Digitized by the Internet Archive in 2015 https://archive.org/details/homemovies195017verh * * * * AMERICA'S FOREMOST CAMERAMEN PREFER THE BOLEX H-16 Bill Daniels 1948 Academy Award Winner for Cinematography (B&W)on"The Naked City uses the Bolex H-16 Kern-Paillard Lenses for the Bolex H-16 Switar 1" f/1.4 Sl83.7.-> , , Pizarl" f/1.5 $ 97.00 , • Yvar 15mm f/2.8 $ 78.7.") Yvar 8" f/2..i $128.31 lnc" Here's why BILL DANIELS prefers the BOLEX H-16 Automatic Threading: No need to use ex- pensive magazine-loaded films. Bolex auto- matic threading eliminates all danger of imperfect threading. Turret Head for Three Lenses: Accommo- dates standard "A" or "C" type mounts. Tri-focal Tubular Viewfinder: With exact fields for 13mm, l"and 3" lenses as standard equipment, viewfinder provides for absolute correction of parallax down to 18 inches. Invaluable for title and closeup work. Critical Visual Focusing: Groundglass fo- cusing for instant and accurate focus through the lens; magnifies image ]0 diam- eters. Focal Plane Type Shutter: Rotating disc, 190' opening, revolves only 118/1000 of an inch from emulsion side of film preventing linear distortion and giving faultless regis- tration on the film. This is a Bolex exclusive. Frame Counter: Accurate frame counters add or subtract automatically. Footage Counter: Adds and subtracts accu- rately in forward and reverse. Audlb'e Footage Indicator: You hear a click with passage of each 10 inches of film. Variable Speeds: Speed range is 8, Hi, 2 t. 32. lit and all intermediate. The governor maintains constant speed with the closest tolerance. Hand Crank Operation: Either forward or reverse hand cranking is standard equip- ment. Speed is governor-controlled and any amount of film can be cranked in cither di- rection. Dissolves, fades, tricks are easy. Single Frame Exposures: lakes stills or animated sequences at 1/20 to 1/25 second exposures, or with "time" exposure. Pressure Plate: Maintains firm, precise pres- sure on film, insuring rock-steady pictures. Single Claw Operation: Designed to permit adaptation for use with sound film. Tlie Bales is a precision instrument l/iiilt like the finest Swiss watch by Swiss craftsmen. Shown here are five enlarged frames taken from a Home Movie sequence made recently by Bill Daniels. Such fine enlargements are possible— eren on paper — because the pictures were taken with a Bolex H-16\ In combination with its Kern-Paillard* Lenses, the exclusive shutter mechanism of the Bolex H-16 as- sures faultless registration of the image on the film— in color or black-and-white. The BOLEX H-16 Less lens, $282.50 no Fed. lax PROFESSIONALS and advanced amateurs prefer the Bolex H-16 because it gives them every advantage they demand— yet per- mits the ease of operation that use for Home Movies requires. Created and produced admittedly for the one movie maker in 100 who can appreciate the finest, the Bolex H-16 is now the choice of exacting lCmm Home Movie cameramen all over the world. Swiss precision engineer- ing has designed, in the H-16. a faultless in- strument which you can depend upon to get the picture every time ... in every climate and under all conditions. Drop into your camera dealer's today. Let him show you the many professional effects you can get with the H-16 and without extra equipmetd or gadgets. Handle it. sight it. check its simplicity of operation. You 11 know why Americas foremost cameramen prefer the Bolex H-16 for their Home Movies. KERN-PAILLARD LENSES are respected through- out the world for their consistent high quality, Switar 1" f/1.4, Pizar 1" f/1.5, Yvar ljnim f/2.8 and Yvar 3" f/2.5. A'ore : The Switar 1" f/1.4 is as fine as any speed lens ever made for the ] (imm field. Available A PAILLARD PRODUCT MOTION PICTURE CAMERAS WRITE TODAY for descriptive f older HM-150 on camera and lenses to: PAILLARD PRODUCTS, INC., 265 MADISON AVENUE, NEW YORK 16, N. Y. Bolex Cameras are sold and serviced through leading camera dealers everywhere. auesiioHS and answers IN HOME MOVIES... the Heart of a perfect picture is a Kern-Paillard lens Standard of Quality and Precision the World Over. Made by the manufacturers of the world-famous Kern Microscope. Kern- Paillard Cine lenses are designed and con- structed by Swiss precision craftsmen . . . there is nothing finer in the home movie field. Every Kern-Paillard lens is fully color corrected, specially coated, in focusing mount. Built-in lens shade (except the 16mm telephoto). Prices include Federal tax. What is the cause of red and yellow flashes along the borders of Kodachrome film? It usually occurs at the beginning and end of a reel. The film was light-struck, apparent- ly during loading or unloading of the camera. The only thing that can be done with scenes which have been spoiled in this manner is to throw them away, and to handle film more carefully in the future. When loading or unloading, hold the reel so the film remains tight. A loose loop will allow light to enter along the margin. Prac- tice loading the camera with a reel of dummy film until you can do it rapidly and neatly, and there will be no more light flashes at the beginning of each reel. How can I convert a GSAP camera for photographing a bird's nest and other wild life activities from a distant hiding spot? This electric-drive camera was orig- inally designed for use in fighter air- craft, to film the result of gunfire. You will need a 6-volt battery and an ex- tension cord to reach from the camera to your bird blind; a viewfinder _ to show the field, and a lens focusing mount. Some of these cameras have been adapted for amateur use complete with viewfinder, tripod socket, ex- posure release button, coupling cord, battery and carrying case. Standard 16mm film magazines are employed. Can I run 16mm sound films through my silent projector? No. Sound film has sprocket holes along one edge only. However, a sound projector can run either sound or silent film. When adding a commentary on tape, to a 400-foot, 16mm film, how long should this be? Normal speech is calculated at the rate of 4 words per foot, at 24 frames per second. Your 400-foot reel could take about 1600 words of commentary. If projection is at 16 frames per second, then 6 words per foot, or a total of 2400 words could be accommodated on your sound tape. It is advisable to keep wordage to a minimum. The titles in Home Movies each month are to be filmed with a 5-diopter aux- iliary lens, instructions say, with the camera lens set at the infinity mark. What happens if I have only a 4- diopter auxiliary lens? Use it. Just set the camera lens at the 3/^-foot mark. In either case, the title will be 8 inches from the lens. FOR BOLEX H-16 CAMERA Switor 1" f/1.4 $183.75. Finest speed lens for 16mm cameras. Cuts sharp from corner to cor- ner of frame. Automatic depth of focus scale, micrometer click-stops. The NEW Pizar 1" 1/1.5 $97.00 (Introductory price). Sister to the Switar with the same superb optical characteristics. Corrected to f/1.5, with- out depth of focus scale. Equals the Switar in all other respects. Yvar 15mm f/2.8 (Wide Angle) $78.75. Gives excellent definition even at full aperture; 60'< greater field than 1" lenses. Yvar 3" f/2.5 $128.34. Fastest 3" telephoto lens. "C" Mount for Bolex and other cameras, f/2.5 aperture gives excellent results under adverse light conditions. Micrometer click-stops. FOR BOLEX H-8 and other CAMERAS Switar V2" 1/1.5 $160.42. Finest and fastest sunn speed lens made. It gives the 8mm user a quality picture never deemed possible on 8mm film, in color or black and white. Has automatic depth of focus scale, micrometer click-stops. Yvar 25mm f/2.5 (Telephoto) $68.25. A pre- cisely built medium telephoto lens with excep- tional speed. Excellent for outdoor sports and indoor portrait work. Yvar 36mm f/2.8 (Telephoto) $89.54. A longer range telephoto for close-ups of distant subjects, lakes pictures that rival 16mm telephoto shots in detail and quality. Yvar l/2" f/2.8 (For Bolex L-8 only) $49.55. Especially designed for 8mm use. Precision-built, its special optical system insures pin-point detail. Ask your photo dealer to explain details on Kern-Paillard lenses which are designed especially for the Bolex camera. Kern-Paillard precision PAILLARD PRODUCTS, Inc., 265 Madison Avenue, New York 16, N. Y. ^J^rome *Yv\ovie$ HOLLYWOOD'S MAGAZINE FOR 8MM AND 16MM WILL LANE, A.R.P.S. • MANAGING EDITOR Vol. xvw CONTENTS FOR JANUARY, 1950 No. 1 Articles Try These Quick Transitions — By Victor Brown 9 How to Use Newsreel Technique — By Nestor Barrett .... 11 Your Dog Can Act, Too — By E. H. Harris 12 Add Music to Your Home Movies — By Charles J. Ross ... 14 Jeep Becomes Camera Dolly — By Luke Hammar ................ 16 Hollywood Filming Problems — By Lowell Redelmgs ... 17 Your Films and How to Care tor Them — By C. E. Smouse.. 18 Eerie Screen Effects — By Louis Hochman 20 Loading Film Magazines for Siemens Camera — By Chas. A. Dobbel .. 26 Departments Amateur Films Reviewed 39 Book Reviews 40 Cine W orkshop 24 Club Activities 32 Film Libraries — Where to Rent Films. 30 Film Releases 33 Letters to the Editor • 4 New Products ~ 27 Questions and Answers ... 3 Titles to Cut Out 43 PHOTO CREDITS: Cover by Harold Lambert; Page 11, top, Les Hedgecock; lower right, Union Pacific R. R. Page 1 0, Grant Velie. Home Movies, Hollywood's magazine foi amateur movie makers, is copyrighted 1950 and published monthly by Ver Halen Publications, Los Angeles, California. No part of contents may be reprinted without permission from the publisher. Entered as second-class matter May 6, 1938, at the postoffice at Los Angeles, Calif., under the act of March 3, 1879. SUBSCRIPTION RATES: U.S. $3.00 per year. Two years, S5.00. Single copies, 25c. Canada, S3. 50 per yeor. Foreign, $4.00 per year. Foreign subscriptions accepted 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 or photos, which should be accompanied by sufficient postage for return if not used. Payment for editorial material made on publication. CHARLES J. VER HALEN, SR. • PUBLISHER OFFICE OF PUBLICATION— 3923 W. Sixth S!., Los Angeles 5, Calif., DU. 8-1310 NEW YORK OFFICE— Seymour A. Robbins, 45 West 45th St., LUxemburg 2-4424 CHICAGO OFFICE— John O'Keefe' 400 Madison St., Room 1904, Dearborn 2-2690 UTTERS International Friendship Sirs : An interesting plan for the exchange of photographs of all subjects, from which extensive personal contacts should speedily grow, is being spon- sored by an American magazine, which states, "A common interest in photog- raphy is a fine way for starting two- way international friendships, on a man-to-man basis." The Film Unit of which I have the honour to be the Hon. Secretary, the Dundalk Unit of the National Film Institute of Ireland, has had manv contacts with similar societies in England, and the exchange of views and of our own amateur-made films has greatly profited us both. I am sure that if Irish and English cine enthusiasts could come together in the manner outlined above, and find friends amongst vour readers, "a common ground would exist for us to know one another better and to under- stand one another more fully." — Tbos. J. 0 'Hagan, County Louth, Eire, Ireland. Home Movies will be glad to print names and addresses of individ- uals and clubs interested in cor- responding with others or exchang- ing films. — ED. Home Movie Vacation Sirs: What is vour favorite vacation film- ing spot? I polled a group of friends with this question. Mexico is the country I most enjoy filming. Its people, its scenery, and its old world atmosphere make it unbeat- able. Some time ago, you published letters from readers who seemed to feel that there was no sense buying a roll of film unless vou were about to voyage to the South Pole, or at least to Tibet. I disagree with this attitude. There is a lot of wonderful "foreign atmos- phere" available for filming close by among our American good neighbors. — Hiram A. Almonds, Dallas, Tex. Developing Tank Sirs: Has anvone been able to devise a motor drive for the Morse G-3 day- light developing tank? The problem which stumps me is how to auto- maticallv reverse the direction of film travel. I would like to hear from some- one on this. I've subscribed to HOME MOVIES since 1936 and I think con- gratulations are due for the excellent job vou are doing. — Herbert L. Kerr, Youngstoum, 0. WHAT'S ON YOUR MIND? ADDRESS THE LETTERS EDITOR, HOME MOVIES, 3923 WEST SIXTH STREET, LOS ANGELES 5, CALIFORNIA. 4 Get better pictures with your projector through SOMCO PROJECTION LENSES f Designed to fit most 8mm and 16mm Projectors Send fjOA illustrated folder showing our complete line of 8mm and 16mm Cine Projection Lenses, and 35mm Slide Projection Lenses. Full screen projection at short distance in average room with SOMCO %" focus f 1.6 projection lenses for 8mm projectors You've put a great deal of care and planning into those precious films of yours. They represent an investment of money, time and effort. But, no matter how cleverly you planned your compositions or how carefully you photographed them, the success of your movies depends largely upon the quality of your projection lens. Insist on top results from your projector. Specify SOMCO! Be sure you are getting as much out of your films as you put into them! SIMPSON OPTICAL MANUFACTURING CO. 3200 West Carroll Ave., Chicago 24, III. 5 PROFESSIONAL JUNIOR Camera Equipment... • • • the, mo4i ue/U&tile and available jjOX, tko&e caUa pAeJ&i tUe Un&it. Small GYRO Tripo' This light weight GYRO Tripod perfon with all the efficiency of larger, heavi and costlier tripods now in use. New, small size GYRO tripod handles 16mm. professional type cameras: Mitch 16mm.; Auricon single system; Maui 16mm.; motor- driven Cine Special; a 35mm. motor-driven Eyemo with 4< magazine. It features Super Smooth F & Tilt Action. Positive pan-locking knob. TiH locking /e' Quick wrist action locking knob for leg he adjustments. Pan handle can be inserted oi different positions on tripod head for operat convenience or extreme tilt work. Legs are f maple specially treated and warp resist Tripod head is Dow Metal magnesium aluminum. Built-in spirit level. Swivel tie-dt rings. Platform can be equipped for en 3/s or Va in. camera screw. ALSO AVAILABLE BABY TRIPODS CHANGING BAGS 3 WHEEL PORTABLE DOL "HI-HATS" FRANK C. ZUCKER (7flm€Rfl€Quipm€nT(c CASTLE FILMS | Greater New January GSM MOVIES! mi i Never before have we offered more outstanding movies for the enjoyment of all 8mm-16mm projector owners! HOPALONG CASSIDY in CASTLE FILMS SENSATIONAL! IN 3 GREAT SUBJECTS! 'THREE on a TRAIL' 'BAR 20 RIDES AGAIN' 'HEART of the WEST' 0Hopalong daringly® Hopalong's secret sig- (3) Hopalong's nerve turns bombs an outlaw gang nal leads cattlemen to stampeding cattle, wip- into submission! hideout of bad men ! ing out rustlers! ABBOTT and COSTELLO in "HIGH FLYERS" © Bud and Lou in hysterical plane antics, 10,000 feet up, mak- ing the "wild blue" wilder! Packed with thrills and laughs! AN EXCITING SPORT MOVIE! SPORT THRILLS of the YEAR" ® Thrilling, red-hot moments from variety of nerve-tingling sports including Kentucky Derby, Pendleton Rodeo, Army- Navy Game ; many others ! 3 CARTOON LAUGH RIOTS with WOODY WOODPECKER 'DIPPY DIPLOMAT' 'THE LOOSE NUT' 'WOODY DINES OUT' (5) Woody in wild plot to ® Woody golfs in wet ce- (§) Woody and villainous steal free lunch ! Side- ment with laugh-filled cat in hilarious rough- splitting! action and gags! house fun! FREE to oil projector owners! New 1950 Deluxe Castle Films' catalogue describing a great variety of home movies. SEND THIS. COUPON TODAY! DON'T DELAY ! See your Photo Dealer or send him this handy order form TODAY! i ORDER FORM Send Film Numbers in size and length checked H-1 QM Om 50 ft. $1.75 Complete $5.50 1 2 3 4 5 6 7 8 100 ft. $2.75 16m Comp- $875 Sound $17.50 division of uNlno' ^0»vo fiims ,nC 1445 PARK AVE. 542 S DEARBORN 604 MONTGOMERY NEW YORK 29 CHICAGO 5 SAN FRANCISCO II Name Address City Remittance Enclosed □ Zone .... Siate Send me Castle Films' FREE De Luxe Catalog □ REVERE RANGER 8mm CAMERA The Supreme 8mm Value! A high quality camera at an amazingly low price. Five speeds, including slow motion, make the "Ranger" a favorite for action movies. Easy threading, interchangeable lens mount and parallax-corrected, built-in view finder are other "Ranger" features that make it the outstand- ing 8mm value. F2.5 Coated Lens— Tax inc., $62.50 REVERE *'»5" » m in PROJECTOR 3lost Populur Home i*rojeefor! Revere "85" is the ideal projector for home use. It gives "theatre quality" performance . . . extreme steadiness of operation. Owners appreciate its easy threading . . . double-blower cooling system . . . fast automatic re-wind . . . and other features that assure safe, smooth, brilliant projection. Complete with long-life 500-watt lamp, fast 1-inch coated lens. $99.50 See these outstanding values at your Revere dealer's now! REVERE CAMERA COMPANY ■ CHICAGO 16 EIGHTS A X D SIXTEEN S Try These Quick Transitions Simple pan shots link scenes together by VICTOR BROWN A movie production is a chain — a chain of events which follow in orderly succession to unfold your story. But a chain is as strong as its weakest link. These links are the transitions, the cuts, fades, wipes and dissolves, which connect various scenes and se- quences. Transitions can do more than just connect two scenes. They can be used to set tempo, depict distance, bridge time lapse, and reinforce mood. Take, for instance, a horseback riding se- quence. The hero is to meet the hero- ine in dramatic fashion by rescuing her from a runaway horse. We start in a placid tempo. Mr. Hero, out for a canter, stops to ex- change words with a friend. As he lights a cigarette, he hears frantic calls for help. A girl is on a runaway horse. Camera Swings Rapidly Abruptly, the tempo changes, and at the same time we introduce the next scene with a swish pan. This is done by panning the camera from scene 1 to scene 2 — but rapidly — so the intermediate scenery becomes a streak- ing blur. The audience receives the illusion that they are there in person and have suddenly pivoted their eyes from the man on horseback to the stricken girl. The swish-pan also can be used to depict distance between two activities taking place at the same time. This is done by starting to pan slowly from the first scene, then gradually speeding up until the landscape streaks by the camera lens. At this point, cut! Set up at the new location and start panning towards it at the same speed as before. Gradually slow down until the open- ing camera comes to a stop, focused on scene 2. If the panning speed of the camera is the same in both scenes, there will be no noticeable break in the effect of the streaking blur of the transition. On the screen, the effect is that of looking away from the first scene and travelling over miles of space to the next scene. The extent of the distance can be controlled by how long the camera runs during the sweeping pan. A normal transition is 48 frames. Another effect which is easy to ac- complish is the "blur out" transition. In this, the scene suddenly goes out of focus, then comes back into focus on the new scene. To do it, turn the lens out of focus at the termination of scene 1, unscrewing it in its mount if necessary. Now, focus the camera on scene 2, turn the lens to its blurred position, then start the camera as you gradually turn the lens back into sharp focus. For a faster transition along similar lines, you can do a "zoom." For this effect, the camera is mounted on a dolly or toy wagon. The transition is accomplished by first shooting suffi- cient footage of scene 1, then dollying into the scene until the camera lens comes up against one of the characters or an object in the scene which entire- ly blocks out its view. Next, set up scene 2 and start shooting with your camera lens pressed up against one of the characters in that scene. Immedi- ately start dollying back to a pre- arranged camera position to reveal scene 2. A variation of the "zoom" transi- tion can be achieved without moving the camera at all. One of the characters in scene 1 walks up to the camera lens at the end of the scene until he com- pletely blocks out its view. Then, cut! Next, set up scene 2, with a char- acter standing with his back against the camera lens. Start the camera as he walks into the scene. As he recedes in front of the lens, he will gradually come into focus and take shape as part of the new scene. Cigaret Smoke For a mood transition, try changing scenes with a puff of smoke. Suppose the male lead is lazily smoking his pipe and thinking of his favorite girl friend. After shooting a few feet, cut to an extreme closeup as he lazily blows a heavy puff of smoke toward the lens. An assistant might stand by with more smoke to blot out the view. As the smoke clears, a new scene is re- vealed showing the girl friend smok- ing and thinking, too. This quick change is accomplished by cutting when the lens has become obscured by the first puff of smoke. Then the camera is set up on the girl scene and a puff of smoke blown in front of the lens to obliterate the scene. At this point, start the camera and blow the smoke from in front of the lens, until the new scene appears. HISTORIC EVENTS, such as the birth of a baby (who might be- come President) and na- tional holidays, such as Valentine's Day, are "News Pegs" on which to hang film stories. n ewSree How to use them in your home movies • • • by Nestor Barrett In early newsreel days, most of the film was shot by freelance camera- men who chanced to be on the spot when news events occurred. The news- reel companies bought the film for so much a foot. Naturally this led to quite a hodgepodge of subject matter. The editors had to devise methods of making the action on the screen appear to flow smoothly. It's the same way with our own movies. We may start off with the best of intentions, saying, "This year I'm going to shoot plenty of footage," but usually wind up with a lot of more or less fragmentary material — the sort of disconnected footage a newsreel cam- eraman may produce under stress. Things happen quickly and we do not always have time to film each event completely. But no matter how desul- tory our shooting may be, there for- tunately are ways of putting movie scenes together. The easiest method for getting over the bumps is by use of titles. We plan on having as many titles as needed even if we buy them from companies that specialize in the work. The open- ing title, or Main Title can be like this: THE FAMILY NEWSREEL Vacation Highlights of the Jones Family We can add a Sub-Title, to tell who shot the pictures and who produced the film, but newsreels usually omit • continued on Page ^2 CLOSE-UPS are spliced between otherwise dis- connected scenes. Close- ups such as this one help bridge the gap and carry spectator's mind from Scene 1 to Scene 2 | HOW WOULD a newsreel | 2. editor cut from Scene 1 to Scene 2? I. HELLO, STRANGER, WHATCHA DOING HERE? 2. JUST DROPPED IN FOR LUNCH? WELL, IT'S TOO LATE. by E. H. HARRIS How to get Rover into a home movie A man's best friend can be a camera- man's best actor. Without a mur- mur about model fees, he follows directions promptly and never mugs or tries to steal the show. Rover, Mac, Rags,Queenie — or what have you — seldom gets tempermental, and when he does, it is only for lack of a kind word, a gentle pat or the prom- ise of a choice biscuit. Contrarv to popular belief, it is not necessary to be a high-pressure animal trainer in order to groom Rover for screen drama, although that might be the case with Lassie, and other Holly- wood prima donnas. If vou understand Rover as well as he understands you, you'll find many ways to coax or trick him into per- formances worthv of a highly-paid Rin Tin Tin. And a home movie pro- duction will reach new heights of interest to grownups and children, alike, when Rover joins the cast — whether he plays a principal character or a minor role. Inducing Rover to emote on cue re- quires use of a few basic principles of canine behavior. As trainers point out, Rover should know that you are the boss and that commands must be obeved. He will realize this if he is convinced that you mean business and that disobedience is not tolerated. It is axiomatic that an animal will enthusiasticallv obev vou if vou treat him kindlv and reward him with praise and frequent tidbits of food each time he follows a specific com- mand. Though it's nice to be able to train a dog to do somersaults, walk a tightrope and count up to 96, it won't affect his dramatic career if he ignores such vaudeville stunts to concentrate on a few simple rules of canine obedi- ence and etiquette. With a basic under- standing between man and beast, the rest is routine. Seven Commands To begin with, the first rule is: Never give a dog a command unless you are ready to see that it is obeyed. The dog fancier who likes to give idle com- mands, but is too indifferent to leave a comfortable hammock to enforce commands which are ignored, will never gain respect and obedience. Once Rover knows that he can't get away with disobedience, it is easy to train him to do the few simple things neces- sary for his role before the camera. As a starter, every aspiring movie dog should learn to obey these com- mands: Come Here, Sit Down, Lie Down, Stay Put, Hold it, Fetch, and No. Here is how to teach these commands. 1. "COME HERE!" Tie a long rope to Rover's collar and turn him loose, while holding the other end of the rope. Command, "Come here!" and gently but firmly pull on the rope until he is at your feet. Praise and pet him each time and, eventually, he will learn to come to you without your having to pull him over. 2. "SIT DOWN!" Follow this com- mand by firmly pressing Rover's rear quarter down until he obeys. Repeat this until he gets the idea. 3. "LIE DOWN!" Follow the same procedure as in, "Sit Down," but with pressure applied also to the dog's shoulders until he is forced into a prone position. 4. "STAY PUT!" Each time he tries to get up or walk off, order him sharp- lv to stav put and firmly push him back into the spot and position he was in. 5. "HOLD IT!" Place an object, such as a stick, in Rover's mouth and order him to hold it. Each time he drops the stick, put it back in his mouth and repeat the order until he knows he is not to drop it. 6. "FETCH!" Toss an object ahead and order Rover to fetch it. Lead him to it and place it in his mouth, then lead him back again, until he gets the idea. Sometimes a dog will learn faster if vou drop the object on the ground before him and encourage him to pick it up. When he has learned this, you can drop the object further and further away until he has learned to run after it. 7. "NO!" This means stop any- thing instantly. If food is put out and 5. YOU WANNA TASTE? OF COURSE, WHY NOT? 6. THERE'S PLENTY FOR EVERYONE. GO RIGHT AHEAD. r Jrni 3. THIS FOOD'S FOR BIG DOGS, NOT CHINA PUPS. A. CANTCHA READ? IT'S THE NEW BLUE PLATE SPECIAL oo without fancy training Rover goes for it, the command "No!" should stop him in his tracks. He will understand this if you follow the com- mand by pulling him back and pre- venting him from touching the food each time he moves toward it. After he gets the idea and just stands there eyeing the food, you can give him the O.K. to get it as his reward. In this way, he'll understand that he has only to wait for command "Okay" and a reward will be his. Start Shooting Once Rover understands the basic commands, he is ready to go to work in your scenario. Suppose you want to show two picnickers engaged in con- versation. One puts his sandwich down beside him. The dog walks to it, looks at it hungrily for a while, then opens his jaws. Give the command "No!", and he will stop in his tracks, and act guilty until told what to do next. This stunt can be used when you want Rover to study an object such as a plastic toy animal. Hide a bit of food near the toy animal where it won't be seen in the picture, and Rover will eye the food as long as you forbid his tak- ing it. On the screen it will look like he is eyeing the toy animal or as if he is speaking to it in dog language. Suppose you want to add a laugh to an ordinary boy-meets-girl love scene. You shoot a few feet of your lovers 7. SUCH RUDE TABLE MANNERS THESE YOUNGSTERS HAVE going through the motions of meeting, giggling shyly, getting closer to- gether, etc. After each advance, cut to a closeup of Rover watching. Then, as the couple finally embraces, cut to Rover who suddenly cocks his head to one side in obvious approval. Getting Rover to cock his head on cue is a simple matter. Just make a squeaking noise at the right time, by blowing tightly pursed lips or scratch- ing a hard object across glass. Any sudden, queer, mysterious noise will usually get a dog to cock its head. These are but a few of the many ways in which a dog can be written into the act. As a member of the family, he certainly deserves to be included in the cast of your next home movie. But don't be surprised if Rover steals the show. • continued on Page 30 HAVING LEARNED to obey instructions, pet becomes cooperative actor. NO DANGER that Rover, getting MGM offer to star with Lassie, will entrain for Hollywood. He wouldn't leave without you WE HAVE DECIDED TO BE PALS. by CHARLES J. ROSS From the earliest days of silent mo- tion pictures, theatre operators realized the value of background music from a piano, organ or other source. W hen the talkies came along, the mo- tion picture industry had to learn the art of arranging background music for each picture. Needless to say, thev have done a magnificent job in this arrangement of the music, or scoring, as it is called. Anyone can add music to his home movies. The course of least resistance is to place the movie screen near the radio and tune to a suitable program. That is better than viewing the pic- tures in silence. After you have used the radio for a while to furnish back- ground music, vou begin to think about improving the musical selec- tions. You want to select music suited to each picture. Then vou begin to ask: "What equipment will I need, and how will I go about selecting the records?" The equipment needed for this pur- pose consists of dual turntables, am- plifier, speaker, and records. The dual turntables can be used with the am- plifier and speaker of your sound pro- jector or radio. Types of music A library of 100 records will provide a fair assortment of music from which to make selections. You may wish to include overtures, marches, polkas, marimbas, ballets, and a general assort- ment of tuneful music — slow tempo, mecTium tempo, and fast tempo. Or- chestration arrangements are preferred. If you are contemplating the assign- ment of scoring the program pictures for your club, you should consider a library of about 300 records and, in time, this may grow to 500 records. There seems to be no limit to the combinations of pictures and music. Both play upon the emotions and varv- ing results may be obtained through these combinations. If a picture were given to several individuals to score, chances are that each would select different music and each scoring would be acceptable. If the picture were long, you might expect to find that two or more persons would include the same record, but not necessarily at the same place. Depending upon the time available for scoring, knowledge of the record library, and experience in the assign- ment, generally the musical selection will express the scorer's ideas and his musical and emotional appreciation of the picture. It is well to avoid the use of popular CHARLES ROSS, scoring a picture, watches it on a miniature screen. Below the screen, is a disc recorder. • DUAL TURNTABLE provides an un- interrupted flow of music. An ordinary record player also may be used. TYPES OF SCENES GUIDE LETTERS (A) Waterfront and waterway scenes. (B) General scenics. (C) Scenics with sense of vastness and celestial appreciation. (D) Dramatic; mountains and streams. (E) Timber logging; pulling train; waterfalls. (F) Lively with spirit of fanfare and competition. (G) Slow trek through mountains, streams, and wastelands. (H) Forest scenes of beauty rather than vastness; quiet reflecting pools and lakes; flowers, and gardens. (J) Airplane taking off, in air, and landing. (K) Mild suspense of lively tempo. (L) Excitement and suspense. (M) Stormy, wild, fireworks, volcano. (N) Religious theme; somber, dramatic scenes. (P) Ranch and desert scenes with action; dances. (Q) Picnics, barbeques, banquets. (R) Latin theme. (S) Parades; street scenes. (T) Quiet, peaceful, serene, suitable for background with narration. This type of music will blend with most scenic pictures. (U) Sailing and fishing scenes. (V) Children or pets in action. (W) Dramatic and pompous. music. The attention of your audience may be drawn from the picture to the music. I have witnessed occasions when persons in the audience set their feet into rhythmic motion with the music. Select music carefully and with due regard for your audience. For instance, many persons would be bored to tears if they were bombarded with fortv minutes of chanting Hawaiian music with a picture made on those islands. Use two or three recordings of Ha- waiian music to point up the story. Perhaps one record at the beginning to introduce the picture, another dur- ing the body of the picture, and one at the end, interspersing other music. This holds true of a picture made in Mexico, South America, China, or elsewhere. Use just enough music to establish the locale. Marimba music is called for when the marimba band has been established in the picture, and should be changed when your pic- ture leaves that area. Franck's "Symphony in D Minor" rides well with mountain scenery, areas of big timber, and glaciers; in areas where there is a sense of bigness. The use of this symphony is bv no means limited to those areas. Daintv music, such as "Trees," seems out of placehere. However, the music "Trees" is appropriate in forests of small trees where the scene is one of beauty rather than bigness. Circus Music Parades call for march music and this usually should be band music. If the theme of the parade is light com- edy or clowning, circus music should serve well. "An American in Paris" can be used for street scenes. Polkas go well with desert ranch scenes, varying the tempo of the polkas to suit the progress of the picture. Some areas of desert scenery rise to the charm of melody of "Harold in Italy" by Berlioz. Where solemnitv is the keynote, try Dvorak's "Symphonv No. 5", or Borodin's "On the Steppes of Central Asia" for a lighter note. Some of the heavy overtures, such as "Barber of Seville" and "La Belle Helene" can be used in railroad scenes. • continual on Pjgt 34 14 m U$IC ow to ^^rclcl +$t LIST OF RECORDINGS NUMBER NUMBER GUIDE NAME OF RECORD (Victor GUIDE NAME OF RECORD [Victor LETTERS Recording) LETTERS Recording! B Symphony No. 97, in C, by Hayden DM 1059 N, W Praeludium and Allegro in E Minor, 1 1-8439 N Symphony No. 5, in E minor, by Dvorak DM 899 by Kreisler C, D, G, N Harold in Italy, by Berlioz DM 989 D, T Dream Pantomine 1 1-8948 F, K The Great Elopement, by Handel DM 1093 M Fire Music from the Valkyrie 9006 B Symphony No. 1 in E minor, by Sibelius M 881 B Musical America 36381 Peer Gynt Suite No. 1, by Grieg M 404 V A Hunt in the Black Forest 28-0420 H, T (Morning) V In a Clock Store N (Death of Ase) T Afternoon of a Faun, by Debussy K (Anitra's Dance) (Columbia M (Hall of the Mountain King) Recordings) F, K, W Graduation Ball, by Strauss-Dorati DM 1 1 80 The Swan Lake Ballet, by Tchaikowsky M 349 F, K, Q, W The Seasons Ballet, by Glazounoff DM 1072 B Introduction P Strauss Polkas (Boston Pops) M 1 049 T Dance of the Queen of the Swans L Rodeo Suite, by Copland DM 1214 K, V Dance of *he Prince N Concerto in B Minor for Cello and H Waltz Orchestra, by Dvorak DM 458 B, F Dance of the Swans and Spanish Dance F Dance of the Comedians; L Mazurka F The Bartered Bride 8694 F, T Dance of the Cygnets D, E Barber of Seville 7255 L, M Fina le T Adagio Pathetique; Moonlight Sonata 36038 F, V Cinderella, by Coates MX 239 D The Last Spring 1 1-8727 u Sea Chanty for Harp and Strings, by White MS 259 T Waltz Serenade F, S Gaite Pa risienne Ballet, by Offenbach MX 1 15 D, E LaBelle Helene Overture 1 1 -9026 s An American in Paris, by Gershwin MX 246 H, T Forest Murmurs 71 92 F London Again Suite, by Coates MX 102 W Pomp and Circumstance March 1 1 885 s Circus Music (Ringling Bros.) C-58 W Aida Grand March B, V Through the Looking Glass, by Taylor MM 350 B Cephale et Procris 1 1 -8825 B Grand Conyon Suite, by Grofe K Dance of the Hours 1 1 833 (Sunrise* Storm* Sunset* Painted Desert; F Faust Ballet Music 1 3830 On the Trail) MM 463 F, L Festival Overture 1 851 1 V Mother Goose Suite, by Ravel MX 320 K Sicilienne 1 ] -9447 R Marimba Music, by Hurtado Bros. C-71 L Fireworks F Rosenkavalier Waltzes 67892 B, V Village Swallows, Waltz 1 1 -91 89 F London Suite, by Coates 69399 H, T Poem for Flute and Orchestra 1 1-8349 G, L On the Steppes of Central Asia 71956 F, J Roman Carnival Overture 1 1 -9008 T Last Love; 7408 A, H, T Profane Dance 1 1 -8923 T By the Sleepy Lagoon A, D, N Introduction and Allegro s The Guards March On 7375M A, T On the Shores of Sorrento 1 8535 F, W March of the Boyards 7616 T Mignon Overture 1 1 -8545 L Bacchanale 7616 V Copella Ballet 1 2527 H, T Liebestraum 71304 H, T The Enchanted Lake 14078 k' Prelude and Waltz from "Blithe Spirit" 7441 F Carnival Overture 12159 s Parade of the Wooden Soldiers 12748 W Feast March from Tannhauser, Act II 7386 S Dancing Tambourine Daphnis et Chloe Suite No. 2, by Ravel 1 1-8747-8 (Miscellaneous B C Da y b rea k Recordings) b! g Pantomine F, T Emmerich Kalman Suite (London Decca) LA 20 L General Dance H, R Nights in the Gardens of Spain (Decca) R Jalousie 12160 F, G, H, T Summer Days Suite, by Coates L Ritual Dance of Fire (His Master's Voice) C 2901 L Moto Perpetuo 8661 R Latin Moods — Al Sak and Orchestra S, V Funeral March of a Marionette (Black & White) L Dance of the Persian Slaves 12-0239 T Beautiful Lady F, D Warsaw Concerto 1 1-8863 T Claire de Lune H, T Midsummer Night's Dream Overture 1 1920 T Prelude — Tristan and Isolde N Panis Angelicus; Ava Maria (Boston Pops) 13589 F, W Evening Song B, D, H The Birds (Suite) 11 -8945-6 (Sears, Roebuck & Co. Vynolite Recordings] Steps to Follow 1. From "Types of Scenes" Table select a suitable Guide Letter — such as "B" for gen- eral scenic views. 2. In "List of Recordings" find Guide Let- ter "B" identifying numbers such as Sym- phony No. 97 by Hayden. 3. Play this while projecting your film. Decide whether it is appropriate. Try other "B" numbers in the List of Recordings. 4. If you decide to use parts of several re- cordings, make up a Cue Sheet. This will make it easy to start each disc when the cor- rect scene flashes on the screen. SAMPLE CUE SHEET Film Cue Name of Record and Position to Start (Measure from outside of record) Duration (Seconds) Fade out with credit title. Cinderella No. 3, %-inch 27 Fade out with Ford holding carrot. Cinderella No. 4, '/2-inch 110 Fade out with skunk scene. Dance of the Hours, 2'/2-inch 53 15 Camera on Wheels for Travel Photography Jeep is platform for dolly and zoom shots Photographer Langston McEachern of the Shreveport (La.) Times has solved two of his craft's knottiest problems with one simple device. Faced with the difficult task of get- ting clear shots over crowds and other obstacles, and of moving around rapid- ly with still and motion picture cam- eras, McEachern has met these prob- lems by equipping his Willys sports phaeton with a combination platform and photographic cabinet. Cabinet Lock In place of the Jeepster's rear seat McEachern has a 30-inch tall, 40- by 30-inch redwood cabinet that includes a large compartment on one side and a small flat compartment and two roomy drawers on the other. The top of the cabinet is a hinged lid, cowred with a rubber mat to prevent damage to the wood when McEachern throws his 180 pounds on the box. The cabinet is also provided with a lock to protect its contents. Not only is the cabinet strong enough for McEachern to stand upon, but it is also large enough to allow him to set up a tripod, which he ties down with door springs. When he wishes to take motion pictures with the Jeepster in motion, he has someone drive the vehicle while he perches atop the cabinet with his tripod and camera. In the large compartment of the cabinet, McEachern carries a leather jacket, a tripod, a Speed Graphic and a pair of boots — which have come in handy on many of his assignments dur- ing bad weather or on rough terrain. In the flat compartment he keeps his film, a map, and prints. Below that compartment is a drawer in which he has his lenses, meters, filters and other spare parts. The bottom drawer carries a Graflex and film holders. Beneath the cabinet there is room for the vehicle's tools. The drawers and the section of the compartment housing the cameras are lined with sponge rubber to absorb shocks received when he takes the Jeepster over rough roads or open country. The cabinet is shellacked to protect the wood from weather condi- tions. In really bad weather, of course, McEachern covers up with the vehi- cle's top and side sections. For night work, McEachern uses a spotlight with a 20-foot cord plugged into the cigaret-lighter outlet. With the aid of the spotlight he is able to get to places, especially in rural areas, which he might otherwise be unable to reach. The spotlight is also useful when McEachern needs additional lighting for his night pictures. There are lights inside the cabinet and under the dashboard to enable him to man- ipulate his camera and equipment on a night assignment. Dolly Shots The vehicle's maneuverability makes it easy to handle in the heavy traffic McEachern often encounters while hurrying to an assignment. It is also easy to park the Jeepster in crowded downtown Shreveport and in places where a larger car would not fit. On a smooth surface, the Jeepster becomes a power dolly with which the motion picture camera can truck up or back for dolly shots whenever desired for a newsreel, travelogue or storv film production. It is an excellent arrange- ment for travelers. by LUKE HAMMAR THIS PHOTOGRAPHER'S Jeep is a film maker's dream. Its shooting platform provides a high camera angle when desired, and also facilitates filming over the heads of spec- tators. The Jeep can traverse terrain which would be impassable to ordinary autos. SHOCK-ABSORBING draw- ers provide finger-tip storage space for various cameras and accessories. Although de- signed for oppress photog- rapher, it appears to be an ideal arrangement for travel photographers. TO FILM a spill, Betty Hutton is artfully posed in front of an open door with effects strewn about. THE HEIRESS (Olivia de Haviland), having chosen her tare, walks up- stairs. Lighting effect is obtained by "oil lamp" containing electric bulb. HOW DOES A MULE talk? It's done with invisible wires to PHOTOGRAPHER Lee Garmes carefully composes his scenes move the animals lips in "Francis," filmed by Irving Glassberg. in "The Fighting Kentuckian," with tree branches against the sky. — and how they are solved in current films... by lowell redeungs When Betty Hutton, the Blonde Bombshell, cuts loose, the prob- lem is to depict vividly the havoc left in her wake — like the aftermath of a hurricane. Note in the accompanying picture how this was accomplished. Betty has taken a tumble after a breezy entrance through a door. (Note how the open door in the background con- tributes to the effect.) The position of her legs, her stunned expression, her scattered shoes, and the partially-open makeup box (black for contrast with RED, HOT AND BLUE— Paramount; Cameraman, Daniel L. Fapp; Director, John Farrow; Art Director, Hans Dreier and Franz Bachelin; Film editor, Eda Warren; Starring Betty Hutton and Victor Mature. Betty's white undergarment) complete the desired havoc-inspired impression. This scene was carefully arranged, of course, the camera starting to shoot from this point, as Betty proceeds to get up. On the screen, Betty is seen opening the door and then there is the • continued on Page '29 17 by Charles Smouse One little, fragile ribbon of cellu- loid can store up a host of ideas, faces, places and memories. Some of it may be trivial and unimportant. But most is irreplaceable. Priceless pic- tures, nevertheless, are allowed to deteriorate until they appear on the screen with scratches, gouges, "rain streaks" and jumpiness caused by broken perforations. Care for film involves only a few, standard precautions. Visualizing a roll of film, step by step, reveals the awaiting hazards and how to avoid them. Consider, first, a new roll of unex- posed film. Raw film, it is called, and it is as delicate as a baby's tummy. The inside of any camera is bound to col- lect dust, lint and particles of emulsion. To clean it, a small dime-store brush is essential. Pay particular attention to the film gate, for any lint in the aperture will be photographed in silhouette and become a permanent, eradicable part of the picture. A cam- era should be oiled only as recom- mended by the manufacturer or a reliable camera machinist. Loading Camera While loading, roll film needs to be held firmly. If the roll loosens, the edges of the film become light-struck or fogged. A shaded spot, away from direct sunlight, is essential for load- HOW NOT TO HANDLE FILM. THE AUTHOR'S EXAGGERATED SELF PORTRAIT. — and fragile. Here's how to take ing and unloading. Film in magazines, however, is less susceptible to fogging while being handled. Motion picture film is made from celluloid coated with a light sensitive photographic emulsion having a gela- tin base. The shiny side is referred to as the base, or celluloid side. The dull side is the emulsion side. Reversible film is projected with the base side toward the projection lamp. If it is a duplicate print, however, it is pro- jected with the emulsion side toward the light source. This applies for black and white or color. When the film is returned from the laboratory, it usually is on a small tin reel. Care begins when we mount the film on a larger and more substantial reel. It would be simple to store the films under perfect conditions, but pic- tures are made to be seen. This means handling, rewinding, projection under intense heat, and possibly drastic changes in humidity. Expansion and contraction put stress on the film fiber; brittleness causes film to break easily, especially at the perforations. Winding Film Film should be handled only with a pair of light, cotton gloves. Handle the film by the edges. A common prac- tice, with disastrous results, is the habit of cinching. When a film is loosely wound, it is easy to tighten it by grasping the leader of the film in one hand and the roll in the other and pulling until the film tightens into a firm roll. This causes "rain streaks" 0fT,6&f CAMERA CARE. Use a brush to'remove dust, lint and emulsion particles. HOLD FILM spool firm- ly while loading or unloading cam- era. Loose loops allow light to strike film. DO NOT CINCH film. This causes "rain streaks" and other scratches. Rough treat- ment lessens delicate film's span of life. 18 ORDER FOR SUBSCRIPTION Home Movies Magazine 12 MONTHS FOR $3.00 IN U. S. In Canada, $3.50 — Foreign, $3.50 SPECIAL OFFER: 2 Years for $5.00 in U. S. ME MOVIES t3 West Sixth Street Angeles 5, California Send to ...... Address City □ New Send to Address City □ New closed find $ m. nt in by Idress Phono DUnkirk 8-1319 State Renewal State f ! Renewal 19 K. State NO SUBSCRIPTION ACCEPTED FOR LESS THAN ONE YEAR HOW TO CLEAN FILM. FAN AND OPEN WINDOW PROVIDE VENTILATION. Uaiuabfe care of them for long life in the film. The best way to wind film tightly is to put a little pressure on the feed reel while winding. Never re- wind at excessive speed. Take it easy. Film rewound at high speed gathers static electricity and acts as a magnet for all the dust in the air. The day may come when you will find yourself an on-the-spot cameraman of a news-making event, but remember i hat the film is less salable if it has been projected even once. If you think that you have something good on film, I recommend that you send it to a laboratory and have a duplicate print made before you even look to see what you have. When you get the original and your dupe back from the labora- tory, lock the original in a safe place and work with the dupe. Project it, handle it, see if you have something worthwhile, and in the meantime you know that your original is unmarred. Many projection machines owned by people who have put a great deal into i heir hobby are neglected to the point where it is impossible to view a film even once without scratching it. It is easy to care for a projector and prolong the life of your film for years, by check- ing the machine periodically. Watch Perforations Film perforations are easily nicked or strained. This damage may occur at any time. It can be caused by too tight a belt or spring on the take-up reel of the projector, by worn sprockets, or by bent reels. Improper lubrication, loss 6f a loop, incrustation of dirt on the film gate, or emulsion piling up on sprockets or in the area around the aperture are things to be avoided. Once the perforations are damaged too much, projection becomes impossible. Therefore, maintenance of your pro- jection machine should be given top priority. Remember, scenes, such as your children on their third birthday cannot be taken again. Make sure that all sprockets revolve freely. Avoid excessive amounts of oil. Find out from your dealer, if necessary, how to remove the projector film gate and keep the surface highly polished. Acetone Cleaning If the take-up reel is driven by a belt or a spring, be sure that it is ad- justed properly, neither too tight nor too loose. Use a small brush for clean- ing each of the sprocket wheels and any surface with which the film touches. A little acetone will often help to loosen any emulsion that may have stuck to any surface of the pro- jector. Do not use acetone while any film is exposed. Acetone dissolves film, which makes it excellent for cleaning splicers. The accumulation of emulsion de- posits on rollers or picture apertures has about the same effect on the pic- ture area as a diamond drawn across a piece of glass. This deposit becomes extremely hard under the heat of the machine. Once film is scratched there is nothing that can be done to repair it. Special attention should be given to the film loops when threading either a projector or a camera. There is no way that perforations can be torn any faster than to have the loops too short. Most projectors and cameras have guides to show the proper size of loop. Follow these carefully, then turn the projector over a few times by hand to make sure that the claw is properly engaged in the perforations. Most pro- jectors have a knob that permits wind- ing the film a few frames by hand. Any film that has an excessive amount of moisture after development is known as "green" emulsion. A combination of heat and moisture causes the gelatin to soften, giving it a sticky or "tacky" condition. Film exposed to humidity rapidly absorbs moisture. This is a common source of film troubles. • continued on Page 38 INSTEAD OF CINCHING film to tighten it, put a little pressure on the feed reel, when rewinding film by hand or motor. HANDLE FILM by edges only. White cotton gloves are worn in film studios. Clean projector gate and sprockets. Do not lubricate except in accordance with manufacturer's instructions. 