WITHOUT SCENARIOS By Leslie P. Thatcher of Toronto, Canada you don't need a script to make a good movie-a movie with a logical beginning and ending. Sometimes, as a matter of fact, a scenario is a handicap. You jot down just so many shots at home, then make them in the field, with the result that your mind is closed to a wealth of other material-unsuspected or unexpected-which should rightly be in your reels. No-1 think that a general idea of what you want in a movie is about all you need. That, and an alert eye for all useful material once your camera has started purring. In the summer of 1935, my companion and I elected to make our second vacation trip along the Gaspe coast in Quebec. Rather than just a catch-as-catch-can movie, I de- cided that the movie plan promising the most enjoyment for me to make, and for my future audiences to see, would be the taking of a documentary film depicting the life of the colorful fisherfolk scattered along the broad and salty shores of the St. Lawrence. We stopped at Riviere Madeleine, some 400 miles east of Quebec City, and about 150 miles from the most easterly point of the Gaspe Peninsula. There were two reasons for our choice-both familiar to fortunate travel- ers in these parts. One was the Noah's Ark Inn. The other, the little fishing village of Grande Anse, located just around the bend in a little bay. I started off by shooting all the scenes I could by just being around with the fisher- men, going out in the fishing boats with them as they made their catches, bringing the fish

The movie "frame" illustrations on this and the following page were made from enlargements selected from one of Mr. Thatcher's many 16 mm. black-and-white home movie reels. back to shore, cleaning, salting, dry- vious issue of the "News," a smile duced at a small plant operated by a ing and packing. Then, in their odd works wonders and the sign language lumber mill in the vicinity drawing moments, I took a number of close-ups is universally understood. power from the Madeleine River. The and specially staged shots so as to The title for the reel may interest news of the movie show was passed build up the picture in proper form you. I had a book "dummy" lettered around from mouth to mouth and and make it appear as one day in the with the title of my film, and one page about six o'clock the next day we no- lives of these fisherfolk. I would go of type set up for a preface subtitle. ticed scores of people coming from through the particular action I desired In the reel, the book is shown as one every direction-walking, in wagons, and then they would gladly duplicate of several on a table ... a hand re- in dog carts, and even in fishing boats it for the benefit of my camera. I shot moves our book from its companions loaded down to the gunnels. By seven ample footage and was able to make a ... turns it to show the cover ... then o'clock the old barn which the lumber rather presentable picture on my edit- slowly opens to the preface to intro- corporation permits the inhabitants ing table-presentable enough to win duce our subject. to use for dances, concerts, and the an award as one of the "Ten Best" in like, was jammed to the doors. Just as A real projection thrill the 193~5 Contest of the Amateur soon as it got dark, I started the show. Cinema League. I would like to state In the summer of 1936 we made our Many in the audience had never seen here and now that the French Cana- third trip around the Gaspe coast and a motion picture in their lives before. dians, or habitants, as they are called, this time I took along my projector and In fact, many of them have never been are the most hospitable people I have a number of films including the more than ten miles from their homes. ever met. Not one person in this little "Fishers of Grande Anse." Again stop- So you can imagine the thrill they got village could speak a word of English. ping at Noah's Ark Inn, I agreed to in seeing motion pictures. But when I And I still cannot speak a word of put on a show for the guests. Although put on "Fishers of Grande Anse," the French. But, as Mr. Ralph Gray said Madeleine has a population of only roof came right off the barn-and in his Mexican travel story in the pre- 650, they have electric power pro- I don't think they have found it yet.

EASILY THE FINEST PROJECTOR IN ITS CLASS The new Kodascope G sets a new high in ability, performance, and value

ODASCOPE G, just out, is easily show "stills," can even be reversed so the finest projector in its class that you can review scenes or create forK the smooth showing of 16 mm. amusing screen effects. It has an un- silent films. usual threading knob which "clears" For example-"tailor-made projec- the gate of pull-down claws so as to tion." The "G" can be purchased receive the film. You merely turn the with your choice of five lenses of dif- threading knob-then slip in the film. ferent focal lengths and "speeds," It's as easy as that. and three lamps. The lenses-l-inch There are positive framing and tilt- /.2.5, 2-inch /.2.5, 2-inch /.1.6, 3-inch ing controls, a motor speed adjustment !.2, and 4-inch /.2.5; the lamps- knob, simplified focusing. There are 400-, 500-, and 750-watt. One lens only three spots to oil on the entire ma- and lamp, in combination, will supply chine. Dual, tandem pull-down claws exactly the amount of light you should assure longer film life. Kodascope G have for the size screen you use and has an unusually smart black crinkle the distance at which you use it. and hand-rubbed lacquer finish. "Tailor-made projection" is the only The carrying case for the Model G way you can be certain that you are is worthy of mention, too. As with the getting all the light you need, yet popular Kodascope EE, the base of not too much. the "G" is designed so that it fits A single, four-position switch runs over the carrying handle of the case, the machine. At "OFF," all current is transforming the case into an ever- cut off from the "G." At "THREAD convenient projection stand. LIGHT," illumination is provided for The price of this splendid projector threading. At "MOTOR," the thread is $124.55, including 2-inch /.l.6lens light remains on so you can observe and 500-watt lamp. Its dual-purpose the film movement as the motor starts. carrying case is priced at $12. As an At "LIGHT," the thread lamp goes off examination at your dealer's will con- as the projection lamp goes on. clusively prove, Kodascope Model G Kodascope G rewinds film by motor is a 16 mm. projector which is tops in drive, halts with finger-tip pressure to performance, far below tops in price. 2 THE LONG AND SHORT OF IT Combined in movie reels, they make the ideal show

