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Scanned from the collections of
The Library of Congress

AUDIO-VISUAL CONSERVATION
at The LIBRARY ./CONGRESS

Packard Campus

for Audio Visual Conservation

www.loc.gov/avconservation

B g 399915

THE MAGAZ

mom®*
FEB 2 4 1953

*w.

INCE LIGHT

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's 2/2 " in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.25 each, tax included.

THE NEW ACL DECALS

Similar in design and coloring to the pin, the ACL
decals are as practical as they are beautiful. Identify
your camera and projector cases, gadget bag, film
cans with this proud insignia. 21/4" by 3". $.25 each,
or 5 for $1.00.

AMATEUR CINEMA LEAGUE, Inc. 1-53

420 Lexington Ave., New York 17, N. Y.

At a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
money order for:

□ screw-back lapel type n\ CI OC

D pin-back safety clasp type each

...... < tax inc.

DECALS at $.25 each or 5 for $1.00

NAME_

STREET.
CITY

-ZONE STATE.

AMATEUR CINEMA LEAGUE, INC.
420 Lexington Avenue, New York 17, N. Y.

TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (V&" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER-
AMATEUR CINEMA LEAGUE" in the same sparkling
metal. But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

Wearing the ACL pin at all times will give fellow
members and others the opportunity to recognize you
immediately as a member of the world wide association
of amateur movie makers — the ACL. You, in turn, will
spot other members at home, on location, on vacations,
at club meetings, anywhere!

The pin is available in two types: the screw-back lapel
type for your suit and overcoat, and the pin-back safety
clasp type suitable for wear on your shirt, sweater, dress,
blouse, jacket, windbreaker, etc. You may order one or
both types — $1.25 each for either pin.

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2~y±" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

With the ACL pin and decals you can now "exhibit"
your interest in movie making, making yourself known
at a moment's notice to other League members, and hav-
ing others recognize you as a filmer with standing. I
know you'll want to place your order for pins and addi-
tional decals — right now!

Cordially,

\

JAMES W. MOORE
Managing Editor

'Because of the Federal ban on all non-defense uses of copper, ACL
pins are now gold-plated on a sterling silver base. This has required
a slight price increase— from $1.00 to $1.25 each.

MOVIE MAKERS

J™ 28 I9S3

B * 399915

v

winners us

AWARD WINNER AS WELL AS 6 OTHER
WINNERS IN ACL "BEST AMATEUR MOVIE OE
1952" PREFERRED THE VERSATILE BOLEX!

Bolex joins with the Amateur
Cinema League in offering heartiest congratulations to Mr.
& Mrs. T. Lawler and the 9 other 1952 prize winners. Seven
Bolex users out of 10 prize winners, and in addition, 5 Bolex
users out of 12 honorable mention winners, are a positive
indication that Bolex versatility sweeps the field! Listen to
what they say about Bolex!

Mr. & Mrs. T. Lawler, Kenosha, Wisconsin

"Our Bolex is the only movie camera we have used, and it has
seen much service since we bought it in 1943. It has made the
'Ten Best' twice before."

Mr. Haven Trecker, Kankakee, 111.

"My Bolex H-16 has come through for me again!"

Mr. A. T. Bartlett, Queensland, Australia

"My Bolex is a joy to use; with it I have made four award-
winning films."

Mr. Mathis Kverne, Oslo, Norway

"My whole film ivas taken with the Bolex single-frame setting.
It worked perfectly all the time. I would not change my Bolex
for any other."

Mr. Geo. A. Valentine, Glenbrook, Conn.

"/ chose the Bolex H-8 because it's the only 8mm camera that
has all the features needed for professional effects."

Mr. Robt. G. Williams, Toledo, Ohio

"/ like my Bolex because its built-in features let you know
right where you are every moment."

Mr. James L. Watson, Worcester, Mass.

"Movie makers express themselves through their films. I insist
on perfection. My Bolex speaks for me."

Thank you, Bolex fans, for your vote of confidence. Read in
bolex reporter how prize-winners made their movies.

Bolex Owners . . .register your serial numbers with us and receive
regular mailings of this 25$ magazine free. Overseas subscriptions
$2.00 four issues.

Paillard Products, Inc., 265 Madison Ave., N. Y. 1 6, N. Y.

aim

m

g;

JANUARY 1953

Attention!

BOLEX H16
OWNERS

To One of the
World's Finest
Cameras, You
May Now Add

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• Full range from open to closed at any
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• 3 convenient intermediate stops, 34 open,
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• Make compleie transition lap dissolves any-
time.

• Fade-ins and fade-outs at your fingertips.

• Neutral density filters no longer needed
when filming outdoors with fast film.
Audible warning sound when shutter in
closed position when filming forward or
hand-cranking either way.

• Avail yourself of the many other advantages
obtainable only wilh a controlled variable
shutter speed.

• Give your next movies that sparkling pro-
fessional touch.

PRICES (within U.S.)

Cameras with inside frame counter $ 99.60

Cameras with outside frame counter $109.80

Price includes camera transportation back to

you, insurance coverage, and

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(Local and state taxes

where applicable, extra)

Send for free detailed

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"Variable Shutter Units

for Bolex H16"

TULLIO
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RECORDS

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MUSIC

Background

Last Word in Sound Effects-^- 30UNu
Send For Free Catalogue

THOMAS J. VALENTINO, Inc.

Dept. MM
150 West 46th Street, New York 36, N. Y.

\16mm&8mm

i THottoH "PictevteSenvice
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16 mm Reduted to 8 mm
8 mm Enlarged to] 6 mm

16 mm Duplicates
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Color and Black and White

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GEO. W. C0LBURN
LABORATORY, INC.

164 North Waclcer Drive, Chicago 6, Illinois

SfflHH^HSm

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Closeups

The reader writes

Bounce light for baby: 1

TV and the amateur

I saw Cinerama

From review to reward

8mm. aids the Air Force

Making the most of tape

News of the industry

New ACL members

Clubs

They could take it!

January
1953

What filmers are doing 6

8

Bette and Fred Klosterman, ACL 10

David O. Toy/or I 2

John R. Hefele, ACL 13

Timothy M. Lawler, jr., ACL 14

William T.Rohde,ACL 16

D. M. Neale 17

Reports on products 1 8

23

People, plans and programs 24

Editorial 26

Cover photograph by Bette and Fred Klosterman, ACL

JAMES W. MOORE
Editor

PETER D. DIBBLE
Zlubs Editor

ANNE YOUNG
Advertising & Production

' Vol. 28, No. 1. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland:
other countries $5.00 a year, postnaid ; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1953, by Amateur Cinema League. Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17. N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

The
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CloseupS— What filmers are doing

And now, for those who are interested,
we present the facts and figures of the
Ten Best competition of 1952.

The League's board of judges ex-
amined in that contest a total of 51,750
feet of film. In bulk footage, this figure
shows an increase of 1,398 feet over
1951's total. In projection terms, 1952's
operation represents 34^/2 hours of un-
broken screen time — with no time out
for threading and rewinding films, set-
ting up, rehearsing and synchronizing
musical scores. Our rough recollection
is that these latter tasks often took
longer than running the film itself.
Something, obviously, needs to be done
toward standardizing cue and sync
marks in amateur-film audio arrange-
ments.

As to number of entries, last year
(1951) had seen an increase of 6l/2 per-
cent over the 1950 competition. In 1952
the increase over 1951's total was 1.2
percent, or exactly one more entry. In
terms of 8mm. vs. 16mm., color vs.
black and white, the 1952 entries (in
comparison to those of '51) break down
as shown herewith.

ALL FILMS SUBMITTED

1951 1952

dmm. 25.9 29.2

16mm. 74.1 70.8

Color 90.1 87.9

B & W 9.9 12.1

ALL FILMS HONORED

8mm.

23.0

31.8

16mm.

77.0

68.1

Color

96.1

91.0

B & W

3.9

9.0

THE

TEN BEST

8mm.

10.0

20.0

16mm.

90.0

80.0

Color

100.0

80.0

B & W

.0

20.0

HONORABLE MENTION

8mm. 31.2 41.6

16mm. 68.8 58.3

Color 93.7 100.0

B & W 6.3 .0

Clearly, the outstanding fact which
should be noted in these 1952 figures
is the continuing ascendency of the
8mm. competitor. In 1950, 35.5 percent
of the total number of entries in the
contest were on 8mm. film; but only
11.6 percent of them won through to
honors. In 1951, this ratio stood at 25.9
percent 8mm. films entered, with 23 per-
cent of them honored. And now, in
1952, we find that 29.2 percent of all
films entered were on 8mm. stock, but
that they copped 31.8 percent of the
Ten Best and Honorable Mention
awards.

Not shown in the figures above are the
following facts . . . Among the total of
22 producers honored (10 Ten Best, 12
Honorable Mentions), 14 of them had
never placed before in any ACL com-
petition. The newcomers won 6 of the

Ten Best, 8 of 12 Honorable Mentions.

Among the total of 22 films honored.
16 (or 72.7%) were accompanied with
sound of some kind, to be reproduced
in some manner. Six winners, there-
fore, won through without sound in any
form. Of the 16 films (in 1952) which
did use sound, 11 (or 68.7%) of them
presented it on magnetic tape; 3 (or
18.7%) of them on magnetic stripe,
and 2 (or 12.5%) of them on an optical
sound track. Presented in the same
order, directly comparative figures for
sound usage in 1951 show: total use —
69.2% ; tape — 22 percent ; optical sound
track — 22.2 percent.

Two omissions from our previous
reports on the Ten Best sound com-
ponents should be noted at once. Gone
completely from the 1952 winner's circle
is the amateur's original audio system
— direct disc playing via the double
turntable. Also gone is the use of mag-
netic wire — a lack which we are sure
no audiophile will long lament.

At the risk of seeming to rationalize
these omissions too readily, we never-
theless do feel that they are easily ex-
plained. The satisfactory playing of a
direst sound on disc accompaniment
was an exacting and arduous task — and
one which had to be repeated in all its
complexity at each successive screen-
ing. Thus, with the advent of the first
of the magnetic recording methods (the
wire), it was natural that amateurs
should turn to it as a solution of their
disc-system difficulties. There then fol-
lowed magnetic tape which, by its su-
perior audio qualities, began almost im-
mediately to replace wire. Thus, al-
though turntables (single or double)
are still in the background of any
amateur sound scoring, the end-product
presented for playback is now pre-
dominantly a magnetic tape.

What, then, of amateur movies' new-
est audio method — magnetic sound on
film? Well less than a year from its
first birthday as the 1952 contest passed
its deadline, magnetic on film (it seems
to us) was surprisingly prevalent. For
roughly 10 percent of all the films en-
tered in the contest carried a magnetic
sound stripe — that is, 8 films out of 83
entries. Three of these 8 were to com-
prise 18.7 percent of the winning films
with sound — thus immediately outstrip-
ping optical sound for the amateur
(12.5%), to the surprise (surely) of
no one. . . . However, every amateur
should note carefully that the mere
presentation of magnetic sound on one's
picture has proved no guarantee of a
winning production. Only 3 (or 37.5%)
of this, the first year's crop of 8, came
through with honors. Fundamental good
filming still is — and always will be — of
paramount importance.

JANUARY 1953

And now, as is our January custom, we
present for your delectation such per-
sonal data as we have been able to elicit
from (and about) the year's Maxim
Award winner — in this case, winners.

Tim and Delores Lawler (and they
really are a filming team) have been
making amateur movies since November.
1943. Their camera was then, and still
is, a Bolex H-16; and, as Tim tells you
in his current article, they squeeze the
most out of its considerable capabilities
by adapting their battery of Contax
lenses to its turret.

Our Timmy, concerning our review of
which in 1945 Mr. L. is so shatteringly
mnemonic, seems to have been their first
award winner on any contest level — in
this case, the Kenosha (Wise.) Movie
and Slide Club. (They are still mem-
bers of this group.) Other local win-
ners were Trail in Two Cities and Pas-
torale, both undated on our data sheet.
However, in 1949 ACL took a look at
Trilogy and promptly tapped it for
Honorable Mention — a judgment which
was reinforced in 1950 by Isle of the
Dead, which reached the Ten Best
circle. It was, we gather, in the summer
of 1951 that Duck Soup began taking
form — as Mr. Lawler so engagingly de-
scribes in his story From Review to Re-
ward. And you know what happened in
'52.

On the more personal side, you
should know — both from this story and
from our review of Duck Soup — that the
Lawlers had five children when the
film was made. Well, they now have
six, a second daughter, name of Bridget,
having been added within the past year.
Furthermore, of the five whose names
we itemized in December, the then-
baby's name is Barry — not Gary, as we
gave it. We took it phonetically off the
tape track — and we regret the slight
slip.

Tim Lawler, when not making movies,
rearing children or building a house for
them, apparently with his own hands,
is a special test engineer in the Aircraft
Division of the Nash-Kelvinator Corpo-
ration. In reply to our routine query
concerning his employment, he has
gratuitously added:

"Delores is unemployed. I have tried
lo instill a little ambition in her to take
on some outside job to help fill out her
day. But so far I have been unsuccess-
ful."

W e leave you, one and all, with that
thought for the New Year. But before
the old year fades too far into obscurity,
all here at ACL send our warmest
thanks to all of you everywhere for
your myriad Christmas greetings. They
were, happily, far, far too plentiful to
acknowledge in person.

IifiDti!'-|i.L4fe®fr . -

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MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931

JANUARY 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

EXTREMELY THRILLED

Dear ACL : We were extremely thrilled,
to put it mildly, when we received your
letter telling us that Duck Soup had
been chosen to receive the most desired
trophy in the amateur movie field —
the Hiram Percy Maxim Memorial
Award. My wife was so excited that
she lost her appetite completely for two
days and still has not completely re-
gained it.

We certainly would like to extend
to the staff of ACL and to the League's
board of judges our sincere thanks for
this very great honor which you have
awarded our film.

Timothy M. Lawler, Jr., ACL
Kenosha, Wise.

HARD TO EXPRESS

Dear Mr. Moore: It's hard to find
words to express the happiness that my
wife and myself experienced when your
wonderful letter and award certificate
arrived today, advising me that my fil:n.
Bulbs and Beauty, had been chosen by
the League as one of the Ten Best for
1952.

We are deeply grateful to the board
of judges and to yourself. Being among
the winners is most certainly an in-
centive to do a better job next year.

Haven Trecker, ACL
Kankakee. 111.

A BIT BREATHLESS

Dear ACL: Your letter of the 24th still
has me a bit breathless! That my entry
in the Ten Best contest actually came
through a winner seems too good to be
true. Just as though the fun of making
the film wasn't enough, now a Ten Best
award comes along to make things per-
fect ... To say I'm elated is to put it
mildly.

Herbert D. Shumway, ACL
Greenfield. Mass.

THE FONDEST DREAM

Dear Sirs: I dare say the fondest
dream of every serious amateur filmer
throughout the world is to have his
work numbered among the ACL's Ten
Best. By this morning's mail I was
thrilled to learn that my film, Give Us
This Day, had qualified for this high
award.

I regard it not only as a personal

honor, but as an honor for Australia
and for Queensland in particular.

A. T. Bartlett, ACL
Brisbane. Q'land
Australia

GIBLETS AND GRAVY

Dear Mr. Moore: After mailing my
film, The Man With The Box, to League
headquarters a few days before the
contest deadline, I began to wonder if
I had a chance to place in the Ten Best
— or if I had produced a prize turkey.
Then, two days before Thanksgiving.
I opened the mail and realized that my
turkey would be of the giblets-and-
gravy variety. My film had placed in
the first ten! My thanks and apprecia-
tion to the League for seeing fit to so
honor my efforts.

James L. Watson, ACL
Worcester. Mass.

VERY HAPPY

Dear Sirs: I have just received notice
that Poet and Peasant has been chosen
by the Amateur Cinema League as one
of the Ten Best Films of 1952. Need-
less to say, I am very happy over the
award.

Robert G. Williams, ACL
Toledo, Ohio

PLEASED AND PROUD

Dear Mr. Moore: I am both pleased
and proud to learn that my film, Out-
smarted Smarties, has been chosen by
the ACL as one of the Ten Best for
1952. I want to thank you and the Ama-
teur Cinema League for the award and
for the certificate which accompanied it.
George A. Valentine
Glenbrook, Conn.

DEEPLY GRATIFIED

Dear Sirs: We have been deeply grati-
fied to receive the certificates stating
that two films produced by our mem-
bers— Olvido and Ciudad de la Paz —
have been rated by the Amateur Cinema
League for Ten Best and Honorable
Mention awards respectively.

Oscar J. Bonello, President
Carlos Barrios Baron
Secretary for Foreign Relations
Cine Club Argentino. ACL
Buenos Aires, Argentina

SURPRISE AND PLEASURE

Gentlemen: It was with considerable
surprise and a great deal of pleasure
that I read your announcement that my
film, Woods and Waters of Winterland,
had been chosen for Honorable Men-

tion among the Ten Best Amateur Films
of 1952.

I accept with thanks your congratu-
lations and those of the League's board
of judges, as well as the certificate
and the animated award leader which
are included with this honor.

Herman E. Dow, ACL
Bristol, Conn.

PROUD TO ACCEPT

Dear ACL: I have just received your
Honorable Mention certificate for my
film, The Carabi Incident, and I am
happy to have been included once again
in the distinctive Amateur Cinema
League contest. It is an honor any ama-
teur filmer is proud to accept.

Harry A. Atwood, ACL
Elmendorf Air Force Base
Alaska

THANK YOU HEARTILY

Dear Mr. Moore: Ralph Lawrence,
ACL, and I want to thank you heartily
for your nice letter informing us that
our film, Birds of Washington, was
chosen by the League for an Honorable
Mention award. We think that the
judges were charitable in selecting our
picture for this honor.

J. Don Sutherland, ACL
Washington, D. C.

LITTLE WORK DONE

Gentlemen: I was certainly surprised
and thrilled to hear that my 8mm.
film, Mountain Playground, won an
Honorable Mention in the ACL Ten
Best contest for 1952. The news reached
me at the office, where my wife in-
formed me over the phone. I can assure
you that very little work was done by
me the rest of that afternoon.

L. G. Darby
Calgary, Alta.
Canada

REAL FAMILY OF FILMERS

Dear ACL: It certainly was a thrill to
receive the certificate stating that Fire-
Fighters Field Day was awarded Honor-
able Mention in this year's Ten Best
contest.

I do not seem to know why I get
particular satisfaction when one of my
films receives a rating in the ACL
contest — even though my work (on
occasion) wins top honors in other
competitions. Possibly it is because the
ACL is the only real family of amateur
filmers on this globe of ours that
belongs to the amateur cinematogra-
phers . . . Thank you again.

William Messner, ACL
Teaneck, N. J.

MORE CAUSE THAN USUAL

Dear Friends: I had more cause than
usual to be thankful this Thanksgiving
season, for your letter and acompanying
certificate attesting an Honorable Men-
tion award to my 8mm. film, Near Miss,

MOVIE MAKERS

in this year's Ten Best contest was
received on Thanksgiving Eve.

Your award has given me confidence.
And, rather than stand on my laurels,
I shall work harder than ever to make
some day the Ten Best circle.

Barry W. Dance, ACL
Los Angeles, Calif.

IT'S A MIRACLE

Dear Mr. Moore: While baking
Thanksgiving pies Wednesday, the
mailman brought the certificate for
Honorable Mention with the Ten Best
Amateur Films of 1952 for Grand Ad-
venture. It's a miracle that I did not
stuff the turkey with pumpkin or put
cranberries in the soup — for my head
was lost in a rosy cloud.

Now, this fifty-two year old housewife
is warning you that 1953 will bring you
another adventure picture, with sound,
from the beautiful canyon country of
the West. This time I hope to prove
that an 8mm. picture can be a Ten Best
winner. I've been told it's impossible!
Louise Fetzner, ACL
Pasadena, Calif.

Eight tilmer Fetzner has been listening
to the wrong gossips. For, 29 percent of
the 8mm. films entered in ACL's 1952
contest won through to honors — two in the
Ten Best, five among the Honorable Men-
tions. Only 24'/2 percent of all 16mm. films
in the competition were equally honored.

Furthermore, 8mm. films have twice
won the Maxim Memorial Award — first
in 1940 with The Will and The Way, by
Chester Glassley; most recently in 1949
with One Summer Day, by Glen H. Turner,
ACL.

THE ACL SPIRIT

Dear ACL: I want to express my deep
appreciation for your sending me the
name of A. J. Lustig, ACL, of the De-
troit Cinema Club, ACL, as one who
might be able to show a film of mine to
an elderly couple in that city.

I have never seen such cooperation
and friendliness as Mr. Lustig extended
to me. and I hope that in some way I
may be able to return his kindness. If
other ACL cinema clubs have this same
spirit, it means a great success for the
ACL.

Edmund Rushmore, ACL
Reno. Nevada

NO TROUBLE

Dear Sirs: Thank you very much for
your kindness in sending us recently
the several missing copies of Movie
Makers to fill out our reference file.
We appreciate the trouble you have
taken to be of assistance in this matter.
R. F. Kennedy
Librarian
The Public Library
Johannesburg, South Africa

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You'll Find Them

in

February

These fine features — as well as a
wealth of pictures, news, depart-
ments and personal chit-chat of
our chosen hobby — will await
you in February Movie Makers:

• Building a Simple Titler

• Bounce Light For Baby:
Part 2

• Contrast Control With
The Incident Meter

• Movie Making in Mexico

• A Page of Fine Frames

Better subscribe now ($4 per
year) or reserve your dealer
copy (35c) to be sure of your
February

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10

BOUNCE LIGHT FOR BABY: 1

Photographs for MOVIE MAKERS by

BETTE and FRED KLOSTERMAN, ACL

PERHAPS your pediatrician will not agree with this.
But Bette and I hold that the harsh, blinding glare
of movie lighting is hard on a baby's eyes — specifi-
cally, our baby's eyes. We have, therefore, been experi-
menting with indirect or bounce light. A pictorial report
on our findings will be found on the page opposite.

1 believe that these pictures will prove our point — that
"it's bounce light for baby." To begin with, the system
is unquestionably pleasanter from an infant's point of
view. It is, further, easy to arrange and, properly placed,
will require far fewer lamp units than you might suppose.
But most important of all, indirect lighting is the ideal
illuminant for all baby pictures. Jt is soft in texture,
high-key in tone and magically shadowless, all qualities
which are eminently suitable to the gentleness of one's
subject — a mother and child.

Bounce light is achieved, of course, by training your
lighting units away from the subject and onto suitable
reflecting surfaces surrounding that subject. Usually these

BRIGHT-CLOUDY LIGHTING out of doors, as in the shot above,
parallels the soft, shadowless effects of bounce lighting indoors.

^

^w

*l

INDOOR-OUTDOOR LIGHTING is combined here with two RFL-2s
and a silvered reflector bouncing fill light on shadow side of scene.

FRITZ KLOSTERMAN and his mother, photographed by the father
in hospital only three days after the baby's birth. It was this pic-
ture, exposed solely under indirect lighting, which prompted the
Klostermans' definitive picture story on Bounce Light for Baby.

surfaces are the ceiling and the walls of the room which
is the setting. Other and more specialized reflecting sur-
faces might be a spread sheet, newspapers on the floor,
a movie projection screen or simply a white shirt. In
general, the more reflective the surface is (save for a true
mirror), the easier it will be to work with. In particular,
the whiter the surface is, the truer in color tone will be
the light reflected from it. For, any noticeably colored sur-
face will tincture the light reflected from it, and this light
in turn will impose its color on the subject image.

The soft, shadowless effects of bounce lighting indoors
may be studied and evaluated in advance under two
outdoor light conditions. These are in open shade on a
sunlit day or under a bright-cloudy sky on an overcast
day. Our picture at the left illustrates this latter condition.

From an all-outdoor use of indirect lighting, you may
progress to a combination of both outdoor and indoor
illumination, as is also pictured on this page. The high-
lights here are created by direct sunlight, but it has been
slightly diffused in coming through the window. On the
off-light side — which normally would be in heavy and
contrasty shadow — bounce light has been used as a fill
to bring the contrast range within a usable ratio. Spe-
cifically, two RFL-2 flood lamps were bounced off the
ceiling and a 2 by 3 foot silver surfaced reflector was
used to bounce back the excess daylight. A word of warn-
ing: If you are working in color, such a combination
will be possible only with Daylight Type film and so-called
daylight or blue-glass flood lamps.

And now for the 100 percent bounce lighting setups
indoors. The lamps used in the pictures opposite are
of the 500 watt, built-in reflector type — either GE's RFL-2
or Sylvania's R-2 Reflectorflood. The exposures given
are for Tungsten type color films, run at 16 frames per
second; and for accuracy of color temperature no lamp
was used for more than half of its rated life.

But don't take our dope verbatim. The setups pictured
and the specifications given are intended only as guides.
Get in there now and try your own hand at bounce light
for baby! . . . See you next month with more setups.

11

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SINGLE FRONT LIGHT: Two RFL-2s (left) are 20" from ceiling, baby
36" from same. Ceiling dull white, walls light blue in 5 by 8 foot
room. F/3.1 with baby 42" from stand (as seen), f/2.2 at 75 inches.

DIVIDED FRONT LIGHT: Two RFL-2s (left) and one at right give ef-
fective 2:1 modeling. Lamps 20" from light yellow ceiling, baby 61
from same. Corner walls light, tile darker yellow. Exposure f/2.5.

Production equipment courtesy Mileo's Phot

SINGLE LAMP at 8" from wall, twin lamps 20" from ceil-
ing, with baby 2 and 5 feet from same. Exposure f/2.5.

12

TV and the
AMATEUR

The producer of "Reel Adventures," a television
program of amateur movies, reports his findings

DAVID O. TAYLOR, Station WGN-TV, Chicago

A PROGRAM of amateur movies entitled Reel Ad-
ventures was carried on WGN-TV, in Chicago, for
six months last year. This article is an outline of
some of the problems that were encountered, some of the
things that were learned and an appraisal of the possibil-
ities for amateur movies on television.

My first problem as the producer of Reel Adventures
was to discover what films were available, who had made
them, and how they could be seen. In approaching this,
it soon became apparent that there was one man in Chicago
who knew more amateur filmers than anyone else. This
was Dr. C. Enion Smith, FACL, president of the Associ-
ated Amateur Cinema Clubs and a founding officer of the
Metro Movie Club of River Park, ACL. He paved the way
by introducing me at various cinema clubs and by indicat-
ing which cameramen were doing outstanding work.

FIRST IMPRESSIONS

My first and still outstanding impression of amateur
movies was that their producers were trying to run before
they had learned to walk. Not technically, I hasten to add;
for the general level of amateur camera work I found to
be acceptably and surprisingly high. But I found also that
personal movie makers get so intrigued with the mechan-
ics of taking pictures that the^f^jget to say anything in
the process. Their ambition in Snaking each new picture
is to capture and hold an audience. But not one in a hun-
dred stops to ask himself, before he starts a film: "What
do I know best that can be said in moving pictures?"

Thus, I cannot stress too strongly my belief that the
secret of success in film making — as with many other
endeavors — is to know your subject. This point was made
succinctly yet powerfully in Movie Makers review last
September of the Disney picture Water Birds. And I can
assure all amateurs that what holds true for the theatrical
entertainment screen holds equally true for television. It
makes no difference whether your subject be birds, bugs
or your own backyard. You must know more about it
than your audience if you will hold their interest.

NATURE FILMS EXCEL
Proof positive of this theory was supplied by two out-
standing nature studies shown on the Reel Adventures
program. These were Honey Harvest, a documentary of
bee culture by William W. Vincent, FACL, of Kenosha,
Wise, and The Monarch Butterfly, a life study of this
insect by Leon F. Urbain, ACL, of Chicago. Of the two,
the butterfly film was unquestionably the finest piece of
amateur movie making seen on our program. For Urbain
was an authority on the monarch and what he presented
was a sequential and authoritative story which held the
spectators' interest from beginning to end.

DAVID O. TAYLOR, at right, producer of Reel Adven-
tures, welcomes Edwin Dahlquist, ACL, to program.

YOUR OWN BACKYARD
Quite a different, but almost equally effective, example
of knowing your subject was found in Historic Chicago,
by Alice Stiger. A first prize winner in Reel Adventure's
initial series, her picture was a simple but satisfying
study of the changing face of a great city. There were
some bits of old times and old timers, and woven in with
them were the people and their practices of current Chi-
cago. Such a documentary carried over several years will
improve with age. The value of its showing will increase
as time goes on. While not every amateur may become
the authoritative naturalist, he can easily become an
authority on his own home town — and record it in pic-
tures for posterity.

THE FAMILY FILM
The family album idea was presented by several; but
no one of these films was outstanding. They included
Christmas parties, a trip to the farm, a boy and his dog
and neighborhood news flashes. Our impression, however,
was that amateur photographers have failed to uncover
the opportunity that is latent in everyday American family
life. Our American way of life is the boast of the whole
world, yet no one makes a record of it as it really is. There
is beauty there, and there is romance of an enduring kind.
Let some imaginative amateur dare to outdo Sinclair
Lewis and make the commonplace vivid by showing its
true worth!

HALF-HEARTED HOBBIES
Many put hobbies into their films, but they did not
carry them through from beginning to end. If hobbies are
the "escape mechanism of thwarted men," let the movie
show how the escape works. If hobbies are a "tie between
members of the family," let that story be told but let it
be factual and honest. These are approaches that would
be acceptable on television, and they lend themselves to
amateur photography. But so far no film, either amateur
or professional, was observed that did a good job on
hobbies.

THE TRAVEL FILM
The majority of films shown on Reel Adventures were
travelogs, with scenery predominant and only occasionally
with bits of good action. Also, most of the photographers
traveled the same route. So that after seeing one picture
of, say, Mexico you knew what to expect in all the others.
While their quality varied greatly, their subject matter
coverage varied little. Further, [Continued on page 22]

13

Cinerama, Inc.

/ SAW

CINERAMA

A movie maker and engineer reports for
ACL on Hollywood's latest headache

JOHN R. HEFELE, ACL

WHEN I arose from my seat, after a recent per-
formance of This Is Cinerama in New York's
Broadway Theatre, I felt that the most admiring
adjectives of the first-night critics had been understate-
ments. "Sensational!" "Breath-taking!" "Revolutionary!"
— These, and other impassioned accolades, were all true.
In fact, perhaps the only untruth is my own opening
statement— about "rising from my seat." For the plain
truth is that about half the time I wasn't even on the seat.

No, sir! I was in the front seat of a diving Coney Island
roller coaster, clutching the hand rails in desperation as
the skeleton structures reeled by me, the wheels bumped
and roared — and the audience (myself included)
screamed with excitement. I was hovering over Niagara
Falls in a helicopter, with the mighty thunder of the
waters welling up around me. I was in Venice for a water
festival. And as the gondola glided smoothly under the
low bridges I found myself ducking to avoid a cracked
head.

But, by now, you probably are familiar with the suc-
cession of sequences which has made Cinerama the
present-day sensation of the movie making world. There
is a choral recital for which the stereophonic sound is
so realistic that people turn in their seats, expecting to
see the twin columns of choristers marching down the
aisles. There are bullfights in Spain, a gathering of the
bag-piped clans in Scotland, and a visit to Florida's
Cypress Gardens, where daredevil racing drivers plunge
almost into your lap with their snarling, bucking out-
boards. And there is, finally, a moving and infinitely
beautiful tour by air over many of America's outstanding
landmarks. Seen for the first time in the multi-dimen-
sional perspectives of Cinerama, these familiar subjects
take on new and impressive stature.

Being a movie maker (and, it says here, an engineer),
I was naturally curious about this latest development in
stereo-cinematography. Therefore, I remained at the the-
atre after the show to check objectively on the impres-
sions I had absorbed both visually and emotionally.

I already knew, of course, that Cinerama does not rely
on polarizing glasses to create the illusion of stereoscopic
reality. Instead, it recreates as accurately as is possible
what the eye actually sees and the ear actually hears, by
reproducing on film virtually the entire range of human
vision and hearing. To do this it employs a special cam-
era with three lenses of 27mm. focal length, their angles
of view 48 degrees apart and each recording on its own
magazine of 35mm. film a third of the scene being shot.

These three films are then simultaneously projected on
a huge concave screen by three projectors in balcony
booths — with the one on the left filling the right third
of the screen, the one on the right filling the left side and
the one in the center directed straight ahead. The result

CINERAMA CYCLE begins with tri-filmed, tri-lensed camera and
six microphones, ends at cycloramic screen and eight speakers.

is an image not only three times as wide as that of an
ordinary motion picture but, because Cinerama uses a
six rather than four-sprocket frame, half again as high.
Altogether, the Cinerama screen is 64 feet across the top
of the arc, 23 feet high and has an area almost six times
that of a standard movie screen.

It is not size alone, however, or even the curvature
of the screen that provides the illusion of reality. The
new and unique accomplishment is that Cinerama dupli-
cates in a theatre the "peripheral vision" of the human
eye. The average range of man's vision is 165 degrees
horizontally and 60 degrees vertically; Cinerama closely
approximates this visual field by reproducing an image
146 by 55 degrees in coverage. The effect on the viewer,
confronted and all but surrounded by the same optical
frame of reference as in real life, is not only the im-
mediate illusion of three-dimensional vision but the sense
of actually taking part in the action on the screen.

But again this enlarged and encompassing area of mov-
ing imagery does not comprise all of Cinerama's amazing
magic. For, as well as being wrapped in action, the
audience is also bathed in sound. During production six
separate omni-directional microphones are used, stra-
tegically spotted around the scene of action and each
recording on its own track the sounds picked up in its
particular area. In the theatre, these sound tracks, im-
printed side-by-side oh a single strip of magnetically-
coated 35mm. film, are separately amplified by eight
speakers placed behind the screen, at the sides of the
auditorium, and even at the rear of the theatre. Con-
sequently, sound comes to the audience from the direc-
tion of its original source: when a plane zooms across
the screen the noise of its en- [Continued on page 22]

14

DELORES LAWLER, no clear-weather cameraman, trains the family's
trusty Bolex on Pop and (we suspect) Bridget, subbing for Barry.

FROM REVIEW TO REWARD

An ACL analysis of their early filming efforts stands strongly in

the background of "Duck Soup," Maxim Memorial Award winner for 1952

Photographs by Cleve Ward

TIMOTHY M. LAWLER, JR., ACL

DUCK SOUP, a family film, owes its existence to a
combination of several good reasons.

First, although we had gone somewhat beyond
the snapshooter stage with our travel films, our family
filming had been sadly neglected. Second, with the com-
ing of the fifth addition to our little family in the sum-
mer of 1951, prospects for a vacation trip were out of
the picture. Thus, Delores and I decided that here was
the golden opportunity to make a presentable family
film — using the time and money we normally allotted
to vacationing.

A LETTER FROM THE LEAGUE
Third, and probably the most basic reason of all, was
a thorn I'd been carrying for about six years, courtesy
of some fellow by the name of James W. Moore. It seems
that, in the course of his duties as ACL's continuity and
club consultant, he had reviewed a film by the writer
carrying the intriguing title of Our Timmy. How he could
look at that paragon of a production with such a cold
eye and make the comments he did I couldn't understand.
I guessed that he just didn't appreciate our son and heir
at all. To quote from his letter of August 24, 1945:

"To date, where your film making suffers is in the
continuity or camera treatment aspects. These, especially
the latter, are routine, dull and unimaginative. There
is a sameness of viewpoint about all of your scenes which
very soon becomes tiring on the screen and . . . what
you need is variety. You need to vary (1) camera dis-
tance, (2) camera angles and (3) scene lengths. Stop
shooting every scene for the full run of the camera spring.
Your scenes are invariably too long — an understandable
iveakness on the part of proud-father movie makers — but
if you wish your films to have pace and interest for
others too, they must be shortened."

What brutal words for such an outstanding (in my
opinion) filming accomplishment! It took many months
before I began to realize that possibly this fellow Moore
wasn't just a baby hater, and maybe the film could have
been improved slightly. Now, when I look back at this
picture, I wonder how JWM kept his patience on that
job if he had to view many such Our Timmy s during
the year. And so it was that I resolved that some day
I'd make a family film which could be enjoyed by others
besides the "proud father." Duck Soup, seven years and
four children later, is the end product of that resolve
and, probably, of that ACL review.

FROM STORY TO SCRIPT
If now I may quote from another ACL review — one
which appeared only last month — you will get some idea
of the story we plotted:

"Duck Soup," wrote the League's judges, "is a rol-
licking, rambunctious saga of what happens in a house-
hold when Pop, charging recklessly that the trials of
homekeeping are 'duck soup,' is deserted for a day by
his deserving wife. What hap- [Continued on page 20]

GREG AND KEVIN, a year older than in the film (see right), are
still equally eager to re-enact the famous haircutting sequence.

BARRY, THE BABY is the only one missing here from the family
group which produced Duck Soup, Maxim Award winner for 1952.

15

THE HAIRCUTTING, generally hailed
as the high point of Duck Soup's de-
lightful capers, is properly placed
at the top of this roundelay. Other
sequences suggested are the opening
(below), the breakfast (right), and
Timmy as he "takes" the bread home.

16

8mm. AIDS THE AIR FORCE

WILLIAM T. ROHDE, ACL

H

I EY, Bill! Are you crazy? Spend-
ing all that money on 8mm.!
That's nothing but a toy."
That's what T had to put up with. All
my arguments in defense of 8mm. went
unheard, and without proof my cause
was lost. But I did find proof — and
here's my story.

I spent the last year before my recent
discharge from the Air Force in the
training and operations section of a
radio-operator student squadron. One of
my main jobs was to orient new men as
to what to expect in the school and in
the squadron, and what they might do
with their free time.

One day it occurred to me that a
training film would aid this orientation
greatly. A search of the base's film
library failed to turn up any films suit-
able for this purpose; so-o-o. it seemed
that if we were going to use such a film
someone would bave to make it. I had
been working with 8mm. movies for
quite some time and had recently in-
vested in a new Bolex H-8. So I offered
my camera and services for the produc-
tion of this "get-acquainted" film. The
squadron commander agreed to go along
with the idea and offered full coopera-
tion, as did the school officials.

After procuring the necessary lighting
equipment and film stock, we were ready
for production — or so I thought. But it
wasn't long before we realized that a
great deal of planning was needed be-
fore the camera could actually roll.

We decided to divide the production
into three parts: the first part to show
the functions of the squadron; the sec-
ond to show the operations of the school,
and the third to survey local recreation
facilities. Since this picture was not
sponsored by the Air Force, money for
the film had to come from a limited
squadron fund used for various extras.
We decided to use black and white stock
for the first two parts and to reserve
our supply of color film for the final
reel on recreation.

Two days were spent in making a
shooting plan. Limitations as far as
military security were concerned had to
be considered, of course. The base se-
curity regulations, however, were very
definite; so it was not difficult to deter-
mine what we could and what we could
not shoot.

To give the film a running continuity
it was decided to follow the progress of
one man from his entry into the squad-
ron, through school to graduation and
final shipping out. It was not hard to
find a student in the squadron with
some acting experience to play the part
of "George," the potential airman.

We began to shoot our film on a day
when a group of new men actually came
into the squadron. George was placed
with them and our film began with the
actual processing of the men. The scenes
were planned for the addition of tape-
recorded narration to help explain just
what goes on and why. Closeups of some
of the forms and papers being filled out
were included.

In the barracks much footage was ex-
posed explaining the proper care of
clothing and bedding, as well as precau-
tions for safeguarding personal prop-
erty. The importance of the latter was
illustrated by a sequence showing a
billfold being stolen from George.

We felt that the second part of our
film was the most important. Most of
this school sequence was produced in
one day, although the training actually
lasts thirty one weeks in real life.
General classroom scenes were taken, as
well as closeups of blackboard illustra-
tions, charts, mock-up equipment and
textbooks. The cooperation of the in-
structors was very helpful in making
this section of the film both informative
and interesting for new students.

Part two ended with the graduation
of our planted student. The graduation
ceremonies were acted out for the
camera, along with speeches and hand-
shakes, and George emerged with his
diploma in hand.

As mentioned before, we changed
over to color film for part three. Recrea-
tion at the Air Force base was covered
in two sections — one about on-base rec-
reation, the other about off-base activi-

BILL ROHDE, ACL, then a sergeant in the
United States Air Force, makes a dolly
shot at Keesler Air Base, in Mississippi

ties. The base itself offered a great deal
in the way of entertainment, and the
men in charge of each activity were
happy to have their phase of recreation
included in the film.

We made a map of the base on a 3 by
4 foot sheet of illustrator's board and
placed a piece of plexiglass over it. By
using readily removable grease pencil
on the plexiglass, we were able to make
titles and animated lines indicating the
routes to the various recreational areas.

As far as possible, the clubs, PXs and
the like were filmed while real activities
were in progress. Variety of entertain-
ment was emphasized to catch the inter-
est of all new men. George was seen in
all of these places, of course, and, in a
serviceman's dream, seemed never to
have any trouble getting a pretty girl
companion! Considerable film was used
on the base's extensive sports program
too, since sports play an important part
in the young soldier's life.

The off-base section presented a more
difficult production problem. For we
had to be careful not to advertise any
particular business in the town out of
fairness to all the others — and we
couldn't show them all. Our problem was
solved by filming the bathing beaches,
water sports and the many types of free
entertainment which could be had in a
resort town such as the one near our
base. We also included an active USO
unit in town.

Before the sound was added to the
edited and titled film, we showed it to
a few students to get their opinions and
suggestions. This resulted in quite a
few changes and in the addition of some
cartoon humor to help explain parts of
the training. We made a jointed car-
toon character about twelve inches high,
drawn with black ink on lightweight
cardboard. Backgrounds were drawn on
a long roll of wrapping paper. Our
character and his friends were moved
about on the backgrounds as we exposed
single frames. We used the cartoon
character as a "wrong-way" airman who
helped point up safety practices, correct
study habits and healthy recreation by
the troubles he experienced.

It took a lot of experimenting to get
our sound tape properly recorded and
timed. But perseverance gets results and
we finally got satisfactory sync with our
tape recorder and an adjustable speed
projector.

Although I'm no longer with the out-
fit, our 8mm. film entitled Now What?
is still being used to help orient all new
men entering that air base. So-o-o, I say
I've proved that film size has little to
do with effective filming results!

17

PROJECTION PORTS from one room to next are nice
but not necessary for good recording. Picture is cover.

BETWEEN SHOWS the projection side looks like this, with small vases
blocking ports. Projector, recorder rest on cabinet for a screening.

MAKING THE MOST OF TAPE

An English amateur outlines his system for split-second recording of sounds on tape
D. M. NEALE

NOW that magnetic sound on film is fairly launched,
we tape enthusiasts must be on our mettle. I foresee
a rivalry between stripe and tape paralleling that
between 16mm. and 8. For, good though it is, I doubt
that stripe will ever oust tape completely. There always
will be folks who start with silent projectors. And there
always will be folks with tape recorders. So there should
always be folks who want to combine these two effectively.

Once the synchronization problem is licked, tape offers
several advantages over stripe. (Admittedly, it is more
cumbersome to handle. But then, you won't be reading
Movie Makers if you are not prepared to take some
trouble with your films.)

In recording on stripe, for example, you have to be
careful about projector noise. You must speak fairly
close to the microphone and keep the volume turned down.
Of course, good sound projectors run fairly quietly and
are provided with blimps. Nevertheless, they make more
noise than almost any tape recorder because they contain
reciprocating parts.

On tape, you can record sound without running the
projector at the same time. In fact, if your projector is
an old and noisy silent machine, you will have little
alternative. For few of us have facilities for projecting
from one room to another. And, though I have, I find

TELLTAIE ON TAPE marks the beginning and end of each record-
ing, as pilot commentary is replaced bit by bit with planned audio.

it a clumsy way of doing things during recording ses-
sions. I added tape sound to one film in this manner,
and then sat down to think out a better way.

There were, it seemed to me, two major sources of time
error affecting any attempt at synchrony between a pro-
jected film and its accompanying tape. First, it was prob-
ably impossible to prepare a cue sheet of film scenes and
sounds — a seeming necessity, if one is to avoid projection
noise during the recording — which would be accurate
within less than one half a second's tolerance. Not a great
error, taken singly; but a real trial as it accumulates.

Second, even the most accurate cue sheet (and the
resultant tape recording made from it) will be subject
to mis-synchrony unless it is teamed to the projector
by some system which takes care of tape stretching and
slippage. The new Revere Synchro-Tape {see Improved
Synchrony with Magnetic Tape, August, 1952 — Ed.)
comprised such a system. But here in England (where I
write you from) it still was not widely available. Thus,
the essential requirements for my recording routine be-
came the following:

(1) The timing on the tape must come straight from
the projected picture. Cue sheets are not accurate enough.

(2) However, the sound must be recorded without
the projector running, since this is the surest way of
excluding projector noise. If the combination of these
two requirements impresses you as antithetical, let me
explain further . . .

To body forth my recording system, I must first cite
to you a representative, and rather demanding, sequence
I recently scored. Running from scene 101 through scene
108, the sequence is a parallel-action series between a
racing car and a train approaching the highway inter-
section. The entire assembly lasts only 14 seconds, and
the eight scenes are cross-cut with increasing brevity from
3 seconds in length, through 2, 1%, 1 and ^2 seconds.
An exacting job, indeed, for the tape recordist — and one
in which a worded cut sheet would be almost useless.

Here is how I got round the difficulties involved. First
of all, I ran through the film [Continued on page 25]

18

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News of
the industry

Up to the minute reports
on new products and
services in the movie field

Photo show The seventh annual
National Photograph-
ic Show, an exhibition previously held
in a New York National Guard armory,
will move this year into the Grand
Central Palace, premier exposition hall
in New York City.

The products of some ISO camera,
projector and photographic accessory
manufacturers will be on display daily
from February 12 through 16 between
the hours of 1:00 and 10:00 p.m. Ad-
mission for adults will be $1.00, for
those under eighteen, 50 cents. The
Photographic Manufacturers and Dis-
tributors Association, with headquar-
ters in New York City, are the sponsors.

Arm-Lite 201 A new model of the
Victor Everready
Arm-Lite, No. 201, has been announced
for the winter filming season by James
H. Smith & Sons Corporation, the man-
ufacturers at Griffith, Ind. The new
Arm-Lite offers two high-efficiency metal
reflectors equipped with No. 2 flood
bulbs. This combination, the company
states, equals the light output of bars
mounting four of the 500 watt reflector-
type lamps. The 201 is complete with
case and lamps at $12.95.

Reciprocal service Customers of
Willoughbys
Camera Store who are traveling in
South America may now benefit from
a reciprocal repair-and-service agree-
ment signed by the New York photo

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MOTION" PICTURE ENGINEERING, INC.
120 VICTOR • DETROIT 3. MICHIGAN

JOHN M. FLORY, Eastmdn Kodak's adviser o;i
non-theatrical films, discusses production tech-
niques with members of IAVA (Industrial
Audio-Visual Association) during a national
meeting held at Rochester, N. Y. At left in dark
suit is Kenneth F. Space, former technical
consultant for the ACL, now film producer for
International Business Machines, in Bingham-
ton, N. Y. Camera is a Mauier 16.

JANUARY 1953

center with six camera stores in the
southern continent.

The cooperating stores are Cassio
Muniz, in Rio de Janeiro, Brazil; Cas-
sio Muniz, in Sao Paulo, Brazil; Miz-
zola y Cia., in Lima, Peru; Greinsu, in
Buenos Aires, Argentina; El Globo, in
Curacao, Dutch West Indies, and Mi-
cron, in Caracas, Venezuela. Willough-
by cameras and equipment which carry
a one-year guarantee (and all of them
do) may be brought to any of these
shops for free servicing and repair. The
same courtesies will be extended by
Willoughbys to customers of the six
South American stores.

"This unique agreement," said Jo-
seph G. Dombroff, Willoughby presi-
dent, "is the forerunner of arrange-
ments we plan to make with leading
camera stores in all parts of the world."

Reel can for 8 The transparent
plastic Kodascope
reel can, introduced last year by the
Eastman Kodak Company in a 400 foot
16mm. size, is now available in the
same footage capacity for 8mm. filmers.
Advantage of this design is that film
titles, lettered on white film leader, may
be read easily through the transparent
material.

Including a 400 foot 8mm. Koda-
scope reel, the new unit will list at
$1.60. Without the reel, the container
itself retails at 90 cents.

Arc projector A new 16mm. sound
on film projector,
combining the Strong Junior high in-
tensity arc lamp assembly and RCA
Victor film movement and audio com-
ponents, is now being manufactured by
Gallagher Films, Inc., 639 North 7th
Street, Milwaukee, Wise. The unit will
be available through existing RCA out-
lets.

B&H booklet TiPs on Movie Mak-
ing Tricks is the lat-
est in Bell & Howell's series of attrac-
tive booklets prepared exclusively for
the home filmer. Among the movie
magic covered is reverse action, fast
and slow motion, frame by frame film-
ing and other items. Five cents and a
visit to your favorite photo shop will
secure your copy.

Tape in field A portable tape re-
corder, weighing
17% pounds and with a spring-driven
tape transport motor, is now available
in the Travis Tapak, a unit which is
distributed by the Terminal Radio Cor-
poration, 85 Cortlandt Street. New York
7, N. Y.

The Tapak records at the NAB stand-
ard of 7% inches per second and has
a capacity of 19 minutes with .0017
inch tape or 15 minutes with the .0022
inch tape. The hand-wound spring mo-
tor runs 6 minutes per winding, but it

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Additional and readily interchangeable
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Fades, dissolves, mask shots, double and
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Clear, crisp movies . . . even under difficult
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Kodak's series of superb rare-element
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It's the 16mm. camera for the experts — a highly capable motion-picture
instrument, precision-built by Kodak to meet professional requirements. The
Cine-Kodak Special II Camera makes superb movies . . . and beyond that, the
broadest range of special effects obtainable with any 16mm. camera. The con-
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Yet, for all its truly remarkable range, the Special II retains much of the
ease of use . . . and all of the filming economy ... of "home movie" cameras.
Small -wonder it has earned its place as the camera for advanced amateurs and
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Let your Kodak dealer show you all the features the "Special II"
offers . . . or mail the coupon below for free descriptive booklet.

EASTMAN KODAK COMPANY, Rochester 4, N. Y

Please send me more information about the One-Kodak Special II Camera.

NAME.

33

STREET.
CITY

(ZONE]

Kodak

STATE.

20

JANUARY 1953

Classified
adve rt is i n g

10 Cents a Word

Minimum Charge $2

■ Words in capitals, except first word and name,
5 cents extra.

EQUIPMENT FOR SALE

B BASS . . . Chicago. Cinema headquarters for 43
years offers money saving buys in guaranteed used
equipment. 16mm. Zoomar complete, "C" mt. and
Cine Special with close-up attach. List $1650.00;
price $750.00. Pan Cinor 20mm. to 60mm. for Bolex
or adaptable to B&H 70DA, list 3447.50; price
3325.00. Cine Special I, single sprocket, 1" //1.9,
15mm. //2.7 W.A.. $395.00. B&H 70DA, 1" //1.5
Wollensak, 15mm. //2.7 E.K. w a., 3" //4 B&H
Telate Comb, case, $247.50. Bolex H-16, 1" f/lA
Biotar, 2" //3.5 Cooke, 3" //2.5 Wollensak, $325.00.
8mm. Revere 99 Turret, f/2.8 B&L lens, $52.50.
BASS SPECIAL: Brand new Revere Mod. 55, case,
list $73.50; net, $52 50. Best buys . . . Best trades
always. BASS CAMERA CO., Dept. CC, 179 W.
Madison St., Chicago 2, 111.

■ VICTOR sound projector 40B, $125.00. Ampro
"Stylist" sound proj., like new, S320.00 HALLEN-
BECK & RILEY, 562 Broadway, Albany, N. Y.

■ IT'S FUN to make TITLES the Bull's Eye way!
Illustrated handbook and kit assures perfect centering
with any 8 or 16mm. camera. Satisfaction guaran-
teed. Complete kit. $2.95 postpaid. BULL'S EYE
PHOTO PRODUCTS, Box 8174 Plaza Station, Kansas
City, Missouri.

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.

■ 1953 ROSE PARADE movies. Kodachrome. Color-
ful floats. Beautiful girls. 200 ft. 16mm., $34.95.
100 ft. 8mm., $17.50. Calif, add tax. C O.D.'s ac-
cepted. AVALON DAGGETT, 441 No. Orange Dr..
Los Angeles 36, Calif.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm. or 16mm.,
11C per foot. Immediate service on mail orders.
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hoi-
lywood Blvd., Hollywood 28, Calif.

■ SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete studio
and laboratory services. Color printing and lacque;
coating. ESCAR MOTION PICTURE SERVICE, Inc..
7315 Carnegie Ave., Cleveland 3, Ohio. Phone: Endi-
cott 1-2707.

■ 8mm. HOLLYWOOD TITLE STUDIO 16mm.
Complete titling service. Color and black and white.
SPECIAL DISCOUNT TO AMATEUR CINEM\
LEAGUE MEMBERS. Send 10f for Price List and
Sample. Address: 1060 North Vista Street, Holly-
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■ COLORSLIDES— Exclusive interiors of historic
homes, buildings, museums, caves. Free list. KELLER
COLOR Clifton, N. J.

can be rewound while recording with-
out disturbing the tape speed by more
than 1 percent. Only the tubes (three
1U5 miniatures) are powered by bat-
teries, which are two flashlight cells
(20 hours) and one 67% volt B bat-
tery (40-80 hours).

Additional specifications claimed for
the Travis Tapak include a frequency
response of 100 to 7000 cps at ± 2
db.; signal-to-noise ratio, — 40 db; re-
winds at 44 inches per second; input
for crystal or high impedance micro-
phone; high impedance output. The
Tapak, complete with its own micro-
phone and monitor headset, lists at
$309.50; without mike and monitor it
is yours for $298.50.

E.K. items Archbold H. Robinson
was elected treasurer of
the Eastman Kodak Company at a
meeting of the firm's board of direc-
tors last month. He replaces Marion P.
Folsom, who resigned as of the end
of 1952 to accept an appointment as
Under Secretary of the Treasury in the
Eisenhower administration.

A new film processing laboratory
will be built by Kodak in Palo Alto.
Calif., on ten acres of land belonging
to Stanford University. It will take over
all of the processing functions now
handled by EK's lab at 241 Battery
Street, in San Francisco.

Adolph Stuber. ACL, vicepresident
in charge of sales and advertising, has
marked his fortieth year with Kodak.
He became a vicepresident in 1942. and
has been a director since 1947.

From review to reward

[Continued from page 14]

pens as Pop gets the works from a
quintet of utterly engaging youngsters,
shouldn't happen (as they say) to a
dog." What ACL overlooked adding is
that, at this one day's close, with Pop
sagging on the ropes, he receives a
telegram from Mom. "Have decided to
spend the weekend with Mother." it
reads. "Mr. Efficiency Expert should
have no trouble in managing house-
hold. It's Duck Soup! Remember?"

Planning the scenario to develop this
theme was actually the easiest part of
the enterprise. We wanted to present
the children as naturally as possible,
and we reasoned that the easiest way
to do this was to involve them in in-
cidents of our family life which had
actually happened. Thus, from the
film's conception until about two weeks
before we started shooting, we com-
piled a list of just such episodes. Then,
two weeks before we started shooting,
we wrote our scenario. Although most
of the filming was done according to
this script, some of the scenes were
necessarily varied as the action pro-
gressed.

PRODUCTION PROBLEMS
My original estimate of from three to
four days to do the filming fell some-
what short of the actual time required.
It took better than twenty full days to
do the job! This included my two
weeks of vacation, plus several week-
ends in addition. Actually, from the
time we started filming until we com-
pleted all the shooting, about five
weeks elapsed.

We ran into our share of difficulties
(and pulled some fool boners, too!)
throughout our filming schedule. Early
in the operation, we shot 120 feet of
Type A Kodachrome outdoors without
the well-known filter, and all of it on
a rather difficult sequence too. It
wasn't much later that I shot another
60 feet outdoors — this time with the
filter all right, but without correcting
the meter speed setting to compensate
for it. I guess the Good Lord must
have taken over after that. For from
then on things went along pretty
smoothly, from the technical stand-
point, anyway.

EXPENDABLE PROPERTIES
But other and unforeseen difficulties
cropped up as well. For example, when
we started filming the snake sequence
— in which Timmy scares the others
with a snake he finds in the bushes —
the final scene called for him to drop
the snake behind him as Pop came
bouncing out the back door. We had
to re-film that shot several times, since
Timmy, in bare feet, was not too en-
thused about having that snake land
near his heels. Also, in the process of
getting the variety of scenes that were
necessary for this sequence, we wore
out two snakes and a third got away
before we were through with his thes-
pian services. All told, we used four
different snakes before this sequence
was in the can.

The bread sequence was suggested
when we recalled a neighbor telling
us about getting a big "kick" out of
Timmy coming home from the store,
dropping the bread all over the ground
when the package broke, then casual-
ly yet carefully fitting each slice back
into the wrapper. When we committed
this to film, it wasn't difficult to gain
the same results. But we did have
trouble when we wanted the bread
wrapping to last long enough — so that
the climax would come when we had
planned it and not before. Achieving
this timing required the use of three
consecutive loaves of bread before the
sequence was complete.

ACTION AND REACTION

Toward the end of the film our script
called for Gregory (unknown to Pop)
to cut Kevin's hair with a pair of elec-
tric clippers. When we told him he
could go to work on his brother's shag-
gy locks, Greg didn't know whether to

MOVIE MAKERS

21

believe us or not. But when he was
sure we weren't kidding, he really went
to town on Kev — and they both loved
it. Tonsorially, the results were pure
mayhem. But dramatically, the se-
quence was a smash hit. And there was
one thing for sure — there could be no
retakes of earlier scenes after Gregory
finished that five minutes of gleeful
fratricide. So we shot the sequence
after all else was finished — and then
cut it into its rightful place by editing.

The fun of making the film really
appealed to the children — initially,
that is. For on our first run-through of
each scene they seemed to regard it as
a game. However, when shooting dif-
ferent angles of re-enacted action, we
ran into trouble. We had to resort to
all sorts of bribery and cajolery on
those occasions in order to win their
cooperation. In fact, after a few days
of filming from breakfast to bedtime,
we heard Gregory remark wistfully to
Kevin one morning: "I hope Daddy
isn't going to shoot me again today."

Being new at this type of filming,
we underestimated by far the amount
of film we would shoot. We had
thought that about 1000 feet would
see us through; but we wound up
shooting over twice that amount — 2200
to be exact. Frankly, we were a little
aghast ourselves. This was getting to
be an expensive vacation for not going
anywhere. However, the further we
progressed in the editing, the happier
we were that we had that much foot-
age. For it enabled us to use only our
best sequences and our choicest shots.

FROM 2200 TO 750 FEET
An interesting thing happened to us
during this editing process. After the
first rough cut the picture stood at
1500 feet — too long, we knew. So we
went through it several more times and
whittled it down to around 1200. And
then, at about that point, we suddenly
lost our enthusiasm for the film entire-
ly. We felt undecided on any next step.
Was the film still too long? And, if so,
how and where could we cut it further?
We simply could not decide; so we set
the project aside for a considerable
period of time.

Later, when we returned to it, we
were able to go after the job with a
colder and more calculating eye. Of
each shot we now asked ourselves:
"Does it help to tell the story as
plotted?" If we could not answer "Yes,"
we would cut the scene out. Following
this formula soon left us with but 900

feet, a total which eventually was
slimmed down to 750 feet in its final
form.

Our aim in this final trimming was
to create or maintain swift, smooth
progression in every scene where action
was involved. Sometimes this meant
trimming only four or five frames, es-
pecially where a number of shots from
differing angles were being interwoven
to create the finished sequence. For in
filming of this sort there is always like-
ly to be an overlap, or partial duplica-
tion, of action from one scene to the
next. We feel now that our care in
trimming out even the smallest bits of
this duplicate footage is largely respon-
sible for maintaining the picture's pace.

NARRATIVE AND MUSIC
In our first crack at the narration,
we planned to have Pop deliver the
running commentary. But this system
was unsatisfactory, since it seemed un-
natural for him to be talking when not
in the scene; further, this setup did not
offer the opportunities for humor that
we wanted. There seems little reason
why you should be interested in the
varying other narrative schemes we
tried and discarded. But it may amuse
you to know that in the end we as-
signed the audio endeavors to a pair
of inquisitive and omnipresent mice.
That's right — mice!

Their invisible but highly effective
personalities were played by Shirley
Jornt and Robert Tenuta. a couple of
trained amateur actors whose coopera-
tion we secured through the kindness
of Mrs. Everett McNeil, director of the
Kenosha Little Theatre group. We too
found that it pays — as Haven Trecker
so wisely stressed last month — to go
out after that just-right voice or voices
for your film.

In selecting the background music,
we had two distinct purposes in mind.
While the mice were commenting, we
wanted a light and pleasant music that
would not distract from their talking.
During other portions of the film, we
wanted the music to carry the load
without commentary. Thus, in those
places, we used music which we felt was
stronger and more commanding.

THE EQUIPMENT USED

For those who are interested in the
technical aspects, I have included the
following: We used our 1943 Bolex
H-16 for all the filming. Since Delores
and I also shoot color slides, I have
designed adapters for using any of our
Contax lenses on the Bolex in order
to avoid buying extra telephoto lenses.
Actually we have only two lenses ex-
clusively for the movie camera — a
25mm. Eastman //1.9 and a 17mm.
Wollensak //2.7. However, use of the
Contax lenses gives us in addition a
5cm. //1.5, an 8.5cm. //2 and a 13.5cm.
//4. Since the standard Bolex finder

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12522 Ventura Blvd., Studio City, California

22

JANUARY 1953

would not cover bhe fields of all these
objectives, we used a Smith Varifocal
finder, which I had specially modified
to correct for parallax with extreme
accuracy.

For the lighting, no standard or stock
setup was followed. We used anything
from one No. 2 flood lamp in a 10 inch
reflector to as many as four No. 2's and
two No. 4's for some of the full-room
scenes. Exposures were determined with
a G.E. DW-58 meter. In order to have
consistent values in color rendition, I
took all readings from the back of my
hand while holding it in the subject
position. I would then set the lens at
an aperture % st0P larger than the
meter indicated.

There was, honestly, a very consider-
able amount of time and effort put into
our film ; but we felt amply rewarded
when it won the Grand Award in our
Kenosha club contest. It is impossible
to describe the thrill that was ours
when we were notified by ACL that
Duck Soup had placed at the top of the
Ten Best and was chosen for the Hiram
Percy Maxim Memorial Award for
1952.

From the League's review of Our
Timmy in August, 1945, to their award
notification of November, 1952, is actu-
ally a span of seven years and three
months. It took us, you may say, a
long time to prove that the ACL was
right in its calm and objective analysis
of our early family filming efforts. But,
as of right now, we are mighty glad
that we decided to try and do so.

saw

Ci

nerama

[Continued from page 13]

gines follows its image. And if it flies
towards and over the camera, the spec-
tator hears the sound as it approaches,
as it is overhead, and finally as it re-
cedes in the distance behind him. A
seventh sound track, combining the
other six, also is reproduced as a safety
measure against the momentary failure
of one of the single tracks — which
might result in an audio "dead spot"
in the theatre.

Cinerama. I discovered, was the
brain child of Fred Waller, an inventor
and optical engineer who already had
to his credit a still camera which took
a 360 degree picture. Also, in the direct
genealogy of this new movie giant was
another Waller still-picture develop-
ment which delighted thousands of
camera-toting visitors to the New York
World's Fair of 1939 and '40. This was
the projection of full-color transparen-
cies on the spherical interior of East-
man Kodak's House of Color.

Encouraged by the success of this
projection system, which did create a
remarkable tri-dimensional effect, Wal-
ler immediately turned his attention to
designing cameras which could photo-

graph interlocked images for curved-
screen projection. One of these became
a technical miracle of World War II.
Using a five-lensed camera and five
separate projectors, he developed the
famous Waller Flexible Gunnery Train-
er for the Navy. This unit projected
synchronized motion pictures of "en-
emy" planes on the inner surface of a
dome, in front of which the trainee
machine-gunner stood and fired away.
Cinerama is the direct outgrowth of
Waller's gunnery trainer, with the num-
ber of lenses and projectors reduced to
three and the screen cylindrical rathei
than spherical in shape.

But this curved screen itself pre-
sented a problem, for it was soon dis-
covered that light from one side of the
screen was reflected to the other, thus
diluting the image. Waller licked this
difficulty by designing a screen of 1100
vertical strips of perforated plastic
tape, arranged like the louvers of an
enormous Venetian blind. To the audi-
ence these appear to be solid; actually,
they permit unwanted reflections to fil-
ter off behind the screen. Another tech-
nical obstacle that had to be sur-
mounted was the visibility of the divid-
ing lines between the three images on
the screen. To remove them Cinerama
engineers evolved an ingenious device
they dubbed a "jiggilo"; it is simply
a sawtoothed attachment that oscillates
within the projector, weakening the
edge lines of each picture so that no
sharp demarcations are discernible.

Now, fifteen years after Waller began
his preliminary experiments, Cinerama
is at last a lusty and crowd-pleasing
reality. And the work of perfecting the
new technique continues. The second
Cinerama camera has been finished.
Projection equipment is ready for in-
stallation in other theatres in the Unit-
ed States and England. Plans for the
first full-dress dramatic production are
well under way. And Hollywood, which
only a few years ago turned a cold
shoulder on such a "radical" innova-
tion, has lately evinced an extraordi-
nary interest in the new medium. . . .
Well, after all, they also opposed the
advent of sound along the golden
shores of the Sunset Strip.

TV and the amateur

[Continued from page 12]

travelog photographers have not learned
that still scenes are not movies. If there
is no action, don't take the picture — at
least not for television. For television
must have action and plenty of it.

PHYSICAL REQUIREMENTS

First among the physical require-
ments in films for television must be
a medium range of density. Our impres-
sion is that many amateur films are
deliberately underexposed slightly to

increase their color saturation. Now
such pictures may look wonderful when
shown with a high wattage lamp on a
short throw. But when you get such a
picture on a television screen, there is
no color, no definition, no shading and,
blotto, no picture.

Another must for television movies
is a maximum of closeups and no shot
farther away than middle distance.
Among the movies that are so common
on television you have seen what hap-
pens when the cowboy goes riding out
of the screen. When any figure becomes
less than one fourth of the diameter of
the screen, the picture loses resolution
and says nothing. Further, the TV viewer
in the home is likely to be plagued with
a certain amount of off-focus, static and
disturbing room lights. Thus, your pic-
ture must be mighty good to start with
to produce a clear image with all these
disturbing factors present.

Another serious problem in using
amateur films on television is that of
providing a suitable sound accompani-
ment. For you must remember that a
movie without sound is not a finished
television product and therefore is not
marketable under present conditions. As
we are set up today, the ideal audio
medium is an optical sound track di-
rectly on the film itself. But, for the
amateur producer, this has two draw-
backs. These are (1) the expense and
(2) the fact that most existing amateur
footage has been shot at 16 frames per
second.

Although I had run for me at clubs
and elsewhere many effective audio ac-
companiments from magnetic tapes, the
problems of exact synchrony in this
medium have yet to be solved satisfac-
torily. It seems unlikely, therefore, that
any television station will try to work
with this specialized equipment. In the
case of our Reel Adventures program,
we invariably invited the amateur him-
self to be present in the studio to deliver
his narrative directly. Even this system,
however, had its dangers; for some of
our producers got mike fright so badly
that they could scarcely say a word.

The new magnetic sound on film,
which advanced amateurs are adopting
so ably to their audio needs, should be
quite another story. For here they (and
we) can be sure of exact synchrony
on every playback and of high-fidelity
sound quality as well. Here at WGN-TV
we are very much interested in the po-
tentials of magnetic striping, particu-
larly in connection with our own news
films. Since the essence of a good news
film is timeliness, and since the mag-
netic sound on film system is far more
immediate in its application than an
optical track can ever be, I am rather
confident that we will find a way to
make use of it before long. And when
this is done generally in television, the
amateur producer will have one of his
biggest problems solved.

MOVIE MAKERS

23

Donald A.. Erickson, Renton, Wash.
Harry W. Flowers, Seattle, Wash.
Dr. Arthur M. Jackson jr., East St. Louis,

III.
Arthur Mueller, Bombay, India
Fred Olsen, San Francisco, Calif.
Wilson W. Pugh, Spring Hill, Ala.
Lawrence K. C. Wong, Honolulu, T. H.
Jerry Beyers, Bedford, Ind.
John T. Craig, New York City
Jerry Oberly, Detroit, Mich.
Saul Frederic Perlman, Brooklyn, N. Y.
Paul W. Pfister, Troy, N. Y.
John W. Poggi, Brooklyn, N. Y.

Stockholms Filmamatorer, Johanneshov.

Sweden
Earl Harano, North Platte, Neb.
John M. Olver, Flint, Mich.
H. 0. Mowery, Fargo, N. D.
Walter F. Slovik, Brooklyn, N. Y.
Capt. Maurice A. Dallimore, New York City
Chaplain Clyde C. Godfrey, Spokane, Wash.
Ernest 0. Nahapiet, San Francisco, Calif.
Joseph Ostronich, Anaconda, Mont.
Bob Potter, Oklahoma City, Okla.
William J. Stack, New York City
John Bais, Camas, Wash.
Carlton Blake, Seattle, Wash.
Thomas Dickson, Palisades Park, N. J.

John J. Jennings, Dundela Park, Eire
David Pollock, Livingston, N. J.
Ernest R. Quijada, Lompoc, Calif.
John Boyd, Wellsville, N. Y.
James Dimond, Peekskill, N. Y.
Dr. Guy Lapierre, Derby Line, Vt.
Robert E. Pratesi, Bellmore, N. Y.
Miss Amanda Roundy, Provo, Utah.
Gilbert Schmit, Fort DeFrance, Martinique,

F.W.I.
Mrs. Florence E. Lourette, Rochester, N. Y.
Lester T. Blais, Holyoke, Mass.
F. J. Brownell, Queens Village, N. Y.
George J. Feskoe, Port Chester, N. Y.
L. M. Gode, Galena Park, Texas
William A. Noviski, Medicine Hat, Canada
Elmer F. Ott, Philadelphia, Pa.
Xavier Yurt, Brighton, Mass.

Blanche L. Allen, Chicago, III.

Robert A. Anderson, Chicago, III.

Mary LeVines, Tampa, Fla.

A. B. Marinos, Decatur, III.

Thomas Masterson, Long Beach, Calif.

Old Dominion Camera Shop,

Richmond, Va.
H. C. S. Ramberg, Ada, Minn.
Dr. Lewis Rice, Forest Hills, N. Y.
Gilbert-Josef Rubin, Winthrop, Mass.
Harold Silverman, Brooklyn, N. Y .
Donald Floersheim, Springer, N. M.
John V. Malarkey, St. Benedict, Ore.
Joe B. Martin, Gary, Ind.
Fred A. Meeker, jr., Covington, Ky.
Martin S. Miller, Rahway, N. J.
Robert W. Osborne, Montgomery, Ala.
Miss Lilian Rixey, New York City

Raymond Russbach, Yonkers, N. Y.

P. S. Bezek, Evanston, III.

Stanley H. Brown, Brooklyn, N. Y.

William H. Mandelbaum, New York City

D. J. Markiewioz, Buffalo, N. Y.

John Salley, jr., Montclair, N. J.

Simon C. Scheuer, Larchmont, N. Y.

Dr. Giorgio Segale, Chiavari, Italy

L. F. Stretcher, Shawnee, Kans.

Frank Wallace, Winnetka, III.

Miss A. M. Webb, Dublin, Eire

Milton DuPriest, Fort Worth, Texas
Mario Fiore, Newark, N. J.
Ernest Frohboese, Short Hills, N. J.
Herbert G. Gelhardt, Flushing, N. Y.
George R. Gould, Portland, Maine
Walter A. Keitzer, M.D., Akron, Ohio
Donald E. Nelson, Minneapolis, Minn.
Carmine Piantedosi, Everett, Mass.
George J. Arendt, Baltimore, Md.
John P. Connolly, Oakland, Calif.
Richard J. Fenlon, Bradford, Mass.

Robert 0. Foringer, Washington, Pa.
R. C. Hardcastle, Oklahoma City, Okla.
Dwight M. Rounds, Wichita, Kans.
Edward Tomasik, Chicago, III.
Mrs. T. Ashby Watts, Lynchburg, Va.
I. G. Wood, Twin Falls, Idaho
Kasper Bakkala, Longview, Wash.
Walter J. Brey, Fort Atkinson, Wise.
Ivy Calligan, Longview, Wash.
James R. Carneal, Richmond, Va.
C. L. Gilman, Silver Lake, Wash.
Andrew Kommer, Byron Center, Mich.

Longview Movie Makers, Kelso, Wash.
Ronald S. Olfson, Longview, Wash.
Cecil N. Paget, Alameda, Calif.
Kenneth Riblett, Kelso, Wash.
James P. Robinson, San Francisco, Calif.
Mrs. Rosa Schroeder, Longview, Wash.
Mrs. Charley Snead, Longview, Wash.
Maurice Alee, New York City
Sidney A. Foltz, Mansfield, Ohio
Marcel A. Gradsten, New York City
Robert L. Forman, White Plains, N. Y.
Miss Virginia Bishop, Port Chester, N. Y.
George H. Johnson, M.D.,

Vancouver, Wash.
Miss Ernestine Murray, Savannah, Ga.

Leon-Philippe Verreault, Matane, Canada
J. A. Weaver, New York City
Jack Weil, Fort Wayne, Ind.
M. Weissman, New York City
Arthur F. Williams,

South Charleston, W. Va.
Roscoe Willoughby, Olathe, Kans.
Otis J. Workman, Huntington, W. Va.
Franklin Acker, Oradell, N. J.
George A. Bard, Wilmington, Del.
Sol Konicoff, North Bergen, N. J.
Monroe P. Urdang, Brooklyn, N. Y.
Skipper Walling, Keyport, N. J.
Hugh Willoughby, Riverside, R. I.
N. Heffner, Kew Gardens, N. Y.
John A. Bachman, Palmer, Mass.
George Bolshakov, New York City
Hugh Jones, jr., Montpelier, Vt.
Harry Spiro, Astoria, N. Y.

James A. Stewart, Vancouver, Canada
C. Victor Thornton, Fort Worth, Texas
Dante Alberti, Legnano, Italy
John E. Arnold, Wenham, Mass.
Adolph Boehm, Chicago, III.
W. A. Bowles, Charlotte, N. C.
L. Branscome, Hillsville, Va.
Lucy E. Brauer, Oak Lawn, 111.
Jane Brown, Milwaukee, Wise.
Dr. Max S. Cooling,

Adelaide, South Australia
Dr. C. E. Davies, Vancouver, Canada
Mrs. D. J. Degenhart, Harvey, III.
Franklin G. Herman, Chicago, III.
Marvin S. Hudson, Alexandria, Va.

Mildred P. Knabe, Chicago, 111.
Robert C. Rosenberg, Lititz, Pa.
Paul V. Ruof, Lancaster, Pa.
M. J. Schlatter, El Cerrito, Calif.
Earle R. Seely, Chicago, III.
Sam Shiozaki, Chicago, III.
Welby Steele, Spiceland, Ind.
Irving L. Strauber, Lynbrook, A. Y.
William M. Straubmueller,

New Hyde Park, N. Y.
Merle D. Swain, River Sioux, Iowa
Mrs. Stephen Wagner, Buffalo, N. Y.
John Robert Woods, Kankakee, III.
Robert R. Bailey, Hamden, Conn.
Willy Forster, St. Gall, Switzerland
Jose de Lugo Jaime, La Habana, Cuba
John D. Snyder, Reading, Pa.

Prof. H. B. Trecker, it est Hartford, Conn.

\. Selig Vane-, Brookline, Mass.

G. T. Billiard, Bellevue, Ohio

Carl J. Bisignano, White Plains, N. Y.

Richard B. Carlton, Dover Mass.

Harold Kau, Sheridan, Wyo.

Mrs. Ann Richman, Hartsdale, N. Y.

Sidney H. Tushin, Dorchester, Mass.

Rae W. Christenscn, Pleasant Grove, Utah

La Casa Movie Club, Alhambra, Calif.

Howard L. Lungren, Newark, N. J.

W. E. Mitchell, Provo, Utah

Philip H. Platzker, New York City

Tracy Rodeau, Great Falls, Mont.

Doris Riddick, Albany, N. Y.

Miss Mary Rolph, Newark, N. J.

N. W. Smith, Nacogdoches, Texas

Carl Ahre, Eugene, Ore.

Dr. Vernon Applegate, Rogers City. Mich.

Miss Thelma E. Bratt,

Clarence Center, N. Y.
Mr. & Mrs. Bruce H. Bronson,

Englewood, Colo.
Stanley F. Choate, Chicago, III.
Salvatore J. Damiata, East Hartford. Conn.
Paul W. Finch, Omaha, Neb.
Wally B. Flynn, Chicago, 111.
Lt. Harold L. Harriman,

do FPO, San Francisco, Calif.
Melvyn Hiller, New York City

Frank Krecek, Omaha, Neb.

Blaine Lewis, Salt Lake City, Utah

Erik Lutken, Gaspe, Canada

Juri Muursoo, Montreal, Canada

Theodore E. Nelson, Omaha, Neb.

K. Fred Netter, Scarsdale, N. Y.

Ralph B. Peterson, Omaha, Neb.

A. A. Pimper, Sr., Howells, Neb.

Frank Santulli, Brooklyn, N. Y.

Walter Sciarini, Sunnyvale, Calif.

Paul Spoonts, McGregor, Texas

Robert J. Stalker, Rochester, N. Y.

H. L. Stenswick, Salt Lake City, Utah

Edward H. Sydow, Omaha, Neb.

Utah Cine Arts Club, Salt Lake City, Utah

A/B William H. Wagner, Geneva, N. Y.
Arthur W. White, Bogue, Kans.
Margaret Bernhard, Detroit, Mich.
Louis Leon Brusseau, Detroit, Mich.
Edw. A. Byrick, New York City
Carl Cornell, Roseburg, Ore.
Vera R. H. Frohlicher, St. Paul, Minn.
Edwin A. Gildemeister, Detroit, Mich.
Stanley F. Hodor, Detroit, Mich.
Adeline B. Jerome, Detroit, Mich.
Miss Ada C. Maxwell, Detroit, Mich.
Herbert Monani, New York City
Northern California Council of Amateur

Movie Clubs, Richmond, Calif.
Ben Paull, Detroit, Mich.
Karl Radden, Detroit, Mich.
Mrs. H. A. Scarff, Riverside, Canada

E. J. Scroggin, Lee's Summit, Mo.
Elizabeth Sowell, Detroit, Mich.
Miss Marie Szepski, Detroit, Mich.
Ralph W. Baker, Klamath Falls, Ore.
Wayne Carson, M.D., Indianapolis, Ind.
Walter E. Farrell, Louisville, Ky.

Ed Mann, New York City .

T. J. Meek, Montreal, Canada

Paul J. Rolke, Milwaukee, Wise.

Lt. Com. Ross Zenneck, Newport, R. I.

Lou Bohlin, Chicago, III.

John E. Despaul, Chicago, III.

Francis J. Flynn, East Meadow, N. Y.

Richard E. Fricke, Akron. Ohio

Willard W. Huffman,

Coco Solo, Canal Zone
C. V. Laugle, Ramsey, N. J.

F. W. Loll, St. Petersburg, Fla.

New Institute Film Club, Brooklyn, N. Y.
S. E. Minister Ct. Stanislas Pecci,

Vatican City, Italy
A. Hebert, C.A., Sherbrooke, Canada
Charles Holle, Watervliet, N. Y.
Hugh Rooney, jr., New Orleans, La.
James R. Schlegel, Guilford, Conn.

24

JANUARY 1953

Maxim premiere The filst Public

showing of the
1952 Maxim Memorial Award winner
was presented by the Amateur Cinema
League on December 9 before members
and guests of the Hartford (Conn.)
Cinema Club. This group was founded
in 1926 by Hiram Percy Maxim, FACL,
Founder President of the ACL, and is
the club of his daughter, Percy Maxim
Lee, FACL, donor of the award.

Featured on the program was this
year's award winner, Duck Soup, by
Delores and Timothy Lawler, ACL, of
Kenosha, Wise. The other films shown
(all Ten Best winners) were Backyard
Birding, by Herbert D. Shumway, ACL,
of Greenfield, Mass.; The Man With
The Box, by James L. Watson, ACL, of
Worcester, Mass. ; Poet and Peasant,
by Robert G. Williams, ACL, of Toledo.
Ohio, and Muntre Streker, by Mathis
Kverne, of Oslo, Norway. Messrs.
Shumway and Watson both attended
the screening.

Warren A. Levett, ACL, who was in
charge of technical arrangements, pre-
sented the films and their varied audio
accompaniments smoothly and effec-
tively. Edmund Zacher, ACL, club pres-
ident, presided over the meeting and
James W. Moore, ACL, the League's
managing director, introduced each film
with a brief discussion.

Japan Contest The Nippon Ama-
teur Cine Slide
Association (NACSA) of Tokyo, Japan,
has announced that it will hold its first
international competition this year with
entries accepted from amateurs any-
where in the world. Trophies will be
awarded to the top ten films in the

John C. Lauber, ACL

A LIGHTING SETUP is pictured by members of
the Minneapolis Cine Club, ACL, during the
visit of Peter van Rijsinge, ACL (center), of the
Hague Cine Club, in Holland. Behind the
cameras are Alfred Peterson, R. J. S. Carter,
ACL, and Albert Roser. Wilford Anderson,
ACL, club head, is with model Joan.

contest, with a Grand Trophy for the
best film out of the ten. An undeter-
mined number of honorable mentions
will also be awarded.

The closing date for the competition,
which also includes a special classifi-
cation for slides and filmstrips, is
March 31, 1953. Films are limited in
length to 800 feet for 16mm. and 400
feet for 8mm. Further details may be
gotten from ACL, or by writing directly
to NACSA, Konishiroku Building, Mu-
romachi 3, Nihonbashi, Chuo-Ku,
Tokyo, Japan.

LOS Angeles 8'S The November 11
meeting of the
Los Angeles 8mm. Club, ACL, featured
a screening of the 1951 Ten Best win-
ner, Venezia, by Oscar H. Horovitz,
FACL. Also on the agenda for the eve-
ning was an election of officers for the
coming year. The results are not avail-
able as we go to press, but will be pub-
lished soon. November also saw the
club's annual Gadget Night, at which
members' gadgets were swapped and
talked about.

Michigan salon 0n March 14,

the Michigan
Council of Amateur Movie Clubs will
present its 1953 Salon at the Portage
School auditorium in Kalamazoo, with
the Long Lake Amateur Movie Camera
Club of that city acting as host.
Trophies will be given to the top films
in each of four classes: scenario, fam-
ily, documentary and club productions.
The deadline for all entries is Febru-
ary 21. Further details and entry
blanks may be obtained from Mrs.
R. D. Evans, 1122 Cambridge Drive,
Kalamazoo, Mich.

MMPC Winners in the annual con-
test conducted by the Metro-
politan Motion Picture Club, ACL, of
New York City, were announced last
month. The $24 Purchase, by Terry
Manos, ACL, captured first prize, with
Cine Memoirs, by George Mesaros.
FACL, and A Queen's Story, by Helen
C. Welsh, ACL, of Albany, running
second and third respectively. Honor-
able mentions were awarded to Captain
Tully's Catch, by Constantine A. Wihtol,
ACL; Catapulted into Fame, by August
Meister, ACL, and Sweet Air, by the
MMPC Project Group. Congratulations
to all the winners!

The club celebrated the Yuletide
season on December 18 with a special
program featuring The Philadelphia

Story, by Samuel Fass. ACL; Here,
Kitty, by Walter Bergmann, FACL, and
The Birth of St. Mary's, by Robert F.
Gowen, ACL. The choir of the Jersey
City Central Avenue Reformed Church
gave a performance of The Carols, nar-
ration for which was done by J. Chris-
tian Vogel, ACL.

Rhode Island Our smallest state
has found that there
is always room for one more movie
club. The Rhode Island Movie Makers,
recently organized by residents of
Providence, have extended an invitation
to all interested filmers to join them in
their new venture. If you would like
more information about the club, write
to Wallace E. Tillinghast, jr., ACL, 150
Ann Mary Brown Drive. Providence 5,
R. I.

S. Africa Salon The Johannesburg
Photographic and
Cine Society, ACL, will hold its 17th
Annual South African Salon on Photog-
raphy during the late spring this year.
Closing date for the competition, which
is open to amateurs throughout the
world, is March 15, 1953.

Three top awards will be made, with
honorable mentions to other films
judged worthy. Films may be of any
gauge and length, sound of any kind
or silent, color or black and white.
For further details, write to J. K.
Stokes, club secretary, Post Office Box
7024, Johannesburg, South Africa.

Brooklyn gala The fifth annual

8mm. Gala Show
was held recently by the Brooklyn
Amateur Cine Club, ACL, at the Neigh-
borhood Club House. The program,
which was well received by a capacity
audience, included The Wiffenpoof
Song, by David Stettner, ACL; Oaxaca,
by Esther Cooke, ACL; Dress Affair.
by John Harms; The Black Satchel,
by Al Londema; March 11, 1952, by
Arthur Rosenfeld; Outsmarted Smar-
ties, a 1952 Ten Best winner, by George
Valentine, and The Carabi Incident, by
Harry Atwood, ACL, given an Honor-
able Mention in ACL's 1952 selections.

Taft The Taft Cinema Club, ACL,
of the Bronx, N. Y., was enter-
tained at a recent meeting by a show-
ing of films by Fred Furman of the
New York City 8mm. Motion Picture
Club. Among the pictures that Mr.
Furman brought with him were Two
Weeks in June; David Grows Up; The

MOVIE MAKERS

Hard Way, and Well, I'll be Darned.
During December the members viewed
two instruction films from the ACL
Club Film Library, It's Up To You (on
film care) and Entitled to Success (on
title making).

Albany For the entertainment of
their guests at a special
Pittsfield Night, the Amateur Motion
Picture Society of Albany, ACL, in
New York, screened Westward Ho!, by
Katherine Behringcr; Journey into
Spring, by Helen C. Welsh, ACL, and
The Gannets, 1950 Maxim Award win-
ner by Warren A. Levett, ACL. Olive
Klein and Madeline O'Keefe were in
charge of the event.

Rochester The new °mcers of the

Amateur Movie Club of
Rochester, N. Y., are Harry C. Detweiler,
ACL, president; Robert J. Stalker, vice-
president; James C. Loughman, secre-
tary, and Mrs. Florence E. Lourette,
treasurer. The club meets on the last
Wednesday of each month at the George
Eastman House, 900 East Avenue, and
an invitation has been extended for all
interested to visit.

Kansas City Tne Kansas City
(Mo.) Amateur
Movie Makers, ACL, awarded first
prize in its recent contest to The Pio-
neer, by Lillian and Clarence Simpson,
ACL. Also in the competition, which
was held in Atkins Hall before an audi-
ence of over 500, were Through the
Year, by Jim and Sylvia Willoughby,
second prize, and Christmas, by Violet
and Bill Goodson, ACL, third prize.

Ra-Cine elects Officers of the Ra-
Cine Club, ACL,
of Racine, Wise, for the coming year
will be W. G. Marshall, ACL, presi-
dent; Mrs. John Kibar, vicepresident;
Fred Bullock, secretary, and John Tis-
huk, ACL, treasurer. The annual Christ-
mas banquet was held on December 13
at Emmaus Church Hall, with dinner
and entertainment enjoyed by all.

Queensland Members of the
Queensland Amateur
Cine Society, of Brisbane, Australia,
packed up basket lunches and set off
for an outing in the wild country on

WANT TO JOIN A MOVIE CLUB?

Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address: Clubs, Amateur Cinema
League, 420 Lexington Avenue,
New York 17, N. Y.

November 30. with games, swimming
and filming galore. Plans are now com-
pleted for a new instructional course
for beginners consisting of two lectures
on movie making each month. Although
the course does not start until Febru-
ary, more than 40 members have en-
rolled for the entire series.

Philadelphia

Winners of the 8-16
Movie Club of Phil-
adelphia, ACL, Gold Cup contest, an-
nounced at the club's annual banquet
on December 4, were Florida ( 16mm. ) .
by Ralph Vozzy, ACL, and Vacation
Days (8mm.), by Lou Sobel. Highlights
of the Christmas celebration were
screenings of In Fancy Free, the 1951
Maxim Award winner, and Keyboard
Karnival, 1946 winner of the Gold Cup
contest.

Minneapolis Tne Minneapolis Oc-
to-Cine Guild, ACL,
the most recent addition to the ever-
growing roster of ACL member clubs
throughout the world, welcomed Christ-
mas with its annual party at Stouffers
restaurant in that city. After dinner,
members and their guests were enter-
tained with screenings of recent club
productions, followed by dancing and
games.

Bergen County New officers for

the Amateur
Movie Society of Bergen County. ACL.
in New Jersey, are Ralph Santulli.
president; Alfred Oswald, vicepresi-
dent; Wally Koechel. ACL. secretary;
Leon Konsevich, treasurer, and William
Messner, ACL. program and publicity
chairman.

At the club's annual Christmas party
on December 15, the entertainment in-
cluded showings of Symphony of the
Village, by Bert Seckendorf, ACL;

John J. Lloyd, ACI,

ill 5 t_

r

-> "HUP i

fjSfl n

•XI ;J*.

IM

IN SOUTHERN CALIFORNIA, the Amateur Movie Club of San Diego entertains the Long Beach
Cinema Club at a joint screening. Hal Potter, ACL, San Diego president, is at projector.

25

Xmas Story, by Victor Watson and \Ii
Seckendorf. and Fire-Fighters Field
Day, by Mr. Messner. The la^t named
was an Honorable Mention winner in
the ACL's Ten Best cutest for 1952.

Cape Town At its November open
forum meeting, tin-
Cape Town (South Africa) Photogra-
phic Society, ACL. started a new edu-
cational scries entitled Help The lie-
ginner, with lectures and demonstra-
tions by club members on the use of
different makes of cameras. Following
this instructional session, the members
enjoyed Hippo Kill, a film with a self-
explanatory title by Mr. Pollak.

L. A. dinner Tlle Los Angeles
Cinema Club. ACL.
welcomed the Christmas season with
its annual contest and dinner at the
Ebell Club on December 9. During the
evening, Harold K. Folsom was in-
stalled as president for the coming
year, with Marcus I. Russek, ACL,
vicepresident; Arthur E. Harvey, sec-
retary, and Howard G. Stephens, treas-
urer. The contest winners will be an-
nounced in a later issue.

Hawaii elects At a recent meet
ing, the Hawaii
Cinema League elected George Q. Lai
as chairman for the new year, with
David K. Morton, ACL, as vicechair-
man and Thomas Y. J. Lum, ACL, as
secretary-treasurer. The results of the
club's annual 8mm. contest, held during
December, will be announced shortly.

Making the most of tape

[Continued from page 17]

and recorded an ex tempore commen-
tary describing each shot in turn. For
example, the sequence above would be
described as: "Car in distance; Sign.
"Stop, Look, Listen'; Sign and car;
Train; Car; Train; Car; Girl; . . ."
and so on. During this procedure. I
keep the projector synchronized to the
tape so that I can, if necessary, play
back this pilot commentary accurately
in step with the film.

If you try this technique, you will
find you can anticipate the next shot
slightly so that the first word of de-
scription is spoken immediately as the
shot appears on the screen. With fast-
cutting sequences. how7ever. you may
find yourself getting in a muddle. It is
better then to have an assistant tap a
suitable object — a bell if you like — to
mark the start of each shot. This leaves
you free to hesitate slightly before you
provide the description.

So far, my method is identical with
that described by Neal Du Brey. ACL.
in A Recording Timer from July, 1952.
Movie Makers. But whereas he pre-

26

JANUARY 1953

THEY COULD TAKE IT!

WE are, frankly, both amused and not a little
amazed at an early paragraph in the Lawlers'
story on their production of Duck Soup,
Maxim Award winner for 195 2. Although many of
you may already have read it, we shall risk its repeti-
tion here for the sake of coherent coverage.

Mr. Lawler, it seems, had been citing the reasons
behind their joint determination to do a good family
film. Coming to point three, he wrote forthrightly:

"Probably the most basic reason of all was a thorn
I'd been carrying for about six years, courtesy of the
League's Continuity and Club Consultant. For, in the
course of these duties, he had reviewed a film by the
writer carrying the intriguing title of Our Timmy.
And of it, on August 24, 1945, he had written in
part: " 'To date, where your film-making suffers is in
the continuity or camera treatment aspects. These,
especially the latter, are routine, dull and unimagina-
tive. . . . What you need is variety — variety of camera
distance, camera angle and scene length. Your scenes
are invariably too long, an understandable weakness
on the part of proud-father movie makers. But if
you wish your films to have pace and interest for

others too, they must be shortened.' What brutal
words for such an outstanding (in my opinion) film-
ing accomplishment!"

Well . . .! Mr. Lawler was kidding, of course, in
his use of the word "brutal" to describe our com-
ments. But they had been, certainly, blunt and un-
shielded in a sugar coating — and we like to think
that our current Consultant does these things more
gracefully.

But the important aspect was this. Not only had
our words stuck in the Lawlers' craw; they also had
stuck in their minds and hearts. Where many a mem-
ber would have (and has!) submitted his resignation
forthwith, the Lawlers got up off the floor and fought
back with renewed, stubborn and creative resolution.
"I resolved," he writes, for them both, "that someday
I would make a family film which could be enjoyed
by others besides the proud father."

As a long-term program, such tough-minded reso-
lution would seem to have its advantages over pique
and the pettiness of resignation. For the Lawlers, any-
way, the result has been Duck Soup — Maxim Me-
morial Award winner for 1952.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident
Walter Bergmann, Treasurer James W. Moore, Managing Director
Arthur H. Elliott George Merz

Fred Evans Stephen F. Voorhees

John V. Hansen Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE., NEW YORK 17. N. Y.. U. S. A.

pares a cue sheet, I work from the tape
directly. Here is how I do it.

Suppose I am recording sound for
the car-and-train sequence above. 1
switch the recorder to playback and
run through until I hear (tap) "Car in
distance." Then I switch off the re-
corder with one hand, holding the feed
reel with the other to prevent over-
running. Next I put a hand on each
reel and inch the tape back until I hear
the "tap" passing the record-playback
head. On many machines this is easy,
since switching off also opens the pinch
roller and the tape is no longer held
in close contact with the capstan.

Immediately the tape has been inched
past the R/P head, I mark the tape
with a Chinagraph pencil. This is a
specially soft kind of crayon made for
writing on china and glass. It is equally
suitable for writing on film and tape:
and. provided you use it on the shiny
~ide only, you can rub it off again with
your thumb. If necessary, you can use
a ball-pen instead, but it is not nearly
so convenient. On my recorder, I can
conveniently make the mark opposite

the R/P head. On machines using
"drop-in" threading, this is not usually
possible. However, you can mark the
tape wherever it happens to be visible
and accessible. All that matters is that
you shall be able to run the tape
through, later on. and know, without
playing back, when you arrive at the
beginning of the shot.

When I have marked the tape at the
beginning of Scene 101, I mark the
end in a similar way. Then I wind back
to a point several inches before the first
mark, adjust the volume and tone con-
trols ready for recording, but leave the
record-playback switch in the playback
position.

Now we are all ready to go. I start
the recorder and watch for the first
mark on the tape. As it comes into
position. I switch to record and get the
car noise taped. Immediately the second
mark is past. I switch to playback once
more. This leaves me with sound cor-
rectly recorded on the tape for Scene
101. I can, in fact, play back the whole
tape and hear if the sound fits exactly
in with the pilot commentary to the

other shots which will follow it.

When I am satisfied with the sound
for the first shot, I mark the end of
the second shot on the tape. Then I
wipe off the first mark, so that there
are still only two marks on the tape
and therefore no risk of confusion.
After this, I record sound for Scene
102 in the same way as before.

Proceeding on these lines, I replace
my pilot commentary bit by bit. The
timing for each shot need be accurate
only in starting, for if it overruns, the
surplus will be erased when I record
for the next shot. There is only one
difficulty which you may discover in
the method. Each shot may be prefaced
by a click where you switched to record.
Judging from Warren A. Levett's ex-
periments (More on Magnetic Record-
ing, Movie Makers, May, 1951), this
will not happen with the Webster wire
recorders and possibly some other ma-
chines. But if it does, you can use
Levett's method of erasing the clicks
afterward. Alternatively, you can avoid
them altogether by using a technique
I shall describe in my next article.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

EXTRA-NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

r

■

i

i

i

■

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17 ', N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name

Street.
City

| Zor

.State-

TYTOTTTT ^j^eAi^ous'mw

Bell & Howell Smm
home movie projector/

"precision-built'

This new projector is precision-built in true Bell & Howell
tradition to give a lifetime of trouble-free performance. And
it's so easy to use that every member of the family can show
movies effortlessly. Most Bell & Howell dealers offer liberal
terms and trade-ins.

Bell sJHowell

makes il/un lo make
(and show) movies/

THE MAGAZINE

I

mm.& lUmm. FILMERS

BUILD A SIMPLE TITLER • LETS MAKE IT MEXICO • MORE O

LIGHT

THE ACL PRESENTS

*«

THE TOP OF THE TEN BEST

JJ

FOR THE FIRST TIME, The Amateur Cinema League
is proud to offer to movie clubs and amateur filmers everywhere
a perfectly balanced program — 1 hour and 26 minutes long —
selected from award-winning films of the past year. "The Top of
the Ten Best" is a unique cross section of amateur filming at its
finest. Packaged on two reels, it presents an unparalleled variety
of subject matter, treatment and theme. The entire production is
accompanied by the original scores, re-recorded for absolute
synchrony through the magic of magnetic sound on film. '"The Top
of the Ten Best" is a complete program — ready to roll !

MOVIE CLUBS can present this six-star ACL show at
regular meetings, annual dinners or at Gala Nights — to raise money
and to win new members. And your top club films may always be
added to round out the local program.

INDIVIDUAL FILMERS can screen "The Top of the
Ten Best" for study and inspiration, to learn what it takes to make
better movies, to entertain friends and family.

THE PROGRAM

The Man With the Box, an outstanding psychological thriller in black and
white by James L. Watson, ACL. "Superlative melodrama . . . suspense-filled
excitement . . . terrifying conclusion." 11 mins.

Poet and Peasant, a musical novelty by Robert G. Williams, ACL. "A technical
tour de force . . . perfect synchrony of music to pictures . . . stumped most
professionals." 6 mins.

Birds of Washington, a nature study by J. Don Sutherland, ACL, and Ralph E.
Lawrence, ACL. "Highly competent pictorial survey of bird life . . . Informative
. . . outstanding." Excerpted especially for ACL: 24 mins.

Muntre Streker, an animated cartoon novelty by Mathis Kverne, of Oslo.
Norway. "Delightful tidbit . . . flawless animation . . . sparkling film fantasy."
4 mins.

INTERMISSION

Bulbs and Beauty, a documentary record of the beautiful gladiolus by Haven
Trecker, ACL. "Painstaking . . . profusely close-upped sequences . . . colorful
and elaborate." Excerpted especially for ACL: 20 mins.

Duck Soup, a family film by Delores and Timothy Lawler, ACL, winner of the
Hiram Percy Maxim Memorial Award for 1952. "A rollicking, rambunctious
household saga . . . well planned, crisply executed." 21 mins.

BE THE FIRST TO SCREEN "THE TOP OF THE TEN BEST"

Ready March 1 —Clip and Mail the Coupon, Today!

r

| AMATEUR CINEMA LEAGUE, "nc. 2-53

| 420 Lexington Avenue, New York 17, N. Y.

Please send me complete information and rates for screening "THE TOP OF I

THE TEN BEST" on

NAME_

(date)
_ CLUB D INDIVIDUAL FILMER □

ADDRESS^
CITY

_ZONE_

_STATE_

B 18 1953 B * 402242

W

MAGNETIC
RECORDING TAP!

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FOR HOME MOVIE MAKERS!
Wonderful Way to Make
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2

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make sound movies as easily and
inexpensively as silent films. Add
sound to old silent films. Erase and
change the sound any time at all!
Magna-Stripe service is available
to you at your photographic store.
Ask your dealer about it.

"Bill, thafs what I call
professional

sound"

You'll never know how professional the sound you record on your

tape recorder can be, until you use Soundcraft Magnetic

Recording Tape. You'll be thrilled by Soundcraft high-fidelity,

delighted by the true-to-life reproduction.

Soundcraft engineers are engaged in constant research

for new methods, materials, processes. As a result,

sound engineers throughout the industry — recording studios,

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— demand Soundcraft Magnetic Recording Tape for the

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Next time you visit your nearest dealer, ask for

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REEVES

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Complete information on Soundcraft

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Yours for the asking — just write!

•T.M.R.S.

Hi

32

FEBRUARY 1953

BOLEX ACCESSORIES

STEVENS

Bolex Camera Accessories

and Authorized Service exclusively

• Battery-Operaled Camera Drive

• A. C. Synchronous Camera Drive

• Lens Extension Tubes for Ultra Close-Ups

• Double-Exposure Split-Frame Mask

• Detachable Camera Base

• Special 400' Magazine Installation

• Alignment Gauge for Precise Framing

• Cine Timer for Automatic Time-Lapse

Photography

• Turret Filter Slide Installation

• Complete Bolex Service & Parts

SOUND SPROCKETS INSTALLED
OCTAMETER FINDERS INSTALLED

Write for Illustrated Bolex Accessory Booklet

STEVENS ENGINEERING CO.

2421 Military Ave., Los Angeles 64, Calif.

,:;'- ■

KODACHROME DUPLICATES

8mm. or 16mm. 110 per foot

Mail Orders accepted

HOLLYWOOD 16mm INDUSTRIES, INC.

S060-A Hillywood Blvd.

Hollywood 28. Calif.

3y stamps for giant catalogue. State size,

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

REED & SEED DISTRIBUTORS, IHC
BROOKLYN 9, R,

WHAT

are the pictures in

THE TOP OF THE TEN BEST?

See the inside front cover

for ACL's exciting new

Film Feature!

1953 PASADENA ROSE PARADE

16mm. Kodachrome 400 feet silent, $60.00

Sound, $75.00

8mm. 200 feet, $30.00

GUY D. HASELTON

7936 Santa Monica Blvd., Hollywood 46, Calif.

NEW PRECISION

(Said

DUAL SPEED
REWINDS

The newest design of the
famous Bakt Quality Line
allows precise examination
at viewing speed and instant
shift to high speed for wind*
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TOUCH

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U*tUa 120 VICTOR • DETROIT 3. MICHIGAN

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

.■— '.ato^jfw:.-. - ^^^_^

The reader writes

Closeups

Let's make it Mexico!

Incident light meters indoors: 2

An all-purpose titler

February
1953

34

What filmers are doing 36

Georgia Engelhard 38

Leo J. Heffernan, FACL 40

Haven Trecker, ACL 41

Bounce light for baby: 2 Bette and Fred Klosterwan, ACL 44

Tenth for City College

Fine frames

Clubs

News of the industry

Odds and ends: audio division

New ACL members

Lawrence Weiner 46

From readers' films A7

People, plans and programs 48

Reports on products 50

Editorial 54

54

Cover photograph by Georgia Engelhard

JAMES W. MOORE

Editor

PETER D. DIBBLE

Clubs Editor

ANNE YOUNG
Advertising & Production

\/

Vol. 28, No. 2. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid ; to members of Amateur Cinema Iteague,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August/3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879VZopyright,
1953, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

L.

B 402242

MOVIE MAKERS

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33

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34

FEBRUARY 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

SAFETY OUTLETS

Dear ACL: If you had checked up a
little, you could have saved all the ma-
terial (Protect Your Projection Parties)
on page 297 of the November issue of
Movie Makers. For there are a num-
ber of wall outlets so made that a slight
turn of the plug locks it into positive
position.

One of these, for example, is the
Harvey Hubbell No. 920 Twist-Tite con-
venience outlet, which will accept the
standard plug and can easily be in-
stalled in place of the standard wall
outlet.

Douglas A. Johnston, ACL
Newington, Conn.

Thanks, Mr. Johnston. Sounds like a
good idea for permanent installation in
one's own home. But how about that
screening in a neighbor's house or in a
public hall? The Merz plug will still pro-
tect you from a disrupted power connec-
tion.

DESERVING PICTURE

Dear Mr. Moore: The "Duck Soup"
Lawlers are friends of mine and their
film is certainly a deserving picture. It
(the Maxim Award) could not have
happened to more charming movie
makers! And that cover on the Decem-
ber issue — really distinctive.

Erma Niedermeyer, ACL
Milwaukee, Wise.

Mrs. Niedermeyer, Maxim Award win-
ner herself in 1943 with Lend Me Your
Ear, another family film, should know
whereof she speaks.

TV CAMERAMEN NEEDED

Dear Fellow Filmers: With the com-
ing of television to this area, I would
welcome hearing from ACL members
anywhere in the United States who are
interested in shooting a little film now
and then for profit.

The basic requirement would be that
you have a 16mm. camera, preferably
of the spool-loading type. Although our
exact arrangements will have to be
worked out, I contemplate (when in
need of a subject in your neighbor-
hood) sending you a roll of black and
white negative and a letter describing
the coverage desired. You shoot the
film and return it to me for processing.
I will then pay you by the foot for all

material used, and return the balance
of the film to you.

Drop me a line and let's get ac-
quainted.

Carl E. Pehlman, ACL
318 South Nevada Avenue
Colorado Springs, Colo.

MUCH IN COMMON

Dear ACL: While looking through the
December issue of Movie Makers, I
found in the Ten Best Films story the
movie, The Israeli Story, produced on
1400 feet of 16mm. magnetic sound
film by Oscar H. Horovitz, FACL, of
Newton, Mass.

As a member of the Amateur Cinema
League, and as a Christian interested
in the welfare of Israel, I was wonder-
ing if it would be possible to see this
Palestinian movie. I feel sure that we
can find much in common if you will
put me in touch with Mr. Horovitz.

Alex Smith, ACL
Seaside, Ore.

Your request, Member Smith, was
passed on in person to League Fellow
Horovitz on the occasion of his recent
visit to ACL headquarters.

FINEST IN THE WORLD

Gentlemen: I wish to take this oppor-
tunity to offer you my heartiest con-
gratulations on publishing what I be-
lieve to be the finest and most com-
plete magazine in the field of amateur
cinematography. Keep up the good
work!

Frank X. Dalton, ACL
Cincinnati, Ohio

THOUGHTFUL ACTS

Dear Movie Makers: The offers by
members on at least two occasions since
I have been a subscriber to pass on
back copies of the magazine are most
thoughtful acts. I would certainly be in-
terested in anyone advising me of such
back numbers as they would care to
part with.

Weldon Chaffin
2830 Pearl
Austin, Texas

LENDING LIBRARY

Dear Ruth Davy: On page 321 of the
December issue of Movie Makers you
have offered a complete file of the mag-
azine from 1948 on.

As secretary of the Los Angeles 8mm.
Club, I feel that these issues could be
put to wonderful use in the form of a
lending library here in our group. We
have enrolled many new members since

1948, and I am sure that they would
welcome the chance of looking through
these old issues of Movie Makers.

Thanks so much for your wonderful
offer!

Merle Williams
Secretary
Los Angeles 8mm. Club, ACL
Los Angeles, Calif.

BACK ISSUES, OVERSEAS

Dear ACL: I am emigrating shortly to
Tasmania, Australia, and, as I have to
reduce my luggage, I have decided to
give away some back issues of Movie
Makers which have accumulated. These
are May through December, 1946, and
the full file for the years 1947, 1948,
1949 and 1950.

However, since I shall be out of Eng-
land by the time this note can appear in
print, I must ask readers to address
their requests to an accommodating
friend of mine who will have the maga-
zines on file. He is: J. Friedberg, I. A.
Wiverton Road, Sherwood Rise, Not-
tingham, England. It is expected, of
course, that all requestors will under-
take the shipping charges.

G. A. Wisoky, ACL

Nottingham, England

Here, for a change, is a fine chance for
Movie Makers overseas readers to stock
up on back copies.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

CONTACTS DESIRED

Dear ACL: My film unit handles the
production, in 16mm., of a fair variety
of typically African subjects — wild
game, sports such as fishing and swim-
ming and documentaries on modern in-
dustries.

It will be of great benefit to establish
contact with other members of ACL in
other parts of the world, with a view
to creating a common ground of inter-
est or otherwise striking up a mutually
beneficial association. It is thus earn-
estly hoped that this message will be
reproduced in Movie Makers.

Arnold Graff, FRPS
Manager
United Film Productions
74 Milner Road
Rondebosch, Cape Town
South Africa

MOVIE MAKERS

35

ALL AURICON EQUIPMENT IS SOLD WITH
A 30 DAY MONEY-BACK GUARANTEE.

"CINE-VOICE" 16 mm Optical Sound-On-Film Camera. "AURICON- PRO " 16 mm Optical Sound-On-Film Camera. "SUPER 1200" 16 mm Optical Sound-On-Film Camera.

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SOUND RECORDER— Model RT-80...200 foot film
capacity, daylight loading, synchronous motor for
portable "double-system" 16 mm Optical
Sound-On-Film operation.

TRIPOD — Models FT-10 and FT-10S12...
Pan-Tilt Head Professional Tripod for
velvet-smooth action. Perfectly counter-balanced
to prevent Camera "dumping."

PORTABLE POWER SUPPLY UNIT — Model PS-21 .. .Silent

in operation, furnishes 115-Volt AC power to drive
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Write today for free illustrated catalog.

MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931

M

36

FEBRUARY 1953

For Birthday Movies
or any time

TO MAKE GOOD PICTURES BETTER

Gr MEDIUM BEAM
"E REFLECTOR

PHOTOLAMPS

4f

Designed especially for
movie making. 40°
beam spread is /
matched to cam-
era coverage. 375-
watts means four on i|
a single home circuit. -^«*i<r
Ideal for camera bracket lights.

and to see them at their best—

If

m

G-E PROJECTION
LAMPS

Use'em in slide or movie
projector and be sure
to keep a spare handy.

Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

CloseupS— What filmers are doing

N ormally, we make every effort to
keep politics out of this, our friendly,
family journal. But we cannot resist
quoting briefly from a letter received
late in 1952 from subscriber Kit F.
Clardy, then of Lansing, Mich.

"My address after the first of the
year," he writes, "will be the House
Office Building, Washington, D. C, to
which I ask you to change my mailing
stencil accordingly. I am one of the
newly elected House members."

Happily, since Congressman Clardy
omits any mention of which party put
the finger on him, we may, and do,
offer him our warm congratulations on
his new job. Good voting . . . and good
shooting, come Cherry Blossom time!

A nice visit last month with Lester
A. ("Les") Hamilton, ACL, who, when
we asked him where he was from
(meaning geographically), said: "The
Ice Follies."

Well . . . "The Ice Follies" struck
us as a pretty peripatetic address,
and Les admitted that it was, all right;
that he and his wife (who also is a
skater) lived out of suitcases for nine
months of the year, and that, on their
holidays, they still chose to travel to
such picture places as, say, Puerto
Rico — from which they had just re-
turned.

Nevertheless, after fourteen years of
professional ice skating (the guy must
have started on double runners, he
looks that young!), Les feels they are
about ready to settle down to a more
permanent address than "The Ice Fol-
lies." It will be he tells us, in Los An-
geles. Judging from even the little of
his footage that we saw, we'd advise the
L. A. clubs to take note. Good man . . .
and he's converting to magnetic.

Haven Trecker, ACL, who comes up
currently with his second article in
three issues of Movie Makers, ap-
parently was a gone goose as far as
movies were concerned. Thirty two
years ago he began helping his Dad
grind old 35mm. silent films through
such hand-cranked projectors as the
Simplex, Powers and Motiograph.
Then, in the early '30s, he latched
onto a Model B Cine-Kodak (Eastman's
second, this one spring-driven and with
100 foot spool capacity) and, he says,
a beat-up DeVry projector. Progressive
trade-ins over the years since then
have left him with a three-lensed Bolex
H-16 and a Filmosound 202 magnetic
projector — obviously a sad state of
affairs.

"I guess I have shot up over 40,000
feet of film in my twenty years with
the hobby," Mr. T. summarizes. Most
recently these efforts have crystalized

into competent and musically-accom-
panied travelogs which the producer
presents (for a modest fee) before
clubs, schools, churches and P-T
groups. Bulbs and Beauty, Trecker's
1952 Ten Best winner on the gladiolus
industry near his home in Kankakee.
111., is now booking well because of
its local interest.

In between making and showing his
movies, Mr. T. has managed three fur-
niture stores for the past twenty six
years — and raised one son for the past
seventeen.

THE SWAN LAKE ballet is the subject of War-
ren D. Hosmer's camera, in a production he
has been filming for a Michigan photo group.

In our picture of the month, that's
Warren D. Hosmer, ACL, behind the
Bolex and the beautiful blond in the
striped blouse — not to mention being
surrounded by assorted ballet dancers
and a full-scale production crew. Mr.
Hosmer, who is president of the Con-
temporary Photographic Society of
Michigan and operates (natch!) mostly
in the movie division, was hard at work
shooting a sequence from the Swan
Lake ballet. His home is in Ferndale.

\Ar e now make our annual obeisance
to the spirit of the Old South, which
is nowhere more graciously maintained
than at The Natchez Pilgrimage, pride
of that picturesque community above
the Mississippi.

The Pilgrimage, for this year, will
extend from February 28 through
March 29. And the conducted tours
of the noble, ante-bellum homes will
be six in number, with five homes to a
tour, for a total of thirty. A lucky few
visitors may even arrange to stay in
one of these spacious mansions — if
they write at once. For guidance on
this and other Pilgrimage plans, ad-
dress The Natchez Pilgrimage, Natchez,
Miss.

MOVIE MAKERS

37

You can bring the brilliance home
on Ansco Hypan Film!

Yes, your movies can capture the life-like sparkle and
feathery softness of sunlit snow — if your camera is loaded
with Ansco Hypan Film!

This modern, fine-grain black-and-white film gives you
sharper, crisper images of inherently brilliant gradation. Its
high emulsion speed (Exposure Indexes: 40 daylight, 32
tungsten) lets you use filters in bright sunlight to improve
the rendition of skies and shadows.

ANSCO, Binghamton, N. Y. A Division of General Aniline
& Film Corporation. "From Research to Reality."

Ask for

ANSCO

HYPAN FILM

ji

38

OLD AND UNCHANGING is Zimapan, TOO miles north of Mexico City on Route 1.
Note the luminous shadows in the market scene, the relaxed ease of vendors.

LET'S MAKE IT

MEXICO!

GEORGIA ENGELHARD

MY husband and I are photographers — working photogra-
phers, that is. In fact, we sometimes say (only to
ourselves, of course) that we are hard-working pho-
tographers. Thus it is that as the gray, chill weeks of January
and February plod drearily onward, we find ourselves looking
for some new and sunny land on which to turn our lenses.

Last winter we chose Mexico for our busman's holiday. We
had heard glowing reports of this country — of its color, warmth,
grace and friendliness. We had heard too of its strong levels

Photographs by Georgia Engelhard

COLORFUL AND CROWDED is Xochimilco, once the capital of Aztec em-
perors, now the flower-bedecked mecca of Mexicans and touristas alike.

of contrast — the modern culture of the capital and the
Spanish colonial aura of old Taxco; the tourist luxury
of Acapulco and the native simplicity of, say, Patzcuaro.
To cover all of Mexico's many-sided life with a camera,
it seemed to us, might be the work of a year or more.
And we had but a month.

Pictorially, therefore, we decided to concentrate. It
was the old Mexico which appealed to us, so that we
passed most of our available time in such communities
as Cuernavaca, Zimapan, Taxco, Patzcuaro and San Luis
Potosi. For your own best results, for continuity and co-
herence in your Mexican movie making, we would urge
you also to specialize — old or new, as you wish.

SEASON IN THE SUN
And now a few travel tips. The best time to visit
Mexico is in February and March, before the sweltering
rainy season starts. Early in the year the days are warm
and dry, the nights invariably cool. And, generally speak-
ing, sunlight for picture taking is not a problem, because
there is plenty of it. But there is one catch to this season
of the year: Don't travel during Holy Week! Stay where
you are, for during this period all Mexico goes on a
traveling spree. Rooms are impossible to get, banks and
travel agencies are closed, and you even may be unable
to get an American Express cheque cashed. Although it
is not essential, some knowledge of Spanish is helpful.
We found the American Automobile Association's hand-
book Mexico by Motor a good aid. Supplementing this
with a Spanish grammar, we could soon carry on con-
versation sufficient for everyday needs.

GETTING ALONG
Mexican people are very courteous and well mannered.
Even the ragged peons who live in rude hovels of adobe,
thatch and brick have a certain dignity and reserve,
which frequently makes them resentful of tourists
who try to photograph them. Our greatest difficulty, in
fact, was in getting closeups of these folk; they are dread-
fully camera shy, and many of them would scurry into
their huts, hide their faces or turn their backs the moment
that they saw our movie cameras.

39

ANGLE IS EVERYTHING in creating effect— as proved by this down view-
point of Cuernavaca's dappled plaza, the up angle on a bustling busload.

If you are lucky enough to find natives willing to pose
for you, be sure to give them a tip of some centavos or
even a peso. However, never tip those who do not serve
as models. If you do, the whole village may descend on
you for a handout. Especially the children ! The minute
they see a tourist with a camera, they flock around screech-
ing "Money, money, money!" It's probably our fault.

TRAVEL BY CAR

Should you own a car, by all means visit Mexico by
motor. For although you can travel everywhere by bus,
you frequently will be unable to spend as much time as
you might wish in some particular place. Secondly, the
bus driver isn't going to stop for you to film an approach-
ing donkey train or ox cart which make fine movie ma-
terial. With our own car, we could start out at any time
we desired and drive along slowly looking for picture
possibilities. We also had plenty of space for all of our
equipment and film. And since gasoline is cheap in Mex-
ico, the cost of the trip by motor was really quite in-
expensive.

While the car was the greatest convenience in getting
from place to place, we went a'filming always on foot
within the towns. For they are relatively small, with streets
which are often rough, narrow and winding. Many of the
towns such as Taxco are built on mountainsides and the
alleys are steep and slippery. Getting around in them
is like mountain climbing. So be sure to wear rubber-soled
shoes or rope-soled espadrilles for secure footing on the
worn and polished cobbles.

TAKE YOUR TIME
Allow yourself plenty of time. Each town has its own
character and individuality which you will wish to por-
tray. So walk about and study the locale, then plan the
best way to get onto film both its atmosphere and activity.
Decide upon the best points of view, the best angles and
the best hours of the day for your shooting. While this
consumes some time, thought [Continued on page 49]

Color, contrast, grace and good will
beckon the movie maker below the border

ACTION WITH ARCHITECTURE should be the rule for effective travel
filming. The cathedral, golden and gleaming in color, is in Taxco.

WASHING MAY WIN YOU an unposed and unaffected scene such as this.
But patience, a telephoto lens and even a friendly tip are better.

40

Incident light meters indoors: 2

Indoor lighting, to be pleasing, should be kept within certain

contrast limits. The incident light meter creates the control

LEO J. HEFFERNAN, FACL

IN our opening discussion of this series (see Incident
Light Meters Indoors: 1, December, 1952) we ex-
amined primarily into the use of the incident-light
type -of- ■meter as a simple exposure calculator. We found
that it could i>e used to determine exposure on foreground
and background objects independently. We found also
that certain minor compensations from the exposure indi-
cated should be made in the case of subjects varying
markedly in tonal value from the average. These varia-
tions we spoke of as being in subject contrast range.

In our present discussion we shall examine, as prom-
ised, the use of the incident light meter in determining
and controlling another factor — lighting contrast range.
This function of the incident meter is as important
in its effect as it is simple in its execution. For, to gain
the most pleasing results, lighting on the average amateur
set should be kept within certain acceptable limits of con-
trast. To illustrate how these controls are effected, let us
backtrack for a moment and review the average amateur
lighting setup.

This will consist generally of two main light sources
placed in front of the subject — the key light, which oc-
cupies a position above and to one side of the camera,
and the fill light, which is positioned near the camera
but on the opposite side to the key light. Supplementary
lights used are the background light, which illuminates
walls and background objects, and the back light, which
shines from behind the actors or foreground objects to
provide modeling and separation.

The key light usually is placed first because it is im-
portant to have this light shining on the scene from the
most effective angle. It establishes the lighting key or
mood; and once the position and strength of the key
light have been determined, it is then possible to strike
a balance between it and the other lighting units. It is
this balance between the key and the fill light which

Leo J. Heffernan, FACL

CONTRAST CONTROL begins by reading intensity of key light
(pictured), then the fill. Note shielding of meter with cupped hand.

determines what we have called lighting contrast ratio.
Specifically, by lighting contrast ratio we mean the
comparison in actinic strength between the key light
and the fill light. Such a relation is indicated by the
familiar terms of 1 to 1, 2 to 1, 3 to 1, etc. The ratio

1 to 1 would mean that the lights are of even strength;

2 to 1 indicates that the key light is twice as bright as
the fill light, and 3 to 1 means that the key light is three
times brighter than the fill light. For color work it is
seldom that a greater lighting contrast than 4 to 1 is
used, since the quality of the color suffers greatly when
too little illumination is projected into the shadow areas.
In black and white filming, far greater lighting contrast
is permissible; and for dramatic effects a lighting con-
trast ratio of 16 to 1 is sometimes employed purposely.

Determination of your lighting contrast ratio is a
separate step in setting up the lights, which has nothing
to do with determining the exposure to be given the film.
Film exposure should be calculated after all lights are in
position and are turned on. Furthermore, a cameraman
should keep clear in his mind the difference between
lighting contrast range and subject contrast range, dis-
cussed in December. The latter has to do with the reflec-
tivity of various types of subjects. Our concern herein
is with the comparative strengths of the key and fill
lights. To measure these strengths the following steps
should be followed:

1. With the other lights turned off, turn on the main
or key light.

2. Hold the incident light meter at subject position,
directing it toward the key light (see illustration). Note
the light intensity reading in foot candles.

3. Turn off the key light and turn on the fill light;
then direct the meter from the subject position toward
the fill light. Note the light intensity in foot candles.

4. Divide the intensity of the key light by the intensity
of the fill light and you will then have a known light
balance or contrast ratio.

If it is inconvenient to turn off the lights for individual
readings, it is still possible to obtain a reading with both
lights on by pointing the meter directly at the light being
measured and shielding it with the cupped hand from
the rays of the other lamps. This technique also is shown
in the illustration.

Let us suppose that you get a reading of 500 foot
candles from the key light and 250 foot candles from the
fill light. The key light reading (500) divided by the
fill light reading (250) clearly equals 2, meaning that
the lighting contrast is 2 to 1. Were the readings 500
and 125, the contrast would be 4 to 1 ; and if 500 and
500, then the contrast would be 1 to 1.

To employ lighting contrast measurements to their full
advantage, the cameraman decides ahead of time what
degree of contrast he desires in a scene; he then measures
the actinic values as he adjusts the lights to conform to
his requirements. In determining what lighting contrast
to use, the cameraman keeps [Continued on page 52]

AN ALL-PURPOSE TITLER

41

Simple to construct, easy to operate, this all-welded
titler assures accurate centering at every distance

HAVEN TRECKER, ACL

A NY similarity between the titler discussed, dia-
f^L gramed and pictured on this page — and any other
such gadget pictured here previously — is not a
coincidence. It's by downright intent!

Look . . . You'd think I would have been satisfied with
that handsome hunk of machinery described last June
by William Messner, ACL, under the heading, Build A
Zoom Titler. For here was a strong design, swell dia-
grams and the result a titler which seemingly did every-
thing but sing Dixie! But, no; I was not satisfied, ap-
parently. For, as you all can see, I have borrowed Brother
Messner's basic pattern and, to a degree, simplified it.
Whether for the better or the worse, I must leave up
to you — and Mr. Messner — to decide.

The two important changes (at least, / think they're
important) which I have made in the Messner design
are as follows: (1) the unit is of welded construction
throughout for greater rigidity, and (2) the camera
carriage is so designed that it may be run down the
guide rods until the camera lens rests squarely on the
titler floor. Of these two changes, I find the second to
be of far the greater value in actual operation. For by
virtue of it positive centering of all title cards — of any
size and at any distance, within the maximum range of
the guide rods — is guaranteed. How this centering is
achieved we will come to in due course. But first let's
get on with the practical business of building ourselves
a titler.

THE MATERIALS NEEDED

In itemizing the materials needed for construction, the
numbers in the left column refer to the unit as it is shown
in the diagram. The number of such units required will
be found in the specifications.

ON DIAG.
1
2
3

4

5
6

9
10

MAIN BODY
Titler floor, 22"x28''x3A" plyboard, 1 req'd.
Reinforcing edge, l"x2" wood, cut to size
Bottom plate, Vs" x 6" x 8" steel, 1 req'd.
Brace, 3/16" x 1" approx. 50" steel, cut and bend as

shown, 1 req'd.
Top plate, Vs" x 3" x 8" steel, cut to size, 1 req'd.
Upright, %" O.D. x Vs" wall steel tube or %" steel rod 42"

long, 2 req'd.

CAMERA CARRIAGE
Front plate, Vs" x 4" x 5" steel, 1 req'd.
Side plate, 14 Ga. x 6" x 6Vi" steel, cut and bend to

shape, 2 req'd.
Guide lube, 1" O.D. x 3/16" wall x 8" long steel tube,

with inside diameter machined to .635", 2 req'd.
Positioning bar, Vi" x Vi" x 10", cut in 2 details as shown

EASY TO BUILD
In beginning construction, make your camera carriage
first, for it will be instrumental in aligning the two guide
rods when they are joined at top and bottom. If you have
a Bolex H-16 camera with the Stevens square base, the
carriage design may be used exactly as shown. Otherwise,
the guide tubes and side plates probably can be used
as-is, with only the front plate and positioning bars re-
designed in relation to the shape [Continued on page 51]

FIG. 1: First step in centering is to prepare the crosslined guide
card, which is then positioned under lowered camera lens.

FIG. 2: After centering the guide card in relation to lens, con-
centric rectangles are drawn up to maximum of 11 by 15 inches.

42

FEBRUARY 1953

DEBUT!

Guarantee: During the life of the product, any defect in material or workmanship will be remedied free (except transportation).

MOVIE MAKERS

43

Its the fabulous, new
Bell & Howell 8mm
home movie prq/eetor/

"so easy to use!*

Here is what every 8mm movie
maker wants in a fine projector —
& Howell quality, light weight
(12 pounds), modern
design, sparkling
performance— all at
a truly modest price.
This is the new 221 that
puts more light on the
screen than any other
make of 500-watt movie pro
jector— that shows sharp,
bright movies up to 6 feet
wide— that is a snap to thread
—that runs so quietly— that
never needs oiling.

Bell

# Guaranteed for life

You'll be proud to own and use
this new member of the fine family
of Bell & Howell products. The 221 is
precision-built in true Bell & Howell
tradition to give a lifetime of trouble-free
performance. Now offered by most Bell
& Howell dealers on liberal terms
and trade-ins. Price subject to change
without notice.

<

Perfect matejbr any 8mm movie camera:

/

Check these features against those in more costly projectors
and you'll agree it pays to invest in Bell & Howell quality !

• 400-ft. film capacity for full half-hour show.

• Forced draft ventilation for lamp-house.

• Easy, fool-proof threading.

• Undercut rollers and sprockets prevent film scratching.

• Die cast aluminum housing.

• f/1.6 Filmocoted lens.

• Three-tooth shuttle for safety in running film with dam-
aged perforations.

• "Swing-out" aperture gate.

• Compact, modern styling— 8" x 8" x 12".

• Carrying case of strong, mar-proof, lustrous, gray-and-
maroon Tenite.

• Convenient tilt device.

• Space for storing spare reel.

TJ 11 ri U 11 makes it fM t° ma&e

BCll ellOWeil (and show) movies/

44

BOUNCE LIGHT FOR BABY: 2

Photographs for MOVIE MAKERS by

BETTE and FRED KLOSTERMAN, ACL

L~T'S see, now . . . Last month, using words and pictures,
we showed you how this series got started; how
bright-cloudy lighting outdoors parallels the shadow-
lees effects of bounce lighting indoors; how outdoor and
indoor lighting may be combined; and then, wholly in-
doors, how photoflood illumination may be bounced off
the walls and ceiling. The front-and-side lighting setup
to our right is an example of this^ arrangement, with all
three of the lamps supported on heavy-duty light stands.

But, I can hear you butting, what about the filming
father who is not equipped with three ceiling-high light-
ing units? Well, this is a problem which Bette and I face
in making our own baby pictures with bounce light. (We
borrowed, for the sake of the production pictures, a lot
of the cameras and lights you see here.) So-o-o, we have
scrounged around and found several substitutes for the
full-scale setup. You will see them suggested on this page.

For example, take a look at that divided front-light
setup, with a two-lamp lighting bar on the camera tripod
and a single clamp unit attached to the picture. Creates
exactly the same bounce-light effect as in the fancy setup
above ! Or again, get a load of what Pop's doing with his
clamp light and the up-ended projection screen! And
finally, if your screen won't stand up, a door always
will — and don't tell me you haven't got a door in the
house!

Okay . . . Now let's take a look at the page opposite.
On many occasions in family filming you'll find it natural
(and pleasant) to have a light source appear directly in
the scene itself. In our living room setup, for example,
therf is a No. 2 flood lamp in the white-shaded table lamp
which acts as the key light. But the fill lighting, to main-
tain softness, is provided by two RFLs bounced off the
ceiling. Much the same sort of setup is used in the re-
frigerator series: one RFL-2 bounced off the door's white
inside for key lighting, two on a stand bounced off the
ceiling for the fill. And in closing, a caution: don't let
the cold metal touch the hot lights! They will explode.

FRONT AND SIDE LIGHT: A 2 to 1 ratio is created with 1 RFL-2 in
front, two at side, both 20" from the white ceiling, 42" from
baby, who is 61" from ceiling. Exposure by incident meter: f/2.
For the lovely, glowing results, see MOVIE MAKERS January cover.

HERE'S THE SAME SETUP, but using only the simple lighting units
found in every filmer's kit. Baby is 36" from ceiling at f/2. 5.

THE EDGE OF A DOOR, and there's always one around, brings
the light and the subject close to the wall for maximum reflection.

A PROJECTION SCREEN, upended on its stand, makes a handy
mount for a clamp-on unit as Dad readies another light setup.

45

Production equipment courtesy Mileo's Photo Shop

KEY LIGHTING, as if from icebox, is created by No. 2 flood lamp (in reflector
for safety) placed in refrigerator. Two RFL-2s bounce from ceiling as fill.

LIVING ROOM SETUP is soft and natural with diffused key lighting
from No. 2 flood in table lamp, two RFLs bounced on off-light side.

CLOSED SHADE, here a porch opening east to south,
offers ideal bounce light for easy, informal portraits.

IN OPEN SHADE the prevailing illuminant is coldly-blue skylight, calling
for a Skylight (Wratten 1-A) or Ansco UV-16 filter for good color correction.

46

TENTH FOR
CITY COLLEGE

Here's how one major American city
has helped to meet the need
for more trained movie makers

LAWRENCE WEINER

The Film Institute, City College of New York

EVER since the first one-reelers were
made, there has been an increasing
interest in the possibilities of using
motion pictures for other than story
telling. For, although the story-teller
has dominated the industry, pioneers
were working with the fact film as early
as the 1920s. But, by and large, such
objective film making remained in the
experimental stage until the needs of
the last war for training films and spe-
cialists who could make them provided
the necessary impetus.

To help meet the shortage of trained
men and women who could make docu-
mentary films, the City College of New
York organized the Institute of Film
Techniques in its evening session. And
almost immediately its graduates went
to work for private industry, for gov-
ernment agencies such as the OWI and
the Signal Corps. So successful was the
school that, after the war, City College
added the course of study in the In-
stitute to its regular day-session cur-
riculum, making CCNY one of the few
schools in the nation that offered a
bachelor's degree in movie making. And
now, only last month, the Film Institute
has marked its tenth anniversary with
a special showing of student workshop
movies at New York's Museum of Mod-
ern Art. During that ten year period,
more than 4000 students from all parts
of the world, have studied documentary
film making at City College.

The growth of the Institute under-
scores the increasing importance of the
motion picture as a medium of commu-
nication and a weapon in the war of
ideas. Many students have come to the
college, either for the film degree or
for the evening session courses alone,
from foreign countries — India, France,
England, Turkey, South Africa, Israel,
Pakistan, The Philippines and South
America. Their aim was to learn how
to make films for the education of their
impoverished or war-ravaged countries.
Still others have gone on to professional
success: two, Karl Hinkle and Albert
Wasserman, won a 1947 Academy
Award as producer and writer of the
documentary film, First Steps, shortly

A WORKSHOP UNIT, on set in a CCNY machine shop, lines up a scene
for Tomorrow's Engineers, a fact-film production on M. E. training.

after leaving the Institute. But not all
want to become professionals. For many
amateurs who have made films by them-
selves come at night to learn more.

We like to feel at City College that
the Film Institute is particularly well
adapted to help them all. For while the
courses stress the practical skills in-
volved in film making, the Institute tries
to give more than mere technical train-
ing. The school and its teachers make
clear the importance of the "why" in
motion pictures, as well as the "how"
of their technique.

The idea that the camera can have a
point of view is not new to the Insti-
tute's director, Hans Richter, one of the
pioneers of the avant-garde film move-
ment. One of the first to use film as a
creative art, his Rhythms 1921 is today
a classic of its kind. Documentary films
on Germany's post-war inflation and the
aviation industry in the mid-1920s fol-
lowed, and in 1929 he started an anti-
Nazi documentary. After the inevitable
beating from Storm Troopers, he fled
to Holland to finish this opus. At last,
in 1941, he came to this country. His
most recent production, Dreams That
Money Can Buy, won the Venice Inter-
national Film Festival Award.

With him at City College are such
men as Lewis Jacobs, veteran film
maker and the author of Rise of the
American Film, and Leo Seltzer, who
directed the 1947 Academy Award win-
ner, First Steps. Under their guidance
students take courses in directing,
sound and film editing, photography,
music, lighting, script writing and ani-
mation. The core of the Institute, how-
ever, is the Workshop class, in which
every phase of motion picture making
is covered. Here all of the student's
knowledge is synthesized in the making
of a movie. Working from 4 to 8 hours
a week, the Workshop crew decides on
its topic, writes a script, breaks down
the shooting and acts the parts. The
students serve variously as the camera-
men, electricians, prop hands and di-

rectors. In this fashion, they learn each
phase of picture production.

But they are taught also the social
function of their films by the kind they
produce. During the war, the Institute
produced two motion pictures on the
black market for the OPA. More re-
cently, the students have made films for
the college's Psychology, Art, Sociology
and Hygiene departments that will be
used in the classrooms.

One of the films, Tomorrow's Engi-
neers, illustrates well the value of their
work. At the request of the Mechanical
Engineering department at the college,
the Workshop class produced a 10
minute movie that showed the kind of
education MEs at the college were re-
ceiving. The modern machine shops, the
equipment used and the methods of
teaching were the basis for this sound
film. In use, the picture is shown to
high school students interested in
mechanical engineering and who want
to find out more about the field. The
film also goes to prospective employers
among large engineering firms who
want to know the kind of educational
background and technical training they
may expect from CCNY graduates.

The Institute's most ambitious work,
just completed, is a 30 minute sound
film on juvenile delinquency. Made in
conjunction with the college's Sociology
department, the production shows the
activities of juvenile gangs in the neigh-
borhood of the school. Concentrating on
one of the gangs, the film showed the
destructive nature of the group ; it then
went on to picture how a member of the
college's Community Service division
won the confidence of the group and
eventually channeled its energies into
more constructive activities.

With the ever increasing use of films
in schools, business and political life,
not to mention television, the future for
the fact and documentary film gets big-
ger and bigger. That means also a
brighter future for the men and women
who can make those films needed.

47

Outstanding scenes enlarged from readers' films, presented periodically by MOVIE MAKERS

HUMAN INTEREST is inherent in
this well-framed closeup from This
Land of Ours, by Edward F. Cross.

CROSS LIGHTING enlivens a pat-
tern by Eduardo Di Fiore, ACL of
Buenos Aires, in Beautiful Lands.

TWO PHOTOSPOTS create the rim
lighting in this shot from Day of In-
dependence, by J. J. Harley, FACL.

COOKING IN CAMP is the succu-
lent subject of the shot from Man-
itoba, by Frank E. Gunnell, FACL.

TWO BIRDS in the bush are enough
for Emma L. Seely, FACL, to pro-
duce a study of Mourning Doves.

BACK LIGHTING enhances an is-
land beauty from Caribbean Sky
Cruise, by Lester F. Shaal, ACL.

AUTHENTIC PROPS put real West-
ern punch in From The Embers, a
melodrama by Glen H. Turner, ACL.

COMIC CONCEITS enliven It's A
Cruel World, an ice-show extrava-
ganza by Erma Niedermeyer, ACL.

SIMPLE AND STARK is the sea-
coast in Granite Waters, New Hamp-
shire study by Alan Hammer, ACL.

FIVE DOLLARS will be paid by Movie Makers to the pro-
ducer of the finest of the Fine Frames published on this page
in any single issue. All readers are cordially invited to sub-
mit frames for reproduction here, on either 8 or 16mm. film.

Submission on 8mm. should be in strips of 10 frames or more,
on 16 in strips of 5 frames or more. Please mark each entry
with your name and the name of the film from which it comes.
Address entries to Movie Makers, 420 Lexington, N. Y. 17.

48

FEBRUARY 1953

LOS Angeles 8s Winner of the an-
nual contest of the
Los Angeles 8mm. Club, ACL, was
Louise Fetzner, ACL, whose film, Green
River, won her the first place trophy,
the Babb Achievement Trophy and the
Horton Vacation Trophy. Barry Dance,
ACL, was awarded the Claude Cad-
arette Trophy for his high-point partici-
pation in the club's monthly contests.
Officers for the coming season, who
were installed at the club's annual ban-
quet, will be Kenneth Ayers, president ;
Willis Fackler, vicepresident; Merle
Williams, re-elected secretary, and Lud-
wig Mayer, treasurer.

Richmond festival The Rich-
mond (Calif.)
Movie Camera Club, ACL, presented its
annual film festival on January 30 at
the Memorial Youth Center. On the pro-
gram were Baie St. Paul, by Frank E.
Gunnell, FACL; Movie News Scoops,
by George Merz, ACL ; Back to the Soil
and Jones Beach, by George Mesaros,
FACL; Little Intruder, by Joseph J.
Harley, FACL, and In Fancy Free, 1951
Maxim Award winner by Glen H.
Turner, ACL.

Chicago Members and guests of
the Chicago Cinema Club,
ACL, saw two films by Felix B. Pollak
at their January 15 meeting. They were
Journey Through the East and Dance
Fantastique, second prize winner in the
club's 1952 contest. During February
the entertainment will feature showings
of North Westward Ho, by John H.
Wagner, ACL, and The Caribbean and
Puerto Rico, by George R. Ives, ACL.

Metro On January 14, the Metro
Movie Club of River Park,
ACL. in Chicago, was host to members
of the Avondale Methodist Camera
Club, who showed their 1952 prize-win-
ning program comprised of Frustration,

IN CALIFORNIA, winners of the Richmond
Movie Camera Club's annual contest receive
trophies from William Gerrard, at left; Edna
Hunting, 1st; W. Parker, 2nd; H. Goldstein, 3rd.

by Dr. Harold Bonebrake; Do Fishing
Dreams Come True?, by Dr. Shaylor
Bonebrake, and 'Sno Fun!, by Phoebe
Cramer.

Earlier in the month the club's mem-
bers had an instructional evening with
George Schectman, regional manager
for Paillard Products, demonstrating
the Bolex stereo units. Also on the pro-
gram was a showing of a workshop
film by the Los Angeles Cinema Club,
ACL.

Haverhill New officers of the Movie
Makers Club, ACL, of
Haverhill, Mass., were installed at their
recent meeting. Guiding the club for
1953 will be Richard Fenlon, ACL, presi-
dent; Leo Bourque, vicepresident, and
George J. Hewis, secretary-treasurer.

AMPC St. Louis January 9 was
Ladies Nite at the
Amateur Motion Picture Club of St.
Louis. Among the films that were pre-
sented by the better half were St. Louis
As I See It, by Bernice Dyreks; Yukon
Holiday, 8mm. winner of the club's
December contest, by Minnie Jincks,
and The Secret. February will feature
Auction Nite, with swapping of old
equipment for new and vice versa being
the order of the night. Work also re-
sumed this month on the club's clinic
picture, Nevermore.

Brooklyn ^ne January meeting of the
Brooklyn Amateur Cine
Club, ACL, featured a talk on editing
and a program of films by Francis Sin-
claire, ACL. Before starting the regular
meeting, a round-table discussion con-
ducted by Herbert Erles, ACL, was held
on The Technique of Film Planning.
Guests are always welcome to the club's
meetings, which are held on the first
and third Wednesday of each month at
the Neighborhood Club, 104 Clark
Street, Brooklyn.

Houston Guild Recently appoint-
ed to the board of
directors of the Southwest Movie Mak-
ers Guild, ACL, of Houston, Texas,
were James W. Harscher, Robert
Hamilton, W. J. Urban, ACL, and Wil-
liam M. Riddick, ACL. Still relatively
in the formative stage, the Guild plans
eventually to have a building of its own
which will house all kinds of movie
making equipment for members' use.