19 i WANT EERIE EFFECTS? TAKE ANY ONE OF YOUR FILMS AND HAVE THE PHOTO LAB MAKE A NEGATIVE. by LOUIS HOCHMAN Overcome by a yen to explore virgin territory, to produce something new, to make people sit up and take notice, I considered filming dream se- quences, fantasies, psychotic imagina- tions and supernatural phenomena. But unearthly fancies require unearth- ly budgets. Still, there is a method that is simple, and yet so completely out of this world, that anyone can turn out an eerie film thriller. Have you ever seen a movie negative projected? Fantastic black shapes with luminous white shadows move about in a strange black world that is difficult to describe. It has to be seen to be appreciated. In negative movies, "black" lights shine on black objects, unearthly black-faced people cast white shadows, while strange objects and phospho- St pcinae e rescent animals move about. People become abstract phantoms in a fan- tastic dream world, losing all mortal identity. Landscapes, whether city or country, become a world of ghostly figures and weird lights. No Manipulation Yet, the whole process requires no manipulation. All that is necessary is to shoot a reel and have the film pro- cessed as a negative. This can be done with most reversal films if you request it when turning in film for processing. Or, you can shoot on negative stock, and this will be returned to you as a negative ready for weird projection. In fact, you can even shoot on positive stock. This is the least expensive meth- od of all. Starting with scenes you already have, negative prints may be made for as little as the cost of ordinary black and white dupes. When shooting scenes for negative projection, remember that lighting effects are going to be the reverse of what you see. If you want something to be black, throw light on it. Any- thing you want white and luminous, leave in shadow. Fully lighted scenes are unsuitable for this process, since they photograph too black. The best lighting effects are contrasting ones. It doesn't matter if you block up the highlights. And it's better if you let shadows go dead. Try lighting a subject with a single spotlight. Follow his movements with one beam of light and he becomes an eerie black figure moving about in a flood of phosphorescence. The best 20 CONTRASTY SUBJECTS ARE BEST. WHITE BECOMES BLACK AND BLACK BECOMES WHITE ON THE SCREEN. dim procedure is to concentrate on shad- ows when arranging your lighting effects, because it will be the shadows that will appear as the light portions of your scene. For a figure moving across the screen, let him cast his shadow before him. It appears as a grotesque light dancing across the screen before him. Closeups posed against a dead black background stand out in weird patches of moving black shapes when strongly side-lighted. Outdoors, try a high angle of people walking to and fro on a busy street. Their long shadows fol- low before or behind them, depending on the direction of the sun. Shoot a figure walking up a steep hill. To show the shape silhouetted against a black sky, shoot without filter. To emphasize the eerie effects of creen these negative movies, shoot from un- usual angles. Tilt the camera for oblique compositions wherever the ac- tion calls for such treatment. Exposures are calculated for the highlights. Since you are not inter- ested in full scale prints, it is best to let shadows remain black, so they will appear all the more luminous when projected as negatives on your screen. Shoot One Roll When preparing a scenario, with negative and positive scenes, it is a good idea to simplify things by listing all the scenes that are to be projected as negatives and shooting these on one roll of film. Then, you can have this toll processed as a negative, and kept separate from the ordinary scenes. Later, the negative scenes can be cut apart and spliced into the positive se- quences as required. If you want an ordinary scene to suddenly turn to a negative, you can do it by having a negative print made from it. Then match the negative frame for frame with the positive original. Cut out as much of the posi- tive scene as you want to show as negative, and replace with the iden- tical negative footage. Count the frames to insure exactitude. When projecting these movies, you will be startled at the effectiveness of this unusual presentation, especially when a normal positive sequence is suddenly replaced by an uncanny nega- tive one. The striking contrast between the real and unreal scenes will produce a weird and eerie psychological effect. Try it and see for yourself. 21 Here's Cine-Chat again — a once-in-a-while feature on these pages to help keep you posted on techniques for better movies, and on the Kodak products that make them possible. This month, there's news of several new movie items and some reminders about timely accessories. But first, here's a tip that's up to date every month! Keep in touch with your Kodak dealer. That's good advice any time] CINE-KODAK RELIANT CAMERA NOW IN TWO MODELS This popular "Eight" now supplied with f 2.1 or f 1.9 Ektanon Lens There's now a choice of lens speed and range with the Cine-Kodak Reliant Camera — Kodak's popular "Economy Eight" movie maker. It's available with either of two precision-built Kodak Cine Ektanon Lenses — a prefocused / 2.7 ... or a focusing / 1 .9. The / 2.7 model is a splendid choice for movie newcomers. Simple to use. positive in operation, it assures fine results with aver- age subjects ... at average distances. The / 1.9 model is for those who require extra speed . . . extra close-up range, along with roll-film economy. Its lens provides twice as much speed when you need it for difficult lighting conditions . . . focuses ac- curately by scale for distances from infinity to as little as 12 inches from the film plane. Either "Reliant" is a splendid buy. Both provide such luxury features as slow motion, built-in exposure guide, acceptance of a 3X accessory telephoto. and others. And both are of sprocketless design — a system that com- bines convenience in loading with the econ- omy of Cine-Kodak 8mm. Film in rolls. Take your choice of two fine cameras — the / 2.7 model at S79 . . . the / 1.9 model at S97.50. And. by the way. though you se- lect the / 2.7 model now, you can step up to the focusing model later, if you like, by acquiring the / 1 .9 lens as an accessory. Price of the Kodak Cine Ektanon 13mm. / 1.9 Lens alone. S42.50. FOR INDOOR MOVIES A new low price on Kodak's versatile twin-reflector lighting outfit Many movie makers call it the biggest buy in photography ! And with excellent reason — together with inexpensive photoflood lamps, this easy-to-use twin reflector outfit is every- thing most folks need in the way of indoor lighting equipment . . . everything needed for some of the most delightful scenes in your movie record. For two photofloods in Kodaflector are as potent, photographically. as fourteen photofloods used without reflectors ! The Kodaflector consists of two reflectors independently mounted on an adjustable stand, complete with sockets, switches, and connecting cords. Just set it up for the height required — any height from under three feet to six . . . screw in the photofloods . . . and aim the reflectors at your subject. That's all there is to it ! Switch on, and the Kodaflector floods your subject with brilliance. Real convenience . . . remarkable efficien- cy .. . and now, a bargain price of only $5 . . . recommend the Kodaflector as a truly outstanding movie-making accessory. CINE-KODAK LENS SPACER RINGS For ultra close-up movies . . . magnifica- tions of more than 200 diameters! It's a new way to ultra close-ups . . . and one that can be used with just about any movie camera that's equipped for visual composi- tion. If your camera, 8mm. or 16mm., takes Kodak Cine Ektanon or Ektar Lenses through the use of a Kodak Cine Lens Adapter — and most cameras do — you can use Cine-Kodak Lens Spacer Rings with those lenses . . . and apply them with the adapter. (Xo adapter needed, of course, with Cine- Kodak Special II Camera.) Essentially, Spacer Rings are a method of increasing the distance between lens and film so as to increase the close-up range of the camera. And what a job they do ! With a 16mm. camera, the outfit makes possible the coverage of fields as tiny as a half inch in width for magnifications of well over 200 diameters when you project the movies on 10- or 12-foot screens ... area magnifica- tions of over 50,000 times ! There's complete close-up range, too. Each outfit consists of three units, which can be used singly or in any combination. To vary your coverage, simply van.' the combination of units ... or the lenses you use them with. Tables for each Kodak Cine lens are supplied with the outfit. Of course, such ultra close-up filming re- 22 quires extreme precision in sighting, but for advanced movie makers, Cine-Kodak Lens Spacer Rings provide the way to a challeng- ing and rewarding field of motion pictures. Price — $11, complete. NEW FILTER FOR KODACHROME MOVIES For ninety-nine shots out of a hundred, as experienced movie makers know, there's no need for filters of any kind with Koda- chrome Film. The filter just isn't made that can improve the rich, warm color rendering you get with Daylight Kodachrome Film used under the normal daylight conditions for which it's intended. The Kodak Skylight Filter, however, is for that hundredth shot — the scene miscolored by atmospheric condi- tions that give an unduly bluish cast. If you run into such scenes — shots on over- cast days, distant scenics, or open-shade scenes illuminated by bluish sky light — slip the filter over your camera lens, and it will take care of the scattered blue light handily. The" Skylight Filter is available in all series of Kodak Combination Lens Attachments. KODAK DAYLIGHT PROJECTION VIEWER A new . . . wonderfully convenient . . . approach to motion-picture analysis Kodak Daylight Projection Viewer is a new system for viewing motion pictures ... a system that takes movies out of the dark and onto a desk or table in ordinary room light or far brighter. It works with any pro- jector, 8mm. or 16mm. . . . and with any film, color or black-and-white. You simply beam your projector into the mirror at the rear of the Viewer, and your movies are re- flected to the special Kodak Day View Screen at the front — brilliant, and so sharp and clear that you can analyze every scene in close detail. The Day View Screen is the key to the system. Because it's specially designed to minimize the effect of surrounding light on the brightness of the image, you can show your films under ample illumination for convenient note taking without graying down the brilliance of your movies. If you're interested in analyzing your movies critically, you'll appreciate this and other features of the Projection Viewer. With light directed from the rear, you can point out scenes of special note right on the screen without causing shadows that block the image. And, though the outfit is trim and compact — it packs into a carrying case only y/2 x 12 x 21 inches . . . and sets up, with room to spare, on a desk or table — your movies are amply large for detailed study. Because you sit close to the screen, the 8 x 11% -inch image is the equivalent of a screening 6 feet wide, projected with conven- tional equipment and viewed from the cus- tomary 18-foot distance. Price of the outfit, complete with alumi- num carrying case — $47.50. SUPER-Y AST SHUTTER SPEEDS WITH CINE-KODAK SPECIAL CAMERAS There's no need for owners of Cine-Kodak Special Cameras to take a back seat on shut- ter speed, even to users of fine still cameras. The Special's adjustable-opening shutter — although designed primarily to provide a convenient way to make fades and dissolves — can be combined in use with the variable- speed motor to make possible exposures as short as 1/560 second! Here's how it's done: With the shutter- fully open and the camera run at the normal 16 frames per second, the shutter operates at about 1/35 second. When you close the shutter to half-open, it's speeded up to 1/70 second . . . and when you close it to quarter- open, it operates at 1/140 second. You get really fast shutter speeds, however, when you combine the quarter-open shutter with faster-than-normal motor speeds — 1/210 sec- ond at 24 frames per second ... 1 /280 second at 32 f.p.s. . . . and 1 '560 second at 64 f.p.s. Obtaining super-sharp movies of fast- moving subjects — this is one extra applica- tion for Cine-Kodak Special Camera's re- markably versatile shutter. KODASCOPE SIXTEEN-20 REMOTE REVERSING SWITCH You can move anywhere in the room . . . yet keep control of the projector Here's a modestly priced accessory for the Kodascope Sixteen-20 Projector that makes possible super-rapid c hanges between for- ward and reverse operation from a distance. One application: lecturers can speak from screen-side . . . yet still be able to rerun scenes of special interest. The price — Switch and generous-length cord — $6.50. CINE-KODAK EDITING KIT- IN 8MM. AND 16MM. MODELS Complete and compact editing outfit — in its own handsome carrying case There's just no match in completeness, con- venience, or compactness for this all-in-one editing outfit. Cine-Kodak Editing Kit is a portable "cutting room" in miniature — a full complement of movie editing equipment, handily arranged in its own smartly styled carrying case. Everything you need to edit your movies is included — a two-way, geared-spindle re- wind, editor bracket, Cine-Kodak Editing Viewer, Cine-Kodak Senior Splicer, work tray, even storage space for extra reels and film cans ... all placed for convenient, "in- line" editing. Cine-Kodak Editing Kit is remarkably easy to set up and use — simply lift the cover, and you're ready for precision editing. When you've finished, close the cover, and the Kit folds way down for handy carrying or space- saving storage. It's available at $85, com- plete, in either of two models — one for 8mm. movies . . . one for 16mm. Two of the items in the Kit are also sup- plied separately for use with horizontal re- winds. The Senior Splicer, Kodak's com- plete and efficient splicing outfit for both 8mm. and 16mm. movies, is priced at $20. The Editing Viewer that shows your movies in action as they're wound in either direc- tion is priced at $27.50 for either the 8mm. or the 16mm. model. Eastman Kodak Company Rochester 4, N.Y. All prices Include Federal Tax where applicable. Projector Noise Never desirable at best, noise from the projector can become downright annoying at times, especially when it competes with a running commentary or music. An ideal solution, of course, is a separate projection booth off the room being used, but not everyone wants to go to this amount of trouble and expense. Another solution is to build a sound proof housing or "blimp' ' to slip over the projector, and one of these days we hope to present such a project. Some improvement can be effected in a much less involved way, simplv by placing a soft mat under the pro- jector. A handy type is the felt or rubber mat sold in stationery stores to place under a typewriter. One recent rubber mat has suction cups molded into the bottom side, so that it will hold itself tenaciously in place on any smooth surface, such as a table top. If the projector has been used in the past on a solid surface, it will be found that such a mat absorbs a con- siderable amount of noise, especially if the projector is properly oiled and running smoothly. — Hal Soames. Glamourized Projection Even a good film never looks as "professional" as it might when shown in a room where projector and screen have been merely set up tem- porarily. Not everyone has the space to set up a real "projection theater" but there is no gainsaying the fact that when this is done, the picture takes on added glamour. I have a separate projection room, with space for a dual turntable and an editing and splicing board. Above the him cabinet is a commodious three- shelf cupboard. Room lights operate on a dimmer from the booth. Draw curtains cover the screen, and the pull lines extend across the ceiling and into the projection booth. A microphone suspended near the projector permits the operator to add a running com- mentary when desired. As will be noted, the room is laid out for two projection machines. Some amateurs, it is true, would find some of this superfluous, but for those who like to "put on a show" in THE CINE the full sense of the word, there is no doubt that the trouble taken in fitting up an installation is time well spent. — George Stricklhtg, Cleveland Heights, Ohio. Exposed Film Reminder m When carrying extra rolls of film on a filming expedition, I remove the cans from their paper containers and simply carry the film cans to cut down on bulk. Once the sealing tape is re- moved from a can (on those that are so sealed) it should not be resealed be- cause it would seal in moisture that the film may have absorbed. However, as a reminder that the film has been exposed, the tape can be stuck on ACROSS the can to distinguish it from unexposed film and prevent accidental second exposure. A strip of adhesive or scotch tape can be used as an identify- ing marker on cans not previouslv sealed at the factory. — George Carlson, Chicago. Filter on Projector Color footage which is not quite perfectly exposed may be "off color," and unsuitable for showing. I filmed 150 feet at the Zoo one cloudy day and it came back from the processing laboratory with a decided green tint. I was ashamed to show the film until I purchased a kit>, which is made for color slides but which is satisfactorv for color movies as well. There are 2" x 2" gelatin filters, costing 65 cents for 24 assorted colors. I took one of these filters (the red) and mounted it between two cardboard discs, with a circular opening the size of the pro- jector. Now, when I come to the "green" scenes in the film, I just hold this disc over the front of the lens and have almost perfect color on the screen. A filter of suitable color often can help correct imperfectly-exposed color film. — Markley L. Pepper, Den- ver, Colo. Novel Coating Composition A composition said to be capable of forming a rawhide-like covering is de- scribed by J. A. Schroeder in Canadian Patent 452,428. Such a coating is made from: Glue (from rawhide) 250 lbs.t Invert sugar 400 lbs. Glvcerine._ 90 lbs. Phenol 2 lbs. Safrole 1 lb. Any quantity, of course, can be made bv maintaining the proportions of the above formula. Magazine Focusing A push-in direct focusing unit to fit a magazine-loading camera, utilizing an old film magazine, is easily con- structed. It used to be next to impos- sible to obtain empty film magazines, since they are retained by the process- ing station. However, at the present time any number of surplus magazines, fitting many types of cameras, are avail- able from dealers specializing in re- loads and surplus film. FILM APERTURE 1 MAGNIFYING LENS -6 Home Movie Projection Booth has openings for two projectors. Screen has curtains operated by draw strings. In addition to the empty magazine, you will need a magnifying glass and a small strip of ground glass. All of the mechanism is stripped from the inside of the magazine. The ground glass strip should be the width of the film and about an inch in length. This may be purchased from a dealer, or if you have a glass cutter, you can cut down a piece of 2 x 2 slide cover glass. The ground surface may be prepared by using wet emery powder and grinding the glass lightly with a rotary motion on another and heavier piece of glass. The ground glass is fastened in place with glue or heavy shellac, ground sur- face facing outward. Then the magni- fying glass is ground down on two 24 WORKSHOP sides to bring it to the width of the magazine. Use a grindstone, keeping the glass wet and not permitting it to heat up too much. Find by experiment the correct distance from ground glass to magnifier, and glue the latter in place. All that remains is to cut a peephole in the magazine, in line with the ground glass and magnifier. The use of such a focusing unit solves the parallax problem completely. — Homer H. Gam, Chicago. Wooden Table Stand There are many occasions when a firm table stand for the camera is more convenient than a tripod. A convenient rig of this sort can be built from what- ever scrap stock is on hand, altering dimensions as nec- essary. However, any sort of camera stand should be sufficiently solid and heavy to insure a firm, steady sup- port for the cam- era. Unless a stand is really wobble-free, it is of no value. In putting together a stand of this sort, it is a good idea to use wood screws rather than nails, since the screws can be drawn really tight. Brass screws cost a few cents more, but never rust and ensure a neat appearance. The camera is held in place with the usual %" 20-thread bolt or machine screw — A. E. Muggast, New Orleans, La. Printing with Camera While most amateurs who do home processing use the reversal method, it shouldjnot be overlooked that nega- tive-positive footage may also be handled at home. In certain cases, it is simpler than reversal treatment. Many home movie makers, for example, also do still photography and have a dark- room of sorts. In this case, they are likely to have negative developer, stop bath, fixing bath and print developer solutions already on hand, and can handle simple development of nega- tive and positive film without any further complications. As for the printing, it can be done in the projec- tor or the camera. I tried printing with the projector, but the light leaks were too numerous, so turned to the camera. I removed the lens from a Filmo 70A, and placed the camera at such a distance from a 40- watt lamp that a Weston meter read ".40" when held over the front of the camera. Camera serves as contact Print- er to make a negative. N. /R\ FROM &UPPLY , II &POOL \ ro Take-up ^ \\ SPOOL k£/ Jn.- negative Cove* IT TAKES A SPECIAL MAGAZINE. FIG. 2 Con dmc* Rtog Voc;c2»r« Scfo-Ti FILM MAGAZINE AND PARTS. FIG. 3 Loading Film Magazines for Siemens Camera USES 16mm COLOR OR BLACK AND WHITE by CHARLES A. DOBBEL More and more Siemens cameras are appearing in the U.S., with the return of tourists and GI's from Europe and South America. The Siemens is a beautiful instrument, and some models have unique features not avail- able on other cameras, but the price is usuallv low because the camera re- quires a special film magazine. I bought my first one in Venezuela three years ago. With a piece of old him I mastered the winding in one evening, and, from the first roll of film, results have been as near perfect as could be expected. Practice Loading The camera, which was made in Germanv, has a good lens. It focuses by scale from infinity to one-half meter (19/^ inches). An automatic diaphragm shifts for changes in speed. It may be set for 8, 16, 24 or 48 frames per second. Some models have a built-in rangefinder. Recently, I acquired my second Sie- mens. It has a built-in rangefinder, and is excellent for titling. With the lens at f/1.5, the focus and field is deter- mined with the combined range-view- finder at a distance of l/2 meter (19/4 "). As a test, at 26 focal lengths with the 20mm lens (20.4 inches), perfect reso- lution was made on positive film of the 56 lines per mm. test-card which is published by the U.S. Bureau of Standards. The general features of the Siemens is shown in Fig. 1. This model carries aa f/1.5 Siemens Anastigmat of 20mm. focal length. It has a direct viewfinder and an angle viewfinder, but not the range-finder. Other models which I have seen in shops of New York, Washington, St. Louis, Denver, San Francisco and in Baranquilla, Colom- bia; Caracas, Venezuela; and Havana have similar appointments, or have an f/2.5 lens. In fact, one which I ran across in Denver had removable lenses and was equipped with four varving focal lengths on the camera, with a turret head to slide up and down in vertical motion, instead of the usual revolving method used on American cameras. The neat construction of the camera is shown in Fig. 2. A door-lock auto- matically controls the shutter. The shutter cannot be operated until the door is locked. The lock button also pushes forward the pressure plate be- hind the film. The onlv moving part exposed is the take-up hub drive which slips into the hole in the magazine as it is introduced into the camera. The special magazine, shown before the open camera, is the necessary ac- cessory! If you purchase a Siemens, be sure it has at least one magazine, possibly more. The carrying case ac- cepts two extra magazines. The capacity of each magazine is 50 feet. I have four magazines, but two are usuallv enough. With a changing-bag to reload in, I can get bv with a single magazine when necessarv. The open magazine is shown in Fig. 3- The necessary parts are: Magazine, top and bottom The core — a small brass hub with a slotted top. Core catch ring — o piece of spring steel that holds the film on the core. Take-up hub — o hollow hub larger in di- ameter than the core which fits the hole "B" in Fig. 3. Take-up hub catch ring — another piece of spring steel to secure film to take-up hub. Safety cover — not a necessity, but ideal for slipping over the film gate to insure against stray light in bright sunshine. Th;s is a tin slide that coi be slipped back to open the film gate. It remains on the magazine in the camera. The first step in loading is to roll 50 feet of 16mm film on the core. A • continued on Page 31 WINDING FILM on the core is done in the dark. Capacity is 50 feet. FIG. 4 LOADED CORE. Take-up hub will revolve counter-clockwise. FIG. 5 LOADED MAGAZINE. After use, it is necessary to save the hub. FIG. 6 26 ORDER FOR SUBSCRIPTION Home Movies Magazine 12 MONTHS FOR $3.00 IN U. S. In Canada, $3.50 — Foreign. $3.50 SPECIAL OFFER: 2 Years for $5.00 in U. S. Phone DUnkirk 8- □ HOME MOVIES -3923 Wast Slit* Street Lot Angeles 5, California 1. Send to Address City □ N.w 2. Send to Address City □ New Enclosed find $ Date Sent In by k*j Address City State NO SUBSCRIPTION ACCEPTED FOR LESS THAN ONE YEAR State Q Renewal □ « 19 i REAR PROJECTION PRINCIPLE OPENS UP MANY POSSIBLE USES FOR NEW KODAK DAYLIGHT PROJECTION VIEWER. THE PAST HALF-CENTURY has seen such great progress in the design of photographic equipment, that one may ask, "What is there left to invent?" During 1950, perhaps, someone will produce a simplified method of showing movies at home. The projector would be a self-contained unit, in a radio-console type of cabinet, ready to be turned on or off at the flip of a switch. Such a device {with each film on an endless reel re- quiring no rewinding} certainly would challenge television's amusement value. A possible step in this direction is seen in the new Kodak Daylight Projection Viewer, which is illustrated above. It brings home the advantages of rear projection, by means of a new Day View Screen. One of these days, no doubt, viewing home movies will be just as simple as flipping a radio on or off. New System for Studying Motion Pictures A revolutionary new system for viewing football movies will enable a coach and members of his staff" to sit at a desk and study films in detail — even in broad daylight. Many other applications of this method for com- mercial and home movie showings are possible. The system is built around a new, portable, Kodak Daylight Projection Viewer, which can be set up anywhere on a d esk or table. This projection viewer is a device which holds a spe- cial 8 x 11^-inch Kodak Daylight Screen with a mirror behind it. The coach, when using the viewer, places the projector beside him within easy arm's reach and projects the image onto the mirror. The image is then reflected onto the Daylight Screen, which, because of its special character- istics, gives a bright and brilliant pic- REVERSING SWITCH enables operator to reverse projector and repeat indi- vidual scenes. ture even in full daylight. This makes it unnecessary to darken the room and to set up a full-size projection screen every time the coach and his staff wish to study recent films. Although the Kodak Daylight Pro- jection Viewer folds into a handy carrying case only 12 x 21 inches, it provides a screen image equivalent to one that is six feet wide if produced with conventional projection equip- ment and seen from the customary viewing distance of 18 feet. A special feature of this new day- light projection system is that the coach can point out, on the screen, areas of special interest without caus- ing shadows that block the image. This is possible because the image is projected from the rear rather than the front. Another important part of the new football movie-study system is the Kodascope Sixteen-20 Remote Revers- ing Switch. This device, when con- nected to the Kodascope Sixteen-20 Projector, will enable the coach to reverse the projector by remote control at any point during the showing. Thus, a particularly important play can be easily re-run as often as necessary for study purposes. The Kodak Daylight Projection Viewer is $47-50, complete with case. The Kodascope Sixtecn-20 Remote Re- versing Switch will be priced at $6.50. 400-Foot Magazine for Cine Special PAR Products Corporation (formerly Oliver Engineering Co. Inc.) announces a 400-foot magazine for the Cine Spe- cial camera. Features are a light trap which opens automatically when the film chamber door is closed, easy operation in re- verse for backwinding, and a footage counter. The magazine can be removed quickly and easily with loss of only 18 inches of film. Installation of the magazine does not prevent normal use of the 100-foot film chamber. Another outstanding advantage is that the PAR 400-foot magazine can be used with the PAR offset reflex finder magnifier. The motor drive is attached to the camera by means of a special base which makes possible removing the film chamber without removing the motor drive. The drive, however, is easily removable to allow use of the spring drive if desired. A synchronous motor operates the camera at 24 frames per second. Special motors can be in- stalled on request by the manufacturer, PAR Products Corp., 926 N. Citrus Ave., Hollywood 38, Calif. new products 27 Film Ms every MOOD PH-375 . . . with the new MEDIUM BEAM G*E REFLECTOR PHOTOFLOODS Baby's tears, or his laughter, they're both precious ! Make sure you get the whole story . . . use the new General Electric "built for movie cameras" Medium Beam Reflector Photofloods. They give you more usable light for less current . . . only 37 5 watts. Planned for use in pairs, they're ideal for color. Get some and try 'em! FOR SUCH UNITS You can put 4 lamps on one circuit! And it's so easy to follow action. Now you can get a complete package — lamps and bracket, in a handy carrying case. Ask your dealer. fat every fiAetoyiajt&ic fiutfiade GENERAL ELECTRIC Diaversal Paper for Stills from Color Film A new method of making mono- chrome prints from color films, an- nounced by the Gevaert Company of America, is made possible by a new type of paper which may be used for contact printing or enlarging. With the new material it is a simple matter to enlarge 16mm or 8mm movie frames. No lengthy processing is re- quired and only three solutions are used Heretofore it has been necessary to copy the original color film on a nega- tive film, using a camera or enlarger. The negative was then developed and dried before prints could be made. "Diaversal" paper ends all that. The color transparency is projected on Diaversal paper in the darkroom under ordinary bright safelight. When it is placed in the first solution — a paper developer of the regular type — a temporary negative image appears. The paper is then placed in a special solution which causes the image to transfer to another layer on the paper base, at the same time causing the negative image to partially disinte- grate. On completion of the transfer time the paper is held under running water and the negative image washes away, leaving a faint image on the paper. A few moments immersion in a conventional toner produces a rich and sparkling print with all the gradations of the original color subject, but now in a pleasing sepia. The use of a brown toner alleviates the chalky appearance often found in pictures copied from color originals. The brown image is semi-transparent and the shadow portions are rich in detail, the highlights have not bleach- ed out and the full range of middle tones is retained. Cameralite The Acme "Cameralite," ($11.95), provides 1000 watts of light surround- ing a central mount for any type of camera. Lights follow camera action and may be held by hand for close-ups or mounted on any light stand or tri- pod. Features include mirror-polished "mushroom" reflectors, built-in pan- tilt swivel head, and sliding sockets which permit focusing for spot or flood . Price includes Litepak carrier which holds complete Cameralite in one piece and has extra compartments for cam- era, bulbs, accessories, etc. Aqua-Mite Home Water Filter. A water filter that meets photo- graphic requirements, may be attached to faucet or hose to remove sediment and impurities that can scratch film, or cause water-spots and pin-holes. Also, chemicals mixed in filtered water re- tain effectiveness longer. The "Aqua-Mite" filter is a perma- nent installation, but weighs only one- half pound. Designed so that the same service is given from either end of the filter, it is available for ordinary sink faucets or for hose connections. The water passes through nine layers of fine screen, each of different mesh, then through three layers of chemicals — each separated by screens — and again through ten layers of the screen mesh. The screens are enclosed within the necks of the filter, either of which can be fastened to faucet or hose. Up to two and one-half gallons of water can run through the filter per minute. Temperature of the water does not alter the filter's effectiveness and it can be flushed out by simply reversing. The chemicals in the filter are hydro- sorb and opalite. The opalite removes the extraneous matter such as rust, silt, algae and other residue; tastes and odors are removed by the chemical ac- tion of the water with the hydrosorb (known as adsorption and not to be confused with absorption). In tests made by Suburban Labora- tories, Inc., Cicero, 111., "Aqua-Mite" was said to remove all but one part per million of suspended solids. Price, $6.95, from Mansfield Aqua-Mite Filter Co., 3029 N. Austin Avenue, Chicago. Neumade Products Corp. Oscar F. Net, President of Neumade Products Corp. announces the opening of Neumade's new general offices in New York. In line with the Company's expan- sion program which has been planned to meet the needs of the constantly growing 16mm and audio-visual fields, the new offices are located on the 14th floor of one of New York City's most modern office buildings, at 330 West 42nd Street. Neumade Products Corp. maintains factories at Buffalo, Long Island City and New York City, N. Y. Film Developing Guide. The Kodak Developing Dataguide — 50 cents — a dial calculator which gives the correct developing times for vari- ous Kodak Films and Developers — is 28 punched for insertion in the Kodak Notebook, or for hanging on the wall. National Cinema Service, National Cinema Service, 71 Dey St., New York, has a supplement to its 1949 catalog of 16mm sound films which covers cartoons, sports, travel- ogues, old time movies, adventure pic- tures, musicals, opera films and a new group of religious pictures. Included is National's deluxe package show con- sisting of 1,600 ft. reel of new assorted shorts with running time of almost an hour, $3 each. Also covered is "Na- tional's 52 Club," a rental plan which, for $150, provides a member with 52 different programs throughout a 2-year period, a program comprising a single listed feature plus a 1,600 ft reel of assorted shorts. Hollywood Problems • continued from Page 17 quick cut to Betty sprawled on the floor. This method of "posing" a spill, incidently, was described last month in Home Movies, page 621, which showed how to create the effect of an explosion in a room by stopping the camera and placing furniture in un- orthodox positions. THE HEIRESS — Paramount; Cameraman, Leo lover; Director, William Wyler; Art Director, John Meehan; Film Editor, William Hornbeck; Starring Olivia de Havilland and Montgomery Clift. Lighting a moving object always is a photographer's headache. And when the scene must remain dark to main- tain mood, the problem is intensified. Leo Tover, the cinematographer on "The Heiress," had to shoot a scene in which Olivia de Havilland climbs a stairway in a dark hall. The story takes place in the gaslight era, and the grim, determined expression on Olivia's face, as she turns her back on her lover — forever — is a dramatic high- light of the film. Tover solved the problem by having Olivia carry a lamp up the stairs, holding it just far enough in front of her to cast a soft light on her face. But there was no candle in the lamp — it was a battery-operated flood bulb. The chimney of the lamp, as can be seen in the still, is not illuminated as it normally would, but the effect is very dramatic anyway. It could be easily imitated with a flood lamp on a concealed electric cord. FRANCIS — Universal-International; Cameraman, Irving G/ossberg; Director, Arthur Lubin; Art Director, Dick Riedel; Film Editor Milton Carruth; Starring Donald O'Connor and Zasu Pitts. How would you create the illusion on film of an animal talking? The pro- ducers of "Francis," a film story about a talking mule, met the problem when the mule stubbornly refused to make his jaws move like it said in the script. So they attached wires to his lips — a 74e 7leu « Announcer System Can be used with regular Movie - Mite 10" Auxiliary Speaker EMCEE (Master of Ceremonies) Two speakers can be used, 50-foot cable on each Perfect for your Slides or Silent Film ... a simple, foolproof announcer system for many uses ... in school rooms, busi- ness and women's clubs, sales meetings, outdoor gatherings, the nursery, sports tournaments, and above all . . . to help you put a professional touch to your silent movies and 2x2 slides. It even has a plug- in for a turntable. All in one case, amplifier and microphone iit in back oi speaker case . . . weighs only 16 pounds . . . has the famous Movie-Mite four-watt, minia- ture tube amplifier . . . attached microphone . . . tone and volume controls . . . ten-inch speaker ... all cables included . . . beautiful alligator, brown leatherette covering. Write for literature. . . . See your photo- graphic dealer today for a demonstration. YOUR FYFS ANB FABS ON MPl/fF - K4/TF " 1105 EAST 15th ST. KANSAS CITY 6, MISSOURI NEW THRIUS| * HOME MOVIES ^ ^PROJECT! ^SAMEDAV! \ EXPERIMENT NATURAL COLOR! EVERYTHING YOU NEED FOR TAKING AND PROCESSING NATURAL COLOR MOVIES AT HOME! The chemicals to develop this color film are complete . . . nothing to add but water . . . will process approxi- mately 300 feet of color film in the gallon size. The complete process is as easy as developing black and white film. SUPERIOR BULK F Natural COLOR FILM IN BULK FOR HOME PROCESSING PREPARED CHEMICALS .... JUST ADD WATER Complete Set of Detailed Processing Instructions. All in one package! For the amateur who has been asking for color film that can be processed at home simply and easily. This film has just ^een released from Navy warehouses as surplus; we tested the film — color rendition very good. •"This film is sold IN BULK ONLY for Home Processing. Price List 100 feet 16mm $4.00 100 feet 8mm 4.50 50 feet 16mm for magazine loading . . . 2.25 100 feet Single 8mm 3.00 SPECIAL COLOR CHEMICALS 1 gal. size $2.50 Complete with instructions. 1 gal. will process 300 feet. ILM COMPANY 105^6^re 29 MORSE G-3 DAYLIGHT DEVELOPER V SHOOT ^DEVELOP ^PROJECT MOVIES IN HOURS With the Morse G-3 Daylight Devel- oping Tank, reversal or positive mo- tion picture film can he processed quickly and economically at home. From filming to projection is a mat- ter of hours with this compact, effi- cient unit. A darkroom or changing bag is necessary only for loading the G-3 reels and placing them in the tank. Thereafter, all developing op- erations are performed in daylight — speedily and safely. The stainless steel film reels accommodate up to 100 feet of Double 8 m.m., 16 m.m. or 35 m.m. film — adjust to either size by a turn of the top flange. This simple, portable unit dries from 5' to 50' of 16 m.m. film, or its equiv- alent, in about 10 minutes. Centri- fugal motion effectively removes all water without harming the emulsion or leaving water spots. Reel is col- lapsible and removable for storage or carrying. The M-30 Dryer and G-3 Developer belong in every mini- ature film fan's equipment. SEE YOUR DEALER OR WRITE — INSTRUMENT COMPANY 23 Clinton St. HUDSON, OHIO FILM LIBRARIES 8MM AND 16MM FILMS . . . WHERE TO RENT OR BUY . . . SOUND OR SILENT ALABAMA BRI MINGHAM Evans Motion Picture Co. 2107 Fifth Ave. North (3) ARIZONA PHOENIX Movie Center 119 West McDowell St. CALIFORNIA HOLLYWOOD Camera Craft Film Library 6764 Lexington Avenue HE 6856 Castle's, Inc. 1529 Vine Street GL-5901 Hollywood Camera Ex. 1600 Cahuegna Blvd. HO. 3651 LOS ANGELES Films Incorporated 1709 West Eighth St. REDWOOD CITY Sequoia Audio-Visual Service 1055 lA Brewster Ave. Phone: EMerson 4522 SAN BERNARDINO Valley Film Library 1657 E. Street SAN FRANCISCO Brooks Cameras 56 Kearny Street ILLINOIS CHICAGO Films Incorporated 64 East Lake St. Ideal Pictures Corp. 28-34 East Eighth St. Parthenon Film Libraries P. O. Box 1177-D KANSAS HUTCHINSON Don E. Reger Film Rental Library Box 864, 5K W. Sherman MARYLAND BALTIMORE Lewy Studio? 