movie operator would be glad to pay the addi- tional few cents for this security.-M. K. H., Chicago. Most film sent in for processing is received third-class mail: Most film is returned in the same manner. And only very, very, rarely does it go astray. Even then the fault but seldom can be laid at a post office door. Gen- erally, the difficulty can be traced to an incorrect interpretation by a proc- essing station worker of a none-too- legible return name or address on the original film carton. Such as, for example, the one reproduced below.

Please Print Plainly

EASY ON THE EYES times as great as the amount of Pho- Dear Sir: toflood light needed for an indoor exposure even at You can Most of my indoor shots will be made of our f /3.5. It has been our experience that the baby. And most of the shots will be Koda- double that figure for an 7 indoor f /2. difference in postal rates is not indica- chrome, too. I have read about the "daylight" exposure-and just about double the tive of a paralleling variance in watch- Photofloods now available. Are they easier on gap again for an f /1.9 exposure. the eyes of subjects? Should I use "daylight" fulness by postal workers. It is, instead, Photoflood light is only brilliant by bulbs and regular indoors, or is a barometer of the speed with which comparison with ordinary room light- "Type A" with regular Photofloods still prefer- mail is handled. able? My first consideration is our baby's eyes. ing. Demonstrate this to yourself some- Eastman processing stations will be -A. L. D., Schenectady, N. Y. day by switching on a Photoflood in a glad to return film under any desired There is no real need to concern room generously illuminated by sun- yourself about the possibility of eye light streaming in through windows. Page 3, Please injury resulting from Photofloods, The trick in using artificial light, whether they are regular Photofloods from the viewpoint of eye comfort, is or the blue Daylight Photofloods. The to bring it into play gradually-not Eastman Company has put the to urge subjects to "look at the birdie" question to eminent eye specialists and then blast them with the light. and has their assurance that there is Turn your lights on the wall for a not necessarily a direct connection minute. Then swing them into action. between eye comfort and eye injury. Your subjects, in a matter of seconds, Infants, or adults-and the eyes of the will generally forget all about them. former are frequently the "stronger," For a comparison of regular and will blink and squint when the truly dim Daylight Photofloods-see page 3. ordinary room lighting is suddenly augmented by the brilliant beams of Photofloods in Kodaflector. Yet prob- SPECIAL DELIVERY* ably far less than when they step out- Dear Sir: doors to face "blinding" sunshine. I have been concerned from time to time The amount of sunlight required for because film sent to you for processing is not an average outdoor shot is easily five returned first-class mail. I think that every You can store your projector in a sturdy, protective case, operate it from a shining end table. But you can't keep out dust. who readily admits that he, or she, has some- And dust, unfortunately, will mar thing to learn about personal movie making- film. and wants to learn it .... easily quickly .... Dirt in an easily cleaned camera's non-technically. For rnore advanced fibners gate may cause scratches which look there's a "Senior Class" on page 8 of this issue .. like this on the screen ... Yet a return to the fundantentals outlined below may well prove of frequent value to all.

magnification. We just look at them, and, on a comparative basis, they fall into three general classifications: So-so. Good. Excellent. And the "good" shots make "Good Shots" only when there aren't enough "excel- lent" ones to go round. "Looks," then, is the yardstick. And "looks" is just another term for com- position. Dirt in an easily cleaned projector's When you hold a framed picture gate may cause other scratches which against a wall on which you wish to look like this . . . hang it, and ask "How does that look?" you are simply asking about the composition of that side of the EYES RIGHT room as affected by the picture. The centerspread of this issue is There are rules to the "looks" of devoted to "Good Shots"-better- things. There are rules to composition. than-average cine frames gleaned But most of us, who wouldn't know an from the film clippings, complete outstanding example of circular cohe- scenes, full reels, and enlargements sion if it walked up and snapped at us, sent to the Editor. still know whether a subject looks Readers ask about the standards by "right" or "wrong," or just fair-to- which such scenes are judged. "How," middling. Our eyes have become they inquire, "do I know if I have educated from looking at thousands of some 'Good Shots'? And how do you paintings, photographs, advertising know it when you see them?" layouts, model rooms and homes. And Frankly, we just look at them. Not our eyes are generally right. Dirt and dust on film will very defi- from the angle of their unusualness. So look at the images you see in nitely collect at the projector aperture Not, unfortunately, solely from the your camera finder. There's the com- to cause screen "whiskers" like this ... viewpoint of their qualities as movie position you're going to see later on scenes-because all motion must be your screen. You probably cannot arrested ... all color translated into alter its elements. But you can change monochrome ... all detail strained by your position. You can step forward. You can move back. You can crouch In picture making it's' 'finders keepers.'' Study down. Somewhere there's a best view- the image you see in the camera finder, for that, point. And the image in the finder and only that, is what you will see on the screen. will tell you when you've found your "Good Shot."

