American Cinematographer - November 1990 - 43

\

The 535
Camera

System. Its
Swingover
Viewfinder
and integral

microprocessor
control

technology
unique -

are
no

other

professional
camera

Freddie Francis
and Jost Vacano Use
VariCon on Latest
Films
VariCon,

our patented contrast control
that permits incamera contrast
modification without affecting color tem¬
perature, sharpness or normal highlights,

system

"on location" with Oscar Award¬

system has

is

them.

winning Freddie Francis (Glory, 1989),
and Jost Vacano (Total Recall, 1990)

now

on

their latest

productions.

Freddie Francis and

Lightflex

The 535 Camera System
Since the 535's March premiere at the Director's Guild, we've
535 camera systems to directors of photography on a variety of

been providing
commercial and
feature productions to gather information on how the cameras perform under
actual shooting conditions. On the whole the systems have, as the following stories
indicate, performed quite well. We now have several complete 535 systems in
use worldwide, with 2 to 3 at
any one time here in the US. While we are experi¬
encing some delays in final production of the 535, it has given us the opportunity
lower the sound level even further, and make additional refinements to both the
camera and its new
accessory system.
to

First TV Commercials
The 535 got its first TV commercial
trial in June when used by Director of

Photography Jon Fauer on a series of
Clairol spots produced by
BOSS Films for Grey Advertising. FJe
told us that the 535 was "incredibly
quiet - even without a lens we couldn't
hear it running. The in-eyepiece LED
displays were very useful, and the
computer-controlled mirror shutter
adjustment is a feature we particularly
six :30

liked. We felt the

new

subtle and responsive,

follow focus

and

was

we espe¬

cially liked its quick snap-on/off feature.
(Continued on first column, Pg. 42)

Francis has used VariCon's

predeces¬
technology, Lightflex, since its devel¬
opment in the mid-1970's, and we have
continued to supply him with Lightflex
systems right up to Glory in 1989. he
became a supporter and regular user of
Lightflex ever since he first used it in
sor

1981 on The French Lieutenant's
Woman. FTe was, needless to say,

skeptical of VariCon at first. So when
sent him two of our first pre-produc¬
tion systems several months ago while
he was working on a picture in Yugosla¬
via, we considered it a sort of "acid
test." Sure enough, while he liked
VariCon's overall concept and ease-ofuse, he did discover some problems. FTe
returned the units noting that their Emitter
fields were not as even as he required.
After retesting the system we confirmed
his findings, and initiated a series of
changes and improvements which re¬
sulted in significantly more even Emitter
we

illumination. On Francis' latest film, The
Man In The Moon, he's using two of
ARRI VP

Juergen Schwinzer and

assistant Anne Gwynn prep
the 535's Swingover Viewfinder for
camera

with a Kenworthy/Nettmann
Snorkel for Napoleon Videographics.

these

new VariCons, and
recently re¬
ported that VariCon has more than met

his expectations.

use

(Continued on first column, Pg. 43)
American Cinematographer - November 1990

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