853 North Euiaw St. at Biddle Stark Films 537 North Howard St. (1) MASSACHUSETTS BOSTON Don Elder's Film Library 208 Newbury St., Dept. HM Frank Lane & Co. 5 Little Bldg. BROCKTON Iris Pharmacy 238 Main St. NEW JERSEY PASSAIC The No-Wat-Ka Co. 257 Main SL NEW YORK ALBANY Hallenbeck & Riley 558-562 Broadway BROOKLYN Reed & Reed Distributors, Inc. 7508 Third Ave. (9) NEW YORK CITY Commonwealth Pictures Corp. 723 Seventh Ave. Films Incorporated 330 West 42nd St. Institutional Cinema Service, Inc. 1560 Broadway (19) King Coles Sound Service 340 Third Ave. (Zone 10) Mogull's Films & Camera Exchange, Inc. 55 West 48th SL (Radio City) Nu Art Films, Inc. 145 West 45th SL OHIO CLEVELAND Sunray Films, Inc. Film Bldg., 2108 Payne Ave. OREGON PORTLAND Films Incorporated 314 S.W. Ninth Ave. PENNSYLVANIA ALLENTOWN Commercial and Home Movie'Service 727-729 West 19th St. PHILADELPHIA Ted Kruger 3145 N. Broad St. READING Hollywood Film Service 116 No. 9th Street RHODE ISLAND PROVIDENCE Samson's Picture Service 35 Portland St. (7) TENNESSEE CHATTANOOGA Grady Young Pictures. 837 McCallie Avenue WASHINGTON, D.C. International Cine Society 1300 Taylor N.W., Dept 102-K WISCONSIN MILWAUKEE Movie Mart 4518 West Burleigh St. Phone: Hilltop 1509 MANY DEALERS LISTED ABOVE RENT PROJECTORS AND SCREENS; ALSO HAVE COMPETENT PROJECTOR OPERATORS AVAILABLE thin string, concealed from the view of the camera. By pulling the string, the mule's lips were manipulated, thus creating the illusion that he was talk- ing! Francis, the talking mule, is played by the mascot of the Demo- cratic Party and was loaned to Uni- versal-International by the National Democratic Committee. He was hob- bled so that he would stand still while "talking." THE FIGHTING KENTUCKIAN— Republic; Camera- man, Lee Garmes; Director, George Wagner, Art Director, James Sullivan; Film editor, Richard L. Van Enger; Starring John Wayne, Vera Ralston, Philip Dorn, and Oliver Hardy. Artistic cinematography is the result of careful planning. A good example of screen composition — centering atten- tion on the principals in a scene, is shown in the accompanying photo- graph. Lee Garmes framed the scene with the tree trunk at the left, its branches overhead, and a remains of a campfire below. "Central staging" is achieved by seating Oliver Hardy above John Wayne, with the latter leaning toward Hardy to emphasize his physical and vocal dominance of the scene. Your Dog Can Act • continued from Page IS It is easy to star Rover in a produc- tion all his own called, "Every Dog Has His Day — This is Rover's," or "My Day," using the dog commands listed above. Start with a fade-in on a closeup of Rover's name lettered over Manufacturers of PRECISION PRINTERS • DEVELOPERS STUDIO LIGHTS - WRINGERS STRAIGHTENERS - FILM DRYERS 30 SYNCHRONIZED SOUND FOR YOUR 8 AND 16 M.M. HOME MOVIES Wl tk MOVIEVOX Now You Can Add Perfect "Lip-Sync" Sound to Home Movies Using Your Present Projector Now you can dub sound on a wire recorder and play back in perfect synchronization. The new MOVIE- VOX synchronizer keeps projector and recorder in perfect step — every time — automatically. Mistakes made in recording can be magnetically erased and quickly corrected. You can't miss with the MOVIE- VOX! Connects to any 8mm or 16mm projector — silent or sound. MOVIEVOX — complete with synchronizer, microphone, amplifier, wire recorder, speaker, all necessary cords — sells at your dealer's tor $225.00. Or the MOVIEVOX synchronizer can be installed on your Webster wire recorder and projector for only $75.00. See your dealer today — or write for illustrated literature. MOVI E VOX THE MOVIEVOX COMPANY DEPT. H 1113 PLEASANTON ROAD • SAN ANTONIO 4, TEXAS his kennel. Then, dolly back to show- ing Rover sleeping. The next shots reveal mother fixing breakfast in the kitchen — preparing cereal, eggs, coffee, etc.^Then her hand reaches into a cupboard for a tin of dog food. At this, Rover, displaying psychic powers, suddenly wakes up and dashes into the house. (Get this reaction by suddenly calling him.) The following scenes from "Rover's Day" show him accompanying junior to school, carrying his books ("Hold it!") sadly standing outside the gate as junior goes in ("Stay Put!") then returning home again ("Come Here!"). '"JFade out as he enters the house, then flash a title, "Rover's mornings are busy." Fade in on Rover asleep near the fireplace, then lap dissolve various scenes of Rover sprawled all over the house in typical canine fashion. The last lap shows him sleeping on the living room couch when Mother chases him off. As she turns and leaves, Rover quietly hops back on the couch. Fade. Fade in on closeup of clock hands at 11.45 a.m. Psychic Rover suddenly wakes up, dashes to school and waits at gate for junior, who comes out and gives him his books to carry home. On the way home, Junior looks glum — fearfully looks at report card which has poor grades on it. At home, Junior edges toward win- dow as Mother greets him, and with- out being noticed, tosses card out. Rover perks up, dashes out of house and brings back card ("Fetch it!"). Fade out as Mother sees card and gives Junior stern look. Fade in on doghouse with Rover's sleeping head protruding (similar to opening scene). Junior walks over, chases dog out and crawls into dog- house himself. Cut to closeup of Rover watching Junior. As Junior enters dog- house, Rover suddenly cocks his head to one side. Fade out. This basic scenario, and others, can be built up with humorous and amus- ing skits, depending upon the dog, his daily habits, and the family situations that tie in with his life. Loading Film /magazine • continued from Page 26 clean, flat surface is necessary. Sharpen a pencil to fit the hole in the core, then drill a small hole through the pencil so that a piece of wire or a brad can be put through it to make a key to fit the slot in the top of the core. Film can be rolled off as shown in Fig. 4. Hold the supply spool down with the fingers of one hand while winding with the thumb and fore- finger of the other hand. Keep the rolls flat by pressing on the edges of the film as it is wound. It is well to have some type of tem- plate provided to estimate when you have reached 50 feet. I use a small can in which 50 feet of film originally was packed. There is no need for accuracy here, for the magazine will accept slightly more or less than the 50 feet for which it was designed. The loaded core is shown in Fig. 5 with the end of the film attached to the take-up hub. Remember this take- up hub is to revolve in a counter- clockwise direction, with emulsion side out. Fig. 5 indicates the correct way to fasten the film for smooth operation. Placing the film in the magazine is relatively simple. The loaded core fits easily over the stub "B". (See Fig. 3). The film is brought around fingers "C" and past the film gate. Then it is threaded through the rest of the chan- nel around the spring finger, "D" and the take-up hub is put in place over the hole "A". Fig. 6 shows the loaded magazine. The top of the magazine now can be slipped on and the safety cover fastened over the film gate. A piece of adhesive tape over the assembled magazine, can be added. In using these special magazines, remember to save the pieces! Wind off the film from the take-up hub and put the hub back on its original spool before sending the film out for process- ing. This hub and other parts are not readily replaceable, and the magazine will be useless if the take-up hub is sent out with a roll of film! I have found the Siemens to be an excellent camera, well worth the trouble of loading and unloading the film magazines. 31 NOV SHOOT IT IH SOUND! with the ALL-NEW v^i^ic- Voice 16 mm SOUND-ON-FILM HOME MOVIE CAMERA SfiQ^OO at your Photo Dealer- Uv7 J — or write to us for free descriptive Folder telling how to shoot Home Movies with Hollywood style sound-tracks, for exactly the same film cost as silent movies! You can show your own "Cine-Voice" talking pictures on any make of 16 mm sound-on- film projector. Record SOUHD ■ TRA CK i Picture . . . Project SOUHD & Picture Dpv! COMPLETE OUTFIT . .*63S0I> Including 'Cine Voice' Sound Camera •ith high fidelity Microphone. Amplifier. Headphones ail Batteries and Tubes Carrying Case Instructions Camera uses'C" Mount Lenses inol furnished' same as most popular 16 mm Cameras RCA LICENSED D*£^}^) GUARANTEED ONE YEAR BERNDT-BACH,Inc. 7375 Beverly Blvd., Los Angeles 36, Calif. MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931 cm club News IDEAS FROM PHOTOGRAPHIC ORGANIZATIONS AROUND THE WORLD Foto-Fans, a group of several Iowa camera clubs, has a "club by mail" system for persons in isolated areas or those unable to attend regular meet- ings. Members exchange film ideas and advice. The address is P. O. Box 21, Ida Grove, Iowa. The prize winning pictures of the 1949 Annual Contest were presented at the annual dinner meeting of the Los Angeles Cinema Club, held at the Los Angeles Breakfast Club. For purposes of comparison with present productions, the Auckland, New Zealand "8" Movie Club screen- I ed the prize winning films of previous years, beginning with 1941 and end- ing with 1944. Over 400 people viewed the Denver Cinema League salon of prize-winning films made by members. The Philadelphia Cinema Club saw a demonstration on the use of tape recordings for 8mm and 16mm films bv | Mr. Louis Wald, of Revere Camera Corp. Two films by members were used in the demonstration: "Camera Paint Brush," (16mm) by Carl A. Finger and "Gloucester" (8mm) by Frank M. Hirst. A few memberships are still avail- able at the West Los Angeles Movie Makers, who meet at the West Los Angeles plavground workshop at Mis- souri andStoner Aves. For information, write Del Jones, 11553 Ohio Ave., West Los Angeles. A novel salon will be held by the El Monte, Calif., Camera Club at its February, 1950 meeting. Entry classes will include all types and kinds of photographic pictures — movies, slides, snapshots, etc. Winner of the Annual 16mm Contest held bv the Kansas City, Mo. Amateur Movie Makers, was Clarence M. Simp- son with a film of Mexico — "The Land of Contrast." Second went to Dr. William Goodson, Jr. for a film of New Orleans — "Down South." Third place winner was Willard Hoehn's "Trail Seekers," a story of the Camp Fire Girls. Cincinnati Movie Club held a ' "Swap- it" auction in which members could buy, sell or trade equipment. Han Koenen, of the Film Club, Rotterdam, Holland, was guest at the New York 8mm Motion Picture Club. He screened a club project film, in black and white, made by members of his club, showing the recent corona- tion ceremonies in Holland. During the last two years the Grand Rapids, Mich. Amateur Movie Club has completed two promotional films for the Grand Rapids Community Chest. This club, 120 members, main- tains a ' 'Home Movie Hour' ' for show- ing films to shut-ins at the Veteran's Facility, Old People's Homes and various convalescent homes. The South SideCinema Club, Chicago, saw a demonstration on the use of the Ashcraft color meter by its inventor. Peninsula Home Movies, Unlimited, San Mateo, Calif, is conducting a series of classes in movie making, consisting of ten evening lessons and lectures. FILMS SCREENED At Metro Movie Club, Chicago: ' On the Highways and Byways of Mexico" by Larry Randell. Golden Gate Cinematographers, San Francisco. "Animal Portraits," by F. Eberhardt; "San Francisco," by P. D. Tyler; "Vacation," bv R. Alexander and "A Day at the River" by A. Theo. Roth. Cinema Club of San Francisco. "Let's Visit Mexico," by M. L. Drev- fus; "Puget Sound Sojourn," 35mm slides by Charles Hudson, and "Swing- ing Westward on the Golden Gate" by Mr. and Mrs. Ray Frick. Los Angeles 8mm Club. "Red Cloud lives Again" by Dr. F. R. Loscher. At Long Beach, Calif. Cinema Club: "Snow Foolin' " by Howard Derr; "The Ham Family" by Carlton Lav and "The Last Laugh" bv Forrest Kellog. The San Jose, Calif. Movie Club pre- sented its sixth annual salon of ama- teur movies to an audience of over 600 people. Because of the attendance, the salon was repeated on each of two nights. There were 11 films on the program, 8mm and 16mm, in black and white and sound on color. The San Jose Mercury-News credited the best technical job to "Why First Aid," an educational film produced bv the Mt. Kisco Cinemats of Ossining, New York. Other camera clubs whose entries were exhibited were the Peoria, III. Cinema Club, The Minneapolis Cine Club and the Grand Rapids Ama- teur Movie Club. At La Casa Movie Club, Alhambra, Calif.: "Alaska and the Yukon" by Carl H. Thomsen. This was Film of the Month (December, 1949) in Home Movies Magazine. Thinking of joining a cine club? Write to Home Movies for the name of a club near you. 32 FILM HUASBS Hopalong Cassidy. Three 1-reei films. Castle Films offers three new rootin", tootin', shootin' subjects with a popu- lar movie and television star in the style of stories that have made him famous. The titles are, "Three on a Trail," "Bar 20 Rides Again," "Heart of the West" and are available at photo dealers in two 8mm editions and three 16mm editions including sound. Colt Comrades. 7 reels, Common- wealth Pictures. William Boyd and his pals, Andy Clyde and Jay Kirby, are on the alert for cattle rustlers, rid- ing and shooting their way around danger corners, ready for action against the cattle raiders and their leader. Action and excitement right up to the surprising climax mark, this western adventure. This is the second in a series of Hopalong Cassidy subjects. World in Color. Four Kodachrome sub- jects, 8 and 16mm. 8mm, 50 ft., $7.50; 16mm, 100 ft., $14.75- "Miss America of 1949," with Miss Jacques Mercer of Arizona; "Miss America Contestants of 1949" with all 52 of the entrants, "Girls of All States," unposed shots of the Atlantic City girl entrants and "Miss America Pageant of 1949," the Annual Boardwalk Beauty Parade. Fairy Tales. 16mm sound, $22.50. Spe- cial 8mm edition, $5-50. Sterling films. "Cinderella," "Beauty and the Beast," "The Sleeping Beauty," "Rumperstiltskin," "Repunzal" and the "Bear Skin" are the titles of newly-filmed fairy tales. These films are made with live action, an innova- tion in a field dominated by the pup- pet and cartoon style. Santa in Animal Land. Official Films. The story of a group of animal friends who decide to have their own Santa Claus, and elect one of their number, Kitty Kat, to the post. Library Films. Library Films Inc. announces the re- lease of twelve new 16mm major fea- tures which will not be televised. The films include stars like Gene Autry, Olsen &Johnson, Lloyd Nolan, Dennis O'Keefe and others. it's that easy to take lNDOOR MOVIES Hold in Hand or Mount on Any Stand World's Finest SYNCHRONIZED Lite Now you can take movies in black and white or spar- kling color right in your home. The completely new and different Cameralite is so amazingly easy to handle and operate that you don't need any previous experience. Just focus your camera and take pictures — 1000 watts of brilliant lite automatically follow the camera. Results are so sure and cost so low — you'll get a real thrill taking movies the year 'round. See the World's Finest Action Lite at your dealer today! "Mushroom" Reflectors. Mirror interior doubles lite output. Ideal for color shots. Sw/ve/head. Smooth panning and tilting action on ordinary lite stand or tripod. Low Cost, Uses ordi- nary No. 2 bulbs at 30c — gives more lite than RFL bulbs at $1.20. Carrier with Handle. Holds Cameralite, cam- era, accessories. Extra space for stands. Write lor Details About the Cameralite and Free Folder Describing 30 Unusual Models ACME-LITE MANUFACTURING CO. DEPT. D-12, 401 NORTH WOOD STREET. CHICAGO 22. ILLINOIS WRITE FOR tM^T^^r BULK F,LM FREE 4jf»JR »J PROCESS IT CIRCULAR YOURSELF Pan- Pan- Ortho chromatic chromatic Weston 1 0 Weston 24 Weston 64 100 ft. Single 8 —$1.55 $2.35 $2.40 100 ft. Double 8— $2.35 $3.85 $3.95 100 ft. 16mm. —$2.25 $3.80 $3.90 Since the above prices do not include developing, why not get one of our low cost developing sets and develop your own movies. The set consists of develop- ing rack, tray safelight and set of prepared developing powders, together with a simple step-by-step instruc- tion sheet. 33 ft. Double 8 or 16mm. set, $5.85. We also have 100 ft. developing sets. Show your movies two hours after they are taken. FROMADER GENERA CO. Box 637 Davenport, Iowa KODACHROME DUPLICATES 8mm. or 16mm. 1 1 C PER FOOT MAIL ORDERS ACCEPTED Hollywood 16mm. INDUSTRIES Inc. 6060 Hollywood Boulevard Hollywood 28, California BIGELOW MOTION PICTURE FILM COMPENSATED IN PROCESSING TO CORRECT EXPOSURE ERRORS Do All A.S.A. 40-24 OUTDOOR A.S.A. 16-6 25 ft. 8-8mm. $1.94 $1.35 100 ff. 16mm. 4.45 3.45 50 ft. 16mm. magazine 3.25 2.75 ABOVE PRICES INCLUDE 24-HOUR PROCESSING SERVICE Bigelow Film is New, Fresh Sfock. Not War Surplus PROCESSING SERVICE ON FILM OTHER THAN OUR OWN 25 ft. 8 mm. . $ .50 100 ft. 16 mm. . 1.50 50 ft. mag. . . .75 (if we keep magazine) 1.00 (if we return magazine) California buyers please include sales tax. MAIL ORDERS GIVEN PROMPT SERVICE The snap and sparkle associated with professional motion pictures are yours when you use NEW COMPENSATED 6449 Regent St. Oakland 9, Calif. BEST IN THE FIELD! EDITORS 8-16MM STANDARD-42.50 COMPLETE VIEWER ONLY-32.50 DELUXE 8MM-54.50 16MM-59.50 VIEWER ONLY 8MM-35.95 16 MM -39. 95 SPLICERS STANDARD— 5.95 DELUXE-9.95 REWINDS STANDARD 4.95 PAIR DELUXE-8.95 PAIR (Sola * M TOO* M*lll >OU MBO*alT1*TiO« Baia Motion Picture Engineering, I 8MM SLITTER 3.95 How to Add Music • continued from Page lfa This type of music is useful in pictures of the logging industry. "Perpetuo Moto" and the "Flight of the Bumble Bee" are useful where the action is fast and exciting, such as felling tim- ber, fleeing persons, or vehicles. ' 'In the Hall of the Mountain King," "Fire Music" from the Valkyrie, and "Night on Bald Mountain" have been used with pictures of Paricutin Vol- cano. The "Fire Music" may be effec- tive in certain fountain and fireworks displays. You should also consider parts of Beethoven's 5th Symphony. Some of Spike Jones' recordings are good. I used one of his recordings with a scene in a chicken yard where the hens were obviously noisy. Ballet music is excellent. There is a great variety of ballet music and an assortment of tempo, sufficient for the scoring of most pictures. Pretty music which is light and tuneful, sometimes referred to as dinner music, will serve well in many instances. Period music may add flavor to an old picture or a new picture set in terms of earlier years. In this connec- tion, you may have some use for dance recordings of twenty years ago. In time, you will find use for a great many, if not all of your records; so don't be fretful of the recording on the other side. Cue sheet Before starting your scoring, you will need a cue sheet on which to list the name of each record which is to be used with the picture. On the left side of the cue sheet, the records will be listed in the order of use. On the right side, opposite each record, write some comment about the picture or title which will serve as a cue point for changing the record. Titles are excellent cue points for changing the music or for starting another record. When titles are used as cue points, it is preferable that the music be changed during the fore part of the title's appearance on the screen. This will give you a few seconds to anticipate the mood of your audience (through the use of music) and they will be ready for the change in the pic- ture. Remember, music is the phantom power through which you direct the emotions of your audience. Start the preparation of the cue sheet as soon as you begin scoring. When you have completed the score, prepare a final cue sheet and fasten it (with Scotch tape) into the lid of the film can. The art of selecting background music is comparatively easy and defi- nitely a pleasure. Any music which does not clash with your picture is acceptable. From that point on you merely improve your selections. Prac- tice in selecting music for pictures will increase your understanding of the type of music best suited and your scoring will improve. You do not have to be a student of music. Simply listen to the music and you be the |udge of whether it gives the picture "that subtle lift." The music should not fight with the picture nor dominate the attention of the audience. Music should fill that silent void and augment the picture by telling the same story your picture does. Immediately, certain types of music will come to mind: soft, tuneful music for flowers and gentle streams; overtures of the heavier type for big timber and logging operations. Selection of background In selecting music, it is necessary to project the picture so that you may gain an understanding of the type and manner of its presentation. As you view the picture, you begin to form- ulate ideas for the type of music needed. The music should be consider- ed in terms of the complete picture because this will play upon the emo- tions of your audience. Break the film message into its natural parts and then make an initial selection of records. A pad and pencil should be at hand so that notations can be made about the picture and records tentatively sug- gested. This is the first step in prepar- ing the cue sheet. Select one or more records which you think will go well with the part and try all of them with the picture. You are now ready to try your ini- tial selection of music with the pic- ture. The film starts with the main title, followed by the credit title and the opening scenes of the picture (opening scenes usually are the estab- lishing shots of locale and actors). For the opening scenes, try to select music with a bit of fanfare of the style and type which will be harmonious with the picture that follows. We like to think of our first record as the overture to our picture. Before starting your picture, run the white film leader beyond the projector gate so that you will start with the title or picture. Keep the speed of your projector constant, whether it be 16 or 24 frames per second, or an intermediate speed, during the scoring period. When you are ready, start the record and on the first note of music start the pro- jector. Continue the first record of music as long as it serves the purpose and then simultaneously fade out that record and fade in the next. Try to avoid a definite break in the music. If a quick change is desired, start the record two or three seconds ahead of schedule and, as the disc will be run- ning at full speed, you can make a quick change at the cue point. As you proceed with this tentative scoring, you will find that some of the records selected do not ride with the 34 picture as well as you would like. When this happens, it is a good idea to stop the picture and run it back to the cue point of that record so that you can run that part of the picture again with a new selection of music. You may have to run one section of the pic- ture several times. Each time, you try a different record. When a selection is made, write it on the cue sheet. In selecting your music, you may wish to continue the same type of music throughout the picture sequence. For instance, march music may be in order throughout the parade scenes. These may be followed by scenes at a rodeo or stampede. Here you may wish to switch to polkas. Usually polkas of fast tempo will ride well with the rodeo. The next scenes may be those of a quiet seashore or a beautiful forest or flower garden. Light tuneful music adds to the charm of those scenes. Each constitutes a change of picture sequence and you can readily sense that different music is needed so that the ear may hear the same story that is visible to the eye. A coordination of the emo- tional senses is produced by the blend- ing if picture and music. When you have completed your score, put on a dress rehearsal. Run the picture and music without inter- ruption. Then ask yourself whether the music brings out the story as you think it should. Are there variations of tempo as well as musical color? Do the picture and music have life? You are trying to stimulate emotional re- sponses in your audience. Have you obtained the desired results? If not, make changes in your scoring. Think of the stimulation that comes with scenes of beautiful flowers scored with Coates' "Last Love" or Liszt's "Liebe- straum" followed by coastal scenes just before sunset scored with Schu- mann's "Evening Song." Continuity Music may be used to give a sense ot continuity in a picture of changing scenes. In following a person or a mov- ing vehicle from one location to another, the uninterrupted music will contribute a great deal in tying the scenes together. Imagine the confusion of your audience if the music were changed each time your picture pre- sented a different background although each scene was moving in continuity. If the action is changing, the tempo of the music may change in keeping with the picture — but the type of music should not change. This may be ac- complished by changing records or using a record in which the tempo builds up. Amateur pictures range in length from 100 feet to 2,000 feet and more. Usually the reel of 100 feet is restricted to one subject and a single 12 inch record will see it through. As the length of the picture is increased, addi- You ^ $o muck more- from your Moi/ie Cavwm C\ose Op* ,\on to SUSvS^0U HaogP Vision in*" toco* tor a^^Set ca^eIf«teVepkot° ectei lib :SOOS. traine< te aw cbo TO YOUR home MOVIES- WITH THE Wilson Syncro-Meter NOW AVAILABLE IN FOUR MODELS— STARTING AT MODEL 3-A $75.00 FOR SILENT PROJECTORS — MODEL 3-A, Manual Control — MODEL 3-B, Automatic Control FOR SOUND PROJECTORS* — MODEL 3-C, Manual Control — MODEL 3-D, Automatic Control 'Now available for Bell & Howell Models 179 and 185. IT IS NOT NECESSARY TO SEND YOUR EQUIPMENT TO US FOR INSTALLATION Easily attached to your 8mm and 16mm equipment, the WILSON SYNCHRO-METER enables you to maintain positive synchronization between picture and sound, post recorded on most makes and models of Magnetic tape. Magnetic wire or Disc recorders. Exclusive Features Include: # Frame counter for accurate editing of picture. # Provisions for separate editing of sound track picture. # 16, 20 and 24 F.P.S. projector speeds. » 78 and 33'/3 R.P.M. turntable speeds. Detailed information on request. Give your dealer's name and address, also the Make and Model of your projector and sound equipment. WILSON & GARLOCK 851 NORTH OGDEN DRIVE, LOS ANGELES 46, CALIF. KODACHROME DUPLICATES 8mm or 16mm lie PER FOOT Minimum $3.50 — Also B & W MAIL ORDERS ACCEPTED 3515 Sunset Blvd. Hollywood, Calif. HOME MOVIE VALUE! Revolutionary New MICO FILM EDITOR • Available for 8 mm or 16 mm ! • Big, sharp pictures right side up! • No scratched film ! ▼1 Complete Aw with cord MICO PHOTO PRODUCTS CO. 119 S. Dearborn, Chi. 3 35 Master TITLEER designed wifh tailored bases for all popular 8 16mm cameras. SIMPLE • VERSATILE • ACCURATE for large or small titles, ultra close work, etc. $12.35* TITLITES for illumination of title area $6.12* TITLTRIX for producing trick titles . $6. 1 2 * TITLETTERS 7 16" metal letters. 150 characters. Choice of White, Blue, Gold, Black, Silver or Red $4.95 TITLKIT assortment of colored mater- ial and translucent screens $2. 1 5 TITLINER use with ANY camera, movie or still, to assure ACCURATE alignment of areas. No guess work when it is used. Alignment Guaran- teed $5.5 i* (includes excise tax) See Your Dealer or write for free booklet with useful titling information, also literature on the Ultra-Focuser & Titliner. HOLLYWOOD CINE PRODUCTS Lakeland Village Elsinore, California □ .□ CUT HOME MOVIE COSTS with BLACK and WHITE fine ,^^25»2SISJr groin S e m i-O r t h o c ro m a t i c Reversible Film for finest re- sults— lowest cost. 16mm. Reversible Outdoor Film 100-ft. Roll Only 2.50 Rating Scheiner 1 8 8mm. Reversible Outdoor Film 25' Dble. 8, only 1.25 VIS-O-PAN Full Panchromatic. Indoor-Outdoor Double 8mm— 25 ft $2.00 16mm.— 100 ft 5.00 Same day processing included. See your dealer or send money direct. VISUAL INSTRUCTION SUPPLY CO. Dept. 12 / 1749 Broadway. Brooklyn 7,N.Y. ONLY tiet proiioiial.«harp.clear eg* nr pictures from your movie or )* still camera with the beau- I nful precision built" I DEAL • " • Range-Finder " Kasy to use InCl. I 3X — guarantees perfect focus- ing. Works the same as $15.00 models Highest uuallty optical system Three yea rguaran tee with each instrument. At your dealer or send $3.00TIONAL TRADE-IN ALLOW- AN'CE ON ALL TYPES OF CAM- ERAS & EQUIPMENT. FREE: 8mm & 16mm ART FILM and CAMERA BARGAIN CATALOG Write for it today 140 Liberty St., N. Y. 6, Dept. H-12, CO. 7-5172 GLAMOROUS MODELS x WONDERFUL FILMS For "ECSTACY IN PLATINUM" featuring a Sensational Dance, SEND ONLY: 8 MM.. $2.00 16 MM...S4.00 SOUND. ..55. 50 FRED GARCIA 12061 NEENACH ST. SUN VALLEY. CALIF. EXCITING FILM LIST FRBEf FRAME- COUNTING WINDBACKS Guoranteed accurate. Expertly engineered and installed. Money-back guarantee. • Keystone $24.95 • Filmo $29.83 • Eastman $29.85 • Revere $29.85 Precision Built Accessories for Every Need Write Us Your Requirements CUSTOM BUILT CAMERA ACCESSORIES CO. 5712 Cedar Springs • Dallas, Texas playings and can be renewed from time to time. How is a library of records assem- bled? You can start with the attached list of records. But, before vou pur- chase any record, listen to it and be satisfied it is one you want to add to your library. Spend an hour now and then in the record shop listening to records. As you listen, try to visualize how or when the music could be used with a picture. These mental gymnas- tics will be of considerable help in selecting music for pictures. Films Are Valuable • continued from Page ]'■) Excessive oil is another hazard. When a film is projected, it may pick up a certain amount of oil. The heat of the lamp tends to drive this oil into the pores of the emulsion. This oil absorption gives the picture a mottled appearance. This thin layer of oil may cause additional damage to the film. When a print is rewound, often one turn does not rest exactly over the one beneath. Rub a finger down the side of the roll, and you find a place where one revolution of the film sticks out above the flat surface of the rest of the roll. It cannot be forced in because the oil causes stickiness. This edge is apt to become cracked or broken if it should bump against the machine or another roll of film. It is important to keep the editing area immaculate. Dust in the air is ever present. Professional laboratories are air conditioned and a great deal of money is invested to filter the air. Before working on any film, a damp cloth may be used to remove any dust on the cutting table. Dust and dirt that gather on the hard surface of the film can be removed easilv. If, however, the emulsion is "green" or has suffered from oil ab- sorption, the dust particles may ad- here, causing slight digs and short scratches in addition to the black spots which the dirt itself creates. To get as long a life as possible out of the film, it is well to inspect it fre- quently. It is easy to make a light box with an opalescent glass. Put this be- tween the rewinds to use in inspection. The film is held between the thumb and the forefinger while rewinding over the light box. Any nicks, broken perforations, or poor splices may be detected while rewinding. Always have adequate leaders (at least 3 feet) on the beginning and the end of each reel. Thread the projection machine with the leader, not the pic- ture area. Cleaning the film is a simple opera- tion and should be done whenever the film begins to appear dirty on the screen. Place a block of wood between a pair of rewinds, covering it with CAMERAS • PROJECTORS '• MOVIE FILM ! FOTOSHOP | s i Cine $avers I o o 2 MOVIE FILM U.S. SURPLUS GUARANTEED inel. Processing PANCHROMATIC Weston 32 Each 6 or more 8mm 25-ft. 8-8 1.65 1.50 16mm 50-ft. Magazine 2.50 2.25 16mm 100-ft. Roll 2.95 2.75 x o or SIMPLEX TYPE CAMERAS O O kodachrome; MAGAZINES 6 or Each more 50-ft. OUTDOOR 4.75 4.25 50-ft. TYPE A 2.95 2.50 50-ft. B&.W— Weston 32. . 1.95 1.50 Prices include processing DUPLICATIONS of YOUR 1 6mm FILM o -H 16mm Ansco Color — per 100 ft. .11.50 16mm Elack & White — per 100 ft. Where one-light change is suf- ficient. . 3.75 Scenes requiring light corrections . . 5.00 35mm SLIDES from Your 16mm E LOR L M O O CD a a < Your favorite movie "shots" now on slides* No cutting of film — just thread your favorite frames with string — we'll copy. 35mm different slides 6 for 2.50 Each additional enlargement. . . .25 in Reodymounts WRITE FOR CINE-$AVER BULLETIN FOTOSHOP 1 8 East 42nd St. • 1 36 West 32nd St. £ NEW YORK CITY 0 • TANKS • DRYERS • TRIPODS • SERVICES ■Available in. • 8mm OfX'Slf rSINGlE) • 16mm (PLEASE MAIL DEALERS NAME IF HE CANNOT SUPPLY YOU) ESO-S, INC.. 47*. s, HOLLY. KANSAS CITY 2. MO. 8 MM— 16 MM KODACHROMSw BLACK &WHI ^MATION/kL CIMW LAB BOX -44-25 • WASHINGTON 17. PC 38 Hilarious Hits for ^tfout Next Party! SEASIDE l. FILMS Sparkling short subjects featur- ing beautiful Hollywood models and clever gags. There's a laugh and a thrill a minute in each of these hilarious party hits. Guar- anteed refreshing ... and differ- ent! Approximately 175 feet per subject. Buy one. ..you'll want them all. "SADIE THE SUNBATHER." Hollywood model gets well oiled on the beach. 2 "FANNIE WITH CHEEKS OF TAN." The old fishing |i with a new twist... and alluring bait ! 3 "THE HITCH-HIKER." Thumb fun with a culie that ends • a riot I 4. 5. 6. BEACH-COMBING BELLE." The bore necessities required to be a Beach-comber. ANTS IN HER PLANTS." Beautiful petal-pusher in the garden. (This type garden equipment unavailable ) GOLDIELOCKS GOES GLAMOROUS." A "tight-knil" skit ...Goldielocks, Mam and Papa bear . . . and a little bo SfND CHICK OR MOHIY ORDER TO 16mm B&W Sound .... $10.00 each SEASIDE FILMS 1228 So. Grand Ave., Los Angeles IS, Colif. BOLEX ACCESSORIES • DETACHABLE CAMERA BASE • Provides a large, flat bottom surface for your Bolex camera. Makes camera rigid on Tripod or Titler. Stops vibration and picture jiggle. Camera will stand securely on any flat surface. Finished to match camera. Price $5, postage included. STEVENS ENGINEERING CO. 2604 Military Ave. Los Angeles 64, Calif. MAJOR $4*5 16mm SOUND FEATURES WITH SHORTS NATIONAL 71 DEY ST., CINEMA SERVICE N.Y.C. 7, N. Y. PHOTOGRAPHY Give your home movies that "Professional touch" — train in ALL phases of photography. Our Home Study Course includes valuable instruction in 16mrnmovies.ResidentTroininoin "still" work Write TODAY Dept. "114" 10 W. 33 St., N.Y. several thicknesses of velvet. Make another pad of velvet, and you have all that is necessary to do a good job. First, put a reel of film on the left-hand rewind and attach the leader to the right-hand reel. Soak the pad on the block and the pad in your left hand with carbon tetrachloride. Put the strip of film on top of the block and the pad in your left hand gently on the film. Start to rewind slowly. Give the carbon tet a chance to evaporate before the film is rolled up. Under a bright light, the carbon tet can be seen evap- orating, thus eliminating any chance of the film being wound in a wet con- dition. Most important in using this method of cleaning film is to make certain that it is done in a well ventilated place. It is dangerous to inhale the fumes of car- bon tet. It is advisable to use an elec- tric fan near an open window. Com- mercial preparations for cleaning film also are available at camera stores. In conclusion, it may be said that although it seems that there is a lot to be done to care for motion picture film, you will soon find that it is rea- sonably easy after you know what to look for. To summarize briefly: 1. Store film in a cool, dry place and in a good can. 2. Keep projector and camera free of dust, lint and emulsion particles. 3- Inspect film occasionally, making repairs of poor splices or broken per- forations. 4. Eliminate bent reels or anything than can damage the film. 5- If you are unable to determine what is causing a certain type of dam- age, take it up with your dealer or other authority who can determine the cause before too much film is damaged. Amateur Home Movie Reviews ■***Excellent, **Good, ^Average it+L CONCERTO, 50 feet, 8mm Koda- chrome by L. Arthur Lassman, Pitts- burgh, Pa. Starting with a ready-made sound track, a phonograph recording of Tschaikowsky's Piano Concerto, an interesting sound film is created. Only two characters — the pianist and or- chestra leader — are shown. Anyone following this example can make his own sound film by shooting a picture to synchronize with any recording — whether symphony, solo or bebop. An article on this subject appeared in HOME MOVIES, June 1949, page 299. Lassman describes the filming: "The house lights dim, and the soloist seats herself at the piano. The conductor raises his baton and calls the orchestra to attention. The music begins and we COMMONWEALTH 16 MM. SOUND POPULAR HOME MOVIES 13 MAJOR COMPANY CARTOONS $„5o Available in Kodachrome at OmC and in Black and White at $|y50 Never Before Offered at these Low Price* MOLLY MOO COW AND THE INDIANS MOLLY MOO COW AND ROBINSON CRUSOE MOLLY MOO COW AND THE BUTTERFLIES MOLLY MOO COW AND RIP VAN WINKLE THE GOOSE THAT LAID THE GOLDEN EGGS TROLLEY AHOY T00NERVILIE PICNIC T00NERVILLE TROLLEY BOLD KING COLE NEPTUNE'S NONSENSE CUPID GETS HIS MAN IT'S A GREEK LIFE A WAIF'S WELCOME Each Cartoon a full length subject in 16 MM. Sound, approximately 300 feet in length with RCA High Fidelity Recording (Get full information from Farnan and Seemann, 752 North Highland Avenue, Los Angeles 38, California or: PHOTO write directly to. COMMONWEALTH FILM & TELEVISION, INC. 723 Seventh Avenue New York 19, N.Y. TITLES for HOME MOVIES or SLIDE SHOWS— STILL AT SAME LOW PRICES! Seems like prices have been raised on just about everything. We're proud to announce that our same fine professional quality Titles are the exception . . . still at the same low cost! Formerly distributed by Bell & Howell, now sold direct to you with better, faster service. Large variety backgrounds available. CD EC* Send for illustrated folder, com- ri»"»« plete information, prices, samples, orderblank. NO obligation. Learn how much easier, better, and less costly it is to use TITLE- CRAFT TITLES to "dress" your shows. 1 022 ARGYLE STREET CHICAGO 40, ILLINOIS TITLE-CRAFT APPROVED NEW LIST ON REQUEST! Add these unusual films to your home movie library now! 100 tt. releases 8mm $5.50, 16mm S6.00. available with sound. . TASC0 SUPPLY CO. m P. O. BOX 6, NORTH STATION PROVIDENCE, R. I. 2i x 3i Color Enlargements from 8 and 16mm Movie Film Frames 8mm 75c each or 3 for $1.95 16mm 65c each or 3 for $1.65 35mm 45c each or 3 for $1.20 Also 35mm. mounted transparencies from 8 and 16mm. 95 cents Guaranteed Prints — $1.20 Minimum Order R.C.S.— P.O. Box 88— Oak Park, III. 39 AGAIN! THE OUTSTANDING COLOR RELEASE OF THE YE \ R 1950 PASADENA TOURNAMENT OF ROSES PARADE COMPLETE 100 FOOT KDITION ONLY. SILENT SOUND $60 $75 ARTHUR H. HART CINEMATIC DEVELOPMENTS AND C I NECHROM E LABORATORY 2125 Thirtv-Second Avenue SAN FRANCISCO. CALIFORNIA Since 1938 TERRIFIC FILM BARGAINS CLOSE OUT SALE OF HUNDREDS OF 8 MM, 16MM, and sound films. This is an annual affair, and our customers look forward to it. Get your list NOW, and state whether for 8mm, 16mm or sound. Also Many Bargains in Equipment FRANK LANE AND CO. 5 LITTLE BLDG. • BOSTON, MASS. Distinctive TITLES and Expert EDITING For the Amateur and Professional 1 6 mm. - 8mm Black and White - Kodachrome Price List on Request STAHL EDITING & TITLING SERVICE 33 West 42nd Street New York, N. Y. ♦^7.«lo« Sour Doug" ,,,mSumnie"""e- Weslerns. °"' * lfcm» or * >b*fe Comed.es. " ,! Sports. Chn*« D,sney Co ^ gt*j*- * *°M-f°mllo°^°»'6e [ion 6060 SUNSET BLVD., HOLLYWOOD 28 CALIF. ,1 •i , u, — <*• ? BOLLT^OOD^ STUDIES IN BEAUTY Featuring Hollywood's Most Reautiful Models Sample Reel 50 ft. 8mm $3.25 100 ft. 16mm $5.50 Kodachrome 50 ft. 8mm $8.50 100 ft. 16mm $16 16 mm Sound 100 ft. $750 Catalogue Mailed With Each Order We Ship CO D. Plus Postage FINE ARTS FILM PRODUCTION (HM) P.O. Box 2084 San Antonio 6, Texas "STOP APOLIGIZING" FOR YOUR MOVIE TITLES Write todoy for a FREE A-to-Z Sample 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. MOVIES WITH GLAMOUR "JUDY" "UNA" "MAZIE" "ZARA" "OLGA" "SALOME" "MIMI" "SANDRA" "LUPE" "VIOLA" 8mm 50 Ft. $2.75 8mm 100 Ft. $ 5.50 16mm 100 Ft. $6.00 16mm 200 Ft. $11.50 16rnm 100 Ft. Sound $8.75 16mm 200 Ft. Sound $14.75 SEND FOR FREE LIST Walt Disney color slides— -30 slides —$2.50 with viewer — $3.25 CAMERA SHOP. 760 Broad Street. Providence 7. R. I. divide our interesi between the soloist and the conductor. We are conscious only of these two artists who combine their talents to produce the music we hear. Almost too soon, the piece ends and the concert is over. "CONCERTO attempts to put this scene on film. I chose mv sister for the pianist. She knows how to play, even though the piece chosen is far out of her line. Realizing that at least one shot of hands on the keys would be necessary to make the picture appear authentic, we chose the opening mea- sures which for the piano part consist of a series of chord progressions. These we obtained from a legitimate piano score and she rehearsed these until mastered. Thus the opening shots of her hands on the keys turned out to be the real thing even though the sound heard is not her plaving. The rest of the score had to be faked as it was too difficult for her. It took many hours of practice with the record in order to perfect timing, proper position on the kevboard and in general to be realistic. To assure correct timing, the filming was done while the record plaved. The opening shot seemed best done in one continuous action. This part lasts 45 seconds; my camera will run for only 25 seconds on one winding. Hence, since the work was to be done on a tripod, it was decided to slowly wind the camera while filming. This. proved to be perfectly satisfactory." Book Reviews PHOTOGRAPHY HANDBOOK No. 13 144 pages, 60c. Published by Fawcett Publications, N.Y.C. The 13th edition of Photography Handbook is profuselv illustrated with more than 375 photographs, and full of information for the still photog- rapher who wants to build his own equipment. There are dozens of kinks and tips to help the amateur as well as the professional photographer. The Salon section consists of 15 full-page reproductions. It is edited by Robert Brightman who advises he is in the market for new material and photo- graphs for subsequent issues. G. E. PHOTO DATA BOOK. 1950 edi- tion pocket size, 3x5, published by General Electric Co., and available through photo stores, price 50 cents. Onginallv prepared for still photog- raphers, this little reference handbook, in a new edition, also contains several tables on motion pictures: Exposure for movies; Bell & Howell fillers; Shutter speeds of motion picture cam- eras; and Projection distance data. In addition, information on lighting, ex- posure meters, etc., is of general appli- cation to both still and motion picture photography. (■iiar.tii l «•«' B, 16, '-' t. 32. 6i and all intermediate. The governor maintains constant speed with the closest tolerance. Hand Crank Operation: Either forward or reverse hand cranking is standard equip- ment. Speed is governor-controlled and ami amount of film can be cranked in either di- rection. Dissolves, fades, tricks are easy. Single Frame Exposures: lakes stills or animated sequences at 1/20 to 1/25 second exposures, or with "time" exposure. Pressure Plate: Maintains firm, precise pies sure on film, insuring rock-steady pictures. Single Claw Operation: Designed to permit adaptation for use with sound film. The Bolex is a precision instrument built like the finest Swiss watch by Swiss craftsmen. Mr Scenes From Actual "Roving Cameras" Story Shot With Bolex H-16. Breath- taking beauty— breath-taking photographs— these enlarged frames taken by- Don Sykes. Such fine enlargements are possible— even on paper— because the pictures were taken with a Bolex H-16. In combination with its Kern-Paillard* Lenses, the exclusive shutter mechanism of the Bolex H-16 assures faultless registration of the image on the film— in color or black-and-white. The BOLEX H-16 Less lens, $282.50 no Fed. tax A BEAUTY WINNER in its own class is the Bolex H-16— unhes- itating choice of advanced amateur and professional movie makers. Dis- criminating cameramen revel in its ease of operation, its gadgetless com- pactness. The skill of Swiss crafts- manship has fashioned the Bolex H-1G into a superbly responsive in- strument—dependable under all con- ditions and in every climate. Kern-Paillard Lenses for the Bolex H-16 Switar 1" f/1.4 1183.75 Pizar l" f/1.5 $ 97.00 Yvar 15mm f '2.8 S 78.75 Yvar 3" f /2.5 $128.34 Fed. tax inc. KERN-PAILLARD LENSES are respected through- out the world for their consistent high quality. Available in Switar 1" f 1.4. Pizar 1" f/1.5, Yvar 13mm f/2.8 and Yvar 3" f 2.5. .Vote: The Switar 1" f/1.4 is as fine as any speed lens ever made for the 1 6mm field. A PAILLARD PRODUCT imera and le\ MOTION PICTURE CAMERAS WRITE TODAY for descriptive folder H..