Movie Makers (Jan-Dec 1952)

MOVIE MAKERS 247 MRS. ROOSEVELT accepts an archive print of "FDR Hyde Park" from J. Milton Salzburg, president of Pictorial Films, Inc., the producer. jector, which weighs 11 pounds and lists at $149.50, accepts a strip of 16mm. film up to 320 frames in length, which it projects frame by frame either on its own small, shadow-boxed screen or on a larger screen of conventional type. The unit is produced by Adslide Projector Company. 3726 Montrose Avenue, Chicago 18. 111., from whom a descriptive leaflet may be obtained. Lens tester The optical performance of any 8mm. or 16mm. camera lens may now be checked in advance of purchase by use of the Wirgin lens tester, distributed in the United States by the Camera Specialty Company. 50 West 29th Street, New York 1, N. Y. The unit lists at $10. THE WIRGIN lens tester, designed for use with 8mm. and 16mm. optics, is priced at $10 and distributed by Camera Specialty Company, Inc. A projection timer | Continued from page 237] jector is running at a true 16 fps speed. This means in turn that the timer second hand will advance by 1 second with each 16 frames of film projected. Thus, any change in projection speed will immediately be reflected by a discrepancy in synchrony of movement between the second hands of the electric clock and of the timer. If the projector speeds up, the timer second hand will creep ahead of that on the clock — and vice versa. It is then an easy and immediate opera tion to make the necessary correction in projection speed. This arrangement provides not only an accurate control of projector and recorder synchrony during playback. It also is efficient and easy to use in setting up your musical score to begin with. To avoid running and re-running your film during the scoring process, what you should have, of course, is a time sheet. On this sheet, beginning with a notation "0 seconds" to indicate the start of the film, you will jot down progressively the elapsed time of each scene or secpience where there is a musical changeover. These elapsed time notations, of course, are most easily read from the dial of the timer. For, since it is driven directly by the projector, the projector can be stopped or even reversed for rechecking a scene without throwing out the elapsed time count. However, it also is essential during this timing process to know that your projector is running at a true 16 frames per second. In timing a 400 foot reel of 16mm. film, for example, if your projector was running at 17 instead of 16 frames per second, your elapsed time record would be out by 59 seconds — or almost a full minute. Thus, your hookup for timing your film for scoring should include the electric clock, as well as the timer from which the times are read. So thread your film into the projector with the first frame at the gate. Set the timer hands at 12 o'clock (it doesn't really matter where the clock hands are set), and then start off your projector and the electric clock together. From the timer hands you can read your elapsed time notations. And by periodically checking the movement of the timer second hand with that of the clock, you can assure that the projector speed is corect. With this time sheet prepared, you can now disconnect the timer and put away your projector and film. For all you will need during the actual recording period is the electric clock, the time sheet and, of course, the recorder and records. Set the clock hands at 12:00, start the recorder and begin feeding onto the tape your first record. When, over your monitoring system, you hear the first note of music, start the clock. From there on in, each succeeding record is faded in according to the notations on your time sheet and the hands of the clock. Speaking of the clock, don't let the mess of wiring behind it (see Fig. 2) mislead you. One pair of wires leads to the toggle switch controlling the clock itself, while the other feeds power to a pilot light illuminating the clock and timer faces. (You'll see it in Fig. 1.) The projector, of course, is started by its own power switch or, in the case of the Bell & Howell, by throwing in the clutch with the motor already going. Now. in closing, let me point out that G0ERZ LENSES MOVIES and TELEVISION HYPAR W-l-D-E ANGLE ANASTIGMAT F:2.7 Focal length: 15 mm and longer AP0G0R ANASTIGMAT F:2.3 Focal length: 35 mm, 50 mm, 75 mm These fine lenses are made by skilled technicians with many years of optical training. Designed for use in 16 and 35 mm film cameras, they are corrected for all aberrations at full opening and give highest definition in black-and-white and color. For illustrated catalog and complete details write Dept. MM-1. Quality Lens for over half a century C. P. GOERZ AMERICAN OPTICAL COMPANY ■t Office and Factory I 317 EAST 34th STPEET I NEW YORK 16, N. Y.