seconds exposure," say camera waves, sunsets, slowly paced action them adjusting skis, tightening belts "TENmanuals, "is sufficient for most or lazy tropical vistas-these are some and tugging down caps ... even scenes." of the subjects suggesting shots of briefer shots of the all-is-clear signal And so it is. But it all depends upon extended duration. from below (which you make earlier what you are shooting. And diving, jumping, games of or later) . .. the nod from the official The next time you visit your local high-speed action, informative close- starter . .. the start ... the run ... the movie theater, check on the length of ups of subjects' details-these are the arm-flailing take-off ... the jump .. . scenes produced by your Hollywood type to make in short, terse scenes. the landing. contemporaries. You'll find that they Yet even a more frequently applica- If a vacation reel, you want to step vary considerably with the type of ble benefit of variation in scene length up the leisurely start of the film by subject being filmed and their posi- lies in its effect upon the tempo of a shortening scene lengths as you ap- tion in the reel. film story. No movie, no matter how proach the big moment of the holiday Let's first devote a moment to the well filmed and edited, regardless of -whether it's the largest fish you type-of-subject idea. the interest of its subject matter, can caught, the lowest golf score you shot, If, for example, you and your cam- ever be as interesting as it should be the grandest view from the highest era are in attendance at a local air if all its scenes are given the same peak you climbed, the final achieve- show and your attention is centered screen time. The reel will drag. It ment of a passable swan dive after on a death-defying flyer carving weird can't avoid it. two weeks of practice. patterns in the sky-how long should And if a play, the climax should be your scene be? Mix 'em up stressed by being preceded by short, Ten seconds? Five? Fifteen? In general, there should be a happy exciting action glimpses. No-to all three. It should last as intermingling of scene lengths. One long as your camera will run, unless or two extended shots to introduce a Here's your rule of thumb the aerial gymnast cuts short the show. subject or its locale. Then several Gauge scene length this way: If you But perhaps your camera target is a brief ones to point up the highlights. were describing the same subjects in child, engrossed in make-believe And perhaps another lengthy shot to words, keep your movie scenes long cooking at a toy stove. She may have gracefully and easily wind up the where proper word description would a half dozen or more cooking utensils sequence. (You'll notice, too, that be painstaking and detailed. Cut 'em in which she has mixed, and is about extended shots are as a rule synony- short where the pace of your words to cook, outlandish concoctions of her mous with distance shots, and brief would increase, or the length of your own invention. You could make one shots with close-ups.) But in almost sentences would decrease, as you extended shot of her fussing with them every movie, whether it is a short spotted bits or described action for all. But your film will be far more sequence, a vacation record, or a your listeners. You'll find this an easy interesting if you make brief shots of playlet, the length of scenes should and effective rule of thumb for esti- the handling of each toy utensil and decrease as the film approaches its mating movie scene length. And intersperse them among glimpses of conclusion. you'll find that its application will do her rapt countenance to show how If a ski jumper is the subject, the wonders for the interest of your films. busy she is. For just one or two long sequence might well be: Extended That's the long and short of it. shots would not only slow down the shot of hill, spectators, and runway ... story but also give your audiences medium shot of a group of jumpers much less insight into her culinary examining skis, extended shot of them The illustrations in the strip directly below, enlarged from movie makers' films, are typical of subjects suggest· skill. trudging uphill ... medium shot down- ing extended exposure- those in the bottom strip point Lovely scenics, waterfalls, breaking ward from top ... several brief shots of out the type of subjects generally calling for brief shots. 3

One of the fortunate few to view the Corona· W e suspect that Mr. Fred C. Ells of Yoko· This delightful scene from Old Mexico is a Lots g oing on here- and Mr Harry N . tion from a good vantage point, Mr. Stephen hama, Japan, kept his camera operating feast for the eyes in its original Kodachrome Taylor of Parkersburg, W . Va., wisely kept S. Marks of Brooklyn, N. Y ., made a full- until it just plain "ran down" as he followed - which is why Mr. Ralph E. Gray of Mexico his camera whirring as the ducks pirouetted Length shot of this scene. this graceful gull across the sky. City kept his finger on the exposure button. about on the lake's surface.

Diving is a split.second affair. Mr. Hamilton Typifying the excitement of sailing time is Plenty of shooting going on here. But Mr. Little bits of "business" such as this call for H. Jones of Buffalo, N. Y., therefore filmed this brief shot of the ship's siren filmed Tom D. Park of Tulsa, Oklahoma, didn't terse scenes so that they do not slow down several dives on the same footage he would by George Marrin and Capt. R. Stuart devote more than a second or two to the rifle- the film story- a fact well known to Mr. ordinarily devote to an average subject. Murray of New York City. man- he hurried on to what the bullet hit. Leslie P. Thatcher of Toronto, Ontario, A percentage of all movie films processed- 8 mm. and 16 mm., Kodachrome and black-and-white- are projected at processing laboratories as the ultimate test of quality. The Editor of the "News" has taken the liberty of "sitting in" on this projection. In this new department will b e reported the faults, flairs, and filming formulas of cinamateurs as evidenced in their processed reels. Even though you do not recognize your initials in the paragraphs be low, you may find many pointers equally applicable to your filming efforts