KEEP IT CLEAN* One of life's eternal mysteries to a mere male is the ceaseless cloth-flail- ing, chair-upending and cleaner-push- A speck of gritty dust in a camera's ing crusade carried on against dust in gate ... one bit of loosened film his apparently spotless domicile. cement in a projector's gate .. . dust The fairer sex know better. along any film path-and scratches They know that dust will IN-but may occur. that you can't will it OUT. You have Your camera and projector manuals to chase it. will describe the simple steps of re- You can use a lighttight camera ... moving and cleaning film gates. Do it open it carefully only every now and periodically. Keep the film, itself, then to insert and remove film. But clean. Rewind it, frequently, through dust will get in. a bit of soft plush cloth lightly held in You can keep your film carefully the fingers. Don't squeeze the film. coiled in film cans, watch it to see Don't wind a full reel through the that it never touches the floor during cloth without periodic halts and cloth projection. Yet dust will get in. shakings. Don't soak the cloth with 2 Page 5, Please LONGEVITY Most of the projection lamps being Dear Sir: supplied today have an opaque coat- What is the best way to preserve films? We ing on their tops which makes it un- Continued from have several good films of our daughter and necessary to use the metal lamp caps Page 1 are anxious to do everything possible to keep with which most projectors were them safely.-Mrs. J. H. L. , Rocky River, Ohio. equipped. You are, in fact, specifi- Keep film clean. Keep film cool. cally advised not to use the metal caps postal classification. If you wish to Keep film dry. with these new-type lamps. To do so have your film sent back to you first- Moisture, however, is film's number will seriously decrease lamp life. class, registered mail, parcel post, one nemesis. Seldom is it necessary special delivery, air mail, or air to humidify film-and then the only The old and the new style in most projection express, merely enclose a note of lamps. Don't use metal caps on pre-capped justification is to render the film suf- projection lamps. instructions with the original film ficiently pliant for projection. shipment, together with the additional In some southern states, or along postage required over and above the the seacoasts, there may, however, usual third-class mailing charges. be an over-abundance of moisture in Any film cartons containing written the air. Unless it is extreme, this need instructions, incidentally, must be not cause concern if your film is kept sent to us first-class mail. And please snugly wound in film cans. But where enclose such instructions with the the climate is unusually moist, store film! Mailed separately, they may not the film cans in a large can-a sugar overtake your film before it has been or cracker tin, for example. Obtain processed and returned third-class. some ordinary rice and bake it in an oven until it is brown. Toss a pound or two of this in the bottom of the INDOOR INQUIRY* large tin-and you'll find that this inexpensive hygroscopic agent, aided Sir: In the December, 1940, issue of "Cine- by an occasional re-baking, will satis- Kodak News" I found the "Here's a New Slant factorily absorb excess moisture. If * on Exposure Indoors" story very interesting. the cover of the large tin is not close QUESTION AND ANSWER DEPT. However, as it deals entirely with Type A fitting, tape it with ordinary adhesive. Writes Mr. H. L. B.- Kodachrome, and as I use outdoor Kodachrome with a blue filter indoors, I should like a bit of The matter of heat is a lesser prob- Dear Sir: extra information.-}. F. F., Woodside, N. Y. lem. Merely keep film away from Do you publish anything in instructive radiators, sunny windows, and closet literature in addition to " Cine-Kodak News" Reader J. F. F. further informed us shelves under sun-bathed roofs. which is so simple that one with no real knowl- that he uses a roll-loading camera. edge of the subject can understand it?- What he therefore seemingly seeks is H. L. B. , Lapeer, Michigan. a one-film plan for both indoor and SKULLCAP And for our reply we can do no outdoor color filming. * Dear Editor: better than quote- There are three methods of making I have one of your older model projectors. "Dear Sir: in-the-home color movies with the aid As it has enjoyed pretty steady usage over a About a month ago I obtained a copy of of Photofloods-and the least effective number of years I have occasionally found it your book, How to Make Good Movies. I have of these incorporates the use of filtered necessary to buy a new projection lamp for it. read it through at least twice, and parts of it regular Kodachrome. The last lamp I obtained from my dealer seems four or five times. It is, in my opinion, one of to have a black metal cap on its top as part of The most efficient plan combines the best and most interesting books I have read the lamp. This being the case, what do I do in . years.-C. W . G ., Nashua, New Hamp- Type A Kodachrome and regular Pho- with the metal cap which came with my shue. tofloods. Each is made for the other. projector? Do I use it over this new lamp as A one-and-one-half-stop slower I did in the past? Or does this new "built-in" lamp cap pinch hit for the old-type cap ?- Here are just two of the better than 200 pages combination is blue-filtered (Koda- S. L. T. , New York City. of "How to Make Good Movies," Easbnan's cur- chrome Filter for Photofloods) regular rently revised cinematic best seller which has Kodachrome and regular Photofloods. already passed the 100,000 mark. One and one-half stops slower-or, in other words, requiring three times as COMPARE THE C AMERA'S ... . :YF." TO 'YOtiR OWN much light as "Type A" and regular o .... Photofloods...... t Likewise one and one-half stops ...... slower is the third combination: Regu- ...... r lar Kodachrome and blue Daylight Photofloods. The speed is the same as the combination outlined directly above because, in this case, the filter is on the lamp rather than over the lens. Yet this last team has the edge on its immediate predecessor because ...... daylight, whenever available, can be utilized along with the light from the "Daylight" lamps. Still preferable, however, is "Type A" and regular Photofloods. It is not only faster indoors by far, but the film ... . can be used outdoors (with the aid of Type A Kodachrome Filter for Day- light) with equal effectiveness and at the same aperture stops as regular, or daylight, Kodachrome...... 3 ...... DR. HARRY J. DAVIS OF TOPEKA, KANSAS, POINTS THE WAY TO MORE SIGNIFICANT TRAVEL MOVIES

