THE chi ldren are up instant they're bered. In your lucky household, movies are awake, and you're not far behind. For on this certain to be as much a part of the day as the day all are young in h eart . .. and now comes tree and the presents. the cJi max to the weeks of planning and The chronicle of Christmas in color-yottr plotting for one another's happiness. camera can make it in movies. This 1ssue of There are stockings to unload, gifts to un- "Cine- N ews" will tell you how to wrap, happiness to be savored-and remen1- catch the Christmas story.

HOW M A NY MOVIE I DEAS CAN YOU FIND HERE AND O N T H E OPPOS I TE PAGE?

HRISTMAS is a movie subject they could be shown here in color, It's a little movie in itself-and it's an that's only arms' length-almost too, for it really takes to utterly natural filming plan. everyC bit of it. There's no need to urge catch the spirit of Christmas-and you This one-subject-one-sequence you to make close-ups. Almost every can and probably will duplicate many method presents no special filming facet of the colorful occasion is in of these scenes in the colorful close- problems. There's no need to run close-ups. Right under your camera's ups you will make over the holidays. around with a lot of lights and rear- nose. So much so, in fact, that we're Some scenes-the gaily littered living range them for every shot. The story going to suggest that you make an room ... the eager group at the din- on pages 9 and lO tells you how easily, almost all-close-up holiday movie. ing-room table-these you'll probably how inexpensively, a few lamps can You can do it-regardless of your want in shots full width and full length. be used to flood a whole room so that camera's lens equipment. You can But for the first half of Christmas Day, you can move freely about gathering make real close-ups of Christmas and frequently thereafter, close-ups shots at various distances without even cards, and gifts, and tree ornaments, will tell the story beautifully. the need for changing aperture. and table decorations, that individu- For example-Dorothy digging in ally will fill your screen from side to her Christmas stocking. This deserves BUILDING SEQUENCES side-bigger and better and as beau- more than just one long uninter- Let's see how it works out with other tiful as in life. rupted scene made yards distant. phases of the Christmas story, and If your camera has a focusing lens Move in close for a glimpse or two of how important a part close-ups play. the chances are that you can focus her chubby hand clutching the small Will there be a toy train set? It's down to two feet-and the resultant toys the stocking contains ... of her great to have a movie of a child's 9-inch field will later cover your 30-, puzzled or joyful expressions. Several expression as he opens a gift like this. or 40-, or 52-inch screen. If you've brief close-ups like these make one It's fine to film him from across the an accessory lens for your focusing sequence. And many such sequences room as he, thoroughly engrossed, camera you can get even greater make one movie. swings his head to follow the train's magnification by still further reducing path around and around. But it's bet- the area filmed. THE IMPORTANCE ter by far to add to these shots a few But if your camera is fixed focus, OF CLOSE-UPS close-ups . . . of the switches and signal and therefore not given to seeing too A verbal description of the one- towers and the clattering train roaring clearly objects almost on top of it, you subject-one-shot formula showing Dad down upon your floor-level camera may have a slight investment to make. admiring a new Christmas pipe would ... which capture the intimate won- Very slight. While prices depend merely read, "Dad was delighted to der of the new toy. It's better-and it's upon the camera used, the chances receive a new pipe." That's a nice fun. It's fun to do. And it's a lot more are that about one dollar will get you shot to have, but it's rather tame. How fun to show. a portrait attachment. And a portrait much better it would be to film him, As a final example let us take the attachment will get you close-ups. first, receiving his package . .. then, dining-room table. Far too much So much for the equipment. The while he's unwrapping it, to step in thought and work have gone into its instructions accompanying it tell you close and show his hands folding back decorations, and the preparation of all about focusing and distances and the paper and opening the box ... the feast it is to bear, to dismiss it with the fields covered at those distances. then back to catch him from a few feet one sweep of the camera. Its center- Now for the movie. away as he delightedly examines it piece, its candlesticks, the steaming We could write about the conti- and clamps it in his mouth . .. then turkey, glistening jellies, vari-colored nuity. At great length. But why do Dorothy, as she runs for his tobacco vegetables-each of these tempting that when pictures will tell the same humidor . . . now back in close to film dishes warrants a brief glimpse. A few story? Far better, too. At the left you the filling and tamping of the pipe seconds each-a minute at the most see a few-just a few-of the shots and tobacco .. . the lighting ... the for the entire sequence-and you've which you can make up close . .. first few puffs .. . concluding with a got it in close-ups that will be a tan- make easily . . . and make beautifully last medium-distant shot of Dad hap- talizing reminder of the occasion. into a grand holiday movie. We wish pily exhaling clouds of blue smoke. Try it-for your Merry Christmas. 3 ordered with tropical packing in sunlight. With the latter, the reflection cartons so labeled. As this re- of reflected sunlight. quires an extra metal container And Mr. Alger's shot had a very there is an additional charge of different objective than the scene you 20 cents per 16-mm. magazine, see below which was made by Mr. 15 cents per 8-mm. magazine. Inci- John H. Mullins of Brooklyn, N. Y. dentally, all film sold in the tropics is Mr. Mullins also obtained an image already "tropic-packed." Keep unopened film reasonably cool. Do not attempt to reseal the film after exposure and before processing. Carry it unsealed and wrap the film in several thicknesses of newspaper as insulation against heat and moisture. Get it to a processing station as soon as possible after your return home. These simple precautions should prove fully adequate.

