JOURNAL OF THE SMPTE

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• Publication Date: March 1, 1964
• Content Type: OPEN SOURCE

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JOURNAL_ OF THE
ENGINIERING ? SCIENCE ? TECHNOLOGY
FOR MOTION PICTURES ? TELEVISION ? INSTRUMENTATION ? HIGH-SPEED PHOTOGRAPHY.
177 Technical Report of a Visit to Motion-Picture Facilities in the USSR
? Frank Capra, William E. Gephart, Jr., Ethan M. Stifle, and
Deane R. White, Leader
X196 Cinematography in the USSR ? V. G. Komar
202 A Study of Noise in Television Camera Preamplifiers ? Koichi Sadashige
206 Some -Photographic Studies of Optical Masers ? Thomas J. Pavliscak
213 A New Heat-Developable Motion-Picture Print Film ,
? Noel R. Bacon and Robert B. Lindemeyer
216 R?m?? Resumenes ? Zusammenfassungen
217 American Standards: Dimensions of Raw Stock Cores for 16mm Motion-Picture
Film, PH22.38-1964; Dimensions for 200-Mil Magnetic Sound Record On
16mm Film Base, Perforated 1R-3000, PH22.97-1964; Nomenclature for
Motion-Picture Film Used in 'Studios and Processing Laboratories .(Sections
5-7), PFI22.569-1-944
221 A Note on a Simplified Striping Technicjue ? Alboighasem Rezai
222 Letters to the Editor: Sound-Delay Bitterns
? Fred Wunder ? H. Dussoult ? and Max,Mejia Vides
223 Erratum aricl Addendum
volume 73 ? number 3
MARCH 1964
Los Angeles?
, IN , THIS ISSUE : Advance Program of Technical
Papers Sessions, Equipment Exhibit Directory
AMBASSADOR HOTEL APRIL 12-17
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JOURNAL of the
SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS
PUBLICATION OFFICE TWENTIETH AND NORTHAMPTON STREETS EASTON, PA.
Officers
President, 1963-64
REID H. RAY, Reid H. Ray Film Industries Inc., 2269 Ford Pkwy., St. Paul 16, Minn.
Executive Vice-President, 1963-64
ETHAN M. STIFLE, Eastman Kodak Co., 200 Park Ave., Rm. 2910, New York 17, N.Y
Past-President, 1963-64
JOHN W. SERVIES, National Theatre Supply Co., 50 Prospect Ave., Tarrytown, N.Y.
Engineering Vice-President, 1964-65
DEANE R. WHITE, Photo Products Dept., E. I. du Pont de Nemours & Co., Inc., Parlin,
N.J.
Editorial Vice-President, 1963-64
HERBERT E. FARMER, Dept. of Cinema, University of Southern California, Univer-
sity Park, Los Angeles 7, Calif.
Financial Vice-President, 1964-65
JOSEPH T. DOUGHERTY, E. I. du Pont de Nemours & Co., Inc., 45 Rockefeller
Plaza, Rm. 550, New York 20, N.Y.
Convention Vice-President, 1963-64
GEO. W. COLBURN, Geo. W. Colburn Laboratory, Inc., 164 N. Wacker Dr., Chicago
6, III.
Sections Vice-President, 1964-65
WILTON R. HOLM, E. I. du Pont de Nemours & Co., Inc., 7051 Santa Monica Blvd.,
Hollywood 38, Calif.
Secretary, 1963-64
ROBERT G. HUFFORD, Eastman Kodak Co., 6706 Santa Monica Blvd., Hollywood
38, Calif.
Treasurer, 1964-65
BYRON ROUDABUSH, Byron Motion Pictures, Inc., 1226 Wisconsin Ave., Washing-
ton 7, D.C.
Governors, 1963-64
MAX BEARD, 10703 E. No!crest Dr., Silver Spring, Md.
ROGER J. BEAUDRY, 47 Hampshire Hgts., Islington, Ont., Canada
WILLIAM E. GEPHART, JR., 4537 Placidia Ave., N. Hollywood, Calif.
RALPH E. LOVELL, 2554 Prosser Ave., Los Angeles 64, Calif.
KENNETH M. MASON, Eastman Kodak Co., Prudential Plaza, Rm. 2430, Chicago 1
JAMES L. WASSELL, 919 Harvard Lane, Wilmette, III.
Governors, 1964-65
EDWARD P. ANCONA, JR., 3170 Lake Hollywood Drive, Hollywood 28, Calif.
ROBERT A. COLBURN, 247 West Cooledge Ave., Barrington, Ill.
J. S. COURTNEY-PRATT, Bell Telephone Laboratories, Murray Hill, N.J.
EDWARD H. REICHARD, 1 3059 Dickens Street, North Hollywood, Calif.
ROBERT C. RHEINECK, 81 Grand Ave., Englewood, N.J.
WILLIAM H. SMITH, Allied Film Laboratory, Inc., 9930 Greenfield Rd., Detroit 27, Mick
Governor, 1964
RICHARD S. O'BRIEN, CBS Television Network, 485 Madison Ave., New York 22,
N.Y.
Governors and Section Chairmen, 1964
C. RUSSELL DUPREE, 9 Third Ave., Denville, N.J.
JOHN P. KIEL, Photo-Sonics, Inc., 820 S. Mariposa St., Burbank, Calif.
Section Chairmen
VICTOR D. ARMSTRONG, 117 de Leon Rd., Cocoa Beach, Fla.
B. JAMES BACH, Cinesound Ltd., 559 Rogers Rd., Toronto 15, Ont., Canada
MICHAEL W. BARLOW, CFCF-TV, 405 Ogilvy Ave., Montreal, Que., Canada
JAMES W. BOSTWICK, General Motors Photographic, 465 West Milwaukee,
Detroit 2, Mich.
JOHN FLORY, Eastman Kodak Co., 343 State St., Rochester, N.Y.
HAROLD W. KINZLE, Wilding Inc., 1345 Argyle St., Chicago 40,111.
KARL LAROCHE, JR., 2209 Euclid Ave., N.W., Huntsville, Ala.
STEWART A. MACONDRAY, Palmer Films, Inc., 611 Howard St., San Francisco,
Calif. `
DUANE M. MUIR, Methodist Radio and Film Comm., 1525 McGavock St., Nashville,
Tenn.
JOHN!. NEWELL, Western Cine Service, 312 S. Pearl St., Denver 9, Cob.
CURTIS M. POE, 6025 East University Blvd., Dallas, Texas 75206
WILLIS M. WARREN, Wilmo Corp., 3322 M St., N.W., Washington 7, D.C.
WILLIAM H. WHITE, 1454 So. Gordon St., Atlanta 10, Ga.
CHARLES W. WYCKOFF, 69 Valley Rd., Needham 92, Mass.
Editorial Office
9 East 41st St., New York, N. Y. 10017
Editor?VICTOR H. ALLEN
Advertising Manager--DENIS A. COURTNEY
BOARD OF EDITORS
Chairman?PIERRE MERTZ
66 Leamington St., Lido, Long Beach, N.Y. 11561
HARLAN L. BAUMBACH RUSSELL C. HOLSLAG
GERALD M. BEST CLYDE R. KEITH
J. S. COURTNEY-PRATT
GEORGE R. CRANE
BERNARD E. DRIMMER
HAROLD E. EDGERTON
CARLOS H. ELMER
CHARLES R. FORDYCE
JOHN G. FRAYNE
LLOYD T. GOLDSMITH
LORIN D. GRIGNON
A. M. GUNDELFINGER
CHARLES W. HANDLEY
EMERSON
W. I. K1SNER
RALPH E. LOVELL
HERBERT W. PANGBORN
BERNARD D. PLAKUN
WALDEMAR J. POCH
ALLAN L. SOREM
R. T. VAN NIMAN
DEANE R. WHITE
W. T. WINTRINGHAM
HAROLD WRIGHT
CHARLES W. WYCKOFF
YORKE
Papers Committee Chairman?C. LOREN GRAHAM,
Eastman Kodak Co., Color Technology Dept., Kodak
Park, Rochester 12, N.Y.
THE SOCIETY today is the result of nearly fifty years of
achievement and leadership. Its members are engi-
neers, scientists and technicians skilled in every branch of
motion pictures, television, instrumentation and high-
speed photography. Through the Society they are
able to keep abreast of current technology and con-
tribute continuously to the technological advancements
and education in these fields.
Membership is open to any interested person accord-
ing to his qualifications. The Society's Headquarters
welcomes inquiries from individuals who may apply for
these grades: Active (annual dues, $20.00), Associate
(annual dues, $15.00) and Student (annual dues, $5.00).
All members receive the Journal.
Subscriptions to the Journal are available to non-
members at $16.00 a year (outside continental United
States, add $1.00 for postage). Single copies are
$2.00 for one-part issues; $2.50 for special two-part
issues. A 10% discount is allowed to individual mem-
bers and accredited agencies on orders for subscrip-
tions and single copies. Residents in countries that
participate in UNESCO may use UNESCO coupons for
payment in the event other means for remitting are not
available.
In addition to information about membership, sub-
scriptions, technical activities, standards and test films, a
list of priced and gratis publications is available from
the Society's Headquarters Office, 9 East 41st St.
New York 17, N.Y.
SOCIETY OF MOTION PICTURE AND TELEVISION ENGINEERS, INC.
Headquarters Office: 9 East 41 St., New York, N.Y. 10017
Cables: Somopict Telephone: Area Code 212
TN 7-5410
Executive Secretary: CHARLES S. STODTER
Published monthly by the Society of Motion Picture and Television Engineers, Inc. Publication office 20th and Northampton Sts., Easton, Pa. Second-
class postage paid at Easton, Pa. C) Copyright, 1964, by the Society of Motion Picture and Television Engineers, Inc. Permission to republish Journal text
material must be obtained in writing from the Society's Headquarters Office, 9 East 41st St., New York 10017. The Society is not responsible for state-
ments of contributors. Printed by Mack Printing Company, Easton, Pa.
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Journal of the
Society of Motion Picture
and Television Engineers
VOLUME 73 ? NUMBER 3 ? MARCH 1964.
Technical Report of a_ Visit to?
Motion-Picture Facilities in the USSR
By FRANK CAPRA, WILLIAM E. GEPHART, JR.,
ETHAN M. STIFLE, and DEANE R. WHITE, Leader
A brief report, "Comments in Moscow on Motion-Picture Industry," appeared in the Decerqber 1963 Journal, pp. 957-8.
Some additional background and general information are given here before the main portion of this technical report. At the Society's
Technical Conference in Los Angeles, April 72-17,1964, an entire session will be devoted to some personal reporting of the visit, a
full discussion of equipment and facilities with many color slides, and a report on Soviet color film, particularly raw stock samples
and processed color negatives which were obtained on the trip. Color prints made in the United States from the Russian negatives
will be projected at the Conference. The illustrations in this report are from photographs by William E. Gephart, Jr., and
Ethan M. Stifle.
Background
In 1962 negotiations were completed between the United
States and the Soviet Union covering cultural exchange visits
in several areas. One of these contemplated an exchange of
visits by technical people familiar with the motion-picture
industry. The first exchange visit was made by a party of three
citizens of the USSR to the USA early in 1962. Those visitors
were E. V. Akkuratov, 0. I. Ioshin and B. N. Konoplev. In ac-
cord with arrangements with the State Department, the
SMPTE acted as official host during that visit, though the
main responsibility for its program remained with the State
Department.
Early in 1963 the State Department turned to the SMPTE
for assistance in organizing a reciprocal visit. The 1962 nego-
tiations had contemplated two pairs of visits in this field in
the years 1962 and 1963. In view of the delays that had been
encountered, completion of two pairs of visits by the end of
1963 seemed quite unlikely; but this fact enhanced the im-
portance of completing the ,first pair, because otherwise that
which started as a plan for exchange would become a one-way
street. The Society was requested to aid in securing three
delegates to join with a fourth named directly by the State
Department. Financial obligations were involved, as the State
Department, acting in accord with general policy relative to
these visits, would not give direct financial support to the
delegates suggested by the Society. The matter was resolved
with the selection of Messrs. Gephart, Stifle and White, who
could go with financial backing from individual companies
and the Society. The fourth man of the delegation, as arranged
by the State Department, was Producer-Director Frank Capra.
Itinerary
Review of recent Russian journals and records of the
State Department indicated that motion-picture work was
being done in a number of cities. Eight of these were selected
and suggested to the USSR for inclusion in the itinerary of
the proposed visit. The formal reply from the USSR accepted
six of these. On October 21, in Moscow, problems associated
with travel time and the effect of the national holiday on
November 7 and 8, the 46th anniversary of the October revolu-
tion of 1917, were discussed between the USSR State Corn-
This report was received on February 13, 1964.
mittee for Cinematography and the US delegation, with the
result that one more city, Tbilisi, was dropped from the
itinerary. This still left the group with a tight schedule but one
which eventuated in visits to eighteen sites of present and
proposed motion-picture activity distributed over the remain-
ing five cities: Moscow, Leningrad, Kiev, Odessa and Alma-
Ata. In brief:
Four studios in active operation that were said to account for
about half the total feature film production in the USSR
were visited. One of these, Mosfilm, the largest studio in
the Soviet Union, appeared clearly the leader in technol-
ogy as well as in quantity of output.
Each of five theaters visited was selected for its special sig-
nificance in the motion-picture program in the USSR.
The Leningrad TV station was viewed as a busy operation
that makes extensive use of motion pictures in its program.
Visits to the Scientific Research Cine Photographic Institute
(NIKFI) in Moscow and to the Central Design Bureau
in Leningrad gave an appreciation of the developmental
effort being expended in this field.
Observation of the facilities of the State School for Cinema-
tography in Moscow showed an operation which em-
phasizes the importance attached t ) motion pictures in
Soviet planning.
The actual itinerary became:
Travel Log of Visit
Saturday, Oct. 19? Left New York City
Sunday, Oct. 20 ? Arrived Moscow
Monday, Oct. 21 ? Met with State Committee for Cinema-
tography, (First Session) A. F. Barinov, Deputy Chairman,
presiding
Tuesday, Oct. 22 ? At Mosfilm
Wednesday, Oct. 23 A.M. ? Visited State School for Cinema-
tography
P.M. ? Visited Release Color Printing Plant
Thursday, Oct. 24 ? At Alma-Ata, visited Kazakhfilm Studio
there
Friday, Oct. 25 ? At Alma-Ata, because no return flight open
Saturday, Oct. 26 ? Flew Alma-Ata to Kiev via Moscow
Sunday, Oct. 27 ? At Kiev, visited site of new studio under
construction and saw cine panorama (Kinopanorama) pro-
jection in theater in city
March 1964 Journal of the SMPTE Volume 73 177
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Monday, Oct. 28 ? Visited Dovzhenko Studio
Tuesday, Oct. 29 ? Flew to Odessa and visited, Odessa Kinap
(eine equipment factory)
Wednesday, Oct. 30 ? Returned to Moscow, visited Mosfilm
processing laboratory
Thursday, Oct. 31 ? Flew to Leningrad, visited Lenfilm Studio
Friday, Nov. 1 ? Visited Central Design Bureau
Saturday, Nov. 2 ? Visited release color printing plant, TV
station, and large re-recording room in Leningrad News Reel
Studio, equipped for 9-channel sound re-recording
Sunday, Nov. 3 ? Sightseeing, returned to Moscow by train that
night
Monday, Nov. 4 ? Met with members of Union (Club) of Moscow
Cinematographic Engineers
Tuesday, Nov. 5 ? Visited Scientific Research Cine Photographic
Institute (NIKFI), visited Kremlin Palace of Congresses
Wednesday, Nov. 6 ? Visited Rossiya Theater
Thursday, Nov. 7 ? Watched the parade in Red Square as
guests of State Committee, reception by U.S. businessmen,
attended by Krushchev in evening
Friday, Nov. 8 ? Worked on notes for report, dinner party for
our hosts
Saturday, Nov. 9 ? Visited the Circular Kinopanorama Theater
at the Exposition grounds, particularly the exhibition of
cine equipment
Sunday, Nov. 10? Visited Leningrad Theater, Moscow, met with
State Committee, (Second Session) and dined with group
Monday, Nov. 11 ? Returned to USA
(Total mileage ? 17,000; In the USSR ?6,400)
Organization of Motion-Picture Production in the USSR
As a background for interpreting the
technical situation found, the following
resume (prepared by Frank Capra) of
the organization and direction of motion-
picture production, as explained by top
Soviet film officials, is presented to tell
how feature films are conceived and
produced in the Soviet Union.
Art Committees
Ideas for pictures, scripts and the
finished films are approved or dis-
approved by Art Committees.
An Art Committee is generally a com-
mittee of 25 persons, composed, of
seasoned Party members, writers, direc-
tors, actors, critics and artists from other
fields. Their functions seems roughly com-
parable to our executive producers.
Ideas for pictures come most often
from film directors, but they can also be
initiated by the Art Committees.
Judging from the fact that there are
four such committees at Mosfilm Studio,
each committee supervises a maximum
of about ten films per year.
. Let us say a director gets an idea for
a feature picture. He takes it up with the
Art Committee for discussion. The politi-
cal "message" is argued back and forth.
If the Committee finally approves, the
director himself may write the script, or
assign the writers he asks for, or the
writers are suggested by the committee.
The idea now gets the green light to go
into script form.
As the script progresses, further meet-
ings are held with the committee, which
analyzes the writing, makes suggestions
for changes, and generally sees to it that
the writers don't hook or slice out of
bounds across the Party line.
If the finished script is approved, the
Art Committee helps select or okays the
cast, and the picture goes into photog-
raphy with the director functioning as a
producer-director.
Budgets
An official was asked, "Does the Art
Committee approve or set limits on the
budget?"
The answer was vague. Since there is
no profit motive, costs are relatively un-
important. At any rate, the controlling
factor in whether a picture is made de-
pends not on cost, but on whether it has
artistic merit and advances the Com-
munist cause, or follows the current
Party line.
During the shooting of the film, the
Art Committed sees the rushes or rough
Fig. 1. Class and instructor at the State School for Cinematography, Moscow.
1,78
cut sequences. If it has any suggestions
it passes them on to the director.
The director is not obliged to take the
suggestions, but if he doesn't he will have
to take the full responsibility for the
picture and, as one man put it, "If he
makes a political mistake, I would not
like to be in his shoes."
But if the director follows the sugges-
tions, then the responsibility is shared or
shouldered by the Art Committee.
Final Approval
Before the film is released to the public,
it has to be reviewed by the appropriate
State Committee. If any tough problems
arise out of the film, it is most probably
passed on to the Central Committee for
final judgment.
It is a fair assumption that any film
disapproved by higher authorities will
likely not be released for public showing.
Thus one can see the tight control the
Party has on the contents of a film. The
artistic presentation is more or less left
up to the creators, but the themes and
messages presented must have Party
approval.
One can very well imagine the prob-
lems of a director working for 25 exec-
utive producers!
Fig. 2. Art instruction at the State School for
Cinematography, Moscow.
March 1964 Journal of the SMPTE Volume 73
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Salaries
All artists and technicians are paid a
yearly salary, for life, subject, of course,
to good conduct.
Students. at State Schools are paid a
living wage while learning. If they grad-
uate they are assured of a job.
Beginners get a certain Starting salary.
After several years of service they get an
increase. After many more years of ser-
vice they arrive at the top salary. The
general impression was that the top Salary
was around $12,000 per year.
Bonus System
.A creative artist who works on big
hit picture gets a bonus (for directors
this bonus is about $8,000). The bonus
for a moderate hit is. probably, half as
much. For all other films there is.no
bonus. . ,?
.Worker Training
Basically, the new workers coniinginto
the motion-picture industry are trained
in two schools, one in Leningrad .for
operators and technologists, and one in
Moscow for the "creative" . workers:
script writers, directors, camera'- men,
sound recorders and editors an'd-.
prise) film critics.* We visited only this
latter school, which is, provided with
very complete facilities in which 'prin-
ciples taught can be put into imniediale
used by the students. Of course this
school teaches the accepted or dictated
basic concept of the motiOn.-Pieture
medium as a creature of today's domi-
nant political party. This is particularly
important because of the reported :pres-
ence here on scholarship of More. than
100 persons from 23 underdevelOPed
countries. This will terid to fay& use 'of
Russian equipment 'and acceptance Of
their philosophy.
The course for writers, directors' and
camera men is 54- years; for all Others
year's. 1
The professors are experienced;
seasoned professionals, but 'the
istrators are undoubtedly key Party, men.
Q? lasses: are -small and give OppodunitY -
for much individual instruction.. ,
ApPlicantS, are .chosen on the baSis. of .
previous ? education, 'adeptness .in. 'their '
chosen profession ; and Of :course; ,.for
their conformity of .political .thinking;
No maverick can get into dr stayin.:thiS
school?This . :,quite , understandable;-?
inasmuch as the students. are the future?
-molders of -public opinion .With'itiarari;
teed jobs on . graduation. ,fiere-: they
educate the educators.-:
The .school has excellent camera?anii
sound .equipment.; its own. stages (for.
new ones ? are under construction);film
laboratory; editing and projection Noi4;
ifs own art Classes; ? its. own -Iihrary. of -
See also, on G. Williams "Worldwide train-
ing in film and television production," 'Jour.
SMPTE, 72: 279-281, Apr: 1963.
films and of scripts from all over the
world. They use only 35mm professional
equipment in their film classes. The
students make many films, some of which
attain theatrical 'distribution.
Eighty per cent of the creative working
talent in films and TV were trained in
this school. The other 20% are probably
mostly actors who graduated from dra-
matic schools.
At present there are 700 students, in-
cluding many- foreigners, in the State
School. Another. 700 study through spe-
cial correspondence courses. The school
has an aura of eliteness about it. Many
:apply but feware chosen.
Release Channels
Three main.: channels ?for. release of
motion pictures were indicated: per-
manent theaters, television and mobile
projection units.
Permanent theaters of variOus sizes
:are available to people living .in popu
lOus ,regions. TV programs can also
reach people at home, living in much the
same, area. .Mobile Unit take motion
pictures to units and groups'Out of reach
of the permanent theaters. There is an
important admihistratiVe difference be-
tween the'situationS in the USSR' and
in the USA: the" USSR, release of
pietures .`thrOugh_ :the theaters and
through TV deterrinned , by one
governmental center that is expected to
make' the' twd methods of release Sup-
plement :ea'ch' other 'without- the com-
petition evident in the
, ?
Permanent Theaters'
The showpiece of the permanent
theaters.is the Palace of Congresses in
the Kremlin: ThiS la'rge theater. .,000
seats,", is shown, of course to,. many
Moscow visitors, and has been described
at length in the journal Tekhnika Azno i
Televideniya from which these-data are
taken.
Wide
Screen
Wide (35mm Regular
Formal ,4namor- (35mm
(70mm) Phic) :1X
Screen width. 27.0 25.0 13,7
meters meters 'meters
Screen height. 12.2 10.0 10.0
meters meters meters
Total light... 45,000 24,000 20,000
lumens lumens lutnens
Uniformity
ratio 0.6 0.75", 0.77
Relative aper-
ture of opti-
cal systein f/2.0 1/1.8
Steadiness of
image in
'gate 0.03rnm 0 . 025mm
Arc current 180 amp
Positive carbon diameter. 12mm
Negative carbon diameter 14mm
Reel capacity 1500 meters ?
Flutter, optical tracks 0.3%
Flutter, magnetic tracks ; 0.4%
While it is outstanding for its size as a
motion picture theater, it is designed for
many other uses also. 'In it are held large
meetings, or congresses, theatrical .and
operatic presentatiOns, aricl.;,, of courSe,
such events of ?outstanding interest :in
the Soviet Union as the recent wedding of
Cosmonette Valentina TereSlikOVa' and
Cosmonaut Adrian NikolaYeV: Two
features were included for such ' uSes.
Multiple sound circ'uits' perrnitted con-
duct of meetings requiring instantaneous
translation as required to .permit Clele7
gations to select a.langnage provided for
them to understand the ii-iesag:e". Of :a
speaker: Small ipeakers in the 'baek Of
each seat in the auditorium permitted
sound boost when needed without the
obvious discrete sound radiation centers
sometimes evident.
A large theater, 3;000 seatS; "Was built
and put in use prior to the opening Of the
Palaee. This was the 'Rossiya Theater
which had many Of 'the Sati-ie featire's
Fig. 3. The ,Circt.11ar Kinopatiorarna Theater at the Exhibition Grounds;Mostow.
Capra, Gepha-14; Siifle-anil-Whiie:'.:"MotionTiCtureTacilitieS in the USSR
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Fig. 4. One of the eleven pairs of 35mm projectors used fpr the
exhibition of pictures in the Circular Kinopanorama system.
included ?such as provision for multi-
lingual gatherings. Two smaller theaters
were housed in the same building and
Were well attended at the time of the
delegation's visit. .
One of these was showing cartoons,
land had a large proportion, of young
people in the audience. The two cartoons
Shown while the delegation was in the
theater, seemed to us heavy handed with
'.a .;-"Message." The second theater was
.showing news or documentat:y., films.
Again the choice was one that carried
the Message This was in keeping with
the. impression created by papers and
)rriagazineS on sale on the stands. The tech-
'
Meal quality of the filtns shown was ade-
'qte.
.;? The, Palace of congresSes. and the
:Rossiya Theater are both pilots or proto-
:tWes of -theater construction under way
and planned for the future. The program
-attests to the belief that motion pictures
'-have not reached their peak usage in the
:USSR and that the provision ? of large
theaters .is appropriate to the long range
qilanS of the Soviet Union:
The discussions in connection with this
phase' Of theater development included
sorne assessment of the role to be antici-
pated for 70mm (wide-format), 35mm
anainorphic (wide-screen), and 35mm
4 X 3 format . (normal) pictures. All
projectors seen which could handle 70mm'
films were the dual type, that is, also
handling 35mm films; thits,. With appro-
priate' changes of projection ? lens any
type of 35mm or 70mm *film original
could be shown. Thirty to fifty theaters
were scheduled to be so equipped by the
end of 1963 and further increase was
anticipated. We heard discussion of the
proposition that all feafure film produc- ,
tion ought to .be in 70mni, leaving to the
laboratory all the.stepi. required
preparation of other..foimats- froth such
Fig. 5. The pick-up unit of the nine-channel stereophonic
sound system at the Circular Kinopanorama Theater.
wide format originals.. The . equipment
involved will be discussed at another
point.. ? ,
,,.The three other theaters visited, were
,clearly for special purposes. one,oL these
?for. Circular , Kinopanorama. presenta-
tions was located on the: grounds .of the
Exhibit of Progress of National Industry
in Moscow. A theater visited in Kiev
,was provided ,with the, three t interlocked.
projectors :required for? Kinopanorama
presentations.; A 'small Moscow theater,
called the Leningrad Theater, .was set
up for rear projection. onto a translucent
screen and as .also the site of a , test
instllation. 'Of autoinatic "changeover
equipment; These' three theaters, will
now be considered in greater detail.
The screen of the Circular 'Kinopano-
rama theater Was divided into. eleven arc
segments. Eath such segifient had two
screen areas,. one above the other, to
provide greater height than would have
been available with the format of the
frame used on each film. Accordingly, for
full screen coverage, 22 35mm projectors
were used. Each projector was powered
by a 1-kw xenon lamp. Sound records
were Carried as magnetic ?tracks on a
separate fully coated 35mm. film. The
reproducing equipment appeared to be
their standard type for nine-channel
stereophonic reproduction. ,The entire
system was controlled from' a, central
console with interlocking circuitry to
assure the synchronism of all units.
The demonstration . witnessed ie-
:minded one very much of filmed material
used in the USA, though: the actual
scenes photographed were clearly of
Soviet origin.It is interesting to note
that' USSR experience also indicated
that a twenty-minute viewing period is
?about right for a standing audience.
The theater `interior was said . to be 16
. tefsrl- ,'-diaine ter, ? posSibly . SI ightly
larger than the one at Disneyland
though that unit operates with a 16mm,
not a 35mm system. ?
In discussions of plans for the future it
.was indicated that if, or when, additional
*units are built or. changes are made, the
present 22-projector system may, be re-
placed by an 11-unit system using ana-
Morphic lenses set to increase the verti-
cal image on the screen image. It
appears that the extra height permitted
by the: double screen system is consid-
ered important, though not all scenes
of the demonstration film shown made
use of this double height.
? The Kinopanorama film seen at Kiev
was not impressive. The prints, were
dirty, the separate sections Were mis-
matched or, had faded unevenly and
the mating. edges. were unduly promi-
nent. Vertical registration was main-
tained acceptably; and this was the only
favorable comment that the ,delegation
could make about, the brief test seen.
In discussions of the possible future of this
type of presentation, reference was made
to tests which had been conducted in the
USSR an attempt .to appraise the
feeling of "presence" or "participation"
for a viewer of the three-film Kinopano-
rama type in comparison with that for
a viewer of -.a wide-format (7-0mm)
presentatiOn. the result .showed the
wide-format film as only slightly. in,
ferior to the three-film system in this
respect and far superior in ease of
handling and freedom from troubles.
As .a net conclusion, no further growth
of the. Kinopanorania. type of presenta-
tion is anticipated and its ultimate
replacement by 70inin films with six-.. or
nine-channel stereophonic sound is prob.
able.'
The Leningrad Theater' installation
was quite different-from the other. The
theater was small., some 300 seats only,
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Fig. 6. Control desk for the Circular
Kmopanorama system.
and on one side was a restaurant area
apparently serving light lunches, oper-
ating at a higher level of ambient light
than the main seating area but not fully
screened from it. The intensity level on
the 6 by 8 ft (estimated) translucent
screen was such that the picture could
still be distinguished from the table or
counter area as well as from the main
seats. (We did not see popcorn there.)
In the projection booth were two
35mm projectors with 1-kw xenon lamps
as light sources. The system was spe-
cially designed to reduce labor in the
booth. To this end, conventional film
reels and magazines had been replaced
by an unconventional film handling
system. The unwinding film came from
the center of a roll which was carried
by a circular array of rollers fastened to
a large annular plate or flange. This re-
sembled some of the systems used for
continuous projection of long lengths of
film. However, this film was not in a
closed loop, but wound up on a plate and
roller assembly in a bottom magazine
quite similar to that which would have
been used if the film had been handled
on reels. The film was therefore ready
for reprojection without rewinding
merely by taking the completely rewound
unit from the bottom magazine and put-
ting it in the upper magazine and thread-
ing the projector, pulling leader from the
center of the unit. The plane of this upper
magazine was horizontal, laid on its
side as compared to a conventional unit.
The heart of the system, which was
under test, was automatic start, stop
and changeover equipment. A piece of
metalized tape had been fastened to
the film edge (extending over the per-
forations and reperforated) at a selected
point near the end of the reel. The metal
was sensed by a high-frequency sensing
system as it passed into the projector
and the resulting signal actuated a
sequence device which actuated the
units as required to start the second pro-
jector and stop the first. It was indicated
that this system was in its debugging
stages, preparatory to final design deci-
sion. The one changeover observed
went smoothly, but it was not clear
whether or not it was fully automatic.
The operator might have performed
Fig. 7. Outside the Leningrad Theater, Moscow.
part of the switching function on signal
from the sensing unit.
Leningrad TV Station
A visit to the large TV station at
Leningrad gave one glimpse of the
methods used to handle film as a source
of broadcast material. Much filmed
material is available from the motion-pic-
ture studios of the USSR and can be
handled here whether in 35mm or 16mm
Fig 8. Projector used
in the Leningrad
Theater, Moscow.
(Note the horizontal
plane of the unwind
reel.)
form. While no figures were given, the
35mm form was judged to predominate.
Material originally photographed as
wide-screen (anamorphic) or wide-for-
mat (70mm) originals is released through
TV by preparation of 35mm normal
(4 X 3) format films through laboratory
copying procedures which permit the
35mm copy to follow action as required
for optimum quality in the narrower
format.
Capra, Gephart, Stifle and White: Motion Picture Facilities in the
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Fig. 9. Multiplexer unit at the Leningrad TY Station: 16mm
projector, foreground; and 35mm projector ready for opera-
tion in the background.
Fig. 10. Film-recording unit at the Leningrad TV Station.
Documentary and news films are pro-
duced by station personnel who have
camera and laboratory facilities avail-
? able. Reversal processing and conven-
tional negative and print procedures
are available for-use as needed.
, The multiplexer for the film to TV
camera step had three 35mm and two
16mm projectors as well as two posi-
tions for 2 X 2 slides. The standard
frame rate for sound films in the USSR
is the same as in the USA, 24 frames/sec.
However, the TV frame rate in the
USSR is 25 frames/sec correspond-
ing to the customary a-c frequency
. in use, 50 cycles. Experience ,has shown
that films and soundtracks prepared at
the 24-frame rate can be projected ac-
ceptably at the 25-frame rate. This per-
mits use of somewhat simpler equipment
than in the US where a conversion is
',required from a 24-frame/sec rate for
film originals to the 30-frame/sec rate
required by TV standards.
A compact cine-recording unit was
also exhibited. It benefited from the
close agreement between frame rate
standards in the USSR TV and motion-
picture systems.
Mobile Projection Units
Alma-Ata, the capital of the Kazakh
Republic, was the center for one of the
large distribution sYstems which utilized
mobile projection units. The reason given
for the use of these 'units was that there
were many people in, the Republic too
remote from permanent theaters and
TV stations to benefit from' them.
Accordingly, the State sent out mobile
units to bring the pleasure and benefit
of motion pictures to these small remote
groups on farms, at mines or in other
occupations causing people' to.: live 'in
small .diSpersed - groups., The Republic
?
was said to have three to four thousand
_permanent theater units and about nine
thoUsaild mobile units.. In .spite of their
number, we did not see any-of the mobile
units. HoWever, we were shown a type
of 16mm projector, deSignated the
"Ukraina," equipped with a 400-watt
incandescent lamp and provided with
pickups for both photographic and mag-
netic sound records. This was said to be
commonly used in these mobile units.
Some comments about its construction
are given later.
Studios and Associated Laboratories
As mentioned earlier, the four studios
seen in operation account for about half
the feature film production in the USSR.
These four were located at Moscow and
Leningrad, in the Russian Soviet Fed-
eral Socialist Republic; at Kiev, the
capital of the Ukrainian Soviet So-
cialist Republic; and at Alma-Ata,
the captial of the Kazakh Soviet So-
cialist Republic. Each of the other twelve
Republics is said .to have some local ca-
pacity for film production in the capital
city. Some of these operations must be
on a rather small scale, judged by the
total production figures given. The
original plans had included a visit to the
studio facilities at Tbilisi, the capital
of the Georgian Soviet Socialist Repubr
lic. , These. plans were cancelled to .im-
prove the travel schedule after it was
stated that the studio was then 'closed
down for reconstruction!? No figures
were mentioned showing the output of
:this stUdio.
Feature film production in the USSR
was estimated as about 120 for 1963.
Further increase. to about 150 'per year
is forecast for the near future, and there
\vas a suggestion that this might be can-
siclered a saturation figure. That would
Provide, it was pointed out, three films
pr week for any theater needing changes
'at such frequency. Forty per cent of film
production is reported to be in color,
.and sixty per cent in black-and-white.
Mosfilm (at Moscow), the largest
studio in the USSR, accounts for some
30% of the feature. film production
for the nation. Five stages were usable
at the time of .She Visit and two more
Were under, construction.' The largest
of these had a floor area of twelve hun-
dred square meters.
Lenfilm (at Leningrad) was currently
producing pictures at an indicated rate
of sixteen per year, about half that of
Mosfilm. The work was being done on
five stages: Two additional stage's, un-
:crier construction at a separate site about
30 to 35 minutes away by car, were
forecaSt to be in operation a few weeks
after the visit. , .
The Dovzhenko , Studio (at Kiev)
Was started in 1928 and has produced a
wide variety of films during the interven-
ing years. The 1963 production rate of
feature films was given as eleven or
twelve, made with three stages. Three
.new units under construction, were' fore-
cast for. completion and, initial ,use
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early in 1964, doubling the studio caPac-
ity. Kiev is the capital of the Ukrainian
Soviet Socialist 'Republic, as mentioned
earlier, and original dialog is recorded
in the Ukrainian language. Pictures
chosen for showing in other parts of the
country must have the dialog dubbed
in whatever language is suitable for
that area.
Some organization figures were ob-
tained at Kiev.. These showed ' that a
staff of 1,500 people were employed there
to provide for all aspects of activities of:
the Dovzhenio 'Studio ? stage; work;
set and costume production; processing, .
etc., Forty actors are on regular salary. ?:?f?
Extras are available from a list of 5,009
people, most of whom work regularly
at other jobs.: '
Kazakhfilm (at ,Almas-Ata) was.nthe
smallest of the units visited. It had only
Stn
Fig 11. Exterior of cazakhfilni . dio at Alma-Ata.
two stages available for current use,: but , . ?
like the others,had plans for expansion.
We were taken to a very, attractively
located 40-acre site at the edge .,of,the
city where a new studio is planned., -A ?
three or four Iyear .period 'i'vas 'siiggeSted
before our next visit if we wished to ;Wait
until we could see this new, studiqf corn-
pleted and in operation. Three or Jour
films were to be coMpleted, ;as.- Aheir-
1963 production, all made- originally ,in
the Kazakh language.
Studio activities here were not lirnited
to their feature film production -but
eluded Work handled by separate units
in the larger centers. For example, thirty
to forty features -per year .frOrn, other
Republics were dubbed into ,local lan-
guages for release. Local newsreels. in.
five languages were produced and, ,te,
quired fifty to ninety, prints per. yveek.
Research and ,scientific films, from local ?
technical sources were also :.processed
in the studio laboratories. mc esptt de
corps was notable here. The studio-staff
appeared outstanding in their eRthusiasrn
and attitude toward their work. This
was particularly impressive in view of
the range of :racial and, presumably,
national backgrounds evident among the
staff. There was another point of Special
interest in that thiscity had been the site ,
of: additional- motion-picture aetiVity ?
during war years when it had been nec-
.
essary. to move such activity &Mil,
posed Sites su4r as Moscow and ,Lenin-?
grad :For a period in the past, therefore,.
!this, city was probably the major ',center I
.4, film ? production in the USSR, ,but
such is not its present status. ? ?
,New Studio for Popular Science Films
While speaking of studios' arid. plans
for their expansion, mention should be .
'Made of the 'development 'Under way at ?
Kiev of a neW unit for producti'On a -
;Educational and Popular ,Science Filnis.
1This is located On low, level land 'a short
i:listance' from -the-Dnieper_RiVer -and r'a
few Miles froin-the.6ity center.,COnstruc
tiOn has been Started on buildings'.and
'Fig: 12. Directors and actresses and other staff members at Kazakhfilm Studio;
Alm-
Ata; Frank Caeprais the extreme kight.
roads- Of a total _complex. . which will
have a production capacity for about 100
educational and popular science films
per year, and, in addition, about, 15
cartoon subjects. Three closed stages
and outdoor shooting areas are planned
including, we understood, a good sized
tank for water' scenes. It rvas mentioned
that use was planned of 35mm equip-
: inept for, taking with release as requited
on either 35mrri or, 16nim print stocks.
So far as we, could 'learn, these films
are: planned thiefly? for adult training
or 'education"as distinct from films
planned for incorporation into The early
years of School 'training.
,
Studio Facilities
Whil& it is impossible to speak of an
'average 'studio from such limited visits
as this trip :afforded; it 'is possible to
-.:outline general current :practice)as
cheated by The facilities keri....Stich:',:Pr,a?c1:,:'
Capra, Gefohart;LStifle inaliThite:'t'Alaiiotrf!,,i6tn;iailitie in the USSR
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1 ?
tice ineluded ',.stages ' with''free 'floci4r
areas, up to 1,200 square meters and 'a
ceiling height of about 18 'meters .,(66'
ft). Catwalks near the ceiling provided
a working base for the many 'operation's
facilitated by overhead access. A high
monorail system. made it possible to
move many heavy and awkward .unitS
to desired locations. These could r--.be
preassembled set units, ,dr heavy, lighting
fixtures. Power for lights was distributed
through overhead -wiring and., , theif
operation was controlled frOin -a sivitch',
ing console at the catwalk level by an
operator who received instructions froni
the director on the set itself. Niches were
provided in the walls at a height Sorrie,
what below the catwalk in which'. ⪙
lighting units could be stored- when:snot .
in use.
: Uamer.as
? Continuing -the,discuSsion in
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Fig. 13. Plan of finished studio for Educa-
tional and Science Films, Kiev, taken at the
site.
? vein, one saw frequently a. Druzhba
. 35mm, camera mounted on a stand or
modest dolly to take the pictures while
the. synchronized sound.. recording was
. being done in a separate recording room.
on fully, coated 35mm magnetic filin
.(Fig. 1.5; see also the paper by V. G.
Komar; immediately following in this
'Journal). The Druzhba camera is housed
,for'Use on sound stages and includes a
'viewfinder which sees the picture through
the taking lens by means of mirror seg-
. :merits on the shutter;, that permit' the
. 'camera. Man to see the camera -image
during?the "closed'! portion of the shutter
'Variations of this basic operation
were encountered. While the Druzhba
t.catriera is clearly well thought of, it is by
jno means the only model. of.35min cam-
:era in use. the Rodina camera was in
.use where synchronous operation and
:sound recording were riot reqUired.
Rodina unit is shown on the tripod
this ,Scene taken at the Moscow State
Schobi ;for Cinematography (Fig. 16).
-The- camera hand 'held in this same
scene Was not identified, but. a Konvas
.camera was seen at Lenfilm (Fig. 17).,
At:Lenfilm..there,wasra special camera
Fig 14 The most 'advanced structure at the Kiev site for educational and science
film production:
built for operation at a spot remote from
the ,camera man. A photographic unit
and an associated TV Unit were mounted
tOgether and 'earineeted eableS With
a kinescope and a control unit. Through
the contralS; the operator eciuld oPerate
the camera to give conventional results
using the kinescope to give the visual
image needed to follow operations. This
was .shown as .part of the equipment for
feature film production, but it is clear
that this system could also be used
Where there was some element of hazard
as well to a person actually at the camera
location.
Pictures in "wide fon-hat" (70mm)
were taken with a camera of Russian
design and construction. The develop-
ment of the 79mm system in the USSR
has been carefully planned to provide
prints which meet proposed interna,
tional- difnensional standards as needed
for interchangeability, but the decision
Was made to use the same width of stock
for camera .uSe. This of course, is a de-
parture 'from US practice, where the
negative stock is a 65mm film carrying
a perforation pattern common to both 65
and., 7,6turn widths. ,The.Russian?19inm
camera, housed in its noise deadening
h6using, is quite a' bulky and irnpoSing
Unit.
It appeared -that only in news work
wbuld one be apt' to encounter '16mrii
equipment, hut therdloo, we believe the
35mm units predominated. ' ?
Infrared Process Photography? ; ; F
On one' stage, 'the infrared method
was 'uSed for Making traveling mattes
fOr process combinatiOn shots. This set
included ah infrared background scfeen
36' ft Wide by '18 ft high with 9,066
lamps uniformly distfibtited over 'the
rectangle indicated Which consumed'500
kw of power when lit. A plastic streen
filter over the entire area absnrbed the
Visible light tci the extent that it appeared
to glowonly a 'dark red while transmit-
ting: a large PerCentage of the near
infrared. Foreground action,' well in
front the 'screen, was 'illuminated
nonrially for the 1 black-and7white .or
color 'photography planned: The cara-
era contained two films held in register
in the gate and a -special". dichroic
beam splitter .(see fig. 6,in the paper,by
V. _0: Koinar, innnediately following
'Fig-. 15. A Druzhba caniera at Mbsfilm
attended by the chief ,of the camera
department.
1.84
Test ;set-at ,the Stafe-SchoOl-for Cineniatography,'Moscow. A Rodina camera is
-tin the triPod:
MiiCh1964-Ljourrialkif the SMPTE;
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Fig. 17. The Konvas camera.
Fig. 18. Camera and control equip-
ment with closed-circuit TV view-
finder for remote operation.
in this Journal). One film, of normal
type, recorded only the visible region of
the sliectrum brought to it`ihrough the
beam splitter from the foregound ac-
tion only. The other film was sensitive
to the infrared which it received through
the beam splitter and recorded infrared
radiation originating from the back-
ground screen except where that was
covered by foreground elements and
action. This foregound was negligibly
weak in infrared, hence the image on
this infrared sensitive film was an all-or-
nothing type. Reversal processing of the
infrared sensitive film produced a posi-
tive matte, which was used in conjunc-
tion with the action record on the other
film to permit the separate photography
of backgrounds without overlap of any
foregound element.
Samples of the work shown indicated
that the technical problems incident to
this process had been met quite satis-
factorily. In the finished print the major
clue that it had been produced by this
method lay in the high degree of image
sharpness of both foreground and back-
ground, since lenses used at customary
apertures would not give such a result.
Sound Recording
Single-channel sound is of course the
simplest basic method for any sound re-
cording at all and is well established
in the USSR as it is in the USA. Orig-
inal recording was done with magnetic
tracks from which photographic tracks
were made when required by the release
program. Three other systems accepted
in the USSR used four-, six- and nine-
channel stereophonic records. The four-
channel system was normally employed
with their "wide screen" (35mm anamor-
phic) system. The six-channel system
was the simple system used with "wide-
format" pictures. The nine-channel
system also used with this taking system
was the basic system used to meet the
special requirements of Kinopanorama
or Circular Kinopanorama presenta-
tions. All these stereophonic systems
depend on magnetic sound records at
Fig. 19. Camera for wide-format (70mm) production, with
B. N. Nonoplev, Chief Engineer of Mosfilm.
all stages of their production and use.
Four- and six-channel records are carried
by magnetic stripes on release prints
but when nine-channel stereophonic
sound is used, the necessary nine tracks
are carried on a fully coated 35mm mag-
netic film and the reproducing unit
is separate from the projector or pro-
jectors, but operated in synchronism
therewith.
Each type of sound-recording system
has it own problems associated with in-
sertion of special effects and with dubbing
of the dialog when the language is
changed. The complexity of such opera-
tions is probably greatest for the nine-
channel system. Only one room was seen
completed and capable of operation with
this system. This was located within the
News Studio at Leningrad. A correspond-
ing group of equipment units was in
evidence at Mosfilm in Moscow, but they
had not been assembled into a workable
system. The room at Leningrad occupied
the space of a moderate-sized theater.
The screen covered one wall. A long
Fig. 20. Camera on set arranged for infrared process photography.
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Fig. 22. Frank Capra at cOntrol console of a six-channel stereo-
phonic dubbing room.
Fig. 21: Ninprchannel control paneyn the:
dubbing room provided at the Leningrad News
01.
Studio.
? f;
multichannel control console Was located
- at the rear of. the room, just in front of the
projection booth. The rest of the floor
area was available for the placing and
operation of sound units as required to
give the stereophonic perspective re-
quired.
The-.needs of six-channel and four-
channel 'stereophonic systems were met
in the same manner, and in fact, clearly
? appeared to be the. ahtecedents of the
nine-channel system. These older rooms
were somewhat smaller than the nine-
Chanel installation.
.Single-channel work was, of course,
least. demanding and 'could readily be
accomplished in facilities. capable of the
more Complex operatiOns.
'StUdio,:Processing Equipment and
Control
Design Of develePing machines ap.
-
Fig. 23. Detail of top
mechanism of color
film developing ma-
chine.
peared quite conventional, the designs
resembling Arri and Debrie machines in
use elsew,here. Less stainless steel was in
evidence than used on many US . ma-
chines, but the plastic's used in its stead
seemed well chosen and adequate for
their function. Pumps and piping,
flow meters, heat exchangers and 'tem-
perature controllers appeared conven-
tional. No complete tabulation of
through-put speeds was attempted, but
the impression was gained that 'these
had not been forced as:high as now com-
mon in the USA. Processing,of black-and-
white and color negatives and positives
was -routine as required for the produc-
tion program with 35mm and 70mm
negative films and with 32, 35 and 70mm
positive films. Duping procedures were
also routine for black-and-white produc-
tions but manufacture, and processing of
interpositive and internegative color
186 Mireh, 1964 cif:the SM PIE
Fig. 24. Electroprinting soundtrack onto
Striped 70mm print film using the Six-
Channel stereophonic System.
films was not routine. At one studio
laboratory (Mosfilm) color dupes. were
said to be made by reversal through uSe -
of Agfa Type Mfilr.n.
It was stated that for black-and-white
production the gamma level of the nega-
tive was usually held at 0.50 ? 0.05 with
the positive gamma carried to the 2.5 to
2.8 region. This negative gamma is low
in comparison to US custom. '
As was noted befote,.when'the release
is to have -Stereophonic sound, the sound
records can remain as. Magnetic track
. -throughout. A, step .designated electro-
printing is provided to put the final
tracks on the appropriate magnetic
stripes available and used for-either four-
or six-channel-reProdtiction. Where the
final .releaSe is to have -a .photographic
record, soundtrack negatives ,can be re-
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Fig. 25. Magnetic pick-up unit and photographic track recorder unit for production of
photographic soundtrack negatives at Kazakhfilm Studio, Alma-Ata.
produced from the magnetic originals by
conventional equipment types and, in
the case of color films, the printed track
can receive a conventional applicator
processing step at the appropriate point
in the processing cycle. The developing
machine equipment permits choize of
sulfide or redevelopment treatments as
chosen for the stock and system in use.
The chemical aspects of process control
were accomplished in laboratories with
conventional glassware, burette stands,
etc. In retrospect, there is no recollection
of seeing electronic pH meters, but such
equipment might well have been avail-
able and still not specifically noted,
though the small number of pictures
taken in such laboratory rooms do not
happen to show them.
Sensitometry appeared to be based on
step tablets as the exposure modulating
device. The associated densitometers
were chiefly of the conventional design
indicated in the picture (Fig. 28). In only
one case was an older style of visual type
equipment noted in use, presumably
being used there to meet some local situ-
ation of availability or convenience.
Color densitometry was done with quite
similar units equipped with filters for
control of the spectral region chosen.
Request was made for interlaboratory
comparison of color densitometers and
the delegation agreed to seek ways by
which this could be done. At time of
writing, this has not been completed, but
it is expected that this will be made part
of the test of color stocks and color print
methods undertaken and outlined at a
later point in this report.
Studio Printers
At the studio laboratories the printing
equipment included quite a range of
types, chosen for versatility. The prob-
lems associated with quantity print pro-
duction are mainly in the hands of the
Mass Printing (Release) Laboratories.
Contact printing for black-and-white
and color are, of course, primary opera-
tions. Control of color balance in the
color negative to color positive step is
Fig. 28. Densitometers at the State School for Cinematography
Moscow.
t
Fig. 26. Soundtrack applicator unit on a
color processing machine at the Dov-
zhenko Studio, Kiev.
Fig. 27. Chemical laboratory at Mosfilm
usually obtained with "subtractive'.'
compensating filters in the optical path.
"Additive" light control, using apertures
cut in an opaque mask was also shown.
Fig. 29. Densitometer used for color control work
at Mosfilm.
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Reduction printing from 35min orig..
inal to a double row of 16mm format
images on 32mni stock was in eommon
. use. The geometry Of the system required
the use of '32mm filth perforated 1 and 3
as distinct from US practice which uses
1 and 4 positions for film which is even-
tually used in 16mm sound prints. (The
1 and 3 perforation position places one
row of perforations near an edge and one
near the center of the 32mm film. The 1
and 4 perforation places one row of per-
forations near each edge of the 32mm
film.)
Looking to the future, there was some
Opinion that the Use .of wide format (707
min) for photography of feature films
might increase considerably. In order to.
keep decisions on this point independent
of provision of 70mm projectors in
theaters, laboratory steps were planned
to permit release in the wide-screen (35-
mm anamorphic) format and also as the
Fig. .30. .70mm printer at Dovzhenko
Studio, Kiev; light control by "sub-
tractive".filters.
-4-X 3 forrriat;-- expected tci Continue in
use in TV from 70nim original negatives.
Another related need, in some ways Of
mOre immediate interest, lay in the.con-
version of the wide-screen format (35mm
anamorphic) to the 4 X 3 format for TV
release. Optical printers to permit .each
of these conversions were shown. The
printer for the wide-format to wide-
screen conversion appeared to be'a direct
optiCal step printer with suitable 'ana,
morphic lens block introduced into the
. system. The conversions from either wide
format or wide screen to the 4 X* 3
format included .the ability to follow
action as the main center of interest
moved across .the screen.
Two tYpes:of equipment were seen. In
one case, the Wide-format picture was
projected onto a.Small screen and a. por-
tion of that image rephotographed to
yield the selected 4 X 3 action area.
Selection of. angles as designed and con-
trol of relative motions allowed Ane se- .
lected 4 X :3 format area to follow the
action. In another form direct, lateral
motion of. one part of the optical system
of a much More conventional appearing
optical printer was used to give,the selec-
tion of printed area. In either case,: pre-
prOgraMming was used to allow ..an oper-
ator to determine the Motions required
.to give the desired seleetion of 4ction
and adegree of automation was indicated
for the "actual printer control from the
program determined..
Other Studio Equipment ?
Editing tables for the various; formats
were basically similar in design and gave
the needed opportunity for synchronized
picture and sound editing ,operations..
Splicing equipment followed conven-
tional design.
Costume design and preparation was a
,part of each,studio operation.
A filter manufacture- and supply ger;
vice was in operation at Mosfilm to meet
the needs of camera men and laboratory
workers. Samples seen appeared to be Of
good quality. A catalog showed a large
selection of available filters including
glass, dyed' gelatine and interference
types. In addition, it. was stated that
special filters are made to meet special
needs not covered by the catalog listings.
Make-up was also? manufactured. at
Mosfilm. The quality .claim Made Was
that "It is as good as Max 'Factors,'
but the delegation had no cippOrtunity
to check that claim or judge the quality
by any other standard.
At 'Lenfilm a small colorimeter was
'demonstrated which allowed measure-
ment of make-up after application. It waS
stated ..that this Unit was of particular
value in assuring constancy of make-up
shade during a prolonged period of
shooting.
An optical printer, of great versatility
had been designed and built at Lenfilm
to produce trick shots and special effects.
The unit appeared so attractive that in-
quiry was made concerning its commer-
cial availability. It was stated that its
,engineering ciesign had been brought to
the point that its manufacture in the
USSR was planned. For formal answer
to the question concerning its availability
we were refeired to the, Ministry ':of
Foreign Trade. Accordingly, ,a letter of
inquiry was dispatched after return from
the trip. The reply was definite ? this
equipment is not being. made for export.
Another incident of the Lenfilni :visit
may be of particular interest to the mem-
bers of the SMPTE. At the Library there,
which is quite a sizable collection ,.of
books' and periodicals, an SMPTE Jour-
:, nal was evident, but the cover was of ,un-
\.
..nsual color. A few inquiries revealed that
this'was part of an edition being printed
Fig. 31. Reduction printer at Kaiakhfiliii, Fig. 32. 70mm editing table seen at Mosfilm.
n.188 '3, 1964' journal 4 the ?SMPTE'::. VOliime 73
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Fig. 33. Splicing table, Moscow Release Color Printing
Laboratory.
by photo-offset in the USSR from a
copy obtained through normal subscrip-
tion channels. It was stated that this was
cheaper than taking an equal number of
direct subscriptions. This event speaks for
itself as evidence of the wide acceptance
of English as a widely used technical
language.
Color Release Printing Laboratories
Two methods of making color release
prints co-exist in the USSR. The system
which has the larger capacity uses multi-
layer color print stock while the system
with smaller capacity uses imbibition dye
transfer printing. Color release printing
laboratories were visited at Moscow and
Leningrad. Each of these laboratories was
said to have a capacity of 40 million
meters of 35mm release print per year for
Fig. 34. Special effects printer at Lenfilm.
multilayer printing. In addition to the
35mm print capacity mentioned, the
Moscow laboratory could produce 20
million meters per year of 16mm prints.
No corresponding figure was obtained at
the Leningrad laboratory. Imbibition
printing, limited to 35mm, was done only
at Leningrad where the 1963 production
was estimated at 7 million meters and
1964 production was expected to be
double that, or 14 million meters.
Multilayer print stock was used for
four types of release print, 70mm, 35mm
anamorphic, 35mm 4 X 3 format and 16-
mm. The volume requirements for 70mm
prints are still small and prints are sup-
plied directly from studio laboratories.
For the other three types, the studios
turn over the necessary negatives, ap-
proved sample prints and sound records
Fig. 35. Continuous printer, Leningrad Release Color Print-
ing Laboratory.
to the release laboratory which fills the
bulk print orders. Orders for 1,000 prints
were described as frequent with occa-
sional demands for 2,000 copies. In this
color field, necessary dupes are made at
Mosfilm and the release laboratories work
from the dupes so furnished or from
original negatives when the size of print
order warrants it. All 16mm printing seen
was being done by reduction printing.
35mm printing was being done pri-
marily on continuous printers which
looked like the Model E printers of Bell &
Howell manufacture. This appearance
was more than coincidence and was ac-
counted for by the fact that, during
World War II a number of Model E
printers had been furnished from the US
for use in the USSR. It was stated that
these units had been worn out in use, but
the design had been adopted and new
Fig. 36. Applicator used in magnetic striping of prints,
Moscow Release Color Printing Laboratory.
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units built so that the ten printers of this
type at Mosfilm and an unspecified, but
presumably similar, number at Lenfilm
vere direct descendents of the original
units.
? Color balance control on these units
was accomplished in routine use by "sub-
tractive" color balancing 'filters. Experi-
mentation was under way with an "addi-
tive systern.using apertures of selected
sizes in an:opaquetpask for light control.
No: 'opinion, was expressed. concerning
. quality :differences. observed with ? their
application .of these two control methods.
Processing -was carried out with de-
veloping machines of conventional de-
sign. These machines were basically simi-
lar to those encountered in the studio
laboratories, and made similar extensive
use.ofplastics in their construction. The
Moscow printing laboratory had fourteen
machines operating typically. .at 2,000
ft/hour. One unit was being operated on
an- ;experimental basis ; at 3,000 ft/hour
and used infrared heat and. air impinge-
ment:. in ;the -drying section to: reduce
? machine size .The ,Leningrad laboratory
. appeared to,be similarly equipped.
? Application of the stripe for magnetic
sound r'ecords required on many release
prints was part' of the function of these
Telease. laboratories. Equipment in use
was operating at a stated speed of 6,000
ft/hour and applied a layer about 20
Fig. 37. Three
glass wheels,
used in the Film
Restoration Ma-
chine, Moscow
Release Color
Printing Labor-
atory.
microns thick by a simple hopper-type
coating operation. On 32mm stock, the
striping pattern gave a narrow balance
stripe as well as a normal width sound-
track.
Film restoi'ation machines' were' pro-
vided to extend the useful life of films by
reducing the visibility of scratches inci-
dental to 'handling. The, unit. was :quite
compact and provided for the use of one
to three treatments by 'glass wheel aPpli-?
cators (Fig., 37) . 'Solvent. treatments were
mentioned, to reduce the' severity of base
side' scratches and an ennulsion-side treat-
ment involving the .application :_of a
casein solution was ,indicated, .thOugh n9
specific formulas were given.
Dye Transfer '
.The imbibition ',dye transfer, printing
process in operation at, the:Leningrad
laboratory was used, for 35mm 4 X 3
, . -
format pictures only. Cartoons were its
tnajor, possibly its only, regular product.
..the chemistry , of the process had been
developed ,basically at NIKFI ;(Scientific
Research Cine Photographic, Institute)
with some' supplementary , work at the
film coating factory at Kazan. -
There was Some hint, in the general
discussion of the place of this system in
the program of the USSR motion-picture
industry, that it had its primary value
as a means of supplementing limited
production of multilayer color stock.
This could explain its use, in. spite of
present sharpness and definition limita-
tions evident on the screen. Of course, its
long-range value would be enhanced if
the quality level is improved over that
presently obtained.
The success of such a system depends
on several factors among them the avail-
ability of printers yielding matrices which
Nvil 1 transfer the separate dyes in accurate
register. Ostensibly; the printers in use in
Leningrad should be adequate for this
job. Transfer took place on registration
wheels, possibly thirty inches in diameter.
A total of six transfer units were pro-
vided, each designed for one transfer
operation.
The raw stock used for the final print
was silver bearing. Original exposure was
on a continuous printer (based on Model ,
E, Bell & Howell design) provided with a
registration sprocket to control the plac-
ing of the key image in the film. Silver
registration image and silver soundtrack
NAere processed in the conventional man-
ner before the dye transfer steps.
The six transfer tmachines mentioned
thus provide for two production lines of
three Machines each to yield final cOlOr'
prints. The receptor film is dried and
wound up after each transfer step in the
order yellow, magenta, cyan.
This 'laboratory received original color
negatives from the studios and Made the
color. separation matrices required. The
necessary differential,hardening was pro.-
. . .
duced by a pyro developer.
An .automatic recording spectropho
tometer operating in the range 400 to 700
inillimicrons- Was exhibited as a control
unit of major.importance to the process:
Equipment Manufacture
Contact with 'equip-tient manufactur-
ing facilities was limited to a visit to one
factory (Kinap) located at Odessa. ,
Motion-picture work here had started in
the early thirties as' a center for equip-
ment repair and for manufacture of spare
38. Trans'fe'r wheel of a dye-transfer unit;Leningrad Fig. "39. Recorditlg,spectrophotometer used for color control in the
Release Color Printing Laboratory. , , , , , , Leningrad Release Color Printing Laboratory.
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parts. The site was evacuated during the
war, and the buildings were burned. It
was rebuilt in 1946 and now is a main
producer for some of the items needed by
the motion-picture industry. More than
fifty items are on their product list in-
cluding projectors with light outputs from
150 to 30,000 screen lumens for 16, 35
and 70mm installations; camera booms
and cranes; splicing equipment; film
perforators; animation stands and other
items of laboratory equipment (except
developing machines); and theater
screens. Some of these items were repre-
sented by descriptive brochures and
others were available for direct inspec-
tion.
Three models of projectors were seen
under construction.
One of these, the 16min "Ukraina"
projector was mentioned in connection
with the mobile unit phase of motion-
picture presentation. This projector. was
a moderately heavy unit with a 400-watt
projection lamp and sound pick-ups for
either optical or magnetic track. The
lamp was designed for low-voltage use
and had a rather heavy filament coiled
into a flattened spiral which presented a
nearly planar 4 X 3 source area to the
condenser lens. An acceptably uniform
field over the gate area was produced
rather simply. Some curvature of field
was evident for the projection lens in the
unit seen most closely under test condi-
tions. These units were asserribled on an
assembly line on which a projector was
completed every five minutes of full
operation.
The other projectors seen were being
hand assembled, suggesting smaller out-
put. The mechanisms could handle
either 70mm or 35mm films. Projection
lenses were interchangeable, to give
proper results with wide format, wide
screen or 4 X 3 format pictures. Arcs of
different power were available and their
KP5-A model was rated to yield 15,000
screen lumens from an arc operated at
120 amp with a wide-format (70mm)
gate and lens system. Another unit desig-
nated KP30-A was of higher power,
rated to give 30,000 screen lumens with
an arc operating at 190 amp and 70mm
gate and lens. These projectors utilized
dichroic mirrors back of the arc to give
maximum screen illumination with re-
duced gate heating. However, water-
cooled jaws for the carbons, and water
and air cooling at the film gate were com-
bined to keep the system under control.
All the 70mm projection seen was in
color, but clips of 70mm black-and-
white films were exhibited. It was not
clear as to how these black-and-white
films would behave in the gates of such
projectors. The heat absorption of the
silver deposits would surely be greater
than that of the color films and there
would be, accordingly, greater danger of
unsteadiness of focus.
Many of the other units seen at this
Fig. 40. The Ukraina 16mm projector, as
manufactured at the Odessa Kinap.
factory were quite conventional in ap-
pearance, including such items as a film
perforator, a film synchronizer for han-
dling films of matched lengths, and a
microfilm copying table (which, of course,
is not strictly a motion-picture item).
