Movie Makers (Jan-Dec 1953)

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188 Classified adve rt isi n g 10 Cents a Word Minimum Charge $2 ■ Words in capitals, except first word and name, 5 cents extra. ■ Cash required with order. The closing date for the receipt of copy is the tenth of the month preceding issue. EQUIPMENT FOR SALE | BASS . . Chicago. Cinema headquarters for 43 ^ years offers money saving buys in guaranteed used equipment. Cine Special, 4 lens turret, C mt., 1" //1.4 Ektar, 4" //2.5 Cooke Panchrotal, 0.7" //2.5 Comat W.A., 6" //4.5 Cooke, optical view finder, DeLuxe comb, case, $2168.00 value for $1175.00; 16mm. Zoomar complete with "C" mt. or Cine Special mt. with closeup attach., list $1650.00, at $675.00; 200 ft chamber for Cine Special, $325.00 ; 16mm. Magazine Movikon, 1" //1.4, 2" f/2.8 Sonnars, comb, case, $375.00 value for $215.00; Victor 5, 1" //3.5 Cooke, foe mt., 2" //3.S Wollensak foe. mt., $147.50; B & H Model 156 Utility S.O.F. 1000 watt proj., $585.00 value for $275.00. Best buys . . Best trades always. BASS CAMERA CO., Dept. CC, 179 W. Madison St., Chicago 2, 111. ■ SHOOT YOUR OWN perfectly centered titles with any movie camera by using Bull's Eye Camera Centering System. Complete kit. $2.95 postpaid. Satisfaction guaranteed. BULL'S EYE PHOTO PRODUCTS, Box 8174 Plaza Station, Kansas City, Missouri. ■ REVERE sound projector, new late model, $225.00; DeVry sound projector, 2 case model, 30 watt amp., 1000 w. lamp, Al cond., $250.00. 15235 Valley Vista Blvd., Sherman Oaks, Calif. ■ CINE KODAK SPECIAL II & f/1.9 Ektar, latest model, equal new, rented 2 months, original guarantee, list $1053.35, save $258.35, NET $795 00; custom-built sole-leather case, $29.00; Cine-Kodak tripod truck, NEW, $60.00. AMPRO PREMIER 30, brand new, original packing, full factory guarantee, 1/3 off list $549.00, save $184.00, net $365.00. Leica Adapter to use Summar lens on Cine Kodak Magazine, list $44.80, closeout NET $15.00. AMBOL CINEFOCUS for 1" f/1.5 Woll. on Bolex H-16, list $43.00, closeout NET $15.00. SALE ON ALL KINDS 8mm-16mm MOVIE LENSES. Write — specify your needs and type of camera you have. MANY OTHER BARGAINS IN CAMERAS—MOVIES & STILLS. NO PRINTED LISTS but will quote on latest available supply on hand. COLUMBUS PHOTO SUPPLY CORP., 1949 Broadway, New York 23, N. Y. EQUIPMENT WANTED | WANTED : Projectors, cameras and movie films; cash prices; quick service; we always have bargains. Free lists. FRANK LANE, 5 Little Bldg., Boston, Mass. FILMS FOR RENTAL OR SALE ■ NATURAL COLOR SLIDES, Scenic, National Parks; Cities, Animals, Flowers, etc. Sets of eight, $1.95; Sample & list, 25£. SLIDES, Box 206, La Habra, Calif. B CLEARANCE Sale, movies, cameras, cases, rangefinders, lenses, 35mm. supplies. Free Catalog. VARIETY, 268-14— 79th Avenue, Floral Park, N. Y. MISCELLANEOUS ■ KODACHROME DUPLICATES: 8mm. or 16mm.. 11£ per foot. Immediate service on mail orders. HOLLYWOOD 16MM. INDUSTRIES, Inc., 1453 N. Vine St., Hollywood 28, Calif. ■ SOUND RECORDING at a reasonable cost. High fidelity 16 or 35. Quality guaranteed. Complete studio and laboratory services. Color printing and lacquer coating. ESCAR MOTION PICTURE SERVICE, Inc., 7315 Carnegie Ave., Cleveland 3, Ohio. Phone: Endicott 1-2707. ■ 8mm. HOLLYWOOD TITLE STUDIO 16mm. Complete titling service. Color and black and white. SPECIAL DISCOUNT TO AMATEUR CINEMA LEAGUE MEMBERS. Send 10<f for Price List and Sample. Address: 1060 North Vista Street, Hollywood 46, Calif. ■ MOVIE OR SLIDE TITLES with that Professional touch at low prices. Large variety backgrounds and letter styles. 8mm, 16mm, 35mm slides, Koflachrome, B&W THOMSEN TITLES, 14 Roslyn Court, Oakland 18, Calif. H EXPLORE Alaska. Photograph capturing big game with bare hands. See spectacular glacier discharge. Contribute to glaciological science. Photograph closeups of giant Alaska brown bear. $1900 from New York, August 13 — four weeks. Experience unnecessary. NEIL DOUGLAS, Explorer, Box 664, Meriden, Conn. ■ HOW TO TITLE HOME MOVIES, 90 pages, illustrated, $1.00. WESTWOOD CINEMA CO., 635 Victoria St., San Francisco. so sparingly. "Stop-camera," for example, might be used to photograph the disappearing glass of beer. With your camera on a tripod, stop it, remove the glass from the hand of the subject while he stands frozen in position, and then continue shooting as he reacts in amazement. Another effective trick is the old reverse motion produced by shooting with the camera upside down. Have one of the boys take a few puffs at a huge cigar. Then turn the film right side up when editing the processed roll. The audience will roar with laughter as the heavy clouds of smoke seem to disappear into the mouth of the young man. 5. Do make the most of the bathing beauty. Get the girls to burlesque the prancing walk of professional bathing beauty contests. Use closeups freely. Start the shot at the girls' feet and tilt slowly upward until their smiling faces dominate the screen. 