W. A. H., Lebanon, Pa. ing on both sides of your subjects-but none Mrs. J. L. S., Bridgeport, Conn. from the front, with the result that their fore- 8 mm. regular Kodachrome: heads were almost devoid of color. You need 16 mm. regular Kodachrome: Excellent Kodachrome movies have use little, if any, conlrasly lighting with Koda- You're on the right track, but there chrome-indoors or out. The contrast comes been made of the Ice Follies in Madi- from colors, not from shadows. are several "don'ts" for you. Don't son Square Garden (see "Broadway pose your subjects-you're using a Lights"-January-February "Cine- M.G. C., New York City movie camera. Don't "fan" the land- Kodak News") but not with regular 16 mm. black-and-white: scape with the camera-let your sub- Kodachrome. Type A Kodachrome is jects do the moving. Don't walk with one stop faster than regular Koda- Nice exposure on your Washington the camera in operation when chang- chrome under artificial light and is Square shots. But that 360° rapid pan- ing from a medium shot to a close-up. color-balanced specifically for that oram-wow! Your indoor shots are Make 'em both, singly. Don't use reg- type of light. A Kodachrome Filter badly underexposed. With your day- ular Kodachrome indoors without a for Photo flood would have color-bal- light shots near windows, you should filter-that's what made your indoor anced your regular Kodachrome, but have drawn back those heavy cur- scenes so red. Regular Kodachrome is this would have slowed it up one more tains. Even then, interiors by daylight an outdoor film which can be used stop. Your camera is believed to have are a gamble because of the wide indoors with complete success if an /.2.7lens-a further reason for not variance in the amount of daylight color-balanced by a "Photoflood" trying nighttime movies with regular admitted by various types and sizes of filter. But that slows it down still more. Kodachrome. Although stop 1.1.9 is windows, kind of day, position of sun, Type A Kodachrome is the indoor certain to produce beautiful results etc. Your interiors with light furnished color film. It's faster indoors than reg- with Type A at the Ice Follies, you by ordinary room lights were also way ular Kodachrome even where "regu- would have obtained thoroughly satis- "under." Kodaflector is the answer. lar" is used without a filter. And when factory shots at / .2.7 of the brightest Then you always know exactly how "Type A" is used outdoors with a scenes had you used the faster Type A much light you're using. Daylight filter, it can be exposed at Kodachrome Film. Dr. W. R. H., Waterloo, N.Y. the same speed as "regular." "Type 8 regular Kodachrome: A" is the film to use when you're R. B., Washington, D. C. going to have both indoor and outdoor 16 Type A Kodachrome Nice exposure on your winter hunting scenes. Your reel lacked but two items: How the deer shots on the same reel! Wonderful work on your indoor Christmas was shot, and close-ups. If your camera tree shots. Excellent over-all lighting and a wasn't nearby at the kill, you could have faked B. F., Dayton, Ohio nice use of close-ups to set off the amusing the scene with a close-up of the lucky hunter 8 black-and-white: antics of toys. shooting, and another of the unlucky deer, fallen. Close-ups of feel would have better Too bad every 8 mm. filmer in black-and- told the story of that dangerous river crossing. white, not yet using a filter, cannot see your A. W. K., Malverne, L. I., N.Y. splendid airport and airplane shots. Great 16 mm. black-and-white: work. M. M., Ann Arbor, Michigan It doesn't pay to try indoor movies 16 mm. regular Kodachrome: without an efficient reflector such as D. W. W., Old Westbury, N.Y. Kodaflector, Eastman's $5 twin-re- Grand diving shots and color in your 8 mm. black-and-white: flector lighting outfit using inexpen- normal speed scenes-but you didn't Again-close-ups, please. Otherwise figure your exposure allowance cor- sive Photoflood lamps. Although Cine- a fine reel with exception of that per- Kodak Super Sensitive "Pan," being rectly when you shifted to slow motion. haps puzzling element at the bottom a stop faster than your film, would Between 1.8 and f.ll at normal speed of the picture in your panoram shot. have helped, a serious lack of light of 16 frames per second in average It's your finger. was your chief handicap. Even though bright sunlight is the rule . .. one stop your camera is believed to have an more-or between 1.8 and / .5 .6-for 1. C. 1., Providence, R. I. 1.1.9 lens, the lamps you used were 32 frames per second ... and again 16 regular Kodachrome: one more stop-or between 1.5.6 and far too weak. Kodaflector costs only You aren't using that £.1.9 lens for all it's $5, and assures excellent results with /.3.5-when you double the brevity worth. Your first scenes in shade were badly all in-the-home shots. of "32" and go to 64 frames per sec- underexposed. Here's why: Midway between ond for true slow motion. £.8 and f 11 is right for Kodachrome on a day L. S., New York City of average bright sunlight-but you and your subjects weren't in that sunlight! Your next 8 Type A Kodachrome: F. L. G., Columbus, Ohio 8 black-and-white: shots, on a cloudy day, prove that your film You used plenty of light, but not correctly. It and camera have the range. You opened up would seem that you had equal lighting play- Close-ups-please! for them and got grand color. 4 Before leaving for Europe this last I DOUBLE IN BRASS summer, I added a Kodak Bantam Special to my camera equipment, together with a plentiful supply of By C. W. Woodall, M.D., F .A.C.S. Kodachrome Film for stills. The net re- of Schenectady, New York sult of this addition was about 150 shots of the most beautiful scenery encountered along the Riviera, N the parlance of the orchestra pit in Venice, the Alps, and the Scandina- -I double in brass. I take movies. vian countries. When these were AndI I also take stills. I take stills, too, mounted between cover glasses and because I have found that one form of projected on the screen, they made a picture making supplements the other. beautiful supplement to the continuity My film, for both cameras, is Koda- of movies. My friends seem every bit chrome-strictly Kodachrome. as enthusiastic about the colored stills My vacations, for the past ten years, European countries, with the excep- as they are about the movies. have largely been planned about the tion of Russia and the Balkan States. The acquisition of a still camera no central theme of movie making. I go My good wife, who is blessed with longer represents a bulky addition to where I believe I can get the most in- that rare insight into masculine nature one's filming kit. The Bantam Special teresting pictures-which is, inciden- which recognizes that a hobby is an is so small-almost vest-pocket in size tally, a rather sound idea to keep in essential buffer to the routine strain -that you can carry it along with mind for enjoying the most interesting of surgery (or, for that matter, any your movie equipment without a sense vacation. Alert for good shots, you see other nerve-straining profession), has of additional burden. The ease of more of a foreign land. And, when a become an ideal "camera nut's" com- operating this little camera, and the camera or two is your traveling com- panion, ready to go anywhere at any exceptional definition supplied by its panion, you not only see more, but time, enthusiastic when enthusiasm is highly corrected lens, result in pic- retain more of your travels than those in order, condolent when mistakes are tures that are exceptionally fine, even less photographically inclined. made. Once she even went so far as in the hands of one who is compara- Starting in with a Cine-Kodak B to secrete a roll of Kodachrome in tively inexperienced. £.6 .5, later graduating to a Model B what are technically known as My two cameras don't mean double £.1.9, and then to a Model K £.1.9, I "bloomers" when I was arrested for trouble to me. But they do represent have filmed my way through the West unwittingly photographing in a Euro- double pleasure when I've returned Indies, Florida, Bermuda, twice across pean military zone. from a journey with my pictures . . . the American continent, to Alaska, double enjoyment for both Mrs. W cod- through Mexico, and twice, also, The "News" a big help all and myself-and also, I like to through Europe-taking in most of the As I look over my past movie films believe, for our friendly audiences. and see the gradual improvement from year to year, I am impressed with the necessity of following out the few fundamental rules which have been stressed so often in ''Cine-Kodak News." How those early pictures jumped on the screen! Of course, no tripod was used, and the camera was not held steady. Most scenes were either too long or too short. And the panoraming was terrible. One would think I was handling a garden hose instead of a movie camera. Inciden- tally, I believe that the habit of pano- raming is the hardest thing that the average amateur has to overcome. I know it was for me because it took years before I attained that self-con- trol which will not let me panoram. There is another factor which has helped my movies in recent years. And that is the improvement of film emulsions, and especially the devel- opment of Kodachrome. The sparkle and life which the brilliant colors of Kodachrome bring to pictures can best be appreciated by those of us who have made home movies since the early days.