Screens were manufactured by taking
strips of original plastic some thirty
inches wide and assembling them into
continuous large areas. One type was a
matte diffusing screen with a slightly
figured surface. The component strips of
this material were joined by a film weld-
ing technique using the heating effects of
a high-frequency system. Another type of
screen carrying a metalized surface and
perforated to improve sound transmission
was joined by adhesive tapes to form a
firm butt joint. One thousand screens per
year, distributed among eight different
types, was indicated as the normal out-
put.
An animation stand, seen in process of
assembly, particularly attracted the at-
tention of the delegation. The stand it-
self was substantially built and had the
capacity for many different motions. The
control was from an operating console
and the combination created the impres-
sion that, when complete, it would be a
very efficient working unit. No com-
pleted unit was seen during the visit, and
the impression remains unchecked.
Equipment Design
Ideas for good equipment design
could, of course, originate at various
points. Each studio seemed to have some
ingenious people trying to make improve-
ments. However, it appeared to be the
practice to funnel these ideas through
the Central Design Bureau at Leningrad
for consideration and final production de-
sign if accepted. It appeared that this
Bureau studied some problems in their
own right, without waiting for ideas from
outside. Many of the design engineers
working here were women and there was
Fig. 41. Film transport system of 70-35mm
projectors manufactured at the Odessa
Kinap.
Fig. 42. Film perforating unit, one of the
products of the Odessa Kinap.
a general air of competence about the
place.
The design work has included a wide
range of equipment and the statement
was made that over 150 different kinds
of equipment have been developed here
in the ten years of activity of this organi-
zation. Their work has included design
of microphones, sound recording and re-
recording equipment, developing ma-
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Fig. 43. Microfilm copying stand made at the Odessa Kinap.
chines, and lenses for cameras, projectors
and printers. Recently, equipment de-
signs for wide-screen and wide-format
presentations have occupied an impor-
tant place in their program.
If only a few units of any particular
item are required throughout the USSR,
such as five or six, the entire requirement
will be produced by the Bureau. Other-
wise, the designs will be sent out to one
of the "Kinaps" for production of the
equipment.
Although we did not see any assembled
spray processing equipment anywhere
during our trip, we were told at Central
Design that they do have a spray machine
for black-and-white film at Novosibirsk
which operates at 26 to 28 C and a linear
film speed of 3,000 meters per hour.
Nitrogen is used to prevent oxidation.
Component parts for a machine of such
design were shown us.
Fig. 44. High-frequency screen welding unit used
in the manufacture of plastic screens at the
Odessa Kinap.
Other equipment is worthy of men-
tion:
(a) A small microphone unit with
built-in high-frequency radiator for
cordless use appeared neat, light and
workable.
(b) We were also shown a cardioid
microphone, flat 100 to 8,000 cycles
which had a narrow angle of sensitivity.
(c) A condenser microphone designed
for nondirectional use in motion-picture
studios was described as flat, 50 to 15,000
cycles.
(d) Nine-channel amplifiers, as used
in nine-channel stereophonic recording
and reproduction, were displayed.
(e) A new transistorized amplifier for
general recording use was on their test
bench.
Fig. 45. Enlargements of the embossed pattern used on plastic
screens.
192
(f) Use of printed circuits was in evi-
dence.
(g) One unit for making 35mm 4 X 3
format prints from 70mm originals was
shown in which action could be followed
by mechanical movement of equipment
elements.
(h) In their optical department they
had recently redesigned a lens of 16mm
focal length, f/3.0 for 35mm film usage
to a considerably smaller unit operating
at f/2.8. Performance data were not
immediately available in full detail
though "adequate" definition was
claimed ? with an axial resolution of 60
to 70 lines/mm.
(i) Anamorphic lenses were on display
as used for 35mm wide-screen purposes
Fig. 46. Enlargements of the embossed pattern used on per-
forated metalized screens.
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Fig. 47. Remote-controlled animation stand under construction at the Odessa Kinap.
The control console is left foreground.
and one for a 1:1.25 squeeze for 70mm
film.
(j) Their lens test benches appeared to
be well-designed and well-built; whether
constructed there or purchased was not
determined.
(k) A zoom lens for 16mm professional
use had a focal length range of 17.5 to
70mm with a maximum aperture of
f/2.4.
(1) A 16mm transistorized magnetic
film sound recorder was shown. This
operated at 15 in./sec and was flat
50-15,000 cycles.
In a discussion of reward for invention,
it was pointed out that in their system a
person awarded a Certificate of Inven-
tion might receive a bonus payment up
to 10% of its value as determined over a
5-year period. A person obtaining a
USSR patent was said to have more con-
trol over the use of his invention, but
would not share directly in extra rewards
of the bonus type. If the patent was
valuable to other countries, he might
get money from them as reward for his
invention.
Fig. 49. Transistorized amplifier under test at the Central
Design Bureau, Leningrad.
L., ,
Fig. 48. Microphone units in the en-
gineering design office of the Central
Design Bureau, Leningrad.
NIKFI (Scientific Research Cine
Photographic Institute)
The visit to this research unit was one
of the highlights of the trip. Dr. V. G.
Komar heads a group of workers some
of whom have been contributing for
years to the photographic literature. Dr.
Komar himself has been active in the
motion-picture field and was part of the
delegation from the USSR at the Inter-
national Standards Organization meet-
ing at Harrogate in 1958.
The total staff of the Institute was
stated to be 1,300 people, 150 of them
having research training of the PhD
level, 300 having technical training, but
short of the PhD level, while the remain-
der were assistants with lesser training.
This organization is the central USSR
laboratory for photographic research. It
clearly covers photography broadly in-
cluding radiography, films for nuclear
particle records, and general photog-
raphy as well as motion pictures.
General planning of the research for
motion pictures is under the guidance of
a council of 40 to 50 leading motion-
picture specialists (scientists and engi-
neers) from the Institute and from van-
Fig. 50. Display of lenses designed at the Central Design
Bureau, Leningrad. The small lens, lower left, is an 1/2.8
redesign of the adjacent larger f/3.0 lens. Both are 16mm
focal length for use with 35mm films.
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ous studios. The day-to-day progress of
the work is under the supervision 6f the
department heads, working with the
Director of the Institute.
?? Xenon sources'for projection have been
.developed in the lighting laboratory and
?
are in use with d-c sOurces for units of
0.5, 1.0 and 3.0 kw. A 1.0-kw unit for
a-c operation (symmetrical electrodes)
was also shown. Work is under way on a
5.0-kw lamp. Stated present lamp life is
1,000 to 1,500 hours on the 1.0 and 3.0
kw d-c units; 2,000 hours on the 0.5-kw
unit and 500 to 600 hours on the a-c
.1.0-kw unit. ?
A 16mm shutterless projector using the
a-C type bulb was shown illustrative of
equipment now in production based on
their work. Reel capacity was 1,320 me-
ters. Film pulldown was the claw-type
and was said to have a wear life of about
2,000 hours. The unit was rated as giving
2,500 screen lumens.
The projectors at the Kremlin Palace
of Congresses are rated as giving 45,000
screen lumens when projecting 70mm
film. At NIKFI work is directed toward
a unit to increase this to 60,000 lumens.
They are working with 16mm positive
cored carbons operated at 300 amps in
comparison with 12mm carbons operated
at about 200 amps for the 45,000 lumen
installation. The reflector is an ellip-
. soidal mirror, 60 cm in diameter, with a
15-layer interference coating to give good
visible reflection with reduced heat at
. the gate. Rotating carbons, water-cooled
arc carbon jaws, water-cooled gate mem-
bers and air blasts to help control the
.arc and cool the film in the gate were all
in evidence.
. In the NIKFI camera laboratory was
one 70mm camera under test, intended
for use at 120 to 140 frames/sec. Regis-
.tration pink .were used two perforations
below the picture. We understand this is
their standard location.
One of the* 35mm beam splitting
cameras used for their infrared method
of processt photography was evident. A
70mm vesion using the same principle
was on a test stand. The increase of the
'geometrical complication for 'this size
unit was very evident. Lens to film dis-
tance had to be increased very greatly
because of the,larger geometry. It is by.
no means certain that this will prove a
practical system in 70mm. Presumably
the camera lenses had to be specially
designed to give the long back focal 'dis-
tance required.
?. The workers in the optics laboratory
were familiar with the spatial frequency
and trankfer function methods of describ-
ing system performance. They used auto-
matic equipment to produce plots that
were identified as spatial frequency re-
sponse data. The actual coordinates were
not identified on the curves so produced.
One lens on display was rated as 12.5-
mm focal length, designed to work as' a
wide-angle lens for 70mm photography.
It was rated at f/3.5. No performance
data were available. The front lens ele-
ment was some 6 in. in diameter...Vis-
ually, the diaphragm looked appropriate
to the rating indicated.
Electrical power circuitry studies. in-
cluded power stabilizers which,were said
to hold voltages to ? 1% for set lighting
and projection lamp usage. Much. use ?is
made of rectified a-c for. their arcs and
xenon lamps.
The printer development laboratory
equipment included a precision camera
by which to produce special test films to
be used in testing resolution and steadi-
ness of printer systems. It was claimed
that such test films could be made theie
for any format in current use.
The main responsibility of the sound
laboratory deals with sound reproduction
for cinematography. However, many
theaters are used for multiple purposes,
and accordingly theater acoustics and
sound re-enforcement systems broadly
are studied here too.
There are some 120,000 sound systems
in the USSR and One of the proble'ms
ahead is the standardization and con-
version of these units to transistorized
types suited to theaters of the sizes chosen
in their construction program. The work
in this laboratory tends toward the
development of basic information which
will in turn be used by the Central De.-
sign Bureau (Leningrad) in equipment
development and design.
The architectural acoustics laboratory
has facilities for experimental study of
sound characteristics in auditoriums from
scale models. A scale of 1:40 was indi-
cated as that usually used. With this
scale model, tests were made at 20,000
cycles and interpreted as showing effects
of shape, ,construction materials, fabrics
and the like.
Film Stock Research at NIKFI
The announced goal of synthetic
organic work at NIKFI is the production
of the special organic compounds, dye's,
'color formers, etc.: useful in photog-
raphy. Enough glassware and equipment
'were in evidence 'to suggest that success
.or failure would depend on people, nOt
equipment. ?
. . .
Gelatine studies are a specialty of a
Fig. 51. Portable 16mm magnetic recorder at the Central Design 'Bureau,'
Leningrad.
.494
March Journal Of the SNIPT.
Fig. 52. 16mm shutterless 'projector with xenon
arc source developed at NIKFI, Moscow.
Volume 73
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laboratory at the Kazan film factory
rather than in Moscow.
It was interesting to note two spectro-
photometers set up for use that were
indistinguishable, on casual observation,
from a type sold a few years ago by the
General Electric Co.
We entered the emulsion formulation
laboratory only after discussion had
developed the fact that we would be
shown research equipment only and
would not discuss formulations. This pre-
caution was taken as it is believed quite
unlikely that reciprocity in the US would
extend beyond this same point in case of
a visit of Russian scientists. Very small
scale making equipment was shown in the
one laboratory visited. It appeared that
test quantities are coated on glass. A
plate whirler was in evidence which
might be used as an aid in coating small
test plates.
In the sensitometric laboratory the
routine step wedge test tablet is of the
-0 of two type with 21 exposure steps.
Each step is about 8mm square. The
sensitometer most used gives 1/20-sec
exposures and is arranged to permit easy
insertion of any chosen filter into the
beam.
Associated with the sensitometric test
equipment was a resolving power camera
claimed to give useful results up to 500
lines/mm.
A microphotometer, designated MF-4,
was set up with automatic recording
equipment. This looked rather light in
construction in comparison with the rug-
ged systems sometimes thought necessary
for precision work at high magnification.
A reciprocity law sensitometer was set
up for use, covering the exposure time
range 10 sec to 10-7 sec. It appeared to
be a compact, well-designed instrument
with considerable use of pushbutton con-
trols. It was indicated that this might be
made available for sale but later inquiry
through the Ministry of Foreign Trade
elicited the information that no export of
this unit is planned.
In the film base laboratory two small
belt casting machines were in evidence.
They were not in use at the time and
nothing is known as to their capacity or
their ease of control and operation. The
work was directed toward the accumula-
tion of basic information concerning the
characteristics of film forming materials
and the influence of composition and
coating variations on the structure and
properties of resultant films.
It was indicated that polycarbonates
were under study for base use. Base
samples tested had shown good tensile
properties, as measured by break and
shock tests. Work was cbntinuing on the
problem of subbing such base.
NIKFI work on color films icdirected
toward the completion of the introduc-
tion of masked color negatives and their
subsequent further improvement from
the first embodiment. Considering all
Fig. 53. Model in architectural acoustics laboratory, NIKFI, Moscow. This model
represents the Rossiya Theater on a scale of 1 to 40.
circumstances, it was inevitable that the
discussion touch on comparisons with
Eastman color films. At present. the
Russian group considers it unnecessary
to push to as high saturation of colors as
can be obtained with Eastman materials.
International exchange of color nega-
tives is a distinct possibility and devel-
oped samples of the masked Russian
color negative were furnished the US
delegation to develop information on
printing and duping problems that may
be encountered if such exchange occurs
with the US. WARNING: NITRATE
BASE MAY BE ENCOUNTERED.
The current Russian masked negative
requires exposure cor esponding to about
35-40 ASA. Increased speed is an objec-
tive of research and it is expected that
one stock will be developed for direct use
with incandescent lamps which can be
used with a ,filter at the same effective
speed under daylight conditions.
Second Visit With the State Committee
The original plans of the delegation
contemplated return to the US on Sun-
day, November 10, just three weeks after
the arrival at Moscow. The State Com-
mittee for Cinematography requested
that this part of the plans be changed to
permit a second conference before depar-
ture. This change was made. During the
meeting the State Committee invited
comments on places where the delega-
tion considered improvements possible.
Two such points were made.
Nitrate film is still in use in the USSR
for part of the 35mm film required. No
label or edge mark was found designat-
ing such film as nitrate, though a match
test of small pieces clearly showed the
rapid burning rate characteristic of
nitrate base. Studio and TV practices do
not meet customary US standards for the
handling and use of nitrate.. The matter
of personal safety may be a suitable sub-
ject for decision in the USSR alone but to
the extent that films from the USSR are
articles of commerce in international
trade, there is a real international interest
which is not well met by unlabeled ni-
trate film. Unless or until this matter is
cleared up, all 35mm film from the
USSR is suspect.
The statement was made that all 16mm
and 70mm film is on acetate base. '
The second matter brought to the
attention of the State Committee was filin
cleanliness. A large proportion of the
prints seen showed dirt, some of which
was clearly print through from dirt on a
negative. No film. cleaning equipnient
, was seen in the USSR beyond the restora-
tion machine noted, which was not pri-
marily a cleaner. Since return to' the
USA, the journal Teckhnik-a Kinai' Tele-
videniya has been found to contain- arti-
cles about film cleaning processes and
equipment. This material clearly ante-
dates this visit ? but was not shown to us
at the sites visited.
Acknowledgment: All the delegates
thanked the State Committee for' the
care. which had been taken to push
through the croWded schedule" of this
three-week visit. The assistance of M. Z.
Wysotsky, Deputy Chief Engineer'. of
Mosfilm, was Cited as particularly valu-
able as he had taken three weeksTrom his
regular post and done much to, aid in
securing the breadth of contact -achieved.
Notes
In addition to the entire session at
the 95th Technical Conference, .V: G.'
Komar's paper which follows imme-
diately. in the pages of this Journal sup-
plements the delegates' report .'especially
as to cinematography.
Capra, Gephart, Stifle and White; Motion Picture Facilities in the USSR
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.Also of possible supplementary, in-
terest to some readers t may be three
articles which have been translated from
the Russian and are available as manu-
scripts on .loan from Society Head-
quarters:
(1) L. G. Golshstein, I. Ya Levin and
T; I: .Maksinrciv, "Optical printer,"
Tekhnika kino i televideni yq, 3, No. 10,
5862, (1059):
:(2),- M. M. Lisogor, "The 'Rossiya'
Universal Cine Theater," Tekhnika kino
i ieleVideniya, 6, No. 5, 1-8, -(19.62):
(3) 1. B. Gordiichuk, cf The. present
state of the manufacture' of eine ap-
paratus in the .USSR," Tekhnika kino
televideniya, 6, No. 5, 37.19, (1962)..
Cinematography in the USSR
The status of the Soviet cinematography industry is reviewed and its organization,
technique's, equipment and projection systems are discussed. Uses of high-speed
photography in scientific research and the development of processes and equip-
ment for photography in space research and the study of nuclear processes are
touched upon briefly. The technical premises for international cooperation are
reviewed; and the basis for the exchange of films is viewed as one of the most
serious problems faced by the engineers of many'countries.
CINEMATOGRAPHY in the USSR is
a large, complex industry that is in a
process of ?development., From 1957 to
1162 the number of projection units
(with paid admission) increased by 73%
and by the beginning of 1963 had reached
120,400 units (32,000 of these for 16mm
film); along with this, town' theaters
grew in number by 33% and amounted
to 19,600.
*Although the majority' of the motion-
picture units are state property, a con-
siderable' number are public property of
the trade-unions and collective farms.
Despite the growth of cinematography
and television,. the demand still exceeds
the supply. In 1962 total paid .admis-
sions exceeded 39 billion, which is 28%
more than 'in 1957. In.1962 this averages
out to 18 admissions per person: 21 for
city dwellers and approximately 14 for
rural inhabitarits.
At present there are 39 motion-picture
studios in the-Soviet Union, 20 of them
producing feature films. From 1957 to
1962 the number of full-length Produc;
tions released annually was between 116
and '143 and feature films released num-
bered from 90 to .115, annually. The .
country's biggest Mosfilm studio pro-
duced from 22 to 26 feature films an- .
nually, in this period. A number of
studios* are now being reconstructed,
henee the total capacity of the studios is
expected to rise to.some extent in the on-
coming years.
About half he pictures. distributed in
the Soviet Union are imported, pally
of which are produced in Weitern
Europe and America.
Presented on May 8, 1961, at the Society's
Convention in Toronto by Dr. V. G.' Komar,
Professor, Director of Cinema and Photo Re-'
search Institute (NIKFD, Leningradsky Prospect
47, Moscow, (USSR. Owing to delay in publi-
cation, changes have been made in the paper to
bring it up to date. This revised manuscript was.
received on November 19, 1964
Owing to the large number of films
exported and imported 'and to the many
languages spoken within Lthe USSR.,
film. dubbing is of great importance.
Dubbing. is carried out in seven *Soviet
national languages and :subtitle ?inser-
tions in 25: , ?
Because of the vastness of the Soviet
Uiiion and the large nurnber 'of,spa'rsely
populated rural areas, it. is necessary to
print Motion pictures in great release
quantities?from 1,000 to 1,500. cOpies
and in sorrie cases up to 2000 prints;'
therefore, there are independent film
printing enterprises. ? .
The output of film prints on, 35mm
within' 1957-1962 increased by 29%
and in 1962 totaled some 478 'million
meters (121 million in color). During the
sande time 'the output of film prints on
By. V.. G.- KOMAR;
16mm film grew by, :35% and arnoqiited.
to 128 million meters (22 million meters"
in color).
ORGANIZATION
Since early 1963 'cinematography has
been controlled. by. the State .Comniiitee
for Cinematography 'of- the Cabinet
Council of the USSR: Minister A.*. V.
Romani:iv is *president of this .Cothmittee
and. Eng.' A: F. Barinmi, vice-president
of the. State Committee for Cinema-
tography, who .is spans& on cinernatog-
raphY industry.
In Some Soviet -Union republics in
1963 . State' committees: for cinematog-
raphy of the Cabinet bitincils of these
republics were set up to control the okra-
tion Of the local Organizations.
The Major 'Studies' are under the direct .
control Of the 'State Committee' for
Cinematography Mosfilm, ?Lenfilm,
Gorky-Studio, the central documentary ,
studio', the. popular science studio and
printing enterpriSes:, Subordinate to the
State Committee for Cinematography
are alot the. Main Cinematographic sre-,
search,, design and training organiza-
tions. ?
Fig: 1. Cinerna and Phsoiii RseXieh'Institute (NIKFI), Moscow.
Fig. 2. MO'sfihn StudioNUscoii,..1' c?!':
196 Mara;1964. Jniirrial of 'the ,S114.13TE Volume 73
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Fig. 3. Sound camera Druzhba for 35mm film.
? Fig. 4. Lighting unit with a 1-kw xenon lamp in the Sibir
projector.
Basic research in'motion-picture tech-
nique, light-sensitive material and proc-
eises is fulfilled in the Soviet Union by
the Cinema and Photo? Research 'In-
stitute (NIKFI). This . institute canae
into existence in 1929 and is located in
Moscow (Fig, 1). There are branches
which were established in 1957 '13Y 'the
largest raw-snick film works. in Kazan
(Tartar Autonomous Republic) and
Shostka (Ukrainian Union Republic):
NiKFI branches preferably engage in
improving the technology Of raistoek
film production and in the industrial
application of new develcipments at the
works. ? -
Construction of: new equipment is
carried out mainly by the Central engi,
neerihg bureau (TsKB), in Leningrad;
the Moscow Cinema ApParaths' engi-
neering bureaus (MKBK), and the
Special Cinema Equipment engineering.
bureaus (SKBK), in Odessa. ?
Many enterprises 'manufacture ? mo-
tion-picture equipments. The largeSt 'of
-them are the ? Leningrad' Optical:WI.; ?
chanical Works (LOOMP),.the -MOSF6Ai
MoSkinap'Works, the ? Odessa: Ciffeirig
APparatus Works and the Sainarkand '?
Cinema Apparatus World. ?
All 'work on 'the developinent24
cinematography .technique is performed
according to a common schedule so :that .
research, design' and industrial organila-
titans cooperate in solving problems` :Of
motion-picture technique, light-sensitive
materials and photographic processeS. -
'Motion-picture' engineers and tech:
nolOgists in the field of manufacture i Of
motion-picture equipmenf and films 'as
well as in film treatment are trained ,
the Leningrad; Cinema Engineers In
stitute' (LIKI) and in other 'eandatiOnal
institutions where separate investigations
in the'giyen,field?are also Carried did..
The :State Committee' for ,'Cinein42
tograPhY; spiinsars, 'in addition::
.film (rig..2)-and other studios mentioned
abOire;- :the':Ublieation'bf - the;monthly
magazines Tekhlika ? kino t te1evzdenzya:
and Kinom'ekhanik. the edition Of the
journal-Of scientific and'applied cinema-
tOgraphy' and, photography is Under the
'sponsorship of the Academy Of Sciences
of the USSR.
' -Besides ''state -institutions 'there is the
Cinematography Workers' Association,
a public Organization 'which is engaged
in -cinernategraphy. The Science and
TeO.thiology Department of this assoCiation
'ii headed Konoplev, who
is also vice-president of the international
? rhotion-picture technical' organization,
UNIATEC: The Cinema- Workeri' As-
soeiation ,and ? NIKPI are 'Members of
this :organization. In 'November, 1962;
they organized the 5th UNIATEC Con-
vention in-Moscow on'the subject; "The
Future of Cinematography Technique";
the 'convention played a pOsitive role in
? international information 'ekehange. on
developments. :in motionLpicture ? tech-
pique and, the avenues of further prog-
ress. ^
, TECHNIQUES
Cinema :equipment Production started
as early as'1923-1924'and the production
.. Of raw:Stdek-.4filin 'began :in 1930=1931.
'By the ve of World Wai II Soviet?
;industry had already ? PrOdheea equip
inent>:ancr:firrns of ..many 'q7Pes . and in
quantities essentially covering the needss
of: cinerriatOgraphy:;, ?Ferment in''tlic
?Soviet motion picture ?industry. ,was es
pecially, high during the %years 1950?
'1962. Within this lapse Of time, raw-snick
film Production Was increased 3.3 times.
? At, typical trend in' today's cinema?
tography feehnique development is the
constantly', increasing' turribut 'of .ciliema
,APParatus and filrn. ? 2:', ?
J.Another trend may be stated involving the
and production of the
entire of versatile types of equip
-
Merit' and materials for use in cinema-.
tOgraPhy.:TodaY the faceis`th-it the .moL:
fion-pieture.:indhStry builds virtually all
_types of equipment installations and film
Materials ''.required ' for production, re
leale printing,and4orbjeetigh: ? ?
SOViet industry builds various types of
"Komar : ' CineMa'tOgiliPhy in the USSR'.
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;
35mm 'cameral: Sy'richrdnoilS, ileiit
hand cameras and . such for composite
and trick photography. .'Thee accord t?
modern. requirements. instanee,
sound camera "Mir" (3KSSImOdel) ex.7.
cels other types It weighs 66:kg-and has
ndise level'Under 29 db (With filin'and
from one-meter '-distanee):`Good
formances distinguish the 35mm` sound
camera Druzhba (Fig.. 3)." There'. is
also production of 16min and .?inin
cameras. Industry prOducesilenses"With
16min'to 300mm focal lengths for ihnott
ing Onto 35mm film. Further' productions
are lighting equipment ' and Special ,
' transport facilities for filin,...shoOting;
filmprinting; film "Cutting and, projec-
tion deVices, sound recording :and sound_
reproduction apparatus, ete.
It is a remarkable 'fact that (hiring
recent years, in which einem-a: techniquci
have advanced vigorously,' the range of
the parameters of cinema eqUiprnent'hag
. widened steadily so that it is nowlpoSsible.
to Present motiOn pictures in auditoriums'
of different seating capacities: In .partie7
ular, the maxiniurn light flux, of Soviet7
made projectors for 125071962 increased'
by 13 times and the acoustical caPaeity of
theater sound reproduction Units rose
,5 times. This made practicable the 'Pres:- .
?entation of motion', pictures: in ,
toriums ranging from those of liery small
dimensions to those that , can ' accorri:
Modate 6,000 spectators and-, screen
sizes ranging from the small to the ver'.
large used in modern. cinematography.
projection systems. , ? : ? :? '
This trend of greater projector
, flux and higher acoustical' lioWerr? nf
sound repreduetion qpiipnient"
con-
tinue because there is a dernand! for'
-presentations on rather arriPle open:areas
to larger audiences. ', ?
? Work 'done up to now fOrAhe
Picture industi-y has', been im'irriarily for!
improving cinematographic: irriagei'and:
sound quality along with 'raising
nent economical indices. Itis 'implied'
that in the accomplishment Of .thisiWork
cineniatography is based oriniciOein tech: '
19
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nological principles that are inherent in
the achievements in related fields of
science and technology.
The development of modern Soviet
cinema technology is characterized by
the growing utilization of the following
facilities.
Xenon Light Sources
The advent of xenon lamps in the
Soviet theaters in projection applica-
tions dates back to 1957. Since that time
the operation of a considerable range of
theaters with xenon lamps of one kilo-
watt has proved their merits: homo-
geneous and stable screen brightness,
economy, lack of deleterious exhaust
products, simple handling and long life
(Fig. 4).
There has been two years' experience
in projector operation with xenon lamps
of 3 kw under theater conditions. Their
effective light flux, with rotating shutters,
amounts to from 11,000 to 12,000 lm.
Thus, it is expected that soon the pro-
duction of cinema projection equipment
having light fluxes within the range from
700-1,000 lm up to 10,000-12,000 lm
(for medium-sized theaters) will be
changed over to xenon light sources.
Studies of lighting systems with 5-kw
lamps have proved their potentiality for
projectors with bigger light fluxes for
larger auditoriums. Parallel to this,
it has been found feasible to use for small
auditoriums low-power xenon lamps of
0.5 kw.
It is interesting to mention the results
of investigations of 0.8-kw water-cooled
capillary impulse lamps with xenon. The
light spectrum makes these lamps su-
perior to known capillary impulse lamps
with mercury, and this is important for
color film shows. A projection unit with
xenon impulse lamps is undergoing a
test run in a theater in Moscow.
Photoelectronic and Semiconductor
Devices
The theaters of the Soviet Union
use extensively photoelectronic multi-
pliers for sound reproduction from
prints with optical soundtracks. By
1950 the usual photocells in the projec-
tion units throughout the country had
been replaced by photoelectionic multi-
pliers, as a result of which it became pos-
sible to increase the amplifier input sig-
nal tenfold, to simplify it and to raise
the reliability of the unit. In recent years
work has been done to find out the
ifeasibility of using germanium and
silicon photodiodes for the purpose.
Such semiconductor devices as diodes
and transistors are very promising for
cinematography. The d-c supply for
projector light sources in the USSR,
beginning in 1949, was entirely re-
equipped with semiconductor rectifiers
with automatic current stabilization.
At first, selenium rectifiers came into use,
and nowadays we widely use germanium
198
and silicon ones. Selenium and silicon
rectifier units with stabilized arc light
current were created for studio lighting
purposes.
In the last few years new types of
amplifier units have been designed com-
prising germanium and silicon transis-
tors: units of 15 w for portable projec-
tion units (with a germanium photodiode
without electronic tubes) and units of
25 w for stationary projection units
(preamplifier and power stage amplifier),
for synchronous sound recording onto
6.25-mm magnetic tape in newsreel
shots at the speed of 19 and 38 cm/sec.
Ever greater numbers of types of
amplifier equipment for sound recording
and reproduction will be fitted out with
transistors, instead of the tubes used.
Automation
Design work is carried out with a view
toward automating various cinema proc-
esses to improve the quality of motion-
picture photography, printing and dem-
onstration and for better economical
effect.
Automation in film production is
intended to release directors, cameramen
and sound operators as widely as possible
from miscellaneous auxiliary operations
and let them concentrate more freely
on the solution of artistic problems. Sys-
tems which would be able, for example,
to memorize at rehearsals and after-
wards to reproduce exactly the move-
ments of the cameras, the scene lightings,
the sound accompaniment and so on,
would be rather helpful in motion-picture
production. In making film shots Soviet
studios use remote on- and off-switching
devices with memory elements to control
the lights.
Research is underway to achieve full
automation of film printing, treatment
and examination when performing these
processes at a single installation. Auto-
mation methods have been devised for
such motion-picture shows in theaters
which would provide automatic change-
overs throughout the entire show from
beginning to end. Wide introduction of
devices serving these aims into cinema
theaters is planned.
Acoustics and Electroacoustics
of Large Auditoriums
Currently, large theaters are being
built. In 1961 the theater Rossiya in
Moscow (Fig. 5), which accommodates
2,500 people, was put into operation. In
the same year the Congress Palace in the
Moscow Kremlin was inaugurated, its
auditorium comprising 6,000 seats. This
house is multipurpose and serves for
congresses, conferences, opera stagings,
ballet performances, concerts, musical
shows and film projection.
The designers of the novel sound am-
plification system and equipment in
the big auditorium of the Congress
Palace (engineers of NIKFI, TsKB and
March 1964 Journal of the SMPTE Volume 73
LOOMP) were awarded the Lenin
Prize in 1962.
The above-mentioned equipment and
the acoustics of this auditorium provide
for a high quality of sound reproduc-
tion.
At present, several large cinema thea-
ters and multipurpose auditoriums are
being constructed in different cities of
the country: for 3,000 and 4,000 viewers
in Moscow, for 4,000 viewers in Lenin-
grad and Kiev and for 3,000 in Tash-
kent. All big multipurpose auditoriums
are investigated via preliminary models
on a 1 : 40 ratio and 20-kc ultrasonic fre-
quency. This has been proved practical
in determining auditorium design, acous-
tical treatment and acoustical proper-
ties. .
A method of ultra-acoustic modeling
has been designed by NIKFI and is
used to solve acoustic problems. This
helps in investigating not only sound
reflection patterns by short pulses but
also in determining reverberation time.
Composite and Trick Shots
Film studios are making wider use of
various composite shots for trick scenes
to save production time and money.
Most notable is the traveling matte
method which uses an infrared-sensitive
mask film and a trick camera which
simultaneously passes two films through
its film gate (Fig. 6). The actor is photo-
graphed in the normal manner against a
background screen, through which in-
frared radiation passes from lamps be-
hind the screen. Background and set
details are shot separately. The two films
are then put together. Many shots in
pictures made by Mosfilm and other
studios have been made by this method.
Attempts have been made to shoot a
motion picture using a trick camera
exclusively and photographs instead of
real architecture for background (for
instance, the picture Man to Man). This
experience of an enhanced application
of the process opens inviting possibilities
of achieving considerably easier and
cheaper motion-picture production.
Video-Tape and Video-Film Recording
Soviet TV stations utilize TV video
recording devices with 70mm magnetic
tape. Equipment and tape as well are
made by Soviet industry and provide
satisfactory quality so that the TV image
which was recorded onto magnetic tape
does not differ practically from the usual
image on the screen of a TV set.
At TV stations the programs are also
recorded on 16mm and 35mm film. To
this end apparatus is used in which
photography is accomplished from a
kinescope screen with afterglowing. De-
vices are being tested for photographing
a kinescope screen by means of cameras
with rapid film pull-through which have
certain advantages.
There is a project for making wider
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Fig. 5. Theater Rossiya, Moscow, demonstrates motion pictures on 35mm and
70mm film.
use of the aforementioned methods op-
erating with tape as well as with film for
television program records.
Raw Stock
The raw-stock industry produces a
variety of films. To meet the require-
ment of cinematography, today's pro-
duction embraces color negative films
of the previous maskless DS-2 and LN-3
sorts and of new ones with mask couplers:
for daylight (DS-5) and tungsten (LN-5).
These materials, with mask couplers
and a color positive film (TsP:9) with
reversed layer position, have presented
the opportunity to improve color rendi-
tion and image sharpness and, if neces-
sary, to obtain brighter saturated colors.
The experience with these films during
the last few years justifies a further
changeover of the country's entire color
picture production to negative films
with mask couplers.
It is planned soon to substitute in pro-
fessional cinematography a new set of
motion-picture stocks for the previous
sorts. This set will comprise four nega-
tive film types of different sensitivity,
while a negative and a positive dupe and
a positive film will yield better image
quality by virtue of improved gradation
properties and sharpness, lower grain
and higher physical-mechanical per-
formances. A film from this set, Y/Ch-
type negative, having more than 400
ASA, is released by industry.
SCIENTIFIC RESEARCH
The photographic processes, cinema
equipments and various sensitive ma-
terials of cinematography are increasingly
being utilized as tools for scientific re-
search. One example is the applications
of high-speed photography. Speeds up to
100 million frames/sec have been ac-
complished. These were achieved by
means of photographic lenticular rasters
representing glass. plates covered with a
multitude of small optical elements (ob-
tained from a sensitive collodium layer)
of high optical qualities. The elements
are closely spaced at intervals of a few
hundred microns. Such finely structured
photographic rasters permit, primarily,
increasing still more the speed of photog-
raphy; they are also applied to stere-
oscopy and color television.
Cinematography and photography
have also been used by the Academy of
Sciences of the USSR in cosmic space
research and for the study of various
nuclear processes. Special photochemical
processes and equipment were used to
photograph the back face of the Moon
on October 7, 1959. A high-quality
image was obtained on board the auto-
matic station in spite of nongravitational
conditions, considerable temperature var-
iations and intense cosmic radiation.
The image corresponded to the require-
ments of subsequent transmission to
Earth by television methods.
Soviet industry puts out a wide assort-
ment of photographic materials for sci-
entific research which are designed for a
great variety of wavelengths of different
radiations. Imposing numbers of nu-
clear photographic materials are pro-
duced for the study of cosmic radiations
and nuclear processes. Among them are
hypersensitized emulsions comprised of
gelatine substitutes. These possess good
stability, a low fogging factor and high
sensitivity up to 80-90 grains per 100
microns in the trace of a relativistic
particle.
ASPECT RATIOS
The last nine years have seen a wider
use of various motion-picture systems
differing from the standard? ones with
the classical aspect ratio of 1.3 to 1.
Among them are: (1) wide-screen motion
pictures using 35mm film with ana-
morphic optics, (2) wide-gage pictures
on 70mm films, (3). Kinopanorama on
three 35mm films, (4) Circular Kino-
panorama (Krougorama) with 11 or
Komar: Cinematography in the USSR
Fig. 6. Trick TKS3-camera for shots by
the traveling matte method with infrared
radiation.
. .
22 35mm films, (5) 3-dimensional (stereo-
scopic) films both according to the
polarizing method and without the use of
glasses, and (6) multiscreen projection
(Polyecran).
Since cinema studios as well as most
of the theaters are state property, we
can carry out standardization more fully
and the types of systems used are re-
stricted to those of the best quality.
Wide-Screen Systems
Wide-screen cinematography based
on 35mm film, anamorphic optics and
four-channel magnetic sound has be-
come popular since 1955. By 1962, ten
such features had been released.
By the beginning of 1963 in the USSR
there were about 2,700 motion-picture
theaters equipped for wide-screen pro-
jection with anamorphic lens and stereo-
phonic sound. Cinema theaters, Where
projectors with anamorphotics are to be
installed, are also furnished with stereo-
phonic sound reproduction equipment.
Nonanamorphic wide-screen cinema-
tography with an aspect ratio of 1.65:1 to
1.85 : I is not practiced. This method is
considered artistically inferior and with-
out marked advantages over the standard
method.
Further increase in the number of
wide-screen theaters is planned. All
new motion-picture theaters and film
clubs having over 300-400 seats will be'
equipped for 35mm wide-screen pro-
jection.
Wide-Gage Cinematography
Three studios release 70mm pictures:
Mosfilm in Moscow; Lenfilm in Lenin-
grad; and Dovzhenko-Studio in Kiev.
Within 1962-63 five 70mm pictures were
released and in 1963 seven pictures were
scheduled for production. Currently, the
wide-gage feature War and Peace is being
taken.
The above studios have 70mm cameras
of various types: sound, silent, hand and
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high-speed photography up to 90 frames/
sec. .70mm projection units are employed'
for composite shots. A 70mm trick?
camera is being, designed to Photograph
by the traveling matte with. infrared '
radiation.
Four different release printers ? are
available for printing dupes and release
prints from. 70mm negatives: contact
printer for 701-nm, one for printing. wide-
screen 35mm with anamorphic
another for standard 35mm, and one for .
optical printing .Of Kinopanorama re-
leases onto three 35rnm films.
Optical machines permit-the most im-
portant part of the frame to be chosen,
during the printing process; however,
the resulting prints appear to be, some-
what inferior to the original. in. artistic
quality..Nevertheless, these methods are
considered Of high ? practical iiiiportahee
frOrdtheeeorioriiical Pointof
? Production centers, have beeri ???Set.
up::oriel-at " the ' Leningrad ? "Newsreel
Studiofor re-recording 47, 6- and 9-ehan-
riel _stereophonic ,soundtracks 3 and . an-
other. at . the Kiev Film-Printing Plant
for the release of such soundtracks on
70mm pints. These centers are fitted
out with" new equipment securing high-
quality sound.
By the beginning of 1963 in the Soviet'
Union there were 13 cinema theaters
equipped with apparatus for 70mm
stereophonic motion pictures: This equip-
ment comprises KP-15 and KP-30A
projectors designed for the efficient light
fluXes of 20000 and 40,000 lm, respec-
tively, with powerful arc lamps (Fig. 7).
These permit showing 35-'? and 70mm
. films on 15- to 30-meter ?Wide. screens
(Fig. 8).
A target has been set relating to further
development of wide-gage cinerriatog-
raphy and the: inauguration of a large
number Of new theaters equipped with
35/70mm :apparatus. The.,70mm release
?is expected to increase gradually and to
constitute an important part in :the total
release of feature films.
Kinopanorama .
.:Since. the ,development. of kinopano--
rarna , in =.-1?57, :.12 features .'i.have been.
i!ig. 7: Arc lamp of the 35-70mm KP-30A prole:C.6i for-46,060-
1M,light flux ',(with shutter rotating).
Fig.. q. Screen -(28-m wide) and loudspeaker. assemhlies: 12-m. high- installed .in the,
Kremlin Congress Palace.for wide-gage film prpjection:;:..,.
made. The Kinopanorama has been a
success in the homeland and abroad..
Eight Kinopanorama theaters operate
in .the Soviet Union and one with Soviet
equipment was opened in Paris in 1959.
Since 1960 PSO sound camera's (Fig. 9)
have been used in the Kinopanorama
production. Filming is carried out on
three 35mm films. It has a moderate
weight (55 kg without the blimp), a low
noise level (32 db) and provisions for
rapid replacement of the optical ele-
ments comprising lenses of different focal
lengths. These merits of PSO cameras
made it possible for Y.. Koun in 1961
to shoot the first Kinopanorama play
film.. It is supposed that before long the
experimental shots of a , panorama pic-
ture should be accomplished on 70mm
film with subsequent optical printing to
three 35mm films. ?
In comparing the Kinopanorama proc-
ess using. three 35mm films .with that of
the wide-gage on 70mm, it is noted that
the former provides wider artistic pros-
pects through" its substantially' larger
shooting angle and greater frame .area
(by 1.85 times). Thus, increased angular
dimensions of the screen, better image
definition and better rendition of perspec-
tive are easily obtained. However, Kino-
panorama technique is more complex.
Therefore there .are no projects en-
visaging the further development of
Kinopanorama and picturei of this sys-
tem will be released on a limited scale.
Circular Kinopanorama ?
A- Circular .KinOpanorama theater
has been 'operating in Moscow at the
Exhibition of the National Economy of
the USSR since '1959. In 1960 a
similar' theater was opened in Prague,'
Czechoslovakia, with Soviet equipment.
The Central Documentary Studio filmed
four programs for these theaters.
. Since the length of the show is limited
because it must be viewed standing and
since it is impossible to see the whole
picture because of its 360? scope, this
system is shown only on a limited scale
at exhibitions and in parks in only a few
towns.'
Three-Dimensional Systems
For several years, four, stereo theaters
have. been Operated without the use of
glasses; and three' theaters,' on the
polarizing method which uses glasses.
Stereoscopic pictures are released regu-
larly. In 1963 Mosfilm shot a wide-screen
stereoscopic film intended for polarized
projection.
Hence, these varieties of projection
will continue, though on a limited scale.
The necessity of -keeping the?atidience
motionless for the method using no
glasses and of providing glasses for
polarized presentations prevent .wider
. application.
Multiscreen Cinema
.Since 1960 the, multiscreen method of
200 March 19W . journal ofihe:511,PTE ,N9ltime 73
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simultaneous projection on seven 35mm
screens by seven synchronously operated
projectors has been exhibited at the
Exhibition of National Economy of the
USSR. As with Circular Kinopano-
rama, it is planned to utilize multiscreen
cinema on only a limited scale.
Trends
Experience has proved that the dif-
ferent forms of cinematography de-
veloped in the Soviet Union are not an-
tagonistic. Each has its specific properties
and offers different means for artistic
expressiveness that justifies its existence
and development. The systems currently
in use are not considered to be the final
word in cinematography.
The history of cinematography tech-
nique shows that the vital new forms are
those which closely approximate the
natural conditions of human beings.
Consequently, the evolution of new forms
will correspond to this fundamental
principle.
The awareness of the general develop-
ment trends of cinema technique ensures
correct estimation of the possibilities of
future advance and makes possible the
proper guidance of research for dis-
covering new forms of cinematography.
Investigations are carried through in an
effort to contrive entirely new forms that
would give the audience a wider choice of
cinema entertainments and to provide
those in the profession with the technical
means necessary for artistic freedom in
the creation of motion pictures.
INTERNATIONAL EXCHANGE
Our cinematographic techniques and
forms have been derived independently.
Thus, there are some similarities and
certain deviations from those of America
and Europe. In order to establish a tech-
nical means toward motion-picture ex-
change, and to solve problems relating
to the export and import of films, it is
necessary to consider the fundamental
parameters of the various systems.
In spite of some variation in film di-
mensions it has been found that the wide-
screen system used in the Soviet Union ?
as to the dimensions and location of
anamorphic image and of magnetic
tracks on 35mm release prints ? does
not interfere with a' mutual exchange
between different countries.
Fig. 9. Camera for shooting Kinopanorama pictures onto three 35mm films (without
blimp).
On the basis of experience with wide-
screen cinema, we have come to the
conclusion that the use of a single aspect
ratio of 2.35:1 on a film for release prints
with both a stereomagnetic and an opti-
cal one-channel soundtrack is logical.
According to norms adopted, in our
country, wide-screen pictures with the
2.55:1 ratio will not be released.
The international practice with Cine-
maScope indicates, too, that the said
unification is justified.
The wide-gage form which is currently
used in the Soviet Union differs in some
ways from Todd-AO, as, for instance, in
the negative width, having 70 instead
of 65mm, and so on; however, the film
prints of both systems have an equal film
width of 70mm, frame height with five
perforations, an equal projection rate
of 24 frames/sec and the,same dimensions
and location of the ?magnetic tracks
which allows for exchanging film prints
between countries.
Kinopanorama uses nine-channel
stereo sound recording instead of the
six-channel system used in Cinerama and
Komar: Cinematography in the USSR
and Cinemiracle. This creates better
conditions for recording and improves
the quality. However, considering that
the export of films usually requires sound
re-recording, the changeover from .a
nine- to a six-channel soundtrack does
not create any difficulty. The, dimensions
and location. of magnetic tracks are such
that in theaters equipped for Kinopano-
ratna, direct projection of Cinerama -is
possible.
The use of Circular Kinopanorama
and Circarama is limited and, therefore,
of less interest; however, also in this
case the eleven available 35mm projec-
tors for Circular Kinopanorama (the
lower screen circle) correspond to the
eleven 16mm for Circarama. Thus, with
the required optical printing and .sound
re-recording, exchange is possible.
It is the opinion of the author that
the creation of technical premises for
international cooperation and. exchange
in the field of cinematography is one of
the most serious problems faced by the
engineers of many countries.
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A Study of Noise in Television
Camera Preamplifiers
Performance criteria on video preamplifiers for use with image-orthicon and
vidicon camera tubes are formulated. Recent developments in transistors have pro-
duced units having a noise figure sufficiently good and a gain-bandwidth product
sufficiently high to be useful in the design of all-solid-state TV cameras. Where
the best possible signal-to-noise performance is essential, vacuum tube input
circuits are still superior to transistors. A hybrid tube-transistor cascode circuit
offers advantages.
ATELEVISION system is a special case
of a pulse transmission system in which
the pulse width, amplitude, rise and fall
time and pulse shape can vary in a com-
pletely random manner. Such pulses are
generated by the television camera tube,
an optical-electrical transducer. After
going through various transmission proc-
esses they are finally displayed on a
kinescope:
The video preamplifier, which ampli-
fies the feeble electrical pulses from the
camera tube to a level suitable for trans-
mission, is a vital link between the
televised scene and the signal which is
displayed on the viewing kinescope.
' At present, except for some isolated
exceptions, two types of television camera
tubes are used throughout the world for
both broadcast and closed-circuit ap-
plications. These are the image orthicon,
a photoemissive device, and the vidicon,
a photoconductive device.
Characteristics of
Image-Orthicon Video Signal
The video signal from an image or-
thicon is characterized by its relatively
high amplitude and contains the noise
generated by the ' orthicon scanning
beam. Since the output signal is from the
electron multiplier, which can be con-
sidered as a current generator with high
internal impedance, the source imped-
ance viewed from the amplifier input
stage is that of the load resistor.
Typical video signal current levels
from the image orthicon operating
under normal conditions are from 4 to
40 ?a. The noise characteristics of the
tube have been analyzed by various
researchers.1,6 The signal-to-noise ratio
can be expressed as follows:
S _ Is,,t/ 2 ( T(5 ? 1)1/2
UQ13] 1 1
6 ? =
5 ? 1 A?
where
/0 g = total photocathode current, amp,
= transmission of target mesh, %,
Presented on April 24, 1963, at the Society's
Conference in Atlantic City, N.J., by K. Sada-
shige, Broadcast and Communications Products
Div., Radio Corp. of America, Camden 2, N.J.
(This paper received in final form, January 30,
1964.)
202
= secondary emission ratio of photo-
cathode side of the target,
Q = electric charge, 1.60 X 10 ?19
coulomb,
B = video bandwidth, cycles/sec, and
M = highlight modulation of return
beam, 70.
Since the signal-to-noise ratio is
directly proportional to the square root
of the reciprocal of the target electric
charge, an obvious way to improve the
signal-to-noise ratio is to increase the
target-to-mesh capacitance at the ex-
pense of sensitivity either by increasing
the size of the picture at the target, as
in the 41-in. tube, or by decreasing the
spacing between the two electrodes.
Table I shows the signal-to-noise ratio
of various image orthicons along with
their target-to-mesh capacitance values.2
With this information and the typical
video output current values, we can
compute a figure for the noise current
output from the image orthicon. The
value for 7389-A, a tube with high
average signal-to-noise ratio, is approx-
imately 0.050 ?a.
Since the noise is essentially the beam
noise, its power spectrum is essentially
constant with frequency. Measurements
of noise samples at various frequencies
within the video band, using a narrow
passband communications radio receiver,
substantiate this assumption.3
1
By KOICHI SADASHIGE
Characteristics of Vidicon
Video Signal
The mechanism of video signal genera-
tion from a vidicon is similar to that of
any photoconductive sensor, as shown
in Fig. 1.
The amplitude of the video signal out-
put is governed by the polarizing po-
tential applied to the target electrode
(target voltage), providing that the face-
plate illumination is not the limiting
factor. Ultimately, it is limited by cath-
ode emission and , aperture response ex-
pected from the tube. Representative
values of video signals for vidicons hav-
ing different picture sizes are shown in
Table II. If the signal current is increased
beyond these figures, degradation of the
aperture response will be observed.
Other undesirable effects, such as geo-
metric distortion and generation of
spurious signal, may also be observed.
The beam noise, or white noise con-
tained in the video signal generated
by the vidicon, is very small by com-
parison with that of the image orthicon.
Thus practically all the perceptible
noise energy is contributed by the ex-
ternal video amplifier. This fact con-
tributes to the difference in noise spec-
trum distribution patterns for image
orthicon and vidicon.
Assume that full storage is taking
place and there is no gain or loss of
electrons at the target. The noise current
from the vidicon, in amperes, can then be
expressed as:
= (2QB415)i/2
where
Q = electric charge, 1.60 X 1019 cou-
lomb,
Table I. Comparative Characteristics of Image-Orthicon Tubes Showing Target-to-
Mesh Capacitance and Signal-to-Noise Ratio.
Tube type
Target-to-
Tube mesh
diam., in. spacing, in.
Target-to
mesh
capacitance,
Signal-to-
Sensitivity noise
'index, ratio II
5820-A
3
0.0022
100
5,000-10,000
40:1
7293-A*
3
0.0018
120
8,000-16,000
37:1
4415*
3
0.0018
120
35:1
8093-A*
3
0.0012
180
5,000-10,000
50:1
7513*
3
0.0007
300
3,000-6,000
55:1
7198t
3
0.150
2
10:1
7629 t
3
0.010
20
32,000-64,000
18:1
8092-A*4
3
0.010
20
18:1
7295-A*
0.0022
300
approx.5,000
55:1
7389-A*
0.0010
600
approx.3,000
78:1
* Field mesh type.
t Special high sensitivity tube with an extra wide spacing.
t Magnesium oxide target.
? Based on exposure at knee of transfer characteristic curve and frame time of sec
II Ratio of peak-to-peak signal current over rms noise current.
March 1964 Journal of the SMPTE Volume 73
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B = bandwidth, cycles /sec, and
4,g = total target current, amperes.
A typical value of the noise current
for a bandwidth of 5 mc and peak-to-
peak signal current of 0.3 ?a. (1-in.
vidicon) is 0.0007 ?a, giving a peak-
to-peak signal to rms noise ratio of 430
to 1.
Design Criteria-Thermionic
Tube Front End
Conventional thermionic tubes are
rapidly being replaced by solid-state
devices in television camera circuitry,
especially in the video amplifier circuits.
Solid-state devices have made remarkable
progress in important video parameters
such as gain-bandwidth product and
noise figure.
A comprehensive review of design
criteria using thermionic amplifier tubes
is very instructive.
A typical arrangement for coupling
the vidicon to a tube-type preamplifier
is shown in Fig. 2. Here RL is the vidicon
load resistor which converts the current
swing to a voltage swing. Cs is the total
stray capacity across the input of the
amplifier including the vacuum tube
input capacity. RN is the shot noise
equivalent resistance of the amplifier.
If the gain of the first stage is sufficiently
high, it approaches the equivalent noise
resistance of the tube used in the first
stage:
RN2 RN3
RN = (RN1 - -
Al2 -422
RN1
when A >> 1
1, 2, 3, ... = video amplifier stages No. 1,
No. 2, No. 3, etc.,
RN = equivalent noise resistance of the
amplifier,
RN3 = equivalent noise resistance of the
first stage,
RN2 = equivalent noise resistance of the
second stage,
RN3 = equivalent noise resistance of the
third stage,
A1 = voltage gain of the first stage, and
A2 = voltage gain of the second stage.
Because of the shunting capacity Cs
the input voltage or current to the
amplifier attenuates at a rate equal to 6
db/octave after the corner frequency
wc, as set by the time-constant RL and
Cs. The attenuation in the signal and
the noise inputs to the amplifier from
the camera tube output is equal. A
high-peaker amplifier stage having a
gain-frequency characteristic identical
to the inverse of the attenuation curve
is inserted in the preamplifier to com-
pensate for this loss of high-frequency
video input. The noise generated by the
first-stage tube, which is spontaneously
added to the noise of the vidicon, can be
expressed as follows:
ENA = [4KTBRN
4KTRN (4r2B2R126,82)]ii,
3
SCANNING BEAM
CATHODE TARGET
I (PHOTO CONDUCTIVE MATERIAL)
AMPLIFIER
a-.
TARGET tl
POLARIZATION
POTENTIAL
Fig. I. Mechanism of video signal genera-
tion from a vidicon.
where K = Boltzmann's constant, 1.375
X 10 -23 Joule/K, and
T = 300 K.
For the typical circuit values of RL =
50 X 103 ohms, Cs = 30 X 10-12 farad,
and for first amplifier tube having an
equivalent noise resistance of 100 ohms,
the noise value expressed in current is
0.00008 ?a.
Because of the high-peaker circuit,
this value, if seen from the output of the
amplifier, increases at a rate of 6 db/oc-
tave, starting at the corner frequency.
At the low end of the video spectrum,
where the noise is mainly contributed
by the vidicon, the signal-to-noise ratio
measured in a given bandwidth or
point signal-to-noise ratio remains rela-
tively constant. Beyond the frequency
where equal amounts of noise are con-
tributed by the vidicon and the amplifier
-in this case, 1.0 mc/sec-the point
signal-to-noise ratio decreases linearly
at the rate of 6 db/octave. This relation-
ship is shown in Table III and also in
Fig. 3. Because of the amplitude-fre-
quency distribution, this noise pattern is
sometimes referred to as a triangular
noise. It is interesting to observe that in
the middle and lower frequency regions
of the video spectrum, where visual
acuity to noise is highest, the signal-
to-noise ratio of a vidicon system is
. 512 -
256
128
1119 0.300 'to
IN' O.005uo
121
/77
Cs
HIGH
FEUER-0
CIRCUIT
RL z LOAD RESISTOR
Cs TOTAL STRAY CAPACITY
RN EQUIVALENT NOISE RESISTANCE
(FOR TRIODE, RN 2.5/TRANSCONDUCTANCE)
Fig. 2. Typical arrangement for coupling
vidicon to tube type preamplifier.
Table II. Comparative Characteristics of
Vidicon Tubes
Tube type
Picture Signal
Bulb diag- current,
diam. onal ?a.
4427*
7735*
8134t
8480t
8051*
ML-2058G*.t
0.50
1.00
1.00
1.50
1.50
2.00
0.30
0.62
0.62
1.00
1.00
1.40
0.08
0.30
0.30,
0.40
0.40,
0.86
* Magnetic focus, magnetic deflection.
f Electrostatic focus, magnetic deflection.
I Tentative data.
Table III. Point Signal-to-Noise Ratio of
a Vidicon Camera System. S/N is ex-
pressed in relative ratio of noise power in a
given bandwidth to peak-to-peak video
output voltage. Current values for both
signal and noise are expressed in ?a.
Fre-
quency,
Inc INV INA INT
13 S/
0.1 0.0007 0.00008 0.00070 0.300 430:1
0.2 0.0007 0.00016 0.00072 0.300 420:1
0.4 0.0007 0.00032 0.00077 0.300 390:1
0.8 0.0007 0.00064 0.00100 0.300 300:1
1.6 0.0007 0.00128 0.00150 0.300 200:1
3.2 0.0007 0.00256 0.00260 0.300 115:1
6.4 0.0007 0.00512 0.00512 0.300 58:1
considerably superior even to the best
image-orthicon signal-to-noise ratio.
The image-orthicon preamplifier is
quite different from the one for the vidi-
01SG
VIDICON NOISE
64 -
32
16
4
0.2 0.4 0.8 1.60 3.20 6.40
FREQUENCY
400
300
20(
100
? Hg. 3. Point signal-to-noise ratio of a vidicon system; frequency
in mc/ sec; relative noise output in power in a given bandwith.
Sadashige; Study of Noise in TV Camera Preamplifiers
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Table IV. Point Signal-to-Noise Ratio
of an Image-Orthicon Camera System
With a Low Noise Input Amplifier Stage.
Fre-
quency,
mc/sec
0.2
0.4
0.8
1.6
3.2
6.4
IN
(Image
Orthi-
INA
IT
con)
(1)
(1)
Is
S/N
0.050
0.00008
0.050
4.0
80:1
0.050
0.00016
0.050
4.0
80:1
0.050
0.00032
0.050
4.0
80:1
0.050
0.00064
0.050
4.0
80:1
0.050
0.00128
0.050
4.0
80:1
0.050
0.00256
0.051
4.0
80:1
Table V. Point Signal-to-Noise Ratio of
an Image-Orthicon Camera System With
a Relatively High Noise Input Amplifier
Stage.
IN
Fre- (Image
quency, Orthi-
INA
IT
mc/sec con)
(2)
(2)
Is
S/N
0.2
0.050
0.0008
0.050
4.0
80:1
0.4
0.050
0.0016
0.050
4.0
80:1
0.8
0.050
0.0032
0.050
4.0
80:1
1.6
0.050
0.0064
0.050
4.0
80:1
3.2
0.050
0.0128
0.051
4.0
78.5:1
6.4
0.050
0.0256
0.056
4.0
71.5:1
con. The basic configuration of the
preamplifier is very similar to the vidicon
circuit. A difference is the location of the
corner frequency, which is about 200
kc as compared to 100 kc for the vidicon.
This is due to the lower value of load
resistor normally used for the image
orthicon.
It should be noted immediately that
the value of the noise current for the
image orthicon, typically 0.05 ?a, is
several orders of magnitude higher than
the noise current generated by a high-
transconductance input amplifier tube.
Thus, providing a specially low-noise
input circuit does very little to improve
the overall signal-to-noise ratio for an
image orthicon. The relationships are
shown in Tables IV and V.
In Table IV the noise current is
computed for a high-transconductance
triode input circuit having an equivalent
noise resistance of 100 ohms. In Table
V the noise current is computed for an
equivalent noise resistance of 10,000
ohms, a value for a medium-transcon-
ductance pentode. Degradation of the
signal-to-noise ratio just begins to occur
at the higher end of the spectrum. The
all-important low- and midband per-
formance is unaffected by this hundred-
fold increase in the noise resistance
value. This explains why very little
attention from the viewpoint of noise
performance was given to tube-type
front-end designs for the image-orthicon
preamplifier.
Application of Transistors to
Video Preamplifier
In general, transistor noise sources are
categorized into four major areas. They
are:
204
(1) Thermal Noise
Any conductor operating at a tem-
perature other than absolute zero degree
(Kelvin) generates noise, and it is caused
by agitation of free electrons by thermal
energy.
Average noise voltage,
EN = (4RKTB)1/ 2
Average noise current,
IN = (4GKTB)V2
where
? K = Boltzmann's constant, 1.375 X
1023 Joules/K,
T = temperature, degrees Kelvin,
B = bandwidth, cycles/sec.
R = resistance, ohms, and
G I/R.
In the case of the transistor, the thermal
noise comes from the base spreading
resistance r
(2) Shot Noise
Shot noise occurs whenever current
flows because the arrival of electrons
is completely random. The expression
for the shot noise current, as expressed
previously for the noise current of the
vidicon tube, is as follows:
/N = (2QB/17c)1/2
where /Dc is the value of the direct
current through the device.
One interesting fact is that the two
diodes in a transistor, the emitter-base
diode and the collector-base diode, de-
velop shot noise in a coherent manner.
This is because the shot noise in the two
diodes comes from almost exactly the
same carriers. In calculating the noise
output, if the noise from the emitter is
counted in full, then only the incoherent
portion of the noise from the collector
should be considered.
(3) D&iision-Recombination Noise
This noise is generated when carriers
are separated or recombined after going
through a junction and if a net change in
charge takes place.
(4) Flicker Noise
This noise is most commonly referred
as 1/f noise because the noise power for
a given bandwidth increases inversely
with frequency. The exact cause for the
generation of this noise is not yet fully
explored.
Of these four noise sources, the first
two, the thermal noise and the shot
noise, are referred as white noise because
the energy per unit bandwidth is con-
stant throughout the radiation spectrum.
These are the noise sources presently
governing the high-frequency noise per-
formance of transistorized video ampli-
fiers.
Because of generally high current gain
of contemporary high-frequency tran-
sistors, the third source, the diffusion-
recombination noise, does not add much
to the total noise and its output decreases
March 1964 Journal of the SMPTE Volume 73
very rapidly with frequency. Therefore,
in the following discussion, referring to
Fig. 4, the noise sources are simply
classified into two categories, the white
noise, which includes the thermal noise
and shot noise, and the semiconductor
noise, which is mainly the 1/f noise.
The semiconductor noise increases the
power in a given bandwidth inversely
with frequency at a rate of about 3
db/octave below the corner frequency
as shown in Fig. 4A. The current gain of
the transistor, unlike that of thermionic
devices, is not constant throughout even
the limited video frequency spectrum,
but decreases in the higher frequency
region because of the inherent transistor
time-constant. If this loss of gain in the
higher frequency region is to be com-
pensated, then the increase in noise
output takes place beyond the corner
frequency set by the device time-con-
stant. This is shown in Fig. 4B. The am-
plitudes of both semiconductor and white
noise from high-frequency planar units
are low enough for them not to degrade
the signal-to-noise ratio of the overall
system if the input current from the
image orthicon is at its normal high
level.
The general practice is to feed the
current from the image orthicon directly
into an amplifier having a flat frequency-
response without resorting to the use of a
high peaker circuit.5 By holding the
input impedance of the amplifier to
the neighborhood of 10 ohms, the corner
frequency can be moved out beyond the
useful video bandwidth. In this case no
special compensation for the input time-
constant is necessary.
There are two basic characteristics of
transistors which can play an important
part in the design of low-noise, wideband
video amplifiers such as are necessary
for a vidicon camera system.
First, the corner frequency for semi-
conductor noise as well as the upper
corner frequency decreases as the col-
lector current is decreased. Second, the
amplitude of the white noise is a function
of the collector current, and, for the
low-noise region (collector current less
than 500 ?a), it decreases almost linearly
with the collector current.
These conditions are shown graph-
ically in Fig. 5 for two arbitrary values
of collector current. This indicates that
although the general shape of the noise
energy distribution remains the same,
it can be moved up or down through the
video frequency band and the absolute
value can be varied by varying the
collector current.
By proper choice of collector current,
the area under the curve, or the total
noise energy in the video band, can be
minimized. Some of the silicon planar
transistors having a low base resistance
and a high gain-bandwidth product
exhibit a performance similar to that of a
triode having a noise resistance of 300
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SEMI?CONDUCTOR
NOISE AREA NOISE AREA
44/0
FREQUENCY
Fig. 4. Transistor noise distribution; both hori-
zontal and vertical scales are logarithmic.
