Ahhhh, you obviously know cameras more than I do. Like I said, some cameras are DC. The gennie is there for the lighting instruments on the bar (speed rail) in front of the window. This is also NOT a master shot of the car because the rigging on the car is visible. They are obviously filming the driver. Back to the statement that I was making... the camera work almost always takes precedent over the sound recording. It is just too difficult to get the proper camera angles for the required shots AND have the sound department setting up mics in the optimal locations to grab sound. I have worked second unit on quite a few feature films with extensive vehicle shots and as I think back I can't recall the sound department being on set. So, if the sound department was on set and if they complained about that little gennie they would have been looked at like they were crazy. I know this because I worked as both a gennie op and a sound recordist on countless TV spots and quiet a few feature films.
That’s why we get the cars after - to record interior and exterior perspectives of every possible sound the editors might need to make something matching the picture once it's cut. With noisy cameras like those you'ld normally try to get a guide track for reference, but that scene would have been a boring day or two (followed by serious fun).
Billy Wilkerson in the #2 and in the middle is Jimmy Oskie in the #3 car and Bob Evans on the outside at Ascot.
Milwaukee Mile 1961... Don Branson #96 in the Howard Linne owned Offenhauser... Started 1st and finished 12th
Milwaukee Mile 1961... Bud Tinglestad #94 in the Jim Maddux owned Offenhauser... Started 26th and finished 22nd
The Jalopy Journal