6. Do get the bosses and department heads into the picture. Add humor where possible, but keep it within the bounds of good taste. One filmer I know had these gentlemen sing their favorite songs while being photographed in closeup. When the picture was shown, recordings of these songs by famous singers were played. Needless to say, these sequences were heartily applauded. As a matter of fact, scoring the film throughout will prove to be an easy and pleasant task. Vocal selections like In the Good Old Summer Time and Take Me Out to the Ball Game will be permissible under these circumstances. As a general rule, of course, instrumental pieces are regarded as more desirable. I saw CinemaScope [Continued from page 183] approaching the 160 degree coverage of the human eye. Since CinemaScope uses only one camera lens, it cannot cover much more field of view than conventional wide angle lenses. The widest angular coverage I observed appeared to be somewhat less than 90 degrees. COMPARATIVE AUDIO EXCELLENCE The technique of "bathing the audience in sound" is, of course, vitally important in persuading them that they are in the picture. And in this respect, also, Cinerama has a decided edge. Cinerama, as reported, has seven sound tracks (which represent six different microphone locations about the camera, with one a composite) , and these operate the five speakers behind the screen, as well as others to the sides and rear of the audience. CinemaScope uses three tracks, one feeding each of the three speakers behind the screen, with others located about the theatre. The JULY 1953 latter are cued in at appropriate times with one or more of the speakers at the sides of the screen. At present this is done manually, but Fox hopes to add a control track for the purpose. To me, this cutting in and out of the side speakers was disconcerting. The sound frequently seemed divorced from the screen. Little advertised, and quite aside from its superior use of stereophonic sound, is the truly remarkable fidelity of Cinerama's sound. Reproducing frequencies from 30 to 15,000 cycles per second, it makes optically-recorded movie tracks seem "canned" by comparison. CinemaScope sound quality, while quite acceptable, is not particularly remarkable, despite the fact that both Cinerama and CinemaScope use magnetic stripes on 35mm. sprocketed film base. It is, incidentally, Fox's intention to put all three CinemaScope sound recordings on the film, perhaps with one to the right of the image, as is standard practice, with the other two between the sprocket holes and the film edge. Cinerama's superior fidelity is due in part to its faster film travel. By means of selsyn-type synchronous motors, the magnetic reproducers operate precisely at film speed, which for CinemaScope is the standard 90 feet per minute. However, since Cinerama operates at 26 frames per second and has a frame 50 percent taller than standard, its film speed comes out 146.3 feet per minute. This faster speed provides increased storage and permits additional sound detail to be crowded into the recording. POSSIBLE IMPROVEMENTS In conclusion, I think we can optimistically predict that each technique will learn something from the other. Certainly much wary interest is being displayed on both sides. But I think Cinerama stands to gain more from the exchange, because of the inherent limitations of CinemaScope. For example, Cinerama technicians may feel it is an advantage to reproduce the 146 degrees of camera coverage on a screen of precisely the same arc. But the only people who see the screen in proper perspective are those close to the screen's radial center at the front of the theatre, and many of these are too close — they see film grain and even the individual vertical strips of the screen. From farther back, the sides of the screen appear taller than the middle, because the middle is so much farther away, and people seen on these side panels are too skinny. Moreover, horizontal lines have a severe downward curvature when seen from seats in the mezzanine or balcony. In other words, how you like Cinerama depends a great deal on where you sit, and is reminiscent of the three blind men who couldn't agree on what an elephant looked like. The