Home Movies (1943)

PACE 376 HOME MOVIES FOR NOVEMBER I pay highest prices for your Movie Cameras, Projectors, or Still Cameras. Send it in today . . . Check by return mail. President Write Dapt. HM 'fl&SS Camera Co. C„M <-t ^ 179 W . MADISON ST CHICACO 2 CUT HOME MOVIE COSTS zy* with BLACK and WHITE fine ft?, grain Semi-Orthochromatie Reversible Film for finest results — lowest cost. 16mm. Reversible Outdoor Film 00-ft. Roll, only $2.50 Rating Seheiner 18 8mm. Reversible Outdoor Film 25' Dble 8, only $1.25 Same day processing in:luded. Ask your dealer or send money direct. A/rite for prices for developing and processing for 8mm. and 16mm. films bought elsewhere. VISUAL INSTRUCTION SUPPLY CORP. 1757 Broadway Dept. 12 Brooklyn 7. N. Y. Low Cost SOUND Rentals A 6 to 8 Reel Up-to-Date Talking Feature mounted on 1600' Reels and 2 Reels of Popular Short Subjects for only $4.95 Complete 8 & 6 MM SILENT FILMS — 25c per Reel SEND FOR YOUR FREE CATALOG NOW NATIONAL CINEMA SERVICE 71 Dey St. N. Y. 7, N. Y. WOrth 2-6049 "SANTA CLAUS IS COMING" Animated cartoon showing Santa's workshop, reindeer, elves, church, etc. 8mm. appro*. 20 ft. S .75 16mm. approx. 40 ft. 1.50 16mm. (Sound) 2.25 Orders Rushed C.O.D.— P. P. Prep. Hurry — Supply Limited! SELECT FILM PROD. 5535V2 Santa Monica Blvd. HOLLYWOOD 38, CALIFORNIA .WhyltPoysTo LEARN PHOTOGRAPHY NOW Nerer »o many Job and career opportunlt!ti! Photographers needed In business, industry, aclenca. N.T.I, graduate* wlnnlnf promotion, hlfhar pay In Armed Forcei. Qualify at America'! larieat. oldait school Resident or borne study. rBEX catalog describes commercial, portrait, motion picture and color courses, today! N. Y. Institute of Photography. Dept. 10 W. 33 St., New York I. N. Y. ated vibration which was not easy to eliminate. As may be seen in Figs. [, 2, and 3, the turntable unit is mounted on soft rubber blocks — art gum, to be specific — and four coil springs attached to the turntable housing maintains a semi-floating condition for the chassis. Under the projector base is a double thickness of felt and these two shock absorbing mediums — felt and art gum — reduced to the minimum, all vibrations which might otherwise reach the recording head. The combined outfit as a whole is easily portable. I have used it many times outside my home for presentation of training films. It requires no more space than usually occupied by the average sound-on-film projector and speaker, and weighs about the same. Cditing, J£e££on£ in "3 JSruinb" . • Continued from l>uxe Ji* in "The Three Little Bruins." They are reproduced to illustrate how two separate actions are intercut with one another to create continuity and heighten interest. In the first scene (the pictures read from left to right) the two owls are shown in a medium long shot, gazing down at some object below. The next shot of the otter on the log, shows him, too, gazing at some object out of scene. Then the following shot of the owls, at closer range, pictures them observing the movements of the otter more intensely. There is a cut-back to the otter and we see him swimming about in the shallow creek and then, in the fifth scene, we see the owls again, this time one is expressing more than usual interest in the otter's aquatic prowess. The scene shifts again to the otter in the sixth scene, then back again to the owls in the seventh, and concludes with an interesting shot of the otter cutting dolphin-like capers in the water to the amusement of the owls above. Some amateurs in attempting to edit a similar sequence, might treat it in two, possibly three shots — the long shot of the owls, then the closeup of them, then a continuous shot of the otter. We all are familiar with amateur film cutting of this type. But imagine how much more eloquent is the treatment given this sequence by Castle's film editor. Probably you would like to know how much footage was allowed each of the eight scenes in the sequence just described. The first scene is 107 frames in length. Figuring 40 frames to the foot, this is a little over two and a half feet. Of course, this was the sound print that was measured which traveled at 24 frames per second instead of at silent speed of 16 frames per second. So, for a silent cut on the same basis, this scene would be proportionately one-third shorter or about 71 frames in length. Checking further, it was found that the second scene was 159 frames in length. Balance of scenes contained frames as follows: 3rd, 87 frames; 4th, 74 frames; jth, 69 frames; 6th, 63 frames; 7th, 67 frames; and 8th, 55 frames. Note how, with exception of seventh scene, each was cut progressively shorter, a technique which builds for tempo in sequence cutting. This intercutting of the two scenes with a gradual lessening of screen time accorded each cut, increased interest in the sequence as a whole and injected a measure of action and drama that an audience would not get were the action shown in just two lengthy cuts of the owls and the otter. Next time you have an editing job to do, keep the example illustrated here in mind. It may be only a short vacation film; but if you have, for example, a shot of one of the family gazing motionless at some interesting scene or object and another shot or two of some object or scene in motion, try intercutting the two, if the scenes are reasonably related, and see what a better picture it makes on the screen. Better yet, see "The Three Little Bruins" on your home movie screen and study this editing technique for yourself — then edit your film. JilmL ming, 3ce Jollied . . . • Continued from Page 359 mental note of the highlights of each act so that he would know, when time came to film them, just what to shoot and what to pass by, thus to avoid wasting film. With a complete mental plan of the project ahead, Rankin attended the show a second evening, set up his camera on a sturdy tripod high up among the tiers of seats, and was ready for the opening curtain. There was just one thing he failed to account for and that was the flashing of spotlights directly into his camera lens as the show progressed. Fortunately this did not occur often, and the footage deleted because of this unlooked for obstacle constituted the only waste of footage in the entire filming project. As the performers appeared on the