Digitized by the Internet Archive in 2015 https://archive.org/details/homemovies195421verh ^es*ioanai CINE PHOTOGRAPHER If ARY 1954 35 CEN SPLICE and EDIT those Winter Films now! with a $3295 Both 8mm and 16mm films can be used. Capacity, 400 feet; rewind arms, and Hollywood stainless steel splicer. The view- ing screen, 2%" square, is set at a convenient viewing angle and projects a brilliantly sharp image for easier editing under brighter than usual room illumination. Fast changing from 8 to 16mm by using a single screw adjustment. Cool operation provided by a 30 watt lamp, all approved by Underwriters Without contradiction — the best buy in its field. S C H 0 E N PRODUCTS COMPANY 15029 South Figueroa Blvd GARDENA, CALIFORNIA the HOTSPLICE jj $1495 Fundamentally the editing or repairing of your film with the Hot- splicer is identical to that procedure followed with either the Standard or Automat Hollywood Splicers. The finish and fea- tures of the Hotsplice are identical to those of the Automat; plus the truly professional addition of the thermostatically controlled heating unit which is mounted directly under the splicing area of the steel base. The Hotsplice operates on any standard house 110-120 volt AC line. Professional splicing speed and fully fused joints are the main advantages of this splicer. MAIL TODAY Gentlemen: Please send me the Enclosed you will find $_ check Name Street .Splicer .in money order, cash, City. OR — I would like to have this splicer shipped through my local camera store. His name and address is I will pay him on receipt of the item. MODEL 80 CINE CAMERA Superbly engineered — with fine watch precision! Economical "drop in" spool film loading ... no threading or complex insertion! Adjustable view- finder adjusts view of field for normal, wide angle or telescopic lens with a flick of the finger. New power- ful motor requires only three windings per loading. Single frame exposure for trick effects. Five operating speeds for variety shots. Continuous run; footage in- dicator; exposure guide. Interchangeable lens mount. Beautiful brown crackle finish with gleaming chrome and smart ribbed leather trim. With Vi inch F2.5 (Universal Focus) Coated Lens, tax included $97.50 With 13mm F1.9 (Focusing Mount) Coated Lens, tax included $122.50 new thrills... new economy!... new Revere eights WITH "DROP-IN" SPOOL LOADING! and you save as much as 25% on film costs! Here are two new, streamlined movie cameras that make home-movie-taking so much fun ... so easy . . . and so economical! Ingenious "drop in" loading provides magazine load ease with spool film economy. Powerful motor gives 10 feet run per winding. Precision-built, adjustable viewfinder; ultra-smart, modern appearance. Ask your dealer to show you all the features of these two beauties — features that make Revere the outstanding name in home movie equipment! MODEL 84 TURRET CAMERA Beautifully designed turret camera with economical "drop in" spool film loading. Versatile 3-lens turret head is rotated instantly from one lens to another. Adjustable viewfinder gives full view of field to coin- cide with any of three lens with a flick of the finger; eliminates masks. Powerful motor runs 10 feet of film per winding. Single frame exposure for titles and animation. Continuous run lets operator get into the picture! Five operating speeds; footage indicator; ex- posure guide. Smart brown crackle finish with chrome and ribbed leather trim. With Vi inch F2.8 (Universal Focus) Coated Lens, tax included $122.50 With 13mm Fl.9 (Focusing Mount) Coated Lens, tax included $147.50 CINE EQUIPMENT REVERE CAMERA CO. • CHICAGO 16, ILLINOIS designed for TV ITS NOW AVAILABLE TO YOU! GOLD SEAL SPECIAL THE FASTEST MOVIE FILM ON THE MARKET! You'll swear it's supersonic. This amazing new discovery presented by Kin-O-Lux Laboratories, GOLD SEAL SPECIAL, is just the film you home and professional movie- makers have been looking for. Originally designed for televi- sion, the demand was so great from the shutterbug fraternity that a portion of the output has been channeled into camera stores and is now avail- able for home consumption. GOLD SEAL SPECIAL is of the pan type, unusually sensi- tive, and with a Weston tung- sten rating of 225, (300 tungsten by ASA rating) just think of the action shots you'll be able to get! GOLD SEAL SPECIAL is now available at your dealers in 8 and 16 MM and sound. So you home and professional moviemakers ; . . get the fast- est and most sensitive film on the market. Ask your dealer for Kin-O-Lux GOLD SEAL SPECIAL . . . TODAY! Registered U.S. Patent Oft. Home Movies HOLLYWOOD'S MAGAZINE FOR THE 8mm AND 16mm AMATEUR and professional CINE PHOTOGRAPHER Vol. XXI CONTENTS FOR JANUARY, 1954 No. 1 articles - home movies FOTO FUN IN DUBLIN— By S. J. Licata and La Tona . MUSIC FOR YOUR MOVIES — By Dow Garlock . . . HOW TO SHOOT SUN & SNOW— By Julius Smith . SHOOT WITHOUT A TRIPOD— By Geo. Carlson . . A PORTABLE PROJECTION BOOTH— By H. H. Reech TWO SHORT SCRIPTS articles - Cine Photographer CINEMASCOPE — New Bell & Howell System HOW TO USE THE EXPOSURE METER— By Leonard Clairmont STORY OF A PROMOTION FILM— By Joe Stein .... JOHN SCHMITZ— INDEPENDENT— By Henry Provisor . . 12 13 14 14 15 6 24 25 26 27 departments CINE CAPSULES 5 LETTERS 7 16mm PROGRAM FILMS IN REVIEW 8 WHAT OTHERS ARE SHOOTING 9 MOVIE IDEAS 10 LET'S GO SHOPPING 18 HOLLYWOOD PROS AT WORK 29 FILM LIBRARIES 40 CLASSIFIED ADVERTISING 41 TIMELY TITLES— By Marion Kyle 43 Cover by C. A. Peterson HOME MOVIES and The professional CINE PHOTOGRAPHER, Hollywood's magazine for modern movie makers, is published monthly by Ver Halen Publications, Hollywood. Also publishers of "Film World", "AV World", "Film World Directory", "Church Films", and "TV Magazine". No part of contents may be reprinted without permission from the publisher. Entered as second-class matter May 6, 1938, at the post office at Los Angeles, Calif., under the Act. of March 3, 1879. Change of address: Four weeks' notice required. When ordering change please name magazine and furnish address imprint from recent issue. If unable to do se, please state exactly how magozine is addressed. Change can- not be made without old as well as new address. Subscription Rates: U.S., $4.00 per year. Two years, S7.00. Single copies 35c. Canada S4.00 per year. Foreign, S5.00 per year. Foreign subscriptions ac- cepted only if accompanied by payment in U.S. funds. Advertising rates on application. Editorial contributions are invited but the publishers assume no responsibility for unsolicited manuscripts, drawings or photos, which should be accompanied by sufficient postage for return, if not used. Pay- ment for editorial material made on acceptance. Travel : S. J. Licata & LaTona Technical Editor JAMES RANDOLPH CHARLES J. VER HALEN Publisher HENRY PROVISOR • EDITOR Correspondents LEON VICKMAN, Paris AUSTIN BURTON, Montreol MIKE PEREZ, Mexico City Art Director: JOE WALL Advertising: SYD CASSYD Associate Editors L. L. ROWE JOS. STEIN C. J. VER HALEN, JR. Associate Publisher OFFICE OF PUBLICATION — 1159 North Highland, Hollywood 38, Catit., HU NEW YORK OFICE — Seymour Robbins, 1819 Brodway, JU 6-6689 - PL 7-0955 FOREIGN OFFICE — Jacques Ferrand, Official Internationale Artistique, 152 Avenue des Cnomps Elysee, Paris 8, France. (Room 1772, 1440 Broadway, New York 19, Wisconsin 7-34451 KIN-O-LUX Inc. 105 WEST 40TH ST., NEW YORK, N. Y. capsules" A LENS of specific focal length used on an 8mm camera will cover only a quarter of the area covered by a lens of the same focal length used on a 16mm camera. By using a lens of half the focal length, the area is increased four times. Thus a y2" lens on an 8mm camera covers the same area as a 1" lens on a 16mm camera. BY STANDING under the shade of a tree or in a doorway, the same pur- pose will usually be served as using a lens hood, depending, of course, on the direction of the sun. AT 16 F.P.S. there are 40 frames per foot of 16mm film, lasting 2y2 seconds on the screen; and 80 frames of 8mm film lasting five seconds on the screen. At 24 f |p.s. a foot of 16mm film will last 1% seconds on the screen. COINS CAN BE USED for weights on scales with sufficient accuracy for photographic purposes. The weight of each U.S. coin is as follows: $1.00 412.5 grains 50c 192 grains 25c 96.4 grains 5c 77.1 grains lc 48 grains 10c 38.5 grains A LENS FOR A 16mm camera may be used on an 8mm camera if it can be mounted accurately at the right distance, i.e. the focal length of the lens, from the film plane. Thus, a standard 1" lens from a 16mm camera will be a 1" telephoto on an 8mm cam- era. WHEN USING a wide angle lens on a turret camera, be sure the lens hood on any telephoto lens, which might be mounted on the turret, does not extend into the field of the wide angle lens, otherwise it will cut off a corner of the picture. OVEREXPOSURE in color will make the grain more noticeable and thus affect the sharpness of the pic- ture. PRACTICE LOADING film into the camera in the dark. Threading the film is not easy in the dark; but the oc- casion may arise when this has to be done. The film may jam or lose a loop, and it ma ybe necessary to find a dark spot, such as the cupboard in a hotel room, to open the camera and adjust the film. IN USING REDUCERS to lighten dark underexposed reversal film (or overexposed negative film) do not overdo it. If it is not reduced suf- ficiently the first time it can be done again; so, reduce gradually ■ — for safety. • See CAPSULES on Page 40 5 Irs Easy; Irs Economical; Irs T LIP-SYNCHRONIZED I with the AURICON Cine-Voice Camera • . . GAIN THESE SPECIAL ADVANTAGES WITH AURICON OPTICAL I6MM SOUND-ON FILM Your optical sound-track is free! No extra cost per foot compared with silent film. The "Cine -Voice" Camera puts the sound-track on the same film with your picture, and does all the work of lip-synchronizing sound and picture. Run your sound-films immediately after regular picture processing, on any standard 16mm sound-on -film projector. No expensive special processing or projection equipment needed. It's simple! Just shoot a "Cine-Voice" Sound-track with your picture, process the film and project. * 'Mf- VOICE" THE DM»W Vj*| IttttUH" SEES! THE CHILDREN SPORTS MUSIC Write today for free illustrated "Cine-Voice" camera folder. $695.00 with 30-day money-back guarantee, and one year service guarantee. BERNDT-BACH, INC. 7375 BEVERLY BLVD., LOS ANGELES 36, CALIF. M AMI ICAfTI IP CPC PC CnilMn.f\M_CII M DErftPniMft CftlllDMEMT CIMrC IQTl COMPCO CUP No more groping for hidden slots ! No more slipping of film on the take-up! The Compco Reel, with its exclusive, pat- ented "Compco Clip" makes threading fast and foolproof, even in the dark! The leader slips smoothly into the "Compco Clip" . . . stays put for winding . . . yet slides out after unreeling! In all 8 mm and 16 mm sizes. Just ask your dealer for "the reel with the Compco Clip!" ^^OTtxhCo CORPORATION 2251 W. St Paul Ave. Chicago 47 ManulKturers of line photographic equipment since 1932 YOU'LL MAKE BETTER MOVIES with EH Accessories for Cine Special f PAR Four-Lens Turret gives quick, easy change of Taking Lens with Finder Lens The turret's "constant apparent-field" viewfinder per- mits automatic simultaneous changing of camera and finder fields by simply rotating the turret. Positive tur- ret stop mechanism accurately centers the desired taking lens and its finder every time. Change from wide-angle to telephoto with a flick of the wrist. Other PAR accessories shown... 0 DUAL POWER reflex magnifier for easy compos- ing and critical focusing is offset for use with 200' or 400' magazines. 9 400' magazine* requires no motor drive with PAR spring take-up. Permits normal use of 100' cham- ber, is reversible, has footage counter. • Synchronous motor drive* -115V AC, 60 evele, 24 i. p-s. Write for prices and complete information on equipping your Cine Specials with these proven PAR accessories. *also available for Bolex H-16. PAR PRODUCTS CORP. a^Sw I SHORT SCRIPTS... Hypo Artist I. Interior, living room. Mildred and her friend Lucy are talking over coffee. 2. C. V.: Mildred speaks: 3. Title: 'T may resume my career as a model." 4. S.L.: Lucy is surprised. Then, with a catty expression: 5. Title: "At your age?" 6. C. I .: Mildred pretends to be offended : 7. Title: "I'll be photographed to- morrow for the agency." 8. M. S.: Lucy, who offers her a toast to success. FADE OUT Buffalo." lor any other city) "Pho- tographer." 10. M. S.: Interior Bruces reception room. Mildred is waiting. Bruce en- ters and greets her. smiling: II. Title: "Haven't I photographed vou befor?" 12. C. I .: Mildred. 13. Title: "Yes — a few years ago." 14. M.S.: Bruce, talking, gaily ush- ers her to the dressing room. 15. M. S. : Mildred, as glamorous as possible is posing under the lights as Bruce works with his still camera. 16. C. I.: Mildrel hopefully gives her make-up a final touch. 17. C. L . : Bruce shakes his head sadly, but makes some exposures. FADE OUT FADE IX 18. C. F.: Hour glass of flipping calendar to indicate passage of time. 19. M. S.: Mildred has returned to Bruces reception room. He enters with the proofs. 20. M. C. U.: Mildred has anxious look on her face as Bruce sits down beside her and shows the proofs. Her face clouds: 21. Title: "You did so much better before — " 23. C. L. Bruce diplomatically: 23. C. L . : "But I was ten years younger then!" 24. C. I.: Mildred, a good sport, smiles wistfully. C.U.: Close-up. M.S.: Medium shot. L.S.: Long shot. THE END Our Guest This short comedy may be shot on a single roll of film. 1. L. S.: The Dwens" home. 2. M. S.: Dinner is being served for the Owens family. Also present is a week-end guest. Dale ^\ alker. 3. C. L.: Mrs. Owens smiles gra- ciouslv as she helps serve. 4. C. V.: Dale talks gaily. 5. C. L.: Allen, a six-year-old boy. asks him a question. 6. C. U. Title: "When are vou going home?" 7. C. U.: Dale replies. 8. C. U. Title: "I should return Monday." 9. C. L. : Mr. Owens urges him to stay. 10. C. U. Title: "You can stay long- er than that!" FADE OUT. 11. C. U. Title: Two weeks later. 12. M. S.: Dale is playing with Al- len on the front lawn. A dog joins in the fun. 13. C. U.: Allen asks another ques- tion. 14. C. U. Title: "Aren't you getting lonesome for vour mama?" 15. C. I.: Dale laughs and con- tinues the fun. FADE OUT. FADE IN. 16. C. U. Title: Another Week Pas- ses. 17. M. S.: Dale is taking a nap un- der a tree in the backyard. Allen comes and wakes him up. 18. C. U. Title: "It's time for din- ner!" 19. M. S.: Dale awakens at once and races Allen for the table. 20. M. S.: At the dinner table. All is silent. 21. C. U.: Mrs. Owens serves with- out enthusiasm. 22. C. V.: Mr. Owens turns to Dale. 23. C. U. Title: "Don't you think vour wife and kids would like to see you once more?" 24. C. U.: Dale replied with appre- ciation. 25. C. U. Title: "Oh. thank you verv much — 1 11 send for them!" C.U.: Close-up. M.S.: Medium shot. L.S.: Long shot. 6 and pot pourri Our mail keeps pouring in, and we thank everyone for their keen interest in motion pictures, both amateur and professional. Please continue to tell us what you want and ive shall do our utmost to provide it, so long as requests follow the trend of other readers. Of course, we can't answer every single letter that comes in; however at least one staff member reads every single item. But we reproduce the most interesting ones in this column — so let's hear from you with comments — good and bad — and tell us about some new gimmick or angle which you have developed to make your hobby more inter- esting, because we would like to share them with you. Right now we are in a turmoil about the popular Timely Titles. Some swear by them, others swear at them, and others remain calm and clip them every single time to file for future used. What do YOU think? Ed. * * * LIKES TRAVEL SERIES May I congratulate you on the ex- cellent series of articles on travel which you have been publishing. I intend to go abroad next year and shall certainly use these articles as a guide. I am certain that much time will be saved and that I shall miss nothing of interest. ■ — George Whitby, Chicago. * ♦ * CRITIC OF TRAVEL SERIES About your travel stories which have been appearing in Home Movies. They are fine for the guy who is going to Europe but how about us poor fel- lows who must make do with a vaca- tion in the States. You thought of us at all? — Walter Amergo, New York. Yes, we have thought about you. Another series on travel in the United States is now being prepared and should be published sometimes within the next month or two. * * * FROM THE HORSE'S MOUTH As a producer of Souvenir Home Movies of many parts of Britain and Europe, we read with interest your article "Foto Fun in London" in the November issue of HOME MOVIES. I feel sure that many amateurs will find it worth while to keep this article and refer to it when next they visit Lon- don on vacation. The advice given for the best shooting time and angles for the various well-known monu- ments is particularly useful, as much time can be wasted in a short visit, if these are visited at the wrong time. In fact, from our own experience in making this type of color film, our own units always find it essential to tour a city for the first day or two, to note sun positions and camera angles before shooting commences. A sched- ule can be worked out in detail, which subsequently saves much time, par- ticularly if sunny periods are limited. I would like to correct one small error in the article, however, which is mainly of historical interest. The en- trance to the Mall is spanned by the Admiralty Arch. The Marble Arch originally stood where the Victoria Memorial now stands. This later was erected in memory of Queen Victoria. The Marble Arch was removed to the North side of Hyde Park, but not for the reason given. The State Coach, used at the Coronation, passes quite easily through this and in fact did so on June 2nd this year. On that day, our own company undertook its most ambitious assignment when it had 14 16mm cameras operating at various points along the route. It is perhaps a blessing that the Victoria Memorial was erected there in its place. On ceremonial occasions such as this the Ministry of Works erect special News-Reel stands for the recording of these scenes and it is from here that the traditional telephoto shots are always taken of the Royal Balcony. Lighting however is usually poor, as stated in your article, the Palace front faces East and by noon the sun is right off it. The use of powerful lenses is therefore made dif- ficult particularly when Kodachrome film is being used. It is perfectly true that no tripods may be erected in the vicinity of the Palace without a Min- istry of Works permit. This rule is rigidly enforced. The permits are quite easily obtained, however, and application should be made in writing to the Press Office, Ministry of Works, Lambeth Bridge House, S.E.I. Even so, tripods may not even then be erected on the Victoria Memorial un- less the wooden stands are there as it is considered that the metal feet would damage the marble. Even rubber feet will not convince the authorities! Apart from this, the police are very helpful and have no general objection to tripods undess the camera crew are causing an obstruction. May we wish your readers good shooting in London. Yours faithfully Walton Sound and Film Services /. K. Beney, Director Walton s liave a series of films made of the Coronation which may be pur- chased by readers. Check with them at 282a Kensington High Street, Lon- don W .U, England. • See LETTERS on Page 17 PEERLESS CAMERA ]( SALE OF 8MM ENCYCLOPAEDIA BRITANNICA FILMS BUY ONE SUBJECT FOR THE REGULAR PRICE AND GET — ANY OTHER FOR 1 1 — Now you can show in your own home these exclusive motion pic- tures never before available to the public . . . stories of distant lands and peoples . . . true adventure sagas . . . almost unbelievable live-animal pictures . . . sport films, and countless others that will thrill you, fascinate you . . . entertain you as never before! PEERLESS CAMERA STORES 415 Lexington Ave. N. Y. C, 17, N. Y. Please rush the following 8mm films. Postage Free if order accompanied by cash $6.50-- 1st Subject 1 < --2nd Subject □ Inside China □ Infants Are Individuals □ How to Hit (Baseball) □ How to Catch (Baseball) □ How to Throw I Baseball ) □ How to Handle the Football □ How to Block in Football □ How to Tackle in Football □ How to Improve Footwork in Basketball □ How to Shoot Baskets □ How to Handle the Basketball □ Peter Rabbit's Adventure □ Kittens Three □ Elephant Tricks □ Your Pets □ Aesop's Fox and Grapes □ Aesop's Hare and Tortoise □ Aesop s Fox and Crane □ In Eskimo Land □ Giant Africans □ Tasco, The Navajo □ Congo Pygmies □ Inside Russia (Siberia) □ Inside Russia (Moscow-Leningrad) □ Inside Russia (Peasant Life) □ Desert Arabs □ Inside India □ A Lost World □ Christmas Rhapsody □ Thrills of the Surf □ Bushland Symphony □ Also send me Free Bargain Bulletin Name Address . . 7 Impossible distances become Prtmar Reflex Photo "normal 105 mm. lens close-ups Primar Reflex Photo Astro 640 mm. lens taken simultaneously byHans Namuth LONG DISTANCE LENSES FOCAL LENGTHS TO 1000 mm.! Used by the world's foremost explorers, scientists and news services. Astro lenses have been making photographic history all over the globe. Special formulas have pro- duced resolving powers up to 100 lines to the mm.! And these superb lenses are fast enough for action color work— focal lengths from 300 to 800 mm. rated at F/5, the giant 1000 mm. (40 in.) at F/6.3. FOR STILL CAMERAS Weo. Exok.o. Primar-Reflex, Master Reflex, Hosselbtad, Praktlca, Contox-S FOR MOVIE CAMERAS, 6 «. 35 r Bolez, Mitchell, Eyemo. Debrie, Aikanio, E.K., Arriflex, etc. DUAL PURPOSE MOUNTS 0„o» ^JOP^ SUPER SPEED in.erchonsino^^B^K* . TELEPHOTOS movie end J|^L'w^^^» . , ■"^ 6 m. F/2.3 6 in. f/1.8 Made by Germany's foremost specialists in long-range optics. Astro lenses are available on order from franchised dealers only. Write for brochure and prices ERCONA CAMERA CORP. Dept. A-21, 527 Fifth Ave., New York 17, N. Y. 16mm. P1NU1 FILMS 1 •in review LET'S FACE IT Previewed, November, 1953. EDUCATIONAL. Sound, 14 min., color or b&w. Apply. Availoble for TV. Produced by Cine-TeleProductions in cooperation with the California Highway Patrol. Users: General highschool and college audi- ences, hot rod clubs, driver education, com- munity groups, church groups, and civic clubs. Content: Demonstrates personal responsibility in car accidents, and explains the training and functions of the highway patrol. A driver going home is impatient and takes a chance on pass- ing on an upgrade. The shattered windshield is shown as a bloody hand reaches up and fum- bles about the steering wheel. An ambulance comes and the man is taken to a hospital where a doctor makes an examination and shakes his head. Newspaper headlines show accident news and several wrecked cars ore demonstrated as narration points out that nine out of 10 acci- dents involve traffic violations. Illustrative se- quences are shown as narration further points out that hiah speed is the greatest cause of accidents, also requirinq adjustment of speed to the conditions of the road and visibility. Other reasons are violation of the riah of way, following too close, and drunken driving. The California Highway Patrol Academy is por- traved. demonstratina various t'oininn clasps, including jujitsu, revolver practice, first aid, lecture, and study of laws No-ration states that an accident occurs every minute in the United States, a death every 21'? hours. Pre- ventative measures made by the hiahway patrol are traffic checks, laboratory check of equip- ment, and analysis of comoiled information on danger spots and effective enforcement of safety precautions in those spots. Various func- tions of the patrolman are demonstrated, such as helping children cross streets, particularly watchina traffic around school busses, checking truck loads and wotchina for traffic viola- tions. Narrated by Chet Huntley. Comment: The introductory accident and scenes showing accident-wrerked cars present a shock that is developed by the facts and figures of the norration. effectively preparing the audience for the safety message and de- velopina favorable public relations for the high- way patrol. Distributor: Cine-Tele Productions, 6327 San- ta Monica Blvd., Hollywood 38. ONE MAN'S WAR EDUCATIONAL. Sound, 1 reel. b&w. Rental, sale. Produced by the National Film Council of the Motion Picture Industry of Australia Users: Highschool and adult audiences in studies of modern Austral'a or the Korean war. Content: An averaqe Austrqliqn citizen-sol- dier's impressions from the time of his enlist- ment through his first bombardment in Korea. The young Australian decides to enlist, and after his training he is shown boarding an air- Diane. In Tokyo, he quickly sees the city, the Royal Palace and aardens, and the carp in the moat around the Palace. In Korea, he views the war damoces to the capital city a"d finds a family living in a cave. Marchina toward the shootina, he is annoved bv the white dust of the main road. The Australian mine dogs of no particular breed are shown, identifying one as havinq found 4.000 mines One doa demonstrates the back-qnd-forth wolkinq to find q mine qnd sittinq where the mine is locoted. Men in q mortar crew are shown in action, and bombard- ment is heavy. A wounded man is carried out by o U. S. qmbulqnce helicopter. After the bom- bardment, the Austrqliqn soldier is shown rest- ing on o cot os the rqdio onnounces "all auiet in the Korean area because of the truce." Nar- rated throughout. Comment: An interesting comparison can be drawn by American viewers between Australia and American ways of fightina and attitudes. It is to be not*>d that the Australian considers the Korean "policing action" a war. Distributor: Australian News and Information Bureou, 206 Sqnsome St., Son Frqncisco 4. THE MOHAMMEDAN WORLD: Beginnings and Growth EDUCATIONAL: Sound, 1 reel, color or b&w. Rentol, sale. Collaborator: 1. James QuiMen, Ph.D., Education, Stanford University. Users: Junior high qnd highschool history; church mission study groups. Content: Presents o brief survey of Mohomme- dqn history, religion, politics, language, and art. The introductory sequence shows the city of Baghdad and a muein coll to prayer from o mosque. A mop indicqtes the outlines of the Moslem world. A brief history of Mohammed is given, emphosiing the basis of his religion is kindness, equqlity, qnd brotherhood. During his lifetime, the new religion spreod among the desert dwellers; after his death, his followers cor- ried the fighting faith into other lands, creat- ing an empire by 750. The faith competed with Christianity and whenever the two met, there was fighting, illustrated by Mohommedqn occu- potion of Spain and Palestine. Influences are demonstrated by the story of Sinbad in literoture, qnd words, such os dqmask, coffee, and muslin. Products, such os cqrpets, Damascus steel, too'ed leather, and engraved silver, ore shown. Other contributions ore methods of irrigotion, date palms, citrus fruits, and improved strains of livestock. Paper and Arabic numbers are con- tributions they borrowed and passed on to the western world. Scenes of Istanbul, the greatest Moslem city, are shown, indicating the most famous mosque, Santa Sophia. Comment: A wealth of detail is combined in narration and film sequences mqking on inter- est-provoking introduction for classroom study. Narration brinqs out the bosic beliefs in Mo- hammedan faith, surprisingly similar to Chris- tianity. Distributor: Coronet Films, 65 E. South Water St., Chicago 1 . KANGAROOS EDUCATIONAL. Sound, 1 reel, b&w. Rentol, sqle. Produced by Australian Instructional Films. Users: Elementary through college levels in studies of the kangqroo or marsupials and Aus- tralia. Content: Outlines the characteristics and hob- its of the Australian kongoroo. Narration ex- plains that pounch animals once roamed all over the world, but they were killed off by other animals so that today only the opossum is left in America. Several of these animals live in Australia, and the kangaroo si the best known. A group of kangaroos are shown in flight to demonstrate their areat leaps which narration states averoge 20-feet each. Their movements ore shown as they stoop to eat grass and as they lie down, pointing out in various actions how they use their tails for balance. The three- toed back foot is observed, noting the large sie of the middle toe. Its front feet are similar to human hands and have grasping ability. When walking or moving slowly, the kangaroo is very clumsy. A model of a new-born bary is shown climbing up to the mother's pouch, where, it is explained, it will stay till much larger. Even after leaving the pouch, the baby will nurse till it is one-year-old, as demonstrated. One sequence notes how the kanqqroo stonds on his toil while kicking with his feet during o fight. Another sequence observes them scratchinq themselves. It is pointed out that too many animals in Aus- tralia eat grass and since only one baby is born for each pair of kangaroo parents, there is o danger of the kangaroo species dying out. The similarities between kangaroo and sheep skulls are pointed out. The conclusion says that kan- garoos make fine pets when tamed and that Australians are very fond of them, putting their picture on coins and on the country's coat of arms. Narrated throughout. Comment: A thorough, satisfying film in con- tent and information. Unless one wanted to make an exhaustive study of the kangaroo, this film will answer practically all the auestions one might hove qbout the animal. Entertaining and instructive for general audience use. The nar- rator is either American or without the Austral- ian accent thqt distrqets attention. Distributor: Encyclopaedia Britannica Films, 1150 Wilmette Ave., Wilmette, III. Readers are invited to send amateur films for review to Home Movies. where a panel of judges will screen, rate, and criticize all films submitted. A film leader, with the rating awarded will he sent to each amateur whose film has heen pub- lished and reviewed by Home Movies. Others will receive a per- sonal criticism by mail. The one star rating indicates an "average" award — two stars, "good" — three stars, "verv good" — and four stars, "excellent." 8 what others are shooting Sun Valley *** — 16 mm color, sound-striped. By Tullw Pellegrini, San Francisco, California. If the Union Pacific Railway had any sense, they would latch on to this little epic dreamed up by our very good friend Pellegrini. Essentially, it is a descriptive film which tells the story of Sun Valley, Idaho and covers that snowy vacation spot from all angles. Exposure is right on the nose, and the story flows along smoothly with wonderful fades and dissolves, made no doubt, with the unique var- iable shutter which Pellegrini devel- oped a few years ago. Narration does sometimes impose itself upon the story and we suggest that this could have been cut down. Another idea is that some sort of story, I other, than the bare fact that this film is a pure record of the re- sort) could have been woven into the thing to make it much more effective and interesting. While Pellegrini records his subject in minute detail he could have intro- duced a vacation couple, or some group who had spent a week or so in Sun Valley, and this way sustain a greater degree of interest. All in all "Sun Valley" is a good film and should please anyone. * * * Alice in Wonderland **** — 16mm color. Louella Showden, Long Beach, California. This film is so unique that we re- produce herewith a detached profes- sional review from our sister publica- tion "FILM WORLD" which preview- ed the film. We do this because we think that "Alice in Wonderland' is professional material, usable in the commercial market. ALICE IN WONDERLAND — Pre- viewed by FILM WORLD, January 1954. ENTERTAINMENT. Silent, 20 min., color. Produced by Louella Showden. USERS: Elementary grades lan- guage arts; general audeiences through junior high levels; camera clubs. CONTENT: Contains several inci- dents from Lewis Carroll's "Alice in Wonderland", dramatized by costumed actors. The film opens with a young girl who is reading the book and wish- ing to be Alice. Then the action be- gins when the little girl falls asleep and awakes, dressed in the traditional Alice dress. Running after a white rabbit (real), she falls in a hole and lands in the Red Queen's garden which contains, I among other things ) bread- and-butter flies and green bottle flies. She enters the cottage with the "grow big" cookies and the "grow small" drink. Leaving the cottage, she sees the Cards, (who are real people) painting white roses red, and then she plays croquet with the Queen, who cheats. Leaving the game. Alice meets Tweedle Dee and Tweedle Dum, two little fat twins who end up fighting each other. She goes on until she meets Humpty Dumpty who falls, and Alice cries when she sees the broken pieces. Entering a large gate, she walks right into the Mad Hatter's party and meets the March Hare. The conventional mad antics at the party are recorded in the film, and this in- cludes the sequence where the Red Queen and the King enter the scene. The Queen is her usual repulsive self. When the Queen sees Alice putting jam on her bread, she screams for the jam. Alice let s her have it — right in the face. Alice runs from the party, and when she sits down to rest she awakens as the little girl again. COMMENT: This film fantasy should prove delightful for young peo- ples who will enjoy the bizarre cos- tumes and characters. Cinema clubs should be interested in seeing this film for the effects achieved by a non-pro- fessional. DISTRIBUTOR: Louella Showden, 824 Hoffman Ave., Long Beach, Cali- fornia. The underlying theme of "Alice in • See OTHERS Page 17 SHOOT.. DEVELOP.. PROJECT YOUR MOVIES IN HOURS IT'S EASY WITH THE MORSE G-3 DAYLIGHT DEVELOPER With the Morse G-3 Daylight Developing Tank, reversal or posi- tive motion picture film can be processed quickly and economical- ly at home — in full daylight. A darkroom is necessary only for loading. From filming to projec- tion is a matter of hours with this compact, efficient unit. Stainless steel film reels accommodate up to 100 feet of Double 8 m.m., 16 m.m. or 35 m.m. film — adjust quickly to either size. Many appli- cations in industry, for processing Micro-file film, etc. ra Dry Fast with the MORSE M-30 Film Dryer Simple. Porta- ble. Dries film in 10 minutes. Reel collapsi- ble and removable for storage or carrying. The M-30 Dryer and G-3 Developer belong in every film fan's equipment. SEE YOUR DEALER OR WRITE - INSTRUMENT COMPANY 23 Clinton St. HUDSON, OHIO Manufacturers of PRECISION PRINTERS DEVELOPERS FILM DRYERS • TRAY-TEMP 9 MOVIE Our Enemy — Time One day when I was home with little to do, I began to find out just how important time really was. In a short time I became conscious of things which I had long taken for granted] \\ e live by clocks. In the morning the alarms wakes us up. In our half-sleep we cuss the thing and shut it off, but from that point on, our life is a series of sprint races against time. We dash into the shower, trying desperately to cut the sleep so we can make it to the office by 8:30. On the way to the garage we cram a slice of bread down our gullet and wash away the sandpapery feeling with a cup of hot coffee. Then we hurry to the garage. Without letting the car warm up, we cram the reluctant gears into re- verse and power our way into the street and gun the motor in the gen- 1 1 V .1 9 { h 8' . 7 © 5 eral direction of the office. On the way down we turn on the radio: just so we will know what time it is. We park and chase the elevator up three flights of stairs to our job. From 8:30 till noon work is a ser- ies of time-watchings: how long till the coffee break? How long till noon? At noon we slow down for a couple of minutes while we elbow our way into a too crowded restaurant and fight the crowd for a small stool at the counter because the tables are full. Vi e look at our watches. Ten min- utes of our precious hour is gone. Where is the waitress? Doesn't she know we've only got one hour for lunch? The food comes. W e stuff it down with one eye on our coffee the other on the merciless clock. As the last crumb scrapes its way down our throat we dash out the door, stopping only momentarily on the way. to drop 75 cents in the cashiers outstretched hand. Then, it's a fast march back to the office. Afternoon at the office is worse. It is a series of roundhouse collisions with the clock. We're due at Mr. Schlumpnagle's office at three. ^ e leave at two-ten exactly but traffic ties us up. We lose three minutes and we're frantic. Step on the gas boy. Make it up. You're due on tbe the other side of town at three. Then, back from Schlumpnagel's of- fice driving like a gunman in an effort to make it back to the office by four: always back by some definite time. Somebody's coming. Make it back by four. From four to four forty five you slow down. The interview was quiet and you rest but at four forty five the pace quickens again. Just fifteen minutes to quitting time. You watch the hands on the clock. They drag. Who is holding the hands. Somebody is stalling time. Ah! The clock says four forty nine exactly. In a flurry of uncontrolled excitement you whisk the paper off your desk and into an already too- full drawer. You empty your ash tray and as the hands point straight up at 5 o'clock you slam the ash tray down and jump to the door. At home the wife tells vou supper will be ten minutes late. The washer broke down, she explains, and she's behind schedule. You're famished. The ten minutes drag so slowly. You've almost missed the big fight. In a flash stomp into the living room and turn on the television. You re- lax. You watch the fight. You talk. You read. What? Eleven already? Impossible! You drag yourself to bed. remembering to set the alarm for seven. I tried to capture these feelings on film. I tried to show just what time was. I've just completed the film and I called it "Time. Man's Natural Enemy". It was a lot of fun to make. - — Harold Barnes, Minneapolis. Kidding T.V. Ever wonder how some of the shows get on l.v.1 Some of them are so sim- pering they'd be bovcotted in kinder- garten as too childish. Now. I'm just as bad as the next guy. I watch all of the shows. I see the westerns, the fights, the panel shows, quizzes and familv shows. But, one day I really got fed up. They all seemed like drivel and I decided to let off steam. I did it by making a movie which kidded the pants off the straight shows in t.v. I thought that other readers might like to fiaht back the way I did. Fir^t I divided a typical t.v. day into representative types of shows. It tried to pick things which would be representative of the things every one watches. To do this I chose: a '"soap opera', a panel show, a cookinsr show, a commercial, the popular C.B.S. eye and wrestling. I then planned to burlesque all these shows. I wanted to make them seem as real as possible with all elements becoming insane. I chose a television format for the show. My story opened with a family sit- ting in front of the t.v. The camera dollies past them into the t.v. screen and the screen fades into the first film. To give the shows a realism with humor, I twisted the titles of legiti- mate shows. The soap opera was called "John's Other Wife's Other John ". The panel show was called "Who Said That's My Line?". The cooking school was "Chef Spitooni's Program ". The commercial was an honest "right from the heart" used car commercial. The C.B.S. eye was real except that it was bloodshot and cried. The wrestling was just as dirty and hamy as I could make it. — Augie May, Chicago. Christmas Cards After Christmas, cards have a way of piling up and fast becoming useless. I put mine to work in January. I made my Christmas film then and I used the cards we received to be the "stars" of my Christmas film. The idea worked this way. I wanted to ekep a record of the cards. To do this I either had to keep the cards or film them. I chose the latter. Ob- viously, however, the cards themselves made pretty dismal actors. I wanted to lift them from this ordinary class. I did it in two ways. First. I "animated" them, by tight and critical cross-cutting. I filmed long shots of the full cards. I filmed them by placing them on my titler. Then, when a card had a particularly prettv or funny cover design. I moved in and made closeups of the inter- esting parts. I gave them movement by shooting certain figures or parts from several different angles then editing these angle shots together so that the cards seem to move. These were often repeated in a definite rhvthm. In some instances I com- 10 IDEAS bined this rhythmical editing with music. When a record was a scenic one, I'd either move in close and pan across the scene as I would have done on a real scene or I'd fade the card into a film strip of a scene which was comparable to the one expressed by the card. Each card was introduced by the signature on the card : Ethel and Al- bert, Joe and Francis, The Smiths, etc. This faded into the card and the sequence was built around the feeling of the card. I've just completed the film but we've already run through the film several times already. Each time we see it we enjoy Christmas all over again. — Jerry Holmes, Miami Beach, Fla. Dog Show I'm not too much of a dog lover. I have an Irish setter but he's more my master than he is my pet. His wishes are my command. I can never get him to obey me. You can see I'm not one to go to dog shows yet, recently, I attended a dog show. Amazingly, I had more fun than I've had in gen- erations. I brought my camera along and found the show, the dogs and the peo- ple wonderful material. I started filming with the intention of "playing it straight". That is, I started out just to make a record of the trials and judges. This was to be the scope of my film but I soon noticed that dogs seemed to react to this show in differ- ent ways. Some were obviously bored. They seemed only to wish for a cool, shady spot where people no longer ex- isted. Other dogs were keyed up, as if winning were the most important thing in the world. I made closeups of these reactions. I showed the animals being groomed, playing and just sitting, waiting for their turn to show off. I showed the people. The fat ones and thin ones. I showed little children fascinated by the abundance of pets: loving them, fearing them. I tried to sum up the place by showing the opposites: the fat ladies and thin dogs, the big dogs and tiny masters. I got one wonder- ful scene. Two people were obvious- ly not speaking yet their dogs were straining at their leashes to be friends. Originally, I made the film for my own enjoyment. As I delved deeper into the idea I found clubs and groups interested in showing my film. The dog clubs which sponsored the show rented my film for a showing. The kennel club office in my area wants to rent the film for a "road show". I bet I'll more than break even before it's over. — Herman Poontz, Detroit. Goldfish Maybe I've got Freudian complexes about animals, but brother I'm a sucker for anything which ain't human. Dogs, cats and birds fracture me. Little colts and baby calves fill me with a help- less feeling. Still, with all this sym- pathy for nature, I've never filmed anything wilder than my Scotty Ter- rier. Last week, however, I was intro- duced to a new kind of animal; one which I'm going to seek out and film many times. I'm speaking about the performing animal. The one to which I was introduced was the fish. I was introduced to a college stu- dent who had "a goldfish that swims tricks". It sounded foolish to me but I took my camera and followed any- way. I'm glad I did. The fish was terribly interesting. It could swim through hoops, eat from its owner's hand and stand on its nose. I shot several reels on the subject. I tried to show how the fish was trained and what it could do. The result was a film that was far more interesting than anything I've done to date. I'd like to continue on this angle. I'd like to film performing dogs, trained seals and other animals. I'm certain that the people who look at my reels would enjoy the films. I'm not in this business for the money angle, but I'd bet my bottom dollar that for some one who was, the ani- mal slant would be a good one. There are many clubs and programs who'd pay money to entertain their meetings with interesting films like this. If you are interested you may get ideas from your local daily papers. These papers usually carry quite a few stories on such animals. Check them and get to work. ■ — Leon Roberts, Butte, Montana. Factory Fotos All of us want to better our tech- niques. We'd like to get our filming ritual to the point where it's habitual. This mean's utilizing all of the factors which make perfect films, but we don't run into occasions which demand that much of us unless we go looking for tough films to produce. I've found one idea which calls upon all of our knowledge. That's the story of a fac- tory. When you try to tell the story of a factory and its production line meth- ods, you really have to know your onions. If you don't you'll find them soon. Imagine telling the story of a pot- tery business, for example. Starting with the raw materials and following the procedure through to the sales would require quite a lot of under- standing. You'll learn a lot by pro- ducing such a film. You'll learn how to pick the right steps for filming, rejecting the unnecessary steps to tell the full story in as few scenes as possible. You'll learn that camera angles are important as you try to pick those which show just what's go- ing on. You'll learn that you can't come back for re-takes and you have to get it right the first time. You'll learn just how important light and exposure really are. I'd recommend this practice for any- one, even if they only want to do a film of next year's vacation. Anyone can make such a movie. It can be built around an orange grove or a million dollar industry, a garage or a car factory will work. Most firms are more than willing to cooperate, especially if you offer to lend them the films for publicity use. They'll find the films valuable. The firm I chose, eventually bought my film. Before you shoot spend a couple of days looking around the plant. Take a notebook with you. Jot down ideas. Make notes about continuity, camera angles, interesting steps and location shots. Plan your lighting and most important plan your shooting on a • See IDEAS on Page 16 1 1 The Customs House from the steps which lead into the Lijfey under the Tara Street Bridge. By S. J. LICATA and LA TONA HERE in Ireland's famous capital no one — not even the tourist bureau — will guarantee the weather. The historical annals of Dublin reach as far back as 140 AD. when it was called the Ford of Hurdles. Ac- tually there was no town at all then, but merely a passage over the River Liffey. The name Dubh-Linn came later, signifying "dark pool" — for the peat-colored waters of the Liffey. Dublin is a city of historical great- ness and tragedy, and it is this history that will provide you. the holiday movie-maker, with many interesting and beautiful memories of Ireland. First of all let us consider the neces- sities of life in a strange country. Fortunately, we speak the same langu- age. Food and lodging in Dublin can be as extravagant or as simple as your budget allows. Simple accommo- dations here are known as "Red and Rreakfast" — a clean bed and simple breakfast often spent in a private home. One will see these signs all over Ireland and generally they are the most economical accommodations to be found. The price for this will range from 9 shillings 6 pence (S1.33) to about 15 shillings (S2.10) per day. Irish and English currency have the same value, but while English money may be used freely in Ireland, Irish currency is not accepted in England. A note here on English currency might prove useful. It is really not as complicated as it seems. The English pound |£) is valued at about $2.80. There are 20 shillings to each pound, so that each shilling is worth about 14. Each shilling is composed of 12 pence, this means that the English pence (dl is worth just a fraction more than the American penny. There- fore, the price quoted above of 9 shillings and 6 pence i written 9/6) is about 81.33. Dublin hotels range in price from 12/6 I SI. 75) in the cheaper places to as much as £2/8/- ( 2 pounds. 8 shil- lings! or S6.72 in the de luxe hotels. These prices usually include break- fast. In the tourist season rates are usually quoted on a weekly inclusive basis. This means three meals a day and tea. whether taken or not. In this respect the length of stay should be made known to the hotel management so you will know on what basis you are being charged. De luxe hotels such as the Gresham. Royal Hibernian, Shelbourne or Russell have rates from El/10 ($4.20) to £2/8 ($7.75) per day including breakfast. Incusive charges range from £9/9 (S26.46) to £22/12 ($63.30) plus a service charge of about 10rr per week. First class hotels such as the Four Courts. Parkside or Standard range from 18/6 ($2.55) to 30/- ($4.20) per dav including breakfast or from 189/- ($26.45 ) to 210/- $57.40) per week on an inclusive basis, plus service. Second class hotels such as the Ma- jestic. Moran s or the Grosvenor, run from 18/6 ($2.25) to 25/- ($3.50) 12 A Home Movies Travelogue per day including breakfast or from 175/- $24.50) to 250/- $57.40) per week on the inclusive basis, again add- ing service. Other hotels cost from 12/6 ($1.75) to 30/- ($4.20) per day, including breakfast. Your main source of transportation around Dublin is conveniently han- dled by the public services, and of course, your own two feet. The buses *se DUBLIN on Page 16 I n 4 I * t"" m 1 ■ Campanile of Trinity College Christ's Church in Dublin The Dublin Bank O'Connor Street looking north Last month we discussed basic musical forms and analyzed them briefly from the standpoint of their inherent functional char- acteristics. We also learned that in the functional application of music to a motion picture, the determining factor for making our choice is the dominant emotional char- acter of the scene and the degree of its emotional quality. To clarify a statement made in last month's article where I said that neutral music often takes on the emotional qualities of the pic- torail material, or vice versa, may I point out that if music without character is ap- plied to pictorial material without character, such a double negative adds nothing to either the pictorial or musical character. BEFORE taking up the practical application of music to motion pictures, I wish to call attention to the two basic techniques that are used in the professional field. The first is what is known as "Mickey Mouse" scoring. As the name implies, this type of scoring has its fullest appli- cation in cartoon subjects. Cartoon stories are developed mainly through action and have little inherent emo- tional character. Due to this fact, there is no emotional quality upon which musical development can be based. Therefore, the composer has only pictorial action upon which to estblish his musical development. Hence, if the composer is to establish any character in his score, his only recourse is to 'tie' the music to the action of the picture. Thus the tech- nique of musically cueing nearly every action of the characters has come into being. In 'live action' pictures we find that emotional characteristics are the dom- inant factor, as a rule. Therefore, most musical scoring of 'live action' pictures is done in free style or over all mood music. In this technique, the musical cueing of action is also used By DOW GARLOCK (Port III) to some degree, but this 'action cueing' is usually done for dramatic effect and not necesarily just to be following the action. Mickey Mouse scoring does appear quite often in pictures of lighter dramatic quality, particularly with comedy situations where the musi- cal cueing is done strictly for comedy effect. So here are the two basic techniques of musical scoring . . . Mickey Mouse and Free Style. Since the amateur s primary source of musical material is records, I would like to suggest two methods that I have found helpful in locating par- ticular musical material in a record. Where critical 'spotting' is not re- quired, like when dubbing from rec- ords onto magnetic tape for subsequent editing and critical cutting, you will find the 'marker', illustrated in Figure 1. helpful in relocating a previously selected strain. Cut a piece of card- board as illustrated so that the end extends about two inches beyond the edge of a 12 inch record. Make cal- ibration along the edge of the 'marker' 1/16 of an inch apart and number them as shown. Then the lo- cation of a particular musical strain can be noted on your musical se- quence breakdown in some such man- ner as, — Rachmaniniff, Svmphony No. 2. Side 2. Marker 884. To relocate a predetermined spot critically, play the record down to the desired strain, stop the record (by hand) exactly 'at' the desired starting place. Leaving the needle on the rec- ord, back up the record by hand to the equivalent of one second. (Approxi- mately II/3 turns for 78 RPM records). Affix a piece of splicing tape (for splicing magnetic tape ) to the record right up against the needle, as shown in Figure 2. The splicing tape offers two advantages, — 1st, the adhesive will not come off on the record when the tape is removed and 2nd, since the tape has a smooth surface, the needle can be placed down on the tape and care- • See MUSIC on Page 30 13 how to shoot S I \ and SNOW By JULIUS SMITH Icicles are an excellent compositional aid in framing your main point of interest. Try to include a mass near the camera ichich can frame the scene and thus give it more depth. IF you're sweating it out in South- ern California right now. or are lolling around somewhere in South Africa, why just pass this one up — unless you want to read on anyway and learn something which might come in handy. This is about snow and sun and how to shoot it. I guess the most important thing to think about with this kind of mate- rial is exposure. \^ ithout the right exposure. ( and we are talking about color film now I you can't even start thinking about the routine shots which lie so invitingly on every side when cold weather rolls along. But let's assume that we have been using that exposure meter pretty steadily all through the summer, and are fairly familiar with it: in fact, our films are pretty fair, even if we say so ourselves because we have done pretty well with the vacation films and even the indoor stuff we shot on Thanksgiving. In photographing snow scenes there are a few things which have to be considered such as cold weather, huge masses of sheer white, and lots of ultra-violet light. Then there are the various kinds of snow — muddy and dirty after a thawing day: hard and crusty after a soft snowfall, with cold weather following and freshly fallen snow. W hy do we list the various kinds of snow? Simply because each type demands a different kind of approach, and if we know how to shoot that par- ticular kind of shot, then doesn't it follow that we shall have better films? So let s consider a few of the things mentioned in the last few paragraphs — like cold weather for instance. If it s cold, keep warm and keep the camera warm too. \^ ear warm. Sec Next Page you can shoot WITHOUT I TRIPOD By GEORGE CARLSON One of the most distinguishing tech- nical marks of a good home movie is it's steady scenes. Hardly anything can beat a good sturdy tripod, but many of us are inclined to forget to take it along on a filming expedition. Even at home we like the easy way of hand holding the camera with it's usual weavy results. There are many substitutes for a tripod — many better than some of the thin legged spindly affairs avail- able. Around home, for example, lean the camera against a door jamb or sit backwards on a chair and rest the camera on the chair back. Fig. 1. Out of doors the same holds good, try a tree, if convenient, to help steadv your- self and camera. Fig. 2. Those picnic benches and tables are as steady as anvthing. Fig. 3. A fence, park bench, bridge piers or railings, car doors all are fine. Fig. 4. For a camera hike get yourself an old broom stick and turn down, by force, a short 14-20 bolt into a small- er bored hole in one end. Cut off the bolt head and you have a pretty good unipod and hiking stick combined. Fig. 5. This is handy at games too, when you sit in the stands. Make it just the right height for eye-level, so that • See TRIPOD on Page 19 14 build a portable PROJECTION BOOTH BY H REECH EVER wished for some kind of pro- jection booth that you could move around? Or a sound-proof cabinet for your projector to get rid of unwanted motor noise when preparing a narra- tion on your tape-recorder? Well, the problem is not a big one and the pic- tures and diagrams shown here may help other amateurs to build such a case from scraps of wood with just the ordinary handtools being used. The case being described here was built to accommodate my Keystone 8mm projector but sizes and dimen- sions will have to be modified to suit other models and makes. Diagram 1, shows how I started the project; first I built a frame out of 2 x 1-in. white pine. The sides are glued together and can be mitred or butted. Two frames were made for front and back respec- tively, and then the whole framework was put together as shown in the dia- gram. Panels for the sides were cut • ..See PROJECTION on Page 35 SUN and SNOW Continued from Page 14 sensible clothing, and keep hands and feet warm also. If hands get numb, then it may be difficult to handle the camera controls and we might as well go home. If some of the controls of the cam- era are hard to handle even with thin gloves, then make some sort of con- trol extension to make manipulation much easier. Another thing to remember is that changes of temperature create tempo- rary condensation of moisture and other troubles, so give the camera a chance to cool down to weather con- ditions outside. Wait a few moments before starting to shoot. But here is one of the most im- portant factors connected with shoot- ing snow scenes. There lies a vast expanse of white, and even if you have a myriad of light and medium colored objects, the terrific reflection from the snow makes snow pictures a tricky problem to tackle — but it can be done and the results are well worth the effort. Snow scenes are not the average subjects for which the exposure meter was designed to read reflecting values. one's head swim a little. If the film is under-exposed then our films will have a preponderantly bluish cast, and this is especially bad since snow- scenes already have too much blue anyway. But there are three possible solu- tions and here they are: 1. The Grey Card. Take all your readings by measur- ing the reflected light from a grey card — and do this at all times • — summer and winter. The card is held at arm's length from the meter, so that the prevailing light strikes the card and illuminates it properly. 2. Use An Exposure Factor. Determine, (by experiment) how much less light a certain scene will need when covered with snow. Say the figure is 3. Then check your sum- mer exposure and multiply by three. 