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Price^25c

YEARLY SUBSCRIPTION. $2.00

Hnrold M. Lambert

rary . 19 12 Annual Beginnei^s Number I

I

—highlight your home movie shows with these professional Hollywood fun films . . . !

There's Tons of Laughter in

i WATER BUGS

Starring Billy Dooley

Dooley, a sailor in the Navy, goes on shore leave and is "shanghaied" by a gang of hardboiled seannen. A mutiny and the captain's daughter provide both action and ronnance for the sailor. Order by number — 487-B.

200 ft. 16 mm $5.00

100 ft. 8 mm 2.00

"Ask Your Dealer to Screen It"

^FAIRYLAND EXPRESS features Oswald Rabbit. It's a lively cartoon film chuck full of laughs for young and old and depicting the an- tics of Oswald and others in a Fairyland where all is free. Ask for No. I I -A.

100 ft. 16 mm $3.00

50 ft. 8 mm 1.50

THE NURSEMAID ^ |>r

Starring Mickey Mouse. Left in charge of an infant, Mickey and Pluto get into many laugh-provoking situations. A laugh a minute! Order by number — I 506-A.

100 ft. 16 mm. . . . $3.00 50 ft. 8 mm. . .. 1.50

WRITE for Latest Catalogs of

8 mm and If) mm Films — They're FREE!

HOLLYWOOD FILM ElVTEHPRISES, ixc

6060 SUNSET BOULEVARD • HOLLYWOOD. CALIF.

ADVISORY EDITORS

)R. A. K. BAUMSARDNER

Peoria Cinema Club

•ETER BEZEK

Chicago Cinema Club

;. JAMES BIALSON

Amateur Motion Picture Club of St. Louis

■:. MOSS BROWN

Dallas Cinema Club

WALTER BRACKEN

The 8-16 Movie Club. Philadelphia, P^.

CLAUDE W. A. CADARETTE

Los Angeles 8mm Club

^. EMERSON CLYMA

Detroit Society of Cinematographers

lUSSELL A. DIXON

Pittsburgh Amateur Cinema Club

CYRIL DVORAK .

Suburban Amateur Movie Club

ARTHUR E. GIBBS

Portland Cine Club

RAY A. HOOK

Seattle 8mm Club

ALFRED F. KAUFMAN

Indianapolis Amateur Movie Club

J. E. NESTELL

Cinemen Club

NARCISSE A. PELLETIER

Toronto Amateur Movie Club

GILBERT B. PETERSON

Metropolitan Cine Club

ROME RIEBETH

Minneapolis Cine Club

A. THEO. ROTH

Sherman Clay Movie Club

C. O. ROUNTREE

Bay Empire 8mm Movie Club

J. PAUL SNYDER

Norfolk Amateur Movie Club

REED E. SNYDER

Des Moines Y.M.C.A. Movie Club

M. F. SISSEL

Austin Movie Club

DR. C. ENION SMITH

Metro Movie Club of Chicago

MOYIES

Ru- V. S. PtI. on.

Member Audit Bureau of Circulations

CONTENTS FOR JANUARY, 1942

it's new to me — By Cinchng Shopper 2

YOU ARE ONE OF US 11

FIRST LESSON IN MAKING HOME MOVIES — By Stanley Andrews. . 12

INDOOR LIGHTING EASY FOR THE BEGINNER — By Frederic Grneser 13

TITLE MAKING FOR THE BEGINNING AMATEUR

— -By VV arren Garin 1 4

GUIDE FOR THE BEGINNER IN MOVIE EDITING

—By Russell Dickson 16

MOVIE OF THE MONTH By J. H . Sclioen 17

ACCESSORIES PAVE THE WAY TO BETTER FILMING

— -By Curtis Randall 18

REVIEWS OF WINNERS IN UNCUT FILM CONTEST

—By The Editors 19

THE EXPERIMENTAL CINE WORKSHOP 20

INFORMATION PLEASE 24

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS 30

THE READER SPEAKS 34

WITH THE REEL FELLOWS 36

TITLE BACKGROUNDS 39

• Filters aren't for scenic shots alone. Here's example of good use of yellow filter in a medium closeup.

JANUARY

NUMBER I VOLUME IX

REEL FELLOWS

A friendly fraternity of movie amateurs sponsored by Home Movies maga- zine. Your membership is Invited.

CHAS. J. Ver HALEN

PUBLISHER

C. J. Ver HALEN, JR.

ASSOCIATE PUBLISHER

ARTHUR E. GAVIN

EDITOR

GEORGE W.CUSHMAN J. H.SCHOEN

Associate Editors

Entered as Second-Class Matter. May 6, 1938. at the Postoffice at Los Angeles, Calif., under the

Act of March 3. 1879. Subscription rates; U. S. $2,00 per year. Canada and Foreign Countries. $3.00 per year. Single copies 25c. Canadian and Foreign single copies 35c. Copyright, 1940. by Ver Halen Publications. Advertising rates on application.

OFFICE OF PUBLICATION 6060 Sunset Boulevard, Los Angeles, Calif. Phone GRanite 5149

NEW YORK OFFICE Everett Gellert, 62 V^est 4Sth Street Vanderbilt 6-5254

C. E. BELL

Photographic Editor

L. C. BUSCHER

Art Director

HOLLYWOOD'S MAGAZINE FOR THE MOVIE AMATEUR

PAGE 2

HOME MOVIES FOR JANUARY

GEARMASTER

for Movie Tripods

$17.50

Enables you to make real profes- sional panoram or tilt shots with any movie camera. Eliminates the use of a long handle and is geared for panning and tilting. It's revo- lutionarjf in design.

AMERICAN BOLEX WINDERS

For 8 MM and 16 MM Reels

With the American Bolex Ten- sion Control Winders you can spin your film in rewinding just as fast as you want to. An adjust- able drag, controlled by a touch of the finger, gives you the de- sired tension.

$12.00 per Pair

Mail Orders Filled

32nd St. near 6th Ave., N. Y.

World's Largest Camera Store Built on Square Dealing

Established 1899

J(

to

me

I

By CiNEBUG Shopper

Automatic Screen

The amateur who wants to give his movies the sharper, more brilliant pro- jection they deserve, will find the new Radiant Automatic projection screen a wise choice, according to the manufac- turer. Here is a screen designed espe- cially for home movies and said to possess distinctive features tending for ease of operation as well as higher reflective quality.

A tripod model screen of quick col- lapsible type, the new Radiant Auto- matic features square, instead of round, metal tube construction in the upright column and double wall tripod legs which prevent twisting or swaying of the screen while in use.

There are no set screws, spring plungers, or other hand-operated lock- ing devices to come loose. The special positive-locking feature assures perfect alignment. A slight pressure on a con- venient lever opens the tripod legs. A simple turn of the screen case auto- matically places it in a horizontal locked position. Then an almost effortless pull lifts and automatically locks the bril- liantly glass -beaded surface of the screen into viewing position.

Radiant's exclusive "Hy-Flect" glass- beaded screen surface is noted for the great brilliance and clarity it lends to the projected image, whether black and white or color. Glass beads are an-

chored in to stay — according to the manufacturer, who further assures they will not peel or otherwise come of? the climate-proofed flexible screen base.

The new Automatic, like other Radi- ant models, is said to always remain perfectly flat when opened for use and will not curl at the edges. A rigid steel tubing at the top prevents sag and wrinkles for the life of the screen.

The Radiant Automatic is now being demonstrated by leading photo supply dealers everywhere. Additional details and prices may be had by writing to Radiant Manufacturing Co., 1140 West Superior St., Chicago, 111.

Castle's 16th War Movie

Right on the heels of America's for- mal entrance into war comes a flash announcement from Castle Films of a special news release in January under the title, "Japs Bomb U.S.A.!", for owners of 8mm. and 16mm. projectors.

As has been true throughout the his- tory of Castle news releases in the past, home movie collectors are promised in this new picture every foot of vital and pertinent film as it becomes available for the nation's projector owners. Sub- ject only to military' regulation, "Japs Bomb U.S.A!" will consist of all news camera coverage of today's world- shattering occurrences near both shores of the Pacific; on the broad expanse of the ocean itself and on the islands that dot its surface.

This new movie brings the number of Castle war movies to sixteen, com- prising an unprecedented and invalu- able motion picture chronicle from the

very inception of hostilities five years ago when Japan first invaded China down through each tragic chapter of the dark years that followed. As in the instance of its fifteen predecessors, "Japs Bomb U.S.A.!" is announced as prompt, accurate and complete camera reporting of history of the day, shot at

HOME MOVIES FOR JANUARY

PAGE 3

RCA Building New Yolk

Field Building Chicago

San Francisco

PAGE 4

HOME MOVIES FOR JANUARY

★

J/i NEW

it**-

the scene of activity, a permanent rec- ord of destiny on the march.

It will be distributed through photo- graphic dealers everywhere in the course of January, in five sizes and lengths, and the announcement adds that the usual low Castle prices will obtain for this special news feature.

Actual experience alone can show you the difference a modern, perfect screen can make in your pictures. Brilliant — sharp — clear — only Radiant's "Hy-Flect" glass-beaded screen surface shows them in all their original, lifelike charm. For ease of operation — for perfect definition — give yourself a new happiness. Of course. Radiant costs a little more, but you get infinitely more in added years of perfect service. Insist on Radiant at your dealer's, or wite for new illustrated folder — FREE! Exclusive new Auto- matic model from $15.23 up.

3 Instant- Automatic Operations . . . and It's Up

1. Touch a convenient lever — the tripod legs slide into position and lock there automatically.

2. Merely turn the screen case — automatically it locks into steady horizontal position.

3. An effortless pull raises screen and automatically locks into viewing position, at any height, 17 to 50 inches from the floor.

MANUFACTURING COMPANY

1140-6 W. Superior St. Chicago, III.

Revere s 500 Walter

Outstanding improvements are claim- ed by the Revere Camera Company in its latest Revere "80" Projector for 8 mm. films.

Of 500-watt capacity with double- blower cooling system, the model comes equipped with 300-foot reels, automatic film rewind with enclosed gear and chain drive, heavy-duty AC-DC motor, 15-tooth sprockets with safety- roller guides for film protection, and remov- able aperture shoe for quick cleaning without removing film.

Other features are said to include an improved gate assembly with self- adjusting film guides which is declared to eliminate unsteadiness usually caused by film width variations and splices. A fully recessed tension shoe and aperture are said to prevent scratching of film.

Prices and additional information of this and other models is available from Revere Camera Company, Chicago, 111.

8mm Windback

Lap dissolves and other professional movie effects which require backwind- ing of film in the camera can now be made with Filmo 8 mm. equipment, the Bell & Howell Company reports.

The lap dissolve rewind attachment recently introduced by the company can be installed on any Filmo Double Eight camera, either before or after purchase.

A feature of this rewind attachment is that it counts frames one by one as they are rewound in the camera, the an- nouncement stated.

Latest price information for this at- tachment will be given by Bell & Howell Company, 1801 Larchmont Avenue, Chicago.

Official's New Films

Official Films, Inc. announces the first of a series of one-reel films entitled "America's Fight for Free Men."

The first reel released December 20th, 1941, contains incidents per- taining to and leading up to the dec- laration by the Congress of the L nited States that a state of war exists between ourselves and the Japanese Empire. Subsequent pictures will be released from time to time, as and when events occur to make up this historic series of motion pictures. When these releases are finished, they will contain a com- plete history' of the most important era in American life since the Declaration of Independence; this will be an invalu- able series for Americans everywhere, in homes, schools and colleges and in truth will be a historical recording, not in cold t>'pe but in live, vivid moving pictures. The sound versions will have lip synchronization sequences of all speeches made by world famous men and women.

Official Film? will accumulate what- ever material is possibly available from both professional and private sources, from cameramen all over the w'orld. Hundreds of thousands of feet of film


	'Mm

will be cut and edited into compact, concise reels. This will be the first time that history will be so recorded for the 16 mm. projectors, both sound and silent, and 8 mm. silent projectors.

Official Films will release these films at their usual low prices of $8.75 for 16 mm. silent and $17.50 for sound and $5.50 for 8 mm. silent. Silent ver- sions will be fully titled. Where not obtainable from dealers, write direct to Official Films, Inc., 330 W. 42nd St., New York Cit\'.

Wd Qltj 91m

CAMERAandPROJECTOR

I can give my family and friends outstanding entertainment — with full-color or black-and- white pictures that are as beautiful, sharp and steady as theatre movies." ^ »" The Revere 8 mm Camera, with its fine lens and precision mechanism, takes marvelous movies. It is easy to load and use and has many advanced fea- tures, including automatic film-loop sprocket, 5 speeds, parallax-corrected view finder with large eye-piece, and strong five -foot spring motor. ^ The Revere 8 mm Projector is today's best buy, because it leads in features that assure easier and better projection and full protection for film.

See Revere equipment today! Send for literature! Re- vere Camera Co., Dept. IHM, 320 E. 21st St., Chicago.

Revere "99" Turret Camera

has a rotating turret head which permits instant change of lens equipment. It holds three screw-type lenses and has an extra view finder for uses with telephoto lenses. Complete with one Wollensak F 2.5 lens.

$77.50

The Revere Projector can be threaded quickly. Hinged roller-film guides (such as are found only in high priced 16 mm. projectors) hold the film in place after it has been threaded on the upper and lower sprockets and assure long film life.

REVERE "80" PROJECTOR

excels in screen brilliance and prMes-

sionally smooth p riormance.

Heavy Duty AC- DC Motor

Double Blower Cooling System for lamp

and film. High-ratio Duplex Shuttle Film

Movenient Enclosed Precision Mechanism

(no belts) Fast Power Rewind Manual Clutch for "Stills Radio Interference Eliminator Complete with long-life 500-watt lamp, F 1. 6 and one 300-foot $75 00

REVERE "85" PROJECTOR

Same as "80" plus Micro-Tilt. Duo- Shield Liaht Diffuser. Beam Threading Light and Carrying Case, $89.50.

REVERE Model "88" CAMERA

uses economical 8 mm film for an average scene. Automatic film-loop sprocket . . . Eastman- licensed spool and spin- dle. 5 speeds, 8. 12, 16, 24, and 32 frames per second. Focal plane 160 degree rotary disc shut- ter. Positive speed gov- ernor control. Precision mechanism with helical- ly cut bronze and steel gears. Complete with Wollensak F 3.5 lens,

$38.50

Revere

REVERE PRECISION CONSTRUCTION

To insure smooth operation and rock-steady movies, Revere checks the quality and measurements of all parts in Revere Cameras with the most modern scien- tific instruments. The above illustration shows how the spindles are inspected with micrometer gauges. They must not vary more than .00025 of an inch.

PAGE 6

HOME MOVIES FOR JANUARY

I'M GLARE LIGHT

(THE PICTURE SPOILER!)

NOTHING CAN STOP ME EXCEPT...

MARKS POLARIZATION PLATES

Every photographer knows good light is the first re- quisite for good pictures. Yet few realize the photo- graphic evil— "glare light" — is always present spoil- ing some qualities in every picture. But — don't waste another shot until you learn to control "glare light" simply and economically with MARKS POLARIZATION PLATES - the only method to light contro/ without co/of obsorption. Go to your dealer or send for comprehensive folder.

0

Glare Light Controlled

KIN-O-LUX, INC.

105 W. 40 ST. NEW YORK CITY

Edit Your Films

with the Craig Projecto-Editor

The clearest, most versatile viewing device you ever have seen. Puts that professional smoothness in your work.

Fast or slow motion.

8mm Model, com- plete with splicer, re- wind and film ce- ment $37.50

8mm Projecto-Eai*o- alone .... $29.50 16mm Model with Sr. Splicer and re- winds $59.50

brilliant miniature screen, smooth movement. The Craig Projecto-Editor adJs a Hollywood perfection to your home movies.

16min Senior Splicer

A vital part of your equipment. Four simple operations result in perfect, straight splices, quiclily and accurately finished. Designed for your comfort, pleasure and complete satisfaction. Price SI0.95.

If It's By Croig, It's Precision Builtl

"MAKES EDITING A PLEASURE"

CRAIG MOVIE SUPPLY CO.

1053 So. Olive St. Los Angeles, Calif.

Enlarqer Switch

New this month is the Solar Mer- cury Tri-Switch, a three position mer- cury contact switch for use with double contact socket and twin-filament bulbs to provide selective light intensities for still photography enlargers. This ac- cessory is of special interest to movie amateurs who use standard enlargers for blowing up frames of 8 mm. or 16 mm. film.

Light intensities of 50. 100 or 150 watts are instantly secured by manipu- lation of the switch. 7 his enables the operator to regulate the intensity of the light passing through the enlarger to the density of the negative. Control of the light intensity is not secured by a rheostat to cut the voltage — as that would afifect the color of the light. Kach filament burns at full recom- mended temperature to provide a white light of proper printing quality.

This new switch is designed for table top operation. It is of the single throw, double pole type with levers operating the mercury contacts for si- lent, sparkless operation. The liquid- like operation of the levers require prac- tically no efilort, thus eliminating the possibility of setting up \ibration in the enlarger.

It will be available from your local dealer, including switch, cords and socket for $5.50. Write Burke <§: James, Inc., 223 W. Madison St., Chicago, for full details.

Free Service

The Jack Schiff Camera Exchange of 55 Vesey Street, New York City, has extended use of its darkrooms free of charge or obligation to the photo- graphic public. These darkrooms are said to be fully equipped with trays, sinks with hot and cold running water, enlarger, and all necessary equipment for developing, enlarging and printing.

IVew Titler

One of the newest accessories offered by the Bell & Howell Company is the 1 6 mm. Filmo Titler, which will fit Filmo 141, 70, and 121 Cameras with-

out use of separate, loose adapters, the company announces.

Rigidity and compactness are said to characterize the new unit, and special mention is made of an arrangement which permits titles to be centered ac- curately through the viewfinder of each camera.

The titler consists of a camera car- riage, a title-card carriage, and two swiveled reflector*; each unit sliding upon a connecting track and clamping firmly in any position, announcement declared.

Focusing is accomplished either by the camera lens itself or by a supple- mentary lens. Several standard focusing lenses with Bell & Howell cameras will focus down to one foot, and with these titling operation is said to be simple. For universal focus lenses, and for those which do not focus as close as one foot, the company reports a supplementary lens in adjustable mount is available.

The title-card holder is hinged to fold forward out of the way, so that small three-dimensional objects, such as flowers, butterflies, etc., may be filmed at close range.

For further particulars, write to Bell & Howell, 1801 Larchmont Avenue. Chicago.

Reflectors

War time restrictions have not af- fected output of Victor Photoflood re- flectors, according to the manufacturer, James H. Smith & Sons Corp'n. The Victor line includes the popular clamp- on type reflectors and many intermedi- ate models clima.xed by their No. 520-S twin-reflector mounted on extension stand. Catalog and prices are available by writing the manufacturer at 121 Lake St., Griffith, Indiana.

Sunshades and Filters

Amateurs are said to be finding new ease and efficiency in working with the combination Imperial sunshade and filter discs marketed by Chess-United Company.

Imperial slip-on Sunshades are made of high grade duraluminum stock, de- signed to offer maximum efficiency at a minimum price, the company declares. Dead black felt finish inside the shade is said to absorb all stray rays of light. Si.x adjustable prongs affix the shade firmly to the camera lens or filter mount. New price of sizes from 27 mm. to 33mm. is Si. 10; 37mm. to 42 mm.. Si. 25.

Imperial mounted filters to be used with the Imperial Sunshades are made of solid colored glass and are available in > ellow, orange, red and green. New

11

Scene from "On fhe Right Tracit," new sound slidefilm of the Cleveland Tractor Company, which uses Da -Lite Screens ex- clusively for the fol- lowing reason as stat- ed by Mr. S. C. Brown, Advertising Manager, who writes: "They are the best on the market . . . the Da-Lite Glass-Beaded Screen gives better results under all con- ditions than any other screen."

THE DA-LITE CHALLENGER is the only screen with square tubing in BOTH the center rod of tripod and extension support for perfect screen alignment and unequalled rigidity. It is the only screen that can be adjusted in height merely by releasing a spring latch and raising the extension rod. 12 sizes from 30"x40" to 70"x94", from $12.50* up.

PARTIAL LIST OF PROMINENT USERS

Armour & Co. Continental Oil Co.

The Cleveland Tractor Co.

The Mercury Corp.