your car and proceeding on foot, or midday it is well nigh impossible to by turning off any highway and ex- "see" under them-and they won't ploring the side roads. take off these forty-gallon top pieces That is, of course, if you properly for love, although perhaps for money. approach the natives! The natives' The open season for Mexicans, there- floppy hats and flapping trousers may fore, is midmorning or afternoon- seem strange and even funny to you. which is the best time for all filming, But they belong. You are the out- and especially for Kodachrome. lander. A few more suggestions: Be friendly. Be appreciative. Ad- About a day's drive this side of mire, and you'll be accepted. And be Mexico City is the town of Tamazun- wise in your distribution of largess. chale {Thomas-and-Charlie) beyond Due to a favorable rate of exchange, which lie some of the loveliest moun- what is pocket money to you may tain country and "windingest" roads represent a bankroll to them. Don't you've ever trained your camera on. overdo tipping-yet remember that Almost forty miles southeast of the your American predecessors have capital is the town of Amecameca, established the precedent. from which, late in the afternoon, you can obtain some marvelous views GUIDES AND MODELS through archways of lxtaccihuatl In this connection I'd like to rec- {Sleeping Lady) and Popocatepetl. ommend that you favor the younger About a half day west of the city is Mexican generation. For a few cop- Nevado de Toluca-an extinct vol- pers they will help carry your cam- cano boasting of a crystal-clear lake eras, and guide you to boot. They're within its crater, some 15,000 feet good guides, too, and frequently above sea level. You'll be relieved HAVE visited many countries in you'll be surprised with the soundness to learn that it is accessible by auto- "I the world, yet Mexico is the most of their picture suggestions. Further- mobile-right into the crater! Along 'foreign' of any I have seen." This more, you can use them as models- the road to this unique spectacle you'll statement was made to me a few years and this raises still another point. find much of the rural Mexico you've ago by a former professor of mine. I don't know how you feel about it, been seeking. About another half day I believe he was unquestionably but when I see Old Mexico I like to farther is Lake Patzcuaro, promising see Old Mexico unadorned by well- right-then. But, I am not certain the Page 11, Please casual visitor will find this true today. upholstered Americanos. So when We have visited Mexico four times other natives are coy or absent, our in the past six years and each time we helpful little guides frequently appear have had to go a little farther away out front to enliven our scenes. And from the capital city to find the "Old speaking of natives-Mexican cos- Mexico" sought by our cameras. The tumes are not as gaudy as Hollywood natives, still living as they have lived may have led you to believe. An occa- for hundreds of years in old thatched- sional colorful bandana or handker- hut villages ... plowing their hillside chief will prove both acceptable to fields with oxen and wooden plows your models and decorative as well. ... bartering in their crowded mar- Mexicans-the males, that is-are kets ... making baskets ... weaving very partial to large straw hats that ... or just sitting in the sun. are a cross between a beach umbrella On our last trip we went as far and a collapsible life-raft. At, or near, south as Acapulco, almost three hun- dred miles from Mexico City and the oldest port on the Pacific Coast of this continent. About an hour and a half out of the capital you'll find Cuerna- vaca, a delightful town, more like the Mexico you really came to see. An- other hour and a half and you're in Taxco-a photographic paradise with sharply pitched cobblestone streets, kaleidoscopic markets and innumer- able old gates and archways. Yet best of all are the human interest shots you can get in every village by leaving 4 radio-phonograph with all the gad- gets, Mr. Goldman decided he wasn't going to be shoved around by any group of picture snappers. So he had an enlargement made of a movie shot that he had made at the San Francisco Fair, faithfully labelled it as a movie Continued from enlargement on the back of the print, Page2 and sent it off to the judges. You could have knocked him over with a feather when, a few weeks film cleaning fluid. Use little, or none later, the expressmen walked in with -little with black-and-white film . .. the radio-phonograph. little or none with Kodachrome. And use the right cleaner. Not a "spot Enlarging 16 fram.es with the Kodak remover," but a cleaning fluid which 16 nun. Enlarger is simplicity itself. Select your BIG SHOTS FROM* frames carefully, and the results will am.aze you. is prepared specifically for cleaning GOOD SHOTS movie film. Such a preparation is the enlargements from 8 mm. or 16 mm. fluid supplied with the Cine Film Far be it from Cine-Kodak News black-and-white or Kodachrome film Cleaning Outfit, recently reduced to to debate the relative virtues of movies may be ordered from Eastman. Thread 60 cents. and snapshots. Most N ews readers the frames you select, take them to make both, find they team together your dealer or mail the film directly perfectly. Yet every now and then to Rochester, N. Y. , and, in about a SUNSTROKE * you'll find in your movie footage a calendar week, you'll have your prints certain expression on a friend's face, and enlarged negatives-C.O.D., if Up front on your automobile's in- a certain cloud effect at sunset, a cer- you wish. strument panel ... just to the right of tain pose of a pet, that you'd give a the radio . .. there's probably a cubi- Prices for 16 mm. enlargements- lot to see in a "still" enlargement. 3 x 4-inch enlarged negative, $1. cle called a glove compartment. It And you can-easily. If you've a Glossy contact print from above, 7 cents. frequently contains a package of ciga- 16 mm. camera you merely need the 3 x 4-inch Etchcraft Junior print with rettes, a last year's road map, the $15 Kodak 16 mm. Enlarger. Without wide margins, embossed, 75 cents. unread car manual, and an odd bolt even cutting the movie film, you Prices for 8 mm. enlargements- that belongs somewhere on the car clamp in the Enlarger's gate the x 2Y2~inch enlarged negative, 75 but blest if you know where. And cents. frame you want "blown up" -just Contact print from above, 6 cents. sometimes it contains a loaded cam- about as you would on a splicing Etchcraft Junior print with wide margins, era or a roll or two of film. block-and point the Enlarger at a 25 cents. At other times cameras or film may bare Photoflood lamp. Small as these dimensions may be found in the door pockets of a car Make an exposure of a few seconds, seem, they yet represent an area one ... or in back of the rear seat near wind forward the snapshot film in the hundred times greater than that of the the window. Enlarger, clamp another movie frame original film images. Exceptionally In cool weather, on cloudy days, into position-and so it goes until sharp and contrasty movie frames can these handy catchalls are entirely eight exposures have been made. frequently be enlarged to greater safe for film. But in warm climates and Then take the snapshot film to your proportions. As an example of the on days of burning sun they may be regular photofinisher, and in a day shots which will enlarge the best-see poison to the permanency of your or two you'll have snapshot-type prints our "Good Shots" selections on the film records. about by inches in size. And centerspread of this issue. Exposed, or unexposed-film at snapshot cost. should be kept cool and dry. Exposed, Or, if you wish, black-and-white A framed, soft-finish Etcher aft Junior Enlarge- particularly in moist climates, it should ment is just the right size for use on desk, table, or mantel. be sent to a processing station as soon as possible.

