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WIDE ANGLE LENSES • CYPRESS GARDENS INVITES
BUILD A LIGHT BOOM
• • • • AMERICA'S FOREMOST CAMERAMEN PREFER THE BOLEX H-16
Bill Daniels
1948 A cademy A ward Winner for Cinematography {B&W)on"The Naked City"
uses the Bolex H-16
NEW! BOLEX EYE-LEVEL FOCUS!
All new Bolex H-16 and H x cameras now include this fine precision instru- ment that gives you critical visual focus through the lens, from behind the cam- era . . . and at no increase in price!
Here's why BILL DANIELS prefers the BOLEX H-16
Automatic Threading: No need to use ex- pensive magazine-loaded films. Bolex auto- matic threading eliminates all danger of imperfect threading.
Turret Head (or Three Lenses: Accommo- dates standard "A" or "C" type mounts. Tri-focal Tubular Viewfinder: With exact fields for 15mm, l"and 3" lenses as standard equipment, viewfinder provides for absolute correction of parallax down to 18 inches. Invaluable for title and closeup work. Critical Visual Focusing: Groundglass fo- cusing for instant and accurate focus through the lejis; magnifies image 10 diam- eters.
Focal Plane Type Shutter: Rotating disc, lild" opening, revolves only 118/1000 of an inch from emulsion side of film preventing linear distortion and giving faultless regis- tration on the film. This is a Bolex exclusive. Frame Counter: Accurate flame counters add or subtract
Shown here are five enlarged frames taken from a Home Movie sequence made recently by Bill Daniels. Such fine enlargements are possible— even on paper —because the pictures were taken with a Bolex 11-10. In combination with its Kern-Paillard* Lenses, the exclusive shutter mechanism of the Bolex H-l(i as- sures faultless registration of the image on the film— in color or black-and-white.
The BOLEX H-16
Less lens, $282. SO
no led. tax
Footage Counter:
lately in forward Audible Footage click with passage Variable Speeds:
•ttomatically. Adds and subtracts accu- inil reverse.
Indicator: You lieur a of each 10 inches of film.
Speed range is 8, 16, 21, 32, til and all intermediate. The governor maintains constant speed with the closest tolerance.
Hand Crank Operation: Either forward or reverse hand cranking is standard equip- ment. Speed is governor-controlled and any amount of film can be cranked in either di- rection. Dissolves, fades, tricks are easy. Single Frame Exposures: lakes stills or animated sequences at 1/20 to 1/25 second exposures, or with "time" exposure. Pressure Plate: Maintains firm, precise pres- sure on film, insuring rock-steady pictures. Single Claw Operation: Designed to permit adaptation for use with sound film.
Thr Bolex is a precision instrument built like the finest Swiss natch bij Swiss craftsmen.
PROFESSIONALS and advanced amateurs prefer the Bolex H-16 because it gives them every advantage they demand— yet per- mits the ease oj operation that use for Home Movies requires.
Created and produced admittedly for the one movie maker in '.CIO who can appreciate the finest, the Bolex H-16 is now the choice of exacting 16mm Home Movie cameramen all over the world. Swiss precision engineer- ing has designed, in the H-16, a faultless in- strument which you can depend upon to get the picture every time ... in every climate and under all conditions.
Drop into your camera dealer's today. Let him show you the many professional effects you can get with the H-16 and without extra
equipment or gadgets. Handle it. sight it. check its simplicity of operation. You'll know why America's foremost cameramen prefer the Bolex H-16 for their Home Movies.
KERN-PAILLARD LENSES are respected through- out the world for their consistent high quality. Available in Switar 1" f/1.4, Pizar 1" f/1.5,
Vvar 15mm f/2.8 and Vvar 3" f/2.5.
Xote : The Switar 1" f/l.l is as fine
as any speed lens ever made for the
16mm field.
A PAILLARD PRODUCT
MOTION PICTURE CAMERAS
WRITE TODAY for descriptive f 'older MM-150 on camera and lenses to: PAILLARD PRODUCTS, INC., 265 MADISON AVENUE, NEW YORK 16, N. Y.
Bolex Cameras are sold and serviced through leading camera dealers everywhere.
rt
^JC\B 226615
i ■■■■
MOVIE MAKERS
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Make |
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Your hnfwiit |
pc |
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IVIUVI |
More |
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interesting |
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IN HOME MOVIES
the Heart of a perfect picture is a V1
Kern-Paillard lens
Standard of Quality and Precision the World Over. Kern-Paillard Cine lenses are designed and constructed by Swiss precision craftsmen . . . there is nothing finer in the home movie field.
-See
The back cover of this issue of MOVIE MAKERS
Every Kern-Paillard lens is fully color corrected, specially coated, in focusing mount. Built-in lens shade, except the 16mm telephoto. Prices include Federal tax.
FOR BOLEX H-16 CAMERA Switar 1" f/1.4 $183.75. Finest speed lens for 16mm cameras. Cuts sharp from corner to cor- ner of frame. Automatic depth of focus scale, micrometer click-stops.
The NEW Pizar 1" f/1.5 $97.00 (Introductory price). Sister to the Switar with the same superb optical characteristics. Corrected to f/1.5, with- out depth of focus scale. Equals the Switar in all other respects.
Tver 15mm f/2.8 (Wide Angle) $78.75. Gives excellent definition even at full aperture; COCi greater field than 1" lenses.
Yvar 3" f/2.5 $128.34. Fastest 3" telephoto lens. "C" Mount for Bolex and other cameras, f/2.5 aperture gives excellent results under adverse light conditions. Micrometer click-stops.
FOR BOLEX H-8 and other CAMERAS
Switar Vi" f/1.5 $160.42. Finest and fastest 8mm speed lens made. It gives the 8mm user a quality picture never deemed possible on 8mm film, in color or black and white. Has automatic depth of focus scale, micrometer click-stops. Yvar 25mm f/2.5 (Telephoto) $68.25. A pre cisely built medium telephoto lens with excep- tional speed. Excellent for outdoor sports and indoor portrait work.
Yvar 36mm f/2.8 (Telephoto) $89.54. A longer range telephoto for close-ups of distant subjects. Takes pictures that rival lGmm telephoto shots in detail and quality.
Yvar l/j" f/2.8 (For Bolex L-8 only) $49.55.
Especially designed for 8mm use. Precision-built, its special optical system insures pin-point detail.
Ask your photo dealer to explain details on Kern-Paillard lenses which are designed especially for the Bolex camera.
Kern-Paillard precision
lenses
PAILLARD PRODUCTS, Inc., 265 Madison Avenue, New York 16, N. Y.
NOW
SHOOT IT IN SOUND!
with the ALL-HEW
JANUARY 1950
EM333'
-V,
otce
16 mm SOUND-ON-FILM HOME MOVIE CAMERA
jPQrQQ at your photo Dealer, Ou 0 — or write to us for free descriptive Folder telling how to shoot Home Movies with Hollywood style sound-tracks, for exactly the same film cost as silent movies! You can show your own "Cine-Voice" talking pictures on any make of 16 mm sound-on- film projector.
Record SOUHD -TRACK & Picture. . . Project SOUHD & Picture!
COMPLETE OUTFIT. ..*695°°
Including "Cine Voice" Sound Camera with high lidelily Microphone, Amplifier. Headphones, all Batteries and Tubes, Carrying Case, Instructions. Camera uses'C" Mount Lenses (not furnished) same as most popular 16 mm Cameras.
RCA LICENSED G?**^^ GUARANTEED ONE YEAR
BERNDT-BACH,Inc.
7383 Beverly Blvd., Los Angeles 36, Calif.
MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931
THE MAGAZINE FOR 8mm & 16mm FILMERS Published Every Month by AMATEUR CINEMA LEAGUE
The reader writes
High hickory
Adventures in animation
Now, sound on film!
Keeping sound in sync
Using the wide angle lens
Movies in color: 2
Build your own boom
Cypress Gardens invites
Hints from Hollywood
The clinic
News of the industry
Closeups
Late releases
Titles that talk
Clubs
ACL members urged to name candidates
8mm. on the march
January 1950
O. L. Tapp, ACL 11
Glen H. Turner, ACL 12
Boynton W. Roberts 14
Martin Weledniger 1 5
James W. Moore, ACL 16
18
Bruce Engels, ACL 19
Robert J. Eastman 22
24
Aids for your filming 25
Reports on products 26
Ten Best contest report 28
New 8mm. and 16mm. films 32
33
People, plans and programs 36
37 Editorial 38
Cover photograph from Florida Cypress Gardens Assoc.
DON CHARBONNEAU Consultant Editor
JAMES W. MOORE Editor
JAMES YOUNG Advertising Manager
ANNE YOUNG Production Editor
Vol. 25, No. 1. Published monthly in New York, N. Y., by Amateur Cinema League, Inc. Subscription rates: S3. 00 a year, postpaid, in the United States and Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras, Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland; other countries $4.00 a year, postpaid; to members of Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies 250 (in U.S.A.). On sale afphoto- graphic dealers everywhere. Entered as second class matter, August/3, 1927, at the Post Office at New York, N. Y., under act of March 3, 1879/Copyright, 1950, by Amateur Cinema League, Inc. Editorial and Publication Office: 420 Lexington Avenue, New York 17, N. Y., U.S.A. Telephone LExington 2-0270. West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application. Forms close on 10th of preceding month.
CHANGE OF ADDRESS: a change of address must reach us at least by the twelfth of the month preceding the publication of the number of MOVIE MAKERS with which it is to take effect.
MOVIE MAKERS
Jg_
,;
January is
CASTLE FILM
Month!
CASTLE FILMS
Greater New January
MOVIES!
Never before have we offered more outstanding movies for the enjoyment of all 8mm-16mm projector owners !
HOPALONG CASSIDY
in CASTLE FILMS
SENSATIONAL! IN 3 GREAT SUBJECTS!
'THREE on a TRAIL' 'BAR 20 RIDES AGAIN' 'HEART of the WEST'
0 Hopalong daringly(5) Hopalong's secret sig- (3) Hopalong's nerve turns bombs an outlaw gang nal leads cattlemen to stampeding cattle, wip- into submission! hideout of bad men ! ing out rustlers!
ABBOTT and COSTELLO
in "HIGH FLYERS"
0 Bud and Lou in hysterical plane antics, 10,000 feet up, mak- ing the "wild blue" wilder! Packed with thrills and laughs!
AN EXCITING SPORT MOVIE!
SPORT THRILLS of the YEAR
® Thrilling, red-hot moments from variety of nerve-tingling sports including Kentucky Derby, Pendleton Rodeo, Army- Navy Game ; many others !
FUSS
3 CARTOON LAUGH RIOTS with
WOODY WOODPECKER
'DIPPY DIPLOMAT' 'THE LOOSE NUT' 'WOODY DINES OUT'
(6) Woody in wild plot to 0 Woody golfs in wet ce- (g) Woody and villainous steal free lunch ! Side- ment with laugh-filled cat in hilarious rough- splitting !
to all projector owners! New 1950 Deluxe Castle Films' catalogue describing a great variety of home movies.
SEND THIS. COUPON TODAY!
CASTLE FILMS
division of U/vTr^TvJo**-0 Fll*s inc.
1445 PARK AVE. 542 S. DEARBORN 604 MONTGOMERY NEW YORK 29 CHICAGO 5 SAN FRANCISCO 11
action and gags !
house fun !
DON'T DELAY!
See your Photo Dealer or send him this handy order form
TODAY!
k'"" ORDER FORM
Send Film Numbers in size and length checked
8M M 50 ft. $1.75
Complete $5.50
16 SI Comp-
100 ft. $2.75
.75
Sound $17.50
Wi Name
Address
City Zone .... State
Remittance Enclosed □ Send me Castle Films' FREE De Luxe Catalog □
JANUARY 1950
^ffiofo
Data Book/
?! Tells you More Costs you Less
Forget the exposure index? Or the guide number? What aperture change for this close-up? What's the filter factor?
Have all the answers at"
your fingertips! Get your
new 1950 General Electric Photo Data
Book today. It's so full of handy facts,
valuable data from all manufacturers
... in quick reference form.
Here's a partial table of contents: —
Exposure Indexes
Filter Factors
Flash and Flood Guide Numbers
Lens Formulas
Metered-Flash (sun-plus-flash) Exposure Table
Shutter Speeds of Movie Cameras
Triangle Lighting
Darkroom Information
Aperture Correction for Close-ups
Your Meter in the Darkroom
Exposure Ratios in Copying and Enlarging
Hyperfocal Distance Chart
Speeds of Photographic Papers
Projection Distance Data
Weights and Measures
Metric Equivalents
Glossary of Photographic Terms
— and much morel In the field or in the darkroom, you'll find no handier, no more complete reference guide . . . for only 50<S
At your dealer's, in the new attractive
counter display. General Electric Co., Schenectady 5, N. Y.
GENERAL® ELECTRIC
This department has been added to Movie Makers because you, the reader, want it. We welcome it to our columns. This is your place to sound off. Send us your comments, complaints or compli- ments. Address: The Reader Writes, Movie Makers, 420 Lexington Ave., New York 17, N. Y.
SURPRISE IS A MILD WORD!
Dear Movie Makers: What to say next is somewhat of a puzzle. Surprise is a mild word! After all the letters and stuff, I was sort of hoping for a Ten Best. But hitting the jackpot the first time out was a most welcome sur- prise. It only goes to show that there is no harm in trying.
And so thanks for everything, and more power to you in furthering the cause and improving the quality of amateur movies.
Glen H. Turner, ACL Springville, Utah
THRILLED NO END
Dear ACL: I was thrilled no end to read your letter advising me that my Jones Beach had been chosen as one of the Ten Best Films of 1949! You know how much it means to me to be honored by ACL, especially this year when I understand the competition was very keen.
George Mesaros, FACL Long Beach, N. Y.
A GREAT HONOR
Dear Mr. Moore: It is a great honor to be writing to you and the League as a Ten Best winner. May I take this opportunity to thank you all for be- stowing this generous approval upon Escape.
Warren S. Doremtjs, ACL Rochester, N. Y.
TO PUT IT MILDLY
Gentlemen: Thank you very much for your kind letter of November 25 in which you and the staff of Movie Makers congratulated me for having my film, The Witch Cat, chosen as one of the Ten Best Amateur Films of 1949.
To tell you that I am exceedingly proud of the certificate and for what it stands is to put it mildly.
William A. Thomas, ACL Buffalo, N. Y.
FIRST EVER ENTERED
Dear Mr. Moore: Vic Watson and I wish to thank you for the recognition you gave our film, A Christmas Story, in your annual contest. We are espe- cially pleased as this is the first film
either Mr. Watson or I have ever en- tered in your competition.
Bert Seckendorf, ACL Brooklyn, N. Y.
VERY HAPPY
Dear Movie Makers: I was very happy when I received your good news that my motion picture, Her Heart's Desire, had been awarded Honorable Mention in the selection of the Ten Best Ama- teur Films of 1949.
Please accept my sincere thanks for this very kind recognition of my en- deavor to produce a good film. I hope that my next picture, on which I am already working, will turn out still bet- ter.
Othon Goetz, ACL Chicago, 111.
NOT DOWN TO EARTH
Dear ACL: I can't tell you how de- lighted I was to receive Mr. Moore's letter stating that Caledonian Chron- icle had been awarded Honorable Men- tion in the Ten Best contest. I'm not down to earth yet!
Esther Cooke, ACL Albany, N. Y.
WILL TRY AGAIN
Dear Movie Makers: Although our film, Barbecue, did not make top hon- ors in either the Ten Best or Honor- able Mention categories, we felt highly honored to find it listed as a runner-up among pictures entered by former Ten Besters and such top notch workers as Carbonaro, Merz, Londema, Tapp, Nelli, Valentine and others of equal talent.
This being our very first film en- tered in any contest, and the competi- tion being what it was with such a tremendous number of films entered, we feel as happy about the whole thing as though you had awarded us a Ten Best rating. We will try again. This was wonderful encouragement.
Pete B. Delaurenti, ACL Renton, Wash.
ALWAYS PUZZLED ME
Dear Mr. Moore: I have been a read- er of Movie Makers for the past six- teen years and a member of the League for the last twelve years, and it has always puzzled me how the judges ar- rive at their decisions regarding the Ten Best and Honorable Mention win- ners.
Reading through December Movie Makers on the latest awards, your
The Greatest Hame in Cinematography
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Compare These Pathe Features With Any 16mm Motion Picture Camera At Any Price!
"fa Full Frame Focusing Device — You actually sight directly through the lens in use all the while you're filming. You see the exact field, no need for parallax compen- sation, no chopped heads, no out-of-focus pictures, you see exactly what is being registered on your film.
^ Variable Shutter - A totally closing variable shutter enabling you to make wipes, fades and lap dissolves without any additional accessories. All professional theatrical effects at your fingertips.
"^ Speeds to 80 Frames Per Second - A full scale of six speeds incorporating the exclusive Pathe 80 frame feature for extreme slow motion. With the Pathe patented governor you are certain of exact speed to the last frame of any sequence.
X" Long Run Spring Motor — 30 feet of film to one wind- ing. Now no precious scenes lost. Almost 75% longer run with one winding.
-f{ Extra Light Weight — All these features in a camera that weighs less than five pounds. Compact, rugged— for easy hand operation. Lightest camera in its class.
"J{ Built-in Hand Crank — Not a mere accessory which can be lost or left home but a built-in mechanism always at your fingertips for forward and reverse action and additional professional effects.
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^ Automatic Footage and Frame Counters — These counters, an integral part of the camera, add and subtract with extreme accuracy. The frame counter is used in conjunction with the Variable Shutter to effect smooth scene transitions.
yC Single Frame Device — Still pictures for animation and stop motion... either instantaneous or time exposures. Special locking device prevents accidental exposure.
■^ Optical Viewfinder — A perfectly corrected built-in op- tical viewfinder for various focal length lenses.
Ever since the inception of motion pictures, the name Pathe has been a most important factor. Charles Pathe was one of the first to operate a motion picture exchange. He originated the news- reel. He pioneered in the design and manufacture of great cinematographic equipment.
Pathe, with an unchallenged heritage in motion picture camera pioneering and development, now presents to the professional and the professionally-minded amateur a truly fine instrument embodying all professional features. The result of years of unquestioned leadership in a highly specialized field, the Pathe Super "16" offers flexibility, scope and refinements unsurpassed by any other 16mm camera, regardless of price. See it . . . test it . . . compare it! You, too, will agree that it is the ultimate in the 16mm motion picture camera world. List Price, $395.00, less lens. (No excise tax.)
Fuli Frame Follow Focus
A feature formerly restricted only to the pro- fessional cinematographers now available In the Pathe Super "16". You sight directly through the lens in use while it is in use! You can follow focus — you see when the subject moves out of the depth of field — you can achieve perfect composition— from titles to landscapes you know the exact limits of your field. Now no more out- of-focus pictures ... no more chopped heads... no necessity for parallax correction — there is no parallax. All the advantages heretofore en- joyed by Hollywood's fop cameramen are now made available to you by Pathe engineering.
"This is but one of the many features of the Pathe Super certain that it is the finest 1 6mm I have ever seen."
'16" that makes me
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NOTE. ..If your Dealer doesn't presently have the Pathe Super "16" in stock, please be patient. He'll have it shortly. Meanwhile, write for full descriptive literature.
MTHE'CI
521 FIFTH AVENUE, NEW YORK 17, N. Y.
A DIVISION OF DIRECTOR PRODUCTS CORP.
JANUARY 1950
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comments on many of the Ten Best are not as favorable as your comments on some of the Honorable Mention win- ners. It seems, therefore, that the judges might feel a trifle uncertain re- garding their decisions.
I am not trying to place my judg- ment above that of your judges, who, I am certain, have had much more experience than I have. But I am in- terested in what, in simple terms, makes a good amateur movie.
Charles H. Benjamin, ACL Past President Brooklyn Amateur Cine Club, ACL Brooklyn, N. Y.
Dear Charlie: It puzzles us, too. Broad- ly speaking, we are a trifle uncertain about our decisions. If you have read Hobbyist's Hobby, our November editorial, you'll know what I mean.
As for what makes a good amateur movie, I'd list the ingredients, in their order of importance, as follows: (1) In- tent— a compulsive drive which makes it undeniably necessary for a filmer to say in his film something sincere, moving or beautiful; (2) Imagination — an undefin- able, and largely unteachable, talent which transmutes the thing said into imagery of universal recognition and appeal ; (3) Ability — the technical skill to translate intent and imagination into adequate film form.
FILMERS TAKE HEART
Dear Friends: Congratulations on your choice for the Ten Best and especially the Hiram Percy Maxim Award! I have seen the picture that won the Award, and you can take my word for it, Glen Turner's film richly deserved it.
I exhort all filmers to take heart from his victory. He has proved against the stiffest kind of competition that it is not the equipment you own that counts, it's what you do with it.
Al Morton, FACL Salt Lake City, Utah
To a great-hearted competitor and Maxim Award winner for 1947, our warmest thanks !
SIMILAR IN SIZE
Dear Reader Writes: May I suggest that the ACL lapel pin or button be similar in size to the Marine Corps button, which measures approximately 9/16 of an inch in diameter?
In the outer area, the letters "ACL" on the top side and the words "Ama- teur Cinema League" on the bottom side, with an amateur movie camera on a tripod in the center circle. Hav- ing the camera and letters in gold and the background in red would make this design quite attractive and colorful.
