Camera Operator Fall/Winter 1996/97

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The NEWTSUITed diver examines part of the wreckage of the Edmund Fitzgerald. See page 50.

The Operating Cameraman Magazine Volume 6, Number 2 Fall/Winter 1996/97

Paul Kantner of Jefferson Starship at the SOC picnic. See page 62.

Bill Hines at the podium at the SOC Lifetime Awards banquet. See page 4.

Contents of this issue: 2 4

SOC Web Page Ninth Annual Lifetime Achievement Awards Banquet

36 38 46 49

by Jeffrey Alan Goldenberg and Michael Frediani SOC

16 The Japanese Cameraman System

by Seigo Sakamoto

soc

20 The First Hand-Holdable 35mm Motion Picture Camera

The President's Award Lifetime Achievement Awards Technical Achievement Awards Future Technology Records the Past: Recovering the Bell from the Edmund Fitzgerald

by Jeffrey Cree

59 65

SOC News and Notes Underwater Filming Chez Cousteau

by Didier Noirot

70

Director's Delight

by Floris Sijbesma

by David W Samuelson

27

A Time Lapse Primer

by Wayne Goldwyn

34

The Governors Award

soc

71 72

soc

Advertisers' Index Roster of the Society of Operating Cameramen

Fall/Win ter 1996-97

The Operating Cameraman

Page 1

his society has been established to adva11ce the arts and creative con tribution of the Operati11g Ca111eraman (Second Ca111eralllllll , Ca111era Operator) in the 111otio11 picture a11d video industries. To foster and strive for excellence, arti tic perfectio11 a11d scie11 tific knowledge in al/ 111atters pertai11ing to fil111 and video photography.

T.

EDITOR

Michael Frediani AsslSTANT EDITOR

Jeffrey Alan Goldenberg

POST-PlloDucno Douglas Knapp

GER

A DVERTISING/S ALES

Bill Hines

l" Tision,

C IRCULATIO

Michael Little D ES1G

Amanda Thompson

&: PlloDucno

Lynn Lanning, Double L Design, Glendale ELECTllONIC I MAGING

Lightning Process, Culver City

PiuNnNG

Fl

tlte es ential ingredient that we V as Ca111era Operators use in our work i11tri11 ically bo11ds us • to children with visio11 problems. ~ 011rorganization co11trib11tes its ~ f11/f upport to the Eye Care Cli11ic of the Childrens Hospital of Los Angeles.

Tht Optrating Camtraman Magazine is published semi-annually by the Society of Operating Cameramen. For advertising information and article submissions, please contact SOC Attn Bill Hines at PO Box 2006, Toluca Lake, CA 91610 Phone (818) 382-7070

Copyright C 1996 by the Society of Operating Cameramen

~ ®is a registered trademark.

All rights reserved.

Katy O'Harra Gemini Graphics, Marina del Rey

SOCOmCERS Michael Frediani . . . . . . . . . . President Ray de la Motte . . . . . . . Vice President Michael Genne • • • • • • • • Vice President Ray Stella. . . . . . . • . . . . • Vice President William Molina . . . . . . . . . . . Treasurer Steve Essig .... Membership OWrman Michael Little ........•....• Seaetary Bill Hines. • . . . . . . . . Corporate Liaison William Clark • • • • • . Sergeant-at-Arms David Robman •.••••.•...•• Publicity

CONTRIBUTORS

Jeffrey Cree Douglas Knapp Michael Frediani Didier oirot Jeffrey Alan Goldenberg Seigo Sakamoto Wayne Goldwyn David W Samuelson Floris SiJbesma

PHOTOGRAPHY Jeffrey Cree Michael Frediani Steve Essig Wayne Goldwyn Bob Feller Kim Mc:Clain Didier oirot, Cousteau Society QUET PHoros John Wiley Processing: Courtesy of Paramount Studios Photo Lab

B

BOARD Of GoVERNORS

•••••••••••••••••••••

CoVER Pltoro

Rescuing the bell from the

Subscription Rates: USA $10/year; Outside USA $20/year (US funds only)

Edmund Fitzgerllld, soo· underwater.

Electronic photo by Jeffrey Cree; Courtesy of ational Geographic Society

Howard Block

Terry Harkin

Llnwood Dunn, IS:.

Joe Epperson Dan Fetler Lance Fisher Thomas Fraser WilliamGahret

Douglas Knapp Allan Lum Li William Purdy II Harvey Rubin Amanda Thompson

Bill Waldman

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• QrectOl}I ~ndow

Open

J:!elp Pml

Frid

I~

Check out the SOC on the World Wide Web. Articles, information ...

Visit us at http://www.soc.org/

Society of Operating Cameramen 01

Page2

The Operating Cameraman

Fall/Winter 1996197

The Web Page for the Society of Operating Cameramen i designed and maintained by Art Adams, SOC.

ock ide, the clinking of cocktail gla es rang in th inth Annual LifetimeAchievem nt Award banquet at the opulent RitzCarlton Hotel in Marina del Rey. Th balmy late afternoon air was filled with chatter' as the tuxedo-dad and b gown d gli ttera ti of the camera et brought each other up to date and exchanged war torie . Academy-award winning directors of photography and technicians were in abundance, a were corporate executives from the many innovative companie that make our job possible. Operators and assistants buzzed on about their n w project . Th air of excitem nt was pal pa bl . Thi promi ed to b asp cial vening. Whatb ttercrowd could ther b to honor the b t of the b t in the motion picture industry?

Meanwhile, inside the Grand Ballroom, banquet chairman David Rob man and hi team scurri d around making last minute preparations for th c r mony to come. Pre id nt Micha I Frediani coordinated a few final script changes with the distinguished pre enters. The tables were b ing prepared with china and floral c nt rpi c . Light levels were being adju t d (although a gremlin found it way into the dimmer board). The tage was just about set.

At th appointed hour, th ballroom door were flung op n and all pr ent filed in to begin the y arly f tivitie . Wine glas e were filled, toa t were made. Then aft r a avory dinner of delicately arranged California cui ine, topped off by a potpourri of d1ocolate des erts, the Lights wer dimm d . (Mo t of them anyway.)

Th award ceremony began on a politically correct foot with th er ning of a erenely scenic public ervice announcement produced by the environmentally consciou Earth Communications Office. This wondrous pictorial celebration of the glorie of natur reminded us that "We only have one planet. We only get one chanc ."

Pr id nt Fr diani then st pp d up to th podium to welcome all to the OC' "crown j wel event" of they ar.

He tat d that ECO's PSAs are "meant to ducate and in pire. Our purpo

D

Pnge4

The Operating Camernmnn

Michael Frediani, President of SOC, with producer Kathleen Kennedy, who received the Governors Award.

Ninth Annual Lifetime Achievement Awards Banquet Jeffrey Alan Goldenberg & Michael Frediani SOC

tonight is to thank tho people here who also have educated and inspired people internationally." Frediani recapped the SOC' many ucces ful activitie throughout th y ar, including the fir t "hand -on" Crane and R mote H ad Seminar as w II as the rock'n'roll concert/ picnic ho ted by

Fall/Winter 1996-97

Stan and Kim McClain. He then roll d a short video of Dr. Murphree and Dr. Matsumoto at work, showing the as emblage why the SOC has maintained its long-standing comrnitm nt to helping childr n with vision difficulties at the Childrens Hospital Eye Care Clinic. David Rohman =*>

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Drs. Matsumoto and Borchert

pre ented checks totaling $3,750 to clinic doctors EUen Matsumoto and Mark Borchert; money donated by the Board of Governors as well as donations from ale of picnic/ concert tickets.

Pre ident Frediani who design d th new fund-raiser pin for 1996, had one

placed upon every table etting as a gift to each attend , courte y of the SOC. Dr. Mat umoto thanked the SOCgraciou ly foritsannual support and said, "On behalf of the Eye Group, our patients and my elf p r anally, thank you o much. ot only for th.is evening's genera ity but for your continuous support and also for your time, energy and efforts in fundraising on our behalf. You have enrich d o many Lives and brought car which would be impo sibl without your upport." Dr. Borchert add d, "Often we feel that w ar op rating in a vacuum and many tirn it ems as if we are taking care of people for whom ociety do sn't really care.

Wearegrat ful for the fact that there are so many her who do care."

Presenting the evening's fir t Cammy, the President' Award, Frediani introduced SOC "founding father" Robert Marta, quoting past president Bill Clark, who called Marta a "master of smoke and mirrors" for hjs many contributions to the Society, safety on the et, and substanc abuse

treatment programs. "My decision for thjs award wa very easy," Frediaru told the audience. "Bob was my fir t and only choice." As photos from Marta' career played out on the large screen stage left, Frediani stat d, "Tonight we honor Bob for giving sub tantially and un elfishly of him-

••••••••••••••••••••• /'Things turn out best for the people who make the bestof the way things turn out.

Nancy Marta describing Bob /s philosophy.

I/

••••••••••••••••••••• self for the benefit of others." To great applaus Marta ro e from the tablewhere he was encircled by friend and family-with the assistance of a cane, vestige of a stroke and heart attack

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The Operating Cameraman

Fall/Winter 1996-97

that prematurely curtailed his car r.

At the podium Marta gave a warm, rousing and heartfelt speech where he recounted the struggles in forming th Society. "The SOC was born from then ds of our industry and thecornrnitmentandidea ofahandful of as ociates. That cornrnitment was a natural for everyone involved, a th foundation of the SOC wa built on one of this country's olde t working conditions. Very imply it wa , i and wiU always be a labor of lov . It was impos ible to hold back th momentum," recaUed Marta. He graciou ly acknowledged the contribution of member Tom Munshower who first suggested having a banquet to honor the unsung h ro s behind the camera in aJJ categories.

"Th SOC is your organization Marta, Frediani and your future. Get involved," exhorted Marta. "Help expand it by bring0 , la t y ar' winner ing in your new, fresh ideas." In clos- of th Pre iden t' A ward, then took the ing, Marta his voice tinged with emotion stage. Hine , who w ar many hats aid, "Thank you from the bottom of within the SOC and currently serves my h art. God ble s you all... SOC as corporate liai on, introduced the forev r!"

Technical Achievement Awards portion

of the program. ''TheSocietyproudly r cognizes the dedicated inventor , manufacturer and suppli r who have developed and introduc d equipment, materials, service and techniques which have significantly contributed to the art and craft of operating cinematography," explained Hines . With that h introduced the world-renowned cinematographer Dean Cundey ASC., who took the podium for the second con cutive year.

The fir t award honored the Worrall G ar dHead. "The truth is, G org Worrall refu ed to call it an invention," related Cund y. "H insisted it was simply a mechanical device ba ed on common n ."

Cundey joked about his fir t job a an operator which ironically fell into his lap when his DP was not able to op rate anything but a fluid head. Cundey said wryly, "Thank G orge for aU the laughs your device provided over the year as we watched producers and director try to follow the action with =*>

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I tendee , ''I'mgratified and very thankful to be honored by the u r of my geared head . Thank you."

The award for the orelcoPCP-70camera wa pr ented by George Spiro Dibie ASC, ational President of International Photographer's Guild Local 600. Dibie related his experiences with the cam ra and introduced a video of Wolter Wolther d cribing th volution of this portable and wireles camera, first used by CBS at Wolthers, Dible, the 1968 Republican ational Convention in Miami . "The camera weighed over 65 pound , so ne die s to ay, the camera operator we el ct d n eded to b very big and strong. After fifteen minutes of operating this camera handh Id, he

Cundey, Worrall Jr.

tho e 'oh o confusing' wheels." Accepti ng the award on his father's behalf wa GeorgeWorrallJr.Hethanked the SOC and then provided a hort vi deo of his dad worki ng at th ir machine hop and aying to the at-

Calabro

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Page 10

T/1e Operating Ca111ern111a11

Fall/Winter 1996-97

But] r ASC introduced the final Technical Achievement Award for the evening. "Who do you caU when you are working on a film or commercial that require exquisite underwater photography?" asked Butlerrh toricaUy. "The answer is Pete Romano" whom Butler worked with earlier this year on Flipper. Witl1 that, a video

by Romano' wife Geri Bower was scr ened to demonstrate the versatility of th HydroFlex Housing System. Award in hand, Romano beamed, "To be h r in front of you has a very p cial meaning for me and th crew at HydroFlex.

Nettmann, Cundey

Th cameras that we have today are a re ult of their comments."

Ace pting award plaques for th or lco PCP-70 were Walth r and Thom Calabro of Phillip BTS. Cundey al o announced the next award, to Ernst " Bob" ettmann for his Cam-Remote sy t m.Cundeywasintroduced to the now widely used device during hi pr p for Back To The Fut11rewhere heneeded "a table head that was responsive and easy to use since we were using Vi ta Vi ion forourplateshots."

Cundey's unique en of humor was again evident as he told the gathering that he had Butler, Romano alway thought ettmann's accent was English, even though As an inventor and manufacttmann's r ts were actually in Ger- turer, thi award i th greatmany. '1gu ,"quippedCund y,"wh n e t recognition on could hope you're om one involved with preci- for, because a m mb rs of the SOC you ar th one who ion high-tech camera equipment it i e ential to be German, Swis , Japa- u e the equipment and get ne e or Panavision." the shots and make it a II work.

Video of the Cam-Remote in action Coming from you," Romano was shown preceding ettmann's continued, "this means that we acceptance speech. He was joined on have done omething right." stage by Ed Phillips, president of Vilma Z igmond ASC, who last year graced the Matthews Studio Equipment and Carlo D Matto , chairman of Matthew Stu- cover of thi magazine with dio Group. "May the wheel be with 199S's Board of Governors you," tated an ebullient Nettmann a Award winner Jacque -Yves Cousteau , pres nt d the he proudly rais d his award.

From the floral bedecked stage Bill Cammy for still photography

to fellow Hungarian, longtime friend and colleague Peter Sorel. Taking credit for recognizing Peter's compo itional talent, Vilma recounted Peter' ody sey from Budapest in 1956 wh r he wa a revolutionary law student at the same time Vilmos and Lazio Kovacs had just b gun hooting documentaries in Lo Angele . That is wher in the early 1960 they first met. Aft r viewing Peter's fantastic "snap hot ," Vilmos shepherded hin1 into motion picture work.

Zsigmond related an an cdot about the time many years ago when Sorel took over as camera operator for him on a low-budget movie shot in Techni cope. "If you ever ea film at midnight or lat r on television and my name i on it, well, there are ome equence wherethecharacters have no heads on th m ...

(Laughter) ... That was why I ad vi d Peter to concentrate on till photography."

Th audience was treated tothr eminute ofSor l' tark, arresting and magnificently composed images while th music of Gershwin' Rhapsody in B/ueplayedinthebackground.

S rel then took the stag and called hi Cammy a "MidLife Crisis Award or a ' Don't Give Up the Ship Yet' award.

Aft r more than three d cades I feel that shooting stills is more a plea ur than a job." =*>

Sorel, Zslgmond

Fall/Winter 1996-97

The Operating Cameraman

Page 11

I

South, Greene

H credited hi hard-edged photographic approach to the spirit of Albert Einstein, whom he quoted as aying, "If you are out to de cribe the truth, leave elegance to th tailor."

Former ASC president Lennie

an operator who "gets the job done."

Holding aloft the evening's eloquent program booklet Epperson stated

South honored Bobby Greene, his colleague on Alfred Hitchcock's The Trouble with Harry, with the Cammy for his liletim achievement as a camera assistant. Accepting, Bobby admitted that when he first started as an assistant for Milton Krasner ASC on the Marlon Brando picture Desiree, a clip of which was shown to the crowd, h didn't know how to find the key light in order to illuminate the 'lilly' aft r a printed take.In tho day , Bobby r called, "There were o many lights up there. I remember looking up and seeing v ry lOK and Senior in Hollywood, b caus cameramen needed to throw 800 foot-candles onto th s t." Observing that present-day cam ramenrarely u more than 30 foot-can di s, Bobby exclaimed, "That's progress!"

