International photographer (Jan-Dec 1941)

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l6MM. dcpARTMENT The Chicago Cinema Club The Chicago Cinema Club, organized in May of 1927, is typical of ihe numerous clubs and organizations of amateur cinema enthusiasts in the country. Every week on Thursday nights about one hundred and fifty men and women from all trades and professions get together in the Lighting Institute in Chicago's Civic Opera Bldg. to analyze, tear apart, and reconstruct the various phases of their common hobbyamateur movie making. Their programs are varied. Once a month, usually the night of their business meeting, a "Film Analysis" is held: on another night, a technical lecture; one night is spent in their "little"' theatre viewing pictures made by amateurs of other clubs. And one night a month includes a visit to a studio, plant, lab or other commercially engaged organization to see how things are done professionally. "Film Analysis" night sounds like a very serious, profound affair. While it is serious in that it gives an amateur a chance to get the opinions of others, it still retains something of the "Fite Nile" about it — with everyone taking sides! The films are screened and then the meeting is thrown open for discussion and criticism. In this way he may get the benefits of the opinions of the group on the relative merits and faults in his work. One of the most praiseworthy activities engaged in by the club is under the committee chairmanship of Mr. Robert O'Shea. This is the "Outside Activities" committee. Settlement house, orphanages, hospitals, or even private individuals are singled Chicago Cinema Clnb out and films screened for these people. Mr. S. J. Hofreiter tells of his experience with a boy who had been bed-ridden for a long time. This boy was unable to sit up, or even to get into a lying position from which he could look straight ahead and see the screen. Mr. Hofreiter's solution to the problem was to place a mirror at a 45 degree angle a short distance away from the projector and to shoot the image up onto the ceiling. This involved turning the film around in the projector so that the picture could be seen "right sideto." And in this manner the entire picture was viewed on the ceiling. Even by the dog. Mr. Hofreiter tells of the dog either tiring and falling over on his back as a result of his continued watching, or just deciding that it would be the easiest thing to do; the fact remains that the dog watched the greater part of the showing on the ceiling lying down on his back. Another activity is the school that is conducted for those desiring formal instruction in amateur cinematography. In connection with this we wish to say something that we feel would be of help to all those interested in amateur movie making generally. One more or less unfortunate condition exists in cinema work that does not in "still" photography: It is very difficult. if not impossible, for the amateur movie maker to process his own film. Developing and printing one's own film gives an insight into the workings of an emulsion that cannot easily be had otherwise. The still photographer has the advantage of being able to conveniently develop his own negatives, and to make the prints. When the By Warren Sandage resulting prints are not to his satisfaction, he investigates. Too much development. An overtimed print. Or some other reason for it. He gets to the point where his processing is correct, and then begins to see the defects in his camera work, and is able to correct this. Working with his own negatives, or at least in close contact with them, he is able to follow through and get a closer, more intimate feeling than if he had some one else do it for him. Now, it is not necessary to always keep doing one's own processing to turn out fine work; it is just that there is a greater intimacy with the medium if one has a working knowledge of that medium. The amateur cinematographer is at a disadvantage there because he uses reversal film in the great majority of cases, and, even if he did use negative, the cost of the processing equipment would make the venture prohibitive. Amout the only suggestion that could be offered would be to acquire a small still camera and try out the same ideas with the same type of film, lights, etc. (not lenses!) as used with the movie camera, and to develop and print those films. A lot could be learned from that. The club's president is dynamic Mr. I. Vise. A lawyer by profession, we wonder how he manages to keep his mind away from amateur movies during the day. TkE Projector By Hamilton Riddel Winter months mark the beginning of a busy season for your home movie projector. There will be more than one occasion at your home when good friends get together, and they will call for: Movies! So be ready to give them a show . . . a real show! Nothing contributes so much to satisfying pictures as a well-cleaned, smoothrunning projector. So let's give the machine a close check-up to insure the maximum results which it is capable of delivering. It would be a good idea, too, while you are at it. to re-read the instruction manual. Then you will be sure not to overlook any important points in servicing your projector. Be sure to oil your machine as indicated in the manual. Don't use too much lubricant, for an oil-soaked projector is almost as bad as one with none at all. A drop of oil, at each lubrication point, is usual l\ sufficient; and wipe off any excess that appears. Thus you prevent an accumulation of dust and dirt that causes excessive wear in the mechanism. Next, your attention should be directed to cleaning the sprockets, film gate and claw -movement. As films thread their way through these passageways, there is a gradual accumulation of dust, emulsion particles and other foreign substances that make your machine noisy and which will most assuredly tend to scratch your films. 22