Lion Oil Refining Co.

United Wallpaper Factories, Inc.

The Firestone Tire & Rubber Co.

International Harvester Co.

Nash Motors Division, Nash

Kelvinator Corp. General Mills, Inc. Illinois Central System Smith Bros. Mfg. Co.

Great Northern Railway Co. Edison General Electric

Appliance Co. The Pure Oil Co.

Youngstown Pressed Steel, Division

of Mullins Mfg. Corp. Plymouth Division, Chrysler Corp. General Electric X-Ray Corp. Deere & Co.

Savings Banlt Association

of New Hampshire Kelvinator Division, Nash

Kelvinator Corp. Minneapolis-Moline Power

Implement Co.

Oldsmobile Division, General

Motors Sales Corp. H. J. Heini Co. York Ice Machinery Corp. The Toledo Steel Products Co. The Crosley Corp. The Perfect Circle Co. Chrysler Division, Chrysler Corp. Ford Motor Co. J. I. Case Co.

Michigan State Board of Control

for Vocational Education The Todd Co., Inc. Charles P. Cochrane Co.

as shown by Sales Management's Survey of Industrial Film Users

In choosing a screen for your home movies oi stills, consider the experience of leading users of industrial films. With thousands of dollars in vested in their film productions, they are carefu to select only screens that show their pictures a their best.

It is significant that the latest survey of thest users reveals an overwhelming preference foi Da-Lite Screens. The October 10th, 1941, issue of Sales Management magazine covering the lead ing business films of the year shows that of 2i companies which mentioned makes of screen! used, 27 listed only Da-Lite.

In industry, homes, schools, churches, theatres — wherever the importance of brilliant, sharf picttires and utmost convenience is recognized critical buyers choose Da-Lite Screens . . . th< leader for 33 years and now more popular thai ever. Your dealer has Da-Lite Screens in the styh and size you want, from $2.00* up. Write foi literature! Da-Lite Screen Co., Inc., Dept. 1 HM 2711 North Crawford Avenue, Chicago, 111.

*Prices slightly higher on Pacific Coast.

A Guarantee That Means Something

The beads on a Da-Lite Glass-Beaded Screen are guaran- teed not to shatter off. The entire screen, including fab- ric and mounting, is guaranteed to be free from defects in materials and workmanship. The fabric is specially processed to stay white and pliable. Because dust and dirt accumulate on any screen over a period of years and destroy its original brilliance, Da-Lite does not guarantee permanent whiteness, for to do so would be meaningless. The reliability of Da-Lite Screens has been proved by thousands of users over a period of 33 years.

PAGE 8

HOME MOVIES FOR JANUARY

THE MARINES HAVE LANDED!

HISTORIC HOME MOVIES

BY

OFFICIAL FILMS

8 M M. 16 M M.

The Axis has struck at these United States. >X'e are at war. ^X'hat the following months will bring no one knows. But Official Films will do its utmost to bring you the record of America's most crucial time. Beginning now. Official Films offer a new series of one reel Films (16 mm. Silent or Sound and 8 mm. Silent) : a series to be known as "America's Fight For Freedom".

The first volume, dealing with the events leading to the treacherous attack by Japan and the Axis Powers is now ready. Additional volumes will be released with news-flash timeliness as events develop. Every American w ill want to own these vivid pictorial records of .America's fight against the ruthless forces of the Axis. Order Volume One today from your photographic dealer and place an ad- vance order with him for future volumes so you may be sure of prompt delivery. These films will all be released at Official Films's usual low prices :

8 MM.- 16 MM.

SILENT . " SILENT ' SOUND

S5.50 $8.75 S17.50

Send for FREE illustrated Catalogue of oi er 30 films

ORDER THESE FILMS FROM YO D

UR

Official Films

330 WEST 42nd STREET, N. Y. C.

prices of mounted filters : 27 mm. and 29.4 mm., $2.25 ; 32 mm. and 33 mm., S2.50; 37 mm., $2.75; 42 mm., $3.00. Imperial filter discs are priced as fol- lows: 25 mm., $1.25 ; 31.5 mm., $1.50; 39 mm., $1.75; 42 mm., $1.95.

More detailed information is avail- able from Chess-United Company, Inc., Madison Avenue at 29th Street, New York Citv.

/Impro's "Eight"

Full 16 mm. quality in an 8 mm. pro- jector is offered for the first time by the Ampro Model A-8, according to claims of the manufacturer.

Priced at $115.00. the A-8 Model is declared to offer the following fea- tures: 500 Watt illumination, flicker- less pictures, efficient cooling for for- ward or reverse projection, automatic reel locking device, operates on both AC or DC 100-125 volts, optical sys- tem engineered for maximum brilliance.

The company declares this model of- fers the same precision quality wit- nessed in its 16 mm. models, including unusual convenience in operation and brilliance of illumination.

Further information may be obtained from Ampro Corporation, 2839-51 North Western Avenue, Chicago, 111.

Critical Focuser

Owners of the Filmo 70-D movie camera may now obtain a critical fo- cuser by which the amateur may look at the subject through the photographic lens and thus focus visually for pin- sharpness, the Bell & Howell Com- pany announces.

AN ACTION-PACKED

HOME MOVIE

by

OFFICIAL FILMS

8 M M. 16 M M.

A film made possible by the cooperation of the U. S. Marines! Shows you the w hole career of a "Devil-Dog"— from the first day of his induction to his parcicipa- tio.n in full-scale Invasion Maneuvers. Shows you how Marines march w ith the Army, sail with the Navy, and fly with the Air Corps! You see action, action, and more action! Once you own this film you'll know why the Marines are cele- brated from "The Halls of Montezuma to the shores of Tripoli"!

Less Than The Cost Of Run Filvi! 8 M M.

SHORT app. 50 ft $1.75

FEATURE app. 180 ft $5.50

16 M M.

SHORT app. 100 ft $2.75

FEATURE app. 360 ft S9.75

SOUND app. 350 ft $17.50

Send for FREE illustrated

Catalogue of over 50 filnis

Official Films

330 WEST 42nd STREET, N. Y. C.

HOME MOVIES FOR JANUARY

PAGE 9

^^€mt ^om ^Aou/cf mii^^ €m.l^ mit/i

THE UNIVERSAL. GEARED PAN-TILT TRIPOD HEAD

For of/ OomevQ% — %\\\\ or Movie/

Operating entirely through precision gears, the GEARMASTER has two controls, one for tilting, the other for panning. And, because of the exclusive mechanism, movie makers may tilt and pan at the same time, while "still" cameras may be more quickly positioned. There are no jerky pans with GEARMASTER . . . you may make a complete circular panorama by simply turning the panning handle. Equipped with spirit-level counter- sunk in base, the GEARMASTER has been designed to end tripod deficiencies and permit easier and quicker manipula- tion when setting up for picture. Heavily chrome plated, carefully engineered and constructed. Made to fit all tripods with head base up to S'/a" in diameter. Unconditionally guaranteed against defects in work- manship and materials for 5 years. Si 7.50. Price includes excise tax.

These American Bolex Products are available af your dealer, or they may be ordered direct.

Western Representative: Franit A. Emmet Co.. 2707 W. Pico St., Los Anqeles, California.

ty^^me^yicei/n ^o/eX^On^^iem/^^ S^nC. 155East44thSt.,NewYork,N.Y.

PAGE 10

HOME MOVIES FOR JANUARY

" JTJLIGHT," by Major M. J. Burelbach of Chattanooga, Tenn.

JL In the past year this prize winning photograph has hung in 50 National and International photo solons. Major Burelbach made this unusual enlargement from a portion of the 21/4" xZVi" negative (shown at left) with a Wollensak 3-inch Enlarging Velostigmat. He writes : "For many years I have used Wollensak Lenses in taking and enlarging pictures. I recommend them for excellent results." Improve your photography with a VC'ollensak.

For Movies, Candid, Enlarging, Action, Stil

upe one of u6 . . .

w E welcome all you new cine camera owners to our ever-growing, friendly fraternity of men and women who have discovered in amateur movies a source of infinite pleasure, an outlet for their creative abilities, and a hobby that pays last- ing dividends in good home entertainment. Whether you travel or stay at home, you'll open up new worlds for yourself through your movie camera.

Conscientiously handled, your camera can make motion pic- tures equalling in photographic quality those of the professional. It is a precision-made instrument requiring only careful opera- tion to attain this success. As you explore its pleasurable possi- bilities, you may, as have others before you, aspire to serious production of motion picture films, or choose only to record in movies the activities of family and friends as they proceed along the pathway of life. Whichever your course, you may encounter problems and the need for guidance; wish for a prompt and understanding advisor.

Turn then to Home Movies and its staff of consultants. Present your problems freely. Keep for ready reference your copies of Home Movies in every issue of which will be found pertinent information and instruction in the many interesting phases of your new hobby — photography, editing, titling, and processing of home movie film.

Home Movies is ever dedicated to the hobby of the movie amateur, stands ready to help or advise him at all times.

Welcome to this vital, lively, entertaining hobby of ours — Home Movies. You are one of us!

HOME MOVIES

HOME MOVIES FOR JANUARY

LESSON

in

in^ It

ome movies

ugh knowledge of and lens important

E . ANDREW

__ HEX a person embarks on the interest- nig hobby of making amateur movies, he is usually aware of certain fundamentals. He knows his camera must first be loaded with film; that there is a button or trigger that must be pressed to operate the camera and thus ob- tain an image on the film ; and that he must focus his camera correctly at the object or scene to be filmed.

There are some important "musts" which the beginning amateur does not always appre- ciate with the result that his first few rolls of

• Shots with hand held camera can be as steady as when tripod Is used. Brace support- ing arm against chest, as shown here and bal- ance camera with hand that operates button.

film suffer in photographic quality, not infre- quently dampening his enthusiasm for the hobby. There is, for instance, that very impor- tant rule about a steady camera. Many begin- ners do not realize the full importance of hold- ing a movie camera rock steady when making pictures. Any movement of the camera results in the picture moving around on the screen, and the slightest movement of the camera is magnified tremendously, several hundred times in fact, by the time the audience gets a look at it. It is important, therefore, to use a tripod whenever possible, or to rest the camera on or against something solid, such as a tree or fence.

The next thing to remember is to keep the camera motor spring wound up. It is good practice to wind the camera after every shot, otherwise sooner or later we will find our cam- era has quit us right in the middle of what might otherwise have been our best shot.

Check the stop settings and focus, in fact all adjustments the camera might contain, before every shot, and don't guess at the distance the subject is to the camera — learn to pace out dis- tances up to about 15 feet. The closer the sub- ject is to the camera the more necessary that it be accurately focused. And anything less than 10 feet should really be measured. When travel- ling, the lens stop should be set for prevailing light conditions, and focused at 25 feet, ready for anything that we might want to take in a hurry.

Panoraming, or panning as it is called, is the moving of the camera in an arc to photograph a scene which is too wide to be taken in entirely in one picture ; or to follow action, such as a per- son walking, or a boat moving. The best advice for the beginner regarding panning, is "don't." Film manufacturers have made a fortune out of film that beginners have ruined through

• Continued on Page 22

• Every cine camera has an exposure guide af- fixed to its case, giving quick, accurate data for determining correct exposure. Most advanced is improved guide, shown here, now furnished with all Eastman Cine Kodaks.

HOME MOVIES FOR JANUARY

• Typical indoor seHingofan amateur whose equipment boasts several lighting units, some equipped with diffusers to soften illumination.

ilVERY beginning amateur should know that shooting movies indoors is just as easy as filming out of doors in sunlight. With one possible exception, the film used may be the same and the procedure for fo- cusing and setting exposure remains un- changed. The one and only difference is that special artificial lighting must be employed. But this presents no obstacle. All that is re- quired for this special lighting the amateur can purchase for less than one dollar.

Regular house lighting lamps are not ade- quate in power for successful cine photography, and for this reason special lamps have been designed to supply the right quality of light in ample amount for photography indoors. The lamps are known as photofloods and today are available as readily as lamps for household use.

The photofloods designed especially for ama- teur photography are available in four sizes and are pictured on this page. There is the No. 1 which looks like an ordinary 60-watt globe but gives out light equivalent in volume to a 750-watt lamp. This photoflood sells for 15 cents and will give sei-\'ice for the equiva- lent of two hours.

The No. 2 photoflood looks like a standard 150-watt house lamp. It gives double the light volume of the No. l; and has a rated life of six hours. This lamp sells for 30 cents.

The No. 4 photoflood is a giant lamp about the physical size of a 300-watt house lamp. It is photographically equal to 2500 watts of reg- ular house lighting lamps and has a rated life of ten hours.

The R-3, pictured at the extreme right in the illustration, is a mushroom type bulb that is a combination photoflood and reflector. It is gaining wide favor with amateurs because it eliminates the necessity of purchasing reflectors. Interior of flared area of bulb is coated with an aluminum reflective material with an opaque base so that none of the light leaks through from the back. Rated life and power of this bulb is the same as the regular No. 2 photo- flood used in a reflector.

The average beginner's concern is with the No. 1, No. 2, and the No. R-2 photofloods.

• Pictured here are all the items necessary to provide photographic lighting for mailing movies indoors. Illus- trated are the four popular sixes of photoflood lamps and the clamp-on type re- flector with which the pho- tofloods are used.

INDOOR LICHTINi;

inner

Making movies indoors entails no tricks, requires no expensive equipment...

By FREDRIC GRAESER

The No. 4 is more adaptable to the require- ments of advanced and professional cinematog- raphers with large areas to light. With super- sensitive film, one No. 1 photoflood in a regu- lation reflector, set up 8 to 12 feet from sub- ject to be photographed, will enable the amateur to expose the scene at f/1.9. By adding another No. 1 photoflood in reflector, the scene could be shot at f/3.5. Moving the lights closer to subject, say to with- in feet, would enable one to • Continued on Page 28

13

HOME MOVIES FOR JANUARY

* Titling is done easiest with typewriter and small titier. shown here. Typed titles are neat, easy to read.

And it should be concluded with an " end" title. But these two titles are rarely enough. Almost ever>' silent mo- rion picture requires some explanation of the scenes or action it portrays, and that is the purpose of the sub-title — the explanatory captions intercut at in- ters als after the main title that explain what the action does not clearly reveal as the picture unfolds on the screen.

Certainly ever}- beginning amateur, who appreciates the wealth of pleasure the amateur movie hobby holds for him. will be eager to make his own titles once he understands how relatively simple it is. Actually, no expensive equipment or accessories need be purchased. Nor must he be a proficient letterer to make his ti- tle cards. Not that a good titier won't help, but for the beginner, at least, good titles can be made with nothing more than the camera and tripod which are used for shooting pictures.

First of all. there must be a means

TITLE muu FOR THE mm

It's easy as shooting scenes

n d

extends scope of your hobby

w

VIEWFINDER ARE*.

_TJTLE_ AR_EA_ CINE-KODAK MODEL E

A HE subject of titling is of interest to eve ry movie amateur whether he intends to make his own or have his titles made by a commer- cial title maker. Any motion picture — to be considered co m p 1 e te — re- quires titles. First it needs a label to identif\" it — the lead or main ritle.

for photographing with the camera at close range — at 10 inches to 30 inches, depending upon size of the title card to be photographed. This is accomplished by placing an auxiliary lens before the camera lens which immediately converts it to short focios, the distance of focus depending up on the diopter measure- ment of the auxiliar\ lens. There are other methods, but this is the simplest. Au.xiliar\' lenses for this use are

• Lacking a titier, titles may be tacked on wall and photographed. Method oi centering title cards with camera Is shown below, explained in article.

HOME MOVtES FOR JANUARY

PAGE 15



		iLl z

		CO

6^-

21"

FIG. 1

X : SUPPLEMENTARY LENS MOUNT Y= BLOCKS FOR HOLDING CA/V\ERA W= SOCKETS AND REFLECTOPvS

n r		TITLE
el			<
	5HEET

EASEL

FIG. 3

imiwi \>\i nil"

TITLE READY FOR CENTERING- FIG. 4

• Here's a simple titler any amafeur can build.

sometimes referred to as portrait attach- ments and are obtainable for most cam- era lenses from photographic supply houses. But just as effective for title making purposes are lenses from read- ing spectacles obtainable at dime-store counters. These are plainly marked to indicate diopter size, enabling the film- er to choose a pair of spectacles contain- ing the lens he desires.

There is no need to go into lengthy explanation of the term diopter except

AMATEUR...

to say that it is the initial unit of meas- urement of single magnifying lenses. One diopter represents a focusing dis- tance of approximately 40 inches. Thus a one diopter lens, placed in front of the camera lens set at infinity, will bring in- to sharp focus a title set up 40 inches away. The focusing distances of auxili- ary lenses of other diopter sizes follow : 134 Diopter . . 32 inches

Diopter 1^ Diopter 2 Diopter 2^2 Diopter 2% Diopter 3^ Diopter

4 Diopter

5 Diopter The auxiliary

portant parts of any held in accurate pos

26 inches 22 inches 20 inches 16 inches 14 inches 12 inches 10 inches 8 inches

IS is one of the im- titler. It is usually tion by a mounting

which is part of the titler. However, by attaching the auxiliary to the cam- era lens, the same results are accom- plished, namely, bringing the title card into sharp focus.

We started to explain how the begin- ner could make titles without a titler, so we shall proceed by first relating how to afifix the auxiliary lens to the cam- era. Centering the auxiliary over the camera lens is very important, so it's best to prepare a cardboard mounting for the auxiliary which will make it possible to mount it as needed, always accurately centered. Cut a disc of card- board the size of the auxiliary and cut a hole in the center the exact size of the camera lens barrel. Join the disc and • Continued on Page 32

• Typewriter titlers, like Eastnnan model pictured below, are available for all cine cameras.

• Inexpensive title letters can be made trom pipe- stem cleaners with aid of small pliers.

ARROWHEAD LA TO BOC C AN

D c < E M B |^;|||PNr¥

• Molded title letters give shadow and three-dimen- sional effects, look professional.

o Accessory supplied by Hollywood Cine Products makes scroll and flop-over trick effects in titles.

HOME MOVIES FOR JANUARY

• With the right equipment, movie editing is as much fun as filming. Pictured here is a complete editing board with viewing device, rewinds, and splicer.

inner

in movie

EDITING

Even if every scene is perfectly exposed, one or two may be overlong

B y

I

N

B EFORE the amateur has progressed very far with his movie making, he will hear a great deal about edit- ing his films as a means of improving them. Editing is essential to even,' motion pic- ture including the beginner's first roll. Few, indeed, are the amateur movies that do not require a little "brushing up" on their return from the processors.

We are concerned now with the problem of elementan,- editing — the polishing up of the average beginner's roll of home movies taken on a Sun-

• A well-planned home cine workshop which just begs the movie amateur to spend endless hours in editing and titling movies.

day afternoon. The more complex aspects of editing a scenarized picture will be left for a future issue. The scope of this elementary phase of editing ranges all the way from delet- ing, entirely, over- or under-exposed scenes to re-arranging scenes to obtain a flow of con- tinuity'.

Movie editing is hard work only when one attempts it with inadequate equipment. Proper- ly outfitted, editing becomes one of the most engrossing and certainly one of the most re- munerative features of our hobby. The equip- ment required, in addition to projector, is a viewing device, pair of rewinds, and a splicer. All are obtainable in prices ranging from a few dollars up per unit. Complete editing outfits, including splicer, rewinds and viewer are avail- able for the amateur where cost is no object.

The viewer is important. It enables one to examine individual frames of film for close cut- ting of action. A good splicer that will make a firm, permanent splice with a minimum of ef- fort is essential. And the rewinds are an abso- lute necessity'.

The first step in editing is to project the film to familiarize one's self with its contents and quality. Have a pencil and pad of paper handy beside the projector so the spill light from film gate will fall upon it. Then as the film is pro- jected, make notes of the scenes to be deleted or shortened as the case may be, and notations concerning any scenes to be re-arranged.

By way of illustration let us suppose we have, for editing, a roll of film exposed last Sunday on our ski strip. As the picture unfolds on the screen we make brief notes: First a re- minder for the main title. The first shot shows our friends tieing down skis and poles on the roof of the car. This is o. k. for the opening shot. Next is a shot from another angle of all entering the car, the start, and progress of the car down the street. But the shot is a little too long. There's no need to keep the scene on the screen to show the car disappearing in the dis- tance. So we'll trim it about five or six frames beyond the point where the car starts to move.