EXPOSURE TEASER FAVORITISM Dear Sir: I am enclosing film clippings which I wish Dear Editor: to have considered for use in the News. The of the moon, but his target was a sil- Maybe I just imagine it, but it seems to me we subject is Luna, seen from my front yard.- houette of the couple against the faint "Eight" owners are being slighted by your pub- Martin Alger, Mackinaw City, Michigan. light in the sky furnished by the lication. Look at your " Good Shots" section, for already-set sun on the opposite hori- example (I always do)-the blame thing is Just below you see the movie shot almost all 16-mm.-B. E. D., St. Louis, Mo. zon. Mr. Mullins used f /2.5, and his of the moon made by Mr. Alger on tiny moon came out white. Mr. Alger, We looked-and it's true that the 8-mm. "Super-X." Mr. Alger obtained however, wanted more detail-in dif- "Good Shots" page sometimes gives an image of good size because he ferent tones of gray-in his magnified a slight edge to the "Sixteens." But used a special lens which gave him moon, so he exposed for the sunlight that's because there are more of 'em about a fourteen-times' magnification it reflected. in use, hence there are frequently over the standard lens image. Incidentally, if you are equipped more contributions. Mr. Alger, as we said, used 8-mm. to obtain similar magnification of the All news in the News, unless other- "Super-X," which is stops faster moon, and are using Kodachrome, wise designated, applies to both 8-mm. than Kodachrome. "Eight Super-X," put aside the temptation to load with and 16-mm. movies. There's no reason in other words, requires an exposure nighttime Type A Kodachrome. Use why it shouldn't. Today, both film and of between f/11 and f/16 for an aver- daylight Kodachrome, or your moon, equipment are comparable on every age-bright sunlit scene. The scene was while it won't look quite like the major count. filmed at the standard camera speed fabled green cheese, will have the of sixteen frames per second. very definite bluish tinge born of Here comes the exposure teaser! exposing "Type A" in daylight. For TRAVEL What aperture do you think was when you shoot the moon at night you Dear Editor: used for this shot? are really filming reflected sunlight. We're planning a trip to Central America in a few weeks. What-if any-are the restric- HAZE tions on movie cameras? And what should we do about processing?-B. R. D., St. Louis, Mo. Dear Sir: Suppose I decide to use Type A Kodachrome Although the situation may change, for all my filming. Will the Type A Filter for at the moment this is written there is Daylight also act as a haze filter to cut down no reason for hesitancy in taking your the blue when I am in high altitudes?- movie camera and film along on a C . G., Inverness, Calif. journey to most countries in this hem- Yes. The results of daylight-filtered isphere. "Type A" are almost identical to those Here's the story in a nutshell. of haze-filtered regular Kodachrome. Other than in British and French Same appearance. Same exposure. Yet possessions, there is no objection to some confess themselves unable to see the entry, and exit, of a personal movie the effect of a Haze Filter with regu- camera and a reasonable amount of lar Kodachrome . . . don't mind the film. The Dominion of Canada like- Believe it or not, Mr. Alger used slightly bluish tinge acquired by dis- wise welcomes travelers and their stop f/16 on his special lens. He tant objects over water, snow, or at cameras. In many countries, however, filmed the moon when it was well up high altitudes. Others do-and use a there are restricted sites and zones. -and he was filming bright sunlight Haze Filter. Neither group will find Common sense will tell you what and reflected from the volcanic-ash sur- fault with daylight-filtered "Type A." where these are. face of the moon. He was filming just If, however, you plan to visit British about the same type of reflected sun- BROAD VIEWPOINT light you would see if you were aloft or French territory, we suggest that Dear Sir: you contact their embassies or consuls in a plane and looked down on one of I don't like panorams any more than you do. before your departure. Restrictions our western deserts. But how else can you cover much territory likewise exist in Panama. And now for While you are taking a moment or when you are filming indoors, where, usually, film protection and processing. two to digest this (it took your Editor you can't back away with the camera suffi- ciently far to cover more than a. narrow field?