Movie Makers (Jan-Dec 1949)

JANUARY 1949 Save Over $100-00 On a Brand New 179G Filmosound BELL & HOWELL SOUND PROJECTOR Brand new in original factory cartons. All Set Up ready for use. Regular Price $495.00 OUR PRICE $369.50 You Save $125.50 Most remarkable sound projector offer ever made. Projector sells for S495.00 EVERYWHERE EXCEPT AT NATIONAL CAMERA. Features a powerful 15 watt amplifier and finest 12" Jensen speaker, accommodation for mike or turntable. 1000 watt lamp. 2000' reel capacity, automatic rewind. 2" F/1.6 coated projection lens. all gear-driven projection mechanism, theatre-like tone and picture. PROJECTOR CARRIES REGULAR BELL & HOWELL LIFETIME GUARANTEE AGAINST DEFECTS IN WORKMANSHIP AND MATERIAL. Only a few projectors left on this amazing offer. While they last at only $369.50. Bell & Howell model 138 sound projector, 1000 watt, silent and sound speeds. excellent SI 95. OO Bell & Howell showmaster 16mm. projector. 1600' reel capacity, silent model, with case, special SI 39. 50 DeJur 8mm. projector, 750 watt, shopworn $99.50 Eastman 16-20 16mm. silent projector, push button control, 1000 watt, with case SI 69. 50 Eastman model B, self-threading 16mm. projector, 500 watt, special $45. OO Bolex 16mm. camera, 1.5 lens, and 3 inch telephoto $275. OO Bell & Howell straight 8 camera, new with case and 2.5 coated lens. special $29. 50 Bolex 8mm. camera with F 1.9 lens $225. OO Bell & Howell autoload with F 15 lens $2 14.00 Eastman model 60. 8mm. camera with F 1.9 lens and case $69. 50 Wollensak 3 inch F/4 telephoto lens $35.00 One inch F 15 Schneider lens. . S59.50 16mm. F 1.9 Schneider wide angle lens $75.00 Two inch F/1.5 Hugo Meyer plasmat lens $95.00 >2 inch F/3.5 Wollensak 8mm. lens $9.95 Wide angle supplementary lens. Amplon for 8mm. cameras $ I 2. SO Briskin 8mm. camera magazine loading. F 2.5 coated lens $50.00 New 4 inch F 4.5 Taylor Hobson Cooke telephoto lens $1 I 6.00 MONEY BACK IF NOT SATISFIED Send For Free Catalog National Camera Exchange Established in 1914 86 S. Sixth St., Minneapolis, Minn. low! You unalterably said "You CANNOT get good Kodachrome fireplace films for Christmas, so fool yourself and the public by making it an artificial fire." More fellows than just Don Bateman are going to read that answer, and some are going to believe you and others are going to say, '"Who are you kidding?" Type A will give you beautiful fireplace pictures and even regular Kodachrome will do a pretty good job. With a bright fire you can get by on f/2.5 or f/2.8. but f/1.9 or //1.5 is better. Further, you can doctor up the fire a bit by buying certain crystals at your furniture store which, when sprinkled on the fire, give added brilliance and color. Dr. L. B. Foster, ACL President Salina Movie Club. Salina. Kansas. Gentlemen: On page 429 November 1948 issue of Movie Makers, the question on filming firelight . . . A very pleasing result was obtained by using a wide angle f/2.8 fixed focus lens, Type A Kodachrome and two flood bulbs. Camera was set on floor 4 feet in front of fire, mechanism set on continuous run and camera was slowly moved back to 15 feet. The wood fire had been treated with Sierra Sunset Color for additional color. Your method is good, so is mine. A combination should be super dooper. Dr. 0. L. Patterson, ACL Willoughby. Ohio To members Foster and Patterson, our warmest thanks for their accurate and illuminating data on filming firelight. Actually, Don Bateman's question — "Can you tell me if a good bright fire will provide enough light for color exposures?"— was meant to refer to taking pictures of his children by firelight, not of the fire itself. The misunderstanding was obviously heightened by our own inaccurate heading on the item : Filming Firelight. As for taking pictures by firelight, we still believe that this type of illumination will be inadequate and that the faking recommended will give better results. CHEERS FOR SHEARS Dear Movie Makers: Reading your editorial in the November issue entitled The Soul of Wit, I am reminded of a prominent speaker who asked his hosts for the time allotted him. The reason for the query, he said, was that if he were allowed to speak for an hour, he would only have to jot down a few notes. If he was allotted fifteen minutes, he'd have to prepare several days ahead. But if he had to condense the same story into five minlites, it would take him a week to prepare. The same rule. I believe, is also true in movie making. It takes an exceptionally interesting story, carefully prepared ahead of time, to hold interest. Just because one enjoys looking at his own overstuffed home movie, it doesn't mean that others will share in his enthusiasm. If you want actual proof, simply watch the audience begin to squirm as a film runs on. Yours for more generous use of the shears! Joseph J. Harley, FACL Summit. N. J. Questions ^j lEIIIIIEIEELtimilllllllll Answers Readers are invited to submit basic problems of general interest for answer in this column. Replies by letter to individuals must be reserved for members of the Amateur Cinema League. Address: Questions & Answers, c/o Movie Makers. INDUSTRIAL KODACHROME Gentlemen: Your editorial on page 458 of the November issue arouses my curiosity by your reference therein to "buying industrial Kodachrome by the carton." I should like to go abroad for a year or so, if I could get enough film together to make it worthwhile. Does your expression refer to some new system of wholesale buying? A. D. Jewell Oradell. N. J. No. it does not. It refers to a comparatively new type of 16mm. Kodachrome emulsion, intended solely for commercial use where exhibition will be from duplicate prints only. Primary purpose of the industrial Kodachrome emulsion is to control contrast and color values in the duplicating process. Since the original is relatively flat and dull, the film should not be used by the amateur unless he intends screening from duplicates only. FILM SOFTENER Sirs: In your recent swell story. The Fine Points of Film Care, the author says not to humidify color film, since it might be damaged in this way. I have, however, some old black and white footage which has been stored away a number of years, and when I took it out the other day to look at it, I found that it was dry and brittle. Is there any specially prepared fluid I should use to soften it? Larry S. Madrigal San Francisco. Calif. No special fluid is needed. If your reel can has a built-in humidifying pad. simply moisten the pad with water, wipe off all excess drops and leave the reel of film covered in the can for twenty four hours. Without built-in pads, moisten a piece of advertising blotter, place it blotter-side down in the can (so that the protecting adv surface is next to the film) and proceed as above.