\-i50 PAILLARD PRODUCTS, INC., 265 MADISON AVENUE, NEW YORK 16, N. Y. Bolex Cameras are sold and serviced through leading camera dealers everywhere. QUESTIONS and answers In color filming, what is the correct way to bold the exposure meter? Next to the camera and pointing in the same direction? No, it is not always desirable to make the exposure meter reading from camera position. In a landscape view, decide first whether the sky area or the land area is the most important, and then direct the exposure meter upward or downward. Usually the landscape is the most important part and there- fore the exposure meter is directed downward so as to exclude the sky. For a closeup, accurate reproduction of the flesh tones is desired, so bring the meter within a foot of the face so that the meter reading mav be taken of this area. Can reverse action be filmed in 8mm? I am told it cannot. I was thinking of doing the "dagger-throwing" sequence you had a few months ago, or shooting a high-diver so he will jump out of the water back up onto the springboard. You can film reverse action, by merely turning the camera upside down, with either 16mm or 8mm. The scene, when spliced into the reel, is turned around end for end. With 8mm, the sprocket holes appear on only one side, so the film has to be turned, or flopped over. When you come to this part in the projector, you have to re- focus the projector. To obviate this, with 8mm, an entire reel-may be shot with the camera upside down. My films seem to move on the screen — sidewise and up and down. Is some- thing wrong with my projector? It could be a loose film gate in the projector. If you have checked this, try projecting the film on another pro- jector. If the fault persists, the cause would be a loose film gate in the camera. Any questions? For your movie-making problems, or questions about equip- ment to use or buy, write Home Movies, 3923 West Sixth St., Los Angeles 5, Calif. If you desire a reply by mail, enclose a stamped, self- addressed envelope. TITRA TITLES THAT TALK! 94fupAaaed! WHITE SPARKLING TITLES ETCHED IN DIRECTLY ON YOUR 16MM COLOR OR BLACK & WHITE ORIGINALS! Aleut Jlo-iifa+vl OPENED TO EVERY AMATEUR! Here are a few of the many new ways to improve your films by use of the TITRA titles. • You may record the first words of your child and superimpose them on the screen as actually spoken. • You may arrange brief plays to be enacted by you and your family and subtitle the spoken lines. • You may title speeches or comments at parties, birthdays, weddings, outings, reunions, etc. • You may imprint jokes and spontaneous observa- tions of people while acting or just moving around. • Eliminates splices for cut-in titles . . . Protects against film break. • Doesn't interrupt the picture . . . Titles and action appear at the same time. • Professional appearance is assured . . . Expression and "dialogue" are seen together. • Permits rapid change of dialogue. In short, your films will live, speak, explain, com- ment—all by use of TITRA . . . titles that TALK: SEND FOR FREE BROCHURE AND PRICE LIST. TITD A F'LM LABORATORIES BY Aim h. m. i 1600 BROADWAY, NEW YORK 19, N. Y. INC. 47 J4, ome m owes HOLLYWOOD'S MAGAZINE FOR 8MM AND 16MM WILL LANE, A.R.P.S. • MANAGING EDITOR Vol. xvii CONTENTS FOR FEBRUARY, 1950 No. 2 Articles The Magic Eye of Medicine — By Will Lane Titles W ithout a Titler — By Louis Hochman Splicing Tips — By Neil Kaplan Ideas to Shoot — By E. H. Hams Film a Screen Valentine — By E. L. Jones Rear Projection — By H. A. Robinson Make your Movies Move — By Nestor Barrett. How to Draw — By Dave D. Deticge... Tag Day Filming Ideas — by B. R. Nestor. Special Effect Masks — By Stanley E. Andrews. Vacation Shooting — By C. H. Harris Color Tricks — By Lars Moen Your Camera — How it Works — By Jason Woodbine 55 56 57 58 59 60 61 62 63 64 65 68 69 Departments Editor's Adieu..... Questions and Answers Film Releases. .' Letters Cine Workshop New Products Amateur Film Reviews Club News Book Reviews Film Libraries Titles 48 47 50 50 70 72 74 75 76 78 87 Cover Photo by Wm. Lummus Home Movies, Hollywood's magazine for amateur movie makers, s copyrighted 1950 and published monthly by Ver Halen Publications, Los Angeles, California. No part of contents may be reprinted without permission from the publisher. Entered as second-class matter May 6, 1938, at the postoffice at Los Angeles, Calif., under the act of March 3, 1879. SUBSCRIPTION RATES: U.S. $3.00 per year. Two years, $5.00. Single copies, 25c. Canada, $3.50 per year. Foreign, $4.00 per year. Foreign subscriptions accepted 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 or photos, which should be accompanied by sufficient postage for return if not used. Payment for editoria material made on publication. CHARLES J. VER HALEN, SR. • PUBLISHER OFFICE OF PUBLICATION— 3923 W. Sixth St., Los Angeles 5, Calif., DU. 8-1310 NEW YORK OFFICE— Seymour A. Robbins, 45 West 45th St., Luxemburg 2-4424 CHICAGO OFFICE— John O'Keefe' 400 Madison St., Room 1904, Dearborn 2-2690 editor's Adieu YOUR EDITOR is about to celebrate the midpoint of the 20th Century by- taking time out to write a book. With a novel approach, it will be aimed at the owners of 34,000,000 cameras in the United States, including 16mm and 8mm users totalling a million and a half. Photography was not the hobby of millions at the beginning of this cen- tury, when the first Brownie camera appeared, in 1900 — nor in 1923 when safety film made its debut. It was not until the Terrific Thirties that home-movie making got up speed, in 1932, with the advent of the 8mm camera, followed bv the introduction of color (16mm Kodachrome) in 1935. But photography remained a recon- dite hobby, indulged in by the few rather than the millions until 1937, when two new photography magazines hit the newsstands. With the aid of the photographic industry, they sparked an era of growth which has been spiraling ever since. Todav, not knowing how to use a camera is as unthinkable as not know- ing how to read and write. As editor of one of those pioneering photography magazines (Minicam) we sometimes were referred to as a small guiding light in the destinies of aspir- ing photographers during frontier days. A 5-year epoch ended in 1942 when the Air Corps took charge of our own destiny. During those years, and also during a period with Holiday Magazine when it was being formed, we remained close to the field of photographic journalism, and to manufacturers, advertising agencies and other organizations. Thanks is due to them, to the support of readers and contributors and, last but not least, to Charles J. Verhalen, Sr., the publisher of Home Movies, for continuous support. Finally, having always worked on the theory that an editor should never be inaccessible, but equipped with an open mind, we would like to add an invitation from an open mailbox — one receptive to brickbats as well as bouquets from anvone interested in the great field of American photography. — Will Lane, 1827 Weefab Way, Holly- wood 46, Calif. "The foundation's ready, projection booth is completed and screen set up. Now all I need is to complete the house." 48 BIG NEWS FOR ALL 8mm -16mm PROJECTOR OWNERS SENSATIONAL! The greatest "Western" character of our time in THREE thrill and action-packed movies! "HEART OF THE WEST"— Hopalong battles rustlers in a treacherous pass where only his nerve and daring can turn back a thundering stampede and wipe out the outlaw gang! "THREE ON A TRAIL"— Hopalong and ranchers battle stage robbers barricaded in saloon! Guns blaze as Hopalong risks his life to bomb the bandits into submission! BAR 20 RIDES AGAIN — Captured by bad men, Hopalong signals ranchers secretly, escapes and wipes out the gang in a rip-roaring gun battle to the finish! ALL CASTLE FILMS ARE AVAILABLE AT THESE LOW PRICES 8 Headline $1.75 ■■ M Headline $2.75 MM Complete $5.50 IOMM Complete $8.75 AN AMAZING NEW ANIMAL COMEDY I "THREE LITTLE BRUINS ON A SPREE" A cable stretches from a tower over a deep canyon! Elmer and his pals climb the tower for new adventures but can't get down ! They try wire- walking and put on a thrill act any circus would envy! A boy scout saves them in the best thrill act of all! Sound $17.50 DIVISION OF U/V/TnJ \NO»VO F'l*S INC 1445 PARK AVE. 542 S. DEARBORN 604 MONTGOMERY NEW YORK 29 CHICAGO 5 SAN FRANCISCO 11 FREE! To all projector owners, Send coupon TODAY! i | Castle Films, Division United World Films, Inc. t I 1445 Park Avenue, New York 29, N.Y. k I A I Send CASTLE FILMS' NEW, EXCITING 1950 HOME MOVIE J CATALOGUE, profusely illustrated, describing wide variety I of professionally produced home movies for every occasion, * many never before available. mm Name fl Street M I f I City & State r ■ _m_2. 49 NOV SHOOT IT IN SOUND! with the ALL-HEW FILM RELEASES LETTERS EE3MI' 16 mm SOUND-ON-FILM HOME MOVIE CAMERA SfiQROO at your photo Dealer' U^/vJ — or write to us for free descriptive Folder telling how to shoot Home Movies with Hollywood style sound-tracks, for exactly the same film cost as silent movies! You can show your own "Cine-Voice" talking pictures on any make of 16 mm sound-on- film projector. Record SO USD -TRACK & Picture. . . Project SOUND & Picture! ^IN- COMPLETE OUTFIT... »6S5°° Including "One Voice" Sound Camera with high fidelity Microphone. Amplifier. Headphones, all Batteries and Tubes Carrying Case. Instructions Camera uses*C Mount Lenses inot furnished' same as most popular 16 mm Cameras. RCA LICENSED D**SSs3 GUARANTEED ONE YEAR BERNDT- BACH, Inc. 7375 Beverly Blvd., Los Angeles 36, Calif. MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931 News Parade of the Year. Castle Films. 50 ft. 8mm, Si. 75. Complete 8mm, $5. 50. 100 ft. 16mm, S2.75- Complete 16mm, $8.75- 16mm sound, S17.50. A complete news parade of 1949, which includes scenes of the Noronic disaster, the ending of the Berlin blockade, the Pope's 50th Anni- versary, the Ecuador earthquake and many other news-worthy and history making events. Castle of the Angels. Official Films. A two-reel sound documentarv. A his- toric Roman fortress, erected in 135 A.D. by the Emperor Hadrian, is to- day an imposing center of legendary, artistic, and historic interest. The film takes a tour through its great halls and grim dungeons, its elegant music rooms, its impressive chapels, and the private chambers of the popes. Stirring events are recalled, such as the inva- sions of barbarians at the fall of ancient Rome, Pope Gregory's great religious procession in an attempt to end a devastating plague, and the imprison- ment in the castle of the famous silver- smith Benvenuto Cellini. United World Films. "Up in Central Park", 9 reels sound, rental $20.00. A tuneful storv about an Irish colleen and the big Boss Tweed Political ma- chine. Starring Deanna Durbin, Dick Haymes, Vincent Price. "Buck Pri- vates," 9 reels, sound, rental $20.00. Hilarious comedy about two would-be slickers who suddenlv find themselves conscripted into Uncle Sam's Armv. Starring Abbott and Costello, the Andrews Sisters and Lee Bowman. "The Captive Heart, 11 reels, sound, rental S20.00. A tense and exciting tilrn dealing with life in a German prisoner-of-war camp, where a hand- some Czech officer, who has assumed the identity of a dead British soldier corresponds with — and falls in love with — the slain man's wife. Springtime in Holland. 16 mm Koda- chrome sound. 2 reels. Films of the Nations, Inc., 55 West 45th St., New York City 19- Free rental except for transportation charges. A twentv- minute sound film that takes the viewer on a tour of Holland in tulip time, past the picturesque windmills, lovely cities and quiet waterways to the fields of flowering tulips. The cam- era shows the hybridization of the tulips, the selection of outstanding varieties and the stripping of the blossoms. A flower festival is shown, after which the film turns to the grad- ing, sorting and packing of the bulbs for overseas shipment. Final moments of the film are devoted to illustrating the use of the bulbs in the outdoor garden. Animating Titles Sirs: I'm pleased to hear that numerous readers are trying the suggestions in my article in June, 1949, Home Movies, "How to Animate Your Titles." Many are amazed that it's so easy. The chief question seems to be about how long to make each scene. The length of an animated sequence depends, of course, on the subject. It may run 3 to 5 seconds, and perhaps longer. The bigger the bite you take off an animated scene, as each frame or two frames are exposed, the faster will be your animation speed and the shorter the final footage. For instance, a duckling exploding out of its shell will crack open slowly first, then the pieces will fly out of the scene. The camera runs for an extra second or two at the end so the audience can see what it's all about. Arrows in motion to show migratory light lanes require about 4 or 5 seconds. The "mercury" in a double-exposed title graph moves slowly, so not more than one second is required — 16 frames per second — to show this slight movement. The Baia Engineering people up Michigan way, rebuild cameras for single frame exposure and back-crank- ing. I once had a 16mm model K Cine, Kodak which they revamped and did a fine job — Ormal Sprungman, San Diego, Calif. Sirs: Favorite Spot My favorite spot is within a fifty mile radius of New York City. Here, within a few miles, one may find and photograph farms, docks, fishing fleets, vachting grounds, lakes, cliffs, parks, dude ranches, railroad yards, amuse- ment parks, and the most cosmopolitan area in the countrv — in short anything from glistening sand dunes to green hills, to mention a few. — Gustav M. Scena, Noroton, Conn. "That beaded screen / ordered for Christmas, dear, — if finally came." 50 • • . AND MOVIES MEAN REVERE Outdoors in winter! ^ hat wonderful movie-making opportunities it offers. There's a world of action-filled fun waiting to be filmed against an ideal backdrop of glistening snow, white crested trees and clear blue skies. When you think of taking movies you naturally think of Revere, for Revere is America's favorite home-movie camera. Its faithful performance . . . easy-to-operate mechanism . . . many helpful features . . . and very reasonable price make Revere the preferred cine equipment. Camera prices start as low as $62.50, including tax. See your Revere dealer today! Revere Camera Company • Chicago 16 REVERE "26" 16mm MAGAZINE TURRET CAMERA Gives you the speed and ease of magazine loading plus advantages of a 3-lens rotating turret head and adjustable viewfinder. Other features are: ratchet-winding key . . . continuous run . . . five speeds . . . and single frame exposure. F2.7 Coated lens $152.50 F1.9 (Focusing Mount) . Coated Lens $179.50 Prices Include Tax Listen To Revere's "A Date With Judy". Every Thursday Night on ABC Network, 8:30 to 9:00 in Eastern Time Zones, 7:30 to 8:00 in Central, Mountain and Pacific Time Zones. D "48" 16MM SILENT PROJECTOR The Ultimate in Silent Projection Every feature considered necessary for 16mm projection at its easiest and best has been in- corporated into this improved projector. Oper- ating on both AC and DC, its new features include handy film compartment in base, sim- ple 3-point threading, single knob control and other advanced operating advantages. Complete with slip-over carrying case, 2-in. F1.6 coated lens, 750-watt lamp, and 400-foot reel $137.50 EIGHTS <*uS SIXTE E N S IN PURSUIT OF HAPPINESS REVERE ADDS TO TOUR PLEASURE 51 mNTED»50,ooo That's how much is needed to maintain and expand the work of Volunteer Service Photographers during the next twelve months. VSP — a non-prof it organization — has moved photography to the bedside of patients in Army, Navy and Veteran Administration Hospitals. To the cripples — the paraplegics — in the veterans' hospitals, the worth of a camera cannot be counted in dollars and cents. It helps overcome the greatest moral danger of long hospital- ization— apathy. It can mean training for a new occupation, and they need this more than anything else before they go out into the civilian world again. VSP instructors bring cameras, tripods and lights to the bedsides in the wards, so that the confined men can learn to take portraits, table-tops, and other still lifes. Outstanding photographers are invited to give special demonstrations on such subjects as lighting and posing, and often bring glamorous cover girls to act as their models. The hospitals to which the VSP has been able to extend its program are equipped with classrooms and darkrooms for those able to leave the wards. Field trips to photography schools and press departments of newspapers, and picture-taking expedi- tions to scenic and historical spots provide an important link with the outside world for ambulatory patients. Every day of the year a member of the \ olunteer Service Photographers is working in our veterans' hospitals. Over 200 active members of this organization give two. three or four days a week to this great work. They reach over 2.000 patients each week. But volunteers aren't enough. There must be equipment for them to work with. The worth of photographic equipment can't be measured in dollars and cents, but money will buy it. Portable darkrooms are needed for the boys who can't get to the regular darkroom. Special equipment is needed for the boys who can't move hand or foot more than a few inches. HERE IS WHERE YOUR HELP IS NEEDED! •S50.000 is needed to cany on in the fourteen hos- pitals now served by VSP and to expand on a nation- wide scale to thirty-eifjht other hospitals clamoring for this service too. Won't you assure the continuance of this work by sending the coupon with your contribution TODAY? Portable darkrooms, developed by VSP. can accommodate one bedridden patient and two in wheelchairs. They are equipped with sliding shelves and sinks, contact printers, enlargers. chemicals, papers, so that patients can develop films, or make contact prints and enlargements. A bedridden patient examining a print as it fixes in hypo solution. L**>-¥-**********J CLIP COUPON *******#.*.*.WMr>: J \ olunteer Service Photographers. Inc. t 292 Madison Avenue J New York IT, New York * * I am enclosing S to help the \ SP Hospital j Rehabilitation Photography Programs. * Name J (Please print * v *- A DDK ESS * * City State * HM )f (Contributions are deductable for tax | iu r i . Ptealu/ie to Oaut and Op&iate! The Complete 16mm Camera for Professionals and the Professionally -Minded Amateur Featuring the FULL FRAME Exclusive PAT HE FOLLOW FOCUS Imagine looking directly through the lens in use all during your filming! Yes, that's what we mean by the Pathe Full Frame Follow Focus. The exact limits of the field of any lens in use are seen without the necessity of any manual correc- tion or parallax compensation. THERE IS NO PARALLAX. Not only is the exact field seen perfectly, but you also know whether the scene is being registered in sharp focus. When you look through the full frame finder you are looking through the lens that is IN THE TAKING POSITION. This is not merely a ground glass focusing device, it is a continuous full frame focuser...A PATHE EXCLUSIVE FEATURE! COMPARE THESE PATHE FEATURES WITH ANY 16mm MOTION PICTURE CAMERA AT ANY PRICE! ★ Variable Shutter — A totally closing variable shutter enabling you to make fades and lap dissolves without any additional accessories. Gives a variety of exposures at any given speed. it Long Run Spring Motor-30 feet of film to one winding. Almost 75% longer run with one winding. Takes 50' and 100' spools. if Extra Light Weight — Weighs less than five pounds. Compact, rugged— for easy hand oper- ation. Lightest camera in its class. it Built-in Hand Crank — A built-in mechanism al- ways at your fingertips for forward and reverse action and additional professional effects. ic Automatic Footage and Frame Counters-These counters, an integral part of the camera, add and subtract with extreme accuracy. The frame counter is used in conjunction with the Varia- ble Shutter to effect smooth scene transitions. if Speeds to 80 Frames Per Second — Speeds of 8-16-24-32-64 and incorporating the exclusive Pathe 80 frame feature for extreme slow mo- tion. With the Pathe patented governor you are certain of exact speed to the last frame of any sequence. if Tri-Lens Turret — An exclusively designed three lens "C" mount turret. Any of the three lenses can be used without the turret projecting be- yond the camera body, assuring constant pro- tection to lenses and turret. if Single Frame Device — Still pictures for ani- mation and stop motion ... either instantaneous or time exposures. Special locking device pre- vents accidental exposure. if Optical Viewfinder— A perfectly corrected built- in optical viewfinder for the normal and tele- photo lenses. ONLY $395.00 (LESS LENSl - NO TAX, At Your Dealer's or Write for Literature DIRECTOR PRODUCTS CORPORATION • 521 FIFTH AVE., N.Y. 17, N.Y, 53 THE moving hand. That look of surprise. Even the smoke from the candle. Ansco Triple S Pan stops them all. But conditions like these are made to order for the terrific speed of this amaz- ing reversible film. It's so fast, in fact, you can use less artificial lighting — or you can move your lights farther back. The advantages are tremendous. There is less brilliant glare, which means that children, particularly, are not as conscious of the lights. They are more relaxed. Less apt to squint, or kick up a fuss. Indoors, or outdoors, Triple S Pan lets you take pictures in relatively poor light; or stop down for extra depth of field. This means you can keep your sub- ject in focus over a much wider range ASK FOR An — with needle - sharp screen images. You'll be delighted, too, to discover the tonal range possible with this wide- latitude film. Get a roll, today, and see how pleasantly surprised you'll be with your "professional" results. Ansco, Binghamton, New York. A Division of General Aniline & Film Corporation. "From Research to Reality"! SCO 8 AND 16 mm TRIPLE S PAN FILM 54 WORLD'S FIRST X-ray mo- tion-picture camera. The an- ode is placed in front of patient; fluorescent screen is behind. A mirror reflects image to camera at right. eclicine J 16mm camera saves lives ... by Will Lane ciaic e Their eyes fascinated, a group of surgeons watched every detail on a screen. The scene was not a movie palace, however, but a darkened office. They were intent, not on solving a murder mystery, but a mystery of medical diagnosis. The "hero" was a victim of an injured throat. It had healed, but he couldn't swallow. The diagnosticians had studied X-Ray stills and other tests, but still were unable to help the victim. He had to be fed by tube. It was hardly a full length feature — it lasted only 30 seconds. "Let's have an encore," said one of the special- ists. Again the action flashed on the screen. The 12-foot strip of 16mm film, being in a continuous loop, needed no rewinding. The picture of the injured throat was followed by one of a normal throat in an X-Ray movie — the first of its kind. "Look how the epiglottis snaps back into place." "Yes, that's the problem." And in a few minutes, the medical men had made a diagnosis of a condition which had baffled the best medical brains. This miracle of science was made possible by an X-Ray motion picture camera devised by Dr. Irving Rehman, associate professor of anatomy in the University of Southern California School of Medicine. How was it done? The patient, before an X-Ray machine, took a barium "malted milk" — a solu- tion of a white metal which is opaque to X-Rays. As he tried to swallow the solution, the action of his throat appeared clearly on the fluorescent screen, which was photographed by a motion picture camera. The principle of the ordinary X-Ray is simple as making a photogram. In a darkroom, put a glass, scissors or other object on a sheet of sensitized film, switch a reading light on and off, and de- velop the film. The result becomes a silhouette of the object. Substitute an X-Ray tube for the reading lamp and you can use a human body as the subject for the "photogram," with the added advantage that the X-Rays will penetrate skin and tissue. But what if the subject is in motion? What if a doctor wants to see how a Jung expands, how a throat swallows, how a knee articulates or how a heart beats? For this, instead of shooting the picture on con- ventional X-Ray film, a fluorescent screen is used which the physician can watch as a photographer might studv the image on the ground glass of an ordinary camera. The fluorescent screen is a rectangular surface, about a foot wide, coated with tungsten oxide which glows brightly when struck by X-Rays. But X-Rays cannot be turned on and off as lavishly as studio spotlights. Exposure to X-Rays may be dangerous, even to a diagnostician who is careless in protecting himself with the necessary lead-rubber gloves and apron. • Cont. on p. 83 LEAD COVER, placed on camera, is to shield it from stray X-rays (left). It is a standard Kodak Cine Special 16mm with motor drive added (right). 55 SHADE Titles can be made Without a titler AND SOME NEW TITLES CAN PEP UP YOUR OLD FILMS By LOUIS HOCHMAN When it comes to putting a good scenario across, a choice series of well-planned titles can go a long way towards stepping up its quality. Too often, titles serve as mere gap fillers, flashing on the screen with monoton- ous regularity to strain the patience of the audience. There should be a law against this. Titles have as much right to exist as the scenario itself and they should be planned and executed with the same thought and consideration given to the live action sequences of the film. In many cases, they can blend right in with the scenario itself and serve as pictorial introductions to the scenes that follow. For instance, suppose your scenario concerns itself with redecorating the home, or "Daughter Sews Her First Dress," etc. To give the audience a hint of the picture's theme, you can have its opening titles lettered on dif- ferent kinds of colorful materials. Letter the opening title on a sheet of linen made up like a window shade, Fig. 1. While shooting this, change to the next title underneath, lettered on print material, by raising the "win- dow shade" title to uncover it. The next title, lettered on knitted material (Fig. 2) is revealed when you rip away the print material in front of it. The knitted material title disappears from in front of the last title by unraveling. The last title, Fig. 3, lettered on black drape, draws aside like curtains to re- veal the opening scene of the picture. Intermediate titles throughout the production can be lettered on glass behind which you can drape decorative materials to form picturesque designs. Venetian Blinds Venetian blinds also make novel title animators, Fig. 4. Close the blinds and add the titles to the slats by cutting them out of black paper and rubber cementing them on. Reverse the slats and cement your second set of titles directly behind the first set. Start by shooting a few feet of the first title — then, with the camera still running, draw the blind strings to re- verse the slats and bring the other title into focus. After a few feet of this, raise the blinds up out of the picture to reveal your opening scene. Going on a long vacation? Trv this live action title introduction. Scene fades in on closeup of suitcase with 56 title lettered on it reading, "Destina- tion Paradise." A hand picks up the suitcase and places it into the trunk of a car in the background. Camera zooms up to closeup of trunk as hand loads another suitcase into it with second title lettered on it. This suit- case covers first one completelv. More lettered suitcases follow in same order until there are no more introductorv titles — then car trunk lid is closed, re- vealing "CALIFORNIA OR BUST!" lettered on it. Try Romance For a romantic movie, you can try this variation. Fade in on your open- ing title, ' 'So-and-So Loves So-and-So, carved with hearts on a tree. Pan from this to another nearby tree with the second title carved on it — then to a third tree, etc., until you have finished your opening titles. Then pan down to the ground in front of a park bench where a stick of wood is seen drawing a heart around two names written in the earth. Dolly back and pan up to reveal the lovers sitting on the park bench, one of them writing with the stick. This panning technique can also be used on the beach where titles can be written in the sand — and on city streets to introduce a movie of city kids by panning to different childish chalk drawings and titles scrawled on the sidewalks, stoops, and tenement walls. A good trick on the beach when the tide is coming in, is to letter the title in the sand close to where a wave will wash it out. You can shoot this either straight, or in reverse with the camera mounted upside down. In reverse, you will get an effect of a wave washing up over the sands, then receding and leaving a title in its wake. With color film, you can make your titles do mystifying, colorful tricks by using colored gelatin filters. Using a green card, letter your title on it in brilliant red showcard color. Light this title with a single reflector flood- bulb and start filming it. While the camera is running, slowlv pass a large green gelatin filter over the floodlight and follow this with a red gelatin filter. The two filters should be large enough to cover the light source and throw colored light on the title card. Mount them side by side in a rectangu- lar wire frame made from an old clothes hanger. • continued on Page 82 CHANGE WHEN BLINDS ARE TURNED OVER TITLE ON P FILM SPLICING IS AN IMPORTANT JOB. MULTIPLE MONTAGE PHOTO BY J. GURLY, ART CENTER SCHOOL. icin How to make them last... by Neil Kaplan Splicing film is a simple operation. There is' no need for it to cause annoyance and stopped shows. First, start with a supply of fresh cement and a properly adjusted splicer. Preparing the splicing area, all of it must be clean or there will be weak spots in the weld . Applying just the right amount of ce- ment is the next critical operation. Practice with a discarded piece of film. Clean, apply cement, apply pressure, wait, then test the splice. There is no UNCEMENTED AfiEAS substitute for practice in gaining speed and facility. Make a few dozen prac- tice splices, and this little task will be so easy and you soon will be so expert, that splicing film will become a pleas- ure rather than a chore. Shaping Bristles to a chisel edge facil- brush stroke in the middle of the film. full stroke. Excess cement can cause film itates application of cement. Begin the Second stroke completes application with to buckle and jump in projection. 57 Toys come to life if filmed by stop- motion technique. Black threads, in some cases, can animate dolls effectively. Kids at the zoo find plenty to do. Why not a "zoo" at home — with elephants and tigers behind cardboard cages? Signs of the times provide amusing ironies of life when birds, animals — and people — ignore the placards. Ideas to Shoot Hobbies, Toys and Spring Showers By E. H. HARRIS TOYS COME TO LIFE— If you shoot them by stop motion, jointed animal toys and dolls can act realistically- Advance the toy limbs a fraction of a movement at a time. Shoot two or three single-frame exposures of each setting. Some toys can be moved with fine black threads and shot at normal speeds. The camera should be on a tripod. Here's a scenario idea. 1. Mother scolds Junior for leaving his toys scattered about. If he doesn't get them together before bedtime, he'll be punished. But, at bedtime, Junior forgets and goes to sleep. His toy animals and soldiers get together and decide to clean up for him. They load the scattered toys on the toy wagon and haul the mess to the toy box, throw them in, then jump in and close the lid. At dawn, Junior expresses amaze- ment when mother lauds him for his tidiness. DEEP FOCUS. — The short focus lenses of movie cameras have tremendous depth of field, particularly the wide angle lenses. When stopped down to about /8 or /ll, and focused at about Deep Focus. Plant a subject in the fore- ground for dramatic composition when shooting at a small aperture. 15 feet, they will easily cover from three feet to infinity in fairly sharp focus. Take advantage of this feature and dress up your movie with dra- matic deep focus shots. Frame a long shot action with people in the imme- diate foreground. Try a shot with baby s Teddy bear a few feet from the camera while baby crawls up to it from the distance. The contrast in size makes the toy look like a giant. Deep-focus scenes have a- striking three-dimensional effect. When ad- justing your focus for such a scene, set the distance at a point midway between the foreground and back- ground subject matter, or a little closer, and stop down the diaphragm as far as light will allow. CARNIVAL CRAZE —Everybody loves a carnical — especially the kiddies. Shoot the rides, the ferris wheel, the tiny trains, boats, cars, and ponies. Get on a ride with Junior and shoot from his point of view. For a surprise ending, show Mom walking home with Junior, then cut to Pop with a large cone of cotton candy, enjoying a final merrv-go-round ride all bv him- self. KIDS AT THE ZOO— They feed the elephants, make faces at the monkeys, Clouds, never the same, provide an ex- citing abstraction when filmed single- frame over a period of 10 or 15 minutes. gape in awe at the lions, eat peanuts and popcorn, and have a swell time. When they get home, they start imi- tating, and first thing you know, thev've started a zoo of their own in the backyard. The cages are of large, corrugated cartons fitted with wooden bars. In one cardboard cage marked, "Ferocious Lion," our own Rover, fitted with an old fur piece for a mane, paces back and forth. Another marked, "Bengal Tiger," houses Tabby, the cat, appropriately painted with stripes. Little sister sits in another cage and laughs her head off at a sign reading, "Laughing Hyena." Junior, wearing a loin cloth and a phony tail, swings from a tree branch and scratches his arm pit. Beneath is a sign, "Do Not Feed the Monkey — except ice cream and candy." DOES IT LOOK UKE RAIN?— Don t put the camera away. Use the film money you've been saving for a rainy day. 1. The paper predicts rain. Dad, a skeptic, rejects Mom's offer for rub- bers and umbrella. He grins at the bright sun as he walks off. Suddenly, a cloud cuts off the sun. Turbulent storm clouds start brewing. Rain falls (aided and abeted by a gar- den hose). Pop returns, soaked, of course. WHO BELIEVES IN SIGNS?— Every town and hamlet has its quota of warnings such as, "Private," "No Admittance," or "Beware of Dog." It's amazing how easily these signs • continued on Page 83 Your hobby, whether miniature models or parlor magic, provides a ready-made documentary camera story theme. 58 i Ml FOR VALENTINE MOVIE, AN IRIS EFFECT MAY BE MADE EASILY ON A TITLER IN THE SHAPE OF A HEART. FIG. 1 ^~iim ci Screen ^3^ lii eniine Template. This may becutout for use with titler using 2Vi x 3 inch cards. FIG. 2. Instead of a title, a still photo may be used in the titler. FIG. 3. By E. L. Jones Illustrated by Dave Detiege The finishing touch, as everyone knows, is what distinguishes an ordinary film from an extraordinary one. A simple way to create an iris effect is to cut a series of about 16 black mattes, and place these one at a time on the title as it is filmed. Shoot three frames of each (a quick up-down on the shutter will do) and you will have a total of 48 frames to provide a 3-second iris-in. A circle may be used, or any shape that is appropriate to the occasion. First make a template, or you may cut out and use Fig. 2, which is the correct size for "typewriter" titlers. Then cut 16 pieces of black paper or card- board, each 2% x 3 inches, and draw lines as in Fig. 4. Take the template, cut out the first matte. Fold a black card and place the matte in position. Draw a line around it, and cut out with a scissors. Unfold, and you have a matte ready for use. Then cut out another section from the template and, in the same fashion, cut out the next larger size. Continue until you have 16 black cards with heart-shaped cutouts of increasing size. The cards should be cut as accurately as possible in order to provide a smooth effect on the screen. Not only a title, but also a still photo may be used in the titler. For this purpose, an en- largement size 2y4 x 3 inches may be made from the first frame in your opening scene. After the title, iris in the photo (as in Fig. 3), then when you cut to the scene, the por- trait suddenly comes to life. Many effects can be obtained in this man- ner by cutting mattes of various shapes. The number of mattes used for a single effect can be varied, but the more used the smoother and more gradual the effect. The mattes can be used over again and become a permanent part of your titling equipment. Any shape or design of matte can be used. Use black cards, 2Va x 3 inches, (above)'. FIG. 4. Cut out one segment at a time. FIG.15. Pencil may be used to trace. FIG. 6. Unfolding card reveals heart- shaped cutout. Succession of cutouts is made in increasing size. FIG. 7. 59 REAR PROJECTION, THROUGH A TRANSLUCENT SCREEN, PROVIDES QUIET PERFORMANCE, NO DISTRACTIONS. Rear Projection at Home Improve the quality of your presentations By H. A. ROBINSON Back-projf.ctiox with its near rela- tive side-projection are methods of showing films in which the machine is behind the screen, the audience on the other side, seeing the picture through the material. In the back method, the machine is pointed straight at the screen (just as it is in the usual way) but in side pro- jection it is placed at an angle, the rays being diverted and sent to the screen by means of a mirror set in an appropriate position (see diagram). Showing from the rear has several very definite advantages as follows: (1) It allows all the space in front of the screen to be used for spectators — none is wasted by the machine or the projector-to-screen beam. (2) All ex- traneous light in front of the screen is eliminated. (3) With the machine at the side as well as at the back anvone describing a film can be near the screen, in front of the audience and near the projector all at the same time, and (4) with back projection a very brilliant picture is given. This latter because the picture is seen by transmitted and not reflected light, and a picture built up this way always has more trans- parent and luminous dark areas. To prove this, try looking at an ordinarv photographic print with a bright light behind it. For perfect projection there should be no light whatsoever in front of the screen and the projector-to-screen ravs have always been considered a weak- ness of the present method of film- showing. Light in front of the screen always tends to weaken the picture if only to a slight degree, and from some positions the beam can actuallv come to a certain extent between the observer and the picture, this being quite noticeable if the air has tobacco smoke in it. With the machine behind there- fore something approaching ideal pro- jection is obtained. To have the machine at the side, a mirror must be put in the path of the rays at such an angle that it diverts them to the screen. If the mirror is at 45 degrees the machine must be at right-angles to the screen, but other angles can be worked out. The nearer the mirror is to the lens the smaller it can be, but the whole layout will take more room behind the projection sur- face. The bigger the mirror the nearer the machine can be to the screen. In theory, the mirror should be of the silver-surface type as found in re- flex cameras, but in practice it is found that any good piece of thin, good quality looking-glass will serve the purpose well. Some people who use this method have their mirror clipped to a bracket right in front of the lens, in which case a silver-surface type can be used, as silver-surfaced mirror is readily obtained in small sizes. When a mirror is used, a film can be run through in exactlv the same way as in front projection, as the mirror projects it wrong way round on to the back of the screen, which makes it appear right way round from the front. With direct back projection, things are different for the film must be re- versed. This is quite easy with silent material for the film is simply thread in the machine the reverse way, but sound films cannot be put through in this manner. With sound pictures therefore the intermediate mirror must be used. The onlv way that sound pic- tures can be shown by direct back projection is by using the continental D.I.N, film, in which the sound track is printed on the opposite side to the usual. These films however are not often found outside the continent. The kind of screen used when the picture has to be seen through it is important. The ordinary opaque screen which is made to reflect light will not do, and one must be employed made of some translucent material. That is a material which allows light to pass through but which is not fully trans- parent, as say ground-glass. There are several translucent screens on the market, sold in a variety of sizes, and on the whole it is best to purchase one of these, but there are a number of materials that the amateur can readily experiment with. Ground- glass itself gives a very good picture but it is not easy to get in any great size, and of course it is fragile and heavy. A good-class tissue-paper will make an experimental screen, but such a surface is readily damaged. A better screen can be made out of • continued on Page 82 60 ACTION, IS IN THIS HIGH-SPEED SPORT SHOT TAKEN IN SUN VALLEY — AND IN EVERY-DAY HOME ACTIVITIES m ovieS m ove By NESTOR BARRETT Getting a smooth flow of continu- ous action on our home movie screen is a goal we should all work toward. Our movie camera gives us a big advantage over the fellow who is limited to snapshots, making it pos- sible for us to add the priceless ingre- dient of motion to our pictures. Take a family reunion, for instance. The still cameraman must be content with lining folks up a la "police line- up" style, but the man with the movie outfit comes home with the action "bacon" by breaking down the things the family members do into a series of motion pictures. Grandfather sits down, takes out his spectacles, picks up the paper, puts it down, lights his pipe, blows smoke rings. Grandmother motions to Susie to help her. Susie stretches out her arms, Grandmother slips the skein of yarn over them, ivinds the yarn into a ball. Meanwhile Mother is busy in the kitchen. She peels the potatos, seasons the meat, opens the oven door, sets the controls on the stove, operates the elec- tric mixer. Aunt Martha helps out by opening the cupboards, removing the dishes, getting out the silverware, set- ting the table. The children throw the ball, catch it, chase the dog, tease the cat, put the dolls to bed. In short, home movie making is like writing a letter or composition. As we tell about what happened, our pictures take the place of the verbs, or action words in the letter. I saw a remarkable movie of a fish- ing trip recently. Although it was about 15 minutes in length, believe it or not, there were only two scenes show- ing a fish being pulled out of the water. And no one who saw it seemed to feel that it was in any way incomplete. The cameraman who made it had a clear idea of how to break up a sub- ject into action bits. There were scenes of checking the rods, oiling the reels, packing the little trailer, spinning along the wood- ed highway, setting up the tents, rent- ing the boat, attaching the outboard motor, tying flies, frying fish, visiting • continued on Page S3 61 How to Draw - - IgjWj the First Lesson Sr^cfr "Every man may be a Walt Disney" ^ By DAVE D. DETIEGE Many times an amateur movie fan will come up with a swell plot for a home movie but by the time he's readv to write down the general idea of the story, he has lost the sponti- neity that made it seem like a good idea in the first place. A method of telling a story through simple sketches has long been in use at most (in fact at all) cartoon studios. They make use of a story board. On these story boards are pinned hundreds of small sketches. They show the scene being enacted and present a very clear picture that is easy to follow. Cartoon studios, for instance, have found that through the use of story boards the director can follow the action and visualize the finished pic- ture much easier than by reading a script or manuscript. The sketches are very simplv done, showing just the main action of each scene. The idea of using small drawings to depict the action and continuity of a picture is a natural for the cartoon medium, but never the less, more and more live action studios are finding it worthwhile to use simple sketches to lavout a particularly hard scene of a picture. The only problem the amateur movie fan would have (unless he were an artist) is how to draw up the story. Making use of the characters in the sketches shown here should eliminate that obstacle right now. Usually when someone asks a non-artist to draw something, the answer is, "I can't even draw a straight line." Well, why not use a ruler? Starting with a circle, let the straight lines take care of themselves. When drawing a circle, use a coin. A nickle has great possibilities when it comes to outlining a circle for a head. You'll be surprised at the ease with which vou begin laying out your story once you've learned how to draw simple figures. Try drawing the characters in the stock poses as shown, then originate a few poses of your own. For close-ups, draw a circle (using a fifty cent piece) for the head, showing the expression you wish to have en- acted. For a. medium shot, draw a little smaller circle and part of the waist. The long shot has the full figure. The only equipment you need to draw your own story is a good idea, a pencil, and a pad of paper. 1. Starting with a simple circle (trace around a nickle) add the two eyes. 3. After drawing the head, draw a line for the body, then arms and thighs. 5. Practice these stock poses until you can draw them without looking. You can get several pads of the right sized paper at any five and ten cent store for a few pennies. When drawing up your storv, vou might even go so far as to include the titles so as to have a more finished script and to do away with a lot of unnecessary editing. In closing, remember to keep it simple and to the point. Your picture is only as good as the story you are trying to put across. 2. Add an oval for the nose and a line for the mouth. Invert mouth to scowl. 4. Draw forearms and use a small oval for hands. Thicken the lines. 6. The entire family. Woman is drawn by adding skirt and hair-do. O o A- (( c. 62 ORDER FOR SUBSCRIPTION Home Movies Magazine 12 MONTHS FOR $3.00 IN U. S. In Canada. $3.50 — Foreign. $3.50 SPECIAL OFFER: 2 Years for $5.00 in U. S. MOVIES fast Sixth Street jeles 5. California Phone DUnkirk 8-1319 to Stat* few □ Renewal □ Gift Ijto ress , State Mew □ Renewal □ 6lf* id find $ I by Stafe NO SUBSCRIPTION ACCEPTED FOR LESS THAN ONE YEAR 1 SHOOT THE little shaver at unguarded moments. Closeups can be spliced in later. Photos by Neil Kaplan. TAG DAY IDEAS FOR FILMING "Junior" is only one of many subjects By B. R. T. NESTOR Tag day" — as a charity event — is nearly obsolete. But many would gladly trade it for a few ideas on how to be kind to the "tag end" of film that remains on the roll at the end of a day's shooting. You know how it goes. That ten or fifteen-foot remain- der of film which you don't want to "waste" and yet you would like to get that roll out of the camera and off to the processing station. Here are ten ideas on how and what to take on those tag ends which may help in using every foot to the best advantage: J. Stock Shots. A reel of stock shots that you've made yourself is hard to beat for usefulness when you're editing home or travel scenes. Use spare ends of film for collecting such shots. Airplanes flying, trains whistl- ing round the bend, the family car cruising along the road, Junior knock- ing out a home run, various "location shots" around your own home or street, action scenes of the family pets are all examples of footage which can come in handy when you are in the midst of an editing job and need one to fill things out. Most of them take only a few moments to make, a fact that makes them ideal "tag" end material. 