Next is a series of shots taken from inside the automobile en route to the ski resort. Only one is at all steady, so we'll throw out the others. The scene picturing our arrival is o. k.

• Continued on Page 31

16

HAT the cooperative efforts of a cine club can do towards making for more suc- cessful amateur motion pictures is exemplified in the picture, "Latitude 26," the January Movie of the Month. Here is a film that well might have come from any of Hollywood's studios. Indeed, it surpasses in plot, photog- raphy and editing, many of the comedy shorts of silent days.

Unlike the average amateur film, "Latitude 26" began much the same as any professional production. There were story conferences, lo- cation searches, and innumerable tests to com- plete the cast. And eventually there emerged, under the careful guidance of its producer-pho- tographer-editor, Leo Caloia of Los Angeles, as as fine a film as ever graced our roster of Movies of the Month.

But it's the professional way this picture opens on the screen that catches the eye. The

of

tL

fine main title is preceded by the producer's credit title. Other credit titles follow, and each is introduced in a cleverly executed iris- dissolve. Presently there appears an explana- tory title that states in effect: "Eight thousand miles away, basking in the tropical sun, is the tiny island of Ah-h-h."

Then follows a series of quick cuts of tropi- cal scenes — lofty palm trees shimmering against a dark sky, a canoe gliding on a tropical la- goon, and rolling surf — each shot enhanced by use of a filter. Then comes the first hint of comedy, a facetious title but that's 8000 miles away!"

An excellent montage — probably the finest ever executed with an amateur camera — fol- lows to introduce locale of the story, the big city, and leads to the time of the story — one Sunday morning. This montage was executed with the aid of a Bool Cine Fader, an appara- tus that may be fitted before the lens for mak- ing fades, dissolves and other trick effects.

We then see our hero, a hen-pecked husband, • Continued on Page 37

• Reproduced above are interesting frame enlargements from "Lat- itude 26," the initial Movie of the Month for 1942. Produced by Leo Caloia of Los Angeles, this film is marked by brilliant continuity and excellent photography. At left is pictured Ca- loia and the camera with which he filmed his fine amateur movie.

17

ACCfSSORlEi;

p

aue

ike wai^ to Letter ^iimin^

An accessory and gadget guide for the beginning amateur

N D

• Pictured above are but a few of the many acces- sories available to the amateur to aid him in his movie making: I — East- man splicer; 2 — General Electric exposure meter;

3 — Filmo-fade device for 8 mm. Filmo cameras;

4 — DeJur-Amsco expos- ure meter; 5 — Camera mount of Brov/n Precision titler; 6 — Harrison & Harrison filter kit; 7 — New Fink-Roselieve splicer; 8 — Thalhammer tripod; 9 — Photrix ex- posure meter; 10 — Bell & Howell tripod; I I — Franklin film splicer; 12 — Craig Projecto-Editor; l3_Four-Star titler; 14 — Wesco's Fadette and masking device, and 15— Weston exposure meter.

HAT is the most important accessor" I should buy next?"

This question is asked more frequently than any other by the movie amateur with a new- cine camera. Assuming the novice cinefilmer possesses only his camera (and projector and screen, of course), many seasoned amateurs are agreed that the most important accessories for filming for the beginner are the following, list- ed in order of their importance: Splicer

Exposure Meter Tripod Titler Filters

Effect Devices The splicer is the number one item because without it, successive rolls of films cannot be edited and spliced together; and without edit- ing, amateur movies soon lose their appeal, and the amateur's interest tends to wane.

Next in importance is the electric exposure meter. It is second in importance only because ever}' cine camera has a built-in or attached ex- posure guide ; also, exposure data is usually fur- nished by the manufacturer with each roll of film. It is in critical filming that the exposure meter becomes important — in shooting under adverse light conditions, indoors under artifi- cial light, and exterior night shots — where more exacting readings are necessar}'.

Some may argue that the tripod should be the number one item, with no-panning and steady camera the beginning amateur's first admonition. However, it is possible to shoot fairly steady pictures with a hand-held camera. The tripod is important where extensive film- ing is to be done and is the best insurance for professional-like steadiness of pictures on the screen.

Fourth item is a titler. Home movies do not commence to appeal until they are properly titled — at least with a main or introductor>- title. L nless the amateur shoots his own titles, he just never seems to get around to having the work done by someone else.

Filters are not a "must" item but important to improved filming, never-the-less. In shoot- ing panchromatic film, yellow and orange fil- ters darken the sky for cloud contrasts and otherwise provide an appealing tonal correc- tion. A red filter provides a dark sky effect and is used most frequently by the amateur to gain vivid contrasts bet\veen clouds and sky. There are filters for Kodachrome. too. haze filters for outdoor filming and a special filter for use where Type A Kodachrome is to be used out-of-doors.

Effects devices are for those amateurs, hav- ing passed their "elementar\- exams," who want to add fades, dissolves, wipe-offs and other pro- fessional-like effects in their picture and title filming.

Splicers are available in a wide range of • Continued on Page 35

18

16 9 10 II 12 13 5 16 17 18 19 20 22 23 2A ^^^^1 M 30 31

4

V.

Wh

'E DEVIATE somewhat this month to present, instead of the usual film reviews, reviews of a group of movies submitted in a club's 50 foot 8 mm. uncut film contest. First, for the edification of many readers and the directorates of amateur clubs to whom this type of competition is new, let us point out that such contests are fast gaining recognition for their educational value among enterprising 8 mm. cine clubs. Nothing offers the serious cine-filmer the practice and guidance neces- sary to improve his movie making like the re- strictions of getting a complete story pictured on a fifty foot roll of film.

The contestant is limited to the single roll of 8 mm. film on which he must shoot a com- plete story — complete in titling and continuity without benefit of editing. To be eligible, the film cannot be cut — must be in the same one continuous length it arrived from the pro- cessors. Only the splicing of the two 25 foot lengths of film is permitted.

Obviously the contestant must carefully anticipate his footage in advance of shooting — right down to the last frame ; he must plan his continuity and time action carefully to make sure he will get in all of the scenes and titles required — in their regular order — and within the alloted footage. Just a single error — muffing just one scene — and the whole effort becomes ineligible.

The contest films which we shall review here were the runner-ups in a 50 foot uncut film contest sponsored by the Seattle 8 mm. Club. Carl Brazier, one of the club's direc- tors, saw in this type of contest, opportunity to balance the over-emphasis that had been placed upon the subjects of cutting and editing

REVIEWSo/

winneri

in uncu

m con

test

D y

THE

EDITORS

in club meetings. It was his contention that much of the editing of home movies could be done by careful planning in advance and shoot- ing accordingly. Then, too, the club members who showed the most film were persons who did not have to worry about film cost, and as a result the impression was gaining momentum that one could shoot anything anytime and anyway, and the resultant sins could be washed away with cement and splicer.

All of which was having a definite tendency to discourage new-comers to the club who had to figure the cost. The contest was conducted for the express purpose of placing proper em- phasis on planned shooting as a means of main- taining economy in the hobby of amateur movies without imposing any restrictions on its pleasures. And it is surprising how much the amateur, once he puts his mind to it, can accomplish in the way of continuity, action,

• Continued on Page 26

• On this page are en- largements of 8 mm. frames from winning films in Seattle 8 mm. Club's recent 50 foot un- cut film contest. Top, left to right — scene from "December Wiles" and "A Christmas Dream." Below, left to right — scene from "His and Hers" and "Hooked Hookey."

PAGE 20

HOME MOVIES FOR JANUARY

Car Camera Monnt

The amateur who would shoot movies from his automobile while in motion would do well to rig up a sturdy cam- era mount for this purpose. Otherwise his pictures may appear quite "jumpy" on the screen due to movement of his body while holding camera.

Pictured here are two ideas that are easily adaptable. The first picture shows how a sunshade mounting within the car was adapted to hold a camera sup- port. A metal rod, machined to fit the sunshade mounting, also takes tilting section of a tripod head which receives and holds the camera.

The second picture shows a special

REWARD FOR IDEAS!

IF YOU have an idea for a gadget, trick or shortcut in filming, titling, editing or processing home movies, pass it on to your fellow cinebugs through these columns. If your idea is published you will receive two reels for your ef- forts. Extraordinary ideas will net you a roll of film.

Ideas not published will be held for future publication unless they duplicate ideas previously received. Endeavor also to send along photos or rough sketches Illustrating your suggestions. There is no limit to number of suggestions vou may submit.

Important: When submitting Ideas, be sure to mention whether equipment you use is 8 mm. or 16 mm., enabling us to promptly forward awards adaptable to your use.

THE [\PERIMEnU

mounting bracket, made from strap iron and bolts, which is attached to car frame just above the windshield. The pictures are self-explanatory as to construction, and either idea will afford a substantial support for your camera, permitting its operation while driving.

-S. /. Bracy, New Orleans, La.

Pre-focusing Idea

One of the drawbacks to more fre- quent home projection of home movies is the amount of time and trouble re- quired in setting up projector, assem- bling screen, and finally checking up on sharp focus before starting the show.

To remedy this focusing problem, I have spliced three or four frames from an old title into the middle of each film leader, which enables me to check on focus in advancing of running the films. The film is threaded so that one of these frames rests in the film gate. With pro- jector set for "still" projection, I flash on the lamp long enough to adjust focus, then proceed with my show.

—D. J. WUson, Des Moines. lou a.

Editing Aid

In editing home movies, it is first nec- essary- to break down the roll of film to be edited into separate scenes in order that they may be spliced together in proper order. To make this process as simple as possible, some method should be employed to hold each scene, prop- erly identified, and ready for splicing.

The beginning amateur may adapt this simple arrangement to aid keeping his film strips in order. Required is a large cardboard bo.x, about two dozen round paper clips, and an equal amount of small pieces of paper on which to mark information or numbers to iden- tify' each strip of film.

As the film is broken down, a piece of paper is clipped to one end of the film, the number or data written on it.

and then the film is clipped to edge of box, as shown in illustration, with rest of the film lying uncoiled in the box.

.Numbers from one up may be marked along inside edge of box to correspond with numerals placed on film scenes as a means of keeping scenes in editorial order.

—H. N. Romer, San Marino, Calif.

SPLiCE R

SPRING STEEL FROM OLD CLOCK

Film Clamps

The small Eastman film splicer which is a part of Kodascope equipment, does not have facilities for holding the film firmly in place while splicing. This may be remedied by first mounting the splicer on a small wooden base ; then affi.xing two spring clamps as shown in sketch.

Clamps may be made from an old clock spring or any other spring metal obtainable from the hardware store. Turn up the ends, as shown and apply a small piece of felt or rubber to each as a protective measure against scratch- ing film. Bend other end of each piece sharply at right angle, drill small hole, and screw in place with protected tips in position on splicer over the film area.

— Harry Kemp,

Santa Monica, Calif.

Bottle Holder

If your splicer or editing board pro- vides for the round cement and water bottles, these may be anchored to the board safely with two easily made metal clips, shown here.

From a piece of heavy sheet metal cut two strips about two inches in length. Drill hole at one end for screw, and cut out area at other end to fit bottle neck.

HOME MOVIES FOR JANUARY

PAGE 21

CINE W 0 R K $ H 0 P

Bend as required, as shown in drawing, and affix to baseboard with screws.

This expedient will enable you to make splices faster, enabling handling of the cement bottle with only one hand. — /. K. Polk.

Walla Walla, Wash.

Griodstone Rewinds

A pair of rewinds are essential equip- ment for every movie amateur. With- out them, editing of full reels of film is almost impossible. For the beginner with a mechanical turn of mind, satisfactory rewinds may be made from two small grindstones — such as those inexpensive- ly acquired at the five and ten cent store hardware counters.

Take along a reel and select two grindstones with shafts that fit the reel spindle hole. Also make sure that the grinders turn smoothly without binding at any point in a single revolution.

For the least modification, remove only the outside nut and the stone. The reel may be put on the shaft in place of the stone and held in place by tighten- ing the nut.

Where quick mounting and removal of reels is desired, cut out unneeded por- tion of shaft and slot it with a hack saw so that a retaining strip of metal, as shown in Fig. 2, may be fitted and riveted in place. This feature is found on many of the professional rewinds. After the reel is mounted, the retainer is folded down, preventing reel from slipping off spindle.

Fig. 1 shows the rewinds with the original screw clamps for mounting on edge of table or work bench. Fig. 2 shows upper segment of clamp removed and a screw-bolt inserted in place of the

thumb screw for mounting on an edit- ing board.

— A. E. Daivson, Miami, Fla.

Frame Enlargements

Frequently the amateur captures a shot with his movie camera that he would like to have enlarged on photo- graphic paper. If your projector pro- vides for single frame projection, you can make an enlargement by projecting the picture on a sheet of cut film, as shown in Fig. A. The work must be carried on in total darkness unless ortho- chromatic film is used in which case a metal red safelight may be used at a safe distance for illumination.

Set up the projector so it will cast, on a board panel a short distance in front of projector, an image of the scene the size of the cut film. 4" x 5" cut film is about right for this purpose. Run pro- jector until desired scene is found then throw lever for still projection and ex- tinguish projector light. Affix sheet of cut film on board over spot where scene was projected.

Because it will be impossible to get a short enough exposure by simply switch- ing projector light on and off quickly, it will be necessary to make a sort of focal plane shutter. This is merely a large piece of cardboard with a slot Yi"

wide cut in it, with sufficient cardboard on all sides to protect film from light.

By holding the cardboard as close as possible to the film, as shown in Fig. A, and switching on projector light, then passing the slot quickly across the film, and switching off the light again before removing the cardboard, the proper ex- posure can be obtained. This, of course, will have to be determined by tests. The film is then developed and a print made.

—B. K. Davis, Milivaukee, Wis.

Film Viewer

Before the amateur can edit or even splice together his films comfortably and satisfactorily, an editing board that pro- vides some kind of magnifying viewer

9

adg^etSy trlcLd and

dLortcuts contriLuted

• • •

THE CREAM OF THE CROP

of these gadget ideas are now available to you in book form — one compact, at- tractively bound volume of big-but-cost- little ideas on how to build simple gadg- ets that will enable you to gain greater pleasure from your movie hobby.

Illustrated and fully described are gadgets for cameras, projectors, lenses, filters, tripods, titlers, home processing, etc., and completely indexed so that you can readily find description of a gadget to solve a problem when you need it most.

Mail a dollar bill to HOME MOVIES today and a copy of this glorified, help- ful gadget volume will be in your hands a few days later.

is necessary. The beginner, not yet ready to purchase a factory built editing de- vice, can easily construct an efficient viewer for either 8 mm. or 16 mm. film.

Accompanying sketch shows details of construction of simple editing board on which is mounted an illuminated view- ing device in addition to rewinds and splicer. For the board ordinary plywood may be used. This should be elevated by the addition of wooden cleats at- tached at either end which permit in- stallation of the small candelabra socket and 7-watt lamp beneath opening in board, as shown. This light provides illumination beneath the film for view- • Continued on Page 38

LCKS

FIGURE 1 Cutaway Vieu> of End

FIGURE 2

NAIL

i ^ \

FIGURE 3

PAGE 22

HOME MOVIES FOR JANUARY

VnDE ANGLE

Take Wide Angle Shots With Your 8mm Camera!

The MACK Wide Angle Lent it designed to

overcome the inherent limitation of field com- mon to all 8mm cameras. It covers TWICE THE WIDTH or FOUR TIMES THE AREA included by regular lens.

• DOUBLES Width of Field Covered!

• Screws in FRONT of Regular Lens — No interchanging]

• Has Precise FOCUSING Adjustment 2 Ft. to Infinity!

Ideally suited to both black-and-white and color photography.

PRICE, including $'2^00 excise tax.._ ^ ^

Models for all regular 6 mm movie camera lenses, fixed focus or focusing, of apertures from f 1.3 [of 3,5

At Your Dealer, or Write for Full Details

OPTICAL CO.

TAS, CALIFORNIA

leddon in movie mamn

* (.ontinued from Page 12

4 Tip from HOLLYWOOD

for Personal Movie Makers

IN Hollywood, they know it takes the fin- est equipment to make the finest movies. Studio experience has taught producers, direc- tors, cinematographers. and stars that the name Bell & Howell marks the finest professional equipment. So. for personal movie equipment, it was natural for them to choose

HOWELL nt^^''

. . . and they found Filmo built to the same high precision standards . . . built to give professional results with amateur ease.

That's why most professionals use Filmo for home movies. Their example, surely, is a good one for you to follow.

Write for informative booklets on any 8 mm., 16 mm., or 35 mm. motion picture equipment that interests you.

Bell & Howell Company, 1825 Larchmont Ave., Chicago; New York; Hollywood: Washington. D. C. : l.ondon. Established 1907

chasing their viewfinder all over the landscape.

It is better to take two shots, one of each part of the scene, rather than

I swing the camera around in order to get it all in one shot. There are cases, of course, when panning is permissible, and, in fact, useful and necessary, but not for the beginner. However, if one simply must pan, do it very slowly, and smoothly, and swing the camera from left to the right, the direction in which the human eye is accustomed to travel while reading.

As far as exposure is concerned, if there is any sunshine at all, and the scene to be shot is not in the shade, the beginner is, generally speaking, usually safe in setting his lens opening at F.8 when using ordinary black and white film. Any errors in over or under ex- posing are corrected to a certain ex- tent by the system of compensating pro- cessing which the film manufacturers

i use. For shots on a dull day or in the shade, F 3.5 should do the trick. These stop openings wmII not always be cor- rect, but will serve very well as a start- er while the beginner is learning.

For indoor shots, follow the instruc- tions on the photo-flood lamp carton, but always remember it is the distance of the lights from the subject which de- termines correct lens opening, not dis- tance of camera from the subject.

On the average movie camera with- out variable filming speeds, the lens aperture is the only means of controll- ing exposure inasmuch as the shutter opening, except on ver}-, very high- priced cameras, cannot be changed. On

! most movie cameras the shutter speed

( is between one-thirtieth and one-for- tieth of a second. On a camera with variable speeds it would be about one- fifteenth of a second at eight frames per

j second, one-sixtieth at thirt\"-two frames per second, and so on.

As already pointed out the lens open- ing safest to use in case of doubt on anything but a dull day, or for indoor shots, is F 8, unless supersensitive film is used in the camera, in which case one or two stops smaller should be used. On a dull day F 3.5 is usually safe, and on a very dull day the widest stop. AH this is just speaking generally, of course.

Very light subjects, such as pictures of snow, and seascapes, with black and white film should be given one stop smaller than would be normal for an ordinary shot under the same light con- ditions.

Conversely, very dark subjects should

be taken at one stop larger opening when using black and white film. This also applies to color film, when the main part of the subject to be photographed is dark, and there are few light areas in the scene.

The aperture also controls depth-of- focus. Depth-of-focus is the distance between the nearest and farthest point from the camera at which an object would be in sharp focus. The smaller the aperture the greater the distance would be between the nearest and farthest point in sharp focus.

A close-up of a person should be tak- en with as large a stop opening as the light conditions permit; this will short- en the depth of focus and throw the background out of focus so that the per- son will appear to stand out from the background.

If a lens only focuses down to say three feet, and it is wished to photo- graph an object at two feet, a small stop opening will bring this into focus, bearing in mind, of course, that when using a small stop opening, more light is necessar}^ on the subject.

One stop smaller will require twice as much light on the subject, whereas one stop larger will require but half as much light, and so on. The stops on a camera lens are arranged so that each division admits just twice as much light through the lens as the next smaller one. Two stops larger lets through four times as much light, three stops admits eight times as much light, etc.

To be a little more accurate in find- ing the relative speed of lenses at cer- tain stop openings, we merely multiply the lens apertures by themselves (i.e. square them), and then compare one with the other. For instance 5.6x5.6 equals 31.36; and 8x8 equals 64, which is just about double 31.36; therefore a stop opening of F 5.6 is just about twice as fast as F 8.

The movie amateur has no real need to concern himself with the highly tech- nical measurements of a lens, or the in- tricacies of manufacture; this is the makers' job. To the cameraman, apart from the point of view of quality-, the two important "features" of a lens are its speed," and the focal length.