- All Cine-Kodak Film in roll form is several full moments) let us remind B. M., New York City. now "tropic-packed" -the metal con- you that shots OF the moon are quite tainers being sealed with tape. Maga- different from "moonlight" shots. With It's true that most indoor shots must zine film, however, must be specially the former you are filming reflected be close-ups. Or, at least, semi-close- 4 Page 10, Please N this issue of the " News" twelve shots are reproduced from Kodak 16-mm. Enlarger prints Iand the many 8-mm. and 16-mm. film clippings (not less than four inches in length, please), full-length scenes, and complete reels sent in by movie makers. For each shot selected, two Etchcraft Junior enlargements will be prepared and mailed to the winners. The original movie film is not in any way harmed or cut. All film is returned. Return postage is unnecessary. Unsuccessful contestants receive friendly, constructive criticism. Why not send in your good shots? Pack them carefully and address them to Editor, Cine-Kodak News, Eastman Kodak Company, Rochester, N.Y. To avoid possible customs delays or complications, Canadian contestants will please direct their entries to Canadian Kodak Company, Ltd., Toronto- together with a note stating that the film is for the Cine-Kodak News "Good Shots" contest.

First Column, top to bottom Had Mr. Edward L. Wolf of Dayton, Ohio, exposed for the foreground rather than the sky, he would never have obtained this striking silhouette. f/8 with 8-mm. regular "Pan"--no filter An unusual and attractive scene is this wedding silhouette by Messrs. Raymond D' Addario and Elmer Brent of Holyoke, Mass. Two Photofloods in Kodafleclor were intentionally placed in back of the bride and groom, and played on the drape background. f/1.9 with 16-mm. Type A Kodachrome Soaring birds are one of the many subjects which gain heightened interest from telephoto use. Mr. H. Scarff of New Carlisle, Ohio, "shot" the gull with a 2-inch telephoto (4-times' magnification with an "Eight") on a hand-held camera- and at 32 frames per second to smooth out the flight on the screen. f/5.6-f/8 with 8-mm. Kodachrome Here's a sunrise shot which will tickle the memo ry of many a fisherman. Mr. C . A. Schroeder of Jackson Heights, N. Y. , made the scene on the Ottawa River in Canada. f/5.6 with 8-mm. Kodachrome Mr. B. Stewart Parrish of Ric hmond, Va., watc hed his chance for six weeks to get this unusual late-afternoon shot of the sun just atop the cross. f/5.6 with 8-mm. Kodachrome Mr. John Burke of Philadelphia, Pa., took his camera to the local zoo. One of the fine shots which resulted was this close-up of that colorful come- dian, the parrot. Notice how Mr. Burke framed the bird for a sky background. f/8 with 16-mm. Kodachrome Second Coluntn, top to bottom A nice bit of framing with branches, and sky darkening by means of a filter, is e videnced by the shot of a pyramid a t Uxmal, Yucatan, Mexico, filmed by Dr. Howard N. Cooper of Watertown, N. Y. f/11 through yellow filter~ with 16-mm. "Super-X Pan° Dr. Harry I. Davis of Topeka, Kansas, of whom you have heard in these pages in the past, recently flew to Mexico for his annual filming and fishing holiday. Among his many excellent plane shots is this through-the·window shot of his plane before the take-off . Though made indoors, it obviously called for, and got, outdoor exposure. f/8 -f/11 with 16-mm. Kodachrome The sky-and-cloud effect you enjoy in this picture by Mr. Wyatt A. Butler of Atchison, Kansas, was born of " Pan" film and a yellow filter. The subject is the dome of the State Capitol at Santa Fe, New Mexico. f/8, through yellow filter, with 8 -mm. "Pan o Many cinamateurs film orange groves and peach orchards and the like. But few think to make at least one or two shots up really close. Picture this solitary, ruddy orange, almost screen-high, against its background of green foliage and blue sky! The filmer was Mrs. Alexander Rosenfeld of Holly- wood, Calif. f/8 with 16-mm. Kodachrome The nicely composed shot of Mexico's "Popo" was filmed by Miss Jean Nash of Detroit, Mich. Notice how the foreground objects give depth to the distant volcano. fjll with 8-mm. Kodachrome Mr. Harry T. Meyer of Groveland, Calif., was 9000 feet up when he made the silhouette shot of the skier. Many of the best "Good Shots" are taken where there's no longer enough light to film by. Then you film the light, itself, and silhouette before it figures, trees, buildings, ships. f/2.7 with 8 -mm. K odachrome 5 COVETED smile or gesture on your movie screen- you' d give a lot, wouldn't you, to be able to "freeze" it there? For minutes, andA not just moments? Every movie maker knows the feeling. Many cinamateurs have acted upon this desire ... have obtained compact little still cameras with which to make color transparencies and small but potent "still" projectors with which to show these color images on home movie screens. They teamed together wonder- fully well-movies and stills. Frequently, when viewing the latter, the new wish was, "If I could only have a color print of that!" Now you can. Easily. Inexpensively. 6 AND NEWS!

