Home Movies (1953)

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Hilarious Hits for Ifiowi Next Party! SEASIDE l. 2. 3. 4. 5. 6. 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 parry hits. Guar* anteed refreshing . . . and different! Approximately 175 feet per subject. Buy one... you'll want them all. 'SADIE THE SUNBATHER." Hollywood mode) gelt well oi'fed on the beoch. •FANNIE WITH CHEEKS OF TAN." The old tithing line with O new twist. ..ond alluring boil I •THE HITCH-HIKER." Thumb fun with o CuKt that ends In o riot I ' BEACH -COMBING BELLE." The fro** necessities required to be a Beoch •comber. "ANTS IN HER PLANTS." Beauh'M petol-pusher in the garden. (Th'tt r>pe garden equipment unavailable ) "GOLOIELOCKS GOES GLAMOROUS/1 A "right-knit" skit ...Goldielocks, Mama and Papa bear.. .and a little bore/ 16mm B&W Sound *10.00 each SEASIDE FILMS 814 Cole Avenue Hollywood 38, Calif. Master TITLEER Model U 51 Adjustable pedestal fits any 8 /16mm camera — also many 35mm mlntcams. Eouipped with Model E Titliner which GUARANTEES accurate alignment. For talVe top work, copy, ultra-close shots of flowers, butterfies, etc. — from 4 to 40 inches. Moster Titleer U51 $21.75 Titletters $4.95 Master Titleer Titlk.it 2.35 Reg 14.00 Titliner 5.00 Titltrix 6.75 Supplementary Titlites 6.75 lens 1.50 See your dealer, or write for free booklet Hollywood Cine Products LAKELAND VILLAGE ELSINORE, CALIF. SAVE MONEY On Movie Making ! 1. Buy Superior Bulk Film! 2. Process It Yourself! This Month Only Morse G-3 Daylight Developing Tank for 100 ft. of 8, 16, 35mm, or film and complete set of reversal chemicals (regular price S24.30) — this month only -22 so f.o.b. Chicago. Shipping wt. 10 lbs. You save $1.80 Processing Outfit Only $19.95 Everything needed to develop your film. Reel holds 110 ft. 16mm or 8/8mm film. Drying rack, formulae and full Instructions. Fully guaranteed. Only $19.95 f.o.b. Chicago. Superior Reversal Chemicals Superior Reversal Chemicals Include 2 developers, bleach, clear and hardener. Nothing to add but water. Complete set makes 1 gallon $2.90. "2 gal. set (for Morse tank) $1.80. Please add postage. ORDER NOW! SATISFACTION GUARANTEED! Ask for FREE Manual for Home Movie Makers! SUPERIOR BULK FILM CO. Dent. 2-HM 105 S. Wells St Chicago 6, III. pare a script. Very few people can do a smooth recording job without some kind of a guide. There are a million sound opporiunities (no pun) and if you want to give them full justice with professional quality, plan each bit of narration, dialogue or sound effect so that it goes where it belongs. For example, let's say you've just made a shot at the beach showing the water lapping gently at a rock. It will last one minute on the screen — somewhere around 120 to 190 words, depending upon how fast you speak. Now, you've made some notes at the scene and you know just about what kind of sounds and narration you want. You've decided that too much narration is bad and instead, you're going to use 80 words and keep the rest in sound effects and music. Use a large index card. Write your narration on the right hand side of the card indicating who is to read it and when. On the left side of the card indicate music and sound effects showing the exact position they come in in relation to the words. Don't be afraid to put in plenty of sound effects. They're easy to make with the gadgets you find about the house. Crackling fire is easily simulated by crushing cellophane in the hands. The lap of waves on the beach is made with a spoon in a bucket filled with water. The fall of a body down stairs is created by dropping sack filled with sand. The blows of a boxing or wrestling match can easily by dubbed by smacking a head of cabbage aaginst the floor. Whatever sound effect you want don't shy away. A little experimentation will bring you the answer. Now that sound is here, sound off. (Ed. Note: This is the first in a series of articles on sound movies and sound projection. Later on we will discuss sound effects, music and scripts). PROJECTION • Continued from Page 53 certain types of screens, which reflect a dull hazy image at a sharp angle. It is the duty of the projectionist to make sure that unsuitable parts of the hall are not occupied. For a large audience, it is wise to have ushers to seat members of the group properly, particularly late comers, who can spoil a good show for others by their blind search for a seat. In presenting sound films, determine that the volume is properly adjusted. For large groups one certain way to make sure that the volume is just right — neither too low or blasting — is for the operator to have an assistant who can move quietly about the hall and check the pitch and volume of the sound which may vary in different parts of a single film. The fifth deadly sin, then, is failing to take into account the visual and auditory comfort of every member of the audience. 6. How is the Tempo of Your Show? Every type of public performance, including the showing of films, should be so well planned that there are no awkward pauses or hitches of any kinds. Part of the projectionist's preparation is to know precisely where the film showing fits into other parts of the program and have it ready to show at the proper moment. Arrange in advance with an electrician, stage crew member or if necessary a member of the audience to control the house lights at the beginning and end of your show to avoid awkward pauses. Shun then, the sixth deadly sin of projection, which in reality summarizes all the major sins: Failing to plan the whole show to make for a smooth performance that is pleasant and profitable for the audience. QUIZ • Continued from Page 50 lookout for angles that are fresh, interesting, that capture and hold the attention. Obviously there can be no fixed rules for the election of camera angles. Two things must govern the choice: (1) the nature of the subject to be shown, and (2) the purpose that the cameraman has in mind. For example, suppose we are filming a tall man. If we wish to emphasize his height we might film him from a low angle which would exaggerate his size. If we wanted to minimize his stature we might use a high viewpoint. On the other hand, using a neutral or average viewpoint somewhere between the two would show his size without either emphasizing or toning it down. In the choice of camera angles, it is wise to avoid "flat angles ", especially with static objects like houses or trees. A variety of slide, high and low angles should add interest to any film. At the same time it is wise not to go to an extreme and use so many strange and unusual viewpoints that attention is drawn from the main subject which is the action itself. After all, good camera technique tries to avoid calling attention to itself. Q. W hat is the difference between "cut-ins" and "cut-aways" ? A. Both "cut-ins" and "cut-aways" apply to shots that are added to those that carry the main line of action in a film sequence. While they are generally closeups, sometimes medium 56