[Dave A]

Following focus on a wide-angle is easier for a close-up shot with these old fixed lenses on a turret. And the depth-of-field is much wider allowing the grand sets to stay somewhat in focus. Not as touchy as a longer lens which was probably near wide-open even with the massive lighting. A longer lens would have a more narrow depth-of-field and turn the background quite soft. And a 200lb camera is not helpful either to smoothly move, even if stationary, at a further distance for the close-up.

In my TK-42 days, I quickly learned that to do any kind of dolly move, I did it with the lens zoomed wide and moved the camera to make the shot. Not the lens to make the shot.

On the BW cameras of the day, focus was approximately set on the lens (front-focus) and the op actually moved the IO via the camera focus control for back-focus. Not knowing for sure, but the TK color cameras had to have a similar system. Please correct me if needed. To this day, we still have a front-focus/back-focus adjustment on modern cameras and lenses.

On turret-style cameras, these were the days before motorized iris controls so it was film-style lighting. The lighting director, who was king on any production right after the director, determined a common iris stop on all the lenses in the turret depending on the "look" of the production and poured on the lighting to get the video level needed. Nice and bright for Dean Martin. Darker and shadowy for Peter Pan (which was more of an ensemble production and not inclined to close-ups). Today, this is almost a lost art in television lighting. Auto-iris killed this. Not sure if the early zoom lenses had iris motors.

Many cameras will have a chin light mounted under the lens and that works best up close to hide the wrinkles. You can see these in many old photos. And you also get the cue cards closer to the talent. Helpful if they are getting older.


Dave A