George R. Wright, ACL Arlington, Mass.
THERE IT WAS!
Dear Movie Makers: Every year we make up our own personal Christmas cards. This year we were at a loss for an idea until the arrival of December
Movie Makers — and there it was. Right on the cover!
So, at the very last minute, we cut and we pasted and we had the very best Christmas card yet. You can see by the enclosed copy what we mean.
Raymond J. Berger, ACL Cheektowaga, N. Y.
CLUB IN MICHIANA?
Dear Mr. Moore: As I read such arti- cles as Helen King's Run a Nickelodeon Night, I realize the fun that one misses by not belonging to a local movie club. And not only the fun, but the oppor- tunity to join in cooperative filming ventures and programs of benefit to the entire community as well as to the in- dividual filmer.
In discussing the subject with dealers in the Michiana area, I find a great deal of interest in helping with the formation of such a group. I therefore invite ACL members and other movie makers in South Bend and Mishawaka to get in touch with me if they are in- terested in a local movie club.
John H. Groet, Jr., ACL 713 Studebaker Street Mishawaka. Ind.
The full resources of the ACL's Club Department already have been pledged to member Groet and those others inter- ested in forming a club in this busy area.
RESULT OF SHOWING
Gentlemen: Enclosed please find money order covering two memberships in ACL. One of our other ACL men screened a reel of his recently at the club without titles. He put the League leader and end title on instead and everyone thought it was beautiful. These two new members are the result of that showing.
A. Theo Roth, ACL Golden Gate Cinematographers San Francisco, Calif.
VERY GRATIFYING
Dear Mr. Charbonneau: Your interest in our club is very gratifying, and I am sure that every member of our club, whether ACL or not, realizes the im- portance of your organization in the field of amateur movies.
Ralph R. Smith, ACL President Bennington Movie Makers Bennington, Vt.
MOVIE MAKERS
THE moving hand. That look of surprise. Even the smoke from the candle. Ansco Triple S Pan stops them all.
But conditions like these are made to order for the terrific speed of this amaz- ing reversible film. It's so fast, in fact, you can use less artificial lighting — or you can move your lights farther back. The advantages are tremendous.
There is less brilliant glare, which means that children, particularly, are not as conscious of the lights. They are more relaxed. Less apt to squint, or kick up a fuss.
Indoors, or outdoors, Triple S Pan lets you take pictures in relatively poor light; or stop down for extra depth of field. This means you can keep your sub- ject in focus over a much wider range
— with needle - sharp screen images.
You'll be delighted, too, to discover the tonal range possible with this wide- latitude film. Get a roll, today, and see how pleasantly surprised you'll be with your "professional" results.
Ansco, Binghamton, New York. A Division of General Aniline & Film Corporation. "From Research to Reality"!
ASK FOR
An
SCO 8 AND 16 mm TRIPLE S PAN FILM
10
JANUARY 1950
REVERE RANGER 8mm CAMERA
The Supreme &mm Value!
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F 2.5 Coated Lens— Tax inc., $62.50
REVERE "85" 8mm PROJECTOR
Most Popular Home Projector!
Revere "85" is the ideal projector for home use. It gives "theatre quality" performance . . . extreme steadiness of operation. Owners appreciate its easy threading . . . double-blower cooling system . . . fast automatic re-wind . . . and other features that assure safe, smooth, brilliant projection.
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See these outstanding values at your Revere dealer's now!
REVERE CAMERA COMPANY • CHICAGO 16
EIGHTS AND S1XTEENS
11
Salt Lake City Tribune-Telegram
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CROSS LIGHTING, with its resultant highlights and shadow patterns, is best for all ski shooting, whether in downhill racing or on the ski lift.
Alta Peruvian Lodge
TIME was, once the Christmas turkey had been tucked away, that many amateur filmers tucked away their cameras as well. No more good shooting now till spring, they'd say. . . . But not so today. For today, wherever snow falls across the land, there is the call of high hickory. With more than two million zealots track- ing the ski trails, there are bound to be thousands mak- ing movies of this thrilling sport. And what a sport for movie making it most surely is! Are you ready to shove off?
DRESS FOR THE OCCASION
First of all, when traveling into your local ski resort, be sure to wear proper clothing. Avoid hampering heavy clothes that weigh you down, and trust instead to good woolens and a windbreaker jacket. A cap with earflaps is important, as are a pair of wool-lined mitts. And here's a tip : slit the right hand mitt so as to permit quick action of the index finger on the camera release button. Some sport shops sell mitts of this type presumably for hunters. They will work just as well when used with a movie camera as with a rifle. Finally, if you're not a skier, equip yourself with a set of snowshoes, or webs, for getting about in the deep snow.
THE PROPER LENSES A wide angle lens is of little use in ski filming. Tele- photos, however, will be a great help on many occasions in your movie tour of the schuss trails. For one thing. it is rarely possible to get physically close to such ex- citing action as ski jumping, downhill racing or even the slalom contests. Your 3x or 4x lens will pull your pictures in there where the action is at its best. Further, even on the practice slopes, it can save you much tramp- ing about for varied camera distances. Also, you'll want a tripod, or, as many ski filmers have done, a tripod screw inset in the top of one ski pole.
Try the ski trails this winter for a winning combine of action and the great outdoors
HIGH HICKORY
L. TAPP, ACL
ESTIMATING EXPOSURE
Your usually trusty friend, the exposure meter, cannot be wholly depended upon when shooting over snow. This will be so especially on the familiar full or long shots, where, with front lighting, the meter may show as high as f/22. And yet for such scenes in Kodachrome at standard camera speed, an aperture of //ll will be as high as you should ever go. For near shots and closeups, a reading on your hand will generally be a good guide.
Exposing for side or back lighted scenes depends on what you want to get. If it is drama you're after, expose for the highlights. If you want detail, then expose for shadows.
CONTINUITY NO PROBLEM
If continuity is your problem, the following may be helpful. One of the oldest and best treatments for any movie is the one-two-three method of long shot, medium shot and closeup. Let's begin with the practice or ama- teur section of the ski slope. Here you can always find spills, awkwardness and lots of humor. Why not concen- trate on one beginner who spends all day trying, never moving more than a few feet before another fall. This could be used as a running gag in your film, with a cut- back now and again to the same person still trying to master the art.
After filming the beginners, let's move up to the big chair lift that takes the experienced skiers up the slopes and onto the mountain tops. Catch the skiers waiting their turn in line, then climbing aboard and swinging off into space. Now climb aboard a chair vourself for a ride to the top. But keep your camera handy, for vou'll get some excellent footage on the way up. Shoot straight down and catch an empty chair [Continued on page 29]
12
ADVENTURES IN ANIMATION
OLD PUGH, THE PIRATE, gets his fearsome features painted on with India ink. The figures were shaped from balsa wood and joined with copper wire.
HERO AND HEROINE say a fond farewell, as the fisherman goes off to his nets. Clay under models' feet kept them upright when posed off balance.
RIGHT ANGLED MIRRORS as a background were used to create the illusion of many couples and various dance patterns in dance fantasy sequence.
GLEN H. TURNER, ACL
IF and when any credits are being distributed for the making of One Summer Day, I believe that our oldest boy, Douglas, at least deserves an assist. In fact, a good case might be made for giving him the treasured Maxim Award. But please don't tell him I said so.
It all started — a couple of Christmases ago — like this. I had purchased a few months before the holidays a new 8mm. Filmo Sportster. And like all people with a new gadget I toyed around awhile with the speed control, shutter release and the like. I began wondering too about possible uses for the single frame feature. It wasn't long then till an animated title or two began appearing in our films. The next obvious and apparently inevitable step was an animated show.
WOODEN TOYS LEAD TO TRIUMPH But cartoon animation seemed out of the ques- tion, both as to available time and the technical difficulties involved in the drawings. Then Christ- mas came, and with it a seeming solution to our animation dilemma. Douglas, then all of five, re- ceived a set of "Crazy Ikes," an assortment of wooden units that could be assembled into jointed characters in any number of positions.
With these as a beginning we were in the ani- mation business. Disney and George Pal just weren't in it when our first reel came back from the processors. What had been hours and hours of move-the-figures, click-the-shutter, move-click, move- click, etc., suddenly became a few precious seconds of revealing action. The Crazy Ike actually sat up, stood up, got on his horse and rode away. This first production, A Little Boy's Dream, was reason- ably successful, but it seems we hadn't had enough. Hence the birth of One Summer Day.
HOW A STORY IS BORN
Movies being essentially a narrative art, probably the most important single item in any film is its plot or underlying theme. (Call it continuity or whatever you wish. It's the getting from here to there.) Here again it was Dougie who supplied the answers. His wide-eyed interest in pirates and sword fighting seemed to give us just the vehicle for an animated venture.
But it's amazing how a plot changes when you bring it down from the rosy clouds of imagination to the actualities of technical know-how. The orig- inal plot called for a buried treasure episode. It was soon abandoned. How to make animated char- acters dig in sand, when it was problem enough merely to make them stand and walk about on a smooth hard surface, discouraged too much elabo- ration. The scenario was thus rewritten a couple of times during the actual filming.
Again, even the nature of some of the characters made and used in the show dictated some plot changes. A celluloid fish was purchased so the hero would have something to catch when he went out
How a child's Christmas toy prompted the production of "One Summer Day," Maxim Award winner for 1949
fishing. We soon found that the one we selected had so much personality that he seemed to demand a more important role. Thus, the script was re- vised so that he was instrumental in saving the girl from the pirates at the end of the show.
THE CHARACTERS AND THE SETS With a tentative outline of what the film was to be about, our next problem was creating the characters. The Crazy Ikes soon proved too heavy. A layer of clay on the bottom of their feet had been used to hold them upright in positions where they were not in balance. But this clay softened under the flood lamps and over went the figures. Accordingly, the new characters were constructed of balsa wood. They had copper wire running lengthwise through the various segments of arms, legs and so on, to hold the figures together and to provide joints that would bend. Sections of the figures that were covered with clothes were merely stuffed with cotton. The hair of the heroine was made of yellow embroidery floss. It was looped back and forth several times, stitched through the middle to form a part, then glued on the head. Details of features were painted on with water colors and India ink.
PACKING BOXES PRODUCE SETS
The sets for the most part were made of card- board packing boxes covered with various colors of construction paper. Details of boards and shin- gles were drawn in with India ink. A weathered ap- pearance was obtained by applying shellac to cer- tain portions. The ship and fishing boat were built around small cardboard boxes. Palm trees were made with green paper fronds lashed to small wil- lows stuck in cones of clay. The clay made a heavy base which held the trees upright and yet could be moved easily about the sets to balance the compo- sitions.
THE PROBLEMS OF ANIMATION For the sake of the record it would be well to state that One Summer Day actually contains two types of animation. These are true animation and what may more accurately be called manipulation. True animation, of course, consists of frame by frame exposures with slight alterations of the figures or objects between each exposure. On your first attempts you will discover that you have a tendency to move the figures too much between takes; the resulting action on the screen will be much too rapid to follow. A simple way to find how many frames to allot to each action is to go through the movements yourself and time them, then simply multiply the number of seconds in- volved by sixteen. Through experiment, for ex- ample, we discovered that it took approximately one second for a dancing couple to make a com- plete revolution or whirl. Thus, in making the couple whirl in the dance [Continued on page 30]
13
Photographs by Vernon Castleton and Willard Luce
A SLIDE PROJECTOR, right, used as a tiny spotlight, and an angled mir- ror behind the cafe's facade, create effective illusion of light pouring from the paneled window in tricky night scene from One Summer Day.
WAVES WITHOUT WATER were ingeniously simulated by moving parallel rows of cardboard cutouts in alternating rhythm. Such wholesale movemeni of entire units was often used in film in place of more genuine animation.
A SIMPLE CIRCLE in the titler easel gave a spyglass viewpoint as the pirate chief stalked his prey. The paper palm trees in background are movable, and were used at will by the producer to balance compositions.
14
NOW, SOUND ON FILM!
New Cine- Voice 16mm. sound camera puts professional pictures within amateur reach
EVER since the first 16mm. sound on film projector was introduced, the home movie maker has dreamed of the day when a precision 16mm. camera would be available at reasonable price for making talking pic- tures at home. The new Auricon Cine-Voice sound on film camera is the answer to that dream.
Designed and built in Hollywood by the Auricon Division of Berndt-Bach, Inc., this new 16mm. sound camera features simplified controls, weighs only 12% pounds and is priced well within reach of the advanced 16mm. movie maker. It can be used for making talking pictures indoors or out, during vacation trips, at birth- day parties, or even during baby's bath, all with theatri- cal brilliance and clarity.
The Cine-Voice camera is driven by a constant speed electric motor, providing on a 100 foot roll of film 2%
SINGLE CASE houses Cine-Voice camera, special amplifier unit, headphones, microphone and all cables. Total weight: 12V2 lbs.
FOOTAGE METER', center; parallax corrected viewfinder, right, and two cable connections, left, are seen here on Cine-Voice.
BOYNTON W. ROBERTS
minutes of continuous recording, such as when picturing sports events. Single perforation sound films in black and white are offered by Ansco, DuPont and Eastman Kodak Company, while for full color shooting there is available either Daylight Type or Type A Kodachrome. All emulsions are on the familiar 100 foot daylight load- ing spool.
To record actual sounds as they occur, along with the picture, the cameraman need only place the Cine-Voice microphone outside of camera range, adjust the ampli- fier and shoot. Synchronization of sound and picture is automatic, since both are put on the same film at the same time. Their separation is the ASA standard of twenty six frames between sound track and correspond- ing picture. Even if splices are made in the film, the sound and picture can be maintained in perfect synchron- ism.
HOW SOUND IS RECORDED The sound track made by the Cine-Voice camera is of the variable area type and is recorded along the un- perforated edge of the film by a galvanometer. This is an instrument having electric coils which move a tiny mirror in accordance with the sound waves being picked up by the microphone and amplifier. As this mirror swings back and forth, a beam of light is reflected from it onto the film, where it is recorded as a vibrating sound wave in photographic form. The galvanometer and all of the sound recording lenses are extremely rugged in construction and require no adjustment of any kind. Further, they will operate in any position, whether the camera is being hand held or is on a tripod.
The galvanometer is driven from a five tube Cine- Voice amplifier, which has all the necessary controls for recording the highest quality of speech or music. The amplifier has two meters, one to indicate volume of sound being recorded on the film, and the other to in- dicate the exposure of the sound track. The meters are calibrated so that previous experience in sound record- ing is not needed to understand their use. The sound track exposure meter also provides a means of checking on the condition of the amplifier batteries, which are of the portable radio type and may be obtained at any radio supply store.
INPUTS FOR MIKE AND PHONOGRAPH Two input plugs are provided on the Cine- Voice am- plifier, one for the sound recording microphone and the second for connection to a crystal phonograph pickup. The microphone input has a volume control and also a speech-music tone control connected with it. The phono- graph input allows you to feed music from phonograph records into the amplifier at the same time speech is being picked up by the microphone. Thus, both speech and music can be put on the film at the same time if desired. The amplifier has sufficient power to record speech satisfactorily when a person is talking in a normal tone of voice as far as six feet away from the microphone outdoors. [Continued on page 35J
15
KEEPING SOUND IN SYNC
Accurately synchronized music, narrative and even
lip-recorded speech are claimed by Movievox wire sound system
MARTIN WELEDNIGER
LIKE the electric light and the automobile, there now seems no doubt but that sound with amateur movies is here to stay. Whether you're working with sound on film (see opposite page — Ed) , double turntable sound on disc, or magnetic sound in any one of its present or promised forms, today's aspiring amateur filmer in- sists increasingly on a musical and narrative accompani- ment with his pictures. Thus, as part of a stimulating series on sound (April, May, September and November, 1949), Movie Makers has asked us to state the case for Movievox. We are glad to have this chance to do so.
MAGNETIC WIRE RECORDER
Movievox, as some of you will already know, is basi- cally a system for magnetic wire recording and playback. However, if these were its only abilities, it would have, certainly, no more claim on your attention here than a half dozen other recorders of equal sound quality. It is what we have added to Movievox that, we believe, makes it unique in the amateur film field.
Our basic recording mechanism is built for us by the Webster-Chicago Corporation, already well and favor- ably known in the development of magnetic wire sound. Standard with this unit are such helpful operative fea- tures as an automatic brake guarding against wire break- age, an automatic stop mechanism and a timing dial.
COMPACT CONTROL PANEL To these we have added, on a control panel of our own design, a centralized grouping of three control knobs. The first, oh the extreme right, switches on the current and monitors the tone. The second, which is central in the group, serves as the volume control, while the third (at left) governs the three functions of the sound unit. These are to record, to play back and to serve as a public address system independently of the magnetic sound track. It is when this switch is in the record position that any previous recording on the wire is automatically erased as a new recording is made. This permits not only the re-use of wire customary to such units, but also a selective correction of recording errors down to as little as a single word at a time.
AMPLIFIER AND SPEAKER The Movievox amplifier controlled by these switches has a frequency response of good quality from 80 cycles to well above 9000 cycles. The power output is approxi- mately 5 watts. There are three input connections pro- vided— one for the included microphone and two for plugging in pickups from a double turntable record play- er. The two output connections provide leads to the Movievox speaker and either to a booster amplifier for large audience screenings or to a head set when the unit is used for dictation. All input connections, as well as the external amplifier connection, are of high impedance, while the speaker connection is 3.2 ohms matching the Movievox speaker.
CONTROL PANEL of Movievox has three central switches, three input connections and two outputs for complete handling of sound.
IN OPERATION, the unit is placed centrally between controlling projector and turntables. Patented synchronizer is left front.
The Movievox speaker is also of our own design. Al- though housed as is customary in the cover of the single- case unit, we have built into the cover a patented baffle system which makes possible overtones heard only from the Movievox. The speaker is of the permanent magnet type, and comes equipped with 25 feet of extension cord.
PATENTED SYNCHRONIZING UNIT We come now to the outstanding feature of the Movie- vox, which marks it as unique among all comparative magnetic sound systems. This is our patented synchro- nizing unit. With it, says J. F. Bailey, the designer, the Movievox recorder can be coupled with any projector on the market — 8mm. or 16mm., silent or sound — so as to play back music, narrative [Continued on page 38]
16
USING THE WIDE ANGLE LENS
JAMES W. MOORE, ACL
Photographs by LEO J. HEFFERNAN, FACL
HAVE wide angle lenses got you wondering? Have you asked yourself what they are? What they do? Or even why they are called "wide angle" in the first place? If so, you have been asking sound and stim- ulating questions. The answers to them, we believe, can be of equal interest. Let's take a look.
WHAT WIDE ANGLE LENSES ARE Putting it as simply as possible, a wide angle lens may be defined as a lens having a wider angle of view than that of the lens which is standard for the camera
INCREASED AREA
FIG. 1: Cramped and crowded is this Sunday morning scene, pic- tured with standard lens from farthest possible camera position.
FIG. 1-A: Clear and composed is same scene shot with wide angle lens from same spot. Note increased coverage in both directions.
involved. If this sounds at first like saying only that "a wide angle lens is a lens with a wide angle," let's look further into this definition. Let's look at the word "standard."
WIDE COMPARED TO STANDARD When you bought your camera, it had mounted in it (normally) a single lens of a certain focal length. What the speed of that lens was is not important to our present discussion. But what its focal length was is of vital im- portance. With an 8mm. camera, this focal length would be % inch (12.5mm.) ; with a 16mm. camera it would be 1 inch (25mm.) in length. And with each camera this lens would be known as the normal or "standard" lens for the camera concerned.
DEFINING STANDARD But why standard? And why a % inch lens in one case and a 1 inch lens in the other? Again simplifying, a lens is regarded as standard for a given camera when its focal length produces an image on the film which most nearly resembles in perspective the scene being imaged. And, to answer the directly related second ques- tion : the ideal or standard focal length of a lens varies depending on the size of the image it must produce. Thus it is that with the 8mm. camera and its frame size, the ^2 inch lens is regarded as standard. With the larger frame size of the 16mm. camera, the 1 inch lens is re- quired to produce an image similar in coverage and per- spective. Their angles of view, however, remain the same — approximately 20 degrees by 15, on the horizontal and vertical.
SHORTER LENGTH-WIDER ANGLE What happens now, if we use on either of these cam- eras a lens of shorter focal length than the standard? Practically (with the screened image, that is), a number of interesting things happen — which we shall consider carefully in a moment. Technically what happens is that the shorter lens also takes on a wider angle of view; it becomes for the camera in question a wide angle lens. There have been established, however, certain focal lengths which are regarded as being the wide angle lens for each size of camera. J/or 16mm. cameras this lens is almost universally 15mm. in length (as opposed to the 1 inch, or 25mm., standard) ; with an 8mm. camera the wide angle lens varies from 7 to 7.5 up to 9mm. in focal length. There also are available for each camera acces- sory wide angle lenses. These, when fitted over the stand- ard lens of the camera, shorten its focal length (but do not change its speed) to create the same effects as a prime wide angle objective.
LARGER FIELD FIRST EFFECT Certainly the best known effect of the wide angle lens is its ability to enlarge the camera's field of view from a fixed camera 'position. For the family firmer this often may mean the difference between getting a desired scene and not getting it. With his back literally against the wall, he simply shifts from his standard lens to the wide angle for the needed coverage. [Continued on page 34]
17
INCREASED DEPTH OF FIELD
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FIG. 2: A shallow depth of field, created by near camera position and wide aperture in shadow lighting, is returned by standard lens in the group shot above. Note also cramped composition and poor perspective.