2. Minute Movies. If a ten minute picture is a feature for the average movie maker, why isn't a two minute short the equivalent of a theatrical Burton Holmes or Walt Disney? Does your cat stretch luxuriously after be- ing fed a few tidbits, then march regally to the door and signal to you with his tail and a few imperious meaow's that he wants out? What if a toy mouse suddenly gets his attention and then runs off? That's all there is to the story. You can get it on film with about five closeups, three medium shots and a long shot. A short subject you know, may turn out to be a bigger sensation than a main feature. 3. Experiments. "Someday," we all say to ourselves, "we're going to try the lap dissolve method we've read about." But the middle of an import- ant shot or series of shots doesn't quite seem the place to experiment. There is always a chance of making a mistake. But when the picture is finished and a chance to relax comes, why not experi- ment on the film end? Two feet are enough for a fade, wipe, dissolve, matte shot or other novelty we want to try. Make your practice pay by taking notes on just what you do so that when the results are viewed you can make the corrections indicated next time. HOME MOVIES carries frequent short and long articles on simple methods for achieving screen effects with everyday equipment. Keep the magazine in a handy spot and try out some of these suggestions on your next length of surplus film. Sunsets and night scenes also are fun experi- menting with. 4. Technique. Closely akin to ex- perimenting with special effects are the general techniques of movie mak- ing. Exposure, lighting, use of various speeds, common errors such as fast panoraming, unsteady camera, under and overexposure, methods of using a meter, filter technique are all things that can be learned by intelligent utilization of small sections of surplus film. Here again a record is essential. After you have accumulated a number of these tests splice them together in a "study" reel to be reviewed occasion- ally, or when fellow film makers visit. Make a collection of "horrible" ex- amples, but DON'T show it except in the bosom of your family. 5. Fill-in Shots. For your vacation film, add fill-in shots. Between the scene of the people boarding the ocean liner and the scene at sea insert one of the captain on the bridge, and one of the whistle blowing. Also, take close- ups of people. Here again you can utilize the left over footage by making a list of the scenes you need and then acquiring them as you have the film available. A list such as this is the per- fect answer to the question, "What shall I take on the end of this roll?" 6. Titles. Every film should have at • continued on Page 80 63 Dream shot is made with pair of masks A pair of matching masks (below) may For a sharp dividing line, the mask is placed one at a time in front of the lens be made any necessary shape to fit a placed a good distance from the lens while filming. picture's requirements. (10 inches or more). Special Effects With Masks Tailor-made, they fit each scene By STANLEY E. ANDREWS Mask shots are doubly amazing. They always amaze the audience, and they are amazingly easy to shoot. Also called the "matte" or "split- stage" shot, it is made by filming one part of a scene through a mask, then the film is wound back and the rest of the scene filmed through another mask. There are just a few basic principles involved to create many different tricks and effects. We can make one person appear to be twins or triplets. Legs may walk around without any body. A person may be seen with the dream itself appearing in a corner of the frame. To describe all the effects which can be obtained by masking would require a book, but with the fundamentals, any cinematographer can swing into action on his own with- out further ado. The principles, which also apply to still photography, are: (A_) Use of a black background. If a black drape were photographed, it would have no more effect than open- ing the camera in a dark room; the film can be used again like new film. Likewise, if a black drape covers half of the frame, then that half of the film can be used again. Now if, instead of a black sheet, we use a piece of dull, black material, such as cardboard or tin, and place it anywhere from about an inch to a foot in front of the camera lens, with part of it cut away to the shape we desire, we have a mask, but before we can use it as such, a corres- ponding mask must be made to cover up the exposed portion when we run the film through for the second expo- sure. The shape of a mask does not matter provided the corresponding mask is a perfect match. The simplest way to get a perfect match is to use the part cut away from the first mask to make the matching mask. (B) Sometimes a sharp line is re- quired for the mask edge such as in photographing a headless body, and sometimes a blurred diffused line, such as in putting a dream in the corner of the frame. The extent of the sharpness of this dividing line is governed by the distance of the mask from the lens. Assuming a standard lens is focused anvwhere from six feet to infinity, a mask placed ten to twelve inches in front of the lens will give a fairly sharp edge, whereas a mask placed only an inch in front of the lens will give a very blurred edge. There are also two other factors which affect the sharp- ness of the edge, (a) the focal length of the lens, (b) the lens aperture. To get the same degree of sharpness as with a standard lens the mask should be placed farther away for a telephoto lens, and nearer for a wide angle lens, in proportion to the focal length of the lens. That is to say, with a three-inch telephoto lens, the mask should be three times as far away as for a one- inch lens to get the same sharpness of edge. With regard to the lens aperture, the smaller it is the sharper the edge, but unless a very small aperture such as f/22 is used, this feature, for ordinary purposes can be ignored. (C) Lighting must be taken into con- sideration when making mask shots. Generally speaking, the power and direction of the light must be the same for both parts of the shot, and, of course, the lens opening and camera speed must be the same. If anv of these are varied one part of the shot will differ from the other part, and the division of the mask will be notice- able. There are, however, exceptions to this rule. For instance, in a dream se- quence which shows a person asleep and his dream in a cloud effect in the corner of the picture, the dream part should be photographed in a different • continued on Page 80 Simplest effect is the "split screen." Half of frame is blocked out in each shot. Same girl appears twice. 64 THIS MEDIEVAL FORTRESS, HARLECH CASTLE, WAS 50 YEARS ABUILDING . . . BY ELBRIDGE G. NEWHALL, A.R.P.S. vacation sliootlna ft > j all uear round How to make better travel movies By C. H. HARRIS A winter vacation may mean sunny beaches, sandy desert or snow- packed mountain slopes, but the pleas- ure of it begins weeks in advance with the planning. This takes two forms — first planning the individual sequences, then the continuity. From photographs, literature and past experience, a list is compiled of interesting sequences. These might show Junior climbing a palm tree, harvesting a coconut, opening it (no minor feat) and drinking the milk. Or, for a milder activity, we might decide to film the members of a Navajo fam- ily weaving a rug. In any case, we list ideas for sequences — people doing things. Then we give thought to continuity — devices to weave together all our miscellaneous sequences. Some vehicles in motion — automobiles, ships, air- planes, horses — may be filmed, and these scenes later edited into our story. Or a running gag can be concocted. If Grandma is in the habit of knitting at all times — aboard ship, in the car, at the restaurant, and while viewing the Grand Canyon — film her at each of these places, or when you are anxious to get rid of the last foot or two of film on a reel. Signposts, which tell where you are, also help provide con- tinuity. * Complete Sequences Bring home a few complete se- quences of activities — people doing things — and your continuity device and it will be easy to edit the film into an exciting travelogue. Two don'ts worth repeating before we get down to brass tacks are: Don't waste film shooting preparations, pack- ing, etc. One sequence is enough to establish the fact that you have packed and departed. And don't waste footage • continued on Page 76 65 Flatter your picture [ with a Bell s Howe proctor .... 16mm Diplomat. Smooth helical gear drive for quiet operation, long life. Reverse operation, still picture provision. Safe-lock sprockets to protect film. $273.30. 8mm Picture Master. Combines theater-quality projec- tion with ease of operation. Floating film construction prevents film wear. Leader in the 8mm field. $262.00. You can do a lot for your home movies after they've been shot and processed. The important step of editing, and good projec- tion, can improve their quality immensely. For that real professional touch that makes the difference between satisfactory and perfect, you'll want the finest equip- ment you can buy . . . Bell & Howell ! 8mm Regent. Better illumi- nation than any other pop- ular make, regardless of lamp wattage. Easy to thread, easy to operate. Built for dependable, last- ing performance. $149.50. Single ■ Case Filmosound For 16mm sound or si- lent movies. Governor- controlled gear drive assures constant film speed. Natural, flutter- less sound and many other important fea- tures. With six-inch built-in speaker, $399.50. (Larger, sepa- rate speakers avail- able.) 66 Mil FilmOtion Editor. All the features of the 16mm • 16mm Film Editor. Provides brilliant enlarged single- lmotion Editor specially designed for 8mm film. In- • frame image for exact choice of cutting point. Includes udes Filmotion Viewer, Model 136 Splicer and two • 136 Splicer, two rewinds and B&H Direct Viewer, winds. $118.00. I 400-ft. capacity, $72.00. 2000-ft. capacity, $80.00. nd Bell & Howell diting Equipment! 8mm Film Editor. Same features as 16mm Editor spe- cially adapted for 8mm film. Accurate, easy to operate. $51.50. 16mm Filmotion Editor. Finest in personal editing equip- ment. Filmotion Viewer shows brilliant miniature novies. Lever cuts slit in film edge for identifying splicing point. Includes Model 136 Splicer, 2 Heavy- duty 2000-ft. rewinds. $151.00. You buy for a lifetime when you buy 8mm and 16mm Film Splicer. Easily and quickly makes permanent welds that pass undetected through pro- jector. Sturdily built. $21.50. Bell a H £ nowe Chicago 45 11 67 Simpler than with black & white By LARS MOEN In filming stunts and trick effects, what about color film? How does its use affect the results? There are a few basic differences. First, color film is slower, demanding a larger lens aperture. The light under which a scene is shot must be of the right color, and exposure must be more exact. The consequences of these are not all self-evident, which makes it of interest to run through the normal bag of tricks and note what they are. Take, first, the simple fade-in or fade-out, which can be made by the use of the lens diaphragm. For a fade- in, the shot is started with a hand in front of the lens, then the obstruction is taken away and the lens is opened slowly from its smallest aperture to the correct aperture for the scene. For a •fade-out, the diaphragm is closed down and then the hand is brought over the lens. It is one instance where the larger stop needed in shooting color film is a definite advantage. Fade-in, Fade-out With black-and-white film, we may shoot out of doors at //ll or even f/16. Since few cine lenses go below f/16 or f/22, this leaves us only one stop to close down or open up, which means that we obtain only a slight fading effect, coupled with an abrupt darkening or lightening by the hand. On color film, under the same cir- cumstances, we are likely to be shoot- ing at f/5-6 or //8, which means that shifting the diaphragm to f/22 will have a very pronounced effect. In fad- ing out, for example, the scene will be darkened very considerably, so that when the hand blocks out the remain- ing image, there will be no abrupt jar. Fades in color do have one frequent defect, but it is not serious. When the scene is partially faded in or out, the color balance changes markedly, so that the whole picture may go rather blue, for example, before it has faded very far. There is nothing that can be done about this; it springs from the simple fact that color film is manufac- tured to be in balance at a certain normal exposure level, and when we change the light level materially, the color balance no longer holds. Dissolves and Wipes In the case of lap-dissolves, in which one scene fades out as another fades in, this out-of-balance effect is even more noticeable. At the mid-point, with one scene faded half out and another faded half in, screen brightness approaches normal but the color may be consider- ably out of balance. However, on this point there is nothing you can do about it, save wait for the day when color film improves in latitude and balance. The wider aperture used for color makes possible a very smooth dissolve, since, just as in the case of the fade, there is a longer range from the stop at which the scene is being shot to the minimum aperture on the lens. The usual procedure in making a dis- solve is to fade out on one scene, move the film back to where the fade started, then fade in on the new scene, so that the fade-out and fade-in overlap throughout their length. For real con- venience this demands a camera wind- back, but many amateurs who don't have this luxury make out very well by opening the camera in a dark room or a changing bag and moving the film back a suitable amount by hand. Another favorite method of making fades and dissolves is by the use of a fading glass — a glass strip which is transparent at one end and grows pro- gressively more opaque toward the other end. This is simply moved across in front of the lens, and the question of aperture no longer occurs. If you use this sort of a device, and like to experiment, you may be able to do something about those fades which change color when the picture has only partly disappeared. Simply apply a little of the opposite color to the fad- ing glass, starting at about the point where you estimate the film goes out of balance, and increasing the depth of color as you approach the opaque end. If the scenes go bluish, for example, use yellow dye or transparent paint; the colors used for tinting photographs should be suitable. You may have to apply a bit of gelatine to the glass to make the color adhere, or you may find that a few drops of stale beer rubbed on the glass and allowed to dry will turn the trick. This is strictly for the experimenter, but can be made to work. So far as wipes go, color does not introduce a great deal of change. Most wipes are made by some mechanical means, and so many schemes for the purpose have been published that it would be difficult to catalogue them all. Probably the commonest involves some sort of sliding mat, which is moved across in front of the lens so as to gradually wipe one scene off, then the movement is reversed to wipe the next scene on. In making such wipes, we usually want a reasonably sharp dividing line, rather than a fuzzy one. This means that the sliding mat must be far enough away from the lens to be somewhat in focus, and the distance necessary for this depends on the stop at which we are working. It is just possible, there- fore, that if a given set-up has been adjusted for best results with the small apertures used in black-and-white, the wider aperture used for color may necessitate placing the mat a bit far- ther from the lens. This, in turn, means a correspondingly larger mat. Double Exposure Effects of double exposure usually involve simply running the same bit o film through the camera twice, once with a certain object or person and once without. As a result, the person or object appears transparent and ghostlike. In other cases we may film the "ghost" separately against a black background. Neither method offers any special difficulty in color, but since the ghost image will usually be con- siderably under-exposed we must be prepared for a certain amount of color falsification. However, as we are usu- ally aiming at the effect of a super- natural being, or the like, this unreality of color actually is desirable and helps create a spooky effect. The split-screen shot is a scene of the sort which permits an actor to play two roles on the screen at the same time, shake hands with himself, and the like. Half the film is covered and one portion of the scene is shot. Then the film is wound back, the other half of the film is blocked out, and the remaining half of the scene is made. In professional cameras, there is a special aperture close to the film where a mat may be placed to cover part of the frame, but with most amateur cameras it is necessary to use a black card a little distance in front of the lens, as mentioned in connection with wipes. In the case of color film, care must be • continued on Page 79 68 Your Camera and How it Works Fundamental operation principles By JASON WOODBINE What is the camera, how does it function and what are its parts? There are many types of cameras, but certain features are common to all. The earliest camera, long before photography, was simply a box with a lens at one end and a surface at the opposite end on which the image formed by the lens could be viewed. This image, of course, could not be preserved, though an artist could trace around the outlines of the objects por- trayed and thus make an accurate drawing. When photography came along, a little more than a centurv ago, an important item was added — a sensitive plate which would make a permanent record of the image. Half a century later, evolution took another step forward, and the motion picture camera appeared. The basic difference between an ordinary camera and a motion picture camera is like the difference between a rifle and a machine gun. The rifle fires one shot, then needs to be reloaded, while the machine gun fires a rapid sequence of bullets automatically. In the same way, the ordinary camera takes one picture, then must have fresh film moved into position, while the motion picture camera takes many pictures, one after another, as long as we keep the motor going and as long as the film lasts. Generally speaking, home movies are filmed at the rate of 16 pictures for each second that the camera is in operation. These tiny pictures are called "frames," so you will usuallv see normal camera speed referred to as "16 frames per second," or simply "16 f.p.s." When you next see this expression, you will know that a frame is nothing more than one of the tiny individual images on the him. To take pictures at the rate of 16 per second, the whole action has to be made automatic, like the movement of the cartridge clip in a machine gun. There must be means of moving the film in 16 little jumps forward each second and means or cutting off the light 16 times per second while the film is moving (called a "shutter," be- cause it "shuts" off the light for the desired period). To move the film forward, we must have a source of power, and this is the function of the camera motor. This motor generally is spring driven, though there have been cameras pow- ered by compressed air or batteries. The camera motor is basically a clockwork mechanism, a powerful spring is wound up tightly by hand. Its natural tendency is to try to un- wind, and in unwinding it sets in motion the gears and wheels which make up the motor. To control its speed, it has a "governor," which plays the same part as the balance wheel of a watch, or the pendulum on an old fashioned clock. When we set the camera for "16 frames per second," what we are really doing is to set the governor so that it will oblige the motor to run at the speed which will give us that number of frames per second. The mechanism of the motor is com- pletely enclosed, and so long as it works properly the motor will require no attention. The instruction book will tell you whether or not it requires oiling; many motors are self-lubricat- ing and should never be oiled. One important thing to find out is just how many feet of film the motor will put through at one winding. The instruction book may tell you, but you can get an exact idea by running the camera empty and noting how far the footage counter moves before the camera shows the slightest sound of slowing down or hesitating. If it is 30 feet, you will know that 30 feet is the limit you can put through at one winding. However, don't sail too close to the wind. Rewind a little oftener than necessary. If the limit is 30 feet, wind the motor again at the end of 15 or 20 feet. When starting to shoot a scene, wind the motor first. So long as you don't force the mechanism and overwind the motor (which is almost impossible) there is no harm in keep- ing the motor well wound, but if the motor slows down in the middle of a scene, you'll just have to shoot it over, and that much film will be wasted. So much for the source of power. The next thing is to apply it to the movement of the film. Since the film is on a roll, we want to unwind that roll )ust fast enough to give us film for 16 images or frames each second. We want to bring the film to a stop just behind the lens, admit light through the lens to make one picture, shut off the light, move the exposed bit of film out of the way, stop the film again — and so on, 16 times per second. Which means that at the point behind the lens where the image is photographed, the film will not be moving continu- ously, but will be starting and stop- ping 16 times per second, or, as the engineers put it, it will be moving intermittentlv. Now all of this has to be done accurately, and we can't depend on merely gripping the film by friction, since the slightest slippage would spoil everything. (You would be sur- prised to know how many years it took to solve that little problem back in the days when the motion picture was being born!) So we place a row of tinv holes along the edge of the film, • continued on Page 77 69 THE CINE Eliminating Parallax Professional movie cameras, in the studios, avoid parallax by a "rack- over" arrangement which moves the taking lens into the spot which the view tinder lens occupied while the shot was being lined up. In that way, no matter how close the subject to the camera, the taking lens will cover the held that was seen in the view finder. The same idea can be applied to any camera in a number of ways, but one of the best we know of is shown in the accompanying drawing. As will be seen, it consists of one slotted piece with a base which attaches to the tri- pod, and a similar piece without slot which has a block which slides back and forth in the slotted strip, and car- ries a platform at the top to which the camera is attached. Measure the distance from the lens center to the view finder center, both horizontally "A" and vertically, "B." Make a paper pattern and connect the two centers by a line. The two strips and the slot should slant at the same angle as the line connecting the two centers. The slot should be the length of the line connecting the two centers, plus the length of the block which slides in the slot. A machine screw with wing nut and washer clamps the device in whichever position is de- sired. A }4" 20:threaa washer is set into the base, to attach to the tripod screw, and a machine screw of the same thread is used to hold the camera to the platform. Countersunk wood screws fasten the parts together. Brass screws are a little more expensive than iron, but they make a neat appearing job, and their freedom from a ten- dency to rust is an advantage. The model shown here is constructed of Y\ " wood throughout. Anyone hav- ing a small home machine shop could make it up in metal somewhat more compactly. The general idea, how- ever, can be adapted to almost any camera, and will solve the problem of centering titles and closeups of any nature. — A. B. Eaton, New York. Test For Steadiness How steadily can you hold a cam- era? A rapid test can be made, using a small pen-light fastened to the cam- era with scotch tape. Without film, make a dry run with the pen-light focused on a wall. The edge of the light should come to a line or other mark on the wall. Watch this edge as you film, or have an assistant watch it. Is it steadv, or does it waver a little? This can be made a parlor game to see who can hold the camera the steadiest. A ruler or other gauge fastened on the wall can accurately measure the amount of waver. Try the test at various distances, too. For a stronger light, an electric bulb can be placed inside the camera to operate through the lens. In any case, you probably will decide that a tripod is a valuable accessory to be used when- ever possible. — Neil Kaplan, Minne- apolis Minn. 70 ORDER FOR SUBSCRIPTION Home Movies Magazin 12 MONTHS FOR $3.00 IN U. S. In Canada, $3.50 — Foreign. $3. SO SPECIAL OFFER: 2 Years for $5.00 in U. S. HOME MOVIES 3923 West Sixth Street Los Angeles 5, California Phone OUnkirk 1. Send to Address City □ New 2. Send to Address City □ New Enclosed And S Oat* Sent in by Address City State Q Renewal State Q Renewal Stat* X NO SUBSCRIPTION ACCEPTED FOR LESS THAN ONE YE [ WORKSHOP Color Background Backgrounds for color titles are easily shot with the aid of a flat-sided bottle of clear glass, or a small glass tank with flat sides. Fill with luke- warm water. Place a transparent title on one of the flat sides, and behind the bottle place a sheet of colored paper or cloth, illuminated by photofloods. A little front illumination is also placed where no reflections are thrown back into the camera lens. Fill an ordinary eye-dropper with a pine oil emulsion antiseptic, such as "Hexol," obtainable at any drug store. Before starting the camera, squirt the pine oil solution into the warm water. The result will be an ever changing pattern of cloud forma- tions of vivid whiteness. If the effect of a natural sky is de- sired, blue material should be placed behind the bottle, but other colors also produce interesting results. If de- sired, the colored background may be dispensed with, and the water itself colored, using watercolors or dyes. Added color effects may be created by cross-illumination of another color from a small spotlight, which would tint the white clouds. The title letters may be opaque white or a tinted paste-on letters, or, if these are not available, the title may be typed on cellophane through black carbon paper. The cellophane sheet is then taped to the face of the bottle smoothly. Photographic titles on sheet film, or hand lettered titles in white on clear celluloid, also are effective. — Walter Tompkins, Santa Barbara, Calif. Developing Reel One of the most convenient methods for the development of moderate lengths of film is the Correx-Type apron and reel. The apron consisted of a strip of heavy celluloid of the same width as the film. Along its two edges are embossed a series of ' 'bumps" at close intervals. The apron and film are wound up together on the reel, with a layer of apron between each two turns of film. The raised points on the apron (which touched only the perforations) keep the film out of con- tact with the apron and permitted a free flow of the developing solutions. The whole thing lies flat in a tray or tank, so that a very small amount of solution is required. One of the great merits of the Correx system is the ease of loading film into the reel, even in total darkness, since it is only neces- sary to lay the negative film on the apron at a point near the hub, then start winding and continue to the end. No grooves to stick or bind, no pins to find in the dark. This system can be set up at home very cheaply, in a slightly different form, and would even be adaptable to lengths of 100 feet. All you need is some blank film, some rubber cord and a reel. The blank film can be some spoiled film, surplus film, or whatever you have handy. Remove the gelatine from the film with Chlorox, caustic soda, or the like. (Even Drano will do.) The film should be a few feet longer than the longest length you want to develop. Now go to a hobby shop which handles model airplane supplies and get a quantity of l/16th inch rubber cord of the type used for model air- plane motors. This is the smallest diameter made. Get two lengths about 25 per cent longer than the apron. This cord cost me a cent a foot. Now, thread the rubber cord through the perforations along each side of the apron, lengthwise, down through one perforation, up through the next, and so on. The result is a series of little rubber loops on both sides of the apron which will hold the negative out of contact with the apron, yet permit a free circulation of the developer. All that remains is to provide a waterproof reel on which to wind this. A simple solution would be to take a projection reel of somewhat larger size, such as a 400-foot reel for a 100-foot film and apron, and coat it thoroughly with a suitable paint. Most photographic stores handle some type of acid-resistant paint. Alternately, a simple flange and hub could be made out of plywood, plastic or metal, leaving the top side un- covered. This has the advantage that reversal development can be carried out, including re-exposure, without removing the film from the apron and reel. The loaded reel can be set in a flat tray of suitable size, or one may easily be made from a cake pan or other flat dish. Agitation is accomplished by ro- tating the reel gently from time to time, and moving it up and down slightly. Even wet film can be loaded into a reel of this type without dam- age or difficulty . — A. B. Eaton, New York. Animated Title "AVE DETlEGE The use of alphabet soup letters for titles is not new, but amusing use may be made of them. It can be done with any movable title characters. With a title, "Night Falls," I set this up with the titler vertical and started shooting. When I had the re- quired footage, I swung the titler slowly up to a horizontal position, until the letters slid gradually off. By doing this outdoors, the lighting re- mains constant. — Burton Marks, Akron Ohio. Lens Cap A lens cap that is never forgotten when taking pictures is one that fits over the viewing lens as well as the taking lens. It consists of a wide rub- ber band which is large enough to go around the camera. A band cut from an inner tube is ideal for this purpose. The rubber, of course, should never touch the glass lens surface. — Ed Weber, Chicago. 71 data booh MA Tells you More Costs you Less Forget the exposure index? Or the guide number? What aperture change for this close-up? What's the filter factor? Have all the answers at" your fingertips! Get your new 1950 General Electric Photo Data Book today. It's so full of handy facts, valuable data from all manufacturers ... in quick reference form. Here's a partial table of contents: — Exposure Indexes Filter Factors Flash and Flood Guide Numbers Lens Formulas Metered-Flash (sun-plus-flash) Exposure Table Shutter Speeds of Movie Cameras Triangle Lighting Darkroom Information Aperture Correction for Close-ups Your Meter in the Darkroom Exposure Ratios in Copying and Enlarging Hyperfocal Distance Chart Speeds of Photographic Papers Projection Distance Data Weights and Measures Metric Equivalents Glossary of Photographic Terms — and much more! In the field or in the darkroom, you'll find no handier, no more complete reference guide . . . for only 50cJ At your dealer's, in the new attractive counter display. General Electric Co., Schenectady 5, N. Y. GENERAL ELECTRIC N£W PRODUCTS B & H Lenses Have Uniform-Step Magnification From BeJl & Howell company comes word that four of a new series of seven highly-corrected lenses for 16mm mo- tion picture cameras are now ready for delivery. Lenses in the new series will be in the following focal lengths: .7 inch, 1 inch, 1.4 inch, 2 inch, 2.8 inch, 4 inch, 5 6 inch. The magnifying factor selected is 1.4, and it will be seen that anv one of the above focal lengths multiplied by that figure will equal the focal length of the next longer lens in the series. Calibrated in the new T stops, in- cluding one wide-angle and three tele- photos of exceptional speed, the new lenses are: \,7 inch T 2.7 C//2.5) B&H Super f Comat 2 inch T 1.6 (f/1. 4) Taylor Hobson Cooke Ivotal 2.8 inch T 2.5 Q/2.3) Taylor Hobson Cooke Panchrotal 4 inch T 2.5 (//2.3) Taylor Hobson Cooke Panchrotal. All lenses are equipped with click- stops, all are in focusing mount, and all are Filmocoted. In addition, the two Panchrotals include extremely legible depth-of-field-scales based on a circle of confusion of l/500th inch. All lenses have the standard C mount for 16mm cameras, and one — the Ivotal — is also available for B&H snap-on mount 8mm cameras. The three other lenses in the new series are expected to be announced in the coming months. Ansco Film Lower prices for motion picture films, effective December 1, are an- nounced by Ansco. The price of 100- foot rolls of Ansco Color Daylight and Ansco Color Tungsten 16mm movie film are cut to $9.18 plus tax. Twin-eight Hypan and Triple S Pan in 25-foot rolls are reduced to $2.68 plus tax. The latter are black-and- white Ansco motion picture films. Dynacolor Film Dynacolor Movie Film is available in Daylight and Tungsten Types. It may be used in any standard amateur motion picture equipment in the same way as black-and-white film. Dynacolor Daylight Type Film ex- posure indexes are: Weston 8, A.S.A. 10, G. E. (old) 12. • The color balance of the Daylight Type Film is adjusted to give the best rendition of average subjects in bright sunlight without any necessity for the use of filters. Dynacolor Tungsten Type Film ex- posure indexes are- Weston 12, A.S A- 16, G. E. (old) 20. The color balance for Dvnacolor Tungsten Type Film is adjusted to give best results when exposed with stand- ard photoflood lamps and without any correction filter. Reflex Finder Magnifier A reflex finder magnifier designed for the Cine-Kodak Special camera is offered by Par Products Corp., Hollv- wood, California, which claims the following features: «5r l. Dual power — 7x for composing, I5x for critical focusing. 2. Offset feature allows use of 100, 200, or 400 foot magazines. 3- The magnifier is rigidly attached to the camera but easily removable. 4. Can be used as a handle without affecting accuracv. 5- Styled to harmonize with the Cine Special design. 6. Variable magnifica- tion of 5x to 20x available at small additional charge. 7. The image is erect and corrected from right to left. Magnefilm Recorder 3> Movie-Mite Corporation announces the addition to their line of sound photographic equipment of a new magnetic FILM recorder, the Magne- film Recorder. It is a synchronous motor driven, 16mm magnetic film recorder. It is ideal for location sound recording for film producers, radio stations, T.V. stations, or anyone de- siring high fidelity sound recording. Complete unit is housed in one case. Cine Printer Superior Bulk Film Company an- nounces its new De Luxe Cine Printer which is designed to make copies of 8mm and 16mm silent movies and 16mm sound movies. The price is 72 $99.50 plus excise tax. A standard model for 8mm and 16mm silent also is available at $69.50 plus excise tax. The Cine Printer is motor driven — 400' capacity and has eleven light con- trol changes for printing. Projex Enlarges the Screen Image The size of screen that can be used in the average home is limited by the distance of the projector. To make larger images possible with the same projector throw, the Projex lens has been developed by Spiratone, 32 Stein- way St., Long Island City 3, N. Y. An auxiliary lens, it fits over the regular projector lens of 8mm or 16mm projectors. Projex Jr. ($9.95) for 8mm projectors, doubles the image size. The Projex Sr. ($12.95) quadruples the image size with 8mm projectors, and also with most 16mm projectors. Projex lenses are available to fit most projectors, and may be used with either black and white or color pro- jection. Super Cinephor 16 A unique, high-speed lens for 16mm movie projectors is now in production. Designed for serious amateurs as well as professional users, the six- element, anastigmat //1.6 lens, was developed over the past two years by Bausch & Lomb Optical Company. It rivals the firm's professional Super Cinephor model used in hundreds of large movie houses throughout the U.S. Its sealed, one-piece, mount fits all sound projectors with the standard one and ;3/f(;-inch barrel. The two-inch lens is in full production for immediate distribution. Cooke Lenses. After conferences with officials of Taylor, Taylor, Hobson, English lens- making firm of the J. Arthur Rank organization, Bell & Howell Co. an- nounced that its purchases of English lenses would be materially increased in 1950. The English firm has been known since 1886 as one of the world's leading producers of fine lenses. Taylor Hobson "Cooke" lenses are used in the motion picture cameras of many of the major Hollywood studios. Booklet on Lighting When shooting indoor pictures, the advantages of a fast lens and film often are nullified by inefficient lighting units. Reflectors are often adequate, especially when they are too small for the lamps used in them. Information on balancing lights, adapting lights to subjects, electrical data and special problems are treated in a handy pocket booklet, "Make Better Indoor Pictures," provided by James H. Smith & Sons, manufacturers of Victor lighting equipment. The booklet is free at photo dealers, or direct from the company. Camerest Locking Device — One of 12 New Features $1195 Luggage-Type Carrier Hold in Hand or Mount on Any Stand World's Finest SYNCHRONIZED Lite Now you can take movies in black and white or spar- kling color right in your home. The completely new and different Cameralite is so amazingly easy to handle and operate that you don't need any previous experience. Just focus your camera and take pictures— 1000 watts of brilliant lite automatically follow the camera. Results are so sure and cost so low — you'll get a real thrill taking movies the year 'round. See the World's Finest Action Lite at your dealer today! "Mushroom" Reflectors. Mirror interior doubles lite output. Ideal for color shots. Swlvelhead. Smooth panning and tilting action on ordinary lite stand or tripod. Low Cost, Uses ordi- nary No. 2 bulbs at 30c — gives more lite than RFL bulbs at $1.20. Carrier with Handle. Holds Cameralite, cam- era, accessories. Extra space for stands. Write for Details About the Cameralite and Free Folder Describing 30 Unusual Models Are you sending in your films for review? This service is a gratis feature of your magazine. Home Movies. NEW tHWUsj^^ m HOME MOVIES «pt»0JEcT! Natural EXPERIMENT WITH NATURAL COLOR! EVERYTHING YOU NEED FOR TAKING AND PROCESSING NATURAL COLOR MOVIES AT HOME! The chemicals to develop this color film are complete . . . nothing to add but water . . . will process approxi- mately 300 feet of color film in the gallon size. The complete process is as easy as developing black and white film. COLOR FILM IN BULK FOR HOME PROCESSING PREPARED CHEMICALS .... JUST ADD WATER Complete Set of Detailed Processing Instructions. All in one package! For the amateur who has been asking for color film that can be processed at home simply and easily. This film has j»st heen released from Navy warehouses as surplus; we tested the film — color rendition very good. ***This film is sold IN BULK ONLY for Home Processing. Price List 16mm J4-00 8mm 4.50 16mm for magazine loading. . . . 2.25 Single 8mm 3.00 SPECIAL COLOR CHEMICALS 1 gal. size $2.50 Complete with instructions. 1 gal. will process 300 feet. 100 feet 100 feet 50 feet 100 feet SUPERIOR BULK FILM COMPANY '"S.SfX^ 73 MORSE G-3 DAYLIGHT DEVELOPER V SHOOT ^DEVELOP VPROJECT MOVIES IN HOURS With the Morse G-3 Daylight Devel- oping Tank, reversal or positive mo- tion picture film can he processed quickly and economically at home. From filming to projection is a mat- ter of hours with this compact, effi- cient unit. A darkroom or changing bag is necessary only for loading the G-3 reels and placing them in the tank. Thereafter, all developing op- erations are performed in daylight — speedily and safely. The stainless steel film reels accommodate up to 100 feet of Double 8 m.m., 16 m.m. or 35 m.m. film — adjust to either size by a turn of the top flange. This simple, portable unit dries from 5' to 50' of 16 m.m. film, or its equiv- alent, in about 10 minutes. Centri- fugal motion effectively removes all water without harming the emulsion or leaving water spots. Reel is col- lapsible and removable for storage or carrying. The M-30 Dryer and G-3 Developer belong in every mini- ature film fan's equipment. SEE YOUR DEALER OR WRITE — INSTRUMENT COMPANY 23 Clinton St. HUDSON, OHIO Diablo Film Claims 200 Tungsten Night filming has been made widely- possible with the new Diablo Film, distributed by Egon A. Dittman, Box 734, Berkeley 1, Calif., which is claimed to have a Tungsten emulsion speed of 200. A football parade, flower show and other night activities were filmed successfully in a test run by Dittman to indicate the high sensi- tivity of the film to Tungsten illumi- nation. Radiant Projection Screen It's washable — it's flameproof, and it's fungus and mildew-proof. Radiant has perfected a new Vyna-Flect fabric that will not burn, will not become mildewed even in dampest climates, and is washable. Victor Amplifier. A redesigned amplifier for the- Victor Triumph 60 Projector includes a new rubber-mounted, ball-bearing, self- aligning motor, such as is also used on the Victor Envoy and Lite- Weight projectors. It features high reserve gain sufficient to provide reserve out- put at input voltage as low as ninety volts. A 60 decibel signal-to-noise ratio at normal operating level insures absence of noise. To improve tone per- formance, a coupled dual tone circuit, with single control, is employed. Critical amplifier components are shock-mounted in rubber. Maximum output of the amplifier is 26 watts with less than 2% harmonic distortion. All components are climatized. Action Lights A carrying case to hold lamps and equipment, measuring ap- proximately 13" x 13" x 6" and roomy enough to hold four Action- Lites, a folding stand for the camera and a 10 foot extension cord is included with each set of four Action-Lites. Each light has its own switch and swivel-mounted socket, allowing movement up and down as well as right and left. Camera Base The Stevens Detachable Camera Base ($5 00) for the Bolex cameras, provides a large, flat bottom surface which in- sures rigidity on tripod or titler or any flat surface. Finish matches the cam- era. Stevens Engineering Co., 2604 Military Ave., Los Angeles 64. Portable Lighting Unit Testrite Instrument Co. announces the No. 55 and No. 55/4 Handilites. These units support 8mm, 16mm and still cameras, and give a good flat lighting effect which is ideal for color work. Easily held in the hand or placed on a tripod or light stand, it has a convenient switch, near the red catalyn handle. Model 55, $4. 50, accommodates two bulbs as illustrated, and Model 55/4, $8.85 list, accommodates four bulbs and contains a dim-bright switch with fuse. Light stand for above units $3.75 list. Testrite Instrument Co. Film Reperforation At li per foot in 100 ft. quantities and \yii per foot in 400 ft. quantities, Eso-S, Inc., 47th and Holly, Kansas City 2, Mo., will reperforate 16mm sound or silent film with the inter- mediate perforations permitting use in 8mm equipment or reperforate 16mm sound film for use in 16mm silent equipment. Sterling Films Sterling Films, Inc., is now located ' at 316 W. 57th St. , New York 19, N. Y. Amateur Heme Movie Reviews ***Exeellenl, +*Good, *Average ★ ★★THE KILLER CALLED TWICE. 