NLARGED full-color prints from opening in a la rge d ouble mount. E 35-mm. and Bantam Kod achrome $ 3 .50 each-and several prints may transparencies. Beautiful Minicolor be orde re d from on e Kodachrome. Prints 2X which you can carry in bill- folds or pockets. Bea utiful Minicolor ORDER FROM YOUR DEALER Prints 5X, mounted in artistic portrait Your Cine-Kod a k d eale r is your folders which you can frame or stand c ontact. Re ly on his suggestions in on table or mantel. selecting transp a ren c ie s for Min ic olor That's the big news in color pho- printing-and for all othe r services tography today. related to your full enjoym ent of color The quality and color of the original photograph y through Kod achrome. Kod achrome transparen cies are the Previous issu es of Cine -Kod ak yardstick whic h gove rns the quality N e w s h ave mentioned the for and color of the Min icolor Prints. color-Kod ak Banta m f /4.5, the Ban- If the tra nspa rency is sh a rp, the tam Special, the Kod a k 35's, and A M inicolor P rint 2 X s hown e xact s ize-as color prints will be sh a rp. If the color -palm-sized miniature re a l a nd as c o lorful as th e Kodachro m e trans- p a rency was real and c olorful. quality of the original is right, color cam e ras w hich take a variety of black- prints, in gene ral, will reproduce and-white films as well as regular or those colors effectively-pa rtic ularly Typ e A Kod ach rome. From the Kod a- K odak M inicolor Prints contain dyes w h ich are as s table as possib le consistent when the original is n ot ove rly con- chrome Film you obtain Kodaslides w ith their o ther requirements. H owever, trasty. Softly lighted o rigina ls .. . for proje ction on your h ome movie prolonged exp osure to bri ght dayligh t, transparencies with " quie t" coloring sc reen b y means of compa ct, b rilliant an d particula rl y to dire ct sunlight, s h ould -these make the best Minicolor Prints. Kodaslide proje ctors. Such slides and be avoided . All Minicolor Prints are enla rge- suc h color "still" proje ction will con- ments from eithe r 3 5-mm. or Kod ak tinue to prove p opula r. Yet the appeal K o d achrome transpare n c i es from Bantam Kodachrome transpare n cie s. of Mini color Prin ts will b e strong. w h ich M inicolor Prints are ordered will be handled with great care while in our pos- Standardized proce ssing of the prints Color Kod aks are mod estly priced session. If th e transparencies are dam- has been esta blishe d on the basis of - sta rting well below the cost of even aged or lost by us or a n y associa te com- the regular 2 b y 2-inch mounts-such the m ost inexp e n sive Cine -Kodaks pany, the y w ill b e replaced with unex- as the red-borde red Kod aslide you see an d rangin g upwards in ability and posed K od ach rome Film . Except for such replacement, K odachrome transparencies at the left- and their standa rd central len s e quip m e nt to effe ct a close par- w ill be accepted for making prints without ope nings. Unmounted tra nsp are n cies allel with the cap abilities of the finest w arranty, g uarantee, or liability of any can be mounted b y you or b y your Eastman movie came ra s. kind. The dyes used in M inicolor Prin ts, dealer-or b y Eastma n, at the usual C olor movies . . . color transparen- like other dyes, may in time change. The p rints, th erefore, will not be replaced or small mounting charge, when you cie s . .. color prints-thus d oes color otherwise warranted against any change order your Minicolor Prints. Because photography move forwa rd. in color. the Kodak Minicolor process is a com- pletely a utomatic one, special fram- ings or croppings c annot b e e ff ected. Prints cannot be ma d e from duplicate s. COLOR PRINTS IN TWO SIZES In size and in "feel, " the Mini- color Print 2X is comparable to a fine p laying card. Strong, smooth, resili- ent. The print support is n ot pape r or card. It is white-pigmented cellulose acetate . Ab out b y inc hes. With rounded corners-just like the smalle r color illustrations you see on these pages. 75 cents, e a c h-and, if you wish, you may ord e r several Prints from the same Kodachrome. Minimum charge pe r order, $1. Like the 2X prin ts in appe arance and texture, the generous proportions of the Minicolor Prin ts 5X make them especi a lly appealing . b y inches, mounted behind a 5 x 7 1/2-inch

A Minicolor Print as it comes to y ou, fram e d i n a n a ttracti v e double mount. 7 SAYS M R. RALPH A. DAHL O F O MAHA, NEBRASKA