VIDEO FROM
VID1CON
VIDEO OUT
Fig. 6. Typical arrangement of the hybrid cascode in-
put circuit.
to 120 ohms, or a triode with 8,000 to
20,000 ?mhos transconductance. By
using a collector current value of 100 to
200 ?a, the corner frequency of the
semiconductor noise can be lowered
below 100 cycles while the upper corner-
frequency is maintained near 10 mc,
making the noise distribution spectrum
practically flat through the video band.
One of the, interesting developments
offered by transistors is a hybrid cascode
input circuit. In this circuit configuration,
the output current from the plate of the
thermionic triode is fed into a feedback
transistor amplifier having a very low
input impedance. A typical arrangement
is shown in Fig. 6. This configuration
makes the voltage gain of the tube por-
tion of the amplifier practically zero,
thus also making the value of the Miller
capacitance zero. Reduction of the input
capacitance has a linear role in raising
the corner frequency from which the
high-peaker action must start. By chang-
ing the top half of the cascode circuit
as in Fig. ?6 from a tube to a transistor
pair, the corner frequency can be raised
by about 20% in the general electrical
and mechanical arrangement used in a
vidicon camera equipment. The result-
ant improvement in the signal-to-
noise ratio, especially in the midband
frequency area, is quite apparent.
Amplifier Requirements for
Specialized Applications
There are a number of instances where
a video amplifier having exceptional
noise performance is required. For
astronomical or space-object observation,
the image-orthicon tube must quite often
operate several lens-stops below its knee,
APERTURE RESPONSE IN %
Lai
(/)
o_
1./.1
HIGH COLLECTOR CURRENT
LOW COLLECTOR CURRENT
//
10 100
IK
10K 1001< IM 10M
USEFUL VIDEO SPECTRUM
Fig. 5. Basic characteristics of transistors; both horizontal
and vertical scales are logarithmic; frequency in cps.
100
80
60
40
20
VIDICON (40 GAUSS FOCUS FIELD)
TYPICAL COMMERCIAL 16 MM FILM'
RESULTANT APERTURE RESPONSE
Fig. 7. Aperture
16mm film.
yielding only a few tenths of micro-
amperes of video signal current. The
preamplifier for such an application
must possess an inherent signal-to-noise
ratio far greater than the unit used for
conventional vidicon camera systems
because the contribution of the noise
from the camera tube is far greater in the
image orthicon than in the vidicon, yet
the amplitude of the signal current is
comparable.
Another example is the vidicon film-
camera system, especially if the 16mm
motion-picture film is its main intended
material.
16mm film, either color or mono-
chrome, requires special attention for
processing use in a television camera
system. Because of its relatively wide
density range from the highlight to the
black, an additional gamma correction
in the order of 0.7 is essential. The
measured aperture response curve of a
commercial 16mm film is shown in Fig.
7, indicating that response is down by
approximately 10 db at 3 mc. Consider-
ing the fact that a 1-in. vidicon aperture
response is down about 6 db at 3 mc, a
total boost of 16 db at this frequency is
necessary in order to restore picture
sharpness.
It has been shown previously that a
vidicon camera system operating with a
0.3 ?a beam current and having an
amplifier with a 100-ohm noise resistance
has a signal-to-noise ratio of 200 to 1 at
1.6 mc and of 115 to 1 at 3.2 mc. With a
16-db boost applied at 3 mc, these
figures fall to 70 to 1 at 1.6 mc. Gamma
2 3 4
FREQUENCY IN MEGACYCLES
response curve of a typical commercial
Table VI. High Transconductance
Thermionic Tubes for Video Amplifier
Input Circuit.
Tube
type
Plate Tram-
supply conduct-
volt- ance
age Plate (Gm,
(Eb, current micro- (RN,
volts) (lb, ma) mhos) Gm/lb ohms)
Equiv-
alent
noise
x esist-
ance
7308*
100
30.0
25,000
0.83
100
7586t
75
10.5
11,500
1.10
200
7586$
75
21.0
23,000
1.10
100
7722*
160
24.5
33,000
1.35
80
7768
200
24.0
50,000
2.08
60
7788?
130
35.0
45,000
1.28
60
7963*
100
15.0
26,000
1.73
100
* Twin triode connected in parallel.
t Nuvistor.
Two triodes connected in parallel.
? Pentode connected as triode.
correction further degrades this figure.
Within the last few years, a number of
ultra-high-transconductance tubes have
been developed for special applications
such as telemetry receivers and wideband
IF amplifiers. A transconductance figure
of 50,000 ?ohms is realizable in these
tubes, and by careful selection of plate
and grid bias voltages to minimize the
flow of grid current, an equivalent
noise resistance in the neighborhood of
60 ohms can be obtained. The relative
performances of various tubes in this
category are listed in Table VI.4
The signal-to-noise ratio realizable by
an input circuit using such a tube in a
hybrid cascode circuit is still approx-
imately 4 to 10 db above the best figure
attainable from an all semiconductor
input stage.
Sadashige: Study of Noise in TV Camera Preamplifiers
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205
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Conclusions
In the foregoing discussion, only
problems concerned with signal-to-noise
ratio are considered. Other important
amplifier characteristics are completely
ignored. We feel that a relatively straight-
forward approach offers ready solutions
to such problems as frequency and phase
responses, amplitude linearity, heat dis-
sipation and power consumption.
Even in the area of the signal-to-noise
problem, we believe that in the near
future, new semiconductor devices and
refinement of circuit configuration can
conceivably surpass the results now
obtainable only with the best thermionic
tube amplifiers.
Acknowledgment: The author wishes
to express his sincere thanks to Dr. H. N.
Kozanowski, Manager, Advanced De-
velopment, Broadcast and Communica-
tions Products Div., Radio Corp. of
America, for his helpful suggestions and
encouragement in preparing this paper.
References
1. E. G. Ramberg, IRE Trans., PGME, Dec.
1958.
2. R. G. Newhauser, "New television camera
tubes in perspective," Jour. SMPTE, 70:
979-982, Dec. 1961.
3. L. E. Weaver, "The measurement of random
noise in the presence of a television signal,"
BBC Engineering Div. Monograph, March
1959.
4. "Amperex application bulletin for tube type
7788," Amperex Electronic Corp., Hicks-
ville, LI., N.Y., 1961.
5. Yasushi Fujimura, "Study of transistor video
amplifier with feedback loop," Tech. J.,
Japan Broadcasting Corp., No. 10, pp. 689-
697, Nov. 1962.
6. B. H. Vine, "Analysis of noise in the image
orthicon," Jour. SMPTE, 70: 432-435, June
1961.
Some Photographic Studies of
Optical Masers
Three methods for recording properties of optical maser emissions are discussed.
First, a series of 400,000-picture/sec records were made of the maser emission.
Second, the polarization of a ruby optical maser was recorded with a unique high-
speed photographic technique. Third, the coherence of maser emission was ex-
amined with a wavefront shearing interferometer and recorded with a conven-
tional 35mm camera. These techniques and some initial observations that were
made of maser emissions are described.
LTHOUGH many high-speed cameras
A
have been devised, a general purpose
camera which is best suited for all appli-
cations has not been developed. Thus,
in the field of high-speed photography
Many *different and varied designs are in
current use. Each has its respective ad-
vantages' and disadvantages which pre-
clude or, lirnit its use for certain applica-
tions. ,
A fiber-optics camera, which was origi-
nally designed to take x-ray pictures,
has proved to be a valuable instrument
for recording maser emissions. It records
series of 75 pictures at the, rate of 400,000
pictures/sec with a resolution of 32,000
image elements. This camera, which was
developed by ,J. S., Courtney-Pratt," has
two distinct advantages: (1) light is
collected and transmitted with a high
efficiency to a photographic plate with a
consequent reduction in the light re-
quired by a factor of 10 to 100; and (2)
the geometry of the design allows a
minimum movement of the photographic
emulsion to record separate images. As
a result, the recording rate can be in-
creased by a large factor.
This paper describes investigations
made of the spatial distribution, polari-
Presented on October 17, 1963, at the Society's
Technical Conference in Boston by Thomas J.
Pavliscak, Bell Telephone Laboratories, Inc.,
6200 E. Broad, Columbus 13, Ohio.
(This paper was first received on September 19,
1963, and in final form on February 10, 1964.)
206
zation and coherence of maser emission.
Only the spatial distribution and polari-
zation were recorded with the fiber-
optics camera; coherence was recorded
with a conventional 35mm camera.
A Fiber-Optics Image Dissection Camera
An image dissection camera is one
which records an image by sampling the
light intensity at a large number of points
uniformly spaced over the image. Hence,
the picture is "dissected" into a? large
number of dots of varying intensity much
as in a newspaper picture. Similarly the
larger the number of dots per picture the
better the picture 'quality. If the dots are
very small, they can be separated by
relatively large distances, but still pro'-
vide sufficient information to produce
a picture of good quality. Thus, many
pictures (arrays of dots) may be recorded
interspersed on a single photographic
plate.
The dissection of the image can be
achieved with a fiber-optic block, shown
schematically in Fig. 1. The block is
composed of an array of parallel light
guides imbedded in an opaque matrix.
Each light guide is a 0.001-in.-diameter,
1-in.-long flint glass fiber with a thin
concentric sheath of crown glass which
transmits light by total internal reflection
along the fiber. Hence, light from an
image on one side of the block is trans-
mitted to a photographic emulsion on the
opposite side via each of the fibers. By
March 1964 Journal of the SMPTE . Volume 73
BY THOMAS J. PAVLISCAK
moving the photographic plate rapidly
past the fiber-optic block, each fiber will
trace a streak record of the variation of
the image light intensity on the photo-
graphic emulsion. Individual pictures
are composed of an array of dots re-
corded simultaneously, i.e., one dot
from the streak record produced by each
fiber. In order to select all those dots
corresponding to one picture and ex-
clude all others, the processed photo-
graphic plate must be aligned in the
camera in precisely the position it oc-
cupied when it was exposed. Thus, the
fiber-optic block will mask off all image
elements not corresponding to a single
picture. To aid in this alignment a small
xenon flashlamp which produced a
flash lasting 2 or 3 ?sec (microseconds)
was triggered in synchronism with the
optical maser. Light from the flashlamp
was allowed to fall in a narrow strip along
one edge of the fiber-optic block. This
produced a single set of sharply defined
dots which greatly expedited the align-
ment of the photographic plate. With the
processed photographic plate properly
aligned, the camera mechanism can be
operated slowly by hand so the recorded
sequence can be viewed in slow motion
or copied with any convenient camera.
Three models of a fiber-optics image
dissection camera have been designed
and built by J. S. Courtney-Pratt.
The first could record 6 to 10 pictures
with 20,000 image elements (40 lines of
500 dots per line), and the second could
record 80 pictures with 1,800 image
elements. The latest design can record
75 pictures with 32,000 image elements.
The principal advantage in this design
is the elimination of a mechanical shutter
that is necessary in conventional high-
speed camera design. A detailed dis-
cussion of the camera is given by J. S.
Courtney-Pratt.1?
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Ruby Optical Maser
The light emitted by a pulsed ruby
optical maser is widely known to occur in
a series of short bursts called spikes.
Each spike commonly has a duration of
only a few microseconds, but the whole
series of such spikes usually occupies an
interval of 50 to 200 ?sec, each time the
ruby is pumped above threshold. In-
dividual spikes of light are not of uni-
form intensity across the whole end face
of the ruby. Possibly each filamentary
spike represents oscillation in one mode.
The study of these modes of oscillation
would seem to require observation of the
individual filaments in their natural
sequence. Thus, high-speed pictures
appear to be useful for recording the
temporal and spatial variation of the?
light output.
? The maser crystal used was a "pink"
ruby rod containing approximately
0.05% Cr2O3, 0.57 cm in diameter by
5.09 cm long, with its C-axis* approxi-
mately 60? to the cylindrical axis. The
rod ends were coated with silver in such
a way that one end was opaque and the
other a few per cent transmitting. It was
held cantilever fashion along the axis
of a General Electric FT524 helical
xenon flashlamp. A 5,000-volt power
supply was used to charge a 500-?f
capacitor, which in turn discharged
through the flashtube when a triggering
voltage was applied. In addition, a
290-?h inductor was connected in series
with the capacitor to protect the flash-
tube by limiting high current surges.
As shown schematically in Fig. 1, the
apparatus was arranged so that the
maser emission emerged from the par-
tially silvered end of the crystal and
passed through a 6,950 A interference
filter. It then 4ruck an 11-cm lens,
which foeused ap eight-times-enlarged
image of the maser face on the fiber-
optic block of the camera, where the
emission was recorded on Kodak type
I-F or IV-F microflat, 4 by 5 by 0.25-in.,
glass photographic plates.
Many series of high-speed pictures of
the maser emission were recorded.
Unscrambled records of these series were
copied in turn with either a Contax 35-
mm camera or a Bolex 16mm eine cam-
era. A single enlarged unscrambled
picture is shown in .Fig. 2, and the odd-
numbered frames of a 400,000-frame/
sec sequence are shown in Fig. 3. Same-
what similar sequences of pictures of
maser emissions have been made with a
Beckman and Whitley, Model 102,
framing camera at 500,000 frames/sec
by Dayhoff and Kessler." These pictures
were recorded on 35mm film in a series
of 80.
Examination of Fig. 3 reveals that
individual spikes of light are emitted in a
seemingly independent fashion, with the
pattern of light varying in some erratic
* The Caxis is the crystal orientation axis.
5000
4000V D.C.
WORKING
2900
45V FROM BREAK
l'E---WIRE TRIGGER
PULSER
HT
LIGHT TIGHT BOX?
FLASH 787
PNEUMATIC
i/?'DRIVE
HT
TRIGGER
RUBY
A
SLIT
1k
\--FILTERS
\--II CM. LENS
.XENON HELICAL
FLASH TUBE
LIGHT TIGHT
BOX
FOCUSED ADAGE
OF'TNE RUBY
Fig. 1. The arrangement of equipment for recording
maser emission.
?
ffs.
PHOTOGRAPHIC
PLATE
FIBER OPTIC
IMAGE DISSECTION
BLOCK
PLATE CARRIER
.45V
BREAK WIRE
\JOGGLE
RELEASE CATCH
Fig. 2. A photograph of a maser emission obtained with a fiber-optics camera.
manner from picture to picture. In
general, the patterns observed do not
seem to have any simple geometric con-
figuration, but the emission has been
observed to sweep over the picture from
one area to another; and certain frames,
such as number 25 in Fig. 3, appear to
bear semblance of an interference pattern.
Series of pictures made by Dayhoff and
Kessler with the Beckman and Whitley
camera have revealed similar patterns in
the emission, viz., "Bar"-type patterns
that swept over the picture for a duration
of essentially 5 ?sec were observed."
If events of very short duration oc-
curred in the maser emission, it is con-
ceivable that some may have been ob-
scured by an integration of the light
intensity on the photographic film, for
the interval of time that is necessary to
move one fiber diameter. Since approxi-
mately 2 ?sec are required to move a
fiber diameter, events of shorter duration
may be obscured. Thus, the fiber-optics
camera may not record all the details of
the emission. On the other hand, the
Beckman and Whitley camera will not,
record events occurring between frames;
consequently, the time resolution Of ?
both cameras is limited to essentially
2 ?sec. Since the individual spikes in the
emission may have a duration of less than
Pavliscak: Photographic Studies of Optical Masers 207
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this, it is difficult to use these cameras to
obtain a great deal of quantitative data
about them. Nevertheless, both cameras
provide good pictures of the vacillation
of the emission for speeds of essentially
one half million frames per second.
In particular, the picture sequences taken
with the fiber-optics camera and un-
scrambled with the Bolex 16mm camera
can be shown in cine fashion and vividly
illustrate the process.
Perhaps the only camera currently
available that could obtain pictures
with a greater time resolution is an
3
5
7
9
13
15
17
19
21
23
25
27
29
31
33
35
37
39
image converter camera. Space Tech-
nology Laboratories, which produces
such a camera, has recorded some
optical maser pictures with exposure
times of only 5 to 200 nsec (nanoseconds),
and between 15 nsec and 10 msec, picture
separation. The primary disadvantage
with this camera is that only three pic-
tures can be recorded in sequence with
present models. This restriction, which is
imposed by the construction of the
camera, might be somewhat reduced by
current . plans to provide the camera
with a movable film. This would allow
41
43;
45
47
49
51
53
55
57
59
-
Fig. 3. A sequential record of maser emission obtained with the fiber-optics camera.
61;
631
65
67'
69
71
73
75
77
79
208
^
March 1964 Journal of the SMPTE Volume 73
series of three pictures each to be made
in sequence at a repetition rate of 2 kc/
sec. Although this seems a little slow,
the latitude of selection, allowed in ex-
posure, and picture separation help to
compensate for this disadvantage.
Many other possibilities exist for the
recording of high-speed maser phe-
nomena. For example, one might con-
sider a Kerr cell used in conjunction with
an image dissection camera. With this
arrangement both the exposure and the
exposure interval could be selected.
However, this combination of devices
is similar to that already utilized in the
image converter camera. Thus, although
many such arrangements of existing
equipment could be combined, a real
advantage may not be obtained. Many
combinations of devices, which have
proved useful in high-speed photography,
have been discussed by J. S. Courtney-
Pratt.8,9,12'13
Pictures that were recorded of the
maser emission with the fiber-optics
camera showed the general characteris-
tics of the emission, but they were not
fast enough to obtain clear records of the
individual filaments and spikes. D. F.
Nelson and others have emphasized that
different rubies have different emissions.23
The emission pattern is apparently a
function of the crystal perfection and the
flatness of the ends. Thus, although
photographic records for many different
crystals would be desirable, one would
not expect to observe consistency from
crystal to crystal.
Polarization Experiment
High-speed pictures of optical maser
emission have not included any indica-
tion of the polarization of the emitted
light. In order to study polarization as
a function of space and time, sequences
of pictures were made of the light after it
had passed through a specially de-
signed optical system. Since the emission
time is so brief for a pulsed optical maser,
a well-known device such as a Soleil
Compensator cannot provide a con-
tinuous history of the polarization on the
maser surface. To effect the desired
response, a prism (Fig. 4) was con-
ceived by J. S. Courtney-Pratt and
constructed by the Karl Lambrecht
Company of Chicago. It is composed of
two identical quartz wedges of opposite
rotations, i.e., righthand and lefthand
quartz, cemented together with an
optically inactive cement.
Plane polarized collimated light that
is passed through crystal quartz, parallel
to the optic axis, has the plane of polariza-
tion rotated in direct proportion to the
thickness of the quartz traversed. This
rotation is 15.75?/mm for a wavelength
of 7,000 A. A narrow pencil of plane
polarized light ao, shown in Fig. 4, will
pass through the length of the prism
undeviated, since the amount of right-
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hand and lefthand quartz traversed is
equal. On the other hand, for a narrow
pencil of plane polarized light to either
side of ao (e.g., al or a2) the plane of
polarization will be rotated in either the
righthand or lefthand direction, in
proportion to the difference between the
amount of 'righthand and lefthand
quartz traversed. The maximum rotation
of 197? occurs at either edge, where a
differential thickness of 12.5 mm exists.
Thus, if the prism is illuminated by plane
polarized light and viewed through a
Polaroid sheet used as an analyzer, three
lines will in general be visible. If the
Polaroid sheet is aligned for maximum
transmission in the absence of the prism,
these lines wil correspond to transmission
at the center of the prism where the plane
of polarization is undeviated, and near
the edges where the plane of polariza-
tion is rotated +180? and ?180?.
When the plane of polarization of the
source is rotated, the three lines trans-
mitted will be displaced to the right or
left, respectively, for clockwise or counter-
clockwise rotation. Thus, if the polari-
zation was rapidly varying, one could
observe that fact by recording the rapidly
varying horizontal displacement of the
lines.
To determine the polarization of a
narrow pencil of light, it is necessary that
the light be diverged into a horizontal
line, whose width is equal to the width of
the prism. Thus, light will be transmitted
through the prism polarizer combination
at three points as previously described,
and the position of the maxima and
minima of intensity will indicate the
polarization of the source. If a series of
narrow pencils of light were aligned in a
vertical line with respect to the prism,
they could be examined simultaneously.
Each of the narrow pencils along the
original vertical line would be spread in
the horizontal plane, and then would be
transmitted through the prism as pre-'
viously described. If the entire source
were of the same polarization, the light
transmitted by the prism polarizer com-
bination would appear as three vertical
lines. Conversely, if the narrow pencils
were not of the same polarization, dis-
continuities or slopes would be visible in
the transmitted lines. The relative
horizontal displacement of these dis-
continuities would, thus, be indicative
of the changes in polarization.
The property that makes the instru-
ment particularly useful is the complete
absence of any mechanical adjustment
to determine changes in the polarization.
A high-speed photographic record of the
patterns transmitted by the prism pro-
vides a (continuous) history of the
polarization of all points on a line source.
Owing to its unique properties, the prism
is particularly well suited to the study of
the polarization of the emission from a
ruby optical maser. In order to apply the
technique, however, a slit must be used
I97?CCW
OPTIC
OF BOTH R.H.
& L.H. QUARTZ
Fig. 4. Courtney-Pratt 197*CW
prism. ?
HT
MASER
FILTER--
I TRIGGER
A
II CM. LENS
CONVEX
CYLIN-
D.RICAL;77
LENS.
CONCAVE
CYLINDRICAL
LENS
SLIT
(a) VIEW OF HORIZONTAL PLANE
WIDTH
(b) VIEW OF VERTICAL PLANE
CAMERA
POLAROID SHEET --
LENGTH
COMPOSITE LEFT
& RIGHT HAND
QUARTZ PRISM
? - --
ILLUMINATION
FROM A
LINE SOURCE
FOCUSED
LIGHT FROM
THE RUBY
Fig. 5. The arrangement of equipment for obtaining polarization records.
to restrict the area of the maser under
study to a line source. A slit for this pur-
pose might properly be placed at the
ruby surface, but the physical arrange-
ment of the apparatus would make this
inconvenient. Instead, the slit was placed
in the optical system so that it is equiva-
lent to one placed on the ruby. A sketch
of the arrangement of the apparatus is
shown in Fig. 5.
The system was arranged in such a
way that only one selected line on the
ruby surface was examined for polariza-
tion at a time. Figure 5(b) indicates that
an image of the emission from the end
face of the ruby is formed on the prism in
the vertical plane by an 11-cm lens;
the light in this plane passes through the
cylindrical lenses parallel to the cylin-
drical axis so that it is undeviated.
Conversely, in the horizontal plane?
Fig. 5(a)?the light passes through the
cylindrical lenses transverse to the
cylindrical axis so that the light is
deviated. Consequently, in the hori-
zontal plane, light traversing the 11-cm
spherical lens is focused on a slit by a
convex cylindrical lens which restricts
the emission to a line source. This light
Pavliscak: Photographic Studies of Optical Masers
is then passed through a concave cylin-
drical lens which ? spreads the line to a
width equal to that of the prism. With
the fiber-optics camera properly po-
sitioned with respect to the prism, the
polarization of the emission of many
points along a line on the end face of the
ruby can be recorded simultaneously.
The fiber-optics camera was used to
record many sequences of polarization
records, an example of which is shown
in Fig. 6. These records showed little
deviation from a single plane polariza-
tion for experiments made with a ruby
whose C-axis was at 60? to the rod axis.
Nelson and Collins have reported' no
deviation or departure for the whole of the
emission in an experiment that used two
phototubes and a Glan-Thompson
prism." Consequently, further study
seems worth while, particularly with the
ruby C-axis parallel (or nearly parallel)
to the cylindrical axis. At the time this
experiment was performed, .additional
investigations with crystals possessing
different crystalline orientations were
desired; however, suitable crystals were
not available at that time. Initial plans
also included investigations of the polari-
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209
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
A....v.* .***
s ? *
Fig. 6. A polarization record.
HT
MASER
FILTERS
SODIUM OR WHITE
\ I / ------LIGHT REFERENCE.SOURCE
//1
?LENS & IRIS
\ /
\
-.1 ?ADJUSTABLE SLIT
\
, 8 IN. LENS
PIN HOLE
/ .002 IN. DIA.
/
',? I
TRIGGER ?
1.5 IN. LENS
PARTIALLY
SILVERED LENS
HT
MASER
i.5 M. LENS
PARTIALLY SILVERED
MIRROR FOR USE WITH
REFERENCE SOURCE
PIN HOLE
TRIGGER
CAMERA
7-1/4 IN. LENS
ii CM. LENS
500wf 29001
MICROSCOP
II
1
GROUND GLASS
SOURCE
Fig. 8. The application of a microscope for aligning equip-
ment.
GRUBS & PARSONS
INTERFEROMETER
sow 2soith
Fig. 7. The arrangement of equipment for an interference experiment.
zation of the neodymium t maser. The
only alteration in the arrangement of
the apparatus would be the substitution
of an infrared polarizer sheet, type HR,
in place of the ordinary polaroid which
was used for the ruby. However, the
difficulties encountered in obtaining
good photographs of the infrared emis-
sion with the fiber-optics camera pre-
cluded such an investigation. In general,
however, one would expect the neo-
dymium emission to be unpolarized,
since' it is not crystalline in nature and
hence would be expected to have no
preferred direction for polarization.
It can be concluded that the emission
frorn a ruby optical maser with its C-
axis 60? to the rod axis is approximately
plane polarized. The emission may have
consisted of many spikes that originated
from different quanta and are individ-
ually but not collectively plane polar-
ized. Further study of polarization,
t Neodymium is another of the many active
maser materials.
210
particularly with the ruby C-axis paral-
lel (or nearly parallel) to the cylindrical
axis would appear to be useful.
Interference Experiment
Although various interference ex-
periments have been performed with
ruby optical masers, an experiment with
a wavefront shearing interferometer has
not been reported. A major advantage of
the instrument is the property that an
entire wavefront is superimposed upon
itself with some lateral displacement,
hereafter referred to as shear. As a result,
the instrument allows one to test points
on the entire wavefront simultaneously
for coherence. The II/articular points on
the wavefront that are tested are de-
termined by the size of the shear ad-
justment. The instrument also has a
second advantage, i.e., characteristics
of the wavefront can be obtained from a
computation performed on data pro-
vided in the interference pattern.',4,5,"
Other interference experiments which
have been performed were not as
versatile, e.g., a two-slit Young's in-
terference experiment is limited to the
study of selected points, rather than the
entire emitting area of the maser.24
It was hoped that the experiment,
with the wavefront shearing interferom-
eter, would verify conclusions made re-
garding the distance over which the emis-
sion was coherent and, furthermore,
would indicate its spatial distribution.
The instruments used were Grubb-
Parsons wavefront shearing interferom-
eters, models WS1 and WS3. The WS1
was a fixed unit in which both shear and
tilt were permanently adjusted to pro-
vide a shear angle and fringe separation
of 0.01 radian. The WS3 instrument was
provided with both a variable shear
and tilt; shear was adjustable from 0 to
0.05 radian, and fringe separation was
adjustable to a minimum of 0.0015
radian.
In order to employ the interferometer,
an optical system was designed in which
the interferometer could be calibrated
with a reference source, prior to operat-
ing the maser. The optical arrangement
is shown in Fig. 7. Emission from the
maser was first incident on a lens of
focal length 1.5 in. positioned approxi-
mately 3 in. from the crystal surface.
(This distance was made as small as prac-
ticable to minimize the uncertainty in
the light emission due to the diffraction
spread of the beam.) A lateral un-
certainty of about 0.006 in. in the point
of emission resulted from the 3-in. separa-
tion. The 1.5-in, lens focused light on a
pinhole which eliminated light due to
oblique modes. The effectiveness of this
restriction to unidirectional modes was, of
course, determined by the size of the
pinhole. Light passing through the pin-
hole was focused (by a combination of
two lenses) on one of the surfaces within
the interferometer. Interference pat-
terns, in the sheared wavefront leaving
the interferometer, were observed directly
and recorded on a photographic emul-
sion.
A reference source, which was focused
on an adjustable slit, was arranged at
right angles to the ruby axis. Light pass-
ing through the slit was, in turn, focused
by means of a partially silvered mirror
on the same pinhole as that on which
March 1964 Journal of the SMPTE Volume 73
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
the maser beam was-focused. Thus; the
light from either the reference source or
the ruby could be selected at ..will, and
passed in ,exactly the same, .,manner
through the interferorneter: , -
In order to align the optical systein,
a microscope with a beam .splitter was
emplOyed as shown in Fig. 8. Light from
a convenient source was passed ' through
the beam splitter and the objective lens
in such a manner that an image of the
pinhole could be viewed through the.
eyepiece; however,, for convenience ,the
eyepiece was removed and the irnage Was "
projected on a ground glass. If the sys-
tem is properly aligned,. some light will
pass through the pinhole and be re-
flected ,back from the: silvered ruby
surface so that it is coincident with the
image of the pinhole. A: final' cheat of the
alignment Was made by 'triggering the
Maser and observing the ground glass
for evidence of the ruby emission,, at the
position previously occupied by . the
ithage of the pinhole. Th' ,reference
source and ? the? beam-splitter position.
were then adjusted so that the path of
the light emitted from the reference
source was Coincident with that, of the
ruby iburce. The microscope was then.
removed, and two lenses .were ,added
which focused the wavefront emerging
from the pinhole, at a point where' the
interferonaeter could be placed:: Finally,
the interferometer was ?positioned on a
platform that allowed micrometer adjust-
ments along the _X-, Y-, and Z-axes.
Initial interferometer'adjustmenfswere
made while observing a sodium reference
source. These adjustments Were re-.
peated; ' while viewing- a White-light
source, to equalize 'the., path lengths
within the interferometer; proper ad=
justment was indicated by the appearance.
of a central black fringe in the inter-
ference pattern. $ Interference patterns
were recorded on a photographic 'emul-
sion, held in, a' suitable position With re-
spect to the interferometer; While the
Maser was operated Above, tlireshold.
Many interference patterns were re-
corded with various shear settingS -so
that coherence could be studied,H
Seyeral other studies of coherenee
have been made with other techniques,
such as A Young's experirnent.24 Results
from the'Young's experitherit indicated
that the coherent emission 'was .r.e-
stricted to areas not greater than 0.5 'mm
distant froth' one another. Another ex-
periment that ha's been performed con-
sisted of the superposition of the einission
from the opposite ends of a ruby. Maser."
One might expect that the ihterference
patterns obtained with the wavefront
shearing interferometer_worild be .similar ?
N' rather annoying, experimental. difficulty
encountered V?ai the appearance of a, third
image in the interference pattern Mid& `certain
conditions Considerable difficulty ,:was e.xperi-1
enced in eliminating this irnage_arid obtaining
proper adjustment.
,
to this ekperitnent Jiecause the maser
emission consists of nearly plane standing
waves Consequently the emitted light
frOin either end of the crYstal would have
:a :,,fiXed Phase difference and would,
therefore, be interferable.Al2 examina-
tion of the interference patterns did in-
dicate definite .similarities.
It Was hoped that the interference pat-
.
term, obtained with the wavefront shear-
Fig. 9. Records of interference patterns.
ing interferometer, would indicate the
manner in which . coherence existed in
the ruby' emission. If the emission was
not coherent over ' the entire', emitting
area, the photographs Might' Show
patches of fringes On a fringeless field,
thus indicating the spatial distribtition,of
the coherent light. Such results ,.would be
useful in studying the Origin of the
oscillations. Another observation might
be the appearance of discontinuities or
bifurcations in the fringe patterns;
Pavhscak Photographic Studies of Optical Masers
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? ?
211,
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this would indicate general boundaries
where discontinuities in coherence ex-
isted. No evidence of either was obtained.
However, contrast was observed to
diminish to the vanishing point with in-
creased traverse shift. This diminished
contrast indicated that coherence does
not exist for points too far apart.
For very small values of shear a rather
uniform fringe pattern over the entire
emitting area was observed as shown in
Fig. 9(b). For large shears the resolution
of the fringes was reduced, as shown
in Figs. 9(c) and 9(d). In order to ob-
tain maximum resolution of the fringes,
it was necessary to eliminate "off axis
modes" of oscillation, which tend to
obscure the fringe pattern. Minimiza-
tion of these modes was achieved by
operating the maser just above threshold
with the previously mentioned pinhole
in place. Two different sized pinholes
were used for the photographs taken;
they were 0.5 mm (0.0197 in.) in diam-
eter, and 0.04 mm (0.0015 in.) in diam-
eter. Data taken indicated that the
0.5-mm-diameter pinhole is virtually
useless for restricting the unwanted
modes; whereas, the 0.04-mm-diameter
hole was effective. The effectiveness of the
0.04-mm pinhole is demonstrated by the
clear fringe pattern in Fig. 9(f) and the
virtual absence of a fringe pattern in Fig.
9(e).
When the maser was operated below
threshold, the fringes were observed to
disappear, as we would expect, since
natural fluorescence is not coherent.
Figure 9(f), made with the small pinhole,
shows no discontinuity in the interfer-
ence pattern, thus indicating that the
emission is coherent for a shear of 0.30
mm. In Fig. 9(g) the shear was increased
to 0.51 mm, and a mosaic pattern with
little evidence of coherence was ex-
hibited. The circular patterns evident in
Fig. 9(g) are probably diffraction pat-
terns from the dust particles on the lens
in the optical system. Photographs taken
with shear settings greater than 0.30 mm
but less than 0.51 mm showed a gradual
diminishing in resolution and contrast
until the fringes were no longer dis-
cernible. No sudden changes in fringe
patterns were observed for a small change
in shear. From the data taken, it was con-
cluded that the emission was coherent
for at least a distance of approximately
0.45 mm on the end face of the maser.
This identical experiment could be
performed with a diffraction limited
optical oscillator. Such a device has been
described for which the output beam di-
verges less than twice the diffraction
limit." This arrangement eliminates the
loop gain of the "off axis modes" and,
consequently, provides a high Q for the
axial mode of oscillation. Thus, a narrow
beam with fewer divergent modes is ob-
tained. The experiment could also be
performed with a gas optical maser.
Greater monochromaticity of the gas
212
maser emission might allow examination
of fringe patterns with very large shears.
One might also consider performing this
experiment with a Mach-Zender inter-
ferometer, rather than the Grubb-Parsons
instrument; however, this was not done,
since it did not seem to provide any real
advantage.
It may be concluded that the coher-
ence of the emission seems to be uniform
over the surface of the ruby, when the
areas considered are not separated by
more than 0.45 mm, since no deviation
from this has been observed. Irt addition,
no sharp discontinuities in coherence
were found to exist over the entire emit-
ting area of the maser. These results agree
with the results of Nelson and Collins.24
Nevertheless, it seems advisable that
additional data should be taken, to search
more extensively for unique features
which might be discernible in the
emission. In particular, high-speed pic-
tures of the interference patterns seem to
be warranted.
Infrared Maser
An effort was made to obtain pictures
of the emissions from an infrared maser
with the fiber-optics camera using the
same method described for the ruby
maser. The particular material used was
neodymium or specifically, 2% by
weight Nd203 in barium crown glass,
prepared by the American Optical Co.;
primary emission for it occurs at a wave-
length of 1.06 microns in the infrared.
Several pictures were recorded on Kodak
type 1LZ photographic plates. However,
they exhibited poor resolution because of
a surprisingly high infrared transmission
in the sheath portion of the fiber-optic
block. Consequently the pictures were of
little use. This problem could be elimi-
nated by using a fiber-optic block with
sheath portions that are opaque in the
infrared.
Conclusions
The application of three new photo-
graphic techniques for recording the
properties of optical maser emission have
been described. Some particularly note-
worthy observations were made from the
limited data that were obtained. First,
the emission of a ruby optical maser with
its C-axis oriented 60? to the rod axis is
approximately plane polarized. Second,
the emission of such a maser appears to be
uniformly coherent across the end face of
the maser. This coherence diminishes
as the distance between the areas under
consideration is increased. The apparatus
used could not detect coherence for
areas separated by greater than 0.45 mm.
Acknowledgment: I would like to express
my appreciation to J. S. Courtney-Pratt
for his help and encouragement during
the various phases of the experiments.
I would also like to thank J. W.
McLaughlin for helping in the alignment
and operation of some of the equipment
and for unscrambling some of the
sequences with the Bolex cine camera.
References
1. W. J. Bates, "A wave front shearing interfer-
ometer," Proc. Phys. Soc. (London), 59: 940,
1947.
2. M. Born and E. Wolf, Principles of optics
Pergamon Press, New York, 311-315, 1959.
3. G. D. Boyd and H. Kogelnik, Private com-
munication.
4. D. S. Brown, "The application of shearing
interferometry to routine optical testing,"
J. Sci. Instr., 32: 137-139, Apr. 1955.
5. D. Brown, "A shearing interferometer with
fixed shear and its application to some prob-
lems in the testing of astro-optics," Proc.
Phys. Soc. (London), B, 67: 232, 1954.
6. G. Clark, S. Ridgway, R. Wuerker, and
C. York, High speed photographic study of
the structure of ruby laser emission, STL Prod-
ucts.
7. R. Collins, D. Nelson, A. Schawlow, W.
Bond, C. Garret, and W. Kaiser, "Coherence,
narrowing, directionality and relaxation
oscillations in the light emission from ruby,"
Phys. Rev. Letters, 5: 303-305, Oct. 1, 1960.
8. J. S. Courtney-Pratt, "Fast multiple frame
photography," J. Phot. Sci., 1: 21, 1953.
9. J. S. Courtney-Pratt, "Image converter
tubes and their applications to high speed
photography," Phot. J., 92B: 137, 1952.
10. J. S. Courtney-Pratt, "A fiber-optics
camera," 6th Intern. Congr. High-Speed Phot.,
Scheveningen, The Hague, Netherlands,
1962; Proceedings, H. D. Tjeenk Willink &
Zoon N. V., P.O. Box 113, Haarlem, The
Netherlands.
11. J. S. Courtney-Pratt, "Some uses of optical
masers in photography," Jour. SMPTE,
70: 509, July 1961.
12. J. S. Courtney-Pratt and D. P. C. Thackeray,
"Apparatus for high speed photography,"
Proc. Intern. Congr. High-Speed Photography,
3rd, London, 1957. See also J. Phot. Sci., 5:
32, 1957.
13. J. S. Courtney-Pratt, "A review of the
methods of high speed photography,"
Repts. Progr. in Phys., 20: 319-432, 1957.
14. E. Dayhoff, and B. Kessler, "High speed
sequence photography of a ruby laser,"
Appl. Optics, 1: May 1962.
15. G. E. Devlin, Private communication.
16. J. Ditzenberger, Private communication.
17. R. L. Drew, "A simplified shearing inter-
ferometer," Proc. Phys. Soc. (London), B, 64:
1005, 1951.
18. V. Euthor, and J. K. Neeland, "Observa-
tions relating to the transverse and longi-
tudinal modes of a ruby laser," Appl. Optics,
7: July 1962.
19. P. Kisluik, and D. Walsh, "The interference
between beams from the opposite ends of a
ruby optical maser," Appl. Optics, 1: Jan.
1962.
20. J. Kotik, and M. C. Newstein, "Theory of
laser oscillations in Fabry and Perot resona-
tors," J. of Appl. Phys., 32: Feb. 1961.
21. M. Lipsett, and M. Stranberg, "Mode
control in ruby optical masers by means of
elastic deformation," Appl. Optics, 1: May
1962.
22. J. McKenna, Private communication.
23. D. F. Nelson, "The polarization of output
from a ruby optical maser," J. S. Singer,
ed., Advances in Quantum Electronics, Columbia
University Press, Ness' York and London,
1961.
24. D. Nelson, R. Collins, K. Rodgers and
J. Ammons, "Spatial coherence in the
optical maser," J. Appl. Phys., 32: 739-740,
Apr. 1961.
25. S. Porto, and D. Wood, Private communica-
tion.
26. A. L. Schawlow, "Infrared and optical
masers," Solid State J., June 1961.
27. A. L. Schawlow, "Optical masers," Sci.
American, 204: June 1961. ?
28. J. Skinner, and J. Geusic, Private communi-
cation.
March 1964 Journal of the SMPTE Volume 73
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: ?;?
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
A New Heat-Developable
Motion-Picture Print Film
A dry photographic system applicable to the motion-picture, television and
educational film industries. Metro-Kalvar, is described. The system is based upon
the phenomenon of light scattering accomplished within a film of thermoplastic
resin coated upon a base of transparent polyester. This basic system of photog-
raphy utilizes ultraviolet exposure and heat development. Details about its depar-
ture from traditional motion-picture print materials and procedures are outlined.
Developmental tests and equipment are discussed.
The Basic Kalvar Process
The Kalvar Photographic Process is
based upon the phenomenon of light
scattering, rather than upon that of light
absorption as in conventional silver
halide materials. The two cases are com-
pared in Fig. 1, where the incident light
is absorbed by the silver grains within the
developed silver halide film and the in-
cident light is reflected and refracted by
the scattering centers within the de-
veloped Kalvar film. The film consists of
a thermoplastic resin, coated upon a base
of transparent polyester. Within the ther-
moplastic resin, which is normally coated
to a thickness of slightly less than 0.0005
in., an ultraviolet-sensitive compound is
uniformly dispersed. These molecules of
sensitizer are shown as black dots in Fig.
2. Upon exposure to ultraviolet radiation,
this photosensitive diazonium salt is de-
composed, releasing nitrogen and other
volatile products. The internal pressures
created by these decomposition products
within the thermoplastic vehicle consti-
tute a "latent image" of internal stresses.
Upon application of heat, the resin crys-
tallites soften and the gaseous decomposi-
tion products expand. A reorientation
and ordered recrystallization of the poly-
mer into microscopic vesicles takes place.
These vesicles, since they are of a differ-
ent index of refraction than the surround-
ing medium, scatter light incident upon
them and thus constitute the image. The
light-scattering vesicles vary in size from
less than 0.5 micron to 2 microns in
diameter. Unlike the bubbles that might
be formed in gelatin by a similar method,
they consist of cavities enclosed by a shell
of more highly ordered crystallites than
the surrounding medium. As a result, the
vesicles are highly resistant to environ-
mental changes and mechanical stresses
and provide an eitreniely stable image.
Sensitivity and Exposure
Kalvar film is not a camera stock. It is
Presented on October 15, 1963, at the Society's
Technical Conference in Boston, by Noel R.
Bacon (who read the paper) and Robert B.
Lindemeyer, Metro-Kalvar, Inc., 550 Fifth
Ave., New York, N.Y. 10036.
(This paper was first received on October 21,
1963, and in final form on February 3, 1964.)
a comparatively low-speed material with
primary photosensitivity in the near ul-
traviolet, peaking at 3,850 A. The
amount of radiation required to produce
maximum density at this wavelength is
about 200 milliwatt-sec/sq. cm. The spec-
tral response curve in Fig. 3 shows that
the photosensitivity is not limited to a
narrow peak but extends from below
3,500 to above 4,300 A. The film is not
photographically sensitive to ordinary
levels of visible light for short periods of
time. Exposure times are determined only
by the amount of time required to ab-
sorb the 200 milliwatt-sec/sq cm of ac-
tinic radiation. Times of less than 1/100
sec ' have provided adequate exposure.
One user of substantial amounts of heat-
developable microfilm working with a
variable aperture, continuous contact
printer-processor is currently operating
at a speed of 170 ft/min.
Medium- to high-pressure mercury-
vapor lamps which have a high intrinsic
brightness, coupled with a desirable spec-
tral output, have proved to be efficient
light sources. A high-pressure air-cooled
mercury-vapor lamp rated at approxi-
mately 1,000 w is currently employed on
one of the developmental motion-picture
printer-processors.
Latent-Image Stability
The temperature of the film during ex-
posure should not exceed 110 F. Tem-
peratures above this will result in a higher
diffusion rate of the latent-image-form-
BEFORE EXPOSURE
By NOEL R. BACON
and ROBERT B. LINDEMEYER
ing gas, with subsequent reduction of the
maximum density obtained.
Since the latent image is comprised of a
given amount of gaseous nitrogen, it has
a definite decay time dependent on the
permeability of the emulsion's thermo-
plastic vehicle to nitrogen. The decay
time can be adjusted by adding modifiers
to the basic vehicle resin to increase or
decrease its permeability. A current heat-
developable microfilm has a latent-image
diffusion time of less than 30 sec and is
finding useful application as a reversal
processed material. Metro-Kalvar mo-
tion-picture emulsions require approxi-
mately 8 hr for the latent-image gas to
escape completely. Experiments show
that the film should be developed within
3 min after exposure.
Since one of the film's major features is
its simplicity of development by heat
alone, this short latent-image life is no
problem. All equipment provides for con-
tinuous development immediately follow-
ing exposure and as an integral part of
the machine. The inherent latent-image
decay precludes the design of printing
equipment employing the "down one
side ? back the other" configuration as
SILVER HALIDE FILM ? KALVAR FILM
LIGHT ABSORPTION
LIGHT SCATTERINO:
Fig. 1. Comparison of the two systems of
photography.
AFTER EXPOSURE
crystallites ? molecules of sensitizer 0,x
amorphous polymer
Fig. 2. Schematic of Kalvar Film's process.
March 1964 Journal of the SMPTE Volume 73
AFTER DEVELOPMENT
decomposed photosensitizer
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213
.2
.1
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350 360 370 380 390 400 410 420 430
Fig. 3. Spectral response of Kalvar film.
Dp.v. (net)
Dp.v. (background) -
/
Dp.v. (net)
after 4 hours
at 150?F
It
I
140 180 220 260
TEMPERATURE ?F
Fig. 4. Kalvar film densities with constant
exposure and development time, varying
development temperature. D.p.v. =
density projection visual.
2.4
2.0
0.4
currently used in several 35/32mm high-
speed motion-picture printer applica-
tions.
Development and Image Stability
Kalvar film is developed by heat. Any
method of heating the film sufficiently
will produce the image. A wide variety of
techniques have been employed, includ-
ing heated rollers, heated platens and
even forced hot air. The calculated en-
ergy requirement to develop the image is
approximately 0.635 watt-sec/sq cm/mil
thickness of the film.
The gray scale of the light-absorption
(silver) type of photographic image is a
function of both exposure and develop-
ment; the gray scale of the light-scatter-
ing type of image is primarily a function
of exposure. To ensure optimum image
characteristics and stability, development
must be held within relatively narrow
limits. Development times are closely re-
lated to development temperatures be-
cause total development occurs at a fixed
heat level whether that level is reached
in seconds or milliseconds. Experimenta-
tion has shown a requirement for the
emulsion to come to a temperature of
240 F. This temperature was arrived at
by comparing the three curves shown in
Fig. 4. It can be seen that as the develop-
ment temperature increases, the back-
ground density of the image decreases
until approximately 220 F is reached.
The upper curve, showing net visual pro-
jection density, increases rapidly to ap-
proximately 180 F, after which only
limited increase is noted from higher de-
velopment temperature. The dotted line,
reflecting the relationship of develop-
ment temperature to thermal stability of
the image, is somewhat more critical.
This curve shows the loss in net visual
projection density after the developed
film has been subjected to 150 F for 4 hr.
Design and selection of development heat
sources for the desired high-speed opera-
tion of the motion-picture printer-proc-
essors has required careful consideration
of heat transfer characteristics .and ma-
chine speed vs. dwell-time variables.
Current practice employs a revolving
Teflon-coated aluminum drum with heat
provided by a 500-w electric blanket lam-
inated to the inside perimeter of the
drum. A precision thermostat controls
temperature to ?2 F of the desired
setting.
Fixing and Image Stability
As with most photographic processes,
a fixing technique for the heat-developed
film provides for image permanence.
After exposure and development the
nonlight-struck areas of the film still
contain undecomposed sensitizer. The
fixing technique consists of exposing the
film overall to ultraviolet light. Applying
about four times the amount required
for maximum exposure completely de-
composes the residual sensitizer. The film
must then be protected from tempera-
tures in excess of 150 F for a few hours
to permit the gas to diffuse completely
from the film. The properly exposed, de-
veloped and fixed image is one of the
most stable of all photographic images.
The thermal stability of the image is
closely related to the development tem-
perature, as discussed earlier in this re-
port.
Medium- and high-pressure mercury-
vapor lamps, which have proved success-
ful for initial exposure, function equally
well for the overall fixing exposure.
Sensitometric Characteristics
of Light-Scattering Films
As a consequence of the unique char-
acteristics of these light-scattering films,
the sensitometric units and standards cur-
rently used in silver halide photography
do not apply directly to this type of pho-
tography. For example, the meter-can-
dle-second exposure units used to express
ASA speeds of silver materials are
founded on the relative visibility curve
of the human eye and obviously cannot
be used for heat-developable films, which
are sensitive to wavelengths outside the
visible spectrum.
Similarly, the familiar sensitometric
terms, such as density and contrast, must
be redefined when applied to the proper-
ties of light-scattering materials. The de-
gree of opacity of the exposed and de-
veloped Kalvar image can be measured
in terms of diffuse transmission density as
outlined in ASA PH2.19-1959. However,
when light is incident on the exposed
and developed film sample, part of the
light is absorbed, part is reflected and
part is transmitted; the transmitted and
reflected light is highly scattered. The
visual diffuse transmission densities of the
film are quite low. In fact, the charac-
teristic curve of a typical Kalvar motion-
picture emulsion based on visual diffuse
densities has an average gamma of 0.35
and a density range of about 0.60. To
those unfamiliar with the light-scattering
type of photographic image this im-
mediately indicates an extremely low
contrast material with limited density
range.
For a photographic medium depending
on light absorption, the diffuse density is
close to the specular or projection den-
sity. This is not true for a light-scattering
system as may be seen in the generalized
schematic, Fig. 5. In any practical use, a
photographic material is viewed or pro-
jected through an aperture of finite di-
mensions, here labeled A. In the light-
scattering system a substantial portion of
the transmitted light is scattered outside
the angle over which light is collected by
the effective aperture. At the same time,
the effective density of the heat-developed
film strongly depends upon the cone an-
gle subtended by the light-gathering ele-
ment, whether it be the eye, a pro-
jector lens or the photosensitive receptor
of a densitometer. This is shown in Fig. 6
where the effective or projection density
for various apertures is plotted against
the logarithm of the exposure.
These characteristics have been taken
into consideration in the design and de-
velopment of new measuring techniques
for the photometric evaluation and proc-
ess control of Kalvar photography. The
primary objectives in the development of
these new techniques have been to, pro-
vide measurements that will readily cor-
relate with the traditions and experience
of the photographic industry and that
will accurately represent the product's
capabilities in ultimate projection view-
ing.
This departure of ultimate use condi-
tions from the conditions during diffuse
density measurement is of concern in all
types of photography. The American
Standards Association Committee on
Sensitometry is currently giving careful
consideration to this problem. A recently
created ASA Subcommittee, PH2-28,
has been charged with the responsibility
of revising the Diffuse Transmission Den-
sity Standard to include other types of
density such as projection density. The
March 1964 Journal of the SMPTE Volume 73
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Kalvar Corporation is playing an active
role on that subcommittee.
Practical Sensitometry
and Control Techniques
Current techniques employed to pro-
vide sensitometric evaluation of various
Kalvar emulsions and process control
represent only a slight modification of
procedures widely used in the photo-
graphic industry.
A sensitometer is used to expose strips
for basic emulsion characteristic evalua-
tion. This unit employs an ultraviolet
light source carefully positioned in rela-
tion to a curved aperture containing a
calibrated density modulated wedge.
Exposures are developed on a small
laboratory hot-roller capable of main-
taining set development temperatures to
? 2 F.
Sensitometric strips are read on either
a standard motion-picture densitometer
providing visual diffuse transmission den-
sities or a projection reading densitometer
with modified aperture providing read-
ings directly relatable to ultimate pro-
jection conditions. These readings are
plotted in a standard H&D characteris-
tic curve for routine evaluation of speed,
gamma, density and exposure scales.
These same readout and evaluation tech-
niques are employed for process control
where the sensitometric strips are exposed
and developed on the Metro-Kalvar
Motion Picture Printer-Processor under
varying conditions of machine speed and
light intensity.
Research and Development
The technology of silver halide pho-
tography has been evolving for over a
hundred years. The light-scattering prin-
ciple of image formation has been known
for nearly the same length of time; but it
is polymer chemistry that has provided
the means to create light-scattering
images in a practical way. Metro-Kalvar
was formed by Metro-Goldwyn-Mayer
and the Kalvar Corporation to adapt the
Kalvar Process to the motion-picture,
television and educational film industries.
Progress toward that goal has included
basic research and formulation of appro-
priate film emulsions at the Kalvar Cor-
poration in New Orleans and design,
fabrication and testing of bread-board
printing and processing equipment at the
M.G.M. Laboratories in Culver City.
The manufacture of a pre-production
prototype 16mm printer-processor has
begun at Calvin Productions in Kansas
City. The specifications for this machine
include a desk top model, an operating
speed of 70 ft/min, separate sound and
picture printing heads and 1,200-ft film
capacities.
Research has been conducted on the
problems of splicing the polyester-based
films. The cements employed with con-
ventional film splicing are ineffective with
polyesters; however, tape splicing has
been used with excellent results. High-
strength values are retained, since the
tape employed is also polyester.
Conclusion
In conclusion, it is appropriate to set
forth the major advantages of the Metro-
Kalvar System:
(1) With maximum sensitivity in the
near ultraviolet region, the need for a
darkroom is eliminated.
(2) It is a dry process, requiring no
chemicals for processing, because heat
alone develops the image.
(3) The basic formulation of materials
provides for prolonged shelf life and con-
venient storage conditions.
(4) The unique structure and distribu-
tion of the light-scattering image affords
high resolution, excellent image stability
and grain-free projection characteristics.
(5) The combination of a pre-
dominantly thermoplastic emulsion and a
tough polyester base provides for a
scratch-resistant, long-wearing film.
(6) The standard 3-mil thickness of the
high-strength polyester base allows 1,000
ft of film to be wound on a standard
600-ft reel.
(7) The combined process of exposure
and development provides immediate ac-
cess to results.
Discussion
George Lewin* (Army Pictorial Center): Is it
possible to put this Kalvar emulsion on conven-
tional cellulose acetate base?
Mr. Bacon: It is.
Mr. Lewin: Do you arrive at the optimum ex-
posure for your soundtrack by cross-modulation
or inter-modulation tests?
Walter G. Eggers (M.G.M. Laboratories, Inc.):
Conventional cross-modulation tests have not
proven, at this moment, of any value as far as
Kalvar film is concerned. The densitometry of
Kalvar is a new field, and the numbers we derive
from a densitometer that has been developed for
Kalvar film are not meaningful in the same sense
that silver halide densities are. When we try to
draw a cancellation curve we are, in some cases,
comparing apples against oranges, because the
* Deceased November 1963.
film
Fig. 5. Schematic of function of Kalvar
density.
3.0
2.5
-
1.5
tel
0 1.0
0.5
1/22
f/16
1/11
/
f/ 8
. f/4.0
. f/;.8
projection density
at various
relative apertures
diffuse density
0 5 1.0 1.5 2.0 2.5
RELATIVE LOG EXPOSURE
Fig. 6. Projection density as a function
of aperture.
two densities; that is, the density of the silver
optical transfer and the Kalvar print have to be
measured by different parameters. We have,
however, investigated this by means of listening
tests. I might ask you a question: What did you
think of the sound on this particular print?
Mr. Lewin: Well, I felt that the sound was quite
adequate. Was it area or density track?
Mr. Eggers: That's variable area.
Mr. Lewin: And is it reproduced with a con-
ventional photoelectric cell?
Mr. Eggers: The conventional cell.
Mr. Lewin: Have you been successful with the
variable-density track as well as area.
Dr. Robert T. Nieset (Metro-Kalvar): No work
has been done on variable-density pursuits.
You can see that, with the limited maximum
density that we had, the dynamic range on
variable-density recording with Kalvar would be
pretty small at the present time. I'd like to add
one other comment: since the soundhead always
looks at the soundtrack with a much smaller
physical aperture than does a projector lens, the
control of exposure with relationship to sound
and picture is not as critical as it would be in the
silver case. The density of the soundtrack, be-
cause it's being used with such a small aperture,
is always much higher than the density of the pro-
jected image.
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Re-sumers
Resumenes Zusammenfassungen
The Society is grateful to the following authors for supplying translations of their abstracts: T. J. Pavliscak?French, Spanish
German; Koichi Sada shige?German. Special assistance by Jean-Paul Vallee is also acknowledged with gratitude.
La cinematographie dans l'U.R.S.S.
V. G. KOMAR [196]
L'auteur passe en revue la situation actuelle de
l'industrie cinematographique sovietique, ainsi
que son organisation, ses techniques, son ma-
teriel et ses systemes de projection. On (Merit
brievement les applications de la photographic a
grande vitesse dans le domaine des recherches
scientifiques, le developpement des procedes
et de requipement photographique dans les
recherches interstellaires et retude des procedes
nucleaires. Les conditions techniques de la
cooperation internationale sont examinees et la
base pour rechange de films est consider&
comme un des problemes les plus serieux auxquels
les ingenieurs font face dans de nombreux pays.
Etude sur les bruits des preamplifica-
teurs de cameras de TV
KOICHI SADASHIGE [202]
Les normes de rendement des preamplificateurs
video des cameras a tube image-orthicon ou
vidicon sont bien etablies. Les recents per-
fectionnements des transistrons ont permis la
mise au point d'appareils dont le facteur de
bruit donne assez de satisfaction et le produit
gain-largeur de bande est suffisamment &eve
pour que ces appareils puissent entrer dans la
conception de toutes les cameras de TV con-
stituees d'elements solides. Cependant, lorsqu'il
est essentiel d'obtenir le meilleur rapport
signal/bruit, les tubes electroniques restent
superieurs aux transistrons pour les circuits
d'entree. Le circuit hybride a tubes et a tran-
sistrons en montage castode offre aussi des
avantages. (Jean-Paul Vallee)
Etudes photographiques sur les "Maser"
optiqu es
T. J. PAVLISCAK [206]
On passe en revue trois methodes d'enregistre-
ment des proprietes des emissions faisant usage
des phenomenes "maser" optiques. On a
commence par des enregistrements de l' emission
a 400.000 photographies par seconde. On
signale aussi l'enregistrement d'un "maser"
optique a rubis au moyen d'une technique
inedite de photographic a grande vitesse.
Finalement, on examine la coherence de remis-
sion due au phenomene du "maser" avec un
interferometre a decoupage de la forme d'onde
et on l'enregistre avec une camera ordinaire
film de 35 mm. On decrit ces techniques et
certaines des premieres observations faites sur
les emissions du type "maser."
Un noveau film de tirage cinemato-
graphique developpable ala chaleur
NOEL R. BACON
et ROBERT B. LINDEMEYER [213]
L'article decrit un systeme photographique de
type sec Metro-Kalvar applicable aux industries
de films cinematographiques, educatifs et de
television. Ce systeme est base sur le phenomene
de la dispersion de la lumiere realise a rinterieur
d'un film de resine thermoplastique reve'tu
d'une base en polyester transparent. Ce systeme
photographique de base utilise l'exposition aux
rayons ultra-violets et le developpement a la
chaleur. Les auteurs expliquent en detail les
principales differences par rapport aux matieres
et techniques traditionnelles de tirage des
films cinematographiques. L'article decrit egale-
ment les essais et l' equipement de developpe-
ment mis en oeuvre.
Cinematografia en USSR
V. G. KOMAR [196]
Se revisa el estado actual de la industria eine-
matografica en la Rusia Sovietica y se discute
su organizaci6n, tecnicas, equipos y sistemas
de proyecciOn. Se mencionan brevemente los
usos de la fotografia ultra-rapida en inves-
tigaciones cientificas, asi como el desarrollo
de procedimientos y equipos para fotografia
en la investigaciOn espacial y el estudio de los
procesos nucleares. Las premisas tecnicas para
la cooperaciOn internacional son revisadas,
considerandose que las bases para el inter-
cambio de peliculas es uno de los m?graves
problemas que confrontan los ingenieros de
muchos paises.
Un estudio de los ruidos en los pre-
amplificadores de camaras televisoras
KOICHI SADASHIGE [202]
Se formula el criterio acerca del funcionamiento
en preamplificadores de video para uso en
tubos de camara imagen-orticOn y vidic6n. Los
desarrollos recientes en transistores han pro-
ducido unidades que tienen una cifra de ruidos
suficientemente buena y un producto que
tiene una relaciOn de ganancia a anchura de
banda suficientemente elevada para ser de
utilidad en el disefio de las camaras televisoras
con luminosidad de la imagen por capas de
material fotoconductor. Cuando el mejor
rendimiento posible de selial a ruido es esencial,
los circuitos de entrada de tubos de .vacio son
siempre superiores a los transistores. Un circuito
hibrido de tubo-transistor en cascada ofrece
algunas ventajas.
Algunos estudios fotograficos de los
fenOmenos Opticos del tipo "maser"
T. J. PAVLISCAK [206]
En esta obra se estudian tres metodos para
registrar las propiedades de las ondas producidas
por los fen6menos Opticos del tipo "maser."
Primeramente se obtuvo una serie de registros
de tales ondas a la velocidad de 400.000 fotografias
por segundo. Luego, se registr6 la polarizacian
de la luz de un "maser" optic? de rubi mediante
una tecnica fotografica de gran velocidad, muy
especial. Por Ultimo, se examin6 la coherencia
de la emisiOn con un interfer6metro del tipo
de division de la forma de onda y utilizando
una camara ordinaria de 35 mm. En el estudio
mencionado se describen estas tecnicas y se
exponen algunas observaciones iniciales de los
fenOmenos aludidos.
Una nueva pelicula de impresiOn eine-
matogrifica revelable con calor
NOEL R. BACON
y ROBERT B. LINDEMEYER [213]
Se describe un sistema fotografico en seco,
Metro-Kalvar, aplicable a las industrias de
cinematografia, televisi6n y peliculas educa-
tivas. El sistema esta basado en el fenOmeno de
dispersion de la luz que se efecttia dentro de una
pelicula de resina termoplastica revestida sobre
una base de poliester transparente. En este
sistema basic? de fotografia se utiliza exposician
ultravioleta y revelamiento con calor. Se bos-
quejan los detalles de esta innovaci6n en los
materiales tradicionales de impresiOn cinemato-
grafica y se describe el procedimiento. Sc dis-
cuten las pruebas y equipos de este desarrollo.
Filmwesen in der U.d.S.S.R.
V. G. KOMAR [196]
Der gegenwartige Stand der sowjetischen
Filmindustrie und ihre Struktur, Technik,
Ausriistung und Projektionsverfahren werden
beschrieben. Kurze Behandlung der Anwendung
der Schnellphotographie far wissenschaftliche
Forschungszwecke und Entwicklung von Ver-
fahren und Geraten zur Anwendung der Pho-
tographic far Weltraumforschung und in der
Studie von Kernenergie-Vorgangen. Die tech-
nischen Voraussetzungen internationaler Zusam-
menarbeit werden untersucht und die Grund-
lagen far den Filmaustausch werden als eines
der schwierigsten Probleme der Ingenieure
vieler Lander beschrieben.
Untersuchung von Gerkuschen in Fern-
seh-Kameras
KOICHI SADASHIGE [202]
Die Arbeitsweise von Video-Vorverstarkern
far den Gebrauch mit Image Orthikon und
Vidikon Rohren ist formuliert. Karzliehe
Entwicklungen in Transistoren riefen Verbeg-
serungen in Gerausch-Pegel und Bandbreite-
Fahigkeit hervor, geniigend hoch um im Ent-
wurf von Fernseh-Kameras von solchen Fest-
leitern Gebrauch zu machen. Wo man die best-
maglichste Vorfahrung im Gerausch-zu-Signal
Pegel verwenden muss, findet man dass Rahren
immernoch der Transistoren vorgezogen werden.
Eine Mischung von Rohren/Transistoren Schal-
tung ist vorteilhaft.