The illustrations on this page are reproduced from Dr. W oodall's Kodachrome stills and movie film- left and right, respectively.

Dr. Woodall and his ever-reliable Model K are shown at the top of this page. His still c ame ra, a Kodak Bantam Special, also serves as Dr. W oodall's unobtrusive and ob servant traveling companion. Othe r precision-built "miniature" Kodaks taking Kodachrome are the Re tina I and Retina II. 5 N each issue of the "News" twelve shots are repro- duced from the many film clippings (not less than four inchesI in length, please), full-length scenes, and com- plete reels sent in by movie makers. For each shot selected, two Etchcraft Junior enlargements are pre- pared and mailed to the winners. The original movie film is not in any way harmed or cut. All film is returned. So much for successful contestants. Unsuccessful contestants receive a friendly, construc- tive criticism of their films. 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 films to Canadian Kodak Com- pany, Ltd., Toronto-together with a note stating that the film is submitted for the Cine-Kodak News " Good Shots" contest.

First column, top to bottom

A repeater in these columns is Mr. 0. K. Parks of Syracuse, N. Y. His original film for this pleasing shot of the birds was 8 mm. Kodachrome.

Miss Jeanne L Albert of the Bronx, N. Y., made the 16 mm. black-and-white Times Square shot. Though undeniably a "good shot" with "Pan" film, we hope she tries it with Type A Kodachrome next time.

Do your 8 mm. "Pan" shots look like this shot of the Texas State Capitol? If not, the chances are that you, unlike Mr. Charlie B . Metcalf of Houston, Texas, do not use a filter nor frame your long-range subjects with depth-giving foreground objects.

Again an Eight! Cadet J. G . Stewart made the nicely filtered and framed 8 mm. black-and-white shot of the West Point Chapel.

The lovely tropical sunset scene was made on 16 mm. Kodachrome by Mr. H. L. Siewart of W inter Park, Florida. Once again there's that something in the fore- ground.

Mr. Robert F. Hamilton of Portland, Oregon, made the 16 mm. Kodachrome shot concluding our first column. There would have been nothing much to Mr. Hamil- ton' s splendid shot if he hadn't had that all-important foreground object.

Second column, top to bottom

Lots of movie makers film their pets, but few get up close as did Mr. C. W. Mor- rison of Bradford, Pa., for this 16 mm. black-and-white shot of their family cat.

The striking silhouette is from 16 mm. Kodachrome reels of Mr. R. L. Borkenstein of Indianapolis, Ind. It is easy to imagine its original beauty in color.

Although this shot was made during an opposite season, Mr. Hamilton used the same technic as for his first-column sunset shot when filming this scene of ice- c oated reeds, enlarged from 16 mm. Kodachrome.

It is difficult to imagine a shot which would more dramatically portray the fuss and fury of a busy tugboat than this enlargement from the 8 mm. black-and-white reels of Mr. Ted Miner of Cleveland, Ohio.

Mr. Frank J. Kawatch of Saranac Lake, N. Y., first gained the friendship of these deer by feeding them, and they, in turn, obligingly posed for his splendid 16 mm. Kodachrome shots.