DON'T suppose this to be an orig- faithful Cine-Kodak B of none-too- inal thought, but the thing which recent vintage) will make grand mov- reallyI makes movies good is more the ies if its nwner will really make movies idea behind them than the equip- with it. Not necessarily prize-winning Neither do we want to give subjects ment used or the photographic astute- sagas. Just a personal picture diary- directions such as, "Sit in this chair ness of the camera owner. Any good but in movies. for a moment, please-! want to make movie camera (I happen to use a From the days of our earliest snap- a movie of you." That's posing, and shooting with a trusty we've the prime virtue of movies is that our been accustomed to crying, "Hold it," subjects don't have to pose. They can just before snapping the picture. We just be themselves-exactly as we not only made our subjects fully aware want them. Especially children. of our presence and of that of the A posed youngster is the most un- camera, but we had them freeze at happy of mortals. It's completely un- our signal. natural for them to pose-to even sit All of this is wrong, very wrong, or stand still, for that matter. And the for movie making. (And, for that mat- most carefree of movie subjects are ter, it is likewise wrong for snapshots.) those selfsame children. Just so you give them something to do, in the event their activities do not already represent grand movie material. And just so you studiously avoid bringing out the camera when they are tired or irritable. See that they associate your movie making with their happier moods and moments. Until the advent of Martha, Mary was the bright particular movie star in our family. Now, of course, they are co-starred. But as Martha is still very much in the wide-eyed stage of child- hood, Mary is the young lady whose likenesses adorn this page. These scenes, and many others quite similar to them, are a very significant part of the Dahl movie diary because they are Mary as we know her, busy as can be every moment, utterly uncon- cerned about our purring movie cam- era. She knows it's there and in use. She knows that she is the center of attraction. But show me a child who doesn't relish this situation and who cannot carry it off with the aplomb of a seasoned stage performer. Making a pie, keeping house, call- ing the grocer, arranging a new and intricate hair-do, entertaining at tea, trying on a new hat-that's fun for Mary. And for all other little girls her age. Needless to say, it's also the stuff of which movies are made. Lively, amusing, utterly natural. 8 toflood lamp. As small as ordinary dentally. Don't stand directly behind household lamps, and as inexpensive, the reflectors and shoot right over Photofloods produce a powerful and them. For if you do the lens may "see" beautiful "white" light of unusual the top of a reflector even if the cam- photographic effectiveness. Type A era finder doesn't. Stay to one side, F you've already made indoor mov- Kodachrome, in fact, was especially whether you are in front or in back, ies, check the information on this color-balanced for just this type of and forget exposure worries once pageI to see if we've left out anything. light, and, as every experienced cin- you've set your lens aperture for If you haven't made any indoor amateur will assure you, Kodachrome light-to-subject distance. The camera shots-or if you've made them hit or indoors is wonderfully real. And won- distance affects focusing only. It has miss, and missed-give this page care- derfully easy, since Eastman intro- no bearing whatever upon exposure. ful reading. For here is half of the duced Kodaflector. Another point of importance is the movie story. And half of the fun. matter of reflections. Windows and The one dismaying aspect of movies REFLECTOR USE IMPORTANT mirrors may, unless watched, reflect indoors, to the uninitiated, is the A few Mazda Photoflood lamps, an image of your light source. Look absence of daylight with which they're themselves, will supply ample light before you shoot-a step to either side familiar. It may vary from bright to for indoor filming-but plenty of prob- will generally eliminate the problem. hazy to dull. From dawn to dusk. Yet lems, too. Reflectors, for one thing, Another item to keep in mind is natu- it's reassuringly real and they have shield the camera lens from the lamps. ralness in room lighting. Kodaflector made scads of fine movies under its Reflectors direct the light where you will light up your room for picture varying rays. want it. Reflectors greatly increase making but at the same time its bright But artificial light? How do you the effectiveness of the lamps, make rays will wash out the comparatively know what exposure to use? it possible for far fewer of them to be feeble illumination provided by Here, oddly enough, is the reason used. And reflectors concentrate the shaded room lights, which, at night, why indoor movies are so downright light source at one spot, making it really should