260 foot 8mm Kodachrome by Leslie Rodger, Bombay, India. A thriller, this tells the story of a burglar who is almost a killer — until he is accidentally killed by a fall at the scene of a burglary. The opening scene is an automobile wheeling around the corner and then stopping, so that the door may serve as a background for the opening title. Opening scenes show close-ups of the walking feet of the killer. The camera gradually rises to take in the whole figure, in a very dramatic manner. The film contains a fine matte-box shot, through a key- hole, for an iris-in effect. Suspense is well maintained at the scene of the "near murder," by hands reaching from behind curtains and just missing the throat of the victim — a woman owner of precious jewels. In the bur- glary scene, a spotlight is used to follow the actions of the burglar and is well done. Photography, lighting, titling, editing and continuity all ex- cellent. The end title appears as a sheet (upon which is painted "The End") is drawn up over the body of the would-be killer. Manufacturers of PRECISION PRINTERS - DEVELOPERS STUDIO LIGHTS - WRINGERS STRAIGHTENERS - FILM DRYERS 74 CLUB NEWS The "Filming for Fun" Contest of the Northern California Council of Amateur Movie Clubs is open to all amateur 8mm and 16mm movie makers in Northern California. All entries must be made through a club affiliated with the Council. The Grand Academy Award Contest of the Council will be held in May or June of this year, with approximately $5,000.00 in prizes to be distributed. A traveling salon of prize-winners will be shown to mem- ber clubs. The "Cine-Bug," monthly bulletin of the Petaluma, California Cinema Club, made up the December issue as a Christmas greeting, which included a large picture of Santa Claus with a very good verse printed around the picture and a complete list of members and their addresses. Really a fine Christmas card. At the annual banquet of the Los Angeles 8mm Club, Fred Evans won first prize and the Babb Achievement Trophy for his film "Newsreel." Second prize went to Bob Beazell for his ' 'Wedding of Mavis Davis. ' ' Third prize and the Horton Vacation Trophy was awarded to Bill Millar for "Death Valley Travelog." The Brooklyn Amateur Cine Club presented a benefit showing of several members films for the Norwegian Hos- pital, of that city. Final judging for the 1949 General Contest of the Metropolitan Motion Picture Club, New York City, con- sumed five and one-half hours. Entries, all 16mm, ran from 125 to 1325 feet. Prizes awarded were: First, $75 00 — "Jones Beach," by George Mesaros. Second, $50.00 — "Tumbling Waters," by Leo Heffernan and third, $25.00— "Winter Escape," by Mannie Lovitch. Each person attending the Annual Christmas Party of the Amateur Mo- tion Picture Society of Albany, N. Y., brought a gift suitable for a girl 5 to 17 years old. These gifts were then presented to the girls of St. Vincent's Home. The Washington Society of Amateur Cinematographers added 28 new mem- bers to their rolls in two months time. This club can well be proud of its very attractive, 2 color, printed bulletin, easy to read and informative. The prize contest for a name for the monthly bulletin of the Berkeley, Calif. Movie Club was won by Mrs. Walter Hoener, with the name "Reel Dope." This club has formed a committee on "Group Productions" which serves as a master clearing house on movie pro- jects, aiding the filmer to procure talent, special equipment, effects, etc. Peninsula Home Movies, Unlimited, San Mateo, Calif., will start classes in Photography in February. =-•* CHURCH OFFICE MOVIE EnwTdinmenT' laucdjion • Cm wen ant All the advantages of finest 16mm projection (silent or sound) are made available at LOW COST MOVIE-MITE was the FIRST precision built, extra light weight, compact 16mm projector to be put on the market at a notably low price. MOVIE-MITE established new standards . . and leads in the production of an amazing combination of quality and economy. MOVIE-MITE, complete with speaker, weighs only 26 lbs. Universal 25-60 cycle A.C. or D.C., 105-120 volt operation. Write for details. See your dealer for demonstration. Model 63 LMB 198 50 ^ MOVIE- MITE C0RP0RATI0 Are you sending in your films for review? This service is a gratis feature of your magazine. Home Movies. WRITE FOR •JI^^^P BULK FILM FREE flFjfc I J PROCESS IT CIRCULAR ^WfgyKX YOURSELF I /FJO^\ — Pan- Pan- Ortho chromatic chromatic Weston 10 Weston 24 Weston 64 100 ft. Single 8 —$1.55 $2.35 $2.40 100 ft. Double 8— $2.35 $3.85 $3.95 100 ft. 16mm. —$2.25 $3.80 $3.90 Since the above prices do not include developing, why not get one of our low cost developing sets and develop your own movies. The set consists of develop- ing rack, tray safelight and set of prepared developing powders, together with a simple step-by-step instruc- tion sheet. 33 ft. Double 8 or 16mm. set, $5.85. We also have 100 ft. developing sets. Show your movies two hours after they are taken. FROMADER GENERA CO. Box 637 Davenport, Iowa KODACHROME DUPLICATES 8mm. or 16mm. 1 1 C PER FOOT MAIL ORDERS ACCEPTED Hollywood 16mm. INDUSTRIES Inc. 6060 Hollywood Boulevard Hollywood 28, California 75 A Get better pictures W with your projector through SOMCO PROJECTION LENSES You've put a great deal of care and planning into those precious films of yours. You've invested time, money and effort. But . . . the success of your movies depends largely upon the quality of your projection lens. Don't be satisfied with anything but top results from your projector. Be sure you are getting as much out of your films as you put into them. Send for illustrated folder showing the SOMCO line of 8mm and 16mm Cine Projection Lenses, and 35mm Slide Projection Lenses. Book Reviews Say It With Your Camera, An ap- proach to creative photography, by Jacob Deschin, with 24 pages of photo- graphs, Whittlesey House, New York City, $3.00. For almost 15 years, Jack Deschin has been writing books about photog- raphy. Most of them are on technique, but, he says, "It takes more than tech- nique to make a picture." Individuality is what makes your pictures memorable, and to show how to put it on film, this book is divided into three parts. Picture Your World re- veals how rich a medium for expression photography can be if you picture the world vou know. Techniques are Words, the major por- tion of the book, shows that photo- graphic techniques may be applied universally once their essential mean- ings as words and expressions are grasped. Here are shown specific ways in which the photographer may begin to work creatively. New Patterns, the third part, shows the relationship between subject mat- ter and the photographer's own life. Throughout the book, Mr. Deschin calls attention to some of the finest photography of today, and shows the reader how he can approach its per- fection. The Red Shoes Ballet, A study by Monk Gibbon. Illustrated. Auvergne Pub- lishers, New York, $5.75. The smashing success of "The Red Shoes Ballet" film, is a tribute to the maturing tastes of the American film- going public, as well as a just reward to the producers for their faith in a film based upon the classical ballet theme. After reading Monk Gibbon's, explanations, comments and descrip- tions on the making of "Red Shoes," we can get a better understanding why THIS ballet film succeeded where others failed, both artistically and commercially. The camera, for ex- ample, was not used as the "eye" of the legitimate-theatre audience. Under the brilliant directing of Powell, the composer, editor, dancers, scenic-artist and script-writers were able to employ the media peculiar to film-making, and thus avoided the usual pitfalls of the dance film. "Red Shoes" is primar- ily a film, and the relation of stage to audience in the ballet is secondary. Monk Gibbon's detailed account of the making of "Red Shoes," from the initial idea, employment of artists, technicians and dancers to the actual shooting of the script, affords an inside into film production. Five exquisite full-page color plates and scores of black and white illustrations form a stimulating pictorial record which every movie maker and dance enthusi- ast will treasure. The Film Hamlet, edited by Brenda Cross. Illustrated. Auvergne Publishers, New York, $2.25. This important new film book puts on record the experiences and opinions of the technicians, actors, director, editor, producer and others connected with the making of Laurence Olivier's film version of "Hamlet." Some of the essays, such as Desmond Dickinson's fascinating commentary of his use of lighting and adaptation of the cam- era, are of particular value to the practical movie-maker. In the category of the "practical," fall Roger Furse's remarks on the creation of costumes and scenic designs, Carmen Dillon on the building of sets, and Helga Cran- ston on the editing of "Hamlet." All of the essays, including those by Jean Simmons, Stanley Holloway, Alan Dent, Muir Mathiesen, Harcourt Wil- liams, Samuels. W illiam Walton and others, have been written in such a style that, even when discussing tech- nical matters, they will prove to be delightful reading for the casual film- goer. Vacation Filming • continued from Page 65 on static snapshots such as motionless scenery or people just looking at the camera. Find something for them to do, if it is only walking away or throwing bread crumbs at sea gulls. Props are important. In the West, there are exotic cactus plants, desert flowers, and magnificent rock forma- tions. Along the seashore, sand dunes, worn cliffs, stunted trees, and pictur- esque palm groves await filming. In the mountains, there is the grandeur of pines, the beauty of cliffs and the pictorial magic of snow. Also, there are people — including local tvpes such as the grizzled Indian, weatherbeaten fisherman or old mount- aineer. Thev usually like to be asked before being filmed, but become en- thusiastic subjects at the drop of a hat — or a coin. Give them something to do, whether it be mending nets, riding horses, or carving curios. Talk to them until they forget about the camera. Closeups are important. When we speak to a person, we see him at close range. Let your pictures do the same. Bring your audience face to face with the character. In Florida and other beach resorts the brilliance of the sunlight, the brightness of sand and water, and re- flections from white buildings all unite to create unusually bright scenes. This requires a reduction in lens aperture of from one to two stops. A sun shade helps reduce glare. With black and white film, an orange filter provides full correction for sky and water, giving a lush, vel- vetv quality without appreciably SIMPSON OPTICAL MANUFACTURING CO. 3200 West Carrol Avenue Chicago 24, Ml. 76 changing flesh tones. A red filter gives dramatic over-correction to sky and water, deepening them to black and causing clouds or sails to stand out vividly. The red filter is not recom- mended for closeups of individuals as it has a tendency to wash-out the faces and cause them to appear chalky. For sports, speed up the camera to thirty- two or forty-eight frames per second, especially with diving or water skiing. As in beach and desert filming, the problem of contrast presents itself in the mountains. A scene may include snow capped peaks, brilliant sky, dull rocks and impenetrable pine tree growths. The snow and sky may call for //12, for example, while the dark vegetations demand f/4. This means that a choice be made. Decide which part of the scene is most important, and expose for it, ignoring the rest. In black and white filming, the com- bination of an Aero 2 and a 50% Neutral Density filter will soften con- trast and glare in snow scenes. This filter combination darkens sky with- out increasing the contrast of the re- mainder of the scene. For emphasizing snow texture, these filters offer an ideal solution. Expose for the snow in long shots where other details are a minor part of the scenery. For closer shots, try to chose angles which will ihow a mini- mum of snow — and expose for the principal objects. In long shots of mountain land- scapes, another serious obstacle is the photographing of the invisible ultra- violet rays which show up as a curtain of purple fog. For shooting such scenes in color film, the use of a Haze filter is recommended to "weed-out" the ultra-violet. Skiing offers a virtual field day for the movie camera. Slow motion and low camera angles are particularly effective. To avoid blurring, place the camera at about a 45-degree angle to the path of action. To make the sport appear more thrilling, the camera can be tipped slightly to make a slope seem steeper. A careful job of editing starts with titles that further the mood of the movie. It's good to be on the watch for the "rustic" type of sign — the de- scriptive marker made on tree bark or wood. The beach offers sea shells to spell words or sand to trace copy with. The desert supplies colored stones. There are pine cones and branches in the mountain areas, or even twigs placed in the snow to spell out words. Your Camera • continued from Page 69 taking care to space them very evenly. Then the film can travel over little drums with teeth around the edge (called sprockets) and since the per- forations in the film will fit over the HIGHEST VALUE AT A NEW low PRICE TBaDC MASK KfG. U. S. PAl. OFF. ASK YOUR DEALER FOR DEMONSTRATION BAI A MOTION PICTURE ENGINEERING, INC., 120 VICTOR, DETROIT 3, MICH. Are you sending in your films for review? This service is a gratis feature of your Magazine, Home Movies. teeth there cannot be any slippage. We use the perforations to draw the film down the exact amount required for each frame. So here is what happens while the motor runs: toothed drums unwind film from one roll and wind it up on another. In between, at the point where the image is photographed, another mechanism operates. Called the "claw" or "intermittent move- ment," it consists of a little steel pin which enters a perforation, moves the film down the space of one image, moves out of the film and swings up again. Then it enters the next perfora- tion and repeats the cycle. All of these parts, taken together, RENTAL LIBRARY FREE! CAMERA STORES PEEMESS I NEST HOME MOVIE SELECT I 138 E.44th St., New York I7J.Y. 1 77 FILM LIBRARIES 8MM AND I6MM FILMS WHERE TO RENT OR BUY SOUND OR SILENT Master TITLEER designed with tailored bases for all popular 8 16mm cameras. SIMPLE • VERSATILE • ACCURATE for large or small titles, ultra close work, etc $ 1 2.35 * TITLITES for illumination of title area $6.12"* TITLTRIX for producing trick titles .$6.12* TITLETTERS 7 16" metal letters. 150 characters. Choice of White, Blue, Gold, Black, Silver or Red $4.95 TITLKIT assortment of colored mater- ial and translucent screens $2. 1 5 TITLINER use with ANY camera, movie or still, to assure ACCURATE alignment of areas. No guess work when it is used. A//gnmenf Guaran- feed $5.56* ('includes excise tax) See Your Dealer or write for free booklet with useful titling information, also literature on the Ultra-Focuser & Titliner. HOLLYWOOD « PRODUCTS Lakeland Village Elsinore, California KAYDEE MOVIE ACTION EDITOR 8MM or 16MM S19»* LESS LAMP One of the most revolutionary motion picture editors ever made. Exceptional sturdy con- struction plus clearer sharper viewing makes the KAYDEE EDITOR one of the finest movie accessories available today. A large 3 x 4" viewing screen projects your pictures before you in full motion as the film glides safely through. KAYDEE MOVIE ACTION EDITOR is also available with an automatic splicer, two 400' rewinds on a large board to which the entire unit may be mounted. *$JS*f).0^» DELTA PHOTO SUPPLY 690 Third AvenuefDept. HM52)New York 17.N.Y- ALABAMA BRIMINGHAM Evans Motion Picture Co. 2107 Fifth Ave. North (3) ARIZONA PHOENIX Movie Center 119 West McDowell St. CALIFORNIA HOLLYWOOD Camera Craft Film Library 6764 Lexington Avenue HE 6856 Castle's, Inc. 1529 Vine Street GL-5901 Hollywood Camera Ex. 1600 Cahuegna Blvd. HO. 3651 LOS ANGELES Films Incorporated 1709 West Eighth St. REDWOOD CITY Sequoia Audio-Visual Service 1055 1 2 Brewster Ave. Phone: EMerson 4522 SAN BERNARDINO Valley Film Library 1657 E. Street SAN FRANCISCO Brooks Cameras 56 Kearny Street ILLINOIS CHICAGO Films Incorporated 64 East Lake St. Ideal Pictures Corp. 28-34 East Eighth St Parthenon Film Libraries P. O. Box 1177-D KANSAS HUTCHINSON Don E. Reger Film Rental Library Box 864, 5H W. Sherman MARYLAND BALTIMORE Lewy Studio? 853 North Euiaw St. at Biddle Stark Films 537 North Howard St. (1) MASSACHUSETTS BOSTON Don Elder's Film Library 208 Newbury St., Dept. HM NEW JERSEY PASSAIC The No-Wat-Ka Co. 257 Main St. NEW YORK ALBANY Hallenbeck & Riley 558-562 Broadway BROOKLYN Reed 4 Reed Distributors, Inc. 7508 Third Ave. (9) NEW YORK CITY Commonwealth Pictures Corp. 723 Seventh Ave. Films Incorporated 330 West 42nd St. Institutional Cinema Service, Inc. 1560 Broadway (19) Mogull's Films 4 Camera Exchange, Inc. 55 West 48th St (Radio City) Nu Art Films, Inc. 145 West 45th St OHIO CLEVELAND Sunray Films, Inc. Film Bldg., 2108 Payne Ave. OREGON PORTLAND Films Incorporated 314 S.W. Ninth Ave. PENNSYLVANIA ALLENTOWN Commercial and Home Movie Service 727-729 West 19th St PHILADELPHIA Ted Kruger 3145 N. Broad St READING Hollywood Film Service 116 No. 9th Street RHODE ISLAND PROVIDENCE Samson's Picture Service 35 Portland St (7) TENNESSEE CHATTANOOGA Grady Young Pictures. 837 McCallie Avenue WASHINGTON, D.C. International Cine Society 1300 Taylor N.W., Dept. 102-K WISCONSIN MILWAUKEE Movie Mart 4518 West Burleigh St. Phone: Hilltop 1509 MANY DEALERS LISTED ABOVE RENT PROJECTORS AND SCREENS: ALSO HAVE COMPETENT PROJECTOR OPERATORS AVAILABLE Are you sending in your films for review? This service is a gratis feature of your magazine, Home Movies. Here is a rare oppor- tunity for the home- movie maker to learn how and what made RED SHOES "Red Shoes" the great film it is. In this delightfully readable book Monk Gibbon gives an intimate, detailed account of every phase of film making. Beautifi'lly illustrated in black and whjte. with S full-page color plates. $5.75. • • •t«i«;«;«:*:«;«;«:*;«:«]*:«:«;«:*!« • •]•!•;•:• • I HAMLET This lively new approach to Laurence Olivier's masterpiece. "Hamlet" brings to you the participating artists own story of their part in creating this classis of the modern screen . . . the director, scenic designers, producer, editor, camera man and others. Dozens of illustrations create a stimulating visual pleasure and permanent record for reference. $2.25. Auverene Publishers. 63 Fifth Avenue, New York City 3. X. Y. Please send me the following books on the film. □ C.O.D. □ Cash Enclosed _ Red Shoes $5.75 Z Hamlet $2.25 _ Ernest Lindgren. "The Art Of Th? Film:" an introduction to film appreciation $4.00 □ Send me FREE CATALOG on movie books. Xame Address City State . i Dept. HM 1 AUVERGNE PUBLISHERS, 63 Fifth Ave, New York 3 I 78 n II \ow- S YNC H RON IZED SOUND FOR YOUR 8 AND 16 M.M. HOME MOVIES make up the film transport mechanism. If your camera happens to be of the magazine loading type, which is very likely these days, you will never see this mechanism, because it is inside the magazine. However, you will see the claw move up and down when the motor runs with no magazine in the camera. If the camera is of the spool loading type, you can see all of the parts. If it is spool loading, the camera will have a film gate — a hinged metal plate to hold the film flat and in the correct position behind the lens. If so, this gate must be kept scrupulously clean. Little particles of film have a tendency to cake in the gate, causing serious film scratches. So clean the gate fre- quently with a soft cloth, and if there is anv accumulation of hard matter, remove it with something like a wooden toothpick, moistened if need be. Never, never use any metal object which might scratch the gate, or you may do it permanent damage. Up to this point, we have purposely omitted any discussion of a very im- portant part of the camera — the lens. This item is so vital that we are going to devote an entire article to it. We shall, at this point, mention only one point about good camera operation, but it is a vital secret of good picture making. Hold the cam- era steady, and hold it still. Find a comfortable, relaxed position so that you can hold the camera with a mini- mum of shake, point it at the scene you want — then hold it still for the duration of the scene! Don't bob around like a prizefighter shadow- boxing. Hold the camera still, and when vou see the pictures on the screen, vou 11 be glad you did. So will the spectators, family, friends and neighbors, to whom you show your films. After all, the only reason for making a film is for the pleasure of showing it. Color Film • continued from Page 68 taken that both halves of the scene not only receive the same exposure, but also that they are exposed to light of the same color. Scenes of this type usually take up some little time in preparation and rehearsal, and if the light should change materially be- tween the shooting of the two halves — white clouds drifting about, haze developing, or other weather change — the two portions may fail to match. The simplest way to insure this is to shoot scenes on a day when the light- ing conditions are stable. Otherwise, a color temperature meter and suitable correction filters may be needed. One of the simplest of all effects is the use of camera motor speeds above or be.low normal, to slow down action or speed it up. If we shoot a scene at 48 or 72 frames per second, the action Wl tl, MOVIEVOX Now You Can Add Perfect "Lip-Sync" Sound to Home Movies Using Your Present Projector Now you can dub sound on a wire recorder and play back in perfect synchronization. The new MOVIE- VOX synchronizer keeps projector and recorder in perfect step — every time — automatically. Mistakes made in recording can be magnetically erased and quickly corrected. You can't miss with the MOVIE- VOX! Connects to any 8mm or 16mm projector — silent or sound. MOVIEVOX — complete with synchronizer, microphone, amplifier, wire recorder, speaker, all necessary cords — sells at your dealer's for $225.00. Or the MOVIEVOX synchronizer can be installed on your Webster wire recorder and projector for only $75.00. See your dealer today — or write for illustrated literature. O VI E VO X THE MOVIEVOX COMPANY DEPT. H 1113 PLEASANTON ROAD • SAN ANTONIO 4, TEXAS TITLES MADE TO ORDER 16MM and 8MM Kodathrome and Black and White Send for FREE Listing FILM EXCHANGE 154 Nassau St. New York 7, N. Y. MONEY RANTEE Camera to • Steadies Yoi rdL Shooting • Adapts for Movie or Still Camera • Telescopes from 32" to 56' \ / * Lightweight, only 12 ox. • Standard thread. Locking nut • Perfect Walking Stick on Field Trip* Write for Free Circular » ' * SI-POD • BOX 491 A • CULVER CITY, CALIF. 3 00 POST PAID HOME MOVIES DESIGNED TO DELIGHT! Vie Very latest New 100 ft. releases 16mm $6.00 avail- able in sound: 8mm. $5.50. HELENE DIST. CO. 182 Pcocc St. Pro*., R. 1. FREE LIST ON REQUEST BMM — 16MM KODACHROMEwL 8 MM Enlarged to 16. E~ »6 MM Reduced to 8. [Free Cotdocj on Request 79 A New Name in Movie film Brings you Outstanding Values GUARANTEED FRESH BLACK & WHITE PANCHROMATIC FILM Arco Movie Film is a terrific buy for critical movie fans. You get fresh, fine grain, pan- chromatic film plus the "extra" of individual attention to every roll of film. Our automatic processing machines insure even development right out of the edge of every frame. Where the exposure is above or below normal, corrective developmen i brings out all possible detail. When ready, the film is carefully wound on spools and re- turned quickly and safely. LOOK AT THESE PRICES! Weston 50, Tungsten 32 8mm— 25 ft. Double 8 $1.80 16mm— lOOft 4.80 1 6mm Magazine— 50 ft 2.95 24 Hour laboratory Processing Included WE PROCESS ANY BRAND OF B & W FILM! 24 Hour laboratory Service 8mm— 25 ft. Double 8 60c 16mm— 50 ft 60c 1 6mm— 100 ft 80e B & W FILM DUPLICATING 1 6mm to 8mm 6e per 1 6mm ft. 1 6mm to 1 6mm 4c per 1 6mm ft. SEND CHECK OR MONEY ORDER $1.00 DEPOSIT ON C.O.D. Dept. 102 ARCO MOVIE FILMS, INC. 8616 Fourth Avenue Brooklyn 9, N.Y. 1 EASYTimePaymentson 1 BELL & HOWELL, KEYSTONE, I REVERE, VICTOR, NATCO, | DE VRY, MOVIE-MITE, etc. ijjf Also films of all kinds. !J We buy, sell and exchange films and equipment. Free Catalogues (Slate 8mm, 16mm, or sound) FRANK LANE & CO. 5 Little Bldg., Boston, Mass. \1 Presenting to the 16mm Cameraman— Our Exclusive; 9ft A Tungsten B&\BP\# On Weston meter Diablo Cine Film Y B4S.98 per 100 ft. tari Processus >r ^> California orders add 3% Sales Tax \? (See your dealer, or order direct) <^ SEGON A. DITTMAN, C.T. <> P. O. Box 734 BERKELEY 1, Calif. ^> »»»»»»»»»»»»»»»» SI I lie 'Treasured Memories1! World Famous California Spring Garden Show = 469 feet KODACHROME - - $80 | California orders add Jc/r Sales Tax EGON A. DITTMAN, C.T. P.O. BOX 7J4 BERKELEY 1, CALIF. ■ ■ ■ ■ : will be slowed down very considerably when the picture is screened. If we shoot at 12 or 8, screen action will be correspondingly speeded up. Two favorite effects which involve no serious difference in color are re- verse-action and stop-camera shots. Reverse action is probably the all-time favorite in camera tricks with the beginners, and with a good many more advanced home filmers. The cam- era is held upside down and the scene shot as usual. When the film comes back, this scene is cut out, turned end for end, and joined up again. Everything will then proceed in reverse. Stop-camera is almost as easy, and also very popular. The camera is stopped at a given moment, and some- thing is taken away from the scene or added to it. Then the camera is started again. The screen effect is that of a sudden disappearance or appearance, whether it be an object or a person. Masks for Effects • continued from Page GJf. key from the rest of the picture in order to accentuate it as a dream. (D) The size of the mask will vary according to its distance from the lens. This does not matter with straight vertical or horizontal divisions, pro- vided the mask is large enough. But where irregular shapes are used, the mask must be just the right size, and this can be determined for a one-inch lens (16mm camera) or half-inch lens (8mm camera) by multiplying .4 by the number of inches in front of the lens for the width of the mask, and .3 for the height. For instance, a mask five inches in front of the lens would be .4x5 by .3 x 5, or 2" by l}4" . It is the same formula as that applied to title sizes. (E) For all mask shots (except such shots as dream sequences where the two parts of the shot are not taken in the same location), the camera must be mounted on a rigid tripod, or other support. It must be sufficiently rigid so that the film can be backwound with- out any movement whatever of the camera. This, of course, is because the scene is taken in two or more sections, and if they fail to match exactly, the whole effect is spoiled. Tag Day • continued from Page 63 least a beginning and end title. Short lengths left at the end of a roll are ideal for making them. 7. Single Frames. Don't overlook the possibilities of using a quantity of the single frame scenes which can be ob- tained on movie film, and used for a novelty. A San Francisco amateur made a clever Christmas card by draw- ing a church scene on a white card, including in the scene a picture of a THREE NEW ONE REEL SHORT SUBJECTS Midnight Follies Variety Girls Sweethearts of Burlesque Many other subjects in our Library Write for Catalog of 16mm and 8mm films Quality Pictures Co. 5634 Santa Monica Blvd. Hollywood 38, California fc, . cutoffs mm ^ *7oiloble -,th sound. m TASC0 SUPPLY CO. m P. O. BOX 6, NORTH STATION **~ PROVIDENCE, R. I. ™ Vfrftt f7 MOTION PICTURE wMM PRINTERS CONTINUOUS REDUCTION SEND FOR DESCRIPTIVE LITERATURE UHLER O^te ZtocfateGr. 15778 WYOMING AVE. DETR0IT2I.MICH PARTY FILMS! lw free. For -out OF THIS WORLD." revealing most thrilling dances ever flmed, send only $1.00 (state if projector Smm. — 16mm., silent or Sound * to: FRED GARCIA 12061 Neenach St.. Sun Valley. Calif. "STOP APOLIGIZING" FOR YOUR MOVIE TITLES Write today for a FREE A-to-Z Sample Title Test Kit. Make titles that are different . . . better and tailored to your taste. Try our method . . . FREE. Complete color or B.&W. Outfit S6.50 A-to-Z MOVIE ACCESSORIES 175 Fifth Avenue Dept. H New York 10, N.Y. EXCITING FILMS! Home Movies, all types. Send just one dollar for "GLAMOROUS EXCIT- ING STARS." with five gorgeous Model Stars, and free List. State size projector. Send only $1.00 for this Exciting Film to . . . VIRGINIA ROUNDS 5423 Lexington Ave., Hollywood. Calif. Distinctive TITLES and Expert EDITING For the Amateur and Professional 16mm, - 8mn Black and White - Kodachrome Price list on Request STAHL EDITING & TITLING SERVICE 33 West 42nd Street New York, N. Y. OUTSTANDING ART FILMS Never Before Offered For Sale Order by No. 1, 1, 3, 4, 5, 6, 7, 8, 9 8mm $2.75 16mm $5.00 8x10 glossy photo of subject matter 25 cents to cover handling CRITERION FILMS 1600 Chancellor St. • Phila. 3, Penn. 84 CLASSIFIED ADVERTISING RATES: 10c per word. Minimum ad $2. Add 5c per word for text in capitals. EQUIPMENT FOR SALE YOUR CAMERA NOW HAS A PUBLISHED TRADE-IN ALLOWANCE VALUE!! Only at MINIFILM can you obtain an actual Trade-ln- Allowance price schedule! Don't be in the Dark! Call or Write for your FREE copy NOW . . . Below are samples of our unbeatable values! Simply deduct the Trade-in-Allowance of your present camera from the price of that New or Used Camera you desire! Of course your selection is insured, because our 10 day FREE trial period full refund terms plus one year guar- antee, is always in effect at MINIFILM! Trade- in Al low- New Used ance 8mm Revere 88, F/2.5, ctd $ 74.50 $ 45.00 $ 35.00 8mm Revere Mag. F/2.5 87.50 54.50 40.00 8mm Revere Mag. Turret, F/2.5 104.00 67.50 55.00 8mm Kodak Mag. F/1.9 ctd. . . 147.50 109.00 80.00 8mm DeJur Mag. Embassy F/2.5 99.50 64.00 55.00 16mm Revere Mag. F/2.5 ctd.. 130.00 94.00 70.00 16mm Revere Mag. F/1.9 ctd... 150.00 115.00 85.00 16mm Kodak Mag. F/1.9 ctd.. . 175.00 117.00 85.00 16mm BAH 70DA Turret, F/1.9 ctd 307.17 245.00 165.00 16mm Bolex H16 Turret, FC F/1.5ctd 337.00 225.00 150.00 8mm Revere P85 Pro. 500W. . . 99.50 64.00 50.00 8mm DeJur 750 Pro. 750W. . . . 139.50 94.00 80.00 8mm BAH Regent Prj. 500W. . 149.50 99.50 85.00 8mm Keystone R8 Prj. 500W. . 74.50 53.00 40.00 16mm Keystone A82 Prj. 750W 99.50 61.50 45.00 16mm Revere Prj. 750W 137.50 91.00 75.00 16mm BAH Diplomat 750W. . . 273.30 159.00 125.00 16mm Revere Sound Prj 287.50 197.00 160.00 16mm Natco Sound Prj 289.00 189.00 165.00 Always a Ten Day Free Trial Plus a One Year Guaran- tee of Minifilm ! Mail and phone orders accepted. All C.O.D. orders must be accompanied by a 10% deposit. Convenient terms. MINIFILM 1190 Sixth Ave. N.Y. 19, N.Y., LU 2-1416 750 WATT PROJECTION LAMP $2.25 each in lots of twelve $5.00 for Sample order of two Remittance with Order ZENITH MOVIE SUPPLY CO. 308 W. 44th St., New York City • CINE LENSES — High Speed, Wide Angle, Tele- photo. For those sparkling outdoor and indoor winter pictures. COATED FOR 8MM CAMERAS 9mm F/2.5 Wollensak Wide Angle Universal Focus S 43.75 y," F/1.9 Berthiot Cinor (Focusing Mount).. . 39.50 W F/3.5 Telephoto Anastigmat (3 time magnification) (in focusing mount) 36.50 IN FOCUSING MOUNTS COATED FOR 16MM CAMERAS 17mm F/2.7 Carl Meyer Wide Angle 49.50 1" F/1.9 Wollensak Raptar 58.09 2" F/2 Schneider Xenon 99.50 3" F/2.8 Carl Zeiss Tessar 109.50 6" F/5.5 Schneider Tele-Xenar 124.50 These are only a few of our tremendous selection — the world's largest stock of lenses. We have what you want — 15 days trial — satisfaction guaranteed. Send this ad in for free catalog and lens list. BURKE A JAMES, INC. 321 So. Wabash Avenue Chicago, III., USA Att.: H. A. Manay BASS SAYS: If you would buy, or sell or trade A Bass deal is the best that's made. CHARLES BASS, President. 8mm Movikon K, Sonnar F/2, Foe. Mt. Case . . $ 95.00 Bolex H-8, Cooke F/2.5 fixed focus with lap dis- solve, lu" Berthiot F/3.5, 3" Berthiot F/3.5, Case . . 245.00 Factory new 200 ft. Magazines for Cine Special, Black 275.00 16mm B. A H. 70D, 20mm F/2. 9 coated 1" Plas- mat F/1.5 wide angle, 2" Cooke F/3.5, Case. 235.00 Bolex H-16, Plasmat F/1.5, 1" fixed focus and wide angle attachment, 3" Trioplan F/2.8 coated, Comb. Case 245.00 16mm Zeiss Movikon, Sonnar F/1.4 325.00 We buy 'em, sell 'em, trade 'em. Complete stocks of new Cine Equipment, all makes. BASS CAMERA COMPANY. DEPT. HM 179 W. Madison St. Chicago 2, III EQUIPMENT FOR SALE • NEW model Bolex H-16, Eye-level focusing, F/1.9 lens, $298.50. (Modernize yours: Eye-level focus $42.50). Super wide angle F/1.5 13mm $88.25. Everything for Bolex (Specializing !) SEYMOUR'S, 245-1 West 34 Street, New York. • SPECIAL 16MM EQUIPMENT designed and built Synchronous motors installed. Synchronous projectors and FILM PHONOGRAPHS for sale or rent. M. W. PALMER, 468 Riverside Drive, New York 27, New York. • NEW . . . DIFFERENT . . . Special Effects and $100.00 a week with any movie camera. Simplified illus- trated book, $1.00. CORALART PRODUCTIONS, Box 441, Milford, Conn. • ZEISS Ikon 35mm camera with F:3.5 Novar An- astigmat lens, compur shutter. For quick sale, $75.00 with case, used only once. ip Box MS 202, HOME MOVIES 3923 W. Sixth St., Los Angeles 5, Calif. • SPECIAL Lens Mountings. Winding Keys. Flanges made to order. Bellows installed, any broken camera repaired. Estimates oiven. Prompt service. KENSING- TON CAMERA SHOP, No. 1 Conn. Ave., Kensington, Md. Dept. D. • THE NEW Auricon "Cine-Voice" Sound camera for advanced amateurs and professionals. See it here. 100' capacity, complete with amplifier, mike, batteries, and carrying case $695.00. Bolex H-16 with 1" F/1.5 lens and carrying case like new $249.00. Kodak Model K with 1" F/1.9 lens and carrying case in like new condition $95.00. Colortran converters to boost ordinary 150 watt bulbs to more than 750 watts each on ordinary house current $27.50. THE CAMERA MART, INC., 70 West 45th St., New York. • "CINE" SPECIAL: F/1.9 and 2.7 wide angle lens, custom made masks, case, filters, Weston meter. A-l condition, $500.00. JOE COOKE, 89-14 107th St., Richmond Hill 18, New York. • AURICON SINGLE system sound camera Mod-CT 70, new high fidelity E-6 microphone, portable power supply, extra battery, tripod, Y shaped dolly. NATIONAL TELEVISION GUILD, 801 Greenwich St., New York 14, N. Y. • DEVRY SOUND special, buy early, Armed Forces taking most of 1950 production. One demonstrator avail- able $394.50 value, a great buy $320.00. THEODORE JOHNS, 21 Castine Street, Bangor, Maine. • BEST OFFER will take . . . Revere 16mm Magazine camera, Wollensak F/1.9 Cine Raptar lens. Used twice, like new, cost $150.00. WILLIAM GRODIS, 22 Loring Street, South Boston 27, Mass. • DEVRY BANTAM 16mm Sound Projector. Never used, cost $345.00, wll sell for $275.00 C. O. D. ROBERT SEVERANCE. 1269 - 26th Street, San Bernardino, Calif. • SIEMENS, 16mm model FN. Precision Import. Ex- quisite design and finish. Complete with matched set of coated Schneider Kreuznach lenses: 25mm F/1.5 Xenon, 16mm F/1.9 Xenon W.A., 75mm F/3.8 Tele Xenar. Built- in Zoom finder for accessory lenses, waist level finder, ingenious parallax adjustment. Runs 29 feet one winding. Complete with compartment case, extra magazines, $275.00. SIEMENS, 16mm model B, magazine load, 20mm F/2.8. Extra magazines, case. $57.50. KODAK CINE SPECIAL, F/1.9 lens, outstanding. $370.00. REVERE 16mm, 750 watt projector, case. $84.00. BELL A HOWELL 16mm Filmotion Editor, complete. $84.50. KODAK 16mm Editing Kit, complete. $47.50. EMEL, Imported 8mm Turret. Takes standard Double-8mm film. Complete with Vi" F/1.9, Wide Angle, 1", lyi", 2", 3" lenses. Case, accessories. $200.00. EASTMAN CINE 63mm F/2.7 Telephoto. $44.50. BERTHIOT y2' F/1.9 Cinor, focusing mount, for 8mm. $18.00. Equip- ment Guaranteed Like New. Ten Day Money Back Guarantee. Shipments Free of Charge. AMERICAN CAMERA EXCHANGE, 210 W. 7th St., Los Angeles 14, Calif. Telephone VA. 3855. FILMS FOR RENT OR SALE RENTAL BY MAIL 16MM SOUND FEATURES $3.95 Picked Up at Store $2.95 400 Ft. Shorts 49c Send for FREE Catalog— HM LIBERTY CAMERA SHOP, 80 Vesey St., N. Y. • ARTISTS ATTENTION, exotic models in BRAND NEW releases. Daringly posed — privately produced. Designed for Art students, Artists, etc. Sample 100' 16mm $£.00, or RUSH 25 1 for catalogue, etc., to CORALART, Dept. HM, Box 441, Milford, Conn. FILMS FOR RENT OR SALE • HOLLYWOOD MODELS 8mm A 16mm. Silent. Sound. Kodachrome. Films Free Catalogue. FINE ARTS FILM CO., P.O. Box 2084, San Antonio 6 Texas. • PEARL WHITE in "Terror." Pola Negri in "Gypsy Blood." Mack Sennett comedies. 8mm-16mm. MOVIE CLASSICS, Box 3602, Philadelphia 25, Pennsylvania. • 1950 ROSE PARADE filmed with Zoomar, 16mm, 8mm. JOHN TYLER, 603 Alta, Santa Monica, Calit. • ARTISTS and art collectors films— 8mm 50 ft. $2.75, 16mm 100 ft. $6.00, 10 art color slides $2.50. Send for free list. SHAWMUT PRODUCTIONS, P.O. Box 132, Elmwood Station, Providence 7, R.I. • UNUSUAL FILMS for piivate collections 8mm 50 ft. $2.75. 16mm 100 ft. $6.00. 10 art color slides $2.50, with viewer $3.25. Send for free list. PROVIDENCE FILM EXCHANGE, P.O. Box 357, Olneyville Station, Providence, R.I. • SAUCY, SOPHISTICATED movies! 100 ft. 16mm $6.00, sound available; 8mm $5.50. Free list. HELENE DIST. CO., 382 Peace St., Providence, R.I. • ARTISTS A COLLECTORS Items. Over 100 35mm slides beautiful color poses also BAW photos excellent outdoor photography. 16mm 100' A 400' reels BAW or color movie subjects. Send stamp for list. CHARLES BRIGGS PHOTO SERVICE, Dept. M, Box 9823 Los Feliz Sta., Hollywood 27, Calif. • "CREATION OF LIFE"— Startling new series in- cluding: Story of Conception, Normal Delivery, Twins by Breech and Delivery with Forceps. Sample reel 16mm.— $5.00, 8mm— $3.50. SHERWOOD PICTURES CORPORATION, 1569H Broadway, Brooklyn 7, N. Y. • HOME MOVIES FANS join our happy members from coast to coast. Membership Card $1.00 a year. Rent silent and sound films at half rates. Free rental monthly. Keep films up to 4 days. Big discount on new films. Send for Membership Card and complete plan with catalogue. MIDWEST FILM CLUB, Dept. 2, 4758 W. Madison Street, Chicago 44, Illinois. • BIRTH OF A BABY— "CHILDBIRTH." Outstand- ing film of the complete process of childbirth. 16mm — $10.00. 8mm— $5.50 postpaid. MEDICAL RESEARCH. 1569 Broadway, Brooklyn 7, N. Y. • "HIGH HEELS and Shapely Siren," two of Holly- wood's sultriest movies, are now ready! They're both unusual, exciting GLAMOUR HLMS, starring two of the most alluring models you've ever seen. PRICES: 100' 16mm $6.50, 50' 8mm $3.75, OR both for $11.00 in 16mm or $6.50 in 8mm. Send 25c for our GIANT cata- logue, packed with exclusive releases you'll want to own. EMPIRE, Dept. H, P.O. Box 23, White Plains, N. Y. • USED and new Castle films. 8-16mm. silent and sound. Send for lists. ALVES PHOTO SERVICE, INC. 14 Storrs Ave., Braintree 84, Mass. • 16MM. COLOR motion pictures of Hawaii and Samoa available in sound or silent. CINE-PIC HAWAII 1837 Fort St., Honolulu, Hawaii. • FREE 8-16mm "END" title. Unscramble "YHPORT SERUTCIP"— send answer to, TROPHY, No. 27 Valley Village Station, North Hollywood, California. • PROJECTOR owners! 16mm sound, silent, 8mm brand new prints; Exclusive Releases; Art, Comedy, Adventure; ridiculous prices. Write for list. BLAKELY, 1136 N. Formosa, Hollywood. • LOWER Cost Home Movies! New Castle, Officia Sports, Comedies, Travels, Musicals, etc. Lists 10c TURKE FILMS, Hinsdale, Illinois. • ATTENTION MOVIE FANS! Latest selection of Home Movie Entertainment. 8-16mm Silent, Sound Features. Comedies, Shorts. Join our club. $1.00 yearly. Special discounts to members. Send for membership card or write for details to PARTHENON FILM LIBRARIES, H 2, P.O. Box 1177-N, Chicago, III. • TERRIFIC SAVINGS At Imperial on 16mm sound, silent and 8mm. Special 100' sound shorts, slightly used, top stars, attractively boxed— $1.75, 3 for $5.00. Over 1 000 titles. Refund if dissatisfied. Liberal discounts on ail new film. Used reels and cans, priced low. Write for free lists and catalogues. IMPERIAL ENTERPRISE, INC., Dept. H-A, 2010 74th Street, Brooklyn 4, N.Y. • DEAR HOME MOVIE FAN. At last we have the film you have been waiting to get . . ."THE ANTARCTIC" ... a film of authentic operations of the Byrd-U. S. Ant- arctic Expedition 1940 . . . now released in 8mm, 16mm size. Penguins, Seals, Whales at play, Men working, Dog Teams, Ice Breaking out, Excitement, Dangers. Also coming is "Pitcairn Island," the home of the Mutiny on the Bounty. "Rapa Island," the small Island in the Pacific seldon visited by ships. "The Straits of Magellon," a picturesque trip through this treacherous water passage. Send for catalogue, 5 cents. These four films by "TEX" HELM Cameraman. GRACE A "TEX" HELM TRAVEL FILMS, Dept. HMA, Carlsbad, New Mexico. 85 FILMS FOR RENT OR SALE • 16MM SOUND Musicals, Comedies, Novelties and Oldtime Movie Shorts. Dealers prices. JUBILEE, 723 7th Ave., New York 19. • FREE! AMAZING! NEW! Movies loaned free— receive unlimited number of subjects each week. Send $1.00 for listings to obtain films loan-free. EDUCA- TIONAL FILM CENTER, Dept. H, 133 Murray Street, Elizabeth 2, New Jersey. • 16MM SOUND FILMS. SHORT SUBJECTS 15 00 REEL, FEATURES $35.00. Exchange your films for 65 cents. BEDNER, 5300 So. Talman, Chicago, III. • "MIDNIGHT FANTASY" feature 8mm. rental $1.50. Purchase $14.75. Guaranteed entertainment! ESO-S, 47th & Holly, Kansas City 2, Mo. • "LADY EVE" GLAMOUR— EXCLUSIVE MOVIES. Projectors, Screens, Viewers, Strip-Films. Free catalog. HOME PIX, 1674 Broadway, New York 19, N.Y. • MISS America of 1949— 8mm. 50' Kodachrome, $7.50 (B & W, $2.00) ; 16mm. 100' Kodachrome, silent $14.75 (B <& W, $4.00). Free catalog. ESO-S, 47th and Holly, Kansas City 2, Missouri. • YELLOWSTONE 50' 8mm Kodachrome $7.50; 50' 8mm bdw $1.75. Postpaid. Free catalog. ESO-S, 47th & Holly, Kansas City 2, Missouri. • CANADIANS: Send for Castle silent and sound film lists. Lowest prices. CADWALLADER'S, 996 Westou Road, Toronto. • ARTISTS APPROVE and so will you! Exclusive films 100 ft. releases 8mm $5.50; 16mm S6.00 available with sound. Send for complete listing. TASCO SUPPLY COM- PANY, P.O. Box 6, North Station, Providence, R. I. • FILMS GALORE— 50 ft. 8mm $2.75, 100 ft. 16mm 56,00, with sound $8.75— "Creation of Life" com. ed. 8mm S7.50, 16mm $14.75— write for free catalogue to CAMERA SHOP, 760 Broad St., Providence, R. I. • 1950 ROSE PARADE MOVIES. Kodachrome. 8mm 100' S14.95, 16mm 200' $29.95 plus sales tax and ship chgs. C.O.D.'s accepted. AVALON DAGGETT 441 No Orange Drive, Los Angeles 36, Calif. • BUDGET FEATURE programs only $3.75, send for 1950 catalog FREE. VALLEY FILM LIBRARY, 1657 E Street, San Bernardino, Calif. WANTED • 1950 CONSOLIDATED catalog listing 16mm Sound FREE films, many in color. $1.00 postpaid. CONSOLI- DATED FILMS, INC., P.O. Box 981, San Bernardino, Calif. • UNUSUAL FILMS — America's greatest collection of new, unusual 8-16mm entertainment. Over 200 titles, silent, sound. Rush airmail stamp for big free listings. LENSCRAFT CORP., Dept. ML, 3105 Oakland Ave , Dallas, Texas. • RED STALLION in color; "Joe Palooka, Champ;'' ' Junior Prom" and many other new 16mm sound films for rent to homes, schools, churches and roadshows. The best in short subjects with Laurel and Hardy, Abbott and Costello, Woody Woodpecker, Mighty Mouse and others Send 10c for your copy of the 1950 Sound Film Rental Catalog. LAWRENCE CAMERA SHOP, Film Service Department, 149 No. Broadway, Wichita 2, Kansas. • REEL BUYS in 16mm sound features, shorts, two- reelers, soundies, and "grab bags," from private film collection. Write for free lists. Address: BILL STERN 4 Freeman Square, Lynn, Mass. • CLEARANCE— Color Shorts. 100' 16mm Silent- $11.00 each. Write for list. WURTELE FILM PRODUC- TIONS, Box 504, Orlando, Florida. • BEAUTIFUL ROSE PARADE in color— 8mm 100' $14.75, 200' $27.50, 16mm 200' $27.50, 400' S55.00 NORM JACOT, 653- 26th St., Manhattan Beach, Calif. • 12 100' 16MM used "Soundies" musicals (assorted), $9.95 plus postage. Others 12 for $13.95, 12 for S15.95. Big list titles and other 16mm bargains. BLACKHAWK FILMS, Dept. HM, Davenport, Iowa. • ARTISTS' FILMS! New 1950 8mm-16mm film re- leases of Hollywood's most beautiful models. Big dis- counts! Free film sample and lists. L. ST. JOHN, P.O. Box 15612, Crenshaw Sta., Los Angeles 8, Calif. • 400 FT. 16MM silent subjects, all good condition Castle, Official, etc., $4.50 each; 3 for $13.00. Sound subjects, $7.50 to $9.00; guaranteed perfect. 