Home Movies (1954)

SPECIAL SALE! G-E PROJECTION LAMPS 750 WATTS T12 for 16mm Projectors List $4.50 (|»A Af\ SPECIAL PRICE 4>Z*UU EXTRA SPECIAL 3 for $5.00 Add 25c for Packing and Postage LLOYDS' CAMERA EXCHANGE 1614 Cahuenga Blvd. Hollywood 28, Colif. BIG PRODUCER • Continued from Page 429 geles Times, and that newspaper also owns "The Open Road" this could become a problem of high finance. Suffice to say, however, that the financial elements of this operation do not concern us here. With Rogers as Chief, the outfit is managed by Col. Wm. B. Henderson, Bill Steen is in charge of production and narration, Del Shrader writes the show, and two cameramen Jim Wakeland and Al Chandler complete the entire staff. As we have already seen, a thirty minute show with live narration is maae each week, and this is televised at a specific time weekly. The equipment used is standard and consists of a 70 DL Bell and Howell camera and an Auricon Sound camera. Lenses are standard too, and the crew does not possess a Zoom lens. Entire lens complement consists of a 1", 15mm wide angle, 2", 3", 4" and 6" lenses. They have no magazines and shoot the standard 100 foot rolls of Kodak Background X negative. When the negative is returned from the lab with an accompanying positive, they cut and project the positive and this is it. Asked about shooting ratio, Bill Steen said, "We don't even shoot 2 to 1. Usually we expose about 1,000 feet and we cut this down to 775 feet for the show." We saw several "Open Road" films projected and the quality is excellent — but not any better than the majority of semi-professional films we have seen, made by independent producers all over the country. Lest the reader think that this verges on the suggestion that the films are not quality films, we hasten to say again, that they flow along with fine continuity and each show is a complete entity. Our point is simply this. "The Open Road" is a wonderful idea, and it is this idea which has put it across and made it such a huge success. It is not because the camera work is spectacular, nor is it a sucess because of some strange treatment of the travel theme, it is simply something which answers a need — the vast interest of all kinds of people in travel and places. "Much of our footage is shot from the auto in which we travel," said Col. Henderson, and he pointed out how smooth and steady were the sequences shot in this manner. We found that they used a mobile tripod called the "Triangle J Autopod" (see Home Movies, Sept. 1954, page 350) for all of these shots. "And some sequences are even shot from the rear trunk," said Del Shrader, writer on the show. Which all proves that in order to make a successful movie such as this, it is not necessary to have the most expensive equipment nor the vast facilities of a Hollywood movie set. At this point, the show which started as a TV version of the "Times" travel page, and a presentation of the romantic, historic and scenic aspects of the West, has branched out into more extensive fields. And it is said that the "Open Road" may go national. If this is so, here lies a bonanza as great as the fabulous discoveries of the West when the Gold Rush was the thing in this part of the country. So here we have a large producer, so to speak, unlike anything Hollywood has ever seen, yet delivering the gooas week after week on a very low budget, relatively speaking. To understand how a very small independent solves the same problems, see the story on Austin Green in the right hand column on page 429. SMALL PRODUCER • Continued from Page 429 She appears and disappears in the film and he uses her as a gimmick to point up interest and the viewer, ( the women at least) identify themselves with her. Most important of all Green has the talent of perfect rapport with his audience, (or so it seems to us) and this helps to put his story across in a truthful and interesting manner. But let's take the cost of this film, and speculate on the total outlay necessary for this kind of show. Maximum footage is 500 feet, sometimes less. This may work out to roughly $20 or much less, depending on the sources available to the camerman. Processing is nominal and editing is a very small chore with this kind of production since the sequences follow one another in orderly fashion. While it is true that some shots must be eliminated in putting together the final reel, it is still a fact that the time taken to do this job is small indeed. Transportation, food, gas and oil can mount up, but there are methods of getting this on an exchange basis. If not, let us consider that this might cost another $40. Add incidentals, plus the cost of film and other expenses, we have a mere $75. But for sake of safety and accuracy let us say that the whole trip would cost $100 at the most. We now have a quarter-hour show ready for projection and ready for sale, but no sponsor. The cameraman can either peddle the idea as a package and do the narration himself, or else he can sell the film, (on contract of course, for 13 weeks or more). Since TV time varies greatly due to concentration of population and other factors, this cannot be considered on anything but a very loose basis. But • See "SMALL PRODUCER" on Page 440 You can make TIME-LAPSE MOVIES WITH ANY SPRING-DRIVEN CAMERA by using SAMENCO MOVIE CONTROL without camera alteration See your dealer, or name your camera when writing jor literature to SAMPLE ENGINEERING CO. Dept. H 17 N. Jefferson Danville, III. MOVIES On Approval Most entertaining 8MM MOVIE FILMS for home movie shows . . . 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