Photographische Untersuchungen opti-
scher Maser
T. J. PAVLISCAK [206]
Es werden drei Methoden fiir die Aufzeichnung
der Eigenschaften optischer Maser el-al-tem
Erstens, wurde eine Reihe von Aufzeichnungen
der Maser Emissionen mittels 400.000 Aufnah-
men pro Sekunde hergestellt. Zweitens, wurde
die Polarisierung eines optisthen Rubinmasers
mittels einer einzigartigen Technik der Hoch-
stgeschwindigkeitsphotographie aufgenommen.
Drittens, wurde die Kohasion der Maser Emission
mittels eines die Wellenstirn schneidenden
Interferometers untersucht und mit einer
gewohnlichen 35 mm Kamera aufgenommen.
Es werden diese Verfahren beschrieben, sowie
einige vorher durchgeffihrte Beobachtungen
von Maser Emissionen.
Ein neues Verfahren fiir Kopierfilment-
wicklung durch Warmebehandlung
NOEL R. BACON
und ROBERT B. LINDEMEYER [213]
Der Artikel beschreibt em n trockenes photo-
graphisches System, das Metro-Kalvar-System,
mit Anwendungsbereichen in der Kinefilm-,
Fernseh- und Lehrfilm-Industrie. Die Grundlage
des Systems bildet der Lichtstreuungsvorgang,
der innerhalb eines Filmes aus thermoplastischem
Harz auf durchsichtiger Polyester-Basis durch-
gefahrt wird. Dieses Lichtbildverfahren ver-
wendet eine Belichtung mit ultraviolettem Licht
und Entwicklung durch Warmebehandlung.
Kurze tbersicht der Unterschiede gegenaber
ablichen Kinefilm-Kopiermaterial und -Ver
fahren. Erarterung von Entwicklungsver-
suchen und -geraten.
216 March 1964 Journal of the SMPTE Volume 73
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March 1964 Journal of the SMPTE Volume 73
American Standard Dimensions of
Raw Stock Cores for 16mm Motion-Picture Film
ASA
Reg. U.S. Pol. Off.
PH22.38-1964
Revision of
PH22.38-1952
? UDC 771.332
1. Scope
. This standard specifies the dimensions of 2-,
3- and 4-in, raw stock cores for 16mm
motion-picture film.
2. Dimensions
The dimensions shall be as given in the figure
and in the following table.
Dimen-
.sions
3. Concentricity Allowance
Inches
Millimeters
A
0.627
max
15.93
max
0.590
min
14.99
min
B
2 in.
1.968
? 0.010
49.99
? 0.25
310.
3.000
? 0.016
76.20
? 0.40
4 in.
4.000
? 0.016
101.60
? 0.40
C
-1.020
? 0.008*
25.91
? 0.20*
D
1.177
? 0.016
29.90
? 0.40
E
0.157
? 0.008
3.99
0.20
The concentricity of the inside and outside
' diameters of the core shall be within 0.020
Bore C to fit freely to hub with a 11000 0.004 - 0.000 in -
125.40 0.1 - 0.0mm) diameter. ? in. (0.51mm), one half of the total dial runout.
APPENDIX
(This Appendix is not a part of American Standard Dimensions of Raw
eluded to facilitate its use.)
A nominal 4-in, core is manufactured, though not cur-
rently used as a raw stock core, which is used at pres-
ent for film take-up on high-speed film printing and
processing equipment. Such cores are used so as to
minimize possible damage to film by reducing the
initial starting torque necessary for windup. (This large
core reduces the ratio of take-up tension from the out-
side of the roll to the inside of the roll, thus allowing
greater film tension control)
The keyway is provided as a means of driving the core
for take-up or of providing holdback tension on a feed
spindle. The dimensions of the keyway shall be ade-
quate to clear a square-ended key.
The manufacturer may, at his discretion, reduce the
cross-sectional area of the core, so long as it does not
interfere with the stated dimensions, and in addition
may provide a slot into which the film may be lapped
in Order to spool it snugly to the core. Such spooling is
usually designated as "wound on." When the film is
Stock Cores for 16mr Motion-Picture File, PH22.38-1964, but is in-
spooled on a collapsible mandrel and the core is in-
serted after spooling, ills usually designated as "core
inserted." (This latter designation is not to be taken as
referring to whether or not the end of the film is lapped
into the core.)
In the spooling of film to be used in high-speed cam-
eras, it is the usual practice to snub the film onto the
core without lapping the end in a slot so that the end
will not be crimped. Such a crimp passing through a
camera mechanism at several thousand frames per
second may seriously damage the mechanism.
The maximum value for Dimension A is the. minimum
width of 16mm film as described by related American
Standards. The core should not be wider than the film
in order to-ovoid difficulty with tight-winders, widely
used in the industry, which have fixed flanges for guid-
ing. Except for the slot and keyway, the periphery and
bore should present smooth, unbroken surfaces.
Approved January 13, 1964, by the American Standards Association, Incorporated
Sponsor: Society of Motion Picture and Television Engineers, Inc.
Decimnl Clonifintion
,Ct;ipitrirntoLi.itnitz,,ttirt oAw eroi,xii.iii)isty:etlitrit,Isissocietiou, Incorporated
Printed in U.S.A.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
1?0
CO
March 1964 Journal.of the SMPTE Volume 73
American Standard
Nomenclature for Motion-Picture Film
Used in Studios and Processing Laboratories
(Sections 5-7)
ASA
Reg. U.S. Pag Of.
PH22.56a-1964
Addenda to
PH22.56-1961
UDC 778.5001.4
5. Photographic Sound
Note: All definitions in this section will be under-
stood to be photographic unless the term "magnetic"
is used.
5.1 Photographic Sound. Photographic
sound is a sound record in the form of a
photographic image.
5.2 Sound Negative. A sound negative is
any film that, after exposure and subsequent
processing, produces a negative sound record
on the film. This sound record requires the
steps of printing and processing of a second
film in order to obtain a reasonably faithful
reproduction of the original sound, by the
conventional scanning system.
Note: The negative image may be obtained by
exposure througK a positive sound image; by direct
recording; or, by the reversal process, from another
sound negative.
5.2.1 Original Sound Negative. The
original sound negative is the sound negative
that is exposed in a film recorder and, after
processing, produces a negative sound image
on the film.
5.2.2 Sound-Effects Negative. A sound-
effects negative is a sound negative upon
which sound effects have been recorded. It
is ordinarily held in library stock.
5.2.3 Music Negative. A music negative
is a sound negative upon which music has
been recorded. It is usually an original
sound negative but may be a library nega?
tive.
5.2.4 Sound Cut Negative. A sound cut
negative is a sound negative that is composed
of sections of original sound negatives
spliced in sequence.
Page 1 of 4 pages
Note: The sound cut negative is generally in exact
conformity with the sound work print and produces a
single sequentially spliced negative. The print of the
sound cut negative providei all, or portions of, the re-
recording print.
5.2.5 Re-recorded Negative. A re-
recorded negative is a sound negative which
is exposed by re-recording and, when
processed, produces a negative sound track
image.
5.2.6 Sound Release Negative. A
sound release negative is a photographic
sound negative in the form required for the
final printing operation onto the release print
raw stock.
Note: The sound release negative may consist of
re-i-ecorded negatives, intercut original sound nega-
tives, duplicate negatives of sound records, etc., de-
pending upon the choice of available material or the
intended use of the print.
5.2.7 Special Sound Release Negative.
A special sound release negative is a sound
release negative made for the purpose of
obtaining a sound track which has character-
istics other than those obtained from the
sound release negative.
Note: Three common forms of special sound release
negatives are these listed under 5.2.7.1, 5.2.7.2 .and
5.2.7.3.
5.2.7.1 Special Sound Release Nega-
.-, five for Use in 16mm Release of 35mm Pre-
print Material. The special sound release
negative for 16mm release of 35mm original
material is a photographic sound negative,
either 35mm or 16mm, recorded with specific
characteristics for reasonably faithful repro-
duction of the original sound on 16mm repro-
duction equipment. It may be re-recorded
Approved January 13, 1964, by the American Standards Association, Incorporated
Sponsor: Society of Motion Picture and Television Engineers, Inc.
a Universal Decimal Classification
C.opyright 1064 by the American Standards Association. Incorporated
10 East 4011, Street, New York, N. Y. 10016
Icilited in U.S.A.
ASA1M264/60
from a print of the 35mm sound release riega-
tive or from the 35mm re-recording print.
5.2.7.2 Special Sound Release Nega-
tive, Foreign Release in English. The special
sound release negative for use in English ver-
sion for foreign release is re-recorded from
the re-recording print, except that the dia-
logue track is modified to remove American
colloquialisms.
5.2.7.3 Special Sound Release Nega-
tive, Foreign-Language Version. The special
sound release negative for use in foreign-
language-version release is usually re-
recorded using all of the re-recording tracks,
except the dialogue track, for which is substi-
tuted a special synchronized dialogue track
in the foreign language for which the release
is being made.
5.2.8 Sound Release Dupe Negative. A
sound release dupe negative is a duplicate
negative of the sound record prepared
specifically for printing the sound track of
release prints.
5.3 Sound Print. A sound print is any posi-
tive obtained by printing from a sound nega-
tive, or direct positive recording, or, by the
reversal process, from another sound positive.
A sound print provides a reasonably faithful
reproduction of the original sound through
the conventional scanning system.
5.3.1 Sound Daily Print. A sound daily
print is the first sound print made from the
original sound negative for checking sound
quality, technique, etc.
5.3.2 Sound Work Print. A sound work
print is a sound print that usually consists of
intercut sound daily prints, but may also in-
clude other sound tracks of sound effects or
music, or both, on the same or separate films,
with synchronism constantly maintained with
the corresponding picture work print.
5.3.3 Sound-Effects Print. A sound-
effects print is a sound print made from a
sound-effects negative, or from another
sound-effects print by reversal processing.
Page 2 of 4 pages
5.3.4 Music Print. A music print is a
sound print made from a music negative.
5.3.5 Re-recording Print. A re-recording
print is a sound print prepared specifically for
use in re-recording to produce a re-recorded
negative.
Note: A re-recording print may be a print from a
sound cut negative, a specially intercut print, or a
combination of both. It usually consists of several
sound records on separate films that include dialogue,
sound effects, music, or any other required material.
The term is used interchangeably to designate the
entire group of associated films or any individual film
that is part of the group.
5.3.6 Re-recorded Print. A re-recorded
print is a sound print from a re-recorded
sound-track negative.
5.3.7 Sound Check Print. A sound check
print is a sound print made from the sound
release negative for the purpose of checking
negative cutting, printing lights, sound qual-
ity, etc.
Note: When a sound check print is required, it is
usually made prior to the first trial composite print.
5.3.8 Sound Master Positive. A sound
master positive is a sound print on special film
stock that is usually made from a sound re-
lease negative for the purpose of producing
duplicate negatives of the sound record for
release printing.
5.4 Composite Print (See 3.2)
[3.2 Composite Print. A composite 'print is a
positive film having both picture and correspond-
ing sound on the same film, which may be in edi-
torial or projection synchronism.]
5.4.1 Composite Daily Print (See 3.2.1)
[3.2.1 Composite Daily Print. A composite
daily print is made from an 'original composite
negative or original sound and picture negatives,
and is used for checking photography, sound
quality, action, etc. It is in projection syn-
chronism.]
PH22.560-1964
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March 1964 Journal of the SMPTE Volume 73
6. Magnetic Sound
6.1 Magnetic Sound Film (See 1.2)
[1.2 Magnetic Sound Film. Magnetic sound
film is a film base having film perforations along
one or both edges and bearing a ferro-magnetic
coating, either completely across the film or in
stripes, the coating capable of accepting and re-
producing sound records. Note: Unperforated
materials usually are referred to as magnetic
tape.]
6.2 Full-Coat Magnetic Film. Full-coat
magnetic film has the magnetic-coating com-
pound applied across the film from edge to
edge.
6.2.1 Full-Coat Between Perforations
Magnetic Film. full-coat between perfora-
tions magnetic film has the magnetic-coating
compound across the film from perforation
to perforation.
6.3 Magnetic Striping. Magnetic striping is
a process by which a magnetic-coating com-
pound is applied in the form of single or mul-
tiple stripes, having specific widths and place-
ments, to either surface of a film base which
'may or may not have a photographic emul-
sion.
6.4 Balance Stripe. A balance stripe is a
magnetic coating or coating of c3i/rother ma-
terial that is equal in thickness to; bot may be
narrower than, the stripe used for recording.
It is applied along the opposite edge of the
film. Its primary purpose is to equalize the
effective thickness of the two edges of the
striped film in order to obtain uniform wind-
ing. The stripe is sometimes used for the
recording of additional sound or control
records.
6.5 Magnetic Original. A magnetic orig-
inal is the original or first sound record on a
magnetic film.
6.6 Magnetic Transfer. A magnetic transfer
is a magnetic sound record obtained by elec-
trical re-recording of a magnetic original
onto another magnetic film.
Pogo 3 of 4 pawn
6.7 Magnetic Master. A magnetic master
is a final edited or re-recorded magnetic
sound record used for transfer to a magnetic
release print or for transfer to a photographic
sound negative to be used for manufacturing
prints with photographic sound tracks.
6.8 Magoptical Release Print. (See 7.4)
7. Release Prints
7.1 Release Print. (See 1.15.2)
[1.15.2 Release Print. A release print is a print
made for general distribution and exhibition. It
may be on films of 8mm, 16mm, 35mm or 70mm
width. Some release prints are composed of two
or more 35mm-width films which are projected
simultaneously in lateral alignment.]
7.1.1 Composite Release Print. A com-
posite release print is a print having both pic-
ture and sound records in projection syn-
chronism on the same film.
Note: The sound record may be photographic,
magnetic, or both.
7.1.2 Domestic Release Print. A domes-
tic release print is a release print intended for
distribution within the country where the print
was manufactured and having dialogue in
the language of that country. It may be a
composite print kr may have magnetic sound
track or tracks on\ a separate film.
7.1.3 Foreign-Version Release Print. (See
3.2.6)
[3.2.6 Foreign-Version Release Print. A for-
..eign-version release print is a composite print in
projection synchronism with dialogue made spe-
cifically for the. particular language involved.
Note: Sometimes superimposed titles in a dif-
ferent language are used on the print. A super-
imposed title consists of printed words (usually
transparent) overlaying the picture image.]
7.2 4namorphic Release Print. An anamor-
phic release print is a release print in
which the picture image is compressed later-
ally, requiring a deanamorphosing lens on
the projector to cause objects in the projected
picture to have correct proportions.
PH22.5613-1964
7.3 Wide-Screen Release Print. A wide-
screen release print is a print which has no
anamorphosis but, when projected, produces
a screen image having an aspect ratio
greater than 1.33 to 1.
Note: Some prints are mode from negatives ex-
posed in a camera aperture having an aspect ratio of
1.33 to 1, but which have been composed for projec-
Page 4 of 4 pages
tion to yield a projected picture having an aspect
ratio greater than 1.33 to 1. A wide-screen print
may also be obtained from an anamorphic negative
by deanamorphosing in the printing process.
7.4 Magoptical Release Print. A magopti-
cal release print is a composite release print
which has both magnetic and photographic
(optical) sound tracks.
Index.
Boldface numbers refer to paragraphs.
Balance stripe 6.4
Film, magnetic sound 6.1
full-coat 6.2
full-coat between perforations 6.2.1
magnetic master 6.7
magnetic original .6.5
magnetic transfer 6 6
Magnetic striping 6.3
Photographic sound 5.1
Release print 7.1
anamorphic 7.2
composite 7.1.1
domestic 7.1.2
foreign-version 7.1.3
magoptical . . . 7.4
wide-screen 7.3
Sound negative 5.2
music 5.2.3
original 5.2.1
re-recorded 5.2.5
sound cut 5.2.4
sound-effects 5.2.2
sound release 5.2.6
special 5.2.7
foreign-language version . 5.2.7.3
foreign release in English . 5.2.7.2
16mm release of 35mm preprint ma-
terial 5.2.7.1
sound release dupe 5.2.8
Sound, photographic ' 5.1
Sound print 5.3
composite 5.4
composite daily 5.4.1
music 5.3.4
re-recorded 5.3.6
re-recording 5.3.5
sound check 5.3.7
sound daily 5.3.1
sound-effects 5.3.3
sound master positive 5.3.8
sound work 5.3.2
Stripe
balance ..... . . .
magnetic
6.4
6.3
PH22.56a-1964
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American Standard Dimensions for
200-Mil Magnetic Sound Record
on 16mm Film Base, Perforated 1R-3000
ASA
Ha. U.S. Pat. Off.
PH22.97-1964
Revision of
P922.97-I 956
?
UDC 778.534.425
1. Scope
1.1 This .standard_ specifies the location,
dimensions and recording speed of a 200-mil
magnetic sound record on 16mm film base
With perforations along one edge.
1.2 The film is normally used for sound
without picture.
1.3 The dimensions oft he magnetic coating
are not specified here but are assumed to be
wide enough to permit the placement of a
sound record in 'accordance with this 'stand-
ard.
2. Sound Record
2.1 The location and dimensions Of the
sound record shall be as given in the figure
and table.
2.2 The recording speed shall be 24 per-
forations per second (approximately 36 ft
per minute).
2.3 With the direction of travel as shown
in the figure, the magnetic coating is on the
upper side of the film base.
TRAVEL
Dimensions
Dimensions
Inches
Millimeters
A
0.200 ? 0.002
5.08 ? 0.05
B
0.103 ? 0.002
2.62-4 0.05
C
0.628 ? nom
15.95 nom
3. Film Base
The film base used shall be of the low-
shrinkage safety type, cut and perforated in
accordance with American Standard Dimen-
sions for 16mm Film, Perforated One Edge,
PH22.12-1953.
Approved January 13, 1964, by the American Standards Association, Incorporated
Sponsor: Society of Motion Picture and Television Engineers, Inc.
Copyrigla 1961 by the American Standards Association, Incorporated
15 gamt 401It Street, New York, N. Y.10016
4 Universal Decimal Classification
j?riAllitiZk?Uo'
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Declassified and Approved For Release 2013/10/28 : CIA-RDP80T00246A026400180002-8
A Note on a Simplified Striping
Technique
Ed. Note: The following was obtained first
as a correction of brief information .in the
May, 1963, Journal's ProgieSs ' Report and
further as a 'repoet on praCtical, operation.
At about the same time as these develop-
ments in 'Iran there were commercial de-
velopments in U.S.A.I,2,3 These ,are . no
longer in effect.
SINCE 1952, a striping process devised '
by the author has been used in the Iran=
film Studios for dubbing ,into I"erSian,.a
practice that is very popular in Iran.
An Iranian patent was', granted the
author in 1953. The process is simple .and
economical. The machine can, be put
together using only these .Components:
six to eight 16min rollers (or ' 35mrn rol-
ler, depending on the work to' be'done);
a plate on which these rollers ,,cari
mounted; art :arm to hold the tape spool;
a small container to hold the cementing
liquid; and a guide roller to. guide :the
tape into the ceinenting liqUid .4nd onto
the film. ,
The plate with rollers 'mounted on ? it
(Fig. 1) can %then be placed in front 'of
a? projector (on a spool or sOrnething
similar) in such a position that the supply
arm of the projector can feed the film
into the machine and take it back easily,
and smoothly (Fig. 2). ? - ;.
The f-in, tape can be cut to the Proper
width in many- ways. The crudest but
easiest method is to use two right angles,
some Cardboard, part. Of a razor blade
and two nuts and bolts. By? putting the
cardboard in betWeen the angles, a
groove is made as wide as the tape; then
a bit of razor blade; is' inserted in the
cardboard diVidine the groove into two
parts, one part being as wide as the stripe
of tape required (Fig. 3). The f-in:'tape
can then be mounted on a rewincler and
pulled through the groove while a small
pressure is applied On it bear the razor
blade. Using more than one razor slitter
will, of course, increase the number of
stripes made. , ?
For our studio work we have designed
a more efficient cutter which' operates ,
automatically and can cut the tape in
up to five striPs in one Operation (Fig.
4).
The cut tape, wound on a spool of the
same width, is then placed on the'supply
arm of the device with the end 'passing
through the cement container, under the
guide roller, and stuck on the film With
the base side of the tape up. The projecz
Mr mutt be Started immediately; other-
wise the liquid cement may dissolve the
base and cut the tape. The base is re-
moved within one to three feet from the
Point where the tape sticks to the film.
It comes off easily and within a few sec-
onds the operator, should know the best
place at which to remove the tape base.
On this simplified device the base
should be pulled off by hand, but on our
studio model it is removed automatically
(Fig. 5).
One advantage of this system is that
? the width of? the stripe can be varied
from to f in. The location of the stripe
is also easy to adjust or change. By
screwing the guide roller in or out, the
operator can choose the tape's position
on the film. If a balancer is required on
By ALBOLGHASEM REZAI
Fig. 1. Plate with rollers mounted on it.
The guide roller of the tape is inside the
cement holder.
Fig. 2. The supply arm
of the projector feeds
the :film into the ma-
chine and takes it back
on the take-Up.
the other side of the film, all that is neces-
sary is to mount iwb tape spool on the
supply arm and have two grooves on the
guide roller. '
In order to show how siMple the mech-
From a communication on August 10, 1963, by* . Fie. 3. Cardboard fitted between two
Albolghasem Rezai, 'ho is Director ,of,Iranfilm ? ? .
Studios, Khiaban Bagar, Kouche Semnan, angles to make a groove as wide as the
Teheran, Iran. tape.
Mai:di:1964
:JOU'ihal Of the SMPTE Volume' 73
Fig. 4. Slitting machine used in studio
work.
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221
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100 parts chloroform
60 " acetone
30 " alcohol
Fig. 5. Removal of tape base by machine ? a studio model.
anism can be, a very elementary model
has been made. The cement holder is a
100-ft film can cut from the middle and
soldered together. The rollers are ordi-
nary 16mm projector rollers. The arm
can be anything as long as it can hold
the tape spool.
Another unusual thing about this
process is that the stripe can be applied
on either side of the film, emulsion or
base, with the same ease and without
any special treatment such as taking the
emulsion off the film. A different cement
should be used for each side. For the base
side using Scotch Tape 111, the formula
is:
For the emulsion side using the same
tape, the formula is:
20 parts phenol heated until it melts
4 " shellac
5 " thinner
10 parts of the above is then mixed with
8 parts acetone and 20 parts of chloro-
form.
While the "homemade" device de-
scribed above is not intended to take the
place of more elaborate equipment for
professional use, it has been entirely
adequate for our purposes. Its very sim-
plicity is its most important quality.
Since it does not require special tape or
complicated equipment, it can be used by
anyone.
References
1. Andrew H. Persoon, "Magnetic striping of
photographic film by the laminating process,"
Jour. SMPTE, 60: 485-490, April (Pt. II)
1953.
2. U.S. Patent 2,628,929, Feb. 17, 1953, Minne-
sota Mining & Mfg. Co. (This was special
magnetic tape coated on a temporary base,
with a layer of heat- or pressure-sensitive ad-
hesive on top to permit transferring the coating
to film and stripping off the tape base.)
3. "New laminated soundtrack," Home Movies,
p. 202, June 1957. (The article cites eight
Canadian and U.S.A. film laboratories then
equipped to use the laminated tape.)
Letters to the Editor -- Sound-Delay Systems
Dear Sir:
I read with interest the paper on the Disc-O-Sound
Delay System (Tithe-Delay System for Sound-Picture Syncing)
by Henry Dussault, in the November 1963, Journal.
There is certainly a need for a method of editing single-
system sound film and recording the sound opposite the picture
does simplify the editing of sound film; however equipping
cameras and projectors with special delay units could become
cumbersome and it seems to me that a simpler method could
be devised. This would involve the adaption of a conventional
tape recorder to handle 8mm film. The guides would have to
be slightly widened and the heights of the heads varied for
centering on the magnetic soundtrack, and an additional
playback head (4 in., i.e., 56 frames) installed ahead of the
recording head. The output of this playback head would then
be fed to the recording head through the regular amplifier
unit.
After the film which was exposed in a conventional single-
system magnetic recording camera has been processed in the
film laboratory, but before it is cut, using the method suggested
here, it is run through the tape recorder, starting at the end
of the film. This would move the sound 56 frames forward to a
position opposite the corresponding picture material. It then
may be cut and edited as in Mr. Dussault's system. After this
step, the film would then be run through the tape recorder
from the beginning to the end (after shifting the heads to the
opposite edge of the film) which would move the soundtrack
to its proper position 56 frames ahead of the picture, and the
film would then be ready for projection on any conventional
sound projector.
The first time the film is passed through the tape recorder
the sound will of course be played back and recorded back-
wards but this should not present any difficulty as most pre-
recorded tapes are made this way. The exact speed that the
tape recorder is run is not of any particular importance as
long as the frequencies produced do not fall outside of the
frequency response of the recording amplifier or the heads as
the magnetic soundtrack will be passing both the playback
and recording heads at exactly the same speed.
I believe that such a system has certain advantages over
the Disc-O-Sound delay system. Using the method I have
proposed, any single-system magnetic sound camera or
projector can be used without the need of adapters; the dub
to move the soundtrack is made under laboratory conditions,
not in the field; and only one piece of equipment (the adapted
tape recorder) is used to move the track both backward and
forward between editing.
December 23, 1963
FRED WUNDER
135-21 Francis Lewis Blvd.
Jamaica 13, N.Y.
Dear Sir:
I found Mr. Wunder's comments on my paper on the
Disc-O-Sound system very interesting. I am favorable to
critics and appreciate criticism as a stimulus to ideas leading
to improvement. I believe, however, that Mr. Wunder has
overestimated the disadvantages of bulky equipment and
considerably underestimated the real advantages of a system
which permits immediate editing, and immediate projection
with sequences interchanged as desired.
Obviously, such a system, whether adapted to conventional
222 March 1964 Journal of the SMPTE Volume 73
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or custombuilt equipment calls for a certain increase in size and
weight of machines, but its usefulness has been demonstrated.
The time-delay system has been designed specifically to elim-
inate certain disadvantages such as the need for expensive
double-system recorders; synchronous motors; re-recording in
the laboratory; -the sound-picture gap; and the cutting off of
"unconcerned" picture or sound in splicing.
The method preferred by Mr. Wunder, which involves
the adaption of a tape recorder for film use, requires additional
recordings and still leaves the picture-sound staggered on the
projection film and does not take care of eventual cuts and
splices. Mr. Wunder's idea is good, but it is not a new idea.
In fact, similar methods have been in use for almost 30 years,
while the time-delay system has been specifically designed
to overcome the disadvantages of the double system.
It is my personal opinion that the time-delay-equipped
camera can be regarded as its own sound process laboratory
able to deliver a ready-to-edit, trouble-free film.
I have been gratified by the response to my paper. So
far, I have received six letters from readers of the SMPTE
Journal. A television station wishes to purchase a set of time-
delay adaptors for newsreel work. I appreciate these expressions
of interest, and especially I appreciate criticism, such as Mr.
Wunder's, for the opportunity it affords to evaluate the time-
delay system by comparison with other systems.
December 30, 1963 H. DUSSAULT
11 St. Jude Blvd.
St. Zotique, Soulanges
P.Q., Canada
Dear Sir:
I have read Mr. Dussault's interesting paper, "Time-
Delay System for Sound-Picture Syncing." It seems very
similar in many respects to the one developed by me and
patented under No. U.S. 2,729,454, January 3, 1956.
The patent "related to sound motion-picture film and
projection thereof and in particular motion-picture film where-
in each picture frame carried its own soundtrack and wherein a
picture and sound relating to the picture are projected simul-
taneously." The system was designated Simultaneous Sound- '
Track and Picture System or STAP System. Mr. Dussault's
Disc-O-Sound Delay System seems to have basic similarities
to the STAP System. In the Disc-O-Sound Delay System the
elements of the delaying mechanism are incorporated into the
recording camera or projector, while the STAP System uses
an independent or additional delayer recorder.
An important advantage of the STAP System is that
Erratum
there is no need to introduce any modification to present sound
recording on film equipment (optical or magnetic). The system
has been tested successfully, first with one Cine-Voice camera
and later with one Auricon Pro-600 camera, without modi-
fications.
The arrangement provides for quick audio playback to
check errors and unwanted sounds after each take and for full
recording of all takes for future references or use, should the
optical recording spoil by overmodulation, too low contrast
developing, burning off of lamp, etc. The original recording
on tape still remains. It also permits fast and accurate editing
of the track and the picture of the original film. (Once a neg-
ative is edited it should be printed in projection sync to ob-
tain release prints.)
The system is ideal for newsreel work and for low cost
productions where no background music is to be used. An-
other advantage is that commercials can be taken off kine-
scope productions without interfering with the program.
For a good many years I worked on the idea of producing
a film such as that obtained through the STAP System. In
the early days I tried a disc, a drum and a tape loop, ending
up, however, by using a recorder capable of producing both
the delaying effect and a recording on tape to permit im-
mediate playback after each take to detect errors or unwanted
sounds.
Herewith is an example of one of the early tests made by
the author; it's an enlargement of one take with a Cine-Voice
camera.
February 17, 1963.
Rudolf A. Stampfl and William G. Stroud, "Automatic picture
transmission TV camera system for meteorological satellites,"
Jour. SMPTE, 73: 130-134, Feb. 1964.
On p. 133, caption for Fig. 8 (due to rearrangement of page
make-up for forms at press time, engravings were trans-
posed after clearance by the authors, to cause the cloud
photograph reproductions to be wrongly identified) :
For: (left below) reproduced on Muirhead D700 S; (below)
reproduced on Fairchild Scan-a-Fax.
Read: (left below) reproduced on Fairchild Scan-a-Fax;
(below) reproduced on Muirhead D700 S.
Addendum: The following Discussion was omitted from the
pages of the February Journal:
Discussion
LeRoy M. Dearing (L. M. Dearing Ct.' Associates): What could you tell
MAX MEJIA VIDES
Juan Mora 445 Col. Costa Rica
San Salvador, El Salvador, C.A.
us about the spectral response of the particular storage vidicon on the APT
camera?
Dr. Stamp/I: The sensitivity of cameras used to televise cloud pictures
from outer space is adjusted to reject the blue light and to have maximum
sensitivity in the near infrared. This region lies in most cam-
eras at 0.5 microns. This camera carries a filter which rejects the blue and
lets the near infrared pass, approximately from 0.5 to 0.75 microns.
Addendum
J. Robert Mann, Jr., and Norman Leigh, "Electrical installation
techniques for a large film production center," Jour. SMPTE,
72: 863-868, Nov. 1963.
These acknowledgments and credit were omitted from the
paper:
Acknowledgments: Architects for the MPO Grand Central
Studios were Herbst & Rusciano of New York City who were
responsible for the design of the entire project and its many special
facilities. Julius Goldfarb was Professional Engineer for the project.
March 1964 Journal of the SMPTE Volume 73
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F111;1.711111A111 Ambassador Hotel
Aavo11.11 Los Angeles
April 12-17
Technical Conference Sessions
On the following pages is the
Advance Program of technical
papers. It is the largest and most
comprehensive of recent years.
Program Chairman John M. Waner
has been responsible for seeking
out many special papers. These
papers, in addition to those gar-
nered by the Topic Chairmen,
have provided a very full program
that will richly reward those who
can attend. The Outline of Pro-
gram on the following page shows
the format of this most substantial
technical conference.
Ladies' Program
A full and exciting Ladies' Program for the 95th Technical
Conference has been organized under the chairmanship of Mrs.
William E. Gephart, Jr., with Mrs. Robert G. Hufford as co-
chairman. Ralph E. Lovell of 3M Co., as Conference Assistant
Arrangements Chairman, will assist the committee.
The Ladies Hospitality room will be set up in the Garden
Room of the Ambassador beginning on Sunday afternoon.
Ladies attending the conference are advised, however, that
their registration must be done at the Conference Registration
Desk in the foyer of the Ambassador Ballroom, where tickets
for the Monday Get-Together Luncheon also may be pur-
chased.
These special events are scheduled for the ladies:
Monday: Two-hour sightseeing trips in private cars after the
Get-Together Luncheon, followed by a Get-Together Tea.
Tuesday: Trip to the famous mission of San Juan Capis-
trano, followed by luncheon at Laguna and time to browse in
the shops at Laguna Art Center.
Wednesday: Free day.
Thursday: Dutch treat luncheon, followed by excursions
first to the new Hollywood Wax Museum, then to Disneyland.
Friday: Tour of the Walt Disney Studios, where a picture
will be seen in production, followed by luncheon.
Many of these events will be free to the ladies through the
courtesy of several firms. These firms will be noted in the
Ladies Program.
Official hostesses besides Mesdames Gephart and Hufford
will be Mesdames Herbert E. Farmer, Ted Fogelman, Jack P.
Hall, Wilton R. Holm, James W. Kaylor, Neal Keehn, George
Kendall, John P. Kiel, Ralph E. Lovell and Harry Teitelbaum.
Technical Conference
Equipment Exhibit
Visitors to the 95th Confer-
ence will see the largest and
most varied display of profes-
sional equipment ever shown
under SMPTE auspices. Until
now, the previous Los Angeles
meeting, in 1962, constituted
a record in this respect, but
this time, under the expert
guidance of the Exhibit Chair-
man, George Kendall (Moviola
Mfg. Co., Hollywood), every
available inch of space in the
two large exhibit rooms adja-
cent to the sessions auditorium
was reserved more than six
weeks before the date of the
meeting.
For details of the equipment that will be on display in the 81
booths set up in the Sunset and Belvedere rooms see the
Exhibit Directory beginning on page 238 of this Journal.
Tentative Schedule of Committee Meetings
14'ednesday, April 75
8:00 A.M. (Breakfast) Publications Advisory
9:30 A.M. Board of Editors
10:30 A.M. Papers
12:30 P.M. Editorial Luncheon
Engineering Committees which will meet during the week are tenta-
tively listed below. The final schedule will appear in the Conven-
tion Program. All Committee Members will also be notified by
mail.
Monday, April 73
10:00 A.M. Laboratory Practice
2:30 P.M. Color
Tuesday, April 14
10:00 A.M. Instrumentation and High-Speed Photography
2:00 P.M. Sound
Wednesday, April 15
10:00 A.M. Television
2:00 P.M. Film Projection Practice
Thursday, April 16
10:00 A.M. 16 & 8mm
2:00 P.M. Film Dimensions
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Advance Program
his Program is. as complete. and accurate as was possible at press
time. It may contain errors, and some changes and additions are expected before the
Final Program is printed for the Conference'.' For example, the process of clearance, ?
required for certain papers, may resUlt in unforeseen delays prior to final scheduling.
If very brief Conference attendance has to be planned to hear only one .session, or a
specific paper or papers, members are advised to inquire the week before the Tech-
nical Conference by telephoning the Society Headquarters in New York (212 TN
7-5410) or Program Chairman John M. Wexner at Eastman Kodak Co. in Holly-
wood (213 H011ywood 9-3101).
Outline? of Program
Sunday
10:00-4:00 Registration
Monday
8:00 Registration
9:00 Motion Pictures, Television and Education
12:15 Get-Together Luncheon ? Guest Speaker
2:30 Television Engineering and Production
7:45 Television'Engineering and Production
? ?
Tuesday
A:45 .CONCURRENT SESSIONS
?? ?Laboratory Practices
? Television Engineering and Production
1215 High-Speed Photography Luncheon .
2:30 Instrumentation and High-Speed Photography
8:00 Soviet Motion-Picture Industry
Wednesday .??
8:45 Equipment Papers and Demonstrations
1:45 CONCURRENT SESSIONS
Sound Recording and Reproduction .
Instrumentation and High-Speed Photography
Thursday
8:45 CONCURRENT SESSIONS ?
Special Photographic Effects and Cinema-
tography -
Instrumentation and High-Speed Photography
1:45 Special Photographic Effects and Cinema-
tography
8:00 Time-Lapse Photography
Friday
8:45 Small-Format Films
1:45 Projection Practices
Association of Cinema Laboratories
Spring Meeting, April 11, 1964
Ambassador Hotel, Los Angeles
8 :00 Breakfast Meeting for ACL Board of Directors
? Garden Room.
10:00 Meeting of ACL Members ? Regency Room.
12:00 Luncheon ? Colonial Room. ? ?
2:00 Equipment and Techniques Forum ? Regency
Room. (This Forum is open to SMPTE mem-
bers.)
SUNDAY?APRIL 12
10:00-4:00 Registration
8:00 A Pre-Release Feature Film
MONDAY MORNING?APRIL 13 -
8:00 Registration
.9:00 MOTION PICTURES, TELEVISION and
, EDUCATION
An Experimental 8mm Film Production Workshop for
Teachers
LOU T. WISE, Toronto (Ont.) Board of Education
The Toronto Board of Education, Teaching Aids Department, is
conducting an 8mm film production workshop for 35 teachers.
The objectives are four: ? to encourage teacher production of
8mm films peculiar to individual requirements; to promote
' programs of student film production; to encourage teachers to
suggest ideas for 8mm single-concept. films to. be produced' in
:the Teaching Aids Department; and to encourage wider use of
motion pictures in the classroom and, through involvement
in production, a greater awareness of the effectiveness of films.
Considerations in the Establishment of a Television In-
structional Communication System
KEN 'WINSLOW, University of California, Berkeley, Calif.
Rapidly developing television technology offers ,a solution for
some of the communication problems of education. Specific
application of a television technique requires consideration of
many design, application and utilization alternatives. Adminis-
trative, academic and physical points of departure are con-
sidered. Origination, distribution, display and delay functions,
and voice, picture and .control services of a television instruc-
tional communication system are considered and grouped by
operating elements. The resulting analysis is reviewed as to
architecture and engineering, standards, staffing and cost.'
A Branching Teaching Machine Incorporating' Sound
Motion Pictures
DONALD G. PERRIN, University of Southern California, Los
Angeles
A research project at USC required a teaching machine to
present sound motion-picture information in a stop-start manner
with the capability of branching to. different sequences on the
basis of the student's response. Four projectors allow immediate
access to the branches, while relay logic maintains synchronism
between the units. The unit, which employs standard film pro-
duction procedures and off-the-shelf equipment, is low in cost
and simple to program.
March 1964 journal a the SMPTE VOlume 73
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A Method for Time Compression of Instructional Tele- MONDAY AFTERNOON
vision Materials
JAMES LOPER, California State College at Los Angeles
An experimental study in the visual and aural comprehension
of compressed speech required the development of techniques
for synchronization of sound and picture elements. Original
video-tape recording, electronic film transfer, skip-frame print-
ing, and compressed audio tape recordings are used in the
process. Samples of original and compressed material are pre-
sented.
Filming of Speech Therapy Clinic Sessions Via Tape
to Film Process
LAWRENCE J. SCHRAM, Orange County Schools, Los Alamitos,
Calif.
The California Speech and Hearing Association produced 6
five-minute films of clinic sessions with speech handicapped
children. Shown at the CSHA Conference, the films provided
quality sight and sound reproduction by utilizing a tape to film
process. Thus the association was able to produce a thirty-
minute black-and-white film with sound at a minimum cost.
The use of two cameras, plus the ability to do retakes almost
immediately, eliminated the need for film editing and provided
a more relaxed setting for the children.
Auto-Instructional Technology and the Motion-Picture
Engineer
LEO PERSSELIN, Aerospace Corp., Los Angeles
The technology of teaching machines and programed learning
refers not so much to special kinds of hardware as to how
hardware can be put to use. This is clearly reflected in the way
today's proliferation of teaching-machine hardware shows an
increasing emphasis on use of the motion picture. Devices coni-
mercially available and under development utilize as many as
four motion-picture projectors in synchronous operation. This
emphasis strongly suggests that the creative motion-picture engi-
neer stands in the same relationship to the field of automated
instruction as he does to other major areas of applied. motion-
picture technology.
Professional or Amateur Television?
CHARLES A. CALLACI, Anaheim City School District, Ana-
heim, Calif.
A professional broadcasting approach is necessary for efficient
communication in educational television. This approach can
only be made through professional standards for equipment and
facilities, personnel and procedures. Where educational TV
operations have limited funds for equipment and flourish, the
on-camera personality is of utmost importance.
12:15
Get-Together Luncheon
Guest Speaker:
WILLIAM DOZIER
President, Greenway
Productions, Inc.
Beverly Hills, Calif.
2:30 TELEVISION ENGINEERING and
PRODUCTION
The Plumbicon TV Camera Tube
E. F. De HAAN, NV Philips Gloeilampenfabrieken, Eindhoven,
The Netherlands
The Plumbicon TV camera tube is basically a vidicon with a
photoconductive layer of microcrystalline lead monoxide. The
tube is 20 cm long and has a useful sensitive area 2 cm in diam-
eter, and resolution is claimed to be comparable with that of the
3-in. image-orthicon. The Plumbicon is being used in experi-
mental color TV cameras in The Netherlands and England.
The Electronic Lap-Dissolve
FRANK BAIRD-SMITH, JR., National Broadcasting Co.,
Burbank, Calif.
After a brief review of the history of electronic lap-dissolve
mechanisms, the principles and embodiment of an advanced
design utilizing balanced emitter-followers feeding light-con-
trolled resistors are discussed.
Test Device for Closed-Circuit and Broadcast TV
Camera Systems
GIDEON FIAT, Photo Research Corp., Hollywood
The Spectra TV Optoliner is a test instrument that provides
measurable and reproducible illumination at known levels and
color temperatures. Integrated illumination and interchange-
able test patterns, mounted to tolerances of 0.002 in., are self-
contained. Optoliner permits accurate comparisons of perform-
ance of TV camera systems.
Stabilization Techniques in a New Video Processor
ROBERT A. DISCHERT and NORMAN P. KELLAWAY, Broad-
cast and Communications Div., Radio Corp. of America, Cam-
den, N.J.
The video processor of the RCA TK-22 film chain utilizes a gain
control system that contributes materially to the overall stability
of the camera chain. Included in the processor is a clamp, clipper,
gamma correction, remote control of gain and black level, and a
control system that stabilizes the entire process.
Review of Telecine Systems
D. R. MORSE, British Broadcasting Corp., London
The Non-Additive Mixing of TV Signals
W. L. HURFORD, Radio Corp. of America, Camden, N.J.
A new approach to the problems of the generation of self-keyed
inserts, special effects, and lap dissolves is presented. The present
additive method of producing video dissolves is contrasted with
the non-additive technique, and the many operational advantages
which may be obtained by the extension of the non-additive
mixing idea to title insertion are described. This technique also
lends itself to the generation of special effects in the same equip-
ment used for dissolves and keyed inserts, thus making possible a
single device for the performance of all three functions.
226 J. March1964 Journal Of the SMPTE Voltime. 73
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MONDAY EVENING
7:45 TELEVISION ENGINEERING and
PRODUCTION
Empirical Correction Factors for Television Filming
EDWARD P. ANCONA, JR., National Broadcasting Co., Burbank,
Calif.
Visual characteristics of the image from a television film are in-
fluenced by the projector, the TV camera tube, video operation,
the receiver, and home viewing conditions. A tutorial discussion,
oriented to. the background and experience of the cinematog-
rapher rather than the electronic technician, is given of these
factors. Empirical corrections that should enhance the art and
effectiveness of television film images are suggested.
The Color Television Dilemma: A Technical Survey of
Color TV Systems
JOSEPH ROIZEN, Ampex Corp., Redwood City, Calif.
The very nature of color television is so complex that a number
of solutions to the problem can yield relatively similar results.
Since its introduction in the United States, the NTSC color TV
system has been subjected to considerable competition from other
systems claiming to be simpler, cheaper or more precise. There
are technical details that separate the NTSC's 525-line system
from its 625-line counterpart, and from the specific modes of op-
eration of the color systems being proposed for European -tele-
vision, such as the line-sequential French (SECAM) system and
the phase-alternating (PAL) German system.
Field-sequential color television for broadcast applications has
not been completely discarded. Dr. Camerena of Telesistema,
Mexico, is currently conducing experimental transmissions with a
bi-color TV system using a rotating filter on a monochrome
camera. Pickup and display devices for color TV developed
abroad will also affect future color systems.
Considerations in Color Film Production for Color
Television
JOHN M. WANER, Committee Chairman
A joint subcommittee of the Television and Color Committees
has been working to establish recommended practices for density
and contrast range for color films for color television. During the
subcommittee's work it became evident that optimum control of
release print density range could be achieved only if the original
photography were carefully controlled; therefore, it was felt es-
sential to provide an appendix to the recommended practice
which would discuss in some detail the "Considerations in Color
Film Production for Color Television."
Certain factors in color TV film transmission and reception
make it desirable to control the characteristics of the color print,
and the degree and type of controls which can be applied are
affected by properties of the color film. The density range of the
color print is most effectively and economically controlled in the
staging and photography, rather than in the final printing. Re-
flectance of fully illuminated scene elements which are to be re-
produced with good detail should be held between recommended
maximum and minimum limits to control the "reference white"
and "reference black" of each scene, and face tones should be
properly related to these limits. For a fully lighted day interior
scene, a lighting ration of 2:1 is recommended. Higher ratios may
be used for special effects and night scenes.
March 1964
Setup of Color Monitors by Instrumentation
ALEX QUIROGA, National Broadcasting Co., Burbank, Calif.
The television control room might be regarded as the equivalent
of a motion-picture screening room. For the screening room,
precise standards regarding screen brightness and color tempera-
ture (degrees Kelvin) are prescribed by the ASA. The FCC alsO
suggests precise standards to balance the color monitors. Many of
the present setup techniques fall short of meeting these stand-
ards because of psychophysical viewing conditions, which are de-
scribed. Subjective evaluation is eliminated through an instru-
ment that measures low and high lights on the TV receiver.
Film Requirements for Color Television
W. H. CHEEVERS, British Broadcasting Corp., London
An Economical and Simplified System for Color Television
GUILLERMO GONZALEZ CAMERENA, Telesistema Mexicana
S.A., Mexico City
A bicolor, field-sequential TV system has been planned with the
primary purpose of obtaining full-color television by the most
economical means possible, and at the same time resulting in a
more simplified and practical system. The system is demonstrated
with video tape and an adapted receiver.
TUESDAY MORNING?APRIL 14
CONCURRENT SESSIONS
8:45 LABORATORY PRACTICES
An Editing Bench for Industrial Film Production
GEORGE W. TRESSEL and STANLEY J. ANDREWS, JR.,
Argonne National Laboratory, Argonne, Ill.
A unit editing bench serves as the basic building. block for a
flexible industrial film editing room. The bench, a self-contained,
free-standing unit, incorporates multiple-track sound equipment,
as well as most of the equipment normally desired for industrial
editing. Dimensions have been chosen to create privacy and a
comfortable work center. The bench incorporates a sound .wall
that acts as a partial room divider and lends. itself to changing
space and location problems.
A Modern Concept of Optical Printer Construction
HAROLD A. SCHEIB, Cinema Research Corp., Holly.twiod
To satisfy present-day operating requirements, recently developed
construction techniques were employed in building a new type
of optical printer. Many problems of high manufacturing costs
and awkward equipment maintenance were eliminated by utiliz-
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ing commercially available components for the drive system and
assembling them in modular fashion. A variable-speed motor
drive, an electronic programing system, a large, stable optical
bench, and an automatic fader mechanism complement the
operating versatility of the unit.
Use of Xenon Flashtubes as a Light Source in Color
and Black-and-White Scene Testers
CARL W. HAUGE, EDWARD H. REICHARD and LEONARD
L. SOKOLOW, Consolidated Film Industries, Hollywood
The Cinex Exposure Tester has been widely used for many years
to make timing tests from black-and-white negatives. By replacing
the incandescent lamp in this tester with a xenon flashtube, with
its capacitor-discharge power supply and resulting stable and re-
producible light output, a superior testing machine has been de-
veloped. The exposure gate has been modified to contain a series
of neutral density steps matched to the printing machine lights;
for color, a selected range of color filters is added to the neutral
densities. The resulting intensity-scale tests closely match print-
ing-machine exposure times, thereby resolving film reciprocity
differences normally present in Cinex tests.
These modified units have been used for several years in
black-and-white testing with 30 w/sec to the xenon lamp. By in-
creasing this input to 300 w/sec, the tester is adaptable to color
scene testing.
An Automatic 35mm "A & B" Composite Color Printer
SIDNEY P. SOLOW and EDWARD H. REICHARD, Consolidated
Film Industries, Hollywood
A high-speed color printer for making composite prints from
35mm original color negatives is described. The printer, operat-
ing at 120 ft/min, incorporates fades and dissolves in the prints
without the use of duplicate effects-negatives. Scene-to-scene color
and intensity changes, as well as variable length effects, are moni-
tored by means of a transistorized radio frequency proximity cue
detector.
The lamphouses, readers and fader systems, with slight modi-
fications, are of the latest Bell 8c Howell design, similar to those
used in the B 8c H Additive Printers. A single light valve is em-
ployed for intensity control, and color control is accomplished by
a system of multiple-layer, single-frame color filters. The lamp-
houses are designed for future installation of two more light
valves and dichroic mirrors, should conversion to additive color
printing be desired. The printing machine is controlled by a
punched paper tape that programs predetermined intensity
changes and fade lengths.
A New Medium-Speed Reversal Color Film for Motion-
Picture Use
H. W. VOGT, Photographic Technology Div., and T. J. MUR-
RAY, Research Laboratories, Eastman Kodak Co., Rochester,
N.Y.
Eastman (or Kodak) Ektachrome MS Film is a daylight-balanced,
reversal color film for 16mm and 35mm motion-picture and in-
strumentation use. Film structure, sensitometric characteristics
and recommended printing methods are discussed. Measurements
reported include granularity, modulation transfer function and
reciprocity failure characteristics. Standard processing yields op-
timum quality at an exposure index of 64. Process modifications
also make possible the use of effective exposure indices from 16
to 256. For special engineering applications, an effective expo-
sure index as high as 1,000 can be obtained, but with considerable
Joss in quality. A picture demonstration is presented.
A History of Spray Processing
RALPH D. WHITMORE, JR., Ox berry Corp., New Rochelle,
N.Y.
Spray processing has been commercially successful since the
middle thirties when it was first used at DeLuxe Laboratories in
New York. Since that time, many laboratories have installed
spray equipment and in some cases have completely eliminated
immersion processing. Some of the data resulting from the in-
dustry's extensive research on spray processing are discussed.
228
Lubrication of Motion-Picture Film
FREDERICK J. KOLB, JR., and EDWARD M. WEIGEL, Man-
ufacturing Experiments Div., Eastman Kodak Co., Rochester,
N.Y.
Projection performance of processed motion-picture film is im-
proved by lubrication whereby the coefficient of friction is con-
trolled within the range that gives steady, reproducible position-
ing of successive frames with the least strain on the perforations.
Printer effectiveness can also be improved by lubricating the
negative to facilitate a constant pitch relationship to the raw-
stock, and to minimize minor abrasions. In spite of extensive re-
search work on film lubrication and the wide experience gained
over the years, considerable misunderstanding of this subject still
exists. The pertinent background is reviewed, processes and ma-
terials for lubrication are examined, and several procedures of
proven effectiveness are described.
Photographic Evaluation Parameters
SAMUEL BOUSKY, Ampex Corp., Redwood City, Calif.
Photographic science terminology is reviewed as an outgrowth of
silver halide background, with present-day extension to encom-
pass (1) increased variety of non-silver halide processes, (2) transi-
tion to more fundamental physical concepts and (3) modification
to analytical methods of communication and information theories.
Although theoretical developments and mathematical derivations
are avoided, simplified transitions are indicated from such es-
tablished parameters as exposure index, resolution, latitude and
granularity to the more recent concepts of energy sensitivity,
spatial frequency response, dynamic range and signal-to-noise
ratio.
CONCURRENT SESSION
8:45 TELEVISION ENGINEERING and
PRODUCTION
Operational Adjustment of Picture Monitors in Tele-
vision Studios
C. A. SIOCOS, Canadian Broadcasting Corp., Montreal
Results are given of surveys and subjectives tests made seeking a
consistent method for the day-to-day adjustment of picture moni-
tors in order to secure relatively constant picture conditions. Ex-
pressions are derived giving the desired degree of uniformity of
ambient light falling on a row of monitors and others giving the
white-to-ambient and black-to-ambient luminance relations pro-
ducing the highest degree in similarity of appearance between
monitors in different ambient light. Considerations regarding the
practical application of the above expressions are also discussed.
These considerations include guide posts derived from a survey
of operational preferences of many practicing technicians.
CBC Vidicon Telecine Operating Standards, With Par-
ticular Reference to the Gray-Scale Characteristic
S. F. QUINN and J. BOWIE DICKSON, Canadian Broadcasting
Corp., Montreal
The various factors influencing the choice of vidicon operating
parameters for telecine ?are ? considered together with the con-
sequent vidicon light-transfer characteristic. Measurements have
been made on the components affecting the overall telecine gray-
scale characteristic, which has been computed graphically.
Further computations have been made using the telecine char-
acteristic and a typical film print-through characteristic, and
the resultant curve is shown to be similar to that of the image-
orthicon camera. The usefulness of a gray-scale slide in general
telecine operation is shown to be limited by shading errors.
New Animation Production Techniques Using Video Tape
MILT ALTMAN, National Broadcasting Co., Burbank, Calif.
Recent developments in the field of video-tape recording make
it possible to create animation effects. These are accomplished
by recording images on a single-frame, "stop motion" basis.
March 1964 Journal of the SMPTE Volume 73.
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The recorded images can be artwork, three-dimensional ob-
jects, live action, or a combination of the three. Various aspects
of an electronic animation system are discussed, with emphasis
On its value. as a new production tool. Examples of animation
using the new system are shown.
The.TP-66 16mm TV Projector
A. E. JACKSON, Broadcast and Communication Div., Radio Corp.
of America, Camden, N.J.
A 16mm film projector designed to cover present and predicted
future needs of broadcast television is described. A system of
rapid sound stabilization has been developed to eliminate the
need for pre-roll. Automatic loop restoration, servo-driven screen
brightness control and pulse-operated control circuits make the
projector suitable for use with automated systerns.
A New Television Switching Equipment
H. MIRZWINSKI, Marconi Co., Ltd., Chelmsford, England
With the growth of television there has been an increasing de-
mand for larger and more sophisticated switching equipment.
The use of relay or semiconductor matrices is not economical in
cost or space with increased size. In a search for an alternative
switching element, the choice fell on the standard type of Post
Office uniselector or stepping relay. The unit and its advantages
are described.
New Solid-State Sound-Mixing Equipment for Television
D. B. MANNING, Marconi Co., Ltd.,'Chelmsford, England
Modern television studios call for more and more microphone
channels. Sound-control desks have, therefore, become increas-
ingly complex. The introduction of transistorized modules has
enabled the production of compact designs giving full facilities.
A typical transistorized sound-control desk is described and sub-
sequent developments are discussed.
Image-Orthicon Operation .
EARL FARIS, American Broadcasting Co., Hollywood
The critical, complex, little understo6d and controversial imagel
orthicon operation is further confused by the characteristics of
the increasingly used 41/2-in, tube. This study includes a partial
investigation of the "saturated target" and "linear" modes of
operation with a review that includes "redistribution" and
"spurious signal" phenomena and a comparison between the
commonly used 3-in. 5820 (7293 screen-mesh version) and the
4 1/2-in. 7295. The various operating modes of the 7295, including
the linear mode with its limited light-contrast capability that re-
quires control of set reflectance and lighting, are explored.
TUESDAY NOON
High-Speed Photography Luncheon
Guest Speaker: ?
H. E. BAUER, Douglas Aircraft Co., Santa Monica, Calif.
Economics of Photooptica I Instrumentation
The economic value of photooptical instrumentation analysis has
long been recognized by the aircraft, missile and space-vehicle
industry. It is proposed that engineers may significantly increase
their effectiveness in developing and utilizing photooptics by
applying certain economic disciplineg that are now available.
These techniques have been developed through the efforts of
industry and the government to improve the effective manage-
ment of major development programs. Typical of such tech-
niques are value analysis, PERT-time and PERT-cost. The
modern engineer must update himself not only in his technical
specialty but also in economic and management specialties.
TUESDAY AFTERNOON
2:30 INSTRUMENTATION and
HIGH-SPEED PHOTOGRAPHY
"Seeability" and Resolution in Space Reconnaissance
CHARLES R. JEFFS, JR., and KINGDOM KERR, Douglas. Air-
craft Co., Santa Monica, Calif.
Reconnaissance of the earth from space platforms located at an
altitude of 100 miles may be impractical if only resolution criteria
are used. The results of Cooper's flight during the Mercury pro-
gram indicate that preconditioned resolution leads to a recon-
naissance capability that may be defined as "seeability." Factors
affecting "seeability" and attempts to reduce the confusion of
"seeability" with resolution are discussed.
Photographic Instrumentation for Reentry Measurements
W. G. PLANET, Barnes Engineering Co., Stamford, Conn.
Photographic instruments have aided immeasurably in the ac-
quisition of data during the reentry phase of ballistic missile tests.
These include ballistic cameras for trajectory determination,
spectral cameras for chemical and thermal studies, and an assort-
ment of non-dispersive, high-resolution or high-speed cine
cameras for spatial and aerodynamic studies. Some typical photo-
graphic systems used on these tests and details of their choice by
function and performance capabilities are discussed.
New Frontiers in Ultra-High-Speed Photography
K. R. COLEMAN, Atomic Weapons Research Establishment,
Aldermaston, England
Use of Time-Lapse Motion-Picture Photography in the
Study of Cloud Dynamics
C. E. ANDERSON and L. R. KOENIG, Douglas Aircraft Co.,-
Santa Monica, Calif.
Many characteristics of the formation and development of clouds
may be profitably studied by photography. The application of
time-lapse photography to the acquisition of data concerning
the dynamical properties of clouds is reviewed. Tools of acquir-
ing, reducing, and interpreting data are discussed. Time-lapse
photographs of developing convective clouds are shown.
Use of Color Film in Manufacture of Large-Area Color
? Map Transparencies
E. E. GRIFFITH, Technicolor Corp. of America, Burbank, Calif.
Large (36-in. by 36-in.) color transparencies are being manufac-
tured for use as -land mass simulation. Information is coded in
each of three color images to permit simultaneous readout of
three information channels. Factors in the selection of the color
film for this unusual application are discussed. There are highly
specialized procedures for the printing, processing, retouching,
and cementing of color maps. Problem areas in manufacture, in-
cluding crosstalk, register, and printed-in defects; are discussed.
Instruction in Photooptical Instrumentation
D. B. HOWARD, Douglas Aircraft Co., Santa Monica, Calif.
The history of one of the first practical courses in photooptical
instrumentation offered in this country is traced. The great
demand for such instruction is noted.
March 1964 Journal of the'SMPTE
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TUESDAY EVENING
8:00 PANEL PRESENTATION
Soviet Motion-Picture Industry
DEANE R. WHITE, SMPTE Engineering Vice-President;
WILLIAM E. GEPHART, Jr., Governor, SMPTE; and ETHAN
M. STIFLE, SMPTE Executive Vice-President
As reported briefly in the December 1963 Journal and quite ex-
terisively in the March 1964 Journal, a delegation of the SMPTE
officers noted above and Frank Capra, the motion-picture director-
producer, visited the USSR as a delegation forming one unit of
the Cultural Exchange Program negotiated between the Soviet
Union and the United States. The visit dealt with the technical
aspects of motion-picture production and presentation, as de-
veloped in the USSR. Eighteen sites were visited in five cities:
Moscow, Leningrad, Kiev, Odessa and Alma-Ata. These included
studios, theaters, processing laboratories, an equipment factory, a
television station, a design bureau and a research center. Much
of the equipment seen was quite similar to corresponding items in
the USA and elsewhere. A few units showed independent design
features that appeared interesting.
Many photographs were made of units seen; these photo-
graphs describe the equipment in greater detail than could be
done by words. Samples were obtained of processed color nega-
tive, color negative raw stock (masked) and color print raw
stock now in use in the USSR. The report is given in three parts:
(1) Plans for the trip; changes suggested in Moscow; coopera-
tion received in making the visits scheduled; incidents of the
trip; observations and general conclusions;
(2) Technical description of equipment, illustrated with
many color slides; and
(3) Report of tests made on Soviet color film?particularly,
raw stock samples and processed color negatives?obtained on the
trip. Screen quality is shown with US color prints made from
Russian negatives.
After these presentations, the delegates will be available to
answer questions from the audience.
WEDNESDAY MORNING?APRIL 15
8:40 EQUIPMENT PAPERS and
DEMONSTRATIONS BY EXHIBITORS
New ColorTran Light (Paper and Demonstration)
HERBERT A. HOLLANDER, ColorTran Industries, Burbank,
Calif.
Model 120S Arriflex Sound Blimp for Arriflex-35 Cam-
eras
VICTOR JAMES, Arriflex Corp. of America, New York
Remote Control Lenses for Vidicon Cameras, With and
Without Automatic Diaphragm Control, and Zoom
Lenses for Professional Motion-Picture Cameras
With and Without Viewfinders (Paper)
WALTER STEUER, Zoomar, Inc., Glen Cove, N.Y.
Luminance Standard and Precision Log-Linear Photom-
eter (Demonstrations)
HAROLD P. FIELD, Gamma Scientific, Inc., San Diego, Calif.
Eclair GV-35 High-Speed Camera With Transistorized
Speed Control; Eclair GV-16; Gear Head (Demonstra-
tions)
J. P. CARSON, Eclair Corp., Los Angeles, Calif.
New Special-Effects Optical Printer for Motion Pictures,
Including Related Devices and Innovations (Paper)
HAROLD A. SCHEIB, Research Products, Inc., Los Angeles, Calif.
230
Two New Models of "Vista-Sell" Projectors (Demonstra-
tion)
HOWARD TURNER, DuKane Corp., St. Charles, Ill.
The Palmer Television Film Recorder and a New 16mm
2400 ft Modular Magazine (Paper)
JOHN CORSO, W. A. Palmer Films Inc., San Francisco, Calif.
16mm "JAN" Projector Modified for Use With a 450-w
Xenon Light Source (Demonstration)
FRANK H. RIFFLE, Carbons, Inc., Boonton, N.J.
Atlas Portable Projector (Demonstration)
WALTER E. MCCORMICK, Atlas Projector Corp., Culver City,
Calif.
New Modular Optical Printer and 16mm High-Speed
? Film Inspector (Paper and Demonstration)
ROBERT TROY, Ox berry Corp., New Rochelle, N.Y.
New Improved Model 224-A Photoopfical Data Analyzer
(Demonstration)
R. H. LAWRENCE, L-W Photo, Inc., Van Nuys, Calif.
Underwater Camera Housings and Underwater Lighting
Equipment?SeAQUArtz (Demonstrations)
CLIFFORD SAWYER, Birns & Sawyer Cine Equipment Co., Inc.,
Hollywood, Calif.
Transist-O-Sound Wireless Microphone for Television
Newsreel Sound on Film (Paper)
DOM CAPANO, S.O.S. Photo-Cine-Optics, Inc., New York
New Transmission Densitometer 0-4.0, With Certified
Kodak Status "M" Printing Density Filters and Visual
Filter for Soundtrack (Demonstrations)
FREDERIC MCCURDY, Macbeth Instrument Corp., Newburgh,
N.Y.
Development of Lawlette Film Processing Machines
(Paper)
F. W. SYLVESTER, Newman & Guardia Ltd., England
WEDNESDAY AFTERNOON
CONCURRENT SESSIONS
1:45 SOUND RECORDING and REPRODUCTION
Cinerama Theatre Acoustics
M. RETTINGER, RCA Broadcast & Communication Products
Div., Burbank, Calif.
Acoustic problems arising in hemispherical enclosures are dis-
cussed, and then the acoustic design and the results of acoustic
measurements of the recently completed Cinerama Center Theatre
in Hollywood are described. This theater features a "geodesic
dome," or quasi-hemispherical vault.
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A Simple Approach to the Quality-Control 'Problems
of 16mm Variable-Area Soundtracks for the Smaller
Studio and Laboratory ?