The so-called speed of a lens is de- termined by the krgest aperture at which it will produce clear pictures. That is to say. if a lens is rated at F 4.5, it will take clear pictures at any stop up to that point, but not at any larger stop opening were it possible to alter it to do so. On the other hand we can ad-

HOME MOVIES FOR JANUARY

PAGE 23

just any lens to a smaller stop opening than the "speed" at which it is rated, and retain, or in fact, increase, the clar- ity of the resulting pictures.

An F 1.9 lens operated at a stop of F 3.5 gives the same results for ordi- nary purposes as a regular F3.5 lens operated at the F3.5 opening. The su- per-critical may tell you that when shooting at a small lens opening it is better to use a slower lens than a fast one. However, all cannot afford to car- ry around a battery of lenses, and in any event the difference in results in such a case is practically unnoticeable.

A good F 1.5 or F 1.9 lens is a nice lens to have if one can afford it, as it increases the range of the camera con- siderably over one equipped with an F 3.5 lens, especially under adverse light conditions. An F 1.9 or faster lens, used wide open, allows room for a considerable margin of error in indoor lighting. It gives the filmer the advan- tage of being able to use ordinary ortho- chromatic film with confidence, instead of supersensitive film, and still have am- ple light on places fairly remote from the floodlights.

Although we can easily take pictures with the aid of Photofloods on ortho- chromatic film with an F3.5 lens, and providing the surroundings are suffi- ciently light in color to reflect a fair amount of light, there are limitations to the area which can be photographed because the lights have to be placed closer to the subject. However, in or- der not to waste film, it is better to use supersensitive with an F3.5 lens when shooting indoors with Photofloods.

An F 3.5 lens is by no means a slow lens, and with the assistance of modern high-speed film emulsions and the half- speed feature of some cameras, it can be used under conditions which at one time would have been adverse for even an F 1.5 lens.

In choosing a lens, speed is not every- thing to consider. There are certain technical standards to which a manu- facturer builds his lenses, and these are not as high for some manufacturers as others ; and, of course, prices vary ac- cordingly. A prospective purchaser can only judge a lens by the reputation of the manufacturer and by the results ob- tained by another person who has used a similar lens of the same make. It is better to buy a good F 3.5 lens than a cheap ultra-fast lens, because although the range of the camera would be more limited, the results obtained at stops of F 3.5 and smaller would be better than with a cheap lens. After all, the ma- jority of movie shots are taken at stop openings of F 3.5 and smaller.

Next month we shall present the sec- ond installment in this series of ele- mentary instructions for the beginning amateur.

IT'S MORE MOVIE PLEASURE . . .

WITH "THEATRE" QUALITY PROJECTION

ON A RAVEN SCREEN

The inevitability of the selection of Raven Screens by cinematographers be- cause they tvant the finest is the reason why more camera users enjoy more movie pleasure all the time. Their selection (from among all others) by East- man Kodak for the Cavalcade of Color attest anew to their superiority. If you, too, want the finest screen value for your movie money go to your dealer today and see the Raven Screen to best serve your purpose. Fine stores

across the nation feature Raven Screens.

There is a Raven Screen for every purpose — and to fit every purse. Listed here are the many Raven Fab- rics and Raven Mountings from which to make your selection.

RAVEN FABRICS

Haftone Witelite Crystal Beaded White Opaque Polaroid Silver Silvertone

RAVEN MOUNTINGS

DeLuxe Automatic Collapsible

22" X 30" to 70" X 70" Standard Tripod

30" X 40" to 52" X 72" Duplex

22" X 30" to 70" X 70" Table

18" X 24" to 36" X 48" Gear Operated Tripod

45" X 60" to 70" X 70" Metal Case Hanging

22" X 30" to 70" X 70" Spring Roller and Back Board 70" X 70" to 12" X 12" STANDARD TRIPOD MODEL Wood Roller and Batten

(Dotted tines show screen's 48" x 48" to 70" x 70"

lowest point) Thruvision

22" X 30" to 45" X 60"

JO

DELUXE AUTOMATIC COLLAPSIBLE MODEL

DUPLEX MODEL (Phantom shoivs mast extended for square screen )

RAVEN SCREEN CORPORATION

314-16 EAST 3 5+h STREET NEW YORK CITY

PAGE 24

HOME MOVIES FOR JANUARY

Quality Bulk Movie Film

8min • 9!/2mm • 16mm • 35mm

SUPER PANCHRO REVERSAL— Scored Speed 24-lS— Anti-Halo Backing.

100 ft. 33 ft. Double 8 . . . $3.75 $1.35 Single 8 . . . 2.10 .85 mm. . . . 3.65 SUPER CINEPAN PLUS REVERSAL— Not Scored Speed 64-40 — Non-Halation Base

100 ft. 33 ft. Double 8 . . . $4.00 $1.50 Single 8 . . . 2.25 .95 16 mm 3.85

SUPER CINEPAN REVERSAL— Not Scored

Speed 24-16 — Non-Halation Base

100 ft. 33 ft. Double 8 . . . $3.60 $1.30 Single 8 . . . 2.00 .80

16 ram 3.50

CINECHROME SEMI-ORTHO REVERSAL Speed 8-2 — Non-Halation Base — Nnot Scored

100 ft. 33 ft. Double 8 . . . $1.85 $ .80 Single 8 . . . 1.20 .55

16 mm 1.60

CINE-KODAK-POSITIVE TITLE FILM-Not scored

100 ft. 33 ft. Double 8 . . . $1.45 $ .65 Single 8 . . . 1.00 .45

16 mm 1.10

Clear. Purplehaz.e. Yellow, Red, Amber, Special Blue.

Also DuPont Lavender, Light Amber. Complete New Reversal and Title Instructions Free with Film Orders. Separately, 50 cents each. Cash, checli or money order for quick service. Deposit $1.00 returned with C. O. D. orders. Special Deliv- ery, 15c; air mail $1.00 extra. Overpayments re- funded or credited. No stamps, please.

CAMERA SPOOLS WITH CANS— Each Keystone Dble. 8 . $ .35 Keystone Sgle. 8 . $ .35

Eastman Dble. 8 . .40 16 ram , 50 ft 55

Univex Sgle. 8. . . .15 16 rara., 100 ft. . . .65 EXTRA CANS. Double 8 and Straight 8 size .05

100 ft. and 50 ft. 16 ram. size 10

Non-Humidor, 400 ft. 15c each: 10 for. . 1.25

MISCELLANEOUS

BAIA Precision All-Metal 8 ram. Slitter . . $2.75 FOTOFADE DYE for making Chemical Fades . 1.00 FOTOFADE WIPE-OFF TAPE, per roll . . .60 CINETINTR. 6 Colors and Instructions . . . 3.00

DuPONT VISCOSE SPONGES, each 35

HOME MOVIES. Back Issues, 1936-37-38 . . .15 Not all months in any year, 1940-41, each . .30 TITLE DEVELOPER, tubes, each make, 16 oz. .15 NOTICE — • All previous prices are obsolete due to new tax effective Oct. 1. New lists again in prep- aration and all who have written will receive copy as soon as possible.

W. STUART BUSSEY FILM LAB.

17 E. ST. JOSEPH ST. INDIANAPOLIS, IND.

SPECIAL "BUY!'

4 PARK CINE $100 HOLLYWOOD-TYPE Titles ±

Make your movies "flash H-o-l-l-y-w-o-o-d" with these crisp professional titles ready to splice to your film! FAMILY ALBUM . . VACATION DAYS . . 2 styles of THE END — yours for only $1. Smart lettering! Interesting backgrounds! Unique treat- ments! Will pep up your films over and over again. If you want these 4 unusual titles, slip $1 bill, check or money order into an envelope with your order today! Specify 8mm or 16mm. This offer is for a limited time only — while the titles in stock last! So hurry! Send $1 today to

PARK CINE LABORATORY

120 West 4 1st St.

New York City

Turret and backwind installations on 8 and I6mnn. Lenses, Binoculars repaired. Focusing mounts.

MACVAN MFG. CO.

3829 El Cajon Blvd. San Diego. Calif.

TITLE BACKGROUNDS

Available now are some of the best title backgrounds which appeared In earlier issues of HOME MOVIES. These are for typewriter titlers only and are available in black and white, or printed in colored ink on col- ored stock for Kodachrome. Packets of 25 back- grounds, 50c postpaid. Specify No. 1 for black and white; No. 2 for Kodachrome. HOME MOVIES. 6060 Sunset Boulevard. Hollywood, Calif.

ormuLion

Fade-ins (E. R. Fenton, Hartford, Conn.)

Q. IV hat is the simplest method for me to make fades?

A. Fades may be made in two ways : while shooting with the aid of a fading glass or other fading device, of which there are several on the market, or after your film is returned from the processors by using Foto-Fade. This is a dye process by which the area of film to be faded is subjected gradually to immersion in the Foto-Fade dye.

Fading glasses are marketed by Har- rison & Harrison, Hollywood, and this firm also recently perfected an improved fading device that fits in front of the lens known as "Roto-Fade." Other fad- ing devices are the Wesco Fadette, the Cine-Transito by Baia, The Bool Cine Fader, and the Filmo Fader marketed by Bell & Howell.

Fixed Focus Lens (K. c. Kenny,

Davenport, Iowa.)

Q. I have just purchased a 16 mm.

• Readers : This department is for your benefit. Send in your problems and our technical board of professional cam- eramen will answer your question in these columns. If an answer by mail is desired, enclose addressed stamped en- velope.

camera with an f/3.5 fixed focus lens. Friends advise that I should have got- ten a lens in focusing mount, especially as I shall want to shoot some ultra- closeups. What is your opinion on thisf

A. The fi.xed focus lens you mention will give you very good results. For one thing, assuming that you are a beginner, you will have less trouble with focus and get consistently good shots because \ou won't have to set your focus each time. Of course, where you want to make shots of subjects or objects at dis- tances closer than three or four feet you will have to compensate for this by using an auxiliary lens. This also holds

Emulsion Ratings for Bmm and 16mm Films

.\GF.\

Ibinm SSS Pan

16 Hypan

16mm Panchromatic

16mm Supreme Pan. Negative.

16mm Finopan Negative

16mm Positive

16mm Plenachrome

8mm Tnin-8 Hypan

8mm Filmopan

tDUPONT

Regular Pan (Rev.) Type S21

Super Pan (Rev.) T.vpe 302

Superior-2 (Neg-Pos or Rev^ Type 301 Tyi>e 314 Pan (Neg.-Pos. or Reversal) .

Positive Type 600

Sound Recording Positive Type 601 . .

E.\STM.\N

16mm Super XX Pan

16mm Super X Pan.

16mm Safety

1 6mm Sound Pan

16mm Pan. Negative

1 6mm Positive

8mm Super X Pan

8mm Regular Pan

Kodachrome (8 and 16mm)

Kodachrome "A" (8 and 16min)

GEVAERT Super Reversal.

Panchro

Ortho

Schelner	Weston	G-E		Scheiner	Weston
	c		e		a			a		c
					o					«
					S)					m U)
>>	bc	>i	bc c	>.	a		>, si	a	>.	s
Q		Q	3 e-	Q	H		Q	3	a	=J H
						GENERA
29	27	100	80	125	100	Super Meteorpan	27	25	64	40
24	23	32	24	48	32	Super Panchromatic	24	23	24	16
21	20	16	12	24	16	Super Ortho	21	17	16	6
27	25	64	40	100	64	Movetone Ortho	19	13	10	3
23	41	24	16			Semi-Ortho	18	12	8	2
12	8	3
20		12	'.Z	ie		KIN 0 LUX
23	21	24	20	32	24	No. 1	18		8
18	16	8	5	12	8	No. 2	20	ie	12
						No. 3	26	24	50	40
20	18	12	8	16	12	CONSUMERS
29	28	100	80			Ortho	18		8
26	25	64	40	48	24		23	2i	24	ie
21	20	16	12				18		8
12		2	1/6
17	9	6	1			HOLLYWOOD
						S. S. Pan	26	25	50	40
						Pan	21	20	16	12
		100	80	125	100	Semi-Ortho	18	12	8	2
24	23	32	24	48	32
20	18	12	8	16	12	UNIVEX
23	21	24	16				17	14	6
23	21	24	16	32	24		20	IS	12	6
16	10	5	3	16	4
23	21	24	20	32	24	GRAPHICHROME
18	16	8	5	12	8	Regular	18	10	8	3
18	14*	8	3«	12	4*	Plus	20	17	12	6
18*	21	8*	12	12*	16	Superpanex No. 100	29	27	100	64
						Superpanex No. 24	23	21	24	16
						Colortone	18	10	8	3
23	21	24	16	32	24
20	18	12	8	16	12
21	17	16	6	24	8

tRatings for last four Dupont films are for straight development. Ratings for reversal depend upon processing formulas

and technique employed. •With filter.

HOME MOVIES FOR JANUARY

PAGE 25

true when you want to shoot titles or ultra closeups.

Lenses adaptable for this purpose may be had at small cost from most photo dealers. Also ordinaiy spectacle lenses, obtainable from five and ten cent stores, serve this purpose very well. It is nec- essary, of course, to select a lens to fit the requirement. Most such auxiliary lenses are marked according to diopter rating and their focal distance.

( Ben J. Marris,

Out of Focus

Philadelphia, Pa.

Q. During projection, the screened image seems to move toward and auiay from the projector — sort of "breath" on the screen, or go in and out of focus at intervals. What causes this?

A. Three things seem to cause this. First, where the loaded camera has lain idle for some time, the upper film loop becomes fairly rigid causing it to push pressure plate of film gate open and allowing film to travel away from the established plane of travel. This condi- tion usually causes a momentar>^ waver of the scene to appear on the screen. As it generally occurs at the beginning of a scene, it is easily removed — clipped from the scene — without any noticeable effect on the action.

Another cause are the particles of film emulsion which frequently gather on edge of film gate, causing the film to pass the aperture off the true plane of travel.

Then there are poorly made splices which are the most frequent cause of "breathing" or wavering effect on the screen. Using the minimum of cement on splices and care in preventing run- ning-over of the cement to the adjacent film frames will eliminate the waver- ing trouble.

Shooting Indoors (George Bums,

Chicago, 111.)

O. Please tell me something about making movies indoors. Do I need spe- cial lights? If so how many and how much do they cost?

A. Whether your camera is fitted with a fast or slow lens, you will need spe- cial artificial illumination for good in- door movies. The source of this illumi- nation is special Photoflood lamps that look just like regular 60 and 100 watt bulbs except that they are more power- ful— give a more intense light. The smaller size retail for 150 and the larger, No. 2 size, for 300.

For best results Photoflood lamps al- ways should be used in regular photo- graphic reflectors which gather the rays of light and concentrate it on the scene. Good temporary reflectors made of paper especially for use with Photo- floods are available from photo dealers.

Dependability

IS ffie Thing..

VERSATILITY is a matter of photographic skill, based on camera dependability. On the dependability of Graflex cameras many a brilliant career has been built.

The 2V4 X 3V4 Series B Graflex is a small camera, yet it affords the ineans with which masterpieces can be made. It offers: full-vision ground glass focusing, revolving back, the famous 5V2" Kodak An- astigmat //4.5 lens, focal plane shutter with 25 speeds up to 1/1000 and "time," close-ups at 21 inches, and the ability to use film packs, sheet film, or plates. The Series B can be fitted with accessory telephoto lenses if de- sired. Price, $106.50.

Graflex and Graphic cameras are made by the Folmer Graflex Corporation

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

gg2««BBBCCCC C PpODEEEEEEEE

275SGB77889gOi

fcasy Titling For The Beginner

New and seasoned movie amateurs alike find in HOLLYWOOD TITLETTER sets an ideal medium for making movie titles quickly and easily. Sets consist ol 120 characters — letters, figures, punctuation marks — two 4"x5" permanent backgrounds, two color land- scapes, six assorted novelty backgrounds, panel of clear celluloid, bottle of adhesive, and tweezers.

AVAILABLE IN WHITE OR RED CHARACTERS

$4.95

Direct or From Your Camera Dealer

HOLLYWOOD CINE PRODS., 3221 S. Figueroa, Los Angeles, Calif.

PAGE 26

HOME MOVIES FOR JANUARY

¥E$(COFILM

Looking for a naj to be sur« of top-quality moTlei without paying a price peiulty? Here's your answer. At ESSCO's low prices you can afford to take mor» moTles and better moTles. You pocket a genuine saving, and enjoy greater fllm satisfaction at the same time.

good, wide latitude, ) non-halo, ortho film for sharp, brilliant results. Weston 12.

ESSC0'12

ESSCO No. 8 Weston 8 semi-ortho IBSCO No. 24, extra fast, Weston 24-16 panctiromatic, fine grain. . . ESSCO No. 100. Pan, non-halo, Weston 100 Tungsten. Not for use In bright daylight

4.25 2

75

1 .50 1 .75

FAST PROCESSrNO and return postage inctuded. Eaeh roll on daylight loading spool in metal box and strong carton, ready for us« In all standard camera*. 24 hour processing. ORDER DIRECT FROM THIS AO. Stock up NOW before prices rise. $1 deposit on all CO.D. orders.

WRITE FOR DESCRIPTIVE CIRCULAR AND BARGAIN LIST OF FILM SUBJECTS

6117 S.CampbeU Av.l

Chicago i

Buy from Byron's, Washington

SAVE MONEY

on a// MOVIE ^<\u\pmeni

i^We carry a full stock of

all natioDally advertised ^ movie cameras and equipment. We don't have expensive price cat- alogues . . . but whatever you need, write us and we'll quote you the low- est prices.

One of the Leading Motion Picture Producers in the East

Dept. HMJ

BYRON'S, Inc.

625 15th Street

Washington, D. C.

AT YOUR DEALER "^■i^' ONLY 4oc BOTTLE

Tot Coloring Movie Scenes and Titles

Send for FREE Bulletin No. 20 MANSFIELD PHOTO RESEARCH LABORATORIES Dept. HM-I 701 South La Salle St. Chicago, III.

li^ilttYourOwn

f f^WUm TiUes

Photo titles, stationery. greeting ' cards, bookplate, advertising. Easy rules fomished. Jonior Ootfits J8.25 op. Senior $17 op. Print lor Others, Big Profits. Sold direct from factory odIj. Wnt« for free cmt&loff and sJI detaila. Kelsey Presses, W-94, Meriden, Conn.

• Continued from Page 19

titles and photography without laying a scissors to the film. And of particular note, too, is the fact that two of these finalists were not magazine - camera owners; the magazine boys, of course, have a distinct advantage in anything of this kind because of the wide lati- tude of operation afforded by their particular cameras.

Reviews of the contest films follow :

"A CHRISTMAS DREAM" By Robert Laing

This is a delightful picture that com- bines animation with regular photog- raphy, and enhanced by good indoor lighting. The continuity concerns a small boy anticipating Christmas, who dreams about many of the fabulous characters of storyland.

In the opening scene, the boy is point- ing to the "25th" of December on a large calendar. This is followed by a closeup of the figure 25 and the square containing it. Presently this square be- comes a door, and through well exe- cuted animation, it opens revealing an animated figure of a Snowman. The Snowman speaks and the words, "Meet some of my friends!" issue from it.

The animation sequence continues, revealing other storjbook characters — including the cow who jumps over the moon. And as she does so, she winks slyly. Xe.xt to be introduced is Jack and the Beanstalk holding a bag of beans. He drops a few and the bean- stalk sprouts up before him.

At this point there is a cut back to the little boy asleep in his crib, with his back to the camera — a wise choice of pose, inasmuch as it is difficult to get the average child to remain perfectly still in pretending to be asleep.

The little fellow awakes and remem- bering his dream, goes in search of the Snowman and his storybook friends. He looks under chairs, bed, and radiator without success. Closing scene is a shot in closeup of the Snowman with the words "The End" superimposed and with the little boy's hand pointing to- ward him.

This picture is notable for high achievement in camera-editing and \ er\- good photography plus plaudits for good animation technique.

"HIS AND HERS" By E. L. Miller

Feet or hands or both have often been employed by cine photographers as sole actors in a photoplay. "His and Hers" is another movie of this kind, but successfully produced within the restrictions of the "uncut" film contest.

The picture opens with the actors'

innerd

feet telling most of the story. A girl is standing at the curb evidently wait- ing for a bus. A man approaches and carelessly bumps into girl, causing her to drop her bundles. Two pairs of hands enter the scene to retrieve them. There's a hint a new friendship is in the making, and then we see two pairs of feet — the man's and the girl's — walk- ing away. A lap dissolve at this point shows the couple in the park, then danc- ing, then the girl sitting on a couch reading.

