Home Movies (Jan-Dec 1948)

290 HOME MOVIES FOR MAY I Order from WESTEN'S [ | SANTA BARBARA, CALIFORNIA f i Payment with Order Speeds Delivery | | Send At Least 25% Wish C.O.D.’s | | A New Low Price Makes This | The Best Buy We Know in a Magazine Movie Camera! BRISKIN 8 Special! $79«5© = Westen's recommends this value! Order now! I | Magazine load eliminates threading, fogging r | and light flashes on film when changing l = reels; Custom-fitted F:2.5 coated Wollensak \ 1 lens. Take more movies now with a Briskin 8. | I WESTCN’/ I 1 SANTA BARBARA CALIFORNIA | SAVE MONEY! Subscribe to Home Movies for 2 years, only $5.00 — save $1.00. Mail remittance today to: HOME MOVIES, 553 So. Western Ave„ Los Angeles 5, California "CINE VOX" 24-HOUR MOVIE PROCESSING SERVICE 8MM. & 16MM. BULK & MAGAZINE Printing & Duplication Sound & Silent I6MM. SOUND RECORDING STUDIO AVAILABLE CINEVOX 6912 Melrose Ave., Hollywood 38, Calif. EASIDE STUDIOS Present "Fannie with the Cheeks of Tan” "Sadie the Sun Bather” "The Hitch Hiker” Sparkling short subjects featurng gorgeous California models and clever gags. Hilarious hits for your next party. 175-ft. per subject. 16mm B&W Sound .. .*10.00 — . Distributed by M! PONDm & BEST, INC. 1228 S. GRAND AVENUE • LOS ANGJELES 15, CALIFORNIA photographed. Centering the camera, then, is similar to centering on a typewriter titler. The tripod screw hole position is determined by placing camera on the baseboard with the lens inserted into the spectacle lens opening so that camera lens touches the spectacle lens. Then, with a pencil, draw an outline of the camera base on the base board. Measure distance of tripod hole in camera from sides of camera base, and from these measurements mark position of tripod hole on the duplicator base and drill a quarter-inch hole. Insert a '-#20 screw or bolt of proper length through the underside to secure camera in place. Now to use the duplicator: After threading your camera with film, bolt camera in place and make sure it is accurately lined up with the negative carrier (using methods similar to lining up camera on a titler) . Place snapshot negative to be photographed between the leaves of the glass negative carrier and insert carrier in place in back of duplicator. Place the duplicator in such a manner that bright north light (not direct sunlight) strikes the negative Duel In The Shade . . . • Continued from Page 269 from Jennifer’s face. Since "Sutton Studios” was not covered by employment insurance and since Miss Bones hesitated at being shot at, that scene had to be worked out with delicate care and split-second precision. So a soiled string was tied around a small rock fragment and, together with a little flour, was placed in a little niche in the rock by the girl’s head. At the signal "Fire!” the camera started rolling, the prop man jerked away the rock and blew on the flour to create "rock dust,” as Jennifer jumped back in fright. There may be other ways to do it but that was the least painful. The large prop cactus was constructed by covering a circular wire screen on one side with paper mache into which was inserted rows of toothpicks. Special smoke blanks were made for the pistols and shotgun used. For the "Battle at Squaw’s Puss Cliff” sequence, a dummy was fashioned from sticks and straw and clothed to appear lifelike even at a distance. Its plunge over the cliff was photographed in slow motion to make the drop seem more spectacular. For blood — and it was smeared on thick — thin, brown mud proved effective. Working out these and a hundred other trivial but important details supplied plenty of laughter and delicate situations on location. When the picture was completed, our pleasure with it continued by alluding to it as a super-colossal Ffollywood production. carrier, and make the exposure for the desired number of frames or feet. Determining the proper exposure entails making one or two tests, unless you have an exposure meter that reads incident light. With this type meter, a reading may be taken from camera position (with camera removed temporarily), sighting meter through the spectacle lens with negative in place in the carrier. Where this isn’t feasible and tests must be made, use a negative of average density in the carrier and shoot a series of short test exposures, not over four or five frames each, and develop the film to determine which test gives best results. Be sure to indicate, either on film or by making written notes, the f/ stops used. Where it is desired to use artificial light instead of daylight, an ordinary 100-watt lamp is recommended. This should be set up about 12 inches back of the negative carrier and so masked that all of the light is directed through the negatives to be filmed. In using color film with artificial light for copying transparencies, indoor type film must be used, of course. The preview announcements, for instance, read like this: "From out of the roaring pages of the history of an era filled with flaming violence and primitive passion, Sutton Studios brings to the screen at last, the greatest, most vividly daring motion picture ever filmed — the fast action story of the West’s most rugged heroes, whose very lives depended upon the lightning action of the draw . . . Two months in secret guarded production, Sutton Studios now proudly presents the year’s most vibrant love story — Duel In The Shade ... In the interests of complete authenticity, this picture has been filmed in its entirety on location in the enchanted mountains of Northern Arizona . . . "In bringing this intense drama of unleashed, untamed passion to the screen, Sutton Studios has selected the finest personalities in the professional field: Twice Academy Award winner Evelyn Freeman portrays the bewitching Jennifer Bones; Lloyd Freeman, distinguished international star of stage and screen, is cast as the two-fisted Peggory Greek . . .” and so on. A build-up like that is comedy itself, and sets a mood before the showing. For the picture still is the most important thing — not who made it or how it was made. All the enjoyment that went into its making seldom gets to the screen, and so a film must be built to stand on its own merits. From that standpoint any audience will like it.