FIG. 2-A: Increased depth of field and more pleasing placement of all figures within the frame result from using the wide angle lens. Actu- ally, camera here was placed slightly nearer subjects than in Fig. 2.
Increased area, greater depth of field and visually accelerated movement are three prime effects of the wide angle lens. You'll want to use them
ii^
ACCELERATED MOTION
FIG. 3: In these exactly comparative picture trios, the girl begins her run toward the camera at mailbox in background, reaches the side- walk on right at midway, and completes her action by steps at left.
Although she travels an equal distance in equal camera time in both cases, the effect on the screen created by the two sequences will be markedly different. The standard lens take above will seem the slower.
FIG. 3-A: Shot with a wide angle lens above, both the pictures and their kinetic effect on screen will be magically altered. Because of greatly deepened perspective (note receding lines of sidewalk) the
girl's figure at start is smaller and seems farther away. Therefore, as she runs toward camera, she seems to be traveling a greater dis- tance in the same time, thus creating impression of increased speed.
18
MOVIES IN COLOR: 2
How the type of light and tone of your subject affect
outdoor exposures in color. . . . Part 2 of a series
THERE is but one accurate exposure for color film at which a scene and the colors therein will be repro- duced correctly. But film manufacturers agree that there is a certain latitude in the film which permits an error up to one half stop variation from the normal ex- posure without sacrifice in quality. This means that a filmer will adopt some means of gauging or estimating the correct exposure or his results are likely to be dis- appointing.
EFFECTS OF EXPOSURE ON COLOR Overexposure causes the colors and the picture details to appear diluted and washed out, whereas underexposure will make the scene look as if it had been photographed through smoked glasses. On the other hand, if the sky •chart (the instructions which come with the film) is fol- lowed, or if an exposure meter is used correctly in arriving at the exposure, then the scene will be reproduced so as to accent and enhance all of the colors and details within the angle of view of the lens.
Most cameramen agree that, when filming in direct sun- light, use of the directions which come with the film is the most dependable way of estimating exposure. However, this involves a certain amount of thinking, for the light and subject matter conditions must be estimated and these conditions interpreted into an exposure by reference to the data chart. For this reason, an exposure meter is often bought with the camera. All of those available today are dependable if used correctly. But they, too, require study and close adherence to instructions, as will be discussed in detail later.
USING THE INSTRUCTIONS WHICH COME WITH COLOR FILM Daylight type color film is balanced for sunlight plus skylight. Scenes illuminated by sunlight are in addition partly lighted by reflections from other objects, such as grass, trees, rocks, walls and the like. But there is also present, if the blue sky or clouded sky is visible from subject viewpoint, a considerable amount of skylight. These added sources of illumination bolster the shadow side of objects in the scene, thus tending to decrease con- trast in the lighting. Otherwise a scene would be made up of harsh highlights and inky shadows, and color photog- raphy would suffer greatly thereby.
TYPE OF LIGHT IMPORTANT In following the instructions which come with the film (daylight type) outdoors in the daytime, the scene must be appraised from two separate standpoints. First of all, weather conditions are considered. There -are five cate- gories: (1) clear, direct sunlight; (2) hazy sun (when soft shadows are cast) ; (3) open shade (with clear blue sky); (4) cloudy bright (no shadows cast), and (5) cloudy dull (threatening).
With the exception of No. 3 (open shade with clear blue sky), these five categories are easily understood and need no explanation. By "open shade with clear blue sky" there are meant the conditions encountered in an area
shaded by the side of a house. Persons pictured in close- up under these conditions will not squint their eyes, and the movie shots take on a candid, off-guard appearance.
However, to use the diaphragm stops indicated in the instructions, there must be visible from subject viewpoint an expanse of clear blue sky from the zenith almost down to the horizon in all visible directions as one stands with his back to the house. If there is any doubt about this, it will be better to take a reading with an exposure meter, rather than to go by the instruction sheet. Also, when filming under these conditions, a haze filter is needed to prevent a bluish look in the finished movies.
Pictures made in direct sunlight require no haze filter; but on overcast days (No. 4 — cloudy bright) one is recom- mended, especially if such footage is to be included with shots made in direct sunshine. It is generally agreed that color movies made on an overcast day with the proper filter in place on the lens are very pleasing to the eye. Lighting contrasts are soft and, to the eye, colors take on a pastel shade. In the finished movie, however, the colors are vivid and the picture sharp. And, for an obscure rea- son, this combination also imparts a stereoscopic quality or illusion of depth to the projected image.
BEST TIMES OF DAY Movies filmed in direct sunlight are most effective when lighted by mid-morning or mid-afternoon sunlight. When the sun is directly overhead it casts heavy, unattractive shadows, especially in closeups of persons in which eye sockets and areas under the nose and chin will suffer. On the other hand, color pictures made during the recom- mended period make possible general front lighting. This is desirable not only because it is an effective type of lighting, but also because it reduces exposure problems to a minimum. With the sunlight reaching the scene from the general direction of the camera, shadows will be almost invisible from the camera viewpoint. To achieve this lighting, a cameraman faces his subject toward the sun, then takes the picture with the sun behind and slightly to one side of the camera.
EXPOSURE STANDARDS
Taking Bright Sunlight as a standard, the recommended changes in exposure for the different weather categories are as follows:
Bright sunlight. See exposure recommendiations in the table which follows.
Hazy sunlight. Requires one stop more exposure than bright sunlight.
Cloudy bright. Requires two full stops more than bright sunlight.
Open shade. Requires about three full stops more than bright sunlight.
Cloudy dull. Requires three full stops more than bright sunlight.
Other variations from the norm are:
Side lighted subjects in bright sunlight require one full stop more than front lighted subjects.
Back lighted subjects in bright [Continued on page 30]
19
f
BUILD
YOUR OWN BOOM
BRUCE ENGELS, ACL
AS WAS pointed out in the lighting roundup in December Movie Makers, one of the chief diffi- culties of the home filmer is in placing his lighting units high enough to create the effects he may desire. The light boom, it was suggested, is the best answer to that problem; and, in the lighting equipment survey, certain of these units offered commercially were displayed.
I agree heartily with the importance placed on the light boom in any home lighting setup. At the same time, I prefer making my own movie accessories, whenever this is possible. Thus, I am happy to offer the designs of my homemade light boom, in the hope that they will interest
SWIVEL BLOCK
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STEEL PLATE
■17" DIA.
ROUND DIA. ROD
WELD ROD AT POINTS INDICATED
BOTTOM OF BASE
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DETAIL OF SWIVEL BLOCK ASSEMBLY
LIGHTING BOOM in its com- pleted form is outlined above, together with detail plan of the swivel block as assembled. Coverage of boom as plotted is from three to eight feet above floor.
CONSTRUCTION of metal base plate for the lighting boom and details of the wooden swivel block used at end of yardarm are shown here.
amateurs with facilities for constructing it. The entire unit, as it will be described, costs about $2.00 in ma- terials.
The best place to begin building is with the base of the outfit. This I cut from ^4 inch steel plate in a circle 17 inches in diameter. Welded to its center on the top surface is a 10 inch length of 1% inch pipe which holds the upright wooden shaft of the unit. Since this welding operation tends to make the steel plate curl up, or "dish," I then tack-welded to the bottom of the base a complete circle of V2 inch round rod. This strengthens the base and eliminates all curl.
Both the vertical and the horizontal units of the boom are composed of clothes closet hanger poles, 1% inches in diameter and 6 feet in length. For a distance of 10% inches along the bottom length of the upright pole I shaved off enough so that it would fit in the base pipe with about 1/32 of an inch clearance. This permits the upright unit to be rotated a full 360 degrees in use.
At the top end of the upright pole I then cut a notch 2% inches deep and % inch wide. Then, at a point about 1 foot from one end of the boom proper, I shaved this pole down to a width of % inch over a section 3 inches in length. A y<> inch hole is then drilled through both units and a suitable length of dowel is inserted as an axis. A length of strong twine was then attached to this end of the boom and a suitable [Continued on page 38]
Ingenuity, proper tools and $2.00 worth of materials will create a handy lighting unit
Here's Cine-Chat again — a once-in-a-while
feature on these pages to help keep you
posted on techniques for better movies, and
on the Kodak products that make them
possible. This month, there's news
of several new movie items, plus a
round of applause for some very
outstanding movie makers.
But first, here's a tip that's
up to date every month! Keep
in touch with your Kodak dealer.
That's good advice any time]
CINE-KODAK RELIANT CAMERA NOW IN TWO MODELS
This popular "Eight" now supplied with f/2. 7 or// 1.9 Ektanon Lens
There's now a choice of lens speed and range with the Cine-Kodak Reliant Camera — Kodak's popular "Economy Eight" movie maker. It's available with either of two precision-built Kodak Cine Ektanon Lenses — a prefocused//2.7 ... or a focusing //l. 9.
The f/2.7 model is a splendid choice for movie newcomers. Simple to use, positive in operation, it assures fine results with aver- age subjects ... at average distances.
The//1.9 model is for those who require extra speed . . . extra close-up range, along with roll-film economy. Its lens provides twice as much speed when you need it for difficult lighting conditions . . . focuses ac- curately by scale for distances from infinity to as little as 12 inches from the film plane.
Either "Reliant" is a Splendid buy. Both provide such luxury features as slow motion, built-in exposure guide, acceptance of a 3X accessory telephoto, and others. And both are of sprocketless design — a system that com- bines convenience in loading with the econ- omy of Cine-Kodak 8mm. Film in rolls.
Take your choice of two fine cameras —
the//2.7 model at $79 ... . thejf/1.9 model at $97.50. And, by the way, though you se- lect the//2.7 model now, you can step up to the focusing model later, if you like, by acquiring the //1.9 lens as an accessory. Price of the Kodak Cine Ektanon 13mm. //1.9 Lens alone, $42.50.
KODAFLECTOR— FOR INDOOR MOVIES
A new low price on Kodak's versatile twin-reflector lighting outfit
Many movie makers call it the biggest buy in photography ! And with excellent reason — - together with inexpensive photoflood lamps, this easy-to-use twin reflector outfit is every- thing most folks need in the way of indoor lighting equipment . . . everything needed for some of the most delightful scenes in your movie record. For two photofloods in Kodaflector are as potent, photographically,
zs, fourteen photofloods used without reflectors !
The Kodaflector consists of two reflectors independently mounted on an adjustable stand, complete with sockets, switches, and connecting cords. Just set it up for the height required — any height from under three feet to six . . . screw in the photofloods . . . and aim the reflectors at your subject. That's all there is to it ! Switch on, and the Kodaflector floods your subject with brilliance.
Real convenience . . . remarkable efficien- cy .. . and now, a bargain price of only $5 . . . recommend the Kodaflector as a truly outstanding movie-making accessory.
CINE-KODAK LENS
SPACER RINGS
For ultra close-up movies . . . magnifica- tions of more than 200 diameters!
It's a new way to ultra close-ups . . . and one that can be used with just about any movie camera that's equipped for visual composi- tion. If your camera, 8mm. or 16mm., takes Kodak Cine Ektanon or Ektar Lenses through the use of a Kodak Cine Lens Adapter — and most cameras do — you can use Cine -Kodak Lens Spacer Rings with those lenses . . . and apply them with the adapter. (No adapter needed, of course, with Cine- Kodak Special II Camera.)
Essentially, Spacer Rings are a method of increasing the distance between lens and film so as to increase the close-up range of the camera. And what a job they do ! With a 16mm. camera, the outfit makes possible the coverage of fields as tiny as a half inch in width for magnifications of well over 200 diameters when you project the movies on 10- or 12-foot screens . . . area magnifica- tions of over 50,000 times !
There's complete close-up range, too. Each outfit consists of three units, which can be used singly or in any combination. To vary your coverage, simply vary the combination of units ... or the lenses you use them with. Tables for each Kodak Cine lens are supplied with the outfit.
Of course, such ultra close-up filming re-
quires extreme precision in sighting, but for advanced movie makers, Cine-Kodak Lens Spacer Rings provide the way to a challeng- ing and rewarding field of motion pictures. Price — $11, complete.
NEW FILTER FOR KODACHROME MOVIES
For ninety-nine shots out of a hundred, as ■experienced movie makers know, there's no need for filters of any kind with Koda- chrome Film. The filter just isn't made that can improve the rich, warm color rendering you get with Daylight Kodachrome Film used under the normal daylight conditions for which it's intended. The Kodak Skylight Filter, however, is for that hundredth shot — the scene miscolored by atmospheric condi- tions that give an unduly bluish cast.
If you run into such scenes — shots on over- cast days, distant scenics, or open-shade scenes illuminated by bluish sky light — slip the filter over your camera lens, and it will take care of the scattered blue light handily. The Skylight Filter is available in all series of Kodak Combination Lens Attachments.
KODAK DAYLIGHT PROJECTION VIEWER
A new . . . wonderfully convenient . . . approach to motion-picture analysis
Kodak Daylight Projection Viewer is a new system for viewing motion pictures ... a system that takes movies out of the dark and onto a desk or table in ordinary room light or far brighter. It works with any pro- jector, 8mm. or 16mm. . . . and with any film, color or black-and-white. You simply beam your projector into the mirror at the rear of the Viewer, and your movies are re- flected to the special Kodak Day View Screen at the front — brilliant, and so sharp and clear that you can analyze every scene in close detail.
The Day View Screen is the key to the system. Because it's specially designed to minimize the effect of surrounding light on the brightness of the image, you can show your films under ample illumination for convenient note taking without graying down the brilliance of your movies.
If you're interested in analyzing your movies critically, you'll appreciate this and
other features of the Projection Viewer. With light directed from the rear, you can point out scenes of special note right on the screen without causing shadows that block the image. And, though the outfit is trim and compact — it packs into a carrying case only y/z x 12 x 21 inches . . . and sets up, with room to spare, on a desk or table — your movies are amply large for detailed study. Because you sit close to the screen, the 8 x 11% -inch image is the equivalent of a screening 6 feet wide, projected with conven- tional equipment and viewed from the cus- tomary 18-foot distance.
Price of the outfit, complete with alumi- num carrying case — $47.50.
SUPER-f AST SHUTTER SPEEDS
WITH CINE-KODAK SPECIAL
CAMERAS
There's no need for owners of Cine-Kodak Special Cameras to take a back seat on shut- ter speed, even to users of fine still cameras. The Special's adjustable-opening shutter — although designed primarily to provide a convenient way to make fades and dissolves — can be combined in use with the variable- speed motor to make possible exposures as short as 1/560 second!
Here's how it's done: With the shutter fully open and the camera run at the normal 16 frames per second, the shutter operates at about 1/35 second. When you close the shutter to half-open, it's speeded up to 1/70 second . . . and when you close it to quarter- open, it operates at 1/140 second. You get really fast shutter speeds, however, when you combine the quarter-open shutter with faster-than-normal motor speeds — 1/210 sec- ond at 24 frames per second . . . 1/280 second at 32 f.p.s. . . . and 1/560 second at 64 f.p.s.
Obtaining super-sharp movies of fast- moving subjects — this is one extra applica- tion for Cine-Kodak Special Camera's re- markably versatile shutter.
KODASCOPE SIXTEEN-20 REMOTE REVERSING SWITCH
You can move anywhere in the room . . . yet keep control of the projector
Here's a modestly priced accessory for the Kodascope Sixteen-20 Projector that makes possible super-rapid changes between for- ward and reverse operation from a distance. One application: lecturers can speak from screen-side . . . yet still be able to rerun scenes of special interest. The price — Switch and generous-length cord — $6.50.
Congratulations!
We're happy to join the acclaim for the winners of Movie Makers' annual contest
Our hearty congratulations to the "Ten Best" award winners whose names, together with the titles of the fine films they've au- thored, appear below. Our commendations also to the editors of Movie Makers for their sponsorship of this annual competition that has long served to stimulate better amateur motion-picture making.
"One Summer Day"* GLEN H. TURNER, ACL Springville, Utah
"Escape" WARREN DOREMUS, ACL East Rochester, New York
"Jones Beach" GEORGE MESAROS, FACL Long Beach, New York
"Menemsha" JOSE M. PAVON New York, New York
"Mexican Malarkey" CAL DUNCAN, ACL Lee's Summit, Missouri
"Storm Due" FRANCIS J. BARRETT Seattle, Washington
"The Great Man Hunt" DONALD W. VOLKMAN, ACL West Somerville, Massachusetts
"The Raggedy Man" ANDY POTTER Sherman Oaks, California
"The Story of Matsela" LEWIS LEWIS, ACL Cape Town, South Africa
"The Witch Cat" WILLIAM A. THOMAS, ACL Buffalo, New York
* Winner of the Hiram Percy Maxim Memorial Award
We're proud that every one of these award- winning movies was made in whole or in part on Cine-Kodak Film and that six of the ten were made with Cine-Kodak Cameras.
Eastman Kodak Company Rochester 4, N.Y.
All prices include Federal Tax where applicable.
trade-makk
22
MODELS FOR YOUR MOVIES! Members of ACL, says the management, have only to show membership cards to receive top cooperation at Cypress Gardens.
WINDING WALKS and gleaming waterways create compositions galore for the scenic minded movie maker.
CYPRESS GARDENS INVITES
ROBERT J. EASTMAN
FLORIDA this winter is girding itself for a bumper crop of visitors. More particularly, Cypress Gardens, America's tropical wonderland, is going all out to have ready for the amateur camera fan all of the kaleido- scopic color that Mother Nature has to offer, as well as fast moving action in the form of an aqua-ski show. For, ever since 1934, Richard D. Pope, owner and creator of beautiful Cypress Gardens, has planned the Gardens and arranged the action of the water shows to satisfy the every whim of the amateur camera fan.
HOW TO GET THERE Located in the ridge section of central Florida, Cypress Gardens is reached by U.S. Highway 27. Four miles to the north lies Winter Haven, city of one hundred lakes, while twelve miles to the south is Lake Wales, the site of Bok Tower, the world's largest carillon. Bok Tower is located on Iron Mountain, the highest spot in Florida, and surveys a panorama of beautiful scenery.
PLANNED TO BE PICTURED
Cypress Gardens, you might say, was designed and laid out through the eyepiece of a camera. Its winding pathways are built so that each turn opens a new vista. Low plantings line the walks, with flowering shrubs be- hind, while behind them are the age-old cypress, bedecked with garlands of Spanish moss. Peeking through the foliage is the shimmering surface of Lake Eloise, one of the largest lakes in central Florida.
During the winter months the dainty pink Due du Rhoan azaleas and the stately purple formosas create masses of color for your long shots. Arched wooden bridges under which you can cruise in quiet electric boats allow follow shots ending in superb closeups. Among the rare and exotic plantings are elephant ears, the fruit salad plant, poinsettias, the lipstick tree, magnolias, tree orchids and camellias and japonicas — the pride of the Deep South. Overhead, bougainvillia and flame vine creep
through the somber branches of the pines and oaks. Strolling graciously against this background are lovely models in the hoop-skirted costumes of the Old South, ready and willing to pose for your pictures.
AQUAMAIDS AND ACTION
But it is during one of the regularly scheduled water- ski shows that the amateur movie maker really comes into his own. A special dock for cameramen extends out onto the lake, on which tiers of seats are provided so that you may shoot over your neighbor's head. In his pulpit over your heads, a trained photographer calls out the proper exposure for either standard speed or slow motion sequences. He announces what will take place next and, what is more important, when to start rolling to get the highpoints of the action.
Even the angle of the sun has been taken into con- sideration in the location of the photographers' stadium — it's behind you during three quarters of the day, giv- ing perfect front lighting for your color pictures. Aqua- maids whiz by your camera in precision-plus ski routines, and the ski-jumping ramp is located so that it just fills the screen with your one inch lens.
EXPOSURE DATA FOR THE GARDEN
The lighting is good throughout the Gardens. But for those who want them, reflectors are available. Some closeups, we find, are made more brilliant with reflectors where subdued shade predominates. At sixteen frames a second, the normal exposure in the Gardens is //8 with color film. Perhaps f/6.3 is a better aperture to dig into the shadows where some light and shade exist together.
In the late afternoon, silhouettes and sunsets are things of beauty. At sixteen frames a second and //5.6, you can retain the color of the evening sky and render the fore- ground in dark tones. For closeups of single flowers in bright light, or for a model's smile, use //9 at normal speed.
23
NO TIME FOR THE TRIPOD, says Dad, at right, when such attractive antics tempt his eye. No Time, period! says Mom.
EXPOSURE DATA FOR WATER SHOW With the light pouring in on the open lake and the sun down a bit from its zenith, illumination for the water show will be almost from the front. Thus, down-angle shots from the top of the camera stadium, or lake-level effect shots, are easy. Also the dock is long enough so, if you like, you may move back and frame your friends in the foreground.
As the action develops, the camera master on his podium behind you will sing out / settings for existing conditions. Basic exposure for bright sunlight will be f/9 at normal speed. But he will give settings also for alternate speeds of 24, 48 or 64 frames a second. Spec- tacular spills off the high jump, just far enough away to fill your screen, are best recorded at the 64 frame speed.
Finally, after the show is over, the Aquamaids will gladly pose for your closeups.
