Camera Operator Fall/Winter 1995/96

Fall/Winter 1995/96 Vol5 No 2

..

Cameramen have counted on Deluxe since 1915.

The Rank Film Laboratories Group LONDON路 TORONTO路 HOLLYWOOD

Poetry

•

avid Hennings is a noted Director of Photography whose recent credits include Mighty Ducks 3, Under Suspicion, Medicine Ball. As Camera Operator, projects include Madonna, U2. The Doors. and Reba Mcintyre's Starting Over.

After using Smartpan™ on the Reba Mcintyre concerts. he says, "For the first time in my life I wasn't fighting the physics of the crane. Smartpan eliminated any timing inconsistencies between Greg Hoffman (key grip/crane operator) and myself. It was wonderful! Smartpan really cancels the fishtailing and chasing that happens at the beginning and end of shots.

I'm always thinking about editing while I'm shooting. Using Smartpan I could put Reba close to the edge of frame at the finish of a shot without worrying about losing her. That way the director always had a nice looking way to transition.

I could push in from 35 to 100 mm while Greg was swinging the arm as fast as he could. I don 't ever want to use a remote crane without Smartpan again."

D

NEW AKELA

JR.

JOINS BIGGER BROTHER Now then-·s a smaller version of the giant (8[)') AKeLA cranes. The Jr'. quickly asscmhles as a :ll '-4~' or' :'>2' version for those times when higger is better hut enough is enough! Call for rwicing. availability and details.

LOUMA L.A.

DUTCHPLUS

360o

BRAND NEW FROM lOUMA L.A. Dutchplus 360° from Louma L.A. gives you complete freedom of camera rotation (on optical axis) in a lightweight remote controlled package. Now you can remotely dutch or rotate the camera on any head.

CREATIVE TOOLS FOR THE MOVING CAMERA

CALL US AT 310-558-7890 8536 VENICE BOULEVARD, L.A. CA

SMARTPAN™

DUTCHPLUS 360°

90034

AKELA CRANES

'1' his

Society has been established to advance the A rts and Contribution of the Operating Cameraman (Second Cameraman , Camera Operator) in the Motion Picture and Video Industries. To fos ter and strive for Excellence, Artistic pe1jection and Scientific Knowledge in all matters pertaining to Film and Video Photography.

.J. Creative

Bill Hines

T Tision, the essential ingredient that we as Camera Operators V use in our work in trinsically bonds us to children with vision problems. Our organization contributes its full support to the Eye Care Clinic of the Childrens Hospital of Los Angeles.

Deaip Lynn LaniMng DoubJe L Desip, Glendale

Pdntlas

Katy O'Harra Gemini Graphics, Marina del Rey

Cover Photo Vilmos Zsigmond and Jacques-Yves Cousteau Photo by Danny Feld

The Operating Cameraman Magazine is published semi-annually by the Society of Operating Cameramen. For advertising information and article sub missions contact the SOC Attn Bill Hines at PO Box 2006, Toluca Lake, CA 91610 Te.lephone (818) 382-7070 Subscription Rates: USA $10 /yr; Outside USA $20/yr

Copyright Š 1995 by the Society of Operating Cameramen

~ ÂŽ is a registered trademark. All rights reserved .

Society of Operating cameramen

OPERATING CAMEBAMA.N ..HAGAZJNe Reprints

The SOC has been on the World Wide Web since June. Visit us at these locations: http://www.soc.org/ or info@soc.org

Page 2

Society of Operating Cameramen

Fall/Winter 1995/96

2 4

9 15 19 21 24

The Operating Cameraman Magazine Volume 5, Number 2 Fall/Winter 1995-96

27 29

SOC Web page We're Not There Yet ...

Or ... how I stopped worrying and learned to deal with cinematography for multimedi a

by Art Adams, SOC Lifetime Achievement Awards Banquet On the Beauty ofthe Image

by Jacques-Yves Cousteau President's Award 1995 Lifetime Achievement Awards Courtroom Cameras: A Commentary

by Jeffrey Alan Goldenberg 1995 Technical Achievement Awards

by Bill Hines, soc -.

NASA receives Society's Technical Achievement Award

Right: The Cammy awarded for Lifetime Achievement Far Right, Top: Michael Frediani, President of SOC and jacques-Yves Cousteau Far Right, Bottom: The certificate giving Captain Cousteau Honorary Membership in the Society of Operating Cameramen: "In recognition as the Master of undersea cinematography and through whose vision and contributions all humanity has greatly benefited."

31 38 46

55 56 65 67 70 71

The Steadicam Body-Rig and Its Forces on the Human Body

by Dr Carl C Howard Ill and Dr Carl C Howard Jr Prevention of Spinal Injuries & Maintenance Care

by Ron Saltman, DC Electronic camera and sound operators are the eyes and ears of the War Stories .. .from the Nightly News

by Stan Wedeking and Jeffrey Alan Goldenberg Advertisers' Index On the Set with Video Assist

by Michael Frediani, soc Equipment Rentals: Responsibilities and Relationships

by Ed Clare Address for SOC Wear Catalogue Roster, Society of Operating Cameramen Fall1995 SOC News and Notes

Fall/Winter 1995/96

Society of Operating Cameramen

Page3

·· '(et ti+•

Or... how I stopped worrying and learned to deal with cinematography for multimedia

By Art Adams, soc

's Saturday night, and you've decided to stay home with your significant other. The smell of hot buttered popcorn wafts through the dimly lit house as you settle on the couch, ready for a quiet evening of cuddling in front of the television. Earlier in the evening you spent a half hour in the video store searching for a couple of special movies that would set the mood for romance. And now the time has come. The VCR beckons quietly. "Feed me," it says. "Feed me and I will set your heart afire."

"Sorry," you mutter, instead turning on your personal computer and inserting the first CD-ROM of the evening. You are so cool. One step ahead of the crowd, you've forsaken your VCR and TV for the next step in human evolution: digital playback using your top-of-the-line multimedia computer and high resolution monitor. Once in the video store you strode past the VHS section with scorn, laughed lightly while passing the laser disc display, and headed

Page 4

straight to the Compact Disc department and now you are about to realize the fruits of your decision. You hit the "Enter" key on the keyboard, cuddle up with your babe and anxiously await the first high definition image of the evening to appear on the screen.

••••••••••••••••••••• Hey, this is state of the art technology!

••••••••••••••••••••• Your significant other stirs anxiously, moves closer, and whispers in your ear. The words penetrate like daggers, slashing straight to your ego after trodding on your heart and stomping your soul.

"Is that it?"

IS THAT IT? Hey, this is state of the art technology! So what if the picture is only three inches tall by four inches wide? So what if the music sounds like you're listening to

Society of Operating Cameramen

Fall /Winter 1995/96

the Boston Philharmonic through a pair of cans connected by rotting twine? So what? This is state of the art technology!!!

And it's not quite good enough.

YET. Someday you'll be able to request movies on demand through the Internet, talk to your friends on a full color videophone or tap into a live concert on the next continent and hear the swish of the conductor's baton over the string section. But not yet. Maybe in a year, but not yet.

Multimedia is currently overrated.

For now you can watch video recorded on a CD-ROM but the image appears in a small window in the center of your computer screen and it plays back at 15 frames-per-second, if you're lucky . The technology is still fascinating and when you consider that just a couple of years ago video on CD-ROM was naught but a hallucinogenic cloud in a demented programmer's mind, you can easily appreciate how far we've come in a

=*>

short period of time. But we're not there yet. Full-color, full-sized, fullspeed video on a disk is still a dream.

The biggest problem is storage. A video signal contains an enormous amount of information; each frame consists of 525 lines of picture information, information that changes at the rate of 30 times per second. This information has almost always been stored on a form of magnetic tape: first on huge reels of fullcoat two inches across, thenonone-inchtapeand eventually on half-inch or even 8mm tape. Each step required a major advance in technology to place constantly refreshing analog video information into smaller and smaller packages.

Now consider the difficulties of placing all that information on a CD-ROM. In a 320x240 pixel image (approximately 3 inches by 4 inches on an SVGA monitor) there are 89,600 pixels to be accounted for in each frame.

At 30 frames-per-second, one second's worth of video requires the reconstruction of 2,688,000 pixels. At full SV A 800x600 pixel resolution, the number quadruples.

The primary solution to digital video storage is video compression. It's a simple idea. Certain parts of a television picture don't change from frame to frame, so why store the information necessary to redraw the complete frame?

If the only difference between frame #151 and #152 is that the actor's head moved a little, then we need only store enough new information to reproduce that small movement. 1£90% of the shot remains the same, there's no need (and no room) to store 100% of the next frame and every frame thereafter. We need only store the change between one frame and the next. The obvious result is that, for the most part, the camera does not move in CD-ROM productions. Less movement means more compression and if the camera pans then everything in the shot will move . Compression goes out the window and begins its long, slow fall to the hard pavement below.

Video compression alone is often not enough. The typical CD- ROM needs to store not only video information but also data files containing non-moving graphics, sound effects, music, and the software necessary for interaction with the user and video

playback. As a result, video clips are often stored as low-resolution images intended to play back in a small onscreen window at a reduced frame rate. The reduced image size saves an enormous amount of storage space, and by playing back every second or third frame instead of every frame the storage space is halved again. Many CDROM games contain video clips that are designed to play in a small 320x240 pixel window at 15 frames-persecond. The resulting visual effect is much like watching a circa-1920 silent movie, except in color and without the organist.

••••••••••••••••••••• Knowing the software tolerances necessary fora successful blue screen matte can be very handy.

• •••••••••••••••••••• All this will probably change within a year or two but for now storage limitations are a major factor that directly affect how footage intended for CD-ROM release is shot. The director of photography on such a project must be acutely aware of the limitations of video compression. His or her decisions on the set will have a direct impact on the final product and the consequences of a bad decision may not become apparent until the last stages of postproduction when selected video sequences are compressed to previously unknown file sizes. If the footage doesn' t fit on a CD-ROM, the director of photography may be the first person on the list to receive a frantic, angry early morning phone call. The following guidelines should significantly reduce the odds of forced early retirement from the multimedia industry. };;;o-- DON'T MOVE THE CAMERA. Less movement in the frame means greater compression. Obviously actors must move but be sure to discuss shot sizes with the director and the video compression company in advance. A plethora of closeups incorporating

Fall /Winter 1995/96

even subtle head movement may spell trouble later on. The more the image moves, the less it will compress. If the camera moves, nothing will compress.

If forced into a situation where the camera must move, the only suitable solution may be to use a background that is not finely detailed. (See "Fine Detail" below.) };;;o-- FIND OUT HOW BIG THE FINAL IMAGE WILL BE ONSCREEN. This may affect your framing . A beautiful wide landscape shot may not read well in a one-and-a-half by one inch window. };;;o-- BE AWARE OF EXPOSURE CHANGES IN THE SHOT. Outdoor shooting can be problematic.

A series of small clouds passing in front of the sun may result in exposure changes that are negligible to the eye but will result in a significant loss of video compression. }i;;o--FINE DETAIL CAN BE A PROBLEM. A finely detailed background will not compress very well. In order to reduce the amount of data used to store the bandwidth inherent in an NTSC signal, information is often recorded symbolically rather than pixel-by-pixel. The compression data utilized to recreate a solid blue background may be very short ("draw blue from here to here") whereas fine detail forces the compression software to store a literal map of color and brightness changes throughout portions of the image, resulting in little or no compression. Of course while a blank blue wall will compress extremely well it isn't much to look at.

A happy medium must be struck. Be aware that actors with frizzy hair, checkered shirts and acne may be a problem.

In some cases, slight non-haloing diffusion (e.g. Soft FX) might help. If shooting on video, make sure the detail circuit isn't turned up too high.

When in doubt, call the post house and consult with your compression guru for guidelines. Depending on the software used for compression, you may find that you can get away with quite a lot of detail or very, very little. };;;o-- BRUSH UP ON YOUR BLUE SCREEN SKILLS. An enormous amount of multimedia photograpy takes place in front of a blue or green screen for later compositing

Society of Operating Cameramen

~>

PageS

with computer-generated footage . I suggest talking to your post production house early on to find what compositing tools they will be using.

Many multimedia shoots are fast-paced due to short schedules and the enormous length of interactive game scripts.

Knowing the software tolerances necessary for a successful blue screen matte can be very handy. Many different software programs are currently in favor for digital blue screen com positing and each one has slightly different demands in the areas of screen illumination, sa turation and foreground image sharpness.

Multimedia shoots create unique problems. I was recently involved in two shoots that presented completely different photographic and logistical problems.

Frame 1. Our spokesperson introduces the product. Note the interesting but not-toofinely-detailed background. The computer monitor screen shots were added later via Ultimatte due to their different refresh rates.

One project involved a ten minute multimedia introduction to a new piece of software written by Apple Computers. The mediums for distribution included VHS cassette, CD-ROM and the Internet (via the World Wide Web).

From the start the script had to be tailored to the "lowest common denominator," in this case the World Wide Web. The typical viewer would access the Apple web site and download the file to their computer for viewing. The difficulty lies in the speed of the average Internet connection. Corporate users often have very fast access to tl1e Internet, allowing them to download a megabyte of information in about ten seconds. Users who connect over phone lines connect at a much slower rate, and the same megabyte of information may take between ten and forty minutes to download.

Page 6

Frame 2. A video switcher allowed us to previewthe placement of the actress in relation to the other elements in the shot. A piece of Ultimatte Blue-painted foam core aligned. with the bottom of window hid the lower part of her body and created the illusion that the actress was indeed inside the computer screen.

The solution was twofold: First, the program would be modular so that interested parties could download only the module or modules that answered their specific questions about the new software product. Second, the Internet version of the video would play in a small160x120 pixel (about one-and-ahalf by one inch) window and would serve as a teaser for the more convenient CD-ROM or VHS versions of the program. Each module would be about one megabyte in length, making the size acceptable for download to those with slower Internet connections.

The script called for compositing an Apple spokesperson into a computer screen for an "inside-out" tour of the new product. The opening of the video took place in an office set with two monitors plainly visible.

Corporate multimedia productions often include computer monitors which refresh at different rates from 60hz NTSC video. In our case we had a Silicon Graphics monitor and a Sun Microsystems monitor in the shot at the same time, both refreshing at a different rate in the 70-80hz range. This made the elimination of roll bars impossible. Our solution was to attach Ultimatte blue fabric to the faces of the monitors and insert still frame screen shots onto each monitor in post. (See Frame 1.)

The main portion of the shoot called for the spokeswoman to interact with various objects on the screen in which she would be composited.

(See Frame 2.) A videoswitcher was used to preview her position on the screen in relation to the objects. In some

Society of Operating Cameramen

Fall /Winter 1995/96

shots she would appear in a window inside the main computer screen. The switcher was used as an aid in placing blue-painted sheets of foamcore so that the actress would appear to be blocked in by the edges of the window.

(See Frame 3.)

The last problem was that of lighting. Our actress needed special treatment, but diffusion was out of the question. Ultimatte is very good at dealing with soft edges but placing a slightly diffused actress directly on top of a razor sharp computer-generated screen was not an -artistically viable solution. In addition, while light diffusion may help video compression by lessening detail, heavier diffusion can decrease compression due to the softening of otherwise hard, easily defined edges. A soft obie light directly under the camera lens was employed to smooth facial features without affecting the blue screen behind the subject.

Every single shot was a lockoff. Not once did the camera move during a take.

Frame3.5ameasabove,exceptthatanadditional piece of blue foamcore has been placed along the right of the window to contain the actress within the window frame.

In many ways video compression is uncharted territory. At one point it was determined mathematically that we could store a high resolution (640x480) 30 frames-per-second version of this video program on a single CDROM. While this turned out to be possible, the large amount of data to be processed continuously by the microprocessor during playback proved prohibitive on many p latforms . The Macintosh Power PC 8100 was more than capable of dealing with the high data flow necessary to create a 30 fps high-resolution on-screen video image. Playing the same file on a ~>

........

Or else you may be stuck with a camera left behind by digital technology As we all know, communications, video, information ... everything is going digital.

Isn't it time cameras did? Today's digital c amera not only outperforms the best analog can offer but sets new bench marks in video quality, features, stability and reliability. The days of the analog c amera are numbered because digital offers too many advantages to be ignored.

With DIGITAL advantages such as a new video transparency, flesh tone detail to soften facial blemishes, precision detail correction, precision transfer of setups between cameras, a plug-in memory card to recreate exact setups weeks or months later and serial digital outputs for D-1 and D-2/D-3 VTR's, now is the time to consider what all cameras will be ..... DIGITAL.

Unique PIP (Picture In PlctlH} Allows a second video IOUICe to be windowed with CCII'Mfa video In any of quadranls

row

or reYeiMd wllh CCII'Mfa video

detail=*'

Separale HaV for vtewlnder for CCII'Mia operator

nac•

'pop'

Macintosh Quadra 600 proved impossible as the older microprocessor simply didn't have the speed to process the information necessary to draw each frame fast enough.

Location blue screen shoots are becoming very common. I was recently hired to shoot medium closeup interviews of corporate executives who were to be interviewed at the Seybold Convention in San Francisco. Agfa intended to produce a CD-ROM containing pithy quotes relating to the future of the electronic prepress industry. We were relegated to a back room at the convention center and expected to make do with a limited grip and lighting package and a 6' x6 ' blue screen.

The biggest problem was in trying to maintain a good frame around the subject without moving the camera during the shot. Immediate camera corrections were out of the question. In the end, rather than lock-off the camera

••••••••••••••••••••• Revel in the challenges of video compression and multimedia.

Later on the convention floor we shot frenetic "MTV" style background shots to be composited behind the interviewee. These were shot in video with a high-speed electronic shutter.

The resulting strobe effect was not only artistically desirable but made for better video compression as hard edges tend to compress better than soft motion blurs.

••••••••••••••••••••• as required for good compression I left the pan lock off. If the subject leaned out of the shot I would have to interrupt the proceedings and ask for a retake.

Otherwise my corrections had to be made during the few seconds when the interviewer was posing a question, a period I knew would be cut from the final product. At that time I was able to quickly nudge the camera left or right to achieve a more acceptable framing.

Multimedia is here to stay, but it is still in its infancy. When next you see jerky low-resolution video playback on a computer monitor, take heart; two years ago this was not possible. In two more years who knows where we'll be?

Meantime revel in the challenges of video compression and multimedia. It's a strange new world and those who help define it are destined to work for a ~ long, long time.

LEADING TECHNOLOGY FOR CINEMA NEW! Focus/Iris/Zoom Digital Control System & new Super Motors.

Stiff lenses giving you a headache? Our new FIZ provides lens autocalibration rugged design, SUPER TORQUE, and the highest positional accuracy. Available June '93.

Speed Aperture Computer- A new tool for the creative Cinematographer.

Slows down or speeds up action on cue with automatic lens aperture compensation. User- friendly operation with automatic lens set up.

The SAC can be used with: Arriflex, Aaton, Moviecam, Panavision, Wilcam cameras and Fries motors.

Light Ranger- Autofocus System.

Super accurate (1 em.), & Long Range (> 150cm) Perfect for action, sports, car shots, crane, and low light. Stay tuned.

Micro Force Zoom - The Industry Standard.

Smooth, rugged and reliable.

Make it your standard tool!

Preston Cinema Systems 1659 Eleventh Street, Suite 100, Santa Monica, CA 90404, (31 0) 453-1852

Page 8

Society of Operating Cameramen

Fall /Winter 1995/96

LIFETIME ACHIEVEMENT

AWARDS BANQUET

Bill Weaver (left) and Bob Steadman (right) accept the Technical Achievement Award for Weaver/ Steadman from Dean Cundey.

David Samuelson (left) and Jean-Marie Lavalou (right) accept the Louma Crane Technical Achievement Award from Dean Cundey.

he Eighth Annual Lifetime on schedule with SOC member Technical Achievement Achievement Awards Banquet Michael St. Hilaire providing the St. Hilaire then introduced noted cineconvened once again at the opening comments. St. Hilaire com- matographer Dean Cundey, ASC who beautiful Ritz-Carlton Hotel in Marina mented on the importance of the presented each of the three Technical del Rey on September 30. The capacity technical community in allowing cam- Achievement Awards . This year's crowd took in the wondrous sunset era operators and cinematographers awards ceremony distinguished itself view of the marina outside while inside the opportunity to capture those by presenting videos of each award they were treated to a display of under- special shots heretofore unseen by the winner and their contributions upon a large screen onstage. sea camera equipment including a world.

Cundey presented the camera housing provided by evening's first award to Bill Ted Galione (left) and Mike Hogg (right, representing Bill Panavision, a deep sea diving Weaver and Bob Steadman suit, photos of the award winVinten) accept Vinten Broadcast Ltd's Technical Achievement for the invention and developners and some of the evening's Award from Dean Cundey. ment of the Weaver /Steadman award-winning equipment.

