Movie Makers (Jan-Dec 1930)

MOVIE MAKERS 513 by still photographic amateurs. It is to be hoped that other countries of the world will follow the lead of the United States in lifting tariffs from motion pictures that are not commercial in nature in order that the international exchange of amateur movie efforts may become full and in no way obstructed. Things I was ashamed to ask (Continued from page 479) disappears. Otherwise you will make a bad error. In "disappearing" the filament to get your exposure, keep moving the meter very slightly from side to side so that you can see the filament wave across that part of the scene the exposure of which you are taking. This will help to catch the exact instant at which it disappears or merges mto the object across which it has been moving. And don't forget to average your exposures, if there is much variation of light in the scene and if you want a generally clear picture for the whole view. In "disappearing" the filament, keep your eye's attention on the background rather than the filament itself. The Zeiss Diaphot calls for no individual eye adjustment and works on the "shadow detail disappearance" principle. It is conveniently small and serves for still pictures as well as movies. There are no specific cautions for it. The Lies Kinometer has had only a limited American marketing. It operates upon the principle of "disappearing" colors into blackness and one does not see the picture itself through the meter, as with the Bell & Howell Photometer, the Correctoscope or the Diaphot. As with the Drem products, the Lies apparatus calls for the eye to place its attention upon changes in the field of vision within a tube. There are no particular additions I can make to the instructions given with this instrument except to make sure that you have the correct instruction sheet for the Kinometer and not for the Actinometer for still photography. Now for a catch question. Which one do you use? No catch at all. I've used them all and have got good exposures with every one of the five. But I'll say this. If I went out to make some movies and didn't have one of these meters with me, I'd try to have the feeling a man ought to have with his chips in a poker game, so far as my rolls of film were concerned. I'd say to myself that I could lose them all and it would make no difference. And if — to tell the real truth — I couldn't say that in justice to my pocketbook, I'd lay the camera away for that week-end and would spend my time playing croquet instead. So you don't believe in guessing? Not with film at several dollars per! ^Jo(y AN IDEAL COMBINATION The ULTIMATE in CAMERA and LENSES This unique camera provides for the visual focusing of each scene before exposure. It is equipped with a 3 lens Revoivable Turret Head and possesses an operating speed for every need — 8 to 72 frames per second. Fully equipped for excellent work when provided with Dallmeyer 1, 2 and 4 inch Lenses for normal focus and telephoto effect. MODEL 5 VICTOR CINE CAMERA WITH DIRECT VISUAL FOCUSING AND DALLMEYER LENSES Special Herberc & Huesgen Outfit X'^ictor Model 5 Camera with carrying case 1 inch F.3.5 Dallmeyer lens 2 inch F.1.9 Dallmeyer lens 4 inch F.4.5 Dallmeyer lens Price, Complete, as Above, $3 68.00 tafiERT & HUtSGEN Cq 18 ^Asr^i'^'smeeT nx lDA/jCMEr€A jCSJVSeS S/JYCe /860 Sllustrations from Kodalc Trade Circ«ilar of January, 1930 KODAK LTD. LOIVDOIV Tlie instantaneous exposure nneter for any light — any time — any place Complete, ^rith sole leather case, $12,50 AT ALL DEALERS and EASTMAIV KODAK STORES DREM PRODUCTS CORPORATION, 152 West 42nd Street, NEW YORK, N. Y.