The unit has applied for a non-profit
charter under the Texas educational
laws and hopes to work more as an in-

The people, plans and
programs of amateur

movie groups everywhere

structional and service group than a
social one. Anyone interested in this
new venture may get further details
from the managing director, William
M. Riddick, 815 Stuart Street, Houston
6, Texas.

Seattle banquet The Seattle Aina

teur Movie Club,
ACL, held its annual banquet at the
Women's University Club on January
13. On the program for the evening was
installation of the new officers for the
coming year and presentation of the
club's trophies, including the Anchor
Jensen Trophy, to the winners of the
club's contest. The results had not been
reported at press time, but we hope to
have them soon.

LOS Angeles Winners of the 1952
contest of the Los An-
geles Cinema Club, ACL, were Autumn
Afternoon, by Charles J. Ross, ACL,
sweepstake award; Let's Fly to New
Mexico, by Mrs. Mildred Zimmerman,
ACL, first, class A; Corta Madera, by
Harold C. Ramser, second, class A;
The Grass is Green, by W. Dow Gar-
lock, second, class B; and Pierre and
Priscilla, by Silas J. Lawler, third,
class B. Congratulations are due to all
the winners of this contest, which was
held on December 9.

NEW OFFICERS for the Los Angeles 8mm. Club,
ACL, are (I. to r.) Kenneth W. Ayers, presi-
dent; Merle Williams, secretary-treasurer, and
Willis Fackler, ACL, the vicepresident.

MOVIE MAKERS

49

Let's make it Mexico!

[Continued from page 39]

and patience, it is a must for success-
ful results. And remember: only a day
in places such as Taxco or Cuernavaca
is barely sufficient, so don't cramp your-
self with too rigid a travel schedule.

The various towns, villages and cities
have their own set days for market ac-
tivities, so find out in advance when
these interesting and lively events take
place. It is at the markets that you will
have your best chance to photograph
the camera-shy natives as they busily
hawk their pottery, shawls, silver jewel-
ry, grain, fruits, chickens and many
other products. Intent on making their
sales, they usually will be quite un-
aware of you and your camera. Here,
too, you will find plenty of color and
action. Be sure to take numerous close-
ups.

Then there is the bullfighting season,
which also varies locally, although the
corrida is held always at 4:00 o'clock
on Sunday afternoons. Whatever you
may think of bullfighting as a sport
(which it is not, truly!), from the movie
making point of view this spectacle is
replete with ravishing color, grace and
thrilling action. From the moment that
the trumpet sounds for the beginning of
the ceremonies to the kill at the end,
you will be kept busy filming. And be
sure to cover it thoroughly. Many ama-
teurs (through a false squeamishness,
I think) fail to record the kill, without
which the whole ritual of Death in the
Afternoon will be meaningless and un-
satisfying.

ADVICE ON EQUIPMENT
Now as to equipment. Be sure to
bring along a skylight filter. On cloudy
days or in the rarified air of high alti-
tudes, the use of this filter will do much
to improve color rendition by cutting
down the over-blue cast which is likely
to occur under these conditions. Fur-
thermore, the use of this filter will help
to impart a glow to the red, pink and
yellow tones which appear so frequent-
ly in the Mexican scenes. Also bring
with you plenty of lens cleansing tissue.
In the arid desert sections there is dust
a'plenty, and dirty lenses result in poor
pictures.

Above all, use and rely on your ex-
posure meter. The light is extraordi-
narily bright and may fool you. Mexican
towns have many white or pastel col-
ored buildings, and much of the Mexican
landscape is desert, with the result that
there is a great deal of reflected light.
In fact, many shadows are so luminous
that remarkably clear and color-true
pictures can be made in covered mar-
kets, under arcades and in shadowy
doorways at an exposure of //8. In open
areas, on sunny days, we often found
//16 to be the correct aperture. This

THE EUMIG 88

MAGIC BRAIN

The Eumig 88 (made in
Austria) makes color and
black-and-white cinema-
tography simple. Even if
you are a beginner, you
can operate this camera
without a course of in-
struction because it
works with push-button
ease. Designed by
Europe's finest crafts-
men, the Eumig offers
you many advanced
features, including the
Electric Eye and Brain,
and an f/1.9 (fast),
12.5-mm., color-correct-
ed lens in universal fo-
cus. Moderately priced
for the value at $139.50.

Write for free illustrated folder 3-UM
CAMERA SPECIALTY COMPANY
50 West 29th St., New York 1, N. Y.

lie elegant Eumig offers
you the marvelous as-
surance of correct expo-
sure of every scene. The
Electric Eye, a built-in
exposure meter, automat-
ically measures the avail-
able light and activates
the Electric Brain, a
pointer mechanism in
the viewfinder.The point-
er is coupled to the lens
aperture control and is
visible and operating at
all times. Correct expo-
sure is indicated when
the pointer is centered.
Changing the lens aper-
ture automatically brings
the pointer back to cen-
ter when necessary.

WHEN

will you be screening

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for ACl's exciting new

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IHEISSBIilBHB

UPLICATES

* from your films

KODACHROME COLOR or BLACK & WHITE

Protect your valuable originals from projector
damage and wear, run duplicate prints.

8mm or 16mm. ..Duplicates lie per

8mm Enlarged to 16mm, or 16mm Reduced to

8mm . 14c per finished foot

* Mail us your original films with cash, check or
money order, and we guarantee the BEST dupli-
cates possible, QUICK SERVICE, TOP VALUE,

SATISFACTION

num Order $3.00.

*f¥<xttctCV<H>d MOVIE LABS. Dept.

12522 Ventura Blvd., Studio City, California

Attention!

BOLEX H16
OWNERS

To One of the
World's Finest
Cameras, You
May Now Add

A VARIABLE SHUTTER UNIT

• Full range from open to closed at any
camera speed.

• 3 convenient intermediate stops, 3/4 open,
Vl open and V4 open, enable you to expose
from 1/18 sec. at true 8 f.p.s. at open to
1/560 sec. at Vi open at true 64 f.p.s.

• Make complete transition lap dissolves any-
time.

• Fade-ins and fade-outs at your fingertips.

• Neutraf density filters no longer needed
when filming outdoors with fast film.
Audible warning sound when shutter in
closed position when filming forward or
hand-cranking either way.

• Avail yourself of the many other advantages
obtainable only with a controlled variable
shutter speed.

• Give your next movies that sparkling pro-
fessional touch.

PRICES (within U.S.)

Cameras with inside frame counter... $ 99.60

Cameras with outside frame counter. .$109.80

Price includes camera transportation back to

you, insurance coverage, and

one year guarantee.

(Local and state taxes

where applicable, extra)

Send for free detailed

informative booklet,

"Variable Shutter Units

for Bolex H16"

TULLIO
PELLEGRINI

1545 Lombard Street
San Francisco 23, Calif.

50

FEBRUARY 1953

may seem a remarkably small opening,
but your meter is usually correct.

Of course, there is often a great deal
of lighting contrast in the scene to be
filmed. Part of the area may be bathed
in glaring sunlight, another part in deep
shade. In such instances, you must de-
cide which of these you wish to expose
for, since the brightness range of color
film is generally regarded as only 4 to
1. In general scenes it is best to expose
for the highlights; but for closeups of
dark-skinned natives, or for scenes in
shaded market stalls, it is best to ex-
pose for the dark areas. Exposure
should be based always on where you
wish to place the emphasis.

LENSES AND TRIPOD

Although a standard focal length lens
is satisfactory, the telephoto and wide
angle are both useful accessories. With
the telephoto lens, closeups of local

characters can be obtained from some
distance, thus overcoming native cam-
era-shyness. It is also invaluable in bull-
fight sequences. In the country you will
wish to include some scenes of farming
and of ploughing with ox teams. These
activities usually take place some dis-
tance from the motor road. With a tele-
photo lens, fine shots can be made lit-
erally from the car window. Again, in
towns and cities where cathedral spires
soar above the narrow streets and small
plazas, the wide angle lens comes in
handy.

Use a tripod, thus insuring steady
and sharp results. Keep your camera
set up on the tripod at all times. You
then will be able to shoot at a moment's
notice the bustling, colorful, fleeting ac-
tivity which is Mexican life. There is
no lack of human interest material in
Mexico, but it moves fast. In order to
capture it effectively on film you must

be an alert and coordinated operator.
Above all, avoid that irritating tendency
of making movies of still subjects and
of panning landscapes. Film that ca-
thedral or town square when there are
people in the scene to give it animation.
Also film that cactus desert when there
is a donkey train or at least one peon
crossing the foreground or middle dis-
tance.

And (heaven forbid!) should you
have any camera trouble, wish any pho-
tographic advice or run out of film, be
sure to contact Eastman Kodak Com-
pany in Mexico City. You'll find their
main agency at Eastman Kodak Stores,
San Jeronimo 24, Mexico, D.F. They
are most willing and helpful, and they
do speak English.

So let's make it Mexico with your
movie camera for this winter's vacation.
I'm sure that you will agree with us
that it is a photographer's paradise.

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Projection lamp A new motion
picture projec-
tion lamp, hailed by optical engineers
as the biggest screen-lighting develop-
ment in 20 years, was introduced late
last month by the Lamp Division of the
Westinghouse Electric Corporation.

Fundamental in the new design is a
smaller, more compact filament which
puts up to 20 percent more light on the
screen, depending upon the efficiency of
the projector's optical system. Also im-
portant is the "floating bridge," a
patented Westinghouse feature which
permits the filament sections to ride as
a unit on vertical rods during expansion
and contraction.

Bell & Howell engineers, who worked
with Westinghouse personnel in devel-
oping the new lamp, have adopted it as
standard equipment in all Filmo pro-
jectors.

Colburn expands When, in 1946,
the George W.
Colburn Laboratory moved into new
quarters at 164 North Wacker Drive, in
Chicago, the company took over two
floors of that five-story building. They
are now in the process, which will be
completed this May. of expanding into
the remaining floors, for occupancy of
the entire premises.

Colburn's current move will permit
expansion of the laboratory's printing
and production services, as well as of-

fering enlarged facilities for editing,
recording and art title making. The
League's ACL membership leader, in
both its 8mm. and 16mm. versions, is
printed by the Colburn lab.

Triple play ^ y°u have a Bolex
H-16 camera, to which
you have had Tullio Pellegrini, of San
Francisco, add a dissolving shutter,
you may now have Joseph Yolo, 5968
Santa Monica Boulevard, Hollywood,
Calif., add his automatic dissolve at-
tachment to run the Pellegrini shutter
. . . Paillard to Pellegrini to Yolo.

PAR solenoid A 115 volt AC so

lenoid, designed to
act upon the single frame release of the
Cine-Kodak Special (I or II) has been
announced by PAR Products Corpora-
tion, 926 North Citrus Avenue, Holly-
wood 38, Calif.

The unit. PAR claims, may be in-
stalled by the user and will act without
interference with the PAR four-lens tur-
ret or the Yolo automatic dissolve when
either is already installed on the Spe-
cial. Price, complete details and a cata-

SINGLE FRAME shooting with the C-!< Special is
an effortless operation with the new solenoid
designed by PAR Products Corp., of Hollywood.

SMOOTH DISSOLVES: The Yolo automatic
shutter drive, long popular with C-K Special
users in making smooth dissolves, will sooi>
be offered for use on the Bolex in combination
with the Tullio Pellegrini dissolving shutter
design.

log of other PAR photo accessories
may be obtained from the company by
a mention of Movie Makers.

Fred Schmid dies Fred Schmid,

who had com-
pleted fifty years of service with the
C. P. Goerz American Optical Company
at the time of his retirement in 1950,
died recently. Mr. Schmid had been
president of C. P. Goerz in this country
for the last twenty years of his active
business life.

Films in USe A new booklet
entitled Community
Film Use, which suggests ways in which
the motion picture can most effectively
be integrated with other communal ac-
tivities, has been released by the Film
Council of America. Thirty cents and
a request addressed to the FCA, at 600
Davis Street, Evanston, 111., will get
you a copy.

Film on magnetic Thecapacities

and operation
of the RCA Victor 400 magnetic re-
corder-projector are now being set forth

MOVIE MAKERS

51

in You Are The Producer, a new 400
foot 16mm. sound-on-color film released
by the Engineering Products Depart-
ment of the Radio Corporation of
America. Prints of the picture are avail-
able for screening by interested groups
from that department, at Camden 2,
N. J., or through any of RCA's Visual
Products distributors.

5G brush-off For suggesting that
a revolving wire
brush (instead of a scraping tool) be
used to remove labels from Cine-Kodak
film magazines, Kenneth F. Downs, an
Eastman employee, has been awarded
$5000 from the Kodak suggestion sys-
tem fund. The payment is the largest
initial honorarium in the history of the
company's award system — established in
1898.

AnSCO items Miniature camera
(35mm.) Ansco Col-
or film is now available in a new 8/20
exposure load package, instead of the
5/20 exposure loads previously offered.
The cost saving per 20 exposure load
of film will be 29 cents.

Augustus F. Waldenburg, formerly
with Ansco in the Pittsburgh area, has
been named sales supervisor of the
company's Chicago district office.

The Boston district office of Ansco,
formerly at 79 Milk Street, has been
moved to new and expanded quarters
at 80 Federal Street, in the Boston
Chamber of Commerce building. L. H.
Purcell is in charge.

An all-purpose titler

[Continued from page 41]

of your camera and the location of its
tripod socket.

With the carriage design as shown,
the side plates (8) are welded to the
round tubing and then the front plate
(7) is welded in place. The positioning
bars (10) are welded to the front plate
as shown. The %"-20 wing screw (11),
which will be used to lock the carriage
in the desired position, can be obtained
commercially. It should fit into the 1/4"-
20 steel nut which is welded to the side
of the tube (9). To obtain the maxi-
mum length of thread first weld the
nut in place; then drill the tube
through the nut with a No. 7 drill and
run a ]4"-20 tap through both the nut
and the tubing. The hole in the front
plate (7) through which the screw for
holding the camera goes is made by
placing the Stevens base in position,
marking the hole carefully and then
drilling a 9/32 inch hole. Use any %"-
20 screw of the proper length or the
knurled-head screw from an old tripod.

Using the finished carriage to line up
the two uprights (6), now weld them
to the base plate and then weld on the
top plate, making sure that the carriage

all aluminum SPLICER AND EDITING BOARD

for 8 and 16 mm.

A superb editing instrument, made with the
precision of a fine camera by the famed
Siemens and Halske Works of Germany.
Masterfully designed, its advanced features
and ease of operation have already made
it a favorite with amateur and professional
cinematographers the world over. Your
every editing problem— from a simple splice
to the exacting stripping-in of magnetic
sound— can now be handled more swiftly
and effortlessly.

©See it demonstrated at your dealer today.
Write for further information to Depl E-4

ERCONA CAMERA CORP. • 527 Fifth Avenue • New York 17, N. Y.

• AIL ALUMINUM — Featherweight, yet amazingly
strong to take any amount of rugged use.

• FOLDS COMPACTLY — for easy storage or port-
ability.

• BRAKING DEVICE — on each reel support with
fully adjustable tension.

• NEW-TYPE SCRAPER-made of a recently devel-
oped alloy which gives longer life, superior
performance.

•PRECISION GEARING - typical of the finest

German craftsmanship.
•VERSATILE — Splicer is instantly detachable from

editing board — can be used separately or in

combination.

•VALUE— the complete unit, consisting of Siemens
Splicer and Editing Board, is $^N^\7C
priced at only * JO'«

'38

complete

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black & White and Kodachrome

Price list on request

STAHL

EDITING AND TITLING SERVICE
33 West 42 St. New York 36. N. Y.

KODACHROME DUPLICATES

8mm or 1 6mm— 1 1 <p per ft.

14c

per

finished

foot

16mm Reduced to 8mm
8mm Enlarged to 16mm

EAGLE LABORATORY

1732 N. ORCHARD ST. CHICAGO 14, ILL.

V4CUUIMK

FILM PROTECTIVE PROCESS
super VAP OR ATE

PROTECTS AGAINST Scratches, Fingermarks,
Oil, Water and Climatic Changes

■ ONE TREATMENT LASTS
THE LIFE OF THE FILM
Brittle Film Rejuvenated
LABORATORIES IN KEY CITIES THRUOUT U.S.

Wrife for Information Now
VACUUMATE CORP., 446 W. 43rd St., N. Y.

VARIABLE SPEED MOTOR

110 VOLT AC/DC

with TACHOMETER for EK CINE SPECIAL

Motor drive your Cine Special with confi-
dence! Tachometer is mounted in clear view
of operator. Calibrated from 16 to 64 frames
per second. Definite RED marking for 24 fps.
Electrical governor adjusts speeds. Steady
operation at all speeds. No adapters needed.
Motor coupling attaches to camera and
couples to motor. Spring steel drive arm
shears if film jam occurs. Easily replaced.

SPLICES NOT HOLDING?

Try Jefrona all-purpose cement.
Send for FREE sample.

FRANK C ZUCKER

(7flm€Rfl€ouipm€nT(o.

^* i6oo BROflowRy- \ new uDRKCiiy ^»-'

52

FEBRUARY 1953

Classified
advertising

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 pre-
ceding issue.

EQUIPMENT FOR SALE

■ BASS . . . Chicago. Cinema headquarters for 43
years offers money saving buys in guaranteed used
equipment. 16mm. Zoomar complete, "C" mt. and
Cine Special with close-up attach. List $1650.00;
price $750.00. Pan Cinor 20mm. to 60mm. for Bolex
or adaptable to B&H 70DA, list $447.50; price
$325.00. Cine Special I, single sprocket, 1" f/1.9,
15mm. //2.7 W.A., $395.00. B&H 70DA, 1" //1.5
Wollensak, 15mm. //2.7 E.K. w. a., 3" //4 B&H
Telate Comb, case, $247.50. Bolex H-16, 1" //1.4
Biotar, 2" f/3.5 Cooke, 3"//2.5 Wollensak, $325.00.
8mm. Revere 99 Turret, //2.8 B&L lens, $52.50.
BASS SPECIAL: Brand new Revere Mod. 55, case,
list $73.50; net, $52.50. Beat 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.

EQUIPMENT WANTED

■ MOVIE FILMS; MOVIE EQUIPMENT; bought
for cash; sold, or exchanged. Prompt replies. FRANK
LANE, 5 Little Bldg., Boston, Mass. (Free lists.)

FILMS WANTED

H I AM interested in color scenes of men and
women at work at various occupations. Also animais
and nature. Write describing what you have. Will
furnish references before you submit material.
BOX 295, c/o MOVIE MAKERS.

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.

■ 1953 ROSE PARADE movies. Kodachrome. Color-
ful floats. Beautiful girls. 200 ft. 16mm., $34.95.
100 ft. 8mm., $17.50. Calif, add tax. C.O.D.'s ac-
cepted. AVALON DAGGETT, 441 No. Orange Dr.,
Los Angeles 36, Calif.

H SPECTACULAR 16mm. color sequences made by
daring explorer. Brown bear closeups, shipwreck,
sealions, caribou. Alaska, Mexico, Europe and the
Alps. Write to NEIL DOUGLAS, Box 664, Meriden,
Conn.

■ ROSE PARADE 1953 PASADENA. 8mm. Koda-
chrome 150' complete, S12.50; 50' short version,
$4.85, first quality prints, satisfaction guaranteed.
Others, original color subjects too, list and sample,
25*. HOLLYWOOD COLOR EIGHT, Box 16335,
Hollywood 38, Calif.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm. or 16mm.,
11* per foot. Immediate service on mail orders.
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hoi-
lywood Blvd., 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: Endi-
cott 1-2707.

■ 8mm. HOLLYWOOD TITLE STUDIO 16mm.
Complete titling service. Color and black and white.
SPECIAL DISCOUNT TO AMATEUR CINEMA
LEAGUE MEMBERS. Send 10* for Price List and
Sample. Address: 1060 North Vista Street, Holly-
wood 46, Calif.

■ COLORSLIDES — Exclusive interiors of historic
homes, buildings, museums, caves. Free list. KELLER
COLOR, Clifton, N. J.

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.

FIG. 3: With guide card completed and pinned
down, camera is centered for all sized cards.

will slide freely on the rods. The base
plate (3) can be screwed to the wood-
en base (1) with wood screws or ma-
chine screws and nuts. The brace (4)
assures positive line-up and steadiness
. . . and, almost before you know it,
your titler is complete.

CENTERING IS SURE

The first step in solving the centering
problem is to mount your camera on
the titler carriage with only the stan-
dard (1 inch for 16mm.) lens in place.
Now slide the camera down the guide
rods until the face of this lens rests
firmly against the wooden titler floor.
With a sharp black pencil, trace ac-
curately on the wood the circular shape
of the lens barrel — and then slide the
camera up out of the way. Now, with
a steel square, draw crossed lines
through the pencilled lens circle, being
sure to extend them all of the way to
the edge of the wooden floor at the top
and two sides.

Step two is to secure a sheet of white
drawing board (13% by 18 inches, in
my case) and to draw diagonal lines
on it from corner to corner. Then, with
your carpenter's square, draw horizon-
tal and vertical lines through the inter-

FIG. 4: Small title cards, such as typewriter
size, may be filmed with suitable diopter lens.

section of the diagonals. Now align this
card with the lines already drawn on
the titler floor and thumbtack it down
to the wood beneath. The result will
be exactly as seen in Fig. 1. You can,
if you like, re-position the camera at
the floor level (this time resting against
the card) and inscribe a circle around
the lens — but it is not wholly necessary.
With your crosslines in place on the
card, clip out with critical accuracy a
rectangle 2x/4 by 3% inches in size.
Position this centrally on the test card,
being sure that the corners of the rect-
tangle are exactly aligned with the
diagonal lines (see Fig. 2) ; then draw
its outline carefully onto the test card.
With this as a guide, now draw in by
rule a series of expanding rectangles
which are each 1 inch larger (% inch
on each side), until you have inscribed
a total of nine.

THE EXTREMES OF COVERAGE

These will serve as guide lines for
the positioning of almost any size card
up to 11 by 15 inches, which is the
field covered by the camera at the full
42 inch extent of the guide rods. At
the other extreme, we might cite the
2% by 3^4 inch field covered by your
standard lens when it is positioned 8
inches from the card and used in combi-
nation with a 5-diopter accessory lens.
(Set the standard lens at infinity, if it
is in a focusing mount.) This 8 inch
position also is ideal for closeups of
insects, flowers and the like. The areas
covered in between these extremes, the
camera distance settings, and the di-
opter lens to use (if any is needed) are
all itemized in tables commonly avail-
able. I shall not repeat them here.

But if you are looking for an.easy-
to-make, easy-to-use titler, I believe you
will find that this one fills the bill. I'm
no machinist myself, so that I had the
parts prepared and weld-assembled by
a professional. The total cost — $25. But,
oh, the pleasure it has given me. Zoom
titles? Sure! Animated titles? Easy!
Horizontal and vertical? Of course! And
good centering? You bet your boots!

Incident light
meters indoors: 2

[Continued from page 40]

many factors in mind. He has heard
that flat lighting is best for color. Okay,
we can easily create a lighting contrast
ratio of 1 to 1 for almost shadowless
color filming. But he knows that same-
ness in lighting throughout a film is
undistinguished. And so the chances
are he will want to create patterns of
light and shade which will match the
mood of each sequence being filmed. It
is here that he indulges his artistic
tastes to the limit.

Suppose the cameraman decides that

MOVIE MAKERS

53

a particular sequence calls for a 3 to 1
lighting contrast ratio. In this case he
begins by placing the key light and
noting its reading in foot candles. If
this reading happens to be 750, he sim-
ply divides by 3 and knows that the fill
light must be so placed as to deliver 250
foot candles at the subject position.
After the lighting contrast ratio is final-
ly set, the incident light meter is then
used to determine proper exposure for
the film — as outlined in our December
discussion.

Up to this point all of our suggestions
will apply equally well to all meters
when they are used as incident light
calculators. Owners of the Norwood
meter may install its Photodisk in place
of the Photosphere to provide a more
directional reading than that obtained
with the hemispherical unit. However,
if the Photodisk is not available, do not

LIGHTING CONTRAST of 1 to 1, soft and almost
shadowless, is seen in top photo. More
natural lighting, at 3 to 1 ratio, is seen below.

hesitate to use the Photosphere for de-
termining lighting contrasts ; but be sure
to shield it from the light not being
gauged. Or, if only one light is turned
on at a time, the Photosphere will work
as efficiently as the Photodisk.

Also, in using the Norwood meter it
must be remembered that the bright-
light slide of the meter must be either
in or out when both the key and fill
lights are measured. In other words, do
not take a reading of one light with the
slide in and a reading of the other light
with the slide out. And remember- —

when the bright-light slide is in, the
number indicated by the needle must be
multiplied by 30 to determine the foot
candles.

So much then for the measurement
and control of lighting contrast range.
Still further balance may be effected in
the control of subject contrast range.
To find out if the subject brightness
range for good color is being exceeded,
the cameraman proceeds as follows:

1. With the Photosphere in place, a
meter reading is made from the subject
position with the bright-light slide out
and the meter directed at the camera.
The out pointer is then set on the num-
ber indicated by the needle.

2. However, instead of determining
the proper exposure in the usual way,
the cameraman notes the position of the
in pointer, because it will indicate the
mid-point of the brightness range when
the Photodisk is used.

3. Thus, the Photosphere is replaced
with the Photodisk and readings are
made of all light or dark objects to de-
termine their high and low numbers.
Dividing the highest number by the
lowest gives the brightness range. If
this is greater than 16, the latitude
of color film has been exceeded.

4. To correct the lighting, first de-
termine whether the variation from the
mid-point is in the direction of the
brighter side or the darker side. If the
borderline numbers are more than six
blocks removed from the in pointer (the
mid-point) , then lighting adjustments
are necessary.

To illustrate, suppose that with the
bright-light slide removed and the Pho-
tosphere in place the reading is 500
foot candles. We then set the out pointer
to 500 and forget about it. But a look
at the in pointer shows that it now
reads 16. This is the mid-point of the
brightness range. The next step is to
insert the Photodisk and make readings
of the lightest and darkest areas. If the
highest reading is 125 and the lowest
4, we immediately know that our scene
exceeds the brightness range of color
film — since 125 divided by 4 gives a
31 to 1 ratio, nearly twice the permis-
sible range. However, looking at the
dial of the meter, we note that the 4
is within six blocks of the mid-point,
whereas the 125 is eight blocks removed.
Thus, all we need do is to shade the
brightest object down to where the
meter will read 64, and our lighting will
be correctly adjusted.

(This is the last of two articles on
the use of the incident light meter in-
doors. For a similar survey of the me-
ter's outdoor operation, see Movie Mak-
ers for February, 1952 — The Editor.)

\16mm&8mm

» Tttatcott 'PietuneSenvtce

I

1 6 mm Reduced to 8 mm
8 mm Enlarged to 1 6 mm

16 mm Duplicates
8 mm Duplicates

Co/or and Black and White

35 mm slide duplicates
and film strip service

^SSfa GEO. W. COLBURN
LABORATORY, INC.

164 North Wacker Drive, Chicago 6, Illinois

ttiratminjfr

THE RALPH R.EN0 CORP.

626 W. 165 ST. • NEW YORK
Send your film for free criticism or estimate

Inauguration of Eisenhower
and Nation's Capital

(both in one film)

16mm. sound, 350' . . $21.75

16mm. silent, 360' . . 9.75

8mm 180' . . 5.95

(Postpaid cash with order, U.S.A.)
Orders filled in order received.

Commercial and Home Movie Service

727-729 No. 19th St.,
Allentown Penna.

•MM— 16MM
K0DAOHROMK

■lACKfcWHITl

^^NAYTIONAL CIN* LAB

BOX 4+25 • WASHINGTON /T, DC

Dress up your films with an
ACL COLOR LEADER

8mm. . . $1.50

16mm. $2.00

Amateur Cinema League, Inc.

420 Lexington Ave., New York 17, N. Y.

Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

54

FEBRUARY 1953

ODDS AND ENDS: AUDIO DIVISION

J^S any observant reader of this magazine should
^^^ know, we have tended to be during the past
* year rather more enthusiastic than less con-

cerning the audio aspects of amateur movie making.
Nevertheless, we should not like this impression to
get out of balance. For there are, if one takes the
time to analyze them, a number of audio odds and
ends which seem to us interesting — and perhaps even
significant. To wit:

A quick run-down of our annual index for Movie
Makers in 1952 shows that only eleven out of
the sixty four major articles published were in any
way related to sound. This figures out at 17 percent
— scarcely an overweighted average to present to the
readers of a magazine which, in its annual contest
for amateur films, received from that same readership
54.6 percent of their entries with sound.

However, taken in conjunction with the fact
(already itemized in January) that 72.7 percent of
the award winning films in our 1952 Ten Best con-

test used sound successfully, this statistic might seem
to indicate that amateur audio was in the ascendency.
But there are other facts and figures which do not
bear this out. Again, to wit:

The 72.7 percent among the winners who offered
sound as well as cinematics was an increase in this
category of only 3.5 percent over 1951 — surely
nothing to get excited about. Furthermore, among
the several score of 7zo«-winning entries, almost half
of them (48.5%) presented sound with their pic-
tures— but obviously to no avail. And furthermore
again, 45 percent of these non- winning but audio-
accompanied aspirants employed optical or magnetic
sound on film — systems which, because of their com-
plexity or cost, are popularly supposed to be sure-fire
in their effectiveness.

Apparently, this simply isn't so. It begins to look
as if the man behind the microphone — just as it has
always been with the man behind the camera — is
more important than the machine he monitors.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

Joseph J. Harley, President
Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
John V. Hansen

DIRECTORS

Frank E. Gunnell, Vjcepres/denj
James W. Moore, Managing Director
George Merz
Stephen F. Voorhees
Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

Edmund L. Stoddard, jr., Guilford, Conn.

B. T. Behrens, Miami, Florida

Mrs. Evelyn Gullickson, Miami, Florida

Alber Beck, Carlstadt, N. J.

William Don Bell, Hollywood, Calif.

Edward A. Burgess, Ogden, Utah

Dr. Lock Gee Ding, Norwalk, Calif.

Walter W. Drake, Denver, Colo.

A. H. Coulter, Denver, Colo.

Gilbert C. Dragani, Elmont, N. Y.

William H. Eddy, Lexington, Ky.
Lt. Col. Charles K. Epps,

do PM, San Francisco, Calif.
Alexander Katemopoulos,

c/o PM, San Francisco, Calif.
Harrison Fleury, Brooklyn, N. Y.
Lew Gillis, Ft. Worth, Texas
Kenneth D. Gordon, Berkeley, Calif.
Alan S. Karo, Rego Park, N. Y.
Edward Kearney, Sarnia, Canada

Henry A. Kokojan, Oklahoma City, Okla.
Jerome Kukla, Traverse City, Mich.
L. E. McBride, Omaha, Neb.
Donn E. Nicholson, New Castle, Ind.
George O'Brien, jr., Canandaigua, N. Y.
Stephen J. Resko, jr., Carteret, N. J.
R. E. Reynolds, Fort Worth, Texas
Mrs. W. A. Riggs, Evanston, 111.
Thaddeous J. Roman, Collingswood, N. J.

Joseph A. Schneider, New York City

Harry Sher, Newton, Mass.

John J. Sullivan, jr., Kansas City, Mo.

Karl L. Tieber, Euclid, Ohio

Robert R. Toe Laer, Boynton Beach, Florida

Francis J. Wagner, Flint, Mich.

Howard A. Cline, South Gate, Calif.

A. A. DeForge, Waregem, Belgium

Bruno R. Engler, Edmonton, Canada

Ervin H. Lorence, Milwaukee, Wise.

Leon Luxenberg, Neiv York City

0. P. Olson, Cranford, Canada

Lloyd C. Root, Evanston, 111.

Paul Telep, Chenango Bridge, N. Y.

L. P. Favorite, Scarsdale, N. Y.

Harold C. Barkley, Detroit, Mich.

H. H. Gaines, Palos Verdes Estates, Calif.

William E. Heffernan, Los Angeles, Calif.

Dr. L. R. Hewett, Cooma, Australia

N. Hofrichter, New York City

Dr. W. R. Husen, East Orange, N. J.

C. R. Imsande, Los Angeles, Calif.

Lt. Col. J. C. Kennedy, M. C,

Silver Spring, Md.
Dr. Irvin Levy, Trenton, N. J.

Mike Little, Los Angeles, Calif.

Fred A. Maides, Grand Forks, N. D.

Glen C. Martin, Chicago, III.

Albert Rossini, South Ozone Park, N. Y.

Russ Schlander, Los Angeles, Calif.

W. K. V. Smith, London, Canada

Southwest 8mm. Club, Los Angeles, Calif.

M. W. Zeno, Los Angeles, Calif.

Karl H. Ziegenhorn, M.D., Lansdale, Pa.

A/B Russell E. Gay, Geneva, N. Y.

Paul Mallon, New York City

Leon Matza, Brooklyn, N. Y.

Jeremiah F. McCarthy, New York City

Mrs. Kathleen B. Morris, Kenton, Ohio

A. W. Rahm, Toledo, Ohio
Stephen Sidor, Hamtramck, Mich.
Frank Westphal, Buffalo, N. Y.
Marshall E. Winton, Portage, Ohio
E. N. Boom, Weston, Canada
G. A. Dallwig, Hollywood, Calif.
E. 0. Dorsch, St. Louis, Mo.
A. E. Engstrom, Chicago, 111.

Earl W. Everley, Long Beach, Calif.

Noel F. Fehm, Hamden, Conn.

Mario Gigli, Sao Paulo, Brazil

J. D. Happle, D.D.S., Detroit, Mich.

Marilyn Kotlan, Berwyn, III.

Thelma Levy, Chicago, 111.

Paul H. Lowry, Detroit, Mich.

Dr. Gerald J. Murphy, Allen Park, Mich.

R. S. Myers, Hot Springs, Va.

Irwin Frank Nelson, Yeadon, Pa.

Robert Payne, Montevallo, Ala.

Emily Runik, Berwyn, III.

J. Ruppert Schalk, Rhinebeck, N. Y.

Jack W. Strasser, Hot Springs, Va.

Miss Helen Webb-Smith, Anacaster, Canada

Harvey Y. Weinstein, Chicago, III.

Jack N. Williams, Hot Springs, Va.

Vincent J. Bisignano, Rye, N. Y.
Pierre Boissart, Fort de France,

Martinique, F. W. I.
Anthony DeFazio, Cleveland, Ohio
J. Fedoriw, Edmonton, Canada
Dr. Harold C. Fey, Everett, Wash.
Dr. T. H. Frenken, Curacao, N. W. I.

Gary D Gillis, c/o FPO, San Francisco,

Calif.
A. L. Huish, Los Angeles, Calif.
M. Kroon, Curacao, N. W. I.
Anthony J. Kursvietis, Memphis, Tenn.
Ernest Landwehr, Syracuse, Ind.

■

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

l_The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

EXTRA-NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name.
Street.

City.

Zone-

.State-

■ ""SM

'■M

I

c#

W*J

Brownie Movie Camera, 8mm.,
with fine, fast f/2.7 lens, $42.50

Cine-Kodak Reliant Camera, 8mm., with
f/2.7 lens, $82.30; f/1.9 lens, $102.25

lliilllll

Cine-Kodak Magazine 8 Camera,
with f/1.9 lens, $150.95

Cine-Kodak Royal Magazine Camera, 16mm., with
f/2.8 lens, $162.15; with f/1.9 "Ektar," $176.25

42^ TO *95622

—each tops in its field

Want fullest camera and film economy consistent with fine
movie results? Choose the remarkable 8mm. Brownie Movie
Camera. Want the same low operating costs, plus slow-
motion and standard- or telephoto-lens shooting? Choose
the "Reliant." Or maybe the convenience of magazine load-
ing, choice of filming speeds, and wide accessory-lens selec-
tion are your movie-making objectives? Then it's the "Maga-
zine 8" or "Royal 16." The former uses lower-cost 8mm.
films . . . the latter makes really big movies, single-frame
shots, too. And if only the best and most talented of all
16mm. cameras will do the job — whether for personal movie
records, travel, educational, entertainment, business, or in-
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Prices include Federal Tax and are
subject to change without notice.

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Rochester 4, N, Y.

CING MAGNETIC SOUND • FAMILY FILMING SCRIPT . VICTOR ADDS MAGNESOIK

THE ACL PRESENTS

«l

THE TOP OF THE TEN BEST

JJ

FOR THE FIRST TIME, The Amateur Cinema League
is proud to offer to movie clubs and amateur filmers everywhere
a perfectly balanced program — 1 hour and 26 minutes long —
selected from award-winning films of the past year. "The Top of
the Ten Best" is a unique cross section of amateur filming at its
finest. Packaged on two reels, it presents an unparalleled variety
of subject matter, treatment and theme. The entire production is
accompanied by the original scores, re-recorded for absolute
synchrony through the magic of magnetic sound on film. "The Top
of the Ten Best" is a complete program — ready to roll!

MOVIE CLUBS can present this six-star ACL show at
regular meetings, annual dinners or at Gala Nights — to raise money
and to win new members. And your top club films may always be
added to round out the local program.

INDIVIDUAL FILMERS can screen "The Top of the
Ten Best" for study and inspiration, to learn what it takes to make
better movies, to entertain friends and family.

THE PROGRAM

The Man With the Box, an outstanding psychological thriller in black and
white by James L. Watson, ACL. "Superlative melodrama . . . suspense-filled
excitement . . . terrifying conclusion." 11 mins.

Poet and Peasant, a musical novelty by Robert G. Williams, ACL. "A technical
tour de force . . . perfect synchrony of music to pictures . . . stumped most
professionals." 6 mins.

Birds of Washington, a nature study by J. Don Sutherland, ACL, and Ralph E.
Lawrence, ACL. "Highly competent pictorial survey of bird life . . . Informative
. . . outstanding." Excerpted especially for ACL: 24 mins.

Muntre Streker, an animated cartoon novelty by Mathis Kverne, of Oslo,
Norway. "Delightful tidbit . . . flawless animation . . . sparkling film fantasy."
4 mins.

INTERMISSION

Bulbs and Beauty, a documentary record of the beautiful gladiolus by Haven
Trecker, ACL. "Painstaking . . . profusely close-upped sequences . . . colorful
and elaborate." Excerpted especially for ACL: 20 mins.

Duck Soup, a family film by Delores and Timothy Lawler, ACL, winner of the
Hiram Percy Maxim Memorial Award for 1952. "A rollicking, rambunctious
household saga . . . well planned, crisply executed." 21 mins.

BE THE FIRST TO SCREEN "THE TOP OF THE TEN BEST"
Ready March 1 —Clip and Mail the Coupon, Today!

r

AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue, New York 17, N. Y. '

I |

■ Please send me complete information and rates for screening "THE TOP OF

THE TEN BEST" on , |

I

(date)

NAME

ADDRESS-
CITY

CLUB □ INDIVIDUAL FILMER □ I

I

ZONE.

_STATE_

HIV

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60

MARCH 1953

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llVJ THE MAGAZINE FOR

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8mm & 16mm FILMERS

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Published Every Month by

ITI

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08§g&m. -.'*.•* • .

March

'•ji

1953

w

The reader writes 62

•?

Beginner's luck Felix Zelenka 64

They laughed at Hamlet! Donna Lindbeck 66

Fine frames From readers' films 67

Silver for Chicago Peter S. Bezek, ACL 68

Bulk film in a box Herbert H. Reech, ACL 69

Notes from magnetic notebooks: 2 Robert G. Williams, ACL 70

Victor Animatograph adds magnetic 72

1, too, saw Cinerama Aaron Nadell 73

News of the industry Reports on products 75

Closeups What filmers are doing 76

New ACL members 79

Clubs People, plans and programs 80

On picking a program Editorial 82

Cover photograph by Harold M. Lambert from Frederic Lewis

JAMES W. MOORE

Editor

PETER D. DIBBLE ANNE YOUNG

.

Clubs Editor Advertising & Production

Vol. 28, No. 3. Published monthly in New York, N. Y., try Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico?' Nicaragua, Panama, Paraguay, Peru, Spain^nd Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
ot^rer countries $5.00 a year, postpaid; to members of Amateur Cinem-j League,
tnc, $3.00 a year, postpaid; single copies 35i/(in U. S. A.). On sale at photo-
n/graphic dealers everywhere. Entered as seeond class matter, August 3, 1927,
/ at the Post Office at New York, N. Y., upder act of March 3, 1879. Copyright,
1953, by Amateur Cinema League, Inc^/Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

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62

MARCH 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes. Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

NOTES FROM MAGNETIC NOTEBOOKS

Dear Mr. Moore: I thoroughly en-
joyed reading Haven Trecker's interest-
ing and informative article on magnetic
sound recording in the December issue
of Movie Makers.

For some time I have felt that there
is a real need for impartial how-to-do-it
information on magnetic recording. I
am sure that Mr. Trecker's account of
his experiences will be of immeasurable
help to other owners and prospective
owners of magnetic sound projectors.

Movie Makers is certainly to be
commended for the timeliness and in-
terest of its articles.

C. H. Percy
President
Bell & Howell Company
Chicago, 111.

Dear Sirs: You had a very nice article
in your December issue by Haven
Trecker, ACL, called Notes from': Mag-
netic Notebooks: 1. I wonder if I may
make a copy of this article and have it
mimeographed for inclusion with other
photographic notes?

W. G. DWINELL

Ames, Iowa.

SAFETY FACTOR

Gentlemen : With reference to the arti-
cle Protect Your Projection Parties, by
George Merz, ACL, in the November
issue, I'd like to comment on a point
I think the author may have overlooked.
With the plug securely bolted to the
wall socket as he suggests, anyone walk-
ing across the room may do one of
two things : either trip and fall, or pull
the projector off the table. It would
seem to me that the standard, unaltered
plug provides a rather nice safety fac-
tor to prevent this sort of accident.

Lt. Herbert M. Federhen, ACL
Fort Monmouth, N. J.

THE TOP OF THE TEN BEST

Dear ACL: I have just finished looking
through the February issue of Movie
Makers which came today. After read-
ing the advertisement on the Top of
the Ten Best program, I want to add
my congratulations to the many you
must be getting for producing this film.
I am sure that the Top of the Ten
Best will be enthusiastically received

everywhere, and I hope it will become
an annual event along with the Ten
Best contest.

Herbert D. Shumway, ACL
Greenfield, Mass.

Thanks to 8mm. Ten Best winner
Shumway. Our only regret in planning
the Top of the Ten Best program was
that we could not include the two 8mm.
winners — Backyard Birding, by Mr. Shum-
way, and Outsmarted Smarties, by George
Valentine.

Dear ACL: Wonderful news about the
Top of the Ten Best program! I hope
our Amateur Movie Society of Albany.
ACL, will be able to use it soon. The
program should be very popular.

Helen C. Welsh, ACL
Albany, N. Y.

Gentlemen: Please send me complete
information and rates for screening the
Top of the Ten Best program on April
14 or May 12. Will appreciate hearing
as soon as possible if one of the above
dates is open.

Harold M. Thompson, ACL
President
Color Camera Club
Waterloo, Iowa

DEAR ACL: LOS ANGELES 8MM.
CLUB WANTS TOP 10 BEST PRO-
GRAM FOR FIRST LOS ANGELES
SCREENING ADVISE BY RETURN
AIR MAIL. SORRY CANNOT AC-
CEPT WASHINGTON INVITATION
TO ATTEND WORLD PREMIERE.
Fred Evans, FACL
Sound Committee
Los Angeles 8mm. Club
Los Angeles, Calif.

ACL: CAN I HAVE TOP OF TEN
BEST FOR SHOWING MARCH 31?
TRYING TO ORGANIZE ACL CLUB
HERE.

C. S. Hoag, ACL
Cleveland, Ohio

ACL: REGARDING TOP OF TEN
BEST PROGRAM. COULD WE BOOK
SAME MARCH 18? INDIANAPOLIS
AMATEUR MOVIE CLUB MEMBER-
SHIP DRIVE SHOW. WIRE COL-
LECT.

Walter R. St. Clair, ACL
President
Indianapolis Amateur Movie Club
Indianapolis, Ind.

Gentlemen: We would like to present
the Top of the Ten Best program at
Dartmouth College under the auspices
of the Dartmouth Film Society on

March 17 or late in April. Your offer
will prove to be one of the outstanding
events of the year in the field of ama-
teur motion pictures.

J. B. Watson, Jr., ACL
Dartmouth Film Society
Hanover, N. H.

Dear Sirs: We have received your re-
cent letter and are very glad to hear
of the ACL package program, The Top
of the Ten Best. All here are agreed
that the plan is a splendid one and
should be a great help to clubs which
put on Gala Nights. Please book us at
once for May 15.

A. Theo Roth, ACL
President
Golden Gate Cinematographers, ACL
San Francisco, Calif.

Gentlemen: Please send me complete
information and rates for screening the
Top of the Ten Best program. This will
be shown before the Glens Falls Camera
Club, which does not have a movie sec-
tion at this time. But we hope to stimu-
late enough interest with this outstand-
ing ACL feature film to start one.

Richard K. Dean, ACL
Glens Falls, N. Y.

Dear ACL: I think ACL is to be highly
complimented on this very progressive
idea of a package program of the Top
of the Ten Best. We are delighted to
have it available for our coming ban-
quet.

Our club being strictly a non-profit
organization, we were thrown for a
loss at first at the rental-fee angle. But
several individuals in the club have
contributed enough to see us through.
That's what you might call enthusiasm !
John C. Sherard, ACL
Program Chairman
8-16 Home Movie Makers, ACL
Kansas City, Mo.

Allowing only one booking per week,
to avoid all possibility of disappointment,
the senior Top of the Ten Best program
is already booked solid through the
month of June. Good dates after that
time are still open.

However, in view of the unprecedented
popularity of ACL's new film feature, we
have prepared a second, or junior, Top
of the Ten Best package. It is comprised
of Duck Soup, the Maxim Memorial
Award winner for 1952; Muntre Streker,
a Ten Best winner, and (in excerpt)
Birds of Washington, an Honorable Men-
tion winner. The total screen time is 41
minutes, and the rental rates are com-
mensurately lower than those for the
senior show.

Booking dates for the junior Top of the
Ten Best are generally available from
the middle of March on.

CARRY THE LOAD

Dear ACL: In sending you my renewal
of membership at the new rates, I real-
ize that the cost of everything is rising —
especially service. Since I feel that what
the ACL has done for me, as well as
for movie makers in general, is well

MOVIE MAKERS

63

worth it, I have no objection to the
slight increase in dues, thus helping
to carry the load for the great benefits
derived.

J. George Cole, ACL
Trenton, N. J.

F/16 EXPOSURES

Dear ACL: In the February issue of
Movie Makers, bottom of page 49,
Georgia Engelhard speaks of //16 ex-
posures, although Eastman has repeat-
edly cautioned against Kodachrome
exposures at less than //ll due to the
limitations of the film.

I have made tests and found that,
generally speaking, //ll is the limit
if the sky appears in the picture. The
use of smaller openings than //ll at
1/35 of a second shutter speed results
in over-blue skies, so that if an //8 or
//ll sky precedes or follows these
scenes, the deep blue skies will stick
out like a sore thumb. Smaller open-
ings can be used when needed if the
sky is not in the picture.

Oscar H. Horovitz, FACL
Newton, Mass.

Our thanks to League Fellow and Ten
Best filmer Horovitz. What is the ex-
perience of other color filmers in shoot-
ing at apertures smaller than //ll?

BONUS FROM BOOK

Dear Sirs: I have improved 100% in
my movies since I have had The ACL
Movie Book. In fact, in my opinion
everyone should have this book before
attempting to make their first movie.

James L. Hicks, ACL
Talladega, Ala.

OPENED NEW VISTAS

Dear ACL: The two films which you
loaned me from the League's Club Film
Library — Squeaky's Kittens and One
Dinar More — left here today by insured
post. You may believe me when I tell
you that I thoroughly enjoyed both of
them.

Squeaky's Kittens was very appealing
and certainly well done. But in my per-
sonal experience it had nothing like the
impact of One Dinar More. To see an
incident handled with such imagination,
simplicity and economy of film (250
feet) is a challenge to every movie
maker. It has opened new vistas to me
and is a revelation of the true dramatic
power of the motion picture.

William H. Palmer, ACL
Deerfield, 111.

The Ten-Best-winning films cited by
ACL member Palmer were loaned to him
personally by virtue of his cash contribu-
tion in support of the League's Club Film
Library.

A similar film-borrowing privilege is
open to any ACL member making a sim-
ilar contribution to the Library Fund.
And — may we remind you again — all con-
tributions to ACL are deductible from
your federal income tax as donations to a
non-profit, educational body.

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64

LOADING INSTRUCTIONS, carefully detailed in the camera man-
ual, mean nothing to Pop as he hurries to load that first film roll.

LENS CAP, AHOY, POP! This and other familiar fumbles of the
beginning movie maker will enliven the antics of your picture.

BEGINNER'S

LUCK

FELIX ZELENKA

EDITING IS EASY, thinks Pop, as he goes at the job with more
enthusiasm than organization. One old tie is needed as a prop.

1CL0SEUP. A woman's hands lighting the last of several
■ candles on a huge birthday cake.

2. Medium shot. Mother, in the kitchen, looks at cake
proudly, then calls something offstage (no title necessary).

3. M.S. Father, Junior and Sister seated at dining room
table, apparently finished with their meal and waiting anxious-
ly. As the children hear Mother's voice, they hurry to Father's
side and demand that he close his eyes for a surprise.

4. C.U. Father slightly perplexed, but obligingly closing
his eyes.

5. M.S. From behind Father as Mother enters scene with
cake and places it in front of Father. Then she and the children
begin singing "Happy Birthday to You . . ."

6. Same as 4. As Father opens his eyes and sees his cake,
he displays complete surprise and delight.

7. M.S. As the family finishes singing, Father blows out
the candles and then each member of the family gives him
a present. Father still glows with delight and begins opening
some of his presents.

8. C.U. The front doorbell as a finger presses the button.

9. Same as 7. The family stops short and turns toward
front door off scene. Junior scurries away to answer it.

10. M.S. As Junior opens front door, a department store
truck driver enters with a large package. Junior points to his
father as he speaks.

Title. "It's for you, Pop!"

11. Same as 10. Truck driver sets package on floor and
prepares receipt book for Father's signature. But Father ignores
the truck driver's attempts, who turns in desperation to each
member of the family for help. They too wave him aside, as
Father reaches for his pocket knife and begin? to open the box.

12. Semi-closeup. Truck driver seating himself in an easy
chair. His attitude is one of complete surrender and disgust.

13. S.C.U. Father, on his knees, reaches into newly opened
box and withdraws a card which he begins to read to the
family.

14. C.U. Birthday card reading "From Uncle Harry."

15. Same as 13. Family and Father as they finish reading
card. All then return their attentions to the box.

16. M.S. Mother saying something excitedly and handing
card to still-seated truck driver. He looks it over and shrugs
his shoulders directly at camera.

17. M.S. Family gathered around box as Father withdraws
from it various pieces of equipment, such as a home movie
camera, a projector, a tripod, an editing board, etc.

18. Same as 16. Truck driver showing interest too. He sits
forward and then joins group on floor for a closer look. He
seems as pleased as the rest of the family as they examine
the many movie things.

19. C.U. Father as he looks over his camera like a child
with a new toy and then speaks.

Title. "Good oV Uncle Harry, this is just what I've always
wanted."

20. S.C.U. Junior and truck driver congratulating Father.

21. Same as 19. Father placing camera to his eye upside
down and panning as he looks through finder.

22. C.U. Junior looking at instruction booklet.

23. C.U. Truck driver playing with projector.

65

WHICH END IS WHICH? Or is this scene coming or going, ponders
Pop, as he battles against time for the gala evening screening.

Here, adapted from an original film by Fred Evans, FACL, is a lighthearted
lampoon of our chosen hobby

24. Two-shot. Mother and Sister looking over some of the
equipment.

25. Two-shot. Father still looking through upside-down cam-
era. Junior looks up from instruction book at Father, shakes
his head and turns camera right side up in Father's hands.

26. C.U. Father nods, covers up his embarrassment with
laugh and continues panning in every direction. Fade out.

27. Fade in. S.C.U. Father at editing board cutting and
splicing a reel of his movies. About his neck is a length of
film and everywhere on the table more film is scattered.
Father somehow tangles his tie up in one of his splices and,
to free himself, he cuts the tie loose with a pair of scissors
and winds it onto his reel.

28. M.S. Mother entering scene as Father continues with
his work, unaware of her presence.

29. C.U. Mother shaking her head with a sense of all hope
abandoned. Finally she starts to speak. Cut quickly to:

30. C.U. Father, startled by her presence, questions her
impatiently. (No title necessary.)*

31. Two-shot. Mother indignantly holds out paper and be-
gins to explain.

Title. "/ only came in to tell you, Mr. de Mille, that I've
invited everyone on your list to your World Premiere tonight."

32. Same as 31. Mother finishes speaking, turns on her heels
and walks hastily from scene.

33. S.C.U. Father sniffs his indignation and begins rewind-
ing film on reel. As he does so the length of film that has
been about his neck suddenly tightens like a noose and jerks
his head down on top of the reel. Fade out.

34. Fade in. M.S. Father and Mother answering door as
several couples and their children enter the house.

35. S.C.U. Father's men guests shaking his hand warmly.

36. S.C.U. Mother chatting vivaciously with her guests as
she politely gathers some of their wraps.

37. S.C.U. Junior and sister in another corner of the room
showing the visiting children their father's projector, which
is set up and ready for the show.

38. C.U. The hand of the truck driver pressing door bell
button, as in scene 8.

39. Same as 35. Father excuses himself from his guests and
opens door on his truck driver friend. They shake hands
warmly in greeting.

40. C.U. Truck driver holding up a movie camera as he
speaks.

Title. "/ got the bug too!"

41. Same as 35. They laugh together and walk over to the
other guests where Father begins the introductions.

42. C.U. One of the guests beginning to speak.

Title. "Well, let's see the movie we've been hearing so
much about."

43. M.S. Friends nodding in agreement as they begin to
seat themselves in various places.

44. S.C.U. Father chasing the youngsters away from the
projector as he seats himself and nods for the lights to go out.

45. S.C.U. Sister at light switch acknowledges Father's nod
and turns off the lights.

46. Same as 44. Father turns on his projector and begins
his movie.

(Note: From here on all reaction shots related to the screen-
ing will look more realistic if filmed under a flickering, low-
key lighting. The flickering, which creates the illusion that a
motion picture is being screened, [Continued on page 78]

l.v Felix and Nikki Zclenlu

THE SHOW MUST GO ON, even though Pop is exhausted by his
editing efforts. As he naps, his guests sneak out for refreshment.

TOO MUCH TO TAKE is the sad news that the gift camera was a
mistake. But Pop recovers and bounces back to buy his very own.

66

THEY LAUGHED m

47 HAMLET! J"k

With #40, four players and a fixed focus

8mm. camera, a quartet of college cutups

have done in the Great Dane

Photographs by Phil Sanders

DONNA LINDBECK

USING a minimum of photographic equipment and a
maximum of ingenuity, a group of Eugene, Oregon,
amateur filmers have gone a long way toward prov-
ing that "Home Movies Are Better Than Ever," with their
$40 version of Hamlet. No epic, their movie nevertheless
is an effective parody of the Shakespearian drama. And
it has rolled nearly 2000 spectators in the aisles since it
was finished.

The 40 minute 8mm. movie is the product of three
months of weekend work by three University of Oregon
students, Jim Blue, Al Barzman and Bob Chambers and
several of their friends. They decided upon Hamlet be-
cause they were well acquainted with the play. Blue, who
directed the movie, had seen Olivier's version five times.
They decided upon a parody, rather than a more serious
play, because they wanted to relax after school hours.
And besides, didos are easier than drama, any day.

Blue owned an 8mm. Bell & Howell Sportster movie
amera, which had a custom built rewind. The lens he
ised was an //2.5 fixed focus. And the 13 rolls of Super
X black and white film accounted for almost all of the
$40 which he spent. He estimated that 50 feet of film
would run about four minutes of screen time. This meant
consuming only 10 rolls of film for the 40 minute show;
the rest of the footage was cut to improve the tempo of
the movie.

After he began work on the production, Blue purchased
three 350 watt medium-beam reflector-flood lamps, the
only major addition to his equipment. Because there were
no properties or scenery to get in the way, three "grips"
carried the flood lights and followed the actors about.

Blue did not own a titler, especially of the scroll
variety. So in order to save money he constructed one
out of a round oatmeal box and turned it by hand. "The
jerky motion of the title just helps set the mood for the
movie to follow," says Blue good humoredly.

To announce the name of the picture, Blue made a

JIM BLUE, right, outlines his ideas for the next scene, as
Bob Chambers, Al Barzman and Martha Stapleton listen.

paper gong patterned after the J. Arthur Rank type of
movie opening. Horace Robinson, director of the Uni-
versity of Oregon Theatre, consented to play the slave
who strikes the gong. For the first few blows he was to
pretend to strike the gong; then, on the last stroke, he
actually was to hit this paper gadget — which was sup-
posed to tear down the middle. However, because the
paper had been stiffened with sizing, it completely shat-
tered as he struck it.

Surprised and a bit shocked, Robinson turned toward
the camera and put his finger in his mouth — like a small
boy who is afraid he is going to be scolded. This unex-
pected turn of events was one of the most humorous
scenes in the movie.

Robinson also helped the students solve one of their
most important problems, the need for costumes and a
stage. For he let them use costumes from the theatre's
wardrobe and the bare stage of the theatre. From these
stock materials, the actors selected costumes that were as
representative as possible of the type usually worn in
Hamlet. But an occasional anachronism, such as the
saddle shoes that Bob Chambers wore, just added to the
comic effect which was desired.

An open grave was required in one of the scenes of the
play, as you well remember. Digging a hole in the ground
six feet long, six feet deep and three feet wide is a big
job, and when the time came for this work to be done,
all of the actors claimed they had to put on costumes and
apply makeup. So director-producer-cameraman and tech-
nical-adviser Jim Blue also became a grave digger.

Properties for the movie were relatively inexpensive.
Small items such as 20 cents for popcorn, 10 cents for
dry ice, one smoked mackerel and a tube of toothpaste
were all that were required. The dry ice was used very
cleverly to simulate poison. A paper cone, containing the
ice and sealed at the bottom, was placed in the ear of one
of the actors. Into it another [Continued on page 78]

CHAMBERS, in one of his
many roles, lays to rest the
body of Ophelia, nee Lois
Williams.

THE QUEEN, as played by
Martha Stapleton, mimes
her role with force if not
subtleness.

67

Outstanding scenes enlarged from readers' films, presented periodically by MOVIE MAKERS

w

A PLEASING PATTERN enlivens this
closeup from Under the Florida Sun,
by Arthur Gross, ACL, of Brooklyn.

A WINSOME WINNER is this tiny
tot from School Days, produced by
Helen C. Welsh, ACL, of Albany.

CROSS LIGHTING lends contrast to
this palm tree pattern filmed by J.
L. Watson, ACL, of Worcester, Mass.

JOHN H. HEFELE, ACL, of Yonkers,
N. Y., used a telephoto lens to lim-
it the depth in this study of roses.

HARRY GROEDEL, ACL, New York
City, used an up angle for a sky
backdrop in Andalusian Adventures.

ROY C. WILCOX, ACL, of Meriden,
Conn., used a down angle on this
closeup of a venomous copperhead

A DIAGONAL PATTERN makes this
attractive closeup composition by
Harlan Rupp, ACL, Hamburg, N. Y.

WILLIAM PETTY, Lake Placid, N. Y.,
needed a reflector to lighten shad-
ows in shot from Winter Carnival.

CHARLES HOOKER, High Point,
N. J., used a reflector to lighten
the shadows in Adirondack Idyll.

FIVE DOLLARS will be paid by Movie Makers to the pro-
ducer of the finest of the Fine Frames published on this page
in_ any single issue. All readers are cordially invited to sub-
mit frames for reproduction here, on either 8 or 16mm. film.

Submission on 8mm. should be in strips of 10 frames or more,
on 16 in strips of 5 frames or more. Please mark each entry
with your name and the name of the film from which it comes.
Address entries to Movie Makers, 420 Lexington, N. Y. 17.

68

SILVER FOR CHICAGO

New games, old photographs enliven 25 th Anniversary party of the
Chicago Cinema Club, ACL

PETER S. BEZEK, ACL, Anniversary Committee Chairman

WOULD your best friends recog-
nize you in that picture — you
know, the one on the bear rug,
or in the three-cornered pants? As part
of our twenty fifth anniversary celebra-
tion, members of the Chicago Cinema
Club asked this question of each other
in pictures taken at least 25 years ago;
and in the process they created one of
the more popular entertainment features
in the club's history.

Late last fall, the Chicago Cinema
Club, oldest incorporated amateur movie
club in the United States, celebrated
its Silver Anniversary at the Carleton
Hotel in Oak Park. When the commit-
tee started to plan for this affair they
found, of course, that there simply were
no established precedents for cinema
club silver anniversaries. They had to
start from scratch. And, since the party
was such a success, our program ideas
may be helpful to other clubs looking
forward to an important anniversary.

At 6:30 in the evening, as the anni-
versary program began, each lady re-
ceived a corsage and all guests were
given a sheet of paper on which to
play a get-acquainted game called
Autograph Bingo. This sheet was ruled
off in the familiar Bingo pattern, and
at the bottom there was a space for
the guest to sign his name. This part
was torn off immediately and deposited
in a sealed box from which names were
drawn later for the play-off game. Then
each player had to get a signature for
each of the squares until the sheet was
filled.

While the guests were getting these
signatures, one of the members, Charles
Lonk, was filming them in Ansco Color.
The films were then dispatched imme-
diately to the Ansco laboratory, which
the management had kindly kept open
for us. There they were processed and
returned to us by 9:30 p.m. for projec-

tion later in the program. Obviously,
this feature was a big hit; for, like the
proverbial sailor who goes boating on
his day off, even movie makers like to
have their pictures taken at a party.
The films were also of great value to us
for our historical records.

After an excellent dinner, planned
under the direction of dinner committee
member Charlotte Rus, the guests were
welcomed by Alice Koch, club presi-
dent, and Charlie Bass, speaker of
the evening, was introduced. As a char-
ter member of the club, and a man
whose name is synonymous with photog-
raphy, Mr. Bass spoke appropriately to
the spirit of the evening on Four Dec-
ades of Cine Memories.

At 8:30 the tables and chairs were
cleared for the entertainment part of
the evening. The first feature, made up
of amateur talent developed under the
direction of Esther Meshboum, indi-
cated the amount of normally-hidden
talent club members may possess. I be-
lieve that every club has members
whose talents are just waiting for such
an opportunity. After this variety half
hour, another committee member con-
ducted the play-off of Autograph Bingo,
the stunt described earlier. A prize
was awarded to the winner.

Then, according to many, came the
big hit of the evening — the Who Am I?
contest, originated and developed by
Albert Rus. Several weeks before the
contest, club members were asked to
submit photographs of themselves
taken in their childhood. The prints,
forty two in all, were then photo-
graphed, mounted as 35mm. slides, and
numbered as to order of projection. On
a sheet given to each guest, opposite to
corresponding numbers, were the names
of four persons each picture might be.
You checked your choice.

Song hits of 25 years ago were se-

CHARLES BASS, left, president of
Bass Camera Co., addresses anni-
versary dinner as (I. to r.) Keith
Nowell, Peter Bezek, ACL, Mrs.
Bezek and Clarence Koch, ACL, are
listening.

lected for popular appeal and, where
possible, were cued to the identity of
the subject. For example, I'm Sitting
on Top of the World was coupled to
the photograph of a member who liked
to climb mountains, The Sheik of Araby
to that of a popular bachelor. Fifteen
to seventeen seconds gave just the right
amount of time for the audience to
make its guess identifications. But even
with this help, few in the audience had
a score even 50 percent right. Never-
theless, prizes were awarded to the best
guessers.

These song clues, played by Mary
Bezek and recorded by Clarence Koch
on his tape recorder, along with some
unusually appropriate title slides made
by Carl Buck ("Ladies, please remove
your hats!") , gave us a complete pro-
fessional feature reminiscent of a stage
presentation of the 1920s. The package
is being saved by the club for use on
some other occasion.

At eleven, the Ansco Color movies
taken before dinner were projected,
and the stage was now set for cutting
the huge anniversary cake. When retir-
ing president Alice Koch completed
this, the newly elected president, Ar-
thur Kadow, was introduced. There
then followed the installation of the
entire slate of officers for 1953, a cere-
mony which also was filmed in Ansco
Color for the club's historical records.

As a memento of our happy occa-
sion, guests could take with them the
twelve-page anniversary program, with
a front cover designed by Arthur Jo-
sephson and Carl Buck. A few copies
of this program are left over and
available on request from other clubs.
In fact, if further details on any phase
of our anniversary are desired, they
may be obtained by writing to ACL or
to the Chicago Cinema Club, 20 North
Wacker Drive, in Chicago, Illinois.

Photographs by Felix Pollak

ALICE KOCH, retiring CCC presi-
dent, cuts silver anniversary cake,
as Arthur Kadow, the new presi-
dent-elect, awaits turn.

69

BULK FILM

IN A BOX

The author of "A Suitcase Editor" turns his
talents to the needs of the bulk-film enthusiast

HERBERT H. REECH, ACL

THAT man who made up the maxim that there's no
accounting for tastes sure knew his stuff. For ex-
ample . . .

Last October it was my pleasure to present in this
place an article on assembling a suitcase editor. And,
after the magazine editor got through with it, I, at least,
thought it was pretty good. But not so "Constant Reader."
He had written, the editor reported, that, quote: / sure
don't know why anyone wants to edit in a suitcase! Un-
quote.

Okay; I can take it. For the same piece had prompted
a filming friend of mine to say: "Why not design a similar
unit for fellows like me who handle bulk film?" And
so I did. And so here it is, expressly aimed at the bulk-
film enthusiast, a practitioner who is generally regarded
as the poor relation of our hallowed hobby.

To begin with, I began with the same kind of case
and double-jointed aluminum arms that were described
in detail in my October article, A Suitcase Editor. (There
is no point in restating all of those details here. If you
haven't an October issue on hand, send two bits to ACL
and they'll fix you up.) Actually, the case for this bulk-
film unit was one I had left over from my earlier enter-
prise, and it was dimensioned in a similar size — 14 by
14 inches for the detachable cover, 8 inches for the depth
of the case itself. Probably, however, a depth of 10 or
12 inches would be better. So, if you're starting from
scratch, Fd suggest that size.

Very well . . . The first thing you will need in handling
bulk film is a suitable safelight. As you will see in Fig. 1,
this is housed in the case itself. It is comprised simply
enough of a dime-store socket, an acceptable length of
power cord and the bulb itself — red or green, depending
on the characteristics of the emulsion you're working
with. In attaching the socket to the inside of the wooden
case, I urge you to avoid (as I did) the use of ordinary
wood screws. The widely used and ornamental Phillips-
head machine screws make a better looking job. Pass
them through the board from the outside and fasten them
snugly with nuts on the inside.

The next thing you will need in bulk film operations is,
obviously, a bulk film winder. The set illustrated in Fig. 1
will cost you $2.95 at Superior Bulk Film Company, 105
South Wells Street, Chicago. It consists of a bulk film
holder (as seen on the left arm), a metal base and a
rewind. The holder is easily attached to the metal arm
by drilling and tapping two % inch holes for suitable
machine screws. The rewind is attached to the right arm
in a like manner (as was fully described in October),
and the splicer and cement bottle are positioned on the
board with wood screws.

The raised part seen in the center of the baseboard
in Fig. 2 is a block of wood, 2 by 4 by about 6 inches

FIG. 1: Ready to roll, with winders left and right, safe
light in center, bulk film editor stands above.

long. For neatness it has been covered with the same
Aerotweed material that covers the case; for sturdiness
it is attached to the baseboard with long wood screws.
This is really the heart of the outfit, for on it are mounted
the film slitter and the frame counter.

The slitter (see Fig. 2) also was obtained from Su-
perior B. F., this unit at $1.50. I drilled a hole through it,
attached two small angle brackets and inserted a ma-
chine screw through the unit to hold it rigid. It is at-
tached to the block with wood screws driven through
the angle irons.

The frame counter can be seen dead center in Fig.
2. Ii is a three-digit, revolution type (non-reset), and
can be purchased for around $2 from Stark's, in Chicago,
or the T & T Tool Company, in Tulsa, Okla. The sprocket
is a ten-tooth 16mm. model and, together with the two
rollers and their shafts, comes to around $2.35 at the
Triple-S Sales Company, in Mission, Kans.

To mount these units, secure a suitable length of 3/16
inch aluminum stock, such as has been used in fashioning
the double-jointed arms. After bending it at right angles
in a vise, drill the vertical part to hold the two roller
shafts. The counter is fastened to the base section by
four tiny machine or self-tapping screws. When marking
out the mounting holes for the counter, make sure that
the sprocket and rollers are exactly aligned by testing
with a strip of old 16mm. or double 8mm. footage. There
must be enough tension exerted by the rollers on the film
to hold it taut on the sprocket. [Continued on page 81]

FIG. 2: Disassembled, the component parts of bulk film editor
are on display. The frame counter is centered, slitter at right.

70

Notes from magnetic notebooks: 2

The Ten Best producer of "Poet and Peasant" outlines his

system for creating unfailing synchrony of sound and cinema

ROBERT G. WILLIAMS, ACL

IF YOU had a wife (or daughter, or son) who was
really proficient on some musical instrument, wouldn't
you want -to make a sound movie of their artistry? Of
Course you would ! And so would I.
-.And now, through the magic of magnetic sound on
film, I am happy to report that I have successfully pro-
duced just such a picture. It is called Poet and Peasant,
and in it Mrs. Williams plays through the familiar over-
ture on our Hammond home organ. There are, in the
film's nine and one half minutes of screen time, eighteen
different camera viewpoints. And yet, in naming our
little picture as one of the Ten Best for 1952, ACL said
of its sound: "There is uncannily perfect synchrony
throughout of music to pictures."

FROM PIT TO PICTURE
In a way Poet and Peasant had its beginnings years
ago in the able hands of a certain pit piano player at an
old nickelodeon movie house. That pianist's first name
was Kathryn, and her last name, later, was to become
Williams. For my wife's artistry at the organ began as a
piano player in her brother's dance orchestra. From that,
as movies moved in on the entertainment world, she went
on to that old nickelodeon piano and then to a post as
pianist in a vaudeville orchestra. Here, she remembers,
she accompanied such performers as the Marx Brothers,
Will Rogers, Eddie Cantor and Edgar Bergen. It was,
therefore, a matter of pride with both of us to produce a
sound picture record of her musical talents.

BASIC PRODUCTION TECHNIQUES
And now, as I move on to outline the specific produc-
tion techniques we employed, I would not wish to sug-
gest that they are the only — or even necessarily the best
— ones for the purpose. They worked for us, and I be-
lieve they will work for you. But, as other amateurs de-
velop other techniques, I sincerely hope that they will
report on them in this place. So, I am sure, do the edi-
tors of our ACL magazine.

Specifically, then, after discarding several other sys-

MUSIC
STARTS

i

MUSIC
STOPS

CAMERA
STA RTS I

I

CAMERA
STOPS

ttttt

m

RECORDING PROCEDURE is shown by the Wiliiamses, as edited film
leads Mrs. W. at organ on live shots, metronome on blind takes.

PRODUCTION PROCEDURE is diagramed above. Camera starts at
A, artist at B; they stop in order at C, D, and extra frames are cut.

terns as impractical, we settled on the following pro-
cedures, in order: (1) shoot the picture, silently and
scene by scene, from start to finish; (2) edit this mate-
rial scene by scene, so that its action matches perfectly
the musical progressions indicated on the printed musical
score; (3) have this edited footage magnetically striped
from start to finish; (4) post-record the music from live
play so that it matches exactly the pictured action.

Of these four steps in producing the film, the last, you
will say, is obviously the most difficult. Actually, it proved
to be the easiest. For we had reasoned it this way: A
good musical conductor can lead a hundred or more
trained musicians through the complexities of a great
symphony, keeping all in perfect synchrony with each
other and with the written score. Why, then, in our case
could not the projected picture serve as the conductor?
My wife was a trained musician, with long experience in
following conductors. This put it squarely up to me to
produce a picture in which the action would "conduct"
the playing of the artist in exact synchrony with the writ-
ten score.

ANALYZING THE SCORE

So we started with that score. Guided by my wife's
knowledge as a musician, we divided it up bit by bit into
consecutive sections — the beginning and end of each one
being dictated by the musical phrasing, pauses, changes
of tempo and the like. A secondary consideration — but
one which inescapably had to be considered — was the
maximum length of scene which my Bolex H-16 could
film at one spring-winding.

This dividing up, if you judge it by the brief descrip-
tion of its doing, may sound simple and unimportant. In
my estimation, it is neither. We spent several days on this
phase alone, and we know now that the ultimate success
of our picture was dependent directly on this careful
planning. Further, I should like to emphasize that it is a
task in which the cameraman should be guided implicitly
by the specialized musical knowledge of the artist.

When we had completed this analysis of Poet and Peas-
ant, we found that we had divided the score into eighteen
separate musical phrases. In camera terms, this would
mean a corresponding number of different camera posi-
tions or viewpoints. So we then proceeded to determine
the photographic treatment which seemed best suited to
the musical action of each phrase. Should the hands be
featured, or the feet, or should it be a neutral or "blind"

71

shot? Should the coverage be in medium shot, near shot,
closeup or ultra closeup? As these choices were deter-
mined we jotted them down directly on a copy of the
musical score. This later became, simply and effectively,
our only shooting script.

THE SHOOTING PROCEDURES
To explain our actual shooting procedures, permit me
first to define the two classes of scenes taken. These are
(1) live scenes, or scenes in which, during the projection
for recording, the artist can follow the lead of actual
hand or foot movements; and (2) blind scenes, or scenes
in which the artist cannot follow the lead of any such
action during the scoring procedure.

Our shooting procedure for all live scenes was simple,
effective and is easily explained by reference to the dia-
gram. Here, the upper bar represents the musical phrase
that is to be played and photographed. The lower bar
represents the film which will record this action. The
camera starts at "A", and at this point the artist is poised
with her hands perhaps two inches above the keyboard.
As soon as she hears the camera, she starts at "B" to play
the musical phrase. Upon its conclusion at "C" she raises
her hands two inches above the key board until the camera
stops at "D."

For the blind shots, where no actual playing action was
being filmed, we followed a different method. But first let
me make clear what we mean by these so-called blind
scenes. They are, actually, three in number: (1) an ACL
membership leader (now replaced with our Ten Best
award leader!) on which both the picture and the re-
corded music opens; (2) an angle shot over the top of
the organ, in which only the head and shoulders of the
artist are seen, and (3) a brief reaction shot of the organ
loudspeaker, from which the music is presumably issuing.

METRONOME AND STOP WATCH
In filming these scenes, our problem was twofold. First,
it was necessary to maintain an exact tempo in the play-
ing, so that where the blind scene joined the live scene
which followed, the artist's playing action would be in
smooth progression. Second, it was necessary to know
and maintain the exact amount of elapsed time called for
by the musical phrase, so that this amount of time could
later be measured off in a correct number of frames of
blind action. . . . The first problem was solved by the
artist rehearsing — and finally playing — the phrase against
a metronome. The second was even more easily solved
by timing the action against a stop watch.

CUTTING IS CRUCIAL

If your shooting has been accurately done, you will
find the cutting of these consecutive takes much simpler
than you had expected. With all of the live scenes the
film is cut at the pictorial point "B" on the diagram — or
exactly where the artist's hands touch the keyboard —
and again at "C" where they leave it. For the first few of
these momentous cuts you are likely to feel, as I did, a
slight attack of buck fever. For remember, you are cut-
ting off the end of one scene and the beginning of another
so that at the exact point of the splice the flow of action
will match the progression of the printed music. So let
the artist tell you where to cut. Il is she, after all. who
must play back this music to your edited footage.

Blind scenes, as already suggested, are quite easily cut
by translating the predetermined elapsed time of playing
into a suitable number of film frames at your intended
projection speed. Overall, our editing of both the live and
the blind scenes took about two hours, and the film has
never been re-cut by so much as a frame since then.

POST-RECORDING THE MUSIC
The photograph which shows me at the Bell & Howell
202 projector illustrates the setup we used for post-re-
cording the music to the finished film. The machine is
positioned so that it can project the picture in easy view
of the artist. On all live scenes the artist follows the action
of the picture — just as if, we suggested earlier, it were a
musical conductor. The projectionist keeps the metro-
nome ready (and set at the correct tempo) to turn on
at the beginning of each blind scene. The audio pickup
of the music can be made best electronically, by connect-
ing a line from the phono input of the 202 to either the
voice coil of the organ's speaker or directly into the con-
sole.

On your first recording run-through you will, prob-
ably, make a mistake or two. If so, you can (and will!)
blame the artist, while she in turn will blame you for not
making a perfectly timed picture. In either case, it's a lot
of fun and there's no harm done. Simply start over again
— right from the beginning! Don't try to patch it. . . .
And if you work out an easier, surer and more accurate
system, let the rest of us know.

(This report from the field by a practicing producer
of magnetic sound pictures is the second in a continuing
series. Notes from Magnetic Notebooks: 1, by Haven
Trecker, ACL, appeared in Movie Makers for December,
1952. Other such practical reports will be carried in these
pages periodically — The Editor.)

Photographs by Tom O'Reilly

DRAMATIC CLOSEUPS of the artist's hand and foot work at the
organ enliven the perfect synchrony of sound and cinematics.

72

Victor Animatograph adds magnetic

Magnesound, a three-piece adapter, converts any Victor sound projector to magnetic functions

MAGNESOUND, an attachment kit whereby any ex-
isting Victor Animatograph optical sound pro-
jector may be converted for magnetic sound re-
cording and reproduction, is now available.

The Magnesound kit is comprised of three units: an
amplifier, which provides correct equalization factors es-
sential to high-fidelity magnetic recording; a magnetic
sound drum, which carries separate playback and record-
erase heads, and a high-impedance microphone. Suitable
cables, for connecting the Magnesound component with
the sound projector, round out the assembly. Victor Mag-
nesound, complete with carrying case, lists at $199.45.

Installation of the Magnesound unit with one's Victor
sound projector can be performed by the purchaser. The
steps are as follows: (1) Remove from the projector the
optical sound drum and the exciter lamp. (2) Insert in
place of the optical sound drum the Magnesound drum.
(3) Plug the cable attached to the Magnesound drum into
a four-pin socket at the left end of the Magnesound ampli-
fier. (4) Connect the inter-amplifier cable from a two-pin
socket at the right end of the Magnesound amplifier to
the phono input of the Victor projector. (5) Connect the
Magnesound amplifier power cord with that unit and a
suitable AC power outlet (115 volt, 60 cycle). (6) Posi-
tion the motor shield (which comes with the kit) on the
projector motor housing.

In operation, a Victor sound projector converted in
this way to magnetic functions performs (within its ex-
isting capacities) much as does any primary magnetic
sound projector. Recordings may be made at either 16
or 24 frames per second and on either a 100 mil full
stripe or on a 50 mil half stripe (in combination with a
50 mil optical sound track) . Both of these operations call
for the use of single-perforation film stock, either in the
original or in duplicate form. There is no provision for
recording or playback on a 25 mil quarter stripe coated
on double-perf silent films.

MAGNESOUND, comprised of a magnetic sound drum, auxiliary
amplifier, microphone and cables, installed on the Victor Sovereign.

Also, although any Victor sound projector to which the
Magnesound attachment has been added can still function
as an optical sound projector, it cannot do so interchange-
ably at the snap of a switch or the throw of a lever. Re-
conversion to optical sound operation is carried out by
removing the Magnesound drum, replacing it with the
optical sound drum, reinstating the exciter lamp and dis-
connecting the inter-amplifier cable from the projector's
phono input.

The Magnesound amplifier unit offers a simplified con-
trol panel on which there are positioned, from left to
right, a single microphone and phono input, a volume
control, a magic-eye type of recording level indicator, a
combined record-playback switch and, of course, an on-
off power switch. Accidental throw of the record-play-
back switch to the record — and therefore erase — position
is guarded against by an ingenious coin-slot design of
the control knob. In operation, the slot in this knob must
be aligned with a similar slot in the control shaft and
the two of them are then turned to the record position by
the insertion, as a lever, of a dime or other thin object.
Functioning of this safety device may be eliminated by
tightening a setscrew in the knob. But Victor recommends
that this by-passing action be taken only after long ex-
perience and familiarity with the Magnesound amplifier
controls.

On certain models of Victor optical sound projectors
one or more special parts may be needed to complete
their conversion to magnetic sound functions. On the
Victor Escort (Model 60-10) and on the New Lite-Weight
(Model 60-4), for example, interference may continue
even after the Magnesound drum is properly positioned.
To eliminate this, a special hum shield is available which
can be mounted by the purchaser on his own projector.
Also on the Model 60-4, the projection lamp will not burn
when the exciter lamp has been removed. A special plug,
designed for insertion in the exciter lamp socket, is pro-
vided to complete this circuit.

Technical specifications of the Magnesound adapter,
released by Victor exclusively to Movie Makers, include
the following:

At 24 fps operation, the Magnesound amplifier has a
frequency response of from 70 through 8000 cycles per
second, plus or minus 3 db at the audio output jack. The
signal-to-noise ratio (signal to hiss) is 60 db, signal to
hum 50 db.

The impedance of both input and output is high im-
pedance, with a maximum of % of a volt input. The total
power requirement of the equipment is 75 watts.

The magnetic head component within the sound drum
has an output of 3 milli-volts at 2000 cycles. The record-
erase head is positioned at 11 o'clock on the sound drum
curve, the playback head at 1 o'clock. The head charac-
teristics are: 2500 ohms at 1000 cycles, self resonant at
50 KC. It utilizes a 50 KC AC erase; current 12 milli-
amps.

The recording current-frequency curve: constant cur-
rent to 3000 cycles; up 6 db per octave above 3000
cycles; }4 milli-amp maximum audio signal. Playback
equalization: 6 db per octave above 3000 cycles; 6 db
per octave from 2000 cycles down to 70 cycles.

73

I, T O O, S AW CINERAMA

A professional observer of motion pictures reports his findings

AARON NAD ELL, Editor of International Projectionist

UNVEILED in New York on Sep-
tember 30 with a glare of pub-
licity and glamour, Cinerama dem-
onstrated beyond shadow of doubt that
the public wants something new and
different technically, will crowd to it,
and pay for it gladly. The matinee of
October 1, the first commercial perform-
ance of Cinerama, played to an SRO
audience at admissions of $1.20 to
$1.50, and was welcomed with salvos of
applause.

Cinerama is probably not the boon
and savior the industry has been await-
ing, but it does seem to prove that sal-
vation can be found in technological
advancement; and in addition it will
quite likely earn large sums of money
for its promoters as a big-city, State
Fair and roadshow novelty. In those
applications it should also provide sub-
stantial employment opportunities to
the projection craft, since it requires
not less than three projection rooms!
(In the New York showings they( are
using four, but these are still on a more
or less experimental basis.)

The expressed theory behind the new
method is that "peripheral vision" —
seeing out of the corners of one's eyes —
creates illusions both of third dimen-
sion and of realism in general. To
achieve this effect, a cycloramic screen
is used, so that members of the audi-
ence, in forward seats at least, have a
motion picture substantially on three
sides of them, and do see parts of it
out of the corners of their eyes, almost
as fully as in real life. The immense
curvative of the screen — 146 degrees,
not much less than a half circle — makes
necessary triple projection, or presen-
tation of the picture in three panels.
These are joined seamlessly (that is the
intention, not always maintained) to
form one vast, sweeping panorama.

The effect, as viewed for the first time
and with suitable program material,
is startling. IP reported upon a labora-
tory presentation in November, 1950:
"So intense is the feeling of realism
transmitted by Cinerama that not a
few viewers are overcome physically —
the genteel term is 'nausea' or 'seasick'
— and are compelled to leave the audi-
torium hastily."

This extreme result was not repeated
at the October 1st matinee, but the
audience was decidedly "overcome"
with excitement; in conversations over-
heard during the intermission they
thought it was "great."

One advantage that helped produce
this impression was Technicolor of mar-
velous quality. Another was three-di-

mensional sound better than any ever
heard in a movie theatre. During the
Aida presentation, for example, one
could close one's eyes and almost
imagine that the orchestra was actually
a living operatic orchestra — almost,
that is, nearly but not quite altogether;
something indefinable and slight was
still missing.

But of what other mechanized sound
can one say as much? Coming from
six different speaker systems, this
sound seemed to be always at least
quasi-binaural in quality; and at times
it followed the action across the
screen or swooped round the sides and
rear of the auditorium in true stereo
reproduction. Much of the uncritical
audience's enthusiastic acceptance of
Cinerama must be credited to truly
splendid color and sound.

But if they liked it so well, what's
wrong with it, if anything?

Plenty is wrong with it that un-
critical eyes would not notice at first,
but will waken to slowly when the
novelty wears off. That no doubt is why
its sponsors extended their premiere
invitations to personalities who would
be impressed and give Cinerama favor-
able publicity, but not so freely to tech-
nical people. For example: Maggi Mc-
Nellis, radio commentator, interrupted
her September 30th description of Fall
styles in ladies' hats to announce her
invitation to see Cinerama — but no in-
vitations were sent to the Society of
Motion Picture and Television Engi-
neers. Nor have Cinerama's sponsors
ever accepted repeated invitations to

In the welter of raves, reports and
reviews which followed the premiere
of Cinerama — now nearly six months
old — the wonder was that the com-
mentators did not run out of enco-
miums.

"I have just looked at the movies'
answer to television," said the N. Y.
World-Telegram. "Thrills that lift
you out of your seat," thrilled Popular
Science, and "We didn't relax our
hold on the chair in front of us,"
added The New Yorker. Even this
outpost on the periphery of popular
screen fare was not caught with its
adjectives couchant (see / Saw Cine-
rama, January, 1953).

We found it refreshing, therefore,
to read the objective evaluations of
this same phenomenon by Aaron
Nadell, editor of International Pro-
jectionist, a trade journal serving the
theatrical screen operator. Entitled
there last October Cinerama, A Step
in the Right Direction, the article is
reproduced in excerpt by gracious
permission of the author. — J. W.M.

present a paper on il before the So-
ciety. (A check by Movik Makers with
SMPTE headquarters shows this state-
ment still to be true in the first week
of February, 1953— Ed.)

WHAT'S WRONG WITH CINERAMA?
There are at least eight major tech-
nical flaws in the Cinerama process,
none of which admits of ready or easy
remedy, and all of which were glar-
ingly visible even at the first commercial
performance when equipment was still
factory -new, and operation supervised
by inventors and engineers in addition
to projectionists.

1. Horizontal lines are seldom
straight. (They are projected onto a
curved screen, which curves them.)
The pretzel-like effect on railroad
tracks was almost grotesque. Funny,
or perhaps unfunny in so serious and
earnest a project, was the unhorizontal
sea-horizon in the roller coaster se-
quence; for, while the car was rising
toward the top the horizon line was a
smiling mouth, corners curving up; but
when the car reversed and started down-
ward the horizon also reversed and be-
came disconsolate, corners down. The
same inevitable, unavoidable effect was
also visible in other sequences, but rail-
road and horizon lines showed it most
clearly. If Columbus had had Cinerama
instead of only an egg he would have
had no trouble at all proving the earth
is round — one look at the horizon in
the Aquacade sequence would have
been proof plenty.

2. The joins between the three com-
ponent panels (frames) are not always
as perfect as desired; vertical junction
areas often show plainly.

3. Projector jump (vertical vibra-
tion) of the three projectors is not in
synchronism. For example, during the
solemn singing of Abide With Me one
of the massive church columns was
partly in one panel and partly in the
other; and these two half-columns vi-
brated against each other, completely
destroying the impressiveness of the ef-
fect, at least to one observer.

4. When one of the three projectors
gets out of frame and needs to be re-
framed with respect to the others,
illusion again is ruined.

5. The projection light on the three
panels is often unmatched as to both
brightness and color tone. The lagoon
of Venice seemed at times to be com-
posed of water of three different colors.
And in the Edinburgh sequence the
white-faced Scotch bagpiper who

[Continued on page 77]

Brownie Movie Camera, matched
in design and performance to the
Brownie Movie Projector. Uses
economical 8mm. film. Loads and
operates as surely and easily as a
snapshot camera. Only $42.50.

Last year it was the Brownie Movie Camera,
revolutionizing the making of 8mm. movies.
Now, from Kodak, comes its equally sensa-
tional companion — the Brownie Movie Pro-
jector . . . offering the same ease of use, the same
economy in movie enjoyment. Never before
has there been a movie projector so hand-
somely and compactly designed, so easy to
thread and use, with so many expensive pro-
jector features . . . and all at so low a price.

JUST LOOK AT THESE LUXURY FEATURES:

Single control — provides for normal forward
projection, for stills, for reverse action, for
rewind.

Fast f/2.0 Projection Elctanon Lens — easily fo-
cused with finger-tip lever.

Quiet operation — assured by a unique "floating
power" motor.

No lubrication problems — quiet nylon gears are
prelubricated. Never need oiling.

Simplified threading — film path is clearly
marked on case. Has a single sprocket wheel
instead of two. Film just slips in, engages
automatically. Sprockets indirectly lighted.

Built-in elevation control — permits easy adjust-
ment to screen height.

Takes 200-foot reels — for fifteen minutes of
uninterrupted projection.

Compact — weighs only 12 lbs. When the pro-
jector is not in use, cover snaps on, making
a trim, easily carried, handsomely styled unit
with built-in nylon handle.

Brownie Projection Screen brings
out all the brilliance and color of
your movies. Beaded for maxi-
mum reflection. Permits a big 22-
by 30-inch picture. Only $4.50.

Ask your Kodak dealer to give you a demonstration of the

Brownie Movie Projector.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

Share Your Movie Enjoyment

With Mother's Day, Father's
Day, Graduation, and June
weddings in the offing, why
not plan to give a Brownie
Movie Projector? Then, wher-
ever those you love may be,
you can send "dupes" of your
movies. Let them share in the
children's adventures and the
family's fun. The thrifty price
makes the Brownie Movie Pro-
jector easy to give.

Prices include Federal Tax where applicable and are subject to change without notice.

MOVIE MAKERS

News of
the industry

Up to the minute reports
on new products and
services in the movie field

B&H Model 273 A new 16mm.

silent projec-
tor, retailing at $199.95 (including fed-
eral excise tax), has been announced
for the first of this month by the Bell
& Howell Company. Known as Model
273, the machine will continue the com-
pany's trend toward an easy-to-operate,
lower priced line of motion picture
equipment.

The 273 is said to give a brighter
screen image than any other make of
projector with a 750 watt lamp. This is

75

BELL & HOWELL bids in the medium-priced
16mm. projector field with Model 273, using
new 750 watt lamp and housed in clip-on
case. $199.95.

accomplished by a straight-line optical
system and the use of the new type of
750 watt projection lamp developed by
Westinghouse in cooperation with B&H
engineers (see News of the Industry,
February Movie Makers). The lens is
standard at 2 inches focal length and
an f/1.6 speed.

Also new in the design of the 273
is the two-toned gray Royalite case,
which latches directly to the projector
platform. In this connection, the com-
pany also announces that a similar clip-
on case will be standard in the future
with their 16mm. Diplomat projector,
at $299.95.

Son ot rack news Sono track, the
magnetic sound
track coating service offered by the
Eastman Kodak Company, is now avail-
able for application to double-perfo-
rated 16mm. film stocks. Orders for this

new service, as is true with single-perf
Sonotrack, will be accepted by the
company only through Kodak dealers.
Coincident with offering Sonotrack in
the 25 mil width required by double-
perf films, EK has cut the unit price
for this or the 100 and 50 mil single-
perf striping to 2V2 cents per foot. The
minimum charge per order will remain
at $10.

Ansco film tank For amateur

movie makers
who also engage in their own process-
ing of roll-film still pictures, the new
self-threading film developing tank an-
nounced by Ansco should be of interest.
The self-threading reel of the unit is
adjustable for all film sizes from 35mm.
to No. 116, and the tank itself has a
locking top, a built-in funnel and easy-
pouring drainage outlets. $4.95, com-
plete with a film strip for threading
practice.

FilnriOS for less Effective the sec-
ond of this month,
you will pay $15 less for either of Bell
& Howell's popular 16mm. magazine
loading cameras, according to an an-
nouncement by that company.

The cameras and their new prices
are the Model 200 with a 1 inch //2.5
lens, $174.95, and the Model 200-T
(that's a two-lens turret) with 1 inch
//2.5 at $219.95. Both prices include
the federal excise tax.

[in* j ■•! ' i!-' ' hi 1

Data book The Kodak Data Book,
Slides, a comprehen-
sive reference manual for photograph-
ers working in the slide medium, has
been revised and is now available at
your photo dealer for 50 cents per
copy. This new, fourth edition includes
Kodak's latest recommendations on
films, cameras and projectors for the
transparency field.

Items in brief A newly created

Amateur Sales de-
partment, one of four divisions of Ans-
co's sales organization in Binghamton,
will be headed by Harold R. Dean.
ACL, as manager.

Without an advance in price, a new

ANSCO, of Binghamton, offers a developing
tank adjustable for 35mm. to No. 116 film.

G0ERZ

LENSES

for

MOVIES and TELEVISION

The heart of your camera is your
lens. For dependable perform-
ance and highest definition in
black and white and color, finest
results are assured with

HYPAR W-l-D-E ANGLE

ANASTIGMAT F:2.7

focal length: 15mm and larger

APOGOR ANASTIGMAT

F:2.3

focal length: 35mm 50mm 75mm

Designed for use in 16 or 35mm
cameras, these fine lenses are
corrected for all aberrations at
full opening.

For complete details, ask your
local dealer or write Dept. MM-3 1 ,

C. P. GOERZ AMERICAN

OPTICAL COMPANY
Office and Factory
317 EAST 34th STREET
k NEW YORK 16, N. Y.

76

automatic opening device has been
added to the Radiant Model KC screen
to make the tripod legs snap open si-
multaneously and instantly.

A transparent plastic shield for
holding and protecting stereo slides has
been developed by Revere Camera Cor-
poration in conjunction with marketing
their new Revere 33 stereo camera.

Classified
advertising

10 Cents a Word Minimum Charge $2

B 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 pre-
ceding issue.

EQUIPMENT FOR SALE

I BASS . . . Chicago. Cinema headquarters for 43
years offers money saving buys in guaranteed used
equipment. 16mm. Zoornar complete, "C" mt. and
Cine Special with close-up attach. List $1650.00;
price $750.00. Pan Cinor 20mm. to 60mm. for Bolex
or adaptable to B&H 70DA, list $447.50; price
$325.00. Cine Special I, single sprocket, 1" f/1.9,
15mm. j/2.1 W.A., $395.00. B&H 70DA, 1" //1.5
Wollensak, 15mm. f/2.7 E.K. w. a., 3" //4 B&H
Telate Comb, case, $247.50. Bolex H-16, 1" f/lA
Biotar, 2" //3.5 Cooke, 3" //2.5 Wollensak, $325.00.
8mm. Revere 99 Turret, f/2.8 B&L lens, $52.50.
BASS SPECIAL: Brand new Revere Mod. 55, case,
list $73.50; net, $52.50. 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.

■ FREE : Up to 10 rolls 8mm. color film or
30x40 screen with every purchase of a new camera
or projector valued at $50.00 to $175.00. Best
trades in the country. Order now. PHOTO SER-
VICE, Box 170, Dept. MM, Rock Springs, Wyoming.

■ FOR SALE: Brand new Filmo 70-DL, 1" //l.S
Cooke; .7" //2.5 Super Comat; 3" //1.4 Telate. Match-
ing finders, 3 Skylight filters in mounts. $385.00. Please,
no bargaining. At ACL. Box 297, c/o MOVIE
MAKERS.

EQUIPMENT WANTED

■ MOVIE FILMS; MOVIE EQUIPMENT; bought
for cash ; sold, or exchanged. Prompt replies. FRANK
LANE, 5 Little Bldg., Boston, Mass. (Free lists.)

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.

■ 1953 ROSE PARADE movies. Kodachxome. Color-
ful floats. Beautiful girls. 200 ft. 16mm., $34.95.
100 ft. 8mm., $17.50. Calif, add tax. C.O.D.'s ac-
cepted. AVALON DAGGETT, 441 No. Orange Dr.,
Los Angeles 36, Calif.

■ NORM JACOT'S 1953 Rose Parade in color as
low as $15 — 8mm.; $30 — 16mm.; 400' x 16mm. color
•ound, $80. BOX A572, Manhattan Beach, Calif.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm. or 16mm.,
11£ per foot. Immediate 6ervice on mail orders.
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., 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* Endi-
cott 1-2707.

■ 8mm. HOLLYWOOD TITLE STUDIO 16mm.
Complete titling service. Color and black and white.
SPECIAL DISCOUNT TO AMATEUR CINEMA
LEAGUE MEMBERS. Send 10c1 for Price List and
Sample. Address: 1060 North Vista Street, Holly-
wood 46, Calif.

■ EXPLORE SCANDINAVIA with motion picture
expedition, eight countries northern Europe. $1350.
each, June 5, forty day*. NEIL DOUGLAS, Lecturer,
Box 664, Meriden, Conn.

MARCH 1953

CloseupS— What filmers are doing

Across The Threshold: Bringing
greetings from the entire membership
of the Cine Club Piemonte, in Turin,
Italy, Antonio Bozzoni, ACL, was an
animated and enjoyable visitor last
month at League headquarters. A new
Filmo 70-DL was high on his list of
"musts" in America.

Also in from overseas were Peter von
Rysinge and Jerry Roelofs, both of the
Netherlands, who arrived in the friend-
ly tow of Bert Seckendorf, ACL, of the
Brooklyn Amateur Cine Club, ACL.
Peter, we learned, is a member of the
Hague Amateur Film Club and a broth-
er of Karl von Rysinge, ACL, a League
member of years' standing.

If and when there is any competition
for the oldest film footage to be served
by a 25 mil magnetic sound track on
double perforated stock, our money will
be on a certain 2000 feet of black and
white pictures shot by Walter Kerst on
a European trip during 1924 and 1925.
This makes them, according to our
arithmetic, all of 28 years old — and we
do not invite any arguments from calen-
dric casuists among our readers! We
always lose.

Anyway, Mr. Kerst — who, in 1927,
was the League's first consultant, and
who is now general manager of Bell &
Howell's New York office — plans the
addition of a quarter-stripe on this ven-
erable record of his youthful wander-
jahr. . . . We will welcome any data
purporting to push this record into sec-
ond spot.

Our illustrations this month should
persuade you that A. C. Hugh, whom
we hailed last year as the "Popcorn
Prince" of the British Isles, is not one
to give up easily on a filming problem.
Needing, for a certain sequence of
The Popcorn Story, a chemist's labo-

A. C. HUGH, of Chigwell, England, lines
up his motor-driven Filmo 70-DL for film-
ing a closeup on the "chemist's laboratory
1900" set, below, which he established in
an empty corner of his huge popcorn plant.

ratory of the 1900's, Mr. Hugh simply
set it up in 1000 square feet of empty
plant space — with the results as seen.
Other sets called for by his definitive
documentary are "Government House,
Paraguay, 1792" and "Pilgrim Fathers
at a banquet in 1630."

Movie Makers records with sincere re-
gret the death last month of Thomas
J. Courtney, director of the Nova Sco-
tia Bureau of Information, at Halifax.
He was fifty three.

Probably only to earlier members of
the League — to which group Tom Court-
ney belonged from 1937 through 1948
— will the name be familiar. And yet he
was, in our experience, one of the most
sensitive and creative filmers with whom
we worked as ACL consultant. Tom's
first film — sent in, probably, about 1937
for a routine review — was a mono-
chrome, moody and almost motionless
study of the Nova Scotian seacoast. In
reviewing it, we stressed as eloquently
as we were able the importance of
human interest; we cited a few simple
examples, and even sent him a film of
that type for study. The rewards were
immediate and amazing.

Mr. Courtney came back in 1938 with
another monochrome record of that
rocky foreshore he loved so well — but
this one was alive with human interest.
It was called Riches from the Sea; it
told a simple and moving tale of two
rugged youngsters wresting their meager
spending money from the ocean by sell-
ing lobsters — and it was named by ACL
among the Ten Best films of that year.

To prove that this picture was no
fluke, Courtney switched to color and
backed it up the following year with
Royal Visit — Halifax 1939 — another
Ten Bester. Here, with a newsreel tech-
nique which out-covered and out-created
the professionals, T. J. recorded in ob-

MOVIE MAKERS

servant and affectionate detail the state
visit of Britain's ruling monarchs.

Then, a few months later, World
War II broke out, and no more such
movies were to come from Courtney's
camera. In 1946 he became head of the
provincial Bureau of Information — a
post which he won largely (we always
thought) by his photographic skills.
Off and on, over the years, we have cor-
responded with him in that official ca-
pacity. Matter of fact, there's a letter
from him in our desk now, dated Feb-
ruary 7. He died a week later from a
heart attack, while attending a hockey
game.

Well, Walter Bergmann, FACL, has
gone and made another amateur movie
for the good of his community. The
man who — as they say at political
conventions — the man who won a Fel-
lowship in ACL practically single-
handed by his cine-devotion to civic
welfare in Mount Vernon, N. Y., has
now produced for that city's Board of
Education a one reel, black and white
study called Mount Vernon Girls' Club.
The picture presents a competent
and informing coverage of the volun-
teer activities of M. V. High School
girls, as they serve their younger and
less fortunate sisters at a welfare club
house. Produced by Mr. Bergmann
over a single weekend, the film was pre-
sented on television last month by a
New York City station as part of a sur-
vey on H. S. activities in the metropoli-
tan area.

I, too, saw Cinerama

[Continued from page 73]

marched across the screen from one
panel to another instantly became sun-
burned !

6. Whenever horizontal lines stretch
across the screen so far as to pass from
one panel into another and the camera
is panned, a jiggle appears at the nar-
row area of junction. This, in combina-
tion with the projector jump mentioned
above, produces some really grotesque
effects. Queerest was in the airplane se-
quence when Lowell Thomas pro-
claimed: "Nobody ever saw Manhattan
Island like this before." He was quite
right: nobody ever saw the Empire
State Building doing a jig before. Later
on in the same airplane sequence the
Sierra Nevada mountains danced.

7. Keystone distortion in viewing: it
is obvious that to a person sitting at
either side of the theatre there must
be keystone distortion of all objects
appearing at the same side of the
screen, because that side of the screen
curves toward him. This was especially
visible in a choral number; the chorus
divides into two groups which take up
their places at opposite ends of the
scene. The group appearing at the far

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78

MARCH 1953

side of the screen looked normal to
an observer in a side seat; but the
group at the near side looked thin as
matchsticks.

8. The peripheral vision advantage
claimed for Cinerama applies most ef-
fectively to those seated up front; and
becomes progressively less toward the
rear of the theatre. The Broadway
Theatre, New York, in which these first
commercial showings are held, is an
old legitimate house essentially square
in shape; in a longer and narrower
auditorium only a relatively small per-
centage of the audience would be ex-
posed to the full effect of Cinerama.

And technically unskilled reviewers,
reporting the premiere in the New York
daily press, though apparently they
did not note all the mechanical flaws,
did comment on some; and also noted
that the presentation offered only spec-
tacular scenes, no dramatic or emo-
tional ones.

Beginner's luck

[Continued from page 65]

may be accomplished by various meth-
ods from training a spotlight through
the blades of a slowly turning fan to
actually using a projector as a spot-
light and running it slow enough to
create the flicker.)

47. M.S. Looking towards the screen
and above the heads of the guests as
title is seen. (Title can be painted on
a sheet of white or colored showcard
and taped to screen to represent the
projected image.)

48. C.U. Representing Father's screen
as the action begins. As for Father's
movie, it hardly seems necessary to
give a scene by scene breakdown of
his cinematic attempts. Most movie
makers of any experience will, I am
sure, be able to recall the pattern of
mistakes made by the beginner. Let's
assume that our hero has tripped over
every commonly-known stumbling block
in the book, from a mishmash of badly
underexposed scenes to a series of glar-
ing overexposures that cause one of
the viewers to don sunglasses. Cut often
to reaction shots of the guests.. For in-
stance, a screen view that is sharply
slanted might be followed by a shot of
everyone unconsciously leaning their
heads in the same direction.

Later, a scene or two of outrageous
panning causes one nauseous guest to
excuse himself quickly from the others.
This begins the exodus of the audience
who one by one leave for the kitchen
where Mother is awaiting each new
arrival with food and drink.

49. M.S. Guests gathered in the
kitchen. They are enjoying themselves
as they gesture their dissatisfaction
with the movie.

50. S.C.U. Truck driver alone on
divan and asleep.

51. S.C.U. Father beside running
projector. He too is asleep.

52. C.U. Junior looking through
kitchen door as he watches screen in
the other room.

53. C.U. Father's screening showing
title "The End." Cut quickly to

54. Same as 52. Junior turning to
say:

Title. "Hurry. It's over."

55. M.S. Everyone hurrying out of
kitchen to return to their seats.

56. M.S. Sister turning on room lights
just as everyone gets seated.

57. Same as 51. Father still asleep,
projector still running.

58. M.S. Mother placing finger to
her lips for silence as she almost bursts
into laughter. She starts to clap her
hands, and the others also begin ap-
plauding as they turn toward Father.

59. Same as 57. Father awakening
with a start. He blinks, smiles sleepily
and reaches over to turn off the pro-
jector.

60. S.C.U. Truck driver awakens,
starts to applaud and then rises from
his seat. As he does so, an envelope
falls from his coat pocket.

61. C.U. Envelope on the floor, as
feet move past it.

62. M.S. Junior sees envelope on
floor, picks it up and looks at it before
he speaks.

Title. "Hey, Pop. Here's a letter
addressed to you."

63. M.S. Father, all smiles, turns
away from guests to answer Junior, as
the youngster comes into the scene and
hands Father the envelope.

64. S.C.U. Truck driver looking has-
tily in his coat pocket for something.
He moves closer to father, looks briefly
at the envelope, snaps his fingers and
says:

Title. "/ knew there ivas something
I forgot. My boss asked me to deliver
that to you."

65. Same as 64. Truck driver fin-
ishes speaking. Father looks again at
envelope and they go through a bit
of pantomime regarding its contents
until Father is urged to open it up and
see. This he finally begins and starts
reading.

66. C.U. Letter in Father's hands in-
forms him that the package left by
their driver was "delivered in error."
Spotlight this line if possible.

67. M.S. Father collapsing into some-
one's arms. They fan him and try to
revive him as we fade out.

Title. Normally this should be
THE END
But it is only . . .

68. M.S. Camera store entrance, as
Father loaded with camera equipment
exits happily. Camera follows for awhile
as a double exposed title fades on,
reading

"THE BEGINNING"
Fade out slowly as Father walks
away.

They laughed at Hamlet!

[Continued from page 66]

actor poured water from a bottle which
was supposed to be filled with poison.
The vapor that arose from the cone
made it appear that a very vicious liquid
had been poured into the actor's ear.

As those who had seen Hamlet know,
quite a few characters are involved in
the play and in the last scene many of
them are killed. In Blue's version only
four persons are used in the cast, be-
cause Bob Chambers plays ten charac-
ters, ranging from the grave digger to
(in an emergency) Hamlet's mother.
Chambers's versatility brought many a
laugh from later audiences; but it al-
so presented a problem in production.
In the final scene, all of the characters
come together for the duel between
Hamlet and Laertes. Because Cham-
bers's many roles meant several cos-
tume changes, it would have been al-
most impossible to shoot chronologi-
cally.

Blue worked out a planned sequence
of 135 shots to solve this problem. Each
take was planned out in advance, in-
cluding the different characters' posi-
tions and gestures. Then Blue gave
each take a number. This enabled him
to shoot consecutively all of the scenes
in which Chambers played one role
and wore one costume, thus eliminating
innumerable changes and the loss of
time that would have resulted.

A local camera shop, Dot Dotson's,
which had loaned Blue the tripod he
used, now loaned him its splicer. He
spliced the film together, making the
final sequence appear to be one of
continuous action.

The parody was clever enough to
produce laughs without dialog, but
Blue and company weren't satisfied.
Background music was provided easily
with a record player and amplifier.
Added to this a few comments spoken
into a microphone connected to the
same amplifier pointed up high spots.

Blue used the rheostat on the 8mm.
projector to speed up the action occa-
sionally when showing the film. "If au-
dience reaction was lagging, we found
that it improved if the projection speed
was slightly increased," he said. "It
went over best when we hit them with
a funny situation before they had time
to recover from the last one."

The movie was presented first at
about the time Quo Vadis was showing
theatrically in Eugene. Thus it was
only natural that the slogans for the
Blue production should be a parody on
the Hollywood film. "A Cast of Four,"
began the billing, and went on with:
"Stupendous, Colossal, Big." "Filmed
in Glorious Black and White."

And so far nearly 2000 persons have
loved it! Did they want, all these years,
to laugh at Hamlet?

MOVIE MAKERS

79

J. Eric Lawrence, Berkeley, Calif.
Fred Losee, Napa, Calif.
Theresa C. Mahar, Natick, Mass.
W. G. Marshall, Racine, Wise.
John D Martin, Oakland, Calif.
Hyman Minsky, Astoria, N. Y.
George K. Papalian, New York City
Wilbur L. Parks, West Springfield, Mass.
Edward J. Piatt, Jackson Heights, N. Y.
Major Shephard Rice, c/o PM, San Fran-
cisco, Calif.
Andrew J. Snincsak, Trenton, N. J.
Texaco Movie Club, Beacon, N. Y.
John Tishuk, Racine, Wise.
Louis Troestler, Racine, Wise.
George R. Westman, Los Angeles, Calif.
Mrs. Jean Winter, Columbus, Ohio

Wynne M. Blake, Lewiston, Idaho

Lt. Col. David B. Emmons, Washington,

D. C.
S. Edward Garwood, North Hollywood,

Calif.
Dr. Frank Gilbert, Flushing, N. Y.
Joseph Lancia, Cranston, R. I.

D. J. McCaig, Butte, Mont.
Max P. Parks, Watertown, Mass.
Walter C. Stark, Little Ferry, N. J.

H. B. Vieregge, c/o PM, New York City

John Brandon, Minneapolis, Minn.

Samuel J. Eyrse,

Ed Gangloff,

Louis P. Harding, "

C. E. Jurgensen,
Russell C. King,
Henry H. Kost,

Minneapolis Octo Cine Guild, Minneapolis,

Minn.
Maurice F. Ohnstein, jr., Minneapolis,

Minn.
Andrew Ordhal, Minneapolis, Minn.
Ray Penrod,
L. J. Warner,

Harwood C. Coffin, Los Angeles, Calif.
Mrs. Willis E. Fackler, Pomona, Calif.
Joseph Iverson, Chatsworth, Calif.

George M. Kaufman, New York City

E. D. Lewis, Jackson, Mich.
Howard Malone, Greenville, Tenn.
Daniel Scapperotti, New Rochelle, N. Y.
Harold C. Wagner, Eaton, N. Y.
Harold J. Walker, Detroit, Mich.

Carl R. Weiss, Shaker Heights, Ohio
Walker J. Atwell, San Diego, Calif.
Fernand Clerc, Fort de France, Martinique,

F. W. I.
Daniel E. Mayworm, Chicago, III.
K. C. Parsons, Redfield, S. D.

Dr. B. R. Pinckney, Tacoma, Wash.
Bucky Reeves, San Diego, Calif.
Vincent J. Rova, Williamsport, Pa.
George J. Walling, New York City
Ernest Ward, Bakersfield, Calif.
Madelyn Wiles, Valhalla, N. Y.
Colombo Luciano, Monza, Italy
Jack W. Jensen, Endicott, N. Y.
A. F. Lauersdorf, Milwaukee, Wise.

D. T. McKiernan, Chicago, III.
Charles W. Mercer, Bristol, Pa.
Dr. J. H. Tjon, Arnhem, Holland

Capt. Joe E. Zollinger, West Lafayette,

Ind.
Robert L. Cole, Oreland, Pa.

Walter Fietz, St. Gallen, Switzerland

Hanns Goller, Lengerich, Germany

Irvin Hartsell, Toledo, Ohio

Mrs. Ruth B. Hitchcock, San Gabriel, Calif.

Lyle J. Larson, Murray, Utah

Farrell F. Mason, Riverdale, III.

Al J. Mathsen, Butte, Mont.

George H. McCarthy, Los Angeles, Calif.
V. D. Miller, Spokane, Wash.
Miss Aria P. Schawe, Cincinnati, Ohio
John Seibert, Maywood, N. J.
John R. Slaton, Kansas City, Mo.
A. A. Sugg, jr., San Angelo, Texas
George L. Toman, North Plainfield, N. J.
Joseph Walsh, Dalton, Mass.
Dr. A. C. Wubbena, Rock Rapids, Iowa
George H. Bonner, New Haven, Conn.
Capt. R. N. Culbertson, c/o PM, San Fran-
cisco, Calif.
J. B. Fortson, jr., Corsicana, Texas
Alvin W. Muller, New York City
S. W. Patrick, Raymondville, Texas

Samuel S. Kern, Newton Centre, Mass.

Ben Landow, Wallingford, Conn.

Ranald G. L'Hommedieu, Brockport, N. Y.

Wendell 0. Metcalf, Washington, D. C.

Col. Louis L. Rosenfield, Brooklin % Mass.

Charles A. Bates, Abington, Pa.

R. C. Berner, Boston, Mass.

Yale J. Greenberg, Wollaston, Mass.

Russell Jameson, Saginaw, Mich.

Harry Jenns, Vancouver, Canada

H. L. Jones, Silver Spring, Md.

R. Lambin, Antwerp, Belgium

Maxwell Meyers, New York City

E. Frank Orr, Plymouth Meeting, Pa.
Phil Richards, Port Arthur, Texas
Elweltra S. Sowers, Spring Grove, Pa.
Docteur Stassen, Antwerp, Belgium

Holger von Tobiesen, Helsingfors, Finland
Roland E. Stevens, Rochester, N. Y.
Nervon Van Buskirk, Lewisburg, Pa.
L. Bauer, Oreland, Pa.
Edwin W. Horlebein, Baltimore, Md.
Edwin L. Meltzer, Fort Wayne, Ind.

F. S. Passmore, Ontario, Canada
Sam W. Liske, New York City

L. W. Appleby, Redondo Beach, Calif.
Dr. Ralph A. Benson, Newport, N. J.
Ed Hilliard, Yakima, Wash.
Calvin C. Gregear, La Mesa, Calif.
A. W. Leggett, Montreal, Canada

Domingos Lemos, Rio de Janeiro, Brazil

J. McFadyen, San Pedro, Calif.

J. A. McLaren, Los Angeles, Calif.

Leslie Morse, Euclid, Ohio

Helen D. Peterson, Honolulu, Hawaii

Jerome Vegosen, New York City

Anthony Venegas, New York City

C. G. Wells, jr., Tulsa, Okla.

Bertram G. Carmen, Salt Lake City, Utah

Rex Cooley, Long Beach, Calif.

Albert Horst, jr., Chicago, III.

Howard F. Anderson, San Francisco, Calif.

Edward F. Donovan, Natick, Mass.

Joseph Lankutis, Easton, Pa.

Robin Quinn, Mechanicville, N. Y.

Clyde K. Sanger, Decatur, III.

Lars Bergman, Halmstad, Sweden

Clemens F. Schmitz, Scarsdale, N. Y.

Burbatti Adekhi, Ivrea, Italy

Dr. F. L. Hultslander, Norristown, Pa.

Capt. A. W. Perrington, San Francisco,

Calif.
Harold A. Richards, Salvador, Brasil
Jos. H. Rountree, Bakersfield, Calif.
Clark Smith, Placerville, Calif.
Ulisse De Dominicis, Baltimore, Md.
Edgar L. Folmer, Adana, Turkey
James W. Huffer, Toledo, Ohio
Adriano Leone Montalcini, Torino, Italy
Gale M. Nuss, Akron, Ohio

Kjell Ake Paulson, Stockholm, Sweden
John F. Ursic, Beirut, Lebanon
Henry P. Weber, Tarrytown, N. Y.
Richard N. Cocklin, Fairfax, Va.
Andy Hansen, Chicago, III.
Sgt. Charles Meyers, Fort Wadsworth,

N. Y.
J. Howard Ptacek, Westbury, N. Y.
R. V. Tsigg, Hong Kong
Thomas Newbold. Weston, Mass.
Walter F. Chappelle, Rochester, N. Y.
J. E. Gauthier, Johnson City, N. Y.
Hawaii Cinema League, Honolulu, T. H.
Ernest M. Wells, Braintree, Mass.

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80

MARCH 1953

Ten Best premiere The world

premiere of
ACL's new Top of the Ten Best pro-
gram will take place on March 16 in
the nation's capital, at a joint screening
sponsored by the Washington Society
of Cinematographers, ACL, and the
Amateur Cinema League.

Guests of honor on this gala occasion
will be Delores and Timothy Lawler,
ACL, of Kenosha, Wise., producers of
Duck Soup, Maxim Memorial Award
winner for 1952. In an official presenta-
tion, they will receive the Maxim
Award trophy from Joseph J. Harley,
FACL, president of the Amateur Cine-
ma League.

Besides Duck Soup, the joint WSC-
ACL program will present The Man
With The Box, by James L. Watson,
ACL; Poet and Peasant, by Robert G.
Williams, ACL; Birds of Washington
(in excerpt), by Don Sutherland, ACL,
and Ralph Lawrence, ACL, members
of WSC; Muntre Streker, by Mathis
Kverne, of Oslo, Norway; Bulbs and
Beauty (in excerpt), by Haven Trecker,
ACL. The entire program will be ac-
companied by high-fidelity magnetic
sound on film.

Staged under the management of the
Washington club, this ACL premiere of
the Top of the Ten Best will take place
at the Woodward & Lothrop auditorium,
Wisconsin and Western Avenues, on
the district line in Bethesda, Md.
Tickets have been priced at $1.35, tax
included, and are available at the fol-
lowing sources: by mail, from Karl
Hoffman, ACL, vicepresident of WSC,
at 919 Colorado Building, Washington;
in person, at Brenner Photo Company.
933 Pennsylvania Avenue, N.W., and
Eastman Kodak Stores, Inc., 607-14th
Street, N.W., both in Washington, and
Lochner's Photo Service, 5104 Balti-
more Boulevard, Hyattsville, Md.

MMPC Gala The 1953 Gala Night
of the Metropolitan
Motion Picture Club, ACL, of New
York City, will be held on April 11 at
Hunter College Auditorium, 68th Street
and Park Avenue, in Manhattan. Fea-
tured on the program will be Duck
Soup, 1952 Maxim Memorial Award
winner by Delores and Timothy Law-
ler, ACL, of Kenosha, Wise, and The
$24 Purchase, by Terry Manos, ACL,
first place winner in MMPC's 1952 club
contest and named as one of the Ten
Best Films of 1952 by ACL.

Other films that will be shown are
Swiss Vignette, by Harry Groedel, ACL ;

Sweet Air, by the MMPC Project
Group; Acapulco, by Leo J. Heffernan,
FACL; The Man With The Box, by
James L. Watson, ACL, of Worcester,
Mass., and Muntre Streker, by Mathis
Kverne, of Oslo, Norway. The last two
pictures received awards among ACL's
Ten Best Films of 1952.

Tickets for this show are priced at
$1.35 (tax inc.) and may be obtained
from Harry Groedel, 350 Fifth Avenue,
New York, N. Y. Remember the date:
April 11!

N. Y. 8s fete The New York City
8mm. Motion Pic-
ture Club will present its fifteenth
annual Guest Night program on Friday,
April 10, at the Hotel Statler, at 8:30
p.m. Among the films which will be
shown are Backyard Birding, 1952 Ten
Best award winner by Herbert Shum-
way, ACL, and Magic Medicine, by
members of the Los Angeles 8mm.
Club, ACL. Tickets, priced at $1.50,
are available from Brit Boice, 211
Steuben Street, Brooklyn 5, N. Y. ; J. F.
Hollywood, FACL, 65 Pine Street, New
York 5, N. Y. or at the door.

Portland contest Winner of the
Portland (Ore.)
Cine Club, ACL, 1952 contest was Mrs.
Lillian Nelson, ACL, with her film
Zoological Dreamland. Honorable men-
tions were awarded to Victoria, B.C.,
by Pat Ledwidge; Pendleton Roundup,
by Lela Stortz; Gresham Amateur
Rodeo, by Peter Porco; Let's Keep
Oregon Green, by Ashley Russell, and
Yellowstone and Canada, by John
Jaeger.

Milwaukee Officers for the new
year were installed dur-
ing the January meeting of the Amateur
Movie Society of Milwaukee, ACL. They
are Frank Kreznar, ACL, president;
Howard Gennrich, ACL, vicepresident;

PORTLAND (Ore.) Cine Club,
ACL, lines up its officers
(I. to r., rear) as follows:
Arthur Keys, ACL, vicepresi-
dent; William Anderson, new
president; Walter Ottoson,
treasurer; Pat Ledwidge, re-
tiring president. Seated are
Dr. Everett Cutler, programs;
Ruth Long, publicity, and
Alfred Huber, ACL, secretary.

Hope Muehlbach, secretary, and Gor-
don Jatzek, treasurer. The club has also
announced that it will present its 1953
Gala Show on April 17. For details,
write to Emily P. Mohaupt, 3607 West
Galena Street, Milwaukee 8, Wise.

S. California The Southern Cali-
fornia Association of
Amateur Movie Clubs will hold a mo-
tion picture Town Meeting on March
14 and 15 in Hollywood. Among the
subjects that will be discussed by mem-
bers of the six clubs that make up the
group will be How to Make a Movie —
From A to Z. If you would like to know
more about the plans for this event,
John J. Lloyd, ACL, 355 Colorado
Place, Long Beach 14, Calif., is the
man to write.

Kansas City Recently elected to
guide the 8-16 Home
Movie Makers, ACL, of Kansas City,
Mo., were L. H. Conrad, president;
John Booz, vicepresident; H. L. Per-
rine, treasurer, and Mrs. Lena Keen,
secretary. During January, through the
courtesy of the Washington (D.C.) So-
ciety of Cinematographers, ACL, mem-
bers enjoyed screenings of San Fran-
cisco, by Harrison F. Houghton, ACL,
and Silhouette, a Shadowgram of the
Average Man, by J. Don Sutherland,

N. California The Northern Cali-
fornia Council of
Amateur Movie Clubs, ACL, gathered
for a special dinner meeting on Janu-
ary 17 at Belini's restaurant in Oak-
land. Officers for 1953 were installed
during the evening.

Guiding the association for the com-
ing year will be Gordon Robertson,
president; Ray Black, vicepresident;
Henry Amerio, ACL, second vicepresi-
dent; Mrs. Evelyn McCarty, secretary,
and Othel Goff, ACL, treasurer. Films

MOVIE MAKERS

81

by past president Joseph S. Pancoast,
ACL, and Arthur Smith rounded out
an enjoyable evening, which was at-
tended by well over a hundred mem-
bers and guests.

Wanqanui The Wanganui (New
Zealand) Amateur
Cine Society has announced the ap-
pointment of directors for 1953. They
are T. Ruscoe, president; M. Broad-
head, vicepresident, and Noel Ruscoe,
secretary-treasurer. Serving on the cen-
tral committee will be Mrs. N. Came-
ron, A. Silcock, D. Groves, J. Thompson
and R. Singleton. L. M. Fairbrother
was reappointed editor of the club bul-
letin, Film Flashes.

Wichita A demonstration of mag-
netic sound on double per-
forated film at 16 frames per second
was the highlight of a recent meeting
of the Wichita (Kansas) Amateur
Movie Club, ACL. The instructional
portion of the program was followed
by screening Lend Me Your Ear, 1943
Maxim Award winner by Erma Nieder-
meyer, ACL, of Milwaukee, Wise.

Winnipeg At its regular January
meeting, the Winnipeg
(Canada) Cine Club presented the Ten-
Best British Films of 1949, winners of
the contest sponsored by the English
magazine Amateur Cine World. The
films, which are limited to entries from
the British Empire, included Post Haste
(a children's film) ; Meet Me in the
Local (educational) ; Nature's Way
(nature) ; Eggs for Breakfast (fam-
ily) ; Nemesis (story), and The Begin-
ning (fantasy).

India The Amateur Cine Society of
India, ACL, has announced
that Derek Jefferies has resigned as
editor of their bulletin due to a pressing
amount of work, yoga exercises and a
recent addition to his family. Taking
over his duties temporarily will be A. Q.
Jairazbhoy, who was last year's editor.
Other news from the club is that they
enjoyed a memorable evening during
December when they saw Film Festival
in Bombay, Glaxo Sports, Thread Cere-
mony and Agra and Delhi, all by J. Rao
Kavi. Mr. Jairazbhoy also was repre-
sented on the program with his colorful
Trip to Europe, which included scenes
of Pope Pius delivering his 1952 Easter
message and of the Aga Khan and his
Begum in their private gardens at
Cannes.

Cincinnati Bolex stereo was de-
monstrated by Jack
Spratt, district manager for Paillard
Products, before members of the Cin-
cinnati Movie Club, ACL, at a recent
meeting. Following this, the board of
directors announced the election of of-
ficers for 1953. They are Elliott Otte,

ACL, president; John Swisher, ACL,
first vicepresident; Homer Jones, sec-
ond vicepresident; Mildred Scherzinger,
secretary, and Carl Drischel, ACL,
treasurer.

Dayton banquet The Dayton

(Ohio) Ama-
teur Movie Makers Club, ACL, held its
annual banquet on January 13. On the
entertainment portion of the evening
were Crystal Clear, by Joseph J. Har-
ley, FACL; Circus Time, by George
Merz, ACL, and Blinker Lights, by
Frank M. Betz. The last named film
was made in Dayton with the coopera-
tion of the New York Central Lines.

Albany Starting a new policy of
encouraging more advanced
filming for its members, the Amateur
Motion Picture Society of Albany, ACL,
presented a group of documentary-type
films which included Navy Day in New
York, by Frank Mantica; Blood Bank,
by John Ronan; Circus, by Esther
Cooke, ACL; March of Dimes, by Lou
Vella, and How Well Do You Know
Albany? by Art O'Keefe.

The January 28 meeting was devoted
to the relatively difficult subject of
snow photography, its problems and
rewards, with Telemark, by William

WITH GRATITUDE . . .

The Amateur Cinema League takes
pleasure in acknowledging, with sin-
cere gratitude, the following dona-
tions of pictures to the ACL Club
Film Library, since our report of a
year ago:

MOVIE NEWS SCOOPS, 1951 Honor-
able Mention winner, 16mm. optical
sound on Kodachrome, produced and
donated by George Merz, ACL.

LITTLE INTRUDER, 16mm. optical
sound on Kodachrome, produced by
Joseph J. Harley, FACL, and donated
by the American Humane Society
and the New York Society for the
Prevention of Cruelty to Animals.

IT'S UP TO YOU, 16mm. optical sound
on black and white, produced by the
Aetna Casualty Company and do-
nated by Roy C. Wilcox, ACL.

SNOW ON THE MOUNTAINS, 1944
Ten Best winner, a new print in
16mm. magnetic sound on Koda-
chrome, produced by the late Robert
P. Kehoe, FACL, and donated by
Jacob Wirth.

RINGLING BROS. CIRCUS, 1950 Ten
Best winner, 16mm. magnetic sound
on Kodachrome, produced by Oscar
H. Horovitz, FACL, and donated by
Vincent Castagna, ACL.

BELLEZAS DEL GRAN ALTIPLANO,
16mm. optical sound on Kodachrome,
produced and donated by Eduardo Di
Fiore, ACL.

LIFE ALONG THE WATERWAYS, first
award winner, 1952 Venice Film Fes-
tival, 16mm. optical sound on Koda-
chrome, produced and donated by
Roy C. Wilcox, ACL.

MY TRIP TO SOUTH AMERICA, 16mm.
magnetic sound on Kodachrome, pro-
duced and donated bv Harry Groedel,
ACL.

McKelvy, ACL, a Ten Best Film of
1933, and Design in White, by Joseph
J. Harley, FACL, as the examples of
how snow pictures should look.

Philadelphia Members of the

Philadelphia Cinema
Club saw screenings of Colorado, by
Earl Gard; Cruising the Chesapeake
Bay, by Frank Hirst, and Surprise, by
Len Bauer, ACL, at their January meet-
ing at the Franklin Institute Little The-
atre. Later in the month, members visit-
ed the WCAU-TV studios, where they
were guided through the premises and
saw television in action.

Hartford On the agenda for the
January meeting of the
Hartford (Conn.) Cinema Club were
Hopscotching the Continent, by H. A.
Williams; Trout Fishing with Rod and
Camera in Northern Maine, by H. Ran-
dall Pease, and Carolina Holiday, by
Henry K. Burns, ACL, winner of an
ACL Honorable Mention in 1950.

Sydney By special invitation, three
films made by members of
the Queensland Amateur Cine Society,
of Brisbane, were presented before the
Royal New South Wales Pho'ographic
Society in Sydney, Australia. They were
The Old House and Quiet Afternoon,
by Keith Hall, and Give Vs This Day,
by A. T. Bartlett, ACL, awarded a Ten
Best by ACL in 1952. Arrangements for
this program were made through the
help of the Federation of Australian
Amateur Cine Societies, of which Mr.
Bartlett is president.

Bergen, N. J. The Amateur Movie
Society of Bergen
County, ACL, in New Jersey, started
the year off with two informative lec-
tures. On January 5, members were
treated to a lecture by Colonel Ranger
on magnetic recording and synchroniza-
tion of tape as film accompaniment, and
they also saw an instructional film on
polarization. Then, on January 19,
Larry Neidenberg demonstrated the
equipment and techniques of making
ultra high speed films (5000-8000 frames
per second).

Bulk film in a box

[Continued from page 69]

Now to the rewind. Fig. 2 shows it in
position on the right; but before it is
installed, a shaft extender should be
fitted to it so that it can accept the core
unit of a film magazine — as well as the
conventional film spool. The extender
shown here should be yours at around
15 cents at any radio parts house, such
as Allied Radio, in Chicago, where I
found it. The size must be a/4 by ^
inches, which means that the hole on
the one side measures ^4 inch and that

82

MARCH 1953

ON PICKING A PROGRAM

The reception by our readers of ACL's new Top
of the Ten Best program has been enthusiastic and
immediate — as you can easily see by reference to
The Reader Writes column in the front of this issue.
We are, naturally, gratified by this good news.
But we cannot say honestly that we are surprised by
it. The reaction could scarcely have been otherwise
among the active, aspiring and able amateurs who
make up the ACL's membership. For, every intelli-
gent movie maker has always been eager to see the
good work of his fellow filmers — especially when
those efforts have risen to the eminence of Maxim
Award and Ten Best status.

The ACL's management, on its part, has been
equally eager that these fine films should be seen,
enjoyed and studied by as great a majority of movie
makers as was possible. But in the past there has been
always the stumbling block of accurate and effective
sound accompaniment. Well-scored films, poorly
played back, would be an inspiration to no one; and
their presentation in such a manner could be only
an injustice to their able and sedulous producers.

Today the magic of magnetic sound on film has
changed all that. ACL is now able to present for the
first time in the twenty three year history of the
Ten Best competition a representative cross section
of the winners. It should interest all to know how
this program was picked.

To begin with, there were those certain films among
the Ten Best which, for practical reasons, could not
be included. These were, clearly, the two 8mm. win-
ners (Backyard Birding and Outsmarted Smarties,
which will be saved against the coming of an 8mm.
TTB program), and two of the three winners from
overseas (Give Us This Day, from Australia, and
Olvido, from South America) . This left for considera-
tion six pictures from the first ten including, happily,
the brief and bonny Muntre Streker, which was still
in this country from its Norwegian birthplace.

We turned then to analyze the subject matter of
these six. There was first, in the Maxim Award win-
ner, an outstanding family film. Good! And among
its allied award winners we found a photoplay (Man
With The Box), a musical tour de force (Poet and
Peasant), a documentary (Bulbs and Beauty), a city
study (The $24 Purchase) and an animated cartoon
(the aforementioned Muntre Streker). And, so that
the Honorable Mention award winners might be rep-
resented as well, we settled on the nature film, Birds
of Washington, as of interest to all. Here, surely,
was a variety and representative cross section of
amateur filming unparalleled in its richness!

We had then to consider the practical problems of
program length. Allowing intentionally some screen
time for the addition of local award winners at, say,
a gala night screening, it seemed to us that The Top
of the Ten Best should aim at about one hour and a
half of integrated entertainment.

But to achieve this aim it was obvious that not all
of every film considered could be included. The
longer ones, such as Bulbs and Beauty (1400 feet),
The $24 Purchase (1600 feet) and Birds of Wash-
ington (2400 feet), would have to be represented
in excerpt only — if indeed such were possible with-
out changing the essential meaning of the film as
the producer planned it. Such excerpting proved pos-
sible with all of these fine films save The $24 Pur-
chase. Here, despite the most sincere efforts on the
part of the producer and ACL's planning staff, it
was not possible to excerpt Purchase within usable
time limits.

And so, The Top of the Ten Best program stands
as you see it today. Here are six of the finest films
from ACL's 1952 competition that it is practical
to present in one package. We are proud of these
six selections. And we know that all of you — clubs
and individual members alike — will be proud to pre-
sent them.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresidenl

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. INC.. 420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

Walter 3ergmann, Treasurer
Arthur H. Elliott
Fred Evans
John V. Hansen

James W. Moore, Managing Director
George Merz
Stephen F. Voorhees
Roy C. Wilcox

the shaft thickness is also J/4 inch. The
shaft must then be threaded halfway
down with a standard % inch thread,
and the hole on the other end should
be drilled out to fit tight on the rewind
shaft. If the fit is not adequately snug,
a small hole can be drilled and tapped
and the extender secured on the rewind
by means of a small setscrew.

In order to wind bulk film onto a
magazine core easily, I recommend the
following procedure. First get an old
16mm. or 8mm. projection reel of the
aluminum type. Carefully pry it apart
until the flanges come off the hub, as
seen in Fig. 2. To assemble these for
winding, put first on the rewind spin-
dle the flange with the round hole; fol-

low it with a washer, then the core
(which must be pre-threaded with film)
and then the other flange. This unit
will have three slots adjoining the cen-
ter hole, into one of which will go the
tiny protruding spring on the core.
Lastly, I put a cup washer outside the
flange and secure the whole assembly
with a wing nut.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

SI

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

FOR ALL 8MM AND 16MM FILMERS

MAKING-'

MOVIES

EXTRA-NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers,) made payable to Amateur
Cinema League, Inc.

Nome-
Street.
City

Zone_

_State_

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NARRATIVE TECHNIQUES • TIPS ON TRAVEL

11 i

THE ACL PRESENTS

l«

THE TOP OF THE TEN BEST

JJ

FOR THE FIRST TIME, The Amateur Cinema League
is proud to offer to movie clubs and amateur filmers everywhere
a perfectly balanced program — 1 hour and 26 minutes long —
selected from award-winning films of the past year. "The Top of
the Ten Best" is a unique cross section of amateur filming at its
finest. Packaged on two reels, it presents an unparalleled variety
of subject matter, treatment and theme. The entire production is
accompanied by the original scores, re-recorded for absolute
synchrony through the magic of magnetic sound on film. "The Top
of the Ten Best" is a complete program — ready to roll!

MOVIE CLUBS can present this six-star ACL show at
regular meetings, annual dinners or at Gala Nights — to raise money
and to win new members. And your top club films may always be
added to round out the local program.

INDIVIDUAL FILMERS can screen "The Top of the
Ten Best" for study and inspiration, to learn what it takes to make
better movies, to entertain friends and family.

THE PROGRAM

The Man With the Box, an outstanding psychological thriller in black and
white by James L. Watson, ACL. "Superlative melodrama . . . suspense-filled
excitement . . . terrifying conclusion." 11 mins.

Poet and Peasant, a musical novelty by Robert G. Williams, ACL. "A technical
tour de force . . . perfect synchrony of music to pictures . . . stumped most
professionals." 6 mins.

Birds of Washington, a nature study by J. Don Sutherland, ACL, and Ralph E.
Lawrence, ACL. "Highly competent pictorial survey of bird life . . . Informative
. . . outstanding." Excerpted especially for ACL: 24 mins.

Muntre Streker, an animated cartoon novelty by Mathis Kverne, of Oslo,
Norway. "Delightful tidbit . . . flawless animation . . . sparkling film fantasy."
4 mins.

INTERMISSION

Bulbs and Beauty, a documentary record of the beautiful gladiolus by Haven
Trecker, ACL. "Painstaking . . . profusely close-upped sequences . . . colorful
and elaborate." Excerpted especially for ACL: 20 mins.

Duck Soup, a family film by Delores and Timothy Lawler, ACL, winner of the
Hiram Percy Maxim Memorial Award for 1952. "A rollicking, rambunctious
household saga . . . well planned, crisply executed." 21 mins.

BE THE FIRST TO SCREEN "THE TOP OF THE TEN BEST"

Clip and Mail the Coupon, Today!

r

AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue, New York 17, N. Y.

4-53

Please send me complete information and rates for screening "THE TOP OF

1 THE TEN BEST" on_ . |

(date)

I

I NAME

I

! ADDRESS-

| CITY.
I

i

CLUB □ INDIVIDUAL FILMER □ I

.ZONE STATE.

B 415201

MOVIE MAKERS

87

new

tW -7 I9S3

7

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prices

T

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Both of the instant-load-
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88

APRIL 1953

For Birthday Movies
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G-E PROJECTION
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Use'em in slide or movie
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Remember . . . G-E Lamps
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GENERAL
ELECTRIC

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

---v'-^'y • v..- ■■■: *

April

1953

-

The reader writes 90

Bird filming for beginners Herbert D. Shumway, ACL 94

Come to Coronation! Stanley W. Bowler, FRPS 96

| Narrative techniques Warren Doremus, ACL 97

Off the beaten track Georgia Engelhard 98

! Tips for the tourist LeRoy Segall, ACL 100

The clinic Aids for your filming 101

News of the industry Reports on products 102

Closeups What Pilmers are doing 105

Clubs People, plans and programs 106

Backyard bounty Editorial 110

Cover photograph by Ralph E. Lawrence, ACL

JAMES W. MOORE

Editor

PETER D. DIBBLE . ANNE YOUNG

Clubs Editor Advertising & Production

1 Vol. 28, No. 4. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4-00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale .at photo-
graphic dealers everywhere. Entered as second class matter, Augupl 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1953, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

89

For brighter, sharper pictures
choose ANSCO HYP AN film!

You'll be delighted to see the bright, clear-cut black-and-
white screen images you get with this modern panchromatic
film. Skin textures are smoother, details are sharper, right
down to the last silken hair.

Ansco Hypan is an extremely fine grain panchromatic
film of inherently brilliant gradation that brings new snap
and sparkle to your black-and-white pictures. Its speed (40
daylight, 32 tungsten) makes Hypan a film for all 'round
movie making — indoors or out.

What's more, you'll find that Hypan's down-to-earth
price lets you take more fine movies for your money. You'll
find Ansco 8 and 16mm Hypan film at photo dealers every-
where.

Ansco, Binghamton, N. Y. A Division of General Aniline &
Film Corporation. "From Research to Reality."

FOR STRONGER SPLICES

USE ANSCO

CINE FILM CEMENT

This improved product is
easy to use and gives supe-
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black-and-white films. Handy
1 oz. bottle 40^, at your
dealer's.

Ask for ANSCO HYPAN FILM

90

APRIL 1953

CHARLES H. COLES, A.P.S.A.

Author and lecturer in photography

announces his
to

ITALY

Photograph incomparable Italy
under the expert guidance of a
tour director who knows both
Italy and photography. Travel by
private motor coach, stopping
along the road for pictures. Lec-
tures en route. Personal instruc-
tion for movie or still enthusiasts,
novice or experienced.

This is an unusual opportunity to
travel with a small, congenial
group who share your interest in
photography.

First-class accommodations. Three
weeks, leaving July 4 on a scheduled
flight, returning July 26. Rome —
Milan — Venice — Naples — Pompeii

— Capri — Florence — the Dolomites

— the Lakes.

Write for information to

Box 296, c/o Movie Makers

420 Lexington Avenue, New York 17, N. Y.

MAKE PERFECT DISSOLVES
with your

BOLEX H-16

(Equipped with Pellegrini shutter)

Automatic dissolve attachment available
for immediate delivery

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

Also for Eastman Cine Special

5968 Santa Monica
Hollywood, California

if|C ppH yni n 5968 Santa Monica Blvd.

COMMENTS AND LETTERS

Dear Movie Makers: My article, TV
and the Amateur, which you published
in January, turned out OK. I have had
any number of comments on it and
several letters, one of which I am en-
closing together with my answer.

David 0. Taylor
Station WGN-TV
Chicago, 111.

The reader letter enclosed by TV
producer Taylor inquires specifically
about the feasibility of using 8mm. ama-
teur movies on television. For a number
of reasons, all cited in Mr. Taylor's
reply, the overall answer is: "No can
do!"

TEN BEST PREMIERE

Dear ACL: Things have been mighty
quiet here the past few days, after the
electric excitement of our wonderful
Top of the Ten Best premiere. It was
certainly a ball for all of us from be-
ginning to end, shot through with a
warm feeling of fraternity as the pro-
gram went over with such a bang. Let's
keep the banner of ACL sailing even
higher and higher!

Harrison F. Houghton, ACL
President
Washington Society of

Cinematographers, ACL
Washington, D. C.