GORDON WILLIAMS, Walt Disney Studios, Hollywood; and
MICHAEL STRONG, World Wide Pictures, ? SherMan Oaks,
Commercial negative and print tolerances produce some prints
with unacceptable sound quality, so additional control is neces-
sary. 6,000-cycle cross-modulation tests are found to give more ac-
curate control than the conventional 4,000-cycle tests. Use of a
short, one-shot cross-modulation test on the negative and a simple
cross-modulation distortion meter, designed for operators with no
special training, indicates both direction and amount of density
correction necessary to obtain optimum results.
An Improved Method of Level Control for Broadcast-
ing and Recording
JAMES F. LAWRENCE, JR., Teletronix Engineering Co., Los
Angeles
An improved audio compressor-limiter system has been developed,
making use of a new linear optical attenuator. The shortcomings
of existing systems are overcome by producing light instantly and
in direct proportion to audio level through the use of electro-
luminescence. The light controls amplifier input level by means
of a photo-conductive cell. There is no distortion due to limiting,
and the attack time for the system is 10 Asec.
The Performance of Photographic Soundtracks on East-
man Color Print Film, Type 5385, With Special Ref-
erence to 8mm Usage
J. G. STREIFFERT and J. F. FINKLE, Research Laboratories,
Eastman Kodak Co., Rochester, N.Y.
It is shown that a top-layer dye soundtrack reproduced with an
S-4 type photosurface compares very favorably with multilayer
dye-plus-silver tracks. With high-quality reduction printing
and reproducing equipment, substantially the same performance
can be achieved at equivalent wavelengths and track widths on
8mm film as on 35mm. Tracks on 8mm film made to be scanned
with a slit 0.020 in. in width have been found to have more than
adequate commercial quality if proper attention is given to sen-
sitometric conditions and dirt and damage control.
A Prefabricated Acoustical Window
RALPH LANE and CLYDE TUCKER, Miller Sliding Glass .136or
Co., Burbank, Calif..
A
A new prefabricated acoustical window maintains an hermetic
seal and provides a chambered frame assembly. The window has
a minimum certified rating of sound transmission Class 48, and
will receive any type of glass from 7/32 to 1/2 in., including
heat-absorbing, one-way mirror, tinted and safety glass.
Simplified Blooping, Synchronization, Camera Drives and
Slating
LOREN L. RYDER, Ryder Sound Services, Inc.' Magnetic Sales
Corp., Hollywood, Calif.
New techniques for blooping, synchronizing, camera drives and
slating are now available. Advancement into the new techniques
may be made in steps, but each step must fit into an overall,
feasible pattern. The relative merits of several systems are dis-
cussed, and specific recommendations are presented.
CONCURRENT SESSION.
1:45 INSTRUMENTATION and HIGH-SPEED
PHOTOGRAPHY
Pinhole Optics
JOHN M. FIELD, JR., Douglas Aircraft Co., Santa Monica, Calif .
A space-flight simulator is being designed that utilizes closed-
circuit television cameras that translate along a track and view a
model. As the distance from the cameras to the model changes,
conventional glass lenses would require continual refocusing. A
pinhole requiring no refocusing was considered and was found by
experiment to produce quite adequate images for this application.
Thus the, pinhole assumed an important part in a large-scale
space simulator. The problem of finding the optimum diameter
for the pinhole is discussed. Several mathematical methods for
determining an optimum pinhole diameter are presented. The
basic theory and the primary assumptions for each method are
discussed, and the results of the various methods are compared.
Pinhole Optics and Simulators
A. H. GALLAS, C. A. GILBERT and A. B. H1TTERDAL, Doug-
las Aircraft Co., Santa Monica, Calif.
.A description of the operational advantages gained by use of
pinhole optics in the design of a visual flight simulator is
presented. Television engineering problems associated with the
use of pinhole optics, particularly with regard to the scene
lighting required, are outlined. The trade-off between a common
lens system and a pinhole lens system is discussed. The need for
unique manufacturing and quality control methods to produce
satisfactory pinholes also is considered, along with some associated
problems in designing peripheral visual display equipment.
Finally, a theory of the choice of pinhole focal length and
aperture size is discussed.
Physical Characteristics of Xenon Flashtubes
FRANK S. BARNES, University of Colorado, Electrical Engineer-
ing Dept., Boulder, Colo.
The physical characteristics of xenon flashtubes are reviewed. In
particular, i the spectral output of xenon lamps is discussed in
terms of watts per unit wavelength for different wavelengths and
current densities. Attention is given to the effects of varying the
pressure, length and diameter of the flashtube on the total light
output, and the conversion efficiency of electrical to optical power.
Additionally, the influence of the exciting pulse shape on the
conversion efficiency is described, along with some problems in
impedance matching for the driving source.
Reconnaissance and Surveillance Photography
JEROME S. GOLDHAMMER, Chicago Aerial Industries, Bar-
rington, Ill. ?
Current capabilities of photo-reconnaissance and surveillance
techniques are neither as limited as commonly believed pre-Cuba
nor as omnipotent as claimed in the lay press post-Cuba. Photo
capabilities and limitations are compared with the performance
potentials of other possible reconnaissance sensors, such as tele-
vision, infrared and radar. Choices of sensors for specific needs are
indicated, and growth possibilities are discussed.
Photography in Astronomy
R. M. CAMERON, Douglas Aircraft Co., Santa Monica, Calif.
Astronomy was one of the first sciences in which photography
was used as a prime means of qualitative and quantitative analy-
sis. However, photography in? astronomy is filled with problems
of great magnitude?figuratively and literally. The intensity and
spectral range encountered in studies ranging from the Sun to the
faintest stars and galaxies within reach of the larger telescopes
require meticulous considerations of the spectral and sensitometric
characteristics of photographic emulsions. Highlights of problems
encountered are discussed along with past and current techniques
employed in astronomical photography. Anticipated advancements
in techniques also are discussed.
Time-Lapse Photography of Chromospheric Phenomena
JOHN FRITZEN, Lockheed California Co., Burbank, Calif.
In an observatory monitoring the chromospheric phenomena
visible in the hydrogen alpha emission of the Sun, a telescope,
together with an .0.5A filter and camera, is used for time-lapse
photography. The resultant films are separated or recombined
through the use of standard optical printing techniques for the
study of various solar events.
March 1964 Journal of the SMPTE Volume 73 231
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Photooptical Instrumentation in Medicine
IRVING REHMAN, University of Southern California, School of
Medicine, Los Angeles
Photooptical instrumentation, with special reference to techniques
and problems in medical photography, is briefly reviewed. Spe-
cialized instrumentation in endoscopy, infrared, ultrasonics,
photomicrography and electron microscopy is discussed, along
with instrumentation, recording and monitoring problems in
cineradiography and other x-ray techniques. The application of
closed-circuit TV in medical training, surgery and research also
is discussed.
Automatic Lens Design Illustrated by a 600mm, f/2.0,
24? Field Lens
BERLYN BRIXNER, University of California, Los Alamos Sci-
entific Laboratory, N.M.
Representative prescriptions, together with performance evalua-
tions, are given for six designs in a sequence developed to im-
prove performance of an eight-element, ballistic missile camera
lens. The lens was redesigned with the LASL computer program,
which analyzes lens performance statistically by multiple ray
tracing and minimizes image defects by the least squares method.
The design giving best performance uses ordinary low-index
glasses. This work was done under the auspices of the U.S. Atomic
Energy Commission.
WEDNESDAY EVENING
6:45 Cocktail Party. Banquet and Dance
THURSDAY MORNING?APRIL 16
CONCURRENT SESSIONS
8:45 SPECIAL PHOTOGRAPHIC EFFECTS and
CINEMATOGRAPHY
Traveling-Matte Photography and the Blue-Screen System
WALTER BEYER, Universal Pictures Corp., Universal City,
Calif., and Chairman of Research and Education Committee of
American Society of Cinematographers
Traveling-matte systems available for feature film production are
summarized. The blue-screen system as it is presently used, in-
cluding all specifications for equipment and photography on the
set, is discussed in detail. Emphasis is given to use of the blue-
screen system with transparent subjects and fast-moving objects.
Technique for Composite Motion Pictures
JOSEPH WESTHEIMER, Westheimer Co., Hollywood
A method for making composite motion pictures for black-and-
white presentation is described and illustrated. This technique,
which employs the use of the blue-screen traveling-matte system,
provides a greater degree of flexability to the producer, with a
saving of both time and money. Demonstration material consists
of illustrations from current television film shows and com-
mercials.
Demonstration of Modern Composite Cinematography
LINWOOD G. DUNN, Film Effects of Hollywood, Inc., Holly-
wood
Excerpts from the 70mm Technicolor Ultra-Panavision produc-
tion, It's a Mad, Mad, Mad, Mad World, are shown to illustrate
modern techniques in photographic effects. A composite scene
that required twenty-one exposures in the camera is shown in
breakdown form. Other examples of special-effects cinematog-
raphy also are shown.
232
A New Rear-Projection Process
A. ARNOLD GILLESPIE, Metro-Goldwyn-Mayer, Inc., Culver
City, Calif.
Standard rear-projection process uses "center-line" single or su-
perimposition projection of background plates on a translucent
screen. M.G.M.'s new "laced" process uses extracted halves or
thirds from a single original negative and "spread" projectors.
Two or three extractions are used to make a single photograph-
able background, the segments having been "laced," or blended
together. Considerable gain in quality and scope is reported with
the new process.
An Aerial-Image Unit for Industrial Animation
GEORGE W. TRESSEL and STANLEY J. ANDREWS, JR.,
Argonne National Laboratory, Argonne, Ill..
The aerial image unit is a valuable tool for inserting diagrams
in industrial motion pictures. The principal problems associated
with such a unit are design of the field lens for minimum spherical
aberration, and critical alignment of the optical train. High-
quality projection lenses and large aperture are also necessary to
prevent color fringing caused by the condenser system.
Electronic Control Unit for an Industrial Animation
Camera
GEORGE W. TRESSEL and STANLEY J. ANDREWS, JR.,
Argonne National Laboratory, Argonne, Ill.
Industrial animation involves specialized camera controls inas-
much as a minimum of cell-by-cell animation is used. Instead, a
great deal of cyclic, scratch-off, and build-up animation is in-
Volved. An electronic control unit with parallel time-delay con-
trols greatly simplifies these operations. The usual elaborate
animation camera log is replaced with a simple cue sheet. The
board includes control for an aerial image unit with provision
for multiple framing. Visual indicator controls provide an im-
mediate check for camera modes and conditions to minimize pos-
sible error.
Considerations in the Design and Construction of a 360?
16mm Ten-Camera Rig
JACK BEHREND, Behrend's, Inc., Chicago
A number of cameras are coupled for the synchronous photog-
raphy of a 360? field. Special consideration must be given to the
selection of these cameras as well as their mechanical coupling,
optical integration, the structure of the assembly and electrical
controls. Some of these alternatives are strongly influenced by the
script and reliability considerations. The relationships between
photography and projection also play a part in the philosophy of
the design.
Variable-Beam Reflector Spotlight for Quartz-Iodine
Lamps
ROBERT E. LEVIN, Sylvania Electric Products, Inc., Lighting
" Div., Salem, Mass.
A variable-beam spotlight utilizing the compact quartz-iodine
lamp has been developed. Significant gains in optical per-
formance and reduction of size and weight over conventional
units are realized. The small source size permits new forms of
reflector optics to replace the conventional lens systems. The
theory of design and operation are discussed, and the photo-
metric performance is reported. The system is planned for use in
cinematography, television and related areas.
CONCURRENT SESSION
8:45 INSTRUMENTATION and
HIGH-SPEED PHOTOGRAPHY
Photographic Flame Analyses
JOHN H. WADDELL, Douglas Aircraft Co., Santa Monica,
Calif.
The photography of self-luminous subjects has always created
problems. Among these subjects have been missile launchings,
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nuclear explosions, arc welding and burning hydrogen. Each
of these types of luminous bodies has individual characteristics,
and a logical pattern for these analyses requires a knowledge
of brightness and spectral characteristics of the flame, color
and neutral filters and film sensitivity. A hydrogen flame is
practically invisible but when photographed on infrared-sensitive
film through a deep red filter, the flame becothes.observable.
Another example is the photography of arc welding where
puddle formation can be photographed, as well as the ionization
of the arc at the electrodes. The technique here is to vary the
exposure?each phenomenon being studied at a different 'ex-
posure. The exposure may vary 30,000 times to secure the
necessary spread.
Jump and Weave in High-Speed Motion Pictures
JOHN H. WADDELL, Douglas Aircraft Co., Santa Monica,
Calif.
High-speed motion pictures have a tendency to jump or weave
when they are projected. Several causes for this tendency are
suggested: (1) Ambiguous American Standards for the perfora-
tion of film: The tolerance summations are not equal when
using T-2E against 1 + 2C. This discrepancy is compounded
by the film manufacturers' hesitancy in giving camera designers
their working standards. (2) Pitch variation in the film, which
is reflected by slippage on the film on the sprocket at high
velocitieV and accelerations. These velocities may be up to
300 ft/sec, which may be reached in 0.4 sec. It is impossible to
design a sprocket tooth that will fill the perforation, and to
design 12 teeth 0.3 in. apart in engagement. (3) The use of
"green" film, i.e., film that is still maldimensioned after develop-
ment, in the projector. Processed film should cure for 48 hours
before projection.
Accurate Coded Timing-Light Generator
ROGER BOY De La TOUR, Douglas Aircraft Co., Santa Monica,
Calif.
Photographic techniques are extremely useful in the study of
fast phenomena or transient conditions. In such studies, it is
necessary to know precisely the time elapsed during the dif-
ferent phases of the phenomenon. If more than one high-speed
camera is used, 'it is important to correlate the time indications
for all cameras, so that simultaneous photographs can be as-
sembled.
The easiest way to record time is to mark it on one edge of
the film by means of a time-coded light. An accurate coded
timing-light generator, giving precision of a fraction of a
millisecond, has been built and is described. It is capable of
coding many cameras simultaneously at distances of many
hundreds of feet. The master unit is triggered by a crystal.
controlled oscillator. Transistorized multivibrators generate the
timing for the length of the different pulses indicating the
seconds, the tenths, hundredths and thousandths of seconds. A
transistorized switch applies 350 v to a NE 5IH neon bulb.
Slave units are used at each camera location. They can work
on dry batteries and are fully transistorized. The complete
system is composed of the decimal system above, marking one
edge of the film, and of a real-time digital master connected to
the real-time slave units and lamps that mark the opposite edge
of the film.
An Automatic Camera Tracking System
W. J. GIBSON and D. H. SMITH, Douglas Aircraft Co., Santa
Monica, Calif.
An automatic camera tracking system is one in. which the servo
control loop is closed by the optical light path. Deviations from
the optical axis of the object being tracked result in error signals
derived from the television signal. The error signals are used to
command a change in camera mount position so that the object
being tracked remains on the optical axis of the tracking system.
Either negative- or positive-contrast objects may be tracked.,
Analysis of Stress Wave Propagation by Photoviscoelastic
Techniques
CHARLES W. FERGUSON, Douglas Aircraft Co., Santa Monica,
Calif.
An experimental procedure for determining stress wave action in
a dynamically loaded model structure 'is developed. A high-speed
framing camera is used to record dynamic fringe patterns in
photoviscoelastic materials. The theory of linear viscoelasticity
is then used to relate fringe time histories to stress (or strain) his-
tories. The materials used for the models exhibit linear viscoelas-
tic behavior. Response to load is a function of rate of load appli-
cation. .Theoretical analysis of complex viscoelastic structure
materials is usually difficult, and in some cases, not possible.
The need for a quantitative experimental technique for the
assessment of such structures clearly exists. Results of research
indicate that quantitative photoviscoelasticity techniques are
feasible.
A Cine Spectrograph for Reentry Measurements
BERNARD D. PLAKUN and WILLIAM C. SCHUPP, Barnes
Engineering Co., Stamford, Conn.
The cine spectrograph records a reentry event as a consecutive
series of spectrographic records. Wavelength and time resolution,
wavelength, coverage and running time are the principal per-
formance factors. Frame rates of from 10 to 30 frames/sec and
a capacity of 1800 frames are considered adequate for reentry
observations. Spectral performance is affected by target size and
the accuracy of target tracking. A dispersion element using a
pierced grating and prism combination enables considerably im-
proved spectral resolution over a grating alone.
High-Speed Photoinstrumentafion for a Hypersonic Wind
Tunnel . .
ROBERT L. LEIGHTON, United Aircraft Corp., East Hartford,
Conn.
Application's of high-speed cameras and short-duration- light
sources to measure pressures, forces and flow patterns in a high-
velocity (up to Mach 25), short-duration (10 msec) wind tunnel
are described. Details of the measuring techniques are given, in-
cluding the optical layouts, lighting, synchronization methods,
data reduction procedures and measurement accuracy.
Far-Infrared Photography
A. T. IRELAND, Douglas Aircraft Co., Santa Monica, Calif.
Because film does not retain its sensitivity at far-infrared wave-
lengths, pictures are obtained through the use of other de-
tectors. Methods of obtaining such pictures are outlined.
Limitations of the equipment and results are discussed. Several
practical applications are mentioned, slides -are shown of results
obtainable, and equipment is demonstrated.
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THURSDAY AFTERNOON
1:45 SPECIAL PHOTOGRAPHIC EFFECTS
and CINEMATOGRAPHY
The Mitchell SSR-16
EDMUND M. DI GIULIO, Mitchell Camera Corp., Sherman
Oaks, Calif.
There is a growing need in television news-gathering for a 16mm,
single-system sound camera that is lightweight and silent, with
low wow and flutter, yet still retains professional pin-register
quality. The solution of many of the problems generated by these
stringent and often contraditory requirements is described.
Electronic Cam: A Production Method for Television and
Feature Films
ALFRED JETTER, Bavaria Atelier G.m.b.H., Munich-Geisel-
gasteig, Germany
Background of the Electronic-Cam system of producing motion
pictures for television is outlined, and current applications of the
system in several installations are discussed. Particular reference
is made to the application of Electronic Cam to films for color
television.
Ill9'
;1
A Portable Industrial Motion-Picture Kit
GEORGE W. TRESSEL, STANLEY J. ANDREWS, JR., and
DANIEL S. GIROUX, Argonne National Laboratory, Argonne,
A 500-pound kit incorporates complete field equipment for a
highly mobile motion-picture group. Nine uniform cases are
sufficiently small and light so that they may be shipped by air
and easily handled by one man; yet they contain cameras, acces-
sories, and facilities for tapping power and lighting large pieces
of industrial hardware. Tests have led to equipment that delivers
maximum light output with flexibility. Using this kit, two three-
man units have photographed 90% of the footage for the Atomic
Energy Commission's Geneva Conference film program.
35mm Camera Apertures, Composition Areas and Printed
Picture Sizes As They Affect Theatrical and TV Pres-
entations
WALTER BEYER, Universal Pictures Corp., Universal City,
Calif., and Chairman of Research and Educational Committee
of American Society of Cinematographers
Present 35mm composition discrepancies between wide-screen and
television production are outlined. A solution is proposed and
illustrated through slides and motion-picture film.
A Universal 35mm Film Format
SIDNEY P. SOLOW, Consolidated Film Industries, Hollywood
Present-day 35mm motion pictures are photographed to be ex-
hibited either in "wide-screen" (1.85 to 1) or in anamorphic
"scope" (2.35 to 1). The former always, and the latter frequently,
wastes film area and projection light. A universal, mildly anamor-
phic compromise that would display all of the available image
area and utilize all of the projector illumination is advocated.
Other advantages are discussed.
Practical Tests Chart for Studios
C. W. BAKER and E. W. KAGE, Research Laboratories, Eastman
Kodak Co., Rochester, N.Y.
In present motion-picture work, no standard "lily" or gray scale
exists for determining exposures and color balancing for print-
ing. A new 6-patch chart that is designed in various sizes for
different-sized motion-picture sets and may be used with both
color and black-and-white film is described. The chart is made
from inexpensive, commercially available materials. The materials
have been tested for batch-to-batch quality and have good color
stability, as illustrated with spectrophotometric curves of fading
tests.
The reason for the choice of six patches is shown with typical
sensitometric curves for these films: Eastman Color Negative Film,
Type 5251; Ektachrome Commercial Film, Type 7255; and East-
man Double-X Panchromatic Negative Film, Type 5222. The
use of a scene luminanct meter with the chart for the determina-
tion of camera exposures is described and illustrated. The method
of lighting the chart and its placement in several sets also is de-
scribed and illustrated.
Panel Discussion on Exposure Control
HAL MOHR, President, American Society of
Cinematographers, Moderator
Exposure Control Devices and Their Use in Original
Photography
HAROLD P. FIELD, Gamma Scientific, Inc., San Diego, Calif.
Thoughts on spot photometry as applied to motion-picture and
TV scene lighting, including some observations on color char-
acteristics, flare, and polarization in spot photometers, both with
regard to exposure determination and luminary (brightness)
ratio measurements, aiKe presented.
9;
Exposure Control and Stray Light Component
JAMES W. HARRIS, New Zealand National Film Unit, Welling-
ton, N.Z.
Stray light needs more attention. Though too much will degrade
the image, enough will give overall threshold exposure, which
may explain the success of some "magic eye" systems. While
existing exposure-control systems all have weaknesses, experience
with visual judgment of reflex finder brightness suggests that
this is a system which could be made reliable, the need being for
a standard brightness or image to be placed alongside the normal
ground-glass image. The equipment necessary for this could also
provide means of increasing effective emulsion speed by a revival
of pre-fogging technique. An Appendix is submitted suggesting
a new standard by which cameras could be rated for their stray
light component.
Peculiarities of Telefilm Exposure Control
HAROLD WRIGHT, Canadian Broadcasting Corp., Ottawa, Ont.,
Canada
The telefilm medium has exposure-control problems peculiar
to that medium. The telecine transfer creates electrical tone-
scales, and transmitter modulation requirements place severe
limits on tone-scale excursions in the "white" direction. Thus,
high-luminance areas in a scene, of little photographic signifi-
cance, take on a significance far out of proportion to their sub-
jective or aesthetic effect. This significance can be determined,
and accommodated, if exposure is controlled by a narrow-angle,
telescopic spot-photometer type of exposure meter.
A Compromise Solution: A Reflectance Meter That
Incorporates Exposure-Control Advantages of the
Incident-Light Meter
BURTON J. ASKOWITH, Martin Company, Orlando, Fla.
Accepting the premise that optimum exposure control is a func-
tion both of direct incident light (E) and of reflected light (B),
it can be shown that the required change in aperture or exposure
(p A) may be expressed as the sum of two terms, one related to
the incident-light meter (ME), the other to the reflected light
meter (ME):
= f(ME) E f(ME) P E
(The term-r is the average scene reflectivity.)
Data are shown to indicate that a practical reflectance meter
can be built to approximate this sum, using the combined visible
and near-infrared reflected light in spite of the variability of the
infrared ambient relative to the visible.
234 March 1964 . Journal of the .SMPTE Volume 73
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THURSDAY EVENING
8:00 TIME-LAPSE PHOTOGRAPHY
Time-Lapse Photography at Moody Institute of Science
IRWIN A. MOON and F. ALTON EVEREST, Moody Institute
of Science, Santa Monica, Calif.
The techniques of time-lapse photography have added much to
the understanding of physical and biological phenomena. In-
strumentation for time-lapse applications to specific subjects over
the past twenty years are reviewed. There are two broad categories
of equipment: that for the camera-controlled exposure used ex-
tensively for outdoor situations, and that for intervalometer-
controlled exposure for artificially illuminated subjects. Photo-
micrographic time-lapse arrangements normally fall under the
second category.
Some Medical Applications of the Cinematography of
Cells
C. GEORGE LEFEBER, Pasadena Foundation for Medical Re-
search, Pasadena, Calif.
The use of time-lapse cinematography for biological research is
introduced with an example of the well-known technique em-
ployed to record the opening of a flower. By way of introducing
how animal tissues are studied, the dissection of a salamander to
produce a living culture is illustrated. Lung cells frbm this animal
show four phenomena which could not have been understood
without cine techniques: Rapid outgrowth of cells, food intake,
movement of enzyme-bearing mitochondria, and cell division.
Human cells from a thyroid cancer add other activity features:
wrinkling and rotation of nuclei. Various cine setups are il-
lustrated, including instruments for recording cell changes pro-
duced in perfusion chambers from double microscopes to permit
film comparisons of treated and untreated cells. A scanner and
electron recording device for the analysis of the contractile motion
of certain brain cells are shown.
FRIDAY MORNING?APRIL 17
8:45 SMALL-FORMAT FILMS
An Improved 8mm Film Cartridge
ARTHUR C. MUELLER, Bell dr Howell Co., Chicago
A cartridge for use in a double-8mm camera simplifies threading,
eliminates the need for rethreading for the second-half run, re-
quires less camera power to operate, and aids in obtaining sharper
pictures.
Automation for 8mm Single-System Sound
HANS NAPFEL, Fairchild Camera & Instrument Corp., Plain-
view, N.Y.
Many advances have been made to automate the 8mm camera.
These range from motor drive, through automatic exposure, to
power zoom. Approaches to simplification of the sound-recording
aspect and general operation of a single-system 8mm sound camera
are explored.
Factors Affecting 8mm Sound Print Quality
E. A. EDWARDS and J. S. CHANDLER, Film Services Div., East-
man Kodak Co., Rochester, N.Y.
The balance of functions in obtaining high-quality 8mm release
prints is described. Experimental results relating to both picture
and sound quality are presented.
System Modulation Transfer (SMT)
Acutance: An Objective Method for Rating Picture
Sharpness
EDWARD M. CRANE, Research Laboratories, Eastman Kodak
Co., Rochester, N.Y.
The areas under the modulation transfer curves of all components
in a photographic system, including the observer, are adjusted
for magnification and combined into a formula for "system
modulation transfer (SMT) acutance." When film is the vari-
able, proposed standard curves may be used for equipment and
observer. Values of SMT acutance range from 70 (passing) to
100 (excellent), and they differ by one unit if a sharpness dif-
ference is just perceptible to a critical observer.
Sharpness Calculations for 8mm Systems
J. E. PINNEY, Research Laboratories, Eastman Kodak Co.,
Rochester, N.Y.
A method for computing sharpness ratings for color films based
on modulation transfer function data has been described by
Crane. Good agreement was found between computed sharpness
ratings and qualitative judgments of sharpness for several 8mm
color print systems. Hypothetical improvements to a model 8mm
system illustrate how the potential sharpness of a system may be
estimated and system improvements planned.
Optical Printing With a Small-Diameter Light Source
JAMES D. CLIFFORD, Photographic Technology Div., Eastman
Kodak Co., Rochester, N.Y.
A concentrated-arc lamp has been used in a typical optical printer
to print 8mm color internegatives from 16mm color originals,
with considerable increases in sharpness compared with conven-
tional light sources. Engineering requirements and operational
characteristics are discussed and exploratory experiments in the
"-lime of the light source for other printing applications arg de-
'scribed. (xi toi
Economical 8mm Commercial Prints
C. LOREN GRAHAM and WILLIS L. STOCKDALE, Photo-
graphic Technology Div., Eastman Kodak Co., Rochester, N.Y
An economical system for producing quality 8mm commercial
prints is described and demonstrated with appropriate motion
pictures. The proposed system features contact release printing.
Contact release printing is made feasible by significantly improv-
ing the quality of the internegative by an improvement in print-
ing technique. This improvement is accomplished through modi-
fication of a typical optical printer.
FRIDAY AFTERNOON
1:45 PROJECTION PRACTICES
Usage and Special Applications of the 70mm Release
Print
WALTER BEYER, Universal Pictures Corp., Universal City,
Calif.
Statistics on 70mm installations are presented, and technical -as-
pects of 70mm drive-in installations are treated in detail. Special
applications of the 70mm print as an image carrier also are dis-
cussed.
The Cinerama Single-Lens System
GERHARD LESSMAN, Cinerama, Inc., Los Angeles
Cinerama, a three-lens process for projecting a 146? true field of
view upon a deeply curved screen subtending a large audience
angle of view, has two drawbacks resulting from the fact that it is
a mosaic projection process. It is almost impossible to maintain
perfect registration and picture steadiness between adjacent pro-
jected fields or to project the three fields with even illumination
and color balance. It is shown to be theoretically feasible to pro-
duce the "Cinerarnic" effect using a single-lens camera and pro-
jection system with the conventional deeply curved .Cinerama
screen. A single-lens system now has been developed and put in
commercial use for projecting any so-called wide-screen picture
onto a Cinerama screen with appropriate corrections for the per-
spective transformations involved. This system comprises a spe-
cial rectifying optical printer lens which transforms the rectilinear
perspective of a conventional negative, with or without anamor-
phosis, into a positive print with appropriate perspective modifica-
tions for projection onto deeply curved cylindrical screens. Special
projection lenses have been designed to compensate for the
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perspective and projective requirements of projection onto curved
screens. A camera lens with a 146? field of view has also been de-
signed which, when properly utilized for motion-picture produc-
tion in the Cinerama single-lens process, will totally simulate
the original three-lens system.
Motion pictures taken with the single, wide-angle lens
camera with appropriate utilization of auxiliary cues to depth
perception are in all respects equal to the traditional three-lens
Cinerama projection but without the defects of the mosaic
process.
Carbon Arcs for 16mm Film Projection
C. E. HEPPBERGER, Arc Carbon Div., Union Carbide Corp.,
Chicago; and E. A. BOWEN, Arc Carbon Div., Union Carbide
Corp., New York
The characteristics, operating data, and performance of a high-
intensity carbon trim for the projection of 16mm film are de-
scribed. The color quality, magnification, optical speed, power of
the projection lamp, intensity and distribution of the screen light
are discussed. Earlier papers are reviewed, and projection im-
provements consistent with pending trends in illumination are
suggested.
Xenon Projection Lamps: A Resume
DON V. KLOEPFEL, General Film Laboratories, Hollywood
Constantly increasing use of the xenon lamp as a projection lightic
source in review rooms Prompted a survey which would indicate
some of the lamp's distinctive characteristics under typical opera-
tion. Data supplied by the survey are presented.
New Test Film Catalog
Xenon Light Sources for 16mm' Projection -
EDWARD LACHMAN and FRANK H. RIFFLE, Carbons, Inc.,
Boonton, N.J.
New xenon light sources have been developed for 16mm motion-
picture and small-format slide projection. Modification of a well-
known projector is described and operational results evaluated.
Additional xenon sources in standard lamphouses also are de-
scribed.
The New Siemens "2000" 16mm Projector
HORST MASCHGAN, Siemens & Halske A. G., Berlin, Germany
The Siemens "2000" Projector, manufactured for over a decade,
has been succeeded by a model with these features: Maintenance-
free operation; reduced weight; improvements and simplification
in layout for easier service; increase in light output; inclusion of
a small, transistorized amplifier in the existing modular construc-
tion system; .improvements of various parts for increased re-
liability arid ease of operation.
Atlas Portable Projector
WALTER R. McGORMICK, Atlas Projector Corp., Culver City,
A portable projector capable of reproducing pictures of all aspect
ratios, using magnetic soundtrack , and picture, of, optical sound-
track and picture, or composite prints with loptical sound, is
described. The, design includes new applicatiorlS of tight loop
sound head, lamphouse techniques, projector drive mechanism,
stop-start and reverse, and remote control.
The Society's 1964 Test Film Catalog was mailed recently to
past purchasers of test films. The new catalog, copies of which
are available from SMPTE Headquarters, incorporates the
latest listings, along with price changes that became effective on
January 1, 1964.
The catalog lists sound and picture test films for television,
and for 70mm, 35mm (standard, wide-screen and anamorphic),
16mm and 8mm equipment. These films are used by manufac-
turers for design and inspection; by television engineers; by
theater projectionists and other persons responsible for "in
service" maintenance of projectors and sound systems; by
equipment dealers for demonstration purposes, and by audio-
visual equipment users for quick performance checks.
Every Member a Membership Committeeman
The Society's National Membership Committee strongly urges
every member to remove the tear-out application blank from
the January issue of this Journal and use the form to sign up
an associate as a member. Your Committee can contact only a
small percentage of prospective members. By bringing others
into the Society, every member can help maintain SMPTE in its
position of leadership.?Edward A. Winkler, National Member-
ship Chairman, c/o Eastman Kodak Co., 200 Park Ave., New
York, N.Y. 10017.
236 March 1964 Journal of the SMPTE Volume 73
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Los Angeles
Technical Conference
Displays and demonstrations of all the
important new developments in equipment for:
Cinematography?Color and New Photographic
Materials?Motion Pictures and TV for
Education?Small-Format Films?
Instrumentation and High-Speed Photography?
Space Technology?Medical Photography
?Laboratory Practices?Projection Practices?
Sound Recording and Reproduction?
Television Engineering and Production
11111 III
I
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SUNSET.' ROOM
133
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SESSIONS AREA.....
" BOULEVARD "ROOM
218
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REGISTRATION
AREA
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131
EXHIBIT OPEN APRIL 13-16, 1964
Ambassador Hotel, Los Angeles
Technical Conference
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Exhibit Directory
Amega Corporation Booths 230, 231
11817 Wicks St., Sun Valley, Calif.
Ampex Corporation Booth 111
401 Broadway, Redwood City, Calif.
Exhibiting: Ampex 4-head videotape television recorder
with special pre-recorded taped material from the
National Association of Broadcasters Convention.
Personnel: Bob Day.
Arriflex Corp. of America Booths 201, 202
257 Park Ave. South, New York, N.Y.
Exhibiting: Complete Arriflex-16 and Arriflex-35 lines,
and Siemens 16mm sound projector line. New
items: Arriflex 16M with new 1200' magazine and
universal fiberglas blimp; Arriflex-35 Model IIBGS
with built-in sync generator and automatic clap-
sticks system, and special blimp; 1000' adaptation
stand for Arriflex-35.
Personnel: Paul Klingenstein, Victor James, Michael
Zois, Abbott Sydney, Asa Wruck (Export Mgr.,
Siemens & HalSke).
Atlas Projector Corp. Booth 232
10834 Washington Blvd., Culver City, Calif.
Exhibiting: Atlas Portable 35mm Projector Models
962 & 963?all aspect ratios, magnetic or optical
soundtrack and picture, or composite prints with
optical sound; Atlas Laboratory Vieiving 35mm
"?Projector Model 186; Atlas Replacement 35mm
Sound Head Unit Model 3100.
Personnel: Walter R. McCormick, Jr., Robert Spector.
Bach Auricon, Inc. Booth 108
6950 Romaine St., Los Angeles, Calif.
Exhibiting: New "Angenieux-Bach" 12 to 120 zoom
lens, custom designed for Auricon 16mm camera;
complete lines of 4 models of Auricon cameras;
double-system optical-sound on film recorder; new
all-transistorized "Filmagnetic" recording system
for Auricon cameras with interchangeable, re-
chargeable batteries; Auricon tripods, microphone
boom, etc.
Personnel: Peter Waldeck, William Straube, Gary
Koester, Howard Stephens.
EXHIBIT HOURS
^
e 2T41_4WirMilig J_Mitalg7
Monday, April 13.... 2:30-8:00
2:30-8:00
Tuesday, April 14.
11:00-8:00
Wednesday, April 15
9:30-4:00
Thursday, April 16
11:00-6:00
Admission to the Exhibit will be by Registration
Badge or Exhibit Pass. Passes may be obtained
free of charge at the Registration Desk. '
238
March 1964
Bell & Howell Co. Booths 143, 144, 145
7100 McCormick Road, Chicago 45, III.
Exhibiting: Visual readout display of additive color
printing systems for continuous printing as well
as step printers; new program tape checker and
duplicator (Design 6173 D) with correction or
insertion feature.
Personnel: J. L. Wassell, S. R. Kurtzweil, G. Foster,
J. Terry, C. Zichterman.
Birns & Sawyer Cine Equipment Co. Booth 129
6424 Santa Monica Blvd., Hollywood, Calif.
Exhibiting: B&S SeAQUArtz Underwater Lights, port-
able 30-v and 110-v models; underwater camera
housing for Arriflex-16 and -35; stop-motion pro-
jector; camera sound barneys; camera heater
barneys; fishpole sound booms; Omnitar telephoto
lenses; hi-hats for Arriflex-16 and -35; nickel cad-
mium batteries for Arriflex-16 and -35 and battery
chargers; instant splicing blocks, 16/35mm; ball
socket adapters and fluid head adapters; Trickstar
lenses; Tridown triangle.
Personnel: Jack Birns, Clifford Sawyer, Charles Lipow,
Gary Boren, Hal Ray.
Cinema Beaulieu Booth 207
941 Westwood Blvd., Los Angeles, Calif.
Exhibiting: Beaulieu RC 16 16mm Camera; Beaulieu
MCR 8 8mm Camera.
Personnel: Harry Mazur, Otto Herskovic.
Cine Electronics Systems, Inc. Booth 206
225 East 46th Street, New York, N.Y.
Exhibiting: 450-w xenon light adaptation in a portable
16mm projector, with power pack and ignition sys-
tem; new condenser block for large-size front or
rear screen still projection at short distances;
Xenosol-3 lamphouse.
Personnel: Stewart W. Jones, Seymour Kazmeroff.
Cinerama Camera Corporation Booth 229
11930 W. Olympic Blvd., Los Angeles, Calif.
Exhibiting: New automatic iris control for Cinerama
Camera Corp. Monitor Series Photographic Re-
corders, unit responds to light intensity changes
over field of view of objective lens. HS-35A Photo-
graphic Recorder; 300 FPS, dual pin registration,
integral boresight with reflex viewing, 8-speed
transmission, integral control box.
Personnel: Guy H. Hearon, Burton Berniker, Breen
Lansford, Karl Gensike.
ColorTran Industries, Inc.
630 S. Flower St., Burbank, Calif.
Booth 203
Exhibiting: Advanced group of pre-boosted high-inten-
sity. quartz-iodine lighting systems and- electronic
controls; new ColorTran feather-light quartz-iodine
focusing lights, backlights, strip lights,' and stands.
Personnel: Herbert A. Hollander.
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Andre Debrie of New York Booth 234
14-29 112th St., College Point, N.Y.
Exhibiting: TIPRO Optical Printer, QUAD 8 for the
simultaneous printing of four 8mm images onto a
single strand of 35/8mm-5R film; MATIPO 35
Contact Step Printer; 16mm single system "CS 16"
camera (magnetic sound) ; 16mm double band
projector for TV applications; 35mm Aiglonne
America for in-plant processing of 35mm movie
and microfilm; Sonocolor SFC2 Magnetic Striping
Machine for application of magnetic varnishes to
film.
Personnel: R. J. Harrington, M. Nanocchio.
DuKane Corporation Booth 222
St. Charles, Ill.
Exhibiting: Full line of sound filmstrip projectors in-
cluding the Micromatic and Flip-Top projectors;
new Vista-Sell continuous flow filmstrip projector.
Personnel: Howard V. Turner, A. F. Hunecke.
Eclair Corporation of America Booths 225, 226
8078 Woodrow Wilson Blvd., Los Angeles, Calif.
Exhibiting: Eclair Products: 300 studio reflex camera,
1000 ft. film capacity; GV-35 hi-speed camera;
GV-16 medium speed camera; Camematic 35mm
instrumentation camera; Camerette 35mm camera
with techniscope or normal (4 perforation) opera-
tion immediately interchangeable; Cameblimp ;
Gyroflex tripod, silent combination gyro and gear
and free head with immediate declutching from one
mode to another; Crab dolly. Perfectone recorders.
Personnel: J. P. Carson, Harold Dreyfus, Lea Benedetti.
Filmline Corporation Booth 215
43 Erna St., Milford, Conn.
Exhibiting: New ND-100 Filmline portable 16mm nega-
tive/positive continuous film processor designed
and engineered for major networks, completely
self-contained, built of stainless steel; features
friction drive with built-in overdrive system feed-in,
take-off and controls at one end. Complete with re-
plenishing system, impingement drybox, Filmline
micro-venturi squeegee, spray-rinse between de-
veloper and hypo; produces at 60 fpm or 4 min. dry-
to-dry cycle with one man operation.
Personnel: Edward B. Krause, John Koteas, John
Grady.
Frigidheat Industries Booth 134
P.O. Box 6037, Nashville, Tenn.
Exhibiting: New automatic thermal units for precision
temperature control of processing chemicals: Model
30A-5 designed for small volumes of from 5 to 50
gallons; Model 60A-12 designed for larger volumes
of up to 150 gallons of solution.
Personnel: J. 0. Ewing, Mrs. -J. 0. Ewing.
NEW! WITHOUT BOOSTING!
Order code LQH10-0
OVER 1,500,000
CENTERBEAM CANDLEPOWER!
ColorTran's New Quartz-iodine,
High-Intensity
HI-SPOT
* Draws only 8.3 amps, using new PAR 641000W'
3200?K 150-hour, or PAR 64 1000W 3400?K 16-hour
quartz-iodine lamps
* Operates direct from 120V AC/DC;without boosting
Other ColorTran Quartz-iodine Lights/For motion picture, TV and still photography
IDEAL FOR:
Photo-Instrumentation
At 3', produces 44,000 footcandles
in pattern 0.5' x 0.8'
Long-Throw
At 100', produces 160 footcandles
in pattern 8.0' x 14.0'
Environmental Chambers
At 10', produces 13,000 footcandles
in pattern 0.9' x 1.5'
No boosting required. Operate directly from 120V, AC/DC.
Focusing Quartz Light ? Smooth continuous focusing from spot to flood.
Quartz-King 500 ? Using new B5-32 (1000W, 3200?K, 500-hour lamp) pro-
duces extremely broad, flat, smooth light.
Quartz-King Dual-Lights?(Dual-1000 and Dual-650) Wide or Medium Flood
from a single housing.
Cyc-Strip ? For high-intensity, even lighting of large areas, high back-
drops and cycloramas.
PAR 64 Follow Spot ? Produces up to 401,000 Centerbeam candlepower.
Mini-Lite ? 11/2 lbs., 2" deep, barndoors in 4 directions.
Back-Lite ? 11/4 lbs., world's first portable backlight.
630 SO. FLOWER STREET, BURBANK, CALIF.
WRITE FOR FULL DETAILS 6,__D *1-ran
/ 0 PHONE: [phone]
NIIK/
COME AND SEE, US AT BOOTH 203
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240
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ARRI FLEX 35
CELEBRATES ITS
ANNIVERSARY
Literally born a classic, the first Arriflex 35 became
commercially available in 1939. This brilliantly
conceived professional motion picture camera in-
augurated a new era in cinematography. The inge-
nuity of its original mirror-shutter reflex system is
today's most imitated feature... both a tribute to,
and an acknowledgement of Arriflex's leadership.
Its many exclusive features plus lightweight
compact design, ruggedness and economy of op-
eration have provided Theatre, Television, Industry,
Science and Education with their most important
and versatile cinematographic tool. More than any
other motion picture camera, Arriflex has made
possible the "new wave" of cinematography that
was the cover subject of Time magazine's recent
article, "Cinema as an International Art". Arriflex
was singled out in this regard.
We take pride in having contributed to the suc-
cess of Arriflex in the U. S. during the past
decade, and extend our heartiest con-
gratulations on this 25th Anniversary
to its originators, Dr. Robert Richter,
Dr. August Arnold and Mr. Erich. Kaestner
chief design engineer.
And to the thousands of Arriflex owners, who
have given meaning to its capabilities: Sincere
thanks for your invaluable contribution to this
memorable occasion.
IMPORTANT IMPROVEMENTS THAT MAINTAIN 4RRIFLEX 35's LEADERSHIP -
AS TODAY'S MOST ADVANCED PROFESSIONAL MOTION PICTURE CAMERA
Arriflex's familiar silhouette has remained basi-
cally unchanged through the years because of its
masterly original design. But many internal im-
provements and additions have been incorporated
during the last ten years to keep pace with the
demands of-modern technology and Motion 'pic-
ture industry requirements.
Among the most -important improvements are:
NEW! Reflex shutter with approximately 1,800
shutter opening
_
NEW! Magazines with larger capacities for color
film and new improved film take-up mechanism.
NEW! Cardioid cam-driven transport claw for high
precision film movement.
NEW! Variable shutter.
NEW! Signal generator with electric "clap-stick".
NEW! Stronger variable speed handgrip motorwith
"forward" and "reverie" switch.
-NEW! Transistorized governor controlled motor.
--
NEW! Adjustable matte box with leather bellows.
NEW! Comprehensive accessory system, from
sound blimps to time-lapse mechanisms.
March 1964 journal of the, SMPTE. Volume 23
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
...celebrate with us!
YOUR TRUSTY OLD
MIGHT BE WORTH
$1,50000
ARRIFLEX 35
If you are the owner of an old Arriflex 35 "that has seen its
day", take advantage of our 25th Anniversary Offer.
We will accept up to 25 old Arriflex 35's, REGARDLESS OF
OPERATING CONDITION, in trade against a new model
and allow you $250.00 towards the purchase price.
AND, IF YOURS HAS THE EARLIEST ORIGINAL SERIAL
NUMBER, of the traded-in cameras, WE WILL REFUND YOUR
ENTIRE PURCHASE PRICE up to a total of $2,500.00!
So, if you have been thinking about a new Arriflex 35, take
advantage of our 25th AnniversaryTrade-In Celebration.
Your traded-in Arriflex might be worth $2,500.00,
or at the very least, $250.00 if you act fast!
PARTICIPATING DEALERS:
Mark Armistead, Inc., Hollywood
Behrend's Incorporated, Chicago
Birns. & Sawyer Cine Equipment, Hollywood
Brooks Cameras & Supplies, San Francisco
Camera Equipment Company, New York
NOTE: This offer is good until May 1, 1964, or until twenty
?whichever occurs first. List of names and serial
Camera Mart, Inc., New York
Camera Sales Center, New York
Florman & Babb, New York
SOS Photo-Cine-Optics, New York
Village Camera Shop, Detroit
-five old Arriflex 35 cameras have been traded-in
numbers of trade-ins will be furnished on request.
CORPORATION OF AMERICA
257 Park Avenue South New York, N.Y.10010
March 1964 Journal of the SMPTE Volume 73
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241
erTh9rIRY*ANT K? I iiLA K?I I? Ai
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Gamma Scientific, Inc. Booth 216
5841C Mission Gorge Rd., San Diego, Calif.
Exhibiting: A-500 FL luminance analyzer for TV light-
'. infobleins, and, the,A-500 EC luminance analyzer
for photographic appliCation, hand-held,.high-defi-
nition photomultiplier spot photometers; 700M log
linear photomultiplier photometer for general pur-
pose light measurement with a fiber optics probe
and monochromator, incident light, and telephotom-
eter heads; Model 200 luminance standard, a highly
stable and accurately calibrated luminance source.
Personnel: H. P. Field, R. H. Akin.
Gordon Enterprises Booths 119, 120
5362 N. Cahuenga Blvd., North Hollywood, Calif.
Exhibiting: Complete line of motion picture and photo-
instrumentation equipment; Kenyon gyro stabil-
izers; Fastax high speed cameras.
Personnel: Alan Gordon, Grant Loucks, Roy. Low, Sid
Bugelholl, Ted Lane, Andy Lempke.
Gryphon Corporation Booth 101
P.O. Box 854, Burbank, Calif.-
Exhibiting: HB-2 air squeegees for film processing
machines; Model S stop-motion flashlight for dark-
room inspection and maintenance use; Gryphon
processing-machine film inspection viewer; Gryphon
combination 16/35mm filth roller constructed of
type 316 stainless steel; Gryphon film splicer using
tape to make butt splices' in various sizes and
styles by simple adjustment.
Personnel: Harlan L. Baumbach, Mel W. Jones.
Karl Heitz, Inc. Booth 224
480 Lexington Ave., New York, N.Y.
Exhibiting: Kinoptik Apochromats from 1.9mm f/1.9
(197?) to 500mm 1/5.6, including new 9.8mm 1/1.8
for 35mm movie and TV cameras; Robot 35mm
motorized cameras including new 18m with
built-in 24-v motor and perfect 4-sprocket hole
registration; Camex Reflex 8mm cameras with
behind-the-lens CdS meter for continuous monitor-
ing while filming; Alpa 6c 35mm single-lens reflex
camera; Tessina motorized 35mm subminiature
reflex.
Personnel: Jack Pill, Bill Bontrop, Ted Lipton.
Frank Herrnfeld Engineering Corp. Booth 131
5716 Camille Ave., Culver City, Calif.
Exhibiting: Model 1503 Color Densitometer; Model
1531 Constant-Time, Variable-Intensity Sensitom-
eter; Model 1557A 16mm Continuous Printer;
Model 1566 16 to 8mm Reduction Printer; Model
1583 Constant-Power Take-Up Motor.
Personnel: Frank Herrnfeld, Oscar A. Garbino.
Hi-Speed Equipment, Inc. Booth 127
73 Pond St., Waltham, Mass.
Exhibiting: Pictures and slides of Hi-Speed products for
the photographic laboratory, including film process-
ing equipment.
Personnel: Alex Bagdasarian, James Donovan, Bert
Gade.
(.141 ? EXCLUSIVE ? NEW ? EXCLUSIVE ? NEW ? EXCLUSIVE ? NEW ? EXCLUSIVE ? NEW ? EXCLUSI
The Miniola Editing Machine
Continuous movement suitable for negative and
positive viewing ? Film paths declutchable ?
Projected picture 6,/4" x 41/2" ? Instant stop ,
and reverse ? High quality sound ? 2000' capa-
city ? Separate-magnetiOi,-s'eparate optical and
combined 'optical and qath6p,c heads Syn-
chronous and _double speeds. .Program -timer.
(optional) ? Footage count6r:Vortable
The "Miniola" is designed to meet the requirements
of the smaller budget 16mm film producers while
offering the same precision ajd many-of the facili-
ties Of the higher priced models. It is portable and
can be bench mounted or a purpose built' stand
supplied.
It has a continuous movement with drive of a novel
design giving instant stop and.reverse without the
aid of magnetic clutches, -brakes and electronic
relays.
The upper film path is for picture and the lower
film 'path for Separate optical and separate mag-
netic sound. Either film path can be moved inde-
pendently of each other through de-clutching the
sprockets simply by, lifting the knob on the front
of either sprocket.
Precision cut sprockets and both film gates are in
non-magnetic stainless steel.
The machine can 'be bench mounted or-used on a
special stand that is available as an extra.
For literature or Demonstration, Write to:
FLORMAN 8z RABBI INC.
Serving the world's finest film makers
68 West 45th Street', New York 36,-N.Y. MU 2-2928
')4isn1ox3 ? M3N ? 3/11S1113X3 ? M3N . 3AIS1113X3 ? M3N ? 3AIS1113X3 ? M3N ? 3AIS1113X3 ?
242
March 1964 Journal of the SMPTE Volume 73
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111111111111111111
NEWMAN and GUARDIA sell international
IIIIIII1I?11 11111?1111111111111111111111111MOSIOSISM1111111111?11?11
Lawley Optical Printer
Lawley Junior Processor
Lawley Step Printer
Lawlette Processor
_ Newman & Guardia have exported Lawley Laboratory
'Equipment all over the world during the past 10 years.
Wherever there is a need ? in film and TV studios,
in, Government Departments and the Armed Forces
--for the processing and printing of film of any
Booth No.118
gauge, in any quantity, negative / positive, reversal
or colour, there you will find Lawley Laborato:rY
Equipment.
In addition to Great Britain Lawley Equipment h,as.
been supplied to:
elossimailso
Finland
Norway
Sweden
Denmark
Germany
Poland
U.S.S.R.
Portugal
Malta
Belgium
Turkey
Kenya
I weirsIoneleseseellemosoloolo
IIIIIIIIIIIIIIIIII1111111111111111111111111111111
France Sierra Leone Nigeria
Iraq Hong Kong
Gibraltar Sardinia
losoloosseessions1111111iiimensemooselese
Italy
Cyprus
Ghana
Singapore
New Zealand
Malaya
Jamaica
Egypt
South Africa
Canada
India
Australia
U.S.A.
Eire
Switzerland
Mauritius
Jugoslavia and 6 other countries.
NEWMAN & GUARDIA LTD ? HARLOW ? ESSEX ? ENGLAND ? A MEMBER OF THE BEARD AND FITCH GROUP
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
ell & Howell modern research and engineer-
ing has produced this completely new additive
color printing system, that permits you to
deliver color prints with a color accuracy and
fidelity never before possible. The new Bell &
Howell Model "C" additive color printer as-
sures color Stability, and control through the
use 'of dichroic mirrors which separate a single
1,000 watt light source into the three primary.
beams. For scene-to-scene correction, each pri-
mary beam can be Modulated through 50 steps
in values of .025 Log E. In addition twenty-four,
points of .025 Log E values of exposure are
. _
available manually, to allow for any necessary
emulsion 'corrections-.
Program Ta pe Checker
WITH
INCREASED
QUALITY
AND
AUTOMATIC
CONTROL
The pre-se-
lected color tim-
ing 'information.
is easily and
quickly pre-
preigram med on
standard com-
puter tape, which
automatically
controls the
Model "C'',
Printer. Besides,
scene-to-scene.
color changes,
fade lengths of
16-24-32-6'4-96'
frames and zero
close for ex-
tended scenes are.
also coded on the
program tape to allow the production of release
prints from original negatives at 180 feet per
minute. All printing information can be double
ehecked from the punched tape by an accessory
?
tape' checker-duplicator.
- Other fea.tures -are 2400400t capacity . . .
Single 1000-Watt lamp (optional 750 and 1200),
, proximity reflector type . . . Edge light printing
separately controlled at aperture . . . Instru-
ments 'internally illuminated . . . Slow-start
"Circuit to prevent film damage . . . Internal
air pressure.
Accessories include 1000-watt rectifier . . . 16mm, 35mm'
and 35132mm soundheads and RF cue kits.
PROFESSIONAL
EQUIPMENT DIVISION
7100 McCORMICK ROAD
CHICAGO 45, ILLINOIS
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
MODEL "C" FEATURES?Ability to make scene-to-scene color
corrections . . . Six fade lengths (16-24-32-48-64-96) separately
controllable by pre-punched program tape ... Zero close to allow
extended scene printing . . . Over 2000-foot capacity . . Single
1000-watt lamp proximity reflector type . . . Edge light printing
separately controlled at aperture . . . Instruments internally
illuminated .. . RF cue system available as accessory to supple-
ment standard notch cue. . . Slow-start circuit to prevent film
damage . . . Internal air pressure . . . Pre-wired for sound head
installation . . . Automatic stop in case of negative break.
ACCESSORIES?Tape checker-tape duplicator unit (6173C), 1000-
watt rectifier (6160), RF cue kits (6395) and 16mm, 35mm,.
35/32mm soundheads.
OTHER MODELS AVAILABLE?Model "MB" automatic high speed
printer, for black and white or color printing (where scene-to-scene
color corrections are not required). This model is pre-planned and
pre-drilled for up-dating to the Model "C" at any time.
Both Model "C" and Model "MB" are available for the following
sizes 16mm, 35mm, 35/32mm, 65/70mm, 70mm type I, and
70rrim type II.
Demonstration
Film Available
A three minute color sound film
has been prepared demon-
strating the additive color system
of motion picture printing.
Examples of color correction
are shown, as well as demon-
strations of the unique new light
valves combined with tape
controlled operation. To preview
this film write or phone James L.
Wassell, Director of Marketing,
Bell & Howell Company,
7100 McCormick Road, Chicago,
Illinois 60645, (312) OR 3-3300.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Hollywood Film Company Booths 140, 141, 142
956 Seward St., Hollywood, Calif.
Exhibiting: High speed inspection projectors; edge
numbering machines; tape, overlap, repaid splicers;
ultrasonic splicers; fade and light change printer
units; tab applicators; Pyral magnetic stripping
machine.
Personnel: Harry Teitelbaum, Ben Teitelbaum, Warren
Strang, Lillian Kaye, Jim Bost.
Houston Fearless Corporation Booth 115
11801 W. Olympic Blvd., Los Angeles, Calif.
Exhibiting: PD-9 motor driven pedestal for black-and-
white or color TV cameras; PD-3 pedestal for
camera capacities up to 285 lbs; hi-hat for motion-
picture or TV cameras; cradle heads for pedestals,
tripods or hi-hats; new cam head with interchange-
able cams with a horizontal tilt lock in the neutral
tilt position.
Personnel: Bert Rosenberg, Gail Hildreth, Keith
Walker, Art Kjontvedt, Ed Stephens.
Kollmorgen Corporation Booth 221
347 King St., Northampton, Mass.
Exhibiting: Representative sampling of the Kollmorgen
projection lens line including the Snaplite projec-
tion lens.
Personnel: J. E. Brogan, L. Salig.
L-W Photo, Inc. Booth 208
15451 Cabrito Rd., Van Nuys, Calif.
Exhibiting: New Model 224-A photo-optical data analy-
zer for viewing and analyzing 16mm motion pic-
ture film with variable speed to 24 frames per sec-
ond, immediate stop, single frame, all modes for-
ward and reverse, built-in viewing screen, frame
counter and electro-magnetic drive system.
Personnel: Bob Lawrence, Sam Bowerman.
Macbeth Instrument Corporation Booths 210, 227
P.O. Box 950, Newburgh, N.Y.
Exhibiting: Model TD-204 transmission densitometer,
custom built (0-4) equipped with Kodak Status
"M" printing density filters and visual filters for
sound track; Model TD-102 (0-4) color transmis-
sion densitometer; Model TD-100 (0-3) black and
white transmission densitometer; Model RD-100
color reflection densitometer; xenon short arc (XBO
Series) lamps; xenon water cooled (XBF Series)
lamp; mercury high pressure (HBO Series) lamps.
Personnel: Frederic McCurdy, Peter A. Jensen, War-
ren B. Reese, Harvey Ellis.
Magnasync Corporation Booths 213, 214
5547 Satsuma Ave., North Hollywood, Calif.
Exhibiting: Magnetic recorders/reproducers for mo-
tion-picture production in 16mm, 17 mm and 35mm
featuring the Magnasync 602 Series Recorder
adapted for transferring I" sync-pulse material to
magnetic film; complete magnetic film dubbing/
interlock equipment with looping facilities, includ-
ing studio type G-960 Consolette; i" multichannel
communications recorder/reproducer for 24-hour
program source surveillance.
Personnel: Bob Dickinson, Jim Green, Ted Diamond.
70
franchisers
and installations
in 23 countries
around
the world
PERMAFILM, INC.
79 FIFTH AVE., NEW YORK 3,N. Y.
ALgonquin 5-5757 ? Cable Address: PERMAFILMS?NEW YORK
PERMAFILIVI of CALIFORNIA, Inc.
7264 MELROSE AVE. ? HOLLYWOOD 46, CALIF.
4-AS
5ettitatE Aeototottal TM
246 March 1964 Journal of the SMPTE Volume 73
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
AGAIN
? ?
see the PROVEN
synchronous_ magnetic film
Sound Recording Systems
at the S. M. P. T. E. show!
Tilsc.11.1,01Pc
0 ateraw- FILM RECORDER
ISOUND SYSTEM
11111AGNASYNC
CORPORATION
A subsidiary of Monogram Industries, Inc.
5547 Satsuma Avenue, North Hollywood, California
Phone: (213) TRiangle 7-5561 ? Cable "MAGNASYNC"
Send for detailed literature
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Magnetic Sales Corporation
1147 North Vine St., Hollywood, Calif.
Exhibiting: Professional synchronous tape recorders for
motion pictures and TV: Stellavox with Ranger or
Pilote synchronizing heads, dryfit rechargeable
batteries, wired for sync reproduction, bloop power,
remote start and stop, and automatic mixing;
Nagra three speed (15", 7k", 3*") with Neo-
Pilote synchronizing heads. Ryder synchronizing
and blooping devices: synchronizing transformers,
camera sync generators, blooping oscillators and
remote start control for recorders and resolving
equipment for Siemens projectors.
Personnel: Leon D. Selznick, Loren L. Ryder, Ronald R.
Cogswell. -
Booth 114
Metro-Kalvar, Inc. Booth 204
550 5th Ave., New York, N.Y.
Exhibiting: Metro-Kalvar 35mm filmstrip printer-proc-
esgor; Metro-Kalvar 16mm motion picture printer-
processor producing in normal light at a speed of
75 fpm; samples of spliced Metro-Kalvar film
products.
Personnel: R. B. Lindemeyer, N. R. Bacon.
Meyer Reed, Inc. 1 Booths 132, 133
1624 N. Cahuenga Blvd., Hollywood, Calif.
Exhibiting: Ascorlights; Pathe motion picture cameras;
Sinar products; color analyzers.
Personnel: H. Joe Meyer, Travis Reed, Cec Sly.
D. B. Milliken Company Booth 102
131 N. 5th Ave., Arcadia, Calif.
Exhibiting: New items: Kinescope recording camera;
automatic exposure control accessory for Milliken
standard high-speed line. Complete line of 16mm
high-speed motion picture cameras and accessories.
Personnel: T. H. Truesdell, L. F. Meyer, R. C. Kiteley,
C. G. Holzapfel, G. A. Crandall.
3M Company Booth 135
2501 Hudson Road, St. Paul, Minn.
Exhibiting: "Scotch" Brand Video Tape No. 379; 3M
Company's new video tape No. 388, designed to
permit "stop-motion" on helical scan recorders
capable of such.
Personnel: Robert Ferderer, A. J. Blower, E. M. Bruno.
Mitchell Camera Corporation Booth 130
666W. Harvard St., Glendale, Calif.
Exhibiting : Mitchell SSR-16 Reflex Motion-Picture
Camera; Mark II 35mm Camera with Sound Blimp;
professional 16mm motion-picture camera modified
for high-speed photography.
Personnel: R. Bruce Hill, Edmund Di Giulio, Donald
Tucker, Les Brown.
'Mole-Richardson Company Booth 113
937 North Sycamore Ave., Hollywood, Calif.
Exhibiting.: New quartz lighting equipment; incandes-
cent lighting equipment; arc lighting; lighting con-
trol.
Personnel: Larry Parker, Howard R. Bell.
SMPTE CONVENTION BOOTH 114
THE
MAGNETIC CENTER
for professional synchronous tape recorders
SO,NvoX
SYNC GENERATORS
for D-C Driven Cameras
SYNC TRANSFORMERS
for A-C Driven Cameras
CAMERA BLOOPERS
Hand held for any Camera
CAMERA BLOOPERS
Installed in any Camera
SOUND BLOOPERS
for any Recorder
1147 North Vine Street
NAGRA
and
SYNC TRANSFER DRIVE AMP.
for Sync Control of Sprocket Recorder
SYNC TRANSFER SERVO AMP.
for Sync Control of Tape Recorder
SYNC TRANSFER STROBE LIGHT
for Simple Manual Synchronization
WIRELESS TRANSMISSION OF SYNC
WIRELESS TRANSMISSION BLOOP
REMOTE RECORDER START
MAGNETIC SALES CORP.
Hollywood, Calif, 90038
248
March 1964 Journal-of the SMPTE Volume 73
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MINI1111111.- ,1A;37'
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
MT's:0a -thca QuiLaart XL-ax.mmi_xxig- ..A.T.TRICCON
1.6 xriuna. Cat,mierab?
NEVER DISTURB THE AUDIENCE WITH CAMERA NOISE!
Does the scene above look familiar? You may be interested to know more about its significance relative to
your sound recording needs.
Here is Auricon Professional 16mm Motion Picture Sound Camera Equipment, operating right in the middle of
an audience ? actually within inches of the surrounding spectators! Yet, despite the complex precision
mechanisms-that are recording a full-color picture and every whispered word of the speaker on the rostrum,
not even a murmer of distracting camera noise is heard by the audience. This quiet, dependable recording of
16mm Sound-On-Film Talking Pictures is the special engineering "magic" of Auricon!