Our final winner for this issue is the crisp close-up of a quizzical cocker spaniel as originally filmed in 16 mm. Kodachrome by Miss Alice I. Wright of Briarcliffe Manor, N.Y. 6 TELL WITH TITLES How to order titles, make them with Cine-Kodak Titler, or from any size title card

HIS isn't an article. It's merely a will appear on your movie screen. resume of the many ways to title Black-and-white titles are made in filTms ... how to order them, how to two styles-card and scroll. 16 mm. make them, and how the results will card titles will take up to 35 words. appear when you show them. For titles up to 50 words, order two The easiest way to title your reels is card titles or one scroll; for more than Typing on wallpaper. to just write your titles, take your 50, scroll only. 8 mm. titles take up notes to your dealer, have him order to 20 words ... to 40 on two cards .. . Cine-Kodak Titles, and then splice the for more than 40 words, scroll only. resultant strips of title footage into 16 mm. Kodachrome titles are made your reels. The illustrations directly in card style only, with black letters below show you how well your titles on a bordered colored background. 8 mm. Kodachrome titles are made on "purple-haze" film. If you want to make your own titles, Cine-Kodak Titler offers by far the Simp le lette ring and a easiest "out." This $6.50 gadget elim- sketch on ordinary black inates the need for skill with lettering show-card stock. pen or brush. You just type your titles, and the auxiliary lens of the Titler boosts up the size of the typed charac- Babs gets an un- ters so that they are clearly legible on the screen. Of course, if you w ant to do tricks with the Titler, it will step right along with you. The illustrations at the right, and their captions, tell the story. Occasionally, however, you may Typing on d ull-finished A typical Cine-Kodak Card Title. have material you'd like to use for a snapshot. title that is far too large for the modest proportions of the Titler' s easeL The Work forgotten-- well problem in filming it is to know how far to have the camera from the card. armed with travelers' You needn't worry about centering the card vertically-just measure the distance from camera base to middle checks, pocket atlases of lens and put enough books or wood blocks under your camera until the and "Foreign Phrases total height of lens is half the height Typed strip pasted on snap- of the title card. shot or movie enlargement. in General Use" (which Here's the rule of thumb with /.L9 Cine-Kodaks for the rest of the prob- last is practically no help lem: Be sure that the title is in propor- tion to 4 inches wide by 3 inches high. Anchors in locating your hotel or Divide the vertical height of the card by 3/10 to arrive at the distance boat at A. M.) we from card to tip of camera's lens. 2 (Place 20 mm. /.3.5 Cine-Kodaks 8/10 of this distance.) "shove off" late in June, For example: a 9 x 12-inch card- 9 inches divided by 3/10 is 9 multi- Lettering on illustration 1936, for a round-the- plied by 10 and divided by 3, which from cruise folder. equals 30 inches. For a slight margin world cruise on the of safety, slide the camera an inch or two nearer and keep all lettering well "S. S. Cunarder." in from edges. You've already cen- tered your lens vertically. Center it Make your farewell bow horizontally by peeking through the finders. In some early issue we'll show you how several cinamateurs have to Miss Liberty. Map from cruise folder. Yo u successfully made their own titles. can indicate the locale o f We're Offl Titling, no matter how you do it, is your movie scenes with a fun. It also helps make your movies movinq p encil tip. interesting and informative. If this The effect of a scroll title is especially interesting, as the title runs in a continuous upward movement behind brief outline leaves questions unan- the stationary border. Scrolls are particularly useful a t swered, inquiries will be welcomed the start of a movie. by the Editor of the "News." 7

Straight typing on one of the 100 cards supplied w ith Cine-Kodak Titler. ONE GOOD HOBBY DESERVES ANOTHER By Hamilton H. Jones of Buffalo, N.Y.

