Automatically. You get the perfect shot. Every time. Fiction? No. Smartpan from louma. The perfect solution. Los An eles, CA 90034 Office: (310) 558-7890 Fax: 558-7891 page62

Society of Operating Cameramen

Spring 1995

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Society of Operaling Cameramen

Spring 1995