8mm sub- jects, 200 ft., perfect, $2.50; include postage; specify list wanted. ABBE, 503 Fifth Ave., N. Y. 17. • BIGGEST 16MM sound film bargain! Twelve good used 100' "Soundies" musicals, $9.95 plus postage. Hundreds of titles available at $1.49 each. Write for our big list. BLACKHAWK FILMS, Department HM, Davenport, Iowa. • WANTED— Used equipment. Bargain list on request. PETERS, 41-B South 4th St., Allentown, Pa. • LABORATORY Projection Reels, 8mm. We pay (in trade) 4c for 50' and 2Kc for 30' reels and refund postage! Ask for our DeLuxe 40 page Catalog! ESO-S, 47th & Holly, Kansas City 2, Mo. • WANTED. We'll pay hard cash for silent or sound, 8mm or 16mm, new or used movie film. Write and tell us what films you have, and how much you want for them. CAMERA SHOP, 760 Broad St., Providence, R. I. • WANTED— Used 16mm. sound FEATURES in good condition. Give title, condition and price desired. Will purchase complete private sound film libraries. What have you to offer? TED KRUGER, 3145 N. Broad St. Phila.. Penn. • WE'RE IN THE MARKET for outdated movie film, used movie and still equipment. Turn old and unused items into real cash. CAMERA SHOP, 760 Broad St., Providence, R. I. • ORIGINAL 828 color slides, no duplicates. Art sub- jects, travel, general interest. Address: L. NORRIS, Linden Hotel, 317 North Illinois St., Indianapolis, Ind. FILMS FOR EXCHANGE • ONE Dollar and your reel in trade for a different reel. Shipped postpaid immediately. CLUB, 422 Haven Ave., Hamilton, Ohio. • TIRED of your Movie Films! Join Trading Club- Mention your mm. Write GALLARD'S MOVI ELAND 29A Coe Ave., Hillside 5, N. J. • SOUND FEATURES exchanged S4.00. Shorts 75 cents reel. Lists free. BOBS EXCHANGED, Route 2, Box 260-1, Hollywood, Florida. LABORATORY SERVICES • TWO 4x5 B&W enlargements and negative from your moviefilm, or one colorprint from colorfilm. Send frames and one dollar. CURIO-PHOTO, 1187 Jerome Ave., New York 52, N. Y. • NO Negative? Send picture and one dollar for new negative and two 5x7 enlargements. CURIO-PHOTO, 1187 Jerome Ave., New York 52, New York. . • FIVE ENLARGEMENTS from five different 8mm or 16mm movie frames. Send frames and ONE DOLLAR to STONE'S, 144 Elmora Avenue, Elizabeth, New Jersey. • FOREIGN-make color and b&w. 16mm., 8mm., and 9K mm. films processed. Bulk films finished at competitive prices. (Dealer courtesy.) Address ESO-S, 47th & Holly, Kansas City 2, Missouri. • SOUND RECORDING at a reasonable cost High fidelity 16 or 35, Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coat- ing. ESCAR MOTION PICTURE SERVICE, INC., 7315 Carnegie Avenue, Cleveland 3, Ohio. Phone: Endicott 2707. • CAMERA MAGAZINES, 16mm, guaranteed brand new! 50c each, 6 for $2.75, 12 for $5.00, postpaid! Bulk film, $4.50 per 400'. Loading instructions. ESO-S, 47th & Holly, Kansas City 2, Missouri. • TWO 4x5 BdW enlargements and negative from your movie film, or one F color print from color film (color print). Send frames and one dollar. CURIO-PHOTO, 1187 Jerome Ave., New York 52, N. Y. TITLES AND SUPPLIES • YOU CAN HAVE PROFESSIONAL KODA- CHROME TITLES for your own home movies at very moderate cost. Our titles are photographed from full screen size layouts using finely handcrafted raised letters to simulate a three dimentional effect on your screen. Send $1.00 to ELITE CUSTOM TITLING SERVICE, P.O. Box 526, Dept. H, Minneapolis, Minn, for an assortment of full length samples, "ENDS" — 8 or 16mm . . . FREE LIST with order for samples. • 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. VerHalen Publications, 3923 W. 6th St., Los Angeles 5, Calif. CAMERA FILM • DOUBLE 8mm Weston 12, anti-halo film, three rolls double 8mm, $3.45; six rolls single 8mm for Univex, $4.60. Fresh-dated! Processing Free! ESO-S, 47th & Holly, Kansas City 2, Missouri. • GUARANTEED fresh F-A-S-T Pan Film, $1.65; 25', (8-8mm) daylight color, $4.10; 25' 8mm. color base- $2.25; 100' 16mm. outdoor anti-halo, $3.45. Free machine processing! MK PHOTO, 451 Continental. Detriot 14, Michigan. CAMERA FILM • PANCHROMATIC Reversible 16mm. Surplus Film. Not negative stock. Sealed Government cans of 30-50" cores Eastman black base Weston 24 film, $5.00 postpaid. Film base and perforations guaranteed perfect. Photo- graphically film is not 100% perfect due to age (Exp. October, 1943). Processing available at our plant. ESO-S, 47th & Holly, Kansas City 2, Missouri. • BOLEX 8mm. owners attention I 100 ft. rolls Ansco- color double 8mm. $11.95! (Processing $2.00 at our plant.) Other ESO-S 100 ft. double 8mm. films; DELUXE SEPIA, $6.00, SUPREME X $5.50. both processed with- out aditidonal charge. ESO-S, 47th «7 O CD «v° - o a 'You can stop selling popcorn to our guests even if it does make money for new film " 92 Capture the affiM/dH/ with Revere! Leading the Revere Value Parade jC Revere "Ranger" 8mm Camera Easy to load . . . five speeds, in- cluding slow motion . . . inter- changeable lens mount... parallax-corrected, built-in view finder. . .adjustable footage meter. F 2.5 Coated Lens — Tax inc., *6250 Revere "85" 8mm Projector Simple threading . . . fast auto- matic re-wind without belts . . . manual clutch for still projection . . . rheostat speed control. Com- plete with long-life 500-watt lamp. F 1.6 coated lens, 300-foot reel. $99-50 Only movies capture the ivhole action story . . . every motion . . . every fleeting expression ... in true-to-life color. Only movies give you a personal action record that you'll enjoy showing and "re-living" again and again! Moreover, wonderful results are so easy — so sure — with a Revere Camera. If you can take snapshots you can take movies; Revere is that simple to operate. Too, Revere values are even greater today! New models are out. Prices are lower. Time won't wait — don't put off taking your own movies! See the wide selection of thrifty-priced Revere Cameras and projectors at your dealer's now. REVERE CAMERA COMPANY • CHICAGO 16 listen TO revere's "date with JUDY," every Thursday night on ABC Network, 8:30 to 9:00 in Eastern Time Zone, 7:30 to 8:00 in Central, Mountain and Pacific Time Zones. EIGHTS a*&S S/XTEENS IN PURSUIT OF HAPPINESS REVERE ADDS TO YOUR PLEASURE 93 CI f~^robfem SHOOT IT IN SOUND! with the ALL-HEW 16 mm SOUND-ON-FILM HOME MOVIE CAMERA SfiQ^OO at your photo Dea,er' \J\J\J — or write to us for free descriptive Folder telling how to shoot Home Movies with Hollywood style sound-tracks, for exactly the same film cost as silent movies! You can show your own "Cine-Voice" talking pictures on any make of 16 mm sound-on- film projector. Record SOUHD -TRACK & Picture . . . Project SOUHD & Picture! BERNDT-BACH,Inc. 7375 Beverly Blvd., Los Angeles 36, Calif. MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931 SOFT FOCUS What simple ex pedient would you sug- gest that would enable me to produce soft focus effect si P.J. Arthur, Pittsburgh. While there are excellent glass dif- fusion discs on the market for cine camera lenses, you can make your own diffusion matte just as the professional cinematographers of the old silent days used to do. Visit your drygoods store and purchase a small piece of black silk gauze with an even mesh. Possibly you can pick up several rem- nants of assorted grades. Stretch the gauze tightly over a cardboard disc in which a hole has been cut to fit the lens, or a better method is to make a tube of cardboard about 1 in. long that will slip over the front of your lens. Stretch the gauze over one end. Place the tube over the lens to that the gauze is about $i in. to 1 in. ahead of the front lens element. The distance of the gauze from the lens governs the degree of softness that will be obtained. HEADS CUT OFF Why is it that all of mu close up shots are not as I saw them in my vietvfinder? In closeups of people, part of their heads are above the frame line, and they are more to the right than as I focused them through my view finder. I've just received my second roll of film from the processors and this same fault prevails. Could it be that my vietvfinder is not accurately set for my camera! Al. Roscoe, Cleveland. You have failed to take into con- sideration that while your viewfinder is corrected to a certain degree for parallax — that is, for the difference in relative position of viewfinder and lens — this correction is limited to scenes filmed at distances of about eight feet from the camera and beyond. In order to insure getting all of your subject into a closeup as you see it in the view- finder, you should make allowance for parallax by raising your camera slight- ly so that there is more space between the head of your subject and the top frame line of your viewfinder; also, if your viewfinder is to the right of your iens, move your camera slightly to the right in lining up your subject in the viewfinder, so that there will be more space between the right edge of view- finder frame and your subject. • Readers' This department is for your bene- fit. Send in your problems and our technical board of professional cameramen will answer your question in these columns. If an answer by mail is desired, enclose addressed stamped envelope. EXPOSURE FOR 8 FRAMES / plan to shoot several scenes at a camera speed of 8 frames per second instead of the regular 16. How do I determine my expo- sure for this slower speed! Sam Linker, Cincinnati. If normal exposure for your camera at 16 frames per second is l/30th of a second, the shutter speed or exposure at 8 frames per second would be twice as great or l/15th of a second. There- fore, if you are using an exposure meter you will take your reading from the l/15th of a second marking instead of the l/30th — indicated on some expo- sure meters as the 16 frames per second exposure point. If your normal 16 F.P.S. camera speed is l/40th of a second, then the 8-frame speed expo- sure rating would be l/20th of a second. | Next Month | CAMERA HIGHLIGHTS! | |: A new department devoted to [j jj "camera highlights" 'round the jj jj country. Whether your coming |j jj vacation plans take you North, jj jj South, East or West, you will jj jj find the highlights of your trip jj jj in calender form. If your prefer- jj j; ence is a rodeo in Texas or a jj jj flower festival in Georgia — the jj I; time and place will be given with jj |j a brief summary Particular em- jj jj phasis will be given those ev ents jj jj that lend themselves to filming. jj jj And you will have ample advance jj j; notice. The April issue will con- jj jj tain "camera highlights" for jj jj June. j; W atch jor this new department. jj 94 NEVER BEFORE HAVE YOU SEEN A MOVIE CAMERA LIKE THE... Compare it with any camera at any price You don't buy a camera every day. When you do you want the finest your money can buy. We claim there has never been a camera in the history of photography giving such exceptional value. But you be the judge of that. Examine each feature carefully. Compare it with any camera at any price. Then you'll know why a life-time of movie making pleasure will be yours with the DeJUR Citation... the camera that will give you pride in possession, and which is backed by a life-time guarantee. ii Wrfte to Dept. E tor illustrated descriptive folder: |-AMSC0 CORPORATION • Long Island City 1, N. Y. MAKERS OF SCIENTIFIC PRECISION EQUIPMENT FOR MORE THAN Never have you seen features like these in a camera selling for less than $100. • Pull-Press-Click— new kind of simplified loading • "No Jam" gate • No sprockets • Built-in simplified exposure guide • New "Continuous Running" self-operating feature • 4 speeds to 48 frames • Long run motor • Coated color-corrected click-stop f / 2.5 lens , • Los Angeles 15, Calif. A QUARTER OF A CENTURY c4notker 28 BASIC POINTS on HOW TO MAKE BETTER MOVIES What to do! • TRICKS ARE FUN • MAKE 'EM LAUGH • PUTTING ON A SHOW J4ow to do it: • SHOOTING A PARAGRAPH • BEST PICTURE ARRANGEMENT • YOU ARE A MOVIE DIRECTOR It's on the press NOW and will be ready soon — the book you have been writing about and asking for. It answers in full detail all those little and perplexing questions of "what makes a BETTER MOVIE?" The twenty-eight basic steps that will help you and your movie camera make better mov- ies. Movies that will be enjoyed by your friends and family for years to come. Twenty-eight chap- ters that are brimful of up to the minute suggestions and helpful hints on the things you want to know. Above we list only a few of the exciting steps and the entire twenty-eight are all yours for the sum of $1 .00. Send today for your copy. You will use this handy book for many years to come. £e+id to. 3923 West Sixth Street Los Angeles (5) Calif. 96 the Ifin&U. PROFESSION] Camera Equ lith C'ife "ft* A00' the heo° sin"' the e'19"" fre
    c for optical research and precision pro- iction . . . coupled with the skill of its per- Innel ... is in large part responsible for le pre-eminence of Kodak optical systems 1 every phase of photography. KODAK CINE LENSES ... EASY TO ATTACH . . . EASY TO USE here's nothing difficult about attaching ac- fssory lenses to movie cameras. In most «es, you simply replace your camera's andard lens with a Kodak Cine Lens dapter, screw the accessory lens into place . . and you're ready to make movies. The only problem you're likely to en- aunter is in adjusting your camera's finder ) show the altered fields produced by lenses f various focal lengths. Yet even this pre- ?nts no difficulty with most movie cameras. •ine-Kodak Magazine Cameras, for ex- mple, have finger-tip adjustment mecha- isms built into the finder systems. The 'ine-Kodak Special II Camera uses clip-on Kodak Cine Lenses for 8mm. Cameras Type Focal Length and Speed Designation Relative Magni- fication Focusing Range Field Width at Minimum Distance Field Width at 25 Feet Field Width at 50 Feet Price* including Fed. Tax Wide-Angle** 9mm. f/2.7 Ektanon 0.7 Inf. to 4 ft. f 9 in.t 1 1 ft. 7 n. 23 ft. 0 n. $ 49.75 Standard 1 3mm. f/2.7 Ektanon 1 Inf. to 8 ft.f 31/2 in.t 8 ft. 2/2 n. 1 6 ft. 5 n. 20.65 Standard 13mm. 9 Ektanon 1 Inf. to 1 2 in. 3% in. 8 ft. 2/2 n. 1 6 ft. 5 42.50 Tel ephoto 9 5 mm f/1 0 Ektar 2 Inf. to 1 2 in. V'At in. 4 ft. 3 n. 8 ft. 6 n. 98.50 Telephoto 25mm. f 1.4 Ektar 2 Inf. to 1 2 in. l"/l6 in. 4 ft. . 3 n. 8 ft. 6 n. 195.00 Telephoto 38mm. f 2.5 Ektanon 3 Inf. to 1 2 in. 1 in. 2 ft. 10/2 n. 5 ft. 9/< n. 56.75 Telephoto 38mm. f, 2.8 Ektanon 3 Inf. to 24 in. 2V, in. 2 ft. 9V, n. 5 ft. 7Vt n. 43.75 Telephoto 40mm. f/1 .6 Ektar 3 Inf. to 24 in. 2/4 in. 2 ft. 8/2 n. 5 ft. 5 n. 128.50 Telephoto 50mm. f; 1 .6 Ektanon 4 Inf. to 1 0 in. % in. 2 ft. \V* n. 4 ft. 3% n. 94.50 Telephoto 63mm. f/2.0 Ektar 5 Inf. to 24 in. 1% in. 1 ft. 8% n. 3 ft. 5 n. 1 29.50 Telephoto 63mm. f/2.7 Ektanon 5 Inf. to 1 2 in. % in. 1 ft. 8/2 n. 3 ft. 5/2 n. 76.00 Kodak Cine Lenses for 16mm. Cameras Wide-Angle 15mm. f 2.5 Ektar 0.6 Inf. to 6 in. 2% in. 1 5 ft. 3 30 ft. 6 $ 77.50 Wide-Angle 1 5mm. f/2.7 Ektanon 0.6 Inf. to 6 in. 35/. in. 1 5 ft. 3 30 ft. 7 58.50 Standard 25mm. f/1 .9 Ektar 1 Inf. to 1 2 in. 3'% in. 9 ft. 5 1 8 ft. 10 98.50 Standard 25mm. f, 1.4 Ektar 1 Inf. to 1 2 in. 3'% in. 9 ft. 5 1 8 ft. 10 195.00 Telephoto 40mm. f/ 1 .6 Ektar V/i Inf. to 24 in. 5/,« in. 6 ft. 0 1 2 ft. 0 n. 128.50 Telephoto 50mm. f/1. 6 Ektanon 2 Inf. to 10 in. 1 Va in. 4 ft. 8/2 n. 9 ft. 5/2 n. 94.50 Telephoto 63mm. f/2.0 Ektar 2/2 Inf. to 24 in. 2'5/i6 in. 3 ft. 9 7 ft. 7 n. 129.50 Telephoto 63mm. f/2.7 Ektanon 2/2 Inf. to 1 2 in. 1 V* in. 3 ft. 9 n. 7 ft. 7 n. 76.00 Telephoto 102mm. f/2.7 Ektar 4 Inf. to 36 in. 2% in. 2 ft. 4 n. 4 ft. 8 139.50 Telephoto 102mm. f/2.7 Ektanon 4 Inf. to 24 in. 1% in. 2 ft. 4 n. 4 ft. 8/2 n. 84.50 Telephoto 152mm. f 4.0 Ektar 6 Inf. to 6 ft. 3V, in. 1 ft. 6 n. 3 ft. 1 n. 164.50 Telephoto 152mm. f 4.5 Ektanon 6 Inf. to 55 in. 2Vi In. 1 ft. 6 n. 3 ft. 1 n. 96.50 *Does not include adapter if requi **For Cine-Kodak Magazine 8 Carr ed. Hens is fixed focus — this figure is for full aperture. era only — no adapter required. jAt a distance of 1 ft. 8 in., which is permissible at f/1 1 or smaller. front finders, one for each Kodak Cine Lens of different focal length. Kodak's new "Re- liant" Cameras have the field covered by a 38mm. telephoto shown by a smaller rec- tangle in the finder. And for many earlier model Cine-Kodak Cameras, there are masks hinged to the lens adapters to adjust the finder to the altered field size. If your camera has no means for effecting such adjustments, you can still use Kodak accessory lenses conveniently by making simple masks to alter the standard finder. Mask down to Yl of the height and Yl of the width to show the field of a 2-times tele- photo; Yz to show a 3-times telephoto; y$ to show a 5-times telephoto; etc. Is your motion-picture camera named here? If it is, the adapter with which it's listed enables it to accept a full complement of Kodak Cine Ektar and Ektanon Lenses. Type A Adapter — Cine-Kodak Model E Camera, //1.9; B&H Filmo 70, 70A, 70B, 70C (serial numbers through 46121); Victor Model 3 (serial num- bers through 36884); Victor Model 4 (serial numbers through 20025); Victor Model 5 (through 52150). Type C Adapter — B&H Filmo Autoload and Autoload Speedster; B&H Filmo Auto- master; B&H Filmo Models 141A and 141B; B&H Filmo 70, 70A, 70B, 70C (serial numbers 54090 and up); B&H Filmo 70D, 70E, 70F, and 70G; Bolex H-16; Cinklox; DeVry DeLuxe; Key- stone A-7; Victor Model 3 (serial num- bers 36885 and up); Victor Model 4 (serial numbers 20026 and up); Victor Model 5 (52151 and up). Type D Adapter — Cine-Kodak Reliant Camera; Bolex H-8; Briskin; Cine Per- fex (Turret); Franklin; Keystone; Re- vere 88; Revere 99 (Turret); Stewart- Warner. These cameras accept three Kodak Cine Ektanon Lenses directly (without adapter): the 13mm. //2. 7, the 13mm.//1.9, and the 38mm. //2. 8. Type M Adapter — Cine-Kodak Magazine 8 and Magazine 16 Cameras. No Adapters are required to fit lenses to Cine-Kodak Special II Camera. Three Adapters are required to provide a complete set of finder masks for Cine- Kodak Special I and Model K Cameras. Eastman Kodak Company, Rochester 4, N. Y. TRADEMARK A nnouneement! 1950 ANNUAL MOVIE CONTEST STARTS WITH THIS ISSUE! HOME MOVIES' 1950 Annual Amateur Contest gets off to a flying start with this issue. This is the news you have been waiting for, so prepare now to capture one of the many prizes or the certificates of recognition that will be offered. You do not have to be an expert. Beginners will have an equal opportunity to compete with their more experi- enced "brothers of the galloping celluloid," — because Home Movies' contest will be divided into several divisions, i.e., Family Films, Documentary Films, Scenario Films and Sound Films. Top Prize will be awarded the amateur submitting the best all-around film. Then there are 9 or more additional trophy awards for 1st, 2nd and 3rd places in the various divisions. Recognition Certificates will be issued to those filmers who do not place in the TROPHY awards but who have provided stiff competition. Films will be analyzed for achievement in photography, editing and titling, and beautiful trophies will be awarded for these achievements, in addition to the major awards. So put on your thinking cap, wipe off your lens and dust out your aperture gate. Complete details of the contest will be available in next month's issue. Contest closes at midnight, October 31st. THE PREFERRED MAGAZINE OF THE AMATEUR 3923 W. 6th Street • Los Angeles (5), California NiW PRODUCTS Tit'iner The new Model "E" Titliner, by Hollywood Cine Products, Elsinore, Calif., has been designed for maximum simplicity and accuracy. Produced for 8mm, 16mm or still cameras, its use insures centering of titles or ultra- closeups. Pistol Grip Built like a pistol grip, the Caddy Shur-Grip camera holder gives the movie and miniature camera owner a steadying support. Durably made of graytone plastic and weighing only 2 ounzes, it is easy to use and carry. Price, 98 cents. The Cadwell Corp., 400 No. Camden Dr., Beverly Hills, Calif. 6S Radiant Electric Screee Featuring light weight metal case, quiet reversable AC motor, aluminum screen roller and washable, flame and mildew proof Vyna-Flect Screen fab- ric, the new Radiant "Automatic" screen comes in 16 sizes, from 6 x feet to 20 x 20 feet. Mansfield Editor The new Mansfield Junior Editor consists of a pair of novel rewinds that will take up to 2,000 ft. reels, viewer and splicer — all mounted on a 24-inch hardwood board with scratch proof feet. Da-Lite Screen Especially developed for projection of polarized stereo slides, Da-Lite's new "Wonder-Lite" screen surface re- flects and intensifies light without depolarizing it. This surface is supplied in the De Luxe Challenger mounting with picture surface measuring 40 x 40 inches or 50 x 50 inches. DeVry Sound Projector The "Devrylite" 1950 16mm sound projector has been released in three models. The single case Devrylite has built in amplifier, 6-inch Almico "V" PM speaker and preview screen. Weight, 31 lbs. The Dual case Devrv- lite is the same as above with the ex- ception of the speaker, which in this model is an 8-inch speaker in a separate case. The Combination model Devry- lite includes both the built in loud- speaker and the 8-inch separate case speaker. Two input jacks are provided, on each model, for microphone and phonograph pickup. De Jur Camera Dejur-Amsco announces the latest addition to its line of 8mm movie cameras, the Embassy 3 lens turret camera. Embodying such features as 6 speeds to 64 frames, including slow motion, magazine loading, 10 foot run on one winding with constant speed, instant stop motor, the Embassy Turret comes equipped with either an /"2.5 coated universal focus lens or an /"1.9 coated lens in either a fixed or focusing mount. All lenses are fully color corrected and the camera is com- pletely covered by the Dejur Lifetime Guarantee. Finished in rich brown leatherized covering with an instant change tur- ret accomodating three lenses, the Embassy is a well-balanced handful. Other features include built-in sim- plified exposure guide, single frame control, shoots stills, animated titles and cartoons. This camera also has a release lock so the operator can get into the picture himself. Magnetic 16mm Film Recorder Movie-Mite Corporation 's new Mag- nefilm Recorder, for recording on Film, features high fidelity (less than 4% harmonic distortion on recording) with 50 to more than 10,000 cps frequency response. Flutter has been reduced to .15% to .25% by means of two sepa- rate flywheels with a tight loop sys- tem. Unit contains two amplifiers, one for recording and one for playback. Four output taps are provided for ex- ternal speakers. Drive is by synchron- ous motor. Movie-Mite Corp., 1105 Truman Rd., Kansas City 6, Mo. 113 GSAP Indicator Light Owners of rewired GSAP electrically driven cine cameras will find that as the batteries begin to run down the motor speed drops and overexposed film results. The device described here will call attention to this condition before it can cause harm. The reason for this condition is a simple one. The governor at the back of the motor has a set of contacts which open and close to keep the motor speed constant, so long as the batteries deliver current above a cer- tain voltage. When the battery voltage falls below a certain critical value, the governor becomes inoperative and its contacts never open. However, since the motor continues to run, there is no outward indication of the run-down batteries. Obviously, a device which would tell us whether or not the gov- ernor is operating would be the sim- plest solution, and that is what will be described here. Each time the governor contacts open, there is a brief surge of current at a relatively high voltage — high enough to light a small neon bulb. Hence, such a bulb placed in circuit with the governor contacts will flash intermittently if the governor is work- ing, and show no light when new batteries are needed. Remove the camera side cover by taking off the speed changing dial and the four screws at the corners. Solder two wires at the stationary tie points of the governor contacts. Do not attach anvthing to the movable con- tact arm or you will alter the speed of THE CINE the motor. Cover all bare wires with insulating tubing. Cement the neon lamp in any convenient position, and drill a 1 8th-inch hole in the cover directly above it. Fill the hole with a drop of clear cement, which will harden to form a dustproof window. The neon lamp is the type used in pocket voltage testers. As the diagram shows, a resistor is wired in series with the lamp. I used a 4700 ohm, 1 10th watt radio resistor. Everything needed should cost less than a dollar. — Ladd C. Smith, Seattle, Wash. Room Light Control Many home projectionists would like to be able to extinguish the room lights and turn them on again without having to fumble across a darkened room or ask the guest sitting nearest the switch. There are manv involved ways of doing this, which involve the setting up of a professional type theater. However, the method to be suggested here is both inexpensive and simple. Assuming that your projector has the two-pronged type of electrical connection, all vou need is a three -wav outlet plug on an extension cord and (optionally but desirably) an on-off switch. This set-up will not control room lights which are on a wall switch, but it will operate any type of floor lamp or table lamp, which will usually be all that is necessary. Simply plug the extension cord into the usual main outlet, and put the three-way outlet over the two prongs on the projector. This takes care of the proicctor. Now plug the floor lamp, or whatever room light you are going to use, into one of the sides of the three- way outlet, adding an extension cord Room Leap Light Cord Qff-on Switch (optional) ^0 3 Way Outlet 3 projector £ Prong Connection C 3rd Outlet Available for other use Projection Cord if necessary. It will add to the con- venience of the arrangement if you have an on-off switch in this line, so vou can turn the room light on or off easily, but you can do it by removing or inserting the plug. This leaves one side of the three-way plug free, and you can use this to take care of a work light if you like. It should be noted that all of the cords and outlets used in this set-up mav be employed for other purposes around the house, as well, so the modest out- lay can pay off in several directions. — Warren Deist, Akron, Ohio. Filming Reverse Action The following described gadget over- comes the troublesome results in mak- ing reverse action shots (with camera upside down), where right is changed to left, and vice versa. The gadget not onlv conveniently holds the camera in inverted position, but also provides a mirror set at the proper angle before the lens to pick up and reverse the image photographed. Instead of point- ing camera at the object or scene, the mirror is focused upon the object. Construction requirements are a piece of *{6" x V/i" x 12" strap iron, a small mirror, a wing bolt and nut, blocks of wood and a few screws — materials readilv available around most garage workshops. Three '4" holes are drilled in the strap iron as shown in Fig. 1. One end hole is tapped to take a regular %" No. 20 tripod screw. A and B in Fig. 2 show construction 114 ORDER FOR SUBSCRIPTION Home Movies Magazir 12 MONTHS FOR $3.00 IN U. S. la Conoda, S3. 50 — Foraloa. S3. 50 SPECIAL OFFER: 2 Yaari for $5.00 la U. S. HOME MOVIES 3923 Watt Sixth Street Los Angeles 5, California Phoae OUaki I. Sand to Address City □ Now □ Renewal 2. Send to Address City Stoto □ New Q Renewal Enclosed find % Oat* „ Sent in by. ■ Address City Stsrt« NO SUBSCRIPTION ACCEPTED FOR LESS THAN ONE WORKSHOP * THIS MONTH we have reprinted a number of workshop suggestions which appeared in previous issues of Home Movies. Because they offer an answer to each of several problems on which the editors receive a great number of requests for information and help, solutions as worked out by practical cinebugs, are illustrated and described here for benefit of other amateur movie makers. Readers are invited to submit, to this department, new ideas and sug- gestions for shooting, titling, editing, projecting or processing home movies. Where possible, please include a rough sketch or photograph of gadget or suggested idea; also, be sure to state whether your equipment is 8mm or 16mm. of frame that holds the mirror. The two pieces of wood are joined together with screws. A hole drilled in member B admits the wing bolt by which the mirror and frame is attached to the iron support (Fig. 1). The small mirror may be cemented, as indicated, with rubber adhesive or taped at the edges with scotch or adhesive tape. The unit is then assembled with camera, as shown in Fig. 3, with mirror fixed at a 45° angle to the axis of camera lens. All reverse action shots made with this gadget will appear with "rights" and "lefts" in normal position. Signs, newsprint, etc., will read right. Such scenes may be spliced right into regu- larly filmed action shots without the usual reversing of the subject. Of course, if this is done, changing focus is necessary during projection. But this may be overcome, too, by having a dupe made of such shots. — Jack G. Strong. Centering Titles I very much appreciate those swell titles on the next-to-the-back page. I clip them each month, cut them out and file them, and have used several in mv films. I have found a very easy way to line these up, and I am attaching a layout to show how I use them. Simply take a sheet of colored paper or card a little larger than the titles. Cut four diagonal slits so that the titles will just slip into place snugly, as in a photo album. Once you get the card centered in the title holder, all you have to do is to insert a title, shoot it, change to the next, and so on. In this way, it is not necessary to center each card individually. If desired, of course, the slip-in mats can be made up in different colors, and a bit of the mounting card included in the title as filmed. — Earle M. Holden, Hickory, N. C. Low Power Printing Lamp When using a projector as a printer, to duplicate films, or even when using it as a viewer for editing, even the smallest projection lamps are many times too bright. A 25-watt showcase bulb is about right for both wattage and size, but the screw base will not fit the lamp socket in the projector. A practical and fairly simple solu- tion of this problem is to make an adapter from the base of a discarded T-10 lamp. Break the glass carefully, in a paper bag, for example, and re- move all pieces of glass so that only the metal base is left. In removing the filament, use care not to break the black glass insulation in the base which has filament leads running through the lead contact in the center. Place the T-10 base on the bench, open end up, and drop a little solder over the lead contact in the center. Now, quickly screw in the 25-watt lamp, and you should have good con- Lead Center \ Filament Lead 8 Contact fro» projector Bulb (flood solder) tact. If not, add a little more solder and try again. For use as a printing light, the lamp may be further improved by blacken- ing with blackboard enamel all but a circular space about an inch in diam- eter directly opposite the condensers. This eliminates the light that would be reflected by the mirror. — Laurence Biehler, Movie Hobbie Studio, Endeivood, N. J. Title Background Effect A very interesting background effect may be given titles when photographed as shown in accompanying illustra- tion. The object is to project on the title card the lacy shadows of foliage moving in a breeze. The titler may be set up out of doors where the shadows of an extended branch of a tree will project upon a portion or all of the title card; or, if more convenient, a small branch may be attached to a stake driven in the ground close to the camera as illustrated. If no breeze is stirring to move the leaves, the branch may be moved slowly by hand to im- part the same effect. This idea is equally effective when shooting with positive film — black letters on white title card. The mov- ing pattern of leaves will produce an interesting mottled background de- sign.— Chuck Neuzil. Align With Condensers before painting remainder Clear L paint With Blackboard tnaael 115 cine roundup RECIPE for a good Take a bright-eyed youngster and a movie camera . . . add the new Medium Beam General Electric Re- flector Photoflood lamps. Mix thought- fully to get a movie you'll love. Because the new PH-375 is truly designed for movie use. Puts more usable light on sub- jects, with less cur- And it's planned for use in ... up to 4 lamps on one home circuit to give you better balanced light for color. Tops for bracket units that make action easy to fol- low. (You can now get complete outfit packed in a handy case, too!) See your photo dealer for rent, pairs The New MEDIUM BEAM GE REFLECTOR PHOTOFLOODS PH-375 fat every fifotapm/iAic fcwifxxde GENERAL ELECTRIC CHRISTENING DAY FOR PHOTOGRAPHERS IS A MAN who shoots pictures for pay a photographer? Yes. Is a per- son who shoots for fun also a photog- rapher? Yes — but. To eliminate the "but" from this picture, a New York photographic organization announces that its 1950 Progress Citation will be presented to the person who submits a single word that best identifies the amateur pho- tographer in contrast to the profes- sional practitioner. Dr. Wilfred Funk, prominent lexi- cographer, is chairman of the Selection Committee which includes Fabian Bachrach, photographer of men, and several well-known amateurs. As a hint, Dr. Funk states: "The new term should be at least partially self- explanatory. It may be a composite, derived from two or more root sylla- bles. An arbitrary, non-symbolic word, requiring extensive publicizing for acceptance, might receive the award but the odds are against it." Anyone, whether an amateur, a pro- fessional or a non-photographer, may submit anv number of entries. Dupli- cate awards will be given if more than one person suggests the accepted name. The address for entries is Gillette Camera 1950 Citation, 117 Park Ave- nue, New York 17, N. Y. In explaining the purpose of the award, Stephen J. Torma of the spon- soring organization said: "Now that manv men and women as amateur photographers exhibit the knowledge, artistry and skill of professionals, the designation 'amateur' is out of date, and in a wav derogatory. A new name will be a real contribution to picture- taking as an art and a record-keeper." DON LEE TV INTO MAJOR MOVIE PRODUCTION IN A DEAL without precedent in the industry, Don Lee Television today announced its invasion into the pro- duction of top quality motion pictures for TV. Simultaneously, it announced the signing of William Dieterle, one of the motion picture industry's lead- ing producer-directors, and Academy Award winner, to head up the produc- tion team that will launch the "na- tion's first television station" into large scale movie making. Historical move marks the fruition of long-range plans of Charles L. Glett, vice presi- dent in charge of Don Lee Television, and gives the independent television ope- arion another milestone "first" that ushers it into national svndica- tion of its programs through Blair TV, Inc. Story properties are already secured from a virtually endless source in the signing for 10 years of Capt. Don Wilkie, author of "Secrets of Secret Service." That title and his unlimited fund of story material background the inaugural film producing steps. Pro- duction of half-hour motion pictures are planned from his book and from other stories associated with his thrilling background and that of his late father, John Wilkie, first chief of the U.S. Secret Service. Capt. Wilkie's breath-taking experiences with the OSS in the last war, with the U.S. Secret Service, with Federal agents and state and local police, and while en- gaged in espionage and counter-espi- onage, combined with his father's narratives and exploits, represent over 150,000 individual case histories, ac- cording to Mr. Glett. Television • continued from Page 103 mainstay of the television industrv. Filmed programs, on 16mm, are as essential to the industry as recordings are to radio. They are of particular value to the small independent station as they can be shipped for telecasting at appropriate times. Even when the co-axial cable has made large scale network programs available to the greater part of the country, the filmed program will have its place in the picture because of its re-telecast possi- bilities. The television market for motion pictures, at the present time, is not too good. Prices are low because there are few sponsors willing to pay good money for a limited audience — but, even now, a few film producers with good material are making money from television. As the number of sets in- crease so will the demand for story subjects increase in direct proportion. Unlike a motion picture show, a tele- vision film is good for only one show- ing. It cannot have a prolonged show- ing on anv given station. A tremendous film potential is in the offing. Advanced amateur film producers realize that television offers them a real opportunity. The production of good films will lead to wide audience acceptance and the producer will gain acknowledgement of his ability by the demand he has created among tele- casters. Let's consider a few of the require- • continued on Page 119 116 CLUB N£WS BURBANK, Cal— What is possible on a limited budget but with a group of enthusiastic amateurs was recently demonstrated by the Burbank Cine- Nuts (pronounced Sy-Nuts), with the premiere of their 1949 effort Dead Pan Dan. Presented to members and their friends with all the trimmings of a Hollywood Pre-view, the evening was well attended and enjoyed by all. Cast of "Dead Pan Dan" receives "Daniels" for outstanding acting. L. to R. — John Rygaard (mak- ing presentation) Bernard Stone, Robt. Strong and Chester Burns. Good showmanship was apparent throughout and the climax of the even- ing was the presentation of hand carved "Daniels" (Oscars to you) to each member of the cast. These were the handiwork of Mr. Gene Whisman, a member of the club. TORONTO, Ont — The Toronto Mo- vie Club has just completed their membership directory for 1950. This is a handy little brochure got up in pocket size and lists the members alphabetically and by street] address. The members of the club are to be con- gratulated on the neatness of this little booklet. WASHINGTON, D. C— Mr. Howard A. Parsons, of the Washington Society of Amateur Cinematographers, won their December contest with his 8mm Kodachrome picture, Pasadena Tourna- ment of Roses. He won with a score of 93-55 which is the highest obtained in the 8mm class so far. Mr. Parsons used a l>2-inch telephoto lens in filming his picture. KANSAS CITY, Mo — The invita- tions sent out by the secretary of The 8-16 Home Movie Makers should prove of interest to all clubs. They are appeal- ing and eye catching. The program for the coming meeting is outlined in de- tail and consists of something to inter- est any and all members. MINNEAPOLIS, Minn — The "shut- in" committee of The Minneapolis Cine Club is inoperation again as of January. A brief respite was taken dur- ing the month of December. It is a pleasure to members of this committee • continued on Page 118 You Don't Have To Move Into Larger Quarters To Enjoy Big Screen Movies If you have cramped projection quarters ... as most people do . . . and have had to set up your movie projector outside the window to get a "seeable" size screen image, ELGEET has finally solved your problem with the ELGEET SCREEN EXPANDER Just set up your projector and screen anywhere in your living room. With the ELGEET Screen Expander over the projection lens of your projector . . . magically, you have a screen image three times the original area . . . crystal clear and sharp. A precision three element optical system . . . made by the makers of some of the world's finest amateur motion picture lenses, the ELGEET Screen Expander slips on over the projection lens of all of 8 mm projectors. Best of all, the price is only *9.95 At your photo dealers' OPTICAL COMPANY, INC. 69 ATLANTIC AVE. • ROCHESTER, N. Y. Wfiebe Quatity & &*n/w*JarU. . . ELGEET LEADS ^ GLAMOROUS MODELS in WONDERFUL FILMS For "ECSTACY IN PLATINUY" featuring a Sensational Dance, SEND ONLY: 8 MM.. .$2.00 16 MM. ..$4. 00 SOUND.. .$5.50 C FRED GARCIA TQ J | 12061 NEENACH ST. (/■ — f SUN VALLEY, CALIF. EXCITING FILM LIST FREE! BACK GUARANTEE^^/Q*^ 1* it Cimetj (or Perfect 3 MONEY • Steadies You Shooting • Adapts for Movie or Still Camera • Telescopes from 32" to 56' • Lightweight, only 12 ox. • Standard thread. Locking nut • Perfect Walking Stick on Field Trips Write for Free Circular SI-POD • BOX 491 A« CULVER CITY, CALIF. 00 POST PAID KODACHROME DUPLICATES 8mm. or 16mm. 1 1 C PER FOOT MAIL ORDERS ACCEPTED Hollywood 16mm. INDUSTRIES Inc. 6060 Hollywood Boulevard Hollywood 28, California 117 MORSE G-3 DAYLIGHT DEVELOPER V SHOOT ^DEVELOP ^PROJECT MOVIES IN HOURS With the Morse G-3 Daylight Devel- oping Tank, reversal or positive mo- tion picture film can be processed quickly and economically at home. From filming to projection is a mat- ter of hours with this compact, effi- cient unit. A darkroom or changing bag is necessary only for loading the G-3 reels and placing them in the tank. Thereafter, all developing op- erations are performed in daylight — speedily and safely. The stainless steel film reels accommodate up to 100 feet of Double 8 m.m., 16 m.m. or 35 m.m. film — adjust to either size by a turn of the top flange. This simple, portable unit dries from 5' to 50' of 16 m.m. film, or its equiv- alent, in about 10 minutes. Centri- fugal motion effectively removes all water without harming the emulsion or leaving water spots. Reel is col- lapsible and removable for storage or carrying. The M-30 Dryer and G-3 Developer belong in every mini- ature film fan's equipment. SEE YOUR DEALER OR WRITE — INSTRUMENT COMPANY 23 Clinton St. HUDSON, OHIO FILM LIBRARIES \ 8MM AND 16MM FILMS . . . WHERE TO RENT OR BUY . . . SOUND OR SILENT ALABAMA BRI MINGHAM Evans Motion Picture Co. 2107 Fifth Ave. North (3) ARIZONA PHOENIX Movie Center 119 West McDowell St. CALIFORNIA HOLLYWOOD Camera Craft Film Library 6764 Lexington Avenue HE 6856 Castle's, Inc. 1529 Vine Street GL-5101 Hollywood Camera Ex. 1600 Cahuegna Blvd. HO. 3651 LOS ANGELES Films Incorporated 1709 West Eighth SL REDWOOD CITY Sequoia Audio-Visual Service 1055 K Brewster Ave. Phone: EMerson 4522 SAN BERNARDINO Valley Film Library 1657 E. Street SAN FRANCISCO Brooks Cameras 56 Kearny Street ILLINOIS CHICAGO Films Incorporated 64 East Lake St Ideal Pictures Corp. 28-34 East Eighth SL Parthenon Film Libraries P. O. Box 1177-D KANSAS HUTCHINSON Don E. Reger Film Rental Library Box 864, 5K W. Sherman MARYLAND BALTIMORE Lewy Studio? 853 North Eutaw St at Biddle Stark Films 537 North Howard St (1) MASSACHUSETTS BOSTON Don Elder's Film Library 208 Newbury St, Dept. HM NEW JERSEY PASSAIC The No-Wat-Ka Co. 257 Main St NEW YORK ALBANY Hallenbeck d Riley 558-562 Broadway BROOKLYN Reed A Reed Distributors, Inc. 7508 Third Ave. (9) NEW YORK CITY Commonwealth Pictures Corp. 723 Seventh Ave. Films Incorporated 330 West 42nd St Institutional Cinema Service, Inc. 1560 Broadway (19) Mogull's Films led Run. This ride attains a speed of a mere 106 miles per hour. Maybe Mr. Harley will submit an article to Horm. Movies telling just how this picture was filmed. CALGARY, Canada, Amateur Mo- tion Picture Club recently viewed a him on Snake Riter. Filmed by Cyril Carter, it required three or four visits to Lewiston, Idaho, and was made with the idea of obtaining a motion picture record of a trip up and down a portion of Snake River. 600 feet of 16mm Kodachrome was exposed by Mr. Carter. LOS ANGELES 8mm Club held its first meeting of the New Year at the Bell cv Howell Auditorium, January 10th, 1950. Mr. A. W. Apel took over the gavel as President, and introduced his officers: Dean Stocks, Vive Presi- dent; William Krause, Treasurer; Edna Knowlton, Secretary. Also, the bal- ance of the contest pictures were shown. Manufacturers of PRECISION PRINTERS - DEYEL0PERS STUDIO LIGHTS - WRINGERS STRAIGHTENERS • FILM DRYERS Multee -Flood lighting forall wig monies i OKLAHOMA CITY Movie Makers announce the winners in their 1949 annual Movie Contest. In the 8mm class, first prize was taken by Mrs. Hugh Turney for her picture The Seasons — second prize was captured by Marion Record with Yellowstone Park and third prize went to Glomset' s Cabin on the Blue by Mrs. John Glomset. In the 16mm class H. A. Houston took firstiplace with his picture A Remnant — Mrs. John Glomset took second honors with The Beautiful Blue and third prize was won by O. S. Butts' Take Me Out To The Ball Game. PHILADELPHIA Cinema Club will |' hold its Annual Contest judging on Friday, March 10th. The contest is limited to entries of 400 feet of 16mm or 200 feet of 8mm. The judges ratings will be based on 40% for picture, film or story interest — 30% for photog- raphy— 20% for editing and 10% for titles. Television continued from Page 110 ments necessary for good reproduction. Is color or black and white film prefer- able? Most television engineers prefer black and white films and will prob- ably continue to do so until broadcasts can be done in color. Many color films however, do broadcast to advantage on television. They are reproduced black and white. The camera technique for television follows along the same lines as regular picture production. However, the pro- ducer must always keep in mind the size of the television screen in com- parison with the theatrical screen and do most of his work in close-up. This will not be a radical departure from normal as most good movies contain many close-up scenes. As to the subjects most in demand by television sponsors, the producer will find that entertainment is pre- ferred over educational topics. Three subjects that seem to be in constant demand are good novelty stories in- cluding children, animals or sport sub- jects. A careful study of television programs will provide one answer to this question, and personal contact with producers and sponsors will help keep the film maker abreast of develop- ments. Outstanding amateur films will defi- nitely have a chance on television along with professional material. The amateur movie maker of todav, often- times, is the professional of tomorrow. So the opportunity exists. Produce a film you think worthy of telecasting and offer it to your nearest station. Only by actually entering this new field and getting yourself known will any degree of success be obtained. The amateurs stake in television is great, will he grasp it while he can? My Daddy is Smart! He knows Multee-Flood Packaged Lighting is the best.. .economical, too! Complete with ever-ready carry- ing case. Multee-Flood is always action-ready for color and black and white indoor moving pictures. i With these Wonderful Features! Easy to store * Fits all cameras * Equipped with exposure table * Uses four 375 Watt GE Med. beam photo flood lamps * Convenient switches * Heavy duty cord and plug * Handsome and sturdy all metal body * Mar-proof wrinkle finish. FOR HAND OR TRIPOD, NO TRICKS— JUST AIM AND SHOOT! VALUE PRICED AT 'Z0.95 LESS LAMPS WITH CARRYING CASE At better photo dealers everywhere or write for free bulletin. Clearance Sale 50% Discount on a new DUAL TURNTABLE Exceptional Value! Far below wholesale cost! • High fidelity amplifier, 6 watts undistorted output- • Permanent sapphire needles — less wear on records- • 8-inch permanent-magnet speaker with 50-foot cable- • 78 rpm — use standard records. • Tone control. Cue sheet light. • Easy to carry. Only 31 pounds. • Regularly $129.50— Sale price FOB Mpls. rn ju-toot $64 75 GEORGE K. CULBERTSON COMPANY 5133 JUAN ITA AVENUE • MINNEAPOLIS 10, MINNESOTA 119 J4olluwood TITLINER Hands continued from Page 99 work, mother's day really starts. A shot of the hands at the telephone with the grocery order and then to a dust cloth followed by arranging flowers and general housework. It is in these scenes that your imagination can take full sway because there is a lot of truth in that old saying, "A man's work is from sun to sun but a woman's work is never done." A For the afternoon sequence we might show three hands ringing the doorbell in rapid order, then hands dealing out four hands of bridge. Hands picking up the cards, playing, etc. Then the serving of a light lunch and again the opportunity for the hands to be ex- pressive. You might have the hand poise just above the plate, fork in hand as if the diner was telling her companions something of interest. Then a high shot down on the card table as mother's hands gather up the cards and place them in their con- tainer. (Fade out.) To signify that school is out you might have mother's hands receiving some school books and then handing Johnny his baseball glove. A human interest touch can be added here as we Professionals continued from Page 103 shooting scripts pay off in dividends as this young organization can boast of a 100% score in competition. On January 1st, 1950, they carried off first prize on a "Home Movie Theatre" television show with their production "Backward Boy." Some fine trick show a band-aid being placed on a skinned knee. Then into the supper sequence and dishes again. Here a humorous touch can be added as we show dad's hands with his newspaper but mother hands him a dish towel and he reluctantly helps with the drying chore. Bedtime again as we see the same alarm being wound and set then to a jar of cold cream as some is taken on the hands. Slippers being removed and placed on the floor and finally hands reach out and switch off lamps. Remember that all of the above has been gone into rather briefly, and with little elaboration. Each of the scenes you decide on can tell your story. But think them out in advance and put them down on paper. This will give you your first experience on the prepa- ration of a shooting script so necessary to a good movie. Also, the cutting and editing of your film will provide the feeling of timing and tempo. The experience gained in shooting a script of this nature will prove invalu- able to you as you become more ad- vanced in your hobby. The knowledge of how to use extreme close-ups for drama and emphasis is vour first step toward shooting GOOD MOVIES. photography played an important part in the judges decision. "Once A Fan Always A Fan," another of their pictures viewed on television, also won a prize. It was the story of a fanatical hockey fan who goes to a game and becomes involved with a pretty girl. The ice hockey scenes were well photographed under adverse con- ditions. • continued on Page 123 NEW MODEL E FITS ALL CAMERAS MOVIE OR STILL GUARANTEES ACCURATE ALIGNMENT of titles and ultra close shots SAVES: TIME, FILM, MONEY ELIMINATES THE PROBLEM OF ALIGNMENT PRICE (includ. excise) $5.56 J4ollywood MASTER TITLEER— 8 16mm $12.35 TITLTRIX 6.12 TITLITES 6.12 TITLETTERS— 7/1 6 in. metal 4.95 TITLKIT 2.15 ULTRA-FOCUSER— movie or still 11.10 CINE GRIP— movie or still 2.23 SUPPLEMENTARY LENS 2.00 (Excise Tax Included) SEE YOUR DEALER OR WRITE FOR FREE FOLDER WITH USEFUL TITLING INFORMA- TION. ALSO INFORMATION ON TITLINER AND ULTRA-FOCUSER. HOLLYWOOD CINE PRODUCTS Lakeland Village Elsinore, California New Realeases! Cocktail Hour Films! Musical Shorts; Burlesque; Art-Glamour. 