OUR Cine-Kodak, and almost scenes an /.3.5 lens will do very whatever other hobby you may nicely. But if the /.3.5 lens is not in a have,Y can in all probability join hands, focusing mount, a portrait attachment and work very nicely together. I've is suggested for close-up filming. found more than double pleasure in Another novel effect can be easily combining my hobbies-movie mak- obtained with a Cine-Kodak by put- ing, and toy trains and villages. Some ting the camera on a flat car, and let- startling effects can be worked out. ting the train haul it along the track I had a lot of fun in conducting a at a fairly slow rate of speed. Your "safety campaign." Two identical toy future audiences will then have their automobiles were obtained from the first "ride" on a toy train. "5 and 10." One was smashed into a A thrilling railroad disaster may be total wreck with a hammer. A piece pictured with a little patience and of string was used to pull the good car considerable cutting in the finished up onto the railroad tracks, shots of a film. Show the flyer being wrecked, speeding "streamliner" tearing along then arrange the coupled cars in a the toy rails were interspersed, and pile-up, and, with your camera up- then, with almost terrifying realism, side down, pull the string of cars off the train crashed into the car crossing the pile by string or an out-of-sight the right-of-way. With careful cutting hand. When seen on the screen after in the film, the finished reel shows a the finished film has been edited and car, from all appearances being driven the wreck scenes reversed end for intact onto the tracks-and then appar- end, the cars will appear to pile them- ently being smashed to bits as the selves up in a most realistic fashion. previously bashed-in car is substi- tuted and pushed along the track by Fire! the speeding train, which shortly A genuine fire of no mean propor- comes to a stop with the wrecked bits tions may apparently be staged right draped across the locomotive. Inci- in the middle of the living-room floor. dentally, if your camera is so geared, Get all shots needed of the buildings movies will generally look better when you plan to burn, keep them centered shot at 32 frames a second instead of in the finder, and allow a generous the normal 16. The screened move- footage. If your camera, like mine, ment of miniature trains filmed in does not have a back-winding device, close-up is almost too rapid when shot take the film out of the camera in a at normal speed. dark room, rewind it on its original camera spool, and reload your cam- Watch your backgrounds era. Plan to try such shots on the first General shots of a toy village always several feet of film on a new roll, as it look well if no "foreign" objects, such is easier to rewind and also to get the as room furniture or basement walls, double-exposure effect necessary. are shown to give away the location. After reloading, build a fire, as large Yet a surprising note is lent to such or small as you think the original films when, after a series of village "burning building" in the village scenes has accustomed the audience would call for, out in the back yard at to your land of make believe, a gar- n ight, and retake the fire over the gantuan human hand suddenly ap- same film footage taken of the build- pears as though out of the sky and ings. The night fire scenes eliminate bodily lifts one of the "huge" houses background problems and give you from its foundation. the blackness necessary for a double exposure. Again, remember to keep Hurricane! the fire scenes centered in the finder, Too, if most of the houses are of the so they will be properly superimposed usual light cardboard material, and over the buildings you filmed indoors. miniature trees are seen standing Most of my suggestions seem to be about the model city, a stiff piece of of disasters. But such climaxes, after cardboard or "beaver board" waved many good scenes have first been with a slow, fanning movement will taken of train and city in a normal cause a first rate hurricane. state, are a fitting farewell to the put- If the toy village is illuminated, ting away of toy trains and village for street and building lights will show up another year. And they're all great better if only a small amount of other fun to make in movies. lighting is used to illuminate the entire scene. An ordinary 60-watt lamp in a O n this page are enlargements of some of Mr. Jones' reflector is sufficient to give just a sug- excellent 16 mm. black·and-white movie shots. This gestion of detail with Super "Pan" talented cinamateur does not specialize in train shots, however. He won highest honors in the 1937 "Ten film, and the tiny lights in the village Best" contest of the Amateur Cinema League for a will show up brilliantly. For many 16 mm. Kodachrome western travel reel. PICTURE INSURANCE

How a Tiny Photo-electric Cell Salvages the Results of Exposure Errors

HE success of the system of ama- showing any objectionable graininess. to the exposure of film. It is a provi- teur cinematography introduced In the early machines for process- sion for error in exposure and it gives byT the Eastman Kodak Company in ing Cine-Kodak Film, the second ex- Cine-Kodak Film that latitude by 1923 is due to the adoption of the posure was given by means of a lamp which it is distinguished. The film reversal process for finishing the pic- which threw a bright light upon the itself is made in such a way as to give tures. And the reversal process itself film as it ran through a trough of it the maximum possible range from depends for its value on the method of water. The intensity of this light was highlight to shadow. The processing controlling the second exposure, controlled by means of a graduated adjusts the average density so that the which was worked out by the Kodak wedge which was manipulated by an results are extremely uniform. Research Laboratories and which is in operator who watched the film and Sometimes this automatic correc- use on all of the many machines in adjusted the intensity of the light ac- (Continued on page 11) which the film is processed. cording to the density of the picture. When the study of the reversal This process gave very much better Enlarged from 16 mm. Cine-Kodak "Pan" Film, the process was started in Eastman labo- results than a fixed second exposure. left strip below received "straight" processing. The ratories it was customary not to con- But, "to err is human." right strip received Eastman's automatic corrective proc- trol the second exposure at all. After This problem was solved more than essing, given to all Cine-Kodak black-and-white film. Kodachrome Film is at present finished under the per- the film had been developed and ten years ago by the invention of very sonal supervision of specially trained operators. bleached, it was exposed to a great ingenious, photo-electrically con- deal of light and then redeveloped. trolled printing lamps, which are now The density of the final image de- used on the processing machines. As pended entirely upon the exposure the film runs through a glass-bottomed which the film had been given in the trough, a lamp projects a beam of red camera. If the film was overexposed light through it which has no action in the camera, and developed to a on the film. Immediately afterwards, very dense image when the silver was the film runs through a beam of white removed in the bleaching process, light from the same lamp which ex- there was very little material left to poses it. The red light passes through form the new image, and a thin, weak the film and falls upon a light-sensitive picture resulted. On the other hand, cell in which is generated a current of if the film had been underexposed in electricity, varying with the brightness the camera, the final image was very of the light passing through the film. dense. With the original reversal proc- This current is used in a galvanometer ess, a film had no appreciable "lati- to move a very light opaque vane tude." Good movies required very across the second beam with which exact original exposure. the film is printed. When the scene This difficulty was remedied when passing through the red beam is it was realized that the second expo- transparent, because it was overex- sure could and should be controlled posed in the camera, the cell produces in amount. When the first exposure a good deal of electricity and moves was heavy, the second exposure the vane almost completely out of the should be great so as to get as dense path of the white beam, thus giving a picture as possible. When the first the·scene the maximum possible expo- exposure was on the underexposure sure. When the scene is dense, be- side, the second exposure should also cause it was underexposed, little elec- be very limited so that too much den- tricity is produced by the cell, and the sity would not be obtained in the fin- vane allows only a small amount of ished picture. It was this discovery of white light to print the film. Its action a controlled second exposure which is almost uncanny. enabled the reversal process to give results at least as good as those which Strips at right tell story could be obtained by making a nega- In the left strip we see the result tive and printing it on a separate which is obtained when a series of positive film, as is done in the making exposures has been taken in the of professional movies. camera at different stops and has The film made by the reversal proc- been printed with the same intensity ess is in another respect better than of light in the second exposure. Only that which could be obtained by the one of these is really right. In the right use of a negative and positive because strip is seen the same set of exposures the graininess is much less. In a pho- printed with the automatic control. tographic film, the largest grains are The scenes are almost identical- the most sensitive and therefore they except that which had the most expo- are exposed first, are developed, and sure of all, in which there was not are then bleached out so that the final enough silver left in the film after picture made by the reversal process bleaching to produce a sufficiently uses the small grains of lower sensi- dense image. tivity. This is why the Cine-Kodak pic- This automatic correction of the tures can be magnified so very greatly camera exposure does not, of course, on the home movie screen without make it unnecessary to give thought 9 KEEP 'EM BUSY By Mr. A. P. Patterson of Reidsville, N.C.