Joe Epperson SOC, last year's Cammy award r cipient passed the torch to Bob K ys SOC, whom he called

••••••••••••••••••••• /Tve seen the night sky from the center of Australia and landed on the deck of the Titanic!

What other career allows such a creative outlet?"

- Bob Keys

••••••••••••••••••••• matter-of-factly that there i enough in K ys' bio to warrant three awards.

We were treated to clip of Bob's masterful work with the Louma crane from musical shows starring this century's most renowned vocal tylistsJulieAndrewsand Barbra Strei and.

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The Operating Cameraman

Fall/Winter 1996-97

~

Keys, Epperson

We also saw Bob's footage from the deck of the Titanic, 21/i miles under the a. (How much is that in leagues, Bob?) Bob stepped up to the microphone and heartily thanked the SOC for rewarding him for "a job I truly enjoy. I've

/:65

e n the night sky from the centerof Australia and landed onth deckoftheTitanic!What other car er allow such a er ative outlet?"

While Stan McClain SOC introduced the firstever award for a Mobile Camera Platform Operator to "precision pilot" J. David Jones, we were treated to some astonishing and breath-taking clip of Jones having fun at work, including on of th most memorabl helicopt rsequence in film, the "Ride of the Valkt;ries " from Francis Ford Coppola's Apocalypse Now. McClainrelated that he has been asked over the years, "Who do I think is the be t motion picture pilot around? The an wer Jones, is simple. There are definitely

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center around the safeguards of the crew." Jones, who had flown in from the Utah et of Con Air to receive his award, stated in his soft-spoken tone, "It all tarted for me with elson Tyler and, right along about that time, Bob ettmann. But there was a pilot before me, and I'm happy to say thathe'shere tonight: Peter Pascal. Thank you aH for thi award, I really appreciate it."

Emil Oster ASC - whose father as head of the camera department at Columbia Studios was the first to hire Joe August, this year's recipient of the film camera operator Cammy Award -reminisced about playing high school football against August in 1934 in the San Fernando Valley. Oster was witty as ever and entertained the audience with everal anecdotes about working along ide Joe, as photographs from this award-winner's career played out on the big-screen and the song A Wink and a Smile played on.

four decades in the industry moistened more than a few eyes. Joe, who could not attend the cer many, personally thanked the SOC for his award by video.

The evening was capped off by the presentation of the Governor Award to producer Kathleen Kennedy. Two-time 0 car winner John Toll ASC introduced her award by relating Kennedy's beginnings as a video camera operator for a small San Diego television station. "It made all the sense in the world that she might have started out as a camera operator," Toll stated. "Like Toll, Kennedy members of a camera er w she is very hands-on. She is involved in every one of them gave life to all of the making film , not just getting them films that I've had the great fortune of started." Banquet attendees were awe- being involved in, and each of tho e struck by an amalgamation of memo- filmmaking experiences is memorable rable clips from her seemingly because of them." Kennedy continued endless string of hits. From the to lavish prai eon the camera operators biggest grossing megahits E.T. saying, "Their pursuit of excellence The Extra-Terrestrial and Jurassic has everything to do with why I am Park to the touchingly romantic here tonight. I share this award with Always and The Bridges ofMadison each and every one of them and thank County. From the oxymoronic you for honoring me because of them.

Back to the Future erie to the Thank you." innovative Who Framed Roger Following her very gracious speech Rabbit? From the moving histori- Frediani returned to the stage and mad cal epics Empire of the Sun and Kennedy an honorary SOC member Schindler's List to the exciting on behalf of the Board of Governors.

A wonderful time was had by all and frightening Twister. In little more than a decade Kennedy has and although the hour was late when been instrumental in providing the festivities concluded many were the world with more ground- overheard to say that they had had "a breaking entertainment than one wonderful time" and that "this event could imagine was possible to will be difficult to top."

The Cammy will live on. Knowing achieve in ten lifetimes.

Ellen Allton, August's daughter; Oster With a hug from her hus- the spirit of a handful of dedicated The evening's most poignant band Frank Marshall and sporting a SOC members who unselfishly volunmoment came when Oster handed the big smile Kennedy looked over at the teer many hours of their time, this torch Cammy award to Joe August's daugh- screen from behind the ro trum and will be passed on so that other worthy ter Ellen. With a smile reminiscent remarked, "Well as you can see by artists, inventors and technician may of a young Shirley McLaine, Ellen those clips there was a lot of great experience the pride of receiving a overcame her professed fear of public operating going on." She mentioned prestigious Lifetime Achievement or peaking to give a touching portrait some of the great camera operators Technical Achievement award from of her father, whom she referred to as that she has had the pleasure to have the Society of Operating Cameramen. "a meticulous teacher, a master crafts- worked with, such as Toll, Chick man and a chronicler of the most Waterston, Norm Langley SOC, Paul charming era in motion picture history." Babin soc, John Fleckenstein, Mike A two-hour VHS video of the SOC The extent of her pride in her father's Roberts, John Connor, Dave Whaley, banquet is available by writing to the accomplishments during his more than Ray Stella SOC and others. "Each and SOC. The cost is $30 US .

~CE

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The Operating Cameraman

Fall/Winter 1996-97

I F..-om J\c..-oss the Pacific ...

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M Page 16

The Operating Cameraman

B y S e:1ao S .AKAMOT01 soc hen I had returned to my country of Japan after ten years of working on various productions in Los Angeles, I could not help but notice that the Japanese motion picture ind us try and its system had remained somewhat the same in its aspect of filmmaking as when I'd left. The overall production, crew structure and technical applications all reflected the past secluded in its own style. If Japan is generally known to the rest of the world as difficult to understand culturally, then I think that its filmmaking system may also be regarded in a like manner.

Al though I believe that each country has its own ways with their relative structure and beauties, I feel strongly with all due respect to the Japanese motion picture industry, that they lack the desire to globally communicate and exchange information. Thus I have taken this opportunity to write about some of the system differences which I have witnessed between Japanese and American cultures of filrnmaking.

Director of Photography In Japan, "Director of Photography" is not a common word; "Cameraman"

Fall/Winter 1996-97

is most often used. Generally speaking, the lighting of the set is not considered the cameraman' srole, regardless ofone' s desire or capabilities. Hence you will often find that the cameraman does not carry an exposure meter to the set.

In the Japanese system, the cameraman's main role is to operate the camera and he is considered the "master of frame adjustment." Consequently the title of camera operator as such is virtually non-existent in this country.

Chief Assistant Cameraman Closely working with the cameraman, his responsibility is to read the light meter and decide on the iris stop.

Hence you will find the chief assistant cameraman to be walking around with various exposure meters around his waist. There have been many occasions in the past when a US crew working in Japan would presume that he is the "DP" on the set.

2nd Assistant Cameraman Equivalent to the 1st assistant cameraman in the US system, he is the focus puller. But to add to his job tasks, he has to load the film, switch =*>

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the camera on and off, operate the video a i t device and push the doorway dolly if one is b ing used on set.

Generally in TV commercials, the camera department consists of the chief and the 2nd a sistant cameraman .

Incidentally wh n the 2nd assistant is n ded to push the dolly and pull focus imultaneously, the chief assistant cameraman would exercise his/her pr rogative wh ther or not to push the dolly or pull focu during a particular hot. This is one example of the ambiguity or' flexibility' of role-assignments which are quite commonly accepted in the Japanese filming industry.

Since Japane e TV commercial have a strong traditional preference r garding the look of the spot, minimal cam ra move ar employed compared to the western pots. lf and when camera dolly move are incorporated, as a trong element to assist in the concept of the spot or as a part of the look, then th production company will decide whether or not to hire a 'special effects dolly operator' which would then alleviate the work load of the 2nd assistant cameraman.

In feature films, the 3rd assistant cameraman is normally hired so that

the work load can be alleviated between the chief assistant cameraman and 3rd assistant cameraman.

By and larg , the 2nd as istant cameraman i indeed th bu iest person on et.

In the Japanese system, "slating" is not the camera departm n t' respon-

••••••••••••••••••••• T he li 9 ht i""9 d il" ctol" cl"eat s t h

li 9 ht i""9

w it h hi s e lectl"ica l t am .

••••••••••••••••••••• ibility but falls under the auspice of the a sistant director.

3rd Assistant Cameraman

Increasing numbers of 3rd assistants are appearing on sets as film loader to assist th 2nd assi tant cameramane peciallyinth f atur filmmarket.

4th Assistant Cameraman

Since many productions cannot afford a 4th assi tant it is often an intern

po ition. The intern would then assist the 3rd assistant cameraman, taking care of the video assist and simple grip jobs; hence more interchangeability.

Lighting Director

Once the frame is set by the cameraman, the lighting director take over and functions as thecreatorof the overall lighting structure; its look, its de ign and the equipment to be used . With minimal consultation, he would then take the initiative to create the lighting with his electrical team; a major difference from the u ual Western style. I recall a situation when I worked in Hollywood as a focu pull r: We had constructed a Japanese alley on a ound stage for a Japane e commercial. The camera was placed on a hi-hat located in the middle of the narrow alley and it wa mounted with a 9.8mm lens. Obviou ly the mandated frame revealed almost everything on the set, including the rooftops. I can still remember the look on the lighting director' face wh n the cameraman had set his compo ition and said "This is the frame," and then walked away from the camera. Well it took a great deal of thought and time for the lighting director to

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Page 18

The Operating Cameraman

Fall/Winter 1996-97

I

figure out where to po ition hi light , but finally he was able to solve the problem. Without consideration or due to a lack of experience on the part

••••••••••••••••••••• 1 co~nt myself as one of those who

f

els the d siv to bvin9 the

w stevn s+yl

of

c1n matogvaphy to Japan.

••••••••••••••••••••• of th cameraman situations such as thi may occur.

1st Assistant Lighting

Same as the best boy in the US filming y tern.

2nd Assistant Lighting

Electricians: Generally 2-4 on a set.

Hierarchy

In the Japanese filming system, this method of cene blocking and set Lighting in relation to the US system is divided into the collaborative work of th cameraman, the chief as i tant cameraman and the lighting director.

When all three are in sync there may be an advantage in that it may save a lot of pre-lighting and set-up time from a producer's perspective; however I am ure that many American DP might have strong feelings to the contrary.

Who Then Is the Director of t he Camera?

In general the cameraman has his I her ay over the lighting director, however there are ca es when the producer hire the lighting director first and con equently the lighting director choo the cameraman. Hence the overall look and the responsibility of photography becomes slightly ambiguou , very much affected by the hierarchy of the crew structure as mandated by the individual producer.

Under the Japanese filming sys-

tern very few cam ramen are provided the comfortable environment to perform the American-style role of cinematography. Although a few individuals have recently attempted to perform thi style, they must battl through the Lighting department and its traditional system. I count my If as one of those who feels the d ir to bring the western style of cin matography to Japan.

The communication with the lighting department is the mo t difficult task to overcome. Since lighting has been kept under the control of the lighting director for so many years there is an obvious conflict of roles between the cameraman and the Lighting director and even a fe ling of resentment concerning change. It mu t b stated that very few have been afforded the opportunity to experience other styles in order to make comparison and integrate the best of both worlds.

Sets and Locations

Unlike Hollywood's style of filmmaking where major sets are constructed on stages, the Japanese filmmakers focus on exterior shoots and existing int rior locations in deference to a cultural point of view.

••••••••••••••••••••• Spac

is not a l~x~vy

which o~v co~ntvy can affovd.

••••••••••••••••••••• With the restriction of shooting space and with the poor quality of Lighting equipment, the beauty of the frame

takes precedence over the lighting considerations.

Space is not a luxury which our country can afford. Therefore the technical crew must take into consideration k eping the equipment rather small and compact yet versatile. Although Fisher, Chapman and Panther dollies are available to rent, they come at a price; approximately triple the cost compared to the US. Dollies are conidered 'special effects' equipment, a luxury item more than a common production item . The gear head i not a popular piece of equipment us d by a Japanese cameraman. A Sachtler head is most often found under the camera due to its ease of use compared to a gear head .

Concl usions

I sincerely hope that this article has provided an insight into the motion picture industry of Japan and answered many questions although it may have raised even more.

Lastly, I feel that some changes are for the b tter and that we all should keep an open mind in developing new ideas and technologies so long a it all leads to a broader understanding of the universal language we know as fiJrnmaking. ~~

Seigo Sakamoto is an award-winning operator and cinematographer and one of the SOC's newest members; he learned about the SOC through our Internet Web Page. Seigo has designed his own Web Page and can be reached through the Internet at: http:/ /seigo.com and his e-mail address is: eigo@seigo.com if you wish to learn more.

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The Operating Cameraman

Page 19

I The First Hand-Holdable

Picture mera

to face depen wind was blowing, to k ep the hand cranke wa attached firmly to a stand ing constantly at the enemy ships.

S condly, just at a crucial moment the camera would run out of film and reloading the film took too long. By the time the camera was reload d and was cranking again it could be far downwind of the target.

Moy and Bastle To overcome these problems the Lords of the Admiralty consulted two Britishcameraengineers,EmestFrancis Moy and Percy Henry Ba tie of E. F. Moy and Co., long time suppliers of

Page 20

The Operating Cameraman

changea ment type fi The new magazine film orifices - one for exposed film to pass out through and th other for the expo ed film to return through.

This made it po ible to hav a preformed loop which could easily be threaded through the gate of the camera and to pre-attach the film to the take-up spool without having to fiddle about with it while airborne.

Fall/Winter 1996-97

Patent No. 3798 On February 19, 1908, Messers Moy and Bastie lodged Patent No. 3798 of A.O. 1908 (still available from the British Patent Office, Price ÂŁ3.00 which claimed: "Our invention consists of improvements in cameras for taking =$>

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I photographs in cinematograph films.

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be more rapidly placed in th camera after one roll has b n expos d, to reduce the dimen ions of the camera without reducing its capacity and to provide a ready means of operating the mechanism without the necessity of fixing the camera.

"In carrying our invention into effect we use one dark box instead of the two mention d above and we provide this dark box with two slots and two spindle , one loo e pindle on which the un xpo ed film is wound and the oth r pind le provided with means for engaging with the mechanism so that it can b driven and adapted to receive the film after it has been expo ed. By mounting the two spindles in one box we are able to make the said box of much smaller dimensions for dealing with a given length of film than the combined dimensions of the two box hitherto employed a the spac occupi d by the film while it i on the fir t spindle

and befor it is exposed can be partly re-occupied by the film after it has b n expo ed and has been re-wound on the driven pindle. Further we are able to simplify the process of threading the film through the mechanism in the camera as the outside or leading

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The Operating Cameraman

Fall/Winter 1996-97

I end of the film is attached to the driven spindle in the dark room before the box is placed in the camera.

"To enable the camera to be used without being fixed on a stand we use a flexible shaft to drive the mechanism.

The flexible shaft is constructed in the usual well known manner consisting of two parts, an inner rotating flexible core and an outer stationary tube. At the camera end, the rotating shaft is attached to the driving spindle of the mechanism and the outer tube is fixed to the camera case. At the other or operating end, the rotating shaft is fitted with a crank handle and the outer tube is attached to a bearing arranged as a handle to be gripped by the operator with one hand while he turns the crank handle with the other hand.

"This method of driving enables the camera to be used in difficult positions and by employing two opera tors, one to turn the mechanism and the other to direct the camera, views may be taken which are impossible of acce s to the ordinary stand camera.

"To enable the operator who is directing the camera to have full control of the apparatus the flexible shaft is connected to the mechanism by means of a suitable clutch so that although the flexible shaft may be rotated continuously the operator can start and stop the mechanism at will."

In 1911 they further developed the camera by adding an internal variable sp ed electric motor and a tabilizing system.

