Movie Makers (Jan-Dec 1936)

36 NOW! A LONGER LIFE PHOTO LAMP The continuing increase of interest in indoor photography, both still and movie, has created a need for better photo lamps, with longer life and improved operating characteristics. This need is now met by the new FIVE HOUR PICTURE FLOOD high intensity photographic incandescent bulb. The new Picture Flood has a greater light output and a rated burning life of jive hours. This means more than twice the service and less than half the replacements — a marvellous improvement in a lamp for photographic use. Picture Floods are of the same size as ordinary photographic lamps and work on normal house currents, A-C or D-C, with greatly improved performance. Picture Flood bulbs are the product of intensive research, extending over a period of years, by an experienced company. They incorporate the best that can be obtained in labor, equipment, chemicals and raw material. They are backed by the reputation of a reputable manufacturer. Drop in at your dealer's and get a couple. Use them direct, or in your lighting units. Your pictures will prove they are better — AND THEY LAST LONGER. Write us for information on other sizes of high efficiency photo lamps. Watch for announcement of our new "FILTER FLOOD" bulb for indoor color pictures without a filter. WONDERLITE CO. West Orange New Jersey 16mm.SOUND USERS We are representatives of BERNDT-MAURER CORP. NEW YORK Makers of highest quality 16mm. sound cameras, recorder and printers. Get your name on our list for latest developments in the sound field. J. C. HAILE b SONS Motion Picture Dept. 215 WALNUT ST. CINCINNATI, O. TVJEWMANLITE x^ FLARES THE ONLY ILLUMINANT for OUTDOOR NIGHT MOVIES Will capture the white brilliance of the winter landscape in unexcelled fashion. One flare equals 75.000 candle power. Dealers: Write for Samples I. C. NEWMAN CO., INC. 6 East 45th Street New York AMATEURS ATTENTION !f Give your pictures the professional touch . . . use Harrison Light Filters, Diffusion Filters and Fog-Effect Filters. Kodachrome and Dufaycolor users should use the Multichrome Filters for correct color balance. Motion Picture Camera Supply, Inc, 723 SEVENTH AVENUE NEW YORK TITLES £\ PAKK CINE The Hallmark of Distinction in any 8 or 16mm. film, yet they cost no more than just ordinary titles. Write for samples and illustrated price list. PARK CINE LABORATORY 1250 51»t Street Brooklyn, N. Y. flaws turn up later which necessitate making the whole setup over again. Theatrical cameramen often plan to shoot as high as five times the finished footage. Although it is sometimes necessary to have such waste because of uncontrollable and unforeseen happenings, one can generally get by with shooting only double the final footage. Critical focusing [Continued from page 19] of mist combined with darkness made it unnecessary to create a Nineteenth Century San Francisco waterfront setting. Fog and rain: Most of the outdoor action is presented as occurring during bad weather and movie makers will be interested in the treatment of these scenes. "The Case of the Missing Man" ■ Columbia. The story of this opus is based on the career of a newspaper photographer who throws up his job and conceives the idea of street photography. To him, the story goes, belong the honors of having invented the 35mm. still cameras used on the street to photograph prospective customers. To movie makers, the interest in this picture lies chiefly in the way in which photography is involved in detecting the criminal. At the same time, since the plot and settings are very simple, the handling may offer suggestions to amateur photoplay producers. "I Found Stella Parish" ■ First National. Makeup: In fleeing to America, Stella Parish disguises herself as an elderly spinster, and, while this disguise is not so effective that it should have been particularly baffling to her pursuer, yet it does present a clear picture of how helpful in creating a character are accessories, such as wigs, hats and eye glasses. Grease paint is used but moderately, and it is in Kay Francis's carriage and her handling of accessories that the real characterization is achieved. "Metropolitan" ■ Fox Introduction : The clever plot device that opens this excellent musical picture offers a technique that might be adapted to a more simple purpose by some movie makers. A girl, working on her stalled roadster, has turned on the car radio, which she is accompanying with her own voice. Suddenly, a second voice is heard as Lawrence Tibbett is introduced, for the time being only vocally. Later, he walks into the scene. Grand opera: This picture marks a notable step in the evolution of the talking film, for it shows that grand opera, in parts at least, may be treated cinematically without resorting to forced or artificial handling. In a sequence of JANUARY 1936 Carmen, the camera follows Escamillo (with inserted reaction shots) just as freely as it might in any other dramatic picture. Here, the operatic technique is unhampered, but the opera is also a real movie. Montage: After it has appeared that the new opera company is bankrupt, money is found and it suddenly becomes possible to go ahead with the performance. How the players and orchestra are routed out of homes, clubs and hotels is shown in an amusing and well handled montage sequence of the type that many movie makers could emulate. Character role: Those studying all phases of modern movie technique will be interested in the way the character of the temperamental old maestro is built up and maintained, partly as comedy relief and partly as a factor in the development of the plot. Allied with this is the restrained use of pure comedy relief in the appearance of the scrub woman, who attends the opening night. "Charlie Chan in Shanghai" ■ 20th Century-Fox. Lighting: Amateur movie makers planning a mystery story will find worthy of study the lighting effect in the sequence of Charlie Chan being questioned by the archfiend whom he is pursuing. The criminal, using police methods, is seated between two brilliant lights which are reflected on Charlie Chan's face but which make it impossible for him to see the mystery man behind the lights. One well handled shot, taken from Chan's viewpoint, shows the lights glaring directly into the camera (with no halation, however) and reveals that Chan cannot see his questioner. Warner Oland, as Charlie Chan, now has an effective assistant in Keye Luke, as his son. The clinic [Continued from page 21] to put more than five flood lamps on any one circuit. The usual home circuit is fused for fifteen amperes, while each flood lamp will draw about two and a half amperes. Title backgrounds ■ The Pr°iec tor may be used for enlarging single frames on bromide paper when the resultant pictures are to be employed as negative backgrounds in title making by the direct positive method. The machine must be well shielded with a light proof box and the image must be focused carefully on a sheet of white paper. The paper then is removed and, in its place, a sheet of bromide paper is affixed. A short exposure, the duration of which must be determined by tests, will make the picture. The result will be a negative enlargement that is suitable for black lettering and filming with positive stock.