Movie Makers (Jan-Dec 1953)

274 OCTOBER 1953 Classified advertising 10 Cents a Word Minimum Charge $2 EQUIPMENT FOR SALE H BASS . . . Chicago. Cinema headquarters for 43 years offers money saving buys in guaranteed used equipment. B.&H 70 DE, hand crank, back wind, 1" //1.5 Cooke, 15mm. //2.7 Kodak w.a., 4" f/4.5 Cooke, .3399.50; Bolex H-16, 1" Primoplan f/1.5, 17mm. //2.7 Wollensak w.a.: 2" f/1.6 Kodak, case, $299.50; B.&H. 70 E, 1" f/2.7 Cooke, case, $122.50; Kodak Model K, 1" f/1.9, case, $82.50; B.&H. Auto Master, 1" //1.9 Wollensak, 15mm. //2.5 Ektar, 4" //4.5 Wollensak, case, $267.50; 16mm. Magazine Kodak, //l 9, case, $92.50; 8mm. Magazine Kodak, f/1.9, case, $92.50; 8mm. Revere 99 Turret, //2.8, case, $52.50; 8mm. Revere Magazine 70, //2.8, case, $67.50; B.&H. Foton, gun, case, $543.00 value for $250.00. Best buys . . . best trades always. BASS CAMERA CO., Dept. CC, 179 W. Madison St , Chicago 2, 111. ■ VICTOR 60-C 16mm. sound projector, like new, with projector and speaker case covers and over 2,000 feet sound short subjects. $260.00. Will send on approval. BOX 298, c/o MOVIE MAKERS. ■ SALE! 25% to 50% savings on brand new and like new 8mm. & 16mm. wide angle & telephoto MOVIE LENSES & ALL KINDS ACCESSORIES. State your requirements and for what equipment needed. We reply promptly. COLUMBUS PHOTO SUPPLY CORP., 1949 Broadway, N Y.C. ■ AURICON Cine-Voice three-lens turret camera equipped with 25mm., 15mm., 75mm. lens; amplifier, microphone, cables, etc.; Bell & Howell Model 180 SOF/silent projector; two Radiant Screens 50x72; two Co.ortran Units for ten lights; two light stands for four lights; four clamp-on units; Craig Action Editor with 1600 ft. rewinds; Griswold splicer; Bardwell-McAllister Multefex Titler with lights; portable 12 v. DC to 115 v. AC 60 cycle Carter power supply, equipped with volt meter, frequency meter, rheostat adjustment; two mounted 1600 ft. rewinds for loading bulk film on camera spools; power driven home processing unit; 1200 ft. single perforated DuPont Pan film; 800 ft. Eastman Super X single perforated ; extra 25mm. lens ; filters, all for $1400. No facilities for packing and shipment ; will demonstrate equipment to interested purchaser. HARRY C. CONDON, 48 Howard St., Albany, N. Y. FILMS FOR RENTAL OR SALE ■ NATURAL COLOR SLIDES, Scenic, National Parks; Cities, Animals, Flowers, etc. Sets of eight, $1.95; Sample & list, 250. SLIDES, P. O. Box 26, Gardena, Calif. ■ EXCITING! Famous "MISS UNIVERSE" Beauty Pageant. World's loveliest bathing beauties New movie, 100' 16mm., $5.95 or 50' 8mm., $2.95. JEROME MOLTZ, Box 573, Inglewood 2, Calif. H SPECTACULAR 16mm. color sequences made by daring explorer. Brown bear closeups, shipwreck, sealions, caribou. Complete sequences start at $75.00. Alaska, Mexico, Europe and the Alps. Write to NEIL DOUGLAS, Box 664, Meriden, Conn. MISCELLANEOUS ■ KODACHROME DUPLICATES: 8mm. or 16mm., 110 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 100 for Price List and Sample. Address: 1060 North Vista Street, Hollywood 46, Calif. ■ HOW TO TITLE HOME MOVIES, 90 pages, illustrated, $1.00. WEST WOOD CINEMA CO., 635 Victoria St., San Francisco. ■ MOVIE OR SLIDE TITLES with that Professional touch at low prices. Large variety backgrounds and letter styles. 8mm , 16mm., 35mm. slides. B&W, Kodachrome. THOMSEN TITLES, 14 Roslyn Court, Oakland 18, Calif. When writing to a MOVIE MAKERS box number, please address mail to: BOX c/o MOVIE MAKERS 420 Lexington Avenue New York 17, N. Y. limits its exception (1) to projectors of a miniature non-professional type; (2) for use only in a dwelling, and (3) with films not larger than 16mm. in width. When we analyze the amended version of Sec. 155-25, we find that all of these restrictions have been adroitly done away with. Gone is the restriction on place of projection, as was expected. But also gone are the limitations of the exception clause to projectors of (1) the miniature non-professional type, and (2) those using less than 15 amperes of current. In place of these restrictions we find the following simple and forthright exception clause: "Provided that Section 155-8 to 15527 inclusive shall not apply to the operation of any motion picture projecting machine or device of a miniature non-professional or non-professional