Patent No. 23,505 Patent23,505ofA.D.1911 claims: "Our [latest] invention consists of improvements in cameras for taking photographs on cinematograph films and consists essentially of a camera to be u ed for the taking such films by hand, that is, without the use of a camera tand.

"It is necessary that a camera of this descri ption should be constructed in such a manner that the vibrations set up by the mechanism and also the nervous movements of the operator should be controlled by some independent force in order to prevent jerky

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The Operating Cameraman

Page 23

arrangements and controlling mechanism so that it can be grasped in the hands of the operator and effectively controlled while the pictures are being taken. Such a camera cannot satisfactorily be driven by hand.

"In carrying our invention into effect we employ electricity as the driving power for the camera, we also employ a gyroscope electrically driven for controlling the stability of the camera and to counteract the vibrations et up by the mechanism and also to control the nervous movements of the operator.

"The gyroscope is driven by and forms part of a separate motor of special construction and it is not geared up in any manner except electrically with the actual film moving mechanism.

It should be of massive construction and its weight should bear quite a considerable proportion to the total weight of the camera."

the electrical connection to be established quickly when required . In some circumstances the battery box can be used by the operator with advantage as a stool upon which to stand while

for accurate camera alignment and focusing purposes.

The Moy Aerial camera had a dual type viewing system. For normal shooting, the camera had a matched ' view

taking the subject." Camera crews have been using battery cases as 'portable stools' ever since.

As if all of this was not enough, the camera was the first to incorporate a mirror reflex system.

In tho e days filmstock did not have an 'anti-halo' backing as they do today and only had a light yellow emulsion on the one side, making it possible to use the film as sort of a ground glass

finder' lens close alongside the taking lens with a viewing system behind it which enabled the cameraman to hug the camera to his body for maximum steadiness and look down into the viewfinder in the manner of a box Brownie. (See photo of author, next page.)

For camera alignment and focusing, the camera had a small lever on the side which would flick two mirrors into position which enabled

Internal motor ot only was it the first electrically driven camera (other than Edison's original ' prototype'), but it was the first 35mm camera to have an internal electric motor until the coming of the Pana vision Panaflex and the Arri 35BL cameras in the early 1970s, some sixty years later. All other 35mm cameras had motors that were attached outside the camera body.

Also, when one realizes that the object of the exercise was to take film while flying beneath a hydrogen filled balloon above the muzzles of the enemy guns, it was not surprising that there were considerable ' nervous movements' of the camera operator that needed to be overcome.

Patent No. 23,505 Patent No. 23,505 of A.O. 1911 goes on to claim: "The electric power required for driving both the camera and the gyroscope may be driven from a portable battery of either primary or secondary cells carried separately from the camera and connected to same as well by means of a flexible cable. A suitable plug socket not shown in the drawings is fitted to the camera case to aJJow

Page 24

The Operating Cameraman

Fall/Winter 1996-97

I the cameraman then to view th image through the back of the film .

Patent No. 22,985 Patent22,985 of A.D.1911 claimed: "The two mirrors e andf[See 1 & 2, previous page] are carried on hinge at g and It respectively and are conn cted together by the link i, so that they are always moved together. This movement is controlled by the lever j and the connect links k, or other imilar mechanism . Th mirror mis fi ed at a suitable angle to r fleet th picture from the mirror f when focus ing [ ic] or to reflect the picture which is hown on the ground glas screen p by the lens b when u ing the view finder."

A collector's item Thi camera can truly claim to b • Th fir t hand-holdable camera • Th first electrically driven ' production' camera and the only one for 60 year to have th motor placed int rnally.

• The first camera to have int rnal displac ment typ film magazines with a

pr -formed loop.

• The fir t tabilized camera.

• The fir t mirror r flex camera.

I know the current whereabout of four of thes cam ra , all in pristinecondition:Jo Dunton, the current owner and succes or of E.F. Moy Ltd . has one; John Farrand, the CEOofPanavi ionhasone on show in his office; Dick Barlow also has one in Hollywood; and ther is one in th Samuelson Collection of V teran Samuelson hand - holdlng Moy Aerial camera.

Cam ra (given to me by Harold Basti ) now on di play walking encyclopedia of film making at the Mu eum of the Moving knowledge. He shared the SOC's 1995 Image (MOMI) in London. CIC Technical Achievement Award honoring the Lou ma Crane.

An article on MOMJ appeared in the © 1996 0 .W. Samuelson.

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Time Lapse Time Lapse Time Lapse Time Lapse Time Lapse Time Lapse Primer

(io;ds skitter across the sky. Darkness descends. Lights flicker on. Traffic streaks red and white. The moon slides across the sky like a white hockey puck on black ice. It sinks behind a purple horizon and, suddenly, it is dawn. Few motion picture effects startle or captivate the eyes as much as time lapse photography. The compression of years, days, or hours into seconds. The life of a flower in the blink of an eye.

By Wayne Goldwyn In the following article, time Lapse director ofphotography Wayne Goldwyn offers insight into many of the practical and technical considerations involved in planning asuccessful time Lapse shot. Wayne's body ofwork stretches over two decades . Recently, he provided thematic shots for director Oliver Stone in Natural Born Killers and Nixon, two motion pictures that effectively use accelerated time passage in a symbolic rather than a Literal sense, rendering a sense of universali hJ to the surreal. Such is the power of these images.

a

Fall/Winter 1996-97

soc

Setting the Iris It is a good idea to scout the location on a day prior to the plann d shoot. Take along a light meter and determine the proper iris etting for the climax, or most beautiful part of the event. For example if you plan to shoot th sun etting over the ocean you will want to start rolling film two or three hour before dusk and will want to have the iris set ~>

The Operating Cameraman

Page 27

I ..

Actual footage from the film Nixon. 2 hours or so before sunset

so that the reds, oranges, purples and blues of sun et are exposed at full color aturation. Even though each new un et may b different from the la t and ome may even be di appointing with re p ct to cloud formation and color, you will get the best results by setting the lens for the moment before th sun sinks b low the horizon.

You will need to start rolling a coupl of hours early o that there will b ome lead-in to the shot when it i projected at 24 fps. In time lapse photography, hours or days can b transform d into cond when proj cted at normal peeds. ormally you will shoot at a frame rate that will equal a few econd ofproj ction time for each hour of shooting. Therefore, by rolling off

50 to 120 frame of film prior to the climax of the shot you will have from two to five cond of lead-in time, or a "handle," that will b n ded for editing and optical tran ition .

To achieve the b t imag be sure to choose the proper film and shutter speed. For example, 5245 (ASA 50) is the most flexible for daytim time lapse hot . Mo t tirn lap e motor turn the shutter at speeds slower than the customary 1/50th of a cond used in 24 fp photography. Typically, the time lapse shutter will turn at l/15th of a econd.

As a result, for day hot you may need neutral density filter to cut down on th (jght transmitted to the film plane.

One alt rnativ to light-cutting filtration would be to use a camera such

Actual footage from the film Nixon. Sunset

Page 28

The Operating Cameraman

Fall/Winter 1996-97

as the Mitchell wruch has a variable shutter.

By adju ting th shutter to 45 degree at 1/15th of a econd, the amount of light hitting the film will be the same as if you were using a 180 degree hutter at l / 60th of a second. In normal daylight situations this will translate to an iri s tting somewh re between /8 and /16.

Using the above rules let's ay you want to hoot a 6:00 PM sun et that will reach total darkness by 8:00 PM. Fir t,beginto etupthecameraaround 3:00 PM so that it is ready to roll by 4:00 PM to make ure you have at lea t a couple of hour of head on the hot.

Assuming the maximum shutter speed of your camera is 1/15th of a second and you are using ASA 50 film, set the iris at/5.6 for the sunset. Even

I though your meter reading at4:00 PM will be about f 32, you will want the film to slowly "fall into expo ure" at sunset, and then "fall out of expo ure" as the ky turns dark, dropping at least five f-stops so that you will have enough "tail" on the shot.

In certain ca es once the image falls out of exposure you may want to reset the camera to a slower shutter p ed and continue shooting. For example, if you are shooting a sunset at f 5.6 and l /15th of a second and after the sun has set, your meter reading go down to f 1.0, you may be able to " queeze out" another sunset shot by lowing the cam ra down to 4 seconds per frame and letting the shot continue tocaptureanyremainingdu k-to-dark

If, for example, you shoot one frame

every two minutes from 4:00 PM to 8:00 PM you will have a total of 120 frames (30 frame per hour) or five conds of er n time.

Another important el m nt to conider is the effective " magnification of travel" of objects across the screen, which dep nds on the focal length of the taking !en . Let's say you are shooting clouds moving from left to right across the frame. If you choo e a long focal length Jen uch a a lOOmm, the clouds will cro s the fram quickly, magnifying their time of trav I. On the other hand, cloud will cro s th frame much slower on a 14mm lens which wilJ "reduce" their time of travel. Cons quently when a shot calls for a wide

amount of light falling on fixed objects such as building and roadways. Before shooting you first need to decide whether you want to have long trails of lights moving through the frame (two or more seconds per frame) or whether you want to fre ze the movement of the car (1/30th of a econd).

Keep in mind also that a tighter long I ns shot typically will have more "trailing" or "streaking" due to the magnification of travel. Further, if there is not much traffic you will need to increa e the exposure time to get longer trail of car lights in each frame. There is a limit however to how much exposure time you can give ach frame before the expo ure on the tationary buildings, light , roadway and the like

lens you may want to lengthen the time between shots to speed up the clouds. Or conversely, when you have a long lens on the camera you may want to shorten the interval between hots to slow th action down. In this manner you can control wh th r the clouds upon proj ction will look like fast moving smoke or slow moving masses of water vapor.

Another example of magnification of travel occur when shooting moving traffic on a busy freeway or city street. Here, several variables must be considered: (a) the speed of the traffic, (b) the distance a car travels through the framed uri ng exposure, (c) the total numberofcars in the fram , and (d) the

will become o bright as to cau e the car lights to lo their "punch."

The most exciting traffic shots are ones where lights are continually moving. By using a 15 cond or longer exposure time you can capture an image on each frame that will include such added el ments as office Lights being turned onoroffthatmightotherwis bemissed with a horterexposure. Asa rule most time lapse photography will benefit from long expo ure intervals because the final proj ct d image will show the greatest amount of activity.

As for the iris setting, the " climax" of a dusk-to-night metropolitan city cape shot will occur at the moment the buildings in the frame b come ~>

Actual footage from the film Nixon.

transition. The resulting shot will thus contain two du k-to-dark transitions of light and color in the sky. An intere ting effect may be achieved in diting by dis olving the first sun et hot into the econd one. This will give you a dayto-night tran ition that will appear as if it were shot with continuous expourecomp n ation;asthoughyouused an auto-iris or shutter control during filming (see the following section on " orri " Light Priority Control").

Exposure Intervals and the Magnification of Travel How often you expo ea frame will determine the peed at whid1 the event willtakeplacewhenproject dat24 fp.

Fall/Winter 1996-97

The Operating Cameraman

Page 29

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brighter than the ky behind them. Thi will be the best time to take your exposure reading when scouting the location .

Norris " Light Priority Control" An important time lapse device is the orris "Light Priority Control" (LPC) whid1 ample light levels and adjust the motor or shutter pe d of the camera in 1 I lOOOth of a econd increments. The LPC continuou ly adjust the light hitting the film plan even during the exposure of a ingl frame. Thi device will vary the motororshutterwith r p ct to th illumination of a "r ference target" which is et for the modified spot meter. The spot meter monitor the light on the target, then communicate with the intervalometer driving the motor.

By using the LPC as an "a uto iris," you can film a dayto-night trans ition while maintaining a constant overall e po ur . Thus, you can have a hot of city skyline with p rf ct xposure from 4:00 PM to 8:00 PM. As an illu tration, ay you begin with an f 16 at 1I15th of a second at 4:00 PM. A the sky darken the motor peed will drop to approximately 60 econd p r fram by 8:00 PM. Even though th re may have b n a ten stop d1ange in light, the m tting tay the same throughout the shot, maintaining a con tant d pth of field .

Pnge 30

The Operating Cn111ern111a11

The LPC, which orri de cribe as an intervaJometer with an au tomatic sh u tter speed control, has a menu button for setting exposure (how long), interval (how often), and bur t (how many frames) . Exposure i calculated through a ligh t meter. As themeter reading changes, theshuttersp ed i adj u t dtomaintainaconstantexposure. Sh uttersp ds vary from 1I16th of a second to 990 seconds. Intervals vary from 1I4th of a second to 100 hours, and bursts vary from 1to9,999 frames per pulse. The LPC al o ha a conveni nt m mory function which will save the last calibrated et up.

With the LPC, it is easier for the time lapse cinematographer to pend time concentrating on the compo itionaJ and th matic elem nts of a shot, knowing that transitions will b mooth and exposure ven.

Shooting a " Power Shot" for Oliver Stone's Nixon On of the unique chal lenges for a time lap e cinematograph r is to apply the demanding photographic techniqu to the creative proces . On Nixon, I was pr ented with uch a challenge by the creative team of director Oliver Stone, director of photography Robert Richardson ASC, producer Clayton Town end, editor Hank Corwin, and po t production supervisor BilJ Brown.

Originally, the Nixon team ent me to Washington DC to hoot a series of shots showing the pas age of time around various national mon u ments. The shots I mad showed su nrises, unsets, rising moons, and moving cloud as backdrops to the Wa hington and Lincoln Memorial and the dome of the United States Capitol. The r suJting hots were eye-catching, perhaps even a littl my tical, and did a good j b of reflecting time pa ing.

After viewing my footage, however, Oliver Stone and th r t of the team decid d that they needed a more dramatic hot that would portray the awe ome power of the fed ral government. Th y wanted a shot which would be "menacing", even "cryptic." Finally, they decided on a hot of the Capitol that would show it as a "power c nter" that was the "nucleus of nergy" of the nation . So, in August 1995, I was sent to DC for a cond time to get the "power hot."

Shortly before my trip, inventor Dan orris had ent a prototype of the LPC to me for exp rimentation. Becau of the LPC' unique ability to maintain a constant overall xpoureon a pecificobjectwhilecomp nsatingfor Light change around it, I felt it would be the perfect item to help me achieve Ston ' vision by visually centering th hot on an unchanging and table Capitol, a rock amid a tumultuous sea of change.

One in the nation's capital, I chose a camera position atop a pillar about twelve feet above the ground. From that van tag , th Capitol loomed over Pennsylvania Av nue. At du k, the " tar and trip " created by the moving cars would emerge and fill th lower half of the screen with th tremendous energy of skittering lights. My goal was to provide a hot where the Capitol would b engulfed in energy, like the nucleu of an atom urrounded by randomly careening electrons.

Fall/Winter 1996-97

I The day-to-night transition I needed to photograph was to tak place between 6:30 and 8:00 PM, so around 4:00 PM, a unlight wa triking the dome directly and as the light wa tarting to turn yellow and drop in color t mperature, I aimed the LPC at the Capitol and start d to roll film. Initially, the shutter speed was 1 /15 of as cond p r frame at 15 econd intervals. By nighttime, around 10:00 PM, the xpo ure wa 60 econd per frame at 60.25 econd interval . Thus during the shot the illumination on th Capitol e entially dropped by ten f-stops. As the hutt r peed decrea ed each moving car cast longer and long r light streaks acros the film stock. In addition an increasing number of car lights passed through each frame. Wh n the I ngthofexpo urebegantoexceedthetimeb tw enfram , the LPC automatically expanded the time interval. Time magnified to the point wh r everything began to move faster. Mor cars streak d through the frame. Traffic signals cycled from green to yellow to red with increasing rapidity until they became blurred flashes of color. This gav the hot a greater f eling of excitement and created the effect of a panic or an emergency.

The resulting shot wa ju t what th director order d .