Dear Friends: Now that we can evalu-
ate objectively our world premiere of
The Top of the Ten Best, I am sure that
the whole thing — from Sunday until the
last foot of film rolled through the now
famous 202s on Tuesday evening — was
by all odds the most terrific event our
club has had within my memory. And
this means back to about 1938. Again
thanks for all that you did for us
while here in Washington.

J. Donald Sutherland, ACL
Director
Washington Society of

Cinematographers, ACL
Washington, D. C.

Dear Mr. Moore: I want to thank you
for your courtesy in sending me two
tickets for the Washington premiere of
the Amateur Cinema League's Top of
the Ten Best. Another member of our
staff and I attended last night. It was

our first exposure to ACL films and we
were very impressed with their uni-
formly high quality.

It will be a pleasure to convey our
enthusiasm to Mrs. Lee, who, as you
know, was unavoidably called away by
her LWV duties to Albuquerque, N. M.
Muriel Ferris
Executive Secretary
League of Women Voters of the U. S.
Washington, D. C.

Mrs. John G. (Percy Maxim) Lee,
FACL, donor of the Maxim Memorial
Award in honor of her father, the ACL's
founder president, is the national presi-
dent of the League of Women Voters.

FURTHER THE GOOD WORK

Dear ACL: Since our annual Film Fes-
tival proved to be such an unqualified
success, and since such an event would
have been impossible without the films
supplied by the League, our members
decided at our last meeting to send you
a check in the amount of $15 — this
money to go to ACL's Film Library
Fund to further the good work which
the Library has been doing for member
clubs.

You will find this check enclosed
herewith, together with our warm
thanks for your past cooperation.

Donald W. Hitchcox, ACL
President
Richmond Movie Camera Club, ACL
Richmond, Calif.

Our thanks, in turn, to the Richmond
club for this concrete and generous
support of the League's Film Library.

JUNIOR TTB

Dear ACL: Your Junior Top of the
Ten Best program was shown at a regu-
lar meeting of the Cleveland Photo-
graphic Society with the Movie Group
acting as hosts. Guest of honor was
Mrs. Warner Seely, FACL, who ex-
plained the activities of the League and
told of the help she has received as a
member.

Everyone here was most enthusiastic
about your film and the wonderful job
you are doing with it.

A. J. Gerlach
The Movie Group
Cleveland Photographic Society
Cleveland, Ohio

ACL's Junior Top of the Ten Best
program, rushed into production follow-
ing the heavy booking demands (now
extending through September) on the
senior TTB show, is comprised of Birds
of Washington, 16 minutes; Muntre
Streker, 4 minutes, and Duck Soup, the

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MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931

92

APRIL 1953

Add a

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from 1/18 sec. at true 8 f.p.s. at open to
1/560 sec. at Vi open at true 64 f.p.s.

• Make complete transition lap dissolves any-
time.

• Fade-ins and fade-outs at your fingertips.

• Neutral density filters no longer needed
when filming outdoors with fast film.
Audible warning sound when shutter in
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• Avail yourself of the many other advantages
obtainable only with a controlled variable
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DISTINCTIVE EXPERT

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For the Amateur and Professional

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Price fist on request

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■ ONE TREATMENT LASTS
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LABORATORIES IN KEY CITIES THRUOUT U.S.

Write for Information Now
VACUUMATE CORP., 446 W. 43rd St., N. Y.

1952 Maxim Award winner, 21 minutes.
Thus, with a total screen time of 41
minutes, it is ideally balanced for club
use at dinners, birthday parties, regular
meetings — or on a Gala Show program
where the inclusion of local contest win-
ners is desired. Rental rates on the Junior
TTB begin as low as $10, and desirable
booking dates for it are available from
May onward.

TTB SMART IDEA

Dear ACL: Your announcement of the
the Top of the Ten Best program in-
trigues me. This sounds like an awfully
smart idea for both amateurs and the
Amateur Cinema League.

At your usual rates, I'd very much
appreciate your sending me a print of
your 1 hour and 26 minute film. I'd
like to have it for a few days to show
to people around here.

Frank R. Knight, Jr., ACL
Advertising Department
Eastman Kodak Company
Rochester 4, N. Y.

TITLER TALK

Dear Mr. Moore: Last night several
men from the camera club here spent
the evening in my basement using the
titler I described in An All-Purpose
Titler in February Movie Makers.
Also, another man, driving through
from Chicago, asked to see it so that he
might copy it more closely. I've even
had letters about it from as far away
as Oregon.

And yet my boy — he's 17 years old — ■
says you must have been hard up for
material when you printed it!

Haven Trecker, ACL
Kankakee, 111.

Dear Movie Makers: Thank you for
including a mention of "that handsome
hunk of machinery" in the All-Purpose
Titler article by Haven Trecker, ACL,
in your February issue. May I com-
ment on the second important change
mentioned?

The author states that his design al-
lows the lens to rest on the titling board
(thus facilitating the centering opera-
tion) . On my titler a 6 inch telephoto
lens or an extension tube screwed into
the camera turret also allows the lens
to rest on the titling board — so we
achieve the same end result.

William Messner, ACL
Teaneck, N. J.

KODAK IN MEXICO

Gentlemen: Georgia Engelhard, in
your February issue, has written a good
and substantially correct "short story"
on filming in Mexico. However, in her
second-to-last paragraph she is definite-
ly out of sync.

Kodak has no Eastman Kodak Stores
in Mexico! We moved from our old lo-
cation at San Jeronimo No. 24 nearly
four years ago. In Mexico, the Eastman
Kodak Company's associate company
is Kodak Mexicana, Ltd., now located

at Calle Londres No. 16. We do not, at
Kodak Mexicana, sell at retail; but we
do maintain a service department and
competent repair shop to handle any
and all Kodak equipment. In the event
of camera trouble, ACL members are
cordially invited to call on us.

F. R. Zierer
Asst. Manager
Kodak Mexicana, Ltd.
Mexico, D. F.

Our sincere gratitude to Senor Zierer
for this helpful correction.

The inaccurate and out-of-date infor-
mation printed was supplied to Movie
Makers by Eastman Kodak Stores, 1
West 39th Street, New York City, in
response to our specific check with them
concerning Kodak installations in Mexico
City.

WRONG SNAKE

Dear Mr. Moore: While I doubt if
anybody notices the difference, the
snake pictured on page 67 of March
Movie Makers in your Fine Frames
layout happens to be a milk snake and
not a copperhead.

It will be interesting to see how many
of our members will pick this up. We
will find out how observing they are
and how much knowledge they have of
snakes.

Roy C. Wilcox, ACL
Meriden, Conn.

Apparently the incidence of herpe-
tologists among our members is as slight
as our own knowledge of the reptilian
world. The score for keen observation
to date is zero.

Our thanks for this kindly correction
goes to nature filmer Wilcox, whose film
frame we reproduced.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

NEWS AND VIEWS

Dear Sirs: My first request under my
new ACL membership is that, through
the medium of Movie M. akers, I could
be placed in touch with any 16mm. en-
thusiast in the United States of America
who would be interested in exchanging
news and views with a filmer resident
in Central Africa.

My outfit is a Bolex H-16 and I am
interested in every phase of cine work —
including tape recordings.

Robert S. Hobson, ACL
P. O. Box 283
Ndola, Northern Rhodesia

MOVIE MAKERS

93

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94

Photographs by Herbert D. Shumway, ACL

AN' OPEN FIELD, flanked by old apple trees, is an ideal
site for bird filmer equipped with material seen above.

BIRD FILMING FOR BEGINNERS

HERBERT D. SHUMWAY, ACL

ONE of the nicest things about movie making is the
congenial way in which it blends with other ac-
tivities. Take bird filming, for instance. Birding
in itself is a fascinating hobby. Its enthusiasts tramp
fields, forests, swamps and mountains studying the won-
ders of birdlife. With binoculars they gain an insight
into the beauty that is inherent in every winged creature.
But to see birds through binoculars is one thing. To film
them with a motion picture camera for all to see is quite
another — and often not so simple a matter.

Perhaps the three most perplexing questions facing the
beginning bird cinematographer are: (1) What equip-
ment is required? (2) What is the best way to locate the
birds' nests? (3) How may the birds be filmed without
frightening them?

THE CAMERA REQUIRED
Bird cinematography demands a good, but not neces-
sarily an elaborate, camera. The one most important

feature which the camera must have is a provision for
interchanging lenses; for good bird filming depends upon
telephoto lenses. Next, the camera must be one which can
be adapted for remote control operation. Often this can
be accomplished by a simple electromagnetic shutter trip,
similar to the one outlined in the March, 1952, issue of
Movie Makers. Finally, the viewfinder of the camera
must be one which can frame subjects accurately at close
range, so that the resultant bird pictures will be well
centered and free of parallax errors.

Preferably the camera should be quiet-running, so
that the whir of its motor will not alarm the birds. Such
other refinements as a turret head, magazine loading and
slow motion are all convenient extras to have. But fine
bird filming does not depend upon their availability.

OTHER BASIC EQUIPMENT
Other basic equipment for bird filming includes a
sturdy tripod, an accurate light meter (or experienced

TAPE STRIPS outline area to be filmed by remote con-
trol, guide camera operator in getting good action.

3X TELEPHOTO, left, 3 to 5 feet from bird's nesting
hole, creates closeups for remote-controlled camera.

95

77 "W^

CENTRAL in bird sequences
are these closeups of nested
eggs, followed in time by the
everlasting hunger of the
gaping youngsters. Egg scenes
(here of red-winged black-
bird) are made with normal
lens aided by positive diopter;
clamoring towhees were filmed
with 3x telephoto on remote-
controlled camera 3' away.

Like to film our feathered friends? The Ten Best producer

of "Backyard Birding" tells in detail how to get started

judgment), a remote control operating device, a pair of
good binoculars (preferably six to eight power), and at
least one telephoto lens. For 8mm. cameras the l1/^ inch
lens is a good choice; for 16mm. cameras the 3 inch lens
should be selected. Both objectives create a 3x magnifi-
cation on their appropriate cameras. Stronger magnifi-
cation may be obtained by using a 3 inch lens for 8mm.
filming and a 6 inch lens for 16mm. filming — for a 6x
enlargement. With such lenses, screen-filling head and
shoulder portraits of birds are easy. Choose telephoto
lenses with a focusing mount, to permit filming as close
as 3 to 5 feet from the subject. Their maximum aperture
should be at least //3.5 or faster, to allow picture making
in the poor light often encountered in filming birdlife.

THE NESTS ARE HIDDEN

Another problem that continually confronts the begin-
ning bird filmer is that of locating the nests of birds.
Birds exhibit remarkable cunning in choosing out-of-the-
way spots for their nests, often building them in places
not only physically inaccessible to the average filmer but
equally unsuitable for photographic work.

From the bird's point of view, such locations shelter
the nest from prowling marauders that threaten the very
lives of their young. From the photographer's point of
view, however, the bird's inherent cunning can be down-
right exasperating, so much so that the beginner at bird
filming will be wise to confine his first efforts to many
of the more common song birds. Robins, bluebirds, blue
jays and flickers are all colorful film subjects, yet they
frequently nest low in a bush or tree. Also, those birds

which habitually nest on the ground are equally good for
the beginner to try filming. Among these may be listed
the meadowlark, the towhee and the killdeer, as well as
many of the sparrows.

WAIT-AND-WATCH SYSTEM

One technique that turns up more nesting sites than
any other is the simple wait-and-watch system. With a
pair of binoculars, you survey a likely-looking nesting
territory. Here a good bird book will be of assistance in
describing the type of terrain and cover favored for nest
building by each species of bird.

For example, meadowlarks are field-dwelling birds that
build nests on the ground so cleverly camouflaged that the
chance of finding one by searching at random through
the grass is practically nil. Yet by patiently searching a
meadow with binoculars it's easy to spot a parent meadow-
lark, for her bill full of insects gives her secret away.
Watch her and she will lead you to her nest.

Not directly, though, for it is the habit of the meadow-
lark never to land directly at her nest; but rather she will
alight in the grass several yards from it. Here she will
cautiously look about for danger: then, convinced that
everything is safe, she will walk through concealed path-
ways in the grass that lead to her nest. Thus, by watching
her come and go several times, it's possible to calculate
pretty closely just where she had hidden her home. Walk
towards that spot and the meadowlark will flush directly
from her nest, thus revealing its exact location.

Such a system of nest hunting works equally well
with birds nesting in trees and [Continued on page 107]

COMPLETE equipment used by
the author for ultra-closeup
filming on 8mm. camera in-
clude an electromagnetic shut-
ter trip, 3 inch 16mm. tele-
photo for 6x magnification,
accessory viewflnder to show
6x field area. With it such
closeups as the bluebird at
left are routine.

96

COME TO CORONATION!

Pomp, pageantry and history in the making await your

camera along the royal route from Buckingham to the Abbey

STANLEY W. BOWLER, FRPS

IT IS still early February as I write these
words — a February of gales, snowstorms

and floods. Our Queen and her husband
have had a strenuous time visiting scenes of
flood disaster; and their clothes and the
weather are in sharp contrast to what we may
expect to see in the heart of London a few
months later — to be exact, on June the 2nd,
Coronation Day.

Already there is a growing sense of excite-
ment as the spidery tubular scaffolding, with
its interlacing struts, grows like a giant cob-
web along the routes of the triumphal proces-
sion. In some places, even now, the braced
steel substructures are being covered with
balks of timber to form the walkways and
seats of these gigantic stands. Last month it was an-
nounced that the processional route had been extended
to include part of the riverside Victoria Embankment,
so that many thousands of the school children of London
will be able to be present on this historic occasion.

The outline map shows this route in very simplified
form — 'those of you who come over for the Coronation
will be able to obtain more detailed plans for personal
use — and it is intended primarily as a diagram to plot the
position of the sun. First of all, the sun should rise at
3:48 a.m. G.M.T. (actually 4:48 a.m. British Summer
Time) and set at 8:07 p.m. G.M.T. (actually 9:07 p.m.
British Summer Time). The positions of the principal
buildings and their orientation are fairly accurate on the
map in relation to the path of the sun. Now, a quick
glance at this map will show that filming at a number of
points presents difficulty owing to the lighting angle.

Before going on to describe yje route and the more
important points which the procession will pass, I should
like to offer three warnings: First of all, owing to the
generally smoky atmosphere over London, early morn-

Photographs courtesy British Travel Assoc.

BUCKINGHAM PALACE, the beginning and the end of the royal route on Coro-
nation Day, faces northeast up The Mall and is side-lighted early in day.

ing and late evening light will usually be far less effective
photographically than might be expected by comparison
with other and more favored places. At these times of
day the light also tends to be somewhat "warm." Second-
ly, since it is almost certain that the prevailing light
direction will not be suitable at all times, and that of
sheer necessity you will have to shoot into the sun on
occasion, really deep lens hoods for all your lenses are
essential. Thirdly, unless you are extraordinarily priv-
ileged, much of your shooting will probably be done from
a distance. Thus, at least one telephoto lens — say a 3x— r-
will be mandatory, while the addition of a 6x objective
to your kit will be ideal.

Now let us consider the route itself. If you have a
seat in a stand, it will be unlikely that you will be able
to move much from that position. Thus, although you
must shoot important buildings at other times, the build-
ings of greatest interest will be noted as we go on our way.

As you may well have guessed already, the procession
starts from Buckingham Palace (A), the London resi-
dence of the Royal Family. [Continued on page 108]

THE ROYAL ROUTE, dotted line out, solid lines in, is
plotted for "Movie Makers" in relation to sun's course.

THE STATE COACH, splendid with its matched white horses, is seen
proceeding from the Admiralty Arch in 1937 Coronation ceremonies.

97

Photographs by Silvio Di Loreto

NARRATOR at left has mike, script and lamp in proper po-
sition for easy reading as prompter presses his arm for a
cue. Mike above is in side position to reduce sibilance.

NARRATIVE TECHNIQUES

An able movie maker and experienced announcer, the author

gives calm counsel on audio techniques for the amateur

WARREN DOREMUS, ACL, Station WHEC, Rochester, N. Y.

NARRATIVE, when combined with a motion picture,
must first of all be functional. Which is to say it
must be needed. It should not duplicate in words
what is already evident on the screen. With this in mind,
there are (it seems to me) a number of functions which
narrative can perform to amplify the effectiveness of
a picture.

One of these, if not the most important, is to help
guide the thinking of each person in the audience along
the same channel of ideas. In other words, pictures by
themselves are subject to individual interpretation. But,
add narrative to them, and you convey clearly one special
meaning.

Another function narrative can perform is to supply
pertinent information not supplied by the pictures. For
example: "These scenes depict a civilization long thought
to be non-existent."

A third purpose of film narrative is to supply con-
tinuity. In other words, it provides transitions from
sequence to sequence, just as subtitles do — but with far
greater ease and less interruption of the film's flow.

Next, I should like to outline the structure for writing
a narrative. Frankly, this is not an easy thing to do.
It compares with trying to explain to someone how to
write a book! Nevertheless, I shall begin by saying that
before you write anything at all, time your picture with
a stop watch. Determine, according to the length of each
sequence and the reading speed of your narrator, how
much narrative can be used.

Keep in mind two things. First, a scene should be
established visually before the narrative starts. And, in
correlation, the narrative should conclude before the
scene ends. Allow for these margins in your timing.
Write no more than that which can be delivered in an
unhurried manner. Second, make your narrative as esthet-
ically interesting as possible. Use factual matter and sta-
tistics with more than a degree of restraint and subtlety.
A little romanticism is sometimes quite pleasant. And,
occasionally, narrative may even consist of poetry.

In physical format, all narrative should be double-
spaced in its typography — or even triple-spaced if you
find that more legible. Secondly, it is helpful to place

the left margin of your typed narrative about halfway
across the space of the page on which it is written. This
will provide room for important notes on timing, cues,
pauses and emphasis. An example of this format will
make its composition clear.

l.

2.

3.

4.

5.

6.

7.

8.

9.
10.
11.
12.
13.
14.

NOTES

Begin with NATIVE at
doorway

SLOWER with "There
is the . . ."

PAUSE after "eyes . . .

HOLD

Begin with WOMEN

WASHING clothes at

river bank

NARRATIVE

Here in Karango, more so than at any
other place since this journey began,
one feels that we are a world-apart
from all those things which we of the
Western Hemisphere take for granted
as comprising our civilixation.

There is Hie structure of the city; the
smells of the market place; the slowed
movements of the people, and the re-
laxed look in their eyes . . . And there
is the river . . .

In our world a river is used for com-
merce . . . Here, however, it becomes,
etc., etc.

In this format the numbers at the extreme left will
indicate the number of lines of narrative to the page
and will be useful in estimating the relative delivery
speed of one's narrator.

It is not possible, of course, to suggest how you may
acquire the natural voice prerequisites with which to do
your own narrating. But it already has been noted that
narrative ought to be delivered in an unhurried manner.
Also, an evenly modulated, almost conversation-like tone
is preferred, because such a delivery is better understood,
more pleasing to the ear and more easily recorded.

But above all, seek to employ the type of voice and
delivery which is suited to your subject matter. The
professional polish of the trained radio man is not always
the ideal voice for a simple and sincere amateur film.
It may, by its very training, be too polished, too slick
and therefore seemingly insincere. Furthermore, do not
insist on using your own or your wife's voice if it does
not, in the opinion of objective observers, seem to record
happily for the subject in hand. Several examples of
selective choosing of the right narrator have been cited
recently in these pages; we feel sure that these Ten Best
award winners were solidly aided by this impartial dis-
crimination in the selection of [Continued on page 109]

98

OFF THE
BEATEN TRACK

Northern Italy and Switzerland,
urges this experienced traveler, are a
treasure trove of fine filming subjects

GEORGIA ENGELHARD

AFTER your visit to London for the Coronation, and
i after your stopover at Paris for — well, simply be-
cause it's Paris — I am sure that you will wish to
visit places of a different character — places more off the
beaten track. So let me suggest a trip to northern Italy,
followed by a jaunt into Switzerland. You will find these
two countries just the thing to round out a European
travel study.

HIRE YOUR OWN CAR

Before discussing the route to take, let us consider a
few practical points. How are you going to travel? Don't
join an ordinary tour if you expect to create unusual and
fluent continuities. These tours travel too far too fast,
allowing too little time in any given place for good picture
making. By far the best plan is to hire a small car.

I know this sounds like an expensive idea; but such is
not the case. In 1951 I had a car. This was not only vastly
more convenient and a great aid in movie making, but
it actually cost less. Although gas is expensive, I averaged
no more than $50 a month for it. For European distances
are short, so that a day's run is seldom more than 100
miles, sometimes only 40 to 60. Furthermore, upon enter-
ing Italy gas coupons can be purchased, and by using
these the cost can be cut about forty percent.

Where will you hire the car? Through American Ex-
press you can arrange to pick one up for a moderate daily
rate in any large European city. The company will supply
necessary insurance papers and other documents needed
for crossing frontiers. Pamosa, with offices in both New
York and Paris, offers the same service, as do Roote's

AN UNUSUAL ANGLE enlivens this shot of the famed Grecian
bronze horses, filmed from their balcony on St. Marks, in Venice.

in London. There a car can be rented for about $3 a day,
not including the price of gas.

PRACTICAL PREPARATIONS

Now study up your trip in advance, in order to have
some basic idea of the sort of picture material available.
For this purpose, Muirhead's Switzerland and Nagel's
Blue Guide to Italy are excellent, though not quite so
detailed as Baedeker, now out of print. In each city it is a
good idea to buy street maps, which will help you locate
places of interest with minimum difficulty and little loss
of time. In many places hotels provide such maps, and
the concierge, or desk clerk, is usually helpful in suggest-
ing where to find good pictures.

Although English is spoken in the larger European
cities, a rudimentary knowledge of Italian and German
will be a great help on this trip, especially in the smaller
towns and rural districts. It is not necessary to be an
accomplished linquist, but a knowledge of basic words and
phrases will certainly aid greatly in everyday transactions.
There are several excellent conversation guides with ac-
companying illustrations which you will find helpful in
shops, restaurants, garages and at the post office. Even

RICHLY ROMANESQUE are Pisa's baptistry and cathedral, gems
which outrank in beauty, if not fame, the city's Leaning Tower.

THE PONTE VECCHIO, Florence's "Old Bridge," is the sole span
over the Arno to survive the war. Tall tower marks Medici palace.

99

Photographs by Georgia Engelhard

FAR TO THE NORTH in Italy the author found and filmed this country
wedding in the lonely Alpine valley of Valtournanche. At right is Mont
Blanc, as seen from Italian side of the Alps. Note figure in foreground.

if you cannot make yourself understood verbally, you will be
able to get what you want simply by pointing at the pictures.

CLOTHES AND CAMERAS

Don't burden yourself with too many clothes. A simple sum-
mer wardrobe is sufficient. But do take a pair of sturdy walking
shoes, preferably with rubber soles, for there is plenty of leg
work involved in picturing Italian hill towns as well as Swiss
villages and country districts. Also bring along a heavy topcoat
and some warm gloves; even in the summer months it can be
mighty chilly on the Swiss mountain roads.

A few words as to camera equipment. Don't stint yourself on
film. In a crowded season, such as this one is bound to be, even
the stores in large cities may run low on film stock. And, since
you are an amateur, there will be no trouble in passing film
through customs. Don't forget plenty of lens tissue, since many
of the roads are dusty. Include a sky filter to cut the excess
blueness which occurs at altitudes over 5000 feet. Although a
normal length lens is satisfactory, both the wide angle and the
telephoto are valuable on a trip of this kind.

OFF TO NORTH ITALY

Now let's get going. From Paris go by train or plane to
Turin or Milan, to pick up the car. [Continued on page 103]

MORE ITALIAN than Swiss is Locarno, in Ticino canton, as
shown by church of Madonna del Sasso, a holy shrine.

THEIR DAILY DRESS dating back for centuries, these peasant
women of the wild Val D'Arolla, Switzerland, march to fields.

THE EARLY BIRD, in this case, catches the cows as they amble thru
the cobbled streets of Pontresina, a Swiss village of warm color.

100

TIPS FOR THE TOURIST

Here, based on inquiry and experience, are practical pointers for the Europe-bound filmer

LE ROY SEGALL, ACL

SO YOU'RE going to Europe this summer! Perhaps,
even as you read these words, your travel agent is
already taking care of such basic needs as tickets,
lodging, place-to-place transport and the many other de-
tails which make for smooth traveling. They did it for me
last summer (when I went to the Olympic Games) and it
helped a lot.

But there is one phase of your preparations — and a
crucially important one to every movie maker — on which
I found the average travel agent relatively uninformed.
That phase is photography. Perhaps, then, some advice
based on my experiences of last summer will be of aid.

Register Your Camera: The first move you will want
to make — and you should make it right now and here at
home — is to register your camera and all its lenses if they
are of foreign manufacture. This registration is a simple
and relatively swift operation. It can be carried out at
any U. S. Customs office in the United States. And, if
there is no such office in or near your home town, regis-
tration still can be effected at the customs inspector's
office on any steamship pier or international airport. But
remember, sailing day is a busy time for these men; so
safeguard yourself, and give them a break, by dropping in
a day or so ahead of your departure.

The purpose, of course, of any such registration is to
protect your foreign-made equipment — on which duty was
paid when it was imported— from being subject to duty
once again when you bring it back in your luggage.

Film Supplies: An adequate supply of the kind of film
stock you intend using, especially if it is in color, is also
a matter which (in my experience) is best attended to at
home. By early last spring the Eastman Kodak Company
was publicly warning both photo dealers and tourist pho-
tographers that European supplies of color films would
vary from extremely limited to non-existent. I decided
therefore to take with me or send on in advance all of the
film footage which I thought I might need — and could
afford.

What with the Coronation and other attractions during
this summer, I believe that this is still good advice. How-
ever, your adoption of this policy may tend to create new
and other problems in place of the film supply one. For
example, if your overseas transport is by air (as mine
was) , any considerable number of film packets may soon
subject you to excess baggage charges. In seeking to avoid
this, I considered and partially acted on the idea of send-
ing on ahead to countries I would visit caches of film to
await my arrival.

This plan, I soon found, was excellent when it involved
a European country where the duty on film was light.
(Denmark, for example, levies a very modest duty on
photo film based on its weight. At about 15 cents a pound,
therefore, I was able to ship ahead to Copenhagen a siz-
able supply which awaited me about halfway through our
trip.) This same plan, however, becomes exhorbitant to
follow where the duty on film (as in France, for example)
is assessed on an ad valorem basis.

Customs Duties Abroad: Still another matter into
which the prudent movie maker may wish to inquire be-

fore setting sail is the scale of customs duties on cameras
and film which he will encounter from country to coun-
try once he is abroad. Such official data for any country
you are likely to visit can be obtained on request to our
own United States Department of Commerce. And it prob-
ably is a good idea to secure this information as a safe-
guard against surprises.

You will find (as I did) that almost all European na-
tions provide officially for the collection of customs fees
on more than this or that number of cameras per person
and on more than a varying amount of film footage. In
actual practice, however, these duties are almost uni-
versally waived for foreign visitors v/ho clearly are bring-
ing in their cameras and films as personal possessions and
as clearly will be taking them out of each country when
they leave. To facilitate this gracious treatment of your
potentially dutiable goods, be sure to exhibit them openly
as you pass each customs barrier and to declare them as
personal possessions for private use only.

Where to Process: On any sort of protracted trip the
question soon arises as to what to do with your exposed
films. To accumulate them again brings up the problem
of excess baggage if you are flying — even flying about
Europe. And, while Kodak has processing stations
equipped to handle Kodachrome in three European capi-
tals (London, Paris and Stockholm), the company itself
reports that European color processing is generally dis-
appointing to American filmers. The resulting hues sim-
ply are not so vivid as those to which we are accustomed.
Therefore they suggest that you send (or bring back)
your color films to the United States for development.

If, on a long trip, you decide to send back your exposed
films in batches, you should in turn keep in mind that
only Kodak's Rochester laboratory is equipped to clear
them through the U. S. customs. To facilitate this opera-
tion, be sure to accompany each shipment with a state-
ment that your films are being returned to the United
States solely for non-commercial use. And ship them by
air parcel post! The rates are reasonable and the service
is swift. Otherwise, you may find yourself arriving home
even before your precious pictures.

In closing, here are a few random words of wisdom
on actual filming operations in any of the European
countries. Objects of military and naval significance are
still on the banned list; and since you probably would
be surprised as to what can be of military importance,
it is best to err on the side of caution. Bridges, for
example, and railroad stations may well be proscribed
for the photographer, as well as (in Holland) the dikes
with which many of the canals are bordered. So ask your
guide or a policeman if filming is permitted.

The use of a tripod (which, of course, you will insist
on using!) is another filming operation which is gen-
erally banned on certain subjects. But here again a polite
query to a neighboring policeman will set you straight
— and if you want to bother, it is not at all difficult to
secure the necessary tripod permit. And don't forget:
Your ACL membership card and a friendly attitude will
overcome almost all difficulties everywhere.

101

GLASS SCREEN SURFACE

If you want the ultimate in screen
surfaces — one which has more bril-
liance than the beaded surface, but
does not fall off at the sides; one
which reflects true color from the
highlights and unbelievable detail
from the shadows — try the following :
on a suitable sheet of plate glass, have
a glazier sandblast the front surface
and mirror-coat the rear.

When I first asked my local glazier
to do this for me, I'm sure he thought
to himself "Why, that chap's nuts!"
For you can't see a mirrored image
through sandblasted glass — as he
most patiently explained to me. Quite
true . . . But you can reflect light back
and that is exactly what happens : the
image is caught on the sanded sur-
face, and the light which seeps on
through is immediately reflected back
by the mirror.

In preparing a screen of this kind,
bear in mind the following: (1) use
as thin a glass as is safe in proportion
with the screen size, so as to keep the
silver as close to the sanded surface
as possible; (2) have the glass sil-
vered first, to avoid any risk of chem-
icals staining the frosted side; (3)
ask for a fine grade of frosting to
avoid all semblance of graininess.

A. G. HlJRLSTONE

Longueville, N.S.W.
Australia

TRIPOD PROJECTION STAND

The December, 1952, issue of
Movie Makers contained a note and
illustration by Haven Trecker, ACL,
on his homemade projector stand,
comprised primarily of sturdy pipe.
This prompts me to pass on the de-
sign of my own projection stand,
which I have been using for the past
year with comfort and efficiency.

As will be seen in the picture, the
unit is designed around one's tripod;
it will be, therefore, no steadier than
the tripod itself. However, I have
found the design as pictured quite
sturdy enough for my 8mm. projector
and its accompanying film cans and
reels.

Essentially the arrangement calls
for nothing more than a board which
can be screwed onto the tripod head
during use, quickly dismantled when
not in use. In my case, this board is

of % inch plywood, 18 by 22 inches
in size, and around the upper edge
there is fixed a protective molding of
% inch quarter-round.

The mounting for the tripod is a
steel plate 3/16 of an inch thick and
about 4 by 5 inches in size, which is
screwed flat in the geometric center
of the board's under side. In the cen-
ter of that plate, and countersunk so
as to be flush with the plate, are
mounted two hexagon nuts of ^ inch
USS thread; they are positioned one
on top of the other to provide an
adequate depth of purchase by the
tripod screw. Finally, welded to the
face of the steel plate is a flange %
of an inch deep, which exactly fits
the shape of the tripod head. This
prevents the board from turning in
either direction once it is firmly at-
tached.

J. W. Burrows, ACL
Edmonton, Alta.
Canada.

SIMPLE FADING DEVICE

This may not be as smooth as using
a Cine Special or the new Pellegrini
dissolving shutter, but nevertheless
I have had consistent success in mak-
ing fades simply with a piece of card-
board.

First cut out a strip about 8 inches
long and of a width which will com-

Pictures, plans and ideas to
solve your filming problems

CONTRIBUTORS TO

The Clinic are paid from $2.00 to $5.00
for ideas and illustrations published.
Your contributions are cordially in-
vited. Address them to: The Clinic,
Movie Makers, 420 Lexington Avenue,
New York 17, N. Y.

Please do not submit identical items to
other magazines.

A PROJECTOR STAND, easy to make and easy
to use, was designed around his tripod by
J. W. Burrows, ACL, of Edmonton, Canada.

fortably cover the outside diameter
of your largest lens. Then, for a dis-
tance of about 6 inches in the center
section of this strip, trim out a hole
which I can best describe as being
shaped like an icicle — rounded at the
fat end and tapering to a point at
the other.

In use for a fade-in, the card is
positioned over the lens so that an
entirely opaque portion at the pointed
end of the icicle blocks the view.
It is then drawn slowly across the lens
so that the view of this unit increases
smoothly until it reaches totality at
the round end of the hole. The op-
posite maneuver, of course, is em-
ployed for a fade-out.

In either case, the card should be
held flush against the lens barrel, so
that no image of the hole's outline is
recorded on the film.

Henry A. Beriff
Salisbury, S. Rhodesia

FILM CEMENT FORMULA

For those filmers who get fun out
of fixing their own materials, here is
a formula for mixing film cement. It
works equally well with color or black
and white stock, and I have found it
equal in bonding power to anything
offered commercially.

Acetone 20 cc.

Chloroform 4 cc.

Glacial Acetic Acid . 2 cc.

First mix the acetone with the
chloroform, and then add the acetic
acid. Dissolve in this solution a strip
of clear leader, cut into small pieces
to speed its dissolution. With 16mm.
stock, 2 inches will be enough; use
4 inches if you're working with 8.

N. P. Hariharan, ACL
Madras, India

102

APRIL 1953

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Minirex II Weighing less than 4
ounces and measuring
3% inches on its longest dimension, the
Minirex II photoelectric exposure me-
ter is now being offered on the Ameri-
can market at $9.95. The meter is
imported from the United States Zone
in Germany by Saul Bower, Inc., 114
Liberty Street, New York 6, N. Y.

The Minirex dials are calibrated for
shutter speeds of from 1/1000 of a sec-
ond to 2 minutes and have diaphragm
stops ranging from //2 to //22. The
film speed ratings are in ASA exposure
index numbers from 10 to 100. Expo-
sures are arrived at by the setting of
only a single control.

B&H Eight The new Bell & How-
ell 8mm. movie cam-
era is now yours for the asking and
$49.95 — with the federal tax included.
Known as the 220, this attractive in-
strument lists at $30 less than the low-
est-priced model in the company's cur-
rent line.

Outstanding in the 220's design is the
simplicity of its operation. Although
using low-cost roll film, the camera has
no sprockets to thread, and the closing
of the camera door both positions the
film gate and resets the footage counter.
Exposure also has been simplified with
a lens-setting device called the "sun-
dial." Around its face are inscribed the
four standard light conditions (bright,
hazy, light shade and cloudy dull), and
the flip of a pointer to one or another

MINIREX II, photoelectric exposure meter im-
ported from Germany, will list here at $9.95.

of these automatically adjusts the lens
diaphragm for either a monochrome or
color emulsion.

The viewfinder on the 220 is of the
"picture-window" type, making for easy-
to-see images under all conditions of
personal vision. Its overall area is scaled
for the camera's 10mm. focal length
lens (of //2.5 speed), which covers 25
percent more field than the 12.5 or
13mm. lenses usually standard on 8mm.
cameras. A hairline rectangle inscribed
on the front element of the viewfinder
defines the area covered by a 2%x tele-
photo attachment, which is available at
$22.95 tax inc. A tan cowhide case at
$4.95 rounds out the assembly.

The B&H 220 carries with it the com-
pany's customary lifetime guarantee.

E.K. items Ektachrome roll film,
offered in 620 and 120
spoolings only, has been reduced in
price from $1.79 to $1.50 per roll, ef-
fective immediately. . . . W. B. Potter,
director of advertising for the Eastman
Kodak Company, has received the first
annual Leadership Award from radio
station WHAM in Rochester, N. Y.

Reeves expands A new plant

in Springdale,
Conn., for the production of magnetic
tape and Magna-Sound film striping,
as well as the appointment of a manu-
facturer's representative on the West
Coast, have been announced simulta-
neously by Reeves Soundcraft Corpo-
ration from their home office at 10 East
52nd Street, New York City. Neely En-
terprises, Inc., in Los Angeles, will
service Reeves accounts in California,
Nevada, New Mexico and Arizona.

400' for Bolex A 4°0 fo<>t film-
magazine unit for
the Bolex H-16 camera is now being
offered by Toledo Cine Engineering,
1309 Milburn Avenue, Toledo 6, Ohio.

Comprising this important accessory
are a saddle block permanently mount-
ed to the camera; a 400 foot external
film chamber with light trap; one set
of recessed rollers to protect the film
from contact with stationary parts ; one
camera mount for motor and camera
with suitable switches, and an electric
motor of your choice.

The choice of motors offered includes
(1) a 115 volt 60 cycle synchronous
unit for 24 fps sound shooting; (2) a

THE PULLIN rangefinder, incor-
porating a new optical system
and "swing-wedge" principle of
distance measurement, is 3 oz.
in weight, 4x1x1 inches in
size. Range extends from 2 feet
to infinity, and unit presents
depth of field scales for 50mm.,
75mm. and 110mm. lenses.
Camera Specialty Company,
50 West 29th Street, New
York 1, is distributor.

MODEL 220 is the name, $49.95 the price of
this new Bell &• Howell 8mm. camera, which
features "sundial" exposure settings and a
large "picture-window" type of viewfinder.

24 volt DC motor, or (3) a 115 volt
AC-DC universal motor operating at
from 8 to 64 frames per second. Round-
ing out the components is a heavy fibre
case with a tray for two extra 400 foot
magazines and space for film, tools,
power cord, etc. Optional use of a 200
or 100 foot daylight-loading spool is
still permitted, say the manufacturers.
This Toledo Cine Engineering unit
was designed by George E. Canning,
ACL, and William BucJiele, ACL. Price
and additional data may be obtained
by addressing them at the company in
care of Department C, 1309 Milburn
Avenue, Toledo 6.

B&H telephoto A new 3 inch //3.5
telephoto lens for
16mm. cameras was announced by the
Bell & Howell Company the first of this
month. Replacing the company's //4
Telate, the new objective carries an

THIS TELEPHOTO for 16mm. cameras offers a
3 inch focal length, a maximum aperture of
f/3.5 and click-stop settings through f/22.
Bell & Howell the maker; $79.95 the price.

MOVIE MAKERS

easy-to-read, spread out diaphragm
scale with a range from //3.5 to f/22.
Click stops assure positive settings,
while the depth of field scale is incised
in red for easy identification. Supplied
with the lens are a metal lens cap and
a sunshade which serves also as a filter
holder.

This new objective lists at $79.95,
with no federal tax applying.

Double for Mees Dr c E Ken-

neth Mees,
vicepresident in charge of research for
Eastman Kodak, has been named by
the Royal Photographic Society of
Great Britain to receive the Society's
Progress Medal for 1952. Dr. Mees had
received the same honor — the Royal's
highest — first in 1913. He thus joins
with Sir William Dabney, an English
chemist, in being the only photo-scien-
tist to score a double in this distin-
guished field of endeavor.

Off the beaten track

[Continued from page 99 J

Italy today is one of the most delightful
of European countries. It is clean, the
food and wines are excellent, and the
water in the northern districts is quite
safe to drink. The people are gay and
friendly. The climate is delightful in
early summer, with warm days and cool
nights. Above all Italy is one of the
least expensive countries on the con-
tinent today.

From Turin or Milan a fine road
leads in a couple of hours to the wildly
picturesque Val D'Aoste. Its rugged
gorges are dotted with ancient castles,
and at its head, from the tiny resort
town of Courmayeur, the south face of
Mont Blanc, highest of all the Alps,
rises to nearly 16,000 feet. Although the
view of the Monarch from Chamonix,
in France, is better known, the vista
from the Italian side is the more mag-
nificent.

Courmayeur is definitely off the
beaten track as far as the American
tourist is concerned. The town is quaint
and bustles with peasant life. From the
nearby Col de Checrouit, reached by
funicular, or from the slopes of Mont
de la Saxe striking mountain scenes
can be filmed easily. Should you be
traveling with family or friends, be
sure to use them for human interest and
action in the foreground. If you lack
traveling companions, hire a guide for
an hour to serve as model. For, as you
well know, there is nothing worse than
movies of still subjects devoid of hu-
man interest.

PISA, SIENA, FLORENCE

Next move on to the beautiful hill

towns, taking in Pisa first, then Siena.

They are culturally and architecturally

stunning; nor will you lack for models,

103

long distance
up fe 40 inches!

for the Bo/ex and most 7 6 mm. cameras

"Impossible" distances actually become close-ups with
these world-famous Astro lenses, product of Germany's
foremost specialists in long-range optics. For the first
time, they are available nationally in a complete range
of focal lengths from 1 to 40 inches! Special Astro lens
formulas have resulted in unbelievably high resolving
power with amazing sharpness at all apertures. Speed is
another keynote of these giant lenses: Focal lengths from
200 to 800 mm. are rated at F/5— the spectacular 1000
mm. (40 in.) at F/6.3. Fully coated, of course.

Available in mounts to fit most 16 mm. movie cameras,
including BOLEX, MITCHELL, EYEMO, DEBRIE, ASKANIA,
E. K., ARRIFLEX etc. Also special purpose and trick lenses
of all types.

See your dealer or write for

complete details and prices.
Dept. AC-7

ERCONA CAMERA CORP. 527 Fifth Ave., New York 1 7, N. Y.

Astro telephoto lenses have
been used by the world's
foremost explorers, scien-
tists, naturalists and news
services, and were widely
employed by military forces
during the last war.

•
Also available with adap-
tors for dual use with the
following still cameras:
IEICA, CONTAXS. EXACTA,
PRIMAR-REFLEX. MASTER
REFLEX, HASSEIBIAD

•
ASTRO SUPER-SPEED TELE-
PHOTO LENSES NOW AVAIL-
ABLE.

5 in. F/2.3 • 6 in. F/2.3.

6 in. F/1.8

IP *■,■■■::■■:■■"■■■

KDDACHROME COLOR or BLACK & WHITE_

Protect your valuable originals from projector
damage and wear, run duplicate prints.
Duplicate prints make wonderful gifts.

8mm or 16mm. .. Duplicates 1 1 c per ft.

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Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

Now! A 400 ft. Magazine for
Your BOLEX Camera ■

Permitting continuous run of 400 feet
16 mm. film. Complete as shown, in-
cluding motor and heavy duty fibre
case. Magazine in black crinkle to
match the camera.

200 ft. daylight loading spool can be
used in the magazine. The 100 ft. day-
light loading spool can be used in the
camera without removing the external
magazine.

See your dealer or write for

complete descriptive literature.

Address department "C".

TOLEDO CINE ENGINEERING

1309 Milburn Ave. Toledo 6, Ohio

104

APRIL 1953

for the streets teem with life. Here the
wide angle lens will be most valuable,
since many of the churches and bell
towers are high, while the streets and
squares from which you must shoot are
usually narrow and cramped. In Siena
especially you will bless those rubber-
soled walking shoes, as you tramp
steeply up and down the slippery, cob-
bled alleys.

Turn northward now to visit Florence,
where you should allow at least five
days. For Florence is not easy to photo-
graph. Once more you are confronted
by soaring towers above dark, narrow
streets, and it may take several hours
of experimentation before you can find

effective camera positions. It also is in-
teresting to photograph certain subjects
at varying times of day, under varying
light conditions.

VENICE, THE DREAM CITY

From Florence, proceed to Venice,
the dream city of all movie makers.
Florence is actually somewhat grim and
austere. Contrastingly, Venice, with its
light, its brilliant coloring and its gay
life, is radiant. Leave the car in the
Autorimessa, a huge, modernistic ga-
rage on the edge of town, and reach
your hotel by gondola. The latter is a
most romantic mode of transportation,
but it is also an expensive one. Nor can

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EQUIPMENT FOR SALE

| BASS . . ■ Chicago. Cinema headquarters for 43
years offers money saving buys in guaranteed used
equipment. 16mm. Zoomar complete, "C" mt. and
Cine Special with close-up attach. List 81650.00;
price 8750.00. Pan Cinor 20mm. to 60mm. for Bolex
or adaptable to B&H 70DA, list $447.50; price
8325.00. Cine Special I, single sprocket, 1" //1.9,
15mm. //2.7 W.A., 8395.00. B&H 70DA, 1", //1.5
Wollensak, 15mm. //2.7 E.K. w. a.. 3" f/i B&H
Telate Comb, case, 8247.50. Bolex H-16, 1" //1.4
Biotar, 2" //3.5 Cooke, 3" //2.5 Wollensak, $325.00.
8mm. Revere 99 Turret, f/2.B B&L lens, 852.50.
BASS SPECIAL: Brand new Revere Mod. 55, case,
list 873.50; net, 852.50. Best buys . . . Best trades
always. BASS CAMERA CO., Dept. CC, 179 W.
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sharp pictures be made from the gently
swaying craft. So put on those rubber-
soled shoes once more, and walk
through Venice for your filming. For,
believe it or not, the entire city can be
traversed on foot through a veritable
warren of alleys and small bridges over
the ever-present canals. Be sure to have
a good city-street map here. Without it,
you are all too likely to become hope-
lessly lost.

A week is hardly sufficient to cover
Venice. To me it is the most glamor-
ous, the most photogenic of European
cities. Here you live in a city of the
past, although it is a lively, crowded
metropolis. I know of nothing more
pleasurable than to spend an hour or
two at Florian's or any of the other
outdoor cafes bordering the Piazza San
Marco. Here, sipping a cool beverage,
you behold an ever-changing spectacle:
the crowds, the pigeons and the shim-
mering light playing over the fairy-like
facade of the cathedral. Here is a spot
where highly effective sequences can be
shot with a minimum of effort.

From Venice, it is a relatively short
hop over flat country to Verona, another
interesting old city. Here are the Roman
amphitheatre, the busy Piazza del Erbe
(the market place), the tomb of the
Scaligars, the house of Juliet, and,
above all, the old castle and bridge.
Perfect specimens of medieval fortifica-
tion, their red brick walls and turrets
make fine color subjects against the
blue Italian sky.

SWITCH TO SWITZERLAND

By the end of June or the first week
in July, Italy becomes increasingly hot
and also increasingly overrun by large,
conducted groups of tourists. So now I
suggest that you head northward to
Switzerland. This tiny country is di-
vided into sections: the southern or
Italian region; the eastern or Austrian-
Tyrolean; the central and northern
German region, and the western part,
which is French in speech, customs and
culture. A visit to each of these areas
is a must, if you wish to present a
complete picture of the country.

So, as representative of each section,
I propose a visit to Canton Ticino, with
its semi-tropical resorts and its inter-
esting ghost towns. Next, to the Val
D'Herens, not far from Zermatt and
the Matterhorn. For this wild little
valley has so far escaped commercial
tourism. It is the one valley in Switzer-
land where the natives wear traditional
peasant costume as daily garb. From
here, go to Pontresina, in the eastern
part of the country. Here again you
will find characteristic Engadine-type
houses, beautiful meadows and pas-
tures in the shadow of snow-capped
peaks. And last, you should not miss a
stay in the environs of Interlaken, in
the heart of German Switzerland, the
Bernese Oberland.

MOVIE MAKERS

105

CloseupS— What filmers are doing

Time was, when the 8mm. filming sys-
tem first started, that every movie
maker in this new medium went around
with a defiant look on his face and a
chip of inferiority-complex on his shoul-
der. Brother turned against brother,
movie clubs split down the middle on
the 8-16 line, and the pleasant commu-
nity of interest in our chosen hobby was
almost rent asunder. Today that fool-
ish and unfounded feeling seems large-
ly to have vanished. But if wisps of it
still linger in the "breasts of a few film-
ing brothers, we invite them to consider
the case of Herbert D. Shumway — an
8mm. ACL worker of Greenfield, Mass.

His name first came to our attention
in the 1951 Ten Best contest, when
Nature Campers, a pleasant (but over-
footed) film by Mr. S., won an Honor-
able Mention. No laurel-rester he,
Shummy bounced back in 1952 with a
shorter (and better) nature film called
Backyard Birding, to knock off an in-
disputable Ten Best. Furthermore, be-
tween those two accomplishments he
had written (with clarity) and photo-
illustrated (with skill) two bipartite
articles — Let's Make a Nature Movie,
which appeared last year in March and
April, and Do Your Oivn Developing,
which followed in October and Novem-
ber.

All of which is by way of giving you
some idea of the man's verve and ver-
satility. And, if these arguments are
not enough, we can cite further evidence
in this issue. On page 94 you will find
his Bird Filming for Beginners (again
with his own illustrations) , while on this
page you will find him represented by
Winter on the Farm. This comely com-
position won Mr. Shumway second
place in a nation-wide contest for color
transparencies, the satisfying sum of
$250 in cash, with another two-fifty go-
ing to his Franklin County Camera
Club, ACL. Not a bad haul for an
hour's work on a winter afternoon —
even though (says Shummy) the wind-
lashed air was subzero in temperature.

The contest, to wrap this up, was con-

WINTER ON THE FARM, a pleasing picture
even in black and white, won Herbert Shum-
way, ACL, of Greenfield, Mass., a $250 award
in color slide contest run by a calendar maker.

ducted by The Osborne Company, of
Clifton, N.J., producers (among other
things) of calendars and such. Mr. S's
4 by 5 Kodachrome entry won out over
more than 3000 others in the competi-
tion's first year. Our sympathies are
heartfelt for the judges in the years
ahead.

Some guys have all the luck! As if he
didn't have enough fun last summer
filming the fifth annual Rochester Race
(a Great Lakes point-to-pointer) on the
winning yawl Escapade, Walter Chap-
pelle, ACL, is even now cruising the
west coast of South America in a four-
boat flotilla for a duration of three
months. And the most galling part of it
all is that he was practically ordered
to do so!

Mr. Chappelle, when not wasting his
(and the company's) time on such friv-
olous expeditions, is an executive in-
structor in the sales-training courses run
by Eastman Kodak at Rochester. How
he maneuvered his way from that post
into this plushy assignment might well
be a matter for a McCarthy investiga-
tion; but the fact remains that he has
been burdened down with 11,000 feet
of 16mm. Kodachrome — 'and officially
charged with shooting it!

To put the best possible face on this
affair, the junket is known as the South
American Scientific Expedition, it is
sponsored by Yale University, and its
members allegedly seek information
about the Humboldt Current and such
other nonsense as "the cover content
of the (sea) water and chlorophyll of
plants." But as you— and Mr. C. — well
know, Humboldt waters are famed pri-
marily as one of the world's finest sites
for big game fishing . . . Ah, well, good
shooting, Walter!

And now here's another fella who's
combining his filming and fun. Charles
H. Coles, APSA, who has been shooting
movies in various parts of the world
for over twenty years, will lead a small
group of photo enthusiasts on a three
week trip to Europe this summer, pro-
viding them not only with expert film-
ing counsel but, uncommonly, plenty of
leisure time to put it into practice.

Formerly chief photographer for the
American Museum of Natural History,
in New York City, and with years of
teaching experience, Mr. Coles strikes
us as being exactly the man for the
job. Before, and probably after, em-
barking on this expedition. Mr. C. signs
himself these days as technical director
for the De-Jur Amsco Corporation.

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106

APRIL 1953

Chicago show For the first time in
its long history, the
Chicago Cinema Club, ACL, will spon-
sor this year a cine show open to the
public by paid admission. Present plans
call for a two-night presentation — on
April 30 and again on May 9 — of a
program featuring Drums of the Congo,
by Carl Buck, ACL, and The Valley
of Forgotten People, a study of the
Navajo Indians by Clarence Koch,
ACL. The show will be staged at the
club's theatre in the Civic Opera Build-
ing, 20 North Wacker Drive, in down-
town Chicago.

Further information and tickets,
which are priced at $1.00, may be ob-
tained on application to Mr. Koch, at
1218 North Kedzie, Chicago, 111.

N. Y. Eights The New York City
8mm. Motion Picture
Club's annual gala night, which will be
held on April 10 at the Hotel Statler,
will feature Backyard Birding, a 1952
Ten Best film by Herbert Shumway,
ACL, and Mountain Playground, a 1952
Honorable Mention film by L. G. Darby.
Also on the program will be The Boy
Next Door, by Beverly Seibert; Magic
Medicine, by the Los Angeles 8mm.
Club, ACL; Pierre and Priscilla, by
Mr. and Mrs. Silas J. Lawler, and Liv-
ing Dust, by George A. Valentine.
Tickets are $1.50 and may be pur-
chased at the door. Be sure to attend
this outstanding film evening!

Milwaukee gala The Amateur

Movie Society of
Milwaukee, ACL, will present its an-
nual Gala Program on April 17 at the
Shorewood auditorium in that city.
Tickets are priced at $.60, including
tax, and may be purchased at the box
office on the evening of the show.

Among the outstanding films that will
be shown are Duck Soup, by Delores
and Timothy Lawler, ACL, the Maxim
Award winner for 1952; A Photographic
Spree, by Erma Niedermeyer, ACL,
first prize winner in the club's own 1952
contest; Ice Revue 1952, by Ervin
Lorence, ACL, second prize winner;
Bermuda Cruise, by Dr. Arthur Hank-
witz, ACL, third prize, and In Fancy
Free, the 1951 Maxim Award film, by
Glen H. Turner, ACL.

N. California The six top films in
the Filming for Fun
contest sponsored by the Northern Cali-
fornia Council of Amateur Movie
Clubs, ACL, were Just Foolin' Around,

by Gordon Robertson; Sierra Summer,
by Othel Goff, ACL; Yellowstone, by
Milton Daley, ACL; A Problem in Divi-
sion, by Donovan M. Smith, ACL;
Really No Time, by I. J. Honeychurch,
and Worlds Apart, also by Mr. Smith.
Honorable mentions were awarded to
Picnic Daze, by Robert Cicconnetti;
Chronicle Balloon Parade, by Jesse W.
Haddock, and Dissolves, by Betty Ste-
fenel, ACL. The six top films will be
viewed by the individual clubs which
make up the Council and voting by
each club will determine the grand
prize winner of the six. Good luck to
all!

TTB in Midwest The Midwest

premiere of ACL's
new Top of the Ten Best program will
be presented in Chicago on Sunday
evening, May 3, at a joint screening
sponsored by the League and the city's
Associated Amateur Cinema Clubs.
There will be no charge for this out-

standing film presentation, which is
open to the movie-making public.

The screening, which will be the
climax of a day-long convention of the
AACC member groups and their mem-
bers, will take place at the Hamilton
Park Fieldhouse, 72nd Street and Nor-
mal Boulevard. James W. Moore, ACL,
the League's managing director, will be
present in person to introduce The Top
of the Ten Best program to this large
Midwestern audience.

Brooklyn gala Tne fourteenth an-
nual 16mm. gala
show of the Brooklyn Amateur Cine
Club, ACL, will be held on April 17 at
the St. Felix Street Theatre in down-
town Brooklyn. Among the films sched-
uled to be shown are Duck Soup, the
Maxim Award winner for 1952 by
Delores and Timothy Lawler, ACL;
Muntre Streker, by Mathis Kverne,
selected as one of the Ten Best films
of 1952, and Birds of Washington, by

Where to see

THE TOP OF THE TEN BEST

Date

Sponsor

Tickets and Information

April 17

Los Angeles 8mm. Club

Kenneth W. Ayers
5750 West 74th Street
Los Angeles 45, Calif.

May 3

Associated Amateur Cinema Clubs,
Chicago, III.

Peter Bezek

122 West Kinzie Street

Chicago 10, III.

May 9

Big Lake (Texas) Cine Club

Dr. John L. Wright, jr.

Box 278

Big Lake, Texas

May 15

Golden Gate Cinematographers,
San Francisco, Calif.

A. Theo Roth

140 Paraiso Place

San Francisco 16, Calif.

May 22

Indianapolis Amateur Movie Club

Walter R. St. Clair
3542 Guilford Avenue
Indianapolis 5, Ind.

May 27

Kenosha Movie and Slide Club

Timothy Lawler
7420— 25th Avenue
Kenosha, Wise.

Where to see the

JUNIOR TOP OF THE TEN BEST

Date

Sponsor

Tickets and Information ■

April 14

Dayton Amateur Movie Makers Club

Kenneth J. Snelling
R.F.D. 5, Box 5-B
Dayton 4, Ohio

April 17

Brooklyn Amateur Cine Club

Eugene Adams
Room 1508- A
55 West 42nd Street
New York 36, N. Y.

April 22

Tulsa Amateur Movie Club

Lt. Col. William Hornsey
221 East Jasper
Tulsa, Okla.

MOVIE MAKERS

107

AWARD WINNERS in the annual contest of
the San Jose (Calif.) Movie Club, ACL, are (I.
to r.) Earl Brisbin, third; Betty Stefenel,
ACL, second, and Robert Cicconetti, first.

Ralph E. Lawrence, ACL, and J. Don-
ald Sutherland, ACL. These three films
comprise the shorter version of The Top
of the Ten Best, ACL's new feature
program.

Also to be screened are Nature's
Realm, the 1952 Fox Museum Award
film, by George Angel, ACL, and A
Philadelphia Story, by Samuel Fass,
ACL. Tickets are priced at $1.00 and
may be obtained from Eugene Adams.
Room 1508A, 55 West 42nd Street, New
York 36, N. Y., or at the door on the
evening of the show.

Kenosha banquet Tne Kenosha

(Wise.) Movie
and Slide Club, ACL, held its annual
banquet on February 11 at the Grace
Lutheran Church in Kenosha.

On the entertainment side of the eve-
ning were screenings of Life Along the
Waterways, by Roy C. Wilcox, ACL,
winner of first prize at both the Venice
and Cannes Film Festivals last year,
and Chicago Railroad Fair, by Don
Barber, ACL, of the Metro Movie Club
of River Park, ACL, in Chicago. Ar-
rangements for the banquet were han-
dled by Timothy Lawler, jr., ACL.

Schenectady The Schenectady
(N.Y.) Photographic
Society, ACL, was host last month to
the Albany Motion Picture Society.
ACL, whose members put on a special
show. Among the films shown were Only
an Irishman's Dream, by Madeline
Lemperle, ACL; West Indian Odyssey,
by Rose and Mary Robilatto, ACL;
Journey into Spring and A Letter from
Bermuda, both by Helen C. Welsh,
ACL; Dutch Interlude, by Esther
Cooke, ACL, and Vacation Days, by
Mrs. John Flanigan, ACL.

Later this month the Schenectady
club will take a special program of
their films to Albany in a form of recip-
rocal trade agreement.

Miami The Miami Movie Makers
Club, ACL, opened the new
year very gadget-minded, with demon-
strations by George Merz, ACL, of a
new tripod head he had designed and
sundry other gadgets thought up in odd

moments of necessity. On the film side
of the evening, held under the direc-
tion of George Mesaros, FACL, were
The Boss Comes to Dinner, by Ryne
Zimmerman, a 1944 Ten Bester, and
Magic Mush, by Eric Unmack, winner
of an ACL Honorable Mention in 1941.

Oklahoma Winners of the 1952
club film contest of the
Movie Makers Club, ACL, of Okla-
homa City, were Eskimo Life, by Major
Harry Reynolds, first in the 16mm.
class; Leopard City, by Mrs. Thelma
Glomset, ACL, second, and Kay, by
R. C. Hardcastle, ACL, third. Dear
Cousin, by Mrs. Lucille Kiester, ACL.
placed first among the 8mm. films, with
Southwestern Scenes, by Clifton Gall,
second.

Bird fil

ming

[Continued from page 95]

bushes. For a bird with a bill full of
insects is one that has tiny mouths
hidden away somewhere waiting to be
fed. Just watch where the parent bird
goes, and more times than not she will
reveal their hiding place.

INVITE AID FROM FRIENDS

Another method that turns up many
a nest is that of asking friends, relatives
and neighbors to tell you of any nests
that they may find. It's surprising how
many people will notice quite by acci-
dent a bird nesting about their yard.
Soon the reports will start rolling in.
Uncle Joe phones that he has just seen
a robin nesting in that vine climbing
his back porch trellis. The neighbor
next door comes over to say that there
is a blue jay building a nest in his
lilac bush. Maybe even one of the boys
with whom you work may have noticed
a pretty bluebird rearing a family in
an old apple tree behind his house.

However you may find a nesting site,
the next thing is to swing your camera
into action. But take it easily at first.
Study the situation to determine just
what would be the best way to film that
particular bird family.

BLIND vs. REMOTE CONTROL
There are two good methods of film-
ing birds at their nests. One is to build
a blind which will conceal both you and
your camera within close filming dis-
tance of the site. The other is to set the
camera on a tripod near the nest and
then operate the camera from a distance
by remote control. Both methods have
their advantages and disadvantages. On
some occasions one system may be far
superior to the other. It all depends
on where the nest is situated.

For example, yellow warblers fre-
quently nest in willow bushes eight,
ten or twelve feet above the ground —
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108

APRIL 1953

swampy. To build a blind here at this
height that would be strong enough to
support you would be quite an under-
taking, whereas it's easy to mount a
remote-controlled camera in such a lo-
cation. Usually clamping the camera
to a high stepladder or to an impro-
vised tripod made of long poles will
hold it effectively in position to film
warblers at their nest. Often, for those
birds nesting in more rigid trees, it
even is possible to attach the camera
to a branch of the tree with a clamp-
on bracket.

On the other hand, sometimes a blind
proves more convenient for filming such
birds as meadowlarks, towhees and kill-
deers that nest directly on the ground.
Here one may be constructed by fasten-
ing burlap tightly to poles driven into
the ground. Peep holes cut in the bur-
lap sides allow the operator to film
nesting action just as he sees it with-
out being seen by the bird. Sucha blind
often must be built at some distance
from the nest several days in advance
of its use. Then, day by day, it is moved
closer to the nest until the bird has
become accustomed to it.

OBSERVE BIRD HABITS
Whichever method you choose, by all
means watch the birds for some time
before setting up either a remote-con-
trolled camera or a blind. Birds, like
many people, seem to live according to
fixed habits. It's not at all uncommon
for a bird to have a favorite branch
or edge of the nest on which to stand
while feeding its young. Often at the
same nest the female will have her own
perch, while the male will have a dif-
ferent spot as his favorite. By watching
for these preferences, the best camera
position can be determined.

REMOTE CONTROL TECHNIQUES

In fact, for a remote-controlled cam-
era such forehanded study is impera-
tive. Filming birds by remote control
demands a specialized technique. You
first focus the camera on a predeter-
mined spot at which the bird is likely
to perch. Then make a mental note of
the area to be filmed by the camera so
that, from a distance, it may readily be
determined just when the bird is in the
proper position for filming. Often dis-
tinguishing twigs, leaves or branches
are useful guides for outlining the area
to be filmed. In other cases bits of
white adhesive tape stuck to tree
branches can be used to outline the field
of view. Of course, they must be placed
just outside the edges of the area to be
filmed so that they will not show in the
picture. Finally, since remote-controlled
cameras often must be operated at dis-
tances of 50 to 100 feet from the cam-
era, a pair of binoculars will be most
useful for observing the bird as it
moves into the area covered by the
camera lens. With binoculars every

movement can be seen and the best
action selected for filming.

LONG SHOT TO CLOSEUP

Good bird-filming technique, either
by remote control or from a blind, calls
for a few long shots and medium shots
of the bird amid its surroundings to
show the locale of the nest. Then move
in with the telephoto lens for closeups
of the bird itself. Small song birds will
fill a movie screen when filmed with a
3x lens 5 to 8 feet from the bird. At
the same distance, switch to a 6x lens
and you will obtain superb head-and-
shoulder shots — so close and so screen-
filling that you will actually see the
bird breathing in your movies.

Such closeup filming requires accu-
rate focusing. Measure the camera-to-
nest distance with a steel tape. Never
guess the distance. Bird filming also
requires time, patience and often luck;
so don't ruin those potentially fine shots
with a fuzzy focus caused by misjudging
the distance.

TAKE CARE TO CONSERVE
Bird filming requires, too, that con-
sideration be given for the welfare of
the bird family. Never break away
branches from a tree-shaded nest or
mat down the grass about a ground nest
to simplify shooting a picture. Rather,
tie back the branches with string and
carefully part the grasses by hand so
that both may be returned to their
natural positions after the filming ses-
sion. Wanton destruction of nest cover
leaves the young wide open for destruc-
tion by predators, while prolonged ex-
posure to brilliant sunlight will kill
both eggs and young. For this reason
' it's better to film on slightly overcast
days — conditions described as hazy-sun
or cloudy-bright in the exposure guides
that accompany color film. Fortunately,
too, such cloudy-bright lighting pro-
duces softer, shadowless color for your
films.

Audience interest in your bird films
will be heightened if you vary your
viewpoints. Move the camera about
between shots to secure full coverage of
the subject. And pack in plenty of
closeups! They are the backbone of
top-quality bird movies. Film action.
Catch the parents as they alight at the
nest. Cut to an ultra closeup of the
young with their mouths gaping wide.
Film another closeup as the parent
pushes insects down their gullets.
Watch for that humorous action that
occurs in every respectable bird family
— laughable episodes such as the worm
that's too big to slide down the little
one's throat. Try, too, for a shot of the
proud parent as it painstakingly tries
to push an insect down one throat after
another, seemingly despairing of ever
finding a mouth big enough to accept
it. Finally, film the climax of bird
family life as the youngsters flutter

their wings, feebly at first, and then
fly from their nest.

Bird filming is indeed an absorbing
pastime. Combining as it does the sur-
prises of bird study with the fun of
movie making, it offers unlimited oppor-
tunities . for pleasure to every outdoor-
minded movie maker.

Come to Coronation!

[Continued from page 96]

Now, most unfortunately, the facade of
the palace is rather plain ; and, to make
matters worse, it faces almost northeast
up The Mall. Thus, it is only restively
early in the day that it is well lit, and
then, of course, largely cross-lit. Riding
in the historic State Coach (an equip-
age which will seem, I am sure, as close
to fairyland as most of us will ever
get), the Queen will proceed from the
palace along The Mall, under the great
Admiralty Arch (B), across the south-
ern side of Trafalgar Square (where
Nelson's Column is the principal fea-
ture) , and into Northumberland Avenue
towards the River Thames.

Here there is a sharp turn to the
right along the Victoria Embankment,
a beautifully wide road which follows
the river wall until the Houses of Par-
liament are reached, where there is an-
other sharp right turn along Bridge
Street. (This street is only a short one.
and yet it is the principal approach
to Westminster Bridge ) . Then there is
a left, a right and another left turn
round the eastern and southern sides of
Parliament Square, until the great West
Door of the Abbey is reached.

You will, naturally, not be able to
shoot in the Abbey, but it may be pos-
sible to obtain later film library mate-
rial with which to supplement your own
personal record. The ceremony of
crowning is a very sacred one and there
has been much controversy about tele-
vising and filming it. While some of the
earlier restrictions have been lifted,
certain parts of the ceremony will be
still essentially private.

When the ceremonies are over, the
newly crowned monarch will drive back
to Buckingham Palace by a much
longer route. From the Abbey the
coaches, mounted Guards and march-
ing contingents will go round the op-
posite side of Parliament Square and
then up Whitehall towards Trafalgar
Square. Whitehall runs almost due
north and south, as you will see by re-
ferring to the map. Swinging round the
southern side of Trafalgar Square
again, the route takes more than a
left handed turn to go down Pall Mall
in a southwesterly direction roughly
parallel to The Mall, until St. James's
Palace (C), is reached. A sharp right
turn here up the slope of St. James's
Street, followed by a sharp left turn
brings us into Piccadilly. On the

MOVIE MAKERS

109

northern side of this world famous
thoroughfare are club and hotel build-
ings, while the southern side, where
large numbers of stands are being built,
is open to the trees and greenery of
St. James's Park.

Passing the end of Park Lane, the
Royal procession will make a right
angled turn through the arched gate-
ways (D) into Hyde Park at Hyde Park
Corner. Running roughly parallel with
Park Lane, the route through the park
itself is slightly uphill and along the
East Carriage Drive. Through the
Marble Arch (E) another right angled
turn brings us into Oxford Street,
which runs roughly east and west. This
street is lined with shops and build-
ings on both sides; but as the sun
should be fairly high and there are
a number of cross streets running into
Oxford Street, the lighting is fairly
good over most of its length. Where
Oxford crosses Regent Street, the
junction (F) is known as Oxford Circus,
and it is at this point that yet another
right turn is made down into Regent
Street towards Piccadilly Circus. Re-
gent Street runs slightly east of north
and south until it curves around at
the lower end into the Circus. Here
on the map the statue of Eros (G) is
indicated.

Out of Piccadilly Circus the proces-
sion will wind its way down the slope
of Haymarket to Trafalgar Square and
turn back into The Mall, again under
the Admiralty Arch, and so return to
Buckingham Palace. On the map, in
front of the Palace, the circle with a
dot in the center is the Victoria Me-
morial surmounted by its winged figure.
By the time the procession returns
from its long journey of more than five
miles, it is more than likely that the
sun will be off the front of the Palace.
This is a great pity because there is
always the chance that the Royal
Family, after their return home, will
come out onto the balcony over the
main arch in the central part of the
Palace facade.

Coronation Year is also the centenary
of the Royal Photographic Society. If,
photographically, you are in need of
help, may I suggest that you get in
touch with the Secretary of the Society,
L. E. Hallett, Esq., who will, I am sure,
be delighted to do anything that he can.
The Society's House at 16 Prince's
Gate, South Kensington, London, S.W.
7, is also well worth a visit. It is next
door but one to the London home of
your own ambassador. You also will
find the British Travel and Holidays
Association, at 61-65 St. James's Street
(on the procession route near C on my
map), most willing to be of help in
matters of accommodations, trips, etc.

Another place which is a particular
American rendezvous is the American
Express Company at 6 Haymarket,

London, S.W. 1. This also is on the
royal route between Piccadilly Circus
and Trafalgar Square. The head office
of the Kodak organization in England
is on Kingsway, London, W.C. 2, which
lies to the east of Trafalgar Square,
while the London showrooms of the
British Ilford company is on Holborn,
a little way north of Kodak. At either
place you will be able to get help on
photographic matters. However, I would
still advise you to bring with you your
minimum estimated requirements of
movie film, especially in color. And in
this connection, declare it openly to
the Customs authorities, together with
all your apparatus. You will not find
them uncooperative if you treat them
sensibly.

Finally, may I hope that your pro-
spective visit will be a happy one; that
you will return home with an even bet-
ter film than you had ever expected —
and that the sun will shine for all of
us!

Narrative techniques

[Continued from page 97]

just-right narrators for their films.

Also it is good to engage a co-worker
to sit next to the narrator to give him
his cues. For, if the narrator is watch-
ing the screen, there will be a time lag
between the instant the cue flashes, his
recognition of it, and the moment he
utters the first word. But with an as-
sistant watching the film and swiftly
prompting the narrator with a tap on
his arm, tension subsides, timing im-
proves and there is less chance for
error.

The need for proper rehearsal can-
not be stressed too strongly. Neither
can the suggestion to divide up your
film into relatively short segments for
recording. Don't run off a 1600 foot
reel and attempt a full three-quarters of
an hour recording session. Professional
studios rarely do such a thing; so why
should an amateur?

There are now certain procedures I
can recommend for handling a micro-
phone. But before we review these,
permit a word of advice concerning the
placement of the mike itself. It should
be isolated from the projector and any
other noise-producing sources whose
sounds would be reconstituted on the
recording. To get away from these
noises, most of us will be persuaded
to move a considerable distance from
the projector. But if you are using the
projector's amplifier to record with, the
ordinary crystal or high impedance
type microphones supplied with such
machines will not be adequate. They
just won't give quality reproduction
when extended any real distance. A low
impedance mike coupled with an input
transformer, preferably of the cable
variety, is required. Microphones differ
considerably in price, but the trans-

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110

APRIL 1953

BACKYARD BOUNTY

RECURRENTLY, over the years, the plaint comes
to our ears that the really big prizes in amateur
movie competition — say on the Ten Best and
Maxim Award levels — go invariably to elaborate
productions made in far-off places on inevitably
glamorous subjects. But for the stay-at-home filmer,
our unhappy harpist concludes, the chances for glory
are singularly slim — perhaps (he hints darkly), non-
existent.

This is an interesting charge, and, at first glance,
even seemingly reasonable. For the grass, as the saying
goes, is always greener in the other fellow's yard.
But unfortunately for these slightly malcontent
movie makers the recorded facts do not bear them
out. Take, for example, a look at ACL's own selec-
tion of award winners now being featured in our
Top of the Ten Best program . . .

In their order of presentation, these pictures are
The Man With The Box, a simple but psychologically
tense little film story made in the environs of
"Worcester, Mass.; Poet and Peasant, a technically
intriguing musical tour de force produced wholly
within the confines of a Toledo, Ohio, living room;

Birds of Washington, an outstanding nature study
filmed by a pair of Washingtonians in and around
our country's capital; Muntre Streker, a delightful
cartoon comedy made (we would guess) in the
artist's studio; Bulbs and Beauty, a glamorous record
of the gladiolus produced in and around Momence
(ever hear of it?) 111., and Duck. Soup, a rollicking
saga of family life filmed, of course, in the heart
of the family.

In other words, here are six outstanding amateur
pictures — five of them in the Ten Best class — and
every last one of them is a product of backyard
bounty. And so, by the way, were the five other
award winners which we could not include in the
Top of the Ten Best program.

The moral should be obvious. Fine movies are
made with an observant eye,, a creative mind and
a responsive heart. They are not the product of
geography. Our advice to aspiring and unhappy
filmers is to take their eyes off those far horizons —
and get out among their fellows. Momence, when
you really look at it, may be every bit as glamorous
as Mexico.

THE AMATEUR CINEMA LEAGUE, INC.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresidenl

Walter Bergmqnn, Treasurer
Arthur H. Elliott
Fred Evans
John V. Hansen

James W. Moore, Managing Director
George Merz
Stephen F. Voorhees
Roy C. Wilcox

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE.. NEW YORK 17, N. Y.. U. S. A.

formers cost about ten dollars.

I would advise those contemplating
or already using the Bell & Howell 202
projector to consider seriously the pur-
chase of the "Slim Aire" microphone, a
more expensive but much more versatile
instrument than is offered by B&H for
use with their machines. The Slim Aire
is a dynamic type mike, with provision
for both high and low impedance output
by merely changing the cord plug in-
ternally.

There are four basic types of micro-
phone in common use today. They are
the condenser, the dynamic, the crystal,
and the ribbon. It isn't necessary to go
into the technical aspects of these in-
struments to discover why you would
talk across rather than directly into
the face of a dynamic microphone to
reduce sibilance. Talking across the
front of a condenser or crystal mike
produces less effective results on sib-
ilance. And such positioning has no
effect whatever on the ribbon mike. The
best control of sibilance with the latter
three microphones is achieved by mani-
pulating the tone control, or bass and

treble controls if both are fixtures. Slim
the highs, or treble, and favor the lows,
or bass.

Any initial effort with a microphone
may produce popping. This is caused
by the pronunciation of letters such as
P and B with the lips too near the mike.
The remedy is obvious ; move back from
it. A mike-to-mouth distance of about

TOO CLOSE and too cluttered is this record-
ing setup, with narrative sheets in disorder
and the mike so close it will create popping.

12 inches is a good standard. Or, if it
is "psychologically comfortable" to be
near the mike, talk across it instead
of into it.

Unless you have an off-and-on switch
convenient to the narrator, his mike will
be "live" all the time he is recording.
For this reason one must be careful not
to clear his throat near the mike. Clear-
ing the throat is a perfectly human
thing to do. But you brand yourself as
a rank amateur, with emphasis on the
rank, if audible throat clearings are
present on your tape or stripe.

Another caution I would give you is
this: Avoid rustling papers by the mike.
If it is difficult for you to turn over a
page when it has been read, slide that
page right off the table to the floor.
Noises from your arms, hands and legs
striking the table or mike can be picked
up and recorded, too. So seat the micro-
phone on sponge rubber, heavy felt or
some similar absorbent material. This
will decrease the mike's sensitivity to
sound shocks.

Now, seat yourself comfortably, and
begin.

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I

—

417447

MAY

1953

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■■:■■:■■■ ■:■■■ ■■:.■■■■ ■

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SYNCHRONIZING TAPE • A SURVEY OF STEREO • FILMING CONVENTIONS

THE ACL PRESENTS

'THE TOP OF THE TEN BEST

JJ

FOR THE FIRST TIME, The Amateur Cinema League
is proud to offer to movie clubs and amateur filmers everywhere
a perfectly balanced program — 1 hour and 26 minutes long —
selected from award-winning films of the past year. "The Top of
the Ten Best" is a unique cross section of amateur filming at its
finest. Packaged on two reels, it presents an unparalleled variety
of subject matter, treatment and theme. The entire production is
accompanied by the original scores, re-recorded for absolute
synchrony through the magic of magnetic sound on film. "The Top
of the Ten Best" is a complete program — ready to roll!

MOVIE CLUBS can present this six-star ACL show at
regular meetings, annual dinners or at Gala Nights — to raise money
and to win new members. And your top club films may always be
added to round out the local program.

INDIVIDUAL FILMERS can screen "The Top of the
Ten Best" for study and inspiration, to learn what it takes to make
better movies, to entertain friends and family.

THE PROGRAM

The Man With the Box, an outstanding psychological thriller in black and
white by James L. Watson, ACL. "Superlative melodrama . . . suspense-filled
excitement . . . terrifying conclusion." 11 mins.

Poet and Peasant, a musical novelty by Robert G. Williams, ACL. "A technical
tour de force . . . perfect synchrony of music to pictures . . . stumped most
professionals." 6 mins.

Birds of Washington, a nature study by J. Don Sutherland, ACL, and Ralph E.
Lawrence, ACL. "Highly competent pictorial survey of bird life . . . Informative
. . . outstanding." Excerpted especially for ACL: 24 mins.

Muntee Streker, an animated cartoon novelty by Mathis Kverne, of Oslo,
Norway. "Delightful tidbit . . . flawless animation . . . sparkling film fantasy."
4 mins.

INTERMISSION

Bulbs and Beauty, a documentary record of the beautiful gladiolus by Haven
Trecker, ACL. "Painstaking . . . profusely close-upped sequences . . . colorful
and elaborate." Excerpted especially for ACL: 20 mins.

Duck Soup, a family film by Delores and Timothy Lawler, ACL, winner of the
Hiram Percy Maxim Memorial Award for 1952. "A rollicking, rambunctious
household saga . . . well planned, crisply executed." 21 mins.

BE SURE TO SCREEN "THE TOP OF THE TEN BEST"
Clip and Mail the Coupon, Today!

AMATEUR CINEMA LEAGUE, Inc.

420 Lexington Avenue, New York 17, N. Y.

5-53

Please send me complete information and rates for screening "THE TOP OF
THE TEN BEST" on__ .

NAME.

(date)

1
_ CLUB □ INDIVIDUAL FILMER □ I

ADDRESS^

CITY.

#

.ZONE.

-STATE-

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THE EUMIG 88

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The Eumig's Magic Eye and Brain are the
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The reader writes

Closeups

"This sceptred isle . . .'

May
1953

113

What filmers are doing 121
G. H. Hesketh, ARPS 122

Stereo movies— novelty or nonpareil? Jack E. deck, ACL 124
World premiere in Washington! Harrison F. Houghton, ACL 125

Paris— in a pair of days
Try synchro-tach
Conventions ... in the can
Film the family at fun
News of the industry
New ACL members
Clubs
The third D

David D. Bulkley, ACL 1 26

Herbert H. Reech, ACL 128

Morfon L. Kaganowich 1 29

Dorothy M. Peper 130

Reports on products 131

135

People, plans and programs 136

Editorial 138

Cover photograph from French Government Tourist Office

JAMES W. MOORE
Editor

PETER D. DIBBLE
Cfubs Editor

ANNE YOUNG
Advertising & Production

Vol. 28; No. 5. Published monthly in. New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to; members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copied 35# (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, Augujst 3, 1927,
at the Post Office at New York, N. Y<, under act of March 3, 1879, Copyright,
1953?, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

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118

MAY 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

MOVIE MAKING TOUR

Dear Movie Makers: Last month's
article, Off the Beaten Track, suggested
that the traveling photographer avoid
an "ordinary tour." Knowing this to be
sound advice, I have designed a tour to
Italy this July with the special needs
of the movie maker in mind.

We shall be a small group, traveling
by chartered, de luxe motor coach and
stopping for every good shot along the
road. This time there are two other rea-
sons for traveling by bus: (1) lectures
and instruction in photography en route,
and (2) travel in congenial company
with people who share and can enrich
one's interest in photographic tech-
niques.

Charles H. Coles, APSA
Richmond Hill, N. Y.

No ordinary tour indeed is this camera-
minded caravan first announced by Mr.
Coles in April Movie Makers. As former
chief photographer of the American Mu-
seum of Natural History, in New York
City, Mr. C. is well equipped to lead
such a safari.

ENJOYABLE VISITS

Dear ACL: We have just returned from
a two month trip by air to South and
East Africa, as well as the Belgian
Congo, during which time we shot sev-
eral thousand feet of 16mm. Koda-
chrome.

As you know, I secured from ACL
headquarters before leaving the ad-
dresses of a few League members in
these parts of the world. Thus, I think
you will be interested to know that we
looked them up in Johannesburg, Cape
Town, Durban and Leopoldsville, where
in each instance we had most enjoyable
visits.

I certainly appreciate this oppor-
tunity which membership in the League
provides of making friends with movie
makers in other parts of the world.

Arthur M. Dewey, ACL
Willoughby, Ohio

FRATERNAL FEELING

Dear Sirs: One thing that has struck
me in reading Movie Makers has been
the unusual fraternal feeling that pre-
vails in the magazine. I am now no
longer surprised.

For when I wrote you that I had re-
ceived this year again a 16mm. ACL

leader instead of the 8mm., and that I
had received a 16mm. leader the year
before but (for reasons given) had not
returned it, the most I expected was to
receive one 8mm. replacement for this
year's 16.

But to my delight I find that you have
generously sent me two 8mm. replace-
ments. Now, since their receipt, I have
been hunting high and low for last
year's 16mm. leader, which I am deter-
mined shall be returned to you — come
hell or high waters! Many thanks for
the trust you reposed in me.

Eric S. Cohen, ACL
Johannesburg, South Africa

COLOR AT F/16

Dear Movie Makers: I hardly agree
with many of the folks, including FACL
Horovitz, about not using an //16 set-
ting for color. For instance, when we
made Southwestern Wonderland, we
found many scenes at Bryce Canyon
and in the desert areas that called for
//22!

We shot them at //16 and got simply
beautiful color, sky included. Further,
the U.S. Ranger photographers in these
areas agreed with us. Our friends, shoot-
ing the same stuff at //ll, were over-
exposed. ... I still say "Follow your
meter!"

Haven Trecker, ACL
Kankakee, 111.

FILMING FOLLIES

Dear Mr. Moore: I have just returned
from my annual trip to Boston to take
the seventeenth edition of Shipstad &
Johnson's Ice Follies. While there I
looked up skater Les Hamilton, ACL
(about whom you had a Closeups note
in February), and we sat up to 3:00
a.m. Sunday morning looking at his
16mm. color films on Puerto Rico and
Mexico. Both are well taken and I have
urged Les to enter them in the Ten Best
contest this year.

Being an ACL member sure promotes
good fellowship, for Les and I enjoyed
immensely comparing notes on our film-
ing methods.

Samuel R. Fass, ACL
Brooklyn, N. Y.

SAFETY OUTLETS

Dear Movie Makers: Douglas A. John-
ston, ACL, is correct in saying that the
installation of the Twist-Tite outlet in
one's home is somewhat simpler than
making the safety plug fitting which I
designed. (See Perfect Your Projection
Parties, November 1952— Ed.) But
where (as with the writer) one gives

several dozen public shows in the course
of a year, my little gimmick is a mighty
valuable adjunct.

It was, actually, at an auditorium
screening before several hundred people
that my power line was accidentally
pulled out of the receptacle. And my
brain child was born forthwith.

George Merz, ACL
Hollywood, Florida

ROOM FOR IMPROVEMENT

Dear ACL: We want to thank you very
much for sending us The Will and The
Way from the League's Club Film Li-
brary.

Our members are getting a great deal
from studying these pictures, especially
a consciousness that there is room for
improvement in their own filming. For
we use the League picture each meeting
as the climactic close of a program of
members' films.

R. C. Hardcastle, ACL
Program Chairman
Movie Makers Club, ACL
Oklahoma City, Okla.

PLEASURE AND IMPATIENCE

Dear ACL: Allow me to express my
congratulations on the excellence of
your magazine Movie Makers. It is
with pleasure and some impatience, I
must admit, that I look forward to its
arrival each month. My only criticism
would be that it is not big enough.

Robert F. Tucman, ACL
Major, Armor
2nd Armored Division
APO, New York City

WORLD-WIDE FRIENDS

Dear ACL: What a wonderful surprise
to receive your letter stating that I may
continue my membership in the League
through the generosity of one of your
members — who asks to be unnamed!

I shall think it an honor to be of help
to members of the ACL who visit our
city this summer. In this manner I hope
to aid ACL in continuing to be the great
"world-wide association of movie ama-
teurs," in which we find friends all over
the world!

Karel Van Rijsinge, ACL
Sinaasappelstraat 155
The Hague, Holland.

TTB-SRO

Dear Mr. Dibble: Well, our Top of the
Ten Best show is over — and it was a
complete success! Every seat in the au-
ditorium was taken, and we ransacked
the school rooms for extra chairs. I'm
sure that there were well over 350
people present. And, needless to say.
Duck Soup stole the show!

As you know, we charged no admis-
sion this year. Since most people around
here think of amateur movies as a
hodgepodge of most anything, we fig-
ured that very few of them would pay
to see such a program. So the club bore

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120

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MAY 1953

the entire expense. Now we are sure
that in the years following, with other
TTB programs, our potential audience
will pay gladly to see such superior pic-
tures. Thus, as ACL hopes, these pro-
grams can be made self-sustaining, both
for the clubs which use them and for
ACL as their producer.

Herbert D. Shumway, ACL
TTB Chairman
Franklin County Camera Club, ACL
Greenfield, Mass.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to : The Swap Shop, c/o
Movie Makers.

AID IN ISRAEL?

Dear ACL: Our club, established two
years ago, is the only amateur film
group active in Israel. It consists of
some 120 members, but we are so poorly
equipped that we must limit our activi-
ties more to theory than to practice. We
lack especially projection machines
(16mm.), which are not to be found in
Israel on the free market but only in
the black market. And, as you know,
we cannot send foreign funds out of
the country.

We write to ask, therefore, if some of
your members will be willing to ex-
change second-hand and not-needed
equipment against souvenirs, books,
paintings and the like from the Holy
Land? References concerning our club
(and the undersigned) may be had
from Reverend Park T. Rushford, New
Bethel Baptist Church, Wanamaker, In-
diana.

I. Yanai
Cli airman
Israel Amateur Film & Art Club
4 Zadok Hacohen Street
Tel- Aviv, Israel

BLACK HILLS/HOLLYWOOD

Wanted: Approximately 50 feet of
16mm. color scenery of Black Hills in
South Dakota, and another 50 feet of
color in and around Los Angeles, Bev-
erly Hills or Hollywood. What can I
shoot for you in or south of San Fran-
cisco Bay area?

(Mrs.) Betty Stefenel, ACL
256 Park Avenue
San Jose, Calif.

MOVIE MAKERS

121

ClOSeupS— What filmers are doing

Any time that you feel harassed, hur-
ried and a bit overworked, you might
care to contemplate the existence of
Carl Pehlman, ACL, co-owner with his
wife Polly of Studio El Meru in Colo-
rado Springs, Colo.

Carl is, by profession, a portrait pho-
tographer, and, as you should know, por-
trait photographers face their busiest
season in the four or five weeks preced-
ing Christmas. It was, therefore, some-
what of a challenge to Mr. P. when the
only television station in the Pike's
Peak area chose to open at exactly the
same season. For the undaunted boss of
Studio El Meru, ready and equipped to
do his own reversal or neg-pos film
processing, wanted "In" on this TV era.

And in he got. During the height of
the holiday portrait rush he also pro-
duced, processed and had telecast no
less than five special event and local
newsreels, all with optical sound tracks
of his own recording. The films ranged
in coverage from a ten minute study of
community carol singing, sponsored by
the city's Jaycees, to three minutes of
spot news on a local fire. Carl's fastest
job to date was the shooting of a special
event at 10:30 one morning and its de-
livery— edited and sounded — for show-
ing at 1:00 that same afternoon.

Again we are saddened by the passing
of another of the truly creative picture
makers of our hobby's earliest years.
Now it is Theodore Huff who has died,
on the fifteenth of March and at the age
of forty-eight.

Twenty or so years before that, in
Englewood, N. J., Ted Huff was the soft-
spoken, quiet-smiling producer of such
epic satires of theatrical screen fare as
Hearts of the Golden West, a Ten Best
winner in 1931, and Little Geezer, a Ten
Bester in 1932. The former film was, of
course, a take-off of the classic Western,
while the latter made mock of the ma-
chine gun era epitomized in Little
Caesar. But what these titles do not tell
you is that both of these pictures were
played by children — no one of them
over thirteen — and played by them with

AN UP ANGLE makes this pleasing composition
for So You're Going To High School, produced
by Frank E. Gunnell, FACL, a school teacher,
for the Board of Education of New York City.

an engaging seriousness which served
only to sharpen the films' satiric thrusts.

Outside of our own circle Mr. Huff
probably was best known as the author
of Charlie Chaplin, a recent biography
of the film comedian. He had served
also, from 1935 to 1940, as assistant
curator of the Museum of Modern Art
Film Library, in New York City, and
was a member of the board of directors
of the National Board of Review and of
The Film Society.

Mr. Huff was writing a history of the
motion picture industry at the time of
his death. With Hearts and Little Geezer
he had already written his name into
our own expanding history.

Take a deep breath. It says here (for
immediate release) that So You're Go-
ing To High School, a 29 minute 16mm.
sound on color film, was produced by
the Division of Curriculum Develop-
ment, Bureau of Educational and Voca-
tional Guidance, Board of Education of
the City of New York — period.

Besides being verbose, this statement
is a lot of nonsense. SYGTHS was pro-
duced single-handedly by Frank E.
Gunnell, FACL, vicepresident of the
ACL and, in his spare time, a teacher
in New York City's school system. The
Board of Education, with a directness
of action rare in any such temple of red
tape, simply borrowed him from his
school room in P. S. 45 and put him to
work making movies.

George Merz, ACL, a director of the
League and a quondam Ten Best win-
ner, continues his good works in putting
on picture shows for the people of
Hollywood, Fla., in that community's
open-air bandshell and amphitheatre.

In a recent screening, before an audi-
ence of nearly 1000 persons, he pre-
sented A Tramp in the Park, 16mm.
award winner by members of the Miami
Movie Makers Club, ACL; The Gan-
nets, 1950 Maxim Award winner by
Warren A. Levett, ACL, of West Hart-
ford, Conn., as well as Sanibel and
Mahi from his own extensive works.

The avant garde films of Maya Deren
and Willard Maas, two leaders in this
specialized field of filming, will be pre-
sented on Monday and Tuesday eve-
nings, May 11 and 12, at the Theatre
de Lys, 121 Christopher Street, New
York City.

Alternated at 7:00, 8:45 and 10:30
o'clock screenings on both evenings will
be, from Miss Deren, Meshes of the
Afternoon, Choreography for Camera,
At Land, Ritual in Transfigured Time
and Meditation on Violence. Mr. Maas
will be represented by Image in the
Snow at all screenings. Tickets are
priced at $1.20, tax included.

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122

' THIS SCEPTRED ISLE

r r

From cottage to cathedral, Great Britain beckons warmly to the wandering filmer

G. H. HESKETH, ARPS

FRAMED IN FOLIAGE is the simple Elizabethan cottage of
Anne Hathaway, a landmark in Stratford-upon-Avon country.

DARK AND DOMINANT is ancient Harlech Castle, standing
its guard at the northern end of Cardigan Bay, in Wales.

ANCIENT
is proud

EDINBURGH,
of its Princes

ens of the North,
and Royal Mile.

BRITAIN'S most splendid attraction for overseas visitors this year
is, of course, the Coronation of our beloved young Queen, Eliza-
beth II — about which you read in this journal last month. You
should remember, however, that 1953 will be a year of national
rejoicing and colorful display throughout the United Kingdom. Which
leads me to suggest that all who come here from overseas — either
before, during or after the celebrations in the capital — should take
back with them movie records of other places in England, Scotland
and Wales, particularly those linked by history with the stirring times
of the first Elizabethan era.

ENVIRONS OF LONDON

Before turning northwards take a look at Canterbury, in Kent, the
famous ecclesiastical city where stands the cathedral church of the
Archbishop who is to crown the new Queen. In 1573, Elizabeth I
visited the Archbishop's palace on the occasion of her fortieth birth-
day. To the west of London, along the River Thames, is Hampton
Court Palace, a magnificent Tudor building in red brickwork, built
by order of the great Cardinal Wolsey and presented by him to King
Henry VIII, the father of the first Elizabeth. This palace was one of
her favorite homes. A special feature is the splendid and colorful gar-
den there.

Further along, Windsor Castle stands on a hill looking over the
river. This castle has been one of the homes of kings and queens of
England for well over 800 years. Here again are beautiful terraces
and gardens, just the subject for color film. On the opposite side of
the river, quite near to Windsor, there is Eton College, perhaps the
best known of the British public schools. Shots on the famous playing
fields could show some of the boys in their traditional top hats and
formal Eton suits, as well as those who are dressed for games.

Then, from college to university — at Oxford, the "City of Spires."
Here the fine buildings which constitute the University were erected
400 to 500 years ago, and here there are many links with American
history. Among men who were students at Oxford are William Penn,
Richard Hakluyt, Edwin Sandys and Captain John Mason. A film
featuring Oxford should not overlook lively shots of the River Isis,
where the college boating crews are frequently seen racing and
practising.

THE SHAKESPEARE COUNTRY

Between Oxford and Stratford-upon-Avon lies part of the range
of Cotswold Hills, where you will find perfect English villages such as
Burford, Chipping Camden, and Broadway. (For more detail about
this part of the country, see This Other Eden, in Movie Makers
of August, 1947). While in this district you could see, at Woodstock,
the Duke of Marlborough's Blenheim Palace, where the British Prime
Minister, Winston Churchill, was born.

Another well known birthplace — perhaps the most famous in Eng-
land— is that of William Shakespeare, at Stratford-upon-Avon. This
town has a wide variety of connections with the time of Elizabeth I,
and many well preserved examples of the architecture of that period.
A typical one is the cottage of Anne Hathaway, who became Shake-
speare's wife. The lovely River Avon flows peacefully past the town,
by the Shakespeare Memorial Theatre, which was built partly by
subscriptions sent by American friends.

To the north of Stratford, beyond Warwick, is the ruin of Kenil-
worth Castle, which is well worth some movie shots. This castle was
visited by Elizabeth I and by John of Gaunt, whose speech (in
Shakespeare's King Richard II) contains the quotation used for the
title of this article.

123

Photographs courtesy British Travel and Holidays Assoc.

THE SPIRES OF OXFORD, above, and noble Canterbury Cathedral
at right are richly redolent of the earlier Elizabethan era.

SIDE TRIP TO WALES
If time will permit, journey into the Principality of Wales lying
to the west. On the northern coast of Wales, Caernarvon has a grand
ancient castle, where the ceremony of investing the Prince of Wales
(the Sovereign's first son) takes place. It is expected that, when he
is old enough, Prince Charles, the Queen's son, will be created
Prince of Wales and invested at this castle. Another fine castle in
Wales is at Harlech, standing in a dominating position at the north
end of Cardigan Bay. At Wrexham churchyard, near the Welsh-
English border, there is the tomb of Elihu Yale, whose name is given
to the famous American university.

MAGNIFICENT YORK MINSTER

Back in England, the next important stop will be at York, the most
historic city in the northern part of the country. In past centuries this
city was the place of the King's (or Queen's) Council, which main-
tained royal authority in the north. Here is the home of the Arch-
bishop of York, the other English primate. The magnificent Minster,
completed in 1474, is comparable with the cathedral at Canterbury.
Shots of the Minster are best taken from a viewpoint on the old
city wall. Visit the castle museum, where streets have been recon-
structed as they were years ago, giving a realistic reminder of
bygone days. Many examples of old trades and crafts also are on
display there.

To the west, over the Pennine Hills, lies another city of history,
the county town of Lancaster. The main entrance to the castle is
known as John of Gaunt's Gateway, he being, in his time, the Duke
of Lancaster. In later years this title passed to the reigning sovereign
and has remained so ever since. The Queen holds the title now; and,
although it may sound strange, at functions in the County of Lan-
caster the loyal toast is given to "The Queen — the Duke of
Lancaster."

From this city the journey up to Scotland takes the visitor through
the English Lake District in the counties of Westmorland and
Cumberland, a world renowned center of beautiful and impressive
scenery. Shots in your film range from the dainty pastoral views
at Grasmere and Rydal Water to scenes of stark and rugged grandeur
at Wast Water. The poets Wordsworth, Coleridge and Shelley, who
lived in Lakeland, must have found this peaceful part of the country
a continual source of inspiration to them in their writings.

HISTORIC SCOTLAND

Edinburgh, the capital of Scotland, has a castle whose origin takes
us back twelve centuries or more. It stands high on a rock over-
looking the romantic city below. From the level of the castle one
sees the famous Princes Street and gardens, with the old town and
new town at each side. Away in the distance, at the end of the "Royal
Mile" is the Palace of Holyroodhouse, the [Continued on page 134]

WINDSOR CASTLE, a medieval fortress beside the Thames,
has been the home of English rulers for over 800 years.

LANCASTER CASTLE, famed for its John of Gaunt's Gate-
way, above, is seat of the royal title, Duke of Lancaster.

124

STEREO MOVIES-novelty or nonpareil?

A report on the latest 3-D efforts of Hollywood and London . . . How they look and Why

JACK E. GIECK, ACL

IN his lively article, / Saw Cinerama
(Movie Makers, January 1953),
John Hefele indicated his enthusiastic
reaction to this new entertainment me-
dium. As he pointed out, Hollywood,
now scrambling to get aboard the three-
dimensional bandwagon, is experiment-
ing with a variety of new stereo tech-
niques. Detroit (from where I write) al-
ready has been favored with two ex-
amples of this new movement; and,
after seeing them both, I can report for
my part only a lukewarm response.

The two samples of stereo fare which
currently are touring the country are
Arch Obeler's Bwana Devil, in Natural
Vision, and a program of five short
British films, done in a process owned
by Stereo Techniques, Ltd., of England.
Of the two the latter is, to my mind,
the more satisfactory, for reasons I shall
hope to make clear shortly. Both, how-
ever, contain serious flaws which seem
inherent in the medium, and which I
believe threaten the commercial success
of stereo movies.

The methods of projecting both Nat-
ural Vision and the Stereo Techniques
pictures are identical. As most of us
know, to achieve true three-dimensional
imagery (as distinguished from the type

of depth illusion created by the large,
curved screen of Cinerama) it is neces-
sary to present a separate image to each
eye of the viewer. Since all theatres are
equipped with two projectors in order
to maintain a continuous performance
when showing standard "flat" movies,
this is accomplished by operating both
projectors simultaneously, the left ma-
chine projecting the scene for the left
eye of the audience, and the right
machine showing the scene for the right
eye.

To separate the two images and
"pipe" each into the proper eye, the
well known Polaroid process is used.
Taped to the glass of the left projection
port is an optical filter which polarizes
the light from that projector in a plane
on a 45 degree angle (upward and to
the left) ; a similar filter over the right
projection port polarizes the right pro-
jector beam in a plane rotated 90 de-
grees with respect to the left projector
(i.e., on a 45 degree angle upward and
to the right). The polarized images
from the two machines are superim-
posed on a screen of standard shape and
size, but which must have a special
metal surface so that it reflects the
images to the audience without depola-
rizing them.

Each member of the audience wears
a pair of special Polaroid glasses in
which the planes, or axes, of polariza-
tion are tipped at 45 degree angles, 90
degrees opposed, in exactly the same
manner as the filters in the projection
booth. Thus, the spectator's left eye will
see only the image from the left pro-
jector and his right eye only the image
from the right machine, since the
"wrong" picture, in each case, will be

FIG. 1 : Right- and left-eye images, carried
by polarized light beams of two projectors,
are fused in the mind by polarizing spectacles
to create single three-dimensional image.

FIG. 2: As right and left images cross over
each other on screen, the 3-D image seems to
move right off the screen and toward the ob-
server. Excess of this effect is displeasing.

polarized in a plane crossed at 90 de-
grees with the filter over the "wrong"
eye and will, therefore, be blocked out.
(This blocking effect may be compared
to the phenomenon most of us have ob-
served when we rotate a pair of
ordinary Polaroid sunglasses in front of
our eyes while wearing a second pair:
we can see through both pairs of glasses
until the axes of the lenses are crosses,
at which point the glasses held in our
hands become opaque.) So much for
this stereo projection system per se.

However, in order to understand
some of the limitations inherent in
stereo movies projected by the above
system, it will be helpful to examine
in more detail how we perceive three-
dimensional images. The phenomenon
of depth perception enjoyed by human
beings and a few other mammals
blessed with binocular vision (the abil-
ity to look at an object with both eyes
simultaneously) actually is the result
of at least five different kinds of ob-
servation on our part:

(1) "Seeing around the sides" of
nearby objects, by getting a different
point of view from each eye.

(2) "Triangulating" on an object
like a camera rangefinder: actually feel-
ing in the ihuscles of our eyes the
amount it is necessary for them to con-
verge in order to intersect on a given
object. More convergence is required
for near objects than for those farther
away; while none at all is needed
(since both eyes are directed straight
ahead) for objects whose effective dis-
tance is infinity.

(3) Estimating the relative size of
familiar objects: the farther away an
object is, the smaller it appears.

(4) Noting the relative movement be-
tween foreground and background when
we shift our position: the background
seems to move with us while the fore-
ground passes by.

(5) Using plain, old fashioned per-
spective, or the apparent tendency for
all parallel lines to converge at infinity.

To this list might be added the model-
ing effect of light, as well as more
subtle factors, such as the fact that
more distant objects are seen less dis-
tinctly due to dust and moisture in the
air. Change in color (bluing) of dis-
tant scenery is another help, and un-
doubtedly there are still other aids of
which we are scarcely conscious.

Now, it will be noted that only (1)
and (2) depend, for their existence, on
the observer's having two eyes; (3) and
(5) are provided by the monocular eye
of any camera, including still cameras,
and were used by painters for centuries
[Continued on page 131]

125

Photographs hy Marvin Wurts

THE SHOW GOES ON! Earlier, Victor Patterson (at 202), Ralph Lawrence, ACL,
Donald Sutherland, ACL, and Mrs. Sutherland record Birds or Washington narrative.

World premiere in Washington!

The ACL and WSC launch Top of the Ten Best program in nation's capital

HARRISON F. HOUGHTON, ACL President, Washington Society of Cinematographers, ACL

BEFORE a jam-packed and warmly enthusiastic audi-
ence, the world premiere of the Top of the Ten Best,
ACL's new all-magnetic picture program, took place on
the evening of Monday, March 16, in the nation's capital.

The presentation was sponsored jointly by the Amateur
Cinema League and the Washington Society of Cinema-
tographers, ACL, of the District of Columbia.

Guests of honor at this historic occasion were Delores
and Timothy Lawler, ACL, of Kenosha, Wise, 1952
Maxim Memorial Award winners with Duck Soup. In
recognition of this honor they received the Maxim Award
Trophy at the premiere from James W. Moore, ACL,
managing director of the League. Also honored were
Kathryn and Robert G. Williams, ACL, of Toledo, Ohio,
producers of Poet and Peasant, as well as J. Donald Suth-
erland, ACL, and Ralph E. Lawrence, ACL, members of
WSC and producers of Birds of Washington.

Thus the bare facts of this unique occasion. Behind
these facts were long hours of planning and longer days
of work. And through it all ran an excitement which be-
came almost unbearable as the blank screen sparkled into
life. Finally, as Duck Soup faded to a close, you smiled in
relief and happiness. The Top of the Ten Best premiere
was history! And your club had helped to write it!

MAXIM AWARD WINNERS: Delores and Timothy Lawler, ACL, center, receive Maxim
Trophy from James W. Moore of the ACL for Ducfc Soup, as Messrs. Lawrence and
Sutherland (Birds of Washington;, Kathryn and Robert Williams, ACL (Poet and
Peasant), and Harrison F. Houghton, ACL, Washington club president, look on.

126

EARLY on a summer's morning is the magic GLACES, not Good Humors! But the gay charm SEAFOOD al fresco! Fresh and full of color
time for filming the Paris flower stalls, of these refreshment carts is ever the same, are the myriad mollusks of this open market.

PARIS-IN A PAIR OF DAYS

Planned for the picture taker, here are twin tours for filming fabled Paris

DAVID D. BULKLEY, ACL

THE best way to see Paris — and, surely, the only way
to film it — is on foot. If, however, personal preference
or some other reason rules out walking, the route to
be suggested may also be followed by ear. In either case,
the filming itself may easily be completed in two days.

We shall start our promenade at the Place de FOpera,
the center of Right Bank activity. Here the imposing
Opera House overlooks a plaza flanked on either side by
shops, cafes and restaurants. The most famous of these
is the Cafe de la Paix, where, it is said, one may meet
everyone he ever knew if he sits there long enough. Maybe
so ! But such sitting is not conducive to fast filming.
So we proceed down the Rue de la Paix, with its fash-
ionable perfume and jewelry shops, until we reach Place
Vendome, site of many famous Parisian dress salons.

We continue across Place Vendome, through Rue
Castiglioni till we reach Rue de Rivoli. Turning left, we
pass through ancient arcades, lined with small but elegant
shops, until we arrive at Place des Pyramides. Here,
glistening in the sun, Joan of Arc sits astride her horse,
the statue making a striking scene as traffic streams past it
on either side.

VIEW FROM THE LOUVRE

Turn right and we are at the famous museum of the
Louvre and the Arc de Triomphe du Carrousel. As we
stand in front of the Louvre, at this point, one of the
most beautiful vistas in all of Paris stretches before us:
through the Tuileries gardens, past the obelisk in the
Place de la Concorde and up the Champs Elysees to the
Arc de Triomphe on the Place de l'Etoile, a mile away.
Here, surrounded by flower beds alive with color, we
may compose some very beautiful scenes.

In the garden of the Tuileries the French children play
their games, ride on the carrousel or in the little donkey
carts. Further on, little boys will be sailing their boats
in the pool near the Place de la Concorde. As we leave
the Tuileries, we gaze on the hustle and bustle of Place
de la Concorde with its imposing Egyptian obelisk more

than 3000 years old. Many delightful scenes will be found
in Place de la Concorde, for in every direction there is
an interesting perspective. On the far side of the square,
over to the right, is the American Embassy. A shot of this
building with its American flag should be included in
our film.

AT ARC DE TRIOMPHE
Moving onward up the Champs Elysees, past the Grand
Palais and the Petit Palais on the left, we come to the
end of the Champs Elysees at Place de l'Etoile. Here
stands the Arc de Triomphe, with thirteen boulevards
and avenues radiating from it like the spokes of a great
wheel. Beneath the arch is the Eternal Light commemorat-
ing France's Unknown Soldier. From atop the arch we
have a glorious panorama of the Champs Elysees, the
surrounding avenues and typical rooftops of Paris. When
we descend, we must film a scene or two of the amazing
movement of traffic crisscrossing from one avenue to
another across the Place de l'Etoile.

THE INEVITABLE EIFFEL

Now we turn down Avenue Kleber, and a few minutes
walk brings us to Place du Trocadero and the Palais de
Chaillot. If we choose our vantage point carefully, we
may duplicate the "professional" shots of the Eiffel Tower
across the Seine from where we are standing. Access to
the tower itself is gained by crossing the Seine on the
Pont d'lena.

From the tower's summit we may revel in the splendor
of Paris as seen from the tallest structure in Europe.
With the city at our feet, we carefully choose telephoto
shots of some of the landmarks we know so well from
history or from our guidebook. Don't pan, for this type
of shot from such a height is very ineffective. Another
important suggestion: treat shots taken from such a
height as you would an aerial shot, and close the camera
diaphragm one half to a full stop smaller than the ex-
posure meter indicates. A haze filter also should be used.

127

Photographs courtesy French Government Tourist Offi

GARE ST. LAZARE, the boat-train station, offers easy filming under
its sky-lighted roof. At left, the inevitable outdoor art exhibit.

SEEN BY THE SEINE

Down on the ground once again, we turn right and walk
up along the bank of the Seine. Here we have an oppor-
tunity to get effective shots of the many bridges that
cross the river. The most colorful of these is that named
Pont Alexandre III, adorned as it is with gilded figures
and unusual street lamps. Continuing along the Seine,
we will be tempted by river barges that wend their way
through the city, by artists busily daubing at their can-
vases and by the dozens of little bookstalls which line
the wall separating the roadway from the river.

When we reach the bridge called Petit Pont, we turn
left, cross the river and find ourselves on the He de la
Cite; it was on this small island in the Seine that the
first fishing colony was founded over 2000 years ago, to
become later the great City of Paris. Almost equally
famous, here stands the Cathedral of Notre Dame de
Paris, the flowering of no less than four architectural
eras in French history. One could spend a full day here
in contemplation of this noble shrine — but we must move
onward.

Crossing the Seine once more over Pont Notre Dame,
we reach Rue de Rivoli. Here, to right and left, are side-
walk venders selling every type of household goods imag-
inable, while nearby stands the Hotel de Ville, or City
Hall. This ancient building, rich in history and tradition,
is the center of the city government of Paris.

SPRING comes to Paris with budding trees and
low lighting where the Tuileries meets the Seine.

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WE COME FULL CIRCLE

Turning back toward Place de la Concorde, we walk
briskly along Rue de Rivoli, and a right turn on Rue
Royale brings us to the church of the Madeleine. This
classicly lovely edifice provides an opportunity for unusual
angle shots, for it is built high above street level, and a
spacious plaza is found in front and on either side of it.
We continue then up the Boulevard Madeleine and Boule-
vard Capuscines, lined on either side with fine depart-
ment and specialty stores. Finally we find ourselves back
at our starting point — the Place de l'Opera.

But people as well as places make up the charm and
color of storied Paris. For the flavor of the Latin Quarter
try the vicinity of Saint Germain des Pres. For the mood
of Montmartre, sift slowly through Place du Tertre, where
artists are still at work on their age-old but ever-new
scenes. Earmark a Saturday morning for your visit to the
open air market held on the Place de l'Alma where farm-
ers peddle their produce weekly. And on Saturday after-
noon or a Sunday, if you stroll along Boulevard Clichy
or Boulevard Rouchechouart, you will find countless pro-
fessional weight lifters performing for the passersby — and
for your camera.

So there you have it — Paris, in a pair of days. To com-
plete this coverage, you'll need good weather, good legs
and good luck. But by next winter, when you put Paris
on your own home screen, it will all be worth it.

TAKE A BOAT TRIP on the Seine for an ideal filming approach to the Eiffel Tower.

128

A new approach to an old problem . . .

TRY SYNCHRO-TACH

HERBERT H. REECH, ACL

for controlled speeds in tape recording

ONCE . . ." the man says glibly!
"Once the synchronization prob-
lem is licked, tape (he believes) offers
several advantages over magnetic stripe."
(See Making the Most of Tape, Janu-
ary 1953— Ed.)

This well may be so. I'm a tape man
myself, and I am not disposed to argue
in favor of a system which I do not yet
use. But not so fast there, Brother ! Let's
lick the synchro problem first. I am
well aware that there have been out-
lined in this magazine a number of in-
teresting and often ingenious systems
for synchronizing one's tape recorder
with one's projector — or vice versa. But
it has seemed to me in each instance
that too much confidence has been
placed in the stroboscopic principle —
regardless of whether that principle has
been bodied forth in the familiar strobe
disc or in the more recent Revere Syn-
chro-Tape pattern. In either case, the
strobe system does indeed tell you when
the projector is running at the correct
speed. But when that speed is incorrect,

FIG. 1: Simplest use of tachometer to pace
projector mounts it in place of turning knob.

the strobe pattern does not indicate by
how much it is fast or slow.

This small but important problem I
have solved recently by creating a sys-
tem which I have designated "Synchro-
Tach." Heart of Synchro-Tach's control
mechanism is an ingenious and inex-
pensive gadget called a hand tachome-
ter. It is precision-made by the Stewart-
Warner Company (Chicago), reads
clockwise or counterclockwise in units
of 100 up to 4000 rpm, and sells for
$10.45 at list. Common retail outlets
should be all W. W. Grainger ware-
houses, the Wellworth Trading Com-
pany and most of the bigger tool and
hardware stores.

Fig. 1 shows this unit in use in a
simple setup which requires the mini-
mum amount of time for construction.
The tachometer is held by an aircraft
hose clamp which I happened to have
lying around, and is then attached to
an angle-shaped strip of aluminum. This
assembly is then mounted on an old
metal base with a dime-store corner

FiG. 2: In de luxe version, tachometer is housed in
cabinet, sports a pilot light and rheostat control.

brace. A radio parts store supplied the
)3-inch-long flexible shaft and a % by %.
(inch brass coupling. The free end of
'this shaft is drilled, tapped and then
/replaces the projector's hand-turning
knob, as will be seen in Fig. 1.

Very well. On the Keystone projector
pictured, this hand-turning knob makes
two revolutions in passing one frame of
8mm. film — or 32 revolutions per second
and 1920 per minute. But to make for
easier reading of the tachometer dial,
let's run the projector at 2000 rpm, or
only slightly faster than 16 frames per
[Continued on page 137]

SCHEMATIC WIRING FOR
POLARIZED SOCKET
AND
METER CABINET

LEGEND -

W WHITE WIRE
G GREEN WIRE
B BLACK WIRE
PP AMPHENOL POLARIZED PLUG
3 POLE

P AM PHENOL STD. AC RECEPTACLE
R RHEOSTAT

FIG. 4: Wiring diagram for polarized sock-
et and cabinet installation is seen here.

'IOV.

MODIFIED WIRING FOR PROJECTOR

LEGEND

FIG. 3: Three-pole, polarized Amphenol plug on left side of
meter cabinet connects thru three-wire cable with projector.

M
P
L
S|

S2

R

W

G

B

PROJECTOR MOTOR
PILOT LIGHT
PROJECTOR LAMP
PROJECTOR SWITCH
SPST 3 AMP SWITCH
PROJECTOR RHEOSTAT
WHITE WIRE
GREEN WIRE
BLACK WIRE

FIG. 5: Modified wiring for
adapting projector to tachometer
control is diagramed herewith.

Photograpli9 by Morion I.. Kaganowich

ARRIVAL: The picturesque floats of regional
delegations make good material for film's start.

CAUCUS: Trade and counter-trade are hatched in
state caucus rooms. Use four-lamp lighting bar.

HOOPLA: Parades for state favorites make live-
ly action, here filmed at f/1.9 and 16 f.p.s.

ELECTION: The winnah and new president grace-
fully accepts election as the convention ends.

129

CONVENTIONS

...in the can

MORTON L. KAGANOWICH

PLANNED movie making at the next national convention you attend
can be more fun and give you better films than the haphazard shooting
that most amateurs indulge in. This applies to any national convention,
be it of the American Legion, Shriners, your trade association, or, as in
my experience, the "Jaycees" or Junior Chamber of Commerce.

The first consideration is your equipment. It should be reliable, and you
should be thoroughly familiar with it. If you plan later showings to medium
or large groups, 16mm. pictures will be superior to 8mm. because of the
latter's limitations of screen size. The camera should have an 8 frames
per second speed in addition to the normal 16 fps, if you are planning to
shoot color under adverse light. Or, if you are going to add magnetic
sound later, you will want to shoot at 24 fps on single-perforated stock.

All my convention photography has been on Ansco Color film in a Bell
& Howell 70-DA camera. An f/1.9 standard lens and an f/2.7 wide angle
unit are an excellent combination. While a turret mount is a convenience,
excellent work can be done with a single lens camera. An exposure meter,
necessary filters and a tripod round out the accessories. Where interior
lighting is necessary, a light bar with photoflood lamps and camera
mounted together will be the best bet.

On arrival at the convention, obtain an official program as soon as
possible. Not only will it indicate any changes from the advance program
material, but it will itemize in detail such matters as time, date and place.
While registering, try to obtain any passes necessary to secure good shoot-
ing positions for the planned events. In a word, the greater your advance
preparations, the better will be your films.

Now for the shooting. Some producers like to start with shots before
leaving home: the packing, poring over road maps and timetables, and the
departure. A shot of a late member of the party running down the path,
suitcase in one hand and holding onto his hat, is always good for a laugh.
If you are going in a large contingent with official farewells, be sure to
capture some footage of that.

Since arrivals are sometimes full of confusion, you may miss a close
shot of the city name on a signboard. Be sure you go back later for it.
Follow this with a long shot of Main Street, a closeup of the welcome
banners, the headquarters hotel and the registration desk. Now that you
have set the scene, you are ready to show the convention.

The big problem in convention movie making is how to be on the scene
at the right time and place to shoot everything. Thus, with something
going on all the time, you may as well resign yourself to the fact that
you're bound to miss some of it. You should, however, be alert at all times
to catch convention color: the state costumes, flags, signs, specially dec-
orated cars, high jinks and spontaneous demonstrations. And at this point
I must digress to tell you about the "one that got away."

At one Jaycee convention which I covered, the Wyoming delegation
imported several tons of snow to Miami, clumped it in front of the head-
quarters hotel and proceeded to stage a snowball fight in Florida in June!
And my camera was in the hotel room. Before I could get it, of course, the
snow was gone. Moral: carry your camera at all times.

The colorful sequences should be interspersed with some quieter footage.
You should devote a fair amount of screen time to the official business
sessions, if there is sufficient light for filming. Here your light bar will
be invaluable for closeups. And, for general auditorium shots, working
wide open at 8 fps will usually record usable footage. Finally, if there
is a convention photographer on deck, it might be [Continued on page 134]

From the first speech to the last headache,

here's how to film that great American gathering

130

FILM THE FAMILY AT FUN

Harold M. Lambert from Frederic Lewis

OUTDOOR SPORTS, says the author, are among your best bets for
providing colorful action-at-ease in your family filming plans.

FOR a really good picture of those near and dear to
you, put your movie camera to work when and
where they're having fun. You will find that their
absorption in whatever they're doing will help to do
away with any tendency to appear self-conscious. Their
natural actions and reactions will provide you with a
variety of interesting facial expressions. And their ex-
plicit approach to their chosen activities will leave you
with little or no need for narrative.

Your film, as any good picture should, will call for a
bit of planning in advance. Consider the season, the
lighting, the best background — but above all, consider
your family's recreational tastes. If your kid sister is
the hopeless-tomboy type, she will look (and feel and act)
out of place among dolls and teacups. If your father
would rather golf or ride a good horse than eat, then
don't settle for a shot of him reading the latest mystery
book! Choose natural settings and typical activities. Then
sit back and listen to such remarks as: "That shot of Dad
is as real as life" "Oh, that's exactly like Aunt Ruth!"
"You even got that funny way Benny serves the ball!"
"How do you ever get such natural shots!"

In planning your films, list all the special hobbies of
your family members, and then add others in which they
might reasonably participate. For, while it would be
foolish to suggest the use of any really unfamiliar ac-
tivity (which would be impractical from a standpoint
of results), it may be helpful to mention a variety of
pastimes which your family may have neglected or for-
gotten.

Outdoor sports are among the best bets, for they pro-
vide lots of action and color, and present few problems
of exposure. In summer especially there are endless
numbers of photogenic hobbies and sports. Sailing is
one that offers natural beauty and matchless grace. And
there's swimming and numerous other water sports.' Film

Good fun means good films, urges

this movie making mother of five

DOROTHY M. PEPER

your visiting uncle casting a fly or drawing a bead on a
rabbit or hawk.

Camping out will provide you with a whole story in
itself. Pitching the tent and digging a rain trench; gather-
ing wood and building the fire; the smoke vs. the cook;
bacon sizzling, coffee steaming. And then singing around
the campfire to make a perfect climax!

Biking and hiking are equally popular. Last week, in
the home of a friend just back from Europe, we saw
the pictures he made of his climbs among the Alps. There
was a visual introduction to his buddies in rough hiking
clothes and boots, packs strapped to their backs, golden
loaves of French bread sticking out the top! When the
ropes appeared between them, tied to each hiker's waist,
we knew the trail was growing increasingly dangerous
and difficult. The passage of time and the hikers' prog-
ress were told in a backward shot, down across the snow
where a single trail had been etched by the men's boots.

Flying ice, as the foremost hiker hacked out footholds
in solid ice, told us every step at that altitude was taken
at laborious cost. And when at last the colorful hotel was
sighted atop a mountain peak, the hikers' faces showed
a pride and triumph that left us fully satisfied.

Wild life is a natural — and what family doesn't have
at least one member who is intrigued by some phase
of field or stream? We used half a roll on a couple of
squirrels once. For they couldn't resist our picnic lunch
of seedless grapes, and we couldn't resist their enormous
appetites! Fully as appealing is the common chipmunk,
in some localities so tame he will climb over children
and into their laps. (A word of warning when shooting
scenes in the woods: keep a constant check of your light
conditions; they can vary within. a distance of a few feet.)

If your family's tastes run to flora rather than fauna,
don't hesitate. Eben G. Fine, naturalist and photographer
of national reputation, once filmed the full story of the
Colorado columbine's life. Climbing through the snow
to their lofty haunts, and beginning with the first tender
shoots, he took pictures at regular intervals throughout
the season, ending with the full bloom in its uniquely
delicate tint. So impressed was an artist friend with the
result that she painted a life-sized picture and had it
mounted as a gift!

What if you don't live in the mountains or near any
woods? If in California, film the poppies or poinsettias.
If Arizona, film the habits of snakes. In the South, make
it alligators. Or skip the nature angle altogether, if your
family's interests lie in another place. Suppose your
father dotes on puttering in his basement workshop —
why not focus your camera on his work bench and
watch his newest project take shape? If your kid
brother's hobby is magic, then "catch him in The Act."
Or perhaps it's a passion for tinkering on jalopies — then
fade in on his feet protruding from beneath the running
board, and end the sequence with the motor in action
as a background for his greasy but triumphant face!

Maybe Gram's hobby is rais- [Continued on page 135]

MOVIE MAKERS

131

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Portable tape

For the movie mak-
er out for a full
evening of screenings accompanied by
tape recordings, the new carrying case
now being offered by Reeves Soundcraft
Corporation should be just the thing.
Constructed of lightweight but wear-
resistant Vinyl plastic, these Reeves
cases come in sizes designed to accept
the company's earlier 5 inch and 7 inch
tape chests.

List prices for the new cases are $1.35
and $1.50. for the 5 and 7 inch units
respectively.

More on magnetic Pi one e r

Tracks, an
8V2 by 11 inch bulletin punched for your
notebook, has just been launched by the
Bell & Howell Company "in the interest
of users and prospective users of mag-
netic sound on film." Featured in the
first issue is a condensation of Notes
From Magnetic Notebooks: 1, a report
by Haven Trecker, ACL, which first ap-
peared in Movie Makers for Decem-
ber, 1952.

Pioneer Tracks will be sent automat
ically to all registered owners of B&H's
popular 202 magnetic sound projector.
Prospective users of magnetic sound on
film may receive the bulletin by men-
tioning this news note in a request ad-
dressed to C. K. Preston, Bell & Howell
Company. 7100 McCormick Road, Chi-
cago 45, 111.

Two for Toledo Toledo Cine
Engineering,
which last month announced a 400 foot
film magazine system for the Bolex H-16
camera, comes out this month with two
lesser — but no less handy — accessories
for that same equipment.

First, for the football fan or general

CAMERA SPECIALTY now offer this Berthiot
1 inch f/1.9 C-mount 16mm. lens at $36.50.

"snap" newsreel work, there is a Sports-
finder employing the familiar, quick-act-
ing wire frame design. The unit clips
on instantly in place of the Bolex Tri-
focal or Octameter optical finder, and
its front and rear elements may be
folded back when not in use. Field cov-
erage is for the 2 inch medium tele-
photo.

No. 2 in Toledo's offerings for this
month is a Rack-Over designed to oper-
ate between the fields of the eye-level
focusing unit and the taking lens in
taking position. Thus, even for the most
exacting closeups — as in title making or
lens tube work — absolute elimination of
parallax is assured.

Toledo Cine Engineering, headed by
George E. Canning, ACL, is located at
1309 Milburn Avenue, Toledo, Ohio.

Ever-Ready reels li y ° u a r e

among the
growing school of movie makers which
holds that rewinding — especially power
rewinding — is a major source of film
wear and tear, the new Ever-Ready reels
now being offered by Rochester Com-
modities Corporation should be just your
meat. Designed for both 8mm. and
16mm. projectors, the reels are of 400
foot capacity in each case.

Heart of the Ever-Ready non-rewind-
ing system is a reel design which per-
mits drawing out the head end of the
film from the center of the feed reel,
where it already has been positioned in
the natural course of projection. Also
essential is a simple bracket which fits
over the projector's upper spindle to
provide a new and horizontal reel mount-
ing from which the film passes over an
idler on the bracket's end and thence
to the feed sprocket.

An attractive booklet on the Ever-
Ready reel system is available to read-
ers of Movie Makers with a mention
of this magazine to the Rochester Com-
modities Corporation, 219 East Avenue,
Rochester 4, N. Y.

Berthiot 1" f/1.9 A Berthiot 1
inch / / 1 . 9
lens, suitable for use with such stand-
ard C-mount 16mm. cameras as the Bell
& Howell. Bolex. Keystone and Victor,
is now being imported from France by
Camera Specialty Company. 50 West
29th Street, New York 1. N. Y.

The new objective has click stops
from f/1.9 to //16 and a focusing range
from 2% feet to infinity. Available for
immediate delivery, the lens lists at
$36.50.

New Pageants

Three new mod-
els of the Koda-
scope Pageant 16mm. optical sound pro-
jector, designed especially for the audio-
visual field, have been announced by the
Eastman Kodak Company.

Model AV-071, first in the new line,
features a new Plus-40 shutter which, it

KODASCOPE PAGEANT, optical sound projec-
tor now offered in three new models designed
for audio-visual use. From $400 to $530.00.

is stated, provides an increase of 43
percent in screen illumination over the
shutter of the Model 1. This super-bril-
liance fits it well for use in hard-to-
darken classrooms or in halls where a
long screen throw is mandatory. The
Plus-40 shutter will operate at sound
speed only. Otherwise the AV-071 is
identical with the standard Pageant, in-
cluding a built-in-the-case 8 inch speak-
er and the same list price of $400. (The
Model 1,' says EK, will continue in
manufacture.)

Model AV-151, the second new Pa-
geant, is mechanically the same pro-
jector as the Model 1. Audiowise. how-
ever, it features a 15 watt, high fidelity
amplifier and a separate 12 inch Kodak
de luxe speaker in matching case, thus
qualifying it for use with far larger
audiences than may be served by the
AV-071. List price on the AV-151 will
be $530.

Third in the new line of Pageants is
the Model AV-151E which combines all
of the new features — the Plus-40 shut-
ter, the 15 watt amplifier and the sepa-
rate 12 inch speaker in a matching
case. The AV-151E, therefore, is indi-
cated for the projection of sound films
under the most demanding conditions —
where long throw, extra brilliance and
increased audio volume and fidelity are
required. It will list for S530.

Stereo

movies

[Continued from page 124]

before photography was invented.
Movies add (4) , which is one of the
primary values of the moving camera,
or dolly shot, in motion pictures and
television. Charles DuBois Hodges's An
Experiment in Stereo (Movie Makers,
November 1950) discussed other special
techniques which enhance the feeling
of depth by means of movement.

Thus, by means of a rather elaborate
technologv. stereo movies add onlv two

132

MAY 1953

•4 Brownie ease . . . economy

. . . come to movies Here's the
8mm. camera that has revolutionized
personal movie making — as easy to
use, as sure in results as a snapshot
camera. Brownie Movie Camera ... a
bigger, better buy than ever at its
new low price. Just $39.75.
\

"Economy Eight" with lux-^

Ury features The moderately
priced Cine-Kodak Reliant Camera
teams 8mm. roll-film economy with
movie extras like slow motion and
telephoto-lens acceptance. Two mod-
els— with pre-set f/2.7 lens, $89.50
...with focusing f/1.9 lens, $110.

MHMHHHHH

4 Kodak's finest "Eight" Lux-
uriously appointed 8mm. camera with
ultra-fast, ultra-handy magazine
loading; slow motion; adjustable op-
tical finder; telephoto acceptance;
and other de luxe features. Cine-
Kodak Magazine 8 Camera with fo-
cusing f/1.9 lens, $160.

to better movies

Here are five Kodak Movie Cameras
. . . each in its price class, designed to
give you the finest movies obtainable.
They range from $39.75 to $1,191 .35
. . . from the easy-to-use and thrifty
8mm. Brownie Movie Camera to the
Cine-Kodak Special II — the world's
most versatile, professional-type
16mm. camera.

Look over the line-up here . . . then
see the cameras for yourself and make
your selection at your Kodak dealer's.

World's most versatile*
16mm. Camera Precise camera
with the controls for special effects
built right in... far and away, the
top-choice camera for movie perfec-
tionists. The Cine-Kodak Special II
Camera comes with either an f/1.9 or
f/1.4 Ektar Lens... and either
a 100- or 200-foot film cham-
|k ber. From $956.20.

For"Royal" movie making

Superb 16mm. camera that offers per-
sonal movie making's two top fea-
tures— the convenience of magazine
loading . . . the optical excellence of
an Ektar Lens. Cine-Kodak Royal
Magazine Camera with f/1.9 Ektar
Lens, $176.25. (Camera also avail-
able with pre-set f/2.8 Ektanon Lens
at a new low price — $147.50.)

Prices include Federal Tax where applicable and are subject to change without notice.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

MOVIE MAKERS

133

additional bits of visual intelligence to
an audience's observations about the
depth of any scene they are looking at.
There is no question, however, about
their effectiveness in producing a three-
dimensional effect. Figure 1 illustrates
how (1) and (3) are simulated. When
the observer looks at the screen through
his special Polaroid glasses, the two
images fuse in his mind and the plane
of the screen actually disappears; the
action seems to be taking place at vary-
ing distances behind the theatre prosce-
nium. For example, as the two images
of an object move apart (and become
smaller) it appears to recede into the
distance. When the images move toward
each other (and get larger) the ob-
ject seems to zoom toward the audience.
At the point when the two images are
on top of one another the object appears
to be suspended at screen distance.
Finally, if they cross over each other,
as shown in Figure 2, the object appears
to come through the screen at the ob-
server.

In the film programs which I saw,
this was done once or twice for shock
effect — in Bwana Devil, for example, a
spear is hurled at the audience by
an angry native. For me, at least, this
illusion imposed additional eyestrain;
and before the spear got anywhere near
me my eyes gave up, so that I saw two
separate images of it. This, inevitably,
proved to be more confusing than shock-
ing.

Probably for this reason nearly all
the action takes place at some plane
behind the screen proscenium. The re-
sult is rather disappointing. For, un-
like Cinerama's screen, which engages
practically the entire field of view of
the observer and gives him a feeling
of being "there," the average movie
screen is lucky to cover one sixth this
amount (depending, of course, on how
far from the screen the observer sits).
Consequently, the effect is rather like
sitting in a darkened room, as you watch
action in the backyard through a small
window in the opposite wall. The scene
is three-dimensional all right; but one
hardly has a sense of participating in it.
There are important differences be-
tween Stereo Techniques' process and
Natural Vision from the viewpoint of
the audience. Both processes use two
cameras. In Stereo Techniques' process,
however, the axes of the camera lenses
are parallel, just as is the case with
stereo still cameras (Stereo Realist, et
al.) and with stereo attachments for
amateur movie cameras — although the
latter use a single camera and lens
system, to put two vertical images side
by side on the horizontal film frame.
With Natural Vision, however, the
lens axes of the two cameras are made
to converge on the center of interest
in the scene, just as do our human eyes.
While this sounds good in theory, it
results in the unhappy phenomenon of

"reverse parallax" on all background
objects behind the center of interest;
that is, since the lens axes intersect on
the center of interest, the left and right
images of all objects behind this point
will be reversed — the left eye image
falling to the right of the image seen
by the right eye.

While this same effect exists in our
observation of real-life objects, we un-
consciously ignore it. In Natural Vision
movies, however, we are forced to rivet
our eyes on that same center of interest
which the camera picked out for us —
or we become hopelessly confused. (You
need only a few wandering gazes at
objects off in the distance before your
eyes hurt!) While this kind of auto-
cratic audience control is not too un-
acceptable in dramatic films, where
there usually is a strong center of in-
terest, its use in travelogs would soon
become disastrous. For the audience
here would have no way of knowing
what the center of interest was intended
to be; and they would have to find
therefore the right distance for each
new scene by trial and error. To me,
this would seem to forecast better
business for the optometrist than for
the box office.

The visual results of Stereo Tech-
niques' process are somewhat better.
Being filmed with parallel lenses, the
images are easier on the eyes. Included
in the program I saw was a travelog
about England, which had been shot al-
most entirely from a boat on the River
Thames. Thus, the film takes excellent
advantage of binocular facility No. 4
(relative motion), as the nearby shore
sweeps along, rotating about the horizon
to produce a striking three-dimensional
effect.

By far the most pleasing item on the
program, however, was a fascinating ab-
stract film called Around is Around is a
Film, by that artful Canadian cine-
magician, Norman McLaren. Those
who have seen his Fiddle-Be -Dee, Be-
gone Dull Care and other abstractions
set to music, know how he makes his
animated lines, polygons and blobs of
ink fairly drip with personality. In
Around is Around is a Film (shades of
Gertrude Stein ! ) his amusing little
figures have another dimension to
cavort in — space. For his circles and
lines chase one another out over the
heads of the audience, as diaphanous
solids writhe and twist in front of
kaleidoscopic backdrops — all to the ac-
companiment of an "out-of-this-world"
sound track.

Otherwise, however, both programs
leave much to be desired. There are a
good many distractions; for example,
the two films (left and right) being
projected simultaneously are not al-
ways printed to the same image density.
This makes the picture seen by the
left eye brighter than the one seen
by the right, or vice versa, which I

Add a

VARIABLE

SHUTTER UNIT

To Your Bolex H-16

The type of shutter, stand-
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movie cameras.

• Full range from open to closed at any
camera speed.

• 3 convenient intermediate stops, 3A open,
V2 open and Va open, enable you to expose
from 1/18 sec. at true 8 f.p.s. at open to
1/560 sec. at V* open at true 64 f.p.s.

• Make complete transition lap dissolves any-
time.

• Fade-ins and fade-outs at your fingertips.

• Neutral density filters no longer needed
when filming outdoors with fast film.
Audible warning sound when shutter in
closed position when filming forward or
hand-cranking either way.

• Avail yourself of the maiy other advantages
obtainable only wilh a controlled variable
shutter speed.

• Give your next movies that sparkling pro-
fessional touch.

PRICES (within U.S.)

Cameras with inside frame counter $ 99.60

With the Yolo automatic dissolve attachment

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$57.00 extra.
Cameras with outside frame counter $109.80
Price includes camera transportation back to
you, insurance coverage, and
one year guarantee.

(Local and state taxes

where applicable, extra)

Send for free detailed

informative booklet,

"Variable Shutter Units

for Bolex H16"

TULLIO
PELLEGRINI

1545 Lombard Street
San Francisco 23, Calif.

THE RALPH R.ENO CORP.

626 W. 165 ST. . NEW YORK
Send your film for free criticism or estimate

Two 3< stamps for giant catalogue. Stite size

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

[ REEO & REEB DISTRIBUTORS, INC.
7501 3rt m. IRTOKLYIt 9. I,..

KODACHROME DUPLICATES

8mm. or 16mm. llf; per feet

Mall Ordin tttepted

HOLLYWOOD 16mm INDUSTRIES, INC.

60S0-A Hollywood Blvd. Hdlywotd 28, Calif.

Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' to 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

134

MAY 1953

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 pre-
ceding 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., \"
f/lA Ektar, 4" //2.5 Cooke Panchrotal, 0.7" //2.5
Comat w.a., 6" //4.5 Cooke, optical view finder,
2 extra 100 ft. chambers, deluxe comb case, 32768.00
value for 31475.00. Cine Special I, single sprocket,
image reflex finder, 1" f/1.9, 6" //4.5, 15mm. //2.7,
comb, case, S1200.00 value for $499.50. B & H 70DE,
hand crank and rewind, 1" //1.4 Cooke Ivotal, deluxe
comb, case, S345.00. Victor V, l"//2.7 Cooke foe. mt.,
2" //3.5 Wollensak, S147.50. H-16 Standard Bolex,
1" //1.4 Biotar, 2" //3 5 Cooke, 3" //2.5 Wollensak,
3550.00 value for S325.00. Best buys . . . Best trades
always. BASS CAMERA CO., Dept. CC, 179 W.
Madison St., Chicago 2, 111.

B 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.

■ SOUND PROJECTORS as low as S90.00, silent
projectors as low as $22.50. Film bargains, silent and
sound. We buy, exchange, equipment and films. Free
lists; mention MM. FRANK LANE, 5 Little Bldg.,
Boston, Mass.

■ PROCESSING machine, used one year, has 2000
ft. magazine. Day-light operating. Designed for re-
versal processing. GEO. E. CANNING, 381-8 Ley-
bourne Ave., Toledo 12, Ohio.

B SAVE on EK color movie film, fresh in date, orig.
factory pack, includes processing; 16mm. roll 100'
$8.55; 16mm. mag. 50' $5 85; 8mm. roll 25' dble $3.25;
8mm. mag. 25' dble $3.85; day. or tung., include
postage. KRAMER'S, 100 Post Rd., Larchmont, N. Y.

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.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm. or 16mm.,
11< per foot. Immediate service on mail orders.
HOLLYWOOD 16MM. INDUSTRIES, Inc., 6060 Hol-
lywood Blvd., Hollywood 28, Calif.

B SOUND RECORDING at a reasonable cost. High
fidelity 16 or 35. Quality guaranteed. Complete studio
anci laboratory services. Color printing and lacquer
costing. ESCAR MOTION PICTURE SERVICE, Inc.,
7315 Carnegie Ave., Cleveland 3, Ohio. Phone: Endi-
cott 1-2707.

B 8mm. HOLLYWOOD TITLE STUDIO 16mm.
Complete titling service. Color and black and white.
SPECIAL DISCOUNT TO AMATEUR CINEMA
LEACUE MEMBERS. Send 10? for Price List and
Sample. Address: 1060 North Vista Street, Holly-
wood 46, Calif.

B TECHNI-CALS. Over 300 markings for photo
equipment, darkroom, and titles. New type perma-
nent decals. Send $1.50 to ANDREW J. MOTT, 439
N. Van Ness, Los Angeles 4, Calif.

B MOVIE OR SLIDE TITLES with that Professional
touch at low prices. Large variety backgrounds and
letter styles. 8mm, 16mm, 35mm slides, Kodachrome,
B&W THOMSEN TITLES, 14 Roslyn Court, Oak-
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B 16MM B&W PANCHROMATIC FILM. ASA 50.
Fully guaranteed. 50 ft. loads for your magazines,
$1.65; 3 for $4.75. 50 ft. on camera spools, $1.75;
3 for $5.00. 100 ft. on camera spools, $3.65; 3 for
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48 hi. service. WESTERN CINE SERVICE, 114
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WHAT

are the pictures in

THE TOP OF THE TEN

BEST?

See the inside front

cover

for ACL's exciting new

Film Feature!

found disturbing. Further, any varia-
tion in arc brillance between the two
projectors results in the same effect.

A similar distraction occurs as a re-
sult of film scratches and slight emul-
sion imperfections (speckles) which
usually go unnoticed in standard movies.
Since these are observed by only one
eye at a time, they call attention re-
peatedly to the mechanics of the illu-
sion and thereby tend to destroy the
effect. And, since two films are used,
the frequency of these flaws is twice
what it would be with one film.

The polarizing glasses themselves are
a nuisance. Two possibilities for their
distribution have been tried. Natural
Vision (Bwana Devil) gives each per-
son an expendable pair in a cardboard
frame; these the patron may throw
away or take home for his children to
play with. (They cannot be used for sun
glasses, incidentally, because the polar-
izing axes are at the wrong angle.)
However, the cardboard frames do not
fit well, and they create an almost in-
surmountable problem for patrons who
normally wear glasses.

Stereo Techniques issues returnable
glasses with plastic frames, which (it
says here) are sterilized in a germi-
cidal solution before being re-used.
These are more comfortable to wear,
and some even fit over ordinary glasses ;
but since many patrons try to clean the
plastic lenses with their handkerchiefs,
most of the glasses become badly
scratched after being used a few times.

Even if one gets an unscratched and
comfortable pair, however, there still
are problems. The glasses must be worn
straight and the head must not be
tipped sidewise or the viewer will see
two images with each eye. One of the
pairs I had was imperfect and, even
though they were worn straight, the
left lens admitted a dim ghost image
of the right eye picture in addition
to the full strength picture for the left
eye. Since the ghost image was dark
blue, this effect was more pronounced
with black and white films than with
color.

Finally, because both theatre pro-
jectors are used at the same time, stereo
movies cannot be shown continuously.
With standard reel housings, the pro-
gram must be interrupted several times
to permit reel changes. This, of course,
could be overcome by using extra large
reels and housings (or two additional
projectors) .

Given time, some of the other short-
comings of stereo movies probably can
be improved; but whether they can be
eliminated entirely is doubtful. And,
unless they are, I personally can see no
bright commercial future for stereo-
cinematography. Although people stood
in line to see Bwana Devil, and attend-
ance at Detroit's Telenews Theatre has
tripled since stereo shorts were added
to the program, it must be remembered

that the technique is still a novelty. Once
the public curiosity has been satisfied,
however, my guess is that people will
no longer be lured by 3-D productions.
They are just plain uncomfortable to
watch. Hollywood, in my book, is bet-
ting a lot of money on the wrong horse.