3. Take Near Readings. Choose some medium object near- by which is to be included in the shot and take a reading from that object. Then expose the whole scene at that speed. Another point in connection with the all-white color scheme is largely es- thetic. One can make snow shots a lot more colorful and interesting if A meter is calibrated on the assump- tion that the scene photographed will have about 25% highlights, 50% mid- dle tones and 25% shadow area. Since snow scenes are almost 100% high- light areas, meter readings made on snowscape may vary as much as three or four times too high. And this means only one thing; underexposure to that extent. And when you think about color films being under or overexposed that much, it is no wonder that it makes ways are devised to add to the comp- osition a maximum amount of color in the costumes and props. Remem- ber that colors which seem garish and brazen in a normal scene, often be- come tasteful and attractive when sur- rounded by large spaces of white. And this seems to be the principal used in advertising where a product is practically flooded with "white space" in order to give it glamor and tone. So have your subjects wear • See SUN & SNOW on Page 39 15 indoor movies made easy LIGHTS u U , Our instruction booklet on movie lighting FREE! JAMES H. SMITH & SONS CORP. Dept. Gl, Griffith, Indiana V4CUUIMII FILM PROTECTIVE PROCESS The SUPER VAPORATE PROTECTS AGAINST Scratches, Finger- marks, Oil, Water and Climatic Changes • ONE TREATMENT LASTS THE LIFE OF THE FILM Brittle Film Rejuvenated Laboratories in Key Cities Thruout U. S. Write for Information Now Vacuumate Corp., 446 W. 43 St., N. Y. IIMIIIMIIIIIIIIIiilil-^ 1 THEATRE QUALITY 1 16mm SOUND The finest equipment plus top technical skill gives you the brilliant, tone-true track that I will result in wider distribution : and more bookings for your picture. Let us prove Telefilm | recording can benefit you. | Write for Information i Dept A-ll TELEFILM, INC. [6039 Hollywood B 1 v d | Hollywood 28. Calif. | ^lllllllllflllHIIIIIIIMIMirilllUIUMIIIIIIMIIIIMIIIMIIIIinillllllllMIIIIIIIIIIIIIIIIIMIMHiU? IDEAS • Continued from Page 1 1 schedule which will not interfere with production. Before you shoot prepare a shoot- ing script. It does not have to be a complete scene-by-scene outline, but it should contain the story theme and enough information to tell you at a glance what kind of camera angle and lighting you planned to use. You can make it in either outline or card- file form. When this is done, shoot. You'll learn a lot. - — Viv Jordan, Vancouver, B.C., Canada. Baby in the House Recently I saw an advertisement in a magazine which was prepared by .he Johnson and Johnson Company. The ad was a movie maker's dream. It was a complete shooting outline for a baby film. The ad took the view- point of just what changes a baby brings to a family. The new hours, the new toys, the crib, the care, and the wonderful love which a baby brings. Instead of taking the ordinary view- point, the ad took a new slant. This is a wonderful thing. Too many of us take the easy way out and that s the ordinary way. Instead of planning ahead we stop with our first thought. That's not good enough w hen it comes to making movies. If we accept our first idea, we and our films, never grow. I'd like to suggest that your readers could advance and would in fact, be well advised to reject their first ideas. If they'd think just a little longer thev'd come up with one which is much better. These better ideas will pay off with high dividends in better movies. Ceo. Smith, N. Y. DUBLIN • Continued from Page 13 are very economical, ranging from 2 to 7 or 8 pence, fairly fast and usually take you very near your des- tination. However, bring along your best pair of walking shoes. Every- where you go there will be a lot of walking, through parks, museums, churches and galleries, not to mention the shopping areas. Actually, the dis- tances around Dublin from place to place are so close that you will find yourself walking to most of them. But now that we've told you about the more uninteresting aspects, let s take a look at what you wTill see in Dublin. To see Dublin at its photographic best requires at least two days (again not guaranteeing the weather). \Se"ll begin at CTConnell Street, the heart of the citv. The first morning take a five min- ute walk from Nelson's Pillar to Trin- ity College. Just before reaching the college, on your right, is the large windowless Bank of Ireland. This was formerly the old Parliament House, built in 1729 and is considered an ex- cellent example of 18th Century arch- itecture. The light is fine for a shot looking North at the front of the bank at 8 a. m. in the morning. An- other good angle is from William Land Street, looking South toward College Green. Diagonally across from the bank is Trinity College. Here, in one of the oldest colleges in Ireland, is the li- brary containing the famous "Book of Kells". This illustrated manuscript of the Gospels dates from the 8th Century. An unusual aspect of the dis- play of this book is that only two pages are seen at any one time and the pages are turned, one a day. So don't expect to see the entire book. Several fine shot at the college can be made through the archways and of the cam- panile. Our picture of the campanile was taken in the rain. Three blocks West on Dame Street is the City Hall, Dublin Castle and Holy Trinity Church. The City Hall is on the site of the Damas Gate. This was the eastern entrance to the an- cient citv. Dublin Castle dates from the 13th Century and the Record Tow- er is the major or visible remains of this old Norman castle. The tower con- trasts nicely with the newer buildings surrounding it. However, a good angle on the tower alone is rather difficult to obtain and a wide-angle lens here will prove helpful. Perhaps the best view of the tower alone is from the street to the left of Holy Trinity Church, or from a side street leading from the church and castle. Holy Trin- itv Church, formerly the Chapel Royal, is rich in oaken carvings on the inside. Outside, more than ninety carved heads of British sovereigns and other historical figures will make for many good close-ups. A view of the church and tower together can be ob- tained from the yard adjoining the two buildings on their right. Next come two cathedrals — both of the Church of Ireland — Dublin holdins the distinction of having two cathedrals of the same faith in the same city. Christ's Church Cathedral is straight ahead, at the end of Lord Edward Street. This structure of Norman and earlv English architecture is most eas- ilv and conveniently photographed from the rear, looking Northwest. The facade sits facing a very narrow street and is rather difficult to photo- graph well. Walking left down Patrick Street brings you to St. Patrick s — another • See DUBLIN on Page 19 16 OTHERS • Continued from Poge 9 Wonderland' has always been the fan- tasy of the thing, to our mind. And it takes a little more than a camera and some color film to take Lewis Carroll's story and produce it on film. But Louella Showden has done it with infinite grace and realistic sequences which make the film so charming and so universal in its appeal. The props used have been made with a great deal of attention to detail, and Lou- ella Showden tells us that Humpty Durnpty. for instance, was constructed of «:ardboard, but made so that the arms and legs could move as he sat on the wall. The actors are friends and neighbors who live nearby, but the professional work of the Queen, and most of the others are several cuts above the amateur work we see here every month. And somewhere, right here, there is a moral of some kind, we think. Louella Showden took more than a year to make this film. Her exposure, titling, tempo and editing are excellent. Her actors are compe- tent and the little girl who plays Alice. is Alice. And finally, she had set her mind to do a good job, and of course, that's what came out when she was through. "People spend lots of money on long trips, yet pass up the wonderful ma- terial right in their back yard," she said. While we can't say that she is exactly right about movies which are made away from home, we do feel that she has hit the nail on the head when she claims we do not see the obvious subjects which can be made, every single day, at home. "Alice in Wonderland" is one of the best films we have seen since "Sad Duckling". We advise Louella Show- den to promote her film so that she can sell it to the best possible organ- ization, so that she can make as much money as possible. She deserves it. LETTERS • Continued from Page 7 WANTS TO STRIPE HIS OWN In the April 1953 issue of Home Movies — "Coat Your Own Magnetic Sound Film", you mentioned a unit capable of doing this job. Is there anyone making this unit for sale? — F. A. Terwilliger, Rochester, N.Y. Probably the Minnesota Mining and Smelting Co., of Minneapolis but this is definitely NOT for sale, and NOT for use by anyone unless permission is granted from the Company. Our au- thor worked out his own machine, and since it is for amateur purposes and not for commercial use, the patent owners do not mind. Check with the Company for more information. * * * ORPHAN TELEPHOTO I have a telephoto lens which needs some factory adjustment. The trade name is "Platar". Can you furnish me with the address of the manufac- turer. —Carl Dell, S., 2142 S. Burnett Rd., Springfield Ohio. Never heard of it. Any readers who can help Mr. Dell? * * # PANAVISION Could you send me more informa- tion on the new "Panavision" lens for 16mm and price on the new Radiant Screen ? — Kaspar Bakkala. Longview, Wash. Saw your article on "Panavision" and am planning a production using the new lens — in 16mm. Where and how can I purchase this equipment. — Otis K. Hunziker, Riverside, California. Both requests have been sent along to the developer of the new lens and you should hear from him in the near future. • Continued on Page 28 New Kind of Watch Tells Time I ~~ G Ways f\ Leather strap. You'll proudly show this excitingly different watch. It creates talk! Never before so many unusual features, such fine workmanship, such low price. Big sweep second hand — silver finish dial— golden yellow case with stainless steel back —Month and Day appears in windows — hand shows date of month— all automatically with one winding. Leather strap. MONEY BACK So proud are we of this masterpiece Swiss Watchmakers' art— so sure that it will appeal to you artistically and mechanically I HOLLYWOOD HOUSE, DEPT. 10 -that we ask you to wear it 10 days-then I 6516 Selma Avenue, Hollywood 28, Calif not | 15 jewels ONLY $29% PAY Tax return it and get your money back if convinced it's worth much more. Wear it FREE for 10 Days Pay Balance at Only $5 a Month , Mail only $1 with coupon— pay postman only $8.95 C.O.D. plus | postage on delivery. Then pay only $5 a month for 4 months, j ' Y~ No Interest! No Carrying Charges! I i am e □ Enclosed find $1. Rush IMPORTED SWISS CALENDAR WATCH by return mail. I will pay $8.95 C.O.D. plus postage to postman and after 30 days will pay $5 monthly. When total of S29.95 is paid, you send me Bill of Sale. Watch remains your property until paid. I may return watch within 10 days for full refund without obligation. Name_ -Age- Address -Zone- -State- imployed by_ RETURN WATCH IF NOT COMPLETELY SATISFIED (Please give name and address of employer) ID Save Postage and C.O.D. charge. Send $29.95. Same Money Back Guarantee. 17 SOLAR-COLOR FILM Available in two types: outdoor {for daylight) and indoor (for artificial light). Specify when ordering. 35mm-20 exp $2.49 ea. 3 or more. .$2.19 ea. (Fast processing and mounting included) Dbl. 8 mm spool $2.95 eo. 3 or more $2.75 ea. *I6 mm 100 ft. spool $7.98 ea. 3 or more .... $7.65 ea. 16 mm 50 ft. magazine ... S4. 95 ea. 3 or more.... $4.49 ea. SOLAR BLACK AND WHITE FILM VERY BEST BUY! YOUR TYPE 12 A favorite with economy- wise movie makers for many years. The best low- cost film on the market. Non-halo, ortho ASA 16 Daylight. Dbl. 8 mm 25 ft. spool $1.59 ea. 3 or more $1.49 ea. *16 mm 100 ft. spool. S3. 25 ea. 3 or more $2.95 ea. 16 mm 50 ft. magazine $2.59 ea. 3 or more $2.25 ea. TYPE 100 A super-speed film for all indoor pictures. Fully pan chromatic, non-halo. ASA 125 daylight, 80 tungsten Dbl. 8 mm 25 ft. spool $1.89 ea 3 or more $1.75 ea *16 mm 100 ft. spool $4.95 ea 3 or more $4.50 ea 16 mm 50 ft. magazine $3.59 ea 3 or more $3.25 e ALL PRICES INCLUDE SOLAR'S FAMOUS FAST 48 HOUR PROCESSING SERVICE! Illinois customers add 2% sales tax. TYPE 24 A medium speed full pan- chromatic film. Fine grain, non-halo, none better on the market . . . supreme in picture quality ASA 32 daylight 20 tungsten. Dbl. 8 mm 25 ft. spool $1.89 ea. 3 or more $1.75 ea. *16 mm 100 ft. spool $4.95 ea. 3 or more $4.50 ea. 16 mm 50 ft. magazine $3.59 ea. 3 or more $3.25 ea. THE NEW TYPE 200 The fastest film on the market! Used by profes- sional news and TV cam- eramen for several months. For sports, theatres, night pictures, indoor pictures of all kinds ... if you have been having trouble with any difficult light set-up, fry Solar Type 200 . . . you'll be thrilled! ASA 250 daylight, 160 tungsten. Dbl. 8 mm 25 ft. spool $2.79 ea 3 or more $2.49 ea *16 mm 100 ft. spool ...$6.29 eo 3 or more $5.65 ea 16 mm 50 ft. magazine $4.75 ea 3 or more $4.35 ea *Available single perf. for sound. All movie types available in bulk. Write for "Bulk Film Bulletin". Why pay high prices when you can get the results you wont at Solar's low mail-order prices? Order now and save! Film Specialists since 1937! SOLAR CINE PRODUCTS, INC. 4247 South Kedzie Chicago 32, III. BOLEX ACCESSORIES BATTERY CAMERA DRIVE Thoroughly tested and proved through five years of continuous service by hundreds of enthusiastic Bolex owners. New, improved short model — no installation or alteration. 4 speeds, forward or reverse on standard 6-volt batteries. Write for Complete Description STEVENS ENGINEERING CO. 2421 Military Avenue, Los Angeles 64, Calif. How to Make Money in PHOTOGRAPHY . Unique, low-cost LEARN-BY-DOING moth- US*" f od and INDIVIDUAL attention train you quickly at home in still and motion picture photography. Start making money. We show you how. Our 44th year. Big FREE colorful book gives full facts. Write TODAY: Resident Train- ing also available. G. I. Approved. NEW YORK INSTITUTE OF PHOTOGRAPHY Dept. 114, 10 W. 33 St., New York 1, N.V. Lvl's go SHOPPIXS STICK-ON TITLE LETTERS There's a new series of stick-on title letter from France which are provided in a series of 78 various alphabets graduated in sizes from 3/16" to 4". The distributor can also provide a variety of twelve faces. (Grace Letter Co. 5, East 47th St. New York 17, New York). The letters are beautifully designed and can be used for filming titling and even interior or exterior sign work. They are gummed on the re- verse side and require no special skill for afixing them to a variety of surfaces. CARRY YOUR OWN LIGHTS Crownlite Inc., manufacturer of barlite units has just announced a new carry-all carton, called the Karry Karton. Case is made of cardboard and has a plas- tic handle. Seems to us that this is an excellent way of storing and carrying lights and eliminates the chore of replacing the bulbs whenever films have to be shot. The Foldmaster unit with Karry Karton sells for $12.95. The Foldmaster Deluxe is also available with a compartmented lug- gage case, made of wood and leatherette covered. This one sells for $19.95. NEW MOVIE SCREEN The "Silver King" is a composite of Da-Lite original features. It has Da-Lite's "push-button" opening device: a touch on the "push-button" control and the ex- tension rod pops up while the tripod legs glide open. Another feature is the alumi- num, equalizing "Silver King" Slat-Bar. This process was first used on the larger size DeLuxe "Challenger" screens, and was incorporated in the famous "Picture King" model introduced in 1948. The Roller-Lock on the "Silver King" permits a slight turn of the end cap to stretch the fabric uniformly taut. Pressing the Roller-Lock pin maintains the tension. Another original feature of the "Silver King" is the automatic tension release . . . touch the extension rod "push-button" to automatically release fabric tension. The new Da-Lite "Silver King" screen is available in two popular sizes: 40" x 40" at $3 1 .95, and 50" x 50" at $39.95. Its many new, tested mechanical features, and its rich metallic silver surface assure new thrills in projection perfection for all home movie and slide enthusiasts, claims the manufacturer. PORTABLE MOVIE LIGHT SOURCE The "Newslite" is claimed to be a com- pletely new idea in the realm of portable lighting units. It is self-contained, and does not depend upon any outside source of current for spot news coverage. Unit is a natural for free-lance newsreel cam- eramen who service the TV stations or cover for the news services. The unit clamps on side of camera, and the 46V battery is carried over the shoulder. Wet cell provides enough juice for 1 500 feet of film. Light can be switched on, or on-off for short takes. Can be mounted on Eyemo, Filmo, Arriflex or any other portable movie camera. Complete, with charger $210. Write S.O.S. Cinema Sup- ply, 602 West 52nd Street, New York 19. *\% Faces <2 S^s 18 DUBLIN • Continued from Page 16 cathedral of the Church of Ireland. This church also faces a narrow street, but it is possible to shoot it from up along Patrick Street or from the little park adjoining it. Inside are beautiful stained glass windows and photo- graphs are permitted except, of course, during services. Incidentally, you may stop and eat anytime you like. In this neighborhood lunch will cost you about 4 shillings (56c) per person. Leaving St. Patrick's return by the way of Patrick Street to High Street and turn left for a short walk to St. Audeon's Church, just off Cornmarket Street. St. Audeon's is the oldest par- ish church in Dublin and contains 3 bells, cast in 1423, that are the oldest in Ireland. At the left of the church is St. Audeon's Arch, the only surviv- ing gate to the ancient walled city. As with many other tourist attractions throughout the city, a small admission fee is charged. The next stop in your itinerary is not as photographic as it is interesting Guinness's Brewery, one of the largest in Europe, is just a few blocks West on Thomas Street, which becomes James Street. The number 21 bus will take you there, but you must arrive before 3 p. m. as this is the time of the last tour through the Brewery. Tours are conducted every hour from 11 a. m. to 3 p. m. daily, except Sat- urday then only at 11 a. m. The tour ends in the sampling rooms. The brewery tour ends your first day — a lot of walking and a lot of looking and (depending on that un- predictable weather) a lot of good shooting. The number 21 bus takes you back to College Green and the 6, 7a, 8, 9, 10, or 11 bus will take you up O'Connell Street. If you were in time for the 3 p. m. trip through the brewery, your bus should have you back on O'Connell Street by 5 p. m. — just in time for high tea. Get off the bus at the North end of O'Connell Bridge and walk up O'Con- nel Street about 50 yards to the "Green Booster". This is an interesting little cafe, moderate in price and inside, on the lower level, it is furnished like the interior of a train. Try their pastries. Dublin offers the usual in enter- tainment, cinemas, theatres, ballrooms and some interesting pubs. Various public and private functions will pro- vide many opportunities for your eve- ning's pleasure. Your second morning begins again from O'Connell Street, not quite so early as before. While walking South on O'Connell Street note the General Post Office on the Southwest corner of Henry Street. Here is the scene of much of Ireland's recent turbulent his- tory. The General Post Office was the • See Next Page NO TRIPOD • Continued from Page 14 the camera finder is at eye level. Wher- ever you are without a tripod it really pays to look for a camera rest. Try sitting or squatting and use a knee rest as in Fig. 6, if nothing else is handy. On a "rock climb", hike, camping trip, etc., where you may have a lot of stuff to lug around, a tripod can be very much of a nuisance. Much better than a "rope pull", is one made from light chain as in Fig. 7 and 8. Wire one end of the chain thru a drilled hole in a thumb bolt to fit the camera socket and wire the lower end into a loop for your foot to slip thru. Exert pressure upward while filming. It really works and the chain can be just bunched up and dropped in a pocket without tangling like a cord would. Beady for use it flops out straight and you just "step on it". This is my favorite and is always in the gadget bag. Good for all around use and easy to slip in a gadget bag too is the neck- pod. Fig. 9. You can even make one from a !/2-mch dowel, strap, a bolt and a small tilt-top. Bird and animal filming (whether by remote control or telephoto) really needs a tripod, but many of the fore- going sugestions are sometimes prac- tical. If your camera has it, use slow- er speeds to smoothen out camera jit- tering. Combine this with the chain pull and you really have an excellent tripod substitute when you have to film in a hurry. For bird filming around home (or other high angle work) a ladder with a bored hole in the top step to hold a bolt into the panhead works very well. Fig. 10. A little tabletop gadget easy to make from a pipe flange, is a 2 or 3-inch pipe, and a cap with a short bolt turned down from inside thru a drilled and tapped hole. It can be mounted on • See TRIPOD on Page 36 19 A 400-ft. Magazine for Your BOLEX H-16 Complete with Synchronous Motor and Base . . . Includes Installation and Case Permits continuous run of 400 feet of 16mm film, or — the 200 ft. daylight loading spool may be used in the 400 ft. magazine. The 100 ft. daylight loading spool can be used in the cam- era without removing the external magazine. In black wrinkle finish to match camera. Fully guaranteed. See your Bolex dealer or order direct. Immediate delivery. Toledo Cine Engineering V, 1309 Milburn Ave. Toledo 6, Ohio SOUND EFFECTS AND MOOD MUSIC RECORDS Especially suitable for the Bell & Howell 202 Projector Send for FREE catalogue THOMAS J. VALENTINO, Inc. Dept. HM 150 West 46th St. N. Y. 36, N. Y. 16mm Color TITLES Your Movies Are Not Complete Without Titles Price List and Samples Free ZENITH CINEMA SERVICE, INC. 3252 Foster Ave. Chicago 25, III. rOH! THEY'RE CUTE! V» Home Movies & Photos / of GORGEOUS GIRLS! f FRFE: SPECIAL FILM LIST M ^ Send 25<" for Startling Br ' / Real-Life 3-D STILLS ^ i A~\ ' / to RICHTER'S Dept. 1 2 [2424 Entrance Dr., Hollywood 27, Calif/^ DUBLIN • Continued from Page 19 headquarters of the Irish Volunteers during the Insurrection of 1916. and it was the place from which the Re- public was proclaimed. The notable feature here is the large Ionic portico 80 feet wide with its 6 fluted columns. Nearby is the Nelson Pillar, 124 feet in height. From the top of the pillar a wonderful panoramic view can be made of Dublin and its en- virons. Near noon would be the best time for this type of shooting. An ultra-violet filter will prove very help- ful in reducing some of the haze very frequently present. Descending Nelson's Pillar walk South on O'Connell Street or take the number 6, 7a, or 8, bus to the inter- section on the South side of O'Connell Bridge over the Liffey. Here the street divides and the center building houses several professional photographers, quite accustomed to opening their win- dows for vacationers to get a photo looking North of O'Connell Street. Continue East along the South bank of the Liffey a few blocks and you will find yourself across the river from the Customs House. The Customs House — a long building 375 feet in length is best pictured from this bank of the Liffey. Your pictures may be made from the steps that descend into the water under the bridge over Tara Street. The bridge and its trusses form a nice frame when looking Northeast. Then, you may walk along the bank further and find some nice framing in the colorful Guinness' boats that constantly traverse the river. Return to the South side of O'Con- nell Bridge and catch the number 72 bus going West. A few blocks to Church Street leaves you opposite the Four Courts I the Irish Courts of Law), again a long facade 450 feet in length and best photographed from this bank of the Liffey. You may be fortunate enough to include one of the graceful swans of the river floating through your picture to frame an oth- erwise static scene. Across the Church Street Bridge and North on Church Street is St. Michan's Church. Built in the 17th Century, this church sits on the site of an old Danish church founded about 1096. Some interesting aspects of the church are: its square battle- mented tower 120 feet high, possibly dating from the Danish period; the organ, built in 1724 believed to have ben played by Handel: the stool of public repentance, and the vaults. The vaults are perhaps the strongest point of eeneral interest in Dublin. Herein lie mummified bodies as much as 300 years old. that may be seen and, if so desired, touched. This strange phen- omenon is attributed to a peculiar quality of the atmosphere — the air is perfectly dry inside these vaults. While St. Michan's offers little in the way of photography, your visit to the crypts should not be missed. Leaving St. Michan's, walk to Arran Quay by the river and catch the num- ber 24 bus to Phoenix Park. The 1076 acres of Phoenix Park will more than fill your second day. The Zoological Gardens lie to the right of the main road through the park. Founded in 1830. this is the third oldest zoo in the world and is famous for the breed- ing of lions. Breeding began in 1854 and now more than 500 cubs have been born in these gardens. The main lion arena is bareless and so interest- ing movies of these king cats can be made, using your regular or telephoto lenses. For the children there are pony and elephant rides. The zoo is always one good way to get all the family and friends into your movies. To the left of the main road through the park you may proceed toward Furry Glen. Here along the way, groups of tame deer will be found, and from the road above the glen a beautiful view of the Dublin Moun- tains and the upper Liffey can be pho- tographed. When weary feet will trod no more, leave by the gateway leading to the North Circular road and take the num- ber 9 or 10 bus toward the city. If vou are fortunate enough to be in Dublin the first part of August, you may turn your movie lens on the world famous Dublin Horse Show. This is one of the greatest events on the Dublin sporting calendar and at- tracts people from all over the world. Should two days be your limit, then you have seen just about all you can of the city, but if you have a week, for example, then there is much more that could be added. In Dublin itself there are: the Botanical Gardens: the National Library, Art Gallery. Mu- seum, and Leinster House, the meeting place of the legislature: St. Stephen's Green, the largest and prettiest park within the city. Also there are: Marsh's Library, the oldest public library in Ireland founded in 1707; the Munici- pal Gallery of Modern Art; the Man- sion House, that figured in the In- surrection of 1919; and many other parks and historical buildings. Admission to most of the points of interest are free. There is the usual gratuity to a guide where that service is available, but St. Michan's crypt, the crypt at Christ Church, Nelson's Pillar, and the Zoo have a small fee. the greatest being at the zoo. (Two shillings. 28c). If time permits, trips to the South of Ireland will be repaid in beautiful scenic movies. It is here that Ireland truly proves that it is the Emerald Isle. (Next Month — PARIS) 20 E' Check these features of the versatile Cine-Kodak Special II Camera against your 16mm. movie-making needs □ | | Aim, frame, and focus through the taking lens. A built-in reflex finder does away with problems of parallax, gives criti- cal hairline focusing on close-ups. For finding and following fast action, the camera has a direct-view finder with paral- lax adjustment for distances from two feet to infinity. Make fades and dissolves. The adjustable-opening shutter can be changed during operation to provide smooth fades and dissolves and also to provide, when desired, a useful means of controlling exposure. Hand-cranking shafts pro- vide one or eight frames per turn, forward or reverse. Shift from one film to another. Camera comes with either 100- or 200-foot film chamber. Extra chambers may be pur- chased separately. Easily removable for rapid shift from one type of film to another. ] Masks for double exposures and special ef- fects. A standard set of masks which fit the integral mask slot is supplied with the cam- era. Set includes a circle, an oval, and two vertical and two horizontal matched half- masks for making double exposures. □ Get more run per winding. One winding of the powerful spring- driven motor is sufficient for the exposure of 38 feet of film. Camera has provision for attaching aux- iliary motor drive. Make speeded-up or slow-motion pictures. Any de- sired speed, governor-controlled from 8 to 64 frames per second, including 24-frames-per-second sound speed, can be obtained. Single-frame release pro- vides for animations and special title effects. Switch from telephoto to normal shooting distance in- stantly. Two-lens turret permits quick shift from one lens to another. Angle mounting prevents physical or optical interference, regardless of lens barrel length or design. Camera comes with either f\\A or //1.9 Kodak Cine Ektar Lens. Other Kodak Cine Ektar Lenses, from 1 5mm. wide- angle to 152mm. telephoto, available. Know your exact footage at all times. Three film meters show footage exposed or rewound. One, on the film chamber, shows amount of unexposed film. A mechanical footage meter on the camera indicates amount of film run or being rewound. And a frame counter registers individual frames run forward or reverse to make possible exact control for special effects. For further details and prices, see your Kodak dealer or mail coupon below. 1-5 EASTMAN KODAK COMPANY, Dept. 8-V, Rochester 4, N. Y. Please send me more information about the Cine-Kodak Special II Camera. OW... UNLIMITED HORIZONS With a Flick of Your Finger ZOOMAR 16 ZOOMS FROM NORMAL ... TO TELEPHOTO ... TO WIDE ANGLE J/2.8 to F., 16 1" to 3" (25mm to 75mm) nine times in one continuous zoom s 8 ft. to infinity APERTURE RANGE ZOOM RANGE DIFFERENCE IN FIELD DISTANCE RANGE COUPLED VIEWFINDER large eye relief, no change in apparent frame size Weight { : 20 ounces Standard Series VII Filters and Short Range Adapters *600 mm 3? 22 CINE PHOTOGRAPHER Color Slides New Models . . . New Poses'. Gorgeous, breath-taking Color Slides of female figures. Poses deliberately planned to reveal the utmost in beauty. You will be thrilled at the detail, color and clar- ity. 10 DIFFERENT 2x2 slides in each set. Mounted ready for proiector or viewer. Order them all and you'll have a treosure. EXCLUSIVE NEW SLIDE SETS Set of 10 Slides $ 3.00 2 Different Sets (20 Slides) 5.50 4 Different Sets (40 Slides) 10.00 Shipped Prepaid in Plain Sealed Wrapper. No. C.O.D.'s NATIONAL, Dept. 248, Box 5, Sta. E, Toledo 9, Ohio f Interested in Tape Recorders ! If you hove one or wish you had, you'll en- joy comparing features and prices of all makes. Write for new FREE tape recorder directory. I Kideli Wy mui 5 ^ GEO. K. CULBERTS0N CO. |t0n6 8471 Ler°y Street mi turntables San Gabriel. California OH! THEY'RE CUTE! Home Movies & Photos of" GORGEOUS GIRLS! FRK: SPECIAL FILM LIST J Send 25r for Startling / Real-L fe 3-D STILLS / to RICHTER'S Dept. 1 2 [2424 Entrance Dr., Hollywood 27, Colif^ onnnr,TL # I - j NOW — Your / | P 1 2000 TITLES. I ^0 ^0 ^0 ea. 8mm-16r ES! r choice of Low as 20< mm-B& W -Color. Postcard brings BIG FREE CATALOG! Pino Praft 8762 BEVERLY BLV0- OllllHIdll LOS ANGELES 48, CALIF. CASH for Still Photos for Home Movies Magazine COVER PICTURES $15.00 per photo for good 8 x 10 glossies, vertical composition — for cover use. Photos must be sharp, have good contrast, and should illustrate seasonal subjects. Large heads are preferred, singles or groups in action acceptable. PHOTOS FOR EDITORIAL USE $5.00 to $10.00 depending upon interest, and quality. Pictures should show cine filming activities such as titling, editing and other phases of home movies. TECHNICAL PHOTOS Any photo illustrating a cine idea, gadget, method or new way in motion pictures is acceptable. $5.00 to $3.00 depending upon quality. Home Movies will pay upon acceptance. Contributors must include return post- age and self-addressed envelope. The publishers assume no responsibility for unsolicited photos or drawings. Reply in five days. CIHEM1SC0PE new Bell & Howell system By JAMES RANDOLPH The Bell & Hoicell Company announced this month they have embarked upon the manufacture of their new Cinemascope lens which they are making after arranging with 20th Century Fox to produce the system for use on 16mm cameras. A demonstration of the process was held in Hollywood De- cember 2nd, 1935 — and here is the PRO Cl.XEPHOTOGRAPHER report. WHEN Bell & Howell began man- ufacture of the Cinemascope lens for 20th Century Fox. someone got the idea that a 16 mm version would he feasible and research was begun to further this idea. Two weeks before Pro Cinematvg- rapher went to press, we had the op- portunity to see the lens and several short films which were shot under var- ious conditions by a variety of cam- eramen. The lens is quite large, by ordinary standards. and is fixed to the camera with a special bracket. \\e don't know whether a tripod bushing has been bored at the base of the bracket but this would be a logical thing to do. in order to balance the equipment in use. Bell & Howell claims that this lens is the world's sharpest anamorphic lens, containing six elements which has been colimated for crisp defi- nition to the corner and edges. Glass surfaces (air) are magnesium fluoride coated, and the three doublets are butyl methacrylate cemented. They state that color banding and fringing is eliminated by correction of all col- or aberrations. Essentially, the Cinemascope lens is an add-on unit which, when mounted on any camera lens, squeezes a wide- field picture I aspect ratio 2.5 to 1) into a standard picture frame. Screen used for the demonstration was the new Astrolite material manu- factured by Radiant size 8 feet by 20 feet at a projection distance of ap- proximately 40 feet. Three short films were shown. The first one was a record of military per- sonnel marching and then a grand review on a vast field. Evidently the cameramen on this one, unfamiliar with the new lens made several blun- ders which were reflected in their footage. But the second sequence taken in Washington by Byron was superb. Most of it consisted of travelling shots where the camera was fixed on a truck or car and this moved along the streets of Washington showing the vast pan- orama of the city — from eye level. It would have been impossible to get the same effect with the conventional lens equipment unless the cameraman made his shots from a mobile unit, and lo- cated the camera at a great height. The third film was short by Roy W olfert, and this one contains a • See CINEMASCOPE on Page 28 24 Bow to use the Exposure Meter By LEONARD CLAIRMONT T N ORDER to get perfect results on the screen it is first of all neces- sary that the exposure be correct — and there is but one correct exposure for any given subject, no matter in what way we look at it. The correct exposure is that which will give the balance of highlight and shadows in the finished product which the cameraman originally intended to produce. If the effect he was striving for was attained by adhering to his calculations, then the resulting ex- posure should be considered the cor- rect one. To some extent it may be said that correct exposure is a matter of preference, provided we stay within the boundaries of good photographic practice. Thus, the fact that the best exposure is usually something more than just the theoretical standard, we may well speak of it as an art. If a picture is to depict gaiety and frivolity, then the exteriors may be slightly over-exposed to match the mood of the high-key interiors. If low-key lighting sets the mood in a dramatic interior, then this should be matched with similar exterior scenes by a certain amount of under-expo- sure. A cameraman with a sense for the esthetic and knowing the limita- tions of his equipment will regulate his lens opening to create the most pleasing effect. But before we go artistic with our exposure, let's make sure we under- stand the full meaning of consistently good exposure technique, as the im- portance of scientific approach to per- fect exposure cannot be over-estimated. In caluculating exposure, the follow- ing factors should be considered: 1. Lens aperture ( coated or un- coated lens) . 2. Shutter opening. 3. Camera speed. 4. Emulsion speed. Your exposure is all important to the laboratory and if consulted in advance can pull up an underexposed negative — but this won't work with color. Consult him before shooting. For head and shoulders shots get in close and take a few readings from various angles; average what you get, then shoot. 5. Intensity of light source. 6. Brightness range of the scene. Each of these six factors is basic photography, and therefore shouldn't need to be elaborated upon. There are several methods for com- puting exposure, but only one that is absolutely reliable — with the use of j photo-electric exposure meter. This type of meter, used by most camera- men the world over, consists of a light-sensitive cell which, when ener- gized by light, forms an electric cur- lent. The amount of this current is proportionate to the intensity of the light received by the cell. The elec- tncal current formed is measured on the graduated scale, and the exposure computed. Many exposure meters now on the market measure up to near perfection, but every cameraman usually prefers his own favorite make. Professionals all over are using such meters as General Electric, Weston, Norwood, De Jur. Electrophot, etc. Personally, I prefer the General Electric, Type W 68, using the A.S.A. exposure index. All meters of this type measure light in terms of foot-candles. When the light from one candle falls upon an object at a distance of one foot, the illumination on the object is said to be one "foot-candle". If we, for instance, have 25 candles (or a 25 candle-power lamp) at one foot distance, the illumination would, of course, be 25 foot-candles. If we change the distance, the illumination will vary inversely as the square of the distance, because the cone of light which covers one square at a foot will cover 4 squares of the same size at 2 feet. 9 squares at 3 feet, and so on; and since the same light falls on one square at one foot is spread over 4 squares at 2 feet distance, it is natur- ally Yi OI" tne strength ,so that a 25 candle-power lamp at one foot dis- tance gives an illumination of 25 foot- candles, and at 5 feet distance it gives only one foot-candle. This is the principle on which the photo-electric exposure meter is calibrated. The light falling on an object is known as the "incident light", and is measured in foot-candles. The light bouncing back from an object is the "reflected light", and is measured in "foot-lamberts". a foot-lambert being the brightness of a surface which re- flects diffusely all the light which falls on it and on which the illumination is one foot-candle. So what system should be used in • See METER on Page 36 25 Story of a Promotion Film By JOE Last month the staff of PRO CINE PHO- TOGRAPHER got together and shot a com- plete film in black & white, using whatever facilities were available in Hollywood. Pur- pose of the film was to promote the sale of four books, and it was made to be shown to groups directly interested in the use of these publications. The main problem was speed and the entire project was completed in a day and a half. Here is the story. Ed. * * * Monday: 5:00 p.m. After a preliminary conference, it was decided that our film must be light in vein, and should not run more than five or six minutes. One man was as- signed to write the short script and he was told to have the material ready for the next day. Tuesday: 9:00 a.m. Our three page script was ready. This took the form of the conventional script with a description of the action on one side, and the narration on the other. \^ e had decided on the nar- ration type film so that the whole thing could be made more rapidly. 10:00 a.m.The director of the film consulted with a staff of artists who broke down the script into shots. Sketches were made of each shot, and a description of the action was typed in a box under each sketch, ( see il- lustration). This way. the director could refer to the sheet, rehearse the actors and make the shot. Since we were to shoot the film that night, there was nothing more to be done except complete arrangements for rent- ing the studio where the film was to be made. A price of S70 was decided upon, and this incidentally is a mini- mum rate. It provided for use of the studio, and use of lights and other facilities. Camera used, (our own) Bell Howell ''Specialist" 16mm bat- tery powered using 200 foot magazine. 11:00 a.m. — Three actors were need- ed, lone man and two girls). \^ e hired the man by phone, and called a modeling agency who provided the two girls. Then we arranged for a title artist to be at the studio that night so that he could make the titles while the film was being shot. Costumes were simple, and these were rented from Western Costume in Hollywood. All we needed was a stethoscope, a doctor's white coat and two bathing suits for the girls. Cost: (Doctor's coat 83.50: stethoscope, S5.00; two Bikini bathing suits S7.50. Total S16.00). STEIN 7:00 p.m. — Everyone appeared on time and we were presumably ready to shoot, but we did not get under way for another hour. Reason for this is that the title artist had to be informed and shown how the titles should be made. The make-up man was told to take off the street make-up used by the girls and start from scratch, in ad- dition to making up the male actor. The cameraman consulted with the two men who were in charge of the lights and they decided that a fairly high level would be appropriate for this kind of film; the story, by the way was written in a very light vein with humorous situations to carry the mes- sage and plug the books which were being promoted in the film. Light level was about 175 ft. candles and film stock was Du Pont No. 930, with a rating of 64 Weston. (400 ft. cost 816.00.) 8:00 p.m. — Props and furniture had already been arranged by this time, and the set was lit and ready. The male actor was made up and the two girls were almost ready. The camera- man and his assistant had checked the various set ups needed and had de- cided on the angle of their shots after consulting with the director. 8:30 p.m.— At this time the first se- quence was ready to shoot, and after a half hour of rehearsal, shooting be- gan. From here on in. everything went along smoothly with the shots being made one after the other. In some instances re-takes were necessary, but this was expected and did not delay production too much. 12:00 midnight — By this time all the shots were made and the title artist had already completed all his title cards. A Kodak Cine Special, mount- ed on a stand (and used only for making titles was employed to shoot the cards. In thirty minutes all the titles were shot. We might add here, that although narration and music was used throughout the film, titles were necessary in order to supplement the narration. Another reason is that a description of a book, plus a shot of the book and then a repetition of what the narrator was saying added more emphasis and guaranteed that the viewer would remember that particu- lar book. Then the film was removed from the film magazines and taken down to the Acme Film Laboratory, in Hollywood. We included a note ask- • See FILM on Page 38 Five photos show production from script to actual shooting. ( Reading down). 1. bar- rator's script at left and original script, at right. .2. Artist sketches a shot-by-shot break- down of the film for the use of the director. 3. Titles are lettered by staff artist and will be photographed after shooting is completed. 4 and .5 Actual production shots. 26 JOHN SCHNITZ • • • independent By HENRY PROVISOR John Schmitz is an independent producer of psychological art films. Born in New York, the 29-year-old film-maker studied psychology at V.C.L.A. and then began mak- ing films four years ago. Three motion pictures called "Renunciation", "Voices" and "Dance of a Pagan" are his best, and these are reviewed below. Schmitz leaves shortly for San Miguel Allende, in Mexico to shoot more footage on a projected film about this small town and the Institute of San Miguel Allende located nearby. After this he plans to go to Paris to carry on his work. Here is his story. Ed. * * * THERE are a few independents lurking in the Hollywood under- brush, quietly starving to death — but they make wonderful films. Then again there are other inde- pendents producing some incredibly horrible films, all under the guise of sports, or educational films, and from all indications they are making money with very little effort. TV takes their entire output, and this of course brings them up to the general level of all TV films — universally bad. When Pro Cine Photographer re- vinewed "East to Skid Row" produced by Leon Vickman, the editors of this publication were impressed with his work but felt that he could not hope for national distribution or sale. But the exact opposite was true. When Pro Cine Photographer hit the stands (July 1953 pg. 283) Vick- man sold "East to Skid Row" to a New York distributor, and the film is now being circulated in the United States to art houses and college groups who form the bulk of the audience for this type of film. Vickman, now Pro Cine Photogra- pher correspondent in Paris, is produc- ing "Closed Vision" under the spon- sorship of the Society of Visual Arts, in Paris. He is working with the French author-director Marc 0., a French artist who has become well known for his movie work and par- ticularly for his book on the tech- nique of the cinema. He is also known for his film, "Venom and Eternity" recently released in Hollywood. So it seems that Vickman is well on the way of achieving his heart's desire — making the kind of films which are not for general consump- tion, yet reach tight little groups of college students, art lovers and others who understand the psychological cinema. John Schmitz is making this kind of film. He spends his entire time on film production, working alone experiment- ing and making a valiant attempt to get some sort of recognition. And there is no reason why he cannot do the same thing that French cinema- tographers are doing, with practically no financial backing at all. Now let's take a look at his films and see what he is trying to say: "Renunciation" involves a Mexican- American in the United States who at- tempts to adjust to the glitter of a rich democratic state. He represents the impressionable, penurious new generation which has changed its val- ues and has rejected the truth in the blindness of their so-called slavery. Treatment : Truth is represented as a crucifix which appears and re-appears through- out the film in several forms. Once a cross on a church, as a shadow on the ground, and with a Madonna. The boy admires and craves the glitter that is actually not his true environment. He disassociates himself from his past — and this is symbolically represent- ed as the Church and his friends. His former existence and Mexican culture in the symbols of the Church are re nounced for these new values. He is himself rejected, in turn by the sym- bol of an American woman. He climbs through a labyrinth of steps only to cross a concrete bridge which is another symbol of cold com- mercialism. His final act occurs when he throws himself from the bridge and the mood here is simply execution. The film ends and the conclusion drawn is that you can't go back home again. You make your peace with a new environment, or perish. Technique : The rough draft was written in a very elastic manner so that a wide variety of changes could be made while shooting. Harsh sunlight and deep shadow were used to highlight the mood of the boy and his tumultuous emotions. Slow-motion, double ex- posure and reverse motion is used throughout the film. Although the technique is not per- fect, in the Hollywood sense, this alone contributed much to the mood of the film. Exposure, tempo and cutting were excellent. "The Voices", made in 1953 ,uses a musical score but no dialog. Ac- cording to Schmitz, "it is a new psy- chological film which is pure Freud- ian in tone. It deals with a prota- gonist who has a sexual-religious paranoia. The very title, "The Voices", is the auto hallucination suffered by the subject." Schmitz went on to say that the Freudian symbols are authen- tic. The film can be divided into three actual parts. The main theme is simple conflict; but the treatment is unique because the viewer looks deep into the mind of the subject, sees him as he really is, and then sees him again as the subject thinks he really it. The protagonist is essentially an imma- ture individual who has not made his peace with his spiritual self, nor has he evolved a compromise between re- lion and sex. The film traces his conflict, and the last sequences is a wonderful shot of the stumbling youth on a vast sandy beach, searching for some sort of sign. He hold the cru- cifix in his hand, and then, when he thinks that he has stumbled upon the essence of spirituality, and can liter- ally walk on water — he does so and drowns in a murky stream. The third film, also made in 1953, and titled, "Dance of a Pagan" in color, with music, is the most radical of all. • See JOE SCHMITZ on Page 36 LETTERS • Continued from Poge 17 MORE ON TITLES May I make a suggestion about your Titles? I think these would be better if they were placed on a separate page. I dislike chopping up the cover and sometimes the magazine arrives in a wrinkled condition. Have been a sub- scriber for many years and because of the many articles and ideas found there my filming has been 100r<- better. ■ — Geo. Kina, Hamilton. Canada. Any one else for titles? * * * WANTS MAGNETIC SOUND PROJECTOR I am at present in the market for a magnetic sound 16mm projector. £ pon reviewing the literature on these pro- jectors. I find only three companies offering this feature but only as an adjunct to optical sound. The dual system is almost beyond the means of the amateur cinematogra- pher who screens film for his own en- tertainment. The rentals on optical sound film features almost makes it necessary to go into competition with the neighborhood theater to make ends meet. Needless to say. those amateurs overseas have no opportunity to screen anything other than their own film, hence, the optical should be an adjunct to the magnetic system and made an optional item. The foregoing is my opinion and opinion of most amateurs I have spok- en with. An article in your magazine which would bring this subject to the atten- tion of the manufacturers would be greatly appreciated. If you are aware of any company manufacturing a 16mm projector with a purely magnetic sound system, would you provide me with the name of the company, the address and any liter- ature on the product? — Commander R. W. Lange (DC) USN Navy Section APO 206 Postmaster, N.Y., N.Y. Information has been mailed you. * * * WANTS INFORMATION I am building a record player which was illustrated in your August issue. Although I have completed the case, and have all the hardware I can't seem to get the turntables here in Washington so can you have MR. OSWALD give me this information? Mav I say that his ideas are excellent and I suggest that such things be con- tinued in HOME MOVIES. Am a subscriber and think that your publi- cation is the best monthly of its kind. — F. J. Beaver, Visual Aid Director, 1808 Adams Mill Rd., N.W., Washington 9. D.C. We don I have Mr. Oswald/ s address — but hope that he uill see this and get in touch with you. SOUND STRIFE I would like to add a running com- mentary to some of my movies but my projector is very noisy and the tape recorder picks up every sound. Is there any way that I can build a soundproof cabinet to put the projec- tor in so that I can eliminate this trouble. — B. E. Carter. Columbus, Ohio. Why bother building a sound cabi- net. Simply place projector in a room which has a fairly tight door and a window so that you can watch the film as it is being projected. Then record your commentary as you view the film. * * * TIMELY TITLES PRO AND CON I shudder every time I open the magazine and see the so-called "Time- ly Titles". Can't think of any movie filmer using such crude drawings to title any of their movies. ould ap- preciate more of the film reviews . . . and like to hear what other clubs are doing . . . — //. /. Barney, Los Angeles. I want to thank you for the wonder- ful titles which you have on the back cover of Home Movies every month. Previously the art w as sort of tired and old fashioned. The new Timely Titles are modern and breezy and seem to be just the thing for titling my own home movies. Keep up the quality of these fascinating titles please. — Vance W ebb. Chicago, Illinois. We shall try to please some of the people some of the time. * * * EXCHANGE FILMS Am wondering if you can put me in touch with anyone anywhere in the world who would like to swap films, for a short time. It should be films of their own community or town and should include local scenes. I am also interested in renting a few old- time professional movies. Two I have in mind are "The Covered \^ agon and "Lost World". Have any of these films been placed on the market in 8mm? If so where can I rent them? May I say that one of the things which really sells your magazine is your "Timelv Titles". Have used scores of them and my cigar box is full of them. Would also like to trace some Hoot Gibson and Tom Mix films. —W. E. SpeUman, P.O. Box 163, Huntsville, Ohio. Readers who can help Mr. Spellman should get in touch with him at the above address. Our thanks to Mr. Spellman for a very interesting letter. Your suggestions are very welcome and ive shall act upon them in the near future. But what about the Timely Titles? Look what other readers say? We shall most certainly go stark rav- ing mad. CINEMASCOPE • Contiuned from Poge 24 breathtaking shot of the Hollywood Hills. The shot indicated plenty of separation between the various planes and sharpness was complete, edge to edge. Another sequence taken from an aircraft included the wing of the plane and the focus was set at 10 feet. This one was also wire sharp, from approximately three feet from the camera to 35 feet — at which point the background softened somewhat due to the w ide opening used. While focus is adjusted with both lenses at the same distance, and this is now recommended by the companv. Ray Wolfert who tested the lens said that he set the taking lens at ten feet and the anamorphic lens at thirty and got excellent results. This will prob- ably have to be worked out to the particular tastes of the individual cameramen, and should be done after a few tests have been made. This is true of any piece of equipment, and is certainly not peculiar to the 16mm Cinemascope lens. Officials say that the anamorphic lens will fit at least four various tak- ing lenses of different focal lengths, so it must be assumed that there would be a slight variance with the different lenses. The application of wide screen mo- lion pictures and the uses in industry are many and varied. Bell & Howell officials say. One customer claims that he used a wide angle lens to photograph the shifting of materials in his warehouse, but found that the anamorphic lens was much more val- uable for this type of work. An- other manufacturer who emploved 20 high speel cameras for a certain de- fense job. now states that he can do the same thing w ith ten cameras equip- ped with the new Cinemascope lenses. Asked about exposure, the Bell & Howell demonstrator said that about one third stop increase in exposure should be used. The lens is made w ith a half inch lip protruding in front of the glass and it would seem that the necessity of using a sun-shade could be eliminated — if you aren't a purist, that is. If we may inject a personal note here, we might say that 16mm and 35mm Cinemascope is something which will become part and parcel of our lives, eliminate the old square pic- ture, and probably change the very essence of cutting and editing: in fact, may even shorten the alphabet of film making and eliminate many of the camera setups which were necessary for long shots and close-ups. Cameramen who have seen Cinema- scope here. ?av that the anamorphic lens will make their jobs easier. 28 WLLYWOOD PRO'S t ~ i : By JAMES RANDOLPH Home Movies Technical Director SADIE THOMPSON COLUMBIA Cameraman: Charles Lawton, Jr., A.S.C. Director; Directed by Curtis Bernhardt. Film Editor: Viola Lawrence, A.C.E. Make- up: Clay Campbell and Carl Anderson, Art Music: Morris Stolojj. Stillman: Kenny Bell. Sound: George Cooper. Starring Rita Hay- worth and Jose Ferrer. From an original play by Somerset Maughan. Technicolor, Wide Screen 3-D and 2-D. T F "Bwana Devil" is to be consider- ed the first 3-D picture, then "Sa- die Thompson", Columbia's newest can be considered the best one. But there is a vast gulf of quality between the two. First of all, "Bwana Devil" is one of those rare little stinkers which shall linger forever in our memory. "Sadie Thompson" will linger too because of its technical excellence, achieved by everyone connected with the film. And this is some sort of triumph since we have had nothing but stinkers in 3-D ever since "Bwana Devil". So 3-D comes of age with "Sadie Thompson" — with nary a gimmick or flying spear floating out into the aud- ience. The picture was sharp, edge to edge, and there were no out-of-focus shots of any kind. Most of the panoramic shots were made to order for 3-D, and the essence and the feel of a wide expanse of water and isolation was pointed up with the stereo process. One memorable sequence, where Sadie Thompson spends her first night on the island in the boisterous company of a group of marines, is a good ex- ample. Rita Hayworth does a wild song and dance and the camera moves in close to produce a tremendous ef- fect of movement and boisterous gay- ety. Clay Campbell's make up is unique. His problem, first of all was to invoke the feeling that Hayworth was an ex B-girl and made her up acordingly. But in this particular sequence, he accented the reds and thus contributed even more to the effect of that particu- lar sequence. Lawton, the cameraman added his bit too by over-correcting the reds when he shot the sequence, and the overall effect is superb. Watch for this bit when you see it in the film. (Fog filter was used plus burning vaporized oil.) Now let's get down to technicalities. Clay Campbell had his hands full with the make-up. Since the setting of the story is a tropical island, with a constant humid heat, the actors were always in a perpetual state of perspi- ration. "We had to watch the make-up with 3-D", said Campbell. "First of all, it must be applied as thinly as possible, because the slightest variation showed up instantly. Then we had the heat problem. When the heat got too intense, the make-up deteriorated, with the result that we were constantly repairing everyone on the set. So, as in all 3-D pictures you must use light make-up and it must be uniform." He went on to say that they used a new technique when it was necessary to work on Jose Ferrer. His head was to be quite grey and silvery, yet Camp- bell wanted to avoid the bluish color usually associated with grey hair. To do this he employed a thin saturation of hand lotion and silver material and hand-painted the color directly on the hair. Result: no blue highlights. If you haven't seen Jeanne Eagles in the original play, there isn't much of a comparison that could be made — but for our money Rita Hayworth is excellent, and so is Aldo Ray. The • See PROS on Page 31 GEO. W. COLBURN LABORATORY INC. 16* NORTH WACKER D R I V I • C H I C A C 0 6 ■■TELEPHONE STATE 2-7316 8 and 16mm SERVICES DUPLICATES * from your films ■ KODACHROME COLOR or BLACK & WHITE Protect your valuable originals from projector I damage and wear, run duplicate prints. Duplicate prints make wonderful gifts. 8mm or 16mm . . . Duplicates 11c per ft. 8mm Enlarged to 16mm, or 16mm Reduced to 8mm 14c per finished foot H * Mail us your original films with cash, check or money order, and we guarantee the BEST dupli- cates possible, QUICK SERVICE, TOP VALUE, SATISFACTION Minimum Order $3.00. J 'r¥ x 41/2 inches and 3x3 inches on top. A one inch lip must be formed at the top and four holes drilled in order to mount the exhaust against the top panel of the case. The cut-out in the case it- self measures only 2y2 x 21/2 inches. The viewing window in the door can be any size. I chose 3x4 inches in order to make it the same as the pro- jection port. Dimensions for cutting the window in the door panel are given in Diagram 1 but these depend on the particular model of projector used. In my case I found that the position shown is the best one for watching film gate and loops while the machine is running. Windows must be made of plate glass 1/4 inch thick and are held in place by mirror clips; ordinary win- dow glass cannot be used because of distortion to the projected image. After my case had been finished I took it to a maker of sample and carrying cases to have it covered. It pays to have the job done by a craftsman since case- making and especially covering is an art. I, for one, decided to have that stage of the project done commercial- ly. An outlay of five dollars gave me a beautiful looking case and the ex- pense was worth it. I now re-assembled the case and proceeded with the sound- proofing. Commercially available sound-proofing is rather expensive therefore I decided to use the well- known 1/2 inch insulation board avail- able at all lumber yards. To increase its sound-deadening capacity I per- forated the panels with small holes about one inch apart; this can be done with an ordinary nail. Each tiny hole now acts as a death-trap for sound waves. Insulation panels should be cut to fit into the frame work rather tight and will stay in place after having been forced in. If cut too loose, they can be held securely by mirror clips. The back of the case should have a hole cut through and be adorned by an Amphenol "Below Surface Mount" (at radio stores). This is big enough to allow for the projector plug and cord to be pulled through. You will be amazed to find on run- ning your projector in its new projec- tion cabinet — how quiet it is, with over 80% of the chatter and clatter being absorbed. Automatic Daylight Processing Equipment DEVELOPING TANK • processes up to 200 Ft. • 8mm-16mm-35mm • Movie— X-Ray — Microfilm • Motor driven portable • Tough plastic tanks • Uniform Density Assured • 70mm tank also available FILM DRYER • Motor driven — Heated • Speedy drying • Automatic shrinkage allowance • Stainless steel and aluminum construction • Easily assembled without tools • Compact, Portable Guaranteed. Write for Free Literature MICRO RECORD CORP. Dept. H 225 W. 28 St., N.Y. 1, N.Y. Automatic dissolve attachments for Cine' Special and Bolex H-16 (Equipped with Pellegrini Shutter) JOSEPH YOLO 5968 Santa Monica Blvd., Hollywood, Cal. moms ON APPROVAL Most entertaining 8MM MOVIf FILMS for home movie shows. Write today and we'll SEND YOU A 50 ft. 8MM FILM — POSTPAID — ON APPROVAL. (Return the film within 5 days without obligation, if it's not worth more than the $1 .50 we ask.) MOVIE-OF-THE-MONTH 6516 Selmo Avenue, Hollywood 28, Colif. 