American Cinematographer - September 1968 - 67

put. Loss of effective output over a
given period of time, and so on.
When he rested his case, and I must
say it took some time, the cameraman
got up, said "I don't like it" and
walked away. Was he right or wrong?
It's hard to say. I know that, speaking
for myself, I would be less interested
in the engineering merits of a lighting
unit than I would be in how I could
apply this unit to achieve an image
artistically. My purpose in stating this
is not to criticize, not to offer solutions
which, after all, are only based on
one man's opinion but to express my
views as I see them, to speak and to
listen. To exchange ideas.

Camera Mart says,
'Hold this ad up to
your ear."

The small lighting units which are
relatively new to this industry have al¬
ready opened new avenues to be ex¬
plored and helped open doors into
areas which, until their discovery, had
been carefully avoided. Such small
units are the quartz lights. While they
can't and shouldn't be considered, at
least at this time, to be the answer to
all of the problems of the cinematog¬
rapher, they have effectively bridged
large gaps that could only be over¬
come with a considerable amount of
difficulty in the past. I called on this
specific example as a great deal of
progress was made in the development
and design of these lights by one of
our working cameramen, Ross Lowell,
who could draw upon his own exper¬
ience and background to look for a
product for a specific need.
I, as another working cinematog¬
rapher, would like to see new products
available, such as smaller and lighter
units of higher output, smaller and
lighter units of shadowless lighting
equipment, smaller and lighter units of
location lighting equipment which is
already color corrected, more versatile
accessories which would enable the
cinematographer to apply these units
in a more efficient and effective way.
"All the World's a Stage and all
the men and women merely players."
Had Shakespeare lived today, I hope
he would perhaps have included some
of us who are cameramen. As such,
may I propose a closer association be¬
tween lighting equipment manufactur¬
ers and cameramen, inspired by a
mutual interest toward our common
goal, accommodating these trends,
pioneering new techniques, in the in¬
terest of meeting the challenges and
demands as dictated by the everchanging trends, tastes and require¬
ments of our industry. ■

AMERICAN CINEMATOGRAPHER, SEPTEMBER 1968

Now you have an idea how quietly
the Eclair NPR 16mm camera runs.
Eclair threw tradition out the window and started from scratch. And
that's how the NPR was born. Completely new; completely quiet.
For example: the shutter claw and registration pin operate directly
off the motor's drive shaft. That means fewer moving parts and so,
less noise. The claw is wedge-shaped so it can slide into perfora¬
tions without clatter or clicking. In fact, the only noise you'll hear
around the NPR will come from you. That's because the NPR's per¬
formance is really something to shout about.

FOR SALE, RENT OR LONG-TERM LEASING AT

THB CAMERA MARTV
1845 BROADWAY (60th ST.) NEW YORK, N.Y. 10023 o 212-757-6977

SALES

O

SERVICE

O

RENTALS

697
American Cinematographer - September 1968

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