"This sceptred isle"

[Continued from page 123]

residence of the Queen when the court
is at Edinburgh. The palace, which is
open to the public except when the
court is there, was built during the Six-
teenth Century.

Scotland has a great deal to offer as
material for your movie — towns, vil-
lages, mountains and lakes — but I have
room to mention only one more place.
Another royal castle, Balmoral, lies in
typically Scottish scenery, surrounded
by mountains and rich fir stands through
which herds of highland cattle graze. It
is a country home of the Queen and the
royal family where they enjoy their va-
cation after the busy London season
ends in the month of August.

One last word. Remember that people
are as important as places. Don't be con-
tent with scenic shots only, but include
plenty of the British folk, so that the
movie will be a living record of your
visit.

Conventions

[Continued from page 129]

well to check with him on interior light-
ing. He may have arranged for spot-
lights on the rostrum, and would not
mind your shooting with him, as long as
you did not interfere with his work.

In many conventions, the really big
event is the presidential campaign. The
banners are hung early, and the elec-
tioneering goes on day and night. Try
to get shots in state caucus rooms, in
the hospitality rooms, and in campaign
headquarters. Get closeups of the lead-
ing candidates and of their campaign
ers, decorated with buttons and wearing
special costumes. Get footage of each
presidential candidate being nominated,
then the demonstration as he is carried
around the auditorium on the shoulders
of his supporters, followed by the state
delegations who are on his bandwagon.
In particular, get shots of your own
state delegation. And finally, get the
dramatic moment, if there is one, when
the losing candidate steps to the ros-
trum, concedes to his worthy opponent,
and the winner is given the gavel of au-
thority.

If the convention includes a street
parade, select a vantage point well in
advance. You should check for view-
point, crowd interference, sun direction,
absence of shadow patterns — and a safe
perch. For it is impossible to make good

MOVIE MAKERS

movies with one hand while hanging on
for dear life with the other. If you can
get a spot in the reviewing stand, so
much the better. But one note of cau-
tion: if you must pan your parade shots,
pan only in the direction of movement
of the unit. Panning in the opposite di-
rection will produce a jerky sensation.
And don't forget your spectator reac-
tion shots.

If you have time to scan the local
newspapers during the convention, you
may find headlines which, photographed
later in closeup, will make effective sub-
titles for one sequence or another. Also
pattern shots of souvenirs and badges
will make for interesting color.

Finally the convention is over. Sure,
you are tired by the hectic pace and
bent from the load of equipment you
have been toting. But don't forget the
closing shots. People checking out, wav-
ing goodby, and the car driver scratch-
ing his head at the mountain of luggage
on the curb, wondering how to get it all
into the trunk. And for a closing shot,
how about filming the poster announc-
ing next year's convention?

Film the family at fun

[Continued from page 130]

ing African violets. Start with planting
the tiny seed, and end with a color
study of the prize winning Blue Boy of
which she is so justly proud. Catch
Grandpa playing a lively game of
checkers or chess, where a novel touch
can be added by making his opponent
one of contrasting age.

If you lean to longer scenes on a sin-
gle subject, you can find a whole story
in a single sport. Our entire family, for
example, dabbles in soft ball, though
our children range from a husky 12
down to a babyish 3 years of age. And
a small town I know stages an annual
game on donkeys, which develops situa-
tions so comic that the event draws
spectators for miles around. In case you
are short on donkeys, you might use
special uniforms such as old fashioned
hobble skirts.

Music has possibilities, particularly
band and orchestra work. (Who can
ever forget, after seeing the movie,
Stars and Stripes Forever, the way the
young sousaphone player just home
from the war rhythmically puffed his
cheeks in time with the music of the
parade?) Most any family that's mu-
sically inclined can recruit a comic
hillbilly group with colorful costumes
and suitable props. And it's fun to fake
a score by exaggerated renditions in
time with a Spike Jones record, and
then using the same record as a sound
track when the film is viewed.

There are endless ideas, but these will
give you a start. And for every one that
comes to mind, there will be another
you've overlooked in your family's life.

J. Herbert Wolsey, Kankakee, III.

Lt. Herbert M. Federhen, Ft. Monmouth,

N. J.
Carl T. Buck, Oak Park, III.
Vernie Fossan, Wanamingo, Minn.
Photo Copy Service, Waukesha, Wise.
Sgt. Umberto Rafaels, Savannah, Ga.
Frank Jaskolka, Warren, Ohio
William L. LaBonville, Dearborn, Mich.
Miss Pauline McCauley, Washington, D. C.
Mrs. Lilliam D. Nelson, Portland, Ore.
Luther Ryan, Overland, Mo.
George D. Manuel, Halifax, Canada

Edward Parker, No. Long Beach, Calif.
F. Ritter Shumway, Rochester, N. Y.
Solomon Falon, New York City
Edward F. Gallenstein, Cincinnati, Ohio
Otto H. Babik, Bayside, N. Y.
Frank C. Blum, Long Island City, N. Y.
Lawrence B. DuMond, Walton, N. Y.
Dan D. Fulmer, Columbus, Ohio
F. T. Johnston, Halifax, Canada
Charles W. Massey, c/o FPO, San Fran-
cisco, Calif.
Ernest Moses, Toronto, Canada
William E. Rutz, Fond du Lac, Wise.

Hal Sawyer, North Hollywood, Calif.

Murray S. Spinrad, Baldwin, N. Y.

Ed. H. Shores, Ardmore, Okla.

Jack Clarke, Ballina, Eire

Simon Knudsen Hansen, Lisbon, Portugal

Arthur R. Steele, Durham, N. C.

Mrs. Russell Upton, Atlantic City, N. J.

Louis W. Arnold, Lexington, Ky.

Mrs. John P. Beakley, Kirkwood, Mo.

Dr. Reinhold Erickson, Wayzata, Minn.

Joseph Baer, Boston, Mass.

N. N. Mitchell, South Pasadena, Calif.

Harry R. Mooney, Miami, Fla.

Dr. Theo Regout, The Hague, Holland

Lloyd C. Acres, Kingston, Canada
Brown University, Photographic

Laboratory, Providence, R. I.
George H. Foley, Randolph, Mass.
George Henderson, Bowling Green, Ohio
M/Sgt. J. Wlasenko, c/o PM, San

Francisco, Calif.
J. L. Austin, Fort Worth, Texas
J. G. Barrie, Estevan, Canada
Leo T. Hansen, American Fork, Utah
Cliff Kies, San Antonio, Texas
Mrs. Marie J. Plony, Los Angeles, Calif.

Ken G. Dalgleish, South Hurstville,

Australia
John T. Honig, New York City
E. P. McMahon, Great Falls, Mont.
Matthew H. Skove, Plainfield, N. J.
George M. White, Londonderry, Northern

Ireland
Jean Carles, Grasse, France
Francis E. Menapace, Gallup, N. M.
Francesco Tajer, Mexico, D. F.
Capt. Arthur J. W. Weir, HAFB,

Hamilton, Calif.
Nicholas Abate, New York City

Library, Baxter Laboratories, Inc., Morton

Grove, III.
Linda Darnell, Los Angeles, Calif.
C. V. Knox, Kansas City, Mo.
S/Sgt. George W. Nichols, c/o PM, New

York City
Dr. John T. Crowe, Cape Girardeau, Mo.
Lester C. Gold, Bethlehem, Pa.
George M. LeRoy, Newburgh, N. Y.
Charles H. Schreyer, Washington, D. C.
M. W. Brigg, Silver Spring, Md.
K. Gail Hunt, Muncie, Ind.
C. S. Larkins, Buechel, Ky.

135

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Dept. MM
150 West 46th Street, New York 36, N. Y.

WANT TO JOIN A MOVIE CLUB?

Write to the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address: Clubs, Amateur Cinema
League, 420 Lexington Avenue,
New York 17, N. Y.

HOW TO MAKE
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12522 Ventura Blvd., Studio City-, California

136

MAY 1953

TTB in April Last month The Top
of the T en Best,
ACL's record-breaking program featur-
ing the 1952 Maxim Award winner and
five other selections from the Ten Best
competition of 1952, saw quite a bit of
traveling across our country, from New
York and Massachusetts to Texas and
California. Among the clubs which
screened the program to capacity audi-
ences were the Franklin County
(Mass.) Camera Club, ACL; the Great-
er Denver Cinema League, ACL, and
the Amateur Motion Picture Society of
Denver, ACL; the Los Angeles 8mm.
Club, ACL (Southern California pre-
miere) , and the Omaha Movie Club,
ACL.

The shorter version of the package
feature, The Junior Top of the Ten Best,
was shown by the Southwest Movie
Makers Guild, ACL, of Houston, Texas;
the Dayton (Ohio) Amateur Movie
Makers Club, ACL ; the Brooklyn Ama-
teur Cine Club, ACL, and the Tulsa
(Okla.) Amateur Movie Club, ACL—
besides several private screenings by
individual League members.

To see where these programs will be
playing in your immediate area, consult
the booking timetable found elsewhere
in this department.

Kenosha contest Grand Award
winner in the
recent contest conducted by the Ke-
nosha (Wise.) Movie and Slide Club,
ACL, was Of Mice and Little Boys, by
Charles Found. Other winners in the
16mm. division were My Kids, by Gene
Arneson, ACL, second, and Box Cam-
era Shutterbug, by Louis Troestler, ACL,
third.

In the 8mm. division the winners
were You Can't Win, by Shirley and
Larry Jornt, first; The Big Horns, by
Eldon Voelz, second, and Kenosha's
Parks, by Dr. J. P. Graves, ACL, third.
Awards were made and the films
screened at the club's annual show on
April 8.

Kansas City Winners of the re-
cent 8mm. contest
held by the 8-16 Home Movie Makers,
ACL, of Kansas City, Mo., were Octo-
ber Holiday, by Mr. and Mrs. Ralph
Emslie; Amateur Hobby, by Mr. and
Mrs. H. L. Perrine, and A Freight
Train Wreck, by P. E. Werrell, in that
order. Congratulations to all the win-
ners!

Highlighting the club's annual ban-
quet on March 23 was a screening of

The Top of the Ten Best, ACL's new
feature program. One of the season's
outstanding social events, the banquet
was attended by well over a hundred
persons, all of whom, it was reported,
enjoyed a superb evening of entertain-
ment and good cheer.

Bergen County interior filming

was the subject
of the April 6 meeting of the. Amateur
Movie Society of Bergen County, ACL,
in New Jersey. Among the films shown
to illustrate the results of good and
careful lighting were Serenade to a
Maid, a club production; Hands Around
the Clock, by William Messner, ACL,
a Ten Best film of 1950, and Maxine's
Big Moment, a 1948 Ten Best winner,
also by Mr. Messner.

L. A. EiqhtS Winners of the annual
shortie contest con-
ducted by the Los Angeles 8mm. Club,
ACL, were Two Thin Dimes, by Merle
Williams, first; March of TV, by
Charles Coleman, ACL, second, and
You See, It Happened Like This, by
Frances Field, third. Judges for this
eagerly awaited yearly event were John
Shoemaker, from the Burbank Movie
Makers, and Jack Lloyd, ACL, and
Wendell Weethee, of the Long Beach
Cinema Club.

Omaha Oscars The Omaha Movie

C 1 u b , A C L ,

awarded its 1952 Oscars to Carroll

Swindler, ACL, for Cypress Gardens

(16mm.) and to Mrs. Ralph Bremer,
ACL, for Benedictine Monastery

(8mm.). Runners-up in the 16mm. class
were Navahopi Land, by John J.
Kretschmar, second ; Minneapolis
Aquatennial, by Myron Jacoby, ACL,
third, and Under Three Crowns, by

Erma Niedermeyer. ACL

WTMJ-TV, Milwaukee's television station, in-
terviews Harold Sonneman in support of April
gala by Amateur Movie Society of Milwaukee.

Lyle McBride, ACL, fourth. And in the
8mm. class there were A Birthday
Party, by Richard Orr, second; Two
Bums on a Bike, by Ralph Peterson,
ACL, third, and Girl Scouts, by Lulu
Finch, fourth.

Hamilton Officers for 1953 for the
Hamilton (Ontario) Ama-
teur Movie Makers, ACL, will be M.
Mill, president; G. Robinson, ACL,
vicepresident and program chairman;
R. Trouten, ACL, secretary; R. Til-
bury, ACL, assistant secretary; Mrs. R.
Britton, treasurer; W. J. Hill, ACL,
contest chairman; W. Mason, member-
ship, and H. Yates, ACL, publicity.

Richmond ^he Richmond (Calif.)
Movie Camera Club,
ACL, recently elected Don Hitchcox,
ACL, as their president for the new
season. Serving with Mr. Hitchcox will
be John Geiger, vicepresident; Mary
Sisler and Edna Hunting, ACL, secre-
taries, and Robert Buckett, ACL,' treas-
urer. Additions to the club's board of
directors were James Viramontes, Ar-
thur Smith, and Richard Sisler.

Following the installation of the of-
ficers, which was arranged by Eric
Unmack of the Westwood Movie Club
in San Francisco, members were treated
to a program of films by Donovan
Smith, ACL, of the Bay Empire 8mm.
Movie Club, ACL, also in San Fran-

Dallas award The Dallas 8mm-

Club, ACL, pre-
sented its Marlow Trophy to Orin
Switzer, whose two entries placed first
and second in the club's 1952 contest.
Presentation was made by Joe Gallo-
way, who has won the award for the
past two years.

Argentina The Cine Club Argen-
tino, ACL, headquar-
tered in Buenos Aires, held its 10th
amateur film contest recently with the
following results. In the story classifica-
tion, Muchos Dias . . . y Muchos
Noches, by the Beccaglia brothers, was
awarded second prize, no first or third
awards being made. Evocation, by En-
rique J. Bouchard, won third place in
the fantasy class, with no first or second
awards.

The documentary division had no
first award, but Estempas Ibericas, by
Cavaldo C. Vacca, won second place,
with Ciudad de la Paz, by Eduardo
Douglas Di Fiore, ACL, third. This last

MOVIE MAKERS

137

Where to see

THE TOP OF THE TEN BEST

Dale

Sponsor

Tickers and information

May 15

Golden Gate Cinematographers,

A. Theo Roth

San Francisco, Calif.

140 Paraiso Place

San Francisco 16, Calif.

May 22

Indianapolis Amateur Movie Club

Walter R. St. Clair
3542 Guilford Avenue
Indianapolis 5, Ind.

May 27

Kenosha Movie and Slide Club

Timothy Lawler
7420— 25th Avenue
Kenosha, Wise.

June 1

Los Angeles Cinema Club

Charles J. Ross

3580 Griffith Park Blvd.

Los Angeles 27, Calif.

June 9

Color Camera Club, Waterloo, Iowa

Harold M. Thompson
Box 26
Waterloo, Iowa

June 15

Central Texas Camera Club,

Dr. Ira F. Kerwood

McGregor, Texas

405 Third
McGregor, Texas

Where to see the

JUNIOR TOP OF THE TEN BEST

Date

Sponsor

Tickets and Information

May 20

Fox Valley Movie Club, Elgin, III.

George Underhill
164 DuPage Street
Elgin, III.

June 4

Waukegan Camera Club

Neal S. Braithwaite
1421 Ridgeland Avenue
Waukegan, III.

June 10

Rhode Island Movie Club

Reuel W. Libby, Jr.
66 Lawnacre Drive
Cranston 10, R. 1.

June 16

Minneapolis Cine Club

Albert E. Roser

4246 Upton Ave., South

Minneapolis 10, Minn.

named film recently received an Hon-
orable Mention with the Ten Best Films
of 1952 in the ACL competition.

Westchester Good news for resi-

dents of New York's
Westchester County! The Westchester
Cine Club, ACL, has recently been
formed and has extended an invitation
to all movie makers to visit them. The
club meets on the second and fourth
Wednesdays of each month at the
White Plains Public Library. After
June 1, meetings will be held at the
Westchester County Center.

If you would like further details
about the club and its many activities,

John J. Lloyd, ACL

write to Virginia Bishop, 70 Leicester
Street, Port Chester, N. Y., or to David
D. Bulkley, 1825-C Palmer Avenue,
Larchmont, N. Y.

AMPC St. Louis At the regular
meeting of the
Amateur Motion Picture Society of St.
Louis, held on April 10 at the city's
Roosevelt Hotel, members saw a film on
Light Control Through Polarization,
produced by the Polaroid Corporation
to illustrate the use of polaroid filters.
Supplementing this instructional film
was a screening of Canadian Holiday,
by Elmer Moeller, which was filmed en-
tirely with a polarizing screen. This

OVER ONE HUNDRED attended recent banquet and screening staged in Hollywood by Southern
California Association of Amateur Movie Clubs. Each unit presented one picture on the program.

novel experiment should give the club
members much to discuss, pro and con,
concerning this technique.

Fox Valley ^he Fox Valley Movie
Club, ACL, of Elgin,
111., has announced the winners of its
1952 annual contest. In the 8mm. divi-
sion, they were James Nelson with The
Agonized Angler, first prize, and Albert
Rogers with Drifting Along, second
prize. The 16mm. winners were A Day
at the Zoo, by James Knights, first, and
Zoologically Speaking, by Irvin Honel,
second.

Try synchro-tach

[Continued from page 128]

second. (Other figures, for reference,
are 2160 rpm at 18 fps, 2400 rpm at
20 fps, and 2650 rpm at 22 fps, which
latter proved to be the maximum speed
of my projector.)

After a little practice with this setup,
you will find it quite easy to keep your
projector running at a fixed and pre-
selected speed — say the 2000 rpm ver-
sion of 16 fps already cited. Before use,
of course, the machine should be
warmed up thoroughly — and by that I
mean for as much as ten minutes. At the
end of that period, set the rheostat so
the tachometer shows exactly 2000 rpm.
If a recording is now made in syn-
chrony with a tape recorder, you will
find that the projector speed can be
held, with only the slightest adjust-
ment, at the desired rate.

The setup seen in Fig. 1, however,
may strike some craftsmen as impro-
vised and not so refined in design as
they might wish. It was not long, in
fact, before it impressed me that way —
so that the de luxe version shown in
Figs. 2 and 3 was the result. Not only
is it more professional looking; but by
virtue of its mobility it makes for great-
er freedom and comfort in your control
of the projector.

Here again the costs were quite rea-
sonable. I housed the unit in the stand-
ard 3 inch meter cabinet which sells at
your radio parts store for about $.93.
Once more the tachometer was held by
a hose or pipe clamp screwed to a cor-
ner bracket, which was fastened in turn
to the side of the steel cabinet. The top
of the cabinet was drilled out to take
a standard Amphenol AC socket, in
which is mounted for convenience a five-
and-dime-store pilot light (see Fig. 2).

Also shown clearly in Fig. 2 is the
installation on the right side of the
cabinet of a rheostat, as indicated by
the l-to-15 switch plate and the pointer
control knob — all standard radio items.
This rheostat should be an exact dupli-
cate of the one in your projector, and
as such it is best ordered from the manu-
facturer of that machine. Or, if you
know how to, you can remove the orig-

I

138

MAY 1953

THE THIRD D

HOLLYWOOD, in its first flush of enthusiasm
for three-dimensional (and/or wide-screen)
motion pictures, has hailed them as the indus-
try's savior from television — if not, indeed, from its
own banalities.

Could be. The crowds do still queue up before any
movie marquee which flashes the magic symbol t(3-D!"
Broadway still is packing them in at Cinerama, the
archetype of the wide-screen system; and, our agent
informs us, the same situation obtains in Detroit —
where Cinerama had recently its second flowering.
Could be . . .

However, like our author in this issue (see Stereo
Movies — Novelty or Nonpareil?) , we are inclined to
doubt it. To begin with, either system (3-D or wide-
screen) carries with it a massive accumulation of
technical difficulties — first in production, again in
exhibition. To be sure, it is reasonably safe to assume
that Hollywood, with its unparalleled know-how,
will solve these difficulties in time. But having solved

them, is it also safe to assume that Hollywood will
say anything with its new and impressive technology?
Anything, that is, essentially fresh and cinematic.
They haven't so far. Instead they have thrown spears
at us — or taken us for rides on a roller coaster.

We are moved to these musings by the approaching
imminence of ACL's Ten Best competition for 1953.
For in the months since our last contest, the tools for
making stereo movies (in two technically effective
forms) have been placed within reach of the ama-
teur filmer. It now remains to be seen what, if any-
thing, he will do with them.

As far as ACL is concerned, 3-D movies are as
welcome to compete in the Ten Best contest as are
2-D, or color, or monochrome, or sound, or silent
productions. But each, in its own medium, must first,
last and always be essentially a movie. Throwing
spears at our judges will be regarded not only as in
bad taste. It also will impress us as rather silly — and
will be marked off accordingly.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresidenl

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 17, N. Y.. U. S. A.

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
John V. Hansen

James W. Moore, Managing Director
George Merz
Stephen F. Voorhees
Roy C. Wilcox

inal from your projector and hook up a
special lead.

However, if you decide (as I did) to
leave the speed control in your projec-
tor, you can wire a control cord into
your machine as is indicated in Fig. 3.
A three-conductor cable must be used,
with one line for the rheostat and two
for the pilot light. The rheostat cord
ends in an Amphenol three-pole polar-
ized cable socket, while a three-pole
polarized plug is installed in the cabi-
net. This can be either the flush-mount
type shown, or a below-surface shell
can be used. But in so small a cabinet
I think the plug used here is best suited
for the job.

The circuits called for by these ar-
rangements are essentially simple. That
for the cabinet is diagramed in Fig. 4.
The modified wiring for your projector
is plotted in Fig. 5.

Finally, in finishing off the cabinet, it
should be equipped with four rubber
feet and a back should be provided out
of cardboard or flocked radio-grille
screening. From this rear side extends
the flexible drive shaft — now of the cov-
ered type used in auto radios — which
is connected to the projector via a spe-
cially-cut plate with a welded-on nut.

In operation, the only difficulty in

using this unit to create synchrony be-
tween your recorder and projector will
be found in starting both of these instru-
ments simultaneously. Ideally, a master
switch which controls the power feed to
both machines should do it — if the oper-
ating controls have been left in the "On"
position. Practically, however, this does
not work out well. With my Pentron
two-speed recorder, for example, when
all the controls were set on "Record"
and I threw the master switch, the re-
corder motor did not have the power
to start pulling tape instantly. It is
only from the idling position that the
recorder can move the tape immediately
after the motor is engaged.

Since the projector will start easily at
any time, it seemed clear that the re-
corder would have to be regarded as
the leader in any synchronized-start
arrangement. With this in mind, I in-
stalled a micro-switch (again see your
radio parts store) on the frame of the
recorder in such a position that it would
be actuated by any slight shifting of the
recorder's teeter bar. To make possible
this physical contact, two small angle
brackets are attached to the teeter bar
and the switch is positioned by trial
and error until there is only a split sec-
ond of lag between movement of the

tape and the closing of the switch.

Here's how you do it. Fasten the switch
into position, but only loosely. Then run
some wire from it to a hookup with an
ordinary electric bulb. But do not for-
get: of the two wires from your live out-
let, one goes directly to the bulb, the
other into the micro-switch and then on
to the bulb. Now start your recorder and
watch the tape and bulb. The bulb
should seem to light in almost the exact
instant that the tape starts moving. If it
does not do so at first, make test adjust-
ments of the position of the switch or
the angle brackets on the teeter bar un-
til you achieve the desired timing.

There are many ways, of course, of
hooking your projector to this switch
control. For example, you could install
in the recorder case an Amphenol stand-
ard AC socket with a below-surface
mount, and then splice into the record-
er's 110 volt AC line or take it off the
AC input terminals. But here again re-
member: one live wire goes to the
micro-switch, one goes to the socket,
and the last connection is socket to
switch again.

From here on in, follow your estab-
lished recording procedures. The Syn-
chro-Tach unit will keep your projector
in accurate step with your tape recorder.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

l_The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

MAKING

EXTRA-NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name

Street.

City_

| Zor

.State-

Behind the scenes

• •

HAVEN 1RECKER,ACL

WASHINGTON, D. C.-The newest
development in sound movie making
took the spotlight this year when the
"Top of the Ten Best" films were pre-
miered by the Washington Society of
Cinematographers before an enthusi-
astic audience in the nation's capital.

With the
introduction
of magnetic
sound on film
last year by
Bell & How-
ell, the pro-
duction of
amateur
movies with
sound was made easy and inexpen-
sive ... as demonstrated by this show-
ing of Maxim Award-winning films.

Haven Trecker, whose sound film,
"Bulbs and Beauty," was chosen by
the Amateur Cinema League as one
of the ten best for 1952, has called this
development in sound "... one of the
biggest thrills of home movie making."
This year, all ten films were sound-
striped* at the Bell & Howell labora-
tories. Then each winner recorded his
sound with a Filmosound 202. Simple
controls make it possible to reverse
the film and erase recording errors as
often as necessary. Projection of the
film with sound can be made immedi-
ately after recording is completed.

Bell & Howell is proud to have had
a part once again in the successes en-
joyed by all ten winners.

For any movie maker— beginner or
advanced amateur— there is Bell &
Howell equipment to fit your purse
and purpose. It's the choice of ama-
teurs and professionals the world
over.

For more information about this
fine equipment, see your author-
ized Bell & Howell dealer, or call
Western Union Operator 25.

of this year's world premiere of
the ^Top of the Ten Best" films!

"BULBS AND BEAUTY," Haven Trecker's
award-winning sound film, presents the Mo-
mence, Illinois, Gladiolus Festival in all its
gorgeous color. Sound was added after the
processed film had been soundstriped at the
Bell & Howell laboratories.

*SOUNDSTRIPE is the iron oxide sound
track that can be applied to any 16mm film,
both single- and double-perforated. Even op-
tical sound films can have soundstripe added
without harming the original optical track.
Filmosound 202 . . . from $699.

JjGII & HOWCll ma^es it f JUL to make

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THE MAGAZINE FOR

I

I

• ■**-.

mm. FILMER

MIXING ON TAPE • FILM FOR RED FEATHER • ACL ANNUAL MUTING

the HIRAM PERCY MAXIM AWARD or
PLACE IN THE TEN BEST CONTEST

The AMATEUR CINEMA LEAGUE invites you onee
again, as it has done every year since 1930, to submit
your movie making efforts in the oldest, most honored
contest in the world of personal filming — the ACL
selections of Ten Best Amateur Films of the year and
the Hiram Percy Maxim Award. The contest is open
to amateurs anywhere in the world, using 8mm. or
16mm. film, black and white or color, silent or sound,
in short or long reels and on any subject.

The Ten Best selections are made by the officers and
trained staff of the Amateur Cinema League, men
who see more than a quarter million feet of film
each year. The selection is not limited to League
members — any amateur firmer, anywhere, may com-
pete. What the judges seek first is sincerity — sincerity
of camera work, film planning, editing, titling, and,
above all, creative movie imagination. Any fine film
can win ... it may be your film!

THE MAXIM MEMORIAL AWARD, established
in 1937 in honor of the League's Founder Presi-
dent, has become by international acclaim the
most treasured trophy in the world of amateur
movies. A cash prize of $100.00 and a miniature
silvered replica of the Memorial is given annually
to the one amateur whose film is judged the best
of the Ten Best. In its sixteen year history, the
Maxim Memorial Award has been won by films of
every type — 8mm. and 16mm., long and short, si-
lent and sound, factual and story. This year it
may be won by your film.

ALL AMATEURS honored in the Ten Best com-
petition will receive a distinctive ACL Award
Leader, animated and in full color, as well as a
handsome, hand-lettered ACL Award Certificate in
recognition of their outstanding efforts.

SEND IN YOUR FILMS NOW

It is not too early to send your films in for judg-
ing. The contest closes October 15, 1953. Send the
entry blank below for each film you submit to:

AMATEUR CINEMA LEAGUE

420 Lexington Avenue New York 17, N. Y.

Send the Entry Blank below (or a copy of it) via 1st class
mail for each film that you submit.

I, , certify that

(name)
I have read the rules governing the ACL selection
of the Ten Best Amateur Films of 1953 and the
Hiram Percy Maxim Award and that my entry is
in full compliance with these rules.

□ Please return via Express Collect.

□ Enclosed is $ for return via

Name of Film-

Camera usecL
I
I Signature

!__ — __-

Date.

RULES GOVERNING THE ACL SELECTION OF THE TEN BEST FILMS
of 1953 AND THE HIRAM PERCY MAXIM AWARD

States because of trademark regulations
governing this product.

1. The ACL Ten Best competition is open
to amateur filmers everywhere in the
world. Films eligible to compete may be
produced on 8mm. or 16mm. stock, black
and white or color, silent or sound, 2-D
or stereo, and may be on original or
duplicate stock.

However, no film will be eligible for
which the maker has received payment
or rental, or for which he will receive
payment or rental prior to Dec. 1, 1953.
Prizes won in other amateur film con-
tests are not regarded by ACL as pay-
ments.

2. An official entry blank at left lor copy
of it) must be forwarded by first class
mail to cover each film submitted. The
films themselves may be forwarded as
the contestant elects, at his expense.
Entries will be returned by the ACL at
the expense of the contestant via the
transportation he requests.

3. Film entries from outside of the United
States must, because of American cus-
toms rulings, be made on film stock
originally manufactured in the United
States. Such entries should be forwarded
by parcel post I do not enclose written
matter) — not express — and must be
valued at less than $100. U. S. funds.

Entries from outside of the United
States which fail to comply with one or
both of these provisions will not be
cleared through customs by the ACL.

4. Phono records (78 or 33 rpm only),
of music, sound effects or narrative,
may accompany films. But start marks,
the order of playing, change-over cues
and desired projector speed should be
clearly indicated on a score sheet. Type-
written narrative to be read during pro-
jection also may be submitted if desired.
Both score sheet and narrative must be
sent by first class mail.

No phonograph records of any kind can
be received from outside of the United

Magnetic recordings, either on film,
tape or wire, also may accompany films;
but their reproduction will depend on
our ability to secure correct playback
facilities. Please indicate desired run-
ning speed where necessary.

5. No competitor will be permitted to
present his sound accompaniment per-
sonally at ACL headquarters nor may he
be present in the League's projection
room during the competitive screening
of his film.

6. The number of films honored in the
competition will include the ten selected
as the Ten Best Amateur Films of 1953;
an undetermined number of films which,
in the opinion of the judges, merit Hon-
orable Mention, and the winner of the
Hiram Percy Maxim Award, which is
chosen from among the Ten Best films.

7. Every film honored in the competition
will receive an ACL Award leader in full
color and an ACL Award Certificate
signifying the honor which it has won.

8. Selection of the ACL Award winners
will be made by the officers and head-
quarters staff of ACL. Their decisions
will be final and the judges cannot un-
dertake to discuss entries comparatively
with the contestants.

The ACL reserves the right to dupli-
cate at its expense any film (either in
whole or in major part) entered in the
contest, for non-profit distribution or
screening by ACL as ACL shall see fit.

9. No officer or director of the Amateur
Cinema League and no staff member of
the League or of MOVIE MAKERS is
eligible to compete in the contest.

10. October 15, 1953, is the closing dead-
line for the competition. All entries must
reach the office of the Amateur Cinema
League, 420 Lexington Avenue, New
York 17. N. Y., on or before that date.
Award winners will be announced in the
December number of MOVIE MAKERS.

— *

JIW

18 13 Bl 421434

MOVIE MAKERS

143

uality runs in this family

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JjGII 6-riOWCll makes it fun to make movies

144

Utah M„-i

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regardless of location problems.

Think of the possibilities. Cover sports events, trips to
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wherever SOUND is heard you can produce "SOUND"
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may be obtained by regulating converter to 60 cycle out-
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Address-
City_

JUNE 1953

State-

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

June

1953

The reader writes

146

Closeups

What filmers are doing 148

He knew what he wanted

William Howe 150

Pacific paradise

Leo Ca/o/'a 152

ACL annual meeting

153

Be a good mixer— on tape!

Denis M. Neale 154

New rules for your lenses

Jack Pulliam, ACL 155

Make a film for Red Feather!

Haven Trecker, ACL 156

Filming the 4th

Dorothy M. Peper 157

News of the industry

Reports on products 1 58

Clubs

People, plans and programs 1 64

. . . But few are chosen

Editorial 166

Cover photograph by Elizabeth Hibbs

JAMES W. MOORE
Editor

3DLE

ANNE YOUNG
Advertising & Production

PETER D. DIBBLE
Clubs /Editor

Vol. 28, No. 6. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,.
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright, *
1953, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

JUN iS J;

MOVIE MAKERS

* J A

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Economical "drop in" spool film loading ... no
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With Vi inch F2.5 (Universal Focus) Coated Lens,
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145

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MODEL 84 TURRET CAMERA

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146

JUNE 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movm
Makers, 420 Lexington Ave., New York 17, N. Y.

DEEP APPRECIATION

Dear Sirs: Will you kindly express to
the Board of Directors my deep appre-
ciation of the resolution adopted recog-
nizing me as an officer of the League
and, moreover, electing me an Honor-
ary Life Member.

I shall always remember my League
service with pleasure, and I am glad
that my future connection is assured.

Stephen F. Voorhees, FACL
New York City

TTB IN CHICAGO

Dear Mr. Moore: The Top of the Ten
Best was all you said it was! Congratu-
lations on your choice of such varied
pictures to make up this program. And
please accept the sincere thanks and
appreciation of the Associated Amateur
Cinema Clubs for coming to Chicago to
present ACL's great show in person.

Alice A. Koch
Chairman
6th Annual Convention
Associated Amateur Cinema Clubs
Chicago, 111.

Dear Mr. Moore: As I told you at the
TTB screening, I think your prize-win-
ning film package is terrific! I'm sure
that it is going to do a great deal of
good for ACL.

Margaret Ostrom
Director of Advertising
Bell & Howell Company
Chicago, 111.

Dear Mr. Moore: I want to tell you
again how much I enjoyed your wonder-
ful Top of the Ten Best program. Your
board of judges certainly is to be con-
gratulated on their selections. To see
amateurs achieve such professional
heights was inspiring.

Lois Myles
Editor
Panorama

Bell & Howell Company
Chicago, 111.

TTB IN LOS ANGELES

Dear Mr. Dibble: Everyone on the
West Coast who saw the Top of the Ten
Best is raving about the show! The
members of the Los Angeles 8mm. Club,
ACL, are especially thrilled to have
been the club to premiere this wonderful

program. We are grateful to ACL for
preparing this outstanding feature film.
Merle Williams
Secretary
Los Angeles 8mm. Club, ACL
Los Angeles, Calif.

Dear Mr. Moore : Well, I saw the Top
of the Ten Best two weeks ago, present-
ed here in our new County Recreation
Hall. The show was presented very well
and was equally well received.

Duck Soup is a grand picture, while
Birds of Washington and Muntre Stre-
ker are outstanding too. Having seen
the TTB pictures, I am now most anx-
ious for our own members to see them
too.

Charles J. Ross, ACL
Los Angeles Cinema Club
Los Angeles, Calif.

TTB IN SAN FRANCISCO

Dear ACL: Last night, presented under
the sponsorship of the Golden Gate
Cinematographers, ACL, I saw here in
San Francisco the premiere of ACL's
new Top of the Ten Best film program.
The presentation of these movies was
wonderful, and I would like to take this
opportunity of thanking the League for
preparing this outstanding cross section
of amateur film endeavor.

Harvey B. Woodworth, Jr., ACL
San Francisco, Calif.

With the majority of amateur movie
clubs recessed during the summer, attrac-
tive booking dates are now available dur-
ing the months of July and August for
both the senior and junior Top of the Ten
Best screen programs.

Individual ACL members are invited
to book these shows (running 90 and 45
minutes, respectively) for screenings at
home or before their friends in club,
school or church groups. Also, ACL's
Top of the Ten Best would provide rich
and rewarding entertainment for shut-ins
at your local hospital, orphanage or old
folks home.

The League will be glad to aid any
member in securing a Bell & Howell 202
magnetic sound projector on loan — if that
equipment is needed for your screening.

BEST FRIENDS OF FILMERS

Dear ACL: The winter season is over in
Miami, and the snow birds are on
their way north again — meaning George
Mesaros, FACL, and his wonderful wife
Katie, both the best friends that filmers
ever had.

Mr. Mesaros has been a great help
both to our club and to our members
personally. He has worked on all our
programs, helping to arrange and set
up the meetings, editing films for days

on end, putting on background music
and the countless other things which
have to be done to keep a club rolling.
Cole Musilek, ACL
President
Miami Movie Makers Club, ACL
Miami, Fla.

TEN BEST AT THE ROYAL

Gentlemen: I have recently had the
pleasure of seeing a selection of your
Ten Best amateur films at a centenary
meeting of our Royal Photographic So-
ciety, and although I have seen a great
many amateur films made in this coun-
try— including our own "Ten Best" — I
have seldom seen anything to equal The
Gannets and In Fancy Free.

I was, in fact, so impressed by their
excellence that I should, if eligible, very
much like to become a member of the
Amateur Cinema League. I may men-
tion that I am a member of the Royal
Photographic Society and of the Insti-
tute of Amateur Cinematographers over
here and have been filming in 16mm.
for the past twenty years.

G. Maurice Wells
Orpington, England

The screening referred to by Mr. Wells
is one of several sponsored by the Kine-
matograph Section of the Royal Photo-
graphic Society of Great Britain, as part
of the centenary celebrations marking the
hundredth anniversary of the Society.

The ACL, which sent from its Club
Film Library Maxim Award winners In
Fancy Free and The Gannets, together
with Ten Best winner Menemsha, is
proud to have taken part in honoring this
venerable and distinguished photographic
society.

BACK COPIES OFFERED

Dear ACL: From time to time you have
published requests for back copies of
Movie Makers.

Since I have copied items in which 1
am interested on 16mm. positive film for
future reference, I have a number of back
issues in mint condition. I will gladly
pass them on to any group interested in
them. The charge? Shipping costs only.
Charles J. Kirby, ACL
160 West Avenue
Spencerport, N. Y.

FILMING IN FLORIDA

Dear ACL: I would truly welcome hear-
ing from the ACLers who live in Florida
and who might not object to a visit when
we spend five weeks there this sum-
mer, from June 29 to August 2. I am
especially anxious to hear from those
who might suggest to me movie making
ideas or subjects which will make my
film more interesting.

Haven Trecker, ACL
670 Enos Avenue
Kankakee, 111.

MOVIE MAKERS

147

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148

JUNE 1953

CloseupS— What filmers are doing

H^'^edE

For perfect COLOR
slides and movies

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THE NEW

There are many movie makers, we are
sure, who have made films in which
they attempt to interpret their home
town to others. But we do doubt that
there are many who have received the
official thanks of their city's govern-
ment for such efforts.

Well, Dr. Henry J. Sealey, ACL, is
one who has, and furthermore he has
a piece of official paper to prove it.

"Whereas," this document where-ases,
"Dr. H. J. Sealey, in pursuing his hobby
as an amateur motion picture photog-
rapher, has produced a motion picture
of Dumont, N. J., entitled My Town;
and Whereas the film, in addition to
showing great technical skill, also de-
picts Dumont in full and beautiful col-
or, enabling residents to see their home
town as if through the eyes of others;

"Be it resolved by the Mayor and
Council of the Borough of Dumont,
N. J., that the said Mayor and Council,
on behalf of the people of Dumont,
extend to Dr. Sealey the highest com-
mendation possible."

My Town, says Dr. Sealey, already
has been seen by nearly 1500 persons,
and it's still going strong.

On a somewhat more international
scale, amateur still photographers are
now being invited to interpret the coun-
try they live in under the aegis of
Americas, an attractive monthly maga-
zine published by the Pan-American
Union, in Washington, D. C.

The contest, it says here, is open to
all amateur photographers in the mem-
ber countries of the Organization of
American States. The best entry from
each of these twenty one American Re-
publics will receive a prize of $25, and
there is a grand prize of $75 for the
best in show.

For your entry blank and further
data on this provocative competition,
address: Photo Contest Editor, Amer-
icas, Pan-American Union, Washington
6, D. C.

hattan are looking for an experienced
bank teller, one who speaks both Span-
ish and English fluently, Chavarria
should be your man.

For some time, now, we have wanted
to bring you the story of David Bradley
— how an able, imaginative and, above
all, determined amateur movie maker
kept hammering away at Hollywood un-
til the jealously guarded gates were
opened to him.

But, always, there was the problem of
who you could get to cover such a
fabulous saga. You don't ask the guy
himself to write of his adventures: for
told truly they would sound unbearably
egotistic and boasting. And, from the
other Bradley stories we have read, all
emanating from Hollywood drum beat-
ers, you don't ask a press agent either.
For they give you, with all stops out, the
"Boy Wonder" angle, the seemingly in-
evitable comparison with Orson Welles
and the fact (for what it's worth) that
Dave Bradley, in his amateur produc-
tion of Peer Gynt, more or less discov-
ered Charlton Heston.

Then we thought of Bill Howe. An
Angeleno for years and a graduate of
UCLA, Bill knew something of the
film colony and its ways with the un-
orthodox. But even more important, Bill
had worked for some four years on the
League's staff as head of consulting.
Then he had left us, gone back to the
Coast and in due course became a
teacher of English in a high school out-
side of Hollywood.

So we wrote Bill, and we wrote Dave,
and eventually the two got together.
Of their meeting, Bill has written us:
"I spent a very pleasant evening with
Dave last week, had a private screening
of Caesar, and the enclosed (He Knew
What He Wanted) is the result. I
thought I'd do him the honor of writing
one article about him in which Orson
Welles and the 'Boy Wonder' angle are
dropped. For he's a big boy now!"

GENERAL m ELECTRIC

Speaking of Pan-America, a welcome
and friendly visitor to ACL headquar-
ters of late has been Alvaro Chavarria,
ACL, of San Jose, the capital of Costa
Rica.

Without checking the files, we would
say that we have been corresponding
with Senor Chavarria for a good ten
years now. And always his letters have
been full of longing to come to New
York, enroll in a good school of pho-
tography, and learn more and still more
about movie making.

So now he has made the break: given
up his position as a bank teller in San
Jose and moved boldly to New York
City for a year of study. In the mean-
time, if any of you people around Man-

DAVID BRADLEY, with a characteristic lack
of side for a big league director, discusses a
coming scene with Billy Graham, MGM starlet.

MOVIE MAKERS

149

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Take plenty of Ansco Color, this year, and see how professional
your color movies can look. You'll find Ansco Color Film at
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100-foot 16mm rolls.

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For brighter, sharper

black-and-white movies

get

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In 8 and 16mm Magazines
and Rolls

Ask for ANSCO Natural COLOR FILM

150

HE KNEW WHAT HE WANTED

Ibsen, Dickens, Shakespeare and Saki were his screen-
writers, as David Bradley, now ex-amateur, plotted
a deliberate and determined course to Hollywood

prestige usually reserved for the big-budget
boys. His taut production of Julius Caesar
is probably the first feature-length 16mm.
print ever to be booked by a group of major
theatres in this country.

WILLIAM HOWE

SELDOM has any motion picture director charted his
career with the acumen and vision of David Bradley,
a graduate magna cum laude from the 16mm. school
to full professional honors. By planning his own life with
the blueprint precision he employs to block out a movie
sequence, he has chalked up an enviable record of hits
rather than hits and misses.

THE ASPIRING AMATEUR
Bradley's career is unique: he is that rare individual
who knew what he wanted and, what is more unusual,
knew how to get it. There seems to have been no question
in his mind but that ultimately he would win his wings
as a major picture maker. The aspiring amateur can take
heart from the success of this bright new talent; for Brad-
ley's efforts and acclaim have endowed 16mm. with a

Photographs by Bradley Productions

CHARLTON HESTON, in his 1941 role before Bradley's camera as
Peer Gynt, may play artist Gauguin in friend's current Noa Noa.

GETTENG STARTED
The complexities of superior cinematics
were never questioned by Bradley. He realized that few
professions are so demanding and exacting as that of big
league picture directing. To reach the higher rungs of
major studio megaphoning you must be both diplomat
and despot, artist and artisan, creator and interpreter.

But how does one acquire the skills and scope that Hol-
lywood demands of its ringleaders? Although the doctor
and lawyer can count on schools for the better part of
their training, the qualities required of an ace director
are so diversified it is doubtful whether the most adept
instructor could convey them by lectures or demonstra-
tion. True, there are creditable courses in cinematography
and drama throughout the world. Yet the sum of all the
parts does not necessarily equal the whole in the difficult
business of movie directing.

Where, then, does the aspiring picture director learn
his trade? Probing the careers of Hollywood's ranking
directors uncovers no common denominator: Billy Wil-
der is an ex-screenwriter; Vincent Minelli, a former mus-
ical director, and John Huston, a reformed vagabond and
cavalryman. Some were cutters, dance directors, actors,
radio scripters, producers, cameramen, stunt men, eVen
real estate agents. The sound stages supply no answer.

LEARNING BY DOING

How Bradley groomed himself for his phenomenal
splash is a lesson in cool, clear thinking. When he out-
grew puppets, which were the first outlet for his dramatic
drive, he turned his efforts at the age of twelve to mak-
ing movies. Recruiting his cast and staff from school-
mates, he set about to learn his craft from the tripod up.
From the first he put the credo of the progressive schools
he attended into practice and began to "learn by doing."

The stories he filmed were selected mainly for their
cinaptitude. Yet the happenstance of an intriguing charac-
ter face (which suggested the production of a particular

Brandon Films

DAVID BRADLEY, above at N. Y. premiere of Julius Caesar and
at left as the play's Brutus, is able actor, director, cameraman.

151

Saki story), or the photographic possibilities of a ready-
made location and period building (such as those used
in Caesar and Macbeth) often influenced Bradley in his
choice of material. By 1946 he had reeled up provocative
film adaptations of classics like Oliver Twist, Peer Gynt,
Shredni Vashtar and a polished Macbeth. He recalls even
now that the inclusion of Peer Gynt (1941) and Macbeth
(1947) among ACL's Ten Best was a special encourage-
ment during that period.

Although an,Army service stint overseas between these
two dates halted Bradley Productions for several years, it
did not halt Bradley. Long-range correspondence kept
him in touch with the scattered servicemen with whom he
was planning to film Macbeth. While other GI's scoured
the mails for homemade treats and mash notes, the dis-
placed film maker's letters bulged with script changes and
details of medieval Scottish dress.

BACK IN BUSINESS

Within a few months after his return to the homefront,
Bradley was back in business. For Macbeth, as with his
earlier films, the production costs were next to nil : thanks
to his own canny corner-cutting and the allegiance of his
friends, the only major outlays were for film and cos-
tumes. Bradley is proud of his economic shrewdness and
was highly indignant when the theatrical daily Variety
referred to his "$60,000 version" of Julius Caesar. Though
$15,000 has been spent on the film to date, he is quick
to inform you that the actual production expense was a
scant $10,000; the $5000 difference was thrown into hap-
hazard distribution.

As a result of this exercise in parsimony, Bradley says
he still thinks like a producer and boss, with one eye on
the cash register and one eye on the camera. The mul-
tiple demands of being his own scriptwriter, cameraman
and cutter have made him a master of all the trades that
contribute to finished filming. His facility in the many
tributary fields of picture making enables him to express
the artistry of his own ideas with the artisanship of his
own hands. Few old-guard directors realize the resources
of their medium so well.

CAESAR OPENS DOOR

Screenings of Julius Caesar — which opened last year at
New York's Baronet Theatre — have prompted flattering
comments from both the press and fellow craftsmen in
key cities throughout the country. The big town dailies
were exceptionally liberal in their use of adjectives like
"fresh, intense, ambitious" (New York Herald Tribune),
"smooth, ingenious, tasteful" (New York Times), "im-
aginative, earnest" (New York Post) , "amazing ... at
times inspired" (New York Daily Mirror). The trade
journals have compared Bradley favorably with Eisen-
stein and other trailblazers. And what was to have been
a modest screening of the film at the Coronet Theatre in
Hollywood attracted such curious nabobs as Dore Schary,
Fritz Lang, Fred Zinneman, Norman Corwin and the late
John Garfield, all of whom expressed their heartiest ap-
probation of the movie.

How thoroughly Bradley had learned his trade was ap-
parent to Dore Schary by the time "the noblest Roman of
them all" had fallen on his sword. The Metro mogul lost
no time in signing the young director to a crisp contract;
but, true to film capital tradition, it was nearly two years
before he was assigned to anything more stimulating than
"cadeting" with the established directors and assisting
on the stages where Go for [Continued on page 161]

IN FIRST FULL JOB as an MGM director, Bradley checks a camera
setup for Talk About a Stranger with John Alton, head cameraman.

SHREDNI VASHTAR by Saki (above) and Macbeth, with Bradley in
the title role, were his pre- and post-war productions as an amateur.
For Bradley's own story on Macbeth, see MM April-May 1947.

152

PACIFIC

PARADISE

LEO CALOIA

THE South Seas! These are magic words indeed, con-
juring up visions of a tropic isle where palm-fringed
sands are caressed by lazy white breakers rolling in
from a warm, blue sea!

Well, for a vacation visit with a South Sea atmosphere,
try Santa Catalina Island this coming summer. Standing
just 27 miles south of Los Angeles harbor in the blue
Pacific, it is one of the leading tourist attractions of
Southern California. Catalina, the books tell us, was first
discovered in 1542 by the Spanish navigator Juan Rod-
riguez Cabrillo, who anchored his tiny galleons near
Avalon Bay and claimed the island for the King of Spain.
In 1919, three hundred and seventy seven years later,
Santa Catalina was re-discovered by William Wrigley jr.,
of the chewing gum family, who developed its natu-
ral scenic beauty into an all-year, South Sea paradise.

THE CHANNEL CROSSING
The Catalina Island trip is made to order for the
traveling movie maker. The Pacific Electric Catalina
Special leaves the Los Angeles Sixth and Main Street
station at 9:00 a.m., arriving at Wilmington (L.A.'s
harbor) at 10:00 a.m., where it connects with the Cata-
lina Island steamer for the channel crossing. Or, those
who wish to may drive their own car from Los Angeles
to Wilmington and then purchase tickets covering only
the steamer fare. As the steamer nears Catalina Island
and Avalon, the only town, it is met by speedboats from
the island. Prior to docking at Avalon, excellent scenes
can be made of this beautiful crescent-shaped bay from
the upper decks of the steamer, showing the anchored
fleet of pleasure craft, the Casino jutting out into the
blue water and the palm-fringed coastline. The ship
arrives at noon and the passengers are given a rousing
musical welcome by the tanned and smiling islanders.

Photographs by Leo Caloia

TRIPS AND TOURS

The various sightseeing tours about the
island are so arranged that several may be
taken before the steamer departs for the re-

GAME FISH ABOUND in the waters off Catalina Island, as at-
tested by this proud and happy pair posing with their 152 lb. catch.

turn trip at 4:00 p.m. Perhaps one of the most fascinating
trips is the glass-bottomed boat ride. The specially con-
structed boat enables the visitor to peer through a glass
bottom and see the marine and plant life on the floor
of the sea. Due to the sheltered coves and the clarity
of the water, swarms of gaily colored fish and large, leafy
undersea plants are seen easily to a depth of about twenty
feet. The boat then passes over a professional diver, who
is connected with a public address system on the boat
to explain the different fish and plant life you are seeing.
As the boat draws up alongside the diver's tender, pas-
sengers are afforded an opportunity to photograph the
diver holding some large fish or other marine curiosity.
The seal rock trip provides perfect action for movies.
Two and three quarter miles from Avalon Bay on Cata-
lina's eastern end is a stretch of rocky shore where, for
centuries, thousands of seals have congregated. The
trip, made by power launch, circles the rocks, giving
photographers ample time to take pictures of the barking
seals in their natural surroundings.

DO FLYING FISH FLY?

Another unusual attraction for which Catalina is

famous is the flying fish. "Do they really fly?" is the

inevitable tourist question. Well, the flying fish flies, but

not like a bird by flapping its [Continued on page 160]

All the color of the South Seas awaits your camera
at Catalina, two hours from Los Angeles harbor

FIRST DISCOVERED in 1542 by the Spaniard Juan Cabrillo,
Catalina now centers about the casino (see right) on Avalon Bay.

153

ACL ANNUAL MEETING

A report to our members on the 27th Annual Meeting of the Amateur Cinema League

THE election of four ACL directors,
two of them new to the board, and
the naming of one ex-director as an
Honorary Life Member of the League,
were the highlights of the 27th Annual
Meeting last month of members of the
Amateur Cinema League and of the di-
rectors' meeting which followed.

League President Joseph J. Harley,
FACL, called the members' meeting to
order at 10:15 a.m. on Saturday, May
9, 1953, at ACL headquarters. In at-
tendance, either in person or repre-
sented by proxies, were 1153 members
of the League, and it was by their ballot
that four of their fellow members were
elected to ACL's board of ten directors.
It was by the unanimous vote of that
board, at a later meeting, that Stephen
F. Voorhees, FACL, a League director
for twenty six years, was named an
Honorary Life Member of ACL, upon
his resignation from the League's gov-
erning body.

The four directors elected at the ACL
members' meeting are Fred Evans,
FACL, of Sherman Oaks, Calif. ; Roy C.
Wilcox, ACL, of Meriden, Conn. ; Harry
Groedel, ACL, of New York City, and
Harrison F. Houghton, ACL, of Hyatts-
ville, Md. Of them, the first two were
re-elected to positions on the board of
directors, while the last two are new
to that panel. Biographies of the
League's two new directors will be
found later in this report to our ACL
membership.

The annual meeting of the League's
board of directors was called to order
at 1:00 o'clock Saturday afternoon, also
by President Harley. Mr. Harley's first
act after opening the meeting was to
announce the resignation from that
board of Mr. Voorhees, and to present
in a formal resolution the board mem-

bers' keen regrets upon accepting that
resignation. This resolution, in part,
follows :

Be it resolved that the Board of
Directors hereby expresses its pro-
found appreciation of the generous
guidance, reasoned counsel and firm
• leadership contributed by Stephen
Francis Voorhees, FACL, during his
quarter century as a League director
and officer.

Be it further resolved that the
Board of Directors is acutely aware
of the important services rendered
by Mr. Voorhees, while a senior ex-
ecutive of the New York World's
Fair — 1939 and 1940, in assuring the
freedom of all amateur filmers at
this great international exposition.

Be it further resolved that the
Board of Directors, in warm grati-
tude for these memorable services to
the Amateur Cinema League, hereby
names Stephen Francis Voorhees an
Honorary Life Member of the Ama-
teur Cinema League, as authorized
by Paragraph 2, Article II of the
By-Laws of the Corporation.
This honor, shared by only one other
member of the League, was ure-eminent-
ly deserved by Mr. Voorhees. An able
and imaginative architect, he had joined
ACL in 1926 during the first half-year
of our existence. He was named to the
League's board of directors on January
5, 1927, and served on that body for
twenty-six years until his recent resigna-
tion. During that time he was the
League's vicepresident (under Founder
President Hiram Percy Maxim, FACL)
from January 21, 1927 to February 17,
1936. Following Mr. Maxim's death,
Mr. Voorhees was named to the
League's presidency on February 18,
1936, and he served in that office for

The New York Timeb

HARRY GROEDEL, ACL

HARRISON F. HOUGHTON, ACL

STEPHEN F. VOORHEES, FACL

eleven years until his resignation on
May 14, 1947. It was during this term
as ACL president that Mr. Voorhees,
chairman of the Board of Design of the
New York World's Fair, feught for and
won in that exposition's councils com-
plete freedom for the amateur filmer.

Earlier, at the general members' meet-
ing, Mr. Harley in his report as ACL
president had cited a total enrollment
of new members during 1952 of 1,944,
for an increase over the 1951 figure of
339. Renewal memberships, at 2,714,
showed an increase of 620 over the 1951
total. The net gain in ACL members for
the year, Mr. Harley summarized, stood
at 564, for a total membership on De-
cember 31, 1952, of 4,506.

James W. Moore, ACL, League man-
aging director, in reporting on technical
and equipment advances made during
the year, hailed 1952 as "the year which
truly opened the era of magnetic sound
on film!" Enlarging on this theme in
his report, Mr. Moore wrote:

"A few months earlier — September,
1951. to be exact — the door to this prom-
ised land had been swung ajar with the
announcement by the RCA Victor Cor-
poration of their RCA-400 16mm. mag-
netic sound projector, and the simul-
taneous announcement by the Reeves
Soundcraft Corporation of their mag-
netic striping service — Magna-Stripe.
The RCA projector was priced at $850
list; the Magna-Stripe service at 3%
cents per 16mm. film foot.

"But the RCA projector — both be-
cause of its price level and because of
several omissions in its technical ca-
pacities— was not taken up to any great
degree by amateur movie makers. Thus
it remained for the Bell & Howell Com-
pany to swing wide the door into the
magnetic era with the announcement in
February. 1952, of their Filmosound
[Continued on page 162]

154

BE A GOOD MIXER-ON TAPE!

DENIS M. NEALE

WHEN magnetic tape first was applied to amateur
movies, users began racking their brains to de-
vise a way of mixing together two recordings,
such as voice and music. Well, the brain-racking has sub-
sided now, to leave us with a handful of possible methods.
Here are some of the alternatives :

( 1 ) Simultaneous recording of speech and music, using
separate volume controls to adjust the balance (see Tips
on Tape Recording, William Messner, Movie Makers,
September 1952).

(2) Playing music through a loudspeaker near the
commentator's microphone. By riding the volume of the
phono amplifier, you can insure that the microphone re-
ceives speech and music in the correct balance (see Notes
from Magnetic Notebooks: 1, Haven Trecker, Movie
Makers, December 1952).

(3) Recording the commentary first, then playing it
back and mixing it with music for re-recording on a sec-
ond machine (see More on Magnetic Recording, Warren
A. Levett, Movie Makers, May 1951) . By adding a second
R/P head on the reverse track, you can do the whole job
on one twin-track tape recorder.

(4) Adding the commentary without completely eras-
ing the musical recording.

Each of these methods has points in its favor, but each
has drawbacks too. Method 1 gives excellent quality, but it
is difficult to judge recording levels without monitoring
on headphones. The second system gets over this, but the
music is likely to be distorted by defects in the speaker
and microphone.

Method 3 cuts out the worst of this distortion because
re-recording need not impair quality, provided you don't
do it via a speaker and microphone. On the other hand,
you need two recorders or you must adapt one by adding
another Record/Playback head working on the reverse
track.

Finally, method 4 can be carried out with only minor
modifications. On some machines it may be sufficient
simply to disconnect the erase head when adding com-

With one easy-to-make accessory, here is an ingenious
method of mixing voice and music in tape recordings.

mentary, since the supersonic bias in the R/P head tends
to erase an earlier recording. But you will find that the
music is distorted because the high frequencies erase more
readily than the low.

MANY A SLIP

With the exception of method 3, all of these schemes
fall down in one respect. Suppose you have painstakingly
assembled sound for the greater part of a travelog. You
have recorded a suitable piece of music and arranged that,
whenever a piece of commentary is spoken, the volume of
the music falls to about half and then rises again at the
end. In a state of tension, you reach the last passage of
commentary. Everything depends on speaking this cor-
rectly. In your anxiety, you stumble over a word. What
now?

Of course it is easy enough to erase the mistake and
record again. But you can seldom get your new recording
of music to fit exactly onto the first. Thus, unless you can
find a suitable point at which to match up, you must erase
the whole passage, successful commentary and all, to cor-
rect one error. At the second run-through you are more
nervous than before . . . and few people have the heart for
more than four attempts in one evening!

A NEW APPROACH
To combat these difficulties, I have devised yet another
way of mixing sounds on tape. Its chief features may be
listed as:

(A) It enables you to record sounds one at a time so
vou can easily do the job single-handed.

(B) Timing is easy because the addition of commen-
tary automatically reduces the level of the music.

(C) You can correct errors in commentary without
affecting the music. So mistakes don't matter much — and
this means you don't make many!

(D) You need little or no additional equipment.

(E) Quality is good because neither sound has been
re-recorded. Nor is a partially erased sound used for

playback.

First of all, I run through the pilot com-
mentary and mark the tape at the beginning
and end of each part which will have spoken
commentary in the final version (see Mak-
ing the Most of Tape, Movie Makers, Jan-
uary 1953). Then at one run I record all
the music for a [Continued on page 165]

FIG. 1: The elevated ends of this simply-made guide fork, when inserted under the tape,
raise it slightly so that erase and record heads act on only half of pre-recorded track.

FIG. 2: Some recorders may require this more com-
plex type of fork to control both edges of the tape.

155

|fr* '■ t»" " rii i)

i i« H 11 fl

1! II 1

1 II II

II II II

i !

II -. . ••

■ ■

irl! II II I

... ;: ii i

FIG. 1: Marked sense of space, side to side
and front to back, is effect of wide angle.

FIG. 2: The normal lens begins to compress
perspective in line with what the eye sees.

FIG. 3: The 3x telephoto pulls background
in and trims scene coverage at all edges.

NEW RULES FOR YOUR LENSES

A reader prescribes novel but effective uses for wide angle, normal and telephoto objectives
JACK PULLIAM, ACL

TAKE a good look at the three photographs which
accompany this article. That's right! Now take an-
other look. For they are pretty good examples of
the work the lenses available for 8 and 16mm. cameras
can do for us.

Now, if we may examine these lenses one by one, let's
try and find out what optical operations they are best
suited for. Let's start with the wide angle lens. Until
recently, there hasn't been a really good wide angle lens
available for the amateur. For before the last war, many
of the so-called wide angle lenses tended to create certain
unpleasant effects. For example, they rarely gave a flat
focal plane on the film; and they had the unhappy habit
of creating an iris effect when stopped down to the
usual //8.

Within the past two years, however, a number of man-
ufacturers have brought out the so-called "retrofocus"
wide angle lens. This is nothing more than the old effect
most of us have seen when we looked through the wrong
end of a pair of binoculars or opera glasses. The name
retrofocus itself tells the story: "retro" means "reversed."
Happily, this type of lens has solved the two objections
mentioned above. The retrofocus lens can be made recti-
linear and color corrected to give a circle of confusion
of 1/2000 of an inch at full frame and without vignetting
when stopped down. This type of wide angle lens is avail-
able in the proper focal lengths for both 8mm. and 16mm.
cameras.

Now that we have the lens, what can we do with it?
Take another look at the first picture. "It's distorted!"
you say. And you are absolutely right; it is distorted."
But the distortion is intentional ! The extreme wide angle
lens (this photo represents the 6.5mm. lens) creates an
increased perspective. It is analogous to the perspective
used by an architect when he wishes to persuade the
client that his new building would be only slightly smaller
than, say, the Pentagon — even though his lot measured
only 100 by 150 feet. The extreme wide angle gives the
illusion of space, lots of space. You can get a Grand
Canyon out of your local drainage ditch (if you get down
low enough). The 6.5mm. lens for the 8mm. camera and
the 15mm. lens for the 16mm. camera are musts for the

movie maker who wants to shoot model sets and have
them look real.

"But I don't want to shoot a Grand Canyon or make
pictures of model sets," you say. Yes, but you do want
to have your establishing long shot give the illusion that
your living room or back yard is as large as the average,
even though you live in a two-room flat. And you need
not be limited to using the wide angle in small spaces.
I have used one for a long shot of a construction scene
that was three quarters of a mile long and half a mile
wide, and still had it look better than the same shot with
a normal lens. So let's set down Basic Rule Number
One: Use a wide angle lens for your establishing shots.

Okay . . . We have established our scene and we now
want to move in for more detail. So what lens do we
use? Well, you know what the normal lens does, because
you have been using one ever since you bought your
camera. So let's just lay down Basic Rule Number Two:
Use the normal lens for all medium shots and for general
purpose group shots of more than one person.

What's left now? The telephoto lens? Okay, let's go
back and take another look at the illustrations with this
article. Take a good look at the telephoto shot. It was
made to simulate the effect of a 1% inch lens on the 8mm.
camera or the 3 inch lens on the 16mm. — in other words,
3x magnification. Compare it with the wide angle shot.
Notice that the telephoto also distorts perspective, in that
it compresses space. The distance between the girl and
the building is actually the same in all three shots. But
it doesn't look the same, does it? And you might notice
that the girl is the same height in all three photos.

"So what?" you ask. Well, you commented on the
distortion in the wide angle shot; but if you look at the
telephoto shot you will see that it too is distorted, but in
a different way. The vertical lines aren't distorted, and
you will actually see people's faces in better perspective
(as they look to you) when your closeups are made with
the telephoto lens.

Have you ever had your portrait taken in a studio?
Ever notice that the camera is usually about ten to twelve
feet away from you? That isn't so much because of the
larger size film as it is because [Continued on page 163]

IN

156

Do you talk big on your Home Town? Then get behind it with your camera and

MAKE A FILM FOR RED FEATHER!

yOU can wear a feather in your cap — and not just a
Red Feather either — if you will make a publicity
movie for your local Community Chest! Make it
short, or make it long. Make it sound, or make it silent.
Make it in monochrome, or make it in color. But make it !
You will never regret the time it takes. For the rewards
are so great — to your local Chest in increased support and
to you in personal satisfaction — that the whole effort
seems easy.

And, as a matter of fact, it is easy. I know. For during
the summer of 1952 I made just such a movie in support
of our Red Feather here in Kankakee, 111. We are a small
city as cities go (pop. 25,856). But the film which we
produced was screened nearly 100 times last year before
church groups, civic and social clubs, P.T.A. units and
factory gatherings. It shows, basically, where every dol-
lar of Red Feather money goes. And in so doing, our
local Chest director states, it markedly paved the way
for increased donations right across the city.

THE COORDINATING COMMITTEE
The secret of success in producing a Community Chest
picture easily and efficiently is advance planning. So,
with your local fund drive probably scheduled for the
month of October, now is none too soon to lay the
groundwork.

Our first step (and we recommend it to you) was to
ask the Chest officials to form a coordinating committee
— in our case, of five. Their function before production

ITS UP
TO YOU.

FRAMES FROM THE FILM which the author made in 1952 in support of h
Community Chest drive. The big wall chart, upper right, was continuity

HAVEN TRECKER, ACL

starts should be to decide upon — with the guidance of the
movie maker — all of the major points of procedure. For
example, our committee at its early meetings decided ( 1 )
upon the optimum length of the film — 30 minutes of
screen time at sound speed; (2) how production expenses
were to be covered — ask for donations from leading in-
dustries and business men; and (3) what the production
was to be called — in our case, It's Up To You. This title,
it seemed to all of us, accurately and forcefully expressed
the whole philosophy of a Red Feather fund drive. For
if you, and I, and all other citizens support the Chest, it
will be a success and the work of its agencies an asset to
the community.

The coordinating committee's function after production
starts is equally if not more important than those already
cited. For it must serve as the liaison power between the
actual producer (you) and the many social agencies
which comprise the Community Chest — and will, there-
fore, appear in the finished film.

ADVANCE PLANNING IMPORTANT
Even the discharge of this job should begin before a
foot of film has rolled through your camera. First of all,
you will need to know just what in the way of subject
matter there is to put in your picture. Here in Kankakee,
for example, we have a total of ten collaborating social
services. These are the Y.M.C.A., Y.W.C.A., Boy
Scouts, Girl Scouts, Catholic Charities, Catholic
Youth Organization, a local Youth Center, the
Salvation Army, the U.S.O. and the Veterans of
Foreign Wars.

To find out what each of these agencies actu-
ally did, how and in what ways it contributed to
the community's welfare, our committee first
called a meeting at Red Feather headquarters of
the executive heads of these groups. We told
them of our plan to make a picture — and imme-
diately we were offered more subject matter ideas
that we could have used in 300 (instead of 30)
minutes of screen time! For each agency, quite
properly, felt that its work was far and away the
most important, colorful and appealing of any in
the Chest campaign.

Thus there arose the first major task of the
coordinating committee — to make clear that each
of the ten agencies involved would be allotted
2 minutes of screen time — no more and no less.
Within that allotment they were now asked to
suggest for filming highlights of their most char-
acteristic activities. These, in turn, were checked
by the committee and most especially by the
movie maker, and from their observations the
first rough filming plans were drawn up.

It was now the job of the coordinating com-
mittee to translate these plans into a concrete
day-by-day, hour-by-hour shooting schedule. Not
is local only did this schedule itemize for each agency
device. the times and places [Continued on page 159]

157

PRESENTING THE PRIZE for the best costume in the children's
Fourth of July parade will be a highlight in any holiday picture.

//

BY the dawn's early light" is the time to begin your
film of the Glorious Fourth. A sunrise, if you can
get a good one, is the perfect opening shot. Begin
with the first rays, and shoot at intervals until you have
the entire sun ahove the horizon. Then, as the first bright
rays of sunlight illumine the Stars and Stripes, get your
shot of Old Glory against the morning sky. Or, if you
are allergic to the hours of sunrise (as I am), an alter-
nate opening is the old calendar routine: draw a red
circle around the 4th of July on a large calendar flanked
with firecrackers and framed in crossed rockets. A child's
hand comes into the picture then, snatches up a two inch
salute, and you have youT lead into scenes of the kids
setting off their first explosives of the day.

"What so proudly we hail'd" wilL portray your par-
ticular community's celebration of the national date —
be it a flag ceremony, a big street parade or a band con-
cert. Try for some good shots of the Boy or Girl Scouts.
If you can't get them in a public ceremony as a group,
attend their weekly meeting ahead of the Fourth and stage
some scenes. Or if you must, settle for a shot of the
Scout or Scouts in your own family, or the kids who live
across the street or down the block.

If no major community celebration is staged, there
are always the family festivities on which to fall back.
A real, old-fashioned picnic, perhaps, from fried chicken
and potato salad to homemade ice cream and chocolate
layer cake. Film all the games and contests, and make
sure that they include the unfailing comedy of a three-
legged or sack race. And don't forget to insert enough
flags and firecrackers to serve as a running reminder of
the date. If a winsome toddler is the present idol of
everyone's heart, hand him a big Roman candle (empty,
of course) and a match box — and shoot his reactions.
Or, if you feel a bit of a drag, toss in a few feet of suspense
by turning your toddler loose where the picnic lunch is
spread out! Or maybe it's a pet your family is crazy

Filming the 4th

From dawn to the dark of night, Fourth of
July is a rich mine of rewarding movies

DOROTHY M. PEPER

about. A smart pooch in a red, white and blue pasteboard
hat and a bunting bow tie would be cute. Give him a
pair of spectacles, put his paws atop a bunting-draped
orange crate to get a real laugh — and you have a perfect
parody of the classic Independence Day orator.

"Whose broad stripes and bright stars" might well
be your lead for a sequence on the significance of the
freedom which we enjoy often all too casually. But almost
every community now has a refugee or immigrant citizen
whose viewpoint will be fresher in this field. In our neigh-
borhood it's an elderly Italian man who makes no pre-
tense about his love for these United States. The reason,
in his rich dialect, is that in his native country "the poor
are too poor and the rich are too rich!" On the Fourth
of July, you'll see a huge flag flying from his front porch,
and his private celebration includes a little ritual of
passing out shiny new dimes to all of the kids in the
neighborhood. Grandpa di Donato's appreciation of
America would make a moving sequence in any Fourth
of July film.

Lacking such a character in your community, assemble
all the boys, girls and their pets in your block for a
pint-sized parade. Prompt your subjects to portray their
ideas of a patriotic Fourth, say the Spirit of '76, with
a prize package of firecrackers for the one you consider
best. The Fourth of July is a holiday of deep meaning
to most American kids; and with a prize in the offing,
you can be prepared for a surprise when you screen the
results.

" 'Mid the rockets' red glare" is a made-to-order title
to round out your film of the Fourth and its festivities.
There are not too many tricks to know in getting good
films of the nighttime fireworks. Around the yard, per-
haps, it's going to be kind of tough to get enough illumi-
nation from your domestic displays — though you might
try shooting a closeup of one of the kid's faces in the
dancing light of a spluttering sparkler.

But in the big community fireworks festivals you can
really cut loose. Use your fastest lens, wide open, and
load the camera with a Type A emulsion for the maximum
sensitivity. Even shooting at eight frames per second for
added speed won't affect your results appreciably. Your
real problem, of course, is to know where and when the
big pieces are going off — and to be ready for them.
Further, fireworks (except the set pieces) are likely to
look just a bit skimpy when you picture them as blobs
of light and color in the dark night sky. So use an old
trick of the trade: run the same film over and over,
two or three times through the camera, so that your
frames seem more filled with fiery festivity. For the set
piece or pieces, the effective technique here is to film
them with one or more figures silhouetted in the fore-
ground of their brilliant display.

Finally, when you're ready to lead-title your tale of
the Glorious Fourth, try giving it the authentic touch
by spelling out your letters in a pattern of 'crackers.

158

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Koda scope Royal

A new 16mm.
silent home
movie projector, the Kodascope Royal,
has been announced by the Eastman
Kodak Company. Self-encased and with
fold-back 400 foot reel arms, the Royal
offers as standard equipment a 750 watt
lamp and a 2 inch f/1.6 Ektanon, coated
projection lens. Also available for large-
screen, large-hall presentations are a
1000 watt lamp and either a 3 inch //2
or 4 inch //2.5 accessory projection lens.

The Royal, which will project both
forward -and backward, has all of its
major controls — motor switch, lamp
switch, rheostat, threadlight receptacle,
framing knob, elevation control and re-
versing switch — centrally located on the
operator's side of the projector. Unique
in the machine's design is a counter-
rotating shutter, in which the size of the
shutter angle is determined by the speed
at which the projector is operating: i.e.,
wide open at normal speed ; increasingly
closed at slower-than-normal speeds.
Thus the regular shutter also acts as a
safety shutter against film blistering.

The Kodascope Royal, complete with
a 750 watt lamp and 400 foot takeup
reel, will list at $245, federal tax in-
cluded.

AnsCO Color contest One hundred
and one cash
and merchandise prizes totaling $12,000
will be awarded to winners in the 1953
Ansco Color snapshot contest, which
opens the 15th of this month and closes
on September 30.

The grand award will be a new Ford
car worth nearly $2,000, while first prize
in each of several subject matter classes
will be a round-trip flight to Hawaii for
two via United Air Lines, plus $100 in
expense money.

Entry blanks, containing complete
contest regulations and prize data, are
available at your photo dealer's and
other outlets of Ansco Color film.

Carter converters Any user of

electronic
equipment who has been hampered by a
basic DC power outlet will welcome the
announcement by the Carter Motor Com-
pany of its new line of Custom rotary
converters.

The Custom line takes up where Car-
ter's earlier Super models left off (at a
maximum of 250 watts) , to supply mod-
els with 300, 400 and 500 watt capacity

KODASCOPE ROYAL, new 16mm. silent pro-
jector from Eastman Kodak, features lifetime
lubrication and adjustable shutter. $245 fti.

at the AC output. Further, the varying
models operate from battery power as
well as line voltage through a DC range
of 12, 24, 28, 32, 64, 115 or 230 volts,
thus making possible recording work
in the field as well as the home studio.
For an illustrated circular itemizing
all technical specifications of these Cus-
tom converters, send your request to
Department 14, Carter Motor Company,
2640 N. Maplewood Avenue, Chicago
47, 111.

Rebirth at Rochester Kodak Movie

News, an at-
tractive bulletin of six pages 9 by 6
inches in size, is now being published
from time to time by the Eastman Kodak
Company in the interests of amateur
movie makers. Although the issue dated
May, 1953, carries the designation "Vol-
ume 1, Number 1," it will remind many
of the earlier Cine-Kodak News which
this company published from 1924 to
1942 and again briefly in 1946 and 1947.
If you are not on the complimentary
mailing list, address a request to Frank
R. Knight jr., ACL, Kodak Movie News,
Eastman Kodak Company, Rochester 4,
N. Y.

RCA Arc 400 A new, portable
16mm. optical sound
projector — using arc lighting which will
provide two to four times the illumina-
tion generally delivered from a stand-
ard 1000 watt lamp — is now available
through the Engineering Products De-
partment, RCA Victor Division, Cam-
den, N. J.

The equipment is comprised of five
easily assembled units: the arc lamp
and housing, a 25 watt amplifier, a
standard RCA 400 film transport mecha-
nism, a small rectifier and a loudspeaker.
The arc lamp operates at either 10 or 30
amperes, delivering at these two levels
750 and 1600 lumens, respectively. The
amplifier has separate volume controls
for the optical track output, the micro-
phone input and the record player in-

JUNE 1953

put. And a full-range tone control, of
the type used in RCA Senior projectors,
is provided.

This new RCA arc equipment is ex-
pected to find use in business and indus-
try, as well as in school, college, church,
hotel and other public auditoriums.

New B&H booklet Latest in the

lengthening
line of Bell & Howell "Tips" booklets
is Tips on Home Movies Right from the
Start, a 24 page, fully illustrated bro-
chure designed for the beginner.

Among the many bits of apposite ad-
vice offered are Try a Dry Run, Keep
Things on the Level, Learn to See the
Light and The Hand That Rocks the
Camera Hurts the Eyes. The booklet,
sized to fit in your camera case, is yours
for five cents at your favorite B&H
dealer shop.

Once over lightly Reeves Sound-
craft Corpora-
tion, pioneers in providing magnetic
striping on 8mm. and 16mm. films, have
reduced the price of their Magna-Stripe
service from 3% to 2% cents per foot.
Ansco is now supplying Series IV fil-
ters for use with Ansco Color film in
the following varieties: Conversion Nos.
10 and 11, UV-15 and UV-16. These
filters round out the Ansco Color line
for all still and cine cameras from Series
IV through Series VIII.

Booklet month This clearly is
publishing month
among the purveyors of amateur movie
making products. Besides the brochures
from EK. and B&H cited elsewhere on
this page, our readers may receive liter-
ature on request from the following:

Radiant Manufacturing Corp., 2627
W. Roosevelt Road, Chicago 8: A 16
page catalog of helpful hints on how to
choose and use a projection screen.

Clingtite Products, Inc., 4844 S. Ash-
land Avenue, Chicago 9: A 6 page book-

RCA VICTOR now adds arc illumination behind
the well-known film movement mechanism of
the "400" 16mm. optical sound projector.

MOVIE MAKERS

159

let on how, when and where to make
and use titles in your movies. Ask for
Item J-57.

S.O.S. Cinema Supply Corp., 602 West
52nd Street, New York City: A 32 page
catalog called Photographic Aids, which
itemizes equipment of aid and interest
to those using movies in visual educa-
tion and industry.

Film for Red Feather!

[Continued from page 156]

we intended to picture them. It detailed
as well, when needed, any key person-
nel and properties each sequence might
involve. A carbon copy of this shooting
schedule was then given to each agency,
and it became the liaison duty of the
committee to see that it was rigidly ad-
hered to. The fact that our filming did
go through without a serious hitch ac-
counted in large part for its ease and
efficiency, I am sure.

SUBJECT MATTER TREATMENT
Within the overall framework of this
filming plan, it now devolved on me
(the producer) to select varied ap-
proaches to the material before us. For
if you will check back briefly to Kan-
kakee's community services, you will
find as I did that the majority of them
work with children or young people.
Thus, it was inevitable that they offered
a certain amount of duplication in their
activities — gym classes, handicrafts,
games, dances and the like.

So you get around this by arbitrarily
apportioning certain activities to one
group and excluding them from your
coverage of the others. At the Y.M., for
example, they actually offered handi-
crafts; but we filmed the boys at their
swimming and gym classes instead.
Thus we had handicrafts saved lor the
girls at the Y.W., as well as lively
scenes of the older girls of working age
at lunch and then singing around the
piano. In the same manner it was easy
to achieve variety in our treatment of
the two Scout units: tree planting, set-
ting up camp and artificial respiration
for the boys; a simple but moving flag
ceremony for the girls — replete with a
number of appealing closeups of their
sweetly serious faces.

Catholic Charities posed a tough one
at first, since many of their activities
seemed difficult to film. However, we
did work out a satisfactory sequence of
their child placement service, showing
a couple applying at the orphanage for
a baby to adopt. The Salvation Army
wasn't easy either. But we settled on
their services for transients, in which
work, here in Kankakee, they substitute
for a big city's Travelers Aid Society.
As for the U.S.O., the national head-
quarters loaned us a finished film, and
we simply lifted in duplicate two min-
utes of suitable activities. With the

V.F.W., we concentrated on their work
with disabled vets, taking our camera
right into a neighboring veterans' hos-
pital and bringing back two minutes of
sure-fire closeups and near shots.

The two Youth Centers were easy
and always appealing — outdoors, a pic-
nic followed by a ball game and horse-
shoes; indoors there were the ping-
pong and checker tables, the machine
shop and crafts room, the juke box. the
coke bar and the dancing.

THE OVERALL CONTINUITY

So much, then, for the subject mat-
ter coverage. Undoubtedly you will find
both similar and differing opportuni-
ties in your own community. But over-
all you still will need to decide on a
continui'y theme to tie this coverage
together.

In It's Up To You we decided — the
committee and I — to tackle directly the
two big questions facing every fund
drive: (1) Why do we need Red Feath-
er? And (2) where does the money go
when I make a gift?

To pose these two questions and to
present their answers we began by in-
troducing Jim Green, personnel man-
ager for a big industry, and Pete Pat-
terson, one of the many employees in
the plant. Green explains to Patterson
that Red Feather time is here again,
hands him a pamphlet on the Commu-
nity Chest and asks him personally to
sign a pledge card. But Pete is uncon-
vinced. He says he's paying h?avy taxes
and everyone he knows is working — so
why does the community need Red
Feather in the first place?

To this Green replies, "Well, let's
look around a bit and perhaps we can
see why." And with this the film dis-
solves into a semi-montage of the busy
and overflowing city — new factories,
new housing, new schools, streets
crowded, parking lots filled and the
like, as the narrator points up the many
needs for social service which the city
itself cannot perform.

But as we fade back to Green and
Patterson, we see again that Pete is
still unsold. "Okay." he demurs, "but
where does my money go if I make a
pledge? / can't take care of all those
different problems!" And with this
Green rises, goes to a big wall chart
listing the ten cooperating agencies
and. sweeping it with his hand, says:
"Pete, that's just the point of Red
Feather. You make but one gift, yet it
aids equally all of these Chest groups."
Then, with a closeup pointer at, say,
the Boy Scou's, he concludes: "I want
you to look at some of them with me."
And thus the continuity proceeds
through the ten groups, returning each
time to the wall chart for reorientation.
Pete Patterson, delighted to learn that
so many kids will benefit from his mod-
est gift, is smiling at the end. He signs
the pledge card, puvs a Red Feather in

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GENERAL
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160

JUNE 1953

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EQUIPMENT FOR SALE

| BASS . . Chicago. Cinema headquarters for 43
years offers money saving buys in guaranteed used
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Shoot for the Ten Best!

his hat. and as he does so, the narrator
quotes the following from St. Luke
6:38—

"Give and it shall be given unto

you;
for with the same measure that ye

give,
it shall be measured to you again."

THE EQUIPMENT USED
Technically, the equipment used dur-
ing the production is largely unimpor-
tant. You use the tools you have at
hand and, whether simple or elaborate,
you somehow make them do. With us
the camera was a Bolex H-16 on which
I soon found the most important lens
in the turret was my Elgeet wide angle
f/1.5 in a focusing mount. You can't
beat it for indoor closeups because of
the increased depth of field — and close-
ups are the lifeblood of any Red Feath-
er fund film. The emulsions used, fairly
interchangeably, were Super X and
Super XX, and the lighting was basic-
ally a four-lamp light bar supplemented,
on occasion, with two No. 2 floods in
metal reflectors.

From the first we had planned the
picture as a -sound production. But it
was to be magnetic sound on film, not
optical, which is generally too expen-
sive for a Chest budget. Besides, I had
just purchased a new Filmsound 202
projector, and I was as itchy to begin
using it as a kid with a new bike. Thus,
after cutting our 2500 feet of film to
about 1100, we enlisted the aid of three
newspaper men to write the narration.
What they turned out was clear and
compelling, and it was read during the
recording with equal effectiveness by a
local radio announcer. The Community
Chest then rented a 202 projector for
the season — and It's Up To You hit the
road for the good of Red Feather.

Pacifi

ic

pa

ra

dise

[Continued from page 152]

wings. It functions more like a glider,
riding into the wind with fins out-
stretched at a speed of up to thirty or
forty miles an hour. It gathers this
speed under water and then darts two
or three feet into the air, to "fly" at
that height for several hundred yards.
At the end of the flight, the flying fish
will change course and enter the sea
at a different angle to which it was
flying, to further confuse the finny
enemies from which it was escaping.

WILD BIRDS AND BUFFALO

Among the other interesting subjects
for the movie maker are the tropical
bird park and the wild goats which
are abundant on Catalina Island. Ara-
bian horses are raised at El Rancho
Escondido, located in the island's mid-
dle valley, where they can be seen by
visitors on one of the inland bus tours.

MOVIE MAKERS

161

Catalina Island also is used as a tropi-
cal setting for many of the South Sea
movies produced in Hollywood. In fact,
roaming at will in the seventy six
square mile interior is a large herd
of buffalo, descendants of beasts
brought over in 1924 for the filming
of The Covered Wagon.

Anglers from far and near are at-
tracted to Catalina, for the mighty
marlin abounds in the warm waters be-
tween the mainland and the island. It
is the custom at Catalina that when
a marlin boat comes in with a catch,
a shot is fired informing the public
that another big one has been caught.
For the enterprising filmer, scenes of
the fish being hoisted from the boat
and weighed make excellent movie ma-
terial. In the summer months, from
eight to twelve large fish are caught
daily and weighed in at Avalon.

He knew what he wanted

[Continued from page 151]

Broke and American in Paris were
shooting.

FIRST PRODUCTION
His first full-fledged directorial re-
sponsibility, Talk About A Stranger,
landed in his lap when the major
studios were reeling under the double
impact of television and exorbitant pro-
duction costs. However, Bradley brought
the assignment through to completion
with an effectiveness which prompted
Newsweek to comment on its "air of
authority and insight." Even from as
far afield as England, Lindsay Ander-
son, critic of the British Film Institute's
Sight and Sound, wrote in part as fol-
lows: "I have seen Talk About A
Stranger . . . The script, of course, is a
disaster and the end a nightmare . . .
But the film is alive and consistently a
work of cinema. And life is a quality
for which I'll forgive many faults."

Although Bradley found the pres-
sures and protocol of a large film mak-
ing organization restrictive after his
freedom with independent productions,
he has great respect for Dore Schary's
integrity and executive ability. He also
was happy to find that the few tempera-
mental actors who had plagued some
of his 16mm. enterprises were simply
not tolerated as a type where an artistic
tantrum could be clocked in dollars
and cents. He feels that although there
is no basic difference between 16mm.
and 35mm., his time at Metro was well
spent, since that studio operates at
maximum efficiency for a flicker fac-
tory.

FUTURE PLANS

In June the young director will

launch his most ambitious film to date.

In line with the current interest in

French painters as colorful subjects for

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162

JUNE 1953

screen biographies, he is planning to
film the life of the erratic artist Paul
Gauguin in the authentic locations of
Paris and Tahiti. The necessary capital
is at hand; and James Agee, former
Time movie critic and screenwriter, is
penning a screenplay based on Noa
Noa, the artist's own account of his
Tahitian years. Bradley hopes to cast
his old friend Charlton Heston (who
played his first role before a Bradley
camera in 1941 as Peer Gynt) in the
part of the French Impressionist.

Never one to do things by halfway
measures, the dynamic filmer plans to
make the story not only in two locales,
but in two film media, two languages
(English and French) and in some one
of the new wide-screen processes — ■
probably CinemaScppe. Although Brad-
ley never muddies his movies with the
vagaries of avant gardism, he appre-
ciates the eloquence of strong symbols
in his films, as evidenced by the effec-
tive montages in Caesar. The Gauguin
story will utilize black and white film
to suggest the drabness of the painter's
life in Paris, while the Tahitian se-
quences will be interpreted in dimen-
sional color film to indicate the full
realization of the artist's talents in the
Pacific Eden.

Whatever the complications of work-
ing in wide-screen, you may be sure
that David Bradley will solve them
with the same robustness and assur-
ance, perseverance and patience, fresh-
ness and originality which have char-
acterized his endeavors ever since he
called the shots on Oliver Twist in
1940.

ACL annual meeting

[Continued from page 153]

202 magnetic projector. Along with this
equipment the same company estab-
lished a film striping service known as
Soundstripe. The 202 projector was
priced at $699, Soundstriping at Sy2
cents per foot. Both were immediately
popular in the amateur film field — and
have built up increasingly since then in
amateur acceptance.

"A few months after the 202," the
report continued, "came the announce-
ment in July, 1952, by the DeVry Cor-
poration of their JAN (Joint-Army-
Navy) magnetic sound projector. This
three-case, heavy duty unit has so far
been restricted in its distribution to the
Armed Forces. The price, if and when
the JAN projector is offered to the pub-
lic, is rumored to be in the neighbor-
hood of $1500.

"Immediately following the DeVry
announcement came the debut in Au-
gust of magnetic sound on 8mm. film.
This was made possible by the intro-
duction of the Movie-Sound 8 projector,
a product of the Movie-Mite Corpora-
tion, in Kansas City, Mo. This machine,

which accepted 8mm. film carrying a
magnetic stripe only 25 mils in width
and positioned outside of the perfora-
tions, was listed at $398.50.

"Then in October," Mr. Moore went
on, "Bell & Howell again pioneered the
magnetic film field by announcing the
conversion of their 202 projectors to
operation with double-perforated films
— as well as the single-perforated, 100-
mil-striped films which had been re-
quired up to that point. 'Always the
ideal of the amateur movie maker,'
Movie Makers hailed this double-perf
development, marking it as 'the most
significant advance in the magnetic
sound medium since its advent.' "

Commenting on ACL's own adoption
of magnetic sound on film, Mr. Moore
reported: "In June, 1952, with the co-
operation of the Bell & Howell Com-
pany, the ACL installed a 202 projector
and 12 inch speaker unit as official
equipment in the League's projection
room. And, to keep our other audio
equipment in step with this splendid
new machine, the ACL's custom-built
double turntables and accompanying
external amplifier were overhauled and
modernized. Specifically, our two-speed
turntables (78 and 33 rpm) were
equipped with lightweight, reversible-
stylus G.E. magnetic pickups and the
pre-amplification stage required by
them. ACL's amplifier, in turn, was
modernized not by rebuilding the old
one, but rather by replacing it with a
completely new unit — designed specif-
ically to meet the needs of magnetic
sound recording on the 202 projector.

"The electronic circuits involved in
these two operations were created for
the League by John R. Hefele, ACL.
They were built into physical reality
by Joseph J. Harley, FACL. The Ama-
teur Cinema League," said ACL's man-
aging director, "owes both of these bril-
liant and big-hearted engineers a large
debt of gratitude. For with this out-
standing audio equipment, ACL soon
led the vanguard of workers in this new
medium of magnetic sound on film. This
work was to come to its full flowering
early in 1953 with the release of ACL's
enormously successful Top of the Ten
Best program."

Turning to developments in the cam-
era field, Mr. Moore stated that: "The
third technical advance to be an-
nounced in 1952 was the 'advent for
amateur use of two systems for the pro-
duction of true stereoscopic motion pic-
tures on 16mm. film. These were the
Nord 3-D Converters, a product of The
Nord Company. Minneapolis, which
were announced in March, and the
Bolex Stereo system which was pre-
miered in April. The Nord method oper-
ated through two accessory units — one
for the camera and one for the projector
— and listed at about $87.50. The Bolex
system was comprised of a matched pair
of primary camera lenses, which were

substituted for the standard camera ob-
jective, and of a similarly designed
stereo lens for the projector. The list
for both was $397.50.

"Optically," Mr. Moore said, "both
systems created stereo images of true
three-dimensional quality. However, the
widespread acceptance of either by the
amateur movie maker may be limited
by the technical requirements inherent
in any stereo method based on the
polarization principle."

Summarizing the operations of the
League's consulting department, now
under the direction of Peter Davis Dib-
ble, Mr. Moore found that the ACL had
screened and reviewed in 1952 a total
of 166,415 feet of film, for an increase
of more than 3^2 times the previous
year's review work. Of these pictures,
70.5 percent were on 16mm. film, with
29.5 percent on 8mm. Only 3.25 percent
in both widths were black and white
in their emulsions, so that the color
stocks used (which stood at 93 percent
in 1951) continued their ascendancy
among ACL filmers.

Sound usage by ACL members in
general, as indicated by the films re-
viewed, stood at 35 percent with sound
and 65 percent without it. However, in
the Ten Best contest per se, 72.7 per-
cent of all the films honored had audio
accompaniment in some form. Mr.
Moore stated unequivocally that this
should not be interpreted to mean that
sound-accompanied entries in the com-
petition stood a three-to-one better
chance of winning. "What it does
mean," he said, "is that three quarters
of the able and aspiring movie makers
competing in the contest are now ad-
ding audio to their cine work as a
matter of course."

And now, in welcoming ACL's two
new directors to the headquarters team,
Movie Makers is pleased to present to
their fellow members in the League
brief biographies of the Messrs. Groedel
and Houghton.

HARRY GROEDEL, ACL

Perhaps because he has lived all his
life in and around New York City, Har-
ry Groedel is, even more than most
movie makers, an inveterate traveler.
This compulsion to see the world and to
know its peoples is reflected clearly in
his filming — which abounds with such
titles as My Trip to Europe, My Trip
to South America and the like.

Mr. Groedel's interest in movie mak-
ing began in 1932, when his two daugh-
ters were children, and led him to the
purchase of the then-new Cine-Kodak
iModel BB — a fifty foot roll-film job.
From this beginning he has worked his
way through a Cine-Kodak Model K
(100 foot roll film) to his present cam-
era, the Cine-Kodak Royal Magazine.
In 1943 he joined both the Amateur
Cinema League and the Metropolitan

MOVIE MAKERS

163

Motion Picture Club, the New York
local group. In the ten years since then
he has served that club for six years as
a director, two as vicepresident and
three as general chairman of the club's
annual Gala Show committee. Three of
his travel studies have won through to
program honors in that show.

Harry Groedel began life 67 years
ago in Newark, N. J. His early school-
ing led him through high school in that
city and thence to further studies at
private schools in Germany and Switzer-
land. He is in business for himself as
an estate management counselor and
is a director of a number of eastern
industries. His other hobbies are gar-
dening, golf, art collecting and — most
importantly — his two grandchildren.

HARRISON F. HOUGHTON, ACL

A graduate economist, Harrison F.
Houghton first undertook the hobby of
movie making with no other investment
than the cost of a marriage license. This
feat of economic legerdemain was ac-
complished in 1941, on his honey-
moon, by using his wife's 8mm. Revere,
a camera which he thoughtfully had
urged her mother to give his bride-to-be
as a birthday present.

The training which was to result in
this sort of domestic double-entry opera-
tion began in the public schools of Des
Moines, Iowa, near which city (at Val-
ley Junction) Mr. Houghton was born
on December 24, 1911. It continued at
Drake University, from which Des
Moines institution, having majored in
economics and accounting, he graduated
in 1933 as a Bachelor of Commercial
Science. There followed four years of
graduate study in economics at Colum-
bia University. From the campus, Mr.
Houghton went first into private enter-
prise, then (in 1941) into government
service at Washington, where he cur-
rently is an economist with the Depart-
ment of Justice.

However, just as it was his wife (nee
Virginia Richards, of Louisville, Ky.)
who got him started in movie making,
it was she also who persuaded him by
1948 that he might as well make good
movies. For it was in that year that Mr.
Houghton joined the Washington So-
ciety of Cinematographers. Here, in-
spired by the fine films being produced
by club members, he forsook what he
has described as the "garden hose"
technique and began to attack the upper
echelons of amateur film production.

This attack was to lead him, equip-
ment-wise, through a three-lens Revere 8
to (in 1950) a Bolex H-16, which is now
fitted (says Mr. Houghton) with practi-
cally every accessory known to the
gadget-minded. Within WSC, Mr.
Houghton's dedication to finer filming
was to lead him to four annual terms
on the club's executive committee, one
term as secretary-treasurer, and three
consecutive terms as the club's presi-

dent. It was in that office that he re-
cently mounted the highly successful
world premiere of ACL's Top of the Ten
Best, which was presented at Washing-
ton, D. C, in mid-March.

Today, Mr. Houghton's other hobbies
are tennis, gardening, stereo still pho-
tography and their two daughters — aged
8 and 4. Quite a few years earlier, how-
ever— and without any assists from Mrs.
Houghton — his one compelling interest
was the collection of jazz records. Be-
ginning in 1928 with the purchase of
some now-priceless sides by Bix Beider-
beck and Louis Armstrong, Mr. H. has
amassed in the quarter century since
then well over 2,000 items. As a matter
of fact, he himself played jazz cornet in
a college dance band during his Drake
years. Gave it up, however, as bad eco-
nomics.

New rules for lenses

[Continued from page 155]

of the longer focal length lens being
used. The lens on the 8 or 16mm. movie
camera which corresponds to the studio
"portrait" lens is the telephoto. Even
with the reduced film size the propor-
tions remain the same. So we are now
ready for Basic Rule Number Three:
Use the telephoto lens for closeups,
particularly those of people.

There are a few things to watch out
for, though, when you use this plan.
First, don't let the plan do your think-
ing for you. If the shot calls for a tele-
photo lens and the plan calls for a
wide angle, then by all means use the
telephoto. No plan can possibly fit all
situations. Second, don't use a wide
angle lens for a closeup of your friends
unless you are trying to get a comic
effect. The wide angle distorts perspec-
tive to such a degree that you will get
the fun-house effect: the crazy mirrors
that give you a big nose and a pin head.

Other than these two warnings, you
will find that the plan works pretty well
on practically all movies. If you are just
starting out and are wondering whether
to add a telephoto or a wide angle to
your normal lens, I would advise the
wide angle first. You will find more use
for it for the time being than the tele-
photo. For the normal lens is approxi-
mately a compromise between these two
and will perform adequately for your
portrait closeups until you are ready for
the telephoto.

So there you have it. Remember the
three rules:

1. Use a wide angle for long shots.

2. Use a normal lens for medium
shots and small groups.

3. Use a telephoto for closeups.
When you try this on your next

movie, I think you will notice that your
films have improved to such an extent
that even your worst critic will say you
have a "new touch." Try it! It works.

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164

JUNE 1953

Wash., D. C. 0n APril 20' 0scar

H. Horovitz, FACL,
screened a selection of his outstanding
films for the Washington (D.C.) So-
ciety of Cinematographers, ACL. Among
the films presented by Mr. Horovitz
were Land of the Pilgrims; Ice Follies
1947, awarded an Honorable Mention in
1947, and The Israeli Story, winner of
an Honorable Mention in 1952.

England winners Top film in the

recent compe-
tition held by the Institute of Amateur
Cinematographers, ACL, of England
was Sidetracked, by the Ickenham Film
Society, which received three awards:

(1) as the outstanding film of the year;

(2) for its high technical proficiency,
and (3) as the best club production.

Modern Bee Breeding, by C. P. Ab-
bott, also won three awards: for best
16mm. film; best photography, and best
film by an I.A.C. member. Other films
honored were An Xmas Dream, by Peter
Turner, Roy Proctor and Richard Hod-
kin, best 9.5mm. film, and The Mice
Will Play, by F. B. Sykes, best novice
film.

Hartford The April meeting of the
Hartford (Conn.) Cinema
Club featured screenings of Royal Visit
to Halifax and Riches from the Sea,
both by the late T. J. Courtney; My
Trip to South America, by Harry Groe-
del, ACL, and Beauties of the High-
lands, by Eduardo Di Fiore, ACL. All
of the films were from the ACL Club
Film Library.

Southwest 8's Members of the
Southwest 8mm.
Club, ACL, of Los Angeles, installed
Charles Imsande, ACL, as president for
the coming year at their recent meeting.
Serving with Mr. Imsande will be Jack
Fisher, vicepresident; Tick Schlander,
ACL, secretary; Edward Seymour,
treasurer; Don Wood, publicity, and
Charles Johnson, sergeant at arms.

Highlight of the meeting was a
screening of the winning films in the
club's fifteenth annual contest. These
were Gone and Forgotten?, by Elsie
and William Heffernan, ACL, first place
and the Clarence Waite trophy; Yellow-
stone, by Bernice and Michael Little,
ACL, second; Easy Does It, by Milton
and Kay Maurer, third; Fashions for
Gayle, by LaDonne and Charles Im-
sande, ACL, fourth, and Mr. Wilson's
Dream House, by James and Dorothy
Wilson, fifth.

New club The Yantacaw Camera
Club, of Clifton, N. J.,
has extended an invitation to all movie
making residents of northern New Jer-
sey to join the group. This recently
formed club meets at 8:00 p.m. on the
2nd and 4th Wednesdays of each month
at the V.F.W. Hall, Valley Road, Clif-
ton, N. J. If you would like further in-
formation about its many activities,
write to Horace M. Guthman, ACL, 217
Park Avenue, Passaic, N. J.

Newburyport

Officers for 1953 for
the 8mm. Cine Club,
ACL, Newburyport, Mass., are Allen
Hall, president; William Kilkelly, vice-
president; Albert Arrall, secretary, and
Robert Wenig, treasurer. During a re-
cent visit to the Boston Camera Club,
several members of the club were treat-
ed to a special screening of The Israeli
Story, by Oscar H. Horovitz, FACL.

Washington

The Washington State
Amateur Movie Coun-
cil, recently formed by motion picture
clubs of that state, will hold its first
quarterly meeting on June 21 with a
dinner at the Top of the Ocean restau-
rant in Tacoma.

All interested movie makers are in-
vited to attend. Further information
can be secured by writing to R. T. Pat-
terson, president of the council, at 204
South Tacoma Avenue, Tacoma, Wash.

North Detroit The North De

troit (Mich.) Cine
Club, ACL, recently elected Adam F.
Werth as president for the coming sea-
son. Serving with Mr. Werth will be

Gerald Skog, ACL, vicepresident; An-
drew Miedema, ACL, secretary-treas-
urer, and Milton Cox, Edward Hoct and
Clyde Beattie, ACL, directors.

Winners of the club's annual contest
were Lake Mashagama, by Eugene Tor-
zewski, ACL, first; A Dreamland Trav-
elog, by Mr. Werth, second, and Black
Hills, by Al Broadway, third. The prizes
were awarded and the officers installed
at the* club's annual meeting on April
20.

London ^n conjunction with the cen-
tenary celebration of the
Royal Photographic Society of Great
Britain, three films from the ACL Club
Film Library were screened before a
large and r3pre.en£ative audience of
England's top movie makers on April
24. The films shown were In Fancy
Free, the 1951 Maxim Award winner by
Glen H. Turner, ACL; The Gannets, the
1950 Maxim Award winner by Warren
A. Levett, ACL, and Menemsha, one of
1949's Ten Best, by Jose Pavon.

Brooklyn-MMPC Not content with

the headaches at-
tendant to the preparations for their
annual gala night on April 17, the
Brooklyn (N. Y.) Amateur Cine Club,
ACL, presented a program of members'
films for the Metropolitan Motion Pic-
ture Club, ACL, of New York on April
16, just one night before the big show.
Among the films screened were Mem-
ory Lane, by Bert Seckendorf, ACL;
Souse of the Border and Indian Cere-
monial, both by Irving Gittell; Monkey
Business, by Samuel Fass, ACL, and
Cape Aux Isles, by Charles Benjamin,

C. R. Skinner Co.

THE WESTWOOD MOVIE CLUB, in San Francisco, installs new officers at a recent dinner. L. to r.
they are Sal Siciliano, retiring president; Phil Dahle, club editor; Bernice Jackson, publicity;
Ray Beach, programs; Eric Unmack, president elect; John Corder, master of ceremonies; Lee
Ruffner, secretary; Othel Goff, ACL, treasurer; Frank Boichot, membership chairman.

MOVIE MAKERS

165

ACL. This additional work and close
timing did not in any way detract from
the club's show the following night.
Everything went off splendidly before
an enthusiastically receptive and ca-
pacity audience. A fine show!

Cincinnati On April 20 the Cincin-
nati (Ohio) Movie Club,
ACL, was treated to a lecture by Harris
B. Tuttle, FACL, of the Eastman Kodak
Company, on Making the Home Movie
Story. Mr. Tuttle supplemented his lec-
ture with films he had made especially
to illustrate this subject.

At the April 27 meeting members of
the club heard Dr. Eileen Macfarlane
lecture on India and the Far East, with
her films on the little-known regions
of Asia. Dr. Macfarlane is on the staff
of the Institutum Divi Thomae.

Stamford The Stamford (Conn.)
Amateur Movie Club, re-
cently formed by movie makers in that
city, meets on the fourth Monday of
each month at the local YMCA at 8:00
p.m. All interested filmers are cordially
invited to attend the club's next meet-
ing.

Officers for the coming year will be
George A. Valentine, president; Thomas
Mubry, vicepresident; W. E. Iversen,
secretary, and H. B. Price, treasurer.
If you would like to know more about
the club, write to Mr. Valentine, at 398
Hope Street, Glenbrook, Conn.

ACL club Newest among the many
clubs throughout the world
holding ACL membership is the WTMJ-
TV Amateur Cinema Club, ACL, or-
ganized by and for staff members of
the Milwaukee television station. Of-
ficers of the club for the first season
will be Thomas Young, president; Dale
Lemonds, vice-president, and Barbara
Henrichs, secretary-treasurer.

Westchester The Westchester

(N. Y.) Cine Club,
ACL, has announced that the deadline
for their first annual club contest will
be October 14. There will be two classes:
for novices and advanced filmers. Any-
one desiring further information is
asked to write to David D. Bulkley,
19 Winnetou Road, Hillside Ridge,
White Plains, N. Y.

Richmond visit The Richmond
(Calif.) Movie
Camera Club, ACL, presented a fine se-
lection of members' films to their hosts,
the Bay Empire 8mm. Movie Club, ACL,
of San Francisco, last month. On the
program for the evening were The Nor-
wood Director, by Art Smith; Color
Printing in Richmond, by William Gar-

&%9tl

m

«3

rard, ACL; Sunday Supplement, by
Robert Buckett, ACL; Florida Tropics,
by Madeline Whittlesey; Trip jor Two,
by Bill Parker, and Santa's Trip, by
Edna Hunting, ACL.

Good mixer — on tape!

[Continued from page 154]

large part of the reel, erasing the pilot
commentary in the process. The music
is recorded at full level all the way,
whether or not commentary is to lie
added at a given point.

THE GUIDE FORK

Now we come to the only piece of
special apparatus. I call this a "guide
fork." You can see from Fig. 1 that it is
bent up from a piece of sheet metal to
hold the tape about 1/20 of an inch out
of its usual alignment. The fork should
be non-magnetic and brass is probably
ideal. I made mine from Duraluminum;
but it is so light that I have to perch a
few coins on it to prevent it tipping
under the pull of the tape.

The fork is required only for the
mixed-in commentary. I play back the
music until I arrive at the mark indicat-
ing the start of a passage of commen-
tary. Then I stop and back up about 1
second of tape. I rehearse <the commen-
tary several times, ending with a dummy
run with recorder at playback but with
volume down. This is to check that the
commentary finishes sufficiently close to
the appropriate end mark on the tape.
Then, after backing up once more to
1 second before the first mark, I slip
the guide fork under the tape.

Now J. switch to record and set the
volume and tone controls for recording.
Since the tape is not moving, this im-
presses little or no click on the tape.
When I start the recorder, however, the
original recording of music is only part-
ly in register with the erase and R/P
heads, because the tape is displaced by
the guide fork. Consequently only about
half the width of the music track is af-
fected by the erase head. Notice that in
distinction to method 4 above, the music
track is completely erased (not weak-
ened ) over half the width and unaffect-
ed over the other half.

ADDING COMMENTARY

After allowing about a second for the
recorder speed to stabilize, I speak the
commentary and it is recorded on the
tape. However, the guide fork once more
influences things. Because the tape is
displaced, the commentary is not re-
corded on the part of the tape still
carrying music. It is, however, recorded
on the other half of the usual track; i.e.,
the part from which music has just been
erased.

At the end of the commentary, I grad-
ually tip the guide fork so that the tape
is removed entirely from register with

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166

JUNE 1953

BUT FEW ARE CHOSEN

THE New Testament maxim that "Many are called,
and but few are chosen" would seem to be only
half right in any accounting of amateur filmers
who have crashed the gates of Hollywood.

To dispose first of the fallacious part of this famous
dictum, it has been clear for years that many are not
called. This, probably, is as it should be. Movie making
today as Hollywood goes about it is an exact and ex-
acting science, in which the carefully compartmented
skills of countless experts add up to the successful
whole. There is little room around the sound stages for
the Jack-of-all-trades amateur. "And but few are
chosen."

Thus it is that the success of those few amateur
filmers who have made the grade becomes all the more
outstanding. A case in point, of course, is the career
of David Bradley, whose deliberate attack on the pro-
fessional picture makers is outlined in this issue.

As far as our memory serves, Mr. Bradley could
count on the fingers of one hand his fellow amateurs
who also have made the jump from Main Street to
Movieland. There was, to begin with, an eager and
aggressive young man named Russell T. Ervin (now
FACL), who in 1927 won first place in an amateur

film contest sponsored by Photoplay Magazine. His
production, a saga of the jazz age, was called And
How! His prize, probably wangled by Photoplay's
publishers, was a two year contract as an assistant
cameraman in Hollywood.

The next and, as far as we know, the last break
through the barriers came in 1933. In any case, it was
in that year that a quiet and imaginative young man
named John Flory made a comedy of the depression
which he called Mr. Motorboat's Last Stand. It won an
ACL Ten Best in 1933, and the next thing we knew
Mr. Flory had a two year contract in Hollywood as an
assistant director.

There, as far as we can recall, the record ends.
Today, Russell Ervin is — as he has been for years —
an associate producer of Grantland Rice Sportlights in
New York City. John Flory, also an emigre from
Lotus Land, is with Eastman Kodak as a consultant
on non-theatrical movie matters.

This leaves the field sparely and squarely up to Dave
Bradley. On behalf of his old friends at ACL, we wish
him most warmly the success he seeks in his new
adventures. Certainly, if determination counts in
carving one's career, success will be his.

THE AMATEUR CINEMA LEAGUE, INC.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE, Inc.. 420 LEXINGTON AVE., NEW YORK 1 7. N. Y., U. S. A.

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

the heads. This means that the erased
fraction of the musical track gradually
decreases until the full width of the
original recording remains.

On playback, I get a drop in music
level about a second before the mixed-in
commentary. At the end, the music grad-
ually returns to its normal level.

If the commentary is not satisfactory,
it is necessary only to make a new re-
cording by the same process. This erases
the first commentary but does not affect
the music alongside.

SUITS MOST RECORDERS

My recorder is one of the usual twin-
track machines. Since the usual track is
only half-width, my "mixed" recordings

Tape

Recording
Head
Laminations

consist roughly of quarter-track music
and quarter-track commentary. The idea
can be worked equally well on full width
recorders, however. So as to avoid con-
fusion, I call my system "split-track"
mixing.

Some recorders lend themselves par-
ticularly well to this method. On the
machine shown in Fig. 1, guide grooves
are normally provided only on one side
of the tape. The pinch roller is skewed
very slightly so that the tape is pulled
firmly onto the "shelf" below it.

However, when the guide fork is in
position, the two arms support the tape
before and after the erase and R/P
heads, so that it is held 1/20 of an inch
above its normal position.

Tape

Recording

Head

Laminations

FIG. 3-A: Tape above is displaced correctly. FIG. 3-B: Now tape is displaced incorrectly.

Where both edges of the tape are
normally guided, it will be necessary to
make a rather more elaborate fork on
the lines of Fig. 2.

On any recorder, it is important to
see that the tape makes good contact
with that part of the R/P head which it
covers. This may compel you to displace
the tape in a particular direction; i.e.,
so that only half the gap is covered as
shown in Fig. 3-A. If you move it the
other way, as in Fig. 3-B, even a pres-
sure pad cannot provide good head
contact.

There is another reason for not dis-
placing the tape as shown in 3-B. This
way, your commentary will overlap the
tape width normally used in the reverse
direction. And when you move the guide
to fade in the music at the end, your
erasing track will cross the reverse
track. Of course, this does not matter if
you don't want to mix sounds on both
halves of the tape. But once you have
become a good mixer, you will find the
possibilities endless. It's simple and it's
fun!

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1— The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

BETTER

THE ACL MOVIE BOOK

AMATEUR CINEMA LEAGUE, INC.

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

EXTRA-NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name

Street.

City-

Zone

_State-

Add range to your camera . . .
interest to your movies . . .
with Kodak Cine Lenses

Your movie camera acquires true
professional versatility with a set of
Kodak Cine Ektar or Ektanon Lenses. Stand on the edge of a
wide valley and get the whole impressive sweep of hill and
sky with a wide-angle lens. Film the nearby scenes with your
standard lens . . . and then bring the far hills up close with a
long-focus lens ... or, if you will, look deep into the heart
of the flower at your feet. Kodak accessory lenses bring every
picture you want within easy camera range.

The finest lenses ever produced for 16mm. and 8mm.
cameras are those which bear the name Ektar, Kodak's high-

est optical designation. For 16mm. cameras, there are seven
Kodak Cine Ektar Lenses in comprehensively graduated
focal lengths — a wide-angle, two super-fast lenses of standard
focal length, and four telephotos ranging in relative magnifi-
cation from \lA to 6 times. Four of the lenses, as indicated
below, can also be used as long-focus lenses with 8mm.
cameras to produce magnifications from 2 to 5 times.

Kodak Cine Ektar Lenses provide unmatched flatness of
field, crisp definition, and over-all sharpness. All are fully
color-corrected . . . and color -matched . . . and all glass-air
surfaces are Lumenized for maximum light transmission.

KODAK CINE EKTAR LENSES

1 5mm. f/2.5 wide angle for 16mm. cameras. .$ 78.25 40mm. f/1.6 for 16mm. and 8mm. cameras. . .$1 14.40

25mm. f/1 .9 for 1 6mm. and 8mm. cameras. . . 97.10 63mm. f/2.0 for 1 6mm. and 8mm. cameras. . . 115.40

25mm. f/l. 4 for 1 6mm. and 8mm. cameras. . . 194.25 1 02mm. f/2.7 for 1 6mm. cameras 124.30

1 52mm. f/4.0 for 1 6mm. cameras $146.60

Kodak Ektar f/1.4 Converter

Alters the effective focal length of the
25mm. f/1.4 Ektar Lens to 15mm., with-
out loss in speed or image quality ... in-
creases field coverage by about 60%.
The combination gives you a standard
lens and a wide-angle lens with f/1.4
speed . . . with Ektar quality. Kodak Ektar
f/1.4 Converter, 25mm. to 15mm., $71.50.

Kodak Cine Ektanon Lenses

To complete the series of lenses available for 8mm. cameras —
and to provide a choice of inexpensive telephotos for both 8mm.
and 16mm. cameras — nine moderately priced but capable
Kodak Cine Ektanon Lenses are also supplied. They range in
price from $39 to $86 . . . and in focal length from a 9mm. wide-
angle lens for the Cine-Kodak Magazine 8 Camera to a 6-times-
magnifying 152mm. telephoto for 16mm. cameras. Your Kodak
dealer will be glad to fill in the details.

Ask your Kodak dealer to help you make a lens selection for your camera.

Prices include Federal Tax where applicable and are subject to change without notice.
EASTMAN KODAK COMPANY, Rochester 4, N. Y.

TRADE-MARK

Uiu uJ LL

MAINE FOR MOVIES • A REPORT ON CINEMASCOPE • ACL HONORS AWARDS

the HIRAM PERCY MAXIM AWARD or
PLACE IN THE TEN BEST CONTEST

The AMATEUR CINEMA LEAGUE invites you once
again, as it has done every year since 1930, to submit
your movie making efforts in the oldest, most honored
contest in the world of personal filming — the ACL
selections of Ten Best Amateur Films of the year and
the Hiram Percy Maxim Award. The contest is open
to amateurs anywhere in the world, using 8mm. or
16mm. film, black and white or color, silent or sound,
in short or long reels and on any subject.

The Ten Best selections are made by the officers and
trained staff of the Amateur Cinema League, men
who see more than a quarter million feet of film
each year. The selection is not limited to League
members — any amateur filmer, anywhere, may com-
pete. What the judges seek first is sincerity — sincerity
of camera work, film planning, editing, titling, and,
above all, creative movie imagination. Any fine film
it may be your film!

can win

THE MAXIM MEMORIAL AWARD, established
in 1937 in honor of the League's Founder Presi-
dent, has become by international acclaim the
most treasured trophy in the world of amateur
movies. A cash prize of $100.00 and a miniature
silvered replica of the Memorial is given annually
to the one amateur whose film is judged the best
of the Ten Best. In its sixteen year history, the
Maxim Memorial Award has been won by films of
every type — 8mm. and 16mm., long and short, si-
lent and sound, factual and story. This year it
may be won by your film.

ALL AMATEURS honored in the Ten Best com-
petition will receive a distinctive ACL Award
Leader, animated and in full color, as well as a
handsome, hand-lettered ACL Award Certificate in
recognition of their outstanding efforts.

SEND IN YOUR FILMS NOW

It is not too early to send your films in for judg-
ing. The contest closes October 15, 1953. Send the
entry blank below for each film you submit to:

AMATEUR CINEMA LEAGUE

420 Lexington Avenue New York 17, N. Y.

Send the Entry Blank below (or a copy of it) via 1st class
mail for each film that you submit.

RULES GOVERNING THE ACL SELECTION OF THE TEN BEST FILMS
of 1953 AND THE HIRAM PERCY MAXIM AWARD

_, certify that J
I

I

I,

(name)
I have read the rules governing the ACL selection
of the Ten Best Amateur Films of 1953 and the
Hiram Percy Maxim Award and that my entry is
in full compliance with these rules.

□ Please return via Express Collect.

□ Enclosed is $ for return via

Name of Film-
Camera used„
Signature

Date-

1. The ACL Ten Best competition is open
to amateur filmers everywhere in the
world. Films eligible to compete may be
produced on 8mm. or 16mm. stock, black
and white or color, silent or sound, 2-D
or stereo, and may be on original or
duplicate stock.

However, no film will be eligible for
which the maker has received payment
or rental, or for which he will receive
payment or rental prior to Dec. 1, 1953.
Prizes won in other amateur film con-
tests are not regarded by ACL as pay-
ments.

2. An official entry blank at left (or copy
of it) must be forwarded by first class
mail to cover each film submitted. The
films themselves may be forwarded as
the contestant elects, at his expense.
Entries will be returned by the ACL at
the expense of the contestant via the
transportation he requests.

3. Film entries from outside of the United
States must, because of American cus-
toms rulings, be made on film stock
originally manufactured in the United
States. Such entries should be forwarded
by parcel post (do not enclose written
matter) — not express — and must be
valued at less than $100. U. S. funds.

Entries from outside of the United
States which fail to comply with one or
both of these provisions will not be
cleared through customs by the ACL.

4. Phono records (78 or 33 rpm only),
of music, sound effects or narrative,
may accompany films. But start marks,
the order of playing, change-over cues
and desired projector speed should be
clearly indicated on a score sheet. Type-
written narrative to be read during pro-
jection also may be submitted if desired.
Both score sheet and narrative must be
sent by first class mail.

No phonograph records of any kind can
be received from outside of the United

States because of trademark regulations
governing this product.

Magnetic recordings, either on film,
tape or wire, also may accompany films;
but their reproduction will depend on
our ability to secure correct playback
facilities. Please indicate desired run-
ning speed where necessary.

5. No competitor will be permitted to
present his sound accompaniment per-
sonally at ACL headquarters nor may he
be present in the League's projection
room during the competitive screening
of his film.

6. The number of films honored in the
competition will include the ten selected
as the Ten Best Amateur Films of 1953;
an undetermined number of films which,
in the opinion of the judges, merit Hon-
orable Mention, and the winner of the
Hiram Percy Maxim Award, which is
chosen from among the Ten Best films.

7. Every film honored in the competition
will receive an ACL Award leader in full
color and an ACL Award Certificate
signifying the honor which it has won.

8. Selection of the ACL Award winners
will be made by the officers and head-
quarters staff of ACL. Their decisions
will be final and the judges cannot un-
dertake to discuss entries comparatively
with the contestants.

The ACL reserves the right to dupli-
cate at its expense any film (either in
whole or in major part) entered in the
contest, for non-profit distribution or
screening by ACL as ACL shall see fit.

9. No officer or director of the Amateur
Cinema League and no staff member of
the League or of MOVIE MAKERS is
eligible to compete in the contest.

10. October 15, 1953, is the closing dead-
line for the competition. All entries must
reach the office of the Amateur Cinema
League, 420 Lexington Avenue, New
York 17, N. Y., on or before that date.
Award winners will be announced in the
December number of MOVIE MAKERS.

\{

T2TH5T

JUL 27 19S3

The
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PROFESSIONAL JUNIOR TRIPOD GEAR DRIVE
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172

JULY 1953

■•**»■ i. i|.|'j"'.na,Hjjp?F*iii

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Shoot Better
COLOR ... Easier!

■Vbu'll like the new G-E Mascot
meter. Tells instantly how to
set your camera for color mov-
ies, slides, stereo. Pays for itself
in film and pictures saved. Easy
to read as a watch. See it at your
photo dealer's . . . .$15.95*

iric, Schen>

THE NEW

The reader writes
New ACL members
It's Maine for movies!
A scissors cinema
Zion National Park
FACL and AACL, 1953
I saw CinemaScope
An office outing
News of the industry
Closeups
Clubs
The big switch

July

1953

174

175

Frank E. Gunnell, FACL

176

George W. Cushman

178

Felix Zelenka

179

180

Jack E.

Giecfc, ACL

182

Sidney

Moritz, ACL

184

Reports

on products

185

What filmers are doing

191

People, plans ar

id programs

192

Editorial

194

Cover photograph by Herbert D. Shumway, AACL

JAMES W. MOORE
Editor

PETER D. DIBBLE
Clubs Edifor

ANNE YOUNG
Advertising & Production

GENERAL^) ELECTRIC

Vol. 28. No. 7. Published monthly in New York, N. Y., by Amateur Cinemi
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States a:
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Hondu
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay And
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale at yphoto-
graphic dealers everywhere. Entered as second class matter, August 3/ 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Bgt>yright,
1953, by Amateur Cinema League, Inc. Editorial and Publication ©nfice: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

•

MOVIE MAKERS

173

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174

JULY 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes. Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

COLOR PROCESSING UNIFORM

Dear Mr. Moore: Since the April pub-
lication of my article, Tips for the Trav-
eler, it has been brought to my attention
that changes have been made during the
past year by the Eastman Kodak Com-
pany in the processing of Kodachrome
films abroad.

Because of the general increase in
the number of travelers' films being
processed overseas, I am informed by
a wholly reliable source that the color
processing in all of Kodak's European
laboratories is now uniform with that
done in the United States.

I trust that this corrected information
will be made available promptly to our
readers.

LeRoy Segall, ACL
Milwaukee, Wise.

WARRANT THIS DISTINCTION

Dear Sirs: To be elected unanimously
as a Fellow of the Amateur Cinema
League is a great honor. I have been
trying, in my own mind, to figure what
outstanding accomplishments I have
made to warrant this distinction. The
little I have been able to do has always
been a pleasure; yet it has always been
the ACL which has been the inspiration
to do still better work.

I hope that I will be able to live up
to the honor conferred upon me.

Roy C. Wilcox, FACL
Meriden, Conn.

GREAT PLEASURE

Gentlemen: It was with great pleasure
that I received your letter informing me
that I have been elected a Fellow of the
Amateur Cinema League. To the of-
ficers and directors of the League I wish
to express my very sincere thanks and
appreciation for this honor which they
have bestowed upon me.

It is an honor which I shall revere
most highly.

George Merz, FACL
Hollywood, Fla.

HONOR EXTENDED

Dear Mr. Moore: Please convey to
your board of directors my most sincere
gratitude for the great honor they have
extended to me in appointing me to the
rank of Associate in the Amateur Cin-
ema League.

I am most happy to accept the ap-
pointment, and I can assure you of my
desire to serve ACL in my country.

Alfred T. Bartlett, AACL
Brisbane, Australia

MAINTAIN THEIR FAITH

Dear Sirs: I feel highly honored to
have been selected by the directors of
the ACL as an Associate of the Amateur
Cinema League. I shall do my best to
maintain their faith in my appointment.
Enjoying this new status of Associate,
I feel even more enthused about build-
ing up the membership and strength
of ACL.

Timothy M. Lawler, Jr., AACL
Kenosha, Wise.

SIGNAL HONOR

Gentlemen: Thank you so very much
for informing me that the board of di-
rectors of the Amateur Cinema League
has appointed me to the new honors
rank of Associate in ACL. To say that
I am thrilled with this signal honor is
to put it mildly.

William Messner, AACL
Teaneck, N. J.

CERTAINLY SURPRISED

Dear Mr. Moore: I was certainly sur-
prised and unquestionably pleased
when I read your letter saying that the
Board of Directors has appointed me as
an Associate of the ACL.

I am sure that few hobbies can claim
as helpful and as informed an organiza-
tion as we movie makers have in the
ACL. I know that the League has been
most helpful to me. Now, as an Asso-
ciate, I shall be glad to aid the League
in any way I can.

Herbert D. Shumway, AACL
Greenfield, Mass.

HAPPY AND GRATEFUL

Gentlemen: I am indeed happy and
grateful to have been selected among
those named to the new honors rank of
Associate in the Amateur Cinema
League.

Please believe that my most sincere
desire at this moment is to do every-
thing possible to further the advance-
ment of our hobby and especially to
aid the League and its members in
every way I can.

Haven Trecker, AACL
Kankakee, 111.

HONOR AND RESPONSIBILITY

Dear Sirs: I am most appreciative of
both the honor and the responsibility
conferred on me by the directors in my

appointment as an Associate of the
Amateur Cinema League. Please convey
to all concerned by warmest thanks.

Glen H. Turner, AACL
Springville, Utah

ACCEPT WITH HUMILITY

Gentlemen: Such an honor as that
which the League has accorded me is
the dream of every movie maker! It is
with humility that I accept it — not as
a reward for anything which I have
already done, but rather as a spur to
even greater activity on behalf of the
ACL and my fellow movie makers.

Helen C. Welsh, AACL
Albany, N. Y.

GRAINGER NOT RETAIL

Dear Movie Makers: In my original
manuscript of Try Synchro-Tach, which
you published in May, I stated that "the
Warner hand tachometer could be ob-
tained at Grainger warehouses, Well-
worth Trading, etc." However, you
changed this to read: "Common retail
outlets should be all Grainger stores,
etc."

I want you to know that W. W.
Grainger, a nation-wide chain indeed,
sells only wholesale and strictly so at
that. I am afraid they will holler their
heads off at your boot.

Herbert H. Reech, ACL
Cleveland, Ohio

Our regrets, naturally, to author Reech
for this unwitting error. Thus far the
Graingers either have not caught it or
just don't care.

SYNCHRO-TACH VARIANT

Dear Mr. Moore: Inspired by Herbert
Reech's excellent May article, Try
Synchro-Tach, I have tried out a some-
what less expensive (because I had all
the materials in my junk pile) angle
which may be of interest to other read-
ers:

A speedometer cable and an old
speedometer will do the same job, al-
though probably not as accurately as
Mr. Reech's rig. It must be calibrated,
of course. The truck speedometer I
used, when cabled to the hand-turning
knob of my old Ampro, runs at about
68 miles per hour when the projector
is going 16 fps.

Jack E. Gieck, ACL
Birmingham, Mich.

REPORT FROM KEYSTONE

Dear Mr. Moore: In this, Keystone's
34th year, I thought you might be in-
terested in some of the data on the in-,
dustry which we have been asked to
supply by others.

Although only a few years ago the
proportion of 8mm. cameras to 16mm.
units was about three to one, the sale
of 8mm. cameras is now about four
times that of the Sixteens. I believe that
many post-war dealers have never used
the Sixteen themselves, and therefore,

MOVIE MAKERS

through lack of personal experience,
do not bring out to the customer the
proper advantages of the 16mm. system.
The trend in magazine cameras has
been spotty. From 1948 to 1950 maga-
zine camera sales probably increased
faster than roll camera sales. Beginning
in late 1950 and continuing through the
early part of 1952, roll film camera
sales increased faster than magazine
camera sales. Then in the closing part
of 1952 magazine camera sales took a
sharp spurt upward. This year we ex-
pect that the sales of roll film cameras
will increase much more rapidly.

R. C. Berner, ACL
Vicepresident
Keystone Camera Company
Boston, Mass.

175

J. C. Peter, Takoma Park, Md.
Albert H. Dong, Sacramento, Calif.
H. Freedman, Mount Royal, Canada
Morris Jaral, Santa Barbara, Calif.
Capt. Robert Jim, MC, Hill AFB, Utah
Willard B. Joy, Columbus, Ga.
Harley J. Kellogg, Conrad, Mont.
J. H. Lerche, Copenhagen, Denmark
Tulsa Amateur Movie Club, Tulsa, Okla.
E. C. Bowley, Johannesburg, South

Africa
George S. Jenkins, Albany, Ga.
Donald J. Mackay, Utica. Mich.
Chxistc'hurch Movie Club, Inc.,

Christchurch, New Zealand
Leland Crapo, West Allis, Wise.
M. H. Inman, Fresno, Calif.

Irving S. Nedler, San Antonio, Texas
G. P. Smith, Oak Ridge, Tenn.
Marc Gyselynck, Courtrai, Belgium
G. E. Patterson, Seattle, Wash.
Jack L. Hagadorn, Cleveland, Ohio
Rudolph Nemenyi, Yonkers, N. Y.
Charles A. Powell, Jacksonville, Fla.
Lloyd Powers, Casper, Wyo.
John F. Stetkar, Astoria, N. Y.
James H. Takahashi, Honolulu, T. H.
Herman H. Buergler, St. Louis, Mo.
Capt. Preston W. Easley, do PM, New
York City

Hongkong Amateur Cine Club, Hongkong

Rabbi Judah Nadich, Brookline, Mass

E. N. Karay, Detroit, Mich.

Millstone Construction, Inc., St. Louis, Mo.

Frank J. Rock, Staten Island, N. Y.

Robert A. Tross, Broomall, Pa.

Clark Donaldson, Long Beach, Calif.

H. Goldsworthy, jr., Santa Monica, Calif.

Gabriel Mayorga, New York City

Thomas F. Moynihan, Camp Gordon, Ga.

Gordon M. Rice, Chicago, III.

Rev. Romanus Zeller, O.P., Hong Kong

Big Lake Cine Club, Big Lake, Texas

Miss Flossie J. Coates, Big Lake, Texas

Aubrey Edwards, Big Lake, Texas

E. E. Fickinger, Big Lake, Texas

Bill Friend, Big Lake, Texas

H. L. Gardner, Big Lake, Texas

W. A. Glassock, Big Lake, Texas

Earl Hays, Big Lake, Texas

Wilson Loftin, Big Lake, Texas

Harry Logan, Big Lake, Texas

W. T. Mills, Big Lake, Texas

Woodrow Munn, Big Lake, Texas

Edwin Phy, Big Lake, Texas

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176

Photographs by Alberta H. Gunnell

SQUATLY SERENE, Pemaquid Point lighthouse has been in con-
tinuous service since its construction in 1824. At left a trim
Maine schooner begins a week's cruise out of Camden.

ITS MAINE FOR MOVIES!

A veteran travel filmer divides the Maine Coast into four easy-to-film sectors

FRANK E. GUNNELL, FACL

SO you're going to spend this summer's vacation along
the Maine coast, and you are wondering whether
or not to take along your movie camera! Of course
you are going to take it. For where else can you find a
relatively small area so rich in exciting beauty, offering
as many historical associations, and providing an almost
unlimited variety of action for your camera? The only
answer is: Another Maine coast! And Down-Easterners
will tell you that that isn't possible.

From where one crosses into the State of Maine over
the Piscataqua River from Portsmouth, N. H., northeast-
ward all the way to Acadia National Park well up the
Maine coast, is less than 225 miles by direct highways.
Yet along the ocean side of that main highway are hun-
dreds of miles of byways that follow Maine's deeply-
indented 2500 mile coastline of bays, sounds and reaches.
It is along these byways and on the sea itself that there
is so much on which to train your movie camera.

FOUR FILMING SECTIONS
Let's take that 225 mile stretch of Maine coastal high-
way and divide it into four fairly equal sections for movie
making purposes: (1) from Portsmouth, N. H., to Port-
land, Maine; (2) Portland to Damariscotta; (3) Damaris-
cotta to Belfast, and (4) Belfast to Acadia National Park.
Each of these sections of the Maine coast offers both
vacation variety and ample filming subjects for a com-
plete short film; while the movie maker with more time
will find that he can combine footage on any or all of
these regions for a motion picture of considerable length.

PORTSMOUTH TO PORTLAND

Filming the first of the four regions may well begin
at Portsmouth, as we leave New Hampshire and cross
one of the bridges into Maine. While we may be tempted
to take the express toll highway (the Maine Turnpike)
and thereby reach Portland in an hour or so, let's allow
for more leisure. Let's follow the coast as close to the sea
as possible and enjoy several days of vacation fun and
filming on this only slightly longer way.

Just over the state line in Maine is the old shipbuilding
town of Kittery. Here, among other sturdy vessels, was
built John Paul Jones's Ranger, the first man-of-war to
fly the Stars and Stripes in the Revolutionary War. The
modern Portsmouth Navy Yard, despite its name, is
also within the township of Kittery, as is Kittery State
Park.

The section of Maine coast from Kittery to Portland
includes a number of noted beach areas and resorts,
long stretches of sweeping sandy shore that attract thou-
sands of vacationers each summer. York Village, adjacent
to York Beach, has the interesting York Gaol, the oldest
public building in New England and built in 1635. Now
a museum, the gaol housed hardened criminals in its
damp dungeons, while minor offenders got better quarters
such as the large debtor's cell.

Bald Head Cliff, a great rocky promontory between
York Beach and Ogunquit, affords a foretaste of the
sterner Maine coast that awaits us to the north. Ogunquit
is a noted artists' colony, while Kennebunkport, a few
miles north, is the home of many prominent writers —
including Kenneth Roberts of Northwest Passage fame.
It was here also that Booth Tarkington did much of his

177

writing aboard an old schooner past its sailing days.
Old Orchard Beach, closest to Portland, boasts a tre-
mendous reach of firm sand and is a holiday playground
for thousands seeking relief from summer heat. The hard-
packed sands also provided an excellent airstrip for many
of the early transatlantic flyers.

AROUND PORTLAND HARBOR
Portland and its environs offer the movie maker enough
subject matter for a complete vacation film; or they can
readily serve as a single sequence in a film covering more
of the Maine coast. Besides being a New England seaport
town of historic interest, Portland is a great tourists'
center and the starting place for most Maine vacations.
Portland Head Light, probably the most famous Maine
lighthouse, is on a military reservation and usually closed
to the public; but Cape Elizabeth with its Two Lights
is not far away. A picnic sequence on the rocky shore,
with the lighthouses as a background, will add much to
the New England flavor of your film, as will the fishermen
on the rocks and in nearby boats.

Portland, too, is the home port for the first of the
several windjammer cruises that are an increasingly
popular form of Maine vacation, as well as being ideal
motion picture material. Other Maine coastal towns which
offer windjammer cruises of one or two weeks' duration
are Boothbay Harbor, Rockland, Camden, Belfast and
Bar Harbor.

.North and east of Portland the foreshore becomes more
rugged, taking on more of the fjord-like characteristics
of the Norwegian coastline. Offshore islands become more
numerous and rocky headlands surround the many deep
bays, long sounds and far reaches of the sea. This is a
drowned-mountain coastline, where the submergence of
the land has created magnificent scenery and excellent
boating and fishing.

PORTLAND TO DAMARISCOTTA
It is only a little more than fifty miles by direct high-
way from Portland to Damariscotta; but side roads reach-
ing toward the sea are numerous and it is down these

FROM TRAPS TO TABLE is the beguiling course of the Maine lobster.
A short sequence or a full film might be made of this industry.

roads that the movie maker will find much of interest.
Brunswick, on the main highway, was the home of Har-
riet Beecher Stowe, author of Uncle Tom's Cabin, and
Bowdoin College is close by. Popharn Beach, where the
first English colony in New England was planted in 1007.
lies at land's end east of Bath. Between Bath and Damaris-
cotta several side roads lead tow aid the sea and such
noted vacation spots as Boothha\ Harbor and Georgetown.
Damariscotta, the starting point for side trips in many
directions, maintains a tourists' information office right
on the main highway. Again good side roads lead to the
sea and Pemaquid Point — a combination of rocky coast,
restlessly surging sea, and a real oldlime lighthouse that
goes back to 1824. Nearby is Fort William Henry, a
reconstructed version of a colonial stronghold built in
1692 as a defense against pirates and Indians. Also close
by is the almost land-locked port of New Harbor, old
despite its name, where lobster pots literally choke the
piers and the filmer seeking a [Continued on page 193J

BOW TO BOW in impromptu pattern are these boats moored at the
yacht club landing at Camden. Figure in foreground would help.

178

A SCISSORS CINEMA

Paper cutouts — thousands of 'em — act out the animated comedies

produced by an ingenious 8mm. amateur
GEORGE W. CUSHMAN

EARLY last year Frank Kallenberg walked into a meet-
ing of the Long Beach (Calif.) Cinema Club, handed
a fifty foot roll of 8mm. to the program chairman and
said meekly: "Here, if you don't have too full a program
tonight, maybe this will help you out." And with that he
left the little black spool on the projection table and
walked to his seat.

When the lights dimmed and the screen lit up, we read
first the lead title Frank Kallenberg Presents — Yowie.
Then came a series of rapid-fire gags which soon had the
audience in stitches. A man on horseback trots down the
road, sees a rabbit eating carrots, fills his shotgun with
pepper and shoots — causing the horse to sneeze and lose
his false teeth. At this point the horse blushed a beautiful
crimson, and the audience laughed louder than at any
time in the club's history. And, as the lights went up, Kal-
lenberg got a well-deserved round of applause.

The timing, staging and presentation of Yowie were
excellent. But what was so remarkable about the entire
production was that it was made by single-frame anima-
tion, and all of the sets and characters were paper cutouts!

With the success of Yowie to his credit, Kallenberg
couldn't rest. Thus, after a year of work, he unveiled only
a few months ago a 200 foot 8mm. epic entitled Mule
Segarettes, a masterpiece which leaves the viewer amazed
at the infinite patience Kallenberg's production displays.

The story tells how Mule Segarettes are made. But the
story to movie enthusiasts is unimportant, relatively speak-
ing. Rather they are anxious to know what prompted Kal-
lenberg to try 8mm. animation in paper cutouts.

He isn't quite sure, himself, why he made Yowie. Says
he was cutting out colored paper one day and a man
resulted and he decided to make a movie of him. One
thing led to another and he ended up with a 50 foot film.
But that, he says, was almost two years ago. Finding
single-frame animation to his liking, he has rigged up an
intricate apparatus which facilitates his activity and as-
sures him of well-centered results.

His animation stand, which he built himself, consists of
f our, uprights of 1 inch angle aluminum with the necessary
corner bracing to make it firm and rigid (see Fig.'l).
The stand is approximately 5 feet in height, while the
animation area (which extends outward on both sides to
permit the use of traveling backgrounds) is at a conven-
ient 2 foot or chair-height level. The camera, a Bolex H-8,
is mounted at the top of the framework in a unit which
guarantees immediate and accurate centering at all times
(see Fig. 2).

Two controls (see Figs. 1 and 3) are situated at Kal-
lenberg's fingertips. The large toggle switch turns the two
photofloods on and off, while the smaller, black button
switch next to it trips a solenoid [Continued on page 193]

FIG. 1: At left is an overall view
of the animation stand designed
by Frank Kallenberg, of Long
Beach, Calif., to accommodate
his production of cartoon films
made with paper cutouts.

FIG. 2: In closeup at right the
producer's 8mm. camera is seen
mounted on a special carriage,
with the solenoid control (lower
left) in position against cam-
era's frame release.

FIG. 3: At right the producer is
seen as he animates one of his
paper puppets with the finely
pointed tools he shaped for the
purpose. Note also line of guide
wires in the background.

FIG. 4: Snip go the Kallenberg
scissors as, with infinite pa-
tience, he forms still another of
his fabulous figures. Right, left
sides of man are on table.

179

Photographs by Felix and Nikki Zelenka

PICTURE-WINDOW parking bays dot the mile-long shaft of the Zion-
Mount Carmel tunnel, providing breathtaking views of silhouette of the
Canyon below. Great White Throne, 2500 foot monolith, is at right.

ZION National Park

How to get there and what to film in this Southern Utah canyon

FELIX ZELENKA

IF YOU are fortunate enough this summer to point your
camera toward the spectacular canyon country of
Southern Utah, there are a couple of "musts" to in-
clude and underline in your itinerary. Such a place is
«ight-mile-long Zion Canyon, a masterpiece of erosion
carved by the meandering Virgin River in Zion National
Park.

ORIGINS OF ZION
For many thousands of years the Virgin has been busy
at deepening its channels and transporting material
weathered from the canyon walls. Named for Thomas
Virgin, a member of an 1827 exploration party, the river
and its tributaries have created a region that in some
respects is reminiscent of Yosemite Valley in California.
So pronounced is this similarity that many people have
felt the origins of these two regions must also have been
similar. This is not true. No glaciers occurred at Zion.
And, in fact, before the Virgin River established its
course, there was no gorge, no sandstone cliffs of deep
red and vermilion, no towering monolithic temples.
Actually the stream began its work following much the
same course it does today; but it was some 5000 feet
above its present level.

