Home Movies (1954)

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VIDEO FILM SERVICE Introductory Offer LOW PRICES ! ! ! Glamour Girl Comedies Entirely New & Different 1. A Ball on the Beach 400' — 16mm A frolicking bathing beauty plays havoc on the beach and finds herself in a shocking predicament. 2. Maid for Fun 400' — 16mm A petite French maid vivacious and charming discovers she has other duties. 3. Hilda and the Cad 400' — 16mm Hilda is almost "taken" for a ride but turns the tables. 200' 8mm B&W $1 1.95 200' 8mm Color 25.00 400' 16mm B&W 27.50 400' 16mm Color 59.95 (No Additional Charge for Sound) Hollywood Cuties COLLECTORS! Don't miss these . . . YOUR "Collection" won't be complete without these posing beauties ! (Excellent closeups) HOLLYWOOD CUTIES 50' 8mm B&W „..$ 1.95—3 for $ 4.95 50' 8mm Color 7.00 — 3 for 20.00 100' 16mm B&W 4.50 — 3 for 9.95 100' 16mm Color 14.00 — 3 for 40.00 • OLD-TIME COMEDIES • A well picked variety of America's greatest "gone but not forgotten comedies" . Complete with pie-throwing, mud slinging, etc., guaranteed to give you a laugh a minute. "Tarred and Feathered" S23.95 1 Reel Starring Billy Franey "Two Daughters of Eve" S23.95 1 Reel Featuring Henry B. Walthal and Claire McDowell; directed by D. W. Griffith. "Too Much Dough" S49.95 2 Reels Featuring Billy West 8mm16mm Processing Laboratory Negative Positive Reversal Color Duplicating Reductions 35mm to 16mm — 16mm to 8mm WE PAY POSTAGE ON FILMS Video Film Service 1523 N. Western Avenue HOLLYWOOD 27, CALIF. NAME ADDRESS PLEASE SEND ME THE FOLLOWING. CASH CHECK . . Enclosed. Sorry, No COD's ''All Footages Are Approximate All Films Shipped On Reels • OLD MOVIES • Continued from Page 418 D. W . (Griffith's The Birth of a Nation (1915) in twelve reels, is available with records of the original organ score. This film, despite its highly controversial nature, is a landmark in movie history and still one of the greatest ever produced. In the foregoing the problem of background is solved for us. But by far the grater number of old films are still in the silent form, and the problem of sound is one to test our ingenuity. First of all, a few persons who played for the old silents are still to be found in nearly every community, but like Civil War veterans they are growing fewer as the years pass. Thev are invariably willing to cooperate in presenting an "old time" show, either for a small fee or just for old time s sake. A suggested alternative is to record the playing of these artists for future use — with the same films, of course. A tape recorder would probably be most satisfactory. A reel of tape runs for a half hour, thus covering a tworeel subject. A twelve-inch disc at slow speed runs sixteen minutes, and would be ample for a one-reel subject. Exact synchronization is not necessary. Finally, within the reach of all is the use of available phonographrecords in piano albums with any of the dual turntables on the market. Ordinarily one can find enough suitable music in one of these for a reel of film. Among those I have found useful are the following. Frank Froebas albums are perfect: Back Room Piano (Decca A-448 1 and The Boys in the Back Room (Varsity E-39). Earl Hine's Hot Jazz Classics ( Columbia 41) is also very good, as is Pauline Alpert's Piano Melodies I Sonora MS460 l . Frankie Carle s piano albums l Columbia and Decca I have many numbers suitable for films of the "Twenties. Of some value are Barrel House Piano I Brunsw ick B-1008 I and Mary Lou W il Hams' Piano Solos I Disc I . Others there must be. and the fun of finding them is yours. Each album contains music of different types, both in volume and tempo: and with practice these can be adapted to types of action in the film story much as the player of the silent days used his repertoire. Becords can be marked in various ways and "cued into the story and the result is surprisingly effective. An excellent source is Thos. J. J alentino. 150 If est 46//i St., New York 36, N.Y. Write for his free catalog. LOW BUDGET • Continued from Poge 430 people. And where there are people there are stories. Find out how the business go its start. Is there an inspiring success story to tell? What effect does the plant have on the community? How are the lives of its employees tied into its successes or failures? Maybe the product the factory turns out has made some interesting changes in the lives of its consumers. The head of the company might be satisfied if the film consists of an imposing shot of the outside of the plant, the big sign on the roof, some nice shots of the product on a red velvet turntable, and of course, a big close-up of himself. But that won't make a picture that will be of any credit to you as a producer. You'll have to build a story with dramatic interest around your product. You're job is to capture the interest of a disinterested audience at the beginning of the film and manage to hold it to the end. \^ ork on your script in close conjunction with your sponsor. You'll find it best to start with an outline or treatment which gives the general approach you plan to follow. Getting approval of this before you actually begin to write your script will save you many torn-up pages and much wasted time. \^ hen you begin your script, you'll probably find it easiest to list your shots down the left-hand side of the page, your narration or dialog opposite each scene on the right-hand side. Get approval of your finished script — preferable in writing — before you start shooting. The chances are your film has to be ready for a certain convention or sales meeting. If it isn't, it will lose value to the sponsor. The next step is to make up a production schedule. Estimate how long it will take to shoot each scene and plan your shooting schedule to includes as many scenes a day as you can. Determine how much time it will take to have the art work done. Decide how long it will take to cut the film and time it for narration. Find out what kind of service you'll get from the laboratory. Allow a few extra days for re-takes and time for the sponsor to view the rough cut work print and approve the final narration. Don't promise to deliver the film by a certain date unless you actually know you can do it. When shooting begins, remember that vou are in a place of business, ^ou are naturallv going to attract some attention and interfere with the normal work of the plant. You'll find that vou can get a few shots while the men are out to lunch and some while they are actuallv doing their regular work. Others you will have to stage. This 436