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User manual ASC Press American Cinematographer Manual 10th | . |
American Cinematographer Manual by Rod Ryan - PDF Drive.
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Books to Borrow Open Library. Search the Wayback Machine Search icon An illustration of a magnifying glass. Sign up for free Log in. American cinematographer manual Item Preview. Since close- a light or microphone showing up when transferred to ups virtually fill the entire frame, it is often considered a video.
Many people believe it is an advantage to shoot 1. If a film is largely interiors, 1. This is a misconception. It is true that spherical the wide panoramic vistas associated with 2. On the lenses are sharper than anamorphic; however, the much other hand, many do not weigh interiors or exteriors in their greater negative area used with anamorphic more than choice of format.
Greater depth of field the total area in focus at a spherical lenses. Since 1. Disadvantages of 1. The main disadvantage is the actual size of the 1. This advantage is sometimes negated by format on the negative.
Because of the smaller area, 1. This is not as they have to shoot with lenses "wide open," resulting in a noticeable in the original negative stage, but becomes more small gain in depth of field. An opinion often expressed is that sets don't need The negative area of 2. However, many 2. Because of the greater height of 1. This of set construction. As illustrations 1 and 2 pointed out, it's can be a restriction on how easily a cameraperson can light possible for 1.
On ing on the composition. Opticals dissolves, repositions, etc. The choice of photographic grainier than with anamorphic 2. If a stunt camera mount is required that risks de- This improves the quality of opticals, but at greater expense. Not truly compatible with 7Omm. Although it can be done, there is a large amount of unused print on the sides o when blown up to 70mm see illustration Also, because o of the greater magnification in 1.
When projected, the area of the frame for 1. Above Right: The the image. The 2. A discussion of This difference becomes most apparent after going through Super 35 composed for 2. Anamorphic 2. More compatible with 70mm. Because of the origi- "Panavision" optically "squeezes" the width of the image nal negative area, there is less of a blow-up than with 1. Also, the aspect portrays how an anamorphic 2.
Allows for complex compositions. Able to do a tight close-up on two individuals simultaneously. Action can be spread across a wide expanse of the frame. Most often the format of choice for films with a lot of action or big production values. Most closely approximates the normal field of vi- sion. When shooting interiors, ceilings become obscured, giving the cinematographer more alternatives for place- ment of lighting.
A possible advantage may come with continuing lllustration 5 advances in High Definition TV. The area of negative used illustration 6 shows how that image appears on the in anamorphic films means you will exceed HDTV's reso- negative and subsequently on a positive print for projec- lution capability for many years to come. Some HDTV tech- tion. Disadvantages of Anamorphic 2. Difficult video transfer.
To extract a video image tration 5. Advantages of Anamorphic 2. The most salient advantage is the much larger nega- the WIdth of the 2. While not mechanically more expensive thanregu-. The due to the extra time required by each scene's composition filmmaker decides what format he is composing for, and decisions. While panning and scanning makes the best of it is that aspect ratio the film lab will eventually extract from a bad situation, many people feel it compromises the origi- the frame for release prints.
Many filmmakers have released videos When speaking of Super 35, people are usually refer- of their films in "letterbox" format, where the 2. This is a common practice in videodisc releases of films.
It is often said that anamorphic is more expensive than 1. However, the difference in cost between an an- o 2. Super 35 composes for 2. Many people feel that sets need to be built wider extends the width of the frame into that area of the nega- because of the wider aspect ratio.
There are also many who tive reserved for the soundtrack. Although most cameras feel it doesn' t matter, and that sets can be accommodated already expose picture information in the soundtrack area, by choosing lenses carefully. See again illustrations 1 and it normally goes unused. At times, people will suggest shooting Super 35 com- 5.
Some directors have a hard time blocking action posed for 1. Super 1. The reason for this is a within the larger frame. Expense of more extras may be necessary for some 1. Tests have crowd scenes. Super 35 Formats tioned for standard 1. All of the Super 35 formats with contact printing, while Super 1.
Con- release prints. Otherwise The rest of this discussion will only deal with Super it is indistinguishable. If, however, a scene is already com- 35 composed for a 2. Illustration 9 portrays mitted to an optical step i. Advantages of Super 35 Composed for 2. Ratio Another method of photography for Super 35 is re- 1. Common greatly increased depth of field over anamorphic 2.