HOW TO REACH ZION
Motorists' traveling west of Zion via the Arrowhead
Trail, U. S. Highway 91, may turn off at Anderson's
Junction or Harrisburg Bench Junction. From here, State
Route 15 leads directly into the park, just as it does from
the east side on U. S. Highway 89. By rail, Zion is
reached only on the Union Pacific from Cedar City,
Utah. From this point motor bus service is provided
by the Utah Parks Company, from June 15 to September
6. (Write W. P. Rogers, manager of Utah Parks Hotels,
Cedar City, Utah, for reservations or for further infor-

mation.) But if you choose to fly, United Air Lines serves
Salt Lake City, from which passengers may take the
railroad or the bus to Cedar City. Air service also is
available from Los Angeles by Western Air Lines.

TWO ENTRANCES

Although there are some twenty miles of modern high-
ways in the park proper, no one has really seen Zion
until he travels over the valley road from the south
entrance to the Temple of Sinawava. Over this route,
which parallels the river, the scenery will invariably coax
more film through your camera than you intended to use.
No one will enjoy the ride more than he who arrives
in a top-down convertible, since much of Zion's beauty
rises upward for more than a half mile into the azure
Utah skies.

Motoring from the east entrance, the visitor approaches
the park via the 11% mile long, breath-taking Zion-
Mount Carmel Highway, which at one point leads through
the mile long Zion-Mount Carmel Tunnel. The fact that
the tunnel architects designed [Continued on page 187]

EROSIVE FORCES which carved out Zion's canyon and left stand-
ing her peaks are -plotted in this exhibit at Temple of Sinawava.

180

FACL and AACL, 1953

Adding a new honors status of Associate, the ACL names nine of its members for recognition

THE ACL takes pride and pleasure
in announcing for 1953 the appoint-
ment of two of its members to the
status of Fellow of the Amateur Cinema
League. They are, alphabetically, as
follows:

George Merz, of Hollywood, Fla.

Roy C. Wilcox, of Meriden, Conn.

These members were elected to Fel-
lowship by vote of the League's board
of directors, at the board's twenty sev-
enth annual meeting held on May 9,
1953. The honors status itself was
established in 1940, with the first
Fellowship awarded posthumously to
Hiram Percy Maxim, FACL, founder
president of the League from 1926 until
his death in 1936. The present roster
of League Fellows stands at thirty.

Also named by the directors at the
same board meeting were seven ACL
members who become Associates of
the Amateur Cinema League. This new
honors status, which will rank just
under that of the Fellowship, was
established by the directors in recogni-
tion of an ever-growing number of able
and aspiring movie makers among the
League's membership. Those appointed
as Associates of ACL in 1953 are:

Alfred T. Bartlett, of Brisbane,
Australia

Timothy M. Lawler, Jr., of Ken-
osha, Wise.

William Messner, of Teaneck, N. J.

Herbert D. Shumway, of Green-
field, Mass.

Haven Trecker, of Kankakee, 111.

Glen H. Turner, of Springville,
Utah

Helen C. Welsh, of Albany, N. Y.

Honors awards in the Amateur Cin-
ema League, whether of Fellowship or
Associateship, are accorded to individ-
ual members in recognition of their
achievements in or contributions to the
craft of personal motion pictures.
Among the qualifications considered by
the directors are the production of able
and honored pictures, the personal use
of one's camera, projector and films in
civic, welfare, educational or scientific
projects, informed and helpful writing
or lecturing on the techniques of our
hobby, unselfish and energetic coopera-
tion in movie club affairs, active and
enthusiastic support of the ACL — these,
and still other accomplishments may
contribute to one's selection for League
honors.

The ACL directors believe that these
qualifications are admirably and vari-
ously exemplified among those members
honored in 1953. Their biographies and
accomplishments, necessarily briefed,
are presented herewith.

GEORGE MERZ, FACL

In 1910, only seven years after the
Wright brothers flew the first man-car-
rying airplane, George Merz built and
exhibited in Boston an exact duplicate
of the then-famous Curtiss biplane.
Happily for Mr. Merz (and the hobby
of amateur movie making), his father
soon ordered him to "leave that crazy
thing alone and learn to do something
worthwhile."

It was good advice. By 1919 Mr.
Merz had established his own business
as an engineering pattern maker, and
in 1944 he was able to retire at the
age of fifty. In the meantime (1938)
he took up movie making with an 8mm.
Cine-Kodak Model 60; this led in due
course to an 8mm. Model 90 and, in
1946, to a Bolex H-16 which is his
present camera. Projector-wise, Mr.
Merz has recently aligned himself with
a Bell & Howell 202 magnetic projector,
after many years of operation with a
B&H Showmaster and a wire recorder.

From these cameras, over the years,
have come 17 completed pictures which
have won a total of 22 awards, in all
levels of competition from local club
contests to ACL's Ten Best. And from
the man behind these cameras have
come no less than eight Movie Makers
articles, in which Mr. Merz has de-
scribed and pictured the many in-
genious accessories created by his skills
at mechanical and optical design. Mr.
Merz also has shared his films and film-
ing abilities through membership in the
Passaic (N.J.) Cinema Club, the Ama-
teur Movie Society of Bergen County
(of which he is an honorary life mem-
ber), the Metropolitan Motion Picture
Club and the Miami (Fla.) Movie
Makers Club. Since making his home
permanently in Hollywood, Fla., he has
presented five film programs annually
at that community's amphitheatre, a
public service which has brought him
the city's title of director of motion
pictures.

Both Mr. and Mrs. Merz (there are
no children) are keen travelers, and
pass the summer months touring, film-
ing and presenting picture programs at
League movie clubs along their route.
Aviation's loss, clearly, has been ACL's
gain.

ROY C. WILCOX, FACL

Roy C. Wilcox has been making
amateur movies since amateur movies
began — which was in 1923. He pur-
chased in that year camera No. 76 of
the Model A Cine-Kodak, Eastman's
first 16mm. design. It was hand-cranked
and came equipped with a 1 inch lens.

Mr. Wilcox still has this rare but re-
liable instrument, as well as the more
modern Magazine Cine-Kodak, a Cine-
Kodak Special and a Filmo 70-G with
128 frames-per-second slow motion
speed.

He uses these cameras in document-
ing his devotion to the out of doors.
His films are of hunting (big game,
upland birds, southern quail and
ducks), fishing (Atlantic salmon and
trout), and wild life of all kinds (ani-
mals, birds, bugs, snakes, bees and
flowers). He is an ardent conservation-
ist and devotes both his cameras and
his projector (an RCA 400 magnetic)
unselfishly to that cause. More than a
dozen of his authoritative nature studies
have been televised educationally, and
one of them, Along the Waterways, was
named in both the Cannes and Venice
Film Festivals of 1952 as a gold medal
winner in the documentary class. This
latter film, through Mr. Wilcox's dona-
tion, is on file in the League's Club
Film Library.

Sixty two years of age, Mr. Wilcox
is executive vicepresident of the Inter-
national Silver Company, in Meriden,
Conn., with which organization he
started during his teens as a stock
clerk. His wide business experience and
membership on the directorates of many
leading industries bring to ACL's own
board of directors invaluable and
friendly counsel.

ALFRED T. BARTLETT, AACL

In 1937 Alfred T. Bartlett swapped
an electric razor for a Univex 8mm.
camera. What he has been doing since
then tonsorially is not known; but on
the cinematic side of this deal the
record is clear and impressive. From
the eight films he has completed since
1947 (he had switched to 16mm. in
1940), Mr. Bartlett has garnered eight
first places in local club contests
throughout Australia ; he has twice won
the Gold Cup in international compe-
titions sponsored by the Australian
Amateur Cine Society, in Sydney, and
in 1952, with his first entry in ACL's
international Ten Best selections, he
was a solid Ten Best winner with Give
Us This Day.

Mr. Bartlett's movie club activities
have been equally vigorous. He is still
president of the Queensland Amateur
Cine Society, in Brisbane, a post which
he also held in 1950 when that club
screened its contest award winners be-
fore a whopping 4000-plus audience. He
is a member of the Australian Amateur
Cine Society, in Sydney, and he is the
[Continued on page 189];

181

Walter Gray

(2) Bachrai Ii

GEORGE MERZ, FACL

ROY C. WILCOX, FACL

HELEN C. WELSH, AACL

ALFRED T. BARTLETT, AACL

WILLIAM MESSNER, AACL

HERBERT D. SHUMWAY, AACL

Vernon Caslleton

Cleve Ward

TIMOTHY M. LAWLER, JR., AACL

HAVEN TRECKER, AACL

GLEN H. TURNER, AACL

182

I SAW CINEMASCOPE

Our observant author of "Stereo Movies" now compares the two

cycloramic projection systems — Cinerama and CinemaScope

JACK E. GIECK, ACL

In two previous articles (see January and March 1953)
Movie Makers has described some of the technical
aspects of Cinerama, a three-projector, cycloramic-
screen projection system. Then, in my recent May article
(see Stereo Movies — Novelty or Nonpareil?) , I discussed
the merits and demerits of Hollywood's first true stereo-
scopic motion pictures. Each method is an aspect of the
film capital's answer to the near-fatal tug of television.

Since then, through the kindness of Kurtz Meyers, head
of the Detroit Public Library's audio-visual department,
I have been privileged to attend a press review of Cinema-
Scope, 20th Century-Fox's life ring for the lonely box
office. The Robe, that studio's first production in this new
medium, is scheduled for release in October of this year.

CINEMASCOPE VS. CINERAMA
At first glimpse, CinemaScope seems to achieve many
of the effects of Cinerama — but at far less cost, since it
uses only one standard projector. It employs a huge
curved screen, as does Cinerama, in combination with
multiple-track stereophonic sound. Like Cinerama also,
it appeals to one'9 peripheral vision to achieve the illusion
of depth and to conjure up a "sense of participation" in
the minds of the audience.

Since these two motion picture innovations do employ
similar staging, I believe fellow movie makers will be
interested in a comparison of their methods, as well as
an opinion concerning their relative effectiveness. To
make such a comparison as objectively and as fairly as
possible, I first attended a CinemaScope demonstration
as a member of the audience, having seen Cinerama twice
during the preceding month (the first time from the
mezzanine, the second from the fourth row of the orches-
tra). After the demonstration, I went backstage to ex-
amine the screen and the multiple loudspeaker system,
following which I went upstairs to the projection booth
to look over the special projection and sound equipment.
Here, I also talked t@ one of the CinemaScope technicians

(N£Mascope screen size:

TAND/WD SCREEN SIZE

S 1

' STEREOPHONIC SOUND OWES
THREE-DIMENSIONAL EFFECT SO
SOUND COMES FROM POINT OF
OAIHN ON SCREEN -

CINEMASCOPE LENS
ON PROJECTOR -

NEARLY THREE TIMES as wide as it is high, the CinemaScope Mir-
acle Mirror screen is here compared to standard 3 by 4 aspect.

and remained while the operators began the next show-
ing. After the second showing got underway, I wandered
about the theatre, observing the screen from various
locations.

Finally, I left the theatre for Detroit's Music Hall,
where I watched the finale of another Cinerama per-
formance and had a chat with one of the Cinerama tech-
nicians. Thus armed, I give you my report:

THE "MIRACLE MIRROR" SCREEN
When the red plush curtains of Detroit's Fox Theatre
rolled apart they revealed a gently curving screen of
monstrous size, almost filling the huge proscenium.
Masked dimensions of this "Miracle Mirror" screen are
65 feet in length by 27 feet in height, a foot larger in
each dimension than the arc of the Cinerama screen. But
the CinemaScope screen is much flatter; the total "dish"
is only 5 feet at the center. Cinerama's screen has a radius
of curvature of about 25 feet and covers 146 degrees of
arc, while the radius of the Miracle Mirror is equal to
the length of throw from the projection booth — about
135 feet at Detroit's Fox Theatre. This means that the
CinemaScope screen represents only about 28 degrees
of arc.

To reduce keystoning (the tendency for a picture to
widen at the bottom because the down-coming projection
beam, striking the vertical screen surface at an angle,
spreads more at the screen's bottom than at its top),
the CinemaScope screen is tilted backward at an angle
of 6 degrees. Curving the broad screen prevents similar
keystoning sidewise. In Detroit, the Cinerama projectors
shoot upward at a slight angle, but this is compensated
for optically.

As previously reported, the Cinerama screen is com-
posed of 1100 vertical strips of perforated whdte plastic
tape. Setting each of these strips at the proper angle
prevents reflection of light to the opposite side of the
screen, where it would spoil the picture. Since it is so
much flatter, the CinemaScope screen is not faced with
this problem, but it is nonetheless novel. The front of
the Miracle Mirror is a continuous surface of perforated
fabric -which has been coated with an aluminized plastic.
Into this plastic surface, millions of tiny concave mirrors
have been embossed. These have somewhat the same effect
as the glass (or plastic) beads on a Da-Lite or Radiant
screen; that is, they reflect the light directionally toward
the audience, instead of wasting much of it on the walls
and ceiling of the theatre. It is, of course, well known
that beaded screens serve a relatively narrow viewing
angle (10 to 15 degrees on each side of the projection
axis) ; but it is claimed that the mirrored surface of the
CinemaScope screen covers the entire auditorium uni-
formly. To me, however, the picture appeared brighter
from the balcony than from the main floor.

SOME FAULTS OBVIATED

The preview program opened with a few shots of a

midget auto race, followed by several scenes of New

York harbor. The picture was BIG — there is no denying

it. A ferryboat which crossed the harbor in the fore-

183

ground seemed almost full size. And, in contrast to Cine-
rama, it was a great relief to be rid of the imperfect
vertical joins between Cinerama's three panels (frames)
projected side-by-side on the screen. With the joins, of
course, went all the other problems induced by the simul-
taneous use of three projectors (difference in brilliance,
projector jump, etc.). Distortion of horizontal lines also
was less obvious.

DEFINITION DEGRADED

But CinemaScope's colors seemed washed out by com-
parison; the image was on the dim side and lacking in
detail. This lack of detail became increasingly obvious
in the rushes which followed from How to Marry a
Millionaire, Gentlemen Prefer Blondes and The Robe.
Closeups and medium shots were not too bad. But when-
ever Marilyn Monroe danced too far away from the
camera, her fascinating features disintegrated into mean-
ingless blobs; the effect was similar to the unhappy
television phenomenon which causes the cowboy and his
horse to dissolve into a mass of protoplasm (or some-
thing equally amorphous) as they ride into the sunset.
Particularly disappointing was the very direct comparison
with Cinerama offered by a sequence taken from the nose
of an airplane.

This rather low standard of picture quality is easily
understood when we realize the odds against which Cine-
maScope technicians must work. Unlike Cinerama, which
uses three films in three different projectors, with a 6
sprocket frame half again as high as the standard 35mm.
aperture, CinemaScope gets along with only one film
having a standard 4 sprocket frame. To create the broad
screen shape (nearly three times as wide as it is tall),
a cylindrical anamorphic lens, developed originally by
the French scientist Henri Chretien, is mounted ahead
of the normal camera lens. This auxiliary lens compresses
the picture horizontally on the film, making the actors
skinny as toothpicks. A complementary anamorphic lens
on the standard 35mm. projector spreads the picture out
once again onto the panoramic screen and returns the
actors to their normal well-fed proportions.

Thus, to fill a screen of essentially the same size, Cine-
rama uses 4^2 times the film area that CinemaScope has
available. This is more than the difference in frame area
between 8mm. and 16mm. movie film, and certainly no
one would expect to get equivalent detail when projecting
8 and 16mm. on the same size screen. Added to this fixed
difference in film area are

Eastman Color and then printed in Technicolor. Since
the color balance of the two processes differs somewhat,
the color tones of the finished print suffered accordingly.
Cinerama, on the other hand, is famous for its brilliant,
breath-taking Technicolor. And the brilliance is more
than a figure of speech. So much light bounces off the
screen at the audience that one could easily read a news-
paper in the front section of the Cinerama theatre. At
the CinemaScope demonstration, by contrast, I could not
even see where my notebook was, and had to write
strictly by feel. Obviously, less light can be had from
one projector than from the three of Cinerama. And
furthermore, what light there is from this single source
must be distributed over three times the area of each
Cinerama panel. This deficiency cannot be compensated
for merely by turning up the arc intensity without burn-
ing through the image and washing out the color still
further.

But, in one sense, the dimmer picture of CinemaScope
is an advantage. Because the human eye is more sensitive
to flicker in its peripheral vision area, Cinerama has
found it necessary to shoot and project its pictures at
26 frames per second. But since human tolerance of
flicker also varies inversely with picture brilliance (it
is generally in the highlights, for instance, that we notice
flicker even at 16 frames per second in home movies),
CinemaScope gets along nicely at 24 frames per second
without perceptible flicker.

AUDIENCE PARTICIPATION?
To me, the feeling of depth and sense of participation in
the film was far greater with Cinerama than with Cinema-
Scope. This is undoubtedly due in part to the difference
in angular coverage between the two techniques. Cine-
rama, with its three lenses set 48 degrees apart, covers
146 degrees horizontally, closely [Continued on page 188]

20th Century-Fox

the optical losses in defi-
nition imposed by the
auxiliary lenses.

DIMINUTION OF LIGHT
All in all, I felt that
CinemaScope engineers
did a remarkable techno-
logical job. And I doubt
that there is very much
room for improvement.
But it takes a lot of cour-
age to screen a one-inch
wide picture over 65 feet.
Another factor working
against CinemaScope — at
least in its initial demon-
stration— was the fact that
it was photographed in

EFFECT of the anamorphic lens in re-
cording compressed image of standard
film frame proportion is seen right,
with expanded reproduction below in
panel-like dimensions of CinemaScope.

184

Games, Gags, and Girls — these are the big three in any picture of

AN OFFICE OUTING

SIDNEY MORITZ, ACL

Holidays are always happy days — especially if they're
"on the house." And company outings are just that:
outdoor fun and frolic for everyone, with the boss
footing the bill. Even the cost of the film is likely to be
absorbed, for many companies will gladly underwrite
this expense as part of its employee goodwill relations
program.

So plan your company holiday movie right now. The
fun will begin long before you step inside the bus, or
board the excursion steamer. Call upon your fellow pho-
tographers in the company to enlist their interest and
aid. Seek as well the cooperation of members of the Out-
ing Committee. Let them tell you what activities will
take place. Then prepare an outline of your proposed
operations, and your filming schedule. You're now ready
"to shoot the works."

No special equipment will be needed to produce the
type of film under discussion. However, a tripod is an
absolute must. Outing pictures should be rock steady.
And a filmer trying to hand-hold his camera in a surging
crowd is not likely to fare well. He need have no fear
when his camera is tripod mounted. For a tripod will
be respected even by the most boisterous. If you're an
advanced worker, you'll find the telephoto, wide angle
and faster lenses useful accessories. Nevertheless, excellent
outing films have been made with a simple fixed-focus
camera.

The excursionists should be told of the plans under
way for filming the outing. They should be briefed as to

Sidney Moritz, ACL

GIRLS ON THE MARCH! Here is an excellent camera position
for any picture of a procession moving toward and by the lens.

their behavior while this is going on. An announcement
included in the "Events of the Day" program could read:
John Jones of the Sales Promotion Department is
to make a movie of our outing. John knows how to
give his pictures the professional touch. Please
cooperate with him and his assistants by observing
the following:

Do not under any circumstances look or wave
toward the camera when it is trained in your di-
rection.

Continue doing whatever you are doing when
your picture is being taken.

Please follow carefully any instructions the cam-
eraman or his assistants may give you.
Planning the production of an outing movie is a simple
matter. The continuity is really ready made. You just
photograph activities as they occur. But a certain amount
of discretion must be exercised in the selection of picture
material. You should, for example, decide upon the total
running time of the movie, and then subdivide the various
activities within the allotted footage. Most important of
all will be your obligation to include in the movie as
many of the excursionists as possible.

An ideal film length for a company outing picture is
about thirty minutes. It is likely to drag if extended be-
yond that period. Filming within this allotted time will
assure good tempo, variety and ample opportunity to tell
the story fully. Furthermore, such a length will fit the
film easily into your employee luncheon screen programs.
The "Do's" and "Don'ts" frequently stressed in MoviE
Makers for assuring good continuity, craftsmanship and
camera treatment apply generally to the filming of an
excursion movie. Here are some of the principle "don'ts":

1. Don't make the scenes so short that they are mere
flashes.

2. Don't stop the camera in the middle of an action
and then start it again a second later. Mystifying and
disturbing jumps are created in this manner.

3. Don't overwork the 1-2 combination of scenes shot
from one camera position with your normal and telephoto
lenses. Move your camera instead.

4. Don't risk taking a shot without some substantial
camera support, especially when using your telephoto
lens. If you can't set up your tripod in time, rest your
camera on some solid object, such as a fence or rock.

5. Don't be in a hurry to shoot if the conditions for
doing so are not ideal. There will be ample opportunities
for all kinds of interesting scenes. It won't be fatal if
you miss one or two.

And now for the "do's":

1. Do provide running gags such as Gus munching
on hot dogs. First he watches the swimming contest. Later
he surveys the parade of bathing beauties. Towards the
end he looks in amazement at the score being made by
an expert marksman. In each instance he is seen relishing
his hot dog.

2. Do get plenty of human interest. Children at play
are naturals for this. As is a [Continued on page 187]

MOVIlf MAKERS

185

Mixing panel Countless users of
the Filmosound 202
magnetic projector will welcome the an-
nouncement by Bell & Howell of their
new Electronic Mixer and Volume Con-
trol unit.

Provided in the rear of this profes-
sional-type mixing panel are four inputs,
two for phonograph or tape recorded
signals and two for microphones. Each
input is controlled by a separate poten-
tiometer mounted on the front of the
unit. There is also an input and volume
control for a set of monitoring head-
phones. The strength of signal for all
four of the operating inputs is scanned
on an illuminated meter which reads
directly in volume units, and the mixed
signals (voice, music, sound effects) are
transmitted to the projector over a sin-
gle cable which plugs into the mike
input of the 202.

Included with the mixing panel
proper are the double headphones, the
output cable, a 25 foot long extension
cord for the microphone and a 25 foot
long connector between the speaker out-
let of the projector and the Electronic
Mixer. The line power cord is perma-
nently attached.

Bell & Howell's new mixing unit,
complete with all the accessories cited,
lists at $140. You can see and test it
now at your favorite Filmo dealer shop.

Discjockey The Calvin Discjockey,
a three-speed dual turn-
table unit equipped with two sapphire-
tipped, reversible-stylus pickups, is now
being offered by The Calvin Company,
1105 Truman Road, Kansas City, Mo.,
at under one hundred dollars — $98.50 to
be exact.

Operating at the three standard
speeds of 33 1/3, 45 and 78 rpm, the
Discjockey provides for three-channel
mixing of the signals from its two record
tables and the microphone. The mike
input will accept any high impedance
crystal, dynamic or ribbon microphone.
Operation, of course, is on the standard
115 volt 60 cycle AC only.

Craig Master A new edition of the
popular Craig Mas-
ter splicer has been announced by the
Kalart Company, Inc., from their plant
in Plainville, Conn. Featured on the new
Craig Master is the so-called Floating

News of the Industry

Up to the minute reports on new

products and services in the movie field

FOUR INPUTS — two for music
and two for voice — and a VU
meter for scanning volume lev-
els are among important facili-
ties of Bell & Howell's new
mixer for use with their 202.

Action Feather-Touch scraper, a unit
which is recessed within the die-cast
base of the splicer and thus is always in
position for scraping when needed.

The Craig Master, which will accept
both 8 and 16mm. film with sound or
silent perforations, will list at $9.95.

B&H Regent A new> light-toned

finish called fawn-
metallic will now embellish the popular
operating features of Bell & Howell's
Regent 8mm. projector, according to
Carl G. Schreyer, vicepresident in
charge of merchandising. Also added to
the Regent has been a system of lifetime
lubrication, obtained through the use of
oil-impregnated, sintered-bronze bear-
ings, which hold oil in the pores of the
metal.

The Regent, which has retailed at
$179.95, will continue at this same price
despite these added features.

THE DISCJOCKEY, three-speed dual turntable
with sapphire-tipped reversible needles and
mike input, is offered by The Calvin Company,
of Kansas City, Mo., at low price of $98.50.

Dallmeyer lenses Dallmeyer cine
and telephoto
lenses, produced since 1860 by J. H.
Dallmeyer, Ltd., of London, England,
again are in production and a fair sup-
ply is promised for export overseas.

In the United States these Dallmeyer
objectives are distributed exclusively by
Alco Photo Supply Corporation, 902
Broadway, New York 10, N. Y., from
whom a descriptive leaflet may be had
on request.

Linhof-Kling Two new and relatively

high priced items from
Linhof Precision Products (U.S. zone
of Germany) are now being distributed
in this country by Kling Photo Corpo-

ration. 235 Fourth Avenue, New York
3, Y Y.

The more elaborate unit is a cam-
era dolly with a newly designed, gear
controlled base which can be spread
from 18 inches to 5 feet in coverage, thus
permitting (at the narrower ranges)
easy movement through doors, narrow
aisles and crowded areas. The ball bear-
ing casters are equipped with 5 inch
rubber-tired wheels, each of which may
be locked or unlocked by a slight foot
pressure. The Linhof geared dolly
weighs 28 pounds, lists at $250.

The other item is the Linhof DeLuxe
studio tripod, which comes in a two-
section model expanding to 60 inches
in height, in a three-section model to
73 inches. Both fold to less than 30
inches in length and weigh about 6x/2
lbs. A new, umbrella-type design is
claimed for the tripod legs, resulting in
rock steadiness despite the light weight.
The Model A (60") is priced at $69.95,
the Model B (73") at $79.95.

Elgeet Stereo A complete stereo
motion picture sys-
tem, adaptable for use with any 16mm.
camera ("C" or Kodak mount) and any
16mm. projector, has been announced
by the Elgeet Optical Company, of
Rochester, N. Y., for release in August.
The Elgeet 3-D kit is comprised of the
following units: (1) a six-element
13mm. //2.8 universal focus stereo tak-
ing lens and rhomboid prism assembly :
(2) an f/1.6 stereo projection lens,
which may be integrated with any
16mm. projector through the use of a
suitable adapter sleeve; (3) a suitable
viewfinder unit for each type of camera,
to show the field of view seen by the
stereo lens system: (4) two pairs of

MOTOR DRIVEN are the 400 foot film maga-
zines designed by George E. Canning, ACL, of
Toledo Cine Engineering, for use with Bolex.

Family Diary in color or black-
and-white. Magazine loading lets
you load, change films, in a jiffy.

The Cine-Kodak Royal Magazine Camera,
Kodak's finest 16mm. personal movie
camera, combines the convenience of
magazine loading with the optical excel-
lence of an f/l.9 Kodak Cine Ektar Lens.
Price, $176.25. Camera also available
with pre-set f/2.8 Ektanon Lens, $147.50.

Slow Motion — wonderful fof
sports. A finger-tip control sets the
camera for any of 3 speeds.

with this modern movie camera

A top-quality camera like the Royal can give you wonderful
movie enjoyment. Right from the start, it has the range for all
the movie situations shown at right. And the Royal has the
capacity, too, to "grow" with your movie ambitions. As illus-
trated below, the Royal acquires still greater movie-making
talent ... as you acquire movie-making accessories^.., .■

Real Close-Ups — The versatile
standard lens focuses from infinity,
w-a-y down to 12 inches.

"Self Movies." Just lock the ex-
posure button in running position
. . . and move into the scene.

Trick Shots — like this animated
scene — are no trick at all with the
Royal's single-frame release.

(U

through inexpensive
accessories, all this, too . . .

Indoor Movies — filmed under low-
cost photoftoods — often make the
most delightful sequences of all.

Wary Game are easy prey for
telephotos, and the Royal takes
any of eleven accessory lenses.

WHITE WILDERNESS

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Cloud Drama — Accentuated back-
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Little Strangers — thousands of Titles add interest to every movie
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Prices include Federal Tax

and are subject to change EASTMAN KODAK COMPANY, Rochester 4, N. Y.

without notice.

MOVIE MAKERS

187

ELGEET STEREO, compatible with any 16mm.
camera and projector, is priced from $249.

solid glass Polaroid viewing spectacles;
(5) six pairs of Polaroid viewers in
cardboard frames, and (6) a metalized
screen necessary to reflect the stereo-
scopic image.

The entire system, as itemized, will
list at $249 for all 16mm. cameras save
the Filmo 70-D series and the Bolex
H-16. Elgeet stereo kits for these cam-
eras are marked at $259.

Zion National Park

[Continued from page 179]

this underground portion of the high-
way with huge "picture window" ob-
servation points makes it a natural for
composing a few shots in silhouette
against the backdrop of Zion's multi-
colored formations.

THE ZION GORGE TOUR
While it will not be difficult to de-
cide on how and what to film at Zion,
there are a few points of interest that
the visitor should not miss. Beginning
your tour of the valley at the south
entrance, for instance, you should
fade in with a shot of the boundary
marker. From here various distant
views of the peaks rise high enough
to use as a background. Less than a
mile from the checking station and east
of the road is a campground, cafeteria
and a cabin development. While the
campgrounds within the park are free
for visitors carrying their own equip-
ment, there is a camping limit of 30
days a year for each party.

Next along the road is the park head-
quarters, an official information office
and a museum. The museum, primarily
back lighted, will prove none too in-
teresting for filming; but a visit to it
will better your understanding of the
outstanding features of Zion National
Park. Here, too, one may purchase
maps, a host of publications regard-
ing the canyon country and a series of
35mm. color transparencies which may
be of some value in suggesting filming
locations.

Nearby a right turn leads to the
junction with the Mount Carmel High-
way to the east boundary and ulti-
mately U. S. Highway 89. Continuing

the tour along the valley road to the
north, the traveler will encounter gi-
gantic buttes on each side of the route,
with picturesque names like The Court
of the Patriarchs, The Beehives, Twin
Brothers and so on. Below the road the
river continues its incessant sculpturing
of the canyon.

MIDPOINT TO THE NARROWS

Center of tourist activity will be
found approximately midpoint along
the valley road, where the Zion Lodge
is located. Open only in the summer
season, this attractive lodge consists of
a main building and a number of
cabins with every type of accommoda-
tion you may desire. Its setting is
unique as it hugs the sheer cliffs that
rise above its rooftops, dwarfing the
buildings into insignificance.

A short distance from midpoint is
Crotto Campground and the very sym-
bol of Zion National Park itself — The
Great White Throne. Rising 6744 feet
above sea level, this tremendous mono-
lith appears almost invariably on the
covers of booklets concerning this re-
gion. From the roadway a parking area
provides a striking view of this sculp-
tured shaft across the Virgin River in
the valley below. So huge is the Great
White Throne that only a short focus
lens will encompass all of its grandeur
without panning.

At Weeping Rock, a mile beyond, an
easy surface trail leads to an over-
hanging cliff where springs issue from
the mountainside. Kept cool by the
dripping water and hanging gardens,
this is a deeply shaded area that is
more interesting to visit than it is to
photograph. Care should be taken to
protect your equipment from the water
that seemingly "rains down" in places.
From Weeping Rock observation point,
6508 feet above sea level, a command-
ing view of the terrain may be filmed.

Then finally there is road's end at
the Temple of Sinawava parking area.
From here an easy all-weather trail
with no steep grades leads to The Nar-
rows, a slitlike canyon that ends your
journey through Zion all too soon.

An office outing

[Continued from page 184]

budding romance — Mary and John so
completely engrossed in each other
that they are unmindful of the world
about them. Maybe this will have to
be staged. But we doubt it!

3. Do get plenty of reaction shots.
They add interest and create good
breaks for changing the camera view-
point. It also is important to bear in
mind that reaction shots make possible
the inclusion of a large number of the
excursionists. This should be the para-
mount purpose of your film.

4. Do use trick photography, but do

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■ Words in capitals, except first word and name,
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■ Cash required with order. The closing date for
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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
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DeLuxe comb, case, $2168.00 value for $1175.00;
16mm. Zoomar complete with "C" mt. or Cine Special
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■ CINE KODAK SPECIAL II & f/1.9 Ektar, latest
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but will quote on latest available supply on hand.
COLUMBUS PHOTO SUPPLY CORP., 1949 Broad-
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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

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MISCELLANEOUS

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■ HOW TO TITLE HOME MOVIES, 90 pages, illus-
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St., San Francisco.

so sparingly. "Stop-camera," for ex-
ample, might be used to photograph
the disappearing glass of beer. With
your camera on a tripod, stop it, re-
move the glass from the hand of the
subject while he stands frozen in po-
sition, and then continue shooting as
he reacts in amazement. Another effec-
tive 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 edit-
ing 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 photo-
graphed in closeup. When the picture
was shown, recordings of these songs
by famous singers were played. Need-
less to say, these sequences were hearti-
ly 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 Sum-
mer Time and Take Me Out to the
Ball Game will be permissible under
these circumstances. As a general rule,
of course, instrumental pieces are re-
garded 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 ap-
peared to be somewhat less than 90
degrees.

COMPARATIVE AUDIO EXCELLENCE

The technique of "bathing the audi-
ence 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 oper-
ate 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 fre-
quencies from 30 to 15,000 cycles per
second, it makes optically-recorded
movie tracks seem "canned" by com-
parison.

CinemaScope sound quality, while
quite acceptable, is not particularly
remarkable, despite the fact that both
Cinerama and CinemaScope use mag-
netic 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. How-
ever, 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 opti-
mistically 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 limi-
tations of CinemaScope. For example,
Cinerama technicians may feel it is an
advantage to reproduce the 146 degrees
of camera coverage on a screen of pre-
cisely the same arc. But the only people
who see the screen in proper perspec-
tive are those close to the screen's radi-
al 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 far-
ther back, the sides of the screen ap-
pear 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

MOVIE MAKERS

189

flatter screen of CinemaScope, on the
other hand, permits it to serve a much
larger auditorium without distortion at
the sides and with less curvature of
horizontal lines ; but the lack of picture
detail makes most of the seats in the
front half of the theatre undesirable.
What I am suggesting is that Cine-
rama flatten its screen to some extent.
This probably would cause some loss
in dramatic effectiveness for patrons
lucky enough to get what are now
choice seats. But it would benefit the
great majority of the audience who now
miss much of Cinerama's impact. In
addition, flattening the screen would
move the projectors toward one another
— perhaps into a single projection
booth! With a few such technological
changes (I understand that recent ex-
periments at Oyster Bay promise a de-
cided improvement in the vertical panel
joins), I believe Cinerama has a bright
future. It already is a superior and
profitable piece of showmanship.

STORY STILL PARAMOUNT

And, even with its faults, I think
that CinemaScope can perform an in-
valuable service for Hollywood; it will
undoubtedly coax people back into
movie houses just out of curiosity. But
the prognosis of CinemaScope — in fact,
of Hollywood movies — will depend pri-
marily on what they see on the new
screen, not how wide or deep they see
it. There was nothing wrong with the
shape of the old screen that good mov-
ies couldn't fix. And whether Cinema-
Scope is the dawn of a new era in
motion pictures or a spectacular sunset
in the twilight of a great industry de-
pends on this one question: "Is it a
good movie?"

FACL and AACL, 1953

[Continued from page 181]

founder president and moving spirit of
the recently organized Federation of
Australian Amateur Cine Societies,
comprising nine clubs.

To these tasks and to his filming Mr.
Bartlett brings the resourcefulness and
showmanship of a good advertising man
■ — which is his profession. Married and
the father of three sons, he has passed
the fifty two years of his life in Bris-
bane where he was born. He is now,
however, on an extended business trip
around the world, which will bring him
to the United States early in the fall.
Five of his award winning films ride
with him, and American movie clubs
will have an opportunity to screen them
under the League's sponsorship.

TIMOTHY M. LAWLER, JR., AACl

In his movie making, Timothy M.
Lawler is one more example (the
League's president, Joseph J. Harley,
is another) of that rare combination of

the engineering precisionist and the
imaginative creator.

Of his six award winning pictures,
for example, three of them have been
what he himself quite rightly calls
"cinematic interpretations." Take Tril-
ogy: it was based on lyric poetry. Take
Isle of the Dead: it was inspired by
a classic painting. And there was Pas-
torale. You come then to Duck Soup,
the Lawler Maxim Award winner in
1952, and you find this amateur fUmer
at his warmest and most human. The
engineering precision is there all right;
but it has been overlaid with a sensi-
tive understanding of the subject mat-
ter which he depicts.

Perhaps both of these characteristics
are easily explained by the thirty-four
full years of Mr. Lawler's life. A grad-
uate engineer from Marquette Univer-
sity in 1942, he married Delores, his
co-picture-producer, in 1943 and is now
the father of six children. They live in
Kenosha, Wise, where Mr. Lawler was
born and where he is now employed
by the Nash-Kelvinator Corporation as
a special test engineer.

Mr. Lawler has been a movie maker
for a round ten years. For nine of
them he has been a member of the
Kenosha Movie and Slide Club, which
group he has served variously as a
board member, program chairman and
president. In addition to these local
club activities, he has screened his films
widely and generously before other
clubs and church and school groups
throughout the Chicago and Milwaukee
areas.

WILLIAM MESSNER, AACL

Countless movie makers, as you
know, have begun photography with a
still camera — and then drifted into
movies. But with William Messner this
transition was made by well planned
intent. Joining the Amateur Movie Soci-
ety of Bergen County, N.J., in 1946,
he attended their meetings for a whole
year before buying, in May 1947, his
first cine camera. It was a Bolex H-16
and still is in active use today.

The Messner movies which were to
come from this machine carry the same
stamp of careful and intensive plan-
ning. In 1948, for example, Maxine's
Big Moment, Mr. Messner's initial
entry in ACL's annual competition, took
a solid and unquestioned Ten Best
award. Hands Around the Clock, in
1950, and Blades and Sails, in 1951,
as well as several Honorable Mention
winners, were equally exact both in
their planning and execution.

But such personal pictures were not
the only ones to benefit from Mr.
Messner's studied yet creative approach
to movie making. He has given gen-
erously of his time and skills in pro-
ducing films for more practical pur-
poses. Pheasant Rearing Project, pro-
duced in the same year as Maxine, was

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190

JULY 195*

the first of these; it was a record film
of a youth project sponsored jointly by
the BPOE and the New Jersey Fish
and Game Commission. Then, in 1949,
there came Why Should I Fear Can-
cer?, an elaborate production which the
Bergen County club produced under
Mr. Messner's direction; it still is being
distributed by the Cancer Society. Even
one film, Ottawa, which Mr. Messner
made on a personal vacation, was later
taken over (in duplicate) by that city's
Industrial and Publicity Bureau.

Seemingly, there is nothing in Mr.
Messner's background to account for
the care and precision with which he
blocks out a motion picture. He was
for years a jazz musician (a notably
carefree occupation), playing with his
four brothers in the well-liked Messner
Brothers orchestra. It was a sleeper
jump from Florida to Canada (he says
now) which convinced him in 1937 that
dance-banding was no life for an aging
youngster of thirty three — especially
one with a wife and three-year-old son.
He returned then to his home in Tea-
neck, N. J., where he lives now and
directs the activities of a fleet trucking

HERBERT D. SHUMWAY, AACL

It took two accidents to get Herbert
D. Shumway involved in movie making.
First, he was drafted in World War II
and, during three and one half years
in the Army, got so bored that he
bought an Argus C-3 still camera in
the PX. Second, after he had returned
home (about 1946 or '47, he figures),
he found an old 8mm. Cine-Kodak lying
around the house and began snapping
with it out of general curiosity.

The results, he says, were "fun." But
they did not jell into a single, edited-
and-titled subect until 1948, when Mr.
Shumway produced Cycling Through
Cape Cod. Then came Processing Mov-
ies at Home, a script-planned picture
which he and a friend produced to
show at their camera club. Run with
it was a disc-recorded sound accom-
paniment which, Mr. S. states frankly,
"was horrible compared to the tape
recordings of today." With Nature
Campers in 1951 he broke into ACL's
awards on the Honorable Mention level,
and with Backyard Birding in 1952 he
landed squarely in the Ten Best circle.

The titles of these several pictures
indicate accurately Mr. Shumway's
other interests: the out of doors, cycl-
ing, youth hosteling and, especially,
birding. With these interests he is a mem-
ber, in Greenfield, Mass., of the Frank-
lin County Camera Club, the Franklin
County Bird Club, and of the Massa-
chusetts Audubon Society. His present
camera is a Bell & Howell Sportster 8,
to which he has added iy2 and 3 inch
telephotos and remote control device of
his own design. He has written well
of these interests and this equipment in

the pages of Movie Makers, and he
shares his specialized skills with frater-
nal generosity at the clubs to which he
belongs. Still single, Mr. Shumway is
employed by First National Stores at
Greenfield, in which New England com-
munity he was born thirty three years
ago.

HAVEN TRECKER, AACL

When Haven Trecker was twelve
years old, his Dad (who was a small-
town theatrical projectionist) used to
pay him $2 a week for doing odd jobs
around the projection booth. "I was
the richest kid in town," he has written
nostalgically of those earlier days.

Now, although Mr. Trecker would
not say it of himself, it might well be
written that he is "the richest man in
town." For Mr. T. regards his attractive
travel pictures as a source of pleasure
which should be shared with others;
and he screens them around and about
at the drop of a toastmaster's decibels.
He also regards his movie making
ability as a skill which should serve
the community in which he lives; and
to document this belief he has, within
the past few years, produced one fea-
ture length film for his local Commu-
nity Chest and two for the church at
which he worships.

The training which was to lead to
this share-the-wealth picture program
began in 1936 when Mr. Trecker
bought a used Cine-Kodak Model B
camera ($20), a misused DeVry pro-
jector ($15) and a screen ($3). Today,
after a good deal of swapping and
dickering, these have been replaced by
a Bolex H-16 with five lenses, a Pelle-
grini automatic shutter, a Yolo dissolv-
ing device and a Bell & Howell 202
magnetic projector.

Mr. Trecker, who is 43 and in the
furniture business, has been married
for 23 years and has a son of 17. Here
again, Mr. T. himself would say that
he is the richest man in town. For "my
good wife Hildegarde has been a con-
stant source of encouragement in my
whole career of movie making."

GLEN H. TURNER, AACL

Glen H. Turner, an Assistant Pro-
fessor of Art at Brigham Young Uni-
versity, in Provo, Utah, says that his
first interest in personal movie making
was born when he gave a lecture on
composition before a local photography
club. If so, this unknown and unnamed
group rates an important assist in the
history of our hobby.

For Mr. Turner, as of this writing,
is the only amateur filmer (1) to win
three Ten Best awards in three con-
secutive years; (2) to win the Maxim
Memorial Award with both 8mm. and
16mm. films, and (3) to win the Maxim
Memorial Award in two out of three
years of competition. The films which
set these so-far unassailable records

were (on 8mm.) One Summer Day,
Maxim Award winner in 1949; The
Barrier (on 16mm.), Ten Best winner
in 1950, and In Fancy Free (on
16mm.), Maxim Award winner in 1951.
The camera which started this career
was an 8mm. Bell & Howell Sportster,
which Mr. Turner bought in 1947 and
which he still uses for all his family
filming. The Sixteen, which he acquired
in 1950, is a Filmo 70-DL and his
present projector is a Bell & Howell
202. Mr. Turner, who is 35, has been
married for fourteen of these years and,
with his wife Lucille, is the proud
parent of two boys and three girls. He
served during the last war in both the
Navy and Merchant Marine.

HELEN C. WELSH, AACL

Helen C. Welsh, according to her
own deposition, will talk movies to
anyone, at anytime and in any place.
To assure herself of adequate opportu-
nities for this pleasant pastime, she
has been a member of the Amateur
Motion Picture Society of Albany,
N. Y., since its founding, and she has
served that club in every available
office, including that of the first "lady"
presidency during the season of 1949-
50. Also, with a casual unconcern for
the 300 mile round trip involved, she
holds membership in the Metropolitan
Motion Picture Club, Inc., of New
York City, to which community she
journeys nine times a year for that
group's monthly meerings. Further,
against the event that she might find
herself overseas, and far from friends,
Miss Welsh maintains a membership in
the Institute of Amateur Cinema'og-
raphers, the ACL's counterpart in
Great Britain.

However, Miss Welsh is as eager to
share her skills in our chosen hobby
(she has won film awards from all her
member groups) as she is her enthusi-
asm for it. For example, during the
winter of 1951-52 she taught a class in
motion picture photography for the
Department of Adult Education, under
the Albany Board of Education. She has
served, during the summers of 1951
and 1952, as photographic chairman
of the Albany Tulip Festival — a fete
which she had earlier glorified in her
1950 Ten Best winner. She is working
now on an educational film for the
Homemaking Department of Albany's
Schuyler High School. And she gives,
on the side, uncounted screen programs
for civic organizations and for shut-ins.

In her spare time Miss Welsh is a
librarian; in fact (with both an M.A.
and an M.S. degree to her credit), she
is also an Assistant Professor of Li-
brary Science at the N. Y. State
Teachers' College. She began filming in
1941 with an 8mm. Cine-Kodak. Her
present camera is the Cine-Kodak Spe-
cial, her projector the Bell & Howell
202.

MOVIE MAKERS

191

CloseupS— What filmers are doing

Thanks to Lewis B. Sebring, ACL, at
least one group of Boy Scouts journey-
ing to this summer's National Jamboree
in Southern California will have a com-
plete record of their epic safari. That
is the bunch from Schenectady, N. Y.,
for whom Mr. S. is serving as official
movie maker.

The trip, a 7,000 mile trek on a spe-
cial train, will lead them west via
Glacier National Park, Seattle, Victoria,
B. C, Portland and down through San
Francisco to the southern encampment.
Homeward bound the big side trip will
be to Grand Canyon. Mr. Sebring car-
ries with him two cameras and a sizable
supply of film — which he will shoot at
24 frames per second for later sounding.

Footloose Filmers: Harry Groedel,
ACL, of New York City, recently elec-
ted to the League's board of directors,
is passing the summer in the Scandi-
navian peninsula. . . . While there, he
might just by accident run into Esther
Cooke, ACL, of Albany, N. Y., who
sent us a card from Oslo; says the
Messrs. Christensen and Huseland,
president and secretary of the Nor-
wegian Film Amateurs, gave her a
grand time while she was in that city.
And the same goes for J. Meinertz, ACL,
of the Danish Smallfilm Club, who did
the honors while Mrs. Cooke was in
Copenhagen. "Movie makers the world
over," she reports, "seem to be excep-
tionally nice people."

Well, Helen C. Welsh, AACL, also of
Albany, certainly found that on her re-
cent trip abroad. In Milan, for example,
members of the Cine Club ICAL-Milano,
ACL, turned out 300 strong for a spe-
cial meeting in her honor, held at the
Gran Bar Zucca, a sumptuous gallery
belonging to Nino Zucca, ACL. There
Miss Welsh screened for them her 1950
Ten Best winner, Albany's Tulip Fes-
tival, and the club in turn presented

her with a beautiful miniature of l.a
Madonnina, the famous statue which
crowns Milan's cathedral.

Responsible for these heart-warming
festivities was N. H. Achille de Fran-
cesco, ACL, president of the Milan
club and one of ACL's most ardent am-
bassadors throughout northern Italy.
Dr. Celestino Frigerio made the presen-
tation and, moved by Miss Welsh's five
sentences of reply in the Italian tongue
(a gallant undertaking which she had
been rehearsing for months) . he insisted
on serving as her escort all during the
following day's sightseeing.

Across the Threshold: In from San
Francisco recently came Vincent Cas-
tagna, ACL, who must be the only movie
maker in the country to regard Walt
Disney's Beaver Valley as good but "in-
adequate." Mr. C. was, therefore, on the
trail of a lovely and improbable com-
munity called Little Sprite Creek, which
(we finally found) was in New York's
West Fulton County, up the Adiron-
dacks way. The creek, says Mr. Cas-
tagna, is legendary for its beaver col-
onies; these he proposes to study with
his 70-DL for at least a month's time.

Also a recent visitor was Leon Kellen-
berger, jr., ACL, in from St. Gall,
Switzerland, where he represents an
American machine tool manufacturer
which has its plant in Worcester, Mass.
Mr. K., in reporting there to his prin-
cipals, was greeted by the full fury of
the tornado which razed last month a
large portion of that New England city.

Which reminds us, happily, to tell you
that James L. Watson, ACL, producer
of The Man With The Box, a 1952 Ten
Best winner, is (with his family) un-
scathed by that same savage twister.
A staff radio man at Worcester's WTAG.
Mr. Watson was on duty when the storm
struck and he worked through the night
until 5:30 the next morning as the sta-
tion mobilized relief forces. Matter of
fact, Jim says, the entire staff worked
for three days and nights until the
emergency finally was declared under
control.

LA MADONNINA, a symbol of the
ancient Italian city of Milan, is pre-
sented to Helen C. Welsh, AACL, of
Albany, N. Y., during her visit to
the Cine Club ICAL-Milano, ACL.
Dr. Celestino Frigerio is making the
presentation, as Achille de Fran-
cesco, ACL, club president, left,
and Nino Zucca, ACL, watch them.

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192

JULY 1953

Ten Best Continuing its travels
around the country, The
Top of the Ten Best, ACL's popular
new feature program, has been shown
during the past months at the follow-
ing clubs: Associated Amateur Cinema
Clubs, in Chicago; the Big Lake
(Texas) Cine Club, ACL; the Golden
Gate Cinematographers, ACL, in San
Francisco; the Indianapolis Amateur
Movie Club, ACL; the Kenosha (Wise.)
Movie and Slide Club, ACL; the Los
Angeles Cinema Club ; the Metro Movie
Club of River Park, ACL, in Chicago;
the Color Camera Club, ACL, of Water-
loo, Iowa, and the Central Texas Cam-
era Club. Although demand for the
program is still heavy, there are a
few open dates available in bo.h Au-
gust and December.

The Junior TTB show was presented
by the Fox Valley (111.) Movie Club,
ACL; the Waukegan (111.) Camera
Club. ACL; the Rhode Island Movie
Club; the Minneapolis Cine Club, ACL,
and il.e Des Plaines (111.) Movie and
Slule Club, ACL. Bookings for this
one-reel package are available generally
for most dates during the fall.

Washington On May 18, the

Washington (D. C.)
Society of Cinematographers, ACL, re-
elected Harrison F. Houghton, ACL,
as president for 1953, with Everett A. R.
Searl, ACL, first vicepresident, and
Victor E. Patterson, ACL, second vice-
president. Other officers will be Karl
Hoffman, ACL, secretary -treasurer ;
Sanford P. Rogers, assistant secretary;
M. W. Brigg, ACL, assistant treasurer,
and Charles H. Ward, T. H. Sarchin,
ACL, and J. Donald Sutherland, ACL,
directors. Joseph 0. Janousek will again
serve as general counsel.

At the same meeting, society fellow-
ships were given to Mr. Sutherland and
Ralph E. Lawrence, ACL, "in recog-
nition of their outstanding cinema

achievements culminating in the selec-
tion of their Birds of Washington as
part of the Top of the Ten Best."
Honorary club memberships were given
to Delores and Timothy Lawler, AACL;
Robert G. Williams, ACL; Harris B.
Tuttle, FACL; Oscar H. Horovitz,
FACL, and Terry Manos, ACL, all of
whom were guests of the club during
the past year.

S. California Winners of the con-
test sponsored by the
Southern California Association of
Amateur Movie Clubs, with the Cren-
shaw Amateur Movie Makers as host
for the occasion, were announced re-
cently. They were Green River, by
Louise Fetzner, ACL, of the Los An-
geles 8mm. Club, ACL ; From This Day
Forward, by Lee Hansen, of the Orange
County Cinema Club, and Bashful Beau,
from a scenario by Barry W. Dance,
ACL, of the Los Angeles 8s.

All told, members of this latter club
took five trophies, with the Orange
County contingent taking four.

MMPC election At a recent meet-
ing, the Metropol-
itan Motion Picture Club, ACL, of
New York City, reelected Ralph R.
Eno, ACL, as president for 1953-54.
Serving with Mr. Eno will be Ray-
mond Moss, ACL, first vicepresident;
Leo J. Heffernan, FACL, second vice-
president; Louise Gnerich, ACL, secre-
tary, and Ernest Miller, treasurer. Spe-
cial appointments for the coming sea-
son include Frank E. Gunnell, FACL,
as chairman of supplementary meetings
and Mr. Moss as equipment chairman.

Brooklyn Next year, officers of the
Brooklyn Amateur Cine
Club, ACL, will be Herbert Erles, ACL,
president; Gordon Goldsmith, vice-
president; R. Max Kahn, treasurer;
George Angel, ACL, secretary, and

GOLDEN GATE CINEMATOGRAPHERS, ACL, in San Francisco, install new officers for 1953 as fol-
lows: George Sohst, installing officer; Jan Piek, secretary; Arthur Balzarini, treasurer; J. Cimino,
jr., vicepresident, and A. Theo Roth, ACL, president. The occasion was at club's annual banquet.

Sam Sohnen, ACL, Ernest Knight, ACL,
Francis Sinclaire, ACL, Bert Secken-
dorf, ACL, and Eugene Adams, di-
rectors.

On June 3, the club was entertained
with a program of films made by mem-
bers of the Metropolitan Motion Picture
Club, ACL, of New York City. Among
the films screened were Crystal Clear,
by Joseph J. Harley, FACL; Haiti, the
Black Republic, by Stanley Woolf,
ACL, and Glacier National Park, by
Frank E. Gunnell, FACL.

Minneapolis The Minneapolis
Cine Club, ACL, had
its sixteenth annual Spring Show re-
cently for an audience of well over 700.
Among the films featured were Sabina's
Fantasy, by Walter Witt and Reinhold
Erickson, ACL; Oyster Shells from
Ocean Reef to Feed Bin, by Carroll
Michener, ACL; Sedona, Arizona, by
G. L. Larson, ACL; Turtle Fishing in
the Gulf of California, by Charles
Beery; Weeki-Wachi, Spring of the
Mermaids, by Rudy Sebesta; With
Eisenhower in St. Paul, by Stanley
Berglund; 1952 Aquatennial Night Pa-
rade, by R. J. S. Carter, ACL.

Also screened were 1952 Christmas
Party, by Mr. Sebesta and George Fish,
ACL; Pueblo Arts, by Elmer Albinson,
ACL; Madeira Island, by James
Brown; Happy Birthday, Margaret!, by
Monroe Killy; Halloween Masquerade,
by Leonard Martin, ACL; Amateur
Nature Study, by Albert Roser ; Venice,
by R. Grant Perl; Birds at Home, by
Mr. Fish; Ice Follies, by Edwin Pear-
son, ACL, and Ski Trail at Sun Valley,
by Robert Kleinman.

Bergen County Winners of the re-
cent contest held
by the Amateur Movie Society of
Bergen County (N.J.), ACL, were
Ceramics, by Ralph Santulli, first;
Why Men Get Gray, by John Boone,
second, and A Pair of Shorts, by Don
Calasanto, third.

Highlighting the June meeting of the
club was a visit from George Merz,
FACL, an honorary life member of the
society, who screened one of his latest
films, Mahi, and demonstrated his
newly designed tripod.

Lancaster The Amateur Cinema
Club of Lancaster, ACL,
in Pennsylvania, participated recently
in the city's annual Hobby Show, spon-
sored by the Optomist Club and the
Recreation Association. The club's ex-

MOVIE MAKERS

193

hibit featured a comprehensive display
of the various makes of cameras, lenses,
projectors and other accessory equip-
ment used by amateur filmers. One of
the show's highlights was a continuous
presentation of films, made by members
of the club and illustrative of the fine
work that is being done.

Australia Winners of the Australian
Amateur Cine Society's
1953 awards were Youth Takes Wings,
by W. G. Nicholls, first; Golden Valley,
by S. E. Baker, second, and Ex Umbria,
by T. Stabler and A. Patterson, third.

WestWOOd Winners of the one-
reel contest held by
the Westwood Movie Club of San Fran-
cisco on May 29 were A Walk in the
City, by Bernice Jackson, first; San
Francisco's Bumper Crop, by Othel
Goff , ACL, second ; Heads and Tails, by
Sal Pizzo, ACL, third, and Fleish-
hacker's Zoo, by Lee and Harry Ruff-
ner, honorable mention.

It's Maine for movies!

[Continued from page 177]

sequence on Maine's most noted fishing
industry can spend hours and enjoy
them all!

DAMARISCOTTA TO BELFAST
Between Damariscotta and Rockland
the main highway cuts across country
well behind the coastline and comes
out at Rockland, there following the
shores of beautiful Penobscot Bay to
Camden and Belfast. Camden, one of
the most picturesque seaport towns in
New England, is the home of a whole
fleet of windjammers, as well as being
a yachting center for Penobscot Bay.
Along the shores on this large bay
are many lobster fishing centers and
lobster pounds, where the succulent
aristocrat of crustaceans may well form
the theme of whole movie sequences —
as well as mighty good eating! Many
of the lobster pounds provide outdoor
eating tables, where filming an appe-
tizing shore dinner is easy. We recall
a particularly effective pound, as well
as attractive cove and beach at Lin-
coln ville.

BAR HARBOR AND ACADIA

And finally there's our fourth section
of the Maine coast centering about Bar
Harbor and Acadia National Park.
Properly photographed, this part of
Maine may form a fitting climax for
your film of the Maine coast. The
first-time visitor to Bar Harbor and
Acadia National Park, or the movie
maker in too big a hurry, is often
tempted to shoot innumerable scenes of
the natural beauty of this land of
mountains and water, without paying
enough attention to the action material

that is all around him. For instance,
sail and power craft of every kind
constantly ply the waters of beautiful
Frenchman's Bay, and the frequent
sailing races, fishing trips and sightsee-
ing voyages offer much action for movie
makers.

The highways along the shores of
Acadia National Park and to the top
of Cadillac Mountain are indeed pic-
turesque, but don't forget to include
plenty of closeup action: an exploration
of Anemone Cave where the sea crea-
tures are left stranded by the falling
tides; a picnic at Sand Beach and the
reactions of ambitious bathers when
they first try the icy water; a day of
movie making around the bar from
which Bar Harbor gets its name, or a
bicycle trip to the Thunder Hole and
Otter Cliffs on a day after a storm —
when the pounding surf will be at its
best. Be sure to visit the National Park
headquarters and the Bar Harbor Cham-
ber of Commerce. For they will have
plenty of additional ideas if you need
them — and if you have any film left!

And so — whether you want to pro-
duce a personal travel-vacation film
featuring the family and yourself, or
a less personal film suitable for general
audiences — Maine's a wonderful place
for movie making!

A scissors cinema

[Continued from page 178]

which in turn actuates the single frame
release of the camera. In this manner
Kallenberg can remain seated and con-
cern himself with the movement of his
robots, rather than having to get up to
turn on the illumination or make the
exposure. The solenoid is one he ob-
tained at an auto parts store, being a
regular automobile starter switch. This
is wired to the storage battery which is
placed on the floor below the stand.

Important among Kallenberg's own
designs is the arrangement of wires
which stand in an upright position at
the rear of the unit and adjacent to the
area to be photographed. These wires
are hinged in such a manner that any
one of them may be pulled down over
the picture area and thus locate any
spot for the placement of a character.
When animating a man, for example,
who is waving his hands or taking his
hat off, Kallenberg places him where he
wants him, then checks his position with
one of the wires. Then, after every sec-
ond or third change of the man's
hands, Kallenberg uses the wire to make
sure that the position of the man hasn't
changed. The two outside wires deter-
mine the margins of the animation area.

Since many of the paper cutouts have
intricate parts, Kallenberg has devised
long sticks with sharp-pointed pins at
the ends, with which he makes the slight
changes of position necessary between

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WITH A WINNER!

The Amateur Cinema League invites
you once again, as it has done each
year since 1930, to submit your movie
making efforts in the oldest, most hon-
ored contest in the world of personal
filming — the ACL selections of the Ten
Best Amateur Films of the Year and
the Hiram Percy Maxim Award. The
contest is open to amateurs everywhere
in the world, using 8mm. or 16mm.
film, black and white or color, silent
or sound, in short or long reels and on
any subject.

HOW SELECTIONS ARE MADE

The Ten Best selections are made
by the trained staff of the Amateur
Cinema League, men who see and eval-
uate more than a quarter million feet
of film each year. The selections are
not limited to League members — any
amateur filmer, anywhere in the world,
may compete. The judges seek for sin-
cerity— sincerity of camera work, film
planning, editing, titling and, above all,
creative movie imagination. Any fine film
can win. This year, it may be your film!

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An entry blank and the rules govern-
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K0DACMDOMS

194

JULY 1953

THE BIG SWITCH

ACCORDING to market research figures which
^ we trust (but whose source it is not important
to identify), the number of amateur movie
makers in the United States using 8mm. equipment
now outstrips those using 16 by a ratio of approxi-
mately 3 to 1.

This fact, under even the most casual contempla-
tion, should surprise no one. It certainly does not
surprise us here at ACL. Making movies on 8mm. film
is less expensive than making movies on 16. Therefore,
more people do so. It's as simple as that. The 8mm.
system has broadened the base of our hobby tre-
mendously— and we welcome it therefore.

On the other hand, our own figures (which are
equally trustworthy, although probably less elabo-
rately arrived at than those quoted) show that among
ACL members the ratio of 8mm. workers to those
on 16 is approximately the opposite: 65 percent of
ACL's members work on 16mm. film, while 3 5 per-
cent work on 8. This fact also does not surprise us.
Nor does it elate us and make us feel that ACL is,

by and large, a superior fraternity of filmers. We
simply state it as a fact — and then try to find reasons
for it.

One of these reasons — and it is an important one —
we find aptly illustrated in the biographies of those
ACL members whose elections to League honors are
announced in this issue. To give it a term which we
can talk about, let's call it The Big Switch. To wit:

Of the total of nine filmers honored — and they are
able amateurs all — only four of them first took up our
hobby directly on 16mm. film. The five others (more
than half) began their careers in the 8mm. medium;
yet now (save for a single one) they have turned to
16. There is much the same case history, incidentally,
among many of ACL's Maxim Memorial Award win-
ners. We could cite by name (but will not) three of
these premier picture makers who began with 8 — and
later, each for his own reasons, changed to 16.

This, then, is The Big Switch. It is an important
factor to keep in mind in any discussion of ACL as a
predominantly "Sixteen" organization.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. INC.. 420 LEXINGTON AVE., NEW YORK 17. N. Y.. U. S. A.

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

exposures (see Fig. 3). The back-
grounds are calibrated with small marks
1/16 of an inch apart. By pushing the
background one mark between expo-
sures, a constant motion is assured.

Although his Yowie more or less
"happened," Kallenberg's Mule Sega-
rettes was as carefully planned as a
Disney masterpiece, he declares. After
getting his original idea, Kallenberg
drew a pencil sketch of every scene that
was to appear in the picture (see Fig.
4). Next, he drew all of his characters
and noted their general characteristics.
Now came the tedious task of creating
all of the scenes, props, characters and
pieces of equipment out of colored
paper. He made the scenes first, so that
he could then fit his props and charac-
ters to them in proper proportion.

"I don't draw anything on the col-
ored paper," Kallenberg explained. "I
just start cutting. If I don't like what I
cut, I throw it away and keep cutting
until I am satisfied."

He says his greatest problem is find-
ing the proper colors. "I have visited
every store within miles and know their
entire stock. Sometimes I have to buy a
whole package of assorted colors to get
one particular sheet I want." The fa-

mous horse-blush scene in Yowie was
difficult for this reason. He couldn't find
a dozen different shades of pink, rang-
ing from light pink to dark pink to red.
As a result the horse blushes rather
quickly, but even so it is a standout
scene.

Whenever Kallenberg makes a man,
he must make two — a right side and a
left side. "They are almost identical,
except that on one side the man has a
part in his hair, but not on the other
side. The left side of his coat has a
pocket, the right side buttons. These
are minor details, but they help make
for perfection," he adds.

The legs and arms and often the
heads of his characters and animals are
hinged with small pins. This provides
for ease of animation and saves lots of
cutting as well as animation time. But
many effects cannot be accomplished so
easily. The wink of an eye, for example,
cannot be hinged. This requires half a
dozen different eyes, each in different
stages of closing. After each exposure
one is removed and another replaces it.

Kallenberg soon found that an accu-
rate filing system was a necessity. Out
of context, for example, a donkey's ear
could look like almost anything, so that

not even Kallenberg could identify it.
Thus, he now has an envelope for each
character and each prop. All of the com-
ponent parts of each are filed away for
future use in a later sequence of the
picture being made.

Kallenberg achieved one effect which
was new to those who saw his latest ef-
fort. This was the formation of words
by the lips of one of the main charac-
ters in the silent film. For, rather than
use the customary, cold titles on the
screen, he decided to have a master of
ceremonies tell the audience what was
taking place in the story.

He dressed his master of ceremonies
up in full dress, silk hat and all, and
showed a closeup of him when the title
was to appear. As the title appears, one
word at a time on the man's chest, the
man's lips actually form the word he is
supposed to be saying! Kallenberg
worked this all out by syllables, and
made the changes so perfectly that a
lip reader would no doubt have little
trouble in getting the message.

What will his next production be?
The producer knows, but he won't tell.
Will it top these two? His friends don't
see how it can. But knowing Kallenberg,
they believe it probably will.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

MOVIES

" — '" ' ■ .

THE ACL MOVIE BOOK

AMATEUR CINEMA LEAGUE, INC.

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

EXTRA-NOW AVAILABLE!

Official League leaders in full color!

Official League lapel pins for you
to wear!

Official League stickers for all your
equipment!

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

AMATEUR CINEMA LEAGUE,
420 Lexington Avenue
New York 17, N. Y.

Inc.

7-53

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name

Street.

City_

| Zor

.State.

Precision equipment
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I

AUG.

1953

15c

AKERS

■k

a % % \

THE MAGAZINE

4

ft

mm. & lUmm. FILMERS

LET'S LOOK AT LUCY • LEADERS AND TRAILERS • MAN WITH THE BOX

the HIRAM PERCY MAXIM AWARD or
PLACE IN THE TEN BEST CONTEST

The AMATEUR CINEMA LEAGUE invites you once
again, as it has done every year since 1930, to submit
your movie making efforts in the oldest, most honored
contest in the world of personal filming — the ACL
selections of Ten Best Amateur Films of the year and
the Hiram Percy Maxim Award. The contest is open
to amateurs anywhere in the world, using 8mm. or
16mm. film, black and white or color, silent or sound,
in short or long reels and on any subject.

The Ten Best selections are made by the officers and
trained staff of the Amateur Cinema League, men
who see more than a quarter million feet of film
each year. The selection is not limited to League
members — any amateur filmer, anywhere, may com-
pete. What the judges seek first is sincerity — sincerity
of camera work, film planning, editing, titling, and,
above all, creative movie imagination. Any fine film
can win ... it may be your film!

THE MAXIM MEMORIAL AWARD, established
in 1937 in honor of the League's Founder Presi-
dent, has become by international acclaim the
most treasured trophy in the world of amateur
movies. A cash prize of $100.00 and a miniature
silvered replica of the Memorial is given annually
to the one amateur whose film is judged the best
of the Ten Best. In its sixteen year history, the
Maxim Memorial Award has been won by films of
every type — 8mm. and 16mm., long and short, si-
lent and sound, factual and story. This year it
may be won by your film.

ALL AMATEURS honored in the Ten Best com-
petition will receive a distinctive ACL Award
Leader, animated and in full color, as well as a
handsome, hand-lettered ACL Award Certificate in
recognition of their outstanding efforts.

SEND IN YOUR FILMS NOW

It is not too early to send your films in for judg-
ing. The contest closes October 15, 1953. Send the
entry blank below for each film you submit to:

AMATEUR CINEMA LEAGUE

420 Lexington Avenue New York 17, N. Y.

Send the Entry Blank below (or a copy of it) via 1st class
mail for each film that you submit.

_, certify that

I have read the rules governing the ACL selection
of the Ten Best Amateur Films of 1953 and the
Hiram Percy Maxim Award and that my entry is
in full compliance with these rules.

□ Please return via Express Collect.

□ Enclosed is $ for return via

Name of Film.

Camera used

Signature

-Date-

RULES GOVERNING THE ACL SELECTION OF THE TEN BEST FILMS
of 1953 AND THE HIRAM PERCY MAXIM AWARD

1. The ACL Ten Best competition is open
to amateur filmers everywhere in the
world. Films eligible to compete may be
produced on 8mm. or 16mm. stock, black
and white or color, silent or sound, 2-D
or stereo, and may be on original or
duplicate stock.

However, no film will be eligible for
which the maker has received payment
or rental, or for which he will receive
payment or rental prior to Dec. 1, 1953.
Prizes won in other amateur film con-
tests are not regarded by ACL as pay-
ments.

2. An official entry blank at left (or copy
of it) must be forwarded by first class
mail to cover each film submitted. The
films themselves may be forwarded as
the contestant elects, at his expense.
Entries will be returned by the ACL at
the expense of the contestant via the
transportation he requests.

3. Film entries from outside of the United
States must, because of American cus-
toms rulings, be made on film stock
originally manufactured in the United
States. Such entries should be forwarded
by parcel post (do not enclose written
matter) — not express — and must be
valued at less than $100. U. S. funds.

Entries from outside of the United
States which fail to comply with one or
both of these provisions will not be
cleared through customs by the ACL.

4. Phono records (78 or 33 rpm only) ,
of music, sound effects or narrative,
may accompany films. But start marks,
the order of playing, change-over cues
and desired projector speed should be
clearly indicated on a score sheet. Type-
written narrative to be read during pro-
jection also may be submitted if desired.
Both score sheet and narrative must be
sent by first class mail.

No phonograph records of any kind can
be received from outside of the United

States because of trademark regulations
governing this product.

Magnetic recordings, either on film,
tape or wire, also may accompany films;
but their reproduction will depend on
our ability to secure correct playback
facilities. Please indicate desired run-
ning speed where necessary.

5. No competitor will be permitted to
present his sound accompaniment per-
sonally at ACL headquarters nor may he
be present in the League's projection
room during the competitive screening
of his film.

6. The number of films honored in the
competition will include the ten selected
as the Ten Best Amateur Films of 1953;
an undetermined number of films which,
in the opinion of the judges, merit Hon-
orable Mention, and the winner of the
Hiram Percy Maxim Award, which is
chosen from among the Ten Best films.

7. Every film honored in the competition
will receive an ACL Award leader in full
color and an ACL Award Certificate
signifying the honor which it has won.

8. Selection of the ACL Award winners
will be made by the officers and head-
quarters staff of ACL. Their decisions
will be final and the judges cannot un-
dertake to discuss entries comparatively
with the contestants.

The ACL reserves the right to dupli-
cate at its expense any film (either in
whole or in major part) entered in the
contest, for non-profit distribution or
screening by ACL as ACL shall see fit.

9. No officer or director of the Amateur
Cinema League and no staff member of
the League or of MOVIE MAKERS is
eligible to compete in the contest.

10. October 15, 1953, is the closing dead-
line for the competition. All entries must
reach the office of the Amateur Cinema
League, 420 Lexington Avenue, New
York 17, N. Y., on or before that date.
Award winners will be announced in the
December number of MOVIE MAKERS.

felJG 101953

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B 429 560

7 operating speeds.
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Miew

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Unlimited horizons are yours with the Bell
& Howell 70-DL 16mm camera. Here is the
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a camera whose facility and ability will carry
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Turret accommodates three stand-
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18 magnificent Bell & Howell and
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200

AUGUST 1953

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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

August
1953

The reader writes

Let's look at "Lucy"

The last frontier

Reeling the rodeo

History of a mystery

Let's show it straight!

Here's to Mt. Hood!

Leaders and trailers

News of the industry

Closeups

New ACL members

Clubs

Progress ... to the past

Will Lane

Leo Caloia

Ormal I. Sprungman, ACL

James L. Watson, ACL

George Merz, FACL

Ken Southard, ACL

Reports on products
What filmers are doing

People, plans and programs
Editorial

202
206
208
209
210
212
213
214
215
217
219
220
222

Cover photograph by Elizabeth Hibbs

JAMES W. MOORE
Editor

PETER D. DIBBLE
Clubs Editor

ANNE YOUNG
Advertising & Production

Vol. 28, No. 8. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale /at photo-
graphic dealers everywhere. Entered as second class matter, August/ 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879,JCopyright,
1953, by Amateur Cinema League, Inc. Editorial and Publication <©ffice: 420
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

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AUGUST 1953

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Cameras with outside frarro
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Write for Information Now
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This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

21 YEARS FOR I.A.C.

Dear ACL: Greetings from the Institute
of Amateur Cinematographers on the
occasion of a landmark in our history!
During September we will celebrate our
21st birthday, and, in so doing, we shall
recall with pleasure and no little pride
the very real support given the Institute
through the years by our friends at the
Amateur Cinema League.

Leslie M. Froude
Hon. Secretary
Institute of Amateur
Cinematographers, ACL
Epsom, Surrey, England

The ACL extends heartiest congratula-
tions to our brother organization in Great
Britain on the happy occasion of its
majority. May we both continue to aid
each other, amateur movie makers every-
where and, through the universalitv of ov-
hobby, the international friendship of all
men and women of good will.

NEW ADVENTURE

Dear Movie Makers: My warmest
thanks for He Knew What He Wanted
by Bill Howe in the June issue of Movie
Makers. I had begun to feel that I
should never see such a sincere and hon-
estly written story of my early adven-
tures.

Now, with Noa Noa about to go into
production, we embark on a new adven-
ture here, in Hawaii and in France. I
shall always regard your wonderful
story as an auspicious send-off.

David Bradley
Hollywood, Calif.

WISE STEP

Dear ACL: Thank you for your letter
and the service sheet on crossed pola-
roids for use as a fading device. Your
prompt assistance on this matter is ap-
preciated. I feel sure that my joining
the ACL was the wisest step I have ever
taken in my filming career.

Erich Rorich, ACL
Press Attache
South African Legation
Rome, Italy

"A QUEEN IS CROWNED"

Gentlemen: Hats off to the English
cinematographers and producers of A
Queen Is Crowned! The film is a jewel
of glowing color. How can the English
cameramen balance their colors so well,

both on the indoor scenes and in the
equally beautiful exterior views under
seemingly poor light conditions? Every
amateur interested in his craft should
see this picture.

John Ornellas, Jr.. ACL
Oakland, Calif.

DOUBLE PLAY

Dear Mr. Dibble: Many, many thanks
for your prompt and fruitful reply to
my request for information on amateur
movie scoring for the proposed speech
I mentioned. The articles you sent look
ideal.

I was amused that you should sug-
gest I contact Mr. Charles Ross, ACL,
of the Los Angeles Cinema Club, ACL,
for it was he who thrust this unsolicited
chore upon my shoulders. Had I known
that he was so well versed on the sub-
ject, I would have told him to give the
talk himself!

Barry W. Dance, ACL
Los Angeles 8mm. Club, ACL
Los Angeles, Calif.

ACL VETERAN

Dear ACL: It is with a feeling of hesita-
tion and regret that I terminate my
membership in the League after 25
years of our association. But the years
bring changes in one's interests and
hobbies, and I find that I am no longer
active in amateur filming.

Your aid over the years has been
most appreciated. I trust that ACL will
continue with future generations of
amateur filmers.

Jack Lewis
Wichita, Kans.

NAIL ON THE HEAD

Dear Movie Makers: Your Backyard
Bounty editorial in the April issue real-
ly hit the nail on the head! For I too
have heard the plaint time and again
that the Ten Best contest awards go
only to elaborate productions made in
far off and glamorous places.

Well, not to blow my own horn, but
I have been honored over the years by
a number of Ten Best awards — and
every one of the films cited was, as you
so aptly put it, backyard bounty. Max-
ine's Big Moment, in 1948, was a sim-
ple family story based on a teen-ager's
first prom; Hands Around the Clock,
in 1950, showed a typical day in the
life of my son; Blades and Sails, in
1951, was filmed for the most part on
a lake only 25 miles from my home.

But enough of this. My only reason
for mentioning these films is to try and
show the skeptics that the other fel-

m

MOVIE MAKERS

203

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'From Research to Reality'

204

AUCUST 1953

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low's yard is greener only because of
his forethought, ingenuity and a desire
to make it so.

William Messner, AACL
Teaneck, N. J.

TOP ENTERTAINMENT

Dear ACL: Thank you so much for
your Top of the Ten Best program, the
screening of which was the top of our
entertainment year.

We had a very good turnout in spite
of rain earlier in the evening. All of the
club members showed up with their
wives, and three members of ACL in
this area wrote for information and
later came to the screening.

Walter R. St. Clair
President
Indianapolis Amateur Movie Club, ACL
Indianapolis, Ind.

ENJOYED BY ALL

Dear ACL: We shipped the junior Top
of the Ten Best package back to you
yesterday. Even though our Friday eve-
ning screening was an impromptu af-
fair, the films were enjoyed by all. Con-
gratulations to the filmers who made
them, and warm thanks to ACL for
making it possible for amateurs every-
where to see them.

Glen H. Turner, AACL
Springville, Utah

HUGE SUCCESS

Dear ACL: Our recent showing of the
senior Top of the Ten Best program
was a huge success. I think we have
"our foot in the door" now in so far as
the possibility of the local club sponsor-
ing future TTB screenings on a paid
admission basis.

Timothy M. Lawler, AACL
Programs
Kenosha Movie & Slide Club, ACL
Kenosha, Wise.

EXCITING ENTERTAINMENT

Dear Friends: The junior Top of the
Ten Best program was screened before
65 members of the Waukegan Camera
Club on June 4 at Hank's Supper Club.
I wish to express our thanks for the ex-
citing entertainment of these films. It
was far and away the best show we
have ever had at one of our banquets.
Bruce Engels, ACL
President
Waukegan Camera Club, ACL
Waukegan, 111.

SPLICING MAGNETIC

Dear ACL: About two months ago a
magazine called Advertising Age pub-
lished an article about a magnetic sound
film made by the AAA in Washington.
The author stated emphatically that,
despite assurances of the firms involved,
it was impossible to obtain a satisfac-
tory sound stripe over spliced film.

Well, I have about 400 splices in my
1600 foot film on Norway, which was

magnetically coated by Bell & Howell.
Imagine my astonishment when, after
putting sound on the first 800 feet, I
played it back and found only one sin-
gle place where there is a "boop!" Have
methods improved, or did not the AAA
try B&H?

Dicky Roth, ACL
Harrison, N. Y.

In preparing the two 2000 foot reels
which comprise our Top of the Ten Best
program, we here at ACL had of necessity
to use countless splices. As far as possible,
all splices were, made before striping, so
that they were coated over during the
Soundstriping process. However, a few
were made after, and more have been
made later in the film's upkeep. There
have been no reports from users of the
TTB program of splice "booping."

In general, we would advise Mrs. Roth
— and all our readers — not to get exercised
over statements on magnetic sound pub-
lished in magazines which have no reason
to be accurately informed on this special-
ized subject.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here direotly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

NEW ZEALAND TO U. S.

Dear Movie Makers: If any of your
readers should like to correspond with
me, I would be extremely grateful. Per-
haps later, during the course of time,
we might exchange films on loan pictur-
ing our two countries.

My age is 27 and my job is that of
Testing Officer for the New Zealand
Dairy Board, an occupation which keeps
me traveling around the country and
thus getting good film shots. I work in
the 8mm. width.

W. R. Brown
21 Opoia Road
Hamilton, New Zealand

LAKE PLACID ON 8

Dear Reader Writes: Can anyone help
me? I need footage in 8mm. Koda-
chrome to complete my vacation pic-
tures taken last fall around Lake Placid,
N. Y. I am also quite anxious to get
some winter scenes of the Olympic bob-
sled run and ski jump.

I will be so glad to hear from anyone
who can help me. Of course, I will ex-
pect to recompense them with equal
footage or in any other reasonable way.
Joe Wyman
1324 Haines Avenue
Columbus 12, Ohio

MOVIE MAKERS

205

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206

KARL FREUND, right, director of Lucy, and Jesse
Oppenheimer, producer, ponder a problem during
rehearsal. Note control booth in scene at left.

LETS LOOK AT "LUCY

n

Production on the "I Love Lucy" set, always open to the

amateur, is a lively lesson in well-planned movie making

WILL LANE

TO VISIT Hollywood and watch the professional pro-
duction of a motion picture is an understandable
dream for every movie maker. But it is one which
few filmers are ever likely to realize. For the major
studios decided long since that they simply could not
risk disrupting a 100-G sound set with a swarm of
curious (and noisy) tourists. Besides, the production

DOLLY OPERATOR watches stage action as he makes ready to roll
the camera to one of the positions numbered in tape on floor.

of a conventional motion picture requires many days
or weeks of shooting. You might spend an entire after-
noon snooping around Stage 2, say — and only see them
"can" a single scene. It's disappointing.

VISITORS ARE WELCOME

But there is one set in cinema-land where visitors are
always welcome. It's at General Service Studio, and on
it week after week a crew of harried technicians, headed
by the veteran cinematographer Karl Freund, continue
to create what is, simply, the country's most popular and
most imitated show on television today. And they shoot
the whole darn thing right there before your eyes in
60 minutes flat. The show? Why, / Love Lucy, of course!

Watching ace cinematographer Freund at work on
the Lucy "set is a cine education in itself. And every
Friday evening at 7:30 hundreds of "students," ranging
from old-time Hollywood film experts to young amateur
movie makers, foregather at General Service to study
"Professor" Freund's three-camera technique. So, if
you're planning a visit to Hollywood, write for your free
tickets well in advance. Address your request to the
Columbia Broadcasting System or to the sponsor, Philip
Morris cigarettes, both in Hollywood.

CAMERAS IN MOTION

No small part of the success of this show is due to
the camera work. Thirty years ago, in filming The Last
Laugh, Karl Freund introduced the dolly shot. He says
now that he almost regrets this innovation; for his
standard technique in producing Lucy is to use three
cameras — with all of them dolly-mounted. The center
camera uses a 40mm. wide angle lens (instead of the
50mm. which is standard for 35mm. cameras) and pro-
vides the full shots. The two wing cameras shoot the
closeups. Since they have to keep back, out of the field
of the center camera, they use 3 inch (l^x) and 4 inch
(2x) telephotos.

An additional problem is the microphone. This the
sound engineers try to keep as close to the players as

207

Photographs from Desilu Productions

CAMERA CREW (I. to r.) include assistant who follows focus on
dolly shots, operator who follows field in finder, assistant who
runs dolly and mike man. At right clap-stick begins a new take.

possible, to get a good pickup of their voices and to
avoid the unwanted noise created by the spectator
audience. The camera operator, on the other hand, has
to be careful to keep the mike out of the scene. Even
an intruding shadow of the mike (which you often catch
on live TV pickups) is frowned upon by the Lucy pro-
duction crew.

CONTROLLING LIGHT CONTRAST
And finally there is the problem of the lighting. In the
early days of television the actors really suffered. Even
the most photogenic faces often were chopped up with
shadows and butchered by cross lighting, due, not to
malice on the part of TV production personnel, but
rather to inexperience. Then, when stations went to film,
still other problems arose. Pictures which had been
lighted and lab-printed for theatrical projection proved
too contrasty for good televising. Dark backgrounds and
low key lighting, both terrific on the theatre screen,
produced only disturbing flares on the kinescope tube.
Karl Freund was one of the first to solve these prob-
lems in a scientific manner. Instead of depending on
the laboratory to juggle print contrast, he controls the
original scene. The lighting contrast, which would be
about 5 to 1, or even 8 to 1, for theatrical projection,
is kept down to not more than a 2 to 1 ratio. (This is
the same lighting contrast, incidentally, which you nor-
mally use in your color photography.) The lighting
contrast is measured with an incident-light type of meter
such as the Norwood. With it as a guide, Karl balances
the illumination to a level of 250 foot-candles for the
main sources and 125 foot-candles for the fill lights.
(In addition to the lighting contrast, the subject bright-
ness range also has to be controlled. White shirts and
white walls are out. Instead, pastel blues and pinks are
used. Black is out too, supplanted by grays.)

MAIN LIGHTING OVERHEAD
But where, you may well be asking, does all of this
carefully controlled lighting come from? With the actors
always on the move, and the cameras rolling back and
forth, there obviously is no room on the floor for light
stands. Thus, all of them — more than a hundred units
— are kept overhead on catwalks hung from the roof.
This high position of the lights tends to cause "television
shadows" — black eyes and dirty chins. To illuminate
these shadows, Karl has mounted extra lights on each
camera. A 2000 watt projection bulb is positioned over
each lens with a sheet of diffusing glass. And, in addi-
tion, on the foot of each camera dolly there are three

sealed-beam flood lamps. You can see them in our stills.
These portable lights, as well as all key lights, are
controlled through dimmers carefully manipulated from
a control booth. Balancing the illumination is no small
problem when you see the frequent movements of the
players and the cameras. But it becomes infinitely com-
plicated when the lighting has to be kept uniform for
all three cameras at the same time. Nevertheless, Freund
and his chief electrician Bill King seldom have to use
exposure meters. With their combined two-score years
of experience, they can judge a scene by eye and tell
instantly where another foot-candle more or less needs
to be added. As a matter of fact, it seldom is necessary
to change lens apertures. F/4 is the standard opening,
with illumination balanced accordingly, and in advance,
for the three or four sets that are used each week.

PLANNING MAKES PERFECTION

Although it takes only an hour to film / Love Lucy,
it takes a week to plan it. Rehearsals begin promptly
each Monday morning. By Tuesday afternoon the cast
is able to give Karl a run-through so that he can rough
out his plans for the cameras and lighting. This latter
work begins Wednesday and takes into account every
movement of the players, every entrance and exit.

Not until Thursday do the camera crews come in.
As the composition of each shot is worked out, they
mark its outline on the floor with Scotch tape. Lens
distances are measured with a tape measure. All of
this information is tabulated on an elaborate cue sheet,
which also includes the lighting plots — which lights are
on or off at each moment of the action. During the
show, the director in a control booth will be prepared
to cue the cameramen by telephone.

Finally, on Friday afternoon, a complete dress re-
hearsal is run through, in preparation for the per-
formance that evening. As the players make their en-
trances and exits, speak their lines or move around the
set, the camermen follow the taped lines on the floor
and listen to the director's instructions from the control
booth. On each camera, the first assistant cameraman
concentrates on his chief responsibility — framing the
scene in the viewfinder. At the side of the camera, the
second assistant keeps the lens in focus. He has a cue
sheet which lists the distances (those which were measured
with a tape during the rehearsals) and the focal length
of lens for each shot. And for moving-camera shots he
has to follow focus smoothly and accurately.

The two other assistants are the cable man, who keeps
the power lines free from en- [Continued on page 219]

208

THE LADY AT LEFT sheds a nostalgic tear as the piano man bangs out
Only a Bird in a Gilded Cage. Boysenberry bar business is not brisk.

REGULATIONS

In case of train robbery, all passengers
receive a return trip ticket free.
This train connects with Butterfieldi
Stage Line to Whiskey Flat. The Ghost
Town & Calico Ry. »s not responsible
for delays in transit.

PARSES

THE LAST FRONTIER

The Wild West awaits you at Ghost Town, a colorful
collection of Gold Rush relics in Southern California

Photographs for MOVIE MAKERS by LEO CALOIA

ANY time you are tempted to think that the Wild West
has been consigned to television and class B flickers,
just hop in your jalopy and nudge her nose toward Southern
California. There, 22 miles southeast of Los Angeles, on
state highway 39, sits Ghost Town, hard by a more modest
hamlet called Buena Park. So help us, you'd think they
had planned the place for pictures !

And yet "sits" is scarcely the word for this infinitely
phony, essentially authentic re-creation of a bygone era. For
Ghost Town, despite its moribund monicker, is very much
alive. Here, in this lovingly assembled replica of a rowdy
western village, everything is operative. You can ride on
the ancient, narrow-gauge railroad, rescued from its earlier
operations on the Denver & Rio Grande! You can careen
in the stage-coach, dance in the dance hall or drink in the
sawdust-strewn saloon — if, indeed, boysenberry juice is your
idea of a "drink."

There is a placer-type gold mine where you can pan for
gold dust, a general merchandise store where you can spend
it, or a Wells Fargo Express office where you can bank it.
And if you fail to do either, there is a masked bandit on
the choo-choo who will gladly relieve you of it.

Quite a picture place, this Ghost Town! And, though the
old-time "Western" atmosphere has been super-dramatized,
this re-creation of a colorful Western community is essen-
tially honest. For Walter Knott, the owner and creator of
Ghost Town, has for some years now been assembling it (on
his 200-acre berry farm) from genuine buildings, stage-
coaches, covered wagons and other Western relics salvaged
from faded ghost towns of the golden era.

Better stop by there next time you're in Southern Cali-
fornia. Make a fine short subject in your film collection.

HONESTLY AUTHENTIC are the careening Butterfield stage coach and
the Denver & Rio Grande train, now enlivened by a phony robbery.

REELING
THE RODEO

What, where and when to film

in recording the

Wild West's favorite sport

ORMAL I. SPRUNGMAN, ACL

209

Photograph i by Onnal I- Sprungnuo, iCL

>/

RIDE 'em, cowboy!"
Whether it's Pendleton, Cheyenne,

BEHIND-TH
horns, wi

Calgary or more civilized roundups
in the Middlewest and East, that cry has a
familiar ring. To the amateur movie maker,
it's sweet music, for few sports offer the va-
riety of thrills and hangup action found in
reeling the rodeo. I know. For I have filmed them plenty.

It's a challenge to ingenuity and steady nerves to stand
pat inside the arena, with your camera focused on a
twisting, snorting, kicking, stiff-legged "outlaw" bearing
down upon you with a sombrero-waving cowhand aboard.
Although arena privileges are often granted to bona fide
photographers willing to take the risk, most amateurs
prefer the safety of the grandstand or the fenceline when
doing their roundup recording.

Both 8mm. and 16mm. are ideal for rodeo filming, and
the magazine loading type is particularly handy to use in
a crowd. The ease with which film can be loaded and un-
loaded without danger of edge-fogging under bright sun-
light is also advantageous. I'll never forget the first rodeo
I filmed back in the days before magazine cameras. My
roll-film outfit had jammed at the height of the excite-
ment. Making a hasty retreat to the semi-darkness be-
neath the grandstand, I managed to undo the celluloid
tangle under cover of a borrowed coat, while precious
action was going on outside.

The normal lens will capture general views of arena
action and the milling crowds; but for closer glimpses of
individual performers a telephoto is needed. While a
hand-held telephoto is permissible when following moving
action, it is always better to brace the camera against
some firm support. Once I even rested my camera on the
steadied shoulder of a friend seated in front of me to
permit using a 3x tele.

is one ot

E-SCENE SHOTS, such as ihi:
add to the color of your rodeo reel.

Note

full of long-
lighting.

In addition to bronc busting, you will want to cover
calf roping, bulldogging and the milking contests. In some
rodeos, like the internationally famous Calgary Stampede
in Alberta, chuck wagon races are a major attraction.
There is also fancy riding, roping, racing and usually an
Indian pow-wow to offer excellent fodder for Kodachrome
work.

To complete your rodeo reel, capture the spirit of the
Old West by filming the street parades and special floats.
When shooting such parades choose a spot well above
the heads of the crowd lining the streets. A low roof top
or a second story window is good. Shoot the approach
from an oblique angle, changing occasionally from nor-
mal to telephoto lens for closeups of the more interesting
floats and personalities.

Vary your camera angles when taking rodeo movies.
Try some shots from the top of the grandstand or bleach-
ers and others at ground level by shooting through the
fence. So important is good rodeo photography in the
eyes of Canadians that the Calgary Stampede has its
photographers' pit dug hip-deep beside the fence, directly
opposite the chutes. From here the frenzied battles be-
tween man and mustang can be filmed at shoestring ele-
vation as the broncs race out and head straight for the
cameraman.

For a still more novel effect take a position directly
above the chutes and film the contestants as they ride
out into the arena to take their [Continued on page 218]

GUNSTOCK camera mount makes for smooth follow shots in
filming rodeo action as seen above from author's footage.

210

JAMES L. WATSON, ACL (right, above) talks over a scene with John
Dowell at foot of the sweeping open staircase which producer planned
for in film. Meter reading at left is for closeup as Dowell enters.

HISTORY OF A MYSTERY

From script to score, the Ten Best producer of "The Man With The Box"

tells how this psycho-shocker came to be
JAMES L. WATSON, ACL

MY purpose in making The Man With The Box,
which later became a 1952 Ten Best winner, was
to produce a mystery film without benefit of dialog
or subtitles. I wanted to depend solely upon action and
reaction, heightened by an appropriate musical score, to
get the story across. Necessity also played an important
part in my decision to produce this type of film. For I
did not have equipment for sound on film, and I felt that
the use of subtitles would be a throwback to pre-/az2
Singer days.

THE BASIC PLAN

My basic intention was to work up a mystery theme
with a smash ending, a switcheroo in which a man, al-
ready suspected as a murderer, convinces a young girl
that he is harmless — but immediately thereafter lets the
audience see that he is a helpless pathological killer. Thus,
as the two drive off gaily in his car to the park, each on-
looker is left with the terrifying knowledge that the girl
is going innocently but inevitably to her death.

To heighten the effectiveness of this climax, I decided
that the man should be mild mannered, inoffensive, almost
scholarly in appearance — and I cast him therefore as an
archaeologist. Further, I felt that the girl should be led to
her doom by her own naive but insatiable curiosity in the
man's actions. To bring them together for this denoue-
ment, I had the man hire a room at the girl's home (it is
established that her mother takes in boarders), where he
arrives with a mysterious box just as the girl's imagina-
tion has been fired by murder headlines in the local paper.

From this beginning, the girl's mounting suspicions of
"the man with the box" lead her to discover that the box
contains seemingly lethal weapons, and subsequently that

the man digs up what she believes to be a human skull.
Fleeing homeward in terror from this revelation, she is
later reassured by the man as he gently explains his
archaeological pursuits — only to become his victim when,
suddenly and inexorably, his pathological urge to kill
overwhelms him.

CASTING AND DIRECTION

Casting this story was not difficult as I had two very
definite types to portray. My friend John Dowell was a
natural for the archaeologist, for he is mild appearing
and, behind his tortoise shell glasses, has the mien of a
scholar. His only acting experience had been in the usual
run of high school plays. The girl had to be young, pretty,
athletic and, above all, have a face that would register
emotion ! Such a girl, Cathy Moss, happened to live across
the backyard from me. Cathy's previous dramatic experi-
ence had been in a few college plays. Both played like
troupers! Minor roles of the girl's mother and the news-
boy were cast after shooting began.

Inasmuch as we were not using subtitles or dialog, the
entire story had to be portrayed through facial expres-
sions and body movements — action and reaction. My
basic technique in direction was to ask the players to
think about what was happening and then let it be mir-
rored in their faces. This, plus several rehearsals of each
shot to insure a flawless performance, was the procedure
throughout. Also, I took many of the scenes from different
angles and then used the most effective one in the final
editing. One of our most difficult scenes, I am sure, was
the closeup of John as he stares lethally at Cathy in the
climactic revelation of his murderous intent. This was
taken seven times. I told John to put on a poker face,

211

then to think about the grisly deed which lay ahead. On
the seventh take his imagination came through and
showed on his face!

SCOUTING A SKULL
Production problems were many. For example, in addi-
tion to a few easily obtained properties, I also needed a
human skull. Unfortunately the laws of the land prohibit
head-hunting or homicide purely for theatrical expedience.
By the time we got ready to shoot, the Massachusetts Slate
Teachers College here in Worcester (which abounds in
skeletal remains) had closed for the summer. However, a
visit to the Worcester Natural History Museum paid off
handsomely. I got a skull! To be sure, it was a bear's
skull; but I hoped that a quick flash of it at the right
moments in the picture would create the feeling I wanted.

HEADLINES WERE HARD
Next in the line of difficult props were the two news-
paper headlines, both vitally important to the story. A
check with the Worcester Telegram and Evening Gazette
revealed that it would be too expensive to set up presses
for just two headlines — and me with friends on the paper,
too! So again we had to rely on a facsimile. I badgered
one of my pals who is a reporter on said sheet into watch-
ing for weeks until just the right size of type came along.
Then he cleverly cut out the letters for the headlines I
wanted and pasted them on the front pages of two separate
newspapers. A picture of John was added for the second
headline, which reveals to the audience that he (the
archaeologist) is sought as a murderer.

HUNT FOR A HOME

After writing the script, lining up the cast and getting
the props, I was still without an interior location for the
girl's home. I had written the screen play with a definite
kind of house in mind: it should be an old fashioned one
with large rooms and, above all, a spacious hallway with
an open staircase. My sister-in-law lives in Grafton, a
small town about seven miles from Worcester. Knowing
that the town was full of old houses, I called her and
made an appointment to make the rounds of her neigh-
bors. (What good are relatives if you can't use them!)

Directly across the street was our first stop. Once I
entered the front door I knew I was home! It was as if
the script had been written in that very house. The rooms
were large; the hallway and staircase were immense. I
discussed my problem immediately with the lady of the
house, Mrs. Harry Robinson, and told her of the pitfalls

PLAYERS AND FRIENDS watch intently as The Man With The Box
unfolds at home of producer's sister-in-law, Mrs. David Fanning.

PREMIER SCREENING after Ten Best award brings together
Watson, Mrs. Harry Robinson, owner of film's setting, Dowell,
holding T.B. scroll, Cathy Moss and Mrs. Marjorie Lee, mother.

of producing a movie in the home. I requested a free
hand, explaining that we would have to work uninter-
rupted by normal domestic routines. Luck was with me!
The good lady gave me the run of her home any time I
wished to come.

ON LOCATION

I began shooting one hot July morning on the sequence
where Cathy flees homeward in terror from the discovered
skull. We worked from 9:30 until noon. Believe me, there
was no need for the poor girl to act as if she were gasping
for breath; she was exhausted when we finished! I had
her jump off a 5 foot wall four times. And, although she
never complained, our heroine for a week afterward
limped on two battered and bloody legs.

For the most part, shooting the rest of the film ran
smoothly. However, one day while we were shooting ex-
teriors in Greenhill Park, the three of us, Cathy, John and
I, were interrupted by the approach of a motorcycle
policeman! Pretty well hidden by trees and rocks, almost
suspiciously so, we were working on the bit where John
finds the skull when the long arm of the law stumbled
upon us. After I assured the officer that all was well, he
stayed around and got a kick out of watching us rehearse
this gruesome take.

TESTING THE CLIMAX

The greatest problem of all came when the picture was
completed and rough-cut. Did the story get across? As
first completed, the picture ended this way:

Two-shot of man and girl, with camera looking toward
the man. He leers evilly at her.

LS to CU as man and girl walk down the open staircase
laughing.

LS as man and girl walk from porch to car, get in and
drive away as newsboy leaves paper.

CU of headline reading: Seek Archaeologist in Murder.
Man's picture with story.

This was to be the giveaway to the audience that the
man was really the killer after he had convinced the girl
• that he was not. I felt it played O.K. But realizing that a
producer can get too close to his own picture, I decided
to show the film to an impartial group of my neighbors
and see what their reaction would be. I asked them to be
utterly frank. Then, in order to make sure of unbiased
reports, John and I and others [Continued on page 221]

212

LETS SHOW IT STRAIGHT!

With this simple trio of projector props, your screen image will always be on the level

GEORGE MERZ, FACL

Photographs by Walter Gray

FIG. 1: The three projector props designed and fabri-
cated by the author on display in front of projector.

FIG. 2: With two front props in position, note marked
difference in elevation between left and right units.

PftOJECTOfl
CASE

REAR

FIBRE

STEEL

PLATE

FIG. 3: Diagram makes clear the positioning of front
passed through slots cut in base plate of projector.

^L NY movie maker who has ever given a show outside of his own home
MJ^ — or even mside it, for that matter — must long since have run
m ^ into the problem of leveling his screen image.

I know I have in the public screenings I've been giving here in Holly-
wood, Florida. Either the floor on which you set up your screen is out of
true or the projector stand or (worse yet!) the card table provided for
your machine has seen sturdier and more level days. In either case, you
can't fit a leveled projector image to an unleveled screen — and vice versa.
And, although every projector these days has a built-in tilting device, its
operation is not the answer to an unlevel screen image. For the projector
tilting device simply raises or lowers the entire front of your machine.
What's needed is some method (other than matchbooks) of raising or
lowering each front corner of the projector independently.

The method I have worked out is pictured on this page. It consists of
a set of three jacks, which are shown in closeup in Fig. I. Two of them,
you will note, are adjustable. These are used one at each front corner of
the projector (see Fig. 2), while the third unit is used at the center of the
projector's rear edge and does not require adjustment.

With these jacks in place, the projector has a three-point bearing and
any kind or degree of adjustment becomes possible to align it with your
screen. You will note, for example, in Fig. 2 that the jack at left in the
picture has been elevated markedly more than the unit at the right. And
yet the base line of the projector is clearly level from side to side. This
difference in adjustment was arranged purposely for the illustration to
suggest how badly out of true an old card table can be as a projector stand!
To make these parts, I first fashioned wooden patterns for both the
front and rear units. From these, I then had aluminum castings made — two
of the front unit, one of the rear. The two thumbscrews ( % of an inch in
size) were factory-made, so that it was only necessary now to drill and
tap the aluminum brackets to accept them — and then to add on the rounded
pads or feet. These latter as illustrated did require a bit of lathe work;
but you can easily avoid this by inverting a couple of bottle caps under
the thumbscrews (see Fig. 3). The point, of course, is to keep the bottom
ends of the screws from marring the table top when they are turned to
make, an adjustment.

In my use of these three jacks I have not made them a permanent part
of the projector. For I have found that it takes only a few seconds to
position them in setting up for a show. And in knocking down afterwards
I simply lift up the projector slightly and they fall away freely.

However, to install them properly on the B&H Showmaster pictured, it
was necessary to cut three small rectangular openings through both the
steel and fibre sheets which sheath the projector's under surface. These
holes (they are scarcely over Vo inch in length) permit the offset members
of the brackets to be inserted above the projector's bottom plate, thus

bringing the tongue parts of the brackets
into firm contact with the projector's sheath
(see Fig. 3).

As already mentioned (and made clear
in the pictures), the three jacks I have de-
signed are dimensioned specifically for use
with the Filmo Showmaster projector. It
should be simple, however, to adapt this
design to machines of other make. And in
the meantime, if you have a Showmaster
(or a similar B&H projector), you'll find
the wooden patterns for these castings on
file at League headquarters. I have left them
there for other ACL-ers to use as needed.
From mv own experience, I feel sure

and rear props and how they are ... .. , . ,

Bottle cap is used as screw shield. you will like using these projector props.

FRONT

213

Photographs courtesy Portland Chamber of Co

FIFTY MILES DISTANT is snow-capped Mt. Hood in this shot across Portland
through air far clearer than our author found. Horsetail Falls is at right.

HERE'S 70 MT. HOOD!

In which a Californian sings the praises of Oregon's pet peak

KEN SOUTHARD, ACL

A FINE thing! Here I am a Californian — and a
Southern Californian at that — writing a piece in
praise of Oregon's Mt. Hood Loop!

This all began about a year ago. A few months before
our trip I had become the enthusiastic owner of my first
movie camera — a Bell & Howell 8mm. job with a three-
lens turret. There followed in quick succession member-
ship in the Los Angeles 8mm. Club, membership in the
ACL and the pleasant business of filling up that turret
with appropriate glassware. My wife felt deserted and
openly expressed doubt that our budget would ever again
be in balance. So we left L. A. for Oregon, flushed, eager
and nervous. Here's what I found out. . . .

I had planned of course to catch the beauty of Mt. Hood
on Portland's horizon just as I remembered it from my
boyhood. But the smog — L. A. please note — limited the
view severely. Then after the smog came the rain; and
the day we left Oregon, Mt. Hood was only barely visible
under low-hanging clouds. It was a real disappointment.
But I no longer apologize for Southern Cal's "liquid sun-
shine."

Famed Council Crest proved a poor place for views of
the city. But by hunting around I found two or three good
overall views. One is just off South Broadway, where over-
hanging trees cut out the hazy background and make a
suitable frame. Terwillinger Boulevard, I understand, has
good spots too.

Leaving Portland to its Rose Festival preparations (the
Festival occurs in mid- June), we took the southern side
of the Loop. In the woods near the town of Rhododendron
were many rhododendrons growing wild. Working from a
wide angle shot of the mountain down the flower-lined
highway to closeups of the blooms, I concluded with a
32 fps wide angle view of the blooms scattered through
the woods as the car moved along about 30 miles per hour.

Shot came out quite smoothly, helped by the higher speed.

Returning to Mt. Hood, I went from a full view to a
telephoto shot of the peak. My next shot gave a similar
closeup from a different angle — taken through a window
of Timberline Lodge with my wife silhouetted at the side.
This seemed a good transition to scenes in the lodge.
Aided by reflected snow light, indoor shots were quite
possible at //1.9. Starting with a medium shot of my wife
coming out the front entrance, I worked back to a wide
angle of the picturesque lodge.

Getting a few mountain shots from progressive angles
along the eastern side of the Loop, I ended near the city
of Hood River with scenes leading down to closeups of
the bachelor buttons (cornflowers) that were in the fore-
ground of my last mountain shot. To span a few miles and
add a little suspense, the next scene opened with closeups
of bright yellow flowers and broadened out to the Colum-
bia Gorge.

California has its wild flowers, to be sure. But there is
nothing quite like the lushness of Oregon. Even my wife —
and she's from Texas — ran out of superlatives! Said that
flowers which they carefully cultivated in Texas are so
profuse in Oregon they are practically a weed. On a clear
day I found that f/1.9 was just right in deep woods for
the wild flowers.

As far as I could tell, the best scenes of the Bridge of
the Gods are from the west. According to the State Depart-
ment of Geology, the Indians called "any means of cross-
ing a river dry shod ... a bridge," so the "bridge" wa?
possibly the great Cascade landslide which once clammed
the Columbia from bank to bank. I hope my subtitle
caught the spirit of legend and geology: Here a natural
'Bridge of the Gods' — in Indian myth and maybe in fact —
spanned the Columbia until Mt. Hood erupted and became
quiescent again. [Continued on page 216]

I l

214

LEADERS and TRAILERS

Your prize scene missing? Don't blame the film lab.

Here, in a definitive report, are the actual facts in this age-old controversy

H

OW many times have you taken
a prize scene at the beginning or
end of a roll of film, only to discover
that it had holes punched in it — or,
worse still, was missing — when it came
back from processing? Well, if this has
happened to you, don't blame the film
manufacturer! You were simply trying
to get more footage than you were en-
titled to by shooting on the extra
leader or trailer supplied on every roll
or magazine of 8 and 16mm. film.

For there is extra footage above and
beyond the 25, 50 or 100 feet the film
maker contracts to supply you. For
example, there is actually 108 feet of
16mm. film on every so-called 100-foot
role of Ansco Color when you buy it.
But the excess is not there for you to
take pictures on. It is supplied by the
manufacturer to serve two important
purposes: (1) it helps to protect your
bona fide opening and closing scenes
from becoming fogged, and (2) it pro-
vides the excess footage which must be

removed in several operations incident
to the film's processing.

Thus, it actually is the film maker
who is "taking the rap" when he sells
you a roll of film. Despite this fact, the
League hears regularly from its mem-
bers the anguished complaint that this
one or that one has been robbed. In
an effort to clear up this controversy
for both parties concerned — the film
users and the film makers — Movie
Makers has asked each of the two
leading manufacturers of 8 and 16mm.
color films for a concise statement of
their operations in film packaging and
film processing. Such statements have
been supplied us readily and in exact
detail by both Ansco and the Eastman
Kodak Company. Presenting their re-
plies alphabetically, we list herewith
the data on all Ansco films made for
amateur use. In the tabulation, "DLL"
stands for "Daylight Loading."

In addition, Movie Makers asked
Ansco two questions which are of con-

Original Length
Factory Packed

I6MM. x 100 FT. DLL

Lab Requires
1' removal of Ansco code
5' " " fogged leader
1/2' for splicing

Returned to
Customer

108 feet

6'/2' removed

16MM. x 50 FT. DLL

1' removal of Ansco code
3' " " fogged leader
W for splicing

101 'A ft.

56 feet

AVi' removed

16MM. x 50 FT. MAGAZINE

1' for identification no.
IVi' removal of threading leader
Vi' for splicing

511/2 ft.

55 feet

3' removed

TWIN 8MM. x 25 FT. DLL

1' removal of Ansco code
2' " " fogged leader
W for splicing
2' removal fogged trailer

52 ft.

32 feet

5V2' removed

TWIN 8MM. MAGAZINE

'2' removal Ansco code
1' threading leader-trailer

26V2 ft. Twin 8
(Actually 53 feet 8mm.)

26 feet, 7 inches

IVi' removed

25 ft. Twin 8
(Actually 50 feet 8mm.)

The laboratory identification number is left on the trailer
back to the customer for reference purposes in the event of

end of each roll as it goes
an alleged mix-up.

ern to many movie makers. Herbert A.
MacDonough, ACL, Manager of Ans-
co's Product Service, has graciously
supplied the answers.

Question: Is it possible for a film
user to have returned to him less foot-
age than is promised him on the film
carton? If so, why? Has he (the user)
done something wrong?

Answer: Yes, it is possible. If the
customer somehow or other damages a
roll of film either in loading, unload-
ing or otherwise operating his camera,
it may become necessary for the proces-
sing laboratory to cut out damaged
sections before splicing the film onto
the master roll for development. Thus,
the damaged film footage is removed
and, in addition, about 3 inches of good
film are required to make each splice
found necessary. In such cases, if the
damage is extensive, it is the Ansco
practice to advise the customer by let-
ter. Actually, the percentage of dam-
aged films which we receive is very
small.

Question: Is it your practice to cut
from the beginning and end of a roll
of film all of the footage fogged or
light-struck by the carelessness of the
user? Or is this footage left on and
returned as evidence of this careless-
ness?

Answer: No. Except for the footage
removal described in the preceding
data, Ansco does not remove any fogged
or light-struck film which results from
the customer's carelessness. We feel
that it is more important for him to
see the results of his operation and
thereby profit by his mistakes; and, in
addition, since he has paid for 50 feet,
or 100 feet, etc., he is fully entitled to
receive back that much film. The only
time he does not get his nominal foot-
age returned is in an exceptional in-
stance, such as was cited in the pre-
ceding answer.

In addition to returning the footage
to which the movie maker is entitled,
Ansco attaches white leaders to all re-
turned films in the following lengths:

All 8mm. films — 18" white leader.

16mm. films up to 200 feet— 18"
white leader.

16mm. films 400 feet or longer — 24"
white leader.

Thank you, Mr. MacDonough — and
our thanks to Ansco. Movie Makers
will resume discussion of this subject
in an early issue, when the practices of
the Eastman Kodak Company are
similarly itemized.

MOVIE MAKERS

215

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Revere- Wollensak The Revere
Camera
Company, of Chicago, which for years
has purchased camera and projector
lenses from the Wollensak Optical Com-
pany, of Rochester, N. Y., has now pur-
chased the company itself, according to
an announcement by Sam Briskin, Re-
vere board chairman. Edward A. Sprin-
ger will remain as president of Wollen-
sak, and the company will continue to
produce its full line of optical and sci-
entific instruments.

Tape for Ampro Two new mas

netic tape re-
corders, the first (says the manufac-
turer) to have electro-magnetic push-
button controls for all operations, have
been announced by the Ampro Corpora-
tion, of Chicago.

The units are the Celebrity (Model
755) and the Hi-Fi (Model 756), oper-
ating at 3% and 7x/2 inches per second
respectively. Other specifications, com-
mon to both models, are: 7 inch reel;
dual track recording ; wow and flutter,
less than ^ of 1 percent; rewind speed,
120 inches per second; skip forward
speed, 72 inches per second; 6 by 9
inch elliptical Alnico-5 speaker; two in-
puts, for mike and music; multiple out-
puts, for external speaker, earphones
and additional power amplification, and
a dual-action tone control. Important
accessories available for use with either
unit are a console speaker cabinet hous-
ing a 12 inch Alnico-5 speaker, a moni-

ELECTRO-MAGNETIC controls throughout fea-
ture the two new tape recorders announced by
Ampro Corporation. Seen above is Hi-Fi model
($254.95) with 12" console speaker ($79.95).

tor headset and a foot pedal remote
control. The frequency range claimed
for these new Ampro recorders is 30
to 8500 cps for the Celebrity, 30 to
13,000 for the Hi-Fi.

The electro-magnetic "piano key"
controls are five in number: record,
with a safety interlock button; fast for-
ward, the action of which is integrated
with a Veeder-type footage counter; re-
wind; play and stop. Qualities claimed
for Ampro's electronic control system
are the elimination of wear and break-
down found in mechanical linkage sys-
tems, instant starting and stopping
without tape spillage and breakage.

Tentative prices for these new Am-
pro recorders: Celebrity, $239.95; Hi-
Fi, $254.95; console speaker, $79.95.

202 clinics Beginning September 15,
technicians of the Bell
& Howell Company will conduct "how-
to-do-it" clinics on magnetic sound re-
cording in seven cities across the United
States. The clinic schedule follows:

Detroit, Sept. 15, Sheraton Cadillac;
Cleveland, Sept. 17, Statler Hotel; Pitts-
burgh, Sept. 22, Sheraton; Boston, Oct.
1, Sheraton Plaza; Los Angeles, Oct.
20, Bell & Howell Hq. ; San Francisco,
Oct. 27, Francis Drake; Salt Lake City,
Oct. 29, Utah. Hours for all the sessions
run from 10:00 a.m. to 1:00 p.m., and
attendance is open to anyone interested
in magnetic sound on film.

WA for Elgeet A fixed focus
13mm. //2.5 wide
angle lens is the latest accessory objec-
tive announced by the Elgeet Optical
Company, of Rochester, N. Y. The unit
is designed for use on all "C" mount
16mm. cameras. Price of this new WA
lens has been set at $49.60, tax included.

Neumade Synchromaster, a film
synchronizer in 16mm.,
35mm. and combination models, has
been announced by Neumade Products
Corporation, since 1916 famed for their
precision film editing equipment. In
stock models, the new unit will be avail-
able with 2, 3 or 4 hubs, while other
assemblies containing 5, 6 or more hubs
may be had on special order.

For prices and full information write
Neumade at 330 West 42nd Street, New
York 36, N. Y.

Free Soundstripe To brins the

multiple advan-
tages of magnetic sound on film to the
attention of more movie makers, the
Bell & Howell Company will apply its
magnetic Soundstripe free to 400 feet
or less of any customer's 16mm. film
during the months of August, Septem-
ber and October.

To qualify for this offer, your film
must be submitted through your author-
ized Filmo dealer, to whom it will be
returned after striping. The dealer will

get FULL-OF-LIFE

HOME MOVIES

MEDIUM BEAM
REFLECTOR

G-E

PHOTOLAMPS

Designed especially for
movie making. 40°
beam spread is
matched to cam-
era coverage. 375-
watts means four on
a single home circuit.
Ideal for camera bracket lights.

and to see them at their best—

G-E PROJECTION
LAMPS

Use'em in slide or movie
projector and be sure
to keep a spare handy.

Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

216

AUGUST 1953

then assist you in recording your voice
on the magnetically coated film edge.
Amateur movie makers should keep in
mind that for narrative recordings the
magnetic sound system is equally suc-
cessful with double or single perforated
film footage.

Reeves shines Tne Reeves Sound-
craft Corporation
has announced that its newly developed
Micro-Polishing process, now being used
in the finishing of all the company's
magnetic products (tape and stripe),
has materially reduced the incidence of
"drop-outs" during the recording proc-
ess. Before the development of the
Micro-Polishing technique, microscopic
nodules of the oxide, inherent in all
magnetic coatings, often caused an in-
terruption of the recorded signal. The
new system, it is said, creates surface
uniformity and a stable high-output lev-
el from the first playing onward.

Chrolon meter Weighing just over
2 ounces, the Bert-
ram Chrolon photocell exposure meter
is now being distributed by Willougbys,
110 West 32nd Street, New York 1. This
new light gauge is calibrated in ASA
exposure index numbers, reads shutter
speeds from 1/1600 of a second to 4
minutes and computes diaphragm stops
from //1.5 to //32. The Chrolon, made
in Germany, will list for $19.95.

Books & booklets Principles of
Color Photog-
raphy, an advanced treatise on this sub-
ject by Ralph M. Evans. W. T. Hanson,
jr., and W. Lyle Brewer, all of the East-
man Kodak Company, has been pub-
lished by John Wiley & Sons. 709 pages
at $11.

Who Couldn't Be A Photographer!, a
basic booklet for people who have just
bought a camera, is being offered with-
out charge by Willoughbys, 110 West
32nd Street, New York 1, N. Y. Covered
are still cameras, movie cameras and
still stereo, as well as flash techniques
and darkroom work.

Country fairs, filming at the zoo, sum-
mer weddings and a holiday at Yellow-
stone and Teton National Park are
among the many subjects covered in the
attractive Vacation issue of Panorama,
the quarterly published by Bell & How-
ell and now at your photo dealer's.

Scotch track for 8 A new mag-
netic striping
service for 8mm. film, designed to aid
the user of the Movie-Sound 8 magnetic
projector, has been announced by The
Calvin Company, of Kansas City, Mo.

The new system, known as Scotch-
track, employs in its application a new
laminating process developed by the
Minnesota Mining Manufacturing Com-
pany. Also, the magnetic oxide applied
in this way has the same "high-output"

characteristics as that of 3-M's No. 120
magnetic recording tape, recently re-
leased. Providing for an increase of at
least 6 or more decibels of output from
any given strength of recording signal,
this new coating (it is claimed) offers a
better signal-to-noise ratio on playback
and increased uniformity of recordings.
Scotchtrack will be sold only through
a system of Calvin striping coupons.
Available through your photo dealer,
they will come ten coupons to a book,
at $17.50 per book, or at $1.75 for a
single coupon. One coupon will get you
striping service on a 25 foot roll of
double 8mm. film (as it comes from
your camera) or on a 50 foot reel of
split and edited single-width 8mm. film.
On our abacus, this figures out to a unit
price of 3V2 cents per 8mm. foot.

Appointments p Goerz Langfeld,

a grandson of the
late founder C. P. Goerz, has been ap-
pointed by the C. P. Goerz American
Optical Company as sales manager and
secretary of the corporation.

C. Everett Moses is the new manager
of Kodak's processing plant in Flush-
ing, N. Y., while Philip E. Smith has
been named assistant manager of the
company's Chicago lab.

Florman & Babb, motion picture
equipment dealers of 70 West 45th
Street, New York City, have been made
distributors by Bausch & Lomb Optical
Company of that firm's Baltar lenses.

Here's to Mt. Hood!

[Continued from page 213]

By and large the falls are along a
line running slightly north of east. Thus
the summer sun after 3:30 p.m. pene-
trates into some of the hollows and
touches the falls with sunlight. How-
ever, at some falls the lower cascade is
then in sunlight and the upper in shade.
The morning sun adds the difficulty of
back lighting. (Oregonians could help
us with more details.) I shot them at
24 fps to add grace and majesty, but
I tended to overexpose the shaded
scenes. We feel that woodsy atmos-
phere is best caught by erring toward
underexposure, if one is to err at all.

The wide angle lens from the east
side just catches the full scope of
Horsetail Falls. A shot from the west
brings the picturesque highway bridge
into the foreground and catches the
flare of the tail.

The next day driving up the Wash-
ington state side of the Columbia, I
learned that Washington does not ex-
ploit Oregon's falls, for finding a place
from which to photograph those few
that could be seen was difficult. A 3x
telephoto picks out Horsetail Falls, but
the late afternoon sun is needed to make
it visible to the casual viewer.

From across the Columbia I used a

slow pan (which seemed justified as a
transition) with a regular lens from
Horsetail to the Oneonto Gorge and
then followed with a telephoto shot of
the Gorge. Oneonto Gorge lends itself
to scenes of perpendicular narrow gran-
deur. Unfortunately the path was
washed out, preventing a walk to the
falls which I remembered as being a
small prize.

Multnomah Falls — the most famous
of all! A wide angle shot from the rail-
road trestle takes in the full upper fall,
but a slow pan must bring in the lower.
To vary the closeup pan of the water
falling majestically down, I cut it in the
middle and took a closeup of my wife's
profile as her gaze followed the falling
water.

This is the only fall that can be
photographed well from the Washing-
ton side. But you must find the short
dirt road leading to the vantage point!

Sheppards Dell must be panned — and
with a wide angle lens. Be sure to pause
at each fall. Looking straight down
from the bridge gives an interesting
start. The afternoon sun hits this lowest
fall squarely. The attractive middle fall
is in open shade. The upper fall is in
deep shade. My upper fall shot might
have been improved by using a regular
lens shot from the visitor's viewpoint,
with the water rushing past, and then
cutting back to a wide angle view from
a better location down the path. Thus
you could also change exposure for
the shaded fall. Later I also thought
that a view from behind the upper fall
Tooking down the ravine over all three
would be unique.

Latourelle Falls cannot be taken too
successfully, as far as I could tell, even
with a wide angle lens. From the high-
way only the upper portion is visible
above the trees. Down at the falls a pan
is necessary. To bring out the effect of
the sheer, cut-back face of the cliff
seemed difficult. Here again suggestions
by Oregonians would help.

Much photographed Crown Point is
a breath-taking finale of the Mt. Hood
Loop trip. Walking up a dirt road back
of the Vista House to an abandoned
cafe, I found a vantage point for either
a regular or a wide angle lens. Since
our trip I have seen photographs taken
from another place which emphasize the
sheer 700 foot cliffs more.

Crown Point is easily photographed
from the Washington side, especially
with a 3x telephoto. The late afternoon
sun points up the sheer cliffs by bring-
ing out the irregularities. Also the day-
time haze thins out to give a clearer
picture.

The Mt. Hood Loop has everything
any photographer could want: scenery,
flowers, sports and drama. It's a won-
derful one-day or two-week trip. But
when a Californian must sing the
praises of another state, things have
come to a pretty pass!

MOVIE MAKERS

217

CloseupS— What filmers are doing

What with summer vacations, and the
presence in New York City during late
weeks of two big conventions (the
Shriners and Jehovah's Witnesses), we
have had a fine and friendly stream
of visitors recently at ACL headquar-
ters. As far as we were concerned, this
was swell; for the weather has been
far too hot and humid to really enjoy
anything beyond visiting. But what our
visitors must think of New York's
climate we scarely dare to contemplate.

With the Nobles — who preceded the
Witnesses into this weather-worn
city — there came Edmund Shively,
ACL, and Mrs. Shively, from Mifflin-
burg, Pa. And if you think that Mrs.
Shively came along simply for the
ride, you'd better think again. What
with four cameras (two sills and
two movies), Mrs. S. was quite as
shutter happy as her husband.

The Shrine convention brought also
to the Big City another welcome vis-
itor in the person of Victor Thornton,
ACL, of Fort Worth, Texas. Mr. T.,
accompanied by his wife, his young
son and a posse of pleasant friends
descended on headquarters by ap-
pointment one afternoon, and we all
took the rest of the day off to screen
his film of a recent Caribbean cruise.

And what a cruise! There was, to
begin with, this big, beautiful and
white-hulled ship, the Alcoa Clipper;
sails out of New Orleans with general
cargo for Gulf and West Indies ports,
and returns 17 days later with a load of
bauxite for Alcoa's aluminum mills.
And not at all as an afterthought the
Clipper also provides de luxe, air-cooled
accommodations for exactly forty five
passengers.

So what happens? What happens is
that exactly forty five congenial folks
in and around Fort Worth put their
heads (and their oil wells) together and
simply bought out the ship for one en-
tire voyage. Such goings on! Even before
sailing the Clipper's captain had been
named an Admiral in the Texas Navy — ■

JIM WATSON, ACL, right, Cathy Moss and John
Dowell toast their success at a party mark-
ing 1952 Ten Best award to Man With The Box.

an appointment which was authenti-
cated by a formal document signed by
Texas Governor Alan Shivers. The
skipper (who apparently knew his Tex-
ans) countered this one by flying the
Texas State flag and a Fort Worth
Yacht Club burgee from the ship's port
signal halliards each time the Clipper
entered a foreign port. Drove other
mariners nuts trying to find these
strange ensigns in their code books!

Well, Mr. Thornton, with inexhaus-
tible energy and a fresh imagination,
recorded on 16mm. film (2000 feet of
it) all of these gay goings on — -as well
as the colorful countries which they
visited. And then, to round out his pic-
ture, he sounded the whole thing with
a 25 mil magnetic stripe on film.

Quite a cruise . . . and quite a pic-
ture of it, too!

Texans, of course, are not the only
folks to take cruises and make
movies of them — although obviously
they do both of these things bigger and
better than the rest of us.

However, Geneva Leilich, ACL. of
Chicago, has been giving these twin
operations a determined and skillful
try, making up in the continuity of her
cruising what it might lack in con-
centrated ebullience. A registered nurse,
Miss Leilich had the good sense this
spring to book herself an elderly,
private patient who, after two years
in the hospital, suddenly decided he
wanted to take a cruise. And, since this
spunky old party was crippled from
the waist down, he decided also that
he wanted Miss L. to go along to look
after him and his wheelchair.

So what happened to them? What
happened was that the patient so en-
joyed his first trip (it was on the
sleek cruising vessel Silverstar and also
to the West Indies) that he made two
more voyages in immediate succession
— accompanied, of course, by our
heroine. And, so help us, they are even
now on a fourth swing around the sun-
shine belt!

All of which we learned recently
when Miss Leilich stopped by the office,
gallantly squired by the Silverstar's
master, Capt. Alfred Leidig. to whom
she was eager to show her trip pictures.
Miss L., by the way, has been named
the Captain's Lady, an honorary post
in which she serves as the skipper's
hostess at the many social functions
aboard the Silverstar.

You know those big, two-part trailer
trucks that are used so much these
days on interstate freight hauls? Well,
the railroads (naturally) have not
been happy about this sort of competi-
tion, and now, after years of complaints.

Impossible
distances

become

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218

one of them at least has done something
really smart and constructive about it.

The RR in question is the New Haven
(New York, New Haven & Hartford).
And what they have done is to dream
up a brand new freight train called
The Trailiner, a consist of specially
equipped flat cars on which the truck-
ing companies can rail-ship their trailer
units between New York and Boston.
Takes only six hours and, says the
New Haven, costs the truckers less than
hauling them over the highways.

This, too, we learned through the
enlightening visit of an ACL member
to League Hq., in this case William
Kealy, ACL, of New Rochelle, N. Y. A
railroader for thirty five years, all with
the New Haven, Mr. Kealy has pro-
duced a competent and informative rec-
ord of The Trailiner's operations. Tough
job, too, since the train doesn't pull out
till 8:30 in the fading light of a summer
evening.

AUGUST 1953

Reeling the rodeo

[Continued from page 209]

pounding or get spilled.

If time permits, attend the rodeo on
the first day as a spectator, checking on
the best shooting angles, lighting and
easy access to different camera posi-
tions. Next day, take your camera along.
Not only will you enjoy shooting more,
but you will have the necessary savvy
on the layout to speed your movies.

Unless you work from a photograph-
ers' pit or above the grandstand, a
tripod may prove a bit clumsy in the
crowds. For this reason the hand-held
camera, abhorred in other types of
filming perhaps, becomes the most con-
venient method of following action as
it unfolds. The gunstock camera is a
welcome accessory, and one can easily
be made by trimming the wooden stock
of an old rifle or shotgun to fit the cam-
era, which is held to the base of the

Classified
advertising

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| Words in capitals, except first word and name,
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| Cash required with order. The closing date for
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NOTEBOOK is handy for recording rodeo data
and serves as scene slate with large numbers.

stock with a standard tripod screw.

Identifying the riders and their rec-
ords for later subtitle information or
inclusion on the sound track means
maintaining a record of your shots as
filming proceeds. Best way is to get a
copy of the rodeo program and check
off each event as you film it. A small
pocket notebook is also handy for scene
identification. Simply number each page
consecutively with 2 inch high numerals,
recording on the page the date, time,
exposure, footage reading, light and
special remarks. Before or after each
scene hold the notebook page at arm's
length before the camera lens and ex-
pose a few frames. But don't forget to
change the focus between shots.

In editing, once identification is made,
such frames may be cut out and dis-
carded. Otherwise, editing your rodeo
footage should provide no difficult prob-
lems, since such events can be tied to-
gether naturally in chronological order.
However, the tempo of the film can be
maintained only by shortening scenes
to match the action. Flash from long
shots to closeups to medium shots, and
cut when the rider is spilled, swinging
quickly back to the opening of the gate
to catch another wild-eyed rider on a
frothy, sun-climbing bronc.

If you title your rodeo reels, use hand
lettered or type-set lettering, white on
black, or double expose over an appro-
priate roundup scene. While tag titles
are usually to be avoided, it is possible
to decorate a short title with a pasteup
of an illustration showing bulldogging
or calf roping.

Adding sound and music will furnish
the truly professional touch, and the
showmanship you use will determine
the success of your final product. Tape
recordings can be made out on location
to pick up crowd noises and the an-
nouncer's voice over the public address
system. Or such crowd sounds can be
purchased on disc and re-recorded at
appropriate spots in the continuity to
fit the picture. Band music is needed for
the fill-ins; or, if local Indians put on a
war dance as part of the show, a whoop-
ing medley may be in order.

It looks like lots of camera work at
first. But actually the rodeo movie
maker is in for more fun than the rodeo
performer himself.

MOVIE MAKEK*

219

Mr. & Mrs. Mervyn N. Eastman, Edmon-
ton, Canada
N. G. Sims, Ettrick, Va.
Earle A. Smith, Rochester, N. Y.
Xames M. Sump, Lansing, Mich.
Lt. Amporn Penyapol, Washington, D. C.
R. Saramito, Nice, France
H. B. Uppdegraff, M.D., Lemoyne, Pa.
Walter T. Wittman, Paramus, N. J.
Margaret A. Anderson, Boston, Mass.
John L. Chaipis, New York City
Charles F. Snyder, New Kensington, Pa.
Mrs. Evelyn Bremer, Omaha, Neb.
I. George Morgan, Silvis, III.
John D. Morgan, Moline, III.

American Association of Advertising

Agencies, New York City
Robert J. Cranmer, Summitviile, Ind.
Pvt. Harry R. Harp, do PM, San Francisco,

Calif.
Mrs. H. 0. Paquin, Chatham, N. Y.
L. J. Quackenbush, Akron, Ohio
Dr. L. Armstrong, Westfield, N. J.
Alto J. Davds, Montgomery, Ala.
Peter DeSario, Oak Park, III.

John William Eichmann, San Antonio, Texas
Edward E. Schuitz, Ann Arbor, Mich.
John H. Murphy, Milwaukee, Wise.
Bryan Osberg, Des Moines, Iowa
Charles A. Hadley, Los Angeles, Calif.
Joseph S. Santin, Mystic, Conn.
Westchester Cine Club, White Plains, N. Y.
Dolly Anstett, Chicago, III.
Harry Holm, Sandefjord, Norway
J. M. Jessup, Miami, Fla.
Salvatore N. Stella, Woodside, N. Y.
H. K. Beshar, jr., New York City
Wiley Blair, jr., Colorado Springs, Colo.
R. M. Cantin, Montreal, Canada

Chrysos S. Daneel, Bloemfontein, Holland
Victor Douis, New York City
Vernon E. Lantz, Broadway, Va.
Sarnia Movie Club, Sarnia, Canada
Martin J. Ackerhalt, M.D., Clifton, N. J.
Robert E. Davis, Bellwood, III.
R. Ziolkowski, Detroit, Mich.

A. Paterno, Brooklyn, N. Y.

Mrs. Estelle R. Potter, New York City
R. W. Potter, Kent, England
Michel E. Puyans, Garden City, N. Y.
H. G. Boesel, Kenosha, Wise.

Walter E. Baumgart, West Englewood, N. J.

John M. Bird, Battle Creek, Mich.

Col. R. C. Bolte, jr., Hermosa Beach, Calif.

Joseph J. Formento, Joliet, III.

Robert T. Garrett, M.D., San Clemente,

Calif.
Rev. A. B. Habben, Cedarburg, Wise.
Mrs. Robert J. Norton, Puente, Calif.

B. V. Pivo, Flushing, N. Y.

V. J. Vignali, Washington, D. C.
Robert C. Woofter, Cortland, Ohio
Dickie Bayley, Carmi, III.
E. Howaniec, Oak Park, III.
Lewis Zager, Hudson, Mass.

Des Plaines Movie and Slide Club, Des

Plaines, III.
Lt. L. A. Schilperoort USN, do FPM, San

Francisco, Calif.
Don Sheldon, San Francisco, Calif.
Cornelius Wernette, Denver, Colo.
Jasper D. Covelli, Kenosha, Wise.
Gerald Skog, Detroit, Mich.

Harry H. Brenner, Wilmington, Del.
H. L. Burmeister, Holyrood, Kans.
Mrs. Robert R. Clark, Los Angeles, Calif.
Norman L. Jonsson, Warrenville, III.
Russell H. Kettell, Concord, Mass.

Victor M. Lalli, East Pittsburgh, Pa.

Edwin D. Pearson, Richmond, Va.

Alvaro Quesada M., Turrialba, Costa Rica

Mrs. Ralph W. Robbins, San Antonio, Texas

Adolf Schauer, Brooklyn, N. Y.

Ben Tallman, Chicago, III.

Capt. Wendell S. Winn, Dayton, Ohio

Louis Mihalyfy, Allen Park, Mich.

Martin E. Robertson, Hawthorne, N. Y .

M. A. Caparroz, Wantagh, N. Y.

Simon C. Satalich, West New York, N. J.

Dr. John E. Ackerman, Toronto, Canada

J. R. Yarrow, Washington, D. C.

Louis W. Cacini, Chicago, III.

Dr. Harry S. Christensen, San Francisco,

Calif.
John E. Rhodebeck, Concord, N. H.
Ted Cohen, Asbury Park, N. J.
G. W. B. Pope, Porto, Portugal
Howard Schein, New York City
J. W. Schoonover, Lima, Ohio
Miss G. Chappell, Chicago, III.
Omer G. Lantinri, Hartford, Conn.
Anna Ropinske, Chicago, III.
E. S. Rosenau, Elmwood Park, III.
Frank F. McEachren, Toronto, Canada
O. C. Murphy, do PM, New York City
Owen G. Parsons, Johnstown, N. Y.
Ray C. Reinbolt, Oak Park, Mich.
Earl Vincent, Tulsa, Okla.

Mrs. Robert J. Russell, Rutherford, N. J.
Edward C. Skutta, Maple Shade, N. J.
H. G. Stiffier, South Bend, Ind.
C. E. Johnson, Danville, Calif.
Dr. C. W. Baars, Rochester, Minn.
W. Harwood Brown, Roswell, N. M.
Jack L. Chambers, Atlanta, Ga.
T. Ray MacKinnon, Hopedale, Mass.
J. H. Oehlschlaeger, Paducah, Ky.
WTMJ-TV Amateur Cinema Club,

Milwaukee, Wise.
Paul B. Finby, New York City

16 mm

Let's look at "Lucy"

[Continued from page 207]

tanglement on the floor, and the dolly
man, who pushes it around from mark
to mark.

10,000 FEET TO 2370
The action stops only when the
cameras have to reload. The 1000 foot
reel runs approximately 11 minutes,
and each camera will consume three or
four loads during a show. This may
seem a lot for a half hour program,
but there is an inevitable waste at the
end of each reel. The cameramen often
have to reload for a long scene even
though there may be 100 feet or more
left in the camera. You can't take a
chance of running out of film during
an important shot.

From, generally, 10.000 to 12.000 feet
of exposed 35mm. film, the completed
show is cut to run 2370 feet — exactly
26 minutes and 20 seconds. And when
you remember that the entire thing took
only a single hour to shoot, it's an
almost awesome lesson in advance
planning.

You ACL movie makers can see them
do it next time you're in Hollywood.
But remember: write far in advance
for those tickets. / Love Lucy packs 'em
in on the camera set out here, just as
it does on your TV set at home.

GEO. W. COLBURN LABORATORY INC.

164 NORTH tVACKER DRIVE'CHICAGO 6
TELEPHONE STATE 2-7316

8 and 16mm
SERVICES

220

AUGUST 1953

Italy Visitors to Italy this summer
will be interested in the com-
petition being sponsored by the Cine
Club ICAL-Milano, ACL. This contest,
open to all amateurs who are members
of a recognized movie club anywhere
in the world, is limited to twenty-
minute films showing the scenery of
Isola Bella, Isola Madre, the "Castles
of Cannero and the Rock of Angera,
all at Lake Maggiore. Closing date is
November 30. Special passes to the
islands may be obtained from the
committee at the club's headquarters,
Corso Venezia No. 35, Milano.

Yctntocaw Elected recently to guide
the newly formed Yan-
tacaw Camera Club, ACL, of Passaic,
N. J., are Horace M. Guthman, ACL,
president; Ehman Van Biert, vice-
president; Evelyn Murray, secretary,
and Fred H. Numrich, treasurer.

Directors will be Gordon Broomhall,
Otto Moehlan and James A. Randazzo.
Installation was conducted by the Rev-
erend Henry J. Berkobin of the Holy
Trinity Lutheran Church, of Nutley,
N. J., also an avid movie maker and
member of the club.

Toledo The annual salon of the
Toledo Amateur Movie
Makers, ACL, held recently at the
Toledo Museum of Art, featured screen-
ings of Fruit Cake, by Ernest Goodwin,
ACL; The Magic of a Merry Christmas,
by Freeman Enbody ; Holiday in Michi-
gan, by Harvey Russell; Around Lot
34, a 1951 Honorable Mention winner,
by Henry Auger, ACL; Paintings, a
1952 Honorable Mention film, by
George Canning, ACL, and Poet and
Peasant, a 1952 Ten Bester, by Robert
G. Williams, ACL.

TTB in Houston The Southwest
Movie Makers
Guild, ACL, of Houton, Texas, will pre-
sent The Top of the Ten Best, ACL's
new feature program which is taking
the amateur film world by storm, on
August 28 at the YMCA Main Audi-
torium, 1320 Rusk Street, Houston.
Tickets are priced at $1.00, including
tax, and may be obtained at the door or
from Marion Riddick, managing direc-
tor of the guild, at 815 Stuart Street,
Houston.

Mr. Riddick has informed us that any
ACL members in that area, or on a visit
to Houston on that date, may obtain
free tickets if they will write him ahead
of time. All ACL-ers are urged to take

advantage of this generous offer and
see this outstanding program of the top
amateur films of 1952.

Another feature of the evening will
be the first screening of one of Mr. Rid-
dick's own films, Texas Bluebonnet
Serenade, which he has just completed
after two years of work. The picture, a
fantasy with an original musical score
by Bernie Clements, documents the blue-
bonnet as the state flower of Texas.
Sounds good!

Braintree Members of the 16 & 8
Movie Club, ACL, of
Braintree, Mass., have named Dominic
Grazio, ACL, as their president for
the coming season, with Alan Thewlis,
first vicepresident; Winthrop Moore,
second vicepresident; Mrs. Stanley E.
Brackett, ACL, secretary, and Robert
Mahn, treasurer. Entertainment for this
election meeting included His Off Day,
by J. Owen Campbell; Squeaky' s Kit-
tens, by Walter Bergmann, FACL, and
Crystal Clear, by Joseph J. Harley,
FACL— all from the ACL Club Film
Library.

Johannesburg t°p film in the

seventh annual
Films of the Year competition held by
The Amateur Cine Club, ACL, of
Johannesburg, South Africa, was Con-
tinental Canvas, by Arland Ussher.
Other pictures placing among the Five
Best were The House, with Nobody in
It, by B. T. Smith; African Journey,
by E. M. Phillips ; Landmarks of South-
ern Rhodesia, by F. G. Abernathy, and
Trio, by M. J. Kallin.

Special merit awards were given to
Busman's Holiday, by I. G. Nicol, and

Au Johannesburg, by J. E. Walsh. The
Bob Pollack Trophy for the best color
film of South African wild life was
given to Water for Game, by A. J.
Broughton, ACL, and the Walsh Trophy
for the best film by a novice was
awarded to Mr. Kallin for Trio.

Long Beach Featured at the June
meeting of the Long
Beach (Calif.) Cinema Club were
screenings of Lassen Peak, by Lola
Pedersen; Raising Heniquen in Yuca-
tan, by Al Larrabee, ACL; Buenas
Dias, by Carlton Lay, and Turn Around
— Safety, by Earl Everley, ACL. Other
events enjoyed by club members re-
cently were the desert trip to Indian
Cove on May 31 and the Past Presi-
dents' Night and Pot Luck Dinner on
June 17.

Milwaukee The Amateur Movie
Society of Milwaukee,
ACL, was host last month to the MetTo
Movie Club of River Park, ACL, from
Chicago, whose members brought along
a most interesting program. Among the
films screened were The Big City, a 1952
Honorable Mention winner, and Big
City Yuletide, both by Richard Guetl,
and A Short Tale of a Dog and Racing
Wings, by William E. Ziemer.

Minneapolis 8s The Minneapolis
Octo-Cine Guild,
ACL, presented its fourteenth annual
Spring Show on May 1 to an audience
of over 500 at the Bryant Junior High
School.

Featured on the program were Wash-
ington, D. C, by Clifford Jurgensen,
ACL; The Chocolate Cookie, by Roger

Almon H. Coulter, ACL

TOP OF THE TEN BEST program packs Denver's Bell Telephone hall at joint screening by Amateur
Motion Picture Society of Denver, ACL, and Greater Denver Cinema League, ACL. William C.
Kirk, ACL, and Markley L. Pepper, ACL, mounted the presentation.

