Home Movies (1944)

PACE 34 HOME MOVIES FOR JANUARY The NEW Hollywood V Viewer For Kodachrome Slides and 35mm. strip film Lightweight Tenite Polished lens — no adjustment necessary Produces sharp third dimensional quality. Only S2.45 postpaid with money order MILLER OUTCALT CO. 267 South Alexandra, Los Angeles 1, Calif. CUT HOME MOVIE COSTS with BLACK and WHITE fine grain Semi-Orthochromatic Reversible Film for finest results — lowest cost. 16mm. Reversible Outdoor Film 100-ft. Roll, only $2.50 Rating Scheiner 18 8mm. Reversible Outdoor Film 25' Dble 8, only $1.25 Same day processing included. Ask your dealer or send money direct. Write 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. * Movie Camera Outdoor Film * 1 Reversible Film, 100 Ft $2.50 * * 8mm. Double, 25 Ft $1.25 £ * Wound On Aluminum Spools ^ ^ Fine Grain Film Stock ± * PRICES INCLUDE PROCESSING * Also hundreds of top-notch Comedy. Musicals. ^ + Religious. Cartoons. Industrials, Timely War ^ 3^ Releases. ^ )f Write today for free catalog of finished subjects. ^ * Sound Programs. Low Rentals. * *• Send for VICTORY BULLETIN Z * BETTER FILMS 4. 742 Ntw Lots Ave. Brooklyn 7. New York J Distinctive TITLES and expert EDITING For the Amateur and Professional 1611X1. — SMM. Blaek and White • Kodachrome Write for our Illustrated catalogue STAHL EDITING & TITLING SERVICE S3 West 42nd Street New York. N. Y. 8 ENLARGED f\ REDUCED TO lb TO 8 BLACK AND WHITE AND KODACHROME CEO. W. COLBURN LABORATORY Special Motion Picture Printing 995-A MERCHANDISE MART CHICAGO ket should be large enough to accommodate title cards 3" by 4" in size or greater. Use of the metal holder permanently attached to title board, simplifies the task of centering title cards ; for if the text is centered on the card, ill that is necessary is to slip card into the holder and correct alignment with camera lens is assured. Provision for illumination was deliberately omitted in this plan for the simplest of titlers. Where artificial illumi nation is to be used — and this is preferable to sunlight — two No. 1 photofloods in suitable reflectors set up at either side of camera will furnish adequate light for making titles with any type film. Where desired, lights may be permanently attached to the titler by the addition of a wooden bracket of material, 3 inches wide and about 26 inches in length, nailed across the base and fitted with porcelain sockets and reflectors. Continuity, in J^lature 3ilm& . • Continued from Page l b passing purpose. When finally the bird was found, the audience was gratified and triumphant; but in the meantime it had looked upon and enjoyed many scenes along the way. Yes, the story is the thing! Even the orthodox plan which begins at Grand Central Station, makes a circle tour, and returns to the same depot, has its undiminished merits. An audience trails the traveler knowing there is an aim to the picture even if it is only returning home again. Yet, this simple continuity can easily be enriched. A map displayed occasionally with an ever-extending line showing the trend of the journey is helpful. And if in titles or comments reference is made to some adventure, some outstanding experience which came unexpectedly at such-andsuch a place, there is a double grip on thought. Or if "Sniffy" the pet spaniel gets his first view of the world's wonders during this picture journey, and scenes are taken with the idea of recording the cute and comic reactions of Sniffy to the new things he saw, those who see the film will be held by a yearning to know just what this dog will do next. His little interests, anxieties, and adventures become in a measure their own, and as he wiggles, wags, and sniffs his way through the scenes he carries a story that connect all events. In one film with which I have realized considerable success, a tour of Western National Parks is made. But in the beginning, before travel is suggested, a series of scenes made at my north woods Sanctuary is shown, introducing five baby animals. There are Rack and Ruin, two raccoons; Inky the porcupine; Sausage the woodchuck; and Bobette the fawn. Enough of these creatures is shown to create love for and interest in them. Then throughout the film there are repeated flash-backs to show the growth and development of these animals. Audiences evolve an anxiety about these five little actors immediately and constantly want news of them. While looking at the grandeur of Yosemite and the novelties of Yellowstone, they are awaiting with a degree of impatience the next point in the film that gives more of the pets. Thus the story of these simple animals aids the presentation of travel and scenic subjects. Of course, other animal pictures are in the film too. One could not go to the western parks and fail to see deer, bear, moose, elk and beaver. But it is the little family of five that monopolize interest, for these animals are involved in a story. And that simple story of "how they grew" is the basis of a successful nature film. The story that unifies a film and gives it deeper worth need not be specifically about something or someone. A philosophical theme, well executed, will provide good continuity. Perhaps it is the age-old wish to "get away from it all;" maybe it is the search for peace or inspiration that carries the story skipping from place to place and leads to the investigation of remote corners in nature. In a film that has been well received I took the theme of kindliness and intelligence. The purpose was to reveal intelligence in creatures made apparent when abuse and persecution are lacking. There were no mileage limits to this theme, and it was not necessary to follow a set route. The theme itself was so interesting that I could pick up a scene in a zoo, another in a stock yards, and others in a game Sanctuary of Canada. The story tied them together harmoniously. The reel held the attention of those viewing it. In their thoughts they were not just going to this place or that one, but rather were seeking out and marveling at the character of living things when fear is eliminated. There was a purpose to be accomplished, a desire to be gratified. Yes a story is all important in the plan of nature films. What story it shall be rests with the originality of the producer. But story there must be if the scenes are to hold attention and to be shown at their best. Now, closely rivaling the story in its