Movie Makers (Jan-Dec 1949)

MOVIE MAKERS 127 put on once a week at 10:00 o'clock Thursday mornings. Exhibitions of coconut hat and lauhala mat weaving are also given. Fritz B. Herman Manager Kodak Hawaii, Ltd. Honolulu, T. H. ON STANDARD GAUGE Dear Movie Makers: I read with some surprise in the Closeups column of March Movie Makers where you have me working on 8mm. film. Having graduated from 8mm. years ago, I would be pleased to have other train filmers like myself be informed that I work strictly on 16mm., operating with a Bolex H-16. Thanks kindlv. Melvin W. Swansick, ACL Denver, Colo. Movie Makers took the wrong track on this one. Not being a railroad fan ourself, we interpreted Mr. Swansick's expression, "my first all-color narrow gauge movie." to refer to film size instead of subject matter. Sixteen it is! ABOVE F/ll: YES . . . Gentlemen: After reading Should Kodachrome Be Exposed Above f/ll? (February M.M.), I can't resist the impulse of writing you. Although I am just a small fry amateur movie maker, I have to share Mr. Krouse's opinion, at least partly, as against Mr. Tuttle's irrevocable "No." Recently I took some shots of winter sports: a skating rink on our river, with plenty of white snow about and a beautiful sun shining overhead. The time: between noon and 1:00 p.m. The camera: a Bolex L-8 with a V2 incn //2.8 lens. The meter reading: //16 plus on outdoor Kodachrome. Exposed at //16, the scenes turned out beautifully, even to the multi-colored skaters cutting capers on the ice. I am convinced that if I had opened up to f/ll I would have missed those shots entirely. Dr. Yves Lafleur, ACL St. Hyacinthe, P. Q. . . . AND NO Dear Sirs: The article by William H. Krouse, ACL, about f/ll on Kodachrome is all wet! I have shot the White Sands, as well as Acapulco. And while I'll admit that it is possible for a man to shoot Kodachrome at less than f/ll and get a correctly exposed film, he will have shown decidedly poor judgment in composing his scene so that the lighting requires such an aperture. True, if a person stands so that the Proven Superiority Kern-Paillard Cine Lenses have been proven in service by tens of thousands of owners of Bolex cameras. These fortunate owners have experienced a remarkable degree of achievement in capturing on film the full meaning of the scenes being recorded. The reason for this is that Kern-Paillard Lenses represent the height of precision craftsmanship of its kind known to the world today. You, too, can finally enjoy the brilliant performance of KernPaillard Lenses. The Switar 1" f:1.4, the Yvar 3" f:2.5 and the Yvar 15mm f:2.8 are available for many 8mm and 16mm cameras. The product of Swiss artisans, steeped in the tradition of fine workmanship and uncompromising in their attitude toward this tradition, Kern-Paillard Lenses are matched in design, matched in production, matched in perfection — you can swing from one to the other while using the same diaphragm. The SWITAR 1" f:1.4 Universally recognized as the best 25mm (1") lens.'Coated for high transmission, low internal reflection and added snap, the Switar opens up new fields in film making. It features the new Kern depth-of-field srale, a unique calibration that shows depth of sharp focus at a glance. THE WORLD S FINEST Ask your dealer for Kern-Paillard Lenses, or write, jar literature. AMERICAN BOLEX COMPANY, INC. • 521 FIFTH AVE., NEW YORK 17