The Capitol i the focu of the shot; there is an alma t rie ab nee of activity on the dome; neither its ~>

Ten Steps to Time Lapse 1 . Get permission to put the camera where you need it to avoid the disappointment and embarrassment of getting shut down in the middle of an all-day or all-night shot.

2. Make sure your film is the right speed for your application. For example, when shooting a star-filled nighttime sky use high speed film, and when shooting a cloud-filled daytime sky use low speed film .

3. Set up your time lapse camera on location several hours before the planned event or transition is to occur. Start the shot early so you will have enough "head" or lead-in time of exposed frames on the shot.

4. Rope or cone off the area around the camera, paying special attention to the area in front of the lens so that passersby will not ruin the shot inadvertently.

5. Mount the camera securely and check that it is evenly balanced on the support. Once the camera is rolling, make sure no one touches it.

6. Determine the desired screen time of the shot. Base your interval calculations on the desired length, but lean toward a slightly longer shot because nature is unpredictable.

In post production it is easy to speed up a shot but nearly impossible to slow one down .

7. If you expect light conditions to change, set your exposure for the "climax" of the shot, such as a sunrise or a sunset.

8 . Similarly, filtration and color temperature should be set for the climax of the shot.

9. Generally, daytime shots call for clouds. Be sure you have proper rain protection for the camera and for yourself.

10. Have plenty of food and water with you.

Fa/I/Winter 1996-97

The Operating Cameraman

Page 31

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I illuminationnorcolorappearstochange a day turns to night. In contrast, on Pennsylvania Avenue, traffic almost

writhing beneath the surface. That a government such as ours may withstand the Machiavellian machinations of a politician and President uch as

The Norris LPC the author used for his dramatic shots of the Capitol.

explodes with activity. Thematically, the stability of our form of government stands olidly above a ceaseless frenetic flow of political intrigue and madness

Richard Milhous ixon is one of the strongest m s ages of the film. The shot accurately echoed this sentiment.

On the following night, I attempted

to recreate this shot without using the LPC. The result was interesting, even beautiful, but lacked the sense of combustion and pressure of the LPC version and did not s em to have a point of "ignition" or "blast off."

To achieve Oliver Stone's vision, a contrast of sanity and madness, I needed the unique capabilities of the LPC. At the intersection of art and time lapse, there is a need to direct an audience's attention to a certain image. Here, it was the Capitol. In other motion pictures, it may be a character's home or a dying rose given by a lover. On such occasions, the LPC will be an important arrow in the time lapse cinematographer's quiver of techniques. With such a tool the artistic possibilities for telling a story through time passage are (OC endless. j 94

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Fall/Winter 1996-97

The Operating Cameraman

Page 33

I The Governors Award Kathleen Kennedy

thJeenKennedy'srecord f achievement has made er one of the most uccessful executives in the film industry today . Among her credits are two of the highest grossing films in motion picture hi tory-E.T. The Extra-Terrestrial and f urassic Park- on which she served as executive producer with Steven Spielberg and Gerald R Molen.

She is currently partnered with director I producer Frank Marshall in The Kennedy /Marshall Company, which they e tabli hed in 1992. The company recently announced a thr e-year, non-exclu ive agreement with Walt Disney Picture to d velop and produce feature films, television and cable movies, as well as other projects for the Studio.

Recent production accomplishments for Kennedy include Amblin Entertainment's record-breaking dramatic action thriller Twister which he produced with Ian Bryce and which was directed by Jan DeBont and the 1995 Amblin Entertainment/ Malpaso Production of The Bridges of Madison County, with its director Clint Eastwood. Currently Kennedy is the executive producer on the up-coming equel to Jura sic Park titled The Lost World, with director Steven Spielberg.

Production began in early fall 1996.

Kennedy al o produced two films under The Kennedy I Marshall banner in 1995: the Frank Marshall-directed Congo, which she produced with Sam Mercer and Indian in the Cupboard, directed by Frank Oz, which she produced with Marshall and Jane Startz. Paramount Pictures relea ed

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The Operating Cameraman

Congo and Indian in the Cupboard.

Kennedy began a succe ful as ociation with Steven Spielb rg when she served a hi production assistant on 1941. Sh then went on to b come his as ociate on Raiders of the Lost Ark, associate producer of Poltergeist, and producer of E.T. While E.T. was becoming an international phenomenon, Spielberg, Kennedy and Frank Marshall were already in production with Indiana Jones and the Temple of Doom which Kennedy produced with George Lucas and Marshall.

In 1988, she co-founded Amblin Entertainment with Spi Iberg and Marshall, where she produced or e ecutive produced such films as The Flintstones, Hook, Always, Gremlins, Gremlins II -The New Batch, An American Tail, The Land Before Time, Young Sherlock Holmes, Batteries Not Included, The Goonies, Innerspace, The Money Pit, Dad, foe Versus the Volcano, Noises Off, An American Tail: Fievel Goes West, Cape Fear and We're Back.

Kennedy teamed with Spielberg, Marshall and Quincy Jone to produce The Color Purple, which earned eleven Academy Award nominations in 1985.

Fall/Winter 1996-97

Later that year the Kennedy, Spielberg and Mar hall production of Back to the Future became the highe t grossing film of the year and went on to become the 17th highest-grossing motion picture of all time. Two highly successful sequels followed: Back to the Future Part II and Back to the Future Part Ill. Kennedy also produced the top grossing film of 198 , Who Framed Roger Rabbit? with Marshall and Robert Watts. She then produced Empire of the Sun with Spielberg and Marshall, which the National Board of Review named Best Picture of the Year.

She served as executive producer on the critically acclaimed Holocaust drama directed by Steven Spielberg, Sch ind/er's List, that garnered seven 1993 Academy Awards including "Best Dir ctor" and "Best Picture" honors.

She produced Marshall's 1990 directorial debut Arachnophobia with Richard Vane as well as Mar hall's second film, Alive, in 1993 with Watts.

Raised in the small Northern California towns of Weaverville and Redding, Kennedy attended San Diego State University where she majored in tel communications and film. While still a student she began working at a local San Diego television station.

Following jobs as a camera opera tor, video editor, floor director and news production coordinator, she produced the station's talk show You're On. Relocating to Los Angeles she worked with director John Milius prior to beginning her association with Spielberg. Who knows what (C successes still lie in her future! ~

I ONCE YOU READ THE BOOK, YOU'LL WANT TO SEE ALL THE VIDEOS. " The Book by Jon Fauer, is required reading for every film professional.

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I The President's Award Robert Marta, soc

ob rtMarta'sguiclingspiritwas he cornerstone of our pre ent ociety. He is a charter member, rved as our first president and th n p nt two more term in that role.

Bob, on of noted director of photography Jack Marta, had an early interest in still photography that grew to a love of motion picture photography.While attending high school, Bob trained and worked in the camera departmentatColumbiaStudios,Hollywood. After graduation he b gan work on the TV eries Route 66 a a driver, stunt double and finally as a cond a i tant cameraman on his father' crew. B tween production jobs Bob attend d Montana State Univerity graduating with a minor in veterinary medicine and major in TV I Film.

He returned to Los Angeles and worked as a camera assi tant with Victor J. Kemper AS . In 1978 he moved to camera operator with Sherman Kunkel ASC, then workedonfeatureswithAndy La zlo ASC. Bob erved (1971-1987) on the executive board of the International Photographers Guild. In 1985 he was elected Executive Director of th guild and began his struggle to gain more work opportunities for camera crews within Hollywood and beyond .

Bob was one of the charter member of the SOC. He said, "The SOC wa born from the needs of our industry and the commitment and ideas of a handful of associates. That commitment was a natural for everyone involved, as the foundation of the SOC wa built on one of this country's oldest working traditions. Very sirnpl y,

Page 36

The Operating Cameraman

it was, i and will always be a labor of lov .

"The SOC wa organized as a fraternal organization with a nonpolitical viewpoint and voice. But let's face it, when you are dealing with i ue such as contracts, benefits, working conditions, safety in the workplace, alcohol and substance abuse, just to name a few, remaining non-political becomes very difficult.

"From the beginning we discus ed the abuse of individuals connected with the making of motion pictures and television productions. You go to work to perform a kill, not to be injured or even killed. Henc safety became a paramount i sue and remains o today. Hi torically the indu try referred to injurie a ' unfortunate mishap !' That didn't it well with any of us individually or a an organization.

Given our motto, WE SEE IT FIRST, we saw the importance of changes that would guard against one of us 'wear-

Fall/Winter 1996-97

ing a stunt gone wrong."'

Thus Bob's accomplishments included co-founding the Motion Picture and Television Ad Hoc SafetyCommitteewithJohnFlinn ill ASC & Brianne Murphy ASC, in an effort to make our sets safer places to work. He gained support from SOC, SAG, DGA, IA TSE, The Stuntmen's Association and Stunts Unlimited. Bob's persistence, persuasiveness and leadership played a major rol in getting the safety guidelines adopted by the AMPTP and written into the Motion Picture & TV Basic Agreement. An industrywide safety committee was then formed.

Bob co-sponsored the industry's Alcohol & Drug Abuse Program, and as Executive Director at the International Photographers Guild propo ed contract revisions designed to gain more work for union crews.

In 1987 he suffered a mas ive heart attack and stroke that ended his career. Forced to retire, Bob returned to Montana. The struggle to recover from his medical condition led Bob to Eagle Mount, a non-profit foundation that teaches adaptive skiing techniques to per ons with disabilities. Bob learned to ski again; he now serves as an instructor. Bob and his wife Nancy continue their involvement with charities in the Bozeman area . And Bob continues his support of the SOC, its members and activities. About The Operating Cameraman magazine, he said it has been " ... a tremendous (OC asset" to the group. )94

I

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I Lifetime Achievement Awards

PETER SOREL,

SMPSP

Still Photographer ter Sor 1rem mber hjs lif : "I was born 1938, at the begiruting of WWII, not the b t timing on the part of my parents. Elementary and middle school in Hungary during Cold War. Fir t camera and b ginning of love affair with photography at the age of thirt n. Girls came later.

Left Hungary in December 1956, after un ucce ful upri ing against Communism (at the time a philosophy and law tudent at a univer ity which prepar d leaflets, manifestos). Lived in Au tria until April 1959; immigrated to USA. Mostly liv d in L.A. ince; traveled and worked extensively in Europ , South America, Egypt, Australia.

Photography stayed a hobby and part time job until the mid '60s-had to learn the language and make a living.

I was lucky enough to find two great friends in my more famou countrymen Vilmos Zsigmond and La zlo Kovac .

They gave me moral support, confidence with my shooting and h Ip at getting job . I learned to be an assistant cameraman out of necessity; couldn't make a living as a photographer yet. Also met and worked with Haskell Wexler, Johnny AJonzo,JirnmyCrabe. Learned much from all, mostly about lighting.

P

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The Operating Cameraman

In the' 60 I worked as still photographer on most big ABET films. Also worked with Orson Welles, Peter Bogdanovitch, Richard Rush, Jack ichol on, Dennis Hopper, Peter Fonda. Lot of biker films, culminating in Easy Rider in 1968. Got in local 659 in 1972; worked ever since fairly steadily; represent still photographers on our Executive Board.

In April 1995 I formed the Society of Motion Picture Still Photographers (SMPSP), ba don SOC and ASC structures. Elected its president, May 1996.

Married, divorced, one child, a great on named Eric, a psychology student."

Someofhi credit :TheChinaSyndrome, Bugsy, The Ro e, Shampoo, One Flew Over the Cuckoo's Nest, 1941, Close Encounters of the Third Kind ...

~~ o August, age thr , broke into show business on William S. Hart westerns in 1919. In 1934 Joe was hired at Columbia by Emil Oster's dad. Assignments included After the Dance, Astaire/Rogers dance numbers at RKO and Mr. and Mrs. Smith (directed

by Hitchcock). In 1938 Joe was hired by hi father, a charter member of ASC, for Gunga Din. Together Joe and his Dad did The Hunchback of Notre Dame, The Devil and Daniel Webster and David 0. Selznick's Portrait of Jennie.

With Batjack Productions, Joe worked for DP Bill Clothier on Track of the Cat and Blood Alley. With Director John Ford, he did The Long Grey Line and Mr. Roberts. A pioneer in Hollywood's tran itiontotelevi ion,Joetoiledasthe lone assistant in the Mojave heat on Gene Autry' s first eries. It made Autry rich, but Joe got the better deal when he married th script gal, Polly.

Billy Wilder's Witness for the Prosecution in 1957 cemented Joe's place in Hollywood. He was DP Bud Weiler's operator on The Story of the Arizona

J

Fall/Winter 1996-97

Rangers and operating cameraman on Stanley Kramer's On the Beach, Robert Aldrich's Four for Texas (Ernest Laszlo, DP), Pepe with DP Joe MacDonald, Camelot with DP Richard Kline, Michael Crichton's Westworld with cinematographerG nePolitoandMacArthurwith DP Steven Lamer.

Joe did hand-held aerial photography on Whirlybirds five years before the Tylermountwas invented, followed

by The Lindberg Stan;, Flight into the Unknown, The Great Waldo Pepper and Universal's Airport. When Rod Serling produced a segment of Night Gallen; starring Joan Crawford, it was Joe August who was asked to operate on Steven Spielberg's directorial debut.

TV Series: Leave It to Beaver, Laramie and 77 Sunset Strip at Warner ; three years at Goldwyn on The Fugitive; at Universal, Ironside, Emergency, Baretta, Kojak and Quincy; Mini-series include Rich Man, Poor Man; MOWs include The President's Plane is Missing.

In his forty-six-year career Jo worked with more than eighty giant of American and British cinematography, indudingJoe Biroc, Floyd Crosby, Gerald Perry Finnerman, Win ton Hoch, James Wong Howe, Hans Koenekamp, Sam Leavitt, Curley Lindon, Ted McCord, Rus Metty, Hal Mohr, Frank Phillips, Karl Struss, Bob Surtees, Joe Walker, Harold Wellman, Chuck Wheeler and Freddie Young. ~

JOSEPHS. AUGUST Film Camera Operator

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I Lifetime Achievement Awards, continued

ROBERT L. GREENE

Camera Assistant

ru

bert "Bobby" Greene would till be on location today if he adn't decided to finally slow down. "On Route 66 alone, I crisscrossed the entire Un.i ted States from Lo Angel s to Florida, on to Maine and back to Washington state. From Cuba to Japan to the Virgin Islands, my career took me to place I would never have had the chance to see on my own."

Graduating high school duringthe Depre ion, Bobby dug ditches, planted trees and fought grass fires in Mississippi.

"I saved my money and went back to my hometown of ew York to enroll in a cinematography class. Later I had an assortment of photo job including taking Santa Claus pictures at Gimbel's Department Store in Philadelphia."

In mid-1941, with war clouds looming, Bobby was drafted into the Signal Corps. "My eventual car er finally began to take shape. I used Eyemos, Bell & Howells, 16mrn Cine-Specials and Mitchell Standards to make training films." After being discharged in 1945, Bobby headed for the We t Coast where Herb Aller (former 659 President) got him his first job in the Camera Department at Technicolor. "I pent nine years as a Technicolor technician testing 3-Strip cameras and servicing them at the end of each day's production."

In 1954 Bobby went out on production a a econd assistant and the

r t, as they ay, is hi tory. Hi first job wa with Milton Krasner on Desiree: "A lovely, sweet man, unlike Charlie Clarke who was a first clas grouch!"

Over the n xt two decades, Bobby worked on The Seven Year Itch, Away All Boats, The Trouble With Harry (with Hitchcock) and Hellcats of the Navy (a certain President' last picture). He even h lped part the Red Sea at Paramount for The Ten Commandments.

