American cinematographer (Aug 1936)

358 American Cinematographer • August, 1936 The Ideal Film for Indoor Movies Kl>-0-Li:X REVERSAL FILM is suitable, as well, for the faithful reproduction of the varied tones of foliage and flowers. Possesses an equivalent balance for yellow, red and green rays, thereby obviating use of green filters. Exceedingly fine grain and anti-halo. 26° Scheiner, Outdoors, 28° Scheiner, Indoors. Scratch-Proofed, without charge, by the famous Teitel Method. 100 't.. 66.00 50 ft., $3.50 Booklet “D” on request KlX-O-Ll’X, Iiio. 105 West 40th Street - - New York CRAIG SPLICER and REWINDS :raic junior combination $8.50 lunior S.nlicer with two geared rewinds all mounted on 21" board. CRAIC MOVIE SUPPLY CO. 1053 So. Olive St. Los Angeles, Cal. LEICA, CONTAX, ROLLEIFLEX EXAKTA and other cameras at Morgan Camera Shop 6305 Sunset Blvd., Hollywood, Calif. HOLLYWOOD REVERSAL 16mm Film A full Panchromatic Reversal 16mm Film . . . Fine Grain . . . Speed . . .Low Priced. Includes processing. 100-ft. roll $4.25 Hollywoodland Studios 9320 California Avenue South Gate, California REDUCTIONS ENLARGEMENTS • DUPLICATES • GEO. W. COLBURN 8|iecta£. O 7100 N.Washtenaw Ave • CHICAGO. ILL Lean to the artistic side of your nature. Distant fields always look greener to the cinematographic hobbyist. But on every side of us, fairly storing us in the face and begging to be filmed, are set- tings of inexpressible photographic beauty if we will but permit our cam- eras to see them under complimenting light conditions. Shooting 16 mm at the South Pole Continued from page 347 Getting these shots was o problem, for the fiercely blown snow would fill the lens-hoods so quickly we could get no pictures. Finally we hit on o simple gadget which enabled us to get our shots easily. We simply put the cam- era in o rather long box, open at one end so the lens could look out into the storm, yet be protected from the gale. Inside the box, beside the camera, we put on electric fan. When we shot the scene, the breeze from the fan, in the restricted area of the box, was just enough to blow the snowflakes away from the lens. In our shot, we con see the whirling, blowing snowflakes—but they don't come in to block up the lens. Don't ask me about the matter of editing the film! You know what o job it is to edit o few hundred or o few thousand feet of vocation film; imagine the task of editing 42,000 feet! It was o job I could not delegate to any- one else, so for better than three solid weeks I labored day and night assembl- ing three 2,000-foot pictures—and I still hove enough interesting footage left over to moke os many more. I assembled three separate pictures to appeal to three definite types of audience. The first, for the general public, con- fines itself to generalities and to the human-interest phases of the expedi- tion. The second, for showing in schools and high schools, tells much the some story, but with more stress placed on educationally informative factors. The third, for college groups and scien- tific societies, places yet more stress up- on the scientific activities of the expedi- tion: the geological, geographical and meteorological studies, the cosmic-roy work, and so on. All of the pictures begin with the party's landing on the ice, unloading the ships, setting up the portable build- ings, constructing the ice-block airplane hangars, and so on. Then come inti- mate scenes of the expedition's life: how we lived, and what we did. Finally ore scenes of some of the exploratory ac- tivities: scenes of some of the airplane and tractor expeditions, building Admiral Byrd's advance comp, where he spent so many months alone, and of the party which dashed out to rescue him. At every point, I hove tried to emphasize the human side of our life and work at Little America. And that, I think, is the way I would try to build o movie of any activity, from o simple fishing trip to on im- portant exploration. By oil means show where you go and what you do—but if you wont o really successful film, tie it together with human interest shots that tell who did it and how they lived. Amateur Filmers Throng to Junior Society Continued from page 352 one of them do you wont to pre- dominate? To do oil of the work for that man would not be helping him. He should do o bit of thinking for himself or he will never be able to work out even the simplest continuity for himself. The Society is willing to help him over the hurdles, over the hard obstacles, but he should hove more than o desire to do something; he should hove the nucleus of on idea. The Society of Amateur Cinematog- raphers has already given advice on cer- tain pictures for more than half of its membership. These people wanted to moke interesting pictures of their trips, etc. Technical information has 'been passed on to them in goodly quantity. But possibly the most requested service has been the analysis of film. This an- alysis does not take the form of o crit- icism, but os the term implies the pic- ture is analyzed. This is very import- ant to on amateur. We oil know our strengths and ore proud of them, but we hate to acknowledge our weaknesses. However, when this weakness is pointed out by the leaders in o profession we do not resent it so much, and we keep it in mind the next time we ore shooting pictures. The Society of Amateur Cinematog- raphers seems to be destined to not only reach great numbers, but to do wonder- ful things for the serious amateur.