KNOCKED-DOWN-WITH-* A-FEATHER DEPT. Mr. Harry L. Goldman of WOKO, Albany, New York, attended the 1940 San Francisco convention of the National Association of Broadcasters. So did quite a few others, and, as did Mr. Goldman, many took along their cameras. They used them, too. Upon his return to the banks of the Hudson, Mr. Goldman, in going through the stack of pamphlets and brochures he acquired at the meeting, came upon one outlining the details of a contest-a still picture contest. Mr. Goldman, however, had only taken his "Eight" movie camera to the West Coast. Nevertheless, he had some mighty powerful movie shots. After looking yearningly at the con- test prizes, topped by a combination 5 MRS. D. M. WALZER, Rochester, N.Y. Few pets are filmed as close as this kitten. Which is strange, because those who have cats take them into their laps, and. dog devotees rub their pets' ears. Yet all movie cameras will make close-ups. Focusing cameras, through focusing. Fixed-focus cameras, by merely slipping an inex- pensive portrait attachment over the lens. f/2.7, late afternoon, 16 mm. Kodachrome

HIS is not a contest in the accepted meaning of the term. There's T no need to sit up at night to coin a catchy slogan. You don't even have to tear the top off a film carton and mail it along with your entries. But, just as the entries do not require considerable prepara- tion, neither is there any financial reward for the winners. Here are the few and very simple rules:

Whenever you find a shot in your reels of which you're especially A. F. HEARD, Rutherford, N.J. proud, pack it carefully and send it along to the Editor of Cine- Mirror portraits are easy, yet unusual. Remem- Kodak News together with locale and exposure information. Other ber to focus on the total distance from-camera-to- mirror-to-subject-and to keep the lights, direct N,ews readers really want to see it and read about it. Your courtesy or reflected, out of the line of fire. This black-and- will be rewarded with two Etchcraft Junior enlargements of all white shot of Mrs. Heard was made with two No. 2 Photofloods in Kodaflector, eight feet from the scenes selected for "Good Shots" use. A dozen or more "Good subject. Shots" in each issue. The original film is not in any way harmed or f/3 .5 on 8 mm. Super-X "Pan" cut. All film is returned. Unsuccessful contributors receive friendly, constructive criticism. Why not send in your "Good Shots"?

DETAILS Send film clippings not less than four inches in length, full-length scenes, complete reels, or prints enlarged from 16 mm. film by the Kodak 16 mm. Enlarger. Pack them carefully. Address them to: Editor, Cine-Kodak News, Eastman Kodak Com- pany, Rochester, N. Y . No return postage is necessary. 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 submitted for the Cine-Kodak News "Good Shots" contest.

