Home Movies (1944)

PACE 336 HOME MOVIES FOR AUGUST *★★★★★★★★★★★ ILEX TELEPHOTO & PROJECTION LEASES Here's a combination that can't be beaten — an Ilex Telephoto on your camera and an Ilex Projection Lens on your projector! Ilex Telephoto Lenses are equipped with focusing mounts for both 8 and 16 mm. cameras. Their flat fields provide images that an Ilex Projection Lens will project on your screen with thrilling brilliance and detail throughout their entire area. Ilex manufacturing facilities right now are devoted entirely to supplying precision optical equipment to our Armed Forces. However, plan now to get fullest pleasure from your movie-making when Victory is won, by standardizing on Ilex lens equipment. LENSES AND SHUTTERS OPTICAL INSTRUMENTS Ilex Optical Co. Rochester, N. Y. the film hung in a dust-free area to dry. To produce a similar effect with black and white reversal film, the following bleach and clearer will be found satisfactory: Bleach Hot water (i6o°) 5 oz. Potassium Bichromate ....ioo gr. Sulphuric Acid (CP.) .180 minims Cold water to make 45 oz. Clearing Bath W ater 1 pint Sodium Sulphite 2. teaspoons The procedure is the same as outlined for Kodachrome . Two frames are ample for the average flash effect. Four to six frames will give the effect of a sustained flash, and the degree of bleaching will show the intensity of the flash. Bleaching for only a few seconds will lighten the frames slightly, giving the appearance of a small, weak flash as though many miles away. A greater, more fully bleached number of frames will appear as though the lightning is bright and close at hand. The need for such cinematic effects ac described here occur less frequently with some amateurs than with others. Yet, when the need occurs, the amateur is often hard put to find the answer. It will be time well spent, therefore, when a little extra footage is available, to experiment with these effects, perfecting the technique of their accomplishment. tVe£tern5 3n 16mm. Color. . . • Cunt nui, J from Page }20 Russell Wade, rising young RKO contract player. Jay Kirby. an alumnus of the "Johnny" role in Harry Sherman's Hopalong Cassidy films, and Andy Clyde, top comedy star for many vcars and now a contract player with Columbia Pictures, enact the principal roles in "Sundown Riders." Lambert Hillyer, one of Hollywood's leading directors with several top pictures to his credit, wrote the screen play and directed the picture from an original story by Graham Walsh, well known scenarist. W ade and Kirby together with cameraman Alan Stensvold and financier William George formulated Major 1 6mm. Productions. Stensvold's long association with the professional end of 1 6mm. pictures, both as producer and exhibitor of business and instructional films, enabled him to foresee earlier than many others, perhaps, the inevitable destiny of 1 6mm. films in the entertainment field. It was his unquenchable enthusiasm for the idea that eventually led to the almost over-night formation of Major 16mm. Productions. Stensvold's career with 1 6mm. films dates back to 1953 when, as a flying newspaper reporter, he suddenly found himself placed in charge of Castle Film's San Francisco office while the ccmpany's manager was attending conferences at the home office. This was his introduction to 16mm. projectors and films. Later, Ford Motor Company undertook to exploit their new Lincoln Zephyr through motion pictures, sent a shipment of fifty 16mm. sound projecters together with a film, picturing the Lincoln Zephyr in action, to the Ford west coast regional offices for distribution among Ford dealers. One local dealer, having never seen a 1 6mm. projector before, much less having operated one. encountered Stensvold quite by accident and engaged him to tuke over exhibition of the film assigned to him. When the dealer turned in his report showing that Stensvold had exhibited the film 100 times in one week, the home office sat up and took notice. Reports on the other 49 projectors shipped into the territory showed that between them, only 20 exhibitions had been given for the same period. As a result, Stensvold was called east, placed in charge of 16mm. film promotion. Later he organized United Films, first organized roadshow circuit. Later years found him entering business of producing 16mm. advertising films, and with introduction of duplicating facilities for Kodachrome. Stensvold concentrated exclusively on photography with color film. Today, he rates one of the top cinematographers with Kodachrome. Stensvold used two Cine Specials in filming "Sundown Riders," one of which was mounted within an Auricon soundproof blimp. The second camera was used without synchronous interlock w ith the sound equipment in filming secondary shots of special action. Interesting is the fact that, with other so-called professional 16mm. cameras available, Stensvold selected the Cine Special as the camera to film this pretentious commercial production. When questioned regarding the pilot pin featured by some pro16 cameras — a feature not found in the Special — Stensvold stated that his experience showed that the pilot or "register" pin has proved more troublesome than beneficial with 1 6mm. film, due chiefly to the method of perforating 16mm. film which nullifies the purpose of the pilot pin. According to Stensvold, the Cine Special, because of the peculiar construction of its film gate, produces pictures