This variant of Super 35 is based for keeping both objects in focus simultaneously. The common topline is supposed to tographers choose to use such small amounts of light that lessen the effect of changing aspect ratios by maintaining they must shoot with lenses "wide open," resulting in a the headroom l and raising or lowering the bottom of the small gain in depth of field.
In Actual practice, most cinematographers find it dis- 2. An often-stated advantage is the production savings agreeable to compose for multiple formats. Also, the change in the lens I camera package over anamorphic. This is er- in composition from 2.
The ability to shoot a film composed for 2. For most filmmakers, 2. Lenses are much smaller than anamorphic, result- Experience has shown, most filmmakers agree, that ing in a smaller, more lightweight and portable camera just modifying a film's aspect ratio to fit within the video package.
This smaller size allows the camera to fit in smaller realm is a creative process. Often claimed to be more compatible with 70mm than anamorphic. Some have this impression because Su- per 35 is a straight blow-up to 70mm, while anamorphic has to be unsque1zed when enlarged to 70mm.
This would be true if Super 35 had an equivalent nega- tive area to anamorphic. As it stands, anamorphic's greater Illustration 10 - Super 35 Aspect Ratio 2. Claimed to be a simpler video transfer by just do- 4. Again, because of the optical step involved, origi- ing a 4-perf frame extraction, resulting in dramatic increase nal negative composite prints cannot be struck. A dling involved. Disadvantages of Super 35 Composed for 2.
Main title opticals must be done WIth the double Aspect Ratiol IF" method to maintain quality, doubling the expense of 1. Most notable is the small negative area. Anamorphic such opticals. Editing equipment must be adapted to show the also has slightly less negative area than standard 1.
The difference in negative area becomes most 8. Because of the small negative area, many cinema- pronounced after 35mm dupe negatives are made. An- tographers limit choice of negativ:s to slower spee? Video transfers usually illvolve pannmg and scan- age for release prints.
This 2. When these effects particularly on HDTV. Because of the optical step involved, composite position, allowing for full frame video. Matte prints cannot be struck until after dupe negatives have been shots, miniatures, etc. Also, thanks to Trici Venola for the use of her computer ing. Aspect Ratio 2. Since 35mm films are not usually photo- graphed in this aspect ratio, they must adapt their compo- sition to fit within this area.
In this illustration of a 70mm frame, the gray area represents a magnetic soundtrack. Although the height of Aspect Ratio 1. Ali 1. Most theaters have black screen masking black cur- 2. Were they to do so, the to 70mm is to maintain the full width of the aspect ratio.
In this example, the area that would be a thick black Pa. It Panavision Panaflex System 43 would not appear this way in an actual 70mm print.
No belts or mechanical couplings are used Arriflex 16BL 95 in the drive system. Operating Noise Level: 25 dBa at 24 fps; Magazines: ' m and ' m displace- ment with microprocessor-controlled torque motors. Automatic cOlmection and data transfer to ckera via multi-plug pin plug. Mechani- cal and digital LCD counters. Maximum aperture ranges from T Matte Boxes:The 's 6.
Has two fully rotatable 2-filter stages. Geared filter frames. Electronic Atcessories: 1. Photographed aperture is standard 5-perf 65mm 2. Removable aperture and pressure plates for ease of cleaning. Speed Range: fps, forward or reverse, by 4-de- cade digital dial that is crystal accurate at all selected speeds up to 2 decimal digits. Easily attached eyepiece extender with automatic leveler also available.
I Built-in video tap for high-resolution CCD chip camera also included. Lens Mount: Quick-acting bayonet lock for specially mounted CP lenses. Sound Blimp: The camera's self-blimped design per- lIt:r. Magazine blimps for both SIzes are also available. Built-in video tap This is a farge-format 65mm 8-perforation camera de- for high resolution CCD chip camera also included. Photographed aperture is 2. Special mounts available upon request.
A camland eccentric mounted on a single shaft ac- Drive: Internal 30 VDC crystal controled tuate the pull-down and operate the register pins. Remov- Magazinesft. Special Features: Valve which allows the operator to Speed Riplge: fps forward or fps reverse. All direct light to the viewing system, or to the video assist or speeds crystal controlled.
Camera will also accept externally Accessories: Standard Arri matte box. Features: Weight: 27 pounds with ' of film. Heating system. Film runout indicator. Remote control. Accessories: Zoom lenses: mm, mm, and mm.
