Meet the Samcine Calculator, an amazing relic of the pre-digital age.  Similar in concept to an engineer’s slide rule (which, BTW, I never learned how to use in high school!), it provided quick and accurate answers to a variety of questions filmmakers regularly encountered. Manufactured by Samuelson Film Services in London, it was an … Continue reading “THE PLASTIC FANTASTIC”

         The movie business has always been filled with as many peculiarities as innovations, but here’s one that qualifies on both counts.  Kalvar was the trade name given to a form of vesicular film, an emulsion that was sensitive only to ultraviolet light.  While that doesn’t sound so strange on the surface, here’s the kicker … Continue reading “KALVAR, aka VESICULAR FILM”

         A couple of weeks ago I expressed my admiration for an Eclair ad that appeared in the May 1969 issue of American Cinematographer.  Judging from the one you’ll see below, the legendary French camera company must’ve been on quite the roll that spring.  The next month they followed up with this brilliant example of … Continue reading “BEAUTY IN SIMPLICITY”

         The making of the epic western Duel in the Sun (1946) seems to have been a chaotic experience.  Though King Vidor is credited as the sole director, Otto Brower, William Dieterle, Sidney Franklin, William Cameron Menzies, David O. Selznick and Josef Von Sternberg all made significant uncredited contributions.  On the picture side, no fewer … Continue reading “SMASH, BANG, BOOM…!”

         Not much is known about George Tinsley Clemens, ASC, and I don’t understand why.  By any standard, he had a solid career, the majority of which was spent at Paramount.  Born in Joplin, MO on July 26, 1902, he entered the film industry as an assistant cameraman in 1923 and was a frequent collaborator … Continue reading “GEORGE CLEMENS, ASC”

         Yeah, that’s all I can say about this ad from the June 1962 issue of American Cinematographer.  Would you ever imagine a time during which a company thought it profitable to proclaim its aversion to computers?  Although the copy points out that it’s human creativity and artistry that really count, the headline made me … Continue reading “WOW…”

         There’s something about 1960’s print advertising that really sinks the hook.  Review any of the era’s popular publications – Life, Time, Newsweek, National Geographic – and you’ll discover an unforgettable selection of images and graphics.  American Cinematographer, a trade mag not known for its imaginative design at the time, nonetheless had moments in which … Continue reading “COOL ADS”

         The cinema verité documentary movement that reached its height in the 1960’s had broad-reaching effects on all of moviemaking, some to its benefit while others not.  Its most well-known practitioners – Robert Drew, Richard Leacock, Albert and David Maysles and D.A. Pennabaker – produced some interesting work, but I’ve always felt the premise was … Continue reading “TRUTH…OR SOMETHING ELSE?”

         LED technology has quickly turned many of our formerly common lighting units into antiques.  Rather than toss them on the heap, this ad from the May 1969 issue of American Cinematographer suggests an interesting tack.  It’s a sad sight in its way, though no doubt will present its own reward given the right choice … Continue reading “RECYCLING AT ITS BEST!”

         Earlier this year, I delivered several posts touting the virtues of certain cameras that I have used – and loved.  That might sound a bit strange, but the connections that developed were similar to the ones you’ve probably had with certain cars or musical instruments.  Though I never had the opportunity to shoot with … Continue reading “ONE OF MANY ALSO-RANS”