50 IDEAS FOR FILMING CHILDREN MOVIE PLOTS . . . SCENARIOS . . . MAIN TITLES . . . POSTPAID HOME MOVIES 1 159 N. Highland Ave. Hollywood 38, Calif. Gentlemen: Enclosed is 25c. Please send copy of "50 IDEAS FOR FILM- ING CHILDREN." Name.... Address City State .... Zone. 35 NO TRIPOD • Continued from Poge 19 a board as shown in Fig. 11 and dif- ferent height pipes can be used. It could be equipped with 3 rubber cas- ters and used as a floor dolly for low angle stuff if you need it. Seen in the same picture is a smaller camera mount which can sometimes be used without a board. If so. be sure the camera wont tip over when unat- tended. Don't get the idea from all this that a good STURDY tripod is an unnec- essary bit of equipment. No so — it is one of the most important if you watit steady pictures and proper pans. However, you might try some of these suggestions if you don't already know about them. Every one is of some use and help. JOHN SCHMITZ • Continued from Page 27 Essentially it is a study in relation- ships, plus a story of conflict (again) woven into the ballet. The rhythm of the dance relate starkly with the rugged forms of the rocks, sand and the liquid swell of the sea. A mobile, hung from a cliff imposes itself too upon the story and ties into the gen- eral theme of the dance. Schmitz used the primitive Mexican music of Chavez, and the reason for this, it seems is that (he dancer rep- rcsents symbolically the Yaqui Indians of Mexico. The music is of vigorous and independent character with rhyth- mic and almost hypnotic movement. Bui he has taken this and meticulously fused it with the actual movements of the dance. The color was changed by the use of filters which transform the shot from one of a predominantly blue character to one of red, or orange or purple — depending upon the filter and the exposure used. Schmitz man- aged to get some spectacular effects which pointed up the mood and the movement of the sequences. When these films were previewed at Pro Cine Photographer offices, a mixed group of people saw the films. This group consisted of two specific types — one of which was concerned with abstract things and the other whose duties consisted mainlv of cler- ical work. Asked about their reaction to the films, the clerical group said that they were aware of the conflict inherent in each film but that they were somewhat hazy as to the significance of certain sequences. Generally speaking, they gol the message Schmitz was trying to convey. The other group w ho have seen hun- dreds of abstract psychological films said that the three films were several cuts above the standard film of this type, and were of course crystal clear. If we may point out a most cignifi- cant conclusion, we might say that the producer has managed to transmit what he had to say and has done so in a manner which allowed him to com- municate with two groups of people who are drawn from different levels of society. The fact that both groups understood the symbolism and the ab- stract ideas proves conclusively that Schmitz has achieved the ultimate in artistic endeavor. We shall watch the career of John Schmitz with a great deal of interest, for the simple reason that he knows how to communicate without first cre- ating a mumbo- jumbo of private sym- hols'. METER • Continued from Page 25 determining the exposure, by reading the incident light or the reflected light? Even the old-time Hollywood camera- men are divided on this point. Some of them will argue that even if the same intensity light falls on a white person in a white suit sitting on a pile of snow as would fall on a colored person in a black suit sitting on a pile of coal, the light reading would register on an incident type meter the same, but the exposure certainly would be off balance. An '"allowance" has to be made, so consequently the meter is not 100% fool-proof. On the other hand, the reflection type meter is said to be too inaccurate in register- ing foot-lamherts on different color surfaces, and that it reads differently in the hands of different photogra- phers. Not wanting to take sides, I would like to explain the use of both type of meters. Incident light exposure is of great value on a set illuminated by artifi- cial light. The key-light constitutes the major factor in determining the correct exposure, as it establishes the highlight effects on the subject. Par- ticularly when shooting color films, the expo>ure must be set to give the proper rendition of the high-lights. Of course^ the fill lights are neces- sary for good quality, but neverthe- less secondary in exposure control. When using the hemispheric-type meter, such as the Norwood, point the instrument from the subject s position directly toward the camera. The G. E. meter, with the hood removed and multiplying masks attached, is pointed to the light. Some cameramen will light a set for color at 650 foot- candles, others at 900. At 650 your exposure should be F 2.8 and at 900 stop down to F/2.8. Some will shoot black-and-white (Eastman Back- ground X or Dupont 914) at a key of 150 foot-candles, others as far up the scale as 350. At 250 foot-candles your exposure should be F/3.5. These values indicate the illumination level recommended for the key-light, checked after all fill-lights have been arranged. W ith G.E. meters it is rec- ommended that when incident-light measurements are made with the hood off. the light readings be divided by 2. This applies whether the meter is used with or without the multiplying masks. After having decided what aperture to use. turn on the keylight. and at the subject's position point the photo- meter either toward the camera or into the light, depending on what type meter you use. and take your first reading. Suppose you are working with 650 foot-candles, adjust your key-light to read 50 foot-candles, then turn on all the lights to bring the general level up to the required 650 fool-candles. Your background illum- ination can be checked by taking a reading while walking along the back- ground area, closely watching the ra- tio of contrast between subject and background lighting. When using the meter to read re- 36 fleeted light, many photographers make the mistake of directing the meter at the subject wrongly, so that it gives an inaccurate answer. The reading should be taken of the most important object or part of the scene. For close-ups, the reading should be taken within one foot of the subject's face. For medium shots, the meter should be held four or five feet away from the subject. For long shots, the reading should be taken a short dis- tance in front of the camera position. It is often advisable to check your meter close to a person's face, then step back and check it again at the distant position; if it shows a great variation, then compromise. Keep your meter pointed slightly downward, not allowing any direct back-light to strike it, which would give an erroneous reading. For years professional cameramen have been using gray cards to deter- mine their exposure, where no other means are practical. If you are perch- ed on top of a building to shoot a parade, for instance, the gray card comes in handy. As long as the pa- rade and the card are in the same light condition, the reading will be accurate. In photographing flowers the card is again a real help, giving you a good solid surface from which to take your reading. Many camera- men use their hand in place of the gray card. But be sure to use the outside area of the hand — not the palm, which is too light. Most cameramen have had the ex- perience of getting distant views of mountains or other landscapes slightly over-exposed. The reason for this is EXPOSURES FOR 16mm CAMERAS Camera Mitchell 16 Maurer Bell & Howells: Specialist 70-DA 70-DE 70-H 70-DL 70-S Arriflex 16 Cine Special Bolex Shutter Opening Variable 235° max. 240° fixed 204° 180° Variable 165° max. 190° Exposure at 24 Frames 1/48 sec. at 170° 1/32 sec .at 235° 1/35 sec. 1/27 sec. 1/34 sec. 1/48 sec. 1 /45 sec. that the dispersed light caused by aerial haze will appear lighter on the screen than it would to the human eye. Hence, a slight under-exposure will im- prove the shot. Color film has very little exposure latitude. The maxi- mum tolerance for perfect color is one-half a normal F-stop on either side of the correct exposure. This small variation in exposure latitude necessi- tates the use of an accurate exposure meter in determining the correct ex- • See Next Page compare Appearance and it's Keystone for movie-making KEYSTONE OLYMPIC 8mm Rollfilm camera with exclusive easy-view MAGNAFINDER . . . drop-in-loading . . . just aim and press for perfect movies! F2.5 lens $79.95 (other cameras low as $49.95) Backed by famous Keystone Lifetime Guarantee Keystone movie cameras and projectors ... as richly styled as the smartest fashion accessory. Yet inside is Keystone's matchless precision — famous since 1919. For smooth performance ... for rugged dependability ... for low-priced value . . . Keystone is America's leader in movie-making equipment! Keystone Projectors from $79.90 to $169.50 incl. cases SEE YOUR CAMERA DEALER Keystone U S;nce 19I9 Keystone Camera Co., Inc., Boston 24, Mass. 37 posure. Over or under-exposure be- yond the recommended latitude will only result in incorrect color repro- duction, unless otherwise compensated for in creating special art effects. Your particular laboratory should be taken into your confidence before exposing your film. The laboratory often deserves more credit for "well- exposed"' films than many cameramen would like to admit. In the early silent days of hand-cranked cameras, the old saying used to go: "Stop down to F/ll and blame the rest on the lab!" Since those early pioneer days of motion pictures in Hollywood, there's been quite some changes made. Your lab is your friend and it is up to you to work out your problems with them in order that your product will be of the highest quality, and you as well as the lab will be proud of it. Every laboratory will not develop your negative in exactly the same way. Standards differ to some extent and you should therefore acquaint yourself with the procedure of your particular lab to get the most out of your nega- tive. Your exposure index may be recommended at 25 by the film manu- facturer, but after making lab tests you may find that your film speed should be set at 32, or even 40. It is advisable to shoot an extra ten feet of film especially on interiors — at the end of a roll ; mark your film can and have the lab run a developing test. After inspecting this test, the lab will develop accordingly. An under- or overexposed film can be saved by tak- ing this precaution. Of course, this procedure doesn't include colorfilm, which is only handled by a standard process. In the case of colorfilm, you better make sure you read your ex- posure meter right. FILM • Continued from Page 26 ing for a negative and one positive, since more dupes would be needed later on. We had called the lab that leave the film that night, together with a description of the kind of film we were using and the quality we wanted to get. Wednesday 10:00 a.m. We checked with the lab and they said the negative and positive would be ready by noon. We called Telefilm on Hollywood Blvd. and told them that we would come down with the film and that we wanted them to do the editing. Our appointment was made for 1:00 p.m. 12:00 noon — We picked up the films at Acme Lab. and filed the negative for future use. 1:00 p.m. — We discussed the film with the editors at Telefilm and told them what we wanted. At this point we had 370 feet of film and this had to be cut down to 224 in order to stay within the limit set by ourselves when we planned the film. The man who directed the film participated in the cutting and advised the editor where the cuts were to be made. In some instances the advice of the editor was taken so that a few long sequences could be cut to step up the tempo. This job took two hours and cost $12.00 (at the rate of $6.00 per hour). Did someone say two hours? Yes in- deed, and both the director and the editor were very busy for the entire two hours. Reason for this is that the film must be perfectly tailored to fit the script and all sequences must be placed in order. Then the bad shots had to be cut and the best retake chosen. After this was done the gen- eral tempo of the film was examined and more cutting was in order so that the film could flow along swiftly with no tiresome sequences. 3:00 p.m. — With the film cut and edited, we were ready to get it striped. We chose this method of sound re- cording because the film was to be shown in schools and colleges, most of which had a 202 Projector (Bell & Howell) which is used with sound- striped film. We were told by Bell & Howell who striped the film that the job took 24 hours and that it would be ready the next day. Thursday 5:00 p.m. We picked up our film at this time, and officials at the Bell & Howell lab. said that it would be advisable to wait overnight so that the striping would get a chance to set. (Cost 2I/3C per foot ) . They advised against recording right away. So we called our friends at Telefilm and arranged to come down the next day so that we could record the narration. In the meantime the narrator was told to rehearse his ma- terial and to get down to Telefilm the next morning. Friday 10:00 a.m. Bell & Howell delivered a 202 Pro- jector to Telefilm, in Hollywood and it was there waiting for us when we arrived. We explained that the film would require opening music which faded into the narration. (Music was chosen from the library, and since the film was not to be shown to a paying audiences, there was no music charge) . The narration carried along all through the film, and then a few bars of end music was superimposed over the narration until the fade-out. This phase of dubing the music and narra- tion took one hour. We used the 202 Bell & Howell projector to record the sound, but the actual dubbing was done in a sound-proof room provided by Telefilm and using their own micro- phone and mixer. The narrator had rehearsed his stuff the previous night and he had made minor changes in a few phrases. Actual cost, per reel, for narration is $50.00 usually. Our nar- rator, being a member of the editorial staff, and having had radio broadcast- ing experience previously, completed the job with few mistakes. After Tun- ing through the script a few times, the dubbing was made and the film was complete. Perhaps we should mention a few aspects about the script which are important to the narrator. A movie script with narration should be written in such a way that the phrasing is simple and direct. Sen- tences should be short and to the point. Words used should be "talk- ing" words and not "reading" words. We mean that the narration should follow closely the simple every day phrases used by people when they communicate with each other. If this is not done, the narration may sound stilted and lose its punch. Cost lor the dubbing of music and narration was $47.00, a standard price for this kind of job. Now to sum up: The value of our film on the com- mercial market is between $500 and $750. We checked with various in- dependent studios here in Hollywood who specialize in 16mm work and that is the price we got. And this price includes everything excepting the script. Now let's take a look at our costs and see how we made out. Studio rental, lights and burn-outs $ 70.00 Cost of 400 feet Du Pont No. 930 film 16.00 Script 00.00 Sketches — shot-by-shot break- down by staff artist 15.00 Camera rental Bell & Howell.... 00.00 Cameraman and assistant ( our own staff) 00.00 Director (staff) 00.00 Make-up, fee for one day 40.00 Artist for title cards 20.00 Actor, (male) 25.00 Actors, (female) 2, Models provided by the Caroline Leonetti School of Charm and Poise, Hollywood 10.00 Developing one negative and one positive. Acme Lab., Hollywood 25.00 Editing and cutting — Telefilm.. 12.00 Bell & Howell sound stripe 300 feet at 2l/2c per ft 7.50 Sound dubbing, narration and music 47.00 Narration (staff) 00.00 Grand total $287.50 I suppose our total of $287.50 looks very interesting, especially when it is compared to the value of the finished film— $500 to $750. But there are a few major items which have not been added to the cost because we had the 38 equipment. Take camera rental, for instance, and use of a cameraman and assistant. Camera rental is $20.00 per day, first cameraman gets a scale rate of $70 and his assistant $45. Then there is the cost of a gaffer, grip and best boy but I think we can dispense with thees items. Most professional readers will shoot their own stuff and probably do so in their own studios. They will also do their own script, make-up, lighting and editing. Our film was completed Friday af- ternoon, and after a hurried screening it was shown to a group of 500 guests who were attending a convention in Hollywood, that evening. Last week 20 duplicate prints were made and the film will be distributed to the proper locations. Now the purpose of this whole story is to indicate base costs to those who are just getting started in the 16mm professional field. There are an in- finite number of variations and your own costs depend entirely upon your own set-up and your own know-how. PRO CINE PHOTOGRAPHER would be happy to check prices or obtain other information for professional readers. Write to : The Editor, Pro Cine Photographer, 1159 N. Highlands Ave., Hollywood 38, California. SUN and SNOW • Continued from Page 15 colorful gay costumes, and add as much zing as you can. Another compositional aid in snow scenes is the use of dark or silhouetted masses, usually in the foregroun.d In any normal snow landscape, there are dark masses here and there — a rock or boulder which emerges from the snow, a gnarled tree trunk, an old shanty or even a weather-beaten fence. Get an object of that kind in the fore- ground, where it will be large enough in scale to form an important area, and your snow scene will take on ad- ded interest. The silhouetted mass will give the picture depth and the white snow will seem whiter by con- trast. The excess ultra-violet light is im- portant because it records on color film as blue, though it is invisible to the eye. Fortunately this bother can be disposed with ease — simply use a haze filter in front of the lens at all times, for this kind of shooting. And this is especially important if you are shooting in the mountains. Now lets talk about the two kinds of snow. We have the loose kind on the one hand, and the glazed kind on the other. Loose snow presents a beautifully textured surface, and the main secret in photographing tex- ture is the placement of the light. If we lay a strip of white velvet along a table and illuminate it from above books for better filming $7.50 VALUE FOR $5. HOW TO TITLE HOMt MOVIES $1.00 50 IDEAS FOR FILMING CHILDREN. 50 IDEAS FOR VACATION MOVIES 50 TITLE CARDS— KIT No. 4 (color) KIT No. 1 (B&W) ....$1.00 28 BASIC STEPS $1.00 12 MONTHS SUBSCRIPTION TO HOME MOVIES $4.00 TOTAL $7.50 VER HALEN PUBLICATIONS 1 159 North Highland Avenue Hollywood 38, California by a single light, the texture will not be revealed, and the velvet might just as well be a horse blanket. But if the light is placed very low, so that the light rays sweep across the ma- terial, then each little hollow casts a shadow and the texture stands out like a sore thumb. And the same is true of snow scenes. If the light is behind the cameraman's back, results will be flat and lifeless. So shoot with cross- lighting, or into the light, thus bring- ing out the texture and modeling. Early and late hours of the day are especially good for snow filming be- cause this produces the long shadows so necessary for effective composition. Snow which has thawed, and frozen causes troublesome glare and reflec- tion problems. This means that a suitable sunshade is a must at all time. For the same reason thank your lucky stars that your lens is probably coated, because if it was not, then there would be plenty of trouble with inter- nal reflections, glare, and fuzzy foot- age. A polarizing screen is of little use on loose snow, which in itself is a good de-polarizer. However, it is often effective on "glare" snow since the reflections from such a surface are more amenable to suppression by means of the polarizing filter which strains out the glare. The question of filters is import- ant, since the color of winter sunlight is likely to be quite different. And the cameraman is cautioned not to trust his eyes alone, since there are more accurate ways of checking light quality. The Harrison Color Temper- ature attachment for GE or other me- ters will save much film, if used in- telligently. The vast amount of blue, so prevalent on snow scenes, can be eliminated by using a suitable yellow or pink-yellow filter. Here are a few things to remem- ber. Shadows in snow have definite color — usually blue. Kodachrome or Anscocolor, properly exposed, will faithfull reproduce this color. Sidelighting causes texture of the snow to stand out, and gives form to the snow-covered objects in the fore- ground. Focus your camera on the scene so that the sunlight comes from either side of it. If the sun is low, so much the better, because shadows will be longer and will create more in- teresting patterns. Try to get back- lighting on shots of snow-covered trees and icicles. Winter scenes can be given extra tone and depth by the inclusion of brightly colored objects in the fore- ground. And dramatic appeal can be created by the use of bright colored objects in direct contrast with the somber natural tones of the landscape. 39 FILM LIBRARIES 8MM and 16MM FILMS . . . Where To Rent or Buy . . . Sound or Silent CALIFORNIA COMPTON Evongelistic Audio-Visual Association 2342 E. 1 26th St. NEvada 6-5118, NEwmark 1-9920 HOLLYWOOD Hollywood Camera Exchange 1600 Cahuenga Blvd. HO. 3651 LOS ANGELES Films Incorporated 5625 Hollywood Blvd. SAN FRANCISCO Brooks Cameras 56 Kearney Street LOUISIANA NEW ORLEANS Delta Visual Service, Inc. 815 Poydras St. (12) MARYLAND BALTIMORE Lewy Studios 853 North Eutaw St. at Biddle MASSACHUSETTS BOSTON N. E. Film Service, Inc. 755 Boylston Street (16) MONTANA GREAT FALLS Holman's Sound Service 3008 Third Avenue South NEW YORK BROOKLYN Reed & Reed Distributors, Inc. 7508 Third Ave. (9) NEW YORK CITY Films Incorporated 330 West 42nd St. National Cinema Service 7 1 Dey St. Nu Art Films, Inc. ( 19) 1 1 2 West 48th St. Peerless Camera Stores Film Library 415 Lexington Ave. OHIO CLEVELAND Sunray Films, Inc. Film Bldg., 2108 Payne Ave. OREGON PORTLAND Films Incorporated 716 S. W. 13th Ave. PENNSYLVANIA PHILADELPHIA Ted Kruger 3145 N. Broad St. RHODE ISLAND PROVIDENCE Samson's Picture Service 35 Portland St. (7) WISCONSIN KENOSHA Cairo Home Movies 5815 Eleventh Avenue MILWAUKEE Movie Mart — DeVry Corporation 4518 W. Burleigh St. UP 3-9932 (open Mon. and Fri. Eves.) MANY DEALERS LISTED ABOVE RENT PROJECTORS AND SCREENS; ALSO HAVE COMPETENT PROJECTOR OPERATORS AVAILABLE UN! iEWS Hackensack Movie Society - Hacken- sack. New Jersey. On December 14 the Amateur Movie Society of Bergen County installed of- ficers and had their Christmas party. Ralph Santulli ( re-elected) ; Vice Pres- New officers installed were: President, ident, Michael Nozarinko; Secretary, Walter P. Koechel (re-elected) ; Treas- urer. Leon Konsevick (re-elected) ; Program and Publicity Director. Will- iam Messner. The Christmas party included the showing of the three top winners in the recent society competition and other films. The program order is "Ceramics" 1st prize winner in the club contest by Ralph Santulli. ''W hy Men Go Gray" by Jack Boone. 2nd place winner: "A Pair of Shorts," 3rd place winner by Don Celastanto. The fourth film will be "Hollywood Blow - Lps" supplied by member George Labes. The final film will be Bill Messner's "Dark Interlude." Background music for the first three films were made by Ralph Santulli. John Stoohs and Bill Messner. "Dark Interlude" has sound effects, music and commentary on magic tape accompany the film. After the screening the members were served refreshment. Proceedings were held at 8:30 p.m. at the society's headquarters — 25 Prospect Avenue, Hackensack, N. J. SALISBURY, SOUTHERN RHODE- SIA— The Mashonaland Photo Soci- ety reports that recent entries for their 1953 Cine Competition "were general- ly of very low quality", but that "One Eye, Two Eye, Three Eye", the win- ning effort was "excellent in terms of script, make-up, acting and photog- raphy". (Now here is a courageaus group who call a spade a spade. Think of the tensions and vendettas born of such plain talk.) Another film, "Bull- fight at Nimes" was shown and they report that all films will later be shown to the public. John Kernan, secretary, says that they have heard rumors of an electronic system for movie projection now being developed in the U.S.A. and want more infor- mation. (The issue of HOME MOV- IES and PRO CINE PHOTOGRA- PHER which carries the report has been mailed to you. Ed. CAPSULES • Continued from Page 5 LACK OF CONFIDENCE in a light meter makes it useless. Get thoroughly familiar with the operation of using it, and then stick religiously to its readings, and confidence in it will automatically follow. * * * ALWAYS USE a tripod when pos- sible. It pays dividends on the screen. It is practically impossible to hold a camera by hand as steadily as a tri- pod will hold it. * * * A LENS, being softer than ordinary glass, requires greater care in clean- ing it in order not to scratch it, and even more care is required when clean- ing a coated lens, or the coating will be rubbed off eventually. * » * A DEVELOPER containing a high percentage of hydroqunone is usually contrasty, and good for developing titles. » * ♦ A SHOT of a monogram of the pho- tographer's initials, or something sim- ilar, like the trademark shot on pro- fessional films, when spliced before the main title, provides a means for getting the projector focused before the main title appears on the screen. * * ♦ WHEN SHOOTING at 8 f.p.s. or any of the clow motion speeds, the shutter varies accordingly, and there- fore an adjustment of the lens aper- ture is required to compensate for it. « * * SHOOTING AT HIGH altitudes, an increase in exposure of one-half to one stop smaller is required than at sea level under similar light conditions. * * * TO CHECK CAMERA SPEER, run a scrap of film 2 feet long I 16mm I or 1 foot 1 8mm) through the camera. It should take exactly five seconds to pass through the gate at 16 frames per second. * * * DON'T GET trigger-happy and take shots of everything you see. Generally speaking, know where each shot is ging to fit into the plan for the final film before pressing the button. * * * WHILE YOUR lens may be fast enough to take clear outdoor shots in color on a dull rainy day, don't expect the result to look like a bright sunny doy. You have taken a shot of a dull rainy day. and that is what you must expect to see on the screen. * * * IN AN EMERGENCY clean amber sunglasses make very good filters when • See CAPSULES on Page 42 40 CLASSIFIED ADVERTISING RATES: 10c per word. Minimum ad $2. Add 5c per word for text in capitals. EQUIPMENT FOR SALE • OPERATE your eectric driven camera from your automobile battery. State wattage and voltage of your camera, and voltage of your automobile battery. ..Details free. Sterling Cam- era Center, Bridgeport, Indiana. • BASS . . . Chicago. Cinema headquarters for 43 years offers money saving buys in guaran- teed used equipment. B. & H. 70 DE, hand crank, back wind, 1" F : 1 .5 Cooke, 15mm F:2.7 Kodak w.a., 4" F:4.5 Cooke, $399.50; Bolex H-16, 1" Primoplan F : 1 .5, 17mm F:2.7 Wollensak w. a.; 2" F:1.6 Kodak, case, $299.50; B. & H. 70 E, 1" F:2.7 Cooke, case, $122.50; Kodak Model K, 1" F:1.9, case, $82.50; B. & H. Auto Master, 1" F:1.9 Wollensak, 15mm F:2.5 Ektar, 4" F:4.5 Wollensak, case, $267.50; 16mm Magazine Kodak, F:1.9, case, $92.50; 8mm Magazine Kodak, F:1.9, case, $92.50; 8mm Revere 99 Turret, F:2.8, case, $52.50; 8mm Revere Magazine 70, F:2.8, case, $67.50; B. & H. Foton, gun, case, $543.00 value for $250.00. Best buys. Best trades always. Bass Camera Co., Dept. 179 W. Madison St., Chicago 2, III. • 16mm SOUND — Bargains in used Film and Projectors. Visit our store or write for free list. National Cinema Service, 71 Dey St., N.Y.C. • LIGHTWEIGHT Tubular Steel Dolly for pro- fessional or amateur use. Write for specifica- tions and price. Dealer inquiries invited. ..Berg- mann Enterprises, Box 4454, San Antonio, Texas. • INTERESTED IN PROFESSIONAL EQUIPMENT? S.O.S., The Film Industry's Department Store car- ries a Quarter Million Dollar stock of fine mo- tion picture production equipment. An 80 page illustrated catalog prepared for pro- ducers, laboratories, TV stations, documentary film makers, colleges and professional cinema- tographers will be sent for $1.00. This will be applied towards your first purchose. S.O.S CINEMA SUPPLY CORPORATION Dept. yc 602 W. 52nd Street, New York 19. • 16mm AMPRO Sound Projector, self contain- ed screen, continuous rewind. Perfect for point of sales viewing. P.O. Box 8, Mason City, Iowa. • CAMART SCOUT TRIPOD and case ... $75.00 Movie Master Dual Turntable 2-speed record player, astatic arm .sapphire needles, adjustable volume control — $55.00. ..Dr. W. H. Burwell, 3780 Wilshire Blvd., Los Angeles 5, California. DUnkirk 9-4121. FILMS FOR SALE OR RENT • The WORLD'S Most Famous Calendar Girl (plus 6 other beauties) appear in our film "Seven Sirens." 8mm, $2.00; 16mm $4.00. Send check. Big glamour list included. WCIP, Box 392, Elmira, N.Y. • NEW LOW RENTAL Prices sound 16mm cata- log on request; all subjects perfect condition; cartoons, sports, comedies, musicals, travel and feature length programs. B&W or color cartoons. 25c per reel rental — approx. 360' and 400' Postage paid by user both ways Write to: Hanik Film Library (all Sound) 721 1 Grand Ave. Pittsburgh 25, Pa. • 16mm SILENT FILMS for sale. List free. Films bought and exchanged. Bioscope — 435 North Hobart, Hollywood 4, Calif. • MOVIE HEADQUARTERS, 8- 16mm. Complete listings of ALL leading producers. Travel, Com- edies, Cartoons, Sports, Adventure, Variety, etc.; plus BARGAIN listings on movie and photogra- phic equipment. Catalogs 15c. Turke Films, Hins- dale, Illinois. RENT 16mm SOUND FILMS BY MAIL Over 1500 subjests to choose from. Latest major releases. Features $4.95 up; 400 ft. shorts, 75c. Send for Catalog LIBERTY CAMERA SHOPPE 80 Vesey St. New York 7, New York • SOUND FILM LIBRARY and Projectors - Fea- tures - Shorts. Free List. F. L. HAWLEY, 260 So. Temple, Indianapolis, Indiana. • BARGAINS: 16mm Sound Film; 8mm Film; Equipment; Bulk Film, etc; Lists; Master Film, 207 Third St., Elizabeth, N. J. FILMS FOR SALE OR RENT • "REEL" fun with "COLORVIEW". Projects thrilling colors plus deep dimension right into your black & white movies. Optical conversion unit fits 8- 16mm projectors. $3.00 postpaid. "Movie King" 2537 Woodward Ave., Detroit 1, Michigan. • 1954 ROSE PARADE; Kodachrome 8mm, Won- derful Floats, Gorgeous Girls, beautifully titled. The best coverage — complete version 200' color 8mm, $20.00 — Highlights 100' color, 8mm — $12.50. Order from CALIFORNIA CLASSICS, Box 116441, Hollywood 38, California. . CUuL'S 8mm FILM RENTAL CLUB Special Club Plan, Catalogue on request. 5931 Grand Ave., Pittsburgh 25, Penna. • 5,000 New-Used 8- 16mm. Silent-Sound Films. Rare Old-Timers, Medicals, free catalogues. In- rernational-H, 2120 Strauss, Brooklyn 12, N.Y. • NEVER BEFORE has ANYONE offered such AMAZING HOME MOVIE VALUES! Brand New full reel 16mm Sound Films as low as $6.95. Brand New 3 reel Sound Features at only $17.95! Also the largest list of Used Sound Musicals ever offered at only 6 for $5.00 — Boxed and Spooled! New 8mm and 16mm re- leases at big savings. Brand New Screens at 1/3 off list price! Your old films accepted in trade for new films, projectors, cameras, etc. Send for FREE LISTS and Quotations. IMPERIAL ENTERPRISE, INC. 34 Park Row, Dept. H New York 38, N. Y. • "CHILDBIRTH" — Hospital photography of complete birth of a baby, 16mm — $12.50; 8mm — $7.50. Deposit with CO D. orders . . . Sher- wood, 1 50 Lenox Road, Brooklyn, N. Y. • ANIMATED CARTOON MOVIES — Famous Nursery Rhymes in 8mm COLOR! At less than you can shoot them yourself. Reg. $6.00, now each $1.79 or 6 for $9.95. Series include Humpty Dumpty - Hey Diddle-Diddle - Little Miss Muffet - This Little Pig - Jack and Jill - Three Blind Mice. Also available, for the first time at these prices: Movements from Famous Plays, "Scrooge", "A Christmas Carol", "Mo- ments from Macbeth", "Hunchback of Notre Dame", "Oliver Twist", "Bleak House" and "Jane Shore". Price: 8mm $2.95. 16mm silent, $5.95. Send check or money order to WEST- LAKE CAMERA, 635 So. Olive, Los Angeles. • FILMS YOU'LL NEVER SEE ON TELEVISION! "Art" home movies. 50 ft, 8mm, $3.00. Sterling Camera Center, Post Office Box 115, Bridge- port 44, Indiana. • COMPLETE YOUR missing hunting, game, and Yellowstone sequences with 16mm Kodachrome ORIGINALS, tripod-shot for national lecture ser- ies. EXTRA! EXTRA! Select what you want from 1600 feet of newly-released film, in addi- tion to the 2000 feet previously available. Summer and Autumn. 25 cents per foot and up. Dr. J. Allan Norton, 2535 Walter, Flint, Michi- gan. EXCLUSIVE TO YOU • 16mm Sound Users Only New Sound Releases SENT ON APPOINTMENT No Obligation — Send No Money All we need is your name and address. Films will be sent for your inspection. If you like it, mail remittance; if not, we take it back with no questions asked. "Always a Square Deal" D & R PRODUCTIONS 12402 Washington Blvd., Venice, California • PRIVATE PARTY will trade even up 16mm sound films, some for sale. William Johnston, 3663 Franklin Street, Wantagh, L.I., New York. GET THE BEST 1954 ROSE PARADE MOVIES Our fifth year of quality coverage for world- wide customers. Kodachrome. Colorful floats. Beautiful girls. 200 ft. 16mm $34.95 100 ft. 8mm $17.50 Calif, add tax COD's accepted AVALON DAGGETT 441 No. Orange Dr., Los Angeles 36, California • GORGEOUS girls 2x2 Kodachrome 5, $2; 10, $4; 15, $6; 35mm Transparencies B. W. unmounted — 15 for $1; 35— $2; 60 — $3. 35mm Negatives — 10 for $1; 25, $2; 45, $3. 2'/4 x 3'/4 Negatives $1 each, 5 for $4. 33/4 x 5'/2 Photos — 10 for $1; 25, $2; 60, $4. Fine Arts Film Co., Box 1084, San Antonio 6, Texas. COD. Accepted. Minimum, $3. TITLES AND SUPPLIES • TITLING is made easy with the book, How to Title Home Movies. Sells for only $1.00. Has size of field at various distances. Supplementary lens to use and many ways to make trick titles. VER HALEN PUBLICATIONS, 1159 N. Highland Ave., Hollywood 38, Calif. • CUSTOM TITLE ART by professional lettering artist makes the title suit the production, the Hollywood way. Write for brochure. Charles McGinnis, 220 Bissell Ave., Oil City, Pa. . MOVIE OR SLIDE TITLES with that Profes- sional touch at low prices. Large variety back- grounds and letter styles. 8mm, 16mm, 35mm slides. B&W, Kodachrome. THOMSEN TITLES, 14 Roslyn Court, Oakland 18, California. • ALPHABETS Quick-stick letters 120, $1.80 up. Send check or C.O.D., Booklet. PROSPECT PROD- UCTS, 9 Cary, Mt. Vernon, New York. • PERSONALIZED TITLES will AMAZE your friends and improve your movies. Write now for free brochure. SIERRA WESTERN CO., 2748-S East Broadway, Long Beach 3, Calif. • YOU CAN GET Beautiful Kodachrome Titles for your Movies, made by HOT PRESS CeL meth- od. 500 titles to choose from. 8mm, 16mrrv Movie and 35mm Slide Titles. Catalogue and Samples 25c in coin. ELITE TITLES, Box 66, Edina P.O. Minneapolis. TRANSPARENCIES AND SLIDES • Tournament of Roses — 20 Mounted 2x2 Col- orslides $2.00. 40 — $4.00. Movie or Colorslide Listings Dime. EDDINGS — 8 Roberts, Corning, N.Y. • NATURAL COLOR SLIDES, Scenic, National Porks, Cities, Animals, Flowers, etc. Set of eight $1.95. Sample and list 25c. SLIDES, Box 26, Gardena, Calif. • CARLSBAD CAVERNS — More new Interior Color Slides added. Sample 50c — New Illustrated Cata- logue with Text 15c. "TEX" HELM, DEPT, HMICS Carlsbad, New Mexico. LABORATORY SERVICES • SOUND RECORDING at a reasonable cost High fidelity 16 or 35. Quality guaranteed. Com- plete studio and laboratory services. Color print- ing and lacquer coating. ESCAR MOTION PIC- TURE SERVICE, INC., 7315 Carnegie Ave., Cleveland 3, Ohio. Phone: ENdicott 1-2707. • NO NEGATIVE? Send $1.00 for new negative and two 5x7 enlargements from picture, trans- parency, colorprint, polaroid, stereof rames, tin- types. Movieframe enlargements, 4x5. Projection slides from any print or negative, black and white, 3, one dollar. Colorslides from any kodacolorprint, kodachromeprint, printon, 4, two dollars. 8 x 10 warmtone enlargements, 3, one dollar. Curiophoto, 1187 Jerome Ave., New York 52, New York. CAMERA FILM • GUARANTEED FRESH 8 mm roll, magazine; 16mm roll, magazine movie films. Color, B&W Free catalog. ESO-B, 47th and Holly, Kansas City 2, Missouri. • SAVE 50% on double 8mm or 16mm movie film with 24-hour rfee processing service. Send postal card for free circular and sample film. FROMADERS, Box 637-F, Davenport, Iowa. • We develop all makes of black and white movie film. 25 ft. double 8mm, 75c — 50 ft. 16mm, $1.00 — 100 ft. 16mm, $1.35. We return spools and magazines. FROMADERS, Box 637-F, Davenport, Iowa. • SAVE 50% on developing sets, chemicals and bulk movie film in 100 or 400 ft. rolls. Send us postal card for Free Circular. FROMADERS, Box 637-F, Davenport, Iowa. 41 Complete 16mm Title Service INSERTS - ANIMATION - ARTWORK QUALITY UNSURPASSED DON ARLEN PRODUCTIONS 10118 Laurel Canyon Blvd., Pacoima, Calif. Title Artwork Prepared for Your Titler. OH! THEY'RE CUTE! Home Movies & Photos of GORGEOUS GIRLS! FREE: SPECIAL FILM LIST ^ Send 2S< for Startling I Real-Life 3-D STILLS / to RICHTER'S Dept. 1 2 (2424 Entrance Dr., Hollywood 27, Colif." HOW TO MAKE MOVIE TITLES IN COLOR! Write today for a FREE A-to-Z Sam- ple Title Test Kit. Make titles that are different . . . better and tailored to your taste. Try our method . . . FREE. Complete color or B&W Outfit $6.50 A-to-Z MOVIE ACCESSORIES 178 Fifth AHUM Q«»t. H N«w Yorfc 10. N Y. $1.00 POSTPAID "How To Title Home Movies" con- tains elementary instrutcions and advice for beginners, advanced tips for experts — all you need to know about compos- ing, photographing, developing and editing titles for home movies. Gen- erously illustrated with photographs and diagrams. Not a step overlooked. Also contains complete diagrams for building your own titler. 1159 N. HIGHLAND Hollywood, California put 'er here, partner! 500,000 .Mail boxes in the L nited States are your part- ners in the fight against cancer. A contribution addressed to "Cancer" in care of your local post office will help guard your family, yourself and your com- munity. ISext time you see a mail box, "put 'er there, partner!'7 ... as generously as you can. AMERICAN CANCER SOCIETY Here is my contribution of $ in support of the Cancer Crusade. Address City State CLASSIFIED Continued FILMS FOR EXCHANGE • EXCHANGE your 16mm films, sound or si- lent, $1.00 per reel. State type films you prefer. ESTES RECORD SHOP, Brunswick, Missouri. WANTED • WANTED: 8mm complete edition SI. 00 send prepaid to Wilson, 127 College, Shreveport, Lou- isiana. Check will be sent day received. • WANTED good used 16mm sound films, car- toon, sport, etc. Will pay highest prices. Film Service, Box 625 Industrial Branch, Hillside, New Jersey. MISCELLANEOUS • NUDE MODEL FACTS EXPOSED. Shocking use of peephole cameros, "Art Study" salons, illicit practices, all boldly revealed, illustrated. SI. 00 Dept. M, Knight Press, 524 W. 25th, N.Y.C. 1. • FREE BOOKLET— Make better home movies — PROSPECT PROD. CO., 9 Crary Ave., Mount Ver- non, New York. • "HOW to Expose Ansco Color Film" by Lars Moen should be on your movie library shelf. A working handbook for the photographer using Ansco color material, it discusses shutters and lenses, color lighting, three-dimensional color pictures, portraits, color temperature, exposure meters, composition, exposure tables, mixed col- or light sources and many other subjects so valu- able to the movie maker. Only $3.00. Write to VER HALEN PUBLICATIONS, 1159 N. Highland Ave., Hollywood 38, Calif. • BUXOM BABES! For those who appreciate feminine beauty and the body beautiful, o series of artistic Pin-Up photos. Set 8 Photos — S2.00, 6 sets (48 photos) $8.00. REYELLE, Box 95, Dept. M.P., Hammels, L. I., N. Y. • MARILYN MONROE Art Color Calendar. You Know The One, It's Famous! $1.00. Three for S2.00. Sterling. G.P.O. Box 1513-V. New York City 1. • "PHOTOGRAPHY FOR FUN AND PROFIT". Complete book for amateurs and professionals. All phases of photography. Illustrated. S2.75. Publishers Products, Box 13, Brooklyn 4, N. Y. CAPSULES • Continued from Page 40 held in place in front of the lens. Ex- posure should he two or three stops larger than normal, depending on the density of the amber tint. A PROJECTOR lamp will not last forever so don't wait for it to burn out before getting a replacement. Nat- urally, it will not burn out while the projector is standing idle, but when it is in use. and probably in the mid- dle of a showing where there are a number of guests present. WHEN FILM runs out on the floor I it happens to the best of us I it should not be run through the projector again until it has been properly cleaned. Particles of dust which the film has collected will accumulate in the film pasages and scratch this and any other film run through the projectors before time off is taken to give the projector a thorough cleaning. * «■ * TTE QUICKEST way to ruin good film is to use a defective projector. The major injuries are scratched emul- sion and torn sprocket holes. \^ hen a projector starts to "act up don t use it until it has been put in good working order again. * ♦ * WITH SUPPLEMENTARY lenses the higher the diopter rating the shorter the focussing distance, e.g., a 2 diopter lens would require focussing with the regular lens set at infiinty, whereas an 8 diopter lens would re- quire focusisng at 5 inches. The latter when used with a 2-inch telephoto lens would make a postage stamp fill the screen. * * * IN TAKING a meter reading, if the main point of interest land there should be only one) is in the shade, then take your meter reading to in- clude the shaded portion of the scene and not overlap into the brighter parts. * * * IN RE\ ERSAL processing when a permanganate bleach is used the emul- sion is softened and it is necessary to use a hardener. \^ hen using a bi- chromatic bleach a hardener is not necessary. * * * WHEN USING a black background for titling or for other purposes, re- member that black will reflect light just the same as white will reflect it. only to a lesser degree, and precau- tions to avoid uneven lighting are just as necessary with black as with white. * * * WHILE EVERYONE has their pet developer, yet for the first developer in reversal processing, a caustic soda developer has proven itself to be one of the best, and anv standard developer such as the old D-72 formula can be used for the second developer. * * * MIX EQUAL PARTS of glycerine and eucalyptus oil to make a humidor solution. However, it is only in very dry climates where a humidor solution is necessary. * * * GENEROUS WASHING of the film between each stage of operation in the bleach, is very important if best results are to be obtained. * * * ALLOWING HALF a second per word is a good method of estimating the length of time for shooting a sub-title. * * * SPECTACLE LENSES from the 5 & 10 cent stores make excellent supple- mental lenses for titles and extreme close-ups. If the camera is not equip- ped with visual focussing, the diopter rating of the lens must be known in order to know how far the title or object should be from the lens in order to be in focus. 42 Timelv Titles THE TITLES WITH DARK BACKGROUNDS ARE FOR CINE FANS WHO SHOOT ON REVERSAL FILM. THE OTHERS ARE FOR THOSE WHO USE THE POSITIVE METHOD. ALL ARE FOR THE COLOR FAN. THEY CAN BE USED WITH WATER COLORS OR BY PLACING COLORED CELLOPHANE OVER EACH TITLE BEFORE IT IS SHOT. (for a limited time only!) Yes, the thrill of sound on your oivn home movies ..at no cost! Bell & Howell SOUNDSTRIPE on your own movies! It's true, you don't have to pay a cent to hear for yourself what it's like to bring your favorite film to life . . . with the magic of sound ! Right now, Bell & Howell is mak- ing this special offer to introduce you to souxdstripe. Here's all you do : 1. From among your single- or double- perforated films, choose any one up to 400 feet long and . . . 2. Bring it to any authorized Bell & Howell dealer before March 31st, 1954. the date when this offer expires. He'll forward it to the Bell & Howell Laboratories for sound- stripe . . . and will let you know when it has been returned. 3. Visit your dealer's store and add sound (commentary, sound effects, music) with the aid of a Filmosound 202. the famous Bell & Howell magnetic recording pro- jector. Souxdstripe does not interfere with the use of the film on any silent or regular sound projector. This service is offered only by authorized Bell & Howell dealers. You are not obli- gated in any way. Take advantage of this free offer now . . . discover the new dimen- sion of sound for exciting home movies. Low - Cost Sound Movies! This is the versatile Bell & Howell Filmosound 202 which lets you add sound to home movies without costly professional equipment. Bell & Howell makes it fun to make A movies! I m HOLLYWOOD'S MAGAZIHE FOR y m 8 MM AND 1 6 MM ^ fJojjjajdoyj. J )f 6 BRUARY 1954 CINE PHOTOGRAPHER 35 CENTS "You can't show them if they're not edited..." Splice your ms with a AUTOMAT X-?6, Stainless Steel ^_ Q_ 16mm or 8mm Jp/.Vj CfUft> SPLICER Both 8mm and 16mm films can be used. The Hollywood "Auto- mat" 8-16mm splicer is completely new! Has moulded plastic base with 4 rubber feet, and unit is ribbed to prevent warping and breakage. All working parts are made of stainless steel en- suring constant alignment by the precise construction. Fast operation with provision for rapid drying of cement. Special scraper is constructed so that film cannot be torn. All this adds up to a fine splicer at a low price. The Hollywood "Automat" is your best buy, because it's guaranteed. the HOTSPLICE | $1495 Fundamentally the editing or repairing of your film with the Hot- splicer is identical to that procedure followed with either the Standard or Automat Hollywood Splicers. The finish and fea- tures of the Hotsplice are identical to those of the Automat; plus the truly professional addition of the thermostatically controlled heating unit which is mounted directly under the splicing area of the steel base. The Hotsplice operates on any standard house 110-120 volt AC line. Professional splicing speed and fully fused joints are the main advantages of this splicer. S C H 0 E N PRODUCTS today} COMPANY 15029 South Figueroa Blvd. GARDENA, CALIFORNIA Gentlemen: i Please send me the Splicer Enclosed ynu will find S in money order, cash, ' check Name I Street City OR — I would like to have this splicer shipped through my | local camera store. His name and address is i I will pay him on receipt of the item. , Get SHARPER screen images with Ansco Hypan Film Now you can increase the enjoyment of your films by using Ansco Hypan. Its ability to record fine detail and its brilliant projection characteristics make your screen images ever-so-much-sharper. Indoors or out, Ansco Hypan Film is a modern pan- chromatic film; it gives you new sparkle in your black- and-white movies. Its inherently brilliant gradation coupled with a speed of 40 daylight and 32 tungsten makes it the perfect all 'round movie film. Ansco Hypan comes in both 8mm and 16mm rolls and magazines. Get some today and capture more of the scenes you and j our family enjoy so much. ANSCO Binghamton, N. Y. A Division of General Aniline & Film Corporation. "From Research to Reality." 47 IT'S NOW AVAILABLE TO YOU! GOLD SEAL SPECIAL THE FASTEST MOVIE FILM ON THE MARKET! You'll swear it's supersonic. This amazing new discovery presented by Kin-O-Lux Laboratories, GOLD SEAL SPECIAL, is just the film you home and professional movie- makers have been looking for. Originally designed for televi- sion, the demand was so great from the shutterbug fraternity that a portion of the output has been channeled into camera stores and is now avail- able for home consumption. GOLD SEAL SPECIAL is of the pan type, unusually sensi- tive, and with a Weston tung- sten rating of 225, (300 tungsten by ASA rating) just think of the action shots you'll be able to get! GOLD SEAL SPECIAL is now available at your dealers in 8 and 16 MM and sound. So you home and professional moviemakers ; . . get the fast- est and most sensitive film on the market. Ask your dealer for Kin-O-Lux GOLD SEAL SPECIAL . . . TODAY! Registered U.S. Patent Ott. Home Movies professional HOLLYWOOD'S MAGAZINE FOR THE 8mm AND 16mm AMATEUR and CINE PHOTOGRAPHER Vol. XXI CONTENTS FOR FEBRUARY, 1954 No. 2 articles — home movies TWO SHORT SCRIPTS 50 PHOTO FUN IN PARIS— By S. J. Licata and A. J. LaTona . . 56 MUSIC FOR YOUR MOVIES— By Dow Garlock (Part 4) . . 57 HOW TO USE LENS STOPS— By Julius Smith 58 YOU CAN EDIT YOUR OWN FILMS 58 BUILD A LIGHT CARRY-ALL— By H. H. Reech 59 CAMERA TRICKS 59 TWO PROJECTORS MAKE LONG RUN 63 NEW SOUND-ON-FILM ADAPTER 63 articles - Cine Photographer WHAT CAMERA? — By Leonard Clairmont 69 A CINE VISIT WITH MILHAUD— By Hector Poirier . . 70 FILMING AWAY FROM HOME— By Joe Budy (Part I) . . 71 ZOOMAR 16mm LENS — By James Randolph 73 departments 16mm PROGRAM FILMS IN REVIEW 52 CLUB NEWS 53 MOVIE IDEAS 54 LET'S GO SHOPPING 62 HOLLYWOOD PROS— By James Randolph 68 FILM LIBRARIES 84 CLASSIFIED ADVERTISING 85 TIMELY TITLES — By Marion Kyle 87 Cover by C. A. Peterson HOME MOVIES and The professional CINE PHOTOGRAPHER, Hollywood's magazine for modern movie mokers, is published monthly by Ver Halen Publications, Hollywood. Also publishers of "Film World", "AV World", "Film World Directory", "Church Films", and "TV Magazine". No part of contents may be reprinted without permission from the publisher. Entered as second-class matter May 6, 1938, at the post office at Los Angeles, Calif., under the Act. of March 3, 1879. Change of address: Four weeks' notice required. When ordering change please name magazine and furnish address imprint from recent issue. If unoble to do so, please state exactly how magazine is addressed. Change can- not be made without old as well as new address. Subscription Rates: U.S., $4.00 per year. Two years, $7.00. Single copies 35c. Canada $4.00 per year. Foreign, $5.00 per year. Foreign subscriptions ac- cepted only if accompanied by payment in U.S. funds. Advertising rates on application. Editorial contributions are invited but the publishers assume no responsibility for unsolicited manuscripts, drawings or photos, which should be accompanied by sufficient postage for return, if not used. Pay- ment for editorial material made on acceptance. Travel : S. J. Licata & LaTona Technical Editor JAMES RANDOLPH CHARLES J. VER HALEN Publisher HENRY PROVISOR • EDITOR Correspondents LEON VICKMAN, Paris AUSTIN BURTON, Montreal MIKE PEREZ, Mexico City Art Director: JOE WALL Advertising: SYD CASSYD Associate Editors L. L. ROWE JOS. STEIN C. J. VER HALEN, JR. Associate Publisher OFFICE OF PUBLICATION — 1 159 North Highland, Hollywood iX, Calit., HU L-i&S NEW YORK OFICE — Seymour Robbins, 1819 Brodway, JU 6-6689 - PL 7-0955 FOREIGN OFFICE — Jacques Ferrand, Official Internationale Artistique, 152 Avenue des Cnamps Elysee, Paris 8, France. (Room 1772, 1440 Broadway, New York 19, Wisconsin 7 -4445 » KIN-O-LUX Inc. 105 WEST 40TH ST., NEW YORK. N. Y. 48 /KfflWMm Smf-A-fih Ar Mate/ fa/6 f ALL AURICON EQUIPMENT IS SOLD WITH A 30 DAY MONEY-BACK GUARANTEE. "CINE-VOICE" 16 mm Optical Sound-On-Film Camera. M 100 ft. film capacity for 23A minutes of recording; 6-Volt DC Convertor or 115-Volt AC operation. * $695.00 (and up). "AURICON-PRO" 16 mm Optical Sound-On-Film Camera. 200 ft. film capacity for bVz minutes of recording. * $1310.00 (and up) with 30 day money-back guarantee. "SUPER 1200" 16 mm Optical Sound-On-Film Camera. ■* 1200 ft. film capacity for 33 minutes of recording. -* $4652.15 (and up) complete for "High-Fidelity" Talking Pictures. SOUND RECORDER— Model RT-80...200 foot film capacity, daylight loading, synchronous motor for portable "double-system" 16 mm Optical Sound-On-Film operation. $862.00 (and up). PORTAOLE POWER SUPPLY UNIT — Model PS-21 . . . Silent in operation, furnishes 115-Volt AC power to drive "Single System" or "Double System" Auricon Equipment from 12 Volt Storage Battery, for remote "location" filming. ■* $269.50 Strictly for Profit CHOOSE AURICON If it's profit you're after in the production of 16 mm Sound-On-Film Talking Pictures, Auricon Cameras provide ideal working tools for shooting profitable Television Newsreels, film commercials, inserts, and local candid-camera programming. Now you can get Lip-Synchronized Sound WITH your picture at NO additional film cost with Auricon 16 mm "Optical" Sound-On-Film Cameras. Precision designed and built to "take it." Strictly for Profit — Choose Auricon! DUAL PHONO-TURNTABLE — Model DPT-10 .. .Takes up to 16 inch discs with individual Volume Controls for re-recording music and sound effects to 16 mm Sound-On-Film. * $161.15 BERNDT-BACH, INC. BEVERLY BLVD., LOS ANGELES 36, CALIF. TRIPOD — Models FT-10 and FT-10S12... / Pan-Tilt Head Professional Tripod for velvet-smooth action. Perfectly counter-balanced 7375 to prevent Camera "dumping."* $325.00 (and up). MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931 Auricon Equipment is sold with a 30-day money-back guarantee. You must be satisfied. Please send me free Auricon Catalog. "* Name (Please write your address in margin) 49 OT LOP It's Easy with the orse G-3 Daylight Developer YOUR MOVIES Enjoy "rushes" of your own movies the same day you take them — as profes- sional studios do. With the Morse G-3 Daylight Developing Tank, reversal or positive motion picture film can be processed quickly and economically at home — in full daylight. A darkroom is necessary only for loading. From film- ing to projection is a matter of hours with this compact, efficient unit. Stain- less steel film reels accommodate up to 100 feet of 8 8 mm, 16 mm or 35 mm film — adjust quickly to either size. Many applications in industry, for processing Micro-file film, etc. Dry Fast with the MORSE M-30 Film Dryer Simple. Portable. a Dries film in 10 minutes. Collap- sible reel remov- able for storage or carrying. The M-30 Dryer and G-3 Developer belong in every home movie fan's equipment. SEE YOUR4 DEALER OR WRITE 23 Clinton St. HUDSON OHIO 2 SHORT SCRIPTS... Life Savers 1. M.S. Looking down on faces looking up to the top of a building. 2. C.L. Man shouts excitedly : 3. C.L. Title: "Hes going to jump off!" 4. C.L . "w oman in scrowd screams. 5. M.S. Man leads hystical woman away. 6. C.L . Small boy. unconcerned, eats ice cream cone. 7. M.S. Atop the building, a man. a would-be suicide, stands poised, get- ting courage to jump. I The right camera angles can stress the danger, with safety for the actor.) 8. C.L . Man. hair tousled, is dis- turbed by the crowd below. He is afraid of hurting somone in his leap. 9. M.S. Crowd, still looking up- ward, spellbound and shocked. 10. M.S. Man runs to a tlephone booth to call the police. 11. C.L. Man excitedly making phone call. 12. C.L. Policeman answering the call. 13. M.S. Shooting upward, we see an object falling from the top of the building. It turn out to be an over- coat. 14. C.U. In the excitement a wo- man faints. Northern Hospitality May be shot on 50 ft. of 8 mm or 100 ft. of 16mm. 1. C.L . Title: A tired hunter came to a cabin — 2. M.S. Hunter approaching the cabin and knocking at the door. 3. C.L . Jake, the owner, opens the door and greets him with a smile. 4. M.S. Staring at the Hunter are the wife and four children. 5. C.L . Hunter speaks: 6. C.L". Title: "I'll gladly sleep on the floor." 7. C.L . Jake smiles and shakes his head, making the Hunter very wel- come. Fade Out. Fade In. 8. C.L. Title: After a hearty sup- per, it's bedtime — 9. M.S. The mother tucks two chil- dren into the onlv bed. 10. C.L". Title': Soon after— 11. M.S. Jake, making sure the chil- dren are asleep, picks up one and car- ries it to a corner where he carefully deposits it on the floor. 12. M.S. Jake picks up the second child and takes to the corner. Fade Out. Fade In. 15. C.L*. Small boy still clamly eat- ing ice cream. 16. M.S. Man in crowd picks up the fallen overcoat, shows it to the crowd and speaks: 17. C.L. Title: 'Tt"s just his over- coat!" Fade Out. Fad In. 18. M.S. Atop the building, two po- licemen approach the desperate man, who warns them to stay back. 19. C.L . One policeman pulls out his revolver and offers it to the man. 20. C.L . Policeman pleading. 21. C.L . Title: "Dont jump! If you must — shoot yourself herel" 22. C.L . Man grabs the gun. holds it to his head and pulls the trigger. The empty gun clicks. The man shouts angrily : 23. C.L". Title: "It isn't loaded— you pulled a trick on me!" 24. M.S. Taken by surprise the two policemen grab the man and pull him to safety. (The End) 13. M.S. Mother is putting the oth- er two children to bed. Fade Out. Fade In. 14. M.S. Empty bed as Jake brings Hunter into the scene. 15. C.L . Jake urges him to go to bed. 16. C.L . Hunter protests. 17. C.L". Title: "But it's your bed!" 18. C.L . Jake insists on Hunter's taking the only bed. 19. M.S. Hunter reluctantly crawls into the bed. Fade Out. Fade In. 20. L.S. Sunrise over the cabin. 21. M.S. Five forms are sleeping on the floor. Hunter, among them, awakens. 22. C.L". Hunter stiffly gets up off the floor. 23. M.S. Hunter approaches the bed., finds Jake and his wife soundly sleeping. 24. C.L". Hunter's face as the truth dawns on him. (The End) 50 RAPTAR . . . The lens that brought New Life to pictures New life in photography is the faithful recording of the picture you see . . .the picture you photograph, with all the clarity, contrast and brilliance obtainable. To get these results there is no finer lens made than the Wollensak Raptar. Wollensak Optical Co., Rochester, N.Y. by WOLLENSAK THE BETTER CAMERA HAS A WOLLENSAK LENS 51 Amman with the third-dimensional realism of the Elgeet Cine Stereo System Walter Cronkite. narrator of the CBS-Television Show "You Are There" —Sundays And now, your home movies will sparkle with the brilliant re- enactment of life that only third-dimensional photography can recreate forever. You will be there always through the exciting simplicity and unmatched excellence of the Elgeet Cine Stereo System. The fast f/2.8 6-element taking lens is fully color-corrected and hard-coated for brilliant pictures with microscopic definition and remarkable depth. The twin f /1. 6 projec- tion lens system has Polaroid® segments built in, can be precisely focused. PRICE $249.50* (includes taking and projection lenses 26" x 34" screen, view finder. 2 pairs of glass Polaroid glasses and G pairs of paper Polaroid glasses) •S259.50 for Bolex and Bell & Howell 70 Series camera. ® by Polaroid Corporation OPTICAL COMPANY. INC Write for Free Booklet 16mm. PROGRAM FILMS ■in review ^Ha/«*4 cfST/u! Qtol/dt @itteU SEenM* 837 SMITH ST., ROCHESTER 11, N. Y. ARABIAN BAZAAR Previewed by FILM WORLD, January 1954. EDUCATIONAL. Sound, 1 reel, color. Rental, ity of Wisconsin. Produced by E. S. and F. W. sale. Collaborator: Richard Hartshone, Univers- ity of Wisconsin. Produced by E. S. and F. W. Keller. Users: Upper elementary through college stud- ies of Arabia; travel clubs. Content: Depicts the activities of an Arabian bazaar. A foreword explains that the desert life of the Arabian is very lonely and the occasions to go to the bazaar are high points, because the bazaar is friendly. The skyline of a city is shown, and narration explains that morning prayers are over. The nomads bring their goats and sheep to the bazaar to trade. Sev- eral sequences depict the wares and produce displayed in the bazaar. Other sequences show magicians, leother work, women gypsies danc- copper smiths, weavers, silk workers, idlers, and ing, men doing a sword dance, coffee places, ing close-up views of Bedouin's, explains that fortune tellers. The concluding sequences, show- the yare illiterate but religious and supersti- tions. Narrated throughout. Coment: The sequences move rather quickly, giving a colorful overall picture of the teeming activity of the bazaar. Very little explanation is made by narration which mostly identifies the people's work or product. Distributor: Encyclopaedia Britannica Films, 1150 Wilmette Ave., Wilmette, III. THE ATOM AND THE DOCTOR (Magic of the Atom series) Previewed by FILM WORLD, January 1954. EDUCATIONAL. Sound, 12'/2 min., b&w. Sale. Available for TV. Produced by Handel Film Cor- poration. Technical assistance: Atomic Energy Commission and U.C.L.A. Atomic Energy Pro- ject. Users: Highschool science and current events clubs; adult audiences generally. Content: Presents various ways in which ra- dioactive isotopes are being used in medical re- search and suggests future development. At U.C.L A. a young man is shown drinking a cup of radioactive iodine solution in a thyroid treat- ment. After time has passed, a gamma- scin- tillation counter is placed over the man's throat, and recording equipment draws a chart of the radiation. The thyroid is shown to be darkest and clearly defined in the drawing. At the University of California at Berkeley, a man with leukemia is studied in research of blood diseases. He is given an injection of radioactive iron and a recording counter is placed at his spine to determine the path of radiation. Tracers in the blood are shown to be used in cancer re- search. At Oak Ridge a Negro with a chest wall malignancy is given a blood transfusion with a saline solution of gallium. The details of handling the radioactive bottle is shown step- by-step. The patient is then given a local an- esthetic, and a minor operation is partially shown as the doctor removes a bit of cancer- our bone from his chest. Teh bone is taken to a lab where it is dissolved in nitric acid, then dried to an ash. The ash is tested by a re- cording counter for the amount of radiation it contains. Comment: Graphic illustrations of medical uses of radioactive materials, are shown ','2 ar|d narration indicates the medical possibilities to be revealed in future research. General aud- iences will find atomic information interesting, but its medical application is even more vital to each individual. Distributor: Handel Film Corporation, 6926 Melrose Ave., Hollywood 38. THE BIG GAMBLE GOVERNMENT - SPONSORED. Sound, 15 min., b&w. Sale. Available for TV. Produced by the U. S. Department of Agriculture. Content: Shows the farmer's struggle against the forces of nature in the production of crops and how the Federal All-Risk Crop Insurance program eases the financial burden when crop failure strikes. The film also points out the farmer's contributions to the national economy and the serious effects of impaired farm buying power when crop damage and crop failure hit agricultural communities. Distributor: United World Films, 1445 Park Ave., New York 29. DEVELOPMENT OF THE CHICK EMBRYO Previewed by FILM WORLD, January 1954. EDU ACTIONAL. Sound, 1/2 reel, c°lor or b&w- Rental, sale. Collaborator: K. T. Rogers, Ph.D., Zoology, Oberlin College. Users' Junior high, highschool, and college bi- ology and zoology. Content: Observes the development of an em- byro within a chicken egg, from the first day of incubation through the 21st day when the chick hatches. Inside the shell of the day-old egg, the yolk and albumen are identified. A pointer shows the head of the embryo surround- ed by a network of forming blood vessels. After three days, the beating heart pumps blood not only through the embryo body but through the vessels outside the body. The fourth day, the thin membrane called the amnion, the eey, and the brain are identiifed. A wing-bud and ollan- tois (sac-like outgrowth of the gut) combined with a respiratory organ are discernible. At seven days the embryo is highly active. At 10 days, the embryo is still active, eyelids are clos- ing over the eyes, and an egg tooth is show- ing. On the 1 3th day feathers become apparent and movements are reduced. At 21 days, the chick cuts a small hole in the shell with the egg tooth and begins cheeping. It begins breathing and the respiratory membrances are drying up. The chick rotates inside the shell, cutting off the end of the shell and pushing itself out of the shell. In a half-hour he is dry, and in a few hours he is running about. ...Comment: An excellent supplement for text- book and slide illustrations. Distributor: Coronet Films, 65 E. South Water St., Chicago 1. DOGS AT WORK (Canadian Cameo Series) ENTERTAINMENT. Sound, 10 min., color. Apply. Produced by Associated Screen News Litd. Content: Features three different types of dogs doing their distinct types of work. A collie is shonw acting in the part of assistant shepherd to his master in handling a flock of sheep. Pointers and setters are shown being trained for hunting and their actual work is demonstrated. As special members of the Royal Canadian Mounted Police, police dogs are among the most highly skilled service dogs in the world, used both in criminal cases and locating missing persons. Distributor: Associated Screen News Ltd., Western Ave. at Dacarie Blvd., Montreal 28. THE BIG VACATION SPONSORED. Sound, 25 min., color. Loan. Available for TV. Produced for the American Airlines, Inc. Content: A pictorial tour of California, follow- ing the travels of a young vacationing couple along the Camino Real. The film points out the variety of interests for tourists, such as surf-bathing on the beaches, fishing at Arrow- head and Big Bear lakes, golf at Pebble Beach, sailing on the Balboa channel, tennis at La Jolla, and sightseeing at Santa Monica, Yosem- ite, Hollywood, Carmel, Monterey, and San Fran- cisco. Highlighted are the waterfalls of the Sierra Nevadas, and the Wawona tunnel tree. Distributor: Association Films, 347 Madison Ave., New York 17. Readers are invited to send amateur films for review to Home Movies, where a panel of judges will screen, rate, and criticize all films submitted. A film leader, with the rating awarded will be sent to each amateur whose film has been pub- lished and reviewed by Home Movies. Others will receive a per- sonal criticism by mail. The one star rating indicates an "average" award — two stars, "good" — three stars, "very good" — and four stars, "excellent." 