During this same period Bobby began his involvement with TV. Rin Tin Tin, Circus Boy, Father Knows Best, Highway Patrol, Leave it to Beaver, and McHale's Navy are just a few of the hows Bobby worked on, along with commercials too numerous to list. In the late '60s Bobby moved to the Multiple Camera sphere and the top shows of the era: Jack Benny, The LuCtj Show, Mary Tyler Moore, The Bob Newhart Show, Happy Days, Laverne& Shirley, and Taxi.

"On those early shows, I remember talking with Jim Burrow all about cameras and set-ups. He kept me working and has gone on to do pretty well for himself." One thought on a career spanning 46 years (1945-1991): "I survived it all."

Andrews, Doris Day, and Elvis. He's shot the Academy Awards and more than one Hallmark Hall of Fame.

His credits include more than camerawork. While in the military, he wrote the specifications and got approval for a closed-circuit educational television facility at Fort Bli s, Texas and in 1962 he built a television tation in Honolulu where he directed on-air op rations for two years.

He is a charter member of the Society of Operating Cameramen. In 1974 he joined the International Photographers Guild and quit BC to freelance. Among the pecials to his credit are The Kennedy Center Honor, Barishnikov on Broadway, Barbara Streisand's "One Voice," The Reopening of Carnegie Hall, Neil Diamond's "Hot August Nights," and th op ning and closing ceremonies for the rededication of the Statue of Liberty.

In 1983, h started operating the Louma Cran on specials and

B

ob Keys already knew in junior high school that h wanted to be a camera operator. In 1954, he started his career at a local station in Decatur, Illinois. Since then he's shot four Presidential Inaugural Galas. He was on th first production crew in China to shoot a Bob Hope Special.

He's received four Emrnys, including a Ben Vereen Special, a Neil Diamond Special, and a Julie Andr w Christmas Special, The Sounds of Christmas (shot primarily at the Sound of Music locations in Austria).

Bob worked 15 years for NBC doing many specials and eries, with such stars as Andy Williams, Dean Martin, Frank Sinatra, Henry Fonda, Fred Astaire, Bing Cro by, Perry Como, Julie

Fall/Winter 1996-97

BOB KEYS, soc Video Camera Operator The Operating Cameraman

Page 41

I

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

â&#x20AC;˘

FOTO-KEm FOTO-TROnlCS

Motion Picture end Vld1ot1p1

l1~or1torr

I Lifetime Achievement Awards, continued

concerts, both film and video.Jean Marie Lavalou, oneofLouma' s inventor said, "You have more experience on the Louma than any other camera operator in the United States.

He's shot from helicopters, shot loop and spins from inside a glider, shot underwat r on the Great Barrier Reef in Australia, and dived with humpback whale in Hawaii.

In 19 7, Bob was lucky enough to be cho n to go on the French Titanic Expedition. On one of his dives two-and-a-half miles down, the ubmer ible Nau tile actually landed on the deck of the Titanic. On another dive, the pilot, copilot and Bob were given the a ignrnent to uncover and shoot the name on the bow. They were the fir t three to s e the name TITANIC on the ship since the night he sank.

He now primarily does location work with his Betacam equipment. This summer he worked in Bali, the Canary Islands, Aruba, evis, and the "Big Island" of Hawaii. /1

.

J

David Jones began his profesional flying career as a pilot in the United States Marine Corps in the mid '50s, and in the Motion Picture and Television Industry in the early '60s.

In 1966 he form d his own company, J. David Jones Aviation, specializing in aerial photography, stunt flying, aerial coordinating and directing.

Jones was a pioneer in helicopter aerial photography and stunt flying in the motion picture and television indu try and i acknowledged as one of the preeminent pilot / directors in the bu iness. He has directed and produced over 200 econd unit action shows and ha been the aerial coordinator on h undreds of feature films, television episodes and commercials. In 1985, Jones received the Hollywood Stuntman Award for the best aerial stunt.

}. DAVID JONES Mobile Camera Platform Operator Over the year Jones has worked as a consultant and technical advi or developing, writing and budgeting numerous major flying projects with producers, director and writers, coordinating the flying, photography, procurement of aircraft and pilots, logistical support, directing, filming and editing of projects.

Working with miniature aircraft vendors and pedal effects craftsmen, Jones has produced many complicated, dramatic and reali tic scenes involving crashes and dog fights, incorporating the u of doubl s for the actors in the actual flying scenes, as well as coordinating with the director during the close-up filming of the principals involved in cene such as Apocalypse Now, Tora! Tora! Tora!, Final Countdown, Capricorn One, At Play in the Fields of the Lord and many more.

Jones ha been responsible for the construction of specialized aircraft used exclusively in major film and television productions. Two examples are the television series Airwolf and Magnum P.I. , which utilized many modified aircraft sp cifically for the production of the series.

Fall/Winter 1996-97

He is extremely safety-conscious.

Stan McClain relates, "On all jobs over the years David has always started the day with a safety briefing. Even though most of our crew had heard it before, attendance was and still is always required. When u ingmultipleaircraft, David will get out his toy miniature helicopters and choreograph each scene separately. After that scene is shot, it' s time to land and discuss th next one.

Although this may seem time consuming, David actually saves the production company thousands of dollars which would otherwise be spent flying around and reshooting scenes. On Airwolf it was not uncommon to log 15 flights a day, and the aerial unit never cau d the production to fall behind ."

Stan continued, "David has that special gift of understanding camera persp ctives, and if I didn't know better, I'd swear he had his eye in the eyepiece. Video taps were not u ed on TV shows in those days. If we were shooting helicopter air to air, David would get in to a position he liked and sugge t setting the zoom to lOOmm and say "That should give you a full frame with a 3' clearance on the nose and tail." More often than not he'd be right.

David also has an incr dible number of camera moves at his finger tip As an aerial director, he'IJ set up shots that today most camera hip pilot can't b gin to match. He is always cool and precise."

The list of David's major credits would fill this entire page. A few of his films: Twister, Water World, The Net, The River Wild, Speed, Wyatt Earp, Free Willy, Boyz on the Side, Amelia Earhart, Firebirds, Gypsy Moths, Batman and Robin, Planet of the Apes; TV work: Baywatch, Tour of Duty, Quantum Leap, Batman (series), The "A " Team, Th e Green Hornet, Man from U.N.C.L.E.; and many other television eries, (OC commercials and feature films. 1~

The Operating Cameraman

Page43

How Clairmont sees the Moviecam SL: Light eight i ju t the beginning.

Thi i an excellent cl 11al-p11 rpos<' B camera.

Silent-running, hares module with the Mo iecam om pact A camera. And you can witch it very quickly from tudio mode to hand-held or Steadicam mode, so you don't need to rent a third camera.

H

Same movement

ow long does it take to switch an SL from one mode to another? We timed one man making two switches; the results impressed us.

Those are M.O.S. camera weights路 but the SL is clearly a sync-sound production camera, in all three modes. It uses the same dual-pin registration movement as the Compact it has the same adjustable shutter and it can be equipped with the same electronics.

Test results: At the top of the other page you can see one of our SLs in full studio mode. At the bottom is an Lin teadicam mode. We were able to switch from studio to Steadicam in two minutes four econds, including film threading.

Same accessories

Not long We asked Moviecam for a 150掳 shutter setting.

Here's what happened: On the phone with Moviecam de igner Fritz Gabriel Bauer, Denny Clairmont mentioned that a 150 degree position on the Compact's adjustable shutter would be useful to people shooting at 25 fps with HMI light in 60Hz countries. It was aid only once - but in our next hipment, there it was on all the cameras. The SL uses the same helpflll shutter.

From studio to hand-held took our man four minutes, ten seconds. Most of the extra time was spent on the left handgrip with its bracket/rods and on the follow-focus.

Not heavy In hand-held mode, that SL weighed 23 lbs with video tap, hand-held finder, handgrips/ rods, Zeiss 35mm Tl.3, followfocus, MB3 mattebox and empty magazine. In Steadicam mode, with video tap, same lens/mattebox and empty magazine, it weighed 17 lb 10 oz.

Plug-in accessories provide sync with video monitors and rear projection speeds from 2 to 40 fps and an iris motor that automatically compensates.

With the Compact's viewing module on the SL you can use the long finder and swing it over. Spherical or anamorphic.

Tach and footage counter on both sides. Movie glow.

Rental package So we see the SL as a dual-purpose B camera - and that's the way we're packaging it. The daily rate is for an SL in its basic hand-held mode. You can mount your 1000 foot Compact magazines. But if you want the Compact's viewing modules and electronics on your SL you'll rent our studio mode kit.

I

Customized cost

.

This way, you rent only as much SL as you need when you need it. You can customize your SIJs weight and its cost, from day to day. And you don't need to rent a third camera for hand-held and Steadicam shots.

Extremely quiet How quiet is the SL? "The Compact was the lightest-weight silent-running camera in the World before the SL came along ' says Denny Clairmont.

The Compact is the quietest camera I've ever met and I've met them all. The SL is extremely quiet, but not quite as quiet as the Compact.

In tudio mod e, a bove viewing system and magazine are from Compact. amera body module weigh 8 lb 6 oz.

Kiss me Heres the rule of thumb: the SL is quiet enough to shoot anywhere except close in above a love scene where the actors are whispering to each other. For that shot, use your A camera.

CIAIRMONT CAMERA Hollywood, Toronto and Vancouver路 (818) 761-4440

Magazine ar mall

because of activ di placement.

I Technical Achievement Awards In 1974 George started a shop with his son in Anderson, California, known as Worrall Grinding Company. They still custom manufacture film sprockets and gears for the film industry.

Worrall Geared Head George H. Worrall

W

orrall Geared Heads were not invented, says George H Worrall; they were common sense. He'd been in the industry 18 years by then. Worrall started at Mitchell Camera Company in June 1934 as Chief Engineer and worked there until October 1943. They developed the background projector and manufactured photographic equipment for all branches of the armed ervices during the war years.

In early 1944 George started the Worrall Camera Company in Culver Gty, California.They manufactured gear boxes for the recording industry, parts for sound equipment for ERPI (Electrical Research Products Inc) and RCA. In 1952 Warner Brothers wanted geared heads. Those in use did not meet the needs ofcarnera operators and were not mechanically compatible with the Mitchell BNC Camera. Worrall designed a head principally for the BNC and delivered two to Warner Brothers. The Worrall Geared Head was engineered to be stable and smooth operating in all attitudes. Subsequent changes could be applied to geared heads made earlier.

All parts were interchangeable. It became the standard of the industry for studio film camera operation.

Worrall Camera Company manufactured approximately 650 geared heads before the company was sold in 1969. These heads were used around the world; one was known to be used in the Soviet Union.

Page 46

The Operating Cameraman

N

*

orelco Portable Camera PCP-70 changed the cameraman's way of life. In 1967, if it had handles, it was portable. In fact, before the introduction of the Noreko PCP-70 (and its progenitor, the PC-70), many people thought an EFP camera was a TK-41 (RCA) with funeral bars-not because they looked like carrying handles on a casket, but becau e carrying it out of a remote truck to a camera po ition using those handles would put you in an early grave or under an orthopedic surgeon's care.

The business now known as Philips Broadcast Systems Company began as Philips North American Electronics Company. Since 1967 it has had a number of other corporate monikers, including the most recent, BTS, Broadcast Television Systems.

This year Philips reapplied its corporate seal to the name.

Philips BTS cameras are defined with an "LOK" prefix. So why the "PCP" -60 or "PCP" -70? That particular camera series was the first three-tube Plumbicon camera to be introduced in the marketplace, employed a " twin" cable interconnect system along with nuvistor amplification circuitry (precursor to transistors) and was known as the PCP-60 here and as the Philips LDK-3 in their camera factory in Breda, the Netherlands, where all their camera products are manufactured.

However, one of their largest customers, CBS required extensive customized operator features. Philips set up a design

Fall/Winter 1996-97

group I manufacturing center in Mahwah, NJ. Consequently, that camera acquired the name PC-60 for CBS and all US customers.

About that time the marketplace began to see the need for hand-held portable cameras with the quality of film cameras, so Philips set out to shrink the bulk and weight of its more advanced studio camera, the PC-70, to a size that could be carried and operated by a single camera operator-a gargantuan task, especially in the short time allotted. Wolter Wolthers, a Philips Mahwah engineer was assigned that project, and single-handedly at first, reached the solution thatchanged the way we think about "point-of-view" television. When he was done, the world had "in-yourface" TV production capabilities. It could now get "up close and personal" without dragging a fuJJ sized camera and pede ta! to the location. Tum-it-on point-and-shoot TV was born. The

~

Nore/co PCP-70 Philips BTS PCP-70asitwasdubbedweighedabout 75 pounds plus the "back-pack" electronics of about 35 pounds. Chiropractors made far more from early mini-cam operators than they ever will from Steadicam T M operators. But at that moment, a star was born.

C

am-Remote System evolution began with Bob Nettmann' s design of a unique control system for John Stevens' remote heads for the movie Ice Station Zebra in 1968.

The concept developed further in 1974 with the Kenworthy Type B Snorkel, the Astrovisionsystem (1975), the Pitching Lens system (1976), the Kenworthy I ettmannSnorkel (1985), and the Vectorvision system for Lear Jet photography, all operated by remote control functions.

The first working prototype of the Cam-Remote was developed in late 1981, the first production unit in September 1982. When the unit was introduced at the SMPTE exhibition it featured slip ring assemblies for continuous rotation in all axes and had an ergonomically designed control desk for ease of operation. All functions including zoom, focus and lens witness camera were available on the head. An alternate method of controlling the head was via a joy stick.

In 1983 ettrnann redesigned the unit into modular construction which allowed extenders to widen and lengthen it. With an added side arm bearing, the head could now support very large film cameras. A roll axis was introduced in 1994 allowing the Cam-Remote to exhibit a nodal point roll. This optional extra device allows large camera packages and lenses such as 11:1 zooms, matte boxes, rain deflectors and 1000' magazines to be used without being encumbered by the Roll mechanism. It is the only known camera system that can take extremely heavy loads such as the 195 lb Hines 3-0 rig using 65mrn camera bodies.

The Cam-Remote has become popular for supporting Vistaflex and Irnax camera packages. The Shotrnaker company uses the Cam-Remote for its motion control work when using the Mark Roberts servo drive systems.

The smaller Mini-Mote was introduced in 1992. Built originally for TV cameras, it also has a modular design and has been expanded with extenders.

It is now able to carry Panavision and large lens I camera packages.

All electronic modules such as drive amplifiers, focus systems and multicore cables are interchangeable between the

Nettmann Cam-Remote Cam-Remote and the Mini-Mote. Both systems can be controlled via a wheels type system, pressure sensitive joy sticks or fluid head I panhandle control.

Aside from quality and reliability, one of the reasons for the trouble-free successoftheCam-RemoteisNettrnann's policy to have a factory trained technician with the system. This aids the first assistant cameramen because they do not have to be concerned with the set-up or functioning of the remote head.

H

*

ydroFlex was invented by Pete Romano, a former Navy cameraman who has been shooting underwater since 1973. After his USN stint, Pete's intere tin the mechanical side of camera work led him to a machining school. He received his certificate and went to work for several established underwater cameramen working as assistant / operator while designing and updating their equipment.

WhileworkingatILMin 1981, Pete was hired to shoot his first underwater commercial (in a swimming pool). The experience using rented 16mrn equipment proved so frustrating that Pete decided to build his own housing for the Cinema Products Gizmo 16mrn camera; he called his product HydroFlex.

Pete then worked as an assistant cameraman on underwater productions such as Never Say Never Again, Jaws 3-0 and Splash. For the latter two he designed and constructed housings. These experiences made him aware of the need for an operator friendly, standardized

Fall/Winter 1996-97

underwater housing system for 35mm motion picture cameras.