Underwater blimp with internal battery and externally controlled film speed, stops and focus; de- signed for 50' depth or less. Built-in exposure meter. Movement: MSM Monoblock high-speed, dual-regis- ter pins, claw engages six perfs. Shrinkage adjustment changes both stroke and entry position. Indexable loop- setting sprockets have independent locking keeper rollers.
Vacuum backplate assures filmplane accuracy, removes without tools for cleaning. Aperture and movement re- m ove easily for cleaning and lubrication.
Aperture size 2. Frame-rates from timelapse to 60 fps forward, also to 30 fps reverse. Shutter: Focal plane shutter, manually variable from Movement: Dual registration pins. Four pull-down Adjustable pull-down stroke. Removable aperture Viewfinder: Spinning mirror reflex. Interchangeable plate with built-in matte slot. Aperture 2.
Finder ro- range 12 fps Single le- mounted vier'S more than full aperture area. High mag- ver controls internal filter and douser. Heated eyepiece has nification for tritical focusing; contrast viewing filters. Viewfinder removes any two aspect ratios. Parallax correcting carns for all fo- completely for aerial or underwater housing use. T-stop calibration allows for mirror absorption.
All lenses flat or dome screen composition. Mount accepts modified geared for manual follow-focus control. Speeds: 12, 18, 20, 22, 24, 28, and 32 fps. Manual threading knob provided. Belt pack batteries. Two illuminated LCD foo t- age counters. Circuit break- ers for camera, mag, heat, and accessories.
Control port allows operation from handheld remote or interface with computers and external accessories. Low noise level. Both Models: Movement has matte slot, removable aperture and pressure plates that can be removed for clean- ing.
Timing marks provided for reassembly. Speed Range: AC: Stop-motion to 32 fps. SPC: 16 fpsfps. Focusing: Rack over for critical focusing and lineup. Lenses do not rotate. Magazines: ' displacement magazines use the Drive: Both cameras accept all Mitchell motors. MSM TiltLock mount. Magazines lock to the camera with Panaspeed motor has 24 fps crystal sync and may be var- a pair of 8mm hardened pins, and can tilt away from the ied from 12 fps fps.
Operates on a 36V battery. For high operator to allow easier camera threading. Optional mini- speed, a precisely controlled motor capable of 12 fps fps mum profile ' coaxial magazines use same mount with- is provided. It operates on two 30V batteries. Both magazines operate bidirectionally at Magazines: ' and ' double chamber. A positive carnlock secures the mag in bipack magazine available for special effects. Expanding core hubs have Panavision System 65mm integral OC servomotors controlled by film tension in both directions, with soft startup to eliminate slack.
Tightwind Movement: Dual pilot pin registration ensures pro- rollers guide film winding for smooth solid rolls at any cess-plate image steadiness. Four pull-down claws. Pitch camera angle. Non-contact light traps feature infrared end- adjustment to optimize camera quietness. Entire movement of-film sensors. Features: Crystal sync from 5 to 60 fps in. Short, Intermedi- ate and Long viewfinder tubes are available.
Wide-range ocular adjustment with marker bezel to note individual settings. A built-in "Panaclear" eyepiece heater ensures mist-free viewing. Adjustable eyepiece lev- eling. An eyepiece di- opter to suit the operator's own eyesight can be provided on request.
Ground glasses with finer or coarser texture available on request. Provision for a cut frame to be placed in the viewfinder system for optical frame align-.
All lenses are pmned to ensure proper rotational ori- entation. Lenses: A wide range of color-matched lenses, rang- mg from a distortion-free 24mm to mm. Most are T-2 or T Also available are a mm T In addition, many of the mid-range Primo and Zeiss lenses, and the long focal length Canon and Nikon lenses, can be used with a special adaptor. All lenses checked and calibrated by MTF. Focus con- trol can be used from either side. Zooms are supplied with openmg and adjustable m-shot.
Reflex system: Reflex rotating mirror is standard and 6. Panavision can also supply is independent of the light shutter system. Camera speed is crystal-controlled at holdable all frame rates and may be adjusted at 1 fps increments. Inter- nal heaters ensure that cameras may be used at sub-zero Ime as optical printers.
