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THE
INIC
Stills From Sixteen
MAKING a time exposure with a still camera of a film on the screen during projection is an ingenious stunt recently accomplished by Charles J. Luthe. jr., cameraman of the Roosevelt High School Amateur Movie Club, Des Moines, Iowa.
The accompanying illustration is a reproduction of the picture made by Mr. Luthe in this manner. The still camera is set up ready for exposure, and focused on the screen. When the projected picture wanted appears, the single picture attachment is operated, and the photo then made of the single frame appearing on the screen.
The results are far superior to those made from a single frame enlarged to the same size in an enlarging camera, from a small 16mm. positive. This method described should be excellent for those who are not able to make stills during course of production. Whenever possible, however, take your still camera with you when you go out to shoot.
MADAME AMELITA GALLI CURCI Also stars with her camera
THE FACING PAGE
r I "Vie photograph by H. Arm-* strong Roberts on the opposite page, entitled AUTUMN, is the third of a series of art title backgrounds presented by Amateur Movie Makers for the use of our readers in their title work.
Photograph by Pathex, Inc. GENE TUNNEY In action for Dempsey's camera
A SCREEN STILL
The unique method by which this picture was made
is described on this page
Enough Footage
CBOND LLOYD in a recent let» ter asks us to warn our members to take enough footage on every scene they expose. He recently saw some amateurs shooting, whom he claims were getting only "snapshots" scarcely two feet in length. Movies of golf in particular are of fast movement, and should be rounded out to show finish of stroke and the player at finish. Remember, when shooting, that you can always cut excess footage in editing. Take a tip from the professional, and shoot more film rather than just enough.
Photograph by Bell & Howell Co
Stereoscopic Effects
THAT apparent feeling of depth that the professional cameraman gets in his pictures can be achieved to a certain extent by the amateur.
Taking pictures of an object from a moving vehicle, when the background is fairly close, and the camera is moving at right angles to the object, often gives the illusion of depth. Then there is the familiar "back lighting," seen in most all professional photoplays. To obtain this effect, the light source should be above and slightly in back of the object filmed, its rays striking the back and part of the top of the subject before the lens. Protect the lens with a black shade, so that none of the direct rays of the light will reach it, and fog your film. Of course, the front of the subject will be in shadow. Throw a light into this by means of a reflector, and the result with proper exposure, will be remarkable for its third-dimensional effect.
(Continued on page 63)
Photograph by Pathex, Inc. JACK DEMPSEY Substitutes his camera for gloves
T iv e n t y f i v e