American cinematographer (Jan-Dec 1952)

shape. As mentioned before, this is most accurately described as a window shape, vertical instead of horizontal. It is rather remarkable that the shape of this window is not particularly noticeable, when pictures are screened, any more than we notice the shape of the window that we look through in an actual scene in real life. Perhaps this is because the window does not normally lie in the same plane as the subject. There is another problem which has been simply overcome. On either side of the 3rd-dirnension movie there is a ‘‘ghost image.” which unless eliminated won Id , trove very distracting, particu¬ larly since we are dealing with moving objects; however, this image is very simply overcome by adjusting the dis¬ tance between the projector and the screen so that margins of the picture fall on the black border at the sides of the screen. The complete Nord 3rd-dimension movies kit includes the camera unit, the bracket with whatever clip is required for your particular camera, the projec¬ tion unit with supporting base, the test film, two pair of cardboard type Pola¬ roid glasses and a special screen. Price is $83.50. The units are manufactured by the Nord Company, 254 First Avenue North. Minneapolis, Minnesota, and soon will be available through camera stores and photo dealers throughout the U.S. NO FORMULAS, NO GIMMICKS ( Continued, from Page 69) prefers a normally timed print — or if anything, one that is slightly denser than normal. He emphasizes, however, that the ideal result is not merely a matter of printing. The lighting on the set must be gauged to complement the style of printing. “Fireside" is lighted to be printed slightly on the dense side. Kline says that it is necessary to be careful in photographing scenes to be used for montage or superimposure. These should not be too complicated, and there should be enough “solid” sub¬ stance in the one scene so that the detail of the other will show up clearly against it. “We must exercise certain care in filming night scenes, too,” Kline pointed out. “In many television studios, when the video technician or ‘shader’ sees a night scene on the monitor screen, lie’s prone automatically to pour more light onto it. The result on the home receivers is a washed-out grey. For this reason, we make sure there are enough highlights in the scene, so that the monitor at the shading control will be forced to hold the general level down.” A standard procedure on the Fireside set, and one which would give apoplexy The oldest and most experienced 16mm film laboratory 44 YEARS AGO (long before Wm. S. Hart handed out justice with 2 blazing six-guns], Hollywood Film was serving major producers! It was 1916 when Wm. S. Hart starred in "The Return of Draw Egan" Of all the existing film laboratories, only Hollywood Film can point to a history of outstanding leadership since 1907! In that time, we’ve developed the finest produc¬ tion facilities, plus a “know-how” that assures you highest quality prints at reasonable prices. Our modern electronic controls eliminate notching, make splices invisible, provide brilliant sharp defini¬ tion, and guarantee perfectly balanced color prints. Try us and see. You will be delighted with the results. Immediate Service and Prompt Delivery of any quantity. Lowest Prices consistent with fine quality. Quotations gladly given. WRITE l'OR FREE I.AE PRICE LIST. COMPLETE 16mm LAB SERVICE • Negative developing • Reversal Processing • Reduction Printing • Contact Printing • Kodachrome Reproductions • Free Editing Rooms • Release Prints in Color or black-and-white • Edge Numbering • Free Projection Service • Free Storage Vaults • Shipping and Receiving Service FINEST Write, or Phone HI. 2181 LAB WORK SINCE 1907 HOLLYWOOD FILM ENTERPRISES, Inc. 6060 SUNSET BLVD. • HOLLYWOOD 2 8, CALIF. Fkhruary, 1952 American ( Iinematogkapukk 77