52 I'Llill SEWS Vancouver, Canada — The Vancouver Home Movie Society publication "Reel Talk", lambasted the living daylights out of "The British Ten Best for 1950" series of which they recently screened in Vancouver. Let Editor Andrews not apologize for his opinion — it's a free country. But, as the editor he is presumably speaking for the entire club as a whole, so we must assume that this was the mass reaction. HM compliments Andrews on his fine eval- uation of women with the short squib entitled, "Janet Just Jests". The an- nual general meeting was held Decem- ber 11th where new officers were elected and the financial condition of the club was discussed. New York Eight— New York — The New \ork Eight, meeting at the Columbia University Club, 4 West 43rd Street, New York, announce that several films were shown at their last meeting. Elsa and Joe Armstrong qualified with a film of the Easter Parade and also one made at Grand Canyon. "Zion, Bryce and Grand Canyon", by Pearl and Silas Lawler of Hollywood, Cali- fornia, was also shown. George Val- entine gave a talk on "Movie Script- ing" and showed examples of an actual script and the finished film. Cincinnati, Ohio— The Cincinnati Mov- ie Club held their last meeting Decem- ber 21 at the New Thought Temple. Nomination for officers were posted as follows: Ervin Downing, Elmer Duerigen, LaVera Fuerst, Marion Smith and Ed. Gallenstein. Los Angeles — The Los Angeles Cinema Club announce the 1953 Annual Con- test winners as follows: Class "A" 1st Prize — Charles Peters; 2nd — Stan- ley La Rue. Class "B" Nellie Hunter, George B. Knight. The contest chair- man was James H. Mitchell. Two films were shown at the last meeting. "Babes in the Woods" by Tom Baskin, 16mm color, 19 minutes, and "Lumber Empire of Northern California", by Chester L. Hogan, 16mm, sound, color, 30 minutes. Philadelphia — The Philadelphia Cine- ma Club held their last meeting on Jan- uary 8th, with Chairman Tyler presid- ing. Last year's "8-16" Club Winners film of 1953 were shown. "Bermuda" by George Baker, "Philadelphia Sales- man's Story" by Karl Bergman, and "Florida Vacation" by Walter Reamer were screened. • See CLUBS on Page 84 So fashion-smart, compact . . . easy to use . . . dependable . . . value packed Keystone Olympic 8mm f2.5 coated lens rollfilm camera illustrated, $79.95 Other Keystone cameras — 8mm and 16mm — $49.95 to $275.00 Keystone projectors with cases — 8mm and 16mm — $79.90 to$169.50 for name of nearest dealer, call Western Union by number and ask for Operator 25 William Bendix, starring in the RK0 picture 'Dangerous Mission' (color by lechnicolor) and TV 'Life of Riley'. famous Lifetime Guarantee Keystone Since 1919 Keystone Camera Co. Inc., Boston 24, Mass. 53 MOVIE Mining Films When vacation time comes, most of us take to the highways and roam the woods and mountains in search of fun. new sights and exciting experiences: yet in our search we sometimes pass up the best things. These are the in- dustrial buildings and enterprises of the locale. As an example, recently, while on a trip to the east we passed through the Colorado Mesa area. Here, since the beginning of time, the elements have plotted to keep man from becom- ing conqueror but in the past few years man has. in his search for new minerals, found a vast deposit in this region. In particular, new and excit- ing deposits of urnaium have been found in this wild area. Once the news of this exciting dis- covery was spread throughout the land, miners and companies began ex- cavations to uncover this most precious of all minerals. I would have passed it all up had it not been for a short glimpse of a newly worked mine just off the road. I pulled to the side of the road to watch the ore cars crawl up from the earth. The more I saw. the more interested I became. Finally. I could stay away no longer and I drove my car to the mine gate. At the gate the supervisor was kind. He told me of the operations and of the work which was involved in tear- ing the mineral from the earth. It was immensely interesting. I asked if I might make a few feet of film. W hile certain areas were prohibited. I was permitted to film even into the shallow depths of the mine where the miners were working. The fact that I was not permitted into the deepest parts was not partic- ularly discouraging to me. In fact, just filming the areas which were op- ened to me provided me with enough material for an excellent film. I'm certain that on future trips I shall not shy away from construction pro- jects or mines "just because they are a maze of machinery ": they are most interesting and the films are one of the greatest highlights of my trip. — Jerry Bronson Seattle, W ashington. Peter Pan Walt Disney's recent adventure into fairy tales with child actors stirred me to duplicate his efforts . . . not that I"m a second Disney, but because in his film his actors seemed to be real and seemed to live their parts, while the actors in my films have been shy. self-conscious, and uncomfortable. I wondered if. perhaps, the fact that children can believe in fairy tales while adults find it extremely diffi- cult to even believe in paychecks, might not be the key to good films. To find this out. I purchased a copy of Peter Pan from my local book store and prepared a shooting script from it. I then explained the story to my cast i assembled from local neighbor- hood kids I and went to work. I was quite amazed. The kids are great actors, even though they are ter- rific hams, and the scenes went right through without much re-shooting. Sure, they muff the action once in a while, but just as soon as I explained that the story was just a beginning and I let them play the scenes in their own way. the story moved right along. I suppose that mv Peter Pan bears only a surface resemblance to Dis- ney's because the children added re- finements of their own. but my" film has more sparkle and polish than any I've ever done. I thought, perhaps, other readers might find this inter- esting. As long as the children know the basic action and are allowed to "plav" rather than follow a rigid pat- tern of action, they'll come through with flying colors. If you want to rehearse before shoot- ing, don't tell them. Just let them plav at the same scene two or three times and shoot when you feel the scene is right. — Rhoda Burke, Fond du Lac. Jl isc. Lens Tests The glass we photograph through is vastly more important than any other item except the idea behind the film. With it. we can underline the truth or distort for effect. The quality and characteristics of that lens means so much. Before we begin shooting it behooves us to know just what our lenses can do. Here are some simple tests which can provide the answer. In these suggested tests we can see how the lens works in regards to: fo- cus, sharpness, depth of field, degree of depth from stopping down, distance and I in which way I method of increase in focus from stopping down, and ex- posure relation to f-stop. Focus can be checked easily. Simply cut a piece of frosted or ground fo- cusing glass. Place that glass over the film frame, in the position norm- ally occupied by the film. Open the lens to its widest f-stop and focus in the normal manner. Then, \\hen the object upon which you've focused seems sharp, check it with a magnify- ing glass on the ground glass. If the object is sharp you'll know your method of focus is correct. If it is not sharp, then make adjustments in that method until you can select cor- rect focus every time. To check on depth of field, follow the same set-up as just described. Fo- cus on a given object then with the magnifying glass check the objects in front of and behind the object upon which you focused. See how far in front and behind these subordinate ob- jects are sharp. That distance is your true depth of field. Even though the manufacturer has given you a chart with the depth field on it. it is best to check, for their charts are made for the "average"' lens. Increase in depth is checked in the same way. Focus with the lens wide open then stop down. At each f-stop check for an increase in depth. When that increase has reached its maximum i and this point will be long before the minimum f-stop i you'll know just how far vou have to go to reach your max- imum depth of field. The degree of depth is simply a ration which you can work out from the information supplied from the above tests. In this way you can ar- range sets with specified objects in sharp focus just using the chart which you have prepared. The method in which your lens stops gain focus, will be interesting to watch, for each lens has its own char- acteristics. Some lenses gain more depth of field behind the object as the f-stop is closed. Others gain in front of the prime focus i the object upon which you focused). This is import- ant to know for it effects the way in which vou focus upon a scene when vou want maximum depth. I For ex- ample, if the lens focus forward you will focus further back before stop- ping down to sharpen up the fore- ground. ► — George Ronde. Des }loines, Ioua. 54 IDEAS Editing School I have yet to find a good editing "school" at any college or night school but I did find one recently and it was in my own home. I mean, that I found the best guide to good editing by reading the fiction to be found in any of the better magazines: such as, "Collier's", "Saturday Evening Post", "Atlantic", and many others. The authors in these books are all trained men. They know how to ad- vance a story line and they do it with great finesse. I found that by read- ing the story over several times I could see new ways of applying their techniques to movies. And it's necessary to read these stories over many times. First read- ing should be just for enjoyment, for you must "get over the emotion" of the story before you can tear it apart. Then, the story should be read over for style, that it, the way in which the author told his story. In other words, why did he tell the basic story in this way? Then, why did he use these scenes? When you have answered these questions you can have a pretty good idea of what a movie can do. You can see why certain scenes were handled in the way they were handled and why these scenes were long or short. All of this is vital information which can be applied to any editing job which might come up in the pro- duction of your home movies. Try it. See if I'm not right. — Sybil St. John Toronto, Canada. The Orchestra Oh, how I like Spike Jones. That boy sends me further and faster than any crooner ever could. I think I have every record he ever made and I've been dying to do something with them filmwise. Recently I found a way. I did it this way: I played the rec- ords over several times till I had a good idea of just what the record had in it then I prepared a visual script of the "music". This gave me a basic shooting script. Once the basic script was more or less set, I lined up some of my neigh- bors and let them hear the records. Then, I read them my script and asked them for ideas. They had plenty and soon they were excited about acting in a film which would run hand in hand with the record. They added lit- tle actions and gimmicks and soon we were ready to film. I filmed the sequence with the rec- ord playing. This gave my actors a method of timing their actions. I re- did the filming four times, each time shooting from a different angle, then I moved in for closeups and played the record through again. When I was finished I edited my four reels together into one good film and projected it with the record. It was amazing how close the action fol- lowed the music. It was, pardon the expression, just like television. ■ — Robt. E. Lemon, Alexandria, Virginia. Hot Rodder The high school kids in our neigh- borhood are no different from those else- where. They are car-crazy. They spend every waking hour driving in them or working on them. Many of the kids are so interested in their cars they go beoynd the "stock" apperance and rebuild the design of their cars. This work, laborious and exacting, is called "customizing" . . . building a car of your own design. This was so interesting to me I de- cided to join a group tinkering around a 1932 Ford at my neighbor's house. I asked if I might film a few sequences of the work and the kids were imme- diately interested. They offered sug- gestions as to angles and they held up their building to let me reshoot scenes for editing. In fact they were so interested in my filming they suggested that I do a whole film on the story of a boy, his car, and the boy's girl friend. This made a good story, because in high school these days, a boy's popu- larity is almost dictated by his car. The more "jazzy" the car is, the more girls clamoring for rides, and obvious- ly, the more girls clamoring, the more popularity. My film was really a satire on this social evaluation scale. ' I used the story of a boy who was unpopular in school. He purchased a 1932 Ford, rebuilt, (with troubles along the way) and when the car was completed he found himself so popular that he could not keep the girl he really wanted . . . she was too jealous of the other girls. To regain the admiration of the girl he wanted, the boy had to re-build his car into something not quite so glamorous. The film was actually a "two-story" film, the story of the ro- mance and the story of the building of the car. I livened up or made funny se- quences of the scene. Obviously, the actual building of the car was not of great interest to the story but I pepped it up by showing the boy welding on new fenders . . . only to find that he'd put them on backward. The romance was also taken out of the stright film by funny closeups oT the girls flock- ing around the car as the girl he really wanted, was forced further and further back. — George Oder, Providence, R. I. Cooking School Dad wants to "help" around the house. The only jobs mother will let him do are menial tasks such as car- rying out the washing and mopping the floors. That is hardly enough to satisfy dad. He decided to do some- thing about it, so he signed up for a local newspaper cooking school. As school Dad feels ill at ease. There are nothing but women in the school. They give Dad the fish eye, as much as to ask "Well? Aren't you a bit out of place?" Dad almost feels that he is until he remembers his de- sire to "help". • See IDEAS on Page 60 55 By S LICATA, Jr. n d J . L A T 0 N A PARIS, recently celebrating its 2,000th birthday, looks today as young and photogenic as ever. In its 2.000 years, Paris has col- lected many facets of civilization and combined them to offer a satisfying way of life to a diversified populace and pleasurable impression to count- less visitors. Whatever you seek, whether it be the new and different in culture, food or entertainment, Paris has these to offer in various forms. Cafe Society of the Champs Elysees or the Bohemian way of life of the art- ist in Montmartre or the student of the Latin Quarter and Montparnasse. Each has its own flavor, distinct and inter- esting to a newcomer in Paris. And it is these modes oT life, with their con- stant change that has helped to keep Paris young. So, your visit to Paris should not be too brief. With so many places to see and countless things to photograph your stay should not be less than a week. 56 True, with guided tours you could see mucfT of Paris in one day. But the sights of a city like Paris are only a part of the visit. To absorb some of the flavor for which Paris is known takes time; therefore, we suggest you stay as long as your time permits and really enjoy the, '"The City of Light ". Like so many of the larger Ameri- can cities. Paris stays up late at night; so because of this. Paris is not at her photographic best in the morning. W ith a few exceptions, most of the in- terest points are best pictured with the afternoon sun. For pictorial effects, the early morning haze is ideal, and a jaunt in the early hours will reveal many unusual pictures of otherwise ordinary scenes. Some of the buildings that do ap- pear better in the morning are the Palais de Justice, on the life de la Cite, Montmartre — Sacre-Coeur in background. One wing oj the Louvre A Home Movies Travelogue and about noon, St. Sulpice in the Latin Quarter. The Palais de Justice is now the law courts of Paris. Originally it was the residence of the first twelve Capet Kings of France. Inside the Palais grounds is the St. Chapelle, built in 1247 by St. Louis to be a shrine for a copy of Christ's Crown of Thorns. The Palais is best photo- graphed from the bridge adjoining it over the Seine. From here it looks somewhat like an old fort. • See PARIS on Page 60 In previous articles I have pointed out the importance of music with motion pictures from the standpoint of 1) music as a func- tional device that, 2) should become a part of your picture for the purpose of, 3) creat- ing, amplifying or sustained the continuity, mood and pace of the pictorial material. PROPERL\ devised musical scores should tell the same story musical- ly that is told pictorially. This being so, the importance ofmusical continu- ity should be apparent since musical continuity performs exactly the same functional purpose as that performed by a well developed pictorial continu- ity. Many persons are inclined to dis- miss the importance of musical conti- nuity with the argument that nobody knows the difference. It may be true that from a strictly technical stand- point ,few people would know the dif- ference. But from the standpoint of emotional quality imparted to your picture, there is a difference of which the hearer is aware either consciously or unconsciously. So let me empha- size, if your musical score is to serve its functional purpose and be more than just a musical 'filler', it must be based upon musical continuity. In the studios, musical continuity to fit pictorial mood and timing is writ- ten into the composition. To achieve similar results with existing musical material (on records), the amateur must cut and edit this existing material to fit the pictorial requirements. In the past, records have provided the amateur with an abundant source of musical material and turntable equip- ment has provided the means of util- izing this material. However, except in rare cases, close cutting and editing for musical continuity was out of the question. While records and turn- tables still remain the source of musi- cal material, magnetic tape recorders By DOW GARLOCK Port IV) now provide the means of putting this material into a form that permits un- limited cutting and editing for conti- nuity, mood and timing in the prep- aration of synchronized musical scores. So, such 'edited' preparation requires turntable equipment and a magnetic tape recorder. For those who have turntable equip- ment only, do not let the thought of the purchase of a tape recorder fright- en you. Such a unit is not limited to use with your pictures and you will soon find hundreds of ways to use (and enjoy) it in your home, social, club and business activities. Record- ings of family, friends and relatives, like your pictures, become more pre- cious with the passage of time. For those who have tape recorders only, a single turntable will suffice for most of your requirements. Dual turntables, such as the Geo. K. Culbertson "Model C Fidelitone", will facilitate and add considerably to the flexibility of your recording and dubbing. For those of you that must start from scratch, choose your equipment carefully from the standpoint of both its mechanical features and reproduction qualities for good equipment can (and will) be- come a lasting addition to your hobby and your home. Before going into a discussion of the cutting and editing of music, I wish to point out some common mistakes that should be avoided. First, don't let the titles of compositions fool you. Many times they have little or no relation to the actual musical (or emotional) quality of the music. And since the emotional character of the music is usually the only thing that concerns us, the choice of material because of its title may not provide us with music of the desired emotional quality. For instance, "The Blue Danube" and "Over the Waves" by Johann Strauss does not suggest (musically) a river or ocean scene nearly as appropriately as they would the gay scenes of a ball- room full of gaily waltzing couples. • See MUSIC on Page 75 57 how to use MRS STOPS By JULIUS SMITH Depth of torus like this is impossible with a normal lens — but try an extreme wide-angle and see how close you can get to the above effect. YOUR F 1.5 lens will be sharp when it is focused on the specific distance engraved on the barrel — even if it is used wide open at F 1.5. The same thing is true of the F 2.5 or F 2.8 and even the F 1.4 — in fact any decent lens will gice a sharp im- age if it is properly focused. If we are using an F 1.5 lens and the object is 5 feet away from the camera, then a very shallow area in front of. and in the rear of the ob- ject will be sharp. Beyond this point, the image will blur. Stay where you are. point the camera at the same ob- ject, but close the lens down to F 6.3. for example, and even greater depth of sharpness becomes apparent. In other words, a greater number of objects in front of. and behind the object will be in sharp focus. So. we can assume that when the lens is closed down, then we have greater depth of sharpness. This is especially valuable when we are shoot- ing active children who frisk about within a variable distance from the camera. If the area of the shot is between 5 feet and 30 feet, we do not focus on the youngsters as they come towards the camera, or step away: this would be an almost impossible feat. \^ e simply set the camera lens to a certain distance, and leave it there. Then the focus takes care of itself. As a matter of fact, any focusing lens can be converted into a fixed focus lens, i one which requires no focus- ing I if a certain aperture and distance are set before shooting. But the whole thing depends upon the focal length of your lens. Normal lenses for 16mm vary be- . See LENS STOPS on Page 72 you can edit YOUR II in FILMS The author who claims to be a rank be- ginner makes some common-sense suggestions to other new tilmers. WHEN I opened my "film drawer" last week I saw a jumble of films, neatly labeled in their yellow boxes; row upon row of movies taken here and there and covering a period of more than ten years. But it was a box full of nothing because each roll was a separate entitv and could be shown only to members of my immediate family — and no one else. And the reason was simply this — they were dull, taken in many a ran- dom spot with never a thought for continuity or editing the whole thing into something which could provide a living record of my life and my family. But things are different now. I went out and bought a splicer. S6.95 I some film cement. I S.50 1 and a few 200 ft. reels. Now if you think that splicing is like falling off a log. then just take it slow and easy until I explain: \ou don't have to be a genius to make a splice, but you have to have some idea of the basic principals. Actually splicing is the mere act of cutting a piece of film and joining it to another piece of film, to form a single piece of longer film. So what ? So this: the longer piece of film now tells a story, and when it is cut into yet another piece, then we have a film which can be shown to the family and even to our friends. I suggest you sit down right now and sort out all your boxes of film and project every single one. making notes as you go along. You might sort them out under the general classi- • See EDIT on Page 63 58 build a light CARRY ALL By H. H. REECH The modern trend is toward portabil- ity, and light weight and the same goes for your movie equipment. There are some good movie-lights and bar-lights on the market but I found most of the equipment a little cumbersome and priced somewhat higher than I intended to spend and I set out to remedy the situation. The first thing I acquired was a nice lit- tle carrying case as seen in Fig. 4. • See CARRY-ALL on Page 79 mm TRICKS Any 8mm or 16mm camera can duplicate effect below by multiple exposure. Image in tenter was taken using about one half stop less than normal. Film ivas wound back in the camera and other tour exposures were made, one alter the other — backwinding film for each one. If you want something different in the way of effects, then try double, triple and multiple exposure. Any scene which includes more than two exposures should be designated as a ""multiple exposure". But multiple exposure can be achieved in two ways with entirely different effects. Let s look into them and see what can be applied to our own shooting. First of all, both types of multiple exposure have one thing in common — both involve running the film through the camera more than once. The first type of multiple exposure is the Superimposed Shot. Here, one shot is exposed directly on top of an- other so that part of the scene is transparent and ghostly. The second type is the Split Screen. This one involves the job of covering part of the lens, leaving the remainder uncovered. Then the first part is un- covered and the other parts masked. This method allows one actor to play two parts in the same frame, at the same time. Both methods involve backwinding that is. backwinding the film in the camera after the first exposure has been made. Since both types of shots involve this chore, it is imperative to work out a fool-proof system of back- winding so that an accuate effect can be obtained. Simplest way to do this is to mark the beginning of the shot, then make the shot. After that the film is re- turned to the original mark and then exposed again. All this should be done in a darkroom, or else a chang- ing bag should be used. (A changing bag is a cloth gimmick containing two holes on each side. Film is placed in this light-proof bag, and then the op- erators hands are inserted so that the work can be done in complete safety. Cost: $5 to $8 at most camera stores.) Best way to make a simple multiple exposure shot is to use the beginning • See CAMERA TRICKS on Page 80 59 COMPCO CUP No more groping for hidden slots ! No more slipping of film on the take-up! The Compco Reel, with its exclusive, pat- ented "Compco Clip" makes threading fast and foolproof, even in the dark! The leader slips smoothly into the "Compco Clip" . . . stays put for winding . . . yet shoes out after unreeling! In all 8 mm and 16 mm sizes. Just ask your dealer for "the reel with the Compco Clip!" CORPORATION 2251 W. St. Pool Ave. Chicago 47 Manufacturers of line photographic equipment since 1932 THEATRE QUALITY 16mm SOUND The finest equipment plus top technical skill gives you the brilliant, tone-true track that will result in wider distribution and more bookings for your picture. Let us prove Telefilm recording can benefit you. Write for Injormation Dept A- 11 TELEFILM, INC. 6039 Hollywood Bird Hollywood 28, Calif. -Hiiiiiimimimiiitiiiiiimiiiiin IMIIIIIIIMIIIIIIIIIIIIilllllllllMIIIIMIIIIIIIIIIIIiliF The swer to com- plete FADES and LAP DIS- SOLVES. Fast- er shutter speeds and many other ad- vantages. Prices within U. S. $99.60. Cameras with out- side frame counter SI 09.80. Tax extra. One year guar- antee and camera transpor- tation back included. Send for free informative booklet. Prices subject to change without notice. TULLIO PELLEGRINI 1545 Lombard St. Son Francisco 23, California Pellegrini VARIABLE SHUTTER UNITS for BOLEX H-16 real an- IDEAS • Continued from Page 55 During school lectures. Dad man- ages to bumble everything. He uses the wrong spoons, turns the mixer on too high and splatters egg white over all the students. Soon, Dad is almost ready to give up but he decides to stick it out to ''help". Finally school is over and Dad is ready to graduate. He moves up the platform where the women ahead are getting their "diplomas", monogram- med aprons with the title "Daily Blade Cooking School Graduate"). Dad modestly accepts his. On their way home Dad promises mother he'll fix supper the next day. Mother says she'll invite a friend over and they'll celebrate his graduation. True to his word Dad hurries home from work the next night and hustles around the kitchen whipping up an exciting menu. Just as dinner is near- ing completion his guest arrives. It is a woman who went to cooking school with him. She is horrified but ven- tures into the kitchen just as Dad is creaming the potatoes in the mixer. Again Dad turns up the mixer too high and the woman gets plastered with mashed potatoes. Needless to say she runs out of the house. Dad is again relegated to the scrubbing de- partment.* I found this film to be a very hu- morous two-reel film. It can be done in a day. The cooking school can be set up in any vacant space : the garage, the front room, or any spot you choose to shoot. I'd not advise using the kitchen for this because the final scene takes place in the kitchen and the two scenes should not take place in the same background. — Walter Edmunds. Buffalo, N. Y. *This is gross exaggeration, of course. Dads are wonderful, and many can whip up a decent meal at the bat of an eye-lash. This is all in fun. but we wish reader Edmunds would not be so hard on the long-suffering head of the family. PARIS • Continued from Page 57 The Palais de Justice is reached by Metro i subway i to Cite stop and walk- ing West from the station. St. Sulpice. whose construction went on for 131 years, is one of the most wealthy and important churches in Paris. During the French Revolu- tion it was decreed a Temple of Vic- tory and contains many fine paintings as well as an organ, famous for its size. Its two radically different tow- ers are the most photographic part of the facade and are well illuminated from a little before noon to about 3 p.m. The fountain of the Four Bish- ops in the square before the church will make an interesting shot with one of the towers in the background. I Reached by Metro to St. Sulpice stop.) The Champs Elysees runs East and West and can be filmed from shortlv before noon to mid-adfternoon. This famous avenue is terminated at one end by the Arc de Trimphe and at the other by the Place de Concorde. W alking West on the Champs Elysees we come to the Place de l'Etoile. in the center of which sits the Arc. The Etoile derives its name from the star- like radition of 12 avenues at the intersection. Facing East, the Arc de Triomphe rises 147 feet over the tomb of France's unknown soldier. The memory of the unknown war dead is kept by a never ceasing fire. The morning sun strikes the front of the Arc flatly and as the morning pro- gresses, the light slowly brings out the detail of the bas reliefs on the front of the monument. The Arc can be photographed from many angles in the streets that radiate from it; how- ever a somewhat higher angle can be obtained from a window in one of the buildings nearby on the Champs Ely- sees. The afternoon late sun. or sun- set can be utilized to produce a sil- houette effect while a fast black and white film, large aperture and 8 f.p.s. will capture the Arc at night. This is especially good after, or during a rain. The bridges crossing the Seine in a north-south direction should be pho- tographed in the morning. The Quais that line both sides of the River will provide you with good vantage points for these shots. Two of the more in- teresting bridges are Pont fbridge I du Carrousel and Pont Alexandre III. The latter with its ornate lamp posts was used in one of the scenes from the movie. "Moulin Rouge". The above mentioned locations cover the more important places that should be shot in the morning. In the vicin- ity of each of these you will find afternoon shooting to complete your day. From the diagram map you can see that the general groupings of the points of interest fall itno four main areas. Each of these has some morn- ing shooting, but most of your pic- ture making will be in the afternoon. Ao one area can successfully be filmed in any one day. We might mention here to bring along your most comfortable walking shoes. \our afternoon shooting can begin anywhere you please. A detailed guide through Paris would be impractical for there is so much to see and so many places to go sightseeing that you must decide for yourself what you want to see first, second, etc. 60 Highlights of your shooting in each area will give you some idea of what to expect. The area around the Eiffel Tower offers several interesting bridges. South of the Tower, and well lighted from noon onwards are the Pont DTena which leads to the Tower; the Pont Mirabeau, with its giant statues; and the Pont Grenelle, which has a replica of the Statue of Liberty. The Tower can be photographed from the Palais de Chaillot:. Of course the Tower can be seen from many parts of the city and through- out your travels you will see many 9. 10. 11. 12. 13. 14. 15. 16. 17. IS. •pans- Eiffel Tower Palais de Chaillot The Etoile and Arch of Triumph Champs Elyees Ecole Militaire Hotel Des lavalides and the Alexandre 111 Bridge Place de la Concorde Church of the Madeleine Opera Sacre Coeur Pigatle Gardens of the Louvre The Louvre Notre Dame St. Sulpice The Pantheon and the Luxemberg Gardens Place de la Bastille The Seine nicely framed long shots of it, but you are rather close to the Tower in the gardens of the Palais and empha- sis can be placed strongly by framing with the trees and excluding every- thing else. The Tower, standing 984 feet high, was erected originally for the exhibition of 1889. From its peak one can see 60 miles on a clear day — enough said for a panoramic shot. Cost to the top of the Tower, 350 francs (nearly $1.00). The Palais de Chaillot, just West of the Tower, is a modern structure rebuilt for the 1937 Paris Exhibition. In 1948 the U.N.O. met here. The Palais houses several museums and a play house. Reached by Metro to Trocadero station, the Palais begins with a pleasant walk, first through its own grounds, the Trocadero Gardens, across the Seine to the Eiffel Tower, and then to the Ecole Militaire. You will find many interesting angles on the Palais, with its modern architec- ture and giant statues. Lining the square between the two sections of the Palais are rows of smaller statues that will give you a nice foreground for a shot of the Eiffel Tower. Walking to the Tower and under its huge arched base will give you a view of the Palais with the cascad- ing fountains, framed, if you like, by the arches of the Tower. Extending from the Eiffel Tower to the Ecole Militaire is the Champs de Mars. From this neatly laid out gar- den you can shoot both the Tower and the Ecole Militaire. The Ecole Militaire was built in 1752 by Louis XV for training army officers. Its use continues today. Just North of the Ecole Militaire is the Hotel Des Invalides. Built by Louis XIV as a home for crippled French soldiers, it now houses a mu- seum and the tomb of Napoleon and Marshal Foch. Its 345 foot dome is another Paris landmark, visible from most parts of the city. Spreading out from the Hotel Des Invalides to the Pont Alexandre III is the Esplande des Invalides. A walk down the Esplanade across the Pont Alexandre III brings you to the Grand Palais and directly across the street from it the Petit Palais. Both were constructed as part of the Great Exhibition of 1900. Today the Petit Palais is the city's Museum of Fine Art and the Grand Palais exhibits the annual Horse Show and Motor Show. These are mentioned more for general interest than for photographic possi- bilities. From the Palais, take a bus (No. 72) West on Avenue New York, to the Musee Galliera and the New York Palace. For those who like walking, we suggest this rather photographic stroll along the Seine. The Musee Galliera is a modern group of mu- seums. These buildings offer some fine angular shorts of their ultra-mod- ern style and bas-reliefs, when you finish you return near your starting point at Metro Trocadero. Another morning begins with a sub- way to St. Germain des Pres. This puts you in the Latin Quarter. Across from the station is the church of St. Germain des Pres, the oldest in Paris. Picturesque from the outside, this 11th century church has a collection of mag- nificent paintings inside. Across the street from the church you can sip your mid-morning coffee at either the Cafe de Flore or Aux Deux Magots. Located on Place St. Germain des Pres, these were the meet- ing places made famous by the writers of the last century and currently well known as the cradle of existentialism. From here, before noon, walk South along Rue Bonaparte a couple of blocks to Place St. Sulpice. Here you will do your morning shooting as mentioned before. From • See PARIS on Page 64 SOLAR-COLOR FILM Available in two types: outdoor (for daylight) and indoor (for artificial light). Specify when ordering. 35mm-20 exp $2.49 ea. 3 or more. $2.19 ea. (Fast processing and mounting included) Dbl. 8 mm spool $2.95 ea. 3 or more. .. $2.75 ea. *16 mm 100 ft. spool S7.98 ea. 3 or more ... $7.65 ea. 16 mm 50 ft. magazine.. ..$4.95 ea. 3 or more.... $4.49 ea. SOLAR BLACK AND WHITE FILM VERY BEST BUY! TYPE 12 A favorite with economy- wise movie makers for many years. The best low- cost film on the market. Non-halo, ortho ASA 16 Daylight. Dbl. 8 mm 25 ft. spool $1.59 eo. 3 or more $1.49 ea. *16 mm 100 ft. spool .$3.25 ea. 3 or more $2.95 ea. 16 mm 50 ft. magazine $2.59 ea. 3 or more $2.25 ea. YOUR TYPE 100 A super-speed film for all indoor pictures. Fully pan- chromatic, non-halo. ASA 125 daylight, 80 tungsten. Dbl. 8 mm 25 ft. spool $1.89 ea. 3 or more $1.75 ea. *16 mm 100 ft. spool $4.95 ea. 3 or more $4.50 ea. 16 mm 50 ft. magazine $3.59 ea. 3 or more $3.25 ea. TYPE 24 A medium speed full pan- chromatic film. Fine grain, non-halo, none better on the market . . . supreme in picture quality ASA 32 dayligitt 20 tungsten. Dbl. 8 mm 25 ft. spool $1.89 eo. 3 or more $1,75 ea. *16 mm 100 ft. spool .$4.95 ea. 3 or more $4.50 ea. 16 mm 50 ft. magazine $3.59 ea. 3 or more $3.25 ea. THE NEW TYPE 200 The fastest film on the market! Used by profes sional news and TV cam- eramen for several months. For sports, theatres, night pictures, indoor pictures of all kinds ... if you have been having trouble with any difficult light set-up, try Solar Type 200 . . . you'll be thrilled! ASA 250 daylight, 160 tungsten. Dbl. 8 mm 25 ft. spool $2.79 ea. 3 or more $2.49 ea. *16 mm 100 ft. spool ... $6.29 ea. 3 or more $5.65 ea. 16 mm 50 ft. magazine $4.75 ea. 3 or more $4.35 ea. ^Available single perf. for sound. All movie types available in bulk. Write for "Bulk Film Bulletin". Why pay high prices when you can get the results you want at Solar's low mail-order prices? Order now and save! Film Specialists since 1937! SOLAR CINE PRODUCTS, INC. 4247 South Kedxie Chicago 32, III. ALL PRICES INCLUDE SOLAR'S FAMOUS FAST 48 HOUR PROCESSING SERVICE! Illinois customers add 2% sales tax. BOLEX ACCESSORIES BATTERY CAMERA DRIVE Thoroughly tested and proved through five years of continuous service by hundreds of enthusiastic Bolex owners. New, improved short model — no installation or alteration. 4 speeds, forward or reverse on standard 6-volt batteries. Write for Complete Description STEVENS ENGINEERING CO. 2421 Military Avenue, Los Angeles 64, Calif. GET PROFESSIONAL MOVIE OR SLIDE TITLES — Your Own Wording — Low Cost Improve your movie and slide shows with beauti- ful professional titles. Your wording — your choice of BIG variety of backgrounds. 1954 marks our 22nd Anniversary — get quality only this long experience can give. Amazingly low prices. Send for Free samples and illustrated folder. TITLE-CRAFT, Dept. H, 1022 Argyle St., Chicago, III. 61 1* SALE 8mm 200 Ft. 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Please Rush the Above 8mm Films $6.50 — 1st Subject lc — 2nd Subject Postage Free If Remittance Enclosed NAME- ADDRESS- DUPLICATES * from your films ■ KDDACHROME COLOR or BLACK & WHITE Protect your valuable originals from projector B damage and wear, run duplicate prints. Duplicate prints make wonderful gifts. 8mm or 16mm. ..Duplicates 11c per R 8mm Enlarged to 16mm, or 16mm Reduced to 8mm 14c per finished foot J * Mail us your original films with cash, check or money order, and we guarantee the BEST dupli- cates possible, QUICK SERVICE, TOP VALUE, SATISFACTION Minimum Order $3.00. j ~^w-p^ s, 4 Aa Qfcf iti. ries •Mif-ftoliuita.iHe bmght snitmi plm, liAeti us me mi -i\ti fflATftuKeatf Hee uwv. / i v Z v -3 ^ 4 flA-NV U£RL 'DkL TJlLD tlOfti^ER fl£rc(?V VOICC WOULD POUR, flA-M ldt(?£TH£ BLITHE BIRDS THAT UAR&IV 0*R£> I 1 v 2. v 3 v 4 1 V 3 r J i J ! M A 3 DRCAA OF J£A-dlEldmllil£ LldtlT SCoUf) riAlC, rtOAT-Wd^JKEA VA-F012, OH 1H£ SOFT &Jfl-fl£fc AIR. 76 without the fear of disconcerting mel- ody alterations. Sometimes a shortened strain can be lengthened by one or one half second by using part of the bar preceding the first bar of the shortened strain as pickup or lead in notes to the shortened strainfl As an illustration, let us take the first example of the 6 bar shortened strains in Figure 4. As shown, Az EXAflPie 1- (2-3-4) would appear musically as shown in Figure 5. By adding the last 3 notes of the bar preceding Az (2), we have added about one second and the strain would appear musically as shown in Figure 6. In recording and assembling cut ver- sions of musical material, the follow- ing suggestions are offered as a guide • Continued on Page 78 fAd.T 3 13-4JU-2-3-4.J 1 1- 2-3-4 J exAnpie 2-(1.£j4]3B4{1.£|. 4 J [ ft ] r az i N [Azl U-2-3-4 J 13 J L34j 4 BARS b Bars OfiARS 2 BARS r Az 1 OR. OR Az fBtAzl OR OR f B fAzl U-4 J f Az 1 L3l4j f Az ' U J f A L4J ■ z U-34J r B Ll-3-4j Oft JH •4 fAz] 11-2-3J2-4J LI- 2-3-4 J [4 J fa T ' Az 1 Oft OR. rs 1 f Az 1 l3-4l f A 1-2-3-4J T Az 1 u-4j r a H-z- a 1 3-4 fAz 1 Ll-2-3 H-2-3-4 L1-2-3-4J [2-3-4 J TTidv&e. 4- Ll(JllT BROUrt rlAlR, ftOrff-lA^UfcA VAft»,OJ fife iOFT &fHlue AIR. AllC uJrDJ fl£ UGtlt BROUd JlAIR, fLOAT-Ifi(j,LIK£A VA-ft)R,0f) -Ql£. 40fT ^UAflER AIR. STUDIES IN BEAUTY Featuring Hollywood's Most Beautiful Models Sample reel-50ft., 8mm $3.50 100 ft., 16mm S6.00 Kodacbrome — 50 ft.. 8mm S8.50 100 ft.. 16mm $17.00 16mm In Sound $8.00 Write for Free Catalogue We ship C.O.D. Plus Postage FINE ARTS FILM PRODUCTION (HM) P.O. Box 2084 San Antonio 6. Texas TITIES^ NOW — Your choice of 2000 TITLES. Low as 204 ea. 8mm-16mm-B&W -Color. Postcard brings BIG FREE CATALOG! 2000 Pino Praft 8762 BEVERLY BLVD bine -Urail LOS ANGELES 48, CALIF. 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Photographic Headquarters Since 1899 $1.00 POSTPAID "How To Title Home Movies" con- tains elementary instrutcions and advice for beginners, advanced tips for experts — all you need to know about compos- ing, photographing, developing and editing titles for home movies. Gen- erously illustrated with photographs and diagrams. Not a step overlooked. Also contains complete diagrams for building your own titler. 1159 N. HIGHLAND Hollywood, California 77 EASTMAN KODAK KODACHROME DUPLICATES 8mm or 16mm — 1 lc per ft. 1 6mm Reduced to 8mm 1d£ fin^hed 8mm Enlarged to 16mm ' * foot SCIENTIFICALLY EXPOSURE CORRECTED WE GUARANTEE QUALITY PLUS SERVICE Mail Orders Accepted EAGLE LABORATORY 1732 N. ORCHARD ST. CHICAGO 14, ILL. V i I — ^— — ■ — — — / / ■ 16mm Color TITLES Your Movies Are Not Complete Without Titles Price List and Samples Free ZENITH CINEMA SERVICE, INC. 3252 Foster Ave. Chicago 25, ML 1954 ROSE PARADE 400 ft. 16mm Kodochrome, S60.00 (and in 8mm, 200 ft. $30.00) GUY HASELTON 7936 Sta. Monica Blvd., Hollywood, Calif. 28 BASIC STEPS on Motion Picture Techniques . . . best Available $1.00 Ver Halen Publications 6047 Hollywood Blvd. Holywood, Calif. MUSIC • Continued from Poge 77 to procedure. First of all. make a mark on (or at) the recording head of the tape recorder directly in line with the gap in the magnetic head. Also, It is quite essential that you are able to stop the tape transport instantan- eously. In dubbing musical material from records to magnetic tape for sub- sequent cutting and editing, record suf- ficient material before and after the spots where cuts are to be made so that you can have sufficient 'listening' time to enable you to identify the strain leading into the exact spot where cuts are tobe made. ( This is particu- larly true of the music preceding a cut). For illustration, let us take ex- ample 3 of Figure 3. First, record A( 1-2-3 ), letting the music continue into Aa for about one or two seconds. Now record Azl 1-2-3 ) , starting the re- cording at about B(3) and letting the recording continue through Az(4). Next, starting at about Az(l), record the strain through Az(4). Now. start- ing at about Az(2), record the strain through to the end. To cut and as- semble this material as indicated in ex- ample 3 of Figure 3, we proceed as follows. Play the recording (on tape) from the beginning of A and stop the tape at the split second before the first note of Aa is heard. Mark the tape at this point with a pen or crayon at the mark made previously on I or at I the recording head. Continuing the play- back, stop the tape the split second be- fore the first note of Az. Again, mark the tape at the recording head at this point. Proceed with the playback, stopping the tape the split second be- fore the first note of Azl 4) . Mark the tape at this point. Locate and mark the beginning and end of Az(3) and the beginning of Azl 3-4) as done with the other strains. Now, by cutting the tape exactly on the previously deter- mined ending and starting marks and splicing the selected sections together, you should have a smooth musical con- tinuity made up of Al 1-2-3-4), Az(l-2-3), Az(3) and Az(3-4). Xext month we will go further into musical cutting and take up additional aspects of musical limitations and com- binations. PROS • Continued from Poge 68 a very artistic but yet rugged atmos- phere to each of his scenes. He used many low camera angles for his foot- age during the sequences on the man- made island that held the mammoth oil derrick. This clever set-up adds much strength to the scenes and keeps reminding the audience of the locale. "Thunder Bay" was projected on the new wide screen that measures 23^ x 431/2 feet, compared with today's stand- ard screen measuring 18 x 24 feet, yet the footage was very sharp overall and there was no feeling of any color dis- tortion. Naturally, this adds another feather to Daniels' cap as an outstand- ing cinematographer. Daniels captured an exciting fight scene between Stewart and Robert Monet. Monet arrives at the drilling barge at the same time a hurricane hits. It was Monet's plan to dynamite the well so that everyone would be- lieve the man-made island didn't with- stand the hurricane. Stewart spots him as he lights his first stick of dynamite, but Stewart is several feet away and has to climb across steel girders to get to him. W ith the rolling sea serving as a background, the shiny steel ribs and cables catching terrific highlights as the lightning strikes, and with the constant downpour of rain, this scene is a cameraman's dream. Daniels has done a job he can well be proud of in "Thunder Bay." ARROWHEAD PARAMOUNT Cast: Charlton Heston, Jack Palance, Katy Jurando. Photography Credits: Director of Photography: Ray Rennahan, A.S.C. In col- or by Technicolor. Running Time: 1 hour, 46 minutes. "Arrowhead" makes the eighth Tech- nicolor film Ray Rennahan has done for Producer Nat Holt, and they have all been the outdoor, adventure type. His first assignment for this producer was "The Great Missouri Raid." fol- lowed by "\^ arpath." ""Flaming Feath- er," "Silver City."" "Denver and Rio Grande."" "Hurricane Smith." and "Pony Express." Rennahan filmed the entire picture on location in and around Fort Clark, near Bracketville. in Yt estern Texas. The veteran lenser captured some beau- tiful, authentic, and colorful settings. In most films, the locale of the story is mentioned either in the title or by the actors" dialogue, but in "Arrow- head." it is the camera that describes the location. In a very tense scene where Heston is meeting his bitter enemy. Jack Palance. for the first time in years, the camera dollies with Hes- ton, and as he passes the train depot. • See Next Poge NEW NEW NEW 50 FAMILY SCRIPTS for all occasions4 plus 4 Prize-Winning Scripts for Movie Clubs and Serious Movie Makers "'Holidays - Birthdays - Vacations - Celebrations - Adults - Children - Babies. All Can Be Made on 50 Feet 8mm or 100 Feet 16mm Off the Press in December $1.50 Orders Filled in Rotation, Write To: VER HALEN PUBLICATIONS 1159 N. Highland Hollywood 38, Calif. 78 CARRY-ALL • Continued from Page 59 These can be had at abount $2.00 at most dime stores and although they are only covered with paper — they are made solidly of wood. My first step was to varnish the outside to make it waterproof when being carried in the rain and also to make it look a little better. Two wooden partitions were nailed and glued in and then cov- ered with some grey leatherette. As can be seen in Fig. 4 these partitions just give enough room to hold three 500-watt reflector floods. The two on the right are the newer ones, older ones go in the left compartment and used for not so critical applications such as a fill in light for the background. The rear compartment was intended to house the light fixture and cord. Inside the lid accessories are mount- ed such as a camera "Inverter" to turn the camera upside down for trick shots and various adaptors commercially available. This small compartment forced me to construct a small and light weight fixture yet compact enough to do the job. Fig. 1 shows the lightbar in use; Fig. 2 gives us a closer look, and Fig. 3 shows the unit folded ready to be stored away. Details of this simple unit are seen in the diagrams. There are four pieces of aluminum which your nearest alum- inum dealer or warehouse will supply to you already cut. Center piece is 12 x 1 x 3/16 inch, camera base (in my case) 31/4 x 2 x 3/16 and the two folding arms are made of right angle stock measuring 1 x 1 x l/g inch, each piece about 5% to 6 inches long. The two pivoting screws used are chrome plated, 14 inch, held by washers and plated wing nuts. The two holes in the camera base are both taped to take 14 inch screws; the front hole serves to take the tripod screw ,then the other hole is used for mounting the camera. This plate must be flush-riveted to the center piece of the fixture as seen in the diagram. The two folding arms are drilled about one inch from the end. Holes should be of % inch diameter or .-lightly bigger to take standard swiv- els. Swivels are held in place by short nipples and mounting nuts; they in turn are fastened to the two sockets by short nipples, too. Sockets are stand- ard push-switch type, chrome plated. The sockets are wired with about one foot cord and plug. These plugs are then connected to your 15 or 20 foot extension cord. This unit gives you all that is re- quired for indoor movie-illumination and of course if you prefer to use more • See Next Page PROS • Continued from Page 78 the viewer can see an inconspicuous sign reading. "Fort Clark, Texas." One of the smartest set-ups in the film was for the very rugged fight hetwen Palance and Heston. Their fight started at the top of a stony hill. As the fight progressed, the two grad- ually but brutally fought down the hill. The camera dollied down the hill, per- mitting the terrific fight to be taken in one complete take. This adds a great deal of punch and realism to the fight climax, since all the fight action is continuous. EDIT • Continued from Page 72 plans call for them, but this can be remedied by making chemical or dye fades after the film has been fully edited. The scenes to receive this treatment may be cut apart, given the fade treatment, and respliced. Or, where the story calls for one scene to fadeout and the next one to fadein, the film need merely be looped and in- serted in the container of fading dye to produce two fades at one operation. The opening title should begin with a fade — in fact where a series of titles precede the picture, they should be linked together in lap-disolves or double fades. The opening or intro- ductory scene should certainly begin with a fade-in, and if it was not filmed with this effect, it may be given the dye treatment as already described. It is rather late to worry about shadows and exits and entrances, but this is, nevertheless, an opportune time to discuss them. Fades are calculated the same way. Of course, with amateur films, fades are usually made in the camera when the picture is being made, so the actual length of the fade is determined and established; but in editing we may alter the length of the fade according to the tempo, by the amount of black frames we leave in between the point of fade-out and fade-in. The longer the fade, the slower the tempo. COME WITH US on the EXCITING "GLfifllOROUS GIRLS AR0UI1D THE WORLD CRUISE"! See the "unusual" Ports of the w orld . . . Peek into strange spots . . . Behold enchanting- scenes . . . Delight your eyes with the most gorgeous Sirens of the Seven Seas far-away lands! A Special Film sent you every month, whisks you away to enthralling adventures . . . and sights you've always dreamed of! fabulous Beauties of Absolutely no membership fees — if you join NOW. Also FREE Special Film List for Members. iew each film before you decide to purchase — return it with only 25 open" positions. When the shutter is closed, it permits winding the film back for trick effects, such as double or mul- tiple exposures. This camera also comes equipped with a reflex finder. Located behind the taking lens, this finder provides visual focusing and shows on a ground glass the exact field covered by any taking lens with which the camera can be fitted. It has inter- changeable film chambers of 100-foot or 200-foot capacity, double lens tur- ret, single frame release, a masking device for split-screen effects and other features. Several independent manu- facturers will supply added features, such as 400-foot magazines, synchro- nous motors, reflex finder magnifiers, four-lens turrets, automatic faders, matte boxes, sound blimps, etc. The Swiss-made Bolex is one of the most popular cameras in use today, be- ing sold in nearly every country in the world. Precision-made and prac- tical, it has become the favorite with many professional cameramen ■ — in- cluding myself — for shooting sports, travel, news and other action pictures. Being a small type hand-camera it comes in extremely handy when a pro- fessional cameraman for various rea- sons might want to look like an aver- age amateur at work, for instance when siiv,ui.,ig street scenes where a big cam- era would obviously draw too much at- tention. Ease and speed of operation is most important to the movie maker so that he can concentrate on his ac- tion. This camera has those qualifi- cations — three-lens turret, automatic threading, quick - change multifield finder, lightweight, and parralax cor- rection down to 20 inches. The pre- cision-made shutter gives you a good and sharp image for blow-ups. Many useful accessories can be bought, like the Stevens' 6-volt camera drive, which couples directly into the 8-frame hand- crank shaft, the behind-the-lens filter slide, the rack-over, Steareo-attachment and the Pellegrini variable shutter. Bell & Howell has a complete range of motion picture cameras to suit the needs of either the amateur enthusi- ast or the exacting professional. Their "Filmo" model 70-DE comes equipped with a three-lens turret ■ — focus di- rectly through lens — and seven speeds. Viewfinder turret mounts three lens- matching objectives, incorporates par- allax connecting adjustment and focus- ing eyepiece. Model 70-S is the super- speed model with a special spring mo- tor drive and film transport mechan- ism for operation at five times normal sound-speed — 128 frames per second.. A very useful camera where extreme slow motion is required. • See WHAT CAMERA? on Page 82 ^jpuWi SYLVAN I A SUPERFLOOD LAMPS Whether you prefer shooting with standard flood or reflector flood lamps, Sylvania Superflood Lamps give you the bright, even light you need for sharp, clear movies. If you already own re- flectors, Standard Sylvania Superflood Lamps come in three practical sizes— 250, 500 and 1000 watts. Sylvania Reflector Superflood Lamps have sealed- in reflectors that are safe from dirt and tarnish. They give a greatly improved distribution of light without hot spots or over-bright rings. The R-32, 3200° K., is a long-life lamp (15 hours) which gives a warm rendition of skin tones with Kodachrome. The R-34, 3400° K., is a high- brightness lamp exactly balanced to indoor type color film. And for indoor shooting with daylight color film, try Sylvania Blue Superflood Lamps. They are color-balanced to match daylight-type color film and give you the radiant light so important with color. -^^M^SYIVANIA PROJECTION LAMPS Sylvania Projection Lamps give brighter, more life-like screenings of your favorite slides and movies, because their filaments are scientifically-coiled to assure a more solid mass of light. Sylvania shock-absorbers pro- tect the longer filaments of the larger lamps from projector vibration. There is a complete line of Sylvania Projection Lamps, ranging from 100 to 1000 watts, for all popular pro- jectors. LIGHTING RADIO ELECTRONICS TELEVISION SYLVANIA In Canada: Sylvania Electric (Canada) Ltd. University Tower Bldg. St. Catherine St. Montreal P. Q. Sylvania Electric Products Inc. 1740 Broadway, New York 19, N. Y. 81 WHAT CAMERA? • Continued from Poge 81 The Filmo 70-H is basically the same as the 70-DE. but widened in scope by the addition of a shutter stabilizer. \ eeder footage counter, ex- ternal magazines and electric motor provisions (with 12-Volt DC. 24-Yolt DC. and 115-Volt AC-DC universal motors operating at 8 frames to 64 frames per second, and or a 115-\olt 60 cycle synchronous motor for 24 frames per second sound work). The electric motor and external magazines increase the capacity to 40 feet, per- mitting the user to run entire length of film without stopping. Bell & Howell's "Specialist"" I Filmo 70-J I is designed to meet the special requirements of the professional cam- eraman, ideally suited to any task, be it studio or location shots, silent or double system sound, titling, fast and slow motion, micro-photography, etc. It comes equipped with a rack-over, which enables the operator to focus and compose his shots directly on a ground glass through the taking lens, a four-lens turret, upright image stu- dio type view finder, matter box - — be- sides all the other features incorpor- ated in the Model 70-H. The entire outfit weighs less than 45 pounds. The versatility of this camera has made it a favorite among professionals. The new German-made "Arriflex 16" is a departure from the ordinary 16mm camera, rapidly moving up among the favorites. This new cam- era incorporates all the advantages which gained world-wide reputation for the famous Arriflex 35. The Arri- flex features a mirror reflex system, which permits viewing and focusing through the taking lens even while the camera is running. An ingenious op- tical system produces a well-defined finder image, showing every detail of the picture without any parrallax w hatever, uninverted and right side up. ten time magnified. The Arriflex 16 is equipped with a three-lens turret, an 8- Volt DC motor, forward and re- verse switch, and accepts standard 100-foot spools. \S ith accessory mag- azines 200-foot and 400-foot loads can also be used. The turret is so con- structed that the optical axis of the three lenses diverge from each other, which permits wide angle lenses to be mounted next to the telephoto lenses without having the latter cut into the field of the former. Because of its compact design and light weight l camera 6*4 pounds, battery 4\o pounds l the Arriflex 16 is ideal for all types of professional requirements. Another camera with the same unique feature of allowing direct through-the-lens viewing while the camera is running, is the new French Eclair "Camerette"" (known in France as "Camef lex" i . What makes this camera even more unique is the fact that it is designed to take both 35 and 16mm film, using interchangeable magazines. The Camerette is bv far the most versatile motion picture cam- era ever conceived. The photographer can shoot a film in both and 16 and 35mm without disturbing his set-up. The same lenses are used for both film widths, thus affording the ad- vantage of 35mm camera lenses for photographing 16mm film. The tur- ret is of the divergent type, just like the Arriflex. Equipped with 400-foot magazines, it weighs only 14 pounds. If necessary, it can be hand-held, as the whole design is such that the cam- era rests against the operator firmly when hand-held, assuring extreme steadiness. If you plan to shoot your produc- tions with synchronous sound, then there are two methods — the single system and the double system. The single system uses a camera with a built-in recording unit, so to speak, i.e. the sound-track is photographed along one edge of single-perforated picture film in place of one row of sprocket holes, by a "galvanometer"" which is an instrument having a tiny mirror and electric coils for moving this mirror in accordance with the soundwaves being picked up bv the microphone and amplifier. As this mirror swings back and forth, a beam of light is reflected from it onto the moving film, and the steadv flow of the film causes the vibrating beam of light to take the shape of sound waves in photographic form on the sound track. W hen the film is returned from the laboratory after reversal proces- sing, it will play on any 16mm sound projector perfectly lip-synchronized. The "Auricon Pro"" is a sound-on- film camera, designed in Hollvwood. which has fulfilled the greatest expec- tations in the field of newsreel. screen tests, television commercials, industri- als, documentary films and produc- tions of all types requiring sound at minimum cost. Because the Auricon- Pro is a sound recording instrument as well as a picture-tking camera, it is "self-blimped" — and built to run film without camera noise, and this is accomplished to a startling degree. The camera is furnished with maga- zines which allow 200-foot i5io min. or continuous recording I daylight loading spools to be handled in bright sunlight without fogging. The cam- era is driven by a 115-\olt AC syn- chronous motor, but