Movie Makers (Jan-Dec 1937)

38 JANUARY 1937 n m« ric fl's f I0IKCR fl-RT T! TLC BUILDCRW FILffl €DIT0R Edited by Eno A distinguished expression because it means the finishing touch to your films. "Edited by Eno" is your assurance of the ultimate in editing. Give your pictures that professional touch. . . . Make your movies fascinating . . . outstanding. . . . Obtain perfection itself. Send one reel jor specially priced sample editing by Eno. The charge $5 {exclusive of titles) — will be well worth your while. RflLf«ft.€llO 54S f IfTM flVC II. Y. Bound for VACATION LAND USE METAL LETTERS FOR MAKING TITLES YOUR FILMS ARE NOT COMPLETE until you TITLE Ihem. which makes them more interesting to you; and to friends who were not present when the scenes were taken. Send for Price List of Capital and Lower Case Letters. H. W. Knight & Son, Inc., Seneca Falls, N. Y. Modern Ski Technique . . PATHESCOPE CO. OF THE NORTH EAST, INC. 438 Stuart Street Boston. Mass. 16 LABORATORY EQUIPMENT 35 PRINTERS— LIGHT TESTING MACHINES FRIED CAMERA CO. 3154', Santa Monica Blvd. Hollywood. Calif. Start the New Year right with a DU MORR RADIAL WIPE the accessory which professionalizes 16mm. films Write for full particulars J. D.Cochrane Jr. 734 Brooks Av. Wyoming, Ohio Three Models: CINE-KODAK SPECIAL VICTOR MODEL FIVE FILMO 70D, DA, and E Ml NIC AM USERS "Load Your Own" 35mm Studio Short Ends PERFECT NEGATIVE STOCK EASTMAN SUPER X DU PONT >C SUPERIOR PER FT. POST PD. CAMERA EQUIPMENT, INC. 1600 Broadway New York, N. Y. decided to fix my camera on my chest, fastened by a system of belts. When I wanted a shot, I just stood very straight on my skis, released the button and followed my friends. That's how I got my traveling scenes. They are the most thrilling shots in the picture. Another trick that gives much life to a winter film, and adds a comical touch, is to catch your friends falling once or twice. To add fun to such a shot, when editing cut in a very short "pan" made very fast and upside down. This gives exactly the "point of view" of the skier making a pirouette. I liked all the shots I made. Everything was all right, but I didn't have a single avalanche! The guide that I had with me gave me a rather dramatic suggestion, "Use dynamite! You will get it!" I was a bit scared at first. But, thinking of it, I found the idea excellent. We climbed very high up and used four small cartridges of dynamite! That's how I got some marvelous avalanches. They add much interest to the film. The process is perhaps a bit daring, but what wouldn't a movie maker do to get the shot he wants? I do resolve [Continued from page 13] but, if it seems necessary to make one, I will do it slowly and steadily. I will have my human subjects doing something. I am so tired of seeing films in which every closeup of a person shows him grinning inanely at the camera or making funny faces that I will be sure that my scenes of people show the subjects doing something natural and not looking at the camera. I will have my subjects in personality shots light a cigarette, talk to somebody, look at a flower, read a book or do any one of a thousand natural things that will produce an unposed picture. / uill use a filter and try for scenic effects. I have read that filters are inexpensive and easy to use and I will get one to help capture the beauty of clouds in my landscape and scenic shots. I have seen many scenes with examples of what my friends call ''bald headed" or white skies, which could have been improved by a few clouds, and I am determined to make the most of each sky scene. Most skies, summer or winter, have a few clouds, even though they may be faint, and, in some cases, merely the formation of the clouds themselves will make the scene attractive. / will take plenty of closeups. Knowing that almost any scene that attracts the spectator's interest will also make him desire to see a closer view, I will take plenty of closeups. After presenting a scene in a medium shot, I will look for important and interesting details to show in closeup. Thus I will endeavor first to evoke and then to satisfy the curiosity of my audience, for I know that this is one of the secrets of successful entertainment. / will try simple continuities or plan my shots. In every case where I am able, I will try to make a little plan or continuity to tie the scenes together. In other words, when I take Bob fishing, instead of filming the fishing shots only, I will arrange a setting for the action by showing him getting his tackle ready, digging worms and making the trip to the pond. Then, after the fishing scenes, I will conclude with the catch itself and finally a closeup of a fish frying in the pan. Such technique, varied to suit the subject matter, will keep me from collecting a lot of unrelated shots. / will edit and title all my films. Not being an expert, I realize that I will make mistakes and that sometimes scenes will be spoiled by things out of my control. However, I can, and will, Another new cine table for your note book or card file DEPTH OF FIELD TABLE FOR THE 20mm. f 3.5 LENS. DISTANCE FOCUSED UPOW. R. A M <S E. OF 5HARPNESS S3J5 fs.e /6 S\i f)6 M 1 N. m Ay. min. | M AV. M t M. MAX. M 1 H. MAX. M I M. M AX. INF. I0-O INF. iz'-o" INF. a'1" INF. 6 l" 1 NF. 4'2" INF SO' 12-10" INF. 9' -3' INF. e'-n" INR 5-3" INF. 3-IO" IMF. 25' 9' 6" IMF. 7-6" INF. s'-n" INF. 4-a" INF. 3'-5" INF. IS' 7-5 " 4a'0" s'-o" 1 NF. 41 9" 1 NF. 4-0" INF. 3'2" INF. IO' S'-7" 20-7" 4-10" 36-0" 4'-l" 252-0' 3'-<S" INF. 2-IO" INF. a' 4'10" l4'-5" 4'2" 20 9" a'7" 40-2" 3' l" INF. 2-7" INF. &' 3'10" 9-7 " 3' -3" 12-0" s'-i" \&'-9" Z'-8" 33'6" 2-2" INF 4' Z'-9" s'-s" 2-7° s'-s>" z'-s" s'-o" \'-9" s'-o" i'-s" 8-5" 3' z'-z" A'-]' z'-o" 4'-S* l'-ll" b'-o" \'-9" s'-o" i'-s" 3-5' 2' -18" ■si" -17° -32" -is" ■3<o ■isi' -3&" -I3|" -47"