KNOW that it's been said before and it was a red letter day for Peggy in these pages, but it will bear when we turned her loose on the idea. Irepeating-many movie makers sim- All self-consciousness was immedi- ply don't use their cameras as movie ately eliminated. How much she en- cameras. As the Editor of the "News" joyed herself is rather clearly shown has put it, they follow a one-subject- by the pictures accompanying this one-shot formula. And this is all story, which were enlarged from our wrong. 16 mm. black-and-white reels. Inci- It's all wrong for several reasons: dentally, the only illumination used One is that, although minutes, hours, was one No.2 Photoflood in a reflector. days, or even weeks may separate the At another time we wanted some taking of shots, these intervals all boil Kodachrome movies of Peggy. After down to a split second when the vari- all of a minute's thought we had an ous shots are projected. The very fact idea. She was shown "up to her ears" that movie scenes are projected one in a nice, generous chunk of water- after the other, as regular as clock- melon-a grand color subject and work, implies that each succeeding one guaranteeing all the amusing scene, unless separated by a title, a action you could desire. Peggy has short length of opaque film, or a fade- dolls-and we, of course, have several out, will tell more of the same story little continuities of her mothering covered by the preceding scene. them. Peggy wanted a dollhouse-so When it doesn't, movies are jerky, we equipped her with some boxes, a disconnected, and quite often down- saw, hammer, and nails, and sug- right boresome. gested that she go ahead and build Most movies are made of the people her very own dollhouse. The result- you know-your family, your friends. ant melee-which was very carefully Although "snapshot movies"-shots supervised, by the way-reduces of people stiffly regarding your cam- most movie audiences to a state of era-may be deemed passable by you inarticulate gurgles. because you know and are interested That is how we film our youngster. in your characters, you can bet your You can apply similar methods to your bottom dollar that a parade of faces films whether they are of children or will never bring your movie audiences adults. If the former, give them some- to their feet cheering. And, frankly, thing to do. Don't try to direct chil- you won't long enthuse over the dren. Get them interested in some- scenes, yourself. thing and give them their heads. If The answer to the problem is a very they make mistakes, so much the bet- simple one. ter for the entertainment value of your film. If adults are your subjects, Give 'em something to do get them as they play at a hobby- The most important member of the whether it's rolling a cigarette or Patterson household is three-year-old building a train model. And stay up Peggy Patterson. We think she is a close. No one cares how their feet remarkable child, and can look at look. It's the faces that tell the story. movies of her till the cows come home. Keep 'em busy. That's the thing that But we soon discovered that our short- gives you your chance for a series of sighted friends did not share this shots that make one movie of one sub- enthusiasm to the same pronounced ject-and make it interesting to boot. degree. So we then set about thinking up things for Peggy to do that would make interesting picture material. The illustrations on this page are enlargements from Every little girl, for example, loves Mr. Patterson's 16 mm. movies of the provocative Miss to get at her mother's dressing table- Peggy Patterson.

lO focusing a simple operation. When EYE AND EAR NEWS the knob is pushed to the rear, the actual field covered by the camera lens is shown. A small knurled head EADERS are still writing in by the enjoyed right in your living room. plunger unlocks the camera trigger score, wanting to know more And in schools, churches, or halls. action and enables the camera shutter aboutR the sensational new projector And here is more real news. to be opened. To use the device a described in the last issue of "Cine- One of the Hollywood productions tripod is necessary. Kodak News." A projector paralleling of the past several years, rich in tune- The Finder will be of particular perfection as does the Sound Koda- ful melodies, perfectly presented, is value for cameras fitted with the new scope Special has certainly proved to Universal Pictures' Show Boat. Irene Cine-Kodak telephoto lenses, in which be high tidings. Dunne, Allan Jones, Charles Win- the red extension is provided for mak- And as fast as inquiries are re- ninger, Paul Robeson, Helen Morgan ing extreme close-ups beyond the ceived, booklets are dispatched. and Helen Westley help make this figures on the engraved focusing Briefly, clearly, they tell the story of picture notable. It is now available scale, so that the exact field can be this new development in the world of from Kodascope Libraries for eye and ascertained. It will also be obviously home movies-a beautiful and fault- ear enjoyment. (Bookings for Show helpful for title making. lessly simple machine with which the Boat, except for home showings, must Cast of aluminum, the Focusing very finest sound projection can be be approved by Universal. Send to Finder weighs but ounces, and is nearest Kodascope Library for appli- priced at $20. cation blanks.) But this is only one of the Libraries' new sound movie offerings. Also recommended is The Good Fairy-a delightful film story starring such screen luminaries as Margaret Sullavan, Herbert Marshall, Frank Morgan, and Reginald Owen. Another top flight Kodascope Li- brary sound release is Once in a Life- time. Featuring Jack Oakie, Aline MacMahon, Louise Fazenda, Zasu Pitts, Gregory Ratoff, and Onslow Show Boat Stevens, it has been repeatedly called one of the very funniest comedy- dramas that have ever reached the stage or screen. Kodascope Libraries have just an- nounced the addition of four of Walt Disney's finest Silly Symphonies: "Birds in the Spring," "Father Noah's You slip the Focusing Finder into Magazine Cine- Ark," "Lullaby Land," and "Babes in Kodak just as you would a film magazine. Accurate focus the Woods." You can readily imagine is obtained by a magnified circular image- above left. the delight with which these sound Then by pushing the sliding knob rearwards, the exact field is shown as covered by whatever lens is being and color reels will be greeted by used- above right. your youngsters.

