Movie Makers (Jan-Dec 1936)

44 JANUARY 1936 For an Added Thrill TRY SOUND : DUAL TURNTABLES Standard 78 RPM S85.00 De Luxe 33 1/3 & 78 RPM . $95. OO Sound Added To Silent Pictures. Double System Sound Pictures. Single System Sound Pictures. Amplifiers and Microphones. Complete Sound Studio. Equipment. FOTOTONE STUDIO 33 W. 60TH ST. NEW YORK Circle 7-2408 "DEATH FANGS" A two reel sound on film marvel Featuring' FLASH The Police Dog also Silent 50 & 100-ft comedies & novelties Write for particulars NU-ART FILMCO 145 W. 45th St. New York, N. Y. 1936 Movie Makers Binders Are Ready Covered with black morocco fabrikoid and attractively stamped_ with gold lettering, Movie Makers binders make a smart appearing addition to the bookshelf or desk top. They are equipped with a patented wire device which makes it easy _ to insert the new copies as they arrive and which securely holds all magazines in place. A binder is convenient and it will preserve the year's issue of Movie Makers for future reference. Use a binder and each number of Movie Makers will serve you throughout the year! • BINDERS ARE $1.50 EACH (Foreign and Canadian postage 30c extra) AMATEUR CINEMA LEAGUE, INC. Binder Department 105 West 40th Street New York, N. Y. to ivant to put on fancy togs and parade. From our cullud brother — Then came a shot of a Negro burial society. To the guardians of our peace, who wear uniforms every day and as regularly parade — ■ Then followed a shot of a single policeman on beat and a few feet of a police parade. It's just one common urge to show off. For example — ■ Next came various parades — Elks, Shriners, Odd Fellows and Hibernians. The picture ended with the grandest parade of all, a circus procession. Here is a word about titling: you may be a crack photographer and yet lack a sense of humor and, if so, get somebody to write titles for you. In every circle, there is always at least one person who can do better than write "wise cracks." Get the best — even if you do have to give credit on the screen. Be careful about your main titles. Do not use the first thing that comes into your head, unless it clearly is a heaven sent idea. Write fifty or a hundred titles. Paramount paid $10,000 for the rights to a medical work with a title it wanted — "The Dance of Life." It paid the money because the title helped sell the picture. It is just as necessary for you to sell your non paying audience as it is to coax them up to a theatre box office. The collegiate camera [Continued from page 18] ready to film any unexpected occurrence — a campus fire, a student celebration or police dispersing a pajama parade. When a nationally famous educator, explorer or scientist speaks at convocation, steal a few informal "pot shots" as he leaves the auditorium in the company of distinguished guests. Passage of time can be designated by filming a hand tearing off a monthly calendar leaf or replacing a yearly one. By including scenes that feature the changes in the seasons, it is possible to impress an audience with lapse of time. Commencement will doubtless climax your reel. Have a classmate film the procession, later swinging to a closeup of yourself, followed by similar closeups of your college friends. If commencement ceremonies are held at night under powerful stadium spotlights, insert supersensitive film in your camera and ask a friend to record the action. Close with a shot of students grasping diplomas, shaking hands and bidding each other farewell. An idle movie camera on a college campus is a prospective money maker for its owner. There are football games and club affairs to photograph. Sorority and fraternity outings and general campus activities offer possibilities. Publicity films to supplement the president's appeal for funds and increased enrollment would be welcomed in smaller colleges. Geologists and other scientists go exploring during their summer vacations, and a few could well afford to use a movie maker on their expeditions. Even medical and dental schools offer an interesting chance for revenue to stiff lipped fellows who can shoot a gory operation. Ski shots [Continued from page 20] ac'ter to your film and remember that a good comparison means emphasis. A beginner walking up the hill with his skis over his shoulder suddenly falls into a hole up to his thigh. This is very effective, but think how much more effective it would be if you make a comparison with an advanced skier who gracefully climbs the same hill on his skis. Build up the interest by showing some advanced skiers practicing ski control on the open slopes and follow these scenes with thrilling action shots on the trails. It is rather difficult to produce a true presentation of action that takes place on narrow trails because of the need to tilt the camera up or down, which produces poor perspective. The best camera position from which to capture these scenes is at the bottom of a hill, at a point below a turn. This position gives scenes that convey a good sensation of speed and permits the skier to exit without coming too close to the camera. It also permits action shots of the turns, which represent the most interesting phase of trail skiing. The problem of exposure for skiing resolves into a compromise between the correct value for the delicate snow shadows and the correct value for important details in the darker objects, such as the trees and the skiers' clothing. For the ordinary panchromatic film, a four times yellow filter with a stop of //4 to //5.6 is recommended, depending upon the brightness of the sun. However, when you are photographing a snow scene in which there are but few important dark objects, less exposure should be given. Every good motion picture should be based on a logical development of interest, with a climax near the end of the film, but it also should have either comic or human interest relief. To provide human interest for a winter sports reel, perhaps a montage treatment of the lunch period would be most effective. Take many short shots of people eating, changing your angles, subjects and