Movie Makers (Jan-Dec 1936)

34 JANUARY 1936 KIN-O-LUX RESOLVE ... TO USE 16mm. REVERSAL FILM THIS COMING YEAR You will achieve superb results with greater economy — will obtain an added and unique satisfaction in film memories that are truly permanent ... for each roll of KIN-O-LUX is Scratch-Proofed free of charge by the famous TEITEL Method, protecting it against the effects of time, use and the elements. No. 1. Green Box, 100 ft. $3.00; 50 ft. $2.00 No. 2. Red Box, 100 ft., $3.50; 50 ft. $2.50 Prices include Scratch-Proofing, Processing and Return Postage. Booklet "A" on Request KIN-O-LUX, mc. 105 West 40th Street New York BROOKS PRODUCTS for MOVIE MAKERS • Schneider Lenses • Tripods • Ramstein-Optochrome Filters • Badgley Filter Holder • Automatic Dissolve • Focusing Prism • Photo Flood Spot • Northeast Reflectors • Cameras and Enlargers. Literature on Request BURLEIGH BROOKS 127 West 42nd Street New York KEEP THOSE NEW YEAR'S RESOLUTIONS TO MAKE BETTER MOVIES By equipping your CINE-KODAK SPECIAL or VICTOR MODEL FIVE CAMERA with a III MORR RADIAL WIPE $32.50 Postpaid No Alteration of Camera J. D. COCHRANE, Jr.. 734 Brooks Ave., Wyoming, Cinn., 0. Guy D. Haselton'sTravelettes The illustrated Travelette Booklet may be had for the asking. Many 16mm. 100 ft., 200 ft. and 400 ft. subjects, including Falling Waters of Yosemite. Let's See Yosemite, Sequoia National Park, Death Valley, On The Waves at Waikiki and Bears of Yosemite. Midget Screen — for editing and personal use. Price $ 1 .75 7901 SANTA MONICA BLVD.. HOLLYWOOD, CALIF. Qa&ryhodi/ £R&a,cly! . Bo -unci for VACATION LAND USE METAL LETTERS FOR MAKING TITLES Send for Price List of Capital and Lower Case Letters. H. W. Knight b Son, Inc., Seneca Falls, N. Y. most opaque but where the white lines still are clear. The stop at which this was taken will be the exposure to use. The ruled squares will enable you to calculate the field of the lens and will also serve as a check on centering the title.) To develop the film, return the camera to the dark room and, using the safelight, remove the strip of exposed film by cutting it off below the takeup sprocket. (This will save rethreading.) Bend the end of the exposed film over in a short fold of an inch or so. With the aid of the wire hook, pass a rubber band under one of the drum slats. Put one end of the rubber band through the other and then catch the resultant loop in the fold in the end of the film, finally fastening the fold in the film with a pin. Stretch the rubber band and wind the film on the drum, dull side up, holding the camera takeup reel between thumb and forefinger and making sure that the film does not overlap in winding. Secure the other end of the film with a rubber band in a manner similar to the first. The rubber bands will take up the expansion which the film undergoes when wet, and hence will prevent the film from overlapping or slipping off the drum. Now slip the drum in the third set of supports (over the water) and slowly rotate it until the film is thoroughly wet. This will prevent uneven developing action. Transfer the drum to the second set of supports and develop for the required time. The drum is returned now to the third set of supports and the film is washed for about thirty seconds. The drum next is placed over the fixing bath tray and is turned until the yellow portion of the film is dissolved. (The white light may be turned on at this point.) The film should be fixed about five minutes longer, and then it is removed from the drum and piled loosely in one of the bowls. Wash the film by draining the water completely out of the bowl and refilling it every five minutes for thirty minutes. To dry the film, stretch two parallel strings across the room about eight feet apart and at a convenient height from the floor. Fasten the film from one string to the other, attaching the ends of the film to the strings with pins. Do not allow the film to twist and keep the dull side toward the floor to keep any dust from settling on it. Drying should be done in a comparatively dust free room. Doors and windows should be kept closed during the process. Excess water is removed by wetting the first and second fingers, closing them over the film and passing them the length of the film. The film then must be polished to remove unsightly drying marks. This is done by taking a piece of moist chamois in one hand and passing it over the shiny side of the film, supporting the film by the edges with the fingers of the other hand. Never per mit the chamois to touch the dull or emulsion side of the film. Let the film dry overnight. Several strips may be handled in an evening by developing the second one while the first is being washed. Be careful not to contaminate the film being washed by touching it with hands that are wet with fixing solution. The drum must be rinsed thoroughly in running water after each strip is developed, and then it should be wiped off with a towel. The developing and washing trays must be emptied and rinsed after each strip is developed. Since the four by five inch, trays have a capacity of but four ounces (even less solution may be used), fresh developer for each strip is not wasteful and certainly improves the quality of the titles. The fixing bath may be used again, merely adding enough fresh solution to fill the tray. It should be discarded when all the developing is finished. Lights for industrials [Continued from page 22] natural for the eye to be restless, and normally it will skip from object to object until it has covered the whole picture. If it is impossible to arrange the composition of the objects in a scene so that the eye is made to follow certain lines back to the focal point, we must do it with lighting. The simplest way to accomplish this is with a spotlight but, except in special cases, this treatment may be a bit too harsh. However, we can modify the arrangement by flooding the scene with soft, low key light and by allowing the important area to stand out in brighter light on the corners. There will be sufficient contrast to pull the eye to the point of interest, and the soft detail in the shadowed parts will give relief from the highlight. Of course, every scene cannot be handled in this manner. Certain scenes will require full lighting for the entire area. Some will require extremely soft light and others hard, contrasty light. It all depends on the subject. An industrial filmer should have an adequate variety of lenses. First in importance is a one inch, fast lens in a focusing mount and next is a wide angle, 15mm. focus lens. This should be as fast as possible. Some are available in focusing mounts and, while these are preferable, they are not essential because the extremely short focus gives sufficient depth of field even when working at the maximum aperture. Lenses of two and three inch focus are often helpful but they are not as necessary as the wide angle. However, they are useful in making semi closeups and closeups from the same position in which the one inch takes a medium shot, thus saving additional camera setups. If the camera is not equipped with a