Camera Support System. The Guests conversed with old audience was treated to an friends while enjoying drinks onscreen disp lay of its atand hors d' oeuvres before the tributes, photogr aphed by banquet room doors opened at Michael Chevalier, SOC. 7:30P.M. Once inside attendees The second award was pretook their seats at beautifully sented to Vinten Broadcast Ltd arranged tables where each for their Fulmar video pedessetting displayed the special tal. Jay Nefcy, SOC gave a live 1995 program book. onstage demonstration of the Noblegrand provided the Fulmar pedestal in action bedinner music as well as music fore the award was presented. leading up to each award presentation. The event began =*>

T

Fall/Winter 1995/96

Society of Operating Cameramen

Page 9

Accepting the award on behalf of Bill Vinten was Mike Hogg who along with Galione made the journey from England in order to attend the banquet.

The third SOC plaque was for the invention and development of the Louma Crane by Jean-Marie Lavalou and Alain Masseron, with significant contributions b y David Samuelson who stated, "When one is retired it is nice to be remembered." Lavalou and Samuelson flew in from across the Atlantic to receive their award. Both honorees gave very gracious speeches thanking all of those involved for making their achievements possible.

They also thanked the Society for recognizing their efforts with such an elegant and festive affair.

Andy Romanoff, SOC recounted later how he came upon the Louma Crane while at a jazz festival in Paris, put on by the promoters of the earlier Woodstock festival. Romanoff first noticed the Louma while helping onstage and in "one of those magical moments of inspiration" realized its potential, as a filmmaker himself. Romanoff introduced the Louma to America. Steven Spielberg who later saw it in Europe used it extensively on his film 1941 helping to bring it wider recognition.

Lifetime Achievement The individual recipients of Golden CAMMY Lifetime Achievement Awards were Ralph Gerling, SOC, film camera operator; Joseph Epperson, SOC, video camera operator; Anthony Rivetti, camera assistant; and Douglas Kirkland, still photographer. William Hines, SOC received the President's Award.

Haskell Wexler, ASC presented the award to Ralph Gerling, who he first worked with in Chicago some 47 years ago. They say you can tell a person's character by the company he keeps.

Well, Gerling has more than 80 credits as a camera operator, including Who's Afraid of Virginia Woolf? , Medium Cool, In the Heat of the Night and The Thomas Crown Affair with Wexler. Other credits include The Godfather Part II and All the President's Men with Gordon Willis,ASC, AgnesofGodwithSvenNykvist,ASC, The Heart is a Lonely HunterwithJames Wong

Page 10

Howe, ASC, Little Big Man with Harry Stradling, ASC, Dirty Harry with Bruce Surtees, ASC and The Turning Point with Robert Surtees, ASC. It is no coincidence that during a period stretching over nearly half of the history of the cinema, so many of the world's best cinematographers chose Gerling to be their eyes on so many memorable pictures. Wexler spoke about Gerling's sense of composition and his sense of humor with equal passion. He told about the time that Gerling asked to check Wexler's meter. Gerling walked away for a few moments. When he

• • • • • • • • • • • • • • • • • • •• • "Ralph always got exactly what I wanted."

-Gordon Willis ••••••••••••••••••••• reh1rned, he slammed the meter into the ground and said that it was no good. Wexler was sturmed until he discovered that it was a cardboard copy Gerling had made.

Before the banquet Wexler called Willis in New York for a quotation on Gerling. The usually taciturn Willis said, "Well, we made a lot of good pictures together, so wish him well for me .. . he's a good guy ... a really good guy." Willis paused again.

Wexler waited . Finally Willis said, "Ralph always got exactly what I wanted." And that, recounted Wexler spoke volumes coming from Willis.

Steven Poster, ASC, presented the Video Camera Operator Award to Joe Epperson (top photo), who started his career as a staff cinematographer at a local station in Cleveland.

Epperson was kind of a 'chip off the old block.'

His father was a TV

Society of Operating Cameramen

Fall/Winter 1995/96

station engineer who sometimes came home to find Joe amongst camera and audio gear spread across the living room floor just so that Joe could learn their inner workings.

Epperson spent several years in the US Army, where he worked as a studio lighting director at a television production center. In 1975 he moved to Hollywood and found work as a video camera operator at MetroMedia on such popular programs as All in the Family and The Jeffersons.

For the past 15 years, Epperson has divided his time between working as a freelance lighting director and camera operator on TV specials such as Big Bird in China, episodic programs like Full House and documentaries, (e.g. To Save a Life).

Poster said, "Joe gets the big picture. He doesn't characterize himself as either a lighting director or camera operator. He describes himself as part of the crew with a responsibility to the audience. Every director wants people like Joe on their crew, because this is all about teamwork and collaboration. " Additionally, Joe sits on the SOC's Board of Governors and is responsible for the SOC Wear Catalogue.

Presenting the Camera Assistant Award to Tony Rivetti, Poster said, "Being an assistant cameraman is often a thartkless job. You (the cinematographer) trust them to understand what's in your heart and your mind. You rely on them to do a million jobs large and small. The truth is that you can't make a good picture without them."

Rivetti studied still photography and architectural/mechanical drawing before starting his career working in animation-camera. After working the graveyard shift with the animation camera, he would spend his days watching the filming of Ironside. Rivetti paid special attention to the assistant cameraman and how he related with the camera crew and people in other departments.~>

Page 12

Society of Operating Cameramen

Fall/Winter 1995/96

and Computer. The latter consists of his own digi tally enhanced interpretations of his work.

Poster said, "Doug's images of Hollywood have endured for decades.

Many are featured in art galleries around th e world.

Millions of people everyw h ere kn ow Hollywood best throu gh the images he has captured on film."

Poster added, "All too often, still photographers don't get the respect they deserve for their artistic abilities and skills. Douglas Kirkland has performed a great service for his colleagues. His stature and dignity have added luster to the job description, still photographer."

His first credit as an assistant was on Night Stalker. Rivetti has subsequently earned some 60 feature credits, including Stars Fell on Henrietta , Cobb , Unforgiven and Waterworld. 33 MOWs, 4 mini-series, 4 episodic series and some 230 commercials round out his still-active career.

Poster stayed onstage to present a Lifetime Achievem ent Award to Douglas Kirkland. The still photographer apprenticed with Irving Penn and went on to work for Life and Look Magazine, where he first attracted attention for his portraits of Marlene Die trich, Elizabeth Taylor, Marilyn Monroe, Judy Garland, Jack Nicholson and Dustin Hoffma n.

Kirkland freelances in Los Ange les and has handled photographic as signments on more than 100 fea ture fi lm sets. His photos have been fea tured in several books including Light Years and ICONS, Creativity Witlz Camera

President's Award Society of Operating Cameramen President Michael Frediani was introduced and took the stage thanking everyone "for joining u s tonight at this, our crown jewel event of the year." He

made sp ecial note of those people who pulled the en tire eve nt toge th er, mos tly volunteers from the SOC, led by banquet chairman David Robman.

Frediani spoke of the special bond the SOC shares with Childrens Hospital of Los Angeles and the fact that to date th e Society has raised over $64,000 for their Eye Care Clinic.

Frediani gave his in trod uc tory speech in honor of Bill H ines, this year's President's Award winner, stating in part, "In 1979 a group of leading camera operators met at DuPar's Restaurant in Studio City and set into motion the beginnings of the Society of Operating Cameramen and Bill Hines was there." Frediani went on to outline the background of Hines and the many accomplishments in his career making special note of Bill' s unwavering energy with all Society activities as well as his "enormous talent

=»

At Mole-Richardson Company, we have a commitment to excellence. Not only in our products, but in our service. As a recognized leader of lighting in the entertainment industry, we would like to introduce our newly expanded expendable store," STUDIO DEPOT :· providing all your grip, camera, lighting and electrical needs.

I

ll

..

l

II

0

"

•

'-

I

•

Access our home page on the internet for Mole-Richardson · lighting, Mole-Richardson'· Rentals, Studio DepotTh1 and Moletown<l!l and experience our growth on the 'M:>rld-Wide Web.

937 N. Sycamore Ave . Hollywood. CA 90038-2384

Tel : 213·851·0111

Fall/Winter 1995/96

Fax: 213·851·5593

E-mail: info@mole com

Society of Operating Cameramen

Page 13

in sharing his expertise in func- • • • • • • • • • • • • • • • • • • • • • • • • • • necessarily bad. Coustea u said that the lesson has served him well. tions unrelated to the SOC that Some 27 years later, when he achelp to emich and enlighten the career as a lives of others." quired the Calypso, a former motion picture photographer minesweeper and converted her Presenting the award to Hines, Frediani said it was" to acknowledge in to an oceanic research ship, mast did not have of his crew consisted of men who a special individual who has given were once difficult boys. Cousteau substantially and unselfishly ofhima good beginning." self for the benefit of the Society said they were the type of people -jacques-Yves Cousteau and its purposes." Hines graciously who were capable of sharing his dream and doing what was necesaccepted his award and gave special thanks to all of those people in sary to make it come true. his life that have meant so much to him, everywhere in the world, about both Cousteau spoke extensively and "especially my wife Zee, my family, the beauty of life in the oceans and how eloquently about his love of "the imfriends and also my junior high school the environment is being threatened." age" and about his great appreciation mentor and his wife, all of who are here With that Captain Cousteau walked on for being recognized by such a distinguished gathering. tonight." Hines went on to say "One of stage to the music ofJohn Cousteau's warmth and the most rewarding experiences has Denver's" Aye, Calypso" been working closely during the past which he seemed to get eloquence put the finfive years with the Board of Governors, a real kick out of, waving ishing touches on a Cor para teA££ilia tes and especially with an imaginary baton in momentous evening.

When he concluded Randy Robinson, Doug Knapp and now front of the band. As the with our new President Mike Frediani huge ovation gradually his remarks with that to help give fresh focus, direction and subsided Cousteau began world -famous smile to unspool the story of his momentum to this Society." the audience honored life behind the camera. him with a rousing Governors Award Banquet guests were treated to a standing ovation.

President Frediani, a member of the Finishing off the evening with a flour- magical moment in the memory of ish was cinematographer Vilmos Capt Jacques-Yves Cousteau as he Cousteau Society since 1977 capped off Zsigmond, ASC presenting Captain shared a secret. In 1923, when he was the evening by presenting Capt Jacques-Yves Cousteau with the 13 years old, he spent a year at "a cor- Cousteau with a Certificate of Merit rections school for difficult boys." His and a membership card certifying "crime" was convincing a shopkeeper Cousteau as an Honorary Member of that his mother had said it was okay the Society of Operating Cameramen. for him to take a movie camera home.

SOC past presidents Bill Clark, It was a 9.5mm Pathe motion picture Michael Benson and Randall Robinson camera. Cousteau who was fascinated were in attendance and all had glowing by the cinema realized that he could remarks about the event. George Spiro make his own movies if he only had Dibie, ASC an associate member of the that camera. He promised the shop- SOC called it "the best event ever, one keeper that his mother of the classiest awards shows in Hollywood." would pay for it later.

Dibie in support of the Cousteau's parents paid for the camera, but instead SOC and the job of the camera operator Governors Award CAMMY on behalf of giving it to him, they stated that"theoperaof the SOC. Zsigmond recounted how sent him to the corrections he was inspired by Capt Cousteau's school. Cousteau recounted torplaysanimportant camerawork during the 1950s. He said that · moment by saying, artistic role. They are that Cousteau inspired him to want to "My career as a motion picthe eyes and the allies of the director become "a good photographer" long ture photographer did not before he dared to dream that some day have a good beginning. of photography on he would leave Hungary and become a When I returned home after spend- the set. There is a bond of trust between cinematographer in Hollywood. While ing a year at the corrections school, my the operator and cinematographer." a lifetime of images from Cousteau's parents gave me the camera. It was the This was an affair that indeed past played out on the screen behind greatest day of my life." Cousteau's bonded camera operators, cinematoghim Zsigmond stated, "Here I am 40 eyes were shining when he recalled raphers and others within one glorious years later, presenting this award to a that 72 year old memory. He said if not celebration. \gman whose work I have admired for so for that experience, he might never long. This one man has educated so have met "difficult boys," and he By Bob Fisher, freelance writer for various many people in so many countries, wouldn't have learned they were not entertainment-related publications.

"My

••••••••••••••••••••••••••

Page 14

Society of Operating Cameramen

Fall/Winter 1995/96

Camera Sous-Marlne Batygraph-18 Cousteau-Girardot Constructeur C.T.M. Paris

Captain Cousteau In the cutting room, editing the legendary Silent World which was to receive the Palme d'Or at Cannes Film Festival.

Essay/memoire by jacques- Yves Cousteau

~oughout

my life, ever since

\:::3~~youth, I have been fascinated

by the power of the image. When I was a schoolboy of ten, on my way to the Lycee Buffon in Paris, I always found a little spare time to play pinball in the penny arcade adding to the clamor and din under the elevated train tracks. Then my friend Bloch and I would browse the merchandise in a modest shop where we could exchange our savings for one or two Meccano parts. We used to call the shopkeeper " the little old lady," an impertinence she accepted good-humoredly.

But one day, amid the hardware and other mechanical marvels, there sat a 9.5mm Pathe "Baby" motion picture camera. Suddenly it occurred to me that I could make my own movies!

It was a long, difficult struggle, but finally I succeeded in wearing down m y mother's hostility to the idea . From then on there was nowhere to go but up: 16mm black-andwhite, 16 mm color negative, 35mm black-and-white, 35mm color; per-

sonal archives, 14 documentaries, the Palme d'Or at Cannes, three Oscars, a shower of Emmys and so on, all leading up to television.

Oh, how I grieved to abandon, in 1965, the cinema screen, which, at the time, I naively considered to be the highest form of art, to take up the much smaller, cruder picture of the television screen, just beginning to evolve.

But how I rejoiced in my nearly immediate worldwide success!And what a metamorphosis was wrought upon human behavior by this veritable explosion in communications!

Nevertheless, it is our right and responsibility to turn the "media revolution" to our advantage, rejecting, along with such infantile, absurd and dangerous exaggerations as the "communications superhighway," the intentional tampering with images to serve unutterable instincts.

The image is the eyewitness of our era. It must remain so. The recent invasion路 of fictitious or virtual imagery changes visual documents

Fall/Winter 1995/96

into believable lies. Certainly we now accept seeing the pyramid of Cheops electronically applied to the cover of a magazine. But what happens when the photo of a criminal is replaced by that of an innocent person?

We are capable of generating a multitude of images which form a curtain masking the poverty of our discourse.

Let us resist the trend to create a virtual world which has nothing to do with reality, and which threatens to make us doubt the veracity and beauty of truth itself!

An image is evidence; it is testimony; it is sometimes a work of art.

We need visual communication, and we need to protect it.

Society of Operating Cameramen

Page 15

Stage Cran es Chapman has its impressive line of :-. tagc t.: ra ncs.Ust:d fo r bo th loca ti o n and indoor applica ti ons. the stag!.! cra ne is t.: k c trk

silence during production shots.

The arm sw in gs a fu ll .160 deg rees to foll ow panning ac ti on ;.1s we ll as a lifl (w hic h utili :t.es the counter h:ll:mc.:c syste m) from gro und k: vc l to a ma ximum o f 16'. A ll stage cra nes have you r choit.:c

orpneu-

matic or !\Oiid tires and fi lm or TV tum.:t. J\s k a bo ut track and oth e r co n\'c nicnt ac.:ccssory packag~.:s to

co mpk mc nt the stag..:: c ram: or '---==-..:....:======-====----' your c ho ice. Our stage cra nes ha ve saved ho urs prod uc ti o n tim e to o btain so me the mos t aw ard w innin g

or

or

~l'C ll l!S.

Pedesta ls Pedoll_r. the la test to co me off CJ1apman's prod ucti on line.

Thi s

ve rsatile unit has th l! capahi litk:s of both the tr:u..litiona l pedestal as we ll as the came ra dol ly. The Pnlolly obtains a lo w camera mount height of I S 518" or 40 em which makes it one o r the lowest o f all th l! current pe tl c~ t a b on the market today.The Pedolly shares the crab and conve ntiona l steeri ng and \'a ri ahlc chass is kg fea tures o f the Supe r Pee\Vce while mainta ining the abilit y to wo rk (>fl hoth straight and curved trac k.Thc Pet/oily also has va ri ous tires for the d iiTcrcn t te rrai ns encountered during the filming of producti ons. The maxi mum sta ndard he ight of tht: Pedolly is 55" or 1.42 meters. Tht: Pet/oily's abil it y to shi ft stee rin g o.1ppli cations e ither manu o.dl y or e lectro ni ca ll y coupkd with its silent. s mooth performance arc certain ly appeali ng features. There arc nwn y accessories for the Pedolly to adapt it to most ap pli<.: ati ons.

Arms The Lenny Arm is equipped with the abil ity to a<.: t as a crane ann (for manned usc) as we ll as a n.: motc camera ann . adva ntagt:o us for shots n.::q uire the bene fit s of du a l pan ning ac tion (ac hi ev~d whl! n used in combinati on with an y or the Chapman cranes. ) Ve rsati li ty is the hest way to dcs<.:rihe thi s ann which can adj ust from 4 feet 10 3--l feet or rc; 1~..:h and 6 fee t 10 31 feet of height. '-'---"'=="~!OOJ

Leonard Studio Equipment Time Saving Camera Cranes, Dollies & Pedestals Leasing or Rental programs available Mob ile Cranes For ~ hot ~ with ,\clion. the Chapman Tittut 11 ..)"uper No ro or SIIJ1l'r Aeollo i:-. for yo u ~ Th e~c units pnwidl! ,·er:-;ati lity allowing ~a, · i n g~ in product ion setup time as we ll as capturin g some o f the most diiTil:ult shots wit h t.:-ase and perfct:tion. Dri ve n to the production site hy one o f our !-.jX:Ciall y tr:.1i ned drive r:-. th e:-.c units we re designetl with ruggednes:-. in mind. The SIIJJt'r Nm·a with its 6 whcl: l dri,·l! and Supt'r , \ jw//o wi th --l whcc l dri ve has t:o nquc rcd mo ~ t terrains. Till! ekt·tric dri \'e all ows sikncc durin g prod uction shots.

C rab and conn;n tional stcc ringL·apah ili tics o.1s wel l us a va ri ety of accessory atto.H.:hme nts l! nah l!.! numl!rous camera angles to cnhance a produ<.:ti nns dramatic and ll..:<.:h nkal aspet:t s.

Super Nova & Apollo Mobile Cranes Zeus, Nike & Electra Stage Cranes Olympian, Sidewinder, Hybrid, Hustler & Super PeeWee Hydraulic Lift Dollies Lenny Arm, Pedolly Pedestal & More!

Los Angeles (213) 877-5309

Orlando, Fl. (407) 851-3456 © 1993 Chapman I Leonard Studi o Equipment, Inc.

PRESIDENT's AwARD

WILLIAM HINES, SOC As one of the charter members of the Society of Operating Cameramen, Bill Hines has given generously of his time and energy to help build, guide and sustain this Society. He has been a member of the Board of Governors from the beginning of the SOC, and has served as Secretary or Vice President for much of that time. He was instrumental in rewriting and updating the Constitution and By-Laws which established a new class of membership providing for corporate affilliation. He now serves the Society as Corporate Liaison to service and promote this collaboration. It was largely due to his insight and efforts that the Society officially recognizes, by presentation of the SOC Technical Achievement Award, innovative achievements by the corporate community in developing and introducing equipment and procedures which aid and abet the art and craft of operating cinematography. In addition, he has served on the Lifetime Achievement Awards Banquet Committee since its inception in 1981.

Bill has been active in all SOC events during the past sixteen years, from helping establish and publish The Operating CamemJ/lan magazine to helping man the SOC booth at SHOWBIZ EXPO in Los Angeles. He has participated in raising money for the Eye Care Clinic of Childrens Hospital of Los Angeles which provides contact lenses for injured, impaired or diseased infants in order to save and preserve their eyesight.

His efforts go beyond the scope of Society activities. He has frequently been a guest lecturer at film schools and has taught camera and lighting

workshops for the benefit of college and inner city students and to help refine the skills of co-workers. He has

served as a member of the Executive Board of the International Photographers Guild for the past several years as well as being an elected delegate to the last four IATSE Constitutional Conventions.

Bill has often shared his extensive production experience through his writing as a regular contributor to various industry publications and has been writing the monthly column "Operating Tips" in the International Photographer magazine for the past eight and a half years. He is the author of Job Descriptions for Film and Video and is currently preparing Operating Tips for publication in book form.

Bill attended both UCLA and USC, receiving from USC a BA in radio-television in 1950 and an MAin

Fall/Winter 1995/96

cinema-television in 1951. He began camera work in film in the photographic department at North American Aviation where he shot extensive aerial footage for the awardwinning F-86 Sabre Jet training films. He subsequently entered the freelance market and shot several hundred films of various types including commercials, industrials, educa tionals, documentaries, TV programming, shorts and features, oftenlivingand working with primitive native tribes in exotic locations. In recent years, Bill has been concentrating his work on film sitcoms.

