Home Movies (1954)

EASTMAN KODAK KODACHROME DUPLICATES 8mm or 16mm — 1 lc per ft. 1 6mm Reduced to 8mm 1d£ fin^hed 8mm Enlarged to 16mm ' * foot SCIENTIFICALLY EXPOSURE CORRECTED WE GUARANTEE QUALITY PLUS SERVICE Mail Orders Accepted EAGLE LABORATORY 1732 N. ORCHARD ST. CHICAGO 14, ILL. V i I — ^— — ■ — — — / / ■ 16mm Color TITLES Your Movies Are Not Complete Without Titles Price List and Samples Free ZENITH CINEMA SERVICE, INC. 3252 Foster Ave. Chicago 25, ML 1954 ROSE PARADE 400 ft. 16mm Kodochrome, S60.00 (and in 8mm, 200 ft. $30.00) GUY HASELTON 7936 Sta. Monica Blvd., Hollywood, Calif. 28 BASIC STEPS on Motion Picture Techniques . . . best Available $1.00 Ver Halen Publications 6047 Hollywood Blvd. Holywood, Calif. MUSIC • Continued from Poge 77 to procedure. First of all. make a mark on (or at) the recording head of the tape recorder directly in line with the gap in the magnetic head. Also, It is quite essential that you are able to stop the tape transport instantaneously. In dubbing musical material from records to magnetic tape for subsequent cutting and editing, record sufficient material before and after the spots where cuts are to be made so that you can have sufficient 'listening' time to enable you to identify the strain leading into the exact spot where cuts are tobe made. ( This is particularly true of the music preceding a cut). For illustration, let us take example 3 of Figure 3. First, record A( 1-2-3 ), letting the music continue into Aa for about one or two seconds. Now record Azl 1-2-3 ) , starting the recording at about B(3) and letting the recording continue through Az(4). Next, starting at about Az(l), record the strain through Az(4). Now. starting at about Az(2), record the strain through to the end. To cut and assemble this material as indicated in example 3 of Figure 3, we proceed as follows. Play the recording (on tape) from the beginning of A and stop the tape at the split second before the first note of Aa is heard. Mark the tape at this point with a pen or crayon at the mark made previously on I or at I the recording head. Continuing the playback, stop the tape the split second before the first note of Az. Again, mark the tape at the recording head at this point. Proceed with the playback, stopping the tape the split second before the first note of Azl 4) . Mark the tape at this point. Locate and mark the beginning and end of Az(3) and the beginning of Azl 3-4) as done with the other strains. Now, by cutting the tape exactly on the previously determined ending and starting marks and splicing the selected sections together, you should have a smooth musical continuity made up of Al 1-2-3-4), Az(l-2-3), Az(3) and Az(3-4). Xext month we will go further into musical cutting and take up additional aspects of musical limitations and combinations. PROS • Continued from Poge 68 a very artistic but yet rugged atmosphere to each of his scenes. He used many low camera angles for his footage during the sequences on the manmade island that held the mammoth oil derrick. This clever set-up adds much strength to the scenes and keeps reminding the audience of the locale. "Thunder Bay" was projected on the new wide screen that measures 23^ x 431/2 feet, compared with today's standard screen measuring 18 x 24 feet, yet the footage was very sharp overall and there was no feeling of any color distortion. Naturally, this adds another feather to Daniels' cap as an outstanding cinematographer. Daniels captured an exciting fight scene between Stewart and Robert Monet. Monet arrives at the drilling barge at the same time a hurricane hits. It was Monet's plan to dynamite the well so that everyone would believe the man-made island didn't withstand the hurricane. Stewart spots him as he lights his first stick of dynamite, but Stewart is several feet away and has to climb across steel girders to get to him. W ith the rolling sea serving as a background, the shiny steel ribs and cables catching terrific highlights as the lightning strikes, and with the constant downpour of rain, this scene is a cameraman's dream. Daniels has done a job he can well be proud of in "Thunder Bay." ARROWHEAD PARAMOUNT Cast: Charlton Heston, Jack Palance, Katy Jurando. Photography Credits: Director of Photography: Ray Rennahan, A.S.C. In color by Technicolor. Running Time: 1 hour, 46 minutes. "Arrowhead" makes the eighth Technicolor film Ray Rennahan has done for Producer Nat Holt, and they have all been the outdoor, adventure type. His first assignment for this producer was "The Great Missouri Raid." followed by "\^ arpath." ""Flaming Feather," "Silver City."" "Denver and Rio Grande."" "Hurricane Smith." and "Pony Express." Rennahan filmed the entire picture on location in and around Fort Clark, near Bracketville. in Yt estern Texas. The veteran lenser captured some beautiful, authentic, and colorful settings. In most films, the locale of the story is mentioned either in the title or by the actors" dialogue, but in "Arrowhead." it is the camera that describes the location. In a very tense scene where Heston is meeting his bitter enemy. Jack Palance. for the first time in years, the camera dollies with Heston, and as he passes the train depot. • See Next Poge NEW NEW NEW 50 FAMILY SCRIPTS for all occasions4 plus 4 Prize-Winning Scripts for Movie Clubs and Serious Movie Makers "'Holidays Birthdays Vacations Celebrations Adults Children Babies. All Can Be Made on 50 Feet 8mm or 100 Feet 16mm Off the Press in December $1.50 Orders Filled in Rotation, Write To: VER HALEN PUBLICATIONS 1159 N. Highland Hollywood 38, Calif. 78