Movie Makers (Jan-Dec 1949)

no MARCH 1949 A FOR THE MOVIE FAN Here are the latest and hottest items hand picked from the thousands offered to us. Our own tests have proven it Jo be a remarkable value, and of course each is fully guaranteed. CINELARGER. For making your own still snapshots from either 8mm or 16mm film. Simple and easy to use with standard 620 film. Makes 8 exposures on each roll. Specify either 8mm <t m ^05 or 16mm. Immediate delivery ... postpaid ^ | g ANIMATED TITLES. More than 500 different titles to chcose from in 8mm or 16mm film. Special catalogue available FREE. Write today. TITLE LETTER SET. For those who make their own titles, here is an economical set of 100 letters in multicolor material with three colored backgrounds which require no adhesive. A regular font type box is supplied. $050 I m mediate delivery postpaid ^ BOLSEY CINE FADER. For making fades, dissolves and other trick shots with ANY movie camera. More than 64 combinations are possible and the CINE FADER fits any lens. S*>*TS50 Immediate delivery postpaid ^ A. £_^yt Extension Tube for Cine Fader available for adding sharply defined edges to the fades. c ca Postpaid ^3U STINEMANN DEVELOPING SYSTEM. For those who »!■ their own movie film processing, here is an opportunity to save more than $100. BRAND NEW sets which handle up to 200 feet of film, in factory sealed cases. <£yi^^n Special, (shpg. wt. 50 lbs.) Vg^jw ORDER NOW! No C.O.D.'s without 20% deposit. DTI TA PHOTO 690-A 3rd AVENUE ULLIH SUPPLY NEW YORK 17, N. Y. cine DUPLICATES 8mm enlarged to 1 6, 1 6mm reduced to 8 8mm, 16mm & 16mm sound duplicates Made in B&W or color on latest electronic controlled printers Distinctive titling and editing WRITE FOR FREE LITERATURE National Cine Lab., Box4425, Washington! 7, D.C. Dress up your films with an ACL LEADER 16mm 60c 8mm. 50c Amateur Cinema League, Inc. 420 Lexington Ave., New York 17, N. Y. FILM SPLICERS for every size and type of film, sound and silent, perforated and non-perforated, write for details GRISWOLD MACHINE WORKS Dep't A, Port Jefferson, N. Y. $ $ MAY 1st $ $ is $ DOLLAR DAY $ See the inside back cover for ACL's sensational new offer I I 16 MM. SOUND Also 8 & 16mm. silent. Send for FREE catalog. Specify type of projector you own. NATIONAL 71 DEY ST.. NEW YORK 7, N. Y. CINEMA SERVICE Editing aids [Continued from page 95] to burn base down, but here positioned horizontally. The result is that the filament takes a permanent set and soon burns out. An ordinary 100 watt lamp, wired in series with the 50 watt editor lamp, cuts down the brilliance of the scene a little but greatly reduces overheating — thus prolonging the lamp's life. By mounting the 100 watt lamp in a socket attached to the editing board it can be so arranged that the viewer lamp can operate alone if required. The 100 watt bulb should be painted with ordinary dark house paint to eliminate glow — and to protect it from family bulb snatchers! Again, some viewers emit light from the film channel, thus interfering with a critical study of the film's image on the viewing screen. To do away with this. I have fitted a hinged metal baffle in front of the lamphouse in such a way as to cut off this glow and still permit threading the film through the viewer. Even with ideal viewing arrangements, however, I find that thereare certain slight imperfections in one's film which are easier to detect by large screen projection. The slightest hint of edge fog, a partially bright frame between scenes or a momentary in-andout of focus effect are examples of such blemishes. In spotting them during regular projection the real problem is then how to mark them for deletion. This I have solved through the use of a talcum powder atomizer, in my case a DeVilbiss model 118 obtained at the corner drugstore. The atomizer is positioned beside the projector with its nozzle almost touching the film where it emerges from the lower sprocket. The bulb is squeezed when an imperfection appears on the screen. Depending on the rate of coordination of the operator, the mark made by the powder should either be exactly where the defect is located or slightly ahead of it. A few trials will quickly determine for you the timing needed to hit the bad frame right on the nose. There will be a tiny white circle of solid powder in the center of the mark, surrounded by a large smudge of thinner powdering. It is quite easy to catch as the film is now run through on the rewind, and there is no trouble at all in removing the powder from the film when this is desired. Unless you are one of those lucky lads who has a separate room, den or permanent editing bench, you too will be familiar with the nuisance and wasted time involved in setting up and tearing down your editing arrangements each time you go to work. My solution to this difficulty was to build a reasonably small wooden bench, mounted on lightweight sawhorse underpinning, which contains all of my editing tools except the film storage boxes. With this, when an editing session comes up, the entire arrangement can be moved into working position as a unit. At the end of the session it is similarly moved back into storage. A final refinement is to provide a commodious dust cover to slip over the unit when it is not in use. This not only makes it feasible to leave open reels and lengths of film on the editing bench, but also protects your footage from curious children — if you know what I mean. But these are only one man's meat. When you tackle your own editing arrangements, try out other combinations which may fit your needs more neatly. Don't hesitate to experiment. Walking out of your favorite photo dealer's with your arms full of editing equipment is an essential first step. But it may not be your last along the editing trail. Choosing editing tools [Continued from page 94] from these rollers with ease. The light source, as well as the mirrors, prisms and reflectors should be easily accessible for adjustment, cleaning and replacement. There should be a method to frame the picture, and a critical focusing feature assures a sharp image. Finally, a film notching lever permits easy location in editing of desired frames. For your convenience, manufacturers sell these three basic items — splicer, rewinds and viewer — as a unit mounted on a board. However, you may find that one make of viewer pleases you more than others, while the rewinds and splicer of another make are also to your liking. You can, therefore, buy them separately and make up your combination. ACCESSORIES Along with the three basic items above, there are several others that complete the list of editing tools. The need for a scraper (to remove emulsion from the left film end) should be obvious. And, as a matter of fact, all splicers are sold with scrapers. They come in varying design, depending largely on whether the splicer is intended for wet or dry use. Auxiliary scraping tools favored by some filmers include a single edge razor blade, a sandpaper nail board cut to a square edge or a nail file with its point cut off. As discussed elsewhere in this issue (Look To Your Splicing, page 98), film cement is really a chemical solvent, not a glue. Its action in making a splice