a portable power supply is employed to drive the cam- era where power-line current is not available. The Auricon weighs 24 pounds complete. The Auricon "Super 1200"" is the "big job'" with a capacity of 1200 feet of film — 33 minutes of continuous recording. It has a variable shutter, ground glass focusing throug the cam- era lens, two independent finder sys- tems in addition to ground glass re- flex focusing; one finder for studio use. the other for tele-photo work. The Super 1200 is used extensively for T\ -shows, kinescope recordings, foot- ball games, horse races, polo matches, etc. filling a great need of good com- mercial sound-on-film pictures. "Cine-Voice"", a Junior model, light in weight and inexpensive — also man- ufactured by Berendt-Bach in Holly- wood, makers of the Auricon. — is becoming a popular camera with ad- vanced amateurs, lecturers and teach- ers. The double system of shooting sound films is by using the camera only as a picture-camera and the sound re- cording system as a separate unit, thereby allowing more control over quality of both products. The Auri- con camera can. of course, also be used shooting negative film and with a separate sound recording, later be made into one composite print. The Maurer was the first real pro- fessional camera in the Hollywood studio tradition to break the severe bottle-neck in the new 16mm industry. There had been a crying need for a camera of this caliber for quite some time, so here was one to remedy the situation. Maurer-owners soon become the envy of the trade. Among the features are an extremely critical high- power microscopic focusing system, and an intermittent movement that provides accurate registration with a pull-down claw which registers the film at the end of the pull-down stroke. Other features include a rack-over mechanism for viewing through the taking lens, gear-driven magazines and a viewfinder which gives an erected and laterally corrected image 214 x 3 inches in size. The Maurer also has 235 degrees maximum shutter open- ing, giving exposure of 1 35 second at sound speed, or almost \o ^ens 5toP additional exposure than is obtained with conventional 170 degree shutters. Automatic fades or lap dissolves of 40 frames or 64 frames can be made bv means of a lever on the rear cover of the camera. Then comes THE KING of them all — the Mitchell camera. This camera cannot be compared with any existing 16mm camera. It is not a mass pro- duced — assembly-line camera — for it is induvidually built, designed and engineered in Hollywood. It definite- lv meets all the high standards of pro- fesisonal cinematographers. All the technical achievements of the 35mm motion picture has been transferred to the 16mm screen. And this is not sur- prising, since the Mitchell 35mm is 82 the camera which for more than 25 years has dominated motion picture photography. Every major studio in Hollywood and throughout the world, uses the Mitchell. The Mitchell camera is also the most expensive 16mm camera on the mar- ket today. But if you are a camera- man, you will realize the technical benefits to be derived from a camera such as this. There is no guess work — nothing is left to chance. There was a time when quality in 16mm mo- tion pitcures was not too important. But the standard has risen — and will rise even higher — therefore only with a truly professional camera can you obtain truly professional quality. As all cameramen undoubtedly will agree. Mitchell has made it possible to pho- tograph on 16mm film with the same brilliance, clarity and fidelity that has been realized with 35mm cameras, and the 16mm film industry now has but one photographic standard — the standard of perfection. FILMING • Continued from Page 71 filched from the first aid kit, and rolled into a ball with the sticky side out. It'll keep the wee ones gurgling happily trying to unstick it from their chubby fingers and it won't harm them if you remember to make it one size larger than their mouths. You may be using a mother or a daughter in your film who is "baby-sitting" and who might not otherwise be able to leave her charge unattended. Winning friends on your location is important from the outset as it will determine the cooperation you'll get in the future. With grownups in a strange land, a middle-of-the-road at- titude of friendliness is best. Even though they may not understand your words, there is no mistaking a harsh or commanding tone of voice in any language. Equally bad. however, could be a "palsy-walsy" attitude to- ward an actor which might cause him to "lose face" among his people for fraternizing too freely with a foreigner. You may as well have come from Mars; you'll be regarded as a strange creature anyway, if not for yourself then for the strange apparatus you'll be lugging around. The intensity of the level gaze will vary with the prox- imity of the nearest civilized city. At any rate, you'll be considered a highly educated person maybe even a "doc- tor", so you can't afford to "lose face" either, by getting into arguments, losing your temper or other unseemly actions. Whether you desire it or not you will always be regarded as a representative of the United States, and this country and its people will he judged by you and your actions. And you will also be regarded as being rich, an opinion held by every nation across the pond. A quick method of lining up the local citizenry on your side is to let them take a peek through the ground glass of your motion picture or still camera. They'll be excited when they see their familiar environment reduced in color to the limits of the ground glass, but be careful where you point your camera, especially in a Moselm world where women are not to be seen, let alone talked to. The excited comments of the viewers may be mis- taken for ridicule by the person in front of the camera, so let them all take turns looking at each other through the lens. Just how you'd go about winning friends and influencing people among the African headhunters or the Arab- ian horsemen I'm not sure, but if you select a peaceful village of the Near or Middle East to work in, the pro- cedure might be the same as the one we followed. Practically all the villages through- out Iran are owned by absentee land- lords, ranging from the Shah with his thousands of holdings on down to the minor league gentry with only a village or two supporting them. These owners appoint a representative for each village, known locally as a mayor or "Khadkhoda", who collects rentals, settles disputes among the tenants and is loosely credited with being law and order. After familiarizing ourselves with a script, a group of us consisting of the director, writer, cameraman and in- terpreter would pay a social call on the mayor, armed with only a still camera or two, and wearing our best socks without holes in them for the occasion. Bemoving our shoes upon being invited to enter his home, we would sit cross-legged on his Persian rug. and over sips of the ever-present tea of hospitality would discuss every- thing under the sun except politics. About the time for refills of tea. we would get around to stating the purpose of our visit, and what we pro- posed to do with his gracious permis- sion. If we "sold" him and he had full power to act, we would soon get it, but if not, we would have to wait until he considered, or got approval from his boss. At any rate, we would request per- mission to stroll through his village. Wanting to impress us with his im- portance, and with true Persian hospi- tality he would personally escort us through the streets and lanes of his domain, commanding all doors of houses or yards to be opened to us for our inspection. While the interpreter kept our host • See FILMING on Page 84 See your dealer, or write for additional information ZOOMAR Glen Cove, Long Island, N. Y. 83 FILM LIBRARIES 8MM and 16MM FILMS . . . Where To Rent or Buy . . . Sound or Silent CALIFORNIA COMPTON Evangelistic Audio-Visual Association 2342 E. 1 26th St. NEvada 6-51 18, NEwmark 1-9920 HOLLYWOOD Hollywood Camera Exchange 1600 Cahuenga Blvd. HO. 3651 LOS ANGELES Films Incorporated 5625 Hollywood Blvd. SAN FRANCISCO Brooks Cameras 56 Kearney Street LOUISIANA NEW ORLEANS Delta Visual Service, Inc. 815 Poydras St. (12) MARYLAND BALTIMORE Lewy Studios 853 North Eutaw St. at Biddle MASSACHUSETTS BOSTON N. E. Film Service, Inc. 755 Boylston Street (16) MONTANA GREAT FALLS Holman's Sound Service 3008 Third Avenue South NEW YORK BROOKLYN Reed & Reed Distributors, Inc. 7508 Third Ave. (9) NEW YORK CITY Films Incorporated 330 West 42nd St. National Cinema Service 71 Dey St. Nu Art Films, Inc. (19) 1 1 2 West 48th St. Peerless Camera Stores Film Library 415 Lexington Ave. OHIO CLEVELAND Sunray Films, Inc. Film Bldg., 2108 Payne Ave. OREGON PORTLAND Films Incorporated 716 S. W. 13th Ave. PENNSYLVANIA PHILADELPHIA Ted Kruger 3145 N. Broad St. RHODE ISLAND PROVIDENCE Samson's Picture Service 35 Portland St. (7) WISCONSIN KENOSHA Cairo Home Movies 5815 Eleventh Avenue MILWAUKEE Movie Mart — DeVry Corporation 4518 W. Burleigh St. UP 3-9932 (open Mon. and Fri. Eves.) MANY DEALERS LISTED ABOVE RENT PROJECTORS AND SCREENS; ALSO HAVE COMPETENT PROJECTOR OPERATORS AVAILABLE CLUB NEWS • Continued from Page 53 Westwood Camera Club — San Francisco. — Last month this club entertained a cine visitor from Australia. He was Alfred T. Bartlett who is president of the Federated Council of Australian Cine Societies, The Queensland Ama- teur Cine Society, and an Associate of The Amateur Cinema League. New York. I See cut. ) Bartlett looks like a fine fellow, i fourth from the lefti but the significant thing about him is what he had to say about motion pic- tures, and this is of extreme import- ance : "Making amateur movies has pro- duced a brotherhood which extends over the whole of Australia as well as the world itself. This hobby has weld- ed us together in one happy family. 84 "I like to consider my hobby as the science of amateur movie making and an advancement from home movies. It should be recognized as one of the cul- tural activities of our lives and rank equally with the Amateur Theatrical Societies. "Only through our public screenings can we further extend this work to a more appreciative public. By exhibit- ing my films in the countries I am about to visit I hope to advertise Aus- tralia, demonstrate our standards, en- gender good will." We need more people like Alf. Bart- lett. Pictures shown: The Enchanted Isles. The Whitsun- day Group of islands in Queensland's Great Barrier Reef is world famed. At the invitation of the Queensland Gov- ernment and as their guests, Mr. and Mrs. Bartlett filmed the Islands of Lin- deman, Day Dream. South Mole. Hay- man and Long Island with rare skill, capturing the warm tropical beauty and maintaining high audience inter- est. This film was awarded third prize in the Queensland Amateur Contest of 1952. Give Us This Day. This was a Ten Best winner in 1952 and was shown at Westwood Movie Club in that Year to a delighted audience of several hun- dred movie makers. This film por- trays Australia's wheat industry and created great interest and was much discussed long after its return to Aus- tralia. It won a number of First Prize honors, including the Interna- tional Gold Cup of 1950. Christopher Crusoe. A delightful story of a little boy who longs to be Robinson Crusoe — and the day dreams to find himself transported to Heron Island with its wonderful coral, its brilliant fish, its curious turtles, its shark fishing and other exciting ad- ventures. The film won second prize in 1952 in the Queensland Amateur Cine Society Contest and third prize in the International Gold Cup Competi- tion of 1952. Make Mine Movies. A most enter- taining film depicting the sad adven- tures of one Georgie Goldfish, an in- veterate follower of horse-racing and how a movie-maker friend helped him solve his problem — or did he? This film won the International Gold Cup in 1949 and five other first prizes in Australian contests. Seven Days in Paradise. The trop- ical beauty of far Northern Queens- land must be seen to be believed. This film made by Mr. Bartlett with the co-operation of the Queensland Gov- ernment covers the Cairns-Aaherton- Tabledand which President Lnmack also visited during his sojourn to Aus- tralia in 1950. The film is aglow with living color throughout and won many major awards in Australia during 1951. FILMING • Continued from Page 83 engaged in conversation, we would all be active in our fields, examining, ap- praising and visualizing: the director looking for characters and backround. the writer mentally tailoring his script, and the cameraman scanning rooftops, arches and doorways for camera angles. Somewhere along the line we'd ask the mayor to pose for a picture, a re- quest dear to his heart, since they all prized pictures. But we were alwavs careful to exclude anv women from the backgrounds. Returning to his home followed by an increasing number of curious vil- lagers, we would decline any more tea. but would suggest another picture or two of him with his children. This was another sure way of winning him over, but again we had to be careful not to include his wife in the request. If you ever do likewise, remember that a picture taken is a picture prom- ised, so don't fail to deliver a print reasonably soon. • See FILMING on Page 86 CLASSIFIED ADVERTISING RATES: 10c per word. Minimum ad $2. Add 5c per word for text in capitals. EQUIPMENT FOR 5ALE • BASS . . . Chicago. Cinema headquarters for 44 years offers money saving buys in guaran- teed used equipment. Cine Special 4 lens "C" mt. turret, 1" F : 1 .9 Super Comat, 0.7" F:2.5 Super Comat, 4" F:2.5 Cooke Panchrotal, De- Luxe Comb. Case, $925.00; Cine Special I, 1" F:l .9, 15mm. F:2.7 W. A., 3" F:4.5, extra 100 ft. chamber, Comb. Case, $545.00; Bolex H-16 DeLuxe, 1" F: 1 .5 H. M. Primoplan, 0.7" F:2.5 Super Comat, 3" F:4 C.Z. Sonnar, $387.50; 16mm. Magazine Movikon, 1" F:1.4 T coated Sonnar, $137.50; 8mm. Revere 99 Turret, i/2" F:2.8, ll/2" F:3.5 tele, case, $79.50. Best buys . . . Best trades always. Bass Camera Co., Dept. HM 179 W. Madison St., Chicago 2, III. • BLOWING FUSES with photofloods? Try COLORTRAN converters. Use standard lamps, get more light than expensive photofloods. Saves money. Catalogue. KIRK FILMS 627 St. Philip St. New Orleans 16, La. • 16mm SOUND — Bargains in used Film and Projectors. Visit our store or write for free list. National Cinema Service, 71 Dey St., N.Y.C. • LIGHTWEIGHT Tubular Steel Dolly for pro- fessional or amateur use. Write for specifica- tions and price. Dealer inquiries invited. ..Berg- mann Enterprises, Box 4454, San Antonio, Texas. • INTERESTED IN PROFESSIONAL EQUIPMENT? S.O.S., The Film Industry's Department Store car- ries a Quarter Million Dollar stock of fine mo- tion picture production equipment. An 80 page illustrated catalog prepared for pro- ducers, laboratories, TV stations, documentary film makers, colleges and professional cinema- tographers will be sent for $1.00. This will be applied towards your first purchose. S.O.S CINEMA SUPPLY CORPORATION Dept. yc 602 W. 52nd Street, New York 19. • TIME-LAPSE CONTROL for movies of flow- ers, bugs, sunsets, traffic, industrial processes, etc., using any movie camera. New design. Con- trols light. Remote Control. Intervals to 16 minutes. Present price $180. Literature free. Sample Engineering Co., Dept. H, 17 N. Jeffer- son, Danville, Illinois. BRAND NEW 25mm F : 1 .9 CINEKODAK (c) lenses in "C" Mount for any 16 mm cameras . . . also fur- nished with conversion adapter to fit 8mm cam- eras as a 25mm semi-telephoto lens . . . Close-out Price $45.00 9mm f:2.7 Cinekodak Anastigmat Wide Angle lens (C) for Cinekodak Magazine 8 $45.00 UNLIMITED BARGAINS in used and close-outs (new) lenses — Wide Angle, Normal and Tele- photo — Cameras, Projectors, Filters, etc. NO LISTS PRINTED • SPECIFY YOUR WANTS COLUMBUS PHOTO SUPPLY CORP. 1949 Broadway New York 23, N. Y. • BARGAIN — Like new 16mm Bolex Deluxe with Yvar F 2.4, Switar F 1.5, and Yvar F 2.8 telephoto. Through the lens finder, and side finder, with leather case. First $420 takes. Box 64, HOME MOVIES, 1159 No. Highland, Holly- wood 38, Calif. FILMS FOR SALE OR RENT • HOME RENTALS — 16mm. sound features. Three days, $3.95, including all postage. 1954 home rental list free. Eastin Pictures, Daven- port, Iowa. • CULL'S 8mm FILM RENTAL CLUB Special Club Plan, Catalogue on request. 5931 Grand Ave., Pittsburgh 25, Penna. • The WORLD'S Most Famous Calendar Girl (plus 6 other beauties) appear in our film "Seven Sirens." 8mm, $2.00; 16mm $4.00. Send check. Big glamour list included. WICP, Box 392, Elmira, N.Y. • 16mm SILENT FILMS for sale. List free. Films bought and exchanged. Bioscope — 435 North Hobart, Hollywood 4, Calif. • CASH sent at once for 16mm sound films^ we pay $3.00 per reel, send films prepaid. Cohn Pictures, Parkin, Arkansas. • 5,000 New-Used 8- 16mm. Silent-Sound Films. Rare Old-Timers, Medicals, free catalogues. In- ternational-H, 2120 Strauss, Brooklyn 12, N.Y. FILMS FOR SALE OR RENT RENT 16mm SOUND FILMS BY MAIL Over 1500 subjests to choose from. Latest major releases. Features $4.95 up; 400 ft. shorts, 75c. Send for Catalog LIBERTY CAMERA SHOPPE 80 Vesey St. New York 7, New York • MOVIE HEADQUARTERS, 8-16mm. Complete listings of ALL leading producers. Travel, Com- edies, Cartoons, Sports, Adventure, Variety, etc.; plus BARGAIN listings on movie and photogra- phic equipment. Catalogs 15c. Turke Films, Hins- dale, Illinois. • AMERICA'S Finest Library Feminine Pulchri- tude now released for home showing. Samples, listing 10c. Film Art Productions, Dept. H., 505 5th Ave., N. Y. 17. • NEVER BEFORE has ANYONE offered such AMAZING HOME MOVIE VALUES! Brand New full reel 16mm Sound Films as low as $6.95. Brand New 3 reel Sound Features at only $17.95! Also the largest list of Used Sound Musicals ever offered at only 6 for $5.00— Boxed and Spooled! New 8mm and 16mm re- leases at big savings. Brand New Screens at V3 off list price! Your old films accepted in trade for new films, projectors, cameras, etc. Send for FREE LISTS and Quotations. IMPERIAL ENTERPRISE, INC. 34 Park Row, Dept. H New York 38, N. Y. • "CHILDBIRTH" — Hospital photography of complete birth of a baby, 16mm — $ 12.50; 8 mm — $7.50. Deposit with C.O.D. orders . . . Sher- wood, 150 Lenox Road, Brooklyn, N. Y. • ANIMATED CARTOON MOVIES — Famous Nursery Rhymes in 8mm COLOR! At less than you can shoot them yourself. Reg. $6.00, now each $1.79 or 6 for $9.95. Series include Humpty Dumpty - Hey Diddle-Diddle - Little Miss Muffet - This Little Pig - Jack and Jill - Three Blind Mice. Also available, for the first time at these prices: Movements from Famous Plays, "Scrooge", "A Christmas Carol", "Mo- ments from Macbeth", "Hunchback of Notre Dame", "Oliver Twist", "Bleak House" and "Jane Shore". Price: 8mm $2.95. 16mm silent, $5.95. Send check or money order to WEST- LAKE CAMERA, 635 So. Olive, Los Angeles. • COMPLETE YOUR missing hunting, game, and Yellowstone sequences with 16mm Kodachrome ORIGINALS, tripod-shot for national lecture ser- ies. EXTRA! EXTRA! Select what you want from 1600 feet of newly-released film, in addi- tion to the 2000 feet previously available. Summer and Autumn. 25 cents per foot and up. Dr. J. Allan Norton, 2535 Walter, Flint, Michi- gan. GET THE BEST 1954 ROSE PARADE MOVIES Our fifth year of quality coverage for world- wide customers. Kodachrome. Colorful floats. Beautiful girls. 200 ft. 16mm. ...$34. 95 100 ft. 8mm $17.50 Calif, add tax COD's accepted AVALON DAGGETT 441 No. Orange Dr., Los Angeles 36, California • GORGEOUS girls 2x2 Kodachrome 5, $2; 10, $4; 15, $6; 35mm Transparencies B. W. unmounted — 15 for $1; 35 — $2; 60 — $3. 35mm Negatives — 10 for $1; 25, $2; 45, $3. 2'/4 x 31/4 Negatives $1 each, 5 for $4. 33/4 x 5V2 Photos — 10 for $1; 25, $2; 60, $4. Fine Arts Film Co., Box 1084, San Antonio 6, Texas. C.O.D. Accepted. Minimum, $3. • KNOW YEAR AND PRODUCER OF YOUR SOUND FEATURE, send name of feature and dollar Cohn Pictures, Parkin, Arkansas. • NEW LOW RENTAL Prices sound 16mm cata- log on request; all subjects perfect condition; cartoons, sports, comedies, musicals, travel and feature length programs. B&W or color cartoons. 25c per reel rental — approx. 360' and 400' Postage paid by user both ways Write to: Hanik Film Library (all Sound) 7211 Grand Ave. Pittsburgh 25, Pa. FILMS FOR SALE OR RENT • SOUND FILM LIBRARY and Projectors - Fea- tures - Shorts. Free List. F. L. HAWLEY, 260 So. Temple, Indianapolis, Indiana. • TREMENDOUS List of documentaries. 16mm sound. Army, Navy, Air Force combat films. Also health, medical, safety, instructional, in- dustrial, automotive. 350', $2.75; 700', $5.00. Lists. Abbe Films, 503 5th Ave., New York 17. • 1954 ROSE PARADE IN COLOR. 8mm- 16mm movies and 35mm slides. (Various lengths, rea- sonable prices.) John Tyler, 603 Alta, Santa Monica, Calif. EXbrook 5-8876. • FILMS YOU'LL NEVER SEE ON TELEVISION! "Art" home movies. 50 ft, 8mm, $3.00. Sterling Camera Center, Post Office Box 115, Bridge- port 44, Indiana. MOVIE FANS New Stock 8mm- 16mm Films for Sale 200 ft. 8mm — Perfect Condition $2.75 400 ft. 16mm Silent — Perfect Condition $3.75 400 ft. 16mm Sound, like new $7.00 Cartoons, Westerns, Comedies, Travel Sport, Musicals, News, Etc. ABBE FILMS 503 5th Ave., New York 17, N. Y. (Ent. 42 St.) VA 6-1354 • "REEL" fun with "COLORVIEW". Projects thrilling colors plus deep dimension right into your black & white movies. Optical conversion unit fits 8- 16mm projectors. $3.00 postpaid. "Movie King" 2537 Woodward Ave., Detroit 1, Michigan. • 1954 ROSE PARADE; Kodachrome 8mm, Won- derful Floats, Gorgeous Girls, beautifully titled. The best coverage — complete version 200' color 8mm, $20.00 — Highlights 100' color, 8mm — $12.50. Order from CALIFORNIA CLASSICS, Box 116441, Hollywood 38, California. WANTED • WANTED good used 16mm sound films, car- toon, sport, etc. Will pay highest prices. Film Service, Box 625 Industrial Branch, Hillside, New Jersey. TITLES AND SUPPLIES • ALPHABETS Quick-stick letters 120. $1.80 up. Send check or C.O.D., Booklet. PROSPECT PROD- UCTS, 9 Cary, Mt. Vernon, New York. • YOU CAN GET Beautiful Kodachrome Titles for your Movies, made by HOT PRESS Cel meth- od. 500 titles to choose from. 8mm, 16mm Movie and 35mm Slide Titles. Catalogue and Samples 25c in coin. ELITE TITLES, Box 66, Edina P.O. Minneapolis. • TITLING is made easy with the book. How to Title Home Movies. Sells for only $1.00. Has size of field at various distances. Supplementary lens to use and many ways to make trick titles. VER HALEN PUBLICATIONS, 1159 N. Highland Ave., Hollywood 38, Calif. • PERSONALIZED TITLES made by experts cost so little but add so much enjoyment to your movies. Write now for free brochure. SIERRA WESTERN, 2748-Y East Broadway, Long Beach 3, Calif. • MOVIE OR SLIDE TITLES with that Profes- sional touch at low prices. Large variety back- grounds and letter styles. 8mm, 16mm, 35mm slides. B&W, Kodachrome. THOMSEN TITLES, 14 Roslyn Court, Oakland 18, California. TRANSPARENCIES AND SLIDES • NATURAL COLOR SLIDES, Scenic, National Parks, Cities, Animals, Flowers, etc. Set of eight $1.95. Sample and list 25c. SLIDES, Box 26, Gardena, Calif. • CARLSBAD CAVERNS — More new Interior Color Slides added. Sample 50c — New Illustrated Cata- logue with Text 15c. "TEX" HELM, DEPT, HMICS Carlsbad, New Mexico. FILMS FOR EXCHANGE • EXCHANGE your 16mm films, sound or si- lent, $1.00 per reel. State type films you prefer. ESTES RECORD SHOP, Brunswick, Missouri. LABORATORY SERVICES • NO NEGATIVE? Send $1.00 for new negative and two 5x7 enlargements from picture, trans- parency, colorprint, polaroid, stereof rames, tin- types Movieframe enlargements, 4x5. Projection slides from any print or negative, black and white, 3, one dollar. Colorslides from any kodacolorprint, kodachromeprint, printon, 4, two dollars. Curiophoto, 1187 Jerome Ave., New York 52, New York. 85 CLASSIFIED Continued LABORATORY SERVICES • SOUND RECORDING at a reasonable cost. High fidelity 16 or 35. Quality guaranteed. Com- plete studio and laboratory services. Color print- ing and lacquer coating. ESCAR MOTION PIC- TURE SERVICE, INC., 7315 Carnegie Ave., Cleveland 3, Ohio. Phone: ENdicott 1-2707. CAMERA FILM • SAVE 50% on developing sets, chemicals and bulk movie film in 100 or 400 ft. rolls. Send us postal card for Free Circular. FROMADERS, Box 637-F, Davenport, Iowa. • SAVE 50% on double 8mm. or 16mm. movie film with 24-hour free processing service. Send postal card for free circular and sample film. FROMADERS, Box 637-F, Davenport, Iowa. • We develop all makes of black and white movie film. 25 ft. double 8mm. 75c — 50 ft. 16mm.— $1.00 — 100 ft. 16 mm. $1.35. We re- turn spools and magazines. FROMADERS, Box 637-F, Davenport, Iowa. • GUARANTEED FRESH 8 mm roll, magazine; 16mm roll, magazine movie films. Color, B&W Free catalog. ESO-B, 47th and Holly, Kansas City 2, Missouri. MISCELLANEOUS • FREE BOOKLET — Make better home movies — PROSPECT PROD. CO., 9 Crary Ave., Mount Ver- non, New York. • "HOW to Expose Ansco Color Film" by Lars Moen should be on your movie library shelf. A working handbook for the photographer using Ansco color material, it discusses shutters and lenses, color lighting, three-dimensional color pictures, portraits, color temperature, exposure meters, composition, exposure tables, mixed col- or light sources and many other subjects so valu- able 1o the movie maker. Only $3.00. Write to VER HALEN PUBLICATIONS, 1159 N. Highland Ave., Hollywood 38, Calif. • BUXOM BABES! For those who appreciate feminine beauty and the body beautiful, a series of artistic Pin-Up photos. Set 8 Photos — $2.00, 6 sets (48 photos) $8.00. REYELLE, Box 95, Dept. M.P., Hammels, L. I., N. Y. . MARILYN MONROE Art Color Calendar. You Know The One, It's Famous! $1.00. Three for $2.00. Sterling. G.P.O. Box 1513-V. New York City 1. • NUDE MODEL FACTS EXPOSED. Shocking use of peephole cameras, "Art Study" salons, illicit practices, all boldly revealed, illustrated. $1.00 Dept. M, Knight Press, 524 W. 25th, N.Y.C. 1. HOW TO MAKE MOVIE TITLES IN COLOR! Write today for a FREE A-to-2 Sam- ple Title Test Kit. Make titles that are different . . . better and tailored to your taste. Try our method . . . FREE. Complete color or B&W Outfit $6.50 A-to-Z MOVIE ACCESSORIES 175 Fifth Avtnue Digt H New York 10. N.Y. / * Send for your FREE Sample Copy of FILM and A-V WORLD THE NEWS MAGAZINE OF THE AUDIO-VISUAL FIELD Easily readable reports of the latest develop- ments and trends in non-theatrical 16mm films and equipment — departmentalized in all phases, including schools, industry, televi- sion, and churches. For your cinema club programs, a special review section gives descriptions and avail- ability of 60 to 75 new film releases every month. One Year Subscription — $4.00 FILM and A-V WORLD 1159 N. Highland Ave. Los Angeles 38, Calif. , J FILMING • Continued from Page 84 Then explaining our project a little more in detail, we would ask for his help in selecting our actors from among the crowd gathered at his door- way, and from among those he called, we would select candidates, matching them either for resemblance, contrast, for types and for size. Remember, that over-the-shoulder-shots can be tricky if extremes are used. If all went well up to this point we would then take our actors to the selected locations, trying them "for size" in the entrances or doorways which all varied, according to the builder of the mud houses. Watch- ing through the ground glass of our still cameras we would ask the actors to do simple things to get a better idea if they would work out or not, to see if they could follow instructions, and to see if they would freeze in front of a bigger camera. If satis- factory and available, we would dis- cuss terms of payment with the mayor, as well as the rental fee for the yards or houses we needed. It was at this point we would broach the subject of the women needed to play the parts of mothers, wives or daughters in our film. Cautiously explaining the roles, we would ask our newly hired actors if they would con- sent to their women playing the parts. Since we could not go around peering under veils for just the right types, we had to settle for what we could get locally, or bring one out from the city with us each day. Sometimes they would consent read- ily, sometimes only if the scenes would be shot inside their own houses or yards, sometimes they would flatly refuse under any conditions. We first had to overcome the religious preju- dices of having their women's faces seen by males, let alone foreign males such as we. The promise of payment nearly al- ways turned the trick, but we would never dare to pay the women as much as the men, lest the men "lose face" by being on the same financial level with them. With luck, we would wind up details like this in one day and schedule shooting as soon as we could secure the necessary props. Other times, days of visiting, talking, bar- gaining and pleading would get us ab- solutely nowhere, and it was here we learned more of that unpredictable intangible called human nature. It happened more than once that our shooting was interrupted by some irate villager who demanded his clothes back from our actor. When summoned by the mayor for our cast- ing, our hero had quickly borrowed from neighbors those items he lacked, forgetting to mention this little detail to us. f ollowed then negotiations for the purchase or rental of the article, alter a fair price had been bargained for of the value. To prevent recur- rences of this, we began to assemble a wardrobe and prop department from the bazaars of Teheran and eventually our rolling stock in the back of the truck included women's veils, chil- dren's clothing, men's accessories, pots, pans, pails, jars and stools. At one lime or another we either bought or rented sheep, goats, cows, hay, alfalfa, pastures and gate fences. Sometimes after a week of shoot- ing inside a home, the doors would be locked to us, and the owner away on business, visiting, or spending some of this windfall which came his way. Other times the rent would be raised because we tracked dirt into his home, or the curious watchers on his barn roof threatened to collapse his struc- ture, for which we would be blamed. In the land of shaved heads and bearded faces whiskers were a prob- lem because the men were shaved only once a week. Friday in the Moselm world is like our Sunday, so Thurs- day afternoon was designated as clean- up time when the local and transient barbers would shave or clip beards for the following day of prayer. Con- sequently, we had to watch our daily takes so they would match, especially in facial close-ups. \^ e made good use of our Polaroid camera for check- ing this little detail, as well as for the clothing worn by the actors. Over- night our interiors would invariably be rearranged by the people who lived in the homes we used, so whenever we thought it necessary, we would shoot "for the record ' our setup or light- ing arrangement. Once we thought we had the whisker problem licked by having our actor shaved daily by the local barber (a villager can't afford a straight razor and safety razors are a luxury), but this proved to be a mistake, as he bore wounds from the cold-water-dull-razor treatment all through the film. It was probably the first time an Iranian vil- lager was seen with a clean shaven face for two weeks straight, much to the wonderment of all who will see the film. Thereafter, we scheduled our close-ups of faces more carefully or had our actor's beards clipped and not shaved. Each film had its moments, some sad, some maddening and some hilar- ious, but all of which kept us won- dering what else could possibly hap- pen to us in this land of slow moving individualists to whom time meant nothing. Mr. Budy will conclude his article in the March issue of Professional Cine-Photographer. 86 Timelv Titles HE TITLES WITH DARK BACKGROUNDS ARE FOR CINE FANS WHO SHOOT ON REVERSAL FILM. THE >THERS ARE FOR THOSE WHO USE THE POSITIVE METHOD. ALL ARE FOR THE COLOR FAN. THEY CAN BE ISED WITH WATER COLORS OR BY PLACING COLORED CELLOPHANE OVER EACH TITLE BEFORE IT IS SHOT. MB _C j ttQyjrj Shown above is the Kodascope Pageant 1 6mm. Sound Projector, Model 1 , sold by thou- sands of Kodak dealers. Five special-purpose models are available frorr. Kodak Audio- Visual Dealers. And eocfi is the lowest-priced projector in Hs class! There ore also two 16mm. silent Kodascope Projectors that are built to the same design and incorporate the same optical and mechanical fea'ures as the Pageant— the Kodascope Royal Projector for standard projection . . . and the Kodascope Analyst Projector, specially c-cuippsd for critical motion-picture analysis. Price is subject to change without notice. IN 16mm. SOUND PROJECTION... Only the Pageant offers all five top-important sound-projection features . . . and each Pageant model is the lowest-priced projector in its field! 1. Freedom from lubrication problems. With the Pag- eant, lubrication is never a problem, for it alone among all 16mm. sound projectors is permanently pre-lubri- cated at the factory. Faulty lubrication — too little oil or too much oil, the prime cause of projector damage — is eliminated. You can throw away the oil can ! 2. Permanently quiet. The show belongs on the screen. There's no place for show-stealing projector noise. Nylon gears, the Pageant's non-skip pull-down mecha- nism, its minimum of moving parts, with all shafts de- signed for low-speed operation, combine to keep the Pageant's noise level way down . . . permanently. 3. Provision for optimum sound. . . anywhere. The high- est quality sound ... in adequate volume . . . properly distributed so everyone can hear ... is vital to full enjoyment of your shows. In the Pageant the finest type of audio amplifying equipment, an adequate speaker of proper design and capacity — plus the avail- ability of additional matched speakers to meet acousti- callv difficult conditions — give you full assurance of quality sound, whether you show movies in large or small auditoriums or at home. 4. Sharp, clear pictures. Screen and film are flat, but conventional lenses have curved fields. As a result, images projected by such lenses can never be com- pletely in focus — when the center is sharp, outside edges must be blurred . . . and when you focus for the outside edges of the image, the center area must lose sharpness. But with a Pageant, crisp over-all focus is nev er a problem ! An exclusive field-sharpening element — built into the standard lens — eliminates field curva- ture to make possible crisp, clear projection over the whole screen area. 5. Clear-as-a-bell tone quality. The Pageant's unique Fidelity Control completely does away with fuzzy sound reproduction. It permits exact focusing of the sound scanning beam whether the sound track is threaded toward or away from the lens. No other 16mm. sound projector offers all these ad- vantages— advantages that result in better perform- ance, freedom from trouble, ease of use. and longer life ! Pageant. Model 1. New Low Price -S375 EASTMAN KODAK COMPANY, Dept. 8-V, Rochester 4, N. Y. Please send me more information about the ~ Kodascope Pageant Sound Projec- tors, □ Kodascope Royal, ~ Kodascope Analyst. STREET. CITY _STATE_ (Zone) 2-5 r J HOLLYWOOD'S MAGAZINE FOR ^ J 8 MM AND 1 6 MM 's)jjJ3 j ds) 7J3 I o*fes*sioanai CINE PHOTOGRAPHER ARCH 1954 is 3ivj.s g^c-oo xvaox s-rxnw r jlJIji 35 CENTS 'You can't show them if they're not edited..." Splice your films with a yd automat Stainless Steel Q_ 1 6mm 01 S mm ip/.VD ffUH SPLICER Both 8mm and 16mm films can be used. The Hollywood "Auto- mat" 8-16mm splicer Is completely new! Has moulded plastic base with 4 rubber feet, and unit is ribbed to prevent warping and breakage. All working parts are made of stainless steel en- suring constant alignment by the precise construction. Fast operation with provision for rapid drying of cement. Special scraper is constructed so that film cannot be torn. All this adds up to a fine splicer at a low price. The Hollywood "Automat" is your best buy, because it's guaranteed. S C H 0 E N PRODUCTS COMPANY 15029 South Figueroa Blvd GARDEN A, CALIFORNIA the HOTSPLICE jj $1495 Fundamentally the editing or repairing of your film with the Hot- splicer is identical to that procedure followed with either the Standard or Automat Hollywood Splicers. The finish and fea- tures of the Hotsplice are identical to those of the Automat; plus the truly professional addition of the thermostatically controlled heating unit which is mounted directly under the splicing area of the steel base. The Hotsplice operates on any standard house 110-120 volt AC line. Professional splicing speed and fully fused joints are the main advantages of this splicer. MAIL TODAY Gentlemen : Please send me the Enclosed you will find $- check Name Splicer -in money order, cash. :treet_ City. OR — I would like to have this splicer shipped through my local camera store. His name and address is I will pay him on receipt of the item. Give your movies life-like sparkle by loading with finer Ansco Hypan Film! • This famous Ansco black-and-white film can bring to your home movie screen images whose bright crispness rivals the original scenes. Yes, those memorable moments you'll want to record will photograph on Hypan film with amazingly little loss of sharpness from what your eye sees. That's because Ansco Hypan Film is made with an inherently brilliant contrast which imparts a characteristic snap and luminosity to your pictures, whether they're taken inside or outdoors. And Hypan's good speed (Exposure Index of 40 for daylight, 32 for tungsten) allows you to capture fine-grain images rarely seen in home movies. Priced low, Hypan lets you take more high-quality movies for your money, too. Photo dealers everywhere stock this finer Ansco Hypan Reversible Film for 8 and 16mm cameras. People Who Know Buy Ansco ANSCO, Binghamton, N. Y. A Division of General Aniline & Film Corporation. | "From Research to Reality." Ask for ANSCO HYPAN FILM 91 designed for TV IT'S NOW AVAILABLE TO YOU! GOLD SEAL SPECIAL THE FASTEST MOVIE FILM ON THE MARKET! You'll swear it's supersonic. This amazing new discovery presented by Kin-O-Lux Laboratories, GOLD SEAL SPECIAL, is just the film you home and professional movie- makers have been looking for. Originally designed for televi- sion, the demand was so great from the shutterbug fraternity that a portion of the output has been channeled into camera stores and is now avail- able for home consumption. GOLD SEAL SPECIAL is of the pan type, unusually sensi- tive, and with a Weston tung- sten rating of 225, (300 tungsten by ASA rating) just think of the action shots you'll be able to get! GOLD SEAL SPECIAL is now available at your dealers in 8 and 16 MM and sound. So you home and professional moviemakers ; . . get the fast- est and most sensitive film on the market. Ask your dealer for Kin-O-Lux GOLD SEAL SPECIAL . . . TODAY! Registered U.S. Potent Oft. Home Movies professional HOLLYWOOD'S MAGAZINE FOR THE 8mm AND 16mm AMATEUR and CINE PHOTOGRAPHER Vol. XXI CONTENTS FOR MARCH, 1954 No. 3 articles - home movies TWO SHORT SCRIPTS 94 PHOTO FUN IN MEXICO— By Henry Provisor 100 MUSIC FOR YOUR MOVIES— By Dow Garlock (Part 5) . . 101 EFFECTS WITH CAMERA SPEEDS— By S. Webb .... 102 BASIC CAMERA MOVES— By Julius Smith N 102 CONTINUITY BY PRE-PLANNING — By Joe Roc ke ... 1 03 MAKE 8mm. LAP DISSOLVES— By Tom Butler 103 articles — Cine Photographer HOW TO USE REFLECTORS— By Leonard Clairmont . . . 113 400 FEET OF LIFE — By Robert Lee Behme 114 MOTION PICTURES IN MOROCCO— By Leon Vickman . . 115 FILMING AWAY FROM HOME— By Joe Budy (conclusion) . 117 departments WHAT OTHERS ARE SHOOTING 95 16mm. PROGRAM FILMS 96 MOVIE IDEAS 98 LET'S GO SHOPPING 106 HOLLYWOOD PROS AT WORK 112 FILM LIBRARIES 128 CLASSIFIED ADVERTISING 129 TIMELY TITLES— By Marion Kyle 131 HOME MOVIES and The professional CINE PHOTOGRAPHER, Hollywood's magazine for modern movie makers, is published monthly by Ver Halen Publications, Hollywood. Also publishers of "Film World", "AV World", "Film World Directory", "Church Films", and "TV Magazine". No part of contents may be reprinted without permission from the publisher. Entered as second-class matter May 6, 1938, at the post office at Los Angeles, Calif., under the Act. of March 3, 1879. Change of address: Four weeks' notice required. When ordering change please name magazine and furnish address imprint from recent issue. If unable to do so, please state exactly how magozine is addressed. Change can- not be made without old as well as new address. Subscription Rates: U.S., $4.00 per year. Two years, $7.00. Single copies 35c. Canada $4.00 per year. Foreign, $5.00 per year. Foreign subscriptions ac- cepted only if accompanied by payment in U.S. funds. Advertising rates on application. Editorial contributions are invited but the publishers assume no responsibility for unsolicited manuscripts, drawings or photos, which should be accompanied by sufficient postage for return, if not used. Pay- ment for editoriol material made on acceptance. Travel : S. J. Licata & LaTona Technical Editor JAMES RANDOLPH CHARLES J. VER HALEN Publisher HENRY PROVISOR • EDITOR Correspondents LEON VICKMAN, Paris AUSTIN BURTON, Montreal MIKE PEREZ, Mexico City Art Director: JOE WALL Advertising: SYD CASSYD Associate Editors L. L. ROWE JOS. STEIN C. J. VER HALEN, JR. Associate Publisher OFFICE OF PUBLICATION — 5327 Santa Monica Blvd., Hollywood 38, Calif., HO 2-3253 NEW YORK OFICE — Seymour Robbins, 1819 Brodway, JU 6-6689 - PL 7-0955 FOREIGN OFFICE — Jacques Ferrand, Official Internationale Artistique, 152 Avenue des Champs Elysee, Poris 8, France. (Room 1772, 1440 Broadway, New York 19, Wisconsin 7-3445 1 KIN-O-LUX Inc. 105 WEST 40TH ST., NEW YORK, N. Y. 92 ...but it's MORE FUN TO KNOW that you can get Lip-Synchronized Sound WITH your Picture... $695.00 with a 30-day money-back guarantee. You must he satisfied. Write today for free illustrated "Cine -Voice" folder descrihing... "THE CAMERA THAT HEARS WHAT IT SEES!" at NO additional film cost with The Cine-Voice 16mm "Optical" Sound -On -Film Camera! Run your 16mm High- Fidelity Optical- Sound -Track Talking Pictures on any ordinary 16mm sound projector. No special equipment or film processing needed. Shoot full-color or black and white. BERNDT-BACH, INC. 7375 BEVERLY BLVD., LOS ANGELES 36, CALIF. MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931 93 /Impossible distances become Prlmar Reflex Photo "normal 105 mm. lens close-ups "ASTRO Primar Reflex Photo Astro 640 mm. lens taken simultaneously byHans Namuth LONG DISTANCE LENSES FOCAL LENGTHS TO 1000 mm.! Used by the world's foremost explorers, scientists and news services, Astro lenses have been making photographic history all over the globe. Special formulas have pro- duced resolving powers up to 100 lines to the mm.! And these superb lenses are fast enough for action color work— focal lengths from 300 to 800 mm. rated at F/5, the giant 1000 mm. (40 in.) at F/6.3. FOR STILL CAMERAS Lei«,. Exokto, Primar-Reflex, Master Reflex, Hosselblod, Praktico, Contox-S FOR MOVIE CAMERAS 16435mm. Bolex, Mitchell, Eyemo, Debrie, Askania, E.K., Arriflex, etc. DUAL PURPOSE MOUNTS oiiow inierchangin movie and i A Br n . F 2.3 6 in. F/2.3 6 in. F/1.8 Made by Germany's foremost specialists in long-range optics, Astro lenses are available on order from franchised dealers only. Write for brochure and prices ERCONA CAMERA CORP* Dept. A-22 527 Fifth Ave., New York 17, NY. 2 SHORT SCRIPTS... Strategy 1. M.S. Johnny, a schoolboy, is walking very slowly down the hall in his home. He is carrying his school report card. 2. M.S. He stops. He looks at the report card. 3. C.U. The report card. Johnny's grades are very poor. 4. C.L. Johnny's face as he winces and shakes his head dolefully. 5. M.S. Johnny puts the report card behind his back as he starts to move again very slowly toward the living room. 6. C.l . Johnny s feet. They are dragging. 7. C.L. Johnny's face. He looks un- happy. 8. M.S. Johnny reaches the living room door which is shut. 9. M.S. Johnny reluctantly puts out his hand to open the door. 10. C.L . Johnny's hand as it ginger- ly touches the door knob and is swift- ly snatched back. 11. C.L. Taking another look at his report cord. Johnny again shakes his head sadly. Bracing his shoulders, he grasps the door knob firmly and pushes open the living room door. 12. M.S. Johnny's father and an- other man are in the living room. Gambler Scene 1. L.S. John and Mary are drinking coffee in a restaurant. A waiter stands near their table. 2. M.S. John beckons to the waiter. 3. C.L . The waiter hurries over. 4. C.L. He gives John the check. 5. C.L. John looks at the check. 6. C.L. John places a S5 bill be- side the check. 7. L.S. The waiter removes the cof- fee cups, brushes off the table cloth, picks up the money. He leaves. 8. M.S. John and Mary get ready to 9. M.S. The waiter returns with the change on a plate. 11. C.U. John looks at the change. He gets angry. 12. C.L . He picks up the plate with the change. He shows it to Mary. 13. C.L . The plate. On it are a fiftv-cent piece and a nickel. 14. C.U. John is angry. 15. Title: '"That waiter thinks he's They are sitting beside a small table which is covered with papers. 13. M.S. The man places one of the papers in front of Johnny s father. Handing him a fountain pen. the man points to the bottom of the paper. 14. Title: "Just sign on the dotted line. Mr. Jones." 15. M.S. Johnny's father signs the paper. He returns the pen. 16. M.S. The man takes the paper signed by Johnny's father. 17. M.S. They exchange smiles, :-hake hands, and the man leaves 18. M.S. Johnny's father picks up the newspaper which he starts reading. 19. C.L . Johnny's face breaks into a big smile as he has a bright idea. 20. C.L. Johnny carefully folds the report card. 21. C.L . The report card. All that's showing now is a dotted line which is marked "Parent s signature." 22. C.U. Johnny searches through his pockets and finds a pencil. 23. C.L. Johnny hands his father the report card and the pencil. 24. Title: "Just sign on the dotted line, Pop. C.L . — Close Up. M.S. — Medium Shot. L.S. — Long Shot. prettv cute, but I'll show him." 16. C.L. John's hand picks up the fifty-cent piece. 17. C.L. John glares at the waiter. 18. C.L . The waiter pretends he does not notice. 19. M.S. As John and Mary rise, the waiter huries over. 20. C.L. John and Mary watch the waiter as he sees the nickel tip on the plate. He does not bat an eyelash. He pockets the nickel and bows to them. 21. C.l . John and Mary are sur- prised. 22. C.L . The waiter shrugs his shoulrers. He smiles. 23. Title: "Just a gamble, sir. This time I lost." 24. C.L. John and Mary start to laugh. C.L . — Close L p. M.S. — Medium Shot. L.S. — Long Shot. 94 what others are shooting "An American Tragedy" — By Frank Constantino. 200 feet. B&W . *** We have looked at this film from two points of view. 1) Technique. 2) Story. THE STORY: This concerns a man named Frank Smith. Brought up in an orphanage and kicked around until the age of 15, he runs away from the home and joins the American Army in World War I. Wounded in France, he returns to the States and buys a radio repair business, although he knows nothing about radio. In any event, by trial and error he invents a staticless radio and becomes immediately rich and famous. As times goes on the 1929 crash wipes out his fortune and he is reduced to a day-to-day existence with no hope. Finally when things are at their worst, and he sits down to read a recent medical report which states that he has tuberculosis, the phone rings and he is advised that he has just won $150,000. Not content with this windfall our hero turns on the gas and leaves his newly won fortune to an or- phanage, so that "some other kid can get a better break in life than I did." Actually this is not an "American Tragedy" — it is really an American success story with reverse English. What does Mr. Constantino want any- way? Our hero makes a fortune in- venting a radio device, loses it and then gains another. Seems to us that our hero didn't use much common sense. $150,000 can do a heap of cur- ing, even with a thing like tuberculo- sis. So we feel that the story is weak, but it is so because it reflects the ado- lescent point of view which is Mr. Constantino's, (we are certain that he is no more than nineteen). Youth has a penchant for gloom and tragedy and for some peculiar reason we felt the same way at the tender age of seven- teen. But life isn't like that Mr. Con- stantino. This guy had two big breaks, and if he chooses to die despite the fortune at hand, well we have no sym- pathy for him. And this is the crux of the matter. With no sympathy from the audience, the film will not come off. It must be real, people must react as normally as possible in given situations, and the viewer must identify himself with the people in the film. TECHNIQUE: This picture has all the elements of a good conventional movie story and the whole thing is handled artfully. The feeling of doom and gloom is admirably suited to black and white because we feel that real drama has no business being shot in technicolor. Although the act- or is no more than 16 or 17, he does an excellent job, and the make-up is especially effective. The story flows along very swiftly, sparked here and there by stock shots of WW1, (no doubt borrowed from a commercial 8mm print). Let reader Constanino continue to make films. As he grows older he will learn about compensa- tions, and that the good and bad are pretty fairly distributed, along with plenty of fine opportunities along the way. So let's cheer up a little and leave the doom and gloom to those • See Page 1 1 8 FOR BIG CATCH" HOME MOVIES MEDIUM BEAM REFLECTOR G-E PHOTOLAMPS Designed especially for movie making. 40° beam spread is matched to cam- era coverage. 375- watts means four on a single home circuit. Ideal for camera bracket lights. and to see them at their best- G-E PROJECTION LAMPS Use 'em in slide or movie projector and be sure to keep a spare handy. Remember . . . G-E Lamps jor every photographic purpose GENERAL ELECTRIC 95 SOLAR-COLOR FILM Avoiloble in two types: outdoor (for daylight) and indoor (for artificial light). 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Users: Upper elementary and junior high so- cial studies; suitable for supplementary material at highschool and college levels. Content: Depicts a typical day and the way of life in a small Japanese fishing village, Himajo. A fisherman is shown eating the rice and soup if his breakfast before joining the other fishermen of the village to discuss the day's work. The boats are beached every night; so fishermen must push their boats into the water. This day bonita and yellowtail are run- ning and the fishermen will use lines and hooks. After the fishermen leave, the wives return to their work. One is shown rolling up a bed and putting it away. Others are shown washing clothes by hand, sweeping, buying vegetables, and looking at cloth. The school boys demon- strate enthusiasm for baseball, and one boy practices on a soroban in solving artihmetic. A class in English and singing is depicted After school the children hurry home to help with the work of gardening. Some sequences show the fishermen catching fish, returning home, and beaching the boots. A festival celebrating a god fishing season is portrayed, and here the villagers dress in traditional kimonos, rather than their everyday western clothing. After dinner the fisherman rests with his family, and the children listen to the radio, one of their few modern luxuries. ..Narrated throughout by an American-born Japanese. Comment: The selection of sequences chosen for this film shows a great deal of detail that cannot be mentioned adequately. The modern touches in a way of life that hasn't changed in several hundred years are interesting. There is a feeling of intimacy not usually achieved in this type of film. Distributor: Young America Films, 18 E. 41st St., New York 17. THE REHABILITATION STORY EDUCATIONAL. Sound, 30 min., color. Apply. Produced by the Virginia State Board of Educa- tion Film Pro3uction Service, for the Virginia Vocational Rehabilitation Service. Users: General audiences, church groups, civ- ic groups, welfare agencies, guidance directors, hospital personnel and persons dealing with the handicapped. Content: Depicts the help that is given to handicapped epople in Virginia .including ad- mittance and treatment procedures. Several se- quences show people doing various types of or- dinary work, skilled and unskilled. Then narra- tion explains that each one has a disability, which is shown as the scenes are reshown, in- cluding arm and leg amputees. Accidents, ill- nesses, or births are causes of disabilities. In- dividual vases of a man who lost both legs, an elderly woman paralyzed on one side by a stroke, and a girl who hasn't walked since childhood, are shown as they wonder how they can be useful. They are visited by representa- tives who tell them they will be seen by voca- tional rehabilitation counselors. People are shown as they visit an office of rehabilitation, and it is explained that actual amputations or paralysis are not the only cases they take: others are deaf, heart diseased, tubercular, aged, and mentally ill. Best physical condition is arranged through treatments or surgery if necessary. Vo- cational training is determined by age, exper- ience, interests, education, and tests on me- chanics, ideas, words, figures, etc. At the Wood- row Wilson Rehabilitation Center, a former Army hospital center, a woman is welcomed to a dor- mitory and taken to her room where her room- mate is also a wheelchair case. The housemother is also a wheelchair. The hondcapped are shown as they eat, get mail, make up their beds, play games, and use the library. Physical therapy shows people receiving various treatments. An- other section shows people learning to walk. Other people are shown in the occupational ther- apy section. In vocational therapy, the various vocations are seen separately, including watch repair, electrical work, business school, sewing, radio and TV repair, shoe shop, and body and fender work. The counselors find jobs for these people, particularly when they want to go home. The counselors visit the handicapped periodic- ally to check on their progress. Successful work- ers are illustrated: deaf-mutes in a factory, a former TB case working at a file, and a girl who had a mental illness arranging flowers in a florist shop. It is noted in the conclusion that it costs less to help one of these people than it is to keep one on relief for one year. Comment: This film is recommended for gen- eral audiences to show that handicapped peo- ple just need a little help to help themselves. It is good public relations for the Virginia Vo- cational Rehabilitation Service, which is to be highly commended for its work. A good overall picture of their work is shown. Sequences using dialog clearly demonstrate a Southern, but pleas- ant, occent. Distributor: Bureau of Teaching Materials, State Board of Education, Richmond, Vo. PUEBLO ARTS EDUCATIONAL. Sound, 1 reel, color. Rental, sale. Produced by the Audio-Visual Education Service, University of Minnesota. Users: Junior high and highschool studies in Indian lore, arts and crafts, and ceramics; adult ceramics. Content: Records the decline in artistry in pueblo pottery art, with the exception of the work of Mario Martinez. A map shows the out- lines of the pueblo area in the U.S., and the barren, arid land is observed. Narration ex- plains that pueblo means village, and that these Indians started making fine pottery hundreds of years ago. The pueblo Indians continue to live in their villages although other tribes de- serted their original homes long ago. Today the pueblo Indians make their pottery for tourists; art has disappeared from these commercialized pieces. Indians are shown working on some of these tourist pieces. Pottery on a store shelf is said to contain no meaning nor beauty. Maria Martinez is shown making a bowl by the coil method, following step-by-step, her shaping with a shell, polishing, applying slip, forming dis- tinctive designs, and firing in a home-made kiln. Finished pieces display a black on black color- ing. Examples of geometric designs of objects in everyday life is demonstrated, including feathers, buds, grass, and others. Her son, Tony, is a commercial artist, and his drawings demon- strate only a touch of the pueblo in his work. Narration concludes that the Indian art is dis- appearing, but perhaps a new art will develop. Comment: The sequences demonstrating Ma- ria Martinez's pottery making and designing are particularly interesting. Students studying Indian lore will appreciate the interpretation of items itno the geometric designs. Distributor: International Film Bureau, 57 E. Jackson Blvd., Chicago. REMBRANDT — POET OF LIGHT EDUCATIONAL. Sound, 13 min., b&w. Rental, sale. Produced by Benjamin Berg and I. A. Block. Users: College art appreciation, highschool and college art classes, and adult fine arts clubs. Content: Demonstrates the effect of Rem- brandt's life upon his paintings, drawing and etchings. Rembrandt's early works show scenes of his childhood and portraits of his family. His mother, father and brother are not only depicted a sthemselves, but as other types, such as Oriental, warrior, and others. His interest in people is shown in his picture of the peoples of the street and his characterization in Biblical scenes. After his reputation as a portrait paint- er was established, his noted "Anatomy Lesson" appeared. His marriage led to many paintings of his wife. After his reputation was ruined by his painting of the "Night Watch" and after his wife died, his Christ pictures revealed a compassion for mankind. Although a new love came into his life, he was evicted from his home, but in the slums he found new subjects for his pictures. Fortune looked up when he received a contract to paint for the cloth mer- chant guild, but his money was seized by his creditors. Then the woman he loved died and Rembrandt's subjects became melancholy. His son, Titus, grew up, married, and left him. He turned toward Biblical subjects. One of his last works before he died in 1669 was a self-por- trait, showing him as an old, careworn man. Narrated throughout with a musical background. Comment: A rapid survey of the work of Rembrandt that does not pause to study tech- nique, the film emphasizes facial expressions and develops subject matter as it seemed to reveal effects of his tragic life. A study of his life, before seeing the film, would help the viewer understand unexplained statements, such as "his reputation was ruined after painting the 'Night Watch'." Distributor: International Film Bureau, 57 E. Jackson Blvd., Chicago 4. 96 Cine-Kodak Royal Magazine Camera Meet moviedom's Royal family. . . There couldnt be a simpler yet more talented movie camera than the 16mm. Royal. There isn't a better value! Want movies at their easiest? Just slip a film magazine into the Royal and close the cover. A built-in guide "dials" the right exposure. And so great is the "depth" of the Royal's superb Ektar //1.9 lens, you seldom have to focus. Or step out with the Royal — make slow-motion or single-frame movies . . . focus, razor-sharp, from a foot to infinity . . . slip on any of eleven Kodak auxiliary lenses for wide-angle or telephoto shots. For beginners, for experts, the Royal has — does — everything. Yet it's only $176.25 with f/1.9 lens. Kodascope Royal Projector New . . . brilliant . . . quiet as a kitten — and the most trouble- free 16mm. silent projector ever made! Those aren't adjec- tives. They're facts. The Royal's bearings, gears, and geared reel arms are permanently oil-impregnated or sealed in oil. That means quietness and long life. The optical system is outstanding and includes a unique extra element that pro- duces pictures as sharp at the corners as they are at the core. Reverse operation, variable speed control — and the Royal is so easy to run! Built into its own handsome case, the Royal Projector is $245 — and you'll say it's well worth it. Cine-Kodak Film Prices include Federal Tax and are subject to change without notice. Beautiful, full-color Kodachrome Film, either Daylight Type for outdoor movies or Type A for indoor-nighttime shoot- ing. Or super-fast, super-fine "Super-X." You can depend upon them! Family resemblance. All Kodak movie equipment is good movie equipment. From the $39.75 8mm. Brownie Movie Camera to the 16mm. Cine-Kodak Special II Camera . . . from the $62.50 8mm. Brownie Movie Projector to the sound-and- silent 16mm. Pageant Projectors. All are fine values, too — and one is the right one for you. See your Kodak dealer, won't you? Or write . . . EASTMAN KODAK COMPANY, Rochester 4, N Y. 97 MOVIE Art on Film I like good art: painting, water colors, sketching and modern "abstractions". For a long time 1 wondered how I could bring these works into my own home without actually buying them. Recently I found a way. Since I make regular visits to all the local galleries just to see the new exhibits. I have become friends with the local curators and owners. I asked the owner of a private gallery if I could make a film about a promi- ent painter who lives in our city. The gallery owner was delighted. He made the arrangements and before I knew it, I was at the artist's home making shots. This was a wonderful experience for me. The painter had never worked with film before and he was as ex- cited about the wonders of film as I was about filming his story. He made lots of wonderful suggestions. He helped me with lighting and angles. He was a marvelous actor and after I'd made the sequences of him I told him I'd like to film some of his work to go with the film. He agreed. 