Leo Anthony Vale

The lens removed from the blimp should fit. Both cameras have the same bayonet mount. Removing the lens from the blimp and replacing it might be a hassle.

But CG "photography" also has a huge amount in common with cel animation. Thus "pootertoons". & painting too. The impressionists were quite concerned with how light interacts with the subject. & there's something good to be said about happy accidents and random chance.

There is also a 65mm version of this camera. http://in70mm.com/news/2009/mkbk_65mm_camera/index.htm I doubt that the 35mm version is going to really be cheap. I'd guess it's in the price range of an Arri 235. However I'm intriged by the Stereo camera. I'm thinking it uses 16mm or S16 side by side stereo pairs on 35mm, just as Stereo 70 uses side by side S35 size pairs on 65/70mm.

One could splice the color insert into the B/W reel. While at WRS, I had to splice color inserts and end titles into the B/W 'Operation Bikini'. & there were all those different language main titles for Campus Crusade for Christ's Jesus movie. Yeah, those M/Ts were in color, but it's an example of splicing inserts into a lot of release prints.

A Kinoptik lens is not anamorphic. & 'Wm.Tell' was shot with BNCs from New York. They would have been equiped with Balters or Cookes. You are referrring to Cinepanoramic anamorphic attachments. ---El Pedante

What about widening an academy aperture from 22mm to around 25mm for Super35? The 16mm height would be the same.

Is it really the 35mm camera or is it the Union crew with its large minimum crew size?

Most of the 80s systems were "2-perf". Spacevision, Stereovision, stereoscope and Arrivision. Actually the frame was a bit smaller than technoscope, because the frrame line between Left and Right frames needed to be wider than normal. Aspect ratio: 2.4/1.

A number of mostly European cameras had direct viewing through the film. The Debrie Parvo and Super Parvo would be the most well known. Some versions of the B&H 2709 used this viewing system, which could also be used for rotoscoping on an animation stand.

Wild motors were DC. Not sure about the voltage, probably 24 or 36 volts. They ran off of car batteries. Location sync would use a multi-purpose motor. Which was a 96 volt DC motor piggy backed onto an AC selsyn sync motor. This was wired to another selsyn sync motor which ran the sound recorder. The DC motor turned the AC motor which turned the camera and ran the sound recorder motor. The 96 volt battery was 8 car batteries mounted on a base. the 96 volt batteries were still being used in the late 70s. When I was at PSI back then I had to unload one being returned. One of the batteries was leaking an ruined a new shirt i was wearing.

In 'For All Mankind', one of the Apollo astronauts, in a voice over, says that actually being in space is just like '2001'. & there's that shot where one of the astronauts in zero-g in the command module spins a small black cassette player playing 'Also Sprach Zarathustra' at the camera. Apparently they love the movie.

jerry lewis is credited as the first person to use video assists. blake edwards was probably the next to start using them, but i can't recalll what was the first movie of his to use one. some of the remote control cameras on 'Gran Prix' had video assists. Kubrick used a polaroid camera for checking lighting on '2001'. he would have been using video assists for cameras in difficult to access places, not for dialogue or simple shots. From IMDb.com: Society of Operating Cameramen, (SOC) Honorary Member(1981) Lewis was honored for his contribution and development the first "Video Assist" for the motion picture camera in 1966. This allowed him to view his performance while directing himself in his films. This is used extensively today in filmmaking, known as "Video Village." They were not "taps" back then. They were B/W vidicon cameras mounted on the film camera. One would have had problems tring to see how pink gas was looking on one.video taps on late 60s filmed TV shows would have been unlikely.

Technicolor was going to buy MGM labs. But the justice department stepped in and wouldn't allow it. That would have given technicolor too large of a market share, making them almost a monopoly.

Look at "Color and Meaning" in Eisenstein's "Film Sense". There ought to be more about color theory scattered throughout "Film Sense" and "Film Form".

Camera movements should be a form of visual music. Think of them as instrumental solos between the vocals. Though body mount shots are among the trippiest ones. While M.Balsam falling backwards down the stairs in 'Pyscho' isn't actually a body mount shot it has a similar effect and works well.

The 35mm over/under systems, such as Spacevision, Stereovision and Arrivision, have ARs from 2.5:1 to 2.35:1. Chosing 1.85 might have more to do with video, excuse me-digital, projection.

If you search through mid50s ACs, you'll find an article advocating a 1.66/1 3-perf system. It's been so long since I read the article, I'm thinking it also recommended 3-perf projection. Thus it would still use contact printing.

here's two Library of Congress sites: http://www.loc.gov/exhibits/empire/ http://www.gridenko.com/pg/index.htm the first one shows how the camera and projector worked.

Two movies in 1943 about the assassination of Reinhard Heydrich: fritz lang's 'Hangmen Also Die' and Douglas Sirk's 'Hitler's Madmen'. Many years earlier I.Newton and Liebnitz seperately invented calculus.

I believe it was developed (as in R&D) by Kodak France. In its defense, it has the most attractive fiery orange base color.

Even mixing different B/W stocks was considered bad form in LA. NY might have allowed a bit more slack. NY movies weren't usually as slick as LA movies. Kodak had only one color neg stock 100T and frowned upon DPs and labs processing it in a non standard manner. When Fuji and later Agfa tried to break into the US market, they had to switch to the ECN and ECN-II processes. C-41 and E-4 & E-6 for stills. Part of Fuji's strategy was to offer higher speed stocks than Kodak. & They had to pay royalties to Kodak for the use of their patents.

A lot of Soviet composers had the business sense to publish outside of the Soviet Union. So many Prokofiev pieces have British or French copyrights.

A favorite one is that NASA hired Stanley Kubrick to fake the moon landing photos and footage using front projection. This was not done because NASA hadn't to the moon, rather it was because NASA went to the moon using secret Nazi flying saucer technology!!! & they wanted to keep it secret. So why couldn't they have taken a prop LEM to the moon in some "Bells" and actually photograph it on the moon? http://jayweidner.com/AlchemicalKubrickIIa.html

Von Braun's V-2 team had designed, though didn't build, multistage rockets for intercontinental ranges and orbit. The A-4(V-2), A-4b, A-9 & A-10 A-9+A-10+A-11 http://www.project1947.com/gfb/a-9.htm http://www.pp.htv.fi/jwestman/space/nazispace.html The V-2 was the early step in the space program, not the end all. &the Norden bombsight and the german equivalent contained mechanical analog computers. Not the ENIAC, but functional. Those weren't the only ones being used. It wasn't all the constipated mathematician technique.

& the Steve Reeves classics 'The Thief of Baghdad' and 'Morgan the Pirate'.