Here in Florida, nobody likes to mention bad weather. But, should the sun go under a cloud during your visit, the Cypress Gardens Gift Shop has for sale a complete line of duplicate color films, 8mm. and 16mm. Color slides are also available in duplicate, while raw stock is always on hand in all sizes.
We pride ourselves that at no other spot in the country is so much attention paid to the needs of the amateur cameraman. In fact, members of the Amateur Cinema League need only to show their membership cards to receive the utmost in photographic cooperation from all hands at Cypress Gardens. It's your show!
Tropical beauty and exciting action are combined for the cameraman at this Florida wonderland
PRECISION PLUS are the water-ski routines of the Aquamaids as they flash by the elaborate camera stadium especially provided for picture makers.
24
r\cademy awards in the offing may be responsible. But, whatever the reason, the bumper crop of sterling prod- ucts currently on view is due cause for jubilation. Ama- teur producers are urged to see and study these superior examples of fine film making. — D.C.
RICH IN REALISM Three Came Home: Agnes Newton Keith's novel of her experiences as a P.O.W. in Jap-occupied Borneo during the recent war is the source of this Darryl F. Zanuck production for 20th Century-Fox. Borrowing from sim- ilar European films of the past three years, notably the grimly realistic The Last Stop, director Jean Negulesco has put together an admirably honest drama of war, women and children.
Contrasted with pre-war propaganda efforts, the pro- duction is almost heretical in its realism. The Japanese are recognizable as human beings, and even the studio sets reflect the pains taken to achieve authenticity. The newsreel type of photography and the low key lighting are especially well suited to the theme.
SLOW MOTION TECHNIQUE Fallen Idol: A foreign embassy in London is the scene of a taut drama produced and directed by Carol Reed, England's premier movie maker, from an ingenious screenplay by Graham Green. Star of the proceedings is talented young Bobby Henrey as the ambassador's son, who contributes unwittingly to the evidence of murder by the embassy butler, a man whom he idolizes. All comes
Selznick Releasing Organization
DRAMATIC LONG SHOTS, from both low and high camera po- sitions, mark the English Fallen Idol for study by amateurs.
Aids for the amateur cameraman,
to be seen in current theatrical films
right in the end, however, and the ambassador returns to find no hint in his household or his son's face of the vio- lence they had witnessed but a few hours before.
A daring camera technique, first developed in experi- mental films, helps establish mood and pace in the first sequence. In it accelerated camera speeds slow the care- fully choreographed movements of the players, with the boy's actions alone remaining normal. Exceptionally dis- tant down-angle shots aid the illusion. A film of outstand- ing merit from every aspect, Fallen Idol provides solid substance for amateur study.
SOUND-AND SILENCE Intruder in the Dust: The issue of racism receives further examination in this Metro-Goldwyn-Mayer pro- duction of William Faulkner's novel of the Deep South. Not just another variation on a theme, however, the film is a forceful study of inter-racial relationships, removed from actual reality only by the fact of being dramatized. For Clarence Brown, producer and director, filmed ninety percent of the picture in Faulkner's home town of Ox- ford, Miss., with many of the local residents taking part. The picture provides for the amateur effective examples of the dramatic uses of sound — and silence. Ironic juxta- position of the choir's singing, for example, with the screech of the sheriff's siren builds suspense to an excit- ing climax. Using only such sounds as are natural to the scene, the film eschews the usual musical background. This silence often contributes more in dramatic power than a full blown score.
BIOGRAPHY AND HISTORY Fame Is the Spur: From England's Two Cities studios comes a documentary-type drama of the growth of a pol- itician, from his humble slum beginnings to a peerage and a position in the cabinet. It is also a history of Britain's brand of socialism and some of its exponents. The portrait and the man bear more than a coincidental likeness to Ramsay MacDonald, while Neville Chamber- lain's unlamented spirit hovers nearby.
Keen direction and incisive editing create a clear story development, into which there is woven a considerable period of modern history. Countless natural settings give the film the credibility we have come to expect from the English.
PACE AND POLISH Whirlpool: What might have become another trite mel- odrama in less able hands is here molded into a polished and exciting tale of modern life. Psychiatry, kleptomania, blackmail and murder are the ingredients, with all of them kept credible by the matchless acting of Jose Ferrer, the suave writing of Ben Hecht and the dramatic camera work of Arthur Miller, ASC. The low key lighting is especially effective for Ferrer's evil doings, while a tight pacing adds the final touch to this first rate mystery.
25
DISTILLED WATER
Because of the tremendous enlarge- ment of the movie frame during pro- jection, water spots on home devel- oped titles, toning jobs or reversals are of more than ordinary impor- tance. These spots are created, of course, by the deposition of native minerals from your wash water as it evaporates after the final washing.
The use of distilled water for that operation would solve this problem nicely. However, such water is al- ways expensive and usually difficult to obtain.
One solution to the problem is simplicity itself. Simply save the ice and frost drippings from the freez- ing unit of your refrigerator follow- ing each routine defrosting. This is distilled water in the literal sense, so why not start now to build up a supply of refrigerator-distilled water? Clarence E. Rutherford Eugene, Ore.
OFF-COLOR CORRECTIONS
Several years ago I shot about 150 feet of Kodachrome at the Brookfield Zoo, in Chicago, on a day when the sky was overcast. This film came back from processing with an overall green tint, and for years I have been ashamed to show it.
Recently, however, I discovered a kit of gelatin filters designed for col- or correction use after the film is processed. They are known as Adda- color filters and are manufactured by Lou-B Specialties, 1104 N. Wilcox, Hollywood 38, Calif. The kit — which consists of twenty four 2 by 2 inch sheets of colored gelatin for sixty five cents — was really designed for use with Kodachrome slides. But it works equally well with movies.
For example, with my green zoo footage, I simply clip the red filter in a cardboard mount over the pro- jection lens when these scenes are going through.
Early home filmers with faded col- or footage and those with other off- color problems should find this filter
CONTRIBUTORS
TO
The Clinic are paid from $2.00 to $5.00 for ideas and illustrations published.
Your contributions are cordially in- vited. Address them to : The Clinic, Movie Makers, 420 Lexington Avenue, New York 17, N. Y.
Please do not submit identical items to other magazines.
set an interesting and often reward- ing investment.
Markley L. Pepper, ACL Denver, Colo.
KEYSTONE CONFECTIONS
Our gang revels in home movie making of the realest (and perhaps roughest) kind, and we are at pres- ent producing one reel parodies of the Keystone comedy era. Sooner or later, of course, the inevitable pie throwing sequence forced its way in- to the script.
What with today's prices, however, using the real thing was too expen- sive— to say nothing of the messiness involved. So we concocted a harm- less, inexpensive replacement which some of you other home movie ma- niacs might like to keep in mind.
Simply whip up your favorite soap flakes until it gets to meringue con- sistency— and then pile it on a paper plate. The result loses none of its earlier effectiveness. And it's much easier on the performers and sur- roundings.
Thelma Klages Los Angeles, Calif.
SHORT SUBJECT FILE
The who, what, when and where of a single-subject 400 foot (or larg- er I reel of pictures is generally not hard to keep in mind. In my editing, however, I frequently find it neces- sary to combine for projection con- venience anywhere from two to ten short subjects on one reel. Recalling the place and personnel of each of these units (not to mention its or- dinal position on the reel) can pre- sent quite a different problem.
To solve it I have developed a simple cross reference file, as fol- lows: Inside each reel can cover I
Pictures, plans and ideas to solve your filming problems
place a list showing, in order, the short subjects on that reel. Then, in a card file of people and places, I record the reel number (or num- bers) in which each of them appear. In this way, it is a simple matter to show Tom, Dick or Harry only those films in which he is pictured.
William C. Roeger, ACL Chalfont, Pa.
EXTENSION CORD CONVENIENCES
Those three-way electric outlets on the business end of one's power ex- tension cord can be quite handy around the projector. I plug the pro- jector cord into one outlet, a neon glow lamp for my stroboscopic disc into another, and a small pilot light into the third.
Both of the lamps have candelabra bases and are rated at 110 volts. The pilot light is 7 watts, frosted, and is similar to those on Christmas tree lighting sets.
The receptacle-adapters for the lamps are equipped with two prongs for use in the ordinary convenience outlet, each have a control switch in the body and are fitted with snap-on shades. The bodies are usually black, but the shades may be had in either black or ivory — both of a molded composition.
While we're on the subject, why wouldn't one or two extra of the 7 watt units be of aid to one's audience in the usual home projection setup?
Laurence E. Baty, ACL Salt Lake City, Utah
THREE WAY OUTLET, urged as aid to projection, accepts pilot light, neon lamp and power cord.
26
News of the Industry
Up to the minute reports on new
products and services in the movie field
Daylight viewer Broad daylight
movie projection on an 8 by 11% inch screen is made possible by the new, portable Kodak daylight projection viewer, which can be set up anywhere on a desk or table. The secret of the system is a special mirror placed behind the screen. The image is projected onto the mirror and reflected from there to the daylight screen, which in turn produces a bril- liant picture.
An important part of the new system is the Kodascope Sixteen-20 remote re- versing switch, by which this projector may be reversed at any point during a screening. The reversal feature makes the system of great use in re-running sports plays for study purposes.
The Kodak daylight projection viewer is priced at $47.50, complete with case. The Kodascope Sixteen-20 remote re- versing switch will be priced at $6.50.
Craig Fold-Away N e w C r a ig
Projecto- Editor combinations feature a folding base that allows the entire combination to be housed compactly in a case
CRAIG'S Fold-Away base makes complex editing combinations more portable. It will fit all new Craig Editors and may be purchased separately.
A NEW electronic circuit cuts size, weight and cost of the Ampro tape recorder, which retails for $94.50. Tape cost is cut with the use of a dual track on either 5 or 7 inch reels.
A MIRROR behind the screen provides essential brilliance for Kodak's daylight pro- jection viewer. Note hand switch for easy reversal of film.
measuring only 16 by 14 by 15 inches. The base is made from lightweight metal finished in bronze crackle. Large locking knobs make folding and un- folding a one step operation, while in- terlocking hinges make the base warp and wobbleproof.
The Fold-Away bases will fit all new Craig editors, and either bases or car- rying cases may be purchased sepa- rately. Fold-Away Projecto-Editor com- binations are available in one 8mm. and two 16mm. versions, with or with- out carrying case. Further information may be obtained by writing Craig Manufacturing Company, 1053 S. Olive Street, Los Angeles 15, Calif.
KineVGX recorder Latest addition to the sound re- cording field is the Kinevox portable synchronous magnetic recorder, which, instead of tape, uses 17^mm. oxide coated safety base film, carrying regu- lar positive perforations, and is sprocket driven at a constant speed of ninety feet per minute. The item is priced at $1250. Full details may be had from Kinevox, Inc., 4000 Riverside Drive, Burbank, Calif.
Ampro recorder Weighing only
fifteen pounds and measuring 8 by 8 by 11 inches, the new Ampro tape recorder is the first complete tape recording unit to be sold for less than $100. The recorder will record a full two hour program on a single seven inch reel of tape. The three-way recording system pro- vides for "live" recording through the microphone as well as pick-ups from the radio or phonograph. Full details and specifications may be had from Ampro Corporation, 2835 N. Western Avenue, Chicago 18, 111.
Official catalog Official Films, Inc., 25 West 45th Street, New York City, announces that its new catalog, containing descriptions of over 400 films, will be sent free of charge to anyone requesting it. The thirty six page, illustrated catalog lists 16mm. sound and silent films, in fea- ture and short versions, and 8mm. films. A majority of the films are also made in Spanish and Portuguese versions.
Data Book The new 1950 edition of General Electric Company's pocket sized Photo Data Book will be made available at fifty cents, fifteen cents below last year's price. Prepared by the photometric section of the company's meter and in- strument divisions, it contains informa- tion and tables on exposures, shutter speeds, filter factors and lens formulas, as well as simplified instruction for taking still and motion pictures.
English lenses Bel1 & Howell Com- pany purchases of lenses from Taylor, Taylor, Hobson, English lens making firm of the J. Ar- thur Rank Organization, will be mate- riallv increased in 1950 because of' a larger American demand for the prod- uct. The English firm has been known since 1886 as one of the world's lead- ing producers of fine lenses, particu- larly noted for a high color correction factor. Bell & Howell Company is the exclusive representative in the United States for. Taylor, Taylor, Hobson.
Spectra meter Photo Research Corporation, 127 W. Alameda Avenue, Burbank, Calif., manufacturer of the Spectra color tem- perature meter, announces a vest pocket model of the Spectra, to be on the market shortly after the first of the
#sifi
^PtCTBA
PHOTO RESEARCH'S pocket model of the Spectra color temperature meter reads for Kelvin degrees as well as standard films.
27
year. The smaller meter will be known as Type B. The user simply points it at a source of illumination, rotates a ring until the indicating needle is brought to zero and reads from a scale either the color temperature in degrees Kelvin or the filter required to balance the light with the color film being used. Photo Research also announces a new line of coated CT color tempera- ture filters, to bring color film into per- fect balance with the illumination fall- ing on the scene. Called Spectra CT filters, the line will include six bluish and six yellowish filters, to raise and lower color temperature by specified amounts. Tables will be furnished to cover their use with all ordinary light sources, indoors and out.
Lighting booklet A serviceable, pocket size book- let on photographic lighting has been issued by James H. Smith & Sons Cor- poration, Griffith, Ind., manufacturers of Victor photographic lighting equip- ment. Advantages of three light sources are pointed out, while particular stress is placed on distances and positioning. Tables and simple diagrams are scat- tered throughout the booklet, which is available free from the publisher.
Keystone cameras Three 16mm
spool film movie cameras were recently introduced by the Keystone Manufacturing Com- pany, Boston, Mass. The Keystone A-12 features a twin lens turret and a built-in wide angle viewfinder, plus three other matched viewfinders which automatic- ally fall into position as the turret is rotated. The Keystone Model A-9 is a single lens version of the A-12. And a revised A-7 camera is equipped for the first time with an //3.5 lens.
DeJUR's Embassy 8mm. camera, with f/2.5 lens, is priced at $99.50. it weighs 40 ounces and is trimmed in brushed chromium.
KEYSTONE'S A-12 16mm. camera sells for $98.00, including tax, equipped with f/2.5 lens. Price is $129.50 with f 1.9 lens and fo- cusing mount.
THE CITATION, DeJur's first 8mm. roll loader, is $69.50, tax included, with f/2.5 lens.
DeJur Eights Dejur-Amsco Corpo- ration, Long Island . City 1, N. Y., has added the Embassy to its magazine loading 8mm. cameras and has entered the roll loading 8mm. field with the Citation. The Embassy has six speeds, ten foot run on one winding and a governor controlled motor. It comes equipped with either an //2.5 coated universal focus lens or an //1.9 coated lens in either a fixed focus or focusing mount. The Citation boasts a "no-jam" gate and loading simplicity. It is equipped with an //2.5 universal focus coated lens. Both cam- eras have other lenses available at extra cost.
Cine Balowstar The first W2 inch
//1.3 telephoto lens — the 16mm. Cine Balowstar — is now on the market. Developed by Dr. Frank G. Back, already known for his work on the Zoomar lens, the Cine Balowstar will take color shots under minimum light conditions, such as in the flicker of firelight. The lens, which is calibrated in both / and T stops, is based on a new mathematical formula by Dr. Back. There is no focus shift when stopping the diaphragm down and
no loss of speed in focusing for close- ups, due to the stationary rear element. Only the front element moves.
The Cine Balowstar should prove particularly effective for filming plays, musical comedies and other spectacles. It is equipped with a standard Kodak mount and will fit most 16mm. cameras — and practically all 16mm. and 8mm. models with the use of an adapter. Re- tailing at $199, tax included, the Cine Balowstar is being distributed through Jen Products Sales Company, 419 West 42nd Street, New York, JN. Y. Full details may be had by writing the dis- tributor.
Outdoor filter A new color correc- tion filter, recom- mended for use in outdoor color pho- tography when atmospheric conditions are unduly bluish, is announced by the Eastman Kodak Company. The filter, known as the Kodak Skylight filter, will be available in Series IV, V, VI, VII and VIII Kodak combination lens at- tachment sizes as well as in two inch and three inch gelatine film squares.
Aurora screens New screen mod- els are announced by Aurora Industries, 2251 South Michi- gan Avenue, Chicago 16, 111. A four page descriptive price list may be had by writing the manufacturer.
Neumade offices New general offi ces of Neumade Products Corporation are located in the McGraw-Hill Building at 330 West 42nd Street, New York City. The consolida- tion of all home office activities has been made possible in these larger quarters, and increased engineering fa- cilities have been made available. Neu- made was previously located at 427 West 42nd Street, New York City. It maintains factories in Buffalo and Long Island City, as well as New York.
LIGHTING problems are cut by the speed of the new l'/i inch f/1.3 Cine Balowstar lens, made by The Zoomar Corporation, which fits, or may be adapted to, most 8 and 16mm. cameras.
28
JANUARY 1950
U. S. Pat. No. 2260368
GOERZ AMERICAN
APOGOR
F:2.3
the movie lens with microscopic definition successful cameramen have been waiting for—
A new six element high quality lens for the 16 and 35 mm film camera. Corrected for all aberration at full opening, giving highest definition in bIack-&- white and color. Made by skilled technicians with many years of optical training.
Fitted to precision focusing mount which moves the lens smoothly without rotating elements or shifting image.
This lens conies in C mount for 16 mm cameras. Fitting to other cameras upon special order.
Sizes available now : 35 and 50 mm uncoaled and 75 mm coated.
Write for prices, giving your dealer's na
*m GOERZ AMERICAN
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317 EAST 34 ST., NEW YORK 16, N. Y.
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CloseupS — Ten Best contest report
Here, for those who are interested in them, are the facts and figures of the Ten Best competition for 1949.
The staff of the League examined in that contest a total of 73,130 feet of film. This, in projection terms, equals 45 hours and 40 minutes of unbroken screen time, with no allowances for threading, rewinding, or setting up and rehearsing musical scores. This total of submissions represents a 35 percent increase in footage and a 73 percent increase in number of entries over 1948. The 73,130 feet of film seen in 1949 break down into 8mm. vs. 16mm., color vs. black and white, as shown below.
ALL FILMS SUBMITTED
1949 1948
8mm. 23% 16%
16mm. 77% 84%
Color 92% 94%
B & W 8% 6%
ALL FILMS HONORED
8mm. 6-20% 2- 8%
16mm. 25-80% Color 28-90% B & W 3-10%
8mm. 16mm. Color B & W
TEN BEST
3-30% 7-70% 9-90% 1-10%
23- 92%
23- 92%
2- 8%
1- 10%
9- 90%
10-100%
0- 0%
HONORABLE MENTION
8mm. 3-14% 1- 7%
16mm. 18-86% 14- 93%
Color 19-90% 13- 87%
B & W 2-10% 2- 13%
r I NEST HOME
138 E.44th St.,New York 17.N.Y.
Stimulating as these data are, how- ever, there are still other aspects of the Ten Best contest for 1949 which may in- terest many amateurs. For example . . .
(1) Of the total of thirty one film- ers honored in 1949, twenty four of them (including the Maxim Award winner) had never placed in our con- test before. Eight of these new winners were among the Ten Best, with sixteen of them among the twenty one winners of Honorable Mention.
(2) Of the total of thirty one films honored, twenty one of them were ac- companied by sound of some kind re- produced in some manner. Nine win- ners had no sound. Of the twenty one which did, thirteen presented it on disc, five on magnetic recordings and three via the sound on film track.
(3) Of the thirty one films honored, the types of subject matter treatment break down as follows: Story — thir- teen ; Travel — seven ; Documentary — six; Tone Poem — four; Family — one. The story total of thirteen strikes us as by far the most impressive, in view of the fact that this form of film making is generally regarded as the most diffi- cult for the amateur producer.
Our reactions to one or another phase of these figures were first stated in Renascence, the editorial of Decem- ber Movie Makers. Still further com- ments are to be found in this issue un- der the heading 8mm. On The March. All in all, we believe that 1949 may well mark a milestone in amateur movies.
What the above figures do not dis- close— although it's a matter of equal import — is what manner of man is Glen H. Turner, ACL, Maxim Award winner for 1949. Consumed with curi- osity, just as you are, we up and asked him a few pertinent questions. Here's a digest of his dossier.
Glen Turner began filming two and a half years ago, using the same Filmo Sportster 8 with which he created One Summer Day. Although this picture is his ninth complete job (titles, back- ground music, etc.), Turner had never entered a film in any level of competi- tion before hitting the jackpot in this year's Ten Best. "It only goes to show," he admits rather reasonably, "that there's no harm in trying."
On the more personal side, Turner admits to being thirty one years of age, married for eleven of them, and the father of two boys and two girls. , A native Utahan, he has been an assistant professor of art at Brigham Young University, in Provo, since 1947. Make- it-yourself hobbies such as woodcarv- ing, model building and lost-wax bronze casting are in his background, as is a bit of flying — for which he holds a pri- vate pilot's ticket. "I gave up flying in preference to movies," he writes. "You have more to show for it after a year of movie making."
Apparently he's right. What Glen Turner had to show for it was the Maxim Award for 1949.
MOVIE MAKERS
High hickory
[Continued from page 11]
passing you on the way down and, for a most effective shot of all, film your own moving shadow on the snow below. It's a good idea to shoot all of this at 24 or 32 frames a second to smooth out the motion.