Except for the red signal lights glowing on the Auricon Sound Camera, the audience has no way of knowing
that the Camera is running. In fact, even the click of the On-off switch has been muted!
Auricon Cameras are versatile and easy-to-handle because there is no bulky, sound-proof enclosure "blimp"
such as all other 16mm cameras use when recording sound.
Professional Producers and Cameramen choose Auricon to shoot pictures synchronized with Optical or
Magnetic "Double-System" recording equipment, or to record "Single-System" sound on the same film taking
the picture. Write us about your sound recording equipment needs today!
All Auricon Cameras are sold with a 30 day money-back guarantee.
You must be satisfied!
VISIT US AT BOOTH 108, SMPTE SHOW
33.11LCII AtTRIC COAT,
G94 E3 R.,ornaine Street, Hollywood SS, California,
1--pollywooct 2-rDe31
MA.1?TTJVA.cmuR.ER.s OF, scDT-7141i - 0/?T - FILM
12,ECORADI1-TC1- EQUIF'MENT SINCE 1931
IVI1E1 IC ALL
/4101100
HollYvi?
1.4S1VIM
S 1LTIV-131- 0 AT- M.1fla
0A/VIMRAS
CINE-VOICE II AURICON SUPER-1200 AURICON PRO-600
$998.50 & UP $5667.00 & UP $1871.00 &-UP
100 ft. Runs 23/4 min. 1200 ft. Runs 33 min. 600 ft. Runs 161/2 min.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Motion Picture Printing Equipment Co. Booth 126
8107 N. Ridgeway Ave., Skokie, Ill.
Exhibiting: New Peterson single and double head con-
tact printers in 16mm and 35mm. Accessories:
semi-automatic shutter; push button shutter; four?
speed fade unit; sound printing head; printer light
probe; Peterson R. F. Cueing System; patch ap-
plicator.
Personnel: Walter Peterson, Bruce Peterson, William
? Morris.
Moviola Manufacturing Co. Booths 235, 236
5539 Riverton Ave., North Hollywood, Calif.
Exhibiting; Bench editing arrangement for video tape,
including hand rewinds, power rewinds, and sound
reader equipped with timer counter; Moviola's new
editing table with latest model hand rewinds in-
corporating greater efficiency braking attachment
and swivel base; Moviola automatic power rewinds
for coring and rewinding 16mm, 35mm, and 70mm
film automatically; library readers for reviewing
16mm film at high speed or sound speed; Moviola
crab dolly and film editing machine; bench editing
arrangement for 16mm film with motor drive for
synchronizers to transport track at sound speed.
Personnel: Mark Serrurier, Al Romoli, Bruce ?Dalton,
George Kendall.
Neumade Products Corporation Booth 112
250 West 57th St., New York, N.Y.
Exhibiting: New items: Super "X" power film re-
winder; imprinted non-emulsion colored film leader.
Storage facilities for film, video tape, audio tape,
disc records, filmstrips, slides; film handling equip-
ment.
Personnel: Lee E. Jones, Robert E. Hempel, Ronald N.
Jones.
Newman & Guardia Ltd. Booth 118
Edinburgh Way, Harlow, Essex, England
Exhibiting: Processing machines: Lawlette color model,
smallest machine permitting color film processing
to professional standards, rearrangement of tank
links allows nearly all color films to be processed;
Lawlette high-speed model for high-speed and
documentary film processing. Continuous printer.
Personnel: S. G. Fitch, L. H. Howes.
Oxberry Corporation Booth 105
38 Hudson St., New Rochelle, N.Y.
Exhibiting: Inspection projector: Oxberry Model 40-B
16mm high-speed film inspector permits rapid in-
spection of film continuously at variable speeds,
forward and reverse, with optical rotary inter-
mittent to eliminate damaged sprocket holes; Ox-
berry Series 100 portable film processor for 16mm
or 35mm black-and-white film, small low cost de-
veloping machine designed to give highest quality
compatible with size limitation, 12" wide, 18" long,
2' high.
Personnel: Ralph D. Whitmore, Jr., Robert Troy.
W. A. Palmer Films, Inc. Booth 110
611 Howard St., San Francisco, Calif.
Exhibiting: Palmer television film recorder including
- TYPE 92B. PLAYBACK SYNCHRONIZER Responsible for tape to film transfer? Check out ths
ddition to the distinguished MTE line of synchronizing
FOR SYNCHRONIZATION OF 1/4" TAPE IN quipMent: You'll find no 'other gives you of the 92B's
PLAYBACK WITH SPROCKET DRIVEN FILM important-benefits:
WIDE RANGE, can cOrre'ct speed deviations of +20% to ?20%
.froin sync' Spded.- ' '
CONTINUOUS ? DISPLAY OF SYNC CONDITION so user
knows eXactly whether tape is in sync. Oscilloscope semi-circle
pattern moving clockwise indicates tape speed fast, counter-
?
clockwise ? indicates tape speed slow, semi-circle standing still
indicates precise sync speed. In addition, Comparator-driven
dial-registers % deviation from 71/2 or 15 i.p.s..normal speed.
SYNC SIGNAL LEVEL IS INDICATED BY VU METER, an
Attenuator provides for boosting weak signals 20 DB. Also a
? Volt Meter indicates voltage to capstan motor.
..1-IAS MEMORY if sync signal is lost, tape runs at last sync- ;
controlled:speed;
ADVANCING OR RETARDING TAPE TO LIP-SYNCHRO- ?
. NISM with picture; When screening, is achieved with a Spinner
? Knob Framing Control..
VERSATILE REMOTE CONTROLS for operating tape re-
corder -at :the. Synchronizer are incorporated.
FULLY AUTOMATIC. Choice of automatic speed control for
sync transfer work or manual speed control for special effects,
pitch change, trimming time spots,' etc'.
' COMPACT: All solid state. Entire 92B unit mounts in 12'/4"
of rack space, weighs 38 lbs. ,
COMPATIBLE. Can be used with tape transports including
Ampex 350, 351;354, 300, 400, and others. Uses 60 cycles or
14KC control track supplied by MTE type 87, 88, or any other
control track generators, or sync head.
' ECONOMICAL. High 'Utility in film studios, music studios, in-
? plant film production facilities. Solid state reliability eliminates
maintenance.
M' ?
?
?
?
MAGNA-TECH ELECTRONIC CO. INC.-.
630.-9T,H AVE.- N.Y. 36, N.Y.
2.50 March 14 ivotirn4 Of the SMP.TE Veltithe'7?3
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
0
Revere-Wollensak Division 3 COMPANY
Time? Yes, a watch movement is stopped cold by a Wollensak
FASTAX high speed motion picture camera. When these pic-
tures are projected there is no question what is happening.
High speed photography was the way engineers saw motion-
of the escapement when it engaged pins
on the fork . . . made certain there was
no bounce.
FASTAX camera studies are helping
solve motion, vibration and stress prob-
lems in electrical, mechanical, chemical,
medical and physical fields.
See for yourself how speeds up to
18,000 pictures per second absolutely
stops action. Clip the coupon for action.
REVERE-WOU:ENSAK DIVISION
563 HUDSON AVE., ROCHESTER 21, N.Y.
Please send me your
0 Brochure F100 on High Speed Photography.
0 Folder showing camera models and capacities.
Name
Company
Address
City Zone State
COME AND VISIT US AT BOOTH 223, SMPTE SHOW
March 1964 Journal of the,SMPTE Volume 73 251
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This is the first truly
Totally new and totally Mitchell! The remarkable SSR-16 combines famed Mitchell
pin-registered precision with superb reflex viewing and single-system magnetic
sound?in a professional camera that is truly lightweight, portable, flexible
and simple to operate. Hand-held or tripod-mounted, the SSR-16 is ideal as
a general purpose camera, and virtually noiseless. It is unsurpassed for on-the-sp
sound filming: news, sports, documentaries, military combat, special events.
It accommodates standard 16mm 400-ft. and 1200-ft. magazines and the majority
of standard films, lenses, mounts, and accessories. It's available with inter-
changeable motors, and with a pic sync for conversion to double system sound.
For high quality professional film work, the SSR-16 is in a class by
itself?in the finest Mitchell tradition! Write for illustrated brochure.
NEW MITCHELL SSR-16
SEE THIS REMARKABLE DEVELOPMENT AT THE 95TH ANNUAL SMPTE TECHNICAL CONFERENCE/APRIL 13-16, AMBASSADOR HOTEL, BOULEVARD ROOM, LOS ANGELES, CALIF,
252 March 1964 Journal of the SMPTE Volume 73
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magnetic sound
1ELL R-!6
evv.itc,
Through-the-lens-viewing. Focus
tube reflex viewfinder has 10X
magnification eyepiece, coupled
to rotating 1700 focal plane shut-
ter with 1/51 fixed exposure time
at 24 fps. Bright image is larger
than aperture. Three-lens turret
accommodates many standard
lenses and zoom lenses with
quick-change mounts.
Professional controls. All controls
are located at rear of camera, in-
cluding on-off switch, 4-digit foot-
age counter and reset, film tach,
buckle trip reset, and quick re-
lease connectors for power and
sound. SSR-16 operates on light
weight, rechargeable battery pack
or external AC power supply.
Mitchell movement. Film thread-
ing is quick and easy with only
three drive sprockets. All guides
and locks are interlocked with
compartment door to prevent mis-
threading. Single registration-pin
and single pull-down claw hold
film within a frame-to-frame toler-
ance actually better than avail-
able film perforations.
Magnetic sound recorder. Oper-
ates with any 100 mil prestriped
film. Separate 12-lb. unit pro-
vides 2 microphone inputs plus
high impedance channel with
input channels independently
controlled in mixer. Full moni-
toring and playback capability in-
cluded as well as self-contained
power supply.
SINGLE SYSTEM REFLEX
Mitchell Camera Corporation, 666 West Harvard Street, Glendale, California
March 1964 Journal of the SMPTE Volume 73
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253
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camera, monitor and sound recording unit produc-
ing 16mm film from broadcast or closed circuit
transmission, or tape playback; Palmer 2400' Maga-
zine.
Personnel: William Palmer, Stewart Macondray, John
Corso.
Photo Research Corporation Booth 109
836 N. Cahuenga Blvd., Hollywood, Calif.
Exhibiting: New Spectra TV Optoliner for vidicon im-
age orthicon and color TV camera systems, provides
test instrument for standardization of TV systems?
and self-contained illumination and inter-change-
able test patterns, mounted to tolerances of 0.002;
Spectra Miniature TV Camera.
Personnel: Karl Freund, James K. Branch, Gideon Fiat.
Photo-Sonics, Inc. Booths 138, 139
820 So. Mariposa St., Burbank, Calif.
Exhibiting: 70mm full frame (2.25" x 2.25") camera-
180-360 fps; 70mm full frame (2.25" x 2.25")
camera high-speed intermittent, 10 to 80 fps; 70mm
ballistic synchro camera; 35mm high-speed rotary
prism camera; 16mm high-speed rotary prism
camera, 3 models; 16mm thin line, underwater high-
speed camera; tracking mount.
Personnel: John Kiel, Darrell Lassiter, R. W. Lorenzen.
Plastic Reel Corporation of America Booth 218
612 Blvd. East, Weehawken, N.J.
Exhibiting: 8mm plastic film reels?all sizes; 16mm
plastic Reels-Plio-Magic film reels, 50'-2200'; 8mm
& 16mm Reel-Paks, reel and can combination, 50',
200' & 400'; 16mm and 16/35mm processing spools;
bushings.
Personnel: Walter Elterman, Allen Braverman.
Precision Laboratories Div. Booth 217
Precision Cine Equipment Corp.
928-930 E. 51 St., Brooklyn, N.Y.
Exhibiting: Precision Sound Readers, optical and mag-
netic; Precision Unitized Synchronizers; power film
slitters; film slitter and editing equipment, includ-
ing editing tables.
Personnel: Irwin R. Sheldon.
Prestoseal Manufacturing Company Booths 121, 122
37-12 108th Street, Corona, N.Y.
Exhibiting: New items: Automatic film/tape splicer for
16mm-35mm film with push button control, inter-
changeable splice programmer, and built-in splice
tester, models for magnetic film and video tape,
choice of butt, reinforced or overlap splicing;
Splicing console with remote variable speed control
winders, editing light and storage. Standard splic-
ers: Hercules Intermix reinforced for splicing dis-
similar film bases; Miracle Model Butt-weld.
Personnel: Leonard A. Herzig, Hans E. Baumayr, M.
Michael Cerick.
Producers Service Company Booths 123, 124, 125
1145 N. McCadden Pl., Hollywood, Calif.
Exhibiting: The new Acme triple head special effects
optical printer equipped with electro-mechanical
ALL FILM
IS SUSCEPTIBLE
to scratches and
abrasions...
Scratches can, and often do, occur
during the first run?subsequent use
and handling make such blemishes
more and more apparent.
Motion picture film is not, and cannot
be made, scratch-proof ?
254
421 Weit'54th Street,
New York 19, N. Y.
COMPREHENSIVE
FILMTREAT
REJUVENATION
restores originals and prints to their
initial, scratch-free condition.
COMPREHENSIVE Rejuvenated prints
are shown in first-run theatres
throughout the world. Rejuvenated
film stands up in repeated use like
new film.
COMPREHENSIVE Filmtreat Rejuve-
nation costs you so little, saves you so
much.
Write for literature and prices.
COMPREHENSIVE
FILMTREAT
March 1964 Journal of the SMPTE -Volume 73
829 No. Highland Avenue,
Hollywood 38, Calif.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
1964 Brings akswitlly in the
F9MEGFI
SOUND SYSTEMS
All recorders, dubbers and mixers have plug-in head
assemblies and plug-in amplifiers which are interchange-
able from one unit to the other.
RECORDER MODEL R-1 PORTABLE OR STUDIO
Lightweight single case complete record-play system up
to date for 16mm production.
RECORDER MODEL R-2 PORTABLE OR STUDIO
Two case complete synchronous recorder with amplifier-
mixer. 16mm on y.
Recorders priced from ;1300.00
Dubbers priced from ;900.00
SEE US AT BOOTHS 230, 231
RECORDER MODEL M-2
PORTABLE OR STUDIO
The M-2 recorder has two
microphone input channels,
plug-in amplifiers and many
other outstanding features.
Available 16mm, 171/2mm and
35 mm.
MODEL E-1 MIXER 4 CHANNEL MIXER
FOR PORTABLE OR STUDIO USE
Module amplifiers feature
"space age" enclosure which
plugs into the front panel of
all AMEGA recorders and
mixers.
Complete line of selsyn, sync-selsyn and interlock motors compatible with all equipment.
SEE YOUR DEALER OR WRITE FOR DETAILS.
MANUFACTURERS OF
MOTION PICTURE SOUND DEVICES
P.O. BOX 25, SUN VALLEY, CALIFORNIA RO 7-0250
AN AFFILIATE OF OMEGA ENGINEERING COMPANY
Cable Address: AMEGAMAG North Hollywood, California
March 1964 Journal of the SMPTE Volume 73
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servo systems that operate the automatic follow
focus for both the camera and the aerial image pro-
jector; Acme 16/35 combination cameras and pro-
jectors; adaption of the Bell & Howell additive
color head to step printing.
Personnel: Mike McGreal, Oscar Jarosch, Howard Pear-
son.
Quick-Set, Inc. Booths 103, 104
8121 N. Central Park, Skokie, III.
Exhibiting: New, models: Gibraltar cradle heads for
movie and TV work; vibration-free dollies with
special jack screws for lifting wheels off floor.
Super Quick-Set, Samsom, Hercules, and Gibraltar
complete line of tripods, pan heads, dollies, etc.,
for photographic, television, remote control, high-
speed or instrumentation usage; units capable of
handling loads from 5 to 200 lb on pan heads and
elevators, and 500 on tripods. The 'units include
and full length, with or without elevators, pan-
heads incorporating friction and/or geared con-
trols, power and hand operated pedestals and con-
soles. Accessories include Pelco adapters, special
apparatus for easier attachment of heavy cameras,
and Lo-Hi units.
Personnel: A. J. Briglia, Paul Mooney.
Red Lake Laboratories, Inc. Booth 128
564 San Xavier Ave., Sunnyvale, Calif.
Exhibiting: 16mm High-Speed Motion-Picture Cameras
and Accessories: 16mm x 100' Hycam, variable
from 10 to 8500 pps for full-frame 16mm and 20 to
17,000 pps for 8mm model; new 16mm x 400'
Hycam, variable from 16 to 10,000 pps for full-
frame 16mm and 32 to 20,000 pps for 8mm version.
Personnel: Robert D. Shoberg, Ted F. Meyer, Jr.
Research Products, Inc. Booth 136
716 N. LaBrea Ave., Hollywood, Calif.
Exhibiting: New custom built optical effects printer for
Acme 70mm, 35mm, 16mm, or 8mm projectors and
cameras. Engineered to meet any specific type of
work, the basic printer encompasses a new modular,
replaceable drive system, unlimited sequencing for
skip frame printing, a new type lamp house and
projector head assembly.
Personnel:. Harold A. Scheib, Jack Glass.
Revere-Wollensak Div., 3M Company Booth 223
725 Hudson Ave., Rochester, N.Y.
Exhibiting: High-speed photography and radar bore-
sighting equipment: Fastax high-speed cameras;
Mirrotel radar boresights; related photo-instru-
mentation products.
Personnel: Fred M. Emens, Richard J. Wollensak,
Robert B. Herden, Charles B. Wade, Thomas H.
Bowman.
S.O.S. Photo-Cine-Optics, Inc. Booth 220
602 W. 52nd St., New York, N.Y.
Exhibiting: Tel-Amatic closed circuit TV transistor-
ized camera; Sound Seal portable fiber glass blimp
for the Arri 16mm camera; Transist-O-Sound wire-
less microphone system for television news sound
on film reporting; S.O.S. Tel-Amatic 16mm con-
This latest volume in SMPTE's high-speed
photography reprint series brings up to date
an authoritative record that the Society began
publishing in 1949. The papers many of
which have been supplemented since their
original publication in this Journal?cover
these topic areas:
$500 Less 29% to SMPTE Members on
single copies. Less 25% to all pur-
chasers on orders of 5 through 49 copies;
33 1/3% on 50 copies or more. In New York
City, please add 4% sales tax.
256
Just published:
VOLUME 2 OF
Instrumentation and
High-Speed Photography
(SERIES II),
Cine Applications
General Instrumentation
Reports on the Sixth International Congress on High.
Speed Photography
Space Technology and Image Sensing
Television Applications
High and Ultra-High-Speed Cameras and Techniques
This new volume features a cumulative index for all eight volumes in the two SMPTE
high-speed photography series, and abstracts in French, German and Spanish.
(volume 1 of Series Ills still available at $4.00, with the same discounts.)
Address your order to
Society of Motion Picture and Television Engineers
9 East 41st Street, New York, N. Y. 10017
March 1964 Journal of the SMPTE Volume 73
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ANNOUNCING
the new
PETERSON
CONTACT PRINTERS
Come in aud see
or write for information
about our:
visit our display in booth 126 at the
SMPTE Conference in Los Angeles
SOUND UNIT
FADE UNIT
LIGHT PROBE
R. F. CUEING SYSTEM
PATCH APPLICATOR
Motion gicture [Printing 8qttiprnent eoinpany
8107 NORTH RIDGEWAY AVENUE SKOKIE, ILLINOIS
March 1964 Journal of the SMPTE Volume 73 257
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tinuous contact printer; two position transistor-
ized mixer for Auricon sound-on-filni amplifiers;
S.O.S. Tel-Animaprint hot pre-ss.
Personnel: Alan C. Macauley, Jan T. Macauley, Dom J.
? Capano.
Spindler & Sauppe, Inc. Booth 209
2201 Beverly Blvd., Los Angeles, Calif.
_Exhibiting: Complete line of selectroslide automated
2 x 2 in. slide projection equipment including pro-
jectors for manual, remote forward/reverse, re-
mote digital readout of the slide number, and re-
mote random access operation; 2 models designed
for multiplex and uniplex operation in closed-cir-
cuit and broadcast television.
Personnel: Norman A. Sauppe, Paul Weichhart.
Stancil-Hoffman Corporation Booth 219
921 N. Highland Ave., Hollywood, Calif.
Exhibiting: New magnetic film recorders: Model S6
for 16 or 17-1/2min with low power consumption
for field operation and silicon NPN low noise
transistors in the amplifier systems; Model S7
heavy duty unit with synchronous and electrical
interlock drive.
Personnel: William V. Stancil.
Stewart Filmscreen Corporation Booth 205 -
1161 W. Sepulveda Blvd., Torrance, Calif.
Exhibiting: Stewart seamless projection screens: Ul-
-
tramatte front projection screens for theaters and
review rooms; Stewart T-Matte Blue and Stewart
Hi-Tran screens for rear projection and motion-
picture production; Stewart TV-Blue for TV back-
ground-projection; rigid rear projection screens
for in-wall and console installations; Porta-Pro
portable screens; complete framing systems; ex-
amples of World's Fair installations.
Personnel: La Mar Roy Stewart, Marshall E. Stewart,
Roy C. Stewart, Patrick H. Stewart.
' Sylvania Electric Products, Inc. Booth 233
730 3rd Ave., New York, N.Y.
Exhibiting: Complete line of existing Sylvania profes-
sional lighting equipment for studio and location
use including the redesigned battery portable unit;
new items; iodine lamps.
Personnel: Edward A. Gilchrist, Richard H. Lindeberg,
George Mulcahy, Dr. Robert Levin.
Traid Corporation Booth 137
17136 Ventura Blvd., Encino, Calif.
Exhibiting: Consolidated Systems Corp. gun camera
line: Models KS-27B, KB-3A, KD-7; new daylight
load 100 ft. magazine for gun cameras. Vanguard
motion analyzer with automatic readout to Clary
? printer; Automax data recording cameras; Photo-
Sonics high-speed cameras Models 16mm-lB and
16mm-1B/AC,; new "G" load Adtrol timing light
generator for high-speed cameras.
Personnel: Robert King, Dick Freeborg, Carlos Elmer,
Mike Schuster.
4 The OXBERRY FS-4300 Filmstrip
Stand features ? automatic
focus, remote control rackover
with reticle projection, 1:1
Capabilities. Now available
with?
Variable time exposure of shut-
ter to handle new high quality
slow speed color stock
Converts to MP-4200 Animation
Stand by addition of. compound
The OXBERRY Master Series
MP-4200 Animation Stand has
over 200 accessories available
to tailor the equipment to meet
specific studio requirements
and budgets. Now available
with?
Automatic cel cycler
Electronic controls interlocked
for shooting coordinated pans
with zooms
The OXBERRY Model 20-B Camera for the above equipment features
OXBERRY's proven system of interchangeable single and double frame
35 and 16mm components.
Designed for industrial and edu-
cational use with limited budgets
the Model PEC and TE Unistand
are manufactured to the high
professional standards that has
made OXBERRY the world leader
in its field.
For further information, write on'company =letterhead sto:
COXESIEIRRIf CORPORATION*
38 Hudson Street, New Rochelle, New York-10801
Telephone [phone] ' World-wide sales
' and service facilities
Formerly called The Animation Equipment Corporation
COME AND SEE US AT BOOTH 105, SMPTE SHOW
58 Mareh 1964 Journal of the SMPTE Volume
Offices:
7445% Sunset Boulevard
Hollywood, California 90046
Telephone [phone]
515 Ipswich Road
Slough, Bucks, England
Telephone Slough 2-9666
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Big
News
in
ilm
Reel
Savings!
WITH EXCLUSIVE
FILM REELS YOU ...
SAVE:MONEY WHEN YOU BUY THEM-
SAVE ,MONEY WHEN YOU USE' THEM!
TROUBLE-FREE PERFORMANCE YEAR AFTER YEAR, SAVINGS YEAR AFTER
YEAR. BECAUSE THEY ARE MADE OF SPECIAL COMPOSITION PLIO-MAGIC
MATERIAL, THEY WON'T CUT OR CRIMP FILM ... CAN'T RUST ... OR DENT
OR BE BENT OUT OF SHAPE. THEY NEVER SCRATCH FILM OR TAPE AND
? THEIR LIGHT WEIGHT MAKES THEM EASY TO HANDLE, ECONOMICAL TO SHIP.
CHECK THESE FEATURES...
(Stainless Steel center core ? Available with your own trademark or imprint ? Guaranteed
against breakage ? Available in all sizes, 8mm and 16mm, to 2200
SEE US AT
BOOTH 218!
We've some interesting
things to SHOW you..
and a FREE GIFT to
GIVE you ... so stop in!
(SMPTE Exhibit, April 13-16,
' Ambassador Hotel, Los Angeles)
PLASTIC REEL CORP of AMERICA
Mailing Address: Box 750, UNION CITY, N. J. 1111 Office and Warehouse: 612 BOULEVARD EAST, WEEHAWKEN, N. J.
Our West Coast Representative' is: STICKEL-McALLISTER 4357 MELROSE AVENUE, LOS ANGELES, CALIFORNIA
11,1rch-.1964 JoOrrial of the. SMPTE Vciltinie 73
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25'3. :
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Treise Engineering, Inc.' _ Booths 211, 212
1949 First St., San Fernando, Calif
Exhibiting: Film '.,processing machine; film sprockets;
waxer; spools and spool bearings; sound track ap-
plicator; air squeegees; heat exchanges.
Personnel: J. Carl Trelse, Paul Sparre, Ken Bell..-''
XeTron Div.' Carbons, Inc. .Bpoth 228
400 Myrtle Ave., Boonton, N.J.
Exhibiting: Complete XeTron line of xenon lamphouses.
and power supplies: JX modification kit to convert
Jan projector for xenon operation with 450 watt '
bulb; CX-9 lamphouse for small format slide, 16mm
and 35mm projection; "300" lamphouse with 900 .
or 1600 watt bulb for 16mm or 35mm projection;
"400" lamphouse with 1600-2500 watt , bulb for
35mm' or 70mm projection Christie-XeTron power
supplies. ? ./ ?"'""r7., '
Personnel: Frank H. Riftle.?" J
,
, ? ,
, 4 ;
? J
Zoornar; Inc. Booths.116, 117
55 Sea Cliff Ave Glen Cove N.Y. "
?Exhibiting : r Zoom lenses 'forl-motion ?picture cameras:
' rAnienieiix` 16mm 'and '35thni; , and new 24-240mm ,
Witli viewfinder for Mitchell NC and BNC cameras;
're/note' controlled for Vidi con cameras ,including
new, zoom lens with zoom range of 1:20 (1.5300mm
focal 'length for .Vidicon cameras,' and 12440min
focal ?ilength for motion inetni'e frame). tEleetric
zoom ;drives for 16mm anc11.35min" motion 'picture
lenses.
Personizel Walter Steuer, Claire Redman, Martin,
- J
Miller.
RESEARCH PRODUCTS, INC.
invites you to see
the newest concept in
OPTICAL
PRINTERS
?
Booth 136
SMPTE Show. ANGELES
...or write for detailed brochure and specifications.
RESEARCH PRODUCTS,. INC.
716 North La Brea Ave., Hollywood 38, Calif.
? Phone: [phone]
1')
f;
Education Industry News
:The Inter-Society Color Council Will hold
its '33rd' Annual Meeting May 4-5 at the
Statler Hilton Hotel, New York. Comthittee
reports will be made during the first day
of die 'meeting. and a symposium on the
general subject of Color in Education hat
been arranged for the second day by the
Council President, William J. ,Kiernan.
Symposium moderator will be F. L.'Wurz-
burg, Jr., Speakers, and their subjects,
will be George Kay, Colorr Education in
Art; Samuel Schenberg, Color Education
in Science; Randall M. Hanes Color:
A Guide to Basic Facts and Concepts;
and Prof. Isay A. Balirikin, Two Worlds
of Color? Or One. Further information
is ?available from Ralph .M. Evans, Inter-
Society 'Color. Council,' Eastman Kodak
co.; Photographic Technology Div., Bldg.
65, Rochester, N.Y. 14650.
The 1964 IEEE International Convention
will be held March. 23-26 at the Hilton
Hotel and the .Coliseum in New York.
Theme of the Convention will be "A
Glimpse of the Future." An attendance of
more than 75,000 engineers and scientists
from 40 countile'S'ii :Cected. An tOtal of
320 papers coyeling latest developments in
every area of 'eleetrical and eleetronia en-
gineering is scheduled for the technical pro-
gram includes 64 technical sessions
A high 'poinenf the program will be a she--
. cial evening.., symposium on .,..?"Modular
Magic" t6 'be held .Mrehi24. A panel of
outstanding :uthoritie;;---in'oderated.-1 by
Patrick Haggerty, President of Texas In-
sn'-'urnents; Inc., will, discuss the impact
,of processes and. techniques for fabricating
microelectronic integrated cirduits. Chair-
!
man' of the Ge'neral;Con-nnittee is G. W.
)Technical "Program ? Coininittee
,Chairman ,is....Ferdinand Hamburger, .,Jr.
Infoi7n-l'atiOn about 'the IEEE Convention
is' aVailable fidin The Inititute of Electrical
and Electronics Engineers, Inc., Box A,
Lenox New York 21; -N.Y. '
,?:, c,
The Fiiit International Conference of
Womein: Engineers :and Scientists will
be 'held 'June 15-21 in 'New York. It is
sPOnSored liy-the Society. of Women :En-
gineers and the .therne will .be "FocuS' for
260:- March :1964 of:tfie?114PTE:s?ircili;Me 73'
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?
-
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Curtain going
Automation...
?
First showing
VENUS
00,0
1
/
?up on
Automation in splicing comes
to the motion picture industry!
anywhere of the
splicer.
completely automated
Fast, accurate,
Butt Splicer
? For the first time? built in
Splice Inspector and Testor
? Dark room and daylight ?
\
splicing a breeze.
? All splicing "Know-How" built into the Splicer
? No Scrape, No Cement, No Pressure Tapes?Goof Proof!
? Intermix ANY type of Film Base
? For 16 or 35mm film sizes
? Last but not least ? a Butt,Reinforced or
Overlap Splice.
A machine that does all this..
.still attractively priced.
17 years of world leadership in splicing led to
the design and development of this unique
splicer. Come see it in booth 121-122.
Presfoseal Manufacturing Corp.
37-12 108th Street, Corona 68, New York
Cable: Prestoseal
West Coast distributors, Magnetic Recorders Co.; Los Angeles.
95th
SEMIANNUAL
SMPTE CONFERENCE
APRIL 13-14-15-16
AMBASSADOR
HOTEL
LOS ANGELES
March,1964 Journal of the SMPTE Volume 73
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? Xenon, Xenon-Mercury and Mercury
Lamps for solar simulation, lasers, in-
strumentation, photochemistry, search-
lights, projection, communications
? Operates DC, AC, pulsed, simmer-flash
or modulated in wattages from 80 to
5,000
? Features high intensity, high brightness,
full spectrum, long life, complete reli-
ability, rapid start and no maintenance
? One universal starter for all lamps
II Only Hanovia makes the lamp and all as-
sociated equipment such as electrical con-
trols and power supplies
III Made in the U.S.A.
Write today for complete technical information.
* ENG6LHARN.,HANOVIA, INC. fit,: ?
Ninnouir
LAMP DIVISION
100 CHESTNUT STREET ? NEWARK S, NEW JERSEY
69A
262. Mara. 1964 journal of tbe? SMPTE
the Future?Developing Engineering and
Scientific Talent." Director of the Confer-
ence is Dr. Beatrice A. Hicks, President
and Director of Engineering, Newark
Controls Co. Information about the Con-
ference is available from Elsie Eaves,
Public Relations Chairman, 18 Third Ave.,
Port Washington, N.Y. 11050.
The 1963 Science Technology and Gen-
eral Dictionary Catalog is published by
Associated Technical Services, Inc.
(A.T.S.). The catalog serves as a reference
to and source of hundreds of currently
available technical dictionaries in 35 lan-
guages from all over the world. English
editions of 23 outstanding Russian, Hun-
garian, and Chinese books in bio-sciences,
engineering and chemistry are also listed.
The catalog is available from Associated
Technical Serivces, Inc., Dictionary and
Book Division, 855 Bloomfield Ave., Glen
Ridge, N.J.
Special translating services are also avail-
able. Recent emphasis in translating is on
papers in Japanese and Russian containing
research data on electrophotography (xe-
rography), photography, photochemistry,
etc. A.T.S. was established in 1949 by a
chemical engineer and a chemist to provide
an exclusively technical translation and
literature research service. A.T.S. has a
specialized technical reference library of
several thousand volumes and also main-
tains close liaison with associates and sources
throughout the world for patent and litera-
ture searches as well as for procurement of
hard-to-get scientific material published
abroad.
The Sixth National Electromagnetic Com-
patibility Symposium sponsored by the
Professional Technical Group on Elec-
tromagnetic Compatibility of the IEEE
will be held June 23-25 in the Los Angeles
area. The theme will be Down-to-Earth
EMC in the Space Age. Information is
available from the Technical Program
Chairman, John A. Eckert, Dept. 3441/32,
Northrop Norair, 3901 West Broadway,
Hawthorne, Calif.
A Department of Space Science and Ap-
plied Physics has been established by the
Catholic University of America with pro-
grams of study leading to post-graduate
degrees in the areas of Space Science;
Fluid Mechanics and Heat Transfer;
Aerospace Engineering: and Applied Phy-
sics. The new program is intended to in-
tegrate scientific theory and technology.
The curricula will balance instruction in
science with training in the skills of ex-
perimentation and inventive technology.
Research conducted under faculty super-
vision includes work in such areas as plasma
behavior in geophysics and space physics;
basic problems of blood flow and non-
Newtonian fluid mechanics; and radiation
heat transfer. Laboratories in Plasma Space
Science; Space- Propulsion; and Fluid
Physics have been established. Further
information is available from Dr. C. C.
Chang, Head, Department of Space Science
and Applied Physics, The Catholic Uni-
versity of America, Washington, D.C.
20017.
Volume 73
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8 -
*Truly Mo0ular...
Construction
additional complete
cabinet assemblies can
be added without rnaphiije
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enables machine-
capacity and fle?dbility.
to be increased
when desired
? Jet Spray Processing,
? Impingement drying;
? 35/16 Combination,-: -
negative or positive
? Full Instfumentation.,:
? Friction or Sprocket Drive
? Torque Motor Ta4-up.---"
? Magazine or Daylight'
Loading
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o Easy Maintenance -
MODEL 200-s Jet Spray Processori'
, For further information, wrlite'on cornizany
letterhead to RALPH D. WHITMORE, Jr..
C/OCIEVERFtlif COIRPOIREATICON*
,38 Huason,Street, New'Rochelle, New York 10801
Telephone [phone]
World-wide sales and seryice facilities
Offices:
? 7445% Sunset Boulevard ' )515 Ipswich Road?
Hollywood, California 90046 Slough, Bucks, England .
Telephone [phone] Telephone Slough 2-9666
Formerly called The Animation Equipment Corporation
OXBERRY FILM PROCESS NG
MACHINES are manufactured
for 16, 35 and 70-rnm--color,
black and white, microfilm
and reversal films. Both jet
spray and immersion type
? machines are available.
100 SERIES?
Models from 2 tp.20 FPM
200 SERIES ?
Models from 20 to 75 FPM
300 SERIES? r
Models from 75 to 250 FPM7-7
.COME AND SEE ? US .AT BOOTH 105; SMPTE SHOW
, March 1964 joiirnal -of the. SMPTE -.Volume 73
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263
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
A Symposium on cineradiography in
the medical and biological sciences, or-
ganized by the medical group of the Royal
Photographic Society of Great Britain, will
be held March 18, with facilities and
hospitality provided by the CIBA Founda-
tion. About 25 speakers will discuss
problems associated with cineradiography.
There will be representatives from the
Faculty of Radiology, British Institute of
Radiology, Society of Radiographers, In-
stitute of British Photographers medical
group, and the Royal Photographic Society
of Great Britain medical group. This Sym-
posium is an exploratory one, and if the
findings warrant it an international sym-
posium will be considered. A technical re-
port covering papers and discussions will
be issued within one month of the Sym-
posium. Copies of the report will be avail-
able upon request from: The Hon. Public-
ity Officer, Medical Group of the Royal
Photographic Society, 16 Princes Gate,
London, S.W.7, England.
Also scheduled is the annual Exhibition
of the Medical Groupiif the Royal Photo-
graphic Society of Great Britain which will
open March 3 at Tavistock House, Tavi-
stock Square, London, W.C.1. The exhibit
will be on display to April 20.
The British Film Producers Association,
49 Mount St., London, W.1., England,
has issued a report on the National Pro-
ductivity Year Conference held during
November, 1963, in Eastbourne. Among
conclusions drawn from papers and dis-
cussions as set forth in the report are in-
eluded such statements as: "The Film
Production Industry is not a production-
line factor . . . Nevertheless, work study as
an aid to productivity appeared to be as
important in this (cinema) industry as in
any other industry ... The sales side must
be of sufficient strength and attraction to
ensure an adequate financial return to the
production side. . . There is a need in this
industry for the removal or relaxation of
trade union restrictive practices, which
are related to production techniques and
equipment of many years ago . ..."
Harry F. Olson, Director of the Acoustical
and Electromechanical Research Labora-
tory of the RCA Laboratories, is the re-
cipient of the John Ericsson Medal of the
American Society of Swedish Engineers.
It was presented to him at the annual
banquet, held Febuary 8, in New York.
The medal is presented every second
year and alternately to a Swedish citizen
or an American citizen of Swedish extrac-
tion in recognition of outstanding and
valuable contributions in the field of acous-
tics.
Dr. Olson is a Fellow of the SMPTE
and the recipient (1955) of the Samuel
L. Warner Memorial Award. On that oc-
casion he was cited for outstanding achieve-
ments in "audio engineering, including his
work on the velocity microphone, the duo-
cone speaker for high-fidelity sound re-
production, and for his contributions to
the development and improvement of
phonograph pickup and recording equip-
ment, underwater sound equipment, and
sound motion-picture and public address
systems." Among other honors he has been
awarded the Modern Pioneer Award of
the National Association of Manufacturers
(1940); John H. Potts Medal of the Audio
Engineering Society (1952); John Scott
Medal of the City of Philadelphia (1956);
and Achievement Award of the IRE
Professional Group on Audio (1956).
Dr. Olson holds more than 90 U.S.
Patents on devices and systems in the acous-
tical field. He is the author of three books,
Acoustical Engineering, Dynamical Analogies,
and Musical Engineering, as well as numerous
papers on scientific and technical subjects,
among them (with co-author John Pres-
ton), "The Electrostatic Uniangular Micro-
phone," in the November 1958 issue of the
Journal.
Norwood L. Simmons has been appointed
General Manager of the West Coast
Division of Eastman Kodak Company's
Motion-Picture Products Sales Depart-
ment. He succeeds John L. Courcier, a
veteran of 45 years in the film industry,
who died January 6. He joined Kodak
in 1937 at the Kodak Park Works in Ro-
chester, N.Y. For the next four years he
was associated with the company's film
manufacturing operations. In 1941 he
moved to the West Coast Division in
Hollywood. In 1954 he was appointed
Chief Engineer of the Division; in 1958
he was appointed Assistant Manager and
in 1960 he became Manager. In 1963
he was appointed Manager of Engineering
an SMPTE publication
CONTROL TECHNIQUES IN FILM PROCESSING
Prepared by a Special Subcommittee of the Laboratory Practice
Committee of the Society of Motion Picture and Television Engineers
WALTER I. KISNER Foreword by E. H. REICHARD
Subcommittee Chairman Chairman, Laboratory Practice Committee
Society of Motion
264
CHAPTERS
1. Introduction
2. General Principles
3. General Aspects of
Motion-Picture Film
Processing
4. Mechanical Evaluation
and Control
5. Instruments for
Photographic Control
$5.00
6. Control Strips and
Sensitometric Curves
7. Sensitometric Control of
a Standardized Process
8. Chemistry of Film
Processing
9. Chemical Analysis and
Control
10. Economic Considerations
in Establishing a Process
Control System
Two-page bulletin with description of subject matter of each chapter
available without charge upon request to Society Headquarters
Available only for cash with order or by Company Purchase Order
Single copy price $5.00 (less 20% to SMPTE Members, Libraries and
Booksellers), F.O.B. Destination
5 through 49 copies at $5.00 each, less 25%, plus foreign postage, F.O.B. Origin.
50 copies or more at $5.00 each, less 33,/:%, plus foreign postage, F.O.B. Origin.
Within New York City Add 3% Sales Tax
Picture and Television Engineers
March 1964
Journal of the SMPTE Volume 73
9 East 41st Street,
New York 17, N.Y.
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
,
o' ? ? Y , ou'll find that everything you ye been hoping
for in a premium type, medium speed black &
. white negative material has been built into new
Ansco Ver'sapan?, film !
? - ?
Here is a :brand. new camera material with
the Soft gradation, fine grain and high resolu-
tion that brings a new quality look to your black
,& white pictures.
The superb photographic qualities of Ansco
Versapan are built right into. the film?do not
depend on special processing treatment to pro-
, duce superior results.
NEG)"ITIVE!
With its medium speed Of 80 Daylight & 64 -
Tungsten,. Ansco Versapan is well suited to a ?
wide range of lighting cohditi6ns. Try a test
, ?
roll -Zif Ansco Versapan before you shoot your
next important black & white assignment! Avail-.
- able in all Standard 16nim (T2531) and 35mm
(T5531 )
Ansco
PHOTO PRODUCTS OF
GENERAL ANILINE & FILM CORPORATION
BINGHAMTON. NEW YORK
4255 W. Touhy Ave., 1001 N. LaBrea Ave.
Chicago 46, III. Los Angeles 38, Cal.
405 Lexington Ave.,
New York 17, N.Y.
MaYeli ?t4. SMPfE "Volume 7
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-265
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Services and his appointment to the post
of General Manager was made effective
January 17. Vaughn C. Shaner succeeds
him as Manager of Engineering Service,
West Coast Division.
Sidney Dimond has resigned his professor-
ship in the Boston University School of
Public Relations and Communications to
devote his time to Creative Associates,
Inc., 176 Newbury St., Boston, a firm he
founded 11 years ago to produce historical
programs, documentaries and educational
programs described as "sounds on tape
and record." Mr. Dimond is especially
interested in educational programs for
highway safety. In 1956 he produced
This Is Impact, a series of recordings con-
taining comments made by accident
victims and relatives of highways fatalities,
of excuses offered by apprehended speed-
ers, and of sounds such as the clang of a
jail door shutting behind a drunken driver.
The recording won the National Head-
liner's Award as the best American radio
series of 1958 and the National Safety
Council's Public Interest Award. He also
did a tape called How to Stay on the High-
ways which is used widely in high schools
throughout the United States.
Harlan L. Graham, Jr., has been ap-
pointed General Manager of the Du Pont
Photo Products Dept., Wilmington, Del.
FAIRCHILD IS FIRST! ...
MODEL 673
DYNALIZER ?
DYNAMIC
EQUALIZER
MODEL 688
50-WATT POWER AMPLIFIER
MODEL '661TL
AUTOMATIC
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MODEL 662
PRE-AMP
LINE AMP
MODEL 663
COMPRESSOR MODEL 665
EQUALIZER AMPLIFIER
MODEL 668
LUMITEN
MODEL 664
EQUALIZER
with professional audio equipment
COMPLETELY TRANSISTORIZED
from microphone input to loudspeaker terminals!
FAIRCHILD IS FIRST with professional quality preamps, line amps,
compressors, equalizers, noise reduction systems, anti-feedback devices,
apparent loudness controls and power amplifiers! ... all transistorized!
Advanced engineering concepts assure ultimate performance and ther-
mally stable maintenance-free operation. Each FAIRCHILD transistor-
ized device is compatible with each other and even more amazing each device
is compatible with other existing conventional vacuum tube equipment.
And now FAIRCHILD offers a new design
and installation boon to sound engineers
? the INTEGRA/CONSOLE CONCEPT
? which allows complete housing and util-
ization in? a functional, attractive and
expandable package of all speech input
equipment needed for the most
advanced recording, broadcasting or
sound reinforcement installation.
INTEGRA/CONSOLE CON-
CEPT allows expansion at a later
date if desired ? minimal invest-
ment for maximum utilization.
FAIRCI-IILD R10E C400 R4D5ItNh GA vEe() .11 LI Po nMg E N IslandT CO CR IPty0 R1A TNIOVNI
266
He succeeds George H. Loving, who was
killed in the airplane disaster near Elkton,
Md., December 8 (Journal, Jan., 1964, p.
60). Mr. Graham, who began his career in
Du Pont's Parlin, N.J., plant about 25
years ago, transferred to the company's
Wilmington headquarters in 1950 as
Assistant to the Director of Production, and
then became Assistant Manager at the
Rochester, N.Y., plant and later at Parlin.
While at Parlin, he was active in the es-
tablishment of the "Cronar" polyester
film plant. He was appointed Director of
Sales in 1958 and about a year ago he was
made Assistant General Manager of the
Photo Products Dept. He is succeeded in
that post by Joseph A. Dallas. Mr. Dallas
has been Director of Manufacture for the
Du Pont Explosives Dept. since 1960, and
has held other important production and
sales positions during a 30-year career with
the company.
W. E. Pohl has been appointed a Vice-
President of Technicolor Corp. A recipient
of four Academy Award Scientific Achieve-
ment plaques, Mr. Pohl has been impor-
tantly associated with Technicolor's tech-
nical activities in many capacities for 34
years. In this new capacity he will continue
the duties and responsibilities of Technical
Director of the Motion Picture Division
and, in addition, will assume the direction
of the Corporation's Systems and Proce-
dures program. The author of a number of
technical papers, two that have appeared
recently in the Journal are "The Manufac-
ture of 8mm Prints at Technicolor," pp.
606-607, Aug., 1961; and "Large Area
Negative Printing," pp. 72-73, Feb., 1959.
Gale Livingston has been appointed
President of the Westrex Division of Litton
Industries. He was formerly Vice-President
and General Manager of the Westrex
International Division. He will maintain
headquarters in Hollywood. Mr. Livingston
has been with Litton Industries since
March, 1962. He has held various manage-
ment and executive positions and for many
years was Executive Vice-President of an
international pharmaceutical firm.
Harold R. Day has been appointed man-
ager of the Thermoplastic Recording
Project of General Electric Co., Schenec-
tady, N.Y. Dr. Day joined General Electric
Co. in 1952 and was with the Research
Laboratory until early in 1963 when he
transferred to Syracuse as Technical
Director ? Deformable Films for Defense
Systems Department. Later in the year he
was named Consultant in Thermoplastic
Recording for the Electronics Laboratory.
John A. Leermakers has been elected a
Vice-President of Eastman Kodak Co.
and has been appointed Director of Kodak
Research Laboratories. Dr. Leermakers
joined the Research Laboratories in
Rochester in 1934 after two years at
Harvard University as National Research
Fellow. From 1934 until 1938 he did re-
search on cellulose acetate dyes, optical
sensitizing, the properties of photographic
gelatin, and film emulsions. He was ap-
pointed supervisor of experimental emul-
sion making in 1938 and in 1944 he became
March 1964 Journal of the SMPTE Volume 73
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
OXBERRY 1200 SERIES MODULAR OPTICAL PRINTER
X = HORIZONTAL
y = VERTICAL
Z = OPTICAL AXIS
A. Camera and Viewer
B. Main Projector
C. Aerial Image Projector
D. Beam-Splitter Projector
E. Beam-Splitter
Aerial Image Projector
? Modular concept permits many
major features to be on 1 printer!
? 60" flat cast iron bed for rock-steady
stability-allows greater enlargement
and reduction!
? Built with 1 thru 4 projector heads!
? Patented Aerial Image and Beam-
Splitter Aerial Image projectors with
3 dia. enlargement thru 1:1 to 4
dia. reduction?allows combining 35,
16 and Cinemascope in a single pass!
? Full Aerial Image scope of over 30
diameters with camera!
? Tilt facilities enable any scene in any
projector head to be straightened!
? Choice of three auto-focus sys-
tems available, permitting focusing
through 1:1!
? Modular system receives 65 and
military 70mm cameras and pro-
jectors!
FILM SIZES AND FORMATS HANDLED BY 1200 SERIES OPTICAL PRINTER
?70 MM MILITARY
10 PERFORATION
PULL DOWN
? 65 MM
? 35MM
DOUBLE
FRAME
?
? 35 MM
2 PERF.
PULL DOWN
? 35/32 MM ? 32 MM
? 16 MM
DBL PERE.
2=0:
? 16 MM ? DBL.
SGL. PERF. 8 MM
?N ? ALL FILM SIZES
WITH THE SAME CODE
MARK CAN BE USED IN
THE SAME CAMERA OR
PROJECTOR
For further information, write on company letterhead to:
Cl/CIES E F1 FLY COM PO RAT I ON*
38 Hudson Street, New Rochelle, New York 10801
Telephone [phone]
World-wide sales and service facilities
Offices:
74451/4 Sunset Boulevard 515 Ipswich Road
Hollywood, California 90046 Slough, Bucks, England
Telephone [phone] Telephone Slough 2-9666
?Formerly called The Animation Equipment Corporation
THE MODULAR SYSTEM OF
CONSTRUCTION PERMITS MAJOR
FEATURES TO BE ADDED AT ANY TIME ?
ELIMINATES BUILT-IN OBSOLESCENCE!
Basic Printer with Camera and Projector 4
11:El
Z.Aerial Image added to basic printer
LI
Beam-Splitter
and Aerial Imagi
added to
basic printer
I 1
Beam-Splitter
Aerial Image,
Beam-Splitter,
and Aerial Image
added to
basic printer
C
EU
B:L=1
sa:E=1
Isoz=1
Any variations of above modules can be made!
*OXBERRY LEADS THE WAY!
1955?Combination 35/16 Camera
and Projector!
1956?Follow-focus through 1:1!
1959?Aerial Image!
1961?Beam-Splitter!
1963?Field Titling System ?
Advanced Design!
NOW ?MODULAR CONSTRUCTION
COME AND SEE US AT BOOTH 105, SMPTE SHOW
March 1964 Journal of the SMPTE Volume 73
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267
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
technical assistant to the Director of the
Research Laboratories.
Edwin W. Templin has been appointed
Chief Engineer of D. B. Milliken Co.
Formerly with Westrex Co. as Chief
Engineer, he has been responsible for the
design, development, production and ap-
plication of studio and scientific recording.
Much of his recent work has been in
miniaturized systems for aerospace applica-
tions. In his new post he will head a rapidly
expanding engineering program which
includes the doubling of the firm's en-
gineering facilities and the tripling of re-
search and development facilities.
James D. McLean, who recently resigned
as President and Chairman of the Board
of Highway Trailer Industries, Inc., of
Chicago, has formed a development firm
dealing with general management, product
development, marketing and engineering
problems in the electronics, aerospace and
transportation industries with offices at
760 N. La Cienega Blvd., Los Angeles 69.
Mr. McLean has served as President of
General Dynamics/Electronics, President
of Hoffman Laboratories, Inc., and Vice-
President and General Manager of Philco's
Government and Industrial Division. He
is presently a Director of Struthers Sci-
entific and International Corp. of New
York.
HBIATIC ligller"
processes 16 mm reversal film at
any speed up to 6000 feet per hour
Nothing extra to buy, the FILM-
ATIC "super" has everything
to deliver superb quality process-
ing economically, whether the
work load is a single hundred foot
roll or thousands of feet of film
to be handled without interrup-
tion. Operating on reversal film
at just an average speed of 65
feet per minute, it delivers the
first processed scenes (dry to dry)
in approximately 5 minutes.
010.111411C
processes TV color film in your own lab
Here is the Standard COLOR-
MATIC Model "C" Film Processor
(with the light-tight cover re-
moved). These processors are
assembled for the many different
color film processes such as An-
scochrome, Ektachrome and Ko-
dacolor from 16 mm up to 70 mm
wide at various outputs. Ansco-
chrome processing speed up to
1800 feet per hour. Ideally com-
pletes your black and white lab
facilities.
call our plant location, 215-348-2031 for information on
all types of continuous color or b & w processors up to 70 mm
HILLS MANUFACTURING CO., INC.
P.O. BOX 335, CHALFONT, BUCKS COUNTY. PENNSYLVANIA.
268
March 1964 Journal of the SMPTE Volume 73
Joseph W. Minsky has been appointed
to the newly created post of Manager of
Engineering, Video Products, for the GPL
Division, General Precision, Inc., Pleasant-
ville, N.Y. He was formerly Manager of
Engineering at Thompson Ramo Wool-
dridge, Dage Division. In his new post Mr.
Minsky will have the responsibility in the
technical area of adding to the GPL Pre-
cision television line, expanding video and
video-related controls for industry, and
investigating aerospace television designs
using microelectronic techniques.
A. C. Keller, Director, Switching Ap-
paratus Laboratory at Bell Telephone
Laboratories in New York, has been elected
to the Board of Directors of the Waukesha
Motor Co., Waukesha, Wis.
Robert B. Lindemeyer has been appointed
Director of Technical Services for Metro-
Kalvar, Inc., 550 Fifth Ave., New York.
He has been with the firm since September,
1963, and prior to that he was with Ameri-
can Machine and Foundry Co., of Santa
Barbara, Calif., where he held a man-
agerial post. He was graduated in 1958
from Iowa State University, where he had
held the Joseph Weed Television Scholar-
ship and where he had worked in various
capacities with the University's Film Pro-
duction Unit. Following graduation he
taught a course in "Films for TV" at
American University in Washington, D.C.
He then served as an officer in the U.S.
Navy attached to the U.S. Naval Photo-
graphic Center in Washington, D.C., where
he was first a producer/director and later
was appointed Officer-in-Charge of the
Television Kinescope Films Production
Facility of the Air Force Systems Com-
mand, a position he held until 1962.
Two new appointments have been an-
nounced by Photoronics Corp., 36-17
Prince St., Flushing 54, N.Y. Richard A.
Hayes has been appointed Vice-President
of Engineering and H. B. Voorhest of
Anaheim, Calif., has been appointed Ap-
plications Sales Engineer for the West
Coast. Mr. Hayes is a recognized authority
in the field of electrooptics. He was formerly
with General Dynamics, Fort Worth. Mr.
Voorhest was formerly with Perkin-Elmer
Corp.
William B. Allen has been appointed
Manger of Engineering of the Video and
Instrumentation Div. of Ampex Corp?
401 Broadway, Redwood City, Calif.
He was formerly Manager of the Elec-
tronics Laboratory, Ballistic Missile Div. of
Hughes Aircraft Co., Los Angeles. In his
new post he is responsible for the develop-
ment of Ampex magnetic recording equip-
ment for television broadcasting, space
exploration, defense, industry and medi-
cine.
N. Donald Ringsred has been elected
President of the Alexander Film Co.,
Colorado Springs, 'Colo. He has been as-
sociated with the firm since 1945. After
12 years in the Colorado Springs office,
he moved to Detroit as a sales representa-
tive for the firm. For the present he will
maintain headquarters in the firm's new
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
CAMERA
EQUIPMENT
CO., INC.
ONLY FROM CECO
CECO REFLEX MODIFICATION FOR THE
35mm B&H EYEMO CAMERA
Conversion Net $1200.00
Camera with Conversion Net $1500.00
This modification is also available for
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Net $2500.00
CECO PRO JR. FRICTION HEAD TRIPOD
with Revolutionary Ball Joint....TR8VB
Net $200.00
Assistant's Ditty $7.50
CECO HI-SPEED EDITING TABLE
With Torque Rewinds, Single -System
Sound and Counter. Acceleration to 240
feet per minute. Available in 16mm and
35mm Models Net From 82975.00
3 YEAR LEASE available
THIS SUPERB FILM MAKING EQUIPMENT
BAUER SELECTON 110 16 mm XENON
OPTICAL & MAGNETIC PROJECTOR
5000 ft. capacity allows 21/2 hrs. of
uninterrupted showing. Light output
with 2000 watt Xenon measures 4,100
lumens, Fills a Clnemascope screen
over 40 ft. wide. 2-speed synchronous
motor.
SOUND BLIMP FOR KODAK
REFLEX CAMERA Net $2435.00
KODAK REFLEX ACCESSORIES:
Matte Box Net $295.00
Single Speed
Stop Motion Motor Net $815.00
Additional Single Speed Drives
(1/4, 1/2, 1 Sec.) Net $185.00
110 V. AC-DC Variable Speed Motor
with Tachometer Net $625.00
Balanced Tripod for Blimp
Net $610.00
Pro. Jr. Spring Head Tripod for
Camera with Ball Joint CECO MODEL
TR6VB Net $250.00
CECO PROGRAMMER for Time-Lapse
Applications Net 595.00
1000' MAGAZINE FOR ARRIFLEX
35mm CAMERA
Complete with Veeder-Root Counter...
Net $410.00
CECO 400' CONVERSION
for CINE VOICE CAMERA Net $450.00
With Super Silent motor, built-in Veeder
footage re-set counter Net $595.00
NOVA III
16mm HIGH-SPEED CAMERA
New features include .simplified Timing
block and Film Chip Reducer..
Net for $2185.00
16mm CECO PROFESSIONAL
FILM VIEWER Net $415.00
(Also available with Single System
and/or Double System magnetic in-
stallation)
For full information and literature on these as well as the thousands of other professional cameras
CECO, write or phone today.
NICKEL CADMIUM PORTABLE
POWER SUPPLY
for Kodak Reflex, Auricon, Arriflex and
other Cameras with 110 V. Synchronous
motors. Complete with built-in charger...
CECO Model PS 40 DD Net $325.001
INDUSTRIAL PHOTOGRAPHERS,
Please Note!
?Ask us about our NEW
"IN-PLANT STUDIO" PROGRAM.
1111?11111?11MIIIIIMM
and acceSsories available from
CAMERA EQUIPMENT CO.,INC.
FIRST IN SALES, SERVICE, RENTALS AND REPAIRS SUBSIDIARY OF CECO INDUSTRIES, INC.
NEW YORK, N.Y.-315 West 43rd St., 111 6-1420 / HIALEAH, FLORIDA-51 East 10th Ave., TU 8-4604
March 1964 Journal of the SMPTE Volume 73
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
? offices in Maple Office Center, Binning-
- ham, Mich. The announcement also stated ,
that the firm planned an expansion of ,its
sales force for added emphasis on such ser-
;vices as the firth's film distribution center
And the laboratory.
Three new staff appointments have been
announced by Thomas H. Fraser, Presi-
dent of Fraser .Productions, San Francisco.
Hubert Salisbury has been appointed
;Manager of the Cinematography Depart-
ment and Ray Nolan has .been appointed
Manager of ?the Editing Department.,
Bettie Griswold has been appointed Traf-
fic Manager. Mr. Salisbury was formerly
associated with the?film industry in Great
Brit?in and Mr. Nolan was formerly with
.the National Film Board of Canada as
,director, editor and cameraman on various
documentary film projects.
James L. Cacldigan has been appointed
Director ? of Broadcast Services of ? the
Weather Corp. of America, 611 Olive
St.; ;St. Louis, Mo. 63101. Mr. Caddtan's
previous posts have included Director of
Programing And Production of Du Mont
television network, and Vice-President of
Odyssey Productions: In his present post
MODEL 7700
STEP CONTACT PRINTER
for making precision 35
and 16mm fine grains
? Sarne printerhandles both
35 and 16mm film.
? Reversible drive, single
frame or continuous.
? Rapid magazine type man-
ual filter changer. (Com-
binations up to 12 filters.)
MODEL 40B
16mm HIGH SPEED FILM INSPECTOR
? Variable sOeed drive '40 to 150 feet/min.
? Frojects ono;franie: at a time.
? Revertible operation?one knob control.
.? Scratch free rotary pr.ism.
MODEL 41 HIGH SPEED FILM INSPECTOR--
available for direct connection to dry end
'Of 16mm film processors. Automatically
? synchronized for all processor developing
, speeds 40 to 200 feet/min.
.
For further information, write on company letterhead to:
CMIB IE Ft FM CORPORATION*
as Hudson Street; New Rochelle, New York 10803-
. .:Telephone [phone]
, .World-wide sales and service facilities "
7445% Sunset Boulevard 515 Ipswich Road
1
Offices: . Hollywood; California 90046 ' Slough, Bucks, England -
Telephone [phone] Telephone Slough 2-9666
*Formerly called The Animation Equipment Corporation
270
VISIT US AT BOOTH 105, SMPTE SHOW'
? MarCh'i964:? Journal of ihe SMPTE
he will be in charge of ,liaison between
;
the broadcasting clients and the firm's4:oro-
fessional meteorologists.
Film. bookings by the American Medical
Association during 1963 showed a gain
of 16.8% over the previous year, according.
to a recent report from 'Ralph Creer, Direc-
tor of Medical Motion Pictures and Tele-
vision. This is the 11th consecutive year
that the AMA film library, has reported
increased use ?of its 400 films. Greatest
increase in?film bookings was to nursing
schools and. the next greatest increase' was
to para-medical schools. Increases in book-
ings were also reported by medical schools
and civilian hospitals.
Films, made available, without charge by
General Motors Corp. to schools, civic
groups, churches, service clubs, youth
groups and other organizations are listed .
in a catalog available from General Motors
Corp., 1775 Broadway, New York 19.
The 1964 film catalog lists 48 16mm sound
films which take the audience behind
the scenes in industry and cover a variety
of other subjects ranging from safety and
driver education to sports and the funda-
mentals of science and mechanics. GM
films were shown before 460,000 audiences
last year, totaling more than 19 million
persons. In addition there were 143 tele-
vision showings.
The eighth Tiros satellite, launched in
:December, is equipped with a specially
designed teleVision. camera to "take pictures
of.cloud cover, itorms, .and other meteoro-
logical events which will ? be transmitted
back to ground stations. The pictures will
be. recorded by facsimile 'rather ;than. on
.Although not of the same quality as
the film pictures they are expected to
. proVide as much information As needed
for meteorological analysis. The new Ty
system (known as APT (Automatic Pic-
ture Transmission)) has been installed in
the new Tiros and APT ground, stations
have been established -at thine, 50 loca-
tions throughout ,the world, including
NASA stations at Washington, D.C.;
Wallops' Island, Va.; and Fairbanks;
Alaska. The new Tiros and its seven pred-
ecessors were designed and built by the
Radio 'Corp. of America under the tech-
nical direction of .the Goddard Space
Flight Center .of the National AeionaAtics
and Space Administration. Tiros 'satellites
have been described fn papers in the
Jour-
nal, including "A Narrow-Bandwidth
Video-Tape Rec6i-dei fof Use in- a Satel-
lite," by Joseph A. Zenel :(pp. .818-820,
Nov., 1960); -"Interpretation 'of Cloud
Pictures From the Tiros 'Meteorological
Satellite," by John 'H. CotioVer (pp': 21-25,
Jan.', 1962) ; And. "Design of Satellite
Tape Recorders After 'Tiros I," by 'A. 'D.
Burt, S. P. Clurmana. nd T. T. Wu (pp.
787-791, Oct:,.1963).
Relay II, second in the Relay series of ex-
perimental *communications satellites de-
signed and built by Radio Corp. of Amer-
ica's Astro-Electronics Division, is a low-
altitude active communications satellite,
basically the same as its predecessor, Relay
. I. Certain changes have been incorporated
Volume 73
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
? NORELCO AAll Universal 70/35mm Projector ? NORELCO FP-20S Pulse-Lite 35mm
Projector ? NORELCO FP-22S Super Pulse-Lite 35mm Projector ? NORELCO FP-20
Standard 35mm Projector ? NORELCO FP-20G 35mm TELE-CINE PROJECTOR ?
NORELCO 16mm PROFESSIONAL PROJECTORS ? NORELCO 16mm TELE-CINE PRO-
JECTOR ? ISCO PROJECTION LENSES for 16mm, 35mm and 70mm
Noreke
MOTION
PICTURE
EQUIPMENT
DIVISION
NORTH AMERICAN PHILIPS COMPANY, INC., 100 E. 42nd Street, N.Y. 17, N.Y. ? Phone: 212-OX 7-3600
March 1964 Journal of the SMPTE Volume 73
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with the objective of determining the
potential longevity of a communications
satellite of this type. Changes include an
improved solar array; elimination of
timer; unpressurized traveling wave tube;
improved power circuitry; and desensitized
command circuitry.