MOVIE MAKERS

221

Klatt, ACL; The Badlands through the
Windshield, by A. F. Buckles; Rocky
Mountain National Park, by Raymond
Penrod, ACL; Track Meet, by Earl
Peterson; Movie Menagerie, by Harry
De Vault, ACL; Florida, by Albert
Berndt; Dragnut, by the club members;
Water Lilies and Aqua Frolics, by Louis
Harding, ACL, and Cuban Carnival, by
Leon Goetzman.

Peoria Awarded first prize in the
Peoria Cinema Club's latest
contest was Bryce Canyon, by Dr. K.
Ikeda, with Helping Hands, by Kurt
Keucht, second, and River Cruises, by
Harold Benz, ACL, third. Also honored
were films by Carl H. Legg. Carl S.
Koch, ACL, and C. W. Gustafson. Spe-
cial awards were given to Robert Ber-
grun, Walter Weber and Shirley Wan-
drey.

N. California Final results of the
Filming for Fun
contest sponsored by the Northern Cali-
fornia Council of Amateur Movie Clubs,
ACL, have been announced. The win-
ners were Sierra Summer, by Othel
Goff, ACL, of the Westwood Movie
Club of San Francisco, first; Yellow-
stone, by Milton Daley, ACL, of Sacra-
mento, second, and A Problem in Divi-
sion, by Donovan Smith, ACL, of the
Bay Empire 8mm. Movie Club, ACL,
third.

Long Beach For those members of
the Long Beach (Calif.)
Cinema Club who could not get away
for a vacation this summer the July
meeting provided a pleasant substitute.
Among the films screened were See
Your West, by Ray Steber; Vacation in
Victoria, by Ed Stephens ; A Day in the
Life of Dotsi, by Neva Blust, and Gua-
dalupe Island, by Al Larrabee, ACL.

Incidentally, mark down the date of
August 19 on your calendar! That is
the evening on which Long Beach will
show The Top of the Ten Best. Don't
miss it!

Omaha Among the clubs continu-
ing their meetings through
the summer is the Omaha (Neb.) Movie
Club, ACL. A recent meeting featured
Up Canada Way, by Jack Blodjett;
Tucson, Arizona, by Oliver Barklage;
Templer Park, by Forest Rorick, and a
lecture on Lenses, Their Selection and
Uses, by R. 0. Blakeslee.

Albany AMPS At the annual ban-
quet of the Ama-
teur Motion Picture Society of Albany,
ACL, on June 9, Rose Robilatto was
elected president for the coming season.
Serving with her will be Charles Sene-
cal, ACL, vicepresident ; Katherine Duf-
fy, secretary, and Kaye Sorenson, treas-
urer.

Winners of the club contest also were

announced that evening. Madeline Lem-
perle, ACL, took first prize for her
Pilgrimage to Rome, with Mary Robi-
latto, ACL, second with West Indian
Odyssey and Ann Flanigan, ACL, third
with Vacation Memories. Highlighting
the other events was a talk by Helen C.
Welsh, AACL, who spoke on her adven-
tures, cinematic and otherwise, during
her recent trip to Europe.

Minneapolis Tne APril meeting of
the Minneapolis Cine
Club, ACL, featured the premier screen-
ing of City of Minneapolis Election
Film, made by members of the club.
This film is destined for use by city of-
ficials in training future ballot counters
and election judges. Also on the pro-
gram were Trail Ride, by George Fish,
ACL, and Fishing Trip, by Donald
Lucier.

History of a mystery

[Continued from page 211]

of the cast took each of the six viewers
aside after the showing and questioned
them alone. Did they get it? The re-
sults were disheartening. Fifty percent
were not sure whether the man was
the killer or not.

The problem now was to convince
everyone that the man was really the
murderer. After consulting with the
cast, I decided that a closeup of the
man leering evilly, after the two-shot
of him and the girl, would plant his
intention more clearly in the minds of
the audience. Also we decided that the
closing shot (the news headline) went
by too quickly; so we shot another
scene of their car going away down
the street and tacked it on after the
headline closeup. This was a long shot
and over it I superimposed The End.
We found then that the addition of
these two shots heightened the suspense
and convinced everyone that the girl
was really going to get it. It was extra
work but, we know now, well worth
the effort.

SEARCH FOR A SCORE

Selecting the musical score gave me
a merry chase through the land of
sharps and flats. From January until
the first of October I listened to music
from our WTAG record library. (Being
a staff announcer on the station I have
access to same.) Since I knew the
story by heart, it was simply a matter
of finding musical passages which
matched the changing dramatic moods
as the tale progressed. But only by
listening to almost the entire contents
of our library (which consists of many,
many hours of music) did I find the
exact pieces that I wanted. Prokofiev,
Tchaikovsky and Villa-Lobos were play-
ing in my sleep.

Finally, however, I collected what I

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R. S. V. P.

WITH A WINNER!

The Amateur Cinema League invites
you once again, as it has done each
year since 1930, to submit your movie
making efforts in the oldest, most hon-
ored contest in the world of personal
filming — the ACL selections of the Ten
Best Amateur Films of the Year and
the Hiram Percy Maxim Award. The
contest is open to amateurs everywhere
in the world, using 8mm. or 16mm.
film, black and white or color, silent
or sound, in short or long reels and on
any subject.

HOW SELECTIONS ARE MADE

The Ten Best selections are made
by the trained staff of the Amateur
Cinema League, men who see and eval-
uate more than a quarter million feet
of film each year. The selections are
not limited to League members — any
amateur filmer, anywhere in the world,
may compete. The judges seek for sin-
cerity— sincerity of camera work, film
planning, editing, titling and, above all,
creative movie imagination. Any fine film
can win. This year, it may be your film!

SEND YOUR FILM NOW

An entry blank and the rules govern-
ing the ACL Ten Best contest will be
found on the inside front cover of this
issue. Plan to answer the ACL's Ten
Best invitation

WITH A WINNER!

•*M— 1*MM

KODA<

•LACK

KOOACMROMB

222

AUGUST 1953

PROGRESS

• • •

TO THE PAST

WHILE it isn't going to bother the moguls of
movieland one whit, we are not at all sure
that we approve of what Hollywood thinks
they are going to do to Hollywood's product.

In expressing this apprehension, we refer most
specifically to professional prophecies concerning the
effect on production techniques of CinemaScope, a
cycloramic screen process which we examined in this
journal last month. Well, other motion picture maga-
zines have been examining CinemaScope as well. And
in one of them — the American Cinematograpber —
which expresses the viewpoint of top professional
movie makers we now find the following statement:

"D. W. Griffith and his cameraman, Billy Bitzer,
were forced to invent new ways to use the camera,
including closeups and over-the-shoulder shots (now
called two-shots) , because the lens would not capture
the full field of vision that they wanted to show.
Today, if Griffith were using CinemaScope, he seldom
would have to move in close with the camera, nor
would he change angles often."

Later in the same article, the same author amplifies
slightly each of these attitudes. Of closeups, he writes
with a strange anomalousness:

"Closeups are possible and tremendously effective,
but are seldom needed." And of changing camera
viewpoints, he adds:

"Camera setups will be reduced to one fourth of
their present number . . . resulting in a considerable
saving of time and money."

The words are those of Leon Shamroy, ASC, direc-
tor of photography on The Kobe, 20th Century-Fox's
first feature production to receive the CinemaScope
treatment. And, since Mr. Shamroy has presumed to

speak for the Messrs. Griffith and Bitzer, those crea-
tive giants of early movie making, we shall presume
(perhaps with a proportionate temerity) to question
the wisdom of Mr. Shamroy's edicts.

Is it good for motion pictures that the closeup will
no longer be needed, and therefore will lapse into
disuse? We doubt it. For it has long been our impres-
sion that Griffith's and Bitzer's addition of the
closeup to the swaddling production techniques of
early movies was one of the all-time advances in the
new art form.

And is it trtte that the CinemaScope closeup — al-
though it is to be seldom used — is "tremendously
effective?" We doubt that too. Surely, if we are to
judge by the official C-S closeup which we published
on July's page 183, its vaunted effectiveness is dis-
parate rather than dramatic. For sheer movie magic,
we will still stick along with Griffith's memorable
closeups of Lillian Gish in, say, Broken Blossoms, or
with Chaplin's at the heart-tugging end of City
Lights.

And, finally, is it wise for Hollywood's cameramen
to reduce by 75 percent the number of their chang-
ing camera viewpoints? Once again we are strongly
in doubt. The changing viewpoint and, in its finest
flowering, the mobile camera, has for years comprised
the true essence of motion pictures as a unique art
form. Eliminating this essence may indeed save time
and money on the production budget. But it is not
going to make money at the box office.

Hollywood, if this present prognosis of future
production techniques is any guide, is making prog-
ress swiftly — but to the static past. Amateur movie
makers will do well to eschew the same errors.

THE AMATEUR CINEMA LEAGUE, Inc

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

AMATEUR

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

CINEMA LEAGUE. INC.. 420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

thought were the right pieces of the
musical puzzle. In many instances these
bits of music were taken from the
middle of a selection so that one had
to begin on a flute passage and end
on an ensemble crescendo! Repeated
playing of such bits to know exactly on
what note to begin and end was the
only way in which I could assemble the
final score.

One important musical punctuation
mark occurred when the girl sees the
skull in the man's hand. This called
for an unusual effect — rather like a
scream. In search of it I combed our

Columbia Masterworks library for
weeks on end. Finally, halfway through
Pictures at an Exhibition by Mussorg-
sky, I found the eerie rattle which I
wanted. It lasted for eight seconds! The
final scoring operation was to record
each piece of music separately on tape
and then to splice them together for
the completed musical background.

PEOPLE MAKE PICTURES

When the film was done I realized
more than ever what every producer
knows. You can't do it alone! It isn't
enough to own a camera and plenty of

equipment. You need people to make
motion pictures — friendly, patient peo-
ple. I would like to express my appre-
ciation again to everyone who contrib-
uted to the success of The Man With
The Box. And here are special "Thank
Yous" to Mrs. Harry Robinson, who
opened her home to us; to Johnny
Dowell, who turned in a splendid per-
formance as the killer; and to Cathy
Moss, whose sensitive interpretation of
the girl simply "made" the picture.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS - the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

THE ACL MOVIE BOOK

AMATEUR CINEMA LEAGUE, INC.

1

PLUS THE FOLLOWING LEAGUE SERVICES

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

EXTRA-NOW AVAILABLEI

Official League leaders in full color!

Official League lapel pins for you
to wear!

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Official League stickers for all your
equipment!

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish fo become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name,
Street.

City

Zone

.State.

C^^^^w

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FILMING THE FAIRS •

MORE ON MAGNETIC

228

SEPTEMBER 1953

GEO. W. COLBURN LABORATORY INC.

164 NORTH WACKCR DRIVE'CHICAGO 6
TELEPHONE STATE 2-7316

8 and 16mm
SERVICES

RECORDS

MOOD
MUSIC

Background
Last Word in Sound Effects-**-
Send For Free Catalogue S0UNu

THOMAS J. VALENTINO, Inc.

Dept. MM
150 West 46th Street, New York 36. N. Y.

Dress up your films with an
ACL COLOR LEADER

8mm. . . . $1.50
16mm. . $2.00

Amateur Cinema League, Inc.

420 Lexington Ave., New York 17, N. Y.

Two 3< stamps for giant cataloj

8-16mm Silent, Sound,
Sales, Rental, Exchanges.

IREEB & REED DISTRIBOTORS, IRC.
L7508 3rd AVE.,- BJWOJLYII 9, H. If, _ .^s

HOW TO MAKE
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Protect your valuable originals from projector
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12522 Ventura Blvd., Studio City, California

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

September
1953

The reader writes

New ACL members

Filming the fair

Leaders and trailers

"Cinemascope" on Sixteen!

Staging the big show

Notes from magnetic notebooks: 3

A projector speed control

A reel report card

News of the industry

Important new mail rates

Closeups

Clubs

The Ten Best Rules

230
231

Arthur L Center 232

234

James W. Moore, ACL 235

Leo J. Heffernan, FACL 236

Dicky Roth, ACL 238

Denis M. Neale 239

Dorofhy A/I. Peper 240

Reports on products 241

246

What filmers are doing 247

Pictures, plans and programs 248

Editorial 250

Cover photograph by Elizabeth Hibbs

JAMES W. MOORE

Editor

PETER D. DIBBLE
Clubs Editor

ANNE YOUNG
Advertising & Production

Vol. 28, No. 9. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newf oujraland ;
other countries $5.00 a year, postpaid; to members of Amateur Cinema/League,
Inc., S3. 00 a year, postpaid; single copies 35<? (in U. S. A.). On sale/at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 18fc§. Copyright,
19S3, by Amateur Cinema League, Inc. Editorial and Publication Office: 420
Lexington Avenue, New York 17. N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone Dunkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

229

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230

SEPTEMBER 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

PERMITS IN PARIS

Dear Movie Makers: In reading the
copies of MM which I missed while
traveling abroad this spring, I have just
finished Paris in a Pair of Days, an ex-
cellent and definitive article indeed.
However, I believe that author Bulkley
should have told our readers that in
filming Paris — for Americans, at least
— all is not sweetness and light.

For, just as your tripod has been set
up, there is the inevitable tap on the
shoulder. This means one of two things :
either a request for anywhere from 50
to 400 francs for a "permit" to use the
camera, or a curt statement that "it is
forbidden to take pictures here." I was
forbidden to take pictures of the ex-
teriors of the Sorbonne and the Biblio-
theque Nationale, and (so help me!) I
was even forbidden to take pictures in
the Luxembourg Gardens of children
sailing their boats.

It is difficult to know what to do,
for even the permit prices fluctuate so
violently that you feel more than a faint
suspicion the fee is based upon what-
ever the traffic will bear. Perhaps our
movie making cousins in France will
see what they can do to make filming
in their beautiful capital more of a joy
to the visiting amateur.

Helen C. Welsh, AACL
Albany, N. Y.

HEADLINES TO ORDER

Dear Friends: I would like to con-
gratulate James L. Watson, ACL, for
his excellent August story, History of a
Mystery. However, I was surprised by
his difficulty in securing the two news-
paper headlines called for by his script.

Perhaps he and others of our readers
are not aware that many amusement
arcades in the Times Square district of
New York (and, no doubt, other cities)
are equipped to set up comic headlines
on dummy newspaper sheets while you
wait. Using The Daily Tribune as a
masthead, the front page below the
headline is made up of legible dummy
copy and cuts — and looks quite realistic.
It should be simple enough to paste this
dummy page on the front of any regular
newspaper and, in fact, to overlay the
masthead of one's hometown sheet if
necessary.

Specifically, this sort of work is done

by Eugene Seebold, Headlines, 228 West
42nd Street, New York City. I have
contacted Mr. Seebold on behalf of
ACL members, and he has agreed to
accept mail orders if 3 cents of postage
are added to the costs. These are: three
single sheets for $1, or one sheet for
75 cents.

Capt. Maurice Dallimore, ACL
National Broadcasting Co.
New York, N. Y.

Our sincere thanks to Captain Dalli-
more for this unique and interesting data.
It should be of aid to amateurs every-
where.

TTB PARTY

Dear Friends : Enclosed is a bank draft
covering the fee for my personal screen-
ing on July 24 of the Top of the Ten
Best program before friends and neigh-
bors at my annual outdoor movie party.
There is no doubt that the Maxim
Award winner, Duck Soup, deserved all
of the plaudits which I know it has
received from the thousands of people
who must have seen it by now. It com-
pletely captivated my audience of some
fifty persons, adults and children alike.
The pace and editing of this charming
family film gave it a punch not usually
present in 99 other amateur efforts.

Jack Bray, ACL
Paducah, Ky.

NATIONAL PARK PROGRAM

Dear ACL: Greetings from damp, wet,
foggy New Brunswick! Back in the
States a few nights ago we put on a
special campfire program for the Na-
tional Park Service in Acadia National
Park, Maine, consisting of our films
Along Maine Shores and Northwoods
Adventures. The crowd of over 200 from
the park and surrounding countryside
seemed to like it.

Frank E. Gunnell, FACL
Fundy National Park
New Brunswick, Canada

NO MIRACLES, HUH?

Dear Sirs: I have some ideas of pho-
tography which I would like to have you
publish in your magazine Movie Mak-
ers.

First you must have a steady camera,
not one that will jerk all over when you
are taking pictures. Second, be sure to
have a photo-guide handy and with you
wherever you go — in summer, spring,
winter or fall. And third, you must not
put in black and white film and expect
it to come out colored.

William Browne
Milwaukee, Wise.

SUPPORT ACL

Dear Sirs: I am happy to be included
as a member of the Amateur Cinema
League, anticipating that I may derive
much benefit from my membership. I
will count it a pleasure to support the
activities of our fine organization in
every way possible.

Richard Bailey, ACL
Clarksville, Tenn.

REPORT ON JAMBOREE

Dear Mr. Moore: Thanks very much
for the note about me in July Movie
Makers, just now noted on my return
from the Boy Scout Jamboree. Here are
a few brief facts in which you might
be interested.

Distance traveled: just in excess of
8000 miles. Elapsed time: 22 days
(which seem like 22 years!). Film ex-
posed: 3000 feet of 16mm. Kodachrome.
Results: 90 percent usable, 75 percent
sparkling. Editing plans: one 1600 foot,
tightly-edited feature entitled Johnny
Goes to the Jamboree ; plus one 800 foot
reel devoted exclusively to the Schenec-
tady crowd.

In conclusion, I'd like to put in a
word for the E.K. processing labs at
Los Angeles, where I was able to see
some of my finished film before leav-
ing. Mr. Krieger, the color print and
processing service manager there, was
especially helpful.

Lewis B. Sebring, ACL
Schenectady, N. Y.

24 TOOTH 8MM. SPROCKET?

Dear Readers: Does any reader know
where I could obtain 8mm. film
sprockets with 24 teeth? Or maybe
somebody knows of a certain projector
or movie gadget that uses a 24-tooth
8mm. sprocket. I will appreciate any
information available.

Herbert H. Reech
1616 East 86th Street
Cleveland 6, Ohio

EFFECTS OF TV?

Dear ACL: On page 102 of the March,

1951, issue of Movie Makers you had
an interesting and completely accurate
editorial, with statistics, on the effects
of television on amateur movie making.
I'm interested in what you think of the
same situation today.

M. P. De Regt
Denver, Colo.

As far as our figures show, the effect
of TV on the activities of amateur filmers
has slackened off to a more normal bal-
ance between the one and the other. For
example, in the year 1951 ACL members
sent in for review 50,352 feet of film. In

1952, however, this figure had soared to
166,415 feet, more than three and one
half times the previous year's total.

The most likely reason for this would
seem to be that the novelty appeal of
television has decreased, so that partici-
pation in one's other customary activities
is not so deeply cut into by slavish de-
votion to the little screen.

MOVIE MAKERS

231

M. A. Compestines, Steamboat Springs,

Colo.
Gustave Pilet, Toronto, Canada.
Emil Smolak, Santa Monica, Calif.

C. A. Trimbos, Dallas, Texas

John J. Flick, M.D., Indianapolis, Ind.

J. Russell Harp, Kankakee, III.

Albert Mirakentz, Los Angeles, Calif.

J. R. Denton, Hartford, Conn.

Mario Fereira Guimaraes, Belo Horizonte,

Brazil
James Ma, Hong Kong

John E. McGowan, do PM, New York City
James 0. Au, do FPO, San Francisco,

Calif.
Max Fain, New York City
Sidney Jacobson, Brooklyn, N. Y.
Harold P. Peake, Adelaide, So. Australia
James W. Robbins, Milwaukee, Wise.
John J. Clerkin, Wilmette, III.
Charles J. Fajen, Stover, Mo.

Ted Fortmann, Oklahoma City, Okla.
Clarence M. Garcia, Oxnard, Calif.
Earl Goodson, Tinley Park, III.
Cleveland Photographic Society, Cleveland,

Ohio
Robert A. Ellsworth, Washington, D. C.
Sears, Roebuck and Co., Chicago, III.
W. N. A. Smalley, Hong Kong
Robert W. Teorey, San Diego, Calif.
George F. Weppner, Hamburg, N. Y.
Elizabeth M. Wolowitz, New York City

Amateur-Filmclub Zurich, Zurich, Switzer-
land

Lara R. Crosthwaite, Van Nuys, Calif.

Morris Koretsky, Far Rockaway, N. Y.

1/Lt. Daniel J. Karp, do PM, San Fran-
cisco, Calif.

Charles S. Mulvay, Grand Ledge, Mich.

P. A. Paris, Cleveland, Ohio

Lee Bozeman, Berkeley, Calif.

Anthony Constantine, Long Island City,
N. Y.

Ronald Colton, New York City

Malcolm Feiner, New York City

Laura S. White, Berkeley, Calif.

Mrs. Ruth Borland, Albany, N. Y.

Norman Jaffe, Los Angeles, Calif.

Richard J. Weller, San Bernardino, Calif.

E. K. Dell, Ridgeway, Canada
Benjamin Goldstein, Waukegan, III.
M. S. Shaikh, Ankara, Turkey
Gerald J. Yourman, Brooklyn, N. Y.
Bennington Movie Makers, Bennington, Vt.
Charles J. Allen, Inglewood, Calif.
Evelyn D. Fox, Fort Wayne, Ind.
Joseph Granatelli, Chicago, III.
Mrs. H. W. Granzeau, Burlington, Wise.
Kenneth I. Hanson, Austin, Minn.
Richard Kucera, Cicero, III.
Harold K. Miyamoto, do FPO, San Fran-
cisco, Calif.
Mrs. Elizabeth B. Smith, Malibu, Calif.
Capt. John W. Vega, Roswell, N. M.
Edward W. Young, Cleveland, Ohio

Dr. W. I. Southerland, Sherman, Texas
Ken White, Westwood, N. J.
George F. Baker, Philadelphia, Pa.

D. W. English, M.D., Lima, Ohio
Don K. Gnuse, Lewistown, Mo.
Francis J. Napersky, Washington, D. C.
Victor E. Patterson, Hyattsville, Md.
Warren K. Schoonmaker, New York City
Dr. Philip Strax, Great Neck, N. Y.
Nathan Edelstein, Brooklyn, N. Y.

Lt. Col. Maurice R. Connolly, MC, Camp
Breckinridge, Ky.

A. Fred Eberhard, jr., San Francisco, Calif.
Herbert Levitan, Rego Park, N. Y.
Erich Rorich, Rome, Italy
George Tonn, Chicago, III.
Francis M. Wick, Salem, Ohio
Ferd Nobrega, Kansas City, Mo.
Roman G. Contos, Topeka, Kans.
John R. Saril, River Edge, N. J.
Eddie Bonekamp, Wilmette, III.
W. A. Wagen lander, Shikar Heights, Ohio
Abraham M. Brown, do PM, San Fran-
cisco, Calif.
Clarence A. Foret jr., New Orleans, La.
Jose Maria Rosello, Lima, Peru
Rev. Charles Found, Bristol, Wise.

Mrs. Thomas B. McTighe, Brooklyn, N. Y.

Eric W. Noad, Brisbane, Australia

W. L. Stone, Hong Kong

Edward M. Swartz, Brookline, Mass.

Harry C. Teller, Portland, Ore.

Arne Ingebrethsen, Port of Spain, Trini-
dad, B.W.I.

Cpl. Gene R. Kearney, do PM, New York
City

Frank J. Kolb jr., Paducah, Ky.

Eddie Y. C. Lee, do FPO, San Francisco,
Calif.

Herbert C. Mitchell, do FPO, San Fran-
cisco, Calif.

William Pauole, do FPO, San Francisco,
Calif.

Hiroshi Yasuhara, do FPO, San Fran-
cisco, Calif.

Dorothy Drummond, San Francisco, Calif.

Rev. S. Priestley, Kowloon, Hong Kong

Lyle E. Howitt, White Plains, N. Y.

Hubert Wollner, Browns Mills, N. J.

Yantacaw Camera Club, Passaic, N. J.

U Tin Aye, Washington, D. C.

John Balazs, Detroit, Mich.

H. E. Friedrichs, San Diego, Calif.

H. L. Myers, Alliance, Ohio

Nandor Zimmersmann, Detroit, Mich.

R. DeCerchio, Collingswood, N. J.

Dr. Acaciao Ribeiro Vallim, Santos, Brazil

Thomas A. Weer, do PM, Seattle, Wash.

Joseph L. McGahn, M.D., Atlantic City,

N. J.
L. E. Townsend, Wichita, Kans.

Youngs Pharmacy, Ltd., Edetahuna, New

Zealand
Richard L. Geist, Rockaway Beach, N. Y .
Spencer Nelson, Hayden Lake, Idaho
Harold L. Peer, Oakland, Calif.
S. Carriere, M.D., Winnsboro, La.
John Rittinger, Swift Current, Canada
Hans Schroeder, Port Chester, N. Y.
Dr. Arthur K. Cieslak, Cleveland, Ohio
Nancy Lee Mather, Fairbanks, Alaska
Theresa Risden, Palm Beach, Fla.
Mrs. Juliet Christianson, Sweet Home, Ore.
Carl E. Houston, Seattle, Wash.
Bernerd Joseph, New York City
G. Maurice Wells, Orpington, England
M. W. Kraemer, Hays, Kans.

United Nations Movie Club, Neiv York

City
Dr. Gerard T. Johnson, McKinney, Texas
Leonard A. Manke, Cleveland, Ohio
William H. Rideout, West Hartford, Conn.
Greater Muskegon Amateur Movie Club,

Muskegon, Mich.
L. Everett Lydamore. Muskegon, Mich.
Henry J. Reichert, Muskegon, Mich.
Harry C. Morgan, Muskegon, Mich.
Walter L. Hartman, Muskegon, Mich.
Walter Gilbert, Muskegon, Mich.
Walter P. Rudick, Muskegon, Mich.
Frank Barone, Havana, Cuba

Rev. David Wakefield, Oklahoma City,

Okla.
Amateurfilmklub Solothurn, Solothurn,

Switzerland
P. H. Coyle, Alberta, Canada
Raoul Renaud, Montreal, Canada
Kendall W. Anderson, Conyngham, Pa.
Kenneth L. Wilcox, Waukesha, Wise.

Results are.,.
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with

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for

MOVIES and TELEVISION

APOGOR ANASTIGMAT

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focal length: 35mm 50mm 75mm

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focal length: 15mm and longer

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For details write Dept. MM-32.

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■i NEW YORK 16, N. Y.

232

"HEY, FELLAS, LOOK AT THAT!" In your editing, Mary and her not-so-litt!e lamb could be cross-
cut as action and reaction with the four comely critters above. Actually, the pert pattern of goats
was created by their owner holding a handful of feed out of range.

FILMING THE FAIR

REGARDLESS of whether it is a state, county or just
a local celebration, there's a wealth of movie material
awaiting you when fair-time rolls around.

This is especially true around the barns and judging rings,
where eager future farmers and their pet livestock offer
endless opportunities for appealing footage. These may
range from a sow with a squealing litter of potential pork
chops to "Mary" grooming her prize lamb for the after-
noon competition. Outside of the barns, too, there are
dozens of movie setups which should not be overlooked —
a small boy struggling with a thousand-pound steer, a nanny
goat nipping on the trousers of a judge in the arena, and a
4-H Clubber giving her pet its morning beauty treatment.

In most instances, fair animals are not camera-shy and
can be photographed with ease. Farm-bred, they are accus-
tomed to having people around, and it does not excite them
to see unfamiliar gear (such as a buzzing camera) being
operated nearby. However, to obtain best results, seek the
assistance of the owner or attendant.

Shoot preferably in the early morning and during the
first days of the fair, before the ribbons have been awarded.
For then all of the contestants are still full of hope and
competitive spirit. At this stage, they will be eager and
even nattered to have their animals photographed. During
the early hours, you also will avoid the visitors who may
crowd the working space and accidentally knock over
your setup. After a few such incidents, you will discover
that portable photoflood units, attached with the camera
to a lighting bar, will facilitate such filming immensely.

Taking movie portraits of barnyard pets is a lot like
snapping pictures of babies, and a whole reel might be
prepared on this topic alone. Patience must be employed
in photographing either of them, and, like babies, the ani-
mals must be penned up or otherwise confined while you
are composing your movie set in the viewfinder. When you
are ready to roll, concentrate on getting the animal to act
according to plan. Either you or the owner — preferably the
owner — should work on this. When everyone tries to be di-

ARTHUR L. CENTER, Oufdoor Photographers League

rector, animals become indifferent and often confused —
and quite rightly so.

If the sound of a familiar voice or whistle does not attract
the animal's attention, try using a simple property. Some
little knickknack, such as a rattled key ring or even the
glitter of a floodlight, may help to make the subject perk
up its head, thus providing motion to an otherwise static
scene. Never frighten the animal subject. It is possible to
bribe a hungry animal into almost any desired position by
having someone familiar with the pet hold a handful of
grain or hay at arm's length out of camera range.

Work in human interest scenes by borrowing a passing
tot as a model. Of course, the best animal shots, like
closeups of children, are of the young. Combine them into
cute sequences, such as a two-year-old petting a calf or
perhaps hugging a kid, by slipping on a telephoto lens for
the candid closeup. Even when you feel you have com-
pleted your planned movie coverage, including the mid-
way attractions, don't pack away your gear. The best movies
are often the result of luck and a ready camera. Walk
around the pens on the watch for the unexpected — perhaps
two draft horses "kissing," the prize bull emitting a bellow,
or a goat eating her own blue ribbons.

If you photograph inside the barns, particularly in color,
be sure you have ample flood lighting. Have no fear of
alarming your subject with light alone. My observation is
that they actually enjoy the feeling of photoflood warmth
on their bodies. Floodlights will eliminate the extreme
contrast often encountered in shooting animals with dark
hides, and they will enable you to close down for greater
depth of field and sharpness of detail. Side or back lighting
will help to bring out the texture of the animal's coat. When
computing exposure, remember to allow for the color of
the subject as well as the background. Black-coated animals
absorb light and are comparable to shadows, while white-
skinned subjects reflect light and should be thought of as
highlights.

At many county fairs there also are opportunities for

233

Photographs by Arthur L. Center

POSED AND UNPOSED tells the story of the set shot at left and
the grab shot above, a picture made possible by a ready camera.

movies outside of the livestock arena, such as exciting se-
quences of the sulky and quarter-horse races, the rodeo,
the thrill rides and the horse show. Anyone who has watched
a sulky race or a rodeo knows that both events are full
of chills and spills, where anything is likely to happen. Here,
indeed, is a choice location for movie action.

All of your movie scenes will not necessarily be master-
pieces. In fact, many of them may turn out to be straight
bread-and-butter stuff; but free-lance cameramen will find
that even their more commonplace sequences may be
salable to fair officials, local organizations, or even TV sta-
tions for news release. In many cases, the parents of
future farmers, movie makers themselves, are willing to
purchase selected footage of the kids and their blue ribbon
winners. Most movie makers will shoot for their own li-
brary, dubbing in sound, voice and music, perhaps even
tape-recorded on location for realism. Those who do
not yet own such facilities can purchase sound effect discs
for playback on their own turntables during projection.

So bring your movie camera to the fair! You will find
new filming fun, offering a pleasant and, often, a rewarding
diversion from the usual run of movie work.

HIGH DRAMA, LOW COMEDY mingle in the dog ring, as the haughty
little hoyden at left upstages her more sedate sister in this act.

From pigs to pets, the country fair is a

rich mine of movie making ore. Dig it, man!

THE BOY LOOKS BRIGHT even if the bull doesn't, in
this posed portrait of a blue-ribbon award winner.
Sulky racing, left, is a top outdoor cine subject.

234

LEADERS and TRAILERS

Part 2 of a survey, in which the Eastman Kodak Company reports

definitively on its film packaging and processing procedures

LAST month, under this same head-
ing, Movie Makers presented on
behalf of Ansco a definitive report on
(1) the actual amount of 8 or 16mm.
film footage packaged by that company
in its daylight-loading rolls and in its
magazines; (2) the exact lengths of
this footage which are removed by Ans-
co's laboratories in several operations
incident to the film's processing, and
(3) the amounts of finished picture
footage which are returned to the cus-
tomer. In this last category, it was
shown that in every case (roll or maga-
zine) the Ansco film user received back
from that company film footage equal
to or in excess of the total promised on
the carton.

This month we have the pleasure of
surveying the practices of the Eastman
Kodak Company on film lengths pack-
aged and what happens to them at
Kodak processing stations. For this in-
formation we are indebted to G. W.
Mentch, Manager of the company's
Sales Service Division, and to Fred
Welsh, Manager of the Cine-Kodak
Sales Division. Mr. Mentch, speaking
for them both, now has the floor.

It may sound like one of those "It
Pays to be Ignorant" questions. But a
lot of movie makers have been asking
"How long is a 100-foot roll of 16mm.
Cine-Kodak film?" (Or some other
size.) Some of the answers they get
would surprise you.

Of course the question really is not
as silly as it sounds, when you con-
sider that each roll of film has a certain

amount of leader and trailer in addition
to the length of film intended for shoot-
ing movies. Often, a movie maker
thinks that he can squeeze out a few
extra feet of movies from the unfogged
portions of the leader and trailer by
loading and unloading his camera in
the dark. When he fails to get these
extra scenes back from the processing
lab, he wonders why.

It certainly doesn't pay to be igno-
rant, if you shoot important movie
scenes on footage that isn't usable. So
let's see how long Cine-Kodak roll films
really are — before and after processing.

The accompanying table lists the
most popular sizes of Cine-Kodak roll
film, and shows just how much foot-
age there is to begin with and how
much is used in the various processing
steps. To follow the processing steps
in sequence, read the table from top
to bottom for the 8mm. films, and from
bottom to top for the 16mm. films. The
reason for this is that double-frame
8mm. film is run through the camera
twice, so that the leader ends up on the
outside of the exposed roll. Since
16mm. film goes through the camera
only once, the trailer is on the outside
of the roll when the processing station
receives it.

Here, then, is what happens after
the processing station receives your roll
of film. (The following applies only to
16mm. film. You can see where the pro-
cedures for 8mm. film differ by refer-
ring to the table.)

First, the film goes to a "numbering

SPOOLING

AND PROCESSING MEASUREMENTS OF CINE-KODAK ROLL FILMS

NOMINAL SIZE

16mm.
100 ft.

16mm.
50 ft.

8mm.
25 ft.

8mm. - 100 ft.
for Bolex Cam.

ACTUAL LENGTH-S-

108 ft., 11 in.

58 ft., 1 in.

33 ft.

108 ft., ll£ in.

CUT OFF BEFORE
PROCESSING

65i in.

55i in.

36^ in.

42j in.

SPLICE

4 in.

4 in.

4 in.

4 in.

BSULSION NO.

o AND SPACE
6

l£ in.

lj in.

lj in.

5j in. **

§ PICTURE AREA

o

o

100 ft., 3 in.

50 ft., 3 in.

25 ft., 3 in.
(50 ft., 6 in.
after slitting)

100 ft., 4 in.
(200 ft., 8 in.
after slitting)

% PROCESSING
« HO. AND SPACE

3 in.

3 in.

3 in.

3 in.

PROCESSING
NO. AMD SPACE

4 in.

4 in.

0

0

SPLICE

4 in.

4 in.

4 in.

4 in.

CUT OFF BEFOhE
PROCESSING

22 in.

22 in.

44 in.

44 in.

* Rolls may var

Y slightly from these figures because of manufacturing tolerances.

** Also include

s processing number.

room" where most of the trailer is cut
off. A processing number is perforated
twice in the remaining trailer, and 4
inches of trailer are left for splicing the
film to the preceding film in the proc-
essing machine.

After it has been spliced to the pre-
ceding film, the film is wound off its
reel and most of the leader is cut off.
The film emulsion number (which is
perforated in the film leader during
manufacture) and a space for splicing
to the next roll are left on that part of
the leader which is attached to the
main section of film.

Following processing, the film goes
to the shipping room, where the rolls of
film are separated. Before the film is
wound onto the return reel, one of the
two perforated processing numbers is
cut from the trailer and later attached
to the outside of the reel for checking
against the perforated number on the
shipping carton.

We've given this brief summary so
you can see how some of the extra
length of Cine-Kodak film is used dur-
ing processing. Most of the extra foot-
age, however, is intended merely as a
wrapper to protect the picture-taking
area from becoming light-struck during
loading and unloading.

Naturally, in doing so, the leader
and trailer are at least partially ex-
posed. There is, of course, a margin of
safety — a short length of leader or
trailer which may or may not be ex-
posed under average conditions.

Our spooling and processing proce-
dures are necessarily based on average
use of the film. The average user takes
advantage of the convenience of day-
light loading and unloading which the
generous leader and trailer make pos-
sible. Therefore, our uniform method
of handling the film calls for cutting off
before processing all of the leader and
trailer except the short lengths required
for splicing and identification. In any
event, the leader would be useless for
picture taking because of the perfo-
rated emulsion number which is located
just ahead of the main portion of the
film.

If you will draw a circle around those
figures in the table representing "pic-
ture-taking area," that's the answer to
your question "How long is a 100-foot
roll of 16mm. Cine-Kodak film," or any
of the other sizes shown. You can see
that any usable film in excess of the
figure that appears on the carton is
only a matter of a few inches, not feet.

Thank you, Mr. Mentch. And our

thanks to the Eastman Kodak Company

[Continued on page 243]

235

\\

CINEMASCOPE" ON SIXTEEN!

Using a single anamorphic lens and twin magnetic sound tracks,

Bell QC Howell brings wide-screen movies and binaural sound within reach of the amateur

JAMES W. MOORE, ACL

THE Bell & Howell Company, which pioneered the de-
velopment of magnetic sound on film for the amateur
movie maker, now has another "first" to its credit
— wide-screen movies with "stereophonic" sound on
16mm. film.

Specifically, B&H's new production, projection and
sound system is modeled on CinemaScope, the 20th Cen-
tury-Fox cycloramic movie method analyzed in July
Movie Makers. However, where C-S employs one ana-
morphic lens on the camera and another on the projector,
the Bell & Howell system provides for the interchangeable
use (with an adapter) of a single anamorphic objective
on both instruments.

The functions of these accessory lenses in either case
are identical. On the camera they compress the film image
along the horizontal plane so that there is recorded within
the confines of a standard film frame a field markedly
wider than normal. This effect should not be confused
with that of the familiar wide angle lens, since that ob-
jective expands its field coverage in both directions —
vertical as well as horizontal. Furthermore, a wide-angle
lens image is not distorted in its recording on the film;
whereas marked vertical distortion of the image is a
characteristic of anamorphosis.

On the projector, however, a complementary anamor-
phic lens picks up this distorted image and expands it
once again to its normal proportions. The result on the
screen is a picture far wider than it is high. With Cinema-
Scope, this new aspect ratio (the proportion of screen
width to height) is 2.66 to 1. With the new Filmo system
this has been modified slightly to create an aspect ratio
of 2.5 to 1. For comparison, the movie maker should keep
in mind that the aspect ratio of the long-familiar 4 by 3

screen image is expressed as 1.33 to 1. Some difference!

In demonstrations of its 16mm. CinemaScope system
already given in Chicago, Bell & Howell actually used a
Radiant screen of new design, which was 8 feet high, 20
feet wide and formed with the slight concave curve char-
acteristic of the C-S projection method. The image, it is
said, was of normal and uniform brilliance from all view-
ing angles.

The sound which accompanies this greatly expanded
screen image is recorded and reproduced magnetically on a
modified version of B&H's Filmosound 202 magnetic pro-
jector. Obviously included among these modifications
needed have been the installation of two lines of record-
playback heads, two separated microphones, two sepa-
rated amplifying systems and two separated speaker out-
puts— to serve the two speakers placed one on each side
of the elongated screen. (These same modifications, inci-
dentally, will soon be available to present owners of the
202 projector.)

Of this new audio system Bell & Howell states: "Two
different sound tracks are recorded side by side on a
single (magnetic) stripe." And, although no specifica-
tions are given, our estimate is that this means the single
magnetic stripe is 100 mils wide, on the open edge of
single-perforated sound film, and that on it there are
recorded the two differing sound tracks each 50 mils in
width.

Again quoting B&H's press story, the sound resulting
from this type of recording and playback (over two
separated speakers) is referred to as "three-dimensional"
or "stereophonic" in quality. Probably a more accurate
designation would be "binaural," since there are only two
mikes picking up the original [Continued on page 244]

, MICROPHONE

,MASTER GAIN CONTROL

POWER AMPLIFIERS
^MICROPHONE

BLOCK DIAGRAM- PROPOSED
STEREOPHONIC SOUND SYSTEM.

LOUOSPEAKERS

HEART of Bell & Howell's 16mm. CinemaScope system is this single anamorphic lens, first
adapted to the Filmo 70-D camera, then remounted on the Filmosound 202 magnetic projector.

DIAGRAM of WOE
SCREEN PROJECTION
ELEMENTS

236

STAGING THE BIG SHOW

Advance planning and infinite attention to detail stand high among the secrets of

success in any club's Gala. Here New York's MMPC reports on their recent Twentieth

LEO J. HEFFERNAN, FACL, Metropolitan Motion Picture Club, ACL

"£UPERBLY well done!" "A delight to the eye and
^j ear!" "Never thought an amateur show could be

like that!"
These and other superlatives poured in over the tele-
phone, arrived by mail and were heard in conversations
with members of the audience who attended the twentieth
annual Gala Night of the Metropolitan Motion Picture
Club in New York City last spring. In all, some 2000
persons attended the show, bringing with them their own
magic of electric audience interest. For in the last analysis
it is the audience response which determines the suc-
cess of any entertainment.

Nevertheless, the event was such a striking success
that we have since asked ourselves: "What made this
Gala Night such socko box office?" Was there a formula,
secret or otherwise, upon which we had stumbled, which
might help us and other clubs with future shows? Well,
there are generally reasons for everything; and high
among the reasons why this year's Gala outshone its
predecessors are the following:

PLANNING FOR THE YEAR
First, farsightedness — a farsightedness which makes
the club's officers and the committee members start each
new season by planning toward the climax of Gala Night.
This leads to decisions on membership campaigns, regu-
lar programming and special programming to make club
members, the press and the public Gala-Show conscious,
all of which will lead directly or indirectly to future
ticket sales. We have found at MMPC that it is possible
to plan all of our club efforts during a season so that
they build eventually into the success of Gala Night.

NEW BLOOD, NEW BROOMS
Second, the majority of MMPC's activities during the
past season were carried on under new leadership. It is
vitalizing in any club to have a fairly constant turnover

PART OF THE CROWD which packed a 2000-seat auditorium at
twentieth annual Gala Night of Metropolitan Motion Picture Club,
ACL.

in the top brass. With MMPC it seems certain that
rejuvenation of the club's spirit this year was the
greatest single factor in the success of our Gala Night.

This "new broom" program began right from the top
down, with the election to the club's presidency of Ralph
R. Eno. A staunch member of MMPC for more than
20 years, Mr. Eno had served often on the club's board
of directors but he never in that time had been called
to high office. His election, wholly unforeseen by him,
seemed to stir Ralph to outstanding efforts throughout
the club year.

There were, for example, his appointments of chair-
men for the club's eleven standing committees. Picked
personally by the president, they were for the most
part men new at their jobs and each was eager to achieve
success in it. Their attitude, therefore, was "Now I'll
show everybody what / can do!" rather than "Here I
go again, in the same old job for another irksome year."

SELLING THE TICKETS
Among these eleven committee chairmen, that of the
Gala Show committee is perhaps the most important to
our present discussion. His job at MMPC begins in mid-
December (for our April screening) , at which time tickets
for the big show are already printed and ready for sale.
The ticket sale opens officially with a pep talk by the
Gala Show chairman at our regular December meeting —
an occasion at which we often sell as many as 200 tickets
on the spot. Five tickets are then mailed to each of the
200-some members of the club, who are told that these
tickets are their responsibility to sell — or buy for their
own use. Also showcards are printed and placed in the
leading camera stores, together with supplies of tickets
which may be purchased on the spot. And possibly our
best help comes from the Amateur Cinema League, which
permits us to address a strong appeal by mail directly to
all ACL members residing in the New York metropolitan
area. Annually, this outlet alone disposes of several hun-
dred tickets.

SELLING THE SHOW

While all of this is going on, the public relations de-
partment plants as many stories and notices in the city's
newspapers as possible — always with the name and ad-
dress of the person to whom the readers may apply for
tickets. All of these selling operations cost the club
only its expenses for stationery, postage and the like
(say, at most, $60 to $70) and the potential revenue
from a block of complimentary tickets (say 40) which
we distribute to the press and to VIPs in the amateur
movie world.

With the ticket sales launched, the Gala Show chair-
man then calls (also in December) the first of two meet-
ings of the program committee. This is comprised for
Gala Show purposes of the club's eleven directors and
three or four of our key technical workers. Naturally,
the work of our own members is given priority in making

237

Photographs by William Baughman

PROJECTOR SPEEDS, made adjustable through the use of a Variac
in the motor power line, were scanned by a strobo-tach beamed
on sprocket-tooth pattern. Arc assembly used separate current.

up this program. But there is no compromise on quality;
and so the first meeting is devoted to a screening of films
submitted by our members for possible inclusion in the
Gala Night show. Unsuitable films are rejected, and notes
on those which might be considered are recorded for use
at the second and final meeting.

PICKING THE PROGRAM

That meeting is held as soon as possible after ACL's
Ten Best contest winners are announced in December
Movie Makers. The year's Maxim Award winner is, of
course, the piece de resistance. And, through the coopera-
tion of the ACL and the makers of the films, we have
been fortunate in booking most of these for their metro-
politan New York premieres at our Gala Night. Then,
if one of our members is a Ten Best winner, his film
will almost certainly be included on the program. An-
other film automatically considered is the first prize
winner in the club's annual contest; we try always to
include that picture on the Gala program. Aside from
these considerations, the program is a composite of what
we honestly believe to be the most entertaining and im-
portant films made by amateurs throughout the country —
an up-to-the-minute cross section of amateur moviedom.

There is, of course, at these meetings much arranging,
re-arranging and jockeying for position before the half
dozen or so films and their order on the program are
agreed upon. Since the makers of some of the movies are
on hand to present their sound accompaniment, it can be
seen that tact is required to keep tempers below the
boiling point. Hotly contested decisions are decided by
a show of hands and in some cases by secret ballot; but,
for the greater part, the judging goes along smoothly,
with the answers to most arguments so obvious as to win
unanimous decisions.

Finally, with all of the pictures agreed upon, there
still remain the delicate and important decisions as to
program order. Usually we try to open the show with a
picture of general interest, such as a travelog. The last
picture to be shown, of course, is an easy choice; for it is
unfailingly the Maxim Award [Continued on page 249]

ON TAPE OR ON DISC, the original sound accompaniment of every
picture on the program was duplicated for safety's sake in the
opposite audio medium. Projector below has 4500 watt arc power.

238

Notes from magnetic notebooks: 3

From field to film was the direct route plotted by this indomitable amateur when she took

her tape recorder to Norway. She found, however, that
DICKY ROTH, ACL there's many a detour between the mike and the stripe

IF you gave a loud, good-natured snort — as / did —
when you read that ACL enthusiast's report (see Pano-
rama, Spring issue) on how easy he found sound re-
cording with his 202, then maybe this article is for you.
For the man I mean remarked casually that he had five
fellows to help him, a doctor of music to write a special
score, a special orchestra to record the special score
and — well, heck, no wonder he found it easy !

/ didn't. At least not the first time around, nor the
second, nor the sixth. But I have just finished recording
("just," in this case, means last April — Ed.) almost pro-
fessional-quality sound on my 202 — and I'm not six men.
I'm not even one man. I'm a lone and slightly ancient
(but very determined) WOMAN!

Here was nr" task. I had come back from Norway.
I had witnessed there the Norwegians' celebration of their
King's eightieth birthday, a soul-stirring spectacle which
I shall never forget. The bells rang out, as only Oslo bells
can ring! The people cheered, as only Norse people can
cheer! And King Haakon rode along as only that gallant
king can ride.

I shall not soon forget that day. Nor did I intend to,
for I had brought with me a Filmo 70-DL camera to
record the scene and a Pentron tape recorder to record
the sound. Since (for one woman) traveling light is
important, I had not brought the 202. But I could see
it sitting there silently back home, and I promised it
(there in the teeming Oslo streets) that the sounds I
would bring back to it would be authentic. Hence the
Pentron. And, hence again, my problem.

Photographs by Gallaher Studio

It began like this. I would film the King riding along
outdoors, and then I would dash indoors to plug in
Pentron. By that time the cheers and the King were miles
away and only the bells remained sounding. So I re-
corded those, jumped into my car with 70-DL and Pen-
tron and raced ahead of the King's car. Again I hurried
indoors and warmed up Pentron just in time to record
the deafening cheers as the King passed my standpoint.
I recorded, also, the fade-out as he passed from view.
But I had missed getting the approach, when you heard
first the bells alone, then faint cheers in the distance, then
a crescendo of sound, drowning out the bells entirely, as
the King came alongside.

Well, I went on like that — recording an approach, then
filming an approach, and so on. But — the approach I had
filmed was up a long boulevard; whereas the approach
I'd recorded was along a short street! And the bells were
recorded at periods differing altogether. Nothing fitted
anything, each being taken at separate and unrelated
times. Notwithstanding, I was determined to use only
original Oslo sound, and to portray that unforgettable
day exactly as I'd witnessed it. Do you begin to see my
problem?

So now I was back home. The first thing I did was
get a cheap (4%0 a foot) black and white workprint
made of my color film. I edited that. Next, I rented an-
other Pentron and a Pentron mixer. (I had the notion
that equipment all of one make might operate more
harmoniously together.) I played my short tapes of bells
over and over again on Pentron [Continued on page 244]

READY TO RECORD, Dicky Roth, ACL, stands surrounded by equipment in her attic
studio. Placement of mike is for picture only, for here it would feed back 202 hum.

INGENIOUS is the adjective for the author's
improvised sound recording booth. Poised at
a glass transom, she looks at picture being
screened in next room and records over mike.

239

A PROJECTOR SPEED CONTROL

DENIS M. NEALE

With this simple electrical system, your tape sound and picture

will keep in step. And you can enjoy both

EVER since amateurs began using
tape to provide sound for movies,
they have been confronted with the
problem of controlling the projector
speed to keep the picture in step with
the sound. First came the proposal to
use a neon lamp and stroboscopic disc
on the projector. This enables you to tie
your projection rate to the frequency
of the A.C. power line. Since your tape
recorder speed also is determined large-
ly by these frequencies, this is quite a
good way of working, since changes of
frequency will affect picture and sound
equally.

Unfortunately, other things besides
current cycle influence the capstan
speed in a tape recorder. As the motor
is of the induction type, the speed is
affected also by voltage changes. Al-
though these speed variations are small,
they can add up to produce serious er-
rors. Then, on some recorders the cap-
stan is driven by a spring belt which
introduces a small but unpredictable
degree of slip. So where accuracy is
important, a better system is to put a
stroboscope on the capstan spindle and
illuminate it from the projector beam.
The projector shutter then produces the
necessary pulsation of the light, the
speed of pulsation being adjusted until
the stroboscope segments appear sta-
tionary (see Movie Makers, January
1952).

Even this system is not perfect be-
cause stretch and shrinkage of the tape
affect the speed at which the sound is
reproduced. So exact synchrony can be

maintained only by putting strobe
marks on the tape itself, as in the Re-
vere Synchro-Tape (see Movie Makers,
August 1952).

Each of these methods works well
enough, but I am too lazy for them to
appeal to me. When I am showing a
film, I like to put my hands in my pock-
ets, not on the projector speed control.
And I like to watch the screen, not a
set of dithering stripes.

On the other hand, those pockets of
mine do not carry the cash for a mag-
netic sound projector. So I looked
around for a simple, inexpensive device
to watch the stroboscope for me. It had
to control the projector speed auto-
matically and it had to be neat. To keep
things simple, I ruled out phototubes;
to cut down costs, I designed for a min-
imum of components.

You can see from Fig. 1 that the
circuit uses very few parts. The elec-
trical components cost very little; in
England (from where I write) they can
be bought for the equivalent of about
$2. You may foresee difficulty in fitting
a rotary switch to your projector, but
you can get any lathe work done at a
machine shop. The device requires no
modifications or attachments to your
tape recorder because, like the first
stroboscopic system outlined above, it
relies on the recorder running at a fairly
constant speed.

Unlike most synchronizing devices,
this one need involve no modification
of the projector itself apart from a
break in the motor circuit at one point.

It is immaterial where you make this
break so long as the current for the
projector lamp does not also pass
through the synchronizer. Your safesl
plan therefore is to break the lead run-
ning from the speed control resistance.
R, to the motor, as shown in Fig. 1. This
lead carries current for the motor only.

In series with the motor, then, you
connect a selenium rectifier, S, and it
does not matter which way around you
connect it. The rectifier allows current
from the power outlet to pass only half
the time and so cuts down the motor
speed considerably. If S is short-cir-
cuited, however — by putting the switches
to "Manual" and "Fast," for example —
the speed rises to the usual value de-
termined by the setting of R. If R is
set to give 19 frames per second under
these conditions, then switching back
to "Slow" will reduce the speed well
below normal, say to 11 or 12 fps.

Now suppose that a rotary switch is
coupled to your projector so that it will
open and close 60 times a second when
the projector is running at exactly 15
frames per second. Then at this speed
it will operate once for every cycle of
the current supply. Whether or not it
has much effect depends on the part of
the current cycle at which it closes.
At one extreme, the switch may close
each time the rectifier passes current
and open again when it blocks it. In
this case the rotary switch makes little
difference and the projector speed falls
towards 12 frames per second.

[Continued on page 243]

ROTARY
SWITCH

FIG. 1 (left): Heart of the speed control unit is a rotating interrupter switch
coupled to the film motion. Other components cost about two dollars.

FIG. 2: Carbon brushes are removed to reveal the rotary switch fitted to the
flywheel of author's projector. Four-sector unit will fit 60 cycle currents.

-v^

240

A REEL REPORT CARD

Begin a school film this fall. For here's one course your kids will pass with solid A's

DOROTHY M. PEPER

ONE lovely fall morning last September. I watched
a grandmother who was visiting in the next block.
It was the first day of school, and a real red-letter
day in her young grandson's life!

With her light meter aimed toward the young man
on the front porch, she remarked about some exciting
thing he would be doing at school; then, as his face
responded with eager anticipation, she pressed down
the button as he swaggered down the steps to the front
sidewalk. There he turned and beckoned to his mother
to hurry up. Grandma caught the two of them driving
off in the car for a sequence ending.

They didn't drive very far, of course, before waiting
for Grandma and her camera to catch up. Then, at the
gate to the schoolyard, where the young hero stood clutch-
ing his mother's hand as he gazed at the big building
and the hundreds of strange kids, the grandmother re-
corded the fleeting emotions in a kindergartner's face,
as he struggles between familiar things of the past and
strange things of the future.

Then she filmed a few short (but related) scenes
about the schoolyard — the greeting of regular acquaint-
ances, the meeting with a few new faces, the "good morn-
ing" to his new teacher (whom, we hope, he had already
met) and finally his disappearance into the big building
with all his young classmates. A perfect climax for this
section of film was provided when the boy stopped just
at the door and turned to wave and smile, visibly closing
the door on a very young past!

That was the beginning of a long and interesting story.
They'll be adding to it, part of a reel at a time as the
occasion arises, for the next nine months. Spliced to-
gether and titled with suitable captions, it will tell the

Lambert from Frederic Lewis

CORNER-TO-CORNER composition, a pleasing down angle and effective side lighting
enhance this medium shot of an octet of kindergartners poring over their pictures.

story of an important period in one young man's life.
And there'll be other years — and perhaps other children.
Perhaps yours is a girl. Then take your camera along
the day of the first program for parents. (How I treasure
the shot of my sixth grade daughter in the play where
she was a princess who "proved her royalty" when she
fainted at the sight of a mouse!) The first excitement
will hardly die down before it's time for the Halloween
party — with colorful costumes and games and refresh-
ments, every part of which you'll find worth a few film
feet. It was a Halloween party, with a costume parade,
that provided my very first amateur movie set! The
picture was overexposed, and I panned too much and
too fast; but it never fails to delight my children, as
they watch the antics and recall the classmates of their
early youth!

All school children make a lot of the Thanksgiving
holiday, from Plymouth Rock to the family feast. What
a wealth of expression on five-year-old faces as they
concentrate on coloring the "bestest" turkey (or pumpkin
or church) in kindergarten class! And what a wealth of
talent (?) as young dramatists struggle to portray their
Pilgrim and Indian parts!

Then there's Christmas — with the making of presents,
the presentation of plays and programs, and all the
parties so dear to a very young child's heart. Concen-
trate on catching some of "The Spirit" — the joy of giving
and sharing. While your child may look adorable in
his sleepers and robe, chatting with Santa by the stage
Christmas tree, your really appealing shot will be the
expression in his eyes at the school's party for parents,
as he hands you the clumsily wrapped present on which
he has labored so patiently for two long weeks!

In February there's sure to be a Valen-
tine party, with lots and lots of Valentines
and refreshments of heart-shaped cookies
or cakes. Film your young hopeful's stuf-
fing of the Valentine Box. If a son, you'll
surely get a shy grin, or maybe one bold
and brash; if a daughter, a demure smile
and perhaps a nice polychrome blush!
Shoot the party games and refreshments
(focusing on your own young Valentine, of
course). And end with a closeup of the
Valentine made especially for you "all
by myself."

Spring will bring all sorts of interesting
affairs in school life: Easter, with arts and
crafts and the dyeing of multicolored eggs;
May Day, with the making of May Baskets,
the winding of a May Pole in lovely pastel
colors, or perhaps a whole May Fete! And
there'll be the spring epidemics of mar-
bles and yo-yos and jump ropes and jacks.
And all kinds of races — dashes and hurdles
and high jumps, and even the comic
kinds like three-legged, slow bike and gunny
sack. [Continued on page 244]

MOVIE MAKERS

241

News of the Industry

Up to the minute reports on new

products and services in the movie field

RCA Stereo Full-frame 16mm. ster-
oscopic projection, us-
ing right and left-eye films on right and
left-eye projectors, is now available to
non-theatrical film users in, say, the
documentary, scientific and industrial
movie fields.

The equipment consists of two RCA
16mm. portable arc projectors, paired
with selsyn interlocked motors for per-
fect synchrony of the two projected
images and equipped with complemen-
tary polarizing screens to create in the
one screen image the third-dimensional
effect. Polarizing glasses will be used
by the audience, and the pictures must
be projected on a special metallized
screen surface — just as with theatrical
3-D. On the audio side, these new RCA
units will reproduce either optical or
magnetic recordings, and may be easily
adapted, it is said, for a binaural play-
back of suitable sound tracks.

This twin-film, twin-projector stereo
projection system should not be con-
fused with the 16mm. single-film, single-
projector methods embodied in the
Nord, Bolex and Elgeet stereo units.

The RCA equipment will be handled
by the Engineering Products Depart-
ment, RCA Victor Division, Camden,
N.J.

EK projector The Kodak Analyst,
the first 16mm. pro-
jector to be designed specifically for
the analysis of motion pictures in smooth-
changing forward and reverse move-
ment, has been announced by the East-
man Kodak Company. The machine is
expected to be of special value to ath-
letic coaches, scientists and visual edu-
cation workers.

Almost instant changeovers from for-
ward to reverse projection (and vice
versa) are made possible by the installa-
tion of a constant-speed motor which
drives the lamphouse fan only. With
the operating motor thus relieved of the
flywheel effect of the blower fan, it is
able to reverse its direction at the flick
of a switch. Furthermore, a superior

BELL SOUND offers 25 watt 4 input amplifier.

THE ANALYST, new 16mm.
projector from E. K. Co., is
designed for instant reverse
action on self-contained
screen.

type of heat-absorbing glass makes a
safety shutter unnecessary, thus eliminat-
ing the momentary blackout created by
that unit during changeover.

Another unique feature of the Ana-
lyst projector is a daylight projection
viewer which is carried in the projector
case. The viewer is comprised of a front-
surface mirror which picks up the pro-
jected image and reflects it back onto a
rear-view screen.

Maximum film capacity for the Kodak
Analyst will be 400 feet; the price,
$295.00.

Ansco to 3400° K Recognizingthe
wi despread
popularity of photoflood illumination
for indoor color photography, Ansco
has announced a progressive program in
which the color temperature of all their
Ansco Color Tungsten emulsions will
be changed from 3200° K to 3400° K.
At this latter figure, they will then
match accurately the Kelvin rating of
the photoflood illuminants.

First to be raised to the 3400° scale
will be Ansco Tungsten emulsions in
the 35mm. and roll film sizes. Sheet
films will not be changed for the time
being, it is said, and no advice is given
concerning the color temperature of
Ansco Color indoor movie stocks. Pre-
sumably, therefore, amateur movie mak-
ers should continue use of the UV-15
correction filter under photofloods until
advised otherwise.

8mm. telephotO From France, the
Camera Specialty
Company is now importing a Berthiot
IV2 inch //1.9 telephoto suitable for use
with all "C" mount 8mm. cameras. The
lens is in a focusing mount with a range
from 2 feet to infinity and has dia-
phragm stops ranging through //16.
This new Berthio" objective will retail
at $30, tax included.

For a folder on the lens write Camera
Specialty, at 705 Bronx River Road,
Bronxville 8, N. Y.

Bell Sound A new 25 watt amplifier
- Model 3725-B — has
been announced by Bell Sound Systems.
Inc., of Columbus, Ohio. Features of the
unit include three mike inputs and one
phono channel, with separate volume

controls; base and treble tone controls
and a single output for the mixed ^fi-
nals. The frequency response claimed
for the uni: is 30 to 18,000 cps plus or
minus 2 d'b. The hum level is 65 db
below the rated output.

Not provided for in this new Bell de-
sign is some method of measuring the
strength of the several signals fed to
the amplifier; nor does the unit offer an
output for using a monitor headset.

Color-A/Latic An improved model of
the Norwood Director
exposure meter, with a "Color-Matic"
control which permits direct // stop
readings for all still color picture work,
has been announced by Director Prod-
ucts Corporation.

The control unit is a perforated metal
tab which slips into a prepared slot in
the meter. With it in place, and with
your camera's shutter speed at 1/50
of a second, // stop color readings may
be made and used directly, without
even setting the meter for film speed.

By special order, the same Color-
Matic control system can be adapted to
movie making exposures, in which case
the grid will be balanced for a 1/30
of a second shutter speed at ASA 10.

THE BERTHIOT teiephoto lens for 8mm. cam-
eras (IV2 inch f/1.9) focuses 2 feet to infinity.

New EK lab Fo provide more and
faster service on Koda-
chrome processing in the New York
metropolitan area, the Eastman Kodak
Company has purchased a ten acre site
in Fair Lawn, N. J., on the east side
of N. J. Route 208. Tentative plans call
for the construction of a modern one-
story structure, the facilities of which
will supplement those of the company's
present processing station at Flushing.
N. Y.

Take the

L road to movie enjoyment

with Kodak's finest 16mm. personal movie camera, the Cine-Kodak Royal
Magazine Camera, and its regal companion, the Kodascope Royal Projector

FOR FILMING— The Cine-Kodak Royal Maga-
zine Camera has every feature you will want
for the most thrilling movie-making experi-
ence of your life.

Magazine loading for ultra-handy 3-second
loading ... to make possible changing film
type at any time. Slow motion for more reveal-
ing pictures of fast-action sports events, for
trick effects. Single-frame exposures for anima-
tions, special titling effects. Standard lens is
the Kodak Cine Ektar 2 5mm. //1.9 Lens, a
member of Kodak's matchless Ektar series
. . . for crisp, sharp pictures in black-and-
white or full color. Interchangeable lenses —
takes any of eleven accessory telephoto and
wide-angle lenses to broaden your picture-
making opportunities. Adjustable viewfinder
— optical viewfinder is instantly adjustable
to show the fields of accessory lenses without
the necessity for masking. Parallax corrected.
Wide focusing range, from 12 inches to infinity.
Price, $176.25. Also available with pre-
focused Kodak Cine Ektanon
J|k //2.8 Lens at just $147.50.

FOR SHOWING— The Kodascope Royal Pro-
jector gives you projection performance that
brings out the best in any 16mm. movies —
greater screen brilliance . . . greater operat-
ing convenience . . . greater quietness.

Superb optical system, same as that of the
world-famous Kodascope Pageant Sound
Projector, an f/1.6 Kodak Projection Ekta-
non Lens with a field-flattening element for
pictures that are sharp and clear from screen
corner to screen corner. Has 750-watt lamp
(will take 1000-watt lamp for more light on
the screen). Permanently pre-lubricated to end
the major source of projector troubles. Re-
verse operation — for comedy effects and to
make possible rerunning scenes of special
interest. Variable speed control — finger-tip ad-
justment permits exact choice of speed for
best performance, even when line voltage
drops sharply or rises. Easy operation — film
path is clearly marked for easy threading.
Spring-counterbalanced elevating mechanism
simplifies alignment. Quiet — no external belts.
Nylon gear trains fully enclosed in reel arms

— no belts to break or shift. Drive motor and
fan are designed for lowest possible noise
level. Easy portability — built into handsome
Kodadur-covered case that also has space for
reels, cord, and spare lamp. Reel arms fold
into case for easy storage. Price, complete
with lens, 750-watt lamp, case, and take-up
reel, $245.00.

Ask your Kodak dealer to show you the Cine-Kodak Royal Magazine Camera and the Kodascope Royal Projector.

Prices include Federal Tax and are subject to change without notice.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

-

MOVIE MAKERS

Leaders and trailers

[Continued from page 234]

for this forthright and clarifying dis-
cussion. Queried on the same matters in
connection with the company's maga-
zine-loaded films, Mr. Mentch reported
further :

"Our magazine-loaded films do not
generally bring up questions of the
type listed in your letter, because maga-
zine film requires less leader and trail-
er. For your information, however, a
16mm. magazine film has 18 inches of
leader and 18 inches of trailer. The
length of the film returned to the cus-
tomer by our processing laboratories
may vary between 50 feet 2 inches and
50 feet 9 inches. An 8mm. magazine
has 12 inches of leader and 7 inches of
trailer. After slitting, about 50 feet 3
inches are returned to the customer."

From these statements, and from the
definitive tables supplied by Ansco and
the Kodak company, the following facts
emerge :

(1) Both film manufacturers pack-
age, in each of their nominal footage
units, film footage well in excess of the
amount stated on the carton.

(2) This excess footage, however, is
supplied not for picture making but
(A) to protect the nominal film footage
from fogging, and (B) to provide ex-
pendable footage necessary to the com-
panies' laboratory procedures.

(3) No movie maker, when using
properly the film loads of Ansco or the
Eastman Kodak Company, need fear
that his processed pictures will be re-
turned short of the total film footage
promised by the manufacturer.

But how, you may well ask, can I
be sure that I am using Ansco or Kodak
film loads correctly? For the magazine
film user there obviously is no prob-
lem, since it is impossible to expose
these films in any manner other than
that intended by the manufacturer. For
the roll-film user, the footage indicator
of practically every spool-loading cam-
era makes provision for running the
leader footage through before the actu-
al footage indication begins. Likewise,
zero (0) is indicated before the film
actually runs off the feed spool.

Furthermore, in using Eastman film,
the cautious movie maker can be dou-
bly sure that none of his opening scenes
will be spoiled by the perforated emul-
sion number at the beginning of the
reel. He simply threads his camera and
sees that it is running properly before
he closes the cover. After closing the
camera, he removes the lens, thus re-
vealing the threaded film in the camera
gate. With his eye on this film, he now
runs the camera until the perforated
frames have passed the gate. He then
stops the camera, puts back the lens
and he is ready to shoot. In order to
protect himself against losing part of

a scene at the end of a roll, he watches
the footage indicator carefully and,
when it reaches zero (0), he places his
hand over the lens and runs out the
rest of the film.

In other words, if you want to make
sure that all of your scenes are com-
plete as you filmed them, simply keep
within the marked limits of the footage
indicator on your camera. That's what
it's there for: to protect you against
alleged "robbery" at the processing
laboratory.

Projector speed control

[Continued from page 239]

As the speed falls, the action of the
switch drops out of step with the rec-
tifier action. If the speed falls enough,
the other extreme is soon reached. Here
the switch is closed for the whole time
the rectifier is blocking current. When
this happens, motor current flows
through the rectifier for one half of the
time and through the switch for the
other half. With the greater current
so provided, the projector speed there-
fore increases, heading for the 19 fps
set by the speed control resistance, R.

As soon as the speed begins to rise,
however, the switch opens during part
of the time the rectifier is blocking
current. Motor current is therefore cut
off during this part of the cycle and the
rise in speed is reduced.

In this way the system adjusts itself
so that the rotary switch operates exact-
ly 60 times a second. If you fix the
switch on the projector flywheel, the
projector speed is determined by the
number of times the switch opens and
closes with every turn. The flywheel
revolves once per frame. So if the
switch makes and breaks at every quar-
ter turn, the projection speed is a
quarter of 60, that is 15 frames per sec-
ond. This is near enough to the usual
16 fps to be quite satisfactory.

Fig. 2 shows the switch I fitted to my

NORMAL
CENTER

FIG. 3: In this arrangement the film, on its
way to projector's feed sprocket, passes over
sprocket D, which drives switch thru gearing.

24a

own projector flywheel. You will see
that it has three sectors so that it makes
and breaks a path between two carbon
brushes (shown removed) three times
for every turn. On the British 50 cycle
current, this gives a projection speed of
16 2/3 frames per second (one third of
50). On the American 60 cycle supply,
however, the projector would run at 20
fps. At this speed, films shot at 16 fps
may appear rather hurried on the screen,
so that I would definitely recommend
four sectors instead of three.

The details of construction depend to
some extent on your projector and your
resources. The essentials are a metal
disc or ring carrying four insulating
sectors. The surface must be trued up
on a lathe so that two vacuum cleaner
motor brushes can rub on it. In the in-
terests of your safety, see that the ring
and brushes are all insulated from the
projector frame.

The rectifier is a heavy current radio
type. Your radio service man will pro-
vide the right type if you specify 150
milliamps. (or more) and 170 volts (or
more) peak inverse voltage. These fig-
ures will suit a 115 volt 60 cycle supply.

The switches can be any type intended
for use on the power supply. Your radio
man will supply these and also a 6 volt
0.3 ampere flash lamp to connect in
series with the rotary switch. This lamp
gives an indication of the current
through the switch and also overcomes
any tendency for the speed to run al-
ternately fast and slow. The condenser
should be connected straight across the
switch brushes to prevent arcing, which
would cause radio interference.

Although 15 frames per second is per-
fectly satisfactory as a projection speed,
you may prefer to run your machine at
a true 16 fps or even at 24 fps. This is
quite a simple matter if you drive the
rotary switch through gearing. For ex-
ample, you can put a 32-tooth gear on
the switch and drive it from a 30-tooth
gear on the flywheel. Then the switch
will revolve 15 times a second when the
projector is running at 16 frames.

If you are going to use gearing, how-
ever, it is a good idea to keep everything
as a separate unit in order to avoid
drilling holes in your projector. Fig. 3
shows the sort of scheme I have in mind.
Here the film itself turns the rotary
switch as it passes round the sprocket
D on its way to the normal feed sprocket.
The sprocket D turns the rotary switch
through gearing chosen to produce the
exact speed required. By making the at-
tachment fit on the spindle intended for
the feed reel, you can make it applica-
ble to any projector. Of course the
attachment must in turn carry a new
spindle on which to place the feed reel.

Compared with mechanical couplings
from projector to tape recorder, this
simple gadget has the advantage of
placing no restrictions on the position-
ing ©f the two machines. You can stand

244

the tape recorder by the screen if you
wish.

Also it is a simple matter to adjust
synchronization should you start with
picture and sound out of step. You have
only to throw the switch from "Synch."
to "Manual" and set the other to "Fast"
or "Slow" until the error is corrected.
Then you throw the switch back to
"Synch." and the projector returns to
its controlled speed. Voltage changes,
frequency changes, warming up — let
them all come. Your picture will keep
closely in time with the sound and you
can enjoy the result along with your
audience.

A reel report card

[Continued from page 240]

In between, you'll film many inter-
esting classroom projects. Not just
routine art, clay work and other handi-
crafts, but major study patterns based
on Indians, Mexico, Hawaii and so on.
And there will be Nature Adventures,
including displays of plant and rock
collections and specimens of insect and
animal life. You may find, during "Ani-
mal Friends Week," that your camera
subjects range from pets like rabbits,
goldfish and guinea pigs, to a parakeet
whose line of patter makes you wish
you had a sound track!

Your final chapter will be your par-
ticular school's version of The-Last-
Day-of-School Picnic. At our local
event last year, I filmed my first grader
puffing like a glass blower in the color-
ful balloon-blowing race, my third
grader sprinting like a Cunningham in
the 50 yard dash and my fifth grader
winning a ribbon in the slow bicycle
race. The climax comes with eager
children jostling about the heavy-laden
table of picnic foods.

You will find your own best finis.
Right now, concentrate on the start.

"Cinemascope" on 16!

[Continued from page 235]

audio signals, two magnetic stripes on
which to record them and two speak-
ers through which to play them back.
In any case, the dramatic effect of the
two speakers separated by the wide
screen should be that the source of any
given sound seems to follow the pic-
torial action on the screen.

And so, for whatever use he wishes
to make of it, the 16mm. amateur movie
maker now has at his command the
basic technical facilities provided by
the 35mm. CinemaScope system.

Optically, as a matter of fact, the
amateur movie maker had the same
anamorphic method of picture making
and projection offered to him well over
22 years ago. It was embodied in a
cylindrical anamorphic lens called the

Cine-Panor, which was designed by Dr.
Sidney Newcomer, a well known op-
tical scientist, and manufactured by the
C. P. Goerz American Optical Com-
pany, which now has its headquarters
at 317 East 34th Street, in New York
City. Of this objective, Movie Makers
wrote in our issue for January, 1931,
in part as follows:

"A startling new achievement in
projection effects, comparing favorably
with the very latest developments in
professional wide-screen pictures, was
given a most effective demonstration
recently at League headquarters. . . .
This is the Cine-Panor, which com-
presses within the standard 16mm.
frame a view 50 percent wider than that
normally recorded. ... In projection,
the same auxiliary lens is used to widen
the image out again to create a screen
picture which covers 50 percent more
horizontal field than the normal cover-
age. . . . The results are quite similar
to those of the very latest (this is 1931,
mind you!) wide-screen systems."

Let's see . . . What were those sys-
tems, anyway? Hollywood might like
to know.

Notes from magnetic

[Continued from page 238]

No. 1 whilst I had it plugged into
Pentron No. 2. Thus, on one long un-
broken tape, No. 2 was recording what
No. 1 played, and soon I had many
minutes' worth on one tape of Oslo's
bells ringing. I did the same thing with
the assortment of cheers.

Next I ran off the first few scenes of
my film on 202, used a stopwatch (you
soon get used to doing many things at
one time) and made notes such as:
"Need bells alone, 11 sees. . . . Then
bells with approach-cheers, 8 sees. . . .
Then loud cheers, King arrives, 6 sees.
. . . Fade slightly and add bells when
cheers quiet enough, 4 sees. ... No
sound, 12 sees." I switched off 202 and
started to work those notes out.

Let's see: "Bells alone, 11 sees."
From my long "bells" tape I selected
the very bells I had heard during that
particular scene, and cut out a length
running 11 seconds. I spliced this onto
a white tape leader marked "Track for
Film," and then spliced back together
the two disjointed ends of my long
"bells" tape. Now I had the first scene
in my film's sound track complete. I
started work on the second. For this I
had to get the bells and cheers sounding
together, as I'd heard them.

I merely put markers (colored Scotch
tape) at each end of a suitable section
on the long "bells" tape. Then I did the
same on a suitable section of cheers on
the long "cheers" tape. I threaded 202
with some Magna-Striped leader film,
plugged Pentron 2 into the phono input
of 202, played on Pentron the wanted

SEPTEMBER 1953

section of cheers and got it recorded on
the 202's stripe. I now had 8 seconds of
"approach cheers" on 202 and 8 seconds
of "approach bells" threaded into Pent-
ron 1. My problem was to get them
recorded together.

Well, I had had an adapter cord made
for 202 — simply a plug to fit 202's
speaker outlet on one end of a wire, and
a plug to fit into Pentron at the other
end of the wire. So I plugged 202 into
the mixer, plugged No. 1 into the mixer,
plugged the mixer into Pentron 2 (on
which there was new tape running
at "Record") ; then simultaneously I
switched on 202 and Pentron 1. The
result — No. 2 recorded from the mixer
the bells from No. 1 and the cheers
from 202. They were mixed on one tape
simultaneously. So I cut off 8 seconds of
this mix, spliced it on to my first tape
sequence on "Track for Film" and now
I had my first two sound sequences re-
corded all genuinely from Oslo and
exactly as I'd heard them.

I did about six more scenes like that,
each one spliced on in sequence to the
"Track for Film." Then .1 checked the
track with the film so as to correct it if
necessary before going further.

I threaded Pentron with "T for F";
threaded 202 with the film; set them
at first sound and first frame, respec-
tively— motor running, clutches out.
Pentron waited with first syllable of
sound, 202 waited with first frame of
film! I threw in both clutches simul-
taneously, then halted both machines
simultaneously at the end of each scene
(to catch my breath and to see what
was what) .

Between each sound sequence there
was a marker on the tape, so it was
easy to see its start and finish. When
the sound ran too long for the film,
I merely cut the tape at the point I'd
stopped Pentron. When too short, I
went back over the scene, threw in
202's clutch the instant the sound ended,
marked that frame on film with grease
pencil, ran 202 to the end of the scene.
Then I counted the frames between the
grease mark and the end of scene. Let's
say the sound was too short by 8 frames.
Well, at 24 frames per second, that's
% of a second; since tape runs 7%
inches each second, I was actually short
% of 7% inches! (I can't figure frac-
tions of seconds, but it's easy by inches.)
So I measured off 2^2 inches from "long
tape" at the same point where I'd
clipped sound from it before, and sim-
ply spliced it on. Elementary!

Well, I went through the film like
that, with all my bits of Norway's
sounds, until I had tapes spliced to-
gether in sequence for the whole length
of the film. Now for the narration!

I put Pentron's microphone on a table
in front of me, ran the film and just
chatted along with it into the mike.
(I'm good at ad-libbing, as anyone who
knows me will affirm ! ) Any reference

MOVIE MAKERS

notes I thought I'd need, I just spoke
into the mike. At the end of the film I
played back the tape and typed its nar-
ration in duplicate.

At this point I got my workprint
Magna-Striped by Reeves Soundcraft
Corporation. Then I took the precaution
of recording from No. 1 to No. 2 a
duplicate of my finished sound track
(remember I'd done all this quite
alone!). Working from it, I experi-
mented mixing my voice and tape, nar-
rating directly into 202 whilst the tape
track also played into 202. None of it
was any good. I found it impossible to
be near enough to 202 to reach the con
trols without having all the operating
noises going through the mike. I had
to have help!

I engaged the services of a bright
chap, accustomed to synchronizing com-
mercial sound to film. But he'd never
seen a 202 before, nor a small tape
recorder! He was used to 35mm. and
optical tracks. However, he quickly
learned from this "teacher" the idio-
syncrasies of small tape and 202, and,
I think, in no time the "pupil" knew
far more than the teacher!

First we ran through the film in re-
hearsal, I speaking the narration and
jotting cue notes in the margins of the
typescript. Now, I had already found
that in any sound recording operation
there is a background, a pitch, a tone,
something like atmosphere which varies
from session to session — even when you
are using the same equipment. Thus, I
held that with any picture which tells
an uninterrupted story of a single inci-
dent, the sound should be recorded on
the 202 stripe in a single, uninterrupted
session. To be sure, I had recorded my
tape sound track one piece at a time.
But it was to be re-recorded on 202 in
one unbroken take, so that the back-
ground "atmosphere" would be similar.
And, since the 202 recording was the
final one, that was what counted.

We broke the completed sound track
into two tapes, splitting it at important
scene changes. Like this:

Pentron 1 . . . Start mark . . . sound
for 47 sec. . . . colored tape . . . sound
for 18 sees.

Pentron 2

245

Start mark .
sound for 34 sec. . -

colored
colored

tape
tape.

The 202 and the Pentrons don't hold
dead-true speed, running a fraction dif-
ferently each time (though the Pentrons
were amazingly true ! ) . However, I had
allowed a tiny overtime on each sound
sequence, so that there couldn't be any
shortage of sound. So Pentron 1 was
started as 202 started, then was instant-
ly shut off as No. 2 started when its cue-
frame showed on the screen. Then back
to No. 1 at its proper cue-frame and
so on.

Everything ready, I climbed atop a
chair which was atop a table, in a room
which fortunately had glass transoms. .

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TOLEDO CINE ENGINEERING

1309 Milburn Ave. Toledo 6, Ohio

246

SEPTEMBER 1953

I looked into the adjoining room at the
running film, where my assistant sat
with 202, the two Pentrons and the
mixer. I watched the film and narrated
into a mike plugged into the mixer. The
alternating tapes on the two Pentrons
also were plugged into the mixer, and
the mixer was plugged into 202. I held
my voice at one agreed volume, and my
assistant controlled the volume of the
tapes on the mixer. He listened to the
whole lot through earphones.

I guess we repeated this performance
of putting the combined sound on 202
at least twenty times. Sometimes I

muffed my narrating or missed a cue.
Sometimes my assistant got the sound
effects too loud and my voice too low,
or the reverse, or he missed a cue. I
think I may truthfully say that the
sound on that little film is as good as
any professional newsreel — and it is all
genuine Oslo sound! Yes, it was a great
deal of work indeed. But a 202 had
created a sound recording which would
have cost a fortune if done in any pro-
fessional studio.

But ... I had this fine magnetic re-
cording on a workprint! How was I
going to get it transferred to Magna-

Important new mail rates

may benefit film shippers

SIGNED into law by President Eisen-
hower on July 20, important new
postal mailing rates applying to 16mm.
film and allied products are now in
effect throughout the United States
postal service. Specifically, these mail-
ing rates are as follows:

141a. Sixteen-millimeter films and 16-
millimeter film catalogs. — Sixteen-milli-
meter films and 16-millimeter film cata-
logs may be mailed at the rate of 8 cents
for the first pound or fraction thereof and
4 cents for each additional pound or frac-
tion thereof except when sent to commer-
cial theaters. The films shall be positive
prints in final processed form, prepared
for viewing. Each parcel mailed under this
provision shall be clearly endorsed by the
sender "Sec. 34.84 (h), P.L.&R."

142a. Sixteen-millimeter films, film-
strips and similar materials. — Sixteen-
millimeter films, filmstrips, transparen-
cies and slides for projection, microfilms,
sound recordings and catalogs of such
materials may also be mailed at the rate
of 4 cents for the first pound or fraction
thereof and 1 cent for each additional
pound or fraction thereof when sent to or
from (a) schools, colleges, universities, or
public libraries, and (b) religious, educa-
tional, scientific, philanthropic, agricul-
tural, labor, veterans' or fraternal organ-
izations or associations not organized for
profit and none of the net income of which
inures to the benefit of any private stock-
holder or individual. The films, slides, and
transparencies referred to herein shall be
positive prints in final processed form for
viewing. This special rate applies only to
parcels of such materials addressed for
local delivery, for delivery in the first,
second, or third zone or within the State
in which mailed. Each parcel mailed at
this rate must be clearly endorsed by the
sender "Sec. 34.83 (e), P.L.&R." In every
case the parcel shall show the sender or
the addressee to be a school, college, uni-
versity, public library or a non-profit re-
ligious, educational, scientific, philanthrop-
ic, agricultural, labor, veterans' or fra-
ternal organization or association. If this
cannot be ascertained from the address
or return card, appropriate inquiry shall
be made of the mailer.

These new mailing rates, when ap-
plicable, will supplant those provided
under the zoned 4th Class (or Parcel

Post) scales. However, amateur movie
makers, seeking to put these new rates
to work for them, should note carefully
the following:

(1) Neither Paragraph 141a nor
Paragraph 142a can be applied to the
mailing of exposed but undeveloped
films returned to the film manufacturer
for processing, because of the clear pro-
vision in each paragraph reading: "The
films shall be positive prints in final
processed form, ready for viewing."

(2) The individual amateur movie
maker can apply the rates provided
under Paragraph 141a when he is ship-
ping processed motion pictures of the
16mm. width within the United States
and its Possessions only. Within those
areas the rates apply without reference
to destination or Parcel Post zoning.
No specific provision, inexplicably, is
made for the application of these rates
to 8mm. film shipments under similar
circumstances.

(3) The individual amateur movie
maker can apply the rates provided
under Paragraph 142a when he is ship-
ping his 16mm. films to the Amateur
Cinema League, since the Amateur Cin-
ema League is classed by the federal
government as a "non-profit" organiza-
tion.

However, any such shipment to the
ACL can be made only from a point
within New York State or Parcel Post
zone 3 (300 miles or less from New
York City) and it must carry (besides
the League's name and address) the
following statement on the face of the
package : "Shipped to the Amateur Cin-
ema League, a non-profit addressee, un-
der the provisions of Sec. 34.83 (e),
P.L.&R."

As an example to our readers of the
amount of saving involved in using this
method of shipment to ACL, a 10 pound
shipment from zone 3 to ACL would
cost 49 cents by 4th Class (or Parcel
Post) rates. Under the provisions of
Par. 142a, the same shipment could be
made for 13 cents.

Stripe on the original color? Nobody
could give me that answer. Nobody
knew any place doing such work. (In-
cidentally, the workprint was pretty
beaten up from all the back-and-forth.
I was glad that I'd had it made.)

Finally I went to a big recording
studio known as A-V (it's at 730 Fifth
Avenue, New York City) which in my
book stands for Angelic Virtuosos, al-
though they themselves pronounce it
Audio- Video. I can assure you that every
person in that place is truly angelic!
They gently and sympathetically ex-
plained to me that their equipment was
fabulously costly and their staff tech-
nical experts of the highest skill, so that
the operating costs of this heavenly
place also are sky high.

However, I'd lugged along my 202
and soon they all got intrigued with
what seemed to them an admirable lit-
tle toy. They ran off my film, re-record-
ing its sound-stripe on one of their giant
synchronous - motored tape machines.
Then they played it back from their
machine whilst my film ran silently on
202. As they had warned, the two no
longer synchronized. For my non-syn-
chronous-motored 202 was not running
the film at exactly the same speed as
before.

So I had a synchronous motor put on
my 202 (Biograph, 140 East 44th Street,
New York City, $125). By this time
the A-V boys were in love with my "toy."
As an experiment they borrowed a
Bell & Howell demonstration film which
carried two 50 mil tracks side by side
— one a blank magnetic stripe, the other
an optical sound recording. Using my
synched 202, they played the optical
track into one of their synchronous tape
recorders, then bounced it back from
there onto the empty magnetic stripe.
Everything synchronized perfectly! We
had the answer in sight on how to re-
record the sound from my workprint
onto my original color footage!

(Audio-Video is studying the possibil-
ity of setting up a magnetic-sound dupli-
cating service for all 202 owners — but
wonder if there will be enough demand
to justify the investment. If you are now,
or even potentially, interested in such
a service, why not drop a line to A-V
urging them on — The Editor.)

And so, there are the notes from my
magnetic notebook. And now permit me
one parting shot — a quote from The
Film Daily, a newspaper of the motion
picture industry. Writing under the
head, "Amateur Film Maker Shows
Pros How," F. D. stated:

"At a recent screening held at Bell
& Howell's New York headquarters,
Mrs. Andrew Winton Roth proudly
proved to a wide-eyed 'pro' audience
that it's possible to produce a full-color,
sound travelog with little more than a
knapsack of equipment."

Knapsack, is it? Oh-h-h . . . my
aching back!

MOVIE MAKERS

L47

CloseiipS— What filmers are doing

Two out of Three: Another welcome
visitor to League Hq. has been William
S. Bixler, ACL, of Lancaster, Pa. Mr. B.
was just back — and brought with him
the footage to prove it — from a five-port
West Indies cruise on the Ocean Mon-
arch, a Furness Line vessel on which
he also traveled only two years ago.
One more trip, he figures, and he ought
to own at least his favorite cabin.

Dicky Roth, ACL, who pours out her
heart with her customary fervor in
Notes From Magnetic Notebooks: 3, is
a person of many moods. However,
among the more rare emotions in her
portfolio of passion is that of humility:
Mrs. R., as you will soon sense from
her article, is rarely stumped and simply
never stopped. Her indomitable drive
even translates itself, as the saying goes,
into the Scandinavian, causing an Oslo,
Norway, newspaper to declare recently:
"She is an atom bomb of energy. What
nobody else can do, she does!"

Thus, it was with a warm, rewarding
sense of the improbable that we found
leading off her original manuscript a
metrical confession of frustration. Not
feeling that Movie Makers article pages
were quite the place for "poetry," we
bring her verse to you in these more
informal columns.

This piece is writ for fools like me,

Bewildered by terminology.
Your supersonics, electronics,

Your AM, FM, wows, atomics;
Your bloops and flutters, drags and
sputters,

Equalize, sync, high fidelity!
Such words are baffling mystery

To simple critters such as me.

Eduardo Douglas di Fiore, ACL, who
from his home in Buenos Aires, Argen-
tina, was up here last year for an ex-
tended tour of North America, is now
giving his native South America the
same full treatment.

With more than 200 kilograms of
equipment (that's about 450 pounds),
he will travel by ship, train, plane and
car over 15,000 kilometers (9,375 miles)
in three months as he covers eleven dif-
ferent countries in the Southern Hemi-

■■\3b5mb C/'^ 'jS;*-' li^5

EDUARDO DI FIORE, ACL, on the roof of his
specially equipped station wagon, trains his
Filmo 70-DL's telephoto on a far Andean peak.

sphere. Apex of this odyssey will be a
crossing of the Andes Mountains, from
Santiago de Chile, on the Pacific side,
via Mendoza (which nestles breathlessly
at 23,000 feet) and Cordoba back to his
home in Buenos Aires.

Vaya con Dios, amigo mio!

Another peripatetic photographer has
been Fiorz A. Sarkar, ACL, of Bombay,
India, who recently journeyed (via the
Pacific) all the way to Los Angeles to
enroll in some movie making courses
at a Southern California university
which, for reasons you will immediately
understand, had better remain name-
less.

Trouble was that when Mr. Sarkar ar-
rived in L.A. he got into discussions
with a number of Hollywood camera-
men and directors. They soon advised
him, with a candor reputedly rare in the
cinema city, that he already seemed to
know more about movie making than
was taught in the courses. So-o-o, there
seemed nothing left for Mr. S. to do
but keep right on bearing eastward
until, in due course, he arrived back
in India. Which, with a stopover at ACL
headquarters, is exactly what he is
doing.

However, he says, while on the West
Coast he had fine, friendly visits with
(among others) A. Theo Roth, ACL, of
the Golden Gate Cinematographers,
ACL, in San Francisco, and with Fred
Evans, FACL, and Barry W. Dance,
ACL, of the Los Angeles 8mm. Club,
ACL. Pretty nearly worth the trip, he
thinks, to experience this heart-warm-
ing fraternity of ACL membership.

Across the Threshold: Then, in from
Australia, where he is a member of the
Queensland Amateur Cine Society, in
Brisbane, there has come Eric W. Noad,
ACL, on a trip (eastbound) through the
United States. Homeward-bound, he will
journey westward across Canada, down
to San Francisco, and back to the
Antipodes.

Footloose Filmers: Frank E. Gunnell,
FACL, who gave you It's Maine for
Movies in July MM, postcards us from
Southwest Harbor in that state: "Stormy
weather (not mentioned in the article)
is slowing down our picture taking!"

Haven Trecker, AACL, is back in
Kankakee, 111., after a four-week car
and camera tour of the State of Florida.
"My next vacation will be without cam-
eras," he declares. A fine attitude for a
brand-new Associate of ACL!

Fred C. Ells, FACL, and Mrs. Ells
are back at trailering, from their home
base in Pacific Palisades, Calif., and
when last heard from were in Yosemite
National Park.

Safeguard your

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(Equipped with Pellegrini Shutter.)

Also for Eastman Cine Special

lAOCDIl Vni n 59o° Sonta Monco Blvd.
(lUotrn TULU Hollywood, California

248

SEPTEMBER 1953

MMPC contests The Metropolitan
Motion Picture
Club, ACL, of New York City, has an-
nounced the three contests which it
will conduct during the 1953-54 season.
A schedule card, which is reprodii el
below as an excellent example of corre-
lating club contest data, was sent to all
members as the club's official contest
announcement. Non-members of MMPC
may write for one to this year's contest
chairman, Dr. M. L. Fielding, 2 Broad-
way, New York 4, or they may call him
at BOwling Green 9-6542.

On October 1 the club will be honored
with a visit from Alfred T. Bartlett,
AACL, of Brisbane, Australia, where
he is president of the Queensland Ama-
teur Cine Society. Mr. Bartlett will
screen three of his excellent films —
Make Mine Movies, The Enchanted
Isles and Give Us This Day, the latter
named by ACL as one of the Ten Best
of 1952. This hands-across-the-sea pro-
gram, initiated by the ACL, is some-
thing that no movie maker will want
to miss!

Pox Valley Clyde Todson was
elected president for the
coming season by members of the Fox
Valley (Elgin, 111.) Movie Club, ACL,
recently. Serving with Mr. Todson will
be Oliver Barron, ACL, vicepresident;
Richard Meier, secretary; Cleteus
Krunnfusz, treasurer, and John Dahl-
strom, Fred Haacker and Mrs. Fred
Kettner, directors.

Winners of the club's contests held
during the past year were announced at
the installation meeting. Robert Ely
and Mr. Barron won the one-reel, un-
edited awards for 8mm. and 16mm. re-
spectively. Gus Holmberg, ACL, was in
first place in the 8mm. silent division,
with Mr. Haacker and Alvin Keuker re-
ceiving honorable mentions. George
Underhill received the only award for
8mm. sound. Mr. Meier led the field in

the 16mm. class, with Mr. Barron fol-
lowing closely with an honorable men-
tion. Mr. Meier also won the sweep-
stakes award for his film, Trees.

TTB in Kankakee The Kankakee

(111.) Camera
Club will present The Top of the Ten
Best on September 16 at the Kankakee
Civic Auditorium. Tickets are priced at
only $1.00, including tax, and may be
purchased at the door or from camera
club members. For those movie makers
who would like tickets in advance by
mail, we suggest writing to Haven
Trecker, AACL, 670 Enos Avenue, Kan-
kakee, 111.

Incidentally, an extra added attrac-
tion for the evening will be the pres-
ence as guests of honor of Delores and
Timothy Lawler, AACL, producers of
Duck Soup, the 1952 Maxim Award

Metro winners The Metro Movie
Club of River
Park. ACL, in Chicago, has awarded
the Arthur H. Elliott Trophy this year
to Modern Samaritan, by Don Barber,
ACL. This film also placed first in the
sound division, with Racing Wings, by
William Ziemer, taking second place.
In the 8mm. division, Enchanted Isle,
by Richard Guetl, took first honors, and
High Iron, by John Frederick, second.
Officers of this club for the 1953-54
season will be Andrew Graham, presi-
dent; Dr. Frank Biedka, ACL, vice-
president; Carl Frazier, ACL, secre-
tary, and Arthur J. Barcal, treasurer.

Denver A recent meeting of the
Amateur Motion Picture So-
ciety of Denver, ACL, was turned over
to the screening of 8mm. films, among
which were Caledonian Chronicle, by
Esther Cooke, ACL; Teton Trails, by
Alta Seifer, ACL, and The Big Three
(Bryce Canyon, Grand Canyon and

METROPOLITAN MOTION PICTURE CLUB, INC. - New York, N. Y.

Schedule of Contests 1953 - 1954

NAME OF CONTEST

ELIGIBILITY

LENGTH

JUDGING

FRIZES

CLOSING DATE

The

GENERAL
CONTEST

Any member
in good
standing

Unrestricted

(Length of film not a

judging factor)

Judges chosen

by the

Contest Committee

1st JIOO.OO

2nd 50.00

3rd 25.00

Nov. 20, 1953

NOVICE
CONTEST
(Hairy
Groedel
Awards)

All members except:
First prize winners in
General MMPC Con-
tests—or — 10 Best
Winners within 10
years

Not over 16 minutes

in screen time.

400' 16mm at 16fps

600' 16mm at 24fps

200' 8mm at 16fps

Judging by
members present

at Feb. 1954
Regular Meeting

1st _.... 3 50.00

2nd . 30.00

3rd 20.00

Jan. 30, 1954

The
SHORT FILM
CONTESTS

Any member
in good
standing

50' 8mm at 16fps
100' 16mm at I6fps
150' 16mm at 24lps

Judges chosen

by the

Contest Committee

Total .$100.00

Best 8mm 50.00
Best 16mm 50.00

Mar. 31, 1954

Zion National Parks), by Markley L.
Pepper, ACL. A demonstration of stereo
movies for the amateur completed the
evening's entertainment.

Later in the month, Mr. Pepper
visited the Greater Denver Cinema
League, ACL, and presented his Side-
walks of New York and Of Steel and
Stone. That program was further en-
hanced by a showing of Tony Learns
About Fire, an instructional film made
by the Denver Fire Department.

Lancaster elects Guiding the new
year's activities
for the Amateur Cinema Club of Lan-
caster, ACL, in Pennsylvania, will be
R. C. Heagey as president, with J. Paul
Nolt, ACL, vicepresident; P. A. Rich-
ards, secretary, and Robert C. Rosen-
burg, ACL, treasurer. The club has
been recessed for the summer months,
but will resume meetings September 23
on its customary fourth- Wednesday-of-
each-month schedule.

L.A. Cinema Club Winners of the
recent Be Your
Own Critic contest sponsored by the Los
Angeles Cinema Club were Barbeque,
by Harold K. Folsom; Power, by Ava-
lon and Tom Baskin, and Totem Pole
Land, by Janet and Arthur E. Harvey.
The winners were judged to have
submitted the best suggestions as to
how their pictures could have been im-
proved and to have shown, by those
suggestions, that they had the best un-
derstanding of how a picture should be
made. Here is a new idea in club con-
tests which other clubs might very well
consider.

St. Louis Guiding the Amateur Mo-
tion Picture Club of St.
Louis for 1953-54 will be Luther Ryan,
ACL, president; Merrill Jenkins, first
vicepresident; Elmer Moeller, second
vicepresident; George Lambier, secre-
tary; I. L. Albert, treasurer, and Minnie
Jincks and Berney Sullivan, directors.
Announcement of the club's best pic-
tures of the year was made at the elec-
tion meeting. They were The Adiron-
dacks, a 16mm. film by Michael Fried-
lein, and Welcome to Utah, an 8mm.
film by Mr. Ryan.

New Zealand Through the co-
operation of the
Christchurch Movie Club, ACL, in New
Zealand, amateurs down under will have
a chance to see a selected program of
films from the ACL Club Film Library

MOVIE MAKERS

Harold C. Ramsey Studios

249

GEORGE BROTHERTON, right, president, Cin-
ema 16 Club, ACL, in Omaha, gives Ronald
Pierce top contest award, as Valfrid Walters,
ACL, center, and Carroll Swindler, ACL, watch.

during the coming summer months.
Among the films sent were In Fancy
Free, the 1951 Maxim Award winner,
by Glen H. Turner, AACL; The Gan-
nets, the 1950 Maxim Award winner,
by Warren A. Levett, ACL; Menemsha,
Ten Best 1949, by Jose Pavon ; Kaleido-
scopio, Ten Best 1946, by Roberto
Machado; Baie St. Paul, Ten Best
1944, by Frank E. Gunnell, FACL;
and Riches from the Sea, Ten Best
1938, by the late T. J. Courtney.

Following the New Zealand screen-
ings, the program will journey south-
ward where the Federation of Aus-
tralian Amateur Cine Clubs will dis-
tribute the package to its member clubs.

New dubs Recent additions to the
growing roster of ACL
clubs throughout the world are the
Packard Camera Club, ACL, formed by
and for members of the Packard-General
Motors staff at Warren, Ohio, and the
Amateurfilmklub Solothurn, in Solo-
thurn, Switzerland. Welcome, one and
all!

New L.A. club ^he newest club
to be organized in
the busy Los Angeles area is the Cren-
shaw Amateur Movie Makers. Officers
for the current year are Edwin Fair-
child, president; Larn R. Crosthwaite,
ACL, first vicepresident ; Ernest A.
Lippmann, second vicepresident; Fran-
ces Field, secretary, and William H.

ERIC UNMACK, president of the Westwood

Movie Club, in San Francisco, congratulates

Bernice Jackson as top winner in club's 1953
contest.

Woolston, ACL, treasurer. Leslie M.
Williams. ACL, was appointed as the
club representative to the Southern
California Association of Amateur Movie
Clubs, of which the Crenshaw group is
a member.

Meetings are held on the second Fri-
day of each month, with a dinner meet-
ing every other month. Further infor-
mation may be had from Mr. Fairchild,
at 4937 Angeles Vista Boulevard, Lo<
Angeles 43, Calif.

San Jose Salon The tenth annual
salon of the San
Jose (Calif.) Movie Club, ACL, will be
held this year on September 11 and 12
in the auditorium of the new San Jose
State College Engineering building.
For details, write to the salon chair-
man, Leslie R. Olsen, ACL, 15950 Alum
Rock Avenue, San Jose, Calif.

L.A. Eights During August, mem-
bers of the Los Angeles
8mm. Club, ACL, gathered their fam-
ilies together and headed for a delight-
ful picnic supper at Fern Dell in Grif-
fith Park. Besides a staggering quantity
of good food, good drink and good
cheer, family movies were the order of
the day.

October 12 is the date set for the
club's Big Party, with the main event
being the annual interclub contest with
the Southwest 8mm. Club, ACL. Re-
sults of this competition, now in its
third year, will be published here as
soon as they are known.

Chile New officers for the Foto Cine
Club de Chile, which has its
headquarters in Santiago, are Antonio
Marti, president; Carlos Feuereisen,
vicepresident; Raul Illanes, secretary;
Edmundo Munoz, treasurer, and Jaime
Camiruaga, Humberto Correa, Raul
Espina, Miguel Gutierrez, Juan Enrique
Lira, Luis Lopez, Marjan Suchestow
and Fernando Wilson, directors.

Staging the big show

[Continued from page 237]

winner, to which we have been building.
Also important is the picture screened
just before intermission, because the
audience will have time to sit around
and discuss it. And so we try to have a
light comedy, or a picture which packs
a real punch, in that position. With our
key films set correctly, we assign the
remaining pictures to places in the pro-
gram dictated by their running time and
subject matter — and these considera-
tions are different in each year's de-
cisions.

TWO OF EVERYTHING
Meanwhile, members of our projec-
tion and sound committees are busy
working out the myriad problems in-

HURRY, HURRY, HURRY!

For those clubs for ACL members) who
have not yet screened The Top of the
Ten Rest, the League's all-magnetic fea-
ture film program, single booking dates
are available in each of the weeks listed
herewith:

DECEMBER 14
DECEMBER 28
JANUARY 4
FEBRUARY 1
FEBRUARY 8
FEBRUARY 22

These dates are for the senior TTB, run-
ning 90 minutes and presenting six
pictures. Bookings for the junior TTB—
running 45 minutes and featuring the
Maxim Award winner — are generally
open.

Remember, ACL can aid you in securing
on loan a Bell & Howell 202 magnetic
projector, if you need it.

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 pre-
ceding issue.

EQUIPMENT FOR SALE

■ BASS . . Chicago. Cinema headquarters for 43
years offers money saving buys in guaranteed used
equipment. Cine Special II, Ektar //1.4. case
S1120.00 value for $745.00; Cine Special I, 1" //1.9
6" //4 5, image reflex finder, case, 8475.00; 8mm.
Revere 99 Turret, //2.8, 847.50; B&H 70 Spid-r
Turret, 1" //3.5, 2" //4.5, 3" //4.5, case, $127.50;
100 ft. chamber for Cine Special, 8117.50; 200 ft.
chamber for Cine Special, $299.50. Best buy? . .
Best trades always. BASS CAMERA CO., Dept. CC
179 W. Madison St., Chicago 2, 111.

■ ANSCO Finopan B&W 35mm. bulk 112' rolls,
surplus, in sealed cans, recent date. SI. 50 each. 3
rolls S3 postpaid. PRATT. 1939 N. 18th St.. Mil-
waukee 5, Wise.

FILMS FOR RENTAL OR SALE

■ NATURAL COLOR SLIDES. Scenic. National
Parks; Cities. Animals. Flowers, etc. Sets of eight,
$1.95; Sample & list, 25ft. SLIDES, P. O. Box 26,
Gardena, Calif.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm. or 16:nm.,
lift 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 SER-
VICE, 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 10ft for Price List and
Sample. Address: 1060 North Vista Street, Holly-
wood 46, Calif.

■ HOW TO TITLE HOME MOVIES. 90 pages.
illustrated. S1.00. WESTWOOD CINEMA CO.. 635
Victoria St., San Francisco.

■ MOVIE OR SLIDE TITLES with that Profes-
sional touch at low prices. Large variety back-
grounds and letter styles. 8mm.. 16mm.. 3"mm.
slides. B&W, Kodachrome. THOMSEX TITLES. 14
Roslyn Court, Oakland 18, Calif.

■ PERSONALIZED TITLES will AMAZE vour
friends and improve your mov-"es. Write no-*' foi
free brochure. SIERRA WESTERN CO.. 2748 B E
Broadway, Long Beach 3, Calif.

250

SEPTEMBER 1953

THE TEN BEST RULES

ON the inside front cover of this magazine —
and similarly in our issues for June, July and
August — there are presented the official rules
which govern ACL's selection of the Ten Best Ama-
teur Films for 1953. Adjacent to these rules there also
is presented a copy of the official entry blank.

We believe you will find these rules and this entry
blank as simple, straightforward and easy-to-follow
as any in the entire field of amateur film competition.
They well ought to be. For these rules have been
drawn up and tested under fire during ACL's twenty
four years of experience in conducting the Ten Best
contest. In turn, each new provision has been added
to our decalog only when practical necessity showed
us the need for it. Thus it is this year with the addi-
tion of Paragraph 2 to our Rule 8.

The ACL reserves the right (it states) to duplicate
at its expense any film (either in whole or in ma)or

part) entered in the contest, for non-profit distribii-
tion or screening by ACL as ACL shall see fit.

Do not let this provision perturb you. The Ama-
teur Cinema League is not, after twenty seven years
of protecting the rights of personal movie makers,
suddenly going into the film "pirating" business. The
purpose of this new provision is a simple one: it is to
speed up the production by ACL of our Top of the
Ten Best show for 1953. In 1952, when this widely
popular magnetic movie was initiated, its premiere
was delayed two or three months by the necessity of
writing for the return of pictures wanted for dupli-
cation. It was time-wasting here, a bother to you.

So this year, if we think your entry has a chance
for the TTB, we'll duplicate it at once. And, despite
this new provision, we'll be writing you personally
for permission. So-o-o, let's dig out that entry blank
and get your Ten Best picture on the way.

The AMATEUR CINEMA LEAGUE, Inc

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

evitable in the staging of any big show.
Basically, their attitude is that any piece
of equipment, even the finest and new-
est, can sooner or later fail. Therefore,
we leave nothing to chance against
which we can humanly protect our-
selves. For example, every last unit of
equipment is assembled in duplicate
and installed for immediate operation.
Thus, at the Gala Show of which I
write we had on hand two 16mm. arc
projectors, two double turntables, two
tape recorders, two (or more) amplifier
components and two (or more) speak-
ers— besides bagfuls of accessory equip-
ment such as monitor headsets, strobo-
tachs and the like.

Furthermore, when a film's original
sound accompaniment is on tape, we
re-record it on a set of discs, and orig-
inal disc scores are re-recorded in like
manner on magnetic tape. Thus, on
playback, we can shift almost instantly
from dual turntables to the tape re-
corder, and vice versa, should the need
arise. Also, we have found that with
dramatic films, where the musical score
is often tightly integrated with the ac-
tion, we can insure more accurate syn-
chrony of the key audio points and the
picture by working from discs rather
than from tape. For example, the su-
perbly dramatic score of The Man With
The Box (on this year's show) was re-

recorded from tape onto five separate
discs, each one of which began with a
key musical passage. Thus, since it is
easy to start any record on time, it was
almost impossible to miss these peak
musico-dramatic moments.

NEW PROJECTOR AND SCREEN

Our technicians this year were equal-
ly demanding as far as the visual as-
pects of the Gala Show were concerned.
First they rented a 4500 watt arc pro-
jector (to replace that installed in the
booth) which was specially equipped
with 3200° Kelvin carbons to preserve
the color values of the Kodachrome
films being projected. Second, to insure
a maximum brilliance of image from
this projector, the regular auditorium
screen (of a beaded surface) was re-
placed by a new glass-fibred material
which tke club secured on rental from
the Raven Screen Corporation. This
screen, which measured 15 by 20 feet
in its masked limits, created a sparkling
image which did not fall off in bril-
liance at the side seats to the same ex-
tent one must expect from a beaded
surface. In general it was agreed by
practicing movie makers and members

of the lay audience that the combina-
tion of these two components may well
have made the difference between our
success and failure in putting on this
show in a 2000-seat auditorium.

A BRIEF INTERMISSION
There were, finally, our brief inter-
mission ceremonies — and when I say
brief, I mean a total of ten minutes to
the second. For this part of the program
(as well as the picture projection and
the sound reproduction) was rehearsed
and timed with stop-watch accuracy.
There came first a short (and prepared)
word of welcome to the audience by
President Eno on behalf of the MMPC.
This was followed by the introduction
from the big stage of the producers of
six out of the seven pictures program-
med— including Delores and Timothy
Lawler, 1952 Maxim Award winners
who flew East from Kenosha, Wise, as
the club's guests.'

The seventh and missing producer
was Mathis Kverne, of Oslo, Norway,
the creator of that universally loved
cartoon, Muntre Streker. It has been
suggested by a few perfectionists that
omission of Mr. Kverne from our pro-
gram was a serious weakness in an
otherwise suavely-run Gala. We shall,
in our plans for next year, have to keep
this in mind.

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In the past, all new reels of Magnetic Recording Tape
had surface irregularities and protuberances (oxide
nodules) on the ferrous oxide surface. These irregu-
larities and nodules caused imperfect head contact
and a subsequent loss in high frequency response,
until the tape surface was worn smooth by the record-
ing head. This is the reason for the widespread pro-
fessional practice of "breaking in" a new reel of tape.
This is why engineers run new tape through the
recorder a number of times before recording, wasting
time and effort, and causing undue wear of the
recording head.

ONLY SOUNDCRAFT TAPE IS MICRO-POLISHED

There is no break-in period needed with SOUND-
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Micro-Polishing subjects the ferrous oxide coating

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WHAT IS ASPECT RATIO? • VICTORY IN CHICAGO

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's %" in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.25 each, tax included.

THE NEW ACL DECALS

Similar in design and coloring to the pin, the ACL
decals are as practical as they are beautiful. Identify
your camera and projector cases, gadget bag, film
cans with this proud insignia. 2l/i" by 3". $.25 each,
or 5 for $1.00.

AMATEUR CINEMA LEAGUE, INC.
420 Lexington Avenue, New York 17, N. Y.

TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (%" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal. But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

Wearing the ACL pin at all times will give fellow
members and others the opportunity to recognize you
immediately as a member of the world wide association
of amateur movie makers — the ACL. You, in turn, will
spot other members at home, on location, on vacations,
at club meetings, anywhere!

The pin is available in two types: the screw-back lapel
type for your suit and overcoat, and the pin-back safety
clasp type suitable for wear on your shirt, sweater, dress,
blouse, jacket, windbreaker, etc. You may order one or
both types — $1.25 each for either pin.

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 21/4" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

With the ACL pin and decals you can now "exhibit"
your interest in movie making, making yourself known
at a moment's notice to other League members, and hav-
ing others recognize you as a filmer with standing. I
know you'll want to place your order for pins and addi-
tional decals — right now!

Cordially,

JAMES W. MOORE
Managing Editor

'Because of the Federal ban on all non-defense uses of copper, ACL
pins are now gold-plated on a sterling silver base. This has required
a slight price increase— from $1.00 to $1.25 each.

a superb photographic instrument.

C,

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3

>hown here is a cutaway view of the
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256

OCTOBER 1953

For Colorful

HALLOWEEN
MOVIES

MEDIUM BEAM
REFLECTOR

G-E

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Designed especially for
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Use'em in slide or movie
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Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

The reader writes

Closeups

October
1953

258

What filmers are doing 260

John R. Hefele, ACL 262
Maurice Dallimore, ACL 264
George Merz, FACL 265
Jack E. deck, ACL 266
Thomas Stobart, F.R.G.S. 268
269
Reports on products 270
Chicago defeats effort to license all projectionists 272

Book review 274

Clubs People, plans and programs 276

The squeeze that failed Editorial 278

Cover photograph by Georgia Engelhard

Some elements of sound
Edit when you wish to
Let's build a carpod !
Hollywood's new aspect
Sixteen sees Everest
New ACL members
News of the industry

,

JAMES W. MOORE

Editor

PETER 0. DIBBLE

ANNE YOUNG

Clubs Editor

Advertising & Product o

Vol 28, No. 10. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: S4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; 84.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35£ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1953, by Amateur Cinema League. Inc. Editorial and Publication Offii' : +20
Lexington Avenue, New York 17. N. Y.. U. S. A. Telephone LExingtnn 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

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258

OCTOBER 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your pl-ce to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes, Movie
Makers, 420 Lexington Ave., New York 17, N. Y.

AID IN ANN ARBOR
Dear Members: I shall be going to
Ann Arbor on November 21 to photo-
graph my youngest brother John's wed-
ding. I would greatly appreciate hearing
from any ACL member in or near Ann
Arbor, Mich., or Detroit who has an
Auricon Pro camera or a tape recorder.
I shall be bringing my H-16 Bolex.
but I would also like to record some
scenes in sound. I will remunerate very
generously for this favor.

Philip Lalonde, ACL
Terminal A
Toronto, Ont., Canada

CINEMASCOPE ON 16

Dear Movie Makers: Have just read
through with the greatest interest your
excellent September account of Bell &
Howell's development of wide-screen
movies and stereophonic sound for the
16mm. amateur. Thanks for keeping
us posted and keep up the good work.
Harvey B. Woodworth, Jr., ACL
San Francisco, Calif.

ASTONISHED!

Dear Movie Makers: I have just read
Helen C. Welsh's account of her film-
ing in Paris (Sept. Reader Writes),
and I'm astonished to learn that she
found it so difficult to film in the
French capital.

I myself have more than 400 feet
of film on Parisian monuments only
and not once have I been told that it
was either forbidden or that I had to
pay a sum up to 400 francs. As for the
Luxembourg Gardens, my footage in-
cludes shots of both the Luxembourg
and the Tuileries gardens. How come
I was left free to film them? Is Miss
Welsh sure of not having been done in
by practical jokers or by particularly
zealous agents?

Robert Bartolo, ACL
Paris, France

SURPRISED!

Dear Miss Welsh: I've been very sur-
prised by your story, Permits in Paris.
and I can hardly believe it!

I have lived a whole year in Paris
and I've been a salesman there in the
biggest photo and cine shop — Photo
Plait, if you know it — and never have I
heard something about such a permit,

nor was I tapped myself on my shoulder,
though I was shooting all Paris from
upside and downside and often with
a tripod.

I only can guess that you have been
fooled. Those "gentlemen," or whatever
they may be, try it with Americans,
counting on the difficulties an Ameri-
can will have to defend himself in
French. So next time you go to won-
derful Paris, enjoy filming and don't
pay any permits.

Kurt Hagen
Zurich, Switzerland

HELP ON HEADLINES

Gentlemen: Many thanks to Captain
Maurice Dallimore, ACL, for his letter
regarding headlines to order in Septem-
ber Movie Makers. Had I been aware
of this, I would have saved a lot of
time in the production of The Man
With The Box. Rest assured I will take
advantage of Capt. Dallimore's infor-
mation in the future when a specific
news headline is needed.

James L. Watson, ACL
Worcester, Mass.

NO DIFFICULTY

Dear Movie Makers: Capt. Dallimore
and James L. Watson would have had
no difficulty in obtaining a newspaper
headline for a particular script had
they owned a Moviecraft Title Letter
Set ($3.00), which contains among
other things a dummy newspaper on
special contrast stock, with letters for
filling in your headline at home. No
visit to Times Square is needed.

Ralph Bannett
The Moviecraft Company
East Meadow, N. Y.

LEADERS AND TRAILERS

Gentlemen: Your September issue of
Movie Makers has an excellent article
called Leaders and Trailers. Finally
someone has given us authentic advice
on how to load and start exposing roll
film in the proper place, viz: run the
film off till the perforated numbers
have passed the lens opening.

Lyle E. Williams
Peoria, 111.

ACL HOSPITALITY

Dear ACL: Thanks to our ACL mem-
bership, we came on a recent holiday
trip to Norway into contact with Egil
Christensen, president of the Norwegian
Film Amateurs.

We had a grand time in Oslo, where
Mr. Christensen took us on a sight-
seeing tour and above all arranged a

special open-air folk dance gathering
where we could film to our heart's de-
sire. Later on this club arranged a
meeting and screening of some of their
best films, followed by a supper with
our fellow film amateurs. Indeed hos-
pitality to the extreme!

Three cheers for Mr. Christensen,
for his friends, and for the ACL whose
membership enabled us to meet such
nice people.

J. Scholten Bzn., ACL
Wierden, Holland
G. J. Gast, ACL
Almelo, Holland

DEFINITE SUCCESS

Dear ACL: May I express my personal
appreciation, as well as that of the
Board of Governors, for the coopera-
tion of your organization in making the
National Institute for Audio-Visual Sell-
ing at Indiana University, July 26 to
30, a definite success.

Hazel Calhoun Sherrill
Chairman
Board of Governors
National Institute for A-V Selling
Atlanta, Ga.

As part of a clinic on the developing
audio-visual uses of magnetic sound on
film — conducted by John Flory, of the
Eastman Kodak Company — ACL's all-
magnetic package program, The Top of
the Ten Best, was screened and studied
at the Fifth National Institute for Audio-
Visual Selling, held this summer at In-
diana University in Bloomington, Ind.

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

STREET SCENES IN SINGAPORE

Dear Friends: I was recently on a trip
to Singapore and took about 400 feet
of Kodachrome on my 8mm. Bell &
Howell. However, when I received my
films back from processing, I realized
that I had not taken sufficient shots of
typical street scenes in and around the
city.

I would like therefore to get in touch
through your columns with an 8mm.
enthusiast in Singapore and have him
take for me another 100 feet of color.
I could either send him the money or
equal footage of typical scenes here in
Perth, Western Australia.

G. Pilkington
604 Hay Street
Perth, Western Australia

MOVIE MAKERS

259

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scene — indoors, or out under the sun! You'll like the smoother
skin textures you get with Hypan, and the freedom of its high
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At Hypan's down-to-earth price you'll find you can take
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every foot you show! You'll find Ansco Hypan Film at your
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260

OCTOBER 1953

A Christmas Present
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CloseupS— What filmers are doing

A 400 ft. magazine complete as shown,
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Background

SOUND

Last Word in Sound Effects— >
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Old timers' night: It was intermis-
sion time, and we were sitting there
quietly in a rear row of a routine meet-
ing of the Metropolitan Motion Picture
Club, ACL, here in New York City,
when we felt the tap on our shoulder.
Looking up, we saw before us
Charles J. Carbonaro, FACL, not a
whit changed since the time fifteen
years ago when he won his first ACL
Ten Best with Little Sherlock and was
an active member of the MMPC. Well
... we had scarcely gotten over greet-
ing Charlie when we were both greeted
by a third party — fellow by the name
of Kenneth F. Space. Ken took his first
Ten Best way back in 1934 with Not
One Word (still one of the best-liked
films in ACL's Club Library), later
joined the League's staff as Technical
Consultant and then moved on during
the war to make training films for In-
ternational Business Machines, at Bing-
hamton, N. Y. Still there, too.

WHICH reminds us to tell you that
Charlie Carbonaro, since his New York
days, has been movie making for the
United States Coast & Geodetic Survey,
working out of such diverse bases as
Cambridge, Mass., Washington, D.C.,
and Norfolk, Va. Only recently, after
two years of production time and 15,000
miles of travel, he completed almost
single-handed a documentary study of
that service. And the production is a
triumph. For packed into its 700 feet
of 16mm. sound on Kodachrome is a
concise but eminently complete picture
of the entire USCGS.

Might be a good study for those am-
ateur producers who tend to over-foot
their films. Matter of fact, the picture
— called simply U. S. Coast & Geodetic
Survey — is available on free loan at
your nearest CGS area office.

Also more or less out of the past
comes a communique from Dr. James
E. Bliss, ACL, announcing that he is
again deserting his dental profession
and setting up in the picture business.
Time was — oh, say, ten or fifteen years
ago — when Dr. B., then an instructor
in dentistry at Western Reserve Uni-
versity, organized from scratch that col-
lege's highly successful Cinema Lab-

A. T. BARTLETT, AACL, and
Mrs. Bartlett pose proudly
in their home at Brisbane,
Australia, alongside trophies
which he has won in ama
teur film competition. ACL's
certificate of 1952 Ten Best
award for Give Us This Day
is in the frame at left of
table.

oratory. There came then the war, and
after it Dr. Bliss found himself in Fill-
more, Calif., again with a dentist's drill
in his hand.

As of right now, however, he finds
his Pathe Super 16 camera more at-
tractive to the touch — and he plans to
build his movie business around it.

Not to dwell too much in the past,
we can now reveal that seven days were
set aside here recently as Alf Bartlett
Week. They were in tribute to Alfred
T. Bartlett, AACL, one of the League's
newly named Associates and now a
perapetic ambassador of good will from
Australia's amateur movie makers.

They were, frankly, seven days which
shook the New York cine world. For
Mr. B., both personally and pictorially,
is a genuine major leaguer (there's that
World Series influence still cropping
up!). Screened at a special meeting
of the Metropolitan Motion Picture
Club, his Enchanted Isles on the one
hand, and his Give Us This Day on the
other, both won enthusiastic and argu-
mentative supporters; but all here did
manage to agree that Australia is a
movie maker's mecca.

By now on his leisurely business-with-
pleasure trip around the world, this
sort of enthusiasm may be getting just
a bit old hat to Mr. Bartlett — though,
knowing him, we doubt it. For already
he has behind him triumphant cine
visits at the Cannes (France) Amateur
Film Festival, the UNICA Congress at
Brussels, Belgium, and at countless dis-
tinguished gatherings in London and
thereabouts. Matter of fact, if both he
and Queen Elizabeth II had not been
so busy at one and the same time, his
films might well have enjoyed a com-
mand screening at Balmoral Castle.
Both Philip and Elizabeth are fellow
hobbyists, you know.

Across the threshhold: In no sig-
nificant order, it gives us pleasure to
report visits at ACL headquarters from
Simon Perle, ACL, who, at his home in
Haifa, is the League's only member in
all of Israel; from Fulvio Borghetty,
ACL, of Turin, Italy, who brought us
warm greetings from the Cine-Club Pie-
monte, ACL. of that city.

Camera-Craft, Brisbane

1

MOVIE MAKERS

261

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262

SOME ELEMENTS OF SOUND

A movie making engineer discusses, in their simplest terms, the fundamentals of sound
JOHN R. HEPELE, ACL

WHAT is sound? Insofar as the amateur movie
maker is concerned, it is a vibration cf the air
which enters the ear and is transmitted to the
brain, causing a sensation which humans call sound.
Graphically speaking, the vibration travels through the
air in very much the same manner that waves, initiated by
a stone dropped into a pool of water, travel on the surface
of the water, expanding at a certain rate in all directions
from the source.

In Fig. 1 a bell is the source of sound. When the clap-
per strikes the body of the bell, the bell is caused to
vibrate. This vibration is passed on to the surrounding
air which is alternately compressed and decompressed.
These alternate compressions and decompressions of the
air fall on the ear and we hear the ringing of the bell. The
source might have been a violin or a trumpet, in which
case you would hear a musical tone. Or, as a person
speaks to you, his vocal cords are the sound source and
you hear his voice.

SOUNDS HAVE AMPLITUDE
Loud sounds are like big waves on the water. In Fig. 2
the upper curve represents a fundamental sound of large
amplitude, or a loud sound. Weak sounds are like small
waves on the water. The lower curve represents the same
sound, but with small amplitude or a weak sound. The
amplitude of the wave, whether it be a water wave or a
sound wave, is equal to the vertical distance between the
crest and the trough of the wave.

SOUNDS HAVE FREQUENCY

Waves of low-pitched sounds are long and rolling, as
shown in the solid curve of Fig. 3. There are wide spaces
between the crests. High-pitched sounds produce waves
in rapid succession with short spaces between the crests,
as shown in the dotted curve. The number of complete
waves passing a given point in one second is referred to
as the frequency of the sound. In the illustration the low-
pitched sound completes one wave or cycle in one second,
whereas the high-pitched sound completes four waves or
cycles in the same time.

Audible sound frequencies cover a range from about
16 cycles per second to about 20,000 cycles per second,
the range varying considerably with the hearing ability of
individual ears. Orchestral music generally is a mixture
of sound waves from about 30 cycles per second to about
18,000 per second, depending upon which instruments are
used to produce the sounds. The frequency range of male
speech is from 100 cycles per second to about 8,500 cycles
per second and of female speech from about 160 cycles per
second to about 10,000 cycles per second.

SOUNDS HAVE OVERTONES

Let us now suppose that we are listening successively to
two sound waves of differing frequencies — one vibrating
at about 1000 cycles per second, the other at about 2300
cycles per second. Our ears tell us immediately that the
first souad is lower in pitch than the second. But they also
tell us that both, of these frequencies are pure or funda-

ONE. SECOND

LOW PITCH-

HIGH PITCH

FiS. 3: Frequency, the number of complete waves passing
a given point in 1 second, is a measure of sound's pitch.

FIG. 1: Vibrations from the struck bell are carried by the
oir to the ear to create in the brain a sensation of sound.

CREST

LOUD SOUND

CRE.ST

TROUGH

TROUGH

WEAK SOUND

FIG. 2: Amplitude, which designates the relative loudness
of any sound, is measured from wave's trough to its crest.

FIG. 4: Overtones B and C, called second and third harmonies,
combine with pure tone A to create the composite sound wave D.

Diagrams by J. C. Vogel, ACL

GINAI A 1

263

ORIGINAL
SOUND

WIRES

AMPLIFIED
MICROPHONE AMPLIFIER SPEAKER SOUND

FIG. 5: Reproduction of sound, from mike thru speaker, is seen above.

FRAME

LbhfEj

„ FRAME i£~ !

MEMBRANES

FIG. 6: Sound waves, impinging on crystal elements of micro-
phone, are transmuted by them into small electrical signals.

mental tones. They are thus pure or fundamental in tone
because they were generated by an electrical device called
an oscillator.

In actuality, very few of the sounds which we hear are
fundamental tones. For example, when a key on the piano
is struck, the tone we hear is a composite tone consisting
of the fundamental with several harmonics or overtones
superimposed on it.

In Fig. 4 curve (A) represents the sound wave given
off by a violin string vibrating as a whole. This is the
fundamental sound wave. Curve (B) represents the sound
wave of the string vibrating in halves. It shows what is
called the second harmonic. Curve (C) represents the
sound wave of the string vibrating in thirds. It shows what
is called the third harmonic. Curve (D) is the composite
sound wave which we would hear. It is obtained by adding
or subtracting the vertical heights of waves (A) , (B) and
(C) for each frequency as indicated at the position
marked (X-X).

The harmonics or overtones are weaker sound waves
that accompany the basic or fundamental sound wave
produced by any musical tone. They correspond to the
little ripples on the surface of a big ocean wave.

The process of adding, without limit, still finer wave
forms to larger wave forms accounts for the ability of
sound waves to transmit simultaneously each of the neces-
sarily complex and overlapping frequencies of all sounds,
from symphony orchestras to the pounding of ocean
waves. In the complex of orchestral sound it is the har-
monics or overtones which distinguish easily each partic-
ular instrument.

THE RE-CREATION OF SOUND

So much for the theory of sound. Let us now consider
how the amateur movie maker uses sound to provide nar-
rative, music and special effects for his pictures: to empha-
size the action he sees on the screen; to set the tempo of
the action and establish the mood of the pictures.

To provide narrative and special effects which are not
recorded on phonograph records he uses a microphone,

-PERMANENT
MAGNET

CONE OR DIAPHRAGM

FRAME

FIG. 7: Amplified signals cause coil to move speaker
cone, creating air waves "heard" by the ear as sound.

PICK-UP

RECORDING AMPLIFIER SPEAKER ^OUND0

FIG. 8: Reproduction of sound, from record to speaker, is seen here.

c lamping pad

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JJIlil i nilf y

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leads

crystal

moisture proofed

Stylus

FIG. 9: Mechanical vibrations from record, picked up by needle, are
borne by torque wire to crystal, where strain creates electric signal.

an amplifier and a speaker in order to have them loud
enough for an audience to hear.

Fig. 5 shows how these are connected together. The
original sound produced near the microphone sets up air
waves which upon reaching the microphone are changed
to electrical waves of the same form as the sound waves.
In a crystal microphone, for instance, the electrical waves
are transformed into voltages. These voltages, which are
very small in magnitude, are connected to the amplifier.
The amplifier builds up the small voltages to currents of
sufficient strength to operate the speaker. These currents
flowing through the speaker are converted to mechanical
vibrations which compress and decompress the surround-
ing air to produce sound waves of the same wave form as
the original. These sound waves reach your ears and you
hear the narrative or sound effect, but with greater volume.

ELEMENTS OF THE MICROPHONE
Let us now consider separately each of the units in
this sound system. There are many types of pickup micro-
phones, but we will limit ourselves to the one most gen-
erally used, the crystal microphone.

This microphone, as diagramed in Fig. 6, consists of
two crystal elements assembled [Continued on page 270]

264

THE AUTHOR, left, models his portable
editing rack to show its general size.
At right it is open and ready for use.

EDIT WHEN YOU WISH TO

With this portable editing rack and storage

case, your film clips are always at the ready

AT first thought, a portable editing rack suggests that
i you are going to do this sort of work on the road,
in the field or otherwise away from home. Nothing,
in my experience, could be farther from the fact.

For the editing rack here pictured was designed spe-
cifically for use in a smallish city apartment. And, unless
you are blessed with a separate work or play room, you
too may find it a handy accessory. It permits compact
and dustproof storage of your film clips between editing
sessions and, during these sessions, it provides for the
easy transport of your film footage to whatever room
you are accustomed to work in. Want to try one?

Very well . . . The chief component is a piece of ply-
wood, in my model 30% inches long, 16^/2 inches wide
and % of an inch thick. Into it are drilled 120 circular
holes in 8 rows of 15 holes each. These holes, which are
1% inches in diameter, penetrate the plywood and thus
in the finished article are % of an inch deep. To provide
a flooring for them, a baseboard of identical dimensions
as the hole board, but only ^4 of an inch thick, is then
nailed and glued to the bottom of the storage panel. And
to protect the coiled film clips against scratching, each
hole is lined with self-adhesive green baize obtainable
at most dime stores.

To frame this component, strips of wood % inch thick
are now mitred and affixed around the four sides. Since
these strips are l1/^ inches wide, if you position them
flush with the baseboard at the bottom of the unit, they
will leave a rebate % inch deep at the top. Into this you
can then fit the cover to your editing case, since it will
be made of a sheet of plywood just % of an inch thick.
Since this cover (which is hinged at the bottom) fits
flush into the recess left by the frame, it is necessary to
insert near its upper edge a small, brass finger-pull open-
er. The cover is held in the closed position by a pair
of small turn-catches mounted along the upper edge
which rotate into position on the top of the lid. A suit-
case handle for carrying, and four small rubber feet on
the case's undersurface, round out the construction. You
may then finish off the case as your taste dictates —
either with black paint as I did or by covering it with
one of the many artificial leather or fabric compounds.

MAURICE DALLIMORE, ACL

The entire cost of this editing unit, which I was forced
to have made by a carpenter, came to exactly ten dollars.
If you have and can use the simple carpentry tools in-
dicated, you should find your expenses far less.

The technique of using this type of editing file is prob-
ably known to many of you. But, for those amateur
filmers who have just joined the class, a quick rundown
may be in order. To begin with, the 120 storage holes
are numbered consecutively from 1 to that total. With
the empty case before you, now project your processed
rolls of film slowly, stopping after each scene (or re-
lated scenes) to number and list it on a sheet of paper.
With the list complete, you may then cut the scenes apart
and file them in holes corresponding in ordinal numbers
to your scene listing.

A second scene listing is now compiled on paper, in
which you rearrange (or edit) the scenes into the order
you feel they will best tell your film story. For example,
the first scene on this edited list might read: 1 — LS of
Ocean House Hotel with beach in foreground (6). The
numeral "1" in this case will indicate that you want this
scene first in your edited footage, while the "6" shows
that it is in compartment 6 on the editing rack. With all
of your scenes edited on paper in this manner, it is then
a simple operation to splice them together in the order
indicated.

In closing, let me say that my editing rack as dimen-
sioned was designed primarily for 8mm. film — which is
the gauge in which I work. As such, I have found that
the 120 compartments will accept easily the footage from
five full reels of 8mm. film. Used for 16mm. footage, the
rack will be almost equally capacious, since the % inch
holes are more than deep enough to accept this width.
However, since each 16mm. scene requires twice as much
linear footage to tell its story, it may prove that the 1%
inch diameter of the holes as shown is a bit snug. In
that case, you can easily expand the diameter to 2 inches.

And remember, with this portable and self-covering
editing rack you can commence and break off your edit-
ing operations at any time. No longer need you stay up
half the night to finish the job against the "little
woman's" wrath at a littered living room the next day.

LET'S BUILD A CARPOD!

265

YOU'LL have to ask the AAA, not the ACL, how many
millions of miles Mr. and Mrs. America drove this
past summer. We wouldn't know. But you won't
have to ask either of them to know, if Mr. and Mrs. A
were movie makers, that sooner or later they took some
hand-held shots from their moving car. Nor, if you too
have tried it, will you have to ask arayone whether these
hand-held horrors were any good. Let's face it: they
were not!

The answer, as any experienced filmer will tell you,
is to mount your car-borne camera on some sort of sup-
port which is directly integrated with the car itself. And
the more directly integrated, the better will be your re-
sults. For, after all, your 2 ton automobile has far more
inertia than your body ever could have. And it's inertia
that turns the trick.

A tripod, with its shortened legs set up in the front-
seat space, offers one method of good filming from a
moving car. But, after using this system off and on for
years, I decided last summer that it was always incon-
venient and occasionally cumbrous. For with it you now
have to brace and steady the tripod itself, in place of
the camera which it is supposed to support. Thus, I
concluded that a carpod, self-supporting and self-bracing,
was the only real answer. The design which you see
pictured on this page was the result.

In its simplest analysis (see Figs. 1 and 2) the unit
is comprised of two wooden uprights, one wooden cross-
piece at their lower ends, one wooden platform or shelf
to accept your tripod head at their upper ends, two wood-
en angle braces supporting this shelf, and two metal
straps to tie the unit directly to the car body.

This tie-in (to take last things first for a moment)
proved to be the easiest part of the operation. For we
found in our car that the hinge
for the glove compartment door
was held in place by three %
inch screws. It was a simple
matter, therefore, to remove
two of these and to replace
them with similar screws which
were enough longer to accept

GEORGE MERZ, FACL

the indicated washers and wing nuts (see Fig. 2). With
this clone, the ends of the metal straps were then slotted
(see Fig. 1) rather than drilled. For with drilled holes
it would be necessary to remove completely the nuts and
washers each time the carpod was used; with the slotted
strap ends, a slight turn-back of each wing nut is all that
is required.

But, as suggested above, we get ahead of our story.
You cannot, obviously, install a carpod as just described
until you have assembled a carpod to install. So let's
turn back to the beginning . . .

The most critical factor in assembling your unit is
exact levelness. For if the upper shelf is not level (at
least from side to side), your camera mounted on it will
not be level and it will never record for you a true hori-
zon. Thus, begin by placing your car during the assem-
bly operation over a spot (your garage floor, perhaps)
that is truly horizontal.

You are now ready to fabricate the stand. Start with
two pieces of dressed wood for the uprights. Mine were
1 by 2 inches in size and were longer before trimming
than they could ever need to be to support the camera
platform. Align these two uprights % of an inch outside
of the center line of the dashboard screws, hold them
plumb and make ready to fashion and attach the bottom
cross-piece from another strip of 1 by 2 inch wood.

You probably will notice at this point (as I did) that
the floor of your car slopes downward slightly from its
center point. Your bottom cross-piece should follow that
slope, which will mean in turn that the right (or outer)
leg of your carpod must of necessity be slightly longer
than the left one if, in the end product, the top platform
is to be exactly level with the ground.

After you have fastened the [Continued on page 275]

Convenience, a quick setup and satin-smooth shooting

are yours with this easy-to-make camera mount

FIG. 1: All essential units of carpod save
basal cross-piece are seen above.

FIG. 2: Cross-piece and easy method of strapping
camera stand to car are pictured herewith.

FIG. 3: Even with camera in place, note here and
at left the ample leg room for movie maker.

266

HOLLYWOOD'S NEW ASPECT

JACK E. GIECK, ACL

An analysis of the "new" wide-screen projection systems
. . . and what might be done to improve them

SINCE 1946 some 5000 U. S. movie theatres have
nailed up their doors. And every day, on the average,
three more marquees glumly spell out the familiar
"Closed Until Further Notice."

Justifiably alarmed over the steady encroachment of
television, Hollywood is clutching desperately at anything
that looks like sure box-office. After the phenomenal
success of Bwana Devil, for example, there began a major
3-D stampede, despite the limitations of the medium (see
Stereo Movies, Movie Makers, May 1953). House of
Wax, Man in the Dark, A Day in the Country, Fort Ti
and Sangaree have already made their appearance, and
at least ten more stereo films are scheduled for early
release.

Meanwhile, with Cinerama selling out every per-
formance, it was obvious to the movie moguls that the
great curved screen had much popular appeal (see /
Saw Cinerama, MM, January 1953). Indeed, Cinerama
seemed to achieve the illusion of depth without the use
of stereo and produced an unparalleled "sense of par-
ticipation" which set audiences screaming and squirm-
ing in their seats. Meanwhile, in another theatre a few
blocks away, patrons of Bwana Devil sat trying to get
their glasses on straight. Ergo, Hollywood en masse got
to work on wide-screen projection.

CINEMASCOPE PIONEERS WIDE SCREEN
20th Century-Fox shortly scooped the industry with
CinemaScope, a process which employs a cylindrical an-
amorphic lens on the camera to compress an extra-wide
picture onto standard 35mm. film, and then spreads it
out again onto a mammoth curved screen by means of
a similar auxiliary lens on the projector (see Cinerama
vs. Cinemascope, MM, July 1953). It was stated origin-
ally that the resulting CinemaScope screen had an aspect
ratio of 2.66:1, which is to say that it was 2.66 times as
wide as it was high, in comparison with the standard
frame proportion of 1.33:1 — or, inverting the order, 3

Photographs by Tony Spina f:

to 4. This seemed reasonable, since Fox uses a 2x ana-
morphic lens and 2 x 1.33 equals 2.66.

2.66 ASPECT SHRINKS TO 2.55
Currently, however, the boys on the Fox technical team
(as, for example, in their writings for New Screen Tech-
niques, a recent and presumably authoritative book on
the subject) give the figure as 2.55:1. Could this mean
that Fox felt 2.66:1 was just too attenuated for public
acceptance, with the resulting screen image looking like
a piece of ribbon? In any case, the technicians have
arrived at the 2.55:1 figure as the result of a new frame
size for CinemaScope — .715 x .912 inches as opposed
to the established camera aperture of .631 x .868. Since,
however, the aperture plate on each exhibitor's projector
determines the final screen format, this change of frame
proportion (from 1.33 to 1.275:1) would seem thus far
to be purely academic. Nevertheless, Fox, confident that
its broad, cycloramic picture is the answer to the in-
dustry's financial woes, has announced that all of its
future productions will be filmed in CinemaScope; fur-
thermore, it has offered to license the process to other
studios at $25,000 per production. At least one studio,
M-G-M, has already signed up.

SHORTER LENS EQUALS WIDE PICTURE
But Fox's panacea lent no comfort to the producers of
some $330,000,000 worth of pictures already "in the
can" and awaiting release. Paramount, in particular, has
a $42,000,000 backlog. To save this backlog, and to avoid
the expense of renting CinemaScope for future produc-
tions, the major studios cast about for a means of achiev-
ing wide-screen projection with films produced by stan-
dard methods.

The solution proved to be ridiculously simple: by em-
ploying a projector lens of wider angle (shorter focal
length) than was normal for the 1.33:1 screen, the
projected image is spread over a larger area than normal.

HEMISPHERICAL LENS, covering 140° in both directions,
is shown on projector by Jam Handy technicians. Curved
screen corrects distortion seen left.

267

CLASSIC SCREEN PROPORTION of 4-to-3 (1.33:1) is compared in
overall picture above with new aspect ratios being groomed by

A wider screen is then installed to match in width the
spread of this projected image. But, since the aim is not
simply a larger screen, the spread in height created by
the wide angle lens is masked off, top and bottom, at
the projector gate. To this pictorial result there would
then be added some form of stereophonic sound, and —
presto! — you have a "new" picture.

Screening their backlog of films through cropped
projector apertures, the major studios found that, with
few exceptions, they could get away with this process.
Scenes in future films, of course, could be composed for
the new frame, or even on a "double standard" — that is,
a conventional 1.33:1 frame could be composed with
enough space above and below important action to allow
for cropping the vertical dimension.