Upon arrival at the summit, build up a brief sequence of the skiers getting off the chairs. Remember the crack skier you filmed at the bottom? You can weave a little story around him with no trouble at all. You have him getting on the lift; now follow through with scenes of him getting off, making his final adjustments to gear and then his start down. If necessary, wait for him to make several trips. Most skiers buy a day's pass for the lift and will average ten trips, depending on the length of the course.
JUMPING IS SPECTACULAR
Of the three types of championship skiing — namely slalom, downhill and jumping — the last named is by far the most spectacular movie-wise. Imagine, if you can, a man soaring nearly 300 feet into space with only a pair of skis and two arms for wings. It takes per- fect balance, split second timing and a pair of strong legs. Only the best com- pete in this dangerous sport.
To picture it properly, again use the one-two-three treatment. Catch the judges, the announcer, the loudspeak- ers, the hot dog stand, spectators eating and drinking steaming coffee and the jumpers on their way up to the run- way. Then in a flash of tense action, comes the roaring run, the swooping takeoff and the landing.
Varied camera angles again are es- sential, as well as varied camera speeds. Film the actual jump from about a forty five degree angle, using a telephoto and slow motion.
SLALOM AND DOWNHILL Although quite colorful and exciting, slalom and downhill racing are some- what more difficult to picture. With the contestants running more of a distance course, generally at high speed, there is little if any time to change location. However, a team of filmers . may work together, one at the start and the other at the finish, or you can build up your own record over several different tries. The use of a telephoto is again advan- tageous for this type of ski filming.
In closing, just a few words on edit- ing. Remember! Keep it short. No mat- ter how well a scene is photographed. or how beautiful it may be, it is of no use in your film unless it adds to con- tinuity, or has a specific meaning. It is always better to have an audience clamor for more than to be bored with too much.
TITRA..
titles that TALK!
NEW HORIZONS OPENED TO EVERY AMATEUR!
Here are a few of the many new ways to improve your films by use of the TITRA titles:
• You may record the first words of your child and superimpose them on the screen as actually spoken.
9 You may arrange brief plays to be enacted by you and your family and subtitle the spoken lines.
• You may title speeches or comments at parties, birthdays, weddings, outings, re- unions, etc.
• You may imprint jokes and spontaneous observations of people while acting or just moving around.
In short, your films will live, speak,
explain, comment— all by use of
TITRA . . . titles that TALK!
Send for Folder • Ask for Price List
WHITE SPARKLING TITLES ETCHED IN DIRECTLY ON YOUR COLOR OR BLACK & WHITE ORIGINALS!
IfottA, Qilml
' Eliminates splices for cut-in titles . . . Pro- tects against film break.
Doesn't interrupt the picture . . . Titles and action appear at the same time.
Professional appear- ance is assured . . . Expression and "dia- logue" are seen to- gether.
Permits rapid change of dialogue.
Write to Dept. M-M-A.
TITRA Film Laboratories, inc.
1600 Broadway New York (19) N.Y.
Telephone PLaza 7-2875-6
30
JANUARY 1950
THE TRI-LITE
(Pat. Pend.)
IT'S NEW. IT'S DIFFERENT
FOR THOSE INDOOR PICTURES
A light at 3 points around the camera lens, which makes for sharper pictures. Eliminates shadows so ideal for color film. Fits all cameras. Handle fits on tripod. Off and on switch. 15 feet of cord.
Shipped postpaid on receipt of $3.95, check or money order.
Try it 10 days, if not satisfied return it and get your money back. Lights not included.
WALTER WILLIAMS
1S237 Promenade
Detroit 24, Mich.
DISTINCTIVE EXPERT
TITLES and EDITING
For the Amateur and Professional
16 mm. — 8 mm.
Black & White and Kodachrome
Price list on request
S T A H L
EDITING AND TITLING SERVICE 33 West 42 St. New York, N.
Two 3/ stamps for giant catalogue. State size.
8-16mm Silent, Sound, Sales, Rental, Exchanges.
REED & REEO DISTRIBUTORS, INC. 7500 3rd AVE., BROOKLYN 9, N. V.
2V4 x 3'/4 COLOR PRINTS 50c each
Price of larger prints on request From 8 and 16mm Color Film
Send 3 frames or tie thread next to frame
desired. Add 25c handling charge on
orders of less than $5.00. No C.O.D.'s.
HOUSE OF COLOR
1108 Seal Way Seal Beach, Calif.
8MM<— 16MM KODACHROME BLACK V WHITS ,
8 MM Enlarged to 16, I6MM Reduced to 8. [Free Catalog on Request.
&^ NATIONAL CINm LAB
BOX+4-Z5 -WASHINGTON /7, DC
APPROVED NEW LIST ON REQUEST!
Add these unusual films to your home movie library now! 100 ft. releases 8mm $5.50; 16mm $6.00. available with sound.
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P. O. BOX 6, NORTH STATION PROVIDENCE, R. I.
Direct sunlight
Hazv sun
Open shade, clear sky
Cloudy bright
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RECOMMENDED EXPOSURES
Average subjects f/8
Light subjects between f/8 and f/11
Dark subjects " f/5.6 and f/8
Average subjects f/5.6
Light subjects between f/5.6 and f/8
Dark subjects " f/4 and f/5.6
Average subjects f/2.8
Light subjects between f /2.S and f/4
Dark subjects " f/1.9 and f/2.8
Average subjects f/4
Light subjects between f/4 and f/5.6
Dark subjects " f/2.8 and f/4
Average subjects f/2.8
Light subjects between f/2.8 and f/4
Dark subjects " f/1.9 and f/2.8
Movies in color: 2
[Continued from page 18]
sunlight. If a rim-lighted or halo effect is desired, give one full stop more than for front lighting. If details in the shaded area must stand out, give two full stops more under the same conditions.
TYPE OF SUBJECT IMPORTANT
The second category into which scenes fall concerns itself with the objects in a particular scene. Generally speaking, all subject matter may be classed as either light-colored, dark-colored or, if it is in between, as average. The color or tone of the principal objects in a scene (those which must be reproduced faithfully on the screen) will influence the exposure greatly. Average subjects will require a particular diaphragm stop, whereas if the subjects are light-colored, one half stop less exposure will be correct. Con- versely, if the subjects are dark-colored, one half stop more exposure should be given.
For this reason a filmer will familiarize himself with the color or tone of stand- ard scenes so that he can readily classify them when he is using the instructions packed with the film.
For example:
Average subjects. Light and dark ob- jects combined in equal proportions, all being given the benefit of the same gen- eral illumination. Also, objects whose tone or color is roughly in between light and dark.
Light-colored subjects. Beach and snow scenes, light-colored flowers, peo- ple in white clothing, light-colored build- ings, closeups of fair-skinned persons and all other subjects light in tone.
Dark-colored subjects. Dark foliage, deep-colored flowers, dark animals, dark- colored buildings and similar subjects.
It is by combining these two catego- ries— light conditions and types of sub- ject matter — that the following exposure table is worked out for Daylight Type color film.
The above exposures, which should be
followed for both close and distant views, are for front lighting. They will also be affected in each case by the compensa- tion for side or back lighting already mentioned. When in doubt as to whether a subject is light or dark, the average exposure should be given. The guide is intended for use in both temperate and tropical zones.
(Movies in Color, which began in De- cember, 1949, presents in four install- ments the completely new text of Chap- ter XVII from the recently revised edi- tion of The ACL Movie Book. Part 3 will follow in February — The Editors.)
Adventures in animation
[Continued from page 13]
sequences, one sixteenth of one revolu- tion was the amount that they were moved between each frame.
Some actions, however, are so slow that the movements between frames would be so slight as to be impractical. One such scene, which called for the pirate and his crew to approach the cafe very stealthily, was animated as follows: The pirate was moved the same amount as in ordinary walking, but instead of exposing only one frame in between each movement of the fig- ures, several frames were exposed. On pauses between steps, as high as eight frames were exposed while the figures remained in one position. The resulting action on the screen, though sometimes slightly jerky, was dramatically quite satisfactory.
MOVING THE ENTIRE FIGURE
The second type of animation used we decided to call manipulation. This process involves holding the figures or objects by some portion of their an- atomy that is out of camera range and moving the entire figure to simulate certain movements. The camera is, of course, run in the usual manner at its sixteen frames per second speed. In
MOVIE MAKERS
31
changing from animation to manipula- tion it is well to remember that the shutter speeds are different, and that corresponding aperture corrections must be made.
Our most elaborate attempt in the manipulation of characters and objects was toward the end of the film. The scene as planned called for the hero and heroine to escape from the burn- ing pirate ship in a fishing boat. Then, as they sailed away, the pirate ship was to sink in flames. Not wanting actually to burn the pirate ship (a retake might be necessary), it was arranged as fol- lows:
FILMING THE FIRE SEQUENCE
The scene was set up out of doors at night so we could have plenty of space and darkness. The camera opera- tor (yours truly) — with his eye to the viewfinder and one finger on the shut- ter release — rocked the fishing boat to and fro just within the lower edge of the field of vision. The boat was lighted with a No. 2 photoflood placed slightly to one side.
About ten feet away and to the rear was a pan of burning, oil-soaked rags. These were placed behind a wooden baffle, so that the flames showed as though burning from the water level upward. Beyond the fire, Lucille (my understanding wife — you can't make movies without one) gently lowered the pirate ship until it disappeared below the level of the wooden baffle. The pi- rate ship, which was well beyond the fire, was lighted from below by a No. 2 photoflood. All this for a few seconds of fire and confusion!
Animated movies are quite a malady, with both headaches and rich rewards. They offer opportunities for imagina- tive movie making that are hard to duplicate with live actors. Take the problem of sets alone. For a few cents worth of paper, paint and glue it is possible to create settings that, if made large enough to accommodate live ac- tors, would be out of reach financially for the average amateur. Animated movies offer a chance to go to Tim- buctoo and back again, right in your own living room. The motion picture screen is a great equalizer. The pro- jected image from a tiny object no bigger than your hand can seem just as vital as mountains and oceans, pro- vided the scale is right. And it can be much more imaginative and fanciful. If you like to dabble in the world of make believe, puppets and their possi- bilities for animation are of its essence.
ow-
SYNCHRONIZED
SOUND FOR YOUR
8 AND 16 HOME MOVIES
Wl
tk MOVIEVOX
Now You Can Add Perfect "Lip-Sync" Sound to Home Movies Using Your Present Projector
Now you can dub sound on a wire recorder and play back in perfect synchronization. The new MOVIE- VOX synchronizer keeps projector and recorder in perfect step — every time — automatically. Mistakes made in recording can be magnetically erased and quickly corrected. You can't miss with the MOVIE- VOX! Connects to any 8mm or 16mm projector- silent or sound.
MOVIEVOX — complete with synchronizer, microphone, amplifier, wire recorder, speaker, all necessary cords — sells at your dealer's for $225.00. Or the MOVIEVOX synchronizer can be installed on your Webster wire recorder and projector for only $75.00. See your dealer today — or write for illustrated literature.
MOVIEVOX
Dept. M, 1113 PLEASANTON ROAD
SAN ANTONIO 4, TEXAS
CKISWOLV
FILM SPLICERS
for every size and type of film, sound and silent, perforated and non-perforated, write for details
CRISWOLD MACHINE WORKS
Dep't A, Port Jefferson, N. Y.
PHOTOGRAPHY
To give your home movies that "professional touch." TRAIN in ALL phases of photography. Our Home Study Course includes valuable instruc- tion in 16mm movies. Resident Training in ALL branches of "still" work. WRITE TODAY! '
NEW YORK INSTITUTE OF PHOTOGRAPHY
iDept. "105." 10 W. 33 St.. New York. N. Y.
""'" ■«»«**«
THE ONLY BOOK DEVOTED EXCLUSIVELY TO TITLES Every step explained, simply and thoroughly.
It Answers Every Title Making Problem
:, HOW TO TITLE
■» HomE moviES
Sold Only by Mail
?MA!L A DOLLAR BILL TODAYS
WESTWOOD SALES CO. 635 victoria avenue, san francisco 27. California.
32
JANUARY 1950
16 M^iiM
8MAA
miiM'
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16 MM
and
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Motion Picture .Service
WRITE
FOR
PRICES
DEPT. M
GEO.W.COLBURN LABORATORY, Inc.
164 N. WACKER DRIVE, CHICAGO 6, ILL.
UNUSUAL MOVIES
"JUDY"
"MAZIE"
"OLGA"
"MIMI"
"LUPE"
8mm 50 Ft. $2.75
16mm 100 Ft. $6.00
16mm 100 Ft.
Sound $8.75
"UNA"
"ZARA"
"SALOME"
"SANDRA"
"VIOLA"
8mm 100 Ft. $5.50
16mm 200 Ft. $11.50
16mm 200 Ft.
Sound $14.75
SEND FOR FREE LIST
Walt Disney color .lide.-" »"f " " l"2
with viewer-$3.25
CAMERA SHOP
760 BROAD STREET - PROVIDENCE 7, R. I.
MOVIE AND SLIDE TITLES
STILL AT SAME LOW PRICESI Same titles formerly distributed by Bell & Howell — now sold direct. Large variety backgrounds available. No charge for tinting film Amber 1 WRITE FOR free illustrated brochure and samfles TITLE-CRAFT, 1022 Argyle St., Chicago 40, III.
ACL MEMBERS: The ACL has on hand a limited number of 8mm. black and white ACL leaders. Normally priced at 50< , they are available at 35c each as long as the supply lasts. Send orders and remittances to the Amateur Cinema League, 420 Lex- ington Avenue, New York 17, N. Y.
IV4CUIIIHU,
FILM PROTECTIVE PROCESS
THE SUPER
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PROTECTS AGAINST Scratches, Fingermarks, Oil, Water and Climatic Changes.
■ ONE TREATMENT LASTS THE LIFE OF THE FILM
BRITTLE FILM REJUVENATED "IT'S NEVER TOO LATE TO VACUUMATE"
Available through your local dealer or at
Vocuumate Corp., New York
(VapOrate Co., Inc., Sole Sales Agent)
General Film Lab., Detroit, Mich.
Geo. W. Colburn Lab., Chicago, III.
National Cine Labs., Washington, D. C.
Photo & Sound Co., San Francisco, Cal.
LATE RELEASES
Features and short subjects for 8mm. and 16mm. screens
Beauty, Rumpelstiltskin, Rapunzel and The Bear Skin. The films, which fea- ture "live" action instead of puppet or cartoon work, are available in 8mm. and 16mm. sound versions. Others are being edited and will be released shortly.
■ Three on a Trail, Bar-20 Rides Again and Heart of the West, one reel each, black and white, are available at photo dealers in two 8mm. and three 16mm. editions, including sound. They are distributed by Castle Films, di- vision of United World Films, Inc. Hopalong Cassidy, popular follower in the tradition of William S. Hart as a Western star, rides across the screen in three more of his thrillers.
• Tiger Fangs, one reel, black and white, is available in five standard 8mm. and 16mm. sizes from Official Films, Inc., 25 West 45th Street, New York 19, N. Y. The famed Frank (Bring 'Em Back Alive) Buck tackles the problem of some man-eating tigers that have been terrorizing whole vil- lages. It's safe to say that Mr. Buck is not eaten, but the reel has its share of chilling moments.
■ Colt Comrades, seven reels, 16mm. sound, black and white, is distributed by Commonwealth Pictures Corpora- tion, 723 Seventh Avenue, New York 19, N. Y. A feature-length Hopalong Cassidy film, Colt Comrades displays William Boyd, Andy Clyde and Jay fvirby on the alert for cattle rustlers, with plenty of riding and shooting. There are lots of dangerous moments for our heroes, but the despicable raid- ers get their just desserts in the end.
B A series of fairy tales is being re- leased by Sterling Films, Inc., 316 West 57th Street, New York 19, N. Y. Currently available are Cinderella. Beauty and the Beast, The Sleeping
B Dillinger, eight reels, 16mm. sound, black and white, may be obtained from Post Pictures Corporation, 115 West 45th Street, New York 19, N. Y. Lawrence Tierney, as Dillinger, proves that crime doesn't pay. Dillinger's col- orful but offensive antics are followed from the time of his first robbery to his eventual end at the hands of the FBI. Anne Jeffreys and Edmund Lowe are among those who run into Amer- ica's Public Enemv Number 1.
• Guiding Star, three reels, 16mm. sound, black and white, may be rented from Family Films, Inc., Hollywood, Calif. Uncle Henry, a man who be- lieves in the Christmas spirit 365 days of the year, enlightens an embittered mother and reunites an unhappy and misguided family group. The film is aimed at home, school and church mar- kets.
^06^
MOVIE MAKERS
33
TITLES
THAT TALK
HAVE you wondered how those smooth-flowing dialog subtitles were superimposed on just the right scenes in foreign language films? Have you wanted to use this same technique yourself in your family or travel pic- tures? If so, perhaps Titra, the new "titles that talk," may be the answer. For with the Titra technique now being offered for the first time in the 16mm. field, you can superimpose a title directly on any scene in your film after it is processed and edited.
There have, of course, been other methods in the past which accom- plished the same ends. With black-and- white foreign language releases, for in- stance, the producer could photograph his subtitles in negative on one strip of film, prepare a negative version of his picture on another film, and then run the two of them through a labora- tory printer for a positive release print with superimposed titles.
In the amateur field, however, this negative-positive system was not easily employed. Even in black and white emulsions, the amateur was working generally with reversal film for which there was no negative. With the advent of color stock — for which no negative existed nor could be made — the double printing process was out of the ques- tion. It was then double exposure, or nothing.
With the Titra titling system the need for either of these methods is done away with. For in the Titra sys- tem the clear white lettering of one's subtitles are etched chemically into the emulsion of each selected series of scenes. Here's the step by step process, as it is now being offered the 16mm. amateur.
A filmer planning to employ titles by Titra first edits his footage according- ly, selects the scenes he wants titled and prepares the title copy he desires imprinted on these scenes. With this title copy in the hands of Titra tech- nicians, each caption is now set up separately in type and press printed
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Under the guidance of a top-notch faculty you can turn your hobby into a profession! Complete studio equipment!
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A TITRA technician checks copy as press etches titles directly on processed film.
FILM, RADIO, TELEVISION
Approved by Veterans' Administration. Spring Term starts Feb. 7.
For Detailed Information and Catalog, Write cr Phone: PRESIDENT THEATRE, 247 W. 48 ST., N. Y.
19 (N) JU 6-4800
FACULTY: Arthur Knight: Chairm. Rudy Bretz: Telev. Eric Cripps: Film Techn. Gene Forrell: Film Mus. Robert Mannum: Telev. Leo Hurwitz: Film Techn. Lewis Jacobs: Film Techn. Edward Mabley:
Telev. Writg. Paul de Troff: Cinematog. Harry Robin: Sound Nathan L. Rudich :
Radio & Telev. Ray Sherwin: Animation Ira Wit: Film Industry
34
Classified a d v e r t i s i
"§
■ Cash required with order. The closing date for the receipt of copy is the tenth of the month pre- ceding issue. Remittance to cover goods offered for sale in this department should be made to the advertiser and not to Movie Makers. New classi- fied advertisers are requested to furnish references.
■ Movie Makers does not always examine the equipment or films offered for sale in CLASSI- FIED ADVERTISING and cannot state whether these are new or used. Prospective purchasers should ascertain this fact from advertisers before buying.
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■ Words in capitals, except first word and name, 5 cents extra.
EQUIPMENT FOR SALE
■ BASS SAYS: I've traded fair, I've traded square with folks the world 'round everywhere. If you would buy, or sell or trade, A Bass deal is the best that's made. CHARLES BASS, President. 8mm. Movikon K, Sonnar //2, 3x telephoto attachment, case, S125.00; Bolex H-8, Cooke f/2.5 fixed focus, lap dissolve, 1%" Berthiot //3.S, 3" Berthiot //3.5, case, S245.00; factory new 200 ft. magazines for Cine Special, black, $275.00; Bolex H-16, Plasmat //1.5, 1" fixed focus and wide angle attachment, 3" Trio- plan //2.8 coated, comb. case. S295.00; 16mm. Zeiss Movikon, Sonnar //1.4, $325.00; like new 16mm. B. & H. 70DA, 1" Cooke f/l.S coated, 17mm. wide angle Wollensak //2.7 foe. mt., 4" Dallmeyer //4, $325.00. We buy 'em, sell 'em, and trade 'em. Com- plete stocks of new Cine Equipment, all makes. BASS CAMERA COMPANY, Dept. CC, 179 W. Madi- son St., Chicago 2, 111.
■ GUARANTEED fresh F-A-S-T Pan Film, $1.65; 25' (8-8mm.), $1.65; 25' 8mm. color, $4.10; 25' 8mm. color base, $2.25; 100' 16mm. outdoor film (anti-halo) , $3.45. Free machine processing. MK PHOTO, 451 Continental, Detroit (14), Mich.
■ SYNCHRONOUS motors furnished and installed on cameras, projectors and recorders. Synchronous projectors for rent. Estimates furnished if desired. M. W. PALMER, 468 Riverside Drive, New York 27,
N. Y.
■ BOLEX H-16, like new, 1" //1.5 lens and case. $249.00; Kodak Model K with 1" f/1.9 lens and ca9e, excellent condition, $95.00; Kodascope FS-10N sound projector complete in one case, like new, $225.00. Many other 16mm. cameras, projectors, and home lab equipment. Colortran converters to boost ordinary 150 watt bulbs to 750 watt floods, $27.50. THE CAMERA MART, Inc., 70 West 45th Street, New York.
