Home Movies (1944)

PACE 312 HOME MOVIES FOR AUGUST I've (Jot HAVE you a perplexing problem in photography, editing, titling, or processing of home movies? Then tell it to the editors. This "problem untangling" service is free to every reader of Home Movies. Where answer by mail is desired, enclose stamped addressed envelope with your letter. Q: In tuning my films, 1 am hating trouble with streaks and stains. I am using the best toner solutions available and even filter the solutions before storing for subsequent use. What is my trouble? — L. P., Danbury, Conn. A: Usually, streaking is caused from improper preparation of the film before toning. First, the film must be absolutely free from oil or stains that result from handling. To insure this, before toning, clean film with carbon-tetrachloride. Then soak film for several minutes in clear water at room temperature. This softens the emulsion enabling it to more readily absorb the toning solution. O: My first attempt at hypersensitizing film with mercury is disappointing. I sealed the film in a coffee can containing mercury and left it there for three days, then I exposed the film, allowing two stops below normal exposure. When processed, there was scarcely any image on the film. — G. C. B., Columbus, Ga. A: Metal containers should never be used for hypersensitizing film. The metal has a tendency to absorb the mercury vapors faster than does the film, with the result the film receives little if any of the effects of the mercury. Always use a large glass, china or crockery jar with a screw lid. Glass or china jars must be painted black to seal out the light. Hypersensitized film should be used and processed as soon as possible after given the mercury treatment. A delay of more than 5 or 6 days will nullify effect of the mercury. O: Is it possible to photograph motion pictures from the screen of a theatre with a cine camera? — /. L. C, Hickory, N. C. A: Yes, it has been done, but generally it is not successful. For one thing, there is the problem of the shutters of the camera and the theatre projector opening and closing at different intervals, resulting in flicker. If you wish to experiment, set up your camera directly in line with center of screen to assure focusing on screen at point of maximum brilliance. You will probably have to shoot several test scenes in order to determine proper exposure. Q: The picture 1 am now making calls for a scene showing a small home audience watching movies projected on a screen. I want to set up my camera so that / pick up some heads of the spectators as they face the screen in the background . How can this be done successfully?— S. P., Lincoln, Nebr. A: Fred Evans, of Los Angeles, accomplished a similar shot in this way: He set up his camera in back of the audience and placed one photoflood in reflector far back and just lighting dimly the heads of spectators. Instead of photographing actual motion pictures on the screen, he had a replica made of his main title and laid this over his screen, illuminating it with a spot light, masked to light the screen area only. On the screen, this shot is very realistic and it fades into the actual motion picture supposedly being viewed by the audience. By this method, the unsatisfactory results of shooting actual projection of pictures is avoided. The title, on the other hand, appears naturally as though being projected. O: / am building a titler that will take a title card 3 by 4 inches. As this calls for focusing camera on title card at a distance of ten inches, I understand I must attach a supplementary lens before my camera lens. Where can these be purchased and what specifications should I give? — T. A. D., Hershey, Pa. A: You will require a 4 diopter supplementary lens. This you may obtain from any optical supply house, or you may purchase a pair of cheap reading spectacles from your local dime store and remove and use one of the lenses. Usually these spectacles are marked with a small sticker indicating the diopter and focusing distance of the lens. Where possible, choose the plano-convex type of lens — the type that is curved on one surface and perfectly flat on the other. The curved surface should face the title card when mounted on your camera. Use of the supplementary lens does not alter the exposure. O: In the J nne hsue, you ansuered ni) query regarding the system to employ in calculating thickness of shims to be used in extending a lens for shooting titles or ultra cioseu-pt. Weren't you in error in stating that 'A equals distance between film and subject'? A: Right you are. Here is the formula corrected: D x F F = S D F D — distance from lens to subject. F = focal length of lens. S = thickness of shim needed. Q: / have a Bolex 8 ;;;?';. camera. I wish to purchase the tery best 1" lens for this camera and have been offered lenses of the following makes: TaylorHobson-Cooke, Hugo Meyer, Goerz, and Teletar. Which lens, in your opinion is best? A: All of the lenses mentioned are in the top bracket — the very best obtainable. Sometimes there is a difference in the mountings or used lenses often are out of adjustment. Why don't you test each of the lenses on a short roll of film, thus proving conclusively which of the lenses offered is most suitable for your camera? Q: I WOHld like to film a dream picture in which a man falls asleep and then, in the upper portion of the same picture, show what he is dreaming about. How may I do this? — H. E. S., San Francisco, Calif. A: This is best accomplished by double exposure. First film scene of man so that directly above him is a dark area using a black curtain or other dark material as a background for the scene. Then photograph the scene and wind back the film in the camera. In the second exposure, compose the action so it will be framed in the upper half of the scene. Use a dark curtain or • Continued on Page ) 17 HOME MOVIES' ANNIVERSARY NUMBER ONE of the features of the big October issue — Home Movies' Tenth Birthday Number— will be a biographical sketch of the cine camera, tracing it from the very first sub-standard camera up to the modern cameras of the present day. With many of the earlier cameras no longer available. HOME MOVIES wants photographs of them and asks its readers to submit any pictures they may have of such cameras, or to advise the editors where same may be secured. If you were among the early home movie makers that used the model A Eastman, the Pathex 9'/2mm. or similar cameras, and have still pictures of same or the original cameras, please communicate with the editors. —HOME MOVIES 6040 Sunset Blvd., Hollywood 28. Calif.