A native of California, he has always been active in organizations. Early on, he was elected Student Body President of James A Garfield High School in Los Angeles. In 1953, he helped establish the Association of Film Craftsmen, which became Local531 of NABET. He served two terms as Local President, during which he was instrumental in helping form NABET film locals in the United States and Canada.

He also served as Chairman of the Classification Committee and Director of Training for the local. In addition, he devised and became Chairman of the Trustees of a very successful low-cost pension plan for members which based vesting on money earned instead of hours worked.

The President's Award is conferred to acknowledge special individuals who have given substantially and unselfishly of themselves for the benefit of the Society and its purposes. This year SOC President Michael Frediani proudly presented the welldeserved 1995 President's Award to Mr. Bill Hines, SOC. '~

Society of Operating Cameramen

Page 19

1995 LIFETIME ACHIEVEMENT AWARDS Under the direction of Sydney Pollack, Ralph was operating cameraman on FILM CAMERA OPERATO The Scalp Hunters , Jeremiah Johnson , and The Way We Were. Under the direction of Francis Ford Coppola, Ralph worked on The Conversation with camFor Ralph Gerling it was just a short run from filming wrestling and horse eraman Haskell Wexler. Ralph's other films with Coppola include The Godracing in Chicago to doing time-lapse father , Part II. For Norman Jewison it photography for John Ott Pictures under contract with Walt Disney. was In the Heat of the Night, The Thomas Soon after moving to California, Crown Affair, Agnes ofGod, and A Soldier's Ralph was asked to film All-Star Golf Story. A few others to mention are All the President's Men, The Heart Is a Lonely at the Thunderbird Country Club in Palm Springs. He joined Local 659 and Hunter, Baby Doll, Dirty Harry, Little Big Man, Turning Point, Biloxi Blues, was hired to film daily news events for ABC-TV. Then Lamar Boren took him 2010, Running Scared, Presidio, Narrow to Nassau to film tmderwater segments Margin, Stay Tuned .. . for Sea Hunt and The Aquanauts.

The Society is proud to honor its very talented member Ralph Gerling, The following year in California Ralph assisted Haskell Wexler on sev- films. These include Who 's Afraid of the recipient of the 1995 Lifetime eral films then moved up to operating Virginia Woolf, The Loved One, The Best Achievement Award for Film Camera cameraman, a role he played in eighty Man, Medium Cool, and America, America. Operator.

RALPH GERLING, S

Joseph Epperson entered the field of television production as studio crew at Cleveland's WEWS, an ABC affiliate.

Next he was staff cinematographer at WVIZ-PBS where one of Joe's strongest traits became apparent. When he believes he can do a job, he takes the assignment and then solves the problem of how to get it done. Joe's dad, a television engineer, tells of the evening he came home to find the living room full of film and audio equipment. Joe explained he'd be working on WVIZ's first remote the next day. He asked his dad to teach him, in one night, how it all worked. The remote was a success.

After serving as a journalist in the Army, Joe started as a studio lighting director for Television Production Center (TPC) . By the time he left TPC he had become a jack-of-all-trades and problem-solver. He could run camera, video, audio (in a pinch), and design and build the furniture for a remote truck. But his love was still lighting.

In 1975 Joe came west to continue in the field of lighting. So why did he go into camera work with his lighting experience and love of the craft? "I needed a job to support my family."

Thus his position at MetroMedia

JOSEPH EPPERSON, VIDEO CAMERA OPERA

running camera on two of the most popular shows to hit the networks, Norman Lear's All in the Family and The ]effersons. Joe discovered he had a real knack for camera work; he not only found the work fun but also creative and challenging.

Since 1980 Joe has been a free-lance lighting director and camera operator.

Two of his favorite shows are Big Bird in China and the documentary To Save a Life. Whether he's working on a concert with 01' Blue Eyes, the KCET Christmas program or Full House his valued perspective is always the same.

"If you look at the entire package of a show, as a total production group, you're there in most every case to entertain an unseen public. Your mission is to entertain, educate, amuse and stir the emotions of that single viewer, or all of them.

"This is a very specialized profession. If you're going to be the best you can be in it, you have to do more than just point and focus a camera. In other

Fall/Winter 1995/96

words, a really good operator must evaluate dozens of aspects of every shot he offers the director or editor. A professional Camera Operator is part director, part DP, part set decorator, part wardrobe person, part make-up artist, part actor ... and always a showman!"

The SOC acknowledges Joe Epperson' s versatility, creativeness and talent by presenting the 1995 Lifetime Achievement Award for Video Camera Operator to SOC member Joseph Epperson.

Society of Operating Cameramen

Page 21

ANTHONY RIVETTI ASSISTANT CAMERAMA

Anthony Rivetti's early interest in illustration and advertising design developed his keen eye. "I can look at an architectural or mechanical drawing and easily visualize it in three dimensions. I used still photography as a tool in my design classes."

Tony's first industry break came in 1970 from Donald M. Morgan, ASC, who introduced him to Wally Bullock.

Tony began shooting cartoon animation , Hot Wheels, Sky Hawk, George of the Jungle, Super Chicken, and an animated short for Steven Bosustow that won an Academy Award, Is It Always Right To Be Right? During his animation years, Tony was taught by Dick Yuricich, Dave Stewart, Paul Maron and Bruce Jones. "They trained me to be focused, organized and think ahead; skills that I carried into live action cinematography." After work-

ing the graveyard shift in animation, Tony would go to the set of Ironside where he learned about being a live action assistant, assembling the camera, and especially how to get along with other departments on the set. His first live action job was as 2nd assistant on the TV series Night Stalker. He thanks

OUGLAS KIRKLAND ILL PHOTOGRAPHER

Douglas Kirkland was born in Toronto, Canada and spent much of his early professional life working in New York. After apprenticing with Irving Penn in the late '50s, Doug established himself with Look and then Life magazines. His early photo essays on Greece and Lebanon were followed by fashion and celebrity photography with such superstars as Marilyn Monroe, Judy Garland, Marlene Dietrich, and Elizabeth Taylor.

Page 22

A book of Doug's work, Light Years was published by Thames and Hudson in 1989 followed by ICONS, Creativity with Camera and Computer, from Collins San Francisco in 1993.

Some of the subjects interpreted in ICONS were Dustin Hoffman, Robert Redford, Kim Basinger, Sean Connery, Robert De Niro, and Dr . Stephen Hawking. His next book, Body Stories will be published in 1996.

He has photographed on the sets of over a hundred feature films. His work has been widely exhibited in Europe, Asia and the United States and he is a highly sought after commercial photographer. Within the last few years, Doug has lectured at The Smithsonian Institute, The American Film Institute in Hawaii, The Art Center of Design in Pasadena, Apple Computer Centers in New York and Los Angeles and Kodak Centers in Hong Kong, Singapore and Taiwan.

Since 1991 Doug has been making portraits of the industry's

Society of Operating Cameramen

Fall/Winter 1995/96

Ted Sugiura, the late Dick Barth, Mike Benson, Jack Green and Bruce Jones for sharing their knowledge.

"The industry is always changing.

Today, the computer has added another component to the way we conduct our usual duties as assistants.

But no matter how advanced the technology or sophisticated the cameras and lenses get, they can't take the place of skill and experience."

Tony's credits include Last Dance, Waterworld, Cobb, Stars Fell On Henrietta, and Unforgiven . He's worked 58 features, 33 Movies of the Week, 4 Mini-series, 4 TV Series, and over 230 Commercials. His other interests are flyfishing, woodworking, photography, and running Masters Track and Field. Tony's wife is a designer and his three sons are a 2nd assistant director, a photojournalist and a film loader.

The Society, with great admiration, presents to Tony Rivetti its 1995 Lifetime Achievement Award for Assistant Cameraman.

leading cinematographers and illustrious members of ASC to be used in Kodak's monthly On Film ad series.

To date, approximately forty of these have appeared in top trade publications. As the magnitude and value of this work was realized, along with Bob Fisher's interviews, it was expanded to include names like England's Freddie Young, BSC; France's Henri Alekan; Italy's Vittorio Storaro, AIC, ASC in addition to the large scope of Americans.

Doug opines that the camera department is usually the most underrated part of the movie industry.

"Without camera and crew, there would be no movie, yet it is normally the actors and directors who capture the public's attention." Doug and biographer Bob Fisher are preparing a new book, The Art of Cinematography, Learning a New Language, a book on cinematographers, through history and today, to be published in mid 1996.

The Society honors and appreciates Douglas Kirkland's philosophy, talent and artistic ability by presenting him the 1995 Lifetime Achievement Award for Still Photographer.

meras A Commentary

By Jeffrey Alan Goldenberg

Satellite dishes outside the los Angeles County Courthouse during the OJ Simpson trial.

ome weeks before the verdict in the OJ Simpson trial was in, a Harvard law professor, in an editorial published by the Los Angeles Times, lauded the potential educational advantages of a televised trial to the citizenry and concluded that it is "safe to say that the cameras are here to stay." Then in the week following the Simpson trial the judge in the Menendez double murder trial banned television cameras from his courtroom.

In truth, the only thing "safe to say" is that the debate continues. Yet, having read and heard from numerous commentators on the subject of cameras in the courtroom, one important aspect of courtroom coverage seems to have been ignored. The crucial question camera professionals need to ask during the infancy of courtroom broadcas ting is whether cameras may fairly portra y the essence of the trial.

When Court TV first hit the airwaves, it covered the date rape trial of William Kennedy Smith. For privacy reasons, when Smith's accuser took the stand, her face was digitally blocked out by w hat looked like a blue blob.

Unfortuna tely, because her facial expressions were obliterated, no one in the television audience could evaluate th e full impact of h er testimony.

One of the most important jobs a juror has is to assess what "weight" should be given to the evidence. Often this simply m eans whether or not a witness was exaggerating, had a faulty

S

Pnge 24

m emory or, in the worst of cases, was telling an outright lie. While the television public may differ from jurors in several aspects, the goals of both are the same in watching a witness: jurors and the public both want to learn the facts of the case.

In the best of worlds, television coverage of trials is a civic service that

•••••••••••••••••••••

Did the jury and the television audience see the same trial, the same evidence?

••••••••••••••••••••• may help the public better understand and appreciate our legal system. This may, it ha s been argued, lead to greater public acceptance of court rulings and jury verdicts. Unfortunately, experience has proven otherwise. Viewers who reach their own conclusions based on television coverage are likely to become dismayed, even angered, by contrary results in the real world of the courtroom. Such was the case when the police officers who used excessive force in subduing Rodney King were acquitted in their first trial. Such was the case when OJ Simpson wa lked out

Society of Opernting Cn/1/ernlllell

Fnll/ Winter 1995/96

of the courtroom a free man. In high profile cases, in which the public is bombarded constantly with instant trial analysis and commentary, everyone seems to become a Monday morning quarterback w hen jury verdicts are reached .

Before one criticizes the actions of a jury, one important question begs to be asked: did the jury and the telev ision audience see the same trial, the same evidence? During the Simpson trial, the answer clearly was no. While the public saw countless hours of attorneys bickering over countless evidentiary motions, the jurors were stuck in their hotel rooms, unaware of any of the issues before the judge.

On the other hand, when the jury saw graphic photos of the brutally slain victims, the public saw only the attorney presenting the evidence. Is it then surprising that jurors interviewed after the h·ial had different notions of the weight of the evidence from the public?

One fundamental probl em in courtroom coverage is the use of a single camera. Mounted high on a wall behind the jury box, the remotelyoperated courtroom camera in th e Simpson trial was limited to one continuous shot of the courtroom. Although the camera could pan, tilt, and zoom in and out, it could only provide coverage from one angle. Whil e a single camera may suffice for the majority of news stories, a trial is more ~>

like a sporting event: there are clearly two sides and more cameras are necessary to accurately portray the most important aspects of a trial.

First, trials constantly involve dialogues, usually between a lawyer and a judge or between a lawyer and a witness. Under current coverage standards, typically one party is shown on video for an extended period of time while only the voice of the other is heard. This presents a unbalanced portrayal of the trial, especially in relation to witness testimony. Juries must pay attention to the demeanor of both the questioning lawyer and the answering witness. If it is important that the public tmderstand a jury verdict, the public must be able to do the same.

Second, the courtroom camera sees everything from a single vantage point.

All participants are seen in profile, rarely the best coverage. And although prosecutors and the defendant are shown from the same angle, the type of shots used differ greatly, creating inequities. For example, during the Simpson trial, the prosecutors always

were seen in a high-angle wide shot showing a paper-strewn desk in fro nt of them, w hile the faces of defendant and his team of lawyers always filled the screen in a long shot, the long foca l length of the lens compressing their faces together. Simply put, the shots did not match. At times, from the nature of the shots, the prosecutors looked disorganized and harried, while the defense looked focused and concerned.

Third, as presently shown, visually a televised trial is boring to the point of tears. There are no reaction shots. There is no editing. There are no inserts. Only constant panning and zooming. A more dynamic style is necessary to maintain viewer interest.

A better, though admittedly more costly, idea would be to have more than one remote camera in the courtroom. Perhaps one camera could be mounted behind the judge to show the lawyers while another could be motmted behind the lawyers to show the judge and the witness. With two such mounted remotes, th e pub lic

could be provided with frontal views of all the key participants and would be able to see both sides of testimony and argument. This would require onair switching, and possibly a short time delay, but would enable the producer to show a shot of a lawyer asking a crucial question, then cut immediately to the witness for the answer, allowing the viewers to evaluate the demeanor of both.

Admittedly, courtroom media will never be able to provide the public with a duplicate of the jury's experience. Perhaps that should not be the ultimate goal in trial coverage. But, assuming that cameras will remain in many courtrooms throughout the United States, it is important that the gap in jury and television viewer perceptions be narrowed .

Jeffrey Alan Goldenberg is an associate member of the SOC. He is actively working as a camera assistant and also practices law in Los Angeles.

We Rent • Cameras • Lighting • Dollies • Grip • Jib Arms • Sound • Arri SR3's & 35BL4's Top quality new & used equipment also available for sale

alan gorllon BRIBrDriSBS Inc.~-+-+-................

1430 CAHUENGA BLVD. , HOLLYWOOD, CALIFORNIA 90078, USA TEL: (213) 466-3561

Fall/Winter 1995/96

FAX : (213) 871-2193

Society of Operating Ca111eramen

Page 25

J. L. Fisher, Inc. Motion Picture and Television Equipment

10918 BURBANK BLVD. • NORTH HOLLYWOOD CA 91601 (213) 877-9966 • (818) 769-2631 • FAX (818) 769-2341

Please Contact Us for a Complete Product Catalog

1995 TECHNICAL ACHIEVEMENT AWARDS

BY BILL HINES , SOC

TECHNICAL ACHIEVEMENT AWARD

TECHNICAL ACHIEVEMENT AWARD

VINTEN BROADCAST LTD

WEAVER/STEADMAN CO

For the invention, development and introduction by Ted Galione and Bill Vinten and Vinten Broadcast Ltd in 1972 of the Fulmar Pedestal, the first extended-range camera pedestal, a mobile three-wheeled camera platform with crab and circular steering modes which permit the camera a wide variety of surface moves as well as vertical rise and fall capability, thereby enabling the camera VINTEN CAMERA opera tor to more effectively PEDESTALS follow the action.

As all of this has significantly contributed to the art and craft of the camera operator, the Society proudly presented its Technical Achievement Award to Vinten Broadcast Ltd for its development and introduction of the extensively used, always reliable and versatile Vinten Camera Pedestals.

For the invention, development and introduction by Bill Weaver and Bob Steadman in 1973 of the first balanced fluid head which made it possible for fluidly smooth pan and tilt movement of the pan stick control head, thereby helping assure reliable, steady and balanced framing throughout a wide range of movement.

The company has recently designed into its tubular frame head the ability tO WEAVER/STEADMAN make tilt mOVeS Of plUS Or CAMERA CONTROL SYSTEMS minus 90 degrees. Because this is a significant contribution to the art and craft of the camera operator, the Society proudly presented its Technical Achievement Award to Bill Weaver and Bob Steadman for development of the always dependable Weaver/Steadman Camera Control Systems.

TECHNICAL ACHIEVEMENT AWARD

SAMUELSON ALGA CINEMA

- .· -.

~ .. . . . . .

•

I HII /1 · 1

0

!j ,l

····················

· ; ·

1

LOUMA CRANE

For the invention, development and introduction by Jean-Marie Lavalou and Alain Masseron, the inventors, and David Samuelson, the developer, for Samuelson Alga Cinema in 1974 of the Louma Crane. This was the first portable modular crane with remotely controlled camera head, which made possible placing the camera in otherwise difficult or impossible-to-reach vantage points.

As this contributes significantly to the art, craft and

safety of camera operators, the Society proudly presented its Technical Achievement Award to Jean-Marie Lavalou and Alain Masseron for the outs tand ing flexibility and reliability of the Louma Crane.

Fall/Winter 1995/96

Society of Operating Cameramen

Page 27

Film Format: 16mm Frame Rate: 1-70 F.P.S. Shutter: 180" Fixed

Film Fonnat: 35mm Frame Rate: 2-40 F.P.S. Shutter: 172.8"

Lens Mount: PL Magazines: 500', 1000' Weight w/ 500' Mag.: 9.5 Kg (21lbs.)

Film Format: 65mm Frame Rate: 3-50 F.P.S. Shutter: 180" Lens Mount: BNCR & Panavision Magazines: 200', 500 ' Weight w/ 500' Mag.: 11 Kg (24lbs.)

I~.t~~~.b~,f~~~~~~~~£tfpn picture camera system is coming in 1996 to

OLLYWC§)D

HCi\MER£\. INC.

T e l ( 8 18 ) 50 1-5000

·

t"ux ( 8 18 ) 78 4 -277 4

The celebrated Arri BL upgrade from P+S Technik w ith swing-over viewfinder, two-color glow, and quieter movement. W e are the only factory authorized Evolution service center in the W estem U.S.!

The new underwater motion picture camera and housing with incorporated video assist and 3 " b&w monitor. Operates at over four atmospheres!

Film Fo rmat: 35mm Frame Rate: 1-48 F.P.S. Shutter: 150"

Lens Mount: PL Magazines: 200 ' Weight w/ 200 'Mag. : 25 Kg

Film Format: 35mm Frame Rate: 3-40 F.P.S. Shutter: 180 "-144 "

Lens M oun t: PL Magazines: 400', 1000' We1ght w/ 400 ' Mag.: 16 Kg

H

OLLYW(ยง)D C/\MEQb. INC.

T e l ( 8 l 8) '50 1- 5000

r ux. (8 18) 784 -'2774

NASA RESPONDS TO AWARD The Board of Governors of the SOC voted to recognize the significant contributions in advancing the art and craft of operating cinematography in space made by the National Aeronautic and Space Administration, its support groups and mission astronauts by giving NASA the Society's 1994 Technical Achievement Award.

The CAMMY award plaque was received at NASA headquarters.

On behalf of the NASA support personnel and m1sswn astronauts who have captured America's space endeavors on film, I wish to thank the Society of Operating Cameramen for honoring us with your 1994 Technical Achievement Award. It is truly a wonderful honor, and the striking plaque will be displayed in a prominent place for all to enjoy.

Also, thank you for sharing the tapes of the Society's 1994 Lifetime Achievement Awards in which Buzz Aldrin was recognized. We appreciate the significance of these awards and are very grateful.

Sincerely, Laurie Boeder Associate Administrator for Public Affairs

Fall/Winter 1995/96

Society of Operating Cameramen

Page 29

Servicing Producers and Distributors Worldwide

HOLLYWOOD LOND<1N

Technicolor.

FILM SERVICES HOLLYWOOD PHONE: (818) 769-8500 FAX: (818) 761 -4835

•

LONDON

PHONE: (081) 759-5432 FAX: (081) 759-6270

•

ROME PHONE: (06) 418-881 FAX: (06) 411-1694

•

NEW YORK PHONE: (212) 582-7310 FAX: (212) 265-9089

and Its Human Body

By Dr Carl C Howard Ill and Dr Carl C Howard Jr ave you ever wondered just w hat forces are exerted on the back while using a Steadicam? This study was done to find that answer.

A dynamic Surface Electro Myograph (SEMG) was used to measure the increase in muscle activity while an operator was wearing a 70 lb Steadicam body-rig.

Measurements were taken on the muscles of the neck and low back during 5 different common motions of the Steadicam operator.

The measurements were taken first without the vest and Steadicam apparatus, and then whi le wearing the vest and Steadicam apparatus. The 5 motions were:

t1

1. Standing, moving the camera forward; 2. Standing, moving the camera to the side; 3. Standing, moving the camera to the back; 4. Standing, going to a lw1ging position; 5. Standing, going to a sea ted position.

The study was performed on three people.

Glenn DiVincenzo, SOC (Subject 1), a 6T' 185 lb male. Liz Ziegler, SOC (Subject 2) 140 lb female. Both of these people were experienced Steadicam opera tors. And Carl Howard, DC (Subject 3), a 6T' 210 lb male, who had never seen a Steadicam before, let alone operated one.

