American Cinematographer - February 1990 - 10

New from

Clairmont:
our T4.5
1000mm
lens
Four filters,

This captivity.
is the fastest
lens
It's1000mm
entirely

two

in

an
new design in every way - none of
it is derived from any other lens.
We had it made because people
often ask us for a fast, high-

quality 1000mm. Extenders on a
600 or 800mm aren't the answer,
course.

up;

of

Chromatic aberration

you can use polarizers and grads.
You can also screw a round filter
inside the back of the lens.

contrast down. Wide open be¬

comes

rotating

With telephoto lenses, filters on
the front degrade the image. So
we've built a three-stage filter
holder at the back -4X4 square
filters. Two of them rotate, so

Bill Bennett puts
lens to the test

about T8.

our

No vibration

On the Clairmont 1000, focussing
is smooth, easy and internal; no
vibration. It works with the ARRI
Studio Follow Focus and its flexi¬
ble whip control; no vibration.
The Follow Focus engages at the

point of balance, right above the
gear head's axis. No vibration.
Follow focus and
watch the action

Another way our lens helps make
your work look better: you can
follow focus while looking at the

subject. Standing up and facing
you on top of the lens, at the front,
is a big focus/distance scale.

Hollywood cameraman Bill Ben¬
nett owns eighteen lenses, includ¬
ing an 800mm Canon T5.6. He has
used a 1000mm Clairmont on two
commercials-both times wide
open. He ran his dailies at Raleigh
Studios on a 14 foot screen.

On one of the commercials, the
director wanted a tight close-

of a military jet fighter
taking off. Wingtips sticking
out of frame left and right. He

up

also wanted

a

backlit silhouette

against the sky-Tbp Gun
style. And he wanted to see the
jet's exhaust flame.
Tight closeup, wide

That's in addition to the usual
scale on the side of the lens, natu¬

open, subject moving
150 miles per hour

rally. Also on the side of the lens:
a Sports Finder, with cross hairs.
It helps you to hunt for moving
action with your other eye.

To see the flame against the sky
meant shooting very late in the

at

day. That meant a fast lens. Tight
framing meant a very long lens.



American Cinematographer - February 1990

Table of Contents for the Digital Edition of American Cinematographer - February 1990

American Cinematographer - February 1990 - 1
American Cinematographer - February 1990 - 2
American Cinematographer - February 1990 - 3
American Cinematographer - February 1990 - 4
American Cinematographer - February 1990 - 5
American Cinematographer - February 1990 - 6
American Cinematographer - February 1990 - 7
American Cinematographer - February 1990 - 8
American Cinematographer - February 1990 - 9
American Cinematographer - February 1990 - 10
American Cinematographer - February 1990 - 11
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American Cinematographer - February 1990 - 13
American Cinematographer - February 1990 - 14
American Cinematographer - February 1990 - 15
American Cinematographer - February 1990 - 16
American Cinematographer - February 1990 - 17
American Cinematographer - February 1990 - 18
American Cinematographer - February 1990 - 19
American Cinematographer - February 1990 - 20
American Cinematographer - February 1990 - 21
American Cinematographer - February 1990 - 22
American Cinematographer - February 1990 - 23
American Cinematographer - February 1990 - 24
American Cinematographer - February 1990 - 25
American Cinematographer - February 1990 - 26
American Cinematographer - February 1990 - 27
American Cinematographer - February 1990 - 28
American Cinematographer - February 1990 - 29
American Cinematographer - February 1990 - 30
American Cinematographer - February 1990 - 31
American Cinematographer - February 1990 - 32
American Cinematographer - February 1990 - 33
American Cinematographer - February 1990 - 34
American Cinematographer - February 1990 - 35
American Cinematographer - February 1990 - 36
American Cinematographer - February 1990 - 37
American Cinematographer - February 1990 - 38
American Cinematographer - February 1990 - 39
American Cinematographer - February 1990 - 40
American Cinematographer - February 1990 - 41
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American Cinematographer - February 1990 - 43
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American Cinematographer - February 1990 - 45
American Cinematographer - February 1990 - 46
American Cinematographer - February 1990 - 47
American Cinematographer - February 1990 - 48
American Cinematographer - February 1990 - 49
American Cinematographer - February 1990 - 50
American Cinematographer - February 1990 - 51
American Cinematographer - February 1990 - 52
American Cinematographer - February 1990 - 53
American Cinematographer - February 1990 - 54
American Cinematographer - February 1990 - 55
American Cinematographer - February 1990 - 56
American Cinematographer - February 1990 - 57
American Cinematographer - February 1990 - 58
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American Cinematographer - February 1990 - 60
American Cinematographer - February 1990 - 61
American Cinematographer - February 1990 - 62
American Cinematographer - February 1990 - 63
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American Cinematographer - February 1990 - 69
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American Cinematographer - February 1990 - 71
American Cinematographer - February 1990 - 72
American Cinematographer - February 1990 - 73
American Cinematographer - February 1990 - 74
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American Cinematographer - February 1990 - 76
American Cinematographer - February 1990 - 77
American Cinematographer - February 1990 - 78
American Cinematographer - February 1990 - 79
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American Cinematographer - February 1990 - 88
American Cinematographer - February 1990 - 89
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American Cinematographer - February 1990 - 92
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