WILLIAM COOTER, Kenilworth, Ill. HOWARD WRIGHT, Huntingdon, Pa. WILLIAM HODGES, St. Petersburg, Fla. Every airport is a certain source of thrill- Clouds "make" the scenic, and, with "Pan" Notice that the boat is off center. And notice, in ing movie material. Strive for side-lighting films, filters dramatize the clouds. Unfiltered pan- addition, that the horizon line is likewise off on the planes. With Kodachrome shoot at a chromatic film will show them-faintly. A yellow center. With all scenics and marine shots decide half stop smaller than average to offset the filter will get them-normally. But a red filter will whether the foreground or sky background is lack of shade ... with "Pan" films, at a full put them across with a wallop. Notice the deliber- more important. Then devote at least two-thirds of stop smaller to care for the blue sky-or ate underexposure which builds up the cloud the picture area to your choice- which will prob- through a yellow filter at normal exposure. bank against a dark gray sky. ably be the background of sky and clouds. f/11 with 16 mm. Kodachrome f/11, a red filter, 8 mm. "Pan " f/11 , a yellow filter, 16 mm. "Pan" MRS. ALFRED BENDER, Grosse Pt., Mich. FRANK W. KNIGHT, Charleroi, Pa. E. H. ERODDY, Denver, Col. Far too many shots are made at eye level. All cameras will make close-ups. Almost every Here, again, is an example of the virtues Upward or downward camera angles frequently subject will benefit from their use. Instead of of a sky background. Mr. Eroddy didn' t make the good shot better-particularly upward "fanning" the fields with his camera to blur mil- worry about proper exposure for the birds angles with Kodachrome. It needn't be towering lions of golden wheat spikes, Mr. Knight sat him- because the sky composed most of the pic- statuary such as Miss Liberty-even a lowly blos- self down to silhouette a symbolic few against blue ture area. Having no telephoto, he made som can be set off against the ever-present, sky and white clouds-always the best back- the shot with patience. Kodachrome, as always-flattering background of sky and clouds. ground for Kodachrome. usual, caught the clouds. f/8, 16 mm. Kodachrome f/11 on 8 mm. Kodachrome f/5.6, late afternoon, 8mm. Kodachrome

MRS. ALBERT QUILLIAM, Detroit, Mich. JOSEPH VANECEK, Jr., East Islip, N. Y. MAX STEINER, River Edge, N. J. Of all Kodachrome picture opportunities, none Every cinamateur with access to a harbor or Here is a splendid example of camera exceed those at sunset. Then, when there's no river front has a ready source of movie material. angling a nd filter use with black-and-w hite longer enough light to film by, you can wheel Under the slanting rays of an early-morning or film. No filter is necessary to snap out about to face and film the setting sun. Mrs. Quil- later-afternoon sun, blues are richer, shadows are clouds with Kodachrome. But with "Pan" liam' s sunset is distinguished by her use of fore- lengthened. Mr. Vanecek positioned himself to fi lm, a yellow or red fi lter is practically a ground material to keep the shot "on board." get the ship in its entirety in preference to "pan· "must" for almost every shot. In addition, Fast lenses are not necessary for sunsets. ning" (and blurring) its full length. filters clear haze. f/5.6 on 8 mm. Kodachrome f/5.6 on 8 mm. Kodachrome f /8, yellow filter, 8 mm. "Pan"

DR. HARRY DAVIS, Topeka, Kansas R. C. JORDAN, Hasbrouck Hgts., N.J. HENRY HELD, Alpena, Mich. In every reel, for almost every subject, there Swans are unquestionably the world's most Simplicity of composition and the pres- are shots you need which you know will not be photographed birds. Filmed from the right angle ence of clouds "make" this picture. The outstanding. The light may be poor, the back- to the sun, their whiteness stands clearly forth composition was Mr. Held's idea. The ground hazy. Yet even these can be snapped out against the deep blue of sky reflected from water clouds were born of a yellow filter. Without by the use of some simple rule-of-thumb-suc h as when the sun is at your back. Filmed up close, the filter the scene would have been merely keeping some object in the foreground to lend they are just that much clearer. Close-ups, again, run-o' -the-mill. With it, it has the snap and depth to a scenic. make the winning picture. sparkle of a "Good Shot." f/3.5 on 16 mm. Kodachrome f/5.6, hazy -bright, 16 mm. Kodachrome f/8 , yellow filter, 8 mm. "Pan" film you want assembled. 400-foot 16 mm. aluminum reels cost 60 cents, each. Film cans ditto. You need two * Here is information for the advanced filmer for of both for your eight 100-foot reels. the cinamateur who, because of his equipment or inclina- That's $2.40. Send $2.40 and your tion, is ready to enjoy the more advanced phases of ama- eight films to the Eastman Kodak Com-

