Movie Makers (Jan-Dec 1936)

MOVIE MAKERS 45 length of footage for each shot. Conclude the sequence with a longer scene that shows the effect of the lunch — perhaps the efforts of a stout person trying in vain to reach down to fasten the skis. Then, start things off with a quick buildup to the climax of the film, which, in most cases, will be ski jumping. It is advisable to film these views at thirty two frames a second for greater naturalness during projection. Use many viewpoints, though never at right angles to the action, and, in editing, place the most effective scenes at the end. In filming from the bottom of the jump, it is advisable to use a telephoto lens but only in conjunction with a tripod, for otherwise the scene will be too jumpy. The most effective views can be had from the stand, although it is difficult to follow the skier from this location. Do not forget to start the camera before the skiers appear. You can end the film with a striking slow motion shot of a ski jump, in which the skier is silhouetted against the sky, or you could use the conventional sunset scene with the skiers returning to the train on the way home. It is wise to have the manufacturer put thin oil in your camera, for otherwise you may find that it will slow down in zero temperatures. It is also advisable to determine exposure and position before taking the camera out of the case. If it is very cold, place one of those small pocket warmers, that slowly burn benzine, in the case to maintain a higher temperature than the outdoors. Underneath your mittens wear thin kid gloves and keep these on during filming. Featured releases | This department is for the convenience of readers in guiding them to library films, announced in this issue. These films, in the main, have not been examined by Movie Makers. | Bass Camera Co., Chicago, 111., offers a catalog: listing: 16mm. silerrt and sound on film subjects. ■ Bell & Howell Co., Chicago, 111., has the following; new Filmosound releases: Out of the Ordinary and The' Cv?igar's Mistake, each one reel ; Don' t Divorce Him and Constibull, each two reel comedies. This company also offers the 16mm. sound on film subject, Three Centuries of Massachusetts, which comes complete in eight reels, but eacn reel may be used as a separate unit. Prepared under the direction of Professor Albert Bushnell Hart of Harvard and accompanied by his narrative, these reels form a historical record of particular interest to schools. ■ Eastin 16mm. Pictures, Davenport, Iowa, has both silent and sound on film 16mm. subjects for rent. ■ Eastman Kodak Co., Rochester, N. Y., will be glad to send catalogs of 8mm. and 16mm. film subjects, on request. '■[:,■ ■ Empire Safety Film Co., Inc., New York City, has the 16mm. film, Alice in Wonderland, in ten episodes, each episode being a complete 100 ft. adventure. ■ Guy D. Haselton, Hollywood, Calif., will send his Travelette booklet on request; 16mm. scenics in 100, 200 or 400 ft. lengths are offered. ■ Hollywood Cine Film Distributors, Hollywood, Calif., offers Pasadena Rose Parade, the 1936 edition of the New Year's Day Parade and the annual football classic played this year between Stanford and Southern Methodist. This film is released in both 16mm. silent and sound on film versions. ■ Kodascope Libraries, Inc., New York City, offers a 16mm. sound on film version of the recent theatrical success, Oliver Twist, featuring Dickie Moore. Enthusiasts of Dickens will welcome this appealing story now available for home screenings. ■ Ernest M. Reynolds, Cleveland, Ohio, has 100 ft subjects for sale; Highlights of Empire Stale and By Horseback Through Yosemile Valley are included among others. ■ Y. M. C. A. Motion Picture Bureau, New Vork City and Chicago, 111., features religious films for use during the Lenten season. These are ior rent, and early bookings are urged. Things people ask us [Continued from page 16] the pupil in the eye would do it, if it were contracted to just a pinhole in the front of the eye. However, it would take a long time to get the effect on celluloid. There are some photographers who have a lot of fun making pictures with pinholes. Remember that the pinhole serves to prevent a lot of rays from getting scrambled on the retina or the celluloid, by letting practically one ray through from each reflecting point. More light can be let in without scrambling by the use of a lens, which, although important, is, after all. a photographic refinement. The lens in the eye and the lens in the hole in the camera make it possible for a great many rays from any reflection point to be collected as they pass through them and then to be delivered, each group where it ought to go, on the retina or celluloid. You probably know enough, from your school course in Physics, to straighten out in your own mind the action of lenses, so that we don't need to go into the matter of why they collect and redistribute rays. The important fact is that, because of their capacity to do this, they can cut down the time necessary for the camera to photograph. This is the most important job of the photographic lens. In addition, these serve other extremely useful purposes. One special kind can take a wider picture. Another kind — comparable to the lenses in the eyes of the cat family, which see well in dimmer light than can human eyes — will take pictures in poorer light than can the primitive pinhole. A third variety — which we can compare roughly to lenses in birds' eyes — enables the camera to photograph distant objects in a larger size than the eye would see them. We have used the human eye pretty freely to describe the operation of making a photograph, but there are important differences. A well lighted image flashed on the eye's retina lasts about one tenth of a second, after the eye is closed or turned to some other view. The same image, flashed on the silver salts emulsion is there forever, although latent until it is chemically developed. So it is obvious that the human retina can be used over and over again, either to keep one image for a long period, allowing for eye strain and consequent dis> . tortion after a time, or to receive one image after another, retaining each one for about a tenth of a second. It is equally obvious that the photographic emul CINE FILM DEVELOPING EQUIPMENT Get better pictures with the Davidge Developing System. More film in less developer, greater shadow detail and a longer scale of gradation. Developing units are made in sizes ranging from 25 feet to 1 000 feet. We also manufacture celluloid separator apron for all 35mm. developing tanks, synchronizing machines, spooling discs and negative tight rewinder equipment. Send for the new illustrated catalog, with prices. HOLLYWOOD ROTO-TANK CORP. Offices Factory 5225 Wilshire Blvd. I 1 23 Lillian Way Los Angeles, Calif. Hollywood, Calif. BOOK NOW! Religious Pictures FOR THE LENTEN SEASON MOTION PICTURE BUREAU OF THE Y. M. G. A. 347 Madison Ave. 19 S. LaSalle St. New York, N. Y. Chicago, III. HOW PERMANENT ARE YOUR FILMS? Insure the memories they record, as tangible evidence of life's happy moments. Prevent them from deteriorating, fading, or becoming brittle. TEITEL'S SCRATCH-PROOF SOLUTION Protects your films against scratching, abrasions, gumming, shrinking, buckling, time, use and the elements. TEITEL'S NEW LIFE SOLUTION Revives your film, generally prolongs its life and prevents deterioration of new film. Both solutions are intended for use of the amateur who is able to treat his own films at home — whenever the necessity arises. Price per 6 oz. Bottle S I .OO Booklet "AN" on Request KIN-O-LUX, INC. 105 West 40th Street New York 6R ah i r A REAL LIGHT Ul/Ll ffc All aluminum construction with a four legged support that is unique — very portable — total weight, with bulbs, but l3'/2 lbs. Indispensable with indoor color. Model No. I, using 6 No. I Phototloods, current draw 13.2 amps.; Model No. 2, using 2 No. 4 Phototloods, current draw 17.2 amps. Either model, complete with tripod and connecting cord, $30.00. Bulbs extra. See at your dealer's today. J. C. HAILE & SONS Motion Picture Dept. 21 5 Walnut St. Cincinnati, Ohio