1 spent two nights at his house mak- ing shots of his work. I made long shots of entire canvases, then I'd move in for closeups, or details, of special areas. When I projected the film later I was pleasantly surprised, for I found that this is really the way to see paintings. I looked at the canvases as a "whole" then I'd be able to see detail and, if necessary, roll back and see again areas which had special in- terest. The gallery owner was pleased with my film. He's borrowed it many times to show at private showings and in return he has given me free-run of his galleries. Whenever a new showing is hung I hustle down and film the paintings which I'd like to buy but haven't the money to buy. In return he borrows these films. Other galleries in town have heard of this and they promise to allow me the same free run . I have hopes of doing other full films, that is stories of artists with their work, rather than just their work alone. I shoot most of my paintings in col- or. That is really the only way to cap- ture the feeling the artist put into them. This is not as hard as it sounds. I use blue bulbs with day- light color and find the results excel- lent. I find that I must use at least four lights to get the right exposure without "hot spots" in my pictures. I think it is almost impossible to get good renditions with just two lights. They cannot cover enough area even in wide reflectors. — Max Manisher, Dubuque The Sale During the January run of "clearance sales" my wife towed me into one of the things. As the mad. milling crowds pressed their way to the victories they wanted I thought to myself, "What a mess. If there is any one thing which has all the elements of a really funny movie, this it it." And I did something about it. I trotted right back home and got my camera and came back to the store without my wife even missing me . . . she was too doggone busy worming her way up to the dress rack. While I was at the store I made sev- eral different footages of the mad rushing crowd. The lighting in the store was excellent for this. The over- head fluorescents were bright enough to shoot fast black and white at f-2.2 and I got lots of "wrestling" footages. Then, after rescuing my wife from the battle I took her home and worked out the rest of the plot. It was this: A woman reads about a sale in the newspaper. She is determined to go and dresses herself in her best bib and tucker for the event. She goes to the store. There is a long line, and sev- eral fights break out even before the store opens its doors but the woman makes it inside. The sale items are quickly sur- rounded and the woman battles her way to the counter (this is where I used the footage I made in the store). Finally she finds what she wants and grabs for it but another woman grabs at the same time. The two fight it out with each getting half the dress as it rips in two under their pulling. The woman leaves in a huff and wends her way home. At home she is a mess. Her best bib and tucker is torn. Her hair is a shambles and her dress is a mess. When her husband asks why, she re- plies "But John, if I'd gotten the dress, I'd have saved $5.00". As it is, her suit is torn and she must buy a new one. Her hair is a mess and she has to make an appoint- ment at the beauty parlor. Total cost of the day : $45.00. The payoff comes later when she goes down to the store on a regular day to buy a replacement for her torn suit and discovers the exact duplicate of the dress she "almost" got at a price which is even less than its sale price. ■ — Robt. Perrin, Neiv York The Hot Rodder Recently one of your readers wrote in to tell about a film which he made about hot rodding. His version was verv good but I'd like to suggest one which can do a lot of good for every com- munity. Cars are here to stay. No one can dispute that. They are the backbone of the older generation and the key interest of the younger generation. This is where the films come into be- ing. Hot rodding is a good thing. In the schools and out of them, school teen-agers have banded together into hot rod clubs. These clubs are good. They strive for two things: good driv- ers and good cars, but they need help in publicizing their goals. You see, one crazy kid with a rattle-trap car can get into an accident and immedi- ately the whole hot rodding group is blamed. "Teen Ager Hot Rod Kills Four." the newspaper headlines read. This is far from the truth. In the hot rod clubs good driving is emphasized. If a member gets a ticket for speeding or driving in an unlawful manner he is suspended from the club. If he gets two tickets he is dropped and he cannot rejoin until he proves himself by one year of perfect driving. Now, these clubs are powerful groups. Like all high school clubs 98 IDEAS there is a strong desire to "belong" and teen-aged drivers work very hard to stay in their clubs. They keep their cars in tip-top condition. They keep car bodies in good-looking, first-class condition and their driving tactics are flawless. These groups, as you can see, are good civic minded groups but they need lots of publicity to gain their goals. These clubs are trying to get every car enthusiast into their mem- bership. This cannot be done without publicity . . . and not the bad kind the newspaper give. This is where your readers can help. I feel that many of your readers would like to help. They can. They can donate a couple of rolls of film and a little time to come down to some of the meetings of these clubs. They can tell the story of the good these boys are trying to do. Their meetings are orderly. There is no drinking and once the meetings are over the clubs meet at the local drive-in for a ham- burger then everyone goes home. This story should be told on film. It would do a lot of good. Such a film could show the care with which the boys work on their cars. It could show the decorum with which the meetings are held and it could show how "bad" members are removed from the club. These films can be shown in your own city. They can be shown to high schools to get even more drivers enrolled in the safe- ty programs and the local State Patrol can use the films to acquaint organiza- tions and adult drivers with the real code of ethics of the highway. If your readers would like to help in this worthwhile cause, they can write to the National Hot Rod Association. 5959 Hollywood Blvd., for informa- tion about the club nearest them. They'll never regret their action. It may save a life. — Orrin Walters, Los Angeles Scenes That Look Good Haste makes waste. There never was a truer phase in the cockeyed world of movie-making. I've been an amateur for ten years now and I've tried every- thing to get better films . . . that is I thought I'd tried everything. I used special developers and all kinds of films. I tried every lens in my cam- era store had in stock and I even switched cameras in an attempt to better my films. Sure, as my technique improved the appearance of my films also improv- ed, but the films were still just as lousy as ever. I was worried until recently when a Hollywood camera- man visited our camera club and gave me the secret. That was simply, "Take your time! Leave nothing to chance." Whenever I had made a film, I'd throw my lights into the set, plop my actors into the general area and set up my camera somewhere near the right spot, then spend lots of time fig- uring exposure and development. I was working on the wrong end. Since I heard this Hollywood guy speak I have made a film. I took lots of time. I planned my lighting. I figured out just why each light was being placed in its particular posi- tion. Then I planned my actor's po- sitions and last, but just as important, I planned my camera angle. My film was the best one I've ever made. 1 feel this is important enough to bring to the attention of your readers. They spend lots of time buying equip- ment and looking at their films after they've made them. If they'd spend an equal amount of time on their scenes they'd have good films. There is only one gauge for them. That is, simply, don't shoot till the scene looks good. Not just good enough, but really good. Spend time walking around the scene until you find the right angle. You'll know you've got the right angle when the scene looks good to you. Move the lights around until you've got the right lighting. Once again you'll know when the light looks good to you. You won't get this good scene till you give a little thought to each scene before you shoot. That doesn't mean you've got to plan it out in detail, but before you arrange lighting or cam- era, close your eyes and visualize the scene in your mind. Then, after it's clearly established in your mind try to match that in reality. If you do. chances are you got a scene that looks good. This really pays off, take it from one who knows. — Helen Blatt, Milwaukee Locations Many amateurs do not make ambitious films because they feel they cannot find the locations: the mills, the stores and the businesses. This is not true. Most firms are public relations conscious and are more than willing for any cameraman to tutilize their firms for films. It is true that there is a definite way to obtain permission but this should not be a deterrent. Instead, it should be an increased desire for use of these locations. Many bigger firms have public relations men whose sole duty it is to get as much publicity for their company as possible. If the firm has such a man he would be the one to contact. Explain your needs and the reason for them. He'll work with you. If a location you want to use is re- stricted because of danger or time, he'll suggest another which will work equally well. This is the way professional cam- eramen work. They contact, outline and get permission. There are many advantages to this approach. First of all, once they've given you the go-ahead they will feel obligated to help you. If you want boxes moved or employees out of the way, they'll help. Just remember, once you've been invited to film on their locations you are their guest, and do not interrupt their working schedule. They make money by turn- ing out products or services and any time you interfere with this, they are losing money. If you are a good guest, you serve double good purpose. First, you your- self can be invited back again for more shooting, but second and more important, you pave the way for other movie makers who may follow. If the company wants to borrow the films to make copies for their use, that's little enough to ask. Let them do it. It is a good way of saying "thank you". — Eric Lund, Minneapolis 99 photo fun in MEXICO By HENRY PROVISOR I Hit st ration by Marion Kyle Things to know before you go: You can fly to Mexico City in 9 ho via Aeronovas de Mexico Air Lines $120.00 return, from Tijuana. 1 120 m irom Los Angeles). American lines elm much more. You can make change like a wizard u Pesos and Centavos because the monm system is quite simple. One Peso=zU and one centavo=l /8th cent. One hund rentavos — 1 peso and that's all there ii it. You can get anything to eat that ji heart desires — even hamburgers, mam milk shakes and sundaes. 1 you stay m iirst-class hotels, it is perfectly safe to salads, milk or drinking water. And I can get the best steaks and wonderful cm for a song. In Mexico City try the cm shop of the Hotel Del Prado. or the elm ate hotel dining-room. A malt is 28a soda 24c. and a banana split about I Five-course meal at the Del Prado dim room costs $2.00. A filet mignon downstm at the col tee shop is $1.20, a chopped M dish with the trimmings, only 78c — anit this with sincere service and no sn» Mexicans are the world's friendliest pea — and their courtesy is the first thing I strikes the stranger. You won't get cheated — but don't British argyle sox because prices are o\ par with American prices. Silver is cki and must bear the government impriiuj be authentic — ask about it. If you havt trouble converting pesos to dollars ask a little card which any shop will proni these help to make a fast evaluation of n| price tags. You won't suffer hold-ups. beatings] out and out thievery. We walked throl some of the roughest neighborhoods in ii ico City, at night, and were courteously\ nored. There are no bandits, and no thi on the loose. We saw none. You can get almost anything you bu home in an\ iair sized Mexican town, can phone to the States, or London, or PA irom almost anywhere. Mail is promi and efficiently delivered. In fact you m( find services even better than at home, tourist told us that Mexican mail ser\ was better than in a certain American near the Gulf of Mexico which we dm\ mention. You don't have to know Spanish to along. Sign language worked wonders most every time, for us. And as far asi know you can photograph anything at time — but it is essential to use tact common sense. If in doubt ask permis. especially when photographing people. Make sure that you bring plenty of t Home Movies Travelogue me of the best places to stock up is a trnera shop on Juarez Ave., a lew blocks mm the Del Prado Hotel. See Ed. Lawson, f.l him Home Movies told you about him Wd he will do anything short of conducting mpersonal tour of Mexico City. He is lo- Uted at 80, Juarez, and the shop is called \loto Regis". You'll find "Home Movies" here, and you can a/ways get one from Law- mi. His film stock is fresh, and prices wisonable, and besides he is a very friendly yllow, and he doesn't even know that we Ice him so well. I * * * I If you are an American who has fever been to Europe, then you will ind here a land of ancient cathedrals id modern skyscrapers, and see bur- ls and oxcarts parked near Detroit mousines. You'll find chocolate indaes and hamburgers and hot dogs -but next door you will eat tortillas bunded into submission by stolid In- ian women. You'll walk into cathed- ils, musty with the age of three cen- pries; and two steps away you will lit a modern skyscraper sleeker and • See "MEXICO" on Page 105 Note: Due to the limitation of space in the January issue we were unable to include the following illustrations. Figure 1 illustrates a 'spotter' that can be made from stiff bristol or card- board that will aid quickly locating (roughly) previously selected mate- rial on records. Figure 2 illustrates a method of locating accurately prev- iously selected material. When the ex- act spot is located, affix a piece of splicing tape (for magnetic tape) on the record right against the needle. Since the splicing tape is smooth, the needle can be placed on the tape and gently pushed inward until the needle drops into the preselected groove at the right spot. The third is a graphic illustration of the technique of con- necting two musical strains in relation By DOW GARLOCK (Port V) to pictorial material, musical charac- ter and continuity. Refer to the Jan- uary issue for a complete discussion of the illustrated procedure. fADfc oar LAP Dissolve Of /lUSlCAL must ^SL-lILAS CHAtACTdC r * i _5 -»- [ROUgi. 1 rtusic \WiVL - pPl«LTR£. - Last month, when I described and charted one of the common forms of popular song construction, I also drew attention to the fact that there are other variations of this type of composition. Following are three other types of popular song construction which I have charted by the same method that I used last month wherein the 32 bar chorus was subdivided into four 8 bar strains desig- nated by the letters A, B, C, etc. Each of these strains were further subdivided into four 2 bar phrases which were designated by the numerals 1, 2, 3, and d. Identical strains were designated by the same letter (A and A) and similar strains were designated by the same letter but were differentiated by exponents (A, Aa, Az, etc.Q. Most of you should recall these compositions that I have charted in Figure 1 and, by singing the melody, you should be able to trace the pattern of construction. LAST month I illustrated several possible ways in which special strains could be shortened by cutting and still retain the required musical characteristics. Another application of cutting can also be used to lengthen • See "MUSIC" on Poge 104 101 effects with Camera Speeds By S . WEBB IF YOL desire more control, and movies that are different, then it is a good idea to experiment with cam- era speeds. Speed control can produce breath- taking action shots, detail movement and compress it into a feu moments of time, and a variety of effects not pos- sible any other way. That little button marke "8"', "16", '"32" and "64" which can be found on anv modern camera, indicates the speed of the camera shutter. In other words. "8" means that eight frames per second are exposed, and "16 means that twice as many frames per second are whipping past the lens opening and so on to sixty four frames. Bv judicial manipulation of this lit- tle button, the filmer is able to slow down or speed up the rate of move- ment of his subject. He can speed up action which is almost snail-like to the human eye. to the speed of a tor- nado. And he can slow down fast movement which is almost impossible to see without this film miracle. Yet all this can be done by anyone — and if the filmer has never done it before, it is so simple that he can learn in a very short interval. Let"s take normal motion first. Turn- ing that little button one way or the other can either accelerate motion or slow it down: with high speed objects a setting of "64" is used so that the greater amount of footage exposed will give us better detail, and make the object appear to be moving norm- ally. So. a normal subject can be made to appear unusually fast or slow, and a high speed object can be reduced in speed so that every deail of its motion can be studied and analyzed. For the purpose of this discussion. 16 frames per second will be consid- ered normal. If we shoot a sequence which has a time interval of five sec- onds, then it will take five seconds to see the sequence on the screen. If we shoot at 8 frames per second, then this means that the "normal" action has been reduced to only eight frames — half the amount of the normal ac- tion i 16 I. And it will look that way too. Figures moving normally will ap- pear jumpy and doll-like, simply be- cause the projector will project the image at the same speed as the first sequence. Time taken to show this on the screen with be 2% seconds as com- • See "EFFECTS on Page 126 Basic Camera Moves By JULIUS SMITH WHEN we talk about motion pic- tures — we think of movement. And movement must be a basic con- dition of the subject or the camera. When we shoot a sequence, then the subject must move while the camera remains stationary, or else the sub- ject does not move and the camera does; one or the other of these basic conditions must move in order to por- tray a satisfactory piece of business for the film. But let s break it down and analyze the three situations: cam- era moves, camera is stationary, and the camera and subject both move. I. The Camera is Stationary: In this ca?e. we shoot it as we see it. and pan to right or left whenever it is necessary to follow the action to either side. At times the camera will also move up and down to include the dog who has been watching her. and hugs the animal to her face in an af- fectionate manner. Here we have made a statement on film — that Suzv is an affectionate child with her pet. First shot to be made is a long shot. Reason: to introduce the audience to the locale of the shot and explain what it is, where it is. and general con- dition of the terrain. When this is done, we move in for a medium shot, and the function of this is to get a closer look at the action. This se- quence should be a little longer than the first one because it explains the first shot by furnishing more detail. So. right now we know quite a bit about the house and its surroundings and we have just been introduced to a little girl. At this point we don't know whether she is a little hellion. Top left, subject inanimate, camera fixed. i Bottom left) subject in motion. < Bottom right) camera in motion irom above. These photos illustrate the basic camera mores. tTop right* camera fixed, subject in motion. action but this is relatively rare. ith an anchored camera it is a simple mat- ter to determine focus because we can check distance before shooting and then set the lens as the subject moves forwards and backwards. Let's take a simple example and break it down into the necessary shots so that an intelligent record of the ac- tion can be made. Daughter Suzy is romping in front of the house, and suddenlv she stops. She picks up her mama's darling, or what, so we make still another shot. We get closer, and as we do so. the girl picks up her dog and covers him with childish kisses. It has now been established that Suzv is a little angel and loves her pet. and everything is right with the world. Simple? Of course, but we have known filmers who would have shot the sequence just described in an en- . See "BASIC MOVES" on Page 127 continuity by m-nmm you can make 8mm | Lap Dissolves By TOM BUTLER I have yet to see anything about the use of on 8mm magazine cameras for lap disolves and super-imposed shots. The secret lies in the fact that when you turn an 8mm magazine over, the film runs in the reverse direction. This is the way to make a double exposure, such as a title superimposed on a mov- ing background, but be sure to check the footage dial before you start, so WOULD you build a house with- out first working out a plan? Would you plan a trip without get- ling a ma]) and choosing a route? Of course not. And planning first before shooting, is one of the essential moves that can be made by anyone anticipating the making of a movie. This includes any kind of movie, from the simple record film of your family and its activities, to the more complicated documentaries and drama films. But let's discuss the family type film, because this is the kind which is made most, by more people. How about Grandma? She's getting along in years, bless her heart, and life, to her, is nothing more than the activities and the prob- lems of her grandchildren. Through them, she re-lives once more her fond experiences with her children and for many a Grandma, this is the most im- portant phase of her life. A series of shot showing Grandma is not enough, if we want a living vi- brant record of her as she is and as she was. A movie sequence of her should have a certain amount of con- tinuity, and this can only be achieved if a simple script is planned and used to shoot this kind of film. How to begin : Let us show her first in her own environment. Does she still live in the old house where you were born? Fine. Let s get down there and choose a few sequences which will show her at her best in her own home, doing the things she has done so well. Perhaps she has a garden which has been her pride and joy, lo, these many years. If so, then what is more nat- ural than a decent sequence showing her working there, aided and abetted by her young grandson? This way Grandma is tied in with contemporary things, and yet we make a record of her at the same time. Want to preserve the memory of an ancient living room or parlor where grew up. and which may perhaps con- tain many happy memories? Then • See "PRE-PLANNING" on Page 128 that is can be reset later. Time your first shot, (the title for instance) very carefully. Do this by continuing one thousand, two thousand, etc., for the length of the scene. Now turn the magazine over, and making sure the lens is covered run the camera for the same length of time as the first scene. This brings the film back to the start- ing point of the scene. Reset the foot- age dial as it was when you started the scene and turn the magazine over again. Now you are ready to shoot the second scene, that will appear as the background for the title. Suppose that you would like to make a lap disolve. (That is where one scene fades out as the next scene fades in.) Make the first scene as you ar- dinarily would, except that you will make about a one or two second fade at the end. You can do this with any of the various fading devices or simply by smoothly closing the lens three or four stops. Next reverse the maga- zine and. as before, with the lens cov- ered run the camera for the same length of time that you made the fade. Be sure to set the footage scale back the equivalent of twice the length of the fade I two feet for each five sec- onds of fade). This is done because the footage counter always runs for- ward, even when you are reversing the film. You are now ready to make the second scene. Start with the lens stop- ped all the way down or with the fad- ing device closed, and gradually fade in the scene so that it takes about the same time as the fade-out. By using this technique and a lit- tle imagination you will be able to spice up your 8mm films no end. SOUND PROJECTOR OWNERS!! An AMAZING INTRO- DUCTORY OFFER. Typ- ical of Imperial Home V\ovie Values! CLIP THIS AD AND GET BRAND NEW SI 9.75 Sound Films For Only $4.95 Each Order one, two or all three of the follow- ing BRAND NEW FULL ONE REEL SOUND MUSICALS at only $4.95 each: 1. LOVE AND KISSES — # 1035 K sses to You When You're Near Me Little Country Tavern 2. NOVELTY REVUE — # 1041 Swinging On A Star Let's Get Away From It All Mama Don't Allow It 3. JOLLY JINGLES — # 1043 I've Got Sixpence One-zy Two-zy Fuzzy Wuzzy Films shipped immediately on receipt of rheck or money order. C.O.D.'s also accepted FREE BIG LIST OF HOME MOVIE BARGAINS IMPERIAL ENTERPRISE, INC. 34 Park Row New York 38, N. Y. 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For example, let us say that we have a pictorial sequence of 57 seconds to which we wish to adapt a particular musical strain which has a total timing of only 48 seconds. For the sake of illustration let us assume that we wish to use this particular strain because, starting with a subdued character, it begins to in- crease in intensity about midpoint and continues to build up to a heavy dra- matic ending that will fit perfectly a certain reaction cue in the picture. The two characteristics that we wish to retain in this strain are the low level beginning and the gradual build up (starting in the middle I to the dra- matic ending. To extend this musical LOVH SfldDS A LlTTLC (JlfT Of $06t£ 1 1 12 3 4 ll2 3 4 1 123 4 if2-3« j "Sixepy Tine Gal" p_f A T ft T A* T »* 1 c U-2,3-4ll2-3-4liZ-34ll-2-3-4j totmmt Of A tiAire. CrtRiSrnAS" 3 ~( 1 2A3 4ll-2* 4I1 2 J*4 1 i2-5-A Fisuac i. strain the required 9 seconds and re- tain the desired characteristics it would be logical that we develop the exten- sion from sections in the beginning of the strain since the build up will not have been established at this point and there should be little or no problem of matching levels of reiterated strains or phrases. Although the above mentioned build up and dramatic ending are not actu- ally incorporated. I will again use ""Jeanie W ith Light Brown Hair" for the purpose of illustration. I believe that we can imagine that these two characteristics are there and your fa- miliarity with the melody and lyric will enable you to follow the cutting procedure. 1 1 wish to remind you that 1 do not recommend this type of cutting procedure with well known me- lodic and popular compositions. It has much better application to music in which the melody is either unfa- miliar or not the dominant musical characteristic. I ^ ou will note that, in Figures 2. 3 and 4. I have subdi- vided each two bar phrase into eight beats numbered 1 to 8. The pickup note lor notes) to the first bar is in- dicated by the letter X. 1 The com- plete chorus of '"Jeanie" appears in Figure 3. 1 Since we arbitrarily accepted a tim- ing of 48 seconds for the complete strain of 32 bars, each bar would have a timing of 1*4 seconds. Then. to extend this strain the required 9 seconds, we need an additional six bars of music which, when added to the 32 bar strain, will give us a total of 38 bars with a timing of 57 seconds. Figure 2 illustrates four ways in which the additional 6 bars could be devised from the first (A) eight bar strain in a manner that would retain both musical character and musical continuity. In each case the added 6 bars make proper musical connection to the starting strain of the composi- tion. In the foregoing illustrations we have combined musical strains or phrases with themselves to extend our material. In concert and symphonic musical works we usually find many strains of similar character that can be easily combined for the purpose of extension. This is particularly desir- able where considerable extension is required, for instance, it is much bet- ter to devise a 90 second sequence from three 30 second strains than to provide the required timing from a single 30 second strain repeated three times. \^ hen this material is selected from various parts of the composition, make sure that the strains are in the same lor suitably related) keys so that they fit together musically. Also, in com- bining strains in this manner, the mood characteristic can be intensified or relaxed effectively by combining successive strains that are in a higher or lower key than the starting strain. The greater the musical interval be- tween the keys of the succeeding strains, the more pronounced is the effect however, the interval should not be more than a 4th. G to C. C t oF, etc., going up or in reverse order when going down. When strains of similar 1 or not extremely contrasting ) character are to be joined, many times better musical continuity is achieved by starting the second I or succeeding ) strain at the point where a cadence of the preced- ing strain would normally occur or by allowing the cadence of the pre- ceding strain to be established and then using pick up or 'lead in" notes 1 if possible) into the succeeding strain. (Xote; a 'cadence' is the end or close of a melody or harmonic phrase. ) Of the various types of cad- ences, for the present we will concern ourselves only with the type that re- solves to the tonic harmony or the "kev note" of the composition (or strain I . The best way to illustrate the fore- going statement is to say that a cad- ence ends every musical composition. So, using that as a basis of compari- son, whenever a musical strain has the effect of ending or coming to a close, vou may be sure that it is a cadence. • See "MUSIC" on Page 121 104 GEO. W. COLBURN LABORATORY INC. 164 NORTH WACKCR DRIVE 'CHICAGO 6 -TELEPHONE STATE 2-7316 8 and 16mm SERVICES How to Make^ a Good Movie on any budget! FILM and the DIRECTOR by Don Livingston $4.50 Mr. Livingston, an experienced Director of more than 60 films, tells you how the professional gets the best results from his actors and equipment. You'll learn, for in- stance: • How to achieve good composi- tion and continuity • How to coordinate the three major elements of movie produc- tion • How to eliminate unnecessary expense and save valuable pro- duction time If you want to write, produce, or direct better movies on any budget for any audi- ence, you'll find much practical help in this book. For an ON-APPROVAL copy, send a postcard to Box FI , 60 Fifth Ave., New York 1 1 MEXICO • Continued from Page 101 more sophisticated than anything on Fifth Avenue or the Champs Elysees. Mexico is a land of vivid contrasts that can startle a stranger. First day we were there we saw an Indian guard- ing two chickens tied to a string and anchored to a fence. Next door a sleek Cadillac slid up to the door of an exclusive French restaurant. And fur- ther up the street two Indians were carrying a load of baskets which they had brought from a nearby village to sell in the city. On New Year's night we heard a marimba playing "Stardust' some- where in a distant cantina, and then we wandered into a four hundred year old cathedral and thought of the thousands of Masses said there since the church was built. We looked at the tranquil faces of the people and somehow felt better for the faith we saw there, despite their poverty and simplicity. But don't get superior about the beggars. Remember that we have them too, scattered all over the country from Skid Row in Los Angeles to the sleasy stumble-bums on State Street in Chi- cago, and even on Main Street and Logan in Winnipeg, Canada. Look rather for the wonderful In- dian faces for sheer beauty and dig- nity. Somehow they have a submis- sive patience that passes beyond mere resignation and becomes sheer seren- ity. They seem to live in a state of philosophical timelessnes sand accept without argument what fate brings them because they know that Provi- dence gives with one hand and takes away with the other. Take it as you find it and accept the paradox, because Mexico's chief charm is in its startling contrasts. You'll see barefoot women with babies in their rebozos, (shawls) and women fashioning the latest styles; modern department stores and dim holes-in- the wall where Indian women make everything from soup to nuts. Mexico City's streets are a melee of Indians squatting on sidewalks with all kinds of produce, and of vendors driving flocks of turkeys, or selling hot sweet potatoes. Its market places are a pageant of colorful activity where you can have a tooth pulled, your hair curled, or your future told for a few centavos, and where bargain- ing is an art and exquisite rugs, blank- ets, baskets and silver work are an eternal temptation. All and all, it's a land of warmth and friendliness and a place where po- liteness is a fact and servility does not exist. Everyone has a natural dig- nity without arrogance — and this, to us, was the most marvelous thing to behold. And all of this makes it easier to shoot the kind of films you want to make. Anyone will direct you with a smile, and the police are especially polite. Watch for a small American flag pinned to the left pocket on the tunic of some officers. This indicates that they speak English, and you will find that all are anxious to please. If you are interested in shooting from the air, get a seat near the wing when you get aboard the aircraft, or the Aeronovas de Mexico hostess will point out the best seat. A haze filter is a good bet because we found a thin haze present almost every mile of the way. Best shots: the mountains from Cuadalajara to Mexico City, with the Pacific Ocean in the background. I in some spots) and the Gulf of Califor- nia, in others. Be sure to take a nice long sequence of Mexico City from the air. The plane will circle the city prior to landing so take your time and choose the best angles. As we said before, the subjects you choose will depend upon your own taste and these can be found with pa- tient requests for information from other tourists or the people at the hotel. We shot a general film with which we attempted to tell the story of Mexico as contrasted with our own way of living, and in doing so covered the city very thoroughly. Best bet is to tour this metropolitan city by taxi. The rate is about 16c • See "MEXICO" on Page 109 ^Tr^V| THE COMPLETE PHOTOGRAPHER Central's new complete photographic catalog is ready now, with complete listings of still and movie and a remarkable selection of photographic accessories, unduplicated elsewhere. Send 50c for your copy today; you will receive full credit on your first order. CENTRAL CAMERA CO. • Dept. 15-C C 230 S. Wabash Ave., Chicago 4, III. Photographic Headquarters Since 1899 105 COMPCO CUP No more groping for hidden slots ! No more dipping of film on the take-up! The Compco Reel, with its exclusive, pat- ented "Compco Clip" makes threading fast and foolproof, even in the dark! The leader slips smoothly into the "Compco Clip" . . . stays put for winding . . . yet slides out after unreeling! In all 8 mm and 16 mm sizes. Just ask your dealer for "the reel with the Compco Clip!" ^^omilCO CORPORATION 2251 W. St. Poul Ave. Chicago 47 Mimiiactsrtrs gl line photographic equipment since 1932 Pellegrini VARIABLE SHUTTER UNITS for BOLEX H-16 The real an- swer to com- plete FADES and LAP DIS- SOLVES. Fast- er shutter speeds and many other ad- vantages. Prices within U. S. $99.60. Cameras with out- side frame counter SI 09.80. Tax extra. One year guar- antee and camera transpor- tation back included. Send for free informative booklet. Prices subject to change without notice. TULLIO PELLEGRINI 1545 Lombard St. San Francisco 23, California mm Thousands of Sound and Silent prints in even," length New and Used Comedies - Cartoons - Mu- sicals- Educationals- News- reels - Travels - Novelties Sports - Mysteries - Fea- tures - Old-Time Movies Write to Dept H2 for FREE BARGAIN LIST PEERLESS'*™" 415 LEXINGTON AVE. N.Y. 17, N.Y. NEED SPECIAL EQUIPMENT? YOUR PHOTO DEALER HAS IT Let3s #/© SHOPPIH Powerful Projection Bulb A new light process that projects a picture five times brighter than con- ventional bulbs and even outperforms arc lamps has been developed for use in a new 16mm "shutterless" motion picture projector, so says W. C. DeVry, of the DeVry Corporation. 1111 W. Armitage Avenue. Chicago. Illinois. DeVry revealed that the new pro- cess sets the highest projection stand- ards possible today and will be espe- cially important for 3-D movies, wide screen projection, and color television. Developed by DeVry technicians un- der E. \^ . D Arcy. chief engineer, and with the cooperation of Navy engi- neers, the new process completely eli- minates the projector shutter, although it was the invention of the shutter that originally made motional pictures pos- sible. The new De\ ry light source can be added to any standard DeVry Jan 16mm sound motion picture projector. Roth the Army and Navy have adopted the Jan as their standard 16mm pro- jector and it is now serving in thous- ands of armed forces installations on both land and sea all over the world. Censor Sound Control This is a new sound cut-off for tape recorders, sound projectors, radio and TV. Sick of stupid commercials on radio and T\ ? Then here is the answer in the form of a clever little gimmick called "Censor Sound" selling for S3.00. The control consists of a 12- foot cord, switch and two clips which are attached to the two terminals on any speaker. \ovl can kill any com- mercial without stirring from your seat, and it works on all sound units including radios and T\ sets. The pic- ture remains on the screen but the sound is instantly turned down to noth- ing. To install the unit, the two clips at the end of the cord are attached to the two speaker terminals and that's all there is to it — and the manufac- turer claims that the unit will not harm anv radio or TV set. Censor Sound is applicable to movie equip- ment and can prove useful to Home Movie readers. It provides the same function with* tape recorders, sound projectors, and other sound equipment. Sound can be turned down instantly, during projection to explain certain sequences: and the unit can be used with a tape recorder when editing sound. Price: S3.00 postpaid from Fitz Associates. 6325 Santa Monica Blvd.. Hollywood 38. California. Eight mm. Action Editing Viewer The 8mm Axion Editing Viewer is manufactured by the Heard-Pacific Company. This company is employ- ing a greatly simplified action mechan- ism, based on a completely new ap- proach to the theory of action view- ing, which gives the viewer perfect movie action. This new mechanism operates with absolute precision, stop- ping every frame both backward and forward. It also eliminates compli- cated threading, making the Axion \ iewer extremely easy to use. A sharp clear picture is seen through a 4-power. 20-diopter lens. The lens is recessed into the eye-piece to insure adequate protection, and the eye-piece is equipped with precision anti-glare rings. The case itself is a pleasing modern design and is made of high impact styron. Convection cooling insures adequate ventilation of the light bulb. • See "SHOPPING" on Page 124 106 MEXICO • Continued from Page 105 when you enter a cab and we found that the meter clicked to the extent of 48c for the first hour. At this price, almost anyone can cover a tre- mendous amount of sight-seeing in 5 or 6 hours and the cost totals no more than two or three dollars. The cabby will point out the most interesting places to go, but make a list of your own. This can be made from a little booklet called "Esta Semana" (This Week) which lists all the activities for the week and the most interesting spots to visit. You can get it free at any hotel. However, do not hire a taxicab by the hour. Just tell the cabbie that you want to travel by meter. If you don't make this clear when you begin, the cabbie is liable to charge 20 pesos per hour, ($2.40) and this, of course, is a great deal more than the conventional meter rate. And while we are on the subject, do not buy any bargains on the street. We bought a cigaret lighter called a "Rumsen" — and we are still burning although the lighter is not. And the same is true of cameras of any de- scription. Most European cameras are very cheap in the shops and sell for 40 to 50% less than in the United States. You might use the Hotel del Prado as the center of operations. Rates ther are reasonable and vary from $4.00 to $8.00 single. It is conven- iently located and offers all the com- forts of home. If you are on a tight budget there are other places avail- able, some as low as $1.25 per night, but we thought the hotel was just right from any angle, and here is a suggested schedule, using the hotel as a center of operations. First Day Walk to the Palace of Fine Arts and make a long shot of the building from the street; at 200 yards make another shot to capture the detail of the building which is brilliantly white in the sun. The Palace contains a concentration of much of the best Mexican art to be found on this conti- nent. Just recently returned from a tour of Europe, the exhibits contain everything from ancient Aztec and Mayan figures and bas reliefs to the most modern paintings and sculpture of contemporary Mexican art. We shot at F 1.5 at 8 f.p.s. inside and re- corded a great deal of material which we intend to compare pictorially with American art. We noticed that the Colonial painting was very similar to the American art at the time when America was little more than a small colony along the coast of the Atlantic. But where ours is Puritan and austere, theirs is violent and fiery. And this, of course, is not surpris- ing. The Mexican people fought for independence as valiantly and with as much tenacity as we did when we had our own troubles just a few hun- dred years ago. But let's go ahead with the shooting. After a few hours at the Palace of Fine Arts, walk down Juarez to the point where the street narrows. On the corner you will find a place called Sanborns, where it might be a good idea to drop in and get a cup of coffee. Take it slow and rest for a few moments because walking at that altitude, (Mexico City is 7,000 feet) will tire most people. Continue down the street for eight or ten blocks until you see a large square with the National Palace and Cathedral. Be sure to make a long shot from the collonades, or try a very s-l-o-w pan shot from the same loca- tion, (with a wide-angle lens if you have one) and cover the entire square with the Cathedral included in the pan- orama. If you are interested in Spanish architecture you will photograph the detail of the older part of the Ca- thedral and compare it with the newer section. You will shoot the wonder- ful faces of the people who hurry by to Mass or even steal a shot or two of the tortilla vendor. We were there on a Sunday morning and got some wonderful shots of the children prom- enading on the square with their white dresses and shining faces; a few mom- ents later we got fine footage of a group of Indians who were doing an impromptu dance in the courtyard of the Cathedral. Look long and hard at the architec- ture. You will find that the Indian, Spanish, and modern architecture has been ingeniously combined. There are buildings which recall the severely modern lines of New York — and there are others which employ the baroque of Spanish-Moorish architecture. And right in the middle of all this you will find a recreational center and indoor jai alai court which is nothing but an adaptation of an ancient Toltec pyramid. After an hour or so of poking around, visit the National Palace and try for a high angle shot of the Ca- thedral from there. Then get a few more close-ups, (the more the better) and hail a taxi, and tell the cabbie to drive to the University. On the way down you will pass the arch at Plaza de la Republica and the mounted figure at Juarez and Paseo de la Reforma. This is a sweeping avenue on the way to the University; a few shots from the taxi may be worth while. Best angles of this area, though, are from the 10th or 12th floor of any building in that vicinity. While at the University ask the cabbie about the fine residential district which is nothing more than a mass of lava rock with beautiful homes built right on the hard formations. Shoot a few sequences and notice how the dull grey of the lava rock points up the color of the flowers and foliage. After this, get back to the center of town and have a good lunch or dinner as the case may be. You'll be tired and will have covered a great deal of territory in one day. Food is good and plentiful and there is an endless variety of it. If French food is to your taste try "Am- bassadeurs," at 12, Paseo de la Re- forma. (rather expensive), but excel- lent. "Marseilles" at Madrid, 35, is a little cheaper, also excellent. Or else try the German dishes at "Bellinghaus-^ en", at Londres 95; Hungarian at the "International" located on Madero and Motolinia St., and Italian cuisine at "Angelo's", Florencia. 39. Then you can get fine sea food at the "Lincoln", Ravillagigedo, 24, and Swiss food at the "Chalet Suizo", Niza, 37. And then, if you know what you like and care for none of the above, there is always "Hamburger Heaven", (so help us) situated at Oaxaca, 33, and they will give you the works ■ — toast, coffee, ham and eggs, and any- thing American. Finally, if you want to hear Spanish spoken with a Chinese accent go to the "Tibet Hamz" Av. Juarez, 64, for Chop Suey and Egg Foo Yong. And any of this will cost less than $2.00 per meal. Second Day Places of interest within an hour's ride of Mexico City, can be shot on the second day. Here's the list. Check it and refer to the map for exact lo- cation : Teotihuacan Pyaramids — (A-6) on the map). This is located north of the city — about thirty miles. These pyra- mids are reputed to be the largest in America, and the base of the monu- ments is even greater than some of the Egyptian pyramids. You will find a wealth of Mayan detail there, and these should be shot even if you are merely making a movie record of your trip. Nearby is the Pyramid of the Moon, amongst others and also the • See "MEXICO" on Page 108 107 Now ...a revolutionary HEW ACTION editing viewer EDITING .... brings you perfect movie action and this amazing low price because of a new and differ- ent approach to the theory of action viewing. 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A guided tour to the pyra- mids will cost from $6 to $15 if you fall for the dodge. It is much cheaper and more fun if you hire a taxi and go down yourself. Unless, of course, you like lots of people around when you're shooting. The trip is worth while and should be included in your itinerary. Basilica de Guadalupe — (C-5). This is located only 5 miles from Mexico City. It is interesting because it is a monument to the Indian Juan Diego who is reported to have seen the Ap- parition of the Virgin of Guadelupe in 1531. Shoot this from above, and if you are using black and white film be sure to use a "G" filter — (dark yellow) . Churubusco ■ — (G-5) . This is a Dominican convent of the 16th cen- tury. During the American invasion in 1847, a stubborn battle was fought here, but the building is now a mu- seum of history and art and contains many fine examples of early Mexico. Admission is 50 centavos, (6 cents) and the building is open from 10:00 a.m. to 6:00 p.m. Permission to shoot interiors will be granted. Xochimilco — (H-5). Located about 12miles from Mexico City. This is the area of the floating gardens and you can tour this area by launch. The place was founded sometime in the 10th century, it is said, and this is really a riot of color for the movie cameraman. Take plenty of film for this one — you might want to shoot more than you think. Sporting events are almost as popu- lar in Mexico as they are in the rest of the world. The bull-fights, Mex- ico's national sport, are the all-consum- ing thing. The large bull-ring is lo- cated right in the city. Ask any cop for directions. Cost, by taxi is 35c from the center of town. When you arrive, choose a seat which will give a good view of the ring and still be in full sunlight. Sometimes, seats lo- cated near the shadow area prove to be worse than useless for movies. Take a few wide-angle shots and be sure to use your telephoto if you have one. A word of caution here: don't pan with the longer lens, because you are almost certain to get a shaky pic- ture. Use a tripod if possible, and if the action is very rapid, increase the film speed from 16 f.p.s. to 24 or 32. Remember to compensate by opening the aperture a little wider. In any event check with your exposure meter for the right exposure. You can see jai-alai on the corner of Plaza de la Republico and Ramos Arizpe almost any evening at 7:00 o'clock. Admission is 60c and some seats at SI. 20. You won't get any- thing here using color film. Try black and white with at least a speed of 100 ASA. The action is very fast, and although plenty of light is avail- able, black and white film is the only stock to use. Of course wrestling is available, and "boxeo" or boxing, as we know it. Horse racing is popular at the Hipodromo de las Americas on Thursdays, Saturdays and Sundays. First race is at 2:00 p.m. and admis- sion ranges from 36c to 60c — but if we may offer a suggestion: Horses are horses no matter where you go — and these nags lose just as consistently as American nags. And besides why risk straining the budget when there is much more to do and see, for free. We might repeat here that air travel, in our opinion is by far the most con- venient, and more economical in the long run. Sure you can travel by car — but this takes time and you can see much more, in a shorter time, by plane. If you are going to Mexico from the Eastern part of the United States then a return trip via Pan-American from New Orleans to Mexico City is S192.50; from Miami $184,000 with $150 excursion rate depending upon the time of year. (This route, by the way. includes stop-over in Havana.) Price from Houston, Texas, to Mexico City, return, is $87.40. Those readers who arrive at Los Angeles from the west coast, Honolulu, or Japan should take the Los Angeles-Tijuana route. Now here we have a few choices. Pan American flies direct from Los Angeles to Mexico City, and the re- turn fare amounts to $202.86. But a more economical way is to use Aero- naves de Mexico, (304% Broadway, call MAdison 6557). They charge only $122.00 return, from Tijuana to Mexico City. You can fly to San Diego from Los Angeles for $12.00. making a total of $132.00 return. That's a saving of $65 and who doesn't want to save a few dollars? Reforma. which can be reached at MAdison 65571 also flies to Mexico City from Tijuana and the price is the same as Aeronovas. We used Aeronovas de Mexico Air Lines on the way up, and Reforma re- • See "MEXICO" on Poge 116 CENSOR SOUND WILL CUT any sound from any speaker TAPE RECORDERS: edit sound when mak- ing final sound track. SOUND PROJECTORS: cut sound at any point to explain sequences. RADIOS and TV SETS: kill pesky commer- cials when recording, or just listening. All this with a jlip of a switch. 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''The Conquest of Everest" A United Artists Release Photographed in its entirety with a Bell & Howell 70DL camera, this motion picture has been hailed as the film achievement of 1953 by the nation's critics: TIME: ''The only picture produced in 1953 that could in any sense be called great . . . the year's most memorable movie. One of the most fascinating films ever made!' NEWSWEEK: "Absorb- ing! Galvanic, dramatically paced . . . brilliant Technicolor!' NEW YORKER: "Utterly fascinating! It is unlikely that any picture about mountain climbing will ever use a camera more imaginatively!" SATURDAY REVIEW: "Stobart the most ver- satile photographer of all time!' BOSLEY CROWTHER, N. Y. TIMES: "A photographic triumph beyond compare!' Bell & Howell 70DL . . . the camera tha Thomas Stobart, official photographer fo the Mt. Everest expedition, hailed for it superb performance under the most critica operating conditions. , Bell&Howel CHICAGO 45. 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H), Hollywood 38, Calif. ilillllMllllllllllmilllllt iiiimiiiMiiiiHiiiiiiiiHiiiMiiiiiimimiiiiii ^ ! THEATRE QUALITY I 16mm SOUND | The finest equipment plus top | 1 technical skill gives you the 1 | brilliant, tone-true track that | 1 will result in wider distribution 1 I and more bookings for your | | picture. Let us prove Telefilm | I recording can benefit you. | I Write for Information | 1 Dept. A ll TELEFILM, INC. | 6 0 3 9 Hollywood Bird [ Hollywood 28, Calif. | " iHlllilllltHIIIIIIIIIIIIIHHIIIIUHIIIIIIIIIIIIIIllHIIIHMIHIJIIIIIIHIHIIIIIIIIMIIIMIilh DOES YOUR STACK SMOKE? Get proof with time-lapse photography. An 8mm movie camera, taking frames at 1- minute intervals with the SAMENCO MOVIE CONTROL, will run for 10 hours at a black-and-white film cost of 49c. Maybe you don't have a stack, or don't care if it smokes, but you may have other problems which can be solved by this method. SAMENCO MOVIE CONTROLS For ALL Cameras Write for Free Literature, naming camera Dealer Inquiries Invited. SAMPLE ENGINEERING CO. 17 N. Jefferson, Danville, Illinois at work "RIDERS TO THE STARS" A UNITED-ARTIST Release Starring: William Ludigan, Herbert Mar- shall .Richard Carlson, and Martha Hyer. Production: Produced by Ivan Thors. Di- rected by Richard Carlson. Director of Pho- tography: Stanley Corlez. Filmed in Color by Color Corporation of America. Science fiction films are going over in a big way and "Riders To The Star" will be no exception. This film is the second of its type to be done by the Producer. Ivan Tors. His first science- fiction movie was a black and white documentary type film and since it went over so well he decided to do a bigger and better production for his second. "Riders To The Stars" is a good ex- ample of what can be done on a small budget provided there is real creative talent on the production side. Many producers think to create an interest- ing film they have to have a cast of thousands. Ivan Tors has turned out an equally interesting film using thir- teen players, and director-star Richard Carlson got each of his actors to give their most. The story concerns the Office of Scientific Investigation and their re- search and tests for five men to take five rockets to outer space and scoop up a small meteor and return to earth. The meteors are of metallic substance like our rockets, but yet they don't become crystalized when they travel 18.000 miles per hour. The scientists believe if they could get a meteor then- questions would be answered. In the scene where Martha Hyer is talking to William Lundigan about how wonderful it will be some day to be in the stratosphere and look down on old mother earth and see all her mountains and rivers was handled in a clever way. During this sequence they are standing in front of a screen door as they look out to the stars. This scene was given a mystic quality by shooting them through the screen wire and to enhance the looking into space, the camera was at a low angle shooting up at the players. She was closer to the screen wire than he, so therefore she took on a much more mystic quality, being further away. It was this simple prop that lifter this scene far above the average and yet it didn't entail an expensive set-up. The beginning of the film was han- dled in quite an unusual way. The screen is dark and slowly fades into a shot of outer space and the only thing that we can see that we are ac- quainted with, is a few stars. Thus far the footage has no sound track. All at once we hear a thunderous noise and we see a rocket crossing the screen going on out of sight. At this instant the title of the film ap- pears accompanied with the popular song, "Riders To The Stars", sung by Kitty White. A science fiction film using music of popular vein, especial- ly with a vocal, gave a strange but complimentary touch to the film. The theme of the popular song, in a sym- phonic arrangement, is used occasion- ally in the film to highlight the love scenes. * * * "EASY TO LOVE" An MGM Production Starring: Esther Williams, Tony Martin and I an Johnson. Production : Produced by Joe Pasternak Directed by Charles Walters; Director of Photography: Ray June. If any photographer in Hollywood deserves a hearty congratulation for a job well done, it is Ray June. It was his job to film 40 water skiiers in an extravaganza to screen for seven min- utes. First this may sound rather simple, but when you consider it would be almost impossible to keep that many skiiers standing for any length of time due to the terrific waves each would create plus the huge waves caused from • See "PROS" on Page 120 112 how to use REFLECTORS By LEONARD CLAIRMONT Here's a location shot made better with judicious use of reflectors. Sun at right hits reflector at left, which bounces light right into the center of action. This makes for a nicely rounded shot with no harshness in the final effect. ALL LIGHTING isn't done on in- terior sets. There are still plenty of problems confronting the exacting photographer, due to harsh contrast between light and shadow which can be very unflattering to players in close-ups, and just as unflattering to the cameraman who shoots a scene where the light balance leaves much to be desired. Bright sunlight has to be modified to even out the unbalanced ratio between light and shade, thus giving the film the desired contrast. And with color film, a flatter light is preferred. It takes reflectors, or booster lights, to even out the contrast ratio in outdoor scenes, and the profession- als always make use of them; they have done so since the early days of silent movies, but it does take exper- ience to use them in an efficient man- ner. The wrong way is even worse than no reflectors at all. It takes a certain amount of soft shadows to give some artistict quality to the picture, and if over-done, they may fill in to the extent that we are left with a very flat and uninteresting picture. Intelligent use of reflectors add a pro- fesional touch to any film — provided the audience doesn't became unduly aware of reflectors being used. It is a pretty good rule in color photography to let the sunlight come in over the photographer's right or left shoulder, giving substantial illumina- tion to the scene, or subject, being pho- tographed. A straight on flat light is often used, when reflectors are not available, or would be impractical. This practice is not to be entirely con- demned, but neither does it do much to enhance the honest efforts of a cam- erman. A cross-light with a soft fill from a reflector will give a lot more depth with a fairly good illusion of the three dimensional efect. If we are making a medium close-up of a person in full sunlight, there are many ways of lighting that person to great advantage. We can use the sun as our back-light, and then use front- lighting and side-lighting to illmumi- nate the face with reflectors. Or we can let the sunlight come in from one side — (after having cut down its in- tensity by dif using it with a large net- ting)— and then setting up a high re- flector on the opposite side, one be- hind and low for back-light, and one next to the camera and at camera height. We can also use the sun for cross-light, fill in the shadow side with a high reflector, backlight with a low reflector, and use another for a "kicker" — the same way as we would use lamps on an interior. It is always good practice to avoid working during high noon, when the sun is overhead and causing ugly shadows under the eyebrows, nose and chin. Take full time out for lunch, and you are better off — both physical- ly and photographically. Reflectors are not all the same. There are soft reflectors and hard re- flectors, each serving a specific pur- pose. For close-ups use the soft re- flector to lighten up the dark side of the face, and a hard reflector for the backlight. Don't use a hard reflector at close range, as it will produce a light just as harsh as the one you are trying to modify. Hard reflectors are wonderful in filling in black, deep shadows between and under shrubs and trees, in doorways and in street scenes. A hard reflector will reach so much farther and will consequently be the one to use when shooting with a wide- angle lens, so as not to get the re- flectors in the picture. There is an extra hard reflector made with a smooth leaded surface which will throw a beam of light from a very great distance, and is very use- ful at extra long distances. With an overcast day, when the light is extreme- ly flat, it can, in an emergency, be built up with a hard lead reflector. The lead is placed as close as possible to the subject, and the light reflected from it will take the place of the key light — (instead of being a fill) — thus building up the contrast and perhaps saving the day. But if you are shoot- ing in color, watch your color temper- ature carefully, as this method is apt to go a bit on the bluish side. Once gold reflectors were very pop- ular for giving a glamorous, soft light in outdoor close-ups — but this was be- fore color film became the favorite. It is, however, still used for black-and- white pictures, and sometimes it comes This shot was made with the sun behind the model's back. A reflector, 100 yards from the subject was used as a fill-in light. Notice the soft front light used in combina- tion with sparkling high-lights on the shoul- ders and hip. The overall effect is one of complete "natural" lighting with no harsh shadows. Same girl, but an unhappier result. Same reflector was used for this one but note that the face is too hot, compared with the rest of the figure which is in shadow. Two re- flectors would have solved the problem and produced a well-rounded shot, instead of the steep contrast we see here. in handy for special lighting effects with color film, such as reflected light from simulated open fires, sunsets, etc. II the light coming from a reflec- tor is too harsh, a regular scrim of gauze netting, or just a cheese cloth, thrown over it will difuse it. The scrim may be used either single or double, depending on the amount of diffusion desired. Any person, particularly a woman, photographed out-of-doors, will some- times show more facial wrinkles than to which she cares to admit ownership. A slight diffusion can be attained by • See "REFLECTORS" on Page 123 113 400 FEET OF LIFE! Los Angeles Traffic Department do a terrific movie job and make useful safety films. Take a tip from tin in and product tht same thing for your community. ( i TT'S A darn shame," the ambu- X lance driver was saying, "This is the second accident at this corner in two days. If people could onlv learn to drive safely they'd live a lot longer." "Traffic enforcement."" the officer filling out the report sighed, "is only half the answer. We've got to edu- cate the drivers and the trouble is we can t reach enough of them." This conversation has been repeated in virtually every "danger"' corner in America. State. County, and City law enforcement officers in every state in the I nion are alarmed by the increase in accidents. Each year more than 30.000 motorists lose their lives in accidents which could have been pre- vented. Prevented? How? The Police De- partment of the City of Los Angeles, California has at least a partial an- swer. Seven years ago they organized a motion picture unit. The unit was to work with the Traffic Education Di- vision, under Police Chief William A. Parker and division head. Deputy Chief Harold W. Sullivan. It was destined to reduce accidents caused by the more common violations through driver education. Their unit, now the largest of its kind in America, has achieved an en- viable record in the production of safety education films. They are now operating at top production capacity but with each new