Amateur Movie Makers (Dec 1926-Dec 1927)

over this and draw figure 2, altering slightly from figure 1 to show motion. Remove figure 1 and draw figure 3 over figure 2, being sure to number each of these sheets on margin. If you will take a piece of tracing paper and trace figures in diagram, then cut them apart and superimpose, you will readily grasp the idea. Place the quadripod on the table, light illuminator and set focus at three feet. Set diaphragm at 8 and align drawing in finder. With a Filmo, when correctly aligned, the view will be seen in finder, as in figure B, 1^4 inches off center to right. Exact centering can also be shown by aligning a plumb bob with center of top of film chamber and lens as in figure C. Then take a few frames, remove camera from quadripod, take it in dark room and cut off exposed film and develop it to be sure as to exposure and centering. It is best to try this a few times until sure you have mastered trick of centering. Now to take the picture; place basic drawing on pegs with sheet 1 over it; take three frames; remove sheet 1, and substitute sheet 2 ; repeat until sheet 4 has been taken; then reverse, viz.: 3, 2, 1, then 2, 3, 4; expose about five feet of film this way and then remove from camera; develop and fix as negative; wash and dry; then cement in a leader and tail piece and project. It is best to experiment this way until the technique has been mastered before using a long strip of film and sending it to a developing station for reversal, otherwise you may find it spoiled by errors. As to the number of frames to each drawing, make three to five as a rule. The more frames the slower the motion; the fewer the more rapid. As to cut-outs: When an object moves about the picture without any motion of its individual parts — for instance a ship sailing across the sea — it may be drawn on a scrap of celluloid and carefully cut out with fine scissors, then moved a little at each third exposure. If you want perspective a cutout will not do, as the ship must diminish in size at each change, if receding from view. If approaching, the opposite will hold. For scene changes, after the last three frames have been taken, close stop to 11 and make two frames, then close to 16, and make two more, then • Z • change drawings to new scene, open up to 11, make two frames, then resume stop 8 and make three frames. This gives a fade out and fade in which is a more pleasing effect than an abrupt change. Comic animated titles are made by developing as a negative. If you cannot draw good letters, use gummed paper letters, or get a small book on lettering at an art store and trace fancy letters. A jumbled up mass of letters which have moved around and then arrange themselves into a title can be made with lead letters (obtained from Knight & Son, Seneca Falls, N. Y.). Without intervening sheets of celluloid, arrange the title upside down on the glass of the illuminating box. Take enough frames to allow the title to be read, slightly less than one foot to two words; then disarrange the letters a trifle and make three frames, repeating this until a hopeless jumble has been formed. Develop as a negative and reverse its direction when cemented in film, that is have the triangle in the margin on the opposite side of the film. Application of these principles, with the endless variations possible, will enable you to produce novelties which will add immeasurably to your fun in amateur movie making, and to the pleasure of your home movie audience. THE STEPS DESCRIBED IN MAKING AN ANIMATED CARTOON Thirty-six