teur cinematography. More detailed infonnation on the pany-Rochester, N.Y., 1727 Indiana Ave., Chicago, or 241 Battery St., topics here discussed (and on any others, as well) is obtain.. San Francisco-and your film will be able by writing Rochester, N. Y. assembled on these larger reels and returned in film cans at no extra charge over and above postage. For eight 50-foot 8 mm. rolls the charge -assembling on 200-foot reels and in 200-foot film cans-would be but $1.60. Again no service fee. This, of course, does not include any editing. Just assembling. How- ever, any editing instructions will be carried out for a nominal additional charge. And all desired titles will be made and spliced into position for a further nominal charge. All bits edited out as per your instructions will be an opening title, at least, is probably returned with the edited film. Titles, in order. from your printed or typed wordings, Many dealers offer editing service. will be made in any of several styles- If yours does not, there are many upward-flowing scroll titles to launch editing and titling bureaus your dealer a reel, or individual card titles, white should know of. And the Eastman on black for black-and-white film, on Kodak Company, while in no sense "purple haze" film or in rich colors attempting. to compete for this work, for Kodachrome. Prices start at 20 will likewise gladly help out. cents per title. Complete details are For example-let's assume you have obtainable from your Cine-Kodak eight 100-foot rolls of exposed 16 mm. dealer, or from the Eastman Kodak Company, Rochester, N. Y. DRESS REHEARSAL A scroll title sets the stage. Unlimited as to But it's far more fun when you do the If you were privileged (as is the length, it flows upwards on the screen behind a editing yourself. Makes you feel well Editor) to view processed films test- simple border. nigh omnipotent. Family, friends, countless sites and sights-you alone screened in a processing station, you'd decide who and what shall survive. make a startling discovery. Because this may be your All films look about alike! It's really enjoyable-IF you have There is, of course, some difference first visit to Moosehead the right editing equipment. in exposure, in camera motion, in Eastman offers several types of edit- subject selection. Yet, although the ing equipment. Easily the most con- general all-round quality is excellent, lake, we'd like to intro- venient of them all is the recently not even the best of these fresh-off-the- introduced Editor Outfit. At $48.50, processing-machine rolls begin to duce our cast - complete, it costs substantially less compare with the typical reels mailed than the total price of the individual in to Cine-Kodak News for criticism accessories it represents. and "Good Shots" selection. Hank Driscoll - guide, It seems that something happens to Rewind, movie viewer, splicer, plus an editing many of them between the time they philosopher, raconteur tray and its usefulness as an accessory carryall are received back home and the time --making big reels out of little ones is fun with they are assembled and shown to extraordinary; his dog, the handy Editor Outfit. family and friends-including, in some instances, the News Editor. Jennie; his boat, Daisy - That something is editing. Showing movies is like telling a story. a venera bl e II one Iunger II Some people, by the pace and neatness of their delivery, make the same old yarns enormously entertaining. And of uncertain temperament. that's the way it is with movies. It's not only what you tell in home As our story begins, Hank movies, but what you omit, that's important. Many Hollywood produc- is endeavoring to inspire ers junk 90o/o of their footage, and show the Most cinamateurs re- Daisy to action. verse the percentages. But getting rid of that like the one aged apple in the barrel, is sometimes very vital. This, fortunately, is not a Dragging scenes should be trimmed. Occasional exposure lapses cut out. Sequences sometimes rear- sound movie. ranged. And, for major film topics, 8 A - .. of movie proc:e.. ed --Kodachrome projected at of of the the liberty of department are reported the .. of Meet the the way we to ..cape them.

U.S. H., Pelham, N.Y. nine inches wide. Even if your camera P. F. S., Newport, Vt. 16 mm. regular Kodachrome is fixed-focus, and shouldn't as a rule 8 mm. regular "Pan" U'm' m-good. Splendid composition on be used much closer than six or eight those coastal scenics. Tree branches in fore- feet, an inexpensive portrait attach- An occasional shot from a moving ground to give your scenics depth and con- ment will permit intimate close-ups. automobile is all right. Especially trast. The few panorams were wonderfully when it's made on a velvety road, slow and steady. and, even then, whenever possible, N. F., New York City at the higher camera speeds of 24 or MacK., Cambridge, Mass. 8 mm. "Super-X" 32 frames per second to help smooth 16 mm. "Super-X" Those indoor shots of the baby in bath and out the thank-you rna' ams. In addi- in bed were perfectly exposed. But the cam- tion, there is the matter of angling the Unlike Mr. U. S. H., directly above, era motion! There's really no point in moving a camera. When you film at right angles you were shooting from water toward movie camera except to follow action, and your engaging subject, while seldom still, was the component parts of the landscape land. To give your scenes depth, then, nevertheless somewhat confined in action. keep right on "moving" exactly as you should have kept some part of fast as your car is moving-when the your boat in the foreground of the pic- camera shutter is closed as well as ture. Another sure cure for black-and- J. D. B., Hartford, Conn. when it is open. Open, it steals a white "flatness," especially over water 16 mm. Type A Kodachrome hurried look at a blurred landscape. where the sky plays so important a Closed, it sees nothing until it opens Those children's indoor party part in every picture, is the use of a again-and then everything has scenes were "under." Not enough red or a yellow filter. jumped many feet rearwards. Much light by far. of this "lost motion" is avoided when Indoor shots are not difficult. It's you angle the camera forward ... J. F. B., Nutley, N.J. really easier to get uniformly good film at an acute angle instead of a 16 mm. "Super-X" exposure indoors than outdoors when right angle. Nighttime indoor ice follies. Excellent expo- you have a proved light source. Five sure. You kept the action on the ice and not at the camera, too. Steady always does it! dollars and thirty cents will do it. Five dollars for a twin-reflector Kodaflec- F. H. L., Douglaston, L. I., N.Y. tor. Thirty cents for two Photofloods. 16 mm. Type A Kodachrome A. W., New York City Then you'll not only have plenty of Sorry, but it can't be done. At least, not 16 mm. Type A Kodachrome light, but, equally important, you'll very successful!y . "Super-XX," used at f /1.9, will see almost More ice follies. More good results. know where you are every moment on everything at eye speed. But Type A Koda- Although your 16 mm. "Type A" is one the count of exposure. The guides chrome, while pretty "fast" in its own right, aperture stop slower than Mr. J. F. B's attached to Kodaflector ... the new is several laps behind the ultra-speedy "XX." Universal Guides attached to late For "Type A" you really have to use a fair "Super-X," directly above, you made amount of illumination from a light source of up in color what you lost in speed. model Cine--both tell you known ability. The ordinary wall and ceiling exactly what aperture to use for ideal room lights under which you filmed are far exposure. For every film, black-and- too dim for color filming, even with the f /1.9 T. G., Bessemer, Pa. white or color. or f /3.5 lens of your camera, which, we think, 8 mm. regular Kodachrome is a Cine-Kodak, Model B. But why take chances on indoor exposure? Snapshots, Mr. T. G ., snapshots. There's C. T., Millburn, N. J. Two Photofloods in a $5 Kodaflector-and no need to pose people for movie scenes. Get every shot will be a winner. Honestly. them doing something. Film in close. And, 16 mm. regular Kodachrome instead of one ten- or fifteen-second shot of No trouble here with exposure. But that each individual, build three or four terse shots garden hose technic! It's far and away the D. F. C., Jr., Newark, Ark. into one sequence of each individual. most popular cinematic error: When subjects 16 mm. "Super-X" won't move, let's move the camera-back and J. E. D., Masontown, Pa. forth . .. up and down. You'll blur every Yes and no. Your shots of the dance single frame of them because they aren't were grand when your camera was 8 mm. Type A Kodachrome moving along with the camera-just as you'd blur them with a still camera. Following action trained directly on those members of Those indoor flower close-ups were is something else again. Then you can keep the orchestra in the spotlight. We a good idea, and well exposed. But the moving object centered by following it at imagine that even then your camera you got a bit too close-many were its own pace-hence it remains relatively lens was used wide open. Inevitably, steady and satisfactorily sharp in the middle of out of focus. A focusing f /1.9 lens, of the screen. And the stationary background therefore, your exposure was way course, permits working as near as can be blurred without harm to the more "under" when you sighted on the two feet and covering a field about important moving target. dancers who were not in that spotlight. 9 Here you will find condensed reviews of * equipment lately introduced. Not neces- sarily last-minute announcements, but re- ports of material of sufficiently recent vin- tage to be news. Further information about any and all is available from your dealer- or from Rochester, N. Y.