■ CINE-KODAK Special, two magazines, Mitchell finder, Bardwell-McAlister matte box, sync motor, Kodak anastigmat wide angle //2.7, deluxe case, excellent condition. Sacrifice. MUrray Hill 7-8377. MR. DOWNEY, Room 406, 342 Madison Ave., N.Y.C.
■ CINE LENSES— High speed, wide angle, tele- photo. For those sparkling outdoor and indoor winter pictures. COATED FOR 8MM CAMERAS; 9mm. //2.5 Wollensak wide angle universal focus, $43.75; y2" f/1.9 Berthiot Cinor (focusing mount), $39.50; 1%'' //3.5 telephoto anastigmat (3 time magnification) (in focusing mount), $36.50. IN FOCUSING MOUNTS COATED FOR 16MM CAM- ERAS: 17mm. //2.7 Carl Meyer wide angle, $49.50; 1" f/1.9 Wollensak Raptar, $58.09; 2" //2 Schnei- der Xenon, $99.50; 3" //2.8 Carl Zeiss Tessar, $109.50; 6" //5.5 Schneider Tele-Xenar, $124.50. These are only a few of our tremendous selection — the world's largest stock of lenses — we have what you want — 15 day trial — satisfaction guaranteed — send this ad in for free catalog and lens list. BURKE & JAMES, Inc., 321 So. Wabash Ave., Chicago, 111., U.S.A. Att: M. A. Milford.
FILMS WANTED
■ I BUY— sell, swap, rent S. 0. F., 8 and 16mm. films, list free. HARVEY IRIS, Box 539, Brockton,
Mass.
FILMS FOR EXCHANGE
■ EXCHANGE or buy used movie films. Mention your MM. Write GALLARD'S EXCHANGE CLUB, 29 Coe Ave., Hillside 5, N. J.
FILMS FOR RENTAL OR SALE
■ CASTLE Films for sale; 8mm. -16mm. silent and sound; complete stock, orders shipped dav received by STANLEY-WINTHROP'S, Inc., 90 Washington St., Quincy 69, Mass.
■ 400 FT. 16mm. silent subjects, all good condi- tion, Castle, Official, etc., $4.50 each; 3 for $13.00. Sound subjects, $7.50 to $9.00; guaranteed perfect. 8mm. subjects, 200 ft., perfect, $2.50; include postage; specify list wanted. ABBE, 503 Fifth Ave., N. Y. 17.
■ USED and New Castle films, 8-16, silent and sound. Send for lists. ALVES PHOTO SERVICE, Inc., 14 Storrs Ave., Braintree 84, Mass.
■ UNUSUAL industrial and educational film sources, many hard to find subjects. All films rented with- out charge. New list, $1.00. INTERNATIONAL CINE SOCIETY, 126 Lexington Ave., Dept. R, New York 16, N. Y.
■ CLEARANCE Sale: 200 ft. 8mm. subjects, $2.50; 400 ft. 16mm., $4.00. Cartoons, News, Sports, etc., like new. Send check or money order. SAMSON'S, Pine & Portland Sts., Providence 7, Rhode Island.
■ UNUSUAL films: 8mm. 50 ft., $2.75; 16mm. 100 ft., $6.00; 10 color slides, $2.50. Send for free list. SHAWMUT PRODUCTIONS, P 0. Box 132, Elmwood Station, Providence 7, R. I.
Q FOR sale: Sound film library & projectors. Sac- rifice; free list. HAWLEY, 3719 English., Indian- apolis, Ind.
■ UNUSUAL movies: 8mm. 50 ft., $2.75; 8mm. 100 ft., $5.50; 16mm. 100 ft., $6.00; with sound. $8.75; 16mm. 200 ft., $11.50; with sound, $14.75. Send for free list. CAMERA SHOP, 760 Broad St., Providence 7, R. I.
■ FASCINATING films: 8mm. 50 ft., $2.75; 16mm. 100 ft., $6.00; 10 color slides, $2.50, with viewer, $3.25. Send for free list. PROVIDENCE FILM EX- CHANGE, P. O. Box 157, Olneyville Station, Provi- dence, R. I.
MISCELLANEOUS
■ KODACHROME DUPLICATES: 8mm., or 16mm., 11£ per foot. Immediate service on mail orders, HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol- lywood Blvd., Hollywood 28, Calif.
■ SOUND RECORDING at a reasonable cost. High fidelity 16 or 35. Quality guaranteed. Complete stu- dio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SER- VICE, Inc., 7315 Carnegie Ave., Cleveland 3, Ohio. Phone: Endicott 2707.
| TWO 4x5 bl. & w. enlargements and negative from your moviefilm, or one colorprint from color- film. Send frames and one dollar. CURIOPHOTO. 1187 Jerome Ave., New York 52.
■ RIFLES, shotguns, pistols — Firearms of all types, all makes taken on trade towards ALL photographic equipment. Highest trade-in-allowance at NATIONAL CAMERA EXCHANGE, 86 So. Sixth St., Minneapolis 2, Minnesota. Authorized agents for Eastman, Argus. Revere, Bell & Howell, Keystone, Graflex — in fact every great name in photography. Trade your fire- arms on photographic equipment now.
■ NO negative? ? ? Send picture and $1.00 for new negative and 2 5x7 enlargements to CURIO PHOTO, 1187 Jerome Ave., New York, N. Y.
1949 BINDERS
MOVIE MAKERS offers an at- tractive, black fabrikoid, gold lettered binder for your copies of this magazine. A metal device enables you to insert and remove the maga- zines easily.
Price $2.50
Send your order
accompanied by remittance
to
MOVIE MAKERS
420 LEXINGTON AVE. NEW YORK 17, N. Y.
JANUARY 1950
in black on a white card. Each of these cards is then photographed in a still picture negative and at the same time reduced to the actual size of the film frame.
From these reduced negatives indi- vidual metal stencils are now cut for each of the subtitles ordered, and these stencils are placed in order in a press of Titra's own design. The entire reel of film to be titled is then coated with a thin layer of protective material. With the prepared film threaded through the same press, the stencils are now im- pressed in order on the scenes indi- cated, the protective layer is removed in the exact outlines of the title let- ters and these letters are in turn bleached out in clear white from the underlying emulsion.
Using the wide angle lens
[Continued from page 16]
It should be noted, however (see Figs. 1 and 1-A) , that the increase in area covered takes place in both directions — vertical as well as horizontal. Be- cause of the connotation of the name (wide angle), some filmers tend to think of this increase only in horizon- tal terms. The increased field is truly one of area. As such, it is generally about four times that of the standard lens.
INCREASED DEPTH OF FIELD Important as can be the larger area; covered by the wide angle lens, this is not its only interesting and effective characteristic. Often of almost equal importance is its ability to picture a given scene with increased depth of field. This property is made possible, of course, by the shorter focal length of the lens, which, even at the wide apertures demanded by poor light con- ditions, is able to pull more objects — - front and back — into acceptable focus. A dramatic example of this facility is pictured in Figs. 2 and 2-A. In Fig. 2, made with a standard lens, only the girl at extreme left is in sharp focus. In Fig. 2-A, all figures facing the camera are in good focus. Further- more, because of the deepening effect which this lens has on perspective, the entire group composes more comfort- ably within the picture area.
ACCELERATED MOTION A third and almost magical effect of the wide angle lens is its ability seemingly to accelerate motion (espe- cially from back to front) within the scene. We are all familiar with the slowing effect of the telephoto — how the race horses round the turn, pound up the stretch, but never seem to get anywhere. This visual trickery is ere-
MOVIE MAKERS
35
ated by the compressive effect of the telephoto on perspective.
The visual effect of the wide angle lens on back-to-front movement is ex- actly the opposite; it seems to speed it up. This movie magic is created by the lens's characteristic lengthening of perspective. Dramatic proof of this, amazingly dynamic for still pictures, is found in the comparative sets of illustrations 3 and 3-A. Here is an op- tical control which the creative camera- man may well use more often.
Now, sound on film!
[Continued from page 14]
PRECISION PHOTO FEATURES
Not only is the Cine-Voice a sound recording camera, but it is also a pre- cision-built photographic instrument. The film is handled at the picture gate on stainless steel balls, a patented Auricon feature used until now only on 16mm. professional cameras. The in- termittent film pull-down claw is of hardened steel, precision-ground to size. It moves the film so gently from one picture frame to the next that its operation — and in fact the entire Auri- con film movement — is not picked up by the sound recording microphone. The body of the Cine-Voice camera is of solid aluminum, precision-machined for ruggedness and light weight. The camera takes C mount lenses, such as are used with most popular 16mm. cameras today.
A control panel at the rear of the Cine-Voice provides plugs for connect- ing the camera to the sound recording amplifier and also for connecting the camera's electric motor drive to a source of 110 volt 60 cycle alternating current. A pilot light on this panel shows a red light when the motor is on, thus preventing accidental operation of the camera unknown to the operator.
A newly designed Auricon finder provides the Cine-Voice user with a large image, parallax corrected down to four feet. Outside area of the image is for the 15mm. wide angle lens, with professional-type, transparent plastic mattes provided for insertion in the finder to indicate other lens areas. The matte for the 1 inch lens is standard equipment with the camera, while mattes to match other lenses are avail- able.
The camera is finished in an attrac- tive gun-metal gray baked enamel fin- ish, and a steel-reinforced leather han- dle is provided at the top for con- venient carrying. The case furnished with the Cine-Voice outfit will carry both the camera and amplifier with batteries, together with the microphone, headphones, microphone cable and mike desk stand. The carrying case is made of plywood and covered with leather-grained maroon fabricoid.
7 Dfsc/ocKEy
UXJAL 'TURNTABLE
Fills a
W'/c/espread
Need
For continuous running,
fading from one record
to another.
With Audio Slide
Records can be packed| between turntabl bottom of cas
Dual Speed . . 33V& and 78 R.P.M. Plays 10" and 12" Records
Its Many Uses Include:
• Straight record entertainment play through any amplifier.
• Playing specially recorded commentary and/or sound effects records to run with silent movies or slides.
• Background music with voice over microphone. The Discjockey is housed neatly and conveniently in « leatherette covered case measuring 15V2"x73/4"xllV2"« Total weight 16 pounds. Unit has individual switch con- trols and mixing volume controls.
PRICE
Write tor details. See your
Photographic dealer tor demonstration
THE RALPH R. END CORP.
626 W. 165 ST. • NEW YORK Send your film (or free criticism or estimate
BIGELOW MOTION PICTURE FILM
COMPENSATED IN PROCESSING TO CORRECT EXPOSURE ERRORS
AGAIN!
THE OUTSTANDING COLOR RELEASE
OF THE YEAR
1950 PASADENA TOURNAMENT OF
ROSES PARADE
Complete 400 Foot Edition Only
SILENT-$60 SOUND-$75
ARTHUR H. HART
Cinematic Development and Cinechrome Laboratory
2125 Thirty-second Ave., San Francisco, Cal. Since 1938
Safeguard your
Film. Ship in
FIBERBILT
CASES.
400' to 2000' 16mm.
FIBERBILT CASE CO.
40 WEST 17th ST. NEW YORK CITY
|
Do All A.S.A. 40-24 |
OUTDOOR A.S.A. 16-6 |
|
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25 ft. 8-8mm. |
$1.94 |
$1.35 |
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100 ft. 16mm. |
4.45 |
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50 ft. 16mm. magazine |
3.25 |
2.75 |
ABOVE PRICES INCLUDE 24-HOUR PROCESSING SERVICE
Bigelow Film is New, Fresh Stock. Not War Surplus
PROCESSING SERVICE ON FILM OTHER THAN OUR OWN
25 ft. 8 mm. . $ .50 100 ft. 16 mm. . 1.50
50 ft. mag. . . .75
(if we keep magazine)
1.00
(if we return magazine)
California buyers please include sales lax.
MAIL ORDERS GIVEN PROMPT SERVICE
The snap and sparkle associated with professional motion pictures are yours when you use NEW COMPENSATED
6449 Regent St. Oakland 9, Calif.
36
Maxim winner at Hartford In line with long
standing tradition, the first public screening of the year's Maxim Memorial Award winner was put on by the ACL last month before members and guests of the Hartford (Conn.) Cinema Club, a group which was founded in 1927 by the late Hiram Percy Maxim, FACL, Founder President of the Amateur Cinema League. Present as a member of this veteran club was Percy Maxim Lee, FACL, daughter of the Founder and donor of the Maxim Award.
The featured film was, of course, One Summer Day, by Glen H. Turner, ACL, of Springville, Utah, the second 8mm. picture to take this top trophy in its thirteen year span. Other place winners seen on the gala program were The Witch Cat, by William A. Thomas, ACL; Menemsha, by Jose M. Pavon; Escape, by Warren Doremus, ACL, and One Dinar More, by J. N. Unwalla.
Edmund Zacher, ACL, newly elected president of the Hartford group, presided at the gathering, with Warren A. Levett, ACL, assisting on the sound scoring. James W. Moore, ACL, managing director, and Don Charbon- neau, ACL, general consultant, acted for the League in this annual presentation.
Walla Walla publication As a summary of club
activities for the year ending last month and a valuable reference guide for future officers, the Walla Walla (Wash.) Cinema & Camera Club, ACL, has issued its first yearbook. A sec- tion is devoted to neighboring clubs and another to rules for the annual competition held each spring. A complete listing of club officers and various committees, along with a souvenir program, completes the book, which reflects the cooperative spirit of this club that combines harmoniously slide, still and movie making enthusiasts.
MMPC winners Jones Beach, by George Mesaros, FACL, took top honors in the an- nual general contest sponsored by the Metropolitan Mo- tion Picture Club, ACL, of New York City. The seventy five dollar cash prize was donated by the club. The Mary
IN MILAN, members of Cine Club ICAL (Italian Cinema Amateur League) gather in Restaurant Campari for slide and motion picture screenings.
The people, plans and programs of
amateur movie groups everywhere
Jessop Award, fifty dollars in cash, went to second place winner, Leo J. Heffernan, FACL, for Tumbling Waters. Third prize of twenty five dollars in cash (also donated by the club) was awarded Mannie Lovitch, ACL, for Winter Escape. All of the ten entries in the contest were on 16mm.
The board of judges included Joseph F. Hollywood, FACL, Raymond Moss, ACL, C. Murray Booth, ACL, Lou Skinner, Sidney Moritz, ACL, John R. Hefele, ACL, and Ralph R. Eno, ACL.
Brooklyn gala 8 show The Brooklyn Amateur Cine
Club, ACL, is completing plans for its second annual 8mm. gala, to be held at the Neighborhood Clubhouse, 104 Clark Street, in downtown Brooklyn, on January 20. Tickets will be $.75 each and may be ordered from Arthur Rosenthal, 884 Franklin Avenue, Brooklyn. He may be phoned at STerling 3-8869. The show will consist of prize winning films from the club and national contests. Already booked are The Wolfs Tale, by George A. Valentine, ACL, honorable mention winner in Movie Makers 1948 contest, and A Fin for a Fin, by Robert T. Batey, ACL, a 1948 prize winner in the annual contest of the Metropolitan Motion Picture Club, ACL, of New York City.
New Maine group Movie enthusiasts of Lewiston and Auburn (Maine) prevailed upon the already existing Androscoggin Camera Club to form a cine division, which was subsequently done. Under the leadership of Robert Demers, of Lewiston, the new film group held its first meeting before the holidays, at which Squeaky's Kittens, by Walter Bergmann, FACL, and a Celluloid College instructional film were screened. A regular election of officers will be held soon. In the meantime, Adelaide Anderson is acting executive secre- tary, and William H. Ashcroft, ACL, is assisting with organization details.
Minneapolis sessions Pre-holiday meetings of the
Minneapolis Cine Club, ACL, featured screenings and a lecture demonstration. The latter was devoted to production planning and analysis and was conducted by Peyton Stallings. Among the films shown were Pueblo Land and Navajo Country, by Elmer W. Albinson, ACL; Christmas, by Dr. L. J. Martin, ACL; West Indies, from the Royal Dutch Air Lines, and a film on Cuba by Dr. John J. Boehrer. The club's Christ- mas dinner party was the feature of the December meet- ing, which also included a film program.
Ottawa demonstrates A recent session of the Ot- tawa Cine Club, of Canada, was devoted to the problem of lighting for interior film- ing. The General Electric sound production, Family Al- bum, was screened to illustrate proper lighting setups.
MOVIE MAKERS
Lloyd Oppenheimer
BENNINGTON (VT.) MOVIE MAKERS check projector. Seen (I. to r. front) are Mrs. H. W. Myers, ACL, sec't, Ralph Smith, ACL, pres., Lewis Carpenter, ACL, treas., Herbert Post, ACL, v. pres.
Club in Italy Cine Club ICAL—
Milan, organized last year, announces its roster of of- ficers for the current season. Achille de Francesco, ACL, is president, with Nino Zucca, ACL, as vicepresident and Pino de Francesco as secretary.
On the advisory board are Dr. Ulrico Hoepli, Dr. Celestino Frigerio. Dr. Ce- sare Maffioretti, C. Marino Bevilacqua, Dr. Gianni Fustinoni. Dr. Renato Bes- tetti. Dr. Lorenzo Ravaiolo, Alessandro Pasquali. Renato Spezzo Franciosi, Gaspare Pasini. Gino Cicu. Savio Alles- sandro and Angelo Moiraghi.
Vailsburg elects Recent ballot
ing by the Vailsburg Cine Club, ACL, of Newark, N. J., returned the following officers for the current season: Ted Kerekes, president; Tom Gray, ACL, vicepresi- dent; Harry W. Gardner, treasurer, and Walter Strombach. ACL, secretary. Plans for the club's annual open house in December, light hearted in nature, included the screening of Doghouse Blues, by E. H. Sparks, ACL, and The Unexpected, 1948 Maxim Award win- ner by Ernest H. Kremer, ACL.
Metro Schedule A busy and di- versified fall sea- son was offered members of the Metro Movie Club of River Park, in Chicago. The opening program featured the screening of The Unexpected, 1948 Maxim Award winner by Ernest H. Kremer, ACL, and Mainliner Holiday on Wings, produced by United Air Lines. This was followed by a round- table discussion of members' problems and demonstrations of individual Aim- ers' gadgets.
Subsequent programs featured a demonstration of magnetic sound on 8mm. and 16mm. film by J. S. Kemp, of the Armour Research Foundation: presentation of Part I of Paradise of the Pacific, by Arthur H. Elliott, ACL. and Down on the Farm and Watching
Richard Grow, bv Edwin J. Dahlquist. ACL.
The Kenosha Movie and Slide Club presented a program the last of Oc- tober as guests of Metro. Among the offerings were Trilogy, by Timothy M. Lawler. jr., ACL; A Girl, A Camera and Canada, an 8mm. film by Eldon Voelz, and an 8mm. club production. Poor Elmer.
Oklahoma slate R C Hardcastle was chosen pres- ident of the Movie Makers Club, ACL, of Oklahoma City (Okla.), with John Varnell as vicepresident. Mrs. Hugh Turney is secretary-treasurer, and H.
37
A. Houston, ACL. C. N. Conley and Lee White are directors.
The October meeting featured the screening of Infantile Paralysis, by club member E. R. Dunn, and the Har- mon Foundation film. Lenses and Their Uses.
Los Angeles 8's elect The Lo3
A ngeles 8mm. Club held its annual election before the holidays to choose officers for the coming year. A. W. Apel was named president and Dean Stocks vice- president. Edna M. Knowlton is the new secretary, and William Krause is treasurer.
Richmond salon The first aa-
nual salon sponsored by the Richmond (Calif.) Movie Camera Club featured a gala showing of fourteen films, most of them by filmers in the Bay area of San Fran- cisco. Space does not permit a complete listing, but among clubs or individual filmers represented were Bay Empire 8mm. Movie Club. San Jose Movie Club, Minneapolis Cine Club. ACL, Denver Sutton, of the Westwood Movie Club, C. H. Fox and Leonard Tregillus, ACL, of the Berkeley Movie Club, W. S. Movie, of Movie Crafters, and Ida Goetjen. of Ross Valley Camera Club. Joseph S. Pancoast, ACL, was program chairman, assisted by Made- line Whittlesey and Bob Buckett, club president. Percy Rihn was master of ceremonies.
ACL members urged for Leag
THE twenty fourth annual meeting of members of the Amateur Cinema League. Inc., will be held at the League's headquarters on Wednesday, May 10, 1950.
The chief item of business to be transacted at that time will be the elec- tion, by vote of the membership, of three ACL members to the League's Board of Directors, to fill terms expir- ing at that time. Any member of the League may become a candidate for such election if he is nominated in writing by ten (10) or more accredited members of the ACL.
So that each member of the League may have the fullest opportunity to ex- press his personal preferences concern- ing those nominated, ACL members ev- erywhere are urged at this time to send in their nominations of directorial can- didates.
No formality is necessary. Simply write to the Amateur Cinema League. 420 Lexington Avenue. New York 17. N. Y., and state:
"I nominate (League member's name)
to name candidates ue Board of Directors
as a candidate for election to the Board of Directors of the ACL at the coming annual meeting of the Amateur Cine- ma League, Inc.. on May 10, 1950. Signed: (your name)."
