American Cinematographer - December 1960 - 55

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uled to be shot toward the West in the
late afternoon there was some appre¬
hension as to whether a sunset might
distort the authenticity of the scene.
Fortunately it turned out to be an
overcast day with just enough sunlight
to highlight the scene without the in¬
trusion of an actual sunset.
Aside from low-key lighting and un¬
usual camera angles, Feindel utilized
many other devices to create photo¬
graphic mood. He used a combination
of fog filters and fog machines to lend
a swirling chill to night scenes in the
Chicago streets. He filled a church in¬
terior set with suspended smoke in
order to gain an impression of shafts
of sunlight filtered through a haze of
dust. He used low angles wherever
possible to lend importance to the char¬
acters, and he filmed almost the entire
picture with a 30mm wide-angle lens
to accentuate the drama by means of
exaggerated perspective. Here, the
"fluid camera" technique is used so
skillfully that camera movement is nev¬
er obtrusive.
Arthur Feindel, a graduate of the
New York Academy of Design and of
the Art Students League, was a com¬
mercial artist for several years before
becoming a cameraman. He does not
regard himself a camera "artist"-
but rather a commercial cameraman
who slants his photography to the
audience. His achievement in photo¬
graphing "Studs Lonigan" is a re¬
freshing study of black-and-white cine¬
matographic artistry. ■

FILMING HOOKWORMS
Continued from Page 733

which held the worm in a vertical posi¬
tion, it was possible to film the extraor¬
dinary way in which the worm per¬
forms this feat (Fig. 5). The blood
coming out of the worm looked like
cigarette smoke projected out force¬
fully. Here it was very difficult to de¬

DECEMBER

* 1960

termine the exact moment when the
worm would start to expel.
The Hookworm Speaks

When the film was in its final editing
stage the Institute's scientists an¬
nounced further progress in their in¬
vestigations: sound signals had been
obtained from the worm. Silver micro¬
electrodes connected to the blood and
saline solutions containers in which the
worm had been introduced (Fig. 3),
were connected to a special hi-gain
amplifier and an oscilloscope. Signals
corresponding to the electrical potential
developed by the contraction of the
worm's esophagus were then produced
and could be observed on the oscillo¬
scope screen. The same signals seen on
this screen were then transformed into
audible sound signals and heard on a
loudspeaker.
It was decided to make this phase of
our scientists' interesting investigation
a part of our film. We recorded the
sound signals generated by the hook¬
worm with an Ampex ^-inch tape re¬
corder and then synchronized the
sound track with the corresponding
picture (Fig. 4).
Although in the beginning the shoot¬
ing of this picture appeared to be sim¬
ple, we encountered many unexpected
problems. We had chosen electronic
flash as a means of slating each take.
This presented serious problems in the
reproduction of the worm's sound. The
electrical discharge from the flash pro¬
duced an induction in the amplifier
system. We were finally able to use the
flash for slating after every part of it
had been isolated. The sync mark pro¬
duced by the flash resulted in a "blank"
frame on the film and a "spark noise"
on the sound track. By this method it
was easy to synchronize the picture and
the sound track in editing. The cam¬
era motor, the recorder, and other
equipment also had to be isolated sep¬
arately. After all the precautions had
been taken we had another surprise
during a take: transmission from a
nearby amateur radio station was
picked up by the electronic amplifier
system and mixed with the worm sig¬
nals! !! Then, when all the instruments,
camera, recorder, etc., were ready to
"roll," the worm would not suck, or
vice versa.
But, with patience and perseverence,
we finally worked it out and recorded
on film and sound track the voice of
the "hookworm that speaks." ■

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American Cinematographer - December 1960

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