EASTMAN PROUDLY ANNOUNCES FIVE NEW 16 MM. SOUND PROJECTORS Perhaps you've never even con· sidered "talkies" ... thought them out of budget bounds. To you we say: Meet the new Sound Kodascopes, led off by the Sound FS-10. Its price, $295- complete. And "complete" means with nothing else to buy. Nothing! Projector, case, speaker, connecting cord, super-fast projection lens, It is impossible to translate power systems, all offer "tailor-made projec- brightest Kodascope lamp, incidental output into definite audience size. tion"-eighteen available lens-lamp accessories-all are included. Which There are too many variables. combinations which fit the optical would indicate that the "FS-10" is a Certainly the "FB-25" and "FB-40" systems of these Sound Kodascopes sound projector for home use. And are not home sound projectors. Yet, to parallel any desired range of sound. that is correct. Yet it can be stepped with equal certainty, one of these two As for operation, a minute's prac- up in volume for shows before groups is the machine to use for sound pro- tice will fit any Cine-Kodak News of several hundred people. jection in halls and auditoriums of reader to run a Sound Kodascope. Here is a summary of the power out- truly generous proportions. These Sound Kodascopes, inciden- put of these new Sound Kodascopes. Whatever the audience size . tally, may be used to project either Model Speaker Output whatever your projector choice, the silent or sound movies. If the former, FS-10 10-inch 10-watt screen illumination and image size you can supplement your silent films F 10-inch 10-watt produced by these five projectors will by playing phonograph records FB 10-inch 10-watt keep step. For, while all are equipped through the projector's sound system FB-25 12-inch 15-watt FB-25 Twin 12-inch 25-watt with f /1.6 lenses, brilliant 750-watt -or by using a microphone to supply FB-40 Twin 12-inch 40-watt lamps, and unusually efficient optical a descriptive commentary. Which leads to the observation that if you are interested in sound projection, your dealer will very probably welcome your present silent projector as part pay- ment on one of the Sound Kodascopes. A few more details about the "FS-10"- Projector, speaker-all incidental accessories including a 1,600-foot reel -fit into one case. The cover of the case serves as a stand for the projec- tor. The 10-inch permanent-magnet speaker stands by itself alongside or under the screen at the end of a 40-foot connecting cord. All operating controls are at the projector. An oil- floated flywheel assures smooth, un- varying movement at the sound scan- ning point, and the scanning beam can be accurately adjusted for best results with either original or duplicate sound film of both the variable area or varia- ble density type. The "FS-10" oper- ates on A .C ., 50- to 60-cycle, 100- to 125-volt lines-and there's a High- Low switch for different line voltages. Many Cine-Kodak dealers have sound film libraries and can likewise point out to you the several other film sources from which you may rent ex- cellent reels for both entertainment and educational purposes. 10 PRESENTING-THE WORLD'S MOST DISTINGUISHED STILL CAMERA