The period for making nominations will close on May 1. 1950. Only those names of members which have been nominated by ten (10) or more fellow members by that date can be placed on the official ballot. Your opportunity to vote on that ballot will be provided as usual with a mailing of proxy no- tices.
The ACL directors whose terms ex- pire in May, 1950. are the following: Ralph E. Gray. FACL; Roy C. Wilcox, ACL, and Harold E. B. Speight. ACL. If any one of them is to be re-elected to the Board of Directors, he must be duly nominated as outlined above. You are free to make such nominations if you so wish. You are equally free to make any other nominations that you desire. It's your League. Let's hear from you. — James W. Moore. ACL, Managing Director.
38
JANUARY 1950
8MM. ON THE MARCH
ON PAGE 28 of this issue of Movie Makers there will be found the facts and figures re- lating to our selection of the Ten Best Ama- teur Films of 1949. Forced out of December Movie Makers by the unprecedented number of films hon- ored in 1949, these data should reveal much about amateur filming in general, Ten Best competition filming in particular.
For many movie makers, surely, the most exciting revelation of this roundup will be the stirring progress made by 8mm. amateurs. With their entries compris- ing 23 percent of the films seen in the contest, 8mm.
workers took 20 percent of all the honors, with 14 percent of the Honorable Mention awards, 30 per- cent of the Ten Best awards and — to cap the climax — the Maxim Memorial Award for the best of the Ten Best Amateur Films in 1949!
The staff of the Amateur Cinema League yields to no one in its jubilation at these results. No more stirring testimony could be given of that simple (but often forgotten) truth that men and their imagina- tion, not machines and money, create great movies. Older and perhaps complacent 16mm. workers had best look to their laurels. 8mm. is on the march!
THE AMATEUR CINEMA LEAGUE, Inc.
Founded in 1926 by Hiram Percy Maxim
DIRECTORS
John V. Hansen, President Ethelbert Warfield, Treasurer
C. R. Dooley Ralph E. Gray H. Earl Hoover
Joseph J. Harley, Vice President James W. Moore, Managing Director
Harold E. B. Speight Stephen F. Voorhees Roy C. Wilcox
The Amateur Cinema League, Inc., sole owner and publisher of MOVIE MAKERS, is an international organization of filmers. The League offers its members help in planning and making movies. It aids movie clubs and maintains for them a film exchange. It has various special services and publications for members. Your member- ship is invited. Six dollars a year.
AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 1 7. N. Y., U. S. A.
Keeping
sound in sync
[Continued from page 15]
and even lip-recorded speech in per- fect synchrony, automatically and ev- ery time.
This synchronizing unit is composed of two halves connected by a flexible cable. Using screw holes already ex- isting in most projectors, one half is mounted on the projector by a special bracket and integrated with the shaft of the hand threading knob. The re- corder half, in turn, is built into that unit and gear-connected to the record- ing mechanism. The flexible cable quickly and easily joins these two control points and meters the projec- tor's speed through to the recorder. For, while each machine runs on its own motor, a slip drive in the recorder permits it to run only as the projector leads it.
PROJECTOR GOVERNS RECORDER
Thus, we find that it is the operat- ing speed of the projector which will determine the revolutions of the re- corder takeup — and therefore the natu- ralness of its sound reproduction. In operation, a projector speed of 18% frames per second has proved to be best for the sound and, heretofore, de- termination of this speed has been ar- rived at audibly.
A more exact control, however, is now an additional refinement in Movie- vox operation. This is a stroboscopic disc design mounted on the lower lip of the recorder's takeup spool. When
scanned by a built-in neon glow lamp, this disc will now signal when the pro- jector (and therefore the recorder) is operating at the desired speed.
Recording operations with the Movie- vox are basically similar to those sug- gested in earlier magnetic wire discus- sions in this magazine. Cue marks on the wire and on the film get both off in step; the rest is simply a matter of accurately rehearsed recording. Such operations on the Movievox, however, are simplified beyond those of other arrangements because of the funda- mental fact that control of the pro- jector also includes control of the re- corder. Start your projector, and the recorder starts. Stop the projector, and the recorder stops as well. Thus, cor- rections, additions or eliminations to the recording can be made at any point without impairing the synchrony.
Movievox units are available today in a variety of combinations. There is first the basic recorder, complete with microphone, speaker and a twenty minute spool of recording wire. Avail- able separately, for use with this re- corder or any standard Webster unit, is the Movievox synchronizer, with at- tachments designed for your projector. Instructions for the installation of this device accompany the synchronizer, or you may have it installed at the factory on order. Further, and finally, users of any other wire or tape magnetic sys- tem or of single or double disc sound, will be interested to know that Movie- vox can now synchronize their sound system with their projector as accu- rately as with our own equipment.
Build
yo
ur own
boom
[Continued from page 19]
hook or cleat is attached to the up- right on which the string can be fas- tened.
For the swivel block at the upper end of the boom proper, I took a block of wood 2 by 2 by 4 inches in size and cut it with a tongue V2 inch wide and 1% inches long. I then cut a horizontal slot % inch wide and 2yi inches deep in the upper end of the boom. The block tongue fits into this slot and is held by a Vi inch bolt and wing nut passed through a hole drilled through both units.
On the other end of the swivel block there is fitted a Vi inch bolt extending out from the end. Onto this bolt I at- tached a wooden arm 72 by 2 inches in size and 5 feet long. A Vi inch hole drilled in its center permits it to be slipped over the bolt extending from the swivel, which is then secured with a wing nut. At the ends of the wooden arm there are attached and wired suit- able sockets for built-in reflector floods or spot lamps, as desired.
The overall extension of this lighting boom arrangement is from about 3 to 8 feet above the floor. As suggested earlier, it provides for 360 degrees of rotation by the upright unit in the pipe mount, while the cross arm may be ro- tated 190 degrees horizontally and 360 degrees vertically. I have found the gadget invaluable in almost all types of home lighting setups. It is easily de- mountable for storage.
ITS IN STOCK AGAIN
• • • •
THE ACL FULL COLOR LEADER!
To all ACL Members:
So many of you have ordered (and re-ordered) copies of the new ACL leader that we've had a hard time keeping up with the demand. For this reason we haven't done much talking about the leader during the last month or so.
Now, however, we're all caught up with orders — and we re ready to tell you a few things about the leader :
The frame enlargements above give you an idea — but only a very rough one — of some of the highlights of tbe new ACL leader. What these frames cannot show you is the vibrant color, the exciting sense of motion, as tbe full leader develops. Here's what you'll see on your own home screen . . .
Against a dark background, the earth — with the con- tinents varicolored against the rich blue seas — revolves slowly until the sparkling, crystal letters ACL fade in across the spheres curvature.
Then a narrow band of brilliant red, bearing in white, raised letters the word MEMBER, swings across the globe. A second band of red, with AMATEUR CINEMA in white, zooms in from the right and is followed by a third red band, with the word LEAGUE.
A smooth lap dissolve follows, and across the same three
red panels appear the words WORLD WIDE ASSOCIA- TION OF MOVIE MAKERS, in gleaming white letters. These, together with the sphere, then slowly fade out.
There's still more: the trailer. As your film ends, you fade in once more on the slowly spinning earth — and a brilliant red band sweeps diagonallv across it, announcing in large white letters THE END.
But we can't tell you about it. You've got to see the leader to appreciate it, to get the feeling of real glamour that it will add to your most distinguished films. Shoot us your order today — and own a real movie making emblem of ACL membership!
Cordiallv.
i
QLmj*n-|»
w^-au^l^
JAMES W. MOORE Managing Director
P.S. 16mm. leaders are 14 ft.: 8mm.. 7 ft. — same running time.
ACL leaders are sold at the amazingly low price of $1.50 for 16mm. and $1.00 for 8mm. widths. Just fill out the coupon below, indicating the number of leaders you wish, and mail it to the League together with your check or money order.
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AMATEUR CINEMA LEAGUE, Inc. |
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420 Lexington Avenue |
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Yes, as a member of ACL, I certainly want several of the beautiful |
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new Kodachrome leaders. I enclose my check or money order for: |
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16mm. Kodachrome leaders at $1.50 each |
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Rmm Knriachrnmp leaders at $1.00 each |
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IF YOU ARE NOT A MEMBER OF ACL
The ACL (or Amateur Cinema League) is a non-profit organization which has provided advice and help in all branches of 8mm. and 16mm. filming since 1926. The ACL is also publisher of the well known ACL MOVIE BOOK and MOVIE MAKERS magazine.
Membership in the ACL (at only $6.00 a year) puts at your disposal, to use as often as you wish, the following services :
Technical consulting service
Continuity and film planning service
Club service
Film review service
Or. speaking more generally, membership in the ACL entitles you to ask any thing, at any time about 8mm. or 16mm. filming.
AND, in addition to these services, all members of the ACL receive the ACL MOVIE BOOK and MOVIE MAKERS monthly, as part of their membership.
To start your membership in the ACL, just send your check or money order for $6.00 to the Amateur Cinema League, Inc., 420 Lexington Avenue. New York 17. N. Y. If you want to start your membership with the ACL's official leaders for your films, we can accept your order for them at the same time.
100,000 MOVIE MAKERS HELPED WRITE THIS GUIDE TO MAKING BETTER MOVIES
^
FOR Alt 8MJW AMD 16MM FiiMERS
■ » ■» a
THE ACL MOVIE BOOK
AMATEUR CINEMA HAGUE, INC.
TWO WAYS TO GET THIS BOOK
Order from your favorite book store, photo- graphic dealer, or direct from the publishers.
If you join The Amateur Cinema League, the book is yours FREE, plus all the League Services, pfus MOVIE MAKERS Maga- zine for one year, for only $6.00. Use EITHER coupon below! DO IT NOW!
r
AMATEUR CINEMA LEAGUE,
420 Lexington Avenue New York 17. N. Y.
1-50
Inc.
Please send me copies of The ACL MOVIE
BOOK. I enclose remittance for $3.00 each, made payable to Amateur Cinema League, Inc.
Name
Street- City
Zone-
_ State.
1-50
AMATEUR CINEMA LEAGUE, Inc. 420 Lexington Avenue New York 17. N. Y.
I wish to become a member of the ACL, receiving the ACL MOVIE BOOK, Movie Makers monthly, and all the League services for one year. I enclose re- mittance for $6 (of which $2 is for a year's sub- scription to Movie Makers) made payable to Amateur Cinema League, Inc.
Name .
Street City
The ACL MOVIE BOOK
Out of the rich experience of helpful advice to movie makers all over the world for over twenty-three years, the Amateur Cinema League has written this 311 page book— with over 100 illustrations and diagrams- crammed full of information on every phase of movie mak- ing. ALL the up-to-date theory and practice of the amateur movie world, in simple, easy to read language, are yours within its handy, flexible-stock covers. You'll save its price many times over in better exposed, better produced movies you'll be proud of. $3.00
-Zone State.
READ THE COMPLETE TABLE OF CONTENTS
WHAT IS A MOVIE?— A fundamental discussion of films and filming.
WHAT MAKES A MOVIE?— The basic principles of the motion picture; scene, sequence and camera viewpoint.
A MOVIE'S CHIEF TOOLS— Essentials of your camera, film and projector.
BASIC CAMERA TECHNIQUE The practical problems of exposure, focus, scene length and camera handling.
FILM PLANS AND SCRIPTS-How to develop any film theme in easy and entertaining continuity.
AROUND THE YARD MOVIES-Family films come first from the camera of every home movie maker.
WE NEED MORE MOVIE TOOLS-How to use accessory lenses, filters, tripod, exposure meter and the advanced camera.
THE CAMERA STEPS OUT— Pictures of picnics, holidays, games and out- door sports.
THE CAMERA SEES THE WORLD-Planning and producing the travel film, by auto, train, plane or ship.
FILMING PUBLIC EVENTS-What makes a movie of a parade or pageant, a football game or a county fair.
MAKING READY TO PROJECT-The tools and techniques of editing, splicing, title writing and title making.
PROJECTION— Placing the projector, screen and audience; use of narrative and music.
FILMING INDOORS— The equipment, principles and practice of interior lighting and exposure.
THE CAMERA DECEIVES— Simple and advanced camera tricks; reverse motion, stop camera, movies in a mirror, animation, miniatures, double exposures and time lapse.
THINGS FAR AND NEAR— Using the telephoto lens, and other methods of closeup movie making.
BETTER METHODS OF EXPRESSION-Creating and using basic film effects; the fade, lap dissolve, wipe off, moving camera, montage editing and composition.
MOVIES IN COLOR— Complete characteristics of Kodachrome and Ansco Color; exposing color film indoors and out; filters for color; subject matter and lighting contrasts.
SOUND WITH FILMS— Use of narrative, music and sound effects, on disc or sound tracks.
SPECIAL PURPOSE FILMS— Personal films in business, teaching, science and the church; the film story and the documentary.
PROFITS FROM YOUR MOVIES— How competent amateur filmers help pay the freight.
THE MOVIE SHOPPER— Eight or Sixteen? Buying used equipment; acces- sories and services.
FEB -6 1950
©ci
B 2 3093 8
*
^ LIBRARY Qj
CONGRESS
AERIAL RECORD
r^ 1 3 1950
TELEPHOTO!
m m. &
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.MEWS |
• THREE-POINT LIGHTING • A TRII
IANGLI
• * * * GIVE THE CAMERA PREFERRED BY AMERICA'S FOREMOST CAMERAMEN
Don Sykes
Top Cameraman for Television's Outstanding Feature Series" Roving Cameras"
uses the Bolex H-16
NEW! BOLEX EYE-LEVEL FOCUS!
All new Bolex H-16 and H-8 cameras now include this fine precision instru- ment that gives you critical visual focus through the lens, from behind the cam- era . . . and at no increase in price!
Here's why DON SYKES
prefers the BOLEX H-16
Automatic Threading: No need to use ex- pensive magazine-loaded films. Bolex auto- matic threading eliminates all danger of imperfect tli reading.
Turret Head for Three Lenses: Accommo- dates standard "A" or "C" type mounts. Tri-focal Tubular Viewfinder: With exact fields for 15mm, l"and 3" lenses as standard equipment, viewfinder provides for absolute correction of parallax down to 18 inches. Invaluable for title and closeup work. Critical Visual Focusing: Groundglass fo- cusing for instant and accurate focus through the lens; magnifies image 10 diam- eters.
Focal Plane Type Shutter: Rotating disc, 180° opening, revolves only H8/1000 of an inch from emulsion side of film preventing linear distortion and giving faultless regis- tration on the film. This is a Bolex exclusive.
Frame Counter: Accurate frame counters add or subtract automatically.
Footage Counter: Adds and subtracts accu- rately in forward and reverse.
Audible Footage Indicator: You hear a click with passage of each 10 inches of film.
Variable Speeds: Speed range is 8, 1G, 24, 32, 64 and all intermediate. The governor maintains constant speed with the closest tolerance.
Hand Crank Operation: Either forward or reverse hand cranking is standard equip- ment. Speed is governor-controlled and any amount of film can be cranked in either di- rection. Dissolves, fades, tricks are easy.
Single Frame Exposures: Takes stills or animated sequences at 1/20 to 1/25 second exposures, or with "time" exposure.
Pressure Plate: Maintains firm, precise pres- sure on film, insuring rock-steady pictures. Single Claw Operation: Designed to permit adaptation for use with sound film.
The Baler is a precision instrument built like the finest Swiss watch by Swiss craftsmen.
Scenes From Actual "Roving Cameras" Story Shot With Bolex H-16. Breath- taking beauty— breath-taking photographs— these enlarged frames taken by Don Sykes. Such fine enlargements are possible— ercn on paper— because the pictures were taken with a Bolex H-16. In combination with its Kern-Paillard* Lenses, the exclusive shutter mechanism of the Bolex H-16 assures faultless registration of the image on the film— in color or black-and-white.
The BOLEX H-16 Less '.ZS™-50
A BEAUTY WINNER ill its OWI1 Kern-Paillard Lenses for the Bolex H-16 Switar 1" f/1.4 $183.75 F rf class is the Bolex H-16-unhes- r-izar r f/1.5 $ 97.00 rtea-
Yvar 15mm f/2.8 $ 78.75 \™
itating choice of advanced amateur Yvar3"f/2.5 $128.34
and professional movie makers. Dis- *"""-pA,L,L,\RD "NSES are TTnl^lfr
" out the world for their consistent high quality.
criminating cameramen revel in its Available in Switar 1" f/1.4, Pizar 1" ' t/1.5,
b m •IPs. Yvar 15mm f/2-8 and Yvar 3 f/2-5-
ease of operation, its gadgetless com- //ty\W\ Note: The Switar 1" f/1.4 is as fine
/ (/(JutjpjY A as any speed lens ever made for the
pactness. The skill of Swiss crafts- \__JL_jy i6mm field.
manship has fashioned the Bolex V_/ it *
H-16 into a superbly responsive in- irt W Q fib MOTION
strument— dependable under all con- \\J^/tf^^^ PICTURE
ditions and in every climate. I M a paiuard ....._..
y 1/ product CAMERAS
WRITE TODAY for descriptive folder UM-250 on camera and lenses to: PAILLARD PRODUCTS, INC., 265 MADISON AVENUE, NEW YORK 16, N. Y.
Bolex Cameras are sold and serviced through leading camera dealers everywhere.
MOVIE MAKERS
43
BIG NEWS FOR ALL 8mm -16mm PROJECTOR OWNERS
SENSATIONAL!
The greatest "Western" character of our time in THREE thrill and action-packed movies!
"HEART OF THE WEST"— Hopalong battles rustlers in a treacherous pass where only his nerve and daring can turn back a thundering stampede and wipe out the outlaw gang!
"THREE ON A TRAIL"— Hopalong and ranchers battle stage robbers barricaded in saloon! Guns blaze as Hopalong risks his life to bomb the bandits into submission!
"BAR 20 RIDES AGAIN" — Captured by bad men, Hopalong signals ranchers secretly, escapes and wipes out the gang in a rip-roaring gun battle to the finish!
ALL CASTLE FILMS ARE AVAILABLE AT THESE LOW PRICES
8 Headline $1.75 m * Headline $2.75 MM Complete $5.50 IOMM Complete $8.75
Sound $17.50
AN AMAZING NEW ANIMAL COMEDY I
"THREE LITTLE BRUINS
ON A SPREE"
A cable stretches from a tower over a deep canyon! Elmer and his pals climb the tower for new adventures but can't get down! They try wire- | walking and put on a thrill act any circus would envy! A boy scout saves them in the J best thrill act of all!
1
CASTLE FILMS
O/VISlON OF t/vTSYp' \NO^-° FU*S INC
1445 PARK AVE. 542 S. DEARBORN 604 MONTGOMERY NEW YORK 29 CHICAGO 5 SAN FRANCISCO 11
FREE!
To all projector owners, Send coupon TODAY!
Castle Films, Division United World Films, Inc. 1445 Park Avenue, New York 29, N.Y.
M-2
Send CASTLE FILMS' NEW, EXCITING 1950 HOME MOVIE CATALOGUE, profusely illustrated, describing wide variety of professionally produced home movies for every occasion, many never before available.
Name. Street.
7
I City & State. I
44
FEBRUARY 1950
Fltm Ms every
MOOD
. . . with the new
€i*E REFLECTOR
PHOTOFLOODS
Baby's tears, or his laughter, they're both precious! Make sure you get the whole story . . . use the new General Electric "built for movie cameras" Medium Beam Reflector Photofloods. They give you more usable light for less current . . . only 37 5 watts. Planned for use in pairs, they're ideal for color. Get some and try 'em!
TOPS FOR SUCH UNITS
You can put 4 lamps on one circuit! And it's so easy to follow action.
Now you can get a complete package
— lamps and bracket, in a handy carrying case. Ask your dealer.
1Re**te*H&e* . . . £-£ ^<u*t/k6 fan, every frfotoyxerfUUc frctnfiete
GENERAL ELECTRIC
THE MAGAZINE FOR 8mm & 16mm FILMERS Published Every Month by AMATEUR CINEMA LEAGUE
The reader writes
Closeups
Hunt for human interest!
Using telephoto lenses
Projection pointers
Build a tripod triangle!
Fading control for the Cine-Special
Three-point lighting
Movies in color: 3
The clinic
Hints from Hollywood
Planning makes programs
News of the industry
Late releases
Clubs
Miami amateurs defeat union bi
It can happen here
February 1950
46
What filmers are doing 49
Leroy Segall, ACL 51
James W. Moore, ACL 52
Maury Kains, ACL 54
Lewis C. Cook 55
Al Morton, FACL 56
Charles H. Coles, ACL 58
62
Aids for your filming 63
64
John C. Sherard 65
Reports on products 66
New 8mm. and 16mm. films 70
People, plans and programs 74
77 Editorial 78
Cover photograph: Harold M. Lambert from Frederic Lewis
DON CHARBONNEAU Consultant Editor
\
JAMES W. MOORE Editor
JAMES YOUNG Advertising Manager
ANNE YOUNG Production Editor
Vol. 25, No. 2. Published monthly in New York, N. Y., by Amateur Cinema League, Inc. Subscription rates: #3.00 a year, postpaid, in the United States and Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras, Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and Venezuela; $3.50 a year, postpaid, in Canada, Labrador and Newfoundland; other countries $4.00 a year, postpaid; to members of Amateur Cinema League, Inc. $2.00 a year, postpaid; single copies 25< (in U. S. A.). On sale at photo- graphic dealers everywhere. Entered as second class matter, August 3, 1927, at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright, 1950, by Amateur Cinema League. Inc. Editorial and Publication Office: 420 Lexington Avenue, New York 17, N. Y.. U.S.A. Telephone LExington 2-0270. West Coast Representative: Edmund J. Kerr, 6605 Hollywood Boulevard, Los Angeles 28, Calif. Telephone HEmpstead 3171. Advertising rates on application. Forms close on 10th of preceding month.