In 1985 while working days at Boss Film, Pete built his first two HydroFlex camera housings around the Arri 35-3 and started renting them through Clairmont Camera. As an operator and designer Pete incorporated elements that he felt would simplify and enhance the underwater shooting process. The housing accommodated the stock Arri 3 camera body and standard Zeiss and Panavision lenses. Video assist and reflex viewing were included. External camera controls were placed on the industry standard left side allowing the operator to open his left eye to follow focus or iris during the shot.

The housing was designed to interchange both dome and flat ports and a top handle was added that made it easy to mount the housing in many configurations.

By 1986 HydroFlex, Inc. had become a full-time business. Pete has continued to refine the housing system and to develop additional models taking into account much of the feedback he got from assistants and operators working in the trenches.

Today HydroFlex, Inc. offers three types of underwater housings for the Arriflex 35-3, tailored to work in a variety of wet environments . Also, H ydroFlex offers a numberof specialty accessories including port clearing systems, spray deflecting matte boxes and underwater speakers. The name HydroFlex has become synonymous with professional underwater motion ~~ picture equipment.

Hydroflex

The Operating Cameraman

Page 47

I 11

ROLL CAMEU!''

Shoot 3 0° continuous rolls with the new

SCORPIO II 3·AXIS REMOTE HEAD • The digitally controlled Scorpio Head performs flawlessly with heavy camera loads up to 176 lbs.

• The remote head can be controlled from up to 1500 feet away.

• All axes (pan, tilt & roll} are programmable and repeatable.

• The video monitor displays all camera data.

• Three control systems are available: handwheels, joystick and pan-bar.

• The Scorpio II Remote Head is available with the Preston Cinema Focus Iris Zoom (Fl+Z) system.

For sales or rental information, please contod:

Shalmskt:f DOLLIES & CRANES, INC. 28145 Avenue Crocker, Valencia CA 91355 (805) 257-1444 • (800) 426-6284 • Fox: (Sales) (805) 257-6197 • (Rentals) (805) 257-6284 © 1996 Camera Platforms International, Inc.

I

Bruce Fuoco In his NEWTSUIT works to

free the Edmund Fitzgerald 's Bell

he only knowledg mo t people have of the 729 foot or carrier the T Edmund Fitzgerald is ba ed on th 1976 ballad by Gordon Lightfoot, "The Wreek of the Edmund Fitzgerald."

The ong depict th last living moment of the 29 crew memb r and the ship that wa the queen of the Great Lakes fleet. On ovember 10, 1975 in heavy ea , what had once b n the longest ship upon the Great Lake sank to the depth of Lake Superior. All aboard were lo t when h broke apart ju t 16 mile hort of her d stination, Whitefish Point, Michigan.

With no urvivors to tell her story, and the difficultie a ociated with exploring in waters over 500' in depth, v ry little was known about how the Edm und Fitzgerald found her way to the dark depths of Lake Superior.

Although earlier expedition had photographed the wreck it wa not =?>

FUTURE TECHnOLOG'r' RECORDS THE PAST Fall/Winter 1996-97

The Operating Cameraman

Page49

I until the 1994 Great Lakes Expedition by the Harbor Branch Oceanographic In titution of Fort Pierce, Florida that the fate of the Edmund Fitzgerald was fully documented . The mighty Edmund Fitzgerald lay on the bottom ripped and torn into two pieces 125 yards apart with h r cargo cattered in mound between the two sections.

After everal early expeditions many of the family members joined tog ther in an attempt to halt any furth r exploration at the wreck site.

Fearing exploitation of their loved ones, the famili r qu t d that the wr ck bed ignat d as a permanent maritim grav it and enli ted the aid of Torn Farnqui t, Dir ctor of the Great Lakes Historical Society. Having participated in the Harbor Branch Expedition and having een the wreck, Famquist had a vi ion of providing a fitting m morial to the hip and her er w at th Great Lake Shipwreck Hi torical Mu um at Whitefi h Point. Farnqui t outlined a propo al to mount an expedition to recover the ship's bell. The bell would th n b restored and u ed as the c nt rpi ce for an expand d xhibit featuring the Edmund Fitzgerald. A

I

WISCONSIN {80UNDARIES ARE APPRDXIMAfE}

part of thjs project, a documentary would be produced about the bell r cov ry for u at the exhibit and a am an of upporting th proj ct.

Previou expeditions to the wr ck ite had b n limited to low-q uality r arch vid o. Due to lack of light at the e d pth , vid o imaging i generally confined to small field of view and the low r olution of mo t high n itivity cam ra sy terns. It was not until Tom Farnquj t connected with

Page SO

The Operating Cn111eramn11

Emory Kristof at the ational Geo- interest in d ep water imaging. On graphic Soci ty that the concept of th e pr viou projects our team had using movie quality lighting and high produc d image unlike any n from defirution recording system began to the deep water beyond the capability take shape. ofsurfacediver .Theu eofstate-of-th Kristof had been a member of the art video and film imaging system in 1991 Titanic expedition wher the use conjunction with HMI lighting had of d ep water HMI 1igh ting had b en introduced the deep water used to produce the IMAX world to high quality film Titnnicn and the CBS imaging. ow high r Television Special, Titanic, resolution image The captain Treasure of the Deep [phoand expanded field wired in he had tographed by Bob Keys, of view could be water comin' in SO , this year's Cammy achieved, adding and the good ship winner for video cam ra excitement and ent rop rating]. Sine that and crew were in tainmen t value to project, Kri tof ha projects. Becau of peril; and later that u ed th HMl y t m my background night when 'is lights ucce sfully with and xperi nee went out of sight came many d ep water with th Sony the wreck of the Edmund projects. Kristof HDVS camera sy tern had also particiFitzgerald. -Gordon Lightfoot pated in a ri and deep of te t u ing water imSony's HDVS camaging I was era and had n the potential of a ked to DP the project. Topside producing high quality image in less imaging would be handled by Scott than ideal conditions. Kristof arranged Erl under and Larry Elliot, u ing35mm for the loan of th r quir d HDVS film and Digital Betacam equipment. camera and recording y t m from The ucc of deep wa t r projects S ny El ctronic Inc. The i larg ly d p nd nt upon acquiring a d p wat r HMI lighting prop r op rating platform. In thi ca e equipment was ecured we needed interior space uffici ntly from D epSea Power largetosupporttheHDVSequipm nt, and Light, Th ational including enough battery capacity to GeographicSoci ty, and run the vid o equipment and lighting y t m for prolonged periods. Since Produc r I Director Jim Cameron. Since only one th wr ck ttl d in Canadian waters, HDVS y tern was avail- Kristof enli ted the rud of the Canadian able, top ide shooting avy's 245-foot HMCS Cor111orn11t, would b completed which hou d two submer ible that u ing a DVW-700WS wer capabl of the ta k. SDL-1, a fiv wide er n DigitalB ta- man ubm r ibl could provide the cam Camcorder and a pace and pow r r quir d for u e a 35mm Arrifl x BL cam- th camera platform.Pi ce /Vcouldb era. The Digital Betacam and 35mm u ed as a econd light ourc . Kri tof formats would be converted to lligh then contacted Phil uytten of Int rD finition. Kristof realized that these national Hard Suits Inc. about the u e lights and cam ra y t m would add of a EWTSUTT. This one-atmosphere a whole new dimen ion to the images diving sy tern i known to be exc dof the Ed111u11d Fitzgerald. ingly articulat d and capable of diving Since I had b n a participant in mor than 1,000 feet. Unlike the two th 1991 Titanic xp dition with th ubm r ibl it would be perfect for Ru ian MIRS ve l and th D ep maneuv ring in the tight confine Wat r Geoth rmal Exp dition with b tw n th tow r and the many Woods Hole Oceanographic Institu- antenna atop the Fitzgerald. uytten tion' ALVI , Kri tof kn w of my arrang d for hjs mo t experienced ~>

Fall/Winter 1996-97

T~[ n[W

GOlD[n HG[

Ot tllm

R~ R

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the world. film with true speed and uncompromisinq resolution in every emulsion layer. Film you can trust to help brinq your vision to life.

And now there is anew family of films on the horizon. Beqinninq with fast Kodak Vision SOOT and lower contrast Kodak Vision 320T film. These new color neqative products take everythinq Kodak knows about makinq film and puts it in aqolden can. They provide everythinq you depend on in Kodak films, but with sharpness and qrain you'll find incredible.

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Uncompromisinq quality. Uncompromisinq consistency. Uncompromisinq dependability. CAPTURE YOUR VISION.

I

I op rator Bruce Fuoco to be available for th dive . Fuoco's unique exp rience operating the required torch in 500-foot depths would later prove invaluable. Once the rig-support tug A11glia11 Lady was secured as a work platform for th EWTSVIT all the element wer in p lace to r mov the hip' bell from the Edmund Fitzgerald.

Arranging for all the permits, the pecialized hardware and the funding for a project of this magnitude was a monumental undertaking. Farnquist and hi taff at GLSHS spent month working their way through th gov ming bodies of two countri encountering court battl along th way before all preparation detail were comp! te.

Space and power are alway major concern when it comes to rigging video y t m on d ep water submer ibl s.

SDL-1 i pacious compar d to mo t d ep wat r y tern . The front chamber provide pace for four people with a large 24# view port at the front. At th rear is a lockout chamber that allow gr s from the subm r ibl . A tunnel conn ct th two chamber . Thi interconnect tunnel became home for the HDV-10 UNIHI HDVS Recorder and th camera control unit for the HDC-500 HDVS camera. Installation of th hard war was no ea y ta k. Th recorder weighed almost one hundr d pound and had to be lifted up from the bottom of the lockout chamber to

Pisces IV moves Its powerful light beam toward the wheelhouse.

th tunnel withev rydiv . The camera head was suspended by tretch cords at the center of the view port since there wa no room for a normal fluid h ad. The cam ra had to b upported by hand at all tim . Power wa anoth r i ue. All the HDVS equipment required 110 volts. Thi substantial load required two inverters operating from th ubm r ibl ' batt ri .

The HMI lighting wa powered by pecial balla t connect d dir ctly to the DC batterie of the ubmer ible.

Mike Cole of the ational Geographic Society and the ubm r ible crew of theHMCSConnorn11tw r re pon ible for replacing three of SOL' five external lights with two 400 watt and one

1200 watt HMI. These lights would provide the ba ic illumination for th cam ra. Great care was taken to plac the main lighting as high and off the center line a po ible. One of the 400 watt light wa mounted low and to th right on a pan and tilt ystem which all owed trimming of the light' po ition at depth. This positioning would minimiz th backscatterfromthe ediment particl in the water. Th Pisces IV wa rigged with ba ically the ame configuration with one exception: th 1200wattHMiwasplacedatthec nter abov the vi w port so it illuminated th crew' fi Id of view. This would simplify po itioning th subm r ibl once we reached the wreck site. It is very rare to have two light ources The Inverted stern section lay about 25 yards from the bow. On It, the name when working in deep water, but th Canadian avy's ability to operate Edmund Fitzgerald could still be seen Just a few feet above the sediment at thr ubmer ible on the ite imultathe bottom of Lake Superior. neou ly greatly improved our imaging capabilitie .

On June 24, 1995 the fir t of th eries of dive involving the SDL-1 and Pisces IV began. We started to familiarize ourselves with the ite and experim ntwith th lighting and camera sy tern . Our initial contact with th Edmund Fitzgerald was at the bow. ~ Sitting upright, thi 200 foot ection of ~ hull wa entr nch d in the lake bed ~ almo t to the ummer draft line. ยง Damage wa ex ten ive, both from the ~ torm and the impact with th lake ยง b d. Th 220 foot st m ection lay about 125 yard from the bow inverted ~>

!

Page 52

The Operating Cameraman

Fall/Winter 1996-97

I

I with h r powerful prop sitting almost 40 feet from the bottom. The name Edmund Fitzgerald could still bes en just a few feet above the bottom dim nt. Much of the cargo wa vi ibly scattered on the lake bottom b tw n the two ctions of the hull. Extensive imaging of th wreck ite provided the first complete record of the damage to the ship.

Afterward, a series of xperiments determined that Pisces IV should be position d at the front of the wh elhou e to provide the r quir d ide fill light. SDL-1 could then hoot and light from the starboard ide to provide the cleare t viewpoint while allowing the submersible to steer into th prevailing current. Pi ces, having an articulating arm capable of supporting the full weight of the ve el would have the advantage of holding on to the metal rail at

Crow's nest above the big C for Columbia Line.

the top of the wheelhou . This would allow us to maintain and control the light po ition pr ci ly for long period of tim . SDL-1 would have to b "flown" to hold it position against the current. The 9mm lens I was using on the HDC-500 provided approximately 80 degrees of view angle. To maintain th de ir d fi Id of view the ubmer ible had to be located just six inch from an antenna tand on top of the bridge. After thr days of te ting and imag making we determined that all y tern were now ready to b gin the final seri of dive and the removal of the bell.

Th HDC-500 worked flawle sly in this environment.

The HMI lighting allowed for an expo ure ofbetwe n f/4.0 and f/5.6 for most of the production. The large dome of the SOL accommodated some camera movement, even con idering th wide angle Jen supplied by Fujinon. Besides the typical problems associated with making image in a black underwater environment, operating the equipment in th cold wet submer ible interior added further difficultie .

With out ide water temp rature about 30째 Fahrenheit th t mp rature inside the submer ible would drop considerably a the dive progressed. In addition, large amounts of

P11ge 54

The Operating Cameraman

Fall/Winter 1996-97

condensation would develop on aJI of the metal surface .

This condition would increase considerab ly as the submersible surfaced to the warmer wa ter above. It wa critical that we keep the tape machine running at all times to prevent conden ation from developing on the drum and d stroying the tape. Towels were u ed constantly to wipe down the metal surfaces preventing wa ter from dripping into the equipment. After every dive we quickly removed all of the video equipment from the submersible.

On July 2nd the Cormorant sailed into position over the wr ck to join theAnglian Lady as we began final preparation for the bell recovery dives. Upon arrival we discovered that the Anglian Lady had lipped her moorings during the night and had to be repo itioned over the Fitzgerald. Thj " minor problem" took 8 hours to correct but was important and neces ary due to depth of the wreck and limited tether of the EWTSUTT. Early on Ju ly 3rd I boarded the SDL-1 along with Petty Offic r Frazi r, Chief Petty Officer Bilodeau and Emory Kristof. The addition of the Anglian Lady requjred us to modify the launch procedures from tho e u ed during the test dives. The position of the moorings from th e A11glia11 Lady limited the Cormorant's ability to launch the submersibles directly over the wreck site. The added distance would increa e the required time to position the ubmersib l on the wreck by more than an hour. This put an additional drain on our battery capacity and decrea ed our dive time by 30%.

All problems considered, this was still the beginning of a dive that can only be de cribed as "space-like." Th e illumination on the EWTSUlT gave it an iridescent app arance. The bright yellow and si lver oversized " body" maneuvering as though it were weightless around ==*> The NEWTSUITed diver examines a gudgeon, used to help hold the rudder In place.

THE AATON 35111 & OPPENHEIMER CAMERA

A PARTNERSHIP IN TECHNOLOGY In January 1993, OPPENHEIMER CAMERA became the second independent rental house in the US to offer the AATON 35, and the only one outside of Los Angeles.

Oppenheimer Camera now rents twa AATON 35 cameras, both fully updated to the latest version 111 technology. Our customized acces.sory packages, regular updating, and high maintenance standards, enable discriminating DPs to confidently use the Oppenheimer Camera AATON 35 Ill's. Our AATON cameras have travelled the US, Canada, and beyond!

On The Legends of the Fall, John Tall ASC used one of our AATON 35's in Jamaica. We bailed out a Waterworld camera emergency in Hawafi. For a Bongo Jeans commer路 cial, we sent a comera to the jungles of Venezuela. But most of our rentals go to less exotic environs!

Curtis Clark ASC, a fan of the AATON 35, has used our cameras on many commercials over the past three years. Mr. Clark has told us that he always trusts our cameras to be well maintained, and extremely reliable.

