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Wayne, I am deducing this from may years of directing and trying to figure out what the director (Clark Jones) had in the studio. The opening shot of Florence Henderson is pedestal/turret and that camera vacated to in-between the audience risers for the head-on shot of the artist. The zoom camera was down stage next to the down stage crane and not used much, nor would it have to cross the crane camera cable to shoot Florence. The other crane was backstage looking down at the orchestra and the reverse shot of the piano. All of this is classic Clark Jones style. One of the most famous entertainment directors of the day.
From personal experience behind a TK-43, I can say that a heavy camera up high on a pedestal is just not good for dolly/truck shots. And you "dolly in/out". You "truck L/R". Any bump by the wheels just amplifies up to the high center of gravity camera, just like the end of a fishing pole.
And an added note. Zoom lenses have a long history in film but were not used much in the studio. They were just a quick way to change lens lengths but not for screen. Paramount used these heavily.
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“Once you eliminate the impossible...whatever remains, no matter how improbable, must be the truth." Sherlock Holmes.
Last edited by Dave A; 01-25-2021 at 06:29 PM.
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