appear to be lighted. To easy. There's no guesswork at all to easy for you to gauge the distance have these come through with pleas- exposure. The light is unchanging. from this spot to the subject, and hence ant realism, replace the ordinary Clouds or climate or the hours on the to gauge the exposure. lamps with No. l Photofloods. Then clockface don't mean a thing. Only Kodaflector, Eastman's twin-reflec- tables and near-by chair arms will be one factor is of real importance. Dis- tor outfit, was designed expressly for bathed in pools of light and your tance. The distance from the lights to movie making with Photofloods. Mark- scenes will acquire depth and natural- the subject-this is what determines edly inexpensive, light in weight, ness. No exposure allowance need as exposure. When, let us say, that dis- easily portable, readily erected or dis- a rule be made for the extra illumina- tance is feet, you use stop f /4. assembled, adjustable as to height and tion provided by such shaded lamps. When it's 4 feet you use f/5.6. When direction, one Kodaflector and two it's 12 feet you use f /1.9. This exposure Photofloods are usually a sufficient NO EYESTRAIN advice is given by the tiny silvered and efficient lighting unit for average WITH PHOTOFLOODS exposure cards packed with each roll indoor filming, especially when the This comparison between the po- of Cine-Kodak Film-the cards you lamps are No. 2 Photofloods. Twice as tency of Photofloods as compared to slip into the Universal Guide which is bright as No. l Photofloods, two No. 2 ordinary lamps may cause you con- affixed to all current Cine-Kodaks, Photofloods in Kodaflector produce a cern, particularly as to the effect of and which is readily attachable to all whale of a lot of light. You can use it Photofloods upon the eyes of infants. older Cine-Kodaks or available in well back to illuminate most of an Don't worry about it. Photofloods top Pocket Model form for use with average-sized room in which you can the illumination of ordinary lamps any movie camera taking Cine- then freely move about with your about as effectively as sunlight sur- Kodak Film. This exposure advice is camera, making shots from behind, to passes Photofloods. Remember that also given by the instructions attached one side, and in front of the Koda- sunlight frequently calls for picture to the reflectors which hold the lamps flector. Shots from almost any posi- making at f/ll and f /8 whereas even that make indoor movies so easy. tion and distance, just so you don't the brightest in-the-home Photoflood A word or two about those lamps block off the light when in front of ' light seldom permits you to stop down and reflectors. Kodaflector or "pick up" the reflec- beyond f/3.5 or f/5.6. Photofloods are Indoor movies really came into their tors when shooting from behind them. brilliant-yes. But only by comparison own with the introduction of the Pho- It pays to watch this one point, inci- with ordinary lamps. Give your sub- 9 Page 10, Please jects a moment or two to become ac- posures by either plan are identical- customed to your movie lights before and these are given on the "Photo- they are called upon to face them and flood" side of the silvered cards they will probably not even blink. packed with every roll of regular Kodachrome. Both these plans, how- CHOOSING THE FILM ever, are far less efficient than the Speaking of sunlight, you will re- "Type A" -and-regular- Photoflood member that Type A Kodachrome, method. And "Type A," when it is being color-balanced for incandes- exposed through a Daylight Filter, cent lighting, is just as allergic to day- can be used outdoors during the day, light as regular Kodachrome is to arti- with the same effectiveness and at the ficial light. "Type A" takes on a bluish same exposures as regular Koda- cast under natural light. "Regular," a chrome. All of which is of necessity reddish hue under Photofloods. When a bit long-winded, but it covers the Indoor exposure is no problem when you refer to the exposure card packed with each Cine- filming indoors during the day with Kodachrome-Photoflood situation Kodak Film for use in the Universal Guide. Type A Kodachrome be certain to rather thoroughly. pull down the shades, or all objects One Kodaflector, two Photofloods, near the windows will go consider- and perhaps a filter-these are all the £lectors, themselves, may be quickly ably off color. Regular Kodachrome, items you need. Their cost is as low as attached to any lamp that can be however, can be used indoors during their use is simple. tilted to direct light as do Kodaflec- the day by supplementing natural tors. Where you would film at f /4 or light with the illumination of blue, f/3 .5 with the latter, with Handy Re- Daylight Photofloods, which lamps, of