Home Movies (1943)

PAGE 272 HOME MOVIES FOR SEPTEMBER You're Right ON THE SPOT with a Telephoto lens on your Movie Camera You're right down at the finish-line to see your long shot nose out the favorite — you're out on the field watching sport history in the making — you're there, within close range of all the excitement when you use a TELETAR TELEPHOTO LEXS on your movie camera. Get a new thrill out of home-movies — get clearer, more brilliant shots in both black-and-white and color with this fine lens. Available in focusing mount to fit 8mm. and 1 6mm. cameras such as Filmo, Cine-Kodak E, Keystone, Bolex, Victor, Revere. For 8mm. Cameras 1 Yz inch F3.5 $28.00 For 16mm. Cameras 2 inch F 3-j $3*. $0 Adapters for various types of cameras S3. 00 to S7.00 Filters Available — $1.75 to S4.00 Please specify the type of mount when ordering Send for Circular 32nd St., near 6th Ave., N.Y 1, N.Y. World's Largest Camera Store Built on Square Dealing Established 1898 The Reader Another Substitute Sirs: After reading the article on Photoflood Substitutes in the July issue, I wish to pass along another idea along the same line. I use the No. E-15 enlarger bulb made by Wabash in place of No. 2 photofloods. This enlarger bulb is rated at 900 candlepower or 11,500 lumens and burns for 100 hours. It is an overload bulb which draws about 500 watts and is very rich in red light. I have tried it with great success and I others should obtain like results. — Norton Sundberg, St. Paul, Minn. Work Light Gentlemen: Mr. Sharp's article in the June, 1943 issue of Home Movies, page 181, describing a device for automatically making single frame exposures for animation work, is very interesting. It will be noted from the wiring diagram, however, that Mr. Sharp is literally in the dark between exposures! To make the device ideal, a pilot light can be added that will be "on" between exposures and "off" during exposures. This can be done without adding contacts or other apparatus except the pilot light socket and necessary connecting wires. By connecting the two wires leading from the pilot light to the two terminals of the mercury switch that operates the flood lights, the job is done. Normally, the pilot light is in series with the flood lights. Because of the small amount of current taken by the pilot light, the flood lights will remain out but the pilot light will burn at nearly full brilliancy. When the device is operated for an exposure, the closing of the mercury switch short-circuits the pilot light and extinguishes it. For the pilot light, a 10 watt 115 volt lamp is bright enough when it is mounted directly under the front of the camera and behind the lens. (See Mr. Sharp's photographic illustration.) — Eduard F. Weis, Chicago, III. Variable Light Dear Sirs: Perhaps I am bringing up ! the oldest problem of the amateur — i. e., correct exposure. In spite of light meters and rule of thumb, we always have some shots a trifle over or under, but not so bad that correction seems impossible. Usually quality of screen image is determined by the quantity of light from projector or, to put it an rl SPEAKS other way, upon the amount of light leaving the projector bulb and penetrating the film. Those who have had occasion to run their films on various projectors of different bulb wattage have noticed a great difference in quality of screen image which poses this suggestion: Suppose projectors were fitted with a 750 watt bulb that could be dimmed the equivalent of 400 watts by a regulating control. Most films would be screened at 500 watts leaving a margin of 250 watts on the top side and 100 watts on the lower side of the lamp's range of brilliance. Thus in screening a shot of a black bear filmed in the shade, the rheostat could be turned up momentarily to increase light brilliance to bring out detail in the scene. Likewise, when an over-exposed scene appeared, the light source could be dimmed to eliminate a washed-out appearance of the scene on the screen. Perhaps some cinebug has already devised such a gadget. One obstacle, of course, would be to produce a bulb that would give the same color of light at the various intensities. — M. /. Menefee, San fa Ana, Calif. Save 'em and Sell 'em Gentlemen: I suggest that in your magazine you stress strongly the importance of every amateur saving all laboratory reels returned with films from the processors. There's a shortage of these in 25, 50 and 100 foot sizes in both 8mm. and 16mm. widths. Due to the metal shortage, many processing companies cannot obtain these reels any longer and will gladly buy them in any quantity from 1 to 1000, paying 2c to 4c each for them. — Albert TomkJns, Bayonne, N. /. Hm-m-m! Sirs: I have noticed that in your reviews of amateur films and descriptions of Movies of the Month that almost all are in Kodachrome. Now all of my best films are in black and white and I sort of get the impression that black and white films, regardless of their excellent qualities, do not stand a chance in competition with those filmed with Kodachrome. Also, I wish that many of the spend thrift type of filmer would stop picking on us 8mm. fans who, in our own way, believe that 8mm. is as suitable for our purposes as is 16mm. to • Continued on Page 300