16mm Sound & Silent 8mm Color-Black & White Catering to Dealers, Photo and Camera Stores. Write for free catalogue mm INSPIRA FILMS 1746 N. LAS PALMAS AVE HOLLYWOOD 28, CALIF. • Diagrams above show two variafons of the basic "triangle lighing" formula developed by photolamp specialists of General Elecric Company. Diagram A shows use of two photofloods — one at camera, the other at one side of subject on a triangular plane. Diagram 6 shows use of photolamp No. 2 as a backlight at position No. 3 120 SYNCHRONIZED SOUND FOR YOUR 8 AND 16 M.M. HOME MOVIES Lens • continued from Page 104 worth every penny of it, if your re- quirements demand that level of qual- ity. At the same time, if a twenty dollar objective will give you all that you require, it would be foolish to invest in the two hundred dollar model. The reason for the complicated struc- ture of the modern objective is the necessity of curing the faults or aberra- tions of a simple lens system. This is possible because lenses of different shapes and material can be selected so as to have equal and opposite faults, cancelling out when they are com- bined. Since there are seven major faults to be cured (and more if we want to probe deeply) and only a limited number of factors which we can juggle, no lens has ever been made that could be considered perfect. At best, the de- sign of an objective is a matter of compromise, to produce the best result possible without getting into impos- sible cost. Aside from quality— which can be judged pretty well by manufacturer's reputation and price — there are two factors about an objective which you should understand, the focal length and the aperture or /" number. Focal length is a fixed quality of a given lens, while aperture is adjustable by the user. The focal length of a lens is the dis- tance from a certain point in the objec- tive to the film, when the objective is focused sharply on a distant object. This may be given in inches or in millimeters, 25 millimeters being roughly equivalent to one inch. For a 16mm camera, a "normal" objective is considered to be a one-inch or 25mm lens. For an 8mm camera, it will be about one-half of this. However, the thing about focal length which concerns you vitally is not the distance from lens to film in itself, but the fact that focal length determines the scale or relative size of he image of a given object at a given distance, and also the angle of view taken in. Suppose you were standing on the porch of a house, looking down the street. Objects would appear to be of a certain size. Now suppose you pick up a pair of low-power opera glasses and look at the same scene. All objects will appear larger, but your eyes will take in a smaller angle of view. Then you put the opera glasses aside and take up a pair of powerful binoculars. Objects will appear still larger, but your eyes will take in a still smaller angle. This explains why it is convenient to have several objectives of different focal lengths. If you have only one "normal" objective, you can make ob- jects larger by moving in closer, or you can take in a wider field of view • continued on Page 127 Wl tl, MOVIEVOX Now You Can Add Perfect "Lip-Sync" Sound to Home Movies Using Your Present Projector Now you can dub sound on a wire recorder and play back in perfect synchronization. The new MOVIE- VOX synchronizer keeps projector and recorder in perfect step — every time — automatically. Mistakes made in recording can be magnetically erased and quickly corrected. You can't miss with the MOVIE- VOX! Connects to any 8mm or 16mm projector — silent or sound. MOVIEVOX — complete with synchronizer, microphone, amplifier, wire recorder, speaker, all necessary cords — sells at your dealer's for $225.00. Or the MOVIEVOX synchronizer can be installed on your Webster wire recorder and projector for only $75.00. See your dealer today — or write for illustrated literature. MOVI E VOX THE MOVIEVOX COMPANY DEPT. H 1113 PLEASANTON ROAD • SAN ANTONIO 4, TEXAS BETTER MOVIES USE GENERA FILMS ATc£Tw5ER HIGH QUALITY Motion Picture Films at amazingly low prices — permitting you to shoot more than twice as much foot- age at less cost. Guaranteed all fresh stock. Orders vours today. 25 Ft. Dbl. 8mm 100 Ft. 16mm $ 1 .35 \ Weston 6 |$2.95 1.50 Weston 12 3.25 1.89 Weston 24 4.90 1.99 Weston 64 4.95 PRICES INCLUDE PROCESSING Free Film sample, catalog of Movie Supplies. FR0MADER GENERA COMPANY Davenport, Iowa POWERFUL 5Va" F-3.5 TELE-LENSES. $39.50 COATED 138mm. in our focusing "C mounts for Bolex, Victor, B&H. Revere- Keystone, etc. 16mm cameras. Lens ele" ments made to rigid AAF specifications- Perfect for nature hunting.'sports, etc. movies. Mailed insured with metal dust cap. Century Precision Specialties Co. 11960 Wilshire Blvd.. Los Angeles 25, Cal. PHOTOGRAPHY Give your home movies thot "Professional touch" — train in ALL phases of photography.Home Study Course includes expert instruction in new movie techniques. Resident Training in "still" work. Dept. Write TODAY '114" 10 W. 33 St., N.Y. 121 BIG, SHARP PICTURES HIGH SIDE UP! V No Squinting! V No Scratched Film! Mico gives large brilliant pictures in full daylight; finest optical system; double condensers; projection lens and highly polished prism. Film rides off emulsion on chrome plated metal track. Convenient notching device marks splice. Ventilated lamp housing ; 30 watt G.E. bulb; handy negative carrier, easy to clean. Sturdy cast aluminum construction. SEE YOUR DEALER or ORDER DIRECT TfllCQ PHOTO PRODUCTS CO. 119 So. Dearborn St. • Chicago 4, III. 5634 SANTA MONICA BLVD., HOLLYWOOD 38, CALIF. Titles That Talk "Titles that talk" can now be used by the 16mm filmer. Superimposed dia- logue titles that can be added to the already completed 16mm film. This is the service being offered by TITRA and it is claimed that this new process measures up to the quality of the pro- fessionally produced production. With the Titra technique, superimposed dia- logue titles can be placed in any scene or series of scenes after the film has been processed and edited. A clear white title that has been chemically etched into the emulsion. Here's the step by step process as it is now being offered the amateur. First, edit your film in the normal way and select those scenes which need titles. Next, prepare the title copy you want imprinted on each re- spective scene. With this title copy in the hands of Titra technicians each caption is now set up separately in type and press printed in black on a white card. Each of these cards is then photographed on a still picture nega- tive and at the same time reduced to the exact size of the picture frame. Individual metal stencils are now cut from the reduced negatives, for each of the subtitles ordered, and these stencils are placed in order in a special press of Titra's own design. The entire reel of film to be titled is then coated with a thin layer of protective ma- terial and threaded through the same press. The stencils are now impressed, in order, on the scenes indicated and when the entire reel has been com- pleted, the protective layer is removed and the subtitles stand out in clear white from the underlying emulsion. mm RBLBASES "UNDERCOVER MAN". 6 reels, Com- monwealth Pictures, with Bill Boyd as Hopalong Cassidy, co-starring Andy Clyde and Jay Kirby. Set along the Mexican border, Hopalong and his pals do battle against a gang of gold thieves and cattle rustlers and natural- ly Hopalong and his saddle mates win the hard fought fight. "HURRY, HURRY." 8 and 16mm silent, 16mm sound. Castle Films. W. C. Fields, whose highly unusual talents have made him the comedy favorite of millions, appears in a new Castle re- lease. Fields gallantly offers to take a lady to a hospital in his decrepit auto and he gives an entire town goose- pimples and heart failure before he gets there. Available at photographic stores. Catalog A request to Dowling's, 570 Fifth Ave., New York 19, N. Y., will bring a free copy of their 26 page, illustrated 1950 catalog. Titling • continued from Page 109 ject matter, and can make up the titlle cards the opoosite of the way we want them on the screen just as easily as the other way. In fact, it is usually easier to make up a card with black letters on a white background than it is to make up one with white letters on a black ground. So at one stroke we simplify making up the title card and simplify the development of the film after the title has been photographed. Keeping to bare essentials, here are the simple steps: 1. Make up a title card of suitable size, with black lettering on a white card conveying what you want to say. 2. Place this where it will be prop- erly illuminated. 3. Load the camera with positive bulk film. 4. Set the camera at a proper dis- tance from the title. 5. Photograph the title. 6. Under amber light, remove the exposed film from the camera. 7. Develop the film in an inexpen- sive positive developer. 8. Rinse. 9. Fix the film in'an ordinary hypo solution. 10. Wash thoroughly. 11. Dry. 12. Clean and insert into reel of film. Briefly, let's consider those steps one at a time. Making Up the Title Card: The letter- ing may be done in any manner con- • continued »n Page 12^ 122 Professionals • continued from Page 120 "Sad Sack Joel" is another short played around a college boy who lives in a dormitory. Many humorous con- ditions exist and they are well put over. But sooner or later every producer tries his hand at color and a pretty girl — so "Beauty At The Beach" was inevitable. Color, a pretty girl and a French bathing suit — well, this is the picture they take to parties. With the honors so far bestowed on them Ressler and Batievsky still know they are far from perfectionists. But if hard work and a sincere desire to attain their goal means anything, they are bound to succeed. Their sincerety to gain a foothold in the picture busi- ness is proven by the fact that for the past two years they have haunted the motion picture studios looking for a job. Continuous turn-downs have not dampened their ardor — they are a determined pair. During school vacation they are planning a trip to Lima, Peru, and will film in Kodachrome. A travelogue of this kind holds forth a world of oppor- tunities for success and recognition. Maybe this is the chance they have been waiting for. "These are excellent close-ups of a bear — and, incidentally, the last movies my husband ever shot!" Library Films continued from Page 105 Get the film with your outfit in action and then take close shots of your part in it and splice them in. Scenes like these will require a little thought and the gathering together of necessary props but the final results will more than justify the work. It is pictures like this that your grandchildren can boast about; i.e. "... when my grandpappy won the war." So get out those library films, look over your stock shots, and you will be surprised with what you can develop. <■ THE ACL MOVIE BOOK The Amateur Filmer's Most Important Guide Book FREE IS YOURS AS A MEMBER OF AMERICA'S MOST UNIQUE MOVIE CLUB To acquaint you with the many privileges of membership, The AMATEUR CINEMA LEAGUE offers you, FREE, the ACL Movie Book, the finest guide to making better movies yet published. This big, 311-page book, priced at $3.00, contains over 100 illustrations and covers every phase of movie making . . . color and black and white; 8mm and 16mm; outdoor and indoor filming; for the beginner and advanced amateur. BUT THAT'S NOT ALL ... As a Member you will receive . . . MOVIE MAKERS, ACL's famous monthly magazine brim- full of ideas, timely subjects and news on every phase of movie making, plus the following LEAGUE SERVICES AVAILABLE TO MEMBERS ONLY TECHNICAL CONSULTING SIKVICI -provides you with individual answers to your specific questions concerning exposure, focus, filters, editing, making titles, interior lighting, or any other problem you may have. CONTINUITY AND FILM PLANNING SIRVICf-makes helpful sugges- tions on your own continuity or helps you plan travel, family, business, educational, or any other film you wish to make. CLUB SERVICE — helps you start a movie club in your community . . . offers ideas on building and holding interest of members. The ACL's Club Department ideas are based on 23 years' experience with clubs all over the world. FILM REVIEW SERVICE — your films may be sent to the ACL at any time for review... you'll get helpful, detailed criticism and constructive suggestions on how to improve your films. TIMELY BOOKLETS - written about general and specific problems of movie making are yours in convenient pocket size. Current titles are: The ACL Data Book; Featuring the Family; Building a Dual Turn- table. Alt these services. PLUS The ACL MOVIE BOOK, PLUS MOVIE MAKERS EACH MONTH, f 0« ONLY J* 00 A YEAR! . . . all for the price of a roll ol film! r FILL OUT THE COUPON AND START YOUR MEMBERSHIP AT ONCE! , AMATEUR CINEMA LEAGUE, Inc. Mr. Cole , 420 Lexington Avenue, New York 17, N.Y I wish to become a member of the ACL, receiving the ACL MOVIE BOOK, Movie Makers monthly, and all the League services for one year. I enclose remittance for $6 (of which $2 is for a year's subscription to Movie Makers) made payable to Amateur Cinema League, Inc. Street. City. . Zone. -State. U. S. PAT. NO. 2260368 G0ERZ AMERICAN APOGOR F:2.3 the movie lens with micro- scopic definition successful cameramen have been waiting for — A new six element high quality lens for the 16 and 35 mm film camera. Corrected for all aberra- tion at full opening, giving highest definition in black & white and color. Made by skilled tech- nicians with many years of optical training. Fitted to precision focusing mount which moves the lens smoothly without rotating elements or shifting image. This lens comes in C mount for 16 mm cameras. Fitting to other cameras upon special order. Sizes available now: 35 and 50 mm uncoated and 75 mm coated. Write for prices, giving your dealer's name. Thecp. G0ERZ AMERICAN OPTICAL COMPANY OFFICE AND FACTORY 317 EAST 34TH ST., NEW YORK 16, N. Y. HM-3 BEST IN THE FIELD! EDITORS 8-16MM STANDARD-42.50 COMPLETE VIEWER ONLY— 32.50 DELUXE 8MM— 54.50 16MM— 59.50 VIEWER ONLY 8MM-35.95 16MM-39.95 SPLICERS STANDARD— 5.95 DELUXE-9.95 REWINDS STANDARD 4.95 PAIR DELUXE-8.95 PAIR I OlAllfl MM OtMOMlTtATIOM 8MM SLITTER 3.95 Baia Motion Picture Engineering, Inc., 120 Victor, Detroit 3, Mich. 123 The Complete 16mm Camera For Professionals and the Professionally-Minded Amateur Featuring the Exclusive full frame follow focus You sight directly through the lens in use while it is in use. You can follow focus. You see when the L subject moves out of the depth of field. You can achieve perfect composition ... from titles to landscapes you know the exact limits of your field. Now no more out-of-focus pictures, no more chopped heads... no necessity for parallax correction because there is no parallax. Write for free Literature Completely Describing the Pathe Super "16" DIRECTOR PRODUCTS CORP. 521 Fifth Avenue, New York 17, N.Y. A New Name in Movie film Brings You Outstanding Values GUARANTEED FRESH BLACK & WHITE PANCHROMATIC FILM Arco Movie Film is o terrific buy for critical movie fans. You get fresh, fine grain, pan- chromatic film plus the "extra" of individual attention to every roll of film. Our automatic processing machines insure even development right out of the edge of every frame. Where the exposure is above or below normal, corrective developmen ' brings out all possible detail. When readv, the film is carefully wound on spools and re- turned quickly and safely. LOOK AT THESE PRICES! Weston 50, Tungsten 32 8mm— 25 ft. Double 8 $1.80 16mm— 100 ft 4.80 16mm Magazine— 50 ft 2.95 24 Hour laboratory Processing Included WE PROCESS ANY BRAND OF B & W FILM! 24 Hour laboratory Service 8mm— 25 ft. Double 8 6Cc 16mm— 50 ft 60c 16mm — lOO ft 80c B & W FILM DUPLICATING 1 6mm to 8mm 6c per 1 6mm ft. 1 6mm to 1 6mm 4c per 1 6mm ft. SEND CHECK OR MONEY ORDER $1.00 DEPOSIT ON C.O.D. Dept. 103 ARCO MOVIE FILMS, INC. 861 6 Fourth Avenue Brooklyn 9, N.Y Titling continued from Page 122 venient. Some amateurs make them on a typewriter. Some letter them by- hand. Some print them on a small printing press. The method you use is tied up with the size of card you use. If you want to typewrite the titles, the card must be very small, or the lettering will be so tiny on the screen that it will be hard to read. If you want to hand letter them, a larger card with larger characters will be easier to letter. If you decide to print them, it will depend somewhat on the sizes of type you have available. The cutout titles on the inside back cover of HOME MOVIES illustrate the smallest size generally used, and from this it may range up to 9 x 12 inches, or even larger. If you have a titler, that will fix the size automatically. Illumination: Unless you have a titler with lamps, you will probably find daylight the easiest for a starter. Place the title where it will be evenly illu- minated, and take a reading of the light with an exposure meter. If you haven't a meter, keep a record of the date and hour and the weather condi- tions. If you have a pair of photoflood lamps in reflectors, it will be easier to get consistent results with artificial light, which changes little. Put one lamp on each side of the title, pointing in at 45 degrees to the center of the title. When the illumination seems even, measure the distance from title to lamps, so that you can duplicate the set-up in future. Don't try to shoot titles with a single lamp at one side; the title will be black at one side and grey on the other. Loading the Camera: This is greatlv simplified by the fact that it can be done under amber light of good bright- ness. Get an amber darkroom lamp at anv photo dealer. You will see that the film has one very glossy side and one rather matte, velvety side. That matte side must be toward the lens when the film passes through the gate. With that as a guiding principle, it shouldn't be hard to wind some on a spool and thread it in the camera. If your camera is magazine loading, you'll have to get an emptv magazine from some- where. If it is 16mm, magazines are available on the surplus market. Setting Up the Camera: Line up the camera opposite the center of the title card and exactly at right angles to it. The distance should be such that the title just fills the picture. (We'll have more to say later about how this is determined.) If your camera lens will focus down to that distance, set it (accordingly. If it won't, or if your camera is fixed focus, you will have to :Use a supplementary lens, such as a Porta or spectacle lens, to get the irrage sharp at that distance. Shooting the Title: When the illumi- nation is even, and the camera is lined up and focused, film the title. The ex- posure you give (lens aperture and frames per second speed) will depend on the illumination and on the sen- sitivity of the film. Once determined, it will always be the same for the same illumination and film. Since film is cheap and processing quick, trial-and- error is as easy a way as any, unless you have an exposure meter. Unloading: Under the same amber light, remove the exposed film from the camera. Develop: For this you will need a tray of print developer, such as D-72, Dektol, D-55, or the like, which you have dissolved in water according to the directions on the package. If the strip of film is short, you can pass it back and forth through the solution by hand. If it is too long for that, wind it on a flat strip of glass or plas- tic, matte side out, and place it in the tray with the edges supported so that the under side doesn't touch the bot- tom of the tray. Rock the tray gently, and from time to time turn the strip over. With most developers and films, this step will run about three minutes. The background will then be black, but the lettering and the edges of the film will still be cream colored. Rinse: Rinse briefly in gentlv run- ning water. This is to reduce danger of staining, and contamination of the next solution. Fix: Place in ordinary fixing bath, dissolved in water according to direc- tions. Here you will see the creamy emulsion dissolve, leaving onlv black silver and clear film. Note how long this takes, and leave it for as long again. Wash: Place the film in gently flow- ing water. Wash for about thirty minutes. Dry: Hang the film up to dry in as dust-free a room as possible. Drying mav be hastened with a fan and with gentle heat. Clean and Splice: Polish the dry film to remove any finger marks, water spots, and the like. Then join into the film where it is desired. This should give some idea of just how simple the whole operation is. Once correct conditions are worked out, several titles may be put through together, so that the total time in- volved becomes very small. We realize that the foregoing leaves many questions open, since we have tried to give only a comprehensive general notion of what is involved. To all of these questions we shall return in further articles. To the veteran cine filmer, this will be "old stuff." To the many new- comers, however, it can be the "Open, Sesame" to one of the most fascinating branches of home movie making. 124 Movie Reviews continued from Page 107 been shot under very trying circum- stances. His shots of sugar cane har- vesting, brought applause from the large audience. An interesting side- light was projected into the film and shown. Sugar cane used to be harvested by hand with the natives cutting away all the dead stalks. Then one year dur- ing a strike some over ambitious per- son set fire to the cane. After the fire was extinguished it was found that the flames did not hurt the cane but did a job, in an hour or so, that previ- ously had taken days. The shots of the cane being burned at night were dramatic. Mr. Shandler is to be congratulated on the fine editing given the film and the musical score that accompanied it. **"DEAD PAN DAN" —300 feet, 16mm black and white, by the Bur- bank Cine Club. This is an original story developed from a basic plot sub- mitted by Mrs. Edward Long, a club member. Nick Stacy, a famous detec- tive on vacation, visits the outdoor stage of a motion picture studio with a party of friends. He is met at the gate by the caretaker who refuses admit- tance but succumbs to the lure of a ten dollar bill. Once inside the caretaker confides that he is in need of a detective as "thar have been some strange go- ing's on." He is supposedly alone, but cigarette butts, a burned out camp fire and a shovel with fresh dirt on its spade lend mystery to the film. Nick's search leads to the discovery of buried jewelry and as the amazed crowd looks on the bandit enters and reposses his treasure. Needless to say they exit as fast as possible. A unique ending is given the film as the bandit's pistol turns out to be a water gun and the bandit a prop actor. As our hero "Dead Pan Dan" remarks as another group of tourists appear on the scene, "Better get ready, here comes another group of suckers," and with visions of another ten dollars the picture comes to an end. This picture just fell short of a three star rating because of its lack of close- ups. The story continuity and editing was nicely done and the titles were well centered. But the long shots had a tendency to be too long and slow up the action. In particular the shot through the car door where the driver, anxious to get away from the bandit, urges the party to hurry. This shot has a tendency to slow the action for the following shot where the car is seen in motion as the final member of the party climbs aboard. The addition of inserts and a little closer editing will make this picture outstanding. Get better pictures with your projectoi through S0MC0 Projection Lenses m. Designed to fit most 8mm and 16mm Projectors Bring out the Best in every film through H>MC0 lenses When ail is considered, the success of your movies depends largely upon the qualify of your projection lens. Don't be satisfied with anything but top results from your projector. Be sure you are getting as much out of your films as you put into them. Send for illustrated folder showing the SOMCO line of 8mm and 16mm Cine Projection Lenses, and 35mm Slide Projection Lenses SIMPSON OPTICAL MFG. CO., 3200 W. Carroll Ave., Chicago 24, III. Manufacturers and Designers of PROJECTION LENSES • CAMERA, LENSES "'SMS • MIRRORS • SILVERING • ALUMINIZING • LENS COATING BIGELOW MOTION PICTURE FILM COMPENSATED IN PROCESSING TO CORRECT EXPOSURE ERRORS Do All A.S.A. 40-24 OUTDOOR A.S.A. 16-6 25 ft. 8-8mm. $1.94 $1.35 100 ft. 16mm. 4.45 3.45 50 ft. 16mm. magazine 3.25 2.75 ABOVE PRICES INCLUDE 24-HOUR PROCESSING SERVICE Bigelow Film is New, Fresh Sfock. Not War Surplus PROCESSING SERVICE ON FILM OTHER THAN OUR OWN 25 ft. 8 mm. . $ .50 100ft. 16mm.. 1.50 50 ft. mag. . . .75 (if we keep magazine) / 1.00 (if we return magazine) California buyers please include sales lax. MAIL ORDERS GIVEN PROMPT SERVICE The snap and sparkle associated with professional motion pictures are yours when you use NEW COMPENSATED THE ONE SURE WAY TO BETTER COLOR MOVIES HQUICK. SIMPLE ANSWERS TO ALL YOUR QUESTIONS Fred Bond TELLS YOU HOW PRACTICAL COMPLETE CONCISE This book brings you detailed, exact and understandable answers to every day color movie problems — Koda- chrome and Ansco Color, 8 mm. and 16 mm. No padding, no long-winded stuff, just plain facts you need to make BETTER COLOR MOVIES. Covers all major outdoor and indoor exposure problems— the why of filters, which and when to use — simple indoor home lighting arrangements — tables, graphs and data at your finger-tips. SPECIAL FIELDS Specific and detailed information on many out-of-the-ordinary color movie problems — Sunsets, Night Street Scenes, Special Effects, Theatricals, In- door Sports Events, Close-up of Small Objects, Elapsed Time shooting. 160 pages. 6" x ?" tmQQ 86 Illustrations, 16 in *S full color, Cloth Bound Send for FREE Catalog 6449 Regent St. Oakland 9, Calif. Camera Craft Pub. Co. 95-F Minna St., San Francisco 5, California 125 VAPORATELJ,WHEf ■/vailable in • 8mf 'CO-fjiixSiNGii) (please mail dealer's name if he cannot supply you) ESO-S. INC., 47m. % HOLLY, KANSAS CITY, 2, MO. For direct-mail service: Ship: □ 3 rolls double Smm'MOf-IOCOLOR ($5.70) □ 3 rolls 100' 16mm ($13.50) □ 3 magazines 50' 16mm ($10.00). G Check enclosed. □ C.O.D Name: Street: City: .State:. CUT HOME MOVIE COSTS with BLACK and WHITE fine grain S e m i-O r t h o cro m a t i c Reversible Film for finett re- sults— lowest cost. 16mm. Reversible Outdoor Film 100-ft. Roll Only 2.50 Rating Scheiner 1 8 8mm. Reversible Outdoor Film 25' Dble. 8, only 1.25 VIS-O-PAN Full Panchromatic. Indoor- Outdoor Double 8mm.— 25 ft „$2.00 16mm.— 100 ft 5.00 Same day processing included. See your dealer or send money direct. VISUAL INSTRUCTION SUPPLY CO. Dept. 12 1749 Broadway,Brooklyn7#N.T. *7c /ic^cAutt tyou . . with the marvelous motion pictures I offer (all types) — I will send you "OUT OF THIS WORLD" . . . for only ONE DOLLAR! Don I miss this chance to gel this sensational film lor only a dollar with Special Collector's list FREE! DON I DELAY Order Rigftf NOW.' j tor ihe tomplele film. "Out of ihrs World'' . . . ■ft * STARRING FIVE GIRLS! * -* VSSffT.^r. FRED GARCIA 12061 Neenach St., Sun Valley, Calif. Slate if 8MM, 1 6MM or Sound "STOP APOLIGIZING" FOR YOUR MOVIE TITLES Writ* today for a FREE A-to-Z Sample Title Test Kit. Make titles that are different . . . better and tailored to your taste. Try our method . . . FREE. CampJete color or UW. Outfit $6.50 A-to-Z MOVIE ACCESSORIES Iron Horse continued from Page J (IS of a good train movie. Lighting plays an important part in adding dramatic emphasis to your train shots, and morning or late after- noon light offers interesting side- lighting effects. Try the occasional pictorial with backlighting, where the smoke puffs or overhanging foreground branches of a tree hide the setting sun from the camera lens. Silhouette shots, taken from a low angle, against the cloud-broken western sky after sun- down will add real beauty to your movie reel. Nor is bright sunlight necessary for striking train pictures. Shots taken during rain or snow or on dull days have interesting "atmosphere" about them, while those taken following a sun shower will show plenty of spar- kle. Of course, the movie camera and lens should always be protected from the elements. Once the railroad filming bug has bitten you, you will want to broaden your picture horizons and add close- ups of historical trains and equipment to your growing film. To get some of these shots may require considerable ingenuity, as well as extra lighting, since such relics are usually found where lighting is adverse or poor. You won't be alone in your train filming hobbv. You'll soon find that there are thousands of other cine fans throughout the country who are equally interested — in fact, there are historical societies which plan special filming trips and encourage their rail- road-minded members to bring along their cameras and shoot to their heart's content. As in most types of movie work, camera handling must be rock-steady unless panoraming to follow moving objects. A substantial tripod is a worthwhile investment. After editing and titling your movie reels, you can add a still more profes- sional touch by utilizing a phonograph record player or dual turntables for playing actual disc recordings of trains whistling, chugging, passing over trestles and through tunnels. These sound effects recordings, similar to the tvpe used in radio work, are available at reasonable cost. When played at appropriate moments during the screen- ing of train films, they give the audi- ence the realistic impression of actually witnessing a sound-on-film presenta- tion of the old iron horse itself gallop- ing right along. Perhaps one of the Midwest's most enthusiastic train-filming amateur movie maker is Dr. Leonard J. Martin of Minneapolis, who utilizes triple turntables with five pickup arms to furnish necessarv sound and music. 173 Fifth Avenue Dept. H New York 10, N.Y. LUCILE H. FLECK, Sole owner and * president of VAPORATE Co. Inc., has become president of VACUUMATE Corp. and taken with her all personnel \ . . . and will continue with the Vacuumore Corp acquired the as sets, patents, trade-mark, good will of VapOrate Co. inc. which is being dissolved. ★ THE SAME FACES ★ THE SAME PLACE ★ THE SAME EFFICIENT PERSONALIZED SERVICE ★ THE SAME SUPER VAPORATE FILM TREATMENT Your past patronage is appreciated. ^ Vacuumate Corp. and Mrs. Fleck will be pleased to continue serving you. VACUUMATE CORP. 446 W. 43rd St., NEW YORK * Reg. Trade-Mark U. S. Fat Off. May not be used except by Vacuumate Corp. and its licensees. EASYTimePaymentson BELL & HOWELL, KEYSTONE, REVERE, VICTOR, NATCO, DE VRY, MOVIE-MITE, etc. Also films of all kinds. We buy, sell and exchange films and equipment. Free Catalogues f State 8mm, 16mm, or sound) FRANK LANE & CO. 5 Little Bldg., Boston, Mass. 8MM 16MM WILD GAME FILMS Four years in the making! See thrilling movie films that took days of stalking — game pictures caught once in a lifetime. All footage taken by famed Eberhart organization. CURRENT HITS . . . "Bcst Beaver" "American Deer" "Leaping Tuna" "Rocky Mountain Elk" "Bears!" "Big Horn Sheep" "Moose!" "Prong Horn Antelope" "Spotted Fawns" "American Bison" Order any of the above at these prices — 50' SMM Black and White 11.75 50' SMM Color $6.00 100' 16MM Black and White $3.50 100' 16MM Color $15.00 Sent postpaid with check, cash, or M.O. C.O.D. if you wish. lO0^ discount for three or more. WILDLIFE FII3IS fOMPAXY Dept. 3-H 6063 Sunset Blvd.. Hollywood. Calif. »»»»»»»»»»»»»»»» Presenting to the 16mm Cameraman — Our Exclusive] ?nn tungsten Mm\3\kW On Weston meter Diablo Cine Film S6.98 per 1M ft. larl. Proeessias SB California orders add 3% Sales Tax VP" (See your dealer, or order direct) ^ EGON A. DITTMAN, C.T. <> P. O. Box 734 BERKELEY 1. Calif. <> »»»»»»»»»»»»»»»» | 'Treasured Memories' S World Famous California Spring Garden Show ■ *69 feet KODACHROME - - M0 California orders add 3% Sales Tat EGON A. D I T.T MAN, C.T. g P.O. BOX 7U BERKELEY 1. CALIF. ■ ■ ■ ■■ ■ ■ ■ 126 Must Satisfy You OR YOUR MONEY BACK BOLEX ACCESSORIES • DETACHABLE CAMERA BASE • Provides a large, flat bottom surface for your Bolex camera. Makes camera rigid on Tripod or Titler. Stops vibration and picture jiggle. Camera will stand securely on any flat surface. Finished to match camera. Weighs 7Vi oz. Price $5, postage included. Write for Bolex Accessory Booklet! STEVENS ENGINEERING CO. 2604 Military Ave. Los Angeles 64, Calif. Hilarious J^its for tracer Next Party! v SEASIDE FILMS Sparkling short subjects featur- ing beautiful Hollywood models and clever gags. There's a laugh and a thrill a minute in each of these hilarious party hits. Guar- anteed refreshing . . . and differ- ent! Approximately 175 feet per subject. Buy one. ..you'll want them all. "SADIE THE SUN BATHER." Hollywood model gets well oded on the beach. 1. 2 "FANNIE WITH CHEEKS OP TAN." The old fishing line with a new twist... and alluring baill * "THE HITCH-HIKER." Thumb fun wilh a cuKl thai endi in *• o rioll M "1EACH-COMSINC BELLE." The bore necessities requited to be a Beach-comber. E "ANTS IN HER HANTS." Beautiful petal pusher in the garden. (This t/pe garden equipment unavoitabl* ) £ "COLDIEIOCKS GOES GLAMOROUS." A "tight-knit" skit ...Goldielocks, Momo ond Papa bear. ..and a little bore! 11- 1 I.' I send ciif at '-A 1 OR MONfr ) I I ORDER TO —J 16mm 8 1W Sound .... *10.00 each SEASIDE FILMS 1 228 So. Gran* A*.., Lot Angeles 15, Colif. Special Free Offer This Month.' Processing reel for 8/16 mm. only $19.95 f.o.b. Chicago Free this month only Gallon set of complete reversal chemicals Actual value $2.55 Order reel now and get your chemicals FREE m 2'A x 3% COLOR PRINTS 50c EACH Price of larger Prints on Request From 8 and 16mm Color Film Send 3 frames or tie thread next to frame desired Add 25c handling charge on orders of leu than $5.00. No. CO.D.'s. HOUSE OF COLOR 1108 Seal Wav Seal Beach. Calif. lens • continued from Page 1.21 by moving back — but suppose that this happens to be impossible? If you are on the side lines at a football game, you can't move out onto the playing field to get bigger images of the play- ers, but you can put on an objective of longer focal length. If you are making an indoor scene and are backed up against the wall, you obviously can't move back any farther to take in a wider angle, but you can put on an objective of shorter focal length. "Talk about a camera hound — this customer lives in my store." For these reasons an objective of shorter focal length than the normal is known as "wide angle," and one of substantially longer focal length is called a "telephoto." You can do a great deal with one standard objective but you can readily see why you will find it desirable to add others as you become more skilful. The other quantity which describes a lens is the aperture, and this is im- portant to us because it determines how much light we will need to take a good picture. Inside the objective, near the middle of the tube, is a cir- cular opening of adjustable diameter, called the iris diaphragm or stop, which is linked to a ring on the out- side of the lens. It is by means of this adjustable opening that we control the amount of light passing through the lens. Think of it as something like a window shade. When the sun is very bright outside, we draw the shade down part way to avoid glare. When the light is very dull, we put the shade all the way up to take advantage of all the light there is. The amount of light which reaches the film depends on the ratio of the focal length to the diameter of the effective aperture, and it is this ratio which we call the "/" value. If the 8MM and 1 6MM MOVIE FILM AT TREMENDOUS SAVINGS! Just bought from Government stocks of nationally- famous movie film manufacturer. Guaranteed for exceptional results. Fully Panchromatic — Weston 32 — fast processing included. Stock Up Now! Buy 'em by the dozen! SIZE EACH Lots of 6 Lots of 12 Q MM °25-ft. Double-8 1" 1" 1 00 1 °50-ft. Magazine 250 225 2oo 1 AMM ■ **100-ft. Roll 295 275 250 k> FREE PROCESSING INCLUDED WORD TO THE WISE: Stock up now for all your summer and vacation shooting. FOTOSHOP inc. DEPT. A. 136 W. 32nd St., New York City 8 MM 52m II Motion Picture Service WRITE FOR PRICES OEPT H Ik GEO.W.COLBURN LABORATORY, Inc. 164 N. WACKER DRIVE, CHICAGO 6, ILL QUICK 8-IGMM MOVIE TITLES WHEN SHOOTING with NEW POCETTE OPTICAL u TITI ED IL_ rZoW'T*- right on camera TITLER SBBBeJir^ BRAND NEW- _ ^ Perfect for black and white or color! Just write your title on the special glass, aim the camera at light source with regular exposure— and zip — you've got a perma- nent accurate on-the-scene title. Fits standard lenses on 8- 16mm cameras. Poc- ette is light, sturdy plas- tic. Complete with neck carrying cord only $3.00. Today! Send check or money order — we pay post- age! ZUSSER MFG. CO., Dept. P 6702 Sheridan Rd. Chicago 26. III. 127 Ms) ' KODACHROME DUPLICATES 8mm or 16mm lie PER FOOT Minimum $3.50 — Also B & W MAIL ORDERS ACCEPTED 3515 Sunset Blvd. Hollywood, Calif. Fast Permanent^ HOT SPLICES on Your Splicer with ARIEL Splicer Heater Griswold 35mm $8.75 Griswold 16mm Jr or Pro R3 $8.75 Bell & Howell $8.25 Ampro $8.25 Hollywood (rubber base model) $8.25 Add sales tax in California f™ Postpaid in U.S.A. V Ready to Attach No COD- V No Holes to Drill V 90-120V AC y/ Controlled Heat y/ Guaranteed ARIEL Visual Distributing Organization! ■Box 2088 • Hollywood 28 •California! TITLES for HOME MOVIES or SLIDE SHOWS— STILL AT SAME LOW PRICES! Seems like prices have been raised on just about everything. We're proud to announce that our same fine professional quality Tides are the exception . . . still at the same low cost! Formerly distributed by Bell & Howell, now sold direct to you with better, faster service. Large variety backgrounds available. CD BE* Send for illustrated folder, com- plete information, prices, samples, orderblank. NO obligation. Learn how much easier, better, and less costly it is to use TITLE-CRAFT TITLES to "dress" your shows. 1 022 ARGYLE STREET CHICAGO 40, ILLINOIS TITLE-CRAFT MOTION PICTURE i6«« PRINTERS CONTINUOUS REDUCTION SEND FOR DESCRIPTIVE LITERATURE UHLER %tac/Zu&Gr. 15778 WYOMING AVE. DETROIT 2 1.MICH 8 & 16mm ENLARGEMENTS IN COLOR We are pioneers in offering this service to movie fans. 8mm to 2 Y% x 3 75c ea., 3 for $1.93 16mm to 2H x 3Ji 65c ea., 3 for $1.65 35mm to 2*4 x Z\i 45c ea., 3 for SI. 20 Guaranteed Prints — No C.O.D. R.C.S.— P.O. Box 88— Oak Park, III. STUDIES IN BEAUTY Featuring Hollywood's Most Beautiful Models Sample reel— 50 ft., 8mm $3.25 100 ft., 16mm $ 5.50 Kodachrome— 50 ft., 8mm $8.50 100 ft., 16mm $16.00 16mm in Sound $7.50 Catalogue mailed with each order. We Ship C.O.D. Plus Postage FINE ARTS FILM PRODUCTION (HM) P. O. Box 2084 San Antonio 6, Texas TITLES YOUR MOVIES DESERVE THE BEST Color or B & W; 8mm or I6rr.m SPECIAL EFFECTS TITLE TECHNICIANS i4 Ames St. N. E. Washington 19. D. C. focal length is one inch, an aperture one-quarter inch in diameter is called "//4," and an aperture of one-eighth inch would be f/8. When we speak of the aperture or /-number of a lens, we mean the maxi- mum aperture to which it can be opened. From the explanation already given, it will be obvious that a small opening will correspond to a large number, and a large opening to a small number. Consequently, the smaller the /-number of a lens, the wider the aperture and the more light it will admit. A moderate aperture is f/4-5, f/4 or//3.5. More light is admitted by a lens with an aperture of f/2.8 or f/2.5- A lens ranging from f/2.0 to f/1.5 is the practical maximum, and such a lens is considered "fast" be- cause it permits of taking pictures in relatively poor light. As we go along in this series, we shall have much to say about what you can do with different apertures and various focal lengths, which space will not permit this month. One more point should be mentioned, however —the care which fine objectives de- serve. The lens elements are not made of the same sort of glass as a bottle or a windowpane. They are made of cost- ly glass selected for its optical prop- erties, not for hardness. It may be much softer than ordinary glass, and has a far more delicate polish. Consequently, lens surfaces should never be cleaned roughly, and great care should be used not to scratch them. Use lens tissue, or a bit of clean surgical cotton, but please don't use your necktie, as we have seen happen! First remove any loose particles which might cause scratches, by gentle brush- ing, then breath on the lens and polish, ever so gently. Or use a reputable lens cleaning fluid. Should you get a fingerprint on a lens, remove it at once, without wait- ing till later. If you don't, the per- spiration may etch the print into the surface of the glass so that you can't remove it. As good a liquid as any for lens cleaning is a weak solution of a wetting agent — a drop or two of Aerosol, Photo-Flo, Wun-Drop, Drene Shampoo, or the like in a bit of water. Apply with surgical cotton and polish dry with a clean piece. Just barely moisten the lens surface; don't wet it, or some of the fluid may run down inside and make trouble. There are good, sound reasons for all this care to avoid scratches. Any- thing which impairs the perfect polish on the lens surfaces scatters light, and deteriorates the image by just that much. Even tiny scratches made by rough polishing, too small to see with the naked eye, scatter light and cut down image contrast. For that reason, it is sound practice to keep a lens cap over the objective at all times when it is not in use. from our RENTAL LIBRARY FREE! / FIM Silent or 8mm Silent. Write to Dept. f CAMERA STORES PEERLESS NEST HOME MOVIE SELECT I ( 1 38 E.44th St., New York 17.N.Y. r Distinctive TITLES and Expert EDITING For the Amateur and Professional 16mm. * 8n Black and Whits - Kodachrome Price List on Request STAHL EDITING & TITLING SERVICE 33 West 42nd Street New York, N. Y. 8 MM —16 MM KODAC«ROMEw BLACK (.WHITE A 5& BOX 4425 • WASHINGTON r7.DC FRAME- COUNTING WINDBACKS Guaranteed accurate. Expertly engineered and installed. Money-back guarantee. • Keystone $24.95 • Filmo $29.85 • Eastman $29.85 • Revere $29.85 Precision Built Accessories for Every Need Write Us Your Requirements CUSTOM BUILT CAMERA ACCESSORIES CO. 5712 Cedar Springs • Dallas, Texas Two 3< stamps for giant catalogue REED & REED DISTRIBUTORS, INC. J7 5 0 8 3 rd AVE., BROOKLYN 9, N . Y. BOOKS YOU NEED If you want to heighten interest in your last vaca- tion film with a good running gag, this booklet offers 50 fresh, pro- fessionally-conceived con- tinuity ideas that any amateur movie maker can use. Replete with interest- ing and humorous story plots, ideas for running gags, plus several timely art title backgrounds. 25c. An invaluable book for the movie amateur. Con- tains fifty plot and running gag ideas that enable you to make a movie of chil- dren with continuity and story interest. Also con- tains a number of art main titles for kiddie movies. Easily worth the price! 25c. 30 3i*»i°' filiiif (kiUrei ORDER NOW! VER HALEN PUBLICATIONS 3923 W. 6th Street, Los Angeles 5, Calif. 128 CLASSIFIED ADVERTISING RATES: 10c per word. Minimum ad $2. Add 5c per word for text in capitals. EQUIPMENT FOR SALE 750 WATT PROJECTION LAMP $2.25 each in lots of twelve $5.00 for Sample order of two Remittance with Order ZENITH MOVIE SUPPLY CO. 308 W. 44th St., New York City BASS SAYS: If you would trade, or buy, or sell At Bass you'll always do right well. CHARLES BASS, President 8mm Universal Cine Master, Wollensak F/2.5, ' Case. Like new $ 37.50 ,8mm Revere 88, Wollensak F/1.9, telephoto I attachment, wide angle attachment 62.50 I Bolex H-8, Cooke F/2.5 fixed focus with lap dis- I solve, Wz" Berthiot F/3.5, Berthiot F/3.5, Case 245.00 Factory new 200 ft. magazines for Cine Special, I Black 275.00 jl6mm B. & H. 70D, 20mm F/2.9 coated, 1" Plasmat F/1.5 wide angle, 2" Cooke F/3.5, Case 235.00 16mm Zeiss Movikon, Sonnar F/1.4 325.00 We buy 'em, sell 'em, and trade 'em. Complete stocks of l new Cine Equipment, all makes. BASS CAMERA COMPANY, DEPT. HM : 179 W. Madison St. Chicago 2, III. • WORLD'S LARGEST LENS SELECTION For those gorgeous Spring and Summer movies. COATED FOR 8MM CAMERAS 9mm F/2.5 Wollensak Wide Angle Universal Focus $ 43.75 %" F/1.9 Berthiot Cinor (focusing mount). .. . 29.50 F/3.5 Telephoto Anastigmat (3 time magnification) in focusing mount 36.50 IN FOCUSING MOUNTS COATED FOR 16MM CAMERAS 17mm F/2.7 Carl Meyer Wide Angle 49.50 1" F/1.9 Wollensak Raptar 58.09 2" F/2 Schneider Xenon 99.50 3" F/2.8 Carl Zeiss Tessar 109.50 6" F/5.5 Schneider Tele-Xenar 124.50 These are only a few of our fine lens values. We have the lens you want. 15 days free trial. Satisfaction guaranteed. Send this ad for free catalog and lens list. Burke & James, Inc., 321 S. Wabash Ave., Chicago, III. Att.: H. A. Monan. • AURICON CINE-VOICE sound camera complete with amplifier, batteries, mike, case $695.00. Bolex H-16, jj 1" F/1.5 lens and carrying case, like new $249.00. Kodak ! Model K, 1" F/1.9 lens and case, excellent $95.00. Color- jtran converters boost ordinary 150 watt bulbs to more Ithan 750 watts on house current, $27.50. THE CAMERA ; MART, INC., 70 West 45th Street, New York, N. Y. '. • BARGAINS: Name your own price and type of used I Sound Projector. Also 8mm and 16mm Revere Cameras and Projectors. (Used 1 year or less.) Write GALLARD'S | MOVIELAND, 29 Coe Ave., Hillside, N. J. • NEW— PERFEX 8MM magazine cameras F/2.5 lenses $59.50 — Ampro sound projector $250.00. Features for sale. Used 8-16mm projectors. STANGL, 1180 W. Locust, Dubuque, Iowa. • BELL & HOWELL PROJECTOR, 8mm Master 400, with case, originally $187.00— special $125.00, Brand new. Cine Kodak Magazine 16mm camera, F/1.9 Anastigmat, , new originally $187.50. Sacrifice $137.00. REAL FOTOS, I P. O. Box 172, Sta. B., Brooklyn, N. Y. 1 • OUTSTANDING VALUES on all movie equipment. Genuine savings by mail. Complete, illustrated catalog (packed with movie items)— 10