American Cinematographer - September 1968 - 66

LOCATION LIGHTING

PRUT 18,000 FEET PER H00R
WITH OUTSTANDING IMAGE QUALITY

Continued from Page 668

spend a

proportional amount to de¬

velop more efficient equipment. I must
say in all fairness, however, that this
statement was not intended to be cri¬
tical

of those

manufacturers who up

until now have served this industry so
well with their products. On the con¬
trary,

a

great deal of credit is due

them. Obviously more money can be
spent on research for industrial light¬
ing

units,

because

there

is

a

much

larger market for them. There are more
factories than film studios-more sports
stadiums, more highways, city streets,
homes, etc. Perhaps this is one of the
reasons why some of our best lighting
equipment is developed

in the small

shop of an enterprising gaffer or cam¬
eraman. At times these lights look like
so many Rube Goldberg contraptions,
but they represent an idea, an answer
to a

specific

need-and

they work.

The larger, better-equipped manufac¬
turer has been know to pick up these

You can boost your 8mm, Super-8, T6mm or 35mm ouput by
as much as 5 times because of innovations like these:
* New ideas in head design-Offset Sprocket maintains perfect

ideas, dress them in a better suit of
clothes and, as often as not, improve
upon them.
This brings up a point, which I con¬
sider to be more important than ex¬

contact, registration at ultra-high speeds.
* Special hold-downs-permit high-speed printing even of dam¬

pensive

research:

close

contact

be¬

tween the manufacturer and the user

aged negatives . . . warn against excess tension.

of equipment-in this case, lights. It
* Positive start/stop within only ten frames.
* Straight-line

control

layout

for

maximum

would
operator

efficiency.

Speed, illumination read from large meters.

to

expect

finest

engineer

be

to

develop

pump

or

equally

some

medical
The incredible speed of these contact
printers actually improves
image quality
. . . takes fuller advantage of the pointlight
source and the sharper image it produces.
But the real 'magic' is in the head design.
Its unique Offset Sprocket pulls film past the
aperture, rather than pushing it as with
others. Film cannot buckle, even at running
speeds as high as 300 feet per minute.
Precise head arc helps maintain intimate con¬
tact between negative and positive for ex¬
ceptional registration and image steadiness.
Choose from two models: VHS Mk. 600

series, for 1-light printing of color or B&W;
or VHS Mk. 500 series Portable printer (meas¬
ures only 25"x13"xll") for high-speed B&W
printing in cramped areas. Both have full
2000-ft. capacity. Both have Timing Belt film
drive to eliminate backlash, and to give you
reliable service over literally hundreds of
millions of feet of film. And both are avail¬
able with a full line of accessories and options
(sound head, loop elevator, dual feeds &
take-ups, etc.) to tailor your printer for any
application. Priced from $3000. Write for
brochure.

hard

equipment

even
a

the

heart

sophisticated

without

specific

knowledge in the field of medicine. I
frankly doubt that the number of out¬
standing engineers who are also ex¬
perts in some phase of medicine is too
numerous.
I shall never forget a discussion I
witnessed some time ago between an
old-time

cameraman

of

high

qualifi¬

cations and an engineer representing
one of our leading television networks.

And now you can slit film three times faster

This

network,

just at that time,

switched from
. . . as fast as 3000 feet per minute with accuracy of ±.0015". Table and power models
with up to 2000-ft. capacity. Extra-long 'floating film' channel maintains exceptional lateral
stability, makes rub marks and scratches impossible. Massive 1 '/j" diameter cutters cannot slip
out of alignment . . . guaranteed to give a perfect cut for a minimum of 5,000,000 feet of
film. Models for 8mm/Super-8 (double-16) and for 16mm (double 32mm) or specials. Priced
from $300. Write for details.
See for yourself! Send for sample films printed and slit on these machines.

had

live telecast to filmed

programming. They felt that the light¬
ing equipment they had on hand could
and should be utilized

regardless of

the switch in basic character of pro¬
gramming.

The

engineer

seemed

to

have the better case. Any statement he
made extolling the virtues of the said
lights were backed by figures conven¬
iently read off a slide rule in his hand.
There really wasn't anything he didn't

Fotovend Corporation

* 50 Greene Street

* (212)226-4111

New York, New York 10013

seem to know about these lights. The
diameter and

intensity at any given

distance. Color temperature, heat out-

696

AMERICAN CINEMATOGRAPHER, SEPTEMBER 1968



American Cinematographer - September 1968

Table of Contents for the Digital Edition of American Cinematographer - September 1968

American Cinematographer - September 1968 - 1
American Cinematographer - September 1968 - 2
American Cinematographer - September 1968 - 3
American Cinematographer - September 1968 - 4
American Cinematographer - September 1968 - 5
American Cinematographer - September 1968 - 6
American Cinematographer - September 1968 - 7
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American Cinematographer - September 1968 - 43
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American Cinematographer - September 1968 - 56
American Cinematographer - September 1968 - 57
American Cinematographer - September 1968 - 58
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American Cinematographer - September 1968 - 60
American Cinematographer - September 1968 - 61
American Cinematographer - September 1968 - 62
American Cinematographer - September 1968 - 63
American Cinematographer - September 1968 - 64
American Cinematographer - September 1968 - 65
American Cinematographer - September 1968 - 66
American Cinematographer - September 1968 - 67
American Cinematographer - September 1968 - 68
American Cinematographer - September 1968 - 69
American Cinematographer - September 1968 - 70
American Cinematographer - September 1968 - 71
American Cinematographer - September 1968 - 72
American Cinematographer - September 1968 - 73
American Cinematographer - September 1968 - 74
American Cinematographer - September 1968 - 75
American Cinematographer - September 1968 - 76
American Cinematographer - September 1968 - 77
American Cinematographer - September 1968 - 78
American Cinematographer - September 1968 - 79
American Cinematographer - September 1968 - 80
American Cinematographer - September 1968 - 81
American Cinematographer - September 1968 - 82
American Cinematographer - September 1968 - 83
American Cinematographer - September 1968 - 84
American Cinematographer - September 1968 - 85
American Cinematographer - September 1968 - 86
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