Undoubtedly guided by the number of actors' heads
which were chopped off in the backlog screenings, each
studio has established its own new aspect ratio, and the
array of figures which has resulted is enough to make
any exhibitor go into the grocery business. Here is the
way they stack up:

Paramount 1.66:1

Metro-Goldwyn-Mayer 1.75:1

Universal International 1.85:1

20th Century-Fox (CinemaScope) 2.66:1

Warner Brothers and RKO, although primarily en-
trenched in stereo, have expressed their preferences for
2.00:1 and 1.70:1, respectively.

WILL THE PUBLIC BUY?
Entirely aside from the utter panic which this state
of affairs must generate in the average theatre manager
is the vital consideration of whether wide-screen projec-
tion will entice more people into movie houses — or
whether, for that matter, the public will even accept it.

1.33:1-

Hollywood for wide-screen shows. Amateur can duplicate effect by
using wide angle projector lens and masking projector aperture.

Audiences have, after all, been conditioned by three
generations of frequenting nickelodeons, presentation
houses and picture palaces to the classic 3 by 4 rectangle
(1.33:1). True, wide screen has cropped up spasmodical-
ly since 1897, when the Corbett-Fitzsimmons fight was
photographed in Carson City, Nevada, with an aspect
ratio of 2:1. It was 20th Century-Fox, who, in 1929,
brought out the short-lived 70mm. film process called
Grandeur. And, even during the dark depression years,
many big city theatres boasted a Magnascope Panoramic
Screen, which they used in conjunction with a wide angle
projection lens to create spectacles out of sports events
and other special subjects. I recall seeing a full-length
feature, The Warriors Husband, on such a screen at St.
Louis' Fox Theatre in 1933. But, with few exceptions,
motion picture screens (and television screens too for
that matter) have observed the 1.33:1 aspect ratio first
established by Thomas Edison back in 1888.

In defense of wider aspect ratios, Time has cited Py-
thagoras' "Golden Rule" which, applied to a rectangle,
decrees that 1.61:1 is the most pleasing frame. The Inter-
national Projectionist, a theatrical operators' journal, has
amended its former preference of 2:1 and is now stump-
ing for a screen somewhere between 1.66:1 and 1.85:1.
Many critics, however, have leveled a finger at the "rib-
bon effect" of CinemaScope (2.66:1) and there is no
question but that composing a frame longer than a dollar
bill (2.35:1) will take lots of artistic ingenuity. Holly-
wood's state of confusion on this point is pretty obvious
from the studio double talk already quoted by Movie
Makers in its challenging August editorial: "Closeups
are possible and tremendously effective, but are seldom
needed."

My own feeling is that the esthetics of frame propor-
tion are secondary to such con- [Continued on page 277]

268

The London Times — World Copyright
reserved by Himalayan Committee

Sixteen sees

EVEREST

FILMING the 1953 expedition to Mount Everest was by
far the most difficult job I have ever attempted. Work
in the Antarctic, in comparison, was a "piece of
cake."

The completed film, which will run to feature length,
will be a 35mm. Technicolor "blow-up." All the original
material, however, was shot on 16mm. Kodachrome at
sound speed.

We took six 16mm. cameras: two Bell & Howell 70-
DLs and four magazine-loading Auto Loads made by
G. B. Equipments (i.e., Gaumont-British, Bell & Howell
licensee in the United Kingdom, is a member company of
the J. Arthur Rank Organization — The Editor). All my
filming was done on one of the 70-DLs, but it seemed
advisable to take a spare because on a previous expedition
I had dropped one over a 150 foot cliff. The smaller mag-
azine cameras were handed out to other members of the
party and on later stages of the climb proved invaluable.

In the Himalayas, film equipment is subjected to con-
siderable heat, cold and rain and there may be a range of
temperature change of 100° C. Before we left England,
all the cine cameras were lubricated with special greases
and then tested at — 45° C. (the lowest temperature pos-
sible on Everest) in a cold chamber at the Royal Aircraft
Establishment, Farnborough.

Frostbite is not a serious danger for most of the time
on Everest. But as a precaution the metal parts of the
cameras had been covered with cloth and special trigger
releases had been fitted so that we could start and stop
the mechanisms with our gloves on. I did most of my film-
ing wearing thin silk gloves.

Keeping the weight down, of course, was of prime im-
portance; even with a special tripod I was still carrying
30 pounds of film equipment. And it goes without saying
that the cameras had to be robust. They had to stand
being carried 200 miles there and 200 miles back by
Sherpa porters who are more concerned with getting to
a place than with handling their loads carefully. But all
the 16mm. cameras behaved well; only once on the expe-
dition did something seem wrong.

The official cine-cameraman of the victorious attack
on Mount Everest describes the trials of his great
adventure

THOMAS STOBART, F.R.G.S.

CAMERAS IN BED
During the climb, I carried the 70-DL on
my back in a rucksack. To prevent condensa-
tion forming on the lenses when I set the
camera up in the cold air, I kept it in a plastic
bag from which the air was squeezed out. At
the beginning of the journey I used to have
the cameras with me in my sleeping bag to
keep them warm at night, but this proved too
cold and uncomfortable.
Because of the altitude, I had ultraviolet filters on the
lenses. Whenever there was time, I used a Norwood ex-
posure meter or the S.E.I, photometer. Despite the bril-
liance of the snow, it was rare that the camera had to be
stopped down below //ll at 24 frames per second.

THE AUTHOR, a Fellow of the
Royal Geographic Society, fo-
cuses his Filmo 70-DL on a dis-
tant Himalayan peak. B&H
cameras provided the entire
cine coverage of Everest ex-
pedition.

HUNTING HUMAN INTEREST

Our first base was the monastery at Thyangboche, a
wonderful situation. Since the film is intended to be some-
thing more than a record of the expedition, human inter-
est was most important. While some members of the
expedition were acclimatizing themselves, therefore, I
went down to one of the Sherpa villages to get pictures of
the local life. Filming the Sherpas was not easy. When I
said "Don't look at the cameras," they took me too seri-
ously and turned their backs. Tensing, of course, was an
exception. He has a most wonderful presence and his
famous smile was always there.

On the first day of the approach to Everest one of the
main snags of being an official cameraman showed itself.
After unloading my gear, getting into position, filming
and packing up my equipment again, I was so far behind
the party that for the rest of the day I was trying to catch
them up. The march was heavy going. Often I would be
longing for a cup of tea at the next stopping place, only
to find when I got there that I had to spend my own time
filming the rest of the party enjoying their drinks.

On the ice fall leading into the Western Cwm, I found
my energy becoming less as the height increased. Soon I
was only taking about 100 feet of colour film in a day —
perhaps enough to make a minute's running time in the
final film. Filming made me rather unpopular on the ice
fall; for it was dangerous there and everyone wanted to
move on as quickly as possible.

At Camp 3, just inside the Cwm at the top of the fall,
I filmed a snowstorm which should look quite effective on
the screen. I think it gives a wrong impression of what
happens on a mountain if all the weather sequences are
the same.

The advance base inside the [Continued on page 277]

1

MOVIE MAKERS

269

Tommy Kojima, do FPO, San Francisco,

Calif.
C. H. Ward, Bethesda, Md.
Dr. Henry Darner, Washington, D. C.
Mrs. John R. Minesinger, Takoma Park,

Md.
George C. Behrens, Washington, D. C.
H. H. Morrison, Takoma Park, Md.
Mrs. Sandra R. Thaw, Washington, D. C.
A. G. Ingram, Cambridge, Md.

Artur Fernandes Barreto, Beira, Portu-
guese East Africa

Dr. Carol Vouaux, Ozone Park, N. Y.

R. M. Dinsmore, New York City

Albert Hardy jr., Cleveland, Ohio

E. M. Reed, Sellersville, Pa.

Francis P. Marcario, Brooklyn, N. Y.

R. M. Mann, West Lafayette, Ind.

Wesley W. Baughn, Plattsburg, N. Y.

Mrs. Raymond V. Frick, San Francisco,
Calif.

William F. Hanks, Lufkin, Texas

Monte Foreman, Santa Fe, Calif.

W. H. Rabbetts, Gatooma, Southern
Rhodesia

Eric J. Sheldon, Yonkers, N. Y.

Celia M. Kingham, Auburndale, Fla.

Philip E. Kirman, New York City

Victor Ratnavale, Geneva, Switzerland

A. C. Bogdanovich, M.D., Cape Palmas,
Liberia

Bill Elwell, Las Vegas, Nev.

Joseph Novak, do PM, New York City

J. Carl Palmer, New Martinsville, W. Va.

Walter Berlet, Casper, Wyo.

W. C. Moore, Great Falls, Mont.

Adah Bakalinsky, Nellis AFB, Nev.

C. E. Bounds, Kingsville, Texas

Louis Nugent, Muskegon, Mich.

Cornelius Van Dop, Muskegon Heights,

Mich.
Theodore Gabelia, College Point, N. Y.
Chaplain Lloyd A. Doty, do FPO, New

York City
Packard Camera Club, Warren, Ohio
Mrs. Annette K. Walker, Denver, Colo.

Dr. J. M. Barnes, Montgomery, Ala.

William McC. Baumann, Lakewood, Ohio

C. W. Harris, New Orleans, La.

Nellie L. Patterson, do PM, New York City

Howard Reed, Detroit, Mich.

Satoshi Sugiyama, Yokohama, Japan

Mrs. Marcella Green, Philadelphia, Pa.

George A. Nott, London, England

Simon Perle, Haifa, Israel

Capt. William S. Baxter, do PM, San

Francisco, Calif.
Joseph Perlman, Vineland, N. J.
Grant G. Thompson, Colorado Springs,

Colo.
Stephen C. Buczynski, Cleveland, Ohio

W. H. Shepherd, Dunedin, New Zealand
Edward Krivak, Suntrana, Alaska
Jerome Schulman, New York City
George Finn, Nutley, N. J.
Herbert M. Karol, Needham, Mass.
Dr. T. Norbert Kende, Louisville, Ky.
Milton Kerlan, Beverly Hills, Calif.
Harry F. Recker, York, Pa.
Frank Renfrey, Newark, N. J.
Dr. Marcel Reichenbach, Guatemala City,

Central America
A. E. Kellett, Augusta, Ga.
W. C. McGuire, Anadarko, Okla.
Earl Redman, New Britain, Conn.
Herman Lange, Fort Lee, N. J.
Carl Stam, Deer Park, N. Y.
Richard Bailey, Clarksville, Tenn.

THE RALPH R. ENO CORP.

626 W. 165 ST. • NEW YORK
Send your film (or free criticism or estimate

GEO. W. COLBURN LABORATORY INC.

164 NORTH WACKER ORIVE'CHICAOO 6
TELEPHONE STATE 2-7316

8 and 16mm
SERVICES

SOUNDCRAFT

in the new

TAPE-CHEST*

Soundcraft, the world's finest
high-fidelity recording tape— now
available in a handsome, permanent
filing cabinet. The "Tape-Chest" stores
five reels of 5" or 7" tape in individual
drawers. If is yours at no extra cost
with the purchase of five reels of tape.
The perfect way to file, protect
your valuable recordings.

REEVES

SOUNDCRAFT

CORP.

10 East 52 St., Dept. E-10, N. Y. 22, N. Y.

*PAT. APPLIED FOR

270

OCTOBER 1953

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Brownie F/1.9 A new model of
Kodak's most
popular movie maker — the Brownie
8mm. movie camera — featuring a fixed
focus //1.9 Cine Ektanon lens, has just
been announced by the Eastman Kodak
Company. Listing at $49.50, the new
camera is said to be the only unit with
an //1.9 objective ever to be offered
at such a low price.

With the exception of the faster lens,
this new Brownie camera is identical
in all respects with the standard f/2.1
model. This latter camera will continue
to be offered at $39.75.

Baia editor New this month is the
Baia Standard action
editor, a product of Baia Motion Pic-
ture Engineering, Inc., 120 Victor Av-
enue, Detroit 3, Mich.

Featuring the company's character-
istic "quick takedown" design, the
Standard editor is comprised of 800
foot rewind spindles, the Baia splicer
and the action viewer. List price with-
out case is $56.75, while a fitted carry-
ing and storage case is offered at $7.95.

$$ for ideas At the close of 1952>

$1,672,368 had been
paid to employees of Eastman Kodak
during the 55-year operation of the com-
pany's suggestion system.

The highest single award, $11,386,
was made recently to Irving Fellows, an
engineer in EK's Navy Ordnance Divi-
sion, who conceived an idea for revising
a stacking assembly fixture.

Radiant Thrifty The Thrifty, an in
expensive table
and wall model projection screen, has
been announced by Radiant Manufac-
turing Corporation to sell for $3.95,
$4.95 and $5.95 respectively, in sizes
of 18 by 24, 22 by 30 and 30 by 30
inches. The surface is Radiant's Perma-
White fabric.

Victor 1600 Arc A new and port-
able 16mm. arc
projector, the Victor 1600 Arc, has
been announced by the Victor Animato-
graph Corporation, of Davenport, Iowa.
Comprising the unit are three easy-to-
carry pieces — a rectifier, speaker and
lamphouse. These components, finished
in Victor sage green, can be assembled
and put in operation in less than five
minutes.

Designed for school, church and in-

THE BROWNIE, Eastman Kodak's popular movie
maker, is now yours with f/1.9 lens at $49.50.

dustrial uses, the Victor 1600 Arc de-
livers 1600 lumens on the screen for a
58 minute show without change of car-
bons. The machine will list at $1845.

Sholderpod Strikingly similar in
its essential design to
the gunstock camera mount pictured
by Warren A. Levett, ACL, in Gadgets
Galore (see Movie Makers, October
1952), Sholderpod is a new, lightweight
camera base which should appeal to
cine and still cameramen alike.

Designed with three-way adjustments
to accommodate all cameras in any
shooting position, the unit rests the
weight of the camera on the shoulder
rather than against the armpit. Shold-
erpod, which lists at $9.95, is a product
of Monu Inventions Corporation, 1966
Park Avenue, Denver, Colo.

Quickies Enteco Industries, Inc., 610
Kosciusko Street, Brook-
lyn, are now making adapter rings and
filters to fit the Astro-Berlin lenses
which range in focal length from
125mm. through 400mm.

All Wollensak lenses containing ce-
mented elements will now employ
thermo-setting cement. The adhesive is

VICTOR 1600 ARC, designed for school, indus-
try and auditorium use, is latest in Victor
Animatograph's line of sound projectors.

said to be stable throughout tempera-
tures ranging from — 60° to 4~±(30°
Fahrenheit.

Kodak Hawaii, Ltd., a subsidiary of
the Eastman Kodak Company, will pass
its quarter century mark this year in
Honolulu. Fred B. Herman, Kodak
Hawaii manager known to many ACL
visitors to the Islands, remains on the
job.

Some elements of sound

[Continued from page 263]

back to back within a rectangular frame
sealed by two flexible membranes. The
crystal elements are held together by
two resilient mounting pads, located in
such a manner as to provide proper
damping characteristics and to separate
the elements, permitting them to deflect
under application of sound pressures.
No diaphragms are required, since
sound pressures contact the crystal ele-
ments directly. The completed unit is
impregnated with wax to render it air-
tight and moisture proof.

Each crystal element consists of two
thin Rochelle salt plates cemented to-
gether. The assembled unit is mounted
in a housing to provide ease in handling
and protection to such a sensitive de-
vice.

Let us suppose that the sound waves
set up by the original source are im-
pressed upon the microphone. The pres-
sure on the crystal elements tends to
cause them to bend. Since the edges of
the elements are firmly fastened in the
frame, the bending will cause the ele-
ments to be strained and a small voltage
will be generated in them. By connect-
ing the two elements together electri-
cally, the voltages generated are added
to produce a larger voltage.

ELEMENTS OF THE AMPLIFIER

Much more space than we have avail-
able would be required to explain thor-
oughly the operation of the amplifier.
For the purpose of this discussion we
need only to say that the amplifier is a
combination of electrical components,
such as resistors, condensers, vacuum
tubes and transformers, which builds up
small voltages to higher voltages. These
are delivered through the output trans-
former to the speaker. These voltages,
of the same wave form generally as the
sound waves, cause currents to flow
through the speaker coil.

ELEMENTS OF THE SPEAKER

There are several types of speakers,
such as the moving coil type, the crystal
type and the older and no longer used
moving armature type. Since the moving
coil (permanent magnet) type is the
most popular one we will limit our dis-
cussion to it.

As shown in Fig. 7, the permanent
magnet speaker consists of a permanent

MOVIE MAKERS

271

magnet which produces a magnetic
field, a coil which is mounted in the
magnetic field in such a manner that it
is free to move in the field, and a cone,
the inner edge of which is rigidly fas-
tened to the coil and the outer edge to
the speaker body.

When the currents from the amplifier
are passed through the coil winding, a
reaction takes place which causes the
coil to move. Motion of the coil is back
and forth, depending on the currents
through it which are of the same wave
form as the original sound. The move-
ment of the coil pushes the cone back
and forth, compressing and decompress-
ing the adjacent air to produce the
sounds which we hear.

Moving coil speakers may have an
electromagnet instead of the permanent
magnet mentioned previously, but the
operation is identical.

ELEMENTS OF A RECORD PLAYER

When the movie maker wishes to pro-
vide music for his pictures, or to dub in
recorded sound effects, he uses a turn-
table, phonograph pickup, amplifier and
speaker. These are connected as shown
in Fig. 8.

The turntable consists of a plate
mounted on a motor, usually electri-
cally driven, the speed of rotation of
which can be exactly controlled to 78,
45 or 33 1/3 revolutions per minute,
depending on the recording to be re-
produced. At whatever rate of rotation,
the turntable should run at a constant
speed to prevent "wows," or changes in
the pitch of the music.

Several types of pickup are available,
such as the magnetic and the crystal
types. For the highest quality of repro-
duction, a magnetic pickup of especially
lightweight construction is used. The
most commonly used pickup is the
crystal type. Those which have a mini-
mum needle pressure are preferable,
since they will create the least amount
of harmful wear on the record grooves.
Let us now look at the construction of
one such pickup.

The fundamental parts of this pickup
(see Fig. 9) are a crystal, a torque

wire, a needle or stylus, leads and a
housing. The crystal is much the same
as the one used in the microphone, ex-
cept that only a single Rochelle salt
plate is used. It is mounted in a housing
with one end rigidly fastened. The
torque wire is secured to the free end.
A permanent sapphire stylus or a means
for holding a removable needle is at-
tached at the outer end of the torque
wire. The outer or stylus end of the
torque wire is held in a bearing so that
it can be turned only about its axis.

When the point of the needle or stylus
is moved from side to side, the torque
wire is twisted. The twist is transmitted
to the free end of the crystal, causing
it to be strained. The strain generates
a voltage in the crystal. This voltage is
conducted from the crystal to the ampli-
fier by means of the pickup leads and
the wires connecting the pickup and the
amplifier. The operation of the amplifier
and speaker is the same as in the setup
using the microphone.

Magnetic pickups generate their out-
put voltage by changing, with the
movement of the stylus, the relative
position of a magnet and a fine coil of
wire.

In one of the more popular types —
a variable reluctance pickup — the
movement of the stylus changes the
strength of a magnetic field which in-
cludes the coil of wire.

Magnetic pickup heads exert very
little pressure on the tiny record
grooves and can be made quite small.
Their output voltage is likewise small,
and more amplification is generally
necessary to increase the audio signal
strength sufficiently to operate the pow-
er amplifiers. This additional amplifi-
cation is supplied by a record pream-
plifier which, additionally, equalizes, or
compensates for, a particular variation
of the recorded frequencies necessary
in the manufacture of commercial re-
cordings.

High quality of music reproduction
and long life of recordings are obtained
by using good magnetic pickups to-
gether with their accompanying equal-
izing preamplifiers.

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272

Chicago defeats effort to

license all projectionists

During a period of thirty five days
this past summer, amateur movie
makers in the City of Chicago — and all
other elements interested in the free
and unlicensed screening of substand-
ard motion pictures — came perilously
close to losing that freedom.

For there was civic legislation pro-
posed during that time which, if it had
passed, would have required the em-
ployment of a licensed motion picture
operator to run any projector — 8mm.
or 16mm. — anywhere in the City of
Chicago save in the home.

This legislation was embodied in a
Proposed Revised Electrical Code
which was prepared by Chicago's Elec-
trical Commission for presentation be-
fore the City Council, the community's
top legislative body.

Key paragraphs in this proposed
Code were Sections 155-8 and 155-25.
They read as follows:

155-8. (Motion Picture Projecting
Machine Operators-License Required) It
shall be unlawful for any person to
operate a professional, non-professional
or miniature non-professional motion pic-
ture projecting machine or device for
any public or private gathering without
first having obtained a license as a mo-
tion picture projecting machine operator;
provided that Sections 155-8 to 155-25
shall not apply to the operation of any
motion picture projecting machine or de-
vice of a miniature non-professional type
for use in a dwelling, when the film used
is not larger than sixteen millimeters in
width, which film is regularly supplied
only as slow-burning (cellulose acetate or
equivalent) film, and when less than fif-
teen (15) amperes of current is (sic)
used.

155-25. (Motion Picture Projecting
Machines Using Fifteen (15) Amperes
of Current or More) It shall be unlaw-
ful for any person to operate a profes-
sional, non-professional or miniature non-
professional motion picture projecting
machine or device or any type of projec-
tion equipment using 15 amperes of cur-
rent or more for any public or private
gathering without first having obtained
a license as a motion picture projecting
machine operator; provided, that Sec-
tions 155-8 to 155-25 shall not apply to
the operation of any motion picture pro-
jecting machine or device of a miniature
non-professional type for use in a dwell-
ing, when the film used is not larger
than sixteen millimeters in width, which
film is regularly supplied only as slow-
burning (cellulose acetate or equivalent)
film, and when less than fifteen (15) am-
peres of current is used.

Appended to these legislative pro-
posals were a series of definitions bear-
ing on their interpretation. Germane
among them were the following:

88-540.4 (b) : Non-Professional Motion
Picture Projector: A motion picture pro-
jector intended for use with slow-burning
(cellulose acetate or equivalent) film
only. A non-professional motion picture
projector shall not be used in public
except for not-for-profit exhibitions.

88-540.4(c) : Miniature Non-Profession-
al Motion Picture Projector: A non-pro-
fessional motion picture projector whose
construction provides for the use of films
of a width less than one and three-
eighths (1%) inches which film is regu-
larly supplied only as slow-burning
(cellulose acetate or equivalent) film.

Had it passed, the effects of this pro-
posed legislation on the free hobby of
amateur movies, as well as on the free
use of substandard motion pictures for
religious, educational, scientific and al-
lied purposes, are too shocking and
too obvious to need detailing here.

That this discriminatory and wholly
unnecessary legislation did not pass
may be credited to the vigorous pro-
tests of all interested parties — includ-
ing Chicago's hundreds of organized
amateur movie makers — once these co-
interested parties were alerted! How-
ever, passage of this "sleeper" ordi-
nance seems to have come dangerously
close to success. As far as the Amateur
Cinema League can determine, from
its several sources of information, the
chronology of events was as follows:

July 23: "Apparently the first effort
to sneak this Code through was on July
23, at which time James Fitzwater, di-
rector of visual education for the Chi-
cago Public Schools, opposed it, along
with representatives from Bell & Howell
and others."

This report, which came to ACL
August 15, well after the battle was
joined, was from Peter S. Bezek, ACL,
of the Chicago Cinema Club, ACL. He
went on to add:

"Jim called me that night (July 23)
and told me what the provisions were
in the Code, since a copy of it was not
obtainable at that time. While officials
stated that it did not apply to amateur
or 16mm. showings, the wording was
so tricky, I am told, that it would be
subject to various interpretations at the
whim of interested parties. Later, a
copy of the Code was obtained and we
passed on the information to all clubs
holding membership in the Associated
Amateur Cinema Clubs (of Chicago)
and to as many others as we knew of."

July 25: Apparently the incident on
which Mr. Bezek thus reports was
caught up by two Chicago newspapers
and brought to the attention of the
general public in their editions of July
25. For Mr. Bezek goes on:

"The Daily News on Saturday, July
25, quoted Jim Fitzwater as saying that
the provisions of the Code would in-
crease public school operational costs
by nearly a million dollars."

Reporting later on the events of that
same day, Arthur H. Elliott, ACL, the
League's Chicago-area director and a

OCTOBER 1953

past president of the city's Metro Mo-
vie Club, ACL, stated:

"Although I was out of town at the
time, it now seems that on July 25 the
Chicago Tribune had published a story
of the attempt to push this 'sleeper bill'
through the City Council. You can well
imagine the uproar there would have
been if some alert reporter had not
been on the job."

July 27: It was on this date, only
three working days after the abortive
attempt at legislation on July 23, that
ACL headquarters was first alerted to
the dangerous situation in Chicago.

The warning came to us from Fred-
erick G. Beach, FACL, former tech-
nical consultant for the League and for
some years now supervisor of motion
pictures for the New York Central Rail-
road, with headquarters in New York
City. As a member of the Industrial
Audio-Visual Association, comprised
of some seventy of America's top in-
dustries using motion pictures, he had
been alerted by the Association's Chi-
cago representative — and immediately
passed the word on to ACL.

The League's first move (on that
same date of July 27) was to wire a
warning to our Chicago director, Mr.
Elliott. He returned to that city on July
29 and at once went into action.

August 3: In the meantime, the Chi-
cago Association of Commerce and In-
dustry issued a warning to its members
under date of August 3. In it they
stated in part:

"It has been called to our attention
that, among other things, this proposed
Electrical Code would change the re-
quirements for licensing operators of
motion picture projection machines . . .
This matter is under consideration be-
fore the City Council and may come
up for a hearing on Thursday, August
6."

August 6: This City Council hear-
ing, which was open to all interested
parties, developed into the decisive
turning point in the now-aroused battle
against the Proposed Revised Electrical
Code.

In attendance for ACL and the or-
ganized amateur movie makers of Chi-
cago was League director Elliott. Also
volubly on hand were representatives
of the National Audio-Visual Associa-
tion, the aforementioned Industrial Au-
dio-Visual Association, the Chicago
Association of Commerce and Industry,
the Illinois Education Association, the
Chicago Board of Education, the Bell
& Howell Company, the Chicago Trib-
une, as well as Parent-Teacher, church
and other groups of allied interests.

Of this gathering, ACL director El-
liott reported by wire to League head-
quarters: "Bill to license projectionists
committed to Building Committee at
yesterday's Council meeting. Will ad-
vise you of final action."

Commenting on the same open hear-

MOVIE MAKERS

273

ing, the Commerce and Industry group
stated in a second bulletin to its mem-
bers: "As a result of the great volume
of protest, the City Council deferred
action upon the proposed Code and
referred it back to the Building and
Zoning Committee for further consid-
eration and recommendation."

August 13: The Building Committee
in turn, loath to handle this now-hot
potato, referred the proposed Code
back to its ostensible sponsors, the
city's Electrical Commission.

Thus, on August 13, the Electrical
Commission itself called an open hear-
ing to consider proposed amendments
to its Proposed Revised Electrical
Code. Present, besides members of the
Commission, were representatives of all
the major interested parties heard at
the August 6 meeting of the City Coun-
cil. Under their urging and guidance,
amendments to the offensive sections
(those cited earlier) of the Proposed
Revised Electrical Code were unani-
mously agreed upon.

August 25-26: This amended version
of the original Proposed Revised Elec-
trical Code was then resubmitted to the
Building and Zoning Committee, which
approved it on August 25. On August
26, at a meeting of the City Council,
it was enacted into law. The amended
versions of the previously offensive par-
agraphs follow:

155-8. (Motion picture projection
machine operators license required.) It
shall be unlawful for any person to op-
erate a professional motion picture pro-
jection machine or device for any public
or private gathering without first having
obtained a license as a motion picture
projecting machine operator, provided
that Sections 155-8 to 155-27 inclusive
shall not apply to the operation of any
motion picture projection machine or de-
vice of a miniature non-professional type
when the film used is not more than 16
millimeters in width which film is reg-
ularly supplied only as slow burning
(cellulose acetate or equivalent) film.

155-25. (Motion picture projection
machines using 15 amperes or more of
current.) It shall be unlawful for any
person to operate a professional or any
type of projection equipment using 15
amperes or more of current for any pub-
lic or private gathering without having
first obtained a license as a motion pic-
ture projecting machine operator, pro-
vided that Section 155-8 to 155-27 in-
clusive shall not apply to the operation
of any motion picture projecting machine
or device of a miniature non-professional
or non-professional type.

88-540.4(b) (Non-professional motion
picture projector.) A motion picture pro-
jector intended for use with slow burn-
ing (cellulose acetate or equivalent) film
only, with film more than 16 millimeters
wide.

With the adoption of these revised
paragraphs, the battle was over. Ama-
teur motion picture projection — and, in
fact, all non-theatrical uses of 16mm.
or 8mm. film and projectors — were spe-
cifically protected from any future
pressure-group efforts to limit or li-
cense them.

The amendments drafted and put

through by the forces of free filming
were shrewd ones. And, since this li-
censing problem is one which will con-
tinue to come up across the country,
it will be well for amateur movie ma-
kers everywhere to analyze the clean,
definitive provisos of these revised par-
agraphs.

To begin with, let us analyze the
two versions of the exception clause
written into Sec. 155-8. In the first and
offensive version, this exception from
licensing was limited to the operation
of a miniature, non-professional pro-
jector which (1) was to be used only
in a dwelling; (2) was to use film not
wider than 16mm., and (3) was to
draw a current load not greater than
15 amperes.

Beside the obvious and sweeping lim-
itation proposed here on the place
where substandard projectors might be
used, it also should be noted carefully
that this paragraph would prohibit the
non-licensed use of all 16mm. arc
projectors. Since such projectors are
used widely in schools and elsewhere,
this too was an important aspect of
Sec. 155-8.

Now let us examine the clear, unam-
biguous and altogether adroit excep-
tion clause drawn up for the amended
version of Sec. 155-8. It states simply
that the necessity for obtaining a li-
cense shall not apply when the projec-
tor used is of the miniature non-pro-
fessional type designed to employ film
not more than 16mm. in width.

Dropped entirely are (1) any re-
striction on the place of use, and (2)
any limitation on the amount of current
load permitted for projection. Since a
"miniature non-professional type pro-
jector" was already defined in 88-540.4
(c) as "a projector whose construction
provides for the use of films of a width
less than 1% inches," it will be seen
that the amended version of Sec. 155-8
frees all substandard projection not
only from any restriction on place, but
also, essentially, from any restriction
on the use of arc illumination.

Nevertheless, such a restriction
(against the use of 15 amperes or more
of current) still stood in the exception
clause of the first and offensive Sec.
155-25. We find also that this clause

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274

OCTOBER 1953

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EQUIPMENT FOR SALE

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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 ver-
sion 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 155-
27 inclusive shall not apply to the
operation of any motion picture pro-
jecting machine or device of a minia-
ture non-professional or non-profession-
al type."

The important accomplishment here
is that the exception clause in amended
Sec. 155-25 now covers not only "min-
iature non-professional projectors" (the
definition of which we already know),
but also the so-called "non-professional
projectors."

There remained now only the neces-
sity 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 in-
tended to point up the amazing fact
that this amended definition of "non-
professional projector," when taken in
combination with the amended excep-
tion clause of Sec. 155-25, actually ex-
tends the freedom from licensing to the
non-theatrical use of 35mm. projectors
— as long as they project cellulose ace-
tate film only!

This accomplishment, and the liber-
ation from licensing of 16mm. arc pro-
jectors, 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 fore-
gone conclusion — once the aroused pro-
tests 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 Chi-
cago now have on their statute books a
series of ordinances which are clearly
and competently in key with modern
developments in motion picture pro-
jectors 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 ama-
teur 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 alert-
ness 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 Ama-
teur 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 Com-
pany, 1270 Sixth Avenue, New York 20,
N. Y.

New Screen Techniques is a collec-
tion 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 Gunz-
burg, 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 elec-
tronic special-effects equipment used by
the television industry and, conceivably
is responsible for the whole motion pic-
ture 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 essen-
tially 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 pro-
tect their unpatented processes from

MOVIE MAKERS

275

each other. Cinerama's inventor, Fred
Waller, for example, uses his chapter to
describe the Waller Flexible Gunnery
Trainer, the forefather of Cinerama and
unquestionably quite a gadget during
World War II. But, personally, I would
have preferred a few revealing back-
stage glimpses of Cinerama itself.

By far the most informative article,
from the standpoint of the movie ama-
teur, is John Norling's chapter on 3-D
photography and projection. Norling
begins by ticking off his empirical tol-
erances on stereoscopic presentations —
samples: images from the two projec-
tors must not differ in size by more
than 14 °f 1 percent; vertical misalign-
ment must not be greater than 3 inches
on an 18 foot screen; camera converg-
ence angle should be kept under 2 de-
grees except under very unusual con-
ditions; interaxial lens spacings much
greater than the human interocular dis-
tance (about 2% inches) cause the
"miniaturization," false depth and dis-
tortion which are characteristic of re-
cent 3-D movies. Norling goes on to
describe five basic stereo cameras,
including his own, and concludes with
a very interesting proposal designed to
eliminate the often-troublesome "stereo
window" by means of vignetted screen
margins, possibly in combination with
a wide screen.

The compatability of wider screens
and 3-D is mentioned by several of the
authors. Even Natural Vision's Milton
Gunzburg, who, understandably, writes
with a sizable chip on his shoulder,
offers the peace pipe to the new aspect
ratios. But there is far more dissension
than camaraderie among the writers;
and one finishes the book with a feeling
of having attended a verbal wrestling
match rather than a technical sympo-
sium.— Jack E. Gieck, ACL.

Let's build a carpod!

[Continued from page 265]

bottom cross-piece (mortising it in as
I did is a refinement, but it is not nec-
essary), determine by trial and error
the platform height which will best
serve you when your pan head and the
camera are mounted in final place. (I
like to have the lens high enough to
include in the bottom of the picture
some suggestion of the car's hood and
the hood ornament; makes for better
perspective with the middle and back-
ground elements.) Mark this height on
one of the uprights; and then, using
a spirit level, carry this same height
across to the other unit, cut both off
as indicated and mount the platform.
All of the joins, incidentally, in my
construction of this carpod were made
with wood screws, which I recommend
over nails.

You are now ready to determine,
again by test, the requisite length of

the metal straps (see Figs. 1, 2 and 3).
The straps I used were % of an inch
wide and 3/16 of an inch thick, and I
began by installing their slotted ends
on the lengthened screws under the
glove compartment. Letting the straps
slant upward naturally from these
fastenings. I moved the carpod (com-
plete with its attached camera) for-
ward and backward until I had found
the most suitable distance to position
the camera lens behind the windshield.
A distance of about 1 inch in my case
still left plenty of room behind the
carpod for slipping in and out of the
front seat. Measurements were then
made for the shape and size of the
wooden angle braces, these were
fashioned and then attached both to
the top platform (see Fig. 1) and at
the sides to the uprights (see Fig. 3).
The outer ends of the metal straps were
then cut to size, drilled and screwed
to the undersurfaces of the braces.

Each make of car will probably of-
fer a differing height relation between
the floor, the underside of the dash-
board (where you will anchor the
metal straps) and clearance above the
bottom edge of the windshield. In cases
where the camera platform has to be
higher than the one pictured here, the
angle brackets may become too large
vertically to look neat. In this event I
would suggest putting a right-angled
twist in the metal straps so that you
can fasten them to the sides of the
upright members. You can then limit
the size of the angle braces to one
which will steady the platform.

The relatively low level of my own
camera platform (as you will see in
Figs. 2 and 3) was made possible fur-
ther by the fact that I was using un-
derneath the tripod head itself a uni-
versal ball-swivel base (see Fig 3),
which is mounted in turn on the three
metal brackets seen on the platform
in Fig. 2. Where only a detachable
pan-and-tilt head is employed, the
height upward will be lessened and the
mounting, of course, will be effected
through a standard 1/4/20 tripod screw.

And now, in closing, a few brief
words on using your carpod to its best
advantage. In the first place, steady
though it is as a camera support, you
will get still better results if you shoot
at the next higher camera speed than
the one you intend to project at; in
other words, shoot at 24 frames per
second for 16 fps projection, or at 32
fps for a 24 fps screening. Tends to
smooth out the bumps. Second, you
will get added smoothness, as well as
increased field of view and a better
sense of movement, if you use a wide
angle lens in all of your moving cam-
era shots. And finally, don't train your
camera at an angle of more than 20
degrees right or left of the line of the
car's movement; beyond that the
images will be blurred and jittery.

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276

OCTOBER 1953

Philadelphia Vacation films, all
taken during the re-
cent summer, were the order of the day
for the first fall meeting of the Phila-
delphia Cinema Club. Among the pic-
tures screened were Across the Chesa-
peake, by Robert Shriver; A Day with
a Dub, by Alexander McCalmont, and
Camping in North Carolina, by Earl
Gard — all on 8mm. stock. A similar
program of 16mm. films will be shown
at the October meeting.

N. Y. Eights The New York City

8mm. Motion Picture
Club has announced a change of meet-
ing place for the coming year. Effective
with their first gathering on September
21, the club now convenes in the John-
son Room of the Columbia University
Club at 4 West 43rd Street, in Man-
hattan.

Los Angeles At their October
meeting members of
the Los Angeles Cinema Club, ACL,
will see films produced by Joseph J.
Harley, FACL, now the League's presi-
dent. The program will include Little
Intruder and In His Own Judgement.
This latter film, which won for Mr.
Harley the 1944 Maxim Memorial
Award, has heretofore been unavailable
for club screenings because of its
tightly integrated audio accompani-
ment. Now, however, a print has been
added to the ACL Club Film Library
with the score recorded on a magnetic
stripe, thus permitting the wider dis-
tribution this great picture deserves.

Ottawa The Ottawa (Canada) Cine
Club devoted its September
meeting to the subject of Queen Eliza-
beth II and her recent coronation. Films
of the London ceremonies taken by
Norman Fee, a club member fortunate
to be in England at the time, and pic-
tures of the coronation celebrations in
Ottawa, by Art Phillips, were highlights
of the evening.

Sound in Gotham The opening

program of the
year for the Metropolitan Motion Pic-
ture Club, ACL, of New York City,
presented members with a lively, enter-
taining and instructive "battle of the
sound tracks," with the four major
forms of sound accompaniment for
amateur films being covered. Among
the films screened to illustrate the
various methods were Up From The
Ground, by Joseph J. Harley, FACL,

optica] sound on film ; Paintings, a
1952 Honorable Mention winner by
George E. Canning, ACL, sound on
disc, and Sweet Air, by John Caruso
and Raymond Moss, ACL, sound on
magnetic Synchro-Tape.

After the intermission, James W.
Moore, ACL, League managing direc-
tor, discussed and demonstrated the
capabilities of magnetic sound on film
with a series of sample recordings
especially prepared for this purpose.
Poet and Peasant, a 1952 Ten Best
winner by Robert G. Williams, ACL,
rounded out the program as a dra-
matic example of magnetic sound and
the synchronization that is possible
with it.

Seattle September 8 was designated
as Al Morton Night by the
Seattle Amateur Movie Club, ACL. Mr.
Morton, FACL, accompanied by his
wife, was guest of honor and presented
three of his fine films: Grand Canyon
Voyage, Land of the Purple Sage and
Trees. Needless to say, this was not
only an entertaining and instructive
evening for the members, but one which
they will all remember for some time
to come.

UN events At one °f its ^ew sum-
mer meetings, members
of the United Nations Movie Club,
ACL, in New York City, heard Rich-
ard Griffith, curator of the Museum of

Modern Art's Film Library, speak about
the museum's collection. Mr. Griffith
also screened a Buster Keaton comedy,
vintage 1924, called Sherlock, Jr.

Also, since mid-July, Mr. Zaki, of the
UN Film Division, has been conducting
a series of classes for club members
on the operation and maintenance oT
projectors and other film equipment.
His generous effort is to be applauded
all the more because he willingly gave
up many lunch hours for this service.

French contest Films and Docu-
ments, the official
magazine of the Federation Nationale
du Cinema Educatif, has announced a
competition open to amateurs anywhere
in the world. The contest will be di-
vided into two classes: the first for
films on any subject, the second for
films on folklore, either of France or
any other country.

For further details about this com-
petition, which closes on November 10,
write directly to the Federation at 52,
Boulevard Beaumarchais, Paris 11,
France.

Michiaan At the annual meeting
of the Michigan Council
of Amateur Movie Clubs, made up of
movie clubs in that state, the following
officers were elected for the new year.
W. H. VandeWalker (Battle Creek),
president; W. N. Kemp ACL (Grand
Rapids), first vicepresident ; H. Earl

Where to see

THE TOP OF THE TEN BEST

Date

Sponsor

Tickets and Information

October 29

Amateur Motion Picture Society
of Albany

Helen C. Welsh

44 Parkwood Street

Albany 8, N. Y.

November 12

Bristol Cinema Club

E. H. Sparks

20 Goodwin Street

Bristol, Conn.

November 19

Amateur Movie Club of San Diego

Viola Ford

3610 Alexia Place

San Diego, Calif.

Where to see the

JUNIOR TOP OF THE TEN BEST

Dare

Sponsor

Tickets and Information

October 19

16 & 8 Movie Club of South Braintree

Mrs. Stanley Bracken

62 French Avenue

South Braintree, Mass. !

November 1 1

Everett Amateur Movie Club

Dr. Harold C. Fey
321 Madison
Everett, Wash.

MOVIE MAKERS

277

TWIN 202 PROJECTORS put on the ACL Top
of the Ten Best show for the Golden Gate
Cinematographers, ACL, in San Francisco. At
the controls, front to rear, are A. Theodore
Roth, ACL, president of the GGC; Tullio Pel-
legrini, ACL, and brother Gino Pellegrini.

Morton, ACL (Muskegon) , second vice-
president; Mrs. E. Stapert (Kalama-
zoo), secretary, and Elmer LaPointe
(Niles), treasurer.

Hosts for the meeting were members
of the Battle Creek Motion Picture
Society. On the itinerary for the occa-
sion were conducted tours to the Kel-
logg Food plants and the Kellogg bird
sanctuary. Needless to say, many cam-
eras were in evidence.

Sixteen sees Everest

[Continued from page 268]

Cwm, at more than 21,000 feet, was the
nerve centre of the expedition. All
around us was a mass of blazing white.
I hope that in future expeditions the
cameraman will be allowed to have some
say as to the colour of the clothing worn
by the climbers. Blue garments against
a background of snow make it difficult
to calculate the best exposure.

From the advance base, I had to
carry all my own kit as my personal
Sherpa had fallen ill. I did not go be-
yond 23,000 feet, but even at that
height I found myself becoming forget-
ful. At the start I took notes of the
scenes I exposed, but later I gave it up,
and I am afraid I missed a certain
amount of stuff. At these altitudes it is
essential to have a tripod, for the wind
makes it impossible to hold a camera
steady; for certain scenes I mounted
the 70-DL on my ice axe, which had
been specially adapted for the purpose.

NEARLY FIVE MILES UP
Although only still cameras were
taken to the summit — for even a few
pounds of extra weight might spell the
difference between success and failure
— George Lowe carried the Auto Loads
up the Lhotse Glacier and exposed
some 16mm. Kodachrome on the South
Col at nearly 26,000 feet. This was the
highest point reached by the cine cam-
eras; but from our camp in the Western

Cwm I managed to get some telephoto
shots of the summit and the col on the
70-DL.

On the day of the attempt on the
summit we waited anxiously at Camp
5 for news. At last, we saw three figures
on the way down. Carrying the 70-DL,
I started out to meet them.

Hillary, who wanted to give the news
himself, asked me not to send a pre-
arranged signal down to Colonel Hunt
at the camp. As a result, they began to
think the attempt had failed. I got Hil-
lary to agree to make no sign to the
party until I had set up the camera.
The expressions of delight on the faces
of Colonel Hunt and the others when
— after fearing the worst — they heard
that the attempt had after all succeeded
should make a wonderful climactic se-
quence.

Probably few men were better quali-
fied than Mr. Stobart for the exacting
task of making the official film of the
Everest expedition. The son of a climb-
er and explorer, he was on a Himalayan
expedition in 1946, on the Norwegian-
British-Swedish Antarctic expedition in
1949 and 1950, and in 1951 and 1952
he filmed in Central Africa and Central
Australia.

His account is reproduced by permis-
sion from Film User, an English trade
publication. — J.W.M.

Hollywood's new aspect

[Continued from page 267]

siderations as whether the audience
gets a good look at the picture. And
all the current giant screen processes,
unhappily, involve some degree of
image degradation. As any darkroom
novice knows, there is a limit to the
amount a film can be blown up while
still preserving acceptable detail in the
finished picture. And a process which
throws away anywhere from 20 to 35
percent of the frame before doubling,
or even tripling, an enlargement of 200
or so diameters hardly seems to be
heading in the right direction. Nothing
is gained by this kind of wide-screen
projection which could not be accom-
plished merely by inviting those mem-
bers of the audience who like big-
screen effects to move down into the
first two or three rows of the theatre.
The point that all the Hollywood
boys seem to be missing is that it is
not primarily the bigness of Cinerama's
screen which makes it so effective —
for there is no magic in merely filling
the field of human vision with a pic-
ture. The feeling of being "in the
movie" occurs only when the picture,
in addition to filling the retina, ap-
proximates the wide-angle characteris-
tics of human vision. In other words,
peripheral vision areas must contain
the type of image perspective normally

seen out oi tin corners oJ the eye. To
accomplish this, a much wider angle
camera lens will have to be introduced.
Cinerama, of course, uses three cam-
eras (or, at any rate, three lenses) to
take in its 146 degrees of lateral cov-
erage.

HEMISPHERICAL LENS COVERAGE
That this feat, and more, can be
performed with a single lens has heen
demonstrated recently by the Jam Han-
dy Organization of Detroit. To perfect
an aerial gunnery trainer which this
company is developing for the Navy,
Jam Handy has developed a remark-
able hemispherical lens which covers
a field of 142 degrees — vertically as
well as horizontally. With a front ele-
ment approximately 7 inches in dia-
meter, tapering down to a rear element
of about 1 inch, the lens is rated at
//2.2 and has a focal length of 4/10
of an inch.

When mounted in a standard
(Mitchell) 35mm. motion picture cam-
era, the lens takes pictures which, if
projected normally, would be distorted
in a manner quite similar to the images
seen in one of those silvered glass
spheres people sometimes place in their
gardens. But Jam Handy has a projec-
tion system almost as unique as the
lens itself; the screen is half a hemis-
phere (of 12 foot radius) and the
standard 35mm. projector is fitted with
the same 142-degree lens used on the
camera. However, by adjusting the
length of throw, the entire quadris-
phere is filled with picture.

John Campbell, who is in charge of

WITH GRATITUDE . . .

The Amateur Cinema League takes
pleasure in acknowledging, with sin-
cere gratitude, the following dona-
tions of pictures to the ACL Club
Film Library, since our report of
March, 1953.

IN HIS OWN JUDGEMENT, 1944
Maxim Memorial Award winner,
16mm. magnetic sound on Koda-
chrome, produced by Joseph J. Har-
ley, FACL, and donated by Harrv
Groedel, ACL.

PAINTINGS, 1952 Honorable Men-
tion winner, 16mm. magnetic sound
on Kodachrome, produced by George
E. Canning, ACL, and donated by
the Toledo Amateur Movie Makers,
ACL.

TUMBLING WATERS, 1949 Honorable
Mention winner, 16mm. magnetic
sound on Kodachrome, produced by
Leo J. Heffernan, FACL, and do-
nated by Harry Groedel, ACL.

KEEP 'EM SMILING, 16mm. optical
sound on Kodachrome, produced by
Oscar H. Horovitz, FACL, and do-
nated by the United Community
Service and Red Feather Agencies,
of Boston, Mass.

MOUNT ZAO, 1937 Ten Best winner,
a new print in 16mm. magnetic sound
on black and white, produced by
Kohji Tsukamoto, and donated by the
Nippon Amateur Cine Slide Associa-
tion, of Tokyo, Japan.

278

OCTOBER 1953

THE SQUEEZE THAT FAILED

ELSEWHERE in this issue you will find a news
account — prepared rather fully, for reasons
which we will discuss presently — of the latest
in a long line of efforts to infringe upon the freedom
of personal movie making. We refer, in case you
missed it, to the Chicago licensing story on page 272.

For the sake of sound journalism, we have tried as
far as possible to remain objective in our report of
this shocking example of pressure-group politics. We
have no such intention in this editorial comment on it.
For the bare-faced rapacity of this politico-labor
squeeze play went far beyond the boundaries of
objectivity.

It was a cleverly planned maneuver and, in its
early moments, it came perilously close to success.
No one, you can hear the union projectionists reason-
ing, would think to look for movie licensing legisla-
tion in the city's Electrical Code. So-o-o, let's ask
our pals on the Electrical Commission (also stout
unionists, you may be sure!) to slip our joker in there.
And so there, in this Proposed Revised Electrical Code,
they apparently slipped it.

In his final report of this disgraceful affair, League
director Arthur H. Elliott, of Chicago, has stated:
"The official explanation by the chairman of the Elec-
trical Commission is that the licensing provisions in
their Proposed Revised Code were identical with those
in the old Electrical Code. They were simply retained
in the new code because no one had objected to them
previously."

Even from our fairly remote vantage point, this
claim impresses us as malarkey. For one thing, the
very name of the legislation itself — Proposed Revised
Code — casts doubt on this disclaimer. For a second,

the Chicago Association of Commerce and Industry,
in its bulletin of August 3, warned its members that
"It has been called to our attention that this Proposed
Electrical Code would change the requirements for
licensing operators of motion picture projectors."
Since this very bulletin was accompanied by a copy
of the proposed licensing legislation, we, at least,
assume that the Association checked these provisions
for changes against the existing statutes.

Well, it does not now matter too much, in any case.
This vicious attempt to corral for Chicago's profes-
sional operators all motion picture projection save that
in the home has been beaten back, and the squeeze
play has failed. But far more important than that,
in the course of the battle the over-greedy operators
have actually lost ground — rather than gained it.
They lost ground because, in the course of drafting
amendments to their rapacious code, a few clear-
thinking minds adroitly and relentlessly outmaneuv-
ered them.

For it is not enough, in these battles, simply to
turn back the opposition on such primitive and out-
rageous provisions as the "in dwelling" aspect of the
proposed Chicago code. The real victory lies in re-
drafting all such existing legislation so that it is in
line with modern cine techniques and thus provides
the substandard film user a positive, rather than sim-
ply a negative, protection.

This the enacted amendments to the Chicago code
have done brilliantly and conclusively. It is because
of this that we have reproduced and analyzed them
in full. When the squeeze play is put on in your com-
munity— and it may be at any time — you will do
well to recall these Chicago canons.

THE AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

AMATEUR CINEMA LEAGUE.

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

INC.. 420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

J.H.'s Training Devices Department,
demonstrated this projection system
for me a few weeks ago and I was
frankly amazed at its effectiveness. Al-
though the films I saw were taken in
black and white and had no sound
track (they were experimental and not
designed for public showing), I was
definitely "in the picture" as the camp
chair I was sitting on rode up Detroit's
Woodward Avenue, taxied out of an
aircraft hangar, and finally was at-
tacked by enemy planes. I sat just in-
side the great bubble of screen, which
encompassed me in a full half circle

horizontally; in the vertical plane the
picture dipped about 30 degrees below
the horizon and ascended to 90 degrees
overhead. The effect was that of a more
enveloping, if junior-sized, Cinerama,
with the addition of an enormous ex-
panse of sky extending overhead to the
zenith. So long as I remained near the
center of the spherical segment, there
was no evidence of distortion.

I do not believe, nor is it Jam Han-
dy's intention, that this hemispherical
lens is destined to be the motion pic-
ture industry's messiah. But it is an
important technological step in the

right direction. My own guess is that
the wide-screen system of the future
will incorporate a similar lens in con-
junction with a film at least 70 milli-
meters wide.

In the meantime, as Columbia's Jerry
Wald put it: "In a year it will be a
tie score in the gimmick game. Then
it will be the same old question — Who
has the story?"

Hollywood will do well to bear in
mind that projecting a stinker on even
a triangular screen will not improve
its aroma — either to the audience or to
the stockholders.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

sQ

— M

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

FOR ALL 8MM AND 16MM FILMERS

GUIDE n

BETTER

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to

8mm. and 16mm. movie making. 311 pages of _

information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

PLUS THE FOLLOWING LEAGUE SERVICES

EXTRA-NOW AVAILABLE!

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

Official League leaders in full color!
16mm. $2.00. 8mm. $1.50.

Official League lapel pins for you
to wear! Screw or safety clasp
type, $1.25.

Official League stickers for all your
equipment! 5 for $1.00.

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Maktrs monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie MafcersJ made payable to Amateur
Cinema League, Inc.

Name-

Street-
City —

Zone-

L

_State_

^-*"'**fc.

NOW THERE ARE

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Brownie Movie Cameras. Priced Movie Cameras bring movie making

within the most modest of budgets within the reach of everyone.

■Jf Pre-set lens requires no focusing.

■Jt Built-in exposure guide for outdoor-indoor use.

■Jt Accurate footage indicator.

•fa Locking exposure button for "self movies."

•fa As easy to load as the simplest snapshot camera.

■fa Big, easy-to-use, sports-type finder.

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BROWNIE MOVIE ACCESSORIES

Field Case for Brownie Movie Camera. $ 4.00

Brownie Movie Projector 62.50

Brownie Projection Screen 4.50

Kodak Photo-Light Bar 8.75

Prices include Federal Tax where applicable
and are subject to change without notice.

Kodak

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

DEC

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's 1/£" in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.25 each, tax included.

THE NEW ACL DECALS

Similar in design and coloring to the pin, the ACL
decals are as practical as they are beautiful. Identify
your camera and projector cases, gadget bag, film
cans with this proud insignia. 21/£" by 3". $.25 each,
or 5 for $1.00.

AMATEUR CINEMA LEAGUE, Inc. 1 1-53

420 Lexington Ave., New York 17, N. Y.

As a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
mcnoy order for:

D screw-back lapel type nf CJ1 OC

□ pin-back safety clasp type each
tax inc.
DECALS at $.25 each or 5 for $1.00

NAW.:_

STREET.
CITY

-ZON : STATE

AMATEUR CINEMA LEAGUE, INC.
420 Lexington Avenue, New York 17, N. Y.

TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia (!<£" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal. But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

Wearing the ACL pin at all times will give fellow
members and others the opportunity to recognize you
immediately as a member of the world wide association
of amateur movie makers — the ACL. You, in turn, will
spot other members at home, on location, on vacations,
at club meetings, anywhere!

The pin is available in two types: the screw-back lapel
type for your suit and overcoat, and the pin-back safety
clasp type suitable for wear on your shirt, sweater, dress,
blouse, jacket, windbreaker, etc. You may order one or
both types — $1.25 each for either pin.

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2^" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
ivith our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

With the ACL pin and decals you can now "exhibit"
your interest in movie making, making yourself known
at a moment's notice to other League members, and hav-
ing others recognize you as a filmer with standing. I
know you'll want to place your order for pins and addi-
tional decals — right now!

Cordially,

JAMES W. MOORE
Managing Editor

"Because of the Federal ban on all non-defense uses of copper, ACL
pins are now gold-plated on a sterling silver base. This has required
a slight price increase— from $1.00 to $1.25 each.

The

proiessionals

wiU tell You —
PROFESSION
PB JUNIOR

is vout No. 1 "^st"
1 L better pictures

«n i LOT Of WW1 W ™W " w.$ ,0te ».

3Smm tffl. « lT * '\0« ■«w*onf<*to «*

„ untg ovoi'ouifi-
"H'l-nOi

^

SUNSHADE AND FILTER HOLDER Combination
Designed for Bolex and Cine Special 16mm
cameras. Holds two 2" sq. glass filters and
2'/2" round Pola screen with handle, which
you rotate for polarization. Suitable for all
lenses, from 15mm to 6" telephoto. Elimi-
nates need for multiple filters. Compact,
easy to assemble or dismount.

SYNCHRONOUS MOTOR DRIVE— 110 Volt AC
—Single phase, 60 Cycle.
Runs in perfect synchronization with either
16mm or 35mm Sound Recorders. Mounting
platform permits removal of magazine while
camera remains mounted on motor. Spring
steel drive fin coupling prevents damage
if film jam occurs.

Knurled knob on armature permits rotating
for threading. "On-Off" switch in base. Plat-
form base threaded for y4" or y8" tripod
tie-down screw. Rubber covered power cable
with plugs included.

PROFESSIONAL JUNIOR TRIPOD GEAR DRIVE
Weighs only 5'/2 lbs. and is interchangeable
with friction type head on standard tripod
base. Handles various types of cameras.
Snap-on metal cranks control pan and tilt
action from both sides.

The Professional Junior Tripod
is used by more Movie Cam-
eramen than any other tripod
in the world.

VARIABLE SPEED MOTOR— 110 Volt AC/DC—
with Tachometer for EK Cine Special

Motor drive your Cine Special with confi-
dence! Tachometer is mounted in clear view
of operator. Calibrated from 16 to 64 frames
per second. Definite RED marking for 24 fps.
Electrical governor adjusts speeds. Steady
operation at all speeds. No adapters needed.
Motor coupling attaches to camera and
couples to motor. Spring steel drive arm
shears if film jam occurs. Easily replaced.

Jf yOU WOrk With flint... for Studio, Newsreel, Commercials, Business, Industrial or Home Movies — it will pay you to
get to know us. The country's foremost professionals depend

upon our portable, versatile, adaptable equipment.

FRANK C. ZUCKER

(7fllTI€Rfl€0UIPm€nT(0.

V"-* 1600 BRORDLUfly \ n€UJ yDRK CiTy ^*-*

We Calibrate Censes Precision -r

STOP CALIBRATION of all type lenses, any focal length.

We Kent and Service
Cameras * Moviolas * Dollies

Complete line of 35mm and 16mm
equipment available for rental.

MITCHELL: Standard, Hi-Speed,

BNCNC, 16mm

BELL & HOWELL: Standard,

Shiftover, Eyemos
MAURER: 16mm Cameras
MOVIOLA: Editing machines, Synchronizers

ARRIFLEX Cameras

We Design

and manufacture
Lens Mounts
and camera
quipment for
imm — 35mm
TV cameras.

Our method is approved by Motion Picture Industry and Standard Committee of SMPTE. For proper

exposure density, it is important that you have your lens "T" stop calibrated. Lenses coated for photography. Special TV coating. Rapid service.

NOVEMBER 1953

For Your
I0LEX H-16

A 400 ft.
Magazine

complete as shown, including installation, motor,
and heavy duty fibre case. In black wrinkle
finish. Fully guaranteed.

• SYNCHRONOUS MOTOR wilh BASE. Has

'reverse' and 'on and off' switch— 12 ft. heavy
duly cable. No installation necessary. Can be
used with our 400 ft. magazine unit. Only
$165.00 postpaid.

O RACK-OVER. Accurately puts titles where
you want them. A low priced heavy duty pre-
cision built instrument. Only $39.75 postpaid.

O CAMERA BASE. Holds camera rigid. Stops
vibration. Lightweight aluminum in black
wrinkle finish. Only $5.00 postpaid.

a SPORTSFINDER. For Octameter Mount as well
as Trifocal. (Specify model when ordering.)
Used with a 2 inch lens. Slips on and off easily.
Nothing to get out of order. In black wrinkle
finish. Only $12.95 postpaid.

See your Bo/ex dealer or order
direct. Immediate delivery.

TOLEDO CINE ENGINEERING

**' 1309 Milburn Ave. Toledo 6, Ohio

DISTINCTIVE EXPERT

TITLES and EDITING

For the Amateur and Professional

16 mm. — 8 mm.

Black and White and Kodachrome

Price list on request

STAH L

EDITING AND TITLING SERVICE
33 West 42 St. New York 36. N. Y.

Interested in TAPE RECORDERS?

Write for new FREE directory of all
makes of tape recorders with pictures,
features and prices.

r» i\ i« - -m GE0- K- CULBERTS0N co-

ridel itone 8471 Lero* s,ee»

s. y ouoitubntabi.es Sa n Go brie I, Ca I if or n ia

"MAKE MINE MAGNETIC!"

That's the order to send to ACL,
when you want your next 16mm.
League leaders for magnetic
sound on film.

ACL is ready with our glamorous,
full-color membership moviette
on single-perforated film. Are you
ready for it! $2.00.

AMATEUR CINEMA LEAGUE, INC.

420 Lexington Avenue

New York 1 7, N. Y.

]BB§HBB§B m

lUPLICATESI

* from your films

KODACHROME COLOR or BLACK & WHITE

Protect your valuable originals from projector
damage and wear, run duplicate prints.
Duplicate prints make wonderful gifts.

8mm or 16mm ...Duplicates 11 c per ft.

Enlarged to 16mm, or 16mm ReducecTto

8mm . 14c per finished foot

* Mail us your original films with cash, check or
money order, and we guarantee the BEST dupli-
cates possible, QUICK SERVICE, TOP VALUE,
SATISFACTION. _ Minimum Order $3.00.

rfyttCttfUMOct MOVIE LABS. Dept.l

12522 Ventura Blvd., Studio City, California

THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

Closeups

The reader writes

An audio control center

Rainy day blues

I made a roller screen

Look to your laboratory

India invites the amateur

"In honor of . . ."

The elements of editing

News of the industry

New ACL members

Clubs

Dear Mr. President . . .

November
1953

What filmers are doing 286

288

Irving Kalikow, ACL, and
Oscar H. Horovitz, FACL 290

Arie and Anne Mary Van der Lugt 292

H. C. Peiris 293

James W. Moore, ACL 294

N. P. Hariharan, ACL 296

Sidney Moritz, ACL 297

Maurice W. Prather 299

Reports on products 300

301

People, plans and programs 304

Editorial 306

Cover photograph by Harold M. Lambert from Frederic Lewis

JAMES W. MOORE
Editor

PETER D. DIBBLE
Cfubs Editor

ANNE YOUNG
Advertising & Production

Vol. 28, No. 11. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, fehile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador^ Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, .Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies ZS$ (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as .second class matter, August 3, 1927,
at the Post Office at New York, N. Y., i/nder act of March 3, 1879. Copyright,
1953, by Amateur Cinema League, Inc. Editorial and Publication Office: 42u
Lexington Avenue, New York 17, N. Y., U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworth F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone DUnkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

285

A/0CO/if/6m Skxf4hfik fir fhfa/w/ #mM/

-Q^jS&r

ALL AURICON EQUIPMENT IS SOLD WITH
A 30 DAY MONEY-BACK GUARANTEE.

-0S*gJs3-

"CINE-VOICE" 16 mm Optical Sound-On-Film Camera.

■¥. 100 ft. film capacity for 2% minutes of
recording; 6-Volt DC Convertor or 115-Volt AC
operation, -k $695.00 (and up).

"AURICON PRO" 16 mm Optical Sound-On-Film Camera.

■¥. 200 ft. film capacity for 5V2 minutes of
recording. * $1310.00 (and up) with 30 day
money-back guarantee.

"SUPER 1200" 16 mm Optical Sound-On-Film Camera.
■* 1200 ft. film capacity for 33 minutes of
recording, ■* $4652.15 (and up) complete for
"High-Fidelity" Talking Pictures.

SOUND RECORDER— Model RT-80...200 foot film PORTABLE POWER SUPPLY UNIT — Model PS-21 ... Silent
capacity, daylight loading, synchronous motor for in operation, furnishes 115-Volt AC power to drive
portable "double-system" 16 mm Optical "Single System" or "Double System" Auricon
Sound-On-Film operation. ■* $862.00 (and up). Equipment from 12 Volt Storage Battery, for

remote "location" filming. -* $269.50

Strictly for Profit

CHOOSE AURICON

If it's profit you're after in the production of
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Cameras provide ideal working tools for shooting
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to prevent Camera "dumping."-* $325.00 (and up).

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to 16 inch discs with individual Volume Controls
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Sound-On-Film. •*. $161.15

Auricon Equipment is sold with a
30-day money-back guarantee.
You must be satisfied.

MANUFACTURERS OF SOUND-ON-FILM RECORDING EQUIPMENT SINCE 1931

Please send me free Auricon Catalog.

Name

(Please write your address in margin)

286

NOVEMBER 1953

GEO. W. COLBURN LABORATORY

/64 NORTH WACKER DRIVE-CHICAGO 6
TELEPHONE STATE 2-7316

8 and 16mm
SERVICES

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Dept. 105, TO W. 33 St., New York 1 , N.Y.

HOW TO MAKE
MOVIE TITLES IN COLOR!

Write today for a FREE A-to-Z Sample Title Teit
Kit. Make titles lhat are different . . . better and
tailored to your taste. Trv our method . . . FREE.
COMPLETE COLOR OR B.&W. OUTFIT $6.50

A-to-Z MOVIE ACCESSORIES

175 Fifth Avenue Dent. M New York 10. N. Y.

Dress up your films with an
ACL COLOR LEADER

8mm. $1.50

16mm. $2.00

Amateur Cinema League, Inc.

420 Lexington Ave., New York 17, N. Y.

PELLEGRINI

VARIABLE SHUTTER UNITS

FOR BOLEX H-16

The real an-
swer to com-
plete FADFS
and LAP DIS-
SOLVES. Faster shutter speeds
and many other adva itages.
Prices within U. S. $99.60.
Cameras with outside frame
counter $109.80. Tax extra.
One year guarantee and cam-
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Prices subject to change

without notice.

TULLIO PELLEGRINI

1545 Lombard St.

San Francisco 23, California

CloseupS-What filmers are doing

It's not official, but LeRoy Segall,
ACL, of Milwaukee, thinks that he is
the first amateur in that city to give a
large-scale public screening of his own
movies with magnetic sound on film.

In any case, it is clearly on the rec-
ord that on a sweltering night this last
summer Mr. Segall, abetted socially by
his wife Stella, lured 263 invited
guests into the Venetian Room of the
city's Hotel Astor. Served up to these
guests — besides cake and ice cream
during the intermission — were Mr. S's
1952 cine studies of Denmark, Finland
and Norway (part I of the program),
followed by an hour's worth of his Hel-
sinki Olympic Games coverage.

Editing, and later recording, this
mass of footage was of course a big
job — as the lapse of time between
shooting and showing will indicate. But
Mr. Segall was amply aided in this
project by John Bakke, jr., to whom
he accords grateful credit.

Two films which placed among ACL's
selection of the Ten Best for 1952 re-
ceived further honors this summer at
the sixth annual Festival International
du Film Amateur, in Cannes, France.

These were Outsmarted Smarties, by
George Valentine, of Glenbrook, Conn.,
which was awarded a bronze medal at-
testing its public presentation, and
Muntre Streker, by Mathis Kverne, of
Oslo, Norway, which took first place in
its animated films class and second
place in the overall Grand Prix of
French Cinematography. Mr. Valen-
tine's production, on 8mm. stock, was
accorded one further distinction: via a
specially designed 8mm. arc projector,
it was shown to a 1600-seat capacity
audience on a screen 25 feet wide for
a magnification of 2.600,000x.

yv ell, it's No. 7 now for Delores and
Timothy Lawler, AACL, of Kenosha,
Wise, with the birth on September 28
of Eileen Kay, who bowed in at 6
pounds and 14 ounces. What with her
sister Bridget (No. 6), Duck Soup, the
Lawler's 1952, five-child Maxim Award
winner is getting as out of date as old
2-D movies in Hollywood.

I here are 650 miles of waterfront in
the great deep-water harbor which is
the Port of New York — or, more tech-
nically, the Port of New York-New Jer-
sey. To and from this foreshore there
come annually 10,000 vessels, flying
from their mastheads more than 170
bright house flags and carrying in their
bottoms 200,000,000 tons of the world's
commerce.

These and other facts we learned re-
cently at a preview screening of Via
Port of New York, a compact, fast mov-

ing, 27 minute 16mm. sound and color
film just released by the Port of New
York Authority, ACL. The Princeton
Film Center (the credits say) were the
producers, and J. Clark McGuire served
as supervisor of production for the Au-
thority. But from where we sit the film
really stems from a couple of able am-
ateurs. For the script, a beautifully in-
tegrated job, was written by Oeveste
Granducci, a former 8mm. member of
ACL and the Washington Society of
Cinematographers, ACL, while the en-
tire production was directed by Henwar
Rodakiewicz, also a former ACL'er and
the Ten Best producer in 1932 of
Portrait of a Young Man.

If you want to see what these two
ex-amateurs have done with about a
thousand feet of Kodachrome, address
your booking request (for group screen-
ings only) to Trade Promotion Mana-
ger, Port of New York Authority, 111
Eighth Avenue, New York 11, N. Y.
There will be no charge for the film
other than shipping costs.

Across the Threshold: In from six
weeks of Europe and en route to his
home in Lincoln, Neb., Edmund G. Ditt-
mer, ACL, enriched and enlivened a
recent morning for all of us with a
visit to headquarters. In the "enliven-
ing" phase he was quite ably abetted by
his young, three and one-half year son
Richard, who, jaunty in a plumed Ty-
rolean hat, charmed the hearts of our
girls with his blue-eyed chatter — while
we discussed more weighty matters with
Mr. D.

Also recent and welcome visitors
were Charles J. Ross, ACL, of Los An-
geles, who took lunch with Joseph J.
Harley, FACL, the League's president;
Lewis J. Hamson, ACL, of Brigham,
Utah, on for a visit with his brother
in Darien, Conn., and Ralph Luce, of
San Francisco. The latter, you may re-
member, was co-producer with Leonard
Tregillus, FACL, of No Credit and
Proem, outstanding experimental films
of animated clay figures. Mr. L. is now
a partner in Pearson & Luce, where
they specialize in sound and films for
television and industry.

Earlier, Betty and Tom Butler, ACL,
were in from Cincinnati.

For the latter, as is our wont at the
drop of a decibel, we ran off some
magnetic test recordings on the pro-
jector. These the couple regarded with
attentive but seemingly unimpressed
ears, and then, on departure, left us
their business card. On it, in the center
space, were the words Butler Custom
Recordings. Below, in one corner, the
card read: Betty Butler, Radio and TV ;
while in the other stood: Tom Butler,
Recording Engineer.

^

For those brand-new parents ... So that they may capture all the
joys of the growing-up years — of your grandchildren, perhaps — in all
the charm of 8mm. color movies. Ideal for experts, but so simple
and economical in operation it's wonderful for beginners, too.

CINE-KODAK MAGAZINE 8 CAMERA, $160

For the man who wants his movies BIG . . . Give this 16mm. Royal
Magazine Camera by Kodak. Smartly styled, technically outstanding!
Makes possible movies up to 10 feet wide or even larger. Advanced
movie-camera features, plus the superlative Ektar Lens.

CINE-KODAK ROYAL MAGAZINE CAMERA, $176.25

for those c/osest to /our heart. . .

Kodaks Finest

Here for your Christmas giving is a collection of superb movie-taking, movie-showing equipment.
It reflects in quality and performance Kodak's many years of experience in all branches of photography.
Other fine Kodak movie cameras from $39.75. See them at your dealer's soon!

Eastman Kodak Company, Rochester 4, N. Y.

For superb showings of his prized movies . . . The finest silent
1 6mm. projector Kodak has ever built. Always dependable, so simple
to operate. Brilliantly screens your movies, sharply detailed from
corner to corner. Reverse action, too. And it's lubricated for life!
Built into its own carrying case with plenty of storage room.

KODASCOPE ROYAL PROJECTOR, $245

For your own private movie theater . . . Enjoy your own personal
silent movies ... or add voice commentary with a "mike," music
through a phono adapter. Show readily rented 16mm. professional
sound movies, too — all with one, single-case, lightweight projector.
Simple, quiet, and cool in operation. Complete with speaker.

KODASCOPE PAGEANT SOUND PROJECTOR, $375

Prices include Federal Tax where applicable and are subject to change without notice.

288

NOVEMBER 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your place to sound off.
Send us your comments, complaints or compli-
ments. Address: The Reader Writes. MoviB
Makers, 420 Lexington Ave., New York 17, N. Y.

FILMING IN FRANCE

Dear Mr. President: The movie ma-
kers of France have read Permits in
Paris by Helen C. Welsh, which ap-
peared in your magazine, Movie
Makers.

The debt of gratitude which our
country owes to the United States of
America does not permit us to remain
silent to this cry of alarm which may
be misinterpreted by our American
friends. It is for this reason that we
take the liberty of writing to explain
matters and hope that you will be will-
ing to bring it to your readers' atten-
tion.

These are the things which one
should know, while in France, if one
wishes to film in the streets, on public
thoroughfares, in national museums
and in public gardens.

These regulations are applicable to
still photographers, as well °s r^ov'e
makers, and also are applicable to all
persons, be they French or strangers.

Taking of photographs or movies is
absolutely free and not subject to "tips"
on all public routes (streets, avenues,
boulevards) under the sole condition
that they are taken without the use of
a tripod.

A filmer who uses a tripod is subject
to the regulations which apply to pro-
fessionals. In this form, one must have
proper authorization: in Paris, from
the Prefect of Police. When one holds
such authorization, you are entitled to
all freedom and protection by the police
from those troublesome spectators
whom we in Paris call the "Cockneys."
This authorization is free.

Quite to the contrary, the taking
of photographs in national gardens,
such as the Park of Versailles, for ex-
ample, is subject to a tax for everyone.
Photographs are forbidden in the in-
teriors of national museums, except
when express permission is asked of,
and granted by, the curator. The
amount of the tax depends on the im-
portance of the park or garden.

Permit me, in closing, to mention
that this payment of a fee in a national
park is in force elsewhere, not only in
France. It is applicable throughout
nearly all of Europe. For example. I
had to pay a tax this year in Switzer-
land for a visit to Balusee, a little lake

near Kandersteg. I was not offended,
and every movie maker in Europe would
say the same.

We hope that our American fellow
movie makers do not take umbrage. It
is not, sadly, in our power to obtain
suppression of these taxes.

Please accept, Mr. President, with
the greetings of the French amateurs,
the assurance of my highest esteem.

A. Avalle

President

Federation Francaise des Clubs de

Cinema d' Amateurs, ACL
Paris, France

The Amateur Cinema League is sin-
cerely grateful for this explicit report on
filming conditions in France from our
brother amateurs in that country. For the
reply of the League's president, see page
306 in this issue.

THE CHICAGO CODE

Dear ACL: We certainly appreciate
the very real assistance which the ACL
affiliates in Chicago gave us on the
Electrical Code deal. I met Noah Van
Cleef of the Drake Hotel, who is a
member of ACL and also of the Chi-
cago Cinema Club. He was at the open
hearings at the time the amendments
were adopted and sent along to the
City Council for passage.

C. K. Preston
Director of Public Relations
Bell & Howell Company
Chicago, 111.

Dear Mr. Moore: We sincerely appre-
ciate your efforts on behalf of the
photographic dealers and cine clubs in
the City of Chicago . . . We ourselves
have done our share to influence our
aldermen in the proper direction.

Adolph Wertheimer
Vice President
Radiant Manufacturing Corp.
Chicago, 111.

Dear ACL: The Chicago legislation
you describe is certainly ridiculous. If
there is anything we can do to assist
you, we shall be happy to do so.

Robert C. Berner, ACL
Vice President
Keystone Camera Company
Boston, Mass.

Dear Mr. Moore: The main reason I
wanted to write was to express delight
with your coverage of the Chicago
union deal. Your discussion of the pro-
posed ordinance and the manner in
which it was changed will give many

people a clear and complete idea of
what happened. And your editorial on
the same subject, The Squeeze That
Failed, is a dandy.

Whit Hillyer
Evanston. 111.

$ FOR STOCK SHOTS

Dear Movie Makers: We are looking
for original Kodachrome scenes of
good quality, 3 or more feet in length
and shot preferably at 24 frames per
second, of the subjects which follow:

MS of swimmer or diver emerging
from water gasping for breath; MS of
runner as he approaches the finish line;
CU of same runner with arms out-
stretched as he breaks the tape; ECU
of runner's face at finish; MCU of
oxygen therapy; MS or LS of night
ball games, trotting and stock car
races; LS of lighted advertising blimp
flying overhead with full moon in the
sky.

We are willing to pay $1 to $2 per
foot, or we are prepared to bargain with
the owner if necessary.

R. W. Barron
Audio- Visual Section
Air Reduction Sales Company
60 East 42nd Street
New York 17, N. Y.

CAMERA AND CARIES

Dear Movie Makers: Thank you very
much for your nice comment on Jay-
bird Films in your Closeups column of
October.

I would like to amend the write-up
to the extent that I will not be giving
up my dental practice for full-time
movie making — much as I would enjoy
this. Jaybird Films will function in
addition to my dental practice.

Dr. James E. Bliss, ACL
Fillmore, Calif.

ENTHUSIASTIC AUTHORS

Dear Movie Makers: You certainly
did a fine job of editing the / Love Lucy
story. Made it a lot more concise and
easy reading. A number of people in
Hollywood have commented that this is
one of your best issues.

Will Lane
Hollywood, Calif.

Dear Editor: Thanks for the nice
spread you gave my article, Filming
the Fair. The art work reproduced
beautifully, and I was certainly pleased
with it.

Arthur L. Center
San Diego, Calif._

Dear Movie Makers: Astonishingly, I
was very interested myself to read the
article I had written on recording with
the 202. First chance I'd had to see
the operations in retrospect.

Among others, I received a scream-
ingly funny letter from a man in .Mich-
igan who writes that he got worn out

MOVIE MAKERS

289

running back and forth between Pen-
tron 1, Pentron 2, and the mixer. He
adds: "Evidently you got worn out too
— or at least your shoes did!"

Dicky Roth, ACL
Harrison, N. Y.

Dear Mr. Moore: Thanks for the cen-
terspread and the fine treatment which
you accorded my latest effort — Holly-
wood's New Aspect . . . Incidentally.
Denis Neale's projector speed control
system in the September issue sounds
terrific. If it is original with him, I
can't understand why he hasn't slapped
a patent on it.

Jack E. Gieck. ACL
Birmingham, Mich.

THOROUGHLY ENJOYED

Dear Movie Makers: I have thor-
oughly enjoyed the article, / Saw Cin-
emascope, by Jack E. Gieck, ACL, in
July Movie Makers. The explanation
of all technical matters is perfectly
clear, and the closing paragraph is so
right and dramatically though simply
expressed.

Channing R. Dooley, ACL
Summit, N. J.

Our warm thanks to League member
Dooley, who for many of the League's
early years served on ACL's board of
directors.

TEN BEST IN NEW ZEALAND

Dear ACL: Please accept my sincere
thanks for the screening of ACL's se-
lected Ten Best films which the Otago
Cine Club has recently presented here.
They were very much enjoyed and cre-
ated quite a sensation in this town.

William P. C. Clifford, ACL
Dunedin, New Zealand

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made film> will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to: The Swap Shop, c/o
Movie Makers.

MAIL FROM MAGNETICS?

Dear Reader Writes: I have just con-
verted my Filmo 70-DL to single
sprocket operation and purchased a 202
magnetic sound projector. Since this
sound field is all new to me. I would wel-
come correspondence from other mag-
netic sound filmers everywhere. I will
answer all letters.

Joseph S. Singer, ACL
2438 South 5th Street
Milwaukee 7, Wise.

all aluminum SPLICER AND EDITING BOARD

for 8 and 16 mm.

A superb editing instrument, made with the
precision of a fine camera by the famed
Siemens and Halske Works of Germany.
Masterfully designed, its advanced features
and ease of operation have already made
it a favorite with amateur and professional
cinematographers the world over. Your
every editing problem— from a simple splice
to the exacting stripping-in of magnetic
sound— can now be handled more swiftly
and effortlessly.

GSee if demonstrated at your dealer today.
Write for further information to Dept E-5

• ALL ALUMINUM — Featherweight, yet amazingly
strong to take any amount of rugged use.

• FOLDS COMPACTLY — for easy storage or port-
ability.

•BRAKING DEVICE — on each reel support with
fully adjustable tension.

• NEW-TYPE SCRAPER-made of a recently devel-
oped alloy which gives longer life, superior
performance.

•PRECISION GEARING - typical of the finest

German craftsmanship.

•VERSATILE — Splicer is instantly detachable from

editing board — can be used separately or in

combination.
•VALUE— the complete unit, consisting of Siemens

Splicer and Editing Board,

priced at only

ERCONA CAMERA CORP. • 527 Fifth Avenue • New York 17, N. Y.

'38

75

complete

ZOOMAR Glen Cove, Long Island, New York

In Canada: Zoomar Canada Lfd. • Montreal, Quebec

290

AN AUDIO CONTROL CENTER

IRVING KALIKOW, ACL, and OSCAR H. HOROVITZ, FACL

You can play, mix and monitor all

of your audio signals with this
simple yet ingenious sound system

FIG. 1: Low-cost control center (above) uses crystal pickups and
mounts all its operating controls on its own panel board (see 3).

fIG. 2: Hi-fi control center uses magnetic pickups and shifts volume,
mixing functions to own panel. Note two arms on single table.

30" APPROX.

MOST of you sound and movie enthusiasts will agree
that, in order to make the most effective use of
the new sound- with-film techniques (whether you
employ magnetic tape or film), it is best to have voice,
music and, sometimes, sound effects available at the will
of the recorder. Therefore, this article will describe a
simple, self-contained and portable unit which can serve
as your audio control center in these recording operations.
Essentially this device will consist of two turntables, a
monitoring headset for these turntables, a microphone
and input for same, an output to the recorder, and pro-
visions for controlling the volume and mixing the sound
from either of the turntables and the microphone. These
essentials may, in turn, be interpreted in two models:
one is a reasonably low-cost unit (see Fig. 1) for the
budget minded, the other a high fidelity setup (see Fig 2)
for those to whom superior audio results are more im-
portant than price. We shall discuss and diagram both
of these units forthwith. Since the low-cost unit actually
embodies all of the essentials, let us consider it first.

LAYING OUT THE DESIGN

The layout of the parts on the turntable panel is pic-
tured in Fig. 1 and diagramed in Fig. 3. The turntable
spindles should be set 12!/2 to 13 inches apart, and their
pickup arms should be 8 inches apart, midway between
the vertical spindles. This will allow either arm (or both)
to play on either record table. The connections for switch-
ing the turntable motors on and off are obvious; just
observe due caution in handling and insulating for 110
volts. The connections for the microphone mixing circuit,
earphone monitoring and playing arm switching are a
bit more complex; they are diagramed in Fig. 4. Be sure

PARTS NEEDED FOR LOW-COST CONTROL CENTER

Approx.
cost each

Two 3-speed turntables $10.00 $20

2 on-off switches .50

1 panel light

2 crystal turnover pickups 10.00

2 selector switches

3 potentiometers

2 resistors

1 tone control condenser.

3 phone jacks

1 set of earphones

Wire and shielding .

1.30

1.00

.20

.50

FIG. 3: The layout of low-cost operating parts and controls are diagramed, dimensioned here.

1
1

2.
2.0

Total for parts $54.*

PARTS NEEDED FOR HIGH-FIDELITY CONTROL CENTER

Approx.
cost each
2 spring mounted turntables, 3 speed . . . $25.00
2 on-off switches 50

1 panel light

2 magnetic reluctance pickups 14.00

2 preamplifiers 1 1 .00

2 selector switches (silent type) 1.30

2 condensers 25 micro 1.00

2 potentiometers 1-00

2 resistors 20

3 phone jacks .50

1 set of earphones

Wire and shielding

Total for parts V'4'41

$50.0

1.0

.61

28.01

22.0*

16

2.0

2.0

.4

1.5

2.3

2.0i

291

all these connections are carefully shielded
and grounded to a common ground connec-
tion, as is usual in all audio systems. Use
single shielded wire.

SIMPLE MIXING SYSTEMS
Mixing the sound signals from records and
microphone is not really a difficult problem.
It can be done simply either by using two
volume controls and two resistors or by means
of a mixing tube. The resistor method is
shown within the dotted lines in Figs. 4 and 5;
the mixing-tube circuitry is shown in Fig. 6.
These mixing methods are included in the
audio control center circuits which will be
described in this article.

Note in the diagrams that there is only one
output connection for plugging into the sound
recording medium. This plug-in will be either
to the microphone or phonograph input, de-
pending on the amplification of the system.
If both are provided, it would be well to try
each in turn to see which works better. In
general, the best results will be obtained when
the recording unit — tape recorder or magnetic
projector — has its volume control set at about
one half of full volume. Once the volume con-
trol of the recorder is set, this should not be
adjusted again. The control center has all of
the facilities necessary to make and to mix
the complete recording.

RIGHT HAND-LEFT HAND
The turntable circuitry is so arranged that
by use of the turntable selector switch either
the right or the left hand pickup arm may be
connected into the mixer circuit at will. (The
switch should be marked 1 and 2, or R.H.
and L.H.) By having two turntables in opera-
tion it is possible to bring in either one of
two musical selections at the appropriate time.
And to enable the operator to cut in either
turntable at the proper time, there is provided
the monitor headset and its selector switch.
By this means the operator can listen to either
record at will, although only the one cued in
by the turntable selector switch will be play-
ing through to the recorder. This is a great
convenience when striving for exact transi-
tions between one record and the other.

AMBIDEXTROUS ARMS
There is another important feature in this
turntable design, and that is the ability of
both pickup arms to play on any one record.
This allows the same record, or portions of it,
to be repeated at will by the instantaneous
turn of the control switch. While the original
or No. 1 pickup arm is playing, the second
arm may be used to explore other parts of the
record through the earphones. When the de-
sired new portion of the record is reached,
pickup No. 2 may be cut in via the selector
switch. To assure this bi-pickup playing, the
layout measurements given here should be fol-
lowed closely. These measurements are cor-
rect for the generally used T^/o inch radius play-
back arms. [Continued on page 305]

WIRING DIAGRAM -CRYSTAL PICK-UPS

io&,m""""mu^^

V*vS. OHMS

MICROPHONE

'"""""""? k

EARPHONES

microphone: ? j t I f | \

VOLUME t ' \

200000 OHMS
TURN TABLE
VOLUME

25000

OHMS

25000

OHMS

EARPHONE
SELECTOR

'^ 'iiT— £

A

<

2 TURN TABLE

SELECTOR

FIG. 4: Wiring schematic for crystal pickups shows use of tone control (top) but no pre-amps.

WIRING DIAGRAM -MAGNETIC PICKUPS

niiiuirinmuiiniiTTTT

MICROPHONE

I

MICROPHONE
VOLUME

EARPHONES EARPHONE

SELECTOR

,17
J

TURN TABLE
SELECTOR

FIG. 5: With magnetic arms tone control is dropped, pre-amplification stage added at right.

BOTTOM VIEW OF TUBE

MICROPHONE

/

TURN TABLE
SELECTOR

d0^™_ OHMS

6.3 VOLTS AC (H CONNECTIONS TOR HEATERS)

TO OUTPUT -
RECORDING SYSTEM

50,000
OHMS

12,000
OHMS

8 MFD

MIXER-AMPLIFIER-CONNECTIONS

150 TO 18

VOLTS

FIG. 6: Mixer here uses 12AX7 tube, while Figs. 4, 5 (see broken lines) use resistor units.

292

Mm

ARIE VAN DER LUGT, in a role from one
of his romantic melodramas, and Anne
Mary below are the authors of Rainy Day
Blues.

ABOUT THE AUTHORS

Anne Mary and Arie van der Lugt —
who appear both pictorially and in
print on this page — are a young
Dutch couple from whom we first
heard a little over a year ago. Ad-
dressing himself to the "Officers and
Members of ACL," Arie began as
follows:

"Although you don't know me, I
dare be so impertinent as writing a
letter to you. So first I'll introduce
ourselves to all of you. My wife is
called Anne Mary, she's twenty eight
years of age, very nice to be seen
and seems to me the besr wife in the
world. As for me, I ai.. an author
(novels and theatre pieces), air t'lirty
four years of age and the proud
father of our three children. But you
will wonder about the reason for this
letter. So I'll explain."

The reason was simple and straight-
forward : Arie and Anne Mary, who
had "longed a lifetime for a real
16mm. camera," now at last had such
a camera (second hand, of course),
but they had no handbook of the
hobby to guide them in film making.
So they had written to ask if some
member of ACL could possibly loan
them some books or magazines.
"You need not give them to us as
a present," Arie insisted. "After
having studied, we shall send every-
thing back in good order."

Well, we felt that all of you would
want to help them ; so we sent Arie
and Anne Mary a copy of Making
Better Movies, the ACL's handbook,
with the compliments of the League's
entire membership. And, since Arie
was a writer, we suggested that he
"and Anne Mary work out a simple
scenario based on the mischief that
a couple of youngsters might get into
on a rainy day." For this we'd be
glad to pay them with a three-year
subscription to Movie Makers.

And so in due course they did . . .
and Rainy Day Blues is the result.
We think you'll like it. We know
you'll like Anne Mary and Arie van
der Lugt. Their address, by the way,
is 46 Javastraat, Vlaardingen, Hol-
land, in case you'd like to write them
about your movie making — or theirs.

RAINY DAY BLUES

With two parents, two kids and a cat, you're

in production on this pleasant family picture

ARIE and ANNE MARY VAN DER LUGT

1. Long shot. A city street on a rainy-
day. People in raincoats and carrying
umbrellas hurry along.

2. Semi-closeup. Dad in his office,
with rainy window in background. He
lights a cigarette, then smilingly picks
up the phone and begins speaking to:

3. Closeup. Mother answering the
telephone. She looks a bit startled and
says:

Title. "With the boss? . . . Oh dear!"

4. Semi-closeup. Mother again as she
looks at her watch, frowns and looks
about uneasily. Cut to:

5. Semi-closeup. Dad speaking laugh-
ingly, meanwhile looking at the window
trickling with rain, then hanging up.

6. Medium shot. Mother lays the
phone down, looks about the room
where the youngsters are playing with
their toys. The baby. Bob, comes to
her.

7. Closeup. Bob asking:

Title. "Mom, may we play in the
garden?"

8. Medium shot. Mother speaking to
Bob; Mary drops her doll and comes
to her hopefully.

Title. In this weather? Oh no! Be-
sides, Father is bringing a guest home
for dinner, so you must keep very
clean!"

9. Medium shot. The youngsters look
disappointed. Pan slowly to follow them
as they cross over to their toys again.
Mother hurries out of the room.

10. Medium shot. Mother in the
kitchen busily preparing the meal. She
looks at her watch, then hurries into
the hall.

11. Medium shot. Mother opens the
inside cellar door and descends.

12. Semi-closeup. Mother in the cel-
lar searching for something that she
wants for the dinner. Seeing that "it"
is not in stock, she shakes her head
in bewilderment, looks at her watch
and hurries away.

13. Medium shot. Mother ascends
from the cellar. In her haste she leaves
the door half open and rushes into the
living room.

14. Medium shot. Mother speaking
to the youngsters.

15. Medium shot. A two-shot over her
shoulder to show the youngsters look-
ing up at her, while Mother speaks:

Title. "I'll be back soon, so do be-
have while I'm at the market!"

16. Semi-closeup. The youngsters
look at each other earnestly, then nod
their assent to Mother — but without
much enthusiasm.

17. Medium shot. The youngsters
standing at the window. Over their
shoulders we see Mother start the car
and drive off.

18. Medium shot. The youngsters sit-
ting on the couch, in a morose hands-
to-chin pose. Then Bob speaks.

Title. "I'd like so much to play in
the garden!"

19. Closeup. A two-shot over Bob's
shoulder as Mary speaks:

Title. "Let's play Dad and Mom!"

20. Semi-closeup. Bob shakes his
head indignantly.

21. Closeup. Mary still speaking:
Title. "You're Dad, and I am Mom,

and . . .

22. Semi-closeup. A two-shot over
Mary's shoulder as Bob shakes his head
furiously and says "No!"

23. Medium shot. Mary looks around
the room, points and then speaks:

Title. "And she is the child!"

24. Closeup. The cat lying on the
hearthrug looks up.

25. Medium shot. The youngsters on
the couch as Bob looks at the cat. He
jumps up, cries "Yeah!" and runs to
the cat.

26. Medium shot. A follow shot of
the youngsters running after the cat as
she scampers into the hall.

27. Medium shot. The youngsters
pursuing the cat as she escapes through
the open cellar door.

28. Semi-closeup. Mary stands wide-
eyed looking into the dark cellar en-
trance.

29. Medium shot. Bob switches on

[Continued on page 302]

293

I MADE A ROLLER SCREEN

An old shade roller was the beginning of a new screen for this movie maker

H. C. PEIRIS

I live in Colombo, on the island of Ceylon, which, if
your geography has rusted up a bit, lies off the south-
eastern tip of Mother India. Now, living in Colombo
(pop. 300,000 plus) is not exactly roughing it. We have
photo shops aplenty, and I could, I suppose, have gone
out and purchased a projection screen — even as you do.
But for some reason — I think now it was a matter of
getting the exact size I wanted — I decided to make one.
And you can too, if you've a mind to.

I began my planning with the optimum dimensions
of actual screen area desired. These were 62 inches for
the height and 78 inches for the width, figures which
were determined by measuring the exact throw of our
projector from one side of the living room to the other.
I progressed from these figures to a survey of available
screen materials which would have both suitable reflect-
ing power and be of usable size. After testing out quite
a number of samples, I found that a dead-white window
shade fabric offered the best reflectance, both for color
films and monochrome. Furthermore, it would not crease
or crack when rolled up; and furthermore still, it was
available in a suitable size.

The piece which I finally purchased came 72 inches
wide and, by my request, was cut off at 90 inches in
length. Now, before we go any further, let us be mu-
tually sure that we get our terms straight. If you will look
at the diagram, you will see that actually I used the width
(72 inches) of the shade fabric to create what was to be
the height of the finished screen, while the length (90
inches) of the fabric created in turn the width of the
screen. To put this in another way, what I did was to
turn the length of shade fabric on its side and then use
it in that position.

PRESENT LENGTH

86'

ORIGINAL LENGTH

^v '\vy

But, as you will have noticed, the overall dimensions
of the fabric I purchased (72 by 90 inches) exceeded in
both directions the size of the screen I intended making.
Thus, some reductions were in order. I figured them this
way.

First I began with the intended height of the actual
screen surface — 62 inches. Around this, top and bottom,

1 planned to affix a black velveteen border 4 inches in
width — so I added 8 inches to my 62. This gave me ob-
viously a needed height on the screen material of 70
inches, and to create this it was an easy matter to trim

2 inches from the 72 inch width of the shade fabric. The
same sort of simple arithmetic was gone through to de-
termine the desired working width of the finished screen :
to 78 inches of reflecting area I added 4 plus 4 inches for
the side border strips, to arrive at 86 inches for the
overall width. This in turn was achieved by trimming off
4 inches from the fabric's 90 inches of length.

The next logical step seemed to be to attach the black
velveteen border strips to the perimeter of the screen
fabric. They were to be machine-stitched together; but
before this could be accomplished we obviously had to
fashion the strips themselves.

Well, the velveteen I was able to purchase also came
72 inches in width, so that fashioning the two side or
vertical strips was easy. I made them 72 inches in length
and 4^4 inches in width. (The seemingly extra half inch
I'll explain in a moment.) Creating the top and bottom
(or horizontal) strips was not quite so simple, but we
got it done successfully. The problem, of course, lay in
the fact that our longest dimension in the velveteen (un-
less you wanted to squander on a full 90 inch purchase)
was the 72 inches of its width; the strips in question,
however, had to extend across 86 inches of the screen's
width. We solved this by "splicing" together two strips,
one the full 72 inches, the other an added 14 inches in
length. And, since the material [Continued on page 293J

SLOT FOB SQUARE
END OF SPRING \

To 5

ROD

W

WALL BRACKETS

THE ROLLER SCREEN described by the author is seen above in his
attractive Ceylon living room, at left, in a diagram of its dimensions.

294

PREPARATION: Splices, perforations, leaders and trailers are
carefully checked when film enters lab. Note the white gloves.

¥**:.

frHH

1

CLEANING: Both machine and hand cleaning methods are used to
prepare your original picture for the printing operation ahead.

SCENE TIMING: There is no substitute for experience in select-
ing, scene by scene, the correct timing values for printing.

COLOR PRINTING: Using the step method, these printing ma-
chines hold original and print stock stationary for exposures.

LOOK TO YOUR
LABORATORY

JAMES W. MOORE, ACL

SINCE the hobby of amateur movie making began in 1923
with the announcement of the reversal process of film
development, the average home movie maker has had
little interest in or contact with the work of commercial film
laboratories. He took his pictures, sent the film (be it black
and white or color) back to its manufacturer, and in due
course he received through the mail a finished positive — ready
for projection. There was no negative. But the amateur filmer
didn't care.

Not so today. Movie Makers and the Amateur Cinema
League now receive an increasing stream of inquiries concern-
ing such new-old mysteries as the meaning of "negative,"
"positive," "duplicate," "dupe negative," "timed print" and
the like. Perhaps much of this interest in film lab activities
stems from the ever-growing use of magnetic sound on film.
For with it has come the desirability (it is no longer a neces-
sity) of having one's older, silent footage copied so that the
audio benefits of a full-width magnetic stripe may be realized.
Perhaps also the increasing use of outstanding amateur films
on television (which would require lab work) has swelled the
chorus of queries on this subject. In any case, there the queries
are — and Movie Makers herewith proposes to do something
about them.

BASIC LABORATORY OPERATIONS

The basic operations carried on by any commercial film lab
may be itemized easily and quickly. They are (1) film devel-
oping, and (2) film printing. And, lest you feel that these seem
too simple to merit a full-scale discussion, just stick with us
for a few paragraphs.

Actually the film development phase of a laboratory's work
is relatively simple, and today's amateur is likely to be little
concerned with it. His unconcern stems from two facts: first,
that universally he uses emulsions which call for reversal
processing; and second, that almost universally he uses emul-
sions which call for reversal processing in full color. This latter
form of developing few commercial labs can do. The former,
even in black and white, they prefer not to do.

NEGATIVE-POSITIVE

For 35mm. commercial film labs work almost wholly with the
classic negative-positive system. They do so because the
majority of their clients make their black and white movies
with that system; and these clients in turn make their movies
via the neg-pos system because primarily they want a large
number of projection prints. In that system the film lab develops
a length of monochrome movie film which has been exposed to
light in a camera. The result is a negative image of the object
photographed, and the film itself is therefore called a negative.
By inserting that negative in a film printer and projecting
light through it onto another length of film, the lab may then
create on this second film (after development) a positive image
of the object photographed. This strip of film is then known
as a positive print or print, and its re-creation from the negative
may be repeated by lab printing as often as the client desires.

Very well . . . Where, since his reversal film offers no
negative, can the amateur movie maker use the facilities of a

295

commercial film lab? The answer is: in the printing phases
of a lab's work. For the film printing operation may be adapted
to many other uses besides the creation of monochrome positive
prints. And all of them, at one time or another, may serve the
amateur well.

DUPLICATE PRINTS

Most often, if the amateur producer wants anything beyond
his original reversal, what it will be is a copy of that original.
And, although he has no negative of that original, a copy of
his picture may easily be made. The process is a simple one.

His original reversal film is threaded into a film printing
machine. Threaded with it will be a similar length of another
reversal emulsion, especially designed by the film manufacturer
to have characteristics adapted to printing. A suitable amount
of light is then projected, frame by frame, through the original
and onto the printing stock, carrying with it in each case the
exact image of the frame being projected. The printed film,
since it is of the reversal type, is then sent to its manufacturer
for processing.

The result of this printing operation is called a duplicate, a
duplicate print, or more casually a dupe. The operation itself
is called duplication, and it may be performed with equal
success for the following reversal emulsions: color to color;
color to black and white; black and white to black and white.
Such duplicate printing services are, of course, offered by
both the manufacturers of major color stocks — Ansco and the
Eastman Kodak Company. But they also are offered by com-
mercial film labs across the country — and on occasion the
local lab service may be the more convenient. Furthermore,
among the film makers Ansco limits its color duplicating
service to the 16mm. stock only, while Kodak will undertake
to duplicate 8mm. Kodachrome only in a black and white copy.
A number of commercial labs, on the other hand, specialize in
duping 8mm. films color to color.

Plinl»iir«l'li» from I'r.i i»i.,n lilm Labi

DEVELOPING: Fully automatic machines, here nearly 30 feet in
length, are used in the development of b/w sound and pictures.

Ztfk.

SOLUTIONS: Huge mixing vats of stainless metal and giant
rotary mixers are required in the preparation of lab solutions.

ADVANTAGES OF DUPLICATION
While the duplication of color film is not inexpensive (prices
range from 12 to 15 cents per 8mm. or 16mm. foot for the
first print), there are a number of advantages inherent in the
operation which often make these costs more than worth while.
The most obvious of these advantages, of course, is that
duping a film for projection automatically preserves the unique
and precious original. Secondly, the duplication of color footage
often may improve on the original. It certainly does from the
projection viewpoint, since the duplicate will be one continuous
Irrgth of film devoid of splices from its beginning to its end.
But perhaps more important is the fact that all competent
color labs today include in their printing routines a preparatory
service called timing. In this operation a trained expert goes
over your original film scene by single scene and sets down
on a time sheet a series of numbers representing the printer
light intensities which will most effectively reproduce each
scene. Through this operation it often is possible for the lab
to correct in your duplicate for slight to moderate errors in
exposure — and therefore in color values.

The result of this timing is called a timed or corrected print,
and its production is now standard operating procedure in all
modern color labs. In other words, it is no longer necessary
for the amateur to specify in his order that he wants a "timed
print." He will get it automatically as part of the operation.
In contrast to the timed print or [Continued on page 3031

Offering many and varied services,

the commercial film

attention from amateur movie makers

lab wins increasing

ELECTRONIC PRINTING: Latest in laboratory services is the cre-
ation of optical sound tracks from magnetic recordings on film.

■11 a W '• urSS

FILM FINISHING: Here completed prints are readied for ship-
ping, spooled either on lab cores or reels, as you may direct.

296

INDIA INVITES
THE AMATEUR

A devoted movie maker from Madras extends
the hand of friendship to his fellow filmers

N. P. HARIHARAN, ACL

■ ■ . -'.,■ ■ ■

Photographs by N. P. Hariharan. ACL

GIANT BOAT RACES, a spectacular form of India's festivals,
may be found and filmed in Travancore-Cochin State in S. India.

CLASSICAL DANCES, part of India's treasured cultural heritage,
may be filmed by arrangement at night if you bring flood bulbs.

ELEPHANT POWER, important to India's industry today as it has
been for centuries, is used often to drag timber from the forests.

CAMEL CARTS, used to bring grains and other farm produce to
urban markets, are a familiar sight along India's highway network.

If you are looking for new cine worlds to conquer, why
not plan your next big trip to my country of India?
Information about India's many-sided attractions,
her hotels, and modes of transport are yours for the ask-
ing at any good travel agency. Therefore, I shall not dwell
on these matters here. Rather, I should like to discuss
your visit among us more specifically from the movie
making viewpoint, in the hope that my suggestions may
make your stay here a truly memorable experience.

First off, I would suggest that early in your prepara-
tions you should take care to establish some contacts
among amateur cinematographers in my country. The
Amateur Cinema League will be glad to aid individual
ACL members in this matter, providing letters of intro-
duction either to our two largest cine clubs — in the cities
of Calcutta and Bombay — or to individual movie makers
in other parts of our vast country.

Although the number of movie makers in India is small
(about 2000) compared to our population, they are gen-
erally persons of means and influence in their commu-
nities. Treat the Indian amateur cinematographer as your
pal, and his cooperation will be ready and rewarding,
often unlocking doors which otherwise would be barred
to you. For example, one Indian filmer whom I know
helped his American counterpart to secure footage of an
important festival held in a temple to which admission
was restricted to Hindus. On another occasion a visiting
filmer to a South Indian city encountered weather so
inclement that he could not expose a single foot of film.
Thus, he would have been without any pictorial record
of the wonders he witnessed if his Indian amateur pal
had not offered to shoot the footage at a later and sunnier
time. Instances of such friendly cooperation could easily
be multiplied.

However, these aids and courtesies are those which one
person of good will may extend graciously to another.
On the equipment side of our hobby I fear I must warn
you that my country cannot offer you the wealth of ma-
terials to which you are accustomed in America. Thus it
will be well for the visiting filmer to bring with him just
about all of the major and minor items which he will
require. Film, especially color film, is scarce and prob-
ably higher in price than in your country. Cameras also
are limited in supply, as well as in their diversity. Thus,
in preparing for your trip here, take a generous supply
of raw film and be sure that your trusty camera is in first
class condition.

(A current check by the ACL [Continued on page 298]

MOVIE MAKERS

297

M

IN HONOR OF

n

Is a friend or fellow worker retiring after years of faith-
ful service? Add a movie of him to other honors tendered

SHE was a lovable old lady. For
years she had been directing the
arts and crafts activities of one of New
York's well known churches. Now she
was to retire. And her colleagues and
students had gathered in the church
assembly hall to do her honor.

There were, first, the customary and
well deserved tributes, phrased with
sincerity and spoken with affection.
Then came the surprise of the evening.
A screen was lowered; the lights were
dimmed. And, in beautifully exposed
color movies, the guest of honor was
seen engrossed in the very work
through which she had won fame. At
last, as the finale showed striking close-
ups of her, there was a deafening thun-
der of applause. Old Mrs. G. was as
delighted as she was surprised. Little
did she dream weeks earlier that the
students who were "practicing" with
their movie cameras on her were ser-
iously at work producing the very film
which was to honor her upon her re-
tirement.

This same system can be worked
out effectively whenever plans are afoot
to honor some individual. Promotions,
transfers, the commemoration of out-
standing services, all provide oppor-
tunities for making the event still more
memorable through the screening of a
film made especially for the occasion.

The production of such a picture can
best be illustrated by a hypothetical
case. The manager of an office is being
transferred to a position of greater re-
sponsibility in another city. He is well
liked by his associates. His home life
is a happy one. He is an enthusiastic
golfer and an expert fisherman. His
colleagues have learned of this promo-
tion, effective at the end of three
months, and they are, unknown to him,
planning a farewell dinner in his honor.
One of his associates, an avid movie
maker, suggests to the dinner commit-
tee that a picture be made of the guest
of honor for screening at the dinner.
The idea meets with unanimous and
immediate approval.

To be sure, this amateur cinema-
tographer may have to resort to artifice
to gain the cooperation of his subject.
He might say that he has just acquired
a new lens and would like to do some
test shooting. He might explain further
that the varied interests of Mr. S. (as
we shall call him) lend themselves
well to movie making possibilities. And.
as you know, it is a rare person indeed
who does not enjoy his picture taken!

SIDNEY MORITZ, ACL

The filmer must now get to work in
earnest. He must plan the picture, de-
cide upon its length, its theme and
how that theme is to be developed.
Since there are to be the usual farewell
speeches, testimonials and the presen-
tation of a gift, the movie will have
to be a short one. The committee has
authorized the production of a twelve
minute film. So the movie maker de-
cides to divide the picture into four
parts of three minutes each. It will
depict Mr. S. as the family man, the
golfer, the fisherman and, finally, as
the man of business. Naturally, in these
short sequences, only the highlights
can be stressed and liberal use must
be made of the closeup. These restric-
tions, however, are all to the film's
benefit.

The opening sequence might be a
long shot of Mr. S.'s home. His family
is enjoying a typical Saturday after-
noon of relaxation on the porch. The
camera is brought closer to the scene.
Mr. S. is playing checkers with his 11
year old son as his wife and 13 year
old daughter look on. Reaction shots
of son, daughter and mother watching
intently should be recorded. Closeups
should now dominate, as the hands
move the checkers from one position
to another. Then Dad studies the board
with increased absorption. He finally
makes the move which brings him a
sweeping victory. This episode fades out
on a closeup of Mr. S.'s face beaming
with joy.

The next sequence finds him on the
golf course seeking new laurels, where
a long shot establishes the new locale.
He and a few friends are in the midst
of the game, as the camera moves closer
and closer to them. Capture the deter-
mined expressions on S.'s face as he
puts forth every effort to play a mas-
terly game. Follow the ball as it un-
failingly rolls into the hole. Here is a
fine opportunity for creative faking at
its best. For you will have the ball
rolled into the hole by an assistant
whose hands do not appear within the
camera field. With each successive shot,
record in closeup the expressions of
amazement of those watching him play.
Then end this sequence with Dad re-
ceiving his trophy in the midst of his
admiring family.

The fishing episode is to feature the
guest of honor at his favorite sport.
The sequencing technique previously
outlined should be followed, and more
creative faking will be in order. First

GOERZ LENSES

are TOPS for

MOVIES and TELEVISION

HYPAR

W-l-D-E ANGLE

ANASTIGMAT
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Focal length: 15 mm and longer

APOGOR

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Focal length: 35 mm, 50 mm, 75 mm

Made by skilled craftsmen these fine
lenses are designed for use in 1 6 and
35 mm cameras. Whether it's black
and white or color, they are corrected
for all abberations at full opening
and will provide highest definition.

For information, write Dept. MM-33.

298

NOVEMBER 1953

show the fisherman patiently waiting,
then getting a nibble, and hauling in
at last a tiny minnow. But Mr. S. is
not daunted. Triumphantly at the end
he nets a fine looking fish, shown in
closeup, as the sequence is concluded.
The last chapter of this movie profile
will reveal Mr. S. at his desk in the
office. He is reading an intra-company
communication. It appears in closeup
and the audience is thus informed of
tbe promotion and transfer. Mr. S.
beams with satisfaction as he contem-
plates his good fortune. He takes a
long puff at the cigar he is smoking,
and blows the smoke straight towards
the camera. This fades out the scene,
thus bringing the picture to an end.

Classified
advertising

10 Cents a Word

Minimum Charge $2

B Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references-

EQUIPMEiNT 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 1/2.1 Kodak w.a., 4" //4.5 Cooke,
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Wollensak w.a., 2" f/1.6 Kodak case, S299.50; B.&H.
70 E. 1" //2.7 Cooke, case, S122.50; Kodak Model K,
1" //l 9, case, S82.50; B.&H. Auto Master, 1" f/1.9
Wo'lensak, 15mm. //2.5 Ektar, 4" //4.5 Wollensak.
rase. S267.50; 16mm. Magazine Kodak, f/1.9, case,
?92.50; 8mm. Magazine Kodak, f/1.9, case, S92 50 ;
8mm. Revere 99 Turret, //2.8, case, S52.50; 8mm.
R-vere Magazine 70, f/2 8, case, S67.50; B.&H. Foton,
gun, case, 8543.00 value for S250.00. Best buys . . .
best trades alwavs. BASS CAMERA CO.. Dept. CC,
179 W. Madison St., Chicago 2, 111.

FILMS FOR RENTAL OR SALE

■ NATURAL COLOR SLIDES, Scenic, National
Parks; Cities. Animals. Flowers, etc. Sets of eight.
$1.95; Sample & list, 25<t. SLIDES, P. O. Box 26,
Gardena, Calif.

■ "GREATEST Alaska Brown Bear." "Run Down"
by 40 mountain goats, thousands of tons of ice fall
on ship. Add these spectacular 16mm. color movies
to yours. Also, gorgeous original color scenes Alaska.
Mexico. Europe. Alps, white watT canoeing. NEIL
DOUGLAS. Box 664. Meriden, Conn.

MISCELLANEOUS

■ KODACHROME DUPLICATES: 8mm. or 16mm..
11<J 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
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lacquer coating. ESCAR MOTION PICTURE SER-
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Phone: Endicott 1-2707.

■ 8mm. HOLLYWOOD TITLE STUDIO. 16mm.
Complete titling service. Color and black and white.
SPECIAL D'SCOUNT TO AMATEUR CINEMA
LEAGUE MEMBERS. Send 10£ for Price List and
Sample. Address: 1060 North Vista Street, Hollywood
•6. Calif.

■ HOW TO TITLE HOME MOVIES, 90 pages,
illustrated. $1.00 WESTWOOD 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.
Ko-larhrome. THOMSEN TITLES. 14 Ros'.vn Court,
Oakland 18. Calif.

■ CUSTOM TITLE ART by professional lettering
atti,t makes the title suit the production, the Holly-
wood wav. Write for brochure. CHARLES Mc-
GINNIS, 220 Bissell Ave.. Oil City. Pa.

I made a roller screen

[Continued from page 293]

was black, these splices do not show
unless examined very closely.

The width of the top and bottom
strips I cut at 5% inches — and we
come now to my reasons for these width
dimensions. To begin with, the strips
were to be mitre- joined at the four cor-
ners, thus creating right angles on both
their outside and inside edges. Outside
this was fine. But inside I wanted the
corners to be rounded; and if the cor-
ners of 4 inch strips are to be trimmed
round, you simply must have some ex-
tra fabric to trim away.

Hence the extra % inch was added
to the strip dimensions on all four
sides. The extra 1 inch added to the
top and bottom strips was to provide
enough velveteen to permit tacking it
to the top and bottom stretchers. So
these masking strips were cut in the
sizes given and were sewed in turn to
the prepared area of screen fabric. We
used stitching at both edges, of course;
but one must be sure that the inside
stitches are comfortably within the %
inch of velveteen which will be trimmed
away in the round-corner operation.

We were ready now to mount this
prepared screen unit on some sort of
support. At the top, of course. I intend-
ed all along the use of a spring shade
roller. And this sort of mounting is
quite easy if you have at hand a roller
of the necessary length. As it happened
I did not have an 86-inch-long spring
roller. But we did find a discarded 72
inch roller, and by the wood splicing
indicated at the top of the diagram we
made it do nicely. You should have no
such trouble. The bottom unit may be
either a wooden dowel or a strip of 1
inch wide lathe, 86 inches in length, to
which the extra 1 inch of velveteen is
tacked. The weight of this unit, we
found, keeps the screen quite adequate-
ly taut.

Finally, at the bottom of the dia-
gram, you will note some indication
that we may be roughing it out here at
that. For we couldn't seem to find any
regular roller shade brackets, and thus
made up a set ourselves. The sheet
metal used was 16-14 gauge; the other
dimensions and the fashioning of the
brackets I'm sure the diagram will
make clear. Simply be sure that one
of the brackets is slotted (not drilled)
to accept the square end of the spring
roller.

The finishing touch was to attach
a length of cord to the bottom piece of

wood with which the screen could be
unrolled or rolled up. In the picture
you see the screen in its in-use position.
When not in use (and therefore rolled
up), I can assure you that it is nearly
unseen. And also this roller storage
protects your screen from dust — and the
exploring fingers of curious children.
Better try it sometime.

India invites
the amateur

[Continued from page 298]

at the Consulate General of India in
New York City shows that customs rul-
ings in that country permit the free
entry with the tourist of one still cam-
era, one movie camera and "a reason-
able supply of film." Pressed for a
definition of "reasonable," our inform-
ant felt that at least a dozen rolls of
film would create no customs problem
— The Editor.)

Within India itself there will be few
restrictions on your movie making, save
in places of worship where you may
be barred for religious reasons and in
a few areas to which admission is pro-
hibited for strategic causes. So look
forward to roaming far and wide
through our vast country. In the north-
ern parts you will find ancient struc-
tures built by the Moghuls and the Hin-
dus. Then as you come into the warmer
south you will behold an entirely new
style of architecture in the great tem-
ples.

Contrasts in our rural areas are often
equally oblique: in one part of the
country you will find people struggling
to make the arid, desert land fit for
cultivation, while in another the far-
mers' problem is to drain off the excess
water in order to grow the much-needed
grain. So do not confine yourself to a
few set tourist trips by car through our
major cities. Make use also of the in-
digenous means of transport, such as
the two-wheeled rickshaw or the horse-
drawn carriage. Walk freely among the
people. You will be amazed at the
warmth and friendliness with which you
are received.

I am tempted, finally, to suggest that
you bring with you up to four of the
No. 2 Reflectorfloods, since many of our
most colorful dances and ceremonies
take place at night. If you do have the
lamps, it is always possible to secure
an electrician to assist you. and the
necessary extension cables and sockets
are available at rental.

But such dyed-in-the-wool devotion to
our hobby is not a necessity to your
visit to India. I feel sure that our great
and colorful land will offer you by day-
light alone far more than you will find
time to film. So come to India on that
next trip ! Your brother hobbyists await
you here with friendliness.

MOVIE MAKERS

299

The elements of editing

With proper tools, and these basic methods, editing is easy

MAURICE W. PRATHER

Yes, the summer vacations are long
since over, your films are back from
processing, and, besides looking at
them yourself, you are now getting
eager to screen them for your friends.
But when you do, what will these
friends see? A bunch of short, unor-
ganized reels, full of unrelated scenes?
Or will they see a single, integrated
movie with smooth-flowing continuity?
If inexperience at editing is holding
you up, then this article is for you.

For editing is really easy; it takes
little time, and it greatly increases the
scope of your hobby. The tools required
are few and simple. A good splicer is
the first requirement. A pair of scissors,
a pair of film rewinds, a good grade
of film cement, a soft cloth and a batch
of unedited film make up the kit. With
these tools, I have found the following
procedures simple and efficient.

When I receive my film from the
laboratory, I project each roll on a
projector that is as clean is it is pos-
sible to get the machine. Before pro-
jecting each roll I number it or note
the number that is already on it. Then
during projection I make a note of
each scene on the roll in the order in
which it appears on the screen. I also
make a note of the type of scene; that
is, whether it is a long shot, a medium
shot or a closeup. A short description
of the scene and a note as to whether
it is photographically okay also are
included on the sheet of paper.

This may seem like a lot to do in a
dark projection room; but it is not as
difficult as it appears. For in making
these notes it is only necessary to use
letters such as MS for medium shot.
CU for closeup, OK or NG to signify
good or bad photography. Even the
scene descriptions can be very short.
Thus, one entire line might go some-
thing like this: Reel 6, scene 4. LS
Lake Tobe, from Skyline Drive. OK.

After having viewed all of my film.
I take the notes I've just made and sit
down to study them carefully. Going
through the notes, I re-list on fresh
paper each scene in the order I would
like it to appear in the final film. In
its finished form this list might look
something like this.

13. LS Lake Tobe from Skyline
Drive. 2/8

14. MS Lake Tobe from hotel. 5/1

15. CU Fishing boats on the lake. 4/7

16. CU Fisherman landing fish. 3/5

17. ECU Fish head. 3/7

■Having the script in this simple and
efficient form, I'm ready to commence
the actual job of editing.

Always be sure that your splicer is

clean and free of any dirt or cement
particles. It is a good idea to make
some test splices to make sure the
splicer is operating properly and is in
correct adjustment. With tlie splicer
cleaned, I like to start my reels with
the white or cream colored leader that
comes with the film from the labora-
tory. I start off with a length about 3
feet long, which is ideal for threading
the projector. This is also a good
place to identify and name the type
of film on the reel, such as: Lake Tjbe,
1949, 400 feet silent color.

Next, I insert a length of black
leader about 20 to 24 inches long. This
leader helps the audience become ac-
customed to the darkness. Cutting in
the lead titles is the next thing done.
Caution should be used in adding the
titles to be sure they are not put in
upside down or backwards. You may
think you couldn't do anything that
silly. But I have seen it happen to a
professional film editor, and he didn't
discover his mistake until the film was
in the printer.

After the titles are cut in, I'm ready
to start the actual editing. I find the
reel with the first scene on it, then
find the proper scene on that reel and
proceed to cut it out. After it has been
taken out, be sure to tape the two loose
ends together so the film does not get
mixed up. (Kum-Kleens, in the 3/8
inch size, are excellent for this purpose,
since no adhesive from them adheres
to the film. They are a product of the
Avery Adhesive Label Company. Mon-
rovia, Calif. — Ed.) This scene is then
spliced onto the titles, after being sure
that any blank frames at the beginning
or end of the scene are removed. At
this time also any markedly excessive
footage should be cut out of the scene
— although your final cutting for pace
will come later.

The rest of the scenes you want in
your movie are added in the same
manner, using the same care which you
used on the first one. It will take much
less time than you ever imagined to
complete the job. When you reach the
end be sure to add an end title to round
off the movie. This will inform your
audience that the film is concluded.
Many amateurs overlook this final
touch, although it does much to give
your film that professional effect. I then
like to attach another short length of
black leader so the operator can shut
off the lamp before it glares on the
empty screen.

These few simple procedures will
help you produce finished and profes-
sional looking films.

COMPCO CUP

No more groping for hidden slots! No more
slipping of film on the take-up! The
Compco Reel, with its exclusive, pat-
ented "Compco Clip" makes threading
fast and foolproof, even in the dark! The
leader slips smoothly into the "Compco
Clip" . . . stays put for winding . . . yet
slides out after unreeling! In all 8 mm
and 16 mm sizes. Just ask your dealer
for "the reel with the Compco Clip!"

^OmilCO CORPORATION

2251 W. Si. Paul Ave
Chicago 47
Manufacturers of line photographic equipment Since 193?

THE RALPH R.ENO CORP.

626 W. 165 ST. • NEW YORK
Send your film for free crilicism or estimate

RECORDS

MOOD
MUSIC
Background
SOUND

Last Word in Sound Effects-^

Send For Free Catalogue

THOMAS J. VALENTINO, Inc.

Dept. MM
ISO West 46th Street. New York 36. N. Y.

KODACHROME DUPLICATES

8mm. or 16mm. lie per foot

Mail Orders accepted

HOLLYWOOD 16mm INDUSTRIES, INC.

1453 N. Vine Street

Hollywood 28. Calif.

Magnetic Film and Tape Users/

Use the FIDELITONE TWIN-Table for

perfect re-recording of music
and sound effects. Write for
FREE record list and
brochure.

OkU, S9850

FN Tw intl

^^ GEO. K. CULBERTSON CO.

ride itone, 8*7' Ler°ycsrrr •

; l £ „.,,., JT.,, San Gabriel, California

300

NOVEMBER 1953

News of
the industry

Up to the minute reports
on new products and
services in the movie field

B&H Model 253 A new version of
its low-priced,
lightweight 8mm. projector, the Model
253, has been announced by the Bell
& Howell Company. The unit has an all-
aluminum, die-cast case finished in light
fawn metallic, which snaps off to reveal
the film handling parts.

Except for the color and the structure
of its case, the new projector is similar
to the company's Model 221, which will
continue to be made with a molded case.
The 253 is covered by B&H's standard
lifetime guarantee and will retail at
$114.95. tax inc.

In brief ^o kill stray reflections, the
James H. Smith Corpora-
tion is now coating the rear surface
of their Adapta-Lite reflectors with a
brown hammertone finish . . . Enteco
Industries has added a Series VII filter
wallet to their existing Series IV, V
and VI units . . . Tape and Film Re-
cording, a new bi-monthly magazine
devoted to all aspects of magnetic re-
cording, has been announced by Moon-
ey-Rowan Publications, Severna Park,
Md. First issue, for November-Decem-
ber, out early in November.

Photoptic meters Two new expo-
sure meters have
been released by the Photoptic Corpora-
tion, 235 Fourth Avenue, New York 3,
N. Y. These are the Dual-Sixtomat,
priced at $27.50, and the Dual Sixon,
priced at $17.50.

Features of the two units which ap-
pear to be identical are the following:
a honeycomb baffle over the photocell
to match its angle of view to standard
camera lenses; easy interchange be-
tween reflected and incident light read-
ings, via a roller screen which filters

DUAL SIXTOMAT meter with, left, its honey-
comb window open for reflected light read-
ings and, at right, shielded for incident light
operation. The meter lists at $27.50.

BELL & HOWELL favors a snap-on aluminum
case for its new 8mm. projector, Model 253.

the incident light through the honey-
comb; ivory and satin-chrome trim com-
plete with a chrome chain.

Additional features claimed for the
de luxe Sixtomat over the Sixon are an
automatic high-low light intensity
switch; a built-in magnifier over the
scale window; direct diaphragm read-
ings from that scale without manual
adjustments, and provision on the cine
scale for a sound speed (24 fps) read-
ing without further calculation.

SMPTE awards Fred Waller, in-
ventor of the Cine-
rama motion picture process, has re-
ceived the Progress Medal Award of
the Society of Motion Picture and Tele-
vision Engineers for his work in that
specialized film field. The award, the
highest honor bestowed by the Society,
was made at the group's 74th Semi-
Annual Convention, held last month
in New York City.

Also honored by SMPTE was Dr.
W. W. Wetzel, of the Minnesota Min-
ing & Manufacturing Company, who
was named by the engineering society
to receive its Samuel L. Warner Me-
morial Award. Dr. Wetzel was honored
for his contributions to the development
of magnetic tapes and films for sound
recording.

Three for Kodak Marking its six-
ty-fifth year of
camera manufacture, the Eastman Ko-
dak Company has released three new
still cameras in varying price range —
but all designed especially for use with
color films.

In the "under $5" class is the
Brownie Holiday, a box-shaped camera
which takes eight pictures on a roll of
127 Kodacolor. The exact list is $4.25.

Next in line is the Bantam RF which,
as a part of Kodak's new Town and
Country Outfit (included are flash
equipment and a carrying case), will
be priced at $78.50. Features of this
miniature-type camera are a 50mm.
//3.9 Ektanon lens, with apertures to
//22 and shutter speeds from 1/25 to

1/300 of a second; a coupled range
finder and automatic film stop and
double exposure prevention.

Topping this new trio is the Kodak
Chevron, a de luxe unit designed pri-
marily for twelve 21/4 inch square ex-
posures on 620 roll film. However, a
simple adapter also permits the Chev-
ron to accept the 828 cartridges of
miniature color films. The lens is a
Kodak Ektar 78mm. //3.5, the auto-
matic shutter speeds extend from 1 sec-
ond to 1/800 of a second, and the focus-
ing range is from 3% feet to infinity.
The viewfinder is fully corrected for
parallax, and there are a coupled range
finder and provision for flash. The
Chevron will list at $215.

Booklets Titling Can Be Easy, a 6
page booklet complete with
samples of Clingtite letters, is yours for
the asking at Clingtite Products. Inc.,
4844 S. Ashland Avenue, Chicago 9.
Ask for N-57 and say that Movie
Makers sent you.

Catalog No. 553, listing in 20 illus-
trated pages the entire line of Carter
DC-to-AC converters, may be obtained
by writing Dept. 14, Carter Motor Com-
pany, 2656 N. Maplewood Avenue,
Chicago 47.

An 8 page brochure on Radiant
photographic accessories, including the
company's Ambassador and Royal tri-
pods and heads, is off the press at
Radiant Specialty Corporation, c/o
Sales Dept., 1225 S. Talman. Chicago 8.

Projection table Of interest to am-
ateur movie clubs
and individual amateurs alike may be
the new Safe-Lock portable projection
table announced by the Smith System
Heating Company, manufacturers of
school equipment with headquarters in
Minneapolis, Minn.

The stand, which measures 17 by 29
by 42 inches, is all-metal in construc-
tion, has three 3-inch swivel casters

THE SAFELOCK, an all-metal portable projec-
tion cabinet at $59, should appeal to clubs.

MOVIE MAKERS

301

(two with brakes) and a sturdy lock
on the cabinet door. Known as Model
42, the unit is priced at $59.00 f.o.b.
Minneapolis.

Leg-Lok triangle Hailed as the

first "important
improvement" in tripod triangles since
the days of Billy Bitzer, Florman &
Babb, New York motion picture equip-
ment dealers, have announced the F&B
Leg-Lok triangle. Featured are screw-
down clamps which fasten securely to
each tripod leg, thus preventing disen-
gagement of the legs when the tripod
is moved.

To Color-Matic Existing Norwood
Director exposure
meters can now be converted to the
new system of Color-Matic operation,
Robert E. Brockway, president of Di-
rector Products, has announced. With
the Color-Matic control slide in place,
the still camera operator sets his shut-
ter at 1/50 of a second, points the
photosphere toward camera position
and reads the correct "f" stop directly
from the needle.

Price of the conversion has been set
at $12.50 for still picture work. On
special order, Norwood meters also
may be adapted to Color-Matic opera-
tion for movie making exposures.

New lens for B&H A new Bell &

Howell 1 inch
//1.9 lens, manufactured by Taylor,
Taylor & Hobson, Ltd., in England, has
been announced for use with all 16mm.
Filmo cameras and other "C" mount
instruments. The new objective, which
lists at $86.95 tax inc., will replace the
company's previous Super Comat f/1.9.

Radiant Curvex In the event that

you have been
holding back on the adoption of 16mm.
CinemaScope (or other wide-screen
processes) for your living room, the
Radiant Manufacturing Corporation
wants you to know that they have the
exact answer to your needs. It is the
Radiant Curvex, a gently arced screen
surface which you may secure in widths
running from 5 to 20 feet and with an
aspect ratio of 2.50:1. The silvered
fabric, it is said, also functions effec-
tively under stereoscopic projection —
should you wish to combine 3-D and
CinemaScope techniques.

ELGEET, eager to aid you in
protecting their popular ac-
cessory lenses, now offer a
series of carrying cases in
three sizes, designed to ac-
cept all of their 8 and 16mm.
lenses. From $2.95 to $4.75.

Ralph K. Child, Washington, Ohio

Sam E. Loftin, Mobile, Ala.

C. J. Mack, Hectorville, Australia

J. Alan Ornstein, New York City

C. J. Zonneveld Pick, San Sal valor, El

Salvador
Dr. H. C. Robjohns, Parkside, Australia
J. M. Simpson, Walkerville, Australia
H. J. Stanley, Mitcham Estate, Australia
Lewis D. Underwood, Long Beach, Calif.
Lloyd Morgan, Kennewick, Wash.
Mrs. Thelma E. Riegel, Tucson, Ariz.
Tucson Movie Camera Club, Tucson, Ariz.
Edward Ott, Alton, 111.
James E. Morrison, Los Angeles, Calif.

Robert Bartolo, Paris, France
Charles C. Estes, Oklahoma City, Okla.
Firoz A. Sarker, Bombay, India
I. Silver, Rockaway, N. Y.

A. C. B. Havens, New York City
John H. Kleinhample, Chicago, III.
Leon Konsevick, Ridgefield Park, N. J.
E. R. Small, Grinnell, Iowa

Francis R. Montalbano, Levittown, N. Y.
Wilma Johnson, Eureka, Mo.
David E. Burgess, Grosse Pointe, Mich.
Richard D. Bush, Alhambra, Calif.
Helmut Stahl, M.D., Quincy, Mass.

Raymond Valdes, jr., Mayaguez, Puerto

Rico
L. Boonserm, Dhonburi, Thailand
Allan R. Powell, Willoughby, Ohio

B. Frank Zintl, Philadelphia, Pa.
Ed Cox, Elko, Nev.

Matthew M. Saposnik, D.D.S., Chicago, III.
Arthur G. McMahon, Lyndhurst, N. J.
Dr. Arnold L. Milette, Torrington, Conn.
Alfred W. Oldehoff, Roosevelt, N. Y.
Arnold K. Mueller, Houston, Texas
Irwin W. Patten, Sacramento, Calif.
Joseph C. Cwik, Farmingdale, N. Y .
J. F. Dimmitt, Kansas City, Kans.
E. J. Greer, Kansas City, Kans.
J. C. Gudgel, Felton, Calif.

Shige Iwamoto, c/o FPO, San Francisco,

Calif.
Owen K. Johnson, Kansas City, Mo.
Kaw Valley Movie Camera Club, Kansas

City, Kans.
William J. Kirby, Grosse Pointe, Mich.
Ray L. McNamara, Shelbyville, Ind.
Clarence M. Neves, Isleton, Calif.
M. B. Sterling, Mission, Kans.
Raymond Eisenhardt, New York City
H. Herbert Felsted, Caracas, Venezuela
Ed C. Wareing, Lufkin, Texas
Matthew J. Linkel, Fort Collins, Colo.

C. A. McCoy, San Francisco, Calif.
Robert Aluni, Virginia, Minn.

R. L. Dixon, Nelson, New Zealand
Lee H. Barker, Wisconsin Rapids, Wise.
George C. Bradford, Falmouth, Ky.
Bruce E. Johnson, Wallingford, Conn.

I . T. Lewie, Bluefield, W. Va.
John T. MoCall, jr.. VashvilU, Tenn.
Harold Nakazawa, jr., Berkeley, Calif.
Bhochana Panyadhibya, Denver, Colo.
J. II. Scott. Erie, Pa.

Capt. C<cil L. Smith, - o I'M, New York
City

F. J. Limback, Huntington Woods, Mich.
Texas City Camera Club, Texas City, Texas
Dr. Carlo- VI. Monson-Malice, Guatemala

City, Guatemala
Roland F. Beers, Troy, N. Y.
Olen S. Hanson, Hutchinson, Kans.
H. A. Lawrence, Calgary, Canada
Rev. Nicola Marinacci, \<-;, York City
Richard O. Taylor, Green belt, Md.
Bernice Jackson, San Francisco, Calif.
Crystal B. Livengood, Frankfort, hid.

Wim P. G. Stokla, Curacao, Netherlands

West Indies
Cine Club Piemonte, Turin, Italy
l,es Hudson, Christchun -h, New Zealand
Nils Jonsson, Sollentunu, Sweden
Rev. Peter J. Wildhaber, Cheyenne We/Is.

Colo.
Crenshaw Amateur Movie Makers, Los An-
geles, Calif.
Mervyn R. Lather, Brisbane, Australia
C. E. Miller, Pensacola, Fla.
North Shore Cinema Club, East Lynn, Mass.
Joseph C. Klein, Cleveland, Ohio
Wilson L. Bonalume, New York City
Catharine Michaux, Sandusky, Ohio

Edw. J. Bernstein, New Rochelle, N. Y.
H. M. Floissac, Brooklyn, N. Y.
Henry A. Miller, Farmington, N. M.
Richard Schlosberg, New Rochelle, N. Y.
James J. Steward, Cleveland, Tenn.
Major Kimbrough S. Brown, Fort Walton

Beach, Fla.
Thomas F. Butler, Cincinnati, Ohio
J. Max Hyde, Springfield, Mo.
Lt. Joseph M. Strahs, Anchorage, Alaska
L. E. Alfred, Jackson, Miss.

G. V. Delson, New York City
John Girdzunas, Berwyn, III.
William O. Brining, Washington, D. C.
John E. Redzimski, Brooklyn, N. Y.

Paulo Da Silva Prado, Sao Paulo. Brazil

Frederick H. Sieman, Tenafly, N. J.

F. O. Stackhouse, ATC, USN, c/o FPO,
San Francisco, Calif.

Carl Ecklund, Galesburg, 111.

Rev. Walter Hafner, S.V.D., Girard, Pa.

Richard Belke, Waukegan, III.

George V. Home, Rock Hill, Mo.

Mrs. Rose Erickson, Tuxedo, N. C.

Jerome G. Futerman, New Rochelle, N. Y.

Cyril S. Palms, Middle Village, N. Y.

Jack Warren, River Edge, N. J.

H. Ennik, Hoogezand, Netherlands

Abbas N. Suleyman, c/o PM, San Fran-
cisco, Calif.

A. M. Pate jr., Fort Worth, Texas

Audio Visual Aids Dept.. Brigham "ioung
University, Provo, Utah

Mrs. Janis Baldwin, c/o PM, San Fran-
cisco, Calif.

Fred E. Caspar, Montclair, N. J.

Tan Kee Jeng, Seremban, Malaya

Frank A. McClure jr., Varnville, S. C.

Howard J. Gibson, Forty Fort, Pa.

Dr. Albert Chafets, San Francisco, Calif.

Anna De Yorgi. Greenwich, Conn.

Claude Drey, New York City

Frank Raufeisen. Ansonia, Conn.

Leo P. Rood, White Plains, N. Y.

Laura C. Stidd. Yonkers, N. Y.

William R. Teska, New York City

Dr. C. P. Whalen, Kankakee, III.
Thad H. Walter. Tuckahoe, N. Y.
Associacao de Cinegrafistas Amadores do

Brasil, Recife, Brazil
Dr. Frances Cottington, New York City
Frank A. J. Pennine Long Island City,

N.Y.
Lohret Di Loreto, Warren, Ohio

302

NOVEMBER 1953

Rainy day blues

[Continued from page 292]

the light at the top of the cellar stairs
and bids Mary to follow him.

30. Medium shot. The youngsters de-
scending into the cellar.

31. Semi-closeup. The children look-
ing admiringly around the cellar as
Mary speaks:

Title. "Oh, but it's fine here!"

32. Medium shot. The cat ducks be-
hind the furnace as the children pur-
sue her everywhere through the cellar.
They at last catch her atop a pile of
coal.

33. Closeup. The very dirty hands of
Mary, holding the cat firmly. Dissolve
to:

34. Closeup. The clean hands of
Mother, holding a basket of fruit as
she puts it next to her on the front
seat of the car.

35. Medium shot. Mother looks at
her watch, frowns and drives hastily
off. Dissolve to:

36. Medium shot. The children sit-
ting on the cellar floor near the fur-
nace. Their hands and clothes are dirty
with coaldust as they dress the strug-
gling cat in Mary's doll clothes.

37. Semi-closeup. Mary, with the
dressed cat on her lap, speaks to Bob
earnestly.

Title. "/ think the child is sleepy.
Father should make the bed."

38. Medium shot. Bob gets to his feet
and climbs the cellar stairs.

39. Semi-closeup. Bob in the hall
searching for something suitable. He
finally takes his and Mary's raincoats
from the rack. Dissolve to:

40. Medium shot. Father taking his
and the boss's raincoats from the coat
rack in the office. As he aids the boss
into his coat, he says proudly:

Title. ". . . and you'll see my young-
sters too! They're really nice, well-be-
haved kids!"

41. Medium shot. In front of the of-
fice as Dad and the director step out
into the rain. They start the director's
fine car and drive away. Quick dissolve
to:

42. Medium shot. Front of the house.
Mother stops her car, runs through the
rain to the front door and enters. Cut
to:

43. Semi-closeup. Bob, with the rain-
coats over his arm, disappears into the
cellar and closes the door behind him.

44. Medium shot. Bob and Mary put-
ting the unwilling cat "to bed," wrap-
ping her in the raincoats. As they
finish, Mary herself looks very sleepy
and yawns.

45. Semi-closeup. Bob also yawns and
lies down next to Mary and the cat,
which she holds firmly in her arms.

46. Medium shot. Mother very busy
in the kitchen suddenly thinks of the
youngsters and goes to the living room.

47. Medium shot. Mother at the door
of the living room looks frightened at
the deserted toys spread over the floor.
She looks around for the children and
then disappears.

48, 49, 50. Medium shots. Mother un-
easily searching for the children in
several parts of the house, but not in
the cellar!

51. Semi-closeup. Mother in the hall
looks terrified at the empty coat rack.
She turns away hastily.

52. Semi-closeup. Mother at a front
window looks anxiously into the empty,
rainy street.

53. Medium shot. Mother, leaving the
front door wide open, rushes coatless
into the car and drives away hurriedly.

54. Semi-closeup. Bob and Mary fast
asleep near the warm furnace. The cat
tries vainly to escape from Mary's dirty
hands.

55. Medium shot. The car stops at a
street corner where Mother leans out
the door, looks around anxiously and
then drives away. Dissolve to:

56. Semi-closeup. Dad and his direc-
tor in the car. The boss at the wheel
says disgustedly:

Title. "Rotten weather!"

57. Semi-closeup. Dad smiles agree-
ment and says:

Title. "/ sure am glad my wife and
children are dry and warm at home."

58. Medium shot. Mother nearly
weeping stands in the pouring rain at
another street corner, looking vainly
for the youngsters. Hopelessly she
jumps into the car again. Quick dis-
solve to:

59. Medium shot. The youngsters still
fast asleep. The cat, at last liberated
from Mary's relaxed grip, but still
dressed in the doll's little gown and
cap, escapes over the pile of coal
through the outer cellar window.

60. Semi-long shot. Front of the
house with the door still wide open.
The director's car arrives from the left,
Mother's car hurriedly from the right.
Both cars come to a sudden stop just
in front of the house, nearly bumper to
bumper. (Make this shot at a 45 degree
angle and at 8 frames a second; the
result will be fine ! )

61. Medium shot. The three jumping
out of their cars and hurrying to-
gether in the rain. Dad and his com-
panion are puzzled; but Mother at her
wit's end flies into Dad's arms, crying:

Title. "The children have disap-
peared!"

62. Medium shot. Dad, trying to
soothe his wife, presents her to the
director. They shake hands and imme-
diately start chatting about the "lost"
youngsters. It is a very nervous scene
until all three suddenly look amazed.
The camera tilts slowly down to:

63. Semi-closeup. The cat, still in
doll's clothes, approaching unhappily
along the sidewalk.

64. Medium shot. Dad gets an idea,
and follows the cat in the open front
door. Mother and the guest are behind
him.

65. Semi-closeup. The cat mewing
and scratching at the cellar door (put
some of her favorite food behind it) .
She looks up at the people beside her.

66. Medium shot. Mother picks the
cat up and speaks to her soothingly as
Father opens the cellar door. He bends
down then shouts:

Title. "Bob! Mary! Are you down
there?"

67. Semi-closeup. Bob awakens with
a jerk, sits half upright and looks
around wonderingly. Mary wipes her
eyes with her dirty hands and so makes
her face still dirtier.

68. Medium shot. Father reaches the
foot of the stairs, looks at the young-
sters anxiously, then suddenly bursts
out laughing.

69. Semi-closeup. A two-shot over his
shoulder toward the youngsters looking
up at Dad.

70. Semi-closeup. Mother and the di-
rector looking incredulously at the
youngsters. Then they turn their heads
toward each other and the boss bursts
out in warm laughter, while Mom looks
embarrassed.

71. Semi-closeup. A two-shot over the
shoulders of Dad and the boss, show-
ing the youngsters huddled against
Mother and looking up suspiciously at
the laughing men.