The 25th anniversary of the introduc-
tion of the Arriflex-35 has been recognized
by Arriflex Corp. of America, 257 Park
Ave. South, New York, N.Y. 10010, by the
announcement of a "trade-in celebration."
According to the announcement, "any
old Arriflex-35" will be worth a "sizable
amount of cash," if traded in on a new
model. The announcement noted that al-
though there have been numerous impor-
tant improvements, the exterior design of
the camera has remained b.a'sic'ally un-
changed. As a feature of ;the anniversry
celebration, the person trading.: iii an
Arriflex-35 will' receive a credit of the
original purchase price up to $2,500 on a
new mOdel.
,
Photographic services for the National
Aeronautics and Space Administration and
Lunar Landing Program will be provided
by the Resea'rch and Development Divi-
sion 'of Technicolor, according to 'a' recent
announcement. The firm will provide
THE NAME: 1*--pnk.F04.00
SPAY DEVELIF
THE SPEED: '2
IL RESULTS:
The professionctl
processor. .for.
The professionctl
WRITE TODAY FOR
COMPLETE INFORMATION.
272
FEATURES: ?
? Completely self-contained
? Speed: 200 fpm positive; 100 fpm negative,
(16 or 35 mm ? perforated or unperforated)
? All spray design
.` Impingement drying ? ?
? Fresh water flush-down
? Stainless steel tliroughilit =
i'
hi:speed-- EQUIPMENT,J.NC.
75 Pond Street, 51:Masnciln'seits
, .
Originators of Higt? Speed Spray Processing gquipment.
VISIT US AT BOOTH 127 'SMPTE SHOW
complete management services for the
installation, Operation and management of
a photographic laboratory to be constructed
at the new Launch Operation Center at
Merritt Island, Fla.
The Technicolor 8mm Instant Movie
Projector will be distributed in Japan by
Yashica, Inc., according to an agreement
announced by Technicolor Corp. The
Japanese firm specializes in the manu-
facture and distribution of photographic
equipment.
Potter's Photographic Applications Co.,
Mineola, N.Y., has been appointed dis-
tributor in the New York Metrcpolitan
area for the Amphicon 190 and 200 tele-
vision projectors. The projectors, which _
feature big-screen projection (up to 8 ft
wide with the 190 model and up to 15 ft
wide with the 200 model), are manu-
factured by Dalto Electronics Corp., Nor-
woOd, N.J. An earlier model, the Amphicon
108, is described in the February,1961 issue
of the Journal (p. 139)
The 3M Company has started production
at its new. magnetic products plant in
Camarillo, Calif., according to a recent
announcement. The plant covers 125,000
sq ft and is equipped to produce 3M's en-
tire line of audible range, instrumentation
and video tapes. The new plant has facili-
ties capable of increasing total production
of the division by nearly 50%, the an-
nouncement stated.
Red Lake Laboratories, manufacturer of
the Hycam High-Speed Motion Picture?
Camera and other photoinstrumentation
equipment, has moved its office and factory
from Sunnyvale to 2971 Corvin Dr., Santa
Clara, Calif. The new quarters will provide
a substantial increase in engineering space,
the announcement stated.
Andre Debrie Mfg. Corp., subsidiary of
Belock Instrument Corp., 14-29 112 St.,
College Point, N.Y. 11356, has been ap-
pointed exclusive U.S. distributor for
Sonocolor of Paris, which manufactures a
magnetic striping machine for all sizes of
motion-picture film. A recent adaptation
of this machine' is capable of applying four
magnetic stripes simultaneously on the
35/8mm-5R film stock used in the Debrie
"quad" printer (Journal, p. 917, Nov.,
1963).
Evershed Power-Optics Ltd., 214 Harle-
quin Ave., Brentwood, Middlesex, Eng-
land, has been appointed exclusive agent
in the United Kingdom for equipments
manufactured in the United States by
Bach Auricon, Inc., according to a recent
announcement. It was also announced that
existing service facilities for Auricon equip-
ment will be augmented at the firm's new
factory in Brentwood.
Maieh 1964 tiouinaroi-tiie 8MPTE iirolume 73
Clifton Precision Products Co., Clifton
Heights, Pa., manufacturers of flight con-
trol synchronizers; computing resolvers,'
syrichros and subminiature servo motors,
has been acquired:by Litton Industries,
330 N. Foothill Rd., Beverly Hills, Calif.
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5197
Two of the most difficult problems in sound recording have been made easier.
Polished Gevasonor Magnetic Film Type 2.01 minimizes dust collection, and lowers wear
on sound heads.
The iron oxide surface of Gevasonor Type 2.01
has been especially polished, which guarantees :
1 Closest possible contact between film and '
sound heads ;Improved uniformity of reproductions.
2` Minimum wear on sound heads ; assures consistent
quality of high-frequency reproduetion.
3 No dust build-up on sound heads produces
better recording quality.
Gevasonor Magnetic Films :
Type 2.01 : full coated in 16,- 17.5 and 35 mm width;
Type 2.02 : of higher sensitivity than the
normal film Type 2.01 (+ 5 decibel)
with less distortion (0.5 per cent) ;
used for special work ;
Type 2.21 : 35 mm magnetic film with two tracks ;
mostly used at the editing stage
of 35 mm film production ;
Type 2.11 : 35 mm magnetic film with clear edges.
All Gevasonor Magnetic Films have a semi-glossy coating !
Write for further information .on these products :
GEVAERT PHOTO-PRODUCTEN N.V., 27 Septestraat, Mortsel (Antwerp) Belgium
In the U.S.: THE GEVAERT COMPANY OF AMERICA, INC., 321 West 54 Street, New York 19
In Canada: PHOTO IMPORTING AGENCIES LTD., 345 Adelaide Street, Toronto 2B, Ontario
GEVAERT
0
.0
0.
March 1964 Journal of the SMPTE Volume 73 273
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moinola constantly adds new
products to its roster of depend-
able equipment to serve the
changing needs of the Motion
Picture, Television and Photo
Instrumentation industries.
Synchronizers
Rewinders?
Power,
Conventional
Crab Dollies
70 mm Viewer
for Type I Film
Editing Tables
Sound Reader
for Video Tape
Library Reader for
16 mm Sound Film
Write for free literature?specify items
that interest you.
moiola
manufacturing co.
5539 Riverton Ave., North Hollywood Calif.
Telephone: TRiangle 7-2173
Cable address: Moviola, North Hollywood, Calif.
274
VISIT US AT BOOTHS 235, 236
Also announced was the acquisition of
Advance Data Systems, a firm which is
developing revenue control systems for the
transportation, entertainment and distri-
bution industries. Clifton Precision Prod-
ucts will become a division of Litton's
Components Group; Advance Data Sys-
tems will become a division of Litton's
Business Machines Group.
Traid Corp., 17136 Ventura Blvd., En-
cino, Calif., has been appointed national
distributor for Vanguard Motion Analyzers
(Journal, p. 743, Sept., 1962). Vanguard
Analyzers are used in medical research,
reduction of oscilloscope data, evaluation of
flame, missiles, high-speed mechanisms,
vibration, shock and similar work re-
quiring analysis of film.
Zoomar International Inc., Glen Cove,
N.Y., has announced an arrangement made
with Bell & Howell Co. for the sale of
Angenieux lenses thoughout the United
States for the Bell & Howell lines of 16mm
motion-picture cameras. The lenses include
the 12-120 zoom lens, f/2.2, with reflex
viewfinder as well as fixed focus lenses in
"C" mount for the model 70 series cameras.
Purchase of RCA studio equipment at a
price of more than $11 million has been
announced by Subscription Television,
Inc. The firm is currently establishing a
home cable television service in the Los
Angeles and San Franciso metropolitan
areas. The equipment, to be installed in its
studios, is capable of transmitting live, tape
or film programing. Transmission, utilizing
the new equipment, will be directly to the
homes of subscribers with signals carried
through cables installed by local telephone
companies. Included in the purchase are
four TR-22 transistorized TV tape record-
ers; six TK-26 vidicon color-film camera
chains with twelve 35mm and two 16mm
projectors and two TS-40, 3-channel video
and audio master control switching con-
soles. All equipment has full color capa-
bility.
A display of art, photography, and ani-
mation art from the studios of Reid H.
Ray Film Industries, 2269 Ford Parkway,
Saint Paul 16, Minn., was exhibited during
February at the College of St. Thomas.
The display included 16 black-and-white
photographic enlargements, 14 color trans-
parencies, 30 color art lay-outs, and 8 black-
and-white motion-picture art samples.
Featured in the display were 8 photo-
deviations, a recent innovation in photo-
graphic processes.
Association Films, Inc., 347 Madison Ave.,
New York, N.Y. 10017, has acquired an
operating interest in Industrial Film Main-
tenance, a Canadian film service organiza-
tion located at 135 Peter St., Toronto,
Ont., according to an announcement issued
jointly by the firms. The new firm will be
called Association-Industrial Films. As-
sociation Films was founded in 1911
and is one of the ,largest nontheatrical and
TV distributorS. in the world, the announce-
ment stated. Industrial Film Maintenance
is engaged in television commercial film
procurement, distribution, syndication, film
editing, sponsored motion-picture distribu-
tion and TV monitoring services.
Technicolor Corp. has announced pur-
chase of 36,000 sq ft of property adjacent
to the Technicolor motion picture plant
in Hollywood. The need for additional
space is necessitated by continued expan-
sion plans, the announcement stated.
The new property will be used mainly for
the enlargement of the Engineering De-
partment preparing for the firm's entry
into the television processing field.
Four newly appointed distributors for
the Technicolor 8mm Instant Movie Pro-
jector are Charles Beseler de France, S. A.,
Paris, for France; Centro. Audiovisual,
S.A., Madrid, for Spain; Meijlink N.V.,
Rotterdam, for the -Netherlands; and
Scan Print AB, Stockholm-Solna, for Swe-
den, Norway and Finland. Contracts were
arranged by Robert Kreiman, General
Manager of Technicolor's Commercial
and Educational Branch, during a recent
European trip.
Mitsui & Co. of Tokyo, Japan, has been
appointed exclusive representative in Japan
for Prestoseal Manufacturing Corp., 37-12
108 St., Corona 68, N.Y. Prestoseal spe-
cializes in the design and manufacture
of editing and splicing equipment for
motion-picture film, microfilm, magnetic
and computer punch tape.
A new audio-visual division, established
by Photo-Consultants, 12 E. 37 St., New
York, N.Y. 10016, will specialize in the
production of films and slidefilms. The
new studio and production facilities will
be under the direction of Murray Duitz.
The Maier-Hancock Hot Splicer, the
professional film splicer distributed by
Traid Corp. since 1960, will be sold ex-
clusively through the Maier-Hancock Sales
Co., 14106 Ventura Blvd., Sherman Oaks,
Calif., a newly formed division of Maier-
Hancock Corp., according to a recent an-
nouncement. Manager of the new division
is Arthur H. Bolt.,
Agfa AG., Leverkusen, Germany, and
Gevaert Photo-Producten N.V., Mort-
sel/Antwerp, Belgium, have announced
that the industrial activity of the two firms
will be combined in a single economic unit
and will include the entire industrial ac-
tivity in the scientific, technical, com-
mercial and financial field. Since 'formal
mergers across the frontiers are not yet
legally possible, the economic unit will be
realized through the formation of a new
Belgian and a new German operating com-
pany. Agfa and Gevaert will each hold
50% of the shares of both operating com-
panies. Activities of the two operating
companies will begin July 1. In pursuance
of the formation of this unit, Agfa will take
over several companies of the German
photographic industry affiliated to its
parent company Farbenfabriken Bayer
AG., Leverkusen, in particular Leonar-
Werke AG., Hamburg; Mimosa GmbH,
Kiel; Chemische Fabrik Vaihingen/Enz
GmbH,, Vaihingen/Enz ; and also the 50%
Bayer subsidiary. Perutz-Photowerke
GmbH, Munich.
March 1964 Journal of the SMPTE Volume 73
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r-
Introducing an ADDITION
to the most versatile .line of professional
motion picture cameras
TANEW
RIFLEX 161V1
DESIGNED SPECIFICALLY AS AN ADVANCED MAGAZINE CAMERA
Illustrated with 400 Ft. Magazine
FEATURING: Gear-Driven, Sprocketed, Quick-Change
Magazines To 1200 Ft. Capacity ? Built-In 60 Cycle Sync
Generator ? Automatic Electric "Clapsticks" PLUS:
Mirror-Shutter Reflex System ? Registration Pin Move-
ment ? 21? Divergent, 3 Lens Turret ? And All The Other
Time-Proven Arriflex 16S Features.
Ar.2.2.1]1M,EX
CORPORATION
OF AMERICA
Illustrated
with 1200 Ft.
Co-Axial Magazine
On Arri 16 Tripod
257 PARK AVENUE SOUTH, NEW YORK, N. Y. 10010
COME AND VISIT US AT BOOTHS 201, 202, SMPTE SHOW
March 1964 Journal of the SMPTE Volume 73
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275
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Abstracts
Abstracts of papers appearing in other
journals, chosen for their importance and
timeliness, are published in the Journal
from time to time. Most of these abstracts
are translations, chiefly from the U.S.S.R.,
and are made available to the Journal
by the Research Laboratories of the East-
man Kodak Company. As a rule, trans-
lations are made of the foreign language
abstracts, not of the paper itself. The re-
spective complete original texts can be
consulted at some libraries. Current issues
of Tekh. Kino i Telco. can be consulted
at, or borrowed from, the Society's Head-
quarters Office.
Those requiring definitive and thorough
searches of current literature and patents
are referred to ABSTRACTS of Photographic
Science ?2 Engineering Literature (APSE),
published monthly by the Engineering
Index, Inc., 345 East 47 St., New York,
N.Y. 10017, with the editorial cooperation
of the Society of Photographic Scientists &
Engineers.
The subject areas are grouped below:
Cameras and Equipment (Except
High-Speed)
Cinematography (Underwater)
Film and Its Properties
Film Processing (Color)
General
High-Speed Photography
Lamps and Lighting
Projection
Sensitometry
Sound Effects
Television
Tests and Measurements
ECLAIR
Catalog
Code
eclair
COPPOPATiONOFAM,IICA
NPR (Noiseless, 'Portable, Reflex) 16MM CAMERA
PRICE LIST
Item
AND ACCESSORIES
CIRCE *CAMERA -.With variable shutter,
piece.? gate protector,
Including tripod
CICLO Automatic clapper wit
CIRMA *MAGAZINE oaxi
C1MPE
CIMBO
CIMUS.
C1MAL
CIMOT
CIRCO
CIB
CI
C1CAB
CICSY
CIPF1
CISUP
I
MOTO S
.*24 Ira e
cycle
fully ratatin ye-
lens-?l cect
2 V.
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transistor governed-
User Net Price
2,396.00
788.00
-cond.Synchro Frequency ea/4200 -
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24 frar .es per second.Synchr F pc .erator 50
Cycle A.G.
24 fran,es per second requency generator 60
A. C.
cycl
r
pe
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ycle A.G.
BATTER! S AND
atter
ync,hro Frequency gener
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ond.Synch Fr er
666.00
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Spare v r
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UR
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For "CAMEFLEX moun
CARRYING CAII
. For camera, 2 magazines, matte-box, zoom lens.
CIFIX tripod intermediate, battery and charger
*Basic camera package includes camera head, magazine and
OmPE motor. Camera head cannot be bought separately.
? Standard lens for camera is Angenieux 12-120 MM Zoom. ?
If camera not ordered With zoom or two lenges, there is a
.charge of $ 50. per. empty' socket. Turret accommodates
two lenses.
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sales affiliate ? CAMERA SALES CENTER CORPORATION
C7_-----333 WEST 52nd STREET ? NEW YORK 19. N.Y. PL 7-0906
CAMERAS AND EQUIPMENT
(Except High-Speed)
Noise and Steadiness in 35mm Motion-
Picture Cameras, Brit. Kinemat., 43: No.
3, 94-96, Sept., 1963.
At a meeting held on September 11, the
Camera, Special Effects, and Processing
Committee of the British Film Producers
Association discussed noise and steadiness
in 35mm motion-picture cameras. The
discussion centered around register pin
cameras of the Mitchell or Newall type.?
R.F.F.
Improvement in the Distribution of
Exposure Over the Frame in a Camera
With Focal-Plane Shutter (In Russian),
N. T. Zakaznov, Optiko-Mekhanicheskaya
Promishlennose , 46-51, No. 1, 1963; Tekh.
Kino i Televideniya, 7: 86, Sept. 1963.
The problems of a theoretical basis for
improving the distribution of exposure
over the frame are discussed. It is con-
cluded that a reduction in the unevenness
of exposure over the frame in cameras
with focal-plane shutters would have to be
brought about by the greatest possible
increase in the path of travel of the shutter
in combination with the use of a spring
drive.?S.C.G.
The Distribution of the Effective Ex-
posure in Photographic Cameras (In
Russian), E. T. Dubatovko, Optiko-Mekhan-
icheskaya Prom:yshlennose, 36-45, No. 1,
1963; Tekh. Kino i Televideniya, 86, Sept.,
1963.
Problems are discussed connected with
the distribution of the time of the passage
of the light. This quantity is defined as
the time during which light passes through
a given point of a plane in which the ex-
posing elements (discs, blinds, etc.) move.
It is shown that with small dimensions of
the cross section of the light beams in the
plane of the shutter the distribution of
effective exposure is the same as the
distribution of the time of passage of the
light.?S.C.G.
CINEMATOGRAPHY (Underwater)
Underwater Pinpoint Photography, Har-
old E. Edgerton, SPIE Journal, 2: No. I,
3-5, Oct./Nov., 1963.
Lowering a camera to a position just
above the sea floor is a critical operation.
The "pinger" method of camera-to-
bottom positioning has proved to be an
excellent technique. A sonar transducer
on the camera sends one sound signal
directly to the surface, and another
to the bottom. The bottom signal, reflected
from the sea floor, rises to the surface
where its delayed arrival time is measured
against the camera signal beamed to the
surface. An Alden recorder is used to
record direct or reflected signals received.
March 1964 Journal of the SMPTE Volume 73
FILM AND ITS PROPERTIES
A 16mm Title for Overlay Printing,
R. F. Ebbetts, Brit. Kinemat., 43: 69, Aug.
1963.
Fine-grain motion-picture positive film is
recommended as a material on which to
obtain, by reversal processing, titles with
clear letters on a dark ground of density
above 3.0.?G.I.P.L.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
we work
with you
...against
the clock
Wherever the world you are,
if you're near a major airline,
you're close to our laboratory's
fast schedule for cjuality pro-
cessing. Here are a few typical
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In our home town, 35mm or
16mm negative in by 11 p.m.,
developed and dailies ready
9 a.m. next day. 16mm Ekta-
chrome developed overnight.
Ektachrome in for developing
...color workprints in custom-
er's hands in 3 to 4 days total
elapsed time. (Same schedule
for Honolulu customers.)
17,000 miles and through cus-
toms four times; Ektachrome
developing and workprints de-
livered in 5 days. 35 mm color
or b&w negative in 4 days.
Three days round trip for de-
veloping and dailies, for 35mm
color or black-and-white neg-
ative, including four custom
stops along the way.
For 35mm or 16mm, anywhere
in Puerto Rico or the Canal
Zone, the round trip takes
three or four days for most
processing assignments.
16mm release prints in quan-
tity and top quality, color or
b&w, from 16mm A and B
rolls through dupe,f ive to ten
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GENERAL FILM
LABORATORIES
A DIVISION OF PACIFIC INDUSTRIES. INC.
1546 N. Argyle, Hollywood, California 90028
Telephone (213) H011ywood 2-6171
March 1964 Journal of the SMPTE Volume 73
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277
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FILM PROCESSING (Color)
The Control of a Color Process, C. T.
Davies, Brit. Kinemat., 43: No. 3, 84-93,
Sept., 1963.
Apart from the very necessary ancillary
processes of fixing, bleaching, hardening
and dye stabilization, the processing of a
color film involves the relatively complex
chemical reactions necessary for dye
formation. Factors subject to direct control
in the laboratory may be listed as follows:
(1) Temperature of the solutions; (2)
Concentration of the reactive chemicals in
the solutions; (3) The rate at which the
chemicals are replenished; (4) Machine
speed, i.e., time of immersion; (5) Relative
humidity and temperature of the drying
cabinet; (6) Control of printer illumina-
tion; and (7) Mechanical control.
GENERAL
Graphite Pore Structure Evaluation by
Serial Section Kinematography, J. W.
Stammers, J. Phot. Sc., 11: 351-354,
Nov./Dec. 1963.
The method and techniques employed
in the investigation of the pore structure of
graphites by serial sectioning' combined
with cinemicrography are discussed. Some
of the simpler problems? associated with
the working of graphite samples to a good
finish and yet with reasonable speed are
also reviewed.
278
ULTRASONIC CLEANER for
MICROFILM
MAGNETIC TAPE
MOTION PICTURE FILM
Presented The Academy of Motion Picture Arts and Sciences
Award of Merit for Outstanding Technical Achievement.
The CF2 Film and Tape Cleaner represents a major break through in the
reproduction industry. By utilizing ultrasonic energy, microfilm, motion
picture film and magnetic tape are thoroughly and rapidly cleaned without
mechanical scrubbing and wiping.
Protects against deterioration from surface contamination
Provides assurance of maximum reproduction quality
Film and tape emerge clean and static free with color balance undisturbed
The cold boiling effect (cavitation) of ultrasonics performs the entire clean-
ing operation . . . film and tape are touched only by solvent, eliminating
the possibility of scratching, abrading or tearing. Forced air, flash dry-off,
removes the solvent leaving absolutely no residue.
The CF2 Ultrasonic Film and Tape
cleaning process Li completely auto-
matic, requiring the operator only
to load and unload. Costs less than
1/20 of a penny (.002c) per running
foot to operate. Available on lease.
Descriptive brochure will be sent on
request.
Patents
U.S.A. 2,967,119
Belgium 582,469
France 1,238,523
Canada 618413, 618414,
618415
Luxemburg 37,634
Great Britain Pat
Appl. 30703/59
LIPSNER-
SMITH
CORPORATION
ORC,HARD 3-4030
3475 Touhy Ave., Chicago, Illinois
March 4964 : Journal of the SMPTE
Effect of Magnetic Blowing on the Arc
Quenching Period in Alternating Current
Circuit-Breakers, D. Domonkos, Periodica
Polytechnica?Elektrotechnik, 66: 125-147,
No. 2, 1962.
Magnetic arc blowing plays an' important
part in a large group of low voltage circuit-
breaker switch gear. The induction of the
blowing magnet enhances the rate of
growth of the voltage across the arc and
decreases the back-striking voltage. In
the quenching of the arc the back-striking
as well as the thermal relations are of
importance. The arc can be quenched at
very low currents when, after back-strik-
ing, the conditions that would maintain
it disappear.
With a given blowing magnet the arc
duration is expressed by
t AI -0.5
Constant A varies almost reciprocally with
the number of blowing magnet turns. At
critical current the duration of the arc is
3 to 4 times that measured at maximum
current density.
HIGH-SPEED PHOTOGRAPHY
Effective ?Exposure Time in High-Speed
Camera's (In Russian); G. Belinskaya,
Zhur. Nauch. i Priklad. Fotografii i Kinemato-
grafii, 8: 370-74, No. 5, Sept./Oct.,
1963.
Two determinations of effective exposure
time., in high-speed cameras are con-
siderdd. One determination, which pro-
vides for a time parameter called the
"effective' exposure time,". starts out from
the operation. of the light shutter, de-
pending only on the optical-mechanical
characteristics of the apparatus. In the
second determination, a time parameter
called' the "real exposure time' by the
author (more correctly "photographically
effective exposure time") is proposed.
This parameter depends both on the
operation of the shutter and on the
properties of the photographic material.
The first definition of the time parameter
is introduced as the basic characteristic
of the shutter, while the second is the
characteristic of the combination of shut-
ter and photographic material.
Formulae are derived for determining
the photographically effective exposure
time by utilizing the whole of the char-
acteristic curve of the material. These
formulae are used for setting up nomo-
grams which allow the determination of
photographically effective exposure times.
Calculated effective exposure times for
different shapes of shutter aperture are
given.--S. C. G.
LAMPS AND LIGHTING
Working with the Xenon Light Source of
the "Sibir' " Motion Picture Projector
(In Russian), V. Kriv,tsun, Kinomekhanik,
33-36, Apr., 1963.
The constructional details of the xenon-
'arc light source of the Sibir' motion-
pieture projector are discussed.' Recom-
mendations are given for the adjustment
of the light source and the reflector. A
description is given of the power supply.?
S. C. G.
Volume 73
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. 40iw
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for information on
Y)
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If you use color motion-picture film as an engineering tool_where you get only: one
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chance at the picture, try KODAK EKTACHROMK MS Film. It has the latitude to.-Comi_tiP
with a good 'picture eVen when the light level fluctuates in a distressing manner
Neither four stops overexposure nor two stops Under is too much. It 'is sharper; than
its predecessor. It uses the same ME-2A process. Its official speed is ASA 64..-
If you want some, call 716 LO 2-6000, Ext. 3257, or write: Photo-
recording Methods Division, EASTMAN KODAK COMPANY, Rochester, N. Y. 14650
Kodak
for information only,
MIMMEMN. ?IIIIIMINNIM
a new color film:
Mar.4096f1 journal of WPM. vo.un
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279
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
REELS CANS CASES
PROJECTION
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More than 200,000 in stock at all times.. . .
Immediate shipment!
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reports . . .
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280
SPECTRA TV OPTOLINER
Opto -Mechanical TV Camera Tester
The new light-weight SPECTRA TV OPTO-
LINER threads directly into camera lens mount
for precision testing by engineers, manufac-
turers and users of closed circuit or broadcast
TV. Integrated uniform light source is adjust-
able to produce a standard test pattern of
known intensity and color temperature on the
tube faceplate. Eliminates human and mechani-
cal variables of external test patterns
Write for brochure.
PHOTO RESEARCH corp.
837 N. CAHUENGA BLVD.. HOLLYWOOD. CALIFORNIA 90038
US AT BOOTH
March 1964 Journal of the SMPTE Volume 73
Elimination of Emulsion "Melting" on
76-mm Film Prints (In Russian), B.
Korovkin, Kinomekhanik, 32-34, Mar.) 1963.
The increased light flux in two Soviet
16mm projectors has presented problems.
The air flow in the film gate is inadequate
to prevent evaporation of moisture from
the emulsion, which condenses to form
drops of hot water which damage the
film where they fall on it. The measures
which have been taken to overcome this
difficulty by redesigning the film gate are
described.?S.C.G.
Modern Light Sources for Motion Picture
Projection (In Russian), G. Irskii, Kino-
mekhanik, 25-32, Mar.) 1963.
A review is given of modern types of
arc lamp, including the xenon arc, and of
new types of incandescent lamp with
mirror envelopes.?S.C.G.
PROJECTION
Performance of 16mm Portable Sound-
and-Picture Cinematograph Projectors,
B.S.I. News, 27, Dec., 1963.
Specifies certain requirements for 16mm
portable cinematograph projectors with
optical and/or magnetic sound repro-
duction, such as are used for audiences up
to 200 people. It does not deal with the
details of mechanical and electrical design
except in so far as these may affect per-
formance or convenience in use. It specifies
such requirements, and prescribes such
tests, as will ensure a satisfactory picture
and sound performance, safety, and film
life.
SENSITOMETRY
Practical Motion Picture Sensitometric
Control, L. J. Wheeler, Brit. Kinemat., 43:
36-51, Aug., 1963.
A simplified method of sensitometric
control has been established and tests
show that, to obtain consistent results,
the following points must be watched: (a)
Batch-to-batch variations in developing
solution concentration; (b) variation in
volume of "unit-packed" developer supply;
(c) accurate dilution of the concentrated
solution; (d) batch-to-batch variations
ffi photographic speed of the film stock,
particularly telerecording Type 8374;
(e) exact setting of lamp voltage in the
sensitometer; (f) constant checking of the
developer temperature in the processing
machine; (g) precise adjustment of film
loop length in the developing solution;
(h) accurate control of processing-machine
speed; (i) accurate calibration of the
densitometer each time it is used and
repeated calibration during long periods
of constant use; (j) accurate interpretation
of density measurements and careful
plotting of these measurements.
Under present conditions and including
all operation! tolerances, films nominally
processed to a gamma of 0.65 are held
within ?0.04, while films nominally
processed to a gamma of 1.0 are held
within ?0.06.?G.I.P.L.
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, .
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
M.T. E.
SERIES
DUAL MAGNETIC
DUBBER
for your mixing studio
features:
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Units can be joined for multiple installation
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Forward and Reverse operation
High speed through sprocket optional
Automatic loop setting device
Available in 16mm, 35mm, or combination
Plug-in magnetic heads pre-aligned
Recording components available
Electro-magnetic reel spindle brakes
Interlock phasing circuit incorporated
for product catalogue please write
Magna-Tech Electronic Co., Inc.
M ? T. E. 630 Ninth Avenue, New York 36, N.Y. JU 6-7240
March 1964 Journal of the SMPTE Volume 73 281
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
New & Improved Transist-O-Sound
Newsmen! Mix Sound
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NEW?VOLUME LIMITER allows
cameraman to open the Mike
Controls fully and still obtain a
normal track level.
At last! A really lightweight
(23/4 lb.) amplifier that goes
quickly to where the news is...
lets you interview or describe,
while mixing actual on-the-scene
sound! Everything?including
meters is mounted under the
camera. All-transistorized for
long life, low noise level. Uses
ordinary portable radio type bat-
teries. Send for brochure; ask
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IT'S NEW!
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only ATLAS equipment offers
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MODEL 3100 ATLAS REPLACEMENT SOUND UNIT
? Standard equipment with Atlas Model 962 or 963
projector
? Easily adapted to fit all Four Star or XL sound heads
? Assures less than 0.110 of 1% flutter plus dirt-free
running
? Use with either magnetic, optical, composite optical
tracks
? Atlas tight-loop configuration, eliminates pad rollers
and loose loop
? Precision construction and materials throughout
and, for precision high-quality projection ...
MODEL 963 ATLAS 35MM PORTABLE PROJECTOR
? Light weight, use anywhere
? Model 3100 Atlas Sound Unit standard equipment
? Reproduces pictures of all 35MM aspect ratios
? Remote control, features forward-reverse-brake for film;
off-on for sound
? Dowser for sound and picture for continuous operation
two machines
? 1000-2000-3000 foot reel capacity
? Choice of optics (extra)
Write for further information and detailed specifications about
Model 3100 and 963 plus other Atlas products.
ATLAS PROJECTOR CORPORATION
10834 Washington Blvd., Culver City, Calif., Phone VE 8-1107 VE 9-0550
precision equipment for audio and visual motion picture reproduction
See our Exhibit. Booth 232, SMPTE Technical Conference
Ambassador Hotel, Los Angeles
282
March 1964 Journal of the SMPTE Volume 73
SOUND EFFECTS
Radiophonics in the BBC, F. C. Brooker,
BBC Engineering Monograph, No. 51: 5-19,
Nov. 1963.
The term "radiophonics" is taken (in
the BBC at any rate) to mean the pro-
duction of sounds from natural or artificial
sources to convey the mood of a broadcast
program, but not the creation of musical
compositions as such. This monograph
describes the BBC's Radiophonic Work-
shop, the type of work which it under-
takes, and the equipment used to create
the desired sounds. Since the end product
is almost invariably a tape recording.
much of the equipment is r ecessarily
concerned with the manipulation of tape
recordings using fairly standard equip-
ment. However, in order to carry out some
of these manipulations, several ancillary
pieces of equipment have specially de-
veloped and these are described. The
electronic gunfire effects ger erator is
also described, although it is not strictly
a part of the equipment of the Radio-
phonic Workshop; it was developed for
direct, or "spot," effects in studios some
years before the workshop came into
being.
TELEVISION
The Calibration of VHF and UHF
Field-Strength Meters by Means of a
Standard Field Generator, B. J. Spencer.
Marconi Review, 26: No. 149, 171-181,
Second Quarter 1963.
Experience has shown the need for
extreme care in the checking and cal-
ibration of field-strength meters in order
to achieve satisfactory overall accuracy.
In general there are two methods of
calibration. In one of these the constants
of the individual parts of the apparatus
are measured, e.g. gain of aerial, feeder
attenuation, receiver response, etc. These
constants are then lumped together so
that the field in which the aerial is im-
mersed can be determined from the
receiver response.
The second is known as the "standard
field method," in which the aerial is
immersed in a known field and the appara-
tus is calibrated as a whole. The method
may be subdivided according to the way in
which the field is determined. The field
may be measured using a standard aerial
and detector, and this may be called "the
standard receiver method." Alternatively
the field may be determined from the path
geometry and measured ground con-
stants, using a standard transmitter. This
is the "standard generator method,"
which is described.
If independent level standards are
employed in calibrating a field-strength
meter by standard field and step-by-step
methods, and the results agree, considerable
reliance can be placed upon the instru-
ment.
Determination of the Power Radiated
From a Long-Wave Aerial by Field-
Strength Measurement, G. Millington
and B. J. Spencer, Marconi Review, 26:
No. 149, 132-143, Second Quarter 1963.
At low freauencies for which an aerial
structure may be only a small fraction of a
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
CINE LIQUID 1
RIVIRSAL MST OIVILOPEA
The old-fashioned "mix-and-mess" of bulk chemicals can go right in the ash can. Hunt research brings you a totally
new concept for processing B & W cine reversal film, CINE LIQUID CONCENTRATES. A complete all liquid system for
reversal processing, it takes the guesswork out of "mix-it-yourself" chemistry and does away with the waste of bulk
chemical inventories. The Cine Liquid system includes ? Cine Liquid 1, Reversal First Developer, ? Cine Liquid 2, Reversal
Bleach Solution, ? Cine Liquid 3, Reversal Clearing Solution, ? Cine Liquid 4, Reversal Redeveloper. At last the problem
of developer degradation has been overcome through the exclusive Hunt patented Developer Activator*. By simply adding
the Hunt Developer Activator* to Cine Liquid 1 (First Developer) or Cine Liquid 4 (Redeveloper), the user is guaranteed a
ready-to-use factory-fresh solution regardless of how long the concentrate has remained in inventory. When using Cine
Liquid Concentrates, you'll find them in easy-to-handle 5-gallon Cubitainers, each of which produces 20 gallons of con-
sistent working reversal chemicals. Insure a successful finish to the processing cycle by using Flash-O-Graphe, the perfect
companion fixer for this system. For more detailed information write for Photographic Information Bulletin No. 11.
Patent 3038801?Foreign Patents Pending
UNT -
PHILIP A. HUNT CHEMICAL CORPORATION, Palisades Park, N.L.Branches in Principal Cities,PHILIP A. HUNT COMPANY (CANADA) LTD.,Toronto
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
The only
professional portable
HOT SPLICER
with a built-in
CARBIDE
SCRAPER BLADE*
The Maier-Hancock Hot Splicer was designed expressly for continuous, heavy-duty
work. The patented built-in scraper which is GUARANTEED FOR LIFE, cuts work
time in half and eliminates slow hand scraping. You get "low visibility" precision
splices that are stronger, and free of annoying combination frames. Two sets of
pilot pins permit splicing with perforations toward or away from operator, pre-
cluding need to loop film around splicer when using "A" and "B" rolls.
More than 11,000 Maier-Hancock Hot Splicers are in daily use by motion picture
and TV studios, schools, special study groups, industrial plants, and government
agencies. ,
Model 1635: For 16mm or 35mm film. / Model 816: For 16mm or 8mm film.
(Scraper Pat. No. 2544082)
See your photographic dealer or write for detailed literature.
rni MAIER-HANCOCK SALES CO.
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*Should scraper blade ever need sharpening, we will sharpen it for a nominal charge of $1.00.
NEW! MOLORAMA
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VISIT US AT BOOTH 113
wavelength in height the radiation resist-
ance may be small compared with the loss
resistance comprising the conductor and
earth resistances. It is then difficult to
find the radiated power accurately from
measurements of the input power and
terminal impedances. If the field set up at
a distant point is seriously below the value
assumed in designing the transmitter and
aerial system, it is difficult to know whether
the discrepancy is due to a poor estimate of
the radiated power required, or to un-
certainties in deducing the radiated power
from measurements made at the trans-
mitter. This article deals with the measure-
ment of the actual radiated power by a
field-strength surveY in a region around the
transmitter using a specially designed
transitorized measuring set under condi-
tions where simple Hertzian dipole theory
for a plane perfectly conducting earth can
be applied.
The Plane of Polarization as a Factor in
VHF and UHF Broadcasting, M. W.
Gough, Marconi Review, 26: No. 149, 117-
131, Second Quarter 1963.
The prevailing preference for the use of
horizontal polarization in the vhf and
uhf bands both in broadcasting systems
and in point-to-point links has prompted a
critical appraisal of the consequences of
this policy from the propagation view-
point. Attention is focused on those
regions within the visual range where
destructive interference between direct
and surface-reflected waves may cause
deep nulls wherein the field-strength is
much below the desirable "free space"
value. Consideration of representative
frequencies in the broadcast bands I-V
inclusive shows that the use of vertical
polarization?rather than horizontal?can
confer a substantial increase in field-
strength in the nulls (particularly for
oversea paths), under practical condi-
tions.
Long-Range Interference in Band HI,
C. E. Parkinson, Marconi Review, 26: No.
149, 107-116, Second Quarter 1963.
An analysis of field-strength measure-
ments, recorded in Hereford, of Men-
dlesham and Chillerton Down I.T.A.
transmissions is given, as a means of assess-
ing the probable levels of co-channel
interference which would be experienced
by an ancillary television station broad-
casting in Channel 11. The results are
compared with those from similar surveys
which have been summarized in C.C.I.R.
Document 64. The correlation between
the incidence of high signal levels and
anticyclonic weather conditions is dem-
onstrated.
Vertical Aperture Correction Using Con-
tinuously Variable Ultrasonic Delay
Lines, BBC Engineering Div. Monograph,
No. 47; May, 1963.
Part I of this monograph describes the
principle of operation, construction, and
calibration of a simple vertical aperture
corrector which has been made possible
by the use of ultrasonic delay lines. The
performance of this aperture corrector
and some of the problems involved in the
design of an operational version are
discussed. The method of calibration is
based on a 'Calibration Factor' obtained
March 1964 Journal of the' SMPTR- Volume 73:
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
REEVESOUND E RECORDER
for outstanding optical and magnetic
motion picture sound tracks
Throughout the world, wherever motion pictures are
made efficiently you find the Reevesound DL Optical
Recorder producing quality sound track negatives
and direct positives. This workhorse equipment is
the first choice of professionals for 16mm and 35mm
optical tracks. Operation is straight forward, main-
tenance approaches zero and reliability is high. Now
available are models for 35mm negative and direct
positive, 16mm negative and direct positive and
16mm mag/optical. If motion pictures are your busi-
ness, it's good business to look into the famous
Reevesound DL Recorders.
. REEVESOUND Company, Inc. ? 35-5436th St., Long Island City 6, N.Y/A subsidiary of Reeves Soundcraft Cofp:
REEVESOUND
ft ? ail
March 1964 Journal of the SMPTE Volume 73 285
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
90% of all Japanese ITV cameras
12.5mm ?f/1:4
12.5mm 1/1.9
25. mm f/I.4
25. mm f/1.9
50. mm 1/1.4
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75. mm 1/I.4
75. mm f/1.9
-150. mm f/4.5
All available in
C-mount
Use COSMICAR lenses.
For further details, write today:
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Only F & B has combined greater durability and eye-
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F & B engineers skillfully blended steel, Micarta and
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Heavy-gauge steel construction.
Attractive green hammertone finish.
Durable top of light gray Westinghouse Micarta.
Spacious 60X28 inch work area.
Convenient height ?331/2 inches.
9X12 inch light box with diffusion glass.
Electrical outlet box and light switch.
Back rack with V-shaped shelves.
Handy utility drawer.
$1?Nn795 Table Only (without light box,
.L drawer and rack) $80.00
mom
? Extra Liners $4.00 each
As illustrated, but
without casters $38.00
Barrel only (without casters,
rack & liner)
$18.00
$43'5
F & B FILM EDITING .'BARRELS..
Heavy
Heavy fibre construction ? Hard glae finish sTop
'dimensions: 15" X 28" ? Bottom dimensions: 12" X -
24" ? Depth: 30" ? Height (with racklecasters): 66"
? Staggered rack pins make film handling easy ?
Roll-easy hard rubber casters ? .Cotton drill liner.
3FIL.ORMAN & BABE, Imic.
Serving the world's finest film makers
68 West 45th St., New York 36, N. Y.?MU 2-2928
iy4E,q1.:164 _journal of,t4e.smr7E -Volume 73
by a simple and convenient Pulse pro-
cedure. It is shown that the steady-state
amplitude/frequency characteristic, and
also the effect of the aperture corrector on
signal-to-noise ratio, can be determined
from this factor.
In Part II the construction and charac-
teristics of an ultrasonic delay line using
mercury as the transmission medium are
discussed in some detail, and an experi-
mental variable delay unit suitable for a
405-line television system is described.
There is an account of the diffitulties en-
countered in constructing the video delay
unit and some indication is given as to
the possibility of extending the use of the
line to television systems requiring a
higher video bandwidth. In addition to its
use in the vertical aperture corrector, Such
a unit may have, other television applica-
tions.
Radio-Wave Propagation and the Plan-
ning of VHF and UHF Sound and
Television Services; G. A. Viekers, The
Marconi Review, 26: No. 149, 55-92,
Second Quarter 1963.
The importance Of the detailed planning
of vhf and uhf sound and television,
services if the desired service area is to*
be achieved within the limited number of
available frequency channels .and without
causing undue co-channel interference is
stressed. After a summary of the chief
features of radio-wave propagation in
these broadcast bands, the field strength
requirements for satisfactory reception are
reviewed and the relative performance in
the three television bands is contrasted.
Since the planning requires a knowledge
of the relationship between the radiated
power and the, field strength at each
receiving locality, the various available
methods of establishing this relationship are
discussed, with special reference to the
theoretical or "paper" method used
extensively by the Marconi Company. A
description is given of the estimation of co-
channel interference levels and the Prep-
aration of predicted coVerage maps, and
the article ends with a review of some
Of the many practical aspects of the plan-
ning,, including the selection of trans-
mittingsites.
Field-Strength Surveys of VHF and
UHF Broadcast and Television Service
Areas, G. ' A. Isted,. Mdrconi Review, 26:
No. 149,93-106 Second Quarter 1963.
? Notwithstanding . the high degree of
accuracy attained by prediction techniques
in determining the probable performance of
vhf and uhf television and broadcast.
services, practical measurements of field-
strength still have most iniportant func-
tions to perform. This article describes
principally the ? techniques used for final
measurement surveys; this is followed by a
discussion of pilot surveys with ,the aid of a
balloon. .The apparatus used, for mobile
and, fixed long-term surveys is described,
drid some discussion is devoted to cal-
ibration, maintenance and .automatic re-
cording. The 'effect of fading Signals on
the measurements is also discussed, and
means are described to meet the problem.
The reporting procedure is an important
feature of a practical survey, and this is
dealt with in the article.
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inspect every foot before it leaves your plant with the HE High Speed Heavy
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The projector is a converted front shutter
Simplex with a two pin intermittent. 16mm
or 35/32 film runs at a speed of 144 ft.
per minute while 35mm film runs at a
speed of 165 ft. per minute.
1. A variac controls the light intensity.
2. A 500 watt lamp is used for 16mm and
a 1,000 watt for 35mm (a blower is
used to cool the lamphouse).
3. A 21/2 inch projection lens is furnished
with each unit.
4. A start-stop lever controls the power to
the lamp and motor.
5. The magazine and take up core takes
up to 3,000 ft. of film.
6. Upper guide rollers are made to handle
the film from either direction . of the
feed reel. ,
7. A free wheeling take off flange is pro-
vided in the magazine.
8. A lamp near the takeup reel permits
hand inspection of the film prior to
takeup.
NOUVEAU
Le projecteur contient un obturateur Sim-
plex anterieur transforme avec deux cla-
vettes intermittent. Les films de 16mm ou
35/32 tournent avec une vitesse de 144
pieds a la minute, tandis que les films
de 35mm tournent avec une vitesse de 165
pieds a la minute.
1. Le regulateur de voltage d'intensite
d'eclairage.
2. La lampe de 500 watt est necessaire
pour les films de 16mm, et de 1000
watt, pour les films de 35mm (un yen-
tilateur est mise pour rafraichir la
chambre de la lampe).
3. L'objectif de 21/2 est instale.
4. La manette de mise en marche et d'arret
controle en meme temps la lampe et le
moteur.
5. La boite de films avec noyau peut con-
tenir 3000 pieds du films.
6. La roue superieure est construite de
maniere de recevoir le film dans les
deux directions, nourrie par la bobine
centrale.
7. Une roue est instalee pour liberer
rapidement le film de la boite.
8. La lampe se trouve pres de la bobine
recepteuse, et donne toute facilite pour
inspecter le film a main dans le
projecteur.
?
designers and
manufacturers of
film and video tape
editing equipment
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HOLLYWOOD FILM COMPANY
NUOVO
Questi proiettori sono Simplex transform-
ati, otturatore at fronte, meccanismo di
scatto di due punte. La velocita di proie-
zione in 16 o 35/32mm e di 144 piedi
per minuto, e in 35mm, di 165 piedi per
minuto.
1. Controllo manuale della luminosita della
lampada. ?
2. Lampada di 500 watt per 16mm e di
1000 watt per 35mm.
3. Obbiettivo di proiezione di 21/2".
4. Maniglia per controllo di motore e lam-
pada di proiezione.
5. La cassetta porta pellicola puo con-
tenere 3000 piedi.
6. I rulli superiori di guida sono construiti
per operare con film provenente di ambi
lati della bobina svolgitrice.
7. Disco con montatura sporgente net
magazzino.
8. Una lampadina illumina la bobina av-
volgitrice, permettendo l'ispezione man-
uale del film prima che si avvplga net
proiettore.
NUEVO
Esta maquina es un proyector simplex con-
vertido, obturador al frente y movimiento
intermitente a doble grifa. Para 16mm o
35/32mm, la velocidad fija de proyeccion
es de 144 pies por minuto, para 35mm es
de 165 pies por minuto.
1. Un reostato controla la intensidad de la
lampara de proyecciOn.
2. Para 16mm se usa una lampara de
500 watt, y una de 1000 watt para
35mm (un chorro de aire ventila las
lamparas en ambos casos).
3. Cada unidad esta provista de un lente
de proyecci6n de 2 pulgadas y media.
4. Una palanca de control opera el motor
y la lampara simultaneamente.
5. Capacidad de proyecciOn: rollos de
hasta 3000'.
6. Los rodillos de guia superiores operart
con la pelicula en ambas direcciones.
7. La tapa de la bobina de carga es
desenroscable.
8. Una lampara ubicada junto a la bobina
de toma permite la inspeccian manual
de la pelicula antes que se rebobine en
la bobina superior del proyector.
-
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COME AND VISIT US AT BOOTHS 140 141, 142, SMPTE SHOW
March 1964 Journal of the SMPTE Volume 73
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
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288
TESTS AND MEASUREMENTS
Apparatus for Measurement of Non-
Linear Distortion as a Continuous Func-
tion of Frequency, H. D. Harwood,
BBC Engineering Div. Monograph, No. 49,
July 1963.
Measurements of the non-linear dis-
tortion products generated by a system,
such as a loudspeaker, which has more
than one degree of freedom must be made
as a continuous function of frequency if a
true assessment of the distortion is to be
obtained. Various methods of performing
such measurements are reviewed and the
limitations are indicated. A description is
then given of a new system by which the
individual harmonic and intermodulation
distortion products can be measured as a
continuous function of frequency. In
addition the working principles are de-
scribed of a new type of stroboscope
which is capable of operating at constant
illumination up to unusually high rep-
etition rates; this device is suitable for
examining vibrating systems for resonance
modes which may give rise to distortion
through excessive amplitude.
Details are given of the circuits employed
and the performance obtained from an
equipment constructed on these principles,
and the results of some measurements are
shown.
current
literature
The Editors present for convenient reference a
list of articles dealing with subjects cognate to
motion-picture engineering published in a
number of selected journals. Photostatic or
microfilm copies of articles in magazines that are
available may be obtained from The Library
of Congress, Washington, D.C., or from the
New York Public Library, New York, N.Y., at
prevailing rates.
Bud und Ton vol. 16, no. 9, Sept. 1963
Uber die Herstellung duplikationsfAhiger Ori-
ginal-Bild-Negative (The Manufacture of
Master Negatives for Duplicating) (p. 274)
Hilmar Mehnert
British Kinematography
vol. 43, no. 1, Jan. 1963
The Production of Television Test Charts (p. 4)
L. J. van Rooyen and G. D. Shevel
Film Technikum vol. 14, no. 8, Aug. 1963
Vorbereitungen f Ur em n europaisches Farb-
fernsehsystem (Preparations for a European
Color TV System) (p. 260) H. F. K.
Rfickprojektionsanlage ffir Film und Fernsehen
der Kamera- und Kinowerke Dresden (Back
Projection Unit for Film and Television of
the Camera and Kino Factory, Dresden) (p.
262) Gerhard Pierschel
Fujitsu vol. 14, no. 4, 1963
Life of Transistors (p. 4) T. Niimi
Switching Time in Diodes and Transistors (p.
89) S. Tanaka and K. Katori
Hitachi Hyoron vol. 45, no. 12, Dec. 1963
Compensation of Beam Landing Errors for the
Shadow-Mask Type Color Picture Tube (p.
74) Takemaro Sakurai, Koro Shushido, Jihei
Nakagawa, Kihachiro Koizumi and Eiichi
Yamazaki
ech. Jour. Japan Broadcasting Corp.
vol. 15, no. 11
A Miniature Television Camera for Interview
Use (p. 1) Y. Fujimura, K. Suzuki and T.
Hirashima
Temperature Rise Tests of UHF Transmission
Lines (p. 41) K. Endo and K. Takewaki
International Projectionist
i/ol. 38, no. 8, Aug. 1963
Film Shrinkage and Frame Registration (p. 4)
Robert A. Mitchell
Jour. Brit. IRE vol. 26, no. 2, Aug. 1963
A Frequency Meter With Continuous Digital
Presentation (p. 109) P. Wood
On the Measurement and, Interpretation of
Nonlinearity in a Television System (p. 141)
J. B. Potter
vol. 26, no. 3, Sept. 1963
Direct Wide-Band Phase Shifters (p. 227) P. V.
Indiresan
Jour. Inst. Elect. Comm. Engrs., Japan
vol. 46, no. 12, Dec. 1963
Anode Aperture Effects on the Performance o
Electron Gun (p. 23) Jun Nishida, Hiroshi
Hamada and Masazumi Terada
An Analysis of Signal-to-Noise Characteristics
of an FM System by Means of a Discontinuous
Model of the Modulating Signal (p. 38)
Akima
Journal Inst. Telev. Eng. Japan
vol. 17, no. 11, 1963
Recent Progress of Video Tape Recording FM
Transmission System in VTR (p. 2) J.
Yoshida and M. Inatsu
The Recent Progress of Single Head VTR (p.
11) K. Sugi and M. Yagi
The Recent Progress of 4 Heads VTR (p. 19)
M. Okazaki and K. Kano
Life and Reliability of Video Tape Recorder for
Broadcasting Quality (p. 23) S. Sonobe
Compact Type VTR (p. 27) N. Kihara
Magnetic Characteristics of Magnetic Micro-
powders (p. 31) K. Yokoyama
The Present Situation of Domestic Video Tape
(p. 39) G. Akashi
TDL Synchro Video Tape (p. 44) M. Namikawa
and S. Tochihara
Measurement of Video Tape Temperature (p.
48) Y. Sakai and K. Honi
vol. 17, no. 12, 1963
A Flat Picture Tube With a Single Plate De-
flection System (p. 11) M. Takahashi and T.
Kawamura
Vidicon Type Camera Tube Using Mosaic
Target (p. 19) Y. Kiuchi and H. Takahashi
Low Noise Amplifier for Vidicon Camera (p.
25) Y. Tokunaka
Protection of Transistors Against Over Voltage
in Video Amplifiers (p. 31) H. Marabayashi,
H. Ikeda and K. Waal.
Jour. Phot. Sci. vol. 2, no. 1, Jan./Feb. 1963
Tanning Development and Its Application tO
Dye Transfer Images (p. 1) A. G. Hull
Factors Affecting the Quality of Black-and-
White Reflexion Prints (p. 27) J. L. Simonds
On the Relevance of Photon Noise and of
Informational Assessment in Scientific Pho-
tography (p. 31) P. B. Fellgett
Visual Contrast in Photographic Prints (p. 35)
C. J. Bartleson, R. H. Jenneiahn and W. W.
Woodbury
Printed Out Dodging Masks (p. 421 L. Chalkley
March 1964 Journal of the SMPTE Volume 73
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290
Latent-Image Distribution and Development
Rate in the Solarization and Re-Reversal
Regions (p. 46)- G. C. Farnell and.J. B. Chanter
vol. 2, no. 2, Mar./Apr. 1963
The Sensitometric Properties of Emulsions at a
Low Level of Chemical Sensitization (p. 57)
G. C. Farnell and P. G. Powell
A Structural Theory for the Selwyn Granularity
Coefficient (p. 65) E. F. Haugh
Power Spectrum of Granularity as Determined
by Diffraxion (p. 69) H. Thiry
Grid Images Applied to the Assessment of
Definition (p. 78) A. G. Hull and C. J. Bell
Studies on the Light Scattering of Silver Bromide
Particles (p. 84) D. H. Napper and R. H.
Ottewill
vol. 2, no. 3, May/June 1963
Printing Color Negatives (p. 109) R. W. G.
Hunt
Spectrometric Measurement of the Acutance of
Photographic Materials (p. 121) H. Thiry
The Absorption Cross Section for Light of the
Silver Grains in Photographic Deposits (p.
132) W. Romer and T. Morawski
The Superadditivity of Phenidone and Metol
with Color Developing Agents (p. 136)
L. F. A. Mason
Photographic Action of Complex Cyanides
(p. 140) H. W. Wood
Phenidone (1-Pheny1-3-Pyrazolidone) : Oxida-
tion (p. 145) S. Horrobin, D. W. Ramsay and
L. F. A. Mason
Investigations Regarding the Measurement of
the Modulation Transfer Function and Pos-
sibilities for Its Designation by a Numerical
Value (p. 150) G. Langner.
The Photographic Properties of Some Novel
Analogues of Phenidone (p. 157) G. E. Ficken
and B. G. Sanderson
vol. 2, no. 4, July/Aug.-1963
Tone Reproduction in Color Scales (p. 169)
P. Kowaliski
Relations Between Granularity, Graininess and
the Wiener-Spectrum of the Density Devia-
tions (p. 177) E. Klein and G. Langner
Photostress (p. 186) A. L. Window
The Acceptability of Color Reproduction (p.
194) R. W. G. Hunt
The Equivalent Quantum Efficiency of the
Photographic Process (p. 199) R. Shaw
Latent Fog Produced by Ferricyanide: Post-
Fixation Physical Development (p. 205) H.
W. Wood
Reciprocity Failure of Solarizing Materials at
Different Temperatures (p. 210) F. Trautwiler
Sedimentation Studies of Gelatin Gels (p. 241)
P. Johnson and J. C. Metcalfe
The Adsorption of the Polyethylene Glycols to
a Dropping-Mercury Electrode and Their
Effect on Surface Potential (p. 225) P. J.
Hillson
The Specification of Conditions for the Incident
Light Method of Exposure Determination
(p.230) D. Connelly
Sulphur Sensitization: The Effect of Sensitizer
Concentration on the Constitution of Fog and
Sensitivity. Centers (p. 239) R. A. Bassett
and H. 0. Dickenson
vol. 2, no. 5, Sept./Oct. 1963
The Study of Color Reproduction by Computa-
tion and Experiment (p. 249) J. E. Pinney
and L. E. DeMarsh
Reciprocity Failure Characteristics of the
Internal Latent Image (p. 256) G. C. Farnell
and M. E. F. Howarth
Polish Research on Graininess and Granularity
(p. 260) W. Romer
Color Granularity and Graininess (p. 269) D.
Zwick
Desensitization Effects of Solarizing Layers
Containing Iridium (p. 276) F. Trautweiler
The Photography of Radioactive Materials (p.
279) J. C. J. Stewart
A Combined Cin d and Stroboscopic Technique
for the Analysis of High-Speed Vibrations
(p. 288) R. C. F. Dye
March 1964 Journal of the SMPTE Volume 73
The Translation of Colors Into Black-and-White
Photographs (p. 291) P. Mouchel
vol. 2, no. 6, Nov./Dec.
Photon Fluctuations Equivalent Quantum Ef-
ficiency and the Information Capacity of
Photographic Images (p. 313) R. Shaw
The Co-Precipitation of Thallous Thallium in
Photographic Emulsions (p. 321) H. Hirsch
The Produaion of Narrow Slit Images by a
Scanning Technique (326) K. D. Cooper and
J. C. J. Stewart
Some Factors That Influence the Potential at
Silver Halide Surfaces (p. 334) J. F. Padday
An Integrally Colored Polyethylene Oxide
Surfactant (p. 337) H. W. Wood
Autoradiography With Tritium Labelled Cell
Preparations: Some Physical Factors Affecting
Image Production in Two Liquid Nuclear
Emulsions (p. 342) B. I. Lord
The Relationship Between Covering Power at
Saturation Density and Undeveloped Grain
Size (p. 347) G. C. Farnell and L. R. Solman
Graphite Pore Structure Evaluation by Serial
Section Kinematography (p. 351) J. W.
Stammers
Electronics and Economics in the Handling of
Ilfocolor 35mm Color Negative Film (p. 355)
D. M. Neale, J. H. Coote and A. A. Large
Preliminary Investigation of Development-
Center Distribution on Individual Photo-
graphic Emulsion Grains (p. 365) W. F. Berg
and H. Ueda
Kep- esHangtechnika vol. 9, no. 4, Apr. 1963
Introduction to the Theory of Magnetic? Signal
Recording (p. 106) Z. Vajda
The Technical and Economical Comparison of
Oval and Circular Loudspeakers (p. 114)
Rezso Karcsay
Directivity Patterns of Speech Sounds and
Their Relations to the Sound Recording
Technics (p. 120) T. Jdrfds and T. Tarndczy
Kinomekhanik Jan., 1963
The Magnetic Soundtrack in Mass Production
Film Printing (in Russian) (p. 27) S. Karipidi
and S. Shusharin
Signalling for the End of a Reel and Systems for
Transfer from Projector to Projector (in the
Automation of Cinema Shows) (p. 35) V.
Timofeeo
Kino-Technik vol. 17, no. 8, Aug. 1963
Pilottonverfahren mit frequenzmodulierter Auf-
zeichnung ffir Zwei- und Mehrspurgerate
(Pilot Sound Process with Frequency-Modu-
lated Recording for Double or Multitrack
Device ( p. 227) H. Lennartz and J. Wehrmann
Der Einfluss der Helligkeitsempfindung auf die
Bildwiedergabe (The Influence of Sensitivity
to Brightness on Image Reproduction) (p.
243) H. Grosskopf
vol. 17, no. 11, Nov., 1963
Verfahren und Einrichtungen zur vollauto-
matischen Scharfeinstellung optischer Gerate,
. insbesondere photographischer und Fernseh--
kameeas (Process and Devices for the Com-
pletely Automatic Focusing of Optical Sys-
tems, Especially Photographic and Television
Cameras) (p. 298) H. Atorf
The Marconi Review
vol. XXVI, no. 149, 2d quarter 1963
Weather and Radar (p. 144) G. C. Rider
Nomograms for Calculating the Solar Zenith
Distance and Azimuth at any Latitude (p.
163) L. W. Barclay
vol. XXVI, no. 151, 4th quarter 1963
The Light-Emitting Diode: Its Application to a
Short-Path Television Link (p. 242) A. J.
Goss and'A. E. Sarson
Photo Trade World vol. 24, Sept. 1963
Photo Trade World Trading Guide 35mm
S. L. R. Cameras?Edixa Type Mount (p.
476)
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March 1964 Journal OUtli.e:?SMPTE,, Volume :73 91
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liters
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LU
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new, improved
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CINE VOICE
CONVERSION
including torque
motor and belt
$445.00
(price does not
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within
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? A true torque motor--Idles at Va
power. Assumes full power. No ex-
cessive heating. ? Torque motor and
Veeder counter assembly completely
encased in insulated housing for pro-
tection from cold, rain, dust, etc.
? Veeder counter effectively silenced.
? Torque motor provides sufficient
power to take either 400 ft. or 1200
ft. Mitchell magazines. ? Neon cam-
era running light.
Accessories Available:
Behind-the-lens filter slot $45.00
Lens Turret Lock for
Zoom Lens operation $25.00
NEW ANGENIUX 12mm-120mm
ZOOM LENS "C" MOUNT
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Height-23/s"
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Weight-11 oz.
Price
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A miniature, transistorized, battery-
powered (standard 9 volt transistor
radio battery) magnetic sound
reader, complete with amplifier and
speaker.
CONVERTS YOUR OPTICAL ONLY
MOVIOLA TO OPTICAL
MAGNETIC IN 30 SECONDS
Playback monitor for tape recorders
(Stellavox, etc.) ? Sound reader, used
with synchronizer ? Extra Booth
Speaker ? Field amplifier ? Field
sound reader ? Sound editing moni-
tor ? Sound reader for 8mm mag-
netic ? Public address amplifier ?
Field p.a. amplifier ? Phono ampli-
fier, hi & lo impedance ? Remote
speaker system ? Amplifier to drive
auxiliary 8" speaker.
DOZENS OF OTHER USES, TOO!
Designed and Manufactured by
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292
RCA Review vol. XXIV, no. 2, June 1963
High Voltage Epitaxial Gallium Arsenide
Microwave Diodes (p. 182) H. Kressel and N.
Goldsmith
The Performance of Sum and Difference Mode
Parametric Amplifiers in Television Receivers
(p. 226) D. d' Agostini
An Experimental Parametric Tuner for UHF
Television Receivers (p. 253) L. A. Harwood
and T. Murakami
vol. XXIV, no. 3, Sept. 1963
System Organization for General Communica-
tion Via Medium Altitude Satellites (p. 293)
D. G. C. Luck
On a Problem in Single-Sideband Communica-
tions (p. 391) J. Dutka
Communication-Satellite-System Handover Re-
quirement and Associated Design Problems
(p. 421) H. J. Weiss
Sound and Vision Broadcasting
vol. 4, no. 2, Summer 1963
Sport on Television (p. 1) Dennis Monger
The Planning of Television Services (p. 6) G. A.
Isted
The Production of Television Test Charts (p.