Methods

The basic principle of the SEMG is simple.

When a muscle contracts it gives off electricity which can be measured in micro-volts (1/1,000,000 of a volt). The more a m uscle has to work the more electricity it gives off.

For this study, measurements were taken along the posterior muscles of the neck along with the posterior m uscles of the low back.

Measurements were firs t taken in the 5 motions without the Steadicam app aratus and then with the Steadicam apparatus on. For each motion the two figures were compared and a percent difference was obtained . The results were quite interesting. ~>

Electrodes on Glenn DiVincenzo, soc register muscle activity during movement.

He turns as though moving a Steadicam to the side, while Dr Carl C Howard Ill uses the computer to record the results.

Figure 1. This graph shows the muscle activity during one such test.

Markers 1,3,5 show the camera at arm 's length.

Markers 2,4,6 show the camera close to the body.

950

a

/... \.

855

~

6

\

\

760

\

665

"'

...... \

.:'

570

!::;

;I

J)

0

>

~ 475

(.)

:E 380

285

190 ;

95

0 0

2

5

7

9

12

14

16

19

21

SECONOS

Fall/Winter 1995/96

Society of Operating Cameramen

Page 31

Theo Vande Sande ASC shot AlB comparison test footage with six types of anamorphic lens. Here is what he found: '' Q fI'vetheworked thirty-six features on as DP,

refinery, lit by hundreds of extremely bright lights, much hotter than the ambient daylight. The refinery was too big to balance, but streaks from all those point sources would have looked very strange. In fact, I used Arriscopes and there were no streaks."

three have been anamorphic," says Theo Van de Sande. "The latest anamorphic film is Bushwhacked, a Fox release."

Lens shortage "For about five years, there has been a shortage of anamorphic lenses. And new ones have been coming out-Arriscopes and Clairmonts, the Angenieux and Cooke zooms anamorphed by Clairmont. So I decided to shoot some tests. It's useful to know what the various alternatives are, how they perform."

Headlights "I remember a night exterior in which a series of approaching headlights on high beam shone directly into the anamorphic lens. It was a wrong-way chase scene, the camera car weaving between oncoming traffic. As each set of headlights came at us, the flare created linear streaks right across the frame.

The Director loved it-a more aggressive effect than the concentric flare rings you'd get with sphericals."

"For that shot, streaks had worked. For most, they probably wouldn't. To compare the six available types of anamorphic lens, I set up a point-source star test. Projecting the test footage, it was clear that the Arriscopes produced no streaking at any stop.

Wide open, the Cooke 40-400mm showed a small amount. So did Clairmont's own anamorphic lenses, but less than the lens types I had shot the high-beam headlights with. Two stops down, there was virtually no difference in streaking among any of them."

Star Test "Soon after that test, I made some long shots at dusk of a huge oil

A/B Test "Stopping down cures streaking but not distortion or breathing, of course. To test for those, I shot A/B footage, again with the five types of anamorphic fixed lens and with the Cooke 5 to 1 anamorphed by Clairmont. I also projection-tested five of the six and put them on the bench at two rental houses."

Zoom edge "One surprise for me was that the Cooke showed no edge distortion at its wide end, despite being a zoom. At 40mm, the Cooke drew a straight line better than several of the 40mm fixed lenses, but not as good as the Arriscope 40mm."

CirclesfOvals "The other surprise was that the Cooke didn't distort the center of the image when I racked

Orientable "On Bushwhacked, our first unit had two Moviecam Compacts and an ARRI 3. Our second unit used two ARRI 3s all the time, sometimes as many as five. Clairmont ARRI 3s have bright, orientable anamorphic finders. That's one of the three reasons I went with Clairmont once again: their expertise with Arriflex and Moviecam and now with anamorphic."

Theo Van de Sande's credits as Director of Photography include Once Around, Crossing Delancy, Miracle Mile, Wayne's World and The Assault, which won both a Golden Globe and a 1986 Academy Award for Best Foreign Film.

focus, despite being a modified spherical zoom! The only other lenses that di dn't change image shapes in the center of the screen were the Arriscopes. With all the other fixed lenses I tested, a center-screen circle became an oval as it went out of focus.

Some lenses made horizontal ovals, others made vertical ovals."

Distortion "Like the streaking, this center distortion was more pronounced in some of the fixed lenses. In two types, it was very noticeable.

In two others (including the Clairmonts), it was less so. With the Cooke and the Arriscopes, I couldn't see it in the test footage.

When I put the Arriscopes on the projector, I still couldn't see it."

Breathing "The Arriscopes didn't distort, but they did breathe. Every lens does that to some degree, including every spherical-it's just more noticeable with some anamorphics. My test footage of focus changes on still subjects showed the Arriscopes changing image size more than any of the others."

Availability "My second reason was the lens choice and lens availability (not the same thing) at Clairmont There's a big selection there, including some zooms and long anamorphics you can't find anywhere else. And they had enough of them to equip all our cameras.

And if they said we could have a certain lens, I knew we'd get it."

Tradeoff?

"I suppose I'm used to seeing subtle size changes on screentracking and unobtrusive zooming. And in real life, things change size with distance. But they don't change shape in real life, or in center frame through sphericals.

Arriscope circles got bigger, but they were still circles. If more breathing was their design tradeoff for no distortion, I think they made the right choice."

Choices "Their anamorphic Angenieux 10 to 1 was excellent, even wide open. From T4 on down, the Clairmont anamorphics gave us Steadicam shots as sharp as our Arriscope footage. Not quite as distortion-free, but they cost us about half as much to rent and they weighed four or five times less."

Discuss "My third reason for going with Clairmont, then and now;'' says Mr. Van de Sande, "Is that I can discuss things with Denny and Terry as filmmakers."

Size or shape?

"But the Arriscopes were still my first choice. I was more bothered by test objects in center screen changing shape than by their changing size. I've found that whenever focus shifts substantially it's because the action moves or someone in the foreground turns around, that kind of thing. The movement masks the focus change and the size change-or it can be made to 4343 Lankershim Blvd, N. Hollywood. Phone : (818) 761-4440. Fax : (818) 761-0861 North Shore Studios, Vancouver. Telephone : (604) 984-4563. Fax: (604) 984-4693 mask them."

CLAIRMONT

CAMERA

Results It must be noted that this study was performed on only three people and therefore should not be taken as scientific fact but as a basis from which to build our knowledge and better understand the usage of this equipment in a safe and effective manner.

The results of this study are best understood if we examine each position individually. The percent differences are WITHOUT the Steadicam apparatus vs.

WITH the Steadicam apparatus.

SUBJECTS AND RESULTS Subject 1 ... . 6T' 185lb ... ... Male ..... ... Experienced operator Subject 2 .. .. 5'11" 140 lb . ... Female .... Experienced operator Subject 3 ... . 6T' 210 lb ...... Male .. .. .. .. Inexperienced operator Position 1. Standing, moving the camera forward.

SUBJECT AREA 1 Neck 2 Neck Neck 3 Avg of All Neck

%DIFFERENCE +135% +44% +104% +94%

AREA Low Back Low Back Low Back Low Back

%DIFFERENCE +189% +253% +99% +180%

Position 2. Standing, moving the camera to the side.

SUBJECT AREA 1 Neck 2 Neck 3 Neck Avg of All Neck

%DIFFERENCE +24% +22% +162% +70%

AREA Low Back Low Back Low Back Low Back

Gender difference

%DIFFERENCE +118% + 180% +102% +133%

Position 3. Standing, moving the camera to the back.

SUBJECT AREA 1 Neck Neck 2 3 Neck A vg of All Neck

%DIFFERENCE +71 % +26% +49% +49%

AREA Low Back Low Back Low Back Low Back

%DIFFERENCE +226% +299% +310% +278%

%DIFFERENCE +266% +117% +104% +162%

AREA Low Back Low Back Low Back Low Back

%DIFFERENCE +143% +107% +77% +109%

Position 5. Standing, going to a seated position.

SUBJECT AREA 1 Neck 2 Neck 3 Neck Avg of All Neck

%DIFFERENCE +354% +93% +48% +165%

AREA Low Back Low Back Low Back Low Back

%DIFFERENCE +148% +64% +63% +92%

•••••••••••••••••••••••••••••••••••••••••••• Camera's Effect on Low Back Figure 2. Moving the Steadicam away from the body dramatically incsreases the force on the low back.

70 lbs

< Page 34

9"

Society of Operating Cameramen

Another interesting finding was that the female of the subject group used the muscles in her low back 3 times more than the muscles in her neck, whereas the men used the two muscle groups virtually the same amount. I poshllate that these results were obtained because females are proportionally stronger in the lower half of their bodies, and males are more proportionally equal from upper body to lower body.

Steadicam effects

Position 4. Standing, going to a lunging position.

SUBJECT AREA 1 Neck 2 Neck 3 Neck Avg of All Neck

What do all these numbers mean?

The main information these numbers reveal is that the muscle activity of the three subjects tested increased an average of 108% in the neck and 158% in the low back over the five tests. Certain individual tests revealed increases that were significantly higher than others.

For example, in position 3 (Standing, moving the camera to the back) while there was only an average of 49% increase in muscle activity in the neck, there was an average of 278% increase in muscle activity in the low back. From what this author understands, this motion is used the least of the 5 motions studied, and for good reason. The large increase in muscle activity combined with the twisting motion necessary for this motion can be dangerous, significantly increasing the possibility of a low back injury.

27"

Fall/Winter 1995/96

210 lbs

>

To examine the effects of the motion of the Steadicam on the body we must look at graph 1. (See previous page.)

Graph 1 is taken of subject 3 during position 1, on his low back. (Standing, moving the camera forward) Lines 1, 3, & 5 represent the camera at arm's length, where lines 2, 4, & 6 represent the camera close to the body. With the camera being on the right side, you can see that with the camera at arm's length (the top of the graph) the muscles on the right side of the low back are a v eraging around 900 micro-volts, whereas at the bottom of the graph, with the camera close to the body, the muscles are averaging 90 micro-volts.

This means that the camera at arm's length puts 10 times the amount of stress on the muscles of the low back than when the camera is at the side of the body. So let's put this into real numbers. Assuming the entire camera

apparatus weighs approximately 70 lbs, and the average width of a person's torso is 9 inches. When the camera is 9 inches in front of the body, you are putting 70 lbs of force on the low back. When the arm is fully extended and the camera is approximately 27 inches in front of the body, you are putting 210 lbs of force on the low back.

(See Figure 2, bottom of facing page.)

This is quite a substantial force and explains the ten fold increase in muscle activity with the camera at arm's length .

.t.i , F'p , r o z , r n

4

S: C f' D

5

· P

~ ·

.• "

Standing, going to a lunging position.

Conclusion The question remains, whatcanbedone to use the Steadicam more safely? I have four main recommendations for those who will be using the Steadicam.

1. Proper posture

Proper posture in this case means keeping your legs tmder your weight at all times and avoid bending at the waist as much as possible. If it is required of you to put yourself in an awkward position with the Steadicam, have spotters standing close by to help you with any difficult movements.

2. Keep the camera as close to your body as possible.

As shown in the figures and diagrams, the closer to your body you keep the Liz Ziegler moves the camera from a standing position to the back.

camera the less stress you put on your back and the less chance you have of injuring your back. When those times arrive when you must hold the camera at arm's length, only do it for short periods of time and use a support if possible.

3. Try to avoid standing and turning the camera to the back.

The combination of the twisting involved and the stress put on the low back greatly increase the possibility of a low back injury, particularly a discal injury.

4. Maintain a good exercise program.

Although no exercise program will guarantee freedom from a back injury, a good exercise program can greatly decrease the possibility of a back injury.

How?

I have four main recommendations to keeping a strong and healthy back.

1. Strengthen the muscles of the low back.

2. Strengthen the abdominal muscles.

3. Strengthen the leg muscles including glutes, quadriceps, hamstrings, and calves.

4. Regularly stretch the hamstrings and low back.

Proper exercise and stretching even for people already in great shape will undoubtedly make operating a Steadicam much safer.

Fall/Winter 1995/96

Stay safe

When filming with a Steadicam or any other type of camera for that matter always be aware of the safety measures involved. Taking a few moments to think of a safer way to accomplish a shot may save you immeasurable amounts of time, money, and pain.

80% of all people will experience low back pain at some point in their lives.

Don't push the odds higher by not following good safety procedures and good common sense.

Acknowledgements

The authors would like to thank all those who gave their time and effort to make this project possible and successful: Bill Hines, Liz Ziegler, Glenn DiVincenzo, Ray Stella and David Rohman, all active SOC (.,... members.

Dr Carl C Howard III -After he completed his undergraduate studies at the University of California at Irvine in BiolOgtj, he graduated from the Los Angeles College of Chiropractic. He is currently in private practice in North Hollywood, CA. Dr Carl C Howard Jr- Received his BS in Microbiologtj from Lewis and Clark College in Portland, Oregon and his Doctorate of Chiropractic from the Los Angeles College of Chiropractic. He has been in private practice in North Hollywood, CA for 32 years.

Society of Operating Cameramen

Page 35

Focusing our best wishes toward all skilled professionals of the Society of Operating Cameramen .

•

=- ·

FOTO·KEm , FOTO-TROniCS

Motion Picture and VIdeotape Laboratory

CENTRAL PARK WEST DR. QUINN - MEDICINE WOMAN TOUCHED BY AN ANGEL WALKER, TEXAS RANGER • COBRA THE MIGHTY MORPHIN POWER RANGERS NEW YORK UNDERCOVER • SISTERS THE COMMISH • EXTREMES WISHBONE • HIGHLANDER LAND'S END • AGAINST THE GRAIN GUITARMAN • HAWKEYE • FROSTFIRE THE RUBY SILVER • NORTH OF 60 SWEET JUSTICE • UNDERGROUND JAKE WSITER • MARKER ODYSSEY • EVELYN LAU'S DIARY HORSEMEN • MADISON • TAILHOOK BYRDS OF PARADISE • TRAPS

First choice for 16mm TV production.

The Arriflex 16 SR3.

The Arriflex 16 SR3 is the most frequently selected camera for 16mm television production. It delivers optimum performance while meeting the needs of today's tight production budgets. Its standard features include the brightest viewfinder, Time Code on film, Super 16 format for HD compatibility and microprocessor control for seamless integration into today's computer driven post environment.

The Arriflex 16 SR3 camera system is the professional's choice, and is available at major rental houses throughout North America.

ARRI~

ARRIFLEX 16 SR3 ARRIFLEX CORPORATION •

617 Route 303 , Blauvelt, NY 10913-1123 • (914) 353-1400 600 N. Victory Blvd ., Burbank, CA 91502-1639 • (818) 841 -7070

Spina/Injuries Care

by Ron Saltman, D.C.

How to Stretch:

The set is so quiet you could hear a grip sniffle. The camera glides in as the actress leans forward closing her eyes and seductively kisses the handsome star.

"Cut! Print it!" states the director.

"New deal!" yells the A.D. "Yeow!!" cries the camera operator as he grabs his lower back.

He painfully releases the hand-held Panaflex into the justbarely-there-in-time arms of his first assistant, then hobbles off the set. Is there a (real) doctor in the house?

f you're a camera operator, first assistant or dolly grip and the scenario above seems like deja vu all over again, read on. Having visited a set recently I observed the activities of the camera operator, first assistant and the dolly grip, so that I could help you to understand what causes spinal injury in your work and what you can do to prevent it.

A voiding injuries and maintaining good spinal health is critical in today's job market, especially in the highly competitive entertainment industry where you make your living every day.

Once I'd spent a couple of hours observing a routine shoot and personally handling a camera in a handheld configuration, it was easy to conclude that all major and most minor muscle

Page 38

groups are used-and abused-in your daily work with camera equipment.

Cut to the Chase Let's get to some specifics. If you're a camera operator using either the fixed eye-piece of an Arriflex IIC or the Panaflex-X for example on a dolly or a tripod, you must lean forward (forward flexion), which puts strain on the lower neck muscles. There will also be prolonged strain on the upper thigh (quadriceps muscles) due to your semi-squatting position during many shots. Even during "normal" shots you might find yourself in the position of bending to the left while thrusting your right hip laterally. This jams the lower lumbar vertebral joints on your

Society of Operating Cameramen

~>

Fall/Winter 1995/96

Stretching should be done slowly without bouncing. Stretch to where you feel a slight, easy stretch. Hold this feeling for 5-30 seconds. As you hold this stretch, the feeling of tension should diminish. If it doesn't, just ease off slightly Into a more comfortable stretch. The easy stretch reduces tension and readies the tissues for the developmental stretch.

After holding the easy stretch, move a fraction of an Inch farther Into the stretch until you feel mild tension again. This feeling of stretch tension should also slightly diminish or stay the same. If the tension increases or becomes painful, you are overstretching. Ease off a bit to a comfortable stretch. The developmental stretch reduces tension and will safely Increase flexibility.

Hold only stretch tensions that feel good to you. The key to stretching Is to be relaxed while you concentrate on the area being stretched.

Your breathing should be slow, deep and rhythmical. Don't worry about how far you can stretch. Relax and stretch: limberness will become just one of the many by-products of regular stretching.

Before beginning any exercise program, consult your health care professional.)

NSAS: Neck, Shoulder & Arm Stretches 8. Interlace your fingers above your head. With your palms facing upward, push your arms slightly back and up.

1 0. Shoulder Shrug: Raise the top of your shoulders toward your ears until you feel slight tension in your neck and shoulders.

15

8 10

9. With arms overhead, hold the elbow of one arm with the hand ofthe other arm. Keep knees slightly bent 1 inch).

9 • •••••••••••••••••••• left side and strains the right lateral hip musculature (gluteus medius and tensor fascialata). Finally, your neck is bent over slightly to the left and forward.

You probably already know there is less strain to your neck when using a camera with an adjustable eye piece.

SEE: NSAS #8,9, 10,11 I 16 LBS# 2,8,9, 10,13 (LBS on page 42) First assistants must change magazines many times during the day on an average shoot, which brings your shoulder's rotator cuff muscles, in addition to your neck and upper neck muscles, into play. When you take the handheld camera from the operator, all of your spinal muscles are used with your lower back in flexion. Great stress is placed on your lower back muscles. I would highly recommend that all first assistants and camera operators wear a lumbar support brace if a lot of handheld shooting is slated for the day.

SEE: NSAS #8,13,16,17,18 LBS #2,8, 13, 14,15

15. Stand in a doorway and place your hands about shoulder height on either side of the doorway.

11. To stretch the side of your neck and top of shoulder, lean your head sideways toward your left shoulder as your left hand pulls your right arm down and across. Do both sides.

16. Hold your left arm just above the elbow with your right hand.

Gently pull your left elbow toward your opposite shoulder as you look over your left shoulder. Stretch both sides.

16 13. The next stretch is done with your fingers interlaced behind your back.

Slowly turn your elbows inward whilestraightening your arms.

17.With your palms flat and fingers pointed toward you, slowly lean backwards to stretch the forearms and wrists.

13 ••••••••••••••••••••• Using the handheld camera appears to compromise more muscles and leave the camera operator most susceptible to injury. Downward shooting uses upper body strength and compromises the lower back. Rotation (panning) shots can compromise lower back muscles especially if your feet have to stay in one place to better facilitate a certain shot. Also in handheld, be especially careful of your lower back when you have to arch backwards while shooting upwards.

SEE: NSAS #8,9,11,15,16,18 LBS #2,3,8,9, 10,11 I 13,14 =»

Fall/Winter 1995/96

18. With legs bent under you, reach forward with one arm and grab the end of a mat, carpet or anything you can hold onto. Hold stretch for 20 seconds.

Stretch each side. Don't strain.

Society of Operating Cameramen

18

Page 39

200

S/SEC.

26PO

s

The 4ML Reflex . .. a lightweight user friendly high speed 35mm camera with dual register pins and video assist.

4MLwith 400' magazine

T

oday, many cinematographers are pushing the limits of the equipment and materials available- film stocks, lights, cameras, lenses, etc.

Now, with the 35mm-4ML reflex you can break through some of those barriers. The 35mm-4ML is a compact, lightweight user friendly high speed camera, which is capable of frame rates from 10 to 200 frames per second.

Its cartridge-load type magazine makes it ideal for high paced sports and action type cinematography.

Yes, these cameras were originally developed for aerospace and military applications and have the ability to withstand extremely abusive environments. The 4ML camera was used in the filming of "Wings of Apache" where it was externally mounted on

an Apache helicopter and in "Top Gun" where there were two cameras internally mounted in the cockpit of an Fl4.

Because of its compact size and low profile, cinematographers Mike Hoover and Don King utilized the camera extensively during the filming of "Endless Summer Il" Special water housings were manufactured for the camera, which enabled them to capture incredible surf shots in waves as high as 20 feet!

