Movie Makers (Jan-Dec 1930)

jy%.imiu^%>C'»' 19 so THE W. B. & E. "PILOTLIGHT" A convenient light on your Filmo Projector that enables you to operate and change your reels with plenty of illumination that does not attract the attention of or annoy your audience. Makes operating your projector a pleasure. No extra wires needed. Just pull the snitch and the Light is there — When and Where you need it. Easily attached to your machine in a few minutes and projector can be packed away in case without detaching. Price $6.00 From your Dealer or Direct WILLIAMS, BROWN & EARLE. Inc. "The Home of Motion Picture Equipment." Filmo Motion Picture Cameras and Projectors 918 Chestnut St., Philadelphia Pa. CiRAF Projeetion Lenses^ for DeVry, Filmo, Victor, Duograph, Kodascope (c) and other 16 mm. Projectors ▼ A ▼ STANDARD in focal lengths 'i" to 4" (IJ 2-4" have clear aperture of 20 mm.) BIG BERTHA— focal lengths 2" to 4" (All sizes — clear aperture 26 mm.) AUDITORIUM— focal lengths 2' 2" to 6" (All sizes — clear aperture 32 mm.) The Auditorium Lenses have been especiall^y designed for use in Schools, Large Halls, Auditoriums, Theatres, etc. ATA Literature on Request GRAF LENS CO. 333 No. Michigan Ave. CHICAGO, ILL. course, if an uncleaned negative is printed, the spots will print just as though they were part of the image but, as the printed positive has these marks in the silver deposit, it is impossible to remedy such a print. It is essential that the negative be cleaned before the print is made. When film has been properly polished the celluloid side has a distinct sheen while the dull side has a smooth velvety appearance unmarked by any kind of scratch or deposit. With polishing, the processing is completed. The film, if a negative, is ready for printing or, if a positive, it is ready for editing and projection. Before going into detailed instructions for development, it might be well to call attention to the relation existing between exposure and development. Entirely too many advanced amateurs and even professionals have the idea that under or over-exposure may be compensated for in the development. This is absolutely impossible. When the exposure has been made the density of the image is fixed. It is true that it can be altered by later intensification or reduction but these require special treatment of the film after development and, at best, are only makeshift methods, having no place in the routine of the careful amateur who takes pride in his work. The question immediately arises as to what is the effect of the time of development. The time of development controls the contrast between the highest lights and deepest shadows of the image. If development is not allowed to proceed for a very long time, the image is uniform in shade, the darkest highlight deposit being very little darker than the most open shadow, with, perhaps, a proportion of one to five degrees of gradation between the lightest and darkest parts of the image. If, however, the development is extended for a considerable period beyond the normal time, the heavy deposits become quite black. In fact, in some cases they become so opaque that no light whatever can penetrate them. In this case they are said to be blocked. In contrast to this, tlie shadows or thin parts of the negative will be found to have increased only very slightly in intensity so that we may have a proportion between the lightest and heaviest densities as great as one to one hundred. The type of image we should strive to secure is one having a very distinct contrast scale, yet in which the heaviest deposit is thin enough to exhibit a semi-transparency. This concludes the discussion of the theory of development. In an early igsue of Movie Makers thete will be a discussion of the actual practice of development as it applies to the average advanced amateur of today. A MOVIE MAKER IN KING ARTHUR'S COURT (Continued from page 31) "Uh-huh. You mean a camera, but why worry about an antique like that?" Again the King looked carefully about the room; again he drew close — closer than before; and again he whispered— fainter than ever. '"Because," he said, "I have planned these many moons on recording, for my private albums, dozens of pictures of Camelot's first annual beauty contest which is to be held next month. And particularly— " he paused again to glance sharply about the room — "and particularly of the bewitching Nola, the fairest lass in all my kingdom — a lass with whom I am secretly very much in love." His face bloomed to a rich red as he spoke and he buried his features in his mug as he felt Perkins's eyes upon him. Perkins was smiling. He slapped King Arthur's shoulder and poked his mailed ribs. "King, old thing, I'm surprised. Shame on you! But I don't blame you, if all those things Twain said about your wife are true.* Now, I'll give you the surprise of your life, old topper. Fill those schooners again, so I can think." The page entered again and poured the mugs full. Perkins drank long and loudly. Then he settled back in his chair and pondered deeply. Suddenly he leaned forward. "I have it!" he cried. "Suppose — er. by the way, how old is this Nola?" The King sighed. "Twenty-four," he said, reverently. "Married?" "No." "Pretty?" "Beautiful beyond words!" "Skinny — or fat?" "Neither. Just half way between. Perfect." "Brunette or blonde?" "Her hair is like midnight. And her skin — " He sighed again, at a loss for words. "Eyes?" "Blacker than her hair — " "Hmm.'" Perkins shifted his feet"This sounds like the ale — almost too good to be true." "What say?" "Huh? Oh, nothing. Just talking to myself. Er — oh, yes. Does the lady live near the palace?" "A short jog — half a league or less." "Uh huh. Now, er, what kind of a contest is this to be — bathing beauty?" * AUTHOR'S NOTE: If Mark Twain didn't even mention Mrs. Arthur, it's nobody's business. It should be borne in mind that this is a brain-storm. And if King Arthur seems suddenly to have mastered modern English, it's because it's too darned hard to write medieval dialogue in the twentieth century. Proceed—with caution. 46