At this point the man't feet again come into the picture showing him be- ing admitted to the girl's home. He presents girl with a box of candy. Both pairs of hands take candy from the box. The couple hold hands. The scene switches to the exterior of a jeweln,- store. The man stops, looks in the store window. There's a cut to the couple walking in the park. They sit on a bench. Man opens box revealing ring, places it on girl's finger. Both stand up and embrace follows, emphasized by a closeup of the girl's feet as she stands on tiptoe.

The next cut is to exterior of a church, then of a pair of feet walking toward it, and a fade-out. The follow- ing fade-in shows the couple coming out of the church after the ceremony. The final scene is that of a car moving away from camera with a sign across the back of it reading. "Just Married!"

All and all, this is a thoroughly told stor}- that keeps moving at a consistent pace right up to the final scene.

"DECEMBER WILES" By J. T. Thompson

"December Wiles" is another Christ- mas picture, featuring a boy and a girl about ten years of age. Opening scenes show them at a calendar marking off the days as Christmas approaches. Their father returns home from the office and the youngsters, intent on "polish- ing the apple" for Santa Claus, lavish more than usual attention on their father — bringing his paper and slippers to him and otherwise making him comfortable.

Later the girl is seen busy washing dishes, and the boy tending the furnace — much to the amusement of their parents.

Comes the day when dad and mother go to town to buy presents. Their re- turn finds the youngsters peeking at them from behind the door, watching the presents being unloaded from the family car. As their parents enter, the youngsters run and hide, then continue

HOME MOVIES FOR JANUARY

PAGE 27

watching them through a keyhole. But they make such a fuss, taking turns peeping, they arouse curiosity of parents who discover them and send them ofi to bed.

The youngsters scamper off to their chores as a means for making amends, and a cut back to the parents show them peeking through a crack in the door at the children and smiling at each other knowingly.

This picture represents a fine job of camera-editing as well as photography. There are one or two things that would have made it better. Especially would continuity have been bolstered if an ex- terior shot of the children, indoors, looking out to their parents, could have been cut in — pardon — filmed at the point where their parents arrived with the toys.

It is understandable, of course, why this was not done as it would have re- quired shooting a few feet of the pre- ceding scene with lights set up inside, then going outside for the suggested scene, and returning indoors again to continue filming where the last in- terior shot was interrupted. Especially commendable is the manner in which this filmer made frequent closeups.

■ HOOKED HOOKEY" By H. L. Thompson

This story concerns a small boy who decides to play hookey, only to be fright-

After — Camera, Projector and Screen BUY A TITLING SET

Only by titling can you give your personal movie records that completeness of conti- nuity which makes them in- teresting to all audiences.

Titling can be easy and in- teresting if done with versa- tile MITTENS letters which enable you to make profes- sional looking titles compa- rable to those on your local theatre screen.

MITTEXS TITLIIVG SETS

Pin Letters $5.50 up Sanded Back Letters . $4.75 up

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TOPPER TAKES A TRIP

(Available Feb. I, 1942)

Constance Bennett, Ro- land Young. A beautiful "ectoplasma-girl" leads Topper a merry chase! Laughs! Unusual camera tricks!

ZEN06IA (An Elephant Never Forgets)

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Oliver Hardy, Harry Lang- don, Billie Burke, Alice Brady. Hall Johnson Choir. Gay! Original! Hilarious! Has Zenobia a phobia? She certainly has some- thing!

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PAGE 28

HOME MOVIES FOR JANUARY

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ened into retuniiiig home by a well- meaning truant officer. The picture opens with the boy and his mother exiting from their house — the boy bent for school, his mother on a shopping trip.

A short distance from home, as the lad walks through a vacant lot, he throws away his books and takes up a fishing pole conveniently hidden in the weeds. As he proceeds toward the "old fishing hole," he stops abruptly at the sight of a truant officer lolling against a lamp post. The boy turns and runs. The truant officer looks after him, sees the lad drop a small coin purse, re- trieves it and runs after the boy. Fol- lows several shots showing the lad run- ning with the truant officer attempting to catch him.

Presently the lad's mother is seen re- turning from her shopping. She sees the man pursuing her boy, thinks its a kidnapper, and gives chase. The boy ar- rives home first and sits on the porch, nonchalantly reading a book. Just as the truant officer arrives and offers to return the coin purse, the lad's mother enters the scene and attacks the truant officer. Explanations follow and the picture ends with mother registering relief and embracing her boy.

Here is a simple but effective con- tinuity that easily could be filmed by

any amateur. Only criticism is, this filmer omitted closeups and more fre- quent change of camera angle. Other- wise scenes were kept to an interesting length.

Of interest are the rules under which this uncut film contest was conducted. Awards were made on points, as follows :

For action and continuity — 50 points. This was to handicap contestants who ordinarily shoot only scenery; also to emphasize that motion pictures mean "action" pictures. And last, and no less important, to encourage careful plan- ning of continuity before shooting.

For general interest — 25 points. This speaks for itself; also it nets proper rec- ognition of those contestants who place titles properly in the original shooting.

For photographic technique — 25 points. This covers correct exposure, composition, length of scenes, lighting, etc. By limiting possible points in this division to 25, it gave the novice a chance to pile up enough points in other divisions to offset the technical skill of the more seasoned amateur.

Uncut film competitions are by no means limited to 8 mm. filmers. The eights were the originators, but 100 foot uncut contests have already found much favor among clubs exclusively 16 mm. in membership.

indoor ii^Ltln^ ^or Le^innerS

oor

• Continued from Page 13

shoot the scene at f/5.6. A complete exposure table for use with photoflood lamps will be found elsewhere in this issue which will serve as an accurate guide to the amateur interested in mak- ing indoor movies.

Effective results with photofloods re- quires that they be used in reflectors, that is a reflective surface in back of or surrounding the bulb in such a way as to gather and direct rays of the lamp to- ward the scene or subject. While many enterprising amateurs have fashioned their own reflectors from tin and alum- inum cooking utensils obtainable from dime store hardware counters, the ama- teur about to embark on indoor photog- raphy for the first time can shortcut his efforts by using the inexpensive folding paper reflectors marketed by Eastman Kodak Company and Agfa. Set of two retails for about 20c and Agfa's kit is said to include a 6-foot measuring rule and exposure calculator.

For more permanent reflectors where expenditure must be kept to a mini- mum, the clamp-on reflector pictured at the beginning of this article will be found most suitable. These are of spun aluminum and are fitted with a spring clamp which facilitates placing them

readily about the scene by clamping them to back of chairs, bridge or floor lamp standards, picture frames, etc. Thus need for special tripods is elimi- nated^— another saving for the pocket- book. Clamp-on reflectors may be had for as little as $1.60 each and from here the price ranges upward depending up- on size and length of cord.

So much for equipment.

As for placement of lights about the scene or subject, " this is comparatively simple. The thing to be remembered is that exposure will depend entirely upon the distance of the photoflood lamps from subject. The closer lights are to subject, the more intense the light and the smaller the stop that may be used. For example : placing one No. 1 photo- flood in reflector 6 feet from subject would require shooting at f/2.8 with a Weston 12 film ; but moving this light in closer to the subject — say to within SYz ^cet — would allow closing down the lens to f/4.5.

Just as in filming out of doors, the greater the light, the smaller the stop that may be used, and consequently greater depth of focus will be obtained. Therefore it is advisable to use as many photofloods indoors as economy will al-

HOME MOVIES FOR JANUARY

PAGE 29

low. Not less than two separate lights should be employed on all scenes in or- der that some semblance of modeling ma\- be achieved in the lighting. Usual- ly- the term "modeling"' is thought of in terms of professional lighting; but the beginning amateur can employ mod- eling technique in placing his lights without any great study of the subject. Actually, modeling, in terms of light- ing, is the direct opposite of flat light- ing. A secondary light is employed to add tonal variety to the scene.

Here's how it works : let us suppose the scene to be filmed consists of moth- er seated in a chair reading a story to a child held on her lap. Placing two pho- tofloods, one on either side of the cam- era and directed toward the mother and child would, if set at the equal distances from the subjects, result in almost a to- tal flat lighting effect — the light would come from one direction and thro w deep shadows immediately back of the subjects.

Now by taking these same two light- ing units and moving them about the scene — placing one to the left and about five feet from subjects and the other, to the right and within 3 feet of them two different intensities of light will strike them and the shadows created by the light farthest away (at the left) will be subdued to a certain extent by light coming from the closer unit at the right. Elevating one light and lowering the other will create still different and pleasing effects.

Backlighting with one additional photoflood in table lamp or floor fixture adds to the attractiveness of most scenes, but does not require any change in exposure. Such light is not playing upon the subject from the side viewed by the camera and therefore does not affect the film. Similarly, no allow- ance in exposure need be made if an ex- tra light reflector is directed upon the background from one side in order to bring out detail which might be lost in the shadows.

Care should be exercised, experts sug- gest, to prevent direct beams of light from falling upon the camera lens. Avoid light reflections from window panes, pictures, glass doors or eye glass- es. Study the finder images; ever>'thing seen there will be pictured on the film.

After lights have been arranged to give a pleasing effect to the eye, the fi- nal hurdle is to determine what camera setting is required to produce a well-ex- posed picture. Mention already has been made of the indoor exposure guide with- in this issue and which the amateur can use with perfect safety. Those possess- ing exposure meters will, of course, use them in calculating exposure, the same as for out-of-door photography.

The beginner is cautioned to remem-

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ber that distance from light to subject is the principal factor, not distance from camera to subject. If two or more lights are used for main illumination, the calculation should be made for an average distance of all lights from the subjects.

With light meter the problem of ex- posure is easy. Reading of the light should be taken, however, within six inches of the subject's face. Unless the camera is extremely close to the subject, the lens normally takes in a wider view than that presented by the center of in- terest, hence to secure perfect exposure

under artificial light, the meter should be read from the face rather than from the camera position.

It is recommended when estimating indoor exposure for average shots that the beams of all reflectors cover each other. This does not mean that the cen- ter of each beam must play upon the subject, in fact such a practice is to be avoided. By "covering each other" is meant that beams of light should be dis- tributed evenly over the scene area. This can be determined by switching off one reflector and seeing what area is covered by the other light, then revers-

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS

For Use with Good Reflectors

Photoflood Lamps

On«

No. I Lamp

Two No. I's or

One No. 2 or

One No. R2

Three No. I 's or

One No. 2

and One No. I

Four No. I's or

Two No. 2's or

Two No. R2's or

One No. 2

and Two No. I's or

One No. 4

Distance Lamps

to Subject in Feet

y/2

4

*Vt 5

S'/j 6

i'/l 7

T/2 8

8'/2

9 10 II

3'/2 4

4'/j S

S'/j

i

i>/2

7

8

S'/j

» 10 II 12 13 14 16

y/2

4

S

5'/2

t

V/2 T/2 8'/j

IO'/2 II

12

121/2 14 IS \b

31/2 4

4'/2 S

S'/2 b

6'/2 7

7'/2 8

V/2 V/2

10

II

12 13 14 IS 17 18

'Diaphragm opening for films with Weston Mazda speeds of:

8 12 16 20 40

64

fl.9

fil

I f2.8

f3.5| fL8

fiT»

f3.S

f2.8

fTs

f3.S

as

f4.5 f5.6 f6.3

f4.5 fS.i f8

f3.S , f4.5 , —

fi.3

f2.S

fl.9

fTs

f3.5 OS

fl.9

f3.5

fl.9

fS.i

f3.S f278

f4.5 :

f2.8

fl.9

fl.9 fLS

fS.4 f6.3 f8

f4.5 f6.3 . f8

f5.4 , , f4.3

f4J I f5.6

f3.5 OS

fr9

fll

f3.S OS

fr9

fil

f4.5

ns fiT9

fs.«

f3.S

rTs

fl.9

fll

ST

f6J KM HS

f3J

f8

f6.3

R.6

M.~5

f3J

fS.i

f8

	us		f5.6
ns				f6.3
f2.8				f5.«
	ns		Ml
		ns
	as
	—
				ns
fTs
		K1
	i\S		fl.9
	__	fTs
				fr!9
			US
	f5.6	f6.3
		f5.6
			—	ST
			fS.6	f«J
		f4.S 1

fll

f2.8 I n.5 i I f4.S I f5.4 I f6.3 | _ \

f* J

fi.3 f5.6

f4.5

ns n.8

f&.3 f5.i

fll

f4.5 1 f4.3 f5.4

f3.S

fl.8

US

ns

f2.8

I .

fl.9 I

fl.5

fl.9

fil

f3.S

as

fl.9

fll

f3.S

ns

fl.9

fil

f4.S

fll nl

fil

Ml

f5.i

fS

fll

«~

Kb

Ml

fTs i\b

fiT

f4.3 f5.4

\AS

ns

I f4,S [ f 6.3 «1 f4l

f3.5

ns

fl6

fiT

«"

f6."3 Kib Ml

'For Weston speeds of popular another page. (See Table of This data based on interiors and For light colored subjects and For dark colored subjects and

films refer to Exposure Meter Guide on Contents.)

subjects of medium color.

Interiors close diaphragm one-half stop.

interiors open diaphragm one-half stop.

HOME MOVIES FOR JANUARY

PAGE 31

iiig the process to find out the cover- age of the first reflector, then making changes if needed.

It is also important for the beginner to allow for brightness of walls and ceiling when filming in a small room. In a bathroom, for example, experi- enced filmers close down the aperture one-half to a full stop (f :2.8 instead of f :1.9, etc.) to offset the high reflecting qualities of tile and porcelain surfaces.

Photofloods are not normally harm- ful to eyes. Their brilliance is accentu- ated by adjustment of eyes to conditions of darkness. The trick in using these powerful lamps is to give subjects, es- pecially children, a chance to adjust themselves to the brilliance before film- ing is started. A good tip is to turn the floodlights on a wall for a moment or two and then gradually bring them to play on the subjects.

To save photoflood bulbs and make it easier to judge good lighting in an unhurried manner without the pressure of trying to save floodlamps, many be- ginners use 50-watt house bulbs in place of the No. 1 photofloods, and 100- watt house lamps in place of No. 2 photo- floods while arranging the set. These ordinary bulbs in reflectors give a fair- ly accurate indication of the effect to be obtained by the floodlamps. Handling of the hot lamps in making the change to photofloods, or vice versa, can be fa- cilitated by placing original corrugated container over the bulb before unscrew- ing it.

Once the amateur "breaks the ice" — makes his first attempt at making mov- ies indoors — he opens up a complete new field of activity for his movie cam- era. Beside shooting the usual family scenes, there is title making and anima- tion work — all calling for use of artifi- cial light — affording movie making pleasure the year 'round.

^uide to

in^ . . •

• Continued from Page 16

But the next one, a panorama shot is bad — very bad. Too much panning ac- tion. This must go out, too.

A little too long is that closeup of Fred trying to buckle on his skis. Evi- dently he was having trouble. But in- stead of shortening this scene, we'll di- vide it into three sections and use it as a running gag — intercutting a section at intervals to indicate that all the while the others were enjoying their skiing, Fred was left behind, engrossed in fit- ting his skis.

Following this is a series of random shots of the group skiing. We'll cut them all apart — separate them, then join them together beginning with the

With the present heavy demand for WESTON Instruments for de- fense needs, we hope you win be patient should you encounter a shght delay in deliv- ery. With its many exclusive advantages, plus its proved depend- ability, you'll find a Weston is well worth waiting for!

' he approach of winter brings this note of caution to the exposure- wise . . . use a dependable exposure meter to be sure of repro- ducing each scene exactly as you desire . . . obtaining the precise balance you want between the deep shadows and brilliant high- lights. To be certain of consistently satisfactory winter shots, how- ever, you also must be sure of the exposure meter. It must be extremely flexible in operation . . . providing you with a simple and convenient method of accurately controlling the film density. Above all, it must provide unfailing dependability in light measure- ment. Your choice, then, will be the time-tested MASTER . . . with its exclusive WESTON exposure dial, plus the reliability of an instrument of WESTON manufacture. See the MASTER at your dealer's today, or, write for literature. Weston Electrical Instru- ment Corporation, 585 Frelinghuysen Avenue, Newark, N. J.

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PAGE 32

HOME MOVIES FOR JANUARY

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shot of the group starting at the sum- mit, then following with the various shots, spliced together to give the illu- sion the camera picked them up at vari- ous points in their descent of the moun- tain. Nor will each scene be spliced back in its original footage. As action of the skiers progresses, the succeeding scenes will grow increasingly shorter to build for tempo and a climax. The climax will be the good shot made with the camera set at low angle picturing all but Fred reaching the end of the ski run, laughing, exhausted, but happy.

That shot we made of Fred, after he finally got his skis on and started his descent, we'll cut in next to give the il- lusion he was just getting started as the rest of our party completed the run.

After we have edited the film, ac- cording to these notes, none will com- plain that the scenes are not in the or- der in which they were shot. If, by re- arranging them, we have made a more interesting picture, we have accom- plished exactly what we set out to do in the beginning— to make a lively, inter- esting document of our trip.

We must not overlook deleting any blank frames or sections of film fogged due to careless threading or removal of film from the camera. Flashing mo- mentarily on the screen, these present a jarring note, and are the real "musts" when it comes to trimming unwanted footage.

Home movie editing can be down-

right fascinating if the amateur can pro- vide a nook or workshop in which he can set up his equipment and leave it there at all times. Editing is something that should not be done hurriedly, and where facilities are such that the movie amateur can leave his film and equip- ment lie, while he responds to the call for dinner or until he returns home from work the following evening, the task, if such it may be termed under such circumstances, becomes highly en- joyable.

At the beginning of this article is pic- tured just such a workshop. Here the amateur has provided neat racks for holding all his films in order; a well, but not expensively equipped editing ta- ble; and a rack for holding scenes ready for splicing. The whole thing was de- signed and built by the amateur. The only accessories he was required to pur- chase were the rewinds and splicer. The viewing device he made himself, using the lens of of an old toy projector for the viewing unit.

A great deal more could be written about editing home movies. But if the beginning amateur will proceed slowly — trim the poor scenes and the excess footage from his films, then arrange each scene according to its proper place in the continuity, his picture making will get off to a good start and his fu- ture effort will be the kind of movies he and his friends will want to see over and over again.

^Itie making ^or tlie Le^i

o (lontirnted from Page 7,5

auxiliary together by binding with ad- hesive or scotch tape at the edges. Then place the unit before the camera lens, slipping the cardboard disc over the lens barrel. The thicker the cardboard used for the disc, the greater the grip will be on the camera lens mount.

The next step is to line up the cam- era with the title card. First to be de- termined— even before purchasing the auxiliary lens — is the size of the titling cards to be used. We'll help you to de- cide this later. But let's assume you've chosen a title card 4^"x35^" in size. This will require shooting at a distance 12 inches from the title and the use of a 3^ diopter auxiliary before the cam- era lens.

Your title cards can be tacked or pinned on the wall and the camera set up exactly 12 inches away, measuring from lens to title card. Important, of course, is to have the camera mounted solidly upon a tripod or some other sub- stantial base that will not allow camera to be moved even a fraction of an inch during preparation and filming of title.

inner

Ordinarily few cine camera view- finders will permit accurate centering of an object as close to the lens as 12 inches because of parallax — the dififer- ence between position of the axial cen- ters of lens and viewfinder. Because of this, lining up or "centering" titles has been the source of considerable trouble to many movie amateurs.

Several months ago Home Movies prepared for its readers a series of title centering charts — one for each model of all the popular makes of both 8 mm. and 16 mm. cameras. These provided the simplest method for accurately cen- tering the camera with title cards placed at any distance, and this method is suggested as the most practical for the easy titling method outlined here.

On the page on which this article be- gins will be found a sample title cen- tering guide for the Model "E" East- man Cine Kodak. The adjacent sketch- es illustrate how this small chart may be enlarged to guide placement of any size title card. First, in order to draw

MOTION PICTURE SCREEN and ACCESSORIES CO.. INC. 351 Wfjt 52nd St.. New York City

HOME MOVIES FOR JANUARY

PAGE 33

the title centering guide for your cam- era, the exact dimensions of the offset between center of the camera lens and front element of the viewfinder must be known. With these two dimensions known, dots are placed on paper indi- cating centers of lens and viewfinder, and the full area taken in by both view- finder and camera lens at a given dis- tance is drawn with pencil and ruler.

