American Cinematographer - December 1960 - 51

with the same kind of coating as used
on the studio light Fresnel lenses, then
the visible light will go through this
piece of glass as before, but the infra¬
red waves will bounce back.
(D) If we tilt this glass 45°, then the
infrared waves will be bounced back
at a 90° angle, and if we place the
infrared film in their path we can then
receive that exposure; and that is ex¬
actly what the split-beam camera does.
Of course instead of a piece of glass
we use a prism because it is so much
more effective. This is the principle in
its pure form. We have one drive trans¬
porting both strips simultaneously and
we photograph through one lens.

DECEMBER

* 1960

c

| Wishes every one of our Friends,
j Representatives - far and near,
I Customers and Prospects

LABORATORIES

|

Very Merry
Christmas
^ and
I A Happy New Year To All

* 16IVMVI PKINilNG & PROCESSING-Fastax

Service
* BLACK-&-WHITE, Reversal, Negative,
Positive
* COLOR PRINTING & PROCESSING
* Super Anscochrome to ASA 400 Anscochrome
Expert Attention and Service

A

\ "Mary and Louis"
\
UHLER CINE MACHINE CO.

350 West 50th Street, New York 19, N.Y.
JUdson 6-7196

J

15762

Wyoming

Ave.,

Datroit

38,

Mich.

RENTALS

The Studio Process
Figure 1 indicates how the process
is applied on the studio floor. We see
that the background is illuminated with
light plus infrared rays and the fore¬
ground, on the other hand, is illuminat¬
ed with light minus infrared rays. Ob¬
viously the minus-infrared light can hit
the background without doing any
damage, but the plus-infrared light
must not hit the foreground action.
In the beamsplitter camera, the light
plus infrared rays and the light minus
infrared rays both pass through the
same lens but are split by the prism in
such a way that the infrared informa¬
tion is received by the infrared film
and the visual information by the
visual film.
The eight steps in Fig. 1 show how
the two records are combined:
(1) On the visual side a convention¬
al modulated negative with a clear
background is received because the
background is black as far as the visual
sensitivity is concerned.
(2) An opaque background with a
clear silhouette is received on the in¬
frared side because this film is sensi¬
tive only to the infrared background.
(3) This represents the negative of
a background, although a fine-grain
print would do as well.
(4) A positive matte is obtained by
making a high-contrast print of the in¬
frared negative matte.
(5) A fine-grain print of the back¬
ground is made.
(6) A fine-grain print of the visual
negative gives an opaque background.
(7) A print of (5) on a negative
stock is made by bi-packing (4) ; if
developed, it would give us something
like a hole in the negative. But we do
not develop this piece of film until we
print (6) onto it in register.

M

FILM

Lights
Cameras
Accessories
More professionals deal with
more often! Why? Because
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CECO
CECO

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Lighting:

16mm & 35mm-Sound
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Lenses: Wide angle-Zoom-Tele¬
photo-Anamorphic
Sound Equipment: Magnetic-
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Cameras:

And remember, you boys who are
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Branch:
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FRANK

C.

ZUCKER

(^fllRERfl €ouipm€nT(o.,inc.
Department

315 West 43rd Street, New York 36,
New York * JUdson 6-1420

A65

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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
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American Cinematographer - December 1960 - 20
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