Home Movies (1943)

HOME MOVIES FOR JANUARY PACE 27 tween takes and new camera set ups. On the subject of using blue photofloods exclusively on interiors for the purpose of shooting with outdoor Kodachrome, it may be seen that in view of the lower color temperature of these lamps, the illumination does not approximate natural daylight and therefore there can be no advantage gained with this combination over that of type A Kodachrome and white photofloods. If regular Kodachrome must be used in doors, the regular Weston Mazda rating of 3 for Kodachrome with filters would apply. Use of blue photofloods would require slight increase in exposure over that required for white photofloods with the Kodachrome filter in use. Using the Weston mazda rating of 3, as established for use of regular Kodachrome indoors, will produce the correct exposure meter reading regardless of whether blue or white photofloods are used. cAmateur Aound film . . . • Continued from Page 1 1 pick up one of the magazines. The camera zooms forward to take in the cover photo, bearing the caption: "Mary, the girl of the week." Pictured at her desk is Mary, a stenographer. The picture comes to life and the commentator says: "Mary has been working her fingers to the bone." A dissolve shows a pair of skeleton hands replacing Mary's on the typewriter keys. Her employer, observing her working too hard, gives her a check and tells her to take a vacation and "see the world through rose colored glasses." Here Mary dons a pair of rose-colored glasses bearing the picture of a rose on each lens. Space does not permit relating each sequence and describing how all of the colloquialisms were enacted. Several incidents taxed the producer's ingenuity as when he had to picture the statement: "She hit the ceiling!" after the bridegroom reveals his past. The girl appears, in a piece of magic action, to rise up from her bed and actually hit the ceiling — hard! The picture goes on to show the couple "getting hitched" after "losing their heads." The scene shows the headless couple hitched to a wagon like a team of horses. They stop at a roadside where a preacher performs the ceremony, and then proceed down the road. This scene presented a problem for the producer which was successfully surmounted. In the preceding scene, the couple are shown "losing their heads" at a cocktail bar — a bit of action that required some trick camera work. However, the same cinematic trick could not be employed for the long shot just described. It was then found that by lowering the camera level and having the boy and girl bend their heads far forward, and with their backs to the camera, the illusion of headless bodies was created. Producer of "Cine Whimsey" is Robert Fels, a native of Paris and now a business economist of New York City. Business requires that he spend some time in California and it was while on one of these sojourns last summer that he induced a couple of brother cine amateurs to undertake production of the picture. Norman Johnson of Los Angeles collaborated with Fels on the script adapted from an original story idea by Fels. Newell Tune of Glendale, California, handled the photography, using negative film, and he is responsible for the smooth execution of the multitude of trick camera effects which the script 1 f Fels and Johnson demanded. After the film was completely edited, it was taken to a film recording studio, ^^ith a selection of phonograph records, an amateur commentator, and the original cast of Mary and her boy friend, the narration, sound effects, music and dialogue were recorded in synchronization with the screened action. The sound track was then combined with the negative in producing the final print. The entire recording job, exclusive of film, cost but $72.50. A surprisingly good overall job has resulted and this effort certainly shows the way for similar activity on the part of other amateurs who may be fortunate in having access to the facilities for post recording. With gasoline rationing tending to confine movie making indoors, it is not difficult to imagine other amateurs turning to this type of picture making, gaining the valuable experience in postrecording of sound and dialogue that is certain to play a big part in post-war amateur movies. Cditlng, (Board . • Continue J from Page 1 5 remove the film from the gate, changing the upper reel over to the left rew:nd B. The film will then pass over splicer, emulsion side up in correct position for splicing. Final task is applying the finish. All wooden parts — base, uprights, blocks, etc. — should be given two coats of varnish. A piece of thick felt or sponge I work on the good old "retention of vision" principle . . . 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