Film Movement The 4ML movement uses 2 register pins and 4 pulldown pins and maintains registration to a tolerance of ±.0002 inches. In other words, it is extremely steady and ideal for matte

work. Its oiling points are minimal, which make the system very user friendly. Similar to our 16mm Actionmaster 500 camera, each magazine contains its own movement. Threading the magazine is fairly simple, and once your mags are loaded, the camera reload takes only 5 seconds. They are available in 200 loads and 400 foot loads.

Size The 4ML can be easily converted to accommodate size and application requirements. There are 3 configurations.

• Reflex with video tap.

• Reflex only.

• Non-reflex (point and shoot).

When used in the reflex mode with

video tap, crystal control, and 400 foot magazine, the camera is 91/s inches high, 17 inches long, and 13 1;.i inches wide. In the non-reflex mode with a 200 foot magazine, the camera is 5Yz inches high, 14Yz inches long, and 51;.i inches wide. In either configuration, it is most likely the smallest high speed 35mm camera in the world.

Video Tap We use the same video camera used on our faster 35mm cameras. The system utilizes a high resolution camera which incorporates an elec-

Strobe Sync A highly accurate mid-shutter pulse is supplied for strobe synchronization through a BNC connector at the rear of the camera. This makes it compatible to most strobe systems available in the motion picture industry.

Power The camera is powered from a single 28 volt DC battery pack that is no larger than a loaf of bread and weighs a mere 10 pounds. This supplies the video tap as well, using a step-down 28 volt - 12 volt converter located in the camera.

Adjustable Shutter The shutter is adjustable from 144 degrees in the following one stop increments: 144°, 72°, 36°, 18°, and 9°. This allows you to sharpen your images without the additional cost of strobes. Shutter adjustment is easily done without use of tools.

tronically gated shutter that sharpens your video image by eliminating motion blur. This allows you to analyze your video playback with a greater degree of accuracy. The video camera is powered with 12 volts DC, which is fed from the film camera.

This eliminates additional batteries and cables.

Speed Control Speed control is a tach feed-back servo system which maintains frame accuracy of ±1 frame or 1%, whichever is greater. An optional digital speed control with crystal reference is available, which holds frame rate accuracy to ±.01 frames. This means the camera will be compatible to standard HMI lights when used at speeds within the recommended HMI (windows).

The 4ML and its 16mm counterpart, the 1PL, have been put to the test over years of service at the launch facility at Kennedy Space Center where approximately 120 of these cameras are in service. About 40 of these cameras are mounted in special nitrogen-cooled housings directly on the mobile launch vehicle, some literally within 20 feet of the solid rocket boosters. During the launch sequence, the cameras are used to photograph umbilical cord separation, main engine ignition, explosive retaining bolts, and 100s of other variables. The cameras are subjected to an estimated 28 Gs in all three axes and acoustic pressures up to 160 dBm. The cameras were chosen not only for their ability to survive these conditions, but for their ability to take high resolution pictures in this abusive environment.

Contact Us At Photo-Sanies , we design cameras Compatibility for the most scrutinizing cinematogThe camera is fitted with an raphers, engineers, and, yes, even Arriflex eyepiece and is compatible rocket scientists. We have a full line to the 15mm Arri rod base. If you of 16mm and 35mm high speed choose to use Panavision lenses, cameras for rental, including the we have Pan-Arri adapters to confastest 35mm cameras used in producvert to their lens support brackets, tion today. So, when you feel the need matte boxes, and other accessories. for speed, at Photo-Sanies we have the The lens mount is interchangeable equipment and personnel to assist and can be supplied in BNCR, Pana- you. Please contact Conrad Kiel or vision, or PL. It is also possible to Shawn Jolicoeur at 818-842-2141 or order the camera in a super 35 format. fax 818-842-2610.

Various ground glasses are available upon request.

Reliability This camera, like our other pinregistered cameras, has a carefully calculated safety margin for reliability and longevity.

4ML with 200' magazine

Photo-Sanies, Inc. 820 S. Mariposa St., Burbank, CA 91506

Grips don't get off without maintenance coaching either. You folks are either moving heavy and awkward equipment and walls or pushing the dolly in forward flexion, which puts your lower back muscles in a compromising position while mainly using your upper body strength.

SEE: LBS #2,8,9, 10, 13,15

Rambo V (Back In Training) From my clinical experience I've concluded that many of my patients

need to train for their careers as rigorously as a professional athlete does.

Athletes exercise to perform better as well as to avoid overuse injuries traumatic injuries are often unavoidable but are usually lessened by strength training and regular preventative care.

Here are some suggestions for better fitness at work and prevention of injuries: • Whether you're a camera operator, first assistant, dolly grip or electrician

you should do a 10-15 minute full body stretching routine before starting your work day. You should also weight train whenever you're not working excessive hours. Try to hit the gym a minimum of two times per week, and pay particular attention to the following areas in your workout: neck, mid-back and lower back.

Upper body and leg strength is also very important, specifically: pectorals; upper trapezius; biceps and triceps; ~>

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

LBS: Lower Back Stretches 2. Straighten both legs and relax, then pull your left leg toward your chest. For this stretch keep the back of your head on the mat, if possible, but don't strain.

3. Interlace your fingers behind your head and rest your arms on the mat.

Using the power of your arms, slowly bring your head, neck and shoulders forward until you feel a slight stretch.

Hold an easy stretch for 5 seconds. Do not overstretch.

3

9. Straighten your right leg and, with your right hand, pull your bent leg up and over your other leg as shown above. Turn your head to look toward the hand of the arm that is straight (head should be resting on the floor). Make sure the back of your shoulders are kept flat on the floor.

00 .

0

lis. 2

8. To relieve tension in the lower back area, tighten your butt (gluteus) muscles and, at the same time, tighten your abdominal muscles to flatten your lower back. lift the left leg over the right leg.

8 Page 42

13. With your feet shoulder width apart and pointed out to about a 15° angle, heels on the ground, bend your knees and squat down. It is a great stretch for your ankles, Achilles tendons, groin, lower back and hips.

Hold the stretch for 20-30 seconds.

Be careful if you have had any knee problems. If pain is present discontinue this stretch.

13

14. This stretch should be felt in front of the hip and possibly in your hamstrings and groin. This will help relieve tension in the lower back. Hold the stretch for 20 seconds.

1 0. Concentrate on keeping the back of your head down, and then curling your head up toward your knees. Hold 5-1 0 seconds.

15. Use this stretch after sitting for an extended period of time.

11. Stretch and then relax. This is a good stretch for the entire body. Hold for 5 seconds.

Society of Operating Cmneramen

Fall/Winter 1995/96

15

don't neglect quadriceps and hamstrings.

• I would suggest having a lumbar brace and wrist support available when needed.

• Air sole tennis shoes or inserts made with shock absorbing materials such as Sorbathane will help prevent or reduce painful feet as well as lower back pain caused by prolonged standing. If you are having problems wi th your feet then custom foot orthotics may be necessary.

Prime Cut You should watch your diet too. Do your best to cut back on foods with sugar. Excessive sugar consumption can lead to arthritis as well as fatigue and "edgy nerves."

It's important to keep your weight as close to normal as possible.

Obesity leads not only to fatigue but to lower back, knee, hip and ankle problems. Eating a diet of less mea t, dairy products and refined foods, choosing instead more fr uits, vegetables, nuts and grains is highly recommended.

Reduce your intake of both saturated fat and high-cholesterol foods. The most common sources of saturated fat are animal and who le-milk dairy products. Eat no more than six ow1ces of animal protein- including fishdaily. This usually means digging down deep for the willpower to choose the good stuff from the lunch caterer when everyone else around you is happily drowning in massive doses of cholesterol-rich, mega-calorie, mondofat foods .

LOCATIO N NEWSFLASH!

Swiss steak swimming in fatty gravy and slabs of frostingladen chocolate cake are not part of the four basic food groups.

••••••••••••••••••••• "I would highly

recommend that all first assistants and camera operators wear a lumbar support brace if a lot of handheld shooting is slated for the day."

••••••••••••••••••••• acid build up), the sore and achy feeling.

2. X-RAYS, for determining: a. Misalignments b. Arthritis (i.e., degenera tive changes), usually due to old injuries or poor posture. c. Spinal anomalies - defects in the vertebrae 3. NUTRITIONAL EVALUATION a. From case history b. From nutritional questimmaire c. Dietary recommenda tions d. Recommendationofnu tritional supplements 4. TREATMENT a. Soft tissue mobilization b. Spinal adjustments c. Stretching regimen designed for home and work d. Strengthening exercises 5. COUNSELING about your best choice of daily life activities 6. RECOMMENDED NUTRITIONAL SUPPLEMENTS as needed.

Nutritional evaluation an d diet recommendations

Into The Sunset Now is a good time to begin treating your spine like any piece of precision equipment that you use on the set.

How smooth a shot would you get with a Steadicam that is out of balance? Good maintenance and proper "repair" when you are out of whack is vital to your health and your career. <.--

Dr. Snltmnn is a Motion Picture Health and Welfare provider. He can be reached at his office in Toluca Lake, (818) 508-6188, for answers to questions you have about your own set of spinal stresses or for literature about the brand-spectrum benefits of chiropractic care. His specialties include spinal and extremity manipulation, muscle manipulation and nutritional counseling.

Diagrams excerpted from STRETCHING copyright 1993 by Bob & Jean Anderson.

For afree catalogue contact Stretching Inc. PO Box 767, Palmer Lake, CO 80133-0767 or cal/1-800-333-1307.

Director's Cut Finally, if you have never seen a chiropractor, here's a rundown of wh at a thorough examination should include: 1. SPINAL EXAMINATION: A check for spinal misalignment and spinal fixations (vertebrae that don't move properly), m u scle spasms (trigger points due to lactic

How to sit up from a lying position: Bend both knees and roll over onto one side. While resting on your side, use your hands to push yourself up into a sitting position. By using your hands and arms this way, you take the pressure or stress off your back.

Fall/Winter 1995/96

Society of Operating Cameramen

Page 43

T)/:FEN the best filters

• • •

FAST FRAME-FREE FIELD-RELIABLE FITS 4" x .. . FILTERS FINGERTIP POSITIONING FILTERS ROTATE INDEPENDENTLY FACILITATES CREATIVITY FOR THE RIGHT PRICE

... the best way to use them For more facts . ..

Tiffen Technical Center Tiffen Manufacturing Corp.

3500 West Olive Avenue 90 Oser Avenue Suite 810 Hauppauge, NY 11788 Burbank, CA 91505 1-800-645-2522 Fax (516) 273-2557 1-800-593-3331 • Fax (818) 843-8321

Electronic camera and sound operators are the eyes and ears of the

War Stories

from the

by Stan Wedeking and jeffrey Alan Goldenberg

' os Angeles

N

ews camera and sow1d operators are the eyes and ears of the modern world. Through their efforts, anyone with a television set may see and hear images from wars, riots, natural disasters, and other major news stories-often as these events are lli1folding. Satellites provide us with instantaneous communication of this electronic information, crossing over continents and oceans, turning the world into one big-if not happy-community.

But although satellites easily bounce microwave information from war zones to our living rooms, these images don't come as easily to the camera and sound operators in the field. At best, their job is demanding, at worst, it's dangerous.

Sometimes it may even be tragic, as

Page 46

those covering a news event fall among its victims.

From Beirut to L.A. Take William Purdy II, SOC. For over three decades as a news cameraman, using first film then later electronic cameras, Bill Purdy has spanned the globe covering major events in Korea, Vieh1am, Israel, Lebanon, China and the Philippines. Danger has dogged his steps.

For example, in 1982, shortly after the Israelis invaded Lebanon, Purdy was assigned to tape NBC news anchor Tom Brokaw's interview with PLO Chairman Yasser Arafat, who was holed up on the west side of Beirut. To get the story, Purdy and Brokaw along with producer Mike Mosher and sound technician

Society of Operating Cameramen

Fall/Winter 1995/96

Peter Yu, had to travel across the Green Line, a no-man's-land dividing the city that was watched by both the PLO headquartered on the west side of the city and the Israelis on the east.

Snipers from both sides constantly took potshots at one another across the Green Line.

The only way the news crew survived their trip to the west side of the war-torn city was by finding a good local driver, who drove like a "bat outta hell" to deposit the newsmen at their destination. Heavily bombed, western Beirut was a battle-zone, strewn with rubble. Yet the five-star Commodore Hotel, where the press stayed, stood out like a jewel, a ==*>

24 hours a day. Every day.

When you need a particular

Kodak color negative motion

picture film in a hurry, call

the hoor aver Express Film

Delivery ervice. Call as late

as 2:00a.m. for deliveries

by noon the next day

in mo r rime zones in the

continental United rates. o,

when you need film after normal

busines hours, call hoot aver

Express. We'll get you your

Kodak motion picture film.

testament to more affluent, peaceful days in the tree-lined streets of what was once known as the Paris of the East. Indomitable, even in those

••••••••••••••••••••• Purdy felt as though he was constantly in the cross-hairs of some sniper.

•••••••••••••••••••••

days of strife, the Commodore still had a fine stock of vintage wines, Beluga caviar, and the finest French cuisine.

Top drawer. Purdy stayed there for two nights.

In the blue-gray streets outside the plush hotel, the sound of gunfire echoed across the rubble. Purdy felt as though he was constantly in the crosshairs of some sniper. Apparently, Arafat's people felt their leader was in grave danger as well. The PLO demanded that Brokaw's interview with the chairman take place in a make-shift bunker, well below street level. The crew climbed down into the bunker and waited, afraid, but Arafat never arrived.

Ever cautious, the PLO staff feared that Israeli intelligence agents were watching Brokaw, in hopes that the high-profile newsman would lead them to Arafat.

Once out of the bunker, the news crew placed their fate, once again, in the hands of their driver who whisked them back across the Green Line to the Israeli stronghold. "In foreign countries," says Purdy, "your local driver is really the boss. He's the only one you can trust to get you in and out quickly.

Only he knows the way."

Four years later, in 1986, Purdy was in the Philippines covering the aftermath of the long-time strongman Ferdinand Marcos' electoral victory over Corazon Aquino. Angered Aquino supporters openly protested, accusing Marcos' party of widespread cheating and corruption. For weeks, Purdy covered the protests, waiting for something to happen. Then one evening, after a long day's work, Purdy was taking a well-deserved bath in his room at the Manila Hotel when the phone rang. Aquino forces, he was told, were on the move toward the

Page 48

palace. Within minutes, the soaking wet Purdy, camera in hand, found himself in front of the palace gates with his sound technician Yu. Priests and nuns, fearful of bloodshed, were pleading with the Aquino supporters to keep them from storming the gates. Then, as an American helicopter whisked Marcos away from the palace, the protesters crashed the gates, carrying Purdy and Yu in their wake. Inside the palace, anarchy reigned. Purdy rolled his camera on people smashing windows, trashing paintings, and setting fire to curtains. "We were caught in the throng. There was no way to go but forward."

As if that wasn't enough danger for one tour of duty, six months later, after Aquino had gained power, Purdy was once again caught in a march on the palace by twenty or thirty thousand

Bill Purdy in los Angeles

people, this time members of the Communist labor movement. The palace grounds were ringed by barbed wire. Behind the wire, the Philippine Marines stood at attention, rifles at the ready. As the crowd bore down on the palace, Purdy's driver handed him a ladder so he could get above the throng for a better view of the action. "The demonstrators flowed down the street like waves of water," Purdy recalls.

"Armed with sticks and clubs, they

Society of Operating Cameramen

Fall/Winter 1995/96

were a force to be reckoned with. I got off a few good establishing shots: The Marines. The barbed wire. The crowd.

I assumed the protesters would stop at the gates, but they didn't. They just kept on pushing past the barricade. " Suddenly shots rang in Purdy's ears. His sound man, to whom he was tethered by a video cable (in those days the sow1d technicians recorded both audio and video on three-quarter inch tape), yanked him off the ladder.

By the time the two of them had scampered for cover behind a pillar, the shooting was over. In a matter of minutes, it was eerily silent. Purdy kept his camera rurming on the rustling debris of litter, discarded weapons, and shoes scattered on the ground.

All around him were bodies, laid waste by the palace guard. A mindnumbing carnage, unlike anything he had ever experienced, even during the worst days of his three ninetyday tours of duty in Vietnam. Soon, trucks rather than ambulances arrived and people began to scoop up the bodies.

Purdy stayed on the job.

"I continued to roll. I tried not to think about what was happening. I could hear myself breathing. I just kept repeating to myself, 'This is good stuff. You know you gotta roll on it."'

Purdy was not impervious to the dangers of his profession. He was greatly affected by the tragic deaths of his colleagues, Australian reporter I cameraman Neil Davis and his sound man Bill Latch during the 1985 coup d'etat in Thailand. Davis, a legendary cameraman was so brave that at the end of the Vietnam conflict, while the Americans took out their last helicopter, he remained in Saigon so he could get the famous shot of a North Vietnamese tank crashing through the palace gates. After the war, Davis moved to Thailand, from where he covered all the hot stories in Southeast Asia. Coups were common in that area ~>

TEL: TEL: TEL: TEL:

213-469-2774 808-524-0052 713-862-8487 801-467-6671

FAX: FAX: FAX: FAX:

213-469-1217 808-524-2205 713-862-1487 80 1-467-6674

of the world. He covered them all. So when NBC's Tokyo bureau chief asked him to cover the Thai coup, he was not particularly concerned.

Davis and Latch were given a routine assignment: to cover a radio tower that had been seized. Davis was

••••••••••••••••••••• 11

]ust when you think you Ire safest/ 1

that S when it hits you.

-Bill Purdy

11

•••••••••••••••••••••

so comfortable that he showed up on the scene in his tennis clothes, shortly after a game. A tank protected the gate.

Davis set up his camera facing the tank and got ready to deliver his report.

Without warning, the tank let go a round of ammunition. It hit a wall near Davis, killing him instantly. The camera fell to the grow1d, still running.

Through its lens the shrapnel-scarred Latch could be seen crawling away from the blast. Latch died later tha t day in a Thai hospital from loss of blood. "The news world was stwmed," Bill ruefully recalls. "Neil was a careful guy. He didn't make mistakes. Just when you think you're safest, that's when it hits you."

The untimely deaths of Davis and Latch, as well as his experience in Manila, helped to convince Purdy it was time to throw in the towel and return to the United States. "I began to worry about my safety and anyway, after the fall of the Berlin Wall, NBC was begirming to trim back its overseas bureaus."

What a cruel irony it was that found Purdy, shortly after he had covered the war zones of the world, shooting an event more dangerous than any thing he had seen overseasthe 1992 riots on the streets of Los Angeles. "I had just come back from vacation. I think I still had a couple of days left," Purdy recalls, "when I happened to catch the riots on TV. Immediately I called in to work. I was so used to being on the scene."

When Purdy arrived on that scene a short time later, the streets of Los Angeles were raging out of control. He ~>

Pnge 50

Society of Operating Cnmernmen

Ca rl Schumacher on Waikiki for the TODAY SHOW week in Hawaii wit h m icrowave gear in fron t of the Royal Haw aiia n Hote l on Oahu .

Feeding the Bird Satellite transmission of live news broadcasts from the field has improved greatly in recent years.

At one time, to cover a breaking news story, a crew needed to travel to the scene, shoot and record the story, arrange for the film to be processed, then speed the processed film and tape to the nearest network affiliate that had the capability to feed the video information to the network.

Carl Schumacher, SOC, one of the few film cameramen to make the transition to electronic journalism, remembers that "In those days, our lab would run 30,000 feet of film per day. Yetourlab wassoefficientthata camera operator could walk in with a hundred feet of film at 10:30 at night and the network could have it ready to air by 11:00."

Today, news broadcasts are made directly from the field. Immediately after the Federal Building in Oklahoma City was bombed, Schumacher, who is one of the most experienced satellite technicians in the news industry, was sent to the scene to set up an additional satellite transmitter for the network. "We transmitted the news reports via satellite with what we call a "Flyaway," recalls Schumacher. "The Flyaway is portable. It was designed

Fall/Winter 1995/96

to fit in the luggage compartment of an airliner and can be set up anywhere in the world."

Anywhere. During the Persian Gulf War, camera operators mounted Flyaways on flatbed trucks to provide instantan eous news transmissions from the battlefield. Flyaways were also used in Somalia and Haiti, and are currently being used in Bosnia.

Satellite news broadcasts have their own language. According to Bill Purdy, SOC, to set up a Flyaway in the field, a technician must first call the satellite company from a "bat" phone to learn the location of the "bird" and to setup a time to "feed" the bird. Then, with the use of compass and charts, the technician focuses the transmitter toward the "window'" in the sky where the bird is supposed to be at feeding time. Most of the time, the transmitter is pointed toward the equator where many of the satellites are located. When feeding time rolls around, the transmitter is turned on and emits a distinctive pitch when it has the bird "locked in." Once locked in, a direct link is established between the crew and the network and a live report can be sent from the network to other birds for immediate transmission to feed a "hungry" world-wide audience. \-.

was stupefied. "I couldn't believe this was happening here. It was more frightening than Beirut or other places I had been where there were revolutions. Here, there was no con trol, no authority anywhere. There was no group you could talk to. It was totally chaotic. The worst thing you can encounter as a news cameraman is a civil disturbance . I'd much rather cover conflicts where identifiable factions are fighting." Says Purdy without a trace of sa rcasm, "It's a lot easier and a lot safer. " Listening to a police scanner, Purdy moved freely through the streets of Los Angeles, trying to stay on top of the action. His sound man watching his back, Purdy shot tape of cow1tless numbers of looters, snipers, stores in flames, firefighters and policemen. He moved through Korea town where Korean-Americans protected their stores with guns, and where police took those gw1s away from them. The madness seemed endless. "The police couldn't s top it. They could only try to protect themselves and the firefighters."