driver and each new car comes an even greater need for ed- ucational films. They cannot meet that increased demand alone. I_ nfortunately. the Los Angeles unit is one of the few agencies regularly producing such films. The other few agencies such as government, city and private, cannot supply the demand either. The need is too varied to be By ROBERT LEE BEHME covered adequately under the present schedule. New producers are needed. Safety films represent the finest of civic endeavor. They aid the com- munity and they save lives. But, as civic minded as a producer may be, the production of even the shortest film represents a substantial cash outlay. It is proper that he should regain his investment, if possible, by producing for organizations who have budgets for such films. This group includes such firms as insurance companies, gasoline produc- ers, automotive manufacturers, auto- motive accessories manufacturers, tire manufacturers and medical supply firms. The Los Angeles Movie Lnit often supplements their city budget in this manner. One of their top films, a 15-minute short titled "^our Day in Court", was produced in cooperation with the General Petroleum Corpora- tion and Roland Reed Productions, a local private producer. This arrange- ment could be duplicated by most in- dependent producers. The sponsoring firm supplies the capital, the Police the safety knou-hou. and the producer the equipment and staff. ~So matter who puts up the money, however, safety films are not a mat- ter of chance. They are filmed only after months of careful study. The Traffic Education Division, of the Los Angeles Police Department, keeps tabs on all acidents within its jurisdiction. It holds regular staff meetings at which time the statistics are checked. When a specific trafic problem be- comes greater than normal the reasons for the increase are evaluated. When the reasons are clearlv defin- ed the education unit studies the prob- lem to determine the best method of presenting the solution to the driving public. W hen the answer is an edu- cational film, the staff, which includes a group of writers, prepares a prelim- inary script. The script is studied to see if it follows the best approach to education and carries the best solu- tion to the problem. If it does, the script is completed and forwarded to the motion picture unit. The unit director checks the script, plans the locations, arranges a shooting sched- ule, and arranges to hire the neces- sary actors. The film is then produced bv the unit's trained staff of seven officers. Each man is so trained to allow each to assume any of the many production tasks. All work is handled by the unit with the exception of developing which is sent to a commercial lab. Once the film has been completed work prints are made and edited by the director. Then, completed prints are produced and sent to the Traffic Education Division which arranges for distribution. Since Los Angeles is a gigantic me- tropolis, its distribution set up differs from smaller cities. Most of the dis- tribution is keyed to the seven tele- vision stations, and all stations simul- taneously receive prints of the film. They are requested to run them as a public service. In smaller towns, dis- tribution would probably consist of showings, between main features, at local theaters and at civic luncheons or suppers. How could you produce such a film? The beginning should be the germination: your idea. There are many ideas — as many as there are causes for fatalities. Each cause rep- resents a potential danger and a story motion pictures in MOROCCO By LEON VICKMAN line. The importance of these causes varies with localities, that is, what may be of prime importance in one city may be of lesser danger in an- other. To find prime causes in your local- ity, it is necessary to check local po- lice records. The officers keep a current chart of statistics, compiled from local accidents. The chart will pinpoint prevalent conditions and causes. These could be anything from too much speed to too much alcohol. In Los Angeles recently, for ex- ample, officers noted an increase in front-to-rear auto colilsions after the completion of a new freeway. To the officers this meant traffic was moving too fast for safe braking. It was de- cided to prepare a film to illustrate proper stopping distances and the need for recognizance of the fact. All safety films begin with just such a premise. The Los Angeles unit averages 15 to 20 films a year. These cost about $10 a foot and average 15 minutes in length. They cover a vari- ety of subjects from "Your Day in Court" to "Safe Stops — Your Life'. Also included in their yearly produc- tion are many one and two minute t.v. shorts designed to alert motorists to seasonal dangers such as holiday driv- ing, weather conditions and to inform them of vehicle code changes. But, let's follow their production of "Safe Stops — Your Life". Research was the first order of business. Facts had to be gathered to answer such questions as: "What causes the acci- dents?", "What is the reason?" "What is the solution?" "How can we pre- sent the solution?" A careful study of a full year's accident reports showed officers the most front-to-rear collisions occurred during the hours of 7 to 9 a.m. and 4 to 6:30 p.m. Those were highly congested hours, but even more dan- gerous than congestion, was the nota- tion of "driver in a hurry" on many reports. Drivers, late for work, were eager to arriev on time. Drivers, fin- ished with their day's work, were eager to get home. Haste of this type, induced a state of mind which wiped away caution. The driver, late starting for work, felt he could take a few extra chances. He'd drive just a little faster and follow just a little closer. The facts pointed to haste as the reason, but how to present the solu- tion? It was decided to present it in a three-fold way. First the film would point out the folly of the typi- cal driver, then it would present the right way, then it would present the reasons. A script was built around two driv- ers: Mr. Hasty and Mr. Safe. Both • See "LIFE" on Page 124 Morocco is situated in the northwest cor- ner of Africa just south of Spain, and along with Algeria and Tunisia composes what is usually referred to as North Africa. A strip on the Mediterranean and at the south above Senegal is Spanish Morocco, but the great part has been a French protectorate since Marshal Lyautey took the country in the years preceding the first world war. The great part of the population consists of the Arabs of Morocco, and the remainder is com- posed of Frenchmen and Israelites. It is a country similar in climate and terrain to Southern and Central California, and is very rich in many food products and mineral de- posits. Its largest city is Casablanca, a port which serves the Atlantic and is located one stop before the Mediterranean. Many Amer- icans vacation in the winter and spring in such well known tourist centers as Mogador, Marrakech, and Fes. Also the American firm of the Atlas Constructors has many Ameri- cans employed in Morocco to build air fields for the U. S. Army. CONTRARY to what some people may think, movies, both amateur and professional are produced and dis- tributed in Morocco. Due to the Hol- lywood-like weather which continues all the year around, shooting condi- tions are always excellent. Even late December is characteristically bright with sunshine. On the professional 35mm level many films have been shot in Morocco, such as films on the For- eign Legion, including a Hollywood feature starring Burt Lancaster which was shot on location in the south at Taroudant this November, 1953. Or- son Wells shot many of the exteriors for his film, Othello on the Arab ram- parts facing the sea at the picturesque town of Mogador, in the south on the Atlantic. There is however, only one production unit which continually shoots in, and is native to Morocco. It is the Societe Nouvelle de Produc- tions, Studios du Souissi, whose di- rector is Monsieur S. Debecque, and which is located in the very modern and progressive city of Rabat, one hour north of Casablanca on the At- lantic. Rabat is the capital of Mor- occo, the residence of the Arab Sultan, the seat of the Shereefian government, and the General Residency of France. Like the other towns of Morocco, Ra- bat comprises a Medina, a Mella, en- closed in their ramparts, and a mod- ern town constructed by the French where one finds broad avenues and the The Studios de Soussi have produc- ed many documentaries on 35mm in both black and white and color. Some of the films are sponsored by the Moroccan government and serve as progress reports on the growth of the country, while others show the many points of interest in the Arab culture which dates back many centuries. One of the their documentaries on the Dances of the Berbers, a mountain tribe, wone special recognition at a recent English film festival. Also the studios operate complete laboratory and studio facilities at Rabat for black and white 35mm work. This is the only laboratory in North Africa. Col- or work can be developed and returned by Paris in from 8 to 15 days. Since there is no quota whatsoever on the entry of foreign films in Mor- occo, as there is in most European countries, an open market for the showing of American films exists in all the movie theaters, especially in the city of one and one-half million, Cas- ablanca. Almost complete freedom to world trade has brought to Morocco a great deal of American equipment such as automobiles and milk bars. The excellent rate of exchange for the dollar makes living in Morocco in- expensive for an American. In the modern quarter of each city one has the impression of being in an Ameri- can rather than an African town. Nev- ertheless, the Arab quarters offer both professional and amateur movie mak- ers an incomparable amount of local color. In less than two weeks the visiting filmer could cover the im- portant towns such as Tangiers, Rabat, Casablanca, Mogador, Marrakech, and Fes, and bring back invaluable foot- age showing the startling contrast be- tween the old world of Moslem culture and the admirable progress made by the French. Many a time the tourist sees an ancient minaret of an Arab mosque competing for the skyline with a giant skyscraper. Interest in 'art' films and avant- garde items is signalled by the cine- ma societies operating in the larger cities in the French quarters. Most films in the movie theaters are French speaking and are distributed by firms whose offices are in Algiers or Paris. It should be noted that all affairs connected with the cinema in Morocco is handled independently of the French government, by the Centre Cinemato- graphic Moracain, 85 Rue Henri Popp, Rabat Morocco. The director is Mon- sieur Menjaud, and any technical questions on the 35mm cinema in Mor- occo should be addressed to him. 115 MEXICO • Continued from Page 108 turning, and enjoyed the service very much. For one thing, they feed you every few hours and the food is unique and plentiful; they get you there and we have never seen a more cautious group of pilots. And all this at a substantial saving. Be sure to get a tourist card from the Mexican Consulate nearest your port of entry; it costs only $3.00 and is good for a six months stay. You can import $200.00 worth of goods, for your own use — $300 if you stay in Mexico for more than twelve days. Paintings require an export permit; and a duty of 4% to 7% is levied on silver which does not carry the Na- tional Union of Silversmiths label. Ask about this in Mexico City. Euro- peans may use their passports, but it is best to check with the Consulate. Before you leave Mexico City make the trip to Acapulco. It is only one hour's flight and costs a mere $17.00 return fare. This is a beautiful resort, and is known all over the world as a prime vacation spot. Make sure that you have reservations before you leave, however, because Acapulco is very popular. Check with the clerk at the desk of the Del Prado Hotel, who will provide all information for the Hotel Prado-Americas in Acapulco. Rates there vary from $4.65 single to $9.30. Doubles are $6.39 to $10.47 for two. And here's a few bits on advice on tipping. The universal 15% is accept- able and correct. More than that brands you are a naive traveler — less, Readers are invited to send amateur films for review to Home Movies, where a panel of judges will screen, rate, and criticize all films submitted. A film leader, with the rating awarded will be sent to each amateur whose film has been pub- lished and reviewed by Home Movies. Others will receive a per- sonal criticism by mail. The one star rating indicates an "average" award — two stars, "good" — three stars, "very good" — and four stars, "excellent." as something not printable in a family magazine. Whether you like it or not, you will be considered as a prime example of whatever country you come from. Americans might remember that if they show the ordinary good manners and friendliness expected of guests every- where, they will find that they will be treated well. Most people get along fine, but remember that you're a visi- tor in someone else's house, so don't make cracks about the furniture. And don't air your opinions in public. there certainly does not mean that they are bad or backward. Take a fast look at the skyscrapers and com- pare them with American buildings. Many are more modern and more architecturally advanced than ours. So just relax, and don't argue. And here's our last word of advice. Take plenty of film, and filters, with a minimum of equipment. And lake it easy. The altitude is heady stuff and you can't run around as you do back home. Get plenty of sleep, don't over- eat, and lay off the spiced foods, and M E X ICQ AND ITS j FNVIRONS Remember, too. that Mexico is a country with a wonderful history and a record of heroism and violent struggle for their own democracy. The Mexican people have had hard times, and they still do. Things which you might consider "cute" look vastly normal to them, and they are entitled to their own opinions about anything you might want to discuss. And the fact that some things are different above all move slowly and deliber- ately. If you don't, you will simply get an uncontrollable urge to lie down around the middle of the day. Be- fore you know it. you're asleep and if we may say so — is this why you came to Mexico? Next Month: "Amsterdam". Readers may write for information on Mexico. All queries will be answered but please keep them short and sweet. — HP. 116 FILMING mi in I rum HOME By JOE BUDY ( Conclusion ) Only once did we have to bail an actor out of the local clink; a wife he had left behind in another part of the country caught up with him, finding him snugly set up in housekeeping with a new wife and child. He had for- gotten to get a divorce and make a settlement on his first child, an over- sight on his part no doubt, but one which cost us a day's shooting. In another film, a youngster we were using took to the hills one day and we suspended operations while we scoured the countryside, finding him weeping in a ravine. It seems he ran away because his classmates were ridi- culing him; through their jealousy they taunted him and said we picked him because he was weak and skinny and the whole world would laugh at him. With the cruelty of children, they made life so miserable for him he had to run away from it all, but we solved that problem neatly. We raised his salary, then put him on the front seat of our truck while we rode up and down through the village streets so all the kids could see him. His joy of revenge was unconfined, and a proud young rooster he was! Our filming of a scene one day came to a sudden halt when a lass we were shooting walked right off the set and sat down in the shade, refusing to move. Her reason was short and to her, logical ; the ground was too hot for her to stand on in her thin rubber shoes. A little coaxing, a promise of a present from the city and a pair of paper insoles cut out of a film box saved the day and we were back in business. In a film using a village doctor, we chose for our actor a young man who was teaching an elementary class in school. He "hammed it up" something awful, and actually began to believe he was really a learned man. While rehearsing a scene where he was sup- posed to point to some unsanitary con- ditions in the village with a stick, our interpreter tossed a stick to him call- ing out in Persian, "Here, catch!" Our hero glared at the interpreter and ordered a villager standing by to hand it to him. Then walking over, and with acid tones, he warned our interpreter never to do that again be- cause he would "lose face" in front of his people. Ironically, our interpreter came from a high level of Iranian society, had attended college here in the States, and was now being talked "down" to by this character who could barely read and write his own lan- guage. Probably the biggest sin of nonpro- fessional actors in front of the camera is "hamming", intentional or other- wise, when they smirk, "freeze" or gallop across the scene in a follow pan shot. Sometimes marking the spot where L 8 ,,^^F Mm-: you want the actor to stop with a small twig or stone will help, but only if the actor doesn't draw a bead on it and with deadly aim come to a military halt right on top of it. Try rehears- ing your actor in dry runs, and each time he stops look for a reference point in the frame of something in the backgqround like a tree, wall or some other object. Then when you're shooting the scene, you'll be able to tell when to end your pan shot by this reference point and you'll have your actor nicely centered in the frame. Some cameramen like a free swing in the tripod head for pan shots, others like to put a little drag on the head with the locking knob. On a Pro Jr. tripod, I like to span my left hand around the two sliding parts, for, with a little pressure, I can control the re- sistance to the handle in my right hand. • See "FILMING" on Page 122 PROJECT YOUR MOVIES \U HOURS Enjoy "rushes" of your own movies the same day you take them — as profes- sional studios do. With the Morse G-3 Daylight Developing Tank, reversal or positive motion picture film can be processed quickly and economically at home — in full daylight. A darkroom is necessary only for loading. From film- ing to projection is a matter of hours with this compact, efficient unit. Stain- less steel film reels accommodate up to 100 feet of 8/8 mm, 16 mm or 35 mm film — adjust quickly to either size. Many applications in industry, for processing Micro-file film, etc. Dry Fast with the MORSE M-30 Film Dryer Simple. Portable. Dries film in 10 minutes. Collap- sible reel remov- able for storage or carrying. The M-30 Dryer and G-3 Developer belong in every home movie fan's equipment. SEE YOUR DEALER OR WRITE 23 Clinton St. HUDSON OHIO 117 iifflwiiiiiiiiiiii • 50 FAMILY SCRIPTS t FOR ALL OCCASIONS 50 family scripts • plus 4 2 PRIZE-WINNING SCRIPTS FOR J MOVIE CLUBS AND SERVICE FILMS . . . ALL CAN BE SHOT • ON 50 OR 100 FEET OF FILM. : $1.50 only Ver Halen Publishing Co. Hollywood 28, 6327 Santa Monica Blvd. California OTHERS • Continued from Page 95 few cynics who are mature enough to believe that nothing is worth while. This film proves again and again that 8mm can be employed to do as much as 16mm — it depends upon the story and the skill of the cameraman, and size has nothing to do with it. Perhaps there is more definition with 16 mm; maybe it can be projected to a larger size — but the story and the technique are the thing and nothing else matters. Arthur Ciocco played Frank Smith. Donald Adamowski was the German soldier and three orphan bovs were as follows: Dick Fontecchio , Anthony Sopone and Don Santa Maria. The filmer. Frank Constantino played the doctor. The whole thing was written, produced and directed in collaboration with Arthur Ciocco. "We shot 600 feet of film to get the final 400 feet ", said Constantino. '"We tried to add sound but we found that this was impossible, because of our jobs — then we edited it down to 300 to improve the tempo."' he stated. The film was shown quite extensive- ly, he said, and remarked that the re- actions f ranged from ;good" to 'fair' to 'boring". His opening scene was shot five times, and his last scene three times. Two 8mm cameras were used — a Revere-60 and a Revere 55. Might shots and low key sequences were made with deep red filters. Titles which were lettered on a fence were made with adhesive tape. And only one flood was used. (We suggest that in the future you try two or three to get roundness and punch. ) "We did not have an editor."' said Constantino, so we viewed the film first by holding it up to the light, and then cutting it at the right spot: and sometimes we used the projector to edit the film."' he concluded. In a recent letter Constantino said he was 19 years old and was waiting for Lncle Sam to "greet him ". His partner Art Ciocco is an ex-member of a movie club and right now is work- ing on yet another script. Home Movies is cheered by this film and would like to see more. \^ e liked the spirit of the film, even though we don't quite agree with the message. But we suggest that both Constantino and Ciocco keep at it : we think they have something on the ball. "New England" and "New York" ■ — 500 feet each, color 16mm, with tape narration and music. By C. H. Swindler, Omaha Movie Club. **** This film is the pictorial story of New England and is told in a charm- ing and fascinating manner. The film as a whole, is excellent, and is one of the best we have ever seen in this cate- gorv. The historical aspects of New England are woven into the picture in an unobtrusive way and somehow or other the cameraman captures the won- derful spirit of America. He does it quietly, in fact almost in a whisper, but the fact remains that he has a feeling for form and color, composi- tion, and especially continuity and movement. The film never stands still — there are no dull spots — it simply flows along with fascinating shots of the towns and the fishermen and before we know it. the cameraman has taken us away from Mew England into Mew York. It could be that he wanted to show a contrast between the rural part of America and sophisticated Mew York. But we think that he should keep "Mew England " as a separate entity and use the Mew ^ork footage for something else. Mow let's get back to "Mew Eng- land". Mr. Swindler uses titles and taped music and narration. We sug- gest that he scrap the music and nar- ration and get a qualified musician to choose the proper sound. If the film is to be sold, he should investigate what music can be used, which is in the public domain, or else buy the rights to whatever music is ultimately chosen. This is not too expensive and is worth while. The narration should be done by a professional and we suggest that the script should be re-written so that it is integrated more closely with the pictorial content. It would be unwise to file this film and forget it. \^ e feel that it has commercial possibilities and Mr. Swindler should investigate these pos- sibilties. and right now. The "Mew \ ork"" film is excellent, at first, but deteriorates somewhere near the middle. The first part con- tains some of the best shots we have ever seen, with muted color, good composition and exposure right on the nose. The rest of it is rather over- exposed and does nothing to add to the film. This film, ("Mew England") is something which we rarely see — and that includes professional travelogs too. Mr. Swindler has captured an in- definable something which does not ap- pear in the strictly commercial film. He seems to have a feeling for history, for color, and makes a drama of the stark and the inanimate. May he make many more films like "Mew England". "Story of Cornfed Steaks *** — Br Gordon and Mary W iig. Omaha. 500 feet, color. 16mm silent. Omaha Movie Club. This is the story of cattle and how thev are raised in Omaha, and it is also the storv of corn, grown partially for feed and for human consumption. CASH for Still Photos for Home Movies Magazine COVER PICTURES $15.00 per photo for good 8 x 10 glossies, vertical composition — for cover use. Photos must be sharp, have good contrast, and should illustrate seasonal subjects. Large heads are preferred, singles or groups in action acceptable. PHOTOS FOR EDITORIAL USE $5.00 to $10.00 depending upon interest, and quality. Pictures should show cine filming activities such as titling, editing and other phases of home movies. TECHNICAL PHOTOS Any photo illustrating a cine idea, gadget, method or new way in motion pictures is acceptable. $5.00 to $3.00 depending upon quality. Home Movies will pay upon acceptance. Contributors must include return post- age and self-addressed envelope. The publishers assume no responsibility for unsolicited photos or drawings. Reply in five days. 118 The film is informative, and tells a complete story of the life of a cow, from the time it is born to the un- happy time of slaughter at the ab- batoir. Inserted into the main theme, is a factual report on corn and how it is grown and stored on a large farm. Since we are a city feller we saw with some surprise that this particular farmer had an assembly belt for trans- porting the corn to a corn crib and otherwise possessed the most modern machinery conceivable for this kind of work. The film begins with a few self- conscious shots of a group of people at the farm house, and after that we are taken outside, presumably into some kind of corral where an ardent movie fan, (female) is trying to shoot some footage of the horses prancing about. Beautiful and comfortably stout, the female photographer gets into a hassle with one of the farm hands, and sadly enough her . . . trousers split . . . and it's a busy cameraman from here on in. What with the immediate problem of keep- ing her . . . uh. pants on . . . guard- ing the camera, and tossing something at the offending farmhand, she has her hands full. The film continues with fine shots of the cattle at pasture, feeding and other aspects of cattle raising. The animals are taken to the stock yards and the cameraman shows the bidding and appraisal of the stock as the buy- ers appear to purchase the steers. We are then taken inside the abba- toir and shown how the hides are stripped from the carcass, and finally the cutting of the meat into juicy steaks and roasts. The inside shots are well done, but we wish the photographer had pre- vented the mugging done by the var- ious workers who were processing the meat. This adds nothing to the film. It is a cardinal rule that people who are shown doing something, must do so with a complete disregard for the camera. Otherwise spontaniety is lost. The film keeps on going with shots of processing and finally we see fine steaks deposited in the oven, with a sumptuous table in the background and the story ends. This is an excellent record film and tells a complete story. But we feeel that a little drama, even with films of this kind could add much to the final effect . As an example. The story could be told in the same way, but, in- serted in the beginning, the photogra- pher could have added a side-plot of how the young farm boy who has raised one of the heifers himself, feels rather lost when his pet is full grown and must be taken to market. A little thing like this can add much to a pic- ture which is all business. The picture could be cut, in some places, especially at the beginning dur- ing the early sequences. Otherwise Gordon and Mary Wiig have done a sincere job, with continuity, fine titles, making a very informative film. Grand Canyon ** — By Fred E. Clas- sen. 200 feet, color, 8mm. Omaha Movie Club. This film opens with a letter to a friend describing the route of the va- cation trip, and then a toy car is used to animate the map which forms the background of the shot. Arizona and New Mexico are seen — a mass of desert flowers here and there, and an old church with natural monuments along the byways of the trip. Exposure is spotty. One shot was taken near dusk, and we wonder why this was done at that particular time of day. Color film is rather slow and it is not possible to get a decent ex- posure when daylight is almost gone. As an example of this kind of thing, Mr. Classen has a nicely framed shot, with foliage in the foreground — but the foliage is out of focus since the lens was apparently used wide open. Of course, when this is done, then the foreground will not be sharp — so it is suggested that movies be taken only when there is light available. The film ambles along, pleasantly enough, and it closes with a shot of the filmer finishing his letter to his friend, describing the trip. We sug- gest that Mr. Classen cut the film so that continuity might better — and it might be an idea to eliminate the under-exposed shots. A Family Man's Vacation ** — By Frances Curry. 250 feet, 8mm, color. Omaha Movie Club. This is one man's record of his va- cation with his family, and describes the fun and adventure of spending a few days outdoors. Titles are clever, (chalked on a rock), close-ups are used with good effect and even the travel shots taken from an auto are interesting. Most of the film is confined to the daily activities of the family and we have an interesting sequences where a youngster of ten, (we estimate) does an excellent job of making bacon and eggs for breakfast. The young chef has an asurance and aplomb far be- yond his years. Aside from the opening sequences, (some of which should be cut out) ex- posure is fairly good and the story moves along swiftly with many inter- esting shots. • See Next Page Write tor Catalog Ho 96 Pages crommed with 7 THOUSANDS of Newest PHOTO TOOLS, CAM- ERAS (Pre", .Stud'O. Candid, Special Pur- nose etc.), LEN5E5, PROJECTORS, Lighting Equipment, Developing Equip., Enlargers, etc., ?or AnSateur — Profes- sional in daily Scien- tific or Industrial work. Mr. White, Dept. MM BURKE & J AMIS, Inc.. 321 S. Wabash. Chicago 4, III Magnetic Film and Tape Users Use a FIDELITONE TWIN-Table for perfect re-recording. Three speeds, ceramic pickups, microphone mixer, cue lights. Write for details. MO..IC ^ m k. CULBERTSON CO. intone . 81.7,.Le7yrs,lrfee, . ru/iw TAB.c San Gabriel, California %xm.HOMEMOVIESUBJKB / America's Super Market for / the biggest bargains in films and equipment. New 150' 8mm. subjects, $2.98. New 300' 16mm sound subjects, $11.95. Used 16mm. sound \ projectors, all makes, some low A as $99.95. Bargains in used J films, equipment. Dime brings our new 32-page descriptive catalog. BLACKHAWK FILMS INC. 103 EAST IN BLDG. DAVENPORT, IOWA ON APPROUAL Most entertaining 8MM MOVII FILMS for home movie shows. Write today and we'll SEND YOU A 50 ft. 8MM FILM — POSTPAID — ON APPROVAL. (Return the film within 5 days without obligation, if it's not worth more than the $1.50 we ask.) BONICA NEWSREEL CLUB 651 6- H Selma Avenue, Hollywood 28, Calif. MOVIE AND SLIDE TITLES STILL AT SAME LOW PRICES! Same titles formerly distributed by Bell & Howell— now sold direct. Large variety of beautiful backgrounds available. Your own wording. Get the quality only our long experience can give. SEND FOR FREE samples and illustrated folder. TITLE-CRAFT, Dept.H, 1022 Argyle St. Chicago 40, III. 119 OTHERS • Continued from Poge 119 Prisoner of War ** — 200 feet, col- or and black and white, 8mm. Taken by Dr. Earl Conover. Omaha Movie Club. This* is a record film, photographed secretly at a prisoner-of-war camp in the I nited States during World War II. As such a film, it provides the esesntial fact that Americans know how to apply the democratic idea, and nowhere is this so apparent as when we see a Nazi funeral, held at the camp and showing the fair treatment acorded the prisoners. Made secretly, the film is an excel- lent record of life in a camp, and underlines again and again the es- sential kindness of the American sol- dier— in sharp contrast, sadly enough, to those who fought against us such a short while ago. The film opens with a clever shot of a prisoner w ith his back to the cam- era. The letters "P.\S .' painted on his back form the introductory title, and the film runs along in fascinating detail showing the prisoners at work and play and also some of the wood carvings and other trinkets made dur- ing their leisure hours. The important point about this film is that it is a record of facts and ideas and people. If Dr. Conover talked himself blue in the face, he could never begin to transmit the essential idea behind the film — besides, many would not believe him. But recorded on film, we have irrefutable proof, subtly inserted in the story and under- scoring the basic truth which Dr. Con- over proves so well. We like this film because we think that Dr. Conover is a good reporter, and as such took advantage of every opportunity presented to him. Maybe a few shots are a little shaky: some even are a little overexposed. But we say. so what? The cameraman has made an excellent record film, and we still think that the picture is the thing. Dr. Conover should be congratulated upon his initiative and his sense of living history. * * * Glimpses of Niagara Falls *** — Richard Orr. 8mm. 100 feet, color. Omaha Movie Club. It is amazing what can be done in 100 feet of film, when all the elements are carefully planned. Mr. Orr begins his film with a bit of map animation to show the exact location of Niagara Falls and relates it to the surrounding country so that those who are not too familiar with the place can get a fair idea of its lo- cation. He has inserted descriptive material of this natural phenomena before a shot is made. This way he creates a sense of suspense, and at the same time carefully informs the view- er of the interesting aspects of Ni- agara. Exposure is excellent with good con- tinuity and scores of well composed sequences. There is one spectacular shot of a boat I "Maid o fthe Mist" I steaming down the river, and this one is spectacular only because the cam- erman used a very high angle. This is an interesting little travelog, beautifully made in an informal man- ner: proves our point too. that travel films need not be dull. Ski Antics ** — By John Koutsky. 200 feet. 16mm. color. Omaha Movie Club. The title of this little film tells the story — a long sequence on water skii- ing on a lake somewheres in Omaha. The technique is excellent, color ex- posed almost right on the nose, and the whole thing is an exciting record of the interesting antics of the water sportsmen. Actually, the film can be divided into two parts. The first half was obviously taken near 1 :00 p.m. on a sunny day. The other part earl- ier in the morning, because the color is rather blue and cold in character and this is indicative of earlv morning shooting. Now back to the first half. The photographer chose a very good angle because his action enters the frame from the right usuallv. sweeps over to the extreme left, and exits from the lower right — good professional technique. However sometimes the figures make a wide sweep to the ex- treme left. I in shadow I and we sug- gest that the cameraman could have opened up a half stop or so to comp- ensate for the lower level of illumina- tion. In one short sequence, the cam- eraman has framed his shot by using a figure in the lower right hand side of the frame, and this adds depth and much interest in the film, at that point. If this film was intended as a record, then it is a perfectlv fine job. We sug- gest that the sequences be woven into a story of some sort to enhance the value of the strip. PROS • Continued from Page 112 the eight tow boats and not to men- tion two other boats mounted with cameras, this becomes quite a major problem. June omitted one problem of hav- ing a large and heavy technicolor camera by using light, single-strip cameras. He used Ansco color film and since this footage had to be inter- cut with the Technicolor film this posed another problems because the two color films are different in color characteristics. In the released print there is very little color shift in the two films, even the average movie maker will not notice the change. It took approximately five weeks of rehearsal, testing and shooting the footage for the water ballet. They had to test several helicopters to see which had the least vibration to the camera. The helicopter was used fo spectacu- lar aerial shot of the skiiers. Particular good planning and edit- ing was used to make the scene un- believable where Williams dives from a trapeze suspended many feet in the air. Since a double was used for \^ illiams' diving, the scene had to be shot in a way to give the effect that it was she, and not a double. They did this by having a medium shot of W illiams as the trapeze was lowered into the scene. \^ hen she reaches for the trapeze a close up is used. The trapeze pulls her out of the camera range and a long shot is used show- ing Williams I her doublet in the air. \^ ith the long shot she dives. When she comes up out of the water a close- up is used showing Williams. All the footage for the ski sequence was filmed at Cypress Gardens, except the final climax scene, it was filed on the lake at the MGM Studio. All the footage of the water skiiers was highlighted by reflectors. They served as fill-in lights. This was a difficult job to hold the reflectors steadv on a moving boat. It was also a problem for the camera men to keep a steady and true horizontal shot, but they came through with a terrific se- quence that is well worth the price of admission. "HONDO" Released by WARNER BROTHERS Stars: John Wayne. Geraldine Page. Ward Bond. Michael Pate, and James Arness. Pro- duction: Produced by Robert Fellous. Di- rected by John Farrow. Screen Play by James Edward Grant: based on a story by Lewis L'Amour. Photography by Robert Burks. A.C.C. and Archie Staut, A.S.C. Film Editor: Ralph Dawson. A.C..E. Photograph- ed in W arnercolor. 3D. The public is staying away from 3-D movies in droves these days. In fact, so much so. that many of the studios 3-D movies such as "Miss Sadie Thompson" and ''Kiss Me Kate" are being released as flaties. This is too bad because an intelligent production 120 approach to 3-D makes for fine enter- tainment. Three-D got off on a bad start by having that horrible stinker "Bwana Devil", insulting the intelli- gence of the movie goers and the pub- lic hasn't forgotten! Maybe it isn't too late to save 3-D if we had more fine films in this medium like the Wayne Fellows' production of "Hondo". "Hondo" has a story ■ — the foundation of any good film. The footage has been cut and polished by that ace film editor, Dawson. The director has high- lighted each scene by knowing each of his characters' inner-feelings which makes them become real human be- ings and not paper puppets delivering lines. Sure, "Hondo" has a few 3-D gim- micks, if that is what the sophisticated movie novice wants to call them! But remember, there is a great deal of dif- ference in having something thrown at you from a 3-D screen with no rhyme or reason and to have something come towards you that highlights and en- hances the sequence. The fight between John Wayne and the Indian leader played by Michael Pate is not just a sensational fight the script department dreamed up over night, but it has a darned good reason for being in the film. First of all, the fight sequence is placed in the script where the audience least expects more excitement. This is called "Double-Climax" in the writing field which adds emphasis and highlight to any screen play. The director has used the script material thus far to point sympathy for both the Indian and Wayne which makes the fight to the death sequence filled with excitement and frustration. The camera man se- lected low shots to give the audience more of a feeling of being part of the battle. The musical score was scarce, but when it was used gave great depth to the scene without making one aware of a musical background. When music can enchant footage in this manner it is the very best. Musical backgrounds are to dramatize the scene — not de- tract ! To add more authenticity and rug- gedness to the picture it was filmed 1,000 miles from Mexico City. The farmhouse, corrals, and sheds were built near a stream especially for the film. Typical Hollywood tradition of filming all exteriors on location and all interiors on the sound stage was broken. They used both the inside and outside of the ranch house by re- moving parts of the wall. Before all 3-D movies had one cam- era set-up. In "Hondo" they had three cameras operating simultaneously. This naturally made for more choice footage giving the film editor more of an opportunity for tighter, smoother continuity on the screen. MUSIC • Continued from Page 104 Referring to Figure 3, the last bar of the Az strain is a cadence. Likewise, the 4th bar of the A, Aa and Az strains are cadences since they com- plete a melodic and harmonic phrase on the tonic harmony and key note of the composition. Similarly, in Figure 4, if we disregard the last note in the 4th bar ( under 7) in the A and Aa phrases, both phrases end with a cad- ence in the 3rd bar as does also the C strain where the melody note falls on the 'key note' in the 3rd bar and is tied to the note in the 4th bar. While these two compositions are not too well suited for extensive inter- cutting, they will suffice for the pur- pose of illustrating the technique of the above mentioned cutting proced- ure. Then, when you have famaliariz- ed yourself with the basic technique, the method can be applied to other and probably more suitable material. In the following discussion and illus- trations we will concern ourselves with cutting only, with no regard to timing. Of course, there are many musical rules involving the proper resolution of melodic 'lines' and harmonic struc- ture. These are too involved to at- tempt to cover them in a series of articles of this nature. However, the average person who has any feeling or appreciation of music can tell by hearing whether or not the contemplat- ed musical cutting fits together. The technical 'why' does not matter ■ — the important thing is. does it sound right? The experience you acquire as you go along will continually add improve- ment to your technique and results just as experience brought improve- ment to your pictures. If your first efforts in this field are not entirely satisfactory, remember this, probably your first efforts in taking movies were not entirely satisfactory either when measured against your present stand- ards. Let us start with "Jeanie With The Light Brown Hair", using the first part of the A strain and connecting it to the A strain of "Listen To The Mocking Bird" as illustrated in Fig- ure 5. Here we have resolved the cad- ence of 'Jeanie' in the 4th bar how- ever, we have used only one half of the bar with the cadence of "Jeanie" and have filled out the remainder of the bar with the pick up notes (X) of "Mocking Bird". You will note that, by using the pickup notes of "Mocking Bird", a stronger feeling of melodic continuity is obtained than if the connection had been made without the pickup notes as illustrated in Fig- ure 6. (Continued next month with extra illustrations.) Automatic dissolve attachments for Cine' Special and Bolex H-16 (Equipped with Pellegrini Shutter) JOSEPH YOLO, 1037 N. La Brea Phone GL. 7103 Hollywood, California EASTMAN KODAK KODACHROME DUPLICATES 8mm or 16mm — 1 K per ft. 16mm Reduced to 8mm fin^ed 8mm Enlarged to 16mm 1 ' foot SCIENTIFICALLY EXPOSURE CORRECTED WE GUARANTEE QUALITY PLUS SERVICE Mail Orders Accepted EAGLE LABORATORY 1732 N. ORCHARD ST. CHICAGO 14, ILL. SOUND EFFECTS AND MOOD MUSIC RECORDS Especially suitable for the Bell & Howell 202 Projector Send for FREE catalogue THOMAS J. VALENTINO, Inc. Dept. HM 150 West 46th St. N. Y. 36, N. Y. 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E, TOLEDO 9, OHIO HOW TO MAKE MOVIE TITLES IN COLOR! Write today for a FREE A-to-Z Sam- ple Title Test Kit. Make titles that are different . . . better and tailored to your taste. Try our method . . . FREE. Complete color or B&W Outfit $6.50 A-to-Z MOVIE ACCESSORIES 175 Fifth Avenue Dept. H New York 10. N.Y 28 BASIC STEPS on Motion Picture Techniques . . . best Available $1.00 Ver Halen Publications 6047 Hollywood Blvd. Holywood, Calif. FILMING • Continued from Page 117 Then I can easly tell if the pan shot is smooth, can start and stop it with- out jerking and can better control even the slightest movement in either direc- tion with ease without turning blue from holding my breath while shoot- ing. Which brings us to tripod legs and how to keep from tripping all over them. If you've ever wet-nursed a 35mm studio type camera around an outdoor set, you've probably learned the trick of keeping one tripod leg longer than the others and pointed at the scene. Then, by getting your shoulder under the camera, you can lift it, rock back a bit and as you rise, fold the other two legs. That is, if you don't fall flat on your slate. With the 16mm equipment the prin- ciple is the same, but you only walk forward, and pivoting the tripod on the longer front leg, you simply fold the other two legs and off you go. Once you get into this habit of setting up, you'll sense where the other two legs are without having to watch for them and by straddling either of the legs, you'll have enough freedom to pan in about a 180° arc without having to move your feet. If you ever lose or break your slate, or find that writing on it with a grease pencil is too messy, you can make a practical substitute out of the clipboard holding the log sheets for each roll of film you expose. Paint the necessary information on the back of the clipboard, leaving blank spaces for the numbers and letters. With an ink brush pen write the numbers on 1" squares of scotch masking tape, pressing them on where needed and storing them under your log sheets on the face of the clipboard. They'll be handy, clean, and can be used over and over in any combination. Some specially built camera cases have a removable side, the inside sur- face of which can also be used for a slate. By painting the information on it ,and storing the numbered squares any place on the inside surface of the case, you'll have one slate which you'll never leave behind. You can have a camera case made for about the same price as some fac- tory cases, but if you do, make it strong enough to stand on for high angle shots, and big enough to carry a day's supply of film as well as a changing bag, eliminating another box to carry around with you. By all means use a changing bag instead of a blanket or a coat for a temporary darkroom when opening the film chamber of your camera, not only to prevent light leaks, but also to prevent any hair, line or foreign matter from getting inside. Stray fibres have a way of collecting around any moving parts of the mechanism, and you'll never know when one will break loose to anchor itself in your aperture, sticking out in the projected picture like a flag pole. Without going into too much gory detail, I'll just add that we had two generators supplying the power we needed for all our lights, a 5 and a 10 kilowatt, and both loaded to capacity. The heat generated by all these lights caused delicate odors which might have otherwise escaped, to be heighten- ed and blended into an effect not to be soon forgotten. But not all our films were of that nature; covering the fields of educa- tion, health, sanitation, agriculture and animal husbandry afforded us much in- teresting and varied experience. But by far the most fascinating assignment of all was a travelogue film of that country, a "human geography" as onr script writer put it, "to acquaint the people of Iran with what they have in their own land". Splitting the country into two sec- tions with a crew for each half, we toured the entire domain, from the Northeast corner where it touched Rus- sia down to the Peisian Gulf. We saw- Iraqis, Kurdish, Turkomen and Bach- tiari tribes, listened to their music, saw their dances. We saw the holy city of Meshed, and with special permission, were allowed to shoot mside the mosque walls. The tombs of the great Ferdousi and Omar Khayam were visited, and we learned how people lived, from the mountains of one border across the deserts to the rice fields below the mountains where jungle animals lived on the other bor- der. The cities of Kermanshah. Tabriz, Ahwaz, Persepolis, Shiraz, Qum, all legendary and with fabulous back- grounds were iflmed as they are today, teeming with tribesmen, tradesmen, craftsmen and warriors in modern garb. We tried to capture the fading beauty of Isfahan, once known as the "eyes of the world". Our newsreel coverage also kept us going in all directions, sometimes to the palace, sometimes even with the Shah and his Queen. With still and motion picture cameras we tried to record the changing scene in the cities and villages to which help was being given, for a better way of life to those who made their living from the dry soil. To the wayfarer who may some day visit this land to whom we owe so much of our present civilization, or to the photographer who wants to cap- ture some of the feeling, spirit and tradition of these, regarded as one of oldest people on the face of the earth. "May Allah guard you against evil, and guide your path. May your shadow never grow less." 122 REFLECTORS • Continued from Page 113 using the number 1 or number 2 dif- fusion disc in front of the lens. Any greater degree of diffusion is not rec- ommended for color film. A fine single thread gauze in front of the lens will serve the same purpose. If the diffusion proves to be too great, burn a small hole in the center of the gauze with a cigaret. Be careful not to let any sunlight hit the gauze, or the dif- fusion disc, or you will be in real trouble. Most cameramen are fully aware of the importance of a good sunshade to protect them from stray light falling on their filters or their lens. When using backlighting it is sometimes necessary to put up a "flag" (see story on grip equipment ) to protect the lens from flare. Often we are bothered by unwant- ed reflections from nearby buildings, glittering water, automobiles or win- dows, so we set up a "gobo" ( a black screen of plywood or flannel) between the subject and the offending surface kicking back the light. Many people are unable to stand the hard light from a reflecting surface, and if they squint their eyes, we can't expect to get a good likeness of the person. There- fore we have to protect them against unnecessary abuse. An efficient "grip"" will always turn his reflectors away from the actors, while the production company is rehearsing, or at rest. If a person has to look right into a bright light, the pupils of his eyes au- tomatically contract, giving a very un- natural expression to his eyes. To pre- vent this we set up a black gobo be- tween the reflectors for the subject to rest his eyes on. This will help in keeping the pupils wide. There are times when we are unable to use any kind of artificial light in filming interiors. If there are large doors or windows on the building in which we are working, we are some- times able to shoot enough light in through them by means of reflectors to attain a nice effect and get a good exposure reading. Sometimes when we are unable to get in the right posi- tion to reflect the sunlight, we may have to "bounce" it by setting up the reflectors in such a way that they can be reached with the lightbeam from a large mirror. Now what about exposure when us- ing reflectors? The answer to that question is: take your reading the same way you have always taken it! The reflectors will naturally add a lot more light to the scene, so be sure and check your exposure with all your reflectors in shooting position. Don't get into direct line with your back- light, unless you shade the lightmeter with your hand, or your reading will be incorrect. Any cameraman who is handy with tools can make his own reflectors. If a standard 4x8 foot sheet of quarter- inch three-ply board is cut in half, we'll end up with two 4x4 pieces. To prevent the plywood from warping or getting its corners smashed, we nail strips of wood (about 1 xli/2 inches) around the edges of the plywood, and weather-proof them with good paint. A reflector should be completely flat, as any bulging would spoil a direct reflection. Next step is to paint both sides of the board with a thorough coat of shellac. After it has dried, we ap- ply a second coat, and while it is still tacky, we lay out thin 6x6 inch silver foil and carefully brush them smooth with a camel-hair brush. By leaving a half inch or so around the edge of each sheet of foil standing out loose from the board, it will help to elimi- nate too much glare, and still add a lot of life and sparkle. On the other side of the board we stick on lengths of lead, which has been rolled thin and burnished. This will be the hard side of the reflector. For the purpose of holding the reflectors in position on the ground, we make supports out of pieces of round or square wood, taper the ends, drive in a nail and file it to a sharp point. If the reflector is to be used "high" to give it the proper slant, it is fasten- ed with wing nuts to a tube and then placed on a heavy stand. prevent projector A spare Sylvania Projection Lamp saves the fun! It's really disappointing to have a projection lamp burn out while you're showing movies or slides to friends — disappointing, that is, unless you have a spare lamp on hand. So pick up a spare projection lamp at your Sylvania dealer's now. Sylvania Projection Lamps give sharper, more life- like screenings of your favorite slides and movies, because their filaments are scientifically-coiled to give you a more solid mass of light. Special shock- absorbers protect the longer filaments on the larger lamps from projector vibration. There are 16 different Sylvania Projection Lamps, for all standard projectors from 100 to 1000 watts. blackouts! And For Taking Movies Use Sylvania Reflector Super- flood Lamps. They give you even distribution of light — without hot spots or over-bright rings to mar your pictures. SYLVANIA* "The Projection Lamp with the Shock-Absorber" Sylvania Electric Products Inc. 1740 Broadway, New York 19, N. Y., U. S. A. In Canada: Sylvania Electric (Canada) Ltd., University Tower Bldg, St. Catherine Street, Montreal, P. Q. LIGHTING • RADIO • ELECTRONICS • TELEVISION 123 SHOPPING • Continued from Poge 106 Counter-sunk screw holes in the base allow for easy mounting with other editing equipment. Price S12.95. Heard-Pacific Co.. 116 Xatoma St., San Francisco 5. Calif. New 8mm Sound Projector The Calvin Company has just an- nounced a new improved 8mm sound projector, the Movie Sound 8. model T-54. retailing for $449.50. The new T-54 will feature two sound heads for finer quality recordings on 8mm film the company asserts. Other features will include an advanced de- sign shutter system which will give SSy^c more light on the screen, wide range sound system for full reproduc- tion of phonograph recordings and lifetime lubrication of all moving parts. Details — Projection lamp: 750-watt; projection lens: 1 inch focal length, coated. F/1.6: two speeds: 16 and 24 frames, recording and projection at either speed: audio system: 41/2 watts output, wide range; power require- ments: AC only. 105 to 120 volts, 875 watts. 50-cycle model on special order. Sound stabilizing system: improved roto magnetic stabilizer system insures low flutter and minimum wow when recording or playing back sound tracks: magnetic sound heads: twin heads, one for recording-plavback. the other for erasing. Full fidelitv record- ings and playback from 8mm sound tracks: weight: 41 pounds: size: I8I4" long by 9 5/16" wide by high: accessories included with pro- jector: reel arms, microphone, and 50 ft. test film. \^ rite The Calvin Co.. 1105 Truman Kd.. Kansas City 6. Mo. Pack of Lenses Elgeet Optical Company. Inc., an- nounced today a complete lens pack- age for the Bell & Howell 172 A and 172B magazine cameras and 134V and 134\X roll cameras. This package known as the "LC85" introduces the first inexpensive. Ro- chester-made fixed focus Telephoto Lens for Bell & Howell cameras . . . a 38mm f:3.5 Fixed Focus Telephoto. made with typical Elgeet design and engineering. Also includ- ed in the package is a 7mm f :2.5 Wide Angle (Lni-Focus) Lens and match- ing finders for both the telephoto and wide angle lens. The list price of the package including all 4 pieces is $80.00. For further information, write Elgeet Optical Company. Inc.. 838 Smith St.. Rochester 6. N.Y. Old Stand-by Here s an old reliable box camera to supplement your movie camera. Made by the well-known Carl Zeiss, the Box Tengor designed a decade ago. still remains the most elegant camera ever made, claims the manufacturer. Especially important to movie mak- ers, the shutter operates at a speed of l/30th second, exactly the same as most movie camera shutters: filmers can use both intermittently when shooting in order to have a movie and still record of their shots. Takes 8 shots per 2y±x3y± roll, and has an achromatic, coated F 9 lens, corrected for color. Stops down to Fll and F16. and will focus from three feet to infinity. The box is synchronized for flash, and the rotary shutter also works on "bulb"\ A safety exposure guard is built into the camera. Price: about S15.00 at better camera stores. For more information write Carl Zeiss. 485 Fifth Ave.. N.Y. LIFE • Continued from Page 115 gentleman left for work, from the same point. Mr. Hasty drove like a maniac. He swerved in and out and followed too close behind other cars. Mr. Safe drove at the legal speed limit. He passed only when the car ahead was going far too slow, and. he passed only when it was safe to do so. Mr. Hasty was forced to ride his brakes. He had twenty-five close calls — twenty-five brushes with death. Mr. Safe, on the other hand, bothered no one. He himself was unruffled. He drove interrupted never having to brake down nor speed up. He had no narrow calls. • The punch came at the close of this sequence. Mr. Hasty arrived at the mutual destination just one minute ahead of Mr. Safe. To emphasize the problem Mr. Hastys trip was presented again, in a different manners. Drawings and graphs were added. Mr. Hasty s trip was projected again. After each of the twenty-five violations animated drawings were cut in, showing why it was follv. then, at the completion of the animated strip. Mr. Hasty was shown ''what could have happened" by seing an actual accident caused by just such a violation . The film was shocking and factual. It had a clear, uncluttered message. It told it three times — once humorously, once factually, and once emotionally. ''We feel, all educational films should be simple to be effective." one director said. "It is difficult to cover too manv points in 400 feet of film, yet that 400 feet has to save a life. We take single causes. \^ e don't try to correct the whole motoring king- dom in one film. Instead, we try to eliminate just one cause of accidents. For every regulation there is a rea- son. We try to save lives by explain- ing the reasons just a little more clear- ly." "Traffic is everybody's busine--."" Chief William A. Parker pointed out. "It should be both the job of the com- munity and private business. It is the business of those who are cognizant of the dangers of traffic, but no matter who finances the films there are unlimited ideas though only a few ways of producing them. Such a budget is normally very low . Only through the most thorough kind of pre-production planning can a film such as this be kept within the budget. The planning has to be handled by the producer — if the film is going to be sold. There are two ways of "selling a film. (Selling is in quotes here be- cause it is generic, that is. it applies 124 with TACHOMETER for EK CINE SPECIAL Motor drive your Cine Special with confi- dence! Tachometer is mounted in clear view of operator. Calibrated from 8 lo 64 frames per second. Definite RED marking for 24 fps. Electrical governor adjusts speeds. Steady operation at all speeds. No adapters needed. Motor coupling attaches to camera and couples to motor. Spring steel drive arm shears if film jam occurs. Easily replaced. SPLICES NOT HOLDING? Try Jefrona all-purpose cement. Send for FREE sample. FRANK C. ZUCKER (Tflm^Rfl €quipm€iiT (p. 1600 BROflowfly \ new yORK CITS ^"-^ to both the commercial producer and the civic minded camera club groups. I The first method is strictly specu- lative. Research, scripting and pro- duction are all completed by the pro- ducer before any selling begins. The producer will only peddle a completed film. This method works well for a small producer, located in a small town which has no local offices or potential purchasers. The second method is a more busi- ness-like approach when it is possible to utilize it. It requires only a min- imum of speculative worfl. Research and scripting are done on the produc- er's time but the speculation ends there. When the script has been com- pleted it should be broken down for purposes of a complete cost chart. With both script and cost chart the producer is then in a position to ap- proach interested companies and sell them on the idea of backing your safety production. This is easier than it sounds. There are many companies interested in safe- ty and there are far too few films to meet the need. These firms are willing to underwrite production costs if you have a worthwhile story idea, the experience to produce and the equipment to do a professional job. In most cases, upon assignment, you will work with both the company's public relation staff, the Police De- partment and the local Educational Department. Do not overlook the help which a local school department can give you. They've been working with visual aids for many years and have lots of practical experience. Before shooting begins, break down your script so you know where each scene will be filmed. List each scene which will require "grab shooting" at acident scenes. Check with local po- lice for necessary clearances. Acci- dent scenes are easy to find but diffi- cult to film. The police can help. Mobility is of prime importance at accidents. "You've got to shoot fast," Los Angeles cameraman say. "Your tripod w ill be in the way here. Rescue workers will trip over it. It will take time to set it up. You'll miss the shots you want, moving from angle to angle." Instead, Los Angeles officers substi- tute mobility for stability. They util- ize things which they find at the scene for tripods. They rest their cameras on fire hydrants, against telephone poles or on fenders. These help steady the camera. "We never shoot completely hand- held, if we can avoid it," the camera- man said. "Even when there is no other rest, we use ourselves. We shoot over the shoulder of another officer. That's better than hand-held." They never shoot pan shots at acci- dents. It's too confusing. Instead they've worked up a schedule of shoot- ing. Here's the way it works. One camera is mounted on a shoot- ing platform atop their station wagon. The duty of that camera is strictly the long shot. Two roving cameramen cover the accident scene for closeup material. The officers, at the scene, do not film wounds. "A wound is not pictorial," one camerman said. "You can tell much more about careless drivers and pain by showing the expresison on the in- jured's face or the painful contortion of his hands when the pain becomes unbearable. When we get these things on film we know we've succeeded in preventing accidents. No driver can forget a pain-filled face." When the ambulance arrives at the scene the cameramen keep out of the crew's way. They film from one side — either near the ambulance or be- hind the rescue workers. They have a clear field to photograph yet allow- fast first aid application. If the in- jury is serious they show enough of the first aid to build up suspense. When the ambulance has gone they film enough of the interesection and skid marks to recreate the accident. This documentary, together with nar- ration, shows how the accident could be prevented. "During the day," the director said, "we shoot black and white — either background X or Super XX — with- out fill. When we use color we fill in shadows with hand-held reflectors. At night we face a special problem. Accidents occur over too wide an area to devise pre-arranged lighting. We have to work with light-weight port- able lights." To do this they've invented a spe- cial night reflector. The reflector, a cone-shape like a candle snuffer, supports a standard magnesium flare. The flare gives off a brilliant light, enough to film color at f 1.4. To pre- vent hot magnesium from causing fires, a lip, at the bottom of the flare guards against sparks. "At night, many accidents are caus- ed by drunken drivers," one police camerman said. "During the course of a sobriety test, we do not flash light at the suspected driver, etiher in front or from behind. It could be legal grounds for an unlawful driver to claim 'foul' on his test." All indoor shooting is handled in the Los Angeles crew's own studio. They are equipped for everything but overhead dolly shots. They have com- plete sound equipment, senior and jun- ior spots, plus a full stock of sets and backgrounds. Their equipment consists of both 35mm and 16mm equipment. They use a 35mm Eyemo for gathering stock footage — autos on the city streets, parking problems, etc. A 35mm Movi- ola and a 35mm projector are used in editing this footage. The 16mm equipment, used norm- ally in the preparation of t.v. films, consists of an Auricon, both portable and a.c. equipped. They use a Kinne- vox tape recorder for sync sound at accident scenes and in the studio. The unit is equiped with three dubbing heads. They have two Cine' Specials for general filming. One is equipped with a 400 foot magazine and a four lens turret. The other handles normal magazines with a two lens turret. A 16mm Bell & Howell DM is used for "grab" shooting. All this adds up to professional equipment. While the independent producer may not be as well equip- ped he must have enough equipment to do a technically perfect job. It will require professional scripting, good planning, good filming, good narration and quality sound repro- duction to sell these films. Instead of preparing sound in your small studio, on a non-professional tape system, have it handled by a competent studio. These organizations have stock background tracks as well as music. These can be dubbed onto your track, over the narration, to pro- duce quality. 