Movie Makers (Jan-May 1928)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

PROFESSIONAL SERVICE for MOVIE MAKERS A complete titling and editing service. An exclusive personal border supplied FREE with all title orders. We make all kinds of animated, trick and Art titles of highest quality at reasonable prices. Pioneers in reduction printing from 35 mm. to 16 mm. — negatives or positives. Films rented, sold and exchanged. Get our rental prices. Complete stocks, always, all makes Cameras, Projectors and Accessories. Phone for a demonstration in your home, no obligation of course. ESGAR MOTION PICTURE SERVICE, INC. 12804 Superior Ave. Tel. Glen 2362 Cleveland, Ohio SERVICE in New York City Our movie experts will gladly give you instructions and denv onstrations on all kinds of equipment. We have a complete line of Cameras, Projectors and accessories. LUGENE, Inc. OPTICIANS 600 Madison Ave., N. Y. C. Near 58th Street TELEPHONE PLAZA 6001 Underwood Titling & Editing Service for Pathex 9m/m Film TITLES — TILTING — EDITING Photographs Reproduced Write for samples and price list The C. R. Underwood Company 3838 Kennerly Ave., St. Louis, Mo. The NEW DeVry 16 mm. Projector $85.00 Liberal Allowance on Old Projectors <r^> PICKUP Cine Kodaks Pathex & BROWN, Inc. DeVry OPTICIANS ; Motion Picture Accessories 41 EAST 41st ST., NEW YORK, N. Y. Phone Murray Hill 0041 Write or phone regarding SHOW-AT-HOME MOVIE LIBRARY SERVICE stop number is increased. This will be made clear from Table 6. A correction of this kind should always be made to determine the proper stqp for close-up work when using a telephoto lens. The attachments described in this article will prove of considerable value to the camera user who aspires to be more than an amateur. They will not only eliminate guess work to a large extent, but will extend the range of the cine camera and enable the non-professional user to approximate many of the best professional results. THE END OF THE RAINBOW {Continued from, page 15) would increase the bulk somewhat and would increase the cost considerably. The mechanical difficulties involved are relatively slight. Having produced a camera of the type described, it now becomes necessary to provide means for developing and printing the positive. Here the maker of the equipment or the film must supply the means because the machinery needed to make a color print can be produced economically only when it can be used to print enormous footage. That, however, is no serious drawback, as most amateur film now is sent to some distant point for finishing. With the print finally finished, the next problem is one of projection, and again the amateur has the advantage over the professional. One of the real troubles of all motion picture color prints to date has been the difficulty of securing sufficient transparency to give a brilliant screen image in the theatre where projection distance is usually extremely long. Projection distance and image size in connection with amateur machines are relatively small and brilliancy is correspondingly increased. Further, almost all amateur projectors have a higher projection efficiency per unit of illumination than do the large theatrical machines. One of the difficulties to be expected involves exposure. All exposures in any color process must be accurate, but exposure tables are so easily available that comparative charts for quick computing of exposure by any method are easily prepared. Another difficulty which the amateur may encounter is the question of lighting. Contrasty lighting is to be avoided always in photographic color work, as some of the early experimenters discovered after considerable labor. However, the general data concerning the production of pictures in a pleasing scale of colors approximating those of nature are available and there can be little question but that the manufacturers have already given the matter a considerable amount of thought. The difficulty of judging the probable demand, together with the expense involved in preparatory work have more than likely been strong forces against embarking on the field of color. Nevertheless, it is a fascinating thing to look forward to as an achievement which will add to the beauty and charm of an already absorbing hobby. When we, in later years, can re-create on the screen our visit to the Grand Canyon and can see the lovely strata of color as we first saw it — or when we can retain the charming color of long dead gardens or other memory-laden spots — then indeed have we achieved the true pot of gold at the end of the rainbow. THE VALUE OF VALUES {Continued from page 14) evident that a theoretical and practical knowledge of values enters into every type of cinematography. In the film just depicted, it is its very life's blood. Only an attempt has been made here to urge the cinematographer, beginner or advanced, to think about this question of values. It is a subject that is so vast and has so many ramifications that a complete issue of this magazine could not do justice to it. Suffice to say, in closing, that sincere thought and determined effort to achieve masterpieces in monotone, through the medium of light and silver, will fully repay all the effort expended. SYNTHETIC CINEMA {Continued from page 19) Scene: Medium shot of Mr. Entwhistle's artificial limb wrapped in a khaki puttee. Orch. Cue: "Just Tell Them That You Saw Me." Title: Phylia sets out across Flanders Fields in search of the soldier who lost the leg. Scene: Feminine footprints in the mud. Orch. Cue: "Boots, Boots, Boots!" Title: "Phylia!" "Hermie!" she finds her Cinderella man, and he is minus a leg. Scene: Medium shot of one footprint and the mark of a crutch-tip in the mud. Orch. Cue: "Hero Song from The Chocolate Soldier." Title: Came the dawn. Scene: Medium shot of a pair of slippers, 4A, and a single shoe, 9%C, outside door of hotel bedroom. F i f t y s i x