Much saner was the scene this year outside the Los Angeles Cow1ty

Criminal Courts Building as the OJ Simpson jury delivered its not guilty verdict. Many African-Americans who were there demonstrated once again, bu t this time in jubilation. "In truth, I didn't feel these people believed in

•••••••••••••••••••••

.. . the grave risks taken by those covering the news.

••••••••••••••••••••• Simpson's irmocence so much as they were elated at finally seeing a black man make the system work for him," remarked Purdy . "I had expec ted chaos, but it was peaceful, considering the situation. At one point, I heard a scuffle behind me and thought a riot had started, but as I turned my camera around, I saw that it was only two cameramen w ho had gotten into a fist fight over a camera position."

The Jonestown Massacre Not a ll camera opera tors are as adept at dodging bullets as Bill Purdy.

The tragic death of Bob Brown- as well as correspondent Don Harris and

others- in 1978, outside of Jonestown, an evangelical religious outpost in the Guyana jungle nm by the American ex-patriate minister Jim Jones, serves as a con stant reminder of the grave risks taken by those coverin g the news.

The rapidly unfolding events of that day are permanen tly etched in the memory of Stephen Sung, SOC, the crew's sound operator.

Jones had taken a group of followers from what he called the People's Temple in San Francisco into the South American jungle where h e established a religious and agricultural commwuty named for himself.

Cong ressman Leo Rya n fr om San Francisco had heard stories of People's Temple members being tortured and held hostage at Jonestown. At the same time, the multi-racial temple had numerous supporters throughout the Bay Area . Ryan decid ed to go to Guyana to evaluate the situa tion. "We tagged along to see who was telling the truth," remembers Sung.

"We arrived at Port Katuma, a small village hundreds of miles away from Georgetown, the main city of Guyana. We landed at a dirt airstrip ~>

Mr. Time-Lap~e~ 35MMMOTION PICTURE TIME-LAPSE FILM LIBRARY

Stars, Moons, lightning SUPERIOR VIDEO &AUDIO RESOlUTION • EASY ACCESS AND FREE PARKING • PICK -UP AND DELIVERY AVAILABLE • SAME DAY SERVICE

City-Scopes Clouds, Sunsets Psychedelic Effects/Zoom Art® Notional Monuments/Woshinton D.C. Nature-Scopes- Flowers Blooming ICustom Images Shot for Your Production I ALL MASTERED FROM JSmm FILM to D-1 & D-2 VIDEO

FA CIL I TY

Establ ished 1982

1106-A BROADWAY SANTA MO NICA CALIFORNIA 9040 I

310.451 .03 33 FAX 3 I0.458.3350 http://www.smv.com

FREE SAMPlE REElS

FREE DEMOS

Wayne Gold wyn S.O.C., Time·lopse Cinemotogropher.

SANTA BARBARA(805) 966-6196 ~ Contact:

...

Member: International Photographers Guil~

Fnll1995

Hollywoo~ [A

Society of Operating Cmnem men

5 "'

1

"'

Pnge 51

THEEUROCRANE For sales or rental

Jacob Studio Equipment Camera Support System Phone: (818) 909 4740 Fax: (818) 909 7146

• • • • • • • • • • • • •

camera lens height 17 ft camera reach 10 ft battery operated pan and tilt brakes hydraulic brakes tire diameter of 28 inches minimum doorway clearance of 6ft two man crew 800 lbs capacity counterbalance 2 to 1 ratio power control 0 to 8 mph gross vehicle weight 6000 lbs includes 65 lead weights charging system 11 OV AC

about seven miles from the Jonestown compound . When we arrived, we weren't allowed to go to the compound, so we had to spend most of the evening at the airstrip. Finally, we got the go-ahead. The dirt road there was torturous. It was a tropical area and it rained a lot, so it took us about an • • • • • • • • • • • • • • • • • • • • • •

members were summoned to the main hall by the ringing of a bell.

Neither Brown nor the photographers were allowed to continue taking any pictures. "Jones looked worried," Sung remembers. "He was surrmmded by his aides. We knew something was going down, but we didn't know what.

• • • • • Jones' people forced us to leave the compound."

11 When the press party arrived at the jungle airstrip, the plane from Georgetown had not yet arrived. While they were waiting for the plane, a temple member suddenly assaulted Ryan with a knife, stabbing him in the shoulder! The press corps • • • • • • • • • • • • • • • • • • • • • • • • • • • convened an impromptu hour to drive there by truck." press conference by the airstrip at By the time Ryan's party arrived which a bleeding Ryan explained at Jonestown, everyone was exhausted. what was happening in Jonestown. By The People's Temple members acted the time the press conference was pleasantly, proudly showing off their over, the Georgetown plane had compound. As darkness fell, the cam- landed and was waiting. era crew wanted to avoid another trip "As we began to board the plane, on the rough road back to the village we saw a truck speeding toward us," and asked if they could spend the night in the compotmd. Although Jim Jones agreed to host Ryan and his staff, he ordered that the press party be taken back to Port Katuma. "We spent that night sleeping on a disco dance floor in the village," Sung recalls.

The next morning, the camera crew was picked up and rushed out to the compound. "We knew this might be our only chance to get good footage," Sung explains, "so we did all the videotaping we could. We taped the temple members' 'song and dance' about how they conducted their lives.

We taped children learning in class- Steve Sung rooms, plowing the fields, and so on."

Later, while Bob Brown taped and Sung recorded an interview between says Sung, reliving the moment. "The Don Harris and Jim Jones-his last temple members who had come with interview-several of the cult members us warned, 'They're coming, they're approached Congressman Ryan and coming.' Don Harris told us to spread told him they wanted to leave with apart. 'There might be violence,' he him. Jones, taken aback, begged his said, and he wanted a picture." Sung followers not to leave with Ryan's ruefully remembers Harris' laugh as party. At the same time he promised he mentioned the possibility of viothat he would allow anyone to leave at lence, unaware of how correct his a later time. One family refused to wait, prediction would be.

"Bob and I moved to the tail of and pleaded with Ryan to take them the plane to get a wide shot of the away from Jonestown.

Shortly before the crew was to area. The truck drove toward us, and leave for Port Katuma, the temple five or six temple members jumped out

The next thing I remember was people picking up guns from inside the truck and shooting at us.

-Steve Sung

Fall/Winter 1995/96

and asked us where everyone was.

They weren't carrying weapons, and we hadn't seen any weapons in the compound. We weren't aware of the danger." So as Jones' followers returned to the truck, Brown and Sung assumed they were going to return to Jonestown. They were wrong.

"The next thing I remember was people picking up guns from inside the truck and shooting at us. That's the footage the world saw." That nowfamous shot came at a great cost.

Brown took a bullet in the thigh, Sung in the arm. Seconds later, a gunman shot Brown at point-blank range, wanting to make sure he was dead. Only Sung's ability to lie completely still, despite the wound burning in his arm, saved him.

The Alaskan Oil Spill Danger and courage know no gender.

Camera operator Lee Serrie, the third woman to be hired by NBC as a member of a news crew, is the only one still with the network. She has paid her dues many times over, having spent fifteen years as a sotmd person and a post-production mixer before she landed her first camera position in 1989. She got behind the lens just in time to head up to Alaska to cover the oil spill from the Exxon tanker Valdez. "I was on the oil chase crew," Serrie recalls. "By the time I arrived in Alaska, two weeks after the spill, the oil was beginning to move out of Prince William Sound. They put a sound person and me in a helicopter. We followed the oil seeping down the coast of Alaska. We followed the slick out to Kodiak Island-over one thousand miles."

Shooting from a helicopter, dangerous in the best of circumstances, was particularly arduous in the bitter Alaskan climate. "It was bitterly cold and, of course, we had to shoot out of the helicopter with the door off!

We spent four to five hours a day in that helicopter, blasted by the Arctic winds ... but we go t great shots."

Serrie traced the oil as it devastated the environment, wreaking havoc with fish and wildlife wherever it went. She shot endless footage of animals, scenery, and glaciers. "I shot

Society of Operating Cameramen

~>

Page 53

Film Laboratory 65/70mm Film Processing ____Titles & Opticals Special Visual Effects Digital Videotape Services Computer Images to Film !tiber Optic Services Production & Editorial Suites

959 Seward Street, Hollywood, California 90038 (213)960-7444 Fax: (213)460-4885

just about anything I thought would interest someone sitting in a studio in New York. I put it all on tape and the network ran nearly every-

probably think it was the guy who had figured out how to do everything. " Also , Serrie worked without a producer, further •••••••••••••••••••••••••••••••• proving her point.

11 "We weren't super••• if I had a guy on my crew, vised . We were only on the end of the network would probably think a phone line to the it was the guy office once every eight hours. We who had figured out would tell them 11 what was out there, how to do everything. then we told them how we planned -Lee Serrie to get th e shots .

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • People began to sit thing because they found the shots to up and take notice of us." be just as fascinating as I did."

At NBC, Serrie struck a blow The Fabric of Our Lives against the network ' s outmoded Hearing these war stories makes one notions regarding camera crews. She think differently about the nightly hired a female sound person to news. The stories broadcast around work with her. "Everyone thought I the globe take on an even more was crazy," remarks Serrie with a dynamic aspect if one imagines where knowing grin. "They questioned the camera and sound operators were standing and what dangers they faced to bring us unforgettable images that have become part of the fabric of our lives, our history: A lone man halting a line of tanks rolling into Tienanmen Square.

Hundred foot flames and black smoke licking the sky above the religiouscompow1din Waco.

A white Ford Bronco ambling its way along the San Diego Freeway and smiling chased by a squadron of above; top left, police cars and news about to board helicopters . The ash en the helicopter to and saddened face of a film Alaskan Oil yellow-coated fireman Spill; left, with her carrying the scorched, sound technician limp body of a child April Lankford. from the Federal Building in Oklahoma City.

Yet, despite the difwhether two women could move the ficulties and dangers enco untered gear around and solve all the prob- by the news camera and sound operalems that needed to be solved. Even tors who bring us th ese images, other women asked why I didn' t get a perhaps Bill Purdy sums it up best guy to help me carry the equipment. I when he says, "I wouldn't trade the pointed out to them that if I had a experiences I've had for anything in ·guy on my crew, the network would the world."

Fall/Winter 1995/96

Advertisers' Index AKELA CRANE .... .......... ............ ... .. ... 62 ALAN GORDON ENTERPRISES ............ 25 ARRIFLEX ...... ... .. ... ... ... ... ........ ... .... ... .

37

CARTONI .......................................... 60 CHAPMAN STUDIO EQUIPMENT ......... 18 CINEMA PRODUCTS .......................... 20 CINEMATOGRAPHY ElECTRONICS .. .... 64 CLAIRMONT CAMERA ...... . 32-33, 68-69 CONSOLIDATED FILM INDUSTRIES ..... 54 CUSTOM INTERFACE TECH ................ 71 DELUXE LABORATORIES ........ inside front cover EASTMAN KODAK ............ .. .... .. ......... 47 FOTO-KEM ................ ........ ............ .. . 36 FUJI FOTOFILM ........... inside back cover GREAT AMERICAN MARKET (GAM) .............. . back cover HITACHI DENSHI AMERICA .... .............. 7 HOLLYWOOD CAMERA ................ 28-29 INNOVISION .... .......... ....................... 52

Jl

FISHER ........................................ 26

jACOB STUDIO EQUIPMENT ............... 52 LOUMA LA ........... .. ............................ 1 MOLE-RICHARDSON ........................ . 13 O'CONNOR ENGINEERING .......... .... .. . 44 OTTO NEMENZ INT .......................... 49 PANAVISION ......................... ............ 11 PDM ............................................... 58 PHOTO-SONICS ........................... 40-41 PRESTON CAMERA SYSTEMS ................ 8 ROSCO LABS .................................... 65 SANTA MONICA FILM/VIDEO ............ 51 SONY .................................. ...... . 16-17 TECHNICOLOR ... .. .... .. ................ .. .... . 30 TIFFEN .. ... ... .... ................. .. .............. 45 TYLER CAMERA SYSTEMS .. ... ... ..........

23

VICTOR DUNCAN .............................. 72 VINTEN TSM INC .... .. ...... .. .. .... ......... 66 WEAVER/STEADMAN ................... ..... 63

Society of Operating Cameramen

Page 55

~~ /\iCtiAlL fQlDIAn I. SOC ideo assist and playback devices on the set are about as common as ops in donut shops. Yet what is one person's tool might well be another person's millstone. Most directors today wouldn't consider rolling a foot of film without first watching the scene played out on a monitor. Cries of "Can we get a hookup?" are about as common as the words "Quiet for rehearsal!" And "they" want to see a picture even before the dolly track is laid out or the assistant has gotten his/her focus marks. What was once a novelty is now a necessity, though most people would be surprised at just how long video has been a part of the film set.

One need only look back to one of America's best known comedians, Jerry Lewis, to discover the first major use of this device. As described in the book The Jerry Lewis Films by James L Neibar and Ted Okuda, Lewis explains the reason for and the path toward developing video assist.

The beginning What was originally called "Closed Circuit Television Applied to Motion Pictures" was created and devised by Jerry Lewis in September 1956. It was engineered and perfected by the Paramount Technical Departments under the supervision of Bruce Denny .

Page 56

Although others Jerry Lewis' video assist system. may have preceded Lewis, (Linwood Dunn, ASC assistance not only to the directorrecalls a visit to the ASC clubhouse by actor but also to various members of Al Simon from Great Britain demon- the staff. It was used in many more strating a video assist device prior to ways than anticipated. Some unex1960) Lewis holds the patent on it. pected problems were encountered It was 1960 when Lewis first used and either solved or endmed. his video assist system while making Considerable maintenance was his directorial debut on The Bellboy in required on the television equipment Miami Beach, Florida. His device was because it had been used beyond described like this: A closed-circuit in- specifications and had some inherent dustrial type RCA Vidicon Camera faults or limitations relative to motion mounted on the BNC film camera picture standards. Spare equipment, used as the production "A" camera. borrowed from RCA, was regularly The television camera was equipped used. with a variable focal-length "zoom" lens that permitted it to match the Production Use scene content of all the BNC lenses The novelty of the television equipexcept the 18mm wide-angle lens. The ment prevented an evaluation for the television camera shared the horizon- first days of shooting until a pattern of tal parallax of the finder and was use developed. The television equipcompensated to the point of focus. The ment operator found it necessary to television camera also had a vertical determine if Jerry Lewis was to be an parallax that must be adjusted to the actor, director or both in the scene and average point of focus of each scene. to place the monitor where it could However, as the camera was used in most easily be seen. close-up position, it was necessary to Jerry Lewis the director, used the use some judgment to protect head- monitor to see the scene as photoroom, rather than adjust only to the graphed. The action content within the cross-hairs. film frame was reproduced fairly acThe television monitor, together curately. The director knew what the with control equipment, weighed in at film camera was seeing and explana200 pounds and was mounted on a tions by the camera operator were =*> small dolly. The equipment was of

Society of Operating Cameramen

Fall/Winter 1995/96

"unnecessary." During the rehearsal It might be interesting to note that monitor occasionally to observe portion of the scene the director used few actors had enough self-discipline empty areas to be filled or crossed the monitor to smooth action cues, en- to avoid looking at the monitor and with extras. trances, crosses, etc., and also to see that it was usually necessary to turn "Toward the end of the picture," the effect of panning and dolly move- the monitor away from the actors dur- Lewis continues, "there were two inments. Timing and movement of the ing takes. When Lewis was not in a stances in which the monitor was used scene in black and white were ob- scene he would watch the action un- to hold back noisy audiences. During a served, and distracting background fold on the monitor. When asked by long dolly shot in the Fountainebleau objects were shaded or moved.

The Operating Cameraman why some gallery, an audience of about 35 Several times during tightl y actors resent not having the director people were kept quiet while observframed or critical scenes the director beside the camera during a take Lewis ing the 'Stanley being dragged by man had the monitor turned in to the set so said pointedly, "If they had real talent with suitcase' sequence. Again, while the actors could see mistakes of move- they wouldn't resent anything." in the restricted Barcelona lobby durment or position. This helped the Yet there were times when the ing the telephone booth and other actors understand the director and re- monitor was not used exclusively by sequences, the monitor helped hold sulted in a correction of the fault. The Lewis during filming of The Bellboy. down an interested and quieter audimonitor was similarly used to show After being used for lineups, rehears- ence of about 50 people. It is belatedly the actor how to improve timing, als, etc, it was in a position to be seen obvious that the monitor, or an extension monitor, could have assisted avoid shadow and see the effects of anticipa ting cues. us on more occasions."

Jerry Lewis the actor, freProduction Problems quently used the monitor to help compose and time a scene. PosiThe general problems encountered tions and movements relative to were due to equipment limitations, sidelines, headroom, shadow, etc, last-minute planning, inexperience could be observed during rehearsal. and under-anticipation of the Often in ad lib scenes he could see number of uses the television the monitor either directly or with equipment would find. Lights were his peripheral vision and move the most severe problem. It was within set limits. Although small, necessary not only to gobo (shield) the television monitor showed the or move the monitor to avoid direct potential impressiveness of the light but also to place the monitor Fow1tainebleau Hotel lobby, hotel in areas where it could be most easenh路ance, airport and similar scenes. ily seen without the director or Jerry Lewis as director-actor, ac to r being blinded by nearby used the monitor in several interestlights. Ambient light reflected from ing ways. He would observe the floors, walls and ceilings faded the action within a set prior to making a picture, and it was often necessary to increase the monitor's brightness well-timed entrance. For example, in one scene in which the room was and contrast beyond recommended filled with ad-libbing girls, he was Outdoors the contemporary monitor must be limits to obtain a good picture. It able from outside the room to see shielded in order to be usable. was also necessary to adjust the on the monitor the exact instant television camera control system when the camera had a clear view of by others. At such times it was used or continuously to maintain a good picthe door and hence to make a perfect shared by members of the staff and ture during rehearsals and light entrance. At other times, after making crew in various ways. Associate Pro- changes. an exit into awkward areas, he was ducer Ernest Glucksman used the Outdoor scenes imposed a limit able to see and direct the remaining monitor many times to view rehears- on the monitor that could be met only scene from the monitor's position. als and takes and sometimes after by using a contrived shadow-box on Combinations of entrances and exits discussions with Lewis, changes the monitor. Day-lighted objects are were made in this manner, and the were made. Cinematographer Haskell ten or more times brighter than the scene was viewed from usually Boggs, ASC used the monitor to evalu- maximum brightness of the monitor ate se t-up s. Arthur Schmidt the and it was necessary to view the blind spots.

Several times, particularly during editorial supervisor and Claire Behnke monitor within the shadow-box for lineups of the bellboys that included the script supervisor used the monitor several seconds while awaiting eye Jerry, he would observe the action when access to the set was restricted accommodation. from his position. If such a lineup by equipment. The set painter Gene Power to operate the equipment were panned through close-ups, Jerry Acker sometimes used the monitor to was obtained from 115 volt AC convecould direct th e action until the locate highlights to be dulled down. nience outlets. During the airport jet camera was ready to move in on him.

The assistant directors viewed the ~>

Fall/Winter 1995/96

Society of Operating Cn me ramen

Page 57

scenesitwasnecessarytouse300feetof Yet more than three decades after AC cable. The drop in voltage caused a its introduction Lewis remains embitdelayinequipmentwarm-uptime,and tered by the fact that he is not duly the first shot was "missed" by the tele- recognized for his achievement. He vision equipment. At the golf course, stated recently to The Operating the nearest AC was 800 feet away and Cameraman, "We work in a strange inalthough an effort to locate a portable dustry w h en an innovation of this • • • • • • • • • • • • • • • • • • • • • • • • • • kind has been kicked w1der the rug for almost 40 years.

They (the film community) haven't appreciated the work of an innovator because he's a pratfall comic so I won't dignify them with any further comment about my device! It's not worth it to me anymore."

But Steven Spielberg is • • • • • • • • • • • • • • • • • • • • • • • • • • compelled to add, "Ever AC generator was made, it was not since Jerry Lewis inaugurated video playback in the 1960s, it has continupractical to follow through.

"As a personal note," Lewis stated ously proven to be a benefit to "it is my carefully considered opinion directors, with some notable excepthat the use of the television equip- tions. Using playback is not unlike ment resulted in saving shooting time, "sneaking" your movie in front of that it was an aid to the director and your entire cast and crew and alother members of the staff and that th ough when things are going after its novelty passed, it became part swimmingly this is a valuable moralebooster, it could also turn your leading of the company equipment."