125 EFFECTS • Continued from Poge 102 pared to 5 seconds at 16 f.p.s. Thus, a normal action which took 5 seconds to happen, will take five seconds to show. Any variation in normal speed, (16 f.p.s.) will produce a sub-normal result. Now let's get back to the button. If we move it to indicate "32", which means 32 frames per second, then our original sequence which took 5 sec- onds in real life, will be photographed but we simply have to have that shot. What to do ? Simply this. Check the meter and you will see that an exposure of 8 frames at F 2 will just about do the trick. But you say that you have only an F 2.5 lens, and the meter says "F 2"? Well then, just live danger- ously and take a chance at F 2.5. More than likely, this will get the shot. It has for us, many times, and we learn- ed this little trick, just by taking chances. Home Movies "Frankly Pedro I can't tell one from the other." in 10 seconds, and of course we will have twice the footage of that se- quence taken at 16 f.p.s. Screening time goes up to 10 seconds but the action will be slowed down, until we have a slow-motion effect. Set the button to "64" and the ac- tion will be reduced again with even longer footage and even slower action. Now this carefree discussion of speeds is perfectly fine in terms of ex- position, but how practical is it? How often will the movie maker be called upon to decide what speed to choose and what is the value of these vari- ables? Well, let's take the 8 frames per second. Let's say that we are on va- cation somewhere and want to re- cord the interior of a dimly lit church or public building . Say that the me- ter indicates a reading of 16 f.p.s. at F 1.5 and we don't even have an F 1.5 lens. Say our lens is a sturdy F 2.5, 126 Now here we have the extreme value of the slower speeds. It is valuable because we can get sequences which would not be possible any other way — and at any rate, half a loaf is better than none, someone said once. So use the 8 frame speed whenever you find yourself in a tight spot. Some- times it can be useful, even if there is movement . True, people and animals will look stilted and jerky, but it is still better than nothing. While we are on the subject of ex- posure let's consider other situations where the variation in speed might en- hance the shots we intend to make. Suppose that we intend to shoot a medium-fast bit of action, say a sprint- ing event, shot from a 45 degree angle. We set the button to "64" and make the shot. But how about exposure? If normal exposure for your film and the light conditions indicate that a speed of 16 f.p.s. at F 11 is cor- rect, then in order to get a proporly exposed shot at 64 frames, the lens opening must be changed to F 5.6. If we desire to shoot at 32 frames then the opening must be set to F 8. Simp- ly check the speed with the exposure meter and the rest is easy. Now back again to speed variations and the application of these speeds to achieve spectacular effects. Making a record of a growing plant: First requisite for this kind of film- ing is that your camera have a single frame control. Function of the single frame button is to expose one frame of film at one time, over an extended period, in order to condense on film in a very short period, movement which takes many hours. Most popular subject for this kind of shooting is a growing plant. A good example perhaps is a potted plant which is on the verge of blooming. Using the single frame device, the filmer may shoot the growth of the plant, over an extended period and finally, when the film is screened the plant will seem to unfold before our very eyes. Of course this may take days to record, but the best way to do it is automatically, employing a time-lapse device attached to the camera. I Sample Engineering, 17 N. Jefferson, Danville, Illinois; Stevens Engineering, 2421 Military Ave.. Los Angeles 64, Cali- fornia. Write these Home Movie ad- vertisers who sell the equipment. I Operation for time lapse is very simple. The object is set up on a rigid stand, and the camera placed on a tripod or bolted down so that it cannot move. Then the length of the film must be determined so that an estimate of the amount of film to be exposed, can be made. Since we are going to expose one frame at a time, at suitable intervals the first thing we must do is deter- mine the lens stop, so that we get a well exposed sequence. Then we de- termine the interval. How often should the camera make an exposure? Every second, every minute, every hour? Say that the potted plant should bloom in a few days — 48 hours, as an example. A good rule of the thumb is this: One second projection time requires 16 frames. I per second) times 60 minutes. This gives us a total of 16x16 = 960 frames, and our final film will extend to one minute, if we take this period as a sample. If we are to keep watch over the plant for say, 10 hours, then we should shoot 96 frames per hour. Multiplying this by ten and we get 960 frames, good for a one minute showing. Now 96 frames per hour means that the camera must expose one frame each 37l/£ seconds, or shall we say one frame every 30 or 40 seconds. V-fl-C U (I III -fl-T-E Multiply all this by 4.8, (since we want a record of 48 hours) and the total time can be estimated. (Write the manufacturers listed above, who have ready-made brochures detailing the complete process.) Other uses of exaggerating speed will occur to the reader, but here are a few suggestions: Use the 8 f.p.s. speed to shoot any increase in tempo. Try traffic, a group of dancers, children playing. It can also be used to achieve com- edy effects to depict normal move- ments as awkward and ridiculous. Try it on horse-races which will appear to be moving at terrific speed when shot at 8 f.p.s. But how about slow-motion? True slow-motion can only be achieved by using the "64" speed. Anything in between will give some- what the same effect but will fall short of the real thing. A fast end- run shot at 32 f.p.s. is much superior than one shot at 16. A dramatic se- quence at 32 is also more effective if a slow dreamy effect is desired — say when used for ballet. Shoot a train from below, at 8 f.p.s. and when pro- jected the engine will seem to be bear- ing down at 100 miles per hour. The "32" speed is useful also for a variety of effects. Shots made from a vehicle will appear smoother when shot at this higher speed; swift move- ments of animals and birds can be slowed down to a relatively normal speed and look entirely natural on the screen. The essence however of this whole discussion, is to provoke the reader into some sort of experimental phase which will teach him more about the effects he can achieve with the vari- ation of camera speeds. Try it your- self, keep notes, and it will take only a short while before you are complete- ly aware of the potentiatlities of these variable-. Most fascinating of all is the time- lapse photography described above. Try it and see. BASIC MOVES • Continued from Page 102 tirely different manner. Some would have done the whole sequence from a medium distance and let it go at that. Others would have omitted the long shot, and relied upon the close-up alone, and so on. The camera has been relatively froz- en, and not moved from the original position — I we assume here that film- ers with three lenses, wide angle, nor- mal and telephoto would shoot the se- quence as described above ) . The three scenes then, are all made from one position, shifting the lenses to make the various shots. Other filmers with only one lens would have to shift the camera since their point of view is limited with the single lens. But to all intents and purposes the camera is not considered mobile, and remains stationary for each shot. II. The Cumera Moves* : Using the same subject and the same background, here's another way to shoot the sequence, with the little girl merely sitting in front of the house and not moving at all. Let us assume too, that the little dog is off by him- self nearby. Mount the camera on a baby car- riage, small wagon, hood of a car, or any other mobile unit. Make the first long shot of the house, and as the cam- era begins to turn, move in slowly so that the shot changes from a long shot to a medium shot. With this move- ment, the house which formed a back- ground for our friend Suzy becomes smaller until attention is focused on the little girl who may be sitting there in a pensive way. As we move in closer, we pan slightly to the right, keeping the child in the finder, and at that moment, the pup comes into the frame from the right, and the child hugs her pet. We hold on this for a longer period of time because this is the important phase of this sequence: namely, we state that Suzy, who lives here, is a gentle and affectionate child who loves her dog. The feelling of movement is most apparent in the last named method because the audience will more easily identify themselves with this kind of moving shot. They will become the camera. They will see the house and child from a distance and they will feel the tenderness of the child. But the choice of shot rests entirely with the cameraman and it is he who will decide how to shoot the sequence. • See "BASIC MOVES" Poge 128 FILM PROTECTIVE PROCESS The SUPER vapOrate PROTECTS AGAINST Scratches, Finger- marks, Oil, Water and Climatic Changes • ONE TREATMENT LASTS THE LIFE OF THE FILM Brittle Film Rejuvenated Laboratories in Key Cities Thruout U. S. Write for Information Now Vacuumate Corp., 446 W. 43 St., N. Y. BUY FILM WHOLESALE' ■■^^^^■■■■■H Black & White KODACHROME ASA 50. 20, 10 genuine KODAK Panchromatic original pack 8mm roll, 25' dttle. $1 .oo t*uy t> 8mm mag. 25' dbl. 2.00 GET 16mm roll, 100'.. 2.50 ONE 16mm mag, 50'.... 1.75 FREE 35 mm, 20 exp 4 for $1.00 :).">mm AERO EKT AC H ROIV1 E $3.25 3.85 8.55 5.85 3.00 O DAY OR TUNG. ures $1.65 All Film Listed Above Includes Processing! SPECIAL! Black & White ASA 50 Panchromatic AWON PROCESSING. Any Time. l»/2c per ft. 20 Rolls. 16mmx25' All lor Only $3.25 16mmx50' 49c 10 for $4.49 8mmi400' double $5.00 20 o Discount On All New Equipment Please Include Postage With Order Dept. H25. 1180 Bwy. New York 1, New York AWON FILMS Sailor Jock's p[ 1 WRAPPER CLUB gel '■que. nit . Ir, ploces. I'll tell you how Send 25c lor fronk derail* — or lend II lor membership, surprise gtft and illustrated folder, '7oboos of Mony Lands." Of interest to grownups only. 7 SAILOR JOCK'S, Cove 63 8923 Sunset Strip, Los Angeles 46, Calif. Distinctive TITLES and Expert EDITING For the Amateur and Professional ■ 16-8mm Black and White - Kodachrome I Price List on Request : STAHL EDITING & TITLING SERVICE 1 33 West 42nd St. New York 36, N.Y. j JOSEPHINE BAKER in "FOLIES BERGERE" Filmed in the world famous night spot of Paris, France 16mm Sound Prints $18.95 16mm Silent Prints $16.95 8mm Silent Prints $11.95 FILM CLASSIC EXCHANGE 1611 N. LaBrea Ave. Hollywood 28, Cal. I GOT A PROBLEM? ASK YOUR PHOTO DEALER 1 127 FILM LIBRARIES 8MM and 16MM FILMS . . . Where To Rent or Buy . . . Sound or Silent CALIFORNIA COMPTON Evangelistic Audio-Visual Association 2342 E. 126th St. NEvado 6-51 18, NEwmark 1-9920 HOLLYWOOD Hollywood Camera Exchange 1600 Cahuenga Blvd. HO. 3651 LOS ANGELES Films Incorporated 5625 Hollywood Blvd. SAN FRANCISCO Brooks Cameras 56 Kearney Street LOUISIANA NEW ORLEANS Delta Visual Service, Inc. 815 Poydras St. (12) MARYLAND BALTIMORE Lewy Studios 853 North Eutaw St. at Biddle MASSACHUSETTS BOSTON N. E. Film Service, Inc. 755 Boylston Street (16) MONTANA GREAT FALLS Holmon's Sound Service 3008 Third Avenue South NEW YORK BROOKLYN Reed & Reed Distributors, Inc. 7508 Third Ave. (9) NEW YORK CITY Films Incorporated 330 West 42nd St. National Cinema Service 7 1 Dey St. Nu Art Films, Inc. (19) 1 1 2 West 48th St. Peerless Camera Stores Film Library 415 Lexington Ave. OHIO CLEVELAND Sunray Films, Inc. Film Bldg., 2108 Payne Ave. OREGON PORTLAND Films Incorporated 716 S. W. 13th Ave. PENNSYLVANIA PHILADELPHIA Ted Kruger 3145 N. Broad St. RHODE ISLAND PROVIDENCE Samson's Picture Service 35 Portland St. (7) WISCONSIN KENOSHA Cairo Home Movies 5815 Eleventh Avenue MILWAUKEE Movie Mart — DeVry Corporation 4518 W. Burleigh St. UP 3-9932 (open Mon. and Fri. Eves.) MANY DEALERS LISTED ABOVE RENT PROJECTORS AND SCREENS; ALSO HAVE COMPETENT PROJECTOR OPERATORS AVAILABLE BASIC MOVES • Continued from Page 127 Perhaps a basic axiom can be submit- ted here: that a maximum of move- ment will tell the story better, smooth- er and in a more realistic manner. III. Camera Moves and Subject Moves: ^ ith this sequence, we change the thought slighty. We still maintain that Suzy is a sensitive child, but here comes the conflict. The dog is an af- fectionate fellow but he has two loves, little Suzy. and another hound nearbv. Shoot the sequeence as described above. W ith Suzy on the left of the shot, and the dog entering the right, we see her hug him and we come in for a fairly close, ""two-shot". After we hold this, we keep on grinding awav. but at this point move backwards slowly until Suzy and her dog change to a medium shot. Suddenlv the dog break away. The camera follows him. I and here we lose Suzy I as we pan to the right, and the sequence ends. Y\ here has the dog gone, and why has he left his little mistress? As an alternative, the camera should follow the dog for a short distance. Then, the cameraman should change his position so that he is behind the other dog. and should shoot the first dog as he trots up to his friend. When both are face to face, the camera moves around and dollies in for a close-up. Think of this whole sequence for a moment and try to visualize the beau- tiful movement and fluidity of this kind of thing. A lot of bother you say?* Of course, but when you make a sequence like this, all in sharp fo- cus and properly exposed there is noth- ing to equal the feeling of accomplish- ment and pride that should be a con- stant thing with any cameraman. Besides, if more movement can be achieved it will be necessary to do less editing and cutting, and production of a better film will be almost automatic. IV. Angle Shots: The straight head-on shot is the dullest kind of thing to shoot, no mat- ter what the subject. For this reason it is wise to consider the angle, before the sequence is made. W ill a high angle shot show the essence of the shot, or would it be better to shoot from below? These are some of the questions which the filmer will have to ask himself before he makes a move to operate the camera — and the right choice will determine the kind of film he will have when the shooting is over. So. think it over carefully and set aside the haphazard shooting we used as beginners. That's the onlv wav to make better films. * An excellent aid to movement is the use of a Zoomar lens ( reported in Home Movies, pg. 73 Feb. 1954 issue) having a variable focus from 1 inch to 3 inches and an aperture of F 2.8. Fntire sequence can be shot uith this lens from one position, as in ex- ample II. PRE-PLANNING • Continued from Page 103 shoot a sequence there, using Grand- ma too. of course, and include her young grandson, to show the second generation in an old environment. Thus, if these things can all be tied inot a simple package you will have something which grows more valuable as the vears go by. And it won t be dull. Some art stores sell a prepared sheet which contains a series of squares. These square represent one movie sequence and can be used to make a rough sketch to indicate the specific scenes. (See illustration.) Although these sheets are used to plan TV sequences, they can be invaluable for planning your movies, no matter what the subject. Now back to continuity, before we shoot. A garden sequence with grandma does not have to be a complicated thing. Obviously we must have a long shot of the garden, so plan on this after the main action is photographed. Important thing is to capture the es- sence and the personality of Grandma and her young grandson. And here is a suggestion on how to do it. 1. Choose one section where Grand- ma s special flowers are located and make a semi-close up of these. Next shot include her hands working on the blooms, trimming the leaves and watering the flower bed. Move back for a medium shot and include her in the shot. Pan over to the left and have her grandson come up from the rear with a huge watering can or hose. This may add a little humor to the sequence and at the same time serve to point up the warm relationship be- tween the two. Then show both hard at work on the flower bed. Now let s take a sharp look at what we have photographed. I or planned to photograph I . We have nothing earth-shaking. All we had to do is point the camera, use the correct ex- posure and that's all there was to it. But what have we got? A wonderful record of two people who mean a great deal to us. behaving in a natural manner. No self-conscious mugging here. In fact both were so absorbed by the work at hand that they are almost oblivious of the camera. W e • See "PRE-PLANNING" on Page 130 128 CLASSIFIED ADVERTISING RATES: 10c per word. Minimum ad $2. Add 5c per word for text in capitals. EQUIPMENT FOR SALE EQUIPMENT FOR SALE • "MOVIE - SOUND - 8", 8mm Magnetic Re- corder-Projector, brand new, Lists $399.00, Sell $275.00. Reech, 1616 East 86th Strett, Cleve- land 6, Ohio. • BOLEX H16 — Like new — Standard Model.Tri Focal Finder, Eye Level Focuser, Frame Counter, Backwind, etc., No Lens. $175.00. Herman B. Curlee, 938 Kenilworth Ave., Coschocton, Ohio. • KEYSTONE R37, 8mm projector, $42.50; Band H. 16mm camera, model 70D with case, $95.00; Keystone K 29 camera, 8mm, F 2.8 lens, NEW, $37.50; Revere Sound Projector, NEW condition, $235.00; Revere Tl 00 tape recorder, NEW, $125.00; Sound Films $5 up; Silent Films cheap; Lists free. State MM. FRANK LANE, 5 Little Bldg., Boston Mass. . SOUND FILM LIBRARY and Projectors - Fea- tures - Shorts. Free List. F. L. HAWLEY, 260 So. Temple, Indianapolis, Indiana. • BASS . . . Chicago. Cinema headquarters for 44 years offers money saving buys in guaran- teed used equipment. Cine Special 4 lens "C" mt. turret, 1" F:1.9 Super Comat, 0.7" F:2.5 Super Comat, 4" F:2.5 Cooke Panchrotal, De- Luxe Comb. Case, $925.00; Cine Special I, 1" F:l .9, 15mm. F:2.7 W. A., 3" F:4.5, extra 100 ft. chamber, Comb. Case, $545.00; Bolex H-16 DeLuxe, 1" F:1.5 H. M. Primoplan, 0.7" F:2.5 Super Comat, 3" F:4 C.Z. Sonnar, $387.50; 16mm. Magazine Movikon, 1" F:1.4 T coated Sonnar, $137.50; 8mm. Revere 99 Turret, i/2" F:2.8, l'/2" F:3.5 tele, case, $79.50. Best buys . . . Best trades always. Bass Camera Co., Dept. HM 179 W. Madison St., Chicago 2, III. • BARGAIN — Like new 16mm Bolex Deluxe with Yvar F 2.4, Switar F 1.5, and Yvar F 2.8 telephoto. Through the lens finder, and side finder, with leather case. First $420 takes. Box 64, HOME MOVIES, 1159 No. Highland, Holly- wood 38, Calif. INVENTORY CLOSE-OUT BARGAINS BOLEX L8 Yvar f/2.8 Demonstrator List $1 16.50. SALE $80.00 BOLEX L8 Switar f/1.5. Demonstrator. List $197.50. SALE $135.00 B&H 8mm P ICTUREMASTER Proj. & Case Brand New, List $262.00. SALE $200.00 REVERE 99 f/1.9 (CI Black Mount Lens. Brand New, List $122.50. SALE $73.50 MANY OTHER CLOSEOUTS — 8mm & 1 6mm Cameras SPECIALS ON 16mm SOUND FILMS March of Time each NET $33.00 "New Ways in Farming" - F.B.I. - Radio Broadcasting - Atomic Energy - Palestine - T- Men of the Treasury. Official Films — OPERAS "Lucia di Lammermoor" NET $60.00 "Marriage of Figaro" NET $60.00 "Romeo & Juliet" NET $36.00 Castle Films — Sound each NET $10.00 News Parade 1942 - World Series 1947 News Parade 1943 - Basketball Thrills 1950 Zale vs. Cerdan - Tilden in Advanced Tennis Beautiful Budapest (Art! Pres Aleman Visit U.S. (Spanish Sound) WRITE SPECIFY YOUR WANTS • NO LISTS COLUMBUS PHOTO SUPPLY CORP. 1949 Broadway, NYC 23 • BLOWING FUSES with photofloods? Try COLORTRAN converters. Use standard lamps, get more light than expensive photofloods. Saves money. Cctalogue. KIRK FILMS 627 St. Philip St. New Orleans 16, La. • 16mm SOUND — Bargains in used Film and Projectors. Visit our store or write for free list. National Cinema Service, 71 Dey St., N.Y.C. • INTERESTED IN PROFESSIONAL EQUIPMENT? S.O.S., The Film Industry's Department Store car- ries a Quarter Million Dollar stock of fine mo- tion picture production equipment. An 80 page illustrated catalog prepared for pro- ducers, laboratories, TV stations, documentary film makers, colleges and professional cinema- tographers will be sent for $1.00. This will be applied towards your first purchose. SO S CINEMA SUPPLY CORPORATION Dept. yc 602 W. 52nd Street, New York 19. . LIGHTWEIGHT Tubular Steel Dolly for pro- fessional or amateur use. Write for specifica- tions and price. Dealer inquiries invited. . Berg- mann Enterprises, Box 4454, San Antonio, Texas. FILMS FOR SALE OR RENT . "NORM JACOT'S 1954 ROSE PARADE." Beau- tiful color — All prints guaranteed to satisfy — Our 12th year — 16mm, 8mm, Silent, Sound — Prices from $7.50 to $60.00 — Box 572H, Man- hattan Beach, California. • AT LAST . . . 8mm Kodachrome subjects pro- duced especially for 8mm. Full Color Projection Trailer: four samples and selected listings $1.00. CALIFORNIA CLASSICS Original 8mm Color Releases, Box 16441, Hollywood 38, California • SENSATIONAL 16 and 8mm Movies of Gor- geous Models. ..Frank Trigili, Dept. H, 804 Eighth Avenue, New York 19, N. Y. • PIN-UP COLLECTORS — Hot Bargain. 240 Big Pictures — Hollywood Models — All different, only $2.00. Photos Ltd., Dept. 6-C, Box 1533, Los Angeles 36, California. • "REEL" fun with "COLORVIEW". Projects thrilling colors plus deep dimension right into your black & white movies. Optical conversion unit fits 8- 16mm projectors. $3.00 postpaid. "Movie King" 2537 Woodward Ave., Detroit 1, Michigan. GET THE BEST 1954 ROSE PARADE MOVIES Our fifth year of quality coverage for world- wide customers. Kodachrome. Colorful floats. Beautiful girls. 200 ft. 16mm. ...$34.95 100 ft. 8mm $17.50 In Calif, add tax. COD's accepted AVALON DAGGETT 441 No. Orange Dr., Los Angeles 36, California • CLOSING OUT . . . Rose Parade 1954 in 8mm Kodachrome . . . While Supply Lasts. Perfect prints, Closeups filled, beautiful girls, titles and and edited. Reduced! 100' Highlights version: $11.50. 180' Complete coverage: $19.00. Peter Gowland at Work . . . Most glamorous occupation in California, tips on cover girl pho- tography, action, how to do it . . . 70' Koda- chrome 8mm: $8.00. Money back guarantee. California Classics, Box 16441, Hlywod, 38, Cal. • CULL'S 8mm FILM RENTAL CLUB Special Club Plan, Cataloque on request. 5931 Grand Ave., Pittsburgh 25, Penna. • The WORLD'S Most Famous Calendar Girl (plus 6 other beauties) appear in our film "Seven Sirens." 8mm, $2.00; 16mm $4.00. Send check. Big glamour list included. WICP, Box 392, Elmira, N.Y. • 16mm SILENT FILMS for sale. List free. Films bought and exchanged. Bioscope — 435 North Hobart, Hollywood 4, Calif. • 5,000 New-Used 8- 16mm. Silent-Sound Films. Rare Old-Timers, Medicals, free catalogues. In- ternational-H, 2120 Strauss, Brooklyn 12, N.Y. RENT 16mm SOUND FILMS BY MAIL Over 1500 subjests to choose from. Latest major releases. Features $4.95 up; 400 ft. shorts, 75c. Send for Catalog LIBERTY CAMERA SHOPPE 80 Vesey St. New York 7, New York • MOVIE HEADQUARTERS, 8-16mm. Complete listings of ALL leading producers. Travel, Com- edies, Cartoons, Sports, Adventure, Variety, etc.; plus BARGAIN listings on movie and photogra- phic equipment. Catalogs 15c. Turke Films, Hins- dale, Illinois. • AMERICA'S Finest Library Feminine Pulchri- tude now released for home showing. Samples, listing 10c. Film Art Productions, Dept. H., 505 5th Ave., N. Y. 17. • "CHILDBIRTH" — Hospital photography of complete birth of a baby, 16mm — $12.50; 8mm — $7.50. Deposit with COD. orders . . . Sher- wood, 150 Lenox Road, Brooklyn, N. Y. • ANIMATED CARTOON MOVIES — Famous Nursery Rhymes in 8mm COLOR! At less than you can shoot them yourself. Reg. $6.00, now each $1.79 or 6 for $9.95. Series include Humpty Dumpty - Hey Diddle-Diddle - Little Miss Muffet - This Little Pig - Jack and Jill - Three Blind Mice. Also available, for the first time at these prices: Movements from Famous Plays, "Scrooge", "A Christmas Carol", "Mo- ments from Macbeth", "Hunchback of Notre Dame", "Oliver Twist", "Bleak House" and "Jane Shore". Price: 8mm $2.95. 16mm silent, $5.95. Send check or money order to WEST- LAKE CAMERA, 635 So. Olive, Los Angeles. • DUPLICATES DON'T FOOL 'EM! Complete your missing hunting, game, or Yellowstone sequences with 16mm Kodachrome ORIGINALS, tripod-shot for nation-wide lecture platform. Select what you want from over 600 unusual scenes (2100 feetl shot in Yellowstone. 25 cents per foot and up. J. Allan Norton, Ph.D., 2535 Water, Flint, Michigan. • GORGEOUS girls 2x2 Kodachrome 5, $2; 10, $4; 15, $6; 35mm Transparencies B. W. unmounted — 15 for $1; 35 — $2; 60 — $3. 35mm Negatives — 10 for $1; 25, $2; 45, $3. 2'/4 x 3'/4 Negatives $1 each, 5 for $4. 33/4 x 5V2 Photos — 10 for $1; 25, $2; 60, $4. Fine Arts Film Co., Box 1084, San Antonio 6, Texas. C.O.D. Accepted. Minimum, $3. • TREMENDOUS List of documentaries. 16mm sound. Army, Navy, Air Force combat films. Also health, medical, safety, instructional, in- dustrial, automotive. 350', $2.75; 700', $5.00. Lists. Abbe Films, 503 5th Ave., New York 17. • 1954 ROSE PARADE IN COLOR. 8mm- 16mm movies and 35mm slides. (Various lengths, rea- sonable prices.) John Tyler, 603 Alta, Santa Monica, Calif. EXbrook 5-8876. • FILMS YOU'LL NEVER SEE ON TELEVISION! "Art" home movies. 50 ft, 8mm, $3.00. Sterling Camera Center, Post Office Box 115, Bridge- port 44, Indiana. MOVIE FANS New Stock 8mm- 16mm Films for Sale 200 ft. 8mm — Perfect Condition $2.75 400 ft. 16mm Silent — Perfect Condition $3.75 400 ft. 16mm Sound, like new $7.00 Cartoons, Westerns, Comedies, Travel Sport, Musicals, News, Etc. ABBE FILMS 503 5th Ave., New York 17, N. Y. ( Ent. 42 St.) VA 6-1354 WANTED • WANTED — AURICON PRO SOF CAMERA, must be complete equipment with auto-paral- lax view-range finder. Must be recent manufac- ture, excellent condition. I will pay cash, so state details and lowest definite price. Jolly, 1615 W. 9th, Texarkana, Tex. • WE BUY USED FILMS; Cameras; Projectors; Equipment; Prompt remittances. FRANK LANE, 80 Boylston, Boston, Mass. TITLES AND SUPPLIES • ALPHABETS Quick-stick letters 120. $1.80 up. Send check or C.O.D., Booklet. PROSPECT PROD- UCTS, 9 Cary, Mt. Vernon, New York. • YOU CAN GET Beautiful Kodachrome Titles for your Movies, made by HOT PRESS Cel meth- od. 500 titles to choose from. 8mm, 16mm Movie and 35mm Slide Titles. Catalogue and Samples 25c in coin. ELITE TITLES, Box 66, Edina P.O. Minneapolis. • TITLING Is made easy with the book How to Title Home Movies. Sells for only $1.00. Has size of field at various distances. Supplementary lens to use and monv ways to moke trick titles. VER HALEN PUBLICATIONS, 1159 N. Highland Ave., Hollywood 38, Colif. • MOVIE OR SLIDE TITLES with that Profes- sional touch at low prices. Large variety back- grounds and letter styles. 8mm, 16mm, 35mm slides. B&W, Kodachrome. THOMSEN TITLES, 14 Roslyn Court, Oakland 18, California. • PERSONALIZED TITLES made by experts cost so little but add so much to your movies. Free brochure. SIERRA WESTERN, 2819-H East Ana- heim, Long Beach 4, Calif. FILMS FOR EXCHANGE • EXCHANGE your 16mm films, sound or si- lent, $1.00 per reel. State type films you prefer. ESTES RECORD SHOP, Brunswick, Missouri. • SOUND and Silent Films, shorts or features: also equipment, exchanged. Free lists. FRANK LANE, 80, Boylston, Boston, Mass. 129 CLASSIFIED ADVERTISING e~*u** TRANSPARENCIES AND SLIDES • NATURAL COLOR SLIDES, Scenic, National Porks, Cities, Animals, Flowers, etc Set of eiaht SI. 95. Sample and list 25c. SLIDES, Box 26, Gardena, Calif. • CARLSBAD CAVERNS — More new Interior Colot Slides added. Sample 50c — New Illustrated Cata- logue with Text 15c. "TEX" HELM, DEPT, HMlCS Carlsbad, New Mexico. • Choice — Yellowstone - Yosemite - Alaska - New York - Hollywood - Ten Colorslides SI. 00. Movie or Colorslide listings 10c. EDDINGS 8-P Roberts, Corning, N. Y. LABORATORY SERVICES • NO NEGATIVE? Send SI. 00 for new negative and two 5x7 enlargements from picture, trans- parency, colorprint, polaroid, stereoframes, tin- types. Movieframe enlargements, 4x5. Projection slides from any print or negative, black and white, 3, one dollar. Colorslides from any kodacolorprint, kodachromeprint, printon, 4, two dollars. Curiophoto, 1187 Jerome Ave., New York 52, New York. • SOUND RECORDING at a reasonable cost. High fidelity 16 or 35. Quality guaranteed. Com- plete studio and laboratory services. Color print- ing and lacquer coating. ESCAR MOTION PIC- TURE SERVICE, INC., 7315 Carnegie Ave., Cleveland 3, Ohio. Phone: ENdicott 1-2707. CAMERA FILM • SAVE 50% on developing sets, chemicals and bulk movie film in 100 or 400 ft. rolls. Send us postal card for Free Circular. FROMADERS, Box 637-F, Davenport, Iowa. • SAVE 50°o on double 8mm. or 16mm. movie film with 24-hour free processing service. Send postal card for free circular and sample film. FROMADERS, Box 637-F, Davenport, Iowa. PRE-PLANNING • Continued from Page 128 have a natural record of things as they are. which will prove to he an invaluable record in the years to come. It's as simple as that. 2. Almost everyone has a small child. And almost everyone wants to keep a record of the happy years of growth and discovery which is part and parcel of the life of a youngster. How to do it without coming down to the level of the dull, ordinary movie record? A little planning with the planning sheet, or perhaps taking a few moments to dream up a logicl scheme or plan of shooting will pay off in rich dividends later on. Seems universal that most parents want to hang on to the present and remember their children as they were when very young; they appreciate especially the interesting ages between one and six, because after that most voungsters seem to change and become more sophisticated. Hou to begin: 1. The Ritual: Most children seem to spend their time at the ritual of feeding, sleeping and bathing. Now why can't we take these three events and record them day by day. or week bv week, to make a living record of our child? Take feeding, for instance, toucan begin your film with the feeding by bottle, work up to the spoon feeding, and end up with the remarkable per- • We develop all makes of black and white movie film. 25 ft. double 8mm. 75c — 50 ft. 16mm. — S1.00 — 100 ft. 16 mm. 1 1 .35. We re- turn spools and magazines. FROMADERS, Box 637-F, Davenport, Iowa. • GUARANTEED FRESH 8 mm roll, magazine; 16mm roll, magazine movie films. Color, B&W Free catalog. ESO-B, 47th and Holly, Kansas City 2, Missouri. MISCELLANEOUS • FREE BOOKLET — Make better home movies — PROSPECT PROD. CO., 9 Crary Ave., Mount Ver- non, New York. • "HOW to Expose Ansco Color Film" by Lars Moen should be on your movie library shelf. A working handbook for the photographer using Ansco color material, it discusses shutters and lenses, color lighting, three-dimensional color pictures, portraits, color temperature, exposure meters, composition, exposure tables, mixed col- or light sources and many other subjects so valu- able 1o the movie maker. Only $3.00. Write to VER HALEN PUBLICATIONS, 1159 N. Highland Ave., Hollywood 38, Calif. • BUXOM BABES! For those who appreciate feminine beauty and the body beautiful, a series of artistic Pin-Up photos. Set 8 Photos — S2.00, 6 sets (48 photos) S8.00. REYELLE, Box 95, Dept. M.P., Hammels, L. I., N. Y. • MARILYN MONROE Art Color Calendar. You Know The One, It's Famous! SI. 00. Three for S2.00. Sterling. G.P.O. Box 1513-V. New York City 1. • NUDE MODEL FACTS EXPOSED. Shocking use of peephole cameras, "Art Study" salons, illicit practices, all boldly revealed, illustrated. SI. 00 Dept. M, Knight Press, 524 W. 25th, N.Y.C. I. • GET THAT MILLION dollar kiddie-actor sur- prise look. Let-er-buz does it! Costs only a dime. JRS, Box 448-H, Campbell, California. formance. i perhaps at the age of two i when vour precious youngster feeds himself. This is the time for an iron will and complete calmness. It is also the time I traditional all over the world it seems) when our offspring will. feed himself, the dog. the floor and make a holy mess besides. \^ hat better movie material can one ask for? Any feeding time at this stage of the game will contain all the elements of the drama — from fear, to avarice, to anger, to belligerence and finally de- fiance and then the complete break- down of law and order into sheer bar- barism. Think how hilarious a scene like this can be when cut into another, showing our voungster all dressed and clean, as contrasted to his appearance after a bout with the dinner bowl. Cecil DeMille could never equal it. In fact no one would ever believe him. even if he could. 2. How to shoot it: Arrange to place the voungster in a sunny spot so that a minimum of light is needed. In fact, it is a good idea to check the light w ith your meter to see that you have enough to get a decent exposure. If the light is coming in from one side onlv. it is a simple thing to hang a few plain white sheets on the dark side so that the light can be reflected into the dark area. Sometimes a mirror placed at the right angle can do won- ders with this kind of lighting. Anvone can shoot the ordinary head- on kind of sequences. Of course we will need these, but thev should be few and far between. Try for the unique type of shots. Try one showing the entire face and nothing else. Be sure to measure the distance, and place the camera on a good sturdy tripod first, before you preess th button. Make a few shots from above, with the aid of a step-ladder. The average stove- bolt will fit the tripod socket of your camera, and this bolt can be affixed on the top step of the ladder so that the camera can be placed at that point. This provides a wonderful vantage point for pictures of the child. You might try a few from below, but these w ill be rare since the tray of the high- chair prevents good shots from being made at this angle. 3. Bathing Time: Most children en- joy this, and it is the rare baby who is not smiling and gurgling when he is all wet and soapy. But he will re- act differently as he grows older and a record of this slowly-changing atti- tude is wonderful to behold if it is shot at the right time. The important thing is that the child is fixed in a certain environment. I feeding and bathing) and because of the lack of background detail, we can watch him grow and mature much more readily than if he is photographed with a variety of backgrounds. Consider this for a mo- ment and see how logical it is. Per- haps an example to prove our point would not be reemiss at this time. 4. Measuring time: Remember the mark on the wall where Dad marked the top of our heads? Remember the feeling of pride and accomplishment when we knew that we had grown a half inch or so between autumn and spring? Well, every youngster feels just as proud and just as keen about this ceremony. Locate a specific spot around the house where 2 three-foot rules can be nailed to a wall. This should have plenty of space for writ- ing or painting the dates on the left or right of the rule, with room also at the top for the name each young- ster. Then periodic checks are made with the marks placed on the wall, plus the date of the measurement. Think of the wonderful expressions of jov on these little faces when they are told that they have gained a solid inch. And think of the completely candid expressions you can get. 6. First Day of School: This can be the most pathetic kind of thing, and yet it can be a happy sequence too. Depends upon your own point of view . If you are a doting parent, then it will be a happy-sad kind of sequence. If you are more realistic, and more courageous than we are. per- haps vou will make it rather grim, something like throw ing a ten-year old into the water to make him learn to swim. Whatever you do. it is a won- derful opportunity for an honest rec- ord of vour child. 130 Titles ITHE TITLES WITH DARK BACKGROUNDS ARE FOR CINE FANS WHO SHOOT ON REVERSAL FILM. THE bTHERS ARE FOR THOSE WHO USE THE POSITIVE METHOD. ALL ARE FOR THE COLOR FAN. THEY CAN BE JSED WITH WATER COLORS OR BY PLACING COLORED CELLOPHANE OVER EACH TITLE BEFORE IT IS SHOT. 77*e magic magnetic sound stripe plays and replays your own voice, music or sound effects with perfect fidelity. Erase and re-record simultaneously as many titnes as you wish. The magic sound stripe can be added to any of your old or new silent films that are in good condition. The sound and projection controls— microphone volume, phonograph- volume, tone control, input jacks, level indicator and control switch are all in one convenient oanel. Movie Sound 8 — First in 8mm sound. Complete with 1" coated lens, watt projection lamp, microphone, amplifier, 1600 ft. reel arms, li eating oil and instruction manual— for 110 V. AC, 60 cycle Model The golden head reproducer gives clear, flutter-free, wow-free sound. The sound system— 4 watts output recording, jduyback and public address ( which can be used without actually recording) all in one amplifier. Self-locking tilt control— permits easy adj of picture on screen by merely rotating til Q&Htls^HG^t! Please send me, without obligation, the name of my authorized dealer, complete information on fabulous Movie Sound 8, and my FREE striping certificate. NAME STREET CITY Make of present projector ZONE STATE 8 mm 16 mm Send this card to RAMPART PRODUCTS 436 N. LA CI EN EG A - LOS ANGELES 48. CALIF. Write for the name ot your authorized dealer movieo soundO Fun to own easy to buy. 'S MAGAZINE EOR J m HOLLYWOOD': rJsJJJJ3 o*es*sioana1 CINE PHOTOGRAPHER 35 CENTS /////// / / //// / / / / A NOW YOU CAN ADD SOUND TO SILENT MOVIES AT AN AMAZING LOW PRICE! The Great New CINESONE* MAGNETIC SOUND ADAPTER UNIT (TRADEMARK) ONLY $ 199 COMPLETE Microphone, Amplifier, Adapter, Speaker, Carrying Case. All the equipment you need to make professional sound movies the first time you con now afford making sound movies. For the first time at a sensible price, you can make your silent films — both block and white and color — come to glorious life . . . adding music, dialogue or commentary that challenges the finest profes- sional talkies in quality. Cinesone— the remarkable new magnetic sound adapter unit, makes all this possible) No need to buy a new projector. Cinesone fits oil 8mm ojectors and all 16mm projectors— silent or optical sound. You can preserve forever all the precious moments of your life . . . your baby's first words — his first birthday parry — joyous family gatherings — your vocation trip* — and every- thing from weddings and anniversaries to picnics and outings at the beach. Why you can even direct and produce your own professional sound films with story and music! Schools can record commentary for exact needs of individual classes — can film and record important school events! tutin»U9t can bring obsolete sales films up to date — can change languages for different foreign markers. Everyone can moke thrilling sound movies of every description! Our Free Booklet gives you full information about Cinesone —"Your Soundest Investment In Home Movie Making!" You can change sound tracks as often as you wish. You can edit the sound track immediately after recording. You can mix voice and music to achieve special effects. If you own a tape recorder, just buy the Cinesone Adapter alone — for only $99.75. We'll supply you with all plugs, leads, special instructions — with everything you need for use with your tape recorder. Why be satisfied with antiquated .ilent films — when now at sensationally low cost, you can have the limitless enjoyment of real-life, honest-to-good ness talkies! CINEFOT international CORP., 303 W. 4?nd St., N. Y. World Distb. Except US*. Mexico CINESONIC CORP 169 Lexington Ave., N. Y. 16 N. Y. Sole Distributors For U. S. & Mexico SEE YOUR LOCAL CINESONE DEALER! WRITE FOR HIS ADDRESS AND FOR COMPLETE INFORMATION ABOUT CINESONE! MAIL IN THE COUPON BELOW TODAY! FOTO CORP. OF AMERICA 169 Lexington Ave., New York 16, N. Y. I want to learn more about this remarkable way to make low-eost sound movies. Please send me without cost or obligation, your free booklet about the amazing new Cinesone which has limitless possi- bilities for home, industry, church or school use. Address. Organization [if any' City _County_ -State- Now ...a revolutionary NEW ACTION editing viewer for only... $ 12 95 .... brings you perfect movie action and this amazing low price because of a new and differ- ent approach to the theory of action viewing. You will marvel at its simplicity. . . be amazed by the precision of its operation. at last ALL THESE QUALITIES in an action editor every 8mm fan can afford ... 1* perfect movie action — stops EVERY frame, BOTH back- ward and forward. 2. sharp clear picture with 4-power, 20 diopter lens. 3* no threading problem — film just slips in. 4* lens recessed to insure adequate protection. 5. precision anti-glare rings in eye-piece. 6. convection cooling — no lens distortion. 7. beautiful modern case of high-impact styron. 8. no film scratch on plastic track and rollers. 9. counter-sunk screw holes in base for easy mounting. manufactured by the HEARD-PACIFIC CO. 116 Natoma St., San Francisco 5, Calif. IMPRESS yOUR FRIENDS WITH PERFECW EDITED MOVIES NOW AT YOUR PHOTOGRAPHIC DEALER EDITING VIEWER 135 WITH THAT PROFESSIONAL TOUCH FAST! SENSITIVE! MADE FOR ACTION! Weston tungsten rating— 225 ASA tungsten rating— 300 ORIGINALLY DESIGNED FOR TV Now available at camera stores 8 and 16MM and sound GOLD SEAL SPECIAL Registered U.S. Patent Ott. Home Movies professional HOLLYWOOD'S MAGAZINE FOR THE 8mm AND 16mm AMATEUR and CINE PHOTOGRAPHER Vol. XXI CONTENTS FOR APRIL, 1954 No. 4 articles — home movies TWO SHORT SCRIPTS 138 PHOTO FUN IN AMSTERDAM — By S. J. Licata and Tony LaTona 144 A SLOW BOAT TO CHI NO— By Julius Smith 145 BASIC EDITING — By Arthur Marble 146 SHOOTIN' MATCH— By Carl Kohler 146 LENSES — By Austin Edwin 147 MUSIC FOR YOUR MOVIES — By Dow Garlock 147 HIT 'EM TWICE— TO SELL WEDDING PIX — By Hartley Thomas 148 articles - Cine Photographer FRANCIS HOLMES — INDEPENDENT PRODUCER .... 1 57 DO IT YOURSELF— By Loren Annae 158 PARAMOUNT'S VIST AVISION— By James Randolph ... 1 59 MAKE A PROFESSIONAL DOLLY— By Robert L. Perry . . . 159 departments CLUB VIEWS 137 16mm PROGRAM FILMS IN REVIEW 140 MOVIE IDEAS 142 LET'S GO SHOPPING 150 HOLLYWOOD PROS AT WORK 156 FILM LIBRARIES 172 CLASSIFIED ADVERTISING 173 TIMELY TITLES— By Marion Kyle 175 Cover Design by Marion Kyle HOME MOVIES and The professional CINE PHOTOGRAPHER, Hollywood's magazine for modern movie makers, is published monthly by Ver Halen Publications, Hollywood. Also publishers of "Film World", "AV World", "Film World Directory", "Church Films", and "TV Magazine". No part of contents may be reprinted without permission from the publisher. Entered as second-class matter May 6, 1938, at the post office at Los Angeles, Calif., under the Act. of March 3, 1879. Change of address: Four weeks' notice required. When ordering change please name magazine and furnish address imprint from recent issue. If unable to do so, please state exactly how magazine is addressed. Change con- not be made without old os well as new address. Subscription Rates: U.S., $4.00 per year. Two years, S7.00. Single copies 35c. Canada S4.00 per year. Foreign, 55.00 per year. Foreign subscriptions ac- cepted only if accompanied by payment in U.S. funds. Advertising rates on application. Editorial contributions are invited but the publishers assume no responsibility for unsolicited manuscripts, drawings or photos, which should be accompanied by sufficient postage for return, if not used. Poy- ment for editorial material made on acceptance. HENRY PROVISOR • EDITOR Correspondents LEON VICKMAN, Paris AUSTIN BURTON, Montreal MIKE PEREZ, Mexico City Art Director: JOE WALL Advertising: SYD CASSYD Travel : S. J. Licata & LaTona Technical Editor JAMES RANDOLPH CHARLES J. VER HALEN Publisher Associate Editors L. L. ROWE JOS. STEIN C. J. VER HALEN, JR. Associate Publisher OFFICE OF PUBLICATION — 5327 Santa Monica Blvd., Hollywood 38, Calif., HO 2-3253 NEW YORK OFICE — Seymour Robbins, 1819 Brodway, JU 6-6689 - PL 7-0955 FOREIGN OFFICE — Jacques Ferrand, Official Internationale Artistique, 152 Avenue des Champs Elysee, Poris 8, France. (Room 1772, 1440 Broadway, New York 19, Wisconsin 7-34451 KIN-O-LUX Inc. 105 WEST 40TH ST., NEW YORK, N. Y. 136 run mm The "Metro News" is a sharp little movie news sheet published in River Park, Chicago, for the benefit of mem- bers of the Metro Movie Club. Ac- cording to their last issue this month has been a busy one for all of them. For instance, Lawrence Spiller screened a 16mm color film on Ger- many, Switzerland and Italy. Les Schierholtz screened his; Andy Gra- ham scolded members gently and con- fessed that there were some filmers there whom he had never met. Then we saw a small item report- ing that Graham and his friend George Ives had screened a sail-boat film which was shown for a full week at the National Boat Show. There was another item about Mar- garet Conneely and her films "Safari" and "Wanted — A Grandmother" which were shown at the last meeting. But on the last page of the "Metro News" we saw a significant little par- agraph which should be read by everyone who wants to make better films. Here it is: ". . . Vince Hunter, Bulletin Edi- tor, pointed out that he enjoyed an interesting talk with a well known amateur . . . this chap said that most of us cannot see the wood for the trees . . . and are busy recording the things we see as they actually are." He went on to say that while the or- dinary home movie was fine as a rec- ord, why don't filmers try to inter- prete what they see, rather than try to record on film the things around them. With motion pictures so flex- ible why can't we put on film that which we feel?" Well is seems that Jean Cocteau has done a great deal about it; Norman McClaren has done it, up there in Canada at the National Film Board, and so have a score of others. Trouble with us is that we are getting a little too complacent and materialistic, and can't be bothered to do a little cre- ative sweating. We knew a creative wig-maker once who was a very fine craftsman. He could make a wig which could pass as the real McCoy at four feet. When he went home at night he forgot his wig-making and began painting pic- tures with human hair. ture with human hair. That's right — human hair. First he made a rough sketch of the landscape or portrait he had in mind; then he coated a sheet of glass with a special glue, and then applied human hair, strand by strand until he had built up his picture. When we saw his finished "paint- ings", they had all the range and • See "CLUB VIEWS" Page 139 137 Irs lasy! Ivs Economical/ Its FunJ LIP -SYNCHRONIZED with the AURICON Cine-Voice Camera * * it . . . GAIN THESE SPECIAL ADVANTAGES WITH AURICON OPTICAL I6MM SOUND ON FILM Your optical sound-track is free! No extra cost per foot compared with silent film. The "Cine -Voice" Camera puts the sound-track on the same film with your picture, and does all the work of lip-synchronizing sound and picture. Run your sound-films immediately after regular picture processing, on any standard 16 mm sound -on -film projector. No expensive special processing or projection equipment needed. It's simple! Just shoot a "Cine-Voice" Sound-track with your picture, process the film and project. ^Vf- VOICE" THE MMEM^ THE CHILDREN SPORTS MUSIC Write today for free illustrated "Cine-Voice" camera folder. $695.00 with 30-day money-back guarantee, and one year service guarantee. BERNDT-BACH, INC. 7375 BEVERLY BLVD., LOS ANGELES 36, CALIF. Get mote from where you stand 3 SHORT SCIUI'TS... with the 13mm f/2.5 Wide Angle Lens Get all of everybody into the picture with an Elgeet Wide Angle Lens. This fast f/2.5 coated lens covers 4 times the area of a standard lens. No more lopped-off heads. No need to back up to get everyone in. It takes in a whole roomful without "panning." Best of all, it's priced at just $49.60. CHECK THESE PLUS FEATURES: 1. Hard-coated for crystal-clear images 2. Fixed focus for easy operation 3. Orienting back for precise alignment 4. Click stops on diaphragm for rapid adjustments 5. Takes series V filters and accessories Start now to get more from your 8mm or 16mm mov- ies with Elgeet Wide Angle and Telephoto Lenses . . . "years ahead" in design, engineering and per- formance. Write for free copy of new booklet, "How To Take More Exciting Movies' OPTICAL COMPANY, Inc. 838 SMITH ST., ROCHESTER, N.Y. MAKERS OF Literature Lesson 1. MS. Junior sprawled out on set- tee reading comic book. 2. MS. Father comes into room and sits down. Looks at Junior, then at book. Comic book cover — "Weird "Horror Comics'" or some up. 3. CTJ Comics" such. 4. CU. Father's face clouds speaks. 5. CI TITLE. "You should know better than to read that trash. " 6. MS. Junior looks up as Father stalks across the room and plucks the comic out of his hand. Shakes finger at Junior. 7. CU TITLE. "My boy. when I was your age I was reading good li- terature. I'm going to teach you a lesson. Go up to bed." 8. MS. Junior leaves room looking crestfallen. 9. CI . Father looks stern and self- righteous. 10. MS. Father walks over to w aste- basket and drops comic book into it, I pan up to bookshelf I where he picks up heavy book, sits down and opens it. 11. CU. Father looks slightly bor- All's Fair This short drama may be filmed on a single roll. It requires a feu char- acters, and almost no sets. 1. MS. Billy, a small boy wearing a cowboy outfit, is playing in his backyard. 2. MS. Billy s mother appears with a medicine bottle and a glass. 3. TITLE: '"Time for your medi- cine. Billy." 4. MS. Billy hides. 5. CI . Mother pours some medi- cine into the glass. 7. CU. Billy's face. He looks dis- gusted. 8. MS. His mother pretends to drink the medicine. She smacks her lips. 9. CU. Billy's face. He isn't fooled. 10. CU. Billy's mother is annoyed. She looks stern. 11. TITLE: "Come on now. Billv." By FRED and CYNTHIA WILMOT ed. Takes deep breath a°rain. Looks up. Looks bored oks up. 12. CI . Comic book in wastebas- f ket. 13. MS. Dad looks around, then gets up and walks over to wastebas- ket and takes out comic book, opens it as he returns to chair. 14. Father reading comic book. His eyes widening as he reads. He looks behind him warily then returns gaze to book. 15. MS. Junior tiptoes down stairs and passes behind father as he passes through room. Father doesn't notice. 16. MS. Junior coming through kit- chen door carrying glass of milk on tray. 17. CI . Father, petrified, reading book. Eyes staring. 18. MS. Junior trips and drops tray. 19. MS. Father leaps, screaming from the chair, then faints. 20. CU. Father stretched out on floor unconscious. 21. MS. Son fanning father with comic book. Turns around smiles and winks at camera. 22. CI . Come in for close up. FADEOUT. By J. M. SAUNDERS 12. LS. Billy reluctantly comes out of hiding. | Slowly I . 13. MS. His mother hands Billy the glass of medicine. 14. CU. Billy drinks it. holding his nose and grimacing. 15. CU. Billv"s mother. 16. TITLE: '-Oh. it's not that bad." 17. MS. Billy holds out the glass for more. 18. CU. His mother is amazed. She shakes her head. 19. CU. Billy insists. his mother pours some more medicine. 21. MS. Billy holds out the glass to her. 22. MS. With a look of surprise, his mother takes it. 23. CU. Billy draws his six-shooter, points it at her. 24. TITLE: "0. K. poddner. This one's on me. Drink it." • See "SCRIPTS" on Poge 140 138 ^jplbm 5YLVANIA SUPERFLOOD LAMPS Whether you prefer shooting with standard flood or reflector flood lamps, Sylvania Superflood Lamps give you the bright, even light you need for sharp, clear movies. If you already own re- fledors, Standard Sylvania Superflood Lamps come in three practical sizes— 250, 500 and 1000 watts. Sylvania Reflector Superflood Lamps have sealed- in reflectors that are safe from dirt and tarnish. They give a greatly improved distributiofT of light without hot spots or over-bright rings. The R-32, 3200° K., is a long-life lamp (15 hours) which gives a warm rendition of skin tones with Kodachrome. The R-34, 3400° K., is a high- brightness lamp exactly balanced to indoor type color film. *». And for indoor shooting with daylight color film, try Sylvania Blue Superflood Lamps. They are color-balanced to match daylight-type color film and give you the radiant light so important with color. LJtiks SYLVAN I A PROJECTION LAMPS Sylvania Projection Lamps give brighter, more life-like screenings of your favorite slides and movies, because their filaments are scientifically-coiled to assure a more solid mass of light. Sylvania shock-absorbers pro- tect the longer filaments of the larger lamps from projector vibration. There is a complete line of Sylvania Projection Lamps, ranging from 100 to 1000 watts, for all popular pro- jectors. LIGHTING RADIO ELECTRONICS TELEVISION SYLVANIA In Canada: Sylvania Electric (Canada) Lid. University Tower Bldg. St. Catherine St. Montreal P. Q. Sylvania Electric Products Inc. 1740 Broadway, New York 19, N. Y. ^HMHHHHI CLUB VIEWS • Continued from Page 137 beauty of a conventional oil painting, yet, he did not color the hair. In- stead he chose various shades and blended them by locating them side by side. His best was a Dutch land- scape containing all the delicate tones we are accustomed to see in a subject of this kind. Well, how did he do it? How could he get that particular shade of red and orange that makes a sun- set? How did he manage to suggest reds and browns of an autumn land- scape? He said it was really very simple. When he needed a certain pastel shade he fixed a multitude of hairs, of various shades, side by side, and when these were viewed at a dis- tance, the color blended in the eye of the viewer and became the desired tone. Fantastic? Not at all. The celebrated French painter, Signac did it with paint, and our wig-maker (who had never heard of Signac — fact is, he couldn't even pronounce his name ) — got the same effect with his own medium. But he found a rare pro- cess by trial and error. If there is a moral here it is just this: that we can get a vast amount of pleasure attempting to do the un- usual and at the same time, who knows, we may also discover a new effect, or a new technique, or perhaps a fresh approach never tried before. But we are not trying to say that everyone with a camera should dash out and become an abstract artist im- mediately. We mean that the ordinary things and activities can be photo- graphed in a new way, with a fresher approach. As Vince Hunter says — why not interprete instead of merely recording. And indeed why not? Let's take that kid of yours — or even mine. Perhaps he's a unique kind of child who has a certain aura of authority and strength that sets him apart from the other children? Let us say that he can handle himself in any situation, and transmits this as- surance to the group who are his friends. The other children feel this and follow him in whatever he wants to do — within reason. How come? Why is he like he is? What do the other children say about him. and what are their reasons for trusting him? There must be an answer and one would have to talk to his friends in order to find out. So instead of a record film of this child, why not a documentary about the boy, showing his characteristics of leadership? We think that this is what Vince Hunter is trying to say and we are with him. We feel that the elusive something that makes a great film is simply this: that the cameraman must first understand what he wants to say, and if he can then transmit his mes- sage, then he has done his job. After that, it doesn't matter who sees his film — that individual will under- stand and feel what the camerman had in mind in the beginning. And in our opinion, this is what a work of art will do; it states the artist's message, it reaffirms what he had to say, per- haps centuries ago, and it transmits his feelings to us who see his work. And we can do the same thing be- cause ours is a medium which sur- mounts the tedious apprenticeship of the man who must work with paint and canvas. We have color which dupli- cates nature, and on occasion can even out-nature nature. We have films which can record the multiude of tones and gradations from the faintest yel- low to the most violent reds and pur- ples. It is now only a matter of se- lection and interpretation. No matter what the subject — try it on film and see what happens. — H.P. WANTS PROJECTOR SPROCKETS Can you tell me where I can get projector sprockets without buying the whole machine? — T. W . Lane, San Bernardino. Calif. If you want Am pro sprockets check with your dealer who should contact Craig Movie Supply. If it's Victor sprockets have him consult The Coast, Visual Educational Supply Co. 139 COMPCO CUP No more groping for hidden slots ! No more slipping of film on the take-up! The Compco Reel, with its exclusive, pat- ented "Compco Clip" makes threading fast and foolproof, even in the dark! The leader slips smoothly into the "Compco Clip" . . . stays put for winding . . . yet slides out after unreeling! In all 8 mm and 16 mm sizes. Just ask your dealer for "the reel with the Compco Clip!" ^^OVtxhCO CORPORATION 2251 W. St. Paul Ave. Chicago 47 Manufacturers of line photographic equipment since 1932 Magnetic Film and Tape Users Use a FIDELITONE TWIN-Table for perfect re-recording. Three speeds, ceramic pickups, microphone mixer, cue lights. Write for details. ■;°~c ^ GEO. K. CULBERTSON CO. 1 1 tone , fS^,*?*.- uiu t a dic Scin Gabriel, California EASTMAN KODAK KODACHROME DUPLICATES 8mm or 16mm — 1 1 £ per ft. 16mm Reduced to 8mm Smm Enlarged to 16 mm 14' per inished foot Scientific Scene to Scene ExDOsure Correc- tion by "ELECTRONIC QUEING". WE DO NOT EDGE NOTCH YOUR ORIGINAL. EAGLE LABORATORY 1732 N. ORCHARD ST. CHICAGO 14, ILL. r- e A0CK-Ifl6l BITD7 ^1 2 i 4 1 U5f TO frle nock- r/J^ BI ftD , 6Tt LL 5 6 7 6 ^^i 23 4"^5fcrs srN^- irJci uri£i?e Trie idtev-iAd wil-lw03 uav£. 164 3. A stop watch (or any other ac- curate timing device) . 4. A frame counting device. Successful musical scoring will be achieved more easily if you adhere to the following basic steps. 1. Preparation. A detailed break- down of the picture into groupings of accurate information that will pro- vide the basis for 2. Careful analysis of the picture for musical requirements and the in- telligent choice of musical material for 3. Careful editing into your pic- ture. Let me here call attention to the two scoring methods used in the Hol- lywood studios. The first is called 'Free Timing' (or visual) scoring. This type of scoring, used mainly for dramatic and mood music, can be used to advantage in Hollywood be- cause the music is composed express- ly for (and around) the action or acter of pictorial requirements. The Visual method must be used of course in the post recording of actu- al dialogue in 'lip sync'. It can also be used to advantage at times when inserting narration, commentary or some types of sound effects that are sustained and cannot be determined by a timing cue, such as snoring, a shuffling of feet, etc. The second method is called 'Wild' scoring. This is done to timing with- out viewing the picture. In the Stu- dios this music is usually recorded to a 'click track' which is heard through earphones worn by the con- ductor. The 'click track' sets the beat which establishes the speed at which the music is played. While in most cases the amateur cannot take advantage of a variable tempo in the music, careful selection can provide him with satisfactory musical mate- rial which, when recorded 'wild' to carefully calculated timing break- I DRfcArt Or J£A-*ll£iJlfHTrftll