TILL photography seldom makes to adjust the view finder to the user's news in Cine-Kodak News. But eyes. On each lens barrel there's a whenS a headliner like direct-reading depth-of-held scale. makes its bow, you'll want to hear The Ektra offers a focal plane shut- about it. ter with a variable pre-set slit-1-sec- Kodak Ektra, admittedly, is not for ond to l /1000-second speeds and bulb the casual snapshooter. In a single action, incorporating a velvet-smooth phrase: It's the Cine-Kodak Special of plunger shutter release with exposure the still picture field, because it em- safety lock. There's a red exposure bodies more desirable advanced pic- signal which shows after each expo- ture-making features and refinements sure and until the film has been ad- as an integral part of its design than vanced. There's positive double expo- any other 35 mm. miniature camera. sure prevention. There's a delayed action device for self portraits an type film. The magazine backs, of WHAT A CAMERA IT IS! automatic exposure counter on the course, can be interchanged at will Interchangeable lenses-a series camera top and a focusing index without loss of film: No. 135 Koda- of six superb Kodak lenses avail- for those who use Kodak Infra-Red chrome regular and Type A, Kodak able. All lenses work automatically Film. All controls, dials, and scales Plus-X, Panatomic-X, Super-XX, Infra- with the range finder, which is a can be read from above the camera, Red, Micro-File, and Direct-Positive. coupled split-field military type per- and all picture-making controls are at Each magazine back has its own film mitting exceptional focusing accu- the finger tips when the camera is type indicator dial, a swing lever racy. It has, in addition, an eye-ac- held at eye leveL which both advances film and sets the commodation adjustment compensat- Yet, while many of these features are shutter, a folding crank for fast film re- ing for individual vision. exclusively Ektra-as part of the cam- winding, an indicator signal to inform The Ektra also has a built-in vari- era itself-perhaps the biggest news is you of the film's forward or reverse able-power view finder to indicate the its ntagazine back. motion, and an exposure record diaL field size covered by the various in- You don't load Kodak Ektra. You See your photographic dealer for terchangeable lenses, with automatic load a magazine back. You may, in- further information. Or write Roch- parallax correction for distances over deed, have any number of magazine ester, N. Y., for a free 40-page Kodak feet. There's a focusing eyepiece backs, each loaded with a different Ektra descriptive booklet.

SOUTH OF THE BORDER (Continued from page 4) wonderful movies of the natives net fishing somewhat in the style of Hawaiian net casters. And then there are the patient burros meandering along under mountainous loads of wood, alfalfa, or pottery-just the thing for foreground material to set off a distant snow-capped peak. But why go on? You'll find dozens more subjects- if you allow yourself enough time and don't try to see Mexico from the window of an automobile doing sixty. EXPOSURE NO PROBLEM Kodachrome exposure in Mexico (or anywhere else for that matter) is just the same as it is at home for similar subjects. A Mexican volcano or a Rocky Mountain peak-f/11 or maybe even midway toward f /16 on an exceptionally brilliant day. A Mexican garden or your own-f/8 under ordinary full lighting. It's the type of subject that counts in the estimation of Kodachrome exposure-not the latitude, longitude, or altitude. What makes a slight exposure reduction necessary for most Mexican shots is the greater bril- liancy of subjects. Grass and grain are supplanted by sand and soiL There is far less shade. There are far more open vistas. So you "stop down" a bit because of the subject and not because of the latitude. How- ever, as many of your Mexican shots will be made at high altitudes and at long range, I would advise the use of one accessory-a Kodachrome Haze Filter. And if by chance you use panchromatic film, don't even consider exposing a foot of it in Mexico unless you use a red or yellow filter to snap out highlights and shadows to separate sky and clouds and to clear the haze, almost invisibly present at high altitudes.

The illustrations on this page and on page 4 were enlarged fro m Dr. Davis' 16 Kodachrome films. ll every Cine-Kodak the ''buy'' in It's field

AKE the "Eight-20," for example. Some enced cinamateur counts as costly the unparalleled T "Eights" make more movies-movies under versatility of this remarkable camera. light the f /3.5 lens of the "Eight-20" can't quite Again, a Cine-Kodak is the buy in its field. reach. And one "Eight" makes easier movies Nine cameras: Four "Eights" ... five "Sixteens." because it loads with pre-threaded magazines. But, All making black-and-white or full-color Koda- within its range, no "Eight" makes better movies chrome movies ... all uniformly dependable, vary- than the Model 20. At $28.50, or at any price ing only in lens speeds and appointments. Each an within dollars of it, the "Eight-20" is unquestion- outstanding value-from the $28.50 "Eight-20" ably the outstanding buy. right on up to the super-versatile "Special." Swing to the opposite end of the list. Consider See these fine cameras at your dealer's, or write Cine-Kodak Special. Price goes by the board. Now Rochester, N.Y., for complete information. we're talking ability-and no camera approaches the scope inherent in the "Special" and its many advanced accessories. The "Special" costs more EASTMAN KODAK COMPANY than the other "Sixteens" -yes. But no experi- ROCHESTER, N. Y.

Cine-Kodak Elght-20 Cine-Kodak Eight-25 Cine-Kodak Eight-60 Magazine Cine-Kodak Eight

Cine-Kodak E f /3.5 . Cine-Kodak E f/1.9 Cine-Kodak K Magazine Cine-Kodak Sixteen Cine-Kodak Special