"We work in a strange industry when an innovation of this kind has been kicked under the rug for almost 40 years."

-jerry Lewis

actors into Siskel and Ebert, thereby inviting a day-one collaboration between director, actor, producer and most certainly the camera operator.

Some film makers welcome this collaboration as I have in the past; other film makers I know decry it."

No matter what the circumstances that take place on the set, what counts is that the shot designed is the shot delivered. How often as camera operators have we heard "cut-print" at the conclusion of a shot only to have to jwnp from the dolly and explain to the director that there were certain elements of the scene that were unsatisfactory composition-wise or for other problematical reasons? When a director views the scene he or she is looking and listening to a myriad of things and it stands to chance that something may occasionally be overlooked. That is why the camera operator must be ever-vigilant to the smallest details and not leave anything to chance. Believing that the director or script supervisor will catch an oversight on the part of the opera-

STRAIGHT SHOOT'R™ DOLLY MOVES- WITHOUT THE DOLLY! • Fingertip camera positioning without overshoot • True straight line moves • No assembly- no tools • Balanced all positions • No sag at ful l load • Full pan & tilt

• Reach: variable 53" to 76" • Mitche ll mounting • Weight: 110 lbs.

BUY or RENT: Ph. 818-340-9376

PDM Mfg. Co.

Fax 818-340-9374

7309 KENTLAND AVE. WEST HILLS, CA 91307

Page 58

Society of Operating Cameramen

Fall/Winter 1995/96

~>

tor, actor, boom operator or others only creates a false sense of security to the detriment of the operator. Cinematographer George La Fountaine, ASC (Hope & Gloria) states, "Just because a shot is on a monitor doesn't mean it's good or right. The director who's looking at it may be hearing the words but not seeing the move or wondering if his agent has made that certain deal. I never hesitate to make something better. Never. Even if it's the director's favorite shot."

As fast as we are asked to shoot each scene we must remember that the next day's dailies are viewed w1der more subdued conditions by the director and producers with more critical eyes. La Fountaine recalls first seeing video assist in 1960 at Paramount Studios which was Lewis' second effort with his video assist device on a picture entitled The Ladies Man . "I visited a huge four or five-storied set. Jerry was directing himself and W Wallace Kelley, ASC was the cameraman. The set (described by noted film critic Leonard Maltin as "the real star of the movie") was a Hollywood hotel for aspiring actresses and built all the way to the perms. The face of the building had been removed to provide the camera with an open view of what seemed like thirty rooms. Each apartment was occupied by a pretty starlet and fully dressed with furniture. Lewis watched his stand-in's rehearsal on a floor monitor as an immense crane followed the stand-in from the topmost floor, down halls and stairs to the lobby in one continuous shot. A small video camera mounted above the Mitchell BNC swing-out finder provided Lewis with a black and white approximation of Kelley's lens.

Granted, the video image was crude. But it gave frame lines and a reasonable perspective of what the camera was seeing. I worked in live television at the time so I was more impressed with the set than the electronics. At KTLA-TV we had just succeeded in placing a live camera aboard a helicopter so seeing the film guys using our tool was a kick.

Coming out of live television I was never intimidated by video assist. I've heard many of the arguments : 'It slows things down,' 'Everyone's a cameraman,' etc. My feeling is the

more we agree with the placement of the product, performance or action the better. Before video assist I remember once soothing a commercial client with the words, 'Wait 'til you see it, you'll like it."' La Fountaine adds, "He didn't."

George Turner former editor of American Cinematographer magazine remembers when he first saw video assist on a set years ago. "Many people didn't want to use it because they were afraid that by watching a monitor they would become hypnotized by it... turns out they were right!"

Turner notes that as a production illustrator in 1982 on the set of One From

component of the camera team, a virtual co-operator.

With the advent of the small onboard monitor first-assistants now have the ability to see what the operator sees, enabling them to become better operators when the opportunity arises. They can see what is actually in frame thereby giving a hint as to where the focus should be placed in some cases. Also it is a silent way of cueing "focus racks" where necessary.

the Heart, "director Francis Coppola has probably been the staunchest supporter of it to date."

The Crew Often not mentioned in this mix of getting the shot is the dolly grip. With more and more TV dramas trying to emulate feature style shots with TV budget constraints the operator and dolly grip are thrust into situations that at first seem unattainable with the time allotted. Steadicams, cranes and remote controlled cameras are now part of what is normal practice on most sets. Tight lenses during overthe-shoulder shots while the camera slides across the floor are commonplace. A good dolly grip has an innate sense of what the operator sees, sort of his own "parallax view." With experience and quick reflexes the dolly grip can make an instantaneous adjustment with the nuance of an actor's head tilt in order to maintain the designed shot. With video assist as a tool that job becomes easier. More often than not the dolly grip is asked to do a great deal of thinking on his/her feet in order to help the operator maintain the desired composition. This in effect makes the dolly grip another

Fall/Winter 1995/96

Those assistants who work on the sets without video assist gain the same type of parallax vision that dolly grips learn when, for example, the operator has to cut the camera because an overthe-shoulder didn't work out. With time they can tell what isn't working for the operator. Adding the on-board monitor takes that ability away from the assistant yet if they have time to look away from the actor and up at the monitor it is a newer form of education in composition.

Producer I director Robert Singer (Cujo, Lois & Clark) was a long time hold-out, not wanting to rely on the monitor until he discovered while watching dailies on a show some years back that he wasn't getting the kind of exacting over-the-shoulder compositions that he had designed. With video he found that once the operator was able to watch a rehearsal on the monitor he could emulate the set up and then Singer could spend more time watching the scene directly. He adds,

Society of Operating Cameramen

=*> Page 59

work with an operator that I can trust it makes my job a lot easier."

Director W Richard Lang, Jr (James Michener's Texas) states that "at firs t it was unusual not looking directly at the performance but after the initial newness wore off I found it to be very advan ta geous. I have yet to see a video screen hurt a grea t performance or sadly, to hide a poor one.

Since I work mostly in TV the close-up coverage gives me an image size that makes performances easy to evaluate.

Alth ough some times, for wha tever

reasons, I slip back into the old dinosaurian habit of actually l ookin g directly at the actor."

Lang continues, "It is truly a great tool. For instance it means not having to weigh on and off the Chapman or climb up a twenty foot parallel. Being able to "see" how much of the actor was covered or blocked. Did the arm move pan / tilt/ swish / stop and flow from one element into the other with the right tempos? Was it Kubric, Capra or crap ? So much of this art/ craft is opinion. Each of us is unique. Long

A Fresh Angle.

The horizon swings into view. A rock star soars obliquely across the frame. You own all the angles. Dutch tilt effects are at your fingertips.

Dutch Treat. Whether you 're shooting video, 16mm, or 35mm Cartoni offers the ideal tool to ~ produce smooth and professional Dutch · tilts. The new C20S and C40 Dutch heads : ,: interface directly with popular quick-release heads. Simply mount and shoot. Dead ahead.

Or glide through the oddest of angles. C40 Dutch holds up to 121 lbs.

No Dutch Rub. Thanks to Cartoni 's award-winning Fluid Module System, drag is fully adjustable. Plus, our Dutch heads offer dial-i n counterbalance, a frictionless sliding base plate, a quick-release plate, &a telescoping handle.

Whatever Your Style. Cartoni Dutch unleashes a world of shooting possibilities. Own it or rent it. Call today to find out why America's best rental houses go Cartoni Dutch.

Steven Manias:

CARTONI U.S.A. 800·845·6619 960 Enchanted Way, #104, Simi Valley CA 93065 Tel:805/520-6086 Fax:805/520-6949 - - - - BETTER BY DESIGN - - - -

live Ia difference.. . But the video assist is still just a tool. Like a hammer or a saw it can help make beautiful things or butcher them. It depends entirely on the carpenter."

The Sound Mixer Just as the monitor is a tool for directors, dolly grips and assistants, it is also utilized by the production sound mixer.

••••••••••••••••••••• "Video assist also helps me to anticipate the unpredictability of actors."

-joseph Geisinger; CAS ••••••••••••••••••••• Joseph Geisinger, CAS (The Jungle Book, Showgirls) states, "I received my training prior to the advent of video assist, so my point of reference was solely aural. With the video tap I now have a visual reference as well. This added dimension is valuable to me. In order to prevent over-all diminished audio quality due to phase problems or "boominess" only one mic can be used at a time. So in multiple mic situations a visual aid helps me to decide which mic to use and when.

Video assist also helps me to anticipa te the unpredictability of actors.

The energy level (volume) and physical direction that a line reading will be given is important information. This information allows me to make instantaneous adjustments with greater accuracy.

A through the lens visual reference puts me in a position to assist the camera operator by keeping the boom operator informed of the frame lines. I have the ability to communicate with the boom operator (via a private line that doesn' t go on to the recorded track) when the mic is getting too close to the frame lines. " Geisinger adds, "It is always a concern of mine to get the mic as close to the actor as possible in order to alleviate background noise yet at the same time I never want the mic so close that it becomes a distraction to the camera operator. I feel that it is unfair for the operator to be

:9> Page 60

Society of Operating Cameramen

Fall/Winter 1995/96

watching the mic rather than the scene. Often in the past when I really needed a direct eye-line to the actors I found that my sound cart was in the way of camera, grip or electric so with video assist I can remove myself and my equipment from the set."

One hundred dollars a day Owen Marsh, SOC the renowned and now retired camera operator recounts his first experiences with video for The

•••••••••••••••••••••• Over the years the video assist like many other cinema tools has been over used.

-Owen Marsh •••••••••••••••••••••• 11

1

11

Operating Cameraman: "I first encoun-

tered video assist around 1961 during the filming of the MGM/Cinerama feature How The West Was Won . I had the opportunity to help Peter Gibbons the Cinerama machinist/technician/ inventor, develop a video assist unit.

The video cameras were mounted on top of a wild Cinerama camera which was in turn slung beneath a helicopter.

The TV monitors were in the 'copter cabin and by viewing the pictures we were able to direct the pilot where to fly.

My impression at the time was that we had a wonderful tool which could have many applications in the filming of pictures. This proved to be true but also false .

It takes a cinematographer or director who is extremely well-educated in the art of camera operating to have any beneficial input to offer an experienced camera operator. They as the boss can tell you what they want but should leave the method of getting there to their operator. If you were to ask for a number I would say possibly about 10% of the above are so qualified.

Over the years the video assist, like many other cinema tools, has been over used. The use by a director who is also the actor in the scene is invaluable and well-founded, but more and more you find the video assist being used by directors who are not secure in their decisions and need the assurance of a committee's vote before they can accept a shot. The use as a "toy" to shoot

multiple takes, run them back and forth, have everyone who is in the "booth" put in their opinions then choose the maybe three or four that you want to see on film is, in my opinion a waste of time and money and an insult to the camera operator who after every take has the opportunity and obligation to say "Good" or "Let's do it again." Marsh recounts the time when he worked on the Gene Wilder feature, The World 's Greatest Lover, at Fox in 1977. The star was the director, producer, writer, and even wrote the music. "The star I director and the cinematographer became such slaves to the video assist that the little green canvas "TV room" would cost us hours a day. On one occasion we were to shoot a process shot with the principals in front of a train window with the process screen outside the train. To make the shot I had to use a Mitchell Mark II which was synched-up to the process projector but would not accept the video assist that we were using on the Panaflex. So we set up the Panaflex next to my camera and ran it lockedoff without an operator just for the video while I made the actual shot

walked over to me and told me that I was through. When I asked the reason he explained that the director couldn't believe that I had made eight takes without once tilting up with him, the actor, when he stood up to get his suitcase from the overhead rack; that his head had gone out of the frame every time. It was only then that the DP noticed the second camera which he had forgotten, the Panaflex, locked-off with no operator and no film .

The production manager was by this time on the set and the call had gone out for another operator. While they were all apologizing to me and asking me to stay I had only one thing to say: 'One hundred dollars a day for the insult of having to use a video assist, for the rest of the picture.' Well they paid it and since that day whenever someone said that there would be video assist on a camera that I was going to operate my stock remark was 'One hundred dollars a day for the insult' and if they didn't want to pay it I didn't work for them."

Marsh concludes, "I guess what I'm trying to say is that if the cameraman and/ or the director doesn't trust the operator's word on a shot and feels

~E LOST Vlt>EOf with the Mark II. After we had done about eight takes the "group" retired to the canvas booth to watch the videos. For about ten minutes all was silent, then the voices began to get louder and louder. You could finally hear the director yelling "If you don't fire him, I will." With that the cinematographer came out of the booth,

Fall/Winter 1995/96

he needs a video monitor so he can check on or correct him or if he himself is so unsure of his ability to judge a take while it is being shot and has to look at it over and over then he should either get a new operating cameraman or quit because one of them does not belong in the movie industry. It's a tool, not a crutch." =4>

Society of Operating Cameramen

Page 61

Sol Negrin, ASC (Blood Rush) president of International Photographers Local #644 has had an opinion concerning video on the set since he first encountered it on a commercial in 1982. "In some respects it's annoying because agency people had their varied opinions in regard to the takes and you shot footage more than necessary because of indecisions. At least in theatrical or television narrative material it's the director who makes the decision concerning performance."

Concerning the collaborative effort the DP shares with the operator Negrin states, "If I know the operator well and have worked with him often, I know I can rely on his taste.

Communication is essential to make certain that he is following your ideas but I will also give allowance for his aesthetics. I certainly will respect his decision for improvement or correction for a scene made. If one can convince the director after he/ she approved the take that it could be done better then the attempt should be made."

As to the use of color video playback on the set Negrin replies, "I do not approve, because it give a false illusion as to what you are photographing of the actual scene. Psychologically disturbing since the video assist color and the film image will be different. In commercials agency people can easily be contaminated by this illusion." Cinematographer George Spiro Dibie, ASC (Sister, Sister) president of International Photographers Guild Local #659 adds, "Color video assist is a useful tool if used for staging purposes only.

Some new producers tend to judge the quality of our lighting by the video assist-which is wrong and dangerous."

"In narrative films," Negrin states, "video assist is a boon to the director for performance and concept. For the DP he certainly gets a good idea of the framing and how well the scene was executed. In commercials it has drawbacks because several individuals may draw varied opinions of how the framing of the scene should be. If your agency people are new to the field insecurity is noticeable."

Dibie who first encountered the quad system on Barney Miller in the 1980's felt compelled to sit next to the director facing the action. "With my left eye I watched the quad monitor and with my right eye I watched the actors.

They felt our presence. They didn't look up into thin air to talk to the director or cinematographer. " Dibie concludes by reflecting, "In the beginning I hated the system but now I love it. It helps me to 'educate' producers/writers who become new directors. The shots are there and what you see is what you get (framing). I give my input to improve composition and to protect coverage of the scene."

The Rental House Alan Albert, Executive Vice President at Clairmont Camera remembers first sending out black and white tube type video assists on their Arri BL-2 cameras around 1976.

"Shortly afterwards video taps for Arri-3 cameras were developed by John Clap, esc, Arriflex and Jergens Camera Service," recalls Albert. "The first practical color video assist was around 1987-88. We now send video assist out on commercials 90- 98% of the time, TV movies and episodic 70-80% and theatricals hover at about 50% with video." As to the choice between color vs. black and white

=9> Page 62

Society of Operating Cameramen

Fall/Winter 1995/96

The AKeLA Crane can go from ground level to six stories high in a single move, or follow a subject over broken ground for up to 170' without track or cables. The AKeLA Crane is lightweight and can be broken down into highly portable elements, enabling assembly in the remotest of locations.

For rental information and a free demo reel contact:

Fluid Images, Inc.

Louma L.A.

Contact: Bob Johnson Tel: 503-549-4638 800-632-8444 Fox: 503-549-4639

Los Angeles Representative Contact: Andy Romanoff Tel: 310-558-7890 Fox: 310-558-7891

Sometimes bigger is better.

Albert estimates that 10% of Clairmont's cameras go out with color taps, the majority being CCD type vs. tube and that virtually all commercials now use color.

Through the Viewfinder From another operator's viewpoint Paul Babin remembers video as a staple of his existence since becoming a film operator in 1984. "Prior to '84 I had worked for several years as a video camera operator so the experience of someone scrutinizing my work in real time was not new to me.

As I think back it' s hard to remember which shows have had video assist and which didn' t. I think most of them have. And my vagueness of memory points, I guess, to the fact that video assist hasn't been all that intrusive. In those few instances where directors or DPs have critiqued my framing via the monitor it's usually been justified. In a couple of instances weak directors with nothing better to do needed to establish some authority and offered some patronizing suggestion based on what they saw in the monitor. But again those have been seldom. During Always, between takes or during setups, Spielberg would catch me napping and suggest that if I framed the shot the way it was at that

moment, 'there would be hell to pay!'

In general I've found video assist to be a helpful tool in communicating to the director, especially in situations where you want to suggest a variation on an agreed upon setup or offer a new idea altogether.lt's imperative for the director of photography to know what he's lighting. It's very easy to place the DP and director in front of the monitor and execute the move so all are agreed-that's the shot!"

As recently as 1992 with director Peter Weir on Fearless, Babin and Director of Photography Allen Daviau, ASC began production without video assist. Babin notes, " It wasn't until we got into cramped practical locations and the script supervisor was losing her mind trying to keep up that we put on the tap. Weir is very committed to his actors and wanted to be near camera when rolling. He's part of a dying breed." Babin adds with some chagrin, "I think a lot of us as operators feel the consequences of the 'director in the next room' syndrome.

So often the actors yearn for feedback after a take. The nearest human contact is often the operator. I think this separation of directors from their actors caused by video is the worst consequence brought on by the technology. Though I can appreciate how

seductive seeing the camera's view is during the take."

Babin thinks that currently one of the best uses of video technology is Jim Cameron's "VID-Stick," a viewfinder which accepts Zeiss or Primo lenses with an attached video tap and RF transmitter. Cameron holds the VID-Stick in one hand and a Walkman TV / recorder in the other. "He lines up his shot, records the line-up rehearsals which he operates and hands the tape to the operator for a 'guide track.' This works especially well for all the numerous Steadicam shots Cameron employs in his movies."

Whether video assist and playback on the film set is used as a tool or as a crutch or both during any given day, chances are you will encounter it more often than not. With the constant advances in technology that affect everybody's lives every day and in every way we must learn how to make it work for us whether we are camera operators, cinematographers, actors or directors.

"In any case, " Spielberg notes, "video playback is not going anywhere and must remain an optional filmmaking tool for the director."

Information from The Jerry Lewis Films courtesy of Ted Okuda.

CNtvMT®R4P~ electronics

31238 Via Colinas, Suite A • Westlake Village, California 91362 • USA • Phone (818) 706-3334 • Fax (818) 706-3335

Page 64

Society of Operating Cameramen

Fall/Winter 1995/96

Equipment Rentals: Responsibilities anJ Relationships BlJ Ed Clare

A

s the trade association represent-

ing more than 110 production equipment rental companies world-wide, we at PERA (Production Equipment Rental Association) thought it might be helpful to offer its views about the proprieties of conduct concerning crew members who rent out their own equipment to productions on which they are working.

At a recent PERA meeting, executives of some of Southern California's equipment rental companies discussed the topic "Renting to your

customer I competitor." The meeting was inspired by the issues Ron Dexter raised in his ar ticle "Set Etiquette" that appeared in the Spring 1995 edition of The Opern ting Cnmernman magazine. One of Dexter's basic points is that crew members who own ~>

Rental equipment in containers, ready to ship

Products for Film and Video Production Roscolux Rosco Cinegel Cinefoil (Black, White and Black/White) Scenic Paint Chroma Key and Ultimatteâ&#x201E;˘ Paints Designer Projection Patterns Pin Connectors Fog Systems (machines and fluids) Studio Floor Tiles Instructional Video Tapes

sco

36 Bush Ave., Port Chester, NY 10573 (914) 937-1300 TELEX: 131472 (800) ROSCO NY FAX: (914) 937-5984 1135 N. Highland Ave., Hollywood, CA 90038 (213) 462-2233 (800) ROSCO LA FAX: (213) 462-3338 ALSO IN: Ontario, London, Madrid, Lisbon, Sao Paulo and Sydney

Fall/Winter 1995/96

Society of Operating Cameramen

Page 65

THE INNOVATOR

It's what unique Vee

Vector70 We have answered the need for today's cameraman to have total flexibility with a pan and tilt head that can offer quick balance adjustment without worrying about time consuming cam changes .

The result? The Vector 70 - introducing a revolutionary new design concept for balancing full facility CCD studio and OB cameras plus portable cameras, with any combination of lens , viewfinder and prompter up to 70Kg .

Using our infinitely variable patented counterbalance system , the Vector 70 is able to provide perfect balance over the entire tilt range , allowing the camera , lens and prompter to be changed and brought back into perfect balance with a quick and simple knob adjustment.