72. Closeup. The face of a clock
showing a quarter past five. The minute
hand turns slowly to six o'clock.

73. Medium shot. Pan across a
brightly arranged dinner table to show
Mother, still looking reproachful, then
the director and Father smiling at:

74. Semi-closeup. Bob and Mary,
washed and redressed, sitting at the
table with their clean little hands fold-
ed, their eyes cast down to their plates.

STATEMENT OF THE OWNERSHIP, MANAGEMENT AND CIRCULATION REQUIRED BY THE ACT OF
CONGRESS OF AUGUST 24, 1912, AS AMENDED BY THE ACT OF MARCH 3, 1933, AND JULY 2, 1946

(Title 39, United States Code, Section 233)
OF MOVIE MAKERS, published monthly at New Tork, N. Y.. for October 1, 1953.

1. The names and addresses of the publisher, editor, managing editor, and business managers are: Publisher,
Amateur Cinema League, Inc., 120 Lexington Avenue, New Tork 17, N. T. : Editor, James W. Moore, 420 Lexington
Avenue, New York 17, N. Y. ; Managing Editor, none; Business Managers, none.

2. The owner is: Amateur Cinema League, Inc., 420 Lexington Avenue, New York 17, N. Y. ; Membership
corporation with no capital stock. President, Joseph J. Harley, 27 Tipper Overlook Rd. , Summit, N. J. ; Vice President,
Frank E. Gunnell, 34 Colonial Court, Staten Island, N. Y. ; Treasurer. Walter Bergmann, 30 Alta Dr., Mt. Vernon,
N. Y. ; Secretary and Managing Director, James W. Moore. 420 Lexington Ave., New York 17, N. Y.

3. The known bondholders, mortgagees, and other security holders owning or holding 1 per cent or more
of total amount of bonds, mortgages, or other securities, are: None.

4. Paragraphs 2 and 3 include, In cases where the stockholder or security holder appears upon the books
of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such
trustee is acting: also the statements in the two paragraphs show the affiant's full knowledge and belief as to the
circumstances and conditions under which stockholders and security holders who do not appear upon the books of
the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner.

JAMES W. MOORE, Editor.
MARY L COONEY, Notary Public for the State of New York.
Sworn to and subscribed before me this 28th day of September. 1953. {My commission expires March 30. 1955.)

MOVIE MAKERS

303

75. Closeup. The cat's face looking
straight into the lens and mewing.
Fade in THE END over this scene.

Note: Although a cat is mentioned
specifically in this scenario, obviously
you may substitute a dog for this par-
ticular prop. Father's director can as
well be substituted by one of his
friends, by Aunt Peggy or anyone you
like.

Look to

your laboratory

[Continued from page 295]

duplicate, it is possible to get on spe-
cific order a one-light or work print. In
this case a single light intensity is se-
lected which seems best suited to the
overall footage and the entire film is
run through at that level. Prices on
work prints are therefore lower, espe-
cially when run color-to-monochrome,
thus making them a wise investment for
the most critical kinds of editing.

Still other advantages to be found in
duping an original silent reversal are
the following: (1) during the process
an optical sound track can be added to
the picture, making what labs call a
combined or composite print, or the
dupe can be run on single perforated
sound stock for the addition of a full-
width magnetic sound stripe; (2) dur-
ing the process also the amateur may
order at his discretion the printing in
of fades, lap dissolves or any one of
many forms of trick printing. For each
of these orders some special prepara-
tion of your film may be necessary;
thus the amateur contemplating their
use should discuss them specifically
with the lab of his choice.

DUPE NEGATIVES AND MASTER
DUPES

Besides the straight duplication of re-
versal originals, commercial labs offer
a number of other services which may
at one time or another be of interest
and aid to the amateur filmer. The two
named above — the creation by printing
of a duplicate negative or of a master
duplicate — are called for whenever a
sizable number of prints are desired
from your original footage. The dupe
negative — a fine-grain negative copy in
black and white — is made directly from
your monochrome or color original, and
then positive prints are run from it.
This method is less expensive than
running a sizable number of reversal
duplicates, and in the judgment of
many laboratory directors the results
are superior in print quality.

The master duplicate serves the same
purpose — the creation of a sizable num-
ber of copies — but it does it via re-
versal film (rather than negative-posi-
tive) and thereby permits the copies to
be made in color from a color original.

fn the master duplicate system, one or
more perfectly timed duplicates are
first made from the original; the orig-
inal is then stored away in the film
vault, and all projection prints are
duplicated from the masters. As a mat-
ter of fact, it is by this exast system
that the League's full-color ACL mem-
bership leaders are created by the
George W. Colburn Laboratory, in Chi-
cago. In the 16mm. size they are duped
directly from the 16mm. masters, while
in the 8mm. size they are printed by
reduction onto 8mm. stock.

ENLARGING OR REDUCTION
Which brings us to still another ser-
vice offered by film labs which special-
ize in work for the amateur and sub-
standard film user. This is their ability
to create by optical printing either an
enlargement from one film size to an-
other (8mm. to 16mm., for example)
or a reduction print from the larger to
the smaller film.

PREPARING YOUR FILM

And now, how may the amateur who
plans to use a commercial film lab co-
operate with that firm to their mutual
advantage?

In the first place, he should check
the condition of his film carefully, giv-
ing especial attention to the firmness
of the splices. Secondly, he should
make sure that his film carries plenty
of blank leader and trailer, and he
should in no case use double-perf lead-
er on a single-perf picture, or vice
versa. Thirdly, he should letter on the
film's leader his name, the name of the
film, its approximate footage and the
kind of stock it is: i.e., "Original Koda-
chrome," "Original Ansco Color" or the
like. All of this information and the
producer's address should then be let-
tered in some fashion on the film can.

And finally he should make sure that
his letter accompanying the film states
explicitly and exactly what operation
or operations he wants performed. For
example, a letter ordering a straight
reversal duplicate might well read as
follows :

"Dear Sirs: I am sending you by in-
sured parcel post (railway or air ex-
press) 350 feet of original 16mm.
(8mm.) Ansco Color (Kodachrome)
entitled 'Yellowstone Wonderland.' The
picture is spooled on a 400 foot reel, is
in a can of the same size and will be
shipped in a fibre shipping case.

"Please duplicate this film in 16mm.
Ansco Color (or Kodachrome, if the
original is Kodachrome) and return the
original and the duplicate to me. I
wish (do not wish) the duplicate to be
spooled and canned by your laboratory.
I understand that the charge will be
X cents per foot."

That does it, filmers. Look to your
laboratory the next time you need some-
thing special.

Safeguard your

Film. Ship in

FIBERBILT

CASES.

400' lo 2000' 16mm.

FIBERBILT
CASE CO.

40 WEST 17th ST.
NEW YORK CITY

KODACHROME DUPLICATES

8mm or 1 6mm — 1 1 0 per ft.

16mm Reduced to 8mm - - , , ?e/ ,
„ _ ■ , . 1 Air finished

8mm Enlarged to 16mm ■ ^v- foo(

EAGLE LABORATORY

1732 N. ORCHARD ST. CHICAGO 14, ILL.

ADD INTEREST TO

HOME MOVIES

WRITE FOR FREE

INFORAAATION

AND PRICES

SIERRA WESTERN CO.

DEPT. 15
2748 E. BROADWAY
LONG BEACH. CALIF.

THE WINNAH!

and new Champs

WHO will be the winner of the
Maxim Memorial Award for 1953,
the most treasured trophy in the
whole world of amateur movies?

WHO will be the winners of
1953's Ten Best Awards, the new
champions of our chosen hobby?

READ about ACL's 24th annual
selection of the Ten Best Amateur
Films of the Year in December

MOVIE MAKERS

304

NOVEMBER 1953

rN

s~\s-\

CLUBS

Brooklyn Gala The Brooklyn Am-
ateur Cine Club,
ACL, will present its sixth annual 8mm.
Gala Show on Friday, November 20, at
the Neighborhood Club House, 104
Clark Street. Brooklyn (near the Hotel
St. George). Tickets are priced at $.75,
tax included, and may be ordered in
advance from Michael Kupec, 210 East
17th Street, New York 3, N. Y.

Among the many fine films scheduled
are To Build a Fire, by Harry W. At-
wood, ACL; Living Dust, by George
Valentine; Near Miss, ACL Honorable
Mention winner in 1952, by Barry W.
Dance, ACL; Seaside New York, by
Sam Sohnen, ACL, and The Unknown,
by David Stettner. ACL.

Westwood On November 27, the
Westwood Movie Club
of San Francisco will be visited by
Alfred T. Bartlett, AACL, on the final
leg of his trip around the world. Mr.
Bartlett will speak to the members
about filming Down Under and will
present a selection of his fine films
which will include The Enchanted Isles;
Make Mine Movies and Give Us This
Day, a Ten Best award winner in 1952.

UN benefit The United Nations
Movie Club, ACL, in
New York City, raised over $700 last
month with a special show for the bene-
fit of victims of the recent earthquake
disaster in Greece. Supplementing the
excellent film program was a special
performance of a new radio script, Vil-
lage in the Sky, by Sir Cedric Hard-
wicke and Luise Rainer. A good show
for a good cause!

San Jose salon Among the films
presented by the
San Jose Movie Club at their tenth
annual salon in September were Magic
Medicine, by the Los Angeles 8mm.
Club, ACL; Lost Weekend, by John J.
Lloyd, ACL, and Two Thin Dimes, by
Merle Williams, all on 8mm. The
16mm. films included A Camping Ad-
Robert Dienethal

Gordon Broomhall

IN PASSAIC, N. J., members of the Yantacaw Camera Club, a new group, gather for a meeting.

venture, by William S. Block, ACL;
Just Foolin' Around, by Gordon M. Rob-
ertson; Two Paper Cups, by Richard
Baty; Sierra Summer, by Othel G. Goff,
ACL; Ice Follies, by Leslie R. Olsen,
ACL; Hands Around the Clock, 1950
Ten Best winner by William Messner,
AACL, and Odd Fellow Hall, by Denver
Sutton.

Denver AMPS Elected recently to
guide the Amateur
Motion Picture Society of Denver, ACL,
for 1953-54 were Markley L. Pepper,
ACL, president; Elmer Burkett, vice-
president; Alta Swifer, secretary-treas-
urer, and Walter W. Drake, ACL, mem-
ber of the board. On the entertainment
side of the election meeting were screen-
ings of A Pair of Shorts and A Wolf's
Tale, both by George Valentine, and
Maxine's Big Moment and Maxine's
Career, both by William Messner,
AACL.

Honorary memberships in the so-
ciety have been awarded to Messrs. Val-
entine and Messner and to Esther
Cooke, ACL, of Albany, N. Y., in recog-
nition of their kindnesses to the club
during the past years.

Kansas City 8mm. winners in the
Unusual Films con-
test held during the summer by the
Kansas City Amateur Movie Makers,

IN CHICAGO, contest win-
ners of Metro Movie Club,
ACL, line up (I. to r.) as fol-
lows: Richard Guetl, first in
8mm.; John Frederick, sec-
ond in 8; Arthur H. Elliott,
ACL, making the Elliott
Award; Don Barber, ACL,
first in 16mm., and William
Ziemer, second.

ACL, were Over the Rockies, by Lorene
Martin, first, and Did You Ever, by Dr.
Louis Goodson, second. In the 16mm.
division, Puppet Show, by Clarence
Simpson, ACL, was first, with Under
Water Scenes, by Bill Moeller, second.

Milwaukee A. notice has been

received that the
Amateur Movie Society of Milwaukee.
ACL, is now meeting at Federal Post
203 of the American Legion at 727
East Wisconsin Avenue. If you would
like to drop around to one of the
meetings, the club meets on the second
and fourth Wednesdays of each month
at 8:15 in the evening.

Johannesburg

Members of the
Johannesburg
(South Africa) Amateur Cine Club,
ACL, swept the field in the recent con-
test sponsored by the Transvaal Cham-
ber of Mines. Wild Life Sanctuary, by
D. Reucassel, took first honors, with
Shivingwedzi and Kalahari, both by Dr.
A. J. Broughton, ACL, taking second
and third.

L. A. Eiqhts Winners of the Ladies
Contest sponsored re-
cently by the Los Angeles 8mm. Club,
ACL, were Hook, Line and Sinker, by
Marian Dance, first; Pooch Portraits,
by Merle Williams, second, and The
Court Award, by Joan Jackson, third.
Judges for the evening were Nellie
Lloyd, Phyllis Weethee and Louella
Shaden, all from the Long Beach
(Calif.) Cinema Club.

Oakland guests Members of the
Richmond
(Calif.) Movie Camera Club, ACL,
were guests last month of the Oakland
Camera Club, ACL, in the San Fran-
cisco Bay area. The program, which

MOVIE MAKERS

305

was prepared by the guests, included
Garden Fantasy and Santa's Toys, both
by Edna Hunting, ACL; Florida Trop-
ics, by M. Whittlesey; The Old Mission
Trail, by Donald Hitchcox. ACL; Sun-
day Supplement, by Bob Buckett, ACL,
and Niagara Falls, by J. P. Rihn. ACL,
and Mrs. Rihn.

Minneapolis The October meeting
of the Minneapolis
Cine Club featured a talk by club vice-
president Edwin L. Pearson on compo-
sition and camera technique. Following
the lecture were screenings of National
Parks, by Dr. John Wendlund ; Canada
Vacations, by James Johnson; Zion Na-
tional Park, by James Brown, and
Drama of an Old Farm, by Elmer
Albinson, ACL.

Jacksonville Tne Jacksonville
(Fla.) Movie Mak-
ers have extended an invitation to all
interested filmers in that area to join
with them in the many activities that
have been planned for the new year.
The club meets on the first and third
Monday of each month at No. 3 Broad-
cast Place in Jacksonville. You may
call W. I. Powell at Jacksonville 5-7511
or 3-4711. for further information.

Hartford The nrst meeting of the
1953 season for the Hart-
ford (Conn.) Cinema Club featured
screenings of With Rod and Camera, by
Randall Pease ; Victoria, British Colum-
bia, by Eugenie Grannis, and Pelican
Pastimes, by Eugene Wilson, ACL. The
November program will be highlighted
by a demonstration of the Bolex stereo
system.

Germany Results have just been
received of the contest
held recently by the Hannover Film
Amateur Club for the Federation of
German Cine Clubs (B.D.F.A.). In the
story division, there was no first award;
Das War en noch Zeiten, by Mr. Muenz,
won second place, with Tausend zu vier,
by Mr. Hartje, and Abschiedsbriefe, by
Mr. Oswich. tying for third place.

Among the genre films, Weihnachts-
wunsch, by Mr. Elgner. was first; Nar-

Where

to

see

THE TOP OF

THE

TEN

BEST

Dale

Sponsor

Tickets and Information

November 1 7

Amateur Movie Club of San Diego

Viola Ford

3610 Alexia Place

San Diego, Calif.

December 1

Niles Movie Club

R. E. Lorenzen
P. O. Box 5
Niles, Mich.

December 8

Detroit Cinema Club

Adrian J. Lustig

19344 Appoline Avenue

Detroit 35, Mich.

December 22

Boston Camera Club

Benjamin B. Crocker
351 A Newbury Street
Boston 16, Mass.

cisse, by the Amateur Club Munich,
second, and 6 Uhr 30, by Mr. Muenz,
third. For documentary films, Spaniein-
planderei, by Mr. Muenz, first; no sec-
ond award, and Edler Schmuck aus
Meisterhand, by Mr. Fehrenz, third.
And finally, in the family film class,
the winners were Wie di Alten Sungen,
by Mr. Muenz, first; Auf Re gen folgt
Sonne, by Mr. Kolbe, second, and Bay-
rische G 'schichten, by Mr. Hartje, third.

Queensland Officers 0I trie Queens-
land (Australia) Ama-
teur Cine Society for 1953-54 will be
H. M. Sothern, president; E. A. Roush,
senior vicepresident; K. F. Hall, junior
vicepresident; L. E. Holzapfel, secre-
tary, and G. Ward, treasurer. Serving
on the committee will be A. T. Bart-
lett, AACL, retiring president, G. A.
Christoe, A. J. Hart, R. James, A. E.
Jenks. E. Pass, and F. Rosenskjar.

This club's "Ten Best" competition
of 1953 received entries from New Zea-
land and every state in Australia save
Tasmania. Timothy, by K. Hall, of the
Q.A.C.S., took the No. 1 rating.

Institute in England Recently

elected as
president of the Institute of Amateur
Cinematographers. ACL. in England.

IN KANKAKEE, ILL., the city's camera club packed the 450 seat Civic Auditorium for a guest
screening of the "Top of the Ten Best for 1952," ACL's popular all-magnetic picture program.

was Mrs. Roger Manvell, Serving with
her will be H. A. Rowe. chairman:
C. B. G. Bishop, vicechairman; C. W.
Argent, treasurer; Leslie F. Froude.
secretary, and W. M. Valon, W. J.
Bassett-Lowke, C. Derry, I. Smith, and
R. W. North, vicepresidents.

N. Y. Eights During November,
members of the New
York City 8mm. Motion Picture Club
will hear a talk by Terry Manos. ACL.
on human interest, illustrated by Mr.
Manos's 1952 Ten Best winner, The
$24 Purchase. At the December meet-
ing, George Valentine will speak on
scripts and will screen several of his
films to supplement his comments.

Okla City Officers of the Movie
Makers Club of Okla-
homa City, ACL, for the new year will
be Ed Jensen, president; A. C. Goff.
vicepresident, and Verna Turney. ACL.
secretary-treasurer. Directors will be
H. A. Houston, retiring president;
F. E. Dunbar; Mrs. John L. Glomset,
ACL. and Mrs. George Bender. ACL.

An audio control center

[Continued from page 291]

TONE CONTROL NEEDED
When using crystal pickups, it is a
good plan also to include in the circuit
provision for tone control, as shown in
the diagrams. The reason for including
tone control is that, in general, low-
priced crystal pickups may tend to ac-
centuate the high, or scratch-producing,
frequencies. The degree of tone control
may be set by the potentiometer located
midway between the turntables. Once
the correct (or most pleasant) setting
is found, this dial need not be disturbed
again. It is for this reason that the tone
control knob is placed in a relatively
inaccessible position — between the turn-
tables, awav from the other controls.

306

NOVEMBER 1953

DEAR MR. PRESIDENT . .

Mr. A. Avalle, President, Federation Francaise des Clubs de Cinema d'Amateurs, Paris XVII, France

ky| Y DEAR Mr. President: On behalf of the officers,
' ' directors and members of the Amateur Cinema
League, permit me to thank you for your gracious
and informative letter of October 19 (see page 288)
concerning the regulations which govern filming in
France generally — and in Paris in particular.

I have already requested the editor of Movie
Makers, the League's official monthly magazine, to
give your letter the fullest publicity in our pages.
For I feel sure that it will be of very real aid and
interest to our many members of ACL who will be

visiting your beautiful capital with their cine cameras
in the future.

I know too that Miss Helen Welsh, recently hon-
ored by the League with the rank of Associate, will
be happy that her recent report — which we entitled
"Permits in Paris" — has brought forth this immediate,
friendly and helpful statement from our fellow ama-
teurs of the Federation Francaise.

In closing, I send you, Mr. President, and all French
amateurs the warmest greetings of America's amateur
movie makers.

Joseph J. Harley, FACL, President

THE AMATEUR CINEMA LEAGUE, Inc.
Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It has-
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

AMATEUR CINEMA LEAGUE. Inc.. 420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

Also included, though not necessary,
is a panel light designed to throw light
on the working controls. This will be
helpful when working under the dark-
ened conditions of movie projection.
Place the light close to the forward por-
tion of the control board, so that its rays
shine away from the operator and onto
the control knobs.

HIGH FIDELITY CONTROL CENTER
While good results can be achieved
with the foregoing setup, it is possible
to get even better sound recording with
more advanced equipment. Important in
this connection are: better turntables, if
possible, and particularly, magnetic re-
luctance-type pickups. For the latter it
will be necessary to provide preampli-
fiers. A breakdown of the approximate
cost for the better control center ap-
pears earlier.

You will see that in this setup, there
is no need to have the tone control cir-
cuit, since the reluctance-type cartridges
are so well balanced that exceptionally
good results will nearly always be ob-
tained, and needle scratch will not be
a problem. Fig. 5 shows the schematic
wiring diagram for this case, including
the preamplifiers. Note that even though
only one pickup arm is playing at any
one time, the two preamplifiers are re-
quired in order to monitor both records
through the earphones.

SPRING MOUNTED TABLES
When choosing the turntables, it
would be well to select a type that is

spring or otherwise shock mounted.
This will insure freedom from noise and
rumble that might be transmitted from
the motor into the recording system.
If the turntables have their own auto-
matic stop-and-start devices, these
should be removed, or made inopera-
tive; then outside on-off switches for
the motor should be added as before.
These motor switches preferably should
be of the silent type, and condensers
should be added across the make-break
circuit so that there is no sparking click
heard through the amplifying circuit.
This will allow starting and stopping
individual turntables without interfer-
ing with the recording quality. In fact,
all the selector switches, too, should be
of the silent or quiet type, for the least
disturbance while recording.

HI-FI MIXING CIRCUIT

The control center just described uses
the simple resistor-mixing circuit shown
in Fig. 5. For a high fidelity setup, it is
preferable to employ a slightly more
elaborate mixer-amplifier tube. This
serves not only to mix phono and micro-
phone outputs, but it amplifies the
mixed combinations as well. This mixer-

amplifier circuit is shown in Fig. 6.
Actually, it is not very complicated or
costly. It uses the same volume controls
as in the simple resistor mixers, and
needs only one tube, a 12AX7. The only
problem in using this system is to ob-
tain the filament and "B"-f- power.
These may be taken from the pickup
preamplifiers, or from a small amplifier,
if available. The total cost of this mixer-
amplifier addition should not exceed
$10.

For best results, the above tube and
its volume controls should be enclosed
in a metal-shielded housing, with
shielded wire making the proper con-
nections to the pickup arms, preampli-
fiers and connection jacks. Such a setup
is shown in Fig. 2, where the metal
housing only of a former Pentron mixer
has been used for that purpose. Note
also that the volume controls, the selec-
tor switches and connection jacks have
now been removed from the turntable
panel and incorporated in the shielded
metal box — along with the mixer-am-
plifier tube. Directly behind this hous-
ing the two preamplifiers for the mag-
netic reluctance-type pickups are en-
closed in a ventilated box-like structure.

The above is a description of a prac-
tical type of equipment that should be
helpful to the amateur filming and re-
cording enthusiast. How best to use it
will come only with practice, trial and
error and critical listening to your own
results. The rewards, however, are con-
siderable in heightening the attraction.
of all your movie efforts.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

BETTER

MOVIES

THE ACL MOVIE BOOK

AMATEUR CINEMA LEAGUE, INC.

PLUS THE FOLLOWING LEAGUE SERVICES

EXTRA-NOW AVAILABLE!

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

Official League leaders in full color!
16mm. $2.00. 8mm. $1.50.

Official League lapel pins for you
to wear! Screw or safety clasp
type, $1.25.

Official League stickers for all your
equipment! 5 for $1.00.

11-53

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

i wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, and
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name-
Street.

• City_
I

Zone

.Stcte

Built to

standards

Seven governor-controlled

speeds assure accurate and
constant exposure.
Speed control is easily
adjustable through
full range while camera
is running.

■:r

~^-m

■

The professional accustomed
to the best in 16mm equipment
invariably selects the Bell &
Howell 70-DL. And his re-
quirements are identical with
those of the advanced amateur.
Here is compactness and com-
pleteness of design . . . ease of
operation . . . absolute quality
in every optical and mechani-
cal feature . . . unlimited versa-
tility through a complete range
of lenses and accessories.

The Bell & Howell 3-lens turret

revolves in either direction and
automatically locks camera until
lens is in filming position. Rear
lens elements are always en-
closed and completely protected
against dust and damage.

The critical focuser is an inte-
gral part of this fine camera. Its
10-diameter magnification makes
through-the-lens focusing of any
one of the three mounted lenses
exact.

The hand crank

permits double
exposures, lap
dissolves. Allows
exposure of the full
100-foot film as one
continuous scene.
Calibrated frame
counter may be
reset at will.

Bell & Howell

V

'-58773

$m

4'-

BSc.

t :

**

\ \

<5 <«£** -».^

■/■* '

*5

HE MAGAZINE FOR 0 mm. & 10 mm. FILMERS

A AND B EDITING

E TEN BEST

1953

M MILE rAUCK

NEW ACL PIN YOU'LL BE PROUD TO WEAR
AND NEW DECALS-NOW AVAILABLE!

THE NEW ACL PIN

Lettered in gleaming metal* on a center of rich blue
and an outer circle of warm red, the ACL pin is one
you'll be proud to wear. It's V2" in diameter and
comes in two types: screw-back lapel type or pin-
back safety clasp. $1.25 each, tax included.

THE NEW ACL DECALS

Similar in design and coloring to the pin, the ACL
decals are as practical as they are beautiful. Identify
your camera and projector cases, gadget bag, film
cans with this proud insignia. 21/4" by 3". $.25 each,
or 5 for $1.00.

AMATEUR CINEMA LEAGUE, Inc. 12-53

420 Lexington Ave., New York 17, N. Y.

As a member of the Amateur Cinema League, I am
entitled to wear the new handsome membership pin
and to use the colorful decals. I enclose my check or
money order for:

PINS

□ screw-back lapel type r,\ ©1 OC

O pin-back safety clasp type each

...... tax inc.

-DCUALoat $.25 each or 5 for $1.00

AMATEUR CINEMA LEAGUE, INC.
420 Lexington Avenue, New York 17, N. Y.

TO ALL ACL MEMBERS:

Your many letters asking for a membership pin and
decals have poured into the League offices ever since the
idea was born in the fertile mind of an ACL member.

BOTH PINS AND DECALS ARE NOW AVAILABLE!

No effort was spared in designing and producing the
finest membership pin obtainable. It's a handsome in-
signia CY2" in diameter) that you'll be proud to wear.
A center of rich blue enamel sets off the letters "ACL,"
sharply cast in burnished metal.* An outer circle of
warm red enamel carries the legend "MEMBER —
AMATEUR CINEMA LEAGUE" in the same sparkling
metal. But you'll have to see this pin to appreciate its
beauty . . . We're enthusiastic about its elegance!

Wearing the ACL pin at all times will give fellow
members and others the opportunity to recognize you
immediately as a member of the world wide association
of amateur movie makers — the ACL. You, in turn, will
spot other members at home, on location, on vacations,
at club meetings, anywhere!

The pin is available in two types: the screw-back lapel
type for your suit and overcoat, and the pin-back safety
clasp type suitable for wear on your shirt, sweater, dress,
blouse, jacket, windbreaker, etc. You may order one or
both types — $1.25 each for either pin.

The decal, carrying out the same rich color scheme of
the pin, has many practical uses. Its 2^" by 3" size
gives you ample room to letter in your name and address
for identification of your equipment. You can apply it
to your camera and projector cases, gadget bag, film
cans, on your car or home windows, or any other smooth
surface you wish. Two ACL decals will be mailed to you
with our compliments. Additional decals may be ordered
at $.25 each or 5 for $1.00.

With the ACL pin and decals you can now "exhibit"
your interest in movie making, making yourself known
at a moment's notice to other League members, and hav-
ing others recognize you as a firmer with standing. I
know you'll want to place your order for pins and addi-
tional decals — right now!

Cordially,

JAMES W. MOORE
Managing Editor

Because of the Federal ban on all non-defense uses of copper, ACL
pins are now gold-plated on a sterling silver base. This has required
a slight price increase— from $1.00 to $1.25 each.

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DECEMBER 1953

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THE MAGAZINE FOR
8mm & 16mm FILMERS
Published Every Month by
AMATEUR CINEMA LEAGUE

December
1953

Closeups What filmers are doing 314

The reader writes 316

The Ten Best and the Maxim Memorial Award 318

Festive filming

A and B roll editing

A synchronized tape recorder

Winter calls your camera

A title fader

Denis M. Neo/e 321

Glen H. Turner, AACL 322

M. J. M. E. Geerling, ACL 324

Ormal I. Sprungman, ACL 325

Luther Ryan, ACL 328

NOT for those who made the Ten Best

Olin Potter Geer, ACL 330

News of the industry

The clinic

Annual index

Clubs

Hands across the seas

Reports on products 331

Aids for your filming 338

339

People, plans and programs 340

Editorial 342

Cover photograph by Harold L. Lambert from Frederic Lewis

JAMES W. MOORE
Editor

PETER D. DIBBLE
Clubs Editor

ANNE YOUNG
Advertising & Production

Vol. 28, No. 12. Published monthly in New York, N. Y., by Amateur Cinema
League, Inc. Subscription rates: $4.00 a year, postpaid, in the United States and
Possessions and in Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica,
Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Haiti, Honduras,
Mexico, Nicaragua, Panama, Paraguay, Peru, Spain and Colonies, Uruguay and
Venezuela; $4.50 a year, postpaid, in Canada, Labrador and Newfoundland;
other countries $5.00 a year, postpaid; to members of Amateur Cinema League,
Inc., $3.00 a year, postpaid; single copies 35< (in U. S. A.). On sale at photo-
graphic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3, 1879. Copyright,
1953, by Amateur Cinema League, Inc. Editorial and Publication Office: 42U
Lexington Avenue, New York 17, N. Y. U. S. A. Telephone LExington 2-0270.
West Coast Representative: Wentworthf F. Green, 439 South Western Avenue,
Los Angeles 5, Calif. Telephone Dunkirk 7-8135. Advertising rates on applica-
tion. Forms close on 10th of preceding month.

CHANGE OF ADDRESS: a change of address must reach us at least by the
twelfth of the month preceding the publication of the number of MOVIE
MAKERS with which it is to take effect.

MOVIE MAKERS

313

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314

CloseupS— What filmers are doing

Traditionally, in December, the keep-
er of this bulletin board posts there
the names of many fine filmers whose
work, for one reason or another, did
not quite progress — or having pro-
gressed, did not stay — within the
charmed circle of Ten Best contest
honors. Thus, with a new box of chalk
and a clean slate before us, we turn
therefore to that pleasant task.

The family, that bigger-than-all-other
reasons for buying a movie camera.
is again the wellspring for a number
of attractive efforts. Two producers tied
in the hearthside with the holidays.
James L. Watson, ACL, of Worcester.
Mass., in The Twelve Days of Christ-
mas, George N. Bates, ACL, of Grand
Rapids, in Cookies for Santa.

Lee Payne, ACL, of Pasadena, on
the other hand, turned to the familiar
"dream" continuity in diagnosing The
Stomach Ache, a brief tale of a small
boy and too much candy. The dream
sequence also served the Reverend
Charles E. Found, ACL, of Bristol,
Wise, in setting forth the little known
(to us, at least) operations involved
in the large-scale propagation of mice.
His title was Of Mice and Men and
Little Boys, with an obvious assist by
Robert Burns.

In Portrait of Alice, by Lester F.
Shaal, ACL, of Providence, a single
young lady carries the family film load,
as her father records the progress of
a portrait painting. In Blue Jeans,
Howard F. Ordman, of New York City,
assigned the singleton role to his three-
year-old son, who discharged it en-
gagingly. With Hidden Adventure, how-
ever, Raymond J. Berger, ACL, of
Snyder, N. Y., was able to work in
three winsome young winners, one of
them inattentively baby-sitting, while
the other two bicycle off for a sneak
preview of nearby Niagara Falls.

Then, there is of course always travel.
Dr. S. H. Nighswander, ACL, of Daven-
port, Iowa, with an unabashed identi-
fication both of his camera and his
countryside, called his 2000 foot epic
Bolex Goes to Wyoming. John Ornellas
jr., ACL, of Oakland. Calif., was almost
equally explicit in his Springtime in
Central California, while John W.
Eichmann, ACL, of San Antonio, Texas,
reported from Florida on The Un-
conquered Seminole.

From his home in West Hartford,
Conn., Warren A. Levett, ACL, turned
southward to film Fiesta in Mexico,
with Jack V. Moran, ACL, turning north
toward Alaska to record his Northern
Panorama. Both of these latter studies
were accompanied with magnetic sound
on film.

The photoplay — or what passes for it
in amateur film circles — commanded
the cameras of not a few producers.
And, to our inveterate delight, most
often with meller-dramas.

In Amsterdam, N. Y., a group of
teen-aged "G men" rallied around
Frank Constantino to produce The
House at Fifty-Two, a rousingly rea-
listic tale of international spies, pur-
loined A bombs and the ultimate oblit-
eration of New York City.

In Martinsville, Ind., another young
group, this time a Boy Scout troup,
spun an equally exciting adventure
yarn in Wilderness Trail; but they
chose to turn back their cinematic
clock to the wresting of the West from
the inhospitable and inconsiderate In-
dians. Robert H. Young was the man
behind the Auricon sound camera
which recorded an excellent optical
audio accompaniment.

Harry W. Atwood, ACL, normally of
Ajo, Ariz., and well known to the cam-
era cognoscenti for his western adven-
ture sagas, this time selected Alaska
for his setting (with an assist from the
United States Army). His one-player
"plot" was To Build a Fire, based on
the story by Jack London. George A.
Valentine, of Glenbrook, Conn., also
no tyro at the tall tale, turned up with
Living Dust, a grisly melange of mur-
der and mystery.

Others, however, managed to look
at life with a lighter touch. John J.
Lloyd, ACL, of Long Beach, Calif.,
whipped together Lost Weekend, one
of those husband-and-wife hassles which,
in passing, owes no assistance to au-
thor Charles Jackson. The Movie
Makers Club. ACL, of Oklahoma City
turned also to domestic didos in The
Schemer. Leonard W. Tregillus, FACL.
however, found fun in the frustrations
which beset photographers (both old
and new ) , setting the Mack Sennett
action of his Flash Back against the
background of Eastman House, in
Rochester, N. Y.

DECEMBER 1953

The world around us is always of
interest to many movie makers, whether
it be man-made or nature's handiwork.
Giving their allegiance to the latter,
both Herbert D. Shumway, AACL, of
Greenfield, Mass., and A. Theo Roth,
ACL, of San Francisco, signed in with
bird studies. Without Price, the Shum-
way survey, took place out of doors;
Exotic Birds in our House, the Roth
report, quite obviously did not.

Turning their attention toward man's
many activities, Neil 0. McKim, of
Carlsbad, N. M., documented in detail
the mining and refining of potash in
Up From the Bed of a Desert Sea.
Herman E. Dow, ACL, of Bristol, Conn.,
chose a less concentrated but more va-
ried subject in Eastern States Exposi-
tion, while Leonard Bauer jr., ACL, of
Oreland, Pa., reported solely on sulky
racing in his Corn Tassle Derby.

Carrying forward the concern of many
filmers with social welfare. Martin B.
Manovill, ACL, of St. Louis, turned
in an 1800 foot magnetic sound train-
ing film for the instruction of Com-
munity Chest solicitors. George Merz,
FACL, was equally civic minded in his
report from Hollywood, Fla., on The
Youth in our Community,

Our judges, always seeking to see
trends (where probably there exists
only coincidence), took note this year
of a seemingly new number of ani-
mated amateur movies.

Paul A. Brundage, ACL, of San
Francisco, turned to two china canines
in his evocation of the popular ballad
Will Ya Be My Darlin'? William F.
Hanks, ACL, of Lufkin, Texas, used
the more conventional animated draw-
ings in The Land of the Whispering
Pines, a refreshing variat'on on the
civic chauvanism theme, while Albert
Feinauer, of Providence, let nature ani-
mate his Flower Serenade, but filmed
the results in time lapse photography.

Could these — and the award winning
Candy Capers by Roy Fulmer, ACL.
and The Deserted Mill by Irwin La-
pointe, ACL — stem from the staggering
succes? last year of that 100 foot gem.
Muntre Streker?

MOVIE MAKERS

315

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pictures. Its high speed of 40 daylight and 32 tungsten make Hy-
pan a real all 'round film for movie making, indoors or out.

You'll welcome the down-to-earth price of Hypan, too — an
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316

DECEMBER 1953

This department has been added to Movie Makers
because you, the reader, want it. We welcome it
to our columns. This is your pl"ce to sound off.
Send us your comments, complaints or compli-
ments. Address: The Header Writes, Movib
Makers, 420 Lexington Ave., New York 17, N. Y.

ASTOUNDED

Dear ACL: My wife and son and I were
astounded and delighted to receive yes-
terday your letter advising us that our
film. The Old House, had been chosen
for the Hiram Percy Maxim Memorial
Award for 1953. ... In the last twenty
four hours constant reference to your
letter and the handsome certificate has
finally convinced us that the impossible
has happened, and I can only say that
we are deeply appreciative of this great
honor.

Would you please convey my appre-
ciation and thanks to Mrs. John G. Lee,
FACL, the donor of the Award, and
assure her that no other recipient in
the Maxim Award's long and honorable
history could have been more grateful
for such tremendous encouragement
than I am.

Keith F. Hall
Brisbane, Australia

VERY HAPPY

Dear ACL: Needless to say, Lucille
and I were very happy to learn that
my film, Caineville, had been honored
by being selected as one of the Ten
Best Amateur Films of 1953. Best wish-
es for the continued success of your
efforts to further the cause of amateur
filming!

Glen H. Turner, AACL
Springville, Utah

ELATED

Dear Mr. Moore: Thanks ever so much
for your letter of advice regarding my
good fortune in again being placed
among the Ten Best winners of 1953.
Naturally, I'm elated! Who wouldn't
be at making the ACL Top Ten two
years in a row?

Alfred T. Bartlett, AACL
En route to
Brisbane, Australia

STILL THRILLED

Dear ACL: Don Sutherland and I have
received your letter and award certifi-
cates informing us that Seashore Safari
had been chosen by the Amateur Cine-
ma League as one of the Ten Best
Films of 1953. We are both surprised
and still thrilled to receive this signal
honor. Our wives, who had much to do

with the filming and editing, are both
highly elated over the award.

Ralph E. Lawrence, ACL
Washington, D. C.

HIGHLY HONORED

Dear ACL: WE OF THE LOS AN-
GELES 8MM. CLUB ARE HIGHLY
HONORED TO HAVE "SWITCH IN
TIME" INCLUDED IN THE TEN
BEST FOR 1953.

Kenneth W. Ayers
President
Los Angeles 8mm. Club, ACL
Los Angeles, Calif.

DAY OF DAYS

Dear Mr. Moore: Yesterday was the
day of days for me! Kenneth Ayers,
president of the Los Angeles 8mm.
Club, phoned me during the afternoon
to say that he had received a letter
from you that our club project film,
A Switch in Time, had been selected as
one of the Ten Best. And then, when
I got home from the office, I found
your letter saying that my March of
TV had received the same honor.

The Colemans — our whole family
takes part in this wonderful hobby —
appreciate the honor you and the
judges have bestowed on our film.
These two awards certainly carry out
your contention — often expressed in
Movie Makers — that 8mm. can com-
pete successfully with 16.

Charles E. Coleman, ACL
Santa Monica, Calif.

SATISFYING EXPERIENCE

Dear Mr. Moore: Clearly, it is quite
unnecessary to tell you that all of us
who worked on Concerto are extremely
pleased with the honor you and your
ACL colleagues have bestowed upon us.
To place among the Ten Best is always
a thrilling and satisfying experience.

For my brother George and his wife
Sally, who played the leading roles, and
for myself, may I express our heartfelt
thanks for your commendation.

Warren Doremus, ACL
Rochester, N. Y.

JOINTLY HONORED

Dear ACL: You will never know what
a thrill I had when your letter was re-
ceived announcing that the 8mm. film,
Because of You, had won an Honorable
Mention in the Ten Best Amateur Films
contest.

My husband and I are jointly hon-
ored, since he was the director and I
would have been unable to produce the

picture without his help. For us both I
wish to thank the League's board of
judges so very much for giving us this
honor.

Lucille Lloyd
(Mrs. John J. Lloyd)
Long Beach, Calif.

HAPPY DAY

Dear ACL: It was a happy day yester-
day when the letter and award certifi-
cate arrived announcing that we had
won Honorable Mention in the Ten
Best contest!

I want it to be known that my wife
Dottie had a great deal to do with the
success of Candy Capers by offering
many suggestions and by helping in
the actual photography. Thank you for
the honor you have given our little film.
Roy M. Fulmer, Jr., ACL
Livingston, N. J.

POSTMAN RANG TWICE

Dear ACL: The postman rang twice to-
day! He must have sensed the impor-
tance of the large manila envelope, and
he was right. For it contained that
coveted certificate with the inscription
stating that Dark Interlude had been
awarded Honorable Mention in the
ACL Ten Best contest for 1953.

William Messner, AACL
Teaneck, N. J.

REVIEWING MY FILM

Dear Mr. Moore: May I take this op-
portunity to thank you and the board
of judges at ACL for reviewing my film,
Fabulous Florida, and including it
among the Honorable Mentions in the
Ten Best contest of 1953?

Haven Trecker, AACL
Kankakee, 111.

GRATITUDE

Dear ACL: It was a real thrill for
everyone in our family to learn that our
8mm. contest entry, Festival Michigan,
received an Honorable Mention award
in the recent Ten Best competition. We
certainly want to express our gratitude
to all of you for recognizing our work.
Cornelius Vanden Broek, ACL
Grand Rapids, Mich.

SO HAPPY

Dear Mr. Moore: I was so happy to
learn that my little film on Capri,
Where the Sirens Sang, was awarded
Honorable Mention in the 1953 Ten
Best contest. Please convey my warm-
est thanks to the League's board of
judges for the honor they have ac-
corded my work.

Helen C. Welsh, AACL

Albany, N. Y.

BARTLETT IN L.A.

Dear ACL: Alfred T. Bartlett's guest
program of Australian movies was
shown here in Los Angeles Monday
night to an enthusiastic audience of

MOVIE MAKERS

about 250 people. Fred Evans, FACL,
and Kenneth Ayers, of the Los Angeles
8mm. Club. ACL, and Harold Folsom,
of the Los Angeles Cinema Club, ACL.
were present to greet Mr. Bartlett.

He is a delightful person, and as I
watched his pictures I could not help
but feel that he was expressing his own
philosophy of life in the artistic scenes
of nature, people and family. It was in-
deed a pleasure to present his pictures;

1 want to thank you for your part in
arranging this program.

Charles J. Ross, ACL
President
Los Angeles Cinema Club, ACL
Los Angeles, Calif.

UNDERWATER SHOOTING

Dear Movie Makers: I wonder wheth-
er any of your readers could give me
some information on how to build a
watertight container for my Bolex H-16
camera? I am very keen to make an
underwater film.

I have been a subscriber to your
magazine (all that I may be because
of currency restrictions imposed in this
country) for the past seven years.

Eli Kellner

2 Avenue Normandie, Sea Point,
Cape Town, South Africa

317

this

Christmas

give

«^

KeystoReo

for movie-making

In this column Movie Makers offers its readers
a place to trade items of filming equipment or
amateur film footage on varied subjects directly
with other filmers. Commercially made films will
not be accepted in swapping offers. Answer an
offer made here directly to the filmer making it.
Address your offers to : The Swap Shop, c/o
Movie Makers.

ESCONDIDO FOR S. F.

Dear Movie Makers: Is there some-
one living near Escondido, Calif., with
an 8mm. camera who would volunteer
to take a roll of 8mm. color film for
me of some friends who live there?

I haven't seen these friends in sev-
eral years, and there is a baby now in
the family which I would love to see
come to life on my own screen. So I
hope to find someone in that section
who would oblige me by taking a roll
of colorful, homey shots of them
around their new home, out in the avo-
cado orchard, with the baby, etc.

I would, of course, supply the film.
And in return I could do any San
Francisco errand for the person taking
the pictures — shoot the Golden Gate
Bridge, the cable cars, Chinatown or
whatever. Do you live near Escondido?
Ann Golvin
6571/2 Third Avenue
San Francisco 18. Calif.

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318

Hiram Percy Maxim Award for 1953— "The Old House" by Keith F. Hall

The Ten Best and the

Maxim Memorial Award

Movie Makers proudly presents for 1953 the twenty-
fourth annual selection by the Amateur Cinema
League of the Ten Best Amateur Films of the Year
and the seventeenth annual Hiram Percy Maxim Memo-
rial Award.

The Maxim Memorial, which stands in the League's
headquarters, was established in 1937 by Percy Maxim
Lee, FACL. daughter of the Founder President of the
Amateur Cinema League. On it each year there is en-
graved the name of the Maxim Memorial Award win-
ner; and to that winner goes a sum of one hundred
dollars and a miniature silvered replica of the Memo-
rial itself. The Maxim Memorial Award winner for 1953
is announced herewith:

THE HIRAM PERCY MAXIM MEMORIAL AWARD
The Old House, 500 feet, 16mm. Kodachrome, with
sound on tape, by Keith F. Hall, of Brisbane, Queens-
land, Australia.

Next are presented the Ten Best Amateur Films of
1953, listed alphabetically by titles.

THE TEN BEST AMATEUR FILMS

A Switch in Time, 200 feet, 8mm. Kodachrome. with
sound on tape, by the Los Angeles 8mm. Club, ACL, of
Los Angeles, Calif.

Ccrineville, 450 feet, 16mm. magnetic sound on Koda-
chrome, by Glen H. Turner, AACL, of Springville, Utah.

Canadian High Adventure, 600 feet, 16mm. optical
sound on Kodachrome, by Jerry More, ACL, of Denver,
Colo.

Concerto, 325 feet, 16mm. black and white, with
sound on disc, by Warren Doremus. ACL, of Rochester.
N. Y.

March of TV, 100 feet, 8mm. Kodachrome, with
sound on tape, by Charles E. Coleman, ACL, of Santa
Monica, Calif.

Rochester Race, 1000 feet, 16mm. magnetic sound
on Kodachrome, by Walter F. Chappelle jr., ACL, of
Rochester, N. Y.

Seashore Safari, 450 feet, 16mm. magnetic sound on
Kodachrome, by Ralph E. Lawrence, ACL, and J. Donald
Sutherland, ACL, of Washington, D. C.

The Enchanted Isles, 750 feet, 16rnm. Kodachrome.

with sound on tape, by Alfred T. Bartlett, AACL. of
Brisbane, Queensland, Australia.

The Ladybird, 200 feet, 16mm. optical sound on
Kodachrome, by W. G. Nicholls, of Parkdale, Victoria.
Australia.

The Old House, previously itemized.

The Honorable Mention awards follow, listed alpha-
betically by titles.

HONORABLE MENTION

Because of You, 130 feet, 8mm. Kodachrome, with
sound on tape, by Lucille Lloyd, of Long Beach, Calif.

Candy Capers, 100 feet, 8mm. Kodachrome, with
sound on tape, by Roy M. Fulmer jr., ACL, of Living-
ston, N. J.

Dark Interlude, 400 feet, 16mm. Kodachrome, with
sound on tape, by William Messner. AACL. of Teaneck.
N.J.

Fabulous Florida, 2250 feet, 16mm. magnetic sound
on Kodachrome. by Haven Trecker, AACL, of Kankakee,
111.

Festival Michigan, 400 feet, 8mm. Kodachrome, with
sound on tape, by Cornelius Vanden Broek, of Grand
Rapids, Mich.

Firenze, Queen of the Arts, 400 feet, 16mm. magnetic
sound on Kodachrome, by Oscar H. Horovitz. FACL, of
Newton, Mass.

Green River, 375 feet, 8mm. Kodachrome. with
sound on tape, by Louise M. Fetzner, ACL, of Pasadena,
Calif.

Monarchs of the Mountain Tops, 340 feet, 16mm.
Kodachrome, with sound on tape, by Ralph O. Lund,
ACL, of Seattle, Wash.

The Deserted Mill, 330 feet, 16mm. Kodachrome,
with sound on wire, by Irwin Lapointe, ACL. of Rich-
mond Hill, N. Y.

Where the Sirens Sang, 260 feet, 16mm. magnetic
sound on Kodachrome, by Helen C. Welsh, AACL. of
Albany, N. Y.

Reviews of the place winners follow.

The Old House

Five years before the action of The Old House opens,
a young man and his bride of but a year had been in-
volved in a train wreck. The bride, Claire, was killed:

1

but the man — scarred in mind, bruised in body and (he
thought) dependent on a walking stick — lived on. He
comes now, as the film begins, for one last look at the
Old House, "the Old House where I was born and grew
up, where Claire and I had been so happy for one short
year, with hopes and plans for a future that never came."

But, instead of viewing (with self-inflicted sadness)
his old homestead, he meets accidentally with a bright-
faced boy of five, son of his widowed tenant. How this
youngster, this "artless wisdom dressed in blue jeans,"
frees the man from his stick (a mere surface symbol of
his bondage) and from his obsession with the past is the
theme of The Old House.

But it is fruitless always to attempt a factual outline
of any visual study in human relations. And, heart-
warmingly, believably and triumphantly, The Old House
is simply and exactly that. The producer, Keith Hall, has
plotted the course of his tenuous drama with a sure

319

touch and unfailing taste. His scenic progressions are
so artful as to seem artless, while his camera work and
narrative exposition never fail him in the delicate un-
folding of his denouement.

Yet it is to the three players of this picture — and to
their narrator — that the ultimate tributes must be paid.
Young Ross Hall as the Boy, Noela Hall as his widowed
Mother, and Mr. Hall himself as the Man are exactly and
exquisitely right in their restrained underplaying of three
diflicult roles. Reg Cameron, the narrator, speaks lines
which are always literate, and often lyric, with warmth
and understanding. From its simple opening to its quiet-
ly soaring climax, The Old House is a tender and moving
triumph.

A Switch in Time

A high-pressure advertising agency, rivalry within
the firm, a switch of entries in a beauty contest and the
effects thereof — these are the story ingredients out of

"A Switch in Time"

by

Los Angeles 8mm. Club, ACL

"Caineville"

by

Glen H. Turner, AACL

Canadian High Adventure'

by

Jerry More, ACL

"Concerto"

by

Warren Doremus, ACL

"March of TV"

by

Charles E. Coleman, ACL

"Rochester Race"
by

Walter F. Chappelle jr., ACL

"Seashore Safari"

by Ralph E. Lawrence, ACL

and J. Donald Sutherland, ACL

"The Enchanted Isles"

by
Alfred T. Bartlett, AACL

"The Ladybird"

by
W. G. Nicholls

320

'Because of You"

by

Lucille Lloyd

"Candy Capers"

by

Roy M. Fulmer jr., ACL

"Dark Interlude"

by

William Messner, AACL

"Fabulous Florida"

by

Haven Trecker, AACL

"Festival Michigan"
* by
Cornelius Vanden Broek

"Firenze, Queen of the Arts"

by

Oscar H. Horovitz, FACL

"Green River"

by

Louise M. Fetzner, ACL

which the Los Angeles 8mm. Club has fashioned an out-
standing club film.

Competent in all phases of movie production, from
the smart opening titles to the corny romantics at the
end, A Switch in Time is a hilarious cine satire of the
foibles of big-time advertising. Seldom does a film of
this type demonstrate so capably — in story, photography,
direction, acting, editing and sound — the combined abili-
ties of a group of enthusiastic movie makers.

Caineville

In Caineville, Glen H. Turner has now turned his cam-
era on a Western ghost town, and with moments of sheer
movie magic, he has brought it to life again.

The slow turning by the wind of the leaves of an
abandoned school book, and the slow pan to initials
carved on a schoolhouse desk, evoke as if he were alive
the youngster who carved them. In another scene, done
with consummate smoothness, Mr. Turner shows an aban-
doned street on which a schoolboy, with books over his
shoulder, slowly materializes into solid form — and then
dissolves again into thin air. Surrounding Caineville
always are the brooding mountains and the ever-en-
croaching river which implacably seeks to destroy the
last vestiges of the crumbling village. Caineville is a
triumph of imaginative creation over static material.

Canadian High Adventure

With the recent scaling of Mt. Everest, it is appropri-
ate that a mountain-climbing film should be entered —
and should win — in this year's Ten Best contest. Jerry
More's Canadian High Adventure is such a picture.

Obviously, Mr. More is a competent climber himself,
as well as being a good movie maker, for the film pre-
sents an amazing variety of camera angles which make
one question where the cameraman must have been to
take them. For example, some scenes show the climb-
ers crossing a crevasse from underneath, leaving you
with the single assumption that [Continued on page 332]

"Monarchs of

the Mountain Tops"

by Ralph O. Lund, ACL

"The Deserted Mill"

by
Irwin Lapointe, ACL

'Where the Sirens Sang'

by
Helen C. Welsh, AACL

321

tf-edi

Harold M. Lambert from Frederic Lewis

W£>

(Z

Planning, patience and plenty of closeups
are the keys to fine Christmas films

DENIS M. NEALE

CHRISTMAS DAY, New Year's Eve, winter parties-
all these are first class movie material. But good
material does not always mean a good film. A lot
depends on how you set about shooting it.

Running through some of my early attempts at Christ-
mas movies, I find much of them unsatisfactory for one
reason or another. The pre-war ones were little more than
an unplanned succession of snapshots. The lighting was
crude, too, as the photofloods were usually rushed into
the room after the turkey arrived!

Two years ago I resolved to do the job properly.
I decided to rough out a scenario beforehand, shoot the
essential parts on Christmas Day and the rest within a
week or two after. And so I worked out the following
simple story to cover all the highlights. To begin with we
see Junior waking up and starting to unpack his Christ-
mas stocking. His first find is a box of candy at which
he nibbles while he unwraps his new toys. One of these
is a clockwork tractor, a closeup of which forms a bridge
to a short sequence in which Junior is trying to make
the tractor climb over a box of dates.

Next, of course, comes the Christmas dinner with
turkey, pudding and all. Afterwards, we see Junior look-
ing out of the window, awaiting the arrival of his
Grandma. He sees her coming, lets her in and is rewarded
by more candy. Tea time brings a closeup of the Christ-
mas cake, with a decorative Christmas tree on top. A
lap dissolve takes us to the real tree, standing on a table
in the corner. The room lights go out, the tree lights
go on, and Dad hands out more presents — including
still more candy. Then the family look at Junior in horror,
the lights go up and Junior's face is bright green! Mom
whisks him up to bed and we fade out at the end of a
pan along a row of open candy boxes.

Before the event, the scenario looked ideal. Christmas
fare provided a strong connecting link throughout and
brought in all the high spots without calling for detailed
treatment. No explanatory subtitles were required because
the story element was concealed until the very end. When
it came to the shooting, however, the snags began to show
up. My wife remonstrated at the repeated rehearsals I
demanded for the entry of the turkey in order to get the
photofloods positioned and the meter readings checked.
Then the carving had to be delayed while I re-arranged
the lighting to cover the bird (now half cold) on the table.

I had intended to rely on daylight for this shot, but

YOUR JUNIOR, or Sister, under the Christmas tree will be the
highlight of any well-planned holiday reel. Note soft lighting.

a final meter reading showed that some boosting from
photofloods was necessary. As I was shooting in color,
this raised the problem of matching the two kinds of
light, daylight and photoflood. Rather than attempt this,
I decided to make use of their difference in color values.
I shot the sequence with stock balanced for daylight and
arranged the photofloods so that their yellowish glow
appeared to come from a candle in the center of the table.
The result is so good that I intend using daylight stock
for faked firelight scenes lit by photofloods.

Another lighting problem arose with the Christmas
tree sequence, although here I had opportunities for re-
takes. To get the full effect of the colored lamps, I first
tried giving time exposures to single frames. The lamps
reproduced as white blobs colored only in the halated
glow around them. For a retake I used photofloods to
create a lighting level which permitted shooting at 16 fps
at f/2.5. The lamps then produced less halation and, in
color, are very satisfactory.

At its first screening, the finished film was approved
by the family. But after a time we became more critical.
In fairness to Junior, we had to explain to visitors that
he does not really gorge on candy. And then we know
that he does not open his Christmas stocking in his own
bedroom. We have an arrangement with Santa Claus that
the presents shall be left in the grown-ups' room so we
can keep track of what the uncles and aunts have sent.

For my movie making last Christmas I therefore made
different plans. My two principal aims were to keep the
record strictly factual and to preserve domestic harmony
by getting all the lighting arranged in advance. To sim-
plify matters, I concentrated on two sequences only: the
opening of the presents and the Christmas dinner. Con-
tinuity had to rely purely on title wording or any useful
device that cropped up. Eventually I used Christmas
Crackers as a main title and subtitled the first sequence
Crack of Dawn.

I banked a good deal on get- [Continued on page 335]

322

Photographs by Vernon Castleton

FIG. 1: L. to r. in author's A and B editing setup are the A roll, B roll,
original picture and leader supply. Film viewer as synchronizer is in center.

FIG. 2: Leader and film are threaded jointly on sprockets
of viewer which moves them forward in synchrony.

A and B ROLL EDITING

By this method of movie magic, less complex in execution than

it seems, fades and dissolves can be printed into your film at will

GLEN H. TURNER, AACL

THERE comes a time in the life of every amateur filmer
when, despite his best laid plans for smooth continuity,
things go awry. Perhaps it's a lap dissolve or a fade
that is needed. If this be the case and the film is in the
can with no chance for retakes, there is not much he can
do about it. If, however, he intends having a duplicate
made, it's quite another story.

Sometimes transition problems occur in the planning
stages of a film. The script of a recent film of mine called
for a number of dissolves from indoors to outdoors. No
problem there, you'll say; simply take it all on Type A
film and use a daylight conversion filter when making the
dissolves to the exteriors. But w° were scheduled to shoot

FIG. 3: Identical frames of both films are punched out to act as
sync marks before they are threaded from viewer to A and B reels.

the interiors at a rustic cafe where they had a large stone
fireplace and the like. The exteriors were scheduled to be
shot about a month later while on vacation in the wilds
of the country — a mere 250 miles away.

It looked offhand as if we would have to be content
with fades, for dissolves seemed out of the question.
Luckily, my plans included the making of a projection
print, so I decided to let the laboratory print in the dis-
solves. (This service, as cited last month in Look to Your
Laboratory, can be had at slight extra cost at most labs.)
But in order for the lab to create printer-made dissolves,
it was necessary to edit the original film into A and B
rolls. This editing technique, possibly not too well known
to most filmers, will bear outlining.

For A and B roll editing, besides the tools usually
found in any amateur's kit, you will need the following:
four rewind spindles, or one extra set; a synchronizer,
and a sizable supply of white leader.

The last named you can obtain from your regular photo
dealer — even if only in 100 foot lengths. The first named
— the two extra rewind spindles — you probably can bor-
row from a movie-making friend. Or you may contrive to
make do as I did (see Fig. 1) by pressing into service a
spindle from your projector and (in my case) a spare
8mm. editor. The synchronizer, however, is rather an
expensive item for the amount of use it would get from
the average amateur. So here again I made do by using
my 16mm. motion viewer.

In any case, the working setup is seen in Fig. 1. At your
right, mount on individual rewind spindles the reel of
blank leader and the reel of picture footage. At the left,
mount on rewind spindles two empty takeup reels which
will house the edited A and B roll footage. In between
these two pairs position your motion editor and splicer.

Now from the feed reels at the right draw out suitable

323

lengths of the picture film and the leader film and place
them one atop the other in the film channel of the viewer,
as in Fig. 2. Care should be taken that the sprocket teeth
of the viewer's mechanism engage the perforations of both
films. For it is these sprocket teeth which act as the syn-
ehronizer, passing both of the films frame by equal frame
onto the A and B rolls respectively. Once they are engaged,
the viewer's cover is closed and not re-opened until the
A and B roll editing is complete.

Finally, at a point beyond the synchronizer (film mo-
tion editor), align the two films carefully and punch an
identical frame out of each (see Fig. 3). This will serve
you as a sync mark in all later checking or re-aligning of
the films during the editing process. With the films thus
synchronized, thread each into its separate takeup reel.
It doesn't matter much which; but actually in Fig. 1 the
reel on the extreme left was my A roll, the other the B roll.

You are now ready to proceed with the actual editing
operations. Drawing the two films carefully through the
viewer, so that neither one jumps the sprockets and gets
out of sync, wind the original onto roll A and the leader
onto roll B — until you arrive at the point where the first
dissolve is desired. The original is then cut at this point,
operating always on the right side of the viewer (see Fig.
4) so that the two films stay locked in synchrony.

You now count forward (toward the left) on the white
leader the desired number of frames for the length of the
dissolve (see Fig. 4) , and then cut the leader at this point.
The left end of the original footage (that which has been
going on roll A) is then spliced to the right end of the
leader, and the right end of the original is spliced to the
left end of the leader (that which has been going on roll
B). When these two films are now held side by side (see
Fig. 5), the amount of overlap of the picture footage —
and therefore the length of the dissolve — will be readily
indicated.

Generally, printer-made dissolves are set for an over-
lap of 48 frames, or 2 seconds at sound speed. And, as
will be seen in Figs. 4 and 5, the easiest and surest way of
measuring off this amount is to create a film ruler of
exactly this length. In Fig. 4 it is seen in use measuring
forward by 48 frames for the cut on the leader footage. In
Fig. 5 the rule is being used to check the exactness of the
picture overlap after the splicing just described has been
done.

Now both the leader and the original are again wound
forward together — but with this difference: the leader is
now going onto roll A and the original is going onto roll
B. This alternation of the two films can be seen at the
left in Fig. 1 and is even more clearly evident in Fig. 6,

where the A roll, right, and the B roll, left, are closeup-ed.

When the point of the next dissolve is reached, the
cutting, measuring, cutting and splicing operations arc
repeated. Through them the original is returned to taking
up on roll A and the white leader on roll B. This pro-
cedure is carried forward throughout the entire picture.
Each time a dissolve is called for, the orginal is spliced
from roll A to roll B or B to A, as the case may be. When
completed, the A and B rolls are identical in length. But
one is picture where the other is leader and vice versa,
with the exception that there is always a picture overlap
amounting to the exact length of the desired dissolve.

To make the dissolves, the lab technicians merely run
roll A through the printer, making appropriate fades with
the printing light at the beginning and end of all picture
sections of the roll, while leaving the print stock unex-
posed in the sections which correspond to the white leader.
The print stock is then rewound, and the process is re-
peated for roll B. The picture footage from roll B neatly
fills in the gaps left on the print by roll A. And where the
fades from roll A overlap those of roll B — presto, you
have a printer-made dissolve.

And so a final word. If your pictures contain scenes
where a dissolve would help, or a fade would improve,
remember that these two effects can be made on a print
by any competent lab. And for films that you know will
be duplicated, you can plan for printer-made dissolves
and fades from the beginning.

FIG. 4: Picture film has here been cut (left) and the author is
measuring forward 48 frames on leader to find its cutting point.

FIG. 5: Here the 48 frame film ruler is being used to check the
picture overlap which creates a dissolve between A and B rolls.

FIG. 6: In the finished product, A roll (right) has picture at
points where B roll has leader throughout course of both reels'.

324

FIG. 1: Above, flexible shaft is seen leading at inner end to projector's hand
turning knob, at outer end into hollow, liquid-rubber-filled flywheel.

FIG. 2: Outer end of the non-flexible shaft, which has been bolted to the front
face of flywheel, bears on recorder's roller to become tape capstan.

A synchronized tape recorder

HERE in Holland (from where I write) we do not
have as yet the Bell & Howell 202 magnetic pro-
jector. And I rather doubt that we will have it
for some time to come. But we do have widely avail-
able the excellent English-made version of Bell & Howell's
optical sound projector (G-B Model 621). And we do
have, of course, plenty of magnetic tape recorders. So
I decided to combine the two for synchronized sound —
to combine them integrally, that is, not just with the usual
stroboscopic disc or synchro-pattern on the tape itself.

The results are pictured on this page. And while you
amateurs in America, or England or elsewhere, may not
be able to follow my mechanical design exactly, due to
differing equipment units, I believe that you can quite
easily follow its general principles.

The Bell & Howell projector, at least, is the same

H. J. M. E. GEERUNG, ACL

everywhere. And you begin with it. As you will know,
there is positioned behind the gate lever of this projector
a hand turning knob which is geared directly to the ma-
chine's motor drive. The knob itself is first removed,
exposing the axle, and a suitable length of flexible shaft
is then joined to it (see Fig. 1). This shaft is fed through
a sleeve into a hollow flywheel, and a four-bladed fan or
paddle wheel is attached to its end. The hollow flywheel
is then filled with liquid rubber, or some other viscous
liquid, and the cover ( see Fig. 1 ) is bolted in place.
On the front face of the flywheel a second axle (this one
non-flexible) is now attached [Continued on page 337]

By coupling recorder and projector with an ingenious
fluid drive, this amateur achieves unfailing synchrony

AT LEFT author's complete
assembly is seen with tape
and film reels mounted and
ready. Note power cord
connection.

AT RIGHT tape and film
arms have been demount-
ed for storage or trans-
port, while protective cap
shields capstan.

325

WINTER CALLS YOUR CAMERA

Union Pacific Railroad

AN AMUSING sidelight sequence for your skiing film might be fash-
ioned by picturing one of the many dry-run summer classes in sport.

DO YOU live in the frozen North where the cold
winds blow? Then recording winter sports on film
is as inevitable as frostbite and shoveling out long
driveways, hip-deep with snow. In California skiing is
even a summer sport. For at Stanford University they
spread straw over the campus green so that the co-eds,
attending dry-skiing class, can practice the kick turn
and other maneuvers while waiting for the white flakes
to fly.

While your camera may call for some forms of special
care under winter conditions, they are not really as de-
manding as one often hears. Only under the most extreme
low temperatures, for example, is it necessary to have
all lubricants removed so that their thicken-
ing will not slow the spring action. Under
average winter conditions, here are the
simple procedures recommended by the
experienced :

First, to protect the lens from driving
snowflakes, keep the lens cap on at all times
save during actual picture taking. Second,
except during actual picture taking, keep
the camera under your coat or parka.
Third, if you make a tripod setup and wish
to maintain it for five, ten or fifteen min-
utes, wrap a spare coat or sweater around
the camera to conserve its warmth. For
actually there is more likelihood of the
cold air stiffening the film loops — and thus
causing trouble — than of it affecting the
camera's lubrication.

Coming indoors after or during a filming
session creates one further problem. Mois-
ture in the warm air is condensed on the
chilled lens surfaces and a fine "sweat"
will becloud them. The routine here is to
wait a few moments till the lenses have
lost their extreme chill; then wipe away
this moisture gently. Do not return your

Here's advice from an expert

on the out-of-doors

ORMAL I. SPRUNGMAN, ACL

camera to the cold of outdoors with these droplets still
on the lens surfaces. They will freeze and, of course,
distort any future pictures.

Any 8mm. or 16mm. camera can be used for winter
sports filming; and while the f/1.9 or faster lens permit-
shooting under poor light, the f/3.5 and //2.8 lenses will
fill the bill in most cases. In fact, because of the reflecting
power of the white snow blanket, much smaller // stops
will be used for average shots. If the budget permits, a
wide angle lens is a useful accessory, together with a 3
or 4x telephoto. The long lens will be useful in closeup-ing
sports action at safe distances, while the wide angle will
gather in the scenic beauties of nature as she dons her
white coat.

Variable film speeds are desirable to diversify your
shooting. To increase skating tempo, or show toboggans
tearing downhill at breakneck speed, shoot at 8 frames
per second, closing down the lens one stop to compensate
for the increased light. To reveal the beauty and grace
of the ski jumper as he floats through the air, set your
frame speed at 32 or even 64, opening up the lens aperture
one // stop for each doubling in shutter speed.

Only the haze filter is needed for Kodachrome filming,
and here only sparingly in winter. For the reflected blue
light is not undesirable in giving a moody effect of cold
and loneliness. For still more striking effects, the pola-
screen will darken skies, enhance clouds and tone down
snow-borne reflections. Use of the polarizing filter must
not be overdone, otherwise its effectiveness is lost.

If you shoot in black and white — and many winter
filmers prefer monochrome to color — the deep yellow and
red filters will give dramatic [Continued on page 336]

A WIDE ANGLE LENS is the best objective for picturing the full sweep of a ski slope.
Here (at Sun Valley) the skiers move across film frame for good action viewpoint.

326

DECEMBER 1953

MOVIE MAKERS

327

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328

A TITLE FADER

Easy to make and easy to use, this device can be combined with any titling setup

LUTHER RYAN, ACL

THE device presented here provides a simple mechani-
cal method of creating fades — and therefore lap dis-
solves— in combination with your title making. Basi-
cally what it does is to swing in synchrony the two lamps
used as illuminants over a 90 degree arc either toward or
away from the title card. When these lamps are swung to
bear on the card with the camera running, a fade-in is
created. When they are swung away at the title's end, the
effect is a fade-out. However, it is important to note that
regular flood bulbs in metal reflectors must be used to
assure adequate shielding of the light source on the fade-
out. The RFL-2, or built-in reflector type of lamp, will not
create a complete fade-out even when swung a full 90
degrees away from the titling area.

The materials needed to build this device can be pur-
chased for less than the cost of a roll of color film. They
are itemized on the opposite page, in a listing where the
letter in the left column refers to that item in the diagram.

HOW TO BUILD

1. Assemble the upright standard (A) and the three
supports (B) with wood screws (L).

2. Make a 11/16 inch hole with a wood auger about
2 inches from each end of the lamp shaft supports (C).
The distance from center to center of these holes should
be exactly 30 inches.

3. Make a 11/16 inch hole with a wood auger about
2 inches from one end of each lamp shaft arm (D) . Then
make a 3/16 inch hole about 1 inch from the opposite
end of the arm. The distance from center to center of

these holes should be exactly 5^ inches. Also saw out a
slot from the 11/16 inch hole to the end of the arm.
Make a 3/16 inch hole through the wide dimension at the
11/16 inch hole end of the arm, about halfway between
the hole and the end. Insert a stove bolt in the hole made.
This will be the only adjustment feature on the device.

4. Make a 3/16 inch hole about 1 inch from each end
of the pitman shaft (E). The distance from center to cen-
ter of these holes should be exactly 30 inches.

5. Assemble the thin wall pipes (G) in lamp supports

(C) with metal washers (H) on the pipe next to each side
of wood. Drill 3/32 inch holes in the pipe flush with the
outside of each washer. Allow 2 inches of pipe to extend
past the support (C) mounted to upright standard (A).
Then insert cotter pins in holes and lock.

6. Attach the handle (F) to one lamp shaft arm (D)
with wood screws.

7. Assemble lamp shaft arms (D) to the extended ends
of lamp shafts.

8. Assemble pitman shaft (E) to the lamp shaft arms

(D) with stove bolts.

9. Drill a % inch hole in the lamp shafts (G) about
midway between supports (C). Insert % inch pipe thread
(K) in this hole and screw into the lamp socket provided.
Install lock nut and tighten.

10. Make two y± inch holes in standard (A) 36 inches
above the top support (B). Make two ^4 inch holes in
the rear support (C) to match holes already made in
standard (A). Assemble with carriage bolts (J).

11. Install braces (O) as shown in diagram.

SIDE VIEW of the author's title
fading device shows him with right
hand on the handle (F in the dia-
gram) which actuates the device.

FRONT VIEW shows twin lamps
swung into position to bear on
the titling easel for a fade-in and
title shooting. Remote control runs
camera.

329

CONTROL UNIT in the author's ingenious title fader de-
sign is the pitman shaft (E in the diagram) which, at-
tached to the top end of one lamp shaft arm (D) and the
bottom end of the other, swings both lamps in synchrony.

THE MATERIALS NEEDED

(A) One piece of wood 2" by 4" by 46" long
standard.

(B) Three pieces of wood 2" by 4" by 16" long. Titler supports.

(C) Two pieces of wood 1" by 2" by 34" long. Lamp shaft
supports.

(D) Two pieces of wood 1 " by 2" by 8!/2" long. Lamp shaft

by %" by 32" long. Pitman shaft,
by %" by 10" long. Operating

thin wall

Two pieces of wood 1 "
arms.

(E) One piece of wood Vi"

(F) One piece of wood Vi"
handle.

(G) Two pieces of metal electric-conduit pipe, Vi
(H) Eight metal washers, 11/16" hole in center.
(I) Four stove bolts 2" long; nuts and washers.
(J) Two carriage bolts Va" by 3" long.
(K) Two pieces of pipe thread Va" by V/i" long.
(L) Ten wood screws, size 12, 2Vz" long.
(M) Eight cotter pins 3/32" by VA" long.
(N) Two lamp sockets (porcelain type preferred); two No

photoflood reflectors and two No. 2 photoflood lamps.
(O) Two pieces of wood W' by 3/a" by 41" long. Braces.

HOW TO ADJUST LAMPS
To adjust the lamps on the lamp shafts, swing the op-
erating handle (F) toward titler standard (A) to a stop
at the extreme end of swing. Slip both lamp shafts (G)
until the lamps are both pointing to the center of the title.
Tighten the stove bolts slightly in the lamp shaft arms at
the lamp shaft. Start to swing the lamps away from the
title. Observe carefully whether the shadows cast by the
two reflectors break exactly at the center of the title. If
they do not, then adjust one lamp shaft slightly until this
is accomplished. This is the only adjustment to be made
for synchronizing the movement of the lamps, hut it must
be made critically. When the proper adjustment has been
made, tighten both lamp shaft arms to the lamp shafts with
the stove bolts provided.

HOW TO USE THE FADER

With a little practice you will soon be able to make
perfect fades with this device, using your present camera.
To make a fade-in, start the camera slightly ahead of the
movement of the lamps. Continue running the camera
while you advance the lamps toward the title, allowing
from 1 to 3 seconds (16 to 48 frames) for the fade, de-
pending on the mood and tempo of your picture. Continue
operating the camera for the amount of time needed to
film the title.

After the necessary footage for the title has been filmed,
start to fade the lamps away from the title at the same rate
of speed you used during the previous fade-in. When the
lights are completely off the title, stop the camera. The
fade-out will be complete.

LAP DISSOLVE TITLES

To make lap dissolves with a roll-film camera you will
need ideally the back-winding feature. First make a fade-
out at the end of a title as explained above. Then rewind
the film from 16 to 48 frames, depending on the number
of frames exposed during the fade-out. Be sure and cover
the lens aperture during the rewinding of the film. Then
start the camera forward and proceed to make a fade-in
over the fade-out that has just been reversed in the
camera.

If you have a magazine camera the fade-in and fade-out
will be made the same way as for the roll film unit. How-
ever, since it is not possible to reverse the film in a 16mm.
magazine camera, it will be almost impossible to make a
lap dissolve with that type of camera.

To make a lap dissolve with an 8mm. magazine camera,
first make a fade-out in the manner explained for the roll-
film camera. To reverse the film it is necessary to remove
the magazine and turn it around in the camera. With the
lens aperture covered, run the camera the same length of
time as used in filming the fade-out. A camera with a
frame counter is a definite advantage for this operation.
Then remove the magazine from the camera and place it
back in the original position in the camera. Now start the
camera forward, slightly ahead of the fade-in of the
lamps, and proceed to make the fade-in over the fade-out
that has just been wound back. A lap dissolve will result.

Besides using this device in title filming, the imagina-
tive producer should find uses for it in other forms of
closeup shooting. Inserts of newspapers or letters, for
example, will be far smoother with a fade-in and out.

330

NOT for those who made the Ten Best

A veteran, but non-competitive, movie maker tells the tyro how to place in the Ten Best

OLIN POTTER GEER, ACL

ELSEWHERE in this issue there is
announced the great good news of
the Ten Best award winners for another
year of amateur movie making. To the
place winners I offer my congratula-
tions, to those unplaced, my sympathies.
And, I may say, I can offer both without
prejudice for, as it happens, I have
never even competed. However, as with
so many of us, this in no way lessens
my confident ability to tell you how to
make a Ten Best movie. In fact, if I
may be permitted to paraphrase the
immortal quatrain by Gelett Burgess . . .

I've never made a Ten Best wow,

I've seldom even seen one;
But I can tell you anyhow

The ways to make a keen one.

Let's begin with the equipment, or
tools of our trade. These need not be
elaborate; but in my experience the
following items — above and beyond
your camera and projector — are essen-
tial.

First, a tripod. An unsteady picture
is a poor picture. While your camera
is light enough to hand-hold, you can-
not keep it perfectly steady because
of the breathing movements of your
body. Remember, you are taking mo-
tion pictures with a movie camera, not
a moving camera. Pans, especially of
buildings or mountains, are strictly
taboo. These objects are too massive for
movement. Instead, break your take of
them into two or three separate, steady
shots from different angles. With mov-
ing objects, of course, it is proper to
pan if you are f( llowing their action —
such as a plane in flight, a motor car,
a rodeo rider or the like.

Second, you will need a titler. This
can be bought at any photographic
store or you can make it yourself. All
you require is a board to hold your
camera, an easel to hold the title
cards, and two lights set one on either
side of the title card being photo-
graphed. (If you want a simple, basic
design, ask ACL for their service sheet
called A Popular Titler Plan.) Your
titles may be hand lettered, written
or even typed. Regular sets of pin-up
letters also may be purchased.

Third, you must have a splicer with
which to join together the pieces of film
that you are justifiably proud to save
and show. If you have a viewer to help
you select these scenes, so much the
better. With the splicer include a sharp

pair of scissors with which to cut out
all over- and underexposed shots, those
that are out of focus and particularly
those not worth showing to others, how-
ever precious they may seem to you.
Add to these two a waste basket into
which to throw the discarded film.

The basic rules for what scenes to
take and how to make a motion picture
from them are rather simple. A motion
picture must tell a story. Plan your
action in advance, either by writing
down the contemplated scenes on paper,
or, if this is not feasible, work out
the scenes in your mind before you
begin shooting.

Set the locale of your pictures. If you
plan to take your children playing on
the lawn, first film them in long shot
against the background of your home,
then their play in medium shot, next
closeups of their faces, then the group
again from another angle, and finally
another shot of your home. This se-
quence can be varied. You may, for
example, end or start with the closeups.
Or in filming flowers, go again from the
general (distant shot of the garden)
to the particular (closeup of the bloom)
and back to the general (a portion of
the garden from another angle).

Just as your camera must be station-
ary, your subject should be moving —
unless, of course, it is normally static
such as a mountain or a building.
Group pictures of people standing or
sitting are usually not conducive of
much movement, so camera angles
should be changed frequently. This
applies to flower gardens as well.
Buildings and monuments should be
recorded sparingly; and, if taken, try
accompanying them with titles made
on the spot from their inscriptions.

Having taken your scenes, arrange
and rearrange them into smooth-run-
ning sequences, changing from the
chronological to the location method of
arrangement and back until you have a
coordinated film. If you can, put a
more interesting sequence at the be-
ginning, the third best in the middle,
and your best at the end. Time or
measure the sequences and the scenes
in each sequence, and cut them so as
to build up to a climax. Don't be

afraid to use very short shots to speed
the action.

Take closeups. Move your camera
forward if possible, or better still use
a telephoto lens if you have one. Shots
of natives abroad may be obtained with
a telephoto lens without the knowledge
of subjects who might resent having
their pictures taken. Also, native scenes
appear more authentic if members of
your party are kept out of them. You
didn't travel all the way to Chichicaste-
nango to picture Aunt Minnie on the
steps of the cathedral. Those ruby-
velvet clad natives, with their smoking
censers, make a better movie.

Trick shots formerly used as con-
necting links, such as whirling auto
wheels, the speedometer and shots of
maps, may be losing fashion. They
rarely appear now in professional trav-
elogs.

If your shots vary in color tones,
separate them into groups of the same
colors if possible. If not, separate them
with titles to lessen the contrast.

Titles provided on the spot may well
be better than any you can make. At
least they will be different. The name
of your hotel on its facade, of the
town you are visiting on a roadside
traffic sign, and especially, when avail-
able, signs at a tourist attraction, offer
ready-made and pictorially interesting
titles. But don't shoot them head-on
and foursquare. Compose them in diag-
onal patterns across the frame, from
one lower corner to the opposite upper.
And where the lettering is raised, or
especially where it is incised into
stone or metal, remember that cross
lighting and its consequent shadows
will bring them out.

Vary your camera angle whenever
possible. In taking children, for exam-
ple, shoot from two or even three dif-
ferent places and, when editing, cross-
cut the shots so taken. On your next
visit to the movies watch how often the
professional directors do that. They will
usually have several cameras working
simultaneously, so that later the editor
may choose different shots of the same
scene in making up his sequences.

Last, but not least, study the various
books on motion picture photography,
especially the authentic and informa-
tive book Making Better Movies, writ-
ten and published by the Amateur
Cinema League. You'll be making the
Ten Best honors circle sooner than you
think.

MOVIE MAKERS

331

News of
the industry

Up to the minute reports
on new products and
services in the movie field

Sportsters Spruce up Tokeeppace
sartorially
with their companion Regent 8mm.
projector, both of Bell & Howell's
spool-load 8mm. Sportster cameras —
the 134- V (single lens) and the 134-TA
(tri-lens) — are now being issued in a
fawn metallic and dubonnet finish. In
addition to the color changes, both
cameras provide click stops on their
standard V2 inch //2.5 lenses.

There will be no increase in price,
the one-lens camera retailing at $89.95,
the tri-lens at $129.95, each with an
//2.5 lens and federal tax included.

Continuous Based on a Filmosound
285 optical sound pro-
jector, a new device for the continuous
showing of 16mm. movies has been an-
nounced by the Triangle Projector
Company, of Skokie, 111. The unit will
operate for up to 200 hours with a
maximum load of 1600 feet of film,
rear-projecting its image on a 13 by 18
inch shadow-boxed screen.

The Triangle continuous projector
will list at from $880 to $1403.50, de-
pending on accessories.

Auricon TV-T Berndt-Bach, Inc..
of Hollywood, have
announced the development of a new
television transcription (TV-T) shut-
ter for kinescope recordings with either
the company's Super 1200, Auricon-
Pro or Cine- Voice cameras. The TV-T
shutter, it is said, makes it possible to
photograph television images, occurring
at 30 frames per second on the re-
ceiver tube, at the rate of 24 frames
per second without the loss of picture
quality associated with conventional
motion picture cameras.

Auricon cameras with the TV-T
shutter are available for three differ-
ent functions: (1) kinescope recording

B&H SPORTSTERS, here the three-lens model
134-TA, will now be finished in fawn metallic
and dubonnet to match Regent projector.

of picture only; (2) recording of pic-
ture and sound on a single-system
track; (3) recording sound only on a
variable area or variable density track.
A 50 foot TV-T demonstration kine-
scope is available on loan from A. N.
Brown, Berndt-Bach, Inc., 7377 Beverly
Boulevard, Los Angeles 36, Calif.

Time lapse ^he Photovision Com-
pany, 1636 Washing-
ton Avenue, Wilmette, 111., has an-
nounced a two-part time lapse mech-
anism which can be adapted to Bell &
Howell 16mm. and 35mm. (Filmo and
Eyemo) cameras without modifications
of these instruments other than the
addition of a motor bracket. The unit
provides for automatic picture taking
over a range of two exposures per
second through one every four minutes.
The price of the solenoid unit is $175,
the intervalometer (or timer) $185.
Illustrative material on the device may
be had from the company.

Booklets Secrets of Good Color
Projection, a 16 page
booklet covering 2- and 3-D projection,
is being offered gratis by the Radiant
Manufacturing Corporation, 2627 West
Roosevelt Road. Chicago 8, 111. . . .
Your dealer, or James H. Smith & Sons
Corporation, of Griffith, Ind., makers of
Victor lighting units, will be pleased
to give you the company's new 12
page booklet, Indoor Movies Made
Easy . . . The American Cinematogra-
pher Handbook, edited by Jackson J.

TV-T SHUTTER, new feature
of Auricon Super 1200 and
other Berndt - Bach sound
cameras, smooths filming of
30 fps kinescopes at 24
frames.

CAPTURE
CHRISTMAS

in Movies

MEDIUM BEAM
REFLECTOR

G-E

PHOTOLAMPS

Designed especially for
movie making. 40°
beam spread is
matched to cam-
era coverage. 375-
watts means four on
a single home circuit.
Ideal for camera bracket lights.

and to see them at their best—

G-E PROJECTION
LAMPS

Use 'em in slide or movie
projector and be sure
to keep a spare handy.

Remember . . . G-E Lamps
for every photographic purpose

GENERAL
ELECTRIC

332

DECEMBER 1953

Rose, ASC, and a standard reference
manual on all phases of movie making,
is now in its eighth edition. $5 at your
dealer's, or direct from American Cine-
matographer Handbook, 458 South Do-
heny Drive, Beverly Hills, Calif.

Catalogs T. J. Valentino. Inc., 120
West 46th Street, New
York 36, announces his 1954 catalog of
Major sound effect and mood music
records . . . Audio-Master Corporation.
17 East 45th Street, New York 17, has
a new catalog of their electronic equip-
ment ... A catalog of the BG library
of mood and bridge music may be had
from the same company.

Bo I ex B-8 Halfway between the
one-lens L-8 and the
three-lens H-8 cameras is the Bolex
B-8, soon to be on the market with a
two-lens turret. Other featuers of this
small-sized, 8mm. roll film camera are
an audible end-of-film click indicator,
seven speeds from 8 to 64 frames per
second, and a multi-focal viewfmder.

The B-8, which will be widely avail-
able in 1954, will range in price from
$140 to $200, depending on the lenses
it carries.

E.K. items The 4X Kodaslide Table
Viewer and its carrying
case have been reduced in prices from
$49.50 to $37.50. $15.50 to $9.75, re-
spectively . . . Kodachrome prints in
a new 3 by 3% inch size may now be
ordered from 23 by 24 or 24 by
24mm. stereo transparencies ... An 8
page booklet, Popular Home Movie
Stories, Birthdays, Holidays and Wed-
dings, is yours for the asking from the
Sales Service Division. Eastman Kodak
Company, Rochester 4, N. Y.

AnsCO Wants pix Ansco is inter-
ested in buying
black and white photographs and color
transparencies for use in its advertising.
Pictures featuring people, especially
young people, are most desirable, and
as a guide to photographers the com-
pany suggests that the pictures have
action, human interest and strong poster
value. Such subjects as children with
animals, a parent with a baby, teen-age
capers, sports and the like are best
suited for the company's type of adver-
tisements.

Negative size for the b/w shots should
be 2X,4 by 2% inches or larger; color
transparencies should be no smaller
than the 214 size. All pictures must be
made on Ansco film and should be sent
to the Advertising Department, Ansco,
Binghamton, N. Y.

Exakta Annual Exakta, the mag-
azine for Exakta
photographers, has announced the prep-
aration of an Exakta Annual, to be pub-
lished first next year and annually

BOLEX B-8, new 8mm. spool camera from Pail-
lard Products, will mount two lenses and be
ready for distribution early in the new year.

thereafter. For reproduction in this vol-
ume, the publishers seek to buy black
and white or color photographs taken
with any model of this camera. They
also are interested in articles and illus-
trations on how the Exakta has been
used in varied fields of photography.

All submissions should be addressed
to George Berkowitz, editor, 25 Jones
Street, New York 14, N. Y.

New EK mike A new Kodak mi-
crophone, Model
PA-4, has been announced by the East-
man Kodak Company for use with its 15
watt Kodascope Pageant sound projector
models AV-151, AV-151-E, AV-151-
S and AV-151-SE. The mike, which can
be used with other AC-only sound projec-
tors, is styled in a satin-chrome, rec-
tangular cast-metal case. It comes com-
plete with a shielded 7^2 foot cable
terminated in an Amphenol 75-MCIF
connector. The PA-4, which is general-
ly directional, will be priced at $10.15.

Artist Renoir, a new 23 minute,
16mm. color film which traces
the artistic growth of the French Im-
pressionist Pierre-Auguste Renoir, has
been acquired for exclusive distribution
by Contemporary Films, Inc., 13 East
37th Street, New York 16, N. Y.

The picture uses fifty of the painter's
finest canvasses in analyzing his stylistic
developments. The narration, delivered
by George Ives and written by Otto
Radl, the producer, Justin Hine and
Jerry Winters, complements the cam-
era's studies. Renior is offered on rental
at $20 from Contemporary Films.

News from Castle The fifteenth

consecutive
news round-up by Castle Films is now
on your dealer's shelves following its
November release. Events slated for
inclusion in Castle's coverage for 1953
are such lead stories as the truce in
Korea, revolt in Iran, food riots in East
Berlin, the death of Stalin, the corona-
tion of Elizabeth II and the earth-
quake in Greece.

The Ten Best

[Continued from page 320]

the cameraman climbed down into the
crevasse to shoot them.

Excellent photography, competent
editing and a friendly, well-written nar-
rative all combine to make Canadian
High Adventure an outstanding moun-
tain-climbing study.

Concerto

Concerto, by Warren Doremus, is a
sensitive and touching story of young
love, following a couple from the joy of
their graduation and marriage to the
anguish and pain of the man's recall to
war service in Korea.

The telling of this simple tale has
been done with such warmth that the
observer cannot help being caught up in
the current of emotions which fill the
film. The performances of Sallie Dunn
and George Harrison as the young
couple convey the right mood for each
scene with complete sincerity and
heart, while Mr. Doremus's direction is
forceful and yet restrained. Accompa-
nied by and an interpretation of the
Warsaw Concerto of Richard Addin-
sell, Concerto, the film, may truly be
styled a cine tone poem.

March of TV

We had thought satire, especially in
films, was a lamented art of the past.
Thus it is a pleasure to report that it
is back again with a vengeance in
March of TV. Following both the vis-
ual and narrative patterns originated
by the now-familiar March of Time
series, Charles E. Coleman has created
an uproarious satire on television and
the inroads it has made into the Amer-
ican home. Both subtle and devastating
by turns, the film leaves no aspect of
this electronic marvel unscathed.

On the technical side, all depart-
ments have been capably handled, with
the crisp direction and portentous nar-
ration being, perhaps, the most notable.
The acting is assured and natural, re-
maining always within the farcical
framework of the satire. Whether you
like, dislike or simply ignore the sub-
ject which this shortie so sparklingly
derides, March of TV is unreservedly
guaranteed to keep you in stitches.

Rochester Race

Lovers of boats and devotees of
movie making alike will probably never
see enough of Rochester Race, pro-
duced by Walter F. Chappelle jr. in
the summer of 1952. For this picture is
one of the most complete and authentic
records of big-league yacht racing that
has been produced to date.

For big league indeed was the 72
foot yawl Escapade, owned by Wendell
Anderson of the Detroit Yacht Club
and sailing as scratch boat in the

MOVIE MAKERS

333

Rochester point-to-point race westward
to Hamilton, Ont., eastward to Stony
Point Light, and then back to the
Rochester inlet. And big league too
was Mr. Chappelle's detailed coverage
of this grind, as the proud beauty —
with a crew of fourteen and 2630
square feet of working sail area — bar-
reled through heavy seas, slatted and
drifted in the calms — but came home
by 38 seconds the winner.

Working under difficult (and often
dangerous) conditions, the producer
nevertheless achieved a variety and
quality of scenes which are amazing.
His handling of side or back lighting,
as a big Genoa or spinnaker jib arched
out from the Escapade, creates many
moments of breath-taking beauty. With
Rochester Race Mr. Chappelle has
proved beyond the cavil of supersti-
tious yachtsmen that a fine movie may
be made on a fine racing craft — and
yet still win the race.

Seashore Safari

Once again two movie makers have
pooled their joint knowledge of movie
making and their companion interests
in ornithology to produce a delightful
film of bird life — a record of camera
hunting for gulls, terns, ospreys, black
skimmers and other water birds along
parts of the Atlantic littoral. In Sea-
shore Safari, Robert E. Lawrence and
J. Donald Sutherland have wisely lim-
ited the subject matter and footage of
their film to a small portion of the al-
most unlimited world of birds.

Seashore Safari is presented in a
clear and crisp manner, with many
scenes outstanding for their beautiful
photography. The film is well edited.
The accompanying narrative is unfail-
ingly informative, without being verbose.
All in all — an excellent production.

The Enchanted Isles

Stretching for more than a thousand
miles along Australia's northeastern
coast stands the Great Barrier Reef, a
vast agglomeration of tide-swept coral
islands and islets. For mariners who
have threaded their way through these
perilous formations, they hold little of
enchantment. But to Alfred T. Bartlett
(who confines his camera to the Whit-
sunday group) they are such stuff as
dreams are made on — and he has por-
trayed them thus in The Enchanted
Isles.

Mr. Bartlett's canvas is a rich one,
comprising all of the classic elements of
romance: the sun-drenched strand, the
nodding palms, the lovely girls and, al-
ways and ever-present, the clean blue
of the sky and the yet-deeper blue of
the circumambient waters. He has
painted these elements both in large,
lush compositions and with observing
attention to the minutiae of vibrant
life around him. Even his colors (via
the magic of the pola screen) are rich-

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fll&e-<He£ioTri4itic

If you set out to
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only "thinks" for itself
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but also gives you a bag-
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Made by Niezoldi &
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world's oldest specialists
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Now for some of the other remarkable features:

Frame speeds range from 8 to 64 per second. Provision for expos-
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end of film. Film returning attachment for fade-ins, fade-outs,
lap dissolves. A superb optical viewfinder (with parallax com-
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It is coupled to two superbly
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through the viewfinder
and line up two indi-
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exposure! Any exposure ad-
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instantly — and without re-
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A really foolproof camera!

Complete with %" universal focus
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or with %" focusing F/1.5 plus
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©

At your dealer — or write for interesting booklet

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334

DECEMBER 1953

]y sensuous in their depth of satura-
tion. An unabashedly romantic narra-
tive ("Have you ever dreamed a secret
dream?" is the opening line) rounds
out this affectionate and interpretive
travel study.

The Ladybird

In The Ladybird, W. G. Nicholls has
told the story of the life of the com-
mon ladybug — remember "Ladybug,
ladybug, fly away home . . ."? — in a
film that is entertainingly instructive
as well as distinguished by excellent
photography, composition and editing.
Many of the extreme closeups of the
tiny ladybird as it goes through the
various stages of its insect life-cycle
are indeed remarkable. Mr. Nicholls's
skill in closeup cinematography is par-
ticularly well demonstrated in the
series of scenes featuring the ladybird's
value as a devourer of the aphids that
so bother rose growers.

A narrative that is educative and
well written creates a feeling of re-
spect for the ladybird as a friend to
man in his constant struggle against
destructive insects. Here is a nature
study which is first class in every way.

Because of You

Produced by the Long Beach (Calif.)
Cinema Club for its local Community
Chest, Because of You is a competent
presentation of the various community
services offered by the local welfare
organizations which receive their sup-
port from the Chest. The activities of
these agencies, as they aid an unfor-
tunate family to which things seem to
happen, are presented in a well-paced
manner, without appearing to overem-
phasize any one agency over the others.
The production was well photographed
by Lucille Lloyd, capably directed and
acted, and is smoothly edited. The nar-
rative, while good, could have been
shortened in spots. For a club and
community effort, Because of You ac-
complishes its objective of making its
viewers Community Chest conscious.

Candy Capers

Candy Capers is a gay little dance
fantasy in animation, using lollypops,
wafers and other familiar childhood
sweets. It is gay, that is, until the en-
tiance of the villain— a long black sin-
uous licorice snake. The wafers shiver
in horror as one of them is captured
by the intruder. Then they organize
their attack and rout the enemy.

Roy Fulmer jr. has achieved smooth
animation of his puppets and accom-
panies them with a pleasant musical
score. The result is a bit of confection
that is a delight to the eye and ear.

Dark Interlude

Maxine Messner, who began her
career before her uncle's camera in
1948 with Maxine' s Big Moment, has

very probably ended it in Dark Inter-
lude. Well, it was a career which began
happily — with the simple elation of a
school girl's first formal date. And it
is one which now ends happily — with
marriage. But in the course of this final
production it was touch and go whether
our heroine would achieve this happi-
ness.

For in Dark Interlude William Mess-
ner has asked his niece to play a young
lady struck down — only temporarily,
as it turns out — by blindness. It is a
role which she discharges with a mov-
ing simplicity and honesty — as, in fact,
do those who play her father and her
sweetheart. And Mr. Messner brings to
their aid superb camera work and deli-
cately luminous dramatic lighting. Un-
fortunately, however, the development
of his basic theme does not match in
simplicity and clarity either the film's
playing or its production values.

Fabulous Florida

Anyone who sees Fabulous Florida
will appreciate that Haven Trecker not
only has covered that state thoroughly
in his travels, but that he has worked
hard to record its tourist and indus-
trial highlights in a long series of ef-
fective sequences.

Beautifully photographed, well edited
and with a pleasantly informative nar-
rative, Fabulous Florida is distinguished
by the excellence of many of its se-
quences. We remember with particular
pleasure the section devoted to Marine-
land and its sea life, and the colorful
sequence on the manufacture of fishing
lures.

Festival Michigan

In Festival Michigan, Cornelius Van-
den Broek undertook to record all of
the fairs and community festivals that
occur in the State of Michigan through-
out the year. He was prompted to
make this record for the benefit of
many friends who were not able to at-
tend them and thus to provide them
with a vicarious participation.

The usual parades, crowning a queen
of this or that, live stock, home pre-
serves, midway attractions and various
contests for young folks are all here,
done with pleasantly brief sequencing.
A lively commentary accompanies the
film.

On the whole, this rather formidable
undertaking results in a pleasant and
completely honest endeavor. Mr. Van-
den Broek achieved his goal with fine
spirit.

Firenze, Queen of the Arts

Oscar H. Horovitz, in Firenze, Queen
of the Arts, has once again produced
an excellent record of a city, turning
this time to Firenze (Florence), the
Tuscan capital of the Italian Renais-
sance.

Firenze is a monochromatic city of

varying tones of brown, but a most at-
tractive one as Mr. Horovitz has shown,
existing today just as it did during the
16th Century. Belying the film's title,
however, the many art treasures for
which this city is justly famed are
ignored, the filmer desiring apparently
to show Firenze through an architec-
tural eye. The film is, nevertheless, in-
teresting, with lively pace and plenty
of human interest. Here is a rewarding
excursion to one of the fabulous cities
of our time.

Green River

Louise M. Fetzner is a housewife
who plainly likes the thrills of running
the rapids down dangerous rivers while
she makes movies that really move! In
Green River, Mrs. Fetzner has a well
paced, well photographed and altogeth-
er literate account of the adventures
which she and her companions had on
the Colorado's main tributary. The film
is interesting and exciting, and tells
its story concisely and without padding.
The accompanying narrative is written
and delivered effectively, although oc-
casionally the level of the background
music rises to overwhelm the narrator's
voice.

Monarchs of the Mountain Tops

Ralph 0. Lund, whether he knows it
or not, has adopted the same narrative
technique used earlier in a nature film
(The Gannets) whereby one of the
wild creatures being pictured becomes
the narrator. In Monarchs of the
Mountain Tops, Mr. Lund's "Pete
Smith" is an agile and bewhiskered
mountain goat. His recurring comments
enliven considerably the producer's
study of the flora and fauna of Glacier
National Park.

The Deserted Mill

That most difficult and painstaking
of film forms known as animation also
may be one of the most rewarding, es-
pecially when the result is as delight-
ful as The Deserted Mill, by Irwin
Lapointe.

This film is, quite simply, a leisurely
picturization of an old mill, with its
placid stream and the animals, large
and small, that live in and around it.
Mr. Lapointe's art work is imaginative
and his camera treatment of the mate-
rial crisp and well paced. A stimulat-
ing musical accompaniment by Ferde
Grofe complements the picture's mood
and aids immeasurably in making this
little film a rewarding one both to the
filmer and to his future audiences —
which should be legion.

Where the Sirens Sang

From the Island of Capri, Helen
Welsh has brought home a charming,
sunny vignette in Where the Sirens
Sang. It is the sort of film any traveler
would like to have as a memento of a

MOVIE MAKERS

pleasant sojourn. Miss Welsh's seeing
lens has captured the spirit of the
countryside, its people, its luxurious
beaches, its typical transportation.

For this reviewer, Where the Sirens
Sang plays a beckoning tune indeed.

335

1

The staff judges of the Amateur
Cinema League wish to express their
sincere gratitude to Joseph J. Harley,
FACL, president, Frank E. Gunnell,
FACL, vicepresident, and Walter Berg-
mann, FACL, treasurer, who served
ably and devotedly with them in judg-
ing ACL's Ten Best competition of
1953.

Festive filming

[Continued from page 321]

ting some good reaction shots of Junior
when he saw his new bicycle for the
first time. We had managed to keep it
a secret and I hoped he would spon-
taneously provide some engaging ex-
pressions. So that he would not be dis-
tracted, I explained what I was about
and showed him the lighting setup on
Christmas Eve. After he was in bed, I
took a couple of shots of the new bike
leaning against our bedroom hearth,
surrounded by brightly wrapped pres-
ents. Then I took a cut-in of my wife
sitting in bed, apparently greeting
Junior's entry. Finally my wife filmed
me manipulating a camera identical to
my own. (This puzzles our friends — ex-
cept the one who lent it ! )

In the morning, then. I was well pre-
pared with photofloods around the room
and a spotlight directed on the door.
In this way I got a reasonably uniform
lighting while keeping the floor clear
for action. I memorized the meter read-
ings for the principal positions and then
called in Junior. His entry I covered
in one long burst. Such are the un-
predictable ways of youngsters that he
came smiling in and snatched up a
small present apparently without see-
ing the long-awaited bicycle against
which it was leaning! It was not what
we had hoped for. but this shot alone
has given us more pleasure than the
stagey sequences of the year before.

Further shots were clearly needed to
follow from here. Fortunately Junior's
present was not easily unwrapped and
I had time to change camera position
while I rewound. This gave me a chance
to shoot him against the dark back-
ground of a wardrobe, so that the action
stands out boldly without distractions.
When Junior's first flush of excite-
ment was over, we put Baby on the
floor just outside the bedroom door.
She was then at the crawling stage
and obliged by wriggling through the
doorway to see what the bright lights
were about. I am particularly pleased
with the composition of this shot, for
the converging lines all lead to the

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336

DECEMBER 1953

central figure. A few shots of Baby
tackling her own pile of presents was
a must, of course. Finally I rounded
off the sequence with shots of Junior
unwrapping presents on the bed, while
Baby flounders in a sea of wrappings.
Altogether I used just 100 feet on
the first sequence and found this gave
me freedom for sufficient coverage to
make editing easy. The same amount
of footage covered the dinner sequence,
including introductory shots of Junior
setting out the cutlery. Again I had
photofloods around three sides of the
room and this time the spotlight shone
through the open doorway to light the
center of the table. I found this ar-
rangement gave me great freedom of
movement, since everyone was thrown
into clear relief by the back lighting.
Nevertheless, since the camera was al-

ways tipped slightly down, there were
no flare troubles due to lamps shining
into the lens. The spotlight overcame all
shadow troubles at the middle of the
table and so I could at any time dive in
for a close shot of food being served or
eaten.

These closeups are quite as important
as the medium shots of the family en-
joying the food, joking and laughing.
Such closeup coverage means a more
lavish use of film, but I have concluded
that it is well worth it. Two sequences,
fully handled, are better than four se-
quences on which you skimp. So if you
are making a movie of your Christmas
dinner, don't forget these closeups. For
"Christmas comes but once a year . . ."
In the other eleven months, it will be
these closeups that will revive the fes-
tive spirit.

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Winter calls your camera

[Continued from page 325]

studies. Estimating exposure is not easy
during the white season, since the mir-
ror-like blanket of snow can greatly
bolster the weak light of winter. For
this reason, an exposure meter is almost
essential.

Camera steadiness is important, too,
and while the outfit can be hand-held
when shooting slow motion, a tripod is
a must for slower speeds and all tele-
photo shots. Boulders, tree trunks and
even your partner's torso can sometimes
furnish sturdy on-the-spot camera rests.
Some photographers use a homemade
unipod for snow filming, made by in-
stalling a tripod screw in the top of one
ski pole.

A how-to-film on the rudiments of
skiing might offer the best introduction
to the sport. In many parts of the coun-
try outdoor ski classes are common, and
the professional is generally glad to
have them filmed. Such an educational
movie might show each step in selecting
the skis, adjusting the binding, the
proper grasp of the ski poles and the
like. The essentials of ski running, in-
cluding the straight-ahead glide, the
herringbone and side-step for uphill
climbing, and the kick-turn for about-
face when standing still, should be
shown in medium shots and closeups.
Making the telemark turn while travel-
ing at high speed calls for the pro or
a more experienced skier to demonstrate
for the camera.

Wind up the film with breath-taking
shots of superlative skiing, if possible
back lighting the scene to enhance the
billows of powdery snow. Here you can
cut in hilltop ski silhouettes to add
beauty to the film. Naturally, you will
need some comedy relief. Pick an awk-
ward beginner who can fake spills and
provide thrills, and use his frantic antics
as a running gag throughout.

While some of your most striking
footage will be obtained in early morn-
ing or later afternoon, when the light is
low and shadows are long, the most
sparkling footage will be taken right
after a storm when trees are heavy with
wet fresh snow. For an even more spec-
tacular sequence, try filming at night,
with burning flares, planting one below
the crest of a hill, opposite the camera
position, and shoot up to film the sil-
houetted skiers gliding along. For the
more experienced, skiing downhill at
dusk with lighted torches will give an
eerie effect.

If not overdone, the usual movie
tricks of stop motion and the inverted
camera can be employed to add variety.
In stop motion, filming on a given scene
is momentarily halted, with the camera
on a tripod, while an individual or
subject is inserted or removed from the
scene, after which filming continues. As

MOVIE MAKERS

337

a practical illustration, fade in on a
long shot of a ski slope, with a skier
coming up over the rise. Halt the cam-
era, being sure not to move it on its
tripod, and signal another skier to step
into position beside the first, running off
a foot or so of film every time another
skier lines up in formation. When five
or six are shown in readiness, film them
as they come flying down the hill, with
back lighted powder snow leaving a
smoky wake. When projected on the
screen, the skiers will be seen mysteri-
ously popping up into position atop the
hill before making the long glide down-
ward.

With reverse motion, the camera is
held upside down while filming. The
processed scene is removed from the
reel, reversed end for end, and spliced
back into the sequence to show the
sportsman skiing backwards up the
slope for a sensational uphill leap, or
lifting himself up out of the snow in
the foreground and disappearing rapid-
ly over the distant hill. There are any
number of variations here.

No matter how carefully you film, it's
the way you cut, edit and add sound to
your movie that will make or break you.
Remember that you can increase the
tempo of the ski movie by shortening
scenes and changing camera angle, just
as you added interest by filming from
the ski lift or strapping the camera to
your leg as you started the downhill
run.

For an unusual main title, letter the
wording on a snowbank, then pass the
ski blade directly beneath the wording
as you film for a clever fade-out. Or,
invert the camera and you will show
the title appearing magically out of no-
where on the blanket of white.

A synchronized
tape recorder

[Continued from page 324]

(see Fig. 2). It should be of a length
which will extend through the projec-
tor case, through the base plate of the
tape recorder, and make a suitable
contact with the rubber tape roller of
the recorder. In other words, at its
extreme end this becomes the tape-mov-
ing capstan of the recording unit (see
Fig. 2).

But, you may well say, why not
drive this capstan directly from the
original hand turning shaft? Why in-
terpose in the power path the hollow
flywheel and its liquid rubber? The
answer is a simple one. The rotations
of the hand turning shaft are likely to
be irregular, due to line voltage drops
and other factors. Thus, these unsteady
rotations are first fed into the liquid
rubber via the paddle blades. This driv-
ing force is then picked up by the
viscous liquid which, as it imparts the

rotary drive to the flywheel itself, filters
out all irregularities. In other words,
the flywheel design serves as a sort
of "hydromatic drive," or flutter sup-
pressor, so that the rotation of the
capstan as it draws the tape past the
magnetic heads is smooth and regular.

In order to obtain completely flicker-
less pictures, my Bell & Howell projec-
tor has been adjusted to run at 20
frames per second for either sound or
silent projection. The tape recorder
which I use is a Vollmer, of German
make, and normally operates at either
15 or 30 inches per second. However,
I did not feel that either of these tape
speeds were exactly right for this new,
integrated use with the projector.

It was a simple matter, however, to
fashion a hollow sleeve which could be
slipped over the end of the capstan,
thus increasing its diameter and thereby
changing its speed of tape travel. With
this sleeve in place, the tape now moves
at 19 inches per second to afford 32
minutes of tape time from the standard
reels shown. For longer films, the cap-
stan sleeve is removed, the tape speed
becomes 15.7 inches per second and the
tape time is extended to 45 minutes.

Electric power to energize the re-
corder's magnetic components is drawn
from the rear amplifier panel of the
projector, and the output of the mag-
netic head, from its single stage ampli-
fier, is returned to the main amplifier
of the Bell & Howell. These connec-
tions, both in full shot and in closeup,
can be seen in several of the illus-
trations. Also, on the front amplifier
panel of the projector (see Fig. 1), a
white-knobbed control switch has been
installed to effect the changeover from
optical sound to magnetic tape opera-
tion. A further check on this selection
is provided by the ruby-lamp indica-
tors installed under the takeup snubber
rollers.

The tape takeup reel is also driven
from the hand turning shaft, in my de-
sign by a system of nylon strings.
When not in use, both of the tape reel
arms may be detached for greater con-
venience in storage. The base plate of
the recorder remains attached. But
there is a large handle (see Fig. 2)
which, by a partial turn, frees the rub-
ber roller from the capstan to avoid
creating "flats" on the roller. By turn-
ing the handle still further, the roller
is removed far enough so that a pro-
tective sleeve or hood may be slipped
over the capstan to protect it during
transport.

But these are design details of my
own particular instrument. They will,
of course, be different in your recorder,
and you will have to work out slightly
different answers of your own. But
again I believe that my basic design
will serve you well. It has served me
unfailingly in synchronizing my tape
scores and films.

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LONG BEACH. CALIF

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338

DECEMBER 1953

Clini

FILM CAN MARKER

Ever try to write identifying names
or dates on your film cans and reels?
Well, the Chemical Rubber Company,
2310 Superior Avenue, Cleveland 14,
Ohio, has just the gadget you need. It
is called a Labmark Pen (No. T-9370-
10) and it comes complete with a
2 oz. bottle of black Labmark ink for
$5 plus postage.

This pen has a felt point for mak-
ing broad, poster-type letters, so that
it is particularly good for lettering on
film cans and reels. The ink looks like
waterproof India ink, dries almost
immediately, and — best of all — may
be removed with carbon tetrachlo-
ride when you wish to change your
labeling.

Oscar H. Horovitz, FACL
Newton, Mass.

THREE LEGS-THREE SERVICES

What with one's camera tripod,
gadget bag, exposure meter and so
on, the average amateur these days
has plenty to tote around on any film-
ing jaunt. Therefore, I claim that any
further addition to this load should
be designed for multiple duties. The
lightweight, demountable gadget pic-
tured on this page is such a one.
Three legs — and three services.

As pictured, my primary use for
this three-legged stand was as a slate
holder. I was working at the time on
a fully scripted picture, so that it was
possible to take advantage of the very
real aid in editing which "slating"
one's scenes provides. Also, for my
own guidance on future shooting, I
added the exposure data as a check
on results.

The second use for this tripod de-
veloped quite by accident one day
when I was shooting closeups of flow-

ers. Came a shot where, it seemed to
me, more light was needed on the
shadow side of things. So a white card
replaced the black slate, and we had an
adjustable reflector which didn't need
holding.

My third use of this device was as
an improvised titling stand to be used
outdoors in the field. Here title cards
replaced the other two units, as an at-
tractive girl — much as in the old
vaudeville routine — placed them one
by one on the stand and pointed
prettily to their legends.

C. C. Chuvax
Hollywood, Calif.

SIDE-BY-SIDE SYNC

I have recently changed over to the
Levett-Dow system of tape synchroni-
zation, as outlined in the January
1952 Movie Makers, with amazingly
improved results. Pictured herewith
is one very simple change in the set-
up, which works fine with my record-
er-projector combination and which
should work equally well with many
other such combinations.

Basically, the change consists of
placing the tape recorder beside the
projector, rather than in front of it.
In such a position the strobe disc is
illuminated by the excess light spilled
from the opening between shutter and
gate, rather than by the light emanat-
ing from the projection lens. Such a
positioning offers these advantages:

1. Illumination of the strobe disc
is much brighter, thus providing
easier visibility.

2. Illumination of the disc is con-
stant. It does not vary with the dens-
ity of the projected image, as is the
case when the disc is illuminated by
the light beam coming from the pro-
jection lens.

SIDE-BY-SIDE placement of
recorder ond projector is
urged by H. D. Shumway,
AACL. This sync system, de-
pending on spill light from
the projector, works equally
with a disc or Revere Syn-
chro-Tape.

Chester Taylo

TRIPLE PLAY gadget above serves alternately
slate>, reflector stand and titler.

as scene

3. No reflector, with its critical ad-
justments, need be attached to the
projection lens mount.

4. Controls of both the projector
and recorder are grouped together
for immediate and easy access.

Such positioning works equally
well when Revere Synchro-Tape is
used.

Herbert D. Shumway, AACL
Greenfield, Mass.

PANACEA FOR PANNING

Some time ago I had a friend of
mine shoot movies for me of my wed-
ding. Inexperienced, he panned much
too fast on certain of the scenes, with
the inevitable result that they are an
unpleasant eyestrain to the viewer.

Unable to get married again just
for the sake of good movies, I de-
cided to do the next best thing. I
edited out the offending scenes, sent
them to a local film lab and had them
double-printed — that is, each frame
was optically printed twice, thus cre-
ating the effect of 32 frame per second
shooting. Now when I run the pro-
jector at about 24 fps, the unpleasant
panning is slowed down.

While this is not a true cure-all for
rapid panning, it may help you save
a valuable film already marred in that
way.

David Rosenblatt
New York City

MOVIE MAKERS

339

ANNUAL INDEX

VOLUME 28, 1953

Topical Index

AACL, 1953: 180.
Accessories: 264, 265, 293.
ACL annual meeting: 153.
Air Force movies: 16.
Animation: 178.
Aspect ratio: 266.

B

Baby filming: 10, 44.
Beginners, for: 330.
Bell & Howell: 235.
Bounce light: 10, 44.
Bird filming: 94.
Book review: 274.
Bradley, David: 150.
Bulk film editor: 69.

Carpod, making a: 265.

Catalina: 152.

Chicago anniversary: 68.

Chicago licensing: 272, 278.

Children, filming: 14, 240, 292, 321.

Christmas: 321.

CinemaScope: 182, 235.

Cinerama: 13, 73.

City College, fi'ming at: 46.

Clinic, The: 101, 338.

Closeups: 6, 36, 76, 105, 121, 148, 191, 217, 247,

260, 286, 314.
Club activities: 68, 125, 236.
Clubs: 24, 48, 80, 106, 136, 164, 192, 220, 248,

276, 304, 340.
Community Chest: 156.
Conventions: 129.
Coronation : 96.
Country fairs: 232.

D, E

Dissolves: 322.

Duck Soup, producing: 14.

Editing: 299, 322.

Editor: 264.

Editorials: 26, 54, 82, 110, 138, 166, 194, 222,

250, 278, 306, 342.
England: 96, 122.

FACL, 1953: 180.

Fader for titles: 328.

Fairs: 232.

Family filming: 14, 130, 292, 321.

Fine Frames: 47, 67.

Fourth of July: 157.

G, H, I

Gala shows: 125, 236.
Ghost town: 208.
Great Britain: 96, 122.
Hamlet, filming: 66.
Holiday filming: 157, 321.
Incident meter: 40.
India: 296.
Italy: 98.

Laboratory procedure: 214, 234, 294.
Leaders and trailers: 214, 234.
Lenses : 155.
Lighting: 10, 40, 44.
"Lucy," filming: 206.

M

Magnetic recording: 17, 70, 72, 128, 154, 238,

324.
Mail rates for film: 246.
Maine: 176.

"Man With the Box," producing: 210.
Maxim Memorial Award: 14, 125, 318, 342.
Meters: 40.
Mexico, filming in: 38.
MMPC: 236.
Mt. Everest: 268.
Mt. Hood: 213.

N

Narrative technique: 97.

New ACL members: 23, 79, 135, 175, 219, 231,

269, 301, 342.
News of the Industry: 18, 50. 75, 102, 131, 158,

185, 215, 241. 270, 300, 331

O, P

Outing, filming an: 184.
Paris: 126.
Projection: 212, 239.

R

Reader Writes, The: 8, 34, 62, 90, 118, 146, 174,

202, 230, 258, 288, 316.
Recording: 17, 70, 128, 154, 238.
Red Feather: 156.

Retirement, film of: 297.
Rodeos: 209.

School filming: 46, 240.
Scenarios: 64, 292.
Screen : 293.
Skiing: 325.

Sound, elements of: 262.
Speed control: 239.
Stereo movies: 124.
Switzerland: 98.
Synchronization: 128, 324.

Tape recording: 17, 128, 154, 324.

Ten Best: 318.

Tillers: 41, 328.

Top of Ten Best: 125.

Travel filming: 38, 96, 98, 100. 122, 126, 152,

176, 179, 213, 296.
Turntables: 290.
TV, films on: 12, 206.

v, w, z

\ ictor Animatograph : 72.

Welfare filming: 156.

Wide screen: 13, 73, 182, 235, 266.

Winter filming: 325.

Zion National Park: 179.

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Title Index

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.Bounce light for baby: 1
.TV and the amateur
.1 saw Cinerama
.From review to reward

• 8mm. aids the Air Force
.M-king the most of tape
.Let's make it Mexico!
.Incident light meters indoors: 2
.An all-purpose titler
.Bounce light for baby: 2
.Tenth for City College
.Beginner's luck

.They laughed at Hamlet!
.Silver for Chicago
. Bulk film in a box
.Notes from magnetic notebooks: 2
.Victor Animatograph adds magnetic
. I, too, saw Cinerama
.Bird filming for beginners
-Come to Coronation!
.Narrative techniques
.Off the beaten track
.Tips for the tourist
."This sceptred isle . . ."
.Stereo movies — novelty or nonpareil?
.World premiere in Washirgton!
.Paris — in a pair of days
.Try synchro-tach
.Conventions ... in the can
.Film the family at fun
.He knew what he wanted
.Pacific paradise
-Be a good mixer — on tape!
.New rules for your lenses
.Make a film for Red Feather!
.Filming the 4th
.It's Maine for movies!
.A scissors cinema
.Zion National Park
.1 saw CinemaScope
. An office outing
.Let's look at "Lucy"
.The last frontier
.Reeling the rodeo
.History of a mystery
.Let's show it straight!
.Here's to Mt. Hood!
-Leaders and trailers
.Filming the fair
.Leaders and trailers
."CinemaScope" on Sixteen!
.Staging the big show
.Notes from magnetic notebooks: 3
.A projector speed control
.A reel report card
.Important new mail rates
.Some elements of sound
.Edit when you wish to
.Let's build a carpod!
.Hollywood's new aspect
. Sixteen sees Everest
.Chicago defeats effort to license all
projectionists
.An audio control center
.Rainy day blues
.1 made a roller screen

• Look to your laboratory
.India invites the amateur
. "In honor of . . ."
.The elements of editing

The Ten Best and the Maxim Memorial

Award
.Festive filming
.A and B roll editing
.A synchronized tape recorder
.Winter calls your camera

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340

DECEMBER 1953

N Y EiqhtS Candy Capers, by Roy
~ M. Fulmer jr.. ACL,
just awarded an Honorable Mention
with the Ten Best Films of 1953, took
first prize in the recent contest spon-
sored by the New York 8mm. Motion
Picture Club. Camera Art, by Elsie Es-
posito, was second, with Theme and
Variation, by Jack Kleiner, third. Con-
gratulations to all!

Brooklyn Supplementing their an-
nual 8mm. gala show on
November 20, .the Brooklyn Amateur
Cine Club, ACL, presented the first
guest night of the current season on
November 18. Among the films shown
were A Fin for a Fin, by Robert Batey ;
Magic Stairway, by Harlan Webber;
The Boss Comes to Dinner, By Ryne
Zimmerman, and PAL Activities, by
Ernest Knight, ACL. All films were on
8mm.

Okla. City Highlighting the No-
vember meeting of the
Movie Makers Club, ACL, in Oklahoma
C:tv, was an illustrated lecture on
script writing and advance planning
by H. A. Houston. Films screened that
evening were Fall River, by R. C. Hard-
cas'le. ACL; Snow Fun, b" F. E. Dun-
bar, and Thanksgiving with the Kings,
by Lowell King. Hosts for the evening's
entertainment were Mr. and Mrs. B. M.
Salyer and Mr. and Mrs. H. K. Mc-
Dowell.

Aussie ambassador Alfred T.

Bartlett,
AACL, Australia's roving ambassa-
dor of good will, rounded out his
series of guest screenings before Ameri-
can amateur movie clubs last month
with two on the West Coast. These were
before members and guests of the West-
wood Movie Club, in San Francisco,
and before a joint gathering of the Los
Angeles Cinema Club, ACL, and the

Los Angeles 8mm. Club, ACL. Earlier
Mr. Bartlett had presented his award-
winning program — which includes 1952
and 1953 Ten Best winners — before the
Metropolitan Motion Picture Club,
ACL, in New York City; the Washing-
ton Society of Cinematographers, ACL,
in Washington, D. C, and the Metro
Movie Club of River Park, ACL. in
Chicago.

L.A. Cinema Club Elected recent-
ly to head the
Los Angeles Cinema Club, ACL, for
the current year was Charles J. Ross,
ACL. Serving with Mr. Ross will be
Arthur Ellsworth Harvey, vice-presi-
dent; Stanley B. LaRue, secretary, and
Harold F. Batchelor, treasurer.

Bronx change The Taft Cinema
Club, ACL, decided
last month to change the club's official
name to the Bronx Home Movie Club.
Members will continue to meet on the
third Tuesday of each month at the
Concourse Plaza Hotel, 161st Street
and the Grand Concourse, at 8 p.m. An
invitation is extended herewith to all
interested filmers in the metropolitan
area to visit the club when next they
meet.

MMPC Members of the Metropolitan
Motion Picture Club, ACL, of
New York City, carried off top honors
in the recent Mineola Fair competition.
Terry Manos. ACL, won the Grand
Award with his fine film, The $24 Pur-
chase, as well as the first place in the
documentary class. John Caruso's Is It
Fate won first place in the story divi-
sion.

The November 19 meeting of the club
featured several interesting films, in-
cluding Cairo, by Valerie Levine;
Hedgehopping for Views in Mexico, by
Stanley Woolf, ACL; Crystals While
You Wait (also called Crystal Clear),

MEMBERS of the Agriculture
Amateur Movie Makers, ACL,
in Washington, D. C, listen
to Homer E. Pryor, former
president, and W. E. Black-
more, president, explain
editing operations.

A. T. BARTLETT, AACL, right, of Brisbane,
Australia, receives certificate of Honorary
Membership in the Washington Society of
Cinematographers, ACL, from Harrison F.
Houghton, ACL, president, on occasion of a
guest screening before the Washington, D. C,
unit.

by Joseph J. Harley, FACL; What God
Hath Wrought, by Leo J. Heffernan,
FACL, and The Deserted Mill, 1953
Honorable Mention winner, by Irwin
Lapointe, ACL.

Seattle salon Tne Seattle Ama-
teur Movie Club,
ACL, presented its annual salon on
November 18 at the Epiphany Hall in
Seattle. Films shown were Mesa Verde,
by George Tuthill; His and Hers, by
Irwin Miller, and Exploration, by Fred
Herman, all 8mm. The 16mm. films
were Welcome Lane, by Pete Delauren-
ti, ACL; Northern Panorama, by Jack
and Edna Moran; European Holiday,
by Alfred Jensen, and Monarchs of the
Mountain Tops, a 1953 Honorable Men-
tion winner, by Ralph 0. Lund, ACL.

New Zealand Currently making
the rounds of the
many cinema clubs in New Zealand
is a program of films selected from the
1950 competition held by the Amateur
Cine World in England. On the show
are Chick's Day, by Enrico Cocozza;
Bobby, our Robin, by John Chear;
Farewell to Childhood, by Lester Peries
and H. Jansz; Go West, Young Man, by
J. Barton; How to Catch a Burglar, by
the Fourfold Film Unit; Lady for
Lunch, by Charles Carson, and Para-
dise Cove, by F. C. Gradwell.

Johannesburg Winners of the
1952 - 53 annual
film competition conducted by the Jo-
hannesburg Photographic and Cine So-
ciety, ACL, now celebrating its 25th
anniversary, were Landmarks of South-
ern Rhodesia, by F. G. Abernathy,
Searle Trophy (best film of the year) ;
Spirit of the Hills, by Peter Marples,
best 8mm. film; Fishing is Tops, by
Dr. H. I. Osier, best set-subject (na-

MOVIE MAKERS

341

WANT TO JOIN A MOVIE CLUB ?

Write lo the ACL for the address
of the club nearest you. If there is
no club active in your community,
we'll send you free a detailed bul-
letin on how to get one going.
Address : Clubs, Amateur Cinema
League, 420 Lexington Avenue,
New York 17, N. Y.

Schacfer's Ca

ture) film; and Who Killed Cock
Robin, by Dr. J. Sergay, Ferrania
Trophy (best four-minute film). A spe-
cial award was made to Mrs. C. Clarke
for Norway, the best film by a lady
member.

Philadelphia

Guiding the 8-16
Movie Club of Phila-
delphia, ACL, for the 1953-54 season
will be Leonard Bauer, ACL, president ;
Victor Spilker, vice-president; Emily
Thurman, secretary, and Anne Bauer,
treasurer. Directors are William Beska,
ACL, Allen Cutler, ACL, Ralph N.
Vozzy. ACL, and the Messrs. Born-
mann, Sobel and Wright.

Tasmania The Tasmanian Sesqui-
centenaial Committee
Film Competition, presented by the Tas-
manian Amateur Cine Society in con-
junction with the Federation of Aus-
tralian Amateur Cine Societies, has just
been announced with a closing date of
March 1, 1954. For further details
about this contest, which is limited to
films about Tasmania, write to J. H.
Taylor, Post Office, Kingston, via Ho-
bart, Tasmania.

Berkeley On November 10, mem-
bers of the Berkeley
(Calif.) Movie Club journeyed to the
meeting hall of the Oakland Camera
Club, ACL, and presented a fine pro-
gram. Films shown were Japanese Cere-

IN SAN FRANCISCO, mem-
bers of the Westwood Movie
Club honor Hugh Jessup, a
visitor from the Melbourne
(Australia) 8mm. Movie Club.

monial Dance, by Harold Nakazawa,
ACL; Call of the Open Road, by Kath-
erine Berdan; Bugs, by Ida W. Goet-
jen; Canadian Rockies, by Winfield
Hyde ; Vacation in Southwestern Colo-
rado, by John Parker, and Propagating
Begonias, by Carl Fox.

New officers for the club are Mr.
Hyde, president; E. Schinnerer, vice-
president; E. Eichner, secretary; Mr.
Fox, treasurer, and A. Correa and Miss
Berdan, directors.

Lonq Beach New officers for the
Long Beach (Calif.)
Cinema Club are Bob Ferris, president ;
Lewis Underwood, ACL, first vice-pres-
ident; Al Larrabee, ACL, second vice-
president; Lynette Stephens, secretary,
and Cliff Harris, treasurer. On the
board will be Ray Stober, Bob Piccir-
illi and Frank Kellenberg.

Chicago Salon 0n 'November 11,
the Metro Movie
Club of River Park, ACL, presented
its 1953 Salon. On the program were
From This Day Forward (Part Two),
by Othon Goetz, ACL; From the Em-
bers, by Glen H. Turner, AACL, and
Racing Wings, by William Ziemer.

Australia Winning all three first
places in the 1953 Inter-
national Gold Cup Competition spon-
sored by the Australian Amateur Cine

Where

to

see

THE TOP OF

THE

TEN BEST

Date

Sponsor

Tickets and Information

December 22

Boston Camera Club

Benjamin B. Crocker
351 A Newbury Street
Boston 15, Mass.

January 6

Butler Camera Club

Paul J. Wolfe

124 East Jefferson Street

Butler, Pa.

January 19

Miami Movie Makers Club

George Merz

1443 Harrison Street

Hollywood, Fla.

January 20

Hollywood (Flo.) Bowl

George Merz

1443 Harrison Street

Hollywood, Fla.

January 26-27

Edison Camera Club

Curtis F. Bowman
72 West Adams St.
Chicago, III.

Society, ACL, William C. Nicholls
swept the field with his films, The Lady-
bird, Nature in the Garden and Youth
Takes Wings. Keith Hall, whose 1953
Maxim Award winner, The Old House,
was last year's Gold Cup champion,
placed fourth with Timothy.

L.A. Eights The L°s Angeles 8mm.
Club, ACL, has retained
the Golden Megaphone Trophy for the
third time in their annual competition
with the Southwest 8mm. Club. ACL,
also of Los Angeles. The L. A. film
was A Switch in Time, one of ACL's
Ten Best of 1953, and the Southwest
entry was The Man With Dark Hair.
Congratulations, Los Angeles — keep 'em

coming

Philadelphia The November meet-
ing of the Philadel-
phia Cinema Club featured an evening
of 8mm. films, including Pic-Nix, by
Karl Bergman; Washington, Virginia
and Luray, by Gay Bordas; Florida
Vacation, by Walter Reamer, and Silver
Springs, by Birch Grawl.

Cape Town During October, the
Cape Town (South
Africa) Photographic Society, ACL,
was visited by B. T. Smith of the Jo-
hannesburg Amateur Cine Club, ACL.
Among the films screened for club
members by Mr. Smith were The Eter-
nal City, Coronation-1953, The House
With Nobody In It, Tripoli and The
Silver Fox. The last film was named
one of the ten best African films for
the past year.

342

DECEMBER 1953

HANDS ACROSS THE SEAS

NOW in its seventeenth year, the Hiram Percy
Maxim Memorial Award goes this year for
the first time to a movie maker outside of the
North American continent.

This is, of course, pure happenstance. The Award,
established in 1937 by the children of the League's
Founder President, went in only its second year to
an American amateur — Ralph E. Gray, FACL — then
resident in the Republic of Mexico. In 1939 it trav-
eled northward to Ottawa, where a Canadian hus-
band-and-wife filming team — F. Radford and Judith
Crawley — won it with an engaging genre study of
French-Canadian life. And then in 1946 it went
once again to Mr. Gray, still resident in Mexico.
Now, for the year 195 3, the Maxim Memorial Award
journeys far overseas to an Australian movie maker,
Keith F. Hall, a resident of Brisbane in the State
of Queensland.

Here at headquarters we are pleased and proud at
the truly international character of this occurrence.
Throughout its twenty-four year history, the League's

Ten Best competition — as is forthrightly stated in our
official rules — has been "open to amateur filmers
everywhere in the world." Nor has it been limited,
as Mr. Hall's honor so eloquently testifies, to members
of the Amateur Cinema League.

This is as it should be, in a world where far too
many other human activities are unduly cribbed and
cabined. It is also, we feel sure, as Hiram Percy
Maxim would have had it be. For in his initial edi-
torial, published on these pages in December, 1926,
Mr. Maxim wrote in part:

"Instead of amateur cinematography being merely
a means of individual amusement, we have in it a
new means of communication — visual communication
— with all of our fellow beings, be where they may
upon the earth's surface."

Thus spoke the man in whose memory the Maxim
Award trophy now journeys halfway around that
earth's surface. We here profoundly believe that this
truly international Memorial brings together the
hands and hearts of men of good will the world around.

The AMATEUR CINEMA LEAGUE, Inc.

Founded in 1926 by Hiram Percy Maxim

DIRECTORS
Joseph J. Harley, President Frank E. Gunnell, Vicepresident

Walter Bergmann, Treasurer
Arthur H. Elliott
Fred Evans
Harry Groedel

James W. Moore, Managing Director
John V. Hansen
Harrison F. Houghton
Roy C. Wilcox

AMATEUR CINEMA LEAGUE. INC..

The Amateur Cinema League, Inc., sole owner and publisher of
MOVIE MAKERS, is an international organization of filmers. The
League offers its members help in planning and making movies. It
aids movie clubs and maintains for them a film exchange. It ha*
various special services and publications for members. Your member-
ship is invited. Eight dollars a year.

420 LEXINGTON AVE.. NEW YORK 17. N. Y.. U. S. A.

Scotty Mose, New York City

R. J. Swanson, Ft. Myers, Fla.

R. D. Brown, Portville, N. Y.

Ernest M. De Bruine, San Francisco, Calif.

Georgia T. First, Rock Island, III.

Walter C. Hamilton, Oakland, Calif.

0. W. Jenkins, Natick, Mass.

Charles L. Renaud, Tucson, Ariz.

Mrs. Sue Richter, Chicago, III.

Dr. W. G. Wood, St. Louis, Mo.

W. R. Youngquist, Excelsior, Minn.

Frank Stan Romanse, Bayside, N. Y.

Sargent Hill, Fort Worth, Texas

L. A. Kroha, M.D., Grosse Pointe, Mich.

Harry Romas, Detroit, Mich.

Mrs. Harold Huttemann, Bristol, Conn.

Mrs. Rose DeValve, Merrick, N. Y.

John C. Hay, Youngstown, Ohio

C. A. Russell, Houston, Texas

Rev. Frank Doleshal, Santiago, Chile

Lynn Fayman, La Jo/la, Calif.

Frank C. Marshall, Kenosha, Wise.

Edward S. Burstein, Brooklyn, N. Y.

Richard Buren, Liberty, N. Y.

Mrs. F. E. Dachtler, Venice, Calif.

Arthur Gerard DeVoe, M.D., New York

City
Phil' in W. King, Flushing. N. Y.
Roy G. Lee, Glendale, Calif.

0. McClanahan, San Fernando, Calif.
Fred 0. Ruud, Denver, Colo.
Frederick Charles Seddon, Colombo, Ceylon
Rev. John Van Ens, Dehiwala, Ceylon
Dan Wong, Yuma, Ariz.
Reginald W. Crowe, Dublin, Eire
Bernard Fox, Bergenfield, N. J.
Howard Graves, Petaluma, Calif.
Mrs. T. N. Roether, Topeka, Kans.

A. N. Rognstad, Clarkston, Wash.

Theo. R. Rossi, Strathfield, New South

Wales
Chester M. Snyder, Baltimore, Md.

Lt. Col. John S. Turton, do PM, New

York City
Mrs. Rose S. Wilson, Coral Gables, Fla.
Judith N. Kasoff, New York City
James Penney, Rockport, Mass.
Roy Holiday, Cleveland, Ohio

B. Ford, Robb, Canada

1st Lt. Clarence F. Taylor Jr., Atlanta, Ga.
Samuel S. Levine, Winthrop, Mass.
Ignacio Martinez Cardenas, Bogota, Col-
ombia
Harold E. Schaller, Cranston, R. I.
Arthur M. Sharp, North Providence, R. I.
Carlton Watkins. Paducah, Ky.

Thomas M. Baldwin, M.D., Beaver Falls,

Pa.
James C. Bayly, Brockvil/e, Canada
E. D. Blood, Longview, Wash.
Alan H. Vroom, Longview, Wash.
Mrs. Joe Wilkens, Toutle, Wash.
Charles D. Hartt, San Francisco, Calif.
D. F. Smith, Winnetka, III.
D. Eades, Vancouver, Canada
D. F. Mitchell, Astoria, Ore.

Jack Apatov, Brooklyn, N. Y.

William Cheeseman, South Belmar, N. J.

C. E. Maass, Short Hills, N. J.

Dr. Armando G. Menocai, Havana, Cuba

Harry C. Ruffner, San Francisco, Calif.

Perry Scheflin, New York City

K. Speker, Stuttgart, West Germany

W. Spieth, Wolfsburg, West Germany

James G. Barrick, Cleveland, Ohio

Edward J. Phillips, Wynnewood, Pa.

Harold J. Schams, La Crosse, Wise.

Robert W. Scott, Aurora, III.

William H. Westover, Yuma, Ariz.

R. S. Whitman, Plainfield, N. J.

Hreinn Garoars, Akureyri, Iceland

Kenneth L. Skinner, Phoenix, Ariz.

Les Lande, San Antonio, Texas

Raymond H. O'Dell, Battle Creek, Mich.

Irma L. Rutter, Kansas City, Mo.

Kaye Sorenson, Albany, N. Y.

Calvin Jones, Montclair, N. J.

Milton Koegler, Jacksonville, Fla.

Elmer E. Birkett, Denver, Colo.

Leslie H. Cramer, Addis Ababa, Ethiopia

Colin Hauck, Edmonton, Canada

Luther Holland, New York City

D. V. Snyder, Chicago, III.
Mrs. Mary Dillon, Chicago, III.

E. Theodore Palm, M.D., Crystal Falls,
Mich.

William Warren, Chicago, III.

Melvin E. Simpson, Toronto, Canada
Club Cine Amateur de Geneve, Geneve,

Switzerland
James W. Harrison, Brooklyn, N. Y.
George N. Koutsoukos, Washington, D. C.
Laura Winslow, Chevy Chase, Md.
Julius Bourlett, Peoria, III.
Erwin Doelbar, Rome, III.

EVERYTHING YOU NEED

TO MAKE BETTER FILMS

si

HERE'S HOW THE AMATEUR CINEMA LEAGUE
CAN HELP YOU with your filming interests just
as it has advised and aided more than 100,000
other movie makers:

AS A MEMBER YOU RECEIVE

1-The ACL MOVIE BOOK - the finest guide to
8mm. and 16mm. movie making. 311 pages of
information and over 100 illustrations. This
guide sells for $4.00!

2-MOVIE MAKERS -the ACL's fascinating,
friendly, up-to-the-minute magazine — every
month. Chock full of ideas and instructions on
every aspect of movie making.

FOR ALL 8MM AND 16MM FILMERS

THE ACL MOVIE BOOK

AMATEUR CINEMA LEAGUE, INC.

PLUS THE FOLLOWING LEAGUE SERVICES

EXTRA-NOW AVAILABLE!

Continuity and Film Planning Service . . . planning to make
a movie of your vacation? of your family? The ACL's con-
sulting department will work up film treatments for you, full
of specific ideas on the planning, shooting and editing work.
Special forms are available to help you present your ideas
to the consulting department.

Club Service . . . want to start a club? The ACL club depart-
ment will give you helpful tips based on experience with clubs
around the world for more than 25 years.

Film Review Service . . . you've shot your film and now you
want to know how it stacks up? Are there sequences in it
that you're not quite sure of? Any 8mm. or 16mm. film may
be sent to the ACL at any time for complete screening, de-
tailed criticism and overall review.

Booklets and Service Sheets . . . service sheets on specific
problems that you may come up against are published at
intervals. They are yours for the asking.

ALL THIS IS YOURS FOR ONLY $8.00 A YEAR!

(less than the price of a roll of color film)

Official League leaders in full color!
16mm. $2.00. 8mm. $1.50.

Official League lapel pins for you
to wear! Screw or safety clasp
type, $1.25.

Official League stickers for all your
equipment! 5 for $1.00.

AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York 17, N. Y.

I wish to become a member of the ACL, receiving
the ACL MOVIE BOOK, Movie Makers monthly, ond
all the League services for one year. I enclose re-
mittance for $8 (of which $3 is for a year's sub-
scription to Movie Makers) made payable to Amateur
Cinema League, Inc.

Name

Street.
City

Zone_
I

.State.

4W

Movie novice

• • • or expert
cinematographer

There's a Kodak
Projector exactly
right for your needs

\L

For Thrift. The Brownie Movie
Projector offers real movie enjoy-
ment, real projection ability, at a
price matched to 8mm. economy.
"Floating power" control provides
clear, sharp forward projection . . .
stills of especially appealing movie
scenes . . . reverse-action movies . . .
and power rewinding. No belts or
reels to shift. Easy threading. Lu-
bricated for life! $62.50

:::

:

For Extra-Bright 8mm*
Movies. Kodascope Eight-71A
Projector for long throws, big pic-
tures from 8mm. movies. Has super-
fast f/ 1.6 lens coupled with 750-
watt lamp. For still greater bril-
liance, a 1000-watt lamp may be
used. A quiet, efficient cooling sys-
tem keeps the heat down, the film
safe at all times. Price, with 750-
watt lamp and//1.6 lens, $111.80.

For the Best in 16mm. Si-
lent Projection. Kodascope
Royal Projector. Has//1.6 Lumen-
ized lens, 750-watt lamp (takes
1000-watt accessory lamp for still
greater brilliance). Speed adjustable
to variation in line voltage. Reverse-
action control. Geared reel arms.
Lubricated for life! Hinged-cover
compartment holds projection in-
cidentals. $245, complete in case.

For Critical Analysis of
16mm. Film. Kodascope Analyst
Projector. Heavy-duty reversing
mechanism with remote control for
repeated, instantaneous reversals.
Constant-speed blower powered by
separate motor. Speed control. Lu-
bricated for life! Regular or table-
top projection. With self-contained
Kodak Daylight Projection Viewer,
$295, complete in carrying case.

For 16mm. Sound or Silent
Pictures. Kodascope Pageant
Sound Projector, Model 1. For
home, school, club, or small audi-
torium. Shows rental sound movies
or your personal silent 1 6mm. films.
Permits voice commentary through
accessory "mike" or musical back-
ground by accessory phono adapter.
Lifetime lubrication. All in one
carrying case — complete with 1600-
ft. reel, speaker, speaker extension
cord, spare exciter lamp. $375. Other
Pageant models available for spe-
cialized audio-visual needs.

For Theater-Quality 1 6mm.
Sound Projection. Eastman
16mm. Projector, Model 25. Steady,
high-intensity arc illumination for
long throws, big screens. (Also
available with tungsten illumina-
tion.) Has sealed-in-oil-bath move-
ment which transports films surely,
easily, and quietly. Synchronous
motors for film movement and
sound scanning, and individual mo-
tors for blower and reel arms.
Kodak Projection//l .5 Ektar Lenses
in choice of 5 focal lengths. Prices
and details upon request.

Prices include Federal Tax where applicable and are subject to change without notice.

EASTMAN KODAK COMPANY, Rochester 4, N. Y.

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