Movie Makers (Jan-Dec 1940)

534 NOVEMBER 1940 KIN-O-LUX No. 3 Gold Seal writes an enthuiastic camera user after having tried this new FINER movie film for indoor use (and other occasions except bright sunlight). GOLD SEAL RATINGS WESTON TUNGSTEN 100 SCHEINER TUNGSTEN 29° No Outdoor Rating And from movie fans everywhere come cries of approval for this new film whose Super Pan Emulsion and speed offer wide latitude, exceptionally fine grain and all around finer film performance. \el this uniformly reliable film is priced lower than any other of comparable quality. But who could be a better judge than you, yourself. Buy KIN-O-LUX No. 3 Gold Seal today. Try it — you"ll see why more and more experienced camera users insist on KIN-O-LUX. Accept no other. If your dealer cannot supply you write direct to Dept. CIO. 100 ft. S6.00, 50 ft. S3.50. (Prices include processing, scratchproofing and return postage.) Other Kin-O-Lux Movie Films are: KIN-O-LUX No. 1 (Weston 8, Scheiner 18CJ 100 foot S3.00; KIN-OLUX No. 2 (Weston 12, Scheiner 20° ) 100 foot S3.50; KIN-O-LUX No. 3 (Weston 50 Tung. 40, Scheiner 26° Tung. 24°) 100 foot S6.00. ECONOMY • RELIABILITY • FINER RESULTS KIN-O-LUX, INC. 105 West 40th Street New York City Inc., 1600 Broadway, New York City. This movie is a powerful and dramatic subject, produced in Italy; besides its religious significance, it is of general interest because of its excellent acting and fine photography. The film was awarded first prize as the best Italian movie of 1939. at the International Motion Picture Exposition in Venice. It tells the story of a simple blacksmith, who is falsely accused of murder. He plots revenge, but he is saved from a violent act by a miracle at the Shrine of Montevergine. Keeping films in order [Continued from page 513] too. What dust or particles of emulsion that may be on the film will produce fine abrasions. They may not be noticeable at first: but. after much of this treatment, the movie soon looks dirty and scratched on the screen. Remedy? Operate the rewind at an even, steady speed. Rewind films with light pressure and. if the coils slip on the supply reel, remove all braking effort. By turning the handle slowly, it is possible to transfer the film from a loosely wound reel to one that is snugly wound. If the film is being cleaned or wiped, as it is rewound, the light pressure of the cleaning pad will serve to give the tension necessary for firm winding. This cause of film wear and its simple cure make it plain why it is the worst possible insult to your movie to tighten a reel by "cinching," that is, by pulling the loose end of film so that the coils will wind more tightly on the reel. All the coils in the loosely wound part of the reel will rub against each other; and, if there is any dust at all on the film, you will have given it full opportunity to do its worst. Oil spots may appear on a film. While this difficulty is generally the result of excess lubrication in projectors, it is sometimes caused by oil that spatters from a rewind that has been too generously oiled. Gears revolving at high speed may throw a spray which reaches the film. Oil will spread on the surface of the film and collect dirt. Oil can easily be removed by the use of a damp pad moistened with an approved film cleaner or pure carbon tetrachloride. Nearly every case of actual physical injury to film is caused by carelessness in threading or in operating the projector, in spite of the fact that modern movie projectors are easy to use, and some of them are foolproof to threading errors. Amateur movie makers are much more careful of films than are users of library prints. The commonest report of film damage from libraries is that caused by the marks of sprocket teeth., on the picture area, or by torn sprocket holes in the film. In rare cases, these might be blamed on a projector which is in need of repair, but they nearly always should be laid to the door of the person operating the projector. The perforations are made for the purpose of enabling the sprocket teeth and pull down claw to grip the film and to advance it through the mechanism. When a film is put on the projector, it is imperative that the parts which are meant to engage these holes be placed in the holes and not on the unperforated film surfaces. It is an easy matter to test the threading as the film is placed on the sprockets. If it slips over, as it is pulled from side to side, the teeth are not engaged in the perforations. Under no circumstances should one attempt to close the sprocket clamps until the teeth are in the holes. To do so is to make certain that the teeth will punch holes in the film. The same general precautions apply to placing the film in the gate. Most operating instructions issued by manufacturers stipulate that the machine should be turned by hand for a few frames, to make sure that the claw has found the perforations. Once this is done, there is little chance of damage during projection, provided the film itself has not been previously mutilated. Damage to film may be caused by the very fact that a torn section has not been removed. If perforations are torn or punched out, they may cause the machine to lose the loop, and, in some cases, this may produce further trouble. Most modern machines will run film without damaging it, even if the loop is lost, but it is not wise to rely on this factor. At least one make of projector has an automatic trip, which stops all movement as soon as a loop is lost. A clean projector gate is one of the most valuable insurances of long life to your films. Make it an automatic habit to clean the projector gate before you begin to use the machine. Clean the gate before you screen your own movies, or a reel belonging to somebody else. Clean the gate, whether you think it needs cleaning or not. Clean the gate! You will be surprised at the amount of dirt that you will remove. Libraries which rent films to the public report great loss because of film damage. In some cases, it is difficult to conceive just how the damage was done, for it is so bad that entire sections of film must be scrapped. There is no excuse for the mutilation which is sometimes reported. For example, it is not rare to see a film that has been run, for its entire length, incorrectly placed on the sprocket. The result of this carelessness is shown by a row of dents, or holes punched in the picture area, for the entire length of the reel. Users of library films must take the responsibility, in such cases, although it may be extremely difficult and un