flectors you shoot at midway between course, can be used with this same It is possible that material shortages f /1.9 and f /2.8. film at night. Still another way of color temporarily may prohibit your dealer The other substitute for Photofloods filming indoors is by means of regular from stocking Kodaflector. If so, there in Kodaflector is the Mazda Reflector Kodachrome, regular Photofloods, are two easy "outs." One is to obtain Photoflood {No. R2)-a combination and a Kodachrome Filter for Photo- two or more Kodak Handy Reflectors. of Photoflood and reflector likewise flood which color-balances this day- As is explained by the silvered cards designed for use in floor-lamp sockets. light film for use under ordinary Pho- packed with your film, a one-and-one- The R2 lamp is one aperture stop tofloods. Because this correcting blue half stop wider lens opening is re- behind Kodaflector-No. 2 Photoflood filter slows down regular Kodachrome quired when Photofloods are used in efficiency. Where you would use f/5.6 just about as does the blue-filtering these cardboard reflectors than when with the latter, with R2 Photofloods coating on Daylight Photofloods, ex- used in Kodaflectors. The Handy Re- you must film at a stop wider-or f /4.

Several months ago Eastman made a coast-to-coast survey. Representa- tives called at the homes and offices of hundreds of movie makers to find out what they filmed, how it panned out, what difficulties they experi- Continued from enced, and, incidentally, what they Page 4 thought about Cine-Kodak News. In many of the calls, movies were shown, and preceding almost every showing ups. That's probably the reason every- cinamateurs said, "Don't be afraid of one likes indoor shots so much. hurting my feelings. Tell me what's Yet even so-why panoram? wrong with my pictures, for that's the Although movie shots are made way I'll learn to duck these boners in singly, they are shown consecutively. The whole picture shows the field of a wide- the future." Movie audiences don't think of a angle lens the dotted line that of a standard lens used at the same distance. There wasn't much of anything movie sequence as a series of individ- wrong with most of the films we saw, ual pictures. They regard them as one to cover a wider field than the stand- but when there was, we dissected picture. That is why you can blend a ard lens. The 15-mm. wide-angle lens the trouble-and parted on friendly dozen or more connected subjects into for 16-mm. Cine-Kodaks is doubly use- terms. That's why we mention so many one movie of one occasion. Panoram- ful, however, for it makes extreme of these everyday filming slip-ups in ing, seldom necessary, is particularly close-ups when focused down to a Cine-Kodak News. distracting for close-up filming. We half foot. wouldn't advise it. You can readily imagine the many Yet if yours is a focusing camera, interesting indoor close-ups available Due to the present unusual difficulty in the taking interchangeable lenses, a wide- through lens versatility such as this. suppl y of certain essential materials, and in angle lens can be heartily recom- The wide-angle lens is a truly useful precision production generally, deliveries of mended for indoor filming. It sees some of the products described in this issue may item to have around the house. be unavoidably delayed. quite a bit more than the standard Also, for similar reasons, some of the equip- lens, and its f /2. 7 speed is easily fast WHO, US? ment illustrated and described here may have unde rgone or may undergo mild structural enough for indoor filming. There's a Dear Sir: fixed-focus wide-angle lens for the change without, however, impairment o f the I usually read Cine-Kodak News right product's efficiency. Magazine Cine-Kodak Eight and a fo- through-even though it sometimes seems to A s both situations are la rgely brought about cusing wide-angle lens for the 16-mm. take the stand that the customer is always by necessary N ational Defense measures, we "E f/1.9," "K," "Magazine Sixteen," wrong.-D. M. , North Vancouver, B. C. know that we can count on your understanding and the "Special." We certainly don't intend to. Do and indulgence as long as these conditions exist. The prime purpose of a wide-angle other readers feel the same way as EASTMAN KODAK COMPANY is to produce a broader viewpoint ... Mr. D. M.? lO FOR THE MOVIE MAKER IN THE FAMILY

E may not want to tell you-but if you could read his H mind, you'd find one or more of the Items on this page well up on his list of Christmas expectancies. Take comfort in the thought that, although highly esteemed by cinamateurs, prices on these home movie aids start extremely low. Your near-by Cine-Kodak dealer will gladly aid you in a selection. EASTMAN KODAK COMPANY, Rochester, N.Y.

