American cinematographer (Mar 1937)

March, 1937 • American Cinematographer 127 Studio Cinematographers Have Language All Their Own Continued from page 122 STILL. Motionless, a picture mode by a portrait camera. STOCK. Negative film. STOCK SHOTS. Scenes already on hand, newsreel clips, travelogues, etc., that can be utilized in a picture. SUN ARC. A large 150-ampere arc lighting unit. “Test" Tells the Story TAKE. A photographed scene. TAPE. Measuring tape to determine focus by measuring distance between lens and object. TEST. To discover by actual experi- ment the effect of light, make-up, wardrobe and such on film. To deter- mine photographic qualities of a new actor or of an old one in a new char- acter. To see what sets or locations really look like on the screen. TEST BOX. A small portable devel- oping set frequently used on distant locations. THIN. Unde.'exposed. TILT. To move camera up or down. TINS. Reflectors covered with pol- ished tin, throwing a hard, hot light. TOSS 'EM IN. Turn on the lights; hit 'em. TRANSPARENCY. A background to a set projected from the rear on a trans- parent screen. TRICK SHOT. Any process photo- graphic result not as the camera normal- ly sees it. TURN 'EM. Roll 'em, start the motors driving camera and sound re- corder. TWO SHOT. A medium shot. WAIST FIGURE. A view of an actor from the waist up. WANGLER. A boom man, he manip- ulates or wangles the boom from which the microphone is suspended. WHITE LIGHT. Light from an arc lamp. WILD CAMERA. A camera not syn- chronized to a recorder, a camera not used with sound, a camera with speeds other than the normal twenty-four frames per second. WIRY. Too much contrast. WRAP IT UP. Let's go home, the day's work is done. ZOOM SHOT. With the camera stationary, a lens device moves forward or backward giving the image Qn ap- pearance of leaving or nearing the spec- tator, with proportionate variation in size. OERZ PRECISION In every step of lens manufacture, Coerz Precision is evident. In the careful selection of the raw material, in the meticulous grinding and polish- ing, in the critical supervision of each detail, in the final, rigorous testing— this precision holds—and affords to users of Goerz Lenses an unequivocal and unconditional guarantee of their quality and performance. Kino-Hypar f/2.7 and f/3; Focal Lengths 15 to 100mm. Cinegor High Speed Lenses— Ideal for Color Work. f/2 and f/2.5; Focal Lengths 40 to 100mm. Telestar—A lens of the tele- photo type, f/4.5. Focal Lengths 6 1/4 to 15 1/2 inches. Catalog B 3 on Request C. P. GOERZ AMERICAN OPTICAL CO. 317 East 34 Street New York GLARELESS PHOTOGRAPHY IS NOW AN ACCOMPLISHED FACT MARKS POLARIZATION FILTERS Elimination of glare and reflection in movie photography, enhanced defini- tion, freedom from halation and sky effects otherwise unobtainable, are readily achieved with these new, pre- cise and scientifically constructed Pol- arization Filters. Booklet 53 on reqquest RIX-O-LUX, Inc*. 105 West 40th Street New York Super X 35mm Film 2 V 4 Cents a foot postage paid anywhere in the United States MORGAN CAMERA SHOP 6305 Sunset Blvd. — Hollywood, Calif. HUGO 'M’P.w.'a Titles & Editing Developing & Printing 8 and 16mm. Short Subjects All Grades of Camera Films GENERAL CINE SERVICE 204A East 18th Street New York The King of Allah’s Garden Continued from page 1 1 1 became an idea, so that we wrote it into the story as “on abandoned jungle out- post." To get the most interesting angles we became contortionists, trying to dodge an "American wire fence" and a recent- ly surfaced macadam road which crossed our line of view within twenty feet of the walls! The "fort" structure is actually a marvelous granite gateway to a beauti- ful estate. The front which we used is comprised of two twenty-foot turrets on either side of an immense iron door. A sentry-box, grilled open-windowed "cell" and a twelve-foot wall partly hidden by thick growth of tall trees extend from both sides of the entrance. Each figured in our scenes. The property used as our location is entirely English in style. Depression years have wrought great changes to its appearance, with vines and brush climb- ing over the high walls and hiding the paths. This run-down condition, of course, aided in giving us the touch of realism our story needed. Our exterior photography was com- pleted in eight months' spare time, while another month was devoted to in- teriors, titling, cutting and editing. Originally it ran into 2,000 feet, but after elimination of the "not so good" it now stands at 1200. "The King of Allah's Garden" has re- ceived considerable press comment in our state whenever presented. We offer it with planned programs of other sub- jects. The work still stands as our pride, as a first experiment, from which we have gleaned many valuable aids ta present and future work. Our group of movie makers can enumerate many flaws, in photography, acting, and editing, but further remodeling is out. As the 1 6mm equipment and its followers advance through the years we believe it will be a pleasant "memory" to revive. Enlarged J^^^Reduced Geo. W. Colburn Laboratory Special Motion Picture Printing 1197 MERCHANDISE MART CHICAGO OALY for one year’s subscription to American Cinematographer, any where in the United States. $3.50 foreign AMERICAN CINEMATOGRAPHER 1782 No. Orange Drive Hollywood, California I