American Cinematographer - December 1988 - 10

Another unique
custom tool: Our new
Clairmont Strobe
Inexpensive, compact, lightweight,
flexible. Easy to use,
needs no special operator. Runs on
110V. Syncs automatically
at any speed with our 35BLs, 35-IIIs,

16SRs, Frieses, Mk IIs.

really sharp image
moving subject,
you need a short exposure
time. At 24 fps in normal
light, your exposure is about
1/50 second, of course. With
ora

M.

of a

Seeing each
individual burst of
water from a

the Clairmont Strobe, it's

1/50,000 second.

Exposure is same
at any camera

speed:

1/50,000 second
No matter what your

speed, the Strobe
is the same. You
can change speed during a
shot-no need to change the
iris. Except for "disco"
effects, there's always one
Strobe flash per frame.
Flash duration is always
1/50,000 second.
camera

exposure

In

fact, the Clairmont Strobe

fires twice per frame-once
for the film while the shutter
is open, once for the view¬
finder while the shutter is
closed. We call that one flash
sequence per

pulse shower head
At 1/50,000

frame.

Automatic sync
to camera shutter
The slowest Strobe speed is
one flash sequence every
sixteen frames. The fastest
is the maximum speed of
our cameras-125 flash

second and 120

you can easily see the
individual water pulses from

fps,

pulsating shower head. At
fps with regular lighting,
the water would be hope¬
lessly blurred. At 1,000 fps,
the pulses would be sharp.
a

120

But the action would be so
slowed down that it would
lose reality.

The important point is this:
strobe lighting is for super

Strobe

Lampheads are both lightweight
Small size lets you
position heads precisely and get in close
for big-source effect. Lampheads
can be mounted horizontally or vertically.

sharpness; ultra high speed
They're

and compact.

is for slow motion.
not the same.

"Liquids come alive,"
says Ralph Chandler
Cameraman/Director

Ralph Chandler of Star Turn
has used the Clairmont
Strobe on several table-top
commercials. Backlit

champagne gushing out of
the bottle, for example,
against a black velvet
background. "Strobe light
makes liquids come alive,"

sequences per

second.
Automatically synced by

he says.

the camera's electronic
shutter pulse.

"You can really see what's
going on, in sharp detail,"

says Mr. Chandler. "And with
strobe light, you don't need
to use ultra high speed to get
that effect. So you can show
more in the same screen

time; and the action keeps
its energy."

Speed change
during shot
An

example: Camera run¬
ning at 24 fps. Hand

holding box of cornflakes
enters frame.
120

Zap camera to
fps. Hand begins to pour

cornflakes. When bowl is

full, hand stops pouring.
Camera back to 24 fps. Hand
and box exit frame.

Exposure throughout is
1/50,000 second. No blur.
Incidentally, it's an M.O.S.
system. The Strobe lamps



American Cinematographer - December 1988

Table of Contents for the Digital Edition of American Cinematographer - December 1988

American Cinematographer - December 1988 - 1
American Cinematographer - December 1988 - 2
American Cinematographer - December 1988 - 3
American Cinematographer - December 1988 - 4
American Cinematographer - December 1988 - 5
American Cinematographer - December 1988 - 6
American Cinematographer - December 1988 - 7
American Cinematographer - December 1988 - 8
American Cinematographer - December 1988 - 9
American Cinematographer - December 1988 - 10
American Cinematographer - December 1988 - 11
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American Cinematographer - December 1988 - 13
American Cinematographer - December 1988 - 14
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American Cinematographer - December 1988 - 16
American Cinematographer - December 1988 - 17
American Cinematographer - December 1988 - 18
American Cinematographer - December 1988 - 19
American Cinematographer - December 1988 - 20
American Cinematographer - December 1988 - 21
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American Cinematographer - December 1988 - 25
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American Cinematographer - December 1988 - 27
American Cinematographer - December 1988 - 28
American Cinematographer - December 1988 - 29
American Cinematographer - December 1988 - 30
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American Cinematographer - December 1988 - 37
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American Cinematographer - December 1988 - 40
American Cinematographer - December 1988 - 41
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American Cinematographer - December 1988 - 43
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American Cinematographer - December 1988 - 46
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American Cinematographer - December 1988 - 51
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American Cinematographer - December 1988 - 53
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American Cinematographer - December 1988 - 55
American Cinematographer - December 1988 - 56
American Cinematographer - December 1988 - 57
American Cinematographer - December 1988 - 58
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American Cinematographer - December 1988 - 60
American Cinematographer - December 1988 - 61
American Cinematographer - December 1988 - 62
American Cinematographer - December 1988 - 63
American Cinematographer - December 1988 - 64
American Cinematographer - December 1988 - 65
American Cinematographer - December 1988 - 66
American Cinematographer - December 1988 - 67
American Cinematographer - December 1988 - 68
American Cinematographer - December 1988 - 69
American Cinematographer - December 1988 - 70
American Cinematographer - December 1988 - 71
American Cinematographer - December 1988 - 72
American Cinematographer - December 1988 - 73
American Cinematographer - December 1988 - 74
American Cinematographer - December 1988 - 75
American Cinematographer - December 1988 - 76
American Cinematographer - December 1988 - 77
American Cinematographer - December 1988 - 78
American Cinematographer - December 1988 - 79
American Cinematographer - December 1988 - 80
American Cinematographer - December 1988 - 81
American Cinematographer - December 1988 - 82
American Cinematographer - December 1988 - 83
American Cinematographer - December 1988 - 84
American Cinematographer - December 1988 - 85
American Cinematographer - December 1988 - 86
American Cinematographer - December 1988 - 87
American Cinematographer - December 1988 - 88
American Cinematographer - December 1988 - 89
American Cinematographer - December 1988 - 90
American Cinematographer - December 1988 - 91
American Cinematographer - December 1988 - 92
American Cinematographer - December 1988 - 93
American Cinematographer - December 1988 - 94
American Cinematographer - December 1988 - 95
American Cinematographer - December 1988 - 96
American Cinematographer - December 1988 - 97
American Cinematographer - December 1988 - 98
American Cinematographer - December 1988 - 99
American Cinematographer - December 1988 - 100
American Cinematographer - December 1988 - 101
American Cinematographer - December 1988 - 102
American Cinematographer - December 1988 - 103
American Cinematographer - December 1988 - 104
American Cinematographer - December 1988 - 105
American Cinematographer - December 1988 - 106
American Cinematographer - December 1988 - 107
American Cinematographer - December 1988 - 108
American Cinematographer - December 1988 - 109
American Cinematographer - December 1988 - 110
American Cinematographer - December 1988 - 111
American Cinematographer - December 1988 - 112
American Cinematographer - December 1988 - 113
American Cinematographer - December 1988 - 114
American Cinematographer - December 1988 - 115
American Cinematographer - December 1988 - 116
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