Entire temperatures without special preparation. Removable for checking and cleaning. Shutter: FlXed-operung focal plane shutter. Magazines: ' and ' magazines are available. Reflex System: Two models are available - one has Both can be used on the top of the camera for minimum a rotating mirror, the other a semi-silvered fixed reflex camera length or at the rear for minimum camera height.
Optical viewfinder system: High magnification opti- Batteries: Camera, magazines, heaters and accessories cal system. Camer,a support equipment: "Super Panahead" vIewfmder tub. A built- up or. Panaclear eyeI:Iece heater ensures mist-free viewing. An eyepiece diopter to suit the operator's own a range of sizes.
Heated covers are available to give texture available on request. Spinning-glass rain deflectors are available for tIng. An autobase is available to secure the camera in conditions of vibration, high "g" forces and Lenses: Lenses are interchangeable with the System- other stressful and dangerous conditions. A water-box is 65 Studio Camera. Zoom lenses are supplied with and other dangerous situations. Special matte boxes incor-. Flicker-free images are possible with the pellicle reflex system.
Environmental protection equipment: Same as Sys- tem above. The film channel is ad- justable: Academy, 1. Movement: The movement of the Aaton 35 is a linear Note: The extension unit is used only for top-magazine configuration. The motor is crystal con- perfect lateral film positioning ensured by a spring-loaded trolled at all speeds and may be adjusted in 1 fps incre- side pressure guide.
Special sync boxes are available to synchronize the. Internal heaters ensure that the cameras magnificatIon. Auto erect lffiage. Swiveling viewfinder for may be used at sub-zero temperatures without special perfect eye-ta-shoulder distance adjustment. The Aaton mount, because it has the short- ' reverse running magazines available on request. Optical accessories: Interchangeable with System Motors: A small direct-drive brushless motor Stuclio camera. Automatic stop in viewing po- Batteries: The camera, heaters and accessories all op- SItion.
A second motor in the camera body drives the maga- erate off a single 24V Ni-ead battery. Belt batteries are avail- zine through an independent magnetic clutch. The Aaton able for hand-holding. Camera support equipment: Lightweight System Magazine: ' displacement-type magazine is pre- Hand-holdable cameras are ideal for use with Panaglide threaded and allows quick changing. Also is exposed. The electronic counter registers in feet and accommodates Panavision mattes.
Lightweight and zero- meters. Arriflex Aaton Movement: Linear-stroke single claw; self registering U. The vertical steadiness of this movement is enhanced by the perfect lateral film position- ing ensured by a spring-loaded side pressure guide. Hair- free gate has air circulation channel to keep hair out. Shutter: True degree front surface mirror facili- tates 60Hz HMI and video monitor roll-bar elimination.
Stops in viewing position. May be inched for aperture in- spection. Viewfinder: Reflex from shutter, 6X magnification, auto erect image, interchangeable ground glass. Swiveling viewfinder for perfect eye-to-shoulder distance adjustment. Drive:IBrushless crystal sync 12V motor for 24, 25, and Variable control 6 to 54 ips. Maximum speed with external control is 32 ips. Circuit board and motor may be removed and replaced in two minutes. Slim battery 12V 1. A second motor in the camera body drives the magazine through an inde- pendent magnetic clutch.
Magazines: m ' pre-threaded displacement- type magazine for instant changing. The feed and take-up rolls compensate for each other in size, while the shaft of each roll shifts position as the film is exposed. The electronic counter transmits feet or meters to the camera body. The Arriflex is a completely integrated camera Features: Digital control display: footage, voltage, system. Its microprocessor control technology permits shut- speed, ISO, magazine footage, low battery and out-of-sync ter angle and speed changes while running - at the cam- warnings.
The key-eode compatible, AatonCode time re- era or remotely. Negatives from the Aaton perforation pull-down. Adjustable pitch control. Magazines: ' and ' coaxial, each with two mi- Shutter: Microprocessor-controlled variable mirror croprocessor-controlled torque motors. Microprocessor shutter. Exposure functions continuousl y. The 's counters are built-in. The Support System includes a. Permits omni-di- upon request. Programmable ArriGlow for low- and up, as well as most presently used zooms.
Interchange- light filming. Nine pre-programmed illuminated formats, able two, four, or six filter stages, rotatable degrees, an optional customized format module and fiber-optic fo- swing-away for changing lenses.