SEATTLE

Commercial DP Petr Litominsky regularly shoots with our AATON 35's. One shoot found Mr. Litominsky and our AATON wedged into a 4-place airplane filming talent while in-flight over Seattle.

This winter DP Tom Seigel shot Jack Nicholson in Blood and Wine, in Miami. For the entire three month shoot, Mr. Seigel used an Oppenheimer Camera AATON 35.

We confidently ship our AATON 35 Ill's to productions across the US. Oppenheimer Camera rents the latest AATON, MOVIECAM, and ARRIFLEX cameras from our facilities in Seattle and Portland.

We also feature TYLER MOUNTS, UNILUX LIGHTING, SWISS JIB, POWER POD, and more.

We stress well maintained, quality gear, and the finest customer service. When you need a quality camera package in the Pacific Northwest or anywhere in America, call us.

PORTLAND

206-467-8666

503-233-0249

Fax: 206467路9165

Fax: 503-231-4806

Fall/Winter 1996-97

Th e Operating Cameraman

Page SS

I the ship was like a cene you would pre s members were tran ported to on the yacht Northlander so th y could exp ct to ee from a space huttle. To th Cormorant to r cord thi hi toric view the recovery privately. Anticiprevent blinding clouds of ediment mom nt. Much of our morning was pation mounted as the deck were from developing, operator Fuoco had to move lowly as he got do ertothedeckofthefitzgera/d.

Ifgenerated, dimentcloudscouJd take 20 to 30 minute to settle, topping all activitie . Alter a brief photo opportunity around the pilot hou e Fuoco settled down to the work at hand. He fir t attached lifting straps to the b 11 and secured it to a line from the A11glia11 Lady above. Wh n the cutting began we witne ed a bright orange glow as the b II wa carefully eparated from its watery grave. The cutting proc ded lowly a the right mix of gases had to be found. It took s veral hour ju t to eparat the main tanchion and one of the Bruce Fuoco taking the can of Ray Cundy's favorite beer to the ship ... two forward upports. By then th batt ry level of the ubmer ibles required our return to the spent answering que tion cleared and the submersible were surface. quipment and procedur u ed to launched for th final bell recovery. As July 4th wa the eel bration day r cord and r cover the b II. Family gr n urface wat r covered th dome for the proj ct. Both local and national memb r were tran port d to the site and the SOL lowly dropped to darkne s, all the equipment was hilted into its working position . Emory Kristof stayed topside to h Ip with the pr s and to r cord th b II at the surface. Capt. Ken McMillian assisted me in the ubmer ible, nervously assuming the tape operator r sponsibiliti . It was amu ing to see a man of command responsible for hundr d of men o worried abouthittingtwolittlebutton ! Petty Officer Frazier guided the SDL-1 into position with Pisces IV following quickly. Turning on one Hght at a time, we could see the bridge of the Edmund Fitzgerald gloriously illuminated, r vealing it prestigious b 11. Even after a nightoflarg wells it was still securely attached to the deck as if refusing to let go.

After a cloud of sediment ttled Fuoco positioned him elf for the final cut. After a minor miscue by the captain, we now began to docum nt the orange glow of the torch.

As hundreds of bubble ro e to the surface, the last support was cut clear. The pull line on the bell had

Page 56

The Operating Cameraman

Fall/Winter 1996-97

I positioning the lights, Fuoco then surveyed th stern. One final shot and our job was complete. The EWTSUIT and SOL traveled the length of th inverted hull of the stern to urvey th damage. SOL had to travel th l ngth of the hull backwards to insure th safety of Fuoco and the EWTSVIT. ~ Petty Officer Frazier guided th vessel, carefully maintaining a ~ position just clear of the deck !;l as Fuoco followed u ing th ~ lightfromSOLandthe200watt HMI he carried in hi hand . As we clear d the rudder we lower d the submer ibl to reveal ... and securing It to the bridge, as one last gift from a daughter to her father. what wa to become my la t view of thi mighty hip. The Finally, the launch to permanently proud name Edmund Fitzgerald cam been carefully po ition d that it would clear the wreck in the opposite direc- affix the replica bell. This symbolic clearly into sight.

The material recorded on thi s tion of the two submer ibles. A the m morial wa low r d into po ition, bell broke fr eitalmost"jump d" from guided by th xpedition will have many liv s.

EWTSVIT. Th large the deck, cJ aring the wr ck by almost weighted base just fit between th radar Cinenova productions of Canada has 30 f t. Fuoco th n flew to the bell and ma t , o it t ok Fuoco ome time to produced and air d a one-hour proguided it through the torch line and po ition the platform properly. When gram on the Discovery Channel u ing ship moorings to the surface. With this the replica bell was secured in place it converted images from the HDVS ational Geographic phas of the project completed we re- wa time to make on last urvey of recordings. Th turned to the urface to fac the difficult the wreck. Fuoco and the EWTSVIT Society produc d a 12-page articl for their January 1996 i ue utilizpart of th day ... the pr ss! Over 30 r treated to the af ty of th hip' journali t h ad gather d to document tower so that the two ubmersibles ing nine HDVS image in th cou Id repo i ti on on either side s pread-a fir t for the thi event for po terity.

On July 5th we readied for ye t of the wreck. From SOL, the Geographic. But p eranother dive to the Edmund Fitzgerald. blue glow of th HMI hap most in piring for me will be the fu tur Thi time a replica bell in cribed with mounted on Pi ce wa just th nam and positions of the lo t visible through the window HDVS pre entation crew m mbers would be returned to of the bridge.The EWTSVIT slated for Great Lak the wreck to mark the gravesite for then enter d the scene from Shipwreck Historieternity. Earlier that morning Cheryl th bow using the light of cal Museum a t Whit fish Point, Rozman, daughter of Watchman Ray th ubmer ibl to urvey Michigan. Th Cundy had walked the deck of the the bridge.These step Cormorant, marveling at the effort and were rep at d until images that coopera tion needed to execute this we completed our ourt am proprojec t. Eighty-five Canadian sailors, documentation of duced will th e cooperation of two countries, the bow. forever memoriale ten sive financial contributions, On July 6th we moved our opera- iz the brave crewmen lost that fateful 3000pound ofspecializ dequipm nt, tion to the tern wh re we planned to night 21 years ago- just 16 miles from hoot what would b th title hot for a afe harbor.

180 hours of bottom time, three submer ibles, plu a mall armada of National Geographic spread. Again, the support ve I ! But all wa not com- Pisce wa u ed to back light the scene pl t . In a fitting final tribute to her as we po ition d the EWTSU1T on the Jeffrey Cree, a three-time E111111y Awardwinning video recordist, is Marketing father, Mrs. Rozman placed a can of prop shaft.

Even the enlarged man-figure of Manager for Sony Electronics Inc. Jeff is her Dad's favorite beer on the SOL. Bruce Fuoco later secured it on the the NEWTSVIT was dwarfed by the size al o Sony's Corporate Affiliate Repre enbridge of the Fitzgerald. One last gift of the mighty prop that had propelled tative to the SOC and a past co11 tribu tor to the 729-foot hip. After electing and this magazine. from a daughter to her father.

5 O

!

Fall/Winter 1996-97

The Operating Cameraman

Page57

Hilacbi K-2600

I

At the SOC Booth, ShowBiz Expo '96. Clockwise from top: SOC members Ron High, Kenn Ferro, Philip Schwartz, Michael Frediani, Howard Block; SOC members Moshe Levin and Norm Langley; Michael Jones SOC.

RALPH GERLING Patricia Gerling has reported to us that her husband Ralph, our longtime member and the recipient of last year's Lifetime Achievement Awards Cammy, pas ed away at their Palm Desert home. Memorial services were private.

Mrs. Gerling asks that any donations in Ralph's memory be sent to: MP&TV Fund Foundation 23300 Ventura Blvd.

Woodland Hills, CA 91364 Ralph was a one of a kind gentleman and will be missed by all who knew him.

Get Involved!

Get Elected!

Elections for the 1997-98 SOC Board of Gov rnors will be held in January. Anyon who is not currently a board memb r or officer i a ked to consider running for a seat on the board . From the board offic r are th n elected those who will serv as President, Vice Presidents, Secretary, Sergeant-atArm , Treasurer, Membership Chairman and other committee po itions.

Pre id nt Michael Frediani at the August breakfast meeting stated that he would not run for a second two-year term as President but would do all that is necessary to create a smooth transition for the next administration. The SOC ha grown in numbers and in visibility in the past few year and wi ll continue to do so, but onJy with the efforts of dedicated member !

SOC needs you!

Fa/I/Winter 1996-97

The Operating Cameraman

Page 59

Marty Balin of Jefferson Starship

SOC Raises $1,750 for The Eye Care Clinic On June 22, Stan McClain SOC and his wife Kim hosted a summer picnic and concert at their home in conjunction with the SOC. This year's concert featured two Rock and Roll Hall of Fame bands, Jefferson Starship and Eric Burdon. Concertgoers enjoyed canoeing, rowboating, and fishing on the McClains' 2.5 acre pond before Jefferson Starship took to the stage. During the intermission, several BBQ grills were fired up and the many groups dined on their favorite summer meals.

Alan Albert, Clairmont Camera: "Best time I've had in a long long time."

Terry O'Rourke, Wescam US: "It was a wonderful afternoon, saw some good friends and heard some great music."

Todd Henry, camera operator and ATP pilot: "Forget the Oscars, this is the boffo best of the biz event of the year. You must be there."

The McClains have extended an invitation to the SOC to participate in next year's concert, which is scheduled for June 21, 1997.

Page 60

The Operating Cameraman

Fall/Winter 1996-97

I Thank you, SOC

Pins are popular

Dear President Frediani, On behalf of the Eye Group at Childrens Hospital we would like to exp re sour heartfelt thanks to the SOC for their generous donation of $2,000 and the $1,750 co-donation with Mr. and Mrs. Stan McClain, last Saturday evening.

It may be of interest to you to describe how your donations have and will continue to benefit us. The majority of children fitted in the Contact Lens S rvice are under three years of age and as a consequence their needs as lens wearer differ substantially from adult . With rare exception, patients have ome ocular disorder such as congenital cataracts which necessitate contact lens s for visual remediation rath r than cosmetic reasons.

The major beneficiaries of your donations have been patient families.

Currently, insurance coverage of contact lenses that are medically indicated and coverage of replacement lenses is highly variable. A number of families find themselves faced with the prospect of discontinuing lens wear and ub quentlygivingupon their child's visual rehabilitative process because their insurance company will deny coverage and they do not have the means to pay for the actual cost of lenses. In effect this group due to both financial and medical considerations represents those in true need.

The Eye Group has a commitment to provide the highest quality care to the children of our community and the existence of the SOC' s fund has help d us make that commitment a reality.

Your unfailing and consistent support in numerous fundraising campaigns on our behalf has truly been a godend. The Eye Clinic and our patients have and will be forever grateful not only for the monetary contributions you have donated but for every SOC member's time and energy that have made your extraordinary generosity po sible.

Sincerely yours, sf Ellen Matsumoto, O.D. sf A. Linn Murphree, M.D.

President Frediani noting the three year gap in pin sales designed a new pin for 1996. Each member was mailed 3 pins in August. Also each table setting at our July banquet contained a pin atop the evening's program booklet in order to reach a segment of the entertainment community we otherwise might not reach. We are happy to report that of the 1500 pins manufactured there are only a handful in stock, which will be made available to SOC members only. We thank all of you for helping us to help those less fortunate.

Fundraising Pins Through the efforts of the SOC' s membership we have rais d over $67,000 for the Eye Care Clinic at Childrens Hospital. Included is the recent donation of $2,000 from the general fund approved by the Board of Governors and $1,750 raised at the Summer Picnic. In the pa t the bulk of money raised has come from decorative pins, as well as a raffle of one of the leather jackets worn by Arnold Schwarzenegger in The Terminator.

SOC members have sold the e pins over the years to friends, family and co-workers in order to raise money for the Clinic. Until recently the last time we had a pin sales drive was in 1993 when the SOC saluted the IATSE's centennial celebration. At that time there were 3000 pins manufactured of which we still have a limited supply in stock for sale. Proceeds will of course be forwarded to the Eye Care Clinic.

They originally sold for $10 each, but we have reduced the price to $7 each including postage & handling. Please send your check or money order to the SOC PO Box with your request for pins. This is a tax-deductible dona ti on.

Fall/Winter 1996-97

Puppets too This year has seen the return of member hip screenings of current films in release. Just prior to The Hunchback of Notre Dame screening (see page 63) President Frediani and his daughters icole and Erica handed out plush hand puppets to all of the kids in attendance. The toys were graciously provided by the Walt Disney Studios and extra puppets were donated to the kids at the Eye Care Clinic at Childrens Ho pital Los Angeles.

Dear SOC: Thank you from the Eye Group for the delightful oft puppet characters from The Hun chback of Notre Dame which Ed Moseley recently obtained from the SOC. Many immediate uses for these toys come to mind. They can be used as gifts to patients, especially to those children such as Dr. Murphree's retinoblastoma patients who have undergone many medical procedure to combat their eye cancer. The puppets will also be welcome additions to our waiting rooms to make our young patients feel more at ease. Lastly they may come to the rescue of our doctors as fixation devices during eye examinations of infants and young children.

The Eye Clinic certainly appreciates your thoughtfulness. Thank you, again.

Sincerely yours, sf Ellen Matsumoto, O.D. A. Linn Murphree, M.D.

The Operating Cameraman

Page 61

THE INNOVATOR

It's what we've left out of th unique Vector I that's turning he~

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I

Chapman-Leonard Shows Equipment

Corporate Sponsors Added At our membership breakfast meeting held August 24 at the Motion Picture & TelevisionFund'sdiningroom,Precision Camera Supports was formally accepted in to the Society as a Corporate Affiliate memb r. Bill Hines (left above), Corporate Liaison presented handsome certificates to co-owners Bill Baker (center) and Jeff Kunkel (right). Their Corporate Affiliate Representative is coowner Rick Gunter, cinematographer of Beverly Hills 90210.

Another recent addition to SOC's Corporate Affiliates is William F. White Ltd. of Canada, considered one of the best production rental and sales firms in the world. William F. White, their president is Corporate Representative.

Consolidated Film Industries joined the SOC in October. Consolidated has been a fixture in Hollywood for decades and is a full-service film lab offering both production and editorial suites. Mike Papadaki, Vice President of Sales and Marketing is their Corporate Representative to the SOC. Our most recent corporate affiliate is Clairmont Camera, one of the largest camera rental houses in L.A., with branches in Canada.

Denny Clairmont erves as their Corporate Affiliate Representative to the SOC. Bill Hines deserves a round of applause for hisoutstandingefforts in engaging those companies that best repre ent the film and TV industry worldwide for inclusion in our honored list of Corporate Affiliate members.

Steven Miller of Chapman / Leonard brought along their latest equipment including their Pedolly Pedestal and Super PeeWee dollies as well as a Lenny Arm. Miller (below, striped shirt) showed how the Pedolly center post could be removed from the base and placed at ground level when necessary.

Miller and Chuck Huenergardt fielded questions and comments from SOC members and invited them for a tour of their facilities in the future .

Christine Huenergardt was there also and provided beautifully printed informational packets describing the Chapman equipment.

We thank our Corporate Affiliates for their continued support of the Society of Operating Cameramen.

SOC Screens Films at Mayer Theatre This year has seen the return of membership screenings of current films in release. Some of the films our members have enjoyed at our monthly screenings have included Michael Collins, White Squall, James and the Giant Peach, Fargo, Lonestar and The Hunchback of Notre Dame. The location is the Louis B. Mayer Theatre at the Motion Picture & Television Fund Hospital in Woodland Hills; industry retirees and hospital residents gather there to view current films.