YOUR cinamateur will burn a lot less mid- night oil, making big reels out of little ones in '42, if he has the right editing equipment- and both of you will show a lot better movies. A good Rewind and Splicer is of paramount UP 'til now we've been talking about either importance. Eastman makes several models, 8-mm. or 16-mm. movie gifts. Here's something most popular of which is the Rapid extra-special for 16-mm. filmers-a revamped Rewind and Universal Splicer-above. This still camera that makes snapshots from either outfit handles 8-mm. reels of any size and black-and-white or Kodachrome movies. 16-mm. reels up to 400 feet. The Splicer trims Through the medium of the Kodak 16-mm. both film ends in one motion, flicks off emul- Enlarger, just the scene or expression that wins sion from one film tip, drops the other into applause when you throw it on the mov1e exact position, and welds the splice. screen can be transferred onto still film and There' s a Kodascope Master Rewind-below transformed into snapshot prints. -for 16-mm. reels up to 1600-foot capacity. Advanced cinamateurs hail it as " tops." UNTIL your movie maker has edited with the aid of a Kodascope Movie Viewer, he'll never know how easy it can be. This little device, which fits on any horizontal rewind, shows movies on its ground-glass screen, thus elimi- nating the need of a projector at the editing table. He can wind film through it in either direction, locate just the frame for a cut or a splice, or a movie enlargement-see Enlarger copy on this page-and finger pressure on the Viewer's spring punch makes a harmless Iden- tifying nick on the film edge .

THE Kodascope Editor Outfit is the movie edi- tor's idea of Utopia. Rewind, Splicer, Viewer, IF you, and the movie maker in your family, IF your movie maker is not among the more editing tray, storage space for a film cleaning dislike accompanying your movies w1th an outfit and extra reels and film cans-the 20-inch- than 100,000 who already have How to Make explanatory monologue, consider the Cine- Good Movies, you should move this cinematic wide case of the Editor Outfit offers them all. Kodak Tiller. You don't need to be an artist to Complete, it costs but little more than the com- best seller right up to the top of your shoppmg use it because the Tiller's auxiliary lens list. Readers like this book. It tells them what bined price of the accessories without the pro- "blows up" titles in its easel so effectively that tective portability of the case. they want to know the way they want to hear even ordinary typewriter type becomes clearly it. Simply, entertainingly, completely. How to If your cinamateur already has the Splicer legible on the screen. Yet the Tiller will go and Viewer, you can get the Editor Outfit with- Make Good Movies is fun to read, and it along if you want to go "arty." Advertising makes movies more fun to show. out these two items, but otherwise complete, illustrations lettering, greeting cards, sketches, at very modest cost. postcards, movie enlargements-any material of proper size can be faithfully reproduced by the low-cost Tiller.

C INE-KODAK* NEWS *T . M . REG . U .S. PAT. OFF . Give a Cine-Kodak ... give Kodachrome Film

ERE'S the timeliest gift for everyone on your Christmas Hlist who has a movie camera. A special gift package of Kodachrome Film-the " makings" of dozens of movie shots. From Christmas morning on, this film will tick off the best moments in gorgeous living color. Regular Kodachrome for use outdoors . . . "Type A" for movies around the tree. Be sure that the movie camera in your family is ready for action-with an ample reserve of Kodachrome on hand. And-come to think of it- isn't there a name on your Christmas shopping list which suggests a Cine- Kodak? Eastman Kodak Company, Rochester, N. Y.

See the Christmas Cine-Kodaks At Your Cine-Kodak Dealer's