This centering guide is tacked on the wall before the camera and the camera adjusted until the viewfinder area of the guide aligns accurately through the viewfinder. When this is accomplished, the titling area will be accurately cen- tered with the camera lens and photo- graphing of titles, placed over the space marked "title area," may begin.

Another factor that must be known is the exact field the camera fitted with regular lens (1 inch for 16 mm. camer- as, Yi inch for 8 mm.) will take in at a given distance. The following table gives this data to match the focusing distances given in the diopter lens table which appears earlier in this article : Diameter Title A rea

32" .... 12%"x9>4" 26" .... 103^" X 7^" 22" .... 8H"x6^" 20" .... 8 "x6 " 16" .... 6^"x4%" 14" .... 5^"x4^" 12" .... 4^"x3^" 10" .... 4 "x3 " 8" . . . . 3>^"x2^"

Next to the problem of title center- ing, the lettering of titles is, perhaps the average amateur's greatest obstacle. Few are capable of lettering by hand and those that do, hesitate when it comes to lettering a mere half-dozen ti- t.'e cards. Fortunately there are many ways of surmounting this lettering problem. Probably the one most easily adapted by the average amateur is that of lettering the titles by typewriter. Typewritten titles are very effective whether photographed with positive, panchromatic or Kodachrome film.

If keeping title expense down is im- portant, another expedient is to use al- phabet soup letters. These may be pur- chased at any grocer. The average pack- age, w^hich costs about 10 cents, con- tains enough soup letters to compose hundreds of titles. A sufficient number of each letter should be sorted from the package and arranged in order in a cardboard box prepared for the purpose. The title text then may be easily com- posed by placing the letters in order on a dark background or title card. They may be fixed to the title card with a lit- tle glue or rubber adhesive. For colored titles, alphabet soup letters may be painted with water colors, ink or show card colors.

Next are the cast plastic title letters

such as those marketed by Mittens, Craig, American Bolex, Knight, Qui- xet, Hewitt, and others and illustrated at the beginning of this article. Letters of this type are available in a number of sizes and in two types: those with pins for attaching to solid backgrounds, and the plain backs for vertical titler use or for affixing to title card with temporary rubber adhesive.

Those who want to use a regular titler can find many excellent ones on the market ranging from the low cost typewriter titler to the more versatile type like the Saymon-Brown that offers features for producing zoom and flop- over and other trick title effects.

The cinebug — the amateur who likes to make his own movie gadgets and ac- cessories— will make his own titler. It would be impractical to attempt here to describe or provide complete plans for building the many types of titlers now in use by amateurs. However at the beginning of this a r t i c le there are sketches to guide the amateur in build- ing a simple titler for straight non-trick title making.

Unique feature is that camera lays flat on its side instead of being bolted upright as with other titlers. This fa- cilities quick and accurate alignment of camera with title card and also as- sures a more steady camera. Title card easel slides forward or backward on titler base, as shown in Figs. 2 and 3. Centering of title card on easel is ac- complished by matching the guide lines on title card with those on easel as shown in Fig. 4.

For illumination, use regular photo- floods in reflectors — one at either side of the title card. Correct exposure is best determined by test, especially when positive film is used, although careful calculation with an electric exposure ■ meter will give dependable results.

Where panchromatic reversal film is to be used, lettering should be white on black title cards. Where positive film is to be used, title cards may be plain white and lettered in black. When the positive film is developed, values will be reversed : the lettering will be white over a dark background. For Koda- chrome titles, dark blue or red back- grounds are best with light yellow or white letters.

The lettering of main titles should be large and the text brief. Pictorial or decorative backgrounds are accept- able for the main title but only plain backgrounds should be used for subti- tles, the text of which should be kept to a maximum of three lines of not more than four or five words to the line. Ample margin should be allowed between the lettering and edges of title.

Succeeding issues of Home Movies will feature additional articles on the advanced stages of making titles.

For PERMANENT FILM PROTECTION

Against climate, heat, scratches and stains. Valuable tor all films . . . Vital for color films.

Scratches, spots and fingermarks disfigure colors much more than shapes. Distortion from heat and emulsion softening can throw color lay- ers out of line. Color films need deep seated chemical protection that surface lacquers and lubricants cannot provide.

Wise movie makers follow the good ex- ample of the Hollywood producers and the U. S. Government. Ask Your Dealer.

Better phofo finishers offer VAPORATE protection for still negatives.

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CAMERA-MART,//7r.70 W.455T.N.Y.C.

I can shout it to the house- tops . . . that SOUND is Eetting noisier and noisier in point of popularity . . . that's why I'm so sold on the RCA ... it sure de- livers the right kind of a ivell-modulated sound . . . plus swell pictures.

RCA 16 MM SOUND ON FILM CAMERA

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KC\ Studio recording galvanometer . . . metal housing, fonnecting cable, not including optical system or Am- plifier - - $125

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n the best professional manner.

ith 1" F:3.5 lens, batteries and

PAGE 34

HOME MOVIES FOR JANUARY

COMPARE THE RESULTSI COMPARE THE PRICEI WEIGH THE FACTS!

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AsIc for sam- ples of fhe nnost beauti- ful capital and lower case letters made. Deluxe sets, 225 pieces in case with corner pieces, twee- zers and cement $9.54 (includes tax) net, 160-

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Distinctive TITLES and expert EDITING

For the Amateur and Professional 16mm — 8mm Black & White, Tinted and Ko^achrome Write for our new illustrated catalog STAHL EDITING & TITLING SERVICE 33 West 42nd Street New York. N.

Get Better SPLICES with the new SEEMANN!

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The Reader

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Our Latest Catalogue Mailed to Yoi Promptly. Send Name and Address to

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"Quality 8mm Service" 394S Central St., Kansas City, Missouri

Wants Windback

// there is a Revere camera owner who has built a successful windback for his camera, reader Martin would like to contact him. So would Home Movies' editors.

Gentlemen : I have a model 99 Re- vere 8 mm. camera and desire to install a windback. I have gone through all the back issues that I have of Home Movies but am unable to find anything regarding a windback for my camera.

Any information that you may be able to give me regarding such a device or how I may build one will be greatly appreciated. I have a complete machine shop equipped to do any such work that may be required.

— Geo. W. Martin, 3306 Chenault Ave., Ft. W orth, Texas.

Focnsinq Troable

The following summary from a reader that's been shooting home movies over twelve years seems to hit the nail on the head regarding that focusing trouble arising when color and black and white film is spliced together:

Gentlemen : I follow Mr. Cushman's Title Troubles very closely and see things just about eye to eye with him. I notice in the December issue that the question has come up again about the difficulty of splicing black and white or tinted titles in with Kodachrome and that Mr. Cushman is asking for readers' suggestions. May I say that I bumped into the difficulty some years ago using positive stock developed as negative, that is, not reversed, and I think that is what most of them do.

Well, I suspected the trouble was in the difference in thickness of the films, thinking the Kodachrome was probably thicker having three emulsions on it, but found on gauging it with a micro- meter gauge that the positive film with its one emulsion was just a trifle thick- er. I then discovered that the positive film bowed in one direction with re- spect to its width while the Koda- chrome bowed just the opposite way and even though the emulsion in both cases was on the same side toward the lens. A very heavy pressure on the pressure plate of the projector helped some, but not so both would focus sharp with one setting.

I therefore concluded that the trou- ble was due to the combination of bow and thickness, so gave up and ever since

SPEAKS

used type A Kodachrome, which is the only satisfactory solution, so far as I am concerned.

— R. C. Denny, Fresno, Calif.

Film Protection

Keeping exposed rolls of film sepa- rate from unexposed rolls is often a problem for those who go afield with a several-roll supply of film. Reader Geop- fert's idea simplifies the matter — insures against sending an unexposed roll to the processors by mistake.

Dear Sirs: In the November issue of Home Movies there is described a method for keeping unexposed rolls of film separate from those exposed and ready for the processors.

I have, I believe, a simpler idea. This summer, I made a trip through the west and carried 12 rolls of Kodachrome. Before starting the trip I numbered each box from 1 to 12; addressed all the boxes to Eastman's Chicago processing station; then wrote in my address and put postage on each box.

As soon as I completed filming a roll, I placed the film in its respective car- ton, then sealed and mailed it at the very first opportunity. When I arrived home from my trip some weeks later, all of my films were waiting for me, having been processed and mailed to my home address.

Numbering the boxes from 1 to 12 also enabled me to readily splice the rolls of film together in chronological order for an initial screening.

— /. M. Goepfert, Pontiac, Mich.

Sound Idea

This IS an idea, just waiting for some enterprising amateur to take hold and make something of it.

Gentlemen : Here's a suggestion for a new business — one much needed by many amateurs — which you should help to create or promote. We amateurs need someone to make recordings for us for our films, at moderate cost. If I knew of a reputable concern to which I could send my 200 foot reels of 8 mm. film and have them cut a record for me with spoken titles and appropriate back- ground music, it would be worth a fair price.

Most of us amateurs can buy or bor- row a home recorder, but few of us have access to a library' of musical rec- ords ample for our needs. Also it re-

HOME MOVIES FOR JANUARY

PAGE 35

quires more than one person to make a satisfactory recording.

— O. W. Amador, El Paso, Texas.

IVew Cine Club

// you reside in vicinity of reader Lopus, why not get together with him in organizing a club?

Gentlemen : I am interested in form- ing a new amateur cine club here in San Francisco for 8 mm. and 16 mm. cam- era owners. Interested movie amateurs 16 to 35 years of age are invited to communicate with me.

— Donald Lopus, 198 Oak St., San Francisco, Calif.

Swappers

Perhaps you have just the footage wanted by cinebugs whose requests ap- pear below; perhaps you can shoot the requested scenes and get needed footage in return:

Dear Editor: Would like to contact some movie amateur who can supply me with 25 to 35 feet of 8 mm. Koda- chrome taken during the summer along the Skyline Drive, Virginia. Would also like some shots of tobacco harvesting in either North Carolina or Kentucky ; the Peace Monument at Gettysburg; Moc- casin Bend at Chattanooga, Tenn. — all in 8 mm. Kodachrome. I desire to buy this footage outright.

— Rev. A. U. Hauber, St. Mary's Rectory, Lone Tree, Iowa.

Dear Sirs: Would like to obtain some 8 mm. black and white footage on Vic- toria and Vancouver, British Columbia ; the Canadian Rockies; Portal, North Dakota; and of Minneapolis, St. Paul and Chicago. I will pay cash or swap scenes of Mt. Shasta, Carlsbad Cav- erns, Niagara Falls, Nassau, B. W. I., miscellaneous views of Shanghai and Peking; and of mountain climbing in the Canadian Rockies.

—Robert F. Miller, 2426 East Erie Ave., Lorain, Ohio.

Dear Sirs: For my film on subject of commercial shark hunting, I desire to purchase 16 mm. black and white silent shots of live sharks in the sea — prefer- ably closeup shots. As my quest for shark pictures has covered some years, I am not too optimistic ; but perhaps this request will reach some amateur with just the material I seek. Sharks photo- graphed should be active, tethered only by the mouth, and definitely not dead or out of the sea. Sub-surface shots of live free-swimming sharks will be ac- ceptable.

— Horace S. Mazet, Captain, USMCR, VSNR Aviation Base, Long Beach, Calif.

Gentlemen: Wish to obtain 16 mm. Kodachrome scenic shots of Louisiana

rice fields ; bales of cotton ; negros at work in cotton fields ; tobacco growing ; tobacco casks ready for shipment ; herd of Texas range cattle ; shot of Lincoln's birthplace; and of George Washing- ton's estate. Will pay reasonable price per foot or exchange equal footage taken on Pacific Coast.

■ — C. Alan W alker, 4222 Vantage Ave., No. Hollywood, Calif.

cceddoned . . .

• Continued from Page 18

models and prices. In the low price range is the Seemann, featuring dn,' scraper or emulsion remover and novel pin arrangement for holding film se- cure on block while splicing. Craig's Junior splicer is another with likeable, easy-to-use features. Fink-Roselieve has just brought out an efficient low-cost splicer which they claim assures quick, permanent splices. All three splicers are priced under $5.00.

Above this figure are the Franklin Photographic Industries' splicer; Bo- lex's Cinea Splicer, and those manufac- tured by both Eastman and Bell and Howell. These give the amateur a wide range to select from. All are adaptable for either 8 mm. or 16 mm. film. The higher the price the more refinements.

Selection of an exposure meter is an easy task. There are four leading me- ters— all good : General Electric, Wes- ton, Dejur-Amsco, and Photrix. Prices range from $16.50 to $25.00 and selec- tion depends entirely upon the ama- teur's choice of refinements and calcu- lating features.

As to tripods, those available to the amateur are many and varied. Accepted as standard equipment are such tripods of sturdy features and refinements as the Thalhammer, Royal, Bell & How- el, Eastman, Bass Camera Company's "Sportsman," and Pagliuso Company's "Hollywood" model. Prices range from about $9.95 up.

Titlers are available for certain makes of cameras by the camera man- ufacturer. Notable are those specially made for Eastman, Bell and Howell, Victor, and Keystone cameras. Titlers are also made by other manufacturers which are adaptable to all makes of cine cameras — 8 mm. or 16 mm. In this class are those marketed by Amerkan Bolex Company, the "Seemann," by Wholesale Photo Supply Co., and the "4-Star" by Hollywood Cine Products Co. Simplest and easiest to use are the small "typewriter" titlers which take title cards lettered with a typewriter. Most of the larger, more pretentious titlers take title cards ranging in size

COMPARE THE RESULTS/ COMPARE THE PR/CE/ WBIGH THE FACTS/

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If you take movies (8mm or 16mm) you simply cannot afford to be without a Free copy of the latest Photo Bargain Book now being dis- tributed throughout the U. S. Lists all the best moving picture equipment from all the leading manufacturers, describes them. The prices save you money in many cases. You'll find the lat- est in lenses, screens, meters, projectors, cam- eras, film, titlers, editing outfits, tripods, books on editing, titling, etc. This Bargain Book is invaluable to you as an equipment REFER- ENCE book. Don't wait a day longer to send for your Free copy. Write us now.

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230 S. Wabash Dept. A-9 Chicago, III.

DO JUSTICE TO YDUH MOVIES

«iih PHOFESSIOIVAl TITLES

Get the same beauti iuUy illustrated 16mm titles as used by Mo- tion Picture theatres everywhere. We're title makers to over 10,000 theatres We can do justice to YOUR movies. Our Kodachrome titles are the best made. Inquire todayl

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1327 S. WABASH AVE.

CHICAGO, ILL.

LEARN TO

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Write for Prices on Rev. Proc. Powders.

The FLEXON CO.

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. 1003 PENNSYLVANIA AVI. N.W., WASHINGTON, D. C.

PAGE 36

HOME MOVIES FOR JANUARY

COMPARE THE R£SULTSI COMPARE THE PRICE/ WEIGH THE FACTSI

Do what thousands of smart home-movie- making enthusiasts are doing . . . switch to KIN-O-LUX for the finest in movie fitm values.

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Outfit includes: A-to-Z Title Maker (12 Alphabets, 1600 Initials) 30 Figurettes in color; Title Frame (7" X 9" area) 12 sheets of 8" x 10" clear, washable Acetate Film; 6 jars of special Colors (Red, Yellow, Blue. Green, White, Black), 10 Photographic 8" x 10" Background Prints: 10 sheets 8" x 10" Tracing Paper; Brush and complete instructions. FREE S.^^fPLE KIT. Complete outfit at your dealer or send S6.50 direct A-to-Z MOVIE ACCESSORIES 175 FIFTH AVE., Dept. H33, NEW YORK CITY

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CORONA FILM LABORATORIES

1028 NEW YORK AVE. BROOKLYN, N. Y.

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A Castle film, authentic, regular prices. Orders filled strictly in order of their receipt. Order at once! Cash with order, please.

JAMES A. PETERS

41-B South Fourth St. AUentown, Pa.

8

1 #^ REDUCED 0

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from the typewriter size to 9"x 12".

Filters, fortunately, are now avail- able to the cine amateur at a price with- in reach of his pocketboolc, enabling him to readily acquire a complete set of three or four of the most important filters. Most manufacturers like Harri- son & Harrison, Entico, and Rothco Products are marketing complete kits which include, beside a set of filters, the filter holder and sunshade.

Chief filters for panchromatic film are the Yellow, Orange, Yellow-Green, and Red. For Kodachrome a filter is required for use with Type A film when same is to be used out of doors. Then there is the special Haze filter for exterior filming at high altitudes. Also there is the special filter for use where regular Kodachrome is to be shot in- doors under artificial light. Complete Kodachrome filter kits are supplied by Harrison Sc Harrison, Entico, Rothco Products, Ponder & Best, as well as Eastman Kodak Co.

Effects devices range from the simple

fading glass for making fade-ins and fade-outs while shooting, to the multi- effect gadgets such as Baia's Cine Transito, Jr., and the Bool Cine Fader, both marketed by American Bolex, and capable of making innumerable profes- sional el?ects. Leo Caloia used these two devices to marked advantage on produc- ing "Latitude 26," this month's Movie of the Month, described elsewhere in this issue.

It would be presumptious for us to attempt to advise the amateur as to which make or model of accessory would best suit his purpose. Rather we suggest that the amateur go to his deal- er who will demonstrate and explain the features of each. Only in this way can the amateur become fully acquaint- ed with all the important accessories which are available to him, and arrive at a decision which best suits his pur- pose and his pocketbook.

Wuk iL R[[l FELLOWS

FRIENDLY FRATERNITY

OF MOVIE AMATEURS

Toward An Ideal

Right out of the blue, came a letter this month, containing what Ho?>iE Movies believes to be an idea of great import to all Reel Fellows.

So much so, in fact, that not only will this publication see to it that the idea is carried out to a definite conclusion, but will offer a monthly reward of some sort for the inspiration of similarly helpful suggestions.

This one in particular comes from Austin E. White, 542 Brompton Ave., Chicago, 111. His analysis and approach toward an ideal proves beyond a doubt that he did some very^ constructive thinking. Accordingly, quoting him makes for easier reading than could re- sult from any attempt to paraphrase. Says Reel Fellow Austin White :

"In the Reel Fellows club, I think you have sponsored an idea that is one of the finest things any publication could possibly do to best serve its poten- tial followers. As far as I can see, you certainly have no axe to grind, other than to help the amateur cinematog- rapher get more pleasure at less cost out of his hobby.

"It has been only six months since I sent in my dollar and received my pin, insignia for my camera and my creden- tials but, in that time, I know for a fact that I have saved over a hundred dollars by following through on Reel

Fellow" tip-offs — and undoubtedly much more value than that in my own com- munity prestige.

"With all this acknowledgment and credit to Home Movies, however, may I presume to make a suggestion which I believe, if carried through to a con- clusion, would prove of material assist- ance in furthering intercommunicating contacts between fellow members, with invaluable benefits resulting to all con- cerned.

"I am not overlooking, and I am thoroughly grateful for, the manner in which you put me in touch with all the Reel Fellows of my own locality, but my idea has to do with making it pos- sible for each member to get in direct touch with all those particular members of his own selection — no matter how far away their home-town may be.

"By 'particular members' I mean SPECIALISTS in certain branches of endeavor. Naturally enough, to find the answer to that, we will all need further help from Home Mo\aES."

At this point our Reel Fellow friend boils down his entire idea into one brief paragraph, as follows:

"By some means, issue a call to all Reel Fellows to 'rank and file' them- selves, listing their preference in spe- cialization work. Then, if you will publish those preferences or make each member acquainted with such data

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HOME MOVIES FOR JANUARY

PAGE 37

by mail, we will all be able to carry on some highly constructive correspond- ence with each other — dealing with that particular phase of our hobby that we like best."

White then goes on to qualify his personal reasons for making this valu- able suggestion. He gets to the proving- up point forcefully by citing how not only he, but all members, might profit through such a procedure. Quoting further :

"For example, I am especially keen about shooting news events of all kinds, so I would classify my preference and qualify my specialist form of endeavor as 'News Reel.'

"Now then, if there were a file of News Reel specialists available, we newshawks could all compare notes to our heart's content — somewhat similar to the manner of shortwave broadcast- ers 'chewing the fat' o\er the ether.

