American Cinematographer - December 1960 - 49
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IS
THIS
THE
WORLD'S
FINEST?
NAGRA lllb
Merely to list its features and detail its specifications, without
the use of a single superlative, takes four pages. The men who
use NAGRA will give you the answer in one word: INCOMPARABLE!
Highlights: Completely portable and self-powered, yet NAGRA rivals
the finest rack-mounted studio equipment / Wow and flutter ±0.15%
peak-to-peak at NAB professional speeds (all products measured) /
Speed constant wi-thin 0.2% at temperatures from -12°F to + 120°F
/ Response 30 to 15,000 cps ±2 dB / Weighted signal-to-noise ratio
better than 60 dB / Speeds 15, 7.5 and 3.75 ips /. NAB and CCIR
equalizations / Wired and wireless mikes / Provision for condensermike preamp-power-supply driven by stabilized internal 10V / Two
mixing inputs /
Self-start triggering by preset sound-pressure
levels / Twelve 1.5V flashlight batteries power all functions /
Provision for external AC and DC power supplies / Weighs 15 pounds
and performs in any position / Distinguished functional design and
precision Swiss craftsmanship / Limited but steady supply at $1045.
In short, NAGRA lllb takes the
studio beyond the power lines.
For the four pages of features
and specifications that make it
a standard in many audio labs,
write or 'phone the USA agents:
Electronic Applications, Inc.,
Stamford, Conn. / DA 5-1574.
cause moire effects with the television
scanning lines, color television photog¬
raphy should avoid closely spaced,
high contrast vertical lines, which can
cause an interference with receiver
color circuits to produce a disturbing
"color moire effect."
When tuned to a color broadcast,
a black-and-white receiver displays a
panchromatic version of the color
image, not a "green separation" as
sometimes supposed. The panchro¬
matic balance is not exactly equiva¬
lent to that in panchromatic blackand-white film, as in color television,
green contributes most to black-andwhite receiver brightness (59%), red
somewhat less (30%), and blue least
(11%). These values can be a guide
to the equivalent brightness difference
of set materials or costumes when seen
on black-and-white receivers.
In the contrary situation, a color
film will project satisfactorily on a
black-and-white television system, since
the vidicon, which is now in general
use, has a panchromatic sensitivity
sufficiently broad for this purpose.
Negative-positive type color films
are more satisfactory than reversal
films for color television, since reversal
duplicates from reversal originals are
DECEMBER
* 1960
755
American Cinematographer - December 1960
Table of Contents for the Digital Edition of American Cinematographer - December 1960
American Cinematographer - December 1960 - 1
American Cinematographer - December 1960 - 2
American Cinematographer - December 1960 - 3
American Cinematographer - December 1960 - 4
American Cinematographer - December 1960 - 5
American Cinematographer - December 1960 - 6
American Cinematographer - December 1960 - 7
American Cinematographer - December 1960 - 8
American Cinematographer - December 1960 - 9
American Cinematographer - December 1960 - 10
American Cinematographer - December 1960 - 11
American Cinematographer - December 1960 - 12
American Cinematographer - December 1960 - 13
American Cinematographer - December 1960 - 14
American Cinematographer - December 1960 - 15
American Cinematographer - December 1960 - 16
American Cinematographer - December 1960 - 17
American Cinematographer - December 1960 - 18
American Cinematographer - December 1960 - 19
American Cinematographer - December 1960 - 20
American Cinematographer - December 1960 - 21
American Cinematographer - December 1960 - 22
American Cinematographer - December 1960 - 23
American Cinematographer - December 1960 - 24
American Cinematographer - December 1960 - 25
American Cinematographer - December 1960 - 26
American Cinematographer - December 1960 - 27
American Cinematographer - December 1960 - 28
American Cinematographer - December 1960 - 29
American Cinematographer - December 1960 - 30
American Cinematographer - December 1960 - 31
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American Cinematographer - December 1960 - 33
American Cinematographer - December 1960 - 34
American Cinematographer - December 1960 - 35
American Cinematographer - December 1960 - 36
American Cinematographer - December 1960 - 37
American Cinematographer - December 1960 - 38
American Cinematographer - December 1960 - 39
American Cinematographer - December 1960 - 40
American Cinematographer - December 1960 - 41
American Cinematographer - December 1960 - 42
American Cinematographer - December 1960 - 43
American Cinematographer - December 1960 - 44
American Cinematographer - December 1960 - 45
American Cinematographer - December 1960 - 46
American Cinematographer - December 1960 - 47
American Cinematographer - December 1960 - 48
American Cinematographer - December 1960 - 49
American Cinematographer - December 1960 - 50
American Cinematographer - December 1960 - 51
American Cinematographer - December 1960 - 52
American Cinematographer - December 1960 - 53
American Cinematographer - December 1960 - 54
American Cinematographer - December 1960 - 55
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American Cinematographer - December 1960 - 57
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American Cinematographer - December 1960 - 60
American Cinematographer - December 1960 - 61
American Cinematographer - December 1960 - 62
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