Home Movies (1950)

Big Fish NEW DEVELOPING REEL Simply wind film on reel together with plastic separator Excellent for Ansco color developing • Loads in 20 seconds • No developer fog due to aeration • No local solution exhaustion as in rewind systems • Requires less solution • Designed (or Reexposure REEL AND SEPARATOR Model 8H (dble 8 mm model) Holds 32 ft. $10.95 Model 16H (16mm model) Holds 110 ft. $16.95 POSTPAID California Buyers please include Sales Tax. WESTFIELD ENGINEERING CO. 4470 Kanies St., San Diego, California V4XIHI4K FILM PROTECTIVE PROCESS The SUPER vapOrate PROTECTS AGAINST Scratches, Fingermarks, Oil, Waterand Climatic Changes. ■ ONE TREATMENT LASTS THE LIFE OF THE FILM Brittle Film Rejuvenated tlf (EVER TOO LATE TO VACUUMATE Available thru your local dealer or at Vacuumate Corporation, New York General Film Lab., Detroit, Mich. Geo. W. Colburn Lab., Chicago, III. National Cine Labs., Washington, D. C. Photo & Sound Co., San Francisco, Cal. Phillippine Cinemrfographers, Manila, P. I. Featuring over 500 different Illustrations of Models in figure studies. Professional Lady Wrestlers, High Heel Poses, Silk Stockings, Fighting Girls, Satin Sirens, 16 MM Home Movies, etc., suitable for the Amateur and Professional illustrators. Send 25c for your copy to IRVING KLAW Dept. CM-4 212 East 14th St., New York 3, N. Y. • continued from Page 279 terweight underneath it. (A turned club and leadweighted.) And again, those fish are going to come fast, so here we set the camera speed to 32 frames and open the lens 1 stop. That helps to iron out the movement of the little ship. There may be a swell on. The camera also has a small piece of rubber fixed with sticking plaster above the viewfinder, so that it can be pressed hard against the forehead. The camera thus becomes integral with one. We are trolling along steadily, the rocky coastline of the Island in full view, and full of interest, but the eyes see only the bait! They are watching for the "shot" blue and purple colors which paint the water when a Swordfish comes near the surface. Yes, its there. Fish! The camera has caught that flash too. In comes the teasers, leaving only the tantalizing bait. The boat has slowed down. All eyes are riveted. Here comes the flash again, — this time the surface of the sea is broken. The sail fin is out. Whirr! says the camera. The fish has dropped back again, but this time, watch, — its coming again, sail fin right out and its alongside the bait. And here is the beak, or sword out too. You can see the purple eyes, and smash goes the sword over the bait, and with a flurry of white water, the fish turns. The camera must be wound, and as all the foregoing took place at approximately 50 feet, the lens must now be pushed round to infinity. Again the camera is poised, still set at 32 frames to catch and pull it up that fast run. Fish! over there, and there he goes "putting the threads in" to the tunc of the whirring reel letting out the line footage and the camera eating up the film footage. Down goes the fish again. The camera is wound once more, to its full extent each time. Yes, you can still hear the reel running out, yard by yard, 200, 300, 400 yards, and the weight of even that fine line, with the small amount of break on the reel, is heavy, and the fish is starting to slow down. He will come up again, — but where? Now, he's probably 12' 6" to 13' overall, and he may come up 400 yards away from the boat. Yes! we must change the lens quickly. On goes the 6", also the speed is changed to 48 frames. The lens is opened another half stop. That compensates for those extra frames. The fish will probably come out with a rushing leap to show his full height. We can't get the first one, but will hope for the next. Each leap is of about one and one-quarter of a seconds duration. At 48 frames that gives us approximately 4 seconds on the screen, and its so fast it still looks natural. At this stage, the sea birds, which arc nearly always present, may give some indication where to look. The beautiful "Sooty Shearwater" does like the "little things" wb'<" idhere to the big fish, but which get shaken off with the fighting. So everybody watches. Over there! Quick! The first leap is just finishing, but the second leap was caught because the camera came up "shooting." Four leaps and several threashings and down deep again! But what of the Fisherman and the Boatman. They work hand in hand. The boatman has turned the boat, and the fisherman is winding in slowly, but its hard work too, and he is losing some sweat. Twenty minutes has passed. The reel sings again, and out comes the fish, fighting hard! Still a long way out, and still the 6* lens and 48 frames. They are only flashes, so we must lengthen them. With the fish getting tired, and the line footage getting shorter, we now change the lens to the standard 1", and back to 32 frames, closing the lens half a stop. The fish may come up quite close to the boat. Yes, he has too! — and getting tired. A little more winding and pumping, and its here that we can get some close-ups of the Fisherman as he looks pleased. Pumping away to retrieve the footage and p haps a "first" big fish. We use the wide angle and 16 frames for that, and take a meter reading as there is a lot of shadow in the cockpit of a boat. Back to the top we go, and with the wide angle still on and 16 frames P.S. There's the fish, quite close in now, and really objecting to the boatman and his use of the gaff. The wide angle gets the close-up story of the landing on the boat, and the congratulations. The color film gets the brilliant "shot" — Purple to silver colors of the big fish. I have "told" the story, and with the pre-shots of leaving the mainland and coming out to the Island, together with some shots of the ruggedness of the coastline, and now the placid beauty of the Bay. All makes a picture of never failing interest. All big game is fast. Use your "speeds." Compensate with the F., stops each 16 frames open one stop. When using Telephoto lenses, remember the masks. The wide angle lens can be used before attaching to camera for its "field." Take your meter reading of the water about 70 feet from the boat, and often. One way the water absorbs light, the other way it reflects. Also, be familiar with your Camera and lens Instruction Books. It pays in good "shooting." — (N. IV. Blackie, Tauranga, New Zealand") 288