"By the same token, there could be selected groups of specialists in Vacation Pictures, Travelogs, Family Albums and the like. And wouldn't it be swell if one traveloger could gab by mail with every other traveloger in a nation of Reel Fellows ! I feel certain that a spe- cialist of that type would far rather talk to a scenic fan than to a fanatical newshawk, such as I am."

White's closing paragraph asks: "So, what do you think? Is there anything worth while in this thought of mine, or is it just a wild dream that has too many impractical earmarks to make it work?"

Well, Brother White, to get it into print and on record so that all members of the Reel Fellows across the nation will know how Home Movies feels about it, here's your answer :

Your entire idea is practically flaw- less. It cannot fail to work out for all

who are interested. To check that inter- est and to sponsor your idea to the best of its ability, Home Movies proposes to send out a questionnaire to each Reel Fellow to get the very information you suggest.

In addition to the classifications you mention in your letter, two or three may be added. In short, the "groupings" on the questionnaires may read some- thing like this :

SCENARIO PICTURES

(Fictionalized stories) TRAVEL PICTURES

(Scenics and travelogs) VACATION PICTURES

(All shots enroute) NEWS REEL PICTURES

(Events of all kinds) FAMILY ALBUM PICTURES

(Family in all poses) DOCUMENTARY PICTURES

(Commercial, flower, plant life)

It is the belief of this department that your idea is too good to overlook a sin- gle phase of its possibilities in building it into something concrete — and of serviceable value.

As quickly as possible, you will hear the results. As quickly as feasible, every Reel Fellow in the nation will be fur- nished with the compiled information regarding each member's particular forte.

From that point on, it will be every- body's job — and presumable pleasure — to make the most of it.

Here's hoping that hundreds of other Reel Fellows will benefit as you say you will.

And here's a tip to you, Reel Fellow White: In the mail. Home Movies is sending you a full reel of film without charge as a slight token of its gratitude for constructive thinking — in behalf of the gang.

^yi^ouie tlie ^Y\f\ontli . . .

• Continued from Page 17

groping to stifle the ring of an alarm clock. He wants to lay longer abed, just like we all do on Sunday morning ! But his domineering wife has other ideas and hustles him out of bed in a hurry.

Reminiscent of the clever titles we used to see in the old silent Mack Sen- net and Christie Comedies, is that which introduces the wife at this point: "The wife — she wore both pairs of pants in the family . . ." and again, the title in- troducing the husband : "The Husband — the sap of the family tree. ..."

The husband dons his slippers and soon is joined by his wife at breakfast. Here another hint is injected, pointing to the tough life the husband leads and designed to win sympathy early for him (professional continuity technique) :

he has but a small portion on the plate before him while his wife eats heartily from a well, if not selfishly adminis- tered serving of viands.

When it comes to drinking hot wa- ter and lemon juice instead of a steam- ing cup of coffee, the husband reneges, and retires to slouch in his easy chair in the living room. His relaxation is cut short, however, by the appearance of his wife who hands him a list of chores to perform, not the least of which is the item "Polish Finance Company's Car!"

While exacting item No. 1 (cutting the lawn ), he becomes thirsty; steals in- to the backporch and obtains a large can of pineapple juice from the refriger- ator. Over indulgence in this beverage

COMPARE THE KESULTSI COMPARE THE PRICEI WEIGH THE FACTSI

Do what thousands of smart home-movie- making enthusiasts are doing . . . switch to KIN-O-LUX for the finest in movie film values.

RATING Weston Tungsten 100

Scheiner Tungsten 29°

(No Outdoor Ratings)

$6.40 ^^^.'^MiB^^

100 it

KIN-O-LUX. INC. • 105 W. ■Wth St. • New York

MAKE YOUR OWN TITLES

New magnetic, third-dimen- sion, plastic letters adhere firmly in any position to metal backgrounds through paper, cloth, cellophane. 91 White Magnetic letters. 9x12, or IOkH black metal panel, complete $1 1.00. Color Letter Sets. $13.50.

At Your Dealer or Order from HAMILTON DWIGHT COMPANY

155 East 44th Street New York City

For Good Results — Load JFith

ONYX MOVIE FIIM

ONYX ONYX ONYX 8 24 64

100 feet 16 $2.25 $4.25 $4.75

25 feet 8/8 1.00 1.50 1.65

30 feet Univex . .65 .95 1. 10 RATINGS— 8-24-64 for Daylight Reversal processing free of charge. Write for price list of other types of film and chemicals for home processing.

KENWOOD FILMS

818 E. 47th St. CHICAGO, ILL.

Sound and Silent Color Cartoons /) for Rent

M Send for Free Catalogue

ewis Film Service

216 East 1st St.

Wichita, Kansas

WINDBACKS

FRAME- COUNTING

Guaranteed accurate. Expertly engineered and Installed. Money-back guarantee.

Keystone . . . $15.00 • Filmo . . . $19.9 5 Eastman . . . $19.95 Notice : Above prices effective 'til Jan. 1, 1942, only !

Place your orders now before advance! CUSTOM BUILT CAMERA ACCESSORIES CO. 5712 Cedar Springs « Dallas, Texas

SPECIAL RELEASE

CHICAGO'S WORLD FAIR, 1933-1934

GET-ACQUAINTED OFFER: A Complete Reel of the above film (8 or 16mm) for $1.00

This will bring back memories

CROWN PRODUCTIONS

159 E. Chicago Ave. Chicago, III.

Kadachrame

MAPS (?^^^ FINE TITLES

Geo. W. Colburn Laboratory

Special Motion Picture Printing

I I97A Merchandise Mart, Chicago

PAGE 38

HOME MOVIES FOR JANUARY

Where to buy and rent home movie films

amateurs are deriving greater pleas- ure from their home projectors by regularly screening some of the fine 8mm. and 16mm. reductions of professionally produced mo- tion pictures. The swing toward "whole evening show" home movie programs is gain- ing tremendous momentum with the result that important photo dealers everywhere maintain extensive libraries of 8mm. an^I 16mm. film subjects which may be rented or purchased outright.

To guide our readers in the selection of an evening's show. HOME MOVIES will present here each month, sugeeste'i Movie Menus — well rounded programs of movies suitable for every member of the family.

Listed, too. are some of the nation's im- portant dealers who maintain film libraries for their patrons' convenience and who in- vite you to consult with them regarding your movie show needs.

CALIFORNIA

BAKERSFIELD

Edwards Camera Exchange 1609— 19th St.

HOLLYWOOD

Morgan Camera Shop 6262 Sunset Blvd.

SAN LUIS OBISPO

Shadow Arts Studio 1036 Chorro St.

KANSAS

WICHITA

Lewis Film Exchange 216 East 1st St.

MASSACHUSETTS

BOSTON

Don Elder's Film Library 739 Boylston St.

MISSOURI

ST. LOUIS

Swank's Motion Pictures 620 North Skinner Blvd.

NEW YORK

Walter O. Gutlohn, Inc. 25 West 45th St.

Medo Photo Supply 15 West 47th St.

OHIO

DAYTON

Dayton Film (8-16) Rental Libraries 2227 Hepburn Ave.

PENNSYLVANIA

ALLENTOWN

James A. Peters 41 South 4th St.

WISCONSIN

MILWAUKEE

Photoart House

844 North Plankinton Ave.

SUGGESTED MOVIE MENU FOR JANUARY

Castle Films', "Japs Bomb U. S. A."; Official Films', "Sporthrills of 1941"; Hollywood Films Enterprises', "Water Bugs" starring Billy Dooley, and "Mickey the Niirsemaid," an animated cartoon subject, featuring Mickey Mouse and Pluto the dog. Approximate running time, all foiar subjects, 40 minutes.

nets him a sudden attack of dizziness and he falls into a faint during which he dreams he's transported to a tropical isle — the Island of Ah-h-h.

Awakening on the beach he finds be- fore him a bevvhiskered beachcomber. Farther ashore is a sign announcing the population of the island as, "1 beach- comber, 8 females." And then from be- hind the thicket of tropical foliage ap- pear the females, hesitant at first, and then friendly. They perceive our hero's plight and two of the maidens rush to his side to assist him.

Stopping only to indicate an increase of one to the island's population, which he does by marking with charcoal on the sign, the notation, "and 1 man," our hero trips along with the native maidens to their village. Here he is feted and feasted. A Ukulele strums and one of the girls arises and dances the hula. She takes a shine to our hero, and he to her. After an exchange of "come hither" looks, the girl runs off into the hills with our hero playfully in pursuit.

Presently he falls, exhausted. The girl he pursued returns to his side. Bending over him, she lavishes kiss- es upon his lips while he, lying there in a semi-comatose state, fondly strokes her hair. But this illusion is presently broken as he returns to consciousness and finds his pet dog licking his face.

And as our hero slowly returns to consciousness he sees, although dimly, the form of his wife standing before him. The camera pans from his dis- mayed expression, down to the tapping foot of his spouse, and the final shots depict the wife yanking hubby to his feet and trundling him back to his chore — mowing the lawn.

There's a swell running gag thread- ed through the picture, too, about a beachcomber who combs the beach sands with a large comb ! and spends the day digging for buried bottles of liquor. What he eventually finds sends him scampering wildly into the surf and furnishes one of the big laughs in the picture.

A more acceptable story for amateur filming could not be found. Irene Tune, who portrays the irate wife, colloborat- ed with Leo Caloia in writing the stor^" and continuity-. A selection of fine re- cordings were submitted with the film which do much to liven its presentation on the screen.

Other interesting facts are contained in Caloia's letter which accompanied the film, part of which follows here :

" 'Latitude 26' is the result of efforts and splendid activities of the 'Snicker Flicker' amateur cine club of Glendale, California, of which I am a member. This club specializes in producing scen- ario type pictures, and consists of a well organized, professional-like producing

unit. Staff consists of director, assistant director, location manager, commissary head, property- men and makeup artist. Each member shoots his own scenes and edits and titles his version of our pro- ductions as he sees fit. 'Latitude 26' is my version of our last production.

"First we decide upon the type story we want — one best suited to the pro- ducing abilities of the majority of club members. The story committee meets and a general story conference is held, not unlike those of Hollywood studios. Out of this emerges a concrete plot, and individual scenarios result from the ba- sic story outline. From this point our lo- cation manager goes into action ; the cast is chosen ; and soon initial shooting begins."

Even for those not privileged to a screening of "Latitude 26" it is evident, from the foregoing, that any movie pro- duction undertaken by a member of Ca- loia's club is bound to succeed.

Caloia is to be especially commended for the excellence of his photography evidenced by the fine trick effects in the early sequences of his picture, judicious use of filters throughout, and the play- ing of much of the story in vivid closeups.

His camera is a 16 mm. Bolex equip- ped with one inch f/1.4 and 15 mm. lenses. Eastman panchromatic film was used in the entire production except for titles which were shot on positive.

T

xnerimenta

lAJorlzd/io

r

• Continued from Page 21 ing purposes. In the opening of the board is placed a small panel of frosted glass. Immediately above is placed the magnifying unit through which the film is viewed.

This may be a small magnifying glass encased in a plastic frame with a handle, obtainable at five and 10 cent stores. Most of these have a small hole in the handle. A bolt is fixed into the base- board which holds this magnifying glass above the film at the right distance, de- pendent upon the focal power of the magnifying lens.

Guides for the film are two large- head nails driven half way into the baseboard as shown in Fig. 3.

— /. H. Smethman, Lakehurst, N. J.

Splicing Tip

In splicing Kodachrome, particular care should be given to scraping every- particle of emulsion from the splicing area. Emulsion left on this area will be- come red when film cement is applied and will show up noticeably on the screen when projected.

— Mai Mathison, Burbank, Calif.

HOME MOVIES FOR JANUARY

T I n [

Backgrounds

	mm	m
My Movli

PAGE 39

These title cards, which are a regular feature of Home Movies each month, are designed especially for use with type- writer titlers or any home-made titler that will photograph at a distance of 8 inches. Save all of them for future use. Cut them out and paste on 3"x 5" file cards, using rubber cement. You'd be surprised, too, how often one of these titles will suggest a filming idea.

By EDMUND TURNER

PAGE 40

HOME MOVIES FOR JANUARY

EQUIPMENT FOR SALE

• BASS SAYS: A Happy New Year to you for 1942.

USED CAMERAS 8mm. Keystone, F:2.7 lens, with case, $27.50. 8mm. Bell & Howell Sportster, Cooke F:2.5 lens,

with case, $57.50. 8mm. Cine Kodak Model 90, 1.9 lens, $87.50. 16mm. Victor Model 3, 3.5 fixed focus lens,

$42.50.

16mm. Filmo 70A, F:3.5 Cooke lens, case, $45.00. 16mm. Simplex De Luxe Magazine, 1.9 lens, $54.50.

16mm. Victor 5, black finish, I" fixed focus 3.5, I" Wollensak 1.5 focusing, 3" Wollensak Telephoto focusing, case, $137.50.

16mm. Filmo 70DA. 20mm. Cooke wide angle F:3.5, I" Focusing Cooke F:2.8, 3" Wollen- sak Telephoto F:4, with case, $225.00.

16mm. Filmo Master Auto Load turret model, 15mm. wide angle F:2.7 fixed focus, I" F:2.7 focusing Cooke, 2" Acura F:2.8, with case. List $350.00; our price, $247.50.

16mm. Movikon, latest model, Sonnar 1.4, coupled range finder, with case, $325.00.

Limited Number: Craig Jr. complete splicer rewind and editing outfit- — fine value at $26.80.

USED PROJECTORS 16mm. Bell & Howell Model 57A, 400 watt

lamp, with case, $50.00. Kodascope E, 16mm., 750 watt lamp and case.

$52.50.

16mm. Victor Model 16, 750 watt lamp and case, $75.00.

Be sure to write Bass before you trade or buy. Free on request: 84 page Bass Cine Bargain- gram, an authority on silent and sound equipment.

BASS CAMERA COMPANY, Dept. HC, 179 W. Madison St., Chicago, Illinois.

• CAMERAS, projectors, accessories, bulk 8mm. -16mm. films, Castle-NuArt Film library. AIRLINE PHOTO SUPPLY, Box 1739, Cleveland, Ohio.

• BOLEX Titler, complete; also Ampro velocity microphone with stand, never used. Best offer takes both. BERNARD ELOW, Herkimer. N. Y.

• MAKE your own 8-l6mm. action-editor. Easy to construct. No shutter or moving parts. Film appears as moving pictures. Send $1.00 today for plans and instructions. BUCKLEY BROS., 1188 Broadview Ave., Columbus, Ohio.

• AURICON Recorder, gives excellent results; latest model, used few times. Must sell be- cause of expected Army call. Write Box J-IO. care HOME MOVIES Magazine.

• BOLEX CAMERAS— an "eight" and a "six- teen" at a sacrifice! 16mm. complete with 1" f/l. 5 Wollensak lens specially priced at $245.00 cash. 8mm, complete with 1/2" f/i. 9 Wollensak lens, price reduced to $237.50 for cash. Both cameras and lenses like new. Box J-ll, HOME MOVIES MAGAZINE.

• PAWNBROKERS since 1858. Specializing liberal loans on cameras anywhere in United States. Free information and appraisal. H. STERN, 872 Sixth Ave., New York.

• 750 WAH PROJECTOR manufactured by Standard. Has rewind, new flickerless shutter, variable speeds, titling base. $50 on 10-day money-back guarantee. Box J-12, care HOME MOVIES MAGAZINE.

• FEDERAL Recorder, 16", set in mahogany floor cabinet. Equipped with Brush pickup. Presto Synchronizer for making lip-synchronized talking pictures, thirty 16" aluminum discs, and other extras. Cost $790.00. Sell less than half. G. C, 2075 Tasso St., Palo Alto, Calif.

WANTED

• BELL & HOWELL 70-F camera fully equipped with 200 or 400 external magazine and all the additional features. With or without electric moTor. Not a dealer. DAVID ISRAEL, 1148 Griswold St., Detroit, Mich.

• 8MM.-I6MM proiector owners! Will buy any of your subjects cash or exchange. Highest prices. ABBE FILMS. 1265 Broadway. N. Y. C.

• WANT used 16mm. sound on film projector. IRVING J. BRAUN, 5125 N. Lotus Ave., Chi- cago. Ml.

MISCELLANEOUS

• BACK ISSUES— Home Movies Magazine for all months of year 1941, 25c copy postpaid. If you missed an important article or if you started your subscription since Februatv 1st, here is your opportunity to secure important copies for your files. HOME MOVIES. 6060 Sunset Blvd., Hollywood. Calif.

• Are you in the

marhet

. . . for a camera, projector or some other article of used cine equipment? Seeking bargains in films, processing or titlitig? Then you'll find opportunities in these clas sified ads!

• Have you sottte- thing to sell

... or trade — some article of cine equip- ment you've outgrown or no longer use? Turn it into cash with a Home Movies clas- sified ad!

RATES: Ten cents per word; minimum charge, S2 cash with order. Closing date, 10th of preceding month. HOME MOVIES does not guarantee goods advertised. Send ad copy to 8060 Sunset Boulevard, Holly- wood, California.

TITLING

• TITLING LETTERS that give you profession- al results. Pin letter and sanded back letters. Complete sets available $4.75 up. Write for descriptive literature. Ask about Santa Claus, Turkey and other title illustros. Big variety of large size and varied style letters can be purchased by the letter to fill all titling needs. MITTENS LETTER CO.. Redlands, Calit.

• TITLING and Close-up Lens Kit — Six sup- plementary lenses of 16", 18", 20", 24", 32" and 40" focal lengths. Can be used on all titlers which provide for interchange of lenses. Also ideal for general close-up photography. Complete kit, $3.00. Separate lenses, 60c each. Also available in 6", 8" and 12" focal lengths for ultra-closeup work. HOLLYWOOD CINE PRODUCTS CO., 3221 So. Figueroa St.. Los Angeles, Calif.

FILMS

• BULK film- double 8 or 16, positive 400 ft. $4.85, 500 ft. $5.35; W-24-16 Pan. 400 ft. $12.65, 500 ft. $13.65; W-64-40 Pan. 400 ft. $13.65, 500 ft. $14.65. Cameras, projectors, accessories R. B. CAMERA & PHOTO SUPPLY CO., 3357 E. 66 St., Cleveland, Ohio.

• THE QUALITY of your movies depends mostly upon the processing and type of film used. If you pay less for your film you are getting positive film which was not manufac- tured for camera use. We have worked five years in perfecting our processing and we have killed the last bug. 100' 16mm., $2.50. 70' 8mm., $1.50, including processing, daylight loading. COPE STUDIO. 3720 So. Figueroa, Los Angeles. Calif.

• CUT YOUR film costs! Monochrom Rever- sible film, 8-8 or 16mm., 95 cents per hundred feet. S. S. Pan film, either size, Weston 100, per 100 ft., $3.25. Postage extra. BOYD LABS, Ashton. III.

• 8MM. FILM, including processing, daylight loading, non-halation, 25 ft. 8/8mm., Weston 12, 85c; Weston 24-16, $1.25; Weston, 64-40, $1.50. RIHER FILM SERVICE, 629 Lyman Ave., Oak Park, III.

FILM RELEASES

A Permunent

BINDER

for your personal copies of HOME MOVIES will preserve valuable information for future use. Binders handsomely bound in blue leath- erette, hold 12 issues.

Selling regularly for S1.50, you may obtain yours for only SI with your new or renewal subscription to HOME MOVIES. Mail check or money order for S3 today — S2 for 12 issues of HOME MOVIES, SI for your binder.

HOME MOVIES

6060 Sunset Blvd. Hollywood, Cal.

« 8MM. FILMS! Castle releases. 50 ft., 180 ft. New prints. Good used prints. Sales, Exchanges. Trade-ins. RIEDEL FILMS, Dept. HM.I42. 2221 W. 67th St.. Cleveland, Ohio.

• SOUND and Silent Films exchanged, bought, sold, rented. Bargains always. New Free lists. FRANK LANE, 5 Little BIdg., Boston, Mass.

• EXCHANGE your old 8mm. for brand new comedies, cartoons, full subjects. Reasonable. Mail us your list. ABBE FILMS, 1265 Broadway. New York.

• HOLLYWOOD productions galore! Hun- dreds to choose from! Bulk film. Bargain lists /ours for the asking. ERWINE S CINE LAB- ORATORIES, Allentown, Pa.

• 8, I6MM. films bought, sold, exchanged. Silent-sound subjects, $2.00 up. Odd reels. $1.50. Catalog, sample film, lOc. INTER- NATIONAL, 2120 Strauss, Brooklyn, N. Y.