VintenTSM

The Vector 70 also incorporates Vinten 's proven Lubricated Friction (LF) drag system in both pan and tilt axis, giving superbly smooth and continuously adjustable drag over an extremely wide range .

Other Vector 70 benefits include:

• • • • •

Illuminated levelling bubble Integral carrying handle Locking wedge adaptor Pan and tilt brakes and contro ls "Roll Cage " available as an optional accessory

Why not try one and feel the difference?

VintenTSM 709 Executive Blvd., Valley Cottage, NY 10989 USA Telephone: 914·268·0100 Fax: 914·268·0113

equipment are both valuable custom- want to find your filters in their cases, crew members who own a special ers of and in competition with their your grip equipment in their trucks, lens, a light, tripods or a Steadicam. equipment suppliers. We believe that your light bulbs in their fixtures and But many rental company executives the title "Set Etiquette" underlines most certainly depleted cells from one do not like to enter into business Dexter's mission in encouraging pro- of your batteries installed in their deals with crew members. While you fessionalism in our industry. Since we battery cases at the end of a show. need to earn a living, don't try to lack an industry-wide written code If you are a good customer of increase your com pen sa tion by of ethics to guide us, one approach the rental company it stands to reason adding unnecessary equipment to the package. By renting out does not fit all.

Rental companies want your own equipment the opportunity to do their you can learn first hand the "mixed blessjobs; they want to supply the cinematographer with ings" of equipment the ordered gear at a rental ownership. price that is fair to the One concept we all production company and agree on is Dexter's in a way that maximizes point that if owning customer satisfaction. "toys" makes you a betLook around at any fullter technician , then service rental house and they are worth the cost even if they don't make you'll see inventory, testing equipment, service you a lot of money . techs and a prep area . If Creating better technicians is one important part crew members add their of a larger process requirequipment to a package, not only is business taken ing all of us to away from the rental push the technological envelope which in turn companies but other problems may arise. By will keep film and tape TO SEE THE COMPLETE LINE OF adding certain technical productions as the JACKETS, SHIRTS, HATS Be BELT BUCKLES equipment that interfaces world's leading form of C~ entertainment. with rental company WRITE TO: equipment, not checked About PERA- The Producand prepped as part a sysSociety of Operating Cameramen tem, malfunctions might tion Equipment Rental PO Box 2006 Association was founded in occur that might otherToluca Lake, CA 91610 wise have been avoided.

1992 to promote high stanEquipment breakdowns dards ofprofessionalism and in the field not only to encourage development of translate to financial losses but often that they supplied you with the best state-of-the-art equipment in the produclead to finger-pointing and if unchecked equipment on hand and you should tion equipment rental industry. Today, there eventually lead to a degradation of reciprocate when it is returned. are over 145 members in the US, Canada, the reputation of the equipmen t One rental company executive Western Europe and Southeast Asia . manufacturers, equipment suppliers noted that when a crew member Members include rental equipment comand some crew members. One of our purchases a filter at $150 and rents it panies, studio facilities, manufacturers, members observed that a technical for $5 per day, his rate of return is dea lers, insurance companies and failure in the field is not easily much better than that of a rental affiliated organizations who support the remedied over the phone by a rental house that buys a camera costing production equipment industry. house technician unfamiliar with the upwards of $150,000 that rents for added pieces of equipment. The about $500 per day. The rental com- Ed Clare has spent twenty something message is this : keep the lines of pany must pay costs of financing the years in the equipment industry, having communication open between th e purchase and overhead which ranges worked at Cinema Products , Ikegami crew and the rental company espe- from facility costs to insurance and tech- Electronics and Matthews Studio Equipcially when technical equipment is nicians' salaries. The bottom line for ment Group in executive and management rental companies is th a t th ey positions. Ed is currently President and added to the package.

To paraphrase an ancient saying: need to earn a fair return on their Executive Director of PERA. "Return unto the rental company that investment in order to plow a portion which is the original property and of their profits back into the develop- Your comments concerning this article and others are encouraged. Send to SOC, in the configuration in which it was ment of new equipment.

Rental companies fully support Attn: Editor. supplied." Rental companies do not

SOC WEAR

Fall/Winter 1995/96

Society of Operating Cameramen

Page 67

The new Power Pod: They've made it easier to work with. We've made it easier to set up.

It used to take 6 batteries and 12 cables to do

what 3 batteries and 3 cables (up the crane arm) now do. Accurate positioning. Endless pans and tilts. Much easier balancing.

3. Clairmont's three video image signals

New multiplex camera mounting plate. Function control circuits are inside it, close to camera for repeatable lens settings, no more tangled cables.

r'f1e latest version of the Power â&#x20AC;˘ â&#x20AC;˘Pod is called the Mark Four.

All ours are now Mark Fours. The factory has built in several improvements; we've added a few more.

Here's a list : 1. No more wraparound cables

Key to most of these improvements is the new multiplex camera mounting plate (photo above). Control electronics for seven camera functions are now built into it. Those functions are : camera on-off, video tap, witness-mark camera video to monitor, focus, iris, zoom and power mattebox.

Unlimited pans and tilts

The seven cables for those functions used to come up the crane and drape around the camera; they could become entangled. Now they come

from the mounting plate, next to the camera. The plate moves with the camera; tangles are impossible. You can pan and tilt continuously.

2. Fewer cables

Those seven functions used to mean seven cables from ground level up to the Power Pod. Power to the camera meant an eighth cable. Pan and tilt made it nine. High speed made it ten.

Now it's three cables for everything, including camera power, pan/tilt and high speed.

The third cable is our own multiplex. It gives you up to three video image signals (two more than the standard cable) . You can monitor the video tap, the lens witness mark and the tachometer. Or the footage counter.

4. More control accuracy, at greater distances

Long cable lengths cause voltage losses that diminish accuracy.

Putting the control circuits in the mounting plate near the camera solves the problem. Focus marks and pre-set zoom start/ stops can be precise and therefore repeatable.

The system is now accurate to within the width of the engraved marks on the lens. The factory says that's true out to 500 feet.

Multiplex instead

With the Clairmont-modified system, here's what those three cables do: The first cable is for pan and tilt. The second cable is a multiplex that carries four separate power sources up to the mounting platetogether with coded signals for camera on-off, focus, iris, zoom and power mattebox.

Handset controls six camera /lens fun ctions

5. Remote Handset

You use the Handset (see photo) at ground level, of course. It has three large rotating knobs. Numbers 1

8. Balancing is no longer critical With earlier Power Pods, as little as a quarter-inch off balance would cause vibration. That's why we printed our Balance Guide and why we engraved Balance Marks on our Power Pods. No longer necessary.

The Mark Four will work smoothly as much as six inches off. You can eyeball the rig; if it looks balanced, it probably is.

9. The Clairmont Power Pod Handbook When you rent one of our Pods, you get a copy of our Handbook. That's been true since 1988 ; now there's a new Multiplex section. The idea has always been to help you set the Pod up faster.

10. The Clairmont Pod Introduction It has never been difficult to work with. But if you're new to the Power Pod, it can be intimidating. And a lot of people don't know all its capabilities. So part of prepping at Clairmont has been, and is, a short course to familiarize you with it.

and 2 control focus and iris. Number 3 is a spare servo. You can use it for moving grad filters up and down with our power mattebox. Next to the big knobs is a small square switch, for camera on-off, and a small round knob that sets zoom speed. The rocker switch (on top in the photo) is for zooming.

6. Batteries: all at ground level Pan and tilt run on their own separate power: 115VAC or two 24V batteries next to the control wheels at ground level. Everything else is now powered by one 30V battery, also at ground level. That includes high speed, up to 130 frames per second.

7. Choice of power sources The 30V battery gives you a choice of power sources up at the camera mounting plate. There's a 12V for the video assist camera, a 30V for the Mitchell and a 24V for the new ARRI 535, the Moviecam and the Panaflex. Flip a rocker switch on the mounting plate and the 24V becomes two independent, isolated 12V sources.

Fam iliar wh eel

be sure that cable has been serviced and tested and not used since. After you tell us what camera you'll be using, we assemble every cable you'llneed (eachinitsownbag) and put them all in one big plastic bag.

You also get a complete set of spare cables, separately packaged .

Experience at Clairmont We've been working with and working on electronic remote heads since the early Eighties. Maybe our experience can help make your shot look better.

11. Our own color coding and engraved instructions To make setup easier, we've been color-coding our Pod connections since 1988. With the Mark Four, eight of them are coded at the factory; we code a further seven. And we engrave instructions (' 'To DC Input," for example) under the appropriate sockets.

12. Every cable you'll need, in one big bag Each of our Pod cables goes out in its own sealed plastic bag. You can

Top p icture : two risers.

In this picture : one riser.

With no riser. Pod & 35-3 w ill fit through car window.

ClAIRMONT CAMERA 4343 Lankershim Blvd, N. Hollywood. Phone : (818) 761-4440. Fax : (818) 761-0861 North Shore Studios, Vancouver. Telephone : (604) 984-4563. Fax: (604) 984-4693

Society of Operating Cameramen Fall1995 ACTIVE CHARTER

Parker Bartlett Paul Basta Michael Benson Bob Bergdahl Howard Block Jerry Callaway David Calloway Mike Chevalier Steve Conant Sam Drummy Joe Epperson Ron Francis Bill Gahret Peter Hapke Bill Hines John Huneck Wayne Kennan Bob Keys Norm Langley Tom Laughridge Brice Mack III Ed Morey Tom Munshower Lee Nakahara Jay Nefcy Rik Nervik Leigh Nicholson John Nogle Dan Norris Skip Norton David Nowell Wayne Orr Richard Price Ernie Reed Chris Schwiebert Michael Scott Hal Shiffman Roger Smith Mike St Hilaire Ray Stella John Stephens Carol Sunflower Joe Valentine ACTIVE

Art Adams DerekM Allen James Anderson Aldo Antonelli Ted Ashton Jr Bill Asman Brett Babcock Paul Babin Christopher J Baffa Liz Bailey Vincent Baldino Gerard Banales Stewart Barbee Ed Barger Louis Barlia Tom Barron Guy Bee Richard Benda Bob Berry AI Bettcher George Billinger III

Page 70

Joe Blaisdell James Blanford Peter Bonilla David Boyd Billy Bragg Garrett Brown Bob Bryan Robert Carmichael Monte Chambers Louis Chana try Joe Chess Jr Dana Christiaansen Charles Cohen Tom Connole Freddie Cooper John A Corso Ron Courtney Ivan Craig Richard Cullis Michael L Culp Edward Dadulak Maury Dahlen Rocky Danielson Ray de Ia Motte David Diano Troy Dick Glenn DiVincenzo Alexis DuPont David Elkins David Emmerichs Steve Essig James Etheridge Tom Faigh Jerome Fauci Michael Ferris Kenneth Ferro Bruce Finn Lance Fisher Howard Ford Thomas Fraser David Frederick Michael Frediani Kirk Gardner Jag Gaynor Rusty Geller Michael Genne Wayne Getchell Allen Gonzales John Goode John Gutierrez Anette Haellmigk Dennis Hall Dean Hall Terry Harkin Sean Higgins Ronald High Patricia Hill Gary Hoffman Jeffrey Hoffman Joachim Hoffmann Gary Huddleston David !rete Levie Isaacks Michael A Johnson Michael Jones David Judy Michael Karp John Kiser Douglas H Knapp Dan Kneece

Kris Krosskove Jerry Kulhawik Robert La Bonge Jeffrey Laszlo Henry Lebo Mark Levin Moshe Levin Michael Little Patrick Longman George Loomis Donald Luczak Allan Lum Li Gregory Lundsgaard Jim Lunsford Kenji Luster Braden Lutz Cam MacDonald Constantine Makris James Mann Richard Mason Stan McClain Don McCuaig Ron McManus Robert L Mehnert Mike Meinardus Robert Mills William Molina Joseph Montgomery Lawrence P Moody Christopher Moon Jeff Moore Denis Moran Donald Morea Joshua Morton Don Muirhead Rick Neff Michael Negrin, ASC Chuck Nicklin Ed Nielsen Randy Nolen William O'Drobinak Philip Oetiker Russell Ofria Lucio Olivieri David Parrish Aaron Pazanti Robert Peebles David Plenn Ronald Precious Robert Presley William Purdy II Laszlo Regos Bernard Reilly Herb Roberts Randall Robinson Rick Robinson David Robman Andy Romanoff Harvey Rubin James Rush Frank Ruttencutter Richard Schaefer Steven Schoedsack Chuck Schuman Guy Skinner Jonathan Smith Michael D Smith Sandy Spooner Stephen StJohn Craig Stewart

Society of Operating Cameramen

Michael Stramisky David Stump Bill Swearingen Brian Sweeney GeneTalvin Richard Tiedemann John Toll, ASC Daniel Turrett Pernell Tyus Robert Ulland Gregory VanDer Veer Edward Ventura Ron Vidor Bill Waldman Victoria Walker John Ward David West Bill Williams Ben Wolf Elizabeth Ziegler

John LeBlanc Brian LeGrady AlanJ Levi Dr Ellen Matsumoto Annie McEveety Nick McLean John McPherson Mark Melville Charles Minsky Karin Modlin Gary Moore Sol Negrin, ASC John Newby Richard Nezvadovitz Michael O'Shea Andrew Parke Norman Parker Jetson Pfoutz Ted Polmanski Serge Poupis Bill Reiter Parker Roe ASSOCIATE Marvin Rush, ASC Gary Armstrong Lee Safar Eugene Ashbrook Richard Salvatore Chuck Barbee Carl M Schumacher Sr Mitchell Block Bob Seaman Joseph Calloway Arnold Shapiro Bruce Cardozo Jan Sluchak Jeff Clark Steven Douglas Smith Greg Collier Kurt Soder ling Richard Crudo Owen Stephens Christopher Dawson Stephen Sung James A Dennett John Teal Ronald Deveaux Amanda Thompson George Spiro Dibie, Kenneth Wade ASC Roy H Wagner, ASC Steven S Douglas Haskell Wexler, ASC Kevin Downey Shaun Wheeler Robert Feller Tony Yarlett Dan Fetler Vilmos Zsigmond, ASC Gerald Perry Finnerman, ASC HONORARY John C Flinn III, ASC Stephanie Benson Mark Forman Jacques-Yves Cousteau Peter Frintrup Bruce Doering Steve Gainer William A Fraker, ASC Richard Garbutt Ron Kelley James Garvey Wesley Lambert Michael Gaun Jerry Lewis Harvey Genkins A Linn Murphree MD Norman Glasser David Myers Jeff Goldenberg Jay Roth Wayne Goldwyn Steven Spielberg Bud Gray Frank Stanley, ASC Jeff Greene George Toscas Kevin Haggerty Donald Halliday RETIRED Wynn Hammer Bernie Abramson John Hill Rupert Benson Jr Gary Holt Vee Bodrero Charles House Don Burch John Huggins Phil Caplan Philip Hum Bruce Catlin Gregory Irwin Bill Clark Chris Ishii DickColean Douglas Kirkland Cliff Concialdi George La Fountaine, Jim Connell ASC Don Cropper Stevan Lamer, ASC Linwood Dunn, ASC

Fall/Winter 1995/96

Mike Ferra Jerry Fuller Ralph Gerling Jerry Good Gil Haimson Lutz Hapke John Hussey Bill Johnson David Kurland Joseph Longo Steve Lydecker Owen Marsh Bob Marta Michael McClary Emmanuel Metaxas King Nicholson Arnold Rich Sam Rosen Jim Safar Lou Schwartz Phil Stern David Sutton John Thoeny Sven Walnum CORPORATE AFFILIATE

AGFA DIVISION MILES INC Toni Robertson ARRIFLEX CORPORATION Bill Russell CHAPMAN-LEONARD STUDIO EQUIP INC Leonard Chapman Charles Huenergardt DELUXE LABORATORIES CORP Richard L Thomas Ron Koch EASTMAN KODAK COMPANY Curtis Jones John Mason FUJI FOTO FILM USA INC Hap Parker J L FISHER INC James L Fisher Dennis Knopf MATTHEWS STUDIO ELECTRONICS Bob Nettman O'CONNOR ENGINEERING INC Chadwell O'Connor Joel Johnson OTTO NEMENZ INTERNATIONAL Karl Kresser PANAVISION INTERNATIONAL LP Tracy Langan PHOTO-SONICS INC Conrad Kiel SHOTMAKER DOLLIES & CRANES Derek Church SONY ELECTRONICS INC Jeff Cree TECNICOLOR Adam Chuck VICTOR DUNCAN INC Frank Marasco

IN

MEMORIAM

Requiem for a Hero Sam Dowlin, a former member of the Society of Operating Cameramen passed away on Sept. 1 1995, 12 days prior to his 52nd birthday. He was diagnosed with Leukemia. Sam was my friend and coworker. Weservedonseveral SOC projects together. Sam was very involved in helping to advance the SOC. We worked together as camera operators and when I moved up Sam often worked with me as camera operator. We were also Masonic Lodge brothers. I will miss Sam as a colleague and friend.

Many who knew Sam Dowlin did not know of his many achievements in a too short life . Sam served in Vietnam as a Green Beret with the rank of Captain.

He was presented with our nation's highest honor, the Congressional Medal of Honor for bravery behind

SOC Associate member George Spiro Dibie, ASC was awarded this Certificate of Merit from the SOC to acknowledge his recent win of yet another Emmy Award, this one for Sister, Sister.

By Bob Berry,

soc

enemy lines . Sam was a graduate aeronautical engineer from Rice University in his home state of Texas. Sam was also a skilled trumpet player and auditioned for the First Chair in the Boston Pops. He was hired for the position but an injury to his mouth ended this dream so he went on to other activities.

In some ways Sam Dowlin's life was similar to that of another great American hero, Audie Murphy. They were both from Texas. Both were told they were too small to join the military, but both became giants as men. Both came to Hollywood to work in the film industry, one in front of the camera the other behind it. Both were Masons. Both left this world at a young age. Both received our nation's highest honor, the Congressional Medal of Honor. One was a distant relative and the other an old friend . So long old friend. "May the wind always be at your back."

POWERFUL, LIGHTWEIGHT AND STABLE. MODULUS 2000

Miniature (2"x 3"x l")Video Transmitter All channels from 14 to 69.

BRAND

"f'

NEW

MODULUS POWER BOOSTER

Boosts power 1200%.

Same tiny size. 9 to 36 Volts.

Covers all UHV and VHF frequencies.

CABLE SETS

We stock Cable Sets for Everything.

3A PRO EFP SK Master Cameras. Transmitters. Wireless Focus.

Special Orders . "f' "f' CUSTOM INTERFACE

Los Angeles P/10/IC (213) 222-6401

011e Year Parts & labor warrn11ty.

For export 011 ly, 1101 FCC approved.

Fnx (21 3) 222-2328

Fall/Winter 1995/96

Society of Operating Cameramen

Page 71

They say three's acrowd, but we think you'lllike the company.

Meet Panavision, Moviecam Compact, and Arriflex. Three of the biggest names in professional film cameras now crowding the equipment rental shelves at Victor Duncan, Inc. As the exclusive agent for Panavision in Georgia, Texas, Illinois, and Michigan, Victor Duncan, Inc. has added the versatile Moviecam Compact and the state-of-the-art Arriflex 535B and 435 cameras to its inventory. These cameras, combined with the latest lenses and accessories also available from Victor Duncan, Inc. , make one crowd you won't mind being in the middle of.

For more information about these cameras and the entire film, video, and lighting equipment inventory at Victor Duncan, Inc., call a rental coordinator at the office nearest you.

Atlanta (770) 457-4550

Dallas (214) 869-0200

Chicago (312) 267-1500

Detroit (810) 471-1600

VICTOR DUNCAN, INC.

WHY OOfS RON 6AR[IA, AS[, [HOOSf fUJifllM?

Ron Garcia has earned Emmy®, ASC, & ACE Cable nominations, and an ACE Cable Award-all for projects shot on FUJIFILM.

"It 's the colors. FUJIFILM provides the resplendent palette I need to communicate the story visually.

"The new Super F-Series stocks have a great capacity to render pleasing skin tones under a wide range of conditions-even when I'm using lighting of various color temperatures.

"The other day I was shooting a scene for a feature in which the main character moves through a garishly lit nightclub. We were bouncing blacklight Xenons off fluorescent paint, mixing a disco strobe with party gels lit by tungsten quartz

lights-yet the lead 's skin tones had to look perfectly natural throughout .

"With Fuji, I was confident that I would be able to get exactly what I wanted.And I did .That's why I ask for it every time."

When you see the work of Ron Garcia, you 're seeing FUJIFILM.

~FUJIFILM FUJI PROFESSIONAL MOTION PICTURE PRODUCTS NEGATIVE • INTERMEDIATE • POSITIVE PRINT STOCK

Sales & Marketing: 800/326-0800, Extensions 4303 & 4304 CompuServe -+ GO FUJI I 141 North Highland Avenue , Hollywood, CA 90038