Home Movies (1942)

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PACE 114 HOME MOVIES FOR MARCH Quality Bulk Movie Film Smin • 9V2mm • 16inm • 35mm SUPER PANCHRO RE VE RSAL— Scored Speed 24-18— Anti-Halo Backing. 100 ft. 33 ft. Double 3 . . . $3.75 J1.35 Single 8 . . . 2.10 .85 9^4 mm. . . . 3.65 SUPER CINEPAN PLUS REVERSAL— Not Scored Speed 64-40 — Non-Halatiun Base 100 ft. 33 ft. Double 8 . . . $4.00 $1.50 Single 8 . . . 2.25 .95 16 mm 3.85 SUPER CINEPAN REVERSAL— Not Scored Speed 24-16 — Non-Halation Base 100 ft. 33 ft. Double 8 . . . $3.60 $1.30 Single 8 . . . 2.00 .80 16 mm 3.50 CINECHROME SEMI-ORTHO REVERSAL Speed 8-— Nnn-HalatioH Base — Not Ecoreil 100 ft. 33 ft. Double 8 . . . $1.85 $ .80 Single 8 . . . 1.20 .55 16 mm 1.60 CINE-KODAK-POSITIVE TITLE FILM-Not scored 100 ft. 33 ft. Double 8 . . . $1.45 $ .65 Single 8 . . . 1.00 .45 16 mm 1.10 Clear, Purplehaze, Yellow, Red, Amber, Special Blue. Also DuPont Lavender, Light Amber. Complete New Reversal and Title Instructions Free with Film Orders. .Separately, 50 cents each. Cash, check or money order for quick service. Deposit $1.00 returned with C. O. D. orders. Special Delivery, 15c: air mail $1.00 extra. Overpayments refunded or credited. No stamps, please. CAMERA SPOOLS WITH CANS— Each Keystone Dble. 8 . $ .35 Keystone Sgle. 8 . $ .35 Eastman Dble. 8 . .40 IG mm., 50 ft 55 Unlvex Sgle. 8. . . .15 16 mm., 100 ft. . . .65 EXTRA CANS. Double 8 and Straight 8 size .05 100 ft. and 50 ft. 16 mm. size 10 Non-Humidor, 400 ft. 15c each: 10 for. . 1.25 MISCELLANEOUS BAIA Precision All-Metal 8 mm. Slitter . . $2.75 FOTOFADE DTE for making Chemical Fades . 1.00 FOTOFADE WIPE-OFF TAPE, per roll . . .60 CINETINTS. 6 Colors and Instructions . . . 3.00 DuPONT TISCOSE SPONGES, each 35 HOME MOVIES, Back Issues, 1936-37-38 . . .15 Not all months in any year, 1940-41, each . .30 TITLE DEVELOPER, tubes, each make, 16 oz. .15 NOTICE — All previous prices are obsolete due to new tax eiTective Oct. 1. New lists again In preparation and all who have written will receive copy as soon as possible. W. STUART BUSSEY FILM LAB. 17 E. ST. JOSEPH ST. INDIANAPOLIS, IND. The Automatic Splice Marker and Brilliant Viewer THE BAIA MOTION PICTURE ENGINEERING CO. 166 Victor Avenue Highland Park, Mich. NOW Gorgeous KODACHROME Film Subjects! in both 8 mm. ' and 16 mm. full color. Waikiki Hula Girls Cairo (Egypt) Surf Board Riding in Hawaii African Safari Victoria-Niagara Falls Fiords of Norway Gibralter (Fort, city) Panama (Canal, cities) French West African Outiiosts (Including Dakar) 8mm. 50 ft., each $6.50 Ifimm. 100 ft., each $13.00 (Footages are ai)proximate ) Shipped prepaid U.S.A. upon receipt of money order. No checks. Dealers, Write for Discounts. Also 125 BW subjects including full length Disneys. Distributed by HAROLD P. JENKINS CO. Elmira, N. Y. be limited, such as for a close-up, the smaller backdrop will serve. An ideal dead background may be obtained by hanging the backcloth a few feet back inside a building having large double doors, such as the garage attached to the house. In this way, the cloth, already black, is in shadow and will therefore have no appreciable effect on the film emulsion, while the action to be photographed can take place out in front in full sunlight. This method may still be used for a longer shot, provided the action is limited to a portion of the picture area only. This area is masked off with a suitable mask set in the mask holder on Stage A, the scene viewed through the opening being covered by the black backdrop and the action taking place in front as before. Next month we shall dwell on the subject of masks for multiple exposures, so essential in trick camera shots. • Continued from Page loi ilk seldom realize the endless patience required to film, for example, a single scene of a nesting sequence. Unlike movies of other subjects, films of bird life must necessarily include certain types of shots that might otherwise be criticized for exposure, focus, composition or unsteadiness of camera. Obviously, bird films should not contain too much of this kind of footage, and they need not. Which brings us back to the subject of telephoto lonses. In order to successfully photograph birds at a safe distance where one's presence or sound of camera will not prove disturbing, yet enable capturing action vividly enough to be discernible on the screen, a telephoto lens must be employed and the camera must be mounted on tripod or other sturdy support. I am a bit psychopathic on the subject of telephotos, I suppose. At present my pride and cinematic joy is a 30-inch GoertzDagor convertible to 60-inch focal length. This is a little extreme, of course, but I've found that the further away the wild life photographer stays from his subjects the more successful will be results and the happier and safer will be his "actors." This cannot be stressed too strongly. Predatory animals have the peculiar faculty for following man-made trails in search of food; and many times I have returned to a scene the following day to resume filming a much-coveted nest of (•ees or young birds, only to find the birds or eggs devoured in my absence. Without a doubt, the greatest menace to eggs and young birds is the blue jay (there are a number of species, all of which are predatory). He is a beautiful bird. His showy plumage photographs with great splendor, and he makes a fine subject. But don't let him find you probing about another bird's nest, or inevitably your subjects, whether eggs or young, will have vanished by the following day. The best policy I know, when a jay comes on the "set" while photographic operations are underway. is to shoot him down and forget about it. If you don't, an innocent bird will suffer. It is nearly always necessary to do some rearranging about the nest to make possible a good camera angle. In doing this, tie back the branches and foUage with coarse, black thread. Do not develop an "ax complex." After the day's filming, release the tied branches and in this way restore the natural concealment and safety that originally existed. In filming small birds, such as the bush-tit and humming bird, the sound of the camera is one of the most disturbing elements. These birds pay little or no attention to the faint buzzing of the camera once it is started, but most all birds dart away in great fright the instant a noisy exposure button is pressed. This, of course, spoils what might have been a rare scene. It often helps if there is a light wind blowing, in which case scant attention will be given to the camera noise by the birds, and natural sequences can be successfully filmed. It is dangerous to be too persistent in filming nesting sequences. Once I attempted filming a feeding sequence at the nest of a Heerman's Song Sparrow. I pressed the exposure button and instantly the parent bird darted away. I waited 30 minutes. The sparrow again approached her nest with a choice tidbit and was about to feed her young. Again I pressed the button. Again she instantly sped away. I waited another half hour and again the same thing happened. My theory was that she would eventually get used to the idea and a decent feeding scene could be filmed. But after five hours of this I became a bit fatigued and discouraged with the whole set-up and decided to have a look into the nest and lay off for the rest of the day; but too late — the young were dead, victims of sunstroke and starvation. There are two things about birds besides feathers that make them stand out in signal contrast to most other animals.