Movie Makers (Jan-Dec 1930)

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JTAMUi^MCir 1930' Travel the Picture Trails o£ Burton Holmes Be face-to-face with the tar away places of the earth. Gratify your desire to see the world. Children will never forget history and geography taught in this way. Each 100 foot reel contains the spice of Burton Holmes' travels. Sold by dealers or direct. Complete catalog on request. No. 47 — Going to Volendam. Holland's liquid highways. Windmills that wail on !i windy day. Beside the Zuider Zee we see little flaxen haired Volendamers. Price, $7.50. No. 75 — Calling on the Sphinx. A symbol of ancient inysteries unsolved. No man knows who it is, nor when, nor why created. It casts its mysterious shadow in the sands of time like an interrogation point. Price, $7.50. Burton flolmes Lectures, Inc. 7510 N. Ashland Ave., Dept. 11, Chicago, U.S.A Cleaning Film Is Essential Your pictures will project more clearly if you clean your films regularly with Carbona Cleaning Fluid. Oil marks that get on the films from the projector, and soil of all kinds, are easily and completely removed. Non-Flammable. Write for special directions. For Safety's Sake -demand ^^■^ UNBURNA^LE tr NON-EXPLOS^VB Cleaning Fluid 60c Size Bottles ("Film Cleaner" Size) At all Movie Supply Stores & Druggists Carbona Products Co., 304 W. 26th St.. N. Y. C. T iTLE Board and Projection Screen <,9ec/>^. MADE WITH ON one side you make your own titles with Wondersign magnetic steel letters. All sorts of tricky and animated formations are possible. On the reverse you have a Kodacolor screen that ranks with the best. Both tor one price $30 Ask your dealer or write to Wondersigns Corp. 246 South St. Newark, N. J. WINTER WORK (Continued from page 18) Probably a few of these films will go a long way with the rank outsiders but every inch will be precious to your fellow artists. You can also experiment with the black and white value of various colors when reproduced in orthochromatic and panchromatic film. Comparisons with the effect of the same colors in natural color films would also be interesting. You can also fold and cut the paper in a variety of interesting angles and, if you enjoy the unusual effects secured in this way, you can go further by varying the lighting effects. Blue, red, brown and tan offer the best experimental possibilities. Use a soft brush in spreading the color in order to avoid streaks. There is a lot you can do during the winter. This only scratches the surface. Dig deeper and you'll be almost sorry to see spring come. But winter work demands care. Aim at results rather than footage and discard the failures. These will have served their purpose when they have pointed out your errors. Next year you may confidently work for footage. KNOWING YOUR CAMERA'S EYE (Continued from page 42) Since the underlying principle is to keep the direct rays of the illuminant from striking the lens element, we can, by keeping the requirement in mind, eliminate flare by many emergency methods. Sometimes a piece of dark paper or cardboard may be held at one side of the lens to shield it from the direct rays. A felt or derby hat may be used. Professional studios have a large, dark screen which may be moved about the floor on casters and which is used for the express purpose of shielding the camera from the direct light. Amateur producing groups might easily construct such a screen; they would find it invaluable in interior work. In any case, it will pay to give particular attention to the protection of the lens when the subject is illuminated by a source of light in front of the camera. A number of inquiries have reached the author concerning the proper choice of lenses for a three-lens turret. The advent of the three-lens turret as standard equipment on several wellknown cameras has made this question most timely, so that, perhaps, a suggestion for its answer will be a fitting way to conclude a lens article. The standard 1" /:3.5 lens is the first choice. This lens, if of reputable make, will give excellent definition at all diaphragm openings and is to be preferred for all work that comes within its range. Preferably this lens should be in a focusing mount. Discussion of the pros and cons of focusing versus non-focusing mounts will be found in the preceding installment of this article. The second lens in the turret should be a fast lens, that is, one capable of giving good definition to the image when working at a wide aperture, such as /:1.8, /:1.5 or the like. The advent of the new superwide-aperture lens may encourage some to give it the speed position in their turret. At any rate, whatever fast lens is used, it should, in general, be held in readiness for difficult lighting conditions and for apertures which the /:3.5 does not possess. With very few exceptions, the /:3.5 lens will give more satisfactory results at the smaller diaphragm openings than will the fast lens at the same openings. In this way, the fast lens may be made a valuable accessory and will give the amateur the ability to cope with the widest range of lighting conditions. In interior or special work, if it is desired to include more of the background area than is to be had with the one-inch lens, a short-focus, speed lens may be chosen for this place in the turret. An item covering this special subject will be found in this month's Clinic. The third lens for all-around work with the turret mount may well be a good telephoto. A usable focal length is the 3-%" or 4" telephoto, which will give a sizable magnification to the image without undue bulk. Although the telephoto lens, in general, does not work at the speeds of which the shorter focus lenses are capable, the type of lens recommended may be had with a maximum diaphragm opening of /:3.3 to /:4.5, giving an excellent range of speed for distance work. Provision should be made for the use of a good tripod for all telephoto work. It is preferable that lenses fitted to a turret should have their focusing scales checked by a competent lens worker after being so fitted. This applies especially to the lenses of large diaphragm opening because good results from these lenses depend on critical focusing. By this time, the amateur who has followed us in our discussion of the camera's eye should have a fair, allaround idea of what the fine lenses of his cine camera can accomplish with proper care and treatment. The full subject, of course, cannot be covered in less than a volume, but it is to be hoped that the amateur will find this short series a stimulus for further inquiry into a matter which will progressively increase his store of usable cinematographic knowledge. .52