Home Movies (1950)

Hilarious Hits for tyaovi Next Party! v SEASIDE FILMS Sparkling short subjects featuring beautiful Hollywood models and clever gags. There's a laugh and a thrill a minute in each of these hilarious party hits. Guaranteed refreshing . . . and differApproximately 175 feet per ubject. Buy one.. .you'll want hem all. | "SADIE THE SUNBATHER." Hollywood model gefs well oiled on the beoch. 2 "FANNIE WITH CHEEKS OF TAN." The old fishing line with a new twist... and alluring bait I "THE HITCH-HIKER." Thumb fun with a cutie that ends in M "BEACH-COMBING BELLE." The bare necessities required lo be a Beach-comber. C "ANTS IN HER PLANTS." Beautiful petal-pusher in the rf# garden. (This type garden equipment unavoidable ) £ "GOLDIELOCKS GOES GLAMOROUS." A tight-knit" skit **• ...Goldielocks, Mama and Papa bear. ..and a little bare! ^ "1 * 16mm B&W Sound $10.00 each fcoCNT^ SEASIDE FILMS I ORDER TO / '228 So. Grand Ave., lo$ Angeles 15, Calif. SK QUALITY KODACHROME DUPLICATES 8mm. 16mm. ' ^ PER FOOT PER FOOT RAPID SERVICE Mail orders accepted ESKAY COLOR PRINT, INC. 1325 S. Wabash Ave. Chicago 5, III. CUT HOME MOVIE COSTS with BLACK and WHITE fine groin S e m i • O r t h o c r o m a t i c Reversible Film for fine** results— lowest cost 16mm. Reversible Outdoor Film 100-ft. Roll Only 2.50 Roting Scheiner 1 8 8mm. Reversible Outdoor Film 25' Dble 8, only 1.25 VIS-O-PAN Full Panchromatic. Indoor-Outdoor Double omm. — 25 ft $2.00 1 6mm.— 1 00 ft 5 CO Some day processing included. See your dealer or send money direct. VISUAL INSTRUCTION SUPPLY CO. Dept. 12 / 1 749 Srtoc.ay Brooklyn 7, N.Y Exposure continued from Page 290 Two V stamps for giant catalogue this is that the average human skin has an average reflectance value of 35%, which is approximately twice that of average scenes. This was not necessary with black and white film because of the latitude of the film, but with color the margin between right and wrong is very narrow. In your first shooting of color film, keep an accurate record of exposures with all pertinent information. By studying the processed film and comparing it with your record, you can learn a great deal about proper exposure. Incidentally, when using reflectors with color film, remember that the color of your reflector can affect the tone of the scene. A bronze colored reflector will give added warmth, while white will tend to cooler tones. Your first color shots, unless they are pretty awful, will look good to you, but after the first thrill of color has worn off, a little critical study will show you where there could have been improvement. Check the. colors in your scenes. Do they compare well with the original scene for color? If they do, you have made a good exposure and can use that exposure again for the same set of conditions. If the film is washed out and light, you have overexposed. If very dark, you have underexposed. Maybe there is an excess of blue or red coloring in the scene. Color shots of distant scenes will be quite bluish unless a haze filter is used. The haze filter, by the way, is for Daylight type film. If you are using Tungsten type with a conversion filter, no haze filter is needed. If the scene is too red, it was probably shot too late in the day. There are many correction filters made to balance color film against many light conditions, but until you are pretty well acquainted with color, it will be better and less complicated to forget them all except the haze and conversion filters. Don't forget that colored objects will reflect their color. If, for instance, you photograph a blonde next to a red barn, the final picture may show a "strawberry" blond with a slightly ruddy complexion. In using color, your eye must be trained to become much more critical of the colors it actually sees, rather than to the composite effect as pictured by your mind. For instance, you look at a house and say that it is white. Critical examination and comparison with an actual white might show that it had a bluish cast, caused by a bright blue sky, yet your mind says it is white. Your eye must learn to separate and evaluate colors if you are going to do really good color work. Don't be disappointed if your shots of a magnificent and brilliantly colored butterfly don't seem to be as bright as the butterfly itself. Just remember that the dyes in the film will only reproduce colors up to their maximum brightness, which is not as bright as many things in nature and many man-made dyes. In shooting color, the brightness range of a scene must be held to within fairly close limits. If you try to photograph a scene with both brilliant highlights and deep shadow, you are going to be disappointed. Due to the comparatively slow speed of the film, your highlights will be properly exposed before the shadow even begins to take, resulting in the highlight area being very dark and the shadow area washed out. If you use a meter and maintain a brightness range of no more than 4 or 5 to 1, consistently good results can be obtained with proper exposure. Just in case you don't know, a brightness range of 5 to 1 means that the highest meter reading is five times the lowest. This brightness ratio can be stretched, but it would be wise to experiment a little before you do any serious shooting. Don't be afraid to shoot color with back or side light. A few experimental shots based on meter readings or exposure tables will show just what you can do. With such lighting, the use of reflectors is mandatory if you want brilliant pictures. A word of warning on light meters. The light sensitive cell in light meters does not have the same sensitivity to colors as color film. Becuase of this difference, a brilliantly lit scene that is predominantly green will probably give a meter reading that may result in under exposure. It will pay to take a meter reading of such a scene, shoot as the meter says and then shoot yi stop either side of the indicated reading. Examination of the processed film will tell you how to shoot such scenes. The use of the neutral gray card when shooting such a scene will give the correct reading. The main thing to remember, if you want your film to be really tops as far as exposure, is that you must be able to determine the proper exposure, with the minimum of error, for the best reproduction. To be correct, it is up to you to match your camera, meter and film you use to determine the exact film speed index number to use. Once you do this, and use your knowledge correctly, there is no reason for you to have any badly exposed frames. At this present writing, most camera stores are distributing, free of charge, a neat meter index and exposure guide put out by a manufacturer of cine lenses. Covering both indoor and outdoor lighting for color and several types of black and white, it is a very handy item for the gadget bag. REED & REED DISTRIBUTORS, INC. 7 5 0 8 3 rd AVE... BROOKLYN1 9'. N . V.