DIRECTOR OF ENGINEERING
MITCHELL CAMERA CORPORATION

Mr. Di Giulio explains how the Steadicam came into being and
the basic principles behind it’s design. Presented with 3D
graphics illustrating the business end of the rig and a
Steadicam Owner who tells us in the behind-the-scenes
footage why she became a Steadicam Operator

CINEMATOGRAPHER

Mr. Roizman explains some of the responsibilities of a
cinematographer such as being concerned while shooting
that the scene will edit properly. Presented with graphics
illustrating the incorrect and correct subject placement in the
frame; working with a camera operator on eye lines; graphic
examples of incorrect and correct eye lines; what you can
do to avoid "jarring" the audience and the role of the
subconscious and how it effects how an audience
views a film.

CINEMATOGRAPHER

Mr. Kemper talks about framing and what the camera sees.
He talks about the actor’s point of view; what you will see
in a finished film as compared with what you shot looking
through the lens on a set; how best to assure you will get
what the director wants from the framing; color and B/W
(black & white) contrast and how to assure what you see is
what you get; how framing is critical

CINEMATOGRAPHER

Mr. Koenekamp talks about working on the first Panavision
picture; the history of Panavision from the cameraman’s
perspective; "Raintree county"; the first Panavision lenses;
65 mm film; the Panavision PSR Camera; the excitement of
shooting with the first reflex viewing cameras; the old
Mitchell BNC camera and early Panaflex camera models.

DIRECTOR OF ENGINEERING
MITCHELL CAMERA CORPORATION

Mr. Miyagishima talks about Super Panatar Lenses; MGM and
Panavision’s Camera 65; building Panavision’s first BLIMP;
framing in "the old days"; an outside finder with 11"
of parallax; blimping and keeping the camera noise inside
the camera; Bee’s Wax and smoke used to test the early
Panavision camera blimps; early lessons in building lenses
and cameras at Panavision; how Panavision started with
only one lens.

PRESIDENT, CEO, CHIEF ENGINEER
CHAPMAN / LEONARD STUDIO EQUIPMENT

FOUNDER OF LEONARD STUDIO
EQUIPMENT

In "The Voice Of The Camera" Mr. Chapman talks about camera
movement and it’s relationships to Cecil B. DeMille and
"The Greatest Show On Earth"; adding fluidity and action to the
scene; continuity of movement and continuous action of the
camera; the Superpeewee 4 Camera Dolly; grace of action
through camera movement; camera placement; "The Touch Of
Evil" and a continuous take; "High Noon" with Gary Cooper and
adding drama to scenes. Liberal examples of camera movement
are illustrated in "The Voice Of The Camera" while Mr. Chapman
talks of how movement may affect the camera. Mr. Chapman has
won numerous awards from his peer’s in the television and
motion picture industry. Double Exposure’s Producer is
honored to present Mr. Chapman, as a living pioneer of the
television and motion picture industry.

CINEMATOGRAPHER

Mr. Fraker talks about drawing the audience into the film by
involving them with what they are seeing on the screen; how to
set visuals objectively; on setting the environment in a scene
including the actors and where they are; moving from the
objective to the subjective; Mr. Fraker relates how he
accomplished moving from the objective to the subjective with
director Roman Polanski in a scene from "Rosemary’s Baby" .

DIRECTOR OF ENGINEERING
MITCHELL CAMERA CORPORATION

Ben talks about today’s cinematographers being asked to
work under tight budgets and tight time constrains and how
that presents challenges for the cinematographer; maintaining
lighting continuity; maintaining frame continuity; how to establish
the geography of a scene early on when there is a lot of action in
the frame; the 180 degree line; getting out of a shot if it’s not
working.