type." The important accomplishment here is that the exception clause in amended Sec. 155-25 now covers not only "miniature non-professional projectors" (the definition of which we already know), but also the so-called "non-professional projectors." There remained now only the necessity of drafting an amended definition of "non-professional projector," one which would be less ambiguous than the old definition 88-540.4(b). This was triumphantly done in the new version which was simplified to read: "A motion picture projector intended for use with slow burning (cellulose acetate or equivalent) film only with film more than 16mm. wide." The italics here on the word more are of our own choosing. They are intended to point up the amazing fact that this amended definition of "nonprofessional projector," when taken in combination with the amended exception clause of Sec. 155-25, actually extends the freedom from licensing to the non-theatrical use of 35mm. projectors — as long as they project cellulose acetate film only! This accomplishment, and the liberation from licensing of 16mm. arc projectors, speak brilliantly of the clear thinking and adroit maneuvering of those, who drew up these all-important new amendments. That the original and offensive version of this Chicago code could be stopped was almost a foregone conclusion — once the aroused protests of all substandard film users, amateurs and others alike, were brought to bear on the City Council. Once stopped, it also was a foregone conclusion that the primarily-offensive "in dwellings" limitation would be given up. But what the forces (whoever they may be) behind this proposed Code did not contemplate was that they might actually lose ground — rather than fail to gain it — in their attempted invasion of public and private liberties. But lose ground they have — and quite soundly and properly so. The citizens of Chicago now have on their statute books a series of ordinances which are clearly and competently in key with modern developments in motion picture projectors and films! All of the many persons and groups who played their part both in winning this battle and in drafting this peace deserve the heartfelt gratitude of amateur movie makers everywhere. League director Elliott, in summing up his and ACL's participation in the affair, has written headquarters as follows: "I should like to be able to say that I, acting for ACL, was responsible for this action being defeated. But this would be far from the truth. The defeat of the original Code and the drafting of acceptable amendments to it were very much a cooperative effort. "However, I can say that the success of all of us depended first on the alertness of a few— and only later on the aroused protests of the many. The course of our struggle, triumphant though it was in the end, should be a stern warning to all amateur filmers.' Their stoutest shield in this unending battle for filming freedom is the Amateur Cinema League. I urge movie makers everywhere to strengthen this protector of their liberties through ACL membership ! " — J.W.M. Book reviews New Screen Techniques, edited by Martin Quigley, jr. 208 pp. with illus., cloth, $4.50; Quigley Publishing Company, 1270 Sixth Avenue, New York 20, N. Y. New Screen Techniques is a collection of 26 articles on 3-D, stereophonic sound, Cinerama, CinemaScope and other techniques involving aspect ratios wider than the long-established norm of 1.33:1. The authors are acknowledged experts in their fields and include such names as Lowell Thomas, Fred Waller, Hazard Reeves, Darryl Zanuck, Spyros Skouras, John Norling, Milton Gunzburg, Jack Warner, Pete Smith — in fact, just about everybody but D. W. Griffith. Appropriately, the introduction has been written by Dr. A. N. Goldsmith, who holds the patents on most of the electronic special-effects equipment used by the television industry and, conceivably is responsible for the whole motion picture revolution which is the subject of the book. As an integrated work, New Screen Techniques is somewhat redundant, for a number of the chapters cover essentially the same ground. However, this is fortunate since the writers, by and large, are mighty close-mouthed about their subjects, probably in an effort to protect their unpatented processes from