CHANGE OF ADDRESS: a change of address must reach us at least bv the twelfth of the month preceding the publication of the number of MOVIE MAKERS with which it is to take effect.
MOVIE MAKERS
45
wmfy/
...AND MOVIES MEAN REVERE
Outdoors in winter! What wonderful movie-making opportunities it offers. There's a world of action-filled fun waiting to be filmed against an ideal backdrop of glistening snow, white crested trees and clear blue skies. When you think of taking movies you naturally think of Revere, for Revere is America's favorite home-movie camera. Its faithful performance . . . easy-to-operate mechanism . . . many helpful features . . . and very reasonable price make Revere the preferred cine equipment. Camera prices start as low as $62.50, including tax. See your Revere dealer today! Revere Camera Company • Chicago 16
REVERE "26" 16mm MAGAZINE TURRET CAMERA
Gives you the speed and ease of magazine loading plus advantages of a 3-lens rotating turret head and adjustable viewfinder. Other features are: ratchet-winding key . . . continuous run . . . five speeds . . . and single frame exposure.
F2.7 Coated lens $152.50
F1.9 (Focusing Mount) .
Coated Lens $179.50
Prices Include Tax
Listen To Revere's "A Date With Judy". Every Thursday Night on ABC Network, 8:30 to 9:00 in Eastern Time Zones, 7:30 to 8:00 in Central, Mountain and Pacific Time Zones.
o
"48" 16MM SILENT PROJECTOR The Ultimate in Silent Projection
Every feature considered necessary for 16mm projection at its easiest and best has been in- corporated into this improved projector. Oper- ating on both AC and DC, its new features include handy film compartment in base, sim- ple 3-point threading, single knob control and other advanced operating advantages. Complete with slip-over carrying case, 2-in. F1.6 coated lens, 750-watt lamp, and 400-foot reel $137.50
EIGHTS oh^ SIXTEEN S
IN PURSUIT OF HAPPINESS REVERE ADDS TO YOUR PLEASURE
46
FEBRUARY 1950
SHOOT IT IN SOUND!
with the ALL-NEW
-V,
/£
i^ivic— y c>\cc
16 mm SOUND-ON-FILM HOME MOVIE CAMERA
jrQITQQ at your photo Dealer, Dv/0 — or write to us for free descriptive Folder telling how to shoot Home Movies with Hollywood style sound-tracks, for exactly the same film cost as silent movies! You can show your own "Cine-Voice" talking pictures on any make of 16 mm sound-on- film projector.
Record SOUND -TRACK & Picture.. . Project SOUND & Picture!
COMPLETE OUTFIT. ..*695°°
Including "Cine -Voice*" Sound Camera with high fidelity Microphone, Amplifier, Headphones, all Batteries and Tubes, Carrying Case, Instructions. Camera uses"C" Mount Lenses (not furnished) same as most popular 16 mm Cameras.
RCA LICENSED D**^^^ GUARANTEED ONE YEAR
BERNDT-BACH,Inc.
7383 Beverly Blvd., Los Angeles 36, Calif.
MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931
This department has been added to Movie Makers because you, the reader, want it. We welcome it to our columns. This is yoar place to sound off. Send us your comments, complaints or compli- ments. Address: The Reader Writes, Movie Makers, 420 Lexington Ave., New York 17, N. Y.
TO HECK WITH THE LEAGUE
Dear Sirs: If I get nothing more for my $3.00 extra in this coming year than I did in the past year, I am going to subscribe to the magazine only, and to heck with the League.
A. Wayne Brooke, ACL Leonia, N. J.
ROOM FOR IMPROVEMENT
Dear Mr. Moore: While The Reader Writes section is filled monthly with compliments for Movie Makers, I can't agree that it is such a wonderful magazine. There is plenty of room for improvement, and you'll hear from me later as to specific changes I would like to see.
The reason that I care at all is that I am a firm believer in unity and or- ganization. As a member of the Ameri- can Radio Relay League for many years, I know the value of banding to- gether for the common good. While I have never, to the best of my knowl- edge, used any services offered by the League, I still wish to be numbered as a member (note enclosed check) and contribute to its welfare.
Joseph A. Wagner, ACL Verona, Pa.
In view of recent efforts threatening to encroach upon our activities (see pages 77 and 78), perhaps member Wagner has a sounder solution than that of member Brooke. For, one of the most important (and yet little known) services the ACL performs is to protect the freedom of amateur filming — wherever and whenever it is threatened. This freedom, we sin- cerely believe, can be maintained only by amateurs "banding together for the com- mon good."
In the meantime, we warmly urge member Brooke to get his money's worth of the other ACL aids. And we invite member Wagner (and all others) to tell us what they want in Movie Makers. With each new issue, we too feel invari- ably that there's loads of room for im- provement.
AID IN ENGLAND?
Gentlemen: Since the ACL has mem- bers all over the world, it may be possible for you to help me. Here is my problem.
Some time ago a friend of mine sent several 8mm. films to England for the pleasure of an aged relative of his. Upon her inquiry at a photo shop in the town where she lives, this lady was
told that they would screen the film for her at a fee far beyond the poor soul's ability to pay. She is still at a loss to see these pictures.
Perhaps one of our 8mm. members in England might extend to this lady the pleasure of seeing these pictures of her family. Her address is Miss Lila E. Kenniff, c/o Miss Gurden, 83 Queen Anne Avenue, Bromley, Kent.
Herbert E. Nelson, ACL Kelso, Wash.
How about it, English 8's?
QUILTING PARTY
Dear Mr. Charbonneau: Many thanks for your interesting and helpful letter regarding a movie I want to make fea- turing patchwork quilts. You sure in- spired me, and when I finish the film I'll be glad to send it in for League review.
Sarah C. Sheldon, ACL Philadelphia, Pa.
AND HOW1
Dear Mr. Moore: I got quite a snicker recently from your formula in Ques- tions and Answers on how to make black camera leader — namely, running it through the camera and then devel- oping it.
Ain't that the hard way? I have al- ways found that if it is developed in daylight, it comes out black — and how! Arthur H. Hart San Francisco, Calif.
And how you're right!
MONKEY BUSINESS
Dear Mr. Moore: We are here for most of the winter, right on the Keys. Ruth and I spent two days shooting pictures recently at the Monkey Jungle, at Goulds, Fla., and I thought you might be interested in the enclosed snapshot.
Fred C. Ells, FACL Islamorado, Fla.
FRED C. ELLS, FACL, Ruth Ells, and Tommy, an 8 month old "chimp," visiting at Goulds, Fla.
MOVIE MAKERS
47
ON THE BUTTON
Dear Sirs: Add one more plug for an ACL membership button. I would like to be able to spot a fellow League member at the Sun forums and camera shows that I attend.
H. P. Goldberg, ACL Bronx, N.Y.C.
... I also like the suggestion of one of your readers for an ACL decal, suitable for mounting on my camera case. I'd go for that.
Clyde Beattie, ACL Lake Orion, Mich.
. . . Along with other members, I think a button representing the League would be grand. I would also like to have a sticker to put on my camera case. Is there such a thing?
Mrs. Helen Beckelman, ACL Brooklyn, N. Y.
Not right now
but there will be.
PHONE NUMBER TOO
Gentlemen: As long as you plan to follow Mr. Ashcroft's excellent sugges- tion— to put your office address on the new cards — please don't forget your phone number too.
Oscar W. Darge, ACL
Can do! Any other suggestions?
WELL SATISFIED
Dear Mr. Charbonneau: Thank you for your reply to my recent inquiry to the Consulting Department. I am so well satisfied with having become a member of ACL that I feel more than compensated already for the yearly dues paid with my application.
It is comforting to know that there is such an organization so ready and able to assist the amateur movie maker in making better movies.
Lester Unter, ACL New York City
MUCH I HAVE ENJOYED
Dear ACL: Just a word to tell you how much I have enjoyed reading Movie Makers in 1949, as well as to say "Thank You" for the many benefits from the numerous fine articles you ran.
Don Charbonneau also has given freely of his assistance to those of our group who have had occasion to write him. .
Gene Millman, ACL Past President Amateur Movie Society of Milwaukee- ACL Milwaukee, Wise.
REPLIES MOST KIND
Dear Sirs: Thank you very much for inserting a notice in the September issue of your journal asking for copies of Movie Makers which we needed. The replies from your readers have
ow-
SYNCHRONIZED
SOUND FOR YOUR.
8 AND 16 HOME MOVIES
Wl
tk MOVIEVOX
Now You Can Add Perfect "Lip-Sync" Sound to Home Movies Using Your Present Projector
Now you can dub sound on a wire recorder and play back in perfect synchronization. The new MOVIE- VOX synchronizer keeps projector and recorder in perfect step — every time — automatically. Mistakes made in recording can be magnetically erased and quickly corrected. You can't miss with the MOVIE- VOX! Connects to any 8mm or 16mm projector — silent or sound.
MOVIEVOX — complete with synchronizer, microphone, amplifier, wire recorder, speaker, all necessary cords — sells at your dealer's for $225.00. Or the MOVIEVOX synchronizer can be installed on your Webster wire recorder and projector for only $75.00. See your dealer today — or write for illustrated literature.
MOVIEVOX
Dept. M, 1113 PLEASANTON ROAD
SAN ANTONIO 4, TEXAS
PHOTOGRAPHY
To give your home movies that "professional touch.
TRAIN in ALL phases of photography. Home
Study Course includes expert instruction in new
movie techniques. Resident Training in ALL
branches of "still" work. WRITE TODAY:
NEW YORK INSTITUTE OF PHOTOGRAPHY
IDept. "105," 10 W. 33 St., New York. N. Y.
SMM— 16MM KODACHROME BLACK & WHITE
THE ONLY BOOK DEVOTED EXCLUSIVELY TO TITLES Every step explained, simply and thoroughly.
It Answers Every Title Making Problem
Sold Only by Mail
^^^A^wk^im^!^
MAIL A DOLLAR BILL TODAYS
, HOW TO TITLE
■ HomEmoviEs
.i
8 """.16
(SB
85 PAGES
ILLUSTRATED
WESTWOOD SALES CO. 635 victoria avenue, san francisco 27. California.
48
FEBRUARY 1950
For the most rewarding results — 1 from
Pain ling with Light
your camera
Here is the ex- pert know-how on those key techniques that lift movies from good to superb.
Painting with
Light by John Alton
Tells you how to achieve the beauty and enchantment of the best photography
THIS NEW BOOK SHOWS IN DETAIL HOW TO LIGHT-
People:
how to light different types of faces; lighting on clothes; photographic val- ues of make-up; getting the right light on people out of doors.
Special scenes:
firelight, candlelight; lighting to cre- ate special mood; flickering light, rain, lightning and other storms; light ef- fects of background colors; glamoriz- ing "props"; lighting equipment you can make.
Interiors and exteriors:
lighting for proper perspective indoors and out; highlights, shadow; interiors in night light; the street at night; shooting an interior from outside; light from doors and windows; light for dif- ferent times of day, different seasons; the right light on snow, ice, water; mist.
Reviewers say: "The most imagina- tive and instructive book I have seen," "A must for professionals and all serious amateurs."
The author is a top-rating Holly- wood expert _a Director of Photog- raphy whose pictures for MGM, Paramount, Eagle Lion, etc. have been cited by the critics as "some of the most exciting photog- raphy in cinema annals."
295 illustrations of equipment and how to place it.
^^ASEE IT ON APPROVAL
THE MACMILLAN CO.
60 Fifth Ave., New York 11
Please send me a copy of Painting with Light on approval. I will either remit $6.00 or return the book at the end of ten days.
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been numerous and most kind. We have had offers from readers as widely separated as Holland, Hawaii and Johannesburg.
Thanks to you and to your readers our set is now complete. Your kindness in helping us is greatly appreciated.
Miss P. M. Speight Asst. City Librarian Johannesburg, South Africa
GIVE BUGS A TREAT
Dear Sirs: Kindly send a subscription to Movie Makers to my friend listed below. He is a 16mm. user. I have en- joyed the magazine immensely, and have it on my waiting room table to give the "bugs" a treat.
Dr. Joseph J. Macro, ACL Cleveland. Ohio
SAME FOR SON-IN-LAW
Dear ACL: I have received so much help and information from both the Movie Makers monthly and The ACL Movie Book that I want to help my son-in-law get the same benefits.
Please enclose this birthday card in his copy of the ACL book. I do not know of any other gift that would give him as much help and pleasure as this. M. E. Blue, ACL Dunkirk, Ohio
A swell idea, Mr. Blue! An 8mm. ACL Kodachrome leader on the house goes out to you today for enrolling a new member in our League.
SINGLE FRAME SUNSETS
Gentlemen: A year or so ago there was an article in Movie Makers on filming clouds in single frames. I was wondering if any members have tried sunsets in this manner. I have had some success, but I am curious to know if any others have tried it.
Wallace C. Brockman, ACL 1535 Avenue B Schenectady 8, N. Y.
Questions ^i
SHISglEIIESSaiiillllieilH
Answers
Readers are invited to submit basic problems of general interest for answer in this column. Replies by letter to individuals must be reserved for mem- bers of the Amateur Cinema League. Address: Questions & Answers, c/o Movie Makers.
16MM. SLIDE PROJECTION
Dear Movie Makers: Like a lot of other filmers, 111 bet, I also work with 35mm. color transparencies, for which I have one of the standard slide projec- tors. Occasionally in my movies there are swell individual frames which I'd like to enjoy as a still, but I'm not satisfied with the still-picture arrange-
ment on my 16mm. movie projector.
Can you tell me whether you think these frames could be projected as col- or stills on my slide projector?
Stanley W. Preston Des Moines, Iowa
We see no reason why they could not be — and quite successfully, too. Basically all that is needed is to cut a mask from opaque paper which has the outside di- mensions of the regular 35mm. mask and inside dimensions only just smaller than the 16mm. image.
Center your selected 16mm. frame in this mask, position mask and frame in a cardboard Ready-Mount — and you're all set to project. Mounting between regular slide glasses probably will give still bet- ter results.
In this column Movie Makers offers its readers a place to trade items of filming equipment or amateur film footage on varied subjects directly with other filmers. Commercially made films will not be accepted in swapping offers. Answer an offer made here directly to the filmer making it. Address your offers to: The Swap Shop, c/o Movie Makers.
SAN FRANCISCO FOR U. S.
Fellow Filmers: I am anxious to ob- tain some good original 8mm. Koda- chrome coverage of such places as Niagara Falls, New York City, Atlantic City Beauty Pageant, Pasadena Festi- val of Roses, Portland Rose Show, our National Parks, etc.
In exchange, I would shoot 50 feet of 8mm. original Kodachrome of San Francisco, from vantage points not usually found by the average visitor. My movies would be from a tripod, ac- curately exposed, with good composi- tion and plenty of human interest.
Eric M. Unmack, ACL Founder President Westwood Movie Club 635 Victoria Street San Francisco 27. Calif.
SPLICER FOR AUSTRALIA
Dear Sirs: It has long been on my mind to suggest some sort of mutual lend-lease in an effort to replace my Kodak 16mm. Universal splicer, which I had the misfortune to lose. These in- struments of any make are unprocur- able here.
May I ask, therefore, if any fellow enthusiast would be prepared to pur- chase me a splicer in exchange for an equivalent amount of pictures on life in Western Australia? I feel sure there must be someone who would like to satisfy his curiosity on life "Down Un- der."
R. G. Button, ACL 27 Linden Gardens Floreat Park, Western Australia
MOVIE MAKERS
49
ClOSeupS— What filmers are doing
During a post-holiday visit to New York, J. Don Sutherland, ACL, pres- ident of the Washington Society of Cinematographers, reported on further honors won by William C. Kuhl, ACL, a fellow member of WSAC.
Mr. Kuhl. whose Cornucopia Revisit- ed was an Honorable Mention winner with the 1949 Ten Best, also has taken top honors for a film on Washington, D. C. in a city filming contest spon- sored locally by the National Geo- graphic Society. Staff members of the motion picture, editorial and illustra- tions divisions of NGS were the judges.
Movie Makers is pleased to announce the election of Frank E. Gunnell, FACL. as an Associate in the Oval Table Society, an honors society of photographers and filmers with head- quarters in New York City. Elected for his outstanding accomplishments in and contributions to amateur filming, Mr. Gunnell becomes — with Joseph J. Har- ley, FACL. League vicepresident — the second amateur movie maker to be named to Associateship by OTS.
If you couldn't get away to catch the Natchez (Miss.) Pilgrimage last win- ter, you may be interested to know that the dates this year are set for the ap- proximate month-long period, March 4 through April 2. For detailed data on this seductive subject matter, see Wel- come to Natchez in Movie Makers for February. 1949.
If the Hawaiian Islands have an un- usually heavy influx of filming visitors this year, the blame (or credit) prob- ably belongs to Arthur H. Elliott. ACL. of Chicago. Screenings of Paradise of the Pacific, his own Island study, in- clude presentations before the follow- ing: The Amateur Movie Society of
Milwaukee, ACL, and the Kenosha Movie and Slide Club, ACL, both in Wisconsin ; the Calumet Movie and Slide Club, in Indiana; the Edison Camera Club, Western Electric Camera Club, Chicago Cinema Club, ACL, Palmer Park Movie and Slide Club, and his own Metro Movie Club, all in the Chicago area.
Europe bound for the Holy Year activ- ities in Italy is Francis B. Murray, ACL. of New York City. His plans call for the production of two films — one as a personal record and the other, run- ning about 1000 feet of 16mm. Koda- chrome. for distribution to schools and churches in this country.
In a recent letter from Leonard Tre- gillus, ACL, co-producer with Ralph W. Luce, jr., of this year's Honorable Mention winner, Proem, we learned that the film has been sold to A. F. Films, of New York City. The picture will receive country-wide distribution to art and general educational institu- tions.
We learned a great deal about the trials and tribulations of a television producer in the course of a long talk with Alfred Sylvanus, ACL, of Cleve- land. Ohio. A film amateur of many years standing, he entered the televi- sion field actively at the end of the war when he joined the staff of WEWS. Cleveland's TV station.
Aside from his activities as manager of video production facilities at the sta- tion. Mr. Sylvanus also teaches tele- vision at Western Reserve University and still manages enough time to do some personal filming. He started his movie making with a Univex camera. tried several others through the years and is now using a Bolex H-16.
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KIT CARSON
Jon Hall, Lynn Bari, Dana Andrews
THE CORSICAN BROTHERS
Douglas Fairbanks, Jr., Ruth Warw.ck, Akim Tamiroff
SHIRLEY TEMPLE os MISS ANNIE ROONEY
wmiam Gargan, Guy Kibbee, D.ek.e
Moore, Peggy Ryan
1.
BRUCE ENGELS, ACL, author of Build Your Own Boom in January MOVIE MAKERS, is seen above using this easy-to-make unit with two No. 2 flood bulbs in clamp-on metal reflectors.
JAMES FEN1MORE COOPER'S
3 LAST OF THE MOHICANS
Randolph Scott, Binnie Barnes, Henry Wilcoxon
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51
Hunt for human interest!
LEROY SEGALL, ACL
OUR family of four had just disembarked at King- ston, Jamaica, in the British West Indies. We were surrounded by clamoring native drivers: "Taxi, Mister?" "You wanna see the Blue Springs?" "Go to Spanish Town, Guv-ner?" "Drive to Bog Walk?"
As the clamor at last quieted a little, we said "No . . . Take us to the Turtle Wharf." At first no one seemed to know what it was we wanted to see. But we persisted, and to the Turtle Wharf we finally went. It was a bustling, aromatic sort of place where, in a large wooden cage built below the water, huge sea turtles are stored alive until sold. When an order is received, a native boy jumps carelessly into the tank, wrestles a few moments among the thrashing amphibians and soon emerges with one of the big fellows in his grasp. In half an hour I had recorded a sequence of thrilling action that few7 visitors to Jamaica had ever even heard about.
We try for the same sort of subject matter in all our travel filming. In Mexico City, it was the end of the Viga Canal. Connecting with the famous floating gardens of nearby Xochimilco, it is along this canal that all the flowers and vegetables grown at Xochi are boated down for distribution and sale in Mexico City. In Hawaii, it was the famous "Kona Nightingale," a noisy breed of donkey. In Canada, it was the freighter trip down the St. Lawrence River to the Gaspe. On all of our trips, I have been able to record sequences of lively human in- terest because our pre-trip preparations had told me what to look for.
These preparations consist chiefly of reading up in advance about our destination and making notes of its interesting movie possibilities. These notes are then tran- scribed to a pocket notebook, grouped according to our itinerary. I concentrate on sequences of human interest. The average travel leaflet is not too helpful along these lines. But I study them as well as the more helpful guide books. Finally, when we reach our goal. I consult my notes and let the guide know that we want to see these points in addition to the usual shots.
Frequently I have asked to see things that the guides never heard of. For instance, we never did get to see a Negro with a beard at Guadeloupe,