13) L. J. Van Rooyen and G. D. Shevel
Toshiba Review vol. 18, no. 12, Dec. 1963
Toshiba Direct Viewing Storage Tube (p. 1431)
Books, Booklets, Brochures
The BBC Handbook 1964 is an extremely
attractive paperbound book containing a
great deal of information on television in
general, as well as BBC in particular. It is
profusely and imaginatively illustrated,
mostly with photographs from BBC pro-
grams. As an example of the diversity of
material in musical programs alone, a
photograph of Leopold Stokowski rehears-
ing the BBC Symphony Orchestra is backed
by a photograph of the Beatles at the time
they were presented at the BBC Light Pro-
gramme at the Royal Albert Hall. In addi-
tion to updating historical and statistical
material contained in previous Handbooks,
the 256-page 1964 Handbook contains
considerable new material conveniently
arranged and indexed. The book is divided
into six sections: Television, Radio, Pro-
gramme Services and the Public, The
External Services, Engineering, and Refer-
ence (130 pp. ? Constitution, Council,
Committees, Contracts, . . . Index). Fol-
lowing the Foreword, by Sir Arthur fforde,
BBC Chairman, are brief, informative
discussions by BBC officials including
"Strait-Jackets Are No Longer Being
Worn," by Kenneth Adam, Director of
Television; "Engineering of the New
Network," by F. C. McLean, Director of
Engineering; "Radio's Role in 1964," by
Frank Gillard, Director of Sound Broad-
casting; and "The Changing World of
Politics and Broadcasting," by Sir Beres-
ford Clark. BBC representative in New
York is J. Aistrop, British Broadcasting
Corp., 630 Fifth Ave., New York 20.
The handbook is priced at 6 shillings
($1.00 in the United States).
The 1963 Statistical Abstract of the United
States (84th annual ed.) is available from
the Superintendent of Documents, U.S.
Government Printing Office, Washington,
D.C. 20402, at a price of $3.75. The 1,036-
page volume summarizes statistics on the
social, political and economic organization
of the United States. A publication of the
Department of Commerce, Bureau of the
Census, it was prepared under the direction
of Edwin D. Goldfield, Chief, Statistical
Reports Division. The book is designed to
serve as a convenient volume for statistical
reference and as a guide to other statistical
publications and sources. It contains
1,262 tables. Table 1,178 (p. 844) gives
statistics for motion-picture theaters on
establishments, receipts, payrolls, and
employees of regular theaters, by States, for
1954 and 1958.
Sources of Information on Educational
Media is a 30-page booklet prepared by
John A. Moldstad of Indiana University
for the Educational Media Council in
cooperation with the Office of Education of
the U.S. Department of Health, Education
and Welfare. It is available from Superin-
tendent of Documents, Government Print-
ing Office, Washington, D.C. 20402, at a
price of 20 cents.
The booklet contains published lists of
new educational material, bibliographies
and information about equipment, organ-
izations (key professional organizations
concerned with new educational media),
graduate programs, and locations to visit.
Under the heading of "Locations to Visit"
are included selected listings of new media
programs by geographical area.
A 4-page illustrated folder prepared by
Geo. W. Colburn Laboratory, Inc., 164 N.
Wacker Dr., Chicago 6, shows in graphic
detail how to mark 16mm work prints and
originals and how to prepare leaders and
set up original 16mm A & B rolls. The illus-
trations and accompanying text are pre-
sented in clear and understandable fashion
useful for reference as well as a guide to
procedure.
The Educational Media Index is sched-
uled for publication in April, according to
an announcement from the Educational
Media Council, 250 W. 57 St., New York,
N.Y. 10019, and McGraw-Hill Book
Company, 330 W. 42 St., New York 36.
A multi-volume directory of materials
(other than standard printed matter)
currently available for educational use in
the United States, the Index will list such
items as films and kinescopes; filmstrips,
slides, and transparencies; programed
instruction materials; videotapes; phono-
discs and phonotapes and other materials.
McGraw-Hill is now completing com-
pilation of the Index for the Educational
Media Council under a contract with the
U.S. Office of Education. Present planning
includes regular revision and supplemen-
tation of the Index. A specially designed
electromechanical system is used to provide
for flexible publication and special research
and information services based on .the
bibliographic data used in publishing the
directory.
Developing Human Resources for Educa-
tional Television: Report of a Survey
of Educational Television Personnel has
been prepared by the National Association
of Educational Broadcasters, Du Pont
Circle Bldg., Washington 65, D.C., in co-
March 1964 Journal of the SMPTE Volume 73
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
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Fine 'print quality ?the result
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Such quality has its ultimate
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Truly the most versItile line of cine
printing equipment, Andr?ebrie printers
are made to fit your specific needs. Black
and white or color, 35,16 or 8 mm output on
single or multiple strands, contact or optical
?these are some of the many options avail-
able. Others include wet gate printing, auto-
matic fading device and several methods of
light changes. Regardless of the options you
select, quality is assured by Debrie's "stop
and shoot" or "step" method of printing.
Designing -and making motion picture
film equipment is our only business and has
been for many years. We can build it better
and more economically than your own labora-
tory or engineering department. Whatever
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owe it to yourself to check Andr?ebrie film
printing equipment first. We will be glad to
supply full informatia upon request.
A DIVISION OF BELOCK INSTRUMENT CORP.
?
March'1964 journal, of:the SMPTE 'Volume 73 293
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
STOP-MOTION FLASHLIGHT
$60.00
GRYPHON
"MODEL S"
F.O.B. Burbank, California
FOR DARKROOM MAINTENANCE
AND INSPECTION USE
The GRYPHON "Model S" Stop-Motion
Flashlight is a battery powered
stroboscopic instrument designed for
maintenance and inspection use in film
processing darkrooms and other areas of
subdued lighting.
The operation of mechanical power trains
and components of film processing
equipment can be examined in detail by
viewing in stop-motion or slow motion
with equipment operating. Any speed
variations, fluctuations or uneven motion
will instantly be apparent.
Low intensity red-orange light flashes
permit the "Model S" to be used in dark-
rooms without interrupting production
on nearby machines.
Following are some recommended uses:
Checking motion picture film printers
for steadiness of motion.
Inspecting the film transport on process-
ing machines.
Examining the intermittent movement of
cameras and printers.
Speed adjustments can be made accu-
rately by reference to a known standard.
Inspecting sound recording and repro-
ducing equipment.
FEATURES
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4635 WEST LAKE ST.
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PHONE-Ares 312-378-1636
operation with the U.S. Office of Educa-
tion. Findings of the survey are presented in
a 46-page report. Pr )ject Director was
Vernon Bronson and Associate Director
was James Fellows. Mr. Bronson is Director
and Mr. Fellows is Assistant Director of the
Office of Research and Development,
NAEB. The report concludes that, "The
need to develop a professionally effective
curriculum for television specialists and
television users is intimately related to the
urgent need for revision of teacher educa-
tion curricula and communication media
curricula."
Instructional Television at the University
of Akron, published in the June 1963 issue
of Broadcast News, has been reprinted as a
12-page illustrated brochure and is avail-
able from L. V. Hollweck, Editor, RCA
Educational TV News, Broadcast Market-
ing Dept., RCA Educational Electronics,
Camden 2, N.J. Authors K. F. Sibla and
W. Mavrides present a detailed description
of the University's television system and
how it works as an educational medium.
Mr. Sibla is Head of the Department of
Electrical Engineering and Mr. Mavrides
is Director of Television of the University
of Akron.
Readings in Public Communications: A
Bibliography for Candidates for the Master
of Science Degree in Television and Radio
has been compiled and edited by A. W.
Bluem. It is available upon request from
Syracuse University, TV-Radio Center,
Syracuse, N.Y. The bibliography is in-
tended to "draw upon the literature, arising
out of many disciplines, which bears upon
the nature of man in a society of which
public communications are an important
aspect."
March 1964 Journal of the SMPTE Volume 73
Instructional Television Materials: A
Guide to Films, Kinescopes and Video-
tapes Available for Televised Use, 3rd Ed.,
has been announced by Northeastern Re-
gional Instructional Television Library,
Eastern Educational Network, 238 Main
St., Cambridge 42, Mass. The guide lists
324 courses available from distributors.
Although some are appropriate for more
than one educational level, 157 are in-
tended for elementary use, 62 for secondary,
52 for college, 43 for adult education, and
10 for in-service education. Four courses are
distributed by Instructional Television
Libraries: Accent on Music, Exploring Nature,
Patterns in Mathematics, and Primary Concepts
in Science.
The British National Film Catalog, pub-
lished by British National Film Catalog
Ltd., 55a Welbeck St., London, W.1,
England, is issued six times a year. British
film productions, including educational,
scientific, cultural, industrial, and enter-
tainment films, are listed together with
brief synopses and credits. The subscription
price $17.64 includes, in addition to the
six bi-monthly issues, an annual cumulative
volume.
The Educational Film Library Associa-
tion, 250 W. 57 St., New York, N.Y. 10019,
has announced the availability of the five
booklets listing all productions nominated
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
,
Declassified and Approved For Release, 2013/10/28: CIA-RDP80T00246A026400180002-8
6i -screening at its Ainerican
in 'the years '1959-65 , bound ? toSetherin4,"..
special binder for. convenience as:- a rCfei--;',
ence unit. ? The -unit is priced rat 4500:.
Included in each listing is basic information ?
about the film- or filmstrip, ,a brief,,descriP,
tion, of its 'content, and the name ;,and
address of the source from whichit may be
purchased, rented, or borrowed.' ?
?
?MOre than 2,000 government AIMS afi
listed and described in catalogs-,
from Norwood Films, 926 New Sersty.AVd.
N.W., Washington 1, D.C. 'Currently,'
available are the 1962-63 'General CatalOgi?
together with supplements 'issued ?April,'
1963, and September, 1.963. Also, available ?
is a 1962-63 catalog of films on medicine,
and allied sciences for professional
of 'the films ? are for. sale, although sOin'eL4
them can be sold; only to authoriiedgroups:
The firm also ' maintains a list of films.
available for rental.
The 1964 Educational Filmstrip Catalog
published by the Society for Visual Educa-
tion, Inc., 1345 Diversey ParkWay, Chi-.
, ,
Cago, Ill. 60614, is available tO:teaeheriarid?
administrators without charge. the Cata7_
log lists more than 1,600 filmsirips;
eluding about 100 new titles, arid alsOlistS
other instructional material and audib;'.
visual aids. Subject material ccfiferS
grade levels, from primary through'high-
school. Most of ,the filmstrips are in Color,
and 'many have narrations on acCornjianr,
ing records. SVE is a subsidiary of General
Precision Equip-tient Corp.
A '22-page illuitrated booklet des'Cribing
the company's organization and actiVqies.
is available from Cinerama Camera Co'r,'
11930 W. Olympic Blvd., Los Angelei
Arriong other activities, the firm, a
sidiary Of Cinerama, Inc., is engage.din .
research and dCi,elopment in the field of
advanced photoinstrumentation 'for' 'it-if
dustry and space exploration. ?
The Videotape Minicruiser, a 'mobile
tel6iii6n studio contained in a Studebaker
itation wagon, is illustrated and 86Cribecl
in a four-page broehure available 'f.CPin
Ainpcx Corp., Mail Stop 6-1, 401 'Broad:.
way, Redwood City, Calif. Features '6-f.
Minierpiser are described along With its
key' component, the VR-660' brdadealt
Videotape television recorder.
Quartz iodine lamps for professional use,
operating directly from 120-v, a-c or d-c
are illustrated and described 'in a.--catalog
available from COlorTran Industries, '630'S.
FlOwer- Si., Burbank; Calif. In addition' 'tO?
a.*Ill"listing of 'the firm's quartz- iodine'
lamps, the catalpi also contains inforniation
On aid Coloi-Dyne elCctrOniC
? ?
lighting control systeins.
The Winston Automatic Gain'. ContrOl
Amplifier is illustrated and described in a
four-page brochure available from Fair-
child Winston'Research Corp.; 6711,
South Sepulveda Blvd., Los Angeles '451
The'.unit;!-which is -designed to work With'
TV i: facsiinile, auclib; sinusoidal, or pulse
tkpo data; it thbroughly explained NVitli
block diagrams, frequency response 'etifve
with
recirculating.
system
13ci3OTI-L134:
srint,..tE SHOW
? -1
.41" ? -. f
i` ? :equi!,pped
'precision-he4t1jUni,p
temperature maintained
with programmer set cinCI:forget
i 1
FRIGIDHEAT INDUSTRIES
1I
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"I don't open the
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-
lasts much longer.f
11
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wo 'tfarig W'41
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1WdioSz ?
of,voltage vanationvin pow risup...
K-tt, e17.4.Ar.""Ar
ply. "Pushibutton repeatability
intensity and color. temperature.
Matelifi964 the SbIPTE
modelsVfor,,, matte , screens,. op"-
.-irgw,mbir,tvrtr
feettnd -high, gasn/sCreeit.
3 feet.
Maintenance a d ,eurrelit costs?'
The s'ame 'and current
costs for Ocattlienzarc of equivalent
ligh output.
rciamtenli
"IX
ur thnetre,oirrenneet.
E4C'T ,CORT0,401
TOLIEDO 0/1110..' 43601
Declassified and Approved For Release 2013/10/28 : CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
PROCESS WITH
A LABMASTER
AND SPEND
BOTH SIDES
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If you give a second thought to the first
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you're processing micro film or movie
film. Its simple modular design trims
our cost to suit your need and purse
now. ... lets you increase film process-
ing volume tomorrow. Three basic B&W
models, 16mm or 16/35mm offer.real
flexibility. And always, low operating
cost, archival quality, speed.
You get twice the value of your coin
in dependability, too. Many of the first
Houston Fearless processors are still
making money for their owners. Good
proof you get even greater reliability
in today's roller-bearing Labmaster. And
reliability rhymes with availability ?
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IHOUSTON
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charts, and charts covering its compression
characteristics.
The use of linear ball bearings to over-
come frictional and other problems, thus
increasing the accuracy of manual and
numerically controlled machine tools, is
described in detail in a 6-page technical
report available from Thomson Industries,
Inc., Manhasset, LI., N.Y. The report, by
H. R. Havemeyer, is reprinted from the
May, 1963, issue of the Tool and Manu-
facturing Engineer.
The EMT 140 Reverberation Unit is
illustrated and described in an 8-page
brochure available from Gotham Audio
Corp., 2W. 46 St., New York, N.Y. 10036.
The unit is a device for creating artificial
reverberation. Besides reproducing acous-
tically rooms of various sizes it is said to
have the ability to increase the apparent
distance between sound source and micro-
phone.
The B&K Sound level Meter, Model
2203, and Octave Band Filter Set, Model
1613, are described in a 12-page illus-
trated brochure available from B&K
Instruments, Inc., 3044 W. 106 St.,
Cleveland 11, Ohio. In combination, the
instruments are used for sound, noise or
vibration measurements and analysis, such
as traffic and industrial noise, noise in
buildings, sound distribution in theaters,
product noise investigations, and noise law
enforcement.
Processing and printing units are de-
scribed in leaflets available from Uhler
Cine Machine Co., 15762 Wyoming Ave.,
Detroit 38. Illustrated and described arc
various equipments including a combina-
tion continuous printer for 16mm film,
a printer (professional combination 16mm
and 8mm contact) ; a 35 ? 16mm optical
reduction and enlarging printer; optical .
printer (16 to 8mm and 8 to 16mm);
eine printer (color or black-and-white);
and processing units, 16 and 8mm, for
sound or silent films.
The General Radio Experimenter, pub-
lished by the General Radio Co., West
Concord, Mass, in the September/October
1963 issue describes a new sound and
vibration analyzer (Type 1564-A) designed
primarily for the frequency analysis of
acoustic spectra having components in the
frequency range between 2.5 cps and 25 kc.
Copies are available upon request from the
film.
Computers in Control is an 8-page bro-
chure available from Manager, Marketing
Services, TRW Computer Division, In-
dustrial Computers, 8433 Fallbrook Ave.,
Canoga Park, Calif. Applications of TRW
industrial control computers are described.
The computers are used in various areas of
industry, including chemical, electric
power, television, missiles and others.
The Hycam 16mm high-speed camera,
Model K1001, is illustrated and described
in a four-page folder available from Red
Lake Laboratories, 2971 Corvin Dr.,
Santa Clara 2, Calif. The camera is said
March 1964 Journal of the SMPTE Volume 73
to be capable of a speed of 10 to 8,500
pictures/sec. An earlier Hycam is illus-
trated and described in the November,
1962, issue of the Journal (p. 896).
A 148-page illustrated catalogue (No.
663-A) available from Burke & James, Inc.,
321 S. Wabash Ave., Chicago, Ill. 60604,
lists more than 10,000 items of photo-
graphic and instrumentation equipment.
Illustrated and described are such equip-
ments as professional cameras, enlargers,
laboratory equipment, lenses, laboratory
cameras, thin-film optics, process cameras,
apochromatic lenses, vacuum printing
equipment, and a wide variety cf related
equipment.
Camera drives and projection equipments
are among the items described ii a bulletin
available from L fayette Instrument Co.,
P.O. Box 57, Lafayette, Ind. Also de-
scribed are time, memo and animation
equipments.
A 10-page selected bibliography on
instructional television is available upon
request from Ampex Corp., Video/In-
strumentation Div., 401 Broadway, Red-
wood City, Calif. 94063. More than 70
books, reports and other publications are
included in the bibliography, which was
compiled for Ampex by Richard H. Dewey
of the Instructional Television Center,
San Jose State College, San Jose, Calif.
Analyzing instruments are illustrated and
described in a short form catalog (#863)
available from Allison Laboratories, Inc.,
11301 E. Ocean Ave., P.O. Box 515, La
Habra, Calif. The catalog lists prices and
gives general information on the various
items. Instruments include continuously
variable passive filters, equalizers, ana-
lyzers, random noise sources, multiple oscil-
lators and other instruments for making
tests and measurements.
Recording storage tubes, their operation
and application, are described in a 20-page
illustrated booklet, "The Image Instru-
ments Electrostore: A System for Image
Storage and Processing With the Recording
Storage Tube," available from Image
Instruments, Inc., 2300 Washington St.,
Newton Lower Falls, Mass. The booklet
describes in detail new ideas for scan con-
version techniques in military, industrial,
and aerospace applications.
A pocket guide, used to determine the
size of the area telecast with any image-
orthicon camera lens, operating at any
distance from 3 ft to 1,000 ft, is available
from Television Zoomar Co., 500 Fifth
Ave., Suite 5520, New York 36. The
Hyper-Universal Zoomar Lens and the
Angenieux-Zoomar, Model 10-2-1 B are
illustrated and described on the back
of the pocket guide.
A Note on Basic Statistical Concepts,
Application Bulletin Number 101, is a
leaflet available from Elgenco, Inc., 1231
Colorado Ave., Santa Monica, Calif.
The purpose of the bulletin is ;Po dissemi-
nate information on the application of low-
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
TRI ART FOR COLOR
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OVER 40 YEARS IN THE BUSINESS! Tri Art or Du Art offers you fast, de-
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facilities. And a knowledge based on more than 40 years of experience.
IN NEW YORK: 245 WEST 55TH STREET, NEW YORK 19, N.Y., PLAZA 7-4580
IN CANADA: ASSOCIATED SCREEN INDUSTRIES, LTD., 2000 NORTHCLIFF AVENUE, MONTREAL, CANADA
March 1964 Journal of the SMPTE Volume 73 297"
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
ZOO MAR
For new
sensational developments
in optics
for instrumentation,
ITV and movie cameras,
see us in
BOOTHS
116&
117
at the SMPTE
Conference and Exhibit,
Hotel Ambassador in
Los Angeles,
April 12 to 17.
ZOO MAR
ZOOMAR
INTERNATIONAL, INC.
Glen Cove, New York
298
frequency and audio-frequency noise in
the solution of engineering problems.
Areas covered include definition and in-
terpretation of probability density, prob-
ability distribution, ensemble average,
time average, ergodic process, variance,
standard deviation, normal or Gaussian
function, autocorrelation function, spectral
density and the Concept of white noise.
Special lenses for use in such fields as
aerospace, aerial mapping, aerial re-
connaissance and photominiaturization are
described in seven technical data sheets
available from C. P. Goerz American
Optical Co., 461 Doughty Blvd., Inwood
96, L.I., N.Y. The information includes
suggested applications, resolution values,
distortion, mechanical configurations and
cutaway design drawings.
A detailed description of the new FCC-
approved economical 2,500 mc closed-
circuit service for instructional TV is avail-
new
products
(and developments)
able upon request from Industrial Prod-
ucts Div., Adler Electronics, Inc., 1 Le-
Fevre Lane, New Rochelle, N.Y.
Futura projection arc lamps are il-
lustrated and described in a leaflet avail-
able upon request from Strong Electric
Corp., 79 City Park Ave., Toledo, Ohio
43601. The lamps are designed to meet
requirements of 35mm and 70mm pro-
jectors and can be changed from one film
width to another by turning a knob.
Oscilloscopes and cameras are described
in a short-form catalog available from
Scientific Instrument Dept., Du Mont
Laboratories, Divisions of Fairchild Cam-
era and Instrument Corp., Clifton, N.J.
Oscilloscopes, oscilloscope record cameras,
pulse generators, probes and accessories
are illustrated and described. Specifica-
tions are included on current instruments
including the new transistorized high-
frequency 765 series together with plug-ins.
Further information about these items can be
obtained direct from the addresses given. As in
the case of technical papers, the Society is not
responsible for manufacturers' statements, and
publication of these items does not constitute
endorsement of the products or services.
Erratum: The producer of the Wood-
ruff/Albert 35AV1 All-Format Automatic
Camera (p. 73, January, 1964, Journal) is
Woodruff/Albert Camera & Instrument
Corp., 141 West 42 St., New York, N.Y.
10036. This information was inadvertently
omitted.
The Century Theatre Acoustic Compen-
sator has been designed by Century
Projector Corp., a Division of United
Industrial Syndicate, Inc., 729 Seventh
Ave., New York, N.Y. 10019, to provide a
fast and accurate means of adjusting the
frequency characteristics of multiple-
channel theater sound systems for con-
trolled sound reproduction. It is designed
as a compact unit said to have no insertion
loss and not to require changes in system
gain or amplification. It can be added to
almost any multichannel sound system.
The input is a bridging type having an
impedance of about 100,000 ohms. The
output is high impedance and will connect
to the input of power amplifiers having
input impedances of 1,000 ohms or higher.
It can be used at a remote distance (in the
auditorium) by using shielded cables for
the connections.
A compact equal-path interferometer, a
precision testing tool for industrial and lab-
oratory optics, has been announced by
Perkin-Elmer Corp., Main Ave.', Norwalk,
Conn. It is used to measure deviations of
optical path in lens systems, mirrors, prisms
and raw glass. The unit consists of the basic
interferometer, mercury-arc light source
and power supply, positioning adjustments
and mounting stand. The complete instru-
ment weighs 14 lb and measures 12 X 17
in. (maximum dimensions). The Basic in-
strument measures only 2 X 2 X 6 in., but
is said to be capable of testing optics up to
the largest size. The unit is priced at $1,995.
March 1964 Journal of ihe.SMPTE Volume 73
An instrument designed for precise
testing of large complex optics has been
developed by the Electro-Optical Division,
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Perkin-Elmer Corp., Norwalk, Conn. The
instrument consists of Perkin-Elnier's Modce
5200 gas laser combined with its Modified
Twyman-Green Interferometer. Studies
conducted by the company have been di-
rected toward demonstrating the usefulness
of the laser interferometry technique in the
inspection of the synthetic crystal rod mate-
rials used in solid state lasers. Using this
technique, extremely high fringe contrasts
have been observed in large synthetic ruby
and other crystal rods. It was reported that
the gas laser is an ideal source for inter-
ferometer illumination due to its mono-
chromaticity and long coherence length.
Even at an output power of I mw, the gas
laser's continuous beam is capable of pro-
ducing some 3,000 times more useful light
energy than a conventional are light source.
It is commercially available as a fully
equipped unit at a price of about $10,000.
The Beaulieu MCR8 8mm camera has
been announced by Cinema Beaulieu, 921
Westwood Blvd., Los Angeles 24, Calif.
Features include the Beaulieu 45? mirror-
shutter which intermittently transmits
light to the film, with no prisms or partial
reflecting mirrors interposed, and to the
variable focusing 20 X eyepiece. Combined
with a special ultraluminous ground glass,
the shutter is designed to ensure exact "no
parallax" reflex viewing with constant
depth of field control. A variable shutter
device permits fade-in or fade-out with a
complete film stop. Other features include
a frame counter, total film rewind and a
precise front seating arrangement to ensure
microscopic precision alignment and seat-
ing of all "D" mount lenses. The camera
is available with the Angenieux Super
Zoom (6.5 rrim to 52 mit) at a price of
$399.50, or with the Angenieux K2 Zoom
(7.5 mm to 35 mm) at a price of $359.00.
It will be on display at the 95th SMPTE
Conference, Los Angeles.
A new model 120S special blimp for the
Arriflex-35 has been announced by the
Arriflex Corp. of America, 257 Park Ave.
South, New York, N.Y. 10010. Features
OPTICAL
COMPOSITE
TWO DRIVING MOTORS
sound speed and variable speed
and motorized take up & rewind
2000' reel capacity
PALMER
73-40 VLEIGH PL.,
NEW
2 Channel
motorized
versatile 16mm
Editing Table
with feather touch
push button
controls
and instant
stopping by
magnetic brake
$1745.
Table 36" x 20"
EDITORS
FLUSHING 67, N. Y. CITY
NOVA
1200-Foot Magazine
Photo-Kinetics Inc. has a
1200-foot magazine for the
Nova 16mm high-speed camera
which is designed to take
200 to 3200 pictures per
second continously variable.
The control, a servo-loop
design, operating on 115 v,
60 cycles, is designed to
control speed of camera to
within 1 percent at all speeds.
Lens plates are available to
accept Fastax and Fairchild
16mm high-speed camera lenses.
Weight, approximately:
Magazine. 60 lbs. without film.
Control ? 20 lbs.
Delivery. 90 to 120 days
This is the "NOVA THE
MOST VERSATILE ROTATING
PRISM HIGH SPEED CAMERA
100'
Camera
from 55 pps to 8,500 pps.*
with 400' mag.
from 55 pps
to 10,000 pps.
with 1200' mag.
from 200 pps
to 3,000 pps.
Infinitely
variable
controlled speed
*Approx.
SALES
SERVICE
RENTALS
16 mm standard Prism Assembly is interchangeable
with 16 mm Half Frame Prism Assembly ? Speed
range 55 pps to 10,000 pps (double for 16mm half
frame) ? Film?uses Color Film ? Black & White Posi-
tive ? Black and White Negative ? Variety of Lenses of
various focal lengths & Apertures.
Free brochure mailed on request
Mardi 1964 Journal of the SMPTE Volume 73
PHOTO?KINETICS INC.
1624 STILLWELL AVENUE. BRONX 61. N. Y.,
Phone: TY 2-3700
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299
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in-elude a rectangular -front port large -
enough to clear the' fields of wide-angle
lenses to 18mm, externally controlled
diaphragm settings, a follow-focus mecha-
nism which can be operated from three
different positions, and interchangeable
filter holders to spit every lens requirement.
The blimp is said to be extremely quiet and
suitable for the strictest sound stage require-
ment._ It has the Arriflex 'floating". camera,
base on which are integrated the Arriflex-
35 camera, motor and a newly designed
focus and diaphragm Mechanism. An in-
tegrated electrical system provides for
either- a-c 'line operation or d-c battery
operation. Overload switches and fuses
protect the motor against. accidental 'over-
loads.. Other features include a connection
for a rernote-cohtroll stop-start switch, in-
terior lights for scales and controls, a
special frfin-thrading light which is
automatically cut off When the motor is
started, and an electrical chassis on which -
all major 'controls. and 'components arc'?
combined.: The blimp,, together with
camera, motor and 4004t magazine, weighs
about 88 lb. Dimensions are 24 X 16 XIS
in. It iS priced at $3,360.
. ? ,
A Conversion Kit which adapts the Arriflex
Universal Fibre Glass Blimp for use 'with
the Model 120 Angenieux, mounted on
either Arriflex-16S or Arriflex-16M, , has
been announced by Arriflex: Corp. of
America, 257 Park Ave. South, New York
10. The new kit includes a long, extended
front port, to accommodate the length of
the lens, and mechanical parts to modify ?
-the-blimP'S regular` foeirS/cliaphragfri cOn-
trels se that the ineidel 120 Angenieux may
be' focused' and zoomed "from outside.
Installation requires no machining and no
special tools. The kit is priced at $375.
A special adaptation stand -tO,,aCcommo-
date 1000-ft magazines on Arifiek-35
cameras has been annopnced by Arriflex
Corp. of America, ?257 Park AVe. SoPth,
New York, N.Y. 10010. The new stand
supplements the Model 1000 Blimp, ,the
announcement stated. The adaptation stand
is designed so that the Arri-35 camera may
be driven :by -either the standard Arri-35
synchronous motor on geared base or by.the
Arri 24-v d-ergovernor-controlled motor on
geared base. The stand is equipped . for
Rangertone, ? Piloprne, or similar syn-
chronous sound recording systems A special
universal motor (24-v, a7c or d-c) is built
into the-Arri stand and drives the-magazine
take-up. A take-up bekeswitch, and inter-
lock is incorporated into the stand. Total
weight of the stand plus sync,motor, camera
and 1000-ft Iriagazihe. iS :about 50 113
Price Of the stand Alone is 81,850., ;,
? ?
A 1200-ft'magazine for the Nova 16mm
High Speed -Camera haS,bbco announced
by Photo-Kinetics, Inc., 1624 Stillwell Ave.,
Bronx 61, N.Y. The camera is designed to
take from 200 to 3,060' pictures/see,, con-
tinuously Variable. The Control ? is a servo-
loop -design. operating on 115 v, 60 cycles.
It is designed to' cohtrol the speed of the
camera to within 1% at all speeds. The
- .
1/100, 1/1000, 1/10,000 ec exposures
'Daylight-quality Light Source
The EG&G Mark VI Sensitom-
eter is a highly reliable-insfru-'
.Thent for film process Control.
Cdstly time losse`s.
pirdcessing errors or misuse of
film,can be Virtually eliminated.
Xenon light source7duplicates
-daylight, eliminates need for
color filters.
? Exposure 'repeatability. with',
in *3%.?
? Light .for films rated ASA -1
and better. .
? Mark VII Sensitometer pro-,
vides additional exposure time
, of 1/100,000 and 1/1,000,000 sec.
For technical data on' EG&G's
broad line of photographic and
pulsed light instrumentation
contact: Products,Departnnent;
180 BrOokline,Aye., Boston 15,
Mass., or call 617-267-9700
TWX: 617-26?-9317 ?
EDGERTON, GERMESHAUSEN & GRIER, INC. E
B.-. ? LAS VEGAS ? SANTA BARBARA
.30'0
camera weighs 60 lb without film and the
control weighs 20 lb.
A new M 1,200-ft gear-driven magazine
for the Arriflex-16M has been announced
by Arriflex Corp. of America, 259 Park Ave.
South, New York, N.Y. 10010. The new
magazine is a double-compartment type, all
gear-driven. The two compartments are
arranged coaxially. After the magazine is
loaded, mounting on the camera is said to.
have the same speed and convenience as
the M 200-ft and M 400-ft magazines. The
magazine may be threaded in daylight
except for placing the film on the spindle
in the feed compartment and drawing the
leader down through the feed sprocket
channel, operations that are done in the
darkroom. Overall dimensions of the
magazine are 15 X 14 X 3 in. It is priced
at $640.
A compact black-and-white processor
called Model- MT-10 has been announced
by Treise Engineering, Inc., 1949 First St:,
San Fernando, Calif. The processor, which
occupies 3 X 5 ft of floor-space, processes
negative or positive, 16mm, 35mm, or
16/35mm combination. It can be supplied
to process 35mm up to 10 ft/min oril6mm
up to 20 ft/min. The unit is self-contained,
has daylight. operation, and requires only
simple plumbing and electric plug-in.
Models are available especially for micro-
film, radiology and television station opera-
tions. Prices start at $3,150.
An Angenieux 10:1 Viewfinder lens for
use with vidicon cameras has been an-
nounced by Zoomar International Inc.,
Glen Cove, N.Y. The lens is an adaptation
of the.-15rrim-150mm f/2.8 lens. The; vie.'-
'finder mOdel canipe mounted to any- port-
-able ,TV. camera which operates .without
an:clectric viewfinder. .
March A964 the,SMPIT Voltime 73
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4
, =?.????? ?
?
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An Angenieux 10:1 zoom lens for the
Kodak Reflex Special Camera has been
announced by Zoomar International Inc.,
Glen Cove, N.Y. The lens has a range of
12mm to 120mm, f/2.2 and* is &livered
with a special Kodak Type R mount of
hardened steel to ensure proper alignment
over extended ?periods of use. A" 4:1 re-
duction crank for slow smooth zooming
and a lever for rapid zooming are supplied.
The new model 250 Angenieux lens will
be supplied in factory mounts for all models
of Arriflex-35 cameras according to an
announcement by Arriflex Corp. ? of Amer-
ica, 257 Park Ave. South, New York, N.Y.
10010. The lens, which zooms throfigh 10
focal lengths from 25. to 250, is priced at
82,290. The special . Arriflex cradle is
available at an additional cost.
Edicomp, an editor computer developed
by Videotape Productions of New York,
Inc., 101 W. 67 St., New York, N.Y. 10023,
and the Editec developed by Ampex Corp.
have been incorporated into an electronic
editing system called Edimation.
Edimation is designed to eliminate en-
tirely any cutting and splicing of tape and
also is designed to bypass any intermediate
time-consuming film editing process. In this
system, the magnetic tape, which is the
central element of computer systems and
autom ttion systems as well as audio and
video recording systems, is used to carry,
remember and implement complex and
precise editing instructions as well as to
remember and reconstruct pictures and
sound.
The Edicomp is designed to carry and
put into effect many and complex instruc-
tions involving relatively long periods of
production time and numerous changes and
scene sequences. by retaining a reference
point in time from which all changes are
computed. During and after a long produc-
tion, for example, instructions as to good
and bad takes, or changes, are recorded on
the video tape so that the process of "save"
or "reject" later becomes virtually automa-
tic.
The Editec, used mainly for television
commercials, is a device for ?!pushbutton
editing" for the electronic splicing of two
Successive scenes to an exactness measur-
able in thirtieths of a second. In combining
the two devices into the Edimation system,
both the Editec and the Edicomp have been
improved and adapted to more extensive
use.
An improved version of the SeAQUArtz
underwater light, called the Mark II,
has been announced by Birns & Sawyer
Cine Equipment Co., 6424 Santa Monica
Blvd., Los Angeles, Calif. 99038. Tested
at a depth of 1000 ft" underwater, a new
model incorporates such improvements as
aluminum housings chemically plated with
Kanigen, a 92% nickel alloy; a pyrex
glass disc placed directly in front of the
quartz iodide lamp to absorb the initial
thermal shock; and a specially tempered
glass for the front lens to withstand pres-
sure at 1000 ft. Other models are available
for .use at depths of 350 ft or less. .The?un-
derwater light is 7i in. square and weighs
one
largest
a
labs
happens
of
motion
CEt213
both
to
large
world's
picture
please
producers
small
and
distributors
DISTRIBUTORS!
Overnight rushes-black & white or color 0 A & B
printing o Coi;nplete optical facilities 0 Projection
rooms o Editing rooms o Sound recording & transfers
LABORATORIES, INC.
NEW YORK CITY o HOLLYWOOD o TORONTO
March. 1964
Journal of the SMPTE Volume 73
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301
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Professional
Services
MUSIC FOR EVERY MOOD
Complete background music library
cleared for RADIO-TV-MOTION PICTURES
Quality recordings by full-sized orchestras
Complete selection of sound-effects records
also available
WRITE FOR CLEARANCE APPLICATION
FORMS AND CATALOGS
THE CAMERA MART, INC.
1845 Broadway, New York 23
CRITERION
FILM LABORATORIES, INC.
Complete laboratory facilities for 16
& 35mm black-and-white and color
33 West 60th St., New York 23, N. Y.
Phone: COlumbus 5-2180
ELLIS W. D'ARCY & ASSOCIATES
Consulting and Development Engineers
8mm Magnetic Sound Printers
Motion-Picture Projection
Magnetic Recording and Reproduction
Box 1103, Ogden Dunes, Gary, Ind.
Phone: Twin Oaks 5-4201
World's Largest Library of
SOUND EFFECTS RECORDS
Write for free catalog covering every needed
sound effect?airplanes, autos, animals, birds
crowds, industrial, marine, trains, war, guns
weird?also background and mood music
FLORMAN & BABB, INC.
68-a West 45 St, New York 36, N. Y.
RENT
SEND FOR
CATALOG
GORDON
5362 N Cahuenga,
16mm, 35mm, 70mm
Motion Picture Cameras
High Speed Cameras
Special Cameras
Lenses
Lights
Processing Equipment
Editing Equipment
ENTERPRISES
North Hollywood, Calif.
REELS ? CANS ? FIBER CASES
MOTION PICTURE ENTERPRISES
Tarrytown 83, N. Y.
N.Y.C. Tel: Circle 5-0970
. TUFF. COAT
Cleans, kills static, lubricates and invisibly coats
and protects all types of film against scratches
and abrasions. SAFE, easy to use. NO carbon
tet. Special type available for magstripe and
video tape. Write for brochure "S"
NICHOLSON PRODUCTS COMPANY
3403 Cahuenga Blvd. Los Angeles 28, Calif.
SAVE
25-50%
ON
PRINT
COSTS
Users of Permafilm Protection and
Perma-New Scratch Removal show
savings ranging from 25% to 50%
and more by lengthening the life of
their prints. A money-back test will
convince you.
PERMAFIL M- INCORPORATED
79 Fifth Ave., N. Y. 3, AL 5-5757-8-9
PERMAFILM INC. OF CALIFORNIA
7264 Melrose Avenue
Hollywood Webster 3-8245
302
PHOTOGRAPHIC
INSTRUMENTATION
Specializing in
HIGH-SPEED
Motion-Picture Photography
Photographic Analysis Company
190 Alps Road, Wayne, N.J.
Area Code 201/696-1000
PHOTO ANALYSIS
Motion Picture
Photographic
Special Applications
I-ligh Speed
Time Lapse
Underwater
Aeril
Services Equipment Rental
PHOTO INSTRUMENTATION CORP.
630 Ninth Ave., N.Y. 36, N.Y. (212) PL 7-5730
DAMAGED FILM HOSPITAL
Why Junk Damaged, Scratched, Brittle,
Stained, "Rainy," Worn Film?
"THE FILM DOCTORS" Can Restore It To
Original Screening Quality With Amazing
R & R Treatments:
RAPIDWELD: restores damaged originals of
negatives and prints
RAPIDTREAT: completely protects and pro-
longs the life of new prints
Rapid Film Technique, Inc., 37-02 27 St.,
Long Island City 1, N.Y. STilwell 6-4600
RESEARCH, DESIGN AND
DEVELOPMENT OF EQUIPMENT
FOR THE PHOTO INDUSTRY
Complete Line of Animation, Filmstrip and
Special Effects Equipment
RICHMARK CAMERA SERVICE, INC.
516 Timpson Pl. Bronx, N.Y. 10455
LU 5-0730 LU 5-5995
FILM PRODUCTION EQUIP.
RENT ? LEASE ? SERVICE
World's largest source of equipment for pro-
ducing, processing, recording, editing, etc.
S.O.S. PHOTO-CINE-OPTICS, Inc.
New York City: 602 West 62nd Street, Plaza 7-0440
Hollywood, Calif.: 6331 Hollywood Blvd., 407-2124
COMPLETE 16MM PRODUCERS SERVICES
send for Brochure
DAILY PROCESSING OF EKTACHROME
COMMERCIAL & EKTACHROMETER*
*"Licensed by Eastman Kodak"
SOUTHWEST FILM LAB., INC.
3024 Ft Worth Ave Dallas 11, Texas FE 1-8347
? SYNCHRONOUS MAGNETIC FILM
RECORDER/REPRODUCER
? MAGNETIC TAPE RECORDERS
? NEW?The portable MINITAPE synchronous
13 lb. battery operated magnetic tape
recorder for field recording.
THE STANCIL-HOFFMAN CORP.
845 N. Highland, Hollywood 28
Dept. S HO 4-7461
PROJECTION SCREENS
Professional, Seamless, Front & Rear Proiection
Consulting service custom sizes for theatres,
TV & MP studios, viewing rooms. Rigid
rear projection for plotting and display.
New "Porta-Pro" portable.
STEWART FILMSCREEN CORP.
Formerly Stewart-Trans-Lux Corp.
1161 W. Sepulveda, Torrance, Calif. 90503
Phone [phone] (213)
AURICON et K-100 CONVERSIONS
to 400 & 1200 ft.
Filter slot Auricons & Filmos
Transistor amplifiers, processors, etc.
Write or details ?
GORDON YODER
Professional Cine Products
2222 N. Prairie Ave., Dallas, Texas
March 1964 Journal of the SMPTE Volume 73
71 lb It is reported to deliver 5,000 w of
exposure. The aluminum housing includes
a 65,000 candlepower quartz iodide Syl-
vania Professional Sun Gun lamp and re-
flector. The Mark 11 1000 is priced at $450;
and the Mark II 300, at $295.
A double system 'sound package for the
H-16 and H-8 Bolex cameras has been an-
nounced by the Sonex Engineering Co.,
Box 1189, Glendale, Calif. The package in-
cludes a sound blimp, a sync motor and a
pulse signal kit said to make most 1-in'.
tape recorders usable for soundtrack re-
cording. Two series of sound blimps and
motors are available, the professional type
priced at $299.50, and a semi-pro version
priced at $149.50. Pulse signal kits are
priced at $29.95 for stereo machines and
$99.50 for monaural machines.
The Tymeter is a digital readout clock
movement announced by Tymeter Elec-
tronics, Pennwood Numechron Co., 7249
Frankstown Ave., Pittsburgh 8, Pa. The
device shows fin, digits with front panel
time reset facility; the digits can be reset
individually. It is 3 in. high, 51 in. wide,
31 in. deep and weighs 2 lb. It is priced
at $16.00.
employmen
service
These notices are published for the service of the
membership and the field. They are inserted
three months, at no charge to the member. The
Society's address cannot be used for replies.
Positions Wanted
Motion Picture Equipment Sales/Manu-
facture. 17 yrs diversified experience with two
top companies. Knowledge of manufacturing
and sales procedures of theatre and sound re-
cording equipment for export and related ad-
ministrative procedures. Wishes position with
company located in New York metropolitan
area. Resume upon request. Reply to R. Valle,
1480 Hancock St., Elmont, LI., N.Y.
Writer-Director. Staff experience with two of
Chicago's largest industrial film studios and the
world's largest producer of educational films.
Free-lance experience with top New York film
studios and TV producers. Have independently
produced shorts. Seek temporary or full-time
assignment anywhere. Write to D.K., c/o Harris,
326 West 55 St., New York, N.Y. 10019.
Producer-Writer-Director. Presently employed
as writer-director for aerospace firm. Experi-
enced in all phases film production including
planning, cinematography, editing and film
processing. Extensive Multicam and educational
film background; interested in educational
and industrial film production or supervision.
B.A. and graduate work at USC Dept. of
Cinema. For resume write: Stan Follis, 15111
Graystone Ave., Norwalk, Calif. 90651. Tel:
[phone].
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
TV/Motion-Picture Production. 3 yrs ex-
perience free-lance 16 & 35mm cinematog-
raphy, film editing. Graduate TV Production
RCA Institutes. Assoc. Member IATSE. Seeking
opportunity for advancement with TV or
film production company. Willing to relocate.
Allan Rosenstein, 1350 East 5th St., Brooklyn 30,
N.Y.
Audio Visual Aids Director. 18 yrs experience
with Studebaker Corp. in all phases A-V work
specializing in motion-picture production. Ex-
tensive experience in management of photo-
graphic and art studio. Thoroughly experienced in
planning, organizing and budgeting. Back-
ground in both 35mm and 16mm films for
public relations, sales, manufacturing and
advertising fields. Age 43, married with family;
will relocate. Edw. A. "Jack" Price, 2417 Crest
Ave., South Bend, Ind. (219) AT 9-6839.
Motion-Picture Engineer. 14 yrs experience in
all phases of laboratory work; repair, design and
construction of motion-picture equipment; test-
ing and evaluation of new equipment and
products. Some production experience. Experi-
enced in all phases still photography except
aerial work. Speak, read and write German
fluently. Desire more challenging position.
Prefer Washington, D.C., area. Presently em-
ployed. Married. 909 North Greenbrier St.,
Arlington 5, Va.
Writer-Director. 7 yrs experience writing and
directing dramatic feature films. Former Di-
rector of Cinema and Theatre Affairs in Iraq
and member of the Iraqi Committee for Study-
ing Movie Scenarios for Local Production. B.A.
degree from Univ. of Baghdad, with special
program in cinema at UCLA. Write: M. M.
Al-Yasin, 10616 Wellworth Ave., Los Angeles 24,
Calif:
TV Production. Wish to relocate in Los
Angeles area. Young man, Married; M.A. degree
in TV production. from major Midwest uni-
versity. Experienced in TV direction, radio and
TV announcing.. Hold FCC Second Class
Radiotelephone License?qualified in operation
of color and monochrome cameras and terminal
equipment, color and monochrome video tape
recorders, film sound recording and mixing,
and kinescope recording. Resume and references
on request. Box 7373, Detroit, Mich. 48202.
Director-Cameraman-Editor. Young creative,
productive woman seeks position preferably in
the Los Angeles area (until June '64) or New
York, with motion picture or television com-
pany, providing opportunity for intensive train-
ing and increased responsibilities. For full
resume write: Scylla R. Trad, c/o Manager. of
,625 Landfall:, Los Angeles 24, Calif, or phone
GR 9-5404.
Positions Available
Technical Sales Assistant. Assistant in Sales
Department, preferably with motion-picture
equipment sales experience. Duties will include
work in order department and customer contacts
in Person, by phone and mail. Excellent career
opportunity for ambitious young man. Good
starting salary. Many employee benefits: Send
resume to: Victor James, Vice-President, Arri-
flex Corporation of America, 257 Park Avenue
South, New York, N.Y. 10010.
Equipment Maintenance. Assistant to Chief
Engineer of. motion-picture laboratory. "Take
charge"type desired to supervise maintenance of
developing and printing machines, etc. Excellent
opportunity for qualified. man. Salary open. Sub-
mit resume to: General Manager, M.G.M.- Lab-
oratories, Inc., 10202 W. Washington Blvd., Cul-
ver City, Calif. 90232.
Laboratory Manager. For rapidly growing mid-
west laboratory. Well experienced in laboratory
procedure, understand SMPTE standards, able
to supervise production of top quality work,
handle producer services and meet with clients.
Excellent opportunity for progressive individual.
Send iesume and salary requirements to Edward
C. PoWles, General Film Laboratory, Inc., 66
Sibley St., Detroit I, Mich. [phone].
Cameraman. Opportunity for cinematographer
seriously interested in pursuing creative career
in industrial-educational-training film production
to join staff- of well established studio. Must
have had experience with 16 and 35mm cameras,
interior lighting techniques, negative and
re-
versal color films. Position requires -man not
opposed to hard work on the job and with a
personal interest in client-producer relations.
Salary commensurate with experience. Send
detailed work history and film samples to
F.J.H., 438 Washington Bldg., Washington, D.C.
Film Editors and Negative Cutters. Send
resume Box 433, Gracie Station, New York,
N.Y.
Motion-Picture Laboratory Personnel. Print:
ing, processing, timing. Send resume Box 433,
Gracie Station, New York, N. Y.
Journals Available/Wanted
.,These notices are published as a service to ex-
pedite disposal and acquisition of out-of-print
Journals. Please write direct to the persons and
addresses listed.
Complete set of Journals from January 1934
through December 1963. Excellent condition.
For sale only as complete 30-year set. Write:
Don Norwood, 1470 San Pasqual St., Pasadena,
Calif.
Complete set of Journals from January 1951
through December 1952. Perfect condition.
Write: K. Tsien, 14 Esplanade, Mount Vernon,
N.Y.
Complete set of Journals from March .1956
through December 1962, including indexes
and directories, in excellent condition. Write:
J. B. Pesek, 369 Huntington Lane, Elmhurst,
July 1937 through July 1963. Complete less June
1942 and Nov. 1955. Condition excellent,
Make offer to: Carl S. Williams, 237 Colgate
Ave., Berkeley 8, Calif.
Jan., Mar. Pt. II (High-Speed Photography Vol.
I), July Aug., Sept., Nov. (High-Speed Photog-
raphy Vol. II) 1949; Jan., Feb., June 1950;
July 1951. Available for trade only for the
following: Trans. No. 1; Journals: Apr., May
1936; Apr., May 1937; Jan., Mar., July 1938;
Feb. 1939; Mar., June 1940; Feb.-May, July
1944; Jan., Apr., Aug. 1945; High-Speed
Photography. Vol. ?Gian. Maria Rimoldi,
Via Plinio 39, Milano, Italy.
Transactions and Journals 1917 through 1963
(partly bound). Excellent condition. Very
reasonable. J. J. Kuehn Sound Film Laboratory,
59 East Illinois St., Chicago 11, Ill.
Complete 1944 (except Aug.) ; complete 1945;
Mar., Apr., May, June, July, Aug., Nov., Dec.
1949; complete 1950; Jan., Feb., Mar. (Pts. I
& II), Apr. 1951. Complete years' issues avail-
able only as unbroken lots. R. H. Cricks, Tech-
nical, & Export Publicity Ltd., 101 Wardour St.,
London W.1, England.
11
MAJOR 1: diUTHOIV ._ AP IG h *
IN
MOM.. Mil MIME in Ent MOM- NOMIMMINI. =IN =1.1?11
SPRAY DEVELOPING
FILM/MINE Sa?60
16/35MM NEG/POS SPRAY PROCESSOR
? DEVELOPS NEGATIVE FILM AT 35 FPM
? DEVELOPS POSITIVE FILM AT 60 FPM
The S-60 is Filmline's
newest Spray Processor.
It is a friction drive
processor, guaranteed not
to break or scratch film.
Absolute control of footage
in each chamber insures
sensitotnetric quality
control and consistent
development. And Filmline
processors (unlike ,
competitive snakes) have
lower film assemblies that
are adjustable and remain
captive in the position
placed.
The S-60 is the specific
answer to every laboratories
need for a Spray Processor?
because it outperforms
machines costing twice as
much.
Also available for 16mItt only.
For the full story on the
S-60 write today to:
CO R PO RAT ION
MILFORD, CONNECTICUT
Worlds. Largest Manufacturer
of Fans Processors
17-
? Film Chamber doors are completely removable for easy access to
entire chamber (Not found in competitive models of similar class)
? Processing section is stainless steel ? Impingement dry box ?
Precision temperature controls with indicating pilot lights for cool-
ing & heating . 316 Stainless steel pumps for developing & hypo
solution ? Water temperature regulator . Dual air squegee ? Feed in
take up elevators for continuous operation ? Replenishment flow
meters ? Manual & automatic brake for film supply ? Automatic
electrical torque motor take.up ? Variable drive with film speed
tachometer . Precision Thermometer & footage couoter.
VISIT US AT BOOTH 215
March 1964 journal of.the.SMPTE Volume 73
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
304
6624 ROMAINE ST., HOLLYWOOD, CALIF 90038 / HO 9-7221
G. CARLET6N HUNT, president
, ?
: ?
March 1964 .7Journal :of the SMPT :Voluine 73.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
Contents - pages 224-304
News Columns
95th Conference and Equipment Exhibit,
Angeles
ADVANCE PROGRAM
EXHIBIT DIRECTORY
Education, Industry News
Advertisers
Amega Corp.
Ansco Div., General Aniline & Film Corp. . .
Arriflex Corp. of America . . . .240, 241,
Atlas Projector Corp.
Bach Auricon, Inc
Bell & Howell Co.
Camera Equipment Co.
Camera Mart, Inc.
Camera Service Center
ColorTran Industries
Comprehensive Filmtreat
Andre Debrie of New York
Eastman Kodak Co
Edgerton, Germeshausen & Grier, Inc.
Fairchild Recording Equipment, Inc
Filmline Corp.
Florman & Babb, Inc. 242,
Frigidheat Industries
General Film Laboratories
Gevaert Photo- Producten N.V.
Glen Glenn Sound Co
Gryphon Co
Engelhard Hanovia, Inc.
Hills Manufacturing Co.
Hi-Speed Equipment, Inc
Hollywood Film Co
Houston Fearless Corp
Philip A. Hunt Chemical Corp
lchizuka Optical Co., Ltd
Lab-TV
Los
. .
275,
244,
286,
224
225
238
260
255
265
291
282
249
245
269
288
276
239
254
279
300
266
303
292
295
277
273
304
294
262
268
272
287
296
283
286
290
Abstracts
Current Literature
Books, Booklets, Brochures
New Products
Employment Service
Journals Available/Wanted
La Vezzi Machine Works
Lipsner-Smith Corp.
Magnasync Corp
Magna-Tech Electronic Co., Inc
Magnetic Sales Corp.
Maier-Hancock Sales Co. . . . .. .
MitchellCorp
Mole-Richardson Co.
Motion Picture Enterprises, Inc
Motion Picture Printing Equipment Co
Movielab, Inc.
Moviola Mfg. Co
Moviola Mfg. Co.
Newman &,Guardia Ltd
North American Philips Co.
Oxberry Corp 258,
Palmer Editors
Pathe Laboratories, Inc.. . .......
Permafilm, Inc.
Photo-Kinetics, Inc.
Photo Research Corp.
Plastic Reel Corp. of America
Prestoseal Mfg. Corp.
Professional Services
Reevesound Co.
Research Products, Inc
Revere-Wollensak Div., 3M Co.
SMPTE
S.O.S. Photo-Cine-Optics, Inc.
Strong Electric Corp.
Tri Art Color Corp.
Zoomar, Inc. . . . .
..
263,
.
237,
250,
. .
252
267,
.
256,
276
288
292
298
302
303
294
278
247
281
248
284
253
284
280
257
289
274
274
243
271
270
299
301
246
299
280
259
261
302
285
260
251
264
282
295
297
298
Meeting Calendar
IEEE International Convention, Mar. 23-26, New York Hilton, New York
Coliseum, New York.
Optical Society of America, Apr. 1-3, Sheraton-Park Hotel, Washing-
ton, D.C.
NAB, Annual Convention, Apr. 5-8, Conrad Hilton Hotel, Chicago.
95th Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, Apr. 12-17, Ambassador Hotel, Los Angeles.
Institute of Environmental Sciences, Technical Meeting and Equipment
Exposition, Apr. 13-15, Sheraton Hotel, Philadelphia, Pa.
DAVI, Annual Convention, Apr. 20-25, War Memorial Auditorium,
Rochester, N.Y.
SPSE, International Conference, Apr. 23-May 2, Americana Hotel,
New York
National Microfilm Association, Apr. 28-30, Benjamin Franklin Hotel,
Philadelphia.
Educational Film Library Association, Apr. 29-May 2, Biltmore Hotel,
New York.
AICE, National Meeting, May 3-6, Penn-Sheraton Hotel, Pittsburgh,
Pa.
Inter-Society Color Council, 33rd Annual Meeting, May 4,5, Stotler
Hilton Hotel, New York.
ASTM 67th Annual Meeting and 16th Materials Testing Exhibit, June
21-26, Conrad Hilton Hotel, Chicago
AICE, ASME, ISA, IEEE, Fifth Joint Automatic Control Conference,
June 26-28, Stanford University, Palo Alto, Calif.
NAVA, National Convention, July 20-23, Sherman House, Chicago.
Techniques of High-Speed Photography, Dr. H. E. Edgerton, July 27-31,
MIT, Cambridge, Mass.
PSA, International Convention, Aug. 16,20, Queen Elizabeth, Mon-
treal, Canada.
UFPA, National Convention, Aug. 17-22, Oklahoma Center forcon-
..
tinuing Education, Univ. of Oklahoma, Norman, Okla.
SPIE, 9th Annual Technical Symposium, Aug. 24-28, Deauville. Hotel,
Miami Beach, Fla.
96th Semiannual Technical Conference of the SMPT,rand Equipment
Exhibit, Sept. 27-Oct. 2, Commodore Hotel, New York.'
IEEE, international Congress on Instrumentation in Aerospace Simulation
Facilities, Sept. 28,29, Paris, Franc..e.'
Optical 'Society of America, Annual Meeting, Oct.' 7':9, Stotler H ilton
New York.
NAB, Annual Convention, Mar. 21-25,1965, Shoreham and Sheraton .
Park Hotels, Washington, D.C.
97th Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, Mar. 28-Apr..2, 1965, Ambassador Hotel,los Angeles.
98th Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, Oct. 31-Nov. 5, 1965, Queen Elizabeth Hotel, Montreal.
Exhibit, May 1-6, 1966, Sheraton Park Hotel, Washington, D.C.
100th Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, Oct. 2-7, 1966, Ambassador Hotel, Los Angeles.
101st Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, May 8-12, 1967, Statler-Hilton Hotel, New York.
103rd Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, Apr. 22-27, 1968, Ambassador Hotel, Los Angeles.
105th Semiannual Technical Conference of the SMPTE and Equipment
Exhibit, Apr. 20-25, 1969, Fontainebleau Hotel, Miami Beach Fla.
SMPTE Officers and Committees: The rosters of the Officers of the Society, its Sections, Subsections and Chapters and
of the Committee Chairmen and Members were published in the April 1963 Journal.
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Declassified and Approved For Release 2013/10/28: CIA-RDP80T00246A026400180002-8
sustaining I
members
of the Society
of Motion Picture
and Television Engineers
For the addresses and descriptions of activities of these members, see the Society's Journal for
April, 1962, Part II. New members and supplementary descriptions were published in July,
1962, and April, 1963.
Progress toward the attainment of the objectives of the Society is greatly aided by the financial
support provided by the member companies listed below.
Acme Film Laboratories, Inc.
Alex Laboratorios Cinematograficos S.A.
Alexander Film Co.
American Broadcasting-Paramount
Theatres, Inc.
ABC-TV Network
ABC Films, Inc.
Ampex Corporation
Howard A. Anderson
Ansco
Arriflex Corp. of America
C. S. Ashcraft Mfg. Company, Inc.
The Association of Cinema
Laboratories, Inc.
Audio Productions, Inc.
Bach Auricon, Inc.
Bausch & Lomb Incorporated
Behrend Cine Corporation
Bell & Howell Company
Birns & Sawyer Cine Equipment Co.
Bonded Film Storage
(Division of Novo Industrial Corp.)
Byron Motion Pictures, Inc.
S. W. Caldwell Ltd., Canada
Calvin Productions, Inc.
Camera Equipment Company, Inc.
The Camera Mart, Inc.
Camera Service Center, Inc.
Canadian Marconi Company
Capital Film Laboratories, Inc.
Oscar F. Carlson Company
Century Lighting, Inc.
Century Projector Corporation
Cineffects, Inc.
Cinema Processors, Inc.
Geo. W. Colburn Laboratory, Inc.
Color Film Corporation
Color Reproduction Company
Color Service Company, Inc.
ColorTran Industries
Columbia Broadcasting System, Inc.
CBS Television Network;
CBS Television Stations; CBS News;
CBS Films; Terrytoons
Comprehensive Service Corporation
Conrac Division
Consolidated Film Industries
Criterion Film Laboratories, Inc.
Dage Television Co.
DeLuxe Laboratories, Inc.
Desilu Productions, Inc.
Du Art Film Laboratories, Inc.
Tri Art Color Corporation
E. I. du Pont de Nemours & Co., Inc.
Dynacolor Corporation
Eagle Film Laboratory, Inc.
Eastern Effects, Inc.
Eastman Kodak Company
Edgerton, Germeshausen & Grier, Inc.
Elgeet Optical Company, Inc.
Max Factor & Co.
Fairchild Camera & Inst. Corp.
Industrial Products Division
Ferrania Photo Sales Ltd., Canada
Ferrania S.p.A., New York
Filmcraft Pty. Limited, Australia
Filmline Corporation
Florman & Babb, Inc.
GPL Division - General Precision, Inc.
General Electric Company
General Film Laboratories
W. J. German, Inc.
Gevaert Photo-Prod ucten N. V.
Glen Glenn Sound Company
Guffanti Film Laboratories, Inc.
Frank Herrnfeld Engineering Corp.
Hi-Speed Equipment, Incorporated
Hollywood Film Company
Hollywood Film Enterprises, Inc.
Frank Holmes Laboratories, Inc.
Houston Fearless Corporation
Philip A. Hunt Company
Hunt's Theatres, Inc.
Hurletron Incorporated
Impulsphysik Dr.-Ing. Frank Frangel
GmbH, Germany
JM Developments, Inc.
The Jam Handy Organization, Inc.
Jamieson Film Co.
The Kalart Company Inc.
Victor Animatograph Corporation
Keitz & Herndon, Incorporated
KIN-O-LUX, Inc.
Kollmorgen Optical Corporation
Labcraft International Corporation
Laboratoires Cinernatographiques
CTM France
LAB-TV
Robert Lawrence Productions, Ltd.,
Canada
Lipsner-Smith Corporation
Lorraine Arc Carbon Co.
Division of Carbons, Inc.
Machtronics, Incorporated
McCurdy Radio Industries, Ltd.
Mecca Film Laboratories Corporation
M.G.M. Laboratories, Inc.
D. B. Milliken Company
Milner-Fenwick, Inc.
Minnesota Mining & Mfg. Co.
Revere-Wollensak Div.
Mitchell Camera Corporation
Mole-Richardson Co.
Monteleoni, Inc.
Motion Picture Association of America,
Inc.
Allied Artists Pictures Corporation
Buena Vista Film Distribution
Company, Inc.
Columbia Pictures Corporation
Metro-Goldwyn-Mayer, Inc.
Paramount Pictures Corporation
Twentieth Century-Fox Film Corp.
United Artists Corporation
Universal Pictures Company, Inc.
Warner Bros. Pictures, Inc. ,
Motion Picture Enterprises, Inc.
Motion Picture Laboratories, Inc.
Motion Picture Printing Equipment Co.
Movielab, Inc.
Moviola Manufacturing Co.
National Carbon Company, Division of
Union Carbide Corporation ?
National Screen Service Corporation
National Theatre Supply Company
Newman & Guardia Ltd.
Nichion Company, Ltd., Japan
North American Philips Company, Inc:
Novatech Corporation
Oxberry Corporation
W. A. Palmer Films, Inc.
Pan-American Films
Panavision Incorporated
N. J. Pappas & Associates
Parthenon Pictures
Pathe-DeLuxe of Canada, Ltd.
Pathe Laboratories, Inc.
Peelcraft Limited, Canada
Photo Methods for Industry?P.M.I.
Photo-Sonics, Inc.
Pittsburgh Motion Picture Lab
Precision Laboratories
(Division of Precision Cine Equipment
Corporation)
Prestoseal Mfg. Corp.
Producers Service Company,
Division of Boothe Leasing Corp.
Quick-Set, Inc.
RCA Victor Company, Ltd.
Radio Corporation of America
National Broadcasting Company
Communications Products Division
Rank Precision Industries Ltd.,
England; Rank Kalee Division
Rapid Film Technique, Inc.
Reid H. Ray Film Industries, Inc.
Reeves Sound Studios, Inc.
RIVA-Munich, Germany
Charles Ross Inc.
Russell-Barton Film Company
Ryder Sound Services, Inc.
S.O.S. Photo-Cine-Optics, Inc.
Sequential Electronic Systems, Inc.
Smith Kline & French Laboratories
Soc. s.r.l. laniro
Southwest Film Laboratory, Inc.
The Strong Electric Corp.
Sylvania Electric Products, Inc.
Technicolor Corporation
Titra Film Laboratories, Inc.
Trans-Canada Films Ltd.
Trans-World Film Laboratories, Ltd.,
Canada '
Henry Ushijima Films, Inc.
Van Praag Productions
Video Film Laboratories
Westinghouse Electric Corporation
Westrex Company
International Division
Recording Equipment Division
Wilding Inc.
WRS Motion Picture Laboratory
Zoomar, Inc.
The Society invites applications for Sustaining Membership from other interested companies. Infor-
mation may be obtained from the Chairman of the Sustaining Membership Committee, Joseph T.
Dougherty, E. I. du Pont de Nemours & Co., Inc., 45 Rockefeller Pl., Rm. 550, New York 20, N. Y.
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