Movie Makers (Jan-Dec 1936)

218 MAY 1936 HUGO MEYER £, eases for the Discriminating Worker Known the world orer for their precision, Hugo Meyer Lenses are preferred by discriminating photographers who appreciate their undeviating performance. An unfailing formula for exceptional results in Indoor Color Photography: the new fast color film; several photoflood bulbs in reflectors and a KinoPlasmat f/1.5 one-inch or 15mm. Wide Angle Lens. DO YOU KNOW that we are thoroughly equipped to construct or repair optical and mechanical devices in our New York workshops. SPECIAL LENS MOUNTINGS— PRECISION MECHANICAL EXPERIMENTAL WORKREPAIRS— SPECIAL OPTICAL SYSTEMS HUGO MEYER & CO. 245 WEST 55TH STREET NEW YORK Craig, Jr. Splicer $3.75 8mm. or 16mm. AVAILABLE, COMPLETE WITH REWINDS, ON ^ n 21" BOARD $0.jU CRAIG SPLICERS ARE QUICK — EASY ACCURATE CRAIG MOVIE SUPPLY CO. 1053 So. Olive St. Los Angeles, Cal. New 16mm sound and silent films — send for latest free list LEWIS FILM SERVICE 224 North Market St. Wichita, Kansas THE DU MORR RADIAL WIPE produces wipes synchronized with the camera Available in three models CINE KODAK SPECIAL — VICTOR MODEL FIVE FILMO 70A, D, DA & E, (equipped for hand cranking) No Modification of Camera Simple to Operate Write for full particulars J. D. Cochrane, Jr., 734 Brooks Av., Wyoming. Cinn.. Ohio WE RECOMMEND THE MAGAZINE CINE KODAK Let us demonstrate this easily operated and precisely functioning camera to you — how you simply slip the magazine into its place — how its lenses are readily interchanged — how its single finder shows correct field for all lenses — and its many other novel features. Trade-ins accepted. LIMA Ca/m&Aa, Se/unxx. 330 W. 47"° ST., N.Y.C. a77/£ FRIENDLY STORE" DEPTH OP FIELD TA6L.E FOR THE 4/z"-y*4-,5 TELEPHOTO LEN5. distance focused UPON. n-AMSE. OF SHAR.PNE.S-S ^4.5 ^5.6 J-& S\\ S\<a <fzz MIN. MAX. MIN. MAX. MIN. MAX M 1 N. MAX M IN. MAX. M 1 N. MAX INF. IS71 INF. 172' INF. \3&' INF 1 1 r 1 NF. 8 3' INF. 47' INF ZOO 128' 458' I20' 595' I03' I NF &7' INF. 69' INF 35' INF IOO 78' I4-0' 75' 1 49' 68' ISO' 60' 288' Si' INF 44' INF. 50 4-4.' S&' 4-3' go' 40' 65' 35' 74' 34' 9s' 3d 142' 25 23' 27' 23' 27' 22' 2 8' 2l' 30' 20' 33' 19' 37' 15 \4-s" 15-a" 1 4-' 4" 15' IO" 14'l" 16-1° 13-8" 16a" 13 1 " 17-6" 12-7" 18-7" 12 n ' 7" 12-5" ll'-G" 12'-©" ll'-4" 12' a" II '-2" 13-0" IO-9" 13-7" 10-5" 14-3" \o 9-9" 10-4" 9'-&" IO14" 9'7' IO 6" 9-5" IO'-8" 9' 1 " ll-O" 8-IO" llW a 7'10" 8'-Z" 7'IO" a'-3n 7-8" 8'-4" 7 7 " 8-5" 7'-5" aLs" 7-3" 8-11° into a closeup of the baby, which also starts smaller than the frame. In a like manner, "zoom dissolving in" during sixteen frames, this scene continues "zooming" for twenty four frames and "zoom dissolves" out in sixteen frames. The action continues from the man and the microscope to the electric magnetic crane and into the scenic shot. However, as soon as the scenic shot has been dissolved in and "zoomed" the additional twenty four frames, the "zooming" is stopped and a circle "close in" wipe, in forty six frames, wipes the scenic shot out and brings in the background scene of the moving film strips. This background of moving film strips runs for 136 frames and then fades out in thirty two frames. The camera now is reversed to frame 117, which is the point where the first scene of the ship was completely wiped in from the closeup of the lens. At this frame, number 117, the first subtitle fades in for sixteen frames, then runs for 215 frames to frame 348, where it dissolves in forty eight frames into the second subtitle, which runs 127 frames in the clear and fades out in thirty two frames. It is really at this point, where the film is reversed for the double exposure on the subtitle, that the "ACL" is double exposed into the lens and wiped out, as explained in a previous paragraph. The clinic [Continued from page 201] tral," indicates that it has no special effect on color rays. It is claimed by some that such a filter will reduce contrast and produce other startling effects, but this is not scientifically possible. Movie makers will find that certain lenses do not have stops below //ll which, under some conditions, would cause overexposure; in such cases, the use of a neutral density filter is indicated. Another situation where this filter comes in handy is when it is desirable to use a large aperture, yet where it is necessary to cut down the light to Here is a useful table for a cine note book or card file prevent overexposure. Neutral density filters come in various strengths and can be ordered in almost any type. Meter correction ■ The directions supplied in last month's Clinic for use with the new Photoscop meter with Kodachrome were incorrect, we are sorry to say. The following table has been checked carefully and it will be found to be satisfactory for color shooting. Set meter at 14 degrees Scheiner for all Kodachrome filming. Kodachrome outdoors, use camera speed of 16 frames a second in setting meter. Regular Kodachrome with artificial light and without filter, use 24 frames a second in setting meter. Regular Kodachrome with artificial light with filter, use 48 frames a second in setting meter. Filming fishers [Continued from page 197] ing the screening of a high mid field kick in which the movie maker, attempting to follow the ball, actually captured only a good cross section of cloud effects. In fish filming, as in football camera work, it is essential that the object of interest be centered properly in the finder at all times. If you are following through a sequence of a surface cracking rainbow or a "wallopy" northern pike, cut to a closeup of the excited angler himself and include shots of the other members of the party, then cut back to the struggling fish to maintain tenseness of action. If you are out to get fish action, capture these most interesting shots as soon as the fish makes the strike. Don't land the specimen first and then, after he is securely hooked, plop him back into the lake and retrieve him as lifeless as a chunk of kelp. Audiences are quick to detect such shots after the kick has