• MOVIES for grownups, 8-l6nnm. (not arts). Lists, lens cloth, lOc. ISO subjects available. JENKINS, 392, Elmira, N. Y. No postcards answered.

• PASSION PLAY, 8mm. complete, $2.94. 16mm. sound edition, $32.00. Foreign lan- guage films, many exciting bargains. ART- CRAFT, Ha mmond BIdg., Hammond. Indidna.

• ENTERTAINMENT Values! Low Prices! Chap-

'in's, Lloyd s, PIckfora s. Castle's. Old Timer's Specify 16mm, 8mm, sound. (Illustrated cata- logs, dime.) MEGIFILMS, 340-J West 29th St., New York.

• REMEMBER Pearl Harbor! ' Just released 8mm-l6mm silent and sound. A "must" for /our library. Other subjects. Bargains in cam- eras, silent, sound projectors. Films rented everywhere. Free illustrated catalog (with sam- ple film, lOc). GARDEN CAMERA, 317 West 50th St., New York.

• 8-l6mm. Films — Free catalog (with sample film), lOc). PARKWAY EXCHANGE 961 East Parkway, Brooklyn, N. Y.

• NEW films for old! Different exchange plan offe rs subjects at equal-to-rental prices 8mm 100 to 200 feef, $1.00. 16mm. 200 to 400 feet' $2.00. Write for information and mailing label ARMSTRONG FILM EXCHANGE, 6227 Ellis Ave., Chicago, III.

• SENSATIONAL offer! Rent 50 8-l6mm. full length reels. $10.00. Films exchanged. Library subjects sold. GARY FILMS, 369 E. 55th Brook- lyn, N. Y. '

• YOURS for the asking! New mammoth 40 page film rental catalog — silent, sound. 8mm. and 16mm. Forward your name and address to- day. NATIONAL CINEMA SERVICE, 69 Dey

St., N. Y. C.

• 8MM. 200' comedies, cartoons, travels. $2.75. 30" X 40" screens, $1.95. 16mm. sound, silent projectors, film and accessories. Write for free bargain bulletin. ZENITH, 308 West 44th St

New York.

PROCESSING SERVICE

• MOTION picture processing. 100' 16mm 75c; 50' 16mm., 50c; 25' 8/8mm. 35c- 25' 8mm. 25c. RITTER FILM SERVICE, 629 Lyman Ave. Oak Park, III.

HOBBY BOOKS

• Are you a Deg>ner" in the ranks of arr>a. teur movie makers? Would you like to know how to use your camera to the very best ad- vantage, yet avoid the mistakes and wasted film that so often results from lack of knowl- edge of fundamentals of cine camera opera- tion? Then order a copy of "How to Use a Movie Camera." Just 50c, and well worth it.

Would you like to learn how to process your own movie film so that you can buy inexpen- sive film in bulk? Let us send you "How to Process Home Movie Film," a book chock full of instructions and advice by experts plus complete, easy-to-understand plans for build- ing your own simple processing equipment. Sent postpaid for 50c.

Would you like to learn how to make your own titles — what equipment to use — what ex- posure to use — all about auxiliary lenses — title building a very simple and versatile home movie titler? Then send for "How to Title Home Movies" — the latest and one of the most authentic books ever written on the jub- iect. Price $1 .00 per copy. We pay the postage.

VER HALEN PUBLICATIONS 4060 Sunset Blvd. • Hollywood, C«l"rf

AN IMPORTANT ANNOUNCEMENT

FOR REEL FELLOWS AND

PROSPECTIVE MEMBERS

FOR THE NEXT five months, HOME MOVIES plans to increase its spe- cial service to all Reel Fellows, The amazing growth of membership in this friendly fraternity of movie amateurs demands a broader scope of accomplishment. If you are not a memljer, do your joining quickly — but right ]NO\^ . The fun is on the fire. And the grand total charge is still only 81 to cover the actual cost of providing you with —

A HA\DSOME GOLD pin (actual size reproduced herewith), the same emblem on an insignia for identifying your camera, six feet of leader bearing the animated copy, "Member of Reel Fellows," and your official Reel Fellows credential card. All these you get for one lonesome buck, but that's only the beginning.

THERE ARE SCORES of ways for HOME MOVIES to further reward you. and it wants to do just that. Turn to the Reel Fellows department in this issue and read what one member asked for. Does he get it? ^\ ell. rather — and a full roll of film, free — to boot I And. what's more, every one of you members benefit through his request.

THAT'S THE PRINCIPLE of the Big Thought. \^liat"s your idea of what can be done by the Reel Fellows Club to better serve its members and the cause of Reel Fellowship? rite your ideas short, or write them long, but send them in pronto. The best idea of the month gets you a free roll of film, too.

IF YOU'RE a member, it'll cost you only the postage stamp Uncle Sam demands for delivering your idea. If you are a prospective member, attach a dollar and get the works!

Read the Story of Austin White in the Reel FelloicsColumn, This Issue, and You'// Get the Idea Quickly.

*eg o/or Kod^chrome, for ' TighU' ' and "Sixteens," makes full -color movies outdoors — or indoors when blue Daylight Photofloods supply the

illumination.

Type A Kodachrome, especially color balanced for indoor Photoilood filmini| —may be adapted for outdoor filming at standard exposures by meazu of an inexpensive "Daylight" filter.

Cine-Kodak Kodachrome Prices

8-mm. rolls, $3.65; Q- mm . maga- zines, $4; 16-mm. 100-foot rolls, $8,55, 16-mm. magazines, $5.

All Prices Include Processing

7^,

.A

; 1

\

Cme-fCedok Eight "Pan," for 8-mm daylight movies — $2.15 per roll. Gni-Kodak Bghf Super-X, for o-'

door or indoor 8-mm. movies — roi-^ $2.40; magazines, $2.70.

16-mm. Cini-Kodak Safety "Pun,*^

for outdoor movies — 100-ft. $4.80.

16-mm, Cini-Kodak Super-X,

outdoor or indoor movies — IC rolls, $6.40, magazines, $3.75.

16-mm. Cini-Kodak Super-XX, poor-light movies indoors or out — IC ft. roUs, $7.20, magazines, $4.30. All Price! Include Precetsing

Eottmon Kodak Co., Rochester, N. T.

THESE FILMS ''MAKE" THE MOVIE .

Price Ije

YEARLY SUBSCRIPTION. $2.00

HOME MOV

ebruary • 19 11

HOLLYWOOD'S MAGAZINE FOR THL MOVIE AMATEVIS

/

timely

- to' V®"' home movie

library • • ■

fans!

AVAILABLE 400 FEET 16mm SILENT ONLY

$12.00

give em \mm\

Screen an animated cartoon on your movie program

...more than ever

ADVENTURES in DREAMEAKD

Features Oswald Rabbit in a niglitmare in which house- hold objects come to life in grotesque size to plague him. Highlight is Oswald's duel with tube of tooth paste. Order by number — 12-A.

100 Ft. 16mm S3.00

50 Ft. 8mm. 1.50

RED HDT RUIEETS

With Donald Duck and Mickey Mouse. Pursued by vil- lainous Peg Leg Pete in an old saw mill, Donald and Mickey almost lose their lives before a whirring circular saw until the saw breaks loose and turns on Peg Leg. Order by number — 1553-A.

100 Ft. 16mm. S3.00

50 Ft. 8mm. 1.50

Order from your local Photo Dealer or direct from

HOLLYWOOD FILM ElVTERPRISES,

6060 SUNSET BOULEVARD

HOLLYWOOD. CALIFi

.VISORy EDITORS

IRA. K. BAUM&ARDNER

Peona Cinema Club

E1R BEZEK

Chicago Cinema Club

. \MES BIALSON

amateur K/lot!on Picture Club of St. Louis

. OSS BROWN

Dallas Cinema Club

^/.TER BRACKEN

The 8-16 Movie Club, Philadelphia, P«.

; UDE W. A. CADAREHE

Los Angeles 8mm Club

^.IMERSON CLYMA

I Detroit Society of Cinematographer*

IJ;ELL a. DIXON

Pittsburgh Amateur Cinema Club

:i'IL DVORAK

Suburban Amateur Movie Club

^RHUR E. GIBBS

1 Portland Cine Club

\ A. HOOK

Seattle 8mm Club

.lED F. KAUFMAN

Indianapolis Amateur Movie Club

NESTELL

Cinemen Club

*CISSE A. PELLETIER

Toronto Amateur Movie Club

lERT B. PETERSON

Metropolitan Cine Club

:iE RIEBETH

Minneapolis Cine Club

HEO. ROTH

Sherman Clay Movie Club

). ROUNTREE

Bay Empire 8mtn Movie Club

^UL SNYDER

Norfolk Amateur Movie Club

i) E. SNYDER

Des Moines Y.M.C.A. Movie Club .-. SISSEL

Austin Movie Club

5 C. ENION SMITH

Metro Movie Club of Chicago

• d as Second-Class MaHer, May i, l?38. at >stoffice at Los Angeles, Calif., under the Act of March 3, 1879. > iption rates: U. S. $2.00 per year. Canada i foreign Countries, $3.00 per year. Single 3 2Sc. Canadian and Foreign single copies Copyright, 1940, by Ver Halen Publications. Advertising rates on application.

. nome

MOVIES

Reg. U. S. Pal. Off.

Member Audit Bureau of Circulalions

CONTENTS FOR FEBRUARY, 1942

INFORMATION PLEASE 46

ONE REEL MOVIES 48

TITLE TROUBLES — By George Cusli/itan 50

WITH THE REEL FELLOWS 52

it's NEW TO ME 54

MOVIE AMATEURS ENLISTING FOR DEFENSE By Curtis Randall . . 57

WHAT BEGINNERS SHOULD KNOW ABOUT LENSES

— By Stanley E. A ndrews 58

SOME TRICK DEVICES FOR TRICK PHOTOGRAPHY

—By George A. Gauld 59

MAKE 'em INTERESTING TO OTHERS — By Mabel T. Waters 60

FULL PAGE TITLE BACKGROUND ILLUSTRATION

—By H. C. A. Von Schoenfeldt 61

here's WHAT TO FILM IN NEW MEXICO — By Kenneth Allen. ... 62

HOW FILM SPEEDS ARE DETERMINED By IV. A. Reedy 63

MOVIE OF THE MONTH — By J. H. Schoen 64

REVIEWS AND CRITICISM OF AMATEURS' FILMS By The Editors. 65

EXPERIMENTAL CINE WORKSHOP 66

EMULSION RATINGS FOR FILMS 74

TITLE BACKGROUNDS — By Edmund Turner 83

CHAS. J. Ver HALEN

PUBLISHER

C. J. Ver HALEN, JR.

ASSOCIATE PUBLISHER

OFFICE OF PUBLICATION

6060 Sunset Boulevard, Los Angeles, Calif. Phone GRanite 5149

NEW YORK OFFICE

Everett Gellert, 62 West 45th Street Vanderbilt 6-5254

FEBRUARY

NUMBER 2 VOLUME IX

REEL FELLOWS

A friendly fraternity of movie amateurs sponsored by Home Movies maga- zine. Your membership is invited.

ARTHUR E. GAVIN

EDITOR

GEORGE W. CUSHMAN J. H. SCHOEN

Associate Editors

C. E. BELL

Photographic Editor

L. C. BUSCHER

Art Director

HOLLYWOOD'S MAGAZINE FOR THE MOVIE AMATEUR

PACE 46

HOME MOVIES FOR FEBRUARY

Yon'U Make

with the

BaTlee Cine -Color

FILTER KIT

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You can get really excellent color movies with the right filters. And here are the filters you need, preci- sion ground of optical glass, com- pactly placed in a leather filter case with individual pockets — complete ■with lenshade filter-holder combina- tion, at a bargain price.

The set includes a polarizing filter for darkening skies wthout color dis- tortion and reducing color-disturbing glare indoors or out ... a "must" for good color shots; a Type A filter for shooting indoor Kodachrome outdoors; and a haze fiher to absorb the ultra- violet rays that overtone blue.

The Baylee Filter Kit comes in sizes to fit most standard movie cameras. You'll find few such filter buys . . . and the quantity is limited ... so you'd better see it TODAY.

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Backwinding Magazines (Leslie Hayworth, Minneapolis, Minn.)

Q. I've been told that one of the out- standing features of Eastman's new magazine "eight" is the fact film can be wound back in camera without need for special backwind device. Is this true? How is backwinding accomplished?

A. The Cine Kodak model 90 can be made to backwind the film simply by taking out the magazine and reversing it, then running the camera with the lens capped until the desired frame of film is reached where shooting is to be resumed.

However, some amateurs who have followed this practice report that the film in the magazine may jam, because it loosens up on the takeup spool with- in the chamber. This can be overcome by winding up the film by hand. Insert a key or other object into the hole in side of magazine in which is located the film winding shaft. This will push the shaft through the other side far enough so it can be gripped with the fingers and turned to wind up loose film.

Blue PhotoHoods (J. H. Patois, Gadsden, Alabama)

Q. Currently advertised are new- photoflood lamps with a bluish color. What is their purpose — how and when should they be used?

A. Daylight (blue) Photofloods are especially adaptable to supplementing daylight in making indoor shots with Kodachrome. For example you might have a shot you want to make where subject and background are illuminated fairly well with sunlight coming through window, yet wish to gain add- ed illumination on subject's face or on background objects. Ordinary photo- floods, if used, would give a reddish cast to the scene. The newer blue photofloods supply light wixh correct color balance for regular Kodachrome under such conditions.

Also Daylight Photofloods are better for illuminating titles where same are to be filmed with positive film. Better contrast results when blue light is used with this film.

Where Daylight Photofloods are used to supplement daylight illumina- tion in indoor filming, daylight film ratings should be used in calculating exposure.

Playing Records (Kent Dunham, Pawtucket, R. I.)

Q. I plan to purchase a recorder for cutting records to play sound, music,

• Readers: This department is for your benefit. Send in your problems and our technical board of professional cameramen will answer your question in these columns. If an answer by mail is desired, enclose addressed stamped envelope.

and dialogue with my 16 mm. movies. However, one company claims their recordings will play for a maximum of 12 minutes, while others state theirs will play fully 15 minutes. Please ad- vise what is the correct playing time for a 16" record at SJYi revolutions per minute.

A. The length of time a recording will play depends entirely upon how it was cut — the number of lines per inch. Some recorders can be adjusted to cut grooves or "lines" real close together, while others cut at a set number of lines to the inch. The more grooves or "lines" cut to the inch, the longer the record will play.

However, the closer the lines are cut, the greater the possibility that the pickup arm will vibrate out of its groove on high frequencies. Close cut- ting is usually employed only where the entire recording consists of voice commentary with little variation in tonal range of the sound.

Rear Projection (Stanley Reed, Salt Lake City, Utah.)

Q. In shooting titles with moving backgrounds projected on a translucent screen, I've encountered trouble in ob- taining satisfactory exposures. I use an electric exposure meter consistently.

• Continued on Page 71

INCREASE YOUR FUN by learning to process your own movie films. It's easy and productive of real enjoyment. "How to Reverse Movie Film," published by HOME MOVIES, is the leading textbook in this field for the amateur. It illus- trates and describes how to build home processing equipment; gives all popular reversal formulas and tells how to intensify or reduce over- or under-developed films. Send 50 cents to HOME MOVIES today for this valuable addition to your hobby library.

HOME MOVIES FOR FEBRUARY

PACE 47

HIMEDUNDMR HRE ! BmrjuNt

coMimmos iH moN!

THE THRILL OF A LIFETIME for every projector owner! Actual pictures of unbelievably daring raids on Nazis' Norwegian strongholds! Sea and air forces advancing to attack! Flaming guns! Assault boats under fire! House to house fighting! Demolition squads at work! Huge ex- plosions! Nazi planes shot down! Surrender of garrisons! Daringly filmed at close range! Every foot authentic! The most startling picture you've ever seen! Own it now for less than the cost of unexposed film!

All Castit 16 MM films are processed by VAP-O-RATE. All Castle 8 MM are also treated.

Please send me "BRITAIN'S COMMAN- DOS IN ACTION," In the size and edition checked. Name		8 mm.
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5»ofA HM-2		Sound i-f\ 350 Feet 1/^ .JVi

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PACE 48

HOME MOVIES FOR FEBRUARY

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American LensMaiters Since1899

Such Swell Pictures!

Now at last you can get make-up specially developed for your black-and-white photogra- phy. Subdue bad features, achieve flattering movie-quality pictures and save retouching!

Hampden's Photographic Make-up is a com- plete easy-to-use kit for all your make-up needs. It comes in the new stick form with full instructions on how to use!

Creamy • non-greasy • blends perfectly • easy to remove • conceals minor defects • gives the skin a beautiful, smooth, satiny finish.

Save time, trouble, wasted film and have more beautiful, natural-looking pictures. Get your kit at any photographic store or from Hampden Sales, 251 Fifth Ave., New York.

PHOTOGRAPHIC MAKE-UP

strange I\'ew World

Believing that most home movie reels of babies failed to show the infant's re- action to the world, I decided to upset the normal procedure in taking pictures of our child during his first year of life.

So, in addition to the usual shots showing his development over the pe- riod of twelve months, I also filmed various amusing expressions of the baby to fit into a continuity I had in mind, to be called "This Strange New World."

Putting myself in the position of a newcomer on this planet, I soon began to think of many reactions to individ- uals and objects that a baby might have. How true they were, nobody, not even the baby, will ever know.

I chose several cooperative friends and relatives to portray various types of characters found in real life: the gushy old maid, the baby-talking widow of comfortable proportions, the grumpy old man, the embarrassed bachelor who can't think of any way to entertain a baby except to pinch him too hard in the cheek or elsewhere, and the like. These I filmed from a low angle as if the camera lens were the eyes of the baby looking up at these strange persons. In the completed reel, after each such shot I cut in with an expression of the baby that seemed an appropriate re- action to the adult type portrayed. You may be sure that Mother and Dad were pictured in a flattering way and with a complimentary reaction from the baby!

Suitable subtitles carried out the theme and identified beyond doubt the various types and the thoughts of the baby as the film pictured him in some amusing expression.

— John Anderson, Detroit.

Time in Reverse

The problem of bringing order out of the chaos of my assorted sequences of baby Catherine in action during her first year finally was solved by a con- tinuity that proved amusing to many people outside the direct family circle.

I titled the reel, "The Good Old Days" and started in with Catherine on her first birthday. I had happened to catch her in a pose that seemed to indicate she was haranguing a multi- tude, but this was simply luck and wasn't necessarily a requirement for the reel. "Listen," read the subtitle, "you may think I have it soft now. but I liked it better in the good old days when I was younger . . ."

In successive scenes, the movies took her back from her first birthday on down to the time she first arrived at our home. Each sequence was titled in

• // you have an idea for a short movie, something easy to film — send it to the editors for publication in this department. Ideas that are pub- lished H^ill bring the contributors a 100 ft. 16mm or 50 ft. 8mm film sub- ject selected from the catalogs of our advertisers. Address contributions to ONE REEL MOVIES, Home Movies Magazine, 6060 Sunset, Hollyv:;ood.

such a way as to show how Catherine's life was so much easier than it was when she was one year old.

Some of these titles show how the scenes were treated: "I Didn't Have to Feed Myself," "I Didn't Have to An- swer Questions," "Everybody Thought I Was Cute," "I Had Breakfast in Bed," "I Had the Crawl of the House," "I Knew Where My Next Meal Was Coming From," "I Had A Couple of Boy Friends," "I Didn't Wear So Many Clothes," etc.

— Roy Andrevis, Indianapolis.

An Adopted Cliild

When we adopted a baby through a home-finding agency in our state, we made immediate preparations for a home movie reel that would tell our adopted son, when he was old enough to know, that his parents weren't his own flesh and blood.

We devised a scenario, in the filming of which we had the able assistance of a friend who took the pictures. The reel opens with a shot of my wife dis- cussing with me the possibility of adopt- ing a child. We finally decide to do so. Then the film shows us in exterior shots entering a hospital, several homes, and an orphanage, to look at babies. After each of these scenes, we cut in with sequences in which we are shown looking at babies, most of which were in the homes of friends and relatives.

As the camera takes us to these places and shows us looking at adoption pros- pects, in each case we both shake our heads in disapproval. Every baby is