Switchable ND. Two 15" variable fulder. Flange focal distance is 52mm, up. Two and four filter stages, rotatable degrees, swing- and image sharpness is guaranteed due to the rigid me- away for changing lenses. Two filter stages, mounts may be usedlPL zoom and telephoto lenses should be used on Arri lightweight support. Two filter stage with Superspeed '- 18mm, 25mm, 35mm, 50mm, 65mm, and removable rubber lens shade.
Digi- 3. RTH Cooke and Angenieux zoom improper magazine mounting; and disengaged rear film lenses. Power input is through a 3- speed combination. SMPTE bit time code capability. Electronic Sync Unit Flange focal distance is It also con- crements at crystal accuracy.
It features on-board program- tains a phase shifter, pilotone generator, and selectable di- mable speeds of 24,25, Speeds are continuously variable frame rate. Speeds can be pro- grated control over all electronic functions. Viewfinder that pivots on two axes, with full left or right I side viewing, and a fully upright image no matter where it Arriflex B is placed. Magazines: Standard ' and ' coaxial maga- zines. Electronic Features: At the LCD, the user can pre-set camera speed and time code information, and display frame rate, film stock, battery voltage, and time code and user bits.
An additional designed for handheld and Steadicam cinematography. LCD display can be added on camera right. If the B is not ready for operation, its running tical printer standards, and dual-pin pull-down claws as the control lamp illuminates red.
Time Code: The B utilizes It has an adjustable pitch control. The B operates the same plug-in TC module as the Matte Boxes: See Additional accessories: 2-Speed follow focus; bridgeplate support system for CG balance and mount for matte box, follow focus, servo zoom drive, and heavy lenses; hand-held rig for shoulder operation of the camera; finder extender and leveling rod; barney and heated bamey; Arri Geared Head and Arri Geared Head 2; and director's viewfinder with PL mount.
Film channel incorporates a pressure pad at the back of aperture area. Aperture plates and ground glasses for all aspect ratios are interchangeable. All have adjustable Super Wide Angle eyepiece with manual iris closure.
Finder ex- tenders available are 9"standard, 9" anamorphic, and Lens Mounts: 54mm diameter PL mount. Flange fo- cal distance is 52mm. The camera is continuously variable used.
PL and non-PL zoom and telephoto lenses should be from 4 to fps ips on the fps camera at 24V used with Bridgeplate Support System. DC with a Variable Speed Unit. An on-board vari- video source, projector or another camera. A a full stop faster and brighter than earlier 35BL cameras, red LED to indicate an out-of-sync condition and a green and feature a larger exit pupil, ArriGlow illuminated frame LED to indicate variable speed mode are visible in the lines, and a high aperture An adjustable Super Wide Angle handholding.
See Arriflex Lenses section for exit pupil distance. Finder extenders available for the 35BL- details. Lens Mount: 54mm diameter PL mount, switchable to Super 35 format.
Flange focal distance is 52mm. Both PL and non-PL zoom and telephoto lenses should be used with a bridgeplate system. Early 35BL cameras have Arri bayonet mount. BNC mount available for 35BL-3 only. Power input through a 4-pin connector. The 35BL- indicator and an audible out-of-sync warning are built-in.
Aperture plates and ground memory, battery. The 35BL can be 35BL models. Mechanical footage. Angenieux zoom lenses. See Magazines: ' forward operation only, ' forward Arriflex C or reverse; and ' modified shoulder magazines available.
Accessories: Finder extenders including 9" and Arriflex C Description: The C series consists of multipurpose Movement: Single pin claw with extended dwell-time 35mm cameras.
They are used handheld, and with appro- to assure accurate film positioning during exposure. Film priate accessories, for almost every type of motion picture gate components are precision finished steel, and hard production application. Full aperture is standard, with other formats available. Reflex Viewfinder: 6. A 32V DC motor with variable speed con-. Flange focal trol is included with the camera. All Arri Standard and Bayo-.
Zoom and telephoto lenses should be used with a special 2C Bridgeplate Support System. Magazines: ' forward operation only, ' forward or reverse. Matte Boxes: Bellows and light- weight versions. Can be handheld. Adjustable stroke Movement: Smgle-claw with extended dwell-time to length and entry position. Exit and entry buckle trips. Acad- ward and reverse operation,. Adjust- openmg. Exposure is Y4sth of a second at 24 fps. Stops in viewing posi- tion. Internal phasing control to sync with TV equipment.
