American cinematographer (Jan-Dec 1941)

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day top-ranking cinematographers in almost every other studio have followed suit, and some of the most photographically notable productions of the year have been photographed on this stock which everyone but Joe once said was unsuited to production camerawork! He's versatile in other fields, too. With a still camera he is a top-ranking artist in two fields — pictorial exterior photography and studio portraits. In this, as in his more recent screen work, his technique tends more toward the sharply-defined modern school than that of the conventional, soft-focus pictorialists. While studio assignments give him small time to indulge in still work, his stills have none the less been hung in a number of outstanding International salons, receiving, as one did in pre-war Paris, premier awards wherever such distinctions are given. With all of this he retains the same breezy self-assurance and cheerfulness which won him that first studio job so many years ago. He takes his work seriously, to be sure, but — well, we've visited him on many a set, working with many different stars and directors, and while we've found him impatient at times, and irritated, when technical problems piled up, we've never yet encountered Joe Valentine at a time when his good humor was wholly missing. Somehow, we've an idea no troupe with which Valentine was working could ever be one of those tense, humorless ones where everyone tiptoes about with bated breath. If they did, a wisecrack from this cocky little Italian who takes greater pride in his skill as a spaghettichef than in the honors his camera has won him, would assuredly rip through the tension to turn the awed geniuses into human beings again. Come to think of it, we could name quite a few directors and stars who would be a lot more valuable to the industry if they could make a picture or two with "Sir Joseph!" END. Miniature Bottle (Continued from Page 377) correct "normal" speed for running your projector in recording and showing these non-synchronous sound movies. Of course, if you can use a projector with a constant-speed motor, like a twospeed sound-projector when switched to its 16-frame silent-picture speed, that detail will be automatically taken care of. But in most cases — mine, anyway — you'll be working with a variable-speed silent projector. I set my projector, both when we were making the original synchronized recording, and when showing the picture, to run at the slowest possible speed — just above the point where a flicker is visible on the screen. Keeping the projector always at this speed, I've had very good success in keeping picture and record synchronized. All told, table-top moviemaking has proven itself to me as one of the most fascinating branches of photography I've ever attempted, and one I can enthu OR STILLS Shown On A ^ OWE (Reg. U. S. Pat. O.f.) The Da Lite Challenger — America's most popular screen is the most convenient of all portables. It can be set up anywhere in 15 seconds. It is the only screen that can be adjusted in height by merely releasing a spring lock and raising the extension support. Compact "all-in-one" construction makes it easy to carry and use. 12 sixes from $12.50* up. GLASS-BEADED SCREEN For the fullest enjoyment of your eolor or black and white movies or stills, show them on a Da-Lite Glass-Beaded Screen! It has superior light reflective qualities, especially needed for bringing out the true colors of color film, which is more dense than black and white. The Da-Lite Beaded surface also reproduces brilliantly and accurately every gradation of tone in black and white him. See this famous Da-Lite Glass-Beaded Screen surface (the result of 32 years of screen manufacturing experience) at your dealer's today! The Da-Lite Model B (shown above) and the Challenger (shown here) are two of many styles available. Some are priced as low as $2.00*. Write for literature! * Prices slightly higher on Pacific Coast DA-LITE SCREEN COMPANY, INC. Department 8AC 2723 North Crawford Avenue Ch icago, Illinois siastically recommend to other 16mm. and 8 mm. movie-makers. But — one last warning: with film racing through your camera at 48-frame speed, a 100-foot roll will be exposed in less than a minute and a quarter of shooting time — so at eight cents a foot you may have to give up cigarettes for a while! I did! END. "Dream Home" (Continued 'from Page 379) the like. A light-tight door gives access to the darkroom proper. Along one side of this darkroom is Fosholdt's drum-type developing-ma chine. Half-cylindrical tanks hold the various solutions — developer, bleach, redeveloper, hypo, and so on, required for reversal processing, with several devoted exclusively to washing. In these rinsing-tanks, perforated pipes are arranged to throw a constant spray of water on the film being washed; Fosholdt has found from experience that half the secret of doing first-class home processing is to give the film i-eally thorough washing between each chemical step. In processing, the film is carried on ribbed drums which are revolved slowly inside the half-cylindrical tanks. The construction of these drums is interesting in itself. They are the third set American Cinematographer August, 1941 399