The plaque at the left commemorates the SOC's donation to update the theatre's sound system in 1990.

Fall/Winter 1996-97

The Operating Cameraman

Page 63

I ef.o re discu sing the technical a pects of underwater filming, I feel it i important to ay a few words fir t about diving. A thorough knowledge of diving as well as extenive dive exp ri ncear indi pen able to work as a professional underwater cameraman.

I check my equipment before each div , but one I jump in the water I d vote all my attention to filming. I don't want to concern my elf with potential prob! m uch a running out of air, o I dive without a watch or depth gauge. However at lea tone of the diver who accompani me i always re ponsible for keeping track of the time and depth of our dive.

Filming underwater is team work.

Divers urrounding the cameraman deal with light and I ctric cable . A marinebiologi toftenaccompanie u , and ometime a second cameraman films the entire team at work. Above water, two Zodiacs follow us: one carries the diver , the other carries the g nerator f ding electricity to our lamp . Thi intuitive t am i u d to

B

working together, comm unka ting only through sign language.

From the fir t films, Cou teau teams have alway u ed cu tom built 16 mm and 35 mm camera . Th y ar B II and Howell mechani ms enca d in PVC cylinders. Each camera i individually built to hou ea Ien of di ff r nt focal length; the e include 2.3 mm, 5.7 mm, 9 mm, 16 mm, and 25 mm for u with 16 mm film; and 16 mm, 18 mm, and 25 mm for u with 35 mm film. The cameras are small and easy to handle, but the ab enceofazoom Ien r quire u ing veral types of camera during th cour of a dive to cover the wide angles and clo eups ne d d for the editing of a qu nee. Our cameras, de igned over forty year ago, have no vi wer. All Cou teau cam ramen have always film d without knowing th xact limits of the frame. The camra hold 120 meters of film, or ju t ov rten minut ; om tim thi is not quite enough and we run out during an important hoot. If w wi h to continue, the film mu t be chang d in a darkroom, because our cameras are

Fal//Wi11ter 1996-97

not equipped with an interchang able magazine like modern one .

W do not have thi problem when hooting in video, since video cas ttes ar available an hour or more in length. This enables us to film an entire dive uninterrupted by film changes.

Using th "Cousteau camera" is imple. Two circular control -for adju tment of focus and aperturear worked with th left hand. With th right hand we ace ss the twopo ition switch for 24 and 48 frameper- econd op ration , locat d on the back handle. A S konic light meter screwed onto the un vi or abov the lens gives the ambient light r ading.

Sunlight i quickly weak n d in water as the depth increa , with the individual color of the spectrum b ing ab orb don by on . R d di appear in the. first few m t r , then orange, yellow, green, and finally blue and purple. A frame filmed at thirty meter without additional light app ars blue on er en, wh ther it i on film or vid o. Therefore, ~>

The Operati11g Cameraman

Page 65

having additional Light is essential, starting in the first few meters in order to expo reds correctly even if the level of ambient light is sufficient for actual filming. We us 100 ASA "Daylight" film which works perfectly. It is adapted to the unlight's color temperature (5600째 Kelvin). The additional artificial light we use, whose color temp rature is3200째 Kelvin, loses its dominant red and orang s at about two m ter from the ubject because the water parating it from the subject ab orb partofthelightrays.Thelamp' light i therefore adjusted to the unlight's color temperature.

When filming it's always important to keep the light at a constant distance from the ubject to avoid overexpo ing the film or off-setting the color balance; the ideal distance would replace the lost colors without dramatically increa ing the light beyond the natural ambient level.

It is also important to place the lamp off to the sides of the camera rather than in it axis. Unlike air, water contain floating particles. If the lamp

Pnge 66

The Operating Ca111ern111nn

is placed too clo e to the camera axis any light shining directly on th se particl s reflects back in part toward both the Ught ource and cam ra, er ating a fog-likeeffectvi ibleon the film. Placing the lamp at a forty-five degree angle from the camera i a good com pro mi e preventing too much reflection, yet not ere a ting too great a shadow behind the ubject. Adding a s cond lamp on the opposite ide of th camera eliminated any shadow. A silhouette effect can b produced by placing the second lamp behind the subject.

To create uch lighting effect during a shoot, each lamp mu t b carried by a diver who preci ely follows every movement of the camera, an operation which requires the full cone ntration of all.

Duringnightdiveslightingi done in the same manner as during the day, but using Tung ten (artificial light) film.

There is of course no natural ambient light, only that provided by the lamps.

The choice of subjects to film tends more toward macrophotography.

At The Cousteau Society /Equipe

Fa/I/Winter 1996-97

Cousteau, we use lamps fed from the surface by a generator in a Zodiac. This system gives us greater freedom of movement during a dive. One diver i responsibl for the lamp's electric cable so that th diver holding the lamp need not worry about the cable while following the camera. The ideal position for the cable-carrying diver varies with different situations, but is usually two or three meters above the lamp. He always holds a few additional Loose meter of cable and unrolls them as needed . The diver in charge of lighting tays one or two meter to the right or I ft of the cameraman, keeping the lamp at the level of the camera's lens. If a lamp is placed b hind th camera, it throw a shadow on the ubject.

Our lamp are very bright. Each is made up of sixteen 250-watt bulbs, totaling 4000 watts, and we often use two lamp to Ught a complete scene.

When the ocean is choppy and waves break on the Zodiacs, we are unable to use the generator and electric lamp . We then carry portable lamps which run on nickel-cadmium =*>

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lie .inn"""!;' a full 160 degree' ,, lollO\\ panning ac11on a' \\Cll ti' hit (\\Inch utll11c' the counter .ll1111cc '}'lcm) from gmund h.:\cl 1 •• nm\1mum of Hi'.

II '1ag.c r..mc' ha\ c ) our choice of pncuMt 1r or 'olld tire' and lilm orT Jrrct. A'~ about trac~ and other

1

on' c111cn1 ac.:cc'"lry paclagc' lo 0111pk1m:n1 the 'tagc crane of our chou.:c. Our 'iagc crane' ha\c hou~ of prnduc11on tune tn ohtain 'omc of the 1110\I :.m .1rd winning

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ht.1111' a lo\\r

c~11ncm

mount height

I 15 5/8" or 40c111 \\h1ch ma~c' it nc ol 1he lm"c'1 of :ill the current edc,tah un the mar~ct toda) .The •,,,/olh 'hare' the crn b and con\ cnonal 'tccnng and \ an~1hlc cha,,1, :g lc.1turc' of the upcr PccWcc , Jule ma1n1.1111111g1hc~1bil11) to\\-orl n hoth,1rn1 g h1and c u"cd1r:ic ~ . TI1c 't•dollr al'o ha'' anou' tire' for 1hc 1ltcn.:111 h:rr..1111' encountered during the filming of prcxluction,, 111c Mx1111um 'tant.lan.I height of the Pedollr j, 55 " or 1.42 mctcl"\. ~n1c 't•dolfr\ ah1lll) to 'hilt 'leering applicmion' either manual!) or clectro111ally coupled with 11' "lenl. 'mooth pcrfom1ance arc cenainly appealing

.'. i.1lun.:,. 111crc ;an: man} uccc,,uric' for the Pc,dollr to m..lapl it to mu'I ppl1c<.lllOl1,.

\ rm' l1c /..nun Arm '' C(IU1ppcd \\uh le .1h1ht) to .u:t ·" .11.:rnm: ann (for 1anncd u'c) .1, "ell a' a rcrnotc u111t:ra arm. The l.A.•111n· An11 " U\ antagcou' for 'hoh 1hat ;quire the bcnelil\ of dual pan111g Jct1on (ach1e,c<l ''hen u'cd in

nmh111ation \\ ith ~my of 1hc "lmpman er.me,.) Vc1'at1lit) i' the '·""' '' J) to tk,cnllc th1' ann '' h1ch an adJt"t from 4 feet to 34 feet of :ach and 6 ket to 32 feet nf height. L ---'=-...;.iu

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no\l terrain,. The clcclric dri\c allow' ,jJcncc during produc1ion . . 1101 .... ... rnh:md comcnllonul ... tccringcapabi litic' ~...,we l l a' a varicly of ~1ccc.....,ory 11tuchmcnh cnahlc numcrou' camcrn unglc~ to enhance a production.., lmma1ic nnd 1cchn1cal a'1>ect,.

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I batteries. Unfortunately they are not as strong a tho e we u ually work with underwa ter.

Their maxim u m power is around 500 watts, wi th their power supply lasting only 25 minutes. They are too weak for u e when filming near the urface, where daytime natural ambient light levels are far greater than that offered by the portables. In such ca s, th lamp's cluster of bulbs, which need to be placed 50 centimet rs from the ubject, ar alrno t visib I on film. I think that many underwater filmmakers ar anxiou to e stronger portable lamp de igned and available on the market.

i

LEE FILTERS HOLDER SYSTEM AND RESIN CAMERA FILTERS LEE Filters photographic filter system includes a universal filter holder, lens hood, resin and polyester filters. The uniquely designed holder accommodates multiple filters in varying thicknesses. and rotates for full flexibility. Suitable for most camera formats. the system easily clips on and off virtually any lens, and will accommodate other manufacturer's filters.

Pictured Foundation Kit with a magenta polyester filter

LEE F•l lters Page 68

Thinking back over the ten year th atlhavework d for The Cousteau Society, my be t memory of a hoot remains the turtle cem tery in the Sipadon underwater cave in Borneo. Everything wa new to me and I was faced with the reality of shooting underwater for a Coust au film. It was my firstexp ditionasacameraman. I discovered cameras that, unlike video camera , wou Id not allow m to view ~ afteradivewhatlhadfilrned and that I did not know how to frame since th y had no U tele copic ight. Captain ~ Cousteau aid to me, "You 0 film a if you had a machine guninyourhand .B lieveme, itworks."

Lighting wa the econd biggest problem. Every day we had to bring in hundreds of meter of electric cable, paying attention to wher w plac d it b cau th floor of the cave was cov r d with an xtremely fine muddy edim nt which would unr lentingly ri to the ceiling at the light t kick of a fin; the lack of curr nt kept th wat r in the cave murky and w would hav to wait 24 hours b fore being able to work again.

After a week wed cid d to hang the cables from floats. We had olv d the dust problem but not the probl m of bringing the cables through the entranc of the cave which wa at a d pth of twelv m t r . We had to pull hard on the cabl to bring down the floats we had set in place. Once inside the cave, they would aJJ float up to the ceiling in compl te disorder. Th y would be full of knots, and di ntangling them took a long time. When everything wa in order we could b gin working. A f w days lat r we fini h d up with a quenc on a coral r f. A we no long r needed our lamp , w w r able to leav them inside the cave until we had finished our last h t-what a reli fl

2301 w. v ictory Blvd., Burbank, cA 91505 Helpline (800) 576-5055 • Fax (818) 238-1228

The Operating Cn111erama11

Fnll/Winter 1996-97

©Coustea u Socieh;. Didier Noirot i n photographer for The Cousteau Society.

I You always suspected this ...

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Page 71

I Tom Connole Freddie Cooper John A Corso ACTIVE CHARTER Ivan Craig Parker Bartlett Richard Culli Paul Basta Michael L Culp Michael Benson Edward Dadulak Rocky Danielson Bob Bergdahl Howard Block Richard Davis J rry Callaway Ray de la Motte David Diano Mike Chevalier Steve Cona nt Troy Dick Sam Drummy Glenn DiVincenzo Joe Epperson Sean Doyl e Ron Franci Alexi DuPont Bill Gahret David Elkins Peter Hapke David Emmerichs Bill Hines Steve E sig Wayne K nnan, ASC Jame Etheridge Bob Keys Brant S Fagan orm Langley Tom Faigh Ed Morey Jerome Fauci lee akahara Michael Ferris Kenneth Ferro Jay Nefcy Rik Nervik Bruce Finn lance Fisher Leigh Nicholson Howard Ford John Nogle Dan orris Houman Foroug David owell Thomas Fraser Wayne Orr David Frederick Chri Schwiebert Michael Frediani Michael Scott Michael Richard Frift Hal Shiffman Kirk Gardner Roger Smith Jag Gaynor Mike St Hilaire Rusty Geller Ray Stella Michael Genne Carol Sunflower Wayne Getchell Jo Valentine Wayne Goldwyn Allen Gonzales ACTIVE John Goode Art Adams John Gutierrez Bret Allen Anette Haellmigk Derek M All en Dennis Hall Al do Antonelli Terry Harkin Chri Haye Ted Ashton Jr Bill Asman Steven F Heuer John H Atkinson Sean Higgins Dan Auerbach Ronald High Paul Babin Gary Hoffman Chri topher J Baffa Jeffrey Hoffman Vincen t Baldino Joachim Hoffmann Gerard Banales Robert Chapman Horne Stewart Barb e Casey Hotchki J ff Barklage Gary Huddleston Tom Barron David Insley Guy Bee Levie Isaacks Richard Benda Michael A Johnson Bob Berry Frank E Johnson, ASC Al Bettcher Michael Jones George Billinger Ill John H Joyce Joe Blaisdell David Judy Michael Karp Jame Blanford David Boyd John Kiser Billy Bragg Dougla H Knapp Garrett Brown Dan Kneece Robin Buerki Ron Koch Robert Carmichael Kris Kro skove loui Chanatry Robert la Bonge Brian Latai lle Joe Ches Jr Henry Lebo Julian Chojnacki Dana Christiaansen Mark Levin

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Michael little Patrick Longman George Loomis Donald Luczak Allan Lum Li Gregory Lundsgaard Kenj i luster Braden Lutz Heather Mackenzie James Mann Richard Mason Stan M cClain Don Mccuaig Ron M cManus Larry Meachum Robert l Mehnert Mike Meinardus Anastas N Michos Robert Mi ll William Molina Jo eph Montgomery Lawrence P Moody Christopher Moon Jeff Moore Richard Douglas Moore Robert Moor Denis Moran Don ald Morea Don Muirhead Michael egrin, ASC Chuck Nicklin Rand y Nolen Tamas P Nyerges William O ' Drobinak Philip 0 tiker Russell Ofria Lucio Olivieri Charles Papert David Parri h Aaron Pazanti Robert H Peebles Mik Pierce Robert Presley William Purdy II Bernard Rei ll y Kenny Riverbank Herb Roberts Randall Robinson David Robman Andy Romanoff Peter Rosen feld Harvey Rubin James Rush Frank Ruttencutter Seigo Sakamoto Richard Salvatore Michae l Santy Ri chard J Schaefer Steven Schoed ack Chu k Schuman Philip S hwartz Floris Sijbe ma Guy Skinner Michael D Smith Sandy Spooner Steph n St John Scott E Steel Michael Stramisky David Stump Brian Sweeney Jame H Sweeney

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ASSOCIATE Gary Arm trong Jacque E Arnet Eugene Ashbrook Chuck Barbee Mil hell Block Peter Bonilla Joseph Calloway Bruce Cardozo Kirk Chiswell Jeff Clark Gr g Collier Richard Crudo Egor Davidoff Christopher Dawson James A Denn tl Ronald Deveaux George Spiro Dibie, ASC Kevin Downey Gary Eckert Mi hael E cobo a Rob rt Feller Dan Feller Gerald Perry Finnerman, ASC John C Flinn Ill, ASC Mark Forman Peter Frintrup Steve Gainer Richard Garbutt Jame Garvey Harvey Genkins Norman Gia ser Jeff Goldenb rg Bud Gray Wynn Hammer John Hill Gary Holt Chris Hood Gregory Irwin hris Ishii Steven Jackman Thomas Patrick John on Franci Kenny Douglas Kirkland Clyde Bud Kremp Ill George l a Fountaine, ASC Stevan Larn er, ASC L e David Laska John leBlan Alan J Levi Roland J Luna Dr Ellen Matsumoto

Fall/Winter 1996197

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