Lightweight blimped silent studio camera. Movement: Standard Mitchell pin-registered compen- sating link; Cinema Products' independent adjustment of stroke length and entry position. Removable aperture plate. Precision reg- for reassembly after cleaning. Inching knob. Ister pms for matte alignment. Three viewing filters. Optional video control and lock on rear panel. Reflex Viewfinder: Rotating mirror, stops in viewing. Fine-grain interchangeable screens. Standard or phic locating pin.
Optional adapter for Arri standard or de-anamorphic optics. High-low magnification relay lens, bayonet-mounted lenses. Large eyepiece with. Drive: Self-contained, 12 to 32V DC motor; synthe- diopter adjustment and lock. One fps button for thread- Drive: Internal crystal-controlled motor assembly con- mg.
Circuit breaker, power indi- easily cleaned light trap. Adapter for Mitchell magazines. Shutter and digital shaft Lightweight, steel toe plate, velvet rollers, snap latch coder quadrature and all control functions.
Designed to be mounting, single latch cover. Footage indicator, anti-spill as ste. Display module over brake. Magazines are installed on the camera through a viewfinder sWlvels for operator or assistant; shows speed, "clamshell" opening in the blimp housing which provides footage, camera mode, battery voltage, current, and low maximum access without requiring side or headroom clear- battery alarm.
OptionallO-foot extension cable. Six station filter wheels accepting standard gelatin filters. Lightweight swingaway. LED footage counter in feet or meters. Complete camera system less lens and film weighs 93 pounds. Accessories: Matte boxes, filters, viewfinder and ap- erture mattes, video assist, time code. Feathercam CM35 Lightweight 10 pounds handheld pin-registered camera with snap-on magazines.
Movement: Cam-driven dual pull-down, dual-regis- ter pins. Six-inch-Iong film gate. Loop-forming threading system. Simple maintenance. Shutter: Rotating mirror, stops in viewing posi- 0 ,. Reflex Viewfinder: Right or left eye. Extension avail- 1'- able. Optional ter pins in Mitchell position. Dynamically balanced. Frame- single-frame drive. LED to-frame register 0. Full silent aperture. Does not require prethreading. Mechanical footage counter.
Drive: Built-in motor and circuitry; maximum speed m three seconds. Self-braking; will stop in five feet from fps. Ten pushbutton-actuated speeds, 24 to fps. Magazines: Coaxial ' feed and takeup magazines are identical and separately mOW1ted; takeup can be re- moved "'. Gear driven, differentially controlled. Automatic drive engagement and supply overrW1 brake. Footage-used coW1ter for acetate or polyester base.
Features: Sync pulse for strobe light, sync at all oper- ating speeds. Matte box iris rods compatible with Arriflex. Footage counter with memory. Remote control input jack. Some models have automatic four-foot fade in or out. Reflex Viewfinder: Rotating mirror. Viewing tube same on rack-over and reflex.
Adjustable focusing eyepiece. Viewfinder: External large screen erecting finder. Parallax correction coupled by cam to lens focus knob. Lens Mount: Four-lens turret, NC only; flange depth 1. Single mOW1t all others: 35mm flange depth 2. The C camera differs from the "standard" model in Magazines: ', ', ' double compartment that it uses a mechanically different and quieter movement sOW1d insulated. NC magazines will not fit standard cam- and has other features which make it quieter.
C model has a four-lens turret, the others a single lens Drive: DemoW1table motors for all types of shooting; moW1t. B models are blimped versions. Timing marks on shutter and movement audible offspeed indicator. Removable aperture Accessories: Film matte pW1ch.
Matte boxes for rotat- plate with built-in matte slot. Speed range: smgle frame to 32 fps. Slot for dual gel takes camera lens moW1ts. Note: There are several versions of modifications avail- able for special applications. Movement: High Speed: Dual registration pins. Dual forked pull-down claws engage four perforations simulta- neously. Removable aperture plate has built-in matte slot. Full Aperture:.
Speed range: Single frame to fps fps can be achieved but is not recommended. Standard movement cannot be used for high-speed work. Not possible to con- vert standard to high-speed camera by interchanging movements.