The Good Fairy But interesting though these sound films are, Kodascope Libraries have Picture Insurance hundreds of other films to offer readers (Continued from page 9) of the "News." From Libraries located tion leads to some difficulty. For in in the principal cities of the United some advanced work the automatic States and Canada, or from the main control of the second exposure is un- Library at 33 W. 42nd Street, New desirable. Fade-outs, for instance, do York City, you can obtain 16 mm. not fade out at the rate at which they silent, 16 mm. sound, and 8 mm. silent were adjusted in the camera unless catalogs. they are specially printed with a locked printer lamp. As the scene starts to Magazine Cine-Kodak fade, the printer automatically com- pensates for the loss of light, and the Gets a Focusing Finder scene is kept at the same brightness A focusing finder of unusual value for Once in a Lifetime until it gets beyond the limit of the extreme close-up filming and tele- latitude of the printer. Then the fade photo work is now available to owners occurs suddenly, much as the chame- of Magazine Cine-Kodaks. While the leon adjusted himself to all possible standard eye-level view finder is thor- colors, until he was put on a piece of oughly satisfactory for average shot Scotch plaid! In these cases we are making, the Focusing Finder will always willing to process the film prove of interest to advanced filmers. without this control if we are advised The new device slips into the maga- that this should be done. But for those zine chamber of the camera. By look- who use the Cine-Kodak for general ing through the eyepiece of the new picture taking, the automatic photo- finder, with the sliding knob on the electric printer is of the very greatest side pushed forward, a section of the value, and careful original exposure lens field is shown at high magnifica- plus regular Cine-Kodak processing Lullaby Land tion, making critical and positive is your best assurance of good results. 11 Cine-Kodak Eight, Model Fixed focus, with Kodak Anastigmat / .3.S lens, built-in exposure guide, automatic footage indicator, eye-level finder. Takes Cine· Kodak "Pan" and both regular and Type A Kodachrome. $34.50. Cine-Kodak Eight, Model Identical in appearance and appointments to the Model 20 with excep- tion of its faster !.2.7 lens. Takes both black-and-white and Koda- chrome movies. $45. Cine-Kodak Eight, Model 60 Aristocrat among 8 mm. cameras, with ultra-fast focusing !.1.9 lens- THERE'S A interchangeable with 1,Y2-inch telephoto lens (extra) which magnifies three times. Superbly finished, makes both black-and-white or Koda- FOR EVERY MOVIE-MAKING NEED chrome movies. $7l.50. Cine-Kodak E, 16 mm. Fixed focus with Kodak Anastigmat /.3.S lens, enclosed direct-view finder, three speeds-Normal, Intermediate, and Slow Motion. Takes or 100-foot rolls of Cine-Kodak Safety, Cine-Kodak "Pan," Super OU see them all together-the seven Cine-Kodaks America Sensitive "Pan," and both regular and Type A Kodachrome. $48.50. Yjustly regards as the standard in the field of home movies. Three of these Cine-Kodaks are "Eights"-take low-cost Cine- Cine-Kodak K, 16 mm. Kodak Eight Film. Four are "Sixteens.'' Two are fixed focus, with Also takes either or 100-foot rolls of any of the five 16 mm. Cine- Kodak Anastigmat /.3.5 lenses-ideally suited for trouble-free Kodak Films. Fitted with Kodak Anastigmat / .1.9 lens, focusing, inter- changeable with any six telephotos ranging from 2- to 6-inch and an everyday filming. Others are focusing cameras, fitted with ultra- /.2.7 focusing wide-angle lens. Normal and Half speeds, all standard fast Kodak Anastigmat / .1.9 lenses, offering greater picture-making Cine-Kodak conveniences. $88.50. range and versatility. Yet all are equally dependable, built to Eastman standards of craftsmanship. Check your 1938 camera Magazine Cine-Kodak, 16 mm. desires against the thumb-nail specifications to the right. Loads in three seconds with magazines of Cine-Kodak "Pan," Super Sensitive "Pan," and both Kodachrome Films. No threading. Takes the same seven accessory lenses as does the "K." Sights them all, and ... And for Projection its standard !.1.9 lens, by one eye-level finder system. Three speeds- Normal, Intermediate, and Slow Motion. $12S. For clearer, more brilliant projection, use Kodascopes, the Eastman-made projectors which team up beautifully with Cine- Cine-Kodak Special, 16 mm. Kodaks and show your pictures at their best. Far and away the most versatile of all 16 mm. movie cameras. Fades, Cine-Kodaks, Kodascopes, and Cine-Kodak Film are all Eastman- dissolves, double and multiple exposures, mask shots, animation- these are but a few of the effects possible with the basic model of this made, designed to work together, and backed by world-wide camera. Several advanced accessories further widen its scope. Eastman service. Booklet on request.

EASTMAN KODAK COMPANY, ROCHESTER, N.Y.__