Movie Makers (Jan-Dec 1930)

]»a«>'%'ME i»ay%K.Eafi« SHOOTING THE BRIGHT LIGHTS (Continued from page 17) made to do. In other words, we require as great an exposure as is possible. With the speed lens, we may easily get nice films by shooting at normal speed. When the /:3.5 is all that is used, the camera can be slowed down a bit. Many cine cameras can be altered at will as to speed of the mechanism. It follows that as the camera is slowed down the action will appear faster on the screen but this is no serious fault in night films. Rather, it is expected, more often than not. But wherever possible this should be avoided. A normal speed action on the screen in a night film denotes careful camera work plus a speed lens. What kind of film should be used? Of course panchromatic stock is the logical selection. As you probably know, pan film used with mazda lights is faster than when used with daylight. Then, too, it acts as though a Kl filter were used. These factors are of vital importance, especially in night work. The signs which change color, mentioned a while back, can better be recorded with pan film, for the various values can then be shown, whereas, with ortho film, the various hues would, in some cases, come out nearly black. So far, we have been considering night photography without faking. Let us see what we can do with a little "hokum." Supposing we want to have a scene that shows not only the lights but also the buildings, traffic and a fairly light sky. In such a case, we select a favorable spot for the camera, set it up on a tripod and shoot the scene about dusk. There is a good time almost every day when the lights are just turned on and there is still some daylight left. The speed lens will secure a remarkable film. Of course, there is the old dodge of making two exposures, one late in the afternoon and the other after dark. The first exposure gives the action and buildings, the latter only the lights. This is a fine idea, only it doesn't work so well when we have traffic to consider. We might have the traffic running into itself, but, where it can be used, this method is quite satisfactory. Frequently, when a new show opens on Broadway, brilliant spotlights are used to illuminate the theater entrance. Full speed can be used safely for any action taking place within the confines of the light. However, conditions vary in every city and it is not my purpose to go into a lengthy discourse on all conditions. My principal aim is to interest those amateurs in night work who have never yet attempted it. It is well worth while and the results on the screen will give pleasure to everyone. No. 15— Fotolite FOTOLITE \ Dark Days ^ and Ni ' lUiUl 1 • ) Take Fascinating Pictures Right! N your Own Home The remarkable new Fotolite reflectors treated by a new and exclusive chemical process, enable you to take sparkling-clear pictures right in your own home. The baby — children at play — every cherished family event, are more interesting vshen viewed in movies. The powerful new 500 watt Fotolite No. 15 when used with the famous No. 10 provides a light which is unsurpassed for steadiness and power and which is ideal for every interior shot. All Fotolites can be plugged in on any electric light socket — ready for instant use. WRITE FOR NEW FREE BOOKLET. THE IDEAL HOME MOVIE FOTOLITE OUTFIT CONSISTING OF A NO. 10 AND A NO. 15 FOTOLITE, COMPLETE WITH STANDS AND CARRYING CASE (without bulb) $36.00 No. 10 (for 1000 watt bulb) complete with carrying cases ( without bulb ) $19.00 No. 15 (for 500 watt bulb) complete with carrying cases (without bulb) $16.00 The Neiv PANRITE Universal Tilting Top $9.00 The Panrite Universal Tilting Top for steady pictures at any angle, $9.00. -reel Film Carrying Case, $6.50. 16-reel Case. $10.00. ASK YOUR DEALER POR A DEMONSTRATION TESTRITE INSTRUMENT CO. NEW YORK