Focusing: Variable magnification erect image focusing telescope built into the camera. Through-the-Iens ground glass critical focus and viewing when camera is racked over. Built-in contrast viewing filters for color and mono- chrome emulsions. Interchangeable ground glasses. Any aspect ratio outline available. Camera focus tube has built- in matte slot and permits the making of perfect match dis- solves. Lenses: Four-lens turret. Positive index type, with ris- ing and falling front.
Flange depth: 1. Standard and wide- angle matte boxes provide for use of glass mattes, gauzes, Movement: Compensating link with dual pilot pin hard mattes, glass filters, Pola screen, diffusers, variable registration and dual pull-down. Interchangeable aperture diffuser attachment, etc. Large exit pupil has heated rear element. Animation motor: Stop-mo- nated frame lines.
Drive: Microprocessor-controlled motor, 12 to 32 fps Viewfinder: Large erect viewfinder calibrated for dif- in one-frame increments. Crystal sync. Available with dual calibrations AC. Parallax-free follow-focus attach- Magazines: ' and ' displacement-type torque ment available. Built-in heater. Features: Below 20 dBa sound level. Built-in automatic slate. Plug-in circuit boards field replaceable. Footage and frame rate digital display forward 1. Special hard mattes are and reverse.
Handheld and studio follow-focus for all available on request. Shutter: Focal plane shutter, infinitely variable and Weight: 29 pOlmds with ' of film and 50mm lens. Time base code attachment. Manual and electronic remote control units monitors or process photography. Computer diagnosis available. Matte boxes. Behind-the-Iens Filtering: Behind-the-Iens gel filter holder. Panavision Platinum Panaflex 35mm Reflex System: Reflex rotating mirror is standard and Movement: Dual pilot pin registration ensures pro- is independent of the light shutter system.
Interchangeable cess-plate image steadiness. Pilot pins register in the same semi-silvered fixed reflex mirror for flicker-free viewing is perforation holes immediately below the bottom frame optional. Double pull-down claws.
Pitch and Optical Viewfinder System: High magnification op- tical system. The viewfinder tube is orientable and gives a stroke controls for optimizing camera quietness. Short, Intermedi- be removed for servicing. System incor- porates an optical magnifier for critical focusing and pic- ture composition, a de-anamorphoser, a contrast viewing filter and a light-proof shutter.
Wide-range ocular adjust- ment with marker bezel to note individual settings. A built- in "Panaclear" eyepiece heater ensures mist-free viewing. Adjustable eyepiece leveling link-arm is supplied with every Panahead to keep the eyepiece position constant while tilting the camera.
Entire optical viewfinder system may be removed and replaced with a video viewfinder display for lightweight camera configuration e. An eyepiece diopter to suit the operator's own eyesight can be provided on request. Ground Glasses: Interchangeable ground glasses available with any marking, or combination of markings. Provision for a cut frame to be Aperture Plate: Removable for checking and cleaning.
Frame cutters are available to suit negative or positive for all other frame sizes. A special perforation locating pin perforations. All lenses are pinned to ensure proper rotational ori- available for Academy, Anamorphic, Super 35, 1. Special sync boxes are available to synchronize the camera with a mains power supply, with computers and video sig- nals and with process projectors to run in shutter phase synchronization. Panaflex cameras may be used at sub-zero temperatures without special preparation.
Magazines: ', ', ' and ' magazines are all available. All can be used on the top of the camera for minllnum camera length or at the rear for minimum cam- era height and for good balance when hand-holding ' magazines can be used in the top position only.
Magazine Loading: See diagram. Note: this is particularly important with anamor- Hand-holdability: Handles and a shoulder-rest are- phic lenses. Iris-rod support is supplied. In this configura- Lenses: Exceptionally wide range of spherical, an- tion the camera is best used with a ' or ' magazine amorphic and specialty lenses is available.
All are checked fitted at the rear. The weight of the camera in hand-held and calibrated by MTF. Primo lenses are all color matched mode, with a ' magazine and film, is approximately 27 and range from a distortion-free lOmm to mm. Primo lbs. All Primo lenses have widely spaced unit an optional accessory.
Lens Control: A lightweight focus control which can Batteries: Camera, magazines, heaters and accessories be used from either side of the camera is standard; an in- all operate off a single 24V Ni-Cad battery. The normal terchangeable